Whoosh! Finally Washes Up, But Not Out at History Theatre

(Foreground) Andrew Erskine Wheeler. (background) Danny Diamond, Brian Miller Photo by Rick Spaulding

They say good things come in threes, or is that deaths? Maybe it’s both. My point, and I may actually have one, we’ll get to in a bit. But first let me give you a little history of my experience with Whoosh!, which seems appropriate considering it deals with history and even more obviously it is playing at the History Theatre.

It was the 2022 Minnesota Fringe Festival, my first Fringe festival if you want all the sordid details. I was a fresh faced blogger wandering the festival, inexperienced in its worldly ways, and in that hotbed of creativity it seemed anything was possible. On day 9, I first encountered Andrew Erskine Wheeler’s Whoosh! and I awarded it The Stages of MN Fringe of the Day Award, back when that award meant even less than it does today.

That first incarnation was a fast-paced whirlwind that left the audience stunned and Wheeler dripping with perspiration. It also had the irresponsibly long title Whoosh! The Civil War Mythology of Michael Hickey and His Perilous Precipitation Over St. Anthony Falls!

At the 2023 Fringe Festival, I found myself standing in line with Wheeler. Recognizing him, I worked up the nerve to tell him how much my wife and I had enjoyed Whoosh! The Civil War Mythology of Michael Hickey and His Perilous Precipitation Over St. Anthony Falls! the previous year. Once I caught my breath (one should always practice saying that title at home before attempting it in public, you need to figure out where to take breaths). Wheeler, clearly having experienced this before with others, helped steady me and suggested I put my head between my knees until I felt like I could stand without passing out. Once the oxygen returned, he told me they were remounting Whoosh! later that month at the Mill City Museum. Naturally, I secured tickets for my wife, our daughter, one of her friends, and myself, and then shared the news with you faithful readers.

That version was longer, fleshed out the story, and added live musical accompaniment. It lost the high-wire intensity of the original’s breakneck 50-minute pace, where a thousand and one props and costume changes had to happen with surgical precision. But what we gained was depth. It wasn’t better or worse, just different. A zero-sum trade that pointed the way forward. I remember saying to someone at the time, it may have been my friend and fellow Twin Cities Theater Blogger Erica Skarohlid, who is also the Marketing Director at History Theatre, that this would be a perfect show for the History Theatre.

Which brings us to my third experience, now with the more health conscious title simply Whoosh! (still with the exclamation point, so you know it’s exciting). If I had a coherent point about things coming in threes, this is where it would all make sense. Or not. The real point is this: I’ve loved this show in every incarnation, but this one is the best.

By adding another 45 minutes, any sense of sacrificing the original’s momentum is gone. Instead, Whoosh! has fully graduated into what it always wanted to be. What began as a one-man tour-de-force packed with props has become a brilliantly designed, full length production that dazzles on every level.

Wheeler still delivers a masterclass performance, more than enough to captivate the audience all on its own. Everything added here only enriches what he does, nothing competes with him, it all supports him.

Whoosh! isn’t a musical, but music is now integral to its identity. The show is accompanied by Northern Shores which consists of Danny Diamond and Brian Miller, who perform traditional Irish acoustic music, sing, and even accompany Wheeler when he breaks into song, all in character.

That character is Michael Hickey, an Irish immigrant who arrives in America in the mid-1800s to join his older brother. They work as loggers before enlisting to fight in the Civil War. Hickey tells his story by leaping through time, always circling the infamous moment, the one where he becomes the only person to ever go over St. Anthony Falls and live. But this version makes it clear: the show is about far more than that moment. We gain a rich understanding of Hickey’s relationships, the war, his commanding officer, his struggles with alcohol, and the cultural forces shaping his life. And after the curtain call, a final revelation deepens those connections even further. The result is a beautifully intricate, emotionally resonant tapestry.

As with every iteration, the show is directed by Stages of MN favorite Allison Vincent, who opens the piece onto a broader canvas while never letting the focus drift from Wheeler. Every production addition serves the story, whether heightening spectacle or sharpening a joke.

And yes, that trip over the falls. This is the most significant new element, transforming a spectacular historical event into a truly spectacular theatrical moment. I won’t spoil it. Just know that every technical element here represents the best possible version of itself.

