FETAL, a Brilliant Play That Traffics in Empathy From Frank Theatre

Carolyn Pool, Kate Beahen, Julia Valen, and Elena Yazzie Photo by Tony Nelson

FETAL the play by Trista Baldwin that had its world premiere last fall was such a hit that Frank Theatre is remounting it a mere three months after it closed. I wasn’t able to catch the initial run, m’colleague over at Cherry and Spoon had it on her list of the best plays in 2023, with that and after going gaga over Frank Theatre’s production of Ironbound in January, I was very excited to learn they were remounting FETAL and there was no chance I’d let it slip by a second time. The show runs through March 10th, but already has some sold out performances coming up, don’t let your chance to see this powerful and important work pass you by. Baldwin’s play is set in a clinic in Texas that provides legal abortions to women two days a week. We meet three woman that represent different points on the spectrum of age, situation, and believe systems. While each woman’s story is unique, these characters are not meant to represent all woman, but they are intended to give us a look into the complexities of the issues surrounding a woman’s right to choose and to have power over her body and health. FETAL is what I call an issue play, it’s goal isn’t to simply entertain you, it has a message it wants to relay to you. It’s also the best kind of issue play, it doesn’t simply preach at you, it isn’t trying to win you over with arguments and facts to its point of view. It’s doing what great art does, creates empathy, and it’s doing it in the most effective way there is by reducing it’s beliefs not to an argument, but to a person. If Baldwin simply had her characters tell you that a woman should have the right to say what happens with her body, she would fail in her goal. What she does, and it’s why the play succeeds, she shares her characters stories. It is through the personal that we gain understanding of others not through facts and figures, Data can open our eyes, but stories open our hearts. The other character in the play works at the clinic, she’s not a Nurse or a Doctor but there to do patient intake and go over the state required information that’s intended to scare people out of having an abortion. That’s her job function, but she’s really there to receive their stories, and carry them once they leave so they don’t have too.

The characters have names in the program but they are never used in the play, instead the three woman are given numbers to protect their identities. This may be to mirror the actual procedures on clinics in Texas or it could be to remove one layer between the characters and the audience. Without names they are even easier to see as yourself or others in your life. What has been used at times to stifle individuality in other real and artistic endeavors, here is used to turn the individual into anyone, it’s an effective reversal that like everything in this play works to connect us to the characters. The women are played by Elana Yazzie, Julia Valen, and Carolyn Pool, the clinic employee is played by Kate Beahen. Sometimes after a show on the car ride home we play a game called who was your favorite, sometimes it’s more of the, who gave the best performance variation. Tonight two responses came to mind. Firstly, no one was better than anyone else, they were all perfect for the role they were playing. The favorite? Well, that is about who you identify with the most and that will vary from audience member to audience member. Secondly, not only couldn’t you say anyone was better than the others, but when everyone is this good, and the story is so much about supporting each other, the thought of judging them against each other felt very wrong. They all made each other better, there was a sense that while the characters were supporting each other, so were the performers. It felt honest, it was simply woman supporting women in every way, beautiful.

A script that creates empathy in a way that will make audiences, who are on board with the playwrights beliefs, think about what they have seen. Many people seem to think that the two sides of this argument are people who don’t want women to have abortions and people who want women to have abortions, but that isn’t it at all. The two sides are those who want to control what other people do and those who think everyone has the right to decide for themselves. So those who want to control others and those who want the right to exercise the free will that God gave us. With a script this good and a cast so so so perfect and brilliant, it would be easy to wrap up this review and feel like I’d done my hobby. But I would be forgetting to acknowledge the incredible work of several other key players in this production. Wendy Knox who is becoming one of my favorite local Directors is batting a thousand. The way she utilizes the wonderful lighting design of Tony Stoeri to highlight each character when it is their turn to share their story. The way she has the characters interacting, with themselves arguing their emotions with their reason through the surrogate of Beahen’s character. The set design by Rick Polenek which turns the Frank Theatre’s Studio (basically their rehearsal space) into a very realistic waiting room of a clinic. The sound design by Dan Dukich is perfectly balanced, it doesn’t ever drown out the performers but also never fully lets us forget, that outside the building, are protesters spewing the hateful rhetoric that Jesus wants them to shout at women who are already having a very difficult time. Last, but not least is Kathy Kohl whose costumes fit these characters perfectly and I’m certain were of great use to the performers in finding their characters. Clothes give the audience an idea of who the characters are but they also help the actors to find who they are as well.

