Thrillist: Best Spring Shows and Exhibits in the Twin Cities

Whatcha up to these days? 

Photo courtesy of Thrillist

I'm a little behind on sharing my latest Thrillist pieces, but I'm prioritizing this month get caught up! First up is a list of some of the coolest shows and exhibitions available in the Twin Cities this spring. Some have unfortunately passed, but several are ongoing, excellent exhibits and shows that deserve an afternoon or evening of your time.

We are so lucky to have such a wealth of cultural experiences right at our fingertips, and I encourage you to get outside (especially now that the weather is improving) your cozy abode to experience the best and most unique of them. Click here for the full article or scroll through below to see what cool shenanigans await for you over the next couple months.

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It should come as no surprise that the Twin Cities has a thriving, vibrant arts community -- after all, we have the second-largest number of theaters per capita in the country outside of New York City and a vibrant East African community that contributes to the local arts scene. If you’re feeling the winter doldrums, challenge yourself to get out of the house and explore some of the world-class art, museums, and theaters that Minnesota has to offer. We’ve rounded everything from plays inside a planetarium to an exhibit about the legendary Prince. So spend these snowy months in the warm embrace of the Twin Cities arts community.

The Out There Series
Weekly throughout January at the Walker Art Center 
Lowry Hill / Loring Park
You’ve probably gone to a museum to check out art exhibits, but have you gone to one to see theater? Undoubtedly one of the wildest live performance series you can find is the Walker Art Center’s annual Out There series, which kicks off every January with a bang. This year’s series includes a re-enactment of a real FBI interrogation; a provocative investigation of Latinx cliches and identity politics; a latex-clad “Gothic melodrama;” and a treatise on the powers of artificial intelligence by a group of disabled performers.
Price: $26 for individual shows

After The Explosion: Documenting Chernobyl
On view through February 23 at the Museum of Russian Art
Windom/Tangletown 
If you were mesmerized by HBO’s recent Chernobyl TV series, don’t miss the chance to engage with a real piece of Chernobyl history. Featuring images originated from the archive of Nikolai Tarakanov, the major general who supervised the removal of highly radioactive elements from the Chernobyl site, this exhibit provides a visceral reminder of human fallibility.
Price: $12

First Avenue: Stories of Minnesota’s Main Room
On view now through May 3 at Minnesota Historical Society
Cathedral Hill
The most legendary club in Minnesota finally has an exhibit of its own. First Avenue has been the pinnacle venue for the early careers of many local legends like Lizzo, Prince, The Replacements and more since it opened in 1970. The list of acts who have strutted this stage is a veritable who’s who of music history, featuring everyone from Ike and Tina Turner to REM, RunDMC, the Fugees, Lady Gaga, Billy Idol, Red Hot Chili Peppers, Patti Smith, and many more. Seep in the unseen history of a Minnesota musical institution while you still can.
Price: $12

Prince: Before the Rain
On view now through May 3 at Minnesota Historical Society
Cathedral Hill
It may be three years since Prince died, but in Minnesota the grief still feels fresh as ever. Mend your broken heart a little by stopping by this special exhibit tracking Prince’s early career and rise to superstar fame. All photos are taken by Prince’s personal photographer and friend Allan Beaulieu and are sure to include images even the biggest fans have never seen before.
Price: $12

Black Comedy
January 10 - February 7 at Theatre in the Round
Cedar-Riverside
What would you do if you had to impress an important guest, but all your power went out and your party had to continue completely in the dark? That’s the question at the center of Black Comedy, an unusually funny play written by Peter Shaffer (who is better known for writing heavier dramas like Equus and Amadeus). Theatre in the Round’s unique stage construction will give Black Comedy a whole new perspective, literally. Attend for the chance to brighten up the dark winter nights at this time of year.
Price: $22

Noura
From January 11 - February 16 at the Guthrie Theater 
Downtown East
Questions of identity and immigration are extremely relevant topics right now. Noura, a new play by Heather Raffo, describes an Iraqi woman named Noura who struggles with her new life in the United States and feels left behind by her husband and son, who are more assimilated. Inspired by Henrik Ibsen’s A Doll’s House, this is a modern take that is not to be missed.
Price: $25-$79

Apollo: When We Went to the Moon
From February 1 - May 10 at the Science Museum of Minnesota
St. Paul
Though it has been more than 50 years since Neil Armstrong and crew touched down on the lunar surface, the Apollo missions feels just as enthralling today. This Science Museum of Minnesota exhibit takes visitors from the beginning of the Space Race to the debut of the International Space Station and more. From a simulated Apollo 11 launch experience to artifacts from the US Space & Rocket Center, museum-goers will feel ready to blast off themselves.
Price: $14.95-$19.95

Bernarda Alba
From January 15 - February 16 at the Ritz Theater
Northeast
Theater Latte Da can always be counted on to provide high quality, thought-provoking musicals. Bernarda Alba, which stars 10 of the Twin Cities finest musical theater actresses, is no exception. This lesser-known musical details the unhappy lives of five sisters under their strict mother’s harsh reign after her second husband dies. Think of it like August: Osage County, but with music. There won’t be many productions of this one elsewhere; seize the chance to see it while you can.
Price: $33 - $53

An Art of Changes: Jasper Johns Prints
From February 16 - September 20 at the Walker Art Center
Lowry Hill / Loring Park
To commemorate the legendary artist’s 90th birthday, this touring exhibit chronicles six decades of Jasper Johns’ famous printmaking. The traveling exhibit showcases various techniques and motifs that the artist explored throughout his career, including his well-known paintings of the American flag, as well as his work with numbers and the alphabet. See how Johns bridged the gap between abstract impressionism and pop art -- and why he’s regarded as one of the most influential 20th century American artists.
Price: $15

