Chanhassen Dinner Theatre's Newsies Is Timely and Terrific

Few things are more powerful than an idea whose time has come. 

Photo by RICH RYAN PHOTOGRAPHY, 2018

It's been a little over two years since I saw Broadway's rendition of Newsies at the Orpheum (read original review here). It was the first opportunity I'd had to see the show live, and I greatly enjoyed it - but what a difference two years can make.

Photo by RICH RYAN PHOTOGRAPHY, 2018

At the time I first saw Newsies, the primaries for the presidential election were just gearing up; there was no Women's March or Parkland Students or #resistance; and the seeds of our current collective discord were just beginning to be sown. I won't re-hash the intricacies of Newsies' plot - you can click here to read my initial summary for a low-down - but suffice it to say, there seems to be far more current parallels between the Chanhassen Dinner Theatre's (CDT) excellent new production of Newsies and our current state of affairs than was true in 2016. Themes of social justice, collective resistance, the David vs. Goliath battle between capitalism and the people who serve it reverberated powerfully throughout the audience, and Newsies' inspiring end led to a collective sigh of relief and gratitude by the end of the show.

Photo by RICH RYAN PHOTOGRAPHY, 2018

This new staging is perfect case of right cast in the right parts at the right time, beginning with Aleks Knezevich in his most star-turning role to-date. Knezevich is born to play the part of Jack Kelly, with an inimitable Noo Yawhk accent and a charming swagger. His gorgeous voice soars through songs like "Santa Fe" and "Something to Believe In," and he had the whole audience swooning by the end of Act I. Ruthanne Heyward makes a lively partner for Knezevich as Katherine Pullitzer, an undercover reporter who sheds light on the newsie strike. Heyward shares her trademark pluck in this role, and she and Knezevich have great chemistry. An even better vocal pairing for Knezevich is the glorious voice of Alan Bach as Davey, co-leader of the strike. I'm not sure if I just wasn't paying attention to him in past productions or what, but Bach has a terrific voice that feels made to sing these songs - especially the rousing solo in "Seize the Day."

Photo by RICH RYAN PHOTOGRAPHY, 2018

Tanner Zahn Hagen is one to watch and a CDT newbie as the young Les, and he has a bright future ahead. Kersten Rodau has a standout solo as the vaudevillian Medda Larkin, and I wish we had more of her throughout the show. Keith Rice is similarly scene-stealing in his quick cameo as Teddy Roosevelt, and Lucas Wells is fabulous as Crutchie, with a heartrending solo on "Letter From the Refuge." The rest of the ensemble features several exciting young new artists, and their electric dancing and exquisite harmonies soar through the score (my faves? The thoroughly magnetic "The World Will Know" and hum-inducing "Seize the Day").

Photo by RICH RYAN PHOTOGRAPHY, 2018

The costumes, designed by Rich Hamson, are spot-on to the time period and don't get in the way of the marvelous choreography by Tamara Kangas Erickson. I've always thought of Newsies as a more dance-heavy show and I was not disappointed; with the amount of spins and flips and grand jetés on this stage, we could almost be back at the Olympics! The scenic design from Nayna Ramey is quite understated and has the heaviest usage of projection I've seen in a CDT show, which made me simultaneously bummed out and fascinated with the series of historical photos they scrounged up to share. The sound design from Russ Haynes is a perfect blend between voice and the orchestra, beautifully directed by Andrew Bourgoin. And clever lighting design from Sue Ellen Berger allows actors to seamlessly slip in and out of the spotlight, keeping the feel of the show at a brisk pace.

Photo by RICH RYAN PHOTOGRAPHY, 2018

I can't think of a better way to kick off CDT's 50th anniversary season (yes, 50 years - such an incredible achievement!) than this beautifully rendered production. Anyone who knows me knows that I have a huge soft spot for stories like Newsies. I love to see examples of the collective power of united citizens triumphing over overwhelmingly bad odds. Strikes like the Newsboys' Strike and the March of the Mill Children, the true stories that provide the foundation for the plot of Newsies, are some of our nation's best such tales, and it's never a bad time to revisit the lessons they contain. So many of the workplace benefits we enjoy today - like 40 hour work weeks, weekends off or paid national holidays - are directly correlated to collective action and union bargaining, and it's no coincidence that we have seen workers rights trampled as the state of unions has collectively decreased. Maybe it's time for us to seize our own day and fight for more rights - if Newsies can't inspire you to harness your power as an American citizen, nothing can. The terrific Newsies runs at CDT through September 29; for more information or to buy tickets, click on this link.

