Hmong Futures: The Future of Us A World Premiere From Theater Mu.

The full cast of “HMong Futures: The Future of Us” Photo by Rich Ryan

Hmong Futures: The Future of Us is the new play by Katie Ka Vang, having its world premiere from Theater Mu. It’s the story of three generations of a Hmong American family a mother, daughter, and granddaughter. It is, to be sure, a story about family, but also about community, or our found families.

Fhoua comes to the home of her mother, Zong, whom she hasn’t spoken to in five years. We learn from a phone call with her own daughter, Maly, who is away at camp, that she has something difficult to ask her mother. We suspect she wants to ask if they can stay with her. There is a lot of information we are not privy to at first, which is gradually revealed. That withholding mirrors a key theme of the play: these characters don’t speak openly about important things, and the script reinforces that by keeping certain details from us.

The secrets matter, of course, but the real thrill of the production, and where Katie Ka Vang truly excels, is in the voice of the characters. Their exchanges, their frustrations, all ring true. The way they talk around issues, saying one thing while meaning much more than they verbalize, feels authentic and deeply observed.

The cast is fantastic at making the dialogue feel natural while conveying the unspoken meaning beneath it. Sharon Omi, as Zong, is excellent as a mother shaped by a different country and a more survival driven life. Nancy Ma is stunning as Fhoua, a woman so accustomed to avoiding conflict that she struggles to reconnect with her mother and seems ready to slip away again. Melody Her, as the 16-year-old Maly, is one to watch. This is my second time seeing Her perform, the first was in Again, also by Vang, with songs by Melissa Li, which I loved, particularly Her’s performance. A college graduate, she can still convincingly play a teenager without it ever feeling forced or artificial.

Rounding out the cast is Greg Watanabe as Unclefriend, a very funny role and part of the found family Zong has built. Mason Yang appears as Aben, a young man helping out in the cooperative Zong is part of and also staying with her. He is also 16, and he and Her share a nice scene in which they open up to each other about their family situations.

A final note on the set design by Sarah Bahr. The set places the interior of Zong’s house upstage, with her garden downstage. The characters actually garden at various points, and it beautifully blends their inner lives with their connection to nature and farming. It’s a wonderful achievement and an impressively executed design.

Hmong Futures: The Future of Us runs through May 3rd at the Gremlin Theatre in St. Paul. For more information and to purchase tickets, visit https://www.theatermu.org/hmong-futures#gsc.tab=0

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.

The Stages of MN YouTube channel is home to the 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.

Mama Mia, Here We Go Again at Lyric Arts in Anoka!

Holli Kingdon, Lisa Vogel, Emily Jabas, and Raquel Ponce Photo by Molly Jay.

I really wanted to like Mamma Mia! at Lyric Arts in Anoka. I love this theater and find it, along with Yellow Tree Theatre in Osseo, to be key to growing new audiences. I’m so, so, so, so, so sorry that those of you who haven’t already purchased tickets will likely not get to see it. The show opens Friday night, and they let me attend the preview on Thursday because, well, the entire run sold out more than a week before it even opened. I think it was the only date in the first two weeks they could squeeze me in.

Unfortunately for you, I didn’t like the show, I loved it! And so I feel terrible that you have to read about what you’re destined to miss.

I’ll be completely honest: I’ve always loved the music of ABBA. I thought the Mamma Mia! movie was terrible, and I was surprised to find that, despite that, when I finally saw it on stage, I really enjoyed myself. This is probably the fourth time I’ve seen the musical live, but all the others were national tours. This is a pared-down version compared to those, with talented, but, for the most part, not Broadway caliber performers. So why is this the best version I’ve ever seen?

One reason, and I don’t mean to take anything away from the tremendous job director Kassy Skoretz has done with the staging, which is fantastic, is the choreography by Michael Terrell Brown. It’s the real star of the show. The choreography is filled with so much character that it feels like the driving creative force behind the production. Brown, months before the audience even walks in, seems to anticipate their reactions and gives them exactly what they want, along with what they didn’t know they wanted. The movement is confident, full of bold choices and wildly theatrical flourishes that, if they didn’t land, could sink the show. But there’s no fear of that here, everything works. I think the only Lyric Arts audience I’ve seen more enthusiastic in the decade plus I’ve been attending, was opening night of The SpongeBob Musical, those cats were Beatlemania-level excited. I’m genuinely mortified you won’t get to see this.