A Doll’s House Part 2
From January 15 - February 23 at the Jungle Theater
Lyn-Lake / Uptown
One of the smash hits of the 2017 Tony Awards, A Doll’s House Part 2 imagines the consequences of Nora Helmer’s choice to leave her family in the original Doll’s House published in 1879. What happens when she shows up back at their door years after leaving them behind? This smart, powerful drama is a perfect choice for the feisty Jungle Theater, which has been turning out record audiences and completely rebranded under the expert hands of Artistic Director Sarah Rasmussen. Get your tickets early as almost all of their plays sell out quickly.
Price: $20-$55

Sherin Guirguis: Here I Have Returned
On view now through February 23 at the Minnesota Museum of American Art
St. Paul
African-born and Los-Angeles-based artist Sherin Guirguis has had a long-standing interest in exploring the forgotten histories of Egyptian feminists. Her most recent exhibit comes to St. Paul and fills the museum’s two-story Rauenhorst Court with her installation of hand-cut paper artwork, sculpture, and other artifacts inspired by writer Doria Shafik, best known for organizing 1500 women at the American University of Cairo and storming the gates of Parliament, demanding that women be given the right to vote and hold public office.
Price: Free admission

Skeleton Crew
From January 30 - March 1 at Yellow Tree Theatre
Osseo
Don’t miss this new play by Dominique Morrisseau, a contemporary playwright who is quickly becoming a critical darling along the likes of Lynn Nottage. Skeleton Crew tells the story of a group of auto workers struggling with the future of their jobs at an automotive factory in Michigan during the Great Recession. The material is relevant, powerful, and is acted by a cast of Twin Cities all-star actors; don’t miss it.
Price: $26-$30

Silent Sky
From February 22 - March 8 at the Bell Museum 
Falcon Heights
Site-specific theater is a growing trend in Minnesota. One of the most exciting in 2020 is Silent Sky, which Theatre Pro Rata is bringing to the planetarium at the University of Minnesota’s Bell Museum. The show tells the true story of Henrietta Leavitt and other female “computers” in their work at Harvard University, helping to document and discover hundreds of stars and other planetary bodies. Think of it like your local, live acted version of the smash successful film Hidden Figures.
Price: $30

The Mystery of Edwin Drood
From March 13 - April 5 at Lyric Arts 
Anoka
You probably know a certain author named Charles Dickens for his famous novels like A Christmas Carol or Oliver Twist, both of which have been turned into hit musicals. But did you know about his last work, The Mystery of Edwin Drood? Because the novel was never finished (Dickens died while writing it), the musical lets the audience choose who they think killed Edwin Drood, giving every performance a completely different ending. It’s a night of interactive musical theater that lets you solve a mystery and see a comedy at the same time; think of it like a musical Clue.
Price: $30-$35

Storytelling: Julie Buffalohead
On view now through September 6 at the Minneapolis Institute of Art
Whittier
The Minneapolis Institute of Art (or MIA as it prefers to be known) has long been the hidden gem of Minnesota museums, allowing visitors to view the majority of its vast collection for free. Several exhibits celebrating female artists are coming this winter, including Julie Buffalohead. Buffalohead is an enrolled member of the Ponca Tribe of Oklahoma and creates visual narratives told by animal characters, a mystical subject matter that rarely graces museum walls.
Price: Free

The Norwegians is a Dark Delight

What would happen if the Coen Brothers wrote a script for the stage? 

Photo courtesy of Dark and Stormy

After seeing The Norwegians by Dark and Stormy Productions (my first ever time!) last weekend, I think it would look similar to that.

Part whodunit, part murder mystery, part dark comedy, The Norwegians tells the story of two women who try to kill their ex-boyfriends but make the mistake of hiring a gang of Minnesotan Norwegians to do it. The Norwegians like to strut and pontificate about their fearsomeness, but when it comes down to brass tacks they've got nothing on, say, the mafia (or the Italians living in Wisconsin, as it were). This gang is much more Swedish Chef than Tony Soprano, and their consistent inability to actually do something rather than talk in circles demonstrates just how befuddled they are. Several twists reveal surprising connections between the characters as the drama unfolds and by the end we are left guessing as to who will actually follow through with the assassinations. It's a little like a farcical, more romantic version of Fargo.

The best moments of The Norwegians for me were the ones poking fun at Minnesota's deeply Scandinavian roots. As a descendant of Norwegian and Swedish immigrants myself, I found many of the jokes spot on. Luverne Seifert is especially good as Tor, the ringleader of the Norwegians and a proud Scandinavian. Seifert nails the regional accent and has several witty quips. As Tor's partner Gus, Avi Aharoni hits several emotional peaks and valleys; he's especially adept at projecting crazy eyes from beneath his parka. Jane Froiland was a little baffling to me as Olive; her emotions blow like the wind, and it could be a little hard to pinpoint the character's state of mind. Regardless, Froiland clearly relishes her role and it seemed like she had a lot of fun. Sara Marsh was chilling as the jaded, jilted Betty. I fully believed she was more than capable of assassination, and I hope I don't encounter any women like Betty anytime soon.

The scenic design by Joel Sass is bare bones: a simple table, four chairs, a table cloth, a desk lamp, and a scattering of "snow" on the floor is all it includes. It really worked for me, casting strong contrast and shadows throughout the stage (along with some innovative lighting from Mary Shabatura) that gave this show a film noir patina. The costumes by A. Emily Heaney are similarly straightforward but evocative, and it's amazing what a complete world is conveyed through such a simple and limited number of objects.

