So, if you aren't familiar with this show yet, it is set during the aesthetic craze of the late 1800s, which I was not familiar with by name. Although, I am familiar with Oscar Wilde. (who, according to the program, was a fan of this show!) Patience hilariously pokes fun at trends and fads. It follows two rival poets, Reginald Bunthorne and Archibald Grosvenor, who are adored by a chorus of swooning young women obsessed with all things “aesthetic.” Both poets, however, have their sights set on Patience, a sweet, no-nonsense milkmaid. Meanwhile, the chorus of women have abandoned their military suitors and the men's chorus then try to win them back by adopting the poets’ over-the-top aesthetic style—leading to plenty of ridiculous moments.

As someone who grew up singing in choirs, I especially loved the gorgeous harmonies and lively musical numbers. The cast’s vocal performances were top-notch, with beautifully blended ensemble singing and standout solos. The live orchestra did a tremendous job and it really added to the full opera experience.

The bright, Victorian-era costumes and the playful garden set design added to the fun, while the satire still feels surprisingly relevant. The show pokes fun at the way society latches onto trends—something we can definitely still relate to today! One of my favorite moments was a garden fountain that, when an actor manually cranked it, created the illusion of water flowing—a charming and whimsical touch that made me giggle at the cleverness. There was a lot of giggling during this performance!

If you love Gilbert & Sullivan’s sharp wit and catchy music or you’re just looking for a fun night  or afternoon out, this production is a treat. With its satire, silly romance, and memorable tunes, Patience offers plenty of laughs, great music, and a little Victorian flair. It’s light, delightful, and a perfect way to experience live theater!

Artfully,

Life of Pi (the three time Tony Award® winning production) at the Orpheum Theatre in Minneapolis is a mesmerizing theatrical experience that pulls you right into Pi’s incredible story of survival. Having never read the book or seen the film, I was completely captivated as the story unfolded through stunning puppetry, evocative lighting, and immersive scenery. There are six puppeteers in the show. Pretty much every actor in the show does some kind of puppetry

The play follows sixteen-year-old Pi as he recounts his harrowing journey after a shipwreck leaves him stranded on a lifeboat with a hyena, a zebra, an orangutan, and a Bengal tiger—brought to life by masterful puppeteers. Set within a hospital room with flashbacks to his family’s ill-fated voyage, the show explores resilience, the complexities of belief, and the raw realities of survival with nuance and depth. The ending took me by surprise, and I was deeply engaged from start to finish. If you’re looking for a theater experience that’s both visually stunning and thought-provoking, this is one to see!

My one recommendation would be to purchase theater seats as close (as possible) to the center of the theater for this show as I was seated house left and some of the projected words and even the actors were out of my site line. I thought it was nice that the theater patrons near me started whispering the projected text down the rows so the people further to the side could still participate. 

I was supposed to attend a media event this week to meet the tiger....but the snow storm ruined the fun. That's life in Minnesota for ya. Life of Pi at the Orpheum Theatre runs now through March 9, 2025. 

Artfully,

Please note that Hennepin Arts provided me with two theater tickets to this event. ​I want to keep things transparent! If you want to become a Twin Cities Theater Blogger and help Minnesota arts organizations share their important work with more people, reach out to the group on Facebook.

I'm a big fan of improvised musical comedy. So when I received an email from one of my very favorite Twin Cities improv groups, the Shrieking Harpies, about an upcoming show Leave Room for Jesus featuring the group's Hannah Wydeven and Lizzie Gardner, I was intrigued! I reached out and Hannah was kind enough to agree to chat with Artfully Engaging readers about her upcoming show, how the show came about, and why comedy is important in our current political climate.

Thanks to Hannah Wydeven for taking the time to share this behind-the-scenes information. Enjoy Hannah's interview, get your tickets to the show, and since social media is a bit...complicated right now, please consider signing-up for the Shrieking Harpies email list so you can get notified for upcoming shows.

​Artfully,

Hannah, tell us about Leave Room for Jesus! 

