"Lady Day at Emerson's Bar and Grill" at Yellow Tree Theatre

To close out their 15th season in Osseo, Yellow Tree Theatre is presenting the play with music Lady Day at Emerson's Bar and Grill. The play imagines one of jazz legend Billie Holiday's final concerts before her death at the age of 44 after years of drug and alcohol addiction. #TCTheater favorite Thomasina Petrus returns to this role she's played many times in her career (I saw her do it at the Jungle in 2018), and once again gives a masterful performance. She simply becomes Billie. She said in a talkback after the show (which she does after every show for anyone who wants to stay and chat about the show, which I highly recommend) that the more she plays the role the more she's able to get out of the way and let Billie shine through. Which she does, not in a mystical spirit kind of way, but in a way in which she's telling Billie's story as truthfully as she can. It's a thing to see indeed, and you can (and should) see it for another two weekends before it closes on May 21 (click here for info and tickets).

"Beauty and the Beast" at the Ordway Center for the Performing Arts

Here's one thing I'm grateful for this season: after more than three years, the Ordway Original is back! As Executive Producer of the "Broadway @ the Ordway" series Rod Kaats noted in his pre-show speech, the Ordway is one of the few theaters in the country that both hosts Broadway tours, and does original Broadway-scale productions using local talent. There have been some great tours coming through the Ordway (a pre-Broadway SIX, and a little show called RENT in 1997 and many years thereafter), but my favorites have always been their original productions, because #TCTheater absolutely has the talent in cast, creatives, and crew to build a big beautiful show. In 2019 they were on a roll with a fan-freakin-tastic 42nd Street and a terrific Smokey Joe's Café. The extended pandemic intermission interrupted that momentum, but now they're back with a Disney favorite - Beauty and the Beast (which they last produced back in 2019, shortly pre-blog). It is everything I expected it to be and more: an incredibly talented and mostly local cast, a fabulous 12-person pit orchestra, and an all-around impressive design, combining into one enchanting theatrical experience for all ages. The show continues through New Year's Eve but it's a popular one, so book your tickets now and head to downtown St. Paul, which is particularly beautiful this time of a year, for a magical night. Click here for the official ticket site, with prices ranging from $50-$150.

"Thunder Knocking on the Door" by Ten Thousand Things at Capri Theater

When I returned home from two weeks in paradise (aka New Zealand) on March 11, 2020, one of the shows I had on my schedule to see that weekend was Ten Thousand Things' production of Thunder Knocking on the Door. That didn't happen, for reasons we are all too familiar with. But now, more than two years later, I was finally able to see it. While they're still unable to tour like they usually do (to prisons, community centers, homeless shelters, and other locations were people don't usually have access to theater), Ten Thousand Things is performing the show at Capri Theater and Plymouth Congregational Church, with pay-what-you-can tickets, and have even recorded a cast album (that never happens in regional theater!). No one does theater like Ten Thousand Things, so accessible, raw, up-close-and-personal, with "All the Lights On," but with the highest quality of performance. This show is a rollicking, feel-good, fairy tale of a "bluesical" that was worth the two-year wait (trite but true). Catch in North or South Minneapolis through May 8 (click here for info, tickets, and to purchase the cast album).

"Redwood" at Jungle Theater

Nearly two years after its planned opening night that never happened in March 2020, Redwood is finally opening at Jungle Theater this weekend. A lot has happened in those two years, and the dramedy about an interracial couple who discovers an uncomfortable ancestral connection may play a little differently now (read more about that here). But through humor and a loving family, the exploration of the complicated connections that bind us, historically and presently, is ultimately hopeful. It shows us that globally, nationally, and personally, we need to acknowledge past traumas, but not let them define us as we move forward together. This funny, thought-provoking, and moving play (the title refers to the deep roots of a family tree) continues at Jungle Theater in Uptown through March 13.

