Category: Minneapolis Theater

Theatre Elision features talented ensemble in "Ruthless! The Musical"

1/19/2018

I had the immense pleasure of attending my first Theatre Elision production this past weekend. Ruthless! is a campy musical with music by Marvin Laird and book and lyrics by Joel Paley. This glitzy melodrama pokes fun at Broadway musicals like Gypsy and Mame. Lindsay Redman directed Theatre Elision's staged reading at Howard Conn Fine Arts Center in Minneapolis on January 18-21, 2018.

Image of cast in posing as their Rulthess Characters in costume.

Theatre Elision's "Ruthless! The Musical" actors: Greta Grosch, Deidre Cochran, Bethany McCade, Christine Wade, Ruthie Baker, and Susan Hofflander.

I am totally in love with the talent on their stage! The ensemble consisted of Ruthie Baker, Deidre Cochran, Greta Grosch, Susan Hofflander, Bethany McCade, and Christine Wade. Talk about vocal powerhouses! And let me count the ways I adore the characters that Greta Grosch embodies on stages around the Twin Cities! She did not disappoint as Lita, a theater critic who hates musicals.

Behind the actors were two musicans: Harrison Wade on the piano and Erik Schee on the drums. The stage was set with music stands and some cozy chairs that functioned for much of the performance as offstage, but the whole cast was present for the entire reading so watching the women navigate all the transitions was so much fun! As an audience member seeing behind-the-scenes elates me; I love readings where they have scripts in hand because while watching a typical show so much of the process up to the public performances is completely hidden.

“RUTHLESS!” performance tonight from @theatreelision at Howard Conn Fine Arts Center. Theatre Elision develops and produces new or reimagined theatrical works that tell compelling stories with music, acting and visual art.

A post shared by Artfully Engaging-Kendra Plant (@kendra.plant) on Jan 19, 2018 at 5:26pm PST

The show revolves around aspiring child star Tina Denmark (played by Bethany McCade) and the women in her life. Tina's ambition leads us to dark places but the twists and turns often lead the audience to laugh out loud. I was particularly charmed by Christine Wade's performance as Judy Denmark, Tina's mother. Judy is an endearing character who is goes through quite an ugly transformation when she collides with fame and fortune. Christine has an impressive vocal talent and I look forward to seeing more of her work.

If you missed Ruthless! The Musical but you like the idea of a woman-centric company, put Theatre Elision's next show on your schedule. They will present Sarah Ruhl (!!!) and Todd Almond's Melancholy Play at Crane Theater in Minneapolis the first week in March.

More info and tickets at their site: elisionproductions.com.

Love musicals?

Read the Artfully Engaging review "Sister Act" at Chanhassen Dinner Theatres Sparkles!

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"Sister Act" at Chanhassen Dinner Theatres Sparkles!

12/10/2017

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Picture: Goldstar, Go Out for $5, $10, $15. Find Events Happening Near You.

Picture: Regina Marie Williams in a shiny short dress, surrounded by dancers with extended arts, wearing shiny disco-like outfits.

"Sister Act" runs through Feburary 24, 2018 at Chanhassen Dinner Theatres. Photo credit: Heidi Bohnenkamp, 2015.

When Chanhassen Dinner Theatres (CDT) announced that they were bringing Sister Act back to their mainstage for a limited run, I was interested. When I saw that Regina Marie Williams would be returning as the lead, I was definitely making plans to attend. In fact, for years I have silently lamented missing Regina onstage at CDT; she starred in the same role in 2015. And if you were lucky enough to have seen her in Nina Simone: Four Women (Nina) at Park Square Theatre, you know that she has an amazing voice and is a joy to watch on stage.

Thanks to CDT for inviting me to see Sister Act and have a wonderful dinner so that I could share the highlights with you. I always feel so special when I get the chance to attend a dinner theatre performance. CDT is a classy venue where you feel at home in a nice pair of jeans or something you'd like to be seen in; I like to dress up! My guest and I arrived early and enjoyed a leisurely dinner, the theater recommends arriving about two hours before curtain. And then the house lights dimmed and the show began.

□ We have awesome seats at tonight’s opening of “Sister Act” at @chanhassendinnertheatres starring Regina Marie Williams!!!!! ⭐️ #OpeningAct #tctheater #SisterAct #mnarts #musical #BloggerLife #alanmenken

A post shared by Artfully Engaging-Kendra Plant (@kendra.plant) on Nov 10, 2017 at 4:07pm PST

I was completely captivated for the whole musical! Director Michael Brindisi describes Sister Act as a feel-good, crowd pleasing show. "They took a good movie and made it into an even better Broadway musical. It's fresh and funny with a fast-paced story and big glitzy musical hits featuring 'Sister Mary Clarence' and her soulful sisters." This musical explores the clashing of two very different cultures: Deloris and her glitzy showgirl ways and the secluded Catholic nuns at the convent where the police hide Deloris from her dangerous boyfriend. I relished the message of the performance: we are stronger together when we embrace friendship and are tolerant of ways of life that are different than our own.

My favorite parts were the musical numbers with the singing nuns featuring the amazing talents of Regina Marie Williams (Deloris Van Cartier), Norah Long (Mother Superior) and Britta Ollmann (Sister Mary Robert.) The band was visible throughout the show, elevated behind the actors, allowing the audience to embrace the musicality of the production. The glitzy choreography, vibrant energy from the whole ensemble, and beautiful set elements like the stain glass windows transported me to the wonderful world they have created. And the costumes were so wonderful and almost surprising in a musical that you expect would be dominated by the modest habits worn by the nuns.

I was only pulled out of the excitement of this performance for a few moments where I wondered if the humor was in poor taste. For example, during the musical number "When I Find My Baby" the villain sings wickedly about shooting and stabbing our heroine. A fun little ditty about domestic violence didn't feel good to me when so many women are dying across the world. Without that one song, I would have been a very happy and well-fed theatergoer.

Sister Act is a glittery musical that sparkles with Regina Marie Williams as the star. I would highly recommend this for a special outing to celebrate a birthday, holiday, or anniversary. It plays in Chanhassen through February 24th, 2018. And if you REALLY want to treat yourself, go ahead and plan ahead for the NEXT show on CDT's mainstage: NEWSIES which opens in the Spring of 2018!!!!

Read more reviews from local theater enthusiasts at the Twin Cities Theater Bloggers website: Sister Act TCTB Review Roundup.

Ticket Info for "Sister Act" at Chanhassen Dinner Theatres

Sister Act tells the story of Deloris Van Cartier, a wannabe diva whose life takes a surprising turn when she witnesses a crime and the cops hide her away in the last place anyone would expect – a convent! It features an all-new original '70s disco score with lush and infectious songs by 8-time Oscar-winner, Alan Menken (Beauty and the Beast, The Little Mermaid, Little Shop of Horrors, Newsies). Set around the Christmas holidays, Deloris helps her fellow sisters find their voices as she also rediscovers her own in a sparkling tribute to the universal power of friendship.

Dinner and show tickets range from $65-80.
Discounts available for students & seniors. Show only tickets start at $50.

2 hours and 30 minutes, including a 20 minute intermission.

The role of "Deloris" will be played by Brianna Graham for all matinee performances.

Buy Tickets

Chanhassen Dinner Theatres
501 West 78th Street
Chanhassen, MN 55317

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Kendra’s Picks: Cheap Ticket Deals for Minneapolis Outings

12/7/2017

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Go out and have fun for less money! I’ve picked some great local deals at fun events for budget-friendly prices. Browse the events below that made the cut and imagine treating a friend to a special Twin Cities night on the town. While I normally recommend arts events, I also included a special treat: roller derby! Roller derby bouts are family-friendly and a blast to watch.

