Two Gents Another Delightful Shakespear Interpretation From Ten Thousand Things

Kimberly Richardson and Michelle de Joya Photo by Tom Wallace

Shakespeare’s The Two Gentlemen of Verona is believed to be his first play, and many consider it one of if not the, weakest of his works. You can see the early seeds of plots and themes he would later refine, but as a whole, it’s undeniably problematic. Because of that, it’s performed far less often than his more popular comedies like A Midsummer Night’s Dream, Much Ado About Nothing, or Twelfth Night. I’ve only seen one other production, at the Jungle Theater more than a decade ago, and the plot had completely left my memory. That’s fine, though, since this new version makes some changes, which feels like a valid way to approach it. One of the most remarkable things about Shakespeare’s work is its universality, which allows artists to continually reinterpret it in new ways.

Nobody does Shakespeare quite like Ten Thousand Things (TTT), and Two Gents, their take on Two Gentlemen of Verona, is no exception. Part of the company’s mission is to make art accessible to everyone. They create stripped-down productions that can travel easily, bringing theater directly into the community. But they also make Shakespeare accessible by casting performers who can make the language clear and engaging for a modern audience. Which is something not every actor can do as skillfully as this cast.

I won’t try to summarize the plot, it can be a bit convoluted, but I always understood what was happening in a general sense, even if the finer details occasionally blurred. With this particular play, perhaps more than any other, the pleasure comes from the performances rather than the story itself.

This five-actor ensemble plays roughly sixteen or seventeen roles, and that’s where much of the production’s joy lies. One character, Sir Thurio, is actually portrayed by four different actors throughout the show. That might sound confusing, but Caitlin Lowans, the new artistic director of TTT who is making her directorial debut for the company, ensures it’s always crystal clear who’s who at any given moment.

As usual with TTT, the entire cast is strong. The standout is Kimberly Richardson, who plays Launce, the play’s most beloved comedic character. Richardson, a gifted comic actor, brings her considerable talents to all eight of her roles, stealing nearly every scene she’s in. Don’t mistake me though, the rest of the cast, which includes Michelle de Joya, Kamani Graham, Kurt Kwan, and Sara Richardson, definitely hold there own. It’s a true ensemble piece and every player adds to the whole!

Faithful viewers of The Stages of MN Show may remember my interview with Ryan Lee and Tod Petersen back in Episode 4. This production was one of the projects Ryan hinted at but couldn’t announce yet. Here, he creates an unobtrusive soundscape that perfectly complements the action onstage.

This may not be the best Shakespeare adaptation I’ve seen from Ten Thousand Things—which makes sense given the play’s reputation—but even weak Shakespeare, in TTT’s hands, is always entertaining.

Two Gents runs through November 2 at various locations. For more information and to purchase tickets, visit tenthousandthings.org/two-gents

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The Stages of MN YouTube channel is home to the weekly Stages of MN Show. You can watch it by clicking here. Be sure to check out the latest episodes and subscribe so you’ll always know when a new one drops. Not sure you agree with one of my takes? I’m also part of the Twin Cities Theater Bloggers (TCTB), where you can find review roundups from my colleagues and me. Follow us on Facebook at @TwinCitiesTheaterBloggers.

Lizzie The Rock Musical Brings Down the F*%#in House at Open Eye Theatre

Grace Hillmyer, Lux Mortenson, Abilene Olson, and Marley Ritchie Photo by Bruce Silcox

Once or twice a year, I see a show so good I have to see it again and bring more people. Even less frequently, there’s a show that eclipses those rare few. It started in the spring of 2019 when two productions struck gold: Hedwig and the Angry Inch at Theatre Latté Da and Minneapolis Musical Theatre’s Be More Chill. Faithful readers will know those were the experiences that directly led to the creation of The Stages of MN later that year. Another example was Interstate: The Musical, a show tragically cut short by COVID.

Now, we can add to that list of productions that bypass “must-see” status and move directly into the pantheon of all-time favorites: Lizzie: The Rock Musical. This is the high we theater junkies chase. When every element, from music and lighting to performance and design, collides at the intersection of awe and adrenaline. I left the theater after opening night absolutely buzzing and immediately began plotting how to see it again. That’s no small feat for me. But where there’s a will, there’s a way.

