Rent is an Emotional and Transporting Experience Not to be Missed at Artistry in Bloomington

Rent Is one of my favorite musicals. I’ve seen touring productions countless times, I’ve seen it done by colleges and community theater companies, I’ve seen it done in the suburbs with the whitest cast you can imagine. The last time I reviewed the show I said when you’ve seen a show as often as I have Rent, you have to let go of your preconceived notions of what characters should look like, from costumes to hairstyles, what the set should look like and how every lyric in every song should be sung. The joy of going to a favorite show is seeing how a new group of artists will approach it. Obviously, you don’t want them to sing different songs or deviate from the characters essence. But when you know something so well and can let go of some standard set by an original cast recording you’ve memorized, you notice the small changes, and rather than being frustrated by them, they become the moments that make each production unique and engaging. I love Rent and I loved Artistry’s production of Rent. I loved it so much I want to go again, but mad at all the other theater companies in town who have filled my schedule so that I can’t go again. The only date I have available is my wedding anniversary, and I’m pretty sure my wife wants to do something we don’t do every other night of the week for our tenth anniversary. I know I’ll get over it, and I know by the time I hit the Twin Cities Horror Festival I won’t be holding a grudge.

I was going to say that if you are not familiar with Rent that it is patterned off of Puccini’s Opera La Boheme. Then I realized who hasn’t heard of Rent but knows La Boheme? Yes, I’m sure there is someone out there but my guess is they are not reading this review. Essentially it’s the story of a group of friends, artists living in New York’s East Village during the late 80’s early 90’s half of whom have contracted HIV. It contains a message of love and friendship played out among characters that suffer from all the human traits that hold us back, greed, addiction, jealousy, self doubt, isolation. It reminds us there is no day but today. In it’s emotional finale the characters sing the fundamental lesson that the musical is trying to impart to its audience “There’s only us. There’s only this. Forget regret or life is yours to miss.” I can’t think of a truer or more important message and that I suspect is why it won the 1996 Pulitzer Prize for Drama. If you are not aware of the story of Jonathan Larson who wrote the Music, Lyrics, and Book for Rent I highly recommend purchasing the film version of Rent to watch the Documentary No Day But Today which is included as a special feature, it’s a heartbreaking story.

This production is Directed by Kelli Foster Warder with energy and confidence, making subtle changes like I believe cutting a portion of the song “Contact” which worked for me. Warder also choreographed the show along with Joey Miller and they did an exceptional job. The moves that Michelle de Joya as Mimi performs while singing “Out Tonight” are an example of their creativity and de Joya’s skill. In terms of staging the Actors and the use of set pieces Warder does an excellent of staying true to the simple and scaffold like design of the original Broadway run, while also changing things up and doing her own thing, putting her stamp on the show while keeping the feel and look we expect. The Broadway costumes are iconic and the reality is that regional theaters need to find their own look for the characters to some extent which they do here. The only misstep costume wise for me was the choice for Mark’s shirt, a horizontal striped pullover collared affair that shouts mathlete rather than NYC Bohemian filmmaker. It’s an odd and glaring oversight that you can see in the photo above. There is the usual solid work from Music Director Jason Hansen and his band which are tight and perfectly balanced with the vocals.

I really can’t praise the cast enough, some are stronger vocalists and others stronger in the acting department but everyone plays to their strengths. de Joya’s Mimi is a little flat occasionally when it comes to the singing with things pushed out of her ideal range, but it’s not a huge concern because when it’s in her sweet spot she kills it, and her performance and physicality are among the strongest in the cast. Mitchell Douglas, hot off a nice turn in drag in Kinky Boots at Lyric Arts, plays Angel with some dance moves that elicit gasps and admiration. The best singers in the cast are Caleb Michael who plays Roger, Quinn Lorez who plays Joanne, and Em Rosenberg who is an ensemble member but when they get their few moments to be heard outside the group songs, Rosenberg reminds us what a fantastic singing voice they have. Matthew Hall also impresses as Collins with a rich voice that straddles the deep and mid register nicely. Both Wesley Mouri who plays Mark and Ninchai Nok-Chiclana who plays Benny are better in the acting than in singing departments, though they are both capable singers, their strengths lie in the former. Maureen is played by Sara Masterson and we believe her when she says there will always be women in rubber flirting with her.

