We're All Hanging On By "The Skin Of Our Teeth"

Who knew Thornton Wilder could get a little wild? 

Photos by Petronella J. Ytsma  

I've talked a lot on this blog about my feelings on what pieces of art are considered to be "classics." Whether you believe it is correct or not, there are definitely a core few writers who get passed around from generation to generation as *the* people who have set the standard for literature (whatever that means). Names we see often on such lists include Dickens, Tolstoy, Joyce, Mann, and many more fusty old white dudes. Some of them I love, some of them I don't, but it's inarguable that they left a mark big enough that we still discuss them today.

Photos by Petronella J. Ytsma  

When it comes to candidates for the American canon, Thornton Wilder is an immediate contender. The only person to win separate Pulitzer prizes for drama and literature, Wilder was a key member of the literary community in the mid-20th century. He was a child of the Midwest and is a person who formed the popular imagination of what the American nuclear family looked like. Remember that picture of a mom-dad-two-kids combo with the white picket fence in an idyllic small town, where all the girls are pretty and all the boys are above average? Wilder played an important part in developing that stereotype, and his fingerprints are all over art in America after he started writing.

Photos by Petronella J. Ytsma  

One of the Pulitzers Wilder won was for a play called The Skin of Our Teeth, a now-rarely mounted piece that just opened at Park Square Theatre. Like Our Town (his earlier and more famous play), The Skin of Our Teeth features a healthy dose of self-awareness via explicit asides to the audience; a play within a play, it has a lot of moving parts. The show feels like an apocalyptic metaphor set within the confines of the history of earth. Showing the immutability of the human condition, The Skin of Our Teeth takes a family (the Antrobuses) in three acts through the end of the ice age, a flood, and a world war. Although their clothes and the conditions of their distress may change, the Antrobuses continue to be unflappably the same. Mr. Antrobus is a family figurehead with a wandering eye; Mrs. Antrobus is the secret powerhouse of the family who hides behind her status as a wife; Henry is a sociopath who can't stop killing people with a slingshot; and Gladys is the ever-overlooked daughter who keeps trying to stand out, regardless of how little attention is paid to her. Sabina, an amorphous antihero whose plans to spoil the Antrobuses' domesticity, provides narration to help guide the audience through each completely different act.

Photos by Petronella J. Ytsma  

The first thing that struck me about the play was the extremely fast paced dialogue; it has the same slapshot pace as Hollywood classics like His Girl Friday, and if you're not paying close attention this play will whiz straight by you. The long, wordy sentences are chewed up and spit back out with expert pacing by the cast. I was particularly struck by Alayne Hopkins as Sabina, who manages to be perfectly clear despite her turgid lines. She provided the few moments of clarity I found throughout the show, and her expert handling of the script was impressive. Kirby Bennett brought a Hilary Clinton vibe to her role as Mrs. Antrobus, infusing the character with underappreciated intelligence. John Middleton made the blustery Mr. Antrobus downright charming, and I found myself liking the character despite often having clear thoughts against his actions in my head. Taj Ruler stood out to me as a member of the ensemble cast; her trademark timing, so often perfectly displayed in work at the Brave New Workshop, really enlivened this show. I honestly wish we had more of her throughout.

Photos by Petronella J. Ytsma  

Because the scenes of The Skin of Our Teeth change completely between acts, so must the set - meaning two 15 minute intermissions between acts that brought the show to just under three hours. The sets bear the hallmark of Director Joel Sass's trademark affinity for whimsy; I got it, but they couldn't help but feel a little cluttery to me. There is so much sorting out the audience has to do to distinguish between what is the same and what isn't between the vastly different scenarios that the bright, populated sets can fee a little overwhelming. Ditto for the costume design by Kathy Kohl, which adds even more color and activity to the stage. I quite liked the projections and videos produced for each scene (courtesy of Kathy Maxwell, C Andrew Mayer, and Maxwell Collyard); they added a lot of context and a crisp modernity that neatly started and ended each act.

Photos by Petronella J. Ytsma  

All in all, The Skin of Our Teeth was not my kind of play. It definitely fits into the theme of apocalypse that seems to be cropping up with aplomb this season (see reviews of The Children or Zvizdal here for more details). Given a modern analysis, you could consider it to be an early condemnation of climate change and humanity's effect on the world, much like those found in popular books of recent years like The Sixth Extinction, Sapiens or The World Without Us. I understood the themes and I fully believe the actors did a really good job committing to and delivering their roles. The sum of the parts just didn't add up I guess - I can tell that this was a good production of Thornton Wilder, but I just couldn't connect to the story. If you're a fan of The Skin of Our Teeth already I have a feeling you'll love this show - many in the audience seemed delighted with the production, and Girl Friday Productions clearly knows their stuff when it comes to this author - it just wasn't for me. It will be showing at Park Square Theatre through March 3, so make sure to click here to get your tickets since Girl Friday only produces one show every two years. Go and form your own opinion! I'd love to hear other people's thoughts.

Marie and Rosetta will Rock your Socks Off

Anyone who knows me even a little knows that one of my great passions is discovering, sharing, and enjoying stories that lie outside of our popular understanding of the world. 

Photos by Petronella J. Ytsma

This is especially true of historical stories, which often tend to center middle aged white dudes writing down what they did all day. What about all of the diverse, dynamic people who lie outside of this tiny box - the women, the people of many cultures, the people across the gender and sexuality spectrum? Where did they all go? Why don't we hear about them more?

Photos by Petronella J. Ytsma

If the explosive success of Hidden Figures two years ago taught us anything, it's that all of us are craving more of these undersold histories - whether we know it or not. Marie and Rosetta, opening tonight at Park Square Theatre, falls smack into this tradition and is an excellent choice for anyone looking to avoid holiday shows, learn about more forgotten historical figures, or enjoy what is easily one of the best musical theater performances on #tctheater stages this year.

Photos by Petronella J. Ytsma

Marie and Rosetta centers on the story of Sister Rosetta Tharpe, a legendary musician who is one of the (completely forgotten) founders of rock and roll music and begat a musical legacy that is thriving to this day. Her history is told through her relationship to Marie Knight, a talented gospel musician who recorded with Sister Rosetta for several years in the 1940s. For some quick background: Sister Rosetta was a highly popular musician in the mid-20th century who was a key musical innovator and cross-genre performer. She is not only responsible for being a vital bridge between musical styles as varied as jazz, gospel and popular music, but also for opening up the world of guitar playing to women and innovating guitar style to include electrical instruments. Her work was a primary influence to now-legendary rock and rollers like Eric Clapton, Keith Richards, Johnny Cash, Carl Perkins, Jerry Lee Lewis, Little Richard, Chuck Berry and even the King himself - Elvis Presley.

