Bridget Benson, Lydia Rose Prior, Siri Ashley Wright, Natosha Guldan Photo by Molly Weibel
For those who enjoyed I Am Betty at The History Theatre the last two years, which is basically anyone who saw it, Lyric Arts has what plays as the public’s version of that story. A Taste of Things to Come wants to tell us about the lives of the woman who gathered together and cooked from the Betty Crocker Cookbook rather than those who created it. The problem is that A Taste of Things to Come has nothing new to say and isn’t worthy of being talked about as a companion piece to History Theatre’s smash hit. It’s wants to be a Steel Magnolias/Savannah Sipping Society type story and Act I set in 1957 does seem to have something to say about the four woman whose story it is as well about their roles in society at that point in history. There is character details, humor, some surprises, and some drama. Act II leaps forward ten years to 1967 and seems to have nothing to say and nowhere to go. The big reveals in terms of the women’s lives are delivered as if even the characters know none of it means anything. The concept of the show by Hollye Levin along with the musical numbers being done in the style of the 50’s and 60’s had a lot of promise and some of the songs are actually very fun, but the book of the show written by Debra Barsha and Levin wastes a promising concept. We learn more about every theme this show tries to drag out in the second act in a more effective and powerful way in the play Glory, now playing at Theatre in the Round.
Look, there are things to like here, the cast is good, they can’t help that the script has nothing new to say or a fresh way to present it. I actually quite liked maybe every song in the first Act, but really only cared for the final song in the second act. I wish the program listed the songs so I could reflect on them a little more, but it doesn’t. In the performance I saw the understudy Raquel Ponce performed the role of Agnes, I always am in awe of understudies who go on, particularly in the first week of a run. I know they don’t get anywhere near the rehearsal time as the primary cast and Ponce does a nice job. My favorite performer overall was Natosha Guldan who plays Joan. They all had strengths and weaknesses but Guldan was the one who really stood out particularly in her handling of the changes in the character over the 10 years. Bridget Benson played Dottie, the conservative of the group, she’s also the one who struggles with her diet. Benson does everything you can do with the chubby uptight comic relief stereotype, she hits the jokes as well as anyone can. It’s just that the character is so derivative that it’s hard to do anything new when the writing is so uninventive. Lydia Rose Prior plays Connie who in 1957 is days away from her due date of her first child. It’s around this pregnancy that the only interesting plot development occurs. I felt at times that Prior’s voice was the strongest, but she was also victim to one the most off key moments in the show when she sang in duet with Ponce. I’m not sure who was off, but the combination was discordant. Aside from that one moment I felt the cast was the shows strengths, but a good cast can only do so much with this material.
Another strength was the costume designs by Sarah Christenson, they had a great period look to them and contributed to making Guldan’s Joan transformation so effective between the acts. Another strength was also a weakness at the same time and that was the scenic design by Curtis Phillips. It was cute and effective while also being illogical. In the first act we are in Joan’s kitchen and the women have gathered for their weekly cooking club. The set looks very retro modern, the baffling thing is there is a refrigerator, oven, Countertops, but no stovetop, even though theoretically one of the characters boils water for the Jello salad. I noted it and thought that’s weird not to have added that. In Act II, again in Joan’s kitchen, which granted has been remodeled, we now have a stovetop on the counter thats been shifted slightly in the remodel, but is essentially the same counter. Why? But the bafflement in regards to the set doesn’t end there. When we entered the theater after stretching our legs during intermission, a couch, chair and rug had been added. After about five more minutes of no activity on stage, when everyone has come back into the theater and the house lights have been dimmed, then the stage hands come out and move the kitchen set a round while we sit watching them. They move the back side portions of the set half offstage leaving the wall portion with the oven in it half onstage and half off. It felt to us in the audience that the stage hands had forgotten to make all the changes during intermission and then they couldn’t quite get the set all the way off stage. Looking back it seemed to foreshadow the second act as being half assed in general. Now with the back of the set moved away the curtain drops and we get to see the band and they have 60’s style Laugh-In flowers around them, which was a neat touch. But these oddities just added to the sense of an aimless production. The Director is Laura Tahja Johnson whose work I have admired in the past and I know I will again, but I think the material let her down as it did the cast.
A Taste of Things to Come runs through February 9th at Lyric Arts in Anoka. For more information and to purchase tickets go to https://www.lyricarts.org/taste-of-things
Tired of missing reviews from The Stages of MN? Do you find yourself left out when all your friends are talking about that great new play that you didn’t even know about? Never fear, that need never happen again. Now you too can subscribe and have every post from The Stages of MN sent directly to your email box. No more hoping the algorithm works in your favor and you actually see a post on facebook or Instagram. No relying on so-called friends to tip you to the best shows in town. To subscribe on your computer: from the home page on the right, enter your email address and click subscribe. On your mobile device scroll to the bottom of the page and do the same. You can also follow me on Facebook, @thestagesofmn click follow and on Instagram thestagesofmn. You can also read some of my reviews syndicated on the MN Playlist website https://minnesotaplaylist.com/ from time to time.
