Something Rotten Smells Just Fine

What is the real difference between a copy and a spoof? 

Photo by Jeremy Daniel

My chef and I had a debate about this after seeing Something Rotten, the current Broadway tour resident at the Orpheum Theater in Minneapolis. To my mind, a copy is directly lifting something - be it a plot, music, lyrics, etc. - from another artist and trying to pass it off as your own (aka: plagiarism). A spoof, however, pays homage to the original and acknowledges it for what it is, while infusing it with new meaning by placing it in a different context.

Photo by Jeremy Daniel

If we trust these definitions, then Something Rotten is a masterful cadre of spoofs on all of theater's most sacred cows, beginning with Shakespeare and ending with the modern moneymaker that is the musical genre. It imagines a world in which Shakespeare is a rock star but low on ideas and steals from his rivals who are hoping to achieve a fraction of the fame he has. The most notable of these are a pair of brothers (Nick and Nigel), who had hired Shakespeare as an actor long before his playwright fame and who are bitter with envy at his success. Nick is particularly obsessed with taking Shakespeare down - so obsessed that he carts his family's life savings to a soothsayer to steal what will be Shakespeare's most successful idea.

Photo by Jeremy Daniel

The soothsayer gets a lot right, but unfortunately not in the right order - so Hamlet becomes Omelette and musicals are brought to the sixteenth century in tourettes-style fashion and a jumble of plots. Nigel wants to write original work but it's not enough for Nick, and the two grapple with the difference between authentic and copy, innovation and familiar tropes, and all sorts of otherwise heavy artistic questions with a light touch. As they do so, Something Rotten wanders through what is essentially a history of musicals, touching on almost all of them and throwing some solid jabs at the ubiquitous nature of Shakespeare's reputation for good measure. Puritans are given the Hairspray treatment in some inspired religious caricatures (especially in "We See the Light"); Shakespeare's fanboys are re-imagined as an 80's style rock band a la Queen in "Hard to Be the Bard;" and in the best traditions of satires like Monty Python or South Park, Something Rotten delightfully skewers purity in all senses with a wink and a chasse.

Photo by Jeremy Daniel

Unfortunately, the day I attended included a robust April snowstorm, so the two main draws - Adam Pascal and Rob McClure - were unable to perform. While disappointing, I'd like to emphasize for the people in the back (who were heard grumbling at intermission): this is *literally* what understudies are for, and I thought the two who filled in - Daniel Beeman as Shakespeare and Scott Cote as Nick, respectively - really gave it their all. Cole's performance reminded me so much of what I love about Nathan Lane, and he really mastered the aura of a charming ignoramus, especially in songs like "God, I Hate Shakespeare." Beeman has the swagger and heavy eyeliner to take his punky character all the way through, and he was rocking his best Freddy Mercury from the moment he stepped out in "I Love the Way." Josh Grisetti was surprisingly lyrical as the poet Nigel and delivered a couple of swoon-worthy moments in tunes like "To Thine Own Self."

Photo by Jeremy Daniel

But interestingly enough, the real rock stars in this show for me were the women in supporting roles. Maggie Lakis was sharp and pointed as Nick's wife Bea. She really owned the idea of latent feminism Tudor-style, and I got such a kick out of watching her swagger her way through a woman in disguise. And Autumn Hurlbert absolutely nailed it as Portia, the wayward Puritan who dreams of becoming a poet (and later Nigel's love interest). Hurlbert has the staggering charisma and vivacious delivery of a new Kristin Chenoweth, and I predict she's going to be a star - watch out for her on future Broadway stages! The company at large delivers several fun tap dances and a cheery delivery, and they more than warmed up the stage for a snowy evening.

Photo by Jeremy Daniel

The sets for the most part reminded me of simple painted backdrops; they gave a two dimensional effect, and the generally simple props kept things easy as well. The real standout to me were the inventive costumes, which were a riotously modern take on Tudor-style wear. Dancers flounce around their farthingales like the most confident Naomi Campbell; women are sexed up in a Betsey Johnson-style take on Tudor clothes with hi-low hems and corsets galore; men strut their stuff in lilac tights with the breeches to match, and the codpiece is used in a myriad of creative ways. Curled wigs, punked out ruffs, and a host of creative facial hair flash through the performance, and it's seriously fun to watch.

