A Reminder: Anyone Can Make Art

I've had this on the brain all weekend...

So I had to share briefly.

A good friend of mine invited me to a performance this past weekend. She didn't even know much about it, so my date and I walked in blindly to the experience, completely unsure of what to expect. Fortunately, we were blown away.

I Am Woman was a one-night-only (for now; I hope they bring it back!) event, which encompassed original work (dance/spoken word/storytelling/drums) by several women of color. Separated into vignettes, each interacted with each other differently, sharing stories of their lives or families, their interaction with art, their struggles with societal norms, and more.

Each piece was beautifully performed, and it was so heartwarming to see multiple generations share the stage. The entire show blew us away and was a reminder to me that sometimes the best, most soul-sating things are the simplest. "Real Art" doesn't exist only in museums and on Broadway stages; it's around us all the time, and we can tap into it at any moment. I Am Woman could have been performed in a living room, a coffee shop, on a street corner, or anywhere else, and it really wouldn't have made it any less impactful.

So, an encouragement: keep writing, keep painting, keep dancing. Let yourself get swept away in the process of creation. You may find some truly amazing things as a result.

Why "The How and the Why"? See For Yourself

This show is what is usually called "white feminism" at its finest

And although I may catch some flak for saying that, I do mean it. Things are going to get real in a second.

Before all that: The How and the Why is an absolutely fascinating play about the relationship between Rachel and her biological mother Zelda, who she finally tracks down after her adopted parents are dead. Both Rachel and Zelda are working in the same narrow scientific discipline of evolutionary biology, and studied at similar schools. The show follows them as they discover more about each other's personal lives and about each other's research. The script is super nerdy, getting extremely technical at points about the theories each woman has developed. I loved it, and it was so refreshing to see a productions of females discussing serious technical matters between themselves. There are a lot of deep concepts to think about after you leave, and a lot of conversation that will deeply resonate with female audience members (the theories are about menstruation and menopause).

As Rachel, Molly Pach brings an earnest emotionality to her role. She vibrates youthful, passionate energy, and she is fun to watch. Pach sparkles on stage and brings her full range to the performance. As Rachel's mother Zelda, Caroline Kaiser anchors the play. She does a wonderful job with steering Rachel even though they know little of each other, and she radiates emotion without a word. Several times Kaiser even comes to the brink of tears, and her nuanced, brave portrayal of a woman who gave up everything for her career is truly touching and unexpectedly sympathetic.

There is a lot to recommend The How and the Why. It's tagline Smart | Engaging | Incisive is apt, and it touches on loads of issues that are important to women but aren't always talked about by, to and for women themselves: abortion, single motherhood, performing well at work in a field dominated by men, breast cancer, strained mother/daughter relationships, getting your period, menopause, and more. It's very nearly an all-female show: the director, author of the play, actors, and most of the production team are all women. In many ways it is so progressive, and it's so important for shows like this to be produced. I think everyone, male and female, should see it, and there's no reason not to - tickets all run under $20 per person.

However, the only time people of color are mentioned (in this case, an African tribe called the Hansa), they are literally called savages. And that is such a shame.

It ruined the show for me. One line. I almost walked out. And that sucks.

I know how nitpicky this sounds, that one line, literally one word, could be that tough. "It's just a joke," I can hear you saying now. "Who cares? It's one line." Most of the audience laughed; why couldn't I?

I think it's such a shame that a show that is working SO HARD to be progressive, that is right on so many fronts, pushing so many boundaries, can be so colonial in it's thinking when it doesn't directly apply to people who look like the main character/writer/director. And that's what I mean by white feminism: There is so much good to be found here but at the end of the day it's meant only for a Certain Kind of Woman. Many people could dismiss all the good the production creates based on that one principle. And I just don't want to buy into that concept.

Additionally, isn't it the mission, spoken or non, of most theaters to bring art to as many people as possible? More and more audiences, productions and reviewers are noting (and lamenting) just how non-diverse they are thanks to huge hits like Hamilton. Sure, financial access is part of the reason that audiences tend to be so white - any glance at general demographics reveals this - but that is not all of the problem. Maybe part of the problem is that people of color don't feel included in the mainstream world of theater, thanks to scripts that equate them to savages. There is a reason Minnesota is known as the king state of microaggressions: we. can. do. better.