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As I close the books on 2024 I always like to look back and reflect on the shows I saw and the accomplishments of this site. Before I look at my favorite shows of the year I want to look at The Stages of MN itself. In April of this year I ruptured the bicep of my right (dominant) arm. This made me unable to type out my reviews and forced me to adopt for the short term voice recognition software in order to continue writing. That was a difficult adjustment as verbally is not the way I process what I want to write. It also required a lot of one handed manual corrections. It is not a tool I utilized any longer than I had too. But one good thing did come from that period. Out of necessity the reviews got shorter, and as a result probably more readable. I have for the most part tried to maintain the more reader friendly length of reviews and I think that is ultimately a good thing. I get a little more sleep, readers are more likely to read the entire review. Perhaps the only folks that miss out at times are the technical Theater departments. Theirs are the contributions most often left out or at least shortened, to be honest they are also the areas most difficult to write about meaningfully. When it works I frequently don’t notice, when it’s great I still call it out, when it’s bad I don’t dwell on it. Overall, I think this has been an improvement and I hope you agree.
Reflecting that adjustment to word count, in 2024 I posted 147 blog entries compared to 146 in 2023. The word count in 2024 is 18,000 less words than 2023. Views to The Stages of MN in 2024 grew by 19,000 over the views in 2023. So the site continues to grow steadily which means more people are seeing the reviews which hopefully means more people are getting out to see live theater. Readers can help the site grow by making sure you are following The Stages of MN on Facebook and Instagram. When you see a review you like, like it, when you see one you love share it. Encourage friends to follow as well, the more visibility, the further the reach, the more likely someone who isn’t a regular theatergoer will see a post and hopefully be inspired to check out a show. Creating new audiences for live theater needs to be the objective of anyone in theater or in love with theater. The second objective is to create or promote great theater. Which will hopefully help realize goal three which is to turn occasional theatergoers into regular theatergoers. I’m trying to do my part, I saw more theater this year that any year previous. I saw 190 shows in 2023 compared to 200 in 2024. I wrote reviews of 192 separate productions. I made my first trip to New York City seeing three shows as well as being there for the NYC debut of local Jazz vocalist and actor Leslie Vincent. While I didn’t write reviews of those shows I do feel that the experience benefits you faithful readers as it expands my knowledge and experience of the theater world.
The Best of 2024
Let’s start with Broadway alone because they were all great and if I lumped them in with touring shows as I first planned too, I’d only have 2 slots left for the touring shows.
King Lear (NYC): This was the highlight of my year and the whole reason I finally made it to NYC. Seeing one of my favorite Actor/Director/Writers Kenneth Branagh perform live was a dream come true and he did not disappoint.
The Outsiders: A New Musical (NYC): This was an amazing adaptation of the classic young adult novel. The production design and choreography were unbelievable. I cannot wait for a touring production of this show so I can compare and share with you all.
Suff: The Musical (NYC): This was an incredibly inspirational show that I saw days before the 2024 Presidential election. It was a last blast of optimism and couldn’t have been more timely.
Touring shows, I saw 15 that qualify it that category in 2024 and the below were the top 5 in alphabetical order.
Back to the Future: The Musical (Orpheum Theatre): My favorite film at one time in my life, this one had an uphill battle to justify its existence and avoid negative comparisons. What it lacks in terms of great new songs it more than makes up for in stage magic. The best blending of practical effects and projection I’ve ever seen. I believed a DeLorean could fly.
Come From Away (Ordway Center for Performing Arts): This was my third time seeing Come From Away, it’s a top ten show for me.
Les Misérables (Orpheum Theatre): Third time for this show as well, but this one grows on me more and more. It’s gone from really good in my book to great over the course of my history with the play.
The Lion King (Orpheum Theatre): First time, I know WHAT?!?!?! it’s everything I’d heard it was, beautifully realized adaptation of the Disney film, with amazing production design.
Some Like It Hot (Orpheum Theatre): Maybe the best nonmusical film to musical stage show I’ve ever seen. Wonderful way to adapt a period piece in a way that reflects our modern attitudes. Great choreography, songs, and performances.
Top 5 locally produced musicals in alphabetical order.
McAdo (Gilbert & Sullivan Very Light Opera Company): I loved the design and original materials written for this hilarious updating of The Mikado. Stand out Comedic performance from Robert Brandt as well.
Rent (Artistry): This is a top 5 musical for me and Artistry took a show I know so well and successfully did some new things with it that really worked.
Scotland, PA (Theater Latté Da): Creative adaptation of a cult film adaptation of Macbeth set in a fast food restaurant. Great ensemble cast, that kept dropping like flies but the understudies were brilliant. Great stage magic as well especially the face in the deep fryer moment (now you are wishing you’d seen it aren’t you?).
The Sound of Music (Artistry): A favorite from childhood, this production wonderfully directed by Max Wojtanowicz with a vocally pure performance by Sheena Janson Kelley as Maria.
The Spitfire Grill (Ten Thousand Things): Amazing cast led by Katherine Fried who knocked me out of my seat with the first notes out of her mouth, more on her later. Honorable mention to St. Croix Festival Theatre for their production as well.
Top 5 locally produced Plays in alphabetical order.
Georgiana & Kitty: Christmas at Pemberley (Lyric Arts): I love love love these Christmas at Pemberley plays. Lyric Arts’ production was as good as the Jungle production two years ago. Amazing cast including the yet to make a wrong move Noah Hynick, more on him as well later. First let me say that if you ever see there is a production of one of the three Christmas at Pemberley plays running near you, just go, they are all brilliantly written. Second, let me reiterate my wish that some theater company mount all three plays in Rep some November/December period. It would be a massive undertaking so The Guthrie is probably the best bet, but I don’t see them tackling it, so maybe Park Square, Theater Latté Da, Jungle Theater, or Lyric Arts.
