Natasha, Pierre and the Great Comet of 1812 Blazes Across the Stage at Elision Playhouse

Remember last month when I told everyone to get tickets to LIZZIE: The Rock Musical? Some of you listened and some of you didn’t. Then it sold out, they added a week, that sold out too, and you missed your chance. Well, here’s your second warning: get tickets to Natasha, Pierre & the Great Comet of 1812 now! It runs through November 22, but only a few performances still have tickets available. I’d be shocked if this one doesn’t completely sell out.

So, what is this unusually titled show about? Here’s the biggest surprise of all: it’s a sung through electro pop opera adapted from a 70 page section of Leo Tolstoy’s War and Peace. A word of warning to students, don’t think you can catch this show and then fake your way through a book report on War and Peace. A nice hardcover version I found on Amazon is a little over 1200 pages, so this adaptation is just telling the smallest sliver of that grand story. If you do see the show and want more but don’t have two years, seven months, three weeks, and five days to invest in reading the novel, there is an absolutely spellbinding Russian film version that runs a mere seven hours that I highly recommend. It is available on physical media from the Criterion Collection and is absolutely stunning.

This small taste of that story focuses on the romance of Natasha, who is engaged to Prince Andre who is “not here” (off fighting the Napoleonic wars), and Anatole, who is “hot” and well, here. It also follows Pierre, Andrei’s friend and Anatole’s brother-in-law, a man unhappily married and searching for meaning. Around them swirl half a dozen vivid characters, including Andrei’s eccentric father, Pierre’s unfaithful wife Hélène, and Balaga who’s there “just for fun!” In early 19th century Russia, Natasha’s affair has devastating consequences.

Theatre Elision, much like Open Eye, has a distinct artistic identity, where Open Eye is known for its inventive design, Elision is renowned for its musical excellence. Yet Natasha, Pierre and the Great Comet of 1812 bridges both worlds beautifully. Directed and designed by Lindsay Fitzgerald, the show transforms the black box space into an immersive, electrifying environment. Actors move among the audience, and high tables around the central performance area (available for reservation at an extra charge) enhance the atmosphere. Fitzgerald’s unified vision creates a fluid, exhilarating experience that exceeded all expectations. Laina Grendle’s lighting design adds surprises and depth, while the unnamed costume designer deserves special mention for the richly detailed period aesthetic. Harrison Wade’s music direction is, as always, impeccable.

The cast is uniformly excellent. Phinehas Bynum (Pierre) and Anna Beth Baker (Natasha) are outstanding, Bynum even plays the accordion during the show. Hawken Paul pulls double duty as violinist and the hilariously energetic Balaga, while Christine Wade handles three roles Hélène, vocal director, and oboist with skill and charisma. Bradley Johnson is pitch perfect as the “hot” womanizer Anatole, and it was a delight to see Kyler Chase back onstage, a familiar face from Lyric Arts several years ago. Honestly, I could name the entire ensemble, they’re all terrific, trust me.

And trust me when I say you need to get your tickets now. Like LIZZIE, this is one you’ll regret missing. Natasha, Pierre & the Great Comet of 1812 runs through November 22 at the Elision Playhouse in Crystal. For more information and tickets, visit theatreelision.com/comet.

Don’t rely on Facebook or Instagram algorithms to keep you in the loop about great shows. Subscribe and have every post from The Stages of MN delivered straight to your inbox. It’s the best way to make sure you never miss out on the theater action. To subscribe on a computer, enter your email address on the home page (right-hand side) and click subscribe. On mobile, scroll to the bottom of the page to find the same option. You can also follow me on Facebook @thestagesofmn and on Instagram thestagesofmn.

The Stages of MN YouTube channel is home to the weekly Stages of MN Show. You can watch it by clicking here. Be sure to check out the latest episodes and subscribe so you’ll always know when a new one drops. Not sure you agree with one of my takes? I’m also part of the Twin Cities Theater Bloggers (TCTB), where you can find review roundups from my colleagues and me. Follow us on Facebook at @TwinCitiesTheaterBloggers.

Episode 17 is up and it’s TCHF Heavy.

Getting this post out in time for the weekend hopefully. It’s a great weekend to head out to the Twin Cities Horror Festival and so this show features that heavily. Go to their website to make your schedule and purchase tickets here https://www.tchorrorfestival.com/

Watch the episode here https://bit.ly/TSOMNEp17YouTube

Or listen to the podcast here https://bit.ly/TSOMNEp17Podcast

Episode 17 has reviews of four Horror Fest shows. A tour of TCHF central, the Crane Theater. We also hear about the Scrimshaw Curse directly from the Duck’s mouth.

