"5" at the Jungle Theater, a co-production with Trademark Theater

"Trademark Theater tells bold stories by creating, developing and producing new works that challenge, entertain and inspire audiences." Check, check, and check. Trademark's latest new work is a co-production with Jungle Theater, a play called 5 written by #TCTheater artist JuCoby Johnson. It's creative and inventive, grounded yet fantastical, a story of friendship that deals with relevant issues like gentrification. Combining Trademark's talent for fostering new work with the Jungle's excellent production and design values results in a wildly entertaining and engaging night at the theater. 5 plays Tuesdays through Sundays at the Jungle Theater in Uptown until April 16, but don't wait too long - the small theater has a tendency to sell out especially for hot shows like this one is sure to become.

"Redwood" at Jungle Theater

Nearly two years after its planned opening night that never happened in March 2020, Redwood is finally opening at Jungle Theater this weekend. A lot has happened in those two years, and the dramedy about an interracial couple who discovers an uncomfortable ancestral connection may play a little differently now (read more about that here). But through humor and a loving family, the exploration of the complicated connections that bind us, historically and presently, is ultimately hopeful. It shows us that globally, nationally, and personally, we need to acknowledge past traumas, but not let them define us as we move forward together. This funny, thought-provoking, and moving play (the title refers to the deep roots of a family tree) continues at Jungle Theater in Uptown through March 13.

The History Theatre's Virtual New Works Festival "Raw Stages," Fall 2020

Every January, the History Theatre hosts a new works festival called "Raw Stages." Most of their programming is original works, so they rely on these annual workshops and readings as part of the development process. Faced with a long closure of the theater space due to the current and seemingly never-ending pandemic, they decided to hold another "Raw Stages" festival this year - virtually. Workshops and readings are done over Zoom, with the each of five recorded readings available for streaming for a week, spread out about a month apart. I missed the first one, Not In Our Neighborhood (which was supposed to premiere in the spring of 2020), but I've watched the other four. The most recent and currently streaming is the delightful Betty Crocker Musical, with a live talk-back on Friday. Read on for details of all five new works and how you can watch them.

"Agatha Christie: Rule of Thumb" at Park Square Theatre

Park Square Theatre's final show of their 2018-2019 season opened during a busy July, followed by a busy Fringe Festival, so I'm finally seeing it now in the final two weeks of its run. As has become tradition at Park Square, they're presenting a fun summery mystery. Or in this case, three fun summer mysteries. Agatha Christie: Rule of Thumb is a triptych of short plays written by the famed mystery writer. They're performed by a talented and diverse nine-person company of actors, on the same set with some tweaks, all under the directorship of Austene Van who keeps the tone light, fun, elegant, and very dramatic. It's a delight to watch this team play together in this yummy summer mystery.

"How It's Gon' Be" by Underdog Theatre at Mixed Blood Theatre

Two and a half years after their debut, new #TCTheater company Underdog Theatre, whose mission is to "create art for the underserved, underrepresented, and unheard," is bringing us their fourth play, and third world premiere new play. How It's Gon' Be is a beautifully written play by JuCoby Johnson, a talented young actor who's appeared on many stages around town in the last several years. As director H. Adam Harris succinctly put it on opening night, it's a play about love: love between parent and child, love between friends, romantic love. It's a funny, sweet, poignant coming of age tale with characters that feel real and modern, beautifully brought to life by a terrific cast. It's exciting to see young black artists playing all the roles - actor, director, playwright, producer - to tell these stories that need to be told.

"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 Lorax" at Children's Theatre Company in Partnership with the Old Globe and the Old Vic

Unless. What a powerful word. So many scary things might happen. Unless. Unless what, you ask? "Unless someone like you cares a whole awful lot, nothing is going to get better. It's not." The best thing to happen lately in this dark and scary world is people caring a whole awful lot about things, and taking to the streets and the polls to make them better. That's the heart of Dr. Seuss's story The Lorax, which specifically is talking about the environment, nature, the wilderness around us. The Old Vic Theatre in London has turned this beautiful story into a charming, playful, and poignantly relevant musical that is now receiving its US premiere at Minneapolis' Children's Theatre Company (in conjunction with San Diego's Old Globe Theatre, where it will play this summer). It gave me all the feels, and had me walking down the street on this first truly spring-like day in wonder. Such is the power of theater, of stories, of people who care a whole awful lot.

"Luna Gale" by Underdog Theatre at the Southern Theater

Exciting new theater company Underdog Theatre, founded by rising #TCTheater star Kory LaQuess Pullam, is presenting their third work, the first one that's not an original play written by Kory. And it's a tough one. Luna Gale is a sobering look at the system that's supposed to help young people in trouble, and the ways that it fails them. It's a heart-breaking story, but not without a glimmer of hope, thanks to the caring people who work within this broken system. And this really wonderful cast makes you feel every emotion of the story, which is sometimes unpleasant, but very effective in creating empathy for these humans and the difficult situation they find themselves in. Underdog's mission is to "create art for the underserved, underrepresented, and unheard," which is beautifully accomplished here.

