"Roe" at Mixed Blood Theatre

I'm not sure there is a more controversial or hotly debate Supreme Court decision than the 1973 case Roe v. Wade that confirmed that the constitutional right to privacy includes a woman's right to decide whether or not to end a pregnancy. Every American has heard of this case, and every American has an opinion about it, usually a very strong one. In Lisa Loomer's brilliant new play Roe, receiving just its second production at Mixed Blood Theatre ahead of a possible Broadway premiere, she explores the life of the two women behind the case: Norma McCorvey, the originally anonymous plaintiff, and Sarah Weddington, the lawyer who successfully argued the case in front of the Supreme Court. It's a fascinating story, not just the journey to the Supreme Court, but the continuing journey since. Or rather, two intersecting journeys for these two very different but equally determined women who parted ways somewhere along the line. But this is no dry history or legal lecture, or a preachy lesson. The play is smart, funny, dynamic, and moving, telling very human and relatable stories about very real and flawed characters. The cast and creative team bring it to life flawlessly, with all elements combining in a way that makes Roe the best thing I've seen this year. It closes at the end of the month, with many performances at or near sell-out; act fast so as not to miss this important and exciting new work (click here for more info and to reserve tickets).

"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.

"Pink Unicorn" at Illusion Theater

When you need to dig in your purse for a tissue to blow your nose after seeing a play, you know it was a good one. I don’t cry, but @IllusionTheater #pinkunicorn made me cry with its beautiful message of love, hope, & acceptance.
#tctheater #bringtissues #openheart #walkwithme

Thus reads my 280-character immediately post-show Twitter review of Illusion Theater's production of the one-woman show The Pink Unicorn. Kate Guentzel plays the widowed mother of a teenage girl who one day says she doesn't identify as a girl, she's gender queer. In Elise Forier Edie's beautifully written play, we witness this small town woman's journey to reluctant activist, all for the love of her child. With this very personal script in Kate's deft hands, it's an incredibly moving experience. The Pink Unicorn plays for three weekends only, so waste no time in making your way to Illusion's inviting space on the 8th floor of the Hennepin Center for the Arts in downtown Minneapolis (click here for more info and to purchase tickets).

"Watch on the Rhine" at the Guthrie Theater

"Shame on us. Thousands of years and we cannot yet make a world." This line comes near the end of Lillian Hellman's Watch on the Rhine, now playing on the Guthrie's proscenium stage, and is one of the most devastating moments in this gorgeous play. Written in 1941, it's part war story, part multi-generational family dramedy, part romance, and part social commentary that still rings true 75 years later. It eerily shows us how history repeats itself, and how frustrating that is. Frustrating that Europe hadn't even recovered from what was then called The Great War before it embarked on another one. Frustrating that after witnessing the horrors of the Holocaust we allow genocide to continue to happen all around the world. Frustrating that we've seen the evils of fascism but it still exists. When will we learn? I'm sorry if this sounds hugely depressing, and this show is that to a certain extent. But it's also hopeful in its focus on a family that bands together, despite their differences, to stand up for what's right. So that maybe one day we will get it right, we will figure out how to make a world where all children eat a good breakfast every day, where no one is persecuted for their religion or gender identity, where women don't have to fear for their safety walking down the street or going to work. Watch on the Rhine shows us, while keeping us enthralled with its gripping storytelling, that we all have to keep watch.

"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.

"The Dutchman / The Owl Answers" at Penumbra Theatre

In one of those strange theater-going coincidences, the night after I saw two one-act plays at the Guthrie, I attended opening night of Penumbra's presentation of two one-act plays. Both paired plays by different playwrights linked by a common theme. But unlike the theater comedies The Critic and The Real Inspector Hound, The Dutchman and The Owl Answers are dense and meaty dramas dealing with heavy issues. They might not make you laugh (except, occasionally, uncomfortably), but they will definitely make you think. Written in the '60s as part of the Black Arts Movement, these plays take an unforgiving look at the racism, sexism, and classism of the day, that still have implications in today's world. A stellar ensemble cast and top-notch production design tie the two very different plays together and highlight the playwrights' messages. Though they are not easy to watch and I can't say I understood everything that was going on, I certainly came away with much to chew on, and a greater understanding of our shared history. Which is pretty much a given at Penumbra Theatre.