Hamlet (The Great River Shakespeare Festival): This was the best production of Hamlet I’ve ever seen. In a space that doesn’t allow for a lot in the way of production design Director Doug Scholz-Carlson used darkness particularly effectively makeing the supernatural aspects of the play take on a very visceral and chilling feel.
Ironbound (Frank Theatre) Everything about this production floored me but most of all was the performance of Brittany D. Parker in the lead role. It was the best performance I saw all year and I sure hope we see more of her in 2025.
The Lehman Trilogy (Guthrie): This three and a half hour play performed by three actors playing multiple characters across several generations,telling the story of the rise and fall of real life financial company Lehman Brothers had tedious written all over it. And then it was brilliant in every aspect, riveting, educational, funny, tragic, epic.
Stones in His Pockets (Theater Latté Da): A two actor show with Tom Reed and Reed Sigmund each playing a dozen or so characters. Very funny, and a great showcase for two very talented performers.
Every year I add a few performers to my list of “Must See” Actors, Dancers, Singers that I come across throughout the year that I either hadn’t seen before or that really drew my attention that year. They aren’t always new to me, but they did something that made me take notice and say, let’s keep an eye on that one. This year I have four names that I have added to the list that already includes Tyler Michaels King, Max Wojtanowicz, Joy Dolo, Shanan Custer, Daniel Petzold, Em Rosenberg, Jeffrey Nolan, Allison Vincent, and Brendan Nelson Finn to name a few.
First up is Brittany D. Parker whom I believe I’ve only ever seen in one production and that was Ironbound this year from Frank Theatre.
“Brittany D. Parker plays Darja, I hadn’t expected to see someone “new” to me so early in 2024 that blew my socks off through my shoes and up over the audience so that I had to spend 10 minutes after the performance looking around the auditorium for them. If I’ve seen her before and have just forgotten, I apologize. If she just hasn’t been performing much I’d like to know why the hell not? Accent, perfect. Timing, perfect. Emotional openness, I’ll say. There isn’t a moment in the play that Parker doesn’t make what feels like the only possible performance choice and it’s mesmerizing. Never have I seen a performer bring to life a character so strong and in control that you know she can take care of herself, and it makes you want to take care of her. Before I move onto the rest of the cast I just want to welcome Brittany D. Parker onto the list of performers that I will try and see everything they do going forward. I know we just announced the winners of the TCTB Awards last week, but the competition just kicked into high gear for 2024’s best performance and Parker’s is going to be a tough one to top.”
From my review of Ironbound 1/20/2024
Second up is Katherine Fried whose performances in The Spitfire Grill from Ten Thousand Things came out of nowhere and gave me goosebumps. She followed that up with a turn in the wildly creative Scotland, PA at Theater Latté Da.
“When Katherine Fried who plays Percy begins to sing “A Ring Around the Moon” from her prison cell at the opening of the play, you know you’re in for something special. Fried’s voice is stunning as is every aspect of her performance.”
From my review of The Spitfire Grill 5/5/2024
“The leads are Will Dusek who recently played Frankie Valli in Jersey Boys as Mac, and his girlfriend Pat is played by Katherine Fried who absolutely bowled me over last spring as Percy in The Spitfire Grill. They both give their all again here and besides sounding great they bring the desperation and guilt to life quite believably.”
From my review of Scotland, PA 10/4/2024
Third on the list is Grace Hillmyer who I saw in Kinky Boots at Lyric Arts and then again at the end of the year at the Jackdonkey Misfits Cabaret fundraiser.
“If there is a flaw with this show it’s in the script which should have given the character of Lauren, played by Hillmyer, more time. Hillmyer’s portrayal is so adorably quirky, everytime she gets the spotlight she sparkles but not in a flashy way it’s more of a twinkle. It’s hard to say what it is about the performance other than it’s great character work, it’s comedic, and vulnerable and undeniably endearing to the audience.”
From my review of Kinky Boots 7/12/2024
Last but by no means least is Noah Hynick who has been on my radar for a couple of years now, but this feels like the year he broke out. From Radiant Vermin to the same end of year Misfits Cabaret as I saw Miss Hillmyer in Hynick can no longer be ignored.
“Hynick and Baack give fantastic performances and hats off to the dialect coach Gillian Constable, because they sound authentically British with Hynick having a distinctly early Hugh Grant quality minus the poshness. Their performances really shine in the reenactment of the garden party in which they each play along with Ollie and Jill at least four other characters” … “I’m not sure if Lyric Arts has Hynick under exclusive contract or what, I don’t think I’ve ever seen him on stage anywhere else, but everything he’s been in at Lyric he has impressed the hell out of me.”
From my review of Radiant Vermin 3/2/2024
“Hynick, who seems to be a strong component of the majority of Lyric Arts productions over the last few years plays Black Stache, the pirate villain of the piece. Hynick plays into the absurdity of scenes but also knows when to be the one who’s smarter than everyone else and sees how silly everyone is being.”
