Rent Celebrates 20 Years at the Orpheum

Can you believe Tuesday is the first time I've ever seen Rent on stage? 

Photo by Carol Rosegg

I know, I know. How is it possible that a young theater reviewer has somehow bypassed THE musical that ushered in our modern age of new works?

But it's true, so I was excited to check out how Rent holds up 20 years after it made its debut. An overall glance? This show is a little dated - but in a good way - and the audience couldn't have loved it more.

Photo by Carol Rosegg

Rent, for the fellow uninitiated, is about a group of friends living in New York City at the end of the 1990s. They're a hodge podge collection of freaks and geeks, renegade artists, drag queens and activists who share romance, homes, parties, and diseases; many of the characters suffer from AIDS, a fact that was revelatory at the time Rent opened. There's not really an overarching plot line (other than the across the board avoidance of paying their rent and protesting The Man). Instead, Rent reads more like a Dear Diary entry of sorts, with periodic episodes throughout one year (usually on major holidays) that detail what the gang is up to at that time. The music is similarly stream of consciousness, with most songs blending into each other in a conversational, Millennial operetta.

Photo by Carol Rosegg

This Rent features an energetic, very young cast filled with the trademark diversity that helped Rent become such a sensation when it first opened. Although they can be a little pitchy across the board, I will say that it was so refreshing (still! 20 years later!! come on Broadway!!!) to see such a truly representational cast that covers every demographic, both racial and sexual, you can come to think of. Kaleb Wells leads the cast as the fiery Roger Davis. Wells exudes the ethos of an enlightened metalhead, and his bellowing voice and moody duds truly encapsulate the emo-heavy ethos of the post-Nirvana late 1990s. Aaron Harrington has an ethereal bass voice as the loving Tom Collins, and many of Harrington's solos are the highlights of the whole show. Joanne Jefferson, played by Jasmine Easler, is a lovely female foil to Harrington with an equally rich voice. And David Merino was the clear crowd favorite as the incandescent drag queen Angel, the true beating heart of Rent's plotline.

Photo by Carol Rosegg

The music was honestly a little muddy to me, with much of it blending together and some of the lyrics hard to understand. I don't think this is a problem for those who have seen Rent many times before, but it may be worth noting for first-timers. There are still several lovely pieces, usually when the whole cast gets on stage to sing together. In particular the poignant "Contact, "I'll Cover You," and an astonishingly beautiful "Seasons of Love" are all musical standouts. The set and costumes are pretty par for the course, all featuring Rent's trademark grunge-meets-Spice Girls aesthetic, and are sure to be nostalgic for any long-term fans (or those who were the youth of the 90s).

Photo by Carol Rosegg

Overall, how does Rent hold up to someone with fresh eyes? It's honestly a little dated, but in a really good way. It's hard to overstate how revolutionary Rent was when it was first released in 1997; even today the diverse and pan-sexual cast is still a rarity on major stages. Many detailed elements, such as the presence of a drag queen, lesbian kisses and an open discussion of AIDS, don't strike the same shock value as they did 20 years ago thanks to RuPaul, Orange is the New Black, and medical advances that have turned AIDS from a killer into a manageable disease. Those are all very GOOD thing, and they signify a cultural shift that would not have occurred without at least some help from the original Rent. And it was fascinating to see how much love (truly some of the loudest cheering I've heard in the Orpheum yet) the audience exuded throughout the show. Rent is clearly a piece that is having a renewed cultural relevance and signifies an important point of development for many people. This is not the best musical cast I've ever seen on stage, but boy do they have a lot of heart and energy. If you're a true Rent fan I think you'll find this walk down memory lane a very fun one. Rent runs through June 11 at the Orpheum Theater; for more information or to buy tickets, click on this link.

Why Everyone Needs to See Wonder Woman

Rarely has a film moved me so instantaneously as Wonder Woman did on Saturday night.

Photo from themarysue.com

Some things you should know about me: I am unafraid of trashy films. I like action and sci-fi as much as I enjoy artsy cinema like Truffault or Fellini, for which I will never apologize. And I almost never see movies in movie theaters.