This was my first time at a Dark and Stormy Productions show, and I'm sure it won't be my last. I loved the tongue-in-cheek nature and fearless parody of Minnesota culture, which is long overdue in my opinion. There are a few meandering moments in the script, but overall The Norwegians is the #tctheater live action rendition of a Coen Brothers movie that I never knew I needed. It's a good seasonal performance that is void of the treacly holiday spirit so prevalent at this time of year, meaning: if you're also a Grinch in December, skip the holiday shows and head to Northeast Minneapolis for this darker, wryer performance instead. A word to the wise: this performance space is definitely hard to find, especially on dark winter nights, so allow yourself more time than you think you need to get there so you don't get lost (like I did... multiple times). The Norwegians runs through January 5; for more information or to buy tickets, click on this link.

The Jungle's Miss Bennet is Holiday Perfection

It is a truth universally acknowledged... 

Photo by Dan Norman

That holiday season stagings need a refresh.

Don't get me wrong; I will always harbor love for How the Grinch Stole Christmas or A Christmas Carol. That said, do we need to see them *every* year? Done exactly the same way? What about trying some new stories?

Photo by Dan Norman

That's why I'm so thrilled with the new tradition gracing the Jungle Theater's stage: a rotation of holiday themed, fan-fiction sequels to Jane Austen's Pride and Prejudice. Last year I had the great pleasure of attending The Wickhams, a rip-roaringly funny play about the servants at Pemberley while the lords and ladies of the house celebrate upstairs. It was one of my favorite plays of the entire year, in fact, and I can't wait for them to bring it back.

Photo by Dan Norman

This year I got to check out the original adaption that I missed two years ago. Miss Bennet takes place a couple of years before The Wickhams, except it is upstairs in the main house and stars all the main characters of the beloved novel. Fan fiction can get dicey; it's hard to recreate the author's signature style without veering into wildly fantastic side stories or awkwardly stilted dialogues. Thankfully playwrights Lauren Gunderson and Margot Melcon do a masterful job of channeling Austen's voice into a believable, relevant new script that I think is destined to stick around for quite some time.

Photo by Dan Norman

Miss Bennet takes place over Christmas two years after the end of Pride and Prejudice. Elizabeth and Mr. Darcy are happily married and hosting the rest of the Bennet family over the holidays. First to arrive are Elizabeth's elder sister Jane, who is heavily pregnant; her husband Mr. Bingley; and their sister Mary Bennet (the titular 'Miss Bennet'). Mary is a relative afterthought in the original book, but this play gives her her full due. An overlooked middle child with a bookish, severe personality, Mary always struggled to stand out. Fate is on her side this time, however, with the arrival of Mr. Darcy's cousin Arthur de Bourgh, who is set to inherit the now-deceased Lady Catherine de Bourgh's massive estate. Arthur is similarly awkward in company and ecstatic to find a kindred spirit in Mary. Things seem to be going swimmingly until the arrival of Lydia Wickham, the younger and most troublesome of the Bennet sisters, and the surprise arrival of Lady Catherine's daughter Anne de Bourgh. There are several delightful twists in the romantic plot between Mary and Arthur so I will stop here, but suffice it to say it lives up to the original wit and romance of Pride and Prejudice.

Photo by Dan Norman

Miss Bennet has a very talented young cast, starting with Christian Bardin as a stunningly good Mary. Bardon lives and breathes this role right down to her squinty eyes and peculiar mouth tics, and she is a master class performer. She is well partnered with Reese Britts as Arthur de Borugh; his performance is so charming I would scarcely know he is a recent UMD grad. Veteran favorite Sun Mee Chomet sparkles as Elizabeth and has heartwarming chemistry with James Rodriguez as Mr. Darcy. I was very happy to see Roshni Desai again, this time as Jane Bingley; I wish the part allowed her witty comedic side to shine a little more, but I still enjoyed her performance immensely. Jesse Lavercombe has vivacious energy as Mr. Bingley and Anna Hickey is deliciously snobby as Anne de Bourgh. Andrea San Miguel is thoroughly irritating as Lydia Wickham, and the audience clearly loved her antics. And I have to call out Jennifer Ledoux and Abilene Olson as the singing servants, who provided gorgeous music for everyone to enjoy as scenes transitioned.

Photo by Dan Norman

Sarah Bahr designed both the costumes and sets, and the cohesive, period-specific presentation is lovely. Clever details like refreshing the set by continuously decorating for the holidays throughout the show, or adjusting a costume with a smart jacket or well placed scarf, keep everyone looking consistent but fresh. Marcus Dilliard's expert lighting washes the stage with warm wintry light, and Sean Healey's sound design subtly lets us hear every line. Robert Grier shares inspired wig design, particularly with Anne de Bourgh's magnificently curled piece. And John Novak chooses careful props that add just enough detail to each scene to reveal another layer to each character.

Photo by Dan Norman

While I didn't find Miss Bennet quite as uproariously funny as The Wickhams, I still enjoyed it very much. Because it stars Mary this is a quieter sister to Pride and Prejudice, and I found that it had some real gems of wisdom to offer. Many of the much-maligned characters of the original story (especially Mary and Mrs. Bennet) struggle to get their just due, and it's wonderful to see at least one of them treated well. Miss Bennet is a charming comedy and love story brimming with wisdom and a huge heart. If I had to choose only one holiday story this season, this is the one I would go with. I highly recommend you check Miss Bennet out before it closes on December 29; click here for more information or to buy tickets. And if you don't already know the plot of Pride and Prejudice and want to check it out before seeing Miss Bennet, you're in luck! Park Square Theatre is currently showing a production of the original story. Click here to read my review and learn more.

A Punny Pride and Prejudice

Jane Austen seems to be everywhere these days... 

Photo by Dan Norman

And I suppose that makes a lot of sense, right? After all, her female-driven worlds have enchanted readers for over 200 years; in the era of #metoo, doesn't it make sense to revisit the origins of girl powered literature?

Photo by Dan Norman

Thankfully for audiences this means that we get to enjoy oodles of witty adaptations and new fan fiction works on a host of different stages. Kicking it all off is Park Square Theatre with Pride and Prejudice, perhaps Austen's most famous work, as adapted by Kate Hamill. Hamill is one of the most produced playwrights in America for three years running, and this show is a perfect way to encounter her work.

