Great River Shakespeare Festival 2026

We love a road trip to the Great River Shakespeare Festival in lovely Winona, Minnesota. A few weeks ago, we were fortunate to attend the opening weekend of the festival with our fellow bloggers from Cherry and Spoon and The Stages of Minnesota. 

This year, the Festival has a new, permanent home after years of performing on the Winona State University campus. The Arc is a city-owned building that is home to several arts organizations and managed by the Festival. Artistic Director Doug Scholz-Carlson gave us a tour of the former Masonic Temple, which is a warren of rooms, stairs, and doors that now house the Festival's costume, set, and prop shops. The Masons were apparently not big on dressing rooms, so there's some work to be done. But there's a lovely main floor gift shop, meeting room, and bar - yes, they can serve alcohol now! On the second floor, just off the theater lobby, is the Ghost Light Lounge, a charming little spot to grab a drink or a snack. Throughout the building are remnants of the Masons' tenancy, from ritual objects and costumes to ancient-looking lighting and sound devices. 

Benjamin Boucvalt and William Sturdivant in Pericles at
Great River Shakespeare Festival. Photo by Dan Norman.

But the main attraction, of course, is the theater. Once used by the Masons for their mysterious rituals, it's a lovely, intimate space with flexible seating holding about 250 people. The stage is short on backstage space, but possesses amazing sets of hand painted backdrops commissioned by the Masons for the theater shortly after the building's opening in 1909.  (More about those later.) 

Our first show this trip was Pericles, one of Shakespeare's less frequently performed plays, directed by Shaun Patrick Tubbs. This play can be a challenge to stage because the story takes place in various locales around the Mediterranean, with Pericles sailing from one location to another. Set (and props) designer Karl Gfall has created a nautical setting that works both for the ship travel and the events on shore. Lighting by Lonnie Alcaraz and sound by Matt Tibbs create effective atmosphere, especially for the stormy seas. 

Melissa Maxwell in Pericles at GRSF.  Photo by Dan Norman. 

Pericles is portrayed by William Sturdivant, who fully commits to his character's adventures, trials, and tribulations. Along the way, our hero meets many other characters, performed by just seven other actors. The performances and John Merritt's costumes ably set the characters apart, but be sure to pick up a copy of the map provided at the pre-show performances, which helpfully include images of the cast and where each set of characters belongs on the map. Melissa Maxwell's captivating Helicanus also provides some necessary reminders of Pericles's journey. All of the performers are wonderful, as always, with the guidance of actor Benjamin Boucvalt as Fight Choreographer and Annie Enneking as Intimacy Coordinator, a role we first learned of right here at GRSF. 

Diana Coates, Annie Barbour, and
Benjamin Boucvalt in A Midsummer
Night's Dream at GRSF.
Photo by Dan Norman.

On Sunday, we saw the matinee of A Midsummer Night's Dream, one of Shakespeare's most performed plays. The intertwining plots of interfering fairies, mismatched lovers, and a very amateur play are all perennial favorites, and our blogger friends have seen the show a number of times already this year. One fun quirk in this production, directed by Doug Scholz-Carlson, is that in alternating performances, actors William Sturdivant and Tarah Flanagan alternate in the roles of Bottom and Peter Quince. We saw Sturdivant as Bottom, and he was delightful. We only wish we could go back to see Flanagan trade roles with him. 

The forest setting of Midsummer made it ideal for GRSF to make use of some of the painted backdrops I mentioned earlier. The forest and royal court drops perfectly suited the production, designed to use the drops and refer to the time period when the ARC building was first opened. The same team that designed the moody Pericles creates a fanciful setting for this classic comedy. 

Benjamin Boucvalt and Michael
 Fitzpatrick in A Midsummer Night's
Dream at GRSF. Photo by Dan Norman.

The same eight actors perform in both plays, with Merritt's costumes clearly defining each role, and the small cast size made some of the Midsummer scene changes rather interesting, as characters sometimes recited lines from off stage while changing from one character to another. It's all good fun in the spirit of the play, and just a dream, as Puck (a delightful Michael Fitzgerald) says at the end. 

One of the joys of returning to a festival like GRSF is seeing Festival veterans performing year after year in new and different roles, like Tarah Flanagan, in her 17th season, Benjamin Boucvault in his 13th, Melissa Maxwell in her ninth, and William Sturdivant in his seventh. Michael Fitzpatrick, who we will always remember for his 2021 performance in Every Brilliant Thing at the Festival, has been with the festival for at least nine and maybe more seasons. We look forward to seeing who the next returning company members will be.