From my review of Peter and the Starcatcher 9/8/2024
“Noah Hynick, frankly I don’t think I’ve ever seen Hynick be anything but perfect in a role. I’m not sure how Lyric Arts seems to have him under exclusive contract, after a performance like this I ask myself again, why isn’t this guy cast in everything at the Guthrie. He is as gifted in his gestures and reactions as he is in his line reading choices. The first time I can remember coming across Mr. Hynick was in 2022 when he appeared in Miss Bennet: Christmas at Pemberley at Lyric Arts and since it feels like he’s been in most of Lyric Arts productions, his timing is unerring, and it’s time to officially add him to the must see list, though he was already there to be honest.”
From my review of Georgiana & Kitty Christmas at Pemberley 11/23/2024
It was another great year for theater and I’m looking forward to 2025, I hope you are as well. I write about theater and love it but I’m not a extrovert. That said, I do enjoy meeting readers and artists, so if you see me at the theater, please do stop over and say hi. Finally a note on Twin Cities Theater Chat (TCTC), the Twin Cities Theater Blogger (TCTB) podcast. Last spring our Producer got a day job and that put us in hiatus for a bit. It’s unclear at this time whether the podcast will start up again in the future or not. I’d appreciate, if you read this far, if folks would post a comment either here or in Facebook, or email me at robdunkelberger@thestagesofmn.com, or messenger my personal facebook account whether or not you are interested in a podcast on the Twin Cities theater scene. If there is enough of an interest and TCTC doesn’t come back I may explore the idea of creating one for The Stages of MN. Also the TCTB and or The Stages of Mn are always open to partnering Theaters to participate or facilitate pre and post show discussions or events. So if that is of interest reach out as well. Thanks as always for your continued support faithful readers, now in the immortal words of Carol Jackson “Go see a show!”
Tired of missing reviews from The Stages of MN? Do you find yourself left out when all your friends are talking about that great new play that you didn’t even know about? Never fear, that need never happen again. Now you too can subscribe and have every post from The Stages of MN sent directly to your email box. No more hoping the algorithm works in your favor and you actually see a post on facebook or Instagram. No relying on so-called friends to tip you to the best shows in town. To subscribe on your computer: from the home page on the right, enter your email address and click subscribe. On your mobile device scroll to the bottom of the page and do the same. You can also follow me on Facebook, @thestagesofmn click follow and on Instagram thestagesofmn. You can also read some of my reviews syndicated on the MN Playlist website https://minnesotaplaylist.com/ from time to time.
This was my second year attending Holiday Office Party at Strike Theater. This is a long form improvisational comedy, which means everything you see at your show is being made up on the spot and that all of it fits together as one cohesive story. So that means two things, first and most importantly, if you love it, you can go again and see a completely new show! Secondly, anything I tell you specifically wouldn’t matter because those jokes wouldn’t appear at another performance. So what can I tell you besides that the performance I saw was really funny? Well, there is the set up which you should be able to inuit from the title. Essentially, we are watching a group of coworkers at their company holiday party. Each of the performers becomes a character which they develop over the course of the show. Much of the humor comes from clever call backs to things that happened earlier. For instance, at our performance one of the characters, played by Anna Tobin, explains to her coworkers that she is an orphan. Every detail of her story is brought up again later in the show building on the groundwork that Tobin set up at the beginning. That running gag throughout the show referenced not only by her character but others not even in scenes with her adds to the sense of this as a story unfolding before us rather than just improv moments. That’s what the best Improv performers bring to a show, not just a quick wit but the ability to create an arc for the character within the improvisational framework of a piece.
So I’ve seen some great improv at theaters like Strike, where Holiday Office Party is running, and the sadly closed Huge Improv Theater in Uptown. I’ve also seen some not so great improv, so how do you know what improv to spend your hard earned money and precious time on? Well the best way to hedge your bets is become familiar with the performers and producers of improv and watch for their shows. Holiday Office Party is produced and directed by Mike Fotis who is one of the co-founders of Strike Theater. I’ve seen Mike perform in the shows he’s created before so I know from those that he’s a good bet. Fotis appears in this show but he’s directing the show by the use of lights. So basically the performers know during specific video text prompts what the next scene will be, for example it might say “the party continues”. The performers know to form small groups in designated areas of the stage and when Mike turns the light on their area that is their cue to speak. Fotis then determines when a scene has run its course and will turn the lights off and redirect us to another group. So that’s a name for the improv novices to remember Mike Fotis. When you see him, he’s either performing or behind the scenes you’ll know you are in good hands. In fact, since he’s directing the show he’s on stage much less than the other performers, but when he jumps in, the energy on stage gets an adrenaline shot. He’s been doing improv for a long time and his skills are on another level.
But here’s the thing, Fotis is a guy who works with and casts the best, there isn’t anyone in the cast who didn’t have a great show. There was one recurring scene clearly based on the Pam and Jim trope of the office co-workers who should be together but never quite get up the courage to move beyond flirting. The performers Sam Baker-Harris and Nels Lennes take on that role this year and the talk in our car on the way home was “are they a couple in real life?” because we were all buying the attraction. In the end, my wife convinced us they weren’t because they didn’t kiss at the end, but they sure seemed like they wanted too. The entire cast comes up with funny moments throughout but I can’t describe everyone’s bit; however, they were all fantastic and hilarious so I do want to mention everyone in the cast. Along with those already mentioned the cast included Erik Hoversten, Kerri O’Halloran, Christian Unser, Heather Meyer, Nels Lennes, Jonathan Adri Feld, Gubby Kubik-Nielsen, Matt Prindle, Lacey Mamak and Amee Nefzger Banks. The show runs for three more performances December 22nd, December 27th and December 28th at 7:30 PM. For more information about this and other shows at Strike Theater and to purchase tickets go to https://www.strike.theater/shows.html
This Holiday season why not start a new tradition of taking in a live theater production with family and friends? It’s a great way to create lasting memories and will give you something to look forward to every year as you experience the magic of live theater. Whether your budget is large or small, there is a show for you. Looking for gift ideas? Don’t we all have enough “stuff”? Give the gift of live theater, go to your favorite theaters website, see what shows they have coming up in the new year and give the gift of an experience over material.
