Exploring the Enigma that was Einstein with Matchbox Theater

"The man behind the myth" may be a cliche phrase, but it's stuck around for a reason. 

Photo courtesy of Matchbox Theater

Such a phrase is perfectly applied to Einstein: A Stage Portrait, currently showing at Matchbox Theater. This one-man show places Einstein at the end of his life, reminiscing to the audience about the many phases he has experienced and truly humanizing a historical figure who has become so lionized that it can be difficult to remember that he was a man, too.

Thomas Schuch is the maestro leading us through this play, which he has been performing internationally for more than 16 years. Schuch's passion for this subject (he'd have to be to continue the same show for so long!) really shows throughout the show and the talk-back following the performance. He clearly loves Einstein, not just for the greatness of his reputation but also for the humanity and growth he showed throughout his life. Schuch can feel a little long-winded as he progresses - with some slight judicious trimming, this show could easily go without an intermission and feel a little lighter paced - but he presents a very relaxed, comfortable persona on stage, and it's a great entree into this great figure if you're not familiar already.

"The search for truth is always more important than its possession."

If you haven't read Walter Isaacson's exhaustive biography about Albert Einstein (and you really, really should - it's magnificently written), there will be a lot about Einstein's past here that will be new to you. For example: did you know that Einstein flunked out of grade school? That he historically received very poor marks in the maths and sciences? That his family (especially his father) considered him a failure? That he was divorced? That he regretted the creation of the atomic bomb? That he felt hunted by the level of fame he achieved near the end of his life?

These might seem trivial details; why should we care? But the thing is, Einstein was a rare man in his own day and would be the human equivalent of a unicorn if he existed today. Think of it: an eccentric, ethnic refugee whose fame and career resulted from total immersement in upending the established theories of science; who was a celebrity for the scientific principles and hard data he discovered, not his scandalous life story; who refused to shy away from involvement in politics and morality, even (or perhaps especially) as it applied to his work; who was so eccentric that, as beloved as he was, he never felt that he truly belonged to the society in which he lived.

"Man can create as well as destroy. Surely there are more men who value beauty than destruction."

There's a lot we can learn from a man like this; from a person who was determined to live life in all of its glorious complexities; who took a moral stand against overwhelming powers even if it would cost him his life and career; and who found the profoundest mysteries to have the most elegant answers. I like to think there's always an Einstein out there; the question is, will we listen to them? Will we receive them? Will we make room for their difference and uncomfortability? Many of the problems facing us today depend on us thinking hard about these questions and answers. Einstein: A Stage Portrait provides an accessible, perfect venue for conducting such reflections.

Einstein: A Stage Portrait runs at Matchbox Theater through October 1. It's a kid friendly show and tickets range from $10 - $25. For more information and to buy tickets, click on this link.

Dancing on the Edge with Theatre Novi Most

It's easy to romanticize the past. 

Photo courtesy of Theatre Novi Most

Or at least that's what I was thinking while watching Dancing on the Edge, the latest show from Theatre Novi Most, last night. Centering on the tumultuous romance of legendary dancer Isadora Duncan and Russian poet Sergei Esenin, the story takes place in a Russia still reeling from the freshly bloody Communist revolution that left the royal and political systems in shambles and millions of people's lives in chaos.

There is something about this period that has always appealed to mystic lover's psyches, I think. Between the mystery of Anastasia Romanov's whereabouts and the grandiose (albeit unkept) promises of the revolutionaries, the Russian revolution is the story of a lifetime and continues to seize the imagination 100 years later. Amid all the nostalgia, it can be easy to forget how terrifying the Russian revolution really was and how devastating it was to Russian society, some effects of which are even seen to this day.

To its credit, Dancing on the Edge shows a darker side of this revolution through the hidden, somber side of Isadora and Sergei's romance. It's lust at first sight for both when they first meet, despite the fact that neither speaks the other's language. The longer they are together, however, the more it becomes apparent that Sergei and Isadora will be unable to overcome the burdens in front of them and they may never be truly happy. Isadora may perform for party leaders, but she cannot command their financial support. She may have taken in a school of young girls, but she cannot support them (or any of the other millions of starving Russians), as evidenced by a vivid passage describing people eating raw meat from a dead horse on the street. Sergei may scribe overwrought poems and dream of worldwide acclaim, but the arms of his infamous lover cannot save him from his demons. To watch Dancing on the Edge is to really see a country and a relationship in chaos, tumbling over one another and stumbling into the future, battered by the writhing tides of history.

