105 Proof - Transatlantic Love Affair at Illusion Theater

We first saw 105 Proof: or, the Killing of Mack "the Silencer" Klein at the 2015 Fringe Festival. Since then, the show has gotten a bit longer and added a couple of new scenes, but seems to be largely the same show. I'm sure the company is that much more in sync now, which is always a strong point to a Transatlantic Love Affair show.

We LOVE Transatlantic Love Affair. Since seeing Ash Land, we haven't missed a show. The way this company puts together shows is unlike anything else I have ever seen.

The show is conceived and directed by Diogo Lopes, and created by the ensemble. Each actor is a vital element to the show, as an entire world is created from their movement and bodies. Evocative music and sound from onstage guitarist Dustin Tessier and percussionist Adam June (Patterson) and spare but effective lighting designed by Barry Browning help to create a compelling setting for this story.

TLA frequently adapts their shows from classic folk and fairy tales, but they're branching out this time into a quintessentially American story: the humble beginnings and violent rise to power of a bootlegging gangster during Prohibition. According to Lopes's director's notes, he wanted to "explore a genre, popular in movies but rarely seen in theater - the action thriller." 105 Proof follows a young man from Wyatt County, Illinois, as he discovers the money and power available to people willing to ruthlessly exploit people's thirst for illegal alcohol.

The performing company of eight actors create a small town--from the swinging entrance door of the general store, to the rocking chairs on a front porch, to the backyard still--and all of the people who inhabit it. Later on, the action moves to the hangout for Mack Klein's gang in Chicago, populated by tough characters.

TLA core ensemble members Heather Bunch, Derek Lee Miller, and Allison Witham each create sweet sincere small-town characters as well as hired guns you wouldn't want to meet in a dark alley. They are ably joined by Amber Bjork, Emily Dussault, Eric Marinus, Nick Saxton, and Nick Wolf, and all are terrific in their human and nonhuman roles.

105 Proof is darker than the other TLA shows I've seen. The depiction of violence is terrifyingly effective, and the gangsters appallingly amoral. It's a riveting story, told in classic TLA style, but I didn't connect with it on the personal level I have with their other shows. The crime drama isn't necessarily my favorite genre, but of course it's terrific. If you have seen other TLA shows, well, you've probably already got your tickets. If you haven't, it's an exciting introduction to their unique style of storytelling, and will hold the attention of even the least-enthusiastic theatergoers.

105 Proof runs through November 20 at the Illusion Theater. The top ticket price is $27, which is a bargain for the entertainment value wrapped up in this swift, tightly told tale.

If you're wondering about Transatlantic Love Affair, here are our writeups of previous TLA shows:
These Old Shoes
Emilie/Eurydice
The Ballad of the Pale Fisherman

TLA's next show will be in the Dowling Studio at the Guthrie, January 27-February 12, part of their Level Nine series. It's set to be "a reimagining of Hansel and Gretel as a tale of immigration." Not sure what that means, but as always, I'll be there!

110 in the Shade - Second Fiddle Productions

The third and final production of this season for Second Fiddle Productions was 110 in the Shade. Directed by Joey Clark with Music Direction by Nic Delcambre, the show is based on The Rainmaker by N. Richard Nash from the 1950's. This work was also made into a film in 1956, and finally into a fantastic musical in 1963. The score was written by Tom Jones and Harvey Schmidt - best known as the writers of The Fantasticks, most recently seen here in the Twin Cities in an amazing production by Nautilus Music Theater.  As with all Second Fiddle Productions, this was a reading. The actors had their scripts, music stands, and some hints of costumes. No set, no big orchestra, no make-up, just the essentials: actors, music, and the desire to tell a story.

And what a great story. You can read about it on one of the many links above but in short it is about a spinster, a con man, and a town coming together. While it may read like "The Music Man," when put into the hands of Schmidt and Jones - you get a very different feel. Less bombastic, brassy tunes, and more smart, introspective, gorgeous melodies. I have to confess, Schmidt and Jones do not always write music you can hum along with, or music that may linger in your brain. As an actor, I find that you have to spend time with their music to really have it stick. I couldn't stand the show The Fantasticks until I performed in it. I understand the music better, it hums for me, and I felt very similar about 110. That isn't to say that the music isn't good - it is very good. Just to state that unlike many shows where you leave the theater singing a song from it, you may not with this one. The show when first written was very operatic and so it took some cutting down before it played on Broadway in 1963. Luckily even from the start there was one real stand-out tune. You can see it here with the 2007 Broadway Revival Cast (as seen on the Tony Awards).



