ALL the Theater Love - Can't Wait for These Winter 2018 Shows!

Friends, February 2018 is rich in amazing theater. Once you've recovered from that big sports game that is allegedly here sometime soon, go support one of our fantastic theaters! YEAH! Um, skol?

Here are a few of the over 31 (!) shows that are opening around February for which we are the most excited. Here's why you should put them on your list as well.

Basement Creatures - In the Heart of the Beast

Enormously strange and utterly original, Basement Creatures at the In the Heart of the Beast Theater (HOBT) left me nearly speechless. 

Summing it up is incredibly difficult, so I'll let the madly skilled folks at HOBT tell you what it is (and it runs through March 26, btw):

"This wildly original rock opera follows the journey of a subterranean explorer, featuring a stellar live band, haunting choral voices, aerial dance, and puppetry peculiarities from the underworld. Emerging from the sold-out run of performances in Puppet Lab 2015, this expanded production includes your favorite singing centipedes and lonely bedbugs, along with all new monsters from under your bed."

2015 production photo by Bruce Silcox

So let's start at the very beginning.

As you enter the theater, mysterious masked figures offer you a glowing "elixir of life." Sipping the elixir, you mill about the area customarily used as seating but now housing the art exhibit "A New Twist on the Old Testament Part II" by Samuel Robertson. Shielding the stage is a large white curtain, with mysterious sounds emitting from behind it. Finally, the gong is sounded and the ushers beckon you onto the stage. Taking a seat on the risers, you settle in.

The lights go down, the band begins and chains rattle as a dark-clad, silent 'explorer' climbs the chains in a lovely aerial dance and descends into 'the basement.' Here she meets (in song!) centipedes, bedbugs, silk spiders, professors and organ surgeons, all depicted by a talented cast of aerialists, musicians, puppeteers, and projectionists. And, of course, she meets the mysterious "basement dweller."

Basement Creatures was created by Lead Artist (and "Basement Dweller") Davey T Steinman, who was inspired by his own childhood and home basements, as well as the "waiting darkness" of Minnesota winters. The show started at the HOBT Puppet Lab fellowship, and an abridged version was produced by HOBT last year. This version is revised and expanded from the original.

2015 production photo by Bruce Silcox

As someone who loves musicals and all things spooky, I was all about this show, but had no idea what to actually expect. It's far more rocking than I expected (even though it's described as a rock opera--I've seen too many musicals purporting to be rock operas to trust the term) and far more abstract as well. But when the bedbug started singing "Lonely Bedbug," I was in, and during "Gates of Hell", I was ready to buy the CD. (Which I did, and it's going to add considerably to my Halloween music collection.)

What else? The aerial work is amazing, the puppets are wonderfully creative, and the lighting and projections work beautifully together with the music to create an incredibly original, yet dream-like experience. The show also features the work of Artemis, a vocal ensemble with gorgeous harmonies (playing the part of the pipe organ). Although there was so much of the show that I loved, there were a few bits I just didn't get. In some ways, it still feels a bit like a work in progress, but a fascinating one with even more amazing potential.

And I love that I have a whole new list of talented performers to keep an eye out for in local theater. For one, I'm very curious to see what projections Davey T Steinman comes up with for Carson Kreitzer's Lasso of Truth, an upcoming Workhaus Collective/Walking Shadow Theatre Company production starting April 15 at the Playwrights' Center.

The Story of Crow Boy - In The Heart of the Beast Puppet and Mask Theatre

Crow Boy, now on stage at In the Heart of the Beast Puppet and Mask Theatre (HOBT), is a fascinating depiction of a inspiring, talented artist and a feast for the eyes.

Crow Boy, conceived and created by Steven Epp, Masanari Kawahara, Sandy Spieler, and Momoko Tanno, is the story of Japanese artist Taro Yashima, a Caldecott Award-winning artist. Although early scenes of Taro's childhood are clever and endearing, as he ages, his story soon becomes more complex and at times, difficult to watch. He and his wife spoke up against war and the increasing militarization of Japan and were imprisoned under truly deplorable circumstances. In 1939, he and his wife traveled to New York, leaving their young son behind in the care of family, where he became a successful artist and children's book author, eventually reuniting with their son.