"Nature" by TigerLion Arts at the St. John's University Arboretum

Nature is truly one of the most special and unique theater experiences I've ever had, and I've had a lot of theater experiences in the last five years of writing this blog, and in the years before. This "outdoor walking play" about the lives, writings, and friendship of Ralph Waldo Emerson and Henry David Thoreau was created in 2010 by TigerLion Arts' Tyson Forbes (a descendant of Emerson) and Markell Kiefer, et al., and has continued to be developed into its current form as the touring production known as Nature for the Nation. With the state of our global and local environment, it's quite obvious this that Nation needs Nature, and this piece is a beautiful way to connect to, explore, and comment on Nature. And beyond that, it's an incredibly inventive and unique piece of theater that is a perfect illustration of the concept "content dictates form." When your content is the very personal and yet infinite idea of Nature herself, there is no better form that getting the audience out in Nature while watching, and participating in, this experience. Nature is everything I love about theater, combining comedy, drama, music, physicality of performance, physicality of the audience in walking through the space, creativity, an inspiring true story, and a stunningly gorgeous natural location.

Nature leads the way through the SJU Arboretum

I first saw Nature last year at the Minnesota Landscape Arboretum in Chanhassen, where it played for several weekends in the late fall. It's definitely one of those shows you can see multiple times; it's such a rich and full experience with so much to take in, and it's different every time due to the main character, ever-changing Nature. This year's tour presents multiple opportunities to see it again. I was invited to the opening in Minneapolis, but I decided I'd rather see it at St. John's University, my alma mater (technically I went to St. Ben's, but they're really the same school). Every fall I visit the SJU campus with my family (most of whom live in the St. Cloud area, many of whom attended or are attending CSB or SJU) to walk through the woods and have a picnic by the lake. This is one of the places where I have felt a connection to Nature over the years, so I wanted to experience Nature there. And to make it even more special, my super-talented 16-going-on-17-year-old cousin and goddaughter Greta was part of the community chorus, and it was a perfectly gorgeous fall day, making it well worth the 150-mile roundtrip.

the cast of Nature at the Arboretum last year

As at the Minnesota Landscape Arboretum last year, the play took place in four locations at the SJU Arboretum, a place I'd never visited in my 20-year history with the campus. The community chorus (gathered from local volunteers at each location who rehearse on their own and briefly with the cast, which in this case happened to also include Mark McGowan, co-founder and former member of my favorite a capella group Tonic Sol-Fa) led us to the first location - a church. It was there that the play began with the introduction of Emerson and Thoreau and their early lives. We followed them to a prairie hill with grasses blowing in the breeze as we watched the friends take a walk, something they loved so dearly. Next we paid a visit to Thoreau's Walden Pond cabin, where we learned more about the complicated friendship between these very different men who shared a love of and respect for Nature, but went about it in different ways. Finally we watched Thoreau working in the fields, while "progress" started to overtake Nature, much to his dismay and disgust. This is where the conflict set in, as we followed the story back through the various locations and ended where we began - at the church. We have traveled with this story through time and space and Nature, and come full circle having experienced something truly beautiful.

Emerson (Tyson Forbes) and Thoreau (John Catron)

Most of the cast from last year returns to the tour this year, forming an absolutely delightful, playful, and endlessly watchable ensemble that includes Kate Guentzel as Emerson's wife Lydian, Kimberly Richardson as his aunt Moody (and choreographer), and too many wonderful people to mention (check the tags at the end of this post for a few). Tyson Forbes and John Catron are Emerson and Thoreau once again, and are the perfect embodiment of these two men and their friendship. For at its heart, this really is a love story - in the friendship of these two men and their love for a third party that drew them together. No, not Lydian, although there was a bit of a soap opera love triangle there. Their most important love was for Nature herself. And I cannot imagine anyone else as Nature than Norah Long. She is Nature personified, with her golden halo of curls blowing in the breeze, a look of absolute serenity and oneness on her face, and a voice like the goddess herself (and my cousin tells me she was also wonderful working with the chorus in their rehearsals and the performances). The music provided by Norah (she also plays by the violin), Andrew Forbes (playing bagpipes, flute, guitar, etc.), the cast, and the chorus is so lovely and transporting and perfectly appropriate to the time period and the setting.

