Twelfth Night Is Hot Shakespeare. Seriously, There is No Air Conditioning at Bumbling Fools Meadery

Twelfth Night you may remember, is the Shakespeare play with a shipwreck. Need more? Okay, it’s the one with twins. Still not sure? This one has a woman disguised as a man! 😀 Yep, it’s one of those, which, I realize, doesn’t exactly narrow it down for anyone not well-versed in Shakespeare.

I’m decently versed myself, I see eight to ten productions of his plays a year, alongside roughly 150 non-Shakespeare shows. Thankfully, Twelfth Night is one I’ve seen a couple of times, most recently about three years ago by Ten Thousand Things. So I had a fighting chance of following this production.

Let me explain why that matters.

I generally love a show staged in a unique space, so I was excited to head to Bumbling Fools Meadery for the first time. I was picturing something like Sociable Ciderwerks, where you can currently catch a production of Hamlet. This is…not that.

First off, I felt lucky just to find the place. My GPS initially led me to what appeared to be a deserted industrial building. Seeing no cars or people, I retreated to the main road and tried another driveway. There, at last, were cars, and a sign for Bumbling Fools Meadery. Well, “sign” might be generous. It looked more like a bedsheet with the name painted on it.

I parked and descended some sketchy stairs, fully prepared to encounter either a box office attendant or my untimely demise. Thankfully, I was greeted by the friendly, familiar face of Jackson Hoemann ready to check me in, not a hulking brute in a burlap mask ready to check me out. From there, I explored the basement in search of mead, or in my case, a non-alcoholic option. I had a delightful beverage called a switchel (I went with cinnamon), which I enjoyed immensely.

Now, this all sounds kind of fun, and it is. It’s very mom-and-pop…if Mom and Pop were more “wake and bake” than “spit and polish.” That’s not a bad thing, it just helps to set expectations so no one walks in unprepared.

This labyrinthian basement has no air conditioning whatsoever. I attended on a Friday night when it was approximately 125 degrees in the freezer, thermometers were unable to measure the temperature in the shade.

The show begins at 7:00, but you’ll want to arrive by 6:30 for about 30 minutes of Appalachian mountain music performed by the cast. The music, both before and during the show, is one of the highlights of the experience.

After the preshow, we are invited into your Uncle Scruffy and Aunt Ruth’s laundry room, where the play is performed. Box fans line the walls, bravely attempting to battle the heat. In what may be one of the kindest gestures ever extended to an audience, each person is given a frozen bottle of water. You can rub it over yourself to cool down, and by the halfway point of the 90-minute show, it has melted into something you can drink, assuming you never tire of lukewarm water.

So, back to that “fighting chance” I mentioned earlier.

We are hot. We are uncomfortable. We are audibly crinkling frozen water bottles against our bodies. Box fans hum softly but constantly, in the background. And then the show begins, at a chaotic pace. Productions of Twelfth Night typically run 2.5 to 3 hours; this one clocks in at 90 minutes. In one sense, thank God. In another, you lose much of what helps acclimate an audience to Shakespeare.

It took me a solid 15 to 20 minutes to sort out who was and what there relationships were, and I pieced that together mostly from memory of past productions. Shakespeare can be wonderful, but it can also be challenging. Because of that, you need to do everything possible to help the audience connect.

There are many good elements in this production, but also some head-scratchers, or maybe that’s just part of the flea-market aesthetic of the setting. You know how you sometimes feel like you’ve picked up actual fleas after walking through a flea market? Maybe it’s just me, but I itch for a day after being dragged through antique stores and garage sales.

If you have an uncomfortable audience who are battling heat and noise distractions, it needs to be made very clear who is who and what’s going on, particularly if you have twins who are in disguise. I’m honestly not sure what the unifying concept here was. Hill people? Is that a concept? There are Dukes and Countesses, yet much of the costuming leans toward a sort of hobo motif. And in a particularly baffling makeup choice, several cast members appear to be suffering from some kind of skin condition, which is perhaps, the result of too much flea marketing.

The bottom line: the show is sold out. So I’m having a bit of fun with this review while also trying to steer those of you with tickets in the right direction. Read a synopsis beforehand. Bring a personal fan. Wear a Speedo or bikini, no judgment. And maybe pack some antifungal cream, just in case the skin condition is catching.

I’m glad I went. I’m equally glad my wife bailed. I could appreciate the strengths and rely on my familiarity with Shakespeare. She doesn’t share that interest and likely would have been lost, as would anyone unfamiliar with the play.