Photo by Dan Norman

As much as Austen seems ubiquitous to me, it has come to my attention that there are still many people unfamiliar with her catalog. For those to whom that applies: most simply told, Pride and Prejudice is about how the Bennets, a family of five sisters, survive the process of matchmaking as wealthy eligible bachelors move to their county. Their mother is determined to marry them off in any manner she possibly can and drives towards this goal with fearsome energy; this seems silly at first, but when considered in the context of English history (and remembering that women were not allowed to own or inherit property), begins to make a bit more sense. The trouble is that the girls are all very differently tempered and their goals do not always align with their mother's. Throw in some good old-fashioned classism, pride and classic farcical misunderstandings and assumptions, and you have a perfect recipe for romantic comedy shenanigans. By the end everyone's story lines are sorted (this is a happy story) and reveal some surprisingly profound insights into human nature that are still quite relevant in our social media age.

Photo by Dan Norman

Park Square's production of Pride and Prejudice really plays up the comedy. The dynamic young cast clearly enjoys hamming it up, and the audience was rolling in the aisles for much of the show. The tone overall was a little too loud for me at some moments - for example the constant clanging of bells felt a little overwrought and overstimulating - but that said it didn't seem to bother the rest of the audience. Several actors play multiple characters, and hats off to them because the quick switches were pulled off extremely well.

Photo by Dan Norman

I really enjoyed China Brickey in the starring role as Elizabeth Bennet. She's long deserved her turn in the limelight, and this is a great part for her to shine in. Sarah Richardson is wonderful as Jane Bennet and Lady Catherine, with a warm presence that is pitch perfect as Jane and provides a comedic highlight as both in the final scenes. George Keller makes a very good Mrs. Bennet, hitting all the levels of hysteria you'd expect while still driving home Mrs. Bennet's very realistic fears. McKenna Kelly-Eiding, who I adored in Park Square's Sherlock Holmes: Baskerville a couple years ago (which is coming back - don't miss it!), is a star as the irritating Mr. Collins and devious Mr. Wickham. She clearly relishes her gender-bending roles, and I can't imagine anyone else playing those parts. Kiara Jackson is an enthusiastic Lydia, and Paul Rutledge conveys Mr. Darcy's stoicism well. Alex Galick is charming as Charlotte Lucas and Mr. Bennet, and I found his portrayals of both quite sweet. And the clear audience favorite was Neal Beckman as Mr. Bingley, Mary and Miss DeBourgh. Beckman throws his best Abbott & Costello into these roles, and I see a bright future for him in the world of physical comedy.

Photo by Dan Norman

The production design of this show was a mixed bag for me. The set, designed by Annie Katsura Rollins, is quite postmodern, opening on a completely open stage (no curtains to disguise the wings, no scrims, no major set pieces - everything is laid bare to the naked eye) with a boxing ring taped out on the floor. This allows us to watch the characters set, tear down, and dress for each scene. While initially distracting I think it did work in the end, and helped trim a few minutes off the lengthy near-three hour run time. Hats (or bonnets, I suppose) off to properties designer Josephine Everett who has assembled a dizzying array of props to support the story. I'm not sure how they keep it straight, but they do! Because so many folks are playing multiple characters, the costumes (designed by Sonya Berlovitz) are pretty simple and focus more on suggestion and ease of transition than period-level detail. I was selfishly hoping for a little more period-piece luxury in the overall production design. What is here really works - it just wasn't the lavish old school style I was yearning for. I do think this barer approach really helps modernize Pride and Prejudice and as such will bring it to the attention of new, younger audiences, and that's an admirable goal.

Photo by Dan Norman

Pride and Prejudice was one of my favorite books growing up, and Jane Austen is an eternal favorite for me overall. She manages to wrap such profound messages into a highly digestible package, and audiences of all types can enjoy and relate to her stories. Think of Pride and Prejudice as the funnier, British version of Little Women (which is also enjoying a renaissance and has been adapted for the stage by Kate Hamill). It's got a little bit of everything you want in a play - laughs, drama, intrigue, and a whole lotta heart. It's a great family-friendly show for holiday season; click here to get your tickets at Park Square before the show closes on December 22. And if you can't get enough of the Jane Austen wave, you're in luck: stay tuned for reviews of the Jungle Theater's original Pride and Prejudice-themed holiday play Miss Bennet and the Guthrie's coming adaptation of Emma.

Photo by Dan Norman

Theater Mu's Fast Company is a Fun Ride

Dare to keep up with this witty new con caper. 

Photo courtesy of Theater Mu

As we roll into holiday season, the typical reason for the season spiel, while appropriate, can start to get really tired.

Photo by Rich Ryan

I mean I'll readily admit that I'm a Grinch, but be honest: don't you get a little tired of seeing the same kinds of stories this time of year?

Photo by Rich Ryan

If you're anything like me, eschew Christmas this and holiday that and enjoy a show like Theater Mu's Fast Company, a witty new comic-mystery, instead. This story focuses on a family of con-men and miscreants who are so devious that they even betray each other. Blue tries to pull off the heist of a lifetime: swindling a collector out of a rare $1.5 million first edition comic book. It seems ready to go off without a hitch; that is, until her brother H steals it right from under her nose. It turns out that H is in deep gambling debt with a gangster named Jimmy, but unfortunately his theft not only breaks the con-man code but endangers his sister's life as much as his own. Blue turns to her other brother Francis and mother Mable to find a way to con the comic out of H's hands. Her idea, which utilizes game theory, is air tight - except someone else gets it before she can get to H. The rest of the play involves the family tracking each other around the world and immersing into increasingly complex cons to gain equal footing, until a final explosive reveal ends their competition once and for all.

