"Speechless" by The Moving Company at Jungle Theater

The Moving Company is remounting their 2017 original piece Speechless, although I think it's more of a reimagining than a remounting. It is once again directed by co-Artistic Director Dominique Serrand and starring co-Artistic Director Steven Epp and Producing Artistic Director Nathan Keepers, but the other three company members have changed. So while maybe the framework is the same (loosely speaking, a group of friends mourning the death of a friend), the new ensemble members bring their own talents and skills to the equation, resulting in something new and different. Truthfully, I don't remember many details about this show from seven years ago other than there were literally no words, and it was unique and inventive and moving. So it was like a new and surprising show to me, and I was able to enjoy each delightful and sometimes mysterious turn. For that reason I won't give too many details about what happens in the show, because you need to experience that yourself without any preconceptions. So head to the Jungle before November 10, let go of expectations about narrative form, and enjoy the speechless but not silent experience of Speechless.

"Animate" by Mixed Blood Theatre at the Como Zoo

photo by Rich Ryan

Earlier this year, Jack Reuler announced his retirement as Artistic Director of Mixed Blood Theatre, a company he founded in 1976. Mixed Blood has truly become a model of inclusivity, diversity, and accessibility in theater, amplifying often unheard voices on stage and off, and making sure everyone is able to be in the audience with its Radical Hospitality program. But before he retires, Jack is directing another incredible site-specific piece. The new play Animate, written by Ken LaZebnik, is an immersive ambulatory play at the Como Zoo that is, of course, about a zoo. Specifically about the ethics of zoos, accepting donations from wealthy people of questionable character, and "does the good of the many supersede the good of the individual," human or animal. It's an impressive logistical feat, features a ton of #TCTheater talent, and asks some big questions without providing easy answers. In fact, the audience is asked to provide their own answers to the big questions of the show. Unfortunately, the entire (free) run is sold out, but stay tuned in case more dates are added (click here for details).

"Merge: Give Ear" streaming from the Cowles Center

Berit Ahlgren and Nathan Keepers
(photo by Shelly Mosman)

Give Ear is one of the many shows that were scheduled to open in March 2020; I call them "ghost shows." Some of them had a few performances before being cancelled, some of them just dress rehearsals or previews, some of them never even reached that point. Some of these shows will return in some form when theaters open again, but some will never come to be, and just remain an idea in the artists' minds. The Cowles Center gave creators Berit Ahlgren, Nathan Keepers, and company the opportunity to revisit Give Ear one year later and make it into something new. The result is a film/dance/theater piece that combines footage from the filmed final dress rehearsal last year and the new performance this year (both filmed on the Goodale Stage with no audience) with footage from the rehearsal/creative process (in one of the gorgeous studios in the Cowles Center) that sort of bridges the two performances. As Nathan says at one point, it "turned out to be super meta and weird." It's a look inside the artistic process as these artists try to make sense of the original piece they were trying to make one year ago and everything that's happened since. Nothing will be the same when this pandemic is over. Give Ear is an exploration of what that looks like for this one specific "ghost show."

"Liberty Falls 2020" web series by The Moving Company

The Moving Company is remounting their absurd comedy Liberty Falls 54321 as a four-part web series called Liberty Falls 2020, and I couldn't be happier about it. We revisit the specifically odd characters from the play (last seen in early 2017) in the specifically odd year that is 2020. The first three episodes are free to view, and if you like what you see, the fourth episode can be viewed for only $6.99. The talented and hilarious original cast (plus a few welcome additions) has reunited in creative ways to bring us wonderfully silly story, not without some social commentary. Click here to watch.

"Autonomy" by Mixed Blood Theatre at the St. Paul RiverCentre

Mixed Blood Theatre's latest project is wildly ambitious, and they accomplish it quite brilliantly. Reminiscent of Safe at Home, a walking play staged in nine locations at CHS Field with precise timing, Autonomy is a driving play staged at nine locations within the exhibit hall at St. Paul RiverCentre. It's a play about climate change, immigration, and autonomous vehicles (aka self-driving cars). A great guideline for making theater is "content dictates form," so when the content is about cars, why not surround the audience with classic cars and have them drive around in golf carts? A little on-the-nose, but it's quite effective. It's really too bad they're only running it for one weekend. There are four more groups of performances but only extremely limited tickets remain. Autonomy is a forward-thinking experiment in theater like you've never seen before.