Ultimately what the show did, what it always does, is evoke an emotional response from deep within me. Every time I see the show I’m transported in my soul back to the time I first saw it, before I was old. It reminds me of a more passionate age, when I could see myself as one of them, maybe not a Roger, I was never that cool, but maybe Mark. When I see it, when I hear these characters pouring out their hearts in these songs, I feel young. Every production offers something new, but the one thing they always remind me is that, if there is a production of Rent happening, go. Never, ever miss an opportunity to see a production of this show. Rent runs through October 27th at Artistry in Bloomington. For more information and to purchase tickets go to https://artistrymn.org/rent

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Scotland, PA Sizzles at Theater Latté Da

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.

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Measure For Measure is Must See Shakespeare From the Birth Play Project at A-Mill Artists Loft

Measure for Measure is one of Shakespeare’s lesser known plays. I’ve never seen it performed before and have no recollection of skipping it if it has been performed locally in recent years. The play is usually given a pass as one of Shakespeare’s problem plays. Is it a comedy or is it a tragedy, what happens exactly at the end and as the cast performing this production acknowledges, there are some twists and convolutions that nobody understands why they are included. Based on this one exposure to Measure for Measure I think this may be Shakespeare inventing the black comedy. The great thing about Shakespeare is that all the plays are around 400 years old, they’re in the public domain baby! You can do whatever you want with them, that’s how we get a Hamlet adaptation entitled Strange Brew and Henry IV as My Own Private Idaho. You can cut, rearrange, add to, completely modernize, and even set it on a Forbidden Planet. The Birth Play Project’s adaptation by Madeline Wall & William Edson embraces that freedom and comes up with a captivating production that feels like a Ten Thousand Things Shakespeare production. That is some very nice company to be in and The Birth Play Project earns their place at the table.

The play opens with Vienna’s Duke Vincentio placing Angelo in charge when she has to leave the city. She doesn’t actually leave though but disguises herself as a nun in order to observe Angelo and the citizens without their knowledge. Angelo, mad with power, decrees that anyone having sex out of wedlock will be put to death. The first offender is Claudio and his lover Juliet, who he is in the process of marrying and is pregnant. Claudio’s sister Isabella comes to plead with Angelo for Claudio’s life. This scene is where the show really clicked for me. Isabella Dunsieth who plays Isabella and Madeline Wall who plays Angelo debate back and forth like a slightly more serious Benedict and Beatrice. Angelo falls for Isabella, who is in the process of taking her vows to become a nun. All comparisons to that “will they or won’t they” couple end abruptly when Angelo agrees to let Claudio live if Isabella will sleep with her (Did I mention there is a lot of gender swapping in this production?). Isabella relays the information to Claudio who expresses his feelings that dying is worse than losing your virginity. Isabella is assisted by a nun, really the Duke in disguise, and it is arranged that Angelo will have sex with someone else thinking it is Isabella. After having her way with Isabella’s stand in, Angelo changes her mind and orders Claudios head to be cut off immediately. Again the Duke in disguise intervenes and another prisoners head is cut off instead. Can you kind of see why this is a Problem play? The twists and turns and convolutions are right out of his comedies, except instead of pretending to be a servant and wooing a princess, they are swapping people to be beheaded. It’s absurd and also very very dark. I didn’t even mention the live birth, that you almost sort of witness.

I absolutely loved what Wall and Edson who also co-directed the play did with this adaptation. Likewise the cast is excellent and embraces the weirdness of the play and all its twists and odd turns. They do two things that are crucial in a good Shakespeare performance. The first is you need actors who can speak the language so that it makes sense to the audience, everyone does so here. Secondly they need to not only make it understood but breathe fresh air into it, which they also accomplish admirably. The big surprise for me was Isabella Dunsieth, who I feel I know primarily for her work in the Brave New Workshop shows such as No Country For Two Old which she is currently also appearing in. Here she speaks shakespeare’s language as if it were her first, which being english I guess it probably was… but you know what I mean, she’s a natural. Edson and Wall both do triple duty not only adapting and directing but also acting in the show. Wall is Angelo and the sparks that fly as Isabella and Angelo debate are electric. Edson plays Claudio and makes a good argument himself when pleading for his life. There are too many cast members to go through them all, but trust me there is no weak link in this chain of performers.

This is a great opportunity to see a little produced play from Shakespeare. One can see why it’s not often staged, because it takes a very special theater company like The Birth Play Project to make it come alive like this. I suspect I will never see a better production of Measure for Measure and as such I highly recommend you see it while you can. Measure for Measure has three more performances at various location for tickets go to https://linktr.ee/birthplayproject.