Erik Paulson’s multi-level set design marks a dramatic evolution from the original black box space, fluidly transforming into forests, battlefields, and the falls themselves. Brant Miller’s video design both establishes location and supports Hickey’s pointed commentary on cultural bias. Tony Stoeri’s lighting, Richard Graham’s sound design, Kirby Moore’s properties, and Mandi Johnson’s costumes are flawless, each contributing to a unified vision and a singular theatrical experience.

Whoosh! runs through February 22nd at History Theatre in St. Paul. For more information and to purchase tickets go to https://www.historytheatre.com/2025-2026/whoosh

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How to Catch Creation Captured My Heart, See it Before it Ends on 2/8 at Theatre in the Round

Tia Tanzer and Duck Washington Photo by Aaron Mark Photo Film

Third time’s the charm, as the saying goes. This was my third attempt to see How to Catch Creation. I was originally scheduled to attend on January 17, 2026, but changed my plans in anticipation of a far-right wing protest slated to end in the Cedar-Riverside neighborhood that Theatre in the Round calls home. I rescheduled for Friday, January 23, but that performance was canceled in observance of the statewide general strike. I almost cut my losses and accepted that I simply wasn’t going to see it.

But I kind of love Theatre in the Round, and earlier this season, for the first time in probably a decade, I had missed their annual Agatha Christie play when my stepmom passed away. I didn’t want to miss another show. And my God, am I glad I didn’t. The production is only running one more week, closing on February 8th. If you can make it to one of the remaining performances, I highly recommend you do so.

Mary Cannon Photo by Aaron Mark Photo Film

I’m not entirely sure what I was expecting going in. I had read the synopsis on the theatre’s website, but it didn’t really sink in, because this play wasn’t what I expected at all, and it’s unlike anything else I’ve ever seen at Theatre in the Round. I think it’s representative of the changes we’ve seen at TRP over the last several years, particularly since the arrival of their current Executive Director, Larisa Netterlund. We’ve seen more risks being taken. I’m not sure the audience has fully caught up with what’s happening at TRP yet, but I hope word spreads and programming like this continues.

How to Catch Creation, by Christina Anderson, weaves together the lives of six characters in San Francisco, four in 2014 and two in 1966–67. Griffin, a man recently released from prison after spending 25 years incarcerated following a wrongful conviction, reconnects with his best friend Tami, a painter who runs an art school. Both are in their mid-forties. They each come into contact with one half of a younger couple in their mid-twenties: Stokes, a painter, and his girlfriend Riley, a computer programmer.

Tia Tanzer and Izzy Maxwell Photo by Aaron Mark Photo Film

Tami and Riley meet when Riley confronts her about why Stokes’ application to her school was rejected. Griffin and Stokes bond in a park over their shared love of the work of Black feminist author G.K. Marche. We also see Marche and her partner Natalie in the 1960s, and events in that timeline echo powerfully in the present-day story.

I think I expected this play to be about the creative process, but that turns out to be only a small part of it. It’s about the desire to create: Stokes wants to paint, then write a novel; Tami wants to paint; G.K. writes; even Griffin longs to create a new life. But what the play is really about is connection, the heartaches, sacrifices, joys, the need to be seen and heard, and the desire to reach out to another human being, whether for friendship or for love.

Duck Washington and Noah Branch Photo by Aaron Mark Photo Film

The cast features Duck Washington, a Stages of MN favorite, as Griffin. Washington brings an almost Zen quality to the role, creating a portrait of a man who long ago made peace with the inequities of life. His calm and openness make Stokes’ desire to seek out his advice mirror our own. Lyreshia Ghostlon-Green, the only other performer I was familiar with going in, plays Natalie in a role punctuated by moments of fairly intense, at least for Theatre in the Round, sexuality.

The rest of the cast was new to me, but I sincerely hope they appear in many future productions, because they are all terrific. This play contains conflict and even betrayal, but there isn’t a single character you don’t like. That’s certainly a testament to Anderson’s writing, but it’s also a credit to the performers. Every one of them creates a character you care about, whose longings and struggles you internalize. I found myself unexpectedly tearing up in the final moments. Faithful readers know that’s not entirely unusual for me, but the way it crept up on me surprised me and revealed just how deeply these six characters had seeped into my heart.

