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

Theatre Pro Rata's Silent Sky is a Wondrous Success

“In our troubled days it is good to have something outside our planet, something fine and distant for comfort.”

Photo by Theatre Pro Rata

The beginning of March means it's Women's History Month, one of my favorite reminders throughout the year to celebrate the unsung female heroes who walk among us. Thankfully the #tctheater community has several opportunities to celebrate these formidable figures. One of the most unique is Theatre Pro Rata's current run of Silent Sky, which takes place in the planetarium at the secretly fantastic Bell Museum on the University of Minnesota's campus.

Silent Sky tells the story of Henrietta Leavitt, a brilliant mathematician whose astronomical aptitude and obsession with Cepheid stars uncovered the data that allowed us to calculate the distance between earth and celestial bodies for the first time. Detailing Leavitt's journey from a rural village in Wisconsin to a seat at the heart of Harvard's vaunted all-women team of "computers," where she trained under fellow luminaries like Annie Cannon and Willamina Fleming, Silent Sky is an elegant depiction of the triumph (and sacrifice) that comes with complete dedication to one's passion despite all obstacles. Leavitt's obsession with the astral universe is thrilling and devastating; as pleasurable as it is to watch her soar beyond society's ceiling, it is undeniable that she made life altering sacrifice to do so. It's a stark reminder of how far we still have to travel to truly free women to enjoying an equal set of options to their male counterparts and a fun theatrical journey to-boot.

Silent Sky's cast seems to have a blast doing this show, and it was a pleasure watching them have so much fun. Victoria Pyan seamlessly steps into Henrietta Leavitt's shoes, compassionately depicting her trailblazing life. Danielle Krivinchuk oozes empathy as Henrietta's sister Margaret Leavitt, giving a cozy home life contrast to the fast paced world of the computers. Carl Swanson expertly depicts Henrietta's one-time love interest Peter Shaw; I found his character absolutely maddening, but Swanson finds a way to humanize him even in contrast to modern expectations. My favorites were Amber Bjork and Sarah Broude as Annie Cannon and Willamina Fleming, respectively. Bjork is perfectly stoic, a model suffragette, and I was eager to see more about her character (hey Lauren Gunderson - make a show about Annie Cannon too!). Broude was absolutely delightful (with a spot-on accent) as Fleming, quite reminiscent of Downton Abbey's Mrs. Hughes, and I will gladly be looking for her in other local shows after this.

This production is all about the planetarium setting, which is perfect for this show. Projections form the bulk of any discernable set and easily placing us between the major locales of Leavitt's life, and Julia Carlis's lighting design smoothly integrates with the planetarium's photography. Samantha Kuhn Staneart's costume design is period-appropriate with a charming hint of sparkle to match the stars the women study. Props to sound designer Jacob M. Davis, who nails the microphone balance on each actor to make sure their lines don't get swallowed by the unique venue. Overall, Director Carin Bratlie Wethern's vision keeps things simple, a nice way to keep the production quickly moving and the focus on storytelling rather than special effects.

Silent Sky is a perfect fit for fans of Hidden Figures or anyone who likes to know more about under-sung histories or the hows and whats of our universe. There are still so many answers to be found about our world. What's really out there in the sky (or under the ocean)? Why are we here? How do we fit into the purpose of this vast, unmeasurable cosmos? Without visionaries like Henrietta Leavitt (or the Harvard computers as a whole), we would be much further from answering these questions (and our culture and science much poorer for it). I adore seeing the vital contributions of overlooked women finally getting their due, and I can think of no better way to celebrate Women's History Month than to check out this sweet production of Silent Sky. It's also a great excuse to visit the Bell Museum, which is a hidden gem that deserves far more local airtime. Silent Sky runs through March 8; click here for more information or to order tickets.

