Minnesota Fringe Festival Day 11: “Looking for Justice”, “Two Bowls of Cereal and Some Bacon”, “The Princess Strikes Back”, “Dream of Me”, “Juliet & Juliet: Improvised Shakespeare” The Stages of MN Fringe of the Day Award Winner, and “The Greenhouse”.

Here we are at the final day’s reviews of the 31st Minnesota Fringe Festival. Thanks for reading along and I hope it led you to some of the better shows of the festival. I saw more shows this year than last, but I’ll save all of that for a final Fringe post later in the week. For now here are the final six reviews, enjoy!

Looking for Justice (in all the wrong places) is an exploration of the grey areas in the justice system. Examining this idea through creator Amy Oppenheimer’s personal relationship and involvement in the rape trial of a friend in 1970. Her solo show while not dynamic in delivery is well constructed and reasoned. Her legal mind clearly influencing her desire to examine events from multiple perspectives. There is humor but it is well measured and helps to keep the serious content from becoming emotionally overwhelming. Which allows us to process Oppenheimer’s arguments and, while not quite conclusions, her questions.

https://minnesotafringe.org/shows/2024/looking-for-justice-in-all-the-wrong-places-

Two Bowls of Cereal and Some Bacon, Mahmoud Hakima’s show about growing up with an abusive stepfather is powerfully and bravely told. Scenes of familial trauma are intercut with the story of a mystery girl who befriended him in the 3rd grade. The unresolved aspects of that character reminds us that we never know what is happening in anyone else’s life at anytime. The title is used to draw a comparison between himself and the mystery girl, but her eventual disappearance begs the question, are their home lives more similar than either could know? The story of abuse is often the story of silence, this show explores some of what the silence may be hiding.

https://minnesotafringe.org/shows/2024/two-bowls-of-cereal-and-some-bacon

The Princess Strikes Back: One Woman’s Search for the Space Cowboy of her Dreams is traveling artist Victoria Montalbano solo show that walks us through her relationship history and search for her own Han Solo. Seeing herself as Princes Leia she covers the ups and downs of her love live from her first stirrings of sexual desire, seeing The Empire Strikes Back‘s kiss between Han and Leia to online dating. Everything is filtered humorously through the lens of Star Wars like her second serious relationship in which she was R2D2 to his C3PO. The humor isn’t the deflective kind we sometimes see in solo shows where the performer is confronting their lack of romantic success but used to put things in perspective and to entertain in an honest and yes, brave way.

https://minnesotafringe.org/shows/2024/the-princess-strikes-back-one-woman-s-search-for-the-space-cowboy-of-her-dreams

Dream of Me is a sci-fi story about the extremes we will go to in order to hold onto those we love. Catherine Hansen plays Mia a woman whose husband Nick, played by Eric B Jacobson, has died while out running an errand. Natalie Rae Wass, who is also really good in Yo-Ho-Hum: A Pirate’s Midlife Crisis, here plays Mia’s friend Tanna who is working on a new invention that will allow the wearer to control their dreams. Mia is unable to process her grief and asks Tanna to let her test her invention so that she can dream about Nick and say her goodbyes. But once isn’t enough and as things progress we begin to wonder if these are dreams or if the AI behind the tech is up to something else. The three actors give wonderful performances in a story that turns from romantic fantasy into a cautionary horror story. Well written, designed, directed, and even choreographed.

https://minnesotafringe.org/shows/2024/dream-of-me

Juliet & Juliet: Improvised Shakespeare is The Stages of MN Fringe of the Day Award winner for Day 11. The two Shakespearean Improvisors Meghan Wolff & Sami Haeli spend 50 minutes using a few suggestions from the audience to create a play in the style of William Shakespeare. Obviously as with other improv shows this will be different each time you see it. What I don’t imagine changes that much is the hilarity with which Wolff and Haeli execute their specific form of comedy. They have the vocabulary down as they must in order to so eloquently execute the heightened style of speech. They clearly have some sort of psychic link between them as there is never once, one of those moments that most all improv shows have, where you can tell one performer is not getting across where they want a scene to go to their scene partner. An impressive high wire act of comedy that I’d love to experience again.