"Rondo '56: Remembering St Paul's Black Main Street" at Crooners Supper Club

The story of Rondo, St. Paul's thriving Black neighborhood that was destroyed with the construction of I94 in the '50s and '60s, has been told before (e.g., in History Theatre's 2017 play The Highwaymen), and now it's being told through music. Created by Dan Chouinard in collaboration with T Mychael Rambo, Thomasina Petrus, and Charmin Michelle, featuring music of the era, and utilizing historical photos, Rondo '56: Remembering St Paul's Black Main Street is a celebration of what we had and a memorialization of what was lost. One wonders what our community would look like today if Rondo had been allowed to continue to flourish as an integral part of the greater Twin Cities community, instead of literally splitting it in two and displacing hundreds of Black families. The celebration of Rondo continues today with two performances (click here for details and tickets).

Ghostlight Series: "Twelve Blocks From Where I Live" streaming from Theater Latte Da

Theater Latte Da has launched a five-part virtual cabaret series called "The Ghostlight Series," with new installments to be released approximately every six weeks through the summer. The first one is out now and is available when you purchase a series pass, and can be viewed an unlimited amount of times through the end of the summer, along with the others when released. The series looks to be more than just a collection of great performances of our favorite musical theater songs, but rather an exploration of different ideas and themes using music. Which, of course, is something Theater Latte Da does very well.

"Crowns" by New Dawn Theatre Company at the Summit Center for Arts and Innovation

It's a new dawn. A new dawn of theater that lifts up unheard voices and tells untold stories. The newest #TCTheater company, aptly named New Dawn Theatre Company, is here for it, leading the way. They have a company overflowing with talent and an ambitious mission to produce three works each year (a play, a musical, and a devised work) that "are by, for and feature women, minorities and members of the LGBT communities." Their inaugural production just opened at the new Summit Center for Arts and Innovation, a former Summit Avenue church that has been converted into a performance space. It's the perfect setting for Regina Taylor's Crowns, a free-flowing musical piece that explores the tradition of wearing hats in the African American community as it relates to spirituality, history, legacy, and family. Theater is my religion and this is my kind of church - a completely mesmerizing and engrossing piece that takes me to another place as if in a dream.

"Lady Day at Emerson's Bar and Grill" at the Jungle Theater

Continuing with their trend this season of presenting plays with music, the Jungle Theater opens Lady Day at Emerson's Bar and Grill on this holiday weekend. This play with music premiered off Broadway in the '80s and on Broadway in 2014, winning Audra McDonald her sixth Tony. It takes place during one concert at the end of Billie Holiday's life, playing out in real time, as Billie tells stories from her past, her family, her husbands, and the racism she's dealt with in her career and as a black woman living in America in the first half of the 20th Century. Acclaimed director Marion McClinton directs Thomasina Petrus in this role that she's performed before, and was born to play. It's a perfect marriage of actor to role, with wonderful music and impeccable design that really makes you feel like you're watching the tragic end to this brilliant musician.

"Park and Lake" by Ten Thousand Things at Open Book

Friends, I love Ten Thousand Things. Seeing a Ten Thousand Things show (in their trademark bare-bones All the Lights On style) never fails to make me happy, and often also moves or inspires or thrills me. Their newest creation Park and Lake, an original piece written by playwright in residence Kira Obolensky and the ensemble, is no exception to that. It's a light-hearted, funny, optimistic fairy tale of a story about a community of people working together to make their lives better. It's as sweet and hopeful as it is ridiculous and silly. Under the co-direction of soon to be retired Artistic Director Michelle Hensley and ensemble member Luverne Seifert, with uniquely comic performances by this wonderful cast, Park and Lake is a delightful place to visit for a few hours. In fact I wish I could move there for an extended stay with these charming oddballs!

"Electra" by Ten Thousand Things at Open Book

To begin her final season as Artistic Director of Ten Thousand Things, the company she founded over 25 years ago, recent Ivey Lifetime Achievement Award winner Michelle Hensley has chosen the Greek classic Electra. This 2000+ year old story of betrayal and revenge is clearly and succinctly told in not much more than an hour, and like all TTT shows, feels both fantastical and grounded in reality. With guest director/adapter Rebecca Novick out of San Francisco, seven of the top #TCTheater actors, a warm and wonderful Peter Vitale musical soundtrack, and very little in the way of usual theater magic (except that created by the skills of the performers), this tragedy is a joy to watch.

