"Five Minutes of Heaven" by Illusion Theater at the Center for Performing Arts

The world premiere stage adaptation of the 2009 Irish film Five Minutes of Heaven tells the story of two men affected by the period of Northern Ireland's history known as "The Troubles." Over 3500 people were killed in the 30-year long and complicated conflict, but this is the story of just one of them. Based on a real-life murder and an imagined meeting between the killer and the victim's brother 35 years later, the taut 75-minute drama is riveting and tension-filled and at times difficult to watch. The adaptation by Michael Egan and the excellent five-person cast (including the playwright himself) beautifully and painfully bring this difficult story to life, and highlight the relevance of the historical events to the here and now. Continuing through October 23 in Illusion Theater's intimate performance space at the Center for Performing Arts.

"My Antonia" at Illusion Theater

I missed Illusion Theater's original 2010 Ivey-winning production of their adaption of Willa Cather's 1918 pioneer novel My Ántonia, written by Allison Moore with original music by Roberta Carlson. But I've seen it every chance I could since, including my third time this weekend, as it returns home after a tour through Nebraska. Willa Cather is an important writer in American literature (see the notes in the program for more on that), and this is a beautifully sparse adaptation of her most beloved novel. The 90-minute runtime, a small ensemble of six actors playing all of the characters, and minimal set design really allow the beautifully descriptive language of the novel to come through as the main storyteller. Descriptive both of place (the Nebraska prairie) and of the emotions of the people who lived there. It's really a perfect adaptation, in that it captures the wistful and nostalgic tone of the novel as Willa describes the people and place she loved so much. If you've never seen it, do yourself a favor and get to Illusion Theater's 8th floor space in the Hennepin Center for the Arts (attached to the Cowles Center) in downtown Minneapolis before this run closes on March 24.

"Present" at Illusion Theater

Prior to his one-man autobiographical musical show, T. Mychael Rambo was introduced as "a gift to all of us." So true. I've been a fan of his since I can't even remember when. He's performed just about everywhere in #TCTheater, and he always brings his big beautiful voice and plenty of charisma. It's fitting that he titled his show Present, now playing at Illusion Theater, because watching it is a present (meaning gift), as he reminds us to be present (aware, mindful) in the present (now). Only one week remains of the limited three-week engagement, so act fast to see this joyful and life-filled performance.

"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).

"Dancing with Giants" at Illusion Theater

I'll admit it. Before I was a theater geek, I was a TV geek. I grew up watching TV, and my best friends were characters on TV shows. I'm still a TV geek, and I still consider TV characters* my friends. So when I heard that an actor from two of my favorite current shows was doing a play in Minneapolis, I didn't even care what or where the play was. I was going to see Rebecca Bunch's mother / Deanna (who's Deanna?) no matter what. As it turns out, Tovah Feldshuh has some ties to the #TCTheater community, having studied and worked at the University of Minnesota and the Guthrie back in the day. Her brother, playwright/director David Feldshuh, has an even deeper connection, specifically with Illusion Theater, which is premiering his new play Dancing with Giants. I'm happy to report that not only is Tovah a delight live on stage, but this is also an entertaining, educational, funny, and sobering play. It's obviously a labor of love for the Feldshuh family, and Minneapolis/St. Paul theater-goers are lucky to be able to experience it first.

"Miranda" at Illusion Theater

The titular character of James Still's new play Miranda is like Homeland's Carrie Mathison, but more grounded in reality, without all of the soap opera drama. A CIA operative currently based in Yemen after years of working in the Middle East, she's good at her job, but has begun to grow weary with all that her job entails. The playwright notes, "While the pursuit of happiness may be one of the inalienable rights guaranteed in our Declaration of Independence, Miranda is too smart not to know that happiness is elusive. She's thrived during her years in the CIA in the pursuit of meaning, not happiness. But what if that meaning and sense of purpose has faded with time and age - what now?" Miranda is a dense and fascinating play about the women and men who immerse themselves in foreign lands to secure intelligence for the US government, but also find themselves getting entangled in the lives of the people they live among.

"Only One Sophie" at Illusion Theater

They say that the more specific something is, the more universal it is. That's certainly the case with the new original musical Only One Sophie by Illusion Theater's Artistic Director Michael Robins. Based on the life of his grandmother, the musical tells a very specific story about an American family centered around a strong, independent, loving Russian Jewish immigrant woman. But this tale of love, grief, family, and memories is a universal one that brings to mind one's own family history and memories. The specifics may be different, but we all have family traditions and memories and, if we're lucky, a loving grandmother that will never be forgotten. Only One Sophie a beautiful, funny, poignant, inspiring story brought to life through lovely original music (by Roberta Carlson) and a terrific eight-person cast. If you're interested in sweet, simple, heartfelt stories told musically, head down (or rather, up) to Illusion Theater's 8th floor stage in the Hennepin Center for the Arts between now and March 5.