Photo courtesy of Theatre Novi Most

Starring as the lovelorn Isadora is Lisa Channer, who channels her best rebellious Gibson girl. Channer embodies an empathetic soul, and it's easy to see how the real Isadora may have been so beloved if she behaved with such compassion. Sasha Andreev stomps through the script as Sergei, quickly bringing the audience into the tormented psyche of a disillusioned revolutionary. Andreev wields his body like a weapon, bringing the most physicality to this role that I've seen him show on stage yet. Sergey Ngorny and Katya Stepanov stand in as multiple supporting characters, gently ushering the audience through the story and slowly providing context to Isadora and Sergei's pasts as their relationship unfolds.

The set is simple in elements, generally composed of antique furniture strategically strewn about the stage and covered in bedsheets. The sheets are periodically removed and pieces rearranged to form multiple mobile vignettes, and the fluidity of their placement keeps the environment fresh and the scene changes short. The lighting is absolutely gorgeous, leaving the stage awash in a warm effervescent glow that is perfected with twinkling, dangling lights from the ceiling that give a period starlight or candlelight effect. The shimmering patina it creates bathes the performance in a sepiatic
glow that really feels like you're stepping back 100 years, and it was my favorite element of this performance.

Photo courtesy of Theatre Novi Most

I don't know how I got the perception that Dancing on the Edge was billed as more of a dance show than a play, but that's definitely not the case. There are some simple dances in the performance to be sure, but they're not the focal point (nor should they be). The real story here is Isabella's relationship with Sergei and their equally tumultuous relationship to Russia itself. I can't really describe how I felt about that. The actors clearly had a relationship with their characters and each other, and it felt like they were engaged in the story. But something always felt a little distant to me, as if the whole thing were happening at arms length and we were seeing the action through a pensieve. It held my attention but didn't pull me in viscerally. I was left wanting a little more, and although I'm not sure how to define that, I think Dancing on the Edge could continue to be developed into a tighter, more emotional piece. The bones are there; the screws just need to be tightened a little bit.

If you like fraught romance, learning about early 20th-century Russia, or just want to see some damn good stage lighting, Dancing on the Edge is for you. I enjoyed it despite the distance I felt, and the cast and crew clearly have put a lot of thought and work into the script. No matter what you're guaranteed to learn something about this period that you didn't know before, and you'll hear some Russian on stage to-boot. You only have a few days to check it out (the limited run closes on September 10!), so head quickly to the Southern Theater to see it this weekend. Tickets cost $24 at the door; more information can be found by clicking on this link.

A Walk on the Dark Side: An Interview with Jonathan Weir/Jafar in Disney's Aladdin Tour

What is it like to play the villain? 

Photo courtesy of Hennepin Theatre Trust

I think many people stereotypically assume that the best part to play in any script is the role of the hero. I mean, who doesn't want to be admired and spout pithy quotes and swashbuckle their way to a glorious ending? It's great, right?

Speaking from experience (and the success of shows like Wicked that flip the villain's script), I can say that this is not always the case. The role of the villain is often one of complexity, range, depth, challenge, and, dare I say it? Fun! After all, it takes a lot more work to make an audience respect, or especially to like, a character full of nefarious deeds and sinister subplots.

Jonathan Weir, who is starring as Jafar in the touring production of Aladdin (coming to Hennepin Theatre Trust next week!) is no stranger to loving to play the villain. Having served in the role of Scar in The Lion King on and off for 13 years, he has worked all over the country and survived more than 30 years in the business, which is no mean feat. I sat down with him to chat about his work on Aladdin, his illustrious career, and much more. Read on to learn more about the ins and outs of working on a Broadway touring show!

1. You have over 30 years in this business! That's a long time in any career, and Broadway can be notoriously grueling. What keeps you going? 

The majority of my 30 years in the business has been based in Chicago. I’ve been fortunate to have worked on Broadway three times in the past 2 years doing The Lion King and I’ve done a few national tours of The Lion King, Jersey Boys and now Aladdin.  The business of acting can be trying, challenging and grueling wherever you’re geographically based. I’d say what has kept me going is the Chicago theater community. I’ve grown enormously as an actor and I continue to be challenged and inspired by my fellow actors, directors and designers here in Chicago.

