by SOPHIE KERMAN As I scanned the crowds while waiting in line for tickets at this year’s Minnesota Fringe Festival, listening in on conversations and taking mental notes on which of the 168 productions I really should not miss, it occurred to me that aside from its obvious entertainment value, going to Fringe is a…
by ANNA ROSENSWEIG This review is a special dispatch from Corvallis, Oregon, where Anna caught a play while on vacation: How does one begin a play? It’s possible to start the action in medias res, but then how will the audience know who is who and what they want? P.G. Wodehouse solves this problem by…
by ANNA ROSENSWEIG Sergius Saranoff is the very model of a Major and a gentleman. We learn this in the first scene of George Bernard Shaw’s Arms and the Man when his fiancée, Raina Petkoff, coos over a photograph of him in full officer’s garb and revels in reports of his valor and bravery. Sergius…
by SOPHIE KERMAN Sometimes, it’s good to leave a theater a little bit dissatisfied. The Sandbox Theatre‘s interpretation of Fargo– which they rightly call “more inspiration than adaptation” – is highly unsatisfying for exactly the right reason: there isn’t enough of it. The production, just an hour long, is so varied and unexpected that the…
by ANNA ROSENSWEIG Watching Jean-Paul Sartre’s No Exit is a lot like watching reality television. Personalities clash and secrets are revealed. Alliances are formed, broken and reconstituted. The more we know about each character, the more we are repulsed. And yet powerful voyeuristic impulses keep us riveted to every sophomoric outburst and salacious revelation. But…
by SOPHIE KERMAN and ANNA ROSENSWEIG “The Little Prince,” the classic French children’s-book-for-adults by Antoine de Saint-Exupéry, is all about growing up — and how important it is not to. Joshua Busick’s recent one-man adaptation at the Bryant Lake Bowl Theater earnestly adopts this love of childhood curiosity as its premise. With a trunk full…
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