https://minnesotafringe.org/shows/2024/juliet-juliet-improvised-shakespeare

The Greenhouse is kind of a weird show, which made it a great ending to my 2024 Fringe. What is the Fringe festival but a way to embrace and explore weirdness in all it’s artistic variables. The story concerns a cult set in a not too distant future. A young woman arrives just as an elder of the cult has decided it is time for them to pass away. The Cult is based around the protection and nurturing of plants they strive to maintain a balance within their community. As such a new person cannot join until some else has died. This sounds like it will go to a dark place, but it doesn’t. The cult is not portrayed as bad, but there is a complication with the passing of the elder and the newcomer, she is pregnant and one cannot be replaced by two. The cast does a nice job of performing so that the cult members are recognized as well intentioned and the new comer is the one acting suspiciously. Standouts in the cast include Georgia Doolittle as “Mother” and Vivian Kampschroer as Poppy the cult’s talented and committed botanist.

https://minnesotafringe.org/shows/2024/the-greenhouse

That’s the reviews from Day 11 of the Minnesota Fringe Festival. Be sure to check back later in the week for my 2024 Minnesota Fringe wrap up! Also be sure to follow M’ Colleagues, Jill Schafer at http://www.cherryandspoon.com/ for show reviews and for other Fringe writings checkout our friend and fellow Twin Cities Theater Blogger Kendra Plant’s blog Artfully Engaging at https://www.kendraplant.com/blog-artfully-engaging.

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Romeo and Juliet, Shakespeare at the Pub From The Gray Mallard Theater Co.

Running through July 28th at Sociable Cider Werks is The Gray Mallard Theater Co.’s Shakespeare at the pub production of Romeo and Juliet. It’s free to all, best to bring your own chairs but if you get there early enough they have some provided. There is a food truck onsite and a wide range of beverages both with and without alcohol. I came to the show for two reasons, Shakespeare and Em Rosenberg, who is playing Romeo, in the production. Faithful readers will remember that Rosenberg has been on my ones to watch list for sometime now. Listeners to Twin Cities Theater Chat may remember hearing me interview them for one of our episodes around the Guthrie’s History plays in which they played multiple roles in each of the three plays. Once again Rosenberg doesn’t disappoint, headlining a very well paced production directed by Gray Mallard Artistic Director Amanda Fuller. It’s a little like a less controlled version of a Ten Thousand Things performance very bare bones in terms of costumes, props, and set, just what is needed to tell the story. It’s rough around the edges but also extremely fluid, giving it a dangerous and lively energy that works really well in this nontraditional performance space. The focus is on the performances and the language

The truest sign of a good Shakespearean actor is how well a modern audience can understand the language. A great performer will be able to communicate the text to the audience, whether we know the words or not, they will make the meaning clear. There is a lot of use of hand gestures and physical work being done to communicate the meaning of the lines and frequently bring added humor, some of it delightfully risque. There are a lot of wonderful performances starting of course with Em Rosenberg’s Romeo. I think this was my fifth Shakespeare play with Rosenberg in the cast but certainly the largest single role. They are as natural a communicator of Shakespeare’s work as I’ve ever seen, whether wooing Juliet, joking around with his friends, or shouting at the stars their performance is always captivating and precise. Caiti Fallon and Kamani Graham start the show off on the perfect note. Letting the audience know from their movements, costume, and tone of their line readings that while certainly this is a tragedy, we are still going to have some fun with this production. Alessandra Bongiardina as Juliet is a nice fit with Rosenberg’s Romeo, they have a chemistry that helps a modern audience accept some of their choices as natural responses given their connection and maturity. Davis Brinker as Benvolio comes across as one of the guys but the one with the cooler head on his shoulders, while Zach Lerner’s Tybalt and Cooper Lajeunesse’s Mercutio are entertainingly hot headed. I really enjoyed Tony Larkin and Cathleen Fuller as the lovers co conspirators Friar Laurence and the Nurse, being the two adult characters that seemed to have more than a little common sense when trying to temper Romeo and Juliet’s impulses.

