"God of Carnage" by Dark and Stormy Productions at Gremlin Theatre

For their 10th anniversary season, Dark and Stormy Productions is trying something new - performing in an actual theater, rather than the Northeast Minneapolis studio space that was their home for five years pre-pandemic, or a number of other found spaces (most recently - in a jacuzzi in Stillwater). But what hasn't changed is their tradition of doing one-act, small-cast, darkly funny plays, and God of Carnage is one of the best of that sort. The 2009 Tony-winning best play was first seen in #TCTheater at the Guthrie, when I called it "a tightly wound, intense, darkly hilarious four-person play about what happens when our baser natures come to the surface." Lyric Arts did it several years later, and now it's a perfect fit for Dark and Stormy. Since the theater space they chose is the Gremlin Theatre, it still has that intimate up-close-and-personal feel (if you're in the front row you may want to duck at a few moments). The sharply written four-person play is perfectly cast with some of #TCTheater's best actors, which makes for a very entertaining evening. Pair it with libations from Lake Monster Brewing next door and food from their rotating schedule of food trucks, enjoyed on their outdoor patio, and you have a practically perfect late summer night out (continuing through September 11).

"Our Town" at Artistry

Thornton Wilder's Our Town is an American classic, first produced over 80 years ago, and continuing through the years with frequent productions in theaters and schools around the country. It's a simple story really; its three acts explore the ideas of "Daily Life," "Love and Marriage," and "Death and Dying" through the interconnected residents of Grover's Corners. But it's really quite profound in its simplicity, the final act being especially poignant as it forces us to look at the beauty of every day life and communion with our fellow human beings, something that is often overlooked in the busyness of life.* The new production by Artistry, perhaps best known for their musicals, features a fantastic cast that brings out all of the humor, heart, and meaning in this classic. There's a reason that Our Town continues to be produced, and audiences continue to see it - it speaks to us in a very real and deep way.

"Footloose" at Artistry

Artistry is opening their 2019-2020 season with the musical adaptation of the hit 1984 movie Footloose. I've seen it once before, at the Chanhassen pre-blog, which means I remember nothing about it. As a musical it's pretty weak, but there is still plenty to enjoy about it, including the talented young cast. The other musicals in Artistry's season (in addition to the classic play Our Town) are ones I'm more excited about - the rarely done A New Brain and Mame, and the regional premiere of The Bridges of Madison County (which, despite being a movie/book adaptation, features a flawlessly stunning score by Jason Robert Brown). In the meantime, you can enjoy some fun '80s tunes in Bloomington this summer.

"Awake and Sing!" at Artistry

I love sad plays. I love stories of miserable families who love each other but don't know how to express it in healthy ways. Awake and Sing!, now playing at Artistry's black box theater, is one such tragically beautiful and beautifully tragic play, like Tennessee Williams set in the Bronx. Or rather, since Clifford Odets' 1935 play predates Williams' major works, I guess I should say that Tennessee Williams is like Odets set in the South. The multi-generational Berger family has become beaten down by life, with the younger generation trying to break free and make a new life in this new country, if only it will let them. With a strong cast and detailed design in an intimate space, Artistry's production is beautiful and heart-breaking.

"Noises Off" at Artistry

For the first time that I can remember, Artistry is staging a musical in their smaller black box space, and a play in their larger traditional theater space. It makes perfect sense when the musical is the intimate two-hander The Last Five Years, better served by a smaller space and smaller elements of production, and the play is the hilarious back-stage farce Noises Off, which requires a huge rotating set. The switch pays off, with a nearly sold out run of L5Y, and a rollicking good time in Noises Off. The utterly delightful cast, directed by Artistic Director Benjamin McGovern, plays up the ridiculousness of the script to maximum effect. And all of the theater insideriness will make me wonder what's really going on backstage when a play starts late.

"Wit" at Artistry

I don't know where to begin with this one. Artistry's production of the Pulitzer Prize winning play Wit is simply devastating. But it's also funny, and smart, and philosophical, and enlightening. This is my first experience with the play, and I really can't think of anyone I'd rather see in the lead role than the incomparable Sally Wingert. She gives a masterful performance in what has got to be one of the juiciest roles in theater - a smart, educated, independent, confident woman who experiences life in a whole new way while approaching death from cancer. This professor who is an expert in the metaphysical poetry of John Donne has spent her life contemplating life, death, and the afterlife in theory, and has to rethink everything she believes when faced with the stark reality of it. It's a brilliantly written play given an excellent and interesting staging by Artistry, and Sally's performance is one not to be missed.