One of the most important aspects of performing Shakespeare is conveying meaning, even when the language itself isn’t fully understood. This cast is capable of doing that. They’re just battling extensive cuts, background noise, and an audience too distracted by discomfort to fully meet them halfway.

Brick by Brick Players seems to be sort of a poor man’s Ten Thousand Things. They are doing Shakespeare, they are touring it around to make in accessible to people who might not get to see it otherwise. I don’t think this is a bad production I think it’s an interesting one that is battleing some extreme circumstances and a nasty rash.

Twelfth Night runs through July 25th at Bumbling Fools Meadery. For more information and to join the waitlist for tickets go to https://www.brickbybrickplayers.org/whoweare-1

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The Great River Shakespeare Festival Takes Us Into the Past on the Road to the Future: This Years Shows A Midsummer Night’s Dream and Pericles, Prince of Tyre.

The Stages of MN, MN Theater Love, Cherry and Spoon, and Mrs. The Stages of MN at The Great River Shakespeare Festival

This is my fourth year attending the Great River Shakespeare Festival (GRSF), and more than ever, it felt like returning to a much-loved community, like reuniting with friends. That’s what makes this festival so special: it’s small enough, and the company engages with the public on such an intimate level, that you feel like more than just an audience member, you feel like part of the community. There are so many ways to engage with the company that the experience becomes more than just attending a performance.

Forty-five minutes before each show, the student understudies perform the Green Show. These scenes are designed to tune your ear to Shakespeare’s verse and wrap up with an entertaining introduction to the characters, plot, and world of the play you’re about to see. After every Friday and Saturday evening performance, there’s a free ice cream social where you can enjoy a treat and mingle with the cast, crew, and festival staff. On Sunday mornings at 11:00 a.m., there’s a Company Conversation, an time where anyone can engage with a panel of artists about a variety of topics. All of these events are free and have been part of the festival long before I began making the trek to Winona.

What’s new this year, and especially exciting, is the festival’s move to a permanent home at The ARC, which is Home of the Historic Masonic Theatre. Previously held on the campus of Winona State University, this move allows them, among other things, to sell concessions, snacks, drinks, alcoholic and non-alcoholic options, including an N/A beer option, for which I’m very grateful. The Guthrie could take a cue from GRSF in that regard. There’s also a gift shop with everything from T-shirts and books to William Shakespeare action figures and jigsaw puzzles.

Less visible, but equally exciting, is the space itself. Its labyrinthine layout turns simply moving from the lobby to the theater into a bit of a treasure hunt, and that’s exactly what it is. Around every corner, there’s a piece of theater history: lighting fixtures, commemorative plaques, and costumes that may well be over 100 years old. My favorite find is in the upstairs bar, where you can see an old wind noise machine that, paired with a thunder sheet, once created the soundscape of a storm.

GRSF Artistic Director Doug Scholz-Carlson & Wind Machine

My fellow Twin Cities theater bloggers and I were lucky enough to tour the space, and it’s full of character, because it’s really, really old. With that character come challenges. This is year one, and the GRSF team has done an incredible job preparing the space for the season. But there’s more they’d love to do in the coming years, and completing that vision will require raising three to five million dollars. So if you’ve got some extra cash, $25, $50, $1.2 million, this would be a great place to donate: https://www.grsf.org/donate-now.

The shows! I won’t go into full synopses or in-depth reviews, I know this is already a long article. But what I’ve found over four years and nine productions is this: like Ten Thousand Things in Minneapolis, this company seems incapable of producing a Shakespeare play that isn’t among the best you’ll ever see. Whether you know the plays or not, you will be entertained and enriched.

*Pericles, Prince of Tyre* Photo by Dan Norman

First up is Pericles, Prince of Tyre, a play I had neither read nor seen before attending opening weekend. Not one of Shakespeare’s most frequently performed works, partly because he only wrote the second half, which sent me down a fascinating rabbit hole about Shakespearean collaborations. Pericles is also a perfect example of why we’re still performing Shakespeare over 400 years after his death: as the world changes and artists revisit the work, we find new ways of interpreting and presenting these plays. Director Shaun Patrick Tubbs makes smart adaptations that bring clarity and emotional depth, both of which resonated strongly with the audience.

