Good Karma: Sandwiches for the Homeless

Partner with Finnegans and Brave New Workshop to feed the homeless. 

As we enter a season of thanks and giving, I always like to take a pause and try to find ways to pay it forward.

I've been extremely lucky in my life to always have a backup plan of some kind if something went wrong. Sure, it may not have been luxurious or easy - but I've never been in the position of having nowhere to turn for help.

That is unfortunately untrue for many of our neighbors here in Minnesota, where hundreds of thousands are homeless or food insecure. The need for safe spaces to sleep and ready food to eat is especially acute at this time of year, as temperatures drop, snow eliminates the ability to sleep outside, and reminders of the abundance of others is all around.

So, it's the perfect time to pay it forward for a few hours with Happy Hour Squared, an amazing initiative where participants help package sandwiches to feed the hungry for a few hours when they would traditionally be at a happy hour. Attendees can purchase a beer from Finnegans and have the opportunity to donate to their reverse food truck, which collects non-perishable foods and cash for future giving. The entire event is hosted at the Brave New Workshop space on Hennepin Avenue, and attendees are welcome to stay and see the evening's performance there at a discounted price after the Happy Hour Squared event is over.

The initiative has so far delivered over 70,000 sandwiches; the more people pitch in and spread the word, the more likely it is that the program can spread to other bars and cities throughout the country, which is Happy Hour Squared's ultimate goal. And if you can't make it this Thursday, November 17 (the next time Happy Hour Squared is being hosted), no worries; they repeat this event every month on the third Thursday of the month from 5- 7 p.m.

The sandwiches are distributed by Allan Law, who is famous for driving out every single night (yes that's not an exaggeration - he really does go EVERY NIGHT) between 9 and 10 p.m. to distribute sandwiches to homeless people he finds around the streets in Minneapolis. The results of this deceptively simple effort are staggering; Law has delivered nearly $500,000 worth of food over 175,000 hours of volunteering, just by himself. You can find more information by going to his page here.

There's a full event web page where you can get more details straight from the horse's mouth, which you can find by clicking on this link. I highly encourage you to consider going - it's such an easy, fun way to give back! And it feels really good to do something positive for your community, particularly at a time when everyone's feeling a little fraught over the election results. A recurring event page is up at the Compendium calendar page - feel free to add it to your own calendar to remind you to come.

A word about Finnegans: Finnegans is a delicious, locally produced beer from Minnesota's 10th largest brewing company. All proceeds from purchased brews are reinvested back into the community to feed the hungry, which so far has resulted in  a total impact of more than $800,000 donated. Finnegans is still hoping to have 2016 be the year that total exceeds $1 million, and I believe we can do it! You can see an infographic about how their system works here. 

A word about Brave New Workshop: Brave New Workshop has been a cornerstone of the comedic community in the Twin Cities for more than 58 years. The club includes live comedy performances, community outreach, classes for corporations, improve and public speaking courses, and more. They have a long history of civic engagement and are one of the most affordable, relaxed places around to find entertainment. I saw my first performance at Brave New Workshop a few months ago - check out my thoughts by reading my review here. 

A Creative, Cacophonous Cinderella

Kids will roll in the aisles for this modern take on an old tale. 

Photo by Dan Norman. 

Sometimes in life, you need to take a risk and go for something unexpected.

The latest production of Cinderella at the Children's Theatre Company is just such an event. Rather than go with the equally excellent but competing visions of Disney and Rogers and Hammerstein, the Children's Theatre decided to flip the story on its head and go with something entirely new.

Photo by Dan Norman. 

The result is an edgy, modern, physical take on the classic fairy tale that has kids leaping with excitement and their parents rolling in the aisles.

Photo by Dan Norman. 

This Cinderella is narrated on stage by a Victorian family as they celebrate Christmas. This family routinely interrupts scenes (or more literally, covers scene changes) from the Cinderella story to tell jokes, tap and clog dance, and sing some relatively obscure carols. It was a little unexpected at first, but provided a heartwarming holiday feel to the story and provided cast extras with a little more exposure to the audience.