Get the details on how to win tickets to an upcoming show at History Theatre thanks to Erica Skarohlid of Lettered in Theatre. You can read her blog here https://letteredintheatre.wordpress.com/ and check out the season lineup at History Theatre here https://www.historytheatre.com/

Episode 16 is Up… and Has Been for several Days. Features a Chat With Joel Sass of Open Eye Theatre About The Hit Show Lizzie: The Rock Musical

Sorry for not getting this out sooner, but there is still a day or two before the next episode is up and there are still a few tickets left for a few performances of Lizzie: The Rock Musical which has extended it’s run to 11/8. Watch the episode here https://bit.ly/TSOMNEpisode16YouTube

Or listen to the podcast here https://bit.ly/TSOMNEp16podcast

Episode 16 features an interview with Joel Sass the Producing Artistic Director of Open Eye Theatre about their latest production Lizzie: The Rock Musical which now has an extended run through 11/8 go here for tickets and details https://www.openeyetheatre.org/ We also have a review of that show as well as Chap Snatchers at Bryant Lake Bowl go here to get tickets for this weekends final performances https://www.bryantlakebowl.com/theater

Jill Schafer of Cherry and Spoon provides a Guest Blogger Review of Prime Productions To Peter Pan on Her 70th Birthday https://www.primeprods.org/ Check out Cherry and Spoons reviews here http://www.cherryandspoon.com/

We also have details on how to win tickets to an upcoming show at History Theatre thanks to Erica Skarohlid of Lettered in Theatre. You can read her blog here https://letteredintheatre.wordpress.com/ and check out the season lineup at History Theatre here https://www.historytheatre.com/

The Cherry Orchard a Co-Production By The Moving Company and Jungle Theater

Nathan Keepers, Tracey Maloney Photo by Lauren B. Photography

This was my first experience with Chekhov’s The Cherry Orchard. I’ve seen three Chekhov adaptations over the last few years, but before that, I only knew him by reputation and the titles of his plays. With this production, I’ve now seen an adaptation of what Wikipedia calls “the four outstanding plays by Chekhov.” Out of curiosity, I read the synopsis there to see how faithful this version might be, but I resisted reading any analysis or criticism as I didn’t want to be told what I was supposed to think or feel about this revered work. I wanted my reactions to reflect how I responded in the moment, not through the lens of 1902 Russia when it was written.

These are my initial gut impressions, which I think are valid if you’re deciding whether The Cherry Orchard is something you want to experience. We all want to know up front: am I going to enjoy this? I did. I found it surprisingly funny, which sent me back to the synopsis to confirm whether that was typical. I’d never heard Chekhov described as funny; I always imagined his work as dark or depressing. This isn’t a straight-up comedy, but I didn’t expect the amount of humor in this production. The internet tells me Chekhov considered it a comedy; “dramedy” might be the best descriptor. Like Shakespeare, the play seems flexible allowing directors and actors to lean into either the drama or the humor depending on their interpretation.

The Moving Company consistently delivers strong performances, and this production is no exception. Nathan Keepers, exquisitely dressed by costumer Sonya Berlovitz, is excellent as Lopakhin, a wealthy businessman who once worked for the family that owns the cherry orchard of the title. The story follows a once-wealthy family who, through denial and poor decisions, have squandered their fortune. Their land and its famous orchard are about to be auctioned to pay their debts. Lopakhin offers a plan to save their estate, but the family is too paralyzed to act.

The concept of a privileged but foolish family losing everything feels like a reflection of Russia’s shifting social order—The Cherry Orchard premiered just thirteen years before the Revolution. Director Dominique Serrand, who also plays Leonid, the aging uncle, brings both humor and pathos to the production. Alongside Tracey Maloney as Liubóv, his sister and head of the family, the two create characters we should want to shake some sense into, but can’t help pitying even as they bring about their own downfall.

I don’t know if this is a typical interpretation of the play, but I thoroughly enjoyed it and am glad to have finally experienced such an important work.

The Cherry Orchard runs through November 2 at Jungle Theater in Uptown. For tickets and information, visit jungletheater.org/the-cherry-orchard.

Don’t rely on Facebook or Instagram algorithms to keep you in the loop about great shows. Subscribe and have every post from The Stages of MN delivered straight to your inbox—it’s the best way to make sure you never miss out on the theater action. To subscribe on a computer, enter your email address on the home page (right-hand side) and click subscribe. On mobile, scroll to the bottom of the page to find the same option. You can also follow me on Facebook @thestagesofmn and on Instagram thestagesofmn.

