Through June 20
Theatre in the Round
245 Cedar Ave., Mpls.
Matt Sciple directs Simon Gray’s London hit about faculty dynamics and loneliness.
Sciple says, “Eddie [Richard Brandt] and his lifetime companion, Thomas, run the school together. We never meet Thomas, but we hear about their relationship, which is presented matter-of-factly and unapologetically. We’ve decided that Quartermaine [Dann Peterson], while pretty asexual in the play, is probably gay, too.”
Indeed, Peterson poignantly understates Quartermaine’s gay alienation. Maggie Bearmon Pistner crackles as a tormented hetero spinster.
Through June 20
Red Eye Theater
15 W. 14th St., Mpls.
Gay poet Walt Whitman’s “The Sleepers” inspired the BodyTalk dance duo of Rebecca Abas and Gerry Girouard.
As Girouard notes, the duo blends tango and modern dance “with leg entwinings and rhythmic understandings. We take this sophisticated lead/follow or propose/reply beyond the usual sensual interactions, and look at other emotive and relational interactions in life.”
Girouard looms as perhaps the most athletic and sensual of established Twin Cities choreographers.
Through June 24
350 St. Peter St., St. Paul
Director Adam Arnold calls the tribal rock musical “a period piece. We’re seeking to express the views, values, and practices of the hippies from the ’60s, including celebrating the gift of sexuality in all its forms, as well as the fluidity of gender. Some men in our Tribe occasionally dress as women; some women in our Tribe occasionally dress as men; and sometimes, you just will not be able to tell the difference.”
1320 Lagoon Ave., Minneapolis
Gay rights and fateful love between two men, played by Andrew Sass and Jemar Rovie-Frenchwood, fuel this local indie film.
Director Christopher Beer explains, “I view sexuality, and the context of that word, as something of a cultural construction. It’s a means of definition, of labeling—a way of understanding and identifying. There is what we do sexually as a creature of the planet, and there is the way we present ourselves in regards to social norms. FAUX not only discusses this point directly in the dialogue, but within the scope of the frame as well. The characters and situations, though prominently featuring GLBT and ‘other’ themes and inflections, are not crafted around orientations. They exist simply as human beings in human scenarios without regard to label, as I feel they should be in real life.”
Madame Majesta’s Miracle Medicine Show
Thorugh June 26
700 N. 1st St., Mpls.
Gay composer/lyricist duo Aaron Gabriel and Tod Petersen offer an “Americana” folk vaudeville for Interact, the region’s preeminent theater for persons with disabilities.
Gabriel shares, “It’s great when you can fire off with someone like Tod, who understands the musical theater canon—like Gypsy and The Music Man.”
Petersen adds, “The show’s big theme is that we may be dying, but not today. It’s about a traveling community of misfits, and that joy of community, creativity, and adventure.”
Alternate Visions Festival
711 W. Lake St., Ste. 101, Mpls.
Feminism soars! In Solo Flight, Meena Natarajan directs actress/writer Katie Herron’s take on women aviators of the ’30s and their addiction to danger.
Of actress/writer Katie Ka Vang’s Hmong Bollywood, director Natarajan observes that it reveals “why Hmong women living in the United States adapt Bollywood culture into their own, and we explore masculinity in both cultures.”
Pa’s Hat: A Liberian Legacy
Through June 27
3501 Chicago Ave. S., Mpls.
Namir Smallwood devastates as 14-year-old soldier Femur, who wears the wig of a woman he killed in service of brutal warlord Charles Taylor. Liberia was founded and colonized two centuries ago by freed American slaves, but Cori Thomas’s compelling play shows how tensions stemming from back then still ricochet. Marion McClinton sharply directs a forceful cast.
Through June 27
3540 34th Ave. S., Mpls.
The star/creator of last year’s phenomenal Ivan the Drunk, Paul Herwig, recalls squatting in the ’80s with a homeless artists colony in an abandoned Paris building protected by winos, no less. We meet Dracula’s granddaughter and an Aussie called “Horse.”
According to Herwig, it’s “about freedom, throwing yourself to the wind, and not worrying about the consequences.”