Photo by Rich Ryan

It's not quite what I was expecting but I really enjoyed the wry nature of this story. It's an edgier and more profane play than I'm used to seeing Theater Mu perform, but it was one of the most genuine group performances I've seen them do in a while. The cast all had great chemistry, and if this is any sign of the future from new Artistic Director Lily Tung Crystal I'm really excited about what's ahead. Jeannie Lander has a subtly devious energy as Mable that reminded me of the sly way Michelle Yeoh is playing the evil captain on the new Star Trek: Discovery series, which is to say: I loved her. Ming Montgomery stumbled on a couple of lines but I really liked her overall as Blue. She has a very genuine delivery that made this crazy story believable. Brian Kim was cool as a cucumber as the criminally talented Francis and his energy really drove the show. Rounding out the cast was Eric 'Pogi' Sumangil as the problematic H, who I've had the privilege of seeing in several shows. This might be my favorite performance of his to-date, as he brings a delightful comedic twist to his otherwise troubled character and really lets his warm charisma shine through.

Photo by Rich Ryan

Joel Sass's set echoes the comic book theme of this theatrical caper, and it mostly succeeds. I wish the projections, designed by Miko Simmons, were just a little bit brighter to really bring the theme home; as it is, they feel a bit washed out and don't have the full comic dynamism that could have lent this a Marvel edge. Ash Kaun's costumes are pretty straightforward and each character feels modern and comfortable. There wasn't much special about Karin Olson's lighting design or Montana Johnson's sound design, but everything seemed to run well. Overall, I have to extend a hearty bravo to director Brian Balcom, who has directed several other shows locally and in Chicago but I have somehow missed until now. He coaxed dynamic performances out of this cast and I hope to see his talented hand guiding future #tctheater shows.

Photo by Rich Ryan

Fast Company's closing is quickly approaching, so you have to book it quickly if you want to catch it before the last performance on November 24. For what it's worth, I think you should go. It should be no surprise to long-time readers that Theater Mu has consistently been a local highlight for me, and I'll admit that I was more than a little concerned about their future around this time last year. The company is still early under Lily Tung Crystal's fledgling leadership, but I'm really impressed with what I've seen so far and excited for what's ahead. Fast Company has all the elements I like in plays: it's modern, comedic, includes a mystery and is very approachable for a wide audience. It's a breath of fresh air from heavier dramatic and seasonal fare at this time of year and a great option for a quick pre-Thanksgiving date night. Click here to get your tickets before this little gem of a play is gone.

Mean Girls is Deliciously Devious

"On Wednesdays we wear pink."

Photo by Joan Marcus

*Pretty sure* there's nothing better than posting a review of my first time seeing the Broadway version of Mean Girls on October 3 (aka #MeanGirls day itself). Just had to throw that out there for any other superfans.

The Goonies of my generation, Mean Girls is the iconic story penned by Tina Fey long before she left Saturday Night Live's hallowed halls. It tells the story of Cady Heron, a teenager who grew up in Africa and moves to the U.S. to enter her first ever public school in her junior year of high school. Cady has heretofore been socially isolated during her time growing up in Africa and does not understand the American teen psyche; she is completely unprepared for the mind games and harassment her peers inflict on one another as she struggles to navigate this new world.

After experiencing some backstabbing herself, Cady allies with Damian and Janis, two of the few at school who are not aligned with a clique, to take down the school's resident bully and queen bee: Regina, the ringleader of the uber cool (and incredibly snobby) "plastics" clique. The trouble is that although the trick works - Regina is briefly unseated from her throne - the process turns Cady more plastic than Regina was, completely disconnected from her authenticity and moral compass. Everything comes to a head when the full scope of the plastics' bullying is expose to the entire school, even capturing some teachers in its midst. Some hard truths are shared, building a path for a new era of treating others with kindness and dignity in the school.

The original film, now 15 years old (!!), has a veritable who's who of today's movie stars. The cast includes Lindsay Lohan, Rachel McAdams, Tim Meadows, Ana Gasteyer, Amy Poehler, Tina Fey and Amanda Seyfriend, and a host of other delicious cameos. One of the best parts about Mean Girls is its whiplash-inducing, hyper-trendy quips. I wasn't sure how that would play out in a world of smart phones and social media that has emerged since the movie aired, but I needn't have worried; there have been some smart updates to the book to reflect current teen trends, and the jokes hit their mark almost all of the time.

Photo by Joan Marcus

A surprisingly strong cast helps that humor land, and their enthusiasm and sharp vocals make the story soar. Mariah Rose Faith is delicious as the diabolical Regina; her low alto saunter into every room was delightful to watch. Adante Carter is adorable as Cady's crush Aaron, shining his treacly dimples all over the place. Kabir Bery was hilarious as Kevin Gnapoor, the head of the mathletes; his rap interludes delighted the audience. Megan Masako Haley brings real poignancy to her role of Gretchen, Regina's best friend; she is the first character to crack the facade of teen popularity, and I found a lot of depth in her performance. Jonalyn Saxer is hilarious as Regina's dumb bestie Karen, continuing to surprise. Danielle Wade does an admirable Cady, wresting the portrayal from Lindsay Lohan's memorable turn in 2004, and she makes the role seem fresh. The crowd loved Eric Huffman as Damian "too gay to function" Hubbard; he has a sweetness the movie missed. But my overall standout was Mary Kate Morrissey as Janis, the art student who conceives the whole plot to take Regina down. Morrissey has gravitas and a true Linda Ronstadt-level rock and roll voice. I loved her swag and I especially liked how her character has been expanded to provide a moral arc through the story.

