Sunday, April 7, 2024

Hecuba by Pangea World Theater

Pangea World Theater has opened their new production of Hecuba at the Southern Theater, playing April 5-21, and it is a beautiful, heart-rending play. 

Based on a play written by Euripides c. 424 BCE, the story starts just after the fall of the city of Troy to Greece following a years-long siege and the fateful arrival of the famed Trojan Horse. But you don't have to study Greek tragedy to understand this play.

Irish playwright Marina Carr uses the ancient tale to create a universal story of the horrors of war. Carr starts the play in the immediate aftermath of Troy's fall, following Hecuba, Queen of Troy, as she loses everything to the conquering King Agamemnon. The characters narrate their own story describing their surroundings and sometimes voicing other characters lines, which gives a glimpse into how the words are heard as well as spoken. Hecuba, surrounded by the bodies of her fallen sons, is brought even lower when she and her daughters are taken prisoner by Agamemnon, Odysseus, and their soldiers. 

As this ancient tale unfolds, the performers are seated to the sides of the stage, bearing witness to the events and contributing sound and movement when they are not part of the main action. The script's descriptions allow director Dipankar Mukherjee to stage the violence, killing, and sexual content of the story in a specifically unrealistic way. The words alone carry the weight of the violence. 

Hecuba (Suzanne Victoria Cross) with her daughters Polyxena
(Anne Guadagnino) and Cassandra (Ankita Ashrit).
All the performances were excellent, with Suzanne Victoria Cross showing us Hecuba's pride even as she and her women are held captive, starved, and worse. Matthew Saxe as Agamemnon is a ruthless antagonist who also sometimes questions the "rules of war" that he upholds. 

Hecuba's two daughters depicted in the play have very different relationships with their mother. Polyxena is young, but not as innocent as her mother believes. Anne Guadagnino plays the duality very well. Ankita Ashrit's Cassandra has a much more combative relationship with Hecuba. As told in mythology, Cassandra was gifted with the power of prophecy, but also a curse that no one would believe her. Even when she sees what will happen to them, Hecuba argues with her and disowns her, which allows us to see Cassandra's struggle. 

The action is underscored, and even introduced and capped off by the original music composed and played onstage by Bethany Lacktorin. The sounds, sometimes assisted by the cast, help to set the scenes and the conflicts played out on stage.

Although these characters' lives are influenced by the gods, they are not too different from those influenced by ideology in today's world. The horrors of their wars are not so different from our own. And in a way, Hecuba is any mother, watching helplessly as her children are taken from her. Carr's play brings the horrors of war from the ancient world into our own and is sadly relevant to our own time. 

Learn more about the play in Pangea's Performance Guide

For more insight into Pangea's work, check out the Twin Cities Theater Chat podcast we recorded with Production Manager (and Hecuba) Suzanne Victoria Cross and General Manager Adlyn Carreras. 

Wednesday, February 21, 2024

C.L.U.E. by Collide Theatrical Dance

The ensemble of C.L.U.E.
Collide Theatrical Dance's new production C.L.U.E. (playing at the Southern Theater February 16-March 10) is a takeoff on the popular board game, as you might have guessed. 

However, instead of Miss Scarlet and Colonel Mustard, we meet a different set of characters, introduced by Mr. Bottie (Nathan Huberty), who is being threatened by one of them. Each character has their own dance that tells their story and their relationship to the others. As with most Collide productions, the majority of the story is told through dance but Huberty does double duty as dancer and narrator, showing impressive breath control when he speaks right after an energetic dance!

The simple set is augmented by projections (designed by Peter Morrow) that introduce the characters and show the different rooms. And of course, weapons are introduced. At intermission, the audience is asked to vote on the murderer, the weapon, and the murder location via a QR code in the program or by writing down choices on a paper form at the box office. The votes are tallied, and the most selected answers are acted out by the company. 

The choreography (to mostly pop music) by company founder Regina Peluso is very fun to watch, and there are some nice touches that remind the audience of the show's board game origins, as each suspect character has a default pose and are moved by Mr. Bottie in a particular way when they are brought to the forefront of the stage. The dancers are very talented and have their own styles and specialties. 

It's an enjoyable evening of dance and humor, with a satisfying ending (or endings) that brings everything together, more or less. If you enjoy dance that tells a story, Collide is a wonderful company to follow, and C.L.U.E. is another stellar example of their work. 

Tuesday, February 13, 2024

Ashland at Chameleon Theatre Circle

Chameleon Theatre Circle is presenting the world premiere of Ashland by Minnesota- and Oregon-based writer Isabel Estelle. The play was the winner of Chameleon's 2022 New Play Contest and had a staged reading in February 2023 at Theatre in the Round as well as an October 2023 reading at the Ashland New Plays Festival in Oregon.

It's clear to see why this play is attracting attention. In a tight 90 minutes, it tells a difficult story with great humor and humanity.

From the Chameleon website: A young woman is unexpectedly diagnosed with a terminal illness and chooses to pursue Death with Dignity. She and her new partner must navigate the beginning and end of their relationship simultaneously. As her health rapidly declines, her partner and two siblings grapple with the absurdity and hilarity of death, family, and what it takes to let go.

Performed in a black box theater at Inver Hills Community College, the simple set is just a few pieces of furniture, enough to suggest a living space. Lisa Diesslin's costumes suggest the characters without being overly showy, and Mark Steffer's props range from appropriate to hilarious. Kudos for using real food. Andi Billig's lights and sound work to create scenes in and out of the living space and keep the action from slowing down.

There isn't anything to detract from the performances or the relationships they build in a short time. Courtney Matula, Marlo Teal, and Phillip Zawieruszynski play siblings whose reactions to terminal illness are conveyed in a very natural, believable way. As Wes, Jessica Lynn Frederikson builds a relationship with the family and runs through the gamut of emotions, some so raw that it's hard to watch, but never overplaying. Nissa Frederikson as Susan is a calm, thoughtful presence throughout the events. Matula, as Vim, who chooses to end her own suffering, creates a delightful character and does a wonderful wordless scene showing the progression of her condition.

It's difficult to tell whether the truth of the relationships on stage comes from the naturalistic writing or from the work of the cast, under Bradley Donaldson's direction. The two elements work hand in hand to create a difficult, but ultimately heartening evening of theater.

Wednesday, February 7, 2024

Crazy for You at Artistry

The cast and orchestra of Crazy for You
Photo by Sam Lavine
The production of Crazy for You at Artistry is a rare treat. There's only one weekend left, so hurry to get your tickets before it closes on February 11.

Crazy for You premiered on Broadway in 1992 as a "new" Gershwin musical. Creators Ken Ludwig and Mike Ockrent used the 1930 musical Girl Crazy as a rough outline and loaded the score with classic songs by George and Ira Gershwin like "Shall We Dance," "Embraceable You," "I Got Rhythm," "They Can't Take That Away From Me," "But Not for Me," and "Nice Work If You Can Get It," and many others. The plot is slight, involving a derelict theater in Nevada that needs saving, but it's just an excuse to get from one song to the next.