And if you love this subject matter, you're in luck! There is a kickass movement happening right now to tell more of the stories of unknown or underappreciated women, specifically in science. Time Magazine just released a glorious celebration of 100 notable Women of the Year - do NOT miss it. There is of course the film and book Hidden Figures; outside of that are the excellent The Madame Curie Complex, which gives short biographies of female scientists (including all of the characters mentioned here in Silent Sky); What Miss Mitchell Saw, a beautiful children's book about a woman named Maria Mitchell (whose story is quite similar to Henrietta Leavitt's); and consider branching out into books specifically about under-represented women of color, such as Wangari Maathai: The Woman Who Planted Millions of Trees or Little Leaders: Bold Women in Black History. And follow me on Goodreads to keep tabs on what I'm reading - often it's stories like the one told in Silent Sky.

Penumbra's The White Card is a Must See

White people especially need to prioritize attending this gripping drama depicting the devastation caused by microaggressions

Photo courtesy of the Penumbra

It doesn't happen too often, but once in a while I witness a piece of theater that directly reflects some of my experiences and I visibly cringe.

The White Card, now showing at the Penumbra Theatre, is just such a show - and man, did I cringe HARD. Authored by the magnificently talented author Claudia Rankine (if you haven't yet read Citizen, her unmissable treatise on police brutality published by Minneapolis-based Graywolf Press - RUN, don't walk to get it), The White Card peels back the layers of privilege, ignorance and internalized racism that runs throughout the black-white dynamic in America today into an uncomfortable exposé of what is wrong with simply resting on good intentions and armchair activism.

Photo courtesy of the Penumbra

The entire play takes place in the stylish living room of a very wealthy couple, Charles and Virginia, who are famous art collectors. Their art dealer Eric connects them with a young black female artist and rising star, Charlotte, as she completes an eagerly awaited new photography collection. Upon arrival, Charlotte uneasily contemplates the couple's inimitable private art collection, most of which features daring, expensive, rare work by black artists exposing violence they experienced in American society. She reveals that her coming work is a look into the unseen devastation of the Charleston church shooting, instantly exciting the eager collectors.

Charles and Virginia's liberal activist son Alex crashes the dinner party halfway through, essentially dropping a lit Molotov cocktail into an already tense emotional environment. Many unsavory details about the source of Charles' wealth and Virginia's understanding of life outside of her white bubble are revealed in explosive fights, causing Charlotte to experience her own identity crisis. Who is her art really for? Does intention negate impact? By making black suffering the focus of her work, has she fetishized it into something unrecognizable and inhuman? The play closes on a reveal of Charlotte's next project, which is takes a completely different approach to the problem she initially set out to solve.

Photo courtesy of the Penumbra

This cast is tight, and bravo for their steadfast portrayals of nefarious characters who can't have been pleasant to portray. Bill McCallum brings layers to the role of Charles, and I think he's the character who will singlehandedly feel the most familiar to audiences. Michelle O'Neill is viciously brilliant as Virginia, with a whiplash delivery that had several audience members appearing visibly struck. Jay Owen Eisenberg is the perfect choice for Alex, shining a mirror on all well-intentioned activists. John Catron snugly wears the social climbing Eric's role, truly defining the rationale against the #notallmen movement through his performance. And Lynnette R. Freeman brings heartbreak and hope to her role of Charlotte; she is a strong, new-to-me anchor in the storm of this show, the blazing arrow pointing out the effects of microaggression to all of us. It's a brilliant cohort, and I appreciate the hard work they put in on a tough script.

Tavin Wilks brings a searingly clear vision to his role as director, and it's thanks to his straightforward vision that the layers of The White Card can unfold. Chelsea M. Warren's gleaming, chic scenic design looks plucked straight out of a Vogue spread, and it's an appropriately blank canvas for the gruesome dialogue to unfold within. Marcus Dilliard's clean lighting design makes the most of Warren's bright staging, as do Kathy Maxwell's impactful projection designs. Mathew LeFebvre's costume design is equally stylish, luxe and comfortable; once again I coveted several of the pieces he chose. And special note to Abbee Warmboe's carefully selected properties design, the well-intentioned elements of which provide critical context to The White Card's overall undertones.

Photo courtesy of the Penumbra

There are several reasons The White Card feels like a surprising choice for an African American-focused theater to produce during Black History Month, chief among them that all but one of the cast members is white. I think, however, that therein lies the brilliance of the plot overall. What does blackness, especially the experience of being black in America, really mean without whiteness? You can't have one without the other. We should all be familiar by now with the endlessly violent suffering and trauma porn of the African American experience that is splayed across television and social media feeds daily. But at which hands does that suffering occur? Where is the root of that adversity? Why don't we ever seem to see that part, unless it's the end of a police officer's gun (notoriously rarely showing a face)?