Hannah: Leave Room for Jesus is a parody show really playing on evangelical ideals of chastity and purity, as well as the fame-mongering of both men and women in mega-churches. More than anything it’s super goofy and fun, and doesn’t take itself seriously in any way. The show is also musical and uses a lot of audience interaction, so it will feel very much like a sermon (gone awry).

How did this show come to be?

Hannah: Every year I do a one off musical show around Valentine’s Day weekend that explores some facet of love and lust. It’s an opportunity for me to bring in some really talented friends and play a character I want to explore. It’s also a chance for me to just let it rip and do somewhat offensive and intensely stupid improv for a night. There are so many really thoughtful and poignant and emotionally driven improv shows being done in the twin cities (that are incredible), and this just isn’t one of them. Every piece of it was designed to just make people laugh their asses off.

Make your own question (what do you want to share about this process? Or something fun?)

Hannah: This show started with my idea for the main character Marla Hope, and every additional character has been someone else being like “what if this character showed up.” I’m really excited to share what everyone else is bringing to the table.

Here are some photos of Lizzie, Hannah (and Taj!) doing their thing as the Shrieking Harpies:

In a time when so many people feel disconnected or overwhelmed by the political climate, art—especially comedy—can be a powerful way to bring people together. How has your work in comedy and improv helped you build community?

Hannah: Oh man this question is so spot on. Behind the scenes I try to always be inclusive when I teach and when I direct, or produce or even when I invite people to play with me. I’ve been particularly enmeshed in bringing more queer voices and women’s voices to the front in comedy and that’s really important to me. When I teach I always offer sliding scale or free spots in classes/ workshops so people can come without issue. I try to keep ticket prices low and pay the people that perform with me as much as I can. 

Shows like this can really help people vent and get some shit off their chest, including me. I hope the audience walks away from this feeling like they got a chance to punch up in a really cathartic way. 

What’s next for you after this production? Any upcoming projects or performances we should know about? (Also how to find out about future work)

Hannah: This will for sure be a one night only thing which is what makes it special for me, but I continue to produce solo work under Sad Songs for Happy People (see @funnyladypants on Instagram for more). I’m also doing shows with Mayhem (feat. Butch Roy) and Shrieking Harpies (feat. Taj Ruler, Lizzie Gardner and Justin Nellis). Follow @shriekingharpies for more there. ​

Date:
Thursday, February 13, 2025
7:30 - 8:30pm CST

Ticket Price:
$15.08 (with fees)

Venue:
Strike Theater
824 NE 18th Ave
Minneapolis, MN 55418

I had a wonderful time at Irving Berlin's White Christmas at Chanhassen Dinner Theatres. It was the perfect mix of popular Irving Berlin music, lively dancing, and a great night out with dinner and drinks. The show featured “Blue Skies,” “Sisters,” and of course, “White Christmas.” The cast really brought the music to life, and the dancing was so fun to watch—it had the whole audience smiling, tapping their feet, and singing along!

The evening started with a yummy dinner, and with holiday themed drinks in hand, we settled in for a festive holiday show - in October! The cast, including Michael Gruber as Bob Wallace and Tony Vierling as Phil Davis, gave energetic performances that made the night very enjoyable. The dazzling choreography (Tamara Kangas Erickson) and the vibrant costumes (Rich Hamson) added an extra layer of excitement and joy to the entire musical - the dancing and costumes truly create a magic atmosphere in the musicals at Chanhassen Dinner Theatres!

But you can't have a musical without the music (music direction by Andy Kust), and while the entire cast delivered strong vocal performances, the women truly stood out with their energy and presence. Ann Michels as Betty Haynes, Andrea Mislan as Judy Haynes, and Michelle Barber as Martha Watson brought incredible vitality to the stage and really made the night for me! Performances in songs like "Sisters," "Love, You Didn't Do Right By Me," and "Let Me Sing and I'm Happy" were memorable highlights that left a lasting impression on the audience. 

The costumes were vibrant, the choreography was upbeat, and the whole production was pure holiday magic. If you’re looking for a fun night out with great food, drinks, and a show that’ll get you into the holiday spirit, White Christmas is a must-see. Make sure to grab your tickets while they last!

