Kendra

P.S. Check out my last blog post, Minnesota Fringe 2024: So It Begins, to learn more about the Minnesota Fringe and how to participate through August 11, 2024. Also please read more Fringe coverage by other Twin Cities Theater Bloggers: Cherry and the Spoon, The Stages of MN, and Single White Fringe Geek.

Holy O 
Lauren Hance: Writer/Performer
Amelia Peterson: Developer/Director
Cathy Lam-Patrie: Co-Director

How do you strike a balance between humor and depth when discussing topics like sexuality in the show?
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Lauren: I often take the mantra of make 'em laugh, make 'em cry. Laughter, in its best form, is incredibly unifying. When we laugh together, it is an auditory and physical sign that says, "Oh, you too!" Laughter bonds people together. When you laugh together, it opens the door for you to get a little deeper and maybe even cry together. Part of creating a safe space is bringing some laughter into the mix.

Additionally, from the opening of the show, I begin in a very vulnerable state. I take on the brunt of the jokes and the unease, which creates a space for others to feel safe going on the journey with me. Holy O is interactive, and to get people to participate, I have to be vulnerable myself. The show is carefully crafted that way on purpose.  

When people feel safe, they can broach the more difficult subject matters. Holy O broaches some complicated subject matters such as assault, abuse, and suicide, and the stories are told in such a way that they begin with a more light-hearted stance. And the seriousness of the subject matters is never treated with judgment, but simply "this is how it is." It makes the difficult moments easier to get through. While the Holy O does not end with a tidy solution, it does point to hope, which helps audiences process the complex subjects they've just encountered.

Describe your show in three words or less.
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​Lauren: ​Laugh. Cry. Orgasm?

One of my favorite parts of your podcast What the Fringe?! is how you are building community and creating conversation with fringe artists. You had a great discussion with other producers from the 2024 Fringe Festival Timothy Kelly from Melancholics Anonymous and Jake Mierva and Danylo Loutchko of an alleged Theatre Company on your recent podcasts. How do you think platforms like Minnesota Fringe support our arts communities and why are they so important?

Lauren: Interviewing these three artists was so eye-opening to the value of Fringe to local production companies. Participating in Fringe was the beginning of both of these companies, and without Fringe, these two companies may not be doing what they are doing now. Both Melancholics Anonymous and an Alleged Theater Company produce quirky shows. Fringe has given them a place to try out their ideas and see if people are into it - and they are! Fringe is such a low financial stake that companies can really get experimental to see what might work in their season lineup. Additionally, Fringe helps local artists, like these two companies, build an audience base, which in turn helps them build a stronger year-round company.
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I am a touring artist, and when I first started doing Fringe, I was a little put off by some fringes allocating large percentages of the lineup to local talent and much smaller percentages to touring artists. After a few years of hitting the fringe circuit, I get it. Fringe can be a space for local artists to grow, discover who they are, and build a loyal following that will support them throughout the year. Plus, local artists draw crowds that will not only see their friends' shows but will then try out other shows at the Fringe.

The US fringe is unique in its emphasis on local artists. Fringes in Canada and Australia emphasize country artists and touring shows, while Edinburgh is all about bringing the world to the city. I cannot say if one system is better, but I celebrate what each type offers.

Lauren Hance is a playwright, producer, director, and actress. Lauren’s plays have been produced across the country, including Chicago, Minnesota, Texas, New York, New Orleans, and California. She has worked as a writer and director at Southern Rep Theatre in New Orleans in the 6x6 and 3x3 Playwriting programs. Lauren is a proud member of the Dramatist Guild of America and has been published through Mushroom Cloud Press. Lauren is the founder of Out of Mind Productions, a small production company with the mission to present stories that stir the heart, and served two years as the Director of Theatre & Theology at CITA. Lauren’s most recent project is the podcast What the Fringe?!, where each week, she sits down with a fringe artist to talk all things fringe theatre. Lauren holds a BFA in Directing from Abilene Christian University and a MAT in Arts and Theology from Fuller Theological Seminary. She resides in Houston with her husband and two daughters. www.LaurenHance.com

Greeting, outlaw and theater enthusiasts! Step into the world of Old West legends as we sit down with Angela Timberman, a talented local theater artist, who shares her experience playing Zerelda, Jesse James's mother, in the musical production of The Defeat of Jesse James, at the History Theatre from April 29 through May 28, 2023. This production offers a unique fusion of rock 'n roll, country, gospel, and pop music, while exploring the Minnesota connection to the notorious outlaw. In my conversation with Angela, we discuss her role, the importance of addressing controversial characters and issues in theater, and how this blend of musical genres influences her performance.

Join us in uncovering the rich and immersive experience of live theater and the lessons we can learn from deconstructing the stories of notorious figures like Jesse James, whose daring 1876 Northfield, Minnesota bank robbery continues to captivate our imagination. Read on to discover Angela's insights and to get a tantalizing glimpse of this high-energy production.

Artfully,

Tell us about your role in The Defeat of Jesse James at History Theatre!

Angela: I am playing the role of Jesse James's mother, Zerelda. She was one tough cookie.

She respected the white patriarchal construct of her world, but she expected the men in her life to be as tough as she was. Frank and Jesse felt the pressure of her expectations as did her 3 husbands. She was also a staunch supporter of the Confederacy. She resented the South's defeat in the Civil War and the way they suffered in the aftermath. I believe that's where most of her pride and expectations for Frank and Jesse came from. She saw their violent lives as noble and the masculine thing to do in response to the "Northern aggression" and she defended her boys to a fault.  
 
Can you share your thoughts on the importance of addressing problematic characters and controversial issues in theater?

Angela: We're fascinated by stories about people who do extraordinary or infamous things. But we have a problem contextualizing heroes and villains. Humans are rarely one or the other. A person with a noble cause can do terrible things.

Jesse's story is tied to issues that we STILL struggle with in our country today. Race and gun violence are the two big ones. That's why his story is important, because for a long time his story was one of the badass hero. And it's not true. We can learn from deconstructing or retelling these stories. And they spark important conversations.

The show is described as a blend of rock and musical theater. How has this unique fusion influenced your performance?

Angela: I think the style in which we're choosing to tell our story is effective in a kind of paradoxical way. As an actor, I may be performing a character from a different era, but I'm playing her for a modern audience in a modern setting.

It feels satirical and the audience can digest the atrocities in an oddly less emotional way. BUT, at the same time the modern sound and setting can sometimes make us even more connected emotionally. This keeps the audience on their toes. Because one minute you're laughing and the next you're sad. Or comfortable and then uncomfortable. Sure and then unsure.

What do you hope audiences will take away from The Defeat of Jesse James, and how does it contribute to the ongoing conversation about America's history and its diverse experiences?

Angela: Society creates heroes and villains, and we curate their stories into myths according to the sensibilities of the times we live in. People who do extraordinary things wake us up and speak to our own plights as humans. They are braver and bigger than our ordinary selves. Sometimes in a good way, sometimes in a bad way, sometimes in a way we don't understand but the "wow" factor is there regardless. Their lives are a kind of spiritual or moral touchstone. And when we come back to their stories, we not only re-evaluate them we re-evaluate us.

I hope the audience leaves thinking something they didn't think before they saw this play. Maybe it will be something about themselves.

Content warning:
Strong language, haze, fog, gunshot sound effects, and strobes.

