"Dinner For One" at the Jungle Theater

Jungle Theater has a new holiday* tradition. After gifting us the most charming Jane Austen fan fic series Christmas at Pemberley from 2017 to 2022 (the finale of which is currently playing at Lyric Arts), they debuted their original piece Dinner for One last year. This sweet little play with music is based on a 12-minute comedy sketch written in the '20s, a televised version of which has become annual holiday viewing in many European countries. Artistic Director Christina Baldwin came up with the idea for the show, and co-created it with Sun Mee Chomet and Jim Lichtsheidl, with the former directing and the latter two performing. Featuring an odd ritual of a dinner party for Miss Sophie's 90th birthday and her imaginary guests, personified by her loyal servant, it's the perfect vehicle to show off the strength of the creators. And although I would like to say it's the rare show I wish were longer (it's a scant 60 minutes), it's perfection and I wouldn't change a thing. Somehow those 60 minutes are fuller and more satisfying than many shows two and three times its length. Dinner for One continues through January 5 at Jungle Theater in Uptown.**

"Once Upon a Time... Josephine Baker!" at Yellow Tree Theatre

In the new play with music Once Upon a Time... Josephine Baker! at Yellow Tree Theatre, written by and starring Artistic Director Austene Van, we get an overview of the fascinating life of Josephine Baker. It plays out like a dream, which leads to more curiosity about this inspiring and ground-breaking woman, who left the racism of America behind to become a star in Paris in the early 20th Century, while still continuing to fight for Civil Rights. This production gives us a glimpse into her difficult childhood, her many marriages, her work as a spy during WWII, her talent, and the human behind the legend. See it in Osseo Wednesdays through Sundays until June 30.

"The Hatmaker's Wife" by Ten Thousand Things at Hennepin Avenue United Methodist Church

The Hatmaker's Wife by Lauren Yee (whose most recent work produced in #TCTheater was the epic Cambodian Rock Band by Theater Mu and Jungle Theater) feels like it was written for Ten Thousand Things (it wasn't - it premiered over ten years ago). It's in the vein of their magical fairy tale stories, that I think is my favorite kind of TTT show (even more than their clear-eyed Shakespeare or stripped down musicals). I can't imagine a "normal" theater company doing this play, meaning on a proscenium stage separated from the audience, with fancy lights, sets, and costumes. It's so well suited to the TTT All the Lights On style, weaving a magical and moving tale simply through the talents of the performers and the power of collective imagination (that makes even the aggressively religious paintings in the room at Hennepin Avenue United Methodist Church fade into the background). It's a story of love, and disconnection, and grief, and hope, a wistful and whimsical story of talking walls, golems, and connections across time. These hats continue to sing at Hennepin Avenue United Methodist Church this weekend (with a huge free parking lot) and then will move on to Open Book for two final weekends.

"Dinner for One" at Jungle Theater

Jungle Theater's original piece Dinner for One, based on a 12-minute comedy sketch written in the '20s, is sheer delight. Artistic Director Christina Baldwin came up with the idea for the show, and co-created it with Sun Mee Chomet and Jim Lichtsheidl, with the former directing and the latter two performing. Featuring an odd ritual of a dinner party for Miss Sophie's 90th birthday and her imaginary guests, personified by her loyal servant, it's the perfect vehicle to show off the strength of the creators. And although I would like to say it's the rare show I wish were longer (it's a scant 60 minutes), it's perfection and I wouldn't change a thing. Somehow those 60 minutes are fuller and more satisfying than many shows two and three times its length. Dinner for One plays Tuesdays through Sundays until New Years Eve; I recommend you get your tickets to this one sooner rather than later.

"Twelfth Night" at the Guthrie Theater

For their annual Shakespeare production, the Guthrie is bringing us a truly delightful, innovative, and playful rendition of the comedy Twelfth Night. And in a surprising and wonderful choice, the cast is 100% local. I'm someone who often calculates that percentage at the Guthrie, and while I appreciate the chance to see national talent on the local stage, I'm also the biggest fan of our #TCTheater community, so I always want that percentage to be higher. It's wonderful to see that rich, deep, broad, diverse, incredibly talented community 100% represented on stage in this production. The show is as Shakespeare's comedies are meant to be - fun, playful, accessible, almost interactive, heartfelt, and hilarious.