A very enjoyable production of Romeo and Juliet, a fun way to spend a summer evening out of doors and you can’t beat the ticket prices. For more information about the show which runs through July 28th or to make a donation to The Gray Mallard Theater Co. go to https://bit.ly/TheGrayMallardTheaterCo

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The complete Works of William Shakespeare (abridged) at the Phoenix Theater in Uptown

The Complete Works of William Shakespeare!!!! Who’s got time for that? You say. Well honestly, everyone does. you see with some judicious cuts, the authors of this production Adam Long, Daniel Singer, and Jess Winfield have managed to cut the running time of producing all 37 of Shakespeare’s plays from roughly five days to a little under two hours, including an intermission. The amazing thing is that for such a large amount of cutting to the text, I struggle to identify what they cut. Of course I’m pulling your hypothetical leg, as I’m not so foolish as to assume that every reader does in fact have legs. I think even those with a small exposure to Shakespeare will be able to spot a few of the most blatant cuts, and those of us familiar with many of the plays will notice even more, I counted 12 cuts that I’m pretty sure were made? Possibly 13 but I couldn’t remember for sure if Big Bird was in Titus Andronicus or not. But fear not, whether a Shakespeare scholar, casual fan or not a fan at all, indeed whether limbed or not, you should have no trouble whatsoever enjoying this production. Unless of course you have lost, misplaced, or had the misfortune to be born without a funny bone. Funny bones, they’re not just for romantic comedies anymore.

This production of The Complete Works of William Shakespeare (abridged) is produced by Jackdonkey Productions and performed by Amanda Espinoza, Noah Hynick, and Adam Iverson and directed by Zach Christensen. Having just returned from the Great River Shakespeare Festival and seeing Hamlet and Much Ado About Nothing, it seemed like a great idea to see the rest of the plays. Now I can say I’ve seen all of the plays performed in the first seven months of 2024! Well… not really as it turns out. But I have seen one of the funniest Plays about Shakespeare’s works as I imagine I ever will. A detailed plot synopsis would involve the plots for all 37 plays, and I don’t want to spoil any of them in case you plan to see this show or any of the 37 plays on their own. So I’ll just say that it’s a show about three actors performing all 37 of Shakespeare’s plays. It’s an unimaginable task, which is where the humor lies. In all seriousness, it’s very silly, but the cast takes the silliness very seriously.

The cast is a dream, either for tragedy, comedy, history, pastoral, pastoral-comical, historical-pastoral, tragical-historical, tragical-comical-historical-pastoral, they do it all. The physicality of the performances adds as much to the humor as the script. I understand that improvisation is encouraged when producing this play, but having never seen it performed before I cannot comment on what’s added or changed. But I will say that the entire cast, particularly Espinoza, adds so much humor just by her body language and line readings, that it’s hard to imagine anyone performing the role of Amanda Espinoza better. To clarify the actors all use their real names, but I mean anyone playing the first actor or whatever they’re called in the script. Christensen’s direction and collaboration with the actors produces something manic with an energy that buzzes through the theater. And then, at one point Iverson stops and recites a soliloquy from Hamlet and it isn’t silly, and the energy changes. It’s a brief moment but I think it’s there to remind us, that as much fun as we are having with Shakespeare and at his expense, there is a reason we still produce his plays centuries after his death. It’s a wonderful little pause in the hilarity, and then we are right back to it.

Whether you love Shakespeare or don’t get him, this show is sure to make you laugh. For fans of Shakespeare it’s an especially fun night out. The Complete Works of William shakespeare (abridged) runs through July 21st at the Phoenix Theater in Uptown Minneapolis for more information and to purchase tickets go to https://www.ticketleap.events/tickets/jackdonkeyproductions/the-complete-works-of-william-shakespeare-abridged#

Great River Shakespeare Festival, Destination Theater in Winona MN, More Than Worth the Trek

Last year I made the journey down to Winona MN for the Great River Shakespeare Festival for the first time. I had such a great time that I vowed to return, and so I have. This year’s festival consists of two Shakespeare’s plays Hamlet and Much Ado About Nothing. When it comes to Shakespeare’s drama’s my favorite is Hamlet and of his comedies, it’s Much Ado About Nothing. I grant you that these are obvious choices for favorites, but the heart wants what the heart wants. So this was a perfect lineup in my view. Not that I needed any coaxing to attend this yearly theater oasis in the somewhat drought like summer theater schedule.

Winona is a quaint little city that for the most part seems to close on Sundays. So, if you’re curious to explore and do some shopping in the downtown area I recommend making your schedule to allow for that on Saturday afternoon, not Sunday. It is possible to travel down on Saturday morning, see both plays and travel back after the evening show. But, I think it’s more enjoyable to make a little weekend getaway out of it if you can. There are more things in The Great River Shakespeare Festival than just the plays and a stay over allows you to partake of some of the festival events as well. There are free Sunday morning Company Conversations at Blooming Grounds Coffee House, and Ice Cream Socials after ever Friday and Saturday evening performances. About 45 minutes before each show there is a Green Show put on by the understudy company members to prepare you for what you are about to see. There are also post show discussion and a variety of programs and classes for young aspiring actors from ages 4 to 18.

