Warming and Learning at Isla Tuliro

How much do you know about the Philippines, really? 

Photo by Bruce Silcox

• Did you know it was colonized twice? 
• Did you know that Filipinos share a lot of cultural heritage with Latinx peoples? 
• Did you know that the tribal origins of Filipinos date back more than 6,000 years? 

These are just a few of the many fascinating facts you will learn in Isla Tuliro (and their wonderfully detailed program), the new world premiere play being presented by Pangea World Theater and Teatro del Pueblo. Through a lyrical two acts, Isla Tuliro tells the story of the history of the Philippines and the Kayumanggis tribe, particularly after colonizers arrive. We learn of the Kayumanggis' peaceful life, the brutal ways they were subjugated, the strong resistance they showed, and many beautiful moments about the Kayumanggis culture, music and language. While a few things can get lost in translation - there are at least three languages competing at any given time, and a preponderance of narrators can make it a little hard to know who is leading the narrative when they are all speaking at once - the gentle choreography from Sandra Agustin evokes the action clearly and leads us through the story. It's a long overdue story to reach mainstream America, and I really hope a wide swath of audiences come to see it at the Southern before it closes on April 22.

The cast is composed of a vibrant mix of actors from the Pangea and Teatro del Pueblo companies, and they mix very well. It's clear from the get-go that developing Isla Tuliro was a truly collaborative process, and I hope more companies are inspired to work together after this show. My absolute favorite performer was new-to-me Lita Malicsi, the lead narrator and an all-around delight. Malicsi harnesses all the power of her ancestors to guide us through Isla Tuliro with grace and gravitas, and I could have listened to her perform solo for hours. Likewise, Lyra Hernandez does a great job supporting Malicsi's narration and adding energy to the action on stage. Mary Ann Prado displays wisdom and strength as the Kayumanggi ruler Diwa, and I only wish we had more of a chance to see her exercise her leadership strength in the story.

One of the things about Isla Tuliro that immediately struck and impressed me was how clearly this was the vision and execution of women of color. Written and developed by Marlina Gonzalez, the plot flips traditional narratives of U.S. presence abroad and immediately focuses on the people most impacted by our actions there. A feeling of collaboration and genuine warmth flows through the cast, which is 75% female, and it shows in the energy on stage. The creative team is also dominated by women and people of color, and I think this intentional creation of an inclusive, multifaceted vision and crew really helps solidify the unique feel of this play. The sets are super simple, mostly composed of silky sea kaleidoscope hanging backdrops, but they're used to maximum effect with the benefit of some gorgeous night time lighting, spirited sound design and music, and some lovely shadow puppets from local resident master puppeteer Masanari Kawahara. The overall show reminded me a little bit of The Oldest Boy, one of my favorite things I ever saw at the Jungle Theater, and that feeling of a strikingly honest narrative told with a clear eyes yet a comforting feeling is something I would love to see more of around the Twin Cities.

Isla Tuliro is the first show I've had the pleasure of seeing by either Pangea World Theater or Teatro del Pueblo, and I can confidently say that it certainly won't be my last. The heart, vision, and truly inclusive nature of Isla Tuliro is a sign of companies who are leading the way to continue to diversify our stages and uplift exciting new narratives, and who doesn't need more of that in their life? There's no better show to help warm your snow-in-April-cold heart than Isla Tuliro, and its beachy vibes and important message will linger with you long after you're gone. For more information or to buy tickets, click on this link.

And as a special aside: I haven't read the book above yet but I was so delighted to discover its existence a few weeks ago. I imagine it might be a great companion to this show if you're interested in learning more about the Filipino-Latinx crossover. Click here to learn more. 

A Cathartic Polarizing Express

Things these days are just ridiculous, aren't they? 

I mean you have to laugh at what's going on, or you'll go crazy. It seems like every morning we wake up to new news about something horrendous beyond imagination, and if you can't find a way to smile through it you'll never get out of an unshakeable depression.