This all being said: SEE THIS SHOW. I mean it. It's really good. It is complex, it is visceral, it gets so many things right. It is far and away the best thing I have seen in the New Century Theater, and the production and Hennepin Theater Trust should be proud of the work they have put on.

Just please, when a cultural group is called savages: don't laugh. It's not funny. If the chance happens, campaign that it be written out of the script. It's 2016 guys - we don't have room for that anymore.

For more information about the show and to buy tickets (YOU WANT TO BUY TICKETS, THIS SHOW IS GREAT), please click on this link.

If/Then Takes Hypotheticals to a Whole New Level

Have you ever wondered what your life would be like if you had made different choices? 

Photo courtesy of Hennepin Theatre Trust. 

Maybe taken a trip that you decided you couldn't afford at the time; or dumped that partner when you knew they were wrong for you, instead of waiting two more years; or chosen an out of state college instead of one in-state; or never met your best friend. What if?

That is exactly the question asked by If/Then, the current production running at the Orpheum Theater. If/Then follows Elizabeth through two parallel lives she may have lived, had she made certain choices - one as Liz, who has a passionate love affair with Josh, a soldier and doctor; and one as Beth, a single woman who becomes one of the most successful urban planners in New York City. Both lives are interesting, both lead to success for Liz/Beth, and both have their own unique, difficult challenges.

Photo courtesy of Hennepin Theatre Trust.

The concept of this show is absolutely fascinating, and I found myself unexpectedly moved, particularly in Act II when several difficult things happen in Liz's relationship with Josh. That being said, I have to be honest - this show is long. In a lot of ways, it's actually more of an opera than musical - there's very little dialogue or non-musical interludes - and it clocks in at nearly three hours. Die hard theater goers will love this show, and there's a lot to recommend it; reflecting real life and dialogues rather than made-up ones, not shying away from tough issues, a realistic view of life in a big city - but it will take some investment. Worth it, but be aware.

Photo courtesy of Hennepin Theatre Trust.

The role of Liz/Beth was originated by Idina Menzel on Broadway, and her involvement was clearly a guideline for casting Jackie Burns, who plays Liz/Beth in this production. Burns has that Menzel-esque soaring voice that made "Let It Go" such a hit and she utilizes is fully here, which is a great thing; the score itself can be a little underwhelming and having some belters definitely helps sell the songs.

As Liz's love John, Matthew Hydzik is sweetly charming. He has a shy but great tone, and brings real heart to the hunky soldier stereotype. Anthony Rapp is endearingly normal as Liz/Beth's friend Lucas, and although his voice isn't classically "Broadway," provides a nice contrast to the rest of the cast. Daren Herbert is beguiling as Beth's love interest, Stephen. Tamyra Gray, Liz/Beth's best friend Kate, is unfortunately out during the Minneapolis run of If/Then; however, Charissa Bertels does an admirable job filling in.

Photo courtesy of Hennepin Theatre Trust. 

Another cast note and huge thank you to Telsey+Company, who cast this production: it features a great spread of diversity, both in the roles (ranges of sexuality, interracial dating) and the cast itself, which features a human rainbow. It was SO refreshing to watch a reflection of the real world we live in (especially those of us living in cities), and to see a broad representation of America's faces in the cast. Theaters, please: DO THIS MORE. Audiences want it and it enriches the show - keep moving in this direction.

Photo courtesy of Hennepin Theatre Trust.

Liz/Beth's calling as an urban planner is the inspiration for the set, which is themed with construction drawings, city maps and other subtle AEC industry touches. It lends a new, deconstructed feel to the stage, and I loved it. Costume changes are impressively quick, but nothing out of what you'd see in ordinary life. The choreography here is underwhelming, but the show sort of dictates that; there isn't an opportunity for the stereotypical razzle-dazzle kind of number, and that's okay.