Disclosure: I received complimentary press tickets, dinner, and drinks to attend Irving Berlin's White Christmas at Chanhassen Dinner Theatres. Just wanted to keep things transparent! If you want to become a Twin Cities Theater Blogger, reach out on Facebook.

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?
​
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.
​
​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.
​
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

It's the first weekend of the 2024 Minnesota Fringe Festival, the Midwest's largest celebration of the performing arts! Over 500 performances are happening in Minneapolis through August 11, 2024. Though I'm a long-time fan of #MNFringe, this festival has been happening long before I came onto the theater scene (for 31 years!) and I want to thank everyone who helped build this amazing community arts festival into the dynamic experience that it has grown to become!

I'm actually on the board of directors for the Minnesota Fringe Festival. I am serving my third year on the governance committee, where I work to keep the festival on track for future generations to explore adventurous art! Hit me up if you are interested in learning more about board service; I'm happy to talk with you about my experiences and what nonprofit board service has been like for someone who hasn't done anything like that before.

I attended four shows at all four time-slots yesterday, volunteer ushered for the first time in a long time, and helped run the social media for the Twin Cities Theater Bloggers. A lot is happening and I want to take a moment to invite you to join in the fun and adventure! There are lots of ways to participate in the Minnesota Fringe but the best way is to experience it for yourself. Grab a friend and head to a theater. Check out minnesotafringe.org and reach out to the staff or volunteers if you have any questions! Hope to see you at the theater.

Artfully,

Kendra

Single show tickets are $20. More Ticket Information available on their site.
2024 Collectible Minnesota Fringe Festival Buttons are $5. Every attendee needs a button to enter.
The theater venues are in various Minneapolis neighborhoods. Minnesota Fringe has lots of venue Information, so I recommend taking a look to see theater near you.

Watch out Brave New Workshop! Interact Theater's Hell is Empty and All the Devils are Here... Again! is a vibrant musical satire, delivering both political and social comedy alongside fun original music. This collaborative production features an ensemble of actors, singers, and dancers (with and without disabilities), showcasing the power of diversity and community. I was impressed with the quality of this professional show: a live band, beautiful large projections, and great lighting and sound. 

As someone impacted by chronic migraines, the show's disability-inclusive choices, including an 80-minute intermission-free show with ASL interpreters and comfortable seating, significantly enhanced the experience. These are just some of the thoughtful considerations that reflect Interact's commitment to creating a more inclusive environment for patrons. The pre-show light and noise warnings demonstrating their awareness of potential triggers and I felt at home in the audience.

Hell is Empty kicks off with the Devil, dissatisfied with the current state of affairs, returning to humanity to wreak havoc, navigating modern challenges from online manipulations to political figures and artificial intelligence. Through sketch comedy and song, Interact's actors provide a thought-provoking and giggle-inducing theatrical performance. Running through November 18th at the Luminary Arts Center in Minneapolis, Hell is Empty invites audiences to share in a communal laugh at the absurdities of contemporary life. Director Jeanne Calvit's belief in the inclusivity of art for everyone resonates  powerfully in Hell is Empty and I recommend checking out an Interact performance.

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

​5 by JuCoby Johnson, a co-production between Trademark Theater and the Jungle Theater, is a timely and thought-provoking play that explores the complex relationships between friendship, and a community facing gentrification of their neighborhood. I was excited to see this production because of the local talent involved, it's directed by H. Adam Harris and has a great cast. 5 plays at the Jungle Theater in Uptown until April 16, 2023 and has been highly applauded by local reviewers and community members who have seen the show. 

5 takes place at a gas station in a rapidly gentrifying neighborhood, where best friends Jay and Evan are faced with a tough decision that puts their friendship to the test. When a real estate developer offers to buy their store, the two are faced with a tough decision that puts their friendship to the test. As the pressure to sell mounts...you'll have to see the show because I don't want to give away spoilers. The play's strength lies in its depth and authenticity of the main characters and the nuanced exploration of some weighty themes. 5 is a testament to the importance of supporting new works in American theater, providing playwrights with the opportunity to develop and refine their stories before they are seen by audiences. The result is a play that is both timely and timeless with touches of magical realism sprinkled through all aspects of the show and it gets weird — in a good way, cause that's how I like my theater.