Melissa Maxwell, Will Sturdivant, Emily Fury Daly, and Diana Coates Photo by Dan Norman

Much Ado About Nothing is the story of two sets of lovers. The young couple Claudio and Hero who are subject to all the deficiencies of youth, jealousy, naivety, rashness. The older couple is Benedict and Beatrice who are the template on which the “will they or won’t they” and the opposites attract characters such as Sam and Diane (Cheers) and David and Maddie (Moonlighting) are based on. They are too wise to woo peaceably and thank God for that because it’s much more entertaining when they wage a battle of the wits upon each other. While both Hamlet and Much Ado about Nothing are worth the trip, Much Ado… is the less successful of the two. The setting for the play is updated to modern times at a block party welcoming home soldiers from the war. There are some very effective choices made that fit well with a modern setting and a modern audience. One being the outcome of the conflict between Claudio and Hero played by Daniel Ajak and Emily Fury Daly. The resolution feels valid and more in keeping with human behavior in the 21st century, but it is at odds with the inciting incident and its repercussions. They play the conflict as if it bares the same weight as it would have 400 years ago, but the denouement is more in keeping with our social norms, the discordance doesn’t mesh as well as it should. Look, Benedict and Beatrice are always the stronger couple that’s no surprise. Daly and Ajak do what they can with Hero and Claudio, but they just are not as dynamic of characters, though the changes to the resolution do give Hero a stronger part.

What does work like gangbusters are the choices Melissa Maxwell and Will Sturdivant make as Beatrice and Benedict. Their line readings and the way in which they carry themselves along with the comedic physicality which they bring to the roles is unique and brings a fresh perspective to these timeless characters. The space they have to perform in is limited, but like the Ten Thousand Things productions here in the Twin Cities, the physical limitations seem to act as a catalyst for creativity. That Sturdivant and Maxwell shine in the roles is no surprise to anyone who has seen them perform in the past. To see them in these roles is worth the trip alone. What was a pleasant surprise was Diana Coates whom is new to the company this year and was a revelation in multiple supporting roles in both plays. In Much Ado Coates plays Margaret, Antonio, and Borachio. The best role is Margaret as she is less encumbered with disguises, as she is particularly in the role of Antonio, and her charisma and stage presence are like a magnet for the audience’s attention. I hope to see her back next year with a lead role.

Michael Fitzpatrick, Tarah Flanagan, and Emily Fury Daly (background) Photo by Dan Norman

This is hands down the best production of Hamlet I’ve seen on stage. At two hours and forty minutes including intermission it’s also probably one of the shortest while also covering much more of the text than I expected. Right from the start Director Doug Scholz-Carlson affirms his understanding of the multilayered tapestry that is Shakespeare’s greatest play. It is a play about revenge, it is a play about political intrigue, it is a play about love, it is a play about our ability and inability to act, and it is a GHOST STORY! The play opens embracing the supernatural aspect, and not just in a philosophical way but in a visceral hair raising approach to the staging. The first scene, where the guards and Horatio encounter the ghost of Hamlet’s father, is played in almost complete darkness. The sound design by Jeff Polunas and the lighting design by Avery Reagan perfectly combine to create a genuine sense of terror in the audience. It’s the best embrace of the horror aspect of Hamlet I’ve ever experienced and it’s used effectively again when Hamlet encounters the ghost. The Ghost and Claudius are played by Will Sturdivant, the costume for the Ghost is really well executed by designer John Merritt adding another eerie element of the supernatural with a glowing chest. The opening scene starts the play off with a scream and then basically doesn’t stop or allow the audience to catch their breath until intermission. Part of what really makes this production so successful is that relentless pace, there isn’t time for the audiences mind to wander, you are on the edge of your seat from that first moment when the lights go down and stay down.

