Theater Mu's peerless Stands On Its Own

The dark saga of teen girlhood continues on

Photo by Rich Ryan

What is it about teenaged girls that imbues our society with such a primal fear?

Photo by Rich Ryan

There is a rich heritage of horror narratives about girls around the age 16 mark. Sometimes they're heroes (Buffy the Vampire Slayer, natch), but more often they are complicated villains (here's looking at you Heathers and Mean Girls) or even veer towards to outright horrifying (think Stephen King's gruesome Carrie or the all-male Lord of the Flies).

Photo by Rich Ryan

The latest new work from Theater Mu (now showing at the Gremlin Theater in St. Paul through February 16) stands smack on the Carrie end of the spectrum. peerless details two sisters who are nearly identical in appearance and are well on their way towards achieving lofty ambitions despite their young age. When they are not accepted immediately into the prestigious Ivy league college that is the foundation of their future plans, the sisters panic and take drastic (and I mean DRASTIC) action to eliminate their competition, both among school peers and even a former boyfriend. They soliloquize plenty of soul crushing assumptions about race, class and gender along the way, and learn with the help of a clairvoyant classmate that even accurate predictions do not always result the way they seem they should and that no one can be trusted.

Photo by Rich Ryan

The small cast here often performs double duty, with exception of our leading sisters M and L. Francesca Dawis plays M and Isabella Dawis plays L. They are eerily similar in appearance, and once they got into a flow they seemed like an uneasy mirror of one another. Their yin and yang dynamic tugs the audience through an emotional upheaval, and the Dawis sisters have no fear in taking their characters' darkness all the way. Meredith Casey is convincingly unhinged as the oracle, aka Dirty Girl, whose sickening predictions set the whole wheel of disaster in motion. Kenyai O'Neal is sadly lovely as M's doomed boyfriend BF, and I wished we saw a bit more of his character throughout. Neal Beckman was the bright spot as the charmingly cursed D; his appearances were often the sole spot of humor in the show, an element peerless sorely needed.

Photo by Rich Ryan

The scenic design by Joe Stanley is multitasking and innovative, featuring revolving walls, benches that also serve as beds and TV consoles, and hidden lockers. I enjoyed watching the seemingly simple setting continue to expose new tricks, and it works really well to keep the action fast-paced. Karin Olson's lighting design and Kevin Springer's sound design are dramatic and lend the full creepy feeling to the show. I loved Khamphian Vang's vibrant, color-blocked costuming; it's very vibey and may even have been my favorite element of the whole play.

Photo by Rich Ryan

peerless is self-described as Macbeth for modern teenagers but exploring race issues, and I think that's about right. It's Lily Tung Crystal's first time directing since she was named Theater Mu's artistic director last year, and it's a striking debut. For myself: I have to be honest - peerless was not my flavor of the week. I've enjoyed many texts in this genre, but something about the Jiehae Park's script felt disconnected to me. There are several moments of shocking revelation, especially in the sisters' relations to people of other races. I understand why they were included the way they were and the point they were trying to make, but the resolution of the play to me felt too bare-boned for the complexity of the problems and assumptions named throughout the script. The issues peerless raises are deep and darkly internalized for a lot of us, with devastating consequences for their real-life victims; I really hoped for an honest confrontation about them to help the audience learn from the sisters' mistakes, rather than a simple slash and burn approach to justice (which felt like the easy way out).

That said, if the horror genre is your jam then you will probably find many elements of peerless to like and it seemed much of the audience found this funnier than I did - so why not check it out? peerless was a bold choice for Tung Crystal to open her leadership with, and I'm excited to see what she has next in store. For more information or to get tickets, click on this link.

Thrillist: How to Volunteer in the Twin Cities This Holiday Season

Don't be a Scrooge. 

Photo courtesy of Thrillist

The season of giving is upon us! While that most often means an exhausting list of shopping, wrapping, and gift giving and receiving, I also like to think that it's a time to think even more than usual about giving back to our communities. And the best part is that volunteering is FREE - it just requires a little effort to sign up and schedule a few hours to give back.

Click here to see my list of the best organizations to volunteer with and donate to for Thrillist at this time of year. Please keep in mind that these are worthy causes ALL times of year; but if you're trying to squeeze in some final gifts before tax season, or want to share a portion of your gifts with the wider community, these are perfect places to turn to first. Let me know in the comments - what did I miss? Who else would you add to this list?

