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.

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A Doll’s House at the Guthrie is Funnier and More Relevant Than One Expects From This Classic Play

Andrew May, David Andrew Macdonald, and Amelia Pedlow Photo by Dan Norman

A fresh adaptation of Henrik Ibsen’s A Doll’s House by Amy Herzog which premiered on Broadway in 2023 opened the 2025-2026 season at The Guthrie Theater. Written in 1879 Ibsen’s A Doll’s House was a controversial play that challenged societal and theatrical institutions. The story centers around Nora, a devoted wife and mother, who struggles with a secret she has long held. With it’s reveal and her husbands reaction, she learns that her value to him lies in her subservience, in her being exactly what he wants her to be. The final scene of the play we are witness to a woman coming into herself, or at least ready to take the steps necessary to discover who she is as a human being, not just as a wife and mother. In the later half of the 19th century it was a daring exploration of gender roles and the rights of women. You can see why Ibsen is seen as one of the most influential playwrights of his time and often referred to as the father of realism.

I had never seen the play performed live but in preparation for seeing Noura, a modern play inspired by it, the Guthrie in 2020 had a production of Lucas Hnath’s sequel A Doll’s House, Part 2 at the Jungle Theater that same winter. I watched a television version starring Julie Harris and Christopher Plummer from 1959. It’s a bit fuzzy now, but I didn’t remember that version being as funny as this one is. One thing that does hold true is how astonishingly progressive this play seems for a play written in 1879. I think that one might mistakenly attribute that to Herzog’s adaptation, but that isn’t the case if memory serves me. There’s been a lot of chatter about the updating of the language with some feeling that Ibsen’s language should be left alone and doesn’t need to be changed for modern ears. Well Ibsen’s language was Norwegian, Danish so unless you are seeing it in that language, you are not getting Ibsen’s language anyway. The act of translation is also the act of adaptation. The translator is rewriting the text so that a different audience can understand the work. This latest adaptation is simply doing that again but for an audience who understands 21st century English. I had no problem with the script and found it to be humorous but still grounded in the realism that Ibsen was so famous for. The ending still packs a dramatic punch, though I suspect our audience was less shocked and more sympathetic as a whole to Nora’s choices than those in 1879.

The set design by Luciana Stecconi in combination with the lighting design by Robert Wierzel creates a dramatic feel to the proceedings that Director Tracy Brigden undercuts effectively with a generous stream of comedic moments. The tone of the set helps to underscore the darker under currents that run beneath the characters cheerful facade. Amelia Pedlow as Nora has a light touch when the character is simply being, simple. But when things gets serious, Pedlow expertly shows us the shattering of Nora’s illusions about her husband and her coming to terms with Torvald’s outburst and what they represent to her. David Andrew Macdonald, as her husband Torvald, is masterful at playing sweetly condescending while also bringing gasps and jeerings from the audience with his line readings.

A Doll’s House is a strong opening to the Guthrie’s Theater season delivering an adventurous (get used to hearing people say that word this season) take on this classic play. One may ask, why stage this play now? The answer is that more than ever in today’s political climate when the rights of women are coming under attack. We need to remind some of our neighbors that women are not wives and mothers first, but human beings. It’s shocking that nearly 150 years after it was written, we are having to make these statements. A Doll’s House Runs through October 12th at the Guthrie Theater in Minneapolis. For more information and to purchase tickets go to https://www.guthrietheater.org/shows-and-tickets/2025-2026-season/a-dolls-house/

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The Stages of MN YouTube Channel is home of the weekly The Stages of MN Show which you can view by clicking on this link https://www.youtube.com/@TheStagesofMN. Check out the latest episodes and Subscribe to the channel so you’ll always know when a new episode has dropped. Think I may have steered you wrong on a show? Well, I’m also a member of the Twin Cities Theater Bloggers (TCTB), where you can read review roundups of shows by m’colleagues and I when you follow us on facebook @TwinCitiesTheaterBloggers.