2. Having had such a long, legacy relationship with The Lion King, you clearly have an interest in Disney and these stories that are now considered children's classics. What drew you to Aladdin after such a long time in The Lion King world? Have you noticed any specific differences between each experience? 

I have had a unique relationship with Disney.  I did the second national tour of The Lion King which started in Chicago back in 2003. I was a Scar/Pumbaa standby and left after a year.  However, every few years Disney would call me to come standby on the tours and eventually on Broadway. I never dreamed that I’d do The Lion King on and off for 13 years. As an actor I have an interest in working in all kinds of plays. There was a lot that drew me to auditioning for Aladdin but foremost was that Disney does it right. They spare no expense in bringing a story to stage and they take exceptional care of the cast and crew. That was my experience on The Lion King and it has held true for Aladdin as well.

3. You've played Scar and now Jafar, and I read that you would love to play Ursula as well - do you have a special penchant for playing villains? What appeals to you about embracing the "dark side”?

The ideal of playing Ursula was said partly in jest. She’s one of the iconic Disney villains and she has a special flair. However, given the state of female roles in theater, playing that role is best left to any of the phenomenally capable actresses out there. I seem to have found a niche in playing the Disney villains. I think it’s always fun to play the antagonist, to play a character that has a strong point of view. For the record I have played some nice guys in my career too.

4. Playing such iconic characters must be a little difficult sometimes, as people have preconceived ideas of them from the movies. How much of yourself are you able to bring to these roles? Do you find the familiarity of the story challenging? 

During rehearsals we were encouraged to bring ourselves to our roles. To not just imitate or recreate what was done in the animated feature or on Broadway. As an actor it’s vital to bring yourself to any role and to own it. Jonathan Freeman, who was the voice of Jafar in the animated feature and who plays the role on Broadway, created a rich road map and many iconic moments. However, we are not only different actors but have had different life experiences, and those experiences inform our individual takes on the role.

5. What is the most special part about Aladdin to you - sets, costumes, cast and crew, etc.? 

It’s the people. I love being in a theater. Not just on stage but in the building itself. I love interacting with all the different departments, stage crew, props, wardrobe, makeup, orchestra etc. Being in a building that holds that much talent means endless creativity.  I’m fortunate to have made a living doing what I love.

6. What is it like to be a touring actor for a Broadway show? The schedule and travel must be intense. How does it differ (aside from the obvious) from other productions that don't tour? 

First off, maintaining and keeping a long-running show fresh is a challenge but rewarding. I always say getting the job is one thing, but maintaining and giving an audience a fresh show nightly is craft. Touring is a different beast. I was fortunate to be in Chicago rehearsing and running Aladdin for 22 weeks at home. The perks of touring are that you get to explore a variety of cities and come in contact with a wide array of people in the business. I love to travel. The downside is that you’re away from family and friends.

7. How long did it take between casting to get to performances for this show? What is the rehearsal process like? 

My initial audition and callback was in NYC in September 2016. I was cast later that month. We started rehearsals in Chicago on February 27, 2017, so I had about 5 months between casting and starting rehearsals. In those 5 months I had several costume fittings in NYC. We rehearsed for about 5 weeks, had 2 weeks of tech, previewed for a week and opened in Chicago in mid-April of this year. The rehearsal process was truly a joy. Everyone in the cast was supportive, caring and encouraging of the work that was being done in the rehearsal room. This is one of the most generous, talented and loving casts I’ve worked with.

8. How do you keep a semblance of normalcy on a tour like this? What kinds of self-care do you practice? 

That’s a good question. Keeping a sense of normalcy or routine is key while on the road. The cast becomes close knit and having that “family” helps. Doing Aladdin nightly requires a great deal of energy. I do a few things to maintain my physical health. I work out several times a week at the gym, I get massages, I stretch and warm-up before the show.  

9. What is your favorite theater experience as a performer (most fun to be a part of)? 

Boy, that’s always a tough one to answer.  I’ve had so many favorite experiences as a performer. Most recently, last summer I played Malvolio in Shakespeare’s Twelfth Night for Chicago Shakespeare’s summer parks tour. We performed outdoors in 19 Chicago parks. It’s free to the public and going into so many diverse neighborhoods and connecting with audiences like that was very satisfying. We had little kids excited about Shakespeare! And anytime you can turn someone on to live theater it’s a good day at work.