Photo by Dan Norman. 

The Cinderella story itself contains the same plot elements as always. This one focuses more on the stepmother and ugly sisters than Cinderella herself, giving them about 50/50 equal time in the show. This is a great strategy for drawing in kids - they absolutely loved the stepsisters - although as an adult I was yearning for a little bit more of Cinderella and her prince. The stepsisters are steeped in modern pop culture references, singing portions of popular pop hits, telling jokes about local sports teams and dabbing and Beyonce-ing their way across the stage. The kids in the audience LOVED these modern touches and it really got them engaged with the show. It was definitely a smart strategy and something that I hope more kid-centric shows will consider incorporating.

Photo by Dan Norman. 

The cast for this show is wonderful, beginning with Traci Allen Shannon as Cinderella. Shannon has a wonderful warm aura that resonates from the stage, and she is a perfect choice (and role model) in this part. Her talent and warm nature keep the show from getting too "out there" from the original, and her voice perfectly syncs with David Murray (playing Prince Eric). Murray has a Jamie Foxx quality that definitely centers him in swoon-worthy territory, particularly with his excellent cover of Sam Smith's "Stay With Me" (which shockingly every child in the audience knew all the words to. Who knew?). My only quibble with Murray is his wig, which is a little over the top, but I think that was the point - so I'll let it go.

Autumn Ness (the Stepmother), Reed Sigmund (stepsister Dorcas) and Dean Holt (stepsister Pearl) are really the trio to watch here. They are clearly well rehearsed, performing some insanely physical comedic stunts (around an open orchestra pit no less - I had periodic heart attacks watching them!) without a single moment of hesitation. These three are bawdy, sly and just plain funny. They have a collective Three Stooges meets Jim Carrey edge that the kids loved, their Lisa Frank-colored wardrobe is certainly eye popping.

Photo by Dan Norman. 

The ensemble itself is also terrific, weaving in and out of scenes and transitions with aplomb. It's a really diverse group of performers, which was so encouraging to see. It's awesome to have kids see shows that have an on-stage representation of America's real population; the Children's Theatre Company always does an amazing job with this, but I want to keep congratulating them. Companies are diversifying all over the Twin Cities but we can still do better - please keep on!

Photo by Dan Norman. 

The set and costume design, by Eduardo Sicangco, is fabulous and lavish. Beginning with the Victorian carolers who intersperse the scenes, every detail has been thought out down to the last shoelace and top hat. Cinderella's hearth and the palace are truly exceptional sets, not only featuring gorgeous elements but some really striking visual effects (such as mice that move as if they are animated). The stepsisters' costumes are straight out of a Lisa Frank fantasy with spectacularly bright colors, unbelievable proportions and just general excess that works for the characters. Cinderella's ball and wedding gowns are gorgeous and provide any interested party with plenty of fantasy material. It's awesome to see such a rich vision come to life, and hats off to Sicango for creating such a beautiful piece that kids can really engage with.

Photo by Dan Norman. 

There is nothing wrong with abolishing traditions - I am a huge fan of flipping the script - and this Cinderella really fits the bill. It is charming without being too precious, edgy without being trashy, modern without forgetting its origins, lively while still having some heart. There are jokes for parents and kids, and some holiday singing thrown in to-boot. Children's Theatre Company's Cinderella is a marvelous example of the magic that can happen when you dare to ask, "What if?" It's a gorgeous show with a beautiful, diverse cast that perform their socks off. Please go see this show - tickets would make a fabulous gift for whichever holiday you choose to celebrate this season.

Photo by Dan Norman.

Cinderella runs through December 31 at the Children's Theatre in Minneapolis. For more information or to buy tickets, please click this link. 

Das Rheingold at the MN Opera

Fantasy fans are going to have a field day

By Mathew LeFebvre.

Do you like Lord of the Rings? The Hobbit? Mythical stories of ancient Nordic and Germanic religions? Beowulf? Fantasy in general?

If you do: then friend, do I have the show for you.

