CTC's Three Little Birds Is As Bright As Jamaica Itself

It's been a while since I made my way to Children's Theatre Company...

Photo by Glen Stubbe

But when I saw the folks involved in producing Three Little Birds I knew it was time to return. A musical of Bob Marley songs with an all-black cast featuring Nathan Barlow, Kory Laquess Pullam, a few new-to-me faces and production team including Trevor Bowen and *the* Shá Cage? I mean how could I possibly miss it?!

Photo by Glen Stubbe

Three Little Birds has a little bit of the same vibe as the books of Nnedi Okorafor*, particularly Zahrah The Windseeker. The play follows Ziggy, a Jamaican boy with luscious dreadlocks who loves his island home but is scared to go outside lest he encounter a devastating hurricane or an evil local spirit like Duppy, who steals children's hair for his powers. Ziggy is persistently chased by Nansi, a young girl with a crush on Ziggy who is a trickster with a zest for life. Ziggy's best friend is a bird named Doctor Bird from the other side of the island, who fully embodies the relaxed, no-stress Jamaican approach to life. Ziggy's mother Cedella hates seeing her son so shut in and encourages him to take a more childish, adventurous approach to life (and step away from the TV). After his mother's nagging, Nansi finally convinces Ziggy to take a trip to the beach but they are quickly lost and alone in the jungle. Isolated in the dark trees, Duppy follows Ziggy in order to entrap him and steal his beautiful long dreadlocks. Ziggy and Nansi team up with the audience to defeat Duppy and save his lovely locs, retaining Ziggy's power and defeating Duppy once and for all. They then return safely to Ziggy's home, where they fill his mother in on the full adventure.

Photo by Glen Stubbe

It's an extraordinary amount of plot to cram into a show that's barely over an hour long, but the cast drives us through with ease. Ellis M. Dossavi Alipoeh was charming as Ziggy, and I hope to see him shine in future productions. KateMarie Andrews was the perfect choice for mischievous Nansi, with a high energy and huge smile that wound us all in her web. Nathan Barlow's gorgeous voice made for a delicious Doctor Bird, and my main complaint is that we did not hear enough of him throughout the show - I wanted a few more star-turning solos! Timotha Lanae brought fluttering choreography as Doctor Bird's friend Tacoomah, and Lynnea Monique Doublette was magnificent as Cedella and other ensemble cast members. I have no idea how I've missed Doublette until now, but suffice to say that her outstanding charisma has me on high alert for future performances! And Kory Laquess Pullam was a clear crowd favorite as the devious Duppy; I'm not sure I've ever seen him have so much fun on stage, and it was such a pleasure watching him relish every sly line with a wink and a flourish. This whole team seemed to have such a blast together, and their energy really carried through to the audience.

Photo by Glen Stubbe

Lawrence E. Moten III's scenic design is a riot of color that brightly invited us to the balmy Jamaican beach, a welcome respite from the cold outside. Paired with Trevor Bowen's equally splashy costume design, it made for a vibrant, eye-catching production. Clever lighting and sound effects from Wu Chen Khoo and Stan Severson, respectively, easily placed us from home to jungle to back again, and the performers made most of the dynamic stage. Alanna Morris-Van Tassel provided high energy, afro-centric choreography that perfectly paired with the bluesy guitars and deep drums expertly directed by Sanford Moore. Three Little Birds is not only an entertaining musical but includes hilarious educational interludes, such as an audacious depiction of the history of colonial powers on the island of Jamaica that had me in stitches but learning things as well. Overall, Director Shá Cage has brought to life an unapologetically, firmly black and proud production that couldn't be better timed going into Black History Month.

Photo by Glen Stubbe

That embrace of complexity is at the heart of Three Little Birds and a good reason to go. It's short but packed with content; visually bright with a deceptively deep plot; filled with entertaining music and educational history that we could all stand to know a little more about. Popular culture tends to associate Bob Marley (and by extension all reggae) with marijuana and little else, which is such a shame because he stood for so much more. And in an age where black children are (incomprehensibly) still being told how to wear (and most often to cut) their hair, there is immense power and grace in seeing a positive depiction of protective styles told through a proudly black lens. Three Little Birds gently expands our understanding of island history, black hair and reggae music and wraps it in an entertaining, adventure-filled package. Please go support this dynamic young creative team - I think there's no better way to celebrate Black History Month in #tctheater. For more information about Three Little Birds or to buy tickets, click on this link.