"Scapin" by Ten Thousand Things

This spring, Michelle Hensley left the company she founded 25+ years ago, Ten Thousand Things, through which she nurtured a new kind of theater. The kind of theater that thinks first about the audience, makes the storytelling accessible to everyone, and brings theater to people who may never have experienced it before. I think we were all a little worried about the future of TTT without their esteemed leader, but never fear. Michelle has taught us well, and left the company in great hands - those of new Artistic Director Marcela Lorca, as well as adapter/director of the first post-MH show, Randy Reyes. This fun and wacky adaptation of the Moliere comedy Scapin is very TTT, and an absolute delight. Long live Ten Thousand Things!

"The Korean Drama Addict's Guide to Losing Your Virginity" by Theater Mu at Park Square Theatre

I interrupt this all-Fringe-all-the-time coverage to bring you news of Theater Mu's world premiere play The Korean Drama Addict's Guide to Losing Your Virginity, which opened last night. During Fringe. But the good news is they kindly let me attend a preview, and the run extends past Fringe you you still have time to check it out.

A romantic comedy about a rich Asian man and a hard-working Asian American woman featuring an all Asian cast. No, I'm not talking about the soon-to-be smash hit movie Crazy Rich Asians, I'm talking about a world premiere new play written by a local Hmong playwright and featuring a charming 10-person local cast. Theater Mu's The Korean Drama Addict's Guide to Losing Your Virginity, written by May Lee-Yang, is a sweet, funny, fantastical story about love, friendship, and the melodrama of life.

"Two Mile Hollow" by Theater Mu and Mixed Blood Theatre

My 280-character (or less) review of Theater Mu and Mixed Blood Theatre's first ever collaboration:

Friends, run don't walk to see #twomilehollow (co-production from @theatermu and @mixed_blood). I can't decide whom I love most in this cast of comic geniuses! But behind all the wackiness and humor is some seriously smart commentary on race and class in America.

"≈ [almost equal to]" at Pillsbury House Theatre

Swedish playwright Jonas Hassen Khemiri's* work makes its area debut with Pillsbury House Theatre's excellent production of the odd and oddly titled ≈ [almost equal to]. But odd in a good way, odd in that it's uniquely structured and covers many topics and doesn't always entirely make sense. In fact pre- and mid-show announcements break the fourth wall a bit and tell us what to expect (or not). According to the program, the play "is a commentary on the constraints and effects of living within a capitalist economic system." A mix of economics, sociology, and family drama, ≈ [almost equal to] will leave you questioning the very meaning of money. In a world with vast inequalities of wealth, that's a worthy thing to think about in a play that's also engaging and entertaining.

"Charles Francis Chan Jr.'s Exotic Oriental Murder Mystery" by Mu Performing Arts at the Guthrie Theater

With their new production of Lloyd Suh's recent Off-Broadway play Charles Francis Chan Jr.'s Exotic Oriental Murder Mystery, Mu tackles the issue of yellow face and the stereotypical portrayal of Asian Americans in media head on. Like Branden Jacobs-Jenkens' Octoroon (recently produced by Mixed Blood Theatre), the play includes yellow face and white face, a play-within-a-play format, and a weird human-sized animal. While Jacobs-Jenkins satirized the "antebellum melodrama," Suh satirizes the many stereotypes that have dominated the depiction of Asian Americans in popular culture, and specifically the dozens of movies from the '20s through '40s featuring detective Charlie Chan (played by a white man, natch). The result is a weird and trippy mash-up of stories, often told in exaggerated style, that effectively and poignantly exposes and skewers the stereotypes surrounding us while paying homage to the pioneers of Asian American theater.

"Flower Drum Song" by Mu Performing Arts and Park Square Theatre

The crown jewel of Mu Performing Arts' 25th Anniversary season is their gorgeous production of Rodgers and Hammerstein's Flower Drum Song, with an updated book by Tony award winning playwright David Henry Hwang (who was in attendance opening night). A co-production with Park Square Theatre, it features a fantastic cast of 17 local Asian American actors (many of whom have grown up with and been trained by Mu), a timely story of immigrants in America, beautiful design, and a classic Rodgers and Hammerstein score played by a sparse and lovely five-piece onstage band. It's a production that is made possible because of Mu founder Rick Shiomi's decision to start an Asian American theater company in Minnesota 25 years ago, and the Asian American art and artists that Mu has supported and fostered over the past 25 years.

