Cool Field Trip: Game Changers at the Science Museum of Minnesota

There's only one more weekend to experience THE coolest interactive exhibit I've seen in a while. 

100 games over 10,000 square feet? #yesplease

I'll be the first to admit that video games (and video gamers) have gotten a bad rap over the years.

You can really see the full evolution of characters

I was long an opponent of the medium. I never grew up playing video games, and it was hard for me to see the value in it.

Another popular booth: Guitar Hero

But over the years I've come to see just how rich this technology (and the worlds it builds) is. There are so many fascinating elements about video games that have started to get serious celebration from vaunted organizations (MPR's fabulous podcast Top Score about the orchestral music written for video games is one such example) and it's really bringing the world of gaming out of the small screen and into the mainstream.

The detail is extraordinary

Game Changers, an ongoing exhibit at the Science Museum of Minnesota, is the perfect vehicle for novices and hardcore game heads alike to educate themselves about this world. It's an encyclopedic exploration of the history of video games, from the very first Space Invadors and Pac-Mans to the decades-long complexities of world-building games like SimCity or World of Warcraft. Visitors can not only read about the history of these games, their technology and their creators - they can also actually play each of the games mentioned on the original equipment. And this is not to be downplayed: the arcade space is comprised of more than 100 games over 10,000 square feet, an enormous temple to the sport of true gaming.

The sketches are endless

I was really blown away by the intricacy and detail of this exhibit. There is such a lineage to the construction of games - much like novelists or painters or chefs can directly credit those who came before them as inspirations and foundations to build their art on and expand it to new heights. Many games also have original sketches and models on display so that you can see the process from ideation to inception, and it's a really powerful visual testifying to just how complex the process of creating a game is.

A group dance station was easily one of the most popular elements

The global nature of gaming is included as well, with different regions appearing in focus with distinctive art styles and plotlines. Japan is the clear standout among regions outside of the United States, but there are also creative games from Sweden, Korea and a host of other countries. It is one more example of the unifying power of sharing an interactive world with someone else, and much like Trekkies, gamers have a friend wherever they go.

Gorgeous color sketches

This is an exhibit appropriate for groups of all ages and is actually an amazing way to connect with kids whose modern knowledge of gaming you may not understand. I took my niece and nephew with me, both of whom are avid gamers, and they had the time of their lives. We don't always have a lot to talk about directly, and I learned so much about them from the way they engaged with and explained each of the games that I never would have gleaned in casual conversation. It was a really fun day and reminded me how quickly things change from generation to generation. It was almost impossible to tear the kids away from the exhibit when we needed to go and it was packed to the gills, so I can testify first hand that the price of admission is absolutely worth it. The kids even loved the current omnitheater film about Cuba, which is not a subject they're normally interested in. This trip was a grand slam in terms of keeping them interested and occupied!

Loved this creative monster

And about that - another benefit to Game Changers is that admission is included in general admission to the Science Museum; this is not a separate ticketed event like many of their special exhibits have been. It's all the more reason to take your family or your date on a field trip to check it out before it closes on May 5. Run, do not walk, to go - there are limited edition games here that you very well may never see in working order again in your life. It's a fabulous, affordable trip for families or dates and is guaranteed to teach even the most serious gamer something they didn't know before. Click here for more information or to buy your tickets!

Up a little closer

An indicative list of the games available includes: 

The Arcade Heroes section spotlights pioneering designers from the trailblazing and revolutionary arcade era, including Ed Logg (Asteroids, 1979), Tim Skelly (Reactor, 1982), Masanobu Endo (Xevious, 1982), Toru Iwatani (Pac-Man, 1980), Eugene Jarvis (Defender, 1980), Tomohiro Nishikado (Space Invaders, 1978), and Dave Theurer (Tempest, 1981).