You may not know what to expect from a musical about the infamous Lizzie Borden, who was acquitted in 1892 of the axe murders of her father and stepmother. Open Eye Theatre’s program describes it as a “Victorian punk homage” to the notorious figure, and that fits perfectly. It’s important to understand that this is a fictionalized retelling of the true-crime story, inspired in part by the childhood rhyme:

Lizzie Borden took an axe
Gave her mother forty whacks.
When she saw what she had done,
Gave her father forty-one.

Grace Hillmyer and Lux Mortenson Photo by Bruce Silcox

The musical assumes Lizzie’s guilt, suggesting her father’s “affection” may have crossed unsettling boundaries. It also explores a romantic relationship between Lizzie and her friend Alice Russell—what Lord Alfred Douglas once called “the love that dare not speak its name.” Amid all the blood and thunder, it’s the softer songs between Lizzie and Alice that linger. Numbers like “Maybe Someday,” “Will You Stay,” and the haunting “Will You Lie?” (which I immediately sought out on Apple Music afterward) offer moments of tenderness, grace, and humanity that deepen the tragedy.

Lux Mortenson plays Lizzie in a ferocious, no-prisoners performance, they slay every moment and every song. Their chemistry with Stages of MN favorite Grace Hillmyer as Alice is electric: their scenes are tender, tentative, and deeply moving. Mortenson’s powerhouse energy drives the show like a drumbeat, while Hillmyer’s quiet strength and lyrical vulnerability provide the emotional melody. Abilene Olson as Lizzie’s sister Emma and Marley Ritchie as the family’s servant Bridget “Maggie” Sullivan complete the quartet with precision and presence. It’s nearly impossible to imagine anyone else in these roles. This cast is so perfectly aligned that future productions will inevitably pale in comparison, another reason I’m already planning to see it again.

Helping elevate Lizzie to such heights is Joel Sass, who serves as both director and set designer. Open Eye Theatre consistently delivers exceptional design work, and Sass’s set is no exception. Michael Murnane’s lighting design adds striking atmosphere, while Amanda Weis’s music direction ensures a tight, thunderous sound from the band. Samantha Haddow’s costumes beautifully balance period detail with punk rock attitude. The result is a production that’s a full sensory feast, sights, sounds, and emotion working in perfect harmony.

Lizzie: The Rock Musical runs through November 2 at Open Eye Theatre. Opening weekend is already sold out, and the rest are sure to follow. So get your tickets now at openeyetheatre.org/lizzie-the-rock-musical.

Don’t rely on Facebook or Instagram algorithms to keep you in the loop about great shows. Subscribe and have every post from The Stages of MN delivered straight to your inbox. It’s the best way to make sure you never miss out on the theater action. To subscribe on a computer, enter your email address on the home page (right-hand side) and click subscribe. On mobile, scroll to the bottom of the page to find the same option. You can also follow me on Facebook @thestagesofmn and on Instagram thestagesofmn.

Once on This Island, Is Not Enough. You’ll Want to Go Again and Again to Artistry Theater

“Beautiful.” That was the word that floated up from someone in the audience behind me as the cast prepared to take their bows after the final preview performance of Once on This Island at Artistry in Bloomington tonight. I was sorely tempted to leave it at that. I won’t be able to capture the evening any more perfectly than that, even if I used 5,000 words.

The best word to describe the music? Beautiful.
The best word to describe the story? Beautiful.
The best word to describe the cast? Beautiful.
And the best word to describe the star, Antonisia Collins, who plays the grown Ti Moune? Here I can add some qualifiers: possibly the most beautiful woman I’ve ever seen on stage. It’s perhaps the best casting of the year. Collins, who seemed to come out of nowhere and first caught my attention as Robin Hood last summer, has just made the jump to light speed and now sits atop The Stages of MN favorites list.