"The Baker's Wife" at Artistry

I had a rare experience at the theater yesterday - I went to see a musical I knew nothing about and was absolutely charmed by it. Stephen Schwartz's Wicked may be the 10th longest-running show on Broadway and one of the most "popular" musicals of recent years, but his 1976 musical The Baker's Wife never made it to Broadway and is rarely produced. I'm grateful that Artistry's resident Music Director Anita Ruth was finally able to do her "dream show," and what a dream it is! The absolutely lovely score, the touching story about love and forgiveness, and the cast, led by everyone's favorite Bradley Greenwald and soon-to-be everyone's favorite Jill Iverson, make this a dream show indeed. Head to Bloomington before November 12 and take a chance on an unfamiliar musical, you just might fall in love.

"And So It Goes" by Dark and Stormy Productions at Grain Belt Warehouse

"If this isn't nice, I don't know what the hell is." This quote by American author Kurt Vonnegut is also a line in Canadian playwright George F. Walker's play And So It Goes, in which Vonnegut is a (ghostly) character. And it's a fine way to summarize the experience of watching Dark and Stormy's production of the play. The "this" in this case is a funny/tragic script brought to life by four of the Twin Cities best actors with an interesting and intimate staging in an unconventional space. It doesn't get much better than that, friends. And even though I've never read Vonnegut and don't know much about him (I was a math major), I do know theater, and this is great stuff.

"The Best Little Whorehouse in Texas" at Artistry

In one of those strange local theater programming coincidences, I have seen The Best Little Whorehouse in Texas twice in the last year, after never having seen it before in my life. But I enjoyed the charmingly corny show at the Old Log last summer, so I was happy to give it another go as part of the former Bloomington Civic Theatre's first season as Artistry. I think I like it even more the second time around! First of all - it's a whole lot of fun (whorehouse + '70s + Texas = fun). But if you look a bit deeper, you'll see some prescient themes in this 1978 Broadway hit about the influence of TV and the media to ignite hysteria, as well as the power of women over their lives and their bodies, or lack thereof. If you're not convinced yet, let me give you a few more reasons to see this show.

"Next to Normal" at Yellow Tree Theatre

"I don't need a life that's normal, that's way too far away. But something next to normal would be OK. Yes something next to normal, that's the thing I'd like to try. Close enough to normal to get by." This sentiment is at the heart of the Pulitzer Prize winning musical Next to Normal, which tells the story of a family dealing with mental illness and grief. Despite their issues, which are many, they're bound together by love as they struggle to get through each day. It's a deeply emotional and poignant story, and a universal human one. Even if your life hasn't been affected by mental illness, at its heart the show is really about the struggle to live your life, keep your family together, and be happy even in the midst of tragedy. Perhaps that's why I love it; it's a brilliant example of how the art form of musical theater can do something profound as well as entertaining. Even though this was my 6th time seeing the show (including twice on Broadway, once on tour at the Ordway, and local productions at Mixed Blood and BCT), I've never seen it quite like this. Yellow Tree Theatre chose it as the final show of their 7th season in their cozy space in an Osseo strip mall. The intimacy of the space brings you right into the Goodman family's life in a way that's not possible in a larger theater. The fantastic and well-matched cast brings out every emotion in the Tony winning score, under the direction of Ben McGovern in his Yellow Tree debut. This is the kind of show that's an experience; you don't just watch the show, you're immersed in it and taken on a journey. It's a difficult ride at times, and may leave you feeling emotionally exhausted, but it's a beautiful and rewarding experience.

Next to Normal tells the story of what at first appears to be a "normal" American family, until the cracks begin to show. Diana and her husband Dan married young and started a family. They suffered a great tragedy that triggered Diana's bipolar disorder, which she's been dealing with for years. Everyone in the family suffers in their own way. Dan has to be the strong one as Diana falls apart, and therefore never gets the chance to deal with his own feelings about what happened. Their children, Gabe and Natalie, live in the shadow of the tragedy and are trying to deal with it on top of the normal problems that come with adolescence. Natalie's afraid that she'll follow in her mother's footsteps, and Diana's unable to be the mother that she wants to be. Diana hits rock bottom and undergoes ECT, aka shock therapy. It erases her memories, both the good and the bad, and she struggles to get her life and family back. Eventually they learn that there is no such thing as a "normal" family; all families look different and are dealing with their own unique issues, both big and small. The Goodmans struggle to find a way to get through theirs, and show us just what is possible with love.

