Compendium

Monday, April 9, 2018

MUST SEE: Mermaid Hour: Remixed at Mixed Blood

When you think of mermaids, what comes to mind?

Photo by Rich Ryan

Many of us immediately jump to thoughts of Disney's Ariel a la The Little Mermaid. Others might harken to darker implications, such as the cursed mermaids of West African lore.

What I recently learned is that mermaid can also be a term used to describe genderqueer individuals as a way of identifying their blended identities. Like a mythical mermaid is not fully made for land or sea, mermaid can help visualize a queer person who does not identify as CIS gender and as such lives "between worlds." There's more about this here at the website for the U.K.'s Mermaids organization, which has advocated for awareness of and safe spaces for queer children over the last 20 years, but I learned it from the lovely new show Mermaid Hour: Remixed at Mixed Blood Theater, one of my must-see shows of 2018.

Photo by Rich Ryan

Mermaid Hour tells the story of Vi, a young Latinx trans woman, and her parents and friends as they navigate her transition and she starts to hit puberty. I want to emphasize up front that refreshingly, this is not a coming out story (although of course those are important too): Vi's gender identity is always known to her, her parents, and her friends, and there is no question of who she is. Instead this play focuses on the ways that Vi's identity is complicated by the world around her. Even if she knows exactly who she is, the rest of the world still isn't sure how to react to or engage with her, and it is the confusion of others that makes her life (and especially her parents' lives) complicated. Vi's parents Pilar and Bird are accepting and amazing, and they try desperately to understand what she needs and how to help - but they fail, and often. The trouble is that instead of "just parenting," they are in transition too: from the grief of navigating losing a son but gaining a daughter; from explaining to friends and colleagues who and what their daughter is and how she should be seen; from raising a child to raising a teenager who is racing towards sexuality in a body that is fully unprepared for it, literally; and from the evolution of their marriage as Vi gets older and their engagement with her and each other necessarily changes.

Photo by Rich Ryan

I want to focus on this conversation about Vi's parents because to me that is the most remarkable part of this show. Vi's story is centered to be sure, and we hear her discuss her feelings with her friend Jacob, her comforting online merperson Crux, and with her own parents. I don't want to discredit the importance of that perspective and that Vi has her own agency: it's crucial to her safety and happiness, and it's a gift that too few people (and characters) get. But the beautiful, gentle, subtle way that Mermaid Hour discusses the nuances around transition (especially for young kids) is really remarkable, and much of this is conducted through Vi's parents. Here's a great example: one of the most devastating side effects of the discrimination towards trans people is their lack of adequate health care - both in it being paid for by insurance, and in having little proven real medical understanding of what trans bodies actually need to thrive. There is so little scientific information about the prolonged effect of sustained hormone therapy, especially on pubescent bodies, that it makes navigating the whole process of transitioning - such as considering regular hormone shots for decades at a time - terrifying for families. Even the most accepting parents have doubts, fears and concerns, and those are real emotions that need to be discussed (aside: for a fabulous discussion of this issue of long-term hormone use for trans people, click here to listen to this excellent podcast - I listened before attending this show and I learned SO. MUCH.). Through great writing and a pair of terrific performances, Pilar and Bird are allowed to express all of their feelings about this process - their grief, their fear, their doubt, their love, their confusion - and it gives such a complex, honest look at this experience that was so refreshing and instructive for me.

Photo by Rich Ryan

And speaking of performances, this show is filled with some really great ones. Thallis Santesteban is gripping as Vi's mother Pilar. She displays such deep emotion that you can't help but be moved, especially towards the end of the show. Michael Hanna plays Bird, and not only is his gorgeous voice is perfect for the part but he matches Santesteban's performance nuance for nuance. They are a great pair with electric chemistry, and perfectly cast. Azoralla Arroyo Caballero is in his first performance on a professional stage, and he nails it. Vi's youth is central to the conversations about her experience, and Caballero's thoughtfully adolescent performance is one more reminder of how amazing this current young generation is. Caballero's nuanced portrayal is a reminder that the societal issues we face about gender and sexual identity aren't problems with people knowing who they are: it's problems with those of us who were raised in a society that pretended they didn't exist in the first place. Helped with this perspective is the magical presence of Catherine Charles Hammond as Crux, Vi's merperson and a crucial mentor to her in her quest for safety and acceptance. Hammond gracefully sings through sparkling numbers, and their quiet but strong performance (replete with terrific advice) at the end of the show will cause you to think deeply. Meng Xiong was new-to-me as Vi's best friend Jacob; watch out, because I think he's about to be one of the newest #tctheater stars. His breakdancing interlude in particular gave me a radiant moment of joy. And Sheena Janson is a musical rockstar as Jacob's mother Mika, her beautiful voice giving so much depth to the songs. Love, love, love them all.

