Faithful readers this is to let you know that the latest episode of The Stages of MN show has been up since last week. As usual I forgot to do a post for all of the Blog subscribers. So here is the link, https://bit.ly/TSOMNEp26YouTube. And the link for the podcast version as well https://bit.ly/TSOMNEp26Podcast
This episode marks the return of our series on Theater Couples. Last summer I went to talk with Eric and Laura at their home and theater The Hive Collaborative. I came away with so much footage that I’ve had to break it into two parts. The other consequence of shooting so much is that it was a huge tackle editing wise. I found that with my ambitious plan to produce an episode every week, there never seemed to be time to tackle that massive edit until we hit our winter hiatus. Now the full interview is edited, we have about 20 minutes on the cutting room floor. But don’t worry about the mess, I’ll sweep it up later.
They next episode will come out next week sometime, in line with our new release plan of every other week. Its not that I’ve lost enthusiasm for this project, its about finding that work/life/theater balance. Its also about trying to have more time for some of the fun things we always wanted to do with the show, like more in person interviews like the Theater Couples series and the Sharing a Sandwich With… series. There are so many folks I want to have on and Zoom works, but we want to mix in more in person interviews as well. Hopefully this schedule will allow for more of that.
I hope you enjoy this episode which also features my MN Honest Reviews of Macbeth at The Guthrie Theater and the Glass Menagerie at Theater Latté Da. Plus some info on three upcoming events that should be a lot of fun!
Don’t rely on Facebook or Instagram algorithms to keep you in the loop about great shows. Subscribe and have every post from The Stages of MN delivered straight to your inbox. It’s the best way to make sure you never miss out on the theater action. To subscribe on a computer, enter your email address on the home page (right-hand side) and click subscribe. On mobile, scroll to the bottom of the page to find the same option. You can also follow me on Facebook @thestagesofmn and on Instagram thestagesofmn.
The Stages of MN YouTube channel is home to the weekly Stages of MN Show. You can watch it by clicking here. Be sure to check out the latest episodes and subscribe so you’ll always know when a new one drops. Not sure you agree with one of my takes? I’m also part of the Twin Cities Theater Bloggers (TCTB), where you can find review roundups from my colleagues and me. Follow us on Facebook at @TwinCitiesTheaterBloggers.
Lindsay Heather Pearce as Fantine Photo by Matthew Murphy
This is my fourth journey to post-revolutionary France with Les Misérables and, remarkably, my fourth time seeing this touring production at the Orpheum Theatre. The first was in 2018, before The Stages of MN’s time. At a time when I’m trying to scale back on the number of shows I attend so I can focus on producing episodes of the YouTube show, repeat viewings are usually the first to go. For example, although I enjoyed Kimberly Akimbo when it played The Orpheum Theatre last year I decided to skip it at the Ordway Center for the Performing Arts this month.
But when it comes to Les Misérables, there are shows you can miss… and shows you simply don’t. You can probably guess where this one falls. Even though it was here just over a year ago, I signed up without hesitation. And when it returns in a few years (fingers crossed), I’ll be there again.
Once more, I was completely swept up in the overwhelming beauty of this production. With its magnificent cast and painterly production design, every scene glowing as though lifted from a Rembrandt painting, the show remains one of the most breathtaking theatrical experiences around. Inarguably among the greatest musicals of the late 20th century, it pairs music by Claude-Michel Schönberg with lyrics by Herbert Kretzmer, adapted from the novel by Victor Hugo. Nearly three hours long, it never wastes a moment. Every lyric, every musical phrase, propels the story forward. No matter how many times I see it, I remain riveted from beginning to end.
Set in early 19th century France, Les Misérables follows Jean Valjean, imprisoned for 19 years for stealing a loaf of bread to feed his sister’s child. Upon his release, he discovers that freedom does not mean acceptance. Shunned and desperate, he is taken in by a Bishop who offers him food and shelter. When Valjean steals silver from him and is caught, the Bishop claims it was a gift, granting him a second chance. In that moment of grace, Valjean resolves to remake his life.