"Park and Lake" by Ten Thousand Things at Open Book

Friends, I love Ten Thousand Things. Seeing a Ten Thousand Things show (in their trademark bare-bones All the Lights On style) never fails to make me happy, and often also moves or inspires or thrills me. Their newest creation Park and Lake, an original piece written by playwright in residence Kira Obolensky and the ensemble, is no exception to that. It's a light-hearted, funny, optimistic fairy tale of a story about a community of people working together to make their lives better. It's as sweet and hopeful as it is ridiculous and silly. Under the co-direction of soon to be retired Artistic Director Michelle Hensley and ensemble member Luverne Seifert, with uniquely comic performances by this wonderful cast, Park and Lake is a delightful place to visit for a few hours. In fact I wish I could move there for an extended stay with these charming oddballs!

"The (curious case of the) Watson Intelligence" at Park Square Theatre

"The world is filled with people who could ruin me with love." So says a character in The (curious case of the) Watson Intelligence, currently playing at Park Square Theatre. And that's really what the play is about, although it's also about technology and artificial intelligence and several famous Watsons throughout history. But "about" is a difficult word with this play; it's difficult to explain or describe. But what it is is funny, imaginative, thought-provoking, touching, and yes, curious.

"The Jungle Book" at Children's Theatre Company

Confession: I've never read The Jungle Book (the collection of stories written by Rudyard Kipling in 1894) or seen the 1967 Disney movie (that I can remember). So I was on the fence about seeing Children's Theatre Company's new adaptation, until I saw the cast list (more on them later). They're about a month into their two and a half month run, and I'm so glad I decided to see the show. This coming of age story that just happens to take place in a jungle is a wonderful tale of friendship, family, community, interdependence with nature, and finally having the courage to strike out on your own. With a sparse adaptation featuring just five actors playing all of the characters (most of them animals), whimsical musical accompaniment and sound effects, and a set that's like the best playground imaginable, The Jungle Book is sheer delight from start to finish.

Even if you, like me, have never read the book or seen the movie, you probably know the story. A young human child is raised by wolves in the jungle, who call him Mowgli. As he gets older, the bear Baloo and the panther Bagheera take him under their wings, er... paws. Mowgli learns to commune with the animals of the jungle, but soon finds out that not all of them are his friends. He has the usual growing pains of any human child, but eventually comes to appreciate his animal family and all they've done for him (there's hope, parents!). Because of their love and guidance, he's able to go off on his own into the human world and find his place in the world.

The delights of this adaptation by Greg Banks, who also directs are many, and include:

• Eric Sharp joyously inhabits the character of Mowgli from the playful non-verbal child, to the rebellious kid wanting to play with his friends, to the young man who is ready to set out on his own, but grateful to his animal family.
• The other four actors play three to four animal characters each, and completely physically transform into each one. Highlights include H. Adam Harris' lovable Baloo that any child would want as a friend, Casey Hoekstra's deliciously menacing tiger, Autumn Ness' stern but maternal prowling panther, Nastacia Nicole's smooth and seductive snake, and all of them as the playful and mischievous monkeys.
• Unlike the Disney movie, this is not a musical, but there is music and sound. Victor Zupanc plays multiple instruments including percussion, accordion, and various whistles and noisemakers, which provides a lovely soundtrack to the story.
• Joseph Stanley's set is a playground any kid (or adult) would love to play on, with multiple levels, stairs, ladders, swings, and platforms high off the ground. It provides endless possibilities for exits, entrances, and interactions, and the cast is all over it.
• The costumes (by Alison Siple) are subtly representative of the animals the actors are portraying. There are no full fuzzy stuffed animal type of costumes. Rather the actors are dressed in fairly normal people clothes with accessories that hint at the animal - a gray furry hood for the wolves, a brown fuzzy coat for the bear, a colorful mane and bungee cord tail for the monkeys, and beautiful long silk scarf for the snake. Simple but creative and effective, and most importantly, easy to change as these actors get their workout transforming from one animal to the next.
• The message of "we're of the same blood" is so beautiful and moving, and perhaps even more important to remember today than it was 100 years ago. We're all part of the jungle that is earth, and The Jungle Book reminds us of that.

This Jungle Book is so fun and playful, with a beautiful message about a family that's not related by blood (or even of the same species) and a connection with nature. Whether you're a child or an adult, a fan of the story or unfamiliar with it, it's impossible not to love it. (Continuing through December 20 in CTC's ground level Cargill Stage).

Mowgli and the monkeys (H. Adam Harris, Casey Hoekstra,
Eric Sharp, Autumn Ness, Nastacia Nicole, photo by Dan Norman)

This article also appears on Broadway World Minneapolis.

