Serif Punglasses - Raven Timberlake

"Our version of cuddling, sitting on opposite ends of the couch."

Carol Burnett goes down the modern comedic rabbit hole. This duo troupe uses theatrical storytelling, sketches and simple wordplay for a variety hour that makes you wonder which screen you're viewing through.

This is the first preview at Fringe-For-All that caught me by surprise. The fact that the title's impenetrable and thus I knew nothing about the show made surprising me a little easier. Sometimes comedy about gay stereotypes can be lame or offensive or both. But the two performers were so likable and their attitude so winning that I found them hard to resist. And let's face it, we're all looking for reasons *not* to see a show to narrow down our impossible list of choices, right? Well, this preview would not allow me to write them off. In fact, it may have me writing them in after they started out not even being on my radar. Now that's an effective preview. Riffing on the whole "Pray Away The Gay" ex-gay ministry thing (yes, there was a Marcus Bachmann joke), they had a product with which you could spray away the gay, new Gay B Gone. It even had jokes like "Is your favorite color 'sparkle'?" and "Lesbi-honest" and I still couldn't help giggling. The stereotypical behavior examples still not resolved by Gay B Gone were piled so high that each time they said, "Can you believe we used to be gay?" I was more amused. Bonus points for spraying so much of that stuff in the air that when our host Robin reappeared she had to retreat because the anti-gay mist was still settling. I have no idea whether the rest of the show is as effective as the preview, but based on Fringe-For-All, I'm really tempted to find out.

Class of 98 - Mainly Me Productions

"Somewhere there is a sixty year old me who is pissed."

They say there's no such thing as second chances. Well, "they" forgot about time-travel. Mike and Lloyd are going back to school. Literally.

Just like Dovetail, I'd follow Mainly Me Productions just about anywhere, too. Josh Carson and company had me and my mother laughing so hard and so often with Our Freaking Kids Show last year that we probably missed half the jokes. Highly inappropriate, rapid fire comedy is what they do best. This preview promised more of the same with Josh somehow using time travel to go back and speak to his younger self in high school. Unfortunately his younger self doesn't agree with any of the advice from the future on how to cash in on the next big thing that hasn't happened yet. So Josh has to blow his cover as a guidance counselor to browbeat his younger self into getting with the program. Just like Dovetail, Tamara, and phillip, can't wait for more. (Oh, and bonus points to Josh and his hetero lifemate Andy for flirting with my mom at last year's Fringe. She remains charmed by you both.)

A Vaginal Home Companion - Riot Crrricket Productions

"This show is a squealer."

Ever wonder what would happen if Eve Ensler wrote a down-home radio show? Here's a best guess at the results, complete with fiddles, folksy harmonies, and lots of TMI.

(no my R key didn't get stuck, that's their name) - Oh my. I felt kind of sorry for these three ladies. They were trying very hard, but their live singing got out of sync with their pre-recorded background track of music and they didn't seem to know how to get fully back on track (no pun intended). They grinned gamely and kept plowing ahead but the whole thing never really clicked. Now if all that was deliberate, they certainly had me fooled. The scenario - three well-dressed country gals singing lilting songs with naughty lyrics - has potential, but I'm not sure it's actually as edgy as they mean it to be.

Fear and Trembling - Maximum Verbosity

"She let him kiss her because she was afraid it was all she had to give."

Strange beasts. Bleeding statues. Songs of death. Explore the hidden worlds beneath Minneapolis in these twisted tales from founding Rockstar Storyteller phillip low.

Speaking of epic, phillip andrew bennett low is another of the five returning acts from a previous Top Ten list that I'm most looking forward to this year. I envy phillip's seemingly limitless ability to bend language to his will. He also speaks it so fluidly, and relentlessly, often without seeming to stop and take a breath as often as us normal human beings do, that I'm doubly envious. It's a kick just to listen to him spin another story, or several, over the course of an hour. Always Fringe time well spent.

Sin Eater - Present State Movement

"My name is Glory, and I am going to get me a Sin Eater.  Watch me."

Glory is called home to her estranged father's deathbed and is sent on a mission to find a Sin Eater. She pursues this dark beast through a haunted forest in an attempt to save her father's soul.

After Tamara Ober's offering of Flesh in last year's Fringe, her next Fringe show is something I've been waiting on with great expectation. I'd say she's one of the five returning acts this year from previous berths on my pre-Fringe Top Ten list that I'm most looking forward to. Very different from last year's showcase of multiple artists, but still featuring Tamara's controlled use of her body which is enormously compelling to watch, often downright hypnotic. Plus, the story of an epic quest that's literally life and death. Can't wait to see more.  (Word from the Canadian Fringe circuit, where she took the show first this year, has been very praiseworthy, not that I'm a bit surprised.)

Ivory Tower Burning - Jay Gabler

"Most people have the advantage of not being educated in Wisconsin."

As the Cold War rages, the idealistic young C. Wright Mills invades the Harvard office of vastly influential sociologist Talcott Parsons for a fiery debate about what is to come of our fast-rising superpower.

Jay's my editor at the Twin Cities Daily Planet so of course I'm going to support his show. Thankfully, this should be easy to do. Since I know nothing about sociology, and he wrote the book Sociology for Dummies, the subject matter should be most accessible. Two warring ideologies makes good fodder for conflict. Plus, in a casting twist, it's the two Gabler brothers on stage together. I spoke with Jay about his script back when he was first gearing up for production after his number was called in the Fringe lottery in February, so I know he knows his stuff. The preview wasn't as good a calling card as it might be, but I'm still intrigued by the whole idea of the thing and how he's tackling the challenge of making the subject theatrical. (On a related note, since Jay's my editor, is it wrong for me to mention I think his brother's cute? Seems awkward. Ah well…)

Betty Anderson Live - Max Life Productions

"It's hard to do improv in front of Minnesotans."

Mix a cup of audience suggestions, some fun characters and a dash of opera for a rare blend of small-town urban comedy. Betty and friends will share their views on anything you ask. Oh geez, it will be a hoot!

Betty's mix of stand-up comedy and improv riffing off her interaction with the audience. Minnesota humor, Wilmar style. Again, not my thing, but you've gotta admire her unflagging commitment to her schtick. Just charming enough to make even a resistant audience member like me smile.

Tales From A Twisted Universe - Seldom Scene Productions

"Billy the Kid wouldn't have been late.  John Dillinger wouldn't have been late.  The Hillside Strangler wouldn't have been late.  But you..."

Five hysterically twisted plays, including one national award-winning work. Among the selection: a sneezing fit ignites a friendship, a man liberates frozen meat, and a polar bear gets an unexpected treat.

Playwright/director Mic Weinblatt is a friend of mine (he was on my blog's very first pre-Fringe Top Ten list back in the day) and he's mixing in some old reliable material with some new stuff, including a new name for his producing company. (Used to be Rhino Productions but maybe the abbreviation for Republican In Name Only was ruining the word rhino for him in an election year.) It's big, broad, over the top comedy on the page and in performance - such as this preview where an overbearing Jewish mother inserts herself into her son's work as a hitman at a funeral parlor. There will also be a family of cockroaches and the soap opera that is their short, eventful lives. If you're in the mood for sketch comedy, this could be for you.