10. Conversely, what is your favorite experience as an audience member (best show you've seen)? 

Back in 1989 I attended a final run through of Steppenwolf Theatres The Grapes of Wrath directed by Frank Gallati. It was a final run through in the rehearsal hall with rehearsal props, and a few costume pieces. It was right before they went to Broadway with the show. It was one of the most moving, exhilarating and inspiring theater experiences I’ve had.

11. What are your hopes for future projects? Anyone other than Ursula you'd love to play? Do you see yourself leaving the Disney universe? 

I will do this tour then I imagine return home to Chicago. It’s my home base. As for future roles…one never knows. I’d like to do more Shakespeare and I enjoy doing new works.

12. I read that you had a great teacher in high school that inspired you to get involved in drama. How important is education and outreach to you? Do you consider that part of the job? What are ways you give back?

I am a big advocate for training and education. I had some very influential teachers and mentors along the way. One of them taught us that once you start acting you’re a student for life, both in your on stage life and off stage. I believe the two are intrinsically connected. I am an adjunct professor in theater in the Department of Fine and Performing Arts at Loyola University Chicago. I love teaching. To help a student find a way into a character and grow is very fulfilling.

13. What advice would you have to young performers who are hoping to enter this field? 

How much time do you have? I believe that the journey to becoming a performer happens differently for every individual. That being said, I believe there are some absolutes. A few words of advice:

1. Read. Know history, know about the world both the past and present. As actors we’re called on to not only engage our imaginations but our intellect. The more you know the more you have to bring into the rehearsal room and to the role.  
2. Be the solution. In an audition situation I like to think that there are two things you can control; your preparation and your attitude. Everything else is out of your control. Once you understand that it’s an empowering feeling. Coupled with that is the idea that they have a problem, they need to cast the role. The auditors want you to be good and be the one for the job. Right before I go in to audition I say the little mantra: “be the solution.” 

Before you go... did you like this post? Would you like to see more interviews? It's been a while since I regularly conducted interviews but I'd love to mix it up if you are interested. Let me know in the comments! 

And don't forget to enter the drawing for four free tickets to see Grease at Chanhassen Dinner Theatres to celebrate Compendium's fifth birthday! It's so easy to enter and you can win a full table of tickets for free - you don't want to miss out. 

Compendium is Turning Five! And Grease Ticket Giveaway

Let me tell you a little story.

Five years in and stronger than ever - happy birthday Compendium!

The date is September 2012. I'm one year past college graduation and have been supplementing my full time job, where I'm relatively bored, with writing on the side for Metro Magazine. As a journalism major I am really hoping to step into that world full-time and feel like I'm on track to at least be a regular columnist and maybe editor someday when BAM! I find out the magazine is closing in a week.

Although the writing had probably been on the wall for some time, I was absolutely devastated. I felt like I was finally hitting my stride; I had just run my first major print piece (which I still have a copy of today!), an interview with the new incoming director of the Minnesota Opera. It felt like all of the hard work I'd done over the last year+ was flying straight out the window. Worse, as 90% of my work was online, I knew it would be lost to the wind if I didn't do something quickly to save it.

Thus, Compendium was born. I created this blog initially as a place to store my work for Metro and to keep it alive online. I took a little hiatus from the media world but then realized: this site didn't have to be static storage space to hold old articles. Why wait for a publication to pick me up? Why not start my own blog, share my own thoughts, and build the kind of coverage I always wanted to see but had to pass through gatekeepers before? I decided to re-up my work with my local media contacts and began slowly building a brand, a process that continues to this day.

It's been a long road to here, but I can safely say that five years later, building and running Compendium is one of the most fun, rewarding challenges I could imagine. I've had the opportunity to connect with so many amazing readers - YOU! Tens of thousands of you! - and I'm so grateful for the opportunity. If I hadn't started Compendium I would have missed out on so many amazing projects, performances, and people. I would never have met the incredible folks of the Twin Cities Theater Bloggers, who blow me away every day with their ingenuity and compassion. And I wouldn't have the ability to keep planning for the future, for more performances, ways to give back, and a few really cool new business ideas up my sleeve that I hope to share in coming years.

As a token of my gratitude to all my readers for five years of incredible theater and blogging, I want to give back to you for a chance to show my appreciation for following me on this journey. Chanhassen Dinner Theatres (CDT) has graciously agreed to give me four tickets to give away to a lucky reader (or two!) to enjoy Grease (review here), currently showing and the best selling show in CDT's history. 