There are so many wonderful things about Nature that I can't even begin to tell you about all of them (the whimsical sound effects, the exaggerated apple-eating, the charming letter delivery). It truly is something you need to experience yourself. Return to Nature, take a walk, watch the sky through the trees, be embraced by the earth, and let this talented group of artists take you on a journey that you'll never forget. There are two more stops on the 2015 Nature for the Nation tour, south of the Twin Cities at Gustavus and Carleton Colleges (more info here). But Nature never ends, and hopefully neither will Nature. They're hoping to take it on a National tour, eventually arriving in Concord in 2017 for the 200th anniversary of Thoreau's birth.This beautiful and important story, so well and appropriately told, needs to be heard and is an absolute joy to experience.

"The Heiress" at the Jungle Theater

Last night I saw the classic play The Heiress, about Catherine, a wealthy heiress lacking in social graces with a stern father and an unexpected suitor. I was having a hard time wrapping my head around the play until I had a sudden revelation this morning - Catherine is Peggy. On the exquisite work of art that is Mad Men, Peggy starts out as a powerless secretary and over the course of 7 seasons has slowly gained power in her life and her career, often at the expense of romantic relationships. In one pivotal scene in season 6, the married man Peggy has been having an affair with who promised to leave his wife for her (don't they all) changed his mind and decided to move his family to L.A., far away from the "temptations" of Peggy. He said to her, "one day you'll be happy I made this decision." Peggy replied, "well aren't you lucky, to have decisions." This is perhaps the best line ever uttered on television, and speaks volumes about women's lack of power in the advertising world of the 1960s, or a modern-day women's prison, or the upper-class world of 1850s New York. The Heiress is all about Catherine reclaiming her power, even if it comes at the expense of her own happiness. Catherine's father decides that Morris couldn't possibly love her and therefore she shouldn't marry him. Morris decides that Catherine shouldn't give up her inheritance for him. But in the end, after much heartache and pain, it's Catherine who decides what she wants and what is best for her life.

The Heiress was written by husband and wife playwrights Ruth and Augustus Goetz in 1947, based on Henry James' late 19th Century novel Washington Square. The title refers to a young woman named Catherine who lives with her father Dr. Sloper in a posh house on Washington Square Park in 1850s NYC. Catherine's mother died in childbirth, and like Tyrion Lannister, her father blames her for her mother's death. He continually compares Catherine to her mother and finds her lacking. According to him, Catherine is plain, boring, and possesses no charm or grace. But who could possibly live up to the ghostly image of the perfect woman that he has created in his head? Despite this attitude, or perhaps because of it, Catherine loves her father desperately and would do anything to please him. When Catherine is courted by a handsome young gentleman, Dr. Sloper believes that he only wants her for her money, because who could love such a woman as Catherine? So begins Catherine's struggle between pleasing her father and committing to this man that she loves and she believes loves her. Like Tyrion, Catherine eventually gets her revenge on her father, although with much more subtle tactics than a cross-bow. She finally realizes her own power, and will not let the desires or decisions of either man control her life.

Catherine at her needlepoint with her aunt looking on disapprovingly
(Katie Guentzel and Wendy Lehr, photo by Michal Daniel)

The world of The Heiress is brought to life on the Jungle stage through impeccable design and a fantastic cast. Director Bain Boehlke has made the tiny shoebox stage look like a large and luxurious drawing room, with stairs ascending in the back and an unseen front door. Amelia Cheever has designed absolutely gorgeous period costumes, each of the many outfits perfection from head (top hats!) to toe (spats!). I don't usually notice lighting and sound, but in this case they're so lovely they must be mentioned - the warm glow of lamps turned on one by one, the morning sunlight streaming through windows, and the very important sound of horse-drawn carriages passing by on the street outside (lighting by Bill Healey and sound by Sean Healey).