"One Arm" by New Epic Theater at the Lab Theater

Thanks to playwright Moisés Kaufman (see also The Laramie Project), an unproduced screenplay written by one of my favorite playwrights, Tennessee Williams, was saved from oblivion and can now be seen on the stage. Williams published One Arm as a short story in 1942 and attempted a screenplay in 1967 that never went anywhere. Kaufman recently adapted it into a one-act play, and thanks to the new theater company New Epic Theater, Twin Cities theater-goers can now see this beautifully tragic piece of Tennessee Williams writing in a gorgeous production at the Lab Theater. A remount of one of my favorite Fringe shows last year, One Arm tells the story of a boxer who lost his arm, his identity, and his self-respect in an accident, and spent the rest of his short life trying to get it back. There are three levels of greatness going on in this show: Tennessee Williams' poignant and moving story, Moisés Kaufman's clever adaptation, and New Epic's inventive and thoughtful interpretation. All of it comes together for a completely engaging and engrossing 90 minutes of theater.

The man with the titular one arm is Ollie Olsen, a boxer who loses his arm in an accident that kills two of his friends. No longer able to box, he stumbles into hustling (a quaint and old-fashioned word for prostitution) as a way to survive. He finds that he's good at it, and travels around the country making an impression on many men, and a few women. But he's become dead inside, unable to feel anything for anyone, until he ends up in prison and is faced with the end of his life and the memories of past encounters. The story is told within the framework of a screenplay; a narrator begins the story carrying a script in his hands, and he and other characters read stage directions such as "exterior night," or "camera pans." It's almost as if you're watching a movie, or a movie acted out on stage, which adds another level of interest and originality to the storytelling.

Torsten Johnson and James Kunz (photo by Heidi Bohnenkamp)

The tight six-person ensemble (only two of whom return from last year's production), fluidly and seamlessly tell the story that jumps around in time and place. Taking over the role of Ollie is Torsten Johnson in an incredibly physical performance, saying as much with the way he writhes on the floor or climbs over the furniture as he does with his sparse words. It's an apt interpretation of a character who's defined by his physicality - his prowess in the boxing ring, his "mutilation," his job as a hustler.

Most of the story is told through a series of perfect two-person scenes with Ollie and the people he meets, all of whom are portrayed by the five other cast members. H. Adam Harris is the narrator, bringing to life Williams' (and/or Kaufman's) elegantly descriptive words, and also plays a man who is perhaps Ollie's only true friend. The other four actors sit in chairs behind the stage with their various props and wardrobe pieces around them, watching the scene until they're called to join in the action. The two returning cast members are the radiant Aeysha Kinnunen playing all of the Tennessee Williamsesque women, and Adam Qualls in several diverse performances including the callous prison guard and a nervous divinity student who wants to help but isn't quite sure why or how. Craig Johnson makes an impression (as always) as a wealthy and lonely john, a sleazy porn producer, and the crazy landlady. Rounding out the cast is James Kunz, who also choreographed the movement. There is no "choreography" as you typically think of it, but the way the actors move around the space is really quite beautiful and expressive.

Craig Johnson and Torsten Johnson (photo by Heidi Bohnenkamp)

Director and scenographer Joseph Stodola makes great use of the space at the Lab Theater, an even more appropriate setting that the Southern Theater was last year at the Fringe. The raised square stage has seating on three sides, giving the feeling of watching a boxing match, especially when two characters are in the box sparring verbally or physically. Some of the action also takes place outside of this box, near the chairs at the back of the stage, with the narrator wandering in and out through the audience. The stage is empty except for a metal frame bed, one chair, and a cart with an old projector on it, hinting at the screenplay nature of the original work. It all speaks to a thoughtful attention to detail that elevates the work.

It's worth noting that when I attended the show last Saturday night, I was one of the oldest people in the audience. This is a rare occurrence; at 41 I'm often one of the youngest people in the audience (nothing makes me feel younger than a Sunday matinee at BCT!). Perhaps it was the 9 pm start time - we older people have a hard time leaving the house after 8, and if I wasn't already out at a birthday party I probably wouldn't have made it either. Whatever the reason, kudos to New Epic Theater for drawing in a younger audience. But they deserve to be drawing in a larger audience than the one I was part of. I know they're a new company in a community rife with theater companies young and old, but trust me when I say that this one is worth your time. The director, cast, and creative team have created a gorgeous piece of theater based on the work of two fine playwrights. I hope that they're not a one-hit wonder and will continue to produce thoughtful, relevant, inventive, gorgeous work like One Arm. Performances continue tonight through this weekend only, so you have six more chances to see it (a few 9 pm performances but also some 7:30 shows for those with an earlier bedtime).

