"The Hobbit" at Children's Theatre Company

Children's Theatre Company proves that you don't need eight hours, the most advanced technology for visual effects, and 765 million dollars to tell J.R.R. Tolkien's slimmest and sweetest story about the unlikeliest of heroes in literature. You can do it in just two hours with five actors, two musicians, and a whole lot of heart and imagination. The new adaptation of The Hobbit by playwright/director Greg Banks (who shockingly had never read the book before beginning this project), with music by Thomas Johnson, is a wonderful way to bring this story to new audiences, as well as delight Tolkien enthusiasts like myself with the inventive storytelling of a familiar and beloved story.

"The Last Five Years" at Artistry

If you're a musical theater nerd, I don't need to tell you what an ingenious piece Jason Robert Brown's The Last Five Years is. A simple story of a relationship told from both sides, one chronologically forwards, one chronologically backwards. Premiering in Chicago and Off-Broadway in the early aughts, L5Y received a bit of a resurgence recently due to the recent movie adaptation; Artistry's nearly sold-out show is the fourth local production I've seen in (sorry) the last five years. And I have to say, I enjoy it a little more each time I see it. In fact I very much enjoyed this production, partly because of my familiarity with the complexities of the piece, and partly because it's really well done. The Black Box space is small enough to provide the intimacy the piece needs, with just a sparse two-person band, and a truly fantastic young cast in Aly Westberg O'Keeffe and Ryan London Levin. The run is nearly sold out, so call the box office if you want to get into this one (continuing through February 11, more info here).

"Bad Dates" at Artistry

Happy Valentine's Day, friends! What better way to celebrate this greeting card holiday than with some bad dates? Specifically, Artistry's production of the one-woman play Bad Dates. Actually it's less about relationships and dating than it is about a smart, strong, independent woman who decides she wants to have a little fun in her life, now that her career and family are on track. I was prepared to get my feminist hackles up about this dating play, but it turns out it wasn't necessary. It's not about finding a man to be complete; Haley's life is already full and complete, she just wants to have a nice dinner and talk to an interesting person every now and then. The play is funny and relatable, and perhaps even a bit poignant at times. In addition to that, it's written by a woman, directed by a woman, and stars a woman, so I'm more than happy to support and recommend it.

"20,000 Leagues Under the Sea" at Children's Theatre Company

Children's Theatre Company's latest offering 20,000 Leagues Under the Sea isn't what we usually think of as theater. But it is the best game of make-believe ever, and what is theater if not an elaborate game of make-believe? CTC is an expert at playing to their target audience while still creating art that we grown-ups can enjoy as well. And kids are quite familiar with playing make-believe, acting out their favorite stories, TV shows, books, or movies. That's pretty much what this show is - fan fiction (created by the wonderfully inventive team of Ryan Underbakke and Nick Ryan) about Jules Verne's novel with a fantastic team of actors playing the characters and leading the audience, who are also playing characters, through the story. It's an exercise in the collective power of imagination, something that comes naturally to kids, but that's necessary for adults to take part in occasionally as well. 20,000 Leagues Under the Sea is a super cool and totally unique experience.

I don't want to tell you too much about the experience, because the uncertainty and surprise is part of the fun. But you should know that you will be required to get physical, running, crouching, doing jumping jacks, as you are led through backrooms, staircases, and hallways of the theater (a great way to see some theater and get in a good workout at the same time!). The premise is that the 20 or so audience members on each "launch" (see website for times) are on a mission to capture Captain Nemo aboard her (yes, her) submarine Nautilus and rescue Professor Arronax (having never read the book, I found a quick perusal of the Wiki page to be helpful). You'll be in spaces large and small (claustrophobics beware), dark and bright, with cool electronic equipment that looks like something out of Star Trek, sometimes projecting scenes going on in other rooms. And there's one particularly detailed and homey looking Victorian designed room. The scenic and projection design (by Jorge Cousinea), lighting design (by Craig A. Gottschalk), sound design (by Sean Healey), and costume design (Annie Cady) all combine to create a completely immersive multi-media underwater experience so lifelike I almost wish I had taken Dramamine!

