Best Books and Reads of 2019

It's that time of year again... 

It's been a while since I did a reading roundup and it's the last day of 2019, so I figured - why not?

Long-time followers know that I am an avid reader. I try to hit at least 100 books read every year, which is normally not a problem for me. Last year I wanted to step it up to 110 books or more, but (un?)fortunately got derailed with a lot of special trips (more to come on those! keep checking here) that sucked up reading time so my total remains at 100.

So without further ado, here are the best of the 100 books I finished in 2019. It's important to note that these are not all books published in 2019 - it's the best of the books I read in 2019, several of which have been on my list for years. Hopefully you will find something great to add to your list here for 2020, whether or not it's new. And if you like this content, make sure to follow my Books page on Compendium and Goodreads to stay updated on my latest great reads.

Best History Book - Tie 

2019 seemed to be the year of non-fiction for me. For some reason I was drawn more than usual to richly researched books, and it was very hard to choose between the best of them. Both of these books enriched my understanding of world history and filled in massive gaps left by my sub-par American education on global history. Both are slower reads but highly worth reading.

A Fistful of Shells: West Africa from the Rise of the Slave Trade to the Age of Revolution by Toby Green

This is the best single history of any part of Africa I've ever read and should honestly be taught in all schools. I picked it up after my month-long trip in West Africa because my overall knowledge of African history and cultures is so severely lacking - the only region we ever learned about in school was Egypt and even that was almost remedial - and I needed to have a more well rounded understanding of the world. This was the perfect book to fill in my gaps. It's impeccably sourced and researched but remains quite readable and includes lots of maps, charts and photos to help visualize the information. The author provides highly nuanced approaches towards gender history and politics, the true impact of colonialism and religious influence, and embraces a complexity that dazzled me.

I wish more history books were this thorough and honest; there is no cover up or one-sided perspective here. The insistence on depth enriches every chapter and leave you with a full 360 degree view of life in West Africa in the period of transition between the 15th and 18th centuries. Toby Green's approach to history by using currency to explain how slavery started and true impact it had in this region and globally is a brilliant idea, and I think this information should be taught in all American classrooms as a mandatory part of understanding why chattel slavery was different and how deeply it robbed an entire continent of its potential. If I could give this more than 5 stars I would. Highly, highly recommend.

Genghis Khan and the Making of the Modern World by Jack Weatherford

I've heard this book so frequently mentioned by several highly successful folks on various podcasts and interviews as one of their favorites that I finally had to see what all the hype was about. What I got was a totally fascinating history that has completely changed much of my understanding of medieval Eurasian history. We hear so little (and certainly never positive) news of Mongols or Mongolia today, but the legacy left by Genghis Khan and his progeny, particularly Khubilai, is truly remarkable and deserves a much closer, fairer examination than it has often gotten. For example: did you know Genghis' empire was larger than all of North America combined and far, far larger than any other in history? He's the most successful empire builder to live past the age of 35 (dying at age 70). He introduced modern concepts like diverse leadership teams (always promoting on ability and intelligence, not by family relationship) and the first ever paper currency to strengthen his empire. His armies always included mobile engineering teams who would construct the infrastructure and weaponry needed for each specific voyage on-site as it was required, essentially a battalion of human 3D printers. They were also the first fighting force to successfully capture cities by traveling across frozen waterways. He was the first person to unify what is now India and China, and it's not impossible to think those nations would never have existed without his organizational influence.

If you're a history buff this is a must-read to enrich your understanding of world history and understand what short shrift the Khans have gotten over the years. It's not an apologia or a white wash - there were some highly violent, destructive acts taken by these armies and they are honestly depicted here - but that is only a tiny part of their story and the other side really deserves to be told. I found this completely fascinating and am recommending this book to people constantly.

Best Science Book - The Madame Curie Complex: The Hidden History of Women in Science by Julie Des Jardins

This was an amazing read that will launch 1,000 more - there are so many incredible women scientists I learned about through this book who I otherwise would never have heard of. The long history of women's difficulty in entering scientific fields is well researched here; my only quibble is that I wish it was a little more diverse including a wider range of women of color. The book groups subjects roughly by era but also by scientific discipline, a theming which helps show the lineage between female scientists and how they were able to build upon each other (much like you might see "genealogies" of chefs, academics or other professional careers). Portions about women who were deliberately cut out of promotions, Nobel prizes, etc. were completely infuriating and I can't begin to imagine the scientific discoveries we lost as a result. It was really interesting to note the differences Jardins drew between the style of male and female scientists. Sometimes this could get a bit exaggerated, but I do think there's something to be said for a difference in approaches yielding different results. This is a great read for all lovers of narratives like Hidden Figures and discovering those whose vital contributions have been historically overlooked. 

Best True Crime / Mystery - Killers of the Flower Moon: The Osage Murders and the Birth of the FBI by David Grann

I came across this book in an article about the Oklahoma! musical revival, threw it on my list for shits and giggles, and it completely blew me away. Killers of the Flower Moon has the same power of a Truman Capote, Jon Krakauer or Erik Larson kind of nonfiction; it's impossible to put down and almost as difficult to believe that its dark narrative is 100% true. I was shocked at how little of this history I knew and how violent it was. The contemporary American attitude towards Native Americans tends to be negative ("why aren't they over it yet?"), without recognizing how far the trauma committed against native peoples extends even into the present day. The events of this book take place well under 100 years ago and are shockingly evil, including deceptive marriages, poisoning and violent assault of people's spouses and own children, theft and worse. This book unwinds like a good mystery novel with plenty of suspects, moving targets, and unsolved mysteries that span decades. It's also a light history of the founding of the FBI, which is an event that I didn't know I needed to learn about and information I feel will be useful in the future. I highly recommend this, especially to fans of mystery or true crime books. It's another missing piece of American history that I've already called upon in the months since I read it.