Maybe because, as The White Card brilliantly depicts, modern racism takes more subtly insidious forms than that which we've been trained to identify. A burning cross, white hood or lynch knot are rare to see these days. But when talking about people of color, do you ever notice yourself utilizing a language of "us vs. them"? As a white person, are the only times you engage with black people when they are serving you (whether as actual maids or hired help, or as janitors or servers or baristas)? Do you purposely, meaningfully seek out stories about black people that are positive, violence-free and hopeful - or is the extent of your engagement with news stories highlighting poverty, drugs and violence? Do you call out the color of skin or texture of hair on a black person while never mentioning it with your non-black compatriots, especially when in mixed company? Have you ever said or heard any of the things on this list?

Photo courtesy of the Penumbra

The trouble is, not everything I just listed can seem like an offense, and to be clear: I don't mean this review to become a preachy treatise. I raise my hand here as a transgressor in many of these ways; I constantly seek to un-learn the internalized language, habits and thought processes that inflict such microaggressions on my fellow citizens of color. The endless amount of irony of sitting as a white reviewer in an almost all white audience that was audibly gasping throughout The White Card only to drive back to our cozy safe homes and punch out a bunch of preachy messages about race on social media was not lost on me for a second.

And that discomfort I experienced, the mental dissonance, is the reason why The White Card is a must see for white audiences for me. In the hundreds of plays I have seen over the years, almost always with audiences who are overwhelmingly white, it is exceedingly rare that I have seen a play so effectively turn the gaze back upon us. How did we get here? What layers of privilege have allowed us access to the arts? What are we doing - actually, actively doing - to solve the problems we proclaim to identify with so severely? Like Charles and Virginia and Alex, are we really just indulging in trauma porn, or are we meaningfully making the world more equitable? I touched on some of these thoughts in my review of West Side Story a couple years ago, but they remain as (if not more) relevant than ever.

Photo courtesy of the Penumbra

So in honor of the enduring strength and perseverance of the black community and the sea of work that still needs to be accomplished among my own white-skinned compatriots, please, please go watch The White Card. Non-white audiences will find a lot to like here as well I'm sure - the performances are excellent, the set is beautiful, and I'm sure a lot of the subject matter will feel at least tangentially familiar - but those of us who are privileged enough to see a lot of theater and have discretionary income for the arts owe it to society to turn unflinchingly towards that which will make us better, even (perhaps especially) if it makes us intensely uncomfortable first. Claudia Rankine's intimately detailed The White Card is just such a work. Click here for more information or to buy tickets before The White Card closes on March 8. I leave you with these words from Dr. Martin Luther King Jr.'s Letter From a Birmingham Jail:

"First, I must confess that over the last few years I have been gravely disappointed with the white moderate. I have almost reached the regrettable conclusion that the Negro's great stumbling block in the stride toward freedom is not the White Citizen's Council-er or the Ku Klux Klanner, but the white moderate who is more devoted to "order" than to justice; who prefers a negative peace which is the absence of tension to a positive peace which is the presence of justice; who constantly says "I agree with you in the goal you seek, but I can't agree with your methods of direct action;" who paternalistically feels he can set the timetable for another man's freedom; who lives by the myth of time and who constantly advises the Negro to wait until a "more convenient season."

Shallow understanding from people of goodwill is more frustrating than absolute misunderstanding from people of ill will. Lukewarm acceptance is much more bewildering than outright rejection."

Jungle's A Doll's House Brings Feminism to the Fore

Maybe the golden rule doesn't always shine so brightly

Photos by Lauren B. Photography

The saying goes to "treat others as you would want to be treated," but what if the way you want to be treated is entirely antithetical to what someone else would want for themselves? Whose opinion wins? How do you know what the best, fairest approach to such problems is?