Das Rheingold is kicking off at the Minnesota Opera tomorrow night and it will have nerds squeeing in tandem. It has everything - a mystical ring forged from magic gold; sirens of the water; dragons; magical helmets; dwarf slaves; gods and kings; giants; en-fortressed castles; and a lot more.

By Mathew LeFebvre.

Das Rheingold is the first in the four-opera Der Ring des Niebelungen cycle by Richard Wagner, a pinnacle of operatic history and one can only assume a keystone in the education of J.R.R. Tolkien. The series begins with the story of the Rheingold itself and how it becomes the magic ring of power. This is a winding journey, beginning with a sexually rapacious and thieving dwarf named Alberich who steals the magical gold from some water dwelling Rhine maidens who refuse his advances. While said dwarf is thieving, the fortress of the gods has been completed in a Freudian bargain with some giants who agreed to construct it in return for keeping Freia, one of the goddesses. The gods attempt to get out of this bargain and must steal the magic ring made from Alberich's stolen gold as payment for this construction.

By Mathew LeFebvre.

Said gods (Wotan, better known to Minnesotans as Odin; and Loge, better known as Loki) travel deep into the abyss of the earth where Alberich has enslaved his fellow dwarves to mine gold. Loge tricks Alberich out of the gold and the ring, and brings it back to ransom Freia from the giants. But before they leave, Alberich curses the ring so that anyone who possesses it will be killed. Wotan reluctantly hands the ring over to the giants, and Alberich's curse is fulfilled when the fight and one is killed. The gods are freed of their debt to the giants; the ancient earth goddess Erda warns the gods of their imminent demise; and Loge is left to ponder the decline of the order of things.

By Mathew LeFebvre.

This is a complex story and there is obviously way, way more detail and nuance to the above, but this is the quickest synopsis. The story in its entirety is actually really interesting, and you can read the full summary here if you are interested.

As this is the first of a four part series, there are some structural differences to this opera from the usual. For example, Das Rheingold runs straight through in 2.5 hours without an intermission. This can lead to intermittent moments where the show feels long, but it does help it to pass quicker than a normal opera might. Anyone attending should be aware and plan their beverage allocation accordingly.

By Mathew LeFebvre.

There are some kickass voices in this show. Mary Evelyn Hangley is magnificent as Woglinde, the soprano portion of the Rhine maiden trio. Her voice blends perfectly with the others while at the same time soaring above them, and it's lovely. The leading men, particularly Greer Grimsley as Wotan and Nathan Berg as Alberich, are enjoyable but don't quite reach the point of transcendence. Richard Cox is intensely interesting as Loge and his theatricality keeps you engaged throughout the show - he's definitely a focal point. And Denyce Graves has a stellar moment as the goddess Erda, not only for being unexpected, but because it's so damn nice to see a woman of color on an opera stage! She's dynamic and an inspired choice - I only wish she had a larger part. MN Opera, bring her back!

By Mathew LeFebvre.

I usually fall head over heels for the production design of MN Opera shows. This one left me a little underwhelmed (with the exception of some of the costumes, seen throughout this review), mostly because of the heavy reliance on projectors - I would have liked to see a little more tangible construction of the Rheingold universe materialized in the flesh. Also, an odd camera mechanism filming the giants live on stage as they sing is a little confusing - I get the concept, but it ends up being a lot to look at and a little distracting. That being said, how else are you really going to depict a dragon, or an epic journey through caves at the center of the earth, or a magical floating sky palace all in one show? I get it, and space is limited because the full orchestra is 100% visible on stage for this production. Since it's such a broad orchestration and a larger pit than usual, it's really neat to get a inside look at the conductor and how each instrument relates. Super geeky music fans (*ahem*myfamily*ahem*) will adore this.

By Mathew LeFebvre.