Photo by Glen Stubbe

*If you haven't heard of Nnedi Okorafor, I HIGHLY suggest immediately going to your local library site to order her books - think of them as a Harry Potter-style universe but exclusively African. It's unbelievably magical. I'll wait.

Photo by Glen Stubbe

The Hobbit is Thrilling at Children's Theatre Company

Who would dare tackle turning Tolkein's The Hobbit into a stage show for a children? 

Photo by Dan Norman

Better yet, who would dare tackle The Hobbit for a wide age-range of audience (but focus on kids) in less than two and a half hours with only five actors and a two piece band on stage?

Photo by Dan Norman

The Children's Theatre Company (CTC) has always been audacious, but their newly minted production of The Hobbit is a gamble of another order. Adapting beloved stories well is always tricky, but it's especially difficult with an epic story set across dozens of fantastical landscapes and including magical creatures like trolls, goblins, dragons, gollums and more. How fortunate, then, that CTC's gamble has paid off - we left the theater to the loudest applause I can remember at a show there, and it's gotten nothing but buzzy social media shares ever since.

Photo by Dan Norman

For a quick overview, The Hobbit tells the story of Bilbo Baggins, a member of one of Middle Earth's gentlest and most domestic species - the homebound hobbits - as he is abruptly thrown into an adventure of epic proportions. Bilbo is conscripted to join Gandalf, a wizard, and a team of ragtag but extremely proud dwarves (led by their king Thorin Oakenshield) to recover the dwarves' ancestral home and extreme riches buried in the Lonely Mountain. In addition to an unbelievable series of obstacles, including traversing long distances on foot, goblin infested caves, hungry cannibalistic trolls, vengeful wood elves and more, the group has to contend with the ultimate challenge at the end of their quest: an enormous dragon named Smaug, the same dragon who displaced the dwarves and stole their treasure decades ago. The group is successful in their goals although it takes a wandering path to cross the finish line, and many lessons are learned by their band - and the audience - along the way.

Photo by Dan Norman

The biggest question I had about this show was: how on earth are they going to cover all that ground in just a few short hours? Especially with only five actors? When The Hobbit was first announced I envisioned a magnum opus with dozens of children playing each set of magical creatures, an endless revolution of detailed sets, projections, harnesses - in other words, the works. Thanks to a truly excellent cast, it turns out you don't really need all of those other trappings. CTC company member Dean Holt narrates the show as Bilbo, and he's an excellent example of how careful timing, audience engagement and extremely expressive acting can fill in imaginative gaps that sets or props might otherwise cover. He's a perfect choice for the part, and I can't imagine anyone else as Bilbo. Joy Dolo holds it down as many of the story's iconic characters - including Gandalf (!!) and Gollum - and is an inspired choice for those parts. She brings a new, modern life and consciousness to each role, and she's a major reason this production feels so fresh and energetic. H. Adam Harris and Becca Hart both do a great job filling in key context as some of those "other creatures" - like Smaug and Bard, the human who kills Smaug - giving glimpses into each world with shocking ease. It is HARD to switch characters so quickly, and they do an awesome job of nimbly jumping between parts to keep the story feeling fully fleshed out. Reed Sigmund is an anchor as well as Thorin Oakenshield; it's a change from his usual Grinch-y roles, but one that really fits his rich baritone and steadfast stage presence.

Photo by Dan Norman

The scenic design by Joseph Stanley is ingenious and fully utilized by the cast. What looks like a skeleton set becomes caves and spiderwebs and mountains, and all sorts of secret surprises are tucked into the stage. I will be honest - I was really hoping for something a little more lush and literal with this show, so I wish CTC had gambled a little more on that front - but logistically I do understand why they decided to go this route, and I definitely think it works. The costumes by Annie Cady look simple, but it's amazing what small details - such as the addition of a weapon or a change of goggles - can do to transform a character. The lighting and sound design, by Nancy Schertler and Sten Severson, respectively, is pitch perfect - and it has to be. Flashes of light show Bilbo "becoming invisible" with his magic ring, crashes signify the heat of a battle, and an illuminated map leads the way to the Lonely Mountain. On a set and cast this sparse, lighting and sound are imperative to provide context, and this team succeeds in that goal. I also have to call out the movement direction by Joe Isenberg. There are so many clever blocking and choreographed sequences in this show that make it seem bigger than it really is, and hats off to him for visualizing how to expand that set into a full Middle Earth-ian universe.