"Ride the Cyclone" at Jungle Theater

"This is the most wonderfully weird musical I've ever seen and the cast is perfection. I wish I could see it again and again and again!!" Last night's Insta story exclamation says it all. Jungle Theater's production of the fantastic musical Ride the Cyclone, a Canadian import that played Off-Broadway three years ago, is hands down one of the best things I've seen this year. I don't know what kind of warped and brilliant minds creators Brooke Maxwell and Jacob Richmond have that caused them to write a musical about teenagers dying on a roller coaster, but I love it. Not only is it one of the most unique musicals I've ever seen, but this production by the Jungle simply couldn't be better. In addition to this stupidly talented cast that plays their roles to perfection, every element of design is spot on and combines to create this warped carnival after-life world. If you're a fan of new and original music-theater, Ride the Cyclone is a must-see.

"Small Mouth Sounds" at the Jungle Theater

"Friends, @jungletheater's Small Mouth Sounds is exactly my kind of play: awkward, funny, profound, and full of one of my favorite things in theater that I rarely get - silence! Perfect execution by the yummy cast and the whole team."

This was my Instagram post upon arriving home from the Jungle last night, and it pretty much says it all. I'll expand on that a bit more here, but in general, this new play about six people on a silent meditation retreat is hilarious, heart-breaking, and very human. Visit the Uptown theater now through June 16 to experience it yourself (pro tip: the Jungle is one of the few theaters in town with Tuesday and Wednesday performances, which have lower ticket prices, better availability, and usually less Uptown crowd/parking/traffic issues than weekends).

"Into the Woods" by Ten Thousand Things at North Garden Theater

Into the Woods is one of Stephen Sondheim's most popular and frequently performed musicals. In the eight years I've been blogging about #TCTheater, I've now seen (and written about) seven different local productions. So I'm not going to write about the brilliance of this fairy tale mash-up (with book by James Lapine) that turns the idea of "happily ever after" on its head; you can read my thoughts about that here. Instead, I'll share with you what makes this production special, namely, because Ten Thousand Things does theater like no one else. It's my first time seeing them do Sondheim, which is exciting because TTT has a knack for breaking down the most complex shows (and Sondheim is nothing if not complex) and laying bare the truest heart of the piece. And since they're a weaver of fairy tales, traditional and otherwise, Into the Woods is a perfect match for TTT. This production (which continues through March 24 at various locations, including free performances at prisons, homeless shelters, community centers, and other places where people don't normally experience theater and therefore need it the most) is sheer perfection and perhaps my favorite thing they've done. But I say that about pretty much every TTT show I see.

"Little Women" at the Jungle Theater

Louisa May Alcott's 150-year old novel Little Women is experiencing a bit of a resurgence at the moment. A beautiful mini-series came out recently on Masterpiece, a modern adaptation is set to be released to movie theaters this fall, and director/writer Greta Gerwig's star-studded movie is currently in pre-production. #TCTheater is also getting in on the action; Jungle Theater has commissioned a new theatrical adaptation from Kate Hamill (who recently adapted Sense and Sensibility, seen on the Guthrie stage two years ago). There's a reason Alcott's semi-autobiographical novel has remained so popular. This story of four very different sisters who support each other despite their differences, and each struggle to find their own path in life, is timeless and always inspirational. This lively adaptation (that stops short of the end of the book), featuring a wonderful and diverse cast, is sweet and heart-warming, staying true to the source but casting the story in a more modern and relevant light.

"The Legend of Georgia McBride" at the Guthrie Theater

Reminiscent of La Cage aux Folles and Kinky Boots, but with a spirit and humor all its own, The Legend of Georgia McBride is a drag show with a beautiful message of finding one's identity and embracing those you love as they discover their identity. What it doesn't resemble so much is playwright Matthew Lopez's other work seen recently on #TCTheater stages, the intense Civil War drama The Whipping Man, a beautiful and heart-breaking play done by Minnesota Jewish Theatre Company last year. Which just goes to show the range of the playwright, although I think it's safe to say that Georgia McBride is the more personal work. Similar to the protagonist Casey, he found himself in a drag club in Florida, although the details of the story are different. Georgia McBride is a really fun show, and you also may learn a bit about drag performance, and rethink some stereotypes about the real people behind all the glitz and glamour of the show.

"Fly By Night" at Jungle Theater

A new original folk-rock musical? It's like Fly By Night was created (by Will Connolly, Michael Mitnick, and Kim Rosenstock) and brought to the Jungle (by director Sarah Rasmussen) just for me. The rare bird that is the new original musical is my favorite thing in the world, and folk-rock/folk/Americana is my favorite genre of music. I was primed and ready to love this show, and love it I did. Charming and funny yet poignant, with a fantastic score played by greats from the local music scene, and a cast that couldn't be better - what's not to love? Well maybe a few things - a bit of the ending I didn't love, and a confusing timeline issue.* But other than that I loved everything about this show that is right up my alley, and I hope to get back to see it before it closes on July 23.