Mary Cannon and Lyreshia Ghostlon-Green Photo by Aaron Mark Photo Film

I was going to name my favorites among the performers who were new to me, and then realized I’d be listing all of them. So here they are: Tia Tanzer as Tami, Izzy Maxwell as Riley, Noah Branch as Stokes, Mary Cannon as G.K. Marche, and Abdoulie Ceesay, who appears briefly in a non-speaking role just before intermission and then vanishes until curtain call. (What play does that?) It’s wild, but his role is deeply consequential, and while you don’t see him for long, you do see more of him than the other performers.

I also want to give major props to Director Vanessa Brooke Agnes and Set Designer Kejia Yu for making this tapestry of stories flow so seamlessly. There are a lot of scenes in this play, which often leads to clunky transitions and broken momentum. Here, the storytelling never pauses. Locations shift fluidly with the introduction of a prop or a performer. Sometimes scenes from different timelines unfold simultaneously. It feels organic and effortless, when in reality it’s the result of precise writing and incredibly thoughtful execution by everyone onstage and backstage.

Lastly, a note on Jacourtney Mountain-Bluhm’s costumes, sometimes in a show like this even though it takes place over the course of months, the actors find themselves wearing the same costumes in about every scene. Not here, it feels like there is a new costume for every scene and as I mentioned, there are a lot of scenes! I don’t usually notice costumes that much, but I noticed and appreciated the effort.

How to Catch Creation runs through February 8 at Theatre in the Round. I urge you to see it before it closes. This is a deeply satisfying play, brought to life by a cast of mostly unfamiliar but thoroughly compelling performers.

For more information and tickets, visit:
https://www.theatreintheround.org/howtocatchcreation/

Watch the 2025 TCTB Awards on the latest episode of The Stages of MN YouTube Show!! https://bit.ly/TSOMNEp25YouTube

Ride the Cyclone is a Dark and Wild Ride You Should Take, While You Can at Lyric Arts

The cast of RIDE THE CYCLONE Photo by: Dan Norman

The last three or four months have given me the opportunity to see several unique musicals that don’t get produced very often, the kind of cult shows most people have never heard of, but musical theater fans whisper about. Ride the Cyclone falls squarely into that category. After an Off-Broadway run in 2016 and, to the best of my knowledge, only one previous local production in 2019, which I did not see (possibly at the Jungle Theater, though I may be misremembering), this is not a show that comes around often.

I almost missed it this time as well. I was originally scheduled to see it earlier in the run, but a road closure and poor road conditions conspired to keep me away. I’m very glad I finally made it. If you enjoy bizarre, off-center musicals, I strongly encourage you to catch Ride the Cyclone before it closes at Lyric Arts in Anoka on February 8. Who knows when, or even if, it will be mounted locally again.

The musical is narrated by an animatronic fortune teller machine and centers on six teenagers stuck in limbo after dying in a roller coaster derailment at an amusement park. They’re told that one of them will be allowed to return to life, while the others will remain dead. The show unfolds as each character presents their case through song, revealing who they are and why they deserve to be the one who survives. Five of the teens are members of the St. Cassian High School Chamber Choir. The sixth is a mystery, known only as Jane Doe. She doesn’t know who she is either and moves through the show like a cross between a robot and a nonviolent zombie.

After the performance, the usual post-show question, “Who was your favorite?”, yielded no clear answer, which feels exactly right for this production. Ride the Cyclone is a true ensemble piece, and its underlying message is that no one is more worthy than anyone else. Every performer gets a moment to shine, and each character leaves an impression.

The real standout here may be the production design. Scenic design by Cory Skold, properties by Ren Edson, costumes by Sarah Christenson, lighting by Shannon Elliott, sound design by Paul Estby, and projections by Michaela Lochen all combine under the assured direction of Marci Lucht to create a striking, immersive visual experience. It’s a dark carnival brought vividly to life.