Years later, he has become a factory owner and mayor. There we meet Fantine, unjustly dismissed and forced into a tragic downward spiral to support her daughter, Cosette. Meanwhile, the relentless Inspector Javert begins to suspect Valjean’s true identity. The narrative spans years, weaving together love, sacrifice, political unrest, and redemption, culminating in the Paris student uprising. Though epic in scope, the storytelling is remarkably clear. And while the events can sound relentlessly bleak, the overall effect is anything but. It is uplifting, powerful, and wonderous.
Opening night featured numerous understudies, something I might not have realized had I not been told. Randy Jeter stepped in as Jean Valjean, a role I had previously seen performed by Nick Cartell. Jeter more than did the part justice. While he may not have had quite the same upper-register strength as Cartell, his performance was emotionally grounded and vocally assured.
Lindsay Heather Pearce delivered a heartbreaking “I Dreamed a Dream,” letting Fantine’s despair seep into every note. Jaedynn Latter’s Eponine was another standout. If Valjean is the show’s conscience, Eponine is its heart. Her “On My Own” was so moving it briefly makes you question whether Marius truly belongs with Cosette. Hayden Tee’s Javert was vocally powerful and dramatically nuanced, his final scene eliciting audible gasps. Even on my fourth viewing, I still can’t quite figure out how that moment is staged. Kyle Adams, stepping into the role of Thénardier, provided comic relief alongside Victoria Huston-Elem’s Madame Thénardier, though Adams doesn’t quite eclipse previous performance by Matt Crowle who I saw last time and whom he was understudying for tonight. Still, their timing offered welcome levity amid the drama.
The production design, everything from the sets to the lighting, projections, and costumes, creates one of the most beautiful shows I’ve ever encountered. On one side of the stage there’s a doorway; on the other, a stone archway. Those elements remain constant. Throughout the play, the sides push out to varying degrees and, somehow, these two openings come to look like entirely new structures. It’s a fascinatingly versatile set, large, impressive, and solid-looking, yet able to flow, change, and reconfigure with remarkable fluidity.
Set and image design is by Matt Kinley, inspired by the paintings of Victor Hugo. Lighting designer Paule Constable doesn’t merely illuminate the stage, she paints with light. There’s such a seamless melding of physical set and lighting design, and it’s through the marriage of these two art forms that the show achieves its painterly aesthetic. And yes, when set and lighting design look this good, it is absolutely an art form.
Projections by Finn Ross and Fifty-Nine Productions are used sparingly and effectively, enhancing rather than overwhelming the physical scenery. As someone often wary of excessive projection, I found this production a reminder of how breathtaking the medium can be when used judiciously.
Les Misérables runs through February 22 at the Orpheum Theatre in downtown Minneapolis. For tickets and more information, visit hennepinarts.org.
Watch the 2025 TCTB Awards on the one of the latest episode of The Stages of MN YouTube Show!! https://bit.ly/TSOMNEp25YouTube
Don’t rely on Facebook or Instagram algorithms to keep you in the loop about great shows. Subscribe and have every post from The Stages of MN delivered straight to your inbox. It’s the best way to make sure you never miss out on the theater action. To subscribe on a computer, enter your email address on the home page (right-hand side) and click subscribe. On mobile, scroll to the bottom of the page to find the same option. You can also follow me on Facebook @thestagesofmn and on Instagram thestagesofmn.
The Stages of MN YouTube channel is home to the weekly Stages of MN Show. You can watch it by clicking here. Be sure to check out the latest episodes and subscribe so you’ll always know when a new one drops. Not sure you agree with one of my takes? I’m also part of the Twin Cities Theater Bloggers (TCTB), where you can find review roundups from my colleagues and me. Follow us on Facebook at @TwinCitiesTheaterBloggers.
Mikell Sapp and Tyler Susan Jennings Photo by Dan Norman
In something that has become almost as common as in the post-pandemic era, The Mountaintop at Artistry was rescheduled from its original Friday opening to Sunday. I’m grateful I was able to reschedule and attend that first performance, because this is a production worth making time for. It runs through March 1st, and I encourage audiences to see it while they can.
Written by Katori Hall, The Mountaintop imagines what might have transpired in the motel room of Martin Luther King Jr. on the night before his assassination in Memphis. Dr. King, exhausted after a long day of meetings and speeches, calls down for coffee. The maid who delivers it, Camae, doesn’t simply drop off the tray and leave. She lingers. She shares her cigarettes. A conversation begins.