Tarah Flanagan is a wonderful Hamlet. Part of the characters defining characteristics is his indecisiveness, Flanagan’s physical petiteness adds a visual element to the sense of the characters inability in the first half of the play set a course, this sense that he is being blown around by a strong wind. But Flanagan also displays a keen intelligence so you never feel like Hamlet is weak or ineffectual, that blowing in the wind aspect comes from his uncertainty as to what is true and how best to act. When the final sword fight comes between Hamlet and Laertes, it’s really well choreographed by Benjamin Boucvalt, and Flanagan looks an equal match for Carl Schack, who as understudy was playing the role of Laertes. It’s one of the best sword fights I’ve seen on stage, made all the more impressive by the fact that half of it was being performed by the understudy. The cast is perfect in every role, It’s Flanagan’s show without a doubt but she has strong support from Sturdivant as the Ghost and Claudius, Melissa Maxwell as Gertrude, Michael Fitzpatrick as Polonius and the Gravedigger, Emily Fury Daly as Ophelia, truly heartbreaking as Ophelia separated from her senses after the murder of her father.

I strongly urge you faithful readers to take a trip down to Winona and take in these wonderful plays. The festival runs through July 28th. For more information and to purchase tickets go to https://www.grsf.org/

Shakespeare’s History Plays in Rep, the Once in a Generation Event is a Triumph at the Guthrie

* Disclaimer: On March 28th I suffered a rupture in my right bicep muscle, which has left me without the use of my right arm. I will endeavor to continue seeing and reviewing shows however the reality is that the reviews will need to be significantly shorter. For now I will attempt to provide you, faithful readers, with a few sentences that will make clear whether a show is worth your time and money. My apologies to all of the artists in front of the curtain as well as behind whose work I may not be able to comment on. Hopefully this will be a short-term accommodation, I will do everything in my power to get back to writing full reviews as soon as is humanly possible.

The above disclaimer, which has began each review since my injury, has never felt more like a curse than a blessing then it does for this review. Of all the shows I have covered since beginning The Stages of MN in 2019 this historic three play event deserves an epic review. But, as Shakespeare himself wrote “brevity is the soul of wit”, pray that it be so. And so with rough and all unable-pen our blogger shall pursue a review.

I count myself very fortunate to have been among the few, the happy few attending the opening day marathon of the Guthrie Theater’s History plays comprised of Richard II, Henry IV, and Henry V. I know that most people are frightened off at the thought of 13 hours at a theater seeing three Shakespeare plays. But, the experience greatly outweighs and gives proof the falsehood of imagined discomfort. For “there is nothing either good or bad but thinking makes it so” and so, think not on it, as a non-runner thinks of a marathon, as something to be endured. But rather embrace it as the once in a lifetime privilege and rest assured that like the long distance runner the adrenaline and the excitement and the sense of accomplishment will carry the day. Never have 13 hours passed so quickly or the air in the theater filled with such electricity and excitement. There is one additional marathon day scheduled for Saturday May 18th I urge anyone with an interest in Shakespeare to take advantage of this rare opportunity. As daunting as it may seem, it is, in reality, a supremely satisfying and exhilarating experience. If the date does not work for you I urge you to see all three plays in order whether that be one a week or over the course of a weekend. But one of the unique thrills of seeing these three plays in rep, is watching the actors complete character arcs over multiple plays and seeing the full scope of this story, these histories, play out upon the stage.

The plots of the plays are filled with political intrigue, Civil Wars, loyalties and betrayals, they tell of villains, Kings, knaves and heroes. The Guthrie’s marketing very succinctly distills the plays to their essence Richard II a king becomes a man, Henry IV a man becomes a King, Henry V a king becomes a hero. While that touches on but one key theme of each play it also alludes to the arc that carries through all three, for together they tell of the consecutive reign of three English Monarchs. Each play runs over two and a half hours including the intermission they are histories so we expect drama and intrigue they tell of wars and battles and there is combat and even a few brief moments of romance. For those unfamiliar with the plays, what might surprise is the amount of humor that can be found in each play. Which goes a long way towards converting the plays fascinating historical dramas into well-rounded entertainments. Let us speak no more of plots but, before moving on to the individual plays, a few thoughts on the entire undertaking. One of the aspects of seeing all three plays in one day is the way in which you become aware of the complexity involved in the undertaking of such a feat. We see why we call this a once in a generation event. The intricacies of the details from lighting, costuming, wigs, props, makeup, sound cues, and set designs is mind boggling. The actors learning three plays worth of dialogue, blocking, stage combat, some playing as many as 8 characters across the trilogy. We marvel on the day of the stamina of the cast and crew to run all three in a single day. But, that is just the tip of the iceberg and almost downplays the dedication, talent, and hard work that was needed over years to plan, over months to stage, and over weeks to perform often twice in the day. Picture here a well-deserved standing ovation for Stage Managers Tree O’Halloran and Karl Alphonso, Assistant Stage Managers Jason Clusman and Olivia Louise Tree Plath, Lighting Designer Heather Gilbert, Sound Designer Mikaal Sulaiman, and Composer Jack Herrick.