Photo by Jeremy Daniel

I'll be honest about Something Rotten: I think the concept is absolutely genius, but the music itself wasn't my favorite - the orchestration seemed a little lackluster. That being said, it's got several really funny moments (all hail "A Musical"), and the audience clearly loved it from start to finish. This is a perfect show for true theater lovers: most of the fun is in hunting for the nuggets of references to various plays, and the creative ways each reference is woven into the larger story are really impressive. Something Rotten is a great example of the benefits of looking at history with fresh eyes and making it less serious. If you've never been much of a Shakespeare fan or you find the idea of musicals just a little crazy, this is a show you'll really enjoy. Something Rotten runs through April 8, so make sure to snap up your tickets soon if you want a chance to see it; click here for more information or to buy tickets.

Photo by Jeremy Daniel

A Modern, Tenacious Take on Hamlet

Shakespeare is getting all kinds of fresh beginnings these days. 

Photo by Amy Anderson

And what a joyful trend it is! First we had the stunningly modern take on Romeo and Juliet at the Guthrie (read my review here - one of my faves I've written lately); now we have a strikingly fresh rendition of Hamlet at Park Square Theater.

Photo by Amy Anderson

Hamlet has proven to be one of theater's most enduring scripts. Why? Something about this backstabbing family speaks to the human condition. As an extremely quick overview: Hamlet is the son of the freshly buried King of Denmark. His uncle has married his mother in an incestuous plot to become king, and Hamlet is having none of it. Things should have ended at Hamlet simply living his life with a surly attitude - but instead, he discovers that his father's ghost is roaming the castle. The ghost tells Hamlet that his father was murdered by his uncle; upon receiving that knowledge, Hamlet wholeheartedly dedicates himself to revenge. Like all Shakespearean tragedies, the plot only gets worse from there for our poor hero; much suffering and death faces the players until finally their lives are all spent and our emotions rung clear through.

Photo by Amy Anderson

This production has an exceptionally young cast. This has the effect of not only making the tightly edited action (the original play is near to five hours or so long, but this production clocks in at around 2 1/2 hours) pop, but really enlivens the material. At the center is Kory LaQuess Pullam as Hamlet. Long a rising star in the Twin Cities theater scene (check out this wonderful recent feature at the Strib), this production seals Pullam's place in Minnesota's thespian zeitgeist; stay tuned for much more from him. Pullam captures Hamlet's heated angst and lends a surprisingly funny gallows humor to the part. His style, mirrored in the rest of the cast, is almost conversational, and his intimate delivery really helps the material feel modern.

Photo by Amy Anderson

Surrounding Pullam is a tight, smart team of fellow young actors. Maeve Coleen Moynihan was my absolute favorite as a shiver-inducingly good Ophelia. Moynihan's delivery is truly haunting and horrifying, and you won't easily forget the finale of her powerful performance. Wesley Mouri is swift and brave as Ophelia's brother Laertes. Mouri shares all of the swashbuckling appeal of a Disney prince, and he charms here in this part. Kathryn Fumie is steadfast as Horatio, and brings a warmth and love to her role that helps enliven Pullam's Hamlet. Charles Hubbel and Sandra Struthers are expertly poised as King Claudius and Queen Gertrude, respectively. Their years of acting experience really shows, and Struthers' understated performance in particular sparkles amidst the more dynamic action on stage. My only unfulfilled request? I wish we could have seen Theo Langason in person as the king's ghost - his vocals are great but the physical representation of the ghost, with his face swathed in black fabric (??) is quite awkward and anathema to the straightforward modernity of the rest of the cast.

Photo by Amy Anderson

The set and staging of this production was truly unique, an it hit a lot of references home for me throughout the performance. The entire set is an enormous off-kilter cube, framed with beaming lights and paved with rough stones, in the middle of the stage. The back-center of this cube is a constant change of projections to move the scenes and intermittently used for closeup videos of the actors, almost as a giant TV set. It's really reminiscent of a mashup of the Ethan Hawke 2000-era film version of Hamlet and basically anything Baz Luhrmann made in the millennial era. It's eerie but effective, and the clean, harsh presentation yanks the audience straight out of fusty traditional territory. Costumes are very Matrix-level, with pleather coats, combat boots and dark sweatsuits attiring the heated actors.