Anyone Can Whistle: In concert Brings an Oddball and Rare Stephen Sondheim Show to Audiences Courtesy of Minneapolis Musical Theatre

Anyone Can Whistle is a rarely produced musical featuring music and lyrics by Stephen Sondheim. Debuting on Broadway on April 4, 1964, the show ran for twelve previews and nine performances before closing. Unlike much of Sondheim’s works Anyone Can Whistle is rarely performed. It’s easy to see why. And no, that doesn’t mean I didn’t like it, I actually quite enjoyed this goofy little oddity. But goofy little oddities that strike that perfect cord that transfers into the kind of success that can sustain a Broadway run are few and far between. This clearly wasn’t and probably still isn’t that kind of show. But honestly, I think it’s weird enough with some great music to warrant a fully staged production by someone like say, oh I don’t know, Minneapolis Musical Theatre. I’m grateful that they have given us the opportunity to see the show in concert, though I should tell you this is more than just actors singing their songs, they are playing the characters and there is some blocking and visual storytelling going on. You get the full production here, don’t worry that you will just see singers singing through the songs, as the “In Concert” suggests.

The story centers around an economically depressed town run by Mayoress Cora Hoover Hooper and her stable of corrupt officials who fake a miracle in order to attract tourists. The plan works until Nurse Fay Apple brings her patients, known as Cookies from the local mental asylum which is referred to as The Cookie Jar, to see if the miracle will cure them. Things get kinda weird after that. Dr J. Bowden Hapgood comes to town and Nurse Apple who is in hiding, disguises herself as a French nurse with a bright red wig, a romance ensues. There’s also a weird suggested sexual relationship between the Mayoress and the City Comptroller, which may or may not be transactional. There are several stand out performances including both Hope Quinn as Fay Apple, and William Lucas as Dr. Hapgood. But I also enjoyed Benjamin Kruse as Comptroller Schub and Mary Palazzolo as Mayoress Hooper along with several members of the ensemble. Directed by Max Wojtanowicz with music Direction by Walter Tambor, they get a lot of bang out of a four person band.

This shaggy dog of the Sondheim oeuvre deserves to be seen, the closest thing I can compare it to plot wise is Urinetown. It’s fun, and does contain some pretty fantastic songs. But don’t wait too long it’s short run ends this weekend September 14th. For more information and to purchase tickets go to https://www.aboutmmt.org/

Big Fish is an Evening of Tall Tales Told With Humor and Heart at Lyric Arts in Anoka

Kate Beahen and Ben Bakken Photo by Molly Jay

Big Fish based on the novel by Daniel Wallace and the 2003 Tim Burton film from Columbia Pictures, could be aptly titled Dad Jokes and Stories: The Musical. I saw the film in the Theater with my son Alex when he would have been about five and a half years old. It sticks with me because of a memory I have of Alex laughing his head off at a scene where a baby goes sliding down the aisle of, I want to say an airplane. I’m not 100% sure that scene exists, and seeing the show with Alex 22 years later has made us both curious to revisit the film and see if my memory is true.

Daddy and Alex at Lyric Arts for Big Fish 9/5/2025 Photo by my right hand

I don’t know how faithful it is to the book I never read or the film I barely remembered, though story details did come back to me as we watched. I feel like there is a lot of consistency at least between the film and the musical. Which also makes sense because the screenplay for the film and the book for the musical were both written by John August. The show is about the relationship between a father, who tells tall tales, and his son who expecting his own son in a few months. The father, Edward, is dying and his son Will wants to know the truth about his father who has been an embarrassment to him throughout his life, always telling wildly implausible stories. The fun of the show is the enactment of these stories, which feature mermaids, giants, the circus, and a war story in which Edward thwarts the assassination of a general. Much of the humor comes in the style commonly referred to as Dad Joke’s, which being a Dad, I loved. The heart comes from the relationships. Whether it’s the romantic and loving relationship between Edward and his wife Sandra, the attempts to connect between Edward and Will, or how the myriad of other characters with who Edward interacts create a tapestry that tells his mythology. I can’t say any of the songs by Andrew Lippa have actually stuck with me, but they were enjoyable enough as the show played out.