This would be a good "gateway" opera for those who aren't sure if they like the medium or who have never seen a show. Unlike most opera which tends to be about moody, passionate and doomed love affairs, Das Rheingold has a solid footing in fairy tales, magic, lore and mystery. It's really more of a quest tale than anything else, and many viewers (particularly those familiar with Tolkein's work) will find it much more engaging than the usual narratives. It's also part of the best of Wagner's repertoire, and the striking arias and gorgeous, tormented orchestrations will feel very familiar to Bugs Bunny or movie soundtrack aficionados.

I encourage you to give Das Rheingold a shot. It opens tonight and runs through November 20. The MN Opera does an AMAZING job of providing supplementary materials and other events for shows; for the full list of opportunities, synopsis, study guide, costume designs, related events and more, check out their site by clicking on this link.

A Poignant "Oldest Boy"

Happiness is not something ready made. It comes from your own actions. - Dalai Lama

Photo by Dan Norman. 

I'm pretty sure that a couple decades from now, our kids are going to ask what we were doing last night, on the election of the 45th President. Where were you? Where was I?

At the theater.

In this long, unending, demoralizing slog of an extended campaign season, theater has been a wonderful refuge for me. It's such a positive place to immerse yourself when it feels like things are falling apart. You can escape into new worlds - new, fresh stories; places where all are accepted; places where problems can be resolved peacefully through conversation.

There was no better refuge for me last night than seeing The Oldest Boy, a lovely new play by Sarah Ruhl that is closing out this year's season at the Jungle Theater. The Oldest Boy follows a white Mother and Tibetan Buddhist Father as they learn that their son Tenzin, all of three years old, is a reincarnated Lama of the Tibetan Buddhist faith. Both parents struggle between the idea of letting their son go to be trained as a monk in his heritage, and wanting to keep him in America with them as a normal American child. The play is filled with tension between duty and freedom of choice, the difficulties of interracial relationships (particularly when kids are involved), the importance of passionate love, and the meaning and beauty to be found in true sacrifice.

Our prime purpose in this life is to help others. And if you can't help them, at least don't hurt them. - Dalai Lama

This cast is small and intimate, making the show feel as if you're a part of their family too. Christina Baldwin narrates the show as Mother and is extraordinary in the role. She is clear but soft, emotional but strong, and her tearful journey through accepting her son as he is and his place in his culture is moving and profound. Baldwin's tender portrayal guides all of us through the path of becoming open minded towards other cultures, towards raising our children with freedom instead of fear, and truly loving by letting go. It was the perfect antidote to the nasty election raging outside of the theater, and it gives me much hope for the hundreds of people who will see Baldwin's nuanced, vibrant performance.

Randy Reyes is shy and calm as Father. He perfectly shows his character as the bridge - between cultures, between old and new worlds, between the duties of a father and the duties of an acolyte. Reyes is always enjoyable and he grounds Baldwin's performance here. Eric Sumangil is lively and heartwarming as Tenzin's Lama. You can't help but think of the Dalai Lama as Sumangil quietly spreads his smile across the stage, and his performance is gentle and pleasant.

We can never obtain peace in the outer world until we make peace with ourselves. - Dalai Lama

It's also impossible to talk about the cast without mentioning two unique elements: a Monk, played by Tibetan cultural consultant Tsering Dorjee Bawa; and Tenzin, the reincarnated Lama-son who is actually played by a puppet (who is in turn performed by Masanari Kawahara). Bawa serves several roles in the show, not just as an actor but also a dancer, and his clear insight into the world of Tibet is strewn throughout the settings, costumes, scents (yes this play has a smell!), and more. Bawa's help makes you feel like you are truly in Tibet, and lends a richness to the setting that really enhances the performances. Kawahara is wonderful with the puppet Tenzin. I'm not normally a puppet fan, but Tenzin here is large enough to see clearly and feels very lifelike thanks to Kawahara's youthful performance. This puppet interaction really worked for me somehow and left the focus of the story to be on Mother and Father and their journey as Tenzin's parents, rather than the distraction an actual three year old would have provided on stage.