"[Angela Timberman] is always dynamite in the roles that she plays, and she's especially so as Jesse's hardened mother. She has a great song called House Full of… (a-holes) that had the audience hooting with laughter."
~Play Off The Page

"Hilarious Angela Timberman as one tough mother..."
~Cherry and Spoon

"The incomparable Angela Timberman..."
~Life In Revue

In this Artfully Engaging blog interview, we hear from Samantha Grimes, an award-winning singer-songwriter, who believes in writing impactful, well-written, and genuine music. Samantha shares her experiences of collaborating with other artists and how it has influenced her music. She also talks about her upcoming solo performance and what the audience can expect. Additionally, she discusses her involvement with organizations like the Minnesota Music Coalition and the Midwest Country Music Organization that have impacted her career positively. Furthermore, Samantha shares her love for creating music and the inspiration behind sharing her songs with the world. Finally, she offers some advice to aspiring musicians who are starting out in their careers.

Samantha's passion for music shines through in every performance, and she loves nothing more than sharing her music with people. After reading this interview you can find out more about Samantha and her music on her website at samanthagrimesmusic.com and follow her on Facebook and Instagram at @samanthagrimesmusic. Enjoy this Twin Cities behind-the-scenes interview!

Artfully,

Get free Artfully Engaging email updates  to get ticket deals, artist exclusives, & inspiration.

Your music covers a range of emotions and experiences, from love to loss to hate. How do you approach songwriting to convey these complex feelings? 

Samantha: I suppose I never have considered there to a be an approach to my songwriting. I generally hear something clever or catchy as I am noodling around on guitar or piano, and it elicits an emotion. From that feeling, I know I am on to a great song if it writes itself rather quickly. I have been chastised by some people for being too "wordy" in my songs - but sometimes a story or feeling needs more explanation.

I believe in my heart that the music I create is impactful, well-written, and genuine. I also tend to believe that it is good - which these awards also validate. The impact these awards have on my music honestly boils down to just the desire to create more.

Collaboration is often an important aspect of creativity. Have you collaborated with any other artists in the past, and if so, how did that influence your music?

Samantha: I consider most any music I make with other people to be a collaboration. For instance, Jon Larson who has played bass for me, was instrumental in the writing of "Red String Theory." I started writing that song when I was 11 years old. I had only created the guitar riff, and could never find words that went well with it.  One day, Jon comes around and has the perfect bass line and I wrote the entire song that evening.  After twenty-odd years of toying with it. I also feel the relationship I have with my producer, J. Christopher Vaught, has influenced my music heavily. More often than not, I have the song 99% done. I'll send him my demo that I create at home, and he takes it, listens, advises, sometimes adds or detracts items from the score, and then mixes and masters it. If that isn't a collaboration, I don't know what could possibly define it!

What can audiences expect from your upcoming performance at Arts+ Rec with special guest Allison Dyg? 

Samantha: I'm fortunate to know my audience very well.  People love a good plethora of different musical themes.  People know that I dabble in pop, country, rock, alternative, singer/songwriter, etc.  The beauty of the upcoming show at Arts + Rec Uptown is that I'll be playing all of my music solo.  Audiences will get to hear each song as I wrote them - which is a special experience all its own.  And Allison Dyg - let me tell you.  She has pipes.  She is a fantastic singer, and her original music aligns very well with what I am doing.  She reminds me a little of Tori Amos - and she holds this tremendous soul-monster inside her that can envelop an entire room. 

How has your involvement with organizations like the MN Music Coalition and the Midwest Country Music Organization impacted your career as a musician?

Samantha: I often credit both organizations, and also the International Singer/Songwriters Association, with my growth these past few years. The MN Music Coalition is an organization I joined when I was looking for an entertainment lawyer. Someone recommended them because they network and have affiliations with law firms and could negotiate a discount. Not only was that 100% true, they also have facilitated numerous bookings for me and provided opportunities I can never thank them properly for. I was playing guitar in the heart of the Mall of America thinking HOW COOL IS THIS. The MN Music Coalition did that for me.

I'm relatively new to the Midwest Country Music Organization. I always thought of myself leaning towards the rock/pop side of the genre spectrum. Then I saw Sarah Morris (another singer/songwriter) had a deep connection to them. I have listened to a great number of her songs, and I never thought they were entirely country. I'd say, at the heart, they are singer/songwriter mixed with some Americana, a little country twang here and there. But after seeing her grow her music with that affiliation, I thought well heck - I can be a part of it too then! So I became a member. The people I have met so far through the Midwest CMO have been the salt of the earth - the most wonderful people. I am so excited to attend the Midwest CMO Awards April 22nd down in Iowa. I can't wait to see my music family!

Your website and social media pages feature a lot of original music. What inspires you to keep creating new songs and sharing them with others?

Samantha: I just can't stop I suppose! Music has been with me since I was five years old. I was writing songs about my pet albino rat Skippy and sending them to National Geographic. My set, unless announced otherwise, is 100% original music. I love that I've been able to cultivate this passion of mine into a full-blown side hustle. I can share my own soul-monster with the world and have it received in a positive light. I will continue to create and share music until I can no longer physically do so. 

What advice would you give to aspiring musicians who are just starting out in their careers?
Samantha: This is tough - because I know so many incredibly gifted musicians that are just getting going that do not do the original music thing. To them, I always say to play with folks that are better than you and keep growing.

However, to the original music singer/songwriters - I have some different advice. Grit your teeth, dig in, and know your demographics. I know, for a fact, that my music would not be well received at a Primus concert. So, I won't reach for a booking that doesn't resonate with my style (like opening for Primus). If your set is 45 minutes of original music, and you do not want to rely on covers (a lot of places won't let you play covers anymore regardless) don't book a four-hour gig. Be smart about who and when you approach people for bookings, and then, put your all into it. Be tenacious. Show every venue that you are as invested as they are in putting on a great show. 

Songwriter Rounds Presented by WFNU: Three songwriters singing and performing original music
Sat, April 8 @ 6:30PM
Yellowbird Coffee Bar
1168 Selby Ave, Saint Paul, MN

St. Croix Valley Riverboat Music Festival: Three full days of music! 
Fri, June 2 - Sun, June 4 Saint Croix Falls, WI

Thanks to Arts + Rec for sponsoring this post! If you have upcoming events to promote, local Twin Cities businesses to advertise, or want to support these conversations please reach out.

Yesterday  I had the opportunity to sit down and have a conversation with Dexieng "Dae" Yang, a Twin Cities theater artist, to discuss her experiences preparing for her performance in the new musical Again, a  world premiere from Mu Theater written by Katie Ka Vang and Melissa Li. We also discuss  her artist journey, some of her favorite moments in the show, and at the end she reveals a big personal announcement! The following is and edited text version of the interview, which you can watch in its entirety on YouTube. Enjoy Dae's thoughtful and inspiring answers and then grab your crew and head out to Mixed Blood to experience this musical and support this piece of amazing collaborative theater.

Kendra: Welcome. My name is Kendra Plant. I am with the Artfully Engaging Blog, which is a blog that talks about creativity and arts events in the Twin Cities. And today I have a very special guest from Mu Theater. Thanks, Dae, for joining. We are going to talk a little bit about the new musical "Again," which is going to be a world premiere. And then just learn a little about the process and get some more information about the show. So Dae, do you want to introduce yourself and tell us a little bit about you?

Dae: Yes. I'm Dexieng Yang, but I go by "Dae." I use she/her pronouns. A little bit about me. Ooh, that's a hard question, Kendra. Well, I am a actor, teaching artist, emerging playwright. I want to be a playwright here, I'm located in the Twin Cities. I recently just graduated from Augsburg. I guess it's becoming not so recent. I graduated in 2021 with my BFA in theatre with concentrations in directing, dramaturgy, and playwriting, which tends to surprise people because I really have been in the art scene here in the Twin Cities as an actor.

Dae: So a lot of people think I actually got my degree in performance, but I didn't. And then I also got a minor in management and management informational systems because fun fact, I went to college as a business major. I never thought I could pursue theatre at all. Just because I never saw myself on stage, I've always loved theatre though, since I was like in kindergarten. However, I just didn't know how realistic it was for an Asian person to be able to pursue it.