The cast is led by Ben Bakken, who is terrific as Edward, with boundless energy and a twinkle in his eye as he unloads every whopper of a story. The other cast member whose performance I found really touching was Kate Beahen as Edward’s wife Sandra. Beahen is a gifted vocalist, but it’s the warmth and unwavering love she displays for Edward throughout that really grounds that relationship making her the glue that binds the family together. Director Scott Ford along with Music Director Wesley Frye, and Choreographer Hannah Weinberg-Goerger, wonderfully stage everything from the tall tales to the group dance numbers. Special shout out to Costume Designer Samantha Fromm Haddow who must have 5 or 6 different costumes for each of the 21 cast members. And special little nod to two performers in small roles that absolutely put their uniques stamp on the show, Justin Betancourt and Alex Stokes.

The show runs about 2 hours and 35 minutes including the intermission, but it doesn’t feel long at all. The storyline that threads its way through the episodic stories told by Edwards keep it clipping along and allows us a variety to the storytelling that keeps it fresh. Alex and I both really enjoyed revisiting the story of Edward and Will and all the fantastical characters that populate it. Big Fish runs through September 28th at Lyric Arts in Anoka. For more information and to purchase tickets go to https://www.lyricarts.org/big-fish

Come Back, Little Sheba Is a Riveting and Dark & Stormy Production At Gremlin Theatre

Peter Christian Hansen and Sara Marsh Photo by Alyssa Kristine

Come Back, Little Sheba the latest from Dark & Stormy Productions is a strong play featuring some truly great performances from it’s leads Peter Christian Hansen and Sara Marsh. Marsh is miscast as a frumpy overweight housewife, but she’s so good that I prefer to say the fault is with the script that tries to insist the character has those qualities. Marsh finds here own way to accomplish what playwright William Inġe wanted from the character. While I’ve never seen the play before or the 1952 film adaptation, I suspect that Marsh’s interpretation is deeper and more nuanced because she doesn’t rely on that outdated archetype. Hansen and Marsh play Doc and Lola who have been married for twenty years. Doc is almost one year sober, but the presence of their renter, a young college student named Marie, begins to weigh upon Doc’s sobriety. It isn’t the cliche of the older man tempted by the young vibrant woman, it’s the memories her lifestyle brings to the surface. The career as a Doctor that he had to give up when Lola got Pregnant and they had to marry.

Hansen plays Doc as a man working the program, who is making amends to his wife by maintaining a pleasant attitude and being helpful. He is the one making sure that the breakfast is ready for Lola and Marie, trying to make everything run smoothly. He projects a virtue on Marie that isn’t there and feels unrealistic by todays standards. When he realizes she is a normal girl, it brings forth old doubts and repressed guilt about his and Lola’s start in life. He gets every aspect from the sobriety to the slip just right. Marsh slowly reveals the cracks in Lola’s confidence, her uncertainty about how to reconnect with Doc. We see hints of someone recovering from the trauma of living with a substance abuser. When she realizes the Whiskey bottle has vanished and Doc is late coming home, the fears and anxieties come in glimpses and waves. But like all partners of addicts she has to keep his secrets and hide what she is afraid has happened from Marie and others. Marsh shows us in that moment how every choice she has made performance wise up to that point has all stemmed from these moments. It’s a portrayal that seems deceptively simple at the start only to be revealed by the end to be an intricately crafted and complex performance. She give us a character that longs for connections but has been forced into a world of isolation, who clings to hope through the belief that her dog Sheba, who has been missing for months will come home one of these days.

Come Back, Little Sheba runs through September 7th at The Gremlin Theatre in St. Paul. For more information and to purchase tickets go to https://www.darkstormy.org/current-production-1

Minnesota Fringe Day 11 (Final Day): Rat Mass, The Jaws That Bite, The Claws That Catch! The Wickie(The Stages of MN Fringe of the Day Award winner).