CDT has always held an extremely special place in my heart for a few reasons. One is that it was the first theater I ever attended outside of the small town I grew up in up north. My younger sister and I were taken to a production of Brigadoon by my parents, and I will never forget the magic of seeing one of our favorite movie musicals come to vibrant life on stage. For kids whose biggest travel adventure was camping at state parks a short drive away, it was an unfathomably luxurious and inspiring experience. I also adore CDT's strong community outreach. They have been excellent partners with local school programs and are always working to make their shows more accessible, be it through ticket promotions (make sure to check for family discounts as they always do series where children's tickets are included free with adult ticket purchases) or bringing their performances outside of Chanhassen for others to enjoy.

Here's how to enter the giveaway: 

1. Make sure you are following Compendium on Facebook (you can also follow me on Instagram and Twitter!)

2. Comment on this post either in the blog comments below or on the Facebook post. Let me know: what is your favorite show you have ever seen? Who do you want to take to see Grease and why? Bonus points if you can also tell me what you're most looking forward to seeing in the new 2017 - 2018 theater seasons! 

3. I will draw a winner from those names on Friday, September 15, 2018. Winners can book their tickets anytime with Chanhassen Dinner Theatres. 

Thank you so much to all readers for an incredible five years. Cheers to five more! 

Thrillist: The Best New Foods at the State Fair

The expectation is excess, and this place delivers. 

Photo courtesy of Thrillist. 

Everyone knows: indulgence is the name of the game at the Minnesota State Fair. After all, where else can you get deep fried everything covered in cheese and haul it on a stick without so much as a second glance from anyone who may pass by?

From deep fried avocados to vegan noodle bowls, there are a whole host of amazing new treats to be found at this year's Minnesota Get Together. Check out my top picks for Thrillist by clicking on this link!

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Is there anything more indicative of summer in Minnesota than the State Fair? Long touted as one of the nation’s best, the fair provides dozens of reasons to go. Although witnessing princesses carved in butter, checking out farm animals up close, and seeing world-class live bands at a fraction of the usual ticket price are all big draws, regular fair-goers know the real reason to attend involves only three words: Deep. Fried. Food. Classics such as Sweet Martha’s cookies, the all-you-can-drink milk stands, and giant turkey legs need no introduction, but if you’re going this year, make sure to enjoy some of these new food selections. You might regret it later, but that’s part of the tradition.

Best high-low mashup: Duck bacon wontons
Location: Giggles' Campfire Grill at the southeast corner of Lee Avenue & Cooper Street at The North Woods
Head straight to Giggle’s for the duck bacon wontons, easily the most delicious and accessible way to package duck in finger-food form. The deep-fried crescent-shaped wontons are stuffed with duck bacon, grilled sweet corn, and cream cheese, and served with dipping sauce (as if you even need it at this point). There is everything to love about this inspired combo.

Most Anthony Bourdain: Swine & Spuds
Location: Swine & Spuds in the Warner Coliseum, northeast corner
If there isn’t enough carnage for you in the duck bacon wontons or Memphis totchos, there is only one place to head: Swine & Spuds, a new purveyor destined to become a classic with their eponymous dish. Here’s the lowdown: bacon-wrapped pork belly and mashed potato croquettes served on a skewer, topped with a choice of home-style gravy, Korean bulgogi barbecue sauce, or sweet chili sauce. Go for it.

Biggest diet buster: The Bacon Fluffernutter
Location: The Sandwich Stop on the west side of Clough Street, between Carnes & Judson Avenues
Better than a cronut and way tastier than those unicorn coffees from Starbucks is what is sure to be this year’s new craze: the Bacon Fluffernutter. Brimming with a bacon, peanut butter, and marshmallow cream filling, this artery-clogger is encased in a grilled cinnamon bun and dusted with powdered sugar for good measure. A little bit savory and a little bit sweet, this is one not to be missed.

Unhealthiest makeover: Cheesy nacho corn on the cob
Location: Texas Steak Out on the west side of Underwood Street, between Lee & Randall Avenues
Sweet corn with lime and elote has gone hand in hand with the Mexico City travel craze and seems to be everywhere these days, but you won’t find that here. Instead, the State Fair has gone a more plebeian route with their ears of corn, roasting them then coating them with crushed Doritos and melty nacho cheese. Even if you’re not a fan of vegetables, there’s a high chance you’ll find something to like about this one.