Photos by Petronella J. Ytsma

So if Sister Rosetta was so influential, why do so few of us remember her now? I suspect it's for two main reasons: one, that she was a black woman - historically one of the least likely kinds of people to be remembered in print or pop culture, a facet of racism that is tragically still in the process of being (very, very slowly) corrected today. Two, we were blessed with an endless embarrassment of riches of black women musicians during Sister Rosetta's time and she gets a little lost in the shuffle. In a thirty year period or so, just look at the list of giant musical stars who were recording simultaneously: Billie Holiday. Ella Fitzgerald. Etta James. Nina Simone. Diana Ross. Mahalia Jackson. Aretha effing Franklin. And so many, many more whose names are not remembered anymore. It's understandable (although very lamentable) that in a crew of such luminaries, Sister Rosetta might fall somewhat to the wayside.

It's long past time to correct that oversight, and director Wendy Knox has assembled the perfect team to do it. The linchpin of the whole thing rests with Jamecia Bennett, who is superb as Sister Rosetta (and may be my favorite performance all year). Bennett has the look, the swag, the dialogue, and especially the pipes - her voice bellows throughout the theater like a sound tsunami, enveloping each and every audience member in a tight, warm, rich embrace. If you're not in tears by her second number or so, I'm not sure you have a soul. I've often wondered if we feel god's presence through our experiences, particularly musical ones - and if that's true, Jamecia Bennett is the closest sound to god I have maybe ever heard. Rajané Katurah Brown is no slouch as Marie Knight either. She has a full, strong voice that happily disonnates with Bennett's velvety tones, and their harmonies are glorious and could easily sell some records of their own. Brown unveils her character's layers like peeling petals off a rose, and we get a rich idea of Rosetta and Marie's love for each other throughout the short show.

Photos by Petronella J. Ytsma

These two ladies are all you ever see on stage, and it's all you ever need. Against the backdrop of a shabby funeral parlor (designed to the perfect understatement by Joseph Stanley) and some cleverly subtle lighting design choices from Michael P. Kittel, their voices soar in perfect unison. Peter Morrow's sound design masterfully enhances their voices without becoming overwhelming, and thanks to him we hear everything from the luxurious low notes to the high ones soaring to heaven in all their splendid glory. Music director Gary Hines keeps a tight ship, and no one will leave unhappy with the songs they hear in this show - particularly Bennett's melancholy and devastatingly emotional solo on "I Looked Down the Line."

Photos by Petronella J. Ytsma

If you think you're a fan of rock and roll but have never heard of performers like Chuck Berry, Howlin' Wolf, Charlie Patton or Sister Rosetta Tharpe, I *highly* suggest you clear a day (or several) to peruse YouTube archives for their work. Every single rock and roll or popular musician - and I am not exaggerating, I literally mean every. single. one. - owes an unfathomable debt to the spectacular and forgotten black musicians of the American south and Mississippi blues delta who innovated techniques, fearlessly learned new instruments, invented lyricism and taught us all what soul really means in music. As Park Square Theatre's program states, Sister Rosetta Tharpe was the Beyoncé of her day, and it is truly a tragedy that she is so freely forgotten in our own time. The superb performances in Marie and Rosetta will provide you with a Grade A concert in addition to an overdue history lesson, and plenty of ideas to research in the future. I think this is a great choice if you need something to do this weekend, and it's sure to sell out quickly. For more information or to buy tickets before Marie and Rosetta closes on December 30, click on this link. And for an extra treat, check out footage of the real Sister Rosetta in the video below.

I'm Addicted to Theater Mu's Latest Show

When is the last time you saw a show authored by a local playwright? 

Photo courtesy of Theater Mu

How about a local female playwright?

How about a local Hmong female playwright?

I'm with you - Theater Mu's latest world premiere was a first for me too, and if the fun production I saw is any indication, I need to seek out more of May Lee-Yang's work ASAP.

Friday saw the world premiere of The Korean Drama Addict's Guide to Losing Your Virginity (KDAGLYV), a new work commissioned by Theater Mu. It was exactly what I needed to see that night and has all of the hallmarks of my favorite romantic comedies: it's witty, wry, wise, and totally charming.

Photo by Rich Ryan

KDAGLYV tells the story of Gao Hlee, an almost-30 year old personality coach who dreams of finding her partner and starting a family; the problem is that between her workaholism and addiction to Korean dramas, she has almost no time to actually date anyone, and the prospects seem limited. Once Gao begins working for Benedict, a wealthy CEO of a Korean company recently transplanted to Minnesota to build his family's business in the Midwest, everything changes. Gao's blunt
American style captivates Benedict, who undergoes a radical change from his frigid traditional persona. Benedict's right hand man, Secretary Kim, finds a true community in the U.S. and is liberated from the strict role he acquired in Korea, thanks to Gao's best friend Z. Gao's mother illuminates the life of a Hmong immigrant in the U.S.; Benedict's mother Madame Song gets the ultimate ghostly comeuppance (I can't say more, you have to see it to understand - but it's awesome); and Gao's cousin Tou Mong is left alone in his cause for Hmong men's rights.

Photo by Rich Ryan

There's so much more happening in KDAGLYV than that speedy overview can share, but suffice it to say: this show is just so fun! I don't know enough about Hmong life or the life of Asian Americans in Minnesota, and I learned so much from the dialogue between these characters. I'm just beginning to venture into the world of Korean dramas, and the cameos from various Korean drama shows throughout the play were hilarious and really helped lighten the mood. There's some magical realism thanks to the presence of strategic ghosts, and overall I found KDAGLYV to be a totally fresh, unique story that had me invested from the very beginning.

Photo by Rich Ryan

Part of my enjoyment was from the terrific young cast, almost all of whom are totally new-to-me actors. Dexieng Yang is wonderful as Gao Hlee, with a bubbly yet direct quality that reminds me of Reese Witherspoon's demeanor. Brian Kim leads Benedict's character through a radical transition with ease, and he and Yang have just the right kind of chaste chemistry this story needs (and he sings a wicked karaoke number). Clay Man Soo is utterly charming as Secretary Kim, and his youthful naivete is a great foil to Khadija Siddiqui's tough demeanor as the no-bullshit Z. Katie Bradley is delightfully evil as Benedict's exacting mother Madame Song, and Phasoua Vang has a warm, direct delivery as Gao's mother that reminds me of many other real-life immigrant mothers I know.