Long lines to play the vintage games like Asteroids, pictured here

The Game Changers section features leading contemporary designers who have had a major impact on shaping the medium as we know it: Blizzard Entertainment (Diablo III 2012), Tetsuya Mizuguchi (Sega Rally Championship, 1995), Peter Molyneux OBE (Fable III, 2010), Yuji Naka and the Sonic Team (Sonic the Hedgehog, 1991), Alex Rigopulos and Eran Egozy (Rock Band 3, 2010), Tim Schafer (Broken Age, 2014), Warren Spector (Disney’s Epic Mickey, 2010), Yu Suzuki (Hang On, 1985), TT Games (LEGO Batman 3: Beyond Gotham, 2014), and Will Wright (SimCity, 1989).

Full story boards

The Indies section explores the groundbreaking and future-focused world of independent game designers. Artists such as Jonathan Blow (Braid, 2008), Capy (Critter Crunch, 2007), Eric Chahi (Heart of Darkness, 1998), Jakub Dvorský (Botanicula, 2012), Firemint (Flight Control, 2009), Halfbrick (Fruit Ninja Kinect, 2011), Introversion (Dawinia, 2005), Markus ‘Notch’ Persson (Minecraft, 2014), Rovio (Angry Birds, 2009), Erik Svedäng (Blueberry Garden, 2010), and The Behemoth (Castle Crashers, 2008) are profiled in this section.

A Mindful Metamorphoses

The Guthrie's modern take on Roman mythology will leave you with lots to ponder. 

Photo by Dan Norman

In a world of ever-shrinking budgets for the humanities, sometimes it's good to get back to the basics. People aged 30 and older likely had at least minor engagement with Roman mythology at some point in their education, but I'm willing to bet the Millennial-on-down era probably has less-to-none.

Photo by Dan Norman

If that's the case, the Guthrie Theater's modern take on Ovid's Metamorphoses provides a great opportunity to brush up on your ancient mythology. In strikingly modern incantations, the show flashes through vignettes of each story almost like a photographic flash, leaving visual imprints that bring the dusty tales to life. Many of the most famous stories are here, such as the heartbreaking end to Orpheus and Eurydice, Phaëton's daring chariot ride, King Midas' tragic golden touch, and even a quick, totally silent flash of Narcissus. It's a fresh way to reinvent the stories for an audience with much shorter attention spans than those of 8 A.D. (when the original text was composed), providing new entry points into the myths.

Photo by Dan Norman

All roles are shared in a rotating manner by the cast. Rodney Gardiner has fewer lines than other actors, but provides standout, striking cameos (including that silent moment as Narcissus). Sango Tajima likewise has fewer speaking roles than some other cast members but provides a powerful, deeply physical performance that will rock you to your core. Felicity Jones Latta brings great gravitas to her part, with a cinematic voice and the nuanced delivery of a Cate Blanchett. Louise Lamson gives an especially emotional performance as Alcyone, telling the origin of seabirds. Benjamin T. Ismail lends a livelier presence on-stage, and Alex Moggridge is a romantic comedy charmer in several of his roles.

Photo by Dan Norman

The real main character of this play isn't really a character at all: the entire show takes place around a giant, deep pool of water which is deftly manipulated by the actors to transform the narrative. It's the element that attracted me to this show in the first place, and it was really interesting to see how emotional the use of the water could be: terrified splashing, flirty droplets, passionate waves, placid slow ripples. The actors are clearly unafraid of getting doused, and the more I've reflected on Daniel Ostling's meditative scenic design, the more I really enjoy it. T.J. Gerkens and Andre Pluess pair their lighting and sound design, respectively, to make sure that additional context is provided through the minimal sets and props. Mara Blumenfeld cleverly finds simple but elegant ways to pay homage to each character and allow for quick transitions between them, be they intricate headdresses or flowing robes (or, in one case, no robes at all - be warned of full frontal male nudity, if that's not your jam).