King flirts a little; Camae swiftly and humorously rebuffs him. She doesn’t judge him, but neither does she indulge him. Instead, she redirects the exchange with wit and confidence. What Hall does so skillfully in the script is to humanize King. His legacy and the magnitude of his work are never diminished, but we are allowed to see the man behind the icon, the fatigue, the doubts, the human impulses. By grounding him in recognizable humanity, Hall makes his accomplishments feel even more extraordinary. We connect not just to the legend, but to the person.
That connection is deepened by the wonderfully nuanced performances of Mikell Sapp as King and Tyler Susan Jennings as Camae. Much of the play’s humor, which serves as a necessary counterbalance to the ever-present awareness of what history holds, comes from Jennings’ spirited, knowing delivery and Sapp’s impeccably timed, subtly modulated reactions. Their chemistry keeps the dialogue lively and authentic, preventing the production from becoming overly reverent or heavy-handed. Guiding it all is the assured direction of Warren C. Bowles, whose steady hand maintains both intimacy and tension throughout the evening.
The Mountaintop is more than a speculative account of King’s final night, it is a call to action. It reminds us that while we are “just” men and women, so was he, and look at what he accomplished. The production closes with a montage of images from the years since his death. It acknowledges progress, but it also underscores how much work remains. The Mountaintop is not just a play about the final night in the life of Dr. Martin Luther King Jr. but it is a call to action. A reminder that while we are just men and women so was he, and look at all he accomplished. The show ends with the montage of what has come since his death it’s a reminder of progress but also of how much work there is yet to do. It ends with two particularly impactful images that are meant to stir us out of our complacency, and to view the message not from a historical perspective but from the present, from today. They are especially effective and well chosen, and best experienced firsthand.
The Mountaintop runs through March 1st at Artistry in Bloomington. From more information and to purchase tickets go to https://artistrymn.org/themountaintop
Don’t rely on Facebook or Instagram algorithms to keep you in the loop about great shows. Subscribe and have every post from The Stages of MN delivered straight to your inbox. It’s the best way to make sure you never miss out on the theater action. To subscribe on a computer, enter your email address on the home page (right-hand side) and click subscribe. On mobile, scroll to the bottom of the page to find the same option. You can also follow me on Facebook @thestagesofmn and on Instagram thestagesofmn.
The Stages of MN YouTube channel is home to the weekly Stages of MN Show. You can watch it by clicking here. Be sure to check out the latest episodes and subscribe so you’ll always know when a new one drops. Not sure you agree with one of my takes? I’m also part of the Twin Cities Theater Bloggers (TCTB), where you can find review roundups from my colleagues and me. Follow us on Facebook at @TwinCitiesTheaterBloggers.
Welcome to Episode 26 of The Stages of MN. A weekly show about the live theatrical experience.
On this episode:
Eric Morris and Laura Rudolph Morris welcome me into their Hive in part one of a two part entry in our series Theater Couples. Be sure to check out the Hive Collaborative Website for all the upcoming events https://www.thehivecollaborativemn.com/ .
Laura will be stepping in as a Long-term vacation swing in April and May and again at the end of the run of Guys and Dolls at Chanhassen Dinner Theatres https://chanhassendt.com/guysanddolls/
Trademark Theatre has a staged reading of The Ostentatious Outlaws of Neehai Valley by Keith Hovis 2/23/26 at 7:30 PM at Park Square Theatre https://www.trademarktheater.org/outlaws
From Walking Shadow Theatre Company Feast runs 2/27/26 – 3/29/26 at 6:30 PM at the Black Forest Inn. tickets available for show only or with a feast. https://walkingshadow.org/feast-2026/ on Saturdays throughout the run you can purchase tickets to see Beowulf before Feast at 5:00 PM.
“At a Show With…” photos of who I saw out at the Theater.
Interested in sponsoring an episode, want to join The Stages of MN + 1 Club, or just have comments, questions, or suggestions for me? You can email me at robdunkelberger@thestagesofmn.com.