Merblades! Memoir of a James Cameron - Black Market Doctor

"I'm king of the world!"

An epic oceanic adventure featuring Titanic filmmaker James Cameron as he explores the ocean floor and becomes entangled in a feud between two ancient metal mermaids - Merblades. Based on real and fake facts.

There was a whole lot of screaming and catfighting - wait, can mermaids catfight, or is that a cross-species no-no? Anyway, the true part of the story was that film director James Cameron cleaned up at the Oscars with his multiple wins for the movie Titanic, and then promptly fell off the grid, spending the next several years exploring ever deeper and remote parts of the world's oceans. The made-up part of the story is he encountered a couple of battling metal mermaids and got caught up in their interpersonal issues. The preview ended with the narrator and the James Cameron stand-in being dragged away at knife point by the mermaids. Since this is Heather Meyer and she had a big comedy hit in the Fringe last year, I fully expect her to deliver again, so strange as this preview was, I'm still going to try and fit this one on my schedule. I could use a laugh.

Topic of Cancer - Miss Penny Productions

"I swear you have the hardest time keeping your clothes on."

Meet the McVeys. Mom's dead. Dad's turning 70, Mary's got her own cooking show and "Trish, the dish" from LA has just dropped the C bomb. A fast, fierce farce that will have you thinking the unforgivable.

Oh, the drama! Oh, the comedy! This one was a little schizophrenic and overwrought, but I suppose any attempt at wacky comedy about cancer would be. The thing I found fascinating was I'm sure completely unintentional. Someone who wasn't an actor wandered out on stage with a little handheld camcorder and was recording the preview as it was being performed for us. I thought it might be some weird commentary on reality television for a second (and frankly, that might have been more interesting). But I think they might have been actually trying to record a view trailer for their show at the same time they were doing a Fringe-For-All preview. Now that's multitasking. I was particularly fond of the enthusiastic thumbs up the camera person gave them when they reached the end. Again, not my thing, but points for weirdness.

Rip - Dovetail Theatre Company

"The lads and I are going to sing you a really epic rock and roll song."

Fleeing an overbearing wife, dull job, and a town consumed by McCarthyism, Rip Van Winkle falls asleep for 60 years dreaming of adventure with a Rock n' Roll star. A new musical adaptation of the classic text.

Yes, another musical, this time a modernized version of the tale of Rip Van Winkle. The brains behind Dovetail are Kara Davidson (who I saw last Fringe in Red Hamlet, and recently in a lovely production of The Three Sisters) and David Darrow (who blew the roof off this same venue in the musical version of Spring Awakening, and was one of the leads in the completely bewitching romantic comedy Beautiful Thing, both just in the last six months). Kara and David shared directing duties on Dovetail's production of Leonce and Lena last fall - sharp staging that refreshed an old and quirky text. An image that still sticks with me is the stage being strewn with paper flowers, and cleaned up by two royal youngsters on the run who have to be taught how a broom works. All this goes by way of saying I'd probably follow Dovetail anywhere. Judging by audience response to this preview, I'm not alone. A fun ensemble, a playful sense of humor, nice singing, goofy accents, should be a lively 45 minutes.

Chorus: Voices After The Silence - Alison Bergblom Johnson

"I'm too old to be afraid of the dark."

Stand in community across difference with writers and performers doing original storytelling, writing, and spoken word about sexual violence and its aftermath. Distinct perspectives revel in survival. 

Also a preview of Dead Wrong - Katherine Glover 

Years after a brutal assault, a young woman grapples with new evidence that suggests she may have sent the wrong man to prison. A solo drama inspired by actual events.

Oddly enough, as host Robin Gillette pointed out, not a musical despite the title. Katherine Glover was representing for the team of female storytellers doing this show. Also, it was conveniently an excerpt from her own show, which is called Dead Wrong. In addition to Katherine, we also get the wonderful Nancy Donoval in the mix on Chorus, so they're both well worth seeing. Neither of them are light shows, to be sure, but with the artists involved, they're bound to be good shows, and that's what I'm looking for.

Salem - Top Hat Theatre

"The sun has set for now."

A hauntingly sung depiction sharing the stories of a child and woman accused of witchcraft in the 1600s. The score tells the tale of terror, trepidation, love and lies surrounding the worlds of innocent victims. 

The theater for young audiences juggernaut returns - with a family show about the Salem which trials, with a young girl in peril - and it's a musical. You gotta hand it to 'em, they don't go the conventional route. Again, voices having trouble filling the space, at least until the choir kicked in. That was probably the most fun bit of the preview. Suddenly half the left side of the house stood up and sang along. All in civilian clothes, so it was a nice surprise. They started singing earlier but until they stood, I wasn't sure where the voices were coming from. I wasn't expecting it to be part of the crowd. Nicely played.

A Cappella Love - Nelorrie/Marx Productions

"This ain't no 'Oh what a beautiful morning'"

The romance! The passion! The brazen innuendo...all without instrumental accompaniment! A cast of eight explores (through song, dance, and comedy) falling in, being in, and falling out of - what else? - love.

This was clever, since it was the opening number of the evening's Fringe For All previews, and also the opening number of their show, called "Opening Number" - all about how the song was an opening number.  So… completely content free, though extremely meta, if that's how you like to roll with your entertainment.  A couple of winks and nods to other styles of musical theater.  The voices were pleasant, though they sometimes had a hard time filling the space in the Rarig Thrust.  Their actual venue, the Rarig Proscenium across the hall isn't all that much smaller.  Still, they were doing dance moves at the same time, so I'll give them a break for perhaps being out of breath.  I'm still not sure what it's about, other than love, of course, but they seem to have their act together.  The sampler of songs they sent me in an email were all very sharp, so if you're just looking for songs well sung, and you're not all hung up on needing things like plot and character development, this could be your show.  Here's the video, judge for yourself

Blogger Comes Up For Air

Got my Fringe press pass the other day, so after taking notes at two Fringe-For-All preview showcases, it seems like it's high time for me to kick this blog into gear.  Apologies for the radio silence.  I've been under the gun with work deadlines and my landlord's newfound interest in apartment inspections and spring cleaning in the middle of summer. 

Many thanks to all of you who sent emails and press releases and photos about your many shows.  They were received and read, though I haven't had the time to respond in kind, I'm afraid.  It'll be good to see old friends both in town and visiting again, and hopefully make some new ones. 

As usual there's way more good theater to see than anyone could humanly manage in this festival.  Given how dejected I was feeling about everything at lottery time when my ping pong ball sunk to the bottom of the cage and refused to surface until the end of the wait list, I like the recent feeling of excitement I've regained about the whole thing. 

Of course Mom is coming to visit for the first week, so we have to plan out all the shows she wants to see, and I'll throw some newbies in the mix for her, too, just to keep things interesting. 