Another perk about ordering some tickets? If you click though any of the Goldstar links below and purchase tickets, you are supporting the Artfully Engaging blog and the work I do to promote local artists and nonprofit arts groups. If you do purchase tickets here and the artists and entertainers knock your socks off, please consider donating to support their work.

Roller Skating women in action during a North Star Roller Derby bout.

Hard-Hitting Roller Derby: North Star Roller Girls

Lee and Rose Warner Coliseum at the Minnesota State Fair Grounds (Falcon Heights, MN)

Cheer on your favorite team when the North Star Roller Girls hit the track in fast-paced bouts. Powered by their impressive athleticism and spirited attitudes, these skaters serve up hard-hitting, exciting roller derby. Featuring concessions, beer, cider, photo booth fun, face painting, balloon animals and the mascot Gnarly the Narwhal, the whole family can get in on the action at Lee and Rose Warner Coliseum at the Minnesota State Fair Grounds in the Minneapolis area.

Saturday, Dec. 16, 2017 / 6:00pm | $6.50
Saturday, Jan. 6, 2018 / 6:00pm | $6.50

Roller Derby Tickets

Handling fees may apply at check out.

The Terror Fantastic: 20% Theatre CompanY

The Crane Theater (Minneapolis, MN)

Iz is a young gay woman plagued by crippling anxiety, by a creature who is her constant companion: the First Monster. Seeking relief, she slips through a door into the world of her own erotic fiction, where she transforms into a brazen ne'er-do-well, free from her real-life fears. But no matter how far she runs, the Monster isn't far behind. 20% Theatre Company presents The Terror Fantastic at The Crane Theater in Minneapolis.

Thursday, Dec. 14, 2017 / 7:30pm | COMP

The Terror Fantastic Tickets

Handling fees may apply at check out.

FANTASTIC ADVENTURES FROM CRITICALLY ACCLAIMED THEATRE COMPANY Animal Engine: Forever Flight

The Southern Theater (Minneapolis, MN)

Critically acclaimed theatre company Animal Engine (Petunia and Chicken, Darlings) brings audiences an unforgettable adventure. In this family-friendly show, a lonely boy needs a friend -- so he folds one out of a piece of paper. When his paper plane flies too far, it's up to him to journey across land, air, sea and even outer space to find it -- and grow up along the way. This show is performed in breathtaking detail by one actor on stage without a single word. Inspired by Antoine de Saint-Exupery's world famous novel "Le Petit Prince", Windsor McCay's groundbreaking comic strip "Nemo in Slumberland", and any story of children going on fantastical adventures. Grab the family and see it now at The Southern Theater in Minneapolis.

Handling fees may apply at check out.

Forever Flight Tickets

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"Sister Act" at Chanhassen Dinner Theatres Sparkles!

11/11/2017

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"Sister Act" runs through Feburary 24, 2018 at Chanhassen Dinner Theatres. Photo credit: Heidi Bohnenkamp, 2015

When Chanhassen Dinner Theatres (CDT) announced that they were bringing Sister Act back to their mainstage for a limited run, I was interested. When I saw that Regina Marie Williams would be returning as the lead, I was definitely making plans to attend. In fact, for years I have silently lamented missing Regina onstage at CDT; she starred in the same role in 2015. And if you were lucky enough to have seen her in Nina Simone: Four Women (Nina) at Park Square Theatre, you know that she has an amazing voice and is a joy to watch on stage.

Thanks to CDT for inviting me to see Sister Act and have a wonderful dinner so that I could share the highlights with you. I always feel so special when I get the chance to attend a dinner theatre performance. CDT is a classy venue where you feel at home in a nice pair of jeans or something you'd like to be seen in;I like to dress up! My guest and I arrived early and enjoyed a leisurely dinner, the theater recommends arriving about two hours before curtain. And then the house lights dimmed and the show began.

□ We have awesome seats at tonight’s opening of “Sister Act” at @chanhassendinnertheatres starring Regina Marie Williams!!!!! ⭐️ #OpeningAct #tctheater #SisterAct #mnarts #musical #BloggerLife #alanmenken

A post shared by Artfully Engaging-Kendra Plant (@kendra.plant) on Nov 10, 2017 at 4:07pm PST

My favorite parts were the musical numbers with the singing nuns; featuring the amazing talents of Regina Marie Williams (Deloris Van Cartier), Norah Long (Mother Superior) and Britta Ollmann (Sister Mary Robert.) The band was visible throughout the show, elevated behind the actors, allowing the audience to embrace the musicality of the production. The glitzy choreography, vibrant energy from the whole ensemble, and beautiful set elements like the stained glass windows transported me to the wonderful world they have created. And the costumes were so wonderful and almost surprising in a musical that you expect would be dominated by the modest habits worn by the nuns.

I was only pulled out of the excitement of this performance for a few moments where I wondered if the humor was in poor taste. For example, during the musical number "When I Find My Baby" the villain sings wickedly about shooting and stabbing our heroine. A fun little ditty about domestic violence didn't feel good to me when so many women are dying across the world. Without that one song, I would have been a very happy and well-fed theatergoer.

Ticket Info for "Sister Act" at Chanhassen Dinner Theatres

Dinner and show tickets range from $65-80.
Discounts available for students & seniors. Show only tickets start at $50.

2 hours and 30 minutes, including a 20 minute intermission.

The role of "Deloris" will be played by Brianna Graham for all matinee performances.

Chanhassen Dinner Theatres
501 West 78th Street
Chanhassen, MN 55317

Buy Tickets

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The Grinch Arrives at Children’s Theatre Company

11/2/2017

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Dr. Seuss’s How the Grinch Stole Christmas revolves around the miserly Grinch's infamous change of heart about Christmas celebrations and his neighbors down in Whoville. But backstage at Children's Theatre Company (CTC), another big change happens for every performance of this holiday play: actor Reed Sigmund transforms into the red-eyed, green-skinned Grinch with the help of make-up, a wig, and other technical theater magic.

Click here TO GO DIRECTLY TO DISCOUNTED GRINCH TICKETS!

Pictured: Left, actor Reed Sigmund poses in the dressing room. Right, Reed dressed as the Grinch with green makeup, wig, and costume.

Children's Theatre Company actor Reed Sigmund transforms into Dr. Seuss's Grinch with the help of theater magic. Andi Soehren, Wardrobe Supervisor, pictured on left.

Reed was kind enough to give Artfully Engaging readers a look at the process of transforming into his full Grinch costume; watch the video now!

I've always loved stories. You can tell such beautiful and emotional stories in the theatre. I love wardrobe because while we are members of the crew, we work so closely with the actors. We bridge both groups.

~Andi Soehren, Wardrobe Supervisor
Read more...

Pictured: Kendra and the Grinch pose in the CTC scene shop and a set piece that looks like a sleigh filled with a big Santa bag.

Kendra Plant, author of Artfully Engaging blog, and Children's Theatre Company's Grinch (Reed Sigmund)

I also got a chance to pose with the Grinch! It was great seeing backstage and all the folks at CTC were so kind and insightful. And a big thanks to CTC for giving my readers a special 20% discount on this popular and whimsical Christmas show.

Order tickets with the Artfully Engaging discount now!

Special Offer: 20% off tickets!
Not valid on preview performances. Not valid on VIP, Price Level C, previously purchased tickets or in combination with any other offer. All sales are final, no refunds or exchanges. Other restrictions and fees may apply. Discounts are not transferrable.