"Girl Shakes Loose" at Penumbra Theatre

Girl Shakes Loose is the musical we need right now. It's playing at Penumbra Theatre in St. Paul through May 14 and you should definitely go see it, but I'm hoping it has continued life after this run. I don't know what the creators/producers have planned, but I would love to see it on Broadway. I think we need to see it on Broadway. Written by a black female composer/playwright team (Imani Uzuri music and lyrics, Zakiyyah Alexander book and lyrics) and incorporating the poetry of Sonia Sanchez, a poet in the Black Arts Movement,* Girl Shakes Loose is something we've never seen before. Namely, a musical about a contemporary black woman with an all black cast. Musicals with a black female lead** are few and far between (the only ones I can think of are Lady Day at Emerson's Bar and Grill, The Color Purple, Caroline or Change, Aida, Porgy and Bess) and are all set in the past. Most musicals that feature an all black cast are about overcoming hardships - racism, abuse, poverty. Which are important stories to tell but definitely do not represent the entirety of the African American experience. Girl Shakes Loose is a different narrative. It's about a young black woman living her life and figuring out who she is and where she fits in the world. It shouldn't be revolutionary in 2017 to see a musical created by black women about a contemporary black woman in America, but it is. I'm thrilled to have witnessed it and excited to watch it go out into the world from here.

"Fiddler on the Roof" by Ten Thousand Things at Augsburg College

It never fails. Whenever I go to see a Ten Thousand Things show, the storytelling is so clear it's as if I'm truly seeing it for the first time, even if it's a piece I've seen one or many times before. In their signature bare bones theater style, they've cut out all the fluff from the beloved musical Fiddler on the Roof (and let's face it, there's a lot of fluff in this show that often feels too long) to get right to the heart of the story. Even though I've seen the show twice in recent years (at the Chanhassen and Artistry), I've never been so caught up in and felt so deeply the story of one man's struggle with holding to his traditions, while still loving his family as they begin to change and grow out of those traditions. The brilliant Steve Epp makes Tevye so real and human, and along with the other eight members of this terrific ensemble playing multiple characters, makes the world of Anatevka palpably real and somehow modern, despite still being anchored in time and space. Because 50 years after it was written, this story about a family of refugees fleeing persecution and violence in their beloved homeland to find safety in America is as timely as ever. Fiddler on the Roof continues through March 19 at various locations and it is a must see.

"Irving Berlin's White Christmas" at the Ordway Center

There's no denying that 2016 has been a less than stellar year, but inside the Ordway Center for the Performing Arts, it's nothin' but blue skies! You may be concerned about the state of our nation, or our world, you may be worried about what the next year will bring on a national or personal level, you may be feeling grief, or loss, or confusion, but the Ordway's scrumptious production of everyone's favorite Christmas-movie-turned-stage-musical will make you forget all of that, at least for a few hours. There are two things art can do in times of crisis - it can provide a welcome escape from the stresses of the world, or it provide commentary, conversation, questioning about the world. Both are needed, and as long as we have plenty of the latter (and we do - see this, or this, or this), there is room for pure escapism that thrills and enthralls with its familiar beloved music, gorgeous set and costumes, and fantastic performances by a large and mostly local cast. This is exactly what the Ordway's White Christmas does. So if you're worried and you can't sleep, go see this show, and when you go home you will fall asleep counting your blessings. And then get up and get back to work.

"Nina Simone: Four Women" at Park Square Theatre

I know next to nothing about jazz singer and Civil Rights activist Nina Simone (other than the recent controversy about casting for the new biopic). But I do know Regina Marie Williams, Aimee K. Bryant, Thomasina Petrus, and Traci Allen Shannon, the four women starring in the new play based on Nina's song "Four Women." So I knew I was in for a treat and an education with Park Square Theatre's world premiere of Nina Simone: Four Women, written by local playwright Christina Ham and directed by Pillsbury House Theatre's Faye M. Price. I was not wrong on either count. Proving once again that everything I know I learned from theater, I now have a greater understanding of the remarkable and talented woman that was Nina Simone, as well as the importance of her music and her voice in the Civil Rights movement. And watching these particular four women, some of the best voices and actors we have here in the Twin Cities, bring full and complicated life to the Peaches, Auntie, Saffronia, and Sweet Thing of Nina's song, is a treat of the highest order.