And it wasn't until my sophomore year of college when I met the artistic director of Mu at the time, when I met him, he basically just said that if your Asian family could be so excited for someone who wants to pursue medical school and support them 100%, they haven't even gone to medical school. Why can't they be as excited for you to be an actor? Because it is a very doable career if you have heart and you have passion. And so I was like, yeah, yeah, you're great. Why don't I do it? So I switched my major.

And then I, honestly, it really feels like the stars are aligning because I did a show at Augsburg University where I went. I did a show there where we had an outside director come to our university to direct the show. And through him, I was able to meet other artists in the Twin Cities. And then I got invitations to audition for things. And then I just kept auditioning. And then I started working at 19 in the Twin Cities. And I've been working since somehow. Thank goodness. I feel very blessed to have been able to do that. And working with, I have done quite a few shows with Theater Mu, but I've also worked a lot with Pillsbury House Theatre with their DEI training. They're training, I don't want to say training course, but they have a program called Breaking Ice where they focus on DEI. And so I've gotten to be involved in that a lot too. So yeah, I guess that's a little bit of a longer intro to kind of where I'm at. But that's how I've gotten here. And that's how I'm here now.

Kendra: I love that the community has been so supportive and that artists were, you know, you were connecting and, you know, getting audition information. And that is one of the things that I do love about the Twin Cities is really like how there's like lots of artists, like the Playwright's Center, for example, like brings lots of artists from all over. We have lots of very strong theaters, including Theater Mu, which is the biggest Asian American theater in the Midwest., it's long running and has a reputation for high quality theater.

So I'm glad that you're finding work. And also, congratulations for graduating. And were you going to school during quarantine then?

Dae: I was. Yeah. So, I basically finished my senior year all online, which was quite an experience. Yeah, I was still also working too in the theater world. So you have basically a full day; I was also working at the time. So everything was work from home. And then you did school from home. And then when you did theater at night, you were at home. So it was like 14 plus hours of just at a screen, which looking back, I don't know how my brain was able to do it. Like, I swear, I should have gotten way more migraines than I actually did. But kind of crazy. But yes, I did go to school during that time.

I had a virtual graduation. So a beautiful YouTube live video of my little picture popping up. It was fun. And I did not choose the walk just because there, COVID was still going on. And I live with high-risk people. And so I was like, no, we're not going to do that. So yeah, but it's okay. I personally don't feel bad about it. I was fine.

Kendra: You have the degree: you have the paper and the experience, the connections and everything that brings. And so let's talk about Again. So this musical is playing March 29th through April 16th and we are approaching opening. So I'm curious to know more.

Dae: Well, first of all, I'll let you tell us a little bit about the musical. Yeah. So if we're just going through what the story is, right, a plot of the musical, we basically meet my Mai See, who I will be playing. We meet my Mai See, who is, she -- this isn't a secret, so it's not like, whoa, it's in a synopsis -- but she has cancer.

She has cancer. And she she had written a book about it. And because of her book, she ends up needing a fan of hers Quest, who is this bubbly early 20s character who's just like so ready for life. And Quest also has cancer, but she, but she is, she is taking on the world. Whereas Mai See is still learning to, I guess, take control of her life and figure out herself because she's had cancer for a longer chunk of her life. She's 39. And so she's had cancer for a longer chunk, but she's also been in remission for a while. So she's still trying to figure out how to navigate her life. And so we get to see these two characters, kind of how Quest helps Mai See regenerate her life, really, and find herself again and find footing through cute little, through cute little interviews like this, actually, trying to get to know one another.

But again, giving it a little bit what the heart of again is it's really about courage and being okay to start over and being okay to know that there's never a wrong time to fix and rekindle relationships because this show really revolves on relationships. It doesn't matter how long it's been, if it's important to you, you can go ahead and rekindle them and you should have courage to. Sorry, I feel like I didn't explain that well, but there are so many great themes in this musical, the two of those I highlighted.

Kendra: Yeah, there's a lot of elements, and I believe from what I've been hearing is that friendship is a really important element. And I know Katie Ka Vang, when she was talking about like her inspiration for the show was like, you know, she's a cancer survivor herself, and she wanted to tell a cancer story through Hmong American lens. And so, you know, probably everybody who sees the show and everybody watching this is going to have some sort of experience with cancer in their life with themselves or someone they know. So can you talk a little bit about like how the how it's handled? I mean, there's the potential that that's like what kind of like very obviously it's sad and frustrating and -- what's the name of the musical number when she finds when she finds out she's out of remission?

Dae: "Are you effing kidding me?" Yeah, I don't know if I could swear, but yeah, there is swearing in the show, just so your ears are ready. There's a lot of the f-word drops.

Kendra: So can you talk a little bit about like how the material is handled? Because I know there's also moments of levity, but obviously people who've been touched by cancer know like how like serious of a topic it is.

Dae: Oh yeah, no, definitely. Maybe too personal, but my I have my grandfather just recently passed from cancer. And I feel like the way he went about this musical handled it in a way that I feel like our family handled it. One of the big themes that is running through the musical is taking it one day at a time. And even with that song like every it just reminds me of the moments where the doctors are like, Oh, the treatment is working. It's getting better. And then literally just literally seven days later, a week later. Oh, it's not working. He's he's failing. You know, it's we have to start a different medication right away. And then you have to readjust your schedule. And granted, I I do not do a lot of the caretaking for my grandfather during that time. But to see your family go through that as well and see him go through it and how hard it is on his body.

I resonate a lot with that song. It's very frustrating. It's really hard. It makes you angry. It's like, 'why?' Why? You said it works. Like, what? Why are we? Why are we going through all this? Like us as the family, like emotionally, and then obviously for my grandfather, very physically taxing. So I think Katie handled it in a way where it is realistic. Not that cancer isn't hard, right? It is so it is so hard. And there's a there's a lot of sadness that comes with it. But one thing that my mother had said to me that that I think really helped with that is that life keeps going and not a way to ignore it.  So we just have to keep going. And we have to be grateful for when he went for when he was here. We have to be grateful the days we have with him and not worry about, "Oh, we only have six months left. We only have five months left" and really do take it one day at a time. So I don't know if that answered the question.

But that's that I feel like Katie handled it really, really well. Having the hope in there and even if there's tragedy that does come at the end, which --there's not this musical, but even if there is--to relish in the moments of happiness when you can.

Kendra: That's very well said. Yes. And I guess that's why I'm excited to see the show because it's like music can sometimes explain things the way that words can't. So I'm really excited to see how it unfolds on stage in the friendships.

Kendra: Can you talk a little bit about the collaboration? There's some like amazing artists involved with this, like, like a long-time fan of Katie Ka Vang. What's it it's like working with all these talented folks?

Dae: Oh my God. Okay. When you say talented folks, yes, we have some extremely talented folks in this room. Oh my goodness. The collaboration has been it's been very easy. Katie is a very easy playwright to work with. I'll be like, 'Katie, does this make sense?' Or if you have a question about a certain line or a certain scene or the flow of it, Katie is very receptive to feedback. And she's also so chill. If you guys don't know Katie, she is so chill. Like with the revisions, 'cause obviously this is a new musical. So we have had a multiple revisions during this rehearsal process.

Katie is really quick as well to make revisions and then bring them back to us so that we can read it out loud and give her feedback and be like, 'Okay, this is what's working and what's not working.' Again, she's so open, receptive to it. She's not married to her work, which she is in the way that she's dedicated to it, but she's not married to in a sense that she can't change it.

Also Nana [Dakin], our director -- I really love the approach she has to these characters. It feels very human. She really gives us time to do table work with the new pages that come in or just with the scene or just be like,  'What are your relationships with one another?" and that is very common because you need to know how your arc of the characters are. Obviously, when you do any play, I just really appreciate the way Nana approaches it. She really asks us how we're feeling about it, which sometimes it's hard to, I feel like especially as artists is hard to just have one way to describe what you think. And usually at least for me, it comes out more abstract and feelings. So it's been a very human experience. [...]

