"Don't Ever Say (EXPLETIVE DELETED) Onstage Again!"

Audiences storm the stage. Actors suffer gastrointestinal distress. Backstage confessions of theater gone terribly, terribly wrong.

It seems appropriate that Glass Onion, which is based on the public musings of John Lennon, should open with a cacophony of percussive instruments distributed beforehand to the audience. That is, the script is a lot of noise and not much drama. Not to say that Mann isn't adequate in his portrayal of Lennon--he is brave and somewhat affecting in tackling such an icon. But the words ultimately just depict Lennon's public persona without getting at the interior life of the man--nearly akin to portraying Bill Clinton by reciting the lines of his campaign speeches. Sat 10:00 p.m. Hennepin Center for the Arts. (Michael Fallon)

 

Grrrls: Subversive Performances of Femininity

Elizabeth Whitney

Okay, so this show's title sounds like someone's Women's Studies thesis. But fear not, Camille Paglia hasn't joined the Fringe Festival circuit (at least not yet). Instead Whitney, direct from Carbondale, Illinois, makes us laugh out loud about gender politics. Whether she's a country singer twanging about how "we're coming out of the kitchen with a vengeance," playing dominatrix Barbie, rethinking Rizzo from Grease, or considering the butch/femme dynamic, Whitney knows how to make her feminist point without beating us over the head with a hardcover copy of Susan Faludi's Backlash. Hey, sister, go, sister! Thu 10:00 p.m., Sat 2:30 p.m., Sun 5:30 p.m. Whitney Studio. (Palmer)

The Hands of God

Ensemble Productions

The best moments in The Hands of God, a morality play by Carlos Solorzano set in northern Mexico, are silent ones--peasants wearing Day of the Dead masks and pantomiming the suffering of the people. The rest of the play is rather stilted and overacted. And though Kindra McGrane does a nice turn portraying Beatrice, the protagonist intent on rescuing her brother from jail, the rest of the predictable cast of characters--a priest, a jailer, a prostitute, the devil--do nothing to keep us from spiraling toward a predictably ungodly ending. Wed 5:30 p.m., Fri 7:00 p.m., Sun 2:30 p.m. St. Mark's Episcopal Cathedral. (Fallon)

 

[In John Troyer's Apartment]

John Troyer et al.

Yes, the title sounds suspicious, maybe even frightening. The term captive audience takes on a new twist as you contemplate what a wildly creative, Heiner Müller-obsessed playwright like John Troyer might do with you were he to get you into his apartment. Is it a real show? you ask. Yes, it is. Is it really in his apartment? Yes, it is. (And yes, mercifully, the place is air-conditioned.) What is it about? That's harder to answer--and that's the point. Where do characters go when they're not onstage? What happens on the other side of the closed door? What if the four walls surrounding you became the fourth wall in your life's drama? What if everyday life weren't? Wait--what is that woman doing with the noose? What's making that thumping noise? And what keeps John Troyer's neighbors from calling the police? 7:00 p.m. nightly through Saturday; (612) 343-3390. Shows are Webcast via www.fringefestival.org/jtroyer.ram. (Lisa Leonard)

 

Into the Acid Fountain

Ministry of Cultural Warfare

Loosely basing his madcap comedy on Federico Fellini's La Dolce Vita, local director and playwright Matthew Foster mixes a lethal dose of desperate drama and over-the-top humor. The tight, witty script follows a gay twentysomething, Marcello (Nathan Surprenant), as he drowns in the meaninglessness of our polluted society. While a priest, a psychic, and a series of troubled relationships cannot offer Marcello any answers, there is one man who can: a junkie/scary-clown bum (Matthew Kessen) who also regularly presents comedy skits throughout the show. You may not find enlightenment, but you're gonna love those screwed-up slag jugglers. Thu 10:00 p.m., Sat 8:30 p.m., Sun 1:00 p.m. Minneapolis Theatre Garage. (Jeremy Swanson)

 

Loose Woman

Gypsy Baby

"I've been praying to bare my soul to the world, and the world is yelling, 'Show us your tits,'" Lyndsay Kayser laments toward the end of her one-woman show on the highs and lows of being a broad. Shifting characters (and accents) from Brooklyn vaudeville cookie to Texas high school princess, and from wisecracking movie star to clueless ingénue, Kayser speeds with racy aplomb through the canon of classic babes-on-parade. Sometimes she's like a Barbie doll on speed--too fast for us to follow as she rushes through the booby-trapped territory of the eternal Female. But when she's on, she's a firecracker. Fri 10:00 p.m., Sat 5:30 p.m., Sun 2:30 p.m. Red Eye. (Shapiro)

 

Loteria Loca

Teatro Latino

Loteria Loca romps lustily through the playground of contemporary society, casting a satirical eye on issues of concern to Latinos. El Señor (God), Angelita (the little angel), and Diablita (the little devil) constitute a loving if slightly dysfunctional family, whiling away the hours in heaven playing Loteria, a Latino card game similar to bingo. After El Señor quashes Diablita's cardsharping, he convinces his fractious progeny to act out scenes from various Loteria cards. The resulting sketches lampoon modern U.S. mores with a pleasingly progressive politics, skewering Survivor, the INS, Mexican soaps, and NAFTA in the process. Fri 5:30 p.m., Sun 7:00 p.m. Acadia Cabaret Theater. (Niels Strandskov)

 

Mafia on Prozac

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