You've got one more week to take the short trip to Winona for the shows (closing July 26). It's well worth the journey, especially if you take your time on the way down. Red Wing has some great shopping and good restaurants, and there are plenty of places to eat in Winona, though the shopping can we a bit sparse on Sundays, when the town seems to close down. Shout out to Melange Resale and Boutique and ClaraLouise for being open on Sundays!

Wicked Tour lands again at the Orpheum Theatre

Claudia Bennett as Glinda and Aline Mayagoitia as Elphaba in
the North American Tour of WICKED, photo by Joan Marcus.

The touring production of Wicked has flown back to the Orpheum Theatre in Minneapolis for a run through August 9. Although the show has been on Broadway for 22 years, and on tour for 21, the show retains its Popular-ity with audiences. 

I'm accustomed to well-known performers receiving entrance applause, but in Wicked, it's the characters of Glinda and Elphaba that receive the applause when they first appear.

For those who somehow missed this phenomenon, Wicked is based on Gregory Maguire's novel, which created a backstory for the witches of Oz originally created by L. Frank Baum and popularized through the perennial-favorite 1939 film. 

In this retelling, the eventual witches are schoolmates at Shiz University and become friends before the events of the original book and film. We also learn the origins of other characters in the story, plus a subplot about talking animals that isn't explained well enough for theatergoers who didn't read Maguire's book. But that's a minor quibble.

The Orpheum Theatre during Wicked load-in.
Photo: MN Theater Love

Claudia Bennett and Aline Mayagoitia as Glinda and Elphaba seemed quite young to me at the start of the show, but as their characters aged, I appreciated the depth they both brought to their older and wiser witches, and they have the vocal chops to really sell the songs most of us know so well. I love that the heart of the show is the relationship between these two women. The story is relatable to anyone. 

The whole cast is excellent and the production is, as always, a technical masterpiece. We bloggers had the opportunity to visit the Orpheum during the show's load-in, and seeing everything that goes into the staging makes the seamlessness of the production even more impressive. 

The set itself is built on the stage from the floor up, with plenty of elements coming in from the wings and flies. It takes 30 hours for the traveling crew and the local stagehands to assemble the set, while taking it down only takes five hours. As for the full touring company of 65 people, they perform 8 shows a week, 52 weeks a year, and they've got it down to a science. 

We also learned that the tour travels in 13 semi trucks, including one that's just for show merchandise! After 22 years and two movies, they offer plenty of options for t-shirts, tote bags, and everything else. 

Claudia Bennett as Glinda and
Aline Mayagoitia as Elphaba in
the North American Tour of
WICKED, photo by Joan Marcus.

A brief rant/public service message: Wicked may be a show that can appeal to the whole family, but that doesn't necessarily mean that the show will consistently capture the attention of small children. 

If kids can't sit still for two and a half hours without talking or being entertained by loud snacks, please stay home and watch the movie.

Unfortunately, the folks seated behind me didn't do that, and it was very distracting. Theater tickets aren't cheap, and I don't understand how people can spend that much money for their kids to squirm through a show they aren't interested in!

Rant over, if you have a group of adults and well-behaved theater kids, take them to Wicked, and everyone will have a good time. But you may want to budget extra money for the merchandise stand.

Grumpy Old Men at Minneapolis Musical Theatre

Grumpy Old Men--yes, the 1993 film starring Jack Lemmon and Walter Matthau--gets the old musical treatment. Minnesotans have a soft spot for this movie already as it's not only set in Minnesota, but parts of it were filmed here. It became an unexpected hit, spawning a sequel and even an annual festival in Wabasha, where the film was set. 

Now this local favorite is brought to life in the Twin Cities, appropriately enough by Minneapolis Musical Theatre, whose tagline is "Rare Musicals. Well Done." Grumpy Old Men plays through April 19 at the Conn Theater in Minneapolis. 

The plot of the musical follows the movie, as far as I remember. Two neighbors, John Gustafson (Jim Ahrens) and Max Goldman (Ward Eames), both widowers, have been feuding as long as anyone can remember. When Ariel (Caitlin Burns) moves in across the street, they both set their sights on her and shenanigans ensue. From the opening number that introduces the characters of the town, the audience knows what we are in for. It's a folksy, corny, broad comedy, and the company, under the sure direction of Kari Steinbach, knows the assignment. 

