Corazón Eterno Warms the Heart

A love story for the ages, just in time for Valentine's Day. 

Photo by Rich Ryan.

We live in tumultuous times, and much of the art being made right now reflects this. It's important to use art as a way to help process things, to put things in their place and to consider them from a new angle. But let's be honest: it can get a little exhausting.

We can't be going at full speed all the time in every direction; something's got to give. So it was refreshing to attend Corazón Eterno last weekend at Mixed Blood Theatre. Corazón Eterno is pure romantic treacle, in the greatest traditions (think The Notebook or Love in the Time of Cholera). It's not revelatory or life changing, but it is definitely heartwarming and hearkens back to a simpler time, which provided a soothing place of respite after weeks of political contention.

Photo by Rich Ryan.

Corazón Eterno is narrated by Julio Gonzalez, a man reflecting on the story of the great love of his life, Julia. It begins with the sweet blossoming of their romance as teenagers, follows the difficult split Julia's father forces upon them, Julia's subsequent marriage to another man (who eventually betrays her), Julio's bitter loneliness without his love, and the final reconciliation between the two much later in life when they have softened and can truly belong to each other. It's a simple story that I'm sure you've heard before, but it's still enjoyable despite its familiarity.

The narration is told alternately in English and Spanish (with subtitles that switch between both). This bilingual performance is one of my favorite things about Mixed Blood (and something I wish was far more common in the Twin Cities, particularly for our diverse communities). It's an additional challenge for the actors, of course, and all of the cast here handled it well, seamlessly transitioning between languages in different contexts. Israel López Reyes is quiet and steadfast as Julio Gonzalez, and he steadily steers the course of the story. I found Reyes' solemnity really endearing, and it made the story feel more grounded than silly. Mariana Fernández plays Julio's lost-love Julia. Fernández has a wily air about her, maneuvering her way through Julia's disappointment. She felt a little less in-touch than Reyes, but they ably demonstrate the mixed dynamics of Julio and Julia's relationships.

Photo by Rich Ryan.

Raúl Ramos is fiery as Julia's father Agustin, and Sasha Andreev is hard to love as Migel Reyes, Julia's first husband. I'm not sure what it is about Andreev but he seems to gravitate towards difficult characters who he somehow manages to render far more palatable than they should be, which is a feat in itself. The show's standout by far is Lisa Suarez who is utterly charming as Julio's mother Clemencia. She brings wit, heart, and tender passion to her role, and she's an absolute joy to watch. I hope to see more of her in the future!

If you need a pleasant escape from today's troubles (who doesn't?), Corazón Eterno may be for you. Is it life-changing? No. Is it innovative? No. But it is heartwarming and familiar, and it felt like the visual equivalent of a cozy blanket with a mug of cocoa. The story's mundanity is exactly what I needed after weeks of dizzyingly paced news, dread of the unknown and crazy events. If you need such a break too (or want a really excellent way to practice your Spanish listening and reading skills), look no further. Corazón  Eterno runs through February 25 at Mixed Blood Theatre. For more information or to buy tickets, click on this link.

The Royal Family Middles

If the Kardashians lived in the 1920s, this would be for them. 

Photo by Heidi Bohnenkamp.

In this era where we are working to ease the yawning gap between the 1% and the 99%, it can be a little difficult to identify with people on the opposite side of the spectrum from you.

The Royal Family, a play about a prestigious acting family's (the Cavendishes) inner workings (think Keeping Up With The Kardashians circa 1927), puts a spotlight on the 1%, or at least those who to appear to be part of it. The Cavendishes share a lavish, gorgeously appointed apartment in downtown New York City. The matriarch, Fanny, is reaching the end of her career. Fanny's daughter Julie is enjoying a career peak and is about to premiere a new show with her daughter Gwen. Gwen is dating her sweetheart Perry, and Julie is anticipating a visit from her former lover Gilbert.

Photo by Heidi Bohnenkamp.

Their relationships are severely strained by the Cavendish's inability to soften their dramatic tendencies. Tony, Julie's brother, sweeps in and disturbs the family peace on rumors of having assaulted a member of the film he was playing in; Julie demands that Gwen lay down her personal life for the success of the family and their upcoming show; Gilbert works hard to remove Julie from her family's toxic dependence; and Fanny is unwilling to accept that age has rendered her finished with anything mildly adventurous or performative.