"Dear World" by Ten Thousand Things at Open Book

I consider myself a fan of musicals (although perhaps not quite an expert), but I had never heard of the 1969 musical Dear World that won Angela Lansbury her second Tony. It has certainly not seen the success of composer/lyricist Jerry Herman's other works, which include La Cage aux Folles and Hello, Dolly! That's hard to comprehend after seeing Ten Thousand Things' new production of Dear World, which reveals it to be a perfectly charming and lovely musical. But then, Ten Thousand Things productions have a tendency to reduce any work of theater, from Shakespeare to a Broadway musical flop, to it's most perfect, accessible, relatable heart. Under the direction of Jungle Theater's new Artistic Director Sarah Rasmussen, with one-man orchestra Peter Vitale and a beautifully diverse eight-person cast, Dear World is a musical that's sweet, funny, hopeful, and just a little bit wacky.

"Henry IV Part I" by Ten Thousand Things at Open Book

Typically, if I heard "Shakespeare's Henry IV Part I," my immediate reaction would be - ugh. Sounds heavy and difficult and confusing and exhausting. But given the Ten Thousand Things treatment, with Michelle Hensley at the helm and an incredibly brilliant cast of eight women, it's anything but. Sure there are still a heck of a lot of characters with weird names, and alliances more difficult to keep straight than the latest season of Survivor, but TTT always breaks things down to get to the truth of the story, characters, and emotions at play. So while maybe I wasn't always clear on who was warring with whom, I was still caught up in the power of the story. And with a cliffhanger ending suitable for any movie franchise, I found myself wondering, when's Part II?

As assistant director Per Janson told us in the traditional pre-show spiel (filling in for Michelle Hensley, who is in San Francisco being named to the YBCA 100, because she's awesome), Henry IV Part I is about King Henry IV of England, who recently took the crown from Richard II. But it's really the story of his son, Prince Hal, and whether he will decide to back his father or join with the rebels who are springing up all over England to remove him from the throne. Michelle notes in the playbill:

The stark choice faced by Prince Hal in this 400-year-old play is actually one still facing many young men today: to become a leader in an often ruthless world of competition, dominance, and conquest - whether in business, politics, sports, or war - or to rebel against it all through a life of thievery, drunkenness, and debauchery. We decided it would be interesting to look at this story through the lens of an all-female cast.

Interesting, indeed. Eight women (some of the Twin Cities' finest actors) play over 20 characters and tell this layered story of conquest, loyalty, rebellion, and the complicated politics of 15th century England. The aforementioned "Ten Thousand Things treatment" means that we watch the play in a small, fully lit room, with minimal sets and costumes, Peter Vitale's evocative and eclectic soundtrack, and none of the usual tricks of the theater to come between cast and audience. We are all a part of this experience, which somehow feels more real and immediate.

I'm not going to bore you with a complicated plot summary, Wikipedia can tell you that. Instead I'll tell you that Michelle Barber reigns over the proceedings as a fierce and indomitable King Henry; recent Ivey-winner Shá Cage is empathetic as the conflicted Prince Hal; Thomasina Petrus is the King's loyal comrade; Anna Sundberg and Austene Van are strong as rebel leaders; Meghan Kreidler, making her TTT debut, plays a number of roles and fits right in with her expressive spirit; George Keller is a very entertaining drunk, among other characters; and Karen Wiese-Thompson is, as always, a comic delight, here as the foolish knight Falstaff, spot-on hilarious in every choice she makes. And may I say, it's such a treat to see these amazingly talented women, without the glamorous make-up, hair, and wardrobe usually associated with the theater, and looking all the more beautiful and strong because of it.