Photo by Dan Norman

If I had my druthers (and an endless budget and time span), I'd love to see The Hobbit on stage turned into a sprawling hours-long extravaganza with lush sets, dozens of extras and every special effect that can be summoned in modern theater. Neither I nor CTC has these things, however, so instead CTC wisely chose to use this show as a challenge to get kids to use their imaginations and inspire them with the fundamentals of good theater - excellent acting, a judiciously edited script, and clean but versatile production design. It was clear that the audience of kids and grownups alike was entranced by this play - it nearly got a standing ovation at intermission, and a boy sitting next to me wept at the ending - and the fact that such a beloved narrative (and especially one that has been done so well on film) can become a captivating experience as a live audience is a testament to the excellence of CTC and this cast. I have a feeling The Hobbit is going to become one of the highlights of CTC's current season, and I hope it inspires other companies not to fear producing some of these epic fantasy and adventure stories. With hard work and good fundamentals we can move anything into reality, and isn't that what live theater is supposed to be all about? Snatch your tickets while you can before The Hobbit closes on April 14; click here for more information or to buy tickets.

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Mr. Popper's Penguins Brings Delightful Puppets to Stage

God bless children's stories. 

Photo by Dan Norman

When times are dark, and the weather is darker (literally), all I seem to want to do is seek out things that make me feel good. Comedies, cozy clothes, endless amounts of carbs - call me a hedonist all you want, but at this time of year you do what you have to do in order to survive the darkness.

Photo by Dan Norman

Leaving with an endless feeling of light and joy is one of the main reasons I appreciate the Children's Theatre Company (CTC). Even their dramas always contain moments of brightness, and the casts are so skilled at being bubbly and positive without being cloying (a feat in itself) that you can't help leaving without a smile on your face.

Photo by Dan Norman

Enter the latest CTC production, Mr. Popper's Penguins. Based on a popular children's book (which was adapted into a film by the ever-great Jim Carrey in 2011), Mr. Popper's Penguins details the story of a man's life as it's turned upside down in favor of great (albeit chilly) adventure. Mr. Popper is a simple painter living in Stillwater, where the biggest joy of his life is learning about the creatures in and history of the exploration of the South Pole. One day, Mr. Popper's favorite explorer reads his fan mail aloud on the radio and sends Mr. Popper a surprise gift as a thank you. Inside the noisy crate Mr. Popper finds a penguin, who he promptly names Captain Cook. The trials and tribulations of raising a penguin in a Minnesota living room, including finding additional penguins to keep Captain Cook company; going bankrupt feeding Captain Cook's progeny; and eventually making the heartbreaking decision to return Captain Cook to his Antarctic home; provide plenty of G-rated antics throughout the show.

Photo by Dan Norman

Although it's on the main stage, Mr. Popper's Penguins features actors transplanted from the U.K. rather than the typical CTC company members. I have to say that I did miss their familiar faces, but it was refreshing to find a brand new, thoroughly charming cast on-stage. Richard Holt is the definition of pleasant as the amiable Mr. Popper. His light British accent and winning smile got the audience on board right away. Monica Nash hits all the high notes as Mrs. Popper and brings a Mary Poppins vibe to her role. The rest of the cast - Susanna Jennings, Christopher Finn and Oliver Byng - smoothly transitions between a wide range of supporting characters and excellently handle the stream of penguin puppets on stage. I've always been impressed with the puppet work CTC conducts (most recently in The Lorax - click here for my review of that excellent production last year), and the puppets here are no different. The dynamic movement the puppets perform make them seem almost like real penguins, and the adorable nature of them - especially the eight baby penguin puppets as they "grow up" - charmed kids and grownups alike.