FETAL runs through March 10th at the Frank Theatre Studio for more information and to purchase tickets go to https://franktheatre.org/events/fetal-trista-baldwin/

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Silent Sky Soars to Dizzying Heights At Theatre in the Round In Minneapolis

Silent Sky by Lauren Gunderson concluded its opening night performance at Theatre in the Round Players (TRP) to a thunderous standing ovation that you could tell caught the actors by surprise. I imagine, when you are working on a play day after day, you are a little too close to it to know if it’s working as well as you hope. Well I can’t imagine a better production of Silent Sky then I saw tonight, at least in the ways that matter. It’s a small intimate story about one woman’s passion that also encompasses the infinite in terms of the universe and the human spirit. Like her Christmas at Pemberley trilogy, Gunderson exhibits here a gift for the emotional resonance, knowing humor and female empowerment that characterizes the work of Jane Austen. She is undoubtedly the modern playwright successor to that genius of English literature. The only thing that could lessen her work would be a cast who doesn’t rise to its quality, blessedly TRP has assembled a cast that bring humor and heartache in equal measures from reciting the phonebook if called upon. Lucky for us they are instead given Gunderson’s wonderful words and with those they soar to the heavens and beyond.

The story, set in the late 1800’s and early 20th Century tells the true story of Henrietta Leavitt, a pioneer of Astronomy whose contributions have had an immeasurable effect on science and our understanding of the universe. Leavitt left home after graduating college to work at the Harvard College Observatory where she learns that as a woman she is not allowed to operate the telescope. She is put to work instead with the other “computers” Williamina and Annie measuring and cataloging the brightness of stars from photographic glass plates. She is passionate about her work and lives for it forgoing visits home and staying late, sometimes overnight, working on ideas of her own. Henrietta is played Eva Gemlo who recently played Elizabeth Darcy in The Wickhams: Christmas at Pemberley, and there is much of that character and that of Jo March in Henrietta. Gemlo is marvelous at playing the smartest woman in the room, she is fire and passion, wit and intelligence with a gift for putting her boss Peter Shaw in his place. When an attraction begins to develop between the two, it happens so naturally that one is caught off guard at first but suddenly become excited by the budding romance. Peter is played by Ben Qualley who is a master at be being put in his place, thrown off balance and generally run circles around by his female employees. Annie and Williamina are played by Rachel Postle and Wini Froelich who seem so incredibly in sync and casual with each other I wouldn’t be surprised to learn that they are old friends in real life. These rules are crucial to widening the scope of the play beyond Henrietta’s ambition and the posible love story. They show that Henrietta isn’t the sole woman capable of being more than was allowed of a woman at that time. Through them we see other shades of how woman greatly contributed to the world without getting credit. They also provide a lot of the gentle humor that flows through the piece, Postle and Froelich give wonderful performances creating fully realized characters that it is a joy to spend two hours with. The cast also includes Clare Rolinger as Henrietta’s sister Margaret, through her we also get to see a woman who has chosen to stay at home, marry and raise a family, because that’s not just what most women did back then, but it’s also an acceptable choice for women to make today if they wish. But, we also learn at the end that she composed a symphony, so don’t judge a book by its cover.

The production is directed by Gretchen Weinrich, who obviously generates great performances from the cast finding just the right tone for every scene. There is a some extraneous set piece movements that felt unnecessarily busy, but they didn’t really detract from the production as a whole. Sadie Ward’s Set Design is simple but kind of magical with the cosmos painted on the floor and walls. The lighting design by Peter W. Mitchell continues the motif with star fields appearing all around at various points. I also really enjoyed the costumes by Colleen O’Dell, which isn’t something I ordinarily notice, but the period dress was really excellently realized, particularly the slacks worn by Annie in the last scene.