Photo by Rich Ryan

The set, designed by Britton Mauk, is intriguingly hung off the wall of the main stage. This is used surprisingly effectively, and it gives the sense of a busy middle class home while still leaving the stage free for the performers to dance and move quickly. Two vignette stages are broken off in the corners (make sure to get a seat where you can turn around) and give the supporting characters their own time in the spotlight. The costumes by Valerie St. Pierre Smith are simple but do a great job of evoking each character's persona, and the choreography from Movement Director Sarah Lozoff is similarly simple but efficient. The most impressive behind-the-scenes element for me is the work of composer Eric Mayson, who totally invented music for this show,* and Director Leah Anderson, whose comprehensive vision clearly leads Mermaid Hour to a messy, beautiful success - just like real life.

Photo by Rich Ryan

I love shows that make me think, especially those that make me think without making me depressed. Mermaid Hour: Remixed tackles some very tough subjects, but it always does it with love and respect at its core. This clear foundation in empathy and understanding allows the narrative to go so much deeper than it otherwise might. Constellating the main story are a host of other deftly handled and really important conversations, such as allowing youth to own their power (hello there #parklandstudents); changing with your changing marriage; allowing kids a safe place to explore and find acceptance, even if you don't understand it; and so much more. Although this story centers around trans and queer kids, I imagine that many parents could relate to the experiences of Bird and Pilar, and I definitely encourage you to go even if you think it "doesn't apply to you;" I guarantee you'll be surprised at how much you relate.

Photo by Rich Ryan

There seems to be an explosion of plays diving deep into the gender and sexuality spectrum these days, especially around the trans experience. All I can say is amen and keep it going! There is such a need to discuss these issues, not only to normalize them and help make the world a more tolerant place for trans and queer people, but to also provide resources for healthcare needs, mental health support, and better quality of life. We've come leaps and bounds societally in even the last five years, but it's not a fast enough transition to keep trans people from being murdered or discrimination from preventing trans people from freely living their lives. Anything that raises awareness about these issues is vital and necessary, and this beautiful, subtle production of Mermaid Hour: Remixed is perhaps my favorite I've seen of this journey so far. If you're interested (and you should be), click here for more information and to get tickets. Please also make sure to check out some of the other shows that have been cropping up to talk about trans and queer identities; we have such a vibrant LGBTQIA community here and they are doing some incredible work:

Photo by Rich Ryan

*A word on the music: Mermaid Hour: Remixed is part of a rolling premiere of the play Mermaid Hour, which is concurrently debuting at multiple theaters around the U.S. A rolling premiere means each theater gets more freedom to develop their rendition of a new show through a concurrent world premiere. Of all of the performances of Mermaid Hour currently running, the Mixed Blood rendition is the only version that is being staged as a musical, thanks to the tireless efforts of the Mixed Blood Team. I have to say that after seeing the show this way, I really can't imagine it as a play - the music adds such life to the show, it's really a great way to go.

Warming and Learning at Isla Tuliro

How much do you know about the Philippines, really?

Photo by Bruce Silcox

Did you know it was colonized twice?
Did you know that Filipinos share a lot of cultural heritage with Latinx peoples?
Did you know that the tribal origins of Filipinos date back more than 6,000 years?

These are just a few of the many fascinating facts you will learn in Isla Tuliro (and their wonderfully detailed program), the new world premiere play being presented by Pangea World Theater and Teatro del Pueblo. Through a lyrical two acts, Isla Tuliro tells the story of the history of the Philippines and the Kayumanggis tribe, particularly after colonizers arrive. We learn of the Kayumanggis' peaceful life, the brutal ways they were subjugated, the strong resistance they showed, and many beautiful moments about the Kayumanggis culture, music and language. While a few things can get lost in translation - there are at least three languages competing at any given time, and a preponderance of narrators can make it a little hard to know who is leading the narrative when they are all speaking at once - the gentle choreography from Sandra Agustin evokes the action clearly and leads us through the story. It's a long overdue story to reach mainstream America, and I really hope a wide swath of audiences come to see it at the Southern before it closes on April 22.

The cast is composed of a vibrant mix of actors from the Pangea and Teatro del Pueblo companies, and they mix very well. It's clear from the get-go that developing Isla Tuliro was a truly collaborative process, and I hope more companies are inspired to work together after this show. My absolute favorite performer was new-to-me Lita Malicsi, the lead narrator and an all-around delight. Malicsi harnesses all the power of her ancestors to guide us through Isla Tuliro with grace and gravitas, and I could have listened to her perform solo for hours. Likewise, Lyra Hernandez does a great job supporting Malicsi's narration and adding energy to the action on stage. Mary Ann Prado displays wisdom and strength as the Kayumanggi ruler Diwa, and I only wish we had more of a chance to see her exercise her leadership strength in the story.