Photo by Dan Norman

The set (designed by Zoe Squire) appears small and centralized at first glance, but is ingeniously used with great diversity throughout the show. A poster backdrop becomes a see through screen into a kitchen; a living room transforms into an Antarctic exploration ship; and combined with Ric Mountjoy's clever lighting design, many tricks are revealed throughout the show that delight despite their simple nature. The production design's standout, however, are clearly the adorable puppets from Nick Barnes (who also developed the puppets for The Lorax). Interactive, dynamic and detailed, there are so many delightful nuances to these puppets that you easily forget they aren't real penguins. Their clever use is what really sells Mr. Popper's Penguins, and we had so much fun once they came out.

Photo by Dan Norman

I can truly testify that Mr. Popper's Penguins is a show for all ages. I took my baby nephews to their first-ever play to see it, and even the infant was thoroughly entranced with the action on stage. It was such a joy watching them engage with the story, and my parents (a steady six generations older) left raving about how much they enjoyed the experience as well. This gentle, lovely show doesn't pull any punches; there are no major twists or tense moments, and that's exactly what I liked about it. Sometimes it's nice to wrap yourself up in a cozy blanket of a play and warm yourself from the inside out. Mr. Popper's Penguins is a delightful, all-ages treat that will bring you the magic of puppets and a renewed satisfaction with the simple things in life. It's a great gift for any kids you forgot to buy presents for over the holidays, so click here for more information or to buy tickets.

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Children's Theatre Company's How The Grinch Stole Christmas Remains a Classic + Give to the Max Day 2019

Sometimes things are even better the second time around. 

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Anyone who knows me even mildly well knows that I am not a re-visitor of pretty much anything. Movies, books, plays - I am almost always a one and done. There are so many new-to-me pieces of art out there that I haven't experienced yet (and want to!) that it always feels a little silly to spend time revisiting something I am already familiar with.

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I made an exception this year for Children's Theatre Company's (CTC) How The Grinch Stole Christmas (click here for my original review), and I'm here to tell you: it was #worthit. No one does Dr. Seuss like CTC and this was just the thing I needed to usher myself into the holiday season and get in the mood for Give to the Max Day.

Photo by Dan Norman

I won't recap the plot because 1) I'm pretty certain everyone knows it already and 2) you can just read my original review for a full re-hash. I will say that the full charm of this production remains intact one year later, thanks to the return of the superb cast and all of the delightful tricks that make this such a charming stage show. Reed Sigmund continues to be a marvel as the Grinch, with a low leering growl and thoroughly expressive face that perfectly embody this iconic character. The best part is watching his total mastery of the children in the audience, many of whom were well under 10 years old; Sigmund is a wizard at captivating their usually short attention spans, and you could have heard a pin drop as the show progressed. He had those kids laughing, gasping and playing games at the drop of a hat. He's so good, in fact, that he makes this performance look easy. I'm here to tell you that it's not easy at all, and major kudos to his expertise (and his partner in crime Dean Holt, who narrates the show with finesse as the Grinch's dog Max) in spreading the magic of live theater to new generations of kids every single night.

Photo by Dan Norman

The delightful special effects (let's be honest - the best part of any show like this) are back this year too and they tickled me just as much the second time around. The scene where the Grinch steals the Who's Christmas trappings is worth the price of your ticket alone - between the hilarious sports sketches, lighting effects, and incredibly creative ways of stuffing presents up the chimney (that include magnets and bouncy balls), it's one of the most iconic scenes I've seen in ages and certain to delight audience members of any age. Congrats to Peter Brosius for directing this show with such vision and finesse (and to choreographer Linda Talcott Lee for providing some nail biting choreography that carries a Jim Carrey physicality to it, one of the highest compliments I can give).

Photo by Dan Norman

My favorite part about seeing How The Grinch Stole Christmas this year was taking my parents, both of whom are educators who have a deep love for Dr. Seuss and had never been to CTC. Watching their pure delight in the excellence of this production and joy at the full engagement of the auditorium filled with young kids was all the holiday cheer I needed to raise my spirits. Dr. Seuss's stories resonate because they (and especially the morals they share) are truly timeless, and How The Grinch Stole Christmas is perhaps the most timeless of them all. With all of the chaos surrounding us these days it's always appropriate to remind ourselves of the importance of gratitude, joy and treating others with kindness and respect. And grown-ups: let this story be a lesson to you of the soul sucking powers of extreme negativity. Things are stressful for all of us right now, but don't be *that guy* ruining everyone else's seasonal cheer just because you're having a bad day. Grab an extra cup of eggnog, take a walk, and do a little extra act of kindness for your fellow humans to snap yourself out of it. After all, as Dr. Seuss himself says:

Maybe Christmas, he thought, doesn't come from a store.
Maybe Christmas, perhaps, means a little bit more!