After the original Broadway production, there was a London production (the only one so far) that played 101 performances. There was a revival at the New York City Opera directed by Scott Ellis, choreographed by Susan Stroman, and with Karen Ziemba in the role of Lizzy. This production was recorded by Jay Records with a nice full orchestra. As with all Jay Record recordings, every note in the score is recorded - from the Overture, to entrance music, underscoring, etc. It is a really great way to preserve a score. The cast for this not only had Karen Ziemba, but also Richard Muenz, Ron Raines, Kristin Chenoweth, and both Tom Jones and Harvey Schmidt! Finally it was revived in a Roundabout Theater Company on Broadway in 2007. It was directed by Lonny Price with designs by Santo Loquasto. Not only did it have Audra McDonald as Lizzie, and John Cullum as her father, it also had Steve Kazee as Starbuck. This production was recorded by PS Classics.

(Sidebar: I have the two most recent recordings and they are both wonderful. I do not have, nor have I heard the original cast recording but it is on my to-do list. There are some great songs and performances on these recordings - totally worth looking into, starting with the 2007 PS Classics album)

So, I know this is more of a write-up about the show itself instead of the amazing cast from Second Fiddle. Honestly - an amazing cast of fantastic local actors and singers. And here is the best thing about Second Fiddle. Not only do you get to see and hear a show live that you rarely have a chance to, but they also get the cream of the crop when it comes to performers. Jennifer Eckes, Doug Anderson, Max Wojtanowicz, Shelli Place, Suzie Juul, Adam Qualls, Elena Glass, Christian Unser..and that is JUST the Ensemble!! Shinah Brashers was spot on in the role of Snookie, Kory LaQuess Pullam was great as File. Bill Marshall, Paul Coate, and Robbie Droddy were all spot-on as H.C., Noah, and Jimmy Curry. Eric Morris - I have no idea why I haven't heard him before but he was amazing as Starbuck. And Therese Walth as Lizzy Curry....here is the thing. I was sitting behind a pillar and so I couldn't see her. Yet I knew exactly what was going on just by listening to her voice. She was fantastic and I look forward to see her, and more of this group of actors soon. And that is one of the best things about Second Fiddle - great local performers doing what they do and love best....telling stories through song and music.

Second Fiddle is gearing up for their fourth season (which I have heard rumors of what they want to do and it will be incredible). While they have received some wonderful grants from the Metropolitan Regional Arts Council, and some very generous donations - you can also make their fourth season happen by going to www.givemn.org and search for Second Fiddle. Give to the Max day is coming up and there are a LOT of local theater groups who could use some love. That is on Nov 17th so take a look and share the love.

Twin Cities Horror Festival V: Why I Love TCHF (and Review Roundup)

I LOVE the Twin Cities Horror Festival, now in its fifth year and here's why:

- Manageable size (ten shows, plus a few one-night events)
- Runs a reasonable amount of time (October 27 through November 6, 2016)
- Only one theater (The Southern Theater)
- Which has a bar (with excellent beer)

- That theater space is appropriately atmospheric (plus, this year the lobby is beautifully decorated by Katie Hartman of The Coldharts)
- Their website rocks: Simple, organized and featuring genres and ratings
- The staff and volunteers are welcoming, friendly and efficient

Oh, and I almost forgot: IT'S ALL ABOUT HORROR. I didn't think my favorite time of year could get any more favorite. Thanks, TCHF!

Our reviews so far for TCHF V (updated as they're added):

Ubu for President by Four Humors

Cinderella: A Revenge Play by Cheap Thrills Theater

A Zombie Odyssey by theater simple

Senseless by Dangerous Productions

Horrorshow Hot Dog Short Film Festival 2016

The Well by Kirkyard Productions

Severed by Ghoulish Delights

The Philip Experiment by The Importance of Being Fotis

The Not So Silent Planet by Word Sprout

Sweet Dreams, Alfie by Savage Umbrella

Book of Shadows by Erin Sheppard Presents

Edgar Allan by The Coldharts


More Reviews (not by us):

Twin Cities Horror Festival V Recap - One Girl Two Cities

Horror Is Back - Ira Brooker, MN Playlist

Twin Cities Horror Fest Opens with Zombies, Gore, and Twisted Fairy Tales - Jay Gabler, City Pages

The Philip Experiment - One Girl Two Cities

Oh, the Horror: Twin Cities Horror Fest Is Back for Two Weekends - Chris Hewitt, Pioneer Press

Twin Cities Horror Fest adds new scares this year -  Ed Huyck, City Pages (from 2015 but a nice look at the Festival)

Twin Cities Horror Festival V: Edgar Allan by The Coldharts

What's It About: "Little Edgar Allan met his shadow on the first day of school. His shadow follows him everywhere now… sabotaging his plans, stunting his achievements, souring his joy. Little Edgar Allan wants to be rid of his shadow… but Little Edgar Allan is afraid of the dark."

