Showing posts with label Out There. Show all posts
Showing posts with label Out There. Show all posts

Friday, March 6, 2020

Thrillist: Best Spring Shows and Exhibits in the Twin Cities

Whatcha up to these days? 


Photo courtesy of Thrillist

I'm a little behind on sharing my latest Thrillist pieces, but I'm prioritizing this month get caught up! First up is a list of some of the coolest shows and exhibitions available in the Twin Cities this spring. Some have unfortunately passed, but several are ongoing, excellent exhibits and shows that deserve an afternoon or evening of your time.

We are so lucky to have such a wealth of cultural experiences right at our fingertips, and I encourage you to get outside (especially now that the weather is improving) your cozy abode to experience the best and most unique of them. Click here for the full article or scroll through below to see what cool shenanigans await for you over the next couple months.

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It should come as no surprise that the Twin Cities has a thriving, vibrant arts community -- after all, we have the second-largest number of theaters per capita in the country outside of New York City and a vibrant East African community that contributes to the local arts scene. If you’re feeling the winter doldrums, challenge yourself to get out of the house and explore some of the world-class art, museums, and theaters that Minnesota has to offer. We’ve rounded everything from plays inside a planetarium to an exhibit about the legendary Prince. So spend these snowy months in the warm embrace of the Twin Cities arts community.

The Out There Series
Weekly throughout January at the Walker Art Center 
Lowry Hill / Loring Park
You’ve probably gone to a museum to check out art exhibits, but have you gone to one to see theater? Undoubtedly one of the wildest live performance series you can find is the Walker Art Center’s annual Out There series, which kicks off every January with a bang. This year’s series includes a re-enactment of a real FBI interrogation; a provocative investigation of Latinx cliches and identity politics; a latex-clad “Gothic melodrama;” and a treatise on the powers of artificial intelligence by a group of disabled performers.
Price: $26 for individual shows

After The Explosion: Documenting Chernobyl
On view through February 23 at the Museum of Russian Art
Windom/Tangletown 
If you were mesmerized by HBO’s recent Chernobyl TV series, don’t miss the chance to engage with a real piece of Chernobyl history. Featuring images originated from the archive of Nikolai Tarakanov, the major general who supervised the removal of highly radioactive elements from the Chernobyl site, this exhibit provides a visceral reminder of human fallibility.
Price: $12

First Avenue: Stories of Minnesota’s Main Room
On view now through May 3 at Minnesota Historical Society
Cathedral Hill
The most legendary club in Minnesota finally has an exhibit of its own. First Avenue has been the pinnacle venue for the early careers of many local legends like Lizzo, Prince, The Replacements and more since it opened in 1970. The list of acts who have strutted this stage is a veritable who’s who of music history, featuring everyone from Ike and Tina Turner to REM, RunDMC, the Fugees, Lady Gaga, Billy Idol, Red Hot Chili Peppers, Patti Smith, and many more. Seep in the unseen history of a Minnesota musical institution while you still can.
Price: $12

Prince: Before the Rain
On view now through May 3 at Minnesota Historical Society
Cathedral Hill
It may be three years since Prince died, but in Minnesota the grief still feels fresh as ever. Mend your broken heart a little by stopping by this special exhibit tracking Prince’s early career and rise to superstar fame. All photos are taken by Prince’s personal photographer and friend Allan Beaulieu and are sure to include images even the biggest fans have never seen before.
Price: $12

Black Comedy
January 10 - February 7 at Theatre in the Round
Cedar-Riverside
What would you do if you had to impress an important guest, but all your power went out and your party had to continue completely in the dark? That’s the question at the center of Black Comedy, an unusually funny play written by Peter Shaffer (who is better known for writing heavier dramas like Equus and Amadeus). Theatre in the Round’s unique stage construction will give Black Comedy a whole new perspective, literally. Attend for the chance to brighten up the dark winter nights at this time of year.
Price: $22