One more thing I need to tell you - there are some really brutal and real-looking fight scenes, sometimes several fights happening at once. It's so real and close that at times I almost feared for the actors' and the audience's safety, except that I know these people are pros. Kudos to fight coach Annie Enneking for her intricate choreography and to the cast for pulling it off.

Go to the Ten Thousand Things website to see a fun and cool trailer for the show and to purchase your tickets. Seating at Open Book is limited so make plans soon!

"The Gospel of Lovingkindness" at Pillsbury House Theatre

Watching the news can make one feel discouraged and hopeless about the state of the world, with increasing violence around the world and in our own neighborhoods. At Pillsbury House Theatre, they're trying to make some sense of it and provide a bit of hope by preaching The Gospel of Lovingkindness, a new play by Marcus Gardley. It's beautifully and poetically written, full of life and humor that balances out the devastation and death of the situation. It's heavy, and not easy to watch at times, but so worthwhile and necessary. The Gospel of Lovingkindness is one of those plays that is about so much more than theater.

Through a series of monologues and two-person dialogues, we get to know a smart and talented young man named Emmanuel, who sang at President Obama's inauguration shortly before he was shot and killed in his neighborhood on the South Side of Chicago. Although fictional*, it's a story that's all too familiar. Emmanuel's mother is, of course, devastated by the loss of her only son, but after an encounter with the ghost of civil rights activist Ida B. Wells, still wandering the streets of Chicago, she turns her grief into action. She organizes others in her community and goes on local talk shows to promote a world free from violence. It feels like an endless and fruitless struggle, but Mary never gives up, and I believe she'll succeed.

Thomasina Petra and Aimee K. Bryant
(photo by Rich Ryan)

Three of the four members of this terrific four-person cast play multiple characters, but Thomasina Petrus has only one role, Mary, and she's the center and soul of the play. Her performance of a grieving mother is a thing of breathtaking, gut-wrenching, and almost unbearably painful beauty. She portrays a grief that's tragically universal but also utterly specific. I couldn't help but think of my grandmother, who lost her 17-year-old son not to a stray bullet but to a speeding train in the cold dark January night. She once said that she lived through the worst thing that could happen, so everything else is bearable. The strength of mothers is astounding, and this mother turns her personal tragedy into tireless work to ensure a world where no mother has to go through the pain that she did.

Thomasina Petra and Aimee K. Bryant
(photo by Rich Ryan)

Supporting Thomasina and playing all of the other characters in Mary's life are Namir Smallwood (charming as the bright young Emmanuel with an afro like "a young Michael Jackson," and heartbreaking as another young man whose future is not as bright), Aimee K. Bryant (excellent in multiple roles including the funny best friend, a sympathetic cop, Ida B. Wells, and another struggling mother), and James A. Williams (also excellent as Emmanuel's father, coach, boss, and a closed-minded politician).

Thomasina Petra and Namir Smallwood
(photo by Rich Ryan)

This play, although by no means a "musical," incorporates music in a beautifully simple way. The play opens with Emmanual singing the simply stirring "Ave Maria," later Mary sings her son to sleep in perhaps the most moving scene in the play, and Ida B. Wells sings about a love of the city these characters call home in "Sweet Home Chicago" (when you have voices like Thomasina's and Aimee's at your disposal, use them!).

Marcus Gardley's work was last seen on the Pillsbury House stage in the road weeps, the well runs dry. This play is less epic in scope, but perhaps more epic in meaning, relevance, and urgency. It doesn't offer easy answers, because there are none, but it does offer a beacon of hope, if we all look at the problem of violence, talk about it, and work together for solutions. The moving, heart-breaking, inspiring, and beautifully executed play The Gospel of Lovingkiness continues through June 28.



*The play is inspired by the life and death of 15-year-old Hadiya Pendelton, shot in the back on the South Side of Chicago in 2013. Her parents have started a foundation in her name, and this Tuesday June 2, what would have been Hadiya's 18th birthday, you can show your support of a world without gun violence by wearing orange. Here in Minnesota, check out Protect MN and their upcoming music/theater benefit to end gun violence.


This article also appears on Broadway World Minneapolis.