If you need help finding the silver lining in the absolute absurdity of current events, look no further than the Brave New Workshop (BNW). The longest running satirical comedy theater in the United States, BNW has been bringing a comedic perspective to current events for more than 60 years and is the perfect place to let off some steam in the face of the outlandish state of things. BNW's current show The Polarizing Express blends the holidays and politics to provide an on-point critique and self-flagellation that will give you laughter therapy for days. Here were some of my favorite sketches:

• The show opens with an incredible spoof on the opening scene of The Music Man. For the uninitiated, this scene involves a series of traveling salesmen bouncing as if on a train while they recite a rhythmic line of gossip about incoming salesman Harold Hill. BNW has taken this intro - some of it verbatim - and slightly twisted it to address current headlines about politics. It's an absolutely hilarious spoof and thoroughly delighted my inner musical theater nerd. 
• Denzel Belin does a magical number about vogueing through the holidays that had me in stitches. Don't know what vogueing is? Watch Paris is Burning, stat (and shame on you!).
• Lauren Anderson stars in a sketch about a mom getting high on a marijuana-laced fruitcake that was outlandish and fun and more realistic than any of us would like to admit. 
• The cast visits Whoville, where the Grinch's relatives the Granch (a health food obsessed Grinch); the Grunch (a brunch cooking Grinch); and the Grench (a trench digging Grinch) surprise Cindy Lou Who. 
• Ryan Nelson sings a Seth McFarlane-esque ballad to his fears of being alone at the holidays, including his fear of pet cats. 
• Rhonda, one of Santa's elves, is in charge of Santa's sex toy division. Two elves pay her a visit and are inundated with innuendo (this sketch was so good it could easily star on Saturday Night Live).
• Per holiday tradition, BNW wraps up the show with a refreshed rendition of the "12 Days of Christmas." This year the featured verses include cats not counting as grandkids; black hipsters; Chewbacca Christmas; nosy neighbors hating on your noisy Christmas lights; marijuana mom; guilt-inducing grandma; Amazon's Alexa; your dad who won't turn up the thermostat; and how the Superbowl will ruin your life (#truuuuuue). 
• As always, the core cast members (Lauren Anderson, Ryan Nelson and Taj Ruler) are thoroughly hilarious. Denzel Belin, who has become another core team member, seems to have really found his comedic footing and was wonderful in his scenes. Newer cast member Heather Meyer has a very different comedic style that took me a bit to understand but I really enjoyed by the end - it's a more cerebral humor and added some depth to the show that made it fresh. 

For more information about The Polarizing Express or to buy tickets, make sure to head to the BNW website by clicking on this link. And if you want more information about BNW and past shows, check out my previous reviews:

• The best kind of commentary on the presidential election in The Lady and the Trump
• Last year's holiday hilarity with What the Elf? 
• A spoof on romantic fairy tales and modern dating in Booty and the Beast 
• Politics meets superhero humor in the Guardians of the Fallacy

Dancing on the Edge with Theatre Novi Most

It's easy to romanticize the past. 

Photo courtesy of Theatre Novi Most

Or at least that's what I was thinking while watching Dancing on the Edge, the latest show from Theatre Novi Most, last night. Centering on the tumultuous romance of legendary dancer Isadora Duncan and Russian poet Sergei Esenin, the story takes place in a Russia still reeling from the freshly bloody Communist revolution that left the royal and political systems in shambles and millions of people's lives in chaos.

There is something about this period that has always appealed to mystic lover's psyches, I think. Between the mystery of Anastasia Romanov's whereabouts and the grandiose (albeit unkept) promises of the revolutionaries, the Russian revolution is the story of a lifetime and continues to seize the imagination 100 years later. Amid all the nostalgia, it can be easy to forget how terrifying the Russian revolution really was and how devastating it was to Russian society, some effects of which are even seen to this day.

To its credit, Dancing on the Edge shows a darker side of this revolution through the hidden, somber side of Isadora and Sergei's romance. It's lust at first sight for both when they first meet, despite the fact that neither speaks the other's language. The longer they are together, however, the more it becomes apparent that Sergei and Isadora will be unable to overcome the burdens in front of them and they may never be truly happy. Isadora may perform for party leaders, but she cannot command their financial support. She may have taken in a school of young girls, but she cannot support them (or any of the other millions of starving Russians), as evidenced by a vivid passage describing people eating raw meat from a dead horse on the street. Sergei may scribe overwrought poems and dream of worldwide acclaim, but the arms of his infamous lover cannot save him from his demons. To watch Dancing on the Edge is to really see a country and a relationship in chaos, tumbling over one another and stumbling into the future, battered by the writhing tides of history.

Photo courtesy of Theatre Novi Most

Starring as the lovelorn Isadora is Lisa Channer, who channels her best rebellious Gibson girl. Channer embodies an empathetic soul, and it's easy to see how the real Isadora may have been so beloved if she behaved with such compassion. Sasha Andreev stomps through the script as Sergei, quickly bringing the audience into the tormented psyche of a disillusioned revolutionary. Andreev wields his body like a weapon, bringing the most physicality to this role that I've seen him show on stage yet. Sergey Ngorny and Katya Stepanov stand in as multiple supporting characters, gently ushering the audience through the story and slowly providing context to Isadora and Sergei's pasts as their relationship unfolds.