To play the title role, Kate Guentzel reigns in her usual effervescent charm and transforms into this plain and timid woman, who blossoms with love, grows through pain, and shows her strength at the end through subtle changes in voice and demeanor. One of my favorite playwrights, Jeffrey Hatcher, makes a rare onstage appearance as Catherine's stern and pragmatic father and proves he's just as good on this side of the stage. The incomparable Wendy Lehr plays Catherine's fluttery aunt who so desperately wants her to marry Morris, regardless of his true intentions. Kate's real-life husband John Catron plays Catherine's suitor Morris, and is so delightfully and falsely charming that one wonders how awkward that ride home is every night. The rest of the cast fill their roles well, even if only onstage for a short time, including Valarie Falken as the family's ever-present Irish-accented maid.

The Heiress is a remarkably feminist piece for a play written in the 1940s based on a book from the 19th Century. While Catherine might not have a happily-ever-after ending, at least it's on her own terms. The Heiress continues at the Jungle Theater through August 10.


This article also appears on Broadway World Minneapolis.

"School for Lies" at Park Square Theatre

The School for Lies is a new adaptation of the classic French comedy The Misanthrope by Moliere; the title comes from the line "society is nothing but a school for lies," which summarizes the play quite well. This version, written by Venus in Fur playwright David Ives, maintains the setting (17th century France), characters (the French aristocracy), and plot (man disapproving of said aristocracy nevertheless finds himself falling in love with one of them), but recasts the story in modern language and delightful rhyme. Like all rhythmic language (see also Shakespeare), it requires some concentration on the audience's part (no sitting back passively here). But once you get into the flow of it, it's really quite clever, and this cast (directed by Walking Shadow Theatre's Amy Rummenie) does a marvelous job of bringing life to the language and the story.

The play centers around the widow Celimene and her court, including her cousin Eliante and three suitors. Into this mix Philinte brings his friend Frank, who has no patience for the pretenses of society and proceeds to offend everyone. Except for the women, who fall in love with him (sometimes with the help of lies). Celimene is facing a trial for slander, and asks Frank to defend her against her rival Arsinoé. Much comedy, mix-ups, and romance ensues, along with many spilled canapés.

The fantastic cast is led by Kate Guenzel, truly delightful as Celimene, and John Middleton, just terrific as Frank, the one grounded and real character amidst the silly fools. As Celimene's suitors, David Beukema, Brandon Bruce, and John Catron are each appropriately and uniquely buffoonish (one continually picking his nose, one a horrible poet, and one happily stupid). Also great are Anna Hickey as the sweet and charming Eliante, Jason Rojas (whose beautiful hair puts the wigs to shame) as the sincere Philante, and Andrea Wollenberg as Celimene's ugly stepsister-like rival. Last but not least is the scene stealer Skyler Nowinski as two beleaguered servants, relatively minor characters but the ones that get the biggest laughs.

Walking into the theater, the stage reminded me of something from Behind the Candelabra - glitz and gold everywhere. The costumes are outrageous in the best possible way, not to mention the wigs! Completing the looks are an epidemic of moles and warts. (Set by Robin McIntyre, costumes by Susan E. Mickey, wigs by David Hermann.)

The School for Lies continues at Park Square Theatre in cold and lovely downtown St. Paul through February 2 (discount tickets available on Goldstar.com). It's a crazy fun romp through 17th century France, in a fresh and modern way. Check out the video below for a taste of the madness:



The School for Lies from Park Square Theatre on Vimeo.