"The Color Purple" at Park Square Theatre

"I think us here to wonder, myself. To wonder. To ask. And that in wondering bout the big things and asking bout the big things, you learn about the little ones, almost by accident. But you never know nothing more about the big things than you start out with. The more I wonder, the more I love."

Alice Walker's 1982 novel The Color Purple is a story so beautiful, moving, inspirational, and epic that it needs to be seen and heard in as many formats as possible. If someone wants to turn it into a Saturday morning cartoon series I'm all for it, as long as it stays true to the spirit of the original. And the 2005 Broadway musical does that and more. I saw the Broadway tour in 2009 and wept like I never have at the theater, so overwhelming is the emotional impact of this story of a woman who is beaten down by life for so many years, yet somehow comes through it all and discovers her own strength, beauty, identity, and sense of self-worth, the emotional impact increased by the addition of music. Park Square Theatre is presenting the first local production of The Color Purple as part of an ambitious and exciting season that includes the addition of a second stage, partnership with theater companies and artists around town, and a greater commitment to diversity and the community. It's a wonderful statement, but more importantly, The Color Purple is a truly beautiful and moving production that brings to vivid life this epic and beloved American story.

The Color Purple is Celie's story, a young, poor, black woman living in rural Georgia in the early 20th century. At 14, she's had two babies by her father, who has "gotten rid of them" and then sells her to a widower who needs a wife to take care of his home and children. The only love Celie knows is that of her sister Nettie, from whom she is separated and not allowed contact. Celie is repeatedly told by everyone that she's ugly and worthless, so of course she believes it. But as the 40 year story plays out, she meets a few women who inspire her and teach her that life can be more than pain and drudgery. Celie's hard-working daughter-in-law Sofia is a strong woman who demands respect, the glamorous singer Shug Avery teaches Celie about love, and Nettie comes back into her life from far away. It's truly remarkable to watch this woman who has gone through so much choose to reclaim her life from those who have belittled and diminished her, and create a happy life with people and work that she loves, and a renewed faith in herself and the goodness of the world. In Celie's crowning moment, just after the woman she loves leaves her, she sings, "Most of all I'm thankful for loving who I really am. I'm beautiful. Yes, I'm beautiful, and I'm here!"

Shug and Celie (Regina Marie Williams and
Aimee K. Bryant, photo by Petronella J. Ytsma)

This brilliant cast of local talent is led by Aimee K. Bryant as Celie, who brings such humanity, vulnerability, and strength to the role. Jamaica Meyer is a newcomer to the Twin Cities theater scene, but she more than holds her own on this stage full of veterans. Her Nettie is ray of light and hope. T. Mychael Rambo is menacing as the cruel Mister, and his portrayal of Mister's breakdown and rebirth make me forgive him against my will. Thomasina Petrus is perfect for the role of Sofia, so strong and funny and just a delight to watch. Darius Dotch is her equal as Harpo, and the two portray perhaps the most loving and healthy relationship in the story. Their duet "Any Little Thing" is especially charming. Last but not least, Regina Marie Williams fully embodies the larger than life character Shug, and the Shug/Celie duet "What About Love?" is a highlight. The entire ensemble (which includes local favorites like powerhouse Jamecia Bennett and the super smooth Dennis Spears) is fantastic in multiple roles, but special mention must be made of the Greek chorus of gossipy church ladies - Ginger Commodore, Shirley Marie Graham, and Samia Butler - an absolute hoot as they patter in gorgeous and intricate harmonies.

The score is a mix of gospel, jazz, traditional African, uptempo playful numbers, and moving ballads, and sounds beautiful under the musical direction of Gary D. Hines (with new orchestrations by Denise Prosek to fit the score to a smaller six-piece orchestra). The sparse stage allows room for the story and characters, with just a few simple set pieces moved on and off the stage to hint at the location. There's also plenty of space for director/choreographer Lewis E. Whitlock III's creative and diverse dance numbers, including a working man's dance dance, lively church dances, and lovely African movement.