In addition, I have a twitter account this year, so we'll see if that helps or just hopelessly complicates things.  On we go...

Interregnum 2011-2012 - Blog of the Time Between - Reviews

The Twin Cities Daily Planet has given me my own little byline page, and has me reviewing shows outside the confines of the blog, too, these days. Like anyone in the Twin Cities, I still miss more theater than I end up seeing. But here's the write-ups on the things I managed to catch since last Fringe...

7/12/12 - Theatre Coup d'Etat - Angels In America, Part 1: Millennium Approaches - A Mountain To Climb, but the View From The Top is Great - 5 stars
Twin Cities Daily Planet version

6/29/12 - Samantha Johns/George McConnell - Snowf**k - When Nudity Seems Perfectly OK - 5 stars
Twin Cities Daily Planet version

6/7/12 - Savage Umbrella - Care Enough - What Am I Missing? - 3 stars
Twin Cities Daily Planet version

5/7/12 - Nightpath Theatre Company - The Three Sisters  - Funny, Simple, and Gorgeous - 5 stars
Twin Cities Daily Planet version

4/24/12 - Gonzo Group Theatre - Art - Simple, Unvarnished and Completely Accessible - 4-1/2 stars
Twin Cities Daily Planet version

4/20/12 - Swandive Theatre - The Complete Works of William Shakespeare (abridged) - Lowbrow and Highbrow in One Tidy Package - 4 stars
Twin Cities Daily Planet version

4/19/12 - Theater Latte Da - Spring Awakening - Hell Yeah - 5 stars
Twin Cities Daily Planet version

4/5/12 - Fools Productions - Cirque de la Loon - An (Overly?) Ambitious Little Clown Show - 2-1/2 stars
Twin Cities Daily Planet version

4/4/12 - Illusion Theater - What's The Word For - Brain But A Lack Of Heart - 2-1/2 stars
Twin Cities Daily Planet version

3/26/12 - Theater for the Thirsty - Kingdom Undone - Not Just For The Church Crowd - 4 stars
Twin Cities Daily Planet version

3/25/12 - Mu Performing Arts - Edith Can Shoot Things and Hit Them - It's A Hit - 5 stars
Twin Cities Daily Planet version

3/9/12 - Theatre Novi Most - Picnic On The Battlefield - Hilarious Nightmare or Horrifying Comedy? - 5 stars
Twin Cities Daily Planet version

3/7/12 - Theatre Pro Rata - T Bone N Weasel - It's Like 'Of Mice And Men,' Without All That Pesky Tragedy To Bring You Down - 3 stars
Twin Cities Daily Planet version

2/28/12 - Theater Latte Da - Beautiful Thing - Too Much of a Beautiful Thing? Not Possible - 4 stars
Twin Cities Daily Planet version

2/23/12 - Minnesota Jewish Theatre - My Mother's Lesbian Jewish Wiccan Wedding - Unapologetically Political, Completely Adorable - 4 stars
Twin Cities Daily Planet version

2/12/12 - Transatlantic Love Affair - Ballad of the Pale Fisherman - Seven Barefoot Actors, A Chair, An Accordion,  and One Hell of a Story - 5 stars
Twin Cities Daily Planet version

2/12/12 - 20% Theatre Company - The Naked I: Wide Open - A Sold-Out Hit, and Deservedly So - 4-1/2 stars
Twin Cities Daily Planet version

1/24/12 - Freshwater Theatre Company - Dirty Girls Come Clean - Dirty Girls For A Good Cause - 4-1/2 stars
Twin Cities Daily Planet version

1/20/12 - Cade Holmseth Dance - Just One More: A Story of Affluenza - Dancing On Top of $600, All of It In Pennies - 5 stars
Twin Cities Daily Planet version

11/19/11 - Shadowplay Theatre - Dial M For Murder - Sending Your Wife To Death Row Is Always A Good Plan B - 3 stars
Twin Cities Daily Planet version

11/17/11 - Macalester College - The Inland Sea - A Great U.S. Premiere In Our Own Backyard - 5 stars
Twin Cities Daily Planet version

11/16/11 - Phoenix Theater Project - Private Eyes - Is It Wrong To Enjoy A Comedy About Infidelity? (Nope, Not When It's This Good) - 4-1/2 stars
Twin Cities Daily Planet version

11/14/11 - Classical Actors Ensemble - Richard II - When Bad Plays (Even Shakespearean Ones) Happen To Good Theater Companies - 2-1/2 stars
Twin Cities Daily Planet version

11/11/11 - Savage Umbrella - The Ravagers - Starting Your Own Cult Of Teenage Girls Never Ends Well - 5 stars
Twin Cities Daily Planet version

11/9/11 - Sandbox Theatre - The Mad Trapper of Rat River - "He's Not Cold-Blooded.  He Was Driven To This" - 5 stars
Twin Cities Daily Planet version

11/4/11 - Nautilus Music-Theater - Joan of Arc - "Welcome To Our Little Experiment" - 5 stars
Twin Cities Daily Planet version

10/16/11 - Penumbra Theatre Company - Two Trains Running - A Play So Good It Makes You Want To Write One Of Your Own - 5 stars
Twin Cities Daily Planet version

9/25/11 - Park Square Theatre - August: Osage County - "Bottom Feeders.  My Favorite!" - 5 stars
Twin Cities Daily Planet version

9/14/11 - Theatre Pro Rata - Cat's Paw - "How Many Terrorists Does It Take To Screw In A Lightbulb" - 3 stars
Twin Cities Daily Planet version

9/11/11 - Dovetail Theatre - Leonce & Lena - Who Knew Georg Buchner Was So Funny? - 4-1/2 stars
Twin Cities Daily Planet version

8/28/11 - Jungle Theater - Hamlet - Guilty Creatures Sitting At A Play - 2-1/2 stars
Twin Cities Daily Planet version

8/22/11 - Wolfpack Productions - An Evening With Jonbenet Ramsey - 5 stars
Twin Cities Daily Planet version

Fringe and Other Theater 2011 - A Look Back...

Since Minnesota Fringe Festival season is kicking into high gear once again as we barrel ahead toward August, it made me think about last year.  In addition to the Fringe blogging gig, I also get reviewing assignments from the Twin Cities Daily Planet during the rest of the year, and also log some time as an evaluator for the Ivey Awards.

Last year for the Fringe, I saw 56 shows, plus the lottery, Five Fifths of the Sound of Music, the two Fringe-For-All preview showcases, and the Out of Towners' Showcase.

Outside the Fringe, I saw 58 productions across 35 theater companies - Box Wine Theater, Buttercream and Scotch, Classical Actors Ensemble, Dovetail Theater, Eat Street Players, Frank Theatre, Girl Friday Productions, Guthrie Theater, Jeffrey Peterson Dance, Live Action Set, Macalester College Theater Department, Minneapolis Musical Theatre, Mixed Blood Theater, The Moving Company, Nautilus Music-Theater, New Theatre Group, Off Leash Area, Park Square Theatre, Peanut Butter Factory, Penumbra Theatre, Phoenix Theater Project, Sandbox Theatre, Savage Umbrella, Shadowplay Theater, SteppingStone Theatre, Theatre In The Round Players, Theatre Or, Theatre Pro Rata, Theatre Unbound, Urban Samurai, Walking Shadow Productions, Wolfpack Productions, Workhouse Theater, Youth Performance Company, and Zenon Dance Company.