Two Gents Another Delightful Shakespear Interpretation From Ten Thousand Things

Kimberly Richardson and Michelle de Joya Photo by Tom Wallace

Shakespeare’s The Two Gentlemen of Verona is believed to be his first play, and many consider it one of if not the, weakest of his works. You can see the early seeds of plots and themes he would later refine, but as a whole, it’s undeniably problematic. Because of that, it’s performed far less often than his more popular comedies like A Midsummer Night’s Dream, Much Ado About Nothing, or Twelfth Night. I’ve only seen one other production, at the Jungle Theater more than a decade ago, and the plot had completely left my memory. That’s fine, though, since this new version makes some changes, which feels like a valid way to approach it. One of the most remarkable things about Shakespeare’s work is its universality, which allows artists to continually reinterpret it in new ways.

Nobody does Shakespeare quite like Ten Thousand Things (TTT), and Two Gents, their take on Two Gentlemen of Verona, is no exception. Part of the company’s mission is to make art accessible to everyone. They create stripped-down productions that can travel easily, bringing theater directly into the community. But they also make Shakespeare accessible by casting performers who can make the language clear and engaging for a modern audience. Which is something not every actor can do as skillfully as this cast.

I won’t try to summarize the plot, it can be a bit convoluted, but I always understood what was happening in a general sense, even if the finer details occasionally blurred. With this particular play, perhaps more than any other, the pleasure comes from the performances rather than the story itself.

This five-actor ensemble plays roughly sixteen or seventeen roles, and that’s where much of the production’s joy lies. One character, Sir Thurio, is actually portrayed by four different actors throughout the show. That might sound confusing, but Caitlin Lowans, the new artistic director of TTT who is making her directorial debut for the company, ensures it’s always crystal clear who’s who at any given moment.

As usual with TTT, the entire cast is strong. The standout is Kimberly Richardson, who plays Launce, the play’s most beloved comedic character. Richardson, a gifted comic actor, brings her considerable talents to all eight of her roles, stealing nearly every scene she’s in. Don’t mistake me though, the rest of the cast, which includes Michelle de Joya, Kamani Graham, Kurt Kwan, and Sara Richardson, definitely hold there own. It’s a true ensemble piece and every player adds to the whole!

Faithful viewers of The Stages of MN Show may remember my interview with Ryan Lee and Tod Petersen back in Episode 4. This production was one of the projects Ryan hinted at but couldn’t announce yet. Here, he creates an unobtrusive soundscape that perfectly complements the action onstage.

This may not be the best Shakespeare adaptation I’ve seen from Ten Thousand Things—which makes sense given the play’s reputation—but even weak Shakespeare, in TTT’s hands, is always entertaining.

Two Gents runs through November 2 at various locations. For more information and to purchase tickets, visit tenthousandthings.org/two-gents

Lizzie The Rock Musical Brings Down the F*%#in House at Open Eye Theatre

Grace Hillmyer, Lux Mortenson, Abilene Olson, and Marley Ritchie Photo by Bruce Silcox

Once or twice a year, I see a show so good I have to see it again and bring more people. Even less frequently, there’s a show that eclipses those rare few. It started in the spring of 2019 when two productions struck gold: Hedwig and the Angry Inch at Theatre Latté Da and Minneapolis Musical Theatre’s Be More Chill. Faithful readers will know those were the experiences that directly led to the creation of The Stages of MN later that year. Another example was Interstate: The Musical, a show tragically cut short by COVID.

Now, we can add to that list of productions that bypass “must-see” status and move directly into the pantheon of all-time favorites: Lizzie: The Rock Musical. This is the high we theater junkies chase. When every element, from music and lighting to performance and design, collides at the intersection of awe and adrenaline. I left the theater after opening night absolutely buzzing and immediately began plotting how to see it again. That’s no small feat for me. But where there’s a will, there’s a way.

You may not know what to expect from a musical about the infamous Lizzie Borden, who was acquitted in 1892 of the axe murders of her father and stepmother. Open Eye Theatre’s program describes it as a “Victorian punk homage” to the notorious figure, and that fits perfectly. It’s important to understand that this is a fictionalized retelling of the true-crime story, inspired in part by the childhood rhyme:

Lizzie Borden took an axe
Gave her mother forty whacks.
When she saw what she had done,
Gave her father forty-one.

Grace Hillmyer and Lux Mortenson Photo by Bruce Silcox

The musical assumes Lizzie’s guilt, suggesting her father’s “affection” may have crossed unsettling boundaries. It also explores a romantic relationship between Lizzie and her friend Alice Russell—what Lord Alfred Douglas once called “the love that dare not speak its name.” Amid all the blood and thunder, it’s the softer songs between Lizzie and Alice that linger. Numbers like “Maybe Someday,” “Will You Stay,” and the haunting “Will You Lie?” (which I immediately sought out on Apple Music afterward) offer moments of tenderness, grace, and humanity that deepen the tragedy.