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During the season of gratitude and giving, is there any better time of year to consider giving back to your community? Many organizations struggle to advertise when they need help, especially when funding is limited. To help connect the dots, we have rounded up plenty of options for causes around the Twin Cities that can use your helping hands now, or at any time of year, to build a better community. If you still can’t find anything on this list that calls to you, head to Hands on Twin Cities or Volunteer Match to search from hundreds of other opportunities.

For those concerned about homelessness and surviving the cold weather
Homelessness is a growing epidemic in the Twin Cities. AEON is one of the best organizations working to solve this problem by preserving and building affordable housing for communities in transition from experiencing homelessness, and nearly 95% of donations go to support operations. PRISM provides holistic services, healthy food, and weather appropriate clothing. Elim Lutheran Church opens cold shelters this time of year. Bridging provides necessary housing items for people transitioning out of homelessness. If you’d rather volunteer directly in a shelter, reach out to St. Stephen’s, People Serving People, or Simpson Housing Services.

For those passionate about helping the elderly 
One of the most overlooked communities year-round is the elderly. Little Brother partners younger volunteers with older folks to help them find and enjoy social engagement. Neighbors Inc. provides gift assistance for seniors who may not be able to exchange gifts with friends and family. Other great organizations include MN Seniors, Lutheran Social Services of Minnesota, and Volunteers of America Minnesota and Wisconsin, all of whom find people to visit less mobile elderly in senior homes. If you’d rather fly solo, simply stop by the nearest senior center to you to share your gifts; musical performances are especially appreciated.

For those passionate about food justice and feeding the hungry
One in eight children in Minnesota is at risk of experiencing chronic hunger. Second Harvest Heartland connects food to people in need, providing more than 89 million meals and 32 million pounds of fresh produce to over half a million people in the state. Loaves and Fishes is another great option for group volunteer projects. The Sheridan Story generally focuses on packing meals for kids so they can eat over the weekend. Appetite for Change is a fantastic option for anyone focused on creating intersectional good, where you can help them educate students on urban farming and leadership, or work on-site in the restaurant incubator. Campus Kitchen is a model of food efficiency, repurposing leftover cafeteria food to provide over 1,000 meals each month to organizations around Minneapolis. And Open Arms Minnesota cooks and delivers nutritious foods to those suffering from life threatening illnesses.

For those passionate about education and literacy
Education is a field that is perennially looking for volunteers. From January through May, the Minnesota Urban Debate League is seeking some to judge debates between the 1,200 students they serve across Minneapolis and St. Paul. The Minnesota Historical Society hosts History Day every year at the University of Minnesota and you can be a judge of student research projects. The East Side Freedom Library houses non-circulating research collections and needs volunteers for educational programs. If you’re passionate about music, consider contacting the Walker West Music Academy, an innovative school that trains students of all ages in music of the African-American tradition. Urban Ventures always needs help with after-school programs and coaching opportunities. Give the gift of a lifelong love of reading through Reading Partners. Or consider going straight to the source and volunteering through Minneapolis Public Schools or St. Paul Public Schools.

For those concerned about current immigration policies
Few subjects are as heated right now as immigration and refugee resettlement. The International Institute of Minnesota needs ongoing help with a number of services for new arrivals to the U.S., including employment placement. The Minnesota Council of Churches provides similar services and has long been a trusted first point of contact. The Immigrant Law Center of Minnesota always needs help providing free legal advice to those caught in between systems. Advocates for Human Rights needs volunteers in a similar capacity, but also offers opportunities for less technical roles like observing court proceedings. Contact the International Education Center to help teach English as a Second Language (ESL) programs.

For those dedicated to making this a happy holiday season
Events targeted towards the holidays are often the first time people get experience with hands-on volunteering. Through the end of November, Free Bikes 4 Kidz needs volunteers to clean and fix donated bikes for Christmas gifts. Operation Christmas Child or Toys for Tots are justifiably famous gift-giving charities that have robust local outposts. Interfaith Outreach is an inter-religious way to offer gifts, or Hospitality House Youth Development subsidizes the cost of holiday gifts so parents can shop for items their kids want. There’s the upcoming Not So Silent Night Holiday Market, which benefits YouthLink MN. Best of all is that many of the goods for sale benefit local causes and all are locally made, like Larissa Loden’s gorgeous jewelry company which donates 5% of all profits to support Cookie Cart.