Diana and Dan
(Jessica Lind Peterson and Jeremiah Gamble,
photo by Michal Daniel)

Yellow Tree co-founder Jessica Lind Peterson returns to the stage after a couple years absence in the role of Diana. Perhaps she was saving up all her vocal and emotional strength to pour into this intense role, and it worked. Her voice sounds as lovely as always, almost too lovely for this anguished woman, as she portrays Diana's highs and lows, her confusion, despair, loss, and hope. She's well-matched by Jeremiah Gamble as Dan, who gives a strong and heartbreaking performance as the caregiver who finally lets himself fall apart. As Natalie, Libby Anderson is a young powerhouse whom I look forward to seeing more of on stage, with a voice that's strong and clear and a charismatic stage presence. Lucas Wells plays the family's enigmatic son with energy and passion as he climbs around the two-level set. Grant Sorenson brings a sweetness to the role of Natalie's boyfriend Henry that makes this a couple to root for. Andy Frye makes the most of the supporting roles of Diana's doctors, and has a bit of fun with her rock star fantasies. With a small cast musical like this you need a group of actors that work and play well together, and feel like a family. Yellow Tree has accomplished that with this cast.

the cast of Next to Normal (photo by Michal Daniel)

The original Broadway set had three levels, and every production I've seen makes uses of multiple levels in some way. Yellow Tree has adapted this idea well to their small space, with an upper level that spans the back wall of the theater above the small thrust stage. The set is sparse and modern with minimal props or set pieces, just a judiciously used table and chairs (set by Eli Schlatter). There's not a lot of warmth in this home, which suits what the family is going through. The band (directed by Kyle Picha) is barely visible in the back of the stage behind a screen (they had to knock out a wall to make room for it!). And they sound great performing this fantastic score. Have I mentioned this is a rock musical? The driving score powers us through the story and never lets up, although it also has some lovely quiet moments. As several of my companions mentioned, music can take you places emotionally that mere words cannot, and this music beautifully brings out every varied and complicated emotion of the story.

If you haven't yet ventured out to Osseo to visit Yellow Tree Theatre, well, you're just not paying attention. They've always done great work but are really stepping up their game lately as they continue to challenge their audience and bring in top talent from around the Twin Cities. Next season is sure to be a continuation of this trend as they tackle some more intense pieces, including the Tony winning play Clybourne Park, and another one of my favorite musicals, the lovely and inspiring journey of Violet. But first, don't miss this beautifully heartbreaking production of one of the best musicals of this century. Tickets are selling fast but they have added a few performances, so get to the website or call the box office and snatch them up before they're gone!

"The Hothouse" by Dark and Stormy Productions at the Artspace Grain Belt Bottling House

I admit it - I don't get Pinter. Dark and Stormy's production of The Hothouse is the third play I've seen by English playwright Harold Pinter, and the third time I've left the theater (or in this case the bottling house) with a feeling of "what just happened?" Pinter plays are absurd, don't spell things out clearly, and are open to interpretation. But that's not a bad thing. In fact in this case it's a good thing. Dark and Stormy's production of this bizarre and funny little play is entertaining, engaging, and thought-provoking. And like all of their work (this is just the 5th play they've done over the past few years), it's brilliantly cast with some of the Twin Cities' top talent, and presented in a unique nontraditional location.

The title refers to an institution where the play takes place. It's called a "rest home," in contrast to a "convalescent home," but the details of how patients come to be in the institution and what kind of treatment (or punishment) they receive is unclear. What we do know is that there's a clueless boss (an absolutely delightful Robert Dorfman, making the most of every moment), a seemingly sycophantic but secretly ambitious second-in-command (Mark Benninghofen), another employee who seems to be his rival for the boss' attention (Bill McCallum), a new and eager employee (John Catron), the lone woman on the staff who seems to be in a relationship with several of the men (Artistic Director Sara Marsh), and a lower level employee who walks around turning off lights and moving furniture (Bruce Bohne). The play takes place on Christmas Day, which is neither here nor there, but what is noteworthy is that one patient has recently died and another has given birth. The staff tries to get to the bottom of this, but seems to be more concerned with their own place in the institution. The newbie becomes the scapegoat, which makes me wonder if he's actually a patient and just thinks he's an employee.