Someone described Pericles over the weekend as “Shakespeare’s greatest hits.” It’s got ships, storms, people separated by ships and storms. Really, the only thing missing is a set of twins. There’s love, pirates, attempted murder, a character unknowingly buried alive, human trafficking, incest, and even divine intervention. And near the end, Will Sturdivant as Pericles, had me in tears during a reunion scene. The ensemble of eight company members, who perform all roles in both this and A Midsummer Night’s Dream, are among the finest Shakespearean performers you’ll see. Sturdivant stands out here, as does Melissa Maxwell as Helicanus, Pericles’ advisor, who also takes on the narrator function (traditionally Gower). It’s a brilliant consolidation that improves clarity and pacing. Maxwell transitions seamlessly between character and narrator, commanding both spaces with authority and wit.

Benjamin Boucvalt and Tarah Flanagan (who played Hamlet in one of the best productions I’ve ever seen! which was at the GRSF in 2024) bring welcome humor to roles that could easily be played dark and serious. That balance is key to why this production works so well.

Karl Gfall’s scenic and props design makes full use of the stage, extending into the wings with representational elements, a ship’s bow and stern, sails upstage, that evoke setting without overwhelming it. When the action moves to land, branches root us in place. And in a particularly striking moment, lighting designer Lonnie Rafael Alcaraz transforms those branches into flashes of lightning during a storm at sea.

*A Midsummer Night’s Dream* Photo by Dan Norman

A Midsummer Night’s Dream is delightful, on par with the Guthrie wonderful production from last year. I may need to return to Winona just to see it again, thanks to a clever casting choice: Will Sturdivant and Tarah Flanagan alternate the roles of Bottom and Peter Quince. I saw Sturdivant as Bottom, and he was fantastic, but Flanagan’s take on Quince was so distinct and funny that I’m very curious to see what her Bottom looks like… oh behave!

Once again, the entire cast shines. Michael Fitzpatrick is an excellent Puck, with great instincts for pacing and a knack for stretching moments when needed. Among the young lovers, all strong, Annie Barbour stands out as a gifted physical comic. That physicality aligns beautifully with director Doug Scholz-Carlson’s concept of setting the play as if performed by a theatrical troupe in 1908, the year the ARC building was constructed. The comedy leans into the style of silent film-era performers, a connection reinforced by the sound and lighting design from Matthew Tibbs and Avery Reagan.

The most exquisite design element, however, is the set of painted drops, remnants from Masonic rituals. These lush backdrops shift and deepen under changing light, creating a sense of dimension that’s truly magical. Even more remarkable: the fly system is still functional, allowing these pieces to shine.

The Great River Shakespeare Festival isn’t just an opportunity to see exceptional Shakespeare, it’s a chance to step into the past. In this new space, it feels like experiencing theater as it might have been a century ago. It’s a treat.

The festival runs through July 26 in Winona, MN. For more information and tickets, visit https://www.grsf.org/2026-season. For more coverage watch for more coverage from M’Colleagues at http://www.cherryandspoon.com/ and https://www.mntheaterlove.com/

Midsummer Night’s Dream, Thumbs and Bottoms Up For This Production From The Modern Rep

*David Michaeli, Bryce Baxter, Richard Rigmaiden, Leo Rossmiller, and Jonathan Edwards* *Photo by Molly Jay Photography*

The Modern Rep Theatre Company’s production of A Midsummer Night’s Dream is performed both as it would have been in Shakespeare’s day and unlike anything you would have seen in Shakespeare’s day. When the plays were first produced, all the roles on stage were played by men, as women were not allowed to act in the theater. In this way, this is a very faithful performance, as all the roles are played by men. One of the great things about Shakespeare is that 400 years on, groups can perform the plays and bend them to their will. This production is certainly bent, as the company’s website describes it, “messy, sexy, and very gay.”

I like a production that takes chances and finds interesting new ways to speak Shakespeare’s text. I also appreciate a traditional staging, and I’m grateful that my first exposure to the play on stage was The Guthrie’s wonderful production in 2024. I saw that production twice, which I think allowed me to enjoy this one more thoroughly. I had a solid understanding of the plot and the characters, so I never felt lost. A familiarity with the play also helped me to spot the departures, which can be subtle and clever, and usually rather blew (or blue, I mean).