"The Oldest Boy" at the Jungle Theater

Friends, it's really hard to go back to writing about theater when half of the country is devastated, and I happen to be in that half. But maybe now, when politics and politicians have failed us, is when we need to turn to our artists. Our playwrights, our actors, our painters, our sculptors, our dancers, our comedians, our musicians. To heal our wounds, to bring people together, to make sense of the world, to promote social justice and equality. The Oldest Boy perhaps doesn't seem on the surface to be a profound political statement Rather it's a simple story of love, faith, and non-attachment. Which perhaps is the most profound statement of all, and one that I, for one, would like to focus on today of all days. The world was a different place when I left the Jungle Theater last night than when I entered it, but for two hours but I was immersed in a world of love, learning, sacrifice, faith, and hope.

"The Two Kids that Blow Shit Up" by Mu Performing Arts at the Rarig Center Arena

The Two Kids that Blow Shit Up. It's a catchy title, although I'm not sure how descriptive it is. But I am sure that Two Kids is a fantastic new play and one that we sorely need. It's the story of a life-long friendship between an Asian American man and woman who meet as children when their mother and father begin a troubled relationship. While it's tempting to say these two characters are fascinating, complex, realistic people who just happen to be Asian American, that's discounting the impact that ethnicity, culture, and race have on their lives, on all our lives. Their ethnicity adds a level of specificity to these characters, and more importantly, it allows an often marginalized community to see themselves at the center of this very human, messy, funny, beautiful story. As a middle class white woman from the suburbs of Minnesota, I can never fully understand what it's like to rarely see yourself or your community represented on TV, in movies, and on the stage, or perhaps even worse, misrepresented. But I can recognize what a rare and beautiful thing this is. And it's also a smartly written and directed play, beautifully acted by two of the Twin Cities' best.

"Tot: The Untold, Yet Spectacular Story of (A Filipino) Hulk Hogan" by Mu Performing Arts at Park Square Theatre

I attended the Saturday matinee of Mu Performing Arts' world premiere play Tot: The Untold, Yet Spectacular Story of (A Filipino) Hulk Hogan with all three of the Minnesota Theater Lovers (my friends and fellow theater bloggers). As we chatted over our post-show meal at the Afro Deli, it soon became apparent that we had very different experiences at the show. I find this fascinating and actually kind of cool, how two people can watch the same thing and see something entirely different. That's the beauty of theater, a beauty that, like for any art, is in the eye of the beholder; the theater-goer is just as important as the theater-makers in creating the experience. You'll have to head over to Minnesota Theater Love to read their perspective, and read on here for mine. Which is that Tot is, while a bit wacky and unclear in parts, a compelling and moving story of a boy whose world is turned upside down and who deals with it through a rich fantasy world.

"You for Me for You" by Mu Performing Arts at the Guthrie

You for Me for You. Judging by the title I wondered if this was a play about former American Idol judge Randy Jackson. But of course it's not, rather this regional premiere by Mu Performing Arts is about North Korea, a subject I (and most Americans) know less about than American Idol. I was fortunate enough to attend the play when there was a post-show discussion with the playwright Mia Chung and director Randy Reyes, facilitated by the Star Tribune's Rohan Preston (read his review here). Hearing from the playwright, the director, and the cast about their experiences creating this piece gave me greater insight into the story. Mia shared that because there is so little known about what North Korea is actually like, she felt freedom in creating this world through "magic realism" and really tried to focus on the human aspect of the story. She succeeds beautifully, as I was completely engrossed in the lives of these characters as brought to life by Mu's strong cast (the first to feature Korean actors in the three lead roles). This specific story of North Korean refugees is also universal in its themes of family, love, and sacrifice, themes that will feel familiar to any audience.

"Purple Cloud" by Mu Performing Arts at Mixed Blood Theatre

In celebration of 50 years of Asian American theater, Mu Performing Arts is presenting their 49th (if memory serves) world premiere play about the Asian American experience. That's an incredible commitment to new work, and to giving voice to stories that might not otherwise be heard. And while Purple Cloud is a specifically Asian American story, it's true what they say that the more specific a story is, the more universal it is. This "hapa" (meaning mixed) girl's search for identity, family, and a place in the world is something everyone can relate to in some way, and told in an innovative, imaginative, fantastical yet grounded way by playwright Jessica Huang.

"Murder for Two" at Park Square Theatre

I do not advocate murder, unless it's of the fictional and musical variety. Then I'm all for it, especially when it's as delicious as Theater Latte Da's brilliant production of the Sondheim classic Sweeney Todd, as darkly hilarious as History Theatre's new original musical Glensheen, or as just plain fun as Park Square Theatre's Murder for Two, now playing on the Andy Boss stage. This two-person musical/comedy/mystery is funny, entertaining, and impressive to watch with its multitude of characters seen and unseen, and musical tricks by these two multi-talented performers.