When I think back on the show, I don’t immediately hear the songs replaying in my head, though several are quite good, but rather the images and sensations. Jane Doe levitating. Roller coaster tracks climbing the walls of the stage. The giant rat. The Great Cassandra, perfectly played by Dezhane Antoinette. The sound of the roller coaster itself, rumbling even before the show begins. And the video design that opens the show and punctuates key moments throughout.

Ride the Cyclone feels less like a traditional musical and more like a trip through a shadowy carnival, full of unexpected thrills, strange beauty, and moments of genuine wonder.

Ride The Cyclone runs through February 8th at Lyric Arts in Anoka. For more information and to purchase tickets go to https://www.lyricarts.org/ride-the-cyclone

Watch the 2025 TCTB Awards on the latest episode of The Stages of MN YouTube Show!! https://bit.ly/TSOMNEp25YouTube

Chicago Gives Us That ol’ Razzle Dazzle at the Orpheum

Ellie Roddy as Roxie Hart in “*Me And Me Baby*” Photo by Jeremy Daniel

Chicago wowed the audience with great songs, a lively band, and fantastic dancing, but with a message that feels a little too close for comfort these days. The premise of Chicago is all about getting murderers acquitted by manipulating the truth and selling the narrative you want the jury and the public to believe. Roxie Hart and Velma Kelly are two such murderesses, represented by the razzle dazzle lawyer Billy Flynn. Flynn bends reality with ease, shaping public opinion and engineering the verdict he wants for his clients. A not-guilty ruling can be yours for the low, low price of $5,000!

Now, this is set in the 1920s, so I assume the price has gone up. You’d have to check with the current administration to know what it costs these days, but hey, you might get the added bonus of having your victim declared an enemy of the state.

Rather than get bogged down in the unfortunate resemblance to the moral cesspit we currently find ourselves wading through, I found the best strategy was to disengage from the story and focus on the music and dancing, which are superb. Once I made that mental shift, the show became much easier (and more enjoyable) to take in.

Ellie Roddy and Claire Marshall, as Roxie and Velma, are terrific across the board: strong performances, solid vocals, and excellent dancing. But the choreography truly comes alive when the full ensemble is onstage. Moving together, they function like a beautifully oiled, complex machine, fluid, precise, and endlessly stylish. The choreography credits are… complicated. The program lists Bob Fosse as the original director and choreographer, Gregory Butler for the re-creation of the original choreography, and Ann Reinking for the original New York production choreography, “in the style of Bob Fosse.” Whoever deserves the final bow, the result is sharp, iconic, and a real pleasure to watch. It’s also a testament to the athleticism of these performers that they can sing and dance at this level for so long.

Max Cervantes, as Billy Flynn, has a moment where he holds a note for what the audience seem to feel was impressive. I’ll tell you what though, you want to see the holding of a note beyond what you think is possible? Get yourself out to Artistry in Bloomington t o see Kiss Me, Kate where John-Michael Zuerlein holds a note which seemed to go on at least twice as long. Which is also to say don’t forget to also support your local theaters, that’s another classic musical running now that is filled with greta dancing!

Another standout, and a clear audience favorite, was Marc Christopher as Roxie’s long-suffering husband Amos. It’s a classic comic relief role, and Christopher absolutely nails it, especially in the show’s emotional bullseye, “Mister Cellophane.”

The show is packed with iconic songs, beautifully backed by the Chicago orchestra under the musical direction of Andy Chen. Go for the music. Go for the dancing. And if the story feels a little too real right now, feel free to tune that part out. There’s more than enough spectacle and talent on display to make the trip worthwhile regardless.

Chicago runs through February 1st at the Orpheum Theatre in downtown Minneapolis.
For more information and tickets, visit:
https://hennepinarts.org/events/chicago

Watch the 2025 TCTB Awards on the latest episode of The Stages of MN YouTube Show!! https://bit.ly/TSOMNEp25YouTube

Kiss Me, Kate at Artistry, Shakespeare Meets Cole Porter and the Result is Almost “Too Darn Hot”

Aliya Grace, Nate Turcotte, John-Michael Zuerlein, and Erin Capello Photo by Alyssa Kristine

I first saw a production of Kiss Me, Kate at Chanhassen Dinner Theatres somewhere between 35 and 40 years ago. I own, and have watched the 1953 film version in its original 3D format, though it had been at least a decade since I last revisited it. My only real exposure to Shakespeare’s The Taming of the Shrew comes from the Moonlighting episode titled “Atomic Shakespeare.” So even with that history, I felt like I was going in a little blind.