One of the things about Isla Tuliro that immediately struck and impressed me was how clearly this was the vision and execution of women of color. Written and developed by Marlina Gonzalez, the plot flips traditional narratives of U.S. presence abroad and immediately focuses on the people most impacted by our actions there. A feeling of collaboration and genuine warmth flows through the cast, which is 75% female, and it shows in the energy on stage. The creative team is also dominated by women and people of color, and I think this intentional creation of an inclusive, multifaceted vision and crew really helps solidify the unique feel of this play. The sets are super simple, mostly composed of silky sea kaleidoscope hanging backdrops, but they're used to maximum effect with the benefit of some gorgeous night time lighting, spirited sound design and music, and some lovely shadow puppets from local resident master puppeteer Masanari Kawahara. The overall show reminded me a little bit of The Oldest Boy, one of my favorite things I ever saw at the Jungle Theater, and that feeling of a strikingly honest narrative told with a clear eyes yet a comforting feeling is something I would love to see more of around the Twin Cities.

Isla Tuliro is the first show I've had the pleasure of seeing by either Pangea World Theater or Teatro del Pueblo, and I can confidently say that it certainly won't be my last. The heart, vision, and truly inclusive nature of Isla Tuliro is a sign of companies who are leading the way to continue to diversify our stages and uplift exciting new narratives, and who doesn't need more of that in their life? There's no better show to help warm your snow-in-April-cold heart than Isla Tuliro, and its beachy vibes and important message will linger with you long after you're gone. For more information or to buy tickets, click on this link.

And as a special aside: I haven't read the book above yet but I was so delighted to discover its existence a few weeks ago. I imagine it might be a great companion to this show if you're interested in learning more about the Filipino-Latinx crossover. Click here to learn more.

Thursday, April 5, 2018

Something Rotten Smells Just Fine

What is the real difference between a copy and a spoof?

Photo by Jeremy Daniel

My chef and I had a debate about this after seeing Something Rotten, the current Broadway tour resident at the Orpheum Theater in Minneapolis. To my mind, a copy is directly lifting something - be it a plot, music, lyrics, etc. - from another artist and trying to pass it off as your own (aka: plagiarism). A spoof, however, pays homage to the original and acknowledges it for what it is, while infusing it with new meaning by placing it in a different context.

Photo by Jeremy Daniel

If we trust these definitions, then Something Rotten is a masterful cadre of spoofs on all of theater's most sacred cows, beginning with Shakespeare and ending with the modern moneymaker that is the musical genre. It imagines a world in which Shakespeare is a rock star but low on ideas and steals from his rivals who are hoping to achieve a fraction of the fame he has. The most notable of these are a pair of brothers (Nick and Nigel), who had hired Shakespeare as an actor long before his playwright fame and who are bitter with envy at his success. Nick is particularly obsessed with taking Shakespeare down - so obsessed that he carts his family's life savings to a soothsayer to steal what will be Shakespeare's most successful idea.

Photo by Jeremy Daniel

The soothsayer gets a lot right, but unfortunately not in the right order - so Hamlet becomes Omelette and musicals are brought to the sixteenth century in tourettes-style fashion and a jumble of plots. Nigel wants to write original work but it's not enough for Nick, and the two grapple with the difference between authentic and copy, innovation and familiar tropes, and all sorts of otherwise heavy artistic questions with a light touch. As they do so, Something Rotten wanders through what is essentially a history of musicals, touching on almost all of them and throwing some solid jabs at the ubiquitous nature of Shakespeare's reputation for good measure. Puritans are given the Hairspray treatment in some inspired religious caricatures (especially in "We See the Light"); Shakespeare's fanboys are re-imagined as an 80's style rock band a la Queen in "Hard to Be the Bard;" and in the best traditions of satires like Monty Python or South Park, Something Rotten delightfully skewers purity in all senses with a wink and a chasse.

Photo by Jeremy Daniel

Unfortunately, the day I attended included a robust April snowstorm, so the two main draws - Adam Pascal and Rob McClure - were unable to perform. While disappointing, I'd like to emphasize for the people in the back (who were heard grumbling at intermission): this is *literally* what understudies are for, and I thought the two who filled in - Daniel Beeman as Shakespeare and Scott Cote as Nick, respectively - really gave it their all. Cole's performance reminded me so much of what I love about Nathan Lane, and he really mastered the aura of a charming ignoramus, especially in songs like "God, I Hate Shakespeare." Beeman has the swagger and heavy eyeliner to take his punky character all the way through, and he was rocking his best Freddy Mercury from the moment he stepped out in "I Love the Way." Josh Grisetti was surprisingly lyrical as the poet Nigel and delivered a couple of swoon-worthy moments in tunes like "To Thine Own Self."

Photo by Jeremy Daniel

But interestingly enough, the real rock stars in this show for me were the women in supporting roles. Maggie Lakis was sharp and pointed as Nick's wife Bea. She really owned the idea of latent feminism Tudor-style, and I got such a kick out of watching her swagger her way through a woman in disguise. And Autumn Hurlbert absolutely nailed it as Portia, the wayward Puritan who dreams of becoming a poet (and later Nigel's love interest). Hurlbert has the staggering charisma and vivacious delivery of a new Kristin Chenoweth, and I predict she's going to be a star - watch out for her on future Broadway stages! The company at large delivers several fun tap dances and a cheery delivery, and they more than warmed up the stage for a snowy evening.