Photo by Dan Norman

It's pretty clear to me that Director Mary Zimmerman (who is also the adapter of this play) had a very defined vision for which mythologies she wanted to tell and how. It's very interesting to see the ancient world through her thoroughly modern eyes, like bringing a Helenic statue to life in the middle of the Walker Art Museum. Much of the content of these stories does not age well - incest, violence and vengeance is rife throughout most of them - but there is a certain amount of undeniable humanity and eventual beauty to be found through their devastation by the end. I imagine it's one of the reasons Zimmerman wanted to adapt this in the first place, and I would be interested to hear a panel of responses from audience members of very different ages and walks of life about their reactions to this staging. This is the kind of play that you will receive very differently depending on your life circumstances, making this ancient text a breathing, engage-able object that is much more complex than its seemingly simple packaging would indicate. It's a thoughtful presentation and one that modern art lovers are likely to find visually stunning. I do think it helps to be previously familiar with this content before you attend, so consider brushing up on the Wikipedia overview at the least before going. Click here for more information and to get tickets before Metamorphoses closes on May 19.

Photo by Dan Norman

Thrillist: Top Up and Coming Cities to Visit

Where the wind comes sweeping down the plains....

Photo courtesy of Thrillist

If you haven't guessed by now, traveling is one of my very favorite things to do. I'll go anywhere and everywhere, and I've found the more I explore that the places I inevitably end up loving the most are the ones that were the most random destinations. Case in point: Oklahoma City, which I visited in a brief weekend trip a couple of years ago and became deeply enamored with. I had the chance to write about it for Thrillist recently. Click here to read the piece and discover other overlooked American cities who are worth your time.

---------------------------------------------------------------------------------------------------------------------

Oklahoma City, Oklahoma
Modern neighborhoods tap into OKC’s former glory
Settled by robbers and outlaws in the late 1800s, it’s easy to think of Oklahoma as the Australia of America, but it’s time to stop calling it “flyover country.” Having weathered the largest homegrown terrorist attack in U.S. history, enormous economic fluctuation, and of course the infamous tornadoes that sweep through the state in the summertime, Oklahoma City carries chutzpah that is not to be underestimated.

The fast-developing neighborhoods smartly take advantage of their historical roots, like Film Row, which celebrates a direct connection to Hollywood’s golden age of Hollywood. In the Deep Deuce District, the city’s 1920s and ‘30s African American jazz district, new housing and attractions like a whiskey bar and gourmet hot dog eatery are reviving the area. Be sure to swing through Automobile Alley, formerly the center of a thriving automobile manufacturing industry and the district credited with jumpstarting Oklahoma City’s revitalization. The stylish Sidecar Bar features a menu of bar bites, with a wide range of craft cocktails, all at $11 or less. At Water’s Edge Winery, you can find traditional varietals like chardonnay and pinot grigio, or fruit wines made with peach, apple and berries. 

And no visit to OKC is complete without a stop at the magnificent Oklahoma City National Memorial Museum. The first half of the museum focuses on the Oklahoma City bombing, while the second half takes attendees through a CSI-level hunt for the bombers and details the way DNA was used for the first time ever to track them down. How’s that for wild? -- Becki Iverson

Hello, Dolly! Still Has It Thanks to Betty Buckley

The show is in good hands with the legendary Betty Buckley

Photo by Julieta Cervantes

We seem to be in an era of revivals, these days. Carousel, My Fair Lady, Oklahoma! and Hello, Dolly! Have been making waves on Broadway for a few years now. Of all these recent revivals, Hello, Dolly! is the first to make it to the Twin Cities - and it was actually worth the wait.

Photo by Julieta Cervantes

I've reviewed Hello, Dolly! before (most recently the Chanhassen Dinner Theatre's fun production) and I was honestly feeling uninspired when I learned it was on this year's touring Broadway circuit. I once heard this show described as a dowager that doesn't age well, and I have often shared similar sentiments. Been there, done that... who cares?

Photo by Julieta Cervantes

So imagine my surprise, then, when I encountered a spunky, lively production that leans right into that dated material to enhance the comedic effect and find something deeper to say. Dolly Levi is still meddling in her matchmaking ways, holding people hostage and steering them towards her preferred endings; there are still sexist old white dudes and a host of highly gendered lyrics. But it's all delivered here with a wink and a smile, and the sheer joy this cast brings to their parts got the audience deeply engaged from the very beginning.