Why, you ask? One, it's unbelievably expensive, especially if you want to go on a regular basis. Two, I happen to have a projector at home, which provides a near-cinematic experience on demand (and for which I can have my chilled box wine in whatever state of dress calls to me that evening #nojudgement #hatersgonnahate). And three? I don't often feel like lining the pockets of Hollywood producers who make boring (or sometimes downright irresponsible) choices about which projects they fund and who they choose to lead them.

I am a person who completely believes in consumer power and that we truly vote with our dollars, even with something as seemingly simple as going to see a movie. I am often frustrated at the lack of diversity and representation in major Hollywood films, and I want to make sure that my entertainment dollars are helping to "vote" for the kind of media I want to see.

One big focus of support for me over the last few years have been female led and created films. As has been detailed extensively in excellent pieces by Manohla Dargis at the New York Times (especially in this piece about black women directors and this series about women in Hollywood in general), studios have been sorely lacking in providing opportunities to women (and especially women of color) to create films. Anytime I find a major picture starring or made by women, then, I make sure to do my part to ensure the box office is high enough that more movies and opportunities of similar ilk will be prioritized in the future.

With all of the above context then it's a pretty big "duh" that I had to see Wonder Woman on opening weekend. What an incredible surprise, then, that not only is this a damn good film on it's own, but it's shattering glass ceilings and providing the final nail in the coffin of the myriad ridiculous arguments studio execs love to make about why women can't helm (or star in) big budget films. I won't detail all of the radical history Wonder Woman is making right now - Buzzfeed has already covered those swimmingly in this exhaustive article - but I will give you a fun list of the top 10 reasons you (and everyone you know) needs to go see Wonder Woman while it's out!

1. Themyscira (Which Needs Its Own Film)

Let me see: an island of totally badass babes who live in diverse harmony, push each other to the physical and intellectual limit, celebrate and defend peace, and only use violence as a last resort (but rock at fighting when it's necessary)? What's not to love about this Amazonian paradise? I think it's safe to say movie audiences wouldn't mind an origin film about this Sapphic paradise stat.

2. Gal Gadot (Diana/Wonder Woman) Is A Revelation

Everyone loves a fresh face, right? And while Gal Gadot has been around for a few cameos here and there, we've never seen her in her full-throated splendor. As Diana Gal manages to be tough and soft, naive and wise, badass and hilarious all at the same time, and she's wonderful. I can't wait to see her career take off after this, and who could possibly have had a more cinematic name to accompany her superhero title?

3. Robin Wright Kicks Ass and Takes Names 

Those of us who are O.G. Robin fans know she can kick ass whether as the Princess Bride or Clare Underwood, but the Robin of Wonder Woman (where she plays the deadly General Antiope) is a next-level badass. Secretly training Diana from a young age, Robin manages to create a warrior with as much heart as she has strength. This is what true leaders are made of, and it's inspiring some next level humor on Twitter:

The best tweet I've seen in ages. 

4. Chris Pine (Steve Trevor) Reinvents the "Love Interest"

I am *so* here for the new feminist toy boys we are starting to see popping up in blockbuster films. Whether it's Channing Tatum's shredded yet emotional dancers in Magic Mike, Thor's tenderhearted charms, or even the Rock and Zac Efron's unabashed bromance in Baywatch, men are becoming ever-more multifaceted on screen and I am here.for.it. Chris Pine's Steve Trevor may be sexually attracted to Diana (I mean who wouldn't be TBH?), but he's far more interested in working with her for her strength and intelligence than he is in ogling her tits. Pine's total support of Diana and ability to step out of her way and resist trying to control her provided such a refreshing rewrite of the typical soggy damsel-in-distress, over-machoized superhero narrative and left me thirsting for more. I can't wait to see how they reinvent Diana's romantic relationships in future sequels.

5. Representation

Many have commented on the diversity of the Amazons living in Themyscira; while I think the studio could have done even a little more in that department, it's certainly a much better casting call than most other summer blockbusters. Many real-life fighters were hired to play these roles, and their athleticism is unquestionable. The diversity even extends beyond the female characters, with speaking roles for a Native American and Muslim male character helping Diana find Aries. And it goes without saying that this film passes the Bechdel test, an absurdly low bar that only about 50% of 2016's top 20 most seen and buzzed about films managed to hurdle according to Bustle. I want an earth shattering statistic to lay at the feet of everyone who argues that diversity is a waste of time, stories about women are too weak or niche, women can't handle the role of superheroes, etc. etc. etc. To all the haters, all I have to say is: bring it on.