The cast and creative team merges CTC veterans with artists from the physical theater/comedy/improv world. The roles of the two mission guides are double cast (likely due to the frequent launch times), and I was happy to be guided by Isabel Nelson (whom I will gladly follow wherever she leads me, underwater or with her lovely and inventive company Transatlantic Love Affair) and Matt Spring (of the hilariously clever Four Humors). Both give performances so committed and real that even though my plan was to let the kids go first, I found myself rushing to the front to follow their commands. Watch for CTC company members Dean Holt as the good (?) professor and a completely transformed (as usual) Reed Sigmund in a scarily convincing performance. Jame Froiland's strong performance as Nemo makes the audience question just what side we're on. And in fact, we're asked to make a choice at the end, like a live action Choose Your Own Adventure book.

Immersive walk-through theater is a bit of a trend right now (see the recent Crime and Punishment, and NYC's Sleep No More), and CTC is doing an amazing job bringing it to children, perhaps its most susceptible audience (I heard parents whispering, "don't be scared, it's just pretend"). Part of the fun of the experience is watching the wide-eyed children as a totally in character actor gets down to their level and speaks directly to them (don't worry parents, you're not asked to respond or do anything, just follow along and obey commands). For kids and adults alike, 20,000 Leagues Under the Sea is the awesomenest game of make-believe you've ever experienced (the mission continues through August 23).

Captain Nemo and her crew (photo by Dan Norman)

This article also appears on Broadway World Minneapolis.

"On Golden Pond" at The Jungle Theater

This is Bain Boehlke's last full season as Artistic Director of The Jungle Theater, which he co-founded in 1991 (he will retire next summer). For the final production of the 2014 season, he has chosen the beloved American classic On Golden Pond, which was made into an equally beloved 1981 movie starring Katherine Hepburn and real life father/daughter team Henry and Jane Fonda. In a final trifecta, Bain has directed the show, designed the set, and stars as loveable curmudgeon Norman. It's a sweet, funny, beautiful triumph. Nothing showy or flashy or over-the-top, rather a lovely and quiet exploration of relationships and life.

On Golden Pond centers on Norman (Bain Boehlke) and Ethel (Wendy Lehr), who have summered together on Golden Pond in Maine for 48 years. It's a quiet and simple life, kept busy with picking strawberries, fishing, playing Parcheesi, and talking to the loons. Their only visitor is mailman Charlie (E.J. Subkoviak), who stops in for coffee when delivering their mail by lake. Their daughter Chelsea (Jennifer Blagen), who has always had a strained relationship with Norman, shows up with her fiance Bill (Michael Booth) and his son Billy (Peder Lindell). The boy ends up staying for a month, and he and Norman become fast friends. Chelsea suspects he's like the son that Norman always wanted her to be. We witness the course of the summer, from opening up the cabin and settling in, to packing up and heading back to city life. Having just turned 80 and suffering from heart palpitations, Norman talks as if he has one foot in the grave, which annoys and frightens Ethel. When the play ends, we're not sure if they'll return to Golden Pond next summer, or if we've just witnessed Norman and Ethel's last summer on their beloved lake. But all in all they've lived a good and happy life, if not perfect, and we can be certain that they'll enjoy whatever time they have left, whether it's 10 more days or 10 more years.

Norman and Ethel (Bain Boehlke and
Wendy Lehr, photo by Michal Daniel)

Everyone in the cast does a fine job, but On Golden Pond is all about Ethel and Norman, and Wendy and Bain are perfection. Their decades of friendship and collaboration are evident in the very real and natural relationship between Norman and Ethel. Bain physically inhabits the role of Norman with a slow and deliberate gait and labored breathing, but an internal fire as he verbally challenges everyone he comes up against, while still showing occasional glimpses of vulnerability. Wendy's Ethel has the busy energy of a retired woman with things to do, who loves her family wholly. She calls Norman a nitwit and "you old poop" with great affection. Watching these two local legends (both have Ivey Lifetime Achievement Awards) is a true pleasure. I had a smile on my face throughout the show and tears in my eyes at the end.

