"Tatterhood," directed by Emilia Allen, is drawn from Norse mythology. Tatterhood (Parker Genne) is a dirty hussy who rides a goat and carries around a wooden spoon. When a royal seeks to marry her, she agrees, but only on her own terms. Allen does some interesting gender reversals in casting. Genne, who is feral in the title role, is joined by actors Laura Asheim and Sean Hansberry as well as musician Joseph Ye in this wildly imaginative production.
(7 p.m. Fri., 2:30 p.m. Sun.; Bryant Lake Bowl, 810 W. Lake. St.)
Welcome to the Lotus Center, the obscure locale of this darkly sensual, raw and melodic piece. Employee Colleen Kruse spins tales about her job "facilitating kink" with a flat, dry delivery that contrasts eerily with Karen Vieno Paurus' jazzy, lush musical numbers. The two alternate storytelling and singing in a series of vignettes that explore desire, dreams and lust in a surprisingly visceral fashion. The connections between the two forms can sometimes seem tenuous, but when they click, as in Paurus' rendition of "Be My Baby," they are spellbinding.
(10 p.m. Thu.., 7 p.m. Sat.; HUGE Theater, 3037 Lyndale Av. S.)
Real Dead Ghosts
Confine two characters to a room in an isolated location and get them talking about their relationship issues. That's the formula that playwright Jonathan A. Goldberg seems to exploit in this talky one-act. An insecure, controlling woman and an apathetic, aimless man who hunts for ghosts wallow in their co-dependence at a cabin in the woods. Lara Hillier and Nathaniel Kent from Brooklyn, N.Y., give solid performances and find moments of intimacy. But the play's references to past jealousy, unemployment and abuse feel clichÉ rather than seriously penetrating.
(10 p.m. Wed., 7 p.m. Sat.; Mixed Blood Theatre, 1501 S. 4th St.)
Some great talent contributes to this abridged "Twelfth Night," adapted by Catherine Johnson Justice, who plays Viola, and staged by Terry Hempleman, who plays Orsino. The acting ensemble also includes Alayne Hopkins as Olivia, Clarence Wethern as Sebastian and Emily Zimmer is Feste. The creative team hits some marks in this ambitious production, even if the usually reliable Hempleman seems miscast as the duke.
(5:30 p.m. Wed., 8:30 p.m. Fri, 1 p.m. Sat., 7 p.m. Sun.; Rarig Thrust, 330 21st Av. S.)
The Finkles Theater Show
Ryan Lear and Rachel Petrie portray two nerds with no theater experience who are about to put on their first show. It's a bit of a clichÉ, but as these scarecrows lurch about, they show us that they have the legs to keep this spoof fresh, clever and, dare I say, intelligent. Lear, particularly, is great at clowning, and Petrie at one point launches into a serious song that stops you. Yes, she can sing. Both performers rely on keen physicality and largely succeed in keeping afloat what might have been a one-joke pageant.
(8:30 p.m. Fri., 4 p.m. Sat.; Bryant Lake Bowl, 810 W. Lake St.)
Shakespeare Apocalypse: a New Musical
The mash-up of classic literary figures and the apocalypse probably looked better on paper than it did on stage. The actors did a fine job making the most of a script that was a little over-the-top. The best songs were catchy, filled with funny bits. The story line was mediocre. It did poke fun at other musicals -- I'll give it that. In all, it wasn't an hour lost.
(8:30 p.m. Fri., 2:30 p.m. Sun.; Theatre in the Round, 245 Cedar Av. S.)
The Tiger in the Room
Playwright Sharon DeMark's newest play does an interesting job exploring the realms of post 9/11 life. Natalie Rae Wass does an admirable job in playing Almond -- a young woman visiting a therapist for the first time in New York City. DeMark's script takes us on a journey of Almond's fears, anxieties, hopes and dreams as Almond explores her past, with the help of various people in her life. There were plenty of cute, wholesome moments to even out some of the most vulnerable ones.
(5:30 p.m. Mon., 7:00 p.m. Tues., 4:00 p.m. Fri., 8:30 p.m. Sat. Mixed Blood Theatre, 1501 S 4th St.)
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