The play meanders into a third act (this show is LONG - two intermissions, be prepared), in which we see the resolution of both love stories (Julie and Gilbert marry, as do Gwen and Perry), and the Cavendish's eternal inability to leave the stage. All of the family members are sucked into the vortex of performance, to a fault. As this is meant to be a parody of the illustrious Barrymore family, it should be no surprise that there is an abundance of flair, overwrought drama and unnecessary conflicts along the way, and that the show closes with a dramatic event.

Photo by Heidi Bohnenkamp.

Michelle O'Neill anchors the show as Julie Cavendish, bringing a Joan Crawford-wire-hanger intensity to her part. She clearly gels with Robert Berdahl, who plays Gilbert Marshall (which somehow came off with a Pierce Brosnan vibe). Victoria Janicki alternately simpers and glowers as Gwen Cavendish; Matthew Saldivar is hilarious as the roguish Tony Cavendish; and Elizabeth Franz steers the action as the matriarch Fanny. David Darrow shines a light as Gwen's husband Perry and has an innate sweetness that's very pleasant. Shawn Hamilton similarly brings a welcome warmth to his portrayal of the Cavendish's manager Oscar Wolfe.

Photo by Heidi Bohnenkamp.

Overall, I have to be honest: I struggled with this show. This is a distinguished cast, and they give it a strong shot, so kudos to them. But the story just didn't capture me. There are so many people struggling right now, and rather than feeling like an escape from the craziness of the world outside, The Royal Family felt so overwrought and unnecessarily tense. It's a comedic play and it should tap into so many societal norms today despite being decades old, and there are elements that do feel relevant - but it was hard to feel any empathy for the behavior of the characters. They are so spoiled and make so much fuss over such little things that it just fell apart for me. Again: this is not a reflection of the quality of the direction or cast or the production itself, just of my feelings of the script. It's always hard to balance personal preference with the quality of a show when constructing a review, and this one just didn't jive for me.

The biggest positive standout, which must be acknowledged, is the riveting production design. No expense was spared to build the lavish set and on-point costumes. The apartment is outfitted with an imposing, full-length set of bookshelves packed with all manner of curios; cozy looking furniture including a fainting couch; and a poetically painted patterned wallpaper set. The Cavendishes are clad in a rich array of thick furs, gossamer silks, and eye popping, on-trend dresses. Kudos to Marte Johanne Ekhougen's lavish scenic design; Brenda Abbandandolo's riveting costume design; and the dramatic lighting design from Bradley King (which lends a cinematic feel to every scene). You can't help but be pulled in by such gorgeous surroundings, and it does help to pass the time as you watch!

Photo by Heidi Bohnenkamp.

Revivals are always tricky, especially comedic ones. Sometimes, they soar (as witnessed by last year's marvelous update of Harvey at the Guthrie, which breathed fresh life into a story I never even liked) and sometimes, they stall. The Royal Family middles for me. If you're looking for a gorgeous period staging and are a fan of the reality show life, this will probably catch you. If you're looking for something totally abstracted from today's woes, or with a little teeth to it, you won't find it here. The Royal Family runs through March 19 at the Guthrie theater; find more information and buy your tickets by clicking on this link.

And as a note: make sure to join the Twin Cities Theater Bloggers on Sunday at Park Square Theater's matinee performance of Nina Simone: Four Women! This is one of the best shows I've ever seen and I can't wait to see it again. We will be hosting a talk-back after the performance, so make sure to swing by; tickets are quickly disappearing! 

A Promising Promise Land

Send these, the homeless, tempest-tossed to me, I lift my lamp beside the golden door!

Photo by Nick Schroepfer.

Art always seems to closely follow politics, and there is no better example than the pointed shows about immigration that opened last weekend, right as the new immigration ban was set in place from the White House. Flower Drum Song, a beautiful co-production from Mu Performing Arts and Park Square Theater, opened as well as a preview of Dr. Seuss's The Sneetches at the Children's Theatre Company and Promise Land, a new original work from Transatlantic Love Affair (TLA) at the Guthrie Theater.

Photo by Nick Schroepfer.