The Color Purple is a big Broadway style musical in a more intimate setting with a fantastic local cast. This is such a story of hope, resilience, faith (not in an overly churchy way - this is Alice Walker, a self-described "born again pagan"), community, and love. It's a truly moving and emotional experience to go on Celie's journey of self-discovery with her, led by this awesome cast and creative team. Head to downtown St. Paul between now and February 15 to be inspired, moved, and uplifted by Celie and friends.

 the cast of The Color Purple (photo by Petronella J. Ytsma)

This article also appears on Broadway World Minneapolis.

"Rough Cuts: Empire Builder" by Nautilus Music-Theater at the Landmark Center

I love going to readings of new works, especially works of music-theater. I've seen some great ones this year (including this and this), but strangely enough I don't believe I have attended Nautilus Music-Theater's monthly Rough Cuts series before. I always love the work that they do and the innovation they bring to the art form of music-theater, and Rough Cuts is a great way for artists to further their creations and test them out in front of the audience. It also allows us audience members a chance to peek inside the creative process. I highly recommend checking out this or one of the many other new works series around town, or ask your favorite theater if they ever do readings of new work. The rich theater talent in this town is not just seen in performances, but also in the creation of new and lasting work.

The subject of this month's Rough Cuts, which kicks off the 21st year of this series, is a new piece called Empire Builder, with book and lyrics by Anne Bertram and music by George Maurer. An excerpt of the show was presented a few years ago, but this is the first reading of the full show. It tells the story of three characters as they take the train called The Empire Builder from Chicago to points west, some as far as Seattle. I took this train from St. Paul to Montana years ago, and I can understand why the creators chose it as their inspiration for this musical. It's a wonderful way to travel, see the country, and meet people who are all on journeys of some kind. On this trip we meet Sky Wolf, a Native American given up for adoption as a child, returning home to see his dying Grandfather, the recently laid off and frustrated with life Jimmy Masterson, and sociology professor Dr. Beatrice Holder, who's considering leaving academia to take a high paying job. These three characters are all at a crossroads in their lives, and make a connection with each other on this journey. But this Empire Builder is not just any train, it's a time-traveling train that makes stops in the past. Most of these have to do with Sky's history; he steps off the train and into the lives of his ancestors. One stop is in Dr. Holder's past, as she meets her grandfather, a porter who faces racism. But this is mostly Sky's journey, and as he learns about his past he's able to move forward and forgive his grandfather.

This piece has great promise and I hope to see it develop further in future productions. A few things still need to be worked out, as pointed out in the post-show discussion (another fun feature of readings - audience feedback). I agree with the comment that it feels odd to have one stop in the past that has nothing to do with the main story; it would be nice to have it somehow connected, or maybe drop it and dig even deeper into Sky's story. A lot is covered in this piece, including Native American history, Civil Rights, Affirmative Action, the effect of wars, and the history of the railroad. That's a lot to chew on in just a few hours; narrowing of the focus might help the musical feel more cohesive. George Maurer's music is gorgeous, with various styles woven into it and recurring themes. There's a hint of Native American sound in Sky's lullaby, but I would love to hear even more of it, and in general more of the Native American culture (which may come in with casting and sets/costumes/props in future productions).

As with most readings I've attended, the cast does an amazing job performing this new material. I assume they haven't had much time with it, and they mostly read/sing from the script, but that in no way inhibits their performance and their emotions as they bring these characters to life. Dieter Bierbrauer sings beautifully (as always) as Sky, and brought me to tears with his emotional journey from resentment to acceptance to forgiveness. Max Wojtanowiz provides the comic relief as sidekick Jimmy, but also has some emotional moments of his own. Completing this excellent trio is Thomasina Petrus as Dr. Holder, strong but conflicted. The ensemble holds great talent too as they bring richness and fullness to the music and story, in the form of Jay Albright, Susan Hofflander, Ann Michels, Kasono Mwanza, and Dane Stauffer. And the five-piece orchestra, led by the composer on piano, sounds fantastic.

There is one more reading of Empire Builder - tonight at 7:30 at Walker Community Church in Minneapolis. Go see this promising new work, beautifully performed by talented musicians and actors. Or check out next month's Rough Cuts (held on the second Monday and Tuesday of the month), or one of the other new works series in town.