The cast is great, and they run their Bottoms off, each playing at least three roles. They really seem to feel at home in the roles of the fairies of the forest, but are just as good as the amateur actors and the four young lovers. They are capable of doing the one thing you must do when performing Shakespeare: whether you are in Elizabethan costumes or dressed as barn animals, you have to speak the language so that the audience can understand it. I’m not talking about enunciation, I’m talking about meaning. The audience needs to understand the meaning behind what they say, even if they don’t know what every word means.

I very much enjoyed this show, but there are a few things you need to know before you go. For some reason, this theater company believes there must be an element of discomfort for the audience. In their first production, Salomé, they opened a large garage door to the outside for extended periods during a particularly cold stretch in late February. In this production, the seating is on metal bleachers with no backrests. If you have a bleacher seat (thank God we did), bring it with you. The show runs nearly two hours without an intermission, depending on your fitness level, that’s a long time to sit without back support.

There are a few other things you should know, which are actually kind of fun. When you arrive at the location, you are going to question whether you are in the right place or not. The entrance to the performance space is halfway down an alley. The cast mingles with the audience before the show, offering free tattoos, popcorn, and shots. And lastly, It is very risque, so if that isn’t your jam, skip it, but if you are OK if things get a little hard “R”, you’ll be good.

If you like your Willy a little on the queer or wild side, I think you’ll have a blast with this production. If you are new to A Midsummer Night’s Dream, read the Wikipedia plot synopsis before you go, it will help keep you from getting lost. There is nothing worse than sitting through two hours of something you can’t follow.

Midsummer Night’s Dream runs through June 20 at 901 N 3rd St in Minneapolis. For more information and to purchase tickets, go to https://www.dreammpls.com/about.

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/

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

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.

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

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

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

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

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

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

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

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

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

Henry V Gets Some Radical Changes From Jackdonkey Productions

Henry V is one of the Shakespeare history plays that I am fairly familiar with have seen it produced on stage twice now and seen three screen adaptations. I have certainly never seen it done like this. The story of King Henry V of England and his war to conquer France has been used as propaganda for war and against it. Here it is seen through the lens of how the decisions of flawed men have profound effects on the people over which they rule. This is a valid viewpoint and is a way to make the play speak to our times. Shakespeare’s works are so rich and out of copyright that they become easy to adapt in a way that highlights the message a Director wishes to convey without departing the text simply by how you cut it and play it. Here Director Zach Christensen makes some bold choices which are mostly successful, but occasionally perplexing.

First off, the show adds close to a half a dozen songs but not sung throughout, only at the opening of the first Act and after intermission. The songs are well performed by the cast and I get the vibe what they are going for. While not being detrimental to the production, the songs don’t really integrate into the play, but more like live pre-show of music meant to set the tone. There may also be too many of them but they are enjoyable. The biggest and most bizarre change is the inclusion of Falstaff who does not appear in the original play though he does die offstage. Now adding some flashbacks or prologue with Falstaff is not unheard of, in his film version Kenneth Branagh includes several flashback scenes with Falstaff. But here Falstaff is seen in scenes from the Henry IV plays, much as his characters is in those plays, which is a comical character for the most part. But then he actually replaces the role of the Duke of Exeter jettisoning for the most part the traits we associate with Falstaff and playing it as you would Exeter. There is one scene in which the reason for the change became clear and made a certain amount of sense if you wanted to play the scene that way. But it still results in Falstaff for the most part acting completely out of character for most of the play. It’s a questionable choice that kept taking me out of the performance.

The play is well cast even Dominic Schiro as Falstaff is very good, despite the puzzling choice of who he was playing. David Michaeli is very good as King Henry, tackling some very famous speeches and successfully making them his own. It’s a very strong cast with some wonderful and surprisingly humorous performances. Standouts were Amanda Espinoza as among other roles Fluellen, who is the Welsh captain of a contingent of Henry’s army. Noah Hynick, who must be on loan from Lyric Arts, as the Dauphin of France is hilarious as he tries to outbrag his fellow French noblemen on the eve of the battle of Agincourt. Bradley Johnson and Eden Fahy, are particularly good in the the song sections of the show. Overall it’s an exciting and unusual production and while every gamble doesn’t pay off there’s no denying it’s a very interesting and engaging production. The fun thing about Shakespeare is that you can be bold and try new things and I applaud Director Christensen for making some bold choices. Fans of Shakespeare will have seen faithful productions in the past and will enjoy seeing Jackdonkey play around with things. I think it will also appeal to those who aren’t that into a Shakespeare History play as it does what it can to be kinda radical and accessible to all.