Click for Discounted Tickets

Connect with CTC on social media!
Twitter: @ChildrensTheatr
Facebook: @childrenstheatremn
Instagram: @childrenstheatrecompany

Use these hashtags:
#GrinchCTC
#GrinchmasAtCTC
#HappyWholidays
#WhosLoveGrinchmas

Pictured: The box office of the Children's Theatre Company and

Pictured: Outside of the Children's Theatre Company building

Dr. Seuss’s How the Grinch Stole Christmas
Based on the book How the Grinch Stole Christmas! by Dr. Seuss
Book and lyrics by Timothy Mason
Music by Mel Marvin
Directed by Peter C. Brosius
Choreographer Linda Talcott Lee

Whoville is experiencing a seemingly unstoppable crime wave—and who, oh who will save Christmas? CTC’s all-time audience favorite musical brings alive the songs, the story and the Seuss in mega-doses of spirited storytelling and fanciful rhymes. Come boo the most loathed Christmas villain—and woo-hoo! for a beloved holiday tradition guaranteed to grow anyone’s heart three sizes.

Approximate run time: 1 hour 50 minutes, including a 15-minute intermission.
Run time and other details are subject to change.

Children's Theatre Company
2400 3rd Avenue South
Minneapolis, MN 55404

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"The Nether" is a Must-See for Adventurous Theater-Goers

9/23/2017

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Stephen Yoakam and Mo Perry star in "The Nether." PHOTO CREDIT: William Clark

In the process of writing The Nether, playwright Jennifer Haley asked the question, “What activity is so awful, we don’t even want people doing it online?” Twin Cities audiences can explore this intersection of virtual reality and ethics in a 90-minute sci-fi thriller currently playing at the Jungle Theater through October 15.

I’m particularly impressed with the artistic female leadership of this production. The Jungle Theater’s artistic director Sarah Rasmussen has been an energizing force in the local theater community; in a recent Pioneer Press interview (also featuring Sarah Bellamy of Penumbra Theatre) she shares her excitement for affecting more gender equity in her productions. Jennifer Haley is a recipient of the 2012 Susan Smith Blackburn Prize for The Nether, given annually to recognize women who have written works of outstanding quality for the English-speaking theater. And Casey Stangl fills out the team, returning to The Twin Cities from Los Angeles to direct.

An effective production, The Nether is both compelling and creepy. The five characters lead the audience through a futuristic crime investigation with glimpses into a virtual Victorian house where online guests embody avatars for a chance to experience “life without consequences.” Without giving away too much of the plot, audience members will likely squirm at the uncomfortable nature of what is implied on stage. This is not a kid-friendly production, so do a little research about the show or contact the Jungle Theater if you need to know more about what to expect.

Real time camera projections, designed by Kathy Maxwell, mimicked the oppressive surveillance state during the interrogation scenes. Mo Perry, Stephan Yoakam, and Craig Johnson play their roles with subtlely and sincerity, leading us down a path of moral ambiguity with their terrifyingly accessible characters. The intertwined fantasy scenes were made colorful and vivid with help from young actor Ella Freeburg. The costumes and props gave the feeling of a lush Victorian estate, contrasting the underwhelming set of sparse poplar trees and strange reflective walls.

How was the show? It took me a while to unpack my thoughts about the experience. I recommend that adventurous theater-goers make The Nether a must-see. The show pushes patrons out of their comfort zones and encourages them to think.

A post shared by Artfully Engaging-Kendra Plant (@kendra.plant) on Sep 15, 2017 at 5:16pm PDT

Sci-fi detective thriller The Nether - great script, great production - @JungleTheater does it again - 5 stars https://t.co/c31O52X9V4
— Matthew A. Everett (@MatthewAEverett) September 20, 2017

The Nether @JungleTheater is a psychological thriller that you can't stop thinking about! https://t.co/irIKNe8wyL #tchtheater
— Mary Aalgaard (@MaryAalgaard) September 19, 2017

The Nether @JungleTheater is an intellectual, engrossing and disturbing drama. https://t.co/3gWmWqrYRq
— Twin Cities Stages (@TwinCityStages) September 19, 2017

Ticket Information For The Nether at The Jungle Theater

The Nether
by Jennifer Haley
The Jungle Theater
September 16-October 15, 201

A smart and tightly wound drama, The Nether is both serpentine crime story and haunting sci-fi thriller exploring the consequences of living out private dreams in a world of ever-advancing technology.

In The Nether, when a detective uncovers a disturbing brand of online entertainment, she
triggers an intense battle between technology and human desire. The New York Times called it
a “very cunning and equally creepy new play about alternative lives in a future around the
corner.” Just under 90 minutes with no intermission, the powerful, thought-provoking show has had audiences talking about the play long after its end, prompting the Houston Press to affirm that “this urge to discuss is the mark of a brilliant night in the theater.”

Get Tickets

Tickets: $35-$45

Recommended for mature audiences

Engage online about #TheNether
Twitter: @JungleTheater
Facebook: @JungleTheater
Instagram: @jungle_theater

Jungle Theater
2951 Lyndale Ave South
Minneapolis, MN 55408

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Art In The Making: Playwrights' Center Introduces 2017-2018 Public Season

9/15/2017

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Playwright Jen Silverman workshopping Wink at the Playwrights’ Center as part of the 2016-17 Ruth Easton New Play Series. Photo by Bill Cameron.

Confession: I love the Playwrights' Center. It's a Minneapolis gem that has artistic impact worldwide. I go there as often as I can. Why?

A post shared by Artfully Engaging-Kendra Plant (@kendra.plant) on Sep 28, 2015 at 7:24pm PDT

I enjoy seeing how the theater sausage gets made. It's a unique experience for audience members to glimpse the inner workings of theater. At PWC's staged play readings, the actors typically read from scripts without the sets or full costumes that we would typically see in a fully staged play. It is exciting to see the theater artists (i.e. playwrights, dramaturgs, actors, and musicians) in action, script in hand, creating, playing, and testing their art form in front of new audiences. Being among the first people to ever experience a new play is a great honor.

There is even more to love about the experience: all of the work is free, so if I'm on a tight budget I can still enjoy interesting stories and great performances by local playwrights.

PWC also supports the work of living playwrights. More than 70 plays are developed with the support of PWC each year and eight are included as part of their public season. The PWC contributes to the vitality of the local, national, and global arts. PWC brings many artists to the Twin Cities and some of them are wooed by our theater scene, becoming transplants and valued members of our community. If you want to support brave new work on the American stage that's another great reason to donate. And playwrights at any stage, can take advantage of their classes, resources, and high quality online tools that focus on playwriting and the theater industry through membership. PWC has a membership of 2,000 playwrights worldwide.

If you value innovation and collaborations with talented theater artists, I encourage you to visit the PWC website to learn more about their mission and how you can participate to their important work and sustain their legacy with a donation.

Here's the 2017 public season, so make a reservation and clear your calendar; it's worth it!

The Playwrights' Center 2017-18 season:

PLAYLABS (October 23-29):

“A Humbling in St. Paul” by Alice Tuan
“Take Care” by Jason Gray Platt
“In the Time of the Volcano” by Jen Silverman

RUTH EASTON NEW PLAY SERIES:

“The Overcoat: a musical for non musical people” by Kira Obolensky (December 4 & 5)
“How The Ghost Of You Clings, The Anna May Wong Story” by John Olive (January 8 & 9)
“Three Quarter Inches of Sky” by Sherry Kramer (February 5 & 6)
“Tiny Houses” by Stefanie Zadravec (March 5 & 6)
“the bandaged place” by Harrison David Rivers (April 9 & 10)

More Info

A post shared by Artfully Engaging-Kendra Plant (@kendra.plant) on Oct 12, 2015 at 4:29pm PDT

Playwright Jen Silverman on “In the Time of the Volcano” which is a part of Playlabs:
“The play is inspired by research I’ve done about a ‘cargo cult’ on Vanuatu (a Pacific Island nation) that worships a mysterious man named John Frum. The cult is thought to have been formed around an American soldier stationed briefly overseas; even the name John Frum is thought to be short for ‘John from America.’ In thinking about what it means to worship a man who might, essentially, be utterly ordinary, I also began to think about what it means for an ordinary man to be worshipped—especially in this current cultural moment, where our country is embroiled in a volatile conversation about white male power, privilege, and entitlement. I’m excited to spend my time at the Playwrights’ Center digging into the first draft, and asking both big-picture questions about how the play fits into our national conversation and small-picture questions about character arcs and play structure.”

