Minnesota

Chris Garza covers the Mu Performing Arts production Eric Sharp’s play, Middle Brother which tells the story of an adoptee searching for his roots in Korea.

Haley Honeman writes about The Kirkbride Cycle, a site-specific musical performed at Fergus Fall State Hospital, a deinstitutionalized asylum in Minnesota.

Alan Berks offers an overview of the history of MinnesotaPlaylist.

Trista Baldwin offers an overview of Workhaus Collective.

Chris Garza reviews Theatre Unbound’s Silkworms (a nun play) and takes a look into the director Isabel Nelson's devising process.

Hayley Finn writes on the creative partnership between playwright Kira Obolensky and Artistic Director of Ten Thousand Things Michelle Hensley.

The term “collaborative” for me conjures up the idea of a loose group of artists with a shared Asian American identity and purpose, working together to produce a wide range of projects, from workshops, readings and short performances to full productions. If this process is successful, I believe it would be possible that within a three to five year period, there could be a significant Asian American presence in the Philadelphia theater community and a real demand for their work.

We completed our ArtPlace funded Arts on Chicago initiative in June of 2013. Arts on Chicago engaged forty artists in twenty placemaking projects to turn a ten-block stretch of Chicago Avenue into an arts district. It was a massive effort that taught us a lot about what Creative Placemaking means in the context of our South Minneapolis community. This post is part of a series of four articles on Creative Placemaking publishing in conjunction with the 2014 ArtPlace America Grantee Summit. The Summit will livestream Monday, March 3 to Wednesday, March 5 on HowlRound.TV. In Twitter, use #ArtPlace to participate in the conversation. View the full series, schedule, and archive here: http://bit.ly/artplace2014 .

Chris Garza reviews Muy Very Authentico, from the Minneapolis based collective Theatre Forever. Garza shares his skepticism the production as it balances between absurdity/satire and offesnive misrepresentation.

Parhelion, a play about false starts and disappointment, marks a very promising beginning for Little Lifeboats in Minneapolis as their inaugural production.

This initial conversation between Artistic Director Jack Reuler and Playwright-in-Residence Aditi Brennan Kapil examines the artistic case for a theatre in Minneapolis to charge no admission, program ambitious new work that stretches its aesthetics, capacity, and resources, and perhaps more importantly, why this matters?

Chris Garza visits The Visit staged in rural Minnesota, and reflects on how immersive theater invites audiences complicity in a play about mob psychology, vengance, and greed.

Chris Garza covers the 2013 Minnesota Fringe Festival and reports back on its selection lottery, aesthetics, and discusses some of the 42 performances he saw.

The tour of UK’s War Horse in the United States shows us that, even a ingenious play, assumed historical knowledge can make or break an audience’s experience.

Jeff Freeman details his experience of interning with Penumbra Theatre.

Chris Garza discusses Intermedia Arts and Freestyle Theatre’s recent production about the politics of skin in the United States, which makes the audience question the validity in saying the US is a “post-racial” society.

Sarah Bellamy reflects on Penumbra Theatre Company's financial situation, and provides a roadmap of their goals, challenges, and approach to fundraising.