Silent Sky Runs through March 17th at Theatre in the Round Players in Minneapolis, for more information and to purchase tickets go to https://www.theatreintheround.org/home/season-placeholder/72nd-season/silent/

In the Green at Elision Playhouse

In the Green by Grace McLean began a three week run last night at Elision Playhouse in Crystal MN. The Elision website summarizes the plot as:

“As a young girl, medieval saint, healer, visionary, exorcist, and composer Hildegard von Bingen was locked in a cloister’s cell after demonstrating a preternatural sensitivity to the world around her. Sequestered with Hildegard is Jutta, a woman who has spent her life secluded in an effort to recover a whole self after the deepest of trauma. Under Jutta’s guidance, Hildegard attempts to reassemble her own fragmented self while her mentor proselytizes a rejection of brokenness.”
Elision Theatre Website

So that tells you the outline but what it doesn’t prepare you for is how it tells that story. Hildegard is played by three different actors simultaneously each playing one of the pieces of Hildegard’s splintered self. Abilene Olson is Hand, Annie Schiferl is Eye, and Deidre Cochran is Mouth, it’s an astonishing collaborative performance, even when one part take center stage you feel as if the others are still a part of what is happening. The performances are highlighted by the exactness of their vocal synchronization, their voices sound hauntingly beautiful together and it is the music that makes this production worth checking out. Like Hildegard the character of Jutta is also played by two performers, Christine Wade plays the present Jutta while Emily Hensley plays the younger Jutta, listed in the program as Shadow, she is the darkness that Jutta has buried in her cell. Both also have incredible vocals, Wade has the added challenge of performing while operating a Looper board. This is a wonderful device that allows for the recording of a sound, vocal or otherwise, that can then be played in a loop while the same performers sing another part, allowing for the layering of sounds in unique ways. It’s also for me, as an audience member, a stressful tool as I worry about the tightrope act that operating the machine during a live performance. Hitting the wrong button could throw everyone off and ruin the flow and mood of the music.

When it comes to music “it had a nice beat and I could dance to it” is about the extent of my expertise so I’ll direct those interested in a more nuanced discussion of the musical elements to my fellow Twin Cities Theater Blogger Keith at Life in Revue https://lifeinrevue.blogspot.com/?m=1. What I can say is that It didn’t have a nice beat and you can’t dance to it, but it was amazingly complex and I found myself in awe of every aspect of the music. Harrison Wade’s musical direction and Christine Wade’s vocal direction are the high calibre one has come to expect from Theatre Elision. The Looper board adds a layer that could be used to make things easier on the music department but they use it to add complexity. The staging and design by Director/Designer Lindsay Fitzgerald is at once minimal but like the soundscape surprisingly complex. Using screens and projection in concert with Laina Grendle’s lighting design to accomplish visual what the Looper was doing aurally. Madeline Wall is the Movement Coordinator whose work seems to tie everything we see and hear together, making the complicated premise of three Actors simultaneously playing the same person work. This is a production you go to to see how talented people all collaborate to create a piece that feels cohesive in every possible way, nothing detracts from the atmosphere of the piece. Is it fun? No, there are a couple of line readings that get a chuckle, they are well placed, and lighten the mood when needed. At 90 minutes it’s the perfect length for something that is more to be appreciated than entertaining. It’s thoughtful and very impressive, and I enjoy something that’s a little more moody and serious sometimes.

In the Green runs through March 9th at the Elision Playhouse for more information and to purchase tickets go to https://www.elisionproductions.com/in-the-green

Alice in Wonderland, Chaotically Hilarious, Visually Spectacular at Children’s Theatre Company

Anja Arora as Alice Photo by Glen Stubbe Photography

Alice in Wonderland The classic story by Lewis Carroll is brought to life in this original Children’s Theatre Company (CTC) production. The adaptation is by Sharon Holland and it pulls not only from Alice’s Adventures in Wonderland but also from Carroll’s sequel Through the Looking Glass. The production is making it’s return after more than a decade featuring a wildly creative scenic and costume design by the late G.W. Mercier. I wasn’t a fan of CTC bringing back How the Grinch Stole Christmas for the second year in a row, I’m fine with companies bringing back their hits from time to time, and I acknowledge that the Guthrie does A Christmas Carol every year. This feels much more appropriate, there has been a nice long break. For children’s theater I think the old Disney model makes a lot of sense, before and during the early days of home video the company would re-release their animated films in theaters every 5 to 7 years, basically the cycle when a new group of children were at the appropriate ages to see them in the theater. This production is definitely one that should be brought back for each generation of young theatergoers to enjoy.