Lux Mortenson plays Lizzie in a ferocious, no-prisoners performance, they slay every moment and every song. Their chemistry with Stages of MN favorite Grace Hillmyer as Alice is electric: their scenes are tender, tentative, and deeply moving. Mortenson’s powerhouse energy drives the show like a drumbeat, while Hillmyer’s quiet strength and lyrical vulnerability provide the emotional melody. Abilene Olson as Lizzie’s sister Emma and Marley Ritchie as the family’s servant Bridget “Maggie” Sullivan complete the quartet with precision and presence. It’s nearly impossible to imagine anyone else in these roles. This cast is so perfectly aligned that future productions will inevitably pale in comparison, another reason I’m already planning to see it again.

Helping elevate Lizzie to such heights is Joel Sass, who serves as both director and set designer. Open Eye Theatre consistently delivers exceptional design work, and Sass’s set is no exception. Michael Murnane’s lighting design adds striking atmosphere, while Amanda Weis’s music direction ensures a tight, thunderous sound from the band. Samantha Haddow’s costumes beautifully balance period detail with punk rock attitude. The result is a production that’s a full sensory feast, sights, sounds, and emotion working in perfect harmony.

Lizzie: The Rock Musical runs through November 2 at Open Eye Theatre. Opening weekend is already sold out, and the rest are sure to follow. So get your tickets now at openeyetheatre.org/lizzie-the-rock-musical.

Once on This Island, Is Not Enough. You’ll Want to Go Again and Again to Artistry Theater

“Beautiful.” That was the word that floated up from someone in the audience behind me as the cast prepared to take their bows after the final preview performance of Once on This Island at Artistry in Bloomington tonight. I was sorely tempted to leave it at that. I won’t be able to capture the evening any more perfectly than that, even if I used 5,000 words.

The best word to describe the music? Beautiful.
The best word to describe the story? Beautiful.
The best word to describe the cast? Beautiful.
And the best word to describe the star, Antonisia Collins, who plays the grown Ti Moune? Here I can add some qualifiers: possibly the most beautiful woman I’ve ever seen on stage. It’s perhaps the best casting of the year. Collins, who seemed to come out of nowhere and first caught my attention as Robin Hood last summer, has just made the jump to light speed and now sits atop The Stages of MN favorites list.

Once on This Island tells the story of Ti Moune, a young girl saved from a storm by four gods and placed in a tree to be found and adopted by a peasant couple. Mathias Brinda is also excellent as Little Ti Moune, showing remarkable stage presence for an eighth grader. Ti Moune wonders her whole life why the gods saved her as a child. When Daniel, a rich boy from the other side of the island, is in a car crash, Ti Moune discovers him. She knows in her heart the reason for her being saved was so she could save him. She nurses him back to health, falls in love, and when Papa Ge aka Death, comes for Daniel, she offers her own life in his place. Once Daniel is taken home, Ti Moune follows, and he seems to return her love. But where she sees with her heart, he is led by the expectations of others. In the end, he casts her aside and marries someone from his own class. It is Ti Moune’s innocence, her faith, and her belief in love that Collins captures so effortlessly.

There are many excellent members of the cast. A few of note: Darius Gilllard as Tonton Julian, Ti Moune’s adoptive father, whose voice is deep and powerful. Ninchai Nok-Chiclana, who plays the god Papa Ge, is also very good, getting a standout vocal moment in “Promises/Forever Yours (Reprise),” when he offers to spare Ti Moune—if she kills Daniel.

I’d seen the show once before when the tour came to the Ordway in the winter of 2020. Because I’d bought the tickets, I was probably seeing it at the end of its run, and I didn’t write a review. My only real recollection was that we were seated onstage, which was pretty cool, but that’s about all I remember. This time, I was in my favorite seats—front row center. Less novel, but arguably better than being behind the performers.

The production is simply staged, but with a beautiful simplicity that fits the story within a story style. Director Kelli Foster Warder adds some wonderfully creative flourishes, including a scene played entirely in shadows behind a white screen recounting Daniel’s family history. From my vantage point, I may not have been able to fully appreciate Nikki Long’s choreography, but what I could see up close looked fantastic—and I can only assume it looks even better from further back.

Music Director Sanford Moore, as always, draws a big sound from his orchestra, this time infused with a wonderful Caribbean flair. Once on This Island runs through October 26 at Artistry in Bloomington. For more information and to purchase tickets, visit artistrymn.org.