TLA always puts an interesting spin on things (which is why they were voted favorite theater company by the Twin Cities Theater Bloggers!), and that is just as true of Promise Land as their other productions. Promise Land tells the stories of Yosef and Sara, two children who flee hunger and persecution in their unnamed native country for the United States, the land of opportunity. As so many stories of immigrants and refugees go, things are difficult for Yosef and Sara; they face difficult manual labor, sexual advances from predatory employers, horrifying travel conditions, and more challenges. But the show's positive message overwhelms these troubles: Yosef and Sara are also taken in by compassionate strangers, given generous assistance when they need it most, and ultimately are able to pay to bring their parents to the United States, too.

Photo by Nick Schroepfer.

TLA's physical, lyrical style lends itself beautifully to this story. There's just enough dialogue to keep the narrative moving, but the bulk of the action is told silently through creative, expressive choreography that transports the audience from the belly of a steamer ship to the shores of America, into the heart of a hot manufacturing factory and up the stairs of a two story home. TLA's gorgeous, evocative movements make this story truly universal and leave a deep impression that simple dialogue couldn't convey. This is assisted by strategically placed, striking lighting washes that provide a watercolor effect and beautiful shadows on the simple white backdrop. Costumes are kept similarly simple (and comfortable!), affording the cast the highest amount of movement and flexibility.

Photo by Nick Schroepfer.

TLA takes a true team approach to their work, so I can't call out any specific company members, but just know: you can tell they really put their hearts and souls into this piece. It feels relaxed and thorough even though it runs at a tight 75 straight minutes, and everyone is clearly immersed in the story. Diogo Lopes and Isabel Nelson, the company's co-directors, did a gorgeous job of creating and rehearsing this show (check out an inside scoop on their process at the Twin Cities Theater Bloggers Facebook page). Cheers to original theater with a lot of heart; if you enjoy such productions, make sure to go to the Guthrie to see Promise Land before it closes. And remember, tickets are only $9, so it doesn't have to break the bank.

As an aside: Compendium is now on Facebook! Please take a few minutes to join me at my page there. I can't wait to create a more interactive experience and connect this community. Thanks so much for your support! 

Follow this Flower Drum Song

Give me your tired, your poor, your hungry....

Photo by Rich Ryan.

Immigration is a hot topic these days, so the new joint production from Park Square Theatre and Mu Performing Arts couldn't have come at a better time. Flower Drum Song, a seldom-performed part of Rogers and Hammerstein's considerable repertoire, tells the story of Mei-Li, a young Chinese immigrant who flees communism and lands on the shores of San Francisco. She follows the only address she has to the Golden Pearl theater, which is owned by her dead father's best childhood friend Wang. Wang, a proponent of the ancient Chinese opera, is in eternal struggle with his son Ta, who wants to bring a more modern, American program to the Golden Pearl's stage. Economics decides the fate of the Golden Pearl, which becomes Club Chop Suey after Ta's star showgirl Linda brings on a new manager, Madame Liang. Madame Liang has a knack for savvy marketing and flashy programming; with her guidance and Wang's broadening perspective, Club Chop Suey becomes a hot new venue.

Photo by Rich Ryan.

Concurrent with this story is the love triangle between Mei-Li, Ta, and Linda. Each chases or runs away from the other, culminating in a whirlwind of epiphanies towards the end of the show. Ultimately, each finds their place in an America that doesn't fully accept them; but that's okay, because Mei-Li, Ta and Linda each find their own unique, hybrid way of life that is true of every immigrant who has settled in America. The show culminates in a powerful curtain call, in which each actor steps forward and states the place of their birth. The timely message could not be clearer: America is a land of people from near and far, many of whom have fled (or are fleeing) persecution in their home countries. Not only is this diversity what makes America great, but it also should unite us. The finale is perfectly timed and had the audience leaping to their feet - it couldn't have been better executed.

As far as music goes, this is not Rogers and Hammerstein's greatest work but it's still fun. "I Enjoy Being a Girl" is probably the most familiar piece from this show, and it gets a solid rendering here. "A Hundred Million Miracles," the main theme of Flower Drum Song, is musically a little underwhelming but definitely grows on you throughout the show. "Gliding Through My Memoree" and "Don't Marry Me" provide plenty of laughs and some welcome comedic cameos from ensemble members. The most beautiful musical moments come from Mei-Li and Ta, who have wonderful chemistry and beautiful dances together in songs like "You Are Beautiful" and "Like a God."