Henry V runs through 8/18/25 at Theatre in the Round. For more information and to purchase tickets go to https://www.ticketleap.events/tickets/jackdonkeyproductions/henry-v-jackdonkey-productions

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Romeo & Juliet and The Comedy of Errors Make For Another Fantastic Trip to The Great River Shakespeare Festival

Alessandro Yokoyama and Serena Phillip, Will Sturdivant and Emily Fury Daly (Photos by Dan Norman)

It’s time once again for the Great River Shakespeare Festival (GRSF) in Winona, MN. This year there are two productions which I was able to see in one day, Romeo & Juliet and The Comedy of Errors. There is a third production of Two Gentlemen of Verona that will have four performances around the Region. It is being staged by the graduate acting company of the Clarence Brown Theatre and the University of Tennessee Knoxville (UTK) who will be in residence at the GRSF this summer. This cohort of young professional actors will understudy roles in The Comedy of Errors and Romeo and Juliet while studying with the company and professors from UTK. They will also be presenting the Festivals Green Shows which take place about 45 minutes before each performance of Romeo & Juliet and The Comedy of Errors. These green shows act as a way for the audience to tune into Shakespeare’s language before the shows and also give the audience a quick rundown of the characters and their relationships and roles in the plays. It’s a great way to make sure the you’re prepared to get the most out of each production and I never miss them.

Romeo & Juliet is the real surprise this season, Director H. Adam Harris has taken an approach I’ve never seen before in staging the play as a memory play from the POV of Juliet’s Nurse. It really works, it doesn’t dramatically alter the play but it does add another undercurrent of loss. That may not sound like what you want in a tragedy but whenever we find new things to play in Shakespeare, it’s exciting. The concept is aided by some well designed lighting cues by Avery Reagan. They aren’t overused but periodically the lighting changes and the action freezes around the nurse. In this way the focus shifts to her and we see the story from her perspective, it colors the story in a slightly different way. The nurse is played by Stephanie Lambourn who brings out this new dimension in the character that feels fresh and original, while still feeling faithful. As the young lovers Alessandro Yokoyama as Romeo and Serena Phillip as Juliet are really terrific, with a great command of the language and an ability to make the immature decisions of the characters not feel juvenile, by bringing to the forefront the emotions they are battling. It’s one of the best productions of one of the most produced plays of Shakespeare’s that I’ve seen.

The Comedy of Errors is one of Shakespeares silliest comedies, and that is absolutely what Director Doug Scholz-Carlson leans into with this production. Audience members might not be as familiar with this play and that’s OK. This is simply meant as an entertainment and for a play written over 400 years ago it’s astonishing how funny it feels. Of course a lot of making a play like this work is in what the Actors and Director bring to the play. The plot is rather confusing while also being sort of simple. There are two sets of twins, one the master and the other the servants, who were separated when they were young during a shipwreck. As adults, they end up in the same city and a series of mistaken identities occurs. That’s basically all you need to know. The tricky part is keeping everyone straight throughout the play and who has mistaken whom for who… OK now I’m confused again. Really, the plot doesn’t matter and you wont have any real trouble following it. The joy of this production is the way the actors play the roles, the clowning they do and the ingenious ways in which they present a play with about 20 characters using only 9 actors. The best part of the show is the ways in which Will Sturdivant and Emily Fury Daly take on the challenge of playing the duel rows of the two sets of twins. It’s Shakespeare by way of Scooby Doo, set in the 1980’s with great musical cues throughout by Sound Designer Matthew Tibbs. And again Lonnie Rafael Alcaraz as Lighting Designer is an asset adding some wonderfully wacky lighting effects.

The Great River Shakespeare Festival runs through July 27th in Winona, MN. If you haven’t been yet, it takes just over two hours to reach from the Cities, there’s lot’s to do and some fun places to eat. We always make a two day trip out of it and have a fantastic time. For more information and to purchase tickets go to https://www.grsf.org/

I’ve officially launched The Stages of MN YouTube Channel which you can view by clicking on this link. https://www.youtube.com/@TheStagesofMN. Check out the intro videos and the weekly episodes. Subscribe to the channel so you’ll always know when a new episode has dropped. Think I may have steered you wrong on a show? Well, I’m also a member of the Twin Cities Theater Bloggers (TCTB), where you can read review roundups of shows by m’colleagues and I when you follow us on facebook @TwinCitiesTheaterBloggers.