"Helen" by Ten Thousand Things at The Capri Theater

Six years after taking over as Artistic Director of Ten Thousand Things from founder Michelle Hensley, Marcela Lorca is directing her final show with the company before moving on. For this, she returns to one of her favorites - Greek tragedy. Specifically, she worked with playwrights John Barton and Kenneth Cavander on their adaptation of Euripides' Helen, a different retelling of the tragedy of the Trojan War than we usually hear. This adaptation, Marcela's direction and choreography, and this uber talented cast make this two thousand year old play feel refreshingly modern and relevant. And don't let the word tragedy fool you; this Helen is full of lightness and humor and music, albeit tinged with tragedy, specifically around the senselessness and destruction of war. My theater blogger friend asked me if this was a must see, and I said - of course it is, it's Ten Thousand Things! Marcela Lorca is concluding her tenure at TTT on a high note, and I look forward to how this uniquely special company created by Michelle Hensley continues into the future. In the meantime, you can see Helen at The Capri Theater, Open Book, United Methodist Church, or various locations around the community through November 10.

"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.

"Johnny Skeeky; or, The Remedy for Everything" by Theater Latte Da at the Ritz Theater

I'm not sure what I expected from the new work of music-theater Johnny Skeeky; or, The Remedy for Everything, based on Puccini's one-act comic opera Gianni Schicchi, but it wasn't... that. #TCTheater legends Bradley Greenwald and Steven Epp have adapted the story about a wealthy man's family fighting over his will (with additional inspiration from Succession and Arrested Development) and written new English lyrics for the music. The result is the most ridiculous and delightful opera I've ever seen. If it can even be called an opera anymore; there's much more dialogue than operas typically contain. But whatever you call it, it's simply a joy to watch this outrageously talented cast sing this gorgeous music with modern, silly, and even sometimes crude words. It's a 100-minute wild romp of an opera. You have plenty of time to get to the Ritz Theater in Northeast Minneapolis and see it before it closes in early July. And if you like music, comedy, and creativity - you definitely should.

"The Hatmaker's Wife" by Ten Thousand Things at Hennepin Avenue United Methodist Church

The Hatmaker's Wife by Lauren Yee (whose most recent work produced in #TCTheater was the epic Cambodian Rock Band by Theater Mu and Jungle Theater) feels like it was written for Ten Thousand Things (it wasn't - it premiered over ten years ago). It's in the vein of their magical fairy tale stories, that I think is my favorite kind of TTT show (even more than their clear-eyed Shakespeare or stripped down musicals). I can't imagine a "normal" theater company doing this play, meaning on a proscenium stage separated from the audience, with fancy lights, sets, and costumes. It's so well suited to the TTT All the Lights On style, weaving a magical and moving tale simply through the talents of the performers and the power of collective imagination (that makes even the aggressively religious paintings in the room at Hennepin Avenue United Methodist Church fade into the background). It's a story of love, and disconnection, and grief, and hope, a wistful and whimsical story of talking walls, golems, and connections across time. These hats continue to sing at Hennepin Avenue United Methodist Church this weekend (with a huge free parking lot) and then will move on to Open Book for two final weekends.

"Say All the Truth" at the Jungle Theater, a co-production with The Moving Company

In the last couple of years, the Jungle has brought us several successful co-productions, combining their resources, audiences, and artistry with other theaters around town (including Theater Mu, Trademark Theater, and WeAreMarried). Their latest successful co-pro is Say All the Truth, an adaptation of Moliere's The Misanthrope created by The Moving Company. MoCo was birthed out of Theatre de la Jeune Lune, the Tony Award-winning company that ended in 2008. Between the two companies, they've done all of Moliere's plays, except this one. The story of a man who doesn't like people and wants to live away from society resonates particularly well right now, when that's sort of what we were all forced to do during the pandemic, and maybe some of us discovered we liked it, because people can be exhausting and infuriating. But still, the play quietly illustrates the power of and need for human connection. And like all of MoCo's work, it's mesmerizing, thoughtful, elemental, creative, and quite lovely. Say All the Truth continues through November 26, but tickets are selling well with the combined popularity of these two companies, so don't wait too long to grab yours.