Once on This Island tells the story of Ti Moune, a young girl saved from a storm by four gods and placed in a tree to be found and adopted by a peasant couple. Mathias Brinda is also excellent as Little Ti Moune, showing remarkable stage presence for an eighth grader. Ti Moune wonders her whole life why the gods saved her as a child. When Daniel, a rich boy from the other side of the island, is in a car crash, Ti Moune discovers him. She knows in her heart the reason for her being saved was so she could save him. She nurses him back to health, falls in love, and when Papa Ge aka Death, comes for Daniel, she offers her own life in his place. Once Daniel is taken home, Ti Moune follows, and he seems to return her love. But where she sees with her heart, he is led by the expectations of others. In the end, he casts her aside and marries someone from his own class. It is Ti Moune’s innocence, her faith, and her belief in love that Collins captures so effortlessly.

There are many excellent members of the cast. A few of note: Darius Gilllard as Tonton Julian, Ti Moune’s adoptive father, whose voice is deep and powerful. Ninchai Nok-Chiclana, who plays the god Papa Ge, is also very good, getting a standout vocal moment in “Promises/Forever Yours (Reprise),” when he offers to spare Ti Moune—if she kills Daniel.

I’d seen the show once before when the tour came to the Ordway in the winter of 2020. Because I’d bought the tickets, I was probably seeing it at the end of its run, and I didn’t write a review. My only real recollection was that we were seated onstage, which was pretty cool, but that’s about all I remember. This time, I was in my favorite seats—front row center. Less novel, but arguably better than being behind the performers.

The production is simply staged, but with a beautiful simplicity that fits the story within a story style. Director Kelli Foster Warder adds some wonderfully creative flourishes, including a scene played entirely in shadows behind a white screen recounting Daniel’s family history. From my vantage point, I may not have been able to fully appreciate Nikki Long’s choreography, but what I could see up close looked fantastic—and I can only assume it looks even better from further back.

Music Director Sanford Moore, as always, draws a big sound from his orchestra, this time infused with a wonderful Caribbean flair. Once on This Island runs through October 26 at Artistry in Bloomington. For more information and to purchase tickets, visit artistrymn.org.

Oops, I Did it Again! Episode 14 of The Stages of MN Show is Posted…Days Ago

So sorry, once again I took way too long to create the blog post that the latest episode of The Stages of MN is up and ready to be viewed on YouTube https://bit.ly/TSOMNEpisode14YouTube. Or listened to in a slightly condensed version in podcast form here https://bit.ly/TSOMNEpisode14Podcast or wherever you enjoy podcasts.

Episode 14 is sponsored by Prime Productions, a theater company devoted to celebrating women in their second act. Check them out here https://www.primeprods.org/

This episode opens with a special announcement from Theater Blogger Jill Schafer about the 15th Anniversary of her blog Cherry and Spoon. Find out how you can help mark the Occassion and win theater tickets in the process! check out the details here http://www.cherryandspoon.com/

We also have another segment in our “What the Hell’s a Theater Blogger?” series. This time I’m chatting with Erica Skarohlid of Lettered in Theatre fame. You can read her blog here https://letteredintheatre.wordpress.com/

We’ve two reviews for you, one from guest blogger Jill Schafer of Cherry and Spoon. Jill gives us a review of The Ruins running through October 12th at the Guthrie Theater. Get tickets here https://www.guthrietheater.org. I’ll review the latest from Theatre Pro Rata, The Book of Will which runs at the Crane Theater through October 11th. Click here for tickets https://www.theatreprorata.org/

Special thanks: To Ryan Lee for the use of his music catalog which is available at https://ryanlee.bandcamp.com/

If you are interested in sponsoring an episode of The Stages of MN or just have a question of comment on the show or want to join The Stages of MN + 1 Club you can email me at robdunkelberger@thestagesofmn.com

It’s Only a Play is a Hilarious Love Letter to the Theater World at Park Square Theatre

The Cast of It’s Only a Play Photo by Dan Norman

I’d like to be able to say that the cast is the sole reason to see It’s Only a Play, part of Park Square Theatre’s 50-year celebration season. But that’s only one of the reasons. There’s also the elegant set design by Benjamin Olsen, the creative and sharply staged direction by Stephen DiMenna, and of course the knowingly hilarious script by Terrence McNally. It feels unfair to other shows that this one gets everything right.