For more information about How The Grinch Stole Christmas and to buy tickets (either as a fabulous gift or a well-deserved #treatyoself moment), click on this link. Make sure to use the code INFLUENCER for 20% off of your tickets if you order before December 1!  A little fine print for those: Limit of 5 tickets per purchase. Not valid on preview performances. Not valid on VIP, Price Level C, previously purchased tickets or in combination with any other offer.  All sales are final, no refunds or exchanges.  Other restrictions and fees may apply.  Discounts are not transferrable.

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And before you go - today is Give to the Max Day! This is such a great opportunity to maximize any charitable donations you're making this year. There are tons of worthy arts and theater organizations that can be found by clicking here. For my shameless personal plug: please consider donating to Aeon, a group helping to fight homelessness here in the Twin Cities. I'm a member of their Young Professionals board and have my very own fundraising page up - click here to help me raise funds to keep more of our neighbors in housing through the cold winter that's coming upon us. 

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MUST SEE: Children's Theatre Company's I Come From Arizona

If I could take a billboard out to make the world a better place, it would say something like: stop underestimating children. 

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I think we have a tendency to think that just because kids are small sized humans and have limited vocabularies that somehow they're not capable of comprehending the world around them. Therefore, we tend to not explain things, or to oversimplify them, and instead leave kids to make their own assumptions about what is happening. I think that is a patently bad idea.

One of the greatest tragedies of our current political chaos is that it's leaving children in a messy, unexplained space. They may not have the context to understand the nuance of what is happening, but they certainly know the basics - and it's not good for them. Schoolkids hear overhear television news, their parents talking, radio news, newspaper headlines, photographs, and all sorts of gossip from other kids at school; thousands of other children are literally stuck in political crosshairs - such as those who are still in detention centers, indefinitely left without their parents - and are even worse off. It's a mess.

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This is why I think the Children's Theatre Company's world premiere show I Come From Arizona is so incredibly brave, necessary, and another must see in the #tctheater community. Who is better poised to help provide children with context about the border crisis than those whose entire mission is literally to create "extraordinary theatre experiences that educate, challenge, and inspire young people and their communities"? It's the boldest show I've seen from this company yet, beautifully executed, and full of important subtext that isn't dumbed down but is still accessible to children. It provides kids with a framework to understand the issue of immigration and what it means to them, while still leaving the space to form their own perspectives.

Photo by Dan Norman

I Come From Arizona tells the story of a girl named Gabi as she learns about her family's legal status. Gabi is beginning school at the best public high school in Chicago just as her father leaves to visit his own father, who is dying. Gabi has always been told that her family is from Arizona, but she gets suspicious due to the mysterious circumstances of the trip her father takes. Thanks to a school assignment about family heritage in her global studies class, Gabi is forced to engage her mother about their past, ultimately revealing that rather than being American citizens as she has always assumed, Gabi's parents are undocumented. As she and her younger brother continue to hear reports about ICE raids - on the news and from friends whose parents are taken - the immigration crisis becomes terrifying and immediate. Gabi has to come to terms with her family's identity in a legal, safety, and emotional sense, and the show ends as her father attempts another border crossing to get back home to his children. It's a powerful, visceral ending that will linger with you long after the curtain closes.

Photo by Dan Norman

One of the elements I loved so much about I Come From Arizona is that it is unabashedly bilingual, effortlessly slipping between Spanish and English. It doesn't require you to have a knowledge of Spanish to understand, and I find it a testament to this great cast that they can move with such ease between both languages. Ayssette Muñoz is terrific as Gabi, guiding the story with a confident touch and a deep emotional range. She pulls you in with magnetic gravity, and I really enjoyed her performance. Luca La Hoz Calassara was impressive as Gabi's younger brother Jesús, channeling the mature subject matter with a skill far beyond his age. Nora Montañez was striking as Gabi's mother, especially with her beautiful monologue about the journey from Mexcio to the U.S. Shá Cage is terrific as Gabi's teacher Ms. Chan; her character's assignments are the driving force of so much of the plot, and Cage guides the audience through difficult conversations with empathy and finesse. The ensemble cast is full of similarly bright cameos, each with something to teach us and a smile to share.

