Cool Field Trip: Game Changers at the Science Museum of Minnesota

There's only one more weekend to experience THE coolest interactive exhibit I've seen in a while. 

100 games over 10,000 square feet? #yesplease

I'll be the first to admit that video games (and video gamers) have gotten a bad rap over the years.

You can really see the full evolution of characters

I was long an opponent of the medium. I never grew up playing video games, and it was hard for me to see the value in it.

Another popular booth: Guitar Hero

But over the years I've come to see just how rich this technology (and the worlds it builds) is. There are so many fascinating elements about video games that have started to get serious celebration from vaunted organizations (MPR's fabulous podcast Top Score about the orchestral music written for video games is one such example) and it's really bringing the world of gaming out of the small screen and into the mainstream.

The detail is extraordinary

Game Changers, an ongoing exhibit at the Science Museum of Minnesota, is the perfect vehicle for novices and hardcore game heads alike to educate themselves about this world. It's an encyclopedic exploration of the history of video games, from the very first Space Invadors and Pac-Mans to the decades-long complexities of world-building games like SimCity or World of Warcraft. Visitors can not only read about the history of these games, their technology and their creators - they can also actually play each of the games mentioned on the original equipment. And this is not to be downplayed: the arcade space is comprised of more than 100 games over 10,000 square feet, an enormous temple to the sport of true gaming.

The sketches are endless

I was really blown away by the intricacy and detail of this exhibit. There is such a lineage to the construction of games - much like novelists or painters or chefs can directly credit those who came before them as inspirations and foundations to build their art on and expand it to new heights. Many games also have original sketches and models on display so that you can see the process from ideation to inception, and it's a really powerful visual testifying to just how complex the process of creating a game is.

A group dance station was easily one of the most popular elements

The global nature of gaming is included as well, with different regions appearing in focus with distinctive art styles and plotlines. Japan is the clear standout among regions outside of the United States, but there are also creative games from Sweden, Korea and a host of other countries. It is one more example of the unifying power of sharing an interactive world with someone else, and much like Trekkies, gamers have a friend wherever they go.

Gorgeous color sketches

This is an exhibit appropriate for groups of all ages and is actually an amazing way to connect with kids whose modern knowledge of gaming you may not understand. I took my niece and nephew with me, both of whom are avid gamers, and they had the time of their lives. We don't always have a lot to talk about directly, and I learned so much about them from the way they engaged with and explained each of the games that I never would have gleaned in casual conversation. It was a really fun day and reminded me how quickly things change from generation to generation. It was almost impossible to tear the kids away from the exhibit when we needed to go and it was packed to the gills, so I can testify first hand that the price of admission is absolutely worth it. The kids even loved the current omnitheater film about Cuba, which is not a subject they're normally interested in. This trip was a grand slam in terms of keeping them interested and occupied!

Loved this creative monster

And about that - another benefit to Game Changers is that admission is included in general admission to the Science Museum; this is not a separate ticketed event like many of their special exhibits have been. It's all the more reason to take your family or your date on a field trip to check it out before it closes on May 5. Run, do not walk, to go - there are limited edition games here that you very well may never see in working order again in your life. It's a fabulous, affordable trip for families or dates and is guaranteed to teach even the most serious gamer something they didn't know before. Click here for more information or to buy your tickets!

Up a little closer

An indicative list of the games available includes: 

The Arcade Heroes section spotlights pioneering designers from the trailblazing and revolutionary arcade era, including Ed Logg (Asteroids, 1979), Tim Skelly (Reactor, 1982), Masanobu Endo (Xevious, 1982), Toru Iwatani (Pac-Man, 1980), Eugene Jarvis (Defender, 1980), Tomohiro Nishikado (Space Invaders, 1978), and Dave Theurer (Tempest, 1981).

Long lines to play the vintage games like Asteroids, pictured here

The Game Changers section features leading contemporary designers who have had a major impact on shaping the medium as we know it: Blizzard Entertainment (Diablo III 2012), Tetsuya Mizuguchi (Sega Rally Championship, 1995), Peter Molyneux OBE (Fable III, 2010), Yuji Naka and the Sonic Team (Sonic the Hedgehog, 1991), Alex Rigopulos and Eran Egozy (Rock Band 3, 2010), Tim Schafer (Broken Age, 2014), Warren Spector (Disney’s Epic Mickey, 2010), Yu Suzuki (Hang On, 1985), TT Games (LEGO Batman 3: Beyond Gotham, 2014), and Will Wright (SimCity, 1989).