Behind the Sun a Fascinating Story Let Down by Strangely Lifeless Production at History Theatre

Charla Marie Bailey, Darius Dotch, Scott Witebsky, and Jane Froiland Photo by Rick Spaulding

I’m not sure how to explain the monotone performances I just witnessed in History Theatre’s Behind the Sun tonight. Most of these actors I’ve seen perform many times and I assure you they are talented performers. So why does 70% of the dialogue sound like a fifth grade teacher reading from a novel to students? Is it Richard D. Thompson’s Direction? Is it the script by Stanley Kipper and Laura Drake? If it was one performance or two I’d assume it was the performer, but it’s everyone with the possible exception of Darius Dotch who does everything he can to breathe life into the production. Perhaps Thompson was making some sort of artistic statement with this performance style like Yorgos Lanthimos? If so it’s point escapes me. In another bizarre choice, he has Joshaviah Kawala who plays the main characters son Tyler, shout every line, which understandably makes it hard to put any feeling behind the lines. There are certainly script issues including a denouement that seems too pat. Maybe the scripts dialogue just defies a dramatic reading? I don’t know, because the story and the details of the it are full of drama and potential.

The show follows Obie Kipper played by Darius Dotch and his wife Mary played by Charla Marie Bailey as they deal with life as a black family in 1956 Minneapolis. Obie wants to get out of the neighborhood they live in which is becoming more and more dangerous. Their son Tyler, played by Joshaviah Kawala, attends a Catholic school where the prejudice of the nuns almost cost him his life. Obie hatches a plan with his Jewish friend Abe, played by Scott Witebsky, to buy a house in an all white neighborhood. The first act of the show is basically laying the groundwork for why the family needs to move. The second act begins with the Kippers taking possession of the house and the atrocious things they have to endure in their first days there. By this point in the play I was amazed at the courage and perseverance of the Kipper family. I was wondering if I would have been able to stay or if what they were dealing with would have forced me to move. We then cut to some unstated amount of time later, it feels like maybe a few weeks to a month, and seemingly all the harassment has stopped and everything is great. The show runs a little under two hours including the 15 minute intermission, so adding a little time to the show wouldn’t be pushing anyone’s endurance. I’d have liked to have had a few more scenes to walk us through that transition of night of terror to everything’s fine.

It’s a great story and an okay script which has been produced before, but it needs another draft. For instance, there is an incident that happens offstage, a friend of Mary’s from the bus gets abducted after work. It’s a moment that pushes the family into implementing their scheme to buy the house. But I don’t know what happened to the friend. I didn’t know that was something that did happen. I’d like that to have been better explained. One element that did work beautifully was the set design by Rick Polenek. Changes made during intermission, which I failed to even notice were happening, that convert the Kipper home from their original to the new house very effectively. Look I don’t know whether to recommend this or not. I got a lot out of the story and Dotch gives a good performance as does Bailey when she is allowed to get worked up and show some emotion. But with a story this good, the production should be much better. Still, I learned stuff, and that goes in the plus column. Behind the Sun runs through October 13th at History Theatre in St. Paul. For more information and to purchase tickets go to https://www.historytheatre.com/2024-2025/behind-sun

The Lehman Trilogy a Saga of Epic Scope is Completely Captivating at the Guthrie Theater

William Sturdivant, Edward Gero, and Mark Nelson Photo by Dan Norman

The Lehman Trilogy the Tony Award winning play that at three and a half hours never comes close to wearing out its welcome. Originally conceived as a nine hour Italian radio play and later a novel by Stefano Massini, it was first translated and adapted to the French stage as a five hour play by Pietro Pizzuti featuring a cast of 12. The English adaptation is by Ben Powers and was conceived with theater and film Director Sam Mendes for the National Theatre with only three actors. This version which is the one the Guthrie is presenting leaves you with one question, what was cut from the five hour and 9 hour versions? I think it a wise choice commercially to have gotten it down to three and a half hours, which includes two 15 minute intermissions. But personally, if the cut material was as good as this, I could have done another hour and a half. I never once looked at my watch, and that’s not just because I don’t wear one, I honestly never had a moment where I was conscious of the length, it flew by. I write a lot about the shows that are just entertaining. I believe in the current climate of the world and given the state of theater audiences in the last few years, that it’s vital we put on shows like Back to the Future (Hennepin Arts, National Tour), Peter and the Starcatcher (Lyric Arts), and Dial M for Murder (Yellow Tree Theatre) that are more or less purely there to entertain us. I also believe in the power of theater to explore deeper issues, and important that those plays are also produced.