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Walking Shadow's Marie Antoinette at Red Eye Theater is Well Told, Beautiful, and Relevant

2/17/2017

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Get 50% off tickets to live entertainment and sports in your city. Join Goldstar for free, and GO OUT MORE.

Two women costumed in large lacy dresses and brunette wigs, huddle together in excited conversation in front of a set of the french countryside.

Walking Shadow Theatre's "Marie Antoinette" plays through March 4, 2017 at Red Eye Theater in Minneapolis. Suzie Juul (left) & Jane Froiland (right). Costumes by Kathy Kohl and wigs by Robert A. Dunn. Photo credit: Dan Norman.

by Kendra Plant

Walking Shadow Theatre Company's Marie Antoinette by David Adjmi is well told, beautiful, and relevant. Based on historical events, the script is modern and allows the audience to easily connect with the characters.

White columns fill the stage and behind them, a view of the lush French countryside. The story unfolds around Marie Antoinette and Louis XVI, rich, out of touch leaders who seem unable or unwilling to listen to the people they lead. A riot? Those happen everyday, no big deal; please pass the tea. But when the revolution comes, the fate of this family is passed along to the will of the people.

Jane Froiland expertly inhabits the multifaceted character of Marie Antoinette, from her decadent palaces to her ultimate beheading. Marie evolves throughout her ordeals and is at her best when she summons the courage to fight for the safety and well-being of her family. I found myself rooting for this unlikely heroine.

Marie Antoinette stands center stage in a peach dress and a very, very, large white wig, smiling.

Jane Froiland. Costume by Kathy Kohl and wig by Robert A. Dunn. Photo credit: Dan Norman.

The set, wigs, and costumes are stunningly beautiful. This was my first Walking Shadow production but I have heard of their impressive reputation for well-crafted shows, and they do not disappoint. The acting was top-notch, with an especially memorable performance by Froiland. I highly recommend Marie Antoinette for its high production quality and for its interesting and relevant story. Perhaps the most compelling aspect of this script is that Louis and Marie could easily be the villains, but we are challenged to dig deeper and embrace the complicated mess it is to be human. Evil does not lie in only a select few and neither does the light of goodness and love.

Teresa Mock (left) and Jane Froiland (right). Costumes by Kathy Kohl and wigs by Robert A. Dunn. Photo credit: Dan Norman.

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.

Ticket Information: Marie Antoinette

Buy Tickets

Marie Antoinette
written by David Adjmi
directed by John Heimbuch
February 10 - March 4, 2017

Marie, the young queen of France, lives in a gold-plated world of extravagance mired in scandal while her people suffer. Will the people accept her lavishness in the face of their despair, or will they rise together to stand against oppression and inequality? Will the people’s revolution change the ways of the elite, or are they doomed by the life they were born into? Liberté, Egalité, Fraternité!

PERFORMANCE DATES
Friday, February 10 at 7:30 - Opening Night
Saturday, February 11 at 7:30
Tuesday, February 14 at 7:30 - Pay What You Can, ASL
Friday, February 17 at 7:30 - Post-show Discussion
Saturday, February 18 at 7:30
Sunday, February 19 at 2:00 - Audio Described
Thursday, February 23 at 7:30 - Audio Described
Friday, February 24 at 7:30 - Post-show Discussion
Saturday, February 25 at 7:30
Sunday, February 26, 2:00
Wednesday, March 1 at 7:30
Thursday, March 2 at 7:30
Friday, March 3 at 7:30 - Post-show Discussion
Saturday, March 4 at 7:30 - Closing night

Tickets
General Admission Tickets: $26
Seniors: $24
Students, Veterans, & Active Military Members: $15

2016 Minnesota Fringe button-holders: $18 tickets on February 10, 11, 17, 19, 23, & March 1.

A limited number of $10 Economic Accessibility tickets are available for each performance.

Pay What You Can performance on Tuesday, February 14 at 7:30. ($5 minimum in advance; $1 minimum at the door on space-available basis.)

Run time:
Approximately 1 hour and 45 minutes including one intermission.

Engage online
Facebook: @WalkingShadowCompany
Twitter: @WalkingShadowTC

Red Eye Theater
15 West 14th Street
Minneapolis, MN 55403

FEATURING
Marie Antoinette - Jane Froiland
Louis XVI - Zach Garcia
Fersen - Derek "Duck" Washington
Lamballe - Teresa Mock
Polignac - Suzie Juul
Emperor Joseph - David Beukema
Sheep - Neal Beckman
Revolutionary - Paul LaNave
Dauphin - Hal Weilandgruber

PRODUCTION TEAM
Director - John Heimbuch
Set - Annie Henly
Costumes - Kathy Kohl
Wigs - Robert A. Dunn
Lighting - Paola Rodriguez
Sound - Michael Croswell
Props - Sarah Salisbury
Stage Manager - Chandler Jordan Hull
Assistant Director - Lauren Jauert

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Kendra's January Picks: Twin Cities Ticket Deals for Artfully Engaging Fans

1/23/2017

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Minnesota Opera: $25 tickets to Diana's Garden for Artfully Engaging fans at select performances

Diana's Garden at the Ordway Center for Performing Arts
January 21-29, 2017

Music by Vicente Martín y Soler
Libretto by Lorenzo da Ponte

My followers get $25 tickets to #DianasGarden 1/26 & 1/28 by using code "previewnight25" online or on the phone. Service charges and other restrictions may apply, tickets based on availability. Call the box office to purchase or if you have any questions: 612-333-6669.

Snap this offer up quick! I saw Diana's Garden on preview night and it is a throroughly entertaining night out. I highly recoomend it for the beautiful music and comedy. Watching a powerful goddess on stage is a great way to spend your weekend. If you are a fan of Theater Latté Da, you'll be pleased to know that this opera is directed by Latté Da's artistic director Peter Rothstein.

Tickets & Info

Win Free Tickets to the Plymouth Playhouse

Rise Up, O Men
Through May 21, 2017

Written by Greta Grosch
Music by Dennis Curley
Lyrics by Dennis Curley, Greta Grosch
Additional Material by Graydon Royce

WIN A PAIR OF TICKETS!

Plymouth Playhouse extended the run of the Church Basement Ladies in Rise Up, O Men. You could win a free pair of tickets! I have two pairs to give away thanks to the generosity of Plymouth Playhouse, so make sure to get your name entered into this drawing and share the link with your comedy-loving Minnesotans.

Enter now!

"Rise Up, O Men" with TC Theater Bloggers: @MaryAalgaard, @becki_iverson, & @MNTheaterLove #tctheater pic.twitter.com/58VXmqKMac
— Kendra Plant (@ArtfullyKendra) August 20, 2016

Artistry's Little Shop of Horrors
January 21 - February 19, 2017

Book and Lyrics by Howard Ashman
Music by Alan Menken
Directed by Joe Chvala

Adult tickets for this musical are $41 and Artistry offers discounts for seniors and those under the age of 18. The best deal for tickets is probably the Pay What You Can tickets on Monday, January 30, 7:30 p.m.

Audience members attending this performance can purchase tickets for any whole dollar amount they can afford. You may purchase them online, by phone, or in person at the box office.