"The Children" at Pillsbury House Theatre

Medea. Even if, like me, you've never seen or read the play, we all know the story of the mother who kills her children. Worst mother ever, right? But maybe, as they say on Crazy Ex Girlfriend, the situation is a bit more nuanced than that. Maybe there's more to the story, maybe other people in the story see it differently. Playwright Michael Elyanow (see also the beautiful play with music Lullaby) wanted to explore the story from the children's viewpoint. He writes in the playbill, "I started writing The Children as a response play where somebody does take action to defend those kids. In the writing, the piece revealed itself to be a fever dream, a time-traveling mystery, a fish-out-of-water comedy, a theatrical event with a perception shift in every scene until we get at what the play is ultimately, singularly about: trauma survival." That's about as good of a description as I could imagine. The Children is not an easy play to categorize, but it is a wonderful one to experience for 80 minutes. It'll challenge your perception of Medea, as well as your perception of time and space.

Fresh Ink: New Works at Illusion Theater

Every summer, Illusion Theater presents staged readings of new works in a program called "Fresh Ink." This year's selections include Revolving Stage, co-written by and celebrating the life of late Twin Cities actor Phil Kilbourne, and The Gest of Robin Hood, a new musical adaptation of the beloved and familiar tale. After a week or two of workshops with the creators and cast, each has four public performances, followed by discussions in which audience members give feedback on what they've seen, an important part of the new work development process. I was fortunate enough to see both shows, and both are and exciting and promising new works of which I hope to see more in the future.

"Forget Me Not When Far Away" by Ten Thousand Things at Minnesota Opera Center

The village of Farmingtown has been devoid of men for so long that when one returns from the far away and long-lasting war, the first woman he meets rushes up to him and inhales him deeply. This hilarious and oddly touching moment at the beginning of Kira Obolensky's new play Forget Me Not When Far Away sets the tone for this playful and poignant fairy tale about a soldier returning to a home he once knew. Ten Thousand Things has been on the road with the show for a few weeks, performing at correctional facilities, community centers, and other unlikely venues. As director Michelle Hensley said in her introduction of the show (which has come to be one of my favorite parts of a TTT production), the fact that this play has resonated with such diverse audiences in different ways is a credit to the skills of the playwright, who has created a world outside of time and space that somehow feels familiar and relatable to everyone. This world is brought to life in the beautifully sparse way that only Ten Thousand Things can do, with a brilliant cast of six performing in a fully lit room in a space so small that they literally trip over the audience. The fanciful story is grounded in truth and made to feel very real by the universality of the story, the charming accessibility of the language, the up-close-and-personal performances by the actors in whom you can feel every nuance of every emotion through a look in the eyes, the twinge of a facial muscle, or a subtle movement of the body. Ten Thousand Things harnesses the magic of theater in its most basic form like no other company can.*

Farmingtown is a quaint village in which news is passed by the town crier, the main employment is farming and working in the morgue, and the men all go off to war while the women stay home. The women have adjusted well to this man-free life, taking charge of all systems and businesses in town. They're in for a shock when one John Ploughman returns from war, discharged due to an injury. The more than 20 women depicted in the play (portrayed by just five actors) all react to him in a different way, from the aforementioned inhaling, to surprise, to skepticism, to a determination to win him. Lacking the necessary paperwork to prove that he's not dead as was announced, John faces a tough road readjusting to life in Farmingtown. He's searching for a woman he knew before the war, a woman he now loves but scorned in the past, when he was a bit of a playboy. It turns out Flora Crisp has been pining after him all these long years, or at least the idea of him. But this isn't your typical love story; the people of Farmingtown find love and fulfillment in different ways, as the war ends and a new chapter of their lives begins.

John Ploughman at the bar (Ron Menzel with Shá Cage,
Photo by Paula Keller)

Ten Thousand Things often casts their show without much regard to gender, changing the gender of characters or casting women as men or vice versa. But in this play it's quite specific that there is only one man in town, surrounded by women (and one awkward and adorkable little boy). Ron Menzel is that man, his masculinity standing out in a soldier's uniform against the women in their cute but functional dresses and colorful Keds (costumes by Sonya Berlovitz). Ron is one of my long-time faves from the Guthrie (beginning with the memorable Intimate Apparel nearly ten years ago), and it's a thrill to see him in this setting as he fully inhabits this character in every moment of his journey, effortlessly portraying the frustration, hope, desperation, brokenness, determination, and above all humanity in this man in all his flaws and glory.

three of the bewigged women of Forget Me Not When Far Away
(Elise Langer, Shá Cage, Karen Wiese-Thompsonm
photo by Paula Keller)