In this delightfully silly murder mystery caper, Nic Delcambre is local cop Marcus who tries to solve the murder so he can make detective, and Andrea Wollenberg is everyone else. She is the wife of the victim, a murder mystery novelist who was shot in the forehead at his surprise party, as well as all of the guests at the party, including a ballerina, a grad student studying criminology, a bickering couple, a psychiatrist, a fireman, and a boys choir. They're all suspects, and Marcus interviews each of them in turn, with Andrea deftly transforming herself with a simple accessory, a change in voice, and a new physicality. It's quite a feat, and she pulls it off beautifully. The two actors seem very comfortable and playful with each other and the audience, ad libbing on occasion and making sure everyone is having a good time. And we are.

Nic Delcambre and Andrea Wollenberg

Oh, and did I mention that they both play the piano masterfully? And sing beautifully (or not, depending on the character)? Accompanying themselves and/or each other, playing together or separately or seamlessly switching in between, it's another challenging piece of the puzzle that is this crazy good show. Director Randy Reyes and his team (including Music Director Stephen Houtz) have intricately choreographed the show, executed in such a way that it looks easy breezy, which takes an incredible amount of skill, concentration, and practice.

For an extra treat, I saw the show on a "2 Sugar Tuesday." Those of you who've seen the charming and poignant Ivey-winning show 2 Sugars, Room for Cream, written and performed by Shanan Custer and Carolyn Pool (aka the Tina Fey and Amy Poehler of the Twin Cities), know just what a treat this is. In a new program, Shanan and Carolyn play hostess for one performance of many of the shows at Park Square this season. A mere $20 dollars gets you a ticket to the show, a pre- and post-show performance/ discussion/chat with the 2 Sugars ladies, and a free drink! Just look for the "T" on the calendar on each show's page on Park Square's website. Last night before the show Carolyn and Shanan told us a few things about the show and performers, and asked for questions from the audience. After the show, they facilitated a discussion with the uber-talented performers. All while being funny and charming and silly. It's a great deal, and a fun way to bookend an already fun show!

So, to review, go see Murder for Two for a delightfully silly murder romp performed by two nimble actor/singer/pianists/comedians. Then when the next show opens at Park Square, go to the "2 Sugar Tuesday" performance for a fun and unique theater experience. Got it?

"Twelfth Night" by Mu Performing Arts at Mixed Blood Theatre

"If music be the food of love play on!" So goes one of Shakespeare's most famous lines, this from the romantic comedy Twelfth Night. Music, love, and play are three words that strongly come across in Mu Performing Arts' new production of this classic. Continuing their summer tradition of giving an Asian-American twist to traditional (i.e., typically Caucasian) works of theater, Mu has reimagined Illyria as "a self-governing indigenous Asian island, colonized by a Western power." They've also trimmed it to 99 minutes (of which I heartily approve, having recently declared Shakespeare should always be 90 minutes) and infused it with much playful humor and charming musicality. The result is an absolutely delightful romp through one of Shakespeare's most popular comedies.

If you, like me, have a tendency to get all your Shakespearean romantic comedies confused, here's a brief reminder. Twelfth Night is the one with the shipwrecked male and female twins who are separated, each thinking the other is drowned. Viola decides to disguise herself as a man, as one does in such situations, calling herself Cesario and going into service for the Duke Orsino. On his behalf she woos the mourning Olivia, who wants nothing to do with the Duke but falls for young Cesario, who in turn is in love with the Duke. Viola's twin Sebastian shows up later causing much amusing Shakespearean confusion. Meanwhile, Olivia's kinsman, Sir Toby the buffoon, and her handmaid Maria play a cruel trick on another member of her household, Malvolio, using his love for Olivia to humiliate him. It's all tied together with music, "the food of love," and in the end everyone lives happily ever after as true identities are revealed.