For those who like to drink their beer and do good, too
One of the coolest trends in the rise of our urban breweries is the vast amount of community engagement they have spurred. Finnegan’s is the one that started it all, donating profits from every beer sold since its 2000 inception to community organizations and hosting ongoing Community Action Nights and Reverse Food Truck events. One of Minnesota’s most famous breweries, Surly has ongoing events ranging from blood drives to food deliveries through its program Surly Gives A Damn. Dangerous Man Brewing has a similarly robust program that hosts events all year; it’s an approachably low-key involvement that allows volunteers to show up as they’re available via their email list. For the more physically active, the Brewery Running Series raises funds for local organizations, lets you run a short race, and gives you free beer privilege (we call that a win-win-win).

For those who want to support diverse communities
As governmental aid for immigrant and refugee communities continues to dwindle, organizations servicing such groups need more help than ever. For the East African community, consider the African Development Center, which includes a bank, community center, and educational classes on finance and business. The SEAD Project helps the Southeast Asian diaspora and also has a satellite office in Laos. And there are a host of groups working with the local Latin American community: Consider La Oportunidad, which hosts youth and literacy programs; CLUES, helping with food distribution, ESL teaching and mentorship; or the Latino Economic Development Center, which hosts several key fundraisers throughout the year to provide vital scholarship money to Latino students.

For those concerned about climate change
If you’re more of an outdoorsy type, consider working with local environmental causes. Start with the Minnesota Environmental Partnership, which has a list of environmentally-focused organizations seeking volunteers. Help keep local green spaces fresh by volunteering with the Minneapolis Parks Organization or Hennepin County. The Women’s Environmental Network has a host of ways to get involved in environmental causes with a group of like-minded ladies. For larger scope projects, the Minnesota DNR is always looking for people to help clear trails, gather seeds, and identify species. A more low-key way to help out is through the Minnesota Pollution Control Agency, which has several ideas that citizens can implement on their own. If giving back is a more a resolution for 2020, reach out to Great River Greening, which hosts targeted restoration events every spring and fall at sites around the Twin Cities.

Theater Mu's Fast Company is a Fun Ride

Dare to keep up with this witty new con caper. 

Photo courtesy of Theater Mu

As we roll into holiday season, the typical reason for the season spiel, while appropriate, can start to get really tired.

Photo by Rich Ryan

I mean I'll readily admit that I'm a Grinch, but be honest: don't you get a little tired of seeing the same kinds of stories this time of year?

Photo by Rich Ryan

If you're anything like me, eschew Christmas this and holiday that and enjoy a show like Theater Mu's Fast Company, a witty new comic-mystery, instead. This story focuses on a family of con-men and miscreants who are so devious that they even betray each other. Blue tries to pull off the heist of a lifetime: swindling a collector out of a rare $1.5 million first edition comic book. It seems ready to go off without a hitch; that is, until her brother H steals it right from under her nose. It turns out that H is in deep gambling debt with a gangster named Jimmy, but unfortunately his theft not only breaks the con-man code but endangers his sister's life as much as his own. Blue turns to her other brother Francis and mother Mable to find a way to con the comic out of H's hands. Her idea, which utilizes game theory, is air tight - except someone else gets it before she can get to H. The rest of the play involves the family tracking each other around the world and immersing into increasingly complex cons to gain equal footing, until a final explosive reveal ends their competition once and for all.

Photo by Rich Ryan

It's not quite what I was expecting but I really enjoyed the wry nature of this story. It's an edgier and more profane play than I'm used to seeing Theater Mu perform, but it was one of the most genuine group performances I've seen them do in a while. The cast all had great chemistry, and if this is any sign of the future from new Artistic Director Lily Tung Crystal I'm really excited about what's ahead. Jeannie Lander has a subtly devious energy as Mable that reminded me of the sly way Michelle Yeoh is playing the evil captain on the new Star Trek: Discovery series, which is to say: I loved her. Ming Montgomery stumbled on a couple of lines but I really liked her overall as Blue. She has a very genuine delivery that made this crazy story believable. Brian Kim was cool as a cucumber as the criminally talented Francis and his energy really drove the show. Rounding out the cast was Eric 'Pogi' Sumangil as the problematic H, who I've had the privilege of seeing in several shows. This might be my favorite performance of his to-date, as he brings a delightful comedic twist to his otherwise troubled character and really lets his warm charisma shine through.