Photo by Amy Anderson

Overall, I enjoyed this production. The first act drags a little despite Director Joel Sass's aggressive cutting; I'm not sure why. They make up for this in the second act, which races into a tempestuous fight scene that ends the show with breathless tension. I really appreciated the fresh take on long-hallowed lines (yes, despite the heavy cutting you will hear your To Be Or Not To Bes and Good Night Sweet Princes) that removed their precious reputations and imbued them with a deeper feeling. It was awesome to see more non-traditional casting and an intentional - and mostly successful - attempt to imbue this very dark plot with a healthy dose of humor. I'm excited to see where this dynamic, fresh acting crew heads after this production. They are the future of our local theater scene, and what a promising prospect we have to look forward to. Hamlet runs at Park Square Theater through November 11. For more information or to buy tickets, click on this link.

The Top 10 Reasons to See Romeo and Juliet at the Guthrie

Or: The Most Millenial Review of the Most OG Millennial Play, Ever.

Photo by Jenny Graham

Who knew Romeo and Juliet could be funny?

I really mean it; WHO KNEW?

Certainly not me. I'll be the first to say that performances of Shakespeare tend to bore me to tears with productions that are far too reverent, slow, and dry; that are filled with emphatic, unnecessary pauses; and tend to feature audiences so quiet (and constrained) that you could could hear a pin drop. They're not fun. Shakespeare in general (at least for the majority of productions I've seen in my lifetime - Ten Thousand Things excluded) tends not to be fun, and it can really turn me off.

Knowing this, you can imagine my jubilation at attending Romeo and Juliet at the Guthrie last night, a spectacular production that billows fresh, vivacious life into this overdone play and opened my eyes to new facets of the show that I'd not seen before, despite how many times I've seen it.

I'm not going to recap the plot of Romeo and Juliet here; I think by now we have all seen the show (or some iteration of it) aplenty. I do want to focus this piece on all the ways this production stands out from others I've seen with a list of my top 10 favorite elements. One request of the Guthrie before I start: can you please, please add some Tweet seats for this (and future) shows? I was DYING for a live tweet of this modern adaptation and I really think it could enhance the engagement, especially for younger audiences. Please consider it! 

And without further adieu, here are the top 10 reasons to see Romeo and Juliet:

Photo by Jenny Graham

1. The Nurse. Typically I'm a little over the servant and supporting roles in plays like this; their speeches feel unnecessary, overlong, and boring. Thankfully, none of these adjectives describe Candace Barrett Birk, the ingenious woman playing the Nurse here. Birk is the ultimate town gossip, deliciously sharing salacious tidbits of her mind and leaving us hanging on her every word. It's the OG Real Housewives word-of-mouth style, and it feels delightfully naughty to eat up every tidbit Birk drops. She's absolutely marvelous, and you'll adore her portrayal.

Photo by Jenny Graham

2. Straight Up Street Swagger. It should be pretty well established by now that the men of the Capulet and Montague gangs are all big mouth, dick swinging showoffs whose incessant meddling in things that are not their business is the whole reason this mess of a plot is pushed into action in the first place. Their incessant bawdiness is perfectly played up here with a punk rock wardrobe and robust performances from Lamar Jefferson and Kelsey Didion, who play Benvolio and Mercutio, respectively. Jefferson is utterly charming as Benvolio, and it's easy to see how he can talk Romeo (or pretty much anyone) into anything. He explodes into the shining heart of every ensemble performance, and it's thoroughly engaging. Didion is surprising as Mercutio, bringing a sinful delight to each of her lewd lines. Her casting is an inspired choice, and Mercutio's braggadocio bears a whole new meaning when played by the ballsiest woman in the game. Stan Demidoff is excellent as the quietly evil Tybalt, clearly relishing playing the man we all love to hate. This is the definition of a Mötley Crüe (in every sense of that phrase - band included), and it really works. 

