Teenage Misery - Revisionary Theatre Collective

There is nothing sadder to me than seeing a completely amazing show ... on its very last day. Teenage Misery, by Revisionary Theatre Collective, is one of those shows that I'd have loved to sing its praises to horror fans, musical fans, new work fans and pretty much everyone else.

But I have hopes that this amazing show will have a the long and fruitful life it deserves, Originally part of the 2013 Fringe Festival, Teenage Misery has book, music AND lyrics by Keith Hovis, who describes it as a "dark comedy musical that mashes up Bye, Bye, Birdie and Stephen King's Misery." Sold.

Teenage Misery, performed at the intimate Sandbox Theatre space (only 35 seats!), starts with college friends Carrie Black (Kelly Matthews), Whitney Fuller (Karissa Lade) and Harvey Kellerman (Jake Rahler) swearing their devotion to hot young singer Shane West (Ryan London Levin). When it turns out he's coming to town and meeting with his biggest fan, they contrive to win the contest in a most Stephen King way. From there, it goes downhill for nearly everyone. Equally avid Shane West fan and possible psychic Hannah Alloran (Whitney Rhodes) and her lumbersexual bf Richie Gibbs (Adam Rice) drive across the country to save Shane from his fans --

OMG, I just realized that Hannah Alloran's name is not just a reference to a Stephen King character, her character's end is eerily similar to the character's end in the film. There are so many delicious references in this show. I must have the cast recording. MUST.

Two things:

1) When this show started, and the cast started singing in this intimate space, I settled in with delight. There is NOTHING like being in amazingly close proximity to marvelously talented singers. No mikes, no distance, just you and the voices. And they are amazing, every single one of the six-person cast.

2) And not just that, the show is GOOD. I mean, really good. The lyrics are marvelously clever, the music is tuneful, the melodies are memorable, the arrangements are beautifully done. This show has legs, y'all. Mark my words.

Okay, a couple more things--and props to director Ari Koehnen:

1) The staging. There could not be a more challenging space than Sandbox's teensy storefront. With chairs on two sides, facing each other, with all of the action taking place in the center, it is astounding that the actors moved so beautifully and did so much in such a small space, even using the theater entrance to dramatic effect.

2) The tone is PERFECT. With horror comedy, tone is really challenging, but every member of this cast gets the tone perfect. They are utterly committed and sincere, which makes the plot and violence that much more absurd and funny. It reminded me of Minneapolis Musical Theatre's Silence: The Musical (also starring Ryan London Levin) from earlier this year. Ooh, and there's a wildly clever twist, performed perfectly.

I can't really say more except that it's a talented, committed cast performing a hilarious, clever and tuneful show and I really hope to see it again. And if there's a Kickstarter to record a cast album, I'm IN.

Want to know more? Check out Teenage Misery's fabulous Facebook page. In particular, I loved their Easter Egg series of photos explaining all of the references. And trust me, these references go deep.

Why We Can't Have Nice Things - The Recovery Party at Bryant Lake Bowl

Why We Can't Have Nice Things is the first show I've seen by The Recovery Party. Playing through November 6 at Bryant Lake Bowl, the show is sharp social satire with occasional flights into the absurd.

This collection of comic sketches is formally titled Why We Can't Have Nice Things (or: The Peril of Choice), and this theme recurs throughout the show, from complaints about the excessive variety of Oreo cookies available to the number of names for the devil. Mostly, the humor revolves around modern life in today's United States, not shying away from the deep divides we are experiencing.

Joshua Will

It's a little odd in 2016 to see a show dealing with contemporary issues featuring such a homogenous cast, but the group leans into the choice, spending most of the show in identical black slacks and white shirts. They do have the grace to acknowledge that today, it's a little uncomfortable to be seeing five "old white guys" putting on a show. But they are very talented and funny guys who workshopped Joshua Will's script into a swift and entertaining evening.

Writer Will, who also directed, presents a snappy series of highly literate sketches. As a grammar nerd, I was particularly entertained by jokes about language and etiquette. Will reminded me a bit of Saturday Night Live's Seth Meyers, not a bad reference for a comedy show.

Jim Robinson and Dennis Curley

Dennis Curley provides musical accompaniment and cheery original songs, as well as a recurring portrayal of the devil as a man frustrated by the difficulty of finding reliable minions to do his bidding.

Jim Robinson is convincing both as a disgruntled biology teacher forced to teach alternatives to evolution, and a guy no one wants to be in the steam room with. In another comedy reference, he bears an interesting resemblance to Fred Willard.

