"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.

"The Picture of Dorian Gray" by Collide Theatrical Dance Company at Park Square Theatre

Now in their 6th season, Collide Theatrical Dance Company is an expert at telling stories through dance. In their newest original jazz dance musical, playwright and frequent collaborator Michael Hanna has re-imagined Oscar Wilde's The Picture of Dorian Gray in the modern NYC fashion world with all female characters. I'll let Regina Peluso, Collide's Artistic Director and choreographer of this show, take it from here. "This classic story, as told through a female lens, illustrates many central themes for women today including the fight against aging in our culture and in the beauty industry, social media's narcissistic influence, the depravity behind perfection, and the debate between beauty and morality." That's more words than are uttered in the entire 100-minute (including intermission) show, but all of that and more is conveyed through the expressive choreography, beautifully danced and emoted by the company, the appropriately chosen pop songs, and the sparkling look of the show. It's a fabulous and well constructed piece of dance-music-theater.

"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.

"Mermaid Hour: Remixed" at Mixed Blood Theatre

On a snowy Sunday afternoon, several of the Twin Cities Theater Bloggers gathered in an old firehouse in Minneapolis to witness the rolling world premiere of a new play called Mermaid Hour, which means that the premiere is happening in several theaters around the country. In this story of a 12-year-old transgender girl, her parents, and her friends, playwright David Valdes Greenwood set out to "write a real portrait of a family life, not just an 'issue' play with a message of 'do this' or 'do that.'" From where I was sitting, he succeeded. But what makes Mixed Blood Theatre's production of Mermaid Hour special is that it's the only one of the world premieres to feature music; the Mixed Blood team worked with the playwright to turn his play into a musical. As a musical theater nerd who thinks every play is better with music, I couldn't be happier with this turn of events. Mermaid Hour: Remixed is not only a real and relatable family story that features transgender characters, too often under- or mis-represented onstage, but it's also done in song!

"Dot" at Park Square Theatre

Park Square Theatre is getting into the #TCTheater holiday* show game, but the new play Dot is less of the sugar plums and figgy pudding variety and more of the juicy family dramedy variety. A family gathers at Christmas, adult children and friends come home, finding they have a lot of stuff to deal with. Chief among said stuff is that family matriarch Dotty has Alzheimer's, but everyone in the family has their own stuff going on too, just like life. This is a very real, grounded story of a family with issues (what family is without issues?), a family that loves each other and tries to do what's best, even if they don't know what that is. A fantastic cast under the direction of E.G. Bailey bring this smart, funny, poignant, relatable play to life.

"La Petit Moulin" by COLLIDE Theatrical Dance Company at the Ritz Theater

In my biannual excuse to watch dance (which I love, but just don't have time for with all the theater I see), I attended opening night of COLLIDE Theatrical Dance Company's latest "original jazz dance musical" La Petit Moulin last weekend. COLLIDE's shows are always great fun - gorgeous dancing, incredible live music, short and sweet so you're outa there in under two hours. For someone who sees a ton of theater, it's a nice palate cleanser to watch a story unfold with nary a word said. Now in their 5th season, the COLLIDE team (choreographer Regina Peluso, Director Josh Campbell, and Music Director Doug Rohde), the musicians, and the dance company are experts at telling a story solely through music and dance.

"Citizen: An American Lyric" by Frank Theatre at Intermedia Arts

Frank Theatre describes their latest production as follows:

A searing representation of the current American zeitgeist, CITIZEN: AN AMERICAN LYRIC [by Claudia Rankine] is a boundary-bending work of poetry/prose/criticism, adapted for the stage by Stephen Sachs. A 6-member "ensemble piece... floats between dream and reality, narration and performance, and challenges its audience's perceptions," as it examines the ways racism pervades daily life in America, from highly visible news accounts to the daily microaggressions that render certain citizens invisible in our culture.