Photo by Jenny Graham

3. The Wardrobe. I often relish the Guthrie's costuming, and this is no different. The gang's aesthetic is somewhere between The Godfather, The Matrix, Green Day and the Hobbit, which sounds bizarre but really works against the set's pale wash.The entire cast is swathed in shades of black, white and grey, literally leaving the play's heavy handed morality in your face at all times. Small touches, such as a shirt cut just low enough to reveal a giant chest tattoo, or an exquisitely bedazzled capelet for a ball scene, push these looks over the top. Each costume is exquisitely tailored and imbues a Milanese precision to the characters, and I can safely say that I wish I owned every piece of this wardrobe (even the men's duds, which are just as finely crafted as the women's.) 

4. Diverse Casting. This Romeo and Juliet is chock full of interracial couples, women in men's roles, men displaying stereotypically effeminate qualities, and so much more. I dig it. 

5. Juliet climbs her own damn balcony. 

Photo by Jenny Graham

6. Appropriate Emotional Maturity Levels. In all the brouhaha that typically surrounds Romeo and Juliet, it can be *really* easy to forget that the protagonists are only 15 years old. FIFTEEN. YEARS. OLD. They are immature, naive, impulsive, and completely unprepared for the gigantic life choices they are making. This production never loses sight of this, fully emphasizing the immaturity of Romeo and Juliet while also showing the overwhelming irresponsibility of their elders and the direct role their dysfunction has in the doomed couple's destruction. It clearly cuts the action, and there is no way you will leave this production confused about who did what and why it was wrong. 

Photo by Jenny Graham

7. Ryan-James Hatanaka as Romeo and Kate Eastman as Juliet. These two are perfectly paired and thoroughly embody what Romeo and Juliet is all about. Their charming repartee is equal parts winsome, delightful, heartbreaking, idealistic, naive and bombastic. They are totally adorable and trust: by the end of this, you will be 'shipping them, so hard. Also, they're gorgeous. Never hurts to have a little eye candy, and these two fulfill all your sappy romantic dreams in droves. 

8. Papa Pope in the House. I mean not really, but Scandal fans (shout out to the Shondaverse!) will be *living* for the no bullshit, Joe Morton-as-Papa-Pope truth bombs that James A. Williams expertly drops throughout the play in his role as Friar Lawrence. Is Friar Lawrence an enabler who is directly responsible for the mess in the Capulet tomb at the end of the play? Sure. But you can't say he didn't warn everyone multiple times in multiple ways, and his wisdom stands up today, over 400 years after the show was first performed. 

Photo by Jenny Graham

9. The Set. I know, I know. I wax poetic about almost every Guthrie set I see. I mean, they have one of the biggest budgets in town, so there's definitely an unfair advantage they have when it comes to raw resources. But I'd be lying if I didn't admit that I am always dying to see what their set team is up to, and this play has an absolutely gorgeous full size castle on a turnstyle that revolves into multiple rooms and views of Verona and Mantua, depending on how it is positioned. The effect is really stunning against the sky wash in the background, and when coupled with thoughtful details like a working fountain in the town square, sturdy vines for climbing Juliet's balcony, and a richly filled closet in Juliet's bedroom, it really knocks your socks off. 

Photo by Jenny Graham

10. It's Relevant. The idea that Shakespeare is timeless is literally the most tired of theater cliches, but it can be easy to forget in dry performances that suck the life out of the scripts, which are hundreds of years old and can always use a little judicious trimming. The Guthrie was clearly unafraid to make some edits here, juxtaposing scenes on top of each other and playing up the modern themes with contemporary deliveries that make many stanzas sound almost like beat boxing. Coupled with very trendy 1990s film references (chiefly Baz Luhrmann's Romeo and Juliet and The Matrix), and the ubiquitous plot (which, after all, is really just about gang violence and opposites attract, just about the most universal thing ever), this rendition of Romeo and Juliet could easily stand next to Hamilton in contemporary audiences' esteem if it gets that chance.

Photo by Jenny Graham

If you have some extra time, get thee to the Guthrie and see a stunning rework of an old, comfy fan favorite before it closes on October 28. The cast is clearly having so much fun, and they'll sweep you into their auras posthaste. If you're really clever about it you can see this excellent rendition for only $10 per ticket; click on this link to learn how to do so. For more information or to buy tickets, click on this link. 

Want $10 Tickets to Romeo and Juliet at the Guthrie? Yeah, Me Too.

DEAL ALERT! DEAL ALERT! 