Randy Reyes (director and Feste) and the cast of Twelfth Night
(photo by Keri Pickett)

Director Randy Reyes has encouraged playfulness in his cast, setting a great example through his role as Feste the clown (a great role for a director, as he spends much of his off stage time sitting among the audience observing). Randy's Feste is charming, hilarious, and smarter than everyone else, as fools often are. He also plays the ukulele and sings some lovely original music composed and music directed by Jason Hansen, joined by the four-person chorus, who sing and play some percussion instruments (a small taste of Mu's fantastic taiko). The large ensemble cast is great, some playing multiple parts. Highlights include Eric Sharp as Malvolio, playing all the layers of his pride, foolishness, and humiliation; Eric "Pogi" Sumangil and Alex Galick, providing much of the comedy as the real fools in the show, Sir Toby and Sir Andrew; Francesca McKenzie, with Shakespeare's words flowing naturally out of her mouth as the mourning and crazy in love Olivia; the appealing Stephanie Bertumen as Viola/Cesario; and Emma Valentine, stealing scenes as the lisping hook-handed pirate.

the chorus with Olivia (Francesca McKenzie) and
Maria (Su-Yoon Ko, photo by Keri Pickett)

The look of the show, set on an Asian island, is spot-on. Great use is made of the space at Mixed Blood, with audience on both sides of the stage, which is constructed of natural looking wood in several levels giving plenty of space to play (although it is a bit like watching a tennis match at times). Stacey Palmer's Asian-inspired costumes are gorgeous, from Olivia's cool and pretty white and gold ensemble, to Malvolio's sharp military jacket, to the chorus member's colorful gowns.

Mu's take on Twelfth Night is musical, playful, and fun. It doesn't delve too deeply into the issues in the play (gender, identity, love, e.g., both the Duke and Sebastian are played by women, but I'm not really sure what that's supposed to signify, if anything), but it's a summer comedy and is as light and refreshing as one should be. And providing a place for Asian-American actors to play all sorts of roles is not insignificant in a world where the practice of "yellow face" still exists. Twelfth Night continues at Mixed Blood Theatre through June 14 (discount tickets available on Goldstar)

"The Debutante's Ball" at the History Theatre in Partnership with Mu Performing Arts

The History Theatre excels at taking stories from Minnesota's past and putting them on stage in a way that's full of life and relevant. The latest example of this is The Debutante's Ball by local playwright Eric "Pogi" Sumangil. The play was part of last year's new works festival "Raw Stages" and is now receiving a full production on the History Theatre stage. This story of a milestone in the life of local Filipino-American youths was charming and poignant as a reading, and it's even more so now with the benefit of sets, costumes, and choreography. It feels very real - the playwright based many of the characters and situations on his own experience, and memorabilia from recent Balls are displayed in the lobby. The specific and detailed look at one culture's tradition speaks to the larger theme of how we find and hold on to our culture, family, traditions, and identity in the ever changing modern world.

At the heart of this story is the teenager Ana (an appealing Stephanie Bertumen), who moves out of her parents' home because they want her to be an assimilated American and can't understand why she longs to learn more about her Filipino heritage. She finds the Valentine's Day Ball and the weekly classes to prepare for it, taught by the strict and traditional Tita Belinda (Sherwin Resurreccion, showing us the heart behind the tough exterior). There she meets other Filipino youth who are participating for different reasons, and are the typical range of high school characters - the awkward nerd, the cocky jock, the spoiled popular girl (played with youthful charm by Kylee Brinkman, Joelle Fernandez, Alex Galick, Maxwell Thao, and actual high schooler Jeric Basilio). The language is natural; these kids talk like real teenagers talk, with a few Tagalog words thrown in. Ana struggles to balance work, friendship, money, and her relationship with her parents, but with the help of her new friends is able to accomplish her goal of participating in the Debutante's Ball. Through this experience she learns something she hasn't been able to learn from her endless research - what it's like to really be part of a community and be proud and confident in who you are.

Part of Ana's research into her heritage is to watch videos, which we see played out by the cast onstage as Ana watches from the aisles. A cheesy soap opera that mirrors her parents' experience, a comedy routine, a children's story, a rap that explains the origins of the Ball. It's a clever device that allows the audience to learn about Filipino culture along with Ana. Another tradition we see onstage is a boy serenading a girl he likes outside of her house, a sweet and tender moment of young and innocent love.

the debutantes at the ball (photo by Scott Pakudaitis)

The play is called The Debutante's Ball - so there better be dancing and pretty dresses! Rest assured, there is. After spending two hours getting to know these characters I almost felt like their parents must, a sense of pride at what they've accomplished and how grown-up and mature they are. The girls look lovely in their matching white flowy dresses (costumes by Kathy Kohl), the boys handsome in their tuxes. The story culminates in a dance (choreographed by Pogi) that's quite beautiful on the surface, but goes much deeper knowing the tradition, stories, and people behind it.

The Debutante's Ball is a universal story of a young person coming of age and trying to figure out who they are, where they came from, and where they fit in the world. Continuing at the History Theatre through April 12 (discount tickets 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!