Best Sports Book - Levels of the Game by John McPhee

I don't normally read sports books, but I'd seen this recommended by Tim Ferriss and others for years and finally got tired of hearing about it. Levels of the Game is surprisingly hard to find but it was so worth the wait. Everything said about this slender book is true: it is so much more than simply a sports story, and it really is one of the best pieces of short writing I've ever read, a true masterpiece of short form. I flew through the 150 pages or so in a single sitting and have been mentally chewing on it ever since.

At surface level this is just a gripping play-by-play of a legendary tennis match between Arthur Ashe and Charles Graebner; however, I quickly learned there is so much more packed in here. Deep character studies and biographies of both contestants are seamlessly interwoven throughout the match, and through them a window in to the wider issues of mid-20th century (and, I would argue, contemporary) America. The intense focus and detail here manages to make a brilliant case study of polar opposites of American privilege, racism, regional discrimination, classicism, religion, culture and so much more. It's truly a study in contrasts and had Graebner and Ashe not been teammates playing for Team U.S. in an international competition at the same time this match occurred, I think this match would have become as famous as Billie Jean King's "Battle of the Sexes" but in a racial context.

This book is truly fascinating, even for those who don't like sports very much, and if for no other reason it's worth a read for the truly excellent prose. I am still astonished at the mountains of detail John McPhee packs into clean, simple but elegant language in well under 200 pages - it's a masterpiece of construction and I am definitely striving to achieve his economic, elegaic style in my own writing.

Best Memoir: Dear America: Notes of an Undocumented Citizen by Jose Antonio Vargas

Immigration seems to be the issue of our times and there is no better book to read to understand this issue than Dear America. Something that gets lost in all the numbers and statistics on either side of the immigration debate is the vital understanding that these are not things we are talking about - they are people who have thoughts, feelings, needs and rights. There is so much nuance lost in the soundbite-driven conversations by talking heads on cable news, and people's lives are hanging in the balance.

This book has the perfect levity between personal memoir experience and hard data. As a former reporter for the Washington Post, Vargas is no slouch with his research, and all the data here can be backed up. Whichever side of the immigration debate you're on, I'd highly encourage you to pick up Dear America and gain some core understanding of this issue from someone who knows it most intimately. I suspect it's going to continue to be vital knowledge to have, especially as our economy continues to evolve. This is a must-read for every American citizen and I'd recommend it to any demographic.

Best Book About Women: Women & Power: A Manifesto by Mary Beard

Say what you want about GOOP: I was turned on to Mary Beard through GOOP's podcast and if I get nothing else out of it, it was fully worth it. This stunning, perfectly concise text analyzes the place and perception of women in Western society stemming back to the classical age (aka Greeks and Romans) and it is a fascinating look at texts like The Odyssey that so many of us have read (but this time with totally fresh eyes). I think most of us are aware by now how deeply rooted sexism is, but I also think we do not always see how explicitly and intentionally grounded that sexism is all the way back to our earliest cultural myths. Beard utilizes several delightful contemporary examples to apply her theories, and I blew through this in barely over an hour. Highly recommend this for all readers - it's got deep things to say in an easily accessible package and will really blow your mind with some of her examples.

Best African Lit / Locally Published Work: She Would Be King by Wayétu Moore

I have been reading a huge amount of work by African writers over the last few years, so when I saw that Minneapolis publisher Graywolf Press was releasing this I had to snap it up right away. This book was so good. It is truly diasporic and managed to weave three totally different character's plot lines seamlessly together, making it a story that people of many different identities could engage with. Structurally it is reminiscent of Yaa Gyaasi's transcendent novel Homegoing, although this has more complexity and narrative threads to weave together and a spicy dose of Marvel's Luke Cage to keep it modern. It felt to me like modern African superhero magical realism, with a little Gabriel Garcia Marquez, Wakanda and Marlon James all mixed together. It makes for a really fresh combo and I was deeply pulled into this narrative; it was hard to believe that this was Moore's debut novel and this book packs a lot of plot into 300 short pages. If you're into mystical fantasy / historical fiction, this is definitely one you should pick up.

Best Novel: The Unlikely Adventures of the Shergill Sisters by Balli Kaur Jaswal  

I fell in love with Balli Kaur Jaswal after reading Erotic Stories of Punjabi Widows, which I saw on a Reese's Book Club pick. This book (her second) solidifies her as one of my favorite new authors. This has all the touristic charm of stories like The Best Exotic Marigold Hotel but without the colonial gaze. Jaswal is so expert at having honest conversations about issues directly affecting women but packaging it into a treacly beach read text, which is stunningly difficult and achieved here with ease. Topics covered here include sexual assault, abortion, arranged marriage, immigration, sexism, Punjabi culture, and more - which sounds heavy but I promise that Shergill Sisters was one of the most fun reads I had all year. I flew through this book and could easily have devoured a whole series.

Best Fantasy: Gods of Jade and Shadow by Silvia Moreno-Garcia  

I'm always looking for new fantasy fiction and I couldn't have been more thrilled with this one. I know almost nothing about Mayan civilization and mythology, something I am actively working to rectify. I found dipping into this new world really fascinating, especially with the complexity it treats death. It's a thrilling fantasy tale but also romantic and uniquely empathetic in a way I haven't seen in similar books; the author makes a point of prioritizing compassion and grace even in the characters with the darkest and most twisted motivations. This is a complete world on its own (lots packed into just over 300 pages!), but I could easily see it becoming a detailed series. It's like American Gods meets Akata Witch, but Mexican / Mayan style. Highly recommend to fantasy / mythology lovers who want something unique and new to read.