Photos by Lauren B. Photography

The question of conflicting moral priorities is at the heart of A Doll's House Part 2, the brilliantly modern sequel to Henrik Ibsen's classic 1879 play A Doll's House. The setting is in the same domicile as the original, 15 years after Nora Helmer loudly slammed the door shut on her marriage, family and domestic life. Here, in a much sparser, colder version of that home, Nora has returned to officially close another door - that of an official divorce from her estranged husband Torvald. Nora has had no contact with her children or husband since she left, and as such bears tense reunions with Torvald, her daughter Emmy, and house servant Anne Marie. The play shifts between demonstrating each person's perspective of what Nora's absence has meant to themselves, to the family, and as a signifier of the state of the world at large.

Photos by Lauren B. Photography

It's a fascinating exercise in moral absolutism vs. modern sensibilities. Are people made to be monogamous? Do children really need two parents? Is it better to sever old, toxic connections entirely, even if it means leaving some of those you love behind - or do you owe it to everyone to stay in touch, even when it wounds you deeply? What do you owe a partner who doesn't love you anymore? What do you owe a parent you've never really known? When is it time to prioritize your wants and needs over others regardless of the cost, and when should you suffer through it instead to benefit the collective good?

Photos by Lauren B. Photography

It takes a strong, mature cast to tackle such deep questions (especially in only 90 minutes), but the Jungle's group is up to the task. Shining as Nora is Christina Baldwin, a perfect choice for this role. Baldwin's detailed, subtle acting flashes every one of Nora's complex emotions across her face; you almost don't even need the character's biting monologues to follow the action on stage. Baldwin's work is a masterclass in physical manifestation of emotion, and it's hard to imagine the show without her. Angela Timberman is winningly straightforward as Anne Marie. Much like her work in the devastatingly good The Wickhams, Timberman melds a warm demeanor with a no bullshit attitude, and she's an ideal center of gravity for the characters to hover around. Megan Burns is delightful as the snobbish, precocious Emmy. The second she stepped through the door I knew exactly what we were in for, and she provides some true curveballs even for those who are usually pretty good plot predictors. And Stephen Epp takes a well rounded approach to Torvald, helping the audience connect to his story even in his most outrageous moments.

Photos by Lauren B. Photography

The set is much sparser than what I'm used to seeing at the Jungle, but it bears deceptive layers that I appreciated the longer the show went on. Chelsea M. Warren's scenic design mimics the bellows of a view camera, a clever touch of concentric frames moving toward the aperture of *that door*, through which all the action is revealed. I didn't like it when I first sat down but I loved it by the end; the clear focus built into the frame of the show itself made total sense to me. Mathew J. Lefebvre has designed a single costume per character, but boy does he make it count. The rich detail in each period-specific piece blossoms against the sepia-toned set, giving the audience time to appreciate even the tiniest movements. Marcus Dilliard's lighting design is bright and clean, and Sean Healey's sound design offers a fun if unexpected soundtrack to the show. Congrats overall to director Joanie Schultz for a crisp, punchy production that is sure to leave all audience members deep in thought.

Photos by Lauren B. Photography

To be honest, despite my Norwegian heritage and general love of this kind of subject matter, A Doll's House has never been among my favorite plays. Productions of it have always felt a little too staid and precious; most have left me in a snooze. A Doll's House Part 2, however, was just the lightning rod I needed to reconnect with this material. It put my rusty logician skills to work, and I found myself inwardly exclaiming with agreement at each turn. It genuinely gave me some plot twist surprises and deep questions to ask of myself, and I always appreciate experiencing such thoughtful texts. As always, the Jungle provides us with an expertly executed production that will have the town talking for months to come. Word on the street is that tickets are selling quickly; for more information or to snatch yours before they're gone on February 23, click on this link.

Photos by Lauren B. Photography

Guthrie's Noura is Unafraid to Ask Hard Questions

Can you fix a broken heart? 

Photo by Dan Norman

One of the unfortunate side effects of America's broken educational system is that it completely prevents a nuanced understanding of the world. Take, for example, the average American's cultural understanding of the Middle East. Do they understand the difference between Persian and Arab? Sunni and Shiite and Wahabi Muslims? Do they know there are dominant religions present other than Islam, and the cultural traditions that transcend religion to provide commonalities between them all?