If/Then's greatest strength by far lies in the way it shows how glamorous actual, real life can be. When we're in the shuffle of the everyday, it's easy to forget to appreciate how far we have come, how impressive our achievements are, or even to just stop and appreciate the good things in our lives for a moment. There are so many ways to be fulfilled, so many paths to choose, and there is no reason to regret the road you took. If/Then shows us all that there's a reason to take any of the paths available to you; just enjoy the one you get, because you'll only get one chance at it.

For more information about the show or to buy tickets, click this link.

Happy International Women's Day!

Where my ladies at? 

Although I firmly believe that EVERY day is women's day, I wanted to mark International Women's Day (and Women's History Month) with a post roundup of all the pieces I've done that prominently feature female artists. And make sure to check out the above TED Talk from Roxane Gay, one of my favorite writers and a true feminist force. How are you celebrating women this month? Feel free to post and let me know.

Sisters Flee North Korea in the Magical Realist You For Me For You
A Production About America's Favorite Stripper Gypsy Rose Lee
An Amazing, All-Female Production of Shakespeare
Guerilla Girls Take Over - and I Love Every Second of It
Lena Dunham on Building an Internet Empire
Women Playing American Icons Elvis and Teddy Roosevelt
Beautiful Describes One of America's Best Songwriters Carole King
Traci Allen Shannon is Radiant in Non-traditional Casting as Dorothy in the Wizard of Oz
Sister Act Shines at Chanhassen Dinner Theater
Little Mermaid Lights Up the Orpheum
A Local Version of the Real Housewives Series
Annie is One of My Favorite Broadway Revivals
Mary Poppins Hits It Off
I Discover Miwa Matreyek
Hello Dolly is a Huge Hit
My First - and Favorite - Encounter with Little Mermaid On the Stage
Mamma Mia is Always a Fave
Evita Brings History to Life
Local Faves Shannon Custer and Carolyn Pool at the New Century 
Be the Match Registry Donates to 50,000th Patient
Ballet Prejcolaj is the Most Incandescent Ballet EVER
Dessa Talks About Ethics in Hip-hop
Hairspray is Magic
Dial M for Murder Shows Female Dark Side
Girls Only is for Girls Only
Anne Ulku, Female Font Designer
Women in Letterpress at Zeichen Press

Science and Mummies and Parks, Oh My!

Indulge your inner thanatologist with the new exhibit at the Science Museum of Minnesota

Photo courtesy of the Science Museum of Minnesota.

I have yet to meet a person young or old who wasn't obsessed with mummies at some point in their lives. 

Usually this means Egyptian mummies, but not always. For those who possess an inner Egyptologist or mummy obsession, you're in luck: the new exhibit at the Science Museum of Minnesota has plenty for you to explore. 

Photo courtesy of the Science Museum of Minnesota.

Mummy exhibits have come around several times, so what makes this one different? The standout element of the current display is technology. There are several interactive locations allowing attendees to zoom in on X-ray scans of unwrapped mummies, discovering what their contents hold past wrapped objects and into bone and skin.  It can be easy to forget the amazing-ness of modern technology since we've become so used to it, and these techniques pose a stark contrast to the ancient objects they study. 

Photo courtesy of the Science Museum of Minnesota.

There are also some eerily life-like recreations of what some of the mummies likely looked like as living humans. Again, the advances in technology and the astonishing authenticity of the recreations are stunning, and it adds a much needed human element to the exhibit. 

It bears mentioning too that this exhibit is not stuck solely in Egypt. Although Egyptian mummies tend to be the most famous, the first societies in the world known to mummify their dead actually lie in Peru; they began mummifying thousands of years prior to the Egyptians, and the contrasts and similarities between the two techniques are interesting. The stark difference in art style (and size of the remains from modern humans!) are also fascinating, and help the exhibit to feel better rounded. 

Photo courtesy of the Science Museum of Minnesota.

If human mummies aren't your thing, you're in luck; there are also a number of coffins, burial objects, and mummified animals that accompany this exhibit. The surrounding set pieces are also sturdy and lifelike, great for kids who need an area to run around and objects to touch. The Science Museum has also brought in several staff at strategic locations to help explain further elements of the exhibit in person; their expertise is a useful addition to the exhibit if you're able to snag some time with them. 