Photo by RICH RYAN PHOTOGRAPHY, 2018

School of Rock Hits All the High Notes

When is the last time you indulged your inner rebel? 

Photo by Matthew Murphy

You know the one - the one that told you not to come into work today, or to sleep in a little later, or to skip the pleasantries and really be honest about how you feel?

Photo by Matthew Murphy

For most of us, it's probably been a little bit too long. As we grow older and get deeper into our careers and the responsibilities pile up, we can - and often do - easily lose the rebel magic that made our younger years so exciting. In that context, it's always timely to remind ourselves of the importance of re-evaluating our overloaded lives and making sure we have time to do things that we truly love and inspire us. For that reminder, there is no better place to look than School of Rock, now showing at the Orpheum Theater.

Photo by Matthew Murphy

Based on the film of the same name starring Jack Black, School of Rock tells the story of Dewey, a freeloading, couch potato "rock star" who is on his band, roommate Ned, and Ned's girlfriend Patty's very last nerves. He is simultaneously kicked out of his band and threatened with eviction on the same day, so what does he do? Impersonates Ned to get a job substitute teaching at a nearby prep school in hopes of making enough money to make that month's rent. The stuffy halls of Horace Green are initially a horrible fit, but once Dewey learns the students are musically gifted he realizes he has one last shot at stardom - turning the kids into a rock band to make a last ditch effort at winning the upcoming Battle of the Bands contest. Under the school's radar, Dewey turns the kids into rock stars, unleashes their creativity, and along the way develops a romance and - gasp! - responsibility. The show ends with the students performing at the Battle of the Bands and giving a concert that no one will soon forget.

Photo by Matthew Murphy

It's a funny and heartening story, which is totally sold by the (huge!) cast. Rob Colletti truly channels Jack Black in his role as Dewey, not only displaying a tubular set of pipes but the quirky sense of humor that makes Dewey such a loveable character. Lexie Dorsett Sharp brings a Christina Hendricks-meets-Linda Ronstadt vibe to her role as Principal Rosalie, with a haunting solo in "Where Did the Rock Go?" and rich insight into a character who could have otherwise easily become a parody. The kids in the band are absolutely stellar - yes, they do play all of their own instruments live - and knock the show out of the park. It was such a treat to watch them "grow" on stage, and they make School of Rock truly special. A shoutout too to whomever decided to cast the "parents" of this show - they intentionally display interracial families, same-sex parents, involved fathers and more. It was a subtle but refreshing message of progress, and I really appreciated the unironic way those modern families were presented. As progressive as the casting is, there are a couple of hiccups in the script itself - some unsavory jokes about weight and implications for trans characters among them - and I hope they can fix those to make this more inclusive as School of Rock continues to tour.

Photo by Matthew Murphy

The set almost magically weaves in and out through a dizzying series of stages, from the vaunted halls of the school to Dewey's bedroom to a dive bar and concert halls. It's efficient but still evocative, and I appreciated the efficiency of the design. The costumes are mostly school uniforms and pretty straightforward, but I did enjoy the creative twist made on the uniforms by the end. The lighting design is really fun and brings you straight into a rock show from the get-go. The choreography was fresh and youthful, and despite clocking in at around a three hour run time, the show never feels slow or boring.

Photo by Matthew Murphy

I was really surprised how moved I was by School of Rock. I come from a family of music educators, and it was so touching to see that role truly celebrated on stage. Dewey might be an accidental (and highly unorthodox) teacher, but he intuitively understands the most important role of that profession: it's not test scores or homework or parent teacher conferences, but creating and supporting an environment where children can grow and thrive. Structure is great, but it's not everything.

Photo by Matthew Murphy

In an age where the value of keeping arts in schools is constantly under attack, School of Rock has a very important message to share. It's important for kids - and adults too! - to have a place to explore their creativity and learn about themselves. Abstract thinking is an important skill to develop and imagination is not a waste of time. Music can give a voice to those who otherwise struggle to speak up, and it has so many benefits beyond the concept of play. We've gotten so wrapped up in test scores and over-scheduled activities that we've forgotten to just let kids be kids. Busyness can be just as much a sin as sloth, and it's important to let your hair down once in a while and let loose. Don't always take things at face value; challenge the ones that don't make sense and, as they say, stick it to the man.