Best Children's Book - Tie 

I read a lot of children's literature this year. I know some people consider children's books not to be "real" literature or cheating for book counts, but hear me out: anyone who has attempted writing projects knows that writing more concisely is actually harder than providing length. Being able to communicate a full story in 50 pages or less with short, easy to pronounce words that can entertain grownups and kids alike is no easy task. Thankfully there are some fantastic new arrivals to the children's lit scene that you and the kiddos in your life can equally enjoy.

Sulwe by Lupita Nyong'o 

I threw this on my to-read list the second I heard Lupita Nyong'o was writing a book and so was one of the very first to get this from the library. Let me tell you - it lives up to all of the hype and more. The illustrations are luminous, seemingly glowing off the page, and are totally captivating with rich, full hues. The story is extremely affecting and you can tell how personal it was for Nyong'o to write. I had teary eyes only a few pages in, and the beautiful resolution will put a real warmth in your heart.

This is intended to speak to kids who are feeling downtrodden about their dark skin, but I actually think it's a good book for all kids to help soften assumptions / answer questions about skin color differences. Reading something like this at a young age would have helped introduce ideas of racial awareness to me at a foundational level that would have really served me later in my adult life, and I'm so glad it exists for kids now. I want this book to get ultimate support for the simple message (and to support Nyong'o, of course), but it's also just a very high quality, beautifully illustrated children's book that is among the year's best. Highly recommend for grownups and kiddos alike.

Julián Is a Mermaid by Jessica Love

This made the rounds on a bunch of best-of lists for children's books last year, and I found it really delightful. It's a simple book but one that beautifully shows how to accept and even celebrate people who present differently. I've always loved the term mermaid for trans / queer people and this book makes it even prettier. The centering of black and brown bodies in this story is also special and a beautiful celebration of diverse life.

In the debate around trans and LGBTQIA rights, one of the first questions raised is always "well what do I tell my children?" A book like this gives an easy answer: just tell them the truth. Kids are far more open minded and accepting than they get credit for, and I'm so glad that books like this exist to make the conversation easy for all parties. This is appropriate for kids of any age but especially ages 3 - 8 or so and definitely is a good tool for helping to explain the existence of queer / trans people if a child is asking about it. The colorful illustrations are also a top selling point.

Best Fairy Tale Re-mix: Cinderella Liberator by Rebecca Solnit

Rebecca Solnit is a perennial fave and the second I heard she had re-imagined a fairy tale I had to check it out. There's a lot to recommend this book, Solnit's feminist re-imagining of Cinderella among them, but the real standout to me were the stunningly gorgeous die-cut illustrations. Every image is portrayed through intricately cut silhouettes and it's a lovely way to tell the story. I almost wish this were a picture-only book, just to have more delicate illustrations to enjoy. This is probably best enjoyed by grownups or older kids (I'd say age 8 and up?) to get the full effect.

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 Hollow" is Anything But

I know it didn't work out this time, but can we have a little Ichabod Crane again later?  

Photo courtesy of Trademark Theater

Sometimes I think my mind exists in a vortex and I'll never catch up.

Let me explain: in my busy day to day of late, I seem to be missing basic facts. Or themes. Or just really missing the point of what I'm supposed to be doing.

For example, I had the pleasure of attending the achingly lovely original piece The Hollow by Trademark Theater last weekend. It's a nifty, 75-minute long exploration of many things; the program lists themes including "nature, mysticism, death and rebirth, coupleship, abandonment, repair and perseverance." A symbiotic pairing of contemporary dance and a Sleater Kinney-meets-First Aid Kit rock album (don't ask how I got there, just trust that it's true), The Hollow would be fully at home in the Walker Art Center's Out There series (hey Walker, give Trademark a call!). There's not really more plot than that - just a pure aesthetic, auditory experience for the sake of itself.

Somewhere along the line I had caught that The Hollow was supposed to be a modernization of The Legend of Sleepy Hollow; another glance at the program says I'm not insane and that was the initial point, but this The Hollow is so far removed from Washington Irving's 1820 novel that I can't believe the original concept was still rattling around my head somewhere. I still think it would be immensely cool to have Ichabod Crane hit the stage sometime soon and I hope someone else picks up the original project, but in the meantime - back to the scheduled programming.

The visual focus of The Hollow is on Reach (Emily Michaels King) and Resist (Tyler Michaels King). Based purely on appearances, one could be forgiven for assuming The Hollow details the story of a fraught romantic relationship. These two are superb dancers, and their lithe choreography is like a poem in bodily form. It's a good thing they're married because this performance is extremely intimate, and you can feel their kinetic energy radiating from the stage. Their contemporary, abstract costumes, designed by Sarah Bahr, add interesting shapes to their performances too; some are angular and stiff, others soft and flowing, and the cumulative effect weaves in and out of focus like a dream.

The Michaels Kings are backed up by an adroit band starring Jenna Wyse and Joey Ford who sing a roving troupe of original songs. It's a little hard to hear the lyrics live but thankfully all audience members are given a handy book of lyrics, which read like a ghoulish internal voice that won't leave you alone (song titles such as "Fearful Shapes," "Skele-bones + Burial Wrongs," "Scry" or "Scary Situation" give you an idea what I mean). The music itself is really beautiful and haunting, and I can see how it evolved out of the initial idea of adapting The Legend of Sleepy Hollow. Several audience members appeared raptly focused throughout the show (the person next to me even got a few headbangs in), so don't just take my word for it.

I'm not really sure what else I can say about The Hollow other than that it's worth seeing, if only to expand your definition of what you think theater can or should be. It's bracingly modern yet feels familiar, lyrical and abrasive, loud and tender. It's not going to give you a story or a moral or a "point," but it won't not give you those things either - and really, does everything have to have a defined outcome? Sometimes it's good to set down your smart phone and your Ivy Lee method and your nonfiction business books to give your subconscious room to roam, your nose the chance to smell the tactile pages of a *gasp* real book, and your imagination a blank page to fly around in. The Hollow is a celebration of that ancient leap towards fantasy that still lies within us all - we just need to give ourselves room to access it. The Hollow has a very short run and closes on October 20, so click here to learn more or buy your tickets now.