"Miss Richfield 1981's Christmas Cone of Silence" at Illusion Theater

To complete my marathon five-show holiday theater weekend, I finally saw the legend that is Miss Richfield 1981. Or rather, experienced. For Miss Richfield is more than just a show, it's an interactive night of outrageous comedy! For her 17th year of performing at Illusion Theater, she shares with the audience the Christmas Cone of Silence. Meaning a frank discussion just between her and the audience (the biggest I've seen at Illusion) about the things you're not supposed to talk about. Since I'm quite happy in my own cone of silence, I took a seat at the back of the theater where I was (barely) safe from her questions. Interactive theater is great fun, as long as I'm not the one being interacted with! Miss R is fantastic at talking to the audience, drawing people out, and making anything they say seem funny. But politically correct she's not; she's an equal opportunity offender, so be prepared to be a bit shocked at some of the things she says. But mostly, be prepared to laugh and have a good time.

"For the Loyal" at Illusion Theater

It's a story that is all too familiar. A person in power is found to have molested children, and even worse, the crime has been covered up by others in their organization. Whether that person is a teacher, a priest, or a football coach, it's an unthinkable abuse of the power and trust that the position entails, and we wonder why no one spoke up sooner. All of us like to think that if we witnessed a crime, especially against a child, we would report it to the police no matter the consequences. But would we? What if it's not that simple? What if we didn't have any actual evidence, just suspicions? What if reporting the incident would destroy our lives? Would we take extreme measures to ensure justice is done? Or would we just try to minimize the damage and move on with our lives? Such are the questions posed in the new play For the Loyal by Lee Blessing. There are no easy answers, and I left the play feeling more confused than I was before. But it's a powerful, engaging, thought-provoking exploration of this horrifying and all too familiar situation.

The incident in this play is similar to what unfolded at Penn State a few years ago. At an unnamed University, assistant coach and grad student Toby (Sam Bardwell) finds a naked boy at the home of Coach Carlson (a creepy-charming Garry Geiken), and reports it to Head Coach Hale (Mark Rosenwinkel). Hale tells him not to tell anyone, that he'll take care of it by forcing Carlson to retire, thinking that if he's no longer at the University it's not his problem. Toby is upset and tells his pregnant wife Mia (a strong and sympathetic Anna Sundberg), who wants this man to be punished and prevented from hurting any more children, thinking of her unborn son and a childhood friend. The story takes an unexpected turn, affecting all parties involved. I don't want to say too much and spoil the intriguing way that it all unfolds, but suffice it to say that many angles of this situation are explored, none of them good.

Anna Sundberg, Sam Bardwell, and Garry Geiken
(photo by Aaron Fenster)

The cast does a great job leading us through this difficult story and making us feel the humanity in most of the characters portrayed. In addition to the above named actors, Michael Fell gives several standout performances as various teenage boys involved in the story, all of whom have a different relationship with and reaction to the situation.

This is a fitting project for Illusion Theater, which has actively worked to end sexual abuse of children since the 1970s with the TOUCH program, including creating a play and later a film for children and schools to educate about what's an acceptable touch and what to do when it's not. They're currently raising money to update the film for a new generation. This play falls right in line with their mission, bringing awareness to the issue of sexual abuse of children, but this time the focus is on the responsibility all of us have to be a witness to what's going on around us. For more information about their education programs, see their website.

I couldn't help but be reminded of plays like Doubt, A Parable, which featured a similar situation of if, when, and how to report suspected abuse, and Theatre Pro Rata's recent The Woodsman, which looked at things from the perspective of a recovering child molester. For the Loyal is a powerful play that raises plenty of difficult questions with no easy answers, and effectively puts the audience in the position of "what would you do?" Continuing at Illusion Theater through May 19 (discount tickets available on Goldstar).

"Thurgood" at Illusion Theater

It seems entirely appropriate that on the 50th anniversary of the march in Selma, I attended a play about Thurgood Marshall. While Martin Luther King Jr. was leading people in the community in civil disobedience and inspiring them with his speeches, Thurgood Marshall fought for Civil Rights from the other side, from within the legal system. "The law is my weapon," he said several times during the play, a play that's as much about the man as the public figure, a lawyer who argued many cases before the Supreme Court (including the landmark desegregation case Brown v. Board of Education) and later sat on the Supreme Court. In this one-man play, James Craven inhabits the man in all his humanity and greatness.