Photo by Matthew Murphy

School of Rock touches on so many important themes about the power of youth and the bright futures we will all have if we can just learn to get out of their way. We live in a time when children are leading the way on many important issues - thank goodness they've found their voices. Should we -will we? - listen? School of Rock has a great answer for that. For more information or to buy tickets, click on this link.

Park and Lake Hits All the Sweet Spots

What if I were to tell you... 

Graphic by Ten Thousand Things

...That there is a show penned by a local female playwright that is set entirely in a car wash, features a highly eclectic spectrum of characters, and it's totally fabulous?

I would be describing Park and Lake, the terrific new play on offer from perennial favorite Ten Thousand Things. The show's concept is relatively simple: an immigrant car wash owner receives an offer he can't refuse when a major corporation offers to buy his property. He plans to accept, but the employees who depend on his employment will be completely left behind. The motley crew refuses to accept their fate and bands together to make every effort to buy the car wash themselves and transform it into an inclusive, economically responsible space that takes better care of them and the whole community. There are two possible endings - this is a choose-your-own-adventure story, so each audience sees a different show depending on the choice - so I can't tell you how it turns out, but suffice it to say I really enjoyed the ending at the production that I saw, and it gave me a lot of hope for the future to see the whole room get on board with it.

The cast was involved in creating their characters and it's clear that they really love what they collaboratively developed. There is something in the water at Ten Thousand Things that brings out the full charisma of each performer, and it was truly a delight to watch this cast "click." This starts with Kimberly Richardson as the delicious Jack, an understated, kind soul who is most affected by the possible closing of the Park and Lake car wash. George Keller is saucy and inspiring as the assistant manager Lolly, and it's easy to imagine her leading a protest. Karen Wiese-Thompson is hilarious as Pony Boy and brings a poignant perspective to what could have been a stereotypically butch role. Pogi Sumangil sets the stage as car wash owner Manny, and his guidance expertly leads the show. Luverne Seifert brings his best cultish axe-murderer persona to the role of Dale Selby and Thomasina Petrus swans through as the musician Teela. Stephen Cartmell is absolutely hilarious as Greeken, the resident octopus interpreter (don't ask; just watch the show and you'll know what I'm talking about), and H. Adam Harris expertly provides the show's intellectual foundation as J, the car wash world's biggest James Baldwin fan.

There are lots of detail-oriented production decisions that really elevate Park and Lake, starting with the awesome musical accompaniment provided by Theo Langason. Langason expertly weaves a bevy of sound effects throughout the show that animate the story and provide an extra, delightful touch of whimsy. The clever costumes from Trevor Bowen and props from Nancy Waldoch paint a surprisingly full picture of the world of the car wash, and it's a joy to see the many creative ways the cast engages with their work.

Park and Lake is really successful because it provides the best of what comedy can offer: a hilarious, inventive set of performances tied to real-life issues. Park and Lake doesn't shy away from addressing tough problems like addiction, poverty, exploitation of workers, immigration, capitalist expansion and abusive relationships, but it is able to honestly relate those stories with a smile and a laugh. The light touch removes the fear the audience might otherwise have in directly addressing these issues, and it's a really successful experiment in getting people to practice participating in devising solutions to such major problems. As usual, Park and Lake features excellent performances from the Ten Thousand Things acting crew, and it's sure to delight any audience. There is only one more week to attend this so make sure to click here to get tickets - they are selling fast!

Princess Ida is Practically Perfect

The Gilbert & Sullivan Very Light Opera Company brings precision and sass to this timely piece. 

Photo by Stephen Hage

How much do you know about Gilbert & Sullivan? 

If you're a fan of musicals you've likely seen the Pirates of Penzance at some point in your life, but did you know that Gilbert & Sullivan actually penned 14 operattas? The definition of dynamic theatrical duos long before Rogers & Hammerstein came onto the scene, Gilbert & Sullivan have a mostly fabulous catalog of works (although not without some deserved controversy; read: The Mikado) that were true parodies of British culture and politics in their heyday. What has surprised me upon recently re-encountering some of these works is how well several of them have aged. It's a treat to see something well over 100 years old still generating conversation and laughter; done well, a Gilbert & Sullivan production can be a sharp addition to any theatrical season today. 