"The Defeat of Jesse James" at History Theatre

#TCTheater's favorite musical theater creative team Hatcher and Poling is back! Prolific local playwright Jeffrey Hatcher and longtime local musician/composer Chan Poling have teamed up on a number of musical theater pieces, the most successful being Glensheen, which History Theatre will be remounting once again this summer. Their newest work, began several years ago at the suggestion of History Theatre's recently retired Artistic Director Ron Peluso, is The Defeat of Jesse James. If you're thinking, I've already seen this story, you're not wrong. The story of the famed outlaw, whose career in crime was essentially stopped right here in Minnesota, has been told countless times. But you've never seen it quite like this - as a rock concert. This format allows the creators to not just tell this familiar story, but also comment on it, and our fascination with it. The all-star cast gives their all to this show that is delightfully meta, thought-provoking, and super fun. See it at the History Theatre in downtown St. Paul now through May 28.

"The Revolutionists" at Park Square Theatre

"Who lives, who dies, who tells your story?" This quote from Hamilton (coming to Minneapolis next week) could also describe Park Square Theatre and Prime Productions' co-production of The Revolutionists. Both pieces are a more inclusive retelling of history, both take place in the late 18th century, both feature citizens staging a revolution to make their country a better place. The Revolutionists is the story of four historical women in the French Revolution, so "who dies" is most of them (Madame Guillotine comes for us all in the end), and "who tells your story" is Lauren Gunderson, one of the most produced playwrights in the country and one of my favorites. She has a knack for writing historical women as if they were alive today, with modern language and experiences that relate directly to today's world. Her dialogue sparkles with wit and meaning, her characters are real and fully rounded people, and this fantastic four-person cast brings them to vivid life on Park Square's stage. Sadly, this will be the last play on that stage for the foreseeable future; Park Square has cancelled the remainder of their season to regroup and recover from a couple of tough years, and hopefully come back stronger next season. So don't miss this chance to see their always great work, this time made better by collaboration with Prime Productions, a company that focuses on telling stories by about women in their prime. The Revolutionists is another in a series of smart, successful, entertaining collaborations this #TCTheater season (continuing through April 16 only).

"Anamnesis" by The Moving Company at the Southern Theater

Two years after their last live show (during which interval they produced a charming, funny, and profound little web series called Liberty Falls 2020), the Moving Company is back on stage where they belong. As I found my seat in the nearly full-to-capacity vaxxed and masked crowd at the Southern Theater last night, and saw the black tarp-covered object filling the space under the historic arch, I had no idea what I was in for. But after ten years of experiencing this company that is the descendent of the famed Tony-winning Theatre de la Jeune Lune, I knew it would be unique, inventive, and, yes, moving. Anamnesis is all that and more (continuing at the Southern Theater through December 4).

"The Comedy of Errors" by Ten Thousand Things at Plymouth Congregational Church

Last night I saw Ten Thousand Things perform Shakespeare (live and in-person, which 20 months ago would have seemed like an absurd qualifier), and for about 90 minutes, it felt like everything was right with the world. No one does Shakespeare like Ten Thousand Things; no one makes it as understandable, relatable, relevant, and fun. And when you're talking about Shakespeare's silliest and most slapsticky comedy, The Comedy of Errors, it's all about the fun. With just six actors playing all 15 (or 47, who's counting) roles, it's a rollicking good time. Of course not all is right with the world, we're still very much in the thick of this pandemic, which means TTT can't do their most important work - bringing theater out into the community to people who aren't usually able to experience theater. But they can still do what they do for the people who show up at Plymouth Congregational Church, with a pay-what-you-can option to make it more accessible. And what they do is tell stories, in the most delightful and in-the-moment way imaginable, with all the lights on.