The play takes place at Thurgood's alma mater Howard University upon his retirement from the Supreme Court in 1991 at the age of 83. He tells the story of his life, growing up in Baltimore, being unable to attend the law school he wanted to because they did not allow black students, becoming a lawyer and fighting for Civil Rights through many court cases (his most personally meaningful being a voting rights case in Texas, Brown v. Board of Education, and winning a case against the law school to which he was denied entry), joining the staff of the NAACP, and eventually being appointed to the Supreme Court. It's inspirational to hear all of this man's accomplishments and the impact he had on Civil Rights and the legal system.

James Craven as Thurgood Marshall

But this isn't a dry lecture. James Craven brings much warmth, humor, and humanity to the role, so that you see Thurgood as a person instead of just an icon. He relays his grief at his first wife's death, and his joy at finally having children. He tells a few jokes and funny stories, as well as some truly scary ones about traveling the country to remote areas to argue cases. Images projected onto the large screen behind the podium show real pictures of the people and places Thurgood is discussing. And James is such a wonderful actor that it's a pleasure to listen to him speak and watch him walk around the stage with the gait of an 80-year-old man. He doesn't hurry through this long monologue, but lets the story unfold and the weight of it sink in.

I was lucky enough to attend on a day when there was a post-show discussion led by director Michael Robins, who did more than the usual amount of work to find this piece and bring it to Illusion, and Val Jensen of Diversity in Practice, an organization dedicated to recruiting and retaining lawyers of color in the Twin Cities. The discussion was alternately depressing (much of the legislation Thurgood helped put in place is being dissolved) and hopeful (great strides have been made and there are still people willing and able to fight the fight). The beautiful thing about this play, and about what theater can do in general, is that it reminds us of our history and opens a dialogue about issues today.

Thurgood plays for one more weekend only, so get there quick to experience this inspiring man's story on stage.

"Jeffrey Hatcher's Hamlet" at Illusion Theater

Jeffrey Hatcher's Hamlet is not a one-man show of Shakespeare's Hamlet, starring one of Minnesota's best and most prolific playwrights. Rather it is said playwright's story about when he adapted Hamlet (with the help of an issue of Classics Illustrated, a comic book series that adapted classic works of literature into comic books) into a one hour play for his 5th grade class in the late '60s. The result is a funny, entertaining, relatable story about elementary school and its strange politics, as well as a glimpse into a young future playwright's mind.

You may know Jeffrey Hatcher as the author of such locally produced plays as Compleat Female Stage Beauty or Turn of the Screw, or the films Stage Beauty or the upcoming Mr. Holmes (in which Ian McKellan plays an aging Sherlock). But in the late '60s he was a precocious and somewhat nerdy 5th grader in Steubenville, Ohio (which he later used as a setting for several of his plays). A series of coincidences prompted him to suggest to his teacher that their class do Hamlet for their annual play, to which she agreed on the condition that he adapt and direct it. And so a playwright was born. Over the course of about 80 minutes and with great detail and enthusiasm, Jeffrey recounts the entire month long episode of adapting, casting, rehearsing, and performing the play. We learn about his classmates, and why each was perfectly suited for their role. We learn about the young playwright/director's struggles with crises including his leading lady losing her voice, and just what exactly is an arras and how can it be represented in a classroom? We also learn a bit about his relationship with his parents and what it was a like to be a kid in America at that time.

Jeffrey Hatcher reenacting his role of Laertes in his 5th grade play
(photo by Aaron Fenster)

Walking into the Illusion Theater I was a bit taken aback. Set designer Dean Holzman and crew have built a stage over what is usually the front section of seats, on which a detailed vintage classroom is constructed. The desks open up to reveal neat tricks and props, including what look like vintage toys and books that must have been dug out of attics or bought on ebay. On the blackboard is projected a series of images of the places and people discussed in the play. It feels a little like sitting with Jeffrey in his living room, looking through old yearbooks and photo albums as he describes what is obviously an important moment in his past.

Jeffrey Hatcher's Hamlet is not some dry lecture on Shakespeare, it's a celebration of the love of drama, and a nostalgic look at growing up in the '60s, as well as at that time in your youth when school is your entire universe, and your only worries involve the class project and the classmate you have a crush on or a vendetta against. Playing through October 25, Jeffrey Hatcher's Hamlet is a great way to open Illusion Theater's 40th anniversary season. Illusion's Producing Directors Michael Robins and Bonnie Morris just won the Ivey Lifetime Achievement Award, a deserving tribute to the great work they do at Illusion, so this is a great time to pay a visit to their lovely theater on the 8th floor of the Hennepin Center for the Arts. (Check out the great ticket deals available on Goldstar.)