Photo by Rich Ryan

Joel Sass's set echoes the comic book theme of this theatrical caper, and it mostly succeeds. I wish the projections, designed by Miko Simmons, were just a little bit brighter to really bring the theme home; as it is, they feel a bit washed out and don't have the full comic dynamism that could have lent this a Marvel edge. Ash Kaun's costumes are pretty straightforward and each character feels modern and comfortable. There wasn't much special about Karin Olson's lighting design or Montana Johnson's sound design, but everything seemed to run well. Overall, I have to extend a hearty bravo to director Brian Balcom, who has directed several other shows locally and in Chicago but I have somehow missed until now. He coaxed dynamic performances out of this cast and I hope to see his talented hand guiding future #tctheater shows.

Photo by Rich Ryan

Fast Company's closing is quickly approaching, so you have to book it quickly if you want to catch it before the last performance on November 24. For what it's worth, I think you should go. It should be no surprise to long-time readers that Theater Mu has consistently been a local highlight for me, and I'll admit that I was more than a little concerned about their future around this time last year. The company is still early under Lily Tung Crystal's fledgling leadership, but I'm really impressed with what I've seen so far and excited for what's ahead. Fast Company has all the elements I like in plays: it's modern, comedic, includes a mystery and is very approachable for a wide audience. It's a breath of fresh air from heavier dramatic and seasonal fare at this time of year and a great option for a quick pre-Thanksgiving date night. Click here to get your tickets before this little gem of a play is gone.

Aubergine is a Quiet Pleasure

"We're always already dead - so why not live?"

Photo by Rich Ryan

The culinary world has been having a good run in pop culture for the last decade or so. Beginning with the explosion of food TV pioneered by Emeril Lagasse, Anthony Bourdain and the Food Network, culinary stories have finally trickled onto stages around the country. What's that all about? It might be because food is a universal human need and a communication device that can transcend cultural barriers and provide a new window into subjects that normally function as taboo.

Photo by Rich Ryan

The last few years have seen a host of food-themed shows in #tctheater. How To Use A Knife told the true story about life as a chef, which is much darker than most people suspect. Waitress is a musical about a server whose real talent is in baking pies, which helps her escape her abusive husband. Guess Who's Coming To Dinner explores the tensions over a meal when a "liberal" couple realizes their white daughter plans to marry a black man in the 1960s. The inimitable playwright Lynn Nottage focuses Floyd's on the life of inmates struggling to integrate in society after release from prison and sets the entire show in the kitchen of a sandwich restaurant.

Photo by Rich Ryan

And now we have Aubergine at Park Square Theatre, a story about illness and death and cultural memory as intimately related through food. Ray is a chef who is on an indefinite hiatus from work to take care of his father, who is very sick and near dying. Ray's mother died in an accident when he was young and Ray has no support system to help him through this difficult time. He turns to an ex-girlfriend, Cornelia, to help him contact his father's younger brother back home in Korea before his father dies (Ray does not speak much Korean himself). Cornelia reluctantly helps Ray and becomes an integral part of Ray's life in his father's last days, interpreting conversations between Ray and his uncle, and helping heal some longstanding wounds within Ray and his family memories. Lucien, the hospice nurse attending Ray's father, also becomes a calming presence in Ray's life as his father dies. It's a quiet exploration of what really matters in life and the relationships we need to maintain to stay connected to our humanity and happiness, a lovely message.

Photo by Rich Ryan

The main thing that attracted me to Aubergine was the cast, featuring some of my favorite local actors. Sun Mee Chomet, always a highlight, shines as Cornelia. She delivers a wide range of lines in Korean and English with equal aptitude, and provides many of Aubergine's comedic and poignant highlights. Kurt Kwan brings subtlety and heart to his role as Ray. You really feel for his plight and driftlessness, and he has great chemistry with Chomet. Song Kim is lovely as Ray's long-estranged uncle, and despite the fact that he almost exclusively has lines in Korean, we know exactly what he means to say. It adds a delightful depth to the show, and I loved the nuance the linguistic transitions provided. Darrick Moseley adds so much warmth to the stage through his portrayal of Lucien; he has a softness and heart that breaks open Ray's character.