"what if" by the Moving Company at the Lab Theater

The Moving Company's latest original work what if is made up of two separate and very different parts that together form a "moving," "funny," "thought-provoking" piece of theater. I use quotes because in this sort of meta, fourth wall breaking piece, the performers talk about theater, and how we talk about theater, and say just about every world I've ever used to write about theater. It's sort of about theater itself, why we do theater, why we go to the theater. And it's also about humanity, and the origins of storytelling, and the what if of imagining ourselves in someone else's shoes - both as performers and as audience members. It's a process of creating empathy, of making this very big world seems smaller, or more familiar, or more connected. Forgive me if I'm not making sense, or talking in circles, but such is this piece of new and original theater.

"Sisters of Peace" at History Theatre

In the second of a three-show HERstory spring, the History Theatre is telling the true story of four local sisters and Sisters who actively work for peace and justice. The aptly named Sisters of Peace brings these four amazing women to life on stage (who, by the way, are still alive and continuing their work in their 80s and 90s). I was so moved and inspired by these courageous and determined women who ceaselessly work to create a better world, that I was often moved to tears, amidst the laughter of their lives. These women fight not with weapons, but with kindness, music, love, and laughter. We would all be better people if we lived by the mantra, "what would the McDonald sisters do?" Sisters of Peace is not only a truly feel-good piece, but also a call to action to live more authentic lives and consider our fellow beings on this planet.

"The 4 Seasons" by the Moving Company at the Lab Theater

The Moving Company (which grew out of the ashes of the Tony-winning Theatre de la Jeune Lune) is back this fall with a very Moving Company kind of show. Which is to say original, profound, silly, thoughtful, delightful, sweet, surprising, and a little odd. Conceived by co-Artistic Directors Steven Epp, Nathan Keepers, and Dominique Serrand, The 4 Seasons was inspired by the idea of the four seasons, including Vivaldi's famous composition Four Seasons and Piazzolla's less famous composition Four Seasons. They also drew inspiration from Chekhov, and this quote from the Russian playwright about his work could also describe MoCo's work, and this piece in particular: "What happens onstage should be just as complicated and just as simple as things are in real life. People are sitting at a table having dinner, that's all, but at the same time their happiness is being created, or their lives are being torn apart."

"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!

"Awake and Sing!" at Artistry

I love sad plays. I love stories of miserable families who love each other but don't know how to express it in healthy ways. Awake and Sing!, now playing at Artistry's black box theater, is one such tragically beautiful and beautifully tragic play, like Tennessee Williams set in the Bronx. Or rather, since Clifford Odets' 1935 play predates Williams' major works, I guess I should say that Tennessee Williams is like Odets set in the South. The multi-generational Berger family has become beaten down by life, with the younger generation trying to break free and make a new life in this new country, if only it will let them. With a strong cast and detailed design in an intimate space, Artistry's production is beautiful and heart-breaking.

"Speechless" by The Moving Company at The Lab Theater

"Words are heavy. They're like stones. If birds could talk they couldn't fly.*" This quote from my favorite TV show Northern Exposure perfectly expresses my feelings about words (anyone who's met me knows I save the bulk of my words for this blog). Words are hard. Sometimes words aren't enough to express our thoughts and feelings (as Evan Hanson sings, "words fail"). And words are open to interpretation, sometimes they come out differently than how we intended them. The Moving Company (one of my favorite #TCTheater companies in the last six years, since seeing Come Hell and High Water in 2011) has taken that idea of the inadequacy of words and extended it into a 75-minute wordless (but not entirely silent) exploration of... well... a bunch of stuff. Created by the five-person ensemble under the direction of Dominique Serrand and using movement, music, and a little how'd-they-do-that theater magic, Speechless is poignant, heart-breaking, funny, and mesmerizing.

"Refugia" by the Moving Company at the Guthrie Theater

One of my favorite theater companies, The Moving Company (an offshoot of the dearly departed Theatre de la Jeune Lune), made their Guthrie debut last weekend with Refugia, after five or so years of producing new work that is interesting, bizarre, lovely, or all of the above. Several of my fellow Twin Cities Theater Bloggers* saw it opening night and had some strong reactions, to say the least. Even though I mostly stayed out of the conversation, when I saw the show last night I couldn't help but look for issues. And I did find some, although I also found some really beautiful moments and a powerful and timely message. Would I have noticed these issues if not for my friends? I don't know, but I'm grateful to them for speaking their experiences honestly and opening up a conversation. A conversation that will continue with an open forum discussing representation** in theater coming up at the Guthrie (I'll post the details when they become available). In the meantime, go see the show and decide for yourself.