Even with that I'm still kicking myself for missing things like In The Red and Brown Water, Neighbors, and The Pride.

We'll set aside my own plays that surfaced last year - in Minneapolis, Leave (Urban Samurai Productions), the Project 515 Tour, Medea and Jason: Rubicon Waltz (Flowershop Project), and a reading of my Fringe script How To Date A Werewolf; in Los Angeles, But Not For Love (Renegade Theater); in Chicago, Two Left Feet (Commedia Beauregard).  We can assume without fear of contradiction that I loved each of these, my children, in their own way, for their own strengths and weaknesses.  The joy and terror for a playwright of hearing their characters speak and move around in three dimensions tends to put a big dent in one's objectivity.

If I'm going to kick around the idea of a Top Ten list, there has to be one for Fringe and one for everything else.  I don't do that because theater the rest of the year puts Fringe shows at a disadvantage.  In fact, for me, it's the opposite.  Fringe is some of the most exciting theater I see all year.  It's hard for anything else to compete.

But the Fringe has the enviable advantage of a focused timeframe, lots of press attention, and a built-in community that's ready to experiment and see something they haven't seen before.  You can take chances at the Fringe that might seem suicidal the rest of the year, when you're out there pimping your show against the vast array of other seasonal offerings from the many and varied theater companies of all sizes, shapes, colors and advertising budgets.  Getting anyone's attention is much, much harder. 

Apples and oranges.  Po-tay-to, Po-tah-to.

In the 2011 Fringe, the shows I enjoyed most were...

First up, there were only two shows I saw twice.  And that's always an indicator that they hooked me particularly hard (links to the reviews explain why)...

The Day The Nineties Died - Callow Youth Productions
Red Resurrected - Transatlantic Love Affair (Isabel Nelson)

After that, in alphabetical order, the other eight were

Ballet Amore - Cities' Classical Dance Ensemble
This is one of many shows I caught late in the running and didn't get around to posting a proper review about.  It's one of the few dance groups I recall seeing in the Fringe that put a big focus on ballet moves as the foundation of nearly all their pieces.  This was more of a variety pack of dance numbers from strictly classical to more innovative and free-wheeling, featuring both large and small numbers (and sizes) of dancers.  Some of the dancers even doubled as providers of live musical accompaniment.  There was a sense of humor as well as style and grace on display here.  Plus, I have to admit, bonus points for dancers like Luke Tucker and Riley Thomas Weber in the mix.

Flesh - Present State Movement

Highlander (The Musical) - Rooftop Theatre Co.

Another review that didn't get posted.  I enjoyed other musicals last year, but this one had the added advantage of being a musical in which the cast could actually sing.  (I know, you'd think that'd be the low bar for point of entry, but I enjoyed a couple of musicals at the 2011 Fringe in spite of the singing rather than because of it.  Highlander had the singing to support its Fringey concept.)  The original sci fi/fantasy film about a race of immortals battling to be the last one standing was already cheese-tastic to begin with.  Making it a Queen-inspired musical was a perfect fit.  Sending up the sexual (and homoerotic) subtext of the thing was an additional hilarious bonus.

Improvidence - Infinitely Spectacular Productions
Yet another late entry on my Fringe schedule that didn't make the blog.  They were part of my pre-Fringe Top 10 because of the people involved and the politically incorrect concept of a couple of slacker dudes who accidentally start their own religion.  The fact that it was also a musical comedy made it that much more intriguing.  The reason the show is still in my Top 10 long after the Fringe is over is they delivered on the concept, and then some.  They didn't just go for the easy jokes.  This was smart comedy that made you think about the nature of religion, belief, and fanaticism while still serving up songs with lines like "I'm down on my knees… I want to make your kingdom come."  Only at the Fringe…

Our Freaking Kids Show - Mainly Me Productions
Robot Lincoln: The Revengeance (The Musical) - OT Pro-Ductions

The Sometimes Grace of Saint Simon of the Water - Young Fox Theatre
One last latecomer on my Fringegoing list that I wish I'd caught earlier and been able to spread the word about.  This show was just what a one-person show can and should be at its best, but rarely is.  Director Ted Eschweiler and actor Matt Ouren took Timothy Otte's poetic script and delivered on its promise in all kinds of unexpected ways.  What worked was the simplicity of the piece.  It wasn't flashy, the actor wasn't playing all kinds of different wacky characters in outlandish costumes.  It was just the story of a young man facing mortality as he tells the audience the story of the woman he loved and lost - to the church, to her husband, and to death.  No melodrama here.  Just honest emotion and genuine humanity.  A lovely, compelling piece of work that gave you a lot to think about after you left the theater.

and rounding out the post-2011 Fringe top ten, another old friend

Sousepaw - Shelby Company

(not quite busting the top ten, and it was hard to kick them out in favor of the above...

Camelot Is Crumbling - Maximum Verbosity
Disney Dethroned - Tom Reed
Minnesota Middle Finger - Ben San Del
Red Hamlet - Red Theatre

The Smothers Brothers Grimm - Comedy Suitcase
Another Fringe show that unexpectedly moved me, with a story of a young boy's first experience with death.  Because the boy's late grandfather was a committed jokester, the main strategy for coping with loss turns out to be Grimm Brothers' fairy tales seen through the lens of the styles of classic comedians of old.  It could have been just another excuse for a sketch comedy show, but Comedy Suitcase's Joshua English Scrimshaw and Levi Weinhagen develop a framework for the concept that gives the whole thing added emotional punch.  Comedy with its heart on its sleeve in the best possible way.

Something's Gone Wrong In The Dreamhouse - Scream Blue Murmur)

Outside the Fringe in 2011, I have to give a nod to...

The only show I saw twice (which almost never happens outside the Fringe)...

Bare - Minneapolis Musical Theater
If a person can get in to see a show for free, just for writing about it for the Iveys, what would prompt them to go back again and pay for a ticket?  A show this good, that's what.  This powerful rock opera would have drawn me back a third time if I could have found a way to cram it into my schedule.  I even searched out and downloaded the music right after seeing the show the first time (a first for me).  Some obscure musicals are better off staying obscure.  Bare deserves a much wider audience, and I'm so glad Minneapolis Musical Theater unearthed this gem.  The story of the not-so-secret affair of two young men at a co-ed religious boarding school sounds like a cliche, I know, and oh does it flirt with well-trod territory and character types.  But the intelligent, respectful treatment of the place of faith in thinking people's lives, and the depth and intensity of the connection between the two boys at the center of this storm really took my breath away.  The power of the performances of the four leads in particular - Dan Lundin, Derek Prestly, Devon Solorow and Alex Kotlarek - both vocally and emotionally, can't be lauded enough.