Tennessee Williams’ The Glass Menagerie is a classic of the American stage. When the term “classic” is applied to a work, sometimes it simply means old, and sometimes it means that it has stood the test of time. That is certainly the case with The Glass Menagerie, at least in regard to Theater Latté Da’s latest production, which is brilliantly directed by Artistic Director Justin Lucero.
By now, Lucero has completely erased any fears that may have arisen after the departure of Peter Rothstein about Theater Latté Da’s future. His direction is complex and detailed, reinforcing the themes of the play and creating a sense of emotional immediacy through what may be the most effective dramatic use of video technology I’ve ever seen in a theatrical production.
The tremendous cast is led by Stages of MN favorite Dustin Bronson, who pulls double duty as both Tom, the narrator, and as the production’s cinematographer. I’m aware that sentence requires an explanation, and one is forthcoming. What might feel like a gimmick to some is, in fact, deeply rooted in the play’s structure. The Glass Menagerie is a memory play, and these are Tom’s memories. Tom’s passion, aside from writing, was the movies, so it makes sense that his recollections would play out as projected images, memories visible on the screen of his mind’s eye.
Bronson opens the play addressing both the audience and the camera. At other times, he films other characters as they perform their scenes, allowing us to see the action from our seats as well as from the camera’s point of view. He also occasionally points the camera offstage to illustrate lines of dialogue, whether referencing audiences in movie theaters or the mirrored ball at the dance hall across the street.
What is truly remarkable is the precision of the framing in each use of the camera and in the projections designed by Adam J. Thompson. The amount of rehearsal required to ensure flawless execution must have been intense, especially when combined with Bronson’s demanding character work. Both were carried out impeccably.
The first act is largely dominated by the relationship between Tom and his mother Amanda, played by Nora Long, with sister Laura, portrayed by Amy Eckberg, taking on a more passive role. Laura is often more the subject of the scenes than an active participant in them. In the second act, with the introduction of Jim, she initially remains sidelined, incapacitated by her extreme anxiety. However, she comes to the forefront in the second half of the act.
Sound design and original music are by Katherine Horowitz, with cast member Brandon Brooks—who plays Jim, the gentleman caller—providing a live soundscape. Using a variety of glass music instruments, Brooks creates an evocative auditory environment. It is another high-wire act, perhaps more forgiving if something goes awry, but no less impressive. Brooks executes it perfectly, and his soundscape is matched only by his engaging performance.
The Act II scenes between Jim and Laura give us a glimpse of what might have been, as he gently draws her into conversation and even into a dance. Their interplay unfolds with natural ease, culminating in moments of tenderness and pain that illustrate how hope can be as fragile as one of the pieces in Laura’s glass menagerie.
The Glass Menagerie is a compelling drama brought to life by a brilliant cast in an exquisitely designed and executed production under the masterful direction of Justin Lucero. If you’ve never seen this classic play, I can’t imagine a better production to experience. And if you’re interested in film or the technical aspects of theatre, this is a shining example of how the two can be married, not as a gimmick, but in service of the story.
It’s a stunning piece of theater that works on every level.The Glass Menagerie runs through March 1 at Theater Latté Da. For more information and to purchase tickets, visit: https://www.latteda.org/glass-menagerie
Don’t rely on Facebook or Instagram algorithms to keep you in the loop about great shows. Subscribe and have every post from The Stages of MN delivered straight to your inbox. It’s the best way to make sure you never miss out on the theater action. To subscribe on a computer, enter your email address on the home page (right-hand side) and click subscribe. On mobile, scroll to the bottom of the page to find the same option. You can also follow me on Facebook @thestagesofmn and on Instagram thestagesofmn.
The Stages of MN YouTube channel is home to the weekly Stages of MN Show. You can watch it by clicking here. Be sure to check out the latest episodes and subscribe so you’ll always know when a new one drops. Not sure you agree with one of my takes? I’m also part of the Twin Cities Theater Bloggers (TCTB), where you can find review roundups from my colleagues and me. Follow us on Facebook at @TwinCitiesTheaterBloggers.