Read Cherry and Spoon's review with the list of 10 reasons to see Artistry's Little Shop of Horrors before it closes on Feb. 19

Tickets & Info

And check out these GoldStar Discounts

The Drawer Boy Award-Winning Drama on the Power of Storytelling
Lyric Arts Main Street Stage

Friday February 3, 2017 / 7:30pm | $13
Sunday February 5, 2017 / 2:00pm | $13
Thursday February 9, 2017 / 7:00pm | $13
Friday February 10, 2017 / 7:30pm | $13

Buy Half-Price Tickets

Youth Performance Company's Oh Freedom! The Story of the Underground Railroad
Howard Conn Fine Arts Center

Sunday February 5, 2017 / 2:00pm | $8
Saturday February 11, 2017 / 7:30pm | $8
Sunday February 12, 2017 / 2:00pm | $8
Friday February 17, 2017 / 7:30pm | $7.50
Saturday February 18, 2017 / 7:30pm | $7.50

Buy Half-Price Tickets

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Artist Interview with Local Storyteller Lorna Landvik

12/20/2016

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Planning your weekend? We've got the hottest events in your city. -goldstar, download at the App Store

Minnesota author and actor Lorna Landvik will be once again gracing the stage of Bryant-Lake Bowl, producing and starring in her improv show Party in the Rec Room. Lorna's throwing a party and you could be her guest! She's is a former member of the Brave New Workshop and has performed at other Twin Cities theaters. Lorna is the author of Best to Laugh, Oh My Stars, Angry Housewives Eating Bon Bons and many more. The Star Tribune has called her a "national treasure" and I feel very honored to feature her here on Artfully Engaging. I also thank Lorna for tickets to see the show!

In this exclusive artist Q&A, Lorna shares how she fell in love with writing, how she plans to laugh a lot--right through inauguration day, and about the immediate and shared experience she has with her audiences when she is on stage. Read her inverview and then grab your tickets to experience some of her award-winning humor for yourself. Party in the Rec Room plays through January 28, 2017.

Lorna Landvik kicks off the New Year with her "Party in the Rec Room" at Bryant Lake Bowl, December 31, 20116 through January 28, 2017. Photo Credit: Peggy Erickson

How do you define yourself as an artist?

Lorna: A storyteller on the page and on the stage. And if there’s a laugh to be found, I’ll be looking for it.

You’ve been performing Party in the Rec Room for eight years now. What keeps you coming back?

Lorna: The sheer fun of it. Plus, I don’t have to learn lines. I’ve done a lot of theater—scripted shows, group improv shows and stand-up comedy—but Party in the Rec Room might be my all-time favorite to perform. I love the venue. Bryant-Lake Bowl is pretty unique in that you can eat/drink/bowl and see a show there (although I wouldn’t say no to a Broadway invitation).

Best to Laugh

Oh My Stars

Angry Housewives Eating Bon Bons

Lorna Landvik is the author of 10 novels. Find them at your local independent bookstore or click the images above to find them on Amazon—these ads and your purchases support the Artfully Engaging blog.

Has the process of preparing for this show changed over time? Is it possible to prepare for an improv show?

Lorna: I might shop for a new wig or some props, but the wing-it factor doesn’t make much preparation necessary, other than keeping on top of the news and pop culture. And staying curious always helps.

Your show is based on audience suggestions. Is your audience ever timid? Is that why you serve margaritas?

Lorna: Even in a quiet crowd, there’ll usually be someone bold enough to speak up, and his/her boldness usually emboldens others. Because the conceit of the show is that I’m throwing a party in my rec room and that the audience members are my guests, I thought, what’s more welcoming than whipping up a batch of margaritas? I’ll share a blenderful with a half dozen lucky people, always reserving a glass for myself.

Can you share a little about how your passion for writing began? How does your creative work as a theater artist inform your writing?

Lorna: I fell in love with writing when I fell in love with reading in Miss Carlson’s first grade class. I always loved to be read stories (what kid doesn’t?) but when I learned how letters make words, make pictures, mae worlds, I thought wow—I want to do that!

Performing has absolutely helped me in my writing, especially comedy, in that I’ve learned how important rhythm is; how the placement of one word can affect the whole meaning and/or joke. It’s also helped me in writing dialogue; when you deliver lines on stage you hear right away what sounds artificial or out of character.

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

Lorna: I would say it’s a ‘Wild, fun tonic.’

This is cliché, but I still have to ask. What advice do you have for those who may find it difficult to find laughter in times of uncertainty, more so now than ever?

Lorna: See above the three-word description of my show. The scarier and more unsettling times (like now) are, the more we need to laugh. Laughter can’t save us from injustice, bigotry, misogyny, hatred, ad infinitum; but it can shine a light on that darkness as well as giving us a brief reprieve from it. Laughter gives you power over crap. When you decide nothing’s funny anymore, the dark forces have won. I plan to do a lot of laughing myself, especially around Inauguration Day.

If you could only do one thing, writing or performing, which would you choose?

Lorna: Writing probably gives me the greatest satisfaction. It certainly gives me the biggest stage. I get to choose my cast/location/theme/era as well as be the director and producer, but I’m so glad no one’s forcing me to pick one over the other as I love those times on stage and the immediate connection you get with an audience. You hope readers are moved reading one of your books, but since you can’t sit next to them, you don’t hear the laughter or the sighs, you don’t see them dab at their eyes or watch them underline a favorite passage. On stage, you get to experience your audience's reactions live and in color. And applause is always nice to hear.

Ticket Information: "Party in the Rec Room"

Buy Tickets

Laughter is the best medicine, and Party in the Rec Room will help fill much-needed prescriptions! Ready to wring out 2016 and ring in 2017? Join host Lorna Landvik as she opens her all-improvised, one-woman comedy extravaganza on New Year’s Eve in a special 10:00pm show, and continues through the month of January on Friday and Saturday nights at 7:00pm at the Bryant-Lake Bowl.

Now in its eighth year, Lorna’s wildly popular solo improv show is filled with characters created on the spot and margaritas created in a blender. Don’t make resolutions in the New Year, make reservations to Lorna Landvik’s Party in the Rec Room. Tickets are $18 in advance and $20 day of show.

For more information, contact Bryant-Lake Bowl, 612-825-8949.

PARTY IN THE REC ROOM 2017
Sat., Dec. 31 @ 10pm
Fri., Jan. 6 @ 7pm
Sat., Jan. 7 @ 7pm
Fri., Jan. 13 @ 7pm
Sat., Jan. 14 @ 7pm
Fri., Jan. 20 @ 7pm
Sat., Jan. 21 @ 7pm
Fri., Jan. 27 @ 7pm
Sat., Jan. 28 @ 7pm

Bryant-Lake Bowl Cabaret Theater
810 W Lake Street
Minneapolis, MN 55408

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Camelot at Chanhassen Dinner Theatres

11/16/2016

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Picture: Tickets. For 50% off. For reals. Goldstar. Get half-off hot events near you. Download in the app store.

Keith Rice as Arthur and Helen Anker as Guenevere. Photo credit: Heidi Bohnekamp (2016)

Let's cut to the chase: I love Chanhassen Dinner Theatres' production of the classic musical Camelot. It’s charming, funny, and touching. I even shed some tears. In this review I'll tell you why I recommend you and your loved ones see this show over the winter and why it is still relevant, gosh darnit, even if other Twin Cities Theater Bloggers didn't agree with me completely.

A Little History
Did you know that Camelot was once regarded as the most expensive and opulent production to have ever played on Broadway? It was the Spider-Man of its day.

Based on the book The Once and Future King by T.H. White, Camelot was created by the famous artistic team Lerner & Loewe (Alan Jay Lerner and Frederick Loewe) and this was the final musical to be produced from that partnership. It opened on Broadway in 1960 and ran for 25 months, won four Tony Awards, and starred the stunning Julie Andrews and Richard Burton. Thanks to the Anoka County Library, I listened to the soundtrack throughout my high school years and treasured gems like "The Lusty Month of May" and "What Do the Simple Folks Do?"

