Tuesday, May 31, 2016

Scapegoat at Pillsbury House Theatre


Christina M. Ham's new play, Scapegoat, premiering at Pillsbury House Theatre, revolves around a horrific, but mostly forgotten, chapter in American race relations. Elaine, Arkansas, was the site of a so-called Race Riot in 1919 that resulted in the deaths of five white people and anywhere from 150 to 800 black people. Twelve black men were convicted and sentenced to death, while no white people faced charges related to the events.

As the first act opens, black sharecroppers Virgil and Effie (James A. Williams and Regina Marie Williams) are anguished and helpless, listening to the dying cries of their only son, who has been burned alive right in front of their house by a gang of white sharecroppers. The violence, though unseen, is vivid and disturbing. But Virgil and Effie do what they must to survive and move forward.
Regina M. Williams and James A. Williams 
(photo by George Byron Griffiths)

Once we are acquainted with their story, Ora and Uly (Jennifer Blagen and Dan Hopman) enter. They are white sharecroppers and neighbors of Virgil and Effie. Uly is unrepentant about his role in the murder of his neighbor, which Hopman plays with an eerie nonchalance. Ora is distraught, but clearly unable to defy her husband, and Blagen is affecting as a woman caught in her time and place. Ora and Uly are far less successful than their neighbors, which is made apparent through Dean Holzman's set and Trevor Bowen's costumes.

Ora tries to make amends, and while the womenfolk move toward understanding, their husbands cannot. Sadly, the poverty of both families is the result of the sharecropper system, which sets up the landowners to come out ahead in all transactions. Virgil is working with union organizers to pull the sharecroppers together to negotiate more favorable terms from the landowners. James A. Williams is passionate and determined  as Virgil, even as continuing his work threatens his life, Regina Marie Williams is heartbreaking as the mother who has lost her son and fears losing her husband as well.

Each action leads inevitably to the historic tragedy, which is about to begin as the act ends. When the play resumes, the mood has lightened incredibly. In present-day Elaine, two couples on a road trip happen upon the site of riots, and as they (and we) learn what happened, we see how deep the scars of violence and injustice run, even in an allegedly "post-racial" environment.

Regina M. Williams, Dan Hopman, Jennifer Blagen, and James A. Williams
(photo by George Byron Griffiths)
The brilliance of Ham's script is in taking a huge event and bringing it down to the intimate level of just these characters. It makes the horror personal. And in the second act, each character reacts to the revelation of the history in his or her own way.

All four actors brilliantly portray their completely different characters. It was a bit of a relief to see Hopman show up as a Brooklyn hipster married to Paula, played by the astounding Regina Williams, completely transformed from the terrified and grieving Effie. James Williams and Blagen are also at drastic odds with their first-act characters as a successful attorney and his college-professor wife. Director Marion McClinton uses the memory of the first act to draw parallels between the two sets of people in ways that illuminate the struggle that continues today.

Scapegoat is an excellent example of the breadth and power of the Twin Cities theater community. Playwright Christina Ham, who came to Minnesota on a fellowship to the Playwright's Center, has plays produced nationally and internationally, but makes her home here. The play was workshopped at the Playwright's Center PlayLabs series with the same excellent cast that performs here. The terrific design team are all experienced locals, making this a fine reminder of how fortunate we are to have these incredible talents right here in Minnesota.

A powerful play, masterfully executed, which illuminates how the past carries forward to today, Scapegoat is a must-see.

Monday, May 23, 2016

The Glass Menagerie - Theatre Coup d'Etat at savage umbrella's SPACE

nobody, not even the rain, has such small hands - e.e.cummings

The printed version of The Glass Menagerie has this line at the front. After reading the full poem, it makes a bit more sense that it is attached to a "memory play." Memory is a tricky thing. As Lanny Langston writes in his director's notes "...It gives us the ability to look back on our lives and not only remember what has past, but relive it. We can find great comfort...more common, however, is the tendency to use memory as a weapon against ourselves." I feel that Tom Wingfield uses this play, this memory to beat himself up over what might have been, what changes could have been made in his relationship with his domineering yet loving mother, his dear sister, and how that may have affected his own life. It is a wonderful script (with which I have a few questions/problems for Mr. Tennessee Williams), and the production of The Glass Menagerie by Theatre Coup d'Etat is just as wonderful.

The production is being performed at SPACE, a location run by savage umbrella and located in the Vandalia Tower. It is on the third floor, possibly handicap accessible via a freight elevator, in a space that has been turned into a theater. We attended opening night which, while perfectly nice outdoors, the space was very warm. Luckily the heat fit into the script perfectly as the play is set in St. Louis, and much is said about the heat. Being a memory play, the set can be as fantastic as the recent Broadway revival, or it can be as realistic as wanted, or a combination of both. This production had a very realistic main set, with an abstract doorway/fire escape.

The show is perfectly cast, and very well directed. Cynthia Uhrich as Amanda (the mother) is so clear with the love that she has for her children. It is so evident that what she does, and what she says is all in hopes of making her children have better lives, to be better people. Sometimes this role leans too much on the character description of "...woman of great but confused vitality clinging frantically to another time and place." There are some productions where it seems as if Amanda were on her way to the loony bin. Not so here. Uhrich provides Amanda with a restlessness that is evident in the pacing, the near constant chatter, as well as the way she interacts with the Gentleman Caller...somewhat flirtatious, somewhat performance, but all heart.

Speaking of the Gentleman Caller - showing up in Act Two, being a "nice, ordinary, young man", and yet being a catalyst for change, desperation, loss, etc - well, that is a large burden to bear. Kevin Fanshaw (a 2016 Twin Cities Theater Bloggers Awards nominee for Best Actor in a play) plays the role perfectly. Hesitant, a bit shy yet clearly working on getting over his shyness, approaching Amanda and Laura with an openness that is polite, gentle, and yet very sweet. A great performance.