Photo by Mark vanCleave

Just popping in on a *very* busy theater month with this amazing deal for tickets to Romeo and Juliet at the Guthrie! There will be a special 1 p.m. matinee on Sunday, October 8 where all tickets are $10. This is definitely a deal to take advantage of; mainstage tickets normally run from $20 to $54 per pop for this show.

This event is part of the Guthrie's 19th Annual Shakespeare Classic, whcih was established in 1999 to help encourage more young people to attend these shows. There will also be a meet and greet with the cast in the lobby after the performance; this is a definite win-win-win!

For more information about the show itself (if you really don't know.... is that even possible?), check out the press release:

It’s a story so well-known it scarcely needs an introduction, yet surprisingly the Guthrie has produced it just twice before. Set in Verona where the rival houses of Capulet and Montague have had a long-standing feud, Romeo and Juliet is Shakespeare’s famous tragedy of star-crossed lovers, filled with all the passion of young love. Underscored by ingenious wit and astonishing beauty, the play pits the bitterness of resentment against the intensity of romance.

Tickets to the popular annual event are just $10, and every order must have at least one but no more than two adults for every young person. Tickets for the Shakespeare Classic are available through the Guthrie Box Office at 612.377.2224 or toll-free at 877.44.STAGE. This performance is not available for purchase online. 

Red Velvet is Riveting

Telling the long-lost story of Ira Aldridge, Red Velvet pulls you into a narrative of heartbreak and perseverance. 

Photo by John Heimbuch

Sometimes, things can be distilled into simple essences. Red Velvet, the latest production from Walking Shadow Theatre Company at the Southern Theater, could be summed up simply with: what would you do if there were no obstacles in your way?

That is the question facing Ira Aldridge, a giant of classical theater (especially Shakespeare) and one of the first true international African American celebrities. Treading the boards in the first half of the 19th century, Aldridge crossed the Atlantic from his New York birthplace (preceding so many other great black artists, like Josephine Baker, James Baldwin and Nina Simone) to make his way as an actor in Europe. Landing in London in 1824 (where slavery was already illegal, decades before the U.S. finally got its shit together on that front), Aldridge made quite a name for himself and drew large audiences, particularly in eastern Europe and Russia when he began to tour. His hard-won success was not free of obstacles, however. Many reviewers and theater boards treated Aldridge with disdain at best and outright racism at worst.

This tension between Aldridge's talent and box office success and the theater world's regressive attitude towards non-white (and even non-male) performers is at the heart of Red Velvet, which imagines the story of a deeply scarring experience Aldrige had performing Othello at the Covent Garden theater in London. The script will make you recoil with horror and disgust, particularly in the reading of actual reviews of Aldridge from his performances in the 1830s and discussion of Aldridge's perceived "flaws" by fellow white actors when he's not in the room. It's hard to watch, but it's important: statements made in this setting maybe a little balder than what we hear today, but they are by no means gone, and it's a worthwhile exercise to see such conversations laid bare on stage.

Portrait of the real Ira Aldridge by William Paine

JuCoby Johnson anchors the cast as the volatile Ira Aldrige. With a Donald Glover swagger, Johnson leads several riveting interactions, particularly in his initial engagements with his fellow performer Ellen Tree (played by Elizabeth Efteland). Efteland perfectly inhabits her role of strong Victorian virtue, providing a calm and persistent foil to the racist tendencies of the other cast mates. Ty Hudson is absolutely vile as Ellen's fiancee Charles Kean, and does an excellent job of humanizing (and making horrifyingly relatable) all of Kean's ludicrous objections to Aldridge's place. Sulia Rose Altenberg impressively masters many accents in several key supporting roles, chief among them the beset Polish reporter Halina, whose insatiable curiosity and determination to succeed in a male-dominated profession sets the whole story in motion.

Andy Schnabel is bombastic as theater manager Pierre Laporte, and lends the only true check to Aldridge's passionate play. Bear Brummel is heartwarming as the ahead-of-his-time Henry Forester, showing that history is often more complex than we allow it to be and that heroes can come in many stripes. Michael Lee is perfectly cast as the self-important Bernard Ward, with a dry British delivery that brings Red Velvet some sorely needed laughter. And Kiara Jackson is wonderful as the maid Connie, the show's most underrated character (seriously, I really wish we could have seen more of her) and who offers Aldridge the most sage advice he refuses to take.