Photo by Dan Norman

I also really enjoyed this production design, beginning with a spectacular mural. It anchors Yu Shibagaki's scenic design and provides a stunning focal point when paired with the evocative lighting design from Paul Whitaker. Trevor Bowen's costume design is straightforward and clever, and provides a full picture when compared with Victor Zupanc's sound design. We are fully enmeshed in Gabi's world from the very outset of the show; we feel her fear from her apartment as she babysits her brother, her anxiety traveling through the halls of a new school, her shyness as she boards a cross-Chicago city bus, all thanks to this great team. Congrats to the vision of director Lisa Portes, who packs a fully realized universe in less than two hours; I Come From Arizona is easily the best thing I've ever seen on stage about the issue of immigration, and thanks to Portes we are all able to join the conversation.

Photo by Dan Norman

I've always wondered if the immigration crisis continues because people can't visualize or personalize the issue, and I Come From Arizona places you squarely in the shoes of the people most affected. It forces you to look with both eyes wide open and ask: Are children really better off without their parents? Do we really want to deport American citizens to countries they've never known? Are parents really so evil for wanting to provide safer places for their children to live? Don't these kids deserve a fair opportunity at education and a prosperous life - the deified American dream - just as much as a child who was lucky enough to be born here to legacy American citizens? Are we really so stuck on technicalities that we can't see and value humans for being just what they are - other people with hopes and dreams, just like we have?

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I Come From Arizona will confront you with these questions and force you to witness the human toll of our current policies. It articulates what so many children are enduring right now and provides context for kids who are overhearing conversations about this issue. Although intended for kids age 8 and up, I think adults may be the people who need this show even more. As always, Children's Theatre Company does a beautiful job with their program, providing exercises to talk about the issue and engage further with the subject of immigration once you head home. I Come From Arizona is an honest portrayal of a complicated problem, which manages to tell the truth without taking obvious sides (there are characters in this show on both sides of the spectrum). It's a great piece of writing, an incredibly moving story, and one that can't help but compel you to action once you've seen it. I highly recommend this for grownups and children alike - please make sure to go before it closes on November 25. For more information and to buy tickets, click on this link; and if you want to help the families trapped literally between borders, please consider a donation to Raices by clicking here.

The Lorax is a Scintillating Show for Our Times

The Children's Theatre Company's latest show is a perfect piece for Earth Day. 

Photo by Dan Norman

Literary adaptations to stage or screen are always a tricky thing. Few fans are as ardent about faithful story-lines as book readers, and navigating the process of visualizing the collective imagination of textual characters down to the minutest detail can be a daunting task.

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In some ways, children's literature allows for more creative freedom in this process than novels do. After all, children's books are quite visual and can provide a more literal template from page to stage, eliminating choices that are harder when an author-approved image or vision isn't available.

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I imagine, however, that Dr. Seuss would provide a unique challenge of its own no matter what age range it's intended for. The imagery of Dr. Seuss books is so iconic, so unique, and so unlike anything we see in the natural world, that making it feasibly come to life involves a crazy amount of work that few companies are willing to take on. Thankfully the Twin Cities' Children's Theatre Company (CTC) is bravely up to the task (and then some); they've adapted multiple Dr. Seuss works for the stage before, but their latest The Lorax, which opened last weekend, might just be their best yet.

Photo by Dan Norman

One of the lesser known (but most explicitly political) of Seuss's tales, The Lorax is a parable about what happens when the environment becomes the least of society's priorities. A man named the Onceler is looking for a great idea to make himself rich when he stumbles upon a forest of truffula trees. The unusual trees provide fuel, food, and a remarkable material that can be knitted into fabric. The Onceler instantly seizes upon the knitting concept and knits the fronds into thneeds, a useless object that nevertheless is instantly seized upon in the consumer world. The trees are guarded by an ancient creature called the Lorax, who instantly demands the Onceler stop chopping trees down to make his thneeds; he explains that the trees require enormous amounts of care and time to grow and that chopping them down makes an irreversible error that will eliminate them forever. The Onceler ignores the Lorax's warnings, consumed by the wealth generated by thneed demand. He continues to edge out the Lorax's forest, removing trees at an ever-increasing rate until they are entirely gone. Once all the truffula trees are extinguished the Onceler sees his mistake, but it's too late: the Lorax leaves the annihilated landscape that used to be his truffula forest, and the Onceler is left to live in the wasteland of his greed. Only with the hope brought much later by a small child hearing the story for the first time can he begin to imagine a brighter future.