The set is simple in elements, generally composed of antique furniture strategically strewn about the stage and covered in bedsheets. The sheets are periodically removed and pieces rearranged to form multiple mobile vignettes, and the fluidity of their placement keeps the environment fresh and the scene changes short. The lighting is absolutely gorgeous, leaving the stage awash in a warm effervescent glow that is perfected with twinkling, dangling lights from the ceiling that give a period starlight or candlelight effect. The shimmering patina it creates bathes the performance in a sepiatic
glow that really feels like you're stepping back 100 years, and it was my favorite element of this performance.

Photo courtesy of Theatre Novi Most

I don't know how I got the perception that Dancing on the Edge was billed as more of a dance show than a play, but that's definitely not the case. There are some simple dances in the performance to be sure, but they're not the focal point (nor should they be). The real story here is Isabella's relationship with Sergei and their equally tumultuous relationship to Russia itself. I can't really describe how I felt about that. The actors clearly had a relationship with their characters and each other, and it felt like they were engaged in the story. But something always felt a little distant to me, as if the whole thing were happening at arms length and we were seeing the action through a pensieve. It held my attention but didn't pull me in viscerally. I was left wanting a little more, and although I'm not sure how to define that, I think Dancing on the Edge could continue to be developed into a tighter, more emotional piece. The bones are there; the screws just need to be tightened a little bit.

If you like fraught romance, learning about early 20th-century Russia, or just want to see some damn good stage lighting, Dancing on the Edge is for you. I enjoyed it despite the distance I felt, and the cast and crew clearly have put a lot of thought and work into the script. No matter what you're guaranteed to learn something about this period that you didn't know before, and you'll hear some Russian on stage to-boot. You only have a few days to check it out (the limited run closes on September 10!), so head quickly to the Southern Theater to see it this weekend. Tickets cost $24 at the door; more information can be found by clicking on this link.

Trademark Theater Impresses with Premiere of The Boy and Robin Hood

An impressive debut from a dynamic new company, The Boy and Robin Hood is an engrossing play and marks Trademark as a company to watch

Photo by Rick Spaulding

What would you create if you could create anything?

I've thought about that question many times. I like to fancy myself an artist of sorts, but at the end of the day I haven't really ever built a major project. Sure, I have some sketches and paintings and scribbles here and there, and I have this blog (of course), but I've never really taken on a visionary project and assembled it from start to finish.

You know who has created something marvelous? Tyler Michaels, who launches the premiere performance of his new company Trademark Theater this weekend with The Boy and Robin Hood, showing at the Ritz Theater through June 11. Michaels is joined by Tyler Mills, who pens the plays, and Michaels' wife Emily Michaels King, who handles their (beautiful) social media and graphic design (I mean really, their program is inspired! And their website is worth a peek as well). So, the Trademark gang founded a company; why not write, choreograph and score a completely brand new show while they were at it too? #ambitious

Photo by Rick Spaulding

The result is the familiar yet singular show The Boy and Robin Hood, which covers a very new perspective on who Robin Hood (and the rest of the infamous constellation of characters around him) really was. This is a much darker Robin Hood than you may be used to; there is no attempt to oversimplify the story or to lionize his myth. We come to Robin through a boy named Much, who escapes into the forest after he witnesses the Sheriff of Nottingham commit a murder. Much quickly adapts to life with Robin's crew (particularly Robin's right hand man Alan) and through Much's curiosity, we learn many stories about how Robin came to be in the woods, watch him rob the king, and settle into the familiar story. Things take a dark turn when Much informs Robin that Robin's mother is the woman he saw the Sheriff kill, and the ensuing action not only breaks the merry band but little Much and Robin himself. It's a powerful cautionary tale about the vagaries and corrosive capabilities of power, both in the sense of popularity and wealth, and it couldn't be more timely. Accompanied by a gorgeous score from local composer David Darrow, The Boy and Robin Hood is a full circle theatrical event with something for everyone - friendship, sword fights, heartbreak, action, laughter, and everything residing in between.