The entire set stays on stage without changes, with Aldridge's touring dressing room at stage right, a vignette of the theater office at stage left, and the center left open for the actors to literally tread the boards. It's an efficient setup and allows the players to swiftly switch between time zones and locations. Some beautiful lighting from Jesse Cogswell provides literal walking shadows throughout the show, an effect that certainly lends a more Victorian aura to the piece. And costumes, designed by E. Amy Hill, are period-specific and thoroughly set the tone for the show.

Photo by John Heimbuch

Red Velvet was a pleasant surprise as it's a show I didn't know I needed to see. I always love seeing new stories find the stage, particularly ones about historical figures who are underrepresented or otherwise forgotten, and that of Ira Aldridge certainly fits the bill. This story also fits beautifully into the ongoing controversies about casting for roles on Broadway and beyond, a debate that has been ongoing for hundreds of years and is unlikely to stop anytime soon. It's a shame that the challenges Aldridge faced haven't changed nearly as much as they ought to by now, but the progress that has been made is encouraging and worthy of celebration. Red Velvet offers each of us an opportunity to truly look inside and determine: What are my preconceived prejudices? How am I preventing others from fulfilling their dreams? In what ways can I take a step back to help lift up new stories, right old wrongs, defend the downtrodden? Red Velvet is a great exploration of the nuances of allyship and racism, and a fascinating story to-boot. Make sure to stop by the Southern Theater to see Red Velvet before it closes on May 28. For more information or to buy tickets, click on this link.

Little Wars Packs a Big Punch

Prime Productions fills a much-needed empty niche of stories by and about "women of a certain age." 

Photo by Joseph Giannetti.

When is the last time you saw an unironically scripted role for a woman over age 50? Something that didn't involve being a grandmother, witch or some other societal burden? Now, when is the last time you saw a show featuring multiple women over age 50 that fits the same description?

If it's taking you a while to think of something off the bat (particularly something that isn't the Calendar Girls - I mean don't get me wrong, I love it, but it can't be the only one!), don't worry - you're not alone. Women in their sunset years tend not to be the feature focus of most new work. Whether it's a perception about their perceived attractiveness or just an assumption that their lives aren't that interesting, this is a demographic that is consistently overlooked in the creation of productions, much less the performance of them.

And that lack of representation is a damn shame, because there is a wealth of experience, knowledge and beauty to be found in these unique stories. I can attest first hand to this as I am blessed with two wildly interesting and vivacious great aunts who are still living their best lives and having adventures all over the world in their 70's and 80's. They are some of my favorite people in the world, and I treasure the wisdom and thrill they share with every conversation.

Photo by Joseph Giannetti.

Thankfully, this missing gap in American media is beginning to be filled. With strong societal pushes by actresses like Meryl Streep and Patricia Arquette, the celebration of performances by vaunted actresses such as the Dames (Judi Dench, Hellen Mirren and Maggie Smith), and the foundation of new production companies such as Angelina Jolie's, Drew Barrymore's and Reese Witherspoon's, the quantity and quality of roles by and for older women are becoming easier to find and better than ever. For an example, you can check out Grace and Frankie on Netflix (featuring the incomparable Jane Fonda and Lily Tomlin), or the hilarious series of films called The Best Exotic Marigold Hotel.

Opportunities in this niche are cropping up on the local front as well, most lately in Prime Production's Little Wars at Mixed Blood Theater. Little Wars re-imagines a meeting in the home of Gertrude Stein and Alice B. Toklas as France surrenders to Hitler in World War II. Present for the conversation are Stein and Toklas, as well as their maid Bernadette; the illustrious Agatha Christie; fiesty playwright Lillian Hellman; hilarious writer Dorothy Parker; and Muriel Gardiner, a leader in the resistance to the Nazis who smuggled many Jews out of Germany throughout the war. The women initially meet for a social call, but their cattiness and insatiable curiosity about who Muriel really is quickly leads the conversation to devolve into politics, relational truths, sexual devastation of various ways by horrifying male acts, and the severe racism facing Jews at the time.