Photo by Rich Ryan

The real focus of Aubergine is on Ray's emotional turmoil, and the production design facilitates that well. The set design by Deb O centers mostly on the hospice bed and a few sparse areas in Ray's home. It is relatively drab but that's okay, because it's supposed to be. The same can be said of the costume design by Amber Brown. Kathy Maxwell's video design is one of the few welcome pops of color, and well chosen props design by Kenji Shoemaker provides the attention to detail that makes the blander settings come to life. I'm not sure if Chomet's striking platinum bob was a production choice or her own decision, but either way it adds a subtle characterization to her portrayal of Cornelia that I thought was very fetch. 

Photo by Rich Ryan

I adore Theater Mu and I love seeing them partner with other theaters in town, but I have to say that it's really nice to see a main stage in the Twin Cities doing a story about Asian Americans on their own too. Aubergine is a lovely little play with some important things to say, and it deserves the kind of wider platform a place like Park Square Theatre can give it. Chomet and Kwan are charming co-stars, and the hard work Park Square Theatre has done to portray cultures accurately does not go unnoticed. Regardless of your family heritage, I think anyone can connect to Aubergine's messages of loss, loneliness, fear and love. I'd definitely recommend crossing the river to see this show before it closes on October 20. For more information or to buy tickets, click on this link.

Photo by Rich Ryan

A Steaming “Hot Asian Doctor Husband”

If you’re a rom com fan, this is the show for you

Photo courtesy of Theater Mu

I’ve waxed ad nauseam about my love for new theater work, and one of my favorite companies consistently celebrating and commissioning new plays is Theater Mu. Their new play, Hot Asian Doctor Husband, is another exciting addition to the catalog and one I think will be traveling around the country for some time.

It goes like this: Emi and Collin seem made for each other – except they’re not. At least in her mind. Emi is mixed race, and the more serious things get with Collin, the more she questions if they have a viable future. She is especially worried about having kids who might not identify with her Japanese heritage. To further complicate things, Emi’s mother, who raised her a single parent and was her last direct link to her ethnic history, recently died in a tragic accident. Emi decides to take a leap of faith and find a “hot Asian doctor husband” to fulfill her fantasy of an idyllic Asian American household, breaking up with Collin and stunning her friends.

The trouble is, of course, that love doesn’t work on preferred timelines and specific fantasies. Emi and especially Collin still have feelings for each other, which is plainly evident when they continue to run into each other after the breakup. Emi does find a hot Asian doctor and it seems like things will work out; the only trouble is that he is already someone else’s husband, which Emi learns in a devastating emotional blow that finally pushes her to confront her unprocessed depression and sadness about her mother’s death. The play goes a little off the rails after the affair with the doctor ends, taking a turn from nippy comedy into a serious exploration of mental health issues; it felt a little bit like two different plays in one, but it leaves the audience with a rich understanding of Emi’s identity crisis by the time we leave.

The cast includes Theater Mu regulars and several newcomers, and they’re a really fun crew. Meghan Kreidler deftly handles the role of Emi. No matter how serious or radical her character’s actions seem, Kreidler keeps them believable and touching. Damian Leverett is a joy as the shunned, mournfully #woke Collin; by leaning into the stereotype, he finds some kernels of truth about the white male experience that are new on the stage. Mikell Sapp is delightful as Emi’s best friend Leonard. I haven’t seen him on stage before and I sure hope this isn’t the last time. Danielle Troiano is equally lovely as Leonard’s girlfriend Veronica, bringing vulnerability and poise to the role. Eric Sharp is thoroughly, gut-splittingly hilarious as the Hot Asian Doctor Husband. His scenes were among my favorite in the show and I wish we got a little more of him. And eternal favorite Sun Mee Chomet is fabulous as the Mother characters, milking the most of her time on stage and making a great mentor to Maekalah Ratsabout, the young actress playing the child version of Emi.

The clever scenic design by Sarah Brandner is millennial approved and has all sorts of Ikea-style innovations that keep the action swiftly moving and the aesthetic clean. Costumes, by Jeni O’Malley, are equally well matched to the tone. Karin Olson’s lighting design and Katharine Horowitz’s sound design are subtle and warm, enhancing the action on stage (especially Horowitz’s original music, composed with Damian Leverett). And it’s good to see the importance of physical movement in comedy embraced by Magnolia Yang Sao Yia’s clever choreography and Lauren Keating’s intimacy consulting, a field I suspect we’ll see much more of on programs around #tctheater in this season and beyond.