Best throwback: Bowl o' Dough
Location: Blue Moon Dine-In Theater on the northeast corner of Carnes Avenue & Chambers Street
If you’re anything like me, nothing was better when you were a kid than sneaking as much cookie dough as possible when Mom went into a baking frenzy. Now I can indulge once in awhile and the Bowl o' Dough is the way to do it. Coming in four incredible flavors -- brownie batter swirl, European cookie butter, lemon ricotta cheesecake with blueberries, and the OG favorite gluten-free chocolate chip cookie dough -- and served with a side of sea salt-flavored ice milk, this is a thoughtful blast from the past that is worth sampling.

Fastest upper: Maple cream nitro cold-press coffee
Location: Farmers Union Coffee Shop on the north side of Dan Patch Avenue, between Cooper & Cosgrove Streets
If you’ve made it this far, chances are pretty good you’re feeling a little sluggish from all the fat and sugar. What better way to perk up than some high-octane cold brew coffee? The Farmers Union is offering a real gem that incorporates locally sourced heavy cream and maple syrup and infuses the coffee with nitrogen for an extra energy blast. Give it a shot when you’re lagging, and you’re sure to roar through the rest of the day with ease.

Most hipster: Deep-fried avocado
Location: O'Gara's at the Fair at the southwest corner of Dan Patch Avenue & Cosgrove Street
Want something trendy to go with your Dorito-swathed corn? Look no further than the deep-fried avocado, the most obscene foray into fatty goodness we’ve seen yet. There’s no way you’re walking in a sweat-filled field surrounded by 20,000 people without having at least a few libations along the way, so make sure to soak up that booze with something sinful and satisfying like these little beauties. And if the fry and the avocado aren't enough for you, it also comes with a side of chipotle ranch sauce for dipping.

Most frou-frou: Slow-roasted pork mole tamale
Location: Tejas Express in the Garden, north wall
I’m sure there are some of you looking at the above list and thinking: “But what about me? I want a little class in my fair food. Give me something to eat with a fork.” Well, friends, have no fear: For the true foodie, Tejas Express has come through with a slow-roasted pork mole tamale that will knock your socks off. They take a fresh corn tamale, stuff it with slow-roasted pork, cover it in mole coloradito sauce, and black bean pineapple relish, and serve it with a smile.

Most obscene mashup: The Pizzarito
Location: Green Mill on the east side of Cooper Street between Randall & Wright Avenues, at Family Fair at Baldwin Park
Food at the State Fair is nothing if not thoroughly unnecessary, so this year the Green Mill decided to take it to the limit with the Pizzarito, which is exactly what it sounds like: a flour tortilla overflowing with pepperoni, Italian sausage, risotto, mozzarella, and marinara, coated with garlic butter, Parmesan, and Italian spices, baked and served with a side of marinara. If you want to go over the top, this one’s most definitely for you.

Best Elvis tribute: Memphis totchos
Location: Snack House in the Warner Coliseum, south concourse
Pour one out for Elvis, the OG of snack connoisseurs, at the Snack House by ordering a set (or three) of the Memphis totchos. It’s a bowl of perfectly fried tater tots surrounded in sliced bananas and sautéed bacon, covered in a melty peanut sauce. A little savory, a little sweet, a whole lot of goodness, it certainly has us “All Shook Up.”

Most high maintenance: Spicy Thai noodles
Location: Oodles of Noodles in the Food Building, east wall
There’s always one person in a group who has, with or without any fault of their own, very specific dietary needs. Whether you’re accommodating a vegetarian, dairy-free or gluten-free diner (or all three), look no further than Oodles of Noodles in the Food Building. Its new dish features a red curry rice noodle dish cooked in coconut milk with a host of culturally authentic produce (such as hard-to-find galangal) that will put a smile on the face of the most delicate constitutions.

The Holler Sessions Brings the Heat

What IS jazz music? 

Photo by Maria Baranova

How do you define it? Who are "real" jazz musicians? How do you listen to jazz?

As arguably music's most postmodern art form, jazz can be polarizing. People either love love love it, or they really love to hate it. The rest of the world tends to sit on the sidelines, intimidated by the music, never really knowing what to do with it.