Little Wars' plot could easily be bogged down in its heavy subject matter, but this excellent cast ushers it to success. Candace Barrett Birk is wonderful as Gertrude Stein, bringing a Judi Dench-ian fire and brimstone fearsomeness to her role. Sue Scott is wonderfully paired with Birk as Stein's partner Alice B. Toklas, firmly navigating each character's thorny nature and tying them all together throughout the show. Miriam Schwartz is powerful as Stein and Toklas' maid Bernadette, and her horrifying story of sexual violation at the hand of the Nazis near the end of the show left the audience in chills and deafening silence. Vanessa Gamble is perfectly despicable as the overwrought (yet talented) Lillian Hellman; her vivacious performance drives much of the conversation, and she perfectly represents the snotty attitude that drips from Hellman's character. Elizabeth Desotelle is witty and tugs your heart strings as Dorothy Parker. Desotelle's performance reminded me a little bit of Elizabeth Moss's turn as Peggy in Mad Men, with a deceptively fierce will masked in a winsome facade. And Alison Edwards is the epitome of droll as the rapacious Agatha Christie. Edwards couldn't be more British in her delivery, and it's a familiar tone that is much welcome amidst the serious subjects of the show.

Photo by Joseph Giannetti.

The set-piece for Little Wars remains fixed on the living quarters of Stein and Toklas. It's a menagerie of books, art pieces (particularly female nudes), well worn furniture and other curios. The artfully disheveled set lends a comfortability to the harsher elements of the script, and it's the perfect setting for a riveting discussion. Costumes are perfectly period appropriate and reflect each character's idiosyncrasies (for example, Stein is swathed in a loud kimono; Bernadette stands ramrod straight in a simple black dress; Christie is impeccably tailored in a camel suit). Lighting, props, and any other production design is kept simple to keep the focus on the story at hand.

Little Wars is set in the familiar trappings of World War II intrigue, but it has something very different to offer than other wartime shows. Featuring a plethora of vivacious, ravenously intelligent, fascinating women, Little Wars has a rich, deep well of things to say about the lives of women at many stages of their lives. Covering everything from racism to rape to homosexuality to the challenges of having a career outside of society's preferred mores,  Little Wars is a delightful, provocative piece that will leave you reflecting on it for days. I am so, so glad that Prime Productions is working to fill the gap for shows for women above middle age, and I hope very much that they succeed. We need more pieces like Little Wars to keep pushing ourselves forward and to learn to harness the gifts that all members of our society, no matter how young or old, are able to give. Little Wars runs at the Mixed Blood Theatre through May 21; get your tickets and more information by clicking on this link.

A Lunatic King Lear

Shakespeare's searing indictment on the moral limits of power is incredibly timely. 

Photo by T. Charles Erickson.

Some narrative arcs seem to remain essential to the human condition. Love, death, fear, and the quest for power are among the most elemental and recurrent of these narratives; they pop up over and over again in art stretching back to the beginning of recorded history. When it comes to dissecting the limits of these elements of the human condition, no one quite does it like Shakespeare.

King Lear, now showing on the Guthrie's main stage, may not be the best known of Shakespeare's tragedies (that award would have to go to Hamlet, Macbeth, or maybe Othello in certain circles), is probably the best example of the limits of power and filial love. King Lear is an aged king who is slowly (but violently) slipping into dementia. As he names his successors, his youngest (and most beloved) daughter Cordelia refuses to ply him with flattery; as a reward, Lear marries her to the lowest bidder to be banished forever and is left with his two elder daughters Regan and Goneril, two wolves in sheep's clothing who take advantage of their father's madness and fight their way to power. King Lear manages to escape their worst attempts on his life, spending  his time wandering in the moors and forests among the common folk with a few close friends, but Cordelia does not; after returning with an army to rescue her father from her sisters, Cordelia loses the war and is killed after capture. Cordelia's death provides the king's final moment of clarity and closes the play, with his family rent into tatters and his end-of-life prospects lonely ones.

Photo by T. Charles Erickson.

Stewing within this Lear family drama are several key players. One is Gloucester and his sons, one an heir (Edgar) and one a bastard (Edmund). Edmund crawls his way to the top of his family, but only after banishing his brother, betraying his father (whose eyes are put out), sleeping with both of Lear's daughters, and finally being killed by Edgar in a fit of vengeance. Kent, Lear's most loyal adviser (who is banished with Cordelia when he speaks up for her), remains behind in disguise to protect Lear and help Cordelia. Cornwall, Goneril's husband, is fatally wounded while torturing Gloucester and his keen military mind is a key reason that Cordelia's army is defeated.