Photo by Julieta Cervantes

It doesn't hurt that Broadway legend Betty Buckley came out for this tour; a wise choice, considering Broadway attendees got to savor performances from Bette Midler and Bernadette Peters (the original cinematic Dolly was Barbra Streisand... what's up with all these B-named primadonnas starring in this show!). It was an immense pleasure to watch a theatrical legend swan around for a couple of hours, and Buckley clearly relishes every second. Her monologues were especially powerful, bringing real tears to her (and many audience members) eyes. She is deliciously foiled by Lewis Stadlen as the blustery Horace Vandergelder. Stadlen is a complete riot, a lethal stylistic blend of Nathan Lane, Tony Shalhoub and Burl Ives, and he's my favorite actor I've ever seen in that role. He had the audience roaring with laughter at the first note (not an easy feat, considering some of his solo lyrics), and watching he and Buckley spar through their scenes was an absolute delight. The rest of the cast has sunny smiles and strong singing voices, and they anchor the rest of the show so that Buckley and Stadlen can shine. It's a true group effort, and combined with Robert Billig's masterful conduction of the pit orchestra, musical lovers are sure to be delighted with the experience.

Photo by Julieta Cervantes

I found myself surprisingly engaged in the production design of this Hello, Dolly! as well. No expense was spared in the lavish sets, and this production served me all the Broadway glitz and glam that I found sorely lacking in the recent tour of Charlie and the Chocolate Factory in the same theater. We have trap doors! A working steam train! Three-D, watercolor painted scrims! Easter egg dyed costumes! Luscious velvet restaurant curtains! Absolute mountains of props! It's all the OG theater stuff I grew up entranced by, and hats off to the amazing production designers for executing a fully fleshed, over the top vision that was a true feast for the senses. The choreography by David Chase deserves a special call-out - dancers are absolutely flying around this stage in rickety 1900s-era heels with nary a care, and their fearless performance added to the showstopper scenes (especially that butler scene in the Harmonia Gardens restaurant - *how gorgina*, as Jonathan Van Ness would say).

Photo by Julieta Cervantes

All of this to say, if you've seen Hello, Dolly! before, I think this traveling production is still worth a stop this weekend. If you haven't seen it yet, then this is a must-visit. You'll get to see a Broadway legend at her most fabulous and vaunted, paired with a dreamy (and equally legendary) comedic partner. The production design and dancing are likely to dazzle even the most jaded theater goer and the musical performances are no slouch either. Tickets to shows like this tend to be pricey and you don't always know if they're worth the admission. I think this is a solid bet on bang for your buck, if you like that showy Broadway kind of thing. Definitely look into it by clicking here for more information and to get tickets.

Photo by Julieta Cervantes

Rocking Out to Hedwig and the Angry Inch

Before there was Caitlyn Jenner, or Pose on FX ... 

Photo by Dan Norman

... or any number of other famous trans faces or characters; before Janet Mock was a twinkle in the eye of Hollywood's firmament, there was Hedwig.

Photo by Dan Norman

Hedwig and the Angry Inch has been making splashes on stages ever since it first premiered over 20 years ago, perhaps most famously when Taye Diggs became the first African American to perform the role on Broadway in 2015. She's now filling every ounce of Theater Latte Da's stage in Northeast Minneapolis in a taut, high octane performance that forces you to view her straight on, loud and proud, just as she always intended.

Photo by Dan Norman

Let me back up. Part memoir, part rock and roll concert, Hedwig and the Angry Inch tells the story of an accidental trans woman named Hedwig who is trying to scrounge a living as a rock and roll star, literally caught between two worlds - man and woman, Germany and the U.S., the spotlight and the shadows. Born in a world with no defined place for her, abused and with few options, Hedwig gets gender reassignment surgery in order to "marry" an American GI and flee East Germany only two years before the Berlin Wall comes down. Quickly divorced afterwards, bereft and driftless, Hedwig builds a life as a rock star and tells the entire sordid tale of her in a flashy 90 minute performance that includes her backup band The Angry Inch and a host of sideways stories that collectively paint the tapestry of trauma and resilience that define Hedwig and help her continue on.