Bone Mother Sets the Tone for the Season

How do you define a witch? 

All images are copyright of Matthew Glover for Sandbox Theatre

Despite our burst of humid heat in the last week Minnesota is entering spooky season, which means costumes, minor toned music and pumpkin everything are about to inundate us all. I know several people who consider fall and especially Halloween to be their favorite time of year, and it seems like every year more friends are rejoicing over the return to orange and black and scary stories as soon as Labor Day passes.

But where does all this come from? Once you strip away the eerie movies and cotton cobwebs and holiday commercialization, what is left of Halloween?

Often it's tropes and mythologies that spread back hundreds or thousands of years. Take, for example, the Witch. Witch stories can be found in most cultures and invariably involve some version of an ugly old hag who negatively impacts the communities around her, usually with a curse or a dark spell. She might have a cauldron, a black cat, a pointy hat (or nose), and almost always lives in the woods.

But why does this narrative persist? What if the witch wasn't evil, or even magical, at all? What if she served some other purpose entirely?

All images are copyright of Matthew Glover for Sandbox Theatre

That is the question asked (and poignantly answered) in Bone Mother, the latest show from Sandbox Theatre. An original piece inspired by centuries of folk tales, Bone Mother tells an interconnected series of three stories about a girl named Vasilisa as she explores her feminine power. It begins with young Vasilisa, who seeks the "witch" Baba Yaga in the forest to learn the powers of the wilderness after Vasilisa's beloved grandmother dies. Soon bored with Baba Yaga's rudimentary chores, Vasilisa runs back to her village where she grows into a woman and becomes the town eccentric, alienated and lonely. She returns to Baba Yaga only to find that she still has more to learn from her community and must again live as an outcast, and out of the forest. It is many decades until Baba Yaga calls Vasilisa to her forest hut for one final encounter, where Vasilisa learns the true power of Baba Yaga and the magic of the wilderness. It's a beautiful story that felt distinctively feminine to me, full of cycles, renewal and strength.

In addition to the lyrical story, Bone Mother features aerial acrobatics in varying levels from all of its performers, who also trade in portrayals of each character through each iteration of the story. Carolina Gwinn is the first Baba Yaga and the final Vasilisa. She clearly had the most acrobatics training and brought just as much physicality to her facial expressions as she did to her silks work. I found her to be highly charismatic and fearless, a real presence on stage. The first Vasilisa and second Baba Yaga was played by Chasya Hill, a Liberian-American actress who recently relocated here from Birmingham, Alabama, and someone I predict is going to have a large impact on #tctheater this year. Hill has gravitas and a sonorous voice, and I couldn't take my eyes off her while she was on stage. Heather Stone plays the second Vasilisa and the final Baba Yaga. She has a less physical performance than Gwinn and Hill, but brought far more comedy to her performance. She was a welcome dose of levity in a story that can dip into the dark side, and I really appreciated what she contributed. Henry Ellen Sansone was alluring as the resident cat, with a mischievous Cheshire Cat flare that also added a touch of warmth. And Megan Campbell Lagas helps anchor the rotating cast of supporting characters, slipping in between mythical creatures and human portrayals with aplomb.

All images are copyright of Matthew Glover for Sandbox Theatre

One of the artistic values of Sandbox Theatre is to integrate visual design, physical performance, music and text; another is to limit consumption and minimize waste. These two tenets (of their core nine values) perfectly encapsulate the production design here. Because the performance is set in the hall of the Russian Art Museum and most of the blocking focus is on the silks, there is no set to speak of. Instead, we have a few strategically placed flood lights designed by Bryan Gunsch to set the tone for the plot; this works remarkably well, whether we are in the forest or swimming under a river. I loved Mandi Johnson's costume design, which adapted comfy athleisure wear with strategic accessories to give the actors the freedom to create highly physical performances but retain a sense of magic. And I especially appreciated the otherworldly, eerie music composed and performed by Anna Johnson, Emily Kastrul, Sarah Larsson and Willow Waters. It was the perfect accompaniment to a mystical, haunting, Russian-esque folk story, and it really coheres by the end of the show.

All images are copyright of Matthew Glover for Sandbox Theatre

Bone Mother is a truly unique performance, at once ancient and entirely original; modern but familiar; feminine and powerful. Something in it really moved me. I'm not sure if it was the effect of stripping away the trappings of elaborate sets and costumes and focusing on breathwork and the music of bodies, or the hearkening back to my favorite kind of fairy tales, or just the sense of womanly power that swept through the whole show, but I left Bone Mother feeling lightened, inspired and connected to a bigger world of spirits than when I had arrived. It's the perfect thing to watch as our seasons transition to a darker one and we prepare to sit more quietly inside ourselves. Tickets are selling very quickly, so make sure to snatch some up by clicking on this link before the whole run for Bone Mother is sold out by close on September 27.

Ride the Cyclone is an Un-missable Ride

Holy shit Becca Hart. 

Photo by Dan Norman

Pardon the profanity, but I'm just not sure how else to describe one of #tctheater's buzziest ingenues without it. Her performance in the Jungle's season opener Ride the Cyclone - which is a wild ride overall and worth seeing - is a standout that I'm calling early on as one of the best of the year. It's an audacious claim, I know, but I think it's warranted.