The journey of how 5 got to the stage showcases the importance of supporting new works in American theater, providing playwrights with the opportunity to develop and refine their stories before they are seen by audiences. 5 by JuCoby Johnson began as a commission by Trademark Theater in 2020, as part of their new-works-to-production pipeline. Johnson worked on the play internally before its first workshop in partnership with the Playwrights' Center and Trademark Theater in 2021. The play was then named a finalist for both the 2021 O'Neill NPC and Seven Devils competitions before undergoing a workshop in collaboration with the Jungle Theater in 2022. Currently, 5 is in production for its world premiere at the Jungle Theater in 2023. Trademark Theater, founded in 2017 by Tyler Michaels King, invests in extensive development and workshop processes for each production due to their commitment to telling bold new stories.

The staging and design of 5 are also noteworthy, with the Jungle Theater's intimate space utilized to great effect. The gas station set is very realistic and the use of sound and lighting adds to the increasing sense of unease and foreboding as the play progresses. 

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!

​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. 

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.

We are processing some painful realities in the wake of the 2016 elections. I'd like to take some time to ask you, my creative community, how are you doing? Are you taking care of your mind and body? Are you being mindful? Are you making time in your calendar for rest?

Before election results even started coming in, I reached out to Chicago theater artist Eileen Tull asking her to write a piece for Artfully Engaging; I suggested self-care as a topic. I saw on social media that with all the creative hats she wears, she was making an effort to prioritize her wellness. And now I am so glad to share her guest blog post with all of you so that you can learn and be inspired by Eileen's journey.

When you are rested and fully present, I expect to see you engaged and creating work that blows our minds. Let's work together to keep ourselves strong so we can continue to ask important questions.

Artfully,

Kendra

By Eileen Tull

I don’t like traveling by plane. I’m so preoccupied with crashing into a twisted pile of metal and fire that it’s hard to have a good time. I can barely focus on anything else in the time between finding my seat and bump-bumping back onto the earth. What I do know, other than that I have no future as an astronaut, is that the oxygen mask metaphor applies to almost everything in life, but especially to self-care and artistic creation. The oxygen mask metaphor is that you are instructed to put on your own oxygen mask in an emergency before you begin assisting other passengers. You have to make sure that your mask is correctly on you and you are providing yourself with life-giving oxygen before you are able to focus on helping anyone else. You have to take steps to ensure that you are at full strength before you start spreading yourself too thin.  

It's time like these I turn to that little Internet sensation called "self-care." As a freelance performing artist with a day job and several teaching artist side-hustles (not to mention a whole host of mental health obstacles under my belt), I utilize self-care an awful lot. If I am not firing on all (or at least most) cylinders, I simply cannot create worthwhile art. People say great suffering begets great art, but I say that a lot of those artists never really had a good time. Like many things related to mental health, I worry that the true idea of self-care is getting lost in the shuffle of Tumblr posts and likes and faves and all that jazz. So here is a playlist of self-care suggestions, avenues, tips, tricks; a place to start.

Please note: I'm in no way medically qualified to talk about anything ever. All I am is a gal with a great sense of humor and lots of mental health issues (addiction, body image and disordered eating, anxiety issues, as well as a partridge in a pear tree).

1) Should You Stay Or Should You Go Now?

Sometimes self-care is about removing yourself from a situation that is unsafe for you. This situation may not be unsafe for others, but because you are a unique snowflake with your own brand of mental health cocktail, it may not be safe for you. That's okay. For example (speaking of cocktails), I perform a lot of shows in bars. As a recovering alcoholic, this can prove to be a challenge, especially as the night continues. The more that people around me drink, the less comfortable I feel. There's an emotional factor at play, but it's also that I become physically ill by the smell of alcohol. My sense memory flares up, recalling too many nights drinking until I made myself sick. This is a great boon to my sobriety, but not so much to my social life. I and those who love me understand this, so if I ever abruptly exit, most people understand that it is not out of rudeness, but emotional necessity. Those who might not understand may think me rude, and you know what? That's okay. I'd rather be rude than relapsed.