The other nine, in alphabetical order...

Ex-Gays/The Ravagers - both Savage Umbrella (I honestly couldn't decide)
Hamlet - Theatre In The Round Players (no, not the Jungle)
The Inland Sea - Macalester College
Joan of Arc - Nautilus Music-Theater
The Mad Trapper of Rat River - Sandbox Theatre
The 7-Shot Symphony - Live Action Set
Street Scene - Girl Friday Productions
Torch Song Trilogy - Workhouse Theatre
Two Trains Running - Penumbra Theatre

[not quite busting the top ten, and it was hard to kick them out in favor of the above...

Ajax In Iraq - Frank Theatre
(Another Ivey evaluation assignment, so no public review posted at the time) A big concept - war - crossing both time and space, legend and reality, somehow contained in a black box theater space without ever seeming cramped.  A crack acting ensemble and team of designers under the always skilled direction of Wendy Knox brought a raw, intelligent, unflinching script to life and reminded me yet again of the scary and intense power live theater can wield when it's at its best.

August: Osage County - Park Square Theatre
Avenue Q - Mixed Blood Theater

Murderess - Theatre Unbound
(And, another Ivey assignment with no public review posted)  Theatre Unbound has always been an artistic home for the great playwriting of Anne Bertram.  But though past productions were good, for whatever reason they were never quite as good for me as the scripts themselves.  After a number of near misses, Theatre Unbound got the combination of production elements just right with Bertram's Murderess.  Seven monologues from women killers portrayed by seven different actresses under the guidance of seven different directors.  Could have been a muddled mess, but instead hangs together remarkably well.  In addition to another fine script from Bertram, it showcased particularly great work by actresses Laura Wiebers (a personal best) and Ellen Apel.]

The visiting production that blew my mind...

Next To Normal

(I'm so excited that Mixed Blood is doing this locally next season.  I was wondering which theater company was going to nab it first.)

The production that bugged the hell out of me, but I couldn't stop talking about it...

Next Fall - Jungle Theater

The most fun I had as an audience member last year...

Private Eyes - The Phoenix Theater Project
The review link covers the show itself, but here the fun offstage nearly rivaled the fun onstage.  When I was one of only three people to arrive to see the production that day, director/producer Matt Rein offered us a choice.  "We're totally ready to do this show, even though the house is small.  It's up to you.  We can set you up to come see another performance, or if you want to stay, the show goes on."  On with the show it was.  It helped that the people on stage and in the house all knew each other.  Some lines even got slightly tweaked for the occasion.  Breaking the fourth wall, rather than apologizing to "all of you," the actor said, "Forgive me for addressing the three of you directly."  Afterward, we all hung out at the theater and had a drink, talking about the play and theater and life in general.  Just an all around great night.

The most amazing performance by a human being I saw last year...

Joseph Scrimshaw emceeing Tom Poole's memorial celebration

The loss of Tom Poole in a hit and run accident last year was horrible.  The memorial celebration for Tom Poole was hilarious.  The theater community gathered around Tom's family and not only offered humorous remembrances of Tom but also performed excerpts from the many smart and funny words Tom shared with us all over the years - from plays to Facebook updates.  It was a labor of love for all involved but Joseph Scrimshaw as master of ceremonies was at his very finest.  Joseph had just as much reason to cry and fall apart as the rest of us but he never let it show.  He kept the evening moving along at a spritely pace and found humor and graceful segues in even the most awkward of moments.  He made something almost impossible seem easy.  Not just a great artist, also a good man.  Just like the guy we were honoring that night.

Review - Snowf**k - When nudity seems perfectly OK - 5 stars

Nudity onstage is a weird thing.  It can be treated in a completely clinical manner, to the point where the body in front of you doesn't even really seem human.  It is often treated as "shocking" - oh, aren't we naughty, look at this shameful thing the human body with which we are confronting you.  Ever so rarely, nudity on stage seems, well, completely natural, even comfortable.  Yes, there's a wee bit of nervous laughter or involuntary tension as the audience acclimates but after a while it ceases to be a big deal.  That's the kind of nudity you get in Snowf**k, the latest theatrical offering from directors Samantha Johns and George McConnell and company who created the piece.  That company includes Emma Barber, Haley Houck, Tom Lloyd, Bill Mullaney, and Erkki Paunonen.  Nudity isn't the only thing Snowf**k has going for it, but it is a (you'll pardon the expression) large part of the experience.  The overall message here seems to be "The human body is great.  Look at all the fun things you can do with it."

That spirit of playfulness is another thing Snowf**k has going for it.  For a show with a title I'm not sure I'm allowed to type, and one that would certainly scandalize my dear grandma, Snowf**k is remarkably innocent.  For a show with two vocal group orgasms and a lengthy segment of simulated masturbation, Snowf**k isn't obsessed with sex so much as intimacy.

Snowf**k doesn't have a plot, per se.  (Or even that much dialogue.)  Things happen, it all does add up to something, but it's more a feeling than a logical beginning, middle and end you could explain simply to someone in a sentence or two.  Snowf**k doesn't really have characters.  (Normally, all this kind of stuff is just as likely to drive me crazy as not.  Here, I didn't sweat it.)  The actors all refer to one another by their given names.  Just like most people, or characters, these stage personas aren't all one thing or another.  They can be bubbly, or threatening.  They can be sexy, or goofy.  Playful pushing or grabbing can turn into shoving and a rolling around on the floor fight.

Something like this can become hopelessly pretentious if you're not careful.  Snowf**k nimbly avoids this trap again, and again, and again, all the while pushing the very limits of what an audience is willing to sit still and watch.  If you said to me, "Two actors will sit at a table, make a couple of bowls of instant oatmeal, and eat it," my initial response would not be "Why that sounds fascinating, where can I get a ticket?"  And yet, that's exactly what Emma and Billy do at one point in the production.  Does it help that Emma and Billy aren't hard to look at? Of course.  But it wouldn't be enough.  Does it also help that Tom wanders in, digs out and lights a cigarette, and stands over them, silently channeling the disdainful spirit of Bette Davis as he poses and smokes, occasionally depositing his cigarette ash in his friends' cereal bowls?  Sure.

And that's another of the chief virtues of Snowf**k - its continued unpredictability.  You just don't know what's going to happen next.  Which creates a weird sort of suspense that keeps you leaning forward, watching intently. Whatever you guess is going to happen next, you'll be wrong.  Snowf**k has its own peculiar logic.  It makes sense on its own terms.  There's just no guessing what those terms are going to be in advance.  Most of the time they respect the fourth wall between performer and audience, but that's not absolute.  During one sequence, each member of the ensemble steps forward, picks up a microphone off the floor, and addresses an audience member directly, expounding on the theme of what "F**king me is like…"  And it's not just their friends in the audience they do this to.  They're just as likely to walk up to a stranger in the crowd and say, "Hi.  What's your name?  Aaron.  Well, Aaron, f**king me is like…" and on they go.

