STRANGE HEART: The Dream Songs of John Berryman is… Different. So a Perfect Fit for Open Eye Theatre

Bradley Greenwald & Anna Hashizume Photo by Bruce Silcox

Strange Heart: The Dream Songs of John Berryman is different. Not bad different, but very much its own thing. It centers on Pulitzer Prize winning poet John Berryman, who died by suicide in 1972, the year I was born, which may explain why I wasn’t very familiar with him going in.

Billed as a jazz-infused operetta, the show primarily focuses on one of Berryman’s hospitalizations for alcohol abuse. There, we meet a puppet named Henry, representing his subconscious and giving him someone to interact with beyond his nurse and his wife. Through reminiscences, we get backstory about his mother, his father, and his wife, Kate.

Much of the show unfolds in a fluid, stream-of-consciousness style. The subject matter is dark, but the tone is decidedly humorous. Bradley Greenwald plays Berryman with an almost impish sense of humor, as if everything is a joke and most people, aside from him and Henry, aren’t in on it. There’s a song about whiskey that he performs with Sam Albright, who puppeteers and voices Henry, and it’s genuinely delightful, or at least as delightful as an alcoholic singing about whiskey with a puppet can be. If that sentence makes you wonder what the hell this show is, that’s exactly the point. It’s different, with a capital DIFF.

There are also sweet moments, such as the first date between Berryman and Kate, played by the always fabulous Anna Hashizume, and another where they reminisce about those early days. The duet they share looking back, along with the whiskey song, are the musical highlights.

This world premiere, written and composed by Greg Brosofske, runs about 90 minutes with no intermission, which feels like the perfect length. There are only five or six songs total, fewer than I expected. It’s definitely not a play, but it also feels a bit light on songs to be a full musical. “Operetta” is probably the closest label, though even that doesn’t quite capture it. Again, it’s its own thing. And if you find it’s not your kind of thing, well, I refer you back to the 90 minutes, no intermission.

Directed and designed by Joel Sass, the production has that Open Eye Theatre aesthetic I love. Sass has a knack for offbeat material and feels like a perfect match here. Music direction is by Wesley Frye, and his quartet provides exactly the right sound for the venue. As an added bonus, they entertain the audience with 15–20 minutes of preshow music. Remember when Theater Latté Da used to do that for shows like Once and Hedwig?

Strange Heart: The Dream Songs of John Berryman runs through March 22 at Open Eye Theatre in Minneapolis. For more information and tickets go to https://www.openeyetheatre.org/strange-heart

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

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

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

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

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

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

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

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

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

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

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

Don’t Bother Me, I Can’t Cope Uplifts the Audience While Refracting a Spotlight Through the Prism of Black America

The Cast of Don’t Bother Me, I Can’t Cope (March 2026 Penumbra Theatre) Photo Credit Caroline Yang

Don’t Bother Me, I Can’t Cope is a historic piece of musical theater, the first Broadway show with music and lyrics by a Black woman and also the first Broadway show directed by a Black woman. That was back in 1972, the year I was born. The similarities end there.

Micki Grant’s musical revue doesn’t have a traditional narrative. There are no discernible continuing characters moving throughout the show, and no dialogue to speak of. And yet it feels as though each new number is a short story, complete with characters, a theme, and its own unique tone. Each of these short stories looks at the lives of Black Americans through a different social, political, or cultural lens.

Unlike other works that strive to examine the Black experience, this one feels like it’s looking at it from the inside rather than presenting it for an outside perspective. That allows the show to be, above all else, a celebration. This isn’t a laundry list of injustices or righteous grievances. It’s the world through a perspective shared by many in the audience and, for others like myself, perhaps a clearer sense of how that world looks.

What the show gets incredibly right is that no one is the sum of the bad things that happen to them. If that were true, all of us living under Trump would be defined either by our ignorance or by our outrage. I am more than my outrage, because outrage alone is no way to live a life. As with this show, many of the songs deal with social issues, and there are moments when the show allows that outrage to breathe. But it always reminds us that people living with outrage day in and day out still find ways to let joy in.