"The Unsinkable Molly Brown" by Ten Thousand Things at Open Book

No one does musicals like Ten Thousand Things does musicals. And even though it defies everything we know about musical theater, after seeing a TTT musical I think that maybe that's the way musicals should always be done. The music, like everything else about the show, is stripped down to the very basics, extraneous layers removed to reveal the very heart of the matter. A one-man orchestra provides the minimal accompaniment, and the small cast imperceptibly transitions from speaking to singing, so that you can't even tell where songs end and begin, it's just all one seamless story. And above all else, Artistic Director Michelle Hensley and all of the artists at Ten Thousand Things are storytellers. Whether it's Shakespeare or a classic American musical, they share the story in a pure and unadorned way so that all of their audiences, whether prisoners or seasoned theater-goers, can hear it and see themselves in it. One such masterpiece is their latest musical venture, The Unsinkable Molly Brown, a reprise of their very first musical venture 15 years ago. It's lovely, spirited, sweet, funny, moving, heart-warming, and real.

I had never seen the 1960 musical The Unsinkable Molly Brown (with music and lyrics by Meredith Wilson, who also wrote The Music Man, which happens to be TTT's last musical), nor heard any of the music. The only thing I knew about Molly Brown is that she was on the Titanic (remember Kathy Bates in the movie?). But now she's my new hero. Or at least, this fictionalized version of her as played by the indomitable Maggie Chestovich. I'm not sure how much of it is Molly and how much of it is Maggie, but this character has so much spirit, determination, and hope wrapped up in a tiny package. She wants a better life for her and her pa, and she goes out and gets it. From humble beginnings in Missouri, she decides to move to the big city of Denver, stopping at the mining town of Leadville to earn some money as a waitress and singer. There she meets Johnny Brown (Tyson Forbes, tall and lanky with plenty of aw-shucks charm), who eventually woos her with the promise of riches as well as happiness. He delivers on both, but eventually it becomes obvious that they want different things in life. Johnny wants a simple life in Leadville with his friends, while Molly longs for riches and high society. It drives them apart, but Molly is a woman who doesn't stay down for long and always gets what she wants. And after she survives the great disaster, she decides she wants Johnny.

Johnny and Molly Brown (Tyson Forbes and
Maggie Chestovich, photo by Paula Keller)

Maggie and Tyson make a most charming pair in one of the sweetest love stories I've seen in a while (the song "I'll Never Say No" is irresistible). But don't worry, it's not cloyingly sweet, these are two strong people who know what they want and don't always agree, but also love each other. The wonderful leads are backed by a fantastic ensemble who each play multiple characters and are all just a delight in each one. Highlights include H. Adam Harris as the genial bar owner, George Keller as Denver and European royalty, Eric Sharp as Molly's loving father, Austene Van as the friendly princess, Max Wojtanowicz as the nasal butler and charming prince, and the always entertaining Kimberly Richardson as a particularly snooty Denver socialite, who might just be hiding a bit more depth underneath it all. And as always in a TTT production, another character is the sound, even more so in a musical. The one and only Peter Vitale plays a banjo, a toy piano, and everything in between, and manages to create a full and complete soundscape for this world (with occasional support by Max on trombone). Like the music, the choreography (by Kimberly) is also simple and organic to the story, but ever so charming, including a delicious slow-mo fight scene, an intense wrestling scene, and a bit of party dancing.

Perhaps I should mention, for those of you unfamiliar with Ten Thousand Things (seriously, where have you been?), that in addition to paid performances at Open Book and other locations, they routinely tour their shows to prisons, homeless shelters, and community centers in the area. This requires them to travel light, literally and figuratively. Performances are in a small fully lit room with just a few rows of chairs creating a square on the floor where the magic happens. Actors look you in the eye from just a few feet away, or brush past your knees with swaying skirts, creating an intimacy and connection between audience and cast unlike any other. Set pieces are minimal and easily transportable, leading to some wonderfully creative choices. In this case, that means tiny furniture mounted on wavy poles, which the actors adorably lay a finger on to represent sitting. Costumes must also be minimal and easily transitioned between, and for this show range from drab rural clothing, to fashionably black, to European gold, and of course, Molly's red silk dress. (Sets by Stephen Mohring and costumes by Sonya Berlovitz.)

I'm quite certain that The Unsinkable Molly Brown is ruined for me as a musical now. If I ever see the typical full production of it, I might not even recognize it. But if I did, I'm sure it would pale in comparison to this sparsely lovely version that, like all TTT shows, strips away the unnecessary and serves us up a simple, unadorned, beautifully true story. See it for yourself - performances continue through March 8.


This article also appears on Broadway World Minneapolis.