Photo by Rich Ryan.

The best part of this show is the renewed book, written by David Henry Hwang (who was in attendance on opening night!). The story feels very modern and fresh, and manages to tell a very difficult, serious tale with so much humor and nuance. Ta and Mei-Li represent the struggles of all of us (or our forefathers and mothers, at the very least) as we struggle to fit into a blended culture. Where is the line between giving away your heritage and becoming accepted in your new society? Which traditions do you choose to keep or to discard? When is the time appropriate to give up on your dream and return home?

Photo by Rich Ryan.

You can tell that the cast is engaged in this script, and that really helps to sell the show. Stephanie Bertumen (last seen in The Last Firefly, which I loved), is great as Mei-Li. Her performance is understated and welcoming, truly drawing you into Mei-Li's struggles and dreams. She also has great chemistry with Wesley Mouri, who plays Ta. Mouri displays a lyrical grace, particularly with Ta's traditional dance scenes, and it's easy to see him as a Clark Gable or Cary Grant figure. Meghan Kreidler is spirited as Linda and leads the ensemble through the dance scenes. Sherwin Ressurreccion and Katie Bradley are hilarious and perfectly paired as Wang and Madame Liang, respectively. Eric "Pogi" Sumangil provides deft touches of humor as Wang's friend Harvard, and always provides a shining moment with a bright smile.

Photo by Rich Ryan.

The set is pretty minimalist, mostly focused on two large interchangeable theater fronts (which double as storefronts, a restaurant, a factory...you name it). Sets are relatively minimal too, and the pit is always in the background, hovering past the action. The costumes are the best part of the production design, featuring hand fans, strategically placed "takeout boxes", themed pieces and some gorgeous, ornate robes. The costumes help provide a sense of humor to the show, and they go well with the specially designed scarves that decorate Park Square's entrance.

Flower Drum Song is slow to start, and only starts to pick up two thirds of the way through Act I. If you're not already familiar with Chinese history, some of the beginning may be a little confusing until explained later on in the show. And while the cast holds its own musically, this isn't the most profound singing or dancing you'll ever hear. I wish there was a little more hard tap dancing to help drive through the musical interludes.

Photo by Rich Ryan.

That being said, I still really enjoyed Flower Drum Song. The cast has so much heart, and they really pull you into the story. The book is so contemporary (and after the events of this weekend feels urgently necessary) and it was really nice to see something that genuinely made me smile. You can't help but love Mei-Li and Ta and Wang and Madame Liang and all of the other well-rounded characters of Flower Drum Song by the time you're done. They're just too familiar, too engaging, and too sentimental to shut out. And that's really where Flower Drum Song's power lays: by telling a universal American story, it can appeal to all of us despite our cosmetic differences. If you're a fan of musicals see this to expand your repertoire; if you're a fan of reaching out to shorten the distances between us in this increasingly stratified society, see this to hear one more perspective of life as a new member of this country. You might be surprised what you learn.

Flower Drum Song plays at Park Square Theatre through February 19; for more information or to buy tickets, click on this link. 

And as a notice: Compendium is now on Facebook! Please consider following there - in addition to including all of the pieces posted here, I'll be able to better link to fellow Twin Cities Theater Blogger posts and review roundups and include other cool events that are upcoming - don't miss out, follow by clicking on this link. 

36 Hours in: Oklahoma City

Where the wind comes sweeping down the plains....

We spent several hours at the Oklahoma City bombing national memorial and museum - totally worth it!

We're finally kicking off the travel section over here at Compendium, and we're doing it in the unlikeliest of places: Oklahoma City!

I should begin by saying that my guy and I have set a goal to see all seven continents and all 50 states, which we are eagerly working to complete. This has been a great way to force ourselves out of our winter doldrums and to force us to engage with places and people we otherwise may have avoided. Neither of us has spent much time out west or down south in the United States, so they are two regions we are really focusing on in 2017.

We got trapped by a non-moving train; another good reason to stay in one neighborhood! 

When our original plans to head to Texas fell through, we decided to go just a sidestep away and head to Oklahoma City instead. We weren't sure what to expect, but it turns out that there was more than enough to do to fill the weekend. We were pleasantly surprised by how much we enjoyed this trip; I'm sure we will be back someday.