That is the type of play The Lehman Trilogy is. It explores the rise of a financial institution, but that’s just the tip of what it’s about. We follow three immigrant brothers who have come to America to make their fortune. As it begins, there’s a strong familial bond between the brothers, and their Jewish faith plays a central role in their endeavors. We like them, in fact to some extent I think we like all of the Lehmans we meet throughout the play. While the arc of the play shows us the growth of Lehman Brothers from a small, fabrics and suits store to a financial institution, the way in which the business grows and changes. At first the growth and evolution of Lehman Brothers is admirable and the reverence the three founding brothers Henry, Emanuel, and Mayer have for their religion and community plays a key role. Even up through the great depression when Bobby Lehman, the last Lehman to run the company, is strategizing how to save the company he is also trying to save the country. But that will change as Bobby ages, we see throughout the play that as capitalism rises, the role of religion not only recedes, but is entirely replaced by the worship of the dollar. The whole play barrels forward like a rock gaining speed as it rolls downhill. What was thoughtful and deliberate in the beginning is overcome by greed and speed. There’s a moment when Bobby hears the pitch of what will become Credit Cards, and the birth of consumerism as a way of life, when you feel the scale finally tip and what began as a family business has lost all of it’s remaining humanity. What was fascinating about the The Lehman Trilogy was the way it looks at history and the birth of financial practices in such a way that we come to understand it all from a different perspective.

The cast features two performers from out of town, which I’d complain about but they are so good that I can’t quite bring myself to, and one local actor. The local actor is Will Sturdivant, last seen at the Guthrie in last springs the History Plays. This is a year in which Sturdivant seems to be testing his stamina. Between the three performers they play over 70 characters over the course of 80 years. All three are versatile and bring intelligence and humor to the roles. Director Arin Arbus keeps the story moving, but perfectly anticipates the moments when we are so completely enthralled in what is happening and need that extra beat to process what is transpiring. Marsha Ginsberg’s set design is simple but symbolic and capable of surprising the audience right out of the gate with the appearance of the three original Lehman Brothers. The set works wonderfully in conjunction with Hannah Wasileski’s projection designs through which we get backdrops but also visual manifestations of the dreams that often dog the members of the Lehman family. In fact the entire production team Anita Yavish’s Costumes, Yi Zhao’s lighting, and Michael Costagliola sound design all work to create a cohesive look, almost a black and white or sepia tone film look.

The Lehman Trilogy runs through October 13th at the Guthrie Theater in Minneapolis. For more information and to purchase tickets go to https://www.guthrietheater.org/shows-and-tickets/2024-2025-season/the-lehman-trilogy/

Divas & Drag An Opera Theatre’s Annual Show is Pure Joy at 825 Arts in St. Paul

Texas Tea Cake$ and Kara Morgan Photo by Brittany Powell

Divas & Drag is a mashup of Opera, Drag and Burlesque which is a recipe for campy fun. It’s queer as hell and just as hot. While some amazing vocalist wow you with their singing from Opera Librettos Drag queens and kings lipsync along, usually either putting on a comic act or stripping. Hosted in the style of a 1960’s variety show by Dick von Dyke & Queenie von Curves, the bridging scenes are just as fun as the performances themselves. It’s hard to express just how entertaining and inclusive this production is. As Von Dyke says, “Drag culture is about family”, and the feeling of belonging one has sitting in the audience is palpable. Here there is no judgement, here there is simply joy and acceptance. I’ve been a fan of An Opera Theatre (AOT) since my earliest days as a blogger when Executive Director Kelly Turpin invited me to their World Aids Day Program at Lush. Ever since Turpin has been my go to for advice and guidance on Opera, an artform she loves and that my appreciation for has grown, thanks in no small part to AOT’s productions. If Opera isn’t your thing, or you don’t think it’s your thing, this is the perfect show for you to gain an appreciation. it isn’t 3 hours of people singing in a language you don’t understand. It’s snippets of jaw dropping vocalists accompanied by actions you don’t need projected subtitles to understand.

