Showing posts with label New Epic Theater. Show all posts
Showing posts with label New Epic Theater. Show all posts

Monday, August 8, 2016

Fringe Festival 2016: "Now or Later"

Day: 4

Show: 19

Title: Now or Later

Category: Drama

By: New Epic Theater

Directed by: Joseph Stodola

Location: Southern Theater

Summary: On the night of the presidential election, photos of the would-be president's son surface that could be interpreted as anti-Muslim.

Highlights: The political is personal, and the personal is political. In this play, the political and personal are very closely intertwined as college student John (Grant Sorenson in a compelling performance) struggles with the notoriety of being the son of a politician, soon to be the president. He's sitting in a hotel room (represented with New Epic's usual crisp, clean design - a square drawn on the floor by fluorescent tubes, a bed dressed in shades of gray, matching the wardrobe, white lamps nightstands) with his friend Matt (Ryan Colbert) watching the results roll in. They're visited first by John's father's frustrated staffer Marc (Michael Wieser), then by John's mother (Jennfer Blagen), and finally by John Sr. (Peter Moore). John stands up for himself and his freedom of expression, until he realizes just what lengths his parents will go to. An hour of intense dialogue, weighty and timely topics, clear direction, and five excellent actors you have (or will) see on big and small stages around town. Many Fringe shows are very "fringey" (weird, frantic, edgy, perhaps a little rough around the edges), this one is not. It's high quality drama, right in line with New Epic Theater's two-year trajectory that's been a pleasure to watch.

Thursday, July 21, 2016

2016 Minnesota Fringe Festival Must-Sees


Well friends, it's that time of year again. Time to shirk all responsibilities of adulthood, abandon your friends, family, and pets, and binge on theater for 11 days straight. That's right, the Minnesota Fringe Festival, the largest unjuried theater festival in the nation, is upon us. This year's festival includes 168 shows less than an hour in length showcasing the best (and occasionally the worst) that this theater/art/dance/comedy community has to offer. I've steadily been increasing my Fringe consumption every year from a mere ten shows in 2011, my first year of Fringing, to a high of 44 last year. The maximum number of shows that any one person can possibly see, while still obeying the rules of the space-time continuum, is 56. That means seeing a show in every timeslot available. I thought it might be fun to see if I can in fact see 56 shows during the Fringe Festival. Just once, to see if it can be done, and then I'll likely never do it again. And let's face it, I'm not getting any younger, I better do it now while staying up past 11 pm for 11 nights in a row is still (barely) within the realm of possibility. I've run seven marathons, so obviously I like giving myself crazy challenges, just to see if I can do it. And also because it's fun, right? Keep reading for a list of some of the shows I'm hoping to see, and why.

Saturday, April 2, 2016

"Coriolanus" by New Epic Theater at the Lab Theater

Last weekend New Epic Theater opened a strikingly beautiful and devastating production of the 1985 Off-Broadway play The Normal Heart about the early days of the AIDS crisis. This weekend they open part two of their ambitious spring repertory production, Shakespeare's Coriolanus. The two plays share the same terrific eight-person cast, innovative and distinctive director Joseph Stodola,* performance space (the gorgeous and spacious Lab Theater), set, and overall look. Separated in time by about 400 years, The Normal Heart and Coriolanus are in some ways similar and in other ways very different. Both continue the trajectory that this new company has set right out of the gate with visually and emotionally impactful work (see also Doubt and One Arm). After this second opening weekend, the two plays will be performed in rep for the next two weekends, culminating in both shows being performed back-to-back (with a dinner break) on Saturday April 16 (ticket information and performance schedule here). Friends, New Epic Theater is an exciting new addition to our bountiful theater community and I urge you to see one or both of these plays to experience their unique vision.

Monday, March 28, 2016

"The Normal Heart" by New Epic Theater at the Lab Theater

In just their second season as a theater company, New Epic Theater is tackling not one but two challenging and not often performed political plays with The Normal Heart and Coriolanus, performed in rep (something that's also not often done). It's an ambitious undertaking for any theater company, much less a young one. But in this short time New Epic has already established themselves as a company that does striking work, both visually and emotionally (see also Doubt and One Arm). The first half of this pair of plays opened last weekend, a strikingly beautiful and devastating production of the 1985 Off-Broadway play The Normal Heart about the early days of the AIDS crisis. Friends, this is a piece of theater not to be missed. The Normal Heart returns on April 7, but in the meantime you can see the other piece of the puzzle, Shakespeare's Coriolanus, this weekend, as I will be (ticket information and performance schedule here). Director Joseph Stodola* and New Epic Theater have a unique vision, one that deserves to be seen.