Photo by Dan Norman

There's not a lot of presence on-stage outside of Hedwig herself, played brilliantly by Tyler Michaels King. I've seen King do a lot of different kinds of roles, but this is his most transformative yet. He easily blends between the hyper-feminine Hedwig and her masculine rock villain Tommy, almost unrecognizable at either end of the spectrum. King's lithe voice brings a classic-meets-metal tinge to the music much like a 1980s-era Linda Ronstadt (not a bad thing at all), and he absolutely dominates the performance. Jay Owen Eisenberg is an equal (if more subtle) chameleon as the other speaking role in this show, Hedwig's partner Yitzhak. Eisenberg is deceptively subtle and showcases an absolutely gorgeous voice at several points in the show, culminating in an exquisite rendition of "The Long Grift" that is a true highlight.

Photo by Dan Norman

Hedwig prances through a dizzying spectrum of costumes and wigs, designed respectively by Alice Fredrickson and Paul Bigot. Each presents a completely different image of her, and the rapid visualization helps demonstrate how confusing - or liberating - such a wealth of options could be to someone who doesn't have a defined place in society. Abbee Warmboe's mountain of props are masterfully tied into Michael Hoover's scenic design, keeping the transitions lighting fast and providing a place for everything. Mary Shabatura's lighting design is intentionally heavy handed - a little too much so for my taste, but certainly effective - and Alex Ritter's sound design prioritizes the distortion and tense tones that define rock and roll and keep the audience on edge as well.

Photo by Dan Norman

I'd never seen Hedwig and the Angry Inch before, and there was so much more packed into this show than I expected. I'm still chewing on it days after seeing it, and I suspect I'll continue to find new themes and threads the longer it sits with me. It's an aggressive, punchy musical that is so different from the softer stories of trans lives and experiences we tend to see in pop culture these days (call it the Janet Mock effect?). I think there's a place for both of them; what's undoubtedly true is that many people feel seen because of Hedwig, and this play opened a door that needed to be for many LGBTQIA+ friends among us. I want to call out Theater Latte Da's beautifully designed program here, which includes interviews, a glossary of terms, and a bunch of other important information that helps provide context around LGBTQIA+ issues and the history of this show.

Photo by Dan Norman

One question that lingers with me is the identity of the actor playing Hedwig herself, and it's one I don't have answers to. When King was announced in the titular role months ago I heard many grumblings in the #tctheater community that it should have gone to a person who publicly identifies as trans instead. Ideologically I support the sentiment; but I have to say in practice and after seeing the show, I have more questions than answers. Should all actors auditioning for roles like this be required to list their sexuality and gender on their applications? How does that affect a right to privacy? What if there are many other trans or queer actors on-stage, but just not in that titular role (as is the case here)? Who gets to be the gatekeeper of who is "acceptable" to play certain parts? Is this a standard that could backfire when applied in reverse? How do we prioritize marginalized voices in casting productions like this without erasing them? What if King really is the best choice for this role for this company - can we say that?

Photo by Dan Norman

It's an interesting conversation, and I think the fact that we're having it shows a lot of positive progress. This show is really well produced (as is Theater Latte Da's standard), and I am inclined to think that fans of Hedwig and the Angry Inch will leave the theater happy with the show they've seen. As far as those deeper questions go, I don't think I'm qualified to weigh in on them; but I am very interested to hear the answers the LGBTQIA+ community presents. If you want to see Hedwig and the Angry Inch, make sure to click here to learn more and get your tickets before it closes on May 5.

Photo by Dan Norman

The Jungle's "School Girls" brings "Mean Girls" to Africa

Every time I see a show at The Jungle, I think "they can't possibly top this..."

Photo by Dan Norman

... and then I find myself to be all wrong a couple months later when a new show opens.