Kendra: That's great. It's a safe place and open. That's the goal.

Can you talk about a favorite moment song or a favorite line in the place, something that really sticks with you that you and that just really enjoy in that moment when you're performing?

Dae: Oh my gosh. Okay. I was reading through this question because obviously you're prepared and you give me questions for this. And I was like, I really like a lot of the moments. But the one that I think sticks out to me is that there's this, there's in the middle of the musical, there is a scene where Quest and Mai See are having more heart-to-heart open conversation about..it's just like an organic where, you know, you're talking to someone and the the air kind of changes. And you kind of start saying a little more about your situation or personal life. And that's where Mai See and Quest are. And Mai See  tries to cheer Quest up. And she says this line, Mai See says, "Adults are just children in bigger, older bodies." And the Quest goes, "That's why my dad still has a bunch of hot wheels." And then Mai See is like, "Exactly!" And I just love that moment because there is a lot said in just those few lines that transpired the comfort of being like, "Hey, sometimes adults we mess up. We make mistakes and you're not at fault at all." Because Quest very much she's not a child. You know, she is an adult, but, she's going through some things that make, me, I feel like, you know, we all have maybe a bit of childhood issues that still follow us into adulthood and to have someone who is Hmong, like Mai See who's older, who's in the art field and being able to tell her these things, I feel like it's just a lot more impactful than if they were to come from someone who perhaps doesn't fully understand the scope of where you want to go and where you want to go in your life and what's happening, especially since they both are cancer survivors. So, I really enjoy that moment. It's a beautiful moment for them and their friendship. And a beautiful moment, I think that anyone and everyone can relate to. Yeah, adults are just children in bigger older bodies. And sometimes we all need a little bit of love in, in our own way.

Kendra: That's beautiful. And as you were going through this rehearsal process, I mean, you're still in the midst of it. I don't want to rush you, but has there been any challenges or surprises that have come up that you want to share?

Dae: So I got to see a reading of the musical at Theater Mu's New Eyes festival last year. So I already kind of knew and understood the whole idea of the musical. But I didn't realize how much it would touch me being in the musical because it is about family. It is about relationships, at the heart of it. I never had cancer, though I did have a close family member that did have cancer and I could relate that way.

I didn't, initially go in all this is like, thinking that it would necessarily affect me so much. Maybe that's a naive of me to think that. But it's really the relationships in this musical that has been like, wow, it's, it's a lot sometimes. Cause...when you love so hard, you hurt hard when you care hard. And then when these moments come up and you're like, "I've had that exact conversation with my sister," or  "I've had that exact conversation with my best friend,"  or "I've had this exact conversation."

There's a lot of those moments in this musical for me that I was not anticipating to feel so touched by -- and not that it's, that was challenging, but there were moments I was like, ooh, okay, I gotta separate Dae's life and Mai See's life and really make a separation because it's so easy to relate and then you get caught in the emotions and, and then, uh, and then you can't perform and then then you can't put on a show.

Kendra: Yeah, that's when you know the arts good, right? Like when it's so relatable, and you can just kind of dig into that material and there's like so much source material in your own life and it's like really speaking to you. So thank you for sharing that.

Let's get into some logistics, too. Again is at Mixed Blood Theater, so it's right on the West Bank. Tickets are pay as you are,  so tickets are as low as $10. If you can pay $45 please do so. And then addition, you can donate to Pathways Minneapolis, which provides resources and services for people with life threatening or chronic physical illness, as well as their caregivers. So you can do that as part of your ticket for just on top of your ticket. That's a great partnership and can help some folks out in the community. The show is recommended for ages 16 plus due to language, which we did discuss.

Kendra: Can you do a shout out at the end? Maybe why should folks come see the show and what you're most excited about?

Dae: Yes! Please come see the show because this is the first ever Hmong musical to be produced, at least I know of, for sure, in the Midwest. If you all do not know Minnesota is home to the largest Hmong population here in the U.S. There's a lot of us here. So please come support us and come see us. Even if you're not Hmong, Come see your Hmong brothers and sisters because we are here. Also because this musical is -- I promise you will be able to relate to it. I promise you're going to walk away feeling something in your heart because Katie and Melissa Li, who's the composer have written a absolutely heart-touching, funny, quirky, very cute, relationships  that are real. They're real. They're very genuine.

Also, I thought, okay... let me know you might have announced it now. I am pregnant! So come support me.

Kendra: Congratulations!

Dae: Thank you. I just want to announce that because, because this will be my first time ever do a show pregnant. And so let's see how we do costuming so I don't look pregnant.

Kendra: Well, I sure, I'm sure you have a lot of support in the Twin Cities art scene for
that too. Um, so that is, um, a thing that happens.

Dae: It is a thing. You can perform and be pregnant.

Kendra: I also read that the against three leads are all Hmong (American) women. Yes. And we [were reminded from the Oscars] with Michelle [Yeoh] winning for best actor -- that representation
matters. So that is very cool. And I'm glad to see that on Twin Cities stages.

Dae:
So we too, we are too. We're so excited that it's, it's freaking awesome.

Kendra: All right. So, well, thank you so much for spending some time with me talking about the show
and your artistry. I've really enjoyed chatting and learning more about you and I can't wait to
see you on stage here at Mixed Blood. Thank you!

Minnesota acoustic artist Tyler Herwig will take the stage of Arts + Rec this week, but before he plays his music live in Uptown on March 14, I had the chance to learn more about his creative process and the  journey he has taken as an artist. Tyler has also been known to play at Troubadour Wine  Bar -- one of my favorite Uptown spots to hear music -- and lots of other local venues. If you haven't had the pleasure of hearing Tyler before this, his music has been praised for its authenticity and raw emotion, which is a reflection of his personal experiences and personal struggles (read more below.) If you are interested in local independent music, songwriting, and using art to express complex emotions then this exclusive interview is for you! And if you are an artist or aspiring artist Tyler has some words of wisdom about where "the magic happens" so enjoy this artist Q&A and sign-up for Artfully Engaging email updates for more inspiring words from local creative entrepreneurs.

As an acoustic pop artist, how do you keep your performances fresh and unique for your audience?

Collaboration is often an important aspect of creativity. Have you collaborated with any other artists in the past, and if so, how did that influence your music?
Yes! I love collaborations and am currently exploring more and more of them with different artists all over the area. Collaborations help me expand my views of the possibilities and diversity of music. The different interpretations have allowed me to create my own songs and perfect them in a way that wouldn't have been possible without sharing talents with other artists.

What can audiences expect from your upcoming shows, and do you have any exciting events or performances coming up?
I'm looking forward to performing at new venues all over the Twin Cities area this summer. Not only have I added new venues, but I'm also in the process of adding new, original music to my sets because I am working on the release of a new album this year. Keep watching close!

Your social media pages feature a lot of original music. What inspires you to keep creating new songs and sharing them with others?
My history with a drug and alcohol addiction keeps me writing original music because it's how I share my story best with others. I know people experience things like loss and heart ache and, if they're anything like me, it can be hard to handle emotions like that. During my use, I struggled with expressing my emotions properly and music became the only outlet that allowed me to do so; I want to be relatable on that level with others going through a similar struggle. I want them to know that they aren't alone with their emotions and writing my own music to touch them keeps me inspired. 

How has your involvement with organizations like the Midwest Country Music Association (CMO) and the International Singer-Songwriters Association (ISSA) impacted your career as a musician?
The support from local music organizations is unparalleled. It can be daunting trying to start a career as an artist, but being involved with the Midwest CMO and ISSA makes the intimidating world of music less so. I feel the organizations give artists the support and backing they need for their career to flourish with connections to other musicians, mentors, and so much more.