I can't say enough about these five women who play over 20 characters, differentiated not only by the wigs on their heads but also by a unique voice and carriage of the body. All of them give sometimes hilarious, sometimes touching, always specific performances, including:

• Sun Mee Chomet as the wounded Flora, the tough landlady, and the steady barkeep
• Annie Enneking as a prim and proper government worker, John's ex, and a singer at the bar (singing songs she wrote)
• Elise Langer as a possibly drunken postal worker, a ditsy blond, the town crier, and perhaps my favorite character - a little boy who's slightly off but open and loving and wise
• Karen Wiese-Thompson as a cigarette-smoking trench coat-wearing PI, a dentist, and Flora's concerned grandmother
• Shá Cage as a fortune teller, a timid little girl, and a woman chasing after John who turns out to be a good friend

Ten Thousand Things travels light in terms of props and set pieces, which only seems to make them more creative. Irve Dell's clever and efficient set consists of four standing metal frames that hinge down to represent a door, window, or bar, with two metal boxes serving as all the other necessary furniture. Peter Vitale creates a delightful soundtrack for the story, subtly setting the tone. For some reason there's clog dancing, which provides a reason to show off Jim Lichtsheidl's charming choreography.

Forget Me Not When Far Away is a delightful story about returning home, reconnecting, and re-establishing your identity in a changed world. Like other TTT productions, the show feels like the neighborhood kids have gotten together to put on a play in someone's backyard, if your neighborhood were populated with some of the most talented theater artists in town. Paid public performances continue at the Minnesota Opera Center and Open Book through the end of May. Go see it, and then make plans for next season when TTT continues their pattern of Shakespeare-musical-new play with Henry IV Part I, Dear World, and Changelings by Kira Obolensky.



*To find out more about the magic of TTT, check out founder and Artistic Director Michelle Hensley' book All the Lights On.


This article also appears on Broadway World Minneapolis.

"Mr. Burns, A Post-Electric Play" at the Guthrie Theater

I must confess: I've never seen a single episode of The Simpsons. Of course since I don't live under a rock, I'm vaguely aware of Marge, Homer, Bart and the gang. But this is one pop culture phenomenon that has passed me by. Even so, I can appreciate playwright Anne Washburn's play Mr. Burns, A Post-Electric Play, which uses The Simpsons to explore how pop culture survives after an apocalyptic event. While knowledge of The Simpsons might make the play more enjoyable (as evidenced by the people guffawing at every line in the row in front of me), it's still a fascinating look at survival and finding joy even in devastation.

The play feels like it's made up of three very different short plays. The first act takes place shortly after the nuclear disasters happened, causing "the grid" to go down. We meet a group of survivors, who are entertaining themselves by reminiscing about their favorite episode of The Simpsons, "Cape Feare," even while brandishing guns to protect themselves from intruders. Think The Walking Dead, except that between killing zombies, Rick and company talk about TV (maybe they do, we just don't see those scenes). To continue with the TV references, the tone of the show is somewhere between The Walking Dead and The Last Man on Earth, because it's a bit silly, but with a real undercurrent of darkness as survivors ask newcomers if they have any news about their missing loved ones.

the theater troupe performs (photo by Kevin Berne)

In the second act, we jump forward seven years to a time when things are still pretty messed up, but there are traveling theater troupes that perform episodes from TV shows. And apparently theater too, but who wants to watch Shakespeare when you can watch The Simpsons? Our group has formed one such troupe, and is in competition with other troupes. The group has differing opinions about whether their job is strictly to provide a much needed escape in a bleak world, or to enlighten and engage on a deeper level. Before the matter is settled, we jump forward another 75 years, after an intermission during which the cast dons extreme and specific make-up to transform themselves into characters from The Simpsons. The last act is the finished product of what was begun 75 years ago - a musical that blends the story of the apocalypse with "Cape Feare."

Mr. Burns is a bit of a hodgepodge, with serious, poignant, and very real scenes interspersed with the absurd - a music video montage of pop songs, a commercial for... something... that goes on and on, and the entire third act musical sequence. It's truly bizarro, but mostly in a good way. The original songs are great (music by Michael Friedman and lyrics by the playwright), and cleverly tie in several pop culture themes. And kudos to costume designer Alex Jaeger for covering the whole scope from apocalypse gear, to makeshift theater production, to amazingly bright and detailed Simpsons costumes for the musical.

Because this is a co-production with San Francisco's American Conservatory Theater, I was expecting a cast of unfamiliars. So I was pleasantly surprised to see local favorites Charity Jones (a traumatized survivor turned director), Andrea Wollenberg (who beautifully carries most of the singing weight in the third act), and Jim Lichtsheidl (I don't now about you, but if I'm ever in an apocalyptic situation, I'd like to be trapped with Jim Lichtsheidl singing Gilbert and Sullivan). Combined with the non-locals, they form a tight cast that willingly and enthusiastically jumps in with both feet, whatever the script calls for. In particular, Ryan Williams French gives a deliciously evil performance as the musical's villain.