Photo by Jeremy Daniel

The sets for the most part reminded me of simple painted backdrops; they gave a two dimensional effect, and the generally simple props kept things easy as well. The real standout to me were the inventive costumes, which were a riotously modern take on Tudor-style wear. Dancers flounce around their farthingales like the most confident Naomi Campbell; women are sexed up in a Betsey Johnson-style take on Tudor clothes with hi-low hems and corsets galore; men strut their stuff in lilac tights with the breeches to match, and the codpiece is used in a myriad of creative ways. Curled wigs, punked out ruffs, and a host of creative facial hair flash through the performance, and it's seriously fun to watch.

Photo by Jeremy Daniel

I'll be honest about Something Rotten: I think the concept is absolutely genius, but the music itself wasn't my favorite - the orchestration seemed a little lackluster. That being said, it's got several really funny moments (all hail "A Musical"), and the audience clearly loved it from start to finish. This is a perfect show for true theater lovers: most of the fun is in hunting for the nuggets of references to various plays, and the creative ways each reference is woven into the larger story are really impressive. Something Rotten is a great example of the benefits of looking at history with fresh eyes and making it less serious. If you've never been much of a Shakespeare fan or you find the idea of musicals just a little crazy, this is a show you'll really enjoy. Something Rotten runs through April 8, so make sure to snap up your tickets soon if you want a chance to see it; click here for more information or to buy tickets.

Photo by Jeremy Daniel

Thursday, March 29, 2018

Thrillist: The Best Easter Brunches in the Twin Cities

What to do on Easter when you've been eating boring Lenten food for over a month?

Photo courtesy of Thrillist

Or more likely: if you're one of the rest of us undisciplined sinners and just want to live.it.up. on the year's best brunch day, where on earth should you go?

Have no fears, because: igotchu, fam. I did a roundup of the best Easter brunches for Thrillist (click here to see the article), and it's got a kickass list of a wide range of places in a wide range of locations to give you plenty of options to choose from. Even better? Most of these places still have amazing brunch even when it's *not* a holiday, so you can consider this your handy reference guide to brunch for the upcoming patio season.

And while you're at it, make sure to check out the other pieces I've written for Thrillist as well! Click on each title below to head to the article:

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Easter is here, Lent is over, and it’s time to live it up. Whether you need to indulge after 40 days of sacrifice or just want an excuse to pig out, we totally have you covered. This list has options to please any mix of people on both sides of the Mississippi, from grandma to your niece to your best hangover buddy to maybe even a fun date. Whatever path you choose, just make sure: Don’t waste the opportunity to enjoy the best brunch day all year outside of Mother’s Day (but without all of the stress).

St. Paul Grill

Downtown St. Paul

Hobnob with St. Paul’s old-money families

Nothing says grandiose better than the hallowed gilt halls of the St. Paul Hotel. Treat your family to the finest downtown St. Paul has to offer with their extravagant brunch, which is beefed up for Easter every year. All of the Grill’s brunch options (which include savory waffles, lemon ricotta pancakes, and a lobster scramble, among other delicacies) come with a complimentary colossal caramel roll and white linen table cloths. #protip: ensure you make reservations ahead of time or you may not be able to find a table, as this is one of the hotel’s busiest brunch days of the year. You should make reservations on Open Table directly through the site.

Cast & Cru

Excelsior

Luxurious buffet mixed with live theater

If you want a side of opulence and some live theater for your Easter brunch, look no further than Cast & Cru. Gorgeous vistas with a pondside view isn’t all they serve. Brunchers can find a luxurious spread including prime rib, multiple kinds of scrambled eggs, bagels and lox, breakfast meats, omelets and eggs Benedict made to order, and even a build-your-own waffle bar. And if you’re dying for a full throttle Easter Sunday outing, head next door to digest during a matinee of the swinging, recently-opened Guys & Dolls at the Old Log Theater, the oldest theater in Minnesota. Easter brunch here is $30 a head and half that for kids. Call ahead at 952-767-9700 for reservations.

Wise Acre Eatery

Tangletown

Farm-to-table fare that lives up to the hype

"Farm-to-table" may be a tired buzzword these days, but Wise Acre Eatery will make it crisp again for you. With all ingredients sourced from their farm just outside the city, you are guaranteed to get the freshest food available. Winter salads, pot pies and a special hash including cornbread, fresh aioli, egg and herbs, and country ham all make appearances on the menu, in addition to many special treats such as house-made spicy ginger beer, hand-churned custards (which you can add fresh-brewed coffee to), and a perfect selection of locally raised meats and dairy products that let you take the party home with you. There are typically long lines for brunch, but Wise Acre prudently allows reservations for Easter and Mother’s Day -- make sure to schedule your reservations in advance by calling (612) 354-2577 to guarantee a seat.