Photo by Dan Norman

Frequently the answer is no or not really, and that lack of detail is crucial. People vote for elected officials to conduct policy decisions on behalf of American citizens without knowing the full story of the places that will be affected, inevitably creating potential for enormously disastrous policy choices.

What's the fix? Taking the burden upon ourselves to become informed citizens and invest time in growing our understanding and perspective of people and places different from us. What's the best way to do it?

Photo by Dan Norman

Surely one of the most fun (if not impactful) is to watch boundary-pushing theater like Noura, now showing at Guthrie Theater. Noura tells the story of an Iraqi Christian refugee named Noura who has lived in New York City with her family for the last decade. Aside from her best friend Rafa'a, who is an Iraqi Muslim refugee and close childhood friend, Noura is isolated from her community - her family has fled their home in Mosul and now lives in locations scattered across the globe. Her isolation and longing for past tradition is a key reason she is so intent on "adopting" Maryam, another refugee from Mosul - but with much different memories of the life and culture she left behind. There are several revealing twists that deeply impact the characters' relationships to each other that I will not reveal here, but they are just as heartbreaking as the circumstances the characters flee. Noura leaves the audience with a deep ache and a slightly closer understanding to the immense grief faced by those who have to flee their homes without knowing if they will ever see them again.

Photo by Dan Norman

As Noura, Gamze Ceylan is moving and confined, conveying an almost crazed appetite for comfort and familiarity. Watching Ceylan unravel is difficult but vital, and she fully takes us all down with her. Fajer Kaisi is shocking as Noura's husband Tareq, with a few choice lines that had even the most stoic audience members clutching their pearls. Kal Naga is the ultimate homme fatale (can I do that?) as Noura's friend Rafa'a, and he seemed easily the most reasonable and open minded character to me. Layan Elwazani plays Maryam with a quiet defiance, displaying a strength I found magnetic the longer the performance went on. And Aarya Batchu was fine as Noura's son Yazen.

Photo by Dan Norman

The production design, like the cast and the script itself, is a study in scarcity, leaving most things to liminal spaces in between what's actually said. Matt Saunders' scenic design constructs an apartment out of brightly marked shipping crates; what should feel like a cozy home instead feels like a sterile pass-through. Dina El Aziz delivers some quietly elegant costume design that I genuinely coveted, and it felt very New York City. Reza Behjat and Sinan Refik Zafar provide equally staid lighting and sound design, respectively, literal enough to place us in the present but suggestive enough to impart little ghostly whispers that infuse even the most seemingly loving interactions with a chilly fear.

Photo by Dan Norman

The last time I saw a Taibi Magar-directed production it was Familiar, easily one of my top five favorite shows of all time. Noura is a much more difficult beast to love - it's not funny or winsome or, well, familiar - but it still has very important things to say and displays Magar's impeccable attention to detail. I learned so many nuances to Iraqi history and culture that I didn't before, and wept inwardly to think of the many real-life people who have been left in a position just like Noura's. Crises like refugee migration, terrorist attacks and invasion of nations are not problems with easy solutions, and you won't leave this play filled with answers. Instead, Noura asks all of us to come with closed mouths and open ears, simply to receive a story of grief and heartache, and to try not to repeat the mistakes of our past. To do a little better next time. To find a way, any way, to help our fellow neighbor - because we never know when it will next be us. I'm so glad the Guthrie decided to tell not only Noura's story but other stories as part of the Arab diaspora, and I highly encourage you to check out their work this month. For more information about Noura, to buy tickets, or to research other shows as part of the Guthrie's upcoming Arab series, click on this link.

Photo by Dan Norman

The Norwegians is a Dark Delight

What would happen if the Coen Brothers wrote a script for the stage? 

Photo courtesy of Dark and Stormy

After seeing The Norwegians by Dark and Stormy Productions (my first ever time!) last weekend, I think it would look similar to that.