On the other hand, sometimes that flight impulse is a passing feeling. I stay more often than I leave, and I'm almost always glad I did. Don't underestimate the power of a few deep breaths, a drink of water, or a breath of fresh air to put your needs in perspective.

2) Here Comes The Sun

Go outside. Yes. It's still there. And we need it. Even when it's cold or it's rainy or it's oppressively hot. We need to feel the outside world. So much of our lives are spent living through screens (she said as she typed away on an iPad), where the reality is getting lost in the virtual more and more. Go outside and let your senses experience the world. It's fall in Chicago, the most engaging time of year. The smells and sights of leaves falling to the ground, the feel of the crisp autumn air: this is the world. Take a five minute walk or even open a window. So often when I feel in the midst of a breakdown, my instinct is to retreat into my apartment and plug my face into my machines. Interacting with the outside world always gives me a different point of view, reminding me that I am not alone on this earth and that I am able to look outside myself to ask for assistance.

3) Help! I Need Someone!

Ask for help. Self-care doesn't have to be solitary. People who love you want to be there for you. This is a hard one, because you have to strike the balance of asking for help, but being able to hold yourself up. I'm still heavily working on this one, because I'm used to being a relatively independent and self-reliant person who doesn’t come off the court unless there’s blood. Recently, I experienced a tragic loss in my family, something very painful and sudden. My addict voice tried to convince me that this grief was too much for other people and to clamp down on my feelings. "Suffer through it, don't burden anyone else." I quickly found that a) this grief was too much to bear alone and that b) I have built a network of people that would not leave me alone, constantly pestering me with love and support. When people want to love you, believe them. And furthermore, be the loving person for someone else in their time of need.

4) These Are A Few Of My Favorite Things

No self-care arsenal is complete without the things that you love. As you feel yourself tipping, peeking over that despair cliff, wondering once again if you can fly, bust out the things that bring you joy. Make a playlist of songs (may I recommend lots of Sia], OK Go, this crazy, sorta Christian ska band from my youth called Five Iron Frenzy, the last five minutes of George Gershwin's Rhapsody in Blue and listen/dance to them as long as you can. Save the links to those articles that made you feel better and heard and more informed about yourself. Find podcast interviews with your favorite people or YouTube clips of parakeets that make you laugh. I have a folder on my phone titled "Nice Things People Say," full of screenshotted compliments and affirmations. It sounds a little desperate on paper, but I can't tell you how many times I have looked through those images and remembered compliments that my brain tried to block out. So whatever the things are that bring you joy: a TV series, book, video game, song, sport, comic book, etc., give yourself space to enjoy those things.

Of course, the caveat here is to find a balance between enjoying and binging. I love The West Wing, but after seven straight hours of watching a few years ago, I swear that Leo McGarry looked right at me with frustration and said, "get a hold of yourself, Eileen." This may have been a slight hallucination. See #2.

5) Do The Mess Around (Or Don't)

Get your mess in order. Yes, self-care is about treating yourself sweetly in a harsh world. We must be more gentle with our beautiful selves. But. Self-care is also about feeding yourself well. Taking a shower. Finishing a project. Sending an email. Paying a bill. Doing your laundry. Taking out the garbage. When I become so overwhelmed by "life," what I'm really overwhelmed by are my thoughts and feelings, usually relating to my mental health challenges. I allow this overwhelming to atrophy my productivity, and as more and more things pile up, my anxieties grow. The vicious cycle becomes a fun wheel to spin at the county fair; which task will I obsess about but put off completing NEXT??!? When I find myself here, I try to focus on what I am physically able to accomplish. If my to-do list is laundry, save up money, end street harassment, and achieve equality for all humans, maybe I should start with laundry. So yes, watch a cute video of a cat and take a walk, but also take out the recycling, finally. For the busy mind, these tasks are frustrating and cyclical, but tackling them allows me to literally make more space for things that make me well. They are the first to fall by the wayside when stress starts to mount, and they have a cumulative impact on my ability to move forward with anything.

And if needing to be reminded of this makes me bad at "adulting," so be it. Nobody's perfect, and unburdening myself of the notion that I have to be has been one of the best progressions of my life.