I was delighted to attend my first such production, Princess Ida, from The Gilbert & Sullivan Very Light Opera Company (GSVLOC), a longstanding local tradition that was regrettably new to me! I came expecting to see some enthusiastic fans indulging their love of this genre and quickly realized that I had thoroughly underestimated this group. The production opens with a powerhouse orchestra and a full throttle chorus that keeps the pedal on the gas throughout the rest of the show. Despite two intermissions (normally a hard no for me), the entire production clocks out in a bit shy of two and a half hours, keeping the action moving reasonably quickly and the audience engaged. 

Photo by Stephen Hage

Most of that engagement is thanks to the story, which has aged surprisingly well. Princess Ida tells the story of the marriage of Prince Hilarion and Princess Ida - or rather, the lack thereof. Ida and Hilarion were betrothed at the age of 1 and 2, respectively, and it has been 20 years since their engagement. On the day she is promised to marry, Ida does not appear with her father King Gama in Hilarion (and his father King Hildebrand's) court. We learn that she has determined to live a life completely free of men and has barricaded herself into a castle and university, where she only accepts (and leads) a cadre of female students. Determined to get his bride at any cost, Hilarion sneaks into the university and finds that he quite likes Ida as well as the work she does. It takes some time for Hilarion and his compadres to be discovered - long enough for his father Hildebrand's army to come calling for Ida's hand with force - and by the time the final conflict arrives, parties on both sides of the issue have begun to reconsider their former positions. The show ends with some surprisingly feminist statements from Hilarion, an ensuing agreement from Ida to marry him, and overall the happy Gilbert & Sullivan ending that has pleased audiences for 130+ years. 

One of the things that sold me on Princess Ida out of the gate was the gorgeous, steampunk inspired production design. Hats off to Set Designer Larry Rostad; Costume Designer Barb Portinga; Props Designer Katie Philips; and Stage Director Joe Andrews. There was a clear vision for this show from the get-go, and everything from the cork bottle goggles to the clever corset and blind-drawn skirts to the sci-fi inspired laser guns is both witty and satisfying to watch. The cohesive presentation makes watching this Princess Ida almost feel like you're participating in a clever fin de siecle video game, and several adroit lighting tricks from Lighting Designer Alex Flinner (such as the ship projection "sailing" between territories during the overture) really enhance that effect. 

Photo by Stephen Hage

The other major selling point? This is a terrific, musically powerhouse cast. I was stunned from the second the music started at how excellent it was - from the full orchestra to the giant chorus, there isn't a weak link in this bunch. Normally I try to list out favorites and I'm not going to do that here, as the size of the cast and orchestra would make this post book-length! Just trust me overall: you are in very, very good hands when it comes to this show, and any musical aficionados will find many things to appreciate. I hadn't realized how much I've been craving a traditional orchestral musical experience and Princess Ida really fulfilled that need for me! This crew was blowing the walls off their small theater, and you will be immersed in a lush aural experience from start to finish. 

I've been on a tear lately attending shows by new-to-me companies in the Twin Cities (like Uprising Theater and Open Eye Figure Theater), and it's been so fun! My time with GSVLOC was a perfect addition to this series and I'm so glad I attended. Princess Ida was a new-to-me show and it really blew me away. I loved this production and I will definitely be back for future shows. I'd encourage anyone to see Princess Ida - come for the gorgeous music, stay for the inventive production design and modern storytelling. The show is on through March 25 at the Howard Conn Fine Arts Center, so you only have a couple more weeks to check it out - click here for more information and to buy tickets. 

Continuing the Conversation: Sexual Harassment Resources

Of all of the many reasons I'm proud to be a Twin Cities Theater Blogger, the #tctbconvo series is at the very top of my list. 

Created as a response to the controversy over Refugia last year, #tctbconvo represents the Twin Cities Theater Blogger's attempt to host proactive dialogues providing solutions and resources for major cultural issues on stage and behind the curtain. Past subjects have included racial diversity in casting and production choices, women in theater, mental health, disabilities and the differently abled, and sexuality and gender identity. We have been blessed to have a diverse, dynamic group of panelists featuring local theater creators and artists - all of whom have generously donated their time - who have fiercely advocated for their work and provided some truly excellent resources to help theaters navigate these issues.