As always at the Jungle, the set is a perfect representation of the story. The cozy cabin is packed with books, photos, tchotchkes, games, blankets, and hats, like an actual cabin that has been lived in and loved for 50 years. It's a place I'd love to spend the summer, a place that feels familiar to anyone who has a summer retreat. The costumes (by Annie Cady) are vaguely '70s, especially with the younger set, but in an unobtrusive way. Ethel and Norman's clothes look comfortable and lived-in. The sideburns, bell bottoms, and phone operator are the only things that make this seem like a period piece; otherwise it could be happening on any lake in Minnesota or elsewhere.

On Golden Pond continues through December 21, so you really have no excuse not to head to this lovely little Uptown theater to see it. It's a great example of the quality theater that the Jungle has been producing for over 20 years under Bain Boehlke's leadership, that will hopefully continue after his tenure concludes next year. But for now, take this opportunity to watch a couple of legends in a beloved American play. You won't soon forget it.

"Or," at Park Square Theatre

Or, What a curious title - O-r-comma. Before seeing the regional premiere of this new play by Liz Duffy Adams at Park Square Theatre, I was on board with the concept - a comedy about England's first female playwright - but I couldn't quite figure out how the title fit into that. Fortunately, the play begins with a delightful prologue delivered by its star, the also delightful Emily Gunyou Halaas, explaining the title. Or, is an exploration of opposites, dualities, and the idea that those opposites can coexist. "We all embody opposites within, or else we're frankly too dull to live."

The play is a fictionalized account of real people in late 17th century England - playwright and former spy Aphra Behn, King of England and theater supporter Charles II, and his mistress, the actress Nell Gwyn. This is not the first play I've seen about these characters; last year's Compleat Female Stage Beauty by Walking Shadow also featured Charles II and Nell Gwyn, but focused more on the consequences of Charles allowing women on the stage to play female roles formerly played by young men. But while that play is a pretty dramatic and deep, Or, is pure comedy fluff written in the style of Restoration Comedy, which Wikipedia tells me is "notorious for its sexual explicitness." There certainly is a lot of that in the play, as the three main characters form a relationship that could be called a polyamorous* triad (thank you Shonda Rhimes) - a true love triangle. Charles is Aphra's "keeper," Aphra and Nell are lovers, and then Charles meets Nell. The three live happily ... well, at least for the moment.

the happy threesome

The most fun part of this play is that two of the three actors play three characters each, often in quick succession, exiting one door as one character and moments later entering another door as a different character with a different costume and accent. I bet the backstage view of this play is just as entertaining as the view from the audience. Mo Perry is an absolute scene stealer with all of her characters - the carefree Nell, the stern theater owner Lady Davenant, and especially the loyal servant Maria. Matt Guidry is also great as the powerful and fun-loving king, quickly changing to Aphra's former lover and current spy William Scot, on the run and hiding out in Aphra's room. The one constant through this revolving door of characters is Emily Gunyou Halaas as our heroine-spy-poet Aphra. I always enjoy seeing Emily on stage because of her emotional investment in her characters and the way the scripted words come out of her mouth (she was most recently seen in the wonderful In the Next Room at the Jungle, one of those "or" plays). Her Aphra is smart and strong, poetic (often speaking in rhyme) and pleasure-loving.

The period costumes by Annie Cady are gorgeous, from Nell's smart and boyish pants, to the king's beautiful coat, to Aphra's elaborate dresses. The set by Michael Hoover is simple, spacious, and elegant, with plenty of doors for the actors to disappear behind and make their quick change. Also adding to the period feel is the music played before the show and during scene changes - a sort of chamber music arrangement of Beatles songs.

All in all I found Or, to be very enjoyable. I'm not sure that all of the complexities of plot work, but it's a very fun piece with a great cast, nicely directed by Leah Cooper. A play written by a woman, directed by a woman, and starring a woman is definitely something I can support, especially when it's this good.


 
Or, from Park Square Theatre on Vimeo.




*See also this recent episode of Our America with Lisa Ling.