"Maple and Vine" by Frank Theatre at Old Arizona

We long for "the good old days," when things were simple and everyone was content, before the busyness and technological craze of the modern era. We admire the idyllic lives of the Cleavers or Ozzie and Harriet. But what would happen if we really could return to those days? Would we find them as wonderful as they seem? The new play Maple and Vine, which opens Frank Theatre's 25th anniversary season, explores that very idea. People from the modern world leave it to live outside of society in a world that's patterned on 1955, trying to achieve "authenticity" in everything from the food they eat to the racism specific to the time. As you can imagine, it turns out that the good old days are not exactly as simple and happy as we like to imagine. What the exquisite TV show Mad Men does for the 1960s, Maple and Vine does for the 1950s - dig beneath the shiny happy veneer to reveal the repression and unhappiness that lie underneath.

Katha and Ryu are a typical American couple, busy with their careers and hectic modern life. They've recently suffered a loss and are struggling with regaining their footing in their lives. When Katha meets a man in a sharp suit and hat who tells her about a place where life is simpler, she's intrigued. She convinces her reluctant husband to move to the Society of Dynamic Obsolescence (SDO), where he trades his job as a plastic surgeon for a position making boxes at a factory, and she trades her business suits for an apron. Katha, now called Kathy, seems to flourish in this environment as she revels in going to society meetings and making crab puffs. But Ryu, who is of Japanese heritage, struggles with the "period appropriate" racism and conflicting feelings about the "recent" internment of Japanese Americans, as well as his own conflicting feelings about his new role as "head of the household." As chief recruiters for the SDO, Dean and Ellen provide a perfect example of life in 1955, until secrets come to light that reveal they're not what they seem. Are Katha and Ryu ready to take over for them and make a life in this new old world, despite their reservations?

As usual, Frank Theater has assembled a sparkling cast. Tessa Flynn and Sherwin Resurreccion are believable and relatable as Katha and Ryu, the couple through whom we're introduced to this bizarre world. Because of their dissatisfaction with the world and their life, it's easy to empathize with them and understand why they might fall victim to this too-good-to-be-true scheme. As Dean and Ellen, Wade Vaughn and Katie Guentzel project the perfect glassy-eyed veneer of the happy couple as they provide tips to their new recruits, and also give us glimpses of what's going on underneath. Rounding out the cast is David Beukema, in a sympathetic turn as a man with a past (and current) connection to Dean.

doesn't this look like a party you'd like to join?

The three separate set areas in the wide and shallow space at Old Arizona set the scene for both periods - a bedroom and kitchen set that transform between acts from the modern era to 1955, and a third space used as an office, factory, or dining room (set design by Ursula K. Bowden). In addition, a fabulous '50s living room is also set up in the second act (see photo at left). The complicated set does lead to lengthy scene changes, but at least they're filled with smooth '50s tunes. And the '50s fashions (by Kathy Kohl) are to die for - gorgeous full-skirted dresses for the women and sharp suits for the men. (Unlike the racist and sexist attitudes, the fashion of the '50s is worth holding on to!)

Only two more weekends to catch this intriguing new play. Frank is again also offering free readings of plays by playwright Jordan Harrison during the run of the show; see their website for info about both.

"Bill W. and Dr. Bob" at Illusion Theater

Bill W. and Dr. Bob is the story of the founders of Alcoholics Anonymous, but it's also about the friendship between two men who quite literally saved each other's lives, as well the lives of countless others. It's fairly well accepted today that alcoholism is a disease, but in the 1930s when Bill Wilson and Dr. Bob Smith began their program that became known as AA, alcoholics were just drunks who threw their lives away, to the frustration of those who cared about them. Bill and Dr. Bob were both pretty serious alcoholics, on the road to self-destruction, when a chance meeting brought them together. They began a lifelong friendship as well as a movement that has grown to over two million members.