The 2014 Ivey Awards at the State Theatre

Last night was the highlight of the theater year - the Ivey Awards. Celebrating its tenth anniversary, the Iveys honor a dozen or so individuals or productions from the last year. Unlike the Tonys, there are no set categories or nominees that people and shows compete in, but rather, exceptional work at any of the 68 participating theaters is honored, based on evaluations by volunteers. But in addition to the actual awards, and perhaps more importantly, the Iveys are a chance for theater artists and theater-goers to gather and celebrate all the brilliant work that has been done in the Twin Cities over the past year.

The hilarious Randy Reyes returned as co-host, along with new host, the fantastically talented Christina Baldwin (who sadly did not sing). They made for a funny, charming, and entertaining pair of hosts, with a running gag that had Randy attempting to share some of his writing, and Christina reigning him in, only to be interrupted by a crazy fight scene. Presenter pairs are typically made up of one winner from last year, along with someone from one of the Iveys' many sponsors. Speaking of which, this year's obligatory sponsor presentation was done with charm and aplomb by Ari Hoptman as a distinguished German man, speaking German with English words thrown in (my fellow study abroad students and I used to call that Germlish, a language in which I am fluent).

In addition to a special Ivey for the man who started this whole crazy wonderful thing ten years ago, Scott Mayer, and the usual Emerging Artist and Lifetime Achievement Awards, ten translucent green conical pyramids were given out honoring work in ten productions. I'm proud to say that I saw eight of these ten productions, which might be a record high percentage of Ivey winners attended for me. But it's not about me, so on to the awards (but it's still a little bit about me, so click on the titles to read my full thoughts on each show).

1. The first award of the night went to Minnesota Jewish Theatre Company's production of Rose, a one-woman show starring the divine Sally Wingert which was performed just last month in homes around the Twin Cities. I called it "inspirational, horrifying, funny, charming, disturbing, brutally honest, and utterly compelling." Ivey voters agreed.
2. Seraphina Nova was honored for her work as playwright of Candid Theater Company's Dogwood, which I called "a compelling and entertaining dark family drama."
3. Proving that the Iveys have a long memory, the next award went to a musical from last year that actually performed at last year's Ivey Awards. I absolutely loved Nautilus Music-Theater's Ordinary Days and its intimate staging and incredibly talented four-person cast, and called it "everything I want musical theater to be."
4. One of the two shows I sadly did not see is In the Heart of the Beast's Between the Worlds, for which Sandra Spieler and Julie Boada were honored for their properties design.
5. Perhaps the most surprising and exciting moment for me was this one, when my favorite theater in the 'burbs Yellow Tree Theatre received their much deserved first ever Ivey Award. Director Anne Byrd was recognized for The 39 Steps, a show I called "brilliantly choreographed and flawlessly executed."
6. A special award was given to Scott Mayer, not for his theatrical work but for his ten years of work putting on this annual fabulous event we call the Iveys (incidentally, the Ivey Awards gets its name from the Ivey Restaurant, the theater hangout of early 20th Century Minneapolis).
7. For their performances in Driving Miss Daisy at the Jungle last fall, the "perfect trio" of Wendy Lehr, James Craven, and Charles Fraser received an award, although only Wendy was there to accept it.
8. In the one sure thing of the night, an Ivey was awarded to Theater Latte Da and Hennepin Theatre Trust's "Broadway Re-imagined" production of Cabaret, aka "musical theater at its best."
9. Because one was just not enough, Yellow Tree's The 39 Steps received a second award, this one for the brilliant comic performances of Nathan Cousins and Tristan Tifft, who "stole the show."
10. Eduardo Cincago received an award for costume and set design of Cinderella at Children's Theatre Company.
11. The final award of the night went to the incomparable Sally Wingert, recognizing her four brilliant and distinct performances in four shows over the past year, two of which also received Iveys for the production, thanks in no small part to her performances. Sally played the mother of a dysfunctional family in Tribes at the Guthrie, the title character in Dark and Stormy's The Receptionist, Fraulein Schneider in the Ivey-winning Cabaret, and an 80-year-old Jewish woman who lived an incredible life in the Ivey-winning Rose. It's "a good time to be middle-aged," a good time to be Sally Wingert, and a good time to be a theater-goer who gets to witness her incredible and varied work.