Things to Do

Some may have considered Oklahoma City cold, but for fog and snow-trapped Minnesotans the sunny 65+ degree weather was a welcome change. We were able to spend the day walking around to multiple things, enjoy the quiet city, and refresh after a busy few weeks after the holidays.

We spent most of our time in the Automobile Alley part of the Midtown District which was a wise choice. This area is just spread out enough to give visitors a good workout walking between locations, but nothing is so far away as to be daunting (think 1.5 miles or less from start to stop of each stop on our trip; all those .7 mile jaunts really added up later in the day!). This is also an area with a thriving hipster community. I've taken my share of potshots at the hipster community before, but I have to say it was oddly comforting to know that I could find some familiar, decent local beers and trendy decor just around anycorner.

The bulk of our tourist time was spent at the Oklahoma City Bombing National Museum and Memorial. This is a deceptively thorough museum; it doesn't look that big from the outside but holy cow, there is so much to do there! It took us several hours to get through the exhibits (and by the end we weren't even reading every single placard) and we spent another good chunk of time wandering the beautiful, peaceful memorial outside.

Don't miss the memorial's peaceful grounds and stark but beautiful tribute to the dead. 

It was such an interesting experience to re-visit this event 20+ years after it had happened; so much has changed since then. The museum did a wonderful job of putting guests into the context of 1995, particularly in terms of technology, and having guests experience how unexpected the bombing really was. It's easy to forget that this was an era pre-World Trade Center attack and that terrorism in America was still a really abstract concept. It also was interesting to see terrorism defined as conducted by homegrown, white power-centric hate groups, rather than associated with Islam. It definitely lent a more complicated perspective than what we think of as terrorism today. I really appreciated the complex view the museum took of the event and the way it utilized multiple perspectives to tell the story. The museum also has an excellent display of the investigation to find the perpetrators and follows it through the trials and convictions of those involved. Fans of CSI and Law and Order (or Quantico or Shades of Blue...) will really get into it.

This was pretty inspiring. 

Unfortunately, I wasn't familiar with Film Row while we were there and we didn't check it out - but as a huge fan of old school Hollywood, I will definitely be doing that when we return.

Pro tip: If you have a short trip somewhere (say a weekend, or three days or less), focus your efforts on a small area and get to know it really well. If you're too spread out, you'll spend more time coming and going than seeing the place you're suppose to be visiting! 

Things to Eat

This is where Oklahoma City really shone. I wasn't sure what to expect on the food front - I've never heard of an Oklahoma equivalent to, say, a Philly Cheesesteak - but we needn't have feared. It turns out that Oklahoman food is a good bridge from Midwest to Tex Mex, and definitely good for carnivores.

Who doesn't love saucy eggs?

For brunch, I highly recommend trendy Packard's. We were blown away by their inventive, affordable menu (particularly the cocktails) and had a great start to our day there. I had an awesome green chile pulled pork benedict on some fluffy homemade biscuits; my date had a duck confit hash with comeback sauce that also hit the spot. Don't take my word for it though - just look at the photos! And get there for an early brunch; the place was getting really full towards the 11 a.m. - lunch rush.

This stuff is FILLING - so glad we split! 

Lunch was a stop at Fassler Hall for some great German-style beer, duck fat fries and a grade A venison hot dog. It reminded me a lot of the new Surly Brewing Complex in Minneapolis, and it was a welcome stop between our long walks. In addition to having a huge, sun-lit patio, Fassler Hall featured lots of games (like full size Jenga) and was dog and child-friendly. I definitely recommend stopping by if you need a little more patio in your life. Veggie friends: they also had a good range of friendly items for you such as falafel dogs and pretzels. Fassler Hall welcomes all!

We got four full meals and some snacks out of this one order! 

Dinner was at the magnificent Cafe do Brasil, a better-than-Fogo upgrade to Fogo de Chao. The food was spot on (again meat heavy....sensing a theme? Sorry vegetarians, I'll get you back when we're on the West Coast and out of steak territory). In between caipirinhas we split a massive platter of roasted meats, silky beans and rice, fried yucca, plantains and polenta, and a knock-your-socks off chocolate and passionfruit mousse. It was a far more exotic meal than we intended but it was absolutely worth it - as was the price tag! We had way more food than we could stomach, so we took home the grade A leftovers and cooked them up after the flight back home.