I want to convey as strongly as I can that this is not a work about anger and injustice. It’s a beautiful, engaging, uplifting, and ultimately joyous experience. It acknowledges reality and shows how people deal with that reality, by not letting it win, by fighting when they can, and by finding laughter, love, and yes, joy wherever they can. By refusing to be defined by what others have done to them.

The songs move through styles including gospel, jazz, funk, soul, and rock, though my personal favorite was the calypso flavor that kept popping up. One of the best songs early in the show, “Goin’ to Town This Morning,” immediately made me think of my favorite Donna Summer song, “Unconditional Love.” That number features one of my favorites, Austene Van, on lead vocals, reminding me yet again how amazing she is.

But here’s the thing: the entire cast is amazing. I could easily sit here and list every performer and tell you my favorite moment for each of them. But then I wouldn’t get to bed, and you’d probably stop reading a quarter of the way through. Suffice it to say they are all terrific, including Twin Cities Theater Blogger Favorite Emerging Artist of 2025 Antonisia Collins. This is her first role since winning the award, and it reassures us that we got that one absolutely right.

And Mrs. The Stages of MN would kill me if I didn’t also mention Aimee K. Bryant, who gave her goosebumps every time she sang. Did I know Bryant could sing? She can’t possibly be that good and I never noticed, so I must have known and simply forgotten.

Before wrapping up, I do want to acknowledge a few of the backstage artists. First, Patdro Harris, who directs the show so that each song has a distinct and clearly told story. Harris is also getting my nomination for Best Choreographer, one of the elements that makes this production truly unforgettable. Sanford Moore’s music direction, and the sound he gets from his band, is so thrilling that there wasn’t a moment in the entire runtime when I wasn’t bobbing along or clapping to the beat. The energy of some of these numbers is absolutely infectious.

I also want to mention projection designer Miko Simmons, whose work is exceptional. The projections add texture and weight where needed without overwhelming the show’s overwhelmingly positive “Good Vibrations“.

Don’t Bother Me, I Can’t Cope runs through April 5 at Penumbra Theatre in St. Paul. For more information and to purchase tickets, visit:
https://penumbratheatre.org/event/dont-bother-me-i-cant-cope/#4

Oscar Wilde’s Salomé is Shiveringly Good at PAIKKA

Nathan Keepers Photo by Molly Jay Photography

The new production of Oscar Wilde’s Salomé, playing at PAIKKA, isn’t just a play, it’s an experience.

To get the most out of it, when they show you the coat rack, do not avail yourself of it. Find a seat close to the action, but also as near as possible to the end of the room you entered from. A character exits and enters through an exterior door several times during the show, and depending on the weather, you’re going to want to protect yourself. If I have one criticism, it’s not the use of the door, it’s how long it’s left open. I’m not saying I believe they shouldn’t do it. I just know I wished I’d had my coat instead of sitting there in a short-sleeved T-shirt.

The discomfort is clearly intentional, and I understand the artistic reasoning. Still, a warning might have been nice. At times I found myself distracted, not only by my own chill but by concern for the actors, who occasionally had even less protection than I did. And that’s all I’ll say about that. Take the proper precautions and you’ll be free to immerse yourself in this riveting drama.

Wilde’s play tells the story of Jokanaan (John the Baptist), imprisoned in a cistern by King Herod. The production opens in a dining hall, where some audience members are seated (don’t worry, there’s no audience participation), as four servants tidy up and gossip. We quickly learn that one of them is infatuated with Princess Salomé, Herod’s stepdaughter.

When Salomé leaves the party and enters the dining hall, she hears Jokanaan’s prophetic ravings and becomes fascinated. She convinces a servant to bring him before her. She is captivated by him, and is determined to kiss his lips, but he refuses her advances and is returned to his prison. Soon Herod and his wife, Herodias, enter. It becomes disturbingly clear that Herod harbors an inappropriate fascination with his stepdaughter. He promises Salomé anything she desires if she will dance for him. She agrees, and when she names her price, he desperately attempts to dissuade her.

Director Grant Sorenson eschews traditional theatrical forms, creating something immediate, immersive, and visceral. From my seat at one of the tables, it felt like front row theater in the most literal sense, which as faithful readers know, is my preferred vantage point. The action unfolds between two long banquet tables, with audiences seated along the outside edges and in rows lining the walls. The performers use the entire space, moving from one end of the room to the other and even through both doors. At times, the actors are directly between the tables and the audience, eliminating any sense of distance.