Two years ago I called Tyler Michaels my favorite new artist of the 2012, and I'm thrilled that the Iveys finally caught up with me, handing him a much deserved Emerging Artist Award. Just this year he thrilled audiences and "rocked my world" as the Emcee in Cabaret, made his charming Guthrie debut as Freddie in My Fair Lady, and was featured in two shows at the Chanhassen (and can currently be seen there in Hello, Dolly!). Singing, acting, comedy, drama, aerial work, physical theater - there seems to be no end to this young man's talents.

All nine previous Lifetime Achievement Award winners were honored with creepy cool huge puppets by In the Heart of the Beast, and this year's award went to Michael Robins and Bonnie Morris for their 40 years as Illusion Theater's Executive Producing Director and Producing Director, respectively. I'm a big fan of Illusion and the work that they create there; you should definitely check them out if you haven't yet (next up: last year's Ivey Lifetime Achievement Award winner, playwright Jeffrey Hatcher, in his one-man version of Hamlet).

Because this is a theater awards show, there were of course wonderful performances, excerpts of past and upcoming shows. There's no better way to start any show than with Tyler Michaels descending from the ceiling, as he did in "Wilkommen" from the aforementioned Cabaret, accompanied by the entire fantastic cast. Other performances included a hilarious performance of Men-Struation by Brave New Workshop; a really cool song from Freshwater Theatre's Archival Revival; and Regina Marie Williams as Shug Avery singing "Push Da Button" from The Color Purple, coming to Park Square Theatre in January. To close the show, the cast of Bloomington Civic Theatre's just closed Guys and Dolls shared their energetic version of "Sit Down, You're Rockin' the Boat," sending us out into the beautiful fall night to the fun of the after party.

And with that, another Ivey Awards show and another season of spectacular theater comes to a close. But the good news is that great theater never stops in this town. So get out and see some local theater. Stay tuned to Cherry and Spoon for suggestions and info on what's available!

"Walking Across Poland" at Illusion Theater

Illusion Theater's annual new works series Fresh Ink debuted last night with the reading of a lovely new musical called Walking Across Poland. This autobiographical musical written by Illusion's Artistic Director Michael Robins, with music by Roberta Carlson, tells the story of his grandmother through memories, photos, and music. Even though it's still in the early phases of development at just about an hour long, it's already a moving and nostalgic piece, a family story come to life. I look forward to seeing it further developed and fleshed out.

Grandma Sophie immigrated to St. Paul from Russia when she was just 16. The story begins when young Michael is with his family, sitting shiva after Sophie's death. She never talked about her journey to come to this country, and Michael is haunted by what he doesn't know and what his grandmother tried to tell him before she died. The family tells stories of their past, and we see Sophie's life in flashback - her marriage, divorce, children, a portrait of a life. Michael's questions are not completely answered but he does get a better understanding of who she was, as does the audience. She sounds like an incredible woman - strong and smart, determined to make a better life for her family, a survivor of great hardships.

Roberta Carlson again wrote beautiful moving music that moved me to tears (see also My Ántonia). This piece is similar in that it evokes feelings of nostalgia for a longed-for past and people. The music and words of the play are beautifully performed by the seven-person cast - Randy Schmeling as the adult Michael looking back on his past, Spencer Levin as young Michael, Nora Long as Sophie (with her strong clear voice ringing out across the theater), Emily Scinto as Young Sophie and Michael's sister, Sally Ann Wright and Jay Hornbacher as Michael's aunt and uncle, and Ryan Patrick as Sophie's husband.

I've attended several readings of new work this year, including the History Theatre's Raw Stages, Theater Latte Da's Next, and the beautiful new musical version of the movie Sweet Land. It's so exciting to hear new plays and musicals "read" (which really means performed, but with a script in hand) by local talent. It's fun to be part of the development process and to watch these pieces grow and transform. There's one more performance of Walking Across Poland tonight, and the Fresh Ink series continues in July with more new works. Check it out, or contact your favorite theater company to see what they've got cooking.

"My Ántonia" by Illusion Theatre at The Lab at The Lowry Building

Willa Cather's 1918 pioneer novel My Ántonia is required reading in many schools, and with good reason. It beautifully brings to life a period in American history that might otherwise be forgotten, with language so poetically descriptive that you can see the landscape and feel the heartbreak of the characters. Several years ago, Illusion Theatre and playwright Allison Moore adapted My Ántonia into a play that perfectly captures the spirit of the novel. The original production won two Ivey Awards in 2010, and lucky for us Illusion continues to bring it back every couple of years and take it on tour around the Midwest. This year the production with an all-new cast visited Cather's Nebraska hometown and the farmhouse of the woman who was the inspiration for the character of Ántonia. Sitting in the Lowry Lab Theater in downtown St. Paul, I was swept away into the prairies of Nebraska, tears streaming down my face; I can't imagine how much more impactful this piece must be in the place and surrounded by the people that it so lovingly describes.