Photo by Rich Ryan

Like many of my favorite sets from Theater Mu, this one is simple but has clever blocking that always tells you where you're at and provides occasional surprises. Most of the scenic design, by Sarah Brandner, involves different sized boxes arranged to indicate cars, a bar, or office furnishings. Simple but evocative props (by Abbee Warmboe) like steering wheel give us all we need to follow the action. Samantha Fromm Haddow's costume design is classy and colorful, with each character looking sharply dressed throughout. And the lighting and sound design (by Karin Olson and Matthew Vichlach, respectively) provides just enough magic for us to be entranced by Gao and Benedict's unlikely love story.

Photo by Rich Ryan

The Korean Drama Addict's Guide to Losing Your Virginity is just the kind of fresh, interesting new stories that I love to see on stage (and that Theater Mu does so well). It's once again proof that not everything needs to have a giant budget and shiny accouterments to be worthy of watching. Like any brand-new work there are some kinks here, but I wholeheartedly enjoyed myself, and I'm so glad that KDAGLYV exists. May Lee-Yang is an exciting new voice in the playwright world, and I can't wait to see what she dreams up next. In the meantime, I'd love for Netflix to pick up this script and bring it as a serialized show to televisions everywhere - I'd binge the heck out of it. Please stop by Park Square Theatre to see this delicious new play before it closes on August 19; click here for more information or to buy tickets.

Baskerville Offers a Sublimely Comedic Rendition of Sherlock Holmes

Every once in a while, someone surprises theatergoers with a sublimely fresh take on an old story. 

Ken Ludwig's Baskerville: A Sherlock Holmes Mystery (Baskerville), the latest in Park Square Theatre's annual mystery series, offers a totally new perspective of The Hound of the Baskervilles, perhaps the most famous of the Sherlock Holmes stories. I was first introduced to the narrative as a kid watching Wishbone (I'd LOVE to see a fresh remake of that classic children's show FYI); later in many film iterations; and a couple of times on various theater stages. It's always been presented to me as a serious, eerie, almost horror-esque piece. Normally this is Not My Thing, but I love Sherlock Holmes and have always found it interesting to compare takes, so I roll with it.

Imagine my surprise then when Holmes and Watson strut onto Park Square's stage played by female actors, surrounded by an unapologetically diverse cast, and the show is downright... campy? Within minutes the whole audience was teetering with laughter, and by the end of the play we'd all gotten out several belly laughs. It was totally unexpected but it worked for me, and hats off to the actors and crew for committing 100% to a big risk that really pays off.

A quick summary of the play goes like this: Dr. Mortimer appears at 221B Baker Street and implores Holmes to investigate the untimely death of his patron Charles Baskerville and protect the new heir to the estate. The suspicious circumstances of Baskerville's death are too tempting for Holmes to leave behind, and she and Dr. Watson set out at once to investigate. Their case leads them quickly to the eerie Baskerville manor on a moor in Devonshire, where they meet a host of shady employees and suss out multiple suspects. It seems that everyone living on the moor has a secret to keep, and as we learn more about said secrets it becomes increasingly clear that the biggest of all is hiding in plain sight. I can't say too much more - most of the fun is in figuring out whodunnit after all - but it's a wild ride involving people in disguise, convicts, burned letters, ghostly figures, and a plethora of accents.

I'll be honest: right away I found the over-the-top comedy to be a little much. It felt like it was cheapening the story and overacted, and I wasn't on board. But the more we got into the show, the more genius this vision from director Theo Langason felt. Much like the pleasant revelation that Romeo and Juliet could be funny (click here to read my review of the Guthrie's excellent production last year), I began to think: why *couldn't* Sherlock Holmes be a funny story? I mean at this point the character is somewhat of a cliche, and if there were any story to spoof, Baskerville would be it. The entire narrative - from the ghastly mastiff that frightens the Baskervilles to death, to the macabre manor on a moor, to Sherlock's impossibly adept deductions - is so over the top that it makes for a perfect parody. That's not to say that this production doesn't have its serious moments; there are many times when we are held in suspense and still feel the creepy vibes radiating from Devonshire. But the overall mood was light, which I frankly welcomed, and really allowed this talented cast to showcase their many gifts.

This rendition could only work with people who are supremely talented and all-in, and this cast delivers. Anchoring the action are McKenna Kelly-Eiding and Sara Richardson as Sherlock Holmes and Dr. Watson, respectively. Their chemistry is terrific and they make an awesome pairing. Kelly-Eiding has a droll delivery that retains Holmes' serious nature while still being a whole lot of fun; Richardson has a posh, spot-on accent and wide-eyed narration that I found positively delightful. The rest of the cast plays multiple characters each - I'd say at least 5 or 6 characters per person - in a dizzying order that lifts the tempo of the show. Ricardo Beaird brought a Keenan Thompson quality to his parts, and I found his farcical acting really hilarious. Eric "Pogi" Sumangil brought a self-aware attitude to his caricatures, and his masculine strutting had me in stitches. The biggest surprise was new-to-me Marika Proctor, who disappeared into each part and delivered perfectly pitched accents for each and every character. She disappeared into her roles and was totally delightful, and I hope I get to see her in more productions soon. It's clear overall that this cast had a total blast getting into character, and it was fun as an audience to see them clearly enjoying themselves so much; it helps us all feel in on the joke, and there's no way such a preposterous take on this story could work otherwise.

The basis of the set (designed by Eli Sherlock) is a wall of portraits in wealthy manor, with large portrait frame-style entrances that various sets are pushed through as the show progresses. It cycles through a dizzying range of settings - from offices to 221B Baker street to rooms in the manor and the moor itself. For as many set pieces as there are, you can double (or triple!) the number of costumes (designed by Mandi Johnson) and props (by Sadie Ward) that cycle through the show. It's an astonishing amount of work to keep track of, but the usage is pretty seamless and allows us to keep being surprised as each new character and location is unveiled. Hats off to the all-female crew led by Laura Topham (three cheers for that!) who keep track of all of this and swiftly transition us between vignettes. Baskerville clocks in at a little under two and a half hours, and it would feel really long if it weren't for their expert work. There are several nice lighting moments as well from Michael Kittel that truly set the mood, working in tandem to direct us to the intended emotion with the flick of a switch.

Baskerville is such a great example of what happens when you get a diverse, talented team together and enable them to really let their imaginations run wild. It's one more gem in Park Square's growingly progressive portfolio, and I was totally charmed by this fresh take. I think even purists can get in on the joke if they come with an open mind. It's Victorian-mystery-novel-meets-Wes-Anderson-films-meets-Scooby-Doo, and who doesn't want to see that?! Baskerville runs at Park Square Theatre through August 5; for more information or to buy tickets, click on this link.

Continuing the Conversation: Sexual Harassment Resources

Of all of the many reasons I'm proud to be a Twin Cities Theater Blogger, the #tctbconvo series is at the very top of my list. 