Kiss Me, Kate is a classic backstage musical that gleefully blurs the line between art and life. The story follows a company of actors mounting a musical version of Shakespeare’s The Taming of the Shrew, led by former spouses Fred Graham and Lilli Vanessi, whose onstage sparring mirrors their very real offstage animosity. As egos clash and a pair of unexpectedly polite gangsters get involved, the production threatens to unravel both onstage and off. With music and lyrics by Cole Porter, packed with wit, romance, and sharp wordplay, and a book by Sam and Bella Spewack that feels surprisingly modern, the show proves that sometimes the drama behind the curtain is just as entertaining as the show itself.

Directed by Kelli Foster Warder, with music direction by Elijah Leer, the production sounds and flows beautifully. Joey Miller’s choreography is fantastic and is sure to be among the 2026 TCTB Award nominees. Standout numbers that linger in the memory include the extremely athletic “Tom, Dick, or Harry” and the Act II opener, “Too Darn Hot.”

2025 TCTB Award winner for Favorite Musical Performance by an Individual, Erin Capello once again wows with an extraordinary vocal performance while also showcasing her formidable comedic chops as Lilli/Katherine. She’s matched by the seemingly indefatigable John-Michael Zuerlein as Fred/Petruchio, a man who appears not to need to breathe. Zuerlein is a real treat here; I wasn’t as familiar with his work going in, but he anchors the show effortlessly and has definitely earned a spot on my “must-watch” list.

There are plenty of strong supporting turns as well, from Marley Ritchie and Jon Michael Stiff as the gangster heavies sent to collect an IOU, to Chris Owusu, who turns the heat up to scorching levels in “Too Darn Hot,” and The Stages of MN’s own music man, Ryan Lee. But the standout among the supporting cast is Aliya Grace, who headlines both “Tom, Dick, or Harry” and “Always True to You in My Fashion.” Surrounded by other performers, she nonetheless commands every eye and ear. Her sultry voice and confident dancing making her unmistakably one to watch.

Artistry in Bloomington has truly pulled out the stops, vigorously mixing Shakespeare and Cole Porter into a deliciously satisfying cocktail of song and dance. Kiss Me, Kate runs through February 15th. For more information and tickets, visit https://artistrymn.org/kissmekate.

Watch the 2025 TCTB Awards on the latest episode of The Stages of MN YouTube Show!! https://bit.ly/TSOMNEp25YouTube

Something Rotten Has Sold Out It’s Entire Run

The Cast of Unlabeled Theatre Company’s Production of Something Rotten

What did I think of Unlabeled Theatre Company’s production of Something Rotten!?
In a practical sense, it doesn’t matter, because as of opening night, the entire run is completely sold out. That’s a wonderful problem for any theater company to have. But Unlabeled Theatre Company isn’t just any theater company.

The company exists to create opportunities for adults with disabilities to participate in theater. Every role is performed by an actor who has a cognitive and/or physical disability or is neurodivergent, paired with a neurotypical Shadow Partner. Together, the two performers share the role, performing it in unison.

Right now, those of us who love theater are thinking a lot about the importance of art and its power to change the world. Sometimes those sentiments can feel grand, idealistic, or even a little naïve, especially when the world feels as bleak as it does right now. In moments like these, when we need art the most, our convictions can start to feel implausible.

Then you see a show like this.

It reminds you that change doesn’t always look big. Sometimes it’s small and precious, like changing one person’s understanding of what they are capable of. What they can do. What they can become. That’s what Unlabeled Theatre Company does: it creates possibility and hope.

On this night, the performance showed everyone in the room, but especially those on stage, what they could do. That may sound small, but for those who shared that moment, it was enormous. And the thing about small changes is that they ripple outward. It’s not just the people on stage whose worlds expand; it’s the person in the audience who recognizes themselves in someone performing. Who sees, through that person, that maybe they, too, can do something they were once made to believe they couldn’t.