"How the Grinch Stole Christmas" at Children's Theatre Company

'Tis the season for stories of sad, lonely, grumpy people who experience a change of heart and learn to love their fellow citizens, whether of London or Whoville. After a double bill of Christmas Carols last week, I saw a similar story this week in Dr. Seuss' classic fable How the Grinch Stole Christmas. Like Scrooge, the Grinch hates Christmas, people, and dogs. Also like Scrooge, the Grinch learns how wrong he was, not from ghosts but from one sweet open-hearted little girl. Where A Christmas Carol is the perfect image of a Victorian Christmas, The Grinch takes place in the fantastical rhyming world familiar to anyone who's read Dr. Seuss, or had it read to them, as the case may be with much of Children's Theatre Company's audience. It's a bright and colorful, silly and funny, sweet and heart-warming tale of redemption and love.

In this musical adaptation by Timothy Mason (book and lyrics) and Mel Marvin (music), which premiered at CTC in 1994 before moving on to other stages, including Broadway, the Grinch's story is told by his dog Max, who is now an old dog ready to move on from the cave in the mountain above Whoville. But first, he shares with the audience the remarkable transformation he witnessed. No mention is made of what has happened since that pivotal Christmas long ago, or where the Grinch is now, but it's a clever device that allows much of the original descriptive rhyming language to be used. Old Max remembers how disagreeable Grinch was when he was an eager young pup, and how he forced him to help steal Christmas from the Whos. The plan failed when the Whos woke up on Christmas day to find all their presents, decorations, and food gone, but still sang and made merry, filled with the joy of togetherness and the spirit of the holiday. The Grinch realized that perhaps Christmas is more than presents and roast beast, his heart grew three sizes, and the rest is history.

On the night I attended the show, understudy Max Wojtanowicz stepped into the role of the Grinch, as he will continue to do for the next week or two until Reed Sigmund returns to the show. He more than capably fills the furry green shoes of the Grinch, performing with such gusto and heart in a role he didn't expect to play. He's deliciously and delightfully evil, especially when interacting with the terrified Whos, keeping them on pins and needles as he's alternately insincerely nice and truly horrifying. He fits right in with the large (and small) talented ensemble; I guarantee you will not know you are seeing an understudy.

The rest of the cast is pretty great too. Brandon Brooks is adorable and full of puppy-like energy as young Max, the perfect happy yin to the Grinch's grumpy yang. H. Adam Harris mirrors that spirit as old Max, but with the slowness and nostalgia that comes with age. Little Natalie Tran, stealing scenes across town, continues that tradition here with her adorable performance as the cutest Who, Cindy-Lou, with a voice as clear as a bell. There are almost as many kids on stage as there are in the audience, and they're all so animated and enthusiastic, born entertainers every one.

The original songs are fun and well performed by the cast and live pit orchestra, although I was disappointed that "You're a Mean One Mr. Grinch" was not sung but just played by the orchestra after curtain call. The CTC stage looks like something right out of a Dr. Suess book, with cartoonish and playful set pieces (by Tom Butsch), and bright and colorful costumes that are somehow cute despite being the most unflattering shape - a bit wide at the hips and high in the forehead (by David Kay Mickelsen).

How the Grinch Stole Christmas continues through January 4. Bring your little Whos for a fun and heart-warming holiday treat, or go by yourself - I've learned that it's OK for adults to go to the Children's Theatre by themselves. This Grinch is fun for adults, children, Whos, and furry green grumps.


This article also appears on Broadway World Minneapolis.

"Dirt Sticks" by Ten Thousand Things at Open Book

What Ten Thousand Things does better than any other theater company I know is harness the power of collective imagination to transport the audience to another world. Because they often perform in prison cafeterias and community centers, they cannot rely on the usual theatrical tricks of lighting, costumes, and set. The audience can clearly see what's going on and that this is make-believe, which somehow makes it even more magical when we willingly forget our surroundings and go on this journey with the cast, who are always so fully committed to and immersed in the story they're telling. In the case of Dirt Sticks, a new play written by playwright in residence Kira Obolensky, the experienced theater audience is in the same boat as TTT's inexperienced theater audiences - we're all approaching the show with no prior knowledge of the piece. It's a rare and wonderful thing to go to the theater with no idea of what to expect, and to be thoroughly entertained and completely transported to another world.

Henry Wand (H. Adam Harris) and
his mother (Sun Mee Chomet)

Dirt Sticks tells the story of a young man named Henry Wand, an orphan raised by his aunt, whom he calls Mother Spindle because she's tightly wound. He and Laurel, another stray that Mother Spindle has taken in, work in a ladder factory. They live a pretty uneventful life, until a peddler comes to town with the full moon. Along with the usual goods, he sells visions of the future and the past. Through this, the story of Henry's birth is told as his mother's ghost visits her sister and son. Henry's life is changed forever as he learns the truth of his history. It's a simple story really, but feels like an ancient fairy tale as it unfolds in front of us, occurring somewhere outside of time and space.

the peddler (Stephen Cartmell) and
Mother Spindle (Thomasina Petrus)

This five-person cast is just delightful and very interactive with the audience (if you're sitting in the front row, be prepared to be asked to buy a penny for a nickel). Stephen Cartmell is absolutely mesmerizing as the mysterious peddler, spinning tales as peddles his wares. Kimberly Richardson is her usual nimble clownish self, particularly when Laurel buys the magical dancing shoes that never rest. Sun Mee Chomet is lovely as Henry's ghost mother, full of life, happy to be alive again, and trying to entice Henry to join her. Thomasina Petra is the stern Mother Spindle, eventually revealing a softer side with a long ago hurt. And last but not least, H. Adam Harris is charming as our hero Henry Wand, so curious about life and his past, eager to move forward.