What advice would you give to aspiring musicians who are just starting out in their careers?
I would encourage them to say "yes" to all opportunities that come their way. You never know which venue or gig might change the course of your entire career or where you might perform for that one person who really needs to hear your work. Keep the grind and seek support from others in the area. Bouncing ideas off other artists is what keeps things fresh in your performance, and it will never hurt to take an opportunity regardless of how "small" it may seem in the moment. In my experience, it's where the magic happens.

Finally, how can fans support your work and stay up-to-date with your music and performances?
Following me on social media is the best way to keep up! I'm on everything: Instagram, Facebook, TikTok, and everything in between @tylerherwigmusic. You can also check out any new music, check my tour schedule, and let me know where you'd like to see me next on my website: tylerherwigmusic.com. I look forward to connecting with fans and getting to know each of them even better!

Tyler Herwig @ Arts + Rec Uptown
Tuesday, March 14, 2023
Tuesday, March 21, 2023
5:00 pm - 6:30 pm

Thanks to Arts + Rec for sponsoring this post! If you have upcoming events to promote, local Twin Cities businesses to advertise, or want to support these conversations please reach out.

​I recently had the pleasure of chatting with Leslie Vincent, an incredibly talented jazz singer and performer who is gearing up to celebrate Women's History Month with a special concert series at Arts + Rec in Uptown, Minneapolis. Leslie's upcoming Sunday afternoon concerts will showcase the music of women in three emotional states: "Women in Love," "Women Who Folk," and "Women on the Edge." I was curious to learn more about what inspired Leslie to put together this exciting celebration of women in music, as well as to hear about her own creative process and upcoming projects.

In our interview, Leslie shared her influences, gave us a sneak peek into her upcoming album, and offered some advice for aspiring artists. Keep reading to learn more about Leslie's work and where you can catch her upcoming performances. Enjoy!

Artfully, 

P.S. Stay up to date on Minneapolis creative events, ticket deals, and artist features with Artfully Engaging Emails.

You mentioned you are currently recording your second solo album, can you give us a sneak peek into what we can expect from it?
Leslie: I don’t want to say too much, but it’s jazzy with some musical theatre essences sprinkled in. It’s my love letter to dark times and how we get through them. It’s joy and heartache and everything in between.

How has your music evolved over the years and what changes can listeners expect to hear in your new album?
Leslie: Oh, I’ve grown so much since I released my debut album [in 2020]. I went into this recording process with the goal to arrange each song specifically. The result is cool.

What message do you hope your music conveys to your listeners, and how do you hope it impacts them?
Leslie: Every single time I perform, I do it with the intention of inviting people in. I want them to enjoy themselves, have a laugh, and soak up beautiful music. Life is hard—we deserve time to appreciate any art and music around us whenever we get the chance. That’s what I try to provide with my limited time on Earth. ​

Leslie Vincent & Ted Godbout live music celebrating Women's History Month:

Leslie Vincent and Ted Godbout bring you Sunday afternoons full of women-inspired music from 1pm to 330 pm. 

March 12th - Women in Love: jazz-inspired songs about being in and out of love, featuring songs from the Great American Songbook. 

March 19th - Women Who Folk featuring the warm vibes of Carole King, Carly Simon, Dolly Parton, Taylor Swift, Linda Rondstadt, Patsy Cline.

March 26th - Women on the Edge featuring the songs of Amy Winehouse, Adele, Alanis Morisette, Meredith Brooks, Natalie Imbruglia, and The Indigo Girls. 

Thanks to Gary Briggle, Director, Dr. Randal Buikema, Music Director, and Stephen Hage, Producer, company member, and cast member, for this group interview so we can learn more about The Sorcerer, currently being produced by The Gilbert & Sullivan Very Light Opera Company to open March 10.

The Sorcerer
March 10-April 2, 2023
Adults: $28.00
Children (under 12): $18.00
Preview Performance: $18.00 (Preview performance is general admission seating)
There is a $2.00 fee ($1.00 for the Preview Performance) for ordering tickets online.

Typically performances sell out, advance reservations suggested.
Historically, Friday evening performances and performances early in the run have been those that are most likely to have rush tickets available. Rush tickets will be available for $16.00 at each performance on a “first-come, first-served” basis.  Rush tickets are sold ten minutes before the performance.
​
We recommend arriving at the theater a half-hour before a performance to be put on the Rush List.  Check the ticket availability to see if rush tickets are likely to be available.

If you would like to be notified of The Gilbert & Sullivan Very Light Opera Company volunteer opportunities, please join their mailing list.

Howard Conn Fine Arts Center
1900 Nicollet Avenue
Minneapolis, MN 55403

As a Twin Cities Theater Blogger, it is wonderful to have the opportunity to experience so many rich and varied arts events in Minnesota. But one of the events I most look forward to is a new musical at Chanhassen Dinner Theatres (CDT). There is a lot of reasons why I love to go to CDT (check out my past Artfully Engaging posts on Camelot, Sister Act, and Footloose). Some of my favorite reasons to see a show at Chanhassen are the multiple courses of food, amazing service, and the spectacle of colorful costumes, creative sets, and beautiful live music and dance. However, last week when I attended the press night of "The Prom" I got more than I bargained for! It was emotional for me to be seeing the story of two young queer women on stage. It wasn't a side plot, casually implied, or a comedic device. It was LGBTQIA+ representation and inclusivity and, as you'll read below from the artists involved: joy. 

​Here are five reasons why I think you should see "The Prom" too...​

Queer Stories Matter! Tyson Insixiengmai (he/they), an ensemble member of the show, reminds us that 'nobody out there gets to define' our unruly hearts. The musical embodies the essence of queer acceptance and advocacy, and it's a message that we all need to hear."

Talented Ensemble with live music & big dance numbers! KateMarie Andrews (she/her), an ensemble member, believes that people should see The Prom because it's a "beautifully written, entertaining, and emotional story." One of her favorite moments has been bonding with the cast and working on the big dance numbers! ​Shining performances by this cast will remind you of what Broadway heart and fierceness are all about. I was unfamiliar with the music from the show before attending and I found the contemporary Broadway style of the music to be approachable, understandable, and tracks I'll be adding my personal music playlists.

Live Events are Back! With the recent pandemic, live events have been scarce. Lussi Pearl (she/they), an ensemble member who also understudies for the role of "Emma," is excited for people to see The Prom because it's a chance to finally come together as a community again and experience the magic of live theater. I truly recommend bringing family and friends with you because this experience is best when shared! I always love my ride home after going to the CDT musicals because there is so much to talk about.

Radical Joy! Maya Richardson (she/they), who plays "Alyssa Greene," says that "queer youth joy is a radical act," and this musical showcases that brilliantly. "Every rehearsal is filled with people watching scenes on the sides, holding their hearts."

Familiar yet Fresh! 
It's great to see contemporary musicals, support living artists, and resonate with the issues of our times! Resident Artistic Director and CDT President, Michael Brindisi (he/him) says “It’s a privilege to be a theatre company that is among the first to get the newer titles, and we’re so happy to bring them to our audiences when it happens. [...] We are also actively working to develop and widen our audience scope as we look to our future.” 

Alissa Hiltner, in charge of social media for the show, thinks everyone should come see  because it tackles contemporary issues that so many people deal with, while encouraging everyone to feel heard and welcomed in the community.

​Tamara Kangas Erickson (she/her), the choreographer, says that while The Prom may be new for many theater-goers, it will seem familiar. "With hilarious comedy and incredible music, this show is a pure celebration - a high-energy musical with a poignant and important story centered on love and acceptance that will delight everyone who sees it."

So there you have it, five compelling reasons to see "The Prom"! I highly recommend this musical to anyone who loves musicals, since there are lots of fun Broadway references. Go and see the show and discover a hundred more reasons why The Prom is a must-see!