Though it is riddled with potentially risque subject matter, Snowf**k is nonetheless a safe place to play.  Early on, there are all kinds of antics with a big slab of ice held against any number of body parts by fellow cast members.  But they always ask first. 
"Haley, may I place this block of ice against your breasts?" 
"Yes, you may." 
"Thank you."
"Hey, can we watch?"
"Yes."
"Thank you."
"Tom, would you hold this block of ice in your mouth and hold it against my butt?"
"Sure." 
"Thank you."
Everyone is smiling quite genuinely.  Everyone is very friendly.  And not in a creepy, fake Stepford Wife kind of way.  They're all just having fun playing together, refusing to sexualize something just because there's more skin exposed than you could lawfully get away with outside a theater space.  And it's a clever strategy, because when they ask and get permission to watch each other, by extension, they're giving that same permission to the audience.  We all get to relax and just be there.  They're comfortable in their own skin, and even though we get to see quite literally all of it, often, the audience is comfortable with the actors' skin, too.

And there's the snow.  In June.  "It's just styrofoam," laments Tom.  But they treat it like snow.  They shovel it and pile it and shape it and blow it around and throw it in the air.  It clings to their bodies and their clothes and their hair. There are tiny blizzards that erupt periodically when the physical activity gets ratcheted up a notch.  Even though it's warm in the non-air conditioned performance space, it's still a little touch of winter.  It helps that the production has a big container of ice waiting at the top of the stairs in the waiting area, and that our tickets are styrofoam cups.  Load up your cup with ice, suck on an ice cube, or just stick a couple of fingers in your ice cup to send your body a little cold signal.  Dress in shorts and a T-shirt and the atmosphere isn't at all oppressive.  The real heat here is on stage.

I haven't said much about the individual actors mostly because they really do work here as a unit.  It's true ensemble work.  Each has their own look and personality to be sure, but it isn't one person's story.  For all the talk I've made of skin and sexuality, this isn't a production where there's a central couple or jealousy or winners and losers.  Everyone gets to kiss and touch everybody else before everything is said and done (and yes that includes gals with gals and guys with guys  As with so much in this production, they encourage you to watch and enjoy and just get over it).

Often for me, those scrappy little hole in the wall theater productions are worth the extra effort to seek out and experience.  Snowf**k definitely falls in that category.  If you're a fan of the human body, and human affection (and really, you should be), then Snowf**k is the show for you.  It feels like the Minnesota Fringe Festival started a little early this year, in the best sort of way.  See this.  It's probably going to end up on my short list of things I enjoyed most in 2012.  I'm quite sorry now that I missed their previous outings, The Thing and even if we never look forward.  I won't make that mistake again. 

Limited seating for this one (only 40-60 people), at 1211 Washington Avenue South in Minneapolis.  No reservations, just $10 cash or check at the door.  They were full for last night's opening, so I'd get there a little early to make sure you snag a spot.  Performances are this weekend only, 8pm on Friday, June 29 (tonight) and 8pm and 11pm on Saturday, June 30.

Very Highly Recommended

Review - The Three Sisters - Nightpath Theatre Company - 5 stars

Chekhov wrote comedies.  Good companies like Nightpath Theatre remember this.  The bad ones treat them the same way a fellow student at my college once approached a scene in acting class.  When asked what his character was doing he replied, "I'm just sitting here, waiting to die."  Uh… OK.  Thankfully Nightpath takes the completely opposite approach in their current production of Anton Chekhov's The Three Sisters.  Are the sisters' lives all sunshine and roses?  No, but there's still a lot of laughter to be had from these ladies and the cast of quirky characters which surrounds them.

"Something vast is coming toward us."

I was big fan of Nightpath's production of Shakespeare's Measure for Measure because it was so off-the-chart weird in concept that it somehow worked perfectly.  With The Three Sisters, director Maggie Scanlan takes a seemingly more conventional approach, but the production is anything but ordinary.  The Three Sisters uses all corners of the Walker Community United Methodist Church in a production that is staged just as much (if not more) for the God's eye view of the folks who sit in the balcony as those who watch from the main floor literally in the middle of the many characters' comings and goings.  It's simple, but gorgeous.  (Katie Phillips' work on set and props here deserves a lot of praise, as does Alice Fredrickson's great costume design.)

"I'll walk you home every night for ten years, twenty years, until you chase me away."

The three sisters of the title are Olga, Masha and Irina.  Olga (Mykel Pennington) gets ever more entangled at her job at the school, being promoted almost in spite of herself.  She's so good at her job that it takes over her life and becomes a career.  Masha (Sheila Regan) embarks on a giddy affair with Vershinin (Edward Linder), the married lieutenant colonel of the regiment of soldiers that has set up camp in their provincial Russian town.  Piling one infidelity on another, Masha is also married, to the good-natured (and not as clueless as he seems) Kulygin (Joey Metzger), a teacher who might be a better match for Olga.  Irina (Kara Davidson), the youngest sister, is trying to find her purpose in life, while at the same time juggling a pair of competing suitors, also soldiers at the local encampment - the intense and menacing Solyony (Ben Yela) and the sweet and goofy Baron Tuzenbach (Foster Johns), a guy so perfect for Irina that you just want to shake her and tell her to wake up. 

"Masha wishes everything was in a novel.  It's simple.  It all works out.  But when you're in love yourself, you realize that no one knows anything."

Olga, Masha and Irina also have a brother Andrei (Tyler Stamm) whose gambling problem and bad taste in women cause the family no end of trouble.  Andrei marries Natalya (Andie Olthoff), a woman whose grating voice is only part of what makes her the sister-in-law from hell.  She may act like uncultured trash, but Natalya has passive aggressive (emphasis on the aggressive) down to an art form.  Before you know it, she's taken over the house as a way of settling some of Andrei's gambling debts and is rearranging the sleeping arrangements of the sisters in order to make room for her growing litter of children (not all of whom may have been fathered by Andrei).  Natalya even wants to kick some of the loyal family servants to the curb (Tyler D. Martin and Colleen Barrett).

"She's honest and honorable, sometimes even a good person."

Rounding out the players are Chebutykin (Robert Larsen), the local doctor who has a habit of falling on and off the wagon where the bottle is concerned.  He's also a houseguest and close family friend who still carries a torch for the sisters' long dead mother.  Plus, we have a couple of young lieutenants, Fedotik (Daniel Duren) and Rode (Seth Johnson), who do their best to provide entertainment of the musical and jokester variety.

"I've stayed behind like some old migrant bird that can't fly anymore."

Director Scanlan and her cast seem to know all these characters down to their bones.  There's always an unspoken conversation just below the one that's spoken, and you get the feeling that these people lived full lives before we encountered them, and will do long after we leave the theater.  When they step offstage, there's a whole world of things happening which we don't get to see which informs who they are when they reappear.  Some of them cast a long shadow over the proceedings even when they're not present.  For instance, the heinousness of Natalya's "sister-in-law who ate the family home" was so vivid in the first half of the second act, that I felt her presence throughout the second half, even though she was little more than an occasional offstage voice (kudos to Andie Olthoff for that bit of theater magic).