Eriq Nelson

Jeffrey Cloninger

Photos: therecoveryparty.com

Eriq Nelson showed a sly wit, often providing an unexpected twist on the proceedings. Even when things go slightly wrong, he keeps it funny.

Jeffrey Cloninger commanded the stage whether complaining about cookies or accidentally losing his soul by not reading the fine print.

Throughout, we are reminded, not-so-subtly, that we all have a choice to make in November and the show's viewpoint is fairly obvious. But it's not didactic or preachy. Running a tight and sharp 90 minutes, ... Nice Things has a lot of laughs about things that are on all of our minds. And it's good to laugh when we can!

Letter from Wisconsin - American Players Theatre (Guest Post)

After years of coaxing by friends, we finally took the leap and spent a lovely fall weekend at American Players Theatre. Although it was our first visit to this fabulous repertory theater in Spring Green, Wisconsin, it is far from our last. We're sold, we're in. To tell you more, here's a post from our friend Ernest Edwards, a longtime APT fan:

My Annual Weekend at American Players Theatre:

American Players Theatre is a professional theater company located, literally, in the middle of nowhere Wisconsin. It’s near the town of Spring Green, WI, which is about an hour west of Madison, about three hours northwest of Chicago, and about four and half hours from the Twin Cities. They perform their plays in repertory. If you pick the right weekend, you can see most of the season in one weekend.

I’ve been going to APT since the summer of 2008, and the summer of 2016 is my ninth year. Going to APT isn’t just about good theater, it’s also about going with friends, picnicking before and between plays. That is where the magic is.

With both the main stage--the Up The Hill theater, which is outdoors--and also with the more intimate indoor stage--the Touchstone--you and your friends can see whichever play you want and then get together between plays to picnic. With the two stages, everyone doesn’t have to see the exact same play at the same time, although it's great when it happens.

What else makes this theater company magical? The cast. APT has a core set of 10-12 actors/actresses who have made a commitment to APT. Along with the core company, other actors join the company and may be there every year or so. The company is almost like family. 

This fall, my APT weekend consisted of the plays Comedy of Errors, Death of a Salesman, An Ideal Husband, King Lear, Eurydice, and Arcadia.

Thinking of my first time at APT, I still remember the plays I saw in 2008. I only did four plays that weekend, but they were Midsummer’s Night Dream, The Belle’s Stratagem, The Widower Houses, and Ah, Wilderness!. Back in 2008, the Touchstone wasn’t open yet. It was only the outdoor Up The Hill Theater.

Now that APT is doing some long needed improvements to the Up The Hill Stage, I am very much looking forward to the 2017 season. I would love to do another behind-the-scenes tour. That way I can see the backstage of the Up Hill Theater with the expanded backstage storage, dressing rooms and rehearsal space. 

APT is one of my favorite traditions. I look forward to my annual APT weekend with friends every year. 

(Editor's note: One of the best things about American Players Theatre is staying at Spring Valley Inn and discussing the plays around the massive fire pit outside of the bar. Delightful.)

Capsule reviews by Ernest:

The Comedy of Errors

Shakespeare's about mistaken identities is hilarious at APT this season. Went to the student matinee Friday morning. Show also has a deus ex machina esque moment at the end too. Besides the costumes and acting, have to say favorite part of this production was Christina Panfilio and Kesley Brennan as the two Dromio's. At first I thought it was the actress playing both characters. Alas no. Great hair and makeup for those two. They were hilarious.

Death of a Salesman
What a great production. Glad I had went to the closing night performance. It has been so long since I read the play, that I had forgotten some details. Like how Willy Loman was also losing his mind. The flashbacks were well acted. Powerful play. On a side note. I had to laugh internally that, again, real life husband and wife Marcus Truschinski and Tracy Michelle Arnold were playing mother/son.

An Ideal Husband (photo by Liz Lauren)

An Ideal Husband
Oscar Wilde's clever language made An Ideal Husband a fun and witty play. I have to say that this play had more bite to it than the movie with Rupert Everett and Julianne Moore. Another well cast production at APT. With this production some of the highlights were the scene changes, costumes and the hats. Loved this play.

King Lear
Saturday evening play was King Lear. It had a simple set design. Jonathan Smoots was amazing as King Lear in this production. The play was done as present day. What we noticed was funny, was how the two oldest daughters of Lear got smaller skirts, bigger hair and more bling as the play went on. They were both vying for Edmond's attention. Being that this was a Shakespearean tragedy, there was a body count. Should have had a check list. The rain storm, thunder and lightning on stage was so effective. That people jumped out of their seats. Great sound affects. Another well done play at APT.