That's a pretty apt description for this piece that is more than theater, it's a lesson for how to be in this world. But it doesn't feel like a lesson, it doesn't feel preachy, rather it lays bare the flaws in our society in the way that we deal with race, historically and currently. Only four more performances remain this weekend, and if you're interested in a powerful, disturbing, and transfixing piece of theater that goes beyond mere performance, I recommend that you reserve your tickets now (the show I attended was sold out).

"The Lion in Winter" at the Guthrie Theater

There's no family more dysfunctional than the British monarchy. I've been hearing a lot about them recently through Shakespeare's history plays Henry IV Part I, Henry V, and Richard III. The Lion in Winter takes place a few centuries and generations before the earliest of these plays, but was written in 1966 by James Goldman, so it has a more contemporary feel. The family of Henry II on Christmas of 1183 is about as dysfunctional as it gets. And while hopefully our family members don't imprison, threaten to kill, and raise armies against each other, we can all relate to that awkward holiday dinner that goes awry. This contemporary and relatable feel, along with a truly fantastic cast of local and national talent, sharp direction, and a stunning set, make the Guthrie Theater's production of The Lion in Winter a highly entertaining evening, and a spicy counterpoint to the sweet fare across the hall.

"Le Switch" at the Jungle Theater

Two years ago I saw Philip Dawkins' one-act play Failure: A Love Story at the Minnesota Fringe Festival, and it was one of my favorite things I've ever seen at the Fringe. In fact I called it "everything I want in theater," a perfect blend of comedy and tragedy, with tons of heart (and it made me cry perhaps more than any other theater I've seen). At the time I didn't know who Philip Dawkins was, but now I know he's a Chicago-based playwright who is a core writer with the Playwrights' Center in Minneapolis. His name has come up again recently when his new play Charm (also a mix of comedy and tragedy with heart) was produced at Mixed Blood earlier this year. And now comes Le Switch, developed at the Playwrights' Center and having a rolling world premiere this year, including at the Jungle Theater. I'm happy to report that like Failure, it gave me all of the feels (although I only shed a few tears, not buckets, probably because there are no animals in this one). Like Failure, Le Switch is a funny and beautiful love story, but not just a romantic love story (although there is that, and a wonderful one). It's also a love story between a brother and a sister who are each other's only family; a love story between childhood best friends who, despite their differences, still love and support each other unconditionally; a love story between the main character and a man who was more of a father to him than his biological father ever was or could be. It's a fantastic new play and I'm excited to see where it goes next.

"Bad Jews" by Minnesota Jewish Theatre Company at Highland Park Center Theater

And now for something different. I attended MJTC's Bad Jews on the same night as Minnesota Theater Love's three bloggers Carly, Jules, and KRL, and we went out afterwards to discuss the show and theater in general. This is a show you'll want to talk about, and since the play is four people talking at and with each other, we decided to do a four-way... review of Bad Jews. What follows is our (mostly) unedited conversation.

Carly

So, Bad Jews, y'all!

KRL

Yes!

Jill

Talk about bloodthirsty! [note: I interrupted Game of Thrones to do this chat]

"Dracula" by Collide Theatrical Dance Company at the Ritz Theater

Collide Theatrical Dance Company is now in their fourth season of creating "original Broadway-style jazz dance musicals." As a theater geek who doesn't know much about dance but loves to watch it, Collide provides an accessible and theatrical way to get into dance. I've seen all of their productions over the last four seasons, and their newest creation Dracula may just be my favorite of them all. Collide is at their best when they let the dancing do the talking, as they do here, telling this modernized story of the iconic Dracula strictly through movement and music. A live band accompanies this fantastic troupe of dancers as they perform innovative and evocative choreography to a wide variety of popular songs reinvented to fit the story. Created by Artistic Director and choreographer Regina Peluso and director Joshua Campbell, this Dracula truly is a perfect collision of dance, music, and theater to create a new and exciting form of storytelling.

