REVIEW: Ring Round the Moon

Theatre in the Round has been entertaining its patrons with shows running the gamut since 1953 - over 450 shows- making it the oldest community theater in Minneapolis. Every show is set "in the round" - an arena where the stage is in the center and the seats are on each side. It's possible to see a completely different viewpoint just by moving around to a different side of the arena. It also makes for a very intimate production.

However, the 'arena' setting can also be distracting. Since "Ring" was set mostly at nighttime outdoors, there was beautiful lights evoking a twilight moon with stars all around. However, that light shone from behind the audience, making us glow. It was almost awkwardly uncomfortable - seeing the other audience in front of me as well as noticing how much light I was in. It slightly detracted from the performance.

"Ring", like any good farce, is a bit over the top - but this production at times begged for laughs. There were the actors with prompt comedic timing, barely lifting a finger, effortlessly earning laughs with their poise and wit. Yet other characters became "caricatures", and it seemed almost artificial their movements and mannerisms. They were working too hard.

With an 8PM curtain and a 3 hour show, one wonders why we didnt' start earlier. At the final bow, both the actors and the audience were relieved we had resolution (though I don't think most would've minded the show ending by Act 2). There were shining moments of comedic brilliance, thanks to Madame Desmortes (played by Maggie Pistner) and Isabelle's Mother (Linda Sue Anderson). Even moments where the audience is confronted with humanity with a rather poignant scene between Messerschmann (a wealthy businessman who is unhappy with his money) and Isabelle (a poor girl who thought money would make her happy but realizes it can't). The two rip up a wad of Messerschmann's cash throwing it around violently. It was a powerful visual to see rich and poor so unconcerned with money, what makes the world go 'round. Yet, the play continued for another 30 minutes, giving some resolution, albeit unnecessary in my opinion, to loose ends from the multiple story lines.

Though pockets of great moments did entertain and give pause for deep contemplation, searching for a meaning - the leading man did little to keep the action moving, and let the pace that was building fall flat with his rather flat performance.

In the end, I (barely) Liked It.

SCORE CHEAP TICKETS: With a student ID, you can get 50% most seats, but you have to reserve in advance and present the ID upon pickup at the theater. Located near Cedar and Washington, just off 35W.

PARKING TIPS: You'll be the envy of the neighborhood if you score a meter on the weekend in this popular area (and also save a boatload on parking). I opted for the ramp at the Holiday Inn which was convenient, but horribly expensive. Theater in the Round 'apparently' validates parking here (as I paid more to park than to watch the show) but this was not printed anywhere obvious. I noticed validation coupons clutched in others hands as we approached the pay box. Little known secret I guess. I would suggest parking at the ramp just SOUTH of the theater on your left. It is about half the price and no tricky validation needed.

A "Feel-Everything" Musical

I'll let you in on a little secret. The show I'm most looking forward to seeing as a part of this blog is still 2 months away. Yet, I've known it was coming for almost a year. The Tony and Pulitzer Prize winning musical "Next to Normal" featuring the woman who originated the lead role played by Alice Ripley. After seeing it on Broadway back in January 2010 (You can read the original review in the archives of my blog right here.) I was literally blown away. The New York Times says it best: "This isn't just a feel-good musical; this is a feel-everything musical."

NEXT TO NORMAL Opens May 10 at the Ordway Center in St. Paul.

UP NEXT: I'm attending "Ring Around the Moon" at Theatre in the Round. Friday Night. I will let you know how it goes Saturday as it is in its last weekend!

REVIEW: Ma Rainey's Black Bottom

“White folks don’t understand about the blues. They hear it come out, but they don’t know how it got in there.”

--August Wilson

The tagline for Penumbra Theater is “Powerful, Provocative”. I’d completely agree after seeing “Ma Rainey’s Black Bottom” (a co-production with the Guthrie Theater) – part of Penumbra’s commitment since 2007 to produce a cycle of 10 August Wilson plays – one from each decade signifying the importance and history of African Americans.