Noura
From January 11 - February 16 at the Guthrie Theater 
Downtown East
Questions of identity and immigration are extremely relevant topics right now. Noura, a new play by Heather Raffo, describes an Iraqi woman named Noura who struggles with her new life in the United States and feels left behind by her husband and son, who are more assimilated. Inspired by Henrik Ibsen’s A Doll’s House, this is a modern take that is not to be missed.
Price: $25-$79

Apollo: When We Went to the Moon
From February 1 - May 10 at the Science Museum of Minnesota
St. Paul
Though it has been more than 50 years since Neil Armstrong and crew touched down on the lunar surface, the Apollo missions feels just as enthralling today. This Science Museum of Minnesota exhibit takes visitors from the beginning of the Space Race to the debut of the International Space Station and more. From a simulated Apollo 11 launch experience to artifacts from the US Space & Rocket Center, museum-goers will feel ready to blast off themselves.
Price: $14.95-$19.95

Bernarda Alba
From January 15 - February 16 at the Ritz Theater
Northeast
Theater Latte Da can always be counted on to provide high quality, thought-provoking musicals. Bernarda Alba, which stars 10 of the Twin Cities finest musical theater actresses, is no exception. This lesser-known musical details the unhappy lives of five sisters under their strict mother’s harsh reign after her second husband dies. Think of it like August: Osage County, but with music. There won’t be many productions of this one elsewhere; seize the chance to see it while you can.
Price: $33 - $53

An Art of Changes: Jasper Johns Prints
From February 16 - September 20 at the Walker Art Center
Lowry Hill / Loring Park
To commemorate the legendary artist’s 90th birthday, this touring exhibit chronicles six decades of Jasper Johns’ famous printmaking. The traveling exhibit showcases various techniques and motifs that the artist explored throughout his career, including his well-known paintings of the American flag, as well as his work with numbers and the alphabet. See how Johns bridged the gap between abstract impressionism and pop art -- and why he’s regarded as one of the most influential 20th century American artists.
Price: $15

A Doll’s House Part 2
From January 15 - February 23 at the Jungle Theater
Lyn-Lake / Uptown
One of the smash hits of the 2017 Tony Awards, A Doll’s House Part 2 imagines the consequences of Nora Helmer’s choice to leave her family in the original Doll’s House published in 1879. What happens when she shows up back at their door years after leaving them behind? This smart, powerful drama is a perfect choice for the feisty Jungle Theater, which has been turning out record audiences and completely rebranded under the expert hands of Artistic Director Sarah Rasmussen. Get your tickets early as almost all of their plays sell out quickly.
Price: $20-$55

Sherin Guirguis: Here I Have Returned
On view now through February 23 at the Minnesota Museum of American Art
St. Paul
African-born and Los-Angeles-based artist Sherin Guirguis has had a long-standing interest in exploring the forgotten histories of Egyptian feminists. Her most recent exhibit comes to St. Paul and fills the museum’s two-story Rauenhorst Court with her installation of hand-cut paper artwork, sculpture, and other artifacts inspired by writer Doria Shafik, best known for organizing 1500 women at the American University of Cairo and storming the gates of Parliament, demanding that women be given the right to vote and hold public office.
Price: Free admission

Skeleton Crew
From January 30 - March 1 at Yellow Tree Theatre
Osseo
Don’t miss this new play by Dominique Morrisseau, a contemporary playwright who is quickly becoming a critical darling along the likes of Lynn Nottage. Skeleton Crew tells the story of a group of auto workers struggling with the future of their jobs at an automotive factory in Michigan during the Great Recession. The material is relevant, powerful, and is acted by a cast of Twin Cities all-star actors; don’t miss it.
Price: $26-$30

Silent Sky
From February 22 - March 8 at the Bell Museum 
Falcon Heights
Site-specific theater is a growing trend in Minnesota. One of the most exciting in 2020 is Silent Sky, which Theatre Pro Rata is bringing to the planetarium at the University of Minnesota’s Bell Museum. The show tells the true story of Henrietta Leavitt and other female “computers” in their work at Harvard University, helping to document and discover hundreds of stars and other planetary bodies. Think of it like your local, live acted version of the smash successful film Hidden Figures.
Price: $30