Even though I'm not a fan of The Simpsons, and some of the references might have gone over my head, and some of the re-creations went on a bit long for my taste, Mr. Burns, A Post-Electric Play is no doubt incredibly creative and inventive. I'm sure if my TV were taken away from me, I'd search out anyone I could to discuss the finer points of my favorite episodes of The Office ("Booze Cruise" anyone?) or Game of Thrones.

The apocalypse is a popular theme in pop culture, so it's quite fitting and fascinating to see an exploration of pop culture in an apocalypse. It's about how we tell our stories, whether that's through theater, or television, or around a campfire, or whatever medium is left when all the lights go out.  Mr. Burns continues through May 9 on the Guthrie's Proscenium Stage.

"Love's Labour's Lost" by the Moving Company at the Lab Theater

The Moving Company's new adaptation of one of Shakespeare's earliest romantic comedies, Love's Labour's Lost, includes at least one line from each of his 37 other plays. Not being a Shakespeare expert, I only recognized a few, mostly from Hamlet and Romeo and Juliet, the two plays with which I (and probably most people) am most familiar. If I didn't know that they had removed sections of the original play and replaced them with lines from other plays, I would never have known; it feels very much like one cohesive story, not at all the mash-up that it is. Which is a credit to creators Steve Epp, Nathan Keepers (both of whom also star in the play), and Dominique Serrand (who directs), who have so seamlessly woven in lines and plot points from other plays to create something entirely new and original. In typical Moving Company style, it's at times wacky, or funny, or moving, or just plain entertaining.

The original plot of Love's Labour's Lost follows a king who convinces his three companions to join him in three years of intense study, fasting, and avoiding the company of women. This only lasts until the daughter of the King of France arrives with her three comely companions, and the men forget their vows to woo the women. We follow these four love stories through the ending, which is not your typical happy ever after, but allows room for the possibility.

Other than Steve Epp and Nathan Keepers (Co-Artistic Director and Artistic Associate), the rest of the 13 person cast are all new to The Moving Company, but it doesn't feel that way. They all mesh very well in the MoCo aesthetic and bring their own skills to the table. As one of the four pairs of lovers, Emily King and Lucas Melsha have created several stunningly beautiful dances, in a sort of animalistic modern dance style. These two characters speak no words but say everything with their bodies. Jim Lichtsheidl is such a unique and gifted physical comedian, a skill that's on great display here. There's music too, with a couple of songs sung by the ensemble in gorgeous harmony (not surprising with voices like Ricardo Vazquez and Jennifer Baldwin Peden). Steve and Nathan are a couple of goofballs and work so well together after years of collaboration. Heidi Bakke as the object of their affection completes this silly trio.

Director Dominique Serrand has created an exceedingly simple set that is so lovely and evocative - just an AstroTurf-like carpet unrolled on the floor, and sheer fabric creating the green of the field and the blue of the sky, that ripple with the slightest motion. I absolutely loved the costumes (by Sonya Berlovitz), so unique and creative and perfectly suited to each character. In the first act everyone is dressed in military garb - traditional camouflaged soldiers and warrior women looks; the second act civilian costumes are beautiful but whimsical, with each pair a perfect matched set. Of particular note is the king's daughter, who goes from an armored breastplate to a lusciously full-skirted gown.

This is my 6th Moving Company show, and they never cease to surprise and delight me with their innovative and unique style of creation. Love's Labour's Lost, billed as "a fresh new riff on a very old play," covers all the bases - it's sweet and poignant, with some lovely dancing and music, and silly entertaining antics. Watch the video below to get a taste of the show, and then order your tickets here.

"Sasquatched! The Musical" by Imagined Theatre at the Sabes JCC Theater

The new original musical Sasquatched!, written by local playwright and composer Phil Darg, premiered at the New York Music Theatre Festival last year and has now come home to a series of shows in the Twin Cities this summer. It's a fun, silly, family-friendly musical with catchy songs that doesn't take itself too seriously. It's nothing ground-breaking, but it's cheesy good fun for the whole family.