The Story and Performance
Camelot, at it's best is a place of magic, friendship, humor and idealism. The audience is rooting for the unlikely love between Guenevere and Arthur, as they have just met at the start of the play as a result of their newly arranged marriage. Their partnership is funny and heartwarming, which makes it tragic when Arthur's new best friend, Lancelot, and Guenevere unintentionally fall in love. The emotional aspect of the love triangle is explored in this musical as well as the serious legal implications of royalty dabbling outside of their marriage: Guenevere faces burning at the stake and our "protagonist" Arthur offers her little in the way of rescue.

The other Twin Cities Bloggers who were in the audience on opening night had mostly positive things to say about the production:

Renee Guittar as Nimue and David Anthony Brinkley as Merlyn. Photo credit: Heidi Bohnekamp (2016)

The Lusty Month of May. Photo credit: Heidi Bohnekamp (2016)

Helen Anker as Guenevere and Aleks Knezevich as Lancelot. Photo credit: Heidi Bohnekamp (2016)

Photo credits: Heidi Bohnekamp (2016)

The cast was top-notch, led by Helen Anker as Guenevere and Keith Rice as Arthur. Aleks Knezevich, who played Gaston in Chanhassen’s summer production Beauty and the Beast, returns in another confident masculine role as Lancelot. As with past Chanhassen productions I’ve seen, in Camelot the costumes, lighting, and sets were well-designed and magical. This production had some especially nice dance moments where the choreography really supported and advanced the plot, like the jousting scene and when Nimue, the lady of the lake, takes away Merlin’s powers.

I was surprised that some of the other bloggers felt the story and script weren't as relevant to modern issue as they would have liked. However, I feel completely transported by this fairytale gone wrong. It is easy for me to buy into Arthur's idealism and work to make his kingdom more equitable for the lower class. And when Mordred comes onto the scene with the clear intention of grabbing power for himself with little thought to the impact on the rest of society, it reminds me of our current political realities.

At the end of the play we are left with a message that audiences should find encouraging. King Arthur finds a young boy and asks him to tell the story of Camelot. We must learn from our history. We must take art seriously because theater, literature, music, dance, and physical art are all glimpses into our shared humanity and our diversity. We must keep telling our stories.

Keith Rice as Arthur and Tony Vierling standing creepily in the back as Mordred. Seem familiar? Photo credit: Heidi Bohnekamp (2016)

Thanks to Chanhassen Dinner Theatres for an amazing dinner and tickets to a great show. I'd like to leave you with these words from the director, Michael Brindisi:

"One of the greatest stories ever told. It is so big, so emotionally packed and ultimately about the aspirations of humankind. There are so many great and important themes that will resonate with audiences today; passions, fate, battling the forces of nature and in the end, the choice between order or chaos.

"I just feel it's important to be romantic in our world today, to hang on, for dear life, to our dreams and aspirations. This is a play about Arthur's dream, but it's also a play about all of our dreams--dreams for a perfect world--if only for one brief shining moment."

Ticket Information

Camelot
Now through February 25, 2017
Come along to the idyllic kingdom of Camelot. Revel in the rich, deeply romantic legend of King Arthur and his beloved Queen, Guenevere. Celebrate the dashing Sir Lancelot, the gallant Knights of the Round Table, the mystical wizard Merlin and the Lady of the Lake from the mists of Avalon.

Beyond romance, noble quests and magic spells lie twisted plots, inner demons and betrayal – all threatening to snuff out Arthur’s dreams to build the greatest kingdom ever known – one where true justice and compassion reign supreme. The ideals of Camelot are ones we long for in our own day, making Camelot a hopeful legend for all time.

Buy Tickets

Tickets: $50-$85
Discounts for students ages 5-17 and seniors ages 55+.

Camelot is approximately 2 hours and 45 minutes including one intermission.

Engage online
Facebook: @chandinnertheatres
Twitter: @ChanhassenDT

Chanhassen Dinner Theatres
501 W 78th Street
Chanhassen, MN 55317

Follow Artfully Engaging on Facebook for all of Kendra’s newest reviews and show features.

Costume Feature: Beauty and the Beast interviews with Chanhassen cast members . . .

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Black Death: The Musical | Artist Q&A with Susan Woehrle

10/7/2016

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Picture: Goldstar: Drinks, Culture, Music and More. Fall fun. Get half-price tix

Susan Woehrle has gathered a team of Twin Cities artists and is putting on a show: Black Death: The Musical. Susan is the playwright and co-producer, along with co-producer Heather Baldwin, of this dark musical comedy that will set the mood for a festive halloween. You can catch this show, but be quick, there are just three performances (October 28-30) at Sabes JCC in Minneapolis.

I was quite curious to find out how Susan was inspired to write about a historical pandemic and reanimation of the dead. And once she decided to start on the artistic journey, how did she get the final product to the stage? If you've wanted to dig deeper into how an interesting idea becomes a final performance piece, read on! Susan answers these questions and more in the following artist Q&A.

Susan Woehrle, playwright and co-producer of "Black Death: The Musical"

Where did the idea for Black Death: The Musical come from?

Susan: For several years my boyfriend Tim and I have gone to Clubhouse Jäger for their Tuesday night geek trivia. It's been a regular hangout spot for fashionistas, artists, musicians, academics, journalists and programmers for around 10 years now. I was having a beer on their back patio with local bon vivant Joseph Ye when it occurred to me that his talents as a composer would be useful for my dream of writing a Minnesota Fringe Festival show.

I proposed a collaboration and described my show idea to him. He replied that he hated that idea but if I were to write Black Death: The Musical, he would compose the score. Long story short: I wrote the script and recruited director Paul Von Stoetzel but, due to artistic differences, we ended up going with a new composer. Scott Keever took to the project right away and has created a soundtrack that blends both old and new influences, including medieval music and Tom Waits.

Did you get to do a bunch of research on the bubonic plague and do you like that kind of thing?

Susan: Yes, definitely! I've been fascinated by the first of three major pandemics of the bubonic plague in Europe, colloquially known as the Black Death, since I was 10 or 11. I was at summer camp and someone had left a bunch of old National Geographic magazines lying around to read during our downtime. I read an article in a May 1988 issue that gave a basic rundown of the historic, cultural and epidemiological aspects of the bubonic plague in Europe. I became obsessed and found out everything I could about the biological and societal impacts of the disease, doing reports on the Black Death in my high school health class and my freshman physiology and anatomy class in college. The more I learned, the more I wanted to know, until I became something of an armchair historian/epidemiologist.

Art by Whittney Streeter. http://www.whittneyastreeter.com

The music sounds especially intriguing. In the show information it is described as, "14th-16th century vocal music combined with the songwriting style of Tom Waits and Nick Cave." What was the process that inspired such an unlikely combination of styles?

Susan: The composer, Scott, would do a better job answering this question but my understanding is that Paul and Scott got together, had a few drinks and bounced ideas off of each other until inspiration struck. Their chemistry is evident in their work together in their 2007 production of Titus Andronicus for the Cromulent Shakespeare Company. Scott is extremely versatile and gives music lessons in various styles, including chansons from the 14th century.

Where in the Twin Cities do you look to when you want to see a great musical?
Susan: The last great musical I saw in the Twin Cities was at the Fringe Festival. The last several, actually. I really enjoyed the Star Wars Musical (which Scott was also in) as well as You're No Fun, put on by Savannah Reich and Samantha Johns at the Bedlam Theater. I also really miss Theatre de la Jeune Lune for their great work.

What's your role during the rehearsal period for Black Death: The Musical, since you are involved in multiple aspects of the production?