"If only we knew."

For the first time, I also feel like I not only understood the sisters, but all the men in their lives as well.  The emphasis remains, as it should, on the women.  But each of the supporting male roles were also so full and rich that it often felt like I was curled up with a good novel.  This is going to sound like a backhanded compliment but I know some of these actors, have even seen them in other productions, and was not prepared for how good they were in this production.  That's a credit both to all of them, and the director who pushed them to a new level this time around.

"Soon the snow will come and cover everything."

There are some moments that are so lovely and human, they draw you in and have you on the edge of your seat wondering what's going to happen next.  When Foster Johns as the Baron, not an overly proud man to begin with, drops all remaining pretense of pride and openly asks for even the tiniest glimmer of hope that one day Irina might love him back, we're holding our breath right along with him for her response.  A wonderful extended moment of shared, exhausted laughter between the three sisters in the second act really has us believing in that moment that Pennington, Regan and Davidson are family - and that anything is possible.

"I've aged.  It's from getting angry at the high school girls."

And yes, there is the repeated refrain of the desire to go to Moscow (which had a friend of mine declare that sometimes she just wants to tell them to "shut up and get on the train").  But I realized this time, because of this production, that Moscow isn't just a name or a destination.  Of course I knew that before, but this time I felt it, because these characters seemed so much more real to me.  Moscow for some is about wanting to return to the safety of the past.  For some it's about the hope and possibility of a future not yet seen.  For some, it's just an "anywhere but here" mentality, a mentality that might cause them to miss the good things in their current life they take for granted.

"You mustn't let me go."

This may be a script where characters use variations on the word "boring" far too many times for the play's own good, but unlike some lesser Chekhov productions I've seen in the past, Nightpath Theatre's production of the The Three Sisters doesn't have a slow or boring moment anywhere in sight.  It's Chekhov done right, with a laughing eye on the absurdity of life.

Very Highly Recommended

The Three Sisters runs through Saturday, May 12th, 2012.  See brownpapertickets.com for reservations and more information.

[Photo by Bill Cameron - The Three Sisters - Irina (Kara Davidson), Masha (Sheila Regan) and Olga (Mykel Pennington)]

Gay Marriage Play Update - Sides for Auditions

In advance of auditions next week, the director has chosen sides from the script as the scenes we will use for the readings.  The theater asked me to post the sides online, and thanks to my hand website as a web repository of bits and pieces of my work, most of them were already live in one form or other.  I've posted two new additions which were selected, so here are some handy links.

The monologues being used can be found here.

A monologue for the Duchess, a minister without a church trying to get in the frame of mind to perform the wedding ceremony

"I don’t blame my congregation. It’s not easy to understand why I did what I did. What I had to do."

A monologue for Duke, a policeman trying to make sense of his assignment today, and life as a widower

"We didn’t use to have to protect churches. Not from the faithful, not from anyone."

A monologue for Jacob, younger brother of gay groom Patrick rallying the protesters outside the church

"The building in front of us is not a church. Not today. God is not dwelling in that building today. God is out here. With us."

The scenes being used can be found here.

A scene for the two couples as they head off to prepare for the wedding

“There’s not an ounce of romance in any one of you, is there?”

A scene for the brother-sister team of Ephram and Eleanor getting all dressed up

“It’s just -- the way things are going, I keep waiting for the midgets or a dancing bear to show up.”

A scene for wedding couple Eleanor and Roland in the aftermath of a church window being smashed with a rock, and Roland learning Eleanor has a non-traditional wedding dress (discussed in the previous scene with brother Ephram)

" -- just you, walking down the center aisle of a church, toward me -- looking like you were getting married, to me. Does that make any sense at all?"

A scene for wedding couple Ephram and Patrick in the aftermath of the rock, charting the course from their first date to a wedding with protesters outside the church

"Something blue."

A scene for Duke gathering evidence, with the couples and the Duchess complicating matters

"You probably have my [finger]prints on file."

A scene for Duke and the Duchess, after he finds out she started her life as a man

"When did the world become so complicated?"

A scene for the couples and Duke to confront Jacob, after he throws another rock that injures Ephram

"Honey, I think I’ve finished clotting, if you’d like a prop."


SYNOPSIS
But Not for Love is a tale of two weddings – the double wedding of a straight couple and a gay couple.  Siblings Ephram and Eleanor are marrying their partners (Patrick and Roland, respectively), in a joint ceremony at the same church the siblings attended since childhood.  But despite the two unions about to take place, the members of the wedding parties are divided over the individual expectations each has for their particular ceremony, and outside the church, animosity and the threat of violence simmer among a crowd of protesters and almost force both marriages to be called off.  Supporting roles include a lovelorn lady minister (the Duchess) with a secret from her past; a conflicted policeman (Duke) charged to keep the peace during the ceremony; and a protesting family member (Jacob) leading the angry mob of religious objectors outside the church.  But Not for Love is an honest, engaging comedy-drama illuminating today’s GLBT issues and the future of human equality.

Cast of Characters

JACOB – male, 20s, college student, Patrick’s younger brother

PATRICK – gay man, 30s, about to be married to Ephram

ELEANOR – female, Ephram’s sister, 30s, about to be married to Roland

EPHRAM – gay man, 30s, about to be married to Patrick

ROLAND – male, 30s, about to be married to Eleanor

DUCHESS – female, late 40s/early 50s, retired minister, formerly a man named Forest

DUKE – male, late 40s/early 50s, a policeman

(photo of Nick Sousa as Jacob in the 2011 Renegade Theater Company production in Los Angeles)

Interregnum 2011-1012 - Blog of the Time Between - But Not for Love

Since the November 2012 election has a proposed amendment on the ballot for the Minnesota state constitution to define marriage as being only between one man and one woman, local theater companies The Flower Shop Project and Workhouse Theatre are co-producing my play about gay marriage, "But Not For Love," this October.  Hopefully it'll help rally the troops and get them out to vote, and give them a few laughs and a much needed happy ending in the home stretch.  With luck, maybe same-sex marriage will only be illegal once, rather than twice over.  Every little victory helps...

5/1/12 - Gay Marriage Play Update - Sides for Next Week's Auditions
Twin Cities Daily Planet version

4/19/12 - Gay Marriage Play Update - Auditions on May 7th and 8th
Twin Cities Daily Planet version

3/3/12 - Anybody Want To Help Put On A Play?
Twin Cities Daily Planet version

Gay Marriage Play Update - Auditions on May 7th and 8th

Since last I posted about this project, things have sped right along.  The Flowershop Project is teaming up with Workhouse Theatre Company to make the first Minneapolis production of my gay marriage comedy, But Not For Love, happen.  Richard Jackson, a director whose work I love, has signed on to direct, which is very exciting.  And now, we're on to auditions!  Here's the information Flowershop gave me to help spread the word around...