Daniel José Molina (Macbeth) and John Catron (Macduff) Photo by Dan Norman
I’ve got to hand it to the Guthrie: Macbeth was a brave choice for this year’s Shakespeare production, especially given the unfortunate events surrounding other “Macbeth-adjacent” productions over the past couple of years, from Theater Latté Da’s Scotland, P.A. to Rough Magic’s The Macbeths. It has sometimes felt as though the so-called “curse” wasn’t being dispelled so much as branching out into adaptations. You can Google or search Facebook for the details of those misfortunes.
For the curious, I’d suggest keeping an eye on the Guthrie’s social media accounts to see if anything mysterious or unfortunate befalls this production. I sincerely hope not, because this Macbeth is thrilling and fast-paced, and I’d hate to see any performances canceled and audiences deprived of the chance to experience it.
Former Guthrie Artistic Director Joe Dowling returns to direct this bold new production of Shakespeare’s tragedy of ambition and corruption.
Headlining the cast, and returning to the Guthrie after his wonderful turn as Henry V in the History Plays during the 2024 season, is Daniel José Molina as Macbeth. He was excellent as Prince Hal, but he may be even better here. His delivery of the famous “Tomorrow, and tomorrow, and tomorrow” soliloquy is unlike any version I’ve ever heard, and it works brilliantly.
Other standouts include John Catron as Macduff (among several other roles), whose final confrontation with Macbeth is especially powerful. A quick note of praise also goes to fight director Annie Enneking, the climactic battle has a precision and speed rarely seen in live theater.
Stages of MN favorites Regina Marie Williams and Daniel Petzold each take on multiple roles, and it’s always a pleasure to see them, especially in Shakespeare. Meghan Kreidler is at her strongest as Lady Macbeth when her grip on reason begins to unravel. Peter Christian Hansen’s Banquo sports a couple of memorable wigs that give his character, particularly in spectral form, a striking visual identity. I know some folks will be delighted to learn that his chest has also come out of retirement for this production.
If you’ve never seen Macbeth, this is an excellent place to start. It’s one of Shakespeare’s shorter thrillers, and this production moves with a driving pace that feels almost like a modern suspense film. The production team creates a cold, towering backdrop for the action, and the frequent use of fog reinforces the sense of danger and isolation in the Scottish Highlands.
Don’t rely on Facebook or Instagram algorithms to keep you in the loop about great shows. Subscribe and have every post from The Stages of MN delivered straight to your inbox. It’s the best way to make sure you never miss out on the theater action. To subscribe on a computer, enter your email address on the home page (right-hand side) and click subscribe. On mobile, scroll to the bottom of the page to find the same option. You can also follow me on Facebook @thestagesofmn and on Instagram thestagesofmn.
The Stages of MN YouTube channel is home to the weekly Stages of MN Show. You can watch it by clicking here. Be sure to check out the latest episodes and subscribe so you’ll always know when a new one drops. Not sure you agree with one of my takes? I’m also part of the Twin Cities Theater Bloggers (TCTB), where you can find review roundups from my colleagues and me. Follow us on Facebook at @TwinCitiesTheaterBloggers.
(Foreground) Andrew Erskine Wheeler. (background) Danny Diamond, Brian Miller Photo by Rick Spaulding
They say good things come in threes, or is that deaths? Maybe it’s both. My point, and I may actually have one, we’ll get to in a bit. But first let me give you a little history of my experience with Whoosh!, which seems appropriate considering it deals with history and even more obviously it is playing at the History Theatre.
It was the 2022 Minnesota Fringe Festival, my first Fringe festival if you want all the sordid details. I was a fresh faced blogger wandering the festival, inexperienced in its worldly ways, and in that hotbed of creativity it seemed anything was possible. On day 9, I first encountered Andrew Erskine Wheeler’s Whoosh! and I awarded it The Stages of MN Fringe of the Day Award, back when that award meant even less than it does today.
That first incarnation was a fast-paced whirlwind that left the audience stunned and Wheeler dripping with perspiration. It also had the irresponsibly long title Whoosh! The Civil War Mythology of Michael Hickey and His Perilous Precipitation Over St. Anthony Falls!