Another winning aspect of the production is the cast. There are varying levels of vocal ability, and in fact, many performers, particularly Lisa Vogel as Donna, seem to grow over the course of the evening. She starts out solid, quite good, and then at some point becomes great. Does that make the performance feel uneven? Not at all. It feels like Donna is finding her confidence, and maybe Vogel is too, but it works. That’s true across the cast: they’re not polished in the way you might expect, but they feel real. You instantly like them. They surprise you. They connect with you, sometimes literally (I had a flipper land on my head during the show, and I loved it).

It’s a cast where I could go on all night about how good everyone is. But again, and I am sorrier than it is humanly possible to be, if you didn’t already get tickets, it would just be rubbing salt in the wound. And, you know… sleep. I will say that the three men playing Donna’s exes, Eric Lee, France A. Roberts, and Keith Reilly are perfectly cast. Emily Jabas and Holli Kingdon, as Donna’s best friends, are even better. Each gets a number that had the audience screaming with joy: Jabas kills “Take a Chance on Me,” and Kingdon has the audience foaming at the mouth with “Does Your Mother Know.” Both numbers soar even higher thanks to Brown’s brilliant choreography. And I should clarify here, it isn’t Bob Fosse, it doesn’t stun, it delights. And one last comment on the cast Raquel Ponce as Sophie, is magical, the heart of the show.

I know I didn’t give you a plot synopsis, but it’s Mamma Mia!, you already bought your tickets, and if you didn’t, it doesn’t matter… you can’t go. I assume if they could have worked out an extension, they would have announced it by now, but hey, you can always cross your fingers. I really feel bad for you, because this show is pure joy, and we all need a nice helping of that right now.

Mama Mia runs through May 10th at Lyric Arts in Anoka. Though it’s essentially sold out, if you are dying to get a ticket I encourage you to go to https://www.lyricarts.org/mamma-mia as some tickets may free up. Click on the dates you can go and see if there are any left. A quick glance through a few dates revealed a few single seats at some performances.

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.

Gutenberg! the Musical! A Historically Fictional Musical That’s so Funny it Should be Considered True!

Tom Reed and Dominic Schiro Photo by Dan Norman

Gutenberg! The Musical! And for good measure, I’m adding another “!”! Why does it deserve a third, and potentially fourth, “!” (I’m not sure, grammatically, if I needed end punctuation after the ! in “”) “.” ? Well, I’ll tell you why (which is when a harp would be strummed and I’d begin to sing), because this is the kind of show that led to the creation of The Stages of MN in the first place. Faithful readers will remember that the actual shows were Be More Chill and Hedwig and the Angry Inch. By some sort of mystical coincidence, the latter was, like Gutenberg! The Musical!, produced at Theater Latté Da, and the star of that show, Tyler Michaels King, is the director of this one. I assume your mind is now blown.

The show is about two best friends, Doug and Bud, who, thanks to a financial windfall, have rented the Ritz Theater for one night only to present the musical they’ve written together: Gutenberg! The Musical!. The musical (the show within the show) is about Johannes Gutenberg and the invention of the printing press. It is completely fictional and incredibly silly. But the piece is also a send-up of the musical theater form itself, and Doug and Bud get about as much stage time as the characters they portray. When I say “performance,” it’s really a staged reading, in which Doug and Bud play all the roles, aided by an ever-rotating collection of baseball caps to help the audience keep track of which of the dozens of characters they’re embodying at any given moment.

Tom Reed plays Doug. Regular Theater Latté Da patrons may recognize him from another Latté Da production, Stones in His Pockets, where he proved his skill at playing dozens of characters alongside a single fellow performer. A longtime Stages of MN favorite since appearing in one of my all-time favorite musicals, Interstate, he once again demonstrates the comedic timing and musical chops that make him a “must-see” performer for me.

Dominic Schiro first came to my attention a couple of years ago in Ten Thousand Things’ production of The Spitfire Grill, where I immediately found myself asking fellow bloggers, “Who is this guy?” He was far too good for me not to have noticed him before. I knew he could sing, now I know he’s also a gifted comedic actor. Reed and Schiro play off each other beautifully. They make it look effortless (it is not). The supportive banter between Doug and Bud feels genuinely heartfelt, even amid the extremely goofy dialogue, plot, songs, and overall conceit.