My Ántonia tells the story of a young immigrant girl in late 19th century Nebraska, through the eyes of her childhood friend Jim. The adult Jim narrates the story as he's returning home to visit, and his memories of his time on the frontier and the girl that he loves come to life on stage. We watch Jim and Ántonia grow from children playing on the prairie to young adults making their way in the world. Even though Jim and Ántonia's life paths diverge (he goes to Harvard and becomes a big city lawyer, she stays home and raises a family and a farm), they share a connection that cannot be broken by time or distance. Jim's nostalgia for the Nebraska prairie is inextricably intertwined with his memories of the girl that he knew and the boy that he was.

Andrea San Miguel as Ántonia
(photo by Lauren B. Photography)

While I missed the original production, I did see the show two years ago and was so emotionally affected by it. I was eager to see it again and see if it's as good as I remember. It is. The wonderful new cast is led by Andrea San Miguel as Ántonia, a bright and enthusiastic young girl who grows up and goes through hardships, but never loses her love of life. Zach Keenan is the naive young Jim, while Dan Hopman is the older and wiser version of the same character, watching scenes from his past with great affection and wistfulness. This piece is a true ensemble piece, with the small cast ably playing the many roles of townspeople and their various accents; one standout is Anna Hickey as Antonia's proud and fast-talking (in Czech!) mother and farm girl turned dressmaker Lena.

A big part of the success and emotional impact of this piece is the music by Roberta Carlson. The three-piece off-stage orchestra provides a constant soundtrack to the story, and so specifically brings you to that time and place, tinged with memory. The language of the play (which I assume was largely taken from the book) paints such a picture I that almost wanted to close my eyes to better see it, but then I would have missed the simple but effective images of waving grass or a plow against the sunset projected onto the backdrop. The writing, acting, direction by Michael Robins, music, and images combine to create a feeling of nostalgia for a past I never knew, but that as a descendant of pioneer immigrants is in my bones somehow.

This incarnation of My Ántonia continues for two more weekends at The Lab at The Lowry Building.* It's a beautiful piece of theater with all elements combining to bring to life this time and place and these characters. There's a reason this one keeps coming back. It'll make your heart ache in the best possible way. (Discount tickets available on Goldstar.)



*You can park in the Lowry ramp (entrance on Wabasha between 4th and 5th) and walk right from the ramp into the theater space.

"Naked Darrow" at Illusion Theatre

Friends, I have a confession to make. If you had asked me last week, "Who is Clarence Darrow?" I would have answered, "Um... a lawyer?" I didn't know much about one of America's most famous lawyers, but in the tradition of "everything I know I learned from theater," after seeing the one-man show Naked Darrow at Illusion Theater, my eyes have been opened. Gary Anderson has spent years perfecting his performance as the famous lawyer in the play that he wrote, and it shows. He's not so much acting as being Clarence Darrow.

Naked Darrow takes place in 1937, near the end of his life, when he was deep in the clutches of dementia (and possibly Alzheimer's disease). In a 90-minute stream of consciousness, Darrow talks to people who aren't there (including his wife and mistress), relives some of his more famous trials (including his own, for jury tampering), and gives some of his most compelling closing statements. He recalls moments from his childhood, time with his first and second wives, and in the most touching sequence, he visits his newborn granddaughter and sings her to sleep with "Solidarity Forever" (Darrow was a prominent labor lawyer). The play shows us the personal side of the famous public figure and the personal costs of being a lifelong public servant. The most compelling scenes are the ones in which Darrow delivers his famous speeches. He was an eloquent and persuasive speaker, and Gary Anderson portrays this very well. This is where he really shines as he commands the theater as Darrow legendarily did the courtroom. He transforms into the character so that no "acting" is visible to the audience; it's like you're watching the man himself.

The play was last presented in the Twin Cities at Park Square Theater in 2011. It has since been revised and performed around the country, including Off-Broadway. This production features direction by Illusion's Artistic Director Michael Robins, and a sparse set by Dean Holzman, with set pieces of a desk, a few chairs, a window, and a bookcase floating in the empty space as if in a dream. Lighting by Michael Wangen helps set the mood, and images projected on the window give us a visual of the various defendants and places being described (projection design by Jonathan Carlson).

If you're a legal buff, or just want to learn a little bit more about this famous and influential American, with a lived-in portrayal by Gary Anderson, get to Illusion Theater's lovely 8th floor theater space in the Hennepin Center for the Arts before Naked Darrow closes on April 12 (bonus - discount tickets on Goldstar).