"The Changelings" by Ten Thousand Things at Bedlam Lowertown

The final show in Ten Thousand Things' 2015-2016 season is another new play from their playwright in residence, Kira Obolensky. Ten Thousand Things is in the business of telling stories and sharing human truths through fairy tales, because that distance and sense of fantasy allows their non-traditional audiences (they perform for free in prisons, homeless shelter, community centers, etc., as well as paid public performances for more traditional audiences) to see their own lives and experiences reflected back at them, without the harshness of reality.* The Changelings, like last year's Forget Me Not When Far Away and Dirt Sticks two years ago, is a new original fairy tale set in an unspecified time and place (the playbill tells us the three plays exist in the same universe). And like those two plays, it's charming and funny and poignant as it speaks of love, loss, grief, hope, family, and community, a relatable human story set in a made-up world that appeals to traditional and non-traditional theater audiences alike.

"Forget Me Not When Far Away" by Ten Thousand Things at Minnesota Opera Center

The village of Farmingtown has been devoid of men for so long that when one returns from the far away and long-lasting war, the first woman he meets rushes up to him and inhales him deeply. This hilarious and oddly touching moment at the beginning of Kira Obolensky's new play Forget Me Not When Far Away sets the tone for this playful and poignant fairy tale about a soldier returning to a home he once knew. Ten Thousand Things has been on the road with the show for a few weeks, performing at correctional facilities, community centers, and other unlikely venues. As director Michelle Hensley said in her introduction of the show (which has come to be one of my favorite parts of a TTT production), the fact that this play has resonated with such diverse audiences in different ways is a credit to the skills of the playwright, who has created a world outside of time and space that somehow feels familiar and relatable to everyone. This world is brought to life in the beautifully sparse way that only Ten Thousand Things can do, with a brilliant cast of six performing in a fully lit room in a space so small that they literally trip over the audience. The fanciful story is grounded in truth and made to feel very real by the universality of the story, the charming accessibility of the language, the up-close-and-personal performances by the actors in whom you can feel every nuance of every emotion through a look in the eyes, the twinge of a facial muscle, or a subtle movement of the body. Ten Thousand Things harnesses the magic of theater in its most basic form like no other company can.*

Farmingtown is a quaint village in which news is passed by the town crier, the main employment is farming and working in the morgue, and the men all go off to war while the women stay home. The women have adjusted well to this man-free life, taking charge of all systems and businesses in town. They're in for a shock when one John Ploughman returns from war, discharged due to an injury. The more than 20 women depicted in the play (portrayed by just five actors) all react to him in a different way, from the aforementioned inhaling, to surprise, to skepticism, to a determination to win him. Lacking the necessary paperwork to prove that he's not dead as was announced, John faces a tough road readjusting to life in Farmingtown. He's searching for a woman he knew before the war, a woman he now loves but scorned in the past, when he was a bit of a playboy. It turns out Flora Crisp has been pining after him all these long years, or at least the idea of him. But this isn't your typical love story; the people of Farmingtown find love and fulfillment in different ways, as the war ends and a new chapter of their lives begins.

John Ploughman at the bar (Ron Menzel with Shá Cage,
Photo by Paula Keller)

Ten Thousand Things often casts their show without much regard to gender, changing the gender of characters or casting women as men or vice versa. But in this play it's quite specific that there is only one man in town, surrounded by women (and one awkward and adorkable little boy). Ron Menzel is that man, his masculinity standing out in a soldier's uniform against the women in their cute but functional dresses and colorful Keds (costumes by Sonya Berlovitz). Ron is one of my long-time faves from the Guthrie (beginning with the memorable Intimate Apparel nearly ten years ago), and it's a thrill to see him in this setting as he fully inhabits this character in every moment of his journey, effortlessly portraying the frustration, hope, desperation, brokenness, determination, and above all humanity in this man in all his flaws and glory.