And, as a disclaimer, I received two dinner and show tickets in exchange for writing about my time at the show. But trust me, with the range of ticket prices, the quality of the cast, and the reasons listed above, the value is there: get to the theater!

Artfully,

Congrats to the cast, crew and Chanhassen Dinner Theatre Staff who made this production possible!

Check out the full cast and creative list!

Can't get enough of The Prom? Here's some thoughts on the show from more TCTB writers:

"A classical musical comedy with some quirky aspects. The story is moving, the music is great, and the two young leads - Monty and Maya are incredible!"
Life in Revue

"While there is much in the script that is riotously over-the-top — the eccentric New York drama queens, the colorful outfits, a halftime Godspell-backed performance at a monster truck rally — there is equally real representation of the struggle between generations, the inner emotions of young adults coming of age, the ignorance that, if left unexamined, can tear families and communities apart."
phenoMNal twin cities

"After decades of staying within the reliably profitable realm of musical theater canon and crowd-pleasers for older audiences, Chanhassen Dinner Theatres is taking a risk with The Prom, which opened on Friday and runs for an abnormally short four months (Footloose, their last show, ran for a year)."
​One Fan Show

"The choreography by Tamara Kangas Erickson is terrific. I’m going back to the show in a couple weeks, and I’m most excited to watch more of the dancers. The dancing is spectacular!"
Play Off the Page

"We arrived a few hours ahead of the performance to be seated for dinner. As it is the Dinner Theatre I have to mention the delicious food we got: [...] It felt much like the prom itself, first out to dinner with friends then off to an evening that makes you wanna dance!"
Lettered in Theatre

Greetings Twin Cities arts community and supporters;

Welcome to 2023. I'm so amazed with all the wonderful in-person arts and community events that we've seen popping up again in our neighborhoods. It has inspired me to venture out into the snow and cold to be a part of the energy that local artists and their offerings provide. I've been busy over the past few years while I've been focusing on growing my technology skill. Exciting news! I recently completed a coding bootcamp and I'm super excited about putting my new nerd skills to work for the power of good.

I've been feeling a pull towards all things creative, since my arts outing have been on the back burner for a while. Resolved to change this, I rang in the new year seeing Smart Mouth Comedy Co. at the Phoenix Theater, my first time back in the space since a car ran through their front door and windows in November (please support them by donating or showing up to upcoming shows). Sharing laughs, music, and physical presence with artists and audience has inspired me to come back to writing about local creative endeavors and local happenings. Our time is valuable and I want to amplify local artists' voices and work with you to build a stronger Twin Cities arts and theater community. So, I'm back to blogging. I'm starting out with this blog: an interview with author and performer Lorna Landvik! Read my previous interview with her from 2017.

If you want more Lorna after the Q&A, please buy her books at your local bookstore and check out her website: LornaLandvik.com.

I am wishing you a year filled with creativity, intention, and local arts.

Artfully,

Start out the new year with comedy, storytelling, improve and antics from Minnesota author and performer Lorna Landvik. You can experience her newest show Pages and Stages which plays Friday and Saturday nights through January 28th at the Bryant Lake Bowl Theater in Uptown, Minneapolis.

Pages and Stages combines derring-do improv, set pieces, music and stories/confessionals about her Hollywood days and writing career.

Lorna, I was a big fan of your long-running show Party in the Rec Room! What's the inspiration for the change to your newest show "Pages & Stages?"

Lorna: First of all, thanks for being a fan of PARTY IN THE REC ROOM! I decided to change it up a bit because often people tell me my book talks and events are like shows themselves. I thought I’d incorporate story-telling (tales of my writing, publishing, my time in Hollywood) into the PAGES part.  In the STAGES part, I improvise characters and scenes according to audience suggestion.

As in PARTY IN THE REC ROOM, the show changes every night, which keeps it fun and exciting for me. 

Describe "Pages & Stages" in three words.

Lorna: Laughs!  Entertainment!  Fun!

It's a brand new year and time to think about the year ahead! Personally, I took a few years off from arts blogging but now I'm starting to recover from some very rocky years and I'm coming home to my creative pursuits. Do you have any advice for other writers and creatives who are picking up a new project or coming back to an art form after some time away?

Lorna: I’m a big fan of Steven Pressfield and the lessons/ideas he puts forth in his books, THE WAR OF ART and TURNING PRO (to name just two).  He doesn’t talk about writers’ block, but resistance and how it can stymie all and any efforts — creative/self-improvement, etc. He’s got a great website -- StevenPressfield.com which I strongly recommend. I also like a long, contemplative walk to think about what I’m working on; even if nothing new comes in your head, at least you get some exercise!  

Any last words for Artfully Engaging readers?

Lorna: I so appreciate when people come out to see my shows, just as I appreciate when they choose one of my books to read. I really do believe we're’ all in this together, so my goal in writing and performing is to tell stories and create characters that will touch the reader/audience and make them laugh, ponder/wonder, hope and ultimately be glad they spent some time in these little worlds of mine.

It's my favorite time of year, the 11 days I dedicate to attending the Minnesota Fringe Festival. The Fringe is an annual performing arts festival in the Twin Cities, featuring over a thousand artists presenting 6o minute works in a variety of disciplines and genres. There are 167 different productions this year! With so many shows to choose from, its a great chance for audiences to experience something new and a fun way to support a variety of performing artists. 

But with all the options it can be a challenge to decide which shows to attend, so learning more about the shows and the artists can be helpful to guide audiences to the shows that interest them the most.

In the following Artfully Engaging interviews we explore two shows: Stranger and First Year Queer. Both of these shows are presented by Twin Cities artists who are first time Fringe producers who created a work they thought was missing from the Twin Cities theater landscape. Erika Levy and Morgan Holmes of Perspective Theater Company's Stranger, give you an inside look at the intersection of race and faith through the stories of Jews of Color. Lyssa Sparrow of Sparrow Productions shares the genesis of First Year Queer and how collaborations with artists and local arts groups has helped shape her interests to destigmatize topics around sexuality and to talk openly about mental health.

Erika: For the past three years I have worked exclusively in box office settings, both as a reservationist and as a manager. Stranger is my first foray into producing, and I feel like I am now developing my identity as a artist outside of the administration realm. I absolutely loved producing the show, finding the cast and directing. I see my future as continuing to be a producer!

Where did you develop the idea for Stranger?

Morgan: It started with Leah Donnella's article ("Black, Jewish and avoiding the synagogue on Yom Kippur"). Erika and I both saw things in the article we could identify with and we wanted to find more stories like Leah's. Many Jewish news outlets were interested in how Jewishness intersected with the Movement for Black Lives and racial justice, which brought JOC voices to the forefront locally, like panels at synagogues, and nationally, like the Jews of Color Convening. So it came out of the community and we just had our ear to the ground. Then out of our interviews, we thought the themes that emerged aligned with themes in the story of Moses in Exodus. It was nice to have a narrative that was accessible to people of different faiths and cultures that we could play with and shake up.

Erika: I have been involved in the Twin Cities Jewish community since I moved to Minnesota in 2013, and wanted to see more productions exploring religious identity in the cities. Morgan and I came across Leah Donnella's piece in NPR, where she discusses going to her synagogue during the High Holy Days as a black, Jewish woman. We went more in-depth, interviewing her and folks around the Twin Cities, watching documentaries and wanted to bring those stories to the stage.

This is your first time producing a show at the Minnesota Fringe Festival. What surprised you about this process? Do you have any advice for first-time producers?

Morgan: I have done Fringe before as a volunteer and a stage manager, so I knew what to expect. But tech was still a challenge. I really benefit from time to process what I see and build relationships with people, so to go in and try to communicate a vision to someone I've just met in three hours, woof. I highly recommend lots of prep to decide what is most critical to communicating your vision before tech, a water bottle (my nerves dried me out!) and a general attitude of "it's just a play," so you can let things roll off your back.