Susan: Since bringing on the extremely capable Shayna Houp as production manager, my role has shifted from playwright to producer. My job has been to manage the funds and promote the show on social media to get as many butts in the seats as possible.

Can you share some of the work you did as a producer leading up to this project being staged for an audience? I seem to recall that there was a crowd fundraising project last winter. Did that go as you hoped? Any takeaways for others who might be looking to get their own work produced?

Susan: Crowdfunding is a great way to raise money for projects. Of course, it's also a lot of work. With a project like Black Death, there's going to be certain kinds of people who go in for that sort of thing: history majors, people interested in pandemics, early-music aficionados and the like.

My advice would be to marshal the resources of your friends and relatives. Everyone who supported us was someone we knew who was excited about our concept and who was excited to see the musical itself. We did a preview show and my dad Bob Woehrle shot a video of one of the songs, which we added to the Indiegogo page. I sent out an email to relatives that was kind of like, "Hey guys I've never asked you for anything in my life, how about you send me some money?" And everyone else did the same thing. We got a Hail Mary contribution at the 11th hour from Robert Stewart that sealed the deal and the rest is history.

Indiegogo Campaign video for Black Death: The Musical from Scott Keever on Vimeo.

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

Susan: Medieval Black Comedy.

This show runs for three days on the weekend before Halloween. How do you typically celebrate the holiday?

Susan: In the past I've put on a comfortable costume and biked to two or three parties. This year, since it's on a Monday, I'll probably be working.

What's next for you? After this project, where can we expect to see you and your work?

Susan: I'll probably catch my breath for a minute. I like the way Tim Burton compares a major project like this to giving birth. It's so painful and exhilarating that after it's done you say, "No way, never again!" But after a year or two, the memories of the discomfort fade and you think, "Maybe just one more."

Ticket Information

Black Death: The Musical
Book and lyrics by Susan Woehrle
Music by Scott Keever

Performances:
Friday, October 28, 2016 at 7:30pm
Saturday, October 29, 2016 at 7:30pm
Sunday, October 30, 2016 at 3:00pm

Tickets:
$22 for Adults
$15 for Seniors 60+, Students with valid ID (ages 12+), Military personnel with valid ID, and Minnesota Fringe button holders

Buy Tickets

Director: Paul Von Stoetzel
Production Stage Manager: Shayna j. Houp

Cast: Rob Ward, Rodolfo Nieto, Carlianne Hayes, Roni Page, Jonathan Flory, Sommer Walters, Thore Dosdall, and Amanda Weis

Production Designer: Heather Baldwin
Promotional Artwork: Whittney Streeter

Engage Online:
Twitter:
@BlackDeathMusi1

Facebook:
@blackdeathmusical

Sabes JCC
4330 Cedar Lake Rd South
Minneapolis, Minnesota 55416

Looking for more spooky theater this fall? Artfully Engaging interviewed Erik Hoover of Combustible Company about their immersive performance of "Bluebeard's Dollhouse" at the James J. Hill House.

In the mood for some Minnesota comedy? Check out the Artfully Engaging review of "The Church Basement Ladies In Rise Up, O Men" a Musical Comedy.

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Comedy Feature: "The Liar" at Park Square Theatre

9/21/2016

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"It's a comedy, a farce. It's a wacky word exploration!" -Shá Cage

"The Liar" L to R: Shanan Custer, Shá Cage, India Gurley. Photo: Park Square

In the mood for a comedy about mistaken identities? How about a farce that features some excellent Twin Cities talent? Park Square Theatre opens their 2016-2017 season with "The Liar," adapted and reinterpreted by David Ives from Le Menteur by Pierre Corneille. A big thanks to Park Square Theatre for my pair of tickets so I could experience the laughs and write this blog post.

The show stars the Ivey Awards-honored actor Shá Cage as a young man who seems incapable of telling the truth. Shá is fantastic to watch as she playfully navigates rhyming couplets and extravagantly tall tales with ease. The gender bending casting is explained by the artistic team as congruent with the main character's lying tendencies. No need for explanation! Playing around with gender seemed to breathe some life into this fairly simple plot.

The entire cast seemed to have a great time playing around with the forced perspective set and two dimensional set pieces. In addition to the live original music, the harpsichordist Don Livingston gets some laughs as he interacts with the actors. And audiences may especially enjoy Shanan Custer's antics as she plays a pair of twins with very differing personalities. This show is performed with a wink to the audience: the actors are running through the aisles, speaking directly to us, and modern themes are in abundance. There were moments when I was truly enjoying the silliness and then also moments where it seemed over the top. Overall, it was a fun exploration of physical comedy and word play that may appeal to Twin Cities theatergoers as comic relief from the real life liars, a.k.a. the fall elections.

Wait 'til you see the #PSTLiar cast on stage. First preview was tonight! #rhymingcouplets #tctheater pic.twitter.com/TeZ2cgqtWe
— Park Square Theatre (@ParkSquare) September 10, 2016

Here's a fun picture of the theater makers hanging out before one of last week's preview performances.

The truth is @50ftpenguin @ShananCuster and @scholzcarlson were relaxed before tonight's final #PSTTheLiar preview. pic.twitter.com/71FUTwPNrm
— Park Square Theatre (@ParkSquare) September 16, 2016

Ticket Information

The Liar
Sep 9 – Oct 2, 2016
By David Ives; Directed by Doug Scholz-Carlson
Adapted from Le Menteur by Pierre Corneille

Tickets: $40/$60
Discounts for ages 30 and under, seniors ages 62 and over, and military members.

Buy Tickets

Crew
Doug Scholz-Carlson – Director
Rebecca Bernstein – Costume Designer
Eli Schlatter – Scenic Designer
Michael P. Kittel – Lighting Designer
Don Livingston – Harpsichordist
Abbee Warmboe – Properties Designer
Sara Huebschen – Wig Designer
Jamie J. Kranz – Stage Manager
Samantha Diekman – Assistant Stage Manager

Cast
Shá Cage, Zach Curtis, Shanan Custer, India Gurley, Rex Isom Jr., JuCoby Johnson, Michael Ooms, and Sara Richardson.

Engage Online:
Official hashtag: #PSTTheLiar
Additional suggested hashtags:
#tctheater #tccomedy

Park Square Theatre
Proscenium Stage
20 W 7th Place
St Paul, MN 55102

Looking for a fun way to celebrate Halloween? Artfully Engaging interviewed Erik Hoover of Combustible Company about their immersive performance of "Bluebeard's Dollhouse" at the James J. Hill House.

The 12th annual celebration of Twin Cities theater, the Ivey Awards, was a memorable evening. Check out the honorees and more in the Artfully Engaging post "And the Ivey goes to . . ."

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And the Ivey goes to . . .

9/20/2016

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Last night was the 12th annual Ivey Awards, where the Twin Cities theater community gets together to celebrate our theater-ness. More officially it is "designed to celebrate and showcase the work of professional theater companies and artists over the past year."

The Ivey Awards give out fancy awards, but they also make a space where our theater community are invited to share the same space. There is also entertainment! The awards feature selections from productions from the past year.

Kemi Ojelade (Teen Ivey Committee), Kendra Plant (Artfully Engaging), Gina Musto (The Room Where It Happens)

This year performers were from Old Log Theatre, Hennepin Theatre Trust, Yellow Tree Theatre, Candid Theater Company, Savage Umbrella, Park Square Threatre, Illusion Theater, Dark and Stormy Productions, Tehatre Coup d'Etat, Plymouth Playhouse, The Urban Spectrum Theatre Company and Theater Latté Da. And one of my favorite companies The Brave New Workshop took the spotlight to creatively thank all the Ivey Award sponsors.

