"Ghost Sonata" at nimbus theatre

nimbus theatre's production of Swedish playwright August Strindberg's Ghost Sonata is delightfully bizarre. It's a surreal world full of not just ghosts but also vampires, mummies, murders, mysteries, and one insane dinner party. The only other Strindberg play I've seen is Miss Julie which, although dark and twisted, is incredibly realistic, so I was not quite prepared for the strangeness of this play written after what is known as Strindberg's "inferno crisis." But I found it fascinating, with many ideas and layers and complex characters to contemplate. I was fortunate enough to attend on a day when there was a post-show discussion, which helped me to make sense of what I had just seen. But even without that added benefit, Ghost Sonata is a wonderfully new and innovative production of a classic piece of theater, with lovely original music, ingenious set design, and a cast that jumps into the strangeness with both feet.

Ghost Sonata is one of Strindberg's chamber plays, a play with three acts that flows like a piece of music (especially when accompanied by original music played by a three-piece onstage orchestra). In the first act we meet an idealistic young student (Andrew Sass) who has just saved a bunch of people from a collapsed building. A wily old man (Charles Numrich) uses him in his plan to get inside a grand house. The old man seems to know and be connected to many of the residents in mysterious ways, especially the Colonel (David Tufford) and his crazy wife (Karen Bix). The student is fascinated by these rich people in this fine house, so he agrees to the plan. In the second act, the old man and the student have managed to get inside the house, and the old man confronts the residents and the servants over dinner as we learn of his twisted plan. In the third and final act, the student talks with the young lady of the house (Megan Dowd) and learns about the strange happenings. Her parents are crazy, she's terrified of the servants, and despairing of life in general. The student soon realizes that what's inside this house is not as beautiful and fine as it appears on the outside.

the ghostly girl scout aids the student as the old man looks on
(Nissa Nordland, Andrew Sass, Charles Numrich,
photo by Mathieu Lindquist)

The whole thing reminded me of a warped and twisted version of Downton Abbey, where Mrs. Patmore is a vampire, Carson is angry and careless, Lady Grantham is a mummy, Lord Grantham is not who he says he is, Lady Mary is sick and frightened, and Matthew is the son of a lunatic who may be on his way there himself. If the ghost of a girl scout in the first act doesn't clue you in to what you're in for, the second act insane dinner party leaves no doubt that something is amiss. Bengtsson (Mark L. Mattison) is no Carson as he sloppily spoons soup into bowls and drops some strange pink goop on the plates in front of the guests, which some of them actually eat. And then, the transition between the second and third act, from the dining room to the flower room where the young lady spends her time, is unlike anything I've ever seen. It's quite thrilling and will blow your hair back, literally (set design by Zach Morgan, who also directs).

I apologize if I'm not making sense, but this is a difficult one to make sense of. I mean that in the best possible way, it's really quite fascinating and fun to watch. Themes of class tension, redemption, relationships, revenge, and being haunted by one's past all come into play in this strange Strindberg world. It was obvious listening to the creators talk about their work in the post-show discussion that a lot of time, thought, and effort went into creating this piece, including a new modern-day translation by Danielle Blackbird, original music by Charlie McCarron, and abstract video projections by Josh Cragun. All of these pieces come together quite beautifully in a bizarre and surreal sort of way. There's really no way to adequately describe it, you just have to see it for yourself. Ghost Sonata continues at nimbus theater through November 23.


This article also appears on Broadway World Minneapolis.

"The Lower Depths" at nimbus theatre

The Lower Depths, an early 20th century Russian play about people living in poverty in a homeless shelter, is pretty dark and depressing, but it's also a fascinating exploration of the universal themes of life, truth, and relationships. As director and adapter Josh Cragun notes in the playbill, "fundamentally, it is a show about humanity and what it really means to be human." The nimbus theatre production places the story in Depression-era America. This large cast of diverse characters, embodied by a talented ensemble, lives in a run-down building, with only a bunk to call their own, and shares the joy and desperation of life with each other. Plotlines include a love triangle, illness, alcoholism, and depression, but more important are the ideas and the characters that are drawn. The ending offers no closure, but instead seems to say that this life and these people continue on.