I wanted to write a quick post to quickly shout out our most recent #tctbconvo, which was hosted Monday night at Park Square Theatre and focused on the issue of sexual harassment. I think we all can recognize what a timely subject this is, and I was thrilled with the nuanced dialogue from our panelists. We had our first ever guest moderator (shout out to Caroline Palmer of MNCASA!) and it was a lovely dialogue.

As usual we recorded the entirety of the convo for anyone who couldn't attend. You can click here to go to the YouTube link, or click on the embedded video above, to listen to the whole thing. I also took some breakout notes on good resources the panelists recommended for anyone trying to find ways of crafting policies, making reports, and generally trying to understand this issue, which I have linked below. Please share around and let me know - are there any more resources that are really helpful that we could include on this list? Each organization is linked on the name - click directly to go to their websites.

• For an inspiring group of artists taking action against sexual harassment: Not in Our House - Chicago
• For an unbiased, governmental reporting and policy resource: MN Department of Human Rights
• For an example of a network supporting women in improve: Fair Play Minnesota
• For an anonymous reporting hotline: RAINN
• For a local theater organization hosting trainings, resources and more: MN Theater Alliance
• For a model of a company doing it right: Green T Productions
• For research about the psychology behind sexual assault: The work of David Lisak
• For inspirational resources for women and survivors to find their voice and to heal: The work of Rebecca Campbell
• For understanding the biological effects of assault on a victim: Google search the term "trauma brain"
• For a visual understanding of what constitutes sexual harassment: Watch David Schwimmer's video series
• For resources about getting men to talk to each other: Justin Baldoni's Man Enough Movement

UPDATE: For a consistently updated resource on this issue, please consider visiting the website for Sunshine Behavioral Health. They have put together a resource that discusses emerging solutions to domestic violence that is constantly updated. Some highlights of what it includes are:

• Domestic Violence Defined
• Teen Dating Violence 101
• Stopping Teen Dating Violence
• Early Prevention is Key
• Programs to Stop the Cycle
• Free hotlines / organizations for DV victims 

Click here to find the link and more resources for survivors.

Thanks SO much to all of the panelists for this and previous #tctbconvos - please come join us in the future! Our next date is tentatively set for Monday, April 30. To listen to previous #tctbconvos, please click on this link to go to our YouTube page.

MUST SEE: How to Have Fun in a Civil War

LISTEN.

Photo courtesy of the Guthrie Theater 

Just, listen.

That is all I can say after seeing Ifrah Mansour's magnificent one-woman show How to Have Fun in a Civil War. In a taut, gripping 60-minute performance, Mansour tells the story of fleeing Somalia during the 1990s civil war from the perspective of a child.

It starts with a story of a story; a shot of a steaming mug of Somali tea, fluttering hands, a conversational tone that tells us a delicate narrative is about to follow. Beginning with a hearty dose of humor, Mansour recalls in minute detail her observations as a young girl unaware of the larger context of governments, tribes, terrorism, parties and petty conflicts swirling around her. Easing us into the story, she shows how as a girl her focus was on a sense of adventure, of pleasure even, at the thought of leaving her ancestral home.

What Mansour could not and did not know at the time was how horrific the circumstances her parents were fleeing actually were. How could she? She was a small girl in the throes of childhood; her world was her brothers, her younger sister, and her parents. She did not know the meaning of death until she saw her brother Salem killed. She did not know the meaning of grief until she saw her mother weep over Salem's body. She did not know the unexpected joy in bad circumstances until she saw the birth of a child from the back of a hastily driven dirt picker. She did not know the meaning of hunger until eating some concealed sugar from the head of her favorite doll while there was nothing else to eat.

The beauty of this show lies in Mansour's magnetic performance, which is filled with nuance and grace. She manages to seem perfectly childlike and as if she is coming to this story anew, even though it is one she has performed hundreds of times. Mansour makes this show seem small and big at the same time; small enough to encapsulate her world as a little girl with cinematic care, while more globally incorporating the literal voices of many other Somali refugees (in English and in Somali) she interviewed to contribute to this story. There is no real set or costumes to speak of, other than a gorgeous sculptural piece Mansour created to represent her mother, who she carries with her throughout their journey from Somalia around the stage. The effect is incredibly emotional despite the figure being a stoic statue, and it adds a layer of breathless emotion to the narrative. The remaining element, a series of projections and lit silhouettes and shadows, helps this one-woman performance feel much bigger than it is and contributes the necessary sense of chaos to the plot. 