Tired of missing reviews from The Stages of MN? Do you find yourself left out when all your friends are talking about that great new play that you didn’t even know about? Never fear, that need never happen again. Now you too can subscribe and have every post from The Stages of MN sent directly to your email box. No more hoping the algorithm works in your favor and you actually see a post on facebook or Instagram. No relying on so-called friends to tip you to the best shows in town. To subscribe on your computer: from the home page on the right, enter your email address and click subscribe. On your mobile device scroll to the bottom of the page and do the same. You can also follow me on Facebook, @thestagesofmn click follow and on Instagram thestagesofmn. You can also read some of my reviews syndicated on the MN Playlist website https://minnesotaplaylist.com/ from time to time.
Penumbra Theatre has been staging Langston Hughes’ Black Nativity since 1987, it’s another annual holiday tradition that brings audiences back year after year while also drawing new audiences. This was my second time seeing the show and as I like to do when seeing a repeat I brought someone who had never seen it with me. Her reaction was that it was just like church. As one can surmise from the title it’s the story of the birth of Jesus told from a cultural perspective that reflects the Author’s experiences on the world and of this story. While heavily steeped in Christianity, take it from a lapsed atheist, around the holidays I tend to forget not to believe, that there is much joy, hope, and understanding to be found in Black Nativity. The show is Directed by Lou Bellamy who has been involved with the show in every iteration at Penumbra since they began presenting it in 1987. Bellamy states in his Directors notes that Hughes left room for a wide variety of interpretations and that Penumbra’s productions have evolved over time, much like the Guthrie’s annual A Christmas Carol offerings. This years format is the same as last years, more or less in the style of a concert with a few brief scenes of interpretive dance Choreographed by Marciano Silva dos Santos. I love the idea that if I go again in two or three years time I may see it mounted in a different way, but also knowing that the joyful noise of it will remain intact.
The cast features Jennifer Whitlock as the Narrator whose text is based in the scripture verses I have grown up with, but there are moments where it departs or where the emphasis that Whitlock brings to them casts a new light on the words, one that we can recognize as a question to the audience. Asking does this sound familiar? Does this still hold true today? Do you see the parallels? Of course the answers are sadly yes, but the show doesn’t lead us to these reflections in order to leave us mired in our reality but to then lift us up with hope and the message of love and salvation and peace. It’s a message we all need to be reminded of this time of year and above all, this year, whatever our denomination, race, or financial situation. It’s a reminder that hope can come from the lowest of places and greatness can come from one born in a manger.
The main soloists are Greta Oglesby and Dennis spears, and watch out when they come on stage, because it’s from them that much of that joyful noise comes and it will have your hands clapping and your feet stomping along with them. Oglesby is amazing in a room filled with wonderful singers she shines bright like a star above a manger in a long ago time. Spears is rich of voice but can also become playful with breathy vocals that take on a jazzy scat quality to match is occasional fits of fancy footwork. He’s clearly having a great time and feeling the joyfulness of the music. Angela Stewart as the Choir Director and a Soloist pulls the rug out from under the audience with her rendition of “O Holy Night” she starts out breathy and while it’s well done you suspect that maybe her voice isn’t as strong as the other soloists, than the other shoe drops and she kicks it into another, lower gear and you realize, that’s where the power is and she stuns you with it. The dancers I mentioned are Hassan Ingraham and MerSadies McCoy and they stand in during a couple of songs as Joseph and Mary. This was one of my favorite parts of the show, coming at just the right place to add something new visually and unlike some dance this felt like it was driven by the story of the songs and gave an illustration of the emotions within. Ingraham and McCoy move wonderfully and gracefully together and watching them was a delight. The Musical Director was Sanford Moore and his musicians really raise the roof. The main performers are accompanied by the Kingdom Life Church Choir who lend an angelic and soulful quality to the proceedings.
If you’ve never been to Black Nativity, I encourage all to add it to your calendars, it is such a joyful and celebratory show. You don’t have to believe the same things to appreciate the beauty and joy of it’s message. There something beautiful about going and watching others celebrate their beliefs. This Holiday season why not start a new tradition of taking in a live theater production with family and friends? It’s a great way to create lasting memories and will give you something to look forward to every year as you experience the magic of live theater. Whether your budget is large or small, there is a show for you. Looking for gift ideas? Don’t we all have enough “stuff”? Give the gift of live theater, go to your favorite theaters website, see what shows they have coming up in the new year and give the gift of an experience over material.