Care for yourself. Unplug your devices. Volunteer your time. Tell somebody that they're great. Get eight hours of sleep. Drink water. Go to a museum. Look at pictures of Harrison Ford from the 1980s. Eat green things. Apologize for that thing you feel guilty about. Make something with your hands. Write down that thought you keep having. Tell yourself that you're good, you're great, you're wonderful. Throw away that potato.

Learn more about Eileen, a performer, writer, and theater creator living in Chicago, at ElileenTull.com.
Tweet with her at @Tullie23 and follow her on Facebook.

For Halloween last year a group of my friends and I listened to scary Victorian ghost stories at the James J. Hill House in Saint Paul. This year I'll be in that same historic building, but I'll be surrounded by a small theater audience walking the halls and experiencing an immersive murder mystery theater performance of Bluebeard's Dollhouse, created by Combustible Company.  I encourage Twin Cities audiences to join the Halloween-esque fun and journey through the James J. Hill House to enjoy puppetry, dance, and live music.

A big thanks to Combustible Company for providing me two tickets. While I wouldn't attend a haunted house like the Soap Factor's Haunted Basement, because I'm a big ol' scardey-cat, I am terribly excited to try my hand at this [possibly terrifying] site-themed work. Ticket prices start at just $17 and support the nonprofit event, but space is limited to approximately 35 tickets for each show since the audience moves around the house with the actors, so get your group of friends together and grab your tickets fast.

In the following artist interview with Erik Hoover from the Saint Paul-based Combustible Company, you can trace the development of this collaborative work through Minnesota and Wisconsin. Erik also shares the inspiration for merging components of the two classic literature pieces Bluebeard and A Doll's House. At the end of the interview I have included some social media links so you can engage with the artists before or after you attend the piece.

Once performances begin, you can watch for reviews to start appearing from the other Twin Cities Theater Bloggers.

What arts or organizations in the Twin Cities inspire you?
Erik: Ten Thousand Things always does good work and their mission is important.

How did Combustible Company come about? Can you tell us a little about the organization?
Erik: Kym Longhi [the other co-artistic director of Combustible Company] and I met while we were both members of Kari Margolis' Adaptors Company and I’ve always trusted her insight. Herocycle was our first collaboration and I knew she was the one to help develop the seed of my idea. We both did the freelance thing for a while in between, but we’re both at a point in our careers where we want to collaborate more seriously to produce our own unique work.

Bluebeard's Dollhouse was developed with help from Red Eye Theater's Works in Progress (emerging artists program) in 2014. Can you tell us a little about how the production has morphed since that time?

Can you talk about how the stories of Charles Perrault’s Bluebeard and Henrik Ibsen’s A Doll’s House play off each other in your piece and how you decided that you wanted to combine them together?
Erik: Both of them in their own ways are captivity tales and both contain a measure of violence. However, in one story it’s physical and in the other it’s emotional. At the center of each story is a terrible secret that poses a threat to the heroine and changes her forever. Our goal is to contextualize the emotional abuse in A Doll’s House through the lens of the physical abuse in Bluebeard so the audience can better understand the pain constricting gender roles in our society can impose on all of us. In our story, the struggle to escape is universal.

Bluebeard's Dollhouse will be performed at the James J. Hill House. What has been the most challenging part of adapting a theater piece into a site-specific piece?
Erik: So far, I’d have to say it’s been the simple logistics of moving the audience from location to location without compromising the momentum of the performance.

What's next for Combustible after this project?
Erik: We have a few more ideas that are under development. Ideally, I think we’d like to be able to produce work about once per year but it may take us some time to get there. We’ll also be offering Margolis Method classes.

More Ways to Engage:
Follow Combustible Company on Facebook for behind the scenes photos and up-to-date performance info.

You can connect with @jjhillhouse on Facebook and Minnesota Historical Society (MNHS), which maintains the site, is active on many social media sites including Twitter (@mnhs) and Instagram (@minnesotahistoricalsociety.)

Suggested hashtags: #CombustibleCompany #BluebeardsDollhouse #TCtheater