The performances are uniformly strong. Ani Tonoyan, in a dazzling silver gown, makes Salomé both seductive and calculating. Emily Gunyou Halaas brings a grounded realism to Herodias, watchful and keenly aware of her husband’s wandering eye. Logan Lang’s Jokanaan is ferocious, a prophet teetering between divine inspiration and madness, with bursts of physical intensity that are genuinely startling.

But it is Nathan Keepers as Herod who steals the show. His performance is layered with pointed allusions to Trump, funny, unsettling, and chillingly recognizable. He prowls the dining hall, ranting and rambling, his obsession with his stepdaughter rendered both grotesque and darkly comic. Whether you see the parallels immediately or gradually, the effect is undeniable. It’s a bold and captivating performance.

The ensemble of servants is equally compelling, and the presence of Stages of MN Must-See Lister, Stephanie Kahle, alone is reason enough to attend.

Salomé runs just two weekends ending February 28th. For more information and to purchase tickets go to https://www.salomempls.com/

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Les Misérables Continues to Stun and Captivate at the Orpheum Theatre

Lindsay Heather Pearce as Fantine Photo by Matthew Murphy

This is my fourth journey to post-revolutionary France with Les Misérables and, remarkably, my fourth time seeing this touring production at the Orpheum Theatre. The first was in 2018, before The Stages of MN’s time. At a time when I’m trying to scale back on the number of shows I attend so I can focus on producing episodes of the YouTube show, repeat viewings are usually the first to go. For example, although I enjoyed Kimberly Akimbo when it played The Orpheum Theatre last year I decided to skip it at the Ordway Center for the Performing Arts this month.

But when it comes to Les Misérables, there are shows you can miss… and shows you simply don’t. You can probably guess where this one falls. Even though it was here just over a year ago, I signed up without hesitation. And when it returns in a few years (fingers crossed), I’ll be there again.

Once more, I was completely swept up in the overwhelming beauty of this production. With its magnificent cast and painterly production design, every scene glowing as though lifted from a Rembrandt painting, the show remains one of the most breathtaking theatrical experiences around. Inarguably among the greatest musicals of the late 20th century, it pairs music by Claude-Michel Schönberg with lyrics by Herbert Kretzmer, adapted from the novel by Victor Hugo. Nearly three hours long, it never wastes a moment. Every lyric, every musical phrase, propels the story forward. No matter how many times I see it, I remain riveted from beginning to end.

Set in early 19th century France, Les Misérables follows Jean Valjean, imprisoned for 19 years for stealing a loaf of bread to feed his sister’s child. Upon his release, he discovers that freedom does not mean acceptance. Shunned and desperate, he is taken in by a Bishop who offers him food and shelter. When Valjean steals silver from him and is caught, the Bishop claims it was a gift, granting him a second chance. In that moment of grace, Valjean resolves to remake his life.

Years later, he has become a factory owner and mayor. There we meet Fantine, unjustly dismissed and forced into a tragic downward spiral to support her daughter, Cosette. Meanwhile, the relentless Inspector Javert begins to suspect Valjean’s true identity. The narrative spans years, weaving together love, sacrifice, political unrest, and redemption, culminating in the Paris student uprising. Though epic in scope, the storytelling is remarkably clear. And while the events can sound relentlessly bleak, the overall effect is anything but. It is uplifting, powerful, and wonderous.

Opening night featured numerous understudies, something I might not have realized had I not been told. Randy Jeter stepped in as Jean Valjean, a role I had previously seen performed by Nick Cartell. Jeter more than did the part justice. While he may not have had quite the same upper-register strength as Cartell, his performance was emotionally grounded and vocally assured.

Lindsay Heather Pearce delivered a heartbreaking “I Dreamed a Dream,” letting Fantine’s despair seep into every note. Jaedynn Latter’s Eponine was another standout. If Valjean is the show’s conscience, Eponine is its heart. Her “On My Own” was so moving it briefly makes you question whether Marius truly belongs with Cosette. Hayden Tee’s Javert was vocally powerful and dramatically nuanced, his final scene eliciting audible gasps. Even on my fourth viewing, I still can’t quite figure out how that moment is staged. Kyle Adams, stepping into the role of Thénardier, provided comic relief alongside Victoria Huston-Elem’s Madame Thénardier, though Adams doesn’t quite eclipse previous performance by Matt Crowle who I saw last time and whom he was understudying for tonight. Still, their timing offered welcome levity amid the drama.