The play begins and ends as an AA meeting ("Hello, my name is Bill W., and I'm an alcoholic"). Bill and Dr. Bob tell their stories, and we flash back to watch their lives play out. Before they meet, the two men lead parallel lives. Both are successful professionals from Vermont whose lives and careers are damaged by drinking, and both have supportive but frustrated wives who suffer because of their husbands' habits. The first act of the play shows us these parallel lives, as similar scenes are played out on opposite sides of the stage in each man's life. The women beg their husbands to quit drinking, they promise to do so, and then go back to their self-destructive ways. Both become involved with a Christian movement called The Oxford Group. With the group's help, Bill is able to stop drinking, but Dr. Bob is a reluctant attendee of the meetings, dragged there by his wife. Bill travels to Akron Ohio on business, and when that business fails, he feels a relapse coming. He reaches out to the local Oxford Group, and is eventually introduced to Dr. Bob. The first act ends with a powerful scene of the two men sharing their similar stories and listening to each other. In the play's second act, Bill moves in with Bob and his wife and helps him get sober. They then decide to try their method on others, and scour Akron for an appropriate drunk. After several failed attempts, they achieve success, and a movement is born. The key to the solution is "talking to another drunk," sharing one's personal experience with someone who understands. Simple really; isn't that what everyone wants, alcoholic or not?

Jim Cunningham and Stephen D'Ambrose
as Bill W. and Dr. Bob

The fantastic six-person cast is led by Jim Cunningham and Stephen D'Ambrose as the title characters. Jim is very charismatic as the determined Bill; it's one of those performances that ceases to feel like a performance by the end of the play - he is Bill. Stephen is appropriately crotchety as Dr. Bob, who finally opens up to Bill, this stranger he's just met. Bill and Bob make a great team, as do Jim and Stephen. As the wives of these two men, Carolyn Pool and Laura Esping illustrate the destructive nature of the disease in terms of family. Your heart breaks for them as they try to help the men they love and can no longer recognize. Rounding out the cast are Kate Guentzel and Michael Paul Levin playing every other character in the world of the play. Kate has some humorous and entertaining moments as everyone from a barmaid to the leader of the Oxford Group. I lost count of how many characters Michael plays, each a distinct character with a different accent and wardrobe, often with a quick change in between.

A really nice feature of this production is the music. Roberta Carlson plays piano between and during scenes, reminiscent of when they used to have piano players in movie theaters. It's not a necessary thing, they could have played recorded music during scene transitions as is often done, but it's a nice touch. Live music makes everything better.

Unfortunately I caught this one at the end of its run - it closes tonight, so if you haven't seen it yet you have one more chance. (Unless you live near Blue Earth, Brainerd, or Fergus Falls, then you can still catch it on tour in April.) I've only recently discovered Illusion Theater, but I have not been disappointed by anything I've seen there. If you missed this one, their next play is another story of an American pioneer - chef James Beard in I Love to Eat: A Love Story with Food.

"The Birthday Party" at the Jungle Theater

I don't get Harold Pinter.  This is the second of his plays I've seen in the last year or so, and although the plots were very different, both left me with a feeling of "what just happened" as I left the theater.  Which I guess is kind of the point with the acclaimed English playwright, whose "style mixed domestic turmoil, evasive dialogue and not-so-heroic characters with experimental storytelling styles and an atmosphere of comic menace" (according to a note in the playbill).  It's more about the language and the fascinating characters than the plot, which is intentionally vague.  In The Birthday Party, two mysterious men show up at a boarding house by the English sea, inquiring about its sole resident, for some unexplained but clearly malevolent purpose.  It's bizarre and inscrutable, but the cast assembled by the Jungle Theater is fantastic in creating these crazy characters that are somehow still sympathetic.  I can recognize that it's a great production of a classic play, even if I don't really get it.  And it's still a lot of fun, albeit perplexing fun.

Real life husband and wife Richard Ooms and Claudia Wilkins portray the married proprietors of this shabby boarding house, and not surprisingly, they're quite believable as an old married couple.  Stephen Cartmell is particularly effective as the depressed, haggard, mysterious resident Stanley.  He's hiding out in this little seaside town, from what we never learn.  But it has turned him into a skittish, angry, frightful man.  Stephen dives into the role whole-heartedly, and somehow engenders sympathy for this mess of a man who just wants to be left alone.