Created as a response to the controversy over Refugia last year, #tctbconvo represents the Twin Cities Theater Blogger's attempt to host proactive dialogues providing solutions and resources for major cultural issues on stage and behind the curtain. Past subjects have included racial diversity in casting and production choices, women in theater, mental health, disabilities and the differently abled, and sexuality and gender identity. We have been blessed to have a diverse, dynamic group of panelists featuring local theater creators and artists - all of whom have generously donated their time - who have fiercely advocated for their work and provided some truly excellent resources to help theaters navigate these issues.

I wanted to write a quick post to quickly shout out our most recent #tctbconvo, which was hosted Monday night at Park Square Theatre and focused on the issue of sexual harassment. I think we all can recognize what a timely subject this is, and I was thrilled with the nuanced dialogue from our panelists. We had our first ever guest moderator (shout out to Caroline Palmer of MNCASA!) and it was a lovely dialogue.

As usual we recorded the entirety of the convo for anyone who couldn't attend. You can click here to go to the YouTube link, or click on the embedded video above, to listen to the whole thing. I also took some breakout notes on good resources the panelists recommended for anyone trying to find ways of crafting policies, making reports, and generally trying to understand this issue, which I have linked below. Please share around and let me know - are there any more resources that are really helpful that we could include on this list? Each organization is linked on the name - click directly to go to their websites.

• For an inspiring group of artists taking action against sexual harassment: Not in Our House - Chicago
• For an unbiased, governmental reporting and policy resource: MN Department of Human Rights
• For an example of a network supporting women in improve: Fair Play Minnesota
• For an anonymous reporting hotline: RAINN
• For a local theater organization hosting trainings, resources and more: MN Theater Alliance
• For a model of a company doing it right: Green T Productions
• For research about the psychology behind sexual assault: The work of David Lisak
• For inspirational resources for women and survivors to find their voice and to heal: The work of Rebecca Campbell
• For understanding the biological effects of assault on a victim: Google search the term "trauma brain"
• For a visual understanding of what constitutes sexual harassment: Watch David Schwimmer's video series
• For resources about getting men to talk to each other: Justin Baldoni's Man Enough Movement

UPDATE: For a consistently updated resource on this issue, please consider visiting the website for Sunshine Behavioral Health. They have put together a resource that discusses emerging solutions to domestic violence that is constantly updated. Some highlights of what it includes are:

• Domestic Violence Defined
• Teen Dating Violence 101
• Stopping Teen Dating Violence
• Early Prevention is Key
• Programs to Stop the Cycle
• Free hotlines / organizations for DV victims 

Click here to find the link and more resources for survivors.

Thanks SO much to all of the panelists for this and previous #tctbconvos - please come join us in the future! Our next date is tentatively set for Monday, April 30. To listen to previous #tctbconvos, please click on this link to go to our YouTube page.

Park Square's Pirates of Penzance Reinvents A Genre (In a Great Way)

Sacred cows of the theater be warned: your days of being untouchable are careening towards a swift end. 

Photo by Petronella Ytsma

And what great news that is! Seriously, I've been advocating for years, ad nauseam (#sorrynotsorry), that we need to really feel comfortable revising things for the modern age. Shakespeare is fine and all but there is no reason we need to perform 5+ hour long shows in britches and codpieces and slow vaunted tones. It's totally possible to take a scalpel (or a more woodchopper approach if you're feeling feisty) to old pieces and actually - gasp! - improve them through judicious editing.

Photo by Petronella Ytsma

With that said, we all know I'm willing to give points immediately to anyone with the cajones to actually take such an approach to a beloved classic. I was not expecting this to be the case at Park Square Theatre's new production of The Pirates of Penzance - in fact, this is one of the few old shows I'd probably be fine with leaving as-is because I enjoy the original so much - but I was deliciously surprised to find that this is not at all the same old show we've all seen many times. Three huge huzzahs to the delightful editing from Doug Scholz-Carlson and Bradley Greenwald, which manages to somehow shorten the entire run-time of this show without cutting any songs (although some have been modified); add in a bunch of surprisingly fascinating trivia about the real Gilbert and Sullivan; and overall just breathe fresh air through all the dusty cobwebs of a timeworn story.

Photo by Petronella Ytsma

The overall tale of The Pirates of Penzance is the ultimate farce of a marauding band: a troupe of pirates who can't seem to turn a profit due to their merciful natures is hoodwinked by a major general, who lies about his parentage to keep them from hauling off his unwed daughters. At the heart is the pirate apprentice Frederic, a young man who would do anything to become a respectable member of society but is bound by an interminable sense of duty to remain in the pirates' employ. A pirate king, a bawdy band of policemen, a surprisingly brave daughter and a whole host of ridiculous antics round out the story. In this fresh addition, a plot telling the true story of how The Pirates of Penzance was initially conceived, written and performed runs concurrent with the musical itself, weaving in and out with factual asides and interesting side stories for consideration.

Photo by Petronella Ytsma

Much of this show's definitive success comes from the anchors of the cast. Bradley Greenwald preens across the stage in his concurrent roles as Arthur Sullivan and the Johnny Depp version of the Pirate King. His gorgeous voice is perfect for the part but he also manages to keep the show grounded and his comedic timing on point. This Pirates wouldn't be possible without him, and his touch is all over the show. Alice McGlave, as Mabel and Blanche Roosevelt (the original soprano who sang the role), lays her buttery soprano voice all over the music and brings an unexpected strength to her part. She's super charismatic and the vocal equivalent of an oaken Chardonnay, and I hope I get to see her perform in more shows. Christina Baldwin defies stereotype as the Major General and the Sergeant of Police, two traditionally male roles that she knocks out of the park. Her subversively modern feminist re-writes of several of the lyrical interludes make this performance contemporary and enlightening, and it was a real treat to see these vaunted roles performed in a totally new way.

Photo by Petronella Ytsma

The rest of the cast is equally great. Zach Garcia demonstrates a heavenly set of pipes in his parts as W.S. Gilbert and a member of the pirate and policeman bands; I hope to hear him sing more in the future, too. Max Wojtanowicz is surprising and heartwarming as Frederic, and lilts his approachable tenor through the tough verses. Elisa Pluhar is delightful as Ruth and brings a muscular presence to her part that I found endearing and fresh. The remaining performers - Charles Eaton, Elizabeth Hawkinson, and Victoria Price - admirably encompass the outstanding roles and make the staging feel far more lush than evidenced by the lean cast list. The same is true of the modest three-person pit, which does a great job of fleshing out the score (especially when supported by Greenwald and McGlave). It's a pleasure to see them sit on stage and get to participate in the performance, further enriching the "glance behind the curtains" feel to the show.