We Did it!!! At least those of us who attended the Minnesota Fringe Festival this year did. I Saw 48 shows over 10 days, only missing one day entirely for a Wednesday evening Minnesota United game. On the final day of Fringe I also attended a Minnesota United game, but was able to fit in two shows before the game and then get back for a show in the final slot on Sunday and to attend the closing night party and awards ceremony. August 20th will be our official 2025 Minnesota Fringe Wrap Up episode rather than as originally announced “What the Hell’s a Theater Blogger”, which we’ll save for a future episode. Speaking of Theater Bloggers and awards, I want to give a shout out to my friend and fellow Twin Cities Theater Blogger in good standing Kendra Plant who writes Artfully Engaging which you can read and subscribe to here https://www.kendraplant.com/blog-artfully-engaging. Kendra was a first time producer at this years Minnesota Fringe festival with her show The Kendra Plant Variety Hour: Good Things Edition! -with special guests-, which won a Golden Lanyard Award!!! We’ll have a rundown of all of the award winners on that next episode of The Stages of MN YouTube Show and Podcast. Here are my reviews for the three shows I saw on the final day!

Rat Mass, would probably have gotten my vote for The Spirit of the Fringe Award had I seen it before the last day. This show is full of the type of audience participation I can really get behind. There is never any pressure or coaxing, if you wanted to participate you could, if not you were never threatened with shunning or excommunication. Rat Mass takes the form of a service of the Church of Ratology. Which worships the rat as the ideal form of life. During the sermon communion will be given, three offerings will be taken, with the winner of the best offering being crowned. At the service I attended the winner put in an epipen. There are also hymes led by the rat chorus and you could choose to be baptized into the church at the end by having your face dipped into a bowl of Apple Cider Vinegar. I was not baptized, but I did drink the Apple Cider vinegar that was offered as communion, the taste of which took about 2 hours to fully leave my mouth. The Ministers of the Church of Ratology Joseph Bryant and Perry Letourneau are very charismatic and game for just about anything. https://minnesotafringe.org/shows/2025/rat-mass

The Jaws That Bite, the Claws That Catch! is a play by Edwin Strout which begins with a character played by Strout expressing his adoration of the poem “Jabberwocky” by Lewis Carroll. It then quickly devolves into fragmented conversations with his best friend played by David Denninger and an ex girlfriend played by Anna Olson. We take these conversations, at first, as ones that are taking place in chronological order. But soon, we begin to realize they are memories or perhaps even just delusions occurring within Strout’s mind. The poem, perhaps the most famous nonsense poem in the english language, though originally written and published over a decade earlier appeared in Carroll’s sequel to Alice in Wonderland, Through the Looking-Glass. The nonsensical nature of the poem fits in well with the mirror world into which Alice ventures in the book. But when Strout tries to apply real world meaning and understanding to the work, we feel that it has perhaps shattered his mind. Strouts performance is convincing and one of the strongest of the festival. https://minnesotafringe.org/shows/2025/the-jaws-that-bite-the-claws-that-catch-

The Wickie is a solo clowning show by Richie Whitehead. What’s a Wickie you ask? A Wickie is a person who looks after a lighthouse and keeps the light (it’s wick) lit. It opens with the Wickie confronting the Ocean (pronounced Oh Shawn) for stealing his left shoe. We do get some audience participation, but again it’s very consensual. This was a fantastic way to end the festival and I’m glad I decided to rush back after my game and catch one more show. The Wickie is a great show for the whole family, full of laughs, with clever and deceptively simple gags. It’s the type of show where you think “that’s such a simple thing, but it’s so funny”. Its good natured silliness, and Whitehead’s precise physical humor made this the final The Stages of MN Fringe of the Day Award winner. https://minnesotafringe.org/shows/2025/the-wickie

That’s it for day Eleven and in fact the Minnesota Fringe Festival itself. You can click on the Fringe website here to get details on all of the shows https://minnesotafringe.org/shows/2025. Don’t forget to tune into The Stages of MN YouTube channel or podcast on or around 8/20 for The MN Fringe Festival wrap up episode https://www.youtube.com/@TheStagesofMN

Subscribe to the channel so you’ll always know when a new episode has dropped. Think I may have steered you wrong on a show? Well, I’m also a member of the Twin Cities Theater Bloggers (TCTB), where you can read review roundups of shows by m’colleagues and I when you follow us on facebook @TwinCitiesTheaterBloggers.