James Napoleon Stone & Kaylyn Forkey
Kaylyn Forkey as Laura, and James Napoleon Stone as Tom were fantastic. Their desires, fears, and even frustrations are so very clear. The moment where Amanda forces Laura to open the door to the Gentleman Caller was near heartbreaking with the amount of fear, and emotion both actresses put into it. Wow. Forkey showed that Laura is aware of how her shyness affects her social life, and her family, yet is also clear to show Laura trying to fight that shyness, trying to be better. It was a fascinating struggle to watch. Stone was also very clear in every motivation, even when he knew it may be hurtful to the family he had to follow through with what he needed to do. Stone is put through the emotional ringer in this part and not a single moment rings false. I even hoped the lights would stay down a bit longer before curtain call to give him time to compose himself - and that is a beautiful thing to be able to say. Stone also plays the restlessness that is evident in Amanda which is also evident in Tom - perhaps not as much physically but it is so clear that Tom needs to escape from that house.

Speaking of the house - I had two very small quibbles about the use of the set and space. I mention them only because I think they will both make the performance even stronger (if that is possible). To start, the set was wonderful. The main room was covered in rugs, a few tables, chairs, and a sofa. Against the wall was the glass menagerie which also included many mobiles, and glass bits hanging from the ceiling. It was beautiful in a slightly disheveled way. The one exit had a few steps up to a landing, then a few steps down front off the landing. There was no door frame, nor door. First off, when using an imaginary door - it needs to be real to the characters on stage. The imaginary door had no weight, or size to it which most people may not have noticed but it could be a distraction to some. There has to be consistency in how it is being used. The other very small issue was regarding the light from the hallway. It seems that there is no backstage entrance/exit which means the cast has to come in through the front of the house. When the lights go down, it felt odd to sit in the dark, then have the door open, light stream in from the hallway as the actors walked past the audience to their places. I think that the cast entering in while house lights are at half would prevent this and not break the focus of the audience. At the top of the show, I thought it was late audience members coming in...not the cast.

Luckily, the production and performance was strong enough to overcome the two small issues I had. It is a great cast that is well directed and is performing at such an amazing level. Four actors keeping my attention and making this classic feel alive - they are truly succeeding in their mission which is to "...provoke an emotional and analytical response in our audiences by showing the depth of the human condition..." It is a show and a performance NOT to be missed. It plays through June 6.

Now, Mr Williams...about your script... And who do we ask to find out about the lovely music used through out?

Sunday, May 22, 2016

Urinetown - DalekoArts: A Visual Review


Hi there! When I heard that DalekoArts--a lovely little theater in New Prague--was presenting Urinetown as the last show of their fourth season (running through June 12), I was intrigued. 


I have loved Urinetown for ages, but haven't seen a production yet that lives up to the show. I admire director Joshua Campbell's work (loved Calvin Berger at Minneapolis Musical Theatre), but I hate to get too excited.


Urinetown (improbably) premiered on Broadway in 2001. With music by Mark Hollmann, lyrics by Hollmann and Greg Kotis, and book by Kotis, Urinetown is a marvelously clever musical with gorgeous songs and hilarious lines. Here's the story from the Director's Note:
In a Gotham-like city, a terrible water shortage, caused by a 20-year drought, has led to a government-enforced ban on private toilets. The citizens must use public amenities, regulated by a single malevolent company that profits by charging admission for one of humanity's most basic needs. Amid the people, a hero decides he's had enough, and plans a revolution to lead them all to freedom!
So naturally, we filled the car with theaterlovers and headed down to New Prague.


Maybe it was more like this:


Anyhoo, we got to New Prague and DalekoArts safely and without incident. We quickly got over the hilarious irony of DalekoArts having just one bathroom.


We sat in the front row of this intimate theater. I mean, we were CLOSE.


Sometimes being too close at a musical can be a bit unnerving. And sometimes, as in this case ... it's amazing.


The show started, and I was like:


Why did I love it so?


From the first notes of the orchestra (beautifully led by musical director Anthony J. Sofie) and the tumbleweed that 'rolled' across the stage in a visual joke that set the tone immediately for the evening. That tone? Uproariously hilarious.

This production is practically perfect in every way. And the most important way is the tone. 


If you're going to do Urinetown, you have to do it right, and dang, they do it right. You have to be sincere to sell this nutty show completely. You need to honor the hilarious lines and the fantastic and rousing melodies of the musical numbers at the same time that you are telling a story that is more than a little on the distasteful side. 

And this production is TIGHT. Small space, smallish cast, and they don't miss a beat. Joshua Campbell and the cast add so much humor to an already hilarious show--they don't miss any opportunities to turn it up to, say, eleven. 


Can we talk about this cast? 


Ben Thietje as Bobby Strong is sincere, sweet and a little dim. Kendall Anne Thompson possesses one hell of a voice but still manages to portray Hope Cladwell with the right amount of (lack of?) depth. Paul Reyburn as Caldwell B. Cladwell, Kate Beahen as Penelope Pennywise, and Tom Karki as Officer Lockstock all portray their characters perfectly. Kim Kivens, as Little Sally? I didn't think that role could get any funnier, and yet, Kivens makes it even more bananas.

And let's not forget the ensemble.They are all so good, you literally don't know where to look.


I mean, this ensemble. COME ON. Five actors (Christine Karki, Mary Palazzolo-Rudquist, Beth Leona King, Zakary Morton, and Keith Hovis) who play sixteen characters. Without a hitch. The costume changes are amazing. No sooner does one of the actors head offstage that they come back as a completely different character.


Their voices are fantastic together. I don't think a cast three times their size could sound as amazing as they did. (Again, props to musical director Anthony J. Sofie.) I have to give a super special shoutout to Zakary Morton for his completely gonzo acting and amazing dance skills. And another to Keith Hovis for his amazingly quick changes--he is nearly unrecognizable when changing characters. I would go back to New Prague in a heartbeat just to see him as "Robby" in the "Snuff That Girl" scene. You'll know why if you see it.


And the dancing, choreographed by Erin Sheppard? Astonishing, especially given that the stage is rather petite.

In short, this show is amazing. You should see it. It will make you happy.


The musical theater references are all beautifully done, and it will make you love musical theater EVEN MORE than you do (which I assume you do, if you've actually read this far and recognize all of the gifs here.) 