Where to Stay

We had our second foray into Air BnB on this trip. It wasn't nearly as transcendental an experience as our first time, but I'd still recommend it as a great way to find a place to stay. We had an affordable room in a large loft-style house at a central location in the city. It didn't have the luxuries or amenities a hotel may have had, but that's okay; we really only needed our room for sleeping anyway. Uber got us there and back from the airport, and the rest of our forays around the city were on foot thanks to the good location of our neighborhood (right in Midtown). I'd highly recommend checking Air BnB options first if coming to Oklahoma City; save what you would spend on the hotel on a great meal instead!

How to Get There

We took a plane and I would definitely recommend this over other forms of travel between Minnesota and Oklahoma. It's a lot to drive and not the prettiest area to train through, but the flight is only one and a half hours. It was extremely direct and we had a great experience with Delta - flying is definitely the way to go. If we had spent more than a day here I would have rented a car upon arrival to allow us a little more flexibility, but it was just fine without one for this short trip.

Have you ever been to Oklahoma? What are your travel goals? Where should we swing by next? Let me know your recommendations - I'm always up for trying new things! 

GOOD KARMA: The Ghostlight Project

#bealight #ghostlightproject #allarewelcome

Photo courtesy of Mixed Blood Theater.

Ahead of the looming inauguration festivities (or, some might say, dirges) this coming weekend, theaters around the country are hosting a Ghostlight ceremony this Thursday, January 19 at 5:30 p.m. to help shine a light of solidarity with marginalized groups and fellow theater patrons who are concerned about current political events. The Ghostlight Project is creating safe spaces and commitments from the public to help defend such spaces across America; they define safe spaces as those where:

• It is safe to be who you are, regardless of race, class, religion, country of origin, immigration status, (dis)ability, gender identity, or sexual orientation. 
• Diverse opinions, dissent, and argument are not only tolerated, but invited.
• Active listening and courageous exchange are fundamental values.
• Collective action, activism, and community engagement, both within and outside the walls of the theatre, are cultivated, encouraged, and supported."

The event is meant to be a national event of solidarity and inclusion, and participants are coming from all 50 states and more than 30 local theaters and learning institutions. Twin Cities theater groups are certainly involved; just check out this list of attendees:

• 7th House Theater
• *Augsburg College
• Girl Friday Productions
• Hero Now Theatre
• Impossible Salt
• In The Heart of the Beast
• * Intermedia Arts
• *Lyric Arts
• *Mixed Blood Theater
• MN Theater Alliance
• Moving Company
• Mu Performing Arts
• *The Ordway
• Pangea World Theater
• *Park Square Theatre
• Patrick's Cabaret
• *Penumbra Theatre
• *Pillsbury House Theater
• Prime Productions
• Sandbox Theatre
• *St. Olaf College
• *Stages Theatre Company
• Theatre Latte Da
• Theatre Novi Most
• *University of MN Theatre Arts & Dance
• *Winona Senior High School Drama program
• Young Dance

There's a wonderful piece up on CityPages about the local groups involved, much participation of which has been helmed by Mu Performing Arts' own Randy Reyes; check it out here.

Photo courtesy of Park Square Theater.

If you want to attend (and if you're free, you should; the event is only 30 minutes, beginning at 5:30 p.m. at the respective locations), you have two main options:

In Minneapolis, Mixed Blood is hosting a coalition of theater companies and is participating with local businesses to provide specials. 15% of all proceeds from sales at the 7 Corners location of The Republic will go back to Mixed Blood that day, so make sure you stop by if you attend the ceremony. Their full schedule says: "Join us, along with representatives of 7th House Theater and Theater Latté Da at the firehouse beginning at 5:00pm. A brief presentation will occur at 5:25pm with our lights shining together at 5:30pm. Bring your own light source to share in this moment. All those who participate are welcome to then bring their light to the Republic at 7 Corners to further this important conversation."