Announcing Auditions for But Not for Love, 

a comedy about marriage – both gay and straight

The Flower Shop Project, in collaboration with Workhouse Theatre Company,

will be holding auditions for its Fall 2012 production of

But Not for Love by Matthew Everett

directed by Richard Jackson
(Workhouse's 'night, Mother and Torch Song Trilogy; Starting Gate Productions)

on May 7th and May 8th

6:00pm to 9:00pm

at Epworth Methodist Church (3207 37th Avenue South in Minneapolis).

Performances will be held at The Warren: An Artist Habitat (4400 Osseo Road in northeast Minneapolis) on Fridays, Saturdays, and Sundays in October.

Rehearsals will begin at the end of August.    



Auditioners will be asked to perform cold readings from the script.

[Blogger note - I'm not sure which sides they're using in auditions yet but to get a look at some sample scenes, you can find links here.  For sample monologues, you can find links here.  It was originally commissioned and produced at Allegheny College in 2006, and just had a production last year out in Los Angeles, but this upcoming production will be the first time it hits a stage here in Minneapolis.]

Please provide a resume and headshot.

All roles are Non-AEA, with a $150 stipend.

To schedule an audition please email Megan Murphy at megan@theflowershopproject.com to reserve your timeslot, including your name, preferred audition time and phone number. You will get an email shortly confirming your audition time.

For more information about the show or The Flower Shop Project, please visit www.theflowershopproject.com.

But Not for Love is a tale of two weddings – the double wedding of a straight couple and a gay couple.  Siblings Ephram and Eleanor are marrying their partners (Patrick and Roland, respectively), in a joint ceremony at the same church the siblings attended since childhood.  But despite the two unions about to take place, the members of the wedding parties are divided over the individual expectations each has for their particular ceremony, and outside the church, animosity and the threat of violence simmer among a crowd of protesters and almost force both marriages to be called off.  Supporting roles include a lovelorn lady minister (the Duchess) with a secret from her past; a conflicted policeman (Duke) charged to keep the peace during the ceremony; and a protesting family member (Jacob) leading the angry mob of religious objectors outside the church.  But Not for Love is an honest, engaging comedy-drama illuminating today’s GLBT issues and the future of human equality.

Cast of Characters

JACOB – male, 20s, college student, Patrick’s younger brother

PATRICK – gay man, 30s, about to be married to Ephram

ELEANOR – female, Ephram’s sister, 30s, about to be married to Roland

EPHRAM – gay man, 30s, about to be married to Patrick

ROLAND – male, 30s, about to be married to Eleanor

DUCHESS – female, late 40s/early 50s, retired minister, formerly a man named Forest

DUKE – male, late 40s/early 50s, a policeman

(photo by James Sumerfield, Allegheny College production, 2006)

Interregnum 2011-2012 - Blog of the Time Between - Shameless Plugs

Even if I can't get to show myself, I sometimes give a little shout out to help other know it's out there, so maybe they can go in my stead...

3/21/12 - Popular Fringer Back In Town This Weekend At The Bryant Lake Bowl
Twin Cities Daily Planet version

9/23/11 - Closing weekend of Yarrrh! - Because We All Need A Little Lusty, Busty Sometimes
Twin Cities Daily Planet version

Anybody want to help put on a play?

This is a little unusual but it might end up being more efficient.  So since I've got the outlet, I might as well give it a try.

We're looking for collaborative theater partners to help mount of a production of a play about gay marriage this October.  This is being timed to hit the stage just prior to the big election day in November (11/6/2012) where Minnesota decides whether the definition of heterosexual marriage shall be enshrined in our state constitution, doubling down on laws we already have on the books barring gay marriage.

The push behind this project is the thought that, politics being what they are, the conversational atmosphere around this topic is going to be fairly toxic come the final weeks of campaigning.  It seemed like a good idea to put a play out there that could provide entertainment with some laughs, even a happy ending, to boost morale and rally the troops to get out there and vote to defeat this amendment.

The play (yes, one of mine) is called But Not For Love and it was originally commissioned and produced back in 2006 by Allegheny College in Pennsylvania.  Round about this time last year, the Renegade Theater Company in Los Angeles picked it up for production, given their own Prop. 8 woes around the subject.

The play's never been done in Minnesota, and it felt like if any time was right for a play like this, it'd be right now.  (I keep going back and forth personally on whether the fact that it's five and a half years old and still relevant is a good thing or a depressing thing.)  A synopsis is at the end of this post.

The Flowershop Project, with whom I've collaborated on a couple of shows in recent years, is committed to getting this play out in front of the public.  The challenge is that right now they're going through personnel changes and restructuring, so they don't have as many hands to do the work as they normally would.  Hence the call for partners.

Flowershop is already outlining a budget and brainstorming on fundraising.  (In fact, we're meeting tomorrow morning to check in on where we are, and what still needs doing.)  They also have ready access to rehearsal space.  Those are really the only things, as I write this, that are in hand.  We haven't settled on a director, designers, actors, or a venue.  Right now we're casting our net wide and seeing what we catch.  Theater being what it is, if you're diligent enough, the right partners will appear.  This blog post is just another effort at due diligence on my part.

I've already begun speaking to several folks individually, and the search and those talks continue.  What I've found is that even if someone is currently already committed to other projects in that time frame, they're very sympathetic, and have suggestions of still other people with whom I should be talking.  The larger the network we tap into to spread the word and get this thing done, the better.

So it's also a call for suggestions.  If you might be able to help, great.  Let us know.  If you're unable to help personally, but know of someone who would be excited by the project, send their name my way.

My email is mail AT matthewaeverett DOT com, and you can also find me on twitter @MatthewAEverett

Synopsis - But Not For Love

A double wedding. Two couples - one straight, one gay - divided over what their ceremony should mean to themselves or anyone else. A lovelorn lady minister who has a secret of her own. A policeman torn between the picket line outside the church and the ceremony he’s obliged to protect. A protester with ties to the bride and the grooms who’s willing to throw rocks through stained glass windows to keep the vows from taking place.

****************

Eleanor and Ephram, sister and brother, are both getting married on the same day. And they’re each getting married to a man. With protesters, policemen and a TV news crew outside the church, inside the couples are split over what their day and their ceremony should mean, to themselves or anyone else.

Patrick, Ephram’s groom, agrees with Eleanor that they all need to make a statement by getting married. But Roland, Eleanor’s groom, and Ephram both just want a simple ceremony and a quiet day.

Another attraction begins to blossom between the female minister, known as the Duchess, and one of the policemen standing guard over the church, Duke. But a secret from the Duchess’ past may prove more of an obstacle than the two of them can overcome.

Meanwhile, outside among the protesters, Patrick’s younger brother Jacob hurls a rock through the stained glass window in an effort to keep the wedding from taking place. When the rock draws blood, one couple may not end up getting married today, or any other day.

Men have died from time to time,
And worms have eaten them,
But not for love.
- As You Like It, William Shakespeare

(cover art by Drew Bentley)