Photo by Petronella Ytsma

Such great attention to detail was paid throughout this production, for which I am very grateful. This starts with Director Doug Scholz-Carlson, Music Director Denise Prosek, and Movement and Dance Director Brian Sostek. Musicals can be notoriously costly and person-heavy productions; this lean team elegantly executes this show on a much bigger feeling than you would expect, and it's a treat to see their efforts rewarded. The set by Ursula Bowden has all sorts of hidden surprises and has the emotional impact of putting together a child's novelty LEGO set. There are all sorts of nooks and crannies and clever multitasking props, and what seems banal at the outset magically transforms as the action inspires. The costumes (by Rebecca Bernstein) are equally canny, with a dapper cut and many unexpectedly multi-use applications that again make the production feel much more lavish than it actually is. Lighting design from Michael Kittel is fresh and instantly transitions the audience between Gilbert and Sullivan's ship and the play itself. The sound mixing from Jacob Davis is excellent, not only providing a great musical mix but also allowing every word in each song to be heard. Anyone who has seen this show knows how important it is to use impeccable diction while performing it, and this is honestly the first time I can say that I was able to clearly hear every lyric enunciated.

Photo by Petronella Ytsma

Let me be totally honest: I was raised watching the delicious 1983 film adaptation starring Kevin Kline, Angela Lansbury and Linda Ronstadt which is, to my mind, the definitive version of this musical. I've seen several live iterations of the show, all of which strive to capture that original magic, and which usually fall somewhat short. I wasn't intending to see this particular version because I've watched it so many times and thought, what could possibly be different this time?

Photo by Petronella Ytsma

But I'm SO thankful that I did come! This revision swept me off my feet with its charm and energy, and I think it's the best on-stage iteration of Pirates of Penzance that I've seen to-date. The musical performances are shockingly lush considering that there are only nine people performing on stage, the set was innovative and charming, and the overall energy was engaging and vivacious. I actually learned several things I didn't know about Gilbert and Sullivan, and I had an outrageously good time laughing along with the audience and bathing in the beautiful harmonies from this terrifically talented cast. I can't recommend this staging highly enough, and even die-hard and time-worn Pirates of Penzance fans are guaranteed to find something new to love in this show - I promise. For more information or to buy tickets before the show closes on March 25, click on this link.

And as an important aside: if you enjoy this production, make sure to spread room on your calendar to check out Princess Ida from the Gilbert and Sullivan Very Light Opera Company next month! Dedicated to all things Gilbert and Sullivan, this local troupe is putting on one of their lesser-known shows and it looks to be a hoot. I'll be going for the first time ever and I invite you to join me! 

Cardboard Piano is Agonizingly Poignant

Where should forgiveness begin and end? 

Pictures speak louder than words. 

That is the question at the heart of Cardboard Piano, a gutwrenching play about the liminal nature of morality, kindness and grace when they are applied in the harshest imaginable circumstances. Who is deserving of mercy in light of the worst crimes? What acts are truly unforgivable? Who is allowed to define what is and is not moral, and the appropriate way to heal from immoral acts?

Photo by Petronella J. Ytsma

These impossible questions are asked through the story of Adiel, a Ugandan girl, and Chris, the daughter of white American missionaries, who are deep in the throes of a young romance. The girls are truly in love and hold a secret wedding for themselves, intending to run away together to a safer place than the small Ugandan village they call home, where they will certainly be ostracized - and Adiel may be killed - if others learn of their sexuality. Their night of joy and bright future is soon interrupted forever with knowledge of Chris's parents' disgust at their relationship, and with the entrance of Pika, a child soldier on the run from his horrible master. The girls help Pika and promise to care for him, especially after he saves them from the leering intentions of his former commander. Pika is not as forgiving as the girls are of his sordid past once he learns of their sexuality, killing Adiel in his revulsion. The play resumes ten years later as Chris returns to Uganda and once again meets Pika; both of them have been irreparably changed by their encounters, and the rest of the show wrestles with how they should interact and what their roles in atoning for the drastic consequences of their young life are for the future. I won't say more about their dialogue, but it's truly fraught, and it will leave you with many heavy thoughts - as well as some small hope for human nature - by the end of the play.

Photo by Petronella J. Ytsma

This is a difficult show with so many weighty themes vying for priority - homosexuality (especially outside of westernized countries); white savior complexes; the damagingly judgmental yet also incongruously (but limited) redemptive qualities of Christianity; the victims of rebellions and civil wars; and a community's capacity (or limits) for forgiveness and tolerance. It wouldn't work without a strong cast, and Cardboard Piano features a good one. Roles are given equal weight and stage time, making this a truly collaborative enterprise. As always, Ansa Akyea brings gravitas and depth to his roles as the rebel commander and Pika as an adult. His nuanced portrayals allow us to humanize the devastating reality of his characters, and his monologues as Pika provide some profound food for thought. Kiara Jackson is radiant as Adiel and Pika's wife Ruth, with a calm, placid yet passionate performance. She warms up every line she speaks, and I can't wait to see her in more shows. Adelin Phelps is explosive as Chris. It's clear that Phelps feels this role to the tips of her fingernails, and her physical presence is dynamic as soon as she steps on stage. Michael Jemison is heartbreaking as young Pika and Adiel's cousin Frances. He has such a youthful, wistful vibe, and you can't help but feel for the painful place in which his characters reside.

Photo by Petronella J. Ytsma

Signe V. Harriday has done a terrific job of directing this fragile story, and I want to make sure to give her commendation. There is so much going on in this narrative that it could easily become overwrought, but with her deft supervision we are able to feel each layer of the story. Foster Johns does a great job of overseeing dialect coaching, with notable accents from most of the actors. Sara Wilcox's costume design is vibrant and simple, as is the set design from Sarah Brandner, keeping the focus on the complex plot unfolding on stage. And a shout out to Lyndsey Harter, who does a bang up job of stage management and keeps the show moving along at a very clippy pace.

Photo by Petronella J. Ytsma

I want to give huge props to Park Square Theatre for tackling this play. I wasn't sure what to expect from the description and by about 15 minutes in it was clear that I was in for an impossibly dark emotional rollercoaster. This production of Cardboard Piano is nuanced, thoughtful, and has clearly been invested with a lot of intention and care. What could feel like an overly stereotyped or inordinately dramatic plot line instead feels real, impactful and brave. Cardboard Piano is not afraid to ask audiences hard questions - about their beliefs, their stereotypes, their culpability in propagating horrific practices overseas, and the hard work we all must do to create a more just and fair world. I was surprisingly moved throughout this performance (thanks in part to the terrific cast), and I know I will be thinking about the nuances of the story of Cardboard Piano long after the lights close at Park Square on February 18. For more information or to buy tickets, click on this link.

Thrillist: Best Winter Date Ideas

What do you do when the weather is cold and #dryjanuary is only half over? 