Suffice it to say, there's a lot going on. And it would be easy to be lost in the action without a strong hand to steer the ship. This production has two actors playing King Lear. Although it would be a fascinating study to see both, I was only able to see Nathaniel Fuller, and he provides a marvelous performance. Fuller completely disappears into his role, riding the waves of Lear's emotions, careening between anger, fear, disgust, timidity, love, and vengeance. It is a masterful performance that will keep you riveted throughout the show, and despite Lear's cruelty gives him a tenderness that you can't help but want to protect.

Photo by T. Charles Erickson.

The surrounding cast is equally excellent. Sun Mee Chomet (Regan), Kate Nowlin (Goneril) and Kim Wong (Cordelia) are delicious as Lear's daughters, each providing a different foil to Lear's erratic behavior. Their strong performances actually turn the play into a treatise on the expanses (and limits) of female power in society; each uses whatever gifts she has to try to wend her way back to the throne and to Lear, and these actresses use every inch of their scripts. A note to the Guthrie: there is not a *single* production photo of these ladies (or 90% of the rest of the cast) - please add one, they deserve to be seen!

Photo by T. Charles Erickson.

The young men provide the show's brightest sparks. Jason Rojas* utterly unrecognizable as Edgar in one of the most transformative performances I've seen in ages. Thomas Brazzle is delicious as the deceitful Edmund, slithering between the action and piercing the audience with his fiery taste for power. And Howard Overshown is stately and dangerous as Cornwall, truly embodying the possibilities of a man who has nothing to lose and no shame to fear. Although not in the youthful contingent, James A. Williams is righteous as Gloucester, providing the show's only true loving, fatherly presence and a comforting haven from the ruinous action for the rest of the show. And J.C. Cutler is steadfastly heartwarming as Kent, the straightest arrow of the show and the provider of some much-needed comedic relief at key moments.

Photo by T. Charles Erickson.

The theme for production design seems to be "simple but truly luxurious." Marion Williams' spare set recalls Bane's tower in The Dark Knight Rises or some far corner of Westeros, with a tall, dark, concrete tower set sparsely with lights and a single, leafless tree. It's an eerie backdrop for the action and wisely keeps all focus on the drama on-stage. Jennifer Moeller's costume design can only be described as opulent and truly covetable; each character is given simple outfits made of such high quality that they gleam from the stage, particularly two drop-dead-gorgeous fur coats. It lends an opulence and familiarity to the cast that helps ease the centuries-old language into the modern age. Jennifer Tipton's lighting design, combined with Darron West's sound design, is subtle but pointed, each respectively leaving the stage awash with an eerie aura. And three cheers for a production team that is 75% spearheaded by women; like the truly diverse cast, this was an awesome thing to see while flipping through the program.

Photo by T. Charles Erickson.

With society seemingly careening every day nearer and nearer to the brink of disaster, it's impossible not to see the tragedy of King Lear as some kind of ill fated omen. What happens to a country when the man (or family) ruling a nation becomes corrupted, either by madness or lust for power? At what point is someone's inherited title overcome by their inability to do their job? What is the line between sanity and madness? At the end of the day, who is responsible for ensuring that citizens are kept safe from harm? Where is the line between betrayal and necessary honesty? I think Artistic Director Joseph Haj summarizes the legacy of King Lear best in his program notes:

"I think that the play, finally, is about how close our worse selves are to our better selves, about how fragile a civilized society can be and how easily it can descend into barbarity and irrationality. In each one of us there is a capacity for righteous acts and regretful ones, for both sanity and madness. And in times of turmoil, when a country falters and a family breaks, those distinctions become perilously thin."

This King Lear is an essential treatise on the limits of power and the necessity of a thoughtful, guiding hand to protect a nation's best interests when its leaders have run amok. Written nearly two hundred years before the American experiment began, King Lear could not have more to say to an America struggling with the limits of a man and an office descending into madness. This is marvelously staged production and beautifully performed Shakespeare. Please make sure to go before the show closes on April 2. More information and tickets can be found by clicking on this link.

*In my initial review I listed Nathan Barlow in this role; he was replaced at the last minute. Sorry for any confusion.