However, the charm in this production goes beyond the three very endearing leads and their story. This is where Minneapolis Musical Theatre really excels. Although you might think that GOM is another rote movie-to-musical, the characters in this show really make it a treat. The company, excellently cast, make the absolute most of their characters, quirks and all. I love a show with so many opportunities for stand-out individual numbers from the secondary characters. 

From shopkeeper Chuck (Quintin Michael, with a gorgeous, rich voice) to his quirky cousin Punky (Lisa Denninger, yodeling no less!) to saucy Grandpa Gustafson (Michael Frischetti, who gets some of the best lines) and the accident-prone but optimistic mailman Harry (Brandon Osero), each character gets their moment in the limelight and makes the most of it. And as counterpoint to the battling Gustafson and Goldman, their grown children Melanie (Jillian Bader) and Jacob (James Lane) beautifully depict lost dreams and caring for aging parents with heart and truth.

And we haven't even MENTIONED Kayla Hambek as Sandra Snyder, a buttoned-up IRS agent who's coming after Gustafson's back taxes. She plays the role to the hilarious hilt and tears up the stage. 

With its blend of heartfelt moments and comedy, this show is a charming delight that I could see as a recurring holiday show for the whole family--as long as they have a high tolerance for slightly blue language and slightly dirty jokes. 

Suffs Tour at the Orpheum Theatre

March yourself over to the Orpheum Theatre this week to see SUFFS (closing April 12)! 

This brilliant musical follows the efforts of the suffragists (not suffragettes) battling to win the right of women to vote in the early 20th century. Starting with the first Women's Rights Convention in 1848, women had been organizing with the aim of amending the Constitution to give women the right to vote. More than fifty years later and no closer to an amendment, the movement got a burst of energy, and controversy, when Alice Paul (Maya Keleher) joined the fight. Paul clashed with the suffrage establishment, represented by Carrie Chapman Catt (Marya Grandy), president of the National American Women's Suffrage Association (NAWSA). Frustrated with the genteel campaigning of NAWSA, Paul organized a national march for women's suffrage right past the White House in Washington, D.C. 

Maya Keleher (Alice Paul) and Marya Grandy
(Carrie Chapman Catt) in the First National
Touring Company of SUFFS. 
Photo by Joan Marcus, 2025. 

The musical depicts the clashes of the younger "suffs" with the political establishment in a series of frustrating meetings with President Woodrow Wilson (Jenny Ashman) as well as their disagreements with the polite actions of NAWSA. Another contingent competing for recognition by the political establishment and the white suffrage movement includes Black suffragist Mary Church Terrell (Trisha Jeffrey) and crusading Black journalist Ida B. Wells (Danyel Fulton, a standout for her passion and gravitas), who also disagree on tactics. None of these arguments are simple or even necessarily resolvable.  

This may sound heavy, and it is, but the music, book, and lyrics, all by Shaina Taub (who also played Alice Paul on Broadway), delightfully introduce us to these brilliant, dedicated, complex women. Just one example is the song, "If We Were Married," in which presidential aide Dudley Malone (Brandi Porter) lays out a romantic domestic future while Doris Stevens (Livvy Marcus) describes all the ways in which marrying would take away her rights. It's a delightful twist on the traditional musical theater romantic duet. 

Monica Tulia Ramirez (Inez Milholland) and company in the

First National Touring Company of SUFFS.

Photo by Joan Marcus, 2025.

In a show full of stellar performers, Danyel Fulton as Wells stands out, conveying her frustrations with passion and gravitas. The full touring cast of all female-presenting performers is more than up to the job of showing these women (and a few men) in all of their variety. 

I first saw this musical in November 2024 (after the election). The story had great resonance then, but in 2026, the Minneapolis audience was primed and ready to hear the message of SUFFS. I can't remember ever being in an audience so engaged with a theatrical performance at the Orpheum. On opening night, the League of Women Voters was represented by groups from around the state, with some arriving in suffragette white with "Votes for Women" sashes. 

Library of Congress: Suffragists with Flag;
between ca. 1910 and ca. 1915

Before or after the show, or just for the knowledge, check out the SUFFS website for some great information and historical photos of the real life suffs, and more resources. 