Friday, November 13, 2015

"Doubt" by New Epic Theater at the Lab Theater

Friends, I know that there are a lot of theater companies in the Twin Cities, so many that it's hard to keep track of them all and impossible to see them all. But you would be wise to take note of New Epic Theater. With just their second production outside of the Fringe Festival and their first full season of programming, they've already established themselves as one to watch with smart, intense, risk-taking, aesthetically beautiful productions. Their new production of John Patrick Stanley's 2005 Tony-winner Doubt re-imagines the new classic with inventive staging that brings the themes of doubt vs. certainty, racial and gender inequality, and the power hierarchy of the Catholic Church into almost painfully sharp focus.

Wednesday, August 5, 2015

Fringe Festival 2015: "The Picture of Dorian Gray"

Day: 6

Show: 28


Category: Drama


Written by: Oscar Wilde

Location: Ritz Theater Proscenium

Summary: A modern adaptation of Oscar Wilde's novel about a cold, cruel, beautiful man and the artist who's in love with him.

Highlights: As in last year's One Arm, director/scenographer Joseph Stodola once again presents a stylistically beautiful and ambitiously staged drama with a cast full of fantastic actors. The show opens with a sort of dark dance as the characters move around the stage, fight, and create beautiful pictures (movement by James Kunz). All are dressed in black, white, and gray, and florescent lighting is well used to create some stark images (lighting by Karin Olson). The whole look of the show is sleek and cool, which matches the tone of the story. Dorian (Trevor Goris) is not a likeable character - selfish, conceited, cruel, and obsessed with the idea that his picture should age while he remains young and beautiful. He has poor Basil, the artist (Caleb Fritz Craig), under his spell, parties with buddies Harry (Casey Hoekstra) and Alan (Ryan Colbert), and does not treat the women in his life well (Alexandra Dorschner and Kieherra Laing). Things take an ugly and violent turn but Dorian remains beautiful on the outside in this well-realized concept that leaves one feeling cold.

Tuesday, July 21, 2015

2015 Minnesota Fringe Festival Must-See List

Last night I attended the second Fringe preview, in which 30 shows presented a three-minute excerpt. I've also read the descriptions of all 175 shows. I give them all a +, ?+, ?, or -. Right now I've got over 50 +s, which isn't really feasible (if you go to every timeslot, that's 56 shows, but I'm not quite that insane). So I've still got some work to do to get my list down to a manageable schedule of 30-40 shows. But these shows for sure are going to make the cut (scheduling gods willing).

105 Proof or the Killing of Mack "The Silencer" Klein: the physical theater company Transatlantic Love Affair returns to the Fringe after a one-year absence with this story set in the Prohibition era. But the story doesn't really matter, what matters is that TLA tells stories in an achingly beautiful way. They are not to be missed.

Collyard / Nelson's Guide to Reviewing Fringe Festival Shows & Other Tips to Help Keep Your Cool In the White-Hot World of Amateur Criticism OR "So You Kept Their Postcard; Now What?": as a bit of an "amateur critic" myself, I can't resist hearing what they have to say about it. Plus, "fringe legends."

Couple Fight: Tom Reed is one of my Fringe faves with his one-man musical spoofs, so this creation with real-life wife Anna Weggel-Reed is a must-see in my book.

Edgar Allan: I missed this new musical about an 11-year-old Edgar Allan Poe at last year's Fringe, so I'm glad I have a second chance to see it.

FRANKENSTEIN: I'm not really a horror fan, but the preview was creepy and cool, and with three of the minds behind last year's creepy cool hit Crime and Punishment, I've got to check this one out.

High Flight: the preview for this piece was incredibly moving, with Theatre Pro Rata's Artistic Director Carin Bratlie introducing the show as a tribute to her father, who disappeared on a solo flight to Duluth, told through music (a brass quintet!) and dance.

The Mrs.: they had me at Shanan Custer. But also, the preview was really funny, like a comedy version of Big Love that also spoofs TLC's increasingly trashy reality shows. This one is called PolyGIMME a Break.

Oregon Trail: The Musical: like other children of the '80s, Oregon Trail was the first computer game I ever played. And now someone's turned it into a musical?! That is the very definition of must-see.

Parent Observation Day: have you ever seen a kids' dance class perform? There's always a kid who's totally in their own world, another performing every step enthusiastically, another who's always one step behind the group. The preview for this show was exactly like that, except that adults (who you can tell are actually good dancers) are playing the adorably awkward kids.

The Picture of Dorian Gray: Tennessee Williams last year, Oscar Wilde this year. New Epic's One Arm was one of my favorites of last year's festival, so I will definitely be checking out their new production.

Pretty Girls Make Graves: I never miss a Loudmouth Collective show, whether Fringe or not. Always smart, unique, and well done, whether funny or heartbreaking, and since this one is written one of my favorites Sam Landman it's a definite must-see.

Shelly Bachberg Presents: Orange is the New POTUS: The Musical: this sequel to 2013's ridiculous musical spoof of a certain former Minnesota congresswoman is set in a prison a la Orange is the New Black. If that's not reason enough, the cast is fantastic.