Mr. Goldberg, one of the two nefarious men who show up to claim Stanley, is played by Tony Papenfuss, aka "my brother Daryl" from Newhart (he's returned home from L.A. to continue his career on Twin Cities stages, how did I not know that?).  Mr. Goldberg is deliciously evil and up to no good, as you can tell from his slicked back hair and mustache.  His companion, Mr. McCann (Martin Ruben), is the muscle of the organization.  The sensitive Irishman is nervous until they actually start doing the job.  The two are a great comedy team with rapid-fire dialogue, especially as they're questioning Stanley.  Not surprising that the interrogation ends in screaming!  Rounding out the cast is Katie Guentzel as Lulu, who seems much too pretty and normal to be hanging out with this crowd.  But she obviously has a story of her own, which we never really learn, that attracts her to these misfits.

The dingy and unkempt boarding house comes to life in the precise and detailed little diorama that is the stage at the Jungle Theater.  As is common at the Jungle, the director is also the set designer, in this case Joel Sass, which always seems to create a cohesive vision for the story.  It's so lifelike, with dust and dirt on the surfaces, that I wouldn't want to set foot in that room!  But I did enjoy peering into it for two and a half bewildering, engrossing, entertaining hours.

"The Master Butchers Singing Club" at the Guthrie

The Master Butchers Singing Club is a stage adaptation of the novel by local author Louise Erdrich.  I've read one or two of her books, so when I heard the Guthrie Theater was opening their 2010-2011 season with this play I decided to read the book.  I loved it.  It's beautifully written and full of rich characters and intersecting storylines, and deals with the epic themes of life, love, and death.  It takes place in the fictional town of Argus, North Dakota, where several of Erdrich's novels are set.  Fidelis Waldvogel has immigrated from Germany where he was a sniper in WWI, bringing along his wife Eva and their sons.  Fidelis and Eva run a butcher shop in town, and one day Delphine wanders in, changing the course of her life forever.  The daughter of the town drunk, she has spent several years touring the Midwest with an Ojibwe man named Cyprian in a balancing act.  All her life she's been searching for her mother and a sense of home, and comes to find it at the butcher shop.

Whenever a book you love is turned into a movie or a play, it's easy to get caught up in the things that were cut out or changed.  So I felt a little of that when I watched the play, but I tried to just let it go and let the play be its own entity.  And I came to like the slight changes they made, I think it's stronger piece because of it.  There's a lot of narration in the play, mostly from a woman whom the townspeople calls "Step and a Half."  She walks restlessly through the town, collecting things that people have thrown out and selling them.  She narrates the action of the play, as do many of the characters, often describing what they or other characters are doing.  It's an effective way to get Erdrich's beautiful prose into the play.

The strong cast is full of Guthrie favorites, as well as a few newcomers.  Lee Mark Nelson, who plays Fidelis, has been one of my favorites since he charmed me in She Loves Me a few years ago.  Not only does he sing in this play, but he sings in German!  Recent Ivey award-winner Katie Guentzel plays Eva, and Emily Gunyou Halaas is Delphine.  All three fully embody their characters' passion for life and love for one another.  That's one of the things that struck me about the book; Delphine and Cyprian truly love each other despite the fact that he's gay so they can never have a true marriage.  Fidelis and Eva truly love each other even though he married her as a favor to his friend who died in the war.  But the love between Delphine and Eva may be the strongest of all.  Eva is friend, mentor, and mother to Delphine, and Delphine helps Eva through some difficult times and takes care of her family.  At several points during the play I was wishing I had a tissue!

I love that the Guthrie commissioned this play because it's so specific to this region, in the same way the musical Little House on the Prairie was a few years ago.  Being a descendant of German immigrants to the Midwest, it's a story that feels very familiar to me, as if I could be watching my own history on stage.  I speak a little German, so it was fun to hear some German words thrown in here and there.  There are also several Native American characters in the play, and their culture blends with the German culture beautifully through music.  It's an interesting coincidence that I've seen two shows this week that deal with the history of Native Americans, although in very different ways.  The brilliant new Broadway musical Bloody Bloody Andrew Jackson deals with the "Indian removal" of the early 19th century and the Trail of Tears, while in this show Step and a Half is a survivor of the Wounded Knee Massacre in the late 19th century. It's an important part of our history, especially here in the Midwest, so it's nice to see it being explored in theater.