The set and costumes also have to be mentioned, because they are phenomenal. The first half of the play is focused inside of the family's home in America. It feels familiar but trendy, and comfy enough that I could see myself climbing into it to stay for a while. This is removed in the second act for an absolutely gorgeous set placed in a Buddhist monastery in India. The colorful beams of the temple, prayer flags, smooth floors and vibrant fabrics are totally mesmerizing, as is the light scent of incense as it wafts from the stage into the audience. It is transportive and really lovely - definitely my favorite visual aspect of this show.

Thousands of candles can be lighted from a single candle, and the life of the candle will not be shortened. Happiness never decreases by being shared. - Buddha

This show really was so timely for me, particularly its Buddhist themes. So much of The Oldest Boy focuses on reincarnation and the cyclical nature of life, as well as the benefits of learning to truly let go and let things be as they are. It was a gorgeous reminder that we are more successful and happier when we live in a world with our palms spread wide open, approaching others with generosity - not with fists clenched to keep everything to ourselves.

I really needed that reminder (I think we all do right now). And aside from its beautiful moral, The Oldest Boy is also simply stunningly original. It has a cultural blend that is fresh and modern and a gentle introduction into Tibetan culture. I loved this original script, the second by Sarah Ruhl in this season at the Jungle. I'm new to her work and so grateful for Artistic Director Sarah Rasmussen for choosing to produce her plays; three cheers for doing more original pieces and supporting more women in theater in all positions.

The Oldest Boy closes on December 18; for more information or to buy tickets, please click on this link. 

A Riveting Raisin in the Sun

Classics are classics for a reason. 

Photo courtesy of Park Square Theatre.

That is immediately obvious after seeing A Raisin in the Sun, currently playing at Park Square Theater.

Lorraine Hansberry's timeless story feels more relevant than ever (if that's even possible) in this gorgeous portrayal, which features an all-star local cast. For those who haven't seen it, A Raisin in the Sun is about a black family (the Youngers) living (and trying to expand beyond) Chicago's South Side. Set entirely within their home, the story follows the matriarch Lena; son Walter Lee and his wife Ruth; and sister Beneatha throughout their daily life struggles. Other folks wander through, including Beneatha's suitors, a man from the white neighborhood the family intends to move to, Walter Lee and Ruth's son Travis, and some local friends of Walter Lee's.

Photo courtesy of Park Square Theatre.

Perhaps what makes this story so compelling (and heartbreaking) is its unassailable normality and the depressing nature of that reality. The Youngers could easily exist today, and their bitterness - about underemployment, exhausting physical jobs, poor health due to lifetimes of incredibly physical work, segregated housing, the struggle to climb out of one's economic class, the inability to trust your friends - is all too often represented in today's news. This is also the Younger family's strength, however; despite all obstacles and the unending sea of disappointments they face, the Youngers constantly climb back up, dust themselves off and sally forth with dignity and class. They are a family built on bedrock, and nothing can stop them.

Photo courtesy of Park Square Theatre.

I said this is an all-star cast, and I mean it. Aimee K. Bryant opens the show as Ruth, perhaps this production's most relatable character. You can't help but be drawn in to Bryant's warm, winning portrayal of Ruth and feel for the struggle within her as she faces a difficult pregnancy and distance in her marriage. Darius Dotch is spectacular as Ruth's husband Walter Lee. He fully embodies the role and with it gives us a full picture window into the despair being a black man in America can create, as well as the innumerable forms of strength such men possess (and is often ignored in the news). Walter Lee is an unrealistic dreamer to be sure, but he is right to be disappointed too, and provides some thunderous thoughts on this subject. Dotch's emotional, full throttle realization of Walter Lee is powerful and one of the best performances of 2016.

Photo courtesy of Park Square Theatre.

Greta Oglesby is monolithic as the matriarch Lena Younger, constantly bringing her family back to their roots, to their ancestors, to their honor and responsibility. She is the sun around which this world turns, and Oglesby carries the role with appropriate gravity. Am'Ber Montgomery is fiery as Beneatha, and you can see in her lineage all the protest movements, Nina Simones and Michelle Obamas who have come after her. Supporting characters such as Theo Langason (as Beneatha's African suitor Asagai); Cage Sebastian Pierre (as Beneatha's wealthy African American suitor George); and Robert Gardner (as Lindner, the representative from the white "welcoming committee" of the Younger's new neighborhood) all provide decent portrayals, and Andrew Miles is heartwarming as the grandson Travis Younger.