Eurydice

This production of Eurydice was an adaptation that was set in present day. Very simple set, but very effective story about the love story of Orpheus and Eurydice. Even death couldn't keep them apart. And the life after death was very interesting in the underworld.

Arcadia (photo by Liz Lauren)

Arcadia

I would have to say that Arcadia was a highlight of the weekend. The play covers so many topics. In a nutshell it takes place present day at an English estate, and they are trying to unravel secrets from two hundred years ago. Past and present do collide in this play. Topics range widely too. Cast highlights were Nathan Burger as Septimas Hodge, Jim Devita as Bernard Nightingale, Colleen Madden as Hannah Jarvis, and Steve Haggard as Valentine Coverly.

September Short Cuts - A Month in Review

September got away from us here at Minnesota Theater Love. Here's a super speedy look at what we saw and what we thought.

The Liar - Park Square Theatre: 
1643 French play, rewritten by David Ives. Starring Sha Cage and Zach Curtis, with amazing performances by Sara Richardson, JuCoby Johnson and especially Shanan Custer. So funny that my face hurt from laughing.

The River - Walking Shadow Theatre Company:
Jez Butterworth, a playwright I LOVE, and amazing performances from a cast of three, including Andrew Erskine Wheeler, completely unrecognizable from Walking Shadow/Mixed Blood's The Christians. This production was not afraid to lean into the quiet and the silences, and the audience was rapt.

The Two Kids That Blow Shit Up - Mu Performing Arts
I love Mu, and I adore both Sun Mee Chomet and Sherwin Resurreccion, but did not love this play by Carla Ching, nor the production. This show jumps around in time, but doesn't develop the characters fully enough for us to care about their journey. Also, it was performed at Rarig, and sightlines were awful. Still love ya, Mu. Still happy to be a season subscriber.

Sense & Sensibility - Guthrie Theater
Sneh. The relationship between the sisters was lacking, and the tricksy production didn't work fully. We had WAY more fun recasting the show with our favorite local actors.

And then we went to American Players Theatre in Spring Valley, WI for six shows in four glorious days. More on that later.

The 2016 Ivey Awards - State Theater
The very best things about the Ivey Awards are as follows: Seeing scenes from fabulous shows over the year that I loved or somehow missed, and the love in the room. It might be theater prom, but it's fun even for those of us who work on the school paper. But if I'm totes honest, I'm not sure what's happening with that publicity campaign.

Ragtime: The Musical - Theater Latte Da
I love Ragtime, I love Latte Da, and I now completely adore David Murray. I loved the tour, and Ragtime was the first show I saw at Ten Thousand Things Theater, and I remember it as if it was yesterday (Aimee K. Bryant as Sarah, T. Mychael Rambo as Coalhouse, and Jim Lichtscheidl as Younger Brother). As always, Latte Da does a lovely job and the music is beautiful. But this production feels a bit too stripped-down. The cast feels too small, especially with such iconic characters and the staging too spare (moving staircases for days). But more than anything, in this day and age, to see both of the African-American characters martyred (and so violently) and their child raised by a white family feels....wrong. So many reviews say that this is the show we need right now, but I can't help but wonder: Is it? More on this later.

Broadway Songbook: Rebels on Broadway - Ordway
The Broadway Songbooks are wonderfully produced and sung, and clearly are a labor of love for James Rocco, who's done such a beautiful job in recent years with Ordway productions. This one, though, eh. Despite a wonderfully talented cast, the numbers were too staged, too choreographed, and too awkward. The best numbers were simply done: Telephone Wire from Fun Home (Hope Nordquist and Wes Mouri) and God I Hate Shakespeare from Something Rotten! (Wes Mouri and company). The wonderful cast also included Julius Collins and Brianna Graham.

The Children - Pillsbury House Theatre
This is one of those plays where if they had a second showing right after the first, I'd have stayed to see it again. Beautifully acted by a fantastic cast including Kurt Kwan, Michelle O'Neill, and Jim Lichtscheidl, The Children featured a fantastic script that mixes Medea with modern tragedy. Loved it. If only there were more days in the week, and more time to see amazing theater more than once!

Songs for a New World - Minneapolis Musical Theatre
Four talented performers, including the OUTFREAKINGSTANDING Brandon Jackson, performed Jason Robert Brown's song cycle at Bryant-Lake Bowl. Beautifully musically directed by Tony Sofie, it was a lovely evening of music performed by singers who could really put a song over. However, I do miss an actual program. Even a mimeographed sheet would be great (millennials: it's like a copy machine copy only smearier and smellier.)