Congrats on an amazing production, DalekoArts.


I realize that, clearly, I'm going to need to subscribe to DalekoArts new season.


March yourself down to New Prague and see this amazing show.


If you can't make it, that's fine.


In all seriousness, this show is bonkers and amazing and you should go see it. If I'd written a straight-up review of this show, it would have consisted of even more uses of the words "perfect","hilarious" and "beautiful" and eventually faded off into me insisting, "Just go see it! Dang it!" 

I'll come with you! Let's run like this!


(Thanks to Playbill on Tumblr for the fab gifs.)

Wednesday, May 18, 2016

The Changelings - Ten Thousand Things Theater

The play has some very funny parts, too. Really!
The Changelings is the latest collaboration between Ten Thousand Things Theater and playwright-in-residence Kira Obolensky. As with her other recent works, Forget Me Not When Far Away and Dirt SticksThe Changelings is an original story with the feel of a timeless fable.

Two of the first characters we meet are Wind (Kimberly Richardson), an all-seeing force of nature teasing a broken-down House (Kurt Kwan), the residence of Sister (Joy Dolo) and her mother, Goat (Shá Cage). Goat and Sister are human, but have been known by their nicknames for a very long time, as has Freshface (Luverne Seifert), who runs an unsuccessful betting parlor with the help of Sharp (Kwan). Freshface and Goat are married, but he has taken up with Trixie (Richardson), a widow with money, which she uses to help Freshface's business, ironically named Paradise.

Luverne Seifert and Sha Cage (photo by Paula Keller)
Into this unhappy mess comes Otto (Ricardo Vazquez), claiming to be the son who disappeared some twenty years ago. He claims to have been stolen by goblins and taken to another world, and now, as an adult, he has escaped and come back to his family. Naturally, Otto's arrival causes a variety of reactions from his family members, who take their own paths through joy, disbelief, and cautious optimism.

In folklore, a changeling is a child stolen by magical beings and replaced with another. Obolensky's choice to make the title of the play plural suggests an expansion of that definition. But who are the changelings? I think everyone who sees the play will have to decide that for themselves. Though the story told is fairly simple, it brings up a lot of questions about how different people react to similar situations and why.

Kurt Kwan (photo by Paula Keller)
And audience members may have very different reactions, as well. Many things are left open to interpretation, but it is a fascinating journey. The story is only part of this play. The characters are people we want to know more about. One of the luxuries of having a playwright in residence is that Obolensky was able to write to the specific strengths of each of the actors in this production. The writing and the acting combine to create characters and a story that stay with us long after the play has ended.

It almost goes without saying, but all of the performances are wonderful. The Ten Thousand Things style of stripped-down staging as directed by Michelle Hensley means that the audience can really focus on the acting—not that anything here feels like acting. Being within a few feet of the performers, you see every nuance, expression, and reaction. Best of all, you can see their eyes, which convey the sense of lives that go on beyond what we see on the stage. And every single actor balances beautifully between hilarious and heartrending. One small moment, at the near end of the play, had me quite nearly in tears.
Kimberly Richardson and Luverne Seifert
(photo by Paula Keller)
In short, see this play to experience some of the purest storytelling you will ever experience. We saw it at Bedlam Theatre, but you can see it through June 5 at Open Book.

By the way, Bedlam Theatre is a fabulous place to see Ten Thousand Things Theater productions. It's not only the lovely bar and friendly staff. It's the open, urban feel of Bedlam, with the light rail and city folks passing by the windows. The space just has a warm feel to it which fits TTT to a (whaaaaat?) T.

We also had the opportunity to participate in a new program called Play Local. Check back with us for more info about this fabulous new program!

A Night In Olympus - World Premiere at Illusion Theater

Harry (Tyler Michaels), Chad (Adam Qualls) and Maggie (McKinnley Aitchison)
PHOTO CREDIT: Lauren B Photography
A Night In Olympus is a brand new musical playing at the Illusion Theater. Written by Jeffrey Hatcher and Bill Corbett, with music and lyrics by Chan Poling, this is one of the most charming, smart, and fun shows I have seen recently. The setting is Olympus, Indiana - a brown, flat pancake of a place. The time is now...and a high school...on the day before prom. It may read like the premise to a standard rom-com, and if looking at the basic plot line - it is. However there are some great twists and turns that keep it thoroughly original, and one of the most talented casts these Twin Cities could put together.

Harry (Tyler Michaels) and Maggie (McKinnley Aitchison) are long-term friends who decide to have a zombie movie marathon on the night of prom. They both feel that neither will get asked, and they are not going to go and fall for some stupid high school tradition. It is clear from the start that they may both be interested in being more than just friends, but they certainly aren't talking about it. Until...it is revealed that the faculty (including the Janitor) are Greek Gods who have been banished to earth. And what gods they are....of theater. Norah Long, Aimee K. Bryant, Randy Schmeling, Dieter Bierbrauer (and those dimples), Mark Rosenwinkel, and Adam Qualls fill out the cast playing the faculty/gods, as well as other characters (and, when needed, providing fantastic back-up singing). As luck would have it, one of the gods is Venus. Maggie makes a wish to be the most beautiful girl in the world and Venus fulfills that wish. The twist is that once the wish comes true, no one knows that she is Maggie, including her best friend Harry. However the hot guy that Maggie doesn't really know but has always found attractive asks the "new Maggie" to the prom. She accepts using a new name, and a cute Spanish Accent (very Damn Yankees). What happens next? You have until June 4th to find out.

The music and lyrics by Chan Poling are really good with some great clever rhymes and great use of song styles (including some 50's style tunes, rock, and even some salsa). The story is a good story that deviates in unique ways from the standard fantasy rom-com format. It is told primarily from Maggie's point-of-view which I find interesting knowing it was written by all men. The cast was and is fantastic! It really is the cream of the crop when it comes to local music-theater talent. Except for the two leads, all the other actors play two or even three characters. As expected, they play each role so well and so great...but even as talented as this cast is, playing High School students may be just out of their range - at least visually. Personally I think the show would do great with a larger cast. I think it will play well in community theaters, or with a larger age-appropriate cast. And while I may have some concerns if a younger cast could pull off the music, I think it is worth a try. I know that I would certainly see another production of this charming show.