Tyler Michaels King is the perfect guiding force for this show. While the book itself is clever, so much of the humor comes from the performances. Michaels King is an accomplished improv performer, as is Reed, and I can only imagine the laughter in rehearsal as they explored blocking, added bits of stage business, shaped reactions, and fine-tuned all the details we don’t consciously see but absolutely feel. A tip o’ the hat as well (don’t ask me where the Irish accent came from [perhaps thinking about Stones in His Pockets] {which is set in Ireland}) to music director Jason Hansen, who even gets in on the action with a few well delivered lines of his own.

This is the kind of show that will have you chasing the theatrical dragon. It’s so fun, warm-spirited, and delightful that you’ll want to see more theater, always searching for that next show that gives you the same high. Do it. Keep going. For in theater, as I’m about to start always saying, here there be dragons!

Gutenberg! The Musical! runs through May 3 at Theater Latte Da. For more information, and to get your fix, visit
https://www.latteda.org/gutenberg-musical

Marie and Rosetta Makes its Long Awaited Appearance at Yellow Tree Theatre and Proves it Was Worth the Wait!

Adair Gilliam and Chaz Shermil Hodges Photo by Alex Clark

Marie and Rosetta, after being postponed last season, finally takes the spotlight at Yellow Tree Theatre, and it was well worth the wait. I have no personal connection to gospel music, but I gained a real appreciation for it, and genuine enjoyment, during the 100 minutes I spent with Adair Gilliam and Chaz Shermil Hodges, who play Sister Rosetta Tharpe and Marie Knight, respectively.

These are perfect roles for both actors, especially Gilliam. I imagine the pool of Twin Cities performers who can handle the intricate guitar work required for this role, while also acting and singing at a high level, is not a large one. But no matter how large that pool might be, I doubt anyone could do it better than Adair Gilliam. Her guitar playing is stunning, her singing remarkable, and her acting equally strong, but she also possesses that intangible quality I can only describe as chemistry with the audience. There’s something in the way she leans into the music, particularly with the guitar in hand, her feel for it, the twinkle in her eye, the smile that spreads across her face as she doesn’t just sing, but communicates the lyrics. It gave me goosebumps, and it will undoubtedly be one of my top theater highlights of 2026, even this early in the year.

Chaz Shermil Hodges is a terrific partner for Gilliam. As Marie, the young protégé Rosetta has taken under her wing, she projects openness and youthful energy, and their vocal performances together are both uplifting and electric.

The story unfolds over their first evening working together, as they rehearse and get to know one another. Interestingly, it takes place in a funeral home. As Black performers traveling the South in the 1940s, their lodging options are limited, so they rely on friends and community connections wherever they go. The women talk about their mothers, the men in their lives, religion, and music, sharing their stories as we come to know them. I found these conversations fascinating, like listening to two people you instantly like open up about themselves. Co-directors Ansa Akyea and Richard Thompson beautifully capture that feeling of connection, the simple act of sitting, talking, and truly listening. It’s something many productions aim for, but few fully achieve.

The show would be worth seeing even without the musical numbers woven throughout, but man, those performances make this one a must-see. Go and swing with Marie and Rosetta which runs through April 19 at Yellow Tree Theatre in Osseo. For more information and tickets, go to https://yellowtreetheatre.com/marie-and-rosetta.

The Welkin Is Riveting From Start To Finish From Frank Theatre Ending Sunday at the Gremlin Theatre

Cast of “The Welkin” Tracey Maloney and Elizabeth Efteland front and center Photo by Tony Nelson

The Welkin continues Frank Theatre’s tradition of producing incredibly thought provoking and relevant work that speaks directly to our world. I had to reschedule this one three times due to some ongoing health issues. I didn’t want to miss it, but by the third reschedule, when I was looking at finally seeing it during the last weekend, that’s usually when I cut my losses and move on to something with more of a run left. Big shout-out to my friend Jill over at Cherry and Spoon, who made sure I knew this was not to be missed. She has never been more right in all the years I’ve known her. This one has TCTB Awards written all over it.

Here’s the thing: it’s now almost midnight on Thursday, and this show closes Sunday. So this is going to be short and sweet, because I have another show tomorrow night, and if I want to give anyone a chance of catching this, I need to publish tonight. And those health issues? Still ongoing. I’m tired. So Frank Theatre, forgive me if this feels a little rushed.