Jax Café

Northeast Minneapolis

Easter brunch, but Mad Men-style

People have waxed nostalgic about the retro vibes of Jax Café for years, and for good reason: with the devastating demolition of the renowned Nye’s Polonaise last year (RIP), Jax is one of the last restaurants standing that does things the old way without a hint of irony. Easter brunch here is a little spendy at well over $40 each per adult, but you’ll get what you pay for: dishes include roast leg of lamb, pineapple glazed ham, seafood salad, poached salmon and a literal “carved steamship round of beefeaster.” And don’t forget -- you can’t buy this kind of period ambiance. Don Draper never had it so good. Make your reservations directly through their website.

Birchwood Café

Seward

No-reservation, veggie-forward brunch for the herbivores out there

Long before veganism was on Beyoncé’s radar, Birchwood Café was serving up vegetable-heavy noshes that converted even the most die-hard carnivores. Their brunch options are no different, including creative dishes like sambal-infused beans and rice, perfectly griddled savory waffles, a vegan rendition of biscuits and mushroom gravy stuffed with Cajun spiced-tempeh, and a plethora of burger options for every dietary need. No reservations are allowed during brunch hours (which go until 4pm), so make sure to get someone there early to snag a table for your crew.

Meritage

Downtown St. Paul

Classic French cooking to fill you up all day

If your idea of Easter brunch is more eat-once-for-the-week than have a simple meal of eggs, we suggest you meander to Meritage in downtown St. Paul for a repas copieux experience. They have all of the standards of course -- eggs Benedict and crepes and brioche French toast among them -- but they also provide perfectly prepared French classics like cassoulet in multiple styles, moules frites, and the best croque monsieur this side of the Atlantic. Meritage is pulling out all the stops for Easter, with an extended brunch service from 10am to 3pm that will include a roasted leg of lamb with white beans, spinach and black olive oil. Their full bar will also provide you with a plethora of options if you’d like a fancy aperitif to prepare for the big meal ahead. Make reservations through their website or by calling (651) 222-5670.

Grand Café

Whittier

An insta-worthy space with food to match

If somehow none of these options so far sound quite opulent enough for an all-out Easter brunch, try the Grand Café on for size. Menu items include sake bloody marys, a host of raw seafood options, and chicken liver donuts with glitter glaze (yes, this is in fact *a thing*). Throw some caviar or cacio e pepe dumplings in for good measure and you’re living it up Marie Antoinette style. With gorgeous sunny interiors and delicately plated goodies, your social media feed will never have it so good as it will at the Grand Cafe. Make reservations through Open Table or by calling (612) 822-8260.

Betty Danger's

Northeast Minneapolis

Toast to Easter from our signature riverfront Ferris wheel

Although Betty Danger’s hasn’t released an Easter-specific brunch buffet menu, we already know it will be a smashing success. The folks at Betty Danger’s have designed a regular brunch that is so over-the-top awesome that there’s no way they can screw Easter up. For under $20 (a steal!), diners at the Ferris wheel location can get an all-you-can-eat buffet including fried chicken and baby pancakes, and add on bottomless cocktails. The braver among us can take Betty’s “Brunching of Champions Challenge,” which provides a smorgasbord of all of the brunch buffet items plus a literal mini rotating Ferris wheel of burgers and bacon at your table. If your team of four can finish it on time, you are rewarded with a trophy filled with prickly pear slushy margarita and an endless amount of bragging rights. Slide on to Betty Danger’s to add a little extra fun to your Easter service. Make reservations through Open Table ahead of time.

Nicollet Island Inn

Nicollet Island

A Scandinavian-influenced tasting menu to start your morning

For something a little more reserved, head to the Nicollet Island Inn for Easter brunch. Their five-course tasting menu features Scandinavian stalwarts like smoked salmon cakes and Swedish meatballs alongside more cutting-edge offerings like toast skagens topped with poached shrimp salad and crème fraiche. If you’re not quite ready to give up your wintry hygge vibes, look no further: this Nicollet Island Inn Easter brunch is for you. Make Easter brunch reservations directly through their site or by calling (612) 331-1800.

Cosmos

Downtown Minneapolis

A low-key brunch for a low price, with a cocktail included

If you find yourself a little overwhelmed with the many decadent offerings listed here, feel free to temper yourself with a more reserved approach to Easter brunch buffets. Cosmos has all of the rich offerings -- carving stations, bread stations, French toast bread pudding -- as well as lighter fare, like a fresh spring salad, clean and vegetable-heavy side dishes, broiled whitefish and wild rice pilaf, and even a salmon and tuna crudo. Oh, and the buffet’s $38 flat fee includes a cocktail in the price. If you have plans for an active afternoon on Easter Sunday, this is definitely the brunch for you. Just be sure to reserve a table through the site or call ahead at (612) 677-1100.

Capital Grille

Downtown Minneapolis

Brunch, meet steakhouse

If you’re the kind of carnivore for whom no meal is complete without a red-blooded plate of meat, Capital Grille is your Easter brunch of choice. You can get your filet mignon or bone-in aged NY strip steak like any other self-respecting steak joint, but you can also find brunchified takes on classic surf and turf steakhouse dishes like a lobster frittata with truffle hollandaise or jumbo shrimp over white cheddar grits. Bottomless mimosas and bellinis are on offer too, providing an adult indulgence in addition to a respectable children’s buffet option. They really thought of everything, didn’t they? Make reservations directly online ahead of time.

