Showing posts with label Yellow Tree Theatre. Show all posts
Showing posts with label Yellow Tree Theatre. Show all posts

Thursday, October 3, 2024

Dial M for Murder at Yellow Tree Theatre (guest post)

Guest post by Ernest Edwards

Yellow Tree Theatre opened their 17th season with the play Dial M For Murder, in a new adaptation by Jeffrey Hatcher, based on the original play by Frederick Knott. This is the same script that the Guthrie Theater presented in their 2023/2024 season. 

What is different between the Guthrie’s production and Yellow Tree’s production? Obviously, the Guthrie’s stage is much bigger, and the scenery was bigger and bolder too. This is where I feel Yellow Tree’s production shines, with its smaller stage and more intimate setting feeling perfect for this story with a cast of 4 actors. The intimacy of the stage really draws you into this production of the play. You feel like you are part of the action.

Tuesday, January 2, 2018

Looking Back at 2017: A Random List of Theater Bests

2017 may have been a decidedly lousy year in the world, but the theater was still pretty good.

SO many programs.

I saw 119 shows in 2017, which includes:
- 14 Twin Cities Horror Fest shows
- 10 Minnesota Fringe shows,
- 9 out of town shows (Chicago and Spring Green)
- 7 operas
- 4 shows I liked so much I saw them twice
- 2 podcast tapings
- 1 Hamilton
AND ...
- 0 shows that I left at intermission! Go theater!

Thursday, May 18, 2017

One Man Two Guvnors - Yellow Tree Theatre

There's still one weekend to catch the terrific production of One Man Two Guvnors at Yellow Tree Theatre. This was my first experience at Yellow Tree, and it was certainly worth the drive to Osseo (which was not as long as I expected!).

Based on the Italian comedy The Servant of Two Masters, One Man Two Guvnors sets its action in Brighton, England, in 1963. The story revolves around Francis Henshall, newly arrived in town with his employer. He takes on another job, making him the one man with two guvnors, trying to juggle both jobs and employers while trying to get something to eat. The plot is ridiculously convoluted, featuring an assortment of shady characters in increasingly silly situations.

Elise Langer, Elena Glass, and Marika Proctor
Photos by Yellow Tree Theatre / jcoxphotography.com
Characters speak in distinctly British accents with the slang to match, which can take a bit of getting used to, but it's an important part of the atmosphere, along with the period costumes and music. The whole thing works amazingly well with the commedia dell'arte-inspired style of the Goldoni play, which includes asides to the audience and plenty of physical comedy. Richard Bean's script was originally performed at the National Theatre in London in 2011, with James Corden as Francis. The show was a huge hit that transferred to the West End and later, to Broadway.

The Yellow Tree production features an incredible cast that work together seamlessly. Besides playing their characters to perfection, the cast also perform interstitial songs that were written for the original production. In the London production, a separate band played the music, with occasional vocals by the cast. Under the lead of Brant Miller, this group does double duty, playing everything from guitar and drums to washboard and kazoo. (Note: the song lyrics cleverly relate to themes in the play and are definitely worth a listen on their own after you've seen the show. Amazon carries the original cast recording.)

Ryan Lear and Jason Ballweber

Photos by Yellow Tree Theatre / jcoxphotography.com
Jason Ballweber plays Francis with exactly the right blend of guilelessness and charm, entrancing the audience while keeping them in stitches. Marika Proctor plays the first guvnor, a woman masquerading as her dead brother, with enough swagger to convince the other characters of her identity. Granted, the folks she's trying to trick are not the brightest bulbs. Sam Landman bellows as businessman Charlie Clench, who's celebrating the engagement of his dim daughter (Elise Langer) to the son of his colleague Harry Dangle (Peter Simmons). Neal Skoy revels in the ridiculousness of the fiance, whose dream is to be an actor, but whose idea of acting is melodramatic at best.

Ryan Lear shines as the second guvnor, who clearly has more looks than brains, but an excellent way of expressing his heartbreak in an unexpected instrumental solo. Elena Glass is the long-suffering bookkeeper who has an eye for Francis, Warren C. Bowles is a pub owner who can keep a secret, and Tristan Tifft is an elderly, but very spry waiter who takes a lot of physical abuse. I wanted to mention everyone, because each actor is terrific, adding up to a fantastic ensemble.

The ensemble of One Man, Two Guvnors
Photos by Yellow Tree Theatre / jcoxphotography.com
Director Anne Byrd has done an amazing job of keeping the play moving on Gabriel Gomez's compact but surprisingly functional set. The technical aspects are all top-notch, including Sarah Bahr's character-defining period costumes. Special recognition is owed to dialect coach Keely Wolter. The specificity of the various English accents contributes enormously to the tone of the play, and the actors carry them off splendidly.

One Man, Two Guvnors is not a play to change the world, but it keeps the audience laughing, even howling, for the entire evening. Don't miss this opportunity to see this hilarious production, as a more masterful comedy is unlikely to come along anytime soon.

Need more convincing? Watch the video Yellow Tree put together. Doesn't that just look like fun? Now go get your tickets!

Tuesday, May 19, 2015

Let There Be Light: next to normal at Yellow Tree Theatre (Guest Post!)

next to normal

I finally ventured to the Yellow Tree Theatre in Osseo to see the 2010 Pulitzer Prize-winning Drama and Musical, next to normal, with music by Tom Kitt and Book and Lyrics by Brian Yorkey, both Tony Award winners.

I had regretfully missed the national tour of the show in 2011 (featuring Alice Ripley as Diana), and jumped at the opportunity when I saw that Yellow Tree was doing the show. The subject of mental illness is indeed unusual material for a pop/rock musical, but, ultimately it all works as a transcendent and cathartic experience.

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Lucas Wells and Jessica Lind Peterson
Photo by Michal Daniel 
The musical’s primary focus is the disintegrating mental state of the mother, Diana, played by Jessica Lind Peterson in an enlightening and subtly aware performance. Understandably, Diana’s ongoing battle with manic depression has created an enormous dysfunction in this family's ability to relate to
each other and also to people outside the family. Odd subject matter for a musical, right?

Ultimately, as the piece unfolds, we feel the restorative power of a glimmer of light in all this abysmal darkness in an uncompromising finale. The play also encompasses the grieving process and the inability to let go and move forward. It also demonstrates the frustration of wanting to help, but in the end, being helpless. We often aren't always capable of saving the ones we love.

The entire cast was excellent in complicated and emotional roles. The score was effectively well sung by all with some tricky harmonizing and accomplished duet singing in the mix. To me, it didn't seem like it was a particularly easy score to vocalize and the lyrics are such an essential part of the storyline.

The production was well conceived on the small Yellow Tree stage, with appropriate staging, lighting, and costumes. It’s such an intimate story that, after seeing Yellow Tree's production, it’s hard for me to imagine it on a large proscenium stage. I felt so lucky to have the chance to see it up close and oh, so personal.

I saw the second to last performance of the run, but look forward to heading back to Yellow Tree in the future. Looks like a nice new season (their eighth!) coming up, including Dancing at Lughnasa and Violet! (Contributed by rickjallen)