Full story boards

The Indies section explores the groundbreaking and future-focused world of independent game designers. Artists such as Jonathan Blow (Braid, 2008), Capy (Critter Crunch, 2007), Eric Chahi (Heart of Darkness, 1998), Jakub Dvorský (Botanicula, 2012), Firemint (Flight Control, 2009), Halfbrick (Fruit Ninja Kinect, 2011), Introversion (Dawinia, 2005), Markus ‘Notch’ Persson (Minecraft, 2014), Rovio (Angry Birds, 2009), Erik Svedäng (Blueberry Garden, 2010), and The Behemoth (Castle Crashers, 2008) are profiled in this section.

Review in Brief: Charlie and the Chocolate Factory

Is this really a world of pure imagination? 

Photo by Joan Marcus

How do you feel about Roald Dahl?

Let me back up. It seems to me that when it comes to opinions about the tenor of art marketed towards children, there are two decidedly different camps. On the Disney-fication side are those who only want positive, colorful, sanitized versions of stories. "Let the kids be kids," they might say; "protect their innocence." On the other side are the dark-hearted "realists" - the Brothers' Grimms and Roald Dahls - who say "this world is trash - kids should know that as soon as possible."

Photo by Joan Marcus

Because of this deeply split perspective, your opinion on Charlie and the Chocolate Factory, now showing at the Orpheum Theater through Sunday, might vary wildly. Dahl aficionados should leave pleased at a standard presentation of one of his most beloved stories. Disney fans will likely leave disappointed at the lack of spectacle they are used to in signature stagings like Lion King or Aladdin.

Photo by Joan Marcus

Quickly for those in the dark: Charlie and the Chocolate Factory tells the story of Charlie Bucket, a young boy living in extreme poverty under the ominous shadow of a candy factory. Charlie loves chocolate - a treat he only receives once a year - and dreams of touring the factory to learn how his hero Willy Wonka makes all of his favorite treats. Unbeknownst to Charlie he meets his hero in disguise and inspires him to open his factory up to tours for children with golden tickets and a contest to win a lifetime supply of Wonka chocolate. The chance to win a golden ticket inspires a worldwide Wonka frenzy, and despite all odds Charlie gets his golden ticket to enter the contest. A number of odd (and horrifying) things happen during the factory tour, but Charlie ultimately leaves Wonka with everything he desires most.

Photo by Joan Marcus

There were a few real standouts among the cast of this show. As Charlie's mother, Amanda Rose boasts a pristine voice and winning Ellie Kemper-like quality that I found totally charming. Rueby Wood was the image of Charlie, and he steered the show with a confidence quite outside his age. James Young was a little wobbly in the vocals as Charlie's Grandpa Joe, but his sweet mannerism and blustery delivery made the character a highlight. Benjamin Howes skips Johnny Depp and heads straight to a Gene Wilder iteration of Willy Wonka, a decision that seemed to be a crowd pleaser. And something about Daniel Quadrino's cameos as Mike Teavee had me giggling in stitches throughout the show - "Chocolate Neeeeeews!" might just become my new tagline thanks to him.

Photo by Joan Marcus

To be honest, I found the production design overall a little underwhelming. I came expecting the Dahl equivalent of the Cave of Wonders, but the bulk of the production relied so heavily on projections that it almost felt like I was watching a movie with live actors. I wanted a little more of the tactile magic I've seen in other shows and the preponderance of projections felt like it stole that magic away. I realize that not everything can be Disney level, but Willy Wonka's factory is such a fantastical world - can't we do a little more to bring that magic to physical life?

Photo by Joan Marcus

I'm somewhere between the Dahl vs. Disney camps - I appreciate Dahl's perspective, but sometimes it can be a little *too* dark for me. The main reason I wanted to see Charlie and the Chocolate Factory live was to re-discover that sense of wonder in the factory; this seemed like the perfect kind of show to go really over the top. While the overall effect was successful, it didn't have that magical, lush quality that I was looking for. The audience was delighted throughout the show with the Oompa Loompas and kitschy asides, so if you're a giant fan of this story you will probably still enjoy it. There are several ear-worms among the soundtrack - "Willy Wonka," "Pure Imagination" and "If Your Father Were Here" were all standouts - that I haven't stopped humming since I left the theater. I'm glad I saw Charlie and the Chocolate Factory this time around, but I don't think I'll attend again. If you want to check it out on your own (and you should! don't take my word for it), make sure to click here for more information and to buy tickets.

Photo by Joan Marcus

Constance in the Darkness is a Source of Light

It's good to try new things. 