Part whodunit, part murder mystery, part dark comedy, The Norwegians tells the story of two women who try to kill their ex-boyfriends but make the mistake of hiring a gang of Minnesotan Norwegians to do it. The Norwegians like to strut and pontificate about their fearsomeness, but when it comes down to brass tacks they've got nothing on, say, the mafia (or the Italians living in Wisconsin, as it were). This gang is much more Swedish Chef than Tony Soprano, and their consistent inability to actually do something rather than talk in circles demonstrates just how befuddled they are. Several twists reveal surprising connections between the characters as the drama unfolds and by the end we are left guessing as to who will actually follow through with the assassinations. It's a little like a farcical, more romantic version of Fargo.

The best moments of The Norwegians for me were the ones poking fun at Minnesota's deeply Scandinavian roots. As a descendant of Norwegian and Swedish immigrants myself, I found many of the jokes spot on. Luverne Seifert is especially good as Tor, the ringleader of the Norwegians and a proud Scandinavian. Seifert nails the regional accent and has several witty quips. As Tor's partner Gus, Avi Aharoni hits several emotional peaks and valleys; he's especially adept at projecting crazy eyes from beneath his parka. Jane Froiland was a little baffling to me as Olive; her emotions blow like the wind, and it could be a little hard to pinpoint the character's state of mind. Regardless, Froiland clearly relishes her role and it seemed like she had a lot of fun. Sara Marsh was chilling as the jaded, jilted Betty. I fully believed she was more than capable of assassination, and I hope I don't encounter any women like Betty anytime soon.

The scenic design by Joel Sass is bare bones: a simple table, four chairs, a table cloth, a desk lamp, and a scattering of "snow" on the floor is all it includes. It really worked for me, casting strong contrast and shadows throughout the stage (along with some innovative lighting from Mary Shabatura) that gave this show a film noir patina. The costumes by A. Emily Heaney are similarly straightforward but evocative, and it's amazing what a complete world is conveyed through such a simple and limited number of objects.

This was my first time at a Dark and Stormy Productions show, and I'm sure it won't be my last. I loved the tongue-in-cheek nature and fearless parody of Minnesota culture, which is long overdue in my opinion. There are a few meandering moments in the script, but overall The Norwegians is the #tctheater live action rendition of a Coen Brothers movie that I never knew I needed. It's a good seasonal performance that is void of the treacly holiday spirit so prevalent at this time of year, meaning: if you're also a Grinch in December, skip the holiday shows and head to Northeast Minneapolis for this darker, wryer performance instead. A word to the wise: this performance space is definitely hard to find, especially on dark winter nights, so allow yourself more time than you think you need to get there so you don't get lost (like I did... multiple times). The Norwegians runs through January 5; for more information or to buy tickets, click on this link.

The Jungle's Miss Bennet is Holiday Perfection

It is a truth universally acknowledged... 

Photo by Dan Norman

That holiday season stagings need a refresh.

Don't get me wrong; I will always harbor love for How the Grinch Stole Christmas or A Christmas Carol. That said, do we need to see them *every* year? Done exactly the same way? What about trying some new stories?

Photo by Dan Norman

That's why I'm so thrilled with the new tradition gracing the Jungle Theater's stage: a rotation of holiday themed, fan-fiction sequels to Jane Austen's Pride and Prejudice. Last year I had the great pleasure of attending The Wickhams, a rip-roaringly funny play about the servants at Pemberley while the lords and ladies of the house celebrate upstairs. It was one of my favorite plays of the entire year, in fact, and I can't wait for them to bring it back.

Photo by Dan Norman

This year I got to check out the original adaption that I missed two years ago. Miss Bennet takes place a couple of years before The Wickhams, except it is upstairs in the main house and stars all the main characters of the beloved novel. Fan fiction can get dicey; it's hard to recreate the author's signature style without veering into wildly fantastic side stories or awkwardly stilted dialogues. Thankfully playwrights Lauren Gunderson and Margot Melcon do a masterful job of channeling Austen's voice into a believable, relevant new script that I think is destined to stick around for quite some time.