Photo by Dan Norman

Backing up a bit - Ride the Cyclone is a new musical that tells the story of a quintet of high school musicians, all of whom are killed as they ride a roller coaster called the cyclone. They are invited by a talking carnie machine named Karnak to play a game for the chance for one of the students to return to real life. The rules? They must unanimously vote for who they send back, which is tough with teenage attitudes running high. The wild card? A headless body was found under the cyclone, that of ghostly Jane Doe. No one knows who Jane is (including Jane herself), so she is entered to play with the five classmates for the chance to return and learn who she really was. Each player spins the wheel to make a case for their shot at Life 2.0, giving a solo about their distinct pasts and what we need to know about them. There are a few surprises revealed during these acts - an obsession with Weimar-era French drag; a fantasy about space sex with a race of kittens; an obsessive goody two shoes who couldn't be more insufferable if she tried; a surprisingly romantic Ukrainian whose tough facade reveals a goey sentimental center; and a lonely but kind girl who struggles to define herself outside of her peer's expectations. It's Mean Girls meets Phantom of the Opera (the Love Never Dies version, to be specific) with a sprinkle of Pippin, a truly weird mix of things that somehow works.

Photo by Dan Norman

The plot can get a little loose at times (if you can't tell in a previous paragraph, there's a *lot* happening here) and some of the stereotypes presented in the way the characters are written could use refinement, but overall I was surprised how well this show worked. That is high key thanks to the amazing performances, which are executed with a crisp military precision that makes the whole thing sparkle. At the heart of it (pun intended) is Becca Hart as the ghastly Jane Doe. I literally gasped the second she appeared on stage; her performance, but particularly her body work and choreography, is truly extraordinary. Nothing about her looks as if it's of this earth, and my jaw dropped several times as she floated through the stage. It's a stunning performance and worth your ticket price alone - do not miss this one, as it's going to be the talk of the town for months to come.

Photo by Dan Norman

The rest of the cast is excellent too. Jim Lichtscheidl (who also masterminded that crisp choreography) brings a striking physical performance as Karnak; he barely blinks and moves just like a machine. His otherworldly performance ties the loose stories of the students together, and he's a magnificent anchor for the show. Shinah Brashears lends her clarion voice as Ocean, the perfectionist that could, and her deliciously hateful performance could be in Mean Girls itself. Gabrielle Dominique is lovely as the shy Constance; I wish she had more time to shine. Michael Hanna is riveting as always as the dark Mischa, clearly having the time of his life. Josh Zwick relishes the strip you never saw coming as Noel, and although probably the weakest of the cast vocally, his charismatic performance is a lot of fun to watch. And Jordan Leggett goes all in as the crippled Ricky; he gives a full commitment that has more than a little Prince in it, and it's a welcomely weird surprise.

Photo by Dan Norman

This production design is one of my favorites in a long time that I've seen anywhere. Chelsea Warren's set design has so many layers, from Karnak's magical box to the handsome carousel with hidden projections and clues to the contestant's pasts; it's hyper-detailed and gorgeous. Trevor Bowen's costume design is wildly imaginative and it's so fun watching the crew prance around through various fantasies. Marcus Dilliard's lighting design and Sean Healey's sound design is seamlessly detailed, down to the crank activating each round of the game and the twinkling lights on each ride. Kathy Maxwell makes the most creative use of projection I've seen in a while, melting into the set design as one cohesive whole. Paul Bigot's wig and makeup design creates distinct characters for each performer. And the props design by John Novak shows the same care and attention to detail that makes every element of the show stand out.

Photo by Dan Norman

There's really no way to adequately encapsulate Ride the Cyclone into a textual review; all I can do is encourage readers to go and enter a world that is truly unlike any I've seen before. The season blurb online didn't really engage me - I decided to go because I trust the Jungle and wanted to know what they'd do with something so abstract, and I was more than rewarded. Becca Hart is truly transformative in this role, and I'm calling it as her star-maker performance in a run that's had several standouts so early on. The rest of this young cast is eager and talented and vivacious too, and you can't help catching some of the sparkle they release through their performances. It won't take much of your time - 90 minutes without intermission - but it will definitely leave you feeling changed. I can't think of a better show to usher in the Halloween season. Make sure to get your tickets before they disappear on October 20; click here for more information or to buy some.

The Brothers Paranormal is a Thrilling Nail-Biter

Although not my preferred genre, horror really seems to be having a moment these days. 

Thanks to brilliant filmmakers like Jordan Peele (Get Out, Us) and Ryan Murphy (American Horror Story), horror is becoming a nuanced, complex genre that many people share a love of. More than many genres it is a group fan effort, with people taking whole friend groups or hosting viewing parties to dissect the latest and greatest. 

That said, horror is not a genre often seen on stage. There are likely many reasons for this, but it makes those who do attempt productions stand out in the crowd. The Brothers Paranormal, a blended production equally co-produced by Penumbra Theatre and Theater Mu, is an excellent addition to this group and a true original in more ways than one. 

The Brothers Paranormal tells the story of two Thai brothers, Max and Visarut, as they make their first home site visit for their fledgling business investigating ghostly paranormal activity. Delia, a transplant from New Orleans, is terrified as she describes seeing an angry Asian woman who she is certain is a ghost. Thinking they are about to earn some easy cash, Max and Visarut immediately dispatch to Delia's home, where they meet her husband Felix and learn many unsettling details about the case. I don't want to reveal any more of the plot here because there are many important, unnerving surprises in this nail-biter of a script; instead, I'll just say that even the most jaded, experienced theater goer is likely to find plot twists here that they didn't expect, and it is a really exciting live experience. 