Erika: The main surprise for me was discovering how close-knit the Fringe community is. I've found out about so many connections I have with other folks in the theater by way of knowing someone else. Its really exciting to see how the community loves and supports each other. My advice for first time producers would be to start as early as you can with conceptualizing your piece. Fringe has struck me as "theater bootcamp" for first time producers and I am so glad that we had such a clear vision and blueprint early on, otherwise it would have been much harder to catch up when the festival came around. Another piece of advice I have is to establish a mission for your new company that you can build on, one predicated on respect for your team of artists and one open to new ideas.
 
Can you tell us about the research and interviews that you conducted to develop your show?

Morgan: We prepped some questions that we thought would get to the heart of some topics we were interested in exploring: race, faith, family, inheritance and legacy. We reached out to people who are popular in the blogosphere of Jews of Color and a local coalition. We read a lot of personal stories, watched documentaries and researched Jewish ancestry in international cultures, particularly Latin America.

Erika: We reached out to Jews of Color both locally and nationally and asked them a range of questions, from early childhood memories, how they create space in their communities, and how their faith has changed over time. Media can often portray religion as a monolith, but the importance of individual interviews illuminates just how understanding of faith varies from person to person. We used each story not to create an autobiographical piece, but rather to build a narrative of a life based around different experiences at different points in time.

Where do you find inspiration for your creative work? 

Morgan: Many things in Stranger are grounded in Jewish rites and rituals, like blessings that are said over children, prayers that are said in remembrance of the dead, parts of the Torah. I was also very inspired by the sermons of Rabbi Sharon Brous, who talks about this concept of mightiness (TEDTalk: "It's time to reclaim religion"). I listed to her a lot when thinking about how to end the show. I studied performance theory around faith and rituals in college and I think theater is a great lab to study those performative practices in.

Erika: I am inspired by people living their lives unapologetically, even when society tries to knock them down and tell them otherwise. At its core, Stranger is a piece about finding truth for yourself regardless of what the world thinks of you, and digging deep to find inner strength to go on with life despite the obstacles. I think people find ways to do this all the time, and our show happens to represent this with a relationship to faith, identity and ancestry.

If you could describe this show in three words, what would they be?

Morgan: Mightiness, messiness, joy.

Erika: Joyful, emotional, epic. 

What other Fringe shows are you excited to see?

Morgan: My friend/fellow Carleton alumna Rachel Teagle is the writer/performer of Queen of Delicious Animals. I love Rachel's very playful writing. 

Erika: One of my work colleagues Gina Musto is producing a comedy entitled Buffy the Bedbug Slayer, which will play at Theatre in the Round. We both had a terrible experience with a management company over a bed bug infestation, and I think the play is a wonderful way to call out these companies for some very unethical practices!

What draws you to theater as an art form?

Morgan: The ability to not only amplify a story that is out in the world, but to incubate and create a story that wasn't there before. I think it's a pretty powerful medium for changing/advancing perceptions of humanity.

Erika:  The power of the art being live and the vulnerability that comes with that.

Is there anything else you wanted to share about Stranger?

Morgan: One thing Erika and I decided was important was not to provide a glossary to the Jewish rites, or translate all the Hebrew, Yiddish and Portugese language. I think that leaves some work for the audience who is not familiar to take on if they'd like, and also validates that Jewish practices and culture for many people in different communities in the Twin Cities and nationally are mainstream.

Erika: One of the aspects I love most about this piece is how it connects the characters to their ancestors, and the strength the audience can draw from this when thinking about their own family tree.

Find Perspectives Theater Company on Facebook.
See the show at U of M Rarig Center Arena as part of the Fringe Festival!
 
Thu, 8/3 @ 7:00pm
Sat, 8/5 @ 8:30pm
Mon, 8/7 @ 5:30pm
Fri, 8/11 @ 10:00pm
Sat, 8/12 @ 1:00pm

Lyssa is a queer Twin Cities theater artist. I saw her perform at a Patrick's Cabaret's My Horrifying Holiday this past winter and I saw excited to see that she has adapted her piece for Fringe. I reached out with some questions about her process, experience, and artistic inspirations. Enjoy.

What inspired you to create a Fringe show?

Lyssa: It’s been a goal of mine to have a solo show in the fringe for the past 5 years.  I went to school for theater performance and during my senior year I realized solo shows were what I felt most connected so for my senior showcase I created my own and I’ve been chasing that high ever since.  I originally pitched First Year Queer for Q stage with 20% but it wasn't selected, yet I was still in love with the show I thought up so I started looking for other ways I could get it out there and decided to submit for The Fringe! 

What was the process for creating First Year Queer? How has your idea morphed since you performed at Patrick's Cabaret?

​Lyssa: Patrick's Cabaret has taught me so much about how I wanted to style this show. First Year Queer has 7 chapters that make up the whole show and I developed 3 of them with Patrick's Cabaret for My Horrifying Holiday, and 1 with Raw Sugar’s The Funny.  The 7 chapters are:

1) Storytelling about my meltdown on New Years Eve
2) A puppet piece called The Coming Out Tour
3) A short film created with Ari Newman where I am others share the effects of being sexually assaulted
4) A kink scene on stage to show how to be sexy, safe, and consent during play
5) Polyamory 101, 2 friends and I will explain what poly and ethical non monogamy mean to us  
6) Lessons from the year with my “emotional tool kit”
7) We will be having a drawing for prizes like the 3rd edition of The Ethical Slut, homemade bath bombs, and gift cards to Fox Den.

What's been your favorite part about the creation process so far?

​Lyssa: My favorite part of creating First Year Queer is the clarity that came with it. I’ve never worked on a project that felt so right.  I’m honored to build a show to help represent a queer community that is my home and chosen family. I will continue to work incredibly hard to create work that benefits the community it represents. With First Year Queer I’ve gotten a chance to collaborate with many other artist like Corinna Troth, Scott Gilbert, Sadie Ward, and Ari Newman and invite people to share their stories on stage beside me. First Year Queer and Sparrow Productions will not be stopping when the Fringe Festival ends; I’m in this for the long haul.

Where do you find artistic inspiration?

​Lyssa: I find my artistic inspiration from what’s not getting talked about on stage.  For me, destigmatizing topics around sexuality including sexual orientation, gender, kink, sexual assault, consent, and polyamory is one of my main areas I want to focus on.  Another focus point  is talking about mental health including therapy, the choice to take medications, and suicidal ideation. Then I find a way to make those topics entertaining, informative,  and presented in a creative way.

​Can you describe this show in three words?

​Lyssa: Queer, playful, and honest

What's the next step, after Fringe?

After Fringe, Sparrow productions will not be stopping. My company wants to use The Fringe to launch a full company and would appreciate any financial support.  We would love if people would join us for a fun and sexy cast party and tickets are available to that as part of the Kickstarter plus we would send you away with goodie bags. While First Year Queer mostly focuses on my own journey our next major goal is to create a podcast so we can feature stories from a diverse range of backgrounds.  

7) What other Fringe shows are you excited to see this year? Raw Sugar’s Synchronicity, Wait? Didn’t Patrick’s Cabaret Close?, Blackout Improv, Skins, and Mayor Lear of Townsville.

Find First Year Queer on Facebook, Twitter, and Instagram. 

See the show at Intermedia Arts as part of the Fringe Festival!

Fri, 8/4 @ 5:30pm
Sat, 8/5 @ 10:00pm 
Tue, 8/8 @ 7:00pm 
Thu, 8/10 @ 8:30pm
Sun, 8/13 @ 1:00pm

What do you get when you combine physical theater and original music to tell Algerigan folktales? Add in a cast of five actors playing over 15 characters and the leadership of global theater artist Taous Claire Khazem and you get Sunrise at Midnight​ at Dreamland Arts. 