Frfr.

6. Patty Jenkins (Director)

Representation isn't just important on-screen; it's arguably even more important when it comes to who gets to fund, choose and create projects behind the scenes. With this in mind it's about time a female wunderkind was handed the keys to a multi-billion dollar film franchise, and Wonder Woman is it. Thanks to Wonder Woman's incredible opening weekend (which smashed all previous records for ticket sales for a female director's opening dates), Patty Jenkins has now crushed the glass ceiling of blockbuster milestones that Hollywood often likes to use as an excuse to not hire ladies to direct big films. Let's see more of this, shall we?

7. Diversifying Our Heroes

Yes, Wonder Woman is yet another comic book superhero - but she's a female comic book superhero and arguably the most powerful one in the DC universe. When I was growing up I had Princess Leia and Captain Janeway to look to for my non-Disney Princess role models. I will always love them, but how cool to be able to add Wonder Woman to the cinematic hero club? If you really need more reason, the below photo should say all you need to know:

Yes Mike. Yes. It. Is. 

8. America Still Isn't Used to Women in Charge

If there's anything that the 2016 presidential cycle taught us all it's that Americans are still not used to having women kick ass and take names (at least in public). I don't mean to get overly political, and there are a million reasons the election went the way it did, but it is impossible to deny that sexism was involved (at least to some degree) in the outcome. We are so used to seeing women caricatured in the horrific dichotomy of either a docile/amenable slave or slut/wicked witch that we struggle to embrace them as complex, rich, complicated, provocative, contributing members to society. This has begun to change (particularly on television) in recent years, but to see such an unapologetic portrayal of female power at the frontline of a marquee is almost absurdly inspiring and couldn't be better timed in our current political climate.

9. It Matters That It's A Summer Blockbuster - and Even More That It Breaks Sales Records

Considering the list above, there are many people who might say but wait: there are already movies  that star female characters, or that tell the story of Wonder Woman. If you really look, you can find representation of any kind in a film somewhere. Why is Wonder Woman any different?

The answer: this is different because money talks, and as over 50% of the population women (or any minority group) should not have to search the dusty corners of the internet to try to find a story that resonates with them. I cannot count the hundreds of mediocre movies starring dudes that I have watched simply because they were there and I didn't have another option at the time. That's all fine - like I said, not all of my movies need to be the next Citizen Kane - but shouldn't I at least have an equal amount of choices starring women if that's what I want to see? Again, Hollywood has made arguments for decades that movies about and by women simply won't sell and as such are not deserving of major funding. Several highly notable exceptions to this lie such as The Hunger Games or Frozen have proven this stereotype wrong, but none of them has truly laid this rumor to rest yet. If Wonder Woman can maintain its box office momentum there will be nowhere left for studio executives to hide when it comes to decisions about funding for future projects. It also bears mentioning that Ave DuVernay's upcoming A Wrinkle In Time has the same game changing potential, and I'll be heading out to support that too once it's out.

10. Wonder Woman Proves that Men Will See Movies About Women

As I typed that I recognize how stupid it sounds out loud, but it's true: there is a widely held misconception that men won't see movies starring women or centering women's stories (a similar misconception stands for white audiences attending movies starring actors of color). The overwhelming success of films such as Star Wars: The Last Jedi or the Fast and the Furious franchise should lay such rumors to rest but they unfortunately haven't so far. Wonder Woman's unapologetic femininity and so far consistent track record of having roughly 50/50 gender parity in the audience destroys this misconception and proves the further need for more diversity in the movies we see.

In the end: if all you want to see is a damn good movie, Wonder Woman can do that for you too. But regardless of why you see it, please make sure that you go. There are a lot of things Wonder Woman can change by continuing to be a smash box office hit, and I would love to be around for the world that will remain once she lassos us all into the future.

Full Circle Theater Fleshes Out 365 Days/365 Plays

This truly diverse undertaking tackles representation of all stripes. 

Photo from MN Playlist

If you haven't heard of Full Circle Theater yet, you could be forgiven. The new-ish venture from a vanguard of Twin Cities theater legends including Rick Shiomi, Martha B. Johnson, Harry Waters Jr., Stephanie Lein Walseth and Lara Trujillo, Full Circle Theater has only been around since 2015 and is currently on its second production.

