by SOPHIE KERMAN There is a line between dark comedy and laughing at others’ misfortune, and the Guthrie‘s production of Crimes of the Heart has crossed it. This high-energy, highly theatrical interpretation of Beth Henley‘s 1978 Southern Gothic play gives the audience a healthy dose of belly laughs, and if that is what you want, then fine: but this…
by SOPHIE KERMAN A lot of theater companies and filmmakers seem to think that in order to make Shakespeare comprehensible to modern audiences, they need to place his plays in a modern setting. But it turns out that – wait for it, this might come as a surprise – Shakespeare was actually a really great writer of the English…
by SOPHIE KERMAN Testimonial theatre, particularly when created for a political purpose, is fraught with danger. Actors run the ethical risks of co-opting someone else’s story, as well as the theatrical risks of not being able to do that story justice. And then there is the challenge of avoiding heavy-handedness when it comes to the play’s…
by BECKY DERNBACH, guest reviewer Becky Dernbach is the communications coordinator for Occupy Homes MN and the author of Fannie and Freddie, a rhyming picture book about the housing crisis. Home Street Home Minneapolis mixes song, spoken word, humor, and heartbreak with stories about homelessness in downtown Minneapolis, written and performed primarily by people who have experienced it. “I’m…
by SOPHIE KERMAN “If you lose the power to laugh, you lose the power to think.” — Clarence Darrow If you grew up in a radical left-wing household – or if you’ve been to law school – you’ve probably heard of Clarence Darrow, the famed defense attorney whose messy personal life didn’t interfere with saving 102 individuals from…
by SOPHIE KERMAN Charlie Bethel has garnered rave reviews, both locally and nationally, for his one-man adaptations of classic texts from Beowulf to Gilgamesh and, now, The Odyssey. Local critics seem to enjoy listing positive adjectives to describe Bethel’s performance: Dominic Papatola calls him “dazzling”, Ed Huyck says the show is “funny, thrilling, moving, and educational”, and John Olive qualifies Bethel…
by SOPHIE KERMAN Our language has changed quite a bit since 1613, but our sense of humor clearly has not. Sure, there are a whole lot of “forsooth”s in Thomas Middleton‘s A Chaste Maid in Cheapside, but the characters it mocks are still alive and well today: the incessantly chattering gossips, the pretentious scholar spouting verbiage no…
by SOPHIE KERMAN Political theater has a fine line to walk between didacticism, partisanship, and voyeurism into trauma. This is something that co-creators Michael Opperman and Nathan Tylutki were deeply aware of when constructing Red, White, [Black & Blue]: Uncharged at Guantánamo, a performance piece about the detainees currently remaining uncharged at Guantánamo. The term “performance piece” (my…
by SOPHIE KERMAN How many ping pong balls can you pick up in 30 seconds? In 15 seconds, can you come up with 5 different things that you’d like to put in a mailbox but probably shouldn’t, because you’re pretty sure it’s a felony? Game shows are weird, unpredictable, and completely arbitrary, and this might…
by SOPHIE KERMAN The story of Tristan and Yseult (or Isolde) has been told and re-told for centuries, from the original 12th-century French romance to Wagner’s 19th-century opera to Ridley Scott’s fairly atrocious 2006 adaptation. Such a long history provides the freedom to take a few liberties, to push and pull the tale into new forms…
Aisle Say - Twin Cities 