Taous is a Lecoq trained theater artist. She creates, performs, directs, teaches, and produces theater globally. I was excited to learn more about her newest work so I asked her for a behind-the-scenes look for Sunrise at Midnight.  Taous was kind enough to share the inspirations and creative processes that went into staging these Kabyle folktales in Saint Paul. She also tells us why this show is recommended for mature audiences. 

What about Algerian Kabyle Folktale tradition inspired this performance?
Taous: The key to Algerian story telling is that nothing is what it seems. The main point is always wrapped up in a metaphor or symbol of some sort. The stories weave, bend and twist in their narrative structure. We've tried to simplify a few plot points while keeping the heart and main actions of each story. Algerian performance also comes from a tradition of stories told around a fire or in a café or town square. We are working with the bare minimum like in the tradition--no giant set--the actors (Heather Bunch, Theo Langason, Nora Montañez and Mohammed Yabdri) come from a "physical theater" background. They know how to make something from nothing.
 
Can you tell us a little about how the music and movement were created?
Taous: Composer and music director Aaron Gabriel and I went to Algeria this past May on a Jerome travel/study grant. We met with musicians, music enthusiasts and elders who sang us tradition Kabyle songs that Aaron then recorded. He composed the music for the show based on specific sample we took. He worked with the scales and musical modes out of the region. The movement was choreographed/created by the ensemble with guidance from director Ryan Underbakke. He really wanted to have the movement be as metaphorical as possible rather than literal. You will never see us make a "house" with our bodies if someone mentions a house. It will be representative physically.

You were the recipient of a travel/study grant that allowed to you travel to research music for Sunrise at Midnight. How did this travel experience change the artistic process and final artistic production?
Taous: I think it's so important to go to the source whenever possible. There are Kabyle songs that are based on women crying into rocks mourning the departure of their husbands who have gone to work in France. We got to see a rock that is known for this. There are songs based on shepards singing to each other from mountain top to mountain top--Aaron and I got to see those mountains. The Kabyle language and culture are so unknown in the USA. It was a joy to be able to share that part of Algeria with Aaron. And he in turn was able to compose music that stayed close to the raw source material.
 
Describe this show in three words.
Taous: Lust. Wit. Adventure.
 
What other projects do you have that connect you with Algeria?
Taous: I am on an Algerian TV show called Sultan Achour 10! I play Sultan Achour's ex-wife Maria. It was a huge hit this year. We shot the show in Tunisia. Here's a link to my "making of" interview (it's in English!).

Like this interview? Read the Artfully Engaging Q&A with AsaleSol Young of The New Griots Festival.

The New Griots Festival is currently showcasing ten Black emerging Twin Cities artists in performances and community classes. The festival has expanded since the inaugural festival of 2015 (read my Artfully Engaging interview with co-founder Jamil Jude), increasing from 3 to 10 days and running through July 16, 2017 at the Guthrie Theater. 

In this behind the scenes interview, associate producer of The New Griots Festival AsaleSol Young answers some questions about this year's festival and her experiences. After you read the interview, check out the schedule and featured artists. Then get your tickets fast! Space is limited and I highly recommend experiencing this festival for yourself. Both of my own 2017 audience experiences were profound and artistically stunning; so far I've seen The Minority Report by Blackout and ABB (Angry Black Bi&^%#$) featuring Dame-Jasmine Hughes. Also, the price is affordable: tickets for the performances are $9 and the classes are free. 

You can support the work of The New Griots Festival by donating now.

How do you identify as an artist?
AsaleSol:​ A dreamer and visionary, first. Writer. And dare I say, producer, director, curator and dancer.  ​

How did you get involved with The New Griots Festival? 
AsaleSol:​ Jamil Jude and I were introduced through a mutual friend in the theater scene who is encouraging me to get back into one of my first passions - theater. It was clear in our first meeting that we would work and vibe well together. We stayed in touch, and eventually Jamil invited me to come on staff as the associate producer.

What has been the most interesting or gratifying part about the festival so far?
AsaleSol:​ Seeing our work and the work of the artists be so well-received. The festival has true supporters out there, which really allows us to fulfill our mission of “celebrating, advocating for, and advancing the careers of emerging Black artists in the Twin Cities."
 
How has it been working at the Guthrie Theater?
AsaleSol:​ The Guthrie staff, those we work closest with in the [Dowling} Studio, have really been accommodating and willing to adjust their workflow to our style and what we need to be successful. But all throughout the theater, when I’m just walking around representing New Griots Festival, Guthrie staff will just come up to me and tell me how excited they are to have NGF in the space. Staff of color as well as white staff seem to have a sense of a historic moment for the Guthrie reflected in this partnership. It’s pretty cool.  Folks in and outside of the Guthrie feel this is long overdue.   
 
What has it been like collaborating with all these emerging Black artists?
AsaleSol:​ It has been an inspiring journey. To be able to work with such a range of talent, genre, experience, etc. We’ve been able to witness some of our artists transform right in front of us, while others bring to the forefront this hidden mastery that really deserves acknowledgement from the Twin Cities’ arts community at large.
 
Describe the festival in three words.
AsaleSol:​​ Authentic. Masterful. Catalyst.  

What's Next? 
AsaleSol:​ We are already planning The New Griots Festival 2019. Come out and see what we’re doing now, and support the future of these artists and the work of the festival. It’s one of those things that gets stronger every year it goes up. Don’t miss out! ​

Founding member of Walking Shadow and director of Marie Antoinette John Heimbuch answered a couple of questions for me about the relevance of Marie Antoinette at this particular time and the role of storytelling in helping us reflect on social and political events.

Kendra: Why did you pick this piece for Walking Shadow? Since that time has the play taken on any new meanings for you?

John: We were initially drawn to this play because of how capably it critiques issues of privilege and power in ways that still feel playful and empathetic. That rings true not just for someone of such wealth and opulence as Marie Antoinette, but anyone who wants to enact social change and doesn't want to lose any of their advantages while doing so. In that sense, it made Marie's struggles feel very relatable to anyone living in this era of social upheaval and polarized politics.

In the past few months, the issues of Marie Antoinette have become even more poignant as our nation reels from the impact of wealthy elite leaders, unreliable narratives, taxation and economic reform, unjust proclamations and decrees, people taking to the streets, and a palpable fear of foreign influence in life and politics.

Kendra: What role can history and theater have in helping us reflect upon current social and political events?

John: We are the stories we tell. Humans learn through stories. But all stories are interpretations. So audiences at a show (or readers of history) aren't really learning from the facts—only one author's interpretation of those facts. That's why it's important to consider conflicting narratives and to not just look at the story that the victors tell about what happened, but to try to understand the perspectives and motives of those whom history has vilified. We may not like what we see, but empathy for different perspectives is the only way for us to gain insight into our own foibles. I hope that's what we've done here.

My colleagues and I at the Twin Cities Theater Bloggers have been experimenting with making videos. Take a look at behind the scenes footage with artists and theater makers below. Then follow Twin Cities Theater Bloggers on Facebook so that you know when we are live on Facebook with your backstage access.

Laura vanZandt of One Girl, Two Cities interviews Jason Ballweber and Emily Wrolson from Four Humor's The Importance of Being Earnest which plays at the Southern Theater February 17-25, 2017. Laura even asks a couple of my questionsin this Q&A! I'm so honored. <3

Get your tickets and learn more.

Learn why and how you can support the arts! In this arts chat I speak with Sheila Smith from Minnesota Citizens for the Arts and Robert Thompson from Main Street School of Performing Arts (MSSPA).

Sign up for Arts Advocacy Day, which is on February 28, 2017.