"Love & Marriage: What A Difference A Year Makes!" at Illusion Theater

What a difference a year makes! Last year at about this time, Minnesota was preparing to vote on an amendment that would constitutionalize marriage as between one man and one woman, excluding many of our population from the rights and benefits legal marriage carries with it. Illusion Theater participated in this debate by presenting a charming musical review show, created by Roberta Carlson and Michael Robins, that featured interviews with real-life couples. One year later, the amendment in question has been voted down by the people of Minnesota, and earlier this year our governor Mark Dayton signed marriage equality into law. Illusion is responding to this new development by presenting a sequel: Love & Marriage: What A Difference A Year Makes! It's similar to last year's show, but with some cast changes, many new songs, and a few follow-up interviews with the couples. As charming and entertaining as last year, but with a decidedly more celebratory air because, as they sing, "love is the law!"

While the music and the singers are fantastic, at the heart of this show are the interviews with many different couples - old and young, gay and straight, new love and established love, famous (to a MN theater geek like me) and not. They talk about all phases of a relationship, interspersed with songs from the cast that reflect the sentiment. From exciting new love ("Every Little Thing He Does," "How Will I Know") to to break-ups ("Rolling in the Deep," "Somebody I Used to Know") and everything in between. Performing these songs are six professional singer/actors and five talented young people who fill out the chorus and have a few star moments of their own. The professional cast includes an exuberant Neal Beckman, Teri Parker-Brown (singing a beautiful version of one of my favorite songs "I Can't Make You Love Me"), the powerful-voiced Rachel Hurst (with, I assume, her daughter Kennadi, proving that the apple doesn't fall far from the tree), the adorable Aeysha Kinnunen (a scene stealer as Lydia in Pride and Prejudice at the Guthrie this summer), Randy Schmeling (a voice I always love to hear), and the super-smooth Dennis Spears. Gary Q. Lewis has choreographed some simple dance moves that enhance the performance.

Love & Marriage: What A Difference A Year Makes continues at the Illusion Theater through October 20. It deserves a bigger audience than the one that was there the Thursday night I attended, because it's a fun, charming, touching, beautiful look at the many different kinds of couples and relationships, who are really the same when you get right down to the important things. Not at all preachy, just sweet and funny and real.

the cast of Love & Marriage

"I Love to Eat" at Illusion Theater

Everything I know about the culinary world I learned from watching Top Chef. The name James Beard is often heard on the show, in terms of the awards his Foundation bestows on promising chefs, but I never really knew much about the man himself. I'm not really what one would call a foodee; my favorite meal is a veggie burger, fries, and beer. But I do love to eat, as do most people, and we have that in common with James Beard, the subject of I Love to Eat: A Love Story with Food at the Illusion Theater. This one-man show, written by playwright James Still and directed by Michael Robins) is a sort of hallucination/dream/stream-of-consciousness in which James talks to us, the audience, telling stories about his life and love of food and cooking. Not much happens, but by the end of the 75-minute play, I had grown quite fond of this man who was a pioneer of American cookery.

The play consists of James in his kitchen telling stories, preparing food, reading letters from fans, and talking on one of three phones to fans or friends (including Julia Child). He is alone on stage, but you get the feeling that he craves connection, hence his generous contact with fans. We learn a little about his childhood in Portland (an ideal childhood is not necessarily a happy one), his travels, and his TV show. James hosted the first TV cooking show in the late 40s, and we see a few scenes from the show, talking to a cow puppet, the sponsor of the show. He makes his beloved onion sandwiches (with homemade mayonnaise), and a few lucky audience members get a taste! He focused on "every day American cookery" rather than pretentious fancy meals, encouraging his fans and students to use the preparation and eating of food to bring people together, as it has throughout human history.

James Beard (Garry Geiken) with his co-host

Garry Geiken has shaved his beautiful head of hair to play James, and fully embodies not only his bald head but also his love of life, food, and connection. He moves in and out of the various scenarios (TV show, phone conversations, memories, reading letters) with ease. He has an infectious laugh and easy smile, but also gives us a sense of loneliness under the jolly exterior (it's impossible not to cry when you're chopping onions). He has the audience in the palm of his hand, as we dutifully repeat tips like "only fresh lemons always." The set, designed by Dean Holzman, is a detailed and homey kitchen that's slightly fantastical - the floor slopes towards the audience - giving the sense that this is not quite reality. The lighting (designed by Mike Wangen) tells us when we're entering the wacky world of the TV show.