Tongue in Cheek

East Side St. Paul

An aggressively silly, but nonetheless delicious, take on classic options

St. Paul’s East Side has never quite been the same since Tongue and Cheek moved in, and that’s a good thing. With saucy brunch dish names like Croque Hot Damn and Vegasm, you’ll laugh your way through the menu while easily fulfilling everyone’s dietary needs with a delicious culinary triumph. This is also the only brunch menu on this list where you will find proven hangover cures like bacon dashi ramen or steamed pork belly buns (#nojudgement), so choose your brunch wisely depending on your needs from the evening before. Tongue in Cheek also takes brunch reservations for parties up to 10, so you can guarantee a seat even for large groups -- if you plan ahead, that is. Make reservations directly online or by calling (651) 888-6148.

Brasa

Pickup at the St. Paul Location

Have restaurant-quality Easter brunch... at home

Brasa has been killing it on the take-home front for years, and this Easter is no exception. If you plan ahead, you can order a swoon-inducing spread to pick up and enjoy at home with your crew. This year’s menu includes two kinds of glazed ham, greens with smoked chicken, candied yams, beet-apricot salad, honey-buttered corn bread and a full lemon buttermilk pound cake courtesy of The Buttered Tin. If that’s not enough goodness to have at home, consider swinging by the bakery side of Brasa’s sister restaurant Alma for freshly made hot cross buns, chocolate ginger tarts, everything bagel challah and more. This is the perfect option for introverts, but take note: you must call Brasa or order online ahead of time if you want to go this route, so get your ducks in a row beforehand.

Lyn 65

Richfield

A special, new brunch menu with a full fried chicken section

Count Lyn 65 among the savvy restaurants who are succeeding in the competitive Twin Cities restaurant market by continuously keeping it fresh. Lyn 65 will be treating guests to a revamped brunch menu on Easter, which was co-developed with input from the entire staff. Standard breakfast items are on offer, but you really should go for some of their more unique dishes like a sunchoke-laden shakshuka, a vegetarian rice bowl, red chorizo frittata, or fragrant pork bone broth ramen. The menu also features a full standalone section for fried chicken (a deserved place of honor) and a curated, intriguing list of morning cocktails with healthy ingredients like avocado and celery bitters, so you can squeeze in some vegetables if your entrée is lacking a little green. Make reservations directly through Lyn 65's website.

Tuesday, March 27, 2018

Reviewed in Brief: Cochon 555 and 24 Hour Plays

This weekend was the weekend of a la carte.

Chefs everywhere!

I've been getting some great product sample offers lately (more to come in a forthcoming post!) which has been a really fun new venture for me. Something about being on the forefront of new technologies, new foods, and new ideas just appeals to me greatly.

The stuff I was up to this weekend, then - namely sampling a bevy of the best in food and drinks the Twin Cities has to offer, as well as a bunch of one-time-only theater performances - really fit within this theme. Let me break them each down for you:

Cochon 555

Everything pork and everything delicious.

This event nearly snuck by me, but I was lucky enough to get a chance to attend and WOW - what a stellar show. If you're not familiar with the Cochon program, you can click here for the website. Basically, it was founded 10 years ago as a way to educate about and celebrate heritage breed pigs. It takes the form of a contest in which the top chefs of a chosen city are each given a pig and very short time frame to process it and cook six unique dishes. The public buys tickets to sample each dish from each chef and vote upon their favorites, and all proceeds are given to a farm sanctuary that raises and shelters heritage breeds of pigs. Many cities host a sommelier competition in tandem - the Minneapolis event did so as well as a party punch competition, both of which rocked - and everyone is treated to a culinary experience that really sparks innovation and exciting new ideas. Local winners are then catapulted to a national competition against the top voted chefs from other cities and receive a slew of really cool prizes like an all-expense paid trip to Rioja, Spain.

This year's competition was stiff; competing chefs included Timothy Fischer of Loew's Hotel; Daniel del Prado of Martina; Russell Klein of Meritage; Remy Pettus of Bardo; and Karyn Tomlinson of Corner Table. Tomlinson took home the prize (yay female chefs!!) with a menu of:

Swedish Meatballs with Sauce Supreme, Dill and Caviar;
Blood Pudding with Crispy Cured Pork Jowl, Lingonberries and Lady Apple;
Sunday Ham Sandwich with Milk Roll, Pleasant Ridge Mornay and Black Truffle;
Swedish Spareribs with Allspice, Apricot and Black Poplar Mushroom;
Assorted relishes and Chicharron Toffee for the table and
Apple Pie made with Lard Crust topped with Liver Ice Cream and Pancetta Caramel

Lucky me! I also got to sample the winning wine - which was a spectacular sparkling rose called Les Capriades, NV Méthod Ancestrale ‘Pynoz’ Rose from the Loire Valley, France and was chosen by another smart lady, Sommelier Erin Rolek of Bachelor Farmer - that totally made my night (literally the best wine I've ever had. I want to drink it in gallon buckets). My favorite punch of the night was not a winner, but the champion - Dustin Nguyen of Martina, who crafted a “Murakami Tea” combining milk-washed, tea infused Breckenridge Bourbon, makrut liqueur, spearmint, hibiscus, citrus and carbonated water - was certainly no slouch either.