Photo by Dan Norman

This production has some changes from the book to flesh it out, all of which I thoroughly enjoyed. The show is shepherded by an expert, dynamic cast, all of whom seem to be having the time of their lives. Stephen Epps is the perfect choice for the greedy Onceler. H. Adam Harris is wonderful as the voice of the Lorax, and he performs some magically expressive puppet work with the help of Meghan Kreidler and Rick Miller that is truly captivating. Rajané Katurah explodes off the stage in a dynamic solo, and she's going to be one to watch in coming productions. Ryan Colbert remains one of the best new regular actors on a CTC stage, with a vividly expressive performance that had all the kids giggling. The rest of the cast is great too, rotating through multiple roles (and costumes - man those changes are quick!) at a lightning pace and with clear passion, especially Ansa Akya and Stephanie Bertumen.

Photo by Dan Norman

Speaking of the costumes, holy cow - the production value of The Lorax is perfection from top to bottom. I'd love to know how much they spent developing each piece, because the clear attention to the smallest detail is evident at all levels. The costumes and sets, designed by Rob Howell, retain an exclusive Dr. Seuss feel and a crazy amount of texture. You can almost tangibly sense the softness of each truffula tree or the slime in the thneed factory, and the costumes burst off the stage in a riot of color. The puppets, designed by Nick Barnes and Finn Caldwell, are a marvel. They have so much expressiveness, and they are moved so masterfully and expressively, that you are totally mesmerized every time they're on stage - from the flying swans to the singing fish to the Lorax himself (on first sight of whom the audience burst into applause), these are some entrancing puppets. The choreography by Drew McOnie is tightly performed and jazzy, perfectly mimicking the mood of the plot, and Emily Michaels King does some beautiful solo work as the dance leader. The lighting design (by Jon Clark) and sound design (by Tom Gibbons) is similarly timed to the smallest details, and the effects combine to make The Lorax a rich, fully visualized experience.

Photo by Dan Norman

Serious issues are making their way onto stages all over the Twin Cities, which is great to see. Race and gender and sexuality have all gotten explicit treatment in recent months, but how do you visually depict pollution as an urgent problem to be solved and a clean environment as something to be valued? I firmly believe that art is a perfect medium to help us tackle difficult subjects, and The Lorax is a genius way to address environmental issues. It may be considered a tale for children, but adults will be amazed at how quickly they are engrossed in The Lorax's beautifully told story. I know that I was pleasantly surprised at how much I genuinely engaged with this show. I couldn't stop smiling from the moment the theater lights dimmed, and if nothing else the incredible production value provides plenty of food for the eyes. I can't recommend The Lorax highly enough for people of all ages (and I truly mean that - adults are not getting cheated in this show). Hats (or thneeds, rather) off to Director Max Webster for a triumphant, creative adaptation that pulls the heartstrings, teaches a lesson, and puts a wide smile on your face all at the same time. For more information or to buy tickets before The Lorax closes on June 10, click on this link.

The Wiz is a Wondrous Experience

2018 kicked off with a hot collaboration from two of the Twin Cities' anchor theater companies, and it couldn't be a better way to start off the year in #tctheater. 

Photo by Dan Norman

If you grew up in America, chances are you've seen The Wizard of Oz. In fact, you've probably seen it multiple times - on TV movie specials, in anniversary screenings in theaters, on various community theater stages, and maybe even read the original novels by Frank L. Baum. MGM's transcendent film adaptation (which holds up shockingly well on screen 80 years after its first release) was an instant classic and has remained a bedrock of the American cultural imagination ever since.