The play is set in the bedroom of Broadway producer Julia Budder’s townhouse on the opening night of her first solo production. Downstairs, a party is in full swing, while upstairs a group of those involved with the play, including their friends, the help, and even a critic await the reviews. It’s filled with inside jokes for theater and pop culture fans, but the humor feels universal enough that you don’t have to be a theater nerd to enjoy it.

The cast is so strong that rather than use a more dynamic production photo, I wanted to highlight one from the curtain call featuring the entire ensemble. They’re all excellent, though I can only single out a few. Jim Lichtscheidl takes on the largest role as James Wicker, the playwright’s best friend and an actor who turned down the male lead. Not because of his TV series, as he claims, but because he suspects the show is a flop. Lichtscheidl is a master of nonverbal communication, and his body language and facial expressions add immeasurably to the character.

Sally Wingert is fascinating as Virginia Noyes, the Hollywood actress returning to the stage because no one in film will hire her anymore. It’s a role that gives her plenty of funny lines, but like Lichtscheidl, she leans into physical comedy to terrific effect.

It’s also wonderful to see Daniel Petzold back at Park Square, where I first took note of him in Airness a few years ago. His turn as the British Director Sir Frank Finger, who cannot seem to get a bad review no matter how hard he tries, reminds us why we noticed him in the first place. Hopefully, between the Guthrie and Park Square, we can keep him busy enough to prevent him from being lured away too often.

The rest of the cast is equally strong. Warren Bowles, as theater critic Ira Drew, plays the role perfectly and I can relate to his pain. Nobody likes the critic.

With such a smart script and a comedically skilled cast, It’s Only a Play makes for a terrific night at the theater. It runs through October 19th at Park Square Theatre in St. Paul. For more information and to purchase tickets, visit parksquaretheatre.org.

For Fans, A Beautiful Noise: The Neil Diamond Musical Will Turn On Your Heartlight at The Orpheum Theatre

Hannah Jewel Kohn and Nick Fradiani Photo credit Jeremy Daniel

When I was growing up, Sunday was chore day. On the stereo, DJ’d by my stepmom, played a steady mix of the Statler Brothers and Neil Diamond. From a young age, I was immersed in Neil Diamond’s music, and I liked it. I still do. So for me, The Neil Diamond Musical: A Beautiful Noise was a chance to revisit one of the soundtracks of my childhood. Diamond wrote so many great songs, not just for himself but also for other performers, including The Monkees and UB40.

This jukebox musical is framed as a series of flashbacks, told by a retired Diamond in conversations with his therapist. His life story unfolds through the songs he wrote, offering a glimpse into how a songwriter draws inspiration from real life. I know Diamond’s songs well, but I don’t know much about his personal story. I can’t say how accurate this depiction is, but it feels plausible, and the show weaves the lyrics of his music into the narrative with remarkable skill.

The production features several strong performances, but the standout is Nick Fradiani as “Neil—Then” (the younger Diamond). His voice is about as close to the real thing as you can get without being Neil Diamond himself. Also noteworthy are Tiffany Tatreau and Hannah Jewel Kohn, who play Diamond’s first and second wives. When the lyrics are given to these characters, the songs reveal Diamond’s awareness of the emotional lives of those around him. The musical portrays him as deeply dedicated to his work, often on the road, and difficult to connect with, a true “Solitary Man” despite long-term relationships. These moments, especially the struggles within his marriages, are the most emotionally powerful.

The set design by David Rockwell is simple but effective, with a second-act reveal of the band in the background providing a delightful surprise. Kevin Adams’s lighting design heightens the energy and gives the impression of a much larger show than what is physically staged. The one disappointment is Emilio Sosa’s costume design, particularly for Diamond. While some work well, too many appear ill-fitting and don’t reflect the iconic looks I remember from his concert footage and television performances.