In Columbia National Park in the Pacific Northwest, we meet Arthur, a "Sasquatch American" who doesn't fit the image of Bigfoot. Yes he's big and hairy, but he's also intelligent, well-spoken, and kind, a true gentle giant. He's lost and trying to get back to his family when he meets Sam, a lost little boy. In the tradition of a child befriending an alien creature (see also E.T. and ALF), the two become friends and help each other through their predicament. In the meantime, many people are looking for Sam and "Bigfoot," including Sam's "Helicopter Parents," a park ranger, the hosts of a reality TV show called Modern Monsters, and some locals who are hoping to profit from the discovery of Bigfoot. Eventually everyone works together to protect Arthur from those who are trying to exploit him and his kind, so that he can live a quiet happy life in the Sasquatch community in a remote area of the park.

This production of Sasquatched!, directed by creator Phil Darg and his wife Jules, features a new local cast, and I can only assume it was improved from last year's version by Jim Lichtsheidl's "Storieography" (his word for choreography and movement and such). One way it was not improved is by the use of pre-recorded music instead of a live band. The NYMF production lists a music director and assistant music director, so I assume they had live music. As a former band geek I take offense at that, and frankly, canned music just sounds cheap and karaoke-like. How can you respect a musical with no live music? The show would be greatly improved by ditching the track and adding even just a keyboard, guitar, and percussion.

reality TV show hosts with the local
(Rick Baustian, Daniel Flohr, and Cayla Marie Wolpers)

I love a show that knows what it is (namely, silly campy fun) and doesn't take itself too seriously. It even pokes gentle fun at the medium of musical theater with winking comments to the audience like "it's been three dance numbers since we've seen them," and the song "Rhubarb" in which the chorus sings about, well, being a chorus. The large cast jumps wholeheartedly into this spirit with broad comedic performances. Except for Dylan Omsted as Arthur, who really is the straight man amongst the wackos, the calm center with a big deep voice one would expect from Bigfoot. Young Alex Michuda is pretty adorable as Sam, Cayla Marie Wolpers and Rick Baustian provide a great skewering of reality TV show hosts (the latter is a cross between Bear Grylls and Phil Keoghan with a Kiwi accent), opera-trained Roland Hawkins has a gorgeous voice and tongue-in-cheek performance as the proud seismologist, and Ali Daniels is charming as his love interest, the spunky park ranger. The show also touches on issues such as environmentalism, reality TV, the media, and overparenting, albeit in a pretty light-hearted and not very deep way.

Sasquatched! continues this weekend at the Sabes JCC Community theater, followed by free outdoor performances in Maple Grove, and a two week run at the Old Arizona in late July (click here for details). Bring your family for some fun summer musical theater.

"The History of Invulerability" by Minnesota Jewish Theatre Company at the Hillcrest Center Theater

Superman. That one word brings up iconic images of the superhero in the red and blue suit, saving the day. But have you ever wondered where he began? I certainly haven't, maybe because I'm not a fan of comic books or superheroes. But you don't have to be a superhero superfan to enjoy Minnesota Jewish Theater Company's play The History of Invulnerability (although it probably doesn't hurt - I saw more young men in the audience then I've ever seen at the theater). The play is a fascinating look at the question of Superman's origin, telling the story of Jerry Siegel, who created the legendary figure along with his friend Joe Shuster. It's a relatable and very human story about art and creation, success vs. failure, and a man trying to make a life that he and his family can be proud of.

The History of Invulnerability plays out as a deathbed fantasy of Jerry Seigel's, as he's visited by his creation in his final hours. Jerry and Superman himself tell us this tragic story, in which Joe and Jerry created the character in the 1930s, struggled to find a publisher, signed away their ownership rights, watched Superman's rise in popularity as they were pushed out of the creation of the comics, unsuccessfully sued to have their rights restored, and were forced out of the comic book business. They both struggled for years, and it wasn't until the 1978 movie that they were able to use public support to get some kind of recognition and remuneration from the owners of Superman. The play is really about one man's struggle with his creation, coming to terms with what it has become and what he has sacrificed over the years, and for what purpose?

As a child of Jewish immigrants writing in the late 1930s, Jerry was greatly affected by what was happening to European Jews, and perhaps used the comic as an outlet - a strong and powerful man standing up for the powerless and the oppressed. Playwright David Bar Katz shows us Jerry's story interspersed with the story of prisoners in a concentration camp, including a young boy who believes that Superman will come to save them. Unfortunately not even Superman could stop the atrocities perpetrated by the Nazis, and the play ends in a shocking scene as neither of these two parallel stories have happy endings.