There are so many moments that were fantastic it’s hard to give you a taste without feeling like I’m spoiling something. But to set the tone by way of one of the more atypical scenes, and this was absolutely a favorite for me, was Del The Funky Homosexual and Queenie von Curves acting out and lypsycnching to the soundtrack from the Looney Tunes cartoon What’s Opera, Doc? That’s the classic “Kill da Wabbit!” animated short, and it’s pulled off wonderfully. Another favorite is when Justin Anthony Spenner performs with Andre 1000. Spenner’s powerful Baritone voice in contrast with their lively and fluid comedic performance finds much hilarity in the paradox between the removed coolness of Andre 1000 and his hyperness. Corissa Bussian gives a heartbreakingly effective performance in one of the shows few non comedic pieces that is simply beautiful as Queenie von Curves appears to emerge from a cocoon. The show lasts around two hours that’s including a 15 minute intermission in which you can purchase more beverages from the bar hosted by Can Can Wonderland. They have adult beverages but also a nice selection of Mocktails and NA choices, which I very much appreciated. The other thing you’ll want to bring with you is $1 bills, no you won’t be putting them in anyone g-string, but you’ll wad them up and either throw them to the stage or put them in the tip bucket when it comes around. Which might sound strange, but it’s really fun to applaud with $1 as one of my companions said.

Divas & Drag runs through September 23rd at 825 Arts in St. Paul, for more information and to purchase tickets go to https://anoperatheatre.org/

William Shakespeare’s King Lear Lets the Crazy Flow at Theatre in the Round

Being a Shakespeare fan, I myself find it odd that I’d never read or seen the King Lear produced. I knew the plot had to deal with a King who gets upset with his daughters, but that was about it. I had no idea that it was the template for The Jerry Springer Show. There are very few characters who are not either mad or really really mean. If you are not either of those things, chances are you’ll get your eyes gouged out or something along those lines. The only chance you have if you’re sane is to disguise yourself as someone of a lower class. Thankfully with everyone else being mad, a little makeup and a change of clothes is enough to convince people you know well that you’re someone else entirely. When you go, and you should go, be sure to pick up one of the yellow sheets at the entrance of the theater it’s a little guide to the play, that will help you follow things a little easier. With probably about an hours worth of cuts made to the play, I think the guide is useful and much appreciated.

The play opens with King Lear proclaiming that he’s going to divide his kingdom between his three daughters, Goneril, Regan, and his favorite Cordelia. He asks them each to tell how much they love him, Goneril and Regan flatter him sickeningly and he bestows a third of his kingdom on each of them and their husbands. Cordelia, tells him she loves him but doesn’t go overboard and this angers the King. So he banishes her and gives her third to the other two daughters. It isn’t long before the King who is clearly losing his cognitive abilities is being treated horribly by his remaining daughters and is eventually left to fend for himself in a raging storm. The Earl of Gloucester who in the B plot has two sons, Edgar who is honorable and Edmund who is a villian. Edmund has his evil fingers in everybody’s pies, convincing their father that Edgar is plotting to kill him and making romantic advances on both Goneril and Regan. Gloucester gives aid to the King and for this, the sisters have his eyes gouged out, on stage. In an ironic turn of events it seems that everyone who is practicing a deception in terms of who they are, are the only true and honest people in the play. The villains are all out in the open, even if some of their tricks are done behind peoples backs.

Lear is played by Meri Golden and she does an excellent job in the role. Her manic pacing and constant movement is a nice physical expression of the Kings restless and unmoored mind. Tim Perfect is well cast as the Earl of Gloucester he brings an air of nobility to the role of what is probably the most honorable character in the play. Luke Langfeldt as his evil son Edmund is perfectly sneary, the kind of villain you want to boo whenever he appears. Langfeldt seems to be having a great time with the role. Taylor Evans does a nice job as Edgar and especially when he is in disguise as “Poor Tom” a mad beggar that the King befriends. I also really enjoyed the work of Danny Kristian Vopava as the King’s Fool, while a lot of his lines aren’t funny, the spin he puts on his line readings are. Patti Gage, Deanne McDonald, and Olivia Denninger as Goneril, Regan, and Cordelia do a nice job as well particularly Gage and McDonald who get more stage time and are meatier female characters than we usually get in Shakespeare. It seems to me that the three sisters could be the inspiration for Cinderella and her two evil step sisters.

The production is directed by George M. Roesler and It moves along at a nice pace, but there are definitely some staging issues. Several scenes took place in the upper areas of the audience, almost directly behind me, It was impossible to see what was happening from my seats. The set design is by Greg Vanselow is simple which allows it to be versatile, there is no need for any scene changes, characters can just exit and enter and we are in a new location. The heavy lifting is done with great panache by Lighting Designer Mark Kieffer and Sound Designer Robert Hoffman. Their creation of the raging storm is a highlight for the lighting and sound.

King Lear runs through October 6th at Theatre in the Round Players in Minneapolis for more information and to purchase tickets go to https://www.theatreintheround.org/king-lear/