It was a totally luxurious spread and I tried a ton of dishes I've never had before. The room was absolutely packed and it was so much fun to see local chefs be challenged and celebrated for their incredible work. My guy is a chef (so I get the inside scoop on this stuff!), and it was so refreshing to hear his excitement about an inclusive, judgement-free zone for people to get extra creative with their dishes. I think this is such a great idea and I'd love to see this happen with different kinds of foods - say an all vegan or vegetarian competition, seafood based, pasta, poultry, etc. Chefs of America, please unite and make this happen!

24 Hour Plays

The next festival was the 24 Hour Plays. I attended the inaugural Minneapolis session last year - click here for more info - and it's interesting to realize how much an event can change based on who's involved. I mean objectively art always changes when different people are involved, but I felt that this year was such a leap (into being kind of a downer) from last year. There are many reasons this might be - my money lies squarely on our political climate, the specter of which was deeply embedded throughout these shows - but either way it just felt less fun than last year. There were still some great moments, but overall the tone was so much more somber, and it felt like the artists were a little more jaded than they otherwise might have been. This is a shame, but it can't be helped.

My favorite sketches were the last two in Act II - a riff on a mashup of Romeo and Juliet and a Shape of Water-style monster love story that only succeeded thanks to the tireless efforts of Tyler Michaels and Stephen Yoakam; and a Pink Panther-style kidnapping parody that started with a huge bang and a delightfully devilish Tony Vierling but unfortunately veered too quickly into overthinking itself. The standout of the first act was a somber, modern remniscence of The Wizard of Oz in which actors of color lost their voices and identities and had to seek them from a wizard; it had lots of potential and a super talented group of artists all around.

Either way, the 24 Hour Plays supports the great cause of arts education, and it allowed me to see my first ever Laura Osnes performance and discover the Hornheads, an absolutely spectacular small brass group that has me eagerly googling any and all upcoming gigs. It's always a delight to be in the Pantages, which is to my mind one of the most underrated venues in the Twin Cities, and it's awesome for these artists to have a chance to spin their creative wheels and try something risky and new. I do want to emphasize how HARD this is to participate in. Writing a play under the most luxurious of circumstances is difficult, but to fully realize something in literally a single day is a huge feat, and the fact that anyone is willing to even try it is miraculous. Even if I didn't find these to be masterpieces they are still a worthwhile and exciting endeavor, and a huge round of applause to all of the artists on and behind stage who donated time, sleep and sanity to move this program forward.

Monday, March 19, 2018

MUST SEE: Danai Guriria's Magnificent "Familiar" at the Guthrie

As an immigrant or a refugee, where does your allegiance belong?

Photo by Dan Norman

Should you forget where you were born? Should you bide your time until you can return again? Should you try to assimilate where you have moved if you never intended to live there in the first place? Will you be left behind, and in which world? Who are you, really?

Photo by Dan Norman

These are some of the many complex questions asked in the marvelous staging of Familiar at the Guthrie Theater. Familiar is written by Danai Gurira, who most people have become familiar with through her role as the fearsome warrior General Okoye in the current global phenomenon that is Black Panther. Black Panther is a terrific movie, and no knocks against it or Gurira's performance - she's a knockout, and I loved the film - but it's a bit of a shame if that's all you know about her. Gurira's first real claim to fame comes through her work as a playwright, first on the Broadway hit Eclipsed, and then to subsequent plays, the most recent being Familiar. What you also may not know is that Gurira was born in Iowa and lived for several years in Minnesota, making her intimately familiar with this part of the Midwest, where Familiar is set. Gurira is an awe-inspiring writer, and the all-around excellence of Familiar is a testament to her sharp wit and a wisdom beyond her years. Ferociously funny, heartbreakingly poignant, and all around entertainment at its best, Familiar is a must-see and has shot to the top of my list of favorite shows of 2018 so far.

Photo by Dan Norman

With two feet solidly packed in snow-laden Minnesota, Familiar tells the story of a family of Zimbabwean immigrants as they prepare for the marriage of their daughter Tendi to Chris, a white Christian boy from Minnesota. Tendi tries to surprise her mother by bringing her aunt Anne from Zimbabwe to perform a traditional marriage ceremony called roora (or loosely translated, "bride price") to honor her heritage - but everything goes terribly wrong the second Anne walks in the door. Through several hilarious circumstances, deep family secrets are revealed that change all of their lives forever. The plot twists are the best part of this show so I don't want to reveal any more, but just trust me - anyone will love this play. I was laughing so hard I was weeping by the end of Act I, and the entire audience leaped to their feet the second the curtains were drawn by the end.