three of the bewigged women of Forget Me Not When Far Away
(Elise Langer, Shá Cage, Karen Wiese-Thompsonm
photo by Paula Keller)

I can't say enough about these five women who play over 20 characters, differentiated not only by the wigs on their heads but also by a unique voice and carriage of the body. All of them give sometimes hilarious, sometimes touching, always specific performances, including:

• Sun Mee Chomet as the wounded Flora, the tough landlady, and the steady barkeep
• Annie Enneking as a prim and proper government worker, John's ex, and a singer at the bar (singing songs she wrote)
• Elise Langer as a possibly drunken postal worker, a ditsy blond, the town crier, and perhaps my favorite character - a little boy who's slightly off but open and loving and wise
• Karen Wiese-Thompson as a cigarette-smoking trench coat-wearing PI, a dentist, and Flora's concerned grandmother
• Shá Cage as a fortune teller, a timid little girl, and a woman chasing after John who turns out to be a good friend

Ten Thousand Things travels light in terms of props and set pieces, which only seems to make them more creative. Irve Dell's clever and efficient set consists of four standing metal frames that hinge down to represent a door, window, or bar, with two metal boxes serving as all the other necessary furniture. Peter Vitale creates a delightful soundtrack for the story, subtly setting the tone. For some reason there's clog dancing, which provides a reason to show off Jim Lichtsheidl's charming choreography.

Forget Me Not When Far Away is a delightful story about returning home, reconnecting, and re-establishing your identity in a changed world. Like other TTT productions, the show feels like the neighborhood kids have gotten together to put on a play in someone's backyard, if your neighborhood were populated with some of the most talented theater artists in town. Paid public performances continue at the Minnesota Opera Center and Open Book through the end of May. Go see it, and then make plans for next season when TTT continues their pattern of Shakespeare-musical-new play with Henry IV Part I, Dear World, and Changelings by Kira Obolensky.



*To find out more about the magic of TTT, check out founder and Artistic Director Michelle Hensley' book All the Lights On.


This article also appears on Broadway World Minneapolis.

"Love's Labour's Lost" by the Moving Company at the Lab Theater

The Moving Company's new adaptation of one of Shakespeare's earliest romantic comedies, Love's Labour's Lost, includes at least one line from each of his 37 other plays. Not being a Shakespeare expert, I only recognized a few, mostly from Hamlet and Romeo and Juliet, the two plays with which I (and probably most people) am most familiar. If I didn't know that they had removed sections of the original play and replaced them with lines from other plays, I would never have known; it feels very much like one cohesive story, not at all the mash-up that it is. Which is a credit to creators Steve Epp, Nathan Keepers (both of whom also star in the play), and Dominique Serrand (who directs), who have so seamlessly woven in lines and plot points from other plays to create something entirely new and original. In typical Moving Company style, it's at times wacky, or funny, or moving, or just plain entertaining.

The original plot of Love's Labour's Lost follows a king who convinces his three companions to join him in three years of intense study, fasting, and avoiding the company of women. This only lasts until the daughter of the King of France arrives with her three comely companions, and the men forget their vows to woo the women. We follow these four love stories through the ending, which is not your typical happy ever after, but allows room for the possibility.

Other than Steve Epp and Nathan Keepers (Co-Artistic Director and Artistic Associate), the rest of the 13 person cast are all new to The Moving Company, but it doesn't feel that way. They all mesh very well in the MoCo aesthetic and bring their own skills to the table. As one of the four pairs of lovers, Emily King and Lucas Melsha have created several stunningly beautiful dances, in a sort of animalistic modern dance style. These two characters speak no words but say everything with their bodies. Jim Lichtsheidl is such a unique and gifted physical comedian, a skill that's on great display here. There's music too, with a couple of songs sung by the ensemble in gorgeous harmony (not surprising with voices like Ricardo Vazquez and Jennifer Baldwin Peden). Steve and Nathan are a couple of goofballs and work so well together after years of collaboration. Heidi Bakke as the object of their affection completes this silly trio.