Normally I feel like the excessive use of projection on Broadway shows is "cheating;" this is one of the first shows I've seen that might change my mind. The set is really a dynamic sculpture of LED screens that rapidly shift us between Africa, a Chicago public high school and a spoiled brat's bedroom. Used with some well-chosen props, it makes the scene transitions lightning fast so we can focus on the physical, dynamic dancing. I was surprised how much I enjoyed the choreography, the closest thing to "hiplet" (hip hop + ballet - click here to see more) I've seen on a Broadway stage. It all feels modern, fresh, timely and young.

I've heard many people say the reason they love Mamma Mia so much is that it's a true feel good, positive show and they love to leave the theater with a smile on their face. I think the same case could be made for Mean Girls; it's so much fun to see a diverse, vivacious, mostly female cast having the time of their lives. Mean Girls has a real moral compass and important message to share with today's teens (and their parents if we're being honest) in addition to being a damn good time. As a long time fan of the film I entered this with a healthy skepticism but I'm relieved to report that this show really works as a Broadway musical! It's a great excuse to get some bonding with the Gen Z-ers (or Millennials) in your life, so buy some tickets to take a youthful date before Mean Girls sashays away on October 13. Click here for more information or to get tickets.

A Steaming “Hot Asian Doctor Husband”

If you’re a rom com fan, this is the show for you

Photo courtesy of Theater Mu

I’ve waxed ad nauseam about my love for new theater work, and one of my favorite companies consistently celebrating and commissioning new plays is Theater Mu. Their new play, Hot Asian Doctor Husband, is another exciting addition to the catalog and one I think will be traveling around the country for some time.

It goes like this: Emi and Collin seem made for each other – except they’re not. At least in her mind. Emi is mixed race, and the more serious things get with Collin, the more she questions if they have a viable future. She is especially worried about having kids who might not identify with her Japanese heritage. To further complicate things, Emi’s mother, who raised her a single parent and was her last direct link to her ethnic history, recently died in a tragic accident. Emi decides to take a leap of faith and find a “hot Asian doctor husband” to fulfill her fantasy of an idyllic Asian American household, breaking up with Collin and stunning her friends.

The trouble is, of course, that love doesn’t work on preferred timelines and specific fantasies. Emi and especially Collin still have feelings for each other, which is plainly evident when they continue to run into each other after the breakup. Emi does find a hot Asian doctor and it seems like things will work out; the only trouble is that he is already someone else’s husband, which Emi learns in a devastating emotional blow that finally pushes her to confront her unprocessed depression and sadness about her mother’s death. The play goes a little off the rails after the affair with the doctor ends, taking a turn from nippy comedy into a serious exploration of mental health issues; it felt a little bit like two different plays in one, but it leaves the audience with a rich understanding of Emi’s identity crisis by the time we leave.

The cast includes Theater Mu regulars and several newcomers, and they’re a really fun crew. Meghan Kreidler deftly handles the role of Emi. No matter how serious or radical her character’s actions seem, Kreidler keeps them believable and touching. Damian Leverett is a joy as the shunned, mournfully #woke Collin; by leaning into the stereotype, he finds some kernels of truth about the white male experience that are new on the stage. Mikell Sapp is delightful as Emi’s best friend Leonard. I haven’t seen him on stage before and I sure hope this isn’t the last time. Danielle Troiano is equally lovely as Leonard’s girlfriend Veronica, bringing vulnerability and poise to the role. Eric Sharp is thoroughly, gut-splittingly hilarious as the Hot Asian Doctor Husband. His scenes were among my favorite in the show and I wish we got a little more of him. And eternal favorite Sun Mee Chomet is fabulous as the Mother characters, milking the most of her time on stage and making a great mentor to Maekalah Ratsabout, the young actress playing the child version of Emi.

The clever scenic design by Sarah Brandner is millennial approved and has all sorts of Ikea-style innovations that keep the action swiftly moving and the aesthetic clean. Costumes, by Jeni O’Malley, are equally well matched to the tone. Karin Olson’s lighting design and Katharine Horowitz’s sound design are subtle and warm, enhancing the action on stage (especially Horowitz’s original music, composed with Damian Leverett). And it’s good to see the importance of physical movement in comedy embraced by Magnolia Yang Sao Yia’s clever choreography and Lauren Keating’s intimacy consulting, a field I suspect we’ll see much more of on programs around #tctheater in this season and beyond.

Hot Asian Doctor Husband is one of the shows I was most excited for this year, and it doesn’t disappoint. Like any new play, there is some revision I’d do on a future iteration to help clarify the story – is it about Emi and Collin’s relationship, or her relationship with her mother? – but the content here is engaging and has a lot of potential. It’s a golden time for Asian Americans* in the rom com world, and Theater Mu’s consistently approachable and inspiring new work is a vital addition to the genre. Make sure to head to Mixed Blood Theatre to check it out before it closes on September 1; click here for more information or to buy tickets.

*If you want more shows like this one on the silver screen, you’re in luck! Here are a few in the last year that I have really loved: 

• Crazy Rich Asians (I also devoured the book series – highly recommend as perfect beach reads) 
• To All the Boys I’ve Loved Before (Probably my favorite on this list – keep an eye out for the sequel next year!)
• Always Be My Maybe (and don't miss Ali Wong's comedy stand-up specials, also on Netflix)
• Anything by Mindy Kaling - I especially love The Mindy Project, but Late Night and Four Weddings and A Funeral are also surefire bets. And although technically off the scope of this list, who could possibly forget The Office (the episodes Kaling authors are all my favorites)
• Fresh Off the Boat (Not technically a rom com but a hilarious comedy that does include winsome romance in some episodes and two of my favorite stars of movies listed above, Constance Wu and Randall Park)

Floyd's Is A Poignant Delight

It's starting to feel like Lynn Nottage is the only name I've heard in theater the last few years. I'm ok with that. 

Photo by T Charles Erickson

The famous don't always live up to their reputation, but Lynn Nottage sure does.