A Night in Olympus plays at the Illusion Theater through June 4th. I really recommend you going to see it. There are spirit tastings of specialty drinks designed for the guest of the show on May 20th, May 26th, and June 3rd (I believe at Mason's on the first floor of the Cowles Center). Through out the run, Illusion will be a collection site for new or gently used prom and formal dresses for Operation Glass Slipper. If you bring in a contribution, you'll receive a voucher for a free drink! What could be better?




(Now, can I just have a quick moment to talk about audience behavior? Unwrap your candy, or throat lozenge, or cough drop before the lights go down...not using the first five minutes of the show to slowly unwrap whatever you have. Honestly. And about your phones. The time to TURN THEM OFF is while the house lights are going down....NOT after the show starts. Finally, when the program clearly states that Video or Audio recording by any means is strictly prohibited??? It means YOU, sitting in front of me taking photos during act two! As an audience member, what can be done about this?)

Friday, May 13, 2016

The Book of Mormon - Touring show at The Orpheum - Guest Post

Candace Quarrels and Cody Jamison Strand
Photo by Joan Marcus
If anyone at The Book of Mormon (showing now until May 29th at the Orpheum) didn’t already know they were attending an evening of cutting satire, “filthy gags” and an irreverent takedown of organized religion, they were quickly informed. But I can’t imagine that anyone there didn’t know at least a little of what to expect. The Book of Mormon opened on Broadway in 2011 (is still playing) and this is its third run in Minneapolis so it’s no secret who the intended audience is (and is not). The young hipsters, forty-something professionals and cool seniors who filled the diverse audience had already been exposed to almost two decades of Trey Parker and Matt Stone’s South Park and did not seem put off or surprised by this Broadway version of their particularly biting sermon. The sharply talented, energetic cast was ready to preach to the choir. The choir was very appreciative of their efforts.

The show is damn funny and wonderfully performed. Ryan Bondy and Cody Jamison Strand effortlessly lead the cast through sharp choreography, biting humor and catchy songs referencing both the traditional Broadway and African music. The set is bright and beautiful and the actors have fun breaking the fourth wall, playing for laughs and taking everything to the nth degree. Candace Quarrels shines as the innocent and naïve Nabulungi.

Monica L. Patton, Ryan Bondy, Cody Jamison Strand
Photo by Joan Marcus
The story follows two mismatched missionaries, the self-focused and self-righteous Elder Price (Bondy) and the bumbling but sweet Elder Cunningham (Strand) in a classic Odd Couple buddy pairing. The young missionaries leave Salt Lake City with dreams that their two year mission abroad will end in a slew of successful baptisms into the Mormon faith. They quickly discover that the simple platitudes of the "word" and their naive hopefulness are no match for the violence and despair of the villagers in Uganda.

The Book of Mormon Company 2;
Photo by Joan Marcus
With the constant threats of genital mutilation, a population that’s 80% HIV+, maggot infested scrotums, raping babies, screwing frogs, gun violence, etc., the show pulls no punches about the reality of life and the ridiculous notion that simply believing in a particular religion can cure such massive problems. But as my companion said, “It’s offensive, but you don’t take offense.” There is a big and very important message in The Book of Mormon about the danger in blindly following the church - any church - without question, faith versus religion, growth, acceptance, and breaking the rules to do what you know is right.

In short, see this show. It’ll be good for your soul. It is also good for your wallet as there is a lottery for $25 tickets for most performances.

(guest post written by Michelle St. Hilaire)

Tuesday, May 10, 2016

The Shining - World Premiere at Minnesota Opera

Few things seem more unlikely than an opera based on a Stephen King novel. High culture meets bestselling horror fiction? Worlds converging? And yet, it's true. And it's practically perfect.

The Shining is a world premiere commissioned by Minnesota Opera as part of its New Works Initiative. Composer Paul Moravec is a newcomer to Minnesota Opera, while librettist Mark Campbell’s previous works include the world premieres of Silent Night and The Manchurian Candidate (both also commissioned by the Opera). The collaborators went back to Stephen King’s original 1977 novel, and not the well-known Stanley Kubrick film, which King was never happy with.
Brian Mulligan and Kelly Kaduce (photo by Ken Howard)
If you have somehow missed the book, the Kubrick film, or King's 1997 miniseries, The Shining is a novel about Jack Torrance, who gets a job as caretaker for the Overlook Hotel in Colorado over one winter. He brings his wife Wendy and their son, Danny, and plans to work on a play he is writing. He's hoping the isolated hotel will help him with his work, and to make a fresh start with his family, after his alcoholism and temper have cost him a teaching job. But the Overlook has other plans for Jack.

The line between musical theater and opera can be a little close, and some work is better suited to another genre. But The Shining is absolutely perfect as an opera. The music and libretto, natural and realistic in the beginning of the opera, perfectly encapsulates the increasing tension and heightened emotion of the story. The fantastic stage and production designs supports the music and cast at every point.

Production photo by Ken Howard
Minnesota Opera has put a ton of resources into this production, and it all shows on stage. Masterful projection design sets the scene, showing us the vast uninhabited expanses that surround the hotel, helping us to feel the isolation that soon envelops the Torrance family.

Layers of animation and projection combine with practical sets to blur the lines between the realism of the opening and the encroaching sinister forces as the hotel and its madness become all too real. 59 Productions, who designed the animations and projections, recently won a Tony for An American in Paris, and has contributed to a number of Broadway and Metropolitan Opera productions.

Brian Mulligan, Kelly Kaduce and Alejandro Vega
(photo by Ken Howard)
The cast was perfect. As the increasingly tortured Jack, Brian Mulligan used his beautiful baritone voice in ways both lovely and ugly, devolving at times into speaking and shouting, conveying the character’s state of mind. Minnesota Opera favorite Kelly Kaduce as Wendy was glorious as always, showing the intense love and commitment of her character as well as her growing fear.