Enough praise cannot be given to this adaptation and the overall design and look of the production. The illusions and creative zaniness of the storytelling make this play like a live action episode of Animaniacs. Most of us over the age of 12 will know how certain tricks are done, but that doesn’t make them any less enjoyable. Those under 12 may just have their minds blown. It’s an tale of nonsense full of madness and reverse logic, the type of show one wonders who will enjoy it more, the kids or their parents? Too close to call. The cast is filled with brilliance, CTC company member Dean Holt is fantastic as among others The Mad Hatter and Humpty Dumpty. His tag team performance at the Tea Party with the always strong Nathan Keepers as the March Hare is a highlight of the show and the perfect snapshot of the tone of brilliantly constructed chaos that the show runs on. At the performance I attended the role of Alice was played by Anja Arora who alternates the role with Audrey Mojica. Arora is wonderful in the role and if she can hold her own in the sea an anarchy that is this production, you can bet she has a bright future ahead of her. Shout out to local favorites China Brickey, who really gets to let loose at the Queen of Hearts, whose favorite phrase is :Off With Her Head!!”. Also Taj Ruler whose knack for comedic line readings makes her the ideal actor to play the Cheshire Cat.

Alice in Wonderland is the type of show that can make lifelong theatergoers of young audiences and as such I highly encourage everyone with children between the ages of 6 and 14 to take them. I also highly recommend that those without kids go as well as it’s the kind of show that can make lifelong theatergoers out of adults as well. The show runs through March 31st at The Children’s Theatre Company in Minneapolis for more information and to purchase tickets go to https://childrenstheatre.org/whats-on/alice-in-wonderland/

Honey, I’m Home a Hilarious Solo Show at Open Eye Theatre

Honey, I’m Home is Madeleine Rowe’s one house show which combines comic clowning, inspired physical theater and very clever writing. It’s part of Open Eye Theatre’s 2024 Guest Artist Series, and a remount of a successful run at The Southern Theater in 2022. I recently saw Rowe in Every Christmas Story Ever Told (And Then Some) at Yellow Tree Theatre and found her clowning most enjoyable. I expected some laughs, what I got were more laughs than you can shake a plunger at. I could explain that but like a lot of comedy shows the fun is in the unexpected, the laughs come from your spontaneous response to what his being presented. Open Eye Theatre is such a small but wonderful theater space, I’ve seen some of my favorite performances in this little theater with it’s tiny brick enclosed stage that usually feels like it’s about eight feet by eight feet. Tonight though, it felt especially spacious, possibly because it looked to have been freshly mown. Rowe plays a house for sale and it’s open house day so she’s a little bit excited. She’s very welcoming and even gives us, the audience, a pre-open house tour. That should give you the gist of the show. The entire performance is a direct address to the audience and you are expected to join in. The notoriously anti-audience participation Blogger Cherry and Spoon was able to avoid joining the show but I believe had a wonderful time with it as well. So don’t let that put you off.