Photo by T Charles Erickson

The Guthrie made no secret of the fact that Nottage was debuting a world premiere new composition this season as a companion piece to her history-making play Sweat, which won the 2017 Pulitzer and made her the first woman (and first African American woman) in history to win the Pulitzer Prize for Drama a second time. While I haven't seen Sweat myself (just heard innumerable glowing recommendations from everyone else who has), I have to say that if it's anything like Floyd's, the hype is very real.

Photo by T Charles Erickson

Floyd's takes place in the back kitchen of a sandwich restaurant of the same name, where all of the employees are formerly incarcerated people. They all struggle to find careers and stable lives after leaving prison, and Floyd's is the first place willing to hire them and pay them a decent wage to hep them get on their feet. The only problem? Floyd, the owner, is a truly negative person. She abuses the employees physically and verbally, flies off the handle at any given time, and takes full advantage of the fact that she knows - and they know - that as much as they don't like her, there is nowhere else they can go to get back on their feet. Little by little, we learn the backstory of each employee and how it infuses their time at Floyd's and dreams for the future. The slow reveal of their lives is one of the most poignant elements of Floyd's so I won't spoil it here, but suffice it to say, it's a long overdue humanization of a very American problem that is beautifully written and acted.

Photo by T Charles Erickson

This tight-knit cast is filled with Guthrie debuts, like Floyd's itself. At the heart is a long-term favorite of mine, Dame Jasmine Hughes, who shines as Letitia in scene-stealing cameos. I can't believe it's her first time on a Guthrie stage and I'm certain it will not be her last. John Earl Jelks is wonderful as the zen-master Montrellous, lending wisdom and poise to every line. Reza Salazar is another scene stealer as the energetic Rafael; he demonstrates big heart through is performance that won the whole audience over. Andrew Veenstra gives the former white nationalist Jason a surprising amount of depth, inserting nuance into a very important stereotype these days. And Johanna Day is deliciously, heartbreakingly cruel as Floyd. Day is like the Cruella de Vil of the formerly incarcerated, and she clearly relishes the role.

Photo by T Charles Erickson

The set, designed by Laura Jellinek, cleverly opens like an aperture from an initial small vignette into a larger wide-screen, workable kitchen. It reminded me quite a bit of Mixed Blood's How to Use a Knife a couple of years ago, and it never wavers from the image of a simple prep kitchen. Jennifer Moeller's costume design is similarly straightforward. Christopher Akerlind hides all sorts of cherries into his nuanced lighting design, with special spotlights and special effects enhancing the dialogue. Justin Hicks' original music is a great background to the pauses between vignettes and gives the cast plenty of charisma to work with. And Director Kate Whoriskey has clearly provided a singular, clear vision for Floyd's that is beautifully executed by the rest of the wider production team.

Photo by T Charles Erickson

I am predisposed to enjoy shows that have a social / political message, and Floyd's fits right into my sweet spot. It's my second Lynn Nottage play (after the magnificent Ruined I saw at Mixed Blood several years ago - my first glorious time seeing Regina Marie Williams on stage), and I have a lot of catching up to do on the rest of her work. It's exciting to see the momentum mounting in the theater community towards commissioning and producing new work that reflects our current way of life, rather than constantly re-hashing old "classics" that may not have as much to say about our modern dilemmas. Nottage is a master at embedding a nuanced, believable, direct message into a highly entertaining package, and Floyd's is accessible and enjoyable for any kind of audience. I highly encourage anyone able to check out the show; click here for more information or to buy tickets before Floyd's closes on August 31.

Also: make sure your stop at the Guthrie isn't your only engagement with this subject matter. Floyd's might be a fictional play, but it represents very real problems. All Square, a restaurant in South Minneapolis, is a living embodiment of the issues raised in Floyd's. Make sure to visit All Square to get some delicious sandwiches and pay it forward to the formerly incarcerated community. 

Stinkers Smells Pretty Fresh

What happens when you end up parenting your own parents?

Photo by Dan Norman

Has any locale in #tctheater had a better year than the Jungle?

Photo by Dan Norman

In a climate when many of our treasured thespian institutions seem to be crumbling under the repercussions of #metoo era revelations, this small Uptown enclave seems to be faring better than ever. Packed audiences (many of whom are skewing into the much-desired under 40 demo); shows running on concurrent stages; selling out in a polar vortex; debuting 3 new world premieres; hiring women for all manner of roles off-stage and quietly changing the face (and resumes) of our production community… the list of successes is endless, and it’s only getting better if evidenced by the Jungle’s season closer, Stinkers.

Photo by Dan Norman

Even the story behind Stinkers is amazing: Sally Wingert commissioned a new play from an exciting young playwright who decided to make it about parenting – with dad staying at home and toddlers as actual characters on stage. Like so much of the Jungle’s recent work, Stinkers has just the right amount of subversive energy to keep you giggling in your seats but thinking really hard for days after you see it. It's a delightful piece of new writing that will be making the circuit long after Wingert is gone, and another jewel in the Jungle's crown of recently commissioned originals.

Photo by Dan Norman

Overall, Stinkers tells the story of Brad, a former chef of a failed restaurant whose current career is Stay At Home Dad. Brad seems okay with his life, until his mother Joyce – who has just been released from prison – appears at his house to crash the party. With Joyce comes her prison friend Lilith and the clingy attention of Brad’s good friend Calvin, a supremely lazy man who just can’t seem to get his life together. Joyce quickly whips the household into a ruckus, convincing Brad to start a business selling toy trucks and Calvin to achieve his lofty dreams. The only problem is the underhanded way she does this, using Brad's business as a front for money laundering and coaxing Calvin into taking risks he can ill afford with his lack of employment. Everything crumbles apart as Brad learns his mother hasn't changed that much since prison and Joyce loses her ill-gotten nest egg, leaving them left to appreciate the only thing that really matters anyway - each other.