Photo courtesy of Park Square Theatre.

As previously mentioned, one of the wonderful things about this show is it's total introspection. It is set in the home, it is about inner thoughts and fears and hurts, and this is beautifully represented in the set for this piece. Perfectly evocative of the Younger's heard earned but shabby apartment, this set has a working oven and iron, period placed cleaning tools, creaky slammed doors and shallow stuffed sofas. It's worn but warm, and it perfectly sets the tone for the Younger family.

Photo courtesy of Park Square Theatre.

Fun fact, to provide some context: the title of this show is based on a famous poem by Langston Hughes, entitled Harlem (often referred to as A Dream Deferred). It's a worldly and clear eyed piece, including the phrase that gives this play it's name:

What happens to a dream deferred? 

      Does it dry up
      like a raisin in the sun?
      Or fester like a sore—
      And then run?
      Does it stink like rotten meat?
      Or crust and sugar over—
      like a syrupy sweet?
      Maybe it just sags
      like a heavy load. 

      Or does it explode?

The disappointment of such deferred dreams is one of the reasons there is so much fraught tension surrounding Obama's presidency and the current state of progress (or lack thereof) for African Americans today, a tension we are going to see exploding in the results of tomorrow's election. No matter who wins, there will be a long way to go to helping realize Hughes - and Hansberry's - deferred dreams, ones much like that Dr. Martin Luther King expressed in a speech at the steps of the National Mall ten years after A Raisin in the Sun was published.

A Raisin in the Sun has been performed thousands of times, and for good reason. It is a riveting show, filled with timeless themes such as loss, racism, a sense of dignity, finding one's place, the struggle to be understood, and more. Park Square Theater's production is gorgeous, timely, and powerful. The dynamic performances will have you riveted in your seat and thinking about this production for weeks to come. Please go see it - you will be blown away. A Raisin in the Sun runs through November 20 at the Andy Boss Thrust Stage; click here for more information or to buy tickets.

This is the second Twin Cities Theater Blogger event hosted in partnership with Park Square Theater, and we had a great time. I helped moderate a conversation after the show with Gina Musto of The Room Where It Happens and Jamil Jude of Park Square Theatre, and we had some awesome engagement with the audience. We have plenty more blogger events planned for the coming year - please make sure to follow our Facebook page and join us for our next event! They are always presented in conjunction with thought provoking, excellent local theater, and you definitely don't want to miss it. 

Immerse Yourself in Step Afrika!

What is the beginning? 

Photo by Meredith Hanafi.

Where do we start? Historically it seems humanity's origins are traced back to Africa, back to the jungle and the sand and the heat and the steady, beating heart of unbounded nature.

One of history's greatest tragedies is the forceful severance of one branch of humanity (the white western world) from the rest (people of color, but particularly Africans). Even more tragic is America's original sin of slavery and the horrific way that sin has played forward into modern times.

Thankfully and despite unfathomable obstacles, slaves carried that steady, beating heart of vivacious life from the shores of Africa to the plantations of the South to the gleaming cities of the Northern United States, enriching American culture and adapting their cultural ways into unique and innovative forms of art (see: tap dancing, blues or jazz music, or innumerable other forms of art we now take for granted).

Last weekend I had the pleasure of seeing the entire above history come to vivid life in Step Afrika! The Migration: Reflections on Jacob Lawrence at the Ordway. The performance was a moving portrayal of the history of African Americans from when they were stolen from the shores of West Africa to their twentieth century journey to the cities of the Northern United States (Chicago, Detroit, St. Louis, New York City) after the Great Migration. The narrative of the stories is paced based on the painting series called The Migration Series by incomparable painter Jacob Lawrence (you should read this fabulous book - and my review of it - about Jacob Lawrence; more information here).*

Photo by Meredith Hanafi.