I've reflected continuously on this performance since I saw it, and at the forefront of my mind is this:

So often the narrative surrounding refugees in America and the rest of the rich Western world is focused on what they will take. How much will it cost? How could we possibly be responsible for them? If they haven't paid taxes, how could we justify the cost of feeding, housing, transporting, medically sustaining, and employing them?

But shouldn't the real question instead be: what have refugees lost? Who were they? What have they given up, fled, in order to keep their families safe? What grief are they unable to express? What is a high enough price to decide they have earned the right to live free of suffering?

The answer in my mind at least, is much less than we seem to require as a society. I cannot possibly imagine what it is like to flee a war zone with your babies in tow, with no food or transport in sight, no identification or birth certificates, with no idea if you will survive at all, let alone be able to be safe and recover. I do know that if someone is so thoroughly compelled to leave - perhaps forever - an environment they have called home for their entire lives, a land where there ancestors and families are buried, that there must be a very good reason for it. So shouldn't we help them find solid ground?

I am so thoroughly grateful to Ifrah Mansour for her heartfelt performance in How to Have Fun in a Civil War. These stories are the reason the arts exist. Theater is here to help us understand and empathize, to portray a narrative in a way that a distantly removed movie or a visual-free book cannot. To see someone so bravely share their story and do it with such poetic grace is a magnificent privilege. I learned a lot about Somali culture and the beginnings of the civil war in this show, a vital part of being a better neighbor in a beautifully diverse city that holds so many refugee communities.

How to Have Fun in a Civil War is thoroughly entertaining and worth a visit for that fact alone, but combined with the deeper meaning of this story it becomes an absolute must-see for all Minnesotans. Tickets are only $9 to see this series and it's the best money you'll spend all month. If you want to know more about the Somali community in Minnesota, or the plight of refugees in general, I urge you to see this show. There are only a few more performances as a part of the Guthrie's Solo Emerging Artist Celebration and I hope they are packed to the gills.

If you would like to help other refugee communities, here are some that are vitally in need right now:

• For more about helping the Syrian group the White Helmets, click here.
• To help Syrian refugees resettling abroad, click here.
• To help Somali refugees, click here.
• To help Rohingya refugees, click here.
• To help the DREAMers, click here.
• To help refugees from South Central America, click here.
• And finally, here is a link to my thoughts on the Immigrant Journey Project, one of my favorite local original works of last year. 

And I do want to give a shout out to the other performers in the Solo Emerging Artist Series. Their shows look terrific and I really wish my schedule allowed me to see them. Here's a little more about each performer:
Antonio Duke: click here to learn more.
A.P. Looze: click here to learn more.

Indecent Incites the Humanity in Us All

What is the responsibility of great art? 

Photo by Dan Norman

Is it to the artist? The audience? The culture it portrays? The abstract idea of art itself? 

This is an impossible question to answer; every person will approach it from a different lived perspective, and every person will find a new voice to add to this conversation. The place of art has been debated for centuries and will continue to be - and that's as it should be. A healthy process of self-evaluation is important to any society that deigns to present a semblance of growth or progress or democracy to its public, and introspection can uproot all sorts of deep feelings that point the way forward to a better tomorrow - if properly examined, of course. 

Photo by Dan Norman

It's interesting then to consider Indecent, which currently graces the Guthrie stage in its first off-Broadway production after quite the cultural uproar. You can read better pieces for context about the controversy by clicking here, here, and here, but suffice it to say - Indecent made waves upon appearing last year and hasn't shied away from stirring the cultural pot ever since. 

A play about a play, Indecent tells the story of the writing, production, and subsequent silencing of The God of Vengeance by Sholem Asch, a script that was undoubtedly and tragically ahead of its time. The God of Vengeance was an attempt to write a story about Jews (written and performed in Yiddish, no less) that told a true story about their lived experiences that was more honest than the biblical hero tropes that were pervasive at the time. What resulted was a sensational story that included a Jewish-owned brothel, a Torah purchased through the fruits of the prostitution there, and most importantly a poignant, honest love story between two women that shattered all of the patriarchal tropes and religious dictates surrounding their romance. 