The comic book nature of the story is cleverly used in the production. Cartoons (drawn by Sam Smith) are projected on a screen at the back of the stage to set the scene or illustrate what is being discussed. On several occasions, the cast acts out comic book scenes, creating perfect tableaux in freeze-frame sequences. And the cast does a fine job bringing these and the more sober scenes to life. As Jerry, the always wonderful Jim Lichtscheidl is a sympathetic everyman who just happens to have created the most famous superhero in the world. Dan Beckmann makes a convincing Superman, with perfectly coiffed hair, feet planted widely, shoulders back and chest out, hands firmly on hips. The dozens of other characters are bought to life by the ensemble which includes Alex Brightwell (Jerry's partner Joe and his son), Charles Numrich (the bad guy comic book publishers), Dustin Valenta (a touching performance as the boy in the concentration camp), Joanna Harmon (Jerry's mother and the model for Lois Lane, whom Jerry eventually married), and Maggie Bearmon Pistner.

The ending of the play feels a little unfinished, in fact when Superman came out after the last scene I was sure there was going to be another scene, but nope - curtain call. The subplot about Jerry abandoning his son at the age of five and never seeing him again is not satisfactorily explored, and doesn't seem to fit with the rest of the portrait of this man. It's an ambitious play with a lot going on, but the talented cast and creative team make it work, for the most part. And it's fun and fascinating to see the untold story of one of the most well-know characters ever created. Playing now through May 11 at the Hillcrest Center Theater.*


*The Hillcrest Center is under construction so it's a bit of a mess. Tip: drive around behind the baseball fields and park opposite the playground. The path through the playground leads to the lower door of the Center, from which you need to find your way up the stairs to the theater.

Park Square Theatre's Season 2014-2015 Announcement

I had a great St. Paul theater day this past Sunday. In between seeing two powerful plays at the History Theatre (The Things They Carried and Lonely Soldiers: Women at War in Iraq), I stopped in at Park Square Theatre for their new season announcement. They have an exciting and ambitious new season planned, which includes opening a second stage, named for one of the theater's biggest supporters, Andy Boss, who passed away last week.

Park Square will put on 19 productions on the two stages, a crazy number of shows for one theater in one season. This new space in St. Paul is coming at a great time, since we recently lost the Ordway's McKnight Theatre on the other side of Rice Park. The new stage will house both Park Square productions and productions by other theater companies. In particular, Park Square has a three-year partnership with three nomadic theater companies - Theatre Pro Rata, Sandbox Theatre, and Girl Friday Productions.

After mingling in the lobby (or in my case, local theater celebrity spotting) with free drinks and food, the crowd moved into the theater where Artistic Director Richard Cook and Managing Director Michael-jon Pease led an informal discussion of the upcoming season, allowing the audience (mostly made up of artists and season subscribers) to ask questions. But first - a performance from the truly innovative and delightful Trick Boxing by Sossy Mechanics, a show so good I cannot wait to see it again on the Boss stage early next year.

A few other shows I'm looking forward to next season:

• The Color Purple: I saw the Broadway touring production several years ago and wept like I never have before or since at the theater. Alice Walker's story is so moving in book and movie format, and adding music just pushes the emotions over the top. I cannot wait to see it with an all-local cast, and if I were in charge of casting, I'd choose Brittany Bradford as Celie and Austene Van as Shug Avery.
• Sherlock Holmes and the Ice Palace Murders: The brilliant and hilarious playwright Jeffrey Hatcher is adapting this novel by Larry Millett which re-imagines Sherlock Holmes in Minnesota. I'm not sure what this means for the whole is Benedict Cumberbatch coming to Minnesota controversy, but it's sure to be good fun.
• Jacob Marley's Christmas Carol: A returning favorite in which one actor plays all of the roles in A Christmas Carol. I can only hope that the one actor is again Jim Lichtsheidl, master of transformation.

Most of the other shows I'm not familiar with, but I look forward to discovering. Finally, the discussion ended with another excerpt from an upcoming show, the very funny, silly, and poignant 2 Sugars, Room for Cream. In this new scene, writer/performers Carolyn Pool and Shanan Custer worked out a custody arrangement for the Ivey they won last year. This is a show I will gladly go see a third time.

And that's it. Some good stuff is happening in St. Paul. You can see the full list of shows on their website, where you will also find info about the various season ticket packages. I wish them much success with this new venture. See you in St. Paul!

"The Music Man" by Ten Thousand Things at Open Book

"There were bells on the hill, but I never heard them ringing, no I never heard them at all, 'till there was you." So sings Marian the librarian in the classic musical The Music Man when Professor Harold Hill comes into her life and her town, bringing music and community and hope along with him. And this is how I feel about The Music Man after seeing Ten Thousand Things' production. Even though I saw it on stage once before and am very familiar with the movie, I never realized what it was really about until Ten Thousand Things stripped away all of the unnecessary fluff to reveal the true heart of the piece. I was lucky enough to attend a dress rehearsal a few weeks ago, and saw the full production last night (although there was very little difference except that the audience was larger). TTT applies their usual bare bones, straight-to-the-heart-of-the-matter style of theater to the classic musical about a con man salesman and the small Iowa town forever changed by his visit, and it is, in a word, spellbinding. This ensemble of wonderful actors led by Luverne Seifert cast their spell over me just as Professor Harold Hill cast his spell over the people of River City. I've seen a dozen Ten Thousand Things shows over the last several years and love everything they do, but this show is my favorite. So utterly charming, delightful, sweet, funny, and moving, it's a perfectly executed concept.