Readers may remember my glowing review of the Jungle's reprisal of The Wolves last month, their powerful show about a girl's high school soccer team told exclusively by and from the perspective of teenage girls. It was a masterful piece of acting and writing, and really solidified for me how the simple act of naming a visionary artistic director - Sarah Rassmussen, in this case - can totally change the aura and value a theater brings to the community. Don't get me wrong; The Jungle has always done great work, but the fresh crop of new directors, actors, creative teams, playwrights and just truly intentional, inclusive diversity that is whipping through that stage is really inspiring to watch. The continued focus on women's voices, and especially those of young women / teenagers, is really filling a void in our artistic community and bringing scores of exciting new voices to the forefront of #tctheater stages and imaginations.

The latest show to fall in this spectrum, School Girls or, The African Mean Girls Play, is also one of the best - which is really saying something. A fictional play inspired by a true story, School Girls is about a school of girls in Ghana who are competing against each other to win the Miss Ghana pageant (along with the fame and opportunity to travel to the Miss Universe pageant that go along with it). Each girl holds a different potential advantage - some are thinner, some have better singing voices and talents, some are smarter, some are kinder, some are wealthier - but what ultimately proves to be the winning ticket is to be the person with the lightest skin. The build up to the selection for the pageant includes infighting and backstabbing as only a group of teenage girls can do, meeting (and even exceeding) the vicious bullying detailed in the famous movie Mean Girls (aka Lindsay Lohan's best movie - easily, ever). It's a play that is as entertaining as it is heartbreaking, showing the evil underbelly of our world just as it details the side splitting moments of joy we cling to through the madness.

Photo by Dan Norman

I searched my mind for another play I've seen featuring an exclusive troupe of black women actors on stage, and the only one I could come up with was the excellent Nina Simone: Four Women that ran at Park Square Theatre a few years ago (I also could count for colored girls... which featured all women of color at the Penumbra last year and was equally amazing). It's a shame it's taken this long for me to see another group of vivacious, fiercely talented black women shining together on-stage, and I thoroughly enjoyed the camaraderie this group presented. Ashe Jaafaru is positively riveting as the main character (antihero?) Paulina. Paulina is a very complex character - ruthless, shrewd, bullying, and also abused, defensive and ambitious. It's a potent mix that Jaafaru pushes to the ultimate limit, often eliciting gasps from the audience with her sharply barbed delivery. Her performance makes a pointed contrast to the sweetness of many of the rest of the characters - among them Paulina's supposed best friend Ama (Aishé Keita), the bubbly Gifty (Nimene Sierra Wureh), vibrant Mercy (Kiara Jackson), and the always-snacking Nana (Salome Mergia). Eponine Diatta is layered as the American transplant Ericka, simple and lovable at first appearance but increasingly cunning as the competition heats up. Ivory Doublette is delightful as the kind Headmistress Francis, giving the story a sense of sanity. And Hope Cervantes is deliciously devious as the Miss Ghana recruiter Eloise Amponsah, whose pointed lines shed the most light on the disturbing ripple effects contests like Miss Universe can have on those who believe in them so fervently.

I really enjoyed the sunny production design, such a contrast to the chilly spring we're having. The set, designed by Seitu Jones and Bianca Janine Pettis, is a brightly lit cafeteria room that is simple but manages to encapsulate many levels of significance as the characters' backgrounds are revealed. Ghanaian designer Jacqueline Addison's vibrant costumes include bright school uniforms, beautiful headwraps, and a full 1980's compendium of prom gown style that will delight even the least nostalgic viewer. Karin Olson's painterly lighting transitions the action quickly from day to night and back again, and Katharine Horowitz's sound design is subtle enough to let you hear a pin drop during the most suspenseful moments. Hats off to visionary director Shá Cage for creating a tightly knit team who is clearly proud of the work they are doing - this show clicks through so smoothly that you barely realize when it's finished, and we all wanted more when the curtains rose for the final applause.