Photo courtesy of the Science Museum of Minnesota. 

The Science Museum is also featuring a new film in the Omnitheater that celebrates our national park system. National parks are a uniquely American concept and have only existed here for a little over 100 years; they have become an integral part of our national identity and provide safe, clean, engaging natural spaces that millions of people visit annually. Minnesota is unfortunately a little isolated from the bulk of our national parks (although we have one in the Boundary Waters!), so it can be easy to feel removed from this environmental treasure. The Omni film really places you as if you're in the parks themselves and provides some beautiful footage that you simply couldn't access in person. It's less dramatic than some of the other Omni films, but is still an engaging one and great for small kids. 

Photo courtesy of the Science Museum of Minnesota.

It's easy to take the incredible museums the Twin Cities enjoys for granted, and we SHOULDN'T. Not many places have such a rich tradition of museums spanning a wide range of subjects, and the Science Museum of Minnesota always has something new to offer. Kids are sure to enjoy the Mummies exhibit and National Parks film. It's worth a stop if you have some time to spare or need to pass a rainy day. For more information about the mummies exhibit, click here; for the national parks, click here. 

A Heavy Hearted Dutchman

Penumbra's latest offering shows it's not always fun and games. 

Photo courtesy of Allen Weeks.

They say art imitates life - or is it the other way around?

In any case, the Penumbra is offering two deep reflecting pools in the form of one act plays. There is a LOT to be unpacked in each show, so buyer beware: you will want to do your research before attending. Most theater I find to able to be accessible for anyone who hasn't read/seen/encountered it before, but that is not the case here. You will want to have some history and reference points to help guide you through the performances.

The first play, Dutchman, is a searing critique of white culture from James Baldwin heir Amiri Baraka. A white woman (Lula) becomes intimately involved with a black man (Clay) on a subway train car. Much of Dutchman's power lays in its surprise, so I won't give you more specific information on the plot than that - but trust me, the ending will shock you. In fact, several of the more elderly audience members moved back farther into the audience after intermission to distance themselves from the wrenching display onstage.

Photo courtesy of Allen Weeks. 

Nathan Barlow is excellent as Clay, showing a maturity far beyond his age. Barlow is nuanced, alternately lustful, vicious, guarded and thoughtful, and his subtle performance anchors the rest of the spirited action onstage. As his foil Lula, Kate Guentzel is intensely dynamic. She fully "commits to the crazy" and goes deep into Lula's troubled psyche. Guentzel is horrifying but simultaneously riveting, and her violent actions will leave lingering emotions for any audience member.

Costumes and the set are both simple (suits and a subway) and perfectly suited to the dynamic performances. They show, in fact, that great acting can enlighten without any trappings; a performance is what is made of it. Barlow and Guentzel are powerful in their portrayals here, and their chemistry shines through the simplicity of the subway set. Dutchman can feel like there is some wasted time, but it offers complete and total honesty. As hard as it is to hear, it is also refreshing, particularly in an environment where every element is intended to be artificial.

The second play, The Owl Answers, is a piece by the highly influential Adrienne Kennedy and features a more mythological feel. Though the plot is relatively simple (a woman is born the child of a wealthy white man and his black cooking servant; she is adopted by a local pastor and his wife, and forbidden from attending her blood father's funeral. She imagines herself visiting England, home of his ancestors, while she takes men to her home to sleep with; eventually, she tries to murder one and transforms into an owl), this is a complex show with vivid imagery and a hefty dose of magical realism.

The set is filled with medieval era projections, cage elements, and feathers. The claymaytion-esque masks and costumes are gorgeous, particularly those of the British characters (Chaucer, Shakespeare, William the Conqueror and Anne Boleyn).

Photo courtesy of Allen Weeks. 