Rowe is a first rate clown and performer, brave and impishly mischievous, she has the audience in stitches for 70 minutes straight, which is another wonderful aspect of the show, it’s about 70 minutes long and so no need for those annoying intermissions. Rowe could hold the audience all on her own without set and props and costumes and dummies, but the addition of those things pushed this into the realm of something really special. Roofs off to I’m Staying Home with Madeleine Rowe and Michael Torsch for their Set Design. Sound Design by Dan Dukich and Lighting by Ariel Pinkerton add the perfect touches. Whoever designed the projections and puppet work deserves a big round of applause, there’s a duet sung with the aid of those elements that is a moment where I realized this was exactly what I needed tonight. It was a hard day today and I almost stayed home to process, I’m so glad I didn’t as Madeleine Rowe and her brilliant show lifted me up when I most needed it. Honey, I’m Home runs through February 24th at Open Eye Theatre in South Minneapolis for more information and to purchase tickets go to https://www.openeyetheatre.org/honey-im-home

Bosom Buddies a Paired Down Drag Show That Goes the Sweet Rather Than Sour Route

I don’t have a lot of experience with Drag shows, but the ones I have seen have trended to the risque and/or Diva end of the spectrum. For this performance Timothy Kelly, co-founder and Managing Director of Fringe favorites Melancholics Anonymous and local operatic soprano, Gillian Gauntt make their Drag debuts to promising results. I’m really shockingly uninformed on drag culture so apologies if I misunderstand or mistate anything, please feel free to correct me in the comments as I do endeavor to get these things right and learn. This show contains a bit of a narrative, albeit underwritten about two performers a Drag King and a Drag Queen who are accidently booked to perform at the same time. After a little sass they decide to take turns performing sets. Antagonistic at the outset, by the end they are becoming friends, though their duet “Bosom Buddies” show they still have a little sting in them. Rather than battle it out between songs throughout the evening they pretty much take turns doing a few songs with a little genial interaction at the changeovers. It’s just the two of them and Nick Love doing a fabulous job tickling the ivories, I’m not even sure there was anyone in the tech booth. This is not that supper polished 5 Drag Queens with 17 1/2 costume changes each, disco balls, and glitter & tinsel in dizzying amounts. Kelly has a costume change during intermission, and Gauntt loosens their tie, the lights just sort of stay on at an appropriate level. My feeling, this is a first stab to see if it’s worth developing, and I for one think it is.

Gauntt is dressed as a man with beard stubble applied with makeup. They dress as male but sings songs in the range of a female, what’s a soprano to do? Kelly dresses as female and sings like a female in a somewhat smokey voice that reminded me of Lauren Bacall. If the point is to attempt to plausibly perform as the gender that fits the costume and character name, Kelly triumphs. The wig, the voice, the vocal quality, and indeed the character. I suspect that singing is Gauntt’s specialty and that acting is not their first love. The performance is fine it’s just missing that little something that a born actor like Kelly can’t help but bring to any role. I didn’t allow myself to get to hung up on the rules of gender transformation if there are any, instead I sat back and enjoyed the two performers voices which are both exceptionally good. Their song choices frequently fit into the slight narrative of the show about half or two thirds of them I knew, which I appreciate. I hope they continue to develop these characters and flesh out the show, I’d definitely be in for the next incarnation. It’s a little, not rough, but not polished, but it’s also really kinda sweet where it ends up and there are a couple of really fun songs and some beautiful ones. I’m glad I stopped over to the Phoenix Theater to check it out. Tickets are on a sliding scale from $10 to $40 the show runs this weekend only for more information and to purchase tickets go to https://tix.gobo.show/events/event/kOTpBfuSZmpxTz4yVqcc

Take a Chance on Mamma Mia at the Orpheum Theatre It’s worth the “Money Money Money”