Tired of missing reviews from The Stages of MN? Do you find yourself left out when all your friends are talking about that great new play that you didn’t even know about? Never fear, that need never happen again. Now you too can subscribe and have every post from The Stages of MN sent directly to your email box. No more hoping the algorithm works in your favor and you actually see a post on facebook or Instagram. No relying on so-called friends to tip you to the best shows in town. To subscribe on your computer: from the home page on the right, enter your email address and click subscribe. On your mobile device scroll to the bottom of the page and do the same. You can also follow me on Facebook, @thestagesofmn click follow and on Instagram thestagesofmn. You can also read some of my reviews syndicated on the MN Playlist website https://minnesotaplaylist.com/ from time to time.
Maggie Cramer, Jane Froiland, Tara Borman, and Tolu Ekisola Photos by Alex Clark
Steel Magnolias is the kind of play women will want to go to with their girlfriends, daughter, mothers and in a pinch drag their husbands and boyfriends to. And they are going to love every second of it, with the possible exception of the husbands and boyfriends. Am I saying men will not like it, no I am not, I loved it. If your husband or boyfriend has ever cried at a movie, or as in my case every movie and the odd very special episode of iCarly, those are the ones to bring with you and they will likely thank you for it. Know your man, and then plan accordingly, if he’s emotionally available to the arts, bring him. If he isn’t, then only bring him if he’s been bad. For those without available girlfriends/sisters/daughters etc. call my wife she’ll go again, in fact so would I but I think I’m scheduled to see other shows every single night of my life. This is my second production of Steel Magnolias, still haven’t seen the film, but that will be rectified sooner or later. My take away this time is much the same as when I saw it at the Guthrie in 2019 just after starting The Stages of MN, damn this is a well written play! Also, as with that production I am blown away by the cast. Six actors that know how to pull out every ounce of humor and tug every heartstring without pandering to the audience. The emotions we feel whether laughter or tears come freely and honestly based on the connection we have formed with these characters. That only happens when you have actors of quality investing their roles with truth.
The story centers around the hair salon run out of her home by Truvy, who keeps Saturday just for the neighborhood woman. As the play opens, she’s just hired a nervous young woman named Annelle to help out in the Salon. It’s a big day as one of the regulars, M’lynn’s daughter Shelby is getting married. The Saturday regulars also include Clairee, who was recently widowed when her husband of almost 50 years died, and Ouiser who comes off as the old grump of the group. These women are not just the regular Saturday morning customers, they are a group of true and caring friends. Shelby’s wedding is a celebration for all of them, as are all the moments that happen throughout the four scenes that comprise the play. Each scene jumps ahead in time and follows important times in Shelby’s life starting with her wedding day and continuing to her pregnancy and on. Though it’s not just Shelby’s story, it’s the story of all of these woman and the community and support they provide one another. It’s beautiful, it’s very funny, it’s very truthful, and at times very very emotional.
We usually play a game on the ride home after a play called who was your favorite? It gets the ball rolling, when there is a consensus it tells me my instinct is right and so and so did something special, when we have a disagreement it sparks me to think about what an actor did that worked for me. Tonight, the consensus, all of them were our favorites. I went in knowing most of the cast from previous work so I knew there was talent on stage. Some like Tara Borman, who plays Shelby, has been making a strong impression over the last couple of years, having become one of those performers whose name alone puts a show on my calendar. Tolu Ekisola, who plays Truvy, just earned her place on that list as well with this performance combined with her recent roles in Once Upon a Time…Josephine Baker! and The Most Spectacularly Lamentable Trial of Miz Martha Washington. Laura Esping’s performance as Ouiser is a perfectly modulated balance between loveable crumudgen and dry wit. Maggie Cramer’s turn as Annelle captures the characters growth from timid and lost newcomer to one of the group of close knit woman, with each scene change we see her come bit by bit into her own. Jane Froiland as M’lynn, Shelby’s mother is always calm, always even keeled, making her final moments of the play all the more powerful. Nora Targonski-O’Brien who plays Clairee embodies the Southern Woman who has lived and learned and grown wise and compassionate, there is such a spark in her that one wishes she were their Aunt.
I want to say a word here about Yellow Tree Theatre and it’s Artistic Director and Director of this play Austene Van. Yellow Tree provides a vital role in today’s theater scene. In a world of shrinking audiences Yellow Tree brings Professional Theater to an area outside of the Cities. For folk who don’t want to travel into Minneapolis or St. Paul, come on, we all know those people who just hate to drive in the city, it provides exposure to the magic and power of theater. This is a key link in the chain that leads to what needs to be the prime objective of all theaters today, creating new audiences. That is done by producing work that moves people, whether it be to laugh, cry, or think and to do so in a way that makes them want to repeat that experience. Yellow Tree does that time and time again. Austene Van’s name can be found in programs all over the Twin cities and nationally. She directs and acts at the Guthrie as well as other theaters besides Yellow Tree, she choreographs, she writes, she sells concessions, she probably sews costumes and vacuums up the lobby at the end of the night as well. She makes a living doing theater, but she also dedicates herself to running Yellow Tree to keeping it going through sound system failures and those aforementioned shrinking audiences. She is tirelessly working towards that prime objective of creating new audiences while creating great theater. You don’t get six favorites performances in one show without a hell of a Director at the helm guiding all that talent to create a singular vision.