Rehearsal photo by Bruce Silcox

The show begins as Taro (Masanari Kawahara) comes on stage, bows deeply towards the audience and says "今晩輪、私の名前わ八島太郎です." Luckily, Steve Ackerman is soon beckoned on stage and starts to translate. The show continues in both Japanese and English. For those of us who understand both, it was very enjoyable, and the dual languages worked equally well for those who don't speak Japanese.

The beauty of Crow Boy is in its intriguing subject and its gorgeous, ingenious scenic design. The story plays out through the use of puppets, shadow play, music and minimalist set. The stage is mostly bare, apart from a simple long table that serves as a drawing table, a representation of the Pacific Ocean, a puppet theater, and even a prison cell. The stage is lined with full shoji panels along the back and sides. The shoji allow for marvelous shadow play, as well as creating the link that runs through the piece to paper and books. The shoji are used as a space to project simple line drawings, representations of Taro's art, and photographs establishing setting. The set is amazingly versatile and beautifully used.

Rehearsal photo by Bruce Silcox

Crow Boy is filled with unforgettable vignettes: endearing childhood moments such as Taro's father tucking him into bed in a book; romantic interludes as Taro meets his wife Mitsu while painting; times of anguish as Mitsu sings of worry about her child (as Mitsu, Momoko Tanno has an utterly gorgeous voice), and moments of pure wonder (such as the very end puppet appearance—no spoilers given!). And toward the end, Taro and Steve tell us the story of Crow Boy (one of Taro's children's books), complete with an ingenious, oversized pop-up book. While they are telling the story, Momoko is sitting on the side of the stage playing a Japanese shamisen, a traditional Japanese three-stringed lute and singing. Again, her voice is just exquisite.

At ninety minutes with no intermission, the story still moves along in a slow, contemplative fashion. Some scenes go on to almost agonizing lengths, such as the prison and torture scenes. Although, the website states that the show is appropriate for ages 11 and up, I'd hesitate at bringing a child—I found the torture scenes hard to endure. Also, the show uses cast members beating on pans, bottles, drums and rainsticks to underscore the action. At times, the instruments were mercilessly loud—successfully creating tension and fear, but nonetheless a bit painful to hear.

Rehearsal photo by Bruce Silcox

In addition to the terrific additional material (and bibliography) about Taro Yashima in the program, HOBT has a wonderful lobby display showing Taro's work, copies of his award-winning children's books, and even Sandy Spieler's own signed copy of Taro's autobiography. After seeing this imaginative, engaging show, I definitely wanted to find out more about this amazing artist. And anytime I leave a show wanting to find out more about the subject and wanting to return soon to the theater, I consider that a success.

(co-written by KRL and Carly)

Between the Worlds - In the Heart of the Beast

Photo by Bruce Silcox.

Sometimes you just need a break from jingle bells, shopping, Santa and all the trappings of Christmas.

Between the Worlds at In the Heart of the Beast Puppet and Mask Theatre takes the season back to its origins. This inclusive celebration of the winter solstice is a perennial favorite which won an Ivey Award in 2013 for design.

Featuring music, movement, and puppetry, this meditation of the season features a cast of women of all ages and appearances, The women are supported by five musicians who perform music from many cultures.

The chorus of magnificent, radiant women.
Photo by Bruce Silcox.

One of my favorite things about this show was the audience, which included a wide range of ages, including lots of families, with a few children gleefully chasing each other around the space before the show started.

Sitting right up front was a family with an adorable baby who started to make noise during the first number. The parents were moving to take the baby out when one of the performers stepped forward, smiling, and told them to stay put. "We love that sound!" It was a sweet start to a lovely celebration.

This was actually my first visit to In the Heart of the Beast, surprisingly. I wasn't sure what to expect, and the warm welcome and family feeling were lovely. Between the Worlds is a charming antidote to the commercial aspects of the season for the whole family.