And on May 8, watch the recording of the original Broadway cast on PBS's Great Performances. And carry the energy into the streets! Keep marching!

Twin Cities Horror Festival XIV - The Best Time of the Year!

Y'all, we LOVE the Twin Cities Horror Festival (which runs October 16 – 30 at the Crane Theater) the annual horror theater festival that celebrates all things horror. LOVE. 

Why Should YOU Go to TCHF? (in convenient bullet form)

• TCHF is comprised of short plays in a variety of horror genres to suit any taste, from funny and gory to eerie and thoughtful.
• TCHF pays 100% of ticket sales to its artists. YAY paying artists!
• You can see some of the most amazing theater artists in the Twin Cities and add their work to your don't-miss theater list.
• Tickets to the shows are only $15.00! So worth it!
• Plus, check out the spooky souvenirs at the merch table and Goblin Market!
• After 14 years, TCHF runs like a dang top. Easy ticketing, welcoming and friendly staff, ample free parking!
• Spend an evening and see a few shows. They've created lots of cozy seating areas and offer concessions including some excellent NA mocktails. 

Now, in its 14th year of being awesome, we are seeing some amazing shows at the festival. Here's our guide to the shows we've squeezed in so far!

Gudlung - Dangerous Productions

"It’s Christmas, and Ted just wants the perfect family holiday. Sure, his wife is under the weather, his kids are cranky, and reality is being torn to shreds by an ancient horror—but, every family has its quirks, right? Luckily, Ted has a new friend with altruistic desires and an endless hunger. Combining Rockwellian sensibilities and Lovecraftian logic, “Gudlung” is sure to be a holiday classic for eons to come."

It's Dangerous Productions and there's no better way to kick off the Horror Festival than by seeing the familiar tarp spread out on the stage. That tarp means it's going to be a very bloody good time. And it is. Alas, no program so I can't give shoutouts to the actors who so beautifully played the wild shifts in tone and personality as Ted tries to create the perfect Christmas, again and again. Lovecraftian ancient horror is the vibe of the festival as it's difficult to top the horrors of contemporary American life in 2025.

Gospel Gus's Godly Goodtime Get-Together - Hot Chocolate Media with Phantom Chorus Theatre

"Evangelical Kids TV show mascot personality Gospel Gus has passed away. Manna studios is hosting a reunion to help make that…merchandising cash flow. Hot Chocolate Media teams up with Phantom Chorus Theatre to bring this nightmare alive."

 

 Scrimshaw by Rogues Gallery Arts

"A pair of married missionaries working in a Pacific whaling village take a mad whaler into their care after he was found floating adrift in the ocean. As they learn about his journey, his experiences and the sea creature he claims to have encountered they also face challenges to their view of the world, their faith and their own sanity." 

The Neverland - Lady Chamberlain Productions

"By light of day, the Neverland exists only in the imagination. But at night, the wild beasts of the island stalk alarmingly close. Three lost children rely on each other–and a mysterious faun guide known only as Pan–to traverse the island, face down beasts of world myth, and discover the reason they’re on the scariest adventure of their lives."

Bay Creek - The Miller Conspiracy

"After his father's sudden disappearance, the last of four generations of smugglers from the river bottoms of Pike County, Illinois contends with his family's legacy of violence and crime. Held by police and under interrogation, he must come face to face with the terrifying entity his ancestors carried over the veil from the other side."

The Walls - Strike Theater and the Improv Movement Project

"The Walls is a tale about a bank robbery gone wrong and a safe house that's not safe at all. A dramatic play loaded with tension and movement. The Walls meshes movement, acting and storytelling  to present a terrifying experience. The Walls features the talents of Rita Boersma, Sam Landman, Peytie McCandless, Jay Kistler, Mark Benzel, Sean Dillon, the Improv Movement Project.  Written and directed by Mike Fotis and presented by Strike Theater and The Improv Movement Project."  

The Last Menagerie - Melancholics Anonymous

"In this zombified parody of the classic play, The Glass Menagerie, the delusional undead Wingfield family has someone for dinner. Does Laura have the guts to step outside her world of broken baby dolls and eat the man of her dreams? Horror, the way Tennessee Williams intended!" 