In a beautifully run-down and cluttered shack of a building (nicely designed by Zach Morgan), we meet a group of people down on their luck (as many people were in the Depression). Among them are an immigrant couple, an actor, a shoemaker, a formerly wealthy society lady, and a prostitute. Keeping them in line are the dysfunctional family of the landlord, his wife, and her sister. Into their midst comes a self-described pilgrim, affectionately called "old man" or "gramps" by the others. He listens to the residents, comforts them, and tells them what they need to hear to soothe or provoke them into action. Love, abuse, camaraderie, death, and celebration all have their place here in the lower depths. One of the residents happily exclaims that all you need is "food, drink, music, and friends," but there's a desperation hiding beneath the surface of the frivolity of drinking and the daily routines of shopping and sweeping. As the Wikipedia page nicely sums up, "The theme of harsh truth versus the comforting lie pervades the play from start to finish, as most of the characters choose to deceive themselves from the bleak reality of their condition."

the cast of The Lower Depths
(photo by Mathieu Lindquist)

This is truly an ensemble piece, and nimbus has assembled a really nice ensemble of 14 actors. All of them have their moment to shine, particularly in the second act when plot gives way to a series of monologues about life, truth, and the human condition, and they all use it well. It seems a shame to call out any of them because they all do a fine job. But if I must: standouts include Andrew Sass in his intense portrayal of Karl (at the apex of the love triangle), Art Peden as the kind and gentle old man, a sympathetic Emily A. Grodzik as the abused sister, Nicholas Nelson as the tormented actor (of whose opera-trained voice we only hear a sample), and Brian Hesser as the genial drunk. The appropriately shabby and lived-in costumes (designed by Barb Portinga) help to create the characters, and the tone is set by Depression-era music playing before and after and the show and during scene changes, and all too briefly sung by the cast.

The Lower Depths plays at nimbus theatre's space in Northeast Minneapolis through December 22. It's nice counter-programming to the likes of A Christmas Carol, and deals with some of the same themes of poverty and generosity, but in a more somber way. I'll leave you with another quote from the director:

In a time when issues of class disparity, morality and social welfare are taking the spotlight in our national conversation, this 110-year-old work has never felt like it had more to say. But the remarkable part about this play is that it does not preach. It simply shows. A world, a diverse set of characters, and their diverse set of views on truth and the human condition. Each one has insights, Each one has weaknesses. we are left to come to our own conclusions.

"reasons to be pretty" by Walking Shadow Theatre Company at the Guthrie Studio

I'm not sure what's going on, but I've seen several plays recently about angry people yelling at and being violent with each other.  First was the story of battling brothers in True West, then the intersecting stories of gay men in the 1950s and today in The Pride, and now Neil LaBute's tale of two troubled couples - reasons to be pretty.  Don't get me wrong, they're all brilliant plays beautifully staged and acted, but it's a lot to take in in a short time!

The play opens with an argument between Steph and Greg.  Steph is offended and betrayed by something that Greg said about her - that she has a "regular" face in comparison to a pretty girl.  A small thing, but with huge consequences.  Steph can't stand to be with someone who she thinks doesn't like the way she looks, as much as Greg tries to convince her that it's not true.  So she leaves him, after four years of being together.  The other couple in the play are their friends and Greg's co-workers, Kent and Carly.  They seem to be happily married on the surface, but as the play goes on we begin to see just how much of a jerk Kent is.  Which makes Greg's slightly offensive comment seem entirely forgivable.

Thinking back, I don't think that the two women ever shared a scene together, which is interesting because their relationship is the strongest and most healthy.  But their conversations take place outside of the play, and we only see the alternately friendly and contentious relationships between the other pairs - Greg and Steph, Greg and Kent, Greg and Carly, Kent and Carly.  There's a lot of talking in this play, and it sounds the way real people talk, complete with swearing and talking over each other, inappropriate statements and humor.  But there's also some action, as Greg and Kent's relationship comes to a violent end after Kent says something unforgivable about Steph.

Ivey's "emerging artist" Anna Sundberg is believable and relatable as Steph, whose sense of hurt and betrayal is completely understandable (even if I wanted her to forgive Greg).  By the end of the play, Joseph Bombard's Greg turns out to be a sweet, smart, nice guy and a good friend, despite his flaws and the fact that it was his blunder that started the whole mess.  You really empathize with him through all the ugliness, and we're left with a little bit of hope that his life will get better.  Andrew Sass has a little bit too much fun as the creep Kent who's cheating on his pregnant wife and has absolutely no guilt about it.  As has happened a few times recently, I felt the urge to boo him at the curtain call because his character is so unlikeable!  Rachel Finch is sweet and strong and vulnerable as the wronged woman Carly, who knows there's something going on but doesn't want to admit it.  The cast plays and fights together very well in the various combinations of characters.

reasons to be pretty is an interesting reflection on appearance and beauty.  Something that we really can't get away from in this culture, as much as we might like to think we're above it.  This play seems to present more reasons NOT to be pretty, as being pretty causes all sorts of problems.  Or rather, people's reactions to and expectations of beauty.

I love the Dowling Studio at the Guthrie Theater.  It introduces me to theater companies I never would have heard of otherwise.  Such as Walking Shadow Theatre Company, which I will now be keeping on my radar.  Once again I caught this show just as it was closing (sorry!).  But the rest of their season looks interesting - I do love an Oscar Wilde play!  And as much as I've enjoyed seeing these heavy plays in the last week or so, after all this drama, anger, and violence, I'm really ready for a light-hearted musical comedy.