the cast in rehearsal in the Grain Belt Bottling House

The location of this play is truly unique - a large open atrium in the Arthouse Grain Belt Bottling House. It very much feels like a cold institution - cement floor and gray walls, with doors around the perimeter on both levels. Sparse office furniture populates the set, with four rows of chairs on one side for the small audience. Sound escapes and echos in this sort of a space, so the solution Dark and Stormy came up with is mics on the actors and headphones for the audience. It's a very odd and cool way to experience theater, one completely new to me, with the sound right in your ears even though the actors may be whispering in a far corner of the space. This allows for subtlety in delivery that can be heard in full detail, while the echos in the larger space can still be heard through the headphones. It all makes for an innovative and fascinating theatrical experience (sound design by C. Andrew Mayer).

The Hothouse continues through January 4. Check it out for a truly unique experience of this bizarrely funny and inexplicable Pinter play. UPDATE: The Hothouse has been extended through January 10.

"Drunken City" by Dark & Stormy Productions at the Lyric at Carleton Place

New theater company Dark & Stormy Productions is really hitting their stride; they've become one of those theater companies that I rely on to never let me down. Their fourth production in just under two years continues their tradition of short, intense, real, small-cast, smartly written plays in unusual locations. Drunken City (written by Adam Bock, the same playwright as their last show, the hilarious dark comedy The Receptionist) introduces us to three recently engaged girlfriends out for a wild night in the city. The seemingly innocent good time turns into more as the three women, and the men that they meet, ponder life and relationships, and whether or not they are where they want to be in both. Spend 75 minutes with this fantastic cast (directed by Associate Artistic Director Bill McCallum, who's more often seen on stage) for a fun, entertaining, and surprisingly deep night at the theater.

As they explain to the audience in the opening scene of the play, Marnie (Sara Marsh, founder and Artistic Director), Linda (Tracey Maloney), and Melissa (Adelin Phelps) have all recently gotten engaged. They have a history of destructive nights of drinking "in the city" (Linda drinks too much), but that doesn't stop them from going back again to celebrate Marnie's bachelorette party. They predictably drink too much (Linda couldn't resist the pretty pink drinks) and run into a couple of guys from their town, Eddie (Paul de Cordova) and Frank (Kris L. Nelson). Marnie promptly begins kissing Frank, much to her friends' dismay. Marnie's not sure she wants to get married after all, and Melissa and Linda have their own reasons for insisting that she does, reasons that are more about them and their insecurities than they are about Marnie and what's right for her. The girls call their reliable friend Bob (Benjamin McGovern) to come and help them get Marnie home and away from Frank. As the six characters wander through the streets of the drunken city, we learn a little about each of them in conversations and short monologues. This is where the surprisingly deep part comes in, as their hopes, fears, and dreams about their lives and relationships echo our own.

a drunken night in the city (photo by Heidi Bohnenkamp)

It's truly a joy to watch this cast perform this smart and funny play, playing characters that seem familiar from our own lives. They're all so wonderful and funny, partly because most of them play drunk for most of the play, and do it well. But also because they bring depth to these characters and make them more than what they first appear - Sara as the runaway bride in over her head, Tracey as the woman who drinks too much to mask her deep fears about life, Adelin as the tough-talking friend who insists that Marnie's marriage work out because hers didn't, Kris as the sad-sack Frank who so sweetly listens to Marnie, Paul as Frank's hilariously mumbling friend Eddie, and Benjamin as everyone's best friend who opens up and learns a thing or two about love. All of these characters are changed by this one drunken night, for better or worse.

The play takes place in a cool, modern, brightly-colored theater space in the Lyric at Carleton Place, a new apartment complex on University in St. Paul (with free parking across the street). Make a date to spend a night with these six friends before the party ends on June 7 (drunkenness optional).

"The Receptionist" by Dark & Stormy Productions at The Traffic Zone Center for Visual Art

Dark & Stormy Productions continues their tradition of short, smart, sharply written plays performed by excellent small casts in non-traditional spaces with The Receptionist, a dark comedy about life in a not-so-typical office. Walking into the space above the Traffic Zone Center for Visual Art in the shadow of Target Field, it feels a little like going into the office. The receptionist desk, calendar, coffee maker, copy machine, and those cheesy motivational posters on the wall feel all too familiar. But the good news is when you walk into this particular office, instead of working you get to watch four actors at the top of their craft telling a familiar but wacky story. It's a short, crisp 75 minutes of theatrical entertainment.