“It’s 1759 in rural England, and the country is awaiting the return of Halley’s Comet. A young woman, accused of murder, is sentenced to death. When she tries to escape the noose by claiming she is pregnant, twelve ordinary women are gathered to decide whether she is telling the truth.”
—Frank Theatre website synopsis

Wendy Knox directs Lucy Kirkwood’s script, which had its U.S. premiere in 2024, making this the first chance for local audiences to experience it. The show runs close to three hours, with a 15-minute intermission, but I swear it feels like two, and a quick two at that. Knox’s great strength is her work with actors. There are 16 performers onstage, and not a single one fails to captivate for even a moment.

My biggest problem with this show is already looming: when I submit my nominees next January, do I just nominate it for Favorite Ensemble in a Drama, or do I also single out individual performances? Elizabeth Efteland as Sally, the accused, and Tracey Maloney as Elizabeth Luke, the local midwife and her chief supporter, both deserve Favorite Performance in a Drama nominations, but do they end up canceling each other out? That’s a problem for next year. The point is: they are both brilliant.

And then, frankly, so is everyone else. That includes Stages of MN favorites like Grace Hillmyer, Suzie Juul, Eva Gemlo, and Wini Froelich, who shows a side of herself you never saw at The Mystery Café. Simply stunning. Even performers with the fewest lines hold your attention completely. There isn’t a wasted moment, not a throwaway line. In fact, there are a couple of subtle, intriguing lines that could easily be missed but leave you questioning what you’ve actually seen. I won’t spoil those moments. This play is so strong that others will undoubtedly produce it, but I doubt they’ll do it as well as Frank.

The remainder of the run, which ends March 29, is nearly sold out. If you can make it, I urge you to act fast and grab one of the remaining tickets. I’ll make it easy, here’s the link to the Frank Theatre website:
https://franktheatre.org/events/the-welkin/

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.

Abuelita From Prime Productions Needs More Time To Tell its Characters Stories.

The cast of Abuelita Photo by Dan Norman

Prime Productions closes out its 8th season with the world premiere of ABUELITA, a new play by Nathan Yungerberg. There is a lot of good stuff here, but there also seem to be many threads that don’t really lead anywhere. What this material feels ideally suited for is a TV series. There are seven great characters, and four of them get about one scene in which to shine, when they are clearly interesting enough to hold our interest for dozens. In its present form, it feels like there are three characters too many, or perhaps three who are given stage time that should have gone to others, so that more of them could fully realize their roles in the story.

The play opens with Davia, a 72-year-old white grandmother from Iowa who has moved to Spanish Harlem in the summer of 1993 with her fifteen-year-old mixed-race grandson, Jesús, to expose him to his father’s Puerto Rican culture. They meet the other residents of their apartment building on the stoop when they arrive. Davia and Yvette quickly bond over being grandmothers raising grandchildren who have lost their mothers, getting drunk on some sort of alcohol Yvette smuggled back from her last trip to Puerto Rico. Yvette’s granddaughter, Sonya, and Jesús become friends, and she introduces him to her group, some of whom are gay, as we learn Jesús is as well. Davia, in turn, begins to find companionship with Yvette, her sister Indigo, and Wilfredo, a bongo-playing singer who lives next door.

It’s hard to escape the feeling that many of these interactions play like the first of what should be many scenes, or like the third scene, with the previous two missing. Davia is a great character, but almost every moment with her feels like it needed more room to breathe and develop. I also don’t think the character was helped by Mary Gant’s performance; there were simply too many missed or flubbed lines. There is real potential here, but Gant doesn’t quite convey the nuance the role requires. Or perhaps the issue lies more in the script, which rushes toward “aha!” moments that would land more effectively if the relationships had time to grow and unfold.

There are, however, several very enjoyable performances. Skyler Seiler as Sonya is sassy and fun. King Jackson as Jesús starts out somewhat awkwardly, but that seems to be a deliberate choice that tracks with the character; as he becomes more comfortable in his new environment and freer to be himself, the performance comes alive. Pedro R. Bayon is very good as Wilfredo, though he’s another character who gets one strong scene and little else to do, despite feeling like someone you’d want to follow further. Gabi Del Moral as Yvette is also very good, though her relaxed, fluid performance only highlights Gant’s relative stiffness, and their instant friendship doesn’t quite feel earned. Adlyn Carreras as Indigo has a few line flubs as well, but her swagger and attitude carry her through them more successfully. Like others, Indigo feels like a character with much more story to tell. And since I’ve mentioned everyone else, I should note Elsa Vega Pérez as Niego, who is apparently related to Yvette and Indigo, though it’s not entirely clear how. She has only a few lines in Spanish before disappearing for a stretch and then briefly reappearing. She’s good, but likely the first character to cut if tightening the piece.