Helping to create this magical world are the extremely sparse set pieces by Irve Dell, including a whimsical flying pigeon (manned by Stephen Cartmell), a lopsided ladder, and a large bowl in which Mother Spindle cooks soup and her healing elixir. Peter Vitale again creates the sound world of the story, which almost makes you want to close your eyes and just listen. These elements and this cast under the able direction of Artistic Director Michelle Hensley create a very specific world that is a pleasure to live in for a few short hours.

Dirt Sticks continues through June 1 in an upstairs room at Open Book. These shows have a tendency to sell out so get your tickets now. I've said it many times before and I'll say it again - if you're a Twin Cities theater fan and you've never seen a Ten Thousand Things show, you're missing a huge part of what makes this community so special. Check out Dirt Sticks, and then come back  next season for Romeo and Juliet, The Unsinkable Molly Brown, and another new Kira Obolensky play, The New Don Juan.

"The Ballad of Emmett Till" at Penumbra Theatre

On what would have been Jordan Davis' 19th birthday (a black teenager who was killed by a white man because of events that happened outside a store where he was buying bubble gum), I went to see a play about Emmett Till. History repeats itself, and theater is there to tell the stories and speak the truths that cannot otherwise be told or spoken. And when it comes to African American history, which really is our shared history, no one does it better than Penumbra Theatre. The Ballad of Emmett Till is the story of a smart, funny, precocious 14-year-old boy from the South Side of Chicago with his whole life ahead of him, until one summer in Mississippi when he unknowingly violates the unwritten rules of the 1950s South - do not touch a white woman, do not talk to a white woman, do not look at a white woman. The light-hearted and music-filled play takes a turn into darkness when Emmett is kidnapped from his uncle's home in the middle of the night several days after "the incident," driven around in a truck to various locations, beaten, tortured, shot, and dumped in a river with a weight around his neck. A note in the playbill from Co-Artistic Directors Lou and Sarah Bellamy says it best:

We will not make the tragedy of this child's death easy for you. We will not stage gratuitous violence. We will not erase the flagrant racism of the environment that justified his murder. We will celebrate, with heavy hearts, the dignity and grace of a child who paid the price for our nation's tolerance of hatred and discrimination. It will be what you have come to expect from Penumbra Theatre Company, a frank and unflinching depiction of issues that urgently need our attention.

I admit I didn't know many of the details about Emmett Till's life and death (read more about it here), so it was quite educational for me. But this is not a dry and sober history lesson, it's an entertaining and captivating play, a celebration of life and family, with wonderful music (music direction by Sanford Moore). You almost forget the tragic ending looming over the story as you get to know these characters and share in their life and family. But it all comes crashing down when Emmett is taken, and we see scenes of the torture, Emmett's mother's reaction, the trial and its aftermath.

Darrick Mosley as Emmitt Till
with Greta Oglesby, T. Mychael Rambo,
and Shá Cage

At the center of this wonderful six-person ensemble is Darrick Mosley, who plays Emmett with great spirit and energy. Shá Cage and Greta Oglesby play the women in Emmett's life with strength and sympathy. H. Adam Harris, T. Mychael Rambo, and Mikell Sapp play multiple roles from amusing to threatening, including the two men who kidnapped and beat Emmett. Playwright Ifa Bayeza writes in such a way that there are sometimes multiple versions of a character onstage, so that we can more clearly see the different sides of them. In one particularly moving scene, we see two mothers testifying at the trial and grieving their son in different ways, one the strong and farsighted woman who insisted on an open casket, which became a spark in the Civil Rights Movement, one the emotional woman witnessing the mutilated body of her baby.

The simple but effective set (by Maruti Evans) consists of a raised platform in the center of the stage, and wooden planks on the walls upon which are written the words of the murderers who, after being acquitted of the crime and therefore protected by double jeopardy, admitted that they killed Emmitt in an interview with Look magazine. It's quite sobering to watch Emmitt's story play out surrounded by those hateful words.

The Ballad of Emmett Till is a beautiful, tragic, spirited, and very well-done play. Emmett's final words to the audience are, "Is it done?" That is a question to ponder. (Playing now through March 2 at Penumbra Theatre.)