The "Northeast Office" seems like a typical office that will feel familiar to anyone who's ever worked in an office environment. Beverly the receptionist (Sally Wingert) and employee Lorraine (Sara Marsh) participate in normal daily activities like making copies, drinking coffee, answering phones, filing papers, bickering over office supplies, and chatting about family and relationships. The boss, Mr. Raymond (Harry Waters, Jr.), is noticeably absent when a Mr. Dart (Bill McCallum) shows up from the Central Office looking for him. It slowly becomes apparent just what the business of this office is, and it's not as typical (or as pleasant) as it seems.

Bill McCallum, Sara Marsh, Sally Wingert,
and Harry Waters, Jr.

This four-person cast is top-notch, as directed by Benjamin McGovern (also credited designing with this very real space). First and foremost is Guthrie favorite Sally Wingert as the titular receptionist. I would watch her in anything, she is always such a delight, completely immersed in her character. And in this case that character is a stereotypical receptionist, answering phones, gossiping, keeping a close eye on the office supplies, and in general at the center of everyone's business. Also wonderful are Dark & Stormy's Artistic Director Sara Marsh as the co-worker with relationship issues, Bill McCallum (another Guthrie favorite) as the mysterious Mr. Dart, and Harry Waters, Jr. as the boss who's become disillusioned by his work, with disastrous consequences.

I may not be The Playbill Collector, but I do have scrapbooks full of them and enjoy the artistry of them. Dark & Stormy is very clever in their playbill design. For their last show, Speed-the-Plow, set in the movie industry, the playbill was fashioned as a typewritten movie script held together by brass fasteners. For this show the playbill is constructed as an office memo, complete with rigid margins, bullet points, and a confidentiality note ("For Northeast Office Use Only"), held together with a single staple in the corner. Nice attention to detail and continuing the office theme.

Part of Dark & Stormy's mission is to bring more young people (age 18-35) to the theater, and looking around the audience I'm not sure how successful they are in that, but they are very successful at creating smart, entertaining, intimate, all around high quality theater that anyone can enjoy. The Receptionist continues through January 4. One visit to this office will make your own office seem not so bad after all!

"Camino Real" by Girl Friday Productions at the Minneapolis Theatre Garage

I love the plays of Tennessee Williams - from the well known A Streetcar Named Desire and Cat on a Hot Tin Roof, to the lesser known Summer and Smoke, to one of my favorite plays - The Glass Menagerie. He has a gift for creating these very real worlds full of complex characters (women especially), stories of such tragedy and beauty and emotion, set in a specific time and place in history. At first glance Camino Real, in a rare local staging by Girl Friday Productions, bears no resemblance to the Tennessee Williams plays I know - surreal instead of naturalistic, with a huge cast of characters, some drawn from literature, no linear storyline, set outside of time and place. It's a strange trip through the 16 blocks of the Camino Real (purposely mispronounced as CAMino REal). At the end of it I was a little perplexed, but also moved in a way I couldn't quite explain. Camino Real is about death, love, fear, loneliness, hope, just like all of Williams' plays, only in a more abstract sort of way. Stick with it through all the craziness, and you might just find those moments of beauty, truth, poignancy, and tragedy that Tennessee Williams does so well.

At the beginning of of the play we meet the familiar Don Quixote and his sidekick Sancho Panza. They somehow end up on the Camino and see some scary things, but Quixote decides to stay, sleep, and dream. So begins this strange and surreal trip, with Quixote often watching from the edge of the stage and occasionally wandering through the action. The play is broken up into 16 blocks, or scenes, which are announced by the narrator and man in charge of the Camino, Gutman (the only one who looks and sounds like he belongs in a Tennessee Williams play). The closest thing we have to a main character is Kilroy, representing the typical American from the 50s in a grease-stained white t-shirt, blue jeans, and a boxing champ belt. Kilroy has just left his wife, the woman he loves, to spare her grief when his sick heart (as big as the head of a baby) eventually gives out. He finds himself on the Camino and has to figure out how to survive in this strange world, with hopes of getting out. Other characters include Casanova and the woman he loves, the courtesan Marguerite Gautier, whose only desire is to get out; the poet/rock star Lord Byron; a gypsy and her daughter; a pair of "street cleaners" who function as Death; and various other odd creatures that populate the street. Eventually the dreamer (Quixote) wakes up and leaves, with these final words:

Don't pity yourself! The wounds of the vanity, the many offenses our egos have to endure, being housed in bodies that age and hearts that grow tired, are better accepted with a tolerant smile - like this! - You see? Otherwise what you become is a bag full of curdled cream - leche mala, we call it! - attractive to nobody, least of all to yourself!

the cast of Camino Real
(don't worry, no crazy make-up
or purple capes in the show

There's not a weak link in the 14-person cast, ably directed by Benjamin McGovern (who also designed the sparse and surreal set). Eric Knutson is a great Kilroy, the likeable and relatively normal presence that leads us through the crazy trip. Alan Sorenson is smooth as the all-knowing Gutman, and Craig Johnson is compelling as the dreamer explorer Quixote, as well as in an amusing turn as an old man. Kimberly Richardson is always entertaining as she physically transforms into one odd character or another. The hauntingly beautiful voice of Laurel Amstrong adds to the ambiance of the Camino. John Middleton and Kirby Bennett (Girl Friday's Artistic Director) play out the most emotional scenes, between Cassanova and Marguerite, who bears the closest resemblance to the familiar Williams heroine - desperately trying to get out of the situation she's found herself in.

I haven't read any yet, but I've heard that this play has received mixed reviews, with some critics loving it, and some not so much. If anything that made me more excited to see it and decide for myself. It's definitely odd, and I wouldn't say it's my favorite Tennessee Williams play, but I appreciate the opportunity to see more of his work, especially this piece that's so seemingly different, yet has moments of familiarity. I found a lot to like. But it's weird for sure, and I can see how it's not everyone's cup of tea. For a theater company that only does one production every two years, this was a big risk for Girl Friday to take, and I have to admire that. This is a much different Street Scene than the one they presented two years ago. In my opinion, the risk paid off, and I can't wait to see what 2015 brings! If you're also intrigued by the response and want to see what the fuss is about, the play continues through July 27 at the Minneapolis Theatre Garage, with discount tickets available on Goldstar.

"An Iliad" at the Guthrie Theater

Stepping off the elevator onto the 9th floor of the Guthrie Theater, I was treated to a site I've never seen before, despite having seen dozens of productions in the Dowling Studio. The wall that separates the lobby from the theater was gone - leaving a full view of the stage from the elevator, with the audience seats behind it and to one side. The Studio is what they call a "black box theater," meaning the room is just a big black box, in which the stage and seating can be arranged in infinitely different ways. But in reality, there are three or four common arrangements that are usually used. The set-up for An Iliad, a one-man show version of Homer's epic poem The Iliad, is the most creative use of the flexibility that this stage has to offer that I've seen. At one point our storyteller goes out into the lobby part of the theater and explores the glorious echo heard in that space, utilizing every square inch of the 9th floor. But this is not the most remarkable part of An Iliad. That would be Stephen Yoakam's performance as the storyteller poet. He tells the story directly to the audience (the house lights were fully or partly up for some of the show, creating that feeling of interaction), as well as acting out many roles from a baby to a crippled god, imbuing each moment with such depth of emotion. It's another one of those epic one-man show performances that must be seen.

I was vaguely familiar with The Iliad from my high school and college studies, as most people probably are. It tells the story of The Trojan War, you know - the one with the Trojan Horse, "the face that launched a thousand ships," Achilles, Agamemnon, and all of that. But the brilliant thing about this telling of the ancient story (co-written by Lisa Peterson and Denis O'Hare), is that it's really about any and every war that's ever been fought. At one point our storyteller lists what seems like every war in human history, and there are disturbingly many. The list is endless, and he gets more and more dejected with each one, until he quickly speeds through the end of the list and is silent. An Iliad makes the story of the Trojan War real and relevant, a story of the horrors of any and all wars.

Stephen Yoakam

Stephen Yoakam is the poet Homer himself, reluctantly singing his song again, reluctant because of the death and destruction that is at the center of it. He calls to the muses for help, forgets names, skips over parts and lingers over others, stripping off his long coat, sweater, and eventually shoes and socks as he gets deeper and deeper into the tale. It's as if it physically pains and tires him to tell this story. This is a performance that's real, raw, intense, moving, and entirely captivating.

But of course, a "one-man show" is never really that. Stephen is aided by the direction of Benjamin McGovern, the set design of Michael Hoover (the focus of which is what looks like an abandoned fountain in a town square, adorned with sand, water, scaffolding, and Greek wall sculptures, for an interesting mix of modern and ancient), and the lighting of Tom Mays (it's like another character, showing us where to look, flashing with the muses, house lights increasing and decreasing at appropriate times).