Photo by Dan Norman

This is the first play I've seen in a very long time that I've felt compelled to stay for a talk back after the show (especially on a weeknight). We had such a fruitful discussion after, and it was really fun to hear how the Jungle's diversifying (but still mostly older and whiter) audience connected with a play that was so clearly young and black. One of the things I loved most about School Girls was its many points of entry; from classism to racism to gender imbalance to judgments based on one's country of origin to colonialism to colorism, the ultimate theme, there are so many ways to engage with this richly visualized world. Jocelyn Bioh's script does not shy away from complexity, and her bravery in showing all the ugly underbelly of our centralization of Western and Anglo-centric beauty standards is revelatory, especially for audiences who have never encountered terms like colorism or whitening creams. By being unapologetic in its perspective, School Girls confronts us with many painful truths and centers the stories of many kinds of black women in an approachable package, and that's a feat we can use more of in all forms of art. This tautly presented, riveting piece of theater will grace The Jungle's stage only until April 14, so make sure to book your tickets quickly before it disappears. This smart, vivacious, beautiful young cast is truly #worthit. For more information or to buy your tickets, click on this link.

Reviewed in Brief: The Last Firefly by Theater Mu

What does community outreach mean to you? 

Photo courtesy of Mu Performing Arts

How about accessibility?

For a lot of people I imagine the definition would be pretty literal - have you invited people to attend your show? Do you have ramps and elevators for those who can't climb stairs? That's usually where those answers end.

I'd like to open a dialogue about a deeper kind of accessibility and outreach: Who gets to make art to begin with? Where do they perform it? How do they expand their group to organically include more and more types of people?

Theater Mu (Mu), one of my favorite local companies, really excels at this mission, and their latest show The Last Firefly takes it a step further. The Last Firefly is a zippy 70-ish minute script that tells a fable about how a girl (Boom) discovers who her father (Thunder) is; finds a long-lost sister (Lightning); makes friends with woodland creatures (Monkey and Spider); and rescues her mother (Kuroko) from her evil stepfather (Ax). Its a simple, animistic tale that I find a spare beauty in and really enjoyed at the Children's Theatre Company (CTC) a couple of years ago (click here for my review). Mu's staging is decidedly less lavish than CTC's, but it includes a lot more participation from untrained actors in the local community, and the contrast was really interesting to me.

The core actors are formed of Mu cast members and are surrounded with participation from local schools. Shina Xiong makes for a plucky Boom, and what she lacks in finesse she makes up for in great energy and spirit on stage. Gregory Yang clearly relishes playing the dangerous Ax, and I loved the clean lines and physicality Kajsiab "Jade" Yang brought to her role as the zesty Lightning. I think this is Daisuke Kawachi's first time directing Mu, and he incorporates many new faces we haven't normally seen in this crew. The results have mixed success, but I think that's okay - this is a very young crew overall, with many students in their first time ever on a professional stage, and they bring so much heart and energy to their parts.

And this last point is what I really wanted to get at with the conversation about outreach and accessibility. What better way to build a theater community - both in audiences and on-stage - than to take a risk and include students in your shows? It might not give a production a highly polished sheen like you'd see on a CTC or Guthrie stage, but it will inspire a passion in the hearts of those kids and pay it forward many times over as they grow older, learn more about theater, and one day decide how they want to remain engaged with that world. I think that's an honorable cause, and one I don't see a lot of local companies take.

The Last Firefly marks a new era and a fresh start for Mu in many ways; for that reason, this is going to feel decidedly different than their other work has over the last few years. Like any new beginning there are sidesteps and stumbles; this wasn't my favorite Mu show I've seen in recent memory. But all of that said, there are so many risky, new ideas here (like that troupe of excited young actors or an abstract set design that moves around the actors - instead of the actors around the set), and I appreciate that Mu is willing to take a chance on trying something different and moving forward in an innovative new way. Watching the students on stage brought back fond memories of my first experiences in theater - scared to death, intimidated by all those blinking eyes in the darkness, and the confidence it brought when I finally found my voice there. I have always liked the sweet script of The Last Firefly and the study in contrasts between this production and CTC's gives me lots of food for thought. I think there are important places for both approaches to this story, and I'd encourage curious readers to give this show a chance to see what you think. Click here for more information and to get tickets before the show closes at Steppingstone (such a cool local venue!) on April 7.