Photo by Dan Norman

So you've seen The Wizard of Oz... but how about The Wiz? In all the magic of the original it's easy to forget the one major thing that was omitted in the story line: people of color. Despite a fantastical universe filled with munchkins; talking scarecrows, tin men and lions; flying monkeys; witches; and myriad other magical creatures, it seems to have been beyond our collective imagination to diversify the casting to include people who weren't white. The Wiz takes this original story, modernizes it and fills it with a different set of cultural references and an all-black cast. The film adaption circa 1978 is a classic in its own right and stars (among many other VIPs) a luminescent Diana Ross and heartbreakingly youthful Michael Jackson. Despite the familiar plotline, The Wiz has a thoroughly different feel and fiercer urgency from The Wizard of Oz thanks to the casting exchange, and it's a perfect example of the difference it makes to have a wide variety of people and experiences represented on stage, as well as a testimonial to the good things that can be created when we decide to eschew the “classics” and bring things into the modern era.

Photo by Dan Norman

The Children's Theatre Company (CTC) paired up with Penumbra Theatre to bring The Wiz to the stage, and who could be better qualified to do so? I saw The Wizard of Oz on stage at CTC a couple of years ago and it remains one of my favorite shows I've seen, ever; combined with Penumbra's talented cast members and deep legacy, this Wiz is a powerhouse performance that is one of the blackest things I've seen on stage in the Twin Cities and a riotous performance from start to finish.

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The best part of this Wiz, bar none, is the stellar cast. CTC and Penumbra pulled all the extensive strings they have to flesh out the roster, and boy, did it ever pay off. The performance begins and ends with the stellar, supremely talented Paris Bennett as Dorothy, whose powerhouse, pitch perfect vocals are chillingly fabulous from the very first note. My only real complaint about this production is that we couldn't just listen to Bennett sing for a few hours straight on her own (which is to say: I don't have many complaints), and the moments when Bennett is allowed to shine solo, sans orchestra or even fellow cast members, are truly mesmerizing.

Photo by Dan Norman

Bennett is not alone in talent, though. The cast also features Grammy award winner Jamecia Bennett (who has a standout solo of her own as Glinda in the second act); an extensive and shockingly good list of local luminaries such as Aimee Bryant bringing her best Effie Trinket and smooth singing to the role of Addaperle; Rudolph Searles III shredding the dance floor in unlaced Timberlands as the Lion; a hilarious basso in T. Mychael Rambo as The Wiz; a poignant contralto from Greta Oglesby as Aunt Em and Evillene; and an absolutely resplendent Dennis Spears as the Tinman, in what I am convinced is his best role yet. Dwight Leslie is a promising newcomer to Penumbra as the Scarecrow, and the entire cast is supported by a resplendent cadre of ensemble characters including thrilling young actors like China Brickey, one of my favorite young local performers to watch in coming years.

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Matthew LeFebvre is back designing costumes for this performance, and they're some of his most inventive yet. The Lion has vibrant dreadlocks and dances with the aforementioned unlaced Timbs; Dorothy has a sweet but modern schoolgirl vibe; the yellow brick road features dancers in Lego-fied cargo pants that are reminiscent of In Living Color; each of the witches has technicolor costumes that pop off the stage into vivid, gaudy life; the munchkins have sculptural wigs that are straight out of the Hunger Games; and the whole thing is sure to dazzle the eye. Choreography, expertly developed by Patrdo Harris, is vital, athletic and reminiscent of African American greats such as Alvin Ailey and Misty Copeland; I wish there were more straight dance interludes to let these talented hoofers really soar. The set, designed by Vicki Smith, is evocative but a little underwhelming for my taste; with such creative costumes and talented performers, why not go all the way and fly them through the cyclone or really maximize the magic I've seen before on stage at CTC? It's still very good, and the detailed projections go a long way to adding depth - I just would have liked a little more of the awe-inducing trickery I've seen there before.

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Co-productions can be very tricky to pull off well, but I can attest that Penumbra and CTC really got this one right. We obviously don't know what kind of negotiations were made behind the scenes, but it seems like a true creative partnership out in the red seats, and I was really happy with how vibrant this whole production of The Wiz was. From the A++ talented cast to the dynamic costumes and robust dance chops, The Wiz is a living testament to why (every once in a while, at least) we really should reinvent the wheel. Go for the eye candy, stay for the heavenly musicality of one of the most talented casts I've seen in a while. The Wiz is thankfully open through March 18, but tickets are selling fast, so make sure to click here to learn more and reserve your seats before it closes.

Photo by Dan Norman