Photo by Dan Norman

What resulted, as one might predict, was quite the uproar. The Jewish community was understandably concerned in publicizing a narrative that might provide pervasive Antisemitism with a virile foothold; society at large wasn't the most pleased with the idea of a sympathetic lesbian relationship; and America in particular was horrified at the idea of a play showing religion with capitalistic roots (oh, the irony). Indecent is about all of that, and then some. This includes the personal lives of those involved in creating the production, particularly the stage manager Lemml, whose undying passion for the haunted script leads him to flee America at exactly the wrong time, returning to his native Poland in the late 1930s just as the Jewish ghettos are formed by the Nazis. The show ends with a performance of The God of Vengeance within the ghetto itself, a horrifically eloquent commentary amidst the ultimate test of human resilience in the face of unimaginable evil. 

An undeniable fact is that this production is beautifully produced. A taught cast of six actors and three musicians play over 40 characters, a seamless feat that keeps this play moving quickly at a full pace of 1 hour and 45 minutes with no intermission. There are a number of great actors here, including the always delightful Sally Wingert with some much-needed comedic zingers, a fabulous Miriam Schwartz in the best performance I've ever seen her in, and the new-to-me Gisela Chípe with some thoroughly gorgeous acting. The clear standout, however, is Ben Cherry, who is absolutely magnificent as Lemml. Cherry joins the Minneapolis cast from the Broadway production and he is an absolute revelation; he was the grounding force in this show for me, and truly revealed the beating heart of what author Paula Vogel was trying to reveal. 

Photo by Dan Norman

I want to make a special shout-out to the three musicians onstage, who not only acted well but provided an unbelievably gorgeous soundtrack throughout the show and entirely from memory. Accordionist Spencer Chandler; violinist Lisa Gutkin; and especially the bravado clarinetist Pat O'Keefe: bravo for a spectacular musical performance that was the most important emotional element of this show. I was so impressed with your work and Indecent just wouldn't be what it is without it. Thank you for your efforts. 

The overall tightly-drawn production is due to the efforts of director Wendy Goldberg, who has infused every element of care possible into her tending of this story. The set, a stage within a stage designed by Arnulfo Maldonado, bears the dark foreboding of the script itself. The costumes by Anne Kennedy are period-perfect and lush despite their threadbare nature, and there are several moments (such as the solemn application of gold Jewish stars in the Polish ghetto) that need no further introduction thanks to her care. Josh Epstein provides several striking lighting moments and has synchronized with sound designer Kate Marvin to make this an encompassing experience. 

Photo by Dan Norman

I've struggled to define my feelings about this show for several reasons. One: I feel that it was not written for me; this is not a bad thing whatsoever, but I just think I missed some of the vital nuance contained here. I am not Jewish, and although I have studied much of this historical context at varying stages and think I know a lot, I don't feel equipped or expert enough in the details to provide a thorough historical understanding. The other is that I struggle with this question of the place of art. Indecent asks a host of unanswerable questions of its audience (and that's probably the point), but ultimately: what is the responsibility of great art? I normally would agree with Sholem Asch's original point presented via his character, that it is always vital and necessary to tell the most human stories we can so that we may all understand and respect one another better. But it is also true that the world seems to insist with great success that we un-engage ourselves from such critical thinking and instead seize upon damaging tropes as an excuse to destroy one another. The context Indecent is painted within is the starkest you can imagine for this question to play out, and the result of the plot is one that leaves me with an impossible choice. I emotionally feel Sholem Asch is wrong, but I most certainly cannot say this with any sort of factual basis or truth: the path he chose is not the one I prefer in my fiction, but it is understandable, and there are no easy answers to find in this complex drama. 

As I've sifted through my feelings, Viktor Frankl's magnificent Man's Search for Meaning continues to come to mind. Another great piece of art about the most reported-upon genocide in history, Man's Search for Meaning can shine a light and truth into any darkness, an act which I think Indecent was genuinely trying to embody. I am left only with Frankl's words, which say: 

“Everything can be taken from a man but one thing: the last of the human freedoms—to choose one's attitude in any given set of circumstances, to choose one's own way.”

Sholem Asch chose the attitude he needed to survive and in that moment turned his back on his art and his artistic family. Was he wrong? Do we still need The God of Vengeance? Do we need Indecent? I would say yes to all; but it's not my story to tell. For a challenging, beautifully produced, female-authored, female-directed, modern play, don't miss Indecent at the Guthrie, which plays through March 24. For more information and to buy tickets, click on this link.