At the beginning, I said it doesn’t matter what I thought of this show, but of course it does. You don’t need my review to convince you to see a show you can’t buy a ticket for. What I can do is this: I can tell you how beautiful this evening was. How it reminded me that there is still humanity among us. That there are people and organizations in a world that often feels flooded with cruelty who are choosing instead to lift others up.

Will this review sell another ticket? No, not this time. But maybe it sends you to their website. Maybe you subscribe to their newsletter so the next time they produce a show, you don’t miss it. Maybe it reminds you that there are forces in this world that aren’t trying to exclude or diminish, but to expand, to affirm, and to celebrate. To remind us that every person has value, and every person has something to share.

Everyone was great, and the standing ovation at the end wasn’t a “look what you did” moment. It was deeply felt and completely earned. We were genuinely entertained and moved by the music, the laughter, and the joy that radiated from the stage.

While you can’t see this production, I strongly encourage you to visit Unlabeled Theatre Company’s website and join their mailing list to stay connected to their work https://unlabeledtheatre.org/. I Hope you get to experience the magic of one of these performances, you will be amazed at the talent on stage.

If you’re able, consider making a donation to help them continue this vital mission.

Watch the 2025 TCTB Awards on the latest episode of The Stages of MN YouTube Show!! https://bit.ly/TSOMNEp25YouTube

Tubthumping Thursday is a Comedy Grab Bag Of Improv Hilarity at Bryant Lake Bowl Theater

On Monday, I caught one of my favorite improv shows, Off Book, at the Jungle Theater. If you’ve never seen it, their next show is March 2, and I highly recommend it. Off Book pairs actors who have memorized a script with improvisers who have absolutely no idea what the script is. Without fail, hilarity ensues. What does that have to do with Tubthumping Thursday? Well, one of the actors in Monday’s performance was Nissa Nordland, who happens to be one half of the Twin Cities improv duo Bury the Leads. Bury the Leads made up one-third of the bill at this month’s Tubthumping Thursday at Bryant Lake Bowl Theater.

This was my first time attending Tubthumping Thursday, a monthly comedy cabaret hosted by Cameron Cylkowski, who also performs with the group Secret Neighbors. The third act on the bill was Police Cop Detective PI. With the demise of Huge Theater a year ago, it’s been great to see other venues step up and make space for the wide variety of improvisers in the Twin Cities.

I won’t lie, I came to Tubthumping Thursday to see The Stages of MN favorites Nissa Nordland and Sam Landman. Their ongoing series (which they hope to eventually expand into an online show) centers on a pair of character actors named Clyde & Faye. Each performance offers another glimpse into the lives of these “not-the-leads” and their quest to finally land the part. As anyone familiar with Nordland and Landman’s work would expect, it’s excellent. They take audience suggestions and incorporate them into a scenario, in this case, being cast as the best friends of the main characters and required to film a sex scene together. Nordland and Landman keep things relatively clean, though a quick Google search of the audience suggestions tells a much filthier story.

What makes this series so compelling is the ongoing character development. At the end of this episode, because “episode” really feels like the right word, there seemed to be a spark between longtime friends Clyde and Faye. Like Buffy the Vampire Slayer before it, we may come for the jokes, but we stay for the character arcs and emotional bullseyes.

Secret Neighbors performed as a quartet led by Cylkowski, fellow company members include Courtney Miller, Cat Wright, Elizabeth Dunn, and Sean Yahn. After asking the audience a few opening questions, they spun those details into a series of funny situations and delightful tangents. Police Cop Detective PI, featuring Adam Fielitz and John Haynes, played cop partners on a stakeout. Both groups were excellent, and I’d happily check out any improv show featuring either of them on the bill.

Keep an eye out for all the unique and adventurous theater happening at Bryant Lake Bowl Theater by visiting https://www.bryantlakebowl.com/theater and subscribing to their newsletter. I always recommend arriving when the doors open,one hour before showtime, to snag a good seat and order dinner and a drink (or two). The food is great, and the beverage selection includes solid non-alcoholic options as well.

You can follow Bury the Leads on facebook to find out when and where they perform next, I do!

Watch the 2025 TCTB Awards on the latest episode of The Stages of MN YouTube Show!! https://bit.ly/TSOMNEp25YouTube