Truth be told I had never seen any of these plays produced on stage, my exposure to Richard II was Limited to episode 1 of the series The Hollow Crown. The role of King Richard II is played by local favorite Tyler Michaels King who is, as always, brilliant in the role. His King is a man who has come to believe all that his sycophant hangers on tell him, and has completely bought in to the concept of his divine appointment to the throne. Vain and spoilt at the beginning his transformation from divine King to a mortal man, is where Michaels King finds nuance and humanity. David Andrew MacDonald seen recently at the Guthrie in Dial M for Murder is a standout in this play as the Duke of York. Also, Jasmine Bracey as his wife, The Duchess of York makes quite an impression in her short scene towards the end of the play. Begging the newly crowned Henry IV to pardon her son, it’s played with feeling, but also great humor. This play gives us our first look of the day at the set designed by Jan Chambers which consists of a throne room that rotates on a turntable the backside of which can stand in for various locations throughout the three plays. Around the turntable is a rotating donut that set pieces can be placed and rotated from backstage. Both of these rotating floors mechanisms, along with the trap door and elevator platform allow for quick and fluid transitions between scenes. On either side of the stage are large tower like structures on which actors can stand and perform, again allowing us to focus on one area while transitions are happening elsewhere. It’s a marvelous design that allows for the many scene, location, and environmental changes that need to occur over the course of three full length plays.

Henry IV is condensed from Henry IV part 1 and 2 into one play, this is the play that resulted in the most cuts for obvious reasons. My exposure to Henry IV has been multiple viewings of Orson Welles film The Chimes at Midnight which also draws from all four of these plays as well as The Merry Wives of Windsor as well as other texts, as well as episodes 2 and 3 of the series The Hollow Crown. William Sturdivant who had played Henry Bolingbroke who was crowned King at the end of Richard II continues as that character. The strange thing about Henry IV is that it’s almost more Prince Hal played by Daniel Jose Molina and Falstaff played by Jimmy Kieffer’s play. Studivant, still gets to shine over the course of Richard II and Henry IV, perhaps getting the best opportunity to show a characters change over a longer. Of time playing the Young Henry in Richard II and an older near the end of life King Henry IV. He does a nice job of aging Henry aided by well-designed wig, makeup and costuming by Trevor Bowen. It’s hard for me to shake off Welles’ portrayal of Falstaff but Kieffer does good work with the iconic role portraying him a little more outwardly calculating, less ludicrous and less sympathetic. Making Prince Hal turning away from him feel more deserved and less cruel which I think adds to the realism. Molina for his part while the King and Henry V gets to establish his character here as Prince Hal in his wilder youthful days. With this play surprisingly more than Henry V we must note the wonderful stage combat by Fight Director and Captain U. Jonathan Toppo.

Henry V is a work I’ve had the most exposure to not only The Hollow Crown episode 4 but the Kenneth Branagh film is one of my favorite films, I’ve seen all or part of it at least 20 times. Display belongs to Daniel Jose Molina his portrayal of King Harry genuinely conveys the characters maturity and understanding of the awesome responsibility of being the King. Molina still finds places to inject humor into the line readings sometimes in surprising places but they always work. All three plays are fantastic and the direction by Joseph Haj is consistently intelligent and unifying. There was one aspect of this particular play that struck me as an odd choice by Haj and costume designer Trevor Bowen. The costumes of the French Court have a distinctly modern high fashion look that does not mesh with the look of the costumes of every other character in all three plays. It does allow for a lot of added humor around the French Royal Court particularly the role of the Dauphin, played by Dustin Bronson. On its own Bronson and his fellow actors take on the characters of the French Court in army is hilarious. But within the body of the three plays it’s the one piece that feels out of place. I also expected there to be a fair amount of stage combat in Henry V, and was surprised to find very little. That says it works without the stage combat but after seeing how well it was handled in the previous play one couldn’t help but want for more.