One of the unusual things about this show is that it truly blends different cultures (in this case Thai immigrant and African American), making both greater than the sum of their parts by their contrast. There were nuggets of cultural information and history tucked throughout the script that I didn't know before, and in addition to the thrilling action I was delighted to have learned a lot of new things by the end of the show. It helps that The Brothers Paranormal is perfectly cast, with a rock-solid group that brings so much nuance to their acting. Perennial favorite Regina Marie Williams is magnificent as Delia, making the ghostly visions totally believable. Sherwin Resurreccion is tenderly emotive as Max and brings a real depth to his role, leaving many of us teary-eyed on more than one occasion. Kurt Kwan brings necessary levity as Visarut, and James Craven is powerful as the concerned husband Felix. Michelle de Joya is positively terrifying as Jai (you'll know what I mean); hats off to her serious physicality. And the standout was new-to-me Leslie Ishii as Max and Visarut's mother Tasanee; Ishii was a warm, mysterious presence throughout the show, and her story was the most profound for me. I'd love to see her stay in the Twin Cities to work with more companies in the future. 

The set, designed by Vicki Smith, bears many hallmarks of Penumbra's recent shift in vision, with small but expertly crafted dioramas that hold all sorts of surprising, secret special effects. Combined with Mathew LeFebvre's simple costume design, we are able to stay focused on the tiny details that alert us to paranormal presence, and several are real wowzers. Karin Olson and Scott Edwards play several tricks through their respective lighting and sound design that had me on the edge of my seat, and Ruth Coughlin Lenkowski's dialect coaching provided nuanced characterizations for each generation of character in the show. Hats off overall to the direction from Lou Bellamy and assistant direction from Sun Mee Chomet; their clear vision provides a seamless integration of two very different companies, and this excellent production is better for both of their involvement. 

The Brothers Paranormal is a significant performance for several reasons. It's one of the best live horror shows I've seen on stage, anywhere; it combines two powerhouse but very different companies and provides a template for how to produce more integrated work in the future (which I surely hope to see); and it also marks by far the most ambitious outing for Theater Mu since the abrupt departure of their long-term artistic director, Randy Reyes. Bringing in Sun Mee Chomet to lead Theater Mu's portion of the production was an inspired choice and shows that Theater Mu is going to stay a strong presence in #tctheater regardless of the unexpected changes. I am very excited to see where Theater Mu's leadership search finally ends up, and if The Brothers Paranormal is any indication we have great things to expect in the future. 

If you're on the fence because of content, know that I loved this production despite being a person who hates being scared. It's a gripping and beautifully acted drama starring some of our finest local actors, and there's not a bad seat in the house to see the really special production design. I highly recommend readers check this out; for more information or to buy your tickets, click on this link. 

Just the Right Kind of Weird: Theatre Elision's Ghost Quartet

Fledgling artists take note: Theatre Elision's zany theatrics and guerrilla social media strategy is changing the game in #tctheater

Photo from Theatre Elision's website

How do you write a review about a show described like this: 

“Ghost Quartet” is a song cycle about love, death and whiskey from Dave Malloy, the Tony-nominated creator of the Broadway hit “Natasha, Pierre and the Great Comet of 1812.”  A camera breaks and four friends drink in an interwoven tale spanning seven centuries, with a murderous sister, a treehouse astronomer, a bear, a subway, and the ghost of Thelonious Monk.  The story draws from several fairy tales and "ghost stories", including Snow White and Rose Red, Edgar Allen Poe's Fall of the House of Usher, and One Thousand and One Nights (commonly known as Arabian Nights). There may also be some Princess Zelda references you might recognize. Cast members present the story and music as a "concept album" and accompany themselves on keyboard, violin, ukulele, guitar, mandolin, and percussion.  The audience may also be called upon for additional percussion and whiskey drinking.  

There's literally no way to sum it up! There's literally no way it should work! Who even comes up with such a thing? 

Turns out it's all Theatre Elision, and yes it works (swimmingly, in fact), and you'll leave this taut 90-minute performance happy but not entirely sure why. This fledgling theater company came banging straight out the gate for their first season last year and show no signs of slowing down. I'm so excited to see what they have up their sleeves for future productions, and I'm grateful that they are filling a niche we didn't even know we needed. There's no better time to check out their work than to see Ghost Quartet, showing at the North Garden Theater in St. Paul through November 3, and a perfectly strange way to celebrate Halloween this week. 

I honestly can't improve on the summation they have above - Ghost Quartet is truly that unique and plotless, there just really isn't an easy narrative to describe it with - so instead, check out this ordered steam of consciousness list of related sounds / images / etc. that I wrote as they performed that the various songs reminded me of: 

• Andrew Lloyd Webber's Phantom of the Opera
• Pirates of Penzance / anything George Bernard Shaw
• Witchy / gypsy vibes a la Stevie Nicks
• Moulin Rouge?? 
• Prairie Home Companion (but only episodes without Garrison Keillor)
• Aladdin's "Arabian Nights"
• Baz Luhrmann-esque spectacle
• Sweeney Todd / Stephen Sondheim-meets-Tim Burton realness
• Robert Plant / Alison Krauss's masterful duet album Raising Sand
• Medieval madrigals
• Social media guru Gary Vaynerchuck's strategy moniker, aka take your audience on a journey with you (this relates to the fact that the musicians engage the audience in playing various percussion instruments along with them on more than one song)
• Swedish sister duo First Aid Kit 
• Julie Taymore's Across the Universe
• Prince-meets-the B-52's "Rock Lobster" style
• Rufus Wainwright
• Chris Thile in the Nickel Creek days

I mean it when I say that the above is the best conglomeration I can think of to describe this weirdly witchy and atonal show. Ghost Quartet defies description but ends up being so much more than the sum of its parts. I'm not really a spooky / Halloween-y person, but something about this was just mystical enough that it worked for me. It helps that these musicians are just so damn talented - Kellen McMillen, Quinn Shadko, Tristen Sima and Christine Wade are shockingly good performers, and without their expert musicianship there's no way this could work. Shadko in particular is a vocal marvel. I've seen her in a few other things before, but never realized what incredible vocal dexterity she has - her ghostly vocals on "The Photograph" are truly next-level, and her articulate versatility overall reminded me of a velvety Bernadette Peters. 