"CABARAVE: #sexuality" by Rathaus Productions at the Lab Theatre

There's something new and cool going on down at the Lab Theatre, the gorgeous and open warehouse-turned-performance space in the North Loop neighborhood of Minneapolis. CABARAVE is cabaret experience that combines a nightclub feel with performances of dance, music, aerial dance, and visual art. I was lucky enough to attend the last tech rehearsal with my blogger buddy Laura of "One Girl, Two Cities," where it felt like they were performing just for us! The performances were spectacular, and even though we didn't get the full nightclub experience at a rehearsal, it's easy to imagine what it will be like when the Lab is filled with revelers (and may require a future visit to get the full flavor of it). Created by Jessie Storovich and Kameron Nelson of Rathaus Productions (read more about them here) with help from Sasha Andreev and director Joshua Campbell, the intent of the show is to create a fun, relaxed environment where people who might not usually go to "arty" things can experience art while having a good time, perhaps without even realizing it!

dancer Emily Madigan

CABARAVE: #sexuality runs Thursdays through Saturdays throughout the month of June (along with a few Monday night dates for the 18+ crowd, otherwise you must be 21 to enter), and will return in July with a new theme. Doors open at 9 pm and close around 1 am, with the intent being you can wander in whenever and stay as long as you please (with the lowest ticket price at $10, you don't have to stay long to get your money's worth). The evening is constructed as five 20-minute sets, separated by about 30 minutes of house music provided by the DJ, during which time you can dance, mingle, and drink (beer, wine, and wine cocktails served at the bar). The music is a modern twist on jazz and ragtime classics, known as "electro swing." It's pretty cool, familiar yet new sounding.

Each 20-minute set includes several short performances, a sort of mix and match from the following:

aerialist Timothy Herian

• Dance - including some fierce tapping by Rush Benson, sexy duo numbers by fantastic dancers Emily Madigan and Jeff Robinson, and able assistance (as well as waitressing) by Michelle Lemon and Georgia Sylvester in various combinations.
• Aerial dance - Timothy Herian is so graceful, confident, and athletic on the aerial silks that I couldn't take my eyes off him whenever he performed. It's a very cool (and somewhat dangerous) form of dance.
• Music - powerful and gorgeous singing by Kecia Rehkamp and Michael Hanna, and electric fiddle by Alison Keller.
• Visual art - artist Aimee Strzok paints a new creation every night. It's not often you get to watch a piece of art be created, so it's a fascinating peek into the process.

dancer Rush Benson

The Lab is one of my favorite places to see theater because it's so open and adaptable, with great bones. For this show the space is decked out in chandeliers and hanging crystals, with the lobby turned into a shabby chic green room of an old theater. Cabaret tables on the floor and risers provide a perch from which to watch the action, with plenty of floor space between the three stages for dancing (if that's your thing).

As someone who (willingly) sees a ton of theater, it's always a treat to see something that pushes the boundaries of what theater can do and be, as this show does. CABARAVE is a unique experience and one that regular theater-goes like myself can enjoy as much as people who would never step foot inside a theater. It's a fun place to go and hang out with friends and strangers, and oh by the way, there's "art" happening all around you! Watch the trailer below, and if you like what you see, make plans to head to the Lab Theater this summer (more info and tickets here).

"The Reagan Years" by Workhaus Collective at the Playwrights' Center

I've never seen the movie American Psycho, but the idea I have of it in my head is similar to what I saw at the Playwright's Center last night. In Workhaus Collective's production of Dominic Orlando's dark new play The Reagan Years, we meet a wealthy young man who appears to be mostly normal on the outside, but is hiding a deep dark psychopathic soul. It's a compelling and fascinating story, well directed by the playwright and well performed by a talented young cast, but it's a hard one to stomach due to the ugly and violent nature of the situation and the characters.