Minnesota Fringe Day 10: MicroMedics, DOLLY WHO?’S HOLIDAY HORROR SHOW, Final Dress, The Temporary Tattoo Trio, Cabin Fever, An Exorcism, Don’tcha Know? (The Stages of MN Fringe of the Day Award winner), Dice of Destiny: Neon City.

Day 10 brought the sad news that Jackdonkey Productions had to cancel their final performance of 503. Hopefully they will do a remount in the future. From what I heard from those who caught it, it’s too good not to be seen. We are hoping that Jeffrey Nolan is on the mend and want to share Jacdonkey’s venmo account with you which is @jackdonkeyprod. I know they would appreciate any donations to help offset the financial costs that went into producing a show that you weren’t able to perform. This is a young theater company with young Actors and artists in the company, I think that’s probably all I need to say to make you understand how much your donations would mean.

This was the penultimate day of the Fringe Festival. I’ll be seeing shows in the first two slots and the last slot tomorrow and then attending the closing night party. On that last day I’ll be trying to capture some quick sound bites of what everyone’s favorite show was and how many productions they saw. I’ll have fans and buttons with me to give out. If you are headed to Mixed Blood or Theatre in the Round tomorrow flag me down to get a fan, those venues in my experience can get rather warm, and the fans really help. Below read my reviews of all the shows I saw on day 10!

So I was able to catch MicroMedics after all. This improv show’s format is that we follow the adventures and loves of the MicroMedics, which are a crew of Doctors shrunk down to fight diseases inside of human bodies in their MicroMedic ship. Where Rec League is Improv at the top of its game with seasoned improv performers, this is younger performers who don’t always read what each other are putting down but get enough laughs to make it worth seeing. There are definitely some good performers in this group and it will be fun to watch them develop their skills over the coming years. The best part of the show might be their adorable and choreographed opening theme song and their outfits. To purchase tickets go to the shows page at The Minnesota Fringe Site here https://minnesotafringe.org/shows/2025/micromedics

I’m not gonna lie, I have a soft spot for Destiny Davison’s Dolly Who since first encountering the cartoonist character at the 2023 Minnesota Fringe Festival. Her offbeat sense of humor isn’t for everyone, but I kinda vibe to it. DOLLY WHO?’S HOLIDAY HORROR SHOW has Dolly hosting a show based on a holiday we all create together. It features her signature line drawn cartoon characters along with a host of invisible technicians who help put the show together. It’s chock full of bizarre lighting and sound effects, with Dolly seemingly as unsettled as we are by everything that is occuring. If you get Dolly, you’ll enjoy the show, if it isn’t your thing it may leave you cold. Another really cool thing for fans is she has all sorts of magnets, buttons, stickers and fun merch you can pick up if you enjoy her artwork as much as I do. To purchase tickets go to the shows page at The Minnesota Fringe Site here https://minnesotafringe.org/shows/2025/dolly-who-s-holiday-horror-show

Final Dress is another improv show, I should warn you, this was a big improv day for me with four of the seven shows I saw being improv ones. This one is the brainchild of Michael DallaValle & Sean Dillon who together are Dilly Dally. This one is supposedly the final dress rehearsal for a new play, each performance has a guest Director who walks the Actors through the show. The name of the play is up to the guest Director, for my performance they were directed by Duck Washington and the play was titled After the Goblin Wars. It’s improv so it’s always going to be different, but note to self and faithful readers next time you see that Dilly Dally is doing a show, get tickets. It’s the type of Fringe show where you wish you could see every performance. It’s such a great concept and they are both brilliant improvisors, and I’m sure it didn’t hurt that Washington is also an accomplished improvisor. But honestly, looking at the other four Directors they had lined up, I don’t think you could have gone wrong at any of the performances. To purchase tickets go to the shows page at The Minnesota Fringe Site here https://minnesotafringe.org/shows/2025/final-dress