Playing now through May 26 at the Guthrie Theater, An Iliad is a sobering look at war through the eyes of one man and one ancient war that doesn't feel so ancient.

"Speed-the-Plow" by Dark & Stormy Productions at the Miller Bag Building

the playbill for Speed-the-Plow, constructed
as a movie script with typewriter font
and brass fasteners holding it together

Today is Oscar Sunday, the day when we celebrate the best that Hollywood has to offer. It's entirely appropriate, then, that last night I saw the David Mamet play Speed-the-Plow*, about the inner workings of a Hollywood studio and how one movie gets made instead of another. It's a rather cynical look at the movie business; the characters care most about making money. Judging from what's playing at my local cineplex, it's not entirely inaccurate. But with such small indie films as Amour and Beasts of the Southern Wild on the Best Picture list alongside blockbusters Django Unchained and Lincoln, it seems there is a way for smaller (radiation) films to get made and appreciated. But not in the world of Speed-the-Plow, where a newly promoted studio executive has to decide between a sure money-maker, pitched by his longtime coworker and friend, and an artsy book about the end of the world, brought to him by a naive young woman who may have ulterior motives. It's smart, funny, and fast, and a great choice for Oscar weekend.

The new theater company Dark & Stormy Productions is again staging a theater production in a non-traditional setting, i.e., not an actual theater. Last summer they staged Outside Providence, a trio of short plays, in an office building in downtown Minneapolis. The location for this production is a building in Northeast Minneapolis. It looks like a cool office space, entirely appropriate for this play that takes place in a movie studio office. Also like Outside Providence, there are multiple staging areas, with the action moving to a new location in the space for the second act, and the audience following along. It's a fun change of pace from the usual theater where you sit in your seat in the dark for two hours. I also appreciated the high stools in the second row which provided a great view without having to see around someone's head.

Karen (Sara Marsh) makes her pitch
to Bobby (Bill McCallum)

The play begins in the office of Bobby Gould, sitting at a desk filled with movie scripts (the playbill itself looks like a movie script, a nice touch). In walks Charlie Fox to hand him a sure blockbuster with a big movie star. The two agree to share producing credits, a huge career boost for Charlie. Bobby will pitch it to the studio head (a mere formality, he assures), but can't get a meeting until tomorrow, which makes Charlie nervous. In the meantime, for a little misogynist fun, the two make a bet that Bobby can have "anything but a professional relationship" with temp secretary Karen. Bobby gives her a book to read as an excuse to get her to come to his house. But what he doesn't expect is that she takes the assignment seriously, and is so moved by the book (an end-of-the-world tale where all the world's radiation was sent by God to end life as we know it, or something like that) that she earnestly tries to convince Bobby to back the film. He has a decision to make, and in doing so rethinks his entire life and career.

Charlie (Kris L. Nelson) makes his pitch
to Bobby (Bill McCallum)

The dialogue is fast and funny, with characters speaking the way real people do, not always smooth and polished, but hesitating and talking over each other. The quick banter is well-executed by the three-person cast which includes a couple of Guthrie regulars, Bill McCallum and Kris L. Nelson, alongside Dark & Stormy Artistic Director Sara Marsh (add in frequent Guthrie director Benjamin McGovern, and you have a pretty high caliber of talent for a fledgling theater company). Sara is believable as the sweet and innocent Karen, who just wants to make a good movie out of this book she is so moved by (or does she?). Bill portrays Bobby as a typical greedy and confident studio exec, but with a little self-doubt creeping in when he's unexpectedly challenged by this woman he's just met. Last but not least, Kris is fantastic as Charlie, in a very physical performance that has him jittery and excited in the first act, and working himself into a frenzy in the third act when Bobby threatens to not back his film.

The mission of Dark & Stormy is to develop the 18-35-year-old theater audience, something they say is lacking. I'm slightly outside of that age range, but looking around at the theater I often find I'm one of the youngest people there (especially at certain theaters or on a Sunday matinee), so I think they have a point. The audience had a good laugh when Sara talked about the mission before the show, as we looked around to see that very few of the 30 or so people in the audience fit into this age range. The ideas are great - cool space, a small audience leading to an intimate experience, inexpensive ticket prices, relatively short run times - so hopefully the young audience will find them. But whatever your age, this is a great play by one of the best known American playwrights/screenwriters, with a great cast, in an interesting non-traditional space, which makes for a unique and entertaining evening at the theater, even for us old folks.