But no matter, because there is ample time yet to see the close of this second show by June 11 and bask in the promise of a company that is truly working to fill the gaps in representation in our local theater scene.

365 Days/365 Plays is currently showing at the Penumbra with a cast as close to a rainbow as you'll ever see. Don't let the lengthy title scare you; 365 Days/365 Plays is a selection of 46 plays of a larger project by Suzan-Lori Parks, who in the early 2000s committed herself to writing one play per day for a whole year. The result is a surprisingly rich diary of sorts that chronicles the ebb and flow of emotions, cultural observations and insights traversing one black woman's view of the world for an entire year. The selections here have been updated slightly to reflect a more 2017 sensibility and range through all sorts of subjects, from relationships to fairy tales to political observations to simple down home stories. Some are imaginative, some are realistic, and most completely redefine your expectations of what a play can be. A couple of favorites? A truly gallows humor look at mother/daughter relationships in The Executioner's Daughter; the wry indictment (and comedic skewering) of white Christian America in Flag Waver; and a haunting insight into the mind of a serial killer in the chilling Veuve Cliquot.

Direction for these plays is split between each of the founders of Full Circle Theater, and it succeeds surprisingly well. The pace between plays is extremely short and the production clips along at only two hours despite the amount of subject matter being tackled. While this could have been a hot mess, I really enjoyed the rotation between perspectives of each director. It really inspired me to look deeper into 365 Days/365 Plays and to challenge myself to more similar projects. It's amazing what can be created when a person sticks to a discipline of creating something every day, and I'd love to revisit the original text. I do wish there were a little more explanation of why each piece was chosen, as there doesn't seem to be an overarching main theme to really tie them together, but the show is still quite enjoyable without it. The cast is truly interchangeable and works extremely well as a team. I won't pull them out individually here, but I do encourage you to go see the piece and the way they interact. It's a real collaborative effort, and I think many companies could learn from their clearly excellent rehearsal practices and streamlined performance manner.

Costumes, sets, lighting and sound are generally kept simple to allow for quick transitions between the many plays. The set reminded me of Mu Performing Arts' trademark simplicity with its restrained collection of boxes, ladders, and painted walls, but was kept interesting by being used in unexpected ways (for example, a seeming platform is actually a box that actors pop out of) and kept lively by an endless rotation of clever props. Each show has a track of sound effects and separate lighting wash to distinguish it from the previous, and the attention to small details between characters and settings for each piece really does make each play feel like it exists in it's own separate context.

365 Days/365 Plays is an excellent primer for diversifying your expectations of what can be done on stage and how. Not only is it a fascinating glimpse into the playwright's psyche, but it's really a workshop for creatives on representation, jump-starting one's imagination and bringing together a team to work in a truly collaborative manner. There are so many great elements in each brief vignette of 365 Days/365 Plays that I could see being carried on into a more full-fleshed production of it's own, and I hope the founders at Full Circle Theater continue to develop these concepts into more shows. In a region that is under some hotly contested disagreements about representation and perspective these days, I definitely encourage all theater-goers to attend 365 Days/365 Plays to see an example of a company that is doing diversity right. You still have a week to go see this show at the Penumbra before it closes on June 11; please don't miss it! Find more information and buy tickets by clicking on this link.

Also, I'd be remiss to omit a PSA for two amazing community discussions coming up this week. TONIGHT go to Mixed Blood Theatre Company at 7 p.m. to join ALMA for a conversation about the Ordway's production of West Side Story and the local casting controversies with that production. On Wednesday at 5:30 p.m., join the Twin Cities Theater Bloggers for an in-depth conversation with Joseph Haj and Dominque Serrand about the hotly debated production of Refugia at the Guthrie, which recently closed. Both look to be productive conversations about future productions in the Twin Cities and both are free to the public; don't miss out! 

Brownbody CoMotion's Profoundly Moving "Quiet As It's Kept"

When is the last time you saw African dance performed live? How about on ice skates? 

Photo courtesy of the Million Artists Movement

For most people the answer to the first question is likely rarely; the answer to the latter is almost always never.