Barbecue at Mixed Blood Theatre

Mixed Blood Theatre kicks off its 2016-17 season with a bang with a terrific production of Robert O'Hara's Barbecue. It's a fascinating, outrageous, discomfiting comedy. The play opens in a park, with a family preparing for a barbecue party. That is about all I want to say about the plot, because the play is full of surprises. More than once, the story and telling change so abruptly that the audience has to reorient itself to the new situation.

The cast is phenomenal, handling these shifts and inhabiting all of the facets of their characters wonderfully, under the sure-handed direction of Thomas W. Jones III, who is also in the cast. Regina Marie Williams, Jevetta Steele, and Sandra Struthers were standouts, but the entire ensemble was terrific and also included Bonni Allen, Aimee K. Bryant, Lolly Foy, Sue Scott, Dana Lee Thompson, and Stephen Yoakam.

Besides keeping the actors on their toes, Barbecue challenges the audience to think about racial and cultural stereotypes, about the way the media presents marginalized groups, and about cultural appropriation. But mostly, it will make you think about your own biases and assumptions, whether or not you realized you had them. It's not just about race and class, but about expectations and automatic assumptions.

Barbecue is a rare comedy that entertains while also questioning our prejudices, checking our stereotypes, and interrogating the very nature of truth. Whether or not you believe that theater has the power to effect change in people or in society, this play explores the deep roots of the biases that impact our everyday lives. Barbecue is a must-see that demonstrates Mixed Blood's continuing commitment to "...using theater to address artificial barriers that keep people from succeeding in American society."

Barbecue runs at Mixed Blood through October 16, and thanks to their Radical Hospitality admission program, ticket cost need not be a barrier to anyone.

In looking up the theater's mission statement for the above quote, I found their whole mission and vision statement inspiring. Check it out here. And then consider signing up for a season membership, so you won't miss any of this fantastic theater's important work.

Bluebeard's Dollhouse at the James J. Hill House

Photos by Kym Longhi / Combustible Company.

Bluebeard's Dollhouse is only the second full-length production from Combustible Company, but it's an ambitious, eerie evening you won't soon forget.

The promenade-style production ranges around the Minnesota Historical Society's James J. Hill House in Saint Paul, a perfect location for something a little creepy. This intimate, immersive experience isn't a play, exactly, as it is non-linear. The order in which you see the scenes depends on which group you are part of.

Director Kym Longhi makes good use of the Hill House, setting scenes on three floors in a number of rooms (and a few hallways). The audience is divided into smaller groups, some as few as 6, some of which joined and split again into different combinations throughout the evening. It does feel like a full evening, though it only runs 75 minutes. But it covers so much ground, and there is so much to take in, that time becomes irrelevant. I was totally engrossed in the discovery of the next new scene.

Each group is guided by an ensemble member from one performance space to the next. Though the performers are engaging, interacting is not really required (whew!). With lights, sound, music, dance, storytelling, and film, the company of eleven players spin scenes that combine elements of two stories: A Doll's House, in which Nora feels trapped and not in control of her own life or even her actions, and the folktale of Bluebeard, whose newest wife discovers the bodies of his previous spouses when she enters a forbidden room.

The performers play variations on the two pairs of spouses, with recurring motifs of the key to Bluebeard's mysterious room and the suitcase that Nora will take away from her dollhouse. And dolls. Lots of dolls, many of them creepy, just waiting in an alcove for you to spot them. The overall effect is spooky and creepy, as is the atmosphere of the show. The characters all seem ghostly, as though they may be restless spirits reenacting scenes they lived long ago.

Dolls. Creepy dolls. 

This is a hard show to describe, since it's less about story and more about atmosphere, but I thoroughly enjoyed being immersed in its world. It was a great kickoff to the festive Halloween season, and a fun way to see the Hill House again!

If you go:

Bluebeard's Dollhouse runs through October 15 at the James J. Hill House. Reservations are strongly advised, as capacity is limited, but there are two shows most nights, at 7:30 and 9:30. You'll be climbing stairs and sometimes standing, so wear comfortable shoes. I suggest brushing up on the source material before you go (I wished I had).

Some resources:

• The story of Bluebeard by Charles Perrault, as told in Andrew Lang's 1889 The Blue Fairy Book.
• More about Bluebeard in popular culture.
• The silent film version of Bluebeard directed by Georges Méliès is available on YouTube.
• Refresh your memory of Henrik Ibsen's 1879 play A Doll's House.