Jalynn Steele, Christine Sherrill, and Carly Sakolove Photo by Joan Marcus

Mamma Mia! the musical premiered in April of 1999 in London, almost 25 years ago now, in fact this current tour is the 25th Anniversary tour. I suspect it has more or less been playing in one of the major cities or on tour nonstop for those 25 years. There is a reason for that, it’s “Super Trouper” fun. But for all the fun it provides it also has a cross to bear. While Jukebox musicals existed before Mamma Mia! it’s phenomenal success is credited or blamed for the surge the genre has experienced in the last quarter of a century. While it may not be fair to blame Mamma Mia! for something as ridiculous as The Bodyguard it just takes a quick glance through the wikipedia listing of Jukebox Musicals to see the explosion that followed Mamma Mia! The 8th longest running musical in Broadway history it’s popularity is undeniable, but is it for everyone? Of course not, nothing is, if you don’t like the music of Abba for instance this probably isn’t the ticket for you. But if you do enjoy a little bit of “Dancing Queen” in your life and enjoy a good laugh then say “I Do, I Do, I Do, I Do, I Do” to a seat as close to the stage as you can manage. For those just rescued from a desert island the story centers around the wedding of Sophie and Sky. Sophie, after reading her Mother’s Diary for the year of her birth has discovered that her Father, of whom she knows nothing, is one of three men her mother had relationships with the summer she was conceived. She has sent invitations to her wedding in her mother Donna’s name to all three of the men, Sam, Harry, and Bill, without Donna’s knowledge. While Sophie tries to figure out which of the three men is her father, Donna is trying to prepare for the wedding, run her Greek Island hotel, and face three men from her past that she never thought she’d see again. There to support Donna are her two best friends and former singing partners Rosie and Tanya. All of this sung to the legendary music of Swedish super band ABBA.

Two things to know going into this production it’s loud, near rock concert levels, those with sensitive ears might want to invest in some earplugs. the second thing is that the loudness is part of what makes it such a memorable night, precisely because it feels like a rock concert! Nowhere more so than the curtain call which plays like an encore and a welcome excuse to revisit the songs “Mamma Mia” and “Dancing Queen” as well as the song that launched ABBA to stardom in 1974 but could not conceivably be shoehorned into the plot “Waterloo“. If you are one of those curmudgeons who sneak out during the curtain call to beat the line out of the parking ramp, you’ll miss some great stuff. Also, shame on you, these people just spent two and a half hours dancing and singing their hearts out, show your appreciation to them for sharing their talent with you and clap for God’s sake. The show moves along quickly the set design by Mark thompson is very simply but does everything you need from it. It’s nice to see a production that wows us with people rather than spectacle. Choreographer Anthony Van Laast puts together some nice scenes, I really enjoyed his work durning the song “Lay All Your Love On Me” which ends with Sky and his friends in wetsuits and flippers doing a variation on a chorus line. The encore also features some really nice dance moves, so there’s another reason to stick around.

The standouts in the cast are not necessarily who you’d expect, far and away my two favorites are Jalynn Steele and Carly Sakolove as Donna’s besties Tanya and Rosie. Confession time, I’ve only seen the film once when it came out in 2008 and hated it, primarily because I found the performances of these two characters and that of Donna’s to be shrill and one prolonged two hour screech. I do plan to revisit to see if my opinion has changed, because it’s all that stuff with Tanya and Rosie that I absolutely adored in the stage production. Steele and Sakolove are gifted at making their routines feel like they are happening for the first time, if physical humor can be called witty, this is it. Their song sung to Donna while trying to cheer her up “Chiquitita” is one I’d pay to see again. It doesn’t hurt that that scene flows right into Dancing queen and in both songs they demonstrate, that as good as everyone else is on the stage, those two are packing the best voices in the show. Sakolove also gets a riotous song with Jim Newman’s Bill “Take a Chance on Me“, that brings the house down. A close second is Victor Wallace as Sam, the possible father who is the one who really broke Donna’s heart and the one she’s not even a little happy to see. He doesn’t really get a chance to show off his voice until the second act when he gets two songs in close proximity “SOS” and “Knowing Me, Knowing You“. The richness of his voice catches you a little of guard as nothing up until that point led you to believe he could sing any better than Pierce Brosnan. Christine Sherrill who plays Donna had a slightly off first act, one of my colleagues who is more musically astute than I am felt like she was a little behind and that led to a sense that her voice wasn’t as strong as the others. Whatever the issue was it seemed to have evaporated during the intermission as she finished the show quite strong with “The Winner Takes it All” being a powerhouse of a performance.

Mamma Mia runs through February 11th at the Hennepin Theatre Trust’s Orpheum Theatre in Downtown Minneapolis. For more information and to purchase tickets go to https://hennepintheatretrust.org/events/mamma-mia-orpheum-theatre-minneapolis-mn-2024/ . Side note, am I the only person who can’t hear “Knowing Me, Knowing You” without thinking of Steve Coogan’s Alan Partridge character?