Thanks to Brownbody CoMotion, that no longer has to be the case. Running for only three more days before it closes, Brownbody CoMotion is telling the history of African Americans from the Reconstruction Era on through interactive monologues, dancing and ice skating at the Highland Arena in St. Paul. The show is split into two parts: a locally created (by Thomasina and Charles Petrus) piece called Quiet As It's Kept, and a second act filled with translated choreography including Give Your Hands to Struggle, Walking with 'Trane, and A Journey to Solace. It's a truly collaborative effort, with the former a locally developed production; the latter an adaptation of choreography produced by NYC-based dance collective Urban Bush Women; and all performed by long-time ice skaters (some of whom came out of retirement) from around the country.

Photo courtesy of Brownbody 

Quiet As It's Kept is a clear focal piece of the entire performance. The audience is immediately led behind the arena under a gorgeously backlit tree of ancestors into a room filled with relics and reminders of the Reconstruction Era. Most of these visual cues, (which include stocks, clear signs of poverty, and outright lynching photos) leave little to the imagination. Before the performance even begins the audience collectively participates in a physical greeting to the ancestors. Thomasina, clad as Ida B. Wells, then leads the audience with Charles through a piece that is part dance, part drums, part monologue and part song, incorporating quotes about the time period, songs and dance of the era, and an overwhelming sense of legacy. Quiet As It's Kept then transitions the audience from the relic room into the arena itself, where original musical compositions (performed live) are complimented with a strikingly literal dance on the ice. Thomasina sings the skaters literally into the strange fruit they are born of in a gorgeously chilling invocation of Billie Holiday, and music and red and blue lighting are interspersed with the sound of gunshots, sirens and a single word: GUILTY.

Photo courtesy of Brownbody

The twisted movements and broken angles of Quiet As It's Kept's choreography are echoed in the second act's dance pieces, which more literally translate dances normally performed on land onto the ice. This obviously creates some awkward moments for those who are used to the more lyrical, balletic ice skating of the Olympics or Disney on Ice. In fact at times it's downright uncomfortable to watch - these performers do not glide or passe, they score and chop and hack at the ice, burning through their pieces in a blaze of passion. There are no swan-like, extended limbs slowly floating through the air here; these are dances of twisted angles, more like a peregrine falcon searing through the air as it seeks its prey (or escapes becoming prey of its own). It's a totally unique experience and unlike anything I've ever seen, and it definitely forces the audience into a very thoughtful consideration of our cultural expectations of certain sports and gestures, and of our own preconceived notions of what art (or ice skating or dancing or....) is "supposed" to be.

Photo courtesy of Brownbody

Brownbody has been around for some time but unfortunately dormant for the last few years. They have returned this year as partners with Urban Bush Women dance to help create these unique pieces and perform community outreach, such as giving free skating lessons to students of color. Brownbody's mission statement says that it aspires to:

1. Make the ice welcoming to communities of color by opening the rink doors and telling stories of significance.
2. Show that the ice is a medium for more than jumps, spins and sparkly costumes.
3. Bring stories from the edges to the attention of the mainstream, to expand horizons and change perspectives.

If last night's performance is any indication, Brownbody has succeeded at these goals swimmingly. This CoMotion piece is a truly intersectional work, a fact attested to by the artists in the talk-back after the show. Several (many of whom are veterans who have worked in ice skating and the arts for decades) said that this was unlike any experience they've ever had, truly collaborative and intentionally intersectional, and that although it was more difficult than previous work they have done, it was also the most meaningful career experience they've had so far. Several young black women in the audience said they were inspired to learn to skate after never having considered it before, and it was clear that this was a truly unique experience for the audience as well. I love Brownbody's mission (in fact I wish we had a whole lot more Brownbodys shaking up every industry!), so I do hope they are able to continue performing with a shorter hiatus this time in between pieces. Representation is so incredibly important, as is having a deep understanding of history. Brownbody CoMotion has provided both representation and history in spades here, and it was clearly a profound moment for many in the audience.