Sense and Sensibility at the Guthrie (Dream Recasting)

image from Archive.org

Kate Hamill's adaptation of Sense and Sensibility is playing at the Guthrie Theater through October 29, 2016. Many of our theater blogger friends enjoyed it wholeheartedly. I wish I could say the same. I didn't love the adaptation, or the staging.

I'm a steadfast Austenite and a fan of Sense & Sensibility (the movie, the musical, and this tv version). I also adore any opportunity to see an amazing cast that includes Sally Wingert, Robert Dorfman, Ayesha Kinnunen, Emily Gunyou Halaas and more. I just wish the casting was more in line with Austen's original characters and story.

So here's my dream local casting of Sense & Sensibility:

Elinor Dashwood - Emily Gunyou Halaas
Halaas was wasted as Lucy Steele/Gossip in the ensemble of this cast. She has a unique ability to play very smart and clever with just a little bit of endearing quirk.

Marianne Dashwood - Ayesha Kinnunen
Seeing Kinnunen playing Anne Steele/Gossip just reminded me what a wonderfully engaging actress she is. Marianne has more than a little nutty in her, and Kinnunen could play beautiful with a bit of crazy perfectly.

I love the layers casting these two actresses would give the show. The relationship between Elinor and Marianne is the central relationship in the story. I think Halaas and Kinnunen would depict that relationship with chemistry and believability.

Mrs. Dashwood - Carolyn Pool or Christina Baldwin
A frequent misstep in adaptations of Sense & Sensibility is making Mrs. Dashwood too old and not attractive. She is essentially a trophy wife, and quite young and attractive when her husband dies. Either Pool or Baldwin would play a beautiful, slightly flighty Mrs. Dashwood perfectly.

Fanny Dashwood - Annie Enneking or Sheena Janson or Meghan Kreidler
Any of these actresses would give Fanny the perfect steely, strong and slightly cruel bent that she needs. This is a strong character and one of Austen's great villains, and needs strong casting.

John Dashwood - Zach Curtis
I might be influenced by just having seen Curtis knock it out of the park in Park Square's The Liar, but Curtis would play John with good intentions but terribly weak will. Plus, he can do funny with great subtlety.

Mrs. Jennings - Thomasina Petrus
This character is a force of nature, and wonderfully comic and energetic. I'd love to see Petrus play this character. She would liven up every single scene, and provide a great contrast to the more demure and quiet Dashwood family.

Sir John Middleton - Gavin Lawrence
Thinking of Petrus as Mrs. Jennings, she needs a fabulously energetic partner in crime as Sir John, and Gavin Lawrence would kick butt in this role. His engaging energy would partner perfectly with Petrus.

John Willoughby - Eric "Pogi" Sumangil or Alex Galick
Willoughby needs to to be played with lightness and with charm to spare. Though very different types, I think Sumangil or Galick could bring the charm to this role for days, and make everyone fall in love with them (which is what Willoughby does).

Lucy Steele - Suzie Juul 
Lucy's seemingly innocent naivete hides a rather conniving mind. With her wide-open guileless face (that can hide a craftier side), Juul could pull this off amazingly.

Anne Steele - Joy Dolo
A pretty small role, but casting Dolo as Anne would pack a tremendous punch. Her personality and crack comic timing would add so much to this character.

Colonel Brandon - Bill McCallum
Brandon needs to be attractive enough (not just handsome, but charismatic) to attract Marianne's eventual attention, as well as draw attention to the role. He needs to be strong and able to pull off the tragic past without a lot of nonsense. I'd love to see McCallum tackle this role.

Edward Ferrars - Michael Wieser
Edward has a rather shy naivete combined with a subtle charm. He needs to be loyal enough to not break it off with Lucy, and still dashing enough to romance Elinor. When I first considered this role, I'd love to see Ryan Colbert or Jucoby Johnson take it on. However, they're a bit young to be paired with Elinor. I choose Michael Wieser instead, but he might need to tone down the sexy intensity a bit. After all, he's a man of God.

Robert Ferrars - Jay Eisenberg
A bit dashing, a bit sketchy, Eisenberg would beautifully evoke the contrast between him and his brother Edward. And the chemistry between Eisenberg's Ferrars and Juul's Lucy would be rich and complex and fun.

Miss Grey - Caroline Innerbichler or Shanan Custer
Just because it would be amazingly fun to see these amazing comediennes take on this small but crucial role.

Now, if I only had an amazingly well-funded theater company of my very own! To badly paraphrase Jane Austen in the original novel:

“The more I know of the world, the more I am convinced that I shall never see a [production of Sense & Sensibility] whom I can really love. I require so much!”

(co-written by Carly and Jules)