Marian the librarian and Professor Hill
(Aimee Bryant and Luverne Seifert)

Luverne Seifert is an absolute charmer as Professor Hill, as he easily wins over the town with his smooth-talking ways, and stern Marian the librarian a little less easily. I knew Luverne was a comic genius and the best kind of clown, but I have to say, I fell in love with him a little in this performance. He's a true romantic leading man, a role I've never seen him in before. He shares great chemistry with Aimee Bryant, who conveys Marian's strength of character and longing for something more, and lends her lovely voice to such songs as "Goodnight My Someone." Dennis Spears is a delight as her mother (in a great example of TTT's color- and gender-blind casting, an African American man plays an Irish woman). Recently crowned Ivey Emerging Artist Ricardo Vasquez plays Marian's little brother Winthrop (whose lisp was made famous by little Ronnie Howard). Ricardo completely transforms into a ten-year-old boy, and not just any ten-year-old boy, but a sad, lost, troubled ten-year-old boy. When he begins to open up thanks to music and the band and friendship, it's a thing of beauty. Rounding out the cast as salesmen, townspeople, school board members, and dancing ladies are Bradley Greenwald, literally waving his tail feathers as the mayor's wife; Jim Lichtsheidl, especially funny as the blustering idiot of a mayor (Bradley and Jim work so well together they should always play a married couple!); Sarah Agnew as the Professor's Shipoopi buddy and a fawning teenage girl (ee gads!); and Kimberly Richardson, charming in the piano lesson scene as the breathy little girl with a crush on Winthrop.

Luverne Seifert and the cast of The Music Man

The wonderful thing about musicals as performed by Ten Thousand Things is that because it's quite stripped down (just a two-person band in this case - Jake Endres on keyboard and Peter Vitale on a myriad of instruments), the music feels very organic to the characters and story. Unlike typical musicals in which there's a clear differentiation between full-blown musical numbers and straight dialogue, the actors flow naturally back and forth between speaking and singing, with the band subtly coming in to support them. The Music Man is a good choice for this sort of style, with it's rhythmic talky songs. The fast and lyric-heavy opening number on the train* ("you gotta know the territory!") is extremely well-done by the cast, as is "Ya Got Trouble," and everything with the barbershop quartet and gossiping ladies - the same four actors switching back and forth, often within the same scene! But my favorite moment is the most famous song in the show. How do you create the sound of 76 trombones with just two musicians? You don't even try, you do it as a soft, gentle, reverent plea. In the dress rehearsal I was sitting a few feet from Luverne and could see the awe and wonder in his eyes as he softly spoke of this marvelous band, and I fell completely under his spell as much as the townspeople did. The speaking eventually becomes singing, with the musicians chiming in as it grows into the familiar big band song.

The sparse set (by Joel Sass) and costumes (by Mary Anna Culligan) are so charming and effective. Each of the four corners of the square that is the Ten Thousand Things stage holds a weathered white post on which various signs are hung to represent the billiard hall, the Peroo home, the Wells Fargo Wagon, or the city gymnasium. Costumes are of a pale muted hue one night wear in the hot Iowa summer, and provide a great base for accessories to differentiate characters. In the blink of an eye, the actors change hats or add a shawl and transform into someone else entirely.

There's a reason The Music Man is such a classic. It's a beautiful story about the power of music, storytelling, family, friendship, community, and having a common goal. Professor Hill gives River City hope and something to strive for, and Marian's love and faith in him help him become the man that she thinks he is. With direction by Lear deBessonet and choreography by Jim Lichtsheidl, this is a wonderfully unique and delightful interpretation of this familiar story. Ten Thousand Things productions are always extremely professional, yet retain a playfulness and laid back feeling that draw the audience in, whether that audience is comprised of prisoners or seasoned theater-goers. Only five public performances remain and they're entirely sold out, but they do sell a limited number of 4th row seats at the door (yes, 4th row are the "bad seats" in this intimate staging). If you don't already have tickets, I highly recommend you show up and take a chance on these seats. This is a show not to be missed!




*I once saw Bradley Greenwald perform the opening number by himself, and it was quite impressive!