"Marcus; or the Secret of Sweet" by Pillsbury House Theatre and The Mount Curve Company at the Guthrie Theater

With programming on three beautiful and very different stages, the Guthrie Theater provides a great opportunity to see multiple shows, even on the same day. And with free wifi, multiple dining options including a lovely little coffee/snack bar, and plenty of cozy places to sit, the Guthrie is an inviting place to spend the day. I took advantage of this opportunity this week and saw a matinee of The White Snake in the Proscenium Theater followed by an evening performance of Pillsbury House Theatre and The Mount Curve Company's Marcus; or the Secret of Sweet in the Dowling Studio (next week: The Heidi Chronicles on the Thrust Stage). Neither of these two shows are Guthrie original productions, but both are such beautiful and unique expressions of what this thing we call theater can be, from a Chinese legend of a snake that takes human form, to a new and very modern play that draws from Nigerian mythology. You can read my thoughts on The White Snake here, but now - Marcus.

I've been eagerly awaiting the conclusion of Tarell Alvin McCraney's Brother/Sister trilogy, having seen the first two installments presented by Pillsbury House in the Guthrie's Studio theater in the last few years. All three tell universal stories of love, loss, family, and relationships through a specific set of characters in Louisiana, who are named for gods in the Yoruba mythology of Nigeria. We first meet this interrelated cast of characters in the first play, In the Red and Brown Water, which focuses on a young track star named Oya and the choices she is forced to make. The Brothers Size is a smaller cast, focusing on Oya's ex-lover Ogun, his brother Oshoosi, and their friend Elegba. Marcus returns to the large cast format, with the title character being the son of Elegba, long deceased (a handy family tree in the program helps explain the characters and relationships). Many of the characters from the first play, or their offspring, return in this one. The three plays are each stand alone pieces, but seeing all three of them provides a richer understanding of this world that is so specifically created in McCraney's unique voice.

Marcus and the boys
(Nathan Barlow, Mikell Sapp, and Aimee K, Bryant)

This play is a coming of age story about 16-year-old Marcus, who is dealing with the death of a family friend, questions about the father he never knew, growing independence from his mother, an impending storm, and coming to terms with his homosexuality. Marcus' father Elegba, who may also have been "sweet," could dream the future, and Marcus might have inherited that skill. He dreams about a man in a rain storm and doesn't know what it means. This short 90 minute play feels epic and mythical, with Marcus' universal story told in specific detail. This play has a much more hopeful ending than the previous two plays, as if finally Marcus can realize the dreams of those that came before him. Dreams of happiness and love and a life fully realized.

This excellent ten-person cast shines under the direction of Marion McClinton (who has directed all three Brother/Sister plays for Pillsbury House). Rising young talent Nathan Barlow is excellent as Marcus, conveying all the uncertainty of a young man struggling with his identity and his family, as well as the determination to come out on top of that struggle (someone referred to this as his "breakout performance," they obviously didn't see Passing Strange). Lauren Davis and Joy Dolo give a couple of spirited and charming performances as Marcus' best friends, one of whom is more accepting of his truth than the other, and Thomasina Petrus is strong and powerful as Aunt Elegua, who knows more about Marcus than she shares. James A. Williams is the only cast member to appear in all three plays, and his presence is warm, welcome, and familiar as he provides a connecting link between the stories in Ogun Size.

Talented young playwright Tarell Alvin McCraney has such a unique vision and voice, and these three plays create such a specific world with people that are familiar and beloved. A unique feature of McCraney's writing is that the characters speak stage directions (Marcus smiles, Ogun exits), which may take a minute to get used to but really give more insight into the characters. When characters are not in a scene, the actors sit on the sidelines in lawn chairs observing, continuing to witness the story.

Marcus; or the Secret of Sweet continues through October 5. You needn't have seen either of the previous Brother/Sister plays to enjoy this beautifully written and acted play. But definitely if you did see either of the two previous plays, you'll want to see Marcus to see how the story ends and continues. The final moments are a beautiful payoff.