Theatre Elision produces taught, simple, eclectic pieces that always surprise me in how much I enjoy them. Their musical excellence is bar none, and it's fun to watch music nerds like the ones I grew up with have such a good time doing exactly what they clearly love (and were born) to do. The only drawback is their shows have pretty limited runs, so you'll have to work quickly to snag tickets. Ghost Quartet only runs through November 3, so make sure to click here to learn more and get in line before they are all snatched up - word on the street is their presale this year already outsold all of last year's run, and they've sold out at least one performance already. And make sure to tune in to Theatre Elision's bustling social media channels - they're on top of the online strategy game and there are lots of things we all can learn from their effective hustling. 

Is God Is is Literally Killer

CW: This show (and review) discusses violence, assault, sexual assault and abuse. 

Photo by Rich Ryan

Walking out of Mixed Blood Theatre last night, all I could say was HOT DAMN.

For anyone living under a rock, yesterday Dr. Christine Blasely Ford testified in front of the Senate Judiciary Committee about a past alleged assault from the next Supreme Court nominee, Brett Kavanaugh. It was a stirring, brave, emotional testimony that has rocked the country. Women were seen weeping on public transit, in lunch rooms, and all sorts of other public places; most of those who weren't in tears (like me) were consumed with a passionate rage. Suffice it to say: yesterday was a very, very rough day for a lot of us.

Photo by Rich Ryan

So the headspace I was in when I entered Mixed Blood Theatre to see Is God Is was not exactly a peaceful one. I'd heard a lot of vague but intriguing things about the show - it's horrific but funny? - and wasn't sure what I was in for. By the end, I knew what it was. In a word? Mayhem. I was in for mayhem.

Photo by Rich Ryan

I am trying to tread cautiously about describing Is God Is because the plot twists are so important to the story. I don't want to give it away and ruin all the fun of seeing the show yourself (which you definitely should do). The most succinct description I can give is this: imagine if Kill Bill was written by a black woman, starred only black people, and had a little bit of Breaking Bad's Saul Goodman character thrown in for good measure. It's a quirky, singular experience that has all sorts of campy American film hallmarks - road trips, sister journeys, broken families, vengeance, bloodshed - in a darkly funny (think like, Coen Brothers funny, not ha ha funny) package. It manages at the same time to also discuss some deeply serious issues, many of which are all too common in the #metoo movement we're striding through.

Photo by Rich Ryan

Like watching a Tarantino film or reading a Victorian novel, it took me a solid 15 minutes to adjust to what I was seeing. When I say this show is singular, I mean it: the language, the quirks of the performances, the stark visuals, and more all combine to be totally unlike anything else I've seen on stage. I'm not usually great with violent content, but something about the explicitly performative violence of Is God Is worked for me and kept me intrigued. Maybe it was that unfettered rage after the Kavanaugh hearing; maybe it was the slow burn of #metoo stories that have been building up for the last year; maybe it was just the lived experience of being a woman in a world that seems to struggle to respect my humanity. I really don't know, but what I can say is: something about Is God Is is extraordinarily satisfying to watch. These characters do bad things, and their outcomes aren't good - but they do them for understandable reasons, and something about watching a pair of black women physically beat out their latent anger was wholly satisfying, especially last night.

Photo by Rich Ryan

These are some heavy hitters on stage, and without them this show would be much harder to watch. Dame-Jasmine Hughes and Chaz Hodges star as the twin sisters Racine and Anaia, respectively. Is God Is is their journey, and Hughes and Hodges nail the complicated script through nuanced performances. Hughes is terrific as always, with an explosively physical performance that is honestly a little terrifying. Hodges has a slow burn into her role, and you really won't see the end coming behind her meek persona. Joy Dolo is utterly unrecognizable as She. I have to leave it at that, but her performance is chilling. Kevin West brings a Saul Goodman vibe as the crooked lawyer Chuck Hall; his imitation of drunkenness is masterful, and I found him one of the funnier performers. Jacob Gibson and Kory Pullam are well paired as brothers Scotch and Riley, respectively. Gibson is new to me and I'm excited to learn more about him; Pullam is surprising, comedic and even a little charming as the nerdy Riley. Jessica Rosilyn is awesome as Angie, with a Reese Witherspoon quality that I really enjoyed; she'd be right at home on Big Little Lies. And Kirkaldy Myers is the one I didn't see coming (literally) as Man, with a sinister entrance that will blow your hair back (I couldn't help it and audibly exclaimed).

Photo by Rich Ryan

The set design looks at first glance like a sheer white wall and projections, but is used ingeniously throughout the show to reveal many layers of setting. Christopher Heilman got so creative with his design, and I keep running it over in my mind and finding new things to enjoy about it. Trevor Bowen gives every performer a distinctive personality through his costume design that will clue you in to their meaning. Mixed Blood always has great effects in their shows, which continues to be true here through the absolutely striking tech direction from Bethany Reinfeld; lighting design by Mary Shabatura; sound design by Phillip O'Toole; and fight choreography and effects by Bruce Young. Finally, Tessie Bundick's makeup design is intrinsic to the story (which you'll learn more about when you go). I wish we got a chance to see the detail closer up.