The Mystery of Edwin Drood
From March 13 - April 5 at Lyric Arts 
Anoka
You probably know a certain author named Charles Dickens for his famous novels like A Christmas Carol or Oliver Twist, both of which have been turned into hit musicals. But did you know about his last work, The Mystery of Edwin Drood? Because the novel was never finished (Dickens died while writing it), the musical lets the audience choose who they think killed Edwin Drood, giving every performance a completely different ending. It’s a night of interactive musical theater that lets you solve a mystery and see a comedy at the same time; think of it like a musical Clue.
Price: $30-$35

Storytelling: Julie Buffalohead
On view now through September 6 at the Minneapolis Institute of Art
Whittier
The Minneapolis Institute of Art (or MIA as it prefers to be known) has long been the hidden gem of Minnesota museums, allowing visitors to view the majority of its vast collection for free. Several exhibits celebrating female artists are coming this winter, including Julie Buffalohead. Buffalohead is an enrolled member of the Ponca Tribe of Oklahoma and creates visual narratives told by animal characters, a mystical subject matter that rarely graces museum walls.
Price: Free

Tuesday, October 8, 2019

"The Hollow" is Anything But

I know it didn't work out this time, but can we have a little Ichabod Crane again later?  


Photo courtesy of Trademark Theater

Sometimes I think my mind exists in a vortex and I'll never catch up.

Let me explain: in my busy day to day of late, I seem to be missing basic facts. Or themes. Or just really missing the point of what I'm supposed to be doing.

For example, I had the pleasure of attending the achingly lovely original piece The Hollow by Trademark Theater last weekend. It's a nifty, 75-minute long exploration of many things; the program lists themes including "nature, mysticism, death and rebirth, coupleship, abandonment, repair and perseverance." A symbiotic pairing of contemporary dance and a Sleater Kinney-meets-First Aid Kit rock album (don't ask how I got there, just trust that it's true), The Hollow would be fully at home in the Walker Art Center's Out There series (hey Walker, give Trademark a call!). There's not really more plot than that - just a pure aesthetic, auditory experience for the sake of itself.

Somewhere along the line I had caught that The Hollow was supposed to be a modernization of The Legend of Sleepy Hollow; another glance at the program says I'm not insane and that was the initial point, but this The Hollow is so far removed from Washington Irving's 1820 novel that I can't believe the original concept was still rattling around my head somewhere. I still think it would be immensely cool to have Ichabod Crane hit the stage sometime soon and I hope someone else picks up the original project, but in the meantime - back to the scheduled programming.

The visual focus of The Hollow is on Reach (Emily Michaels King) and Resist (Tyler Michaels King). Based purely on appearances, one could be forgiven for assuming The Hollow details the story of a fraught romantic relationship. These two are superb dancers, and their lithe choreography is like a poem in bodily form. It's a good thing they're married because this performance is extremely intimate, and you can feel their kinetic energy radiating from the stage. Their contemporary, abstract costumes, designed by Sarah Bahr, add interesting shapes to their performances too; some are angular and stiff, others soft and flowing, and the cumulative effect weaves in and out of focus like a dream.

The Michaels Kings are backed up by an adroit band starring Jenna Wyse and Joey Ford who sing a roving troupe of original songs. It's a little hard to hear the lyrics live but thankfully all audience members are given a handy book of lyrics, which read like a ghoulish internal voice that won't leave you alone (song titles such as "Fearful Shapes," "Skele-bones + Burial Wrongs," "Scry" or "Scary Situation" give you an idea what I mean). The music itself is really beautiful and haunting, and I can see how it evolved out of the initial idea of adapting The Legend of Sleepy Hollow. Several audience members appeared raptly focused throughout the show (the person next to me even got a few headbangs in), so don't just take my word for it.