Photo by Evan Frost

For example: last Friday I went to the Open Eye Figure Theater for the first time. What a cozy place! The seats are extremely comfortable, the atmosphere congenial, and the staging innovative.

What I went to see was Constance in the Darkness, a new locally written-and-produced premiere musical from Michael Sommers and Josef Evans. A mix of fantasy lore and fairy tales, Constance in the Darkness tells the story of a girl named Constance as she searches for her mother through a whirlwind of imagination. Joined by her fairy godmother, beloved bear Bobo and the villains Lamby-Lamb and Queen Harmonica, Constance experiences the wild world of a story told through her toys' imagined interactions and grievances with her and each other. It's hard to define the story more than that; I found the plot a little loose and tough to follow. Overall, I think it's fair to call this a quest to find oneself and one's mother whilst eschewing the typical Disney princess trope and leave the rest as a flight of imagination, which was often very fun.

Although I had trouble following some of the overall story arch of Constance in the Darkness, I really enjoyed the general elements of the production. The actors are extremely invested and really work to sell their parts. Beginning with the Kate McKinnon-esque Maren Ward (who plays - count 'em - FIVE roles in this show), they all clearly love this work and have a lot of fun performing together. Ward hits every note imaginable in her various characters, from eclectic to funny to unhinged to kind. Emily Zimmer is steadfast as Constance, reminiscent of Kimmy Schmidt with a smile and a bravado to match any situation. Jay Owen Eisenberg was surprisingly delicious as the villain Lamby-Lamb, clearly relishing every quirky evil line. The rest of the ensemble enthusiastically fills in their parts, from fairies to minions to everything in between.

My favorite part of this show was actually the tech and production design. There are several vignettes in Constance that are veritably cinematic, gorgeously lit and immediately imprinted upon the imagination. The lighting, from Michael Murnane, was superb and made an enormous difference in setting the tone of the show. There were several creative sound design choices from Sean Healey that had a similar impact, and the set, designed by Michael Sommers, is replete with never-ending surprises that will delight the inner child in any viewer. The costumes by Marge Newman are quickly changed and certainly creative; combined with the charismatic performances they evoke the general sense of the characters. The music, composed by Victor Zupanc, provides a nice soundtrack to the fairy tale. It's not always sung with musicality but it is always sung with sound verve, providing the ultimate Disney princess spoof.

Constance in the Darkness was a fun journey to something new for me. I love to support locally written and produced work, and there is so much creativity on display here. I think a little more editing to the story would have helped me understand the goal a little better - what exactly is Constance seeking? - but the show as it is remains a fun foray into the joys of unfettered imagination. It's great to see a bunch of adults indulging their inner child, and the audience was clearly engaged from the moment they stepped on stage. If you've never been to the Open Eye Figure Theater, please consider stopping by to see Constance in the Darkness. There's so much potential in this show, and I have a feeling it might just ignite your own creative fire. For more information or to buy tickets before the show closes on March 11, click on this link.

Aladdin Amazes at the Orpheum

The latest iteration of Disney's classic cartoons has some fine moments.

Photo by Deen van Meer

The crowd at the Orpheum was getting restless. Two songs before the Act 1 finale we were informed that there was a technical issue and the action briefly paused. What on earth could we be waiting for?

Turns out it was the spectacular Cave of Wonders (where Aladdin finds the Genie, remember?), and boy, was it ever worth the wait. It's the most spectacular set I've seen on a traveling Broadway stage, and once the action was in play we could all see why; scene drops, fireworks, flame bursts, magical tricks, and a whole lot more effects summed up to make the number a showstopper and the audience forget all about the quick pause. It was easily my family's favorite part of the show, and I'm glad the production staff took a moment to make sure the action could safely proceed before dazzling us with the spectacle.

Photo by Deen van Meer

Let's back up for a minute though. I'm sure you've heard of Aladdin (if not, get thee to a garage sale to find an inevitable VHS copy and watch it, stat), which is one of Disney's most beloved cartoon films. It was the first animated film to really generate discussion of nominating an actor's voiceover work for major awards like the Oscars thanks to Robin Williams' ingenious depiction of the Genie, which is to this day one of the most manic, unbelievably entertaining moments in children's film, ever.