Ultimately, I’d happily watch these characters for 10 or 12 hours a year. If this play were the first season of a TV series, the ending we see here would probably land around episode six. It’s not that the play is bad, it’s one of those cases where you can clearly see its potential to be something more, and it’s hard not to focus on that. Most plays are easy to take as they are: good, bad, or somewhere in between. But every once in a while, you encounter something that so clearly should be, not different, just more. These characters don’t need better writing; they simply deserve more of it.

ABUELITA runs through March 29th at the Capri Theater in Minneapolis. For More information and to purchase tickets go to https://www.primeprods.org/abuelita

The Importance of Being Earnest Reminds of the Importance of a Little Silliness at Lakeshore Players

Oscar Wilde was perhaps the greatest wit of the 19th century, and The Importance of Being Earnest is the perfect showcase of his genius. Unlike the comedies of William Shakespeare, Wilde’s play makes no claim to profound insights into human nature. It pokes fun at pomposity and the upper class’s detachment from reality, to be sure, but its greatest achievement is much simpler: it is hilariously entertaining. That, and Wilde’s innate mastery of the English language. It truly is a marvelous script: very smart, very funny, and very, very silly.

It is also one of those rare plays from the 1800s that needs no modernization to make it accessible. There’s no need for conceptual updates, explanatory framing, or footnotes aimed at the audience. Wilde’s language and comic structure still land perfectly well on their own. As an avowed anglophile and connoisseur of British humor, his work has always hit the sweet spot for me, and Earnest remains one of the purest examples of how well that style of comedy can work.

The play, which premiered in 1895, centers on two members of the idle upper class: Jack Worthing and Algernon Moncrieff, both of whom make use of aliases in order to get out of obligations and do whatever they please. Jack has created a younger brother named Earnest, which he uses as an excuse to leave his home in the country, where he lives with his ward, the 18-year-old Cecily, and go to London to live a carefree and pleasure centered life as his imaginary brother. Algernon has invented an invalid friend named Bunbury, whom he uses to escape dinners with his aunt, Lady Bracknell, under the excuse of being called to Bunbury’s sickbed.

Jack has fallen in love with Lady Bracknell’s daughter Gwendolen, and she with him. But Lady Bracknell will not allow the engagement due to Jack’s not knowing where he came from, having been discovered in a handbag as an infant in Victoria Station. Algernon, thinking Jack will be in London through the weekend and having discovered his country address, and the existence of the young ward Cecily, arrives at Jack’s country home pretending to be his younger brother Earnest. Cecily and Algernon immediately fall in love.

When Jack returns early to inform his household of the death of his brother Earnest, he’s surprised to find that Earnest has apparently moved into the bedroom next to his. The final ingredient comes when both men, who have wooed under the name Earnest, discover that the women they love insist they could only ever love a man named Earnest, which neither of them actually is. Hilarity ensues, and one can’t help suspecting that this play must have served as a template for half the books P. G. Wodehouse would later write.

Director Craig Johnson’s production at Lakeshore Players Theatre in White Bear Lake features a cast as nimble of foot as they are of tobgue. They bring a physicality to their roles that heightens the already deliciously ludicrous tone.

Cody Carlson plays Jack, the straight man, at least compared to Lewis Youngren’s Algernon. Both play their roles superbly. They have a wonderful scene where they argue while each tries to claim the muffin tray for himself. Skye Stuempert plays Gwendolen and Aerin O’Malley plays Cecily, who verbally spar over their mistaken belief that they are both engaged to Earnest. They play the cattiness of romantic rivals perfectly. Mary Cutler is a delight as the formidable Lady Bracknell, deliciously selling the leaps of logic and nonsensical rationale behind her firmly held beliefs, which conveniently change depending on her immediate goal.

Michael Garry plays both Algernon’s manservant in town and Jack’s servant in the country. The former feels like a template for Wodehouse’s Jeeves, and Garry captures that unflappable, dry delivery perfectly.

This is a great opportunity to see one of the great comedic plays brought to the stage by a cast that clearly knows how to make the laughs land. I always tell folks that when a classic like this comes around, make sure you see it. Plays are meant to be experienced live, and some of these classics don’t come around nearly as often as they should.

The Importance of Being Earnest runs through March 22nd at Lakeshore Players in White Bear Lake. For more information and to purchase tickets go to https://www.lakeshoreplayers.org/earnest-season-73