The production design, everything from the sets to the lighting, projections, and costumes, creates one of the most beautiful shows I’ve ever encountered. On one side of the stage there’s a doorway; on the other, a stone archway. Those elements remain constant. Throughout the play, the sides push out to varying degrees and, somehow, these two openings come to look like entirely new structures. It’s a fascinatingly versatile set, large, impressive, and solid-looking, yet able to flow, change, and reconfigure with remarkable fluidity.

Set and image design is by Matt Kinley, inspired by the paintings of Victor Hugo. Lighting designer Paule Constable doesn’t merely illuminate the stage, she paints with light. There’s such a seamless melding of physical set and lighting design, and it’s through the marriage of these two art forms that the show achieves its painterly aesthetic. And yes, when set and lighting design look this good, it is absolutely an art form.

Projections by Finn Ross and Fifty-Nine Productions are used sparingly and effectively, enhancing rather than overwhelming the physical scenery. As someone often wary of excessive projection, I found this production a reminder of how breathtaking the medium can be when used judiciously.

Les Misérables runs through February 22 at the Orpheum Theatre in downtown Minneapolis. For tickets and more information, visit hennepinarts.org.

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Despite a String of Local Theater Accidents and Ailments surrounding Adaptations. The Guthrie Rolls the Dice on the Scottish Play.

Daniel José Molina (Macbeth) and John Catron (Macduff) Photo by Dan Norman

I’ve got to hand it to the Guthrie: Macbeth was a brave choice for this year’s Shakespeare production, especially given the unfortunate events surrounding other “Macbeth-adjacent” productions over the past couple of years, from Theater Latté Da’s Scotland, P.A. to Rough Magic’s The Macbeths. It has sometimes felt as though the so-called “curse” wasn’t being dispelled so much as branching out into adaptations. You can Google or search Facebook for the details of those misfortunes.

For the curious, I’d suggest keeping an eye on the Guthrie’s social media accounts to see if anything mysterious or unfortunate befalls this production. I sincerely hope not, because this Macbeth is thrilling and fast-paced, and I’d hate to see any performances canceled and audiences deprived of the chance to experience it.

Former Guthrie Artistic Director Joe Dowling returns to direct this bold new production of Shakespeare’s tragedy of ambition and corruption.

Headlining the cast, and returning to the Guthrie after his wonderful turn as Henry V in the History Plays during the 2024 season, is Daniel José Molina as Macbeth. He was excellent as Prince Hal, but he may be even better here. His delivery of the famous “Tomorrow, and tomorrow, and tomorrow” soliloquy is unlike any version I’ve ever heard, and it works brilliantly.

Other standouts include John Catron as Macduff (among several other roles), whose final confrontation with Macbeth is especially powerful. A quick note of praise also goes to fight director Annie Enneking, the climactic battle has a precision and speed rarely seen in live theater.

Stages of MN favorites Regina Marie Williams and Daniel Petzold each take on multiple roles, and it’s always a pleasure to see them, especially in Shakespeare. Meghan Kreidler is at her strongest as Lady Macbeth when her grip on reason begins to unravel. Peter Christian Hansen’s Banquo sports a couple of memorable wigs that give his character, particularly in spectral form, a striking visual identity. I know some folks will be delighted to learn that his chest has also come out of retirement for this production.

If you’ve never seen Macbeth, this is an excellent place to start. It’s one of Shakespeare’s shorter thrillers, and this production moves with a driving pace that feels almost like a modern suspense film. The production team creates a cold, towering backdrop for the action, and the frequent use of fog reinforces the sense of danger and isolation in the Scottish Highlands.

Macbeth runs through March 22 at the Guthrie Theater in Minneapolis.
For more information and to purchase tickets, visit:
https://www.guthrietheater.org/shows-and-tickets/2025-2026-season/macbeth/

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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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