James believed in "good food, simply cooked," and using the best ingredients. I Love to Eat is a theatrical meal James would approve of - the best ingredients combine in a story simply told. Sometimes sweet, sometimes bitter, but always tasty. The title says it all - he loved to eat, and he conveyed that love through his cooking and through his teaching. Like a good meal, you'll leave the theater feeling happy and satisfied. Playing now through May 18, with half-price tickets available on Goldstar.

"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.

"Love & Marriage" at Illusion Theater

Love and marriage
Love and marriage
Go together like a horse and carriage!

Love and marriage are so much a part of our culture; "you can't have one without the other," says the song. But the reality is that marriage is an exclusive club in our country, one that not everyone can join, despite how valued it is in our society. The issue of marriage equality is in the forefront right now, and Illusion Theater's new musical review, appropriately titled Love & Marriage, brings the issue to light with warmth, humor, music, and stories of over a dozen diverse real life couples. It's a fun and heartwarming celebration of love.

Eight fabulous local actor/singers bring this music to life, accompanied by Roberta Carlson on piano, who created the show with Illusion's Artistic Director Michael Robins. The song list includes classic American love songs, musical theater standards, and current pop songs (or as I call them, Glee songs). Also included are a few original songs by Roberta that fit right into the lexicon of American love songs. Interspersed with the musical numbers are clips of interviews with real-life couples of all sorts - straight, gay, and lesbian. They tell their "meet cute" stories, and continue on as the show progresses to their stories of committing to each other, going through hard times, and making their relationship last. Featured couples include local celebrities such as Minneapolis mayor R.T. Rybak and his wife Megan, talented actor and singer Bradley Greenwald and his partner John, and recent Ivey Award winner Isabel Nelson and her husband (and Transatlantic Love Affair co-founder) Diogo (and now I finally understand where they got the name of their theater company). Their stories are touching, funny, and inspiring.

Highlights from the talented cast include:

• Rising local talent Cat Brindisi sings a lovely rendition of the wistful "When I Fall in Love" and the bubbly ode to fairy tales "Happily Ever After" (Cat was last seen as Wendla in Spring Awakening, and will next be seen as Princess Amneris in Aida).
• Adara Bryan was in the ensemble of one of my favorite shows of the year, Park Square's Ragtime, and it's nice to see her gorgeous voice featured here, including on the Beatles' classic "In My Life" and a duet of "Truly, Madly, Deeply" with Cat.
• Reid Harmsen duets with Cat on one of the most charming numbers of the show, (I think I wanna) "Marry You," and with Dennis on "Wouldn't it Be Nice," as well as taking part in several other numbers (see below).
• Unlike most of the other performers, I've ever seen Rachel Hurst before, but she impressed on a powerful duet of "Don't Know Much," among others.
• Broadway vet Melissa Hart, who has made Minnesota her home, appropriately covers most of the musical theater selections, including Rodgers and Hammerstein's hopeful "It Might as Well be Spring," and the decidedly darker "Could I Leave You?" from Sondheim's Follies (which I was fortunate to see on Broadway last year).
• The other cast member I'd never seen before is Charles Johnson, and I was instantly mesmerized by his effortlessly smooth voice on such songs as "All in Love is Fair" and the aforementioned duet of "Don't Know Much."
• It's always fun to see one of my longtime faves, Randy Schmeling, here singing a couple of duets and taking the lead on "I Won't Give Up" (one of those Glee songs I mentioned).
• The dynamic Dennis Spears played Nat King Cole last year in Penumbra Theater's I Wish You Love. But I don't think Nat had moves like Dennis' in "We'll Be Together," or played the tambourine so energetically and seriously as Dennis did in the final number!

My favorite group numbers include a Sondheim song I'd never heard, "Loving You," a typically amazing Sondheim song brought to life in the beautiful harmonies of Adara, Randy, Cat, and Reid, and another Sondheim song that is quite literally about marriage, "The Little Things You Do Together" (from Company, which I will see tonight!). The cast sings and performs beautifully as a group, in pairs, and individually.

Love & Marriage is a fun and entertaining evening of music that personalizes the topic of marriage equality by sharing the true stories of real people in our community. On November 6, my beloved home state of Minnesota will vote on a constitutional amendment that limits the definition of marriage to one man and one woman. I don't know how anyone can see this show and witness the love of all of these couples, and still vote yes on this amedment. Through music and real stories, we see the equality and validity of all kinds of love. I plan to VOTE NO on the marriage amendment (and the voter ID amendment, see my thoughts on Appomattox for more about that). Will you join me?

the live cast of Love & Marriage in front of the screen
showing taped interview pieces