It's 1988, near the end of the Reagan years, and four college buddies are facing graduation and having to leave their free and easy partying college life for the real world. Calling themselves "The Danger Boys" (a name that later becomes startlingly fitting), they live together in a house owned by Guy's father, who runs a large corporation. Guy is the typical spoiled little rich boy, entitled, conceited, generous with his friends but demanding of loyalty almost to the point of subservience. The primary victim of this is young Moth, possessing an artist's soul and a sycophantic love for Guy. Frisbee is the perpetual stoner and party boy, and Walkman is the ambitious one who wants a place in Guy's family's company. On the night before graduation after a weekend of blissfully ignorant partying, the guys find out that there's been a deadly accident involving the company. Walkman convinces Guy to tell him the truth about what's going on, and it's not good. Further complicating matters is Dawn, the hitchhiker that Guy picked up, who seems unusually curious about the company. Things take a dark turn, as Guy reveals his psychopathic nature, and his friends must decide where their true loyalty lies.

the Danger Boys Walkman, Frisbee, and Moth
(Gabriel Murphy, Paul LaNave, and Michael Hanna,
photo by Leah Cooper)

The play is tightly written and directed, coming in at under two hours with a brief intermission (necessary for dramatic effect and to give the audience a much needed break). Everyone in this six-person cast (none of whom were probably alive in 1988) gives a well-defined performance as these very different characters caught up in a messy situation. Michael Hanna's Moth is the most sympathetic, as he imbues the young artist with conflicting feelings of loyalty and justice, showing the depth of the love-hate relationship with Guy. Paul LaNave is the comic relief as the loopy goofy Frisbee, Gabriel Murphy expresses Walkman's inner conflict between his ambition and doing the right thing, and Jessie Scarborough-Ghent and Charlotte Calvert have nice turns in the less-developed roles of Dawn and her friend. But this is really Guy's story, dark as it is, and Bryan Porter is scary good as he portrays this rich playboy's descent into madness, making Guy something truly menacing.

Guy in front of Moth's flag mural
(Bryan Porter, photo by Leah Cooper)

The stage at the Playwrights' Center feels like a frat house in the '80s, with all the mess, music, and period clothes. The entire back wall of the stage is covered by the impressive mural that the character of Moth has created - the original US flag created by painted wood slats. Some cool and trippy slo-mo moments add to the mood.

This was a difficult one for me to watch and to write about, to try to make sense of. I suppose it says something about the end of the Reagan years, the danger of capitalism without a conscience (what do I know, I spent most of the Reagan years doing homework and watching sitcoms). If you're sensitive to violence you might want to stay away, although it's worth noting that much of the violence occurs off-stage, yet is still palpably felt. Only four performances of The Reagan Years remain, so make plans quickly if you're interested in a dark and disturbing tale of greed gone wrong.

"Romeo and Juliet" at Park Square Theatre

Romeo and Juliet is the ultimate ode to the all-consuming foolishness of young love. Who gets that better than teenagers? After all, Romeo and Juliet are teenagers themselves. Someone at Park Square Theatre must have made that connection, because they're currently producing a condensed version of Shakespeare's best loved romantic tragedy, mostly to student groups. But this isn't theater light, it's Park Square's usual high quality production with a fantastic cast. I was lucky enough to attend one of these student matinees (even though I'm many years removed from being a student), and was caught up by the story as much as the kids were. It's a pretty cool thing for young people to be exposed to theater like this, and as a bonus, they can return to Park Square for free if they bring an adult.

Director David Mann has adapted Romeo and Juliet into a succinct 90 minutes. I'm no Shakespeare scholar, but I have seen this play a fair number of times in various incarnations, and I can't identify anything that was cut, other than Romeo's encounter with Paris at the crypt. Characters like Paris and the never seen but much talked about Rosaline always felt extraneous to the story anyway, so it's smart to cut some of that out and focus on the star-crossed lovers. All of the famous lines are still there, as well as plenty of fight scenes, love scenes, and general tomfoolery (all of which appeal to the teen set). In fact, this adaptation is so successful it makes me think Shakespeare should always be 90 minutes long!