Photo courtesy of the Million Artist Movement

An additional testament to Brownbody's holistic approach to their subject? The lobby and arena are filled with power tree quilts from the Million Artist Movement (MAM), a project that "believes in the role of Art in the campaign to dismantle oppressive racist systems against Black, Brown, Indigenous and disenfranchised peoples." Community members work together to create individual works of art about their experience and beliefs on quilt squares, which are assembled and displayed as full size quilts with the power tree symbol at the center. The power tree is described thus:

"The strength of a tree is in its roots; the same is true for the movement. Therefore the roots represent the critical work that we must do to be grounded; 1) Explicate/Claim/Reclaim our narratives, 2) Honor and remember stolen lives, 3) Recognize and learn from our REVOLUTIONARIES, SHEROS, AND ANCESTORS." 

So far the MAM is based in the Twin Cities, and I'm sure it will spread further soon. For more information (and you want more details, it's amazing): click here.

Photo courtesy of Brownbody

It's such an interesting time to have debuted Quiet As It's Kept. With storms brewing over the Ordway's production of West Side Story, the Guthrie's questionable production of Refugia, and the brouhaha over the soon to be burned Scaffold at the Walker Art Center, there is quite a conversation happening in the Twin Cities over literal depictions of racial trauma. What sets Quiet As It's Kept apart from the aforementioned pieces is that it is the only one written, created and performed by and for audiences of color, in this case specifically to African Americans. Quiet As It's Kept is filled with troubling, dark subject matter, but it never enters the realm of the macabre or tasteless because this is simply a case of people telling their own story. There were many references to the ancestors, invocations for them to join us, and an overwhelmingly long eye towards history throughout the piece as it unfolded. This solid foundation of self-identity grounds Quiet As It's Kept and leads it to being a powerful statement for audiences of any stripe that will leave you much to ponder for days after you see it. For more information or to buy tickets (this only runs through June 4 so get your tickets now!), click on this link.

Thrillist: Best Twin Cities Rooftop Patios

Are you craving some fresh air and something cool to sip? 

4Bells image from Thrillist piece

If so then look no further than my list of the top rooftop patios to drink on, now up on Thrillist! Click on this link to see the detailed list, which includes information for (in no particular order):

• Union
• Crave
• Uptown Tavern
• Seven Sushi Ultralounge & Skybar
• The Liffey
• Amore Uptown
• Louis Ristorante & Bar West 7th St
• Moto-I
• Brit's Pub Downtown
• 4Bells
• Target Field and CHS Field
• Libertine
• Ox Cart Ale House and Rooftop
• Stella's Fish Cafe

What did I miss? Do you have more suggestions? Please leave me your thoughts in the comments! 

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.

Living the Podcast Dream with MN Tonight: Child Care Episode

It's amazing how things come full circle. 

CD's are out and vinyl is in. MP3 players went the way of the dodo, and parachute pants and chokers are back on fashion's frontlines. But you know what old technology is having the biggest renaissance of all? Radio.

Radio in the form of podcasting, that is. Who could have predicted even 10 years ago that an over 100-year-old technology would be the way of the future? With smash success podcasts like Serial and S Town (the former which broke the internet on its release in 2014 by going straight to #1 on iTunes and hitting 5 million downloads faster than any other podcast; and the latter which smoked Serial's record two years later by hitting 10 million downloads in only four days) sweeping the nation and jumps into the podcast pond from everyone from blogger influencers to Malcom Gladwell and Tim Ferriss, it seems everyone has some skin in the podcast game.

And why not? Personally, I think that in our oversaturated pop culture and era of unending newsfeeds, blips, clips, and quick taps and swipes there is a *deep* yearning among the general populous for thoroughly researched stories, nuance and thoughtfulness. It's why we're seeing such an upsurge in readership of major news and long form publications that have struggled ever since the internet ripped the print business model to shreds, or seeing an upsurge in interest in documentaries, or have long-form monologues like John Oliver's Last Week Tonight receiving millions of YouTube hits. People crave considered perspective, and it's just not possible to provide that level of insight in a 140-character soundbyte.

I am a huge fan of podcasting, online shows and long-form comedy for all of the above reasons. Additionally, they provide a free medium that can give me something to do on my walking commute or data entry days, and there are so many terrific, totally unique podcasts* that provide information I can't really find elsewhere. So I was so excited when MN Tonight reached out and asked if I would be willing to attend a live recording of Episode 5 of Season 2 of their life TV show. Although MN Tonight isn't technically a podcast (it's an online television program), the format really felt like my favorite podcast and comedy shows, so it was an opportunity to witness something totally new. I'd never heard of the show, but I couldn't pass this one up; an opportunity to indulge my nascent podcast obsession, get an inside view into how online shows are recorded and written, and learn more about serious issues facing Minnesotans today? SIGN ME UP SALLY.