Photo by Dan Norman

A spectacular cast is all you need to elevate this sound script to perfection, and Familiar has it. Shá Cage and Aishé Keita anchor the cast as sisters Tendi and Nyasha, respectively. They read just like real sisters, with dynamic personalities and a bruising fight in which neither holds back. Cage rips through a "sex" scene with joyful abandon and Keita surprises with some beautiful music towards the end of the show. Their parents Donald and Marvelous, played by Harvy Blanks and Perri Gaffney, respectively, round out their family perfectly. Blanks has an exquisitely expressive face that conveys mountains without a word; he was one of my early favorites in the show, and he plays a vital role in navigating Familiar's emotional arch. Gaffney is stoic and steadfast in her part, and she does a wonderful job with the big reveal in Act II. Local legend Austene Van is saucy and gentle as Prof. Margaret Munyewa, one of Tendi's aunts; she is absolutely regal in this show, and I loved her mediating presence on stage. Wandachristine truly goes all out as the eccentric aunt Anne, bringing the tribal world to Minnesota with ironclad ambition. Quinn Franzen is great as the surprisingly likeable Chris; the open-minded example he sets throughout the family's roller coaster fight is a great example to follow. And Michael Wieser gives perhaps the most shockingly delightful performance as Chris's brother Brad; his character is just the touch of spontaneity that keeps the action unpredictable, and Wieser milks his part to the fullest from the second he steps in the room.

Photo by Dan Norman

I was a little underwhelmed with the production value overall, but that's ok - this play doesn't really need to be over-the-top. The scenic design by Adam Rigg looked to me like a mashup of Park Square's Dot and the Guthrie's own Blithe Spirit from last year - it was fine, but not particularly inspiring. I did enjoy the vibrant costumes from Karen Perry, which were pitch-perfect and really helped delineate the characters. Major props go out to the vocal coaches Lucinda Holshue and Kecha Nickson, who clearly worked hard to get the cast's accents right - especially the lines spoke in Shona. And I also want to specifically commend Marcela Lorca, who worked with the cast on some of the incredibly intimate physical choreography. It's clear that these actors trust each other and know exactly what they're doing, resulting in a great performance but also a good experience working with each other, and that's work to be celebrated. Bravo overall to the direction from Taibi Magar, who just knocked this play out of the park. The vision from start to finish is excellent, and it's a fabulous way to bring Familiar home to Minnesota.

Photo by Dan Norman

What made Familiar so special to me was the way it captured life as an African immigrant in America, and the completely separate - but equally difficult - questions that each generation wrestles with while living here. I have a window into that world through my in-laws. Their story is not mine to tell here, but I will say that Familiar nails so many aspects of what that experience is like. The biggest question, "Where do I belong?", is certainly not unique to African immigrants, but it is a very important one and something that is more starkly drawn in a state like Minnesota, where so much of our general population is homogenously white and removed from their European immigrant roots. Are you a traitor for leaving your country behind? What obligations do you have to your roots back home, especially your extended family? What about the children who are born here and know no other life - where do they fit? Are painful memories best left buried? What about when your children start marrying people of different faiths and cultures - how do you preserve your cultural heritage without alienating them or their new partners?

Photo by Dan Norman

Familiar has every element of great art - you will laugh until you weep, audibly gasp in shock and surprise, lean forward into difficult conversations, clap with applause at the hard truths that are honestly said, and celebrate the deserved recognition of just how much our immigrant neighbors struggle with sacrifice and identity every day. It's a masterpiece, and one that I strongly urge everyone here to see. Familiar opens a fresh, vital perspective not just on cultural elements we all take for granted here in Minnesota, but onto the deep, endless, painful struggle that all of our refugee and immigrant neighbors are grappling with every day. It tells this struggle with light and humor and strength and dignity, and that is the best way I can think of to deliver this important message. To see a perfect play (and learn a lot in the process), ensure you click here to get your tickets to Familiar and learn more about the show.

Photo by Dan Norman

Friday, March 16, 2018

Healing a Nation with The Great Divide II

Pillsbury House Theatre's latest series is original, local, and a true product of our times

The show comes with several interactive elements like a quiz on the truthiness of news headlines and a vote of confidence in different media sources - brilliant stuff.

Is there anything that can get our sharply divided political parties to cross the bridge towards each other?

It's so easy these days to feel like compromise is dead, forgiveness is nonexistent and everyone is going batshit crazy. Amid the deafening din of voices screaming endlessly into the yawning political void, it's very easy to feel like there isn't a single person out there just listening anymore.

The Great Divide II at Pillsbury House Theatre, a sequel to last year's The Great Divide, is attempting to change that - at least a little. Pillsbury commissioned five local playwrights - some of my favorites! - to write short plays around this theme of political dissonance and our so-called "post-truth" (RIP) era, attempting to find some clarity in the mess. It's an ambitious project with mixed success, and I really admire the attempt to try to sort us all out.