*Wikipedia tells me that the playwright explains the perplexing title thusly: "I remembered the saying that you see on a lot of old plates and mugs: 'Industry produces wealth, God speed the plow.' This, I knew, was a play about work and about the end of the world, so 'Speed-the-Plow' was perfect because not only did it mean work, it meant having to plow under and start over again."

"The Edge of Our Bodies" at the Guthrie Theater

When I walked into the Guthrie's Dowling Studio theater last night to see* The Edge of Our Bodies, the star of the show, Ali Rose Dachis, was quietly sitting on stage, barely moving, just observing.  It was a bit disconcerting at first (Am I late? Can we talk?), but eventually the audience got used to it and the usual pre-show chatter ensued.  At showtime the house lights slowly went down, the audience became silent, and Ali began talking.  And she didn't stop for 90 minutes.

We soon found out that Bernadette is a 16-year-old student at a boarding school in Vermont.  She begins by reading from her journal, barely looking up as she recounts her journey by train into New York City to visit her boyfriend.  She eventually puts down her journal and paces around the stage, acting out some of the story.  The purpose of her trip is to tell her boyfriend that she's pregnant, but of course things don't go quite as she planned.  Bernie has a series of encounters on her journey - an old man on the train, her boyfriend's sick father, a man she meets in a bar.  Each encounter is beautifully told in a way that makes it seem like you're watching the interaction as it happens, instead of listening to Bernie tell about it sometime later.  She's somewhat of a pathological liar; she makes up a different back-story for herself with everyone she meets.  She returns home after an unsatisfying visit to continue on with her life as best she can.

What an amazing feat of acting, not just to memorize what is basically a 90-minute monologue (except for one brief interruption, which is a bit jarring but helps establish the setting of the play), but also to create this character and tell the entire story by yourself with no help from other cast-members.  No breaks or pauses, just continuous story-telling.  Ali does an amazing job of bringing Bernie (and the other characters as seen through her eyes) to life through her storytelling.  She was hand-picked by the director, Benjamin McGovern, after directing her last year in Circle Mirror Transformation (one of my favorite shows of 2010).  In that show she played a sullen teenager, but this role has much more depth, which she's definitely up for.  Of course it probably helps that the material is so rich.  The Edge of Our Bodies is a beautifully written play that sounds like it could be a short story (there's lots of "he says," "I reply"); Bernie wants to write short stories when she grows up, making one think this could be her first short story.  I came away from the show wanting to read some of playwright Adam Rapp's novels or see more of his plays; I really connected to his writing style and the flow of his words.  Even though his name sounded familiar, it wasn't until I googled him that I found out he's Anthony Rapp's brother (he originated my favorite character Mark in my favorite musical RENT, and I had the pleasure of seeing him perform the role on tour a few years ago).  Talented family.

It took a little while to figure out what the set was supposed to be, where is Bernie telling this story from?  The floor of the stage is a series of marble circles, and the furniture is ornate and old-fashioned looking, in contrast to the young and modern story Bernie is telling (Michael Hoover designed the set, and also designed the realistic lived-in house of Park Square Theatre's August: Osage County).  We learn that her school is doing the play The Maids by Jean Genet (about two maids who play at killing their employer), and it becomes apparent (especially after the janitor interrupts her and starts dismantling the set) that she's on the abandoned stage after the run of the show.  She interjects overly dramatic scenes from the play into her storytelling.

The Edge of Our Bodies is a beautifully written play, beautifully acted; a great 90 minutes of story-telling.  The other two shows playing at the Guthrie right now are big and loud (Burial at Thebes and Much Ado About Nothing); this play is a nice contrast to that.  One person telling a story from the heart can be just as effective, even moreso, than a large cast.  That's what I like about theater; it can be wild and crazy, or silly and funny, or quiet and poignant, or anything in between.


*I received two free tickets to this play as part of "Blogger Night at the Guthrie."


Celebrity Sighting
I seem to run into Peter Rothstein (Artistic Director of Theater Latte Da) everywhere I go lately, but I swear I'm not stalking him!  ;)  I spotted him in the 4th floor lobby at the Guthrie.  I didn't see him up at the Studio so I'm not sure what show he was there to see.  I like to think he saw Burial at Thebes because they do some pretty innovative story-telling through music, which is what Latte Da is all about.