"the road weeps, the well runs dry" at Pillsbury House Theatre

There's a new theater project called "Launching New Plays into the Repertoire," led by The Lark Play Development Center in NYC. The idea is to produce a new play in several regional theaters around the country, because "good playwrights become great playwrights in front of audiences, and good plays become great plays through multiple productions in multiple venues." One of the pilot projects is currently playing at Pillsbury House Theatre in South Minneapolis - the road weeps, the well runs dry by Marcus Gardley. The only previous production of this play was in Juneau Alaska, and after the Minneapolis run it will also be produced at theaters in LA and, most appropriately, Florida. It's a fascinating and epic play about the Seminole Indians and the runaway slaves and free black people who joined with them in Florida in the 19th Century. With a dynamic cast of 11 and the excellent award-winning director Marion McClinton, this mythical and historical drama comes alive. This successful production bodes well for the new project.

This play is difficult to describe because of the huge cast of characters, the several decades of history it covers, and the mythology it presents. It feels like a Greek tragedy, in which the characters are destined, or cursed by the gods, to live these difficult, troubled, and interconnected lives. The main character bears a birthmark of a white sun on his chest, and is told that he cannot be killed except by blood (spoiler alert). We witness the establishment of Freetown by a group of Seminoles and free blacks in 1833, the flourishing of the town and its hard working people, the devastation that comes with a drought and wars, and the ultimate redemption and hope as rain comes again after tragedy.

Number Two (Ansa Akyea) and
Trowbridge (Jake Waid)

Our story centers on two men, the "full-blood" Seminole Trowbridge (Jake Waid, reprising the role he played in his native Juneau) and escaped slave Number Two (another powerful performance by recent Ivey-winner Ansa Akyea). The men become friends friends, companions, partners, and then enemies (there is much discussion of the interconnectedness of love and hate and how that manifests in their relationships with each other and their families). There's also a town shaman called Horse Power (a colorful James Craven), the reverend (Harry Waters, Jr.) and his wife (Regina Marie Williams), the town Casanova who goes through a bit of a transformation (H. Adam Harris), young lovers (sweetly played by Traci Allen and Santino Craven), and warring mothers, one soft and the other tough (George Keller and Keli Garrett). We also see flashbacks of the young Trowbridge (Santino Craven again) and Number Two (Darius Dotch). There's just too much going on to describe it all - death, murder, birth, abuse, love, preaching, punishment, an extremely awkward Sunday dinner - in fact it's a little hard to follow chronologically at times, but the timeline in the playbill helps clear things up. the road weeps, the well runs dry is something that really has to be seen to be fully experienced.

The world of Freetown is successfully created by the sparse set (by Dean Holzman), with just a few suggestions of trees, the town well, and wooden crates to sit or stand on. The costumes are beautiful, with full layered dresses for the women, dandy suits for some of the men in town, and more traditional Seminole garb. The cast makes full use of the intimate space at Pillsbury House, including the aisles and the back of the theater; it's a 360 degree experience.

the road weeps, the well runs dry is an ambitious and epic new play, and perfect for Pillsbury House Theatre that often produces work that is challenging to the audience. Whenever I see a Pillsbury House production, it's never just a pleasant, nice night out at the theater. Challenging, awkward, difficult, but always thoroughly engaging and rewarding. At the end of the play there's a rain dance to end the long drought, and whatever they were doing on that stage worked. When I left the theater it was raining like it hadn't rained in months. By the time I got to my car I was soaked and freezing, but it somehow felt appropriate, like it was part of the experience to be cleansed by the waters that Horse Power called down upon us all. Playing through the end of the month, I can't guarantee rain, but I can guarantee a fascinating and epic experience.

"The Seven" by Ten Thousand Things at Open Book

Friends, I know I rave about Ten Thousand Things often on this blog, but I'm telling you, The Seven is crazy good. It's unlike anything I've ever experienced. Using an adaptation by Will Power, they've taken an ancient Greek tragedy and reinvented it as something entirely modern, fresh, relatable, energetic, contemporary, and understandable. The New York Times review of the 2006 premiere at NY Theater Workshop referred to it as "a hip-hop musical comedy-tragedy." This cast of eight includes some of the top talent in this town, and they all bring it. There's really no choice but to do so; in the small fully lit space at Open Book with minimal sets and costumes, there's nothing to hide behind. What you see is what you get, and in this case, what you get is awesome.

Artistic Director Michelle Hensley introduces the show, as she always does, and sets the stage for those of us unfamiliar with the story. The original play, Seven Against Thebes, tells the story of Oedipus' sons, upon whom he levied a curse - that they would kill each other. Despite their best intentions to avoid the curse, they of course fulfill it, as always happens in Greek tragedies. The Seven also shows us Oedipus, explaining his own curse (that he would kill his father and marry his mother) and bestowing it upon his sons after they cast him out, and later appearing to them to encourage them in falling victim to it. It's a universal tale of family, war, power, fear, and destiny.