Photo from Thrillist. 

If you're feeling a little stir crazy and uninspired with your dating life (I don't blame you), look no further than this comprehensive list of winter date ideas that I pulled together for Thrillist. There's something for everyone on this list, from theater to classes to nature appreciation and outdoor athletic activities. There's so much going on in the Twin Cities right now - especially thanks to the Superbowl coming - so there's no excuse not to venture out and enjoy some of our unique things to do. Take a look at my list by clicking here and tell me - did I get it right? What would you add? I'd love to hear your suggestions!

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Date night -- whether that means meeting your Bumble crush for the first time or trying to have an adult conversation with your spouse sans the kids -- should be the bright spot in your busy week. We think the best dates are affordable, quality time spent with your significant other, and in the Twin Cities there’s no shortage of great options. Forget “let’s grab a drink!” (insert boring eye-roll here) and check out this list we’ve scouted instead below.

See a spectacular waterfall
Minnehaha Park
One of the most scenic date spots in the Twin Cities? Minnehaha Falls, hands-down. The 100-foot cascade is a sight to behold any time of year, whether it's flowing in the summer or frozen in the winter. You can view it from the top or descend the stairs to take it all in from the base.

Ice skate with a view of downtown Minneapolis
Loring Park
If you’re brave enough to explore the outdoors despite the cold temperatures, make sure to swing by the Wells Fargo Winterskate in Loring Park. You can always stop by one of the many ponds or lakes in the Twin Cities too, of course, but this location also features free skate rentals, a warming house, and a groomed rink, making it perfect even for the greenest skater.

Warm up at the Como Zoo Conservatory
Como
The Como Zoo is a popular summer attraction (a free zoo? Who wouldn’t go?), but why not head there in the wintertime? Rather than see animals, you can stop by the Como Zoo Conservatory which is a free, glass-enclosed building, filled with steamy tropical heat. In addition to the gorgeous gardens, visitors can attend a free weekly concert series in the conservatory. Nothing sets the mood like an abundance of flowers.

Pull your best Harry Houdini by playing the Escape Game
Bloomington
Intentionally locking yourself and a small group into an escape room for an hour might not sound like your idea of fun, but it is truly a blast. With themes from a Mars Mission to a museum heist, the Escape Game is the best group date out there for mystery and whodunit fans.

Get dinner and a show at the largest dinner theater
Chanhassen
If the idea of hopping between locations is just too exhausting for you, look no further than the Chanhassen Dinner Theater (CDT). The largest dinner theater in the country, CDT has a rotating schedule of spunky musicals, comedic shows, and musical theater that serves multi-course dinners along with the performance. Free parking and excellent customer service make this more than worth the drive.

Indulge your inner Al Capone
Wabasha
Learn about St. Paul’s mobster past and practice your swing dancing steps with a visit to the Wabasha Street Caves. With live swing bands and year-round historical tours, the Wabasha Caves will teach you everything you didn’t know about St. Paul’s dark, Prohibition-era past. It's cheap too; swing night tickets are less than $10.

See world-class exhibits for free
Whittier
In case you didn't know, the Minneapolis Institute of Art is free and boasts one of the best collections of Asian Art in the United States. Attend on a trendy Third Thursday of the month, where events like fashion shows from local designers or concerts by local bands are featured inside of the exhibit halls.

Consider some contemporary art
Loring Park
The Walker Art Center regularly makes national headlines with its collection of truly abstract, contemporary, mind-bending theater and art displays. Thursday evenings are free thanks to a Target sponsorship; special exhibits currently include a display of Cuban art that is sure to warm your frigid soul. If you’re extra daring, venture across the street for a stroll around the Walker’s world-renowned (but outdoor only) sculpture garden, which is open year-round.

See a free show about a new culture
Cedar Riverside
With their totally unique Radical Hospitality program, Mixed Blood Theatre gives you no excuse to avoid checking out our vibrant local theater community. Most of the performances are free charge, with a host of programming representative of many of the local immigrant groups in the Twin Cities, making Mixed Blood a must-visit destination any time of the year.

Visit a museum after closing
Downtown St. Paul
Geek out with a visit to the Science Museum of Minnesota, which regularly hosts adults-only events after-hours where you can enjoy the interactive exhibits kid-free. With tons of special events like Star Wars Day, Lego construction challenges, and Omnitheater screenings, there is no shortage of date night activities to be found here.

Take a selfie above the Minneapolis River
Downtown East
There’s a reason why people fly from all over the country to the Guthrie Theater. Aside from the gorgeously staged productions in three separate theaters, the facility itself is an architectural landmark that provides #instaworthy views of the beautiful Mississippi Riverfront from many angles. Combined with delicious on-site dining, this theatrical destination is a great one-stop date shop. Even better: Some performances go for as low as $15 a pop.

Expand your mind with an avant-garde show
Seven Corners
The Southern Theater is one of the busiest and most affordable theatrical venues in the Twin Cities and hosts a rotating schedule of shows from indie companies to one-man performances and student revues, meaning you're always guaranteed to see something unusual there. Come for a cheap ticket to an unknown theater company; stay for the hauntingly gorgeous historical interiors.

Indulge your inner art activist
Northeast Minneapolis
If you and your date consider yourselves part of the #resistance, look no further than the Public Functionary gallery, which routinely hosts politically charged work by diverse artists that are sure to trigger your political touchpoints.

Take a leisurely stroll around the lake
Literally everywhere
One of the best parts of living in the Twin Cities is our abundance of urban bodies of water. Don’t let the weather scare you off; parks are still open, and many have planned seasonally appropriate activities that are unique and a whole lot of fun.

Putt through some indoor mini-golf
Hamline-Midway
For those who are going fully stir crazy, Can Can Wonderland is a terrific option to check out. While the main attraction is an elaborate indoor mini-golf course, there are lots of other active options, from pinball machines to variety shows to an indoor beach boardwalk, to keep you occupied.

Vertical Endeavors
Those who climb together, stay together
Bloomington, Minneapolis, or St. Paul
Prepare for warmer, better, barer days by getting some training in at Vertical Endeavors, the Twin Cities’ resident rock climbing society. Options are available for all skill levels, giving anyone the chance to get sweaty in more ways than one.

Drive through the Mall of America -- literally
Bloomington
Forgo the typical mall shopping experience at the Mall of America and immerse yourself in a world of full-body virtual reality games and -- wait for it -- a full-size indoor go-kart racing track. Smaaash has 40,000 square feet of entertainment that includes a multi-level racetrack. Say no more.

Please a big group at Punch Bowl Social
St. Louis Park
Another great spot for group dates, Punch Bowl Social has something to please everyone. There are bowling lanes, arcade games, karaoke, and table games, so if Punch Bowl Social can’t keep your crew engaged, nothing can.