The Temporary Tattoo Trio was a riot, plus I got inked, temporarily. This high energy show about three best friends named Tyler living their best lives as temporary tattoo artists and spending as much time as possible at the most beautiful place on earth, Wisconsin Dells. It takes an unexpected turn, and then another, and this ludicrously upbeat and silly show gets surprisingly real. It doesn’t get dark, and it doesn’t stop being funny. But the guys, like all good actors, commit to their characters and it makes all the difference. I don’t want to give anything away, but this was damn near a tie for The Fringe of the Day Award. But I promised myself I wasn’t going to be wishy washy and do ties this year. So I flipped a coin. To purchase tickets go to the shows page at The Minnesota Fringe Site here https://minnesotafringe.org/shows/2025/the-temporary-tattoo-trio

Cabin Fever was improv show number three today and that’s about where I would rank it as well. It’s more successful than MicroMedics, but doesn’t quite reach the level of Final Dress and Dice of Destiny: Neon City, which wasthe final show of the day. This one is a reality show about lesbians who are dropped into a remote cabin in the woods for 6 weeks to see who will be chosen by Ashley, the girls they are all trying to woo. This is the final episode, so Ashley will chose the one she feels she has a love connection with. I’m not sure what reality shows to compare it to, as I’ve never watched any of these finding love shows like The Bachelor or Love Island, which I assume is what these are based on. It’s quite fun and the host, a drag queen named Buttercream, is really good. To purchase tickets go to the shows page at The Minnesota Fringe Site here https://minnesotafringe.org/shows/2025/cabin-fever

An Exorcism, Don’tcha Know? has demonic possession, Lutefisk, Bars (the bake sale kind not the alcohol serving kind), and Minnesotan accents as thick as a sixth grade english teachers eyebrows. This cross between the Church Basement Ladies and The Exorcist is a pretty gosh darn good time. Anyone that spent time in the Luthern church, which I have, will probably get an extra jolt of recognition out of the whole thing. But maybe Minnesota churches, particularly in smallish towns, are all more or less the same. The show trades heavily on the audience’s knowledge of the Minnesota caricature, and we all ate it up! Earning it The Stages of MN Fringe of the Day Award. To purchase tickets go to the shows page at The Minnesota Fringe Site here https://minnesotafringe.org/shows/2025/an-exorcism-don-tcha-know-

Dice of Destiny: Neon City by The Bearded Company was the fourth Improv show of the day and is basically on exactly the same level as Final Dress. Final Dress is what I believe they call long form Improv, meaning the entire show is telling one story as opposed to a bunch of different little scenes that don’t necessarily fit together. So if that’s long form, I guess Dice of Destiny: Neon City is very long form Improv. You see, each of the five Fringe performances picks up the story where the last performance left off. So the five performances together make up one long story. Another show in which you wish you could see all five performances. The setup is a future world where the population is controled by a giant corporation through drugs. And the pair of 80’s style movie characters who try and save the future. The interesting twist aside from the serialized story is that it incorporates role playing. Not the playing of roles, though obviously they do that too, but they actually role a 20 sided dice to determine if their actions are successful or not. This is a well polished troop that has been performing locally for years. In the leads are the excellent Anna Tobin and Endometriosis: The Musical co-creator Maria Bartholdi. To purchase tickets go to the shows page at The Minnesota Fringe Site here https://minnesotafringe.org/shows/2025/dice-of-destiny-neon-city

That’s it for day ten of the Minnesota Fringe Festival you can click on the Fringe website here to get details on all of the shows https://minnesotafringe.org/shows/2025. Don’t forget to tune into The Stages of MN YouTube channel for mini episodes all week long from The MN Fringe Festival https://www.youtube.com/@TheStagesofMN