I'm not really sure what else I can say about The Hollow other than that it's worth seeing, if only to expand your definition of what you think theater can or should be. It's bracingly modern yet feels familiar, lyrical and abrasive, loud and tender. It's not going to give you a story or a moral or a "point," but it won't not give you those things either - and really, does everything have to have a defined outcome? Sometimes it's good to set down your smart phone and your Ivy Lee method and your nonfiction business books to give your subconscious room to roam, your nose the chance to smell the tactile pages of a *gasp* real book, and your imagination a blank page to fly around in. The Hollow is a celebration of that ancient leap towards fantasy that still lies within us all - we just need to give ourselves room to access it. The Hollow has a very short run and closes on October 20, so click here to learn more or buy your tickets now.

Monday, January 28, 2019

Out There 2019: Berlin's Zvizdal [Chernobyl, so far - so close]

A nuclear apocalypse seems to be on many artists' minds these days.


Photo courtesy of the Walker Art Center

Last year gave us The Lorax at Children's Theatre Company. A few weeks ago The Children opened at the Jungle Theater. And now we have Zvizdal [Chernobyl, so far - so close], created by the Belgian artist collective BERLIN and the next installment of the Out There series at the Walker Art Center.

I'm not sure how to describe Zvizdal other than a multimedia documentary experience. The bulk of the performance is spent watching a film, which interacts seamlessly with three meticulously crafted models of the film's subject - a single crumbling farm still standing in the wake of the Chernobyl disaster 32 years ago. Dido and Baba are the final two inhabitants of Zvizdal, a small village in northern Ukraine that fell within the permanent radiation radius after the disaster. The majority of the village's population was evacuated and re-located elsewhere, but a few residents stubbornly refused to leave.

Dido and Baba are the final inhabitants of Zvizdal and make for a fascinating film subject. Much like the agnostic gaze of Planet Earth, in Zvizdal we are taken deep into observing Dido and Baba's truly analog lives without a filtered perspective. In addition to the nuclear fallout, the subject is made all the more difficult by the fact that Dido and Baba are in their early 90s when the video is shot. Because the village was evacuated they are left totally without access to services we take for granted - running water, electricity, television, paved roads, gas for cars or motorized vehicles, grocery stores, post offices - even the radio station no longer services Zvizdal's two remaining residents.

The film focuses on Baba and Dido's lives over several seasons. Below the screen, three intricately detailed models (one each) of the summer, winter, and transitional spring / fall seasons show their home, animals, and foliage of the neighborhood. A focused camera on a track silently moves between them, interspersing the recorded documentary footage with the live rotation of the models. It has the effect of an almost 3D-meets-claymation imagery, and although I think it was unnecessary in terms of adding to the meaning of the piece, it was certainly interesting to watch. I could see how you might make a more efficient version of stop-motion animation with this technology, and it did help the piece to feel more interactive than simply staring at a screen surrounded by strangers.

I took my husband to this show, and we both agreed it's one of our favorite Out There performances of any year. Something about the quiet nature of Baba and Dido's lives profoundly affected each of us; the pregnant pauses between the mundane elements of each of their lives gave space for thoughtful reflection on modern society and humanity's responsibility to each other. Interestingly he and I left with very different lessons from the film. He was profoundly impacted by the imagery of Chernobyl's nuclear fallout and rightly pointed out how little detail is taught about the disaster today. As much we are told that the Cold War is over (an increasingly debatable fact, one might think), we still live in a highly nuclear world. There are nuclear power plants located in Minnesota and warheads planted all over the Midwest; a disaster could easily fall here, where it is far more densely populated than Chernobyl was, and what would we do if that happened? Are there better, safer ways of producing energy? Why bother with nuclear at all anymore with our increasingly efficient technologies for solar and wind power? How do you gauge what technologies are safest for life yet still meet our endless appetite for more and more powerful energy sources?