Perfect choice to have @BNWImprov handle the sponsor announcements, @Iveyawards □□□□ #IveyAwards pic.twitter.com/lKdVhClJgz
— Laura 1G2C (@1Girl2Cities) September 20, 2016

Some pre-show entertainment; love this theater, love the #IveyAwards! Love that this city is so great for the arts pic.twitter.com/slu7yhc2AD
— Cedar Phillips (@Cedar_Phillips) September 20, 2016

The 2016 Ivey Awards attracted a sold out audience this year. I was excited to attend with many other Twin Cities Theater Bloggers. It was a fun evening where I got the chance to bump into many of my fellow theater colleagues.

Photo credit for above photos: Tom Wallace.

Now for the juicy bit! Let's take a look at the honorees. And in case you were wondering, "How are these honorees chosen?" The Ivey Awards are given out based on: "evaluations completed by the more than 150 volunteer theater evaluators who saw more than 1,200 performances created by 84 professional theaters in the Minneapolis-St. Paul seven-county metropolitan area from September 2015 through August 2016."

Productions
- The Wizard of Oz (Children’s Theatre Company) – Overall Excellence
- Glensheen (History Theatre) – Overall Excellence
- Le Switch (Jungle Theater) – Overall Excellence

Read the full ArtfullyEngaging review...
"LE SWITCH" AT JUNGLE THEATER IS SEXY, FUNNY, AND HEARTFELT

Individuals/Ensembles
- Victor Zupanc – Sound Design and Music: Pinocchio (Children’s Theatre Company)
- Kevin Fanshaw and Charles Numrich – Acting: Equus (Theatre Coup d’Etat)
- Warren C. Bowles – Direction: The Tale of the Allergist’s Wife (Minnesota Jewish Theatre Company)
- Kate Sutton-Johnson – Set Design: Sweeney Todd: The Demon Barber of Fleet Street (Theater Latté Da)
- Jasmine Hughes – Acting: Sunset Baby (Penumbra Theatre)
- Ensemble – Acting: Trouble in Mind (Guthrie Theater)
- Ensemble – Acting: Now or Later (New Epic Theater)

I was the most gleeful for the small and upcoming company, New Epic Theater who won for their Minnesota Fringe show, Now and Later. The work they do is compelling, relevant, and visually stunning.

Wow! I am so happy. @newepictheater won for their @mnfringeshow. #iveyawards
— Kendra Plant (@ArtfullyKendra) September 20, 2016

And the Lifetime Achievement Award went to Graydon Royce who has recently retired from the Star Tribune as a full-time reporter covering theater, classical music and other fine arts. Wow! A theater writer celebrated as a member of the theater community. It gave me shiver; it made my role as a theater blogger seem included in the important theater work that is being created.

Now, is giving an award to someone who says nice AND sometimes not so nice things aboutTwin Cities theater productions controversial? Take a look at the reaction on Twitter...

A critic just made me cry, but not for the reason you think... □ #IveyAwards
— Gemma Irish (@gemmavieve) September 20, 2016

It's pretty cool for the @Iveyawards to honor a critic with the Lifetime Achievement Award IMO. Congrats to Graydon Royce! □□ #IveyAwards
— Laura 1G2C (@1Girl2Cities) September 20, 2016

“@tododowd pierces the air with his clarion voice” - @graydonroyce’s review of me once. Still use that line. So happy for his @Iveyawards!
— Todd O'Dowd (@toddodowd) September 20, 2016

And the Emerging Artist Award went to Trevor Bowen!

Another sweet @Iveyawards moment: Trevor Bowen accepting his emerging artist award pic.twitter.com/6vIPMV8Egf
— christydesmith (@christydesmith) September 20, 2016

Trevor is a prolific costume designer whose work you may have seen at: Mixed Blood Theater (An Octoroon, Pussy Valley, Colossal, Hir, Charm, DJ Latindad’s Latino Dance Party), Theatre Latté Da (Our Town, Lullaby), Pillsbury House Theatre (The Road Weeps, The Well Runs Dry), Park Square Theatre (Nina Simone: Four Women, My Children! My Africa!), Ten Thousand Things (Romeo and Juliet, Pericles), the History Theater (George Bonga: Black Voyageur) and the Jungle Theater (Bars and Measures). He arrived in Minnesota less than five years ago and has been making a splash ever since he got his start here as a design assistant in the Guthrie’s costume shop (2012-13 Season).

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Bluebeard's Dollhouse | Artist Q&A with Erik Hoover

9/19/2016

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Picture: Goldstar: Drinks, culture, music & more. Fall Fun; Get half-price tix

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's your role in Bluebeard's Dollhouse?
Erik: I’m the co-artistic director of Combustible Company and I’m producing and performing in Bluebeard’s Dollhouse.

How do you describe yourself as an artist?
Erik: My background is in devised physically-based theater, although I’ve done everything from Shakespeare to contemporary literary-based theater, so I guess that makes me a bit of a mutt.

How do you continue to grow artistically?
Erik: I’m always training. I’ve been teaching Margolis Method the past couple years, but prior to that I tried to find a class whenever I was between projects—whether it was combat or improv.

Photo Credit: Dani Werner

"A really unique, physical, and captivating piece of theater." ~Cherry and Spoon, 2013
Read the full review of Kym and Erik's first collaboration, the aerial musical "Herocycle."

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?

Red Eye’s program is a wonderful opportunity to develop an idea. They give artists three really important things: criticism, deadlines, and an audience. We decided to pack as much material as we could into the allotted 15-minute performance in order to discover as much as we possibly could about the piece. Then we had the idea to make it site-specific and set it in a Victorian house, but we needed to test the staging. Kym knows some wonderful folks in Minocqua, Wisconsin who let us use their property to put up a couple performances. Based on what we learned there, we knew we could do it as a promenade-style piece. After some searching, we landed on the James J. Hill House as the setting for this production.

If you could describe this work in three words what would they be?
Erik: Haunting. Intimate. Visceral.

Interior wood staircase of the Victorian James J. Hillhouse

Interior of James J. Hillhouse in Saint Paul, Minnesota. Photo: MNHS

"It’s a haunted house, but the haunting is inside the characters." -Kym Longhi
Read the full interview with Basil Considine in Twin Cities Arts Reader.

Photo: woman sits on stage wildely grinning at the doll in her hands, man behind her with no pants holds a suitcase.

"Bluebeard's Dollhouse" was created by an ensemble of artists under the direction of Kym Longhi in 2014 during the Red Eye Theatre’s Works in Progress series. Photo: Combustible Company

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.

Ticket Information

Bluebeard's Dollhouse
September 30 through October 15, 2016

Featuring: Beth Brooks, Karla Grotting, Paul Herwig, Erik Hoover, Renee Howard, Kalen Rainbow Keir, Rachel Nelson and Pearl Noonan.

Production team: Peter Baker (composition), Alissa McCourt and Nicholas Swenson (costume design) and Jim Peitzman (video design and installation).

General Admission Tickets:
$29.97 (including service fee)
Discounts available for economic accessibility, Fringe button holders, and members of the Minnesota Historical Society.

Buy Tickets

James J. Hill House
240 Summit Avenue
St. Paul, MN 55102

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

In the mood for some Minnesota comedy? Check out the Artfully Engaging review of "The Church Basement Ladies In Rise Up, O Men" a Musical Comedy.

There are more Artfully Engaging blogs scheduled for this month: more Halloween antics, Twin Cities theater community celebrations, and reviews of upcoming comedy and tragedy shows. Follow Artfully Engaging on Facebook for all the newest reviews and show features.

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Kendra Plant is a Minneapolis arts advocate and a technology professional. She especially enjoys yarn, theater, and animals. After working for more than a decade in the arts administration field, Kendra is now working as a freelance technologist and sits on the board of the Minnesota Fringe Festival.

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