As Danny, young Alejandro Vega was very good in the difficult role of this gifted child who experiences much more than the adults around him. His energy and focus were impressive, and made Danny feel like an actual child in spite of his gifts, which included channeling the voices of the hotel’s ghosts, with the chorus chiming in eerily.
Alejandro Vega and Arthur Woodley (photo by Ken Howard)

Aside from the Torrance family, the strongest (human) presence in the opera comes from Arthur Woodley as Dick Hallorann, cook at the Overlook. Hallorann is heading to Florida, but he recognizes that Danny has the shining (visions, or precognition) as does Hallorann. Woodley has a great deep voice with incredible ringing high notes. He was so in tune and in touch with the character’s protectiveness of Danny. He was a joy to hear and to watch on stage.

Also of note is a male quartet comprised of Mark Walters, Alex Ritchie, John Robert Lindsey, and David Walton, who sang at a pivotal point in the second act. They were truly sinister and sounded so good together, especially when Brian Mulligan joined them in song. The chorus, and other featured singers were all fantastic.

Look at that gorgeous production design!
(photo by Ken Howard)
In addition to the fantastic singing, the performers acted the play beautifully. The connections of the family felt very real, which made it all the more disturbing when things really start to go wrong. The violence necessary to the story was more realistic than most drama seen on opera stages.

Every bit as important as characters are the ghosts of the Overlook Hotel, and the hotel itself. Skillfully contrasted with the realistic, everyday relationships and activities of the Torrance family are the ghosts. They are first seen only as silhouettes, but as Jack’s mania grows, so do the depictions of the hotel’s creepy previous inhabitants, until Jack is moving freely among them.

Creepier and creepier. (photo by Ken Howard)
Modern opera can be a challenge: how can a modern composer create something on par with operas that have existed and been loved for hundreds of years? The Shining is a truly modern opera that features some lovely melodies, but is also truly unsettling. The music creates a tense musical atmosphere that was never overbearing but also never let up. Occasionally tough and sometimes discordant, the music is wonderfully performed to provide the creepy atmosphere that kept the tension mounting. 

Costume rendering by Karin Kopischke
Costume rendering by Karin Kopischke
The costumes, by costume designer Karin Kopischke, add to the stark contrast between the reality of the Torrance family and the surreality of the Overlook's other residents. Each costume is beautifully appropriate to each character, from the everyday 1970s wear of the Torrances to the uniforms of the previous caretakers and staff to the outlandish and unsettling costumes of the masked partygoers.

Honestly, the whole production was superb. Every element worked together perfectly to create a truly sinister and unsettling atmosphere while telling a great story of love and sacrifice that remains true to Stephen King's wonderful book. The Shining is a perfect evening at the opera. Hurrah to Minnesota Opera for commissioning this work; I hope this marvelous addition to the canon has a long, successful life.

(co-written by KRL, Jules and Carly)

Thursday, May 5, 2016

Every Sentence.... by The Moving Company at The Lab Theater

What do you expect from a show that is named "Every Sentence Is For The Birds: the journal of an encounter" and is inspired by the work of Francois Truffaut, Peter Handke, Denis Diderot and Maria Montessori? If you are me, you walk in with an open mind and absolutely no expectations. 75 mins later, you walk out with a wide-eyed look in your eyes, a sense of fascination, and questions, questions, questions that need to be researched. Personally, I LOVE shows like this. I love a show where I leave and I want to find out more about the subject, the inspiration, the writer, the actors, etc.

So, where to begin? As the website states, this show is about a brief encounter between a doctor and a "wild child" that evolves into a relationship and explores.....well, a lot. My thoughts are that it explored the building of a relationship between two people who are in a parent/child situation. Doctor Katherine (spelling is assumed) Godschild is walking in the forest and finds "O". She works with him and teaches him language, social skills, concepts, helps him grown and, to put it bluntly, civilizes him. Clearly there is more to it than that however I think that helps explain the core of the story, and why I saw it as a parent/child. Godschild (played by Suzanne Warmanen) sets the tone of the play by coming on, sitting down, and greeting the audience. The set is divided into two halves - the right half has a lab feel to it - two tables, chairs, sink towards the back wall, very white, clean, organized. The left side has two raised platforms with ramps. The back platform is covered in dirt, while the front one is covered in grass. Between these two playing areas is a nice, large, rectangular rug. Warmanen's Godschild (love the name) is so warm, inviting, smart but easy to follow. She explains her start, her inspiration. She is an anthropologist and is going to tell us about an encounter she had. Before that though she gives us background into the definitions of science and art. She explains how at one point in time both words were defined using similar words - human, skill, learning, and how they may have been seen as similar skill sets. Science now is thought of as separating, while art is thought of as joining. After this amazing, smart, and eye-opening talk, she starts the story of meeting "0".

In a walk in the forest she hears a noise. She stops, thinking it an animal, and she recognizes that it also stops. She considers that perhaps it is a "wild child" as were found in the forests at times...children that had been abandoned by their parents and grew up wild. She returns the next day at the same time, as does this noise. She sits, and the noise is quiet - as if it is also sitting. Suddenly we hear dirt falling, and shifting, and a hand is reaching out from the pile of dirt. A man appears slowly - dirty and wearing little. Godschild starts building the relationship by leaving a piece of orange - and the rest I will leave for you to see. The man is played by Nathan Keepers. Eventually we get to know him as "0."

I can honestly say that I have never seen a performance like this before. The show was conceived by Dominique Serrand (the director) and Nathan Keepers. It was written and created by the two of them and Suzanne Warmanen. We found out post show (during a quick announcement) that they started rehearsals on April 4 and opened on April 22. Watching these two amazing actors work with each other, play with each other, play off of each other - there was some incredible work done in a very short time. Nathan and Suzanne are simply incredible - Nathan in constant movement, exploring the world, learning in front of our eyes, while Suzanne is the constant bedrock, the audiences gateway into the relationship and the play, the eyes we see "0" through. This is the first work by The Moving Company that I have seen and it was so good. (I used amazing and incredible quite a bit already and so am going back to basics...with a LOT of meaning and emphasis).