Photo by Rich Ryan

Is God Is is such an unparalleled experience, and it couldn't be better timed. Between the ongoing #metoo and #timesup movements and the arrival of Halloween season, it hits all sorts of sweet spots between horror, vengeance, women-centric and escapist stories. This is not the kind of show I'm in the habit of watching or recommending, but I gotta say: Is God Is swept me up with its manic energy and gave me a lot more to chew on than I ever expected. It's a wild experience to have live in the theater, and the incredible cast really pushes this performance over the edge. I recommend this very highly, especially to anyone who is feeling the need to vent some rage over recent political events. Please keep in mind, however: this is very definitely NOT a show for children. Make this one an adults-only date night. Is God Is runs at the Mixed Blood through October 14. For more information or to find your tickets, click on this link.

Photo by Rich Ryan

Finding the Feeling in Frankenstein - Playing With Fire

It seems 2018 is the year of historic anniversaries. 

Photo by Dan Norman

First we had the 150th anniversary of Louisa May Alcott's delightful Little Women. It's the 50th anniversary of the ridiculously eventful 1968, which is featured in a star exhibit at the Minnesota History Center. Park Square Theatre is celebrating 43 years with an exciting exhibit at the Landmark Center. And now it's the 200th anniversary of the publication of Frankenstein. How are we all supposed to keep up?

Photo by Dan Norman

In honor of Frankenstein's publication, the Guthrie has dusted off an original commission from 1988 called Frankenstein - Playing With Fire. It's a highly esoteric adaptation, with half of the show concentrating on a metaphysical conversation between Dr. Frankenstein and his creation, half taking place in flashbacks between the characters' memories of the inception and early life of Frankenstein's monster. It's less an adaptation of the novel and more of a behind-the-scenes, filling in the emotional gaps between the book's flagship events.

Photo by Dan Norman

I'll be honest: this had a really slow start for me. Despite starring a pair of formidable, seasoned actors (Zachary Fine as Dr. Frankenstein and Elijah Alexander as Frankenstein's creature) the meandering conversation that was essentially between Frankenstein and, well, Frankenstein got a little tedious. I want to be clear that I place the blame on the script for this - these two are fine performers who bring a lot of subtlety to their performances, but even they can't make some of the long exchanges engaging. Things picked up considerably once Ryan Colbert appeared as the young Victor Frankenstein in the flashbacks. I've been following Colbert's career for a while now and will confidently say that this is his star-making turn. He steals the show in every scene, flashing through the tedious philosophical arguments with charisma and an expressive face that reminded me of a young Jim Carrey. It's been so fun to watch him grow in his roles on various #tctheater stages, and with Frankenstein he has totally arrived. Jason Rojas brings an Andy Serkis bent to his work as Adam (or "baby Frankenstein"), and his chilling naivete really hits home how lost this monster was once he was created and how totally abandoned by his maker.

Photo by Dan Norman

The scenic design (Michael Locher) and staging (Cat Starmer on lighting; sound design by Cliff Caruthers; and costumes by Raquel Barreto) is likely the biggest draw to the show. A slick piece of black "ice" wends around the Wurtele Thrust Stage, an ominous harbinger of the dark emotion of the Frankenstein story. It's an intriguing piece but unfortunately blocks a little too much of the background for my taste, which lights up with some really interesting pieces to bring the flashbacks to life - I would have liked to have a better view of them. The lighting really sets the emotional tone for the show, alternately bathing the stage in deep hues that reflect the feeling of the action on stage. There are all sots of creepy sound effects that usher us right into Halloween season, and some well chosen props provide a focus for the zany activities (such as say... animating dead bodies?) that we see before us.

Photo by Dan Norman

I think by now we're all clear on how much I love Victorian literature, so I just want to throw in here that it's hard to overstate how important Frankenstein is to the history of books. The novel as we now know it was barely invented by the time an 18 year old Mary Shelley got her hands on it, and it's mind-blowing to think about how such a young woman produced such a big book in an era where most of the population barely read, let alone considered a vision for literature beyond orally told fairy tales and governmental treatises. Frankenstein has such longevity not only because it is an engaging novel - and it really is, a truly thrilling read from start to finish to this day - but because it so elegantly dismantles so many conventions both on and off the page. It invented a genre overnight and managed in less than 300 pages to successfully critique so many powerful assumptions - that the wealthy and educated are somehow morally superior to the rest of us; that science and knowledge are infallible pursuits; that empathy is a waste of time; and that men's ambitions are never to be questioned. It's a captivating story that's riveted audiences now for 200 years, and it is certain that what we think of as literature and movies and television and art itself would not be the same without Frankenstein's existence.

Photo by Dan Norman

I've been struggling to pinpoint what it was about this show that nagged at me, and I think it was the fact that this particular script really dances around the points I just raised. By placing our focus squarely on the sanitized conversation between Frankenstein and his Creature, we ignore their collateral damage. We can get into some important questions of the self - What IS the self? What makes a human human? - but the true effects of Dr. Frankenstein's arrogance are left by the wayside. I suppose that one could argue that Frankenstein himself was the person who most suffered from his creation, but is that really the best we can do? Frankenstein has been such a cultural caricature for so long that we can easily overlook some of the more subtle details of the story that I would argue are more important than the freakshow element. By over-intellectualizing we forget the point of the book - to focus on love and empathy, that intelligence is not a holy grail, that science is indeed fallible, etc.

Photo by Dan Norman

Ultimately, I think this is a mixed bag. The actors really work the most out of their parts, and Ryan Colbert is a bright spot in the show. Although initially jarring, the "time travel" aspect really helps pick up the pace and often provides the most engaging portions of the whole performance. There are some interesting questions asked throughout the show that I think can intrigue fans of the original book. If you come looking for a live action refresh of the horror movies so captivated by the monster aspect of Frankenstein, you might be disappointed. If you have the bandwidth, I think it's worth reading the book, seeing this show and thoroughly reflecting on Mary Wollstonecraft Shelley's masterpiece. Frankenstein runs at the Guthrie through October 27. For more information or to buy tickets, click on this link.

Photo by Dan Norman