There are 26 actors who appear on stage, four of which have non-speaking roles as attendance officers londoners and soldiers. Of the 22 with speaking roles there isn’t a bad performance and too many to single out individually but here are the names of just a few of those not already mentioned who created very memorable moments and characters across multiple plays; John Catron, Charity Jones, Melissa Maxwell, Lanise Antoine Shelley, and Eric Sharp most of whom local audiences will recognize. I do also want to give a shout out to one of my favorite up and coming performers Em Rosenberg who is making their speaking role debut at the Guthrie playing eight roles. All of them small, to be sure, but it’s so thrilling to see someone whose talent has caught your eye getting to take this step and have this experience. They get to play a lot of different characters with not a lot to do but keep your eye on Rosenberg, I think at some point in the future they are someone we will see as the lead in Guthrie Productions.

Shakespeare’s history plays run through May 25th at the Guthrie Theater in Minneapolis. For more information and to purchase tickets including how to save money on three show packages or to attend the final Marathon Day on May 18th go to https://www.guthrietheater.org/shows-and-tickets/2023-2024-season/history-plays/ . We are also planning a Twin Cities Theater Bloggers post show event on April 27th following the Richard II matinee for 20% discount on tickets to that performance use the code TCBLOG or click on the link http://securesite.guthrietheater.org/single/PSDetail.aspx?psn=33583&promo=TCBLOG

We few, we happy few, we band of Bloggers

Toil & Trouble a Millennial Retelling of the Scottish Play at Yellow Tree Theatre in Osseo

Olivia Kemp, Jason Ballweber, and Alex Galick Photo by Alex Clark

I’m not an expert of shakespeare but I am a fan so I try to and engage with his work whenever I can. I’m not a purist either, I love a good retelling or modern take, everything from Branagh’s Love’s Labours Lost to Strange Brew has a place in my film collection. Toil & Trouble by acclaimed playwright Lauren Gunderson is a modern riff on Macbeth set during the 2008 recession featuring thee thirtysomething friends who, inspired by a fortune cookie, conspire to take over a small island country off the coast of Chile. You know, instead of getting real jobs. Adam and Matt sit around their apartment as Adam comes up with one hairbrained idea after another for inventions to make money, while Matt shoots them down. Their friend Beth is a junior Sportscaster for Action 6 News whom they both “like” like. The characters have morals on par with the characters on Seinfeld, Adam hatches the plan, Matt follows along thanks to a fortune cookie message that says “Matt will be King hereafter”, and Beth is ruthless ambition incarnate. What starts as a strong comedic play about slacker roommates and the friend they both want to get with takes some very strange turns as it attempts to tell it’s story while loosely following some aspects of Shakespeare’s Scottish play. What is recognizable at the start as our world peopled by characters we can recognize, if not relate too, by the end has become a complete fantasy with the characters frequently interspersing their dialogue with snippets from Shakespeare. It’s an odd approach that doesn’t entirely add up to much and the fault dear readers is not with the production but in the script. I loved everything about the production, the performances, the design, but the sum of its parts left me wishing these elements were in service of a better script.

Jason Ballweber who usually is to be found behind the scenes plays Matt in a performance that goes a long way to making this near miss still worth checking out. His Matt and Alex Galick’s Adam end up complete opposites by the end of the play from where they started. As it opens, Ballweber plays Matt as the realistic, intelligent, and more mature seeming of the two, has an air of authority over the flighty Adam who thinks anything that Rhymes is an innovation. By the end he’s a pug snorting follower who passes out at the sight of hot sauce whereas Adam has become confident and holds the upper hand. Both actors handle the transition well and make the reversal seem plausible. Olivia Kemp plays Beth as someone who knows what they want and how to get it, masterfully playing off the men’s desire for her to manipulate them into doing exactly what she wants. Well directed by Brandon Raghu who along with Lighting Designer Alex Clark stages a dramatic looking play to be sure. I also enjoyed the set design by Sarah Brandner which has a depth that is well utilized particularly in a scene when Adam comes home late at night and leaves the refrigerator door open after heading to bed in the pitch black apartment.

