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.

Wandering with Henry and Alice + New Brunch Digs and Frank Theatre

Can privileged people have problems?

Photo by Petronella

Or perhaps it should be phrased differently: do we, or should we, care about privileged people's problems when there are so many more pressing issues facing the world today?

It sounds like a ridiculous question - I mean at some point, all of us face difficulties, right? - but in our current political climate, it is not one that is often given deep attention.

It's something I couldn't help thinking about while watching Henry & Alice: Into the Wild, now showing at Park Square Theatre. The show tackles this question with a lighthearted sincerity that often lifts what could otherwise feel like ridiculous subject matter into a plane of being almost relatable, and has some moments of genuine poignancy that unearth real questions worth considering.

Photo by Petronella

Before we dive in, here's the premise: Henry & Alice first came to Park Square Theatre a few years ago in Sexy Laundry, when they discussed their marriage and love for each other at a romantic retreat. This time around Henry has lost his job, and it's weighing heavily on them both as they clumsily find their way to a more pared down lifestyle. Because of their financial constraints, Henry and Alice's romantic getaway is now a campground complete with noisy neighbors, an actively used tire swing, and Alice's wild sister Diana. All of them come to grips with their aging lives, feats and failures, and rediscover the spark of life throughout the show and several tense arguments in which passive aggressive missives are lobbed through the air like so much whipped cream in a food fight. It is a comedy, but some of the things said are really painful to watch. It's a good example of the cliche that you never know what happens behind closed doors (but really, you don't), and it's worth approaching everyone you meet with a listening ear.

Photo by Petronella

The results of the cast's efforts through the wandering script are generally positive. Some of this show can feel trite as it tries to be silly - such as Alice bringing a cashmere throw and elegant clothing to a dirty campsite. Some of it, however, really is relatable and even poignant: the loss of a job shortly before retirement age is a real thing that a lot of people have struggled with in and since the Great Recession; the yawning gap between the Millennial generation and that of their parents continues to careen into opposite sides of the universe; what happens to a stay at home mother once her children are grown and out of the house?

Photo by Petronella

The actors here keep the show very lighthearted, which helps gloss over some of the more uncomfortable parts of the narrative. John Middleton is the comedic standout as Henry. His wry delivery helps the audience share many laughs, and there are several moments when Middleton's angst over the loss of his job is really touching. Carolyn Pool is much softer as Alice, with several nice moments of elucidation over the amount of work she has invested in the family as a stay at home mother. Alice's struggle is one that isn't often given a clear spotlight, and it's clear that playwright Michele Riml's perspective has given extra dimension to this aspect of the story. As Alice's sister Diana, Melanie Wehrmacher is a great foil for the prim and proper couple and provides a necessary edgy ballast that anchors their conversations with some more realistic perspective.

Photo by Petronella

Henry & Alice left me with some conflicting feelings. It can be a little hard to feel truly sorrowful for these characters who are so steeped in privilege they have a hard time acknowledging their complicity in some of their problems. However, this doesn't mean that there aren't some important points raised in the script, particularly about the role of women in society as they age past their childbearing years. What do we do with women who don't quite fit our collective expectations? Or conversely, what is owed to our stay at home mothers? How do we acknowledge the mountains of unpaid work they do? It's an important question even if it is niche, and it has ripple affects that touch the role of women in other areas of society.

Photo by Petronella

If you're someone who doesn't have very politicized view of the world and is looking for something benign to seek your teeth into, Henry & Alice: Into the Wild is for you. If you're someone who is very invested into resistance movements right now, it may not be the best fit. For myself: Henry & Alice was a break from the usual heavier fare I see, and I enjoyed having a different change of pace. I understand what the show was trying to do, and while I think it glosses over some real issues with white privilege, I still had fun. It was really nice to see a show written and directed by women, as well as a mostly female production crew. Either way I got a few laughs on my Friday night, and it was good to leave the theater feeling lighthearted.

Henry & Alice: Into the Wild runs at Park Square Theatre through October 22. For more information and to buy tickets, click on this link.

And as an extra aside: I'm sure you often hear of dinner and a show, but for something different, how about hitting brunch and a matinee? The older I get, the more I appreciate being home early enough to get set for the next workday. What are my suggestions for both?

For a matinee, make sure to head to the Gremlin Theater to see Revolt. She Said. Revolt Again. by the fiery women of Frank Theatre. This robust feminist play is on stage there through October 15, and the quick 70 minute pacing is a perfect opportunity to get yourself thinking deeply and home before dinner. For more information and to buy tickets, click on this link.