In St. Paul, the largest gathering will be at Park Square; their schedule includes:

• Gather under the 7th Place Marquee at 5:30 p.m. on January 19
• “Light up” – use your cell phone flashlights or come wrapped in fairy light – to join our ghost light of people
• Turn on the ghostlights in Park Square’s outer vestibule and in the Boss Lobby that will remain on as a symbol of welcome. Park Square will put its DEI pledge next to these lights
• Group sing “We are a Gentle Angry People" by Holly Near.
• Adjourn to Park Square’s Proscenium Lobby for coffee and hot cocoa
• Make the “I am____ I fight for_______” pledge. Notes along with a board for display will be provided

More information on nation-wide plans at theghostlightproject.com.

Big Stakes for Sandbox in "Big Money"

Could you game a system if it meant big money?

Photo by Matthew Glover.

If you're a person of a certain age (aka you were raised prior to the predominance of satellite or cable TV), at some point you had a gameshow day. You were 8, you had the chicken pox, and mom or dad took a much needed day to nap while you sat on the couch eating over-salted, canned Campbell's chicken noodle soup watching bad talk shows and even worse TV game shows*. Despite their utter mediocrity, however, there was something about the democratic idea that anyone with half a brain could earn some much needed money that was compelling, riveting in the right circumstances, and a welcome distraction from the real-time realities of managing money in America.

Big Money, the new production from Sandbox Theater (showing at Park Square), re-imagines the real-life story of Michael Larson, a Class A swindler who won $110,000 playing Press Your Luck in what was (at the time in 1984) the largest amount of money ever won on a game show. Big Money begins with the story behind the Press Your Luck win, showing Larson's obsession with non-working** and the effects it has on his family. Although the Press Your Luck win brings a much needed financial balm to the troubled family's woes, it's not enough to save it; between Michael's poor financial and filial management and the end of his wife's patience, Michael ends up on the run from the Feds, fatally ill and completely alone. It's a cautionary tale that quick money is never really "yours," family and relationships are far more important than cash, and the most important things in life can't be bought.

Photo by Matthew Glover.

The Sandbox Theatre cast approaches Big Money with wink and a smile, with each actor finding the humor in their parts. Peter Heeringa does a good job playing Michael Larson, finding the humanity even in Larson's most crazed moments. You can't help but kind of like the guy, and to empathize with his feelings; who among us would work every day if we didn't really need to? Michael isn't necessarily "right," but he really demonstrates the truth behind human nature and the fluidity of morality. Much of this is contrasted well by Sarah Parker as Michael's Wife Teresa. Parker has a stern demeanor that grounds her passionate feelings about Michael's lack of ambition and brings a level-headed opposition to his harebrained schemes.

The rest of the cast (Eric Weiman, Emma Larson, Cameron Mielicke and Cortez Owens) cycle through various supporting parts as bank tellers, audience members, fellow game show contestants and employees, network executives and family members. They each find ways to make the most of their time on stage and provide a lot of humor in between the seriousness of Michael's gaming obsessions.

The production design is relatively sparse, most notable for some floating, lighted panels at the back of the stage meant to mimic the Press Your Luck gameboard. They provide a jeweled contrast to the darkness of the theater, and are used with pointed lighting to illuminate various clues to Big Money's plotline. Piles of cash, simple costuming and basic tables and stools make up the rest of of the spare set, and it's all the show really needs; the focus here is on Michael and his scheming, and that's more than enough to keep you occupied.

Photo by Matthew Glover. 

Big Money is one of those stories that digs in after it's done. Much like other famous swindling stories (The Wolf of Wall Street, Catch Me If You Can, etc.), there is something delicious about Michael Larson's refusal to play by the rules. In the age of the 99% versus the 1%, Occupy Wall Street, Bank Bailouts and the financial disaster that is anything labeled Trump, why shouldn't an ordinary citizen be able to play the system? Is Michael Larson's refusal to "work" really that much worse than the runner of a Ponzi scheme or a derivatives-based stock sale? It's certain by the end of Big Money that Michael's life is in shambles, but it's easy to see why he did what he did. Big Money is an entertaining look at the ethics of gameshows and gambling with your life; it runs at Park Square Theater through January 28. For more information or to buy tickets, click on this link.

*I know some of you have much love for the Pat Sajaks and Bob Barkers and Alex Trebeks of the world but sorry guys, bad TV is bad TV - even if you love it. Just embrace it.

**Which, ironically, was far more work than just working itself would have been.