At the 2023 Fringe Festival, I found myself standing in line with Wheeler. Recognizing him, I worked up the nerve to tell him how much my wife and I had enjoyed Whoosh! The Civil War Mythology of Michael Hickey and His Perilous Precipitation Over St. Anthony Falls! the previous year. Once I caught my breath (one should always practice saying that title at home before attempting it in public, you need to figure out where to take breaths). Wheeler, clearly having experienced this before with others, helped steady me and suggested I put my head between my knees until I felt like I could stand without passing out. Once the oxygen returned, he told me they were remounting Whoosh! later that month at the Mill City Museum. Naturally, I secured tickets for my wife, our daughter, one of her friends, and myself, and then shared the news with you faithful readers.
That version was longer, fleshed out the story, and added live musical accompaniment. It lost the high-wire intensity of the original’s breakneck 50-minute pace, where a thousand and one props and costume changes had to happen with surgical precision. But what we gained was depth. It wasn’t better or worse, just different. A zero-sum trade that pointed the way forward. I remember saying to someone at the time, it may have been my friend and fellow Twin Cities Theater Blogger Erica Skarohlid, who is also the Marketing Director at History Theatre, that this would be a perfect show for the History Theatre.
Which brings us to my third experience, now with the more health conscious title simply Whoosh! (still with the exclamation point, so you know it’s exciting). If I had a coherent point about things coming in threes, this is where it would all make sense. Or not. The real point is this: I’ve loved this show in every incarnation, but this one is the best.
By adding another 45 minutes, any sense of sacrificing the original’s momentum is gone. Instead, Whoosh! has fully graduated into what it always wanted to be. What began as a one-man tour-de-force packed with props has become a brilliantly designed, full length production that dazzles on every level.
Wheeler still delivers a masterclass performance, more than enough to captivate the audience all on its own. Everything added here only enriches what he does, nothing competes with him, it all supports him.
Whoosh! isn’t a musical, but music is now integral to its identity. The show is accompanied by Northern Shores which consists of Danny Diamond and Brian Miller, who perform traditional Irish acoustic music, sing, and even accompany Wheeler when he breaks into song, all in character.
That character is Michael Hickey, an Irish immigrant who arrives in America in the mid-1800s to join his older brother. They work as loggers before enlisting to fight in the Civil War. Hickey tells his story by leaping through time, always circling the infamous moment, the one where he becomes the only person to ever go over St. Anthony Falls and live. But this version makes it clear: the show is about far more than that moment. We gain a rich understanding of Hickey’s relationships, the war, his commanding officer, his struggles with alcohol, and the cultural forces shaping his life. And after the curtain call, a final revelation deepens those connections even further. The result is a beautifully intricate, emotionally resonant tapestry.
As with every iteration, the show is directed by Stages of MN favorite Allison Vincent, who opens the piece onto a broader canvas while never letting the focus drift from Wheeler. Every production addition serves the story, whether heightening spectacle or sharpening a joke.
And yes, that trip over the falls. This is the most significant new element, transforming a spectacular historical event into a truly spectacular theatrical moment. I won’t spoil it. Just know that every technical element here represents the best possible version of itself.
Erik Paulson’s multi-level set design marks a dramatic evolution from the original black box space, fluidly transforming into forests, battlefields, and the falls themselves. Brant Miller’s video design both establishes location and supports Hickey’s pointed commentary on cultural bias. Tony Stoeri’s lighting, Richard Graham’s sound design, Kirby Moore’s properties, and Mandi Johnson’s costumes are flawless, each contributing to a unified vision and a singular theatrical experience.
Don’t rely on Facebook or Instagram algorithms to keep you in the loop about great shows. Subscribe and have every post from The Stages of MN delivered straight to your inbox. It’s the best way to make sure you never miss out on the theater action. To subscribe on a computer, enter your email address on the home page (right-hand side) and click subscribe. On mobile, scroll to the bottom of the page to find the same option. You can also follow me on Facebook @thestagesofmn and on Instagram thestagesofmn.
The Stages of MN YouTube channel is home to the weekly Stages of MN Show. You can watch it by clicking here. Be sure to check out the latest episodes and subscribe so you’ll always know when a new one drops. Not sure you agree with one of my takes? I’m also part of the Twin Cities Theater Bloggers (TCTB), where you can find review roundups from my colleagues and me. Follow us on Facebook at @TwinCitiesTheaterBloggers.
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