Biscuits and Gravy, I raise you a Southern Sunrise

And for brunch, consider hitting Dalton & Wade, a cozy new Southern food and whisky bar establishment tucked into the gorgeous new T3 development in the North Loop in Minneapolis. Featuring a wide range of food from crackling fried chicken and cornbread to savory handmade biscuits and gravy to a smoked brisket benedict, Dalton & Wade has something for every country lover's heart. Their brunch just kicked off and is excellent, especially when paired with savory cocktails like the Southern Sunrise and or one of the number of intriguingly herbal whiskey hi balls. I can see this spot becoming a go-to for downtowners throughout the winter, and it's worth going to check it out before the crowds discover it. For more information, click on this link.

How do you lose with a trout benedict? 

A Delightful "Don't Dress for Dinner"

The Gremlin's premieres a romantic farce in their first show in the shiny new space. 

Photo by DreamFirstBorn Images

How often do you see a screwball comedy on stage? 

I mean really think about it. Stand up comedy is having a renaissance, and venues like the Brave New Workshop have perfected the variety show format. But how often do you see a fictional, full story, straight up comedic piece performed by a theater group? Especially a true romantic comedy?

Like the sad state of comedy on film, it's rarer than you might think. For that reason, I'd highly encourage you to skip over to the Gremlin Theatre to check out their latest show Don't Dress for Dinner. Essentially a "Who's on First?" for romantic relationships, this silly caper will have you giggling without having to worry about being hit over the head with heavy themes.

Don't Dress for Dinner opens with a wife, Jacqueline, about to leave her husband Bernard for the weekend as she visits her mother. On her way out the door Jacqueline discovers that her secret lover (and Bernard's best friend) Robert is heading into town at that exact moment to bach it up over the weekend. Determined not to miss the fun, Jacqueline immediately changes her plans to stay in the house. The only problem is that Bernard has a secret too: he has invited his lover Suzanne to spend the weekend in the house for her birthday and ordered a caterer to make the event extra special. Mayhem ensues, however, because there are just too many damn secrets to have under the roof at one time. The players move in and out, each trying to hide their own devious plans. The cook arrives and is named Suzette, causing obvious confusion as Bernard tries to conceal his relationship with his real lover Suzanne (both of whom are nicknamed Suzy). One thing leads to another as lies continue to build and bubble into an unmanageable mess.

Photo by DreamFirstBorn Images

The cast is small but lively. Peter Christian Hansen is emphatic as Bernard, with a spritely step that is reminiscent of a very young Cary Grant. Melanie Wehrmacher is formidable as Jacqueline, providing a strong foil to the Sierra Schermerhorn's simpering, slutty, salacious (and stunning) Suzanne. Grant Henderson brings a posh modern feel to the two-faced Robert. The show's standout though is clearly Maeve Moynihan as the blue collar chef Suzette. Moynihan has a wonderfully bawdy accent and dialogue as Suzette, and her sly navigation of the intense shenanigans of the show were such a pleasure to watch. Mike Dolphin is perfectly suited to play Suzette's husband George, a giant, kindhearted blowhard whose abrupt appearance near the end of the show is the key to unraveling the web of lies spun by each character.

The set stays entirely placed inside Bernard and Jacqueline's living room, with basic but nice furnishings. The simple setting (and a strategically loaded bar cart) provide all the physical context we need for the whirlwind of intrigue on stage. Costumes change quite frequently between a number of wild physical fights, including sprays of club soda, dumped cocktails, and more. In fact, the whole cast almost does a striptease as the show goes on, beginning in nice business casual wear and devolving to some semblance of night dress/lingerie by the end. It goes with the feel of the unraveling plot and helps to break up the more bland stage settings.

Don't Dress for Dinner can be a little overwhelming and is the kind of plot line I might normally sniff at a bit, but I found myself laughing through almost the whole show. It's a little too long for a plot of this type - 90 minutes without intermission would be more than enough to cover the material, which gets a little exhausting by the end of this 2ish hour rendition - but still, Don't Dress for Dinner provided me with a pleasant, fun-filled way to enjoy the theater last weekend. The show does a great job of demonstrating the kind of ridiculous behaviors all couples can indulge in throughout a relationship, and both the ways this can be harmful and the ways it can also keep things a little exciting. Don't Dress for Dinner is a great date night show and something I'd love to see more of on stage and on screen - a true comedy. Make sure to head to the (sparkling, shiny, brand new!) Gremlin Theater space before Don't Dress for Dinner closes on July 30 to check it out. And while you're at it, order some brewskies from Lake Monster Brewing at intermission, which is just down the hall and the perfect hipster libation to pair with such a show. More information and tickets can be found by clicking on this link.