When you think of the blues, it is synonymous with the contribution of African Americans. What I found interesting was the contradicting push/pull of the slow, free-flowing emotion of the blues songs sung by Ma Rainey with the quick, punchy and precise dialogue of the band members pontificating on a number of random tangents. It gave an interesting context, including the relationship of “the white man”. There’s a certain amount of “uncle Tomming” going on, and the band then comments how black people all try to be like the white man. Here’s where Black Bottom lifts up the curtain on society and what remains is a large mirror pointing the action back at your heart, wondering if it too has contributed to the injustice and inequality in this particular instance.

Just when things start to feel too long, here comes Javetta Steel as Ma Rainey. With her no-nonesense sass, she is terrifying yet equally loveable as the show’s protagonist when she wants to be. Ma is the ultimate diva, with unusual demands and a short temper.

In this show, pace was everything – the show lived and died by the pace of the dialogue. If not delivered just right, the joke or the story could fall flat on its face. And when things did slow down, you noticed – because it was very important. At one point during a very poignant retelling of one of the main characters mother’s rape by the hands of a white gang, Levee has complete control of one sentence to the next. Honestly, you could drive a Mack truck through his pauses, yet since it was in control, the audience was leaning forward, waiting for the painful silence to be broken.

Leaving the theater, my friend commented that the show was “devastating”. And rightfully so. Without spoiling the ending, the audience doesn’t leave singing Black Bottom, or laughing at the hilarious climax. Rather, we were all left with questions. For me, what drives people to do what they do? Is my treatment of others enough to make their pain explode inside them, blasting outward to whoever is in its path? It also helps to show us how deep hurt can cause us to do unbelievable things: Levee’s final act of destruction, and Ma’s soulful crooning of blues. Those two opposites help us understand Wilson’s quote – We now understand how it got in there, and then see how it comes out.

I ENDED UP: Really Liking it.

(Hating it, Not liking it, Liking it, Really Liking it, Loving it)

HOW TO SCORE CHEAP SEATS:

The Target Rush Line at the Guthrie Box Office offers $20 CASH OR CHECK seats (no Credit Cards) to ANYONE who shows up within the last hour before curtain opens. I have had luck on every night of the week (though I haven’t tried Saturday nights, which may be more sold out). The seats may be partial view, but on Sunday night I sat almost dead center about 15 rows back. Not bad for half price. Since the Guthrie has 2-3 shows playing at the same time, you’re almost always guaranteed a seat to SOMETHING if your first choice is sold out.

PARKING: Avoid the ramp directly connected to Guthrie ($8 Cash only) and opt for a half block walk and park at Mill Quarter ($6) where you can also pay by Credit Card. There are also $1/hour meters if you’re lucky, but it will mean a trip out to refill it during intermission (2 hour max credit).

A Promise, A link, and it was all 'yellow'.

Just got back from Ma Rainey's Black Bottom at Le GUTHRIE. It's going to take some time to let that one sink in. I'll have the full review for you by Tuesday. (I promise...)

I never saw a show at the "old" Guthrie, but since it has moved into its new home in 2005, I can't imagine seeing it anywhere else. Not only has the development of the theater in the mill district revitalized the area, but it has become something of a grand public space. You can access most of the building without a ticket, and it is home to my favorite place in all of Minneapolis at night: The 9th Floor Dowling Studio Lobby, which I affectionately refer to as "the Yellow Room". It takes a little trick to figure out how to get up there, but once you find the right bank of elevators, you are whisked away to view everything in a somber yellow tone. The views at night are spectacular. Being at the Guthrie for an evening is half the fun; the other half is seeing good theater. This co-production with Penumbra didn't disappoint.

In the meantime, I leave you with a link to a website that I use mostly to check for upcoming auditions in the area. Recently, I just discovered it has a calendar feature that displays EVERY show happening on a single night - and you can search out far in advance to make plans or just be spur of the moment! Thanks MinnesotaPlaylist.com!