Photo by Rick Spaulding

This cast could be a little more diverse, and the show unfortunately doesn't pass the Bechdel test, but don't let that discourage you from going; these actors are excellent and clearly well rehearsed. The entire show clips along without a pause in the action, and although it's two and a half hours in length it never drags or feels long. This is thanks mainly to the gorgeous choreography from Tyler Michaels and fight choreography from Annie Enneking, and the painterly lighting from Mary Shabatura. This piece will truly have you gasping in your seat at some of the cinematic dioramas and nimble footwork, and the excellent attention to the minutest detail keeps the story feeling fresh. All of these elements make it feel like you're living inside of the story, and The Boy and Robin Hood really wraps you up into the fold.

Photo by Rick Spaulding

Riley McNutt swaggers on stage like a lanky Tony Goldwyn as Robin, and his fiesty spirit is perfect for the part. He is well matched by the rest of his merry band - Paul Rutledge (holding down the role of John with gravitas); Theo Langason (loveable as Friar Tuck and radiating a Questlove level of warmth from the stage); Ryan London Levin (a firecracker as the energetic Will; he really reminded me of The Princess Bride's Inigo Montoya); and Nathan Barlow, who absolutely steals the show as Alan, Robin's right hand man. In fact, I would go so far as to say that Alan is really the hero of the show entire - brave, strong, kind, thoughtful, surefooted, and Barlow plays him with such strength and vivacity that it is impossible to look at anyone else while he's on stage. He's an inspired member of a very strong cast, and worth the show alone.

Photo by Rick Spaulding

Jason Rojas and Dan Hopman are deliriously devilish as the rotten Sheriff and his hired assassin Guy of Gisborne, respectively. Hopman in particular brings a Game of Thrones level darkness to his baldly bad guy, and he provides an excellent antithesis to Robin's bands' relentless positivity. Kendall Anne Thompson is inspiring as Marian and the Hermione of the Hood; Thompson is wonderful in her part, and I wish she had another woman on stage to interact with throughout the show to play up that singular female strength. Peder Lindell is a clear Michaels apprentice as the boy Much, and he gives a lively performance that helps us to truly see this world, warts and all, through a child's eyes. Lindell is quite the ingenue; keep an eye out for him in future productions around the Twin Cities.

Photo by Rick Spaulding

I don't usually list out members of the pit or chorus, but I really loved the music here and I'd be remiss if I omitted them. The dissonant, expansive vocals of Anna Beth Baker, Tim Beeckman Davis, Benjamin Dutcher, Elizabeth Hawkinson and Lars Lee provide the ideal backdrop for the riveting action on stage, and their beautiful canticles are destined for a cast recording (but really guys, can you record this stuff? It's glorious). There are only four instrumentalists backing them up - Nic Delcambre on piano, Kris Anderson on guitar, Jack Barrett on bass, and Matt Barber on percussion - something you might be surprised to know considering how lush the soundtrack is. And I'd be neglectful not to mention sound designer Nicholas Tranby as well. This is one of the first live shows I can think of where I noticed an extraordinary attention to detail in each sound effect, down to the sharpening of a sword or the tapping of a finger, and it really stood out.

Photo by Rick Spaulding

I was so ready to see something like The Boy and Robin Hood. The world is a scary place these days, the news seems to grow darker and drearier by the hour, and I had had enough. I needed a mystical universe to disappear into for a few hours and come out refreshed with a new perspective. What a blessing that in addition to providing deep societal respite, The Boy and Robin Hood has a rich set of lessons to offer as well. There is a parable for everyone here, and we need it. Some of my favorites?

• Never let your anger get the best of you. 
• Even alleged villains have hearts and goodness in them. 
• Beware lionizing your heroes; you will likely find they will disappoint you in the flesh. 
• Don't believe everything you hear in fairy tales (aka the fake news). 
• Face your fears head on and you will have nothing left to dread. 
• Preserve your innocence, as you can never get it back once it's lost. 
• Listen to the women in your life. 
• And best of all: love harder, look deeper, and expect more of the world around you; if we all did that, maybe we'd be a little better off like the Merry Men of Robin's forest. 

The Boy and Robin Hood is a rich, rewarding retelling of one of British mythology's favorite legends. It's a crowdpleaser for audiences of all types, particularly those who like swashbuckling swordfights, but may be a little scary for young kids. The Boy and Robin Hood is a truly impressive debut, particularly considering the fact that it's an epic, originally authored piece, and I can't wait to see what else Trademark comes up with.  Kick off your Memorial Day weekend right with a viewing at the Ritz Theater; more information and tickets (ranging from $15 - $20) can be purchased by clicking on this link.

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.