Photo by Maria Baranova

For people of any camp, there is now thankfully The Holler Sessions, a brilliant new entree into the world of jazz music in the form of a one man show by Frank Boyd. Boyd's irascible character is a Kansas City radio DJ who make it his mission to bring the best jazz music to his audience. Gliding through legend after legend, Boyd takes the audience on a journey through music history to some of the best jazz covers and bands, detailing the specialties of each. And when I say legends, I mean it: Miles Davis, Nina Simone, Charlie Parker, Louis Armstrong, and many others all make appearances. Boyd's encyclopedic trivia is a delight to die hard fans and an accessible introduction for those who are unfamiliar, and at several points in the show the audience is invited to call in - literally, on their cell phones - to be guided through trivia about select musicians. There is a delightful surprise at the end that I won't spoil for any future audience members here, but suffice it to say, it's the only appropriate culmination for the show after we have learned so much about this art form.

Photo by Maria Baranova

Frank Boyd is an intriguing person to lead this journey. At first he felt a little too Bernie-bro for me and I found myself a bit irritated with his delivery, but as the show progresses it's clear that Boyd has nothing but respect and love for the art of jazz. His delivery is somewhere between J.K. Simmons in Whiplash and Ryan Gosling in La La Land, with a whiff of Paul Giamatti and Hunter S. Thompson thrown in for good measure. It's a performance that slowly builds and really grabs you towards the end of the show, and in retrospect I really appreciate how he has structured the performance. One thing is undeniable: I learned a whole lot, and I suspect the rest of the audience did too.

The set is a static, small staging of the inside of a manic devotee's radio studio, abundant with scraps of paper and post-its, trash, coffee, whiskey and some kind of nameless upper. The clutter never detracts from Boyd's magnetic presence, and strategically placed lighting and hidden props continue to make appearances as he shuffles through the detritus to unveil ever-more records, quotes, images and factoids to teach us about jazz. At several points of the show Boyd even turns the lights off completely for moments at a time or cuts off the sound entirely, forcing the audience to listen without distraction to the pieces and to contemplate their significance. It can feel a little unsettling, but it really does require you to pay attention, and those quiet moments are the ones in which you really start to understand the point Boyd is trying to make.

Photo by Maria Baranova

The Holler Sessions is an excellent entree into the world of jazz for novices, especially young ones, and it's a trip I'd recommend taking. I loved that Boyd dabbled with audience interaction on their phones via call-in segments; even though the delivery was clumsy, it's a trend I am sure we will be (and SHOULD be) seeing more of as performers and audiences become younger and more digitally focused. The Holler Sessions almost feels like a live YouTube series developed for an exclusive live audience. We are all in on Boyd's mission, and if you're not on board by the end of the show you are truly missing out. The Holler Sessions runs at the Guthrie Theater's Dowling Studio through August 20. Take a leap and check it out; I bet you'll be glad you did. For more information or to buy tickets, click on this link.

And for those of you who want a deeper dive into under-appreciated music, I HIGHLY recommend reading Kevin Young's The Grey Album: On the Blackness of Blackness, an authoritative journey through the history of music performed by African-Americans that was published by Minneapolis' own Graywolf Press a few years ago. It's beautifully written by a local college professor and it will truly open your eyes to the world of hip hop in a way few things I have encountered can. You can find more information about it by clicking on this link. 

A Wonderful Trip through The Immigrant Journey Project

The Immigrant Journey Project is everything that Refugia should have been but wasn't. I hope it has an incredible audience engagement; it deserves it.  

This little map was the most beautiful way to connect all audience members' families' journeys to the United States! 

When I was arranging to see The Immigrant Journey Project, the media rep I was in contact with made sure to send a disclaimer: "don't forget that these performers aren't professional actors!", she said. She needn't have worried. I can safely say that The Immigrant Journey Project is one of the most candid, moving, intimate works I've seen in a while, and the mixed cast is a huge part of it's success.

Let me back up for a second and start at the beginning. The Immigrant Journey Project marks the culmination of a three year long development process between Mu Performing Arts and several community groups, including CHAT, the Hmong Elder Center, SOY, Wilder and WISE. The grant-funded project was devised to help Asian-American elders and more recent immigrants to tell their stories through learning about theater and puppetry. The Immigrant Journey Project takes the scripts and stories written by dozens of participants and distills them into a series of short vignettes that shine a light on each of these unique narratives. The show is split into three themes: past (where Hmong elders tell of their lives as youth living in their villages); present (young immigrants talk about their recent immigration to the United States and their observations of cultural differences); and future (Mu Performing Arts cast members imagine a futuristic potluck in space). The result is a show that has it all - wonder, humor, ennui, heartbreak, gratitude, perspective and a whole lot of heart.