The painting series provides a concise guide for narrating the dance and drum portions of the story, clearly taking us from drumming on an African beach to dry cotton plantation fields to the trains that transported freed slaves and sharecroppers to the North to the jazzy urban city streets of Chicago and New York City. It's a slick transition and performed gorgeously by the dance company, who interchanges costumes, instruments and dance steps with total ease. Each era is beautifully performed and stirs the soul. The standouts are the opening drum number, which immediately grabs you by the hips and grips you into the beat that transitions, but never diminishes, throughout the show. Also stunning was a tap dance/Step mix dance series about trains and train stations, performed by three perfectly matched male dancers who left you breathless with their perfectly attuned timing.

By the way, quick stop: if you're wondering what dancing has to do with drumming, why both are imbued with much deeper meaning than being simple performances, and how that has evolved over the years, check out this EXCELLENT TED video. It is five minutes you will never regret spending.

Back to Step Afrika!: Most of the music is rhythmic, provided either by the dancer's steps, drums, poles beaten on the floor, clapping, or some combination of the above. There are a few tracks dubbed in during transitions but honestly typical "music" isn't really necessary here - there is so much creativity provided through the rhythmic performances of the dancers that there is more than enough art to go around. There isn't much of a set to speak of - just those large, projected "paintings" by Lawrence that oversee the proceedings - and costumes are simple, just evocative enough of time periods to help you place the dancers into the appropriate era.

I wasn't sure what to expect with this show - how do you tie paintings to dance? What's the point? - but it took my breath away. It was so creative, so beautifully performed, so fully imbued with the history and story that it told, that it couldn't help but draw you in. I was pleasantly surprised and instantly left wishing that I could see more Step Afrika! performances. It's been a while since they've visited the Twin Cities, and I hope they return again soon. Sadly, there are no more performances of this show at the Ordway, but you can find more information about the tour and the company by clicking on this link. They're based in Washington D.C. and if you're able, please go see them - it's worth every penny.

*As a testament to how amazing Jacob Lawrence is (he's like the African American version of a Matisse/Gaugin mashup. It's totally contemporary and delightful, but with a more serious political undertone), listen to this: he completed the 60 piece Migration Series at the ripe old age of 23, and it was the first major series of his work published. It's proved seminal and a very important visual representation of a lesser-acknowledged portion of American history, and set Lawrence up for entree into some very elite art clubs in an age when black citizens weren't accorded much elite membership to anything. His story is compelling and truly American - I really do encourage you to look into him more. 

A Pleasing Pericles

Nothing is sacred - and I like it.

Do you like Shakespeare?

Chances are that at some point in your schooling you read at least one of his plays. There's a reason for that: Shakespeare's plays are good. Some of them are REALLY good. They deserve their place in the literary canon, and they do have value today, hundreds of years after they were first written.

That being said: Shakespeare's plays are living documents, not precious treasures set in stone. So it can be really frustrating to go see Shakespeare performed, as you never know what you are going to get. Some productions pull off a full read beautifully, but with most... well, as is always my opinion: a little judicious editing can't hurt.

That's why I am always so thrilled to see Shakespeare performed by Ten Thousand Things, my favorite company in the Twin Cities and easily the best performers of Shakespeare around. Their latest offering is Pericles, a lesser-known adventure tale, which director Michelle Hensley not only cropped down to a tight two hour length but even re-wrote portions of to modernize it a bit. Heresy? Some might say so, but to me it's the best arrangement for comprehension and breathing new life into what could otherwise become a theatrical dinosaur.

Pericles tells the story of Pericles, the king of Tyre, and the mishaps he befalls as he travels throughout life. It begins with a very unsettling quest to find a bride and instead encountering an incestuous, rapey father (King Antiochus). Fleeing the father (and unfortunately leaving the princess to her fate), Pericles decides to travel the world until such time as Antiochus is dead and he is no longer threatened with divulging the evil king's secret. Pericles travels first to Tarsus, where he saves the people from a terrible famine. From there he comes to Pentapolis, where he falls in love with and marries the Princess Thaisa and is very happy for a while.