Now, how is it inspired by the four names I first mentioned? That is a great question. I do not know if I have the answer but here are my thoughts. Clearly Maria Montessori is all about education and a simple, yet radical way of learning. Denis Diderot was a French philosopher, art critic and writer during the Enlightenment. From the brief bit of research I did, I saw that he wrote a book called "Letter on the Blind." This book was a study on the relationship between reason and learning that takes place through just the five senses. Diderot is also quoted in the program:

"A storyteller has a personality, a point of view, standards, and passions which lead them to exaggerate or understate. Just tell it the way it is, indeed! That's something that probably doesn't even happen twice a day anywhere. Besides, is the listener any more impartial than the speaker? No. Which accounts for the fact that it scarcely happens twice in any day that people really hear what is being said to them."

The next two inspirations, I think, are more about form. Peter Handke is an Austrian writer who tends toward the avant-garde. He also wrote a work called Kaspar which dealt with a foundling who is destroyed by society. Along with Handke, the show was inspired by the work of Francois Truffaut - the French New Wave film director. Now, I have to confess that I do not know the works of Truffaut...yet. So, if you are a fan of Truffaut - let me know if you can see his inspiration in this new work by The Moving Company. Every Sentence Is For The Birds: the journal of an encounter plays at The Lab Theater till May 22nd. You have over two weeks to see it but don't wait. At 75min, no intermission, and the subject matter - you may want to give yourself enough time to see it twice. There is so much food for thought and such brilliant performances.

Wednesday, May 4, 2016

Bad Jews at Minnesota Jewish Theatre Company: A Four-Way Discussion

All three of us at Minnesota Theater Love (Carly, Jules and KRL) attended Minnesota Jewish Theatre Company's production of Bad Jews (running now through May 22) on the same night as Jill of the esteemed Cherry and Spoon blog. There was much to discuss!

Since the play is four people talking at and with each other, we decided to do a four-way... review of Bad Jews. What follows is our (mostly) unedited conversation.

Carly
So, Bad Jews, y'all!

KRL
Yes!

Jill
Talk about bloodthirsty!

KRL
Initial reaction - I really liked it. Great cast, good set, and I thought a really good script. And yes - bloodthirsty!

Jill
Agreed. Compelling, hilarious, well-acted, and tons of food for thought.
Miriam Schwartz, Michael Torsch and Michael Hanna.
Photo by Sarah Whiting.

Jules
I don't know why, but I was thinking that it was going to be more of a comedy. Not that it wasn't funny, but more in a "Oh no, they didn't" kind of way.

KRL
What do you think Jewish theater is all Mel Brooks? Dang, Jules. wink emoticon j/k

Jules
I think I had conflated Bad Jews in my head with the endless run of "wacky comedies with Jews" that I see advertised in NY. Old Jews Telling Jokes, etc.

KRL
Julie - I do agree that with a title like Bad Jews you assume it is comedy?

Carly
So, the setting is a studio apartment on Manhattan's Upper West Side, and the play involves three cousins (Daphna, Jonah and Liam) fighting over their just-passed grandfather's Chai, a necklace with great religious and emotional significance to the family.

Jill
OK, let's get into it. Who did you side with in the big argument? Did you want Daphna or Liam to get Poppy's Chai?

KRL
For most of it - Daphna. Liam came across as a total dick who honestly didn't care for the deeper connection she had to the chai. (And I wish the program had given some glossary for those of us who are non-Hebrew/Yiddish speakers.)

Jules
I wanted to know what the Chai was earlier too.
Miriam Schwartz, Michael Torsch, Adelin Phelps
and Michael Hanna. Photo by Sarah Whiting.

Jill
I found myself taking both sides in various points of the argument. They both make valid points and it's not an easy thing, the balance between the old ways and the new (tradition!). Also, they're both jerks and say horribly offensive things! I was kind of hoping sweet Jonah would get it.

KRL
At the end of the show though...Daphna came across as being as much of a user as Liam. That makes me rethink my view of the whole show.

Jules
I feel like the playwright did a good job of preparing us to side with Daphna and then by the time we finally met Liam, we were prepared to dislike him.

KRL
I agree.

Jill
Part of the reason why Daphna and Liam don't get along is that they're too much alike. They're both passionate, self-righteous, unable to listen to the other side. They even use the same language to describe each other, "above it all."

KRL
And Michael Hanna kicked butt as Liam. So angry and such a jerk. Wow.

Carly
Frankly, I was like, "Get it ON already Daphna and Liam." Just me?

Jill
They're cousins, gross!

Jules
And yes, then the tables turn and you see Liam's side, and you see the pettiness in Daphna.

KRL
Carol - I felt some of that even with Daphna and Jonah...except he is gay.

Jill
Jonah's gay? I missed that.

KRL
That is how I read him. Nothing was said but...

Carly
Yeah, but am I right? Liam and Daphna were practically all over each other! And to my mind, I didn't see a realistic relationship between Liam and his gf, Melody.

Jill
Melody is everything Daphna (and his family?) is not. Uncomplicated.

Carly
TOO uncomplicated?

KRL
I agree - Liam and Melody are not a great match. She seems like a choice made just to piss off Daphna and/or the family.

Jules
I wasn't getting that chemistry, but I thought there was way more to the backstory between all three of them than what we were told. I expected a revelation of something between them before the play ended. Like maybe they had had a more intense relationship before.

Carly
I thought Jonah and Daphna had a really realistic cousin relationship.

Jill
And can I just say - these are four really talented young actors who were totally in it for the 90 minutes of the play, especially Michael Hanna and Miriam Schwartz with their long fast passionate infuriating monologues. And I kind of wanted to see them hug at the curtain call just to make sure they're OK!

Carly
AGREED, Jill! Great job by all performers.

Jules
I totally wanted to see them all hug at the end, too, Jill!

Carly
I think they should make out at the curtain call.

Jules
Okay, that might be a bit much, C!

Carly
Sorry.

Carly
And I don't think anyone should get the Chai. Jonah is SO passive that someone would immediately push him down and take it.