Photo by Dan Norman

Miss Bennet takes place over Christmas two years after the end of Pride and Prejudice. Elizabeth and Mr. Darcy are happily married and hosting the rest of the Bennet family over the holidays. First to arrive are Elizabeth's elder sister Jane, who is heavily pregnant; her husband Mr. Bingley; and their sister Mary Bennet (the titular 'Miss Bennet'). Mary is a relative afterthought in the original book, but this play gives her her full due. An overlooked middle child with a bookish, severe personality, Mary always struggled to stand out. Fate is on her side this time, however, with the arrival of Mr. Darcy's cousin Arthur de Bourgh, who is set to inherit the now-deceased Lady Catherine de Bourgh's massive estate. Arthur is similarly awkward in company and ecstatic to find a kindred spirit in Mary. Things seem to be going swimmingly until the arrival of Lydia Wickham, the younger and most troublesome of the Bennet sisters, and the surprise arrival of Lady Catherine's daughter Anne de Bourgh. There are several delightful twists in the romantic plot between Mary and Arthur so I will stop here, but suffice it to say it lives up to the original wit and romance of Pride and Prejudice.

Photo by Dan Norman

Miss Bennet has a very talented young cast, starting with Christian Bardin as a stunningly good Mary. Bardon lives and breathes this role right down to her squinty eyes and peculiar mouth tics, and she is a master class performer. She is well partnered with Reese Britts as Arthur de Borugh; his performance is so charming I would scarcely know he is a recent UMD grad. Veteran favorite Sun Mee Chomet sparkles as Elizabeth and has heartwarming chemistry with James Rodriguez as Mr. Darcy. I was very happy to see Roshni Desai again, this time as Jane Bingley; I wish the part allowed her witty comedic side to shine a little more, but I still enjoyed her performance immensely. Jesse Lavercombe has vivacious energy as Mr. Bingley and Anna Hickey is deliciously snobby as Anne de Bourgh. Andrea San Miguel is thoroughly irritating as Lydia Wickham, and the audience clearly loved her antics. And I have to call out Jennifer Ledoux and Abilene Olson as the singing servants, who provided gorgeous music for everyone to enjoy as scenes transitioned.

Photo by Dan Norman

Sarah Bahr designed both the costumes and sets, and the cohesive, period-specific presentation is lovely. Clever details like refreshing the set by continuously decorating for the holidays throughout the show, or adjusting a costume with a smart jacket or well placed scarf, keep everyone looking consistent but fresh. Marcus Dilliard's expert lighting washes the stage with warm wintry light, and Sean Healey's sound design subtly lets us hear every line. Robert Grier shares inspired wig design, particularly with Anne de Bourgh's magnificently curled piece. And John Novak chooses careful props that add just enough detail to each scene to reveal another layer to each character.

Photo by Dan Norman

While I didn't find Miss Bennet quite as uproariously funny as The Wickhams, I still enjoyed it very much. Because it stars Mary this is a quieter sister to Pride and Prejudice, and I found that it had some real gems of wisdom to offer. Many of the much-maligned characters of the original story (especially Mary and Mrs. Bennet) struggle to get their just due, and it's wonderful to see at least one of them treated well. Miss Bennet is a charming comedy and love story brimming with wisdom and a huge heart. If I had to choose only one holiday story this season, this is the one I would go with. I highly recommend you check Miss Bennet out before it closes on December 29; click here for more information or to buy tickets. And if you don't already know the plot of Pride and Prejudice and want to check it out before seeing Miss Bennet, you're in luck! Park Square Theatre is currently showing a production of the original story. Click here to read my review and learn more.

A Punny Pride and Prejudice

Jane Austen seems to be everywhere these days... 

Photo by Dan Norman

And I suppose that makes a lot of sense, right? After all, her female-driven worlds have enchanted readers for over 200 years; in the era of #metoo, doesn't it make sense to revisit the origins of girl powered literature?

Photo by Dan Norman

Thankfully for audiences this means that we get to enjoy oodles of witty adaptations and new fan fiction works on a host of different stages. Kicking it all off is Park Square Theatre with Pride and Prejudice, perhaps Austen's most famous work, as adapted by Kate Hamill. Hamill is one of the most produced playwrights in America for three years running, and this show is a perfect way to encounter her work.