Ultimately, I enjoyed much of the production but found the script absurd and out there but in an unfulfilling or engaging way. Gunderson’s idea of filling the final scene with Shakespearean dialogue is less effective that the modern rewordings or nods used earlier in the play. She needed to go one way or the other. The plot is insane but not in a ‘this is wild’ way, but more I can’t find any sort of grounding for this story so that it lands with some sort of impact. It’s a rare for a script by Gunderson not to work completely but this just comes up short. That said, there’s enough good stuff on offer with the play to make it a fun excursion to the theatre. Having a decent knowledge of Macbeth will increase your appreciation of the piece, some humor really does work only if you know the play. Also, it feels like my fellow bloggers and I have been saying this a lot lately but if your play can be done in 100 minutes or less, you don’t need an intermission. Toil & Trouble runs through March 3rd at Yellow Tree Theatre in Osseo, for more information and to purchase tickets go to https://yellowtreetheatre.com/toilandtrouble

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Violent Delights Shines a Light on the Darker Side of Shakespeare in Various Locations Around Minneapolis

I saw Violent Delights at the Off-Leash Art Box in South Minneapolis, but that is not the only place to see it. It is being performed through November 2nd as “pop-up” performances in various locations in Minneapolis. Visit the website at https://www.theseviolentdelights.org/ to find a date and location that fits your schedule. I was curious about this choice and learned from their website that “We want to get theatre off the stage and into our neighborhoods”. That’s obviously not a viable option for all shows, but it suits this show perfectly, which has no sets, no props, just eight actors, a script and minimal lighting which I suspect is easily adaptable to each performance space.

The show was conceived over 10 years ago by it’s creator Penelope Parsons-Lord after attending a performance of A Midsummer Night’s Dream where she was dismayed at the audiences response to a threat of rape between two characters. What grew out of that exploration of why the show played that moment for laughs and why audiences might react in that way was Violent Delights. Parsons-Lord has taken the scenes of violence, sexual and otherwise from the works of Shakespeare and presented them in a way that draws attention to those acts and makes us look at them for what they are as opposed to being lost in the flow of a play, where some of the less palatable aspects can be downplayed. Instead she holds the scenes up, strips them of anything but the language and the interpretation of the actors, creating a more impactful understanding of the text.

The scenes are not presented in some mishmash attempt at a narrative, instead she sticks to the more familiar works, Hamlet, Othello, Romeo and Juliet, Richard III, MacBeth, Titus Andronicus, Much Ado About Nothing, and A Midsummer Night’s Dream so that she can just present the scenes and not worry about context. To set the audience up for the evening, the actors are already on stage when you enter the theatre, they then proceed to stand there for 15 minutes staring straight ahead until the performance starts. Right away we know this is going to be a different evening than what we generally get at the theatre. When they start speaking, they begin monologues one at a time then overlapping so that one cannot really follow any one performers speech. This again reinforces we will be seeing something different and also comments on the reputation that Shakespeare sometimes has for being incomprehensible to the average person. The cast then proceeds to act out the various scenes deftly speaking the language so that meaning is clear. This should reassure any audience member that they are not going to be lost. This is basically Shakespeare: The Naughty Bits shows us how modern it can feel and how the language is not beyond our grasp at all.

The most clever aspect of the show is the repetition of a few scenes. One is from Hamlet, basically they act out the “Get thee to a Nunnery” scene between Hamlet and his mother in her bedchamber. Later, they revisit the scenes, but play them at the same time, Hamlet turning between Ophelia and Gertrude, creating a new and dynamic scene. The even more telling repetition comes in the scene between Helena and Demetrius from A Midsummer Night’s Dream that inspired Violent Delights. This scene is replayed throughout the evening at least 4 times, each time in a new way. The first time the scene is played, we must imagine that performance 10 years ago, as comedy. The final recitation is played very dark and sinister. This illustrates the ways in which interpretation and how an actor plays a scene can dramatically alter it’s meaning. The contrast is startling.

Whether you’re a fan of Shakespeare or afraid, this show is equally for you. If a fan, you will find new meanings in the ways in which the text is brought to life. If afraid, you’ll learn how accessible it can be in the right hands. The cast are all uniformly gifted at conveying Shakespeare’s language. The show is surprisingly physical, and again the cast is all game and totally committed. It’s an intimate and exhilarating night in the theatre. The location I attended is their most traditional; however, I’d be very interested in seeing it in another location sometime. Get thee to a pop-up performance.