To the Moon: a modern reimagining of the fairy tale genre sounds lovely, but the important thing is that it stars Debra Berger (from the quirky and charming 2013 Fringe hit Hello Stranger), Emily King (a gorgeous dancer as seen in Love's Labour's Lost), and local superstar Tyler Michaels (he's in everything), and was written by Tyler Mills (the lovely and poignant Jonah and the Whale).

Total Eclipse of the Heart: produced by The Peanut Butter Factory which only does good things, based on an awesome '80s song, and featuring an adorable kitten as the show photo. Come on.

Trial by Jury: I discovered The Gilbert and Sullivan Very Light Opera Company, which has existed for over 30 years, just this year. They're appearing in the Fringe for the first time with this one-act operetta from musical comedy geniuses Gilbert and Sullivan (whose work can also be seen in the Ordway's production of Pirates of Penzance, opening annoyingly right in the middle of Fringe).

Underneath the Lintel: if you missed Pat O'Brien's lovely one-man show about a librarian on a quest at the 2011 Fringe, now's your chance to see this moving and poignant show.

We Do Every Show in the Fringe: last year it was called Four Humors Does Every Show in the Fringe, but judging by the show photo, the concept and performers are the same - a hilarious improv show in which the cast performs a randomly drawn Fringe show based on the picture and description. (This is one you might want to make reservations for, see below.)



My annual tips for the Fringe newbie:
  • Buy a button and make sure you have it with you, it's required for entry to all shows. You can buy them in advance on the website or at any venue.
  • If you're going to multiple shows (and why wouldn't you?), buy a punch pass, available in quantities of 4 or 10, or unlimited if you plan on seeing more than 20 shows. It saves you $1-2 per show. Once you buy a pass, you can reserve a seat online at any show for $1.75, or just show up and present your pass (see below).
  • If a show is particularly popular, or you really really want to see it, consider buying (or reserving a seat) in advance. You can also take your chances and just show up. I typically only make reservations for a handful of shows that look like they might be busy (you can check the show's page to see if it's in danger of selling out).
  • All shows are general admission, so get there early for best choice of seating.
  • Shows typically run just under an hour, with a half hour between shows so it's feasible to get from any theater to any other in that time. But it's good to plan to see a bunch in one location to minimize transportation time; the highest concentration of theaters is in the West Bank neighborhood, with 6 theaters within a few blocks (4 in the same building - the Rarig Center on the U of M campus).
  • Bring snacks, water, reading material, and sunscreen - you will be waiting in line, probably outside. And be aware of what line you're in, often there's one line to check in and get tickets, and another to enter the theater and get your seat. Ask one of the friendly volunteers in the Fringe shirts if you need help with anything.
  • Keep an open mind - some of what you'll see is really weird. But that can be a good thing! And if you see a dud, well, that's part of the Fringe experience.
  • Each show has five performances, and on the last night of the Fringe (Sunday August 9), the show in each venue that has sold the most tickets receives a sixth show. Keep an eye out for the announcement late Saturday and check out a popular show you might have missed.
  • The Fringe website has pretty much all the info you'll need, so bookmark it on your smart phone for easy on-the-go reference!

Happy Fringe-ing!

Monday, May 11, 2015

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

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

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

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

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

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

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

Friday, August 1, 2014

Fringe Festival: "One Arm"

Day: 1

Show: 1

Title: One Arm

Category: Drama

By: Perestroika Theater Project

Written by: Tennessee Williams

Location: Southern Theater

Summary: An adaptation of a Tennessee Williams unproduced screenplay, in which a young boxer loses his arm and his identity, and turns to prostitution to survive.

Highlights: Like most Tennessee Williams plays, this one is a heart-breaker, full of tragic characters leading lives of despair. Ollie's (a compelling Bryan Porter) life is full of promise as a champion boxer until he loses an arm in an accident that kills two of his friends. Suffering from survivor's guilt and loss of identity, he falls into a life of hustling, traveling around the country to get by, not feeling anything. Until he ends up on death row, when the feelings come flooding back. The excellent supporting cast plays many well-defined characters in a series of perfect two-person scenes, including two of the tragic women that Williams writes so well (Aeysha Kinnunen), a well-to-do John (David Coral), and a seminary student visiting Ollie in prison (Adam Qualls). This is a fairly elaborate set for a Fringe show; it's clever and effective with a square made of pipes defining the small rooms, that can be lifted up and moved around to create a boxing ring or terrace or ship. One Arm is beautifully written, directed (by Joseph Stodola), and acted, and feels like a full and complete story despite it's under 60-minute run time. This moving portrait of a beautifully tragic character and the equally tragic people he meets is completely absorbing, an extremely professional and well done Fringe show, and a must-see for anyone who likes good quality drama in their Fringe.