Hot Asian Doctor Husband is one of the shows I was most excited for this year, and it doesn’t disappoint. Like any new play, there is some revision I’d do on a future iteration to help clarify the story – is it about Emi and Collin’s relationship, or her relationship with her mother? – but the content here is engaging and has a lot of potential. It’s a golden time for Asian Americans* in the rom com world, and Theater Mu’s consistently approachable and inspiring new work is a vital addition to the genre. Make sure to head to Mixed Blood Theatre to check it out before it closes on September 1; click here for more information or to buy tickets.

*If you want more shows like this one on the silver screen, you’re in luck! Here are a few in the last year that I have really loved: 

• Crazy Rich Asians (I also devoured the book series – highly recommend as perfect beach reads) 
• To All the Boys I’ve Loved Before (Probably my favorite on this list – keep an eye out for the sequel next year!)
• Always Be My Maybe (and don't miss Ali Wong's comedy stand-up specials, also on Netflix)
• Anything by Mindy Kaling - I especially love The Mindy Project, but Late Night and Four Weddings and A Funeral are also surefire bets. And although technically off the scope of this list, who could possibly forget The Office (the episodes Kaling authors are all my favorites)
• Fresh Off the Boat (Not technically a rom com but a hilarious comedy that does include winsome romance in some episodes and two of my favorite stars of movies listed above, Constance Wu and Randall Park)

The Brothers Paranormal is a Thrilling Nail-Biter

Although not my preferred genre, horror really seems to be having a moment these days. 

Thanks to brilliant filmmakers like Jordan Peele (Get Out, Us) and Ryan Murphy (American Horror Story), horror is becoming a nuanced, complex genre that many people share a love of. More than many genres it is a group fan effort, with people taking whole friend groups or hosting viewing parties to dissect the latest and greatest. 

That said, horror is not a genre often seen on stage. There are likely many reasons for this, but it makes those who do attempt productions stand out in the crowd. The Brothers Paranormal, a blended production equally co-produced by Penumbra Theatre and Theater Mu, is an excellent addition to this group and a true original in more ways than one. 

The Brothers Paranormal tells the story of two Thai brothers, Max and Visarut, as they make their first home site visit for their fledgling business investigating ghostly paranormal activity. Delia, a transplant from New Orleans, is terrified as she describes seeing an angry Asian woman who she is certain is a ghost. Thinking they are about to earn some easy cash, Max and Visarut immediately dispatch to Delia's home, where they meet her husband Felix and learn many unsettling details about the case. I don't want to reveal any more of the plot here because there are many important, unnerving surprises in this nail-biter of a script; instead, I'll just say that even the most jaded, experienced theater goer is likely to find plot twists here that they didn't expect, and it is a really exciting live experience. 

One of the unusual things about this show is that it truly blends different cultures (in this case Thai immigrant and African American), making both greater than the sum of their parts by their contrast. There were nuggets of cultural information and history tucked throughout the script that I didn't know before, and in addition to the thrilling action I was delighted to have learned a lot of new things by the end of the show. It helps that The Brothers Paranormal is perfectly cast, with a rock-solid group that brings so much nuance to their acting. Perennial favorite Regina Marie Williams is magnificent as Delia, making the ghostly visions totally believable. Sherwin Resurreccion is tenderly emotive as Max and brings a real depth to his role, leaving many of us teary-eyed on more than one occasion. Kurt Kwan brings necessary levity as Visarut, and James Craven is powerful as the concerned husband Felix. Michelle de Joya is positively terrifying as Jai (you'll know what I mean); hats off to her serious physicality. And the standout was new-to-me Leslie Ishii as Max and Visarut's mother Tasanee; Ishii was a warm, mysterious presence throughout the show, and her story was the most profound for me. I'd love to see her stay in the Twin Cities to work with more companies in the future. 

The set, designed by Vicki Smith, bears many hallmarks of Penumbra's recent shift in vision, with small but expertly crafted dioramas that hold all sorts of surprising, secret special effects. Combined with Mathew LeFebvre's simple costume design, we are able to stay focused on the tiny details that alert us to paranormal presence, and several are real wowzers. Karin Olson and Scott Edwards play several tricks through their respective lighting and sound design that had me on the edge of my seat, and Ruth Coughlin Lenkowski's dialect coaching provided nuanced characterizations for each generation of character in the show. Hats off overall to the direction from Lou Bellamy and assistant direction from Sun Mee Chomet; their clear vision provides a seamless integration of two very different companies, and this excellent production is better for both of their involvement. 