Antiochus dies and Pericles sets to return home to rule Tyre with his pregnant wife, but unfortunately they never get there. They are beset by a storm while Thaisa goes into labor, and dies in childbirth. She is thrown overboard and the Princess Marina, Pericles' infant daughter, is left in Tarsus on the way home to be raised by the still-grateful royalty there. Everything seems set, except: Marina grows up to be a wonderful woman and rival to the princess of Tarsus; beset by jealousy, her host tries to kill Marina, Marina is kidnapped and sold to a brothel; and Marina takes life into her own hands to save herself from desperate straights. Thaisa is also not dead after she is dumped into the sea, and washes on the shores of Ephesus. She is highly aggrieved at Pericles' quickness in throwing her overboard and becomes a priestess to the goddess Diana. Pericles returns to fetch Marina and is informed she has been killed. He puts himself into silent martyrdom aboard his ship until one day, Marina is brought upon his boat and they are accidentally reunited, as well as reunited with Thaisa thanks to the goddess Diana's intervention.

Complicated, right? I'm pretty sure there are about a dozen places in the above synopsis where you cringed, wondered what the heck was wrong with Pericles, and otherwise had a hard time relating as a modern person. That's what's so great about this production - Hensley has constructed it to be not only a performance but a critique of Pericles and the morals it holds, and it makes the play far more interesting than it would otherwise have been.

It helps that the performers are excellent and the cast is highly diverse. Theaters, take note: no one does diversity and representation better than Ten Thousand Things, and there are quite a few companies that NEED to learn from their process. The parts are perfectly cast, anyone can play an interchangeable role, and their chemistry is off the charts. It's awesome.

Ansa Akyea is quietly wonderful as Pericles, forcing the audience to empathize with him even though his actions are so misguided. Audrey Park is strong as the Queen Thaisa and a good pair with Akyea. Pearce Bunting is terrifying as a series of villains, including King Antiochus; the sailor who petitions to throw Thaisa overboard; Leonine, a murderous henchman; and Bawd, the brothel owner who purchases Marina. Bunting has a distinctly Willem DaFoe vibe (no really, he's a dead ringer), and he completely owns the villainous space for this story.

The standout of the cast is Maggie Chestovich, who plays multiple roles with consuming passion. Chestovich makes every word of the script ring clear as a bell, and her well timed antics not only aid comprehension of the story but provide some much-needed laughter throughout this heavy tale. I've seen her in multiple productions and she's always wonderful - if the only reason you go see this is her, GO. She's amazing. The rest of the cast is also excellent, and you won't be disappointed with their thoughtful performances.

Pericles may not be at the top of most peoples' lists of favorite Shakespeare plays, but this is a version well worth seeing. No one performs Shakespeare better than Ten Thousand Things, and this judiciously and modernly edited version is well adapted to today's needs. It's super affordable and supports a great cause.

SHAMELESS PLUG
I really, really love the mission and execution of Ten Thousand Things and I am totally okay with providing a shameless plug in their favor here. Their productions are excellent, affordable, and most importantly are far removed from the ivory tower we so often think of theater as residing. Ten Thousand Things performs in prisons, homeless shelters, schools, church basements and more, with the lights totally on and little bells and whistles to speak of - just completely excellent performances that take your breath away. Their mission clearly states:

"Ten Thousand Things brings award-winning, high-quality theater to people with little access to the wealth of the arts. This company invigorates ancient tales, classic stories, and contemporary plays through vital, open interactions between actors and non-traditional audiences."

PLEASE, please donate, or if you go, make sure you pay for a ticket. Think of every purchased TTT ticket as a donation to help someone else see the show too (like a pair of Toms shoes) and it is an extremely worthy cause. For more information about Ten Thousand Things, click here; to donate, click here; and to see Pericles, click here to find information and get tickets.