The Immigrant Journey Project opened with the story of Pa Lee Thao as she remembered sweet stories from her childhood in the village, such as losing a shoe in the river and going on dates. All of the vignettes told by the Hmong elders are told by the elders themselves in Hmong, which are then translated into English by one of the actors. It was so special and beautiful to see these wise community members become animated and engaged as they shared pieces of their past, many of which were beautiful and elegantly simple. The one exception was "Poison From the Sky 'Tshuaj Saum Ntuj' " by Cher Pao, in which he detailed how his village and their farms were poisoned by chemicals dropped on them during one of the many wars that devastated SouthEast Asia in the twentieth century. Pao's abrupt style was shattering, and the simple facets of his story laid bare the horror he witnessed as a young man. It was incredibly moving, and added a lot of gravitas to the rest of the show.

In between the Hmong elder's stories were two other biographical series. One, called "WISE," was the more modern telling of three young girls who are recent immigrants to America. Each has had a very different cultural and familial experience and has arrived to the United States for different reasons, but they also share several themes. Standouts included stories about the first time each encountered snow and the difference between foods and eating habits in their respective cultures versus the U.S. The girls were shy but engaging, and their vibrant, youthful perspective brought great energy to the performance. It was a joy seeing them work with the experienced Mu performers, with whom they clearly shared a warmth and comfortability that was inspiring to see.

The final series was the fictional and much more creative "Futuristic Potluck," staged by Mu Performing Arts' cast members. These were much sillier (and funnier) stories that were a huge hit with the children in the audience. There were some strong political themes raised in these potluck narratives, such as social anxiety, sexism, gender rights and cultural reflections on the year 2017 (from 50 years into the future of course), but the overwhelming sense from this series was community and positivity. Normally I would have found something like this potluck series to be really out of place and a waste of time in a show like this. However, when woven between the more serious and emotional true stories of the young and old immigrants featured here, the futuristic potluck provided a welcome dose of humor that helped break up each series of stories.

The live music on stage was unique and beautiful.

All of the stories of The Immigrant Journey Project were told through puppets made by the artists themselves under the expert tutelage of Masanari Kawahara (also known as Masa). I've seen Masa's puppets in action before but they never struck me quite as they did in this performance. Each puppet was clearly made with love and care, and it was so beautiful to see the artists represent themselves visually. Their vibrant and expressive use of color and shape made the puppets very relatable, and displacing their story through a puppet (rather than "acting" themselves) really helped to build confidence and project each person's narrative. The futuristic potluck puppets were abstractly creative (very reminiscent of Guardians of the Galaxy, actually) and a whole lot of surrealist fun. They were also shockingly expressive, a testament to the strong voice work of the Mu cast members.

The Immigrant Journey Project is exactly what we need more of in Twin Cities theater and an inspired choice for Mu Performing Arts to wrap up their 25th season. It is such a brilliant way to bring real-life stories to the stage in an authentic, respectful and engaging way. I love that it was able to give back to the community both in terms of training and arts, and in educating the audience about these vital stories. The Immigrant Journey Project is everything that Refugia should have been but wasn't. If you went to see the latter show, I strongly urge you to support The Immigrant Journey Project too. These are real stories from real refugees and immigrants about their real experiences in both of their homelands, and I am certain that any audience can find something to learn from these brave artists.

Tickets to see this show (at the new-to-me and fabulous Steppingstone Theater) cost only $10, and rest assured that any money you spend will be well utilized by Mu Performing Arts to continue this kind of community-focused work. My only wish upon leaving the theater last weekend? I would love to see this project re-created with the many other incredible immigrant communities we have here in Minnesota. While this is technically outside of Mu's mission and scope, they have proven themselves to be expert custodians of such narratives, and I hope we can apply their expertise to lift up other communities as well.

I highly encourage everyone of all ages to check out The Immigrant Journey Project with Mu Performing Arts at Steppingstone Theater before it closes on August 20. It's the perfect way to wrap up your summer theater series, and it's a model for artistic community engagement in the future. For more information or to buy tickets, click on this link.