Photo by Dan Norman

As much as Austen seems ubiquitous to me, it has come to my attention that there are still many people unfamiliar with her catalog. For those to whom that applies: most simply told, Pride and Prejudice is about how the Bennets, a family of five sisters, survive the process of matchmaking as wealthy eligible bachelors move to their county. Their mother is determined to marry them off in any manner she possibly can and drives towards this goal with fearsome energy; this seems silly at first, but when considered in the context of English history (and remembering that women were not allowed to own or inherit property), begins to make a bit more sense. The trouble is that the girls are all very differently tempered and their goals do not always align with their mother's. Throw in some good old-fashioned classism, pride and classic farcical misunderstandings and assumptions, and you have a perfect recipe for romantic comedy shenanigans. By the end everyone's story lines are sorted (this is a happy story) and reveal some surprisingly profound insights into human nature that are still quite relevant in our social media age.

Photo by Dan Norman

Park Square's production of Pride and Prejudice really plays up the comedy. The dynamic young cast clearly enjoys hamming it up, and the audience was rolling in the aisles for much of the show. The tone overall was a little too loud for me at some moments - for example the constant clanging of bells felt a little overwrought and overstimulating - but that said it didn't seem to bother the rest of the audience. Several actors play multiple characters, and hats off to them because the quick switches were pulled off extremely well.

Photo by Dan Norman

I really enjoyed China Brickey in the starring role as Elizabeth Bennet. She's long deserved her turn in the limelight, and this is a great part for her to shine in. Sarah Richardson is wonderful as Jane Bennet and Lady Catherine, with a warm presence that is pitch perfect as Jane and provides a comedic highlight as both in the final scenes. George Keller makes a very good Mrs. Bennet, hitting all the levels of hysteria you'd expect while still driving home Mrs. Bennet's very realistic fears. McKenna Kelly-Eiding, who I adored in Park Square's Sherlock Holmes: Baskerville a couple years ago (which is coming back - don't miss it!), is a star as the irritating Mr. Collins and devious Mr. Wickham. She clearly relishes her gender-bending roles, and I can't imagine anyone else playing those parts. Kiara Jackson is an enthusiastic Lydia, and Paul Rutledge conveys Mr. Darcy's stoicism well. Alex Galick is charming as Charlotte Lucas and Mr. Bennet, and I found his portrayals of both quite sweet. And the clear audience favorite was Neal Beckman as Mr. Bingley, Mary and Miss DeBourgh. Beckman throws his best Abbott & Costello into these roles, and I see a bright future for him in the world of physical comedy.

Photo by Dan Norman

The production design of this show was a mixed bag for me. The set, designed by Annie Katsura Rollins, is quite postmodern, opening on a completely open stage (no curtains to disguise the wings, no scrims, no major set pieces - everything is laid bare to the naked eye) with a boxing ring taped out on the floor. This allows us to watch the characters set, tear down, and dress for each scene. While initially distracting I think it did work in the end, and helped trim a few minutes off the lengthy near-three hour run time. Hats (or bonnets, I suppose) off to properties designer Josephine Everett who has assembled a dizzying array of props to support the story. I'm not sure how they keep it straight, but they do! Because so many folks are playing multiple characters, the costumes (designed by Sonya Berlovitz) are pretty simple and focus more on suggestion and ease of transition than period-level detail. I was selfishly hoping for a little more period-piece luxury in the overall production design. What is here really works - it just wasn't the lavish old school style I was yearning for. I do think this barer approach really helps modernize Pride and Prejudice and as such will bring it to the attention of new, younger audiences, and that's an admirable goal.

Photo by Dan Norman

Pride and Prejudice was one of my favorite books growing up, and Jane Austen is an eternal favorite for me overall. She manages to wrap such profound messages into a highly digestible package, and audiences of all types can enjoy and relate to her stories. Think of Pride and Prejudice as the funnier, British version of Little Women (which is also enjoying a renaissance and has been adapted for the stage by Kate Hamill). It's got a little bit of everything you want in a play - laughs, drama, intrigue, and a whole lotta heart. It's a great family-friendly show for holiday season; click here to get your tickets at Park Square before the show closes on December 22. And if you can't get enough of the Jane Austen wave, you're in luck: stay tuned for reviews of the Jungle Theater's original Pride and Prejudice-themed holiday play Miss Bennet and the Guthrie's coming adaptation of Emma.

Photo by Dan Norman

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.