As the lead character, Austene Van is able to pierce your emotions, even if you're not fully aware of the meaning of her actions. For the rest, I have to be honest: I found it incredibly obtuse. The Owl Answers is what it appears to be about on face value, but for me, something didn't click. I still enjoyed the performers, the costumes, the set, the whole shebang, but I couldn't tell you how these elements relate to each other. There were some themes I was able to cling to: the question of identity and history, especially of a black person relating to their European heritage; the places of escape that victims of rape or violence or social shunning create for themselves; the many ways a person can feel trapped in a cage, even if they physically aren't locked in anything. I found each of these themes interesting and important, and I think Kennedy had a lot more to say; for some reason however, I just couldn't access it (nor could my date for the night). Everyone needs to approach this show on their own terms, and I think there are many people who would find it very engaging and profound; unfortunately, I had a hard time accessing that deeper meaning.

If you want a night of intense thought, and one that directly relates to the cultural chaos surrounding us (pick one: election, Black Lives Matter, immigration reform, collective history - any of that ties in here), you should definitely attend this duo of plays. It will be hard to watch, it will make you struggle, it will make you uncomfortable whatever your color; but that is what makes theater so much more powerful than film. The tangible reality of live people in 3D living color presenting hard ideas cannot be replaced in any other way. Dutchman and The Owl Answers have had me pondering for days, and in an age of immediate gratification, it's nice to have some thoughts to chew on for a while. For more information about performances of either show, click on this link.

'You For Me' Is For Us All

Mu's latest production sheds a welcome new light on the refugee experience

Photo courtesy of Mu Performing Arts.

And what a welcome light it is. It's amazing how easily media can overwhelm a conversation, and the current state of refugees is no different. One would assume that the only refugees out there are from the Middle East; while there are many, and their needs are extreme, refugees are constantly entering countries around the world fleeing oppressive governments. One such place is North Korea.

You For Me For You tells the story of two sisters who attempt, at different times, to leave North Korea. The youngest, Junhee, is the impetus for the initial attempt; while she manages to escape, her sister Minhee does not. Junhee travels to America, where she works to save money and gain access to as many American resources as possible in order to return to North Korea to help her sister. Minhee travels through a magical realist period, where she encounters various elements of North Korean society in a fantastic way that allows her to realize the truth and the danger of the society she lives in. Junhee manages to return for her sister, but the price in order to get her out is too high for them to live together again.

Photo courtesy of Mu Performing Arts. 

You For Me For You evokes a feeling much akin to Pan's Labrynth, in which the fantasy of magical realism and the strange imagery it provides somehow makes the horror of a real experience feel more true. You can't help but bleed for Minhee, who does everything she can to survive and never seems to catch a break. Part of this is due to a sympathetic performance by Sun Mee Chomet, who perfectly depicts the character's extremely humble attitude. As her sister Junhee, Audrey Park is a fiery pleasure, whose strength is integral to the plot's success. Kurt Kwan is always engaging as the ever-shifting characters encountered in Minhee's fantasy, particularly in a portrayal of a man who makes music out of rice. He has a quiet strength, and it gives the show gravitas.

Photo courtesy of Mu Performing Arts. 

The ensemble cast is also enjoyable. JuCoby Johnson is quietly charming as Junhee's almost-love Wade, and he gives her story a solid grounding in American culture and our double standards. Sarah Richardson does a fabulous job of depicting what it is like to be in a country you know nothing of, particularly in language; her garbled passes through "English" shortly after Junhee arrives in America are impossible to understand and bravely force the audience into a new arrival's shoes.

It also bears special noting that this is the first time that this show has been performed using actual Koreans for actors. In addition to being a telling statement of the current state of diverse casting, it's a feature that lends this performance real gravitas.

Photo courtesy of Mu Performing Arts. 

The set is gorgeous in this show and full of strength. It immediately evokes the solemn feeling of a Korean temple, and thanks to innovative elements such as interlocking cubes with different designs on each side, or gorgeous lighting over a simple "well," is much more complex than it seems at first sight. This is the Swiss army knife of production design; every element has multiple purposes and can be customized for the scene. It adds a lot to the story.

Photo courtesy of Mu Performing Arts. 

You For Me For You continues a completely original and completely enchanting season by Mu Performing Arts. It's a wonderful show full of heart that reframes the argument for assisting refugees, and features some fairy tale style fantasy besides. It's a great show and totally worth a visit at the Guthrie before it closes on March 6 - make sure you check it out by clicking on this link.