Catch a movie in a unique theater
Columbia Heights, Edina, St. Anthony Main
Movie dates are one of the oldest (and least original) ideas you can have, but they’re a crowd pleaser for a reason. Spice up your cinema card by taking your date to a unique theater like the historically renovated Heights Theater, avant-garde and international films at Edina Cinema, or an eclectic mix of blockbuster and independent films at the cobblestone-paved St. Anthony Main Theatre.

Pick up some new reading material
Uptown
Think of Magers and Quinn as Minnesota’s version of The Strand. With an expertly curated roster of books (including troves published by the Twin Cities’ many award-winning indie presses) and a full calendar of literary events, there’s something here to please every bibliophile.

Indulge your inner Ice Queen at an ice castle in Excelsior
Excelsior
Speaking of ice castles, if you are up for a short road trip you have no alternative but to head to Excelsior for their magical display of ice castles, which are constructed and refreshed daily. If you’re impressed by the formal castle constructed at the St. Paul Winter Carnival, you’re bound to be blown away by these luminescent natural beauties.

Get hands on at The Loft
Downtown East
If browsing a bookstore isn’t bookish enough for you, you’re in luck: Minneapolis hosts The Loft Literary Center, a temple to all things paper. There are meeting rooms, a coffee shop, and a bookstore (as might be expected), but look a little deeper and you’ll find a plethora of unique activities to partake in. From writing classes to hands-on activities like making chapbooks or letterpress, The Loft is a must for lovers of the written word.

Practice your best Patrick Swayze pottery at Fired Up Studios
Golden Valley
Are you a secret 1990s film aficionado? You wouldn’t be alone. If you’ve waited all your life to pull off your best Demi and Patrick in Ghost, look no further than Fired Up Studios, a local pottery studio that -- no joke -- offers "clay dates" for couples.

Use your noodle with Trivia Mafia
Metro-wide
Many local watering holes host trivia nights, but for the safest bet for a great trivia experience, you should attend one led by Trivia Mafia. Hosted at locations throughout the Twin Cities, Trivia Mafia provides excellent bar trivia as well as drunken spelling bees, bingo, and live radio trivia available any time you want to quiz yourself (or vet your date’s IQ).

Free your inner Che Guevara
Seward
Revolutionaries and anarchists will feel right at home at Boneshaker Books, which is the truest embodiment of an indie bookstore. Run solely by volunteer power, Boneshaker hosts a litany of queer and radical reading clubs, promotes social justice and movements, offers an extensive list of hard-to-find books and zines, and will even deliver your books by bicycle if it’s just too cold to get them yourself. 

Cook yourselves dinner
St. Paul, Minneapolis, Stillwater
Why go out to dinner at a restaurant when you can cook your own with instruction from a pro chef? Local cooking shops like Cooks of Crocus Hill and Kitchen Window offer classes with instruction on everything from make-your-own sushi to hand-rolled pasta to cupcakes and macarons. Afterwards, you get to eat whatever you make -- and you don’t have to tip!

Go wild with a trail hike
St. Paul
Get active with an afternoon hike at Fort Snelling State Park’s Pike Island -- the three-mile loop leads you along the path where the Minnesota and Mississippi Rivers meet. It’s hard to believe a trail this scenic is just off the highway, and if you look closely you and your sweetie may spot deer, beavers, or otters along the shore.

Go wine-tasting in the countryside
Saint Croix River Valley
What better place is there to spend a lazy weekend date than a winery? Just a short drive (about a half-hour) from the Twin Cities is the Saint Croix River Valley, a peaceful place to escape urban life for a glass of vino in the countryside. Some favorites include Chateau St. Croix and Dancing Dragonfly Winery. Sip and sample at their tasting rooms and bring back a bottle for later.

Get your game on at an arcade bar
Uptown
You can’t beat playing like a kid again...except when you also throw in some 21+ drinks and an attractive date. Minneapolis bar Up-Down charges only a quarter for throwback arcade games from the '80s and '90s and they also have life-size Jenga and Connect Four. The house-made Mac & Cheese Pizza is way better than whatever the gaming spot of your youth served, and we suggest you take advantage of the “Six Pack and a Pound” special- six domestic tallboys and a pound of tokens -- at a steal of a price.

Bad Axe
Throw an axe together
Northeast
If you’re looking for a unique date idea that also serves as a stress reliever, check out Bad Axe, which recently opened an 8,000 square foot building in Northeast. They supply you with tools, coaching, and safety tips so you can learn how to throw an axe like a Northwoods lumberjack. Described as “like bowling, but edgier,” it’s a guaranteed good time. Afterwards, stop at neighboring Norseman Distillery for a cocktail.

Best of 2017: My Favorite Theater Performances and Top Blog Posts

No annual roundup would be complete without a listing of the top performances I saw last year. 

The most exciting exchange I've ever had on Twitter. 

If I had to sum up my feelings about the Twin Cities theater scene in 2017 in just a few words, I'd leave you with these: diverse, general excellence.

It's hard out here at times for someone who sees a lot of shows to write reviews. There are so many companies doing so many different things that they often don't belong in the same categories. The quality in general tends to be very high from show to show and it's quite rare that I see something that I totally despise or just can't support. I hate to sound like a recurring positive broken record, but I genuinely enjoy 90+% of everything I see and I want you all to know how much I love the amazing work amassed by our talented theatrical community as I engage with it.

So with all that in mind, let me introduce you to my favorites of 2017, shows that I can't stop telling people about even months after they've closed and that I desperately wish would return in all of their glory. I'm thoroughly excited for the upcoming seasons from each of these wonderful companies and let me know: what were your favorites? Do you disagree with any of my choices? What are you looking forward to in 2018?

*Note: all shows are listed in order of when I saw them throughout the calendar year. 

**Note: all photos were used with permission from the theater/company and are sourced in my original reviews, which are linked below. Please click through to find credit. 

1. Vietgone (read my original review here) 

This was the first must-see performance of last year for me and it cemented the extraordinary cast - including perennial favorites Meghan Kreidler and Sun Mee Chomet, as well as new-to-me David Huynh - as must-sees in any upcoming performances. I wrote about Vietgone that it was "Hamilton meets Kendrick Lamarr meets the Vietnam War, and it's sublime" - words I still vouch vociferously for to this day. From the witty dialogues to the sexy, serious subject matter, Vietgone brought an untold American perspective to vibrant, throbbing life.