The cast is comprised of eight talented actor/singer/rappers (most of whom I've seen in theaters around town), directed by Sarah Rasmussen, fresh off the completely delightful In the Next Room at the Jungle. We are guided through the story by the narrator/DJ, mixing tunes and tales, played by the fabulous Aimee K. Bryant. Bruce A. Young is strong and powerful as Kind Oedipus, with a scary turn as one of the Seven who wage war against Thebes. As his sons, H. Adam Harris and Kinaundrae Lee give their all, vocally, physically, and emotionally, as the loving brothers who unthinkably turn against each other. One tough and kingly, the other a nature-loving poet, but both sons of the cursed family. The excellent Greek chorus consists of Katie Bradley, Brian Sostek, Ricardo Vazquez, and Joetta Wright, who also play the worried people of Thebes and the titular Seven, a parade of superheroes. Particularly impressive is Ricardo (see also Next to Normal), who possesses a voice that was made for musical theater, ringing out across the room with no amplification necessary. He also has a pretty cool fight scene with himself.

Even though hip-hop and rap are not my favorite musical genres, the music here is fantastic (directed, as always, by Peter Vitale, who also accompanies on percussion). Fast raps are combined with more pop sounding tunes, much of it a capella, all ably performed by the talented cast. The costumes (by Annie Cady) are simple but effective, modern mixed with classic (and to-die-for green gloves worn by the chorus to represent nature).

I don't know how Ten Thousand Things does it. In a fully lit room with minimal sets and costumes, you're more aware that this is just pretend, but somehow, because of their particular brand of genius, it's so easy to be carried away into their world, and never want to leave. I was so engrossed in the world created in that room, that when it was over and I walked outside, I forgot for a moment where I was and what I was supposed to do next. Reality is jarring when you realize that what you truly believed was reality for a short space in time was only make-believe. That's theater at its best, and that's what Ten Thousand Things consistently does. Three more weekends of paid public performances remain (in addition to their usual schedule of performing in prisons, schools, and community centers). Go see it.

"The Way of Water" by Frank Theatre at the Playwrights' Center

"An explosion on April 20, 2010, aboard the Deepwater Horizon, a drilling rig working on a well for the oil company BP one mile below the surface of the Gulf of Mexico, led to the largest 'accidental' oil spill disaster in history. Residents who live along the coast of the Gulf of Mexico, all the way from Terrebonne Parish, Louisiana, to well into western Florida, continue to suffer acute symptoms attributed to ongoing exposure to toxic chemicals being released from BP's crude oil and the toxic Corexit dispersants used to sink it. Thousands of deaths along the Gulf Coast region have been linked to this toxic damage. This devastation is being deemed by many in the health and science filed as the equivalent of Agent Orange in Vietnam."

Such is the backdrop of Frank Theatre's new production, The Way of Water, playing at The Playwrights' Center now through the end of the month. This is a tragedy that's so huge in scope, it's difficult to think about in a real sort of way, as we watch it play out on the TV news. But this play personalizes it, telling the story of four people whose lives are drastically and devastatingly changed because of what happened.

Jimmy and Yuki are friends and fishermen, making their living catching and selling fish on the gulf. They know nothing else; Jimmy's family has been in the fishing business for generations. After the oil spill they continue to do what they know, even though much of the water and fish have been contaminated. Their wives help out however they can, selling homemade flowers and found vases at flea markets. But the spill has taken a toll on their spirits and their livelihoods, and on their bodies. Jimmy experiences dizzy spells and "fits," but refuses to go to the doctor until it's too late. Jimmy and his wife are forced to leave their home, live with family, and try to make a life somewhere else.

This solid four-person cast is led by H. Adam Harris as Jimmy. He's strong and sympathetic as a man trying to hold on to a lifestyle that no longer works, and Jimmy's "fits" are so real it's painful to watch. Hope Cervantes is an equal partner as his supportive wife Rosalie, trying to hold the family together with grace. Also good are Eric Sharp as Jimmy's fishing buddy Yuki and Emily Zimmer as Yuki's wife\Rosalie's best friend\Jimmy's ex. The writing, by Caridad Svich, is sparse and powerful. There are no wasted words; characters often speak in one-word sentences. The simple but effective set (by Joseph Stanley) is dominated by an unkempt and lived-in backyard, with the fishing pier overlooking it on the left.

Surprisingly, this is my first Frank Theatre show since last year's fabulous, gritty, and moving production of Cabaret. I'm not sure what took me so long, but I'm glad I didn't miss this one. They do good work, important work, such as in this play (directed by Artistic Director Wendy Knox) - reducing the scope of an immense tragedy to something manageable, understandable, relatable, and human.

H. Adam Harris, Hope Cervantes, Emily Zimmer, and Eric Sharp