The bottom line: if you’re a Neil Diamond fan, you’ll probably love this show. It features many of his greatest hits, performed with energy and care. Even when Diamond isn’t singing them, the numbers can be extraordinary—especially Spencer Donovan Jones’s stirring rendition of “Shilo” late in the second act. If you’re not a superfan, you’ll still likely enjoy the show. And if you don’t know Neil Diamond, it just might make you a fan. But if you don’t like his music or his persona, this isn’t the show that will convert you.

The Neil Diamond Musical: A Beautiful Noise runs through October 5 at the Orpheum Theatre in Minneapolis. For more information and tickets, visit hennepinarts.org/events/a-beautiful-noise.

Misery at Yellow Tree Proves the Old Adage Third Times the Charm

Laura Esping and Dustin Bronson Photo by Alex Clark

I like to begin all of my reviews of Misery—and this is the third—by saying I’m Stephen King’s number one fan. Although after watching Annie Wilkes demonstrate the extremes of fandom toward writer Paul Sheldon, I’m not sure I should be so quick to claim it. I say it because it’s true, but I realize faithful readers may find the line repetitive. That was also my first reaction when I saw Yellow Tree Theatre was producing Misery again, making this the third production in as many years. There’s so much good theater I miss because I simply can’t see it all. Having already seen Misery twice since 2023—including Yellow Tree’s last staging—I thought I might skip this one. Then I saw the cast list: Laura Esping as Annie Wilkes and Dustin Bronson as Paul Sheldon. F*#%!. And so there I was once more, seated in the audience for Misery, William Goldman’s stage adaptation of King’s novel (Goldman also wrote the screenplay for the 1990 film).

The play opens with writer Paul Sheldon regaining consciousness in the home of Annie Wilkes, his self-declared “number one fan.” Disoriented, he learns he’s been rescued from a car wreck caused by a snowstorm. With both legs broken and a dislocated shoulder, he’s at the mercy of Annie, a former nurse who has splinted his injuries and dosed him with her stockpile of painkillers. But the phone lines are down, the roads impassable—or so she claims. What begins as a story of apparent salvation quickly shifts into one of entrapment. Annie’s quirks spiral into unsettling behaviors, until it becomes clear she loves Paul too much to ever let him go.

I want to tread carefully here, because I enjoyed both previous stage productions I’ve seen—Yellow Tree in 2023 and Lakeshore Players in January 2025. The actors then gave fine performances, and I praised them in my reviews. But Esping and Bronson deliver the strongest portrayals I’ve yet seen of these roles. Esping doesn’t command the physically intimidating presence of earlier performers or Kathy Bates’s iconic film version, so she wisely takes a different approach. Her Annie is less explosively menacing and more quietly dissonant, at times even comic. A scene where she clambers onto the bed to pull Paul back feels borrowed from silent film comedy, yet lands perfectly in character. She channels something closer to Julie Harris with violent mood swings—an unsettling mix that makes Annie’s darkness even more disturbing.

Bronson’s Paul Sheldon brings a sharper intelligence and freshness to a role I thought I knew inside out. I’ve read the book, seen the film in theaters when it premiered, owned it on VHS, Laserdisc, DVD, and Blu-ray, and now watched three stage productions. Yet Bronson made it feel new again. Previous actors played the part well; Bronson inhabits it. In moments, I forgot I knew the script by heart, hearing familiar lines as though for the first time. That’s an extraordinary achievement—and it’s exactly why we return to plays over and over: great actors breathe fresh life into familiar works.

As with all productions of this script, the weak link is Buster, the sheriff. That’s no fault of Chance Carroll, who plays him here. In the film, Richard Farnsworth made the role memorable, especially alongside Frances Sternhagen. The stage version drastically trims Buster’s part, leaving it underdeveloped and his fate underwhelming. Goldman might have been better off cutting the character entirely. Still, the limitation lies in the script, not the performer.

If you’ve never seen Misery, now is the time. If you have, this production is well worth revisiting for its fresh, incisive performances. Esping and Bronson prove how much a cast can transform a play.

Misery is directed by John Catron, who also helmed Yellow Tree’s 2023 production. The show runs through October 19 at Yellow Tree Theatre in Osseo. For tickets and information, visit yellowtreetheatre.com/misery2025.