The Brothers Paranormal is a significant performance for several reasons. It's one of the best live horror shows I've seen on stage, anywhere; it combines two powerhouse but very different companies and provides a template for how to produce more integrated work in the future (which I surely hope to see); and it also marks by far the most ambitious outing for Theater Mu since the abrupt departure of their long-term artistic director, Randy Reyes. Bringing in Sun Mee Chomet to lead Theater Mu's portion of the production was an inspired choice and shows that Theater Mu is going to stay a strong presence in #tctheater regardless of the unexpected changes. I am very excited to see where Theater Mu's leadership search finally ends up, and if The Brothers Paranormal is any indication we have great things to expect in the future. 

If you're on the fence because of content, know that I loved this production despite being a person who hates being scared. It's a gripping and beautifully acted drama starring some of our finest local actors, and there's not a bad seat in the house to see the really special production design. I highly recommend readers check this out; for more information or to buy your tickets, click on this link. 

Reviewed in Brief: The Last Firefly by Theater Mu

What does community outreach mean to you? 

Photo courtesy of Mu Performing Arts

How about accessibility?

For a lot of people I imagine the definition would be pretty literal - have you invited people to attend your show? Do you have ramps and elevators for those who can't climb stairs? That's usually where those answers end.

I'd like to open a dialogue about a deeper kind of accessibility and outreach: Who gets to make art to begin with? Where do they perform it? How do they expand their group to organically include more and more types of people?

Theater Mu (Mu), one of my favorite local companies, really excels at this mission, and their latest show The Last Firefly takes it a step further. The Last Firefly is a zippy 70-ish minute script that tells a fable about how a girl (Boom) discovers who her father (Thunder) is; finds a long-lost sister (Lightning); makes friends with woodland creatures (Monkey and Spider); and rescues her mother (Kuroko) from her evil stepfather (Ax). Its a simple, animistic tale that I find a spare beauty in and really enjoyed at the Children's Theatre Company (CTC) a couple of years ago (click here for my review). Mu's staging is decidedly less lavish than CTC's, but it includes a lot more participation from untrained actors in the local community, and the contrast was really interesting to me.

The core actors are formed of Mu cast members and are surrounded with participation from local schools. Shina Xiong makes for a plucky Boom, and what she lacks in finesse she makes up for in great energy and spirit on stage. Gregory Yang clearly relishes playing the dangerous Ax, and I loved the clean lines and physicality Kajsiab "Jade" Yang brought to her role as the zesty Lightning. I think this is Daisuke Kawachi's first time directing Mu, and he incorporates many new faces we haven't normally seen in this crew. The results have mixed success, but I think that's okay - this is a very young crew overall, with many students in their first time ever on a professional stage, and they bring so much heart and energy to their parts.

And this last point is what I really wanted to get at with the conversation about outreach and accessibility. What better way to build a theater community - both in audiences and on-stage - than to take a risk and include students in your shows? It might not give a production a highly polished sheen like you'd see on a CTC or Guthrie stage, but it will inspire a passion in the hearts of those kids and pay it forward many times over as they grow older, learn more about theater, and one day decide how they want to remain engaged with that world. I think that's an honorable cause, and one I don't see a lot of local companies take.

The Last Firefly marks a new era and a fresh start for Mu in many ways; for that reason, this is going to feel decidedly different than their other work has over the last few years. Like any new beginning there are sidesteps and stumbles; this wasn't my favorite Mu show I've seen in recent memory. But all of that said, there are so many risky, new ideas here (like that troupe of excited young actors or an abstract set design that moves around the actors - instead of the actors around the set), and I appreciate that Mu is willing to take a chance on trying something different and moving forward in an innovative new way. Watching the students on stage brought back fond memories of my first experiences in theater - scared to death, intimidated by all those blinking eyes in the darkness, and the confidence it brought when I finally found my voice there. I have always liked the sweet script of The Last Firefly and the study in contrasts between this production and CTC's gives me lots of food for thought. I think there are important places for both approaches to this story, and I'd encourage curious readers to give this show a chance to see what you think. Click here for more information and to get tickets before the show closes at Steppingstone (such a cool local venue!) on April 7.