Romeo and Juliet meet
(Michael Hanna and Aeysha Kinnunen)

Michael Hanna and Aeysha Kinnunen are the epitome of young lovers with their impassioned facial expressions and physicality and their impossibly beautiful hair; they're quite the charming pair. Jason Rojas and Kory LaQuess Pullam are crowd favorites with their energetic frat boy portrayals of Mercutio and Benvolio, and Nate Cheeseman gets quite a few laughs from his crowd interaction as the servant Peter. Come to think of it, the entire cast is great at engaging the audience, speaking directly to them in their monologues. The adult set's not too shabby either. Zach Curtis is fearsome as Juliet's controlling father, Mo Perry is regal and aloof as her mother and stern and compassionate as the Prince, John Middleton is the lovers' only friend in the Friar, and Laura Esping is Juliet's loving Nurse and the Chorus. She also delivers an inspirational pre-show message to the audience about how theater is ephemeral and a joint creation between cast and audience. It reminded me of why I love theater and do what I do, and no doubt inspired a few new theater fans in the audience, as did the 90 minutes that followed.

Only a handful of evening performances of this fast-paced, intense, captivating Romeo and Juliet remain, but student matinees continue for the next two months. If you know a teenager or work with teenagers, contact Park Square to see how they can take part in the student program.

"Class of '85" by Collide Theatrical Dance Company at the Southern Theater

"Live music. Dance. Complimentary drinks. Like totally radical!" I can't say it better than that. The newest original jazz-dance musical by Collide Theatrical Dance Company, which in the past has created more serious pieces such as Romeo and Juliet and a story about prostitution in the '30s, is a fun and light-hearted look at high school in the '80s. But while the topic may be a little lighter, this show is like their past shows in that it is beautifully danced, features a great selection of pop music performed by a live band and singers, and offers free beer and wine before the show. As someone who doesn't know much about dance or see dance productions very often, I always enjoy Collide's ability to tell a story, whether heavy or light, deep or fun, purely through dance and music.

In Class of '85, eight dancers portray the usual high school stereotypes - the spoiled princess, the cheerleader, the nerd, the jock, the rebel. As the audience is filing into their seats before the show, the dancers are mingling with the audience, totally in character. It was almost a little too realistic and started to give me an uneasy feeling in the pit of my stomach (I was in high school in the '80s and I have no desire to go back there!). Soon the principal (aka director/choreographer Regina Peluso) calls everyone to order and announces nominations for Prom King and Queen (the audience gets cast their vote at intermission). We follow these familiar characters through a school day, Saturday detention (similarities to The Breakfast Club and other '80s movies are intentional), and the all important Prom night. Short scenes with dialogue help to set the scene, but most of the story is told through dance. Company dances alternate with solo dancers, in which we get to know each character a little better, and see that they're more than how they're perceived. The choreography and the dancers (who are surprisingly good actors too) do a beautiful job of conveying all the angst, pain, confusion, uncertainty, and joy of being a teenager.

Singers Michael Hanna (who also plays the Young Republican a la Alex P. Keaton) and Deb Brown (a teacher) alternate solos and sometimes duet on this list of '80s hits. From Tiffany to Madonna, Whitney Houston to Michael Jackson, Twisted Sister to Guns and Roses, all '80s bases are covered. Highlights include "Under Pressure," a powerful expression of the pressure that teenagers feel from all sides; the girls vs. boys dodgeball dance-off medley; "I Think We're Alone Now," in which the characters don't actually dance but let us get a glimpse into their souls; and the fun final number danced to, what else, "Footloose." Regina Peluso's choreography is fantastic, flawlessly performed by this beautiful company, many of whom I recognize from past Collide shows.

"Live music. Dance. Complimentary drinks. Like totally radical!" If that sounds good to you, head to the Southern Theater (the best dance venue in town) and take a little trip back to high school. It'll make you feel nostalgic or uncomfortable, depending on your high school experience, but either way it's a fun night filled with beautiful dancing that tells a familiar story (now through October 19, with discount tickets available on Goldstar).

yes, I voted for the nerds - my people