So there are two things I’d like to ask you to do aside from attending Steel Magnolias, which I already know you’ll do because it’s such a rewarding show. Please bring a friend who doesn’t often or hasn’t gone to the theater before with you. Expose someone new or remind someone of how thrilling and moving life theater can be. Secondly, give to the Max day is almost here please consider donating to Yellow Tree Theatre to help keep quality theater in the outer ring cities. There are a lot of theaters that can use your support and I encourage you to donate to all of your favorites, but maybe an extra $5 to Yellow Tree for fighting the fight out in the sticks away from the draw of the bright lights of the big city. Let’s keep the porch lights on for these smaller theaters who are catering to less frequent theatergoers and hopefully moving them to come back again and again. Here is the link to donate to Yellow Tree https://ci.ovationtix.com/35626/store/donations/39012
Tired of missing reviews from The Stages of MN? Do you find yourself left out when all your friends are talking about that great new play that you didn’t even know about? Never fear, that need never happen again. Now you too can subscribe and have every post from The Stages of MN sent directly to your email box. No more hoping the algorithm works in your favor and you actually see a post on facebook or Instagram. No relying on so-called friends to tip you to the best shows in town. To subscribe on your computer: from the home page on the right, enter your email address and click subscribe. On your mobile device scroll to the bottom of the page and do the same. You can also follow me on Facebook, @thestagesofmn click follow and on Instagram thestagesofmn. You can also read some of my reviews syndicated on the MN Playlist website https://minnesotaplaylist.com/ from time to time.
Tara Borman, Will Dusek, Katherine Fried, Deidre Cochran Photo by Dan Norman
I saw the 2001 film Scotland, PA on which Theater Latté Da’s production is adapted from on DVD as soon as it was released. I had a small child at the time and getting out to the movies wasn’t in the cards very often. But I’d read about the film in a magazine and being a Shakespeare fan, I knew it was a film I needed to see as soon as Netflix* could get it to me. Plus, I had a bit of a screen crush on Maura Tierney who starred in the film. Now besides the basic idea and the knowledge that I liked it at the time, I’ve retained little else of the movie, which allowed me to view this musical version with relatively fresh eyes. Not that it would have mattered because something this fun cannot be spoiled by any amount of fore knowledge. Besides, in case you didn’t know it’s Shakespeare’s Macbeth update to 1970’s Pennsylvania set in a fast food restaurant. The twist in the stage adaptation is that it’s become a rockin’ musical! Faithful readers know that I love the front row, well the front row is pretty loud at this one, but I loved it anyway. Who knew taking Shakespeare aging it to 1975, adding a heavy portion of rock music, a pinch of cocaine, a puff of pot, and putting it between two sesame seed buns would make such a delicious recipe?
If you’ve seen the news there has been a certain amount of tragedy surrounding this show, leading to rumors that the curse of the Scottish play has reared its head once again. Multiple cast members had to be replaced due to injuries resulting in an entire weekends shows being cancelled. Thankfully, as far as I know no one was mortally wounded, and we hope everyone recovers quickly and fully. Theater Latté Da has announced that they have extended the run of the show through the last weekend in October. As for curses, that’s strictly a backstage thing clearly because this show is fantastically entertaining. I know the cast has jostled around quite a bit but it’s hard to imagine anyone else in any of these roles. But before we get to the cast, a quick word of praise about the Production itself. I loved every aspect of the design and there are some things that shocked me with their brilliance that I’m not sure who to credit, and I don’t want to spoil the surprise for you who have yet to see it. So simply let me say that the works of all of the following artists contribute to immensely to the success of this show. Scenic Designer Mina Kinukawa, Costume Designer Zamora Simmons-Stiles, Lighting Designer Grant E. Merges, Sound Designer Kevin Springer, Hair; Wigs; and Makeup Designer Emma Gustafson, and Prop Designer Madelaine Foster. All of these technical and creative departments are perfectly in sync under Directors Lonny Price and Matt Cowart who make this production sing along with Musical Director Joshua Zecher-Ross. And putting that music to good use are Choreographers Lorin Latarro & Travis Waldschmidt.
Let’s start with the three Stoners who replace the three Witches in Macbeth, we have Tara Borman whom I’ve admired as an actor in previous shows, but I’m not sure I’d ever heard her sing front and center like she does here and she has a gorgeous voice, which only adds to the hilarity of her comedic performance by contrast. We also get Deidre Cochran and Eric Morris as the other two stoners and if you didn’t know they could sing, I’m not sure what rock you’ve been living under but welcome to the party! The leads are Will Dusek who recently played Frankie Valli in Jersey Boys as Mac, and his girlfriend Pat is played by Katherine Fried who absolutely bowled me over last spring as Percy in The Spitfire Grill. They both give their all again here and besides sounding great they bring the desperation and guilt to life quite believably. Stages of MN favorite Tom Reed, who inherited the role of Banko, Mac’s clueless best friend, plays it such that you cannot imagine anyone but Reed in the role, he gets the best song in Act 1 “Kick-Ass Party”. The best song in Act 2 is “Why I Love Football” it’s sung by Joshua Row who plays Malcolm. Row doesn’t have a lot of credits yet, but I think he is one to watch and expect big things from. As the Vegetarian police inspector Peg McDuff is Emily Gunyou Halaas who doesn’t really enter until Act 2 but makes her mark all the same. Other roles are filled by the always dependable Carl Swanson who plays three different smaller roles, all unique and they get some of the best one liners. With Kim Kivens and Timothy Thomas also doing great character work, it really feels like the perfect actor in every role.