I, on the other hand, was deeply moved by Zvizdal's subconscious conversation about aging in Western societies. Baba and Dido aren't just living what is essentially a peasant's life in the 1800s; they are doing it in the latest decades of their lives, without access to electricity, modern medicine, telephones to call for emergencies, or even nearby family to check on them regularly. Their decades-long companionship provides them with a profound relationship that is truly the cornerstone of their survival, but it is clear that they are very hungry and physically suffering. Their mental quality of life would be devastated if they had to leave the only homes they've ever known, the homes they've lived in for nearly a century; but what about their physical needs? Is it moral to leave them alone in Zvizdal knowing they will be injured or starved and unable to reach help? Or is it better to allow them to die on their own terms, no matter how hard it is to watch? The way the elderly are treated in Western societies is a serious, troubling question that I don't think we publicly think about enough. Zvizdal shines a spotlight on many of the challenging aspects of this conversation and any viewers are sure to have a lot to think about by the time they leave.

I found Zvizdal [Chernobyl, so far - so close] to be a thoughtful, lyrical, quietly profound piece of art. It surprised me with its simple eloquence and left me with so much to discuss and think about. It's a great example of how art done well can delight, innovate, teach and advocate for change all at the same time. If you get a chance to go I would highly recommend it; click here for more information about Zvizdal [Chernobyl, so far - so close] and the rest of the Out There series at the Walker Art Center, which continues through the end of January 2019.


For a roundup of past Out There performances I've covered, see the following: 

Monday, January 21, 2019

Out There 2019: Kaneza Schaal's JACK &

Every year I visit the Walker Art Center's annual Out There series... 


Kaneza Schaal: Jack &. Photo: Christopher Myers.

And every year I leave with a plethora of exciting new ideas about performance art.

The avant garde festival can be really intimidating for those who don't see a lot of theater or prefer explicitly traditional forms of performance, but that's exactly why I find it valuable. As much as I love the usual circuit of theaters and companies I frequent, I find that January (aka the season of resolutions and incipient goal setting) is such a great time to refresh my perspective and re-set my expectations of the shows I'm going to see throughout the year. I'm really grateful the Walker puts this on annually and I encourage you to check out their programming!

This year kicked off with the return of Rabih Mroue, who I wrote about on his first Out There performance in 2016 (click here to see my thoughts). Intriguingly, the kickoff was offered as a free of charge reception as part of the monthly Target Free Museum nights, which take place every Thursday (and are a must-do if you haven't been - what better way to see an internationally renowned museum than for FREE?).

The first show I attended was last weekend's performance called JACK &, created by Kaneza Schaal and starring Cornell Alston. It was a three part show with completely different feelings to each portion. The first was a dynamic monologue that helped get the audience into the appropriate perspective and context to understand the overall performance. The second part was a witty, innocent parody of a 1950s comedy sitcom, reminiscent of an I Love Lucy sketch (but blacker). The third portion moved straight into the modern art period, with a completely silent (other than an eclectic mix DJ'd by Rucyl Frison) performance made of eerie costumed dance in front of a projection of a goldfish in a bowl. The dance somehow managed to be energetic yet wistful, carrying some of the energy and sinister-with-a-smile feeling from This is America.

JACK & as a whole had the flavor of an Americana you never see, telling the story of black people through what are thought of as white artistic mediums in one of the most stereotypically white venues of all: an elite art museum. The very presence of the actors on stage felt radical, like a breath of fresh artistic air, and the lyrical patois of the monologue (which fed into the kitschy sitcom feel of the second part) moved us lyrically and seamlessly through what otherwise might have felt like a very disjointed effort. The cast on-stage (composed of Cornell Alston, Rucyl Frison, Modesto Flako Jimenez and Stacey Karen Robinson) worked as a cohesive unit with wit and presence; I'd be interested to see the fresh approach their chemistry could take on more established scripts as well.

The annual Out There festival is one of the most affordable season tickets you can get in the Twin Cities and will give you an innovative, unusual artistic experience you won't find anywhere else. For ore information on this festival (which runs on weekends throughout January) or to buy tickets, click on this link. Make sure to keep following the blog throughout the month to see my coverage of the upcoming performances!

For a roundup of past Out There performances I've covered, see the following: