BroadwayWorld.com Minneapolis / St. Paul Stories

Review: MONTY PYTHON'S SPAMALOT at Ordway

Thu, 11 Jun 2026 00:56:47 PST

People were laughing before the story even got fully underway—and that pretty much sets the tone for Monty Python’s Spamalot at the Ordway, running through June 14.

The national tour leans hard into the silliness of Monty Python’s world, and it works. This is a fast, joke-heavy, sometimes ridiculous night at the theater that keeps moving at such a clip there’s barely time for a gag to settle before the next one arrives.

The plot—King Arthur’s search for the Holy Grail—is really just a loose framework for everything else: musical numbers that suddenly go off the rails, unexpected detours, and the kind of humor that jumps from clever to completely absurd without warning.

Major Attaway plays King Arthur with a steady, slightly exasperated seriousness that works well against the chaos happening around him. He doesn’t try to out-joke the material, which is exactly why it lands.

Graham Keen got some of the biggest laughs of the night as Sir Robin, fully committing to the character’s legendary cowardice. Chris Collins-Pisano’s Sir Lancelot leaned into bold, exaggerated swagger, while Ellis C. Dawson III played Sir Bedevere’s rigid logic straight enough that it became funny on its own. Leo Roberts rounded things out as Sir Galahad with an easy, good-natured energy.

Amanda Robles, though, is the one who really stops the show. As the Lady of the Lake, she has the kind of voice that fills the Ordway without effort, and she knows exactly how to play the humor without undercutting it. The audience responded every time she walked onstage. Blake Segal’s Patsy was another highlight—quietly funny, very physical, and one of the more grounded presences in the whole production.

Director and choreographer Josh Rhodes keeps everything moving at a breakneck pace. There’s no room for dead air, and the show doesn’t really allow itself to linger on anything too long—which, in this case, is a strength.

Visually, it’s bright and intentionally over-the-top, with costumes and projections that lean into the “anything can happen” tone. At one point, the show even pulls the audience into the action, which turned into one of the more memorable shared moments of the night.

What really stands out is the atmosphere in the room. The cast looks like they’re having fun, and the audience follows right along with them. It’s loud, loose, and often ridiculous in the best way.

By the end, the standing ovation felt less like tradition and more like a release of energy after two hours of nonstop comedy.

All photos are credit to Matthew Murphy and Evan Zimmerman

Interview: Carole Schultz & Elizabeth Chua of SIMPLY OVERDRESSED at Overdressed Duo

Thu, 11 Jun 2026 11:29:54 PST

For years, pianist Elizabeth Chau and soprano Carole Schultz have been finding ways to bring classical music beyond the concert hall. Through their Overdressed Duo performances, they've introduced audiences to opera, art song, and other musical traditions in parks, libraries, and community spaces throughout Minnesota.

On Friday, July 10, they'll return to Linden Hills Park for Simply Overdressed, a free outdoor concert featuring a mix of favorite selections from opera, musical theater, jazz, and folk music. Designed as a casual evening for listeners of all ages, the performance invites audiences to bring lawn chairs, a picnic, family, friends, and even the dog.

Ahead of the concert, Chau and Schultz spoke about making opera more approachable, performing outdoors, and the music that continues to inspire them.

Overdressed Duo has made opera and classical music accessible through free performances in parks. What inspired you and Elizabeth to take opera out of traditional concert halls and bring it directly into the community?

We really wanted to make opera accessible to everyone. Traditional music venues can come with unspoken rules, an unfamiliar culture for newcomers, and sometimes a high price tag. By bringing opera into casual public spaces like parks, the art form feels less intimidating. People can be curious and explore it without committing to a full-length opera performance.

We also wanted to create opportunities for young children to be exposed to music in a way that works for them. In a park, kids can run around, play, and experience live music without the confinement of a seat or the expectation of being quiet.

The Storyteller series strips opera down to its essential narrative elements while keeping the music intact. What have you learned about audience engagement when introducing opera to people who may be experiencing it for the first time?

Elizabeth: Most operas are written in languages other than English, and that can be one of the biggest barriers to opera in America. The length of a traditional opera can also feel daunting for first-time audiences. That's why we created a shorter format that highlights the most memorable arias and key moments of the story. Audiences get the essence of the opera—and some of its greatest music—in a single sitting.

Carole: It amazes me how often people tell us they became deeply invested in the story during a Storyteller performance. Opera is all about big emotions and grand storytelling, but sometimes the heart of the story can get lost amid elaborate productions and large chorus scenes. We strip each opera down to three or four characters and add a narrator to guide audiences through the plot. People seem to really connect with the emotional core of the story in this format.

Opera Under the Stars has become your most popular series. What is it about performing outdoors in Minnesota parks that creates a unique experience for both the artists and the audience?

Minnesota summers are incredibly beautiful, and Opera Under the Stars allows us to bring high-quality classical music into some of the state's most welcoming outdoor spaces. Performing in parks creates a relaxed, family-friendly atmosphere where everyone can feel comfortable enjoying the music.

It's especially meaningful because people can experience opera in a way that feels accessible—whether they're bringing children, gathering with friends, or simply enjoying a performance under the open sky. The outdoor setting also gives audience members the flexibility to step away and return if needed, making the experience more inclusive for families, young children, and really anyone who wants to enjoy the music on their own terms.

In the Simply Overdressed series, you share personal stories and “geek out” about the music you love. Is there a particular piece, composer, or musical moment that consistently excites you, and why does it resonate so strongly with you?

Elizabeth: I love geeking out about orchestration and score writing, as well as sharing personal experiences from my work as a professional opera pianist. I also enjoy talking about my background growing up in Malaysia and sharing quirky facts about my culture. These conversations resonate because they allow us to create genuine connections with audiences and invite them into our lives and experiences.

Carole: I love talking about what drew me to particular songs, whether it's a memory, the text, or simply a beautiful melody. Some pieces also have fascinating origin stories. But my favorite thing to share is often the translation.

Some of the most beautiful, flowing opera music can be surprisingly funny or dramatic when you understand what's actually happening in the story. Take O mio babbino caro, for example. It's one of Puccini's most gorgeous melodies, but the song is really about a 14-year-old girl throwing a tantrum in front of her father. She wants to marry the neighbor boy and, in full teenage dramatic fashion, threatens to throw herself off a bridge if her father won't let her marry him.

Thank you Elizabeth and Carole for your time.

For more upcoming performance information for Overdressed Duo, please click here.

The Cowles Center Reopens With Site-Specific Dance Performance By Anat Shinar

Wed, 10 Jun 2026 19:17:15 PST

Choreographer Anat Shinar will present An Ode to Being Right Until Someone Else Arrives on Friday, June 12, 2026, at 8:30 p.m. in the lobby of the Cowles Center for Dance and the Performing Arts in downtown Minneapolis.

Described as “a choreography for competing foregrounds,” Shinar's new piece offers an intimate first look at the newly reopened Cowles Center. Movement is at the heart of the building's return, inviting audiences to encounter dance outside the frame of a traditional stage.

Occupying the space between social encounter and public display, Shinar's choreography moves through fleeting alignments, soft spectacles, and shifting relationships between centrality and anonymity.

Support from the Bridge Fund for Dance, a City of Minneapolis Arts & Cultural Affairs Department program, helps bring this performance to the Cowles Center, keeping dance accessible and active in downtown Minneapolis.

The ensemble features Brian Evans, Gabriel Rodreick, Hannah Mackenzie-Margulies, Laurie Van Wieren, Miriana Shinar-Baker, Taja Will, Waswa Kalema and Anat Shinar. (Bios on Page 2). Photo credits: David Owen, Tyler Croat, Jerry S. Almonte, Isabel Fajardo, Dan Norman, and Blake Nellis.

HADESTOWN: TEEN EDITION to Be Staged by Children's Theatre Company in Minneapolis

Wed, 10 Jun 2026 12:41:26 PST

Children's Theatre Company's 2026 Triple Threat production will be Hadestown: Teen Edition, by Anaïs Mitchell – a bold and unforgettable musical journey inspired by the ancient Greek myths of Orpheus and Eurydice.

Hadestown: Teen Edition will be directed by Alli St. John, with music direction by Justin Cook, and choreography by Cleo DeOrio. More information is available at http://childrenstheatre.org/hadestown.

Students enrolled in the Triple Threat Summer Intensive spend the first half of their day in theatre arts training (classes in acting, movement, voice, and more) and the second half in rehearsal for the production. Past productions include Carrie, Rent, Be More Chill, Head Over Heels, Twelfth Night, and the World Premiere of The Garden.

The students work with professional directors, professional designers, and other experienced theatre artists and practitioners. The focus is on process; students have the opportunity to hone their craft, dig deeper, and build their community.

About the Show

Blending folk, jazz, blues, and contemporary musical theatre, Hadestown: Teen Edition follows two intertwining stories: young dreamers Orpheus and Eurydice, and the powerful King Hades and Persephone.

As Eurydice is drawn into the underground world of Hadestown, Orpheus must risk everything to bring her home, discovering the power of hope, love, and perseverance along the way.

With a hauntingly beautiful score by Anaïs Mitchell and a Tony Award-winning Broadway legacy, Hadestown: Teen Edition offers audiences a theatrical experience that is both timeless and deeply relevant.

CTC's Triple Threat production of Hadestown: Teen Edition will perform on Friday, August 7, 2026 at 7pm, and Saturday, August 8, 2026 at 3pm and 7pm.

The cast of Hadestown: Teen Edition features Mira Brossart as Ensemble, Zoe Hagen as Ensemble (Fate #1 Understudy), Agustin Michael Anderson Garcia as Ensemble, Lola Jones as Eurydice, Barlow Kimball as Ensemble (Hades Understudy), Raina Dixit as Ensemble, Arianna Hymes as Ensemble, Linnea Cole as Ensemble (Eurydice Understudy), Falcon Scarpello as Ensemble, Claire Lamatsch as Fate #3, Veronica Finc as Ensemble (Fate #2 Understudy), Lynnie Krautbauer as Ensemble (Hermes Understudy), Mason Yang as Orpheus, Nyla Spika as Persephone, Harper Feist as Ensemble (Orpheus Understudy), Mira Ripley as Ensemble (Fate #3 Understudy), Jacory Shipp as Fate #1, Lexi Anderson as Fate #2, Ethan Cuellar as Hermes, Nikolas Gruss as Hades, and Lorna Oliveira as Ensemble (Persephone Understudy).

In addition to Alli St. John, Justin Cook, and Cleo DeOrio, the creative team includes Ellie Simonett (Lighting Designer), Bailey Fenn (Sound Designer), Lily Turner (Costume Designer), and Mason Tyer (Fight Choreographer).

HADESTOWN: TEEN EDITION to Be Staged by Children's Theatre Company in Minneapolis

Wed, 10 Jun 2026 12:41:26 PST

About the Show

As Eurydice is drawn into the underground world of Hadestown, Orpheus must risk everything to bring her home, discovering the power of hope, love, and perseverance along the way.

CTC's Triple Threat production of Hadestown: Teen Edition will perform on Friday, August 7, 2026 at 7pm, and Saturday, August 8, 2026 at 3pm and 7pm.

Review: NOBODY'S PERFECT at Daytrippers Dinner Theatre

Tue, 09 Jun 2026 19:29:43 PST

Sometimes all you want from an evening at the theatre is to laugh, and Nobody's Perfect delivers plenty of opportunities to do just that.

Simon Williams' comedy starts with a simple enough problem. Leonard Loftus has written a romance novel, but believing a women's publishing company won't seriously consider a male author, he submits it under the name Lulabelle Latiffa. When "Lulabelle" unexpectedly wins the competition, Leonard suddenly finds himself scrambling to keep the deception alive. What follows is a steady stream of misunderstandings, close calls, and increasingly ridiculous situations.

Director Bill Kenzie wisely lets the comedy speak for itself. The play moves quickly, and the cast keeps the energy high throughout. The script may not reinvent the wheel, but it understands exactly what it wants to be—a lighthearted farce filled with larger-than-life characters and escalating complications.

Ryan Maddux has the difficult task of carrying much of the action as Leonard, and he handles it with an appealing mix of nervousness and determination. The audience is in on the joke from the beginning, but Maddux keeps Leonard sympathetic enough that you want to see him somehow escape the mess he's created. His scenes as the glamorous and entirely fictional Lulabelle generate some of the evening's biggest laughs.

Anna Lakin is equally enjoyable as Harriet, the publisher who unknowingly becomes entangled in Leonard's deception. Lakin brings warmth and intelligence to the role, helping ground the story whenever it threatens to spin completely off the rails.

Kyleigh Grimsbo adds plenty of spark as Dee Dee, Leonard's daughter, while Dick Daly clearly has a great time as Gus, Leonard's father. Daly's comic timing is particularly strong, and many of his lines landed with the audience.

What makes Nobody's Perfect work is that beneath all the disguises and confusion, it's a surprisingly sweet story. The play never takes itself too seriously, and neither does this production. Instead, the cast embraces the silliness and invites the audience along for the ride.

Daytrippers Dinner Theatre audiences looking for a fun time out will likely find exactly that. Nobody's Perfect is an old-fashioned comedy in the best sense of the term—easy to enjoy, full of laughs, and carried by a cast that is clearly having as much fun as the audience.

For more ticket and show information, please click the ticket link button below.

Interview: Jack Swanson of VOCALISE at VOCALISE

Tue, 09 Jun 2026 21:45:53 PST

Jack Swanson
Photo by Lily Lancaster

Opera audiences know Jack Swanson for his performances on many of the world's leading stages, from the Metropolitan Opera and San Francisco Opera to engagements across Europe. But it wasn't a role onstage that recently caught his attention—it was what singers were finding offstage in pharmacies abroad.

After years of performing in countries like Italy, Germany, and France, Swanson noticed that professional voice users overseas had access to an entire range of vocal health products that were largely unfamiliar to American performers. What started as a habit of bringing products home in his suitcase eventually led to a bigger question: why weren't these options available in the United States?

That question became the foundation for Vocalise, a new vocal health company inspired by products and practices Swanson encountered during his years working in Europe. Designed for singers and other professionals who rely on their voices every day, Vocalise represents his effort to bring some of those resources to the American market.

We spoke with Swanson about the experiences that led him to launch the company, what he's learned about vocal health while performing internationally, and why he believes the conversation around caring for the professional voice is beginning to change.

You've spent years singing in Europe and the U.S. Was there a moment when you thought, "Why do they have access to this over there, and we don't?"

Honestly, yes many times. I’d be on a production and walk into a pharmacy when I was feeling a tickle in the throat in Germany or Italy and find an entire section dedicated to vocal health: sprays, lozenges, throat rinses formulated specifically for professional voice users. Products with real clinical backing that you simply cannot find at a Walgreens. I’d stock up before flying home. At some point it stopped feeling like a fun travel discovery and started feeling like a gap that needed to be filled. American performers deserve that same level of care, and they shouldn’t have to pack their luggage full of it on the way home.

Most singers have a story about getting through a performance when their voice wasn't at 100 percent. Did your own experiences onstage play a role in creating Vocalise?

Absolutely. Every singer has those nights you’re dealing with inflammation, fatigue, travel, climate changes, jet lag and you go on anyway because that’s the job and in our case that’s how you get paid. I’ve sung through colds, flown across time zones and stepped straight into rehearsals, done back-to-back runs of demanding Bel Canto repertoire where the voice just needed more support than rest alone could give. Those experiences pushed me to research what actually works at a physiological level, not just what feels soothing in the moment. This particular formula in Vocalise is one I discovered in one of those stressful situations while singing in Italy.

You've performed everywhere from Milan to Vienna to New York. What differences have you noticed in how singers overseas think about vocal health compared to performers here?

I should say — I haven’t sung in Milan yet, though my La Scala debut is coming in 2027, which I’m genuinely thrilled about. But having worked in several countries across Europe and across the U.S., the difference in mindset is real. European singers tend to treat vocal health as part of their professional identity and stress about it less as they have more options and more accessibility to effective treatment. There is less stigma around admitting the voice needs care. In the U.S. there’s still a tendency to push through and figure it out after the fact. Part of what we’re trying to do with Vocalise is shift that culture here.

A lot of people hear "professional voice user" and think opera singer, but that's really just one piece of the picture. Who do you think could benefit most from products like this?

The market is so much wider than most people realize. Teachers, attorneys, podcasters, pastors, coaches, sales professionals — anyone whose livelihood depends on their voice. Opera singers are a tiny slice. What we’ve found is that once people outside the classical world understand what these ingredients actually do at the tissue level, it clicks immediately. Nobody wants to lose their voice on a big day or a day that is necessary to do the job well. The need is universal; it’s just been underserved on our side of the pond.

You say Vocalise is just the beginning. Are there other vocal health practices or products you've encountered in Europe that you think American performers haven't caught up to yet?

Several. We are in the process of formulating and creating many more popular products that myself and singer friends of mine have used in Europe. We are actively looking at what people want to become more accessible as part of the next phase of Vocalise. There’s a lot of road ahead.

Thank you Jack for your time!

For more information on Vocalise, please click here.

Around The BroadwayWorld: Top News, Reviews, Interviews & More from May 2026

Tue, 09 Jun 2026 12:03:21 PST

Around the BroadwayWorld is our monthly snapshot of the biggest stories making waves across the global theatre community. In this May 2026 edition, we're bringing you a fresh batch of standout reviews from regional stages across the country - from Brigadoon at Pasadena Playhouse in Los Angeles to The Phantom of the Opera at Seattle's Paramount Theatre and Pippin at Signature Theatre in DC.

Diane Paulus directs an immersive, David Bowie-inspired Life on Mars at American Repertory Theater, the producers of Japan's Gypsy revival walk back a planned title change, and we go behind the scenes with interviews spanning Adam Fields of the Beetlejuice national tour, The Muny's casting director Michael Baxter, Richard Kind on finally taking on Edna in Hairspray, and BWW's Kid Reporters chatting with the touring Von Trapp kids of The Sound of Music. Plus, get a first look at exciting new productions through performance videos and photos, including Anastasia at La Mirada Theatre, Dear Evan Hansen at Arden Theatre, Pippin at Signature Theatre, and the Manila cast of Jesus Christ Superstar - and so much more from across the BroadwayWorld.

Diane Paulus Will Direct Immersive David Bowie Inspired LIFE ON MARS at American Repertory Theater

Joshua Wright | Boston

Diane Paulus will direct Life on Mars, an immersive theatrical production set to David Bowie's music, as the inaugural production at the Goel Center for Creativity & Performance in May.

GYPSY in Japan: Producers Walk Back Title Change Ahead of 2026 Revival

Joshua Wright | Japan

The Japanese revival of GYPSY will retain its original title when it returns to the stage in 2026, reversing an earlier decision to present the production under the name 'Rose.'

Interviews

Interview: Adam Fields of BEETLEJUICE National Tour

Brock Mills | Jacksonville

For Adam Fields, returning to Jacksonville with the national tour of Beetlejuice the Musical isn’t just another stop, it’s a full-circle moment. The production will play in Jacksonville from May 12–17 at the Jacksonville Center for the Performing Arts.

Interview: BWW’s 'Kid Reporters' Chat With THE SOUND OF MUSIC’s Touring Von Trapp Kids

Melissa Heckscher | Los Angeles

BroadwayWorld Los Angeles' kid reporters talk with the young touring cast of THE SOUND OF MUSIC to find out what it's like to be part of one of Broadway’s most iconic shows and what actually happens behind the curtain.

Interview: Chatting with The Muny's Casting Director Michael Baxter

James Lindhorst | St. Louis

Michael Baxter’s work will shine on The Muny stage during all 50 performances this summer. He led the efforts and had a hand in hiring every one of the 194 actors who will fill the principal and ensemble roles.

Interview: Richard Kind Talks Finally Taking on Edna in The Muny's HAIRSPRAY

James Lindhorst | St. Louis

When The Muny opens their production of Hairspray on June 15, 2026, the legendary Richard Kind will don Edna Turnblad’s housecoat and step into her fuzzy house slippers. Kind, star of stage, screen and film, calls it bucket list moments to get to perform at The Muny and play Edna all at the same time.

Reviews

Review: BRIGADOON at Pasadena Playhouse

Andrew Child | Los Angeles

Brava to Alexandra Silber for capturing all the heart and humor of Lerner’s original book with her thoughtful new adaptation and brava to Katie Spelman for dreaming up a Brigadoon that is as ebullient and spirited as it is deeply human.

Review: THE PHANTOM OF THE OPERA at Paramount Theatre

Shelley Dean | Seattle

It’s almost unbelievable for me to admit that this was my first time seeing The Phantom of the Opera. Of course, I knew the iconic songs and had seen countless clips over the years, but experiencing the production live on stage for the first time was entirely different, haunting, and spine-chilling in the best way possible. From the chandelier drop to the monumental set pieces, the show truly lives up to its legendary reputation. The 2026 tour, directed by Harold Prince, serves as a revitalized version of the original production, featuring Maria Björnson’s iconic designs, musical staging, and choreography by Gillian Lynne. It is absolutely ravishing, and Seattle audiences are lining up hours early to witness the spectacle for themselves.

Review: PIPPIN at Signature Theatre

Aidan O'Connor | Washington, DC

Certain facets of the human condition are foundational to our very existence – change, connection, desire. One such particularly toxic universal truth is a constant need to be something more than we currently are. To search for happiness in external achievement rather than within ourselves, in our simple joys. Pippin at Signature Theatre breathes within that precise virulence, relatively orchestrated by a troupe of impeccably costumed and choreographed players. A feast for the eyes in all senses, Matthew Gardiner’s production surpasses even the highest of expectations.

Videos

Video: Watch La Mirada Theatre's ANASTASIA Star Lena Ceja Perform 'Journey to the Past'

Michael Major | Los Angeles

La Mirada Theatre has released new video footage of Lena Ceja rehearsing 'Journey to the Past' from their upcoming production of Anastasia. The production features Dillon Klena as Dmitry, a role first played on Broadway by his brother Derek Klena.

Photos/Video: DEAR EVAN HANSEN At Arden Theatre

A.A. Cristi | Philadelphia

Arden Theatre Company is now presenting DEAR EVAN HANSEN as the final production of its 2025/26 season, with performances continuing through July 5. New production photos and video have been released from the Philadelphia production, including footage of Evan A. Kaushesh performing “Waving Through a Window.”

Video: Watch 'Corner of the Sky' From Signature Theatre's PIPPIN

Michael Major | Washington, DC

Watch a video of Brayden Bambino performing 'Corner of the Sky' in Signature Theatre's production of Pippin. The in-the-round production is now running through July 26 with tickets available now.

Photos

Photos: Get a First Look at JESUS CHRIST SUPERSTAR in Manila

Oliver Oliveros | Philippines

The 2017 Olivier Award winner for Best Musical Revival, Tim Rice and Andrew Lloyd Webber’s rock opera 'Jesus Christ Superstar,' has officially opened at The Theatre at Solaire.

Interview: Chris Collins-Pasano of SPAMALOT at Ordway Center For The Performing Arts

Tue, 09 Jun 2026 10:49:08 PST

Before the Knights of the Round Table arrive at St. Paul's Ordway Center for the Performing Arts from June 10–14, 2026, I had the opportunity to chat with actor Chris Collins-Pisano, who plays the fearless (and hilariously over-the-top) Sir Lancelot in the national touring production of Monty Python's Spamalot. A lifelong fan of Monty Python, Collins-Pisano shared his favorite songs, memorable moments on stage, and what audiences can expect from this joy-filled musical comedy.

What do you enjoy most about your role in Spamalot?

I’ve been a fan of Monty Python’s Flying Circus and their films since middle school, so getting to tackle this outrageous style of humor and play some really ridiculous characters is a treat every night.

What is your favorite song in Spamalot?

It rotates all the time, but my current obsession is Brave Sir Robin. I’m also a sucker for All Alone. Who am I kidding, I love this score!

What is your favorite moment in Spamalot?

Oh man there are far, far too many to choose from. Getting to spring a new Knights of Ni improv on King Arthur is always a special moment in the show for me though. I also reeeeeeally love the last dance break in Knights of the Round Table…

What do you hope the audiences take away from seeing this production?

I think this show helps people leave the theater in a better place than when they came in. There’s so much joy in this show, and I think audiences see that reflected in how great of a time we’re having onstage!

Is this your first time in Minnesota? Any places you're hoping to check out while here?

I was in St. Paul back in 2018 on a tour of self, and I’m really looking forward to being back at the Ordway, and to get to re-explore the city!

Thank you Chris for your time! We look forward to having you here.

For more ticket and show information, please click the ticket link button below.

Photo courtesy of Chris Collins-Pasano

Review: MIDSUMMER NIGHT'S DREAM at MODERN REP

Tue, 09 Jun 2026 10:48:14 PST

The Modern Rep’s A Midsummer Night’s Dream is a fresh, high-energy take on Shakespeare that feels lively from the moment you walk in. Cast members greeting the audience with popcorn and water immediately set a relaxed, playful tone that carries through the night.

This reimagined production from The Modern Rep—a newer theatre company in the area—leans into an all-male cast and a queer reading of the text, but it never feels forced. Instead, it sharpens the play’s existing themes of desire, confusion, and transformation, turning them into something fast, funny, and often unexpectedly sexy.

With just six actors covering the entire story, the pace rarely slows. Richard Rigmaiden and Bryce Baxter stand out in the shifting romantic chaos, while Jonathan Edwards earns big laughs as Helena. Leo Rossmiller’s Bottom is a clear crowd favorite—physical, fearless, and fully committed to the comedy.

Unexpected Broadway musical snippets from A Chorus Line and Rent land consistently well, drawing strong audience reactions, and the dance numbers add bursts of energy that keep the production feeling fresh and unpredictable.

The show also embraces the more flirtatious and sexual elements of the story in a confident, playful way that fits naturally within the comedy’s themes.

Overall, it’s a loose, energetic production that prioritizes fun and momentum over polish. It’s not a traditional Midsummer, and that’s exactly the point.

An easy recommendation for Pride Month—joyful, unapologetically queer, and full of life from start to finish.

For more ticket and show information, click the ticket link button below.

All photos are credit to Molly Jay

Theater Mu and New Native Theatre Name MU TANG CLAN VOL 3 Playwright Cohort

Mon, 08 Jun 2026 20:14:10 PST

Theater Mu has announced the four playwrights accepted into the Mu Tang Clan Volume 3, its paid playwrights incubator supporting local and early-career Asian and Native American Playwrights in partnership with New Native Theatre. Vol 3 members Pauline Moll, Keng Xiong, Dexieng Yang, and Elena Yazzie will spend four months creating a new, full-length script under the mentorship of co-facilitators Saymoukda Duangphouxay Vongsay, Mu's Mellon Foundation playwright-in-residence and Mu Tang Clan program designer, and Rhiana Yazzie, New Native Theatre's founding artistic director.

“Artists from the Asian diaspora and First Nations communities have always shaped the American cultural landscape, and this program is about investing directly in storytellers whose voices are often ignored or asked to quiet down or asked to consider others outside of our communities,” says Duangphouxay Vongsay. “We're creating some of the most urgent, imaginative, transformative, rib-jabbing work right now.”

Rhiana Yazzie adds, “Developing new plays is a particular joy of mine, I can't wait to work with such an exciting group of artists!”

The incubator was created in 2020 by Duangphouxay Vongsay, in partnership with Mu, in response to the ongoing underrepresentation of Asian American, Native Hawaiian, and Pacific Islander stories on American stages. Designed deliberately as a shared learning environment, the program first focused on mid-career playwrights nationwide. Vol 2 (2023/24) centered on local, emerging playwrights who identify as refugees or descendants of refugees. This year, New Native Theatre's partnership gives the playwrights of Vol 3 a chance to explore intersectionality more deeply in their identities and writing practices.

“Theater Mu and New Native Theatre believe that intentional incubators like this encourage and empower writers to take creative risks while also deepening their craft, all within a cohort that supports and challenges them,” says Fran de Leon, artistic director of Theater Mu. “Our companies were created because we wanted to tell stories on our own terms.”

Pauline Moll, Keng Xiong, Dexieng Yang, and Elena Yazzie have worked with various arts organizations in the Twin Cities, but the Mu Tang Clan Vol 3 aligns with each of their career goals. For some, its structure provided accountability and a way to forge sustainable writing practices. Others touched on how some of their best script breakthroughs have been through conversation and workshops, or how examining shared and differing experiences in a safe space will help them see their own work more clearly. Simply having a close-knit community to tackle challenges with and celebrate with makes playwriting less solitary and more fruitful. And, perhaps most practically, all four recognize how having financially supported time to work on their craft is invaluable as an emerging playwright.

In addition to the cohort support, Duangphouxay Vongsay, Rhiana Yazzie, and de Leon will facilitate further connections to the Twin Cities theater community. Before the program ends, playwrights will also be matched with a dramaturg to help develop and prepare their script for the next step toward a world premiere.

The Mu Tang Clan Vol 3 is supported by the Jerome Foundation, whose primary mission is to support early-career generative artists, creators, and culture bearers residing in Minnesota and the five boroughs of New York City. The Playwrights' Center has given each cohort member a year-long membership, and the playwrights are also able to attend shows thanks to several of the Twin Cities' vibrant theater companies.

Please contact Lianna McLernon at lianna@theatermu.org or (612) 709-3324 for requests such as interviews or additional assets. View the press kit.

ABOUT THE MU TANG CLAN VOL 3

PAULINE MOLL (she/her, ella) is a community artist whose work connects us to our bodies, our stories, and each other. Her play temporary tattoo won the Horizon Theatre Young Playwrights Festival Contest in 2018. Pauline is an alum of Transformational Creative Strategies Training, the Heart of It Writing Retreat, and Up with People. She has taught theater and dance classes for many different people around the world, including co-teaching devising at Theater Mu in 2023. Pauline lives on Dakota land.

KENG XIONG (he/him) is a Hmong American poet and storyteller based in Minnesota. He graduated from the University of Minnesota, Twin Cities, with a bachelor of arts in English and bachelor of individualized studies in Asian American studies, creative writing, and leadership. His artistic work focuses on navigating the complexities of Southeast Asian voices and queer identities through poetry, in addition to theater and film. He remembers first writing to capture the oral nature of Hmong song poetry, or kwv txhiaj. Ever since, he has continued to write and publish poetry in places such as Electric Literature, Hmong American Ink and Stories, and the Midwest Review. He has also worked and performed with the Southeast Asian Diaspora Project, Exposed Brick Theatre, Theater Mu, and Mamá Papaya, in the Twin Cities. As an artist, he leads with love and curiosity, and looks forward to engaging and uplifting underrepresented communities and stories.

DEXIENG YANG (she/her) is a Hmong American actor and emerging playwright located in the Twin Cities, MN area. Dexieng has worked with Theater Mu as an actor in The Korean Drama Addict's Guide To Losing Your Virginity, The Last Firefly, Man of God, and Again. Her other works include Good Kids at the MN Fringe Festival, Neighbors at History Theatre, Shul at Six Points, Mercutio Loves Romeo Loves Juliet Loves at the William Inge Festival, Sounds Inside at Red Eye Theater, The Humans at Park Square Theatre, and Sixpack at the Jungle Theater. She is a recurring cast member of the Island of Discarded Women podcast. She has showcased her one act Searching with SEA Echoes and Exposed Brick Theatre, as well as her 10-minute play In Between The Words Unspoken with SEA Echoes and Theater Mu.

ELENA YAZZIE (she/her) is a Navajo actress and emerging playwright originally from Phoenix, AZ, now based in the Twin Cities. She has worked with New Native Theatre and Frank Theatre, where she has developed her voice as a performer. With a background in acting, she is now expanding into playwriting, bringing her personal storytelling style to the page. She is currently developing her first play, with a focus on creating work that feels honest and connects with her community.

ABOUT THE CO-FACILITATORS

SAYMOUKDA DUANGPHOUXAY VONGSAY (she/her) is a Lao American poet, essayist, and playwright. Her work focuses on creating tools and spaces for the amplification of Southeast Asian refugee voices through poetry, theater, and experimental cultural production. The Smithsonian APAC, Theater Mu, Theatre Unbound, InterAct Theatre Co., and Mixed Blood Theatre have presented her plays. She has received fellowships from the Bush Foundation, McKnight Foundation, Center for Cultural Power, Jerome Foundation, Playwrights' Center, among others. She has received grants from the Knight Foundation, Forecast Public Art, Metropolitan Regional Arts Council, MAP Fund, Andy Warhol Foundation, and dozens more. She is currently the Mellon Foundation playwright-in-residence at Theater Mu; a core writer at the Playwrights' Center; a Jerome Foundation AIR at Camargo Cassis, France; and a MN State Arts Board grantee. BA: English, UMN. MLS: public policy + arts and cultural leadership, UMN.

RHIANA YAZZIE (she/her) is a playwright, a director, TV writer, filmmaker, and a 2025 United States Artist Fellow. Rhiana wrote on AMC's Dark Winds seasons 2 & 3 and wrote, produced, and directed her debut feature film, A Winter Love, currently seen in mainstream and Indigenous film festivals globally. She is working on her second feature film, an adaptation of a play called Wounspaye Wankatya, A College Education. She is one of the few women to have written and directed a play for the Kennedy Center: The Other Children of the Sun, which debuted February 2025. A Navajo Nation citizen (Ta'neeszahnii dóó Táchii'nii), she is the artistic director of New Native Theatre, which she started in 2009 as a response to the lack of connection and professional opportunities between Twin Cities theaters and the Native community, and it is the recipient of a 2023 Headwaters Bush Prize for Social Justice. Honors include: Lanford Wilson and Steinberg Award, Bush Foundation leadership fellowship, Sally Ordway Award for Vision.

ABOUT THEATER MU

Theater Mu is the largest Asian American theater company in the Midwest. Founded in 1992, Theater Mu's continuing goal to celebrate and empower the Asian American community through theater is achieved through mainstage productions, emerging artist support, and educational outreach programs. Awarded the Cultural Treasure title by the Ford and McKnight foundations, Theater Mu is also a member of the Consortium of Asian American Theaters & Artists as well as a member of the Twin Cities Theatres of Color Coalition, Theatre Communications Group, Americans for the Arts, Minnesota Citizens for the Arts, and the National New Play Network. | theatermu.org

ABOUT NEW Native Theatre

New Native Theatre (NNT) is a new way of looking at, thinking about, and staging Native American stories. Created in 2009 by playwright Rhiana Yazzie, NNT produces, commissions, and devises authentic Native American stories for the stage, which means NNT's artists are intricately connected to the concerns and voices of their communities. Since inception, NNT has created authentic and transformative plays and events through the lens of the Native American experience. Its focus is on nurturing and developing Native American artists. Its immediate gaze is on the 11 tribes in Minnesota and the urban Twin Cities Native community. NNT's plays are shorthand meant to be played for its most vital audiences, Native people, because when specific stories are made for Native community itself, they become undeniably powerful for the broader community too, no translations required. | newnativetheatre.org

Theater Mu and New Native Theatre Name MU TANG CLAN VOL 3 Playwright Cohort

Mon, 08 Jun 2026 20:14:10 PST

Rhiana Yazzie adds, “Developing new plays is a particular joy of mine, I can't wait to work with such an exciting group of artists!”

Please contact Lianna McLernon at lianna@theatermu.org or (612) 709-3324 for requests such as interviews or additional assets. View the press kit.

ABOUT THE MU TANG CLAN VOL 3

ABOUT THE CO-FACILITATORS

ABOUT THEATER MU

ABOUT NEW Native Theatre

Review: IT WASN'T MURDER? - AN ORIGINAL COMEDY MYSTERY at Plymouth Playhouse

Mon, 08 Jun 2026 18:57:31 PST

Mystery lovers have plenty to enjoy in KJ Productions' original comedy It Wasn't Murder?, a lighthearted whodunit that combines family drama, neighborhood gossip, and just enough suspicious behavior to keep audiences wondering what really happened.

The story begins after the death of a wealthy aunt, a passing the family insists was entirely natural. Not everyone is convinced, however. When a particularly curious neighbor starts asking questions after the funeral, small inconsistencies begin to surface. Before long, one determined niece starts digging for answers, and what follows is a series of twists, misunderstandings, and comedic revelations.

Part of the show's charm comes from its colorful cast of characters. From the dry-witted housekeeper Marsha Truman to the ever-watchful neighbor Meredith Kingsley, each character brings something different to the mystery. The dialogue is filled with clever exchanges and playful humor, making the two-hour runtime move quickly.

Director Brian P. Joyce strikes a nice balance between comedy and suspense. While the audience is invited to piece together clues alongside the characters, the production never takes itself too seriously. Instead, it embraces the fun of the genre, poking gentle fun at mystery conventions while still delivering enough surprises to make the final reveal satisfying.

Fans of classic detective stories will recognize influences from Agatha Christie, but the show also has the feel of an old-fashioned community mystery where everyone seems to know everyone else's business. In this case, gossip becomes almost as important as evidence, and that's where many of the evening's biggest laughs come from.

The production team's work helps create an inviting atmosphere. The set provides an effective backdrop for the unfolding investigation, while the sound design adds moments of tension when needed. Most importantly, the cast appears to be having fun with the material, and that energy carries into the audience.

At its heart, It Wasn't Murder? is exactly what it sets out to be: an entertaining mystery comedy that doesn't require audiences to overthink things. Instead, it offers an enjoyable evening of laughs, quirky characters, and enough red herrings to keep everyone guessing until the end.

For anyone who enjoys cozy mysteries, community theater, or simply a good laugh, It Wasn't Murder? makes for a pleasant and engaging night at the theater.

For more ticket and show information, please click the ticket link button below.

Interview: Viridiana Arevalo Martinez of MINNESOTA TWINS PRIDE at Target Field

Mon, 08 Jun 2026 19:08:12 PST

The Minnesota Twins' annual Pride Night has become one of the most anticipated themed events at Target Field, bringing together members of the LGBTQIA+ community, allies, families, and local organizations for an evening of baseball, celebration, and connection. Fans attending this year's Pride Night on Friday, June 12, will receive an exclusive Twins Pride lightweight hoodie, enjoy the Twins' matchup against the St. Louis Cardinals, and help support Twin Cities Pride through their ticket purchase.

To learn more about what makes this event so special and what fans can expect this year, we spoke with Senior Coordinator of Community Engagement Viridiana Arevalo Martinez about the growth of Pride Night, her favorite traditions, and an exciting new addition to this year's festivities.

What's your favorite part about Pride Night at the ballpark?

There are so many things to love about Pride Night. My favorite part is seeing the ballpark transform to celebrate and reflect the LGBTQIA+ community. From the colorful production lights and Pride-themed decorations to the mini-Pride flags throughout the ballpark, the atmosphere is vibrant. Most importantly, I love seeing fans proudly and authentically be themselves while enjoying a game at Target Field.

Have you seen the event grow or change over the years?

Pride Night has become one of our most popular themed events, and the special ticket package items are always a fan favorite. Each year, we also continue to expand our community involvement by highlighting incredible local leaders and organizations during our pregame activities. It's inspiring to see the excitement and support from both the LGBTQIA+ community and our fans continue to grow year after year.

Is there anything happening at this year's Pride Game that fans should be excited about?

One of the exciting additions this year is welcoming, Play Catch with a Dad to Target Field Station. They are a volunteer group of dads who attend Pride events to offer a simple but meaningful gesture — a game of catch and, when welcomed, a supportive hug for LGBTQIA+ individuals who may have lost or never experienced support from a father figure. We're excited to have them engage with fans and help create a sense of connection, belonging and community as part of this year's celebration.

Thank you to Viridiana for your time and to the Minnesota Twins for their support

More more ticket and event information, please click the ticket link button below.

Photo courtesy of the Minnesota Twins

Video: Children's Theatre Company Shares 'Somewhere Over the Rainbow' Clip from THE WIZARD OF OZ

Mon, 08 Jun 2026 12:58:44 PST

Children's Theatre Company has shared a new performance clip featuring "Somewhere Over the Rainbow" from its current production of THE WIZARD OF OZ, giving audiences a glimpse of the beloved Harold Arlen and E.Y. Harburg standard as staged at the Minneapolis company.

THE WIZARD OF OZ draws from the iconic 1939 motion picture, bringing to life the story of Dorothy Gale and her journey through the land of Oz with music and lyrics by Arlen and Harburg, whose songs have remained among the most recognizable in American musical theatre for nearly nine decades.

The production is directed by CTC Artistic Director Rick Dildine, with music direction and orchestrations by Victor Zupanc and choreography by Christopher Windom. The show runs on the UnitedHealth Group Stage through June 14, 2026, making this clip a timely reminder for Twin Cities families to secure tickets before the production closes.

BroadwayWorld has followed the production since its earliest announcements, including a trailer release earlier this month that offered a broader look at the staging ahead of its final weeks.

Click Here to Play!

Review: MY ÁNTONIA at Theater Latté Da

Mon, 08 Jun 2026 12:54:06 PST

Theater Latté Da is once again proving that they are one of the best theaters in the Twin Cities for presenting newly commissioned art and their newest world premiere, based on Willa Cather’s beloved novel, My Ántonia is one of the strongest to debut in years.

In this gripping adaptation, playwright Noah Brody has teamed with The Kilbanes, the duo who provides an inspired indie folk score, to create a beautiful and sweeping story. While the setting of the show may seem removed from our modern day world, the emotions and life experiences portrayed are still ingrained in our American psyche. It is a tale of humanity, resilience, and a reminder of the richness that immigrants bring to our shores.

Set on the Great Plains at the turn of the 20th century, we see a lifelong story of two people from extremely different worlds but who share a common land. When a recent orphan boy, Jim Burden, is sent to Nebraska to live with his grandparents after a tragedy, he encounters a young girl, Ántonia Shimerda. The daughter of a Bohemian immigrant family who has moved into the farmhouse next door. As their friendship and understanding of one another’s lives grows and progresses, they must each make decisions that will not only impact their own lives but also the lives of those around them; ultimately setting them both on a course toward an unknown future.

While the novel it is based on has gained a reputation throughout high school reading programs for being dull and/or boring, Latté Da’s production is anything but. Setting the story as a memory play, the audience is given the chance to be more engaged with the characters by seeing where our protagonist, Jim, ends up. Thus giving us the opportunity to settle in and listen to his story and be fully immersed as the sights and sounds of 1880’s Nebraska are brought to life.

Noah Brody has gone to great lengths to work through the novel and be specific in the moments that he has chosen to highlight. By cutting out the more droll segments, he has highlighted the times in Jim and Ántonia’s lives which provide a more sturdy foundation to view their relationship from. While there are plenty of times where heartbreak and struggle consume the characters, Brody never ceases to bring us back to the happier times with gusto and, at times, flare with the assistance of the composers.

The Kilbanes, who join Brody on this journey, provide an extremely lively and moving score to match the setting of the show and Brody’s book. While they have leaned heavily into the folk style of music, they have also done a tremendous job of interweaving more contemporary musical theater motifs and styles throughout their tunes. Thus providing a variety of sounds that are sure to delight all patrons, no matter what style they prefer.

A highlight of the score is what could be considered Jim and Ántonia’s “theme”, a song that is assumed to be titled “Hello, Hello”. It is enchanting and extremely hummable but it also serves to solidify the ties Jim and Ántonia share as they travel through their history.

If there is one missed opportunity in the score it is in the final moment. The audience has become so endeared to the two protagonists over the past few hours and crave one final reprise of “Hello, Hello”. It would make the ending just a tad more powerful and while the final song is a sweeping number, the audience definitely leaves the theater needing that one final “Hello MY Ántonia”. This simple line and edit in the final moment, in our opinion, would just push the ending that much closer to being called perfect.

While this a world premiere, it is extremely tight and a well crafted piece of theater. Yes, the writing is strong but it is only as strong as the cast who brings it to life and this cast has done a remarkable job. It would be too hard to pinpoint the strongest performers within this cast because this is truly an ensemble show and each actor brings a different gift to the piece. Whether it is soaring vocals from the trio of women who embody Ántonia to the deeply felt emotions from Sally Wigert’s Grandmother, the audience is drawn into the lives of the variety of characters so strongly, that we start to forget our own troubles and instead focus on those of the people of the late 1800’s who are being so fully realized in front of our eyes.

My Ántonia is a gorgeous world premiere and the Twin Cities community is lucky to experience it. Latté da has further solidified why Minneapolis is called the Mini-Apple, our arts scene is truly only second to New York and there is no doubt that this show will go on to have a healthy life in the theater beyond our borders. Who knows, perhaps it will hit Broadway one day and you don’t want to miss the chance to say, “I saw it when it premiered”, do you?

So pack your bags, board the train to Nebraska, and revel in a beautifully realized world with soaring music, strong emotions, and a story that will sweep you away.

MOMENTUM Conference to Feature Anne Halvorson, Zelia Gonzalez & Carolina Ortiz at MCAD

Mon, 08 Jun 2026 10:31:05 PST

Through Creative Evolutions' work across industries, they have seen a growing call for new models of boards and governance. In response, they have created MOMENTUM as a new kind of conference series that centers innovation led by individuals within their own communities who understand the lived experiences, relationships, and dynamics that shape meaningful change.

In partnership with Kami Norland and MCAD's Graduate and Continuing Education Departments, Theatre Communications Group (TCG), and other university partners, Creative Evolutions has announced that Minneapolis's Regionally-Rooted Speakers are: Anne Halvorson, Zelia Gonzalez & Carolina Ortiz.

Meet the Speakers:

Anne Halvorson (she/her) is a seasoned Advertising Exec with over 24 years working for the most acclaimed agencies in the world. Anne currently serves on the Minneapolis College of Art and Design faculty.

Zelia Gonzales (they/them) recently moved to Minneapolis from NYC in June 2025 and already feels at home in Minnesota. Over the past year, Zelia has joined neighbors in resisting Operation Metro Surge through patrols, art, and collective action. They are currently pursuing a Master's in Creative Leadership at MCAD in Whittier, Minneapolis.

Hailing from Zacatecas, Mexico, Carolina Ortiz (she/her) embodies the spirit of resilience and determination. Carolina's passion for social justice is deeply rooted in her personal journey as a DREAMer. Carolina's impactful footprint extends far beyond her role as Associate Executive Director at COPAL, encompassing a profound depth of environmental advocacy, coalition management, and steering key legislative initiatives.

Along with MCAD Director Kami Norland, these speakers join Lanxing Fu, who comes from HERE Arts Center to pick up the fourth spot in MOMENTUM's Lighthouse Rolling Speaker Series. At each location (Minneapolis is the last spot in person for 2026), the Lighthouse Speaker answers a shared prompt and also responds to the speakers and attendee ideas from past convenings.

2026 MOMENTUM Schedule

June 10-13 - Kickoff session at the TCG National Conference (Puerto Rico) - tickets
June 26-27 - University of Oklahoma
July 14-15 - University of the Bahamas
July 25-26 - Seattle University
August 5-6 - Minneapolis College of Art and Design Registration | Schedule
September 8 - Free Final Culminating Webinar. Register here for updates on the evolving work!

Review: PERFECT ARRANGEMENT at Walking Shadow Theatre

Mon, 08 Jun 2026 10:44:33 PST

Running now through June 21, 2026, at the Crane Theater, Walking Shadow Theatre Company’s production of Perfect Arrangement finds an effective balance between comedy and drama, using laughter to draw audiences into a story with surprisingly high stakes.

Set during the Lavender Scare of the 1950s, Topher Payne’s play follows two State Department employees, Bob Martindale and Norma Baxter, who have built successful careers identifying supposed threats within the federal government. The complication is that both are secretly gay. To avoid suspicion, Bob and Norma have married each other’s partners, creating the appearance of two picture-perfect suburban couples while hiding the truth from everyone around them.

Directed by John Heimbuch, the production leans into the play’s sitcom-inspired humor during the opening scenes. Misunderstandings, carefully timed entrances, and frantic efforts to keep up appearances generate plenty of laughs. The comedy works because the actors commit fully to it, never treating the material as a joke.

Joe Swanson brings an appealing confidence to Bob, making his growing anxiety all the more believable as the pressure around him intensifies. Theo Janke-Furman gives Jim Baxter a warmth that makes the relationship at the center of the story feel genuine and worth rooting for. Rachel Postle Finch and Elora Riley are equally strong as Norma and Millie, portraying women who have become experts at navigating a world that leaves little room for honesty.

As Theodore Sunderson, Peter Colburn provides a steady source of tension whenever he appears. Even in seemingly casual conversations, there is a sense that something dangerous could happen at any moment. Julie Ann Nevill brings energy and humor to Kitty Sunderson, while Lily Rains makes the most of her scenes as Barbara Grant.

What works best about Payne’s script is that it never loses sight of the people behind the politics. The historical backdrop is important, but the story remains focused on relationships, loyalty, and the exhausting reality of living a double life. As the walls begin to close in around the characters, the tone shifts naturally from lighthearted comedy to something much more serious.

The production is supported by strong technical work across the board. Mandi Johnson’s costumes capture the polished look of the era, while Tony Stoeri and Aarya Batchu’s lighting helps guide the transition from bright comedy to mounting unease. Thomas Speltz’s sound design further establishes the period without overwhelming the action onstage.

What stays with you after the final scene is not just the injustice of the era, but the emotional toll it took on ordinary people trying to protect the lives they had built. Nearly seventy years later, Perfect Arrangement still feels relevant, not because it draws direct parallels to the present, but because its questions about fear, conformity, and personal freedom remain familiar.

Walking Shadow’s production is funny, thoughtful, and ultimately affecting. It sheds light on a lesser-known piece of American history while never forgetting that history is made up of individual lives. That combination makes Perfect Arrangement a rewarding evening of theater.

For more ticket and show information, please click the ticket link button below.

All photos are courtesy of Walking Shadow Theatre

THE GREAT GATBSY Tour Cancels Minneapolis Performance Mid-Show Due to Technical Difficulties

Mon, 08 Jun 2026 06:28:34 PST

The second to last Minneapolis performance of The Great Gatsby was cancelled mid-performance on Sunday, June 7 due to technical difficulties, The Minnesota Star Tribune reports. The matinee performance was halted just minutes into the show, but the issue was able to be resolved and the evening performance went on as planned.

“They’d only gotten through two or three numbers when, boom, the show stopped,” said audience member Mary Ellen Hennessey. “There was an announcement of technical difficulties. We waited for a while, then the show started and stopped again.”

Affected customers will receive refunds, according to theater officials, and they can expect the refunds within two to three weeks.

A notice shared by Ticketmaster read, “We’ll issue a refund to the original method of payment used at time of purchase … It should appear on your account within 14-21 days.”

Read the original story on The Minnesota Star Tribune.

Read our review of The Great Gatsby at the Orpheum Theatre in Minneapolis here.

Set in the Roaring Twenties, the story follows eccentric and mysterious millionaire Jay Gatsby, who will stop at nothing in the pursuit of the lost love of his youth, Daisy Buchanan. Through its fascinatingly nuanced characters – driven by complex inner lives, erupting with extravagance and longing – this epic tale has always been destined to sing. Now, it comes to life across North American stages, with a grand, Tony Award-winning production design befitting the 21st century.

THE GREAT GATSBY features music & lyrics by Tony Award nominees Jason Howland and Nathan Tysen, a book by Jonathan Larson Grant winner Kait Kerrigan, and is staged by award-winning director Marc Bruni and choreographer Dominique Kelley.

The tour currently features Jake David Smith as Jay Gatsby, and Senzel Ahmady as Daisy Buchanan, Joshua Grosso as Nick Carraway, Leanne Robinson as Jordan Baker, Lila Coogan as Myrtle Wilson, Will Branner as Tom Buchanan, Tally Sessions as George Wilson, and Edward Staudenmayer as Meyer Wolfsheim.

The company features ensemble members, D'Marreon Alexander, William Bishop, Justin Scott Brown, Kyle Caress, Valeria Ceballos, Anna Gassett, Joann Gilliam, Rosie Granito, Josiah Hicks, Nina Michael Howland, Tyler Johnson-Campion, Kurt Kemper, Joi D. McCoy, Charlotte McKinley, Macy McKown, Tim Quartier, Alli Sutton, Dee Tomasetta, Ryan Vogt, and Shai Yammanee.

Review: OPERA UNDER THE STARS at Waterworks Pavilion

Sun, 07 Jun 2026 15:12:46 PST

The June 6 performance of Opera Under the Stars at Water Works Pavilion offered exactly what audiences have come to expect from Overdressed Duo: a relaxed evening of high-quality music in an inviting outdoor setting.

Rather than presenting a full opera, the group assembled a wide-ranging program that moved comfortably between opera favorites and musical theater standards. The result was a concert that felt less like a formal recital and more like a community celebration of singing and storytelling.

The evening opened with the lively Brindisi from La Traviata, a fitting way to welcome the audience. Several Mozart selections followed, including music from Così fan tutte and Don Giovanni. These pieces gave the performers a chance to show both vocal skill and dramatic expression, particularly in the ensemble work.

Guest artists Alexis Reed and David Walton blended well with the core company, while new member Jordan Buchholtz made a confident debut. The chemistry among the singers was evident throughout the night, especially in the duets and larger ensemble numbers.

One of the program's strengths was its variety. After the Mozart set, the audience was treated to selections from Rodgers and Hammerstein's Cinderella. Songs such as "In My Own Little Corner" and "Ten Minutes Ago" brought a lighter, more playful mood, while the "Fight Songs" segment shifted gears with memorable numbers from Wicked and Rent. Hearing these songs alongside operatic repertoire highlighted the common thread of strong storytelling through music.

Following intermission, the performers turned to Offenbach's Les contes d'Hoffmann. The famous "Doll Song" was one of the evening's standout moments, combining humor, character, and vocal fireworks. Later, the beautiful "Barcarolle" provided one of the concert's most lyrical and atmospheric moments.

The "Love Songs of Opera" segment featured a collection of familiar favorites. "O mio babbino caro" drew an especially warm response from the audience, while selections from La Traviata and Don Pasquale showcased the singers' ability to communicate emotion without the benefit of costumes or staging.

The concert closed with music from The Sound of Music, a choice that seemed perfectly suited to the outdoor venue. Audience members could be seen smiling along to "My Favorite Things," and "Edelweiss" provided a gentle, heartfelt ending to the evening.

What continues to make Opera Under the Stars successful is its accessibility. There is no pressure to know the plots, composers, or historical background. People can simply bring a lawn chair, enjoy a summer evening, and experience great music. Judging by the audience's enthusiastic response, Overdressed Duo's formula continues to resonate.

For more upcoming performances, please visit Overdressed Duos website here.

Video: Watch the Trailer for THE WIZARD OF OZ at Children's Theatre Company

Fri, 05 Jun 2026 14:52:58 PST

Children’s Theatre Company will present The Wizard of Oz, based on the classic motion picture. Directed by CTC Artistic Director Rick Dildine†, with music direction and orchestrations by Victor Zupanc and choreography by Christopher Windom, The Wizard of Oz will run from April 21-June 14, 2026, on the UnitedHealth Group Stage.

It’s not every day that a wild tornado whizzes right over your head, taking the house and the whole farm with it! Or that the entire world magically shifts from black and white to technicolor right before your very eyes. But there’s nothing everyday about a shoe-obsessed witch, flying monkeys, or a yellow brick road, either. Join Dorothy, her three oh-so-curious friends, and Toto (played by a real dog!) in this grand spectacle, featuring songs you know and love from the classic film!

The adult cast of The Wizard of Oz features Becca Claire Hart* as Aunt Em/Glinda the Witch of the North, Riley McNutt as Uncle Henry/Gatekeeper/Ensemble, Reed Sigmund* as Zeke/Cowardly Lion, Regina Marie Williams* as Hickory/Tin Man, Dean Holt* as Hunk/Scarecrow, Autumn Ness* as Almira Gultch/Wicked Witch of the West, JoeNathan Thomas* as Professor Marvel/The Wizard of Oz/Ensemble, Bella West as Ensemble (Understudy: Dorothy), Keegan Robinson as Ensemble (Understudy: Hunk/Scarecrow), Bradley Johnson as Ensemble (Understudy: Hickory/Tin Man), and Brendan Nelson Finn as Ensemble (Understudy: Zeke/Cowardly Lion).

The student cast of The Wizard of Oz features Aniya Bostick and Harriet Spencer alternating as Dorothy. The student ensemble of The Wizard of Oz includes Aliya Bailey, Truman Bednar, Brody Breen, Zhandile Chidothe, Charles Foster, Morgan Houser, Wren Lillian Hatling, Addica Sharbono, George Wellens, and Julia Wissink. The adult understudies are Deidre Cochran, Monty Hays and Joshua Row.

Review: HOME, I'M DARLING at Lyric Arts

Fri, 05 Jun 2026 14:20:21 PST

At first glance, Home, I'm Darling looks like a light comedy wrapped in vintage charm. The dresses are immaculate, the kitchen gleams, and Judy seems perfectly content playing the role of a 1950s housewife. But Laura Wade's Olivier Award-winning play quickly reveals itself to be about much more than nostalgia and retro fashion.

Directed by Scott Ford, this production draws the audience into Judy's carefully constructed world, where every detail has been chosen to recreate an idealized version of the past. Kendra Mueller gives an engaging performance as Judy, capturing both her enthusiasm for the lifestyle and the growing unease that develops as maintaining the fantasy becomes increasingly difficult.

Kyler Chase works well opposite Mueller as Johnny, Judy's husband, who supports her unusual lifestyle but struggles with the practical realities that come with it. Their relationship feels genuine, and much of the play's emotional weight comes from watching the two navigate the widening gap between fantasy and real life.

The supporting cast helps keep the story moving and provides some of the show's strongest comedic moments. Siri Hellerman, Patti Hynes-McCarthy, Izzy Maxwell, and Charlie Morgan each bring distinct personalities to the stage, challenging Judy's choices while offering their own perspectives on happiness, independence, and modern relationships.

One of the production's greatest strengths is its visual appeal. Greg Vanselow's scenic design creates a picture-perfect mid-century home, while Sarah Christenson's costumes look as though they stepped straight out of a 1950s magazine advertisement. The design elements work together to create a world that is attractive enough to make audiences understand why Judy is drawn to it in the first place.

What makes Home, I'm Darling memorable, however, is that it resists simple conclusions. The play doesn't mock Judy for her choices, nor does it celebrate them uncritically. Instead, it asks why people become attached to certain ideas of the past and whether those ideals can ever truly exist outside of fantasy.

At just over two hours, including a 15-minute intermission, the production moves at a steady pace and keeps the audience invested. There are plenty of laughs along the way, but the questions raised by the script linger long after the final curtain.

More than a comedy about vintage living, Home, I'm Darling is a thoughtful examination of identity, relationships, and the tension between the lives we imagine and the lives we actually live. This production captures both the humor and the heart of Wade's script, making for an enjoyable and surprisingly relevant evening of theatre.

For more ticket and show information, please click the ticket link button below.

All photos are by Molly Jay

BroadwayWorld Launches Producer Fantasy Game

Tue, 09 Jun 2026 11:00:05 PST

Ever watched the weekly Broadway grosses roll in and thought you could pick the winners? Now you can put it to the test. BroadwayWorld has launched the Producer Fantasy Game, a free, season-long competition that lets theatre fans build a roster of Broadway shows and earn points based on how those productions actually perform at the box office. The draft window is open now.

How It Works

The setup is simple. During the draft window, you pick any six Broadway productions that opened this season. Drafting is non-exclusive, so there is no need to race a rival for a hot title. Any number of players can roster the same show.

From there, your shows go to work for you. Every week, each production on your roster earns fantasy points based on its reported box office grosses and capacity percentages. When Tony, Drama Desk, Drama League, and Outer Critics Circle nominations and wins are announced, your shows bank bonus points on top of that. And each week you can answer our Fantasy Forecast prediction questions for up to five bonus points per correct call.

Weekly Scoring

Each week, a show earns one base point for every $50,000 it grosses, so a $1 million week is worth 20 base points. On top of that, shows can earn bonuses: up to five points for filling seats (based on how close to full capacity the house ran), six points for grossing $2 million or more (or three points for grossing between $1 million and $2 million), and eight points if its gross jumped at least 15 percent from the week before. A show loses four points if its gross dropped at least 15 percent. If a show goes dark and reports no gross for a week, it scores zero for that week with no penalty.

The Fantasy Forecast

The Producer Fantasy Game is really two games in one. The first is the box office game: drafting shows and earning points from their weekly grosses and awards. The second is the Fantasy Forecast, a weekly set of prediction questions about what's happening on Broadway, where each correct answer is worth up to five points. You can play one or both.

We track them separately so you can shine at either. Your Producer score covers the box office game, your Forecast score covers your prediction results, and your Combined score adds the two together for the overall championship ranking. The leaderboard lets you toggle between Overall, Producers, and Forecasters, so a sharp predictor can top the Forecasters board even during a rough season for their roster, and a roster powerhouse can lead the Producers board without answering a single question.

Managing Your Roster

Your lineup stays at six shows all season, and you have plenty of room to maneuver. You get one free drop every week, three additional season drops to use anytime before the trade deadline, and free replacements whenever a show on your roster closes. New productions open throughout the season and become available the moment they start reporting grosses, so it pays to keep a transaction in your pocket for that buzzy new opening.

Join the Game

The Producer Fantasy Game is free for all BroadwayWorld users, and you can join any time the draft window is open. Draft within the first two weeks of the season and your roster is scored from opening week, so the earlier you get in, the more weeks you bank. Build your roster, make your predictions, and start climbing the leaderboard today.

Interview: Locky Brownlie of HEATED TWIGHLIGHT at Flipphone Events

Wed, 03 Jun 2026 11:03:09 PST

When Flip Phone's Heated Twilight takes over the dance floor on Friday, June 5, audiences can expect more than a themed party. The night combines the romance, tension, and camp appeal of Twilight with drag, dance, and late-night club energy, creating a space where fantasy and performance collide.

Among the featured performers is Locky Brownlie, founder of BROLESQUE, whose work blends athletic choreography, theatrical storytelling, and a playful sense of seduction. Joining a lineup that includes DJ Izzie P, drag artists Sasha Cassadine, Starrdust, and Hunky Dory, Brownlie will bring his signature style to a night built around rivalry, desire, and unapologetic spectacle.

Ahead of the event, we spoke with Brownlie about the appeal of the Twilight universe, the role of competition in live performance, and what audiences can expect when BROLESQUE steps into the world of Heated Twilight.

My first instinct is flirty. When I think of Twilight, I think about tension, longing, and the tease of it all. So much of the story is built around desire and restraint, characters wanting each other but not being able to fully give in. That’s what makes it so compelling. As performers, we get to play in that space between attraction and anticipation, and that’s where a lot of the fun lives.

The event leans into the idea of “heated rivalry”—what does playful competition mean in a performance space like this, and does it change how you approach your set?

Performance, dance, and theatre have always been built on a little bit of healthy competition. Every artist wants to bring their best work to the stage. What’s fun about an event like this is that we get to lean into the rivalry as part of the fantasy while still celebrating and supporting the other artists around us. It’s less about competing against each other and more about raising the energy of the entire room.

You’re sharing the stage with a mix of drag, DJ, and performance artists at First Avenue—what excites you most about this particular lineup, and how do those different energies shape your BROLESQUE style?

I love sharing a stage with local artists because every performer brings a different perspective and energy. That’s what makes these events feel special and unique to each city. What BROLESQUE brings to the mix is a distinctly male, theatrical dance experience, strong choreography, storytelling, and a lot of playful sensuality. In a theme like this, there’s something really exciting about seeing a group of men fully commit to the fantasy and create a world that the audience can get swept up in.

Thank you Locky for your time!

For more ticket and event information, please click the ticket link button below.

Review: THE GREAT GATSBY at Orpheum Theatre Minneapolis

Wed, 03 Jun 2026 11:07:52 PST

I attended opening night of The Great Gatsby at the Orpheum Theatre on June 2, and it was a fun and visually impressive evening of theater.

The first thing that stood out to me was the costumes. They were absolutely beautiful and really helped bring the glamour of the 1920s to life. Every time the curtain opened on one of Gatsby's parties, there was something new to look at. The set, lighting, and costumes worked together to create the lavish world that fans of the novel expect.

The music was another highlight. My favorite song of the night was "New Money." It was energetic, entertaining, and one of the numbers that really got the audience engaged. Several songs showcased the cast's strong vocals, but "New Money" was the one that stuck with me after the show.

The cast was excellent from beginning to end. Jake David Smith brought both confidence and vulnerability to Jay Gatsby, making him more than just a mysterious millionaire. Senzel Ahmady gave a strong performance as Daisy Buchanan, and the chemistry between the two leads helped make their complicated relationship believable.

I also really enjoyed Joshua Grosso as Nick Carraway, whose narration helped guide the audience through the story. Lila Coogan stood out as Myrtle Wilson, bringing a lot of energy to the role. Will Branner made Tom Buchanan easy to dislike, which is exactly what the role calls for, and Tally Sessions brought real emotion to George Wilson.

One thing I appreciated was that the show didn't rely only on spectacle. While the parties, costumes, and big musical numbers were exciting, the production also took time to explore the characters and the choices they make. By the end, the story's themes of love, ambition, and chasing an impossible dream still came through clearly.

Overall, I thought this was a strong production with a talented cast, memorable music, and stunning visuals. Whether you're a fan of the novel or just enjoy large-scale Broadway musicals, The Great Gatsby is worth seeing during its Minneapolis run.

For more ticket and show information, please click the ticket link button below.

All photos are credit to Evan Zimmerman for Murphy Made

A DRAG QUEEN CHRISTMAS to Return for 12th Year With 39-City National Tour

Tue, 02 Jun 2026 19:57:07 PST

“A Drag Queen Christmas” will return for its 12th year, launching a 39-city national tour this November - December. The 2026 edition is hosted by returning fan favorite and theatre star Nina West, and features an all-new merry lineup of drag superstars from the Emmy-winning RuPaul's Drag Race franchise.

Artist pre-sale begins Wednesday, June 3 at 10 a.m. (local time) with the code “TWELVE,” and general on sale begins Friday, June 5 at 10 a.m. (local time) at dragfans.com.

This year's cast includes:

Myki Meeks, Winner of RuPaul's Drag Race Season 18 (2026)
Nini Coco, Runner-up, Drag Race Season 18 (2026)
Darlene Mitchell, Drag Race Season 18 (2026)
Juicy Love Dion, Drag Race Season 18 (2026)
Discord Addams, Drag Race Season 18 (2026)
Crystal Methyd, Drag Race All Stars Season 11 (2026) & Drag Race Season 12 (2020)
Silky Ganache, Drag Race All Stars Season 11 (2026), Drag Race All Stars Season 6 (2021), Drag Race Season 11 (2019)

“A Drag Queen Christmas” is the world's premiere holiday drag showcase and a sensational theatrical experience that delivers high camp, over-the-top lip-sync performances, side-splitting comedy, elaborate costumes, Broadway-style staging, and a whole lot of heart—something we all seek during the chaos of the holiday season. With plenty of spectacular surprises in store, the show offers audiences a chance to see drag queens at the top of their game perform showstopping numbers of epic holiday proportions on revered theater stages across America. Each year, “A Drag Queen Christmas” provides an annual tradition for folks from all walks of life to come together and connect, find community, and celebrate the season with joy and laughter.

This dazzling, 18+ holiday extravaganza runs two hours and offers fans the chance to add-on a VIP Meet & Greet Experience—including early access to the venue, photos with the queens on stage, autographs, and exclusive tour merchandise.

A Drag Queen Christmas 2026 Tour Dates:

November 11 - Detroit, MI (Fisher Theatre)

November 12 - Rochester, NY (Kodak Center)

November 13 - Rutland, VT (Paramount Theatre)

November 14 - Portland, ME (Merrill Auditorium)

November 15 - Boston, MA (Emerson Colonial Theatre)

November 17 - Red Bank, NJ (Count Basie Center for the Arts)

November 18 - Morristown, NJ (Mayo Performing Arts Center)

November 19 - Washington, DC (Warner Theatre)

November 20 - Durham, NC (Durham Performing Arts Center)

November 21 - Wilmington, NC (Wilson Center - Cape Fear Community College)

November 22 - Philadelphia, PA (Fillmore)

November 24 - Pittsburgh, PA (Byham Theater)

November 25 - Columbus, OH (Palace Theatre)

November 27 - Chicago, IL (Riviera Theatre)

November 28 - Appleton, WI (Fox Cities Performing Arts Center)

November 29 - Omaha, NE (Orpheum Theater)

November 30 - Oklahoma City, OK (The Criterion)

December 1 - Des Moines, IA (Hoyt Sherman Place)

December 2 - Kansas City, MO (Uptown Theater)

December 4 - Denver, CO (Paramount Theatre)

December 5 - Salt Lake City, UT (Kingsbury Hall)

December 7 - Seattle, WA (Moore Theatre)

December 9 - Sacramento, CA (Channel 24)

December 10 - San Francisco, CA (Golden Gate Theatre)

December 11 - Stockton, CA (Bob Hope Theatre)

December 12 - Los Angeles, CA (The Wiltern)

December 13 - Santa Rosa, CA (Luther Burbank Center)

December 15 - Mesa, AZ (Mesa Arts Center)

December 16 - Tucson, AZ (Fox Tucson Theatre)

December 17 - El Paso, TX (Plaza Theatre)

December 19 - Austin, TX (ACL Live at The Moody Theater)

December 20 - Dallas, TX (Winspear Opera House)

December 21 - Wichita, KS (Orpheum Theatre)

December 22 - St.Louis, MO (The Factory)

December 23 - Knoxville, TN (Tennessee Theatre)

December 26 - Tampa Bay, FL (Straz Center for the Performing Arts)

December 27 - Fort Myers, FL (Barbara B. Mann Performing Arts Hall)

December 28 - West Palm Beach, FL (Kravis Center for the Performing Arts)

December 29 - Jacksonville, FL (Florida Theatre)

Feature: Sitzprobe of COME FROM AWAY at Guthrie Theater

Sat, 30 May 2026 16:06:33 PST

The summer season is upon us and that means a slew of new shows are scheduled to open in the coming weeks here in the Twin Cities. One of the most anticipated being the Guthrie Theater’s production of the 2017 Broadway hit, Come From Away.

Written by Irene Sankoff and David Hein, it tells the incredible story of a small Newfoundland town that unexpectedly becomes a refuge for thousands of stranded travelers from around the world after the United States airspace is closed on September 11, 2001. What follows is a heartfelt, equally funny yet heartbreaking, and inspiring story of resilience, generosity, and the exploration of how, even in the darkest of times, we are one global community.

Although performances don’t begin until June 6, The Zeal Review was invited into the rehearsal room to experience the production’s sitzprobe. For those unfamiliar with the term, a sitzprobe is the first time that the cast and orchestra come together to intertwine the two groups and begin to create the full sound audiences will experience.

All that can be said is that if this first listen is any indication of the production audiences will be served, directed by the esteemed Kent Gash, Twin Cities is about to have a hit on their hands. The sheer wall of sound that these two groups put forth is not only emotionally charged but also soulful, raw, and electric. It is clear that everyone involved is so passionate about the story being told and every member of the orchestra is having the time of their lives bringing this world to life through the vibrant folk inspired score.

It was not hard to read how others felt about what they were hearing due to no shortage of toe tapping, head bobbing, and gleeful smiling from the entire room throughout the rehearsal.

Be certain that this will be a very hot ticket during the summer run (June 6-August 9), so it is highly advised to pick up those tickets asap before availability begins to shrink.

Interview: Jake David Smith of THE GREAT GATSBY at Orpheum Theatre Minneapolis

Fri, 29 May 2026 16:10:39 PST

Jake David Smith is currently touring in the role of Jay Gatsby in the stage adaptation of The Great Gatsby, bringing one of American literature’s most familiar characters to life night after night. The production stops in Minneapolis, Minnesota, where it will run June 2–7, 2026 at the historic Orpheum Theatre, adding a bit of Jazz Age shimmer to the Midwest.

Jake shares what it’s like living inside Gatsby’s world on tour, what he’s discovered in the character along the way, and the moments on stage that continue to stick with him.

What do you enjoy most about your role in this production?
I like peeling back the layers and giving the audience access to Jay's inner thoughts.

What is your favorite song in this show?
I think “Better Hold Tight,” the duet between Nick and Jordan (Joshua Grosso and Leanne Robinson), is so charming and genuine. I love that one.

What is your favorite moment in this show?
My favorite moment of the show is watching Joshua Grosso deliver the final monologue from my standby position in wing 2. It’s the perfect way to tie a bow on the evening of storytelling.

What do you hope the audiences take away from seeing this show?
That there are still big, bright, and elaborate shows out on the road today!

Is this your first time in Minnesota? Any places you're hoping to check out while here?
I played there with Les Mis as Marius; I loved playing pickleball at Lucky Shots, and hopefully this time, I’ll get a Twins game while we’re in town!

Thank you Jake for your time, we look forward to having you here!

For more ticket and show information, please click the ticket link button below.

Kiara Angline and Jacob Marckel Selected to Represent Minnesota at 2026 Jimmy Awards

Thu, 28 May 2026 20:06:27 PST

Hennepin Arts has announced that Kiara Angline (she/her) of Burnsville High School and Jacob Marckel (he/him) of PiM Arts High School (Eden Prairie) will represent Minnesota at the National High School Musical Theatre Awards (the Jimmy Awards) – a national celebration of outstanding student achievement, recognizing individual artistry in vocal, dance, and acting performance and elevating the importance of theatre arts education in schools.

The announcement was made last night following orientation for Spotlight Showcase 2026, Hennepin Arts' annual event that formally recognizes the extraordinary contributions of the students and educators who make up Minnesota's vibrant high school theater community. Spotlight Showcase takes place Monday, June 8 to Tuesday, June 9 at the historic State Theatre (805 Hennepin Ave.).

“Kiara and Jacob's journeys through Spotlight Education capture the heart of what this program makes possible,” said Andrea Mokros, interim president and CEO of Hennepin Arts. “From their experiences on and off the stage, they've built confidence and formed connections that will stay with them far beyond high school. That journey is exactly why we do this work, to bring people together through the arts and expand opportunities for young people across Minnesota. They embody our vision of a thriving arts community, where creativity and collaboration inspire the next generation to lead with purpose.”

The Jimmy Awards/The National High School Musical Theatre Awards (NHSMTA) are presented by The Broadway League Foundation, Inc. The NHSMTA invites two nominees from each local regional ceremony to New York City for a rigorous theatre intensive that includes coaching sessions, training and rehearsals led by some of Broadway's most accomplished professionals. Nominees will spend ten days in New York City from Friday, June 12 through Tuesday, June 23, and their experience will culminate in an extraordinary talent showcase performed live in front of an audience on a Broadway stage. The seventeenth annual Jimmy Awards will take place on Monday, June 22, 2026 at the Minskoff Theatre. For more information, please visit www.JimmyAwards.com.

Angline, a junior from Burnsville High School, has grown as both a performer and leader through her experiences in theater and Spotlight Education. As Vice President of her theater guild, she works to support fellow students and strengthen her school's program while contributing on stage, as Dance Captain and behind the scenes on crew. She says Spotlight helped push her beyond her comfort zone and inspired her to continue growing as both an artist and leader. “Theater has taught me that leadership isn't always about being in the center, it's about supporting and helping others around you shine,” said Angline.

Marckel, a junior from PiM Arts High School, believes leadership in theater comes from courage, collaboration and helping others succeed. A two-time participant in Spotlight Showcase's Featured Dancer production number, Marckel led by example through his bold and confident performances, encouraging fellow artists to step outside their comfort zones. “Being a bold leader in front of your peers and fellow artists provides the freedom for others to join without fear,” said Marckel. Beyond the stage, he has supported peers by sharing his own experiences with self-confidence and comparison, helping fellow students navigate the pressures that can come with performing.

Hennepin Arts' Spotlight Education program is an essential part of arts education in many Minnesota high schools. Annually, we help nearly 8,000 students in more than 100 high schools build confidence, critical thinking, empathy, a sense of community and knowledge and appreciation of theater. The program supplements and enhances arts curricula through production assessments, workshops and arts journalism, increasing equitable access to quality theater education. Spotlight Showcase, our annual recognition event, is Minnesota's largest celebration of high school theater and provides over 1,000 students the opportunity to perform at the historic State Theatre.

Spotlight Showcase proudly employs professional staff from Minnesota, Broadway, and beyond to collaborate with students across all areas of theater. Bourgoin Productions serves as producer.

Tickets are on sale now to the general public at the State Theatre Box Office and online at HennepinArts.org.

Review: FEFU AND HER FRIENDS at Theatre Pro Rata

Thu, 28 May 2026 13:26:50 PST

Some shows are easy to sit back and watch. Fefu and Her Friends isn’t one of them — and that’s what makes it so interesting.

Performed inside the Searle Mansion, this production turns the audience into part of the experience. During the second act, everyone splits into smaller groups and moves room to room throughout the house while different scenes happen at the same time. It feels less like watching a play and more like accidentally overhearing deeply personal conversations.

María Irene Fornés’ writing is funny, awkward, uncomfortable, thoughtful, and emotional all at once. Even though the play is set in the 1930s, the conversations between these women still feel surprisingly current. The characters bounce from joking around to revealing painful truths so quickly that you never quite know where a scene is headed.

Jessica Winingham is excellent as Fefu, giving the character both confidence and unpredictability. You’re never completely sure what she’s thinking, which makes her fascinating to watch. Jhax Berryhill brings a quiet heartbreak to Julia, and the rest of the cast — Brettina Davis, Christy Johnson, Gracie Nayman, Nora Sonneborn, Nissa Nordland, and Chesa Greene — all make the group dynamic feel natural and believable.

What really works about this production is how intimate it feels. In some scenes, the audience is only a few feet away from the actors, which makes every pause, glance, and uncomfortable silence stand out even more. Director Carin Bratlie Wethern smartly lets the show unfold without forcing big dramatic moments, and that makes everything feel more real.

This isn’t a straightforward play where everything is neatly explained. You catch pieces of conversations, different perspectives, and emotional moments as you move through the mansion, and part of the experience is figuring out what it all means for yourself.

By the end, Fefu and Her Friends feels less like a typical night at the theater and more like you briefly stepped into someone else’s world.

For more ticket and show information, please click the ticket link button below.

All photos by Alex Wohlhueter

BroadwayWorld.com Minneapolis / St. Paul Stories

Review: MONTY PYTHON'S SPAMALOT at Ordway

Interview: Carole Schultz & Elizabeth Chua of SIMPLY OVERDRESSED at Overdressed Duo

The Cowles Center Reopens With Site-Specific Dance Performance By Anat Shinar

HADESTOWN: TEEN EDITION to Be Staged by Children's Theatre Company in Minneapolis

About the Show

HADESTOWN: TEEN EDITION to Be Staged by Children's Theatre Company in Minneapolis

About the Show

Review: NOBODY'S PERFECT at Daytrippers Dinner Theatre

Interview: Jack Swanson of VOCALISE at VOCALISE

Around The BroadwayWorld: Top News, Reviews, Interviews & More from May 2026

Editor's Picks: Top News Stories

Diane Paulus Will Direct Immersive David Bowie Inspired LIFE ON MARS at American Repertory Theater

Interviews

Interview: Adam Fields of BEETLEJUICE National Tour

Interview: Richard Kind Talks Finally Taking on Edna in The Muny's HAIRSPRAY

Reviews

Videos

Photos

Interview: Chris Collins-Pasano of SPAMALOT at Ordway Center For The Performing Arts

Review: MIDSUMMER NIGHT'S DREAM at MODERN REP

Theater Mu and New Native Theatre Name MU TANG CLAN VOL 3 Playwright Cohort

Theater Mu and New Native Theatre Name MU TANG CLAN VOL 3 Playwright Cohort

Review: IT WASN'T MURDER? - AN ORIGINAL COMEDY MYSTERY at Plymouth Playhouse

Interview: Viridiana Arevalo Martinez of MINNESOTA TWINS PRIDE at Target Field

Video: Children's Theatre Company Shares 'Somewhere Over the Rainbow' Clip from THE WIZARD OF OZ

Review: MY ÁNTONIA at Theater Latté Da

MOMENTUM Conference to Feature Anne Halvorson, Zelia Gonzalez & Carolina Ortiz at MCAD

Meet the Speakers:

2026 MOMENTUM Schedule

Review: PERFECT ARRANGEMENT at Walking Shadow Theatre

THE GREAT GATBSY Tour Cancels Minneapolis Performance Mid-Show Due to Technical Difficulties

Review: OPERA UNDER THE STARS at Waterworks Pavilion

Video: Watch the Trailer for THE WIZARD OF OZ at Children's Theatre Company

Review: HOME, I'M DARLING at Lyric Arts

BroadwayWorld Launches Producer Fantasy Game

How It Works

Weekly Scoring

The Fantasy Forecast

Managing Your Roster

Join the Game

Interview: Locky Brownlie of HEATED TWIGHLIGHT at Flipphone Events

Review: THE GREAT GATSBY at Orpheum Theatre Minneapolis

A DRAG QUEEN CHRISTMAS to Return for 12th Year With 39-City National Tour

This year's cast includes:

A Drag Queen Christmas 2026 Tour Dates:

Feature: Sitzprobe of COME FROM AWAY at Guthrie Theater

Interview: Jake David Smith of THE GREAT GATSBY at Orpheum Theatre Minneapolis

Kiara Angline and Jacob Marckel Selected to Represent Minnesota at 2026 Jimmy Awards

Review: FEFU AND HER FRIENDS at Theatre Pro Rata