MN Tonight is a multifaceted package; think Steven Colbert's musical interludes meets the Daily Show's correspondents meets John Oliver's well-researched monologues and interviews, and wrap all that up with a focus solely on Minnesota politics and current events, and you have a good idea of the subject matter. Season 1 tackled light subjects such as Islamophobia, police brutality, water quality, trans rights, and marijuana and liquor law changes on the ballot. Season 2 fits right into the fold with episodes (so far) on the bee and pollinator crisis, refugee communities, and affordable housing, all issues about which I'm super passionate and deserve a deeper (and more fun) dive than local newspaper clips are able to provide. Wednesday's show was a bit of a mix-up due to the special session at the state legislature; the show had Representative (and all-around #girlboss) Peggy Flanagan on deck to discuss the urgent issue of affordable childcare in the state, but she was unable to attend due to, you know, doing her job and shit. Thankfully the team was able to pull in Bharti Wahi, the inimitable head of the MN Children's Defense Fund**, and she did an admirable job of explaining the issues facing our state's most vulnerable population. MN Tonight founder Jonathan Gershberg did a good job of pinch-hitting to help fill the gaps, and it will be very interesting to see where he takes the show as he matures in his role as the show's host.

Outside of the featured interview, there were some inspired performances by the Shrieking Harpies***, who provided a few hilarious (and totally improvised! so impressive) songs about the Minnesota summer, brunching and other awkward tales. Kerri and Kenzi did a hilarious segment on the issue of legalizing weed that hit home with much of the Millennial audience. But my favorite sketch was easily Native American correspondent and MN Tonight writer Dave Anaya's wonderful segment on LIHEAP****, a vital federally funded program that provides financial assistance to provide heat through the winter for those with low incomes. As you might imagine this is an issue key for Minnesotans, and is urgently threatened as the program is on the chopping block in Trump's new budget. Anaya gave a richly rounded overview of LIHEAP and argument in its favor, and I would love to see more segments from him in the future. His winning delivery and clear passion for the subject really sold it to the audience, and you could see him fitting right in with Trevor Noah's Comedy Central crew.

Despite the programming hiccups, I had a romping good time at MN Tonight and I'm looking forward to tuning in to future performances. It's so fun when organizations "lift the veil" and allow audiences to participate in their activities. I stand 1,000% behind MN Tonight's mission to make issues that tend to be dry or boring for people in Minnesota a little "sexier," and I think they have a crack team that's only going to go further. I LOVE that they focus on issues facing all of Minnesota, even the small, poor, rural areas. I grew up in a small town and although I'm a city girl now, there are tons of people still living outside of the Metro and their issues matter too! There's a clear focus on diversity in the show, and I imagine that will only continue to grow as it evolves. The Brave New Workshop is a great comfy venue for MN Tonight and I hope that as the audience grows, more live shows can be added than just once a month (think Prairie Home Companion style).

I highly encourage you all to check out MN Tonight - I mean it IS free y'all - and support some of the causes they are detailing. The show is not only fun but provides real, actionable ways that all Minnesotans can be involved in making our state a better, safer, happier, healthier place to live, and who doesn't love that? Plus at the very worst, their branding is dope AF and you can get some gorgeous new local art to Instagram. Tickets are $10 in advance or $12 at the door. You can check out MN Tonight at their website here, where details about the next live show and copies of past episodes can be found.

* I can recommend you *so* many podcasts - faves for sure are Malcom Gladwell's Revisionist History, The Tim Ferris Show, The Skinny Confidential, Serial and S Town of course, Krista Tippett's On Being, and NPR's How I Built This for starters - and that's just the tip of the iceberg. 

** Check them out guys - they do amazing work and always need extra support! Worth a volunteer day or a donation for sure. Link here. 

*** The Shrieking Harpies are currently in residence at HUGE theater through the end of June, so make sure to check them out. 

**** For real LIHEAP is super important - more information here.