Familiar - Special When Lit

"What’s a teen witch without her cat? Rosemary is about to find out. Her beloved familiar may have passed away, but by no means has it passed on. After opening a portal into a shadow realm, Rosemary discovers that only in the dark are you truly able to see. A teen-friendly nightmare from Nissa Nordland, writer of Stabby Stab Stab, Kin and Incarnate."

Murder. Murder. Murder. Murder. - Love Drunk Life

"A collection of short horror plays tied together by one prompt: crows. Enter into worlds of women transforming into birds, scientists playing God, cannibalism via dino nuggets, and a local DJ who is determined to be the ultimate final girl in an evening of deadly horror."

 Madness and Betrayal: A Grand Guignol Double Feature - Silent Scream Productions

"Love, mortality, sickness and obsession reign in two gory, tension-filled historical  one-act melodramas. A popular 19th c. theatre form credited as the origin of modern horror, Grand-Guignol judged its success by whether guests “passed out, threw up, or left”. A physical theatre spectacle of stage combat, gripping suspense, and shocking effects."

Terms - Four Humours

"A horror play about insurance, from the people who brought you Rasputin and Harold." 

And coming up, we're going to be seeing the final two. Reviews to come!

Camp Bludde - IK Productions

"An old legend, old money, new blood. This deep in the wilderness, no one can hear you scream. Camp Bludde is a summer camp by and for a wealthy elite class of people. Every ten years, a camper is brought in on a scholarship. But things are not what they seem. When a hooded figure pursues the campers, it’s clear Camp Bludde lives up to its namesake."

Cursed Objects - Dolly Who?

"You're invited to an exclusive peek inside the curious world of the Cabinet of Cursed Objects, a vintage shop selling one-of-a-kind, very vexed trinkets owned by the infamous Webb sisters, Millicent and Melody. After the arrival of a mysterious door sends the evening spinning off its hinges, the Webb sisters, their assistant, and a trio of “Cabineteers” are forced to grapple with an unfathomable terror, each other, and themselves." 

Today is 3/25/26 and apparently we never published this even though TCHF is our FAVORITE. So I'm doing it now!

Okay bye.

 

Kimberly Akimbo at the Orpheum Theatre

Carolee Carmello in the National Tour of
Kimberly Akimbo. Photo by Joan Marcus.

We were excited to see Kimberly Akimbo on tour, as we hadn't been able to see it in New York. In the original Broadway production, Kimberly, a teen with a rare genetic condition that ages her far beyond her years, was played by Victoria Clark, a wonderful performer we were lucky enough to see years ago in The Light in the Piazza. 

On this tour, the role is played by the equally delightful Carolee Carmello, who we first saw on the AMC TV series Remember WENN. A theater veteran with outstanding credits including the original casts of Parade and The Addams Family plus 14 other Broadway shows, she was a definite selling point of the show and did not disappoint! Go see it at the Orpheum Theatre before it heads to its next stop. Last two shows are on July 13.

In a world of jukebox musicals and musicals based on movies, Kimberly Akimbo has one of the more unusual plotlines. It won five Tony Awards in 2023, including Best Musical, Best Book for David Lindsay-Abaire, and Best Original Score for Jeanine Tesori's music and David Lindsay-Abaire's lyrics.  

Carolee Carmello and the National Touring Company of
Kimberly Akimbo. Photo by Joan Marcus.

The show follows Kimberly, a teen dealing with a debilitating condition that causes her to age at four  to five times the normal rate, so that at 16, she has the body, including aches and pains, of a woman in her 60s. She's at a new school, hoping to make friends, and not getting much support from her wildly dysfunctional family. In spite of the challenges the character faces, the show is funny, touching, and hopeful. 

The National Touring Company of Kimberly Akimbo.
Photo by Joan Marcus.

The cast, led by Carmello, is small but mighty. Jim Hogan and Laura Woyasz play Kimberly's self-absorbed parents, and Emily Koch is hilarious as her not-so-petty criminal aunt. The young actor playing her love interest, Miguel Gil, is charmingly geeky. The other outsider teens (they're in Show Choir!), played by Grace Capeless, Skye Alyssa Friedman, Darron Hayes, and Pierce Wheeler, each have their own romantic issues, which are summarily sorted out by Koch's Aunt Debra. They're also in Show! Choir! and their harmonies are TIGHT.

Jeanine Tesori's tunes are catchy, and David Lindsay-Abaire's lyrics and lines are frequently hilarious and often touching. 