Director Dominique Serrand has created an exceedingly simple set that is so lovely and evocative - just an AstroTurf-like carpet unrolled on the floor, and sheer fabric creating the green of the field and the blue of the sky, that ripple with the slightest motion. I absolutely loved the costumes (by Sonya Berlovitz), so unique and creative and perfectly suited to each character. In the first act everyone is dressed in military garb - traditional camouflaged soldiers and warrior women looks; the second act civilian costumes are beautiful but whimsical, with each pair a perfect matched set. Of particular note is the king's daughter, who goes from an armored breastplate to a lusciously full-skirted gown.

This is my 6th Moving Company show, and they never cease to surprise and delight me with their innovative and unique style of creation. Love's Labour's Lost, billed as "a fresh new riff on a very old play," covers all the bases - it's sweet and poignant, with some lovely dancing and music, and silly entertaining antics. Watch the video below to get a taste of the show, and then order your tickets here.

"Werther and Lotte" by the Moving Company at the Lab Theater

I first saw The Moving Company last year when they created an original work called Come Hell and High Water, based on a William Faulkner novella about the 1927 Mississippi River flood.  I found it to be unique and moving and unexpected.  Their new work, Werther and Lotte, reunites two of the actors as well as the director and co-creator of that piece, Dominique Serrand.  This one is again based on a novel, set in a specific time and place in history - Johann Wolfgang von Goethe's The Sorrows of Young Werther, set in late 18th century Germany.  And it's equally lovely.  What I appreciate most about The Moving Company is that they go beyond what we conventionally think of as theater, pushing the boundaries by combining music, images, movement, and ideas.  It's truly lovely and a breath of fresh air.

Werther is a man on a journey, who meets Lotte (short for Charlotte) and instantly falls in love with her, despite being warned against it.  She's engaged to another man, but they still develop a close friendship.  When Werther returns after an absence to discover that Lotte has married, he's devastated.  The whole play is an exploration of Werther's feelings of being blissfully in love, and finally realizing that it's a love that can never be returned.  Werther narrates much of the action as the play begins, with Lotte taking over and finishing the tale as Werther's madness overcomes him.

Christina Baldwin and Nathan Keepers are the only two actors in the play (other characters are represented by a chair, a jacket, or empty space), and both bring their unique talents to this creation.  Christina, as Lotte, makes it easy to see why Werther falls in love with her.  She radiates lightness and peace and joy, and her voice is, as always, gorgeous, whether she's sing a beautiful French song or a silly little made-up song in German (my name is Werther, poor me, my umbrella is small, I have no potatoes).  Nathan has a great physicality in his acting, which he uses here to express Werther's joy and frustrations - climbing on tables and chairs, swinging on a swing, scaling the wall.  Both actors have their own unique style and play together very well (I should note that both were involved in creating this piece along with Dominique Serrand).

Recorded music mixes with live music in a creative and interesting way, as Edde Hou (violin) and Matt Blake (upright bass) play along with an old phonograph.  The costumes (designed by Sonya Berlovitz) are simple but effective.  Lotte's clothing changes from light and airy in the beginning of the play, to a darker palette as the play continues and her life gets more difficult.  The set is very sparsely populated with a few tables and chairs and some odds and ends, in the beautiful cavernous space that is the Lab Theater.  Images are projected onto the brick wall of the theater, of snow, or the woods in the fall, or a babbling brook in spring, bringing nature into this sterile space.  The play ends with a beautiful image, after which there was a moment of silence from the audience as the actors came back onstage to take their bows.  I think we all knew it was the end, but didn't want it to be!

The Moving Company includes this note in the program:

Our work evolves on its feet as we explore how text, physicality, and music intertwine to tell our story.  The simple, necessary objects onstage are there, like toys in the sandbox, to spark our imagination and suggest the landscapes of our space.  By paring down to the fundamental theatricality of the story, we aim to land the production in a universe which can be in turn surreal, brutal, impassioned, and vulnerable.

To that I say - mission accomplished.  I highly recommend this show, if only to see an exploration of what theater can be.  The show officially opens tonight and runs through April 15.