Photo by Deen van Meer

Think of Aladdin as the Arabian Robin Hood, just with more magic, more romance, and way better music. Aladdin is a streetwise orphan struggling to live in poverty in Agraba; Jasmine is a gorgeous princess who feels trapped by her riches and royal expectations. Their worlds abruptly collide when Jasmine sneaks out of the palace one day, landing them both in the cross-sights of Jafar, the evil adviser to the Sultan. Jafar, consumed with the idea of ruling Agraba, manipulates Aladdin into getting him a magic lamp so that he can use a Genie's power to overthrow the Sultan. Things hit a snag when instead Aladdin becomes the owner of the lamp and enlists the Genie to help him win Jasmine back. The rest of the story is a tussle between these two plot lines, and as always Disney delivers a happy ending with a wink and a smile.

Photo by Deen van Meer

The magical element is one of the main reasons I am sure it's taken so long to bring Aladdin to stage; after all, how do you convincingly pull off flying carpets, enlightened animals, and all the panache a Genie has to offer? Most of this translated pretty well in this production, sans animals (sorry everyone, no Rajah or Abu to be found here). Instead, these characters are replaced with human companions for both Jasmine and Aladdin, along with several new songs. The effect works, but I have to say: I did miss our animal friends. The new music is good, but the showstoppers are still the original songs from the 1992 film, and they're still the main reason to go now.

Photo by Deen van Meer

The charm of this production lies heavily on the leads, and it's a good thing that they fit their bills perfectly. Up first is Adam Jacobs as Aladdin, and he couldn't be better cast. Jacobs has a knockout, trademark Disney voice, with all the swagger and charm Aladdin's character deserves. Watch out for him - he could be making some serious moves in the future. Anthony Murphy is reminiscent of Titus Burgess as the Genie; it's a different take than the Robin Williams version, but let's be honest: who is going to live up to that standard? Murphy's new direction is charming and well suited to the stage, and the audience loved him from his first opening note. Jonathan Weir is delightfully cartoony as Jafar (read my interview with him here) and it's easy to see how he has made a career owning the Disney villain trope. JC Montgomery has the show's most surprisingly awesome voice as the Sultan; I wish he had more songs so we could have reveled in his deep bass tones just a little longer. And Isabelle McCalla brings a fierce, feminist bent to her role as Jasmine with a touch of Idina Menzel; it's awesome to see a Disney princess providing a strong, kickass role model to all of the little girls in the audience.

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Speaking of little girls: I took my nieces and nephews to see this, and they loved it, but be warned: this Aladdin is a little more grownup. It's probably best suited to kids age 8 and older; younger can still enjoy it, but it's they may miss out on the humor. The age range for our kiddos was 9 to 13, and it was the perfect spread for enjoying this show.

Part of this maturity comes from the stunningly beautiful cast members, who traipse across the stage in varying states of sexy Agrabanian fashions and make winking asides to the audience. Dance Captain Michael Callahan has clearly coached them to the nines, and all of the dance numbers are lit with a whirlwind of choreography by Casey Nicholaw. Coupled with the costumes by Gregg Barnes, which are almost radioactive they're so colorful, it's quite an effect to behold. No expense was spared on Bob Crowley's scenic design, which includes the aforementioned Cave of Wonders, but also the show's most stunning effect: a real, working magic carpet that glides through the air in front of a sky of a million stars and radiant moon. It's a gorgeous effect that has the audience lost in time and space, floating weightless through the clouds with Aladdin and Jasmine; that single scene was worth the entire admission for me. I wish there were a few more moments that outstanding through the rest of the show, but either way: that flying carpet will give you your money's worth, and then some.

Photo by Deen van Meer

I forgot how wonderful the music from the original Aladdin was, and thanks to the superb direction of Conductor Brent-Alan Huffman I won't be likely to make that mistake again. Huffman leads the pit orchestra to literally burn through the songs, filling the Orpheum with lively jazz and swing and bringing the magic to numbers like "Friend Like Me," "Prince Ali," "Arabian Nights," and "A Whole New World." I loved seeing that the pit also used local musicians to supplement the orchestra, and it was great fun to take the kids down to look at the musicians at intermission (a practice my father started with me as a kid and that I highly recommend everyone do at least once).

Photo by Deen van Meer

There's nothing like a Disney show on stage. The company spares no expense in converting these stories to the theater, and it clearly shows throughout their shows. Aladdin retains a lot of the Disney magic that is seen in eternal favorites like Beauty and the Beast and Mary Poppins. I wouldn't rate Aladdin quite as highly as The Lion King - again, it's not really a fair comparison - but we had a great time going with the family and the kids each said they really enjoyed it. The Cave of Wonders and flying carpet are spectacular moments that I will be thinking of for some time to come, and I look forward to seeing what Disney has up its sleeves next. Aladdin runs through October 8; for more information and to buy tickets, click on this link.