We just want to give a little more love to Carolee Carmello, who has the daunting task of being an adult actor who is playing a teenager who is aging to an age beyond the actor's. Still with us? She does it beautifully, with a lovely youthful voice and fabulous physicality. You'll fondly remember the tale of Kimberly and to grab life by both hands, because we all only go around once. 

Extra fun fact! Like us, are you intrigued by how the cast managed to skate around at the ice skating rink? It's a cool trick. Click here to learn more.

Whoa, Nellie! The Outlaw King of the Wild Middle West

Following the success of 2023's The Defeat of Jesse James, the History Theatre is again tackling a Wild West (or Midwest) legend (in her own mind). Whoa, Nellie! The Outlaw King of the Wild Middle West plays from May 17 to June 8, and after opening night, I'm already hoping to see it again.

 

(l-r) Erin Nicole Farsté, Tod Petersen, Grace Hillmyer,

John Jamison II (center), Leslie Vincent, Thomas Bevan.

Photo: Rick Spaulding.

Whoa, Nellie! tells the rip-roaring musical tale of Nellie King, the “wily and scandalous female cowboy detective” whose countless criminal exploits and penchant for male attire made her an 1800s Minnesota media icon. By turns hilarious, tuneful, and deeply emotional, this grand spectacle resurrects an array of vaudevillian superstars to share a story of surprising contemporary resonance. Plumbing the depths of America’s obsession with celebrity, the show reveals potent historical truths around gender, addiction, mental health, and media sensationalism, as it follows Nellie’s desperate pursuit of the love, acceptance and transcendent immortality it promises. (History Theatre)

Since this is the History Theatre, it's about a real person, albeit one that not many people have heard of. Nellie King cut a swath through Minnesota and the Dakotas in the late 1800s, calling herself a detective (then a new profession) to enable her lying and thievery, while also making appearances on the stage.

The show is a moment out of time, with Nellie staging a show about her life on an opera house stage. She has gathered a troupe made up of notables from her era, none of whom were likely to have known King in real life, but who all share a history of being marginalized due to their identities. Each of these players also play a number of roles in the story of Nellie's life. If it sounds confusing, it's not.

The always-electric John Jamison II is superstar vaudeville performer Bert Williams. Erin Nicole Farsté brings wonderful presence and a killer voice to singer Aida Walker. As Julian Eltinge, a popular female impersonator of the era, Jay Owen Eisenberg deftly plays a number of male and female parts to perfection. Tod Peterson is John Durham, the impresario who brings Nellie's show to the stage, and plays roles from comical to threatening. Grace Hillmyer plays a hauntingly innocent ingenue. Leslie Vincent is a rough and tumble Annie Oakley, which made me want someone to cast her in Annie Get Your Gun ASAP. Therese Walth is the indomitable Nellie Bly. Thomas Bevan shows his range as a variety of Nellie's romantic conquests.

(l-r) Leslie Vincent, Em Adam Rosenberg, Tod Petersen.

Photo: Rick Spaulding.

Em Adam Rosenberg is captivating as Nellie King, whether Nellie is sweet-talking a jailkeeper, conning a mark, or romancing someone else's husband. With a stunning vocal range and impressive depth, Rosenberg plays Nellie's highs and lows with equal fervor.

Josef Evans wrote the book, lyrics, and music, and his script and songs address Nellie's life and times while drawing parallels to our current moment. There were many songs I'd like to hear again, but a favorite was the number performed by Walth, Vincent, and Farsté "You Gotta Be Crazy (Not to Go Crazy)" as a counterpoint to the mens' number "Hysterical Damsels."

Laura Leffler's direction keeps the story moving, with fun, appropriately period choreography by Joey Miller, who is also the associate director. The set by Joel Sass, representing a long-gone St. Paul opera house, and lights by C.Andrew Mayer are spot-on (pun intended). Bryce Turgeon's costumes give us a cheeky look at the actors in their undergarments, which makes their quick changes between characters an easy task.

The music, orchestrated by Robert Elhai and directed by Amanda Weis, provides great support to the singers with a small but mighty four-piece ensemble (Weis, Kyle Simons Baker, Corey Fitzgerald, and Audrey Q. Snyder).

Whoa, Nellie: The Outlaw King of the Wild Middle West is a wonderful night at the theater. Once again, History Theatre brings our region's history to life in the most magical way.