Photo by Dan Norman

This is such a brilliantly unique script and Sally Wingert shines in the role she commissioned. Wingert's Joyce is unabashedly cocky, completely unapologetic, and a delightful mess. It's the perfect foil for John Catron's very modern father figure in Brad. Catron plays his role so winningly, and it was wonderful to see an unironic portrait of fatherhood and a male character wrestling with many of the struggles and blessings that are often faced by stay at home mothers. George Keller was delightful as the swashbuckling but tenderhearted Lilith, adding depth to what could have been a cliched character. Nate Cheeseman stole the show (as always) with his devastatingly unmotivated Calvin, always eliciting giggles from the audience. And Megan Burns and Reed Sigmund were clever as the puppeteers behind the Brad's children Evie and Oscar. Their presence really helped depict the chaotic state of a home filled with little kids, and their total commitment to the preschool mindset lent a welcome comedic relief to several tense scenes.

Photo by Dan Norman

One of the reasons I love the Jungle is that I can always trust them to do something totally unique. Stinkers is no different and is worth an audience visit. Wrapped inside this lighthearted comedy are some important narratives about recidivism, parenting, modern fatherhood, and so much more. It's a colorful piece perfect for the depths of summer and something you can enjoy taking your best friend or wryest auntie to. It's a fantastic capstone to a transcendent season at the Jungle, and I highly encourage you to check it out. Stinkers runs through August 18; for more information or to buy tickets, click on this link.

Photo by Dan Norman

The Play That Goes Wrong is a Hysterical Mess

What if absolutely nothing went right? 

Photo by Jeremy Daniel

That's the question asked in the seriously committed physical comedy The Play That Goes Wrong (TPTGW), the latest in the traveling Broadway series at Hennepin Theatre Trust's Orpheum Theater.

Photo by Jeremy Daniel

A play within a play, TPTGW is supposed to be a devastating performance of a murder mystery on a college theater campus (think Clue). Unfortunately it never achieves the gravitas it wants, because literally everything goes south from the second the curtains open. Sets fall apart, actors forget their lines, props are misplaced, technicians get distracted, effects come in at the wrong times (or don't come in at all) - go down the list of the worst case scenarios you can imagine for live performances, and something is going to be awry at every single stage of this accidental horror show. The result is a heavily physical comedy that can't help but get you laughing at some point; the plot is so absurdly over the top that you just can't believe what you're seeing. There are several special effects that even had me gasping in shock, and I was amazed at how committed the performers were to this show.

Photo by Jeremy Daniel

A play like TPTGW only works if everyone is on board, and this cast is in it to win it. It's a taut group of eight performers, each of whom end up serving multiple roles in the play as events unravel and further support is needed to keep the show going. Annie Twilloil is the jack of all trades as the crew member who is forced on stage when the only female performer, played by a vivacious Sandra Wilkinson, is knocked out by a set piece. The two women have very different styles and duke it out, and I enjoyed the contrasting temperaments they displayed. Max Bennett takes clear delight in the absurdities, and his balletic movements made an odd contrast to the roaring dumpster fire of a production surrounding him. Jonathan Harris has the fewest lines as "victim" Charles Haversham, but his wordless stage exits were the funniest thing to me in the entire show. Robert Grove's carefully rehearsed basso voice is just the kind of outrageous exaggeration a show like this needs, and Trevor Watson's disgusting antics as the out of control stage hand shed unwelcome light behind the scenes. Dennis Tyde was charming as the memory-challenged butler Perkins, and Chris Bean has a smooth, lithe delivery as the only cast member worth their salt.

Photo by Jeremy Daniel

If this show gives any value outside of comedy, it's in demonstrating the extreme importance of good, safe production design and technician work. It's easy to take for granted how hard it is to make safe, visually exciting set pieces. There is a horror to be found in the comedic antics of this group; if this were a real life scenario it would be extremely dangerous and even life threatening. I'd like to take this opportunity to give a resounding round of applause for the unsung heroes of our #tctheater community, the stage hands and set builders and costume and scenic designers who spend thousands of hours ensuring that every performer is able to safely act their part. It's unfathomably hard work that very rarely is adequately applauded, and The Play That Goes Wrong does an amazing job of demonstrating why those roles are so important.

Photo by Jeremy Daniel

I also enjoyed the light TPTGW sheds on choreography. Too often people associate choreography and blocking solely with musicals; while musicals provide the most obvious example of choreography, it's also very important in plays. I think it's especially important in comedies, where timing is everything; in a physical comedy such as TPTGW, where the disintegrating set is almost a character of itself, is even more important than usual. There are several moments in this show where a person standing even an inch to the left or right could mean serious injury to their person, and this group clearly has run through every conceivable scenario to ensure they stay safe. It's a masterful physical performance and is sure to awe even the most jaded theater goer with how daring it collectively is.

Photo by Jeremy Daniel

TPTGW is not a perfect play. It's a little too long for my taste (I think it could well do with an intermission-trimming haircut) and can become a little overwrought. We get the point after seeing a joke repeated two or three times - going up to five or six is overkill and unnecessarily time consuming. This is definitely on the farther end of the spectrum for "dumb" humor, so if physical comedy isn't your jam it might be a tougher sell. All that said though, I was very impressed with the amount of spectacle on stage and the sheer bravado of the choreography. If there were ever meaning behind the cliche phrases "all for one and one for all" and "the show must go on no matter the cost," this cast absolutely defines it. They are totally fearless and seem like they're having a lot of fun, and isn't that what live theater is supposed to be all about? This is a very different kind of Broadway play than usually tours through the Orpheum, so I think it's worth a look if you want a change of pace. For more information about TPTGW or to buy tickets, click on this link.

Photo by Jeremy Daniel