Scotland, PA runs through October 27th at Theater Latté Da in North Minneapolis. For more information and to purchase tickets go to https://www.latteda.org/scotland-pa
* Netflix began as a video rental service that sent movies on DVD through the mail. This was before the age of streaming also known as the golden age of physical media.
Tired of missing reviews from The Stages of MN? Do you find yourself left out when all your friends are talking about that great new play that you didn’t even know about? Never fear, that need never happen again. Now you too can subscribe and have every post from The Stages of MN sent directly to your email box. No more hoping the algorithm works in your favor and you actually see a post on facebook or Instagram. No relying on so-called friends to tip you to the best shows in town. To subscribe on your computer: from the home page on the right, enter your email address and click subscribe. On your mobile device scroll to the bottom of the page and do the same. You can also follow me on Facebook, @thestagesofmn click follow and on Instagram thestagesofmn. You can also read some of my reviews syndicated on the MN Playlist website https://minnesotaplaylist.com/ from time to time.
But that’s not all! Think I may have steered you wrong on a show? Well, I am also a member of the Twin Cities Theater Bloggers (TCTB), where you can read roundups of shows by m’colleagues and I when you follow us on facebook @TwinCitiesTheaterBloggers. We also produce the podcast Twin Cities Theater Chat!! which you can access through this link or wherever you enjoy podcasts https://twincitiestheaterchat.buzzsprout.com/ . Now you too can be in the know about all the fabulous theater happening in and around the Twin Cities.
Leor Benjamin and Laila Sahir Photo by Bruce Silcox
Rosette by William Nour and developed through New Arab American Works’ Inaugural Playwright Incubator Program holds its world Premiere at Mixed Blood Theater in Minneapolis. It is a play designed to remind us that we are all ultimately the same. To remind us that whether we are Christian, Jew or Muslim, Israeli, Palestinian or American we are all the same inside. I am not a very political creature but I do understand that there is a political element to this play. I’m not interested when reviewing this play about the larger current political environment I’m concerned with the characters and the story it is telling. Which is of two Palestinian families living in the city of Haifa in 1966. Rosette a teenage girl living with her parents, Yusef and Ida, who are Christians and their neighbors and best friends, Jameel and Maryam and their son Omar, who are Muslim. The two families were both exiled from the same West Bank village in 1948. The play is more character study than plot driven. There isn’t really a goal that the characters are trying to achieve, there is conflict to be sure, but it is of the everyday variety. It is really about presenting these characters, so different from mine in the details of their life. But, so similar in their emotions, hopes, and desires. Through showing us these characters with all their traits good and bad, playwright Nour shows us ourselves. Rosette reminds us that behind headlines there are people just like you and me who are not creating the headlines but living through them.
The cast is uniformly good particularly in the group scenes where the dialogue during disagreements flies fast and overlaps. Laila Sahir as Rosette and Claudia Veronica Garcia as her mother Ida are particularly effective when they battle in the ways that mothers and daughters have across races, cultures, and history. It is in these interpersonal exchanges between parents and children, between the children, between husbands and wives, and between old friends and neighbors that we see ourselves our families and friends reflected back at us. Nour’s gift is in writing these moments which all ring true. Also in finding the way to illustrate again, without being too on the nose, how each generation has to find it’s own path and how difficult that can be for the older generation who watches their way of life vanishing. In this case that fear of loss in complicated by having lost so much in their lives. Change can be good and is almost always inevitable, but it can also be hard. Even in things as small as woman wearing pants or as large as marrying outside of your own faith.
Rosette is an engaging and effective showcase of the universality of the human condition. It is well written and acted, the only criticism I have is in the scene changes. There are pieces of set design that are reconfigured and plants that are moved about the stage during way too frequent of scene changes. The show runs about 70 minutes at least five of which are scene changes. The addition of a few additional set pieces could have allowed for simply staging different scenes on different portions of the stage. Mixed Blood Theater has an unusually wide stage and this solution could easily have been utilized and allowed for a more fluid narrative. Rosette runs through October 6th at Mixed Blood Theater. For more information and to purchase tickets go to https://www.newarabamericantheaterworks.org/upcoming-events-/rosette–by-william-nour
Tired of missing reviews from The Stages of MN? Do you find yourself left out when all your friends are talking about that great new play that you didn’t even know about? Never fear, that need never happen again. Now you too can subscribe and have every post from The Stages of MN sent directly to your email box. No more hoping the algorithm works in your favor and you actually see a post on facebook or Instagram. No relying on so-called friends to tip you to the best shows in town. To subscribe on your computer: from the home page on the right, enter your email address and click subscribe. On your mobile device scroll to the bottom of the page and do the same. You can also follow me on Facebook, @thestagesofmn click follow and on Instagram thestagesofmn. You can also read some of my reviews syndicated on the MN Playlist website https://minnesotaplaylist.com/ from time to time.
But that’s not all! Think I may have steered you wrong on a show? Well, I am also a member of the Twin Cities Theater Bloggers (TCTB), where you can read roundups of shows by m’colleagues and I when you follow us on facebook @TwinCitiesTheaterBloggers. We also produce the podcast Twin Cities Theater Chat!! which you can access through this link or wherever you enjoy podcasts https://twincitiestheaterchat.buzzsprout.com/ . Now you too can be in the know about all the fabulous theater happening in and around the Twin Cities.
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