KRL
Julie - I agree about the backstory. But I like that Joshua Harmon (playwright) and Hayley Finn (director) allowed US to fill in the backstory.

Jill
It's definitely one of those plays that gives you the feeling these lives were happening before the play begins, and continue after the play ends. I like that.

Jules
Good point Jill, their story doesn't end and you can see them continuing this struggle.

KRL
Miriam Schwartz was amazing!! the energy and passion and all the different levels of it. Michael Hanna was good though I felt he played "Anger" too much and didn't find as many levels to that frustration/anger as Miriam did.

Carly
I was just going to say that, Keith! Agreed!!!

Jill
And they both have beautiful hair. smile emoticon

KRL
Ha ha ha - so jealous!

Carly
I thought Michael Torsch as Jonah was very watchable in a fairly minor part.

KRL
Michael Torsch has such amazing reactions! It was fascinating to watch him watch the action...so much happening with that face and body language of his.

Jill
Jonah's reveal of his own tribute to Poppy at the end (no spoilers here!) brought tears to my eyes! Michael Torsch founds lots of layers in silence.

KRL
YES!

Carly
Very well done.
Any other elements that stand out for y'all? Any objections to the language or speeches?

Jules
Jonah was really interesting, and I definitely wanted to know more about him. I felt like we saw that there was much more going on with him (which there was). And his role between his cousin and his brother was very realistic. Someone's always in the middle of those things.

Jill
No objections but some of the things these cousins said to each other literally made my jaw drop. They reeeaaaaaally didn't like each other, and y'all are right, maybe there was more to that.

Carly
Singing, "Let's get it on ..."

Jill
I totally felt for Jonah because I'm like him, the peacemaker, not wanting to get involved in the argument, just wanting everyone to get along!

KRL
I was surprised at some of the language. Then again, I came from the assumption that Jewish Theater would tend to be more "clean" as Christian theater is clean - meaning no swearing, etc. So my surprise was more about where I was coming from as an audience member.

Jill
I think it's less religious Jewish theater and more cultural Jewish theater. Judaism is unique in that it's as much of a culture as it is religious belief.

KRL
Jill - I'm not sure Jonah wanted everyone to get along, he just didn't want to be a part of it. I think there is a difference there? Then again, at the end with his tribute - maybe he also wanted the Chai but knew that between the two other headstrong character he had no chance and gave up?

Jules
There was some deep-seated resentment that went way beyond fighting an inheritance. Even before the subject came up, Daphna and Liam were at each other's throats from the moment the apartment door opened.

KRL
Jill - totally agree with your comment about culture vs religion.

Jules
Keith, I felt like Jonah was just doing his own thing. Going along with what the others said as much as he could. Especially since he knew all the while that he'd already made his connection with Poppy.

Jill
They obviously disagree on what it means to be Jewish, and perhaps part of the resentment of each other is the fear that their way isn't so righteous as they think. Like they have to put the other person down to prove their belief is the only way.

KRL
Julie - good point. He clearly had already made peace with the fact that he wouldn't get anything. Jill - yes!

Carly
Absolutely, I was going to say this earlier, that there's such a spectrum of Jewish identity in this play, from the cultural Jew to the strict observant and then Jonah somewhere in the middle.

Jill
And that's the crux of the play - how do we hold on to our history and tradition, while still embracing the multi-cultural global world we live in?

Carly
And in some ways, are they all "bad Jews"?

Jules
Keith, I don't think Jonah wanted anything. He had exactly what he needed to remember Poppy in the way he felt best. Instead of focusing on a physical object (which is much easier to start a fight over), he just did what he felt was right. And did Jonah even talk about being Jewish?

Carly
Not really.

Jill
I don't think any of them are "bad Jews," they're just people trying to live their lives by their beliefs. And perhaps being a bit too judgy about people who don't share their beliefs.

Jonah didn't get much of a chance to talk at all!

KRL
Ha ha ha - so true about Jonah

Jules
I think it was interesting that Daphna felt she had the greater claim due to her overt commitment to being Jewish. But the reason that Liam wanted the Chai was also respectful of the family history and of the importance, but not attaching the religious significance.

KRL
I think Daphna and Liam were just spiteful all the way through and that there would be a way for everyone to get what they wanted IF they weren't so focused on their own needs.

Jill
Right, they needed an impartial moderator. And if I were Melody, I would have accepted the proposal but not the Chai. The symbolism of the offer is enough, accepting it is not worth the trouble it caused in this family that she wants to be accepted into!

Jules
I also think that Daphna feels that the way to be Jewish is to BE JEWISH. And I'm guessing that pridefulness and spite are not valued in Judaism any more than they are in any other belief system.

Carly
I hated the idea of Melody having the Chai. Being a bitter spinster librarian, I think the family might as well kiss the Chai goodbye if it goes to Melody. You think Liam is in anything for the long haul? Oh, hell no.

KRL
Jill - I agree. Or accept it until the wedding ring then pass it along to Daphna

Carol - yes! you KNOW a divorce is going to happen with those two.

Jules
Jill - YES! I wanted Melody to refuse the Chai too. It had such great religious, family, and cultural significance to both Daphna and Liam, but it literally meant nothing more to her than a piece of jewelry.

Carly
I feel like Jonah was that moderator for a long time and had given up.

Jill
Daphna definitely has a point that we have to pass on our history and traditions to our children, because if we don't, they'll be gone forever. But Liam also has a point that you love who you love, and if you marry someone from a different tradition and pass on both traditions to your children, it's going to get diluted. It's "melting pot" vs. retaining unique cultures.

Carly
I found the Daphna's speech about dilution of Judaism through marriage and children to be most affecting.

KRL
I found most of the speeches were so interesting and well written. Truly made points without being like a monologue...if that makes sense? Or sounding like a speech.

Carly
I wish I believed the relationship and chemistry between Liam and Melody more--that would have helped the whole play for me.

Jill
Definitely. When my ancestors came to this country it was all about assimilation and "melting pot," so I have very few cultural traditions. But it seems in recent years we've realized that it's important to hold on to the language and traditions of our "homeland."