Edgar Allan is performed by The Coldharts, and is a charming, simple musical about young Edgar Allan and the mysterious other Edgar Allan that he meets at school. It's unsurprisingly dark and surprisingly funny, with a whole lot of story for a one-hour show. The Coldharts are Katie Hartman and Nick Ryan, two theatre artists based in Brooklyn, New York. They create American Gothic-inspired, devised, music-theatre. Edgar Allan is part of The Coldharts American Gothic trilogy, all three of which were performed at the Twin Cities Horror Festival. I'm really hoping they'll return next year so I can see all three. Please come back soon, The Coldharts!

If You're Sensitive and/or Delicate: No worries. Unless you have a fear of ukeleles.

In Short: It's funny and grim and dark and charming.

Twin Cities Horror Festival V: Book of Shadows by Erin Sheppard Presents

What's It About: "Spells will be cast through dance and spoken word. Sometimes magic is the only way to get what you want. Some call it witchcraft, witches call it life."

Book of Shadows consists of vignettes in dance, each on a particular theme or focus involving witchcraft. A narrator (Taj Ruler) reads from her own Book of Shadows in between each vignette, with comic and poignant monologues on her own forays into witchcraft.

The dances are beautiful, so gorgeously done, with simple costumes and wonderful lighting, and they tell simple but effective stories ranging from Snow White to the Salem Witch Trials to a sort of The Craft-like tale. The music is fantastic and the choreography is beautifully done, with not just beautiful dancing but great acting as well.

This show is really stunning and gorgeous and a perfect way to end the Twin Cities Horror Festival.

If You're Sensitive and/or Delicate: Or not that familiar with dance? You'll still love it.

In Short: I am immediately adding Erin Sheppard to my theater must-watch list.

Twin Cities Horror Festival V: Sweet Dreams, Alfie by Savage Umbrella

What's It About: "It's about the thing that goes *bump* in your mind."

Sweet Dreams, Alfie is haunting, disquieting and beautifully done. Russ Dugger, who also came up with the story and shares writing credit with director Laura Leffler-McCabe and the ensemble, plays Alfie, a guy so deep in a depression that it's difficult for him to know when he's asleep or just living his nightmares.

The stagecraft is simple but evocative, and the ensemble (Russ Duggar, Mark Sweeney, Megan Clark, Claire Morrison) act the hell out of their parts. Did I mention it's haunting? Random images from the show keep flashing through my head: Alfie shaving in the mirror, eating takeout with his sister, drinking coffee with his girlfriend, being invited out for drinks by the obnoxious guy at work. It all seems very innocuous, but it's anything but. This is probably the most unsettling show I've seen at the Twin Cities Horror Festival, but unsettling in a wonderful, thoughtful way. You can just feel that it's made with authenticity and kindness.

If You're Sensitive and/or Delicate: This show is not so supernatural but more about the horrors our minds can create. There's a little blood, but it's more suggestive than gory.

In Short: A well-told (and rather sad) story, with haunting imagery and marvelous performances. This show will stay with me for quite some time.

Twin Cities Horror Festival V: The Philip Experiment by The Importance of Being Fotis

What's It About: "In 1972, a group of scientists and paranormal researchers embarked on a study that they thought would change the world of parapsychology forever. It was called, The Philip Experiment."

The Importance of Being Fotis has a long history with the Horror Festival and with the Minnesota Fringe Festival, and it shows. We were creeped out by their entry in TCHF IV, The Trail, and entertained by The Farmhouse during TCHF III. So we made sure to catch The Philip Experiment.

Right from the start of the play, the laughs start with the framing device of a Rod Serling-esque narrator presenting a mindbending story. The self-important host (Joe Bozic) is hilariously over the top, and keeps popping back into the story. The plot, in which a group of researchers (Debra Berger, Heather Meyer, Mike Trost and Lucas Vonasek) deal with the consequences of a long-ago experiment, suggests a number of possible realities, which may or may not all exist. Or not.

The Philip Experiment questions the nature of reality and might make you wonder if you are actually in a theater, watching a play. But each unsettling scenario has a lot of humor in it, It's super-entertaining, whether you follow the twists and turns of the narrative or not. And everyone in the show is terrific, with fantastic comic instincts.

If You're Sensitive and/or Delicate: No worries about gore, though the body count is pretty high.

In Short: As in past years, don't miss the Fotis show. The balance of existential dread and humor is just perfect.