2. Girl Shakes Loose (read my original review here)

I didn't label Girl Shakes Loose as a must-see when I saw it as I had just posted my Vietgone review and I thought two raves in a row was too many. I've regretted that ever since. This edgy, thoroughly modern world premiere musical told the story of a bisexual millennial in a completely new way (both musically and narratively), and I've thought of it often since it left the stage. Girl Shakes Loose starred many terrific young African American actors who are sure to become stars in the Twin Cities theater scene and the only phrase I can use to describe it appropriately is screaming fresh. Girl Shakes Loose didn't get nearly the amount of press it deserved when it came around last year; here's to hoping it comes back and gets more attention.

3. The Boy and Robin Hood (read my original review here) 

Is there anyone more ambitious right now than Tyler Michaels (except for Kory LaQuess Pullam, of course)? A cornerstone of an excellent passel of hyper-talented young performers making their rounds in the Twin Cities theater scene these days, Michaels has moved himself from starring roles to working behind the red velvet curtains in the director/producer/choreographer's chair, and the early fruits of his labors are promising indeed. Michaels' new venture, Trademark Theater, is not only performing new work but writing and scoring all of that work at the same time. I was thoroughly impressed with this new take on Robin Hood and it was easily one of my favorites last year. Trademark has a few growing pains to work out but have no fear: the path they are on is fantastic, entertaining, and bright indeed.

4. Little Wars (read my original review here)

I've been so excited to see the explosion of women on stage and behind the scenes, and one of the most promising new developments is the work of Prime Productions. Concentrated on telling the stories of "women of a certain age," Prime Productions got off to a banging start with Little Wars. I was delighted to see such a strong group of female performers and learned so much about a period in history I knew little about. Prime Productions fills a vital hole in our theatrical community, and I can't wait to see what they'll be up to next.

5. Native Gardens (read my original review here)

What can I saw about Native Gardens that I haven't already said? This brilliant, masterful comedy from Karen Zacarias was an immediate standout when I saw it last summer. The set is one of my favorites I've ever seen, but even that was totally outshadowed by the delicious performances from this tight four-person cast. Covering any political issue you can think of (from immigration to women at work to motherhood to gentrification) with finesse and biting honesty, this Guthrie production was pitch-perfect from start to finish.

6. The Immigrant Journey Project (read my original review here)

Mu Performing Arts has always been one of my go-tos for fresh, totally original work, and their Immigrant Journey Project was totally unlike anything I've ever seen. Created with the benefit of grants and participation from local immigrant communities, this show told many diverse, real-life stories of the ways that immigrants came to Minnesota through beautiful vignettes and brightly designed puppets. The unpolished, raw performances from local immigrants, several of which were translated from their tribal languages into American English, were moving and vital, and I thought of them long after the lights turned up. The Immigrant Journey Project was everything that Refugia (which had a much larger budget, profile and press coverage) should have been, and I hope we get a series in this vein with Mu at the helm.

7. In The Heights (read my original review here) 

Lin Manuel Miranda is the rare example of a celebrity whose praises may actually be undersung. Many people know Miranda for his work on Hamilton and Moana, but before they existed he created In The Heights, a beautifully performed musical at the Ordway this year. In The Heights proved that you don't need to travel to New York City to get a full on, spectacular, Broadway-caliber theatrical performance; instead, you can stay right here and indulge in top-notch work at one of our many theatrical gems. There are few things I would gladly purchase tickets to watch again and again within a limited week-long run; In The Heights was one of them. That is all you need to know.

8. Man of La Mancha (read my original review here)

Man of La Mancha is one of those revered musicals that has never done much for me. It's fine, whatever, I'm tired just thinking about it - except in relation to the fabulous rendition performed by Theatre Latte Da last fall. Featuring a terrific cast with several new-to-me actors (who I am dying to see come back in roles in other local shows), Man of La Mancha made me fall in love with a musical I thought I'd never care about. The inventive staging, hearty musicality and inventive costumes sold me from the get-go as well as on future productions from Theatre Latte Da.

9. Wedding Band (read my original review here)

Wedding Band was one of the shows I was most excited to see last year, and the Penumbra's production exceeded all of my high expectations. Starring a revelatory Dame-Jasmine Hughes, Wedding Band is the only play I've seen to-date that tells the truth - the whole beautiful, painful, terrifying truth - of interracial relationships in the United States. It moved me from start to finish and gave an articulate voice to many of the struggles I face in my own interracial relationship, and I can't recommend it highly enough if you ever get the chance to see it.

10. The Christmas Carol (read my original review here) 

I know, I know - how on earth did the Guthrie's perennial holiday show make my list? I'm as surprised as you are, but let me tell you: I was blown away by the fresh staging by this first-ever female directed production. With select performances featuring a woman in the role of Ebeneezer Scrooge, a noticeably diverse cast, an expertly trimmed script and a gloriously lavish set, this Christmas rerun entranced me from the get-go and was one of my most recommended shows over the holiday season.

11. Phantom of the Opera (read my original review here) 

Another pick that's not the most original, but I make no apologies. Phantom of the Opera has been a favorite show for my entire life, and the re-imagined set in this production (which runs through tomorrow - you can still grab a ticket if you dare!) is still my favorite I've ever seen. In my life. Of all time. It's lavish, it's transportive, and combined with the experience of seeing the first ever African American actor I've seen in the role of Phantom (my favorite second only to Michael Crawford, a testimony in itself), this was a top-notch production that I am not ashamed to ring the bell for.

12. Dot (read my original review here)

Dot was one of the most unexpected surprises on my best-of list this year. The summary - a story about a woman suffering from Alzheimers and her family over the holidays - isn't terribly engaging and sounds downright depressing. But what I found in this lovely gem of a show was education about an increasingly common disease, terrific ensemble performances, and a bevy of hilarious scenarios that brought teeming life and realistic elements to what otherwise would have been a devastating, heartbreaking story. It rung true from my real-life experience with Alzheimer's in my family and is a show that I hope generates more press attention than it's currently received. You can still get tickets (and I highly encourage you to) through early January.

And while I'm at it, here are some other favorite pieces I wrote last year: 

1. Some thoughts on high-end restaurants and racist servers
2. Wrestling with Refugia at the Moving Company
3. Compendium celebrates its 5 year anniversary 
4. Pixar comes to the Science Museum 
5. Why everyone needs to see Wonder Woman
6. Thrillist: The Best Small Towns in Minnesota
7. Living the podcast dream
8. The Penumbra Theater celebrates 40 years at the Minnesota Historical Society
9. The top 10 reasons to see Romeo and Juliet (again)
10. Why the Lynx deserve more
11. Thrillist: Best New Restaurants of 2017
12. The best books I read in 2017

Don't just take my word for it! Don't miss the best of year posts from some of my other TCTB blogger friends below: 

Cherry and Spoon: click here
MN Theater Love: click here
Play off the Page: click here