KRL
I'm glad they didn't try to do any New York accent in the production. I think that would have distanced the characters from the audience.

Jules
Jill - that's a great encapsulation of their argument. But the vehemence and anger went far beyond what made sense in the situation. But I think another reason that they are NOT Bad Jews is that they are still family. In spite of what appear to be unsurmountable differences, they are still in the same place for the same reason. Although Liam could have made more of an effort to be there. I don't think skiing and proposing are a good reason to be out of touch.

Carly
"Nothing is more important than family. Nothing." - Grandma Sophie, Brooklyn Bridge

Jill
Agreed about no NY accents, unless done well and naturally it's just distracting. It would be interesting to meet these kids' parents.

Jules
Keith, I like what you said about the monologues. They didn't feel like monologues, they felt natural to the characters, and like just the way they talked.

Carly
And yet --
I just feel—

Jill
The language was very natural.

Carly
I mean—

KRL
Even if it is done well, a story like this can play out anywhere. I think if they used accents they audience could relax and feel like "oh, this only happens in NYC" sort of attitude?

Jill
Yes - that!

Carly
I feel like sometimes, I can SEE THE DIALOGUE on the page, with the hyphens as they start and stop a sentence.

KRL
Ha ha ha ha - is that a good thing?

Carly
Keith, no. I'd call it MOSTLY natural.

Jules
Carol, I didn't feel that so much. I know exactly what you mean, but I didn't feel it.

Carly
I think there's definitely a stylized aspect to the dialogue. It gets better, but that kind of dialogue is tough to do naturally.

Jules
That's another reason not to do accents, because it's already stylized and adding another layer would complicate it, I think.

Carly
Abso.

KRL
It is tough to do but it felt true. More true than some Mamet or Pinter or other modern playwrights.

Jill
Was this all of yours first time at MJTC? What did you think of the space and the work?

KRL
It was our first.

Carly
Very intimate, liked the space.

KRL
The space worked really well for this show. I'm really curious how it works with other scripts.

Carly
Good sightlines, for instance, I could see clearly the man in front of me who had taken his shoes off and was touching his feet.

KRL
Yeah....not great audience behavior.

Jules
I think it was my first. I was surprised what they could do with that space. I auditioned there once. I did a Shakespeare monologue. It wasn't pretty. smile emoticon.

Carly
Keith, I wondered too. How do bigger shows there work? Julie, was it "to be or not to be"? Again??

Jill
I like the space. It's intimate, with great sightlines and the sound carries well.

What do you mean by bigger, bigger cast? Most of the shows I've seen are smaller cast/shows.

Carly
I mean, musicals, shows that take up more space.

Jules
Eh on the sightlines. If you were behind a big head (you know who you are) it was tricky when people were not standing up. But it's probably better if you're further up.

KRL
Hey!! I was sitting in front of you! smile emoticon

Jill
They did The Last Five Years unmiked and it was lovely!

Jules
I think their shows are mostly small, aren't they?

KRL
Jill - I would have loved to see that production there. Wow!

Carly
Could they do Leap of Faith there? I mean, they probably wouldn't ...

Jules
Could Jonas Nightingale be Jewish? Discuss.

Carly
Ha!

Jill
I think the only musical I've seen there is The Last Five Years.

KRL
Looking at the website - all of their shows this season are six actors and under.

Carly
I was sort of peering around the set to see what the stage looked like.

Final thoughts? Direction? Lighting? Set design?

Jules
They must have an exit behind the set there, but not much backstage space, I'd guess. I thought the set was quite realistic for such a small space. But perfect for a New York studio apartment!

Carly
For SURE.

KRL
Direction and lighting were great! Nothing distracting (except for the one late light cue).

Jill
Great set and very realistic, and I suspect it was recycled from Tale of the Allergist's Wife.

KRL
It was a bit awkward having the two guys and the playing space by the door so close to the stairs and audience. And I don't think it was used consistently - the space I mean. The boys head down the hallway to the parents apt, and I believe that is how Liam and Melody enter...yet when they left they left going around back of the set.

Jill
Oh, and I loved when they were casually passing around the M&Ms as they were arguing! That's family!

Carly
Great touch!

Jules
Agreed. I liked that they were actually eating the food. Like people.

Jill
I was a little jealous of Miriam's PJs and wishing I were in mine!

Carly

I seldom can see a show with a bed in it when I don't want to crawl up and take a nap. On the twin, of course!

Jill
Keith - agreed about the awkward hallway scenes.

KRL
The eating was perfect and a great choice.

Jill
I am obsessed with people eating (and especially cooking and then eating) on stage.

Carly
Frankie and Johnny, am I right, Jill?

Jill
Yes! I only wish they had shared the omelet with the audience.

Jules
But it kind of bugged me that there were only two glasses in the cupboards. Until I thought about keeping an extra apartment for guests, and why would you overly furnish it. Carol, it was kind of like our London flat. Two cups, two plates, two forks...

KRL
So - sightlines were a bit tough because when Daphna reached into the cupboard for a glass, I could see that it was empty. So...it can be a bit tricky. I have a feeling the fridge was empty as well but no one could see it.

Jill
I think we're all hungry and tired, shall we wrap this up?

Carly
Yes, for sure, Jill. The sun, has gone, to bed and so must you?

Jill
Hey, I got that reference!

Carly
NERD!

KRL
End comment: It kept me involved, I was amused and it gave food for thought. Great cast, good solid direction (especially with all those speeches...never static), and I look forward to seeing more work there.

Jill
Do we all agree that Bad Jews is definitely worth seeing - well done, thought-provoking, and with things you can relate to no matter what your cultural background?

Carly
For shiz.

KRL
Jill - yes!

Jill
This was my 10th MJTC show and I've never been disappointed, so I hope y'all see more of them!

Carly
WE WILL!

Jules
Wow, Jill, that's a lot of shows. I feel like I read about them but never go. Definitely working on that!

Carly
Yeah, we just don't see enough theater.

Jill
You Minnesota Theater Lovers are such slouches.