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Dot the Halls!

Stoke the fire, tinsel the tree, “enhance” your eggnog – do whatever you do to make yourself comfortable this holiday season, for you know just how stressful this time of the year can be!

That angst comes in many shapes and forms, from last-minute gift shopping to navigating those inevitably disparate political views. Sometimes, however, the biggest cause of anxiety isn’t something that can be whisked away with the tree and wrapping, but something that fundamentally tests the love and hope of the season.

Currently running at Park Square is a play called Dot, by Colman Domingo, that explores those trials and tribulations.

In the days leading up to Christmas, one West Philadelphia family is rocked by the fact that their mother’s health is rapidly decling due to Alzheimer’s. All around age forty, the children are often too wrapped up in their own mid-life crises to face the severity of the situation, all too willing to snipe at each other’s own shortcomings. Can the family push past these petty insecurities to confront the the reality of losing their mother?

Like I was saying before, the type of stress that this must cause on the family isn’t going to go away with the coming of a new year and by the end of the play, the siblings realize this. That they themselves are the only support system they have to rely on. No matter the differences, the bond of family is too powerful to ignore.

That then, is where those pillars of the season – love, joy and hope – come into play.

For all of it’s drama, Dot is extremely heartwarming and often down-right hilarious. Any one with siblings or numerous relatives can attest to the absurdity that ensues when so many loud personalities share the same living room. Either your join the madness or sneak away to the kitchen and gorge yourself on leftovers. However you cope, you still appreciate those that you call family, however different they may be from yourself.

This is why Dot is such a great play for Christmas-time and why I would love to see it done often in as many theaters as possible. Not only do the holiday themes run deep, but it’s a new play, so you’re able to relate to the work in a way that more closely resembles your own world than that of say, another telling of Victorian-era A Christmas Carol.

Therefore, treat yourself this season and witness the tornado of tinsel and tears that is Dot and get in touch with those traditions that make you warm and fuzzy inside. Or is that the eggnog your sipping?

Tickets and more information HERE 

 

Of Mice and Men in Review

Looking back on my time performing in Of Mice and Men at Park Square, I can’t help but marvel at all the studens who came and witnessed our rendition of the classic story. Nearly every morning between November 4 and December 16, groups both large and small came to the Andy Boss Thrust Stage and were down right captivated. Rarely did we have any disturbances and certainly never anything that warranted more than a quick visit from the house manager.

Credit here has to go to that house management team of Quinn Shadko and Adrian Larkin (who set clear expectations to the kids in a pre-show speech), but I think the schools themselves deserve a ton of credit as well. These were kids who had all mostly read the book already and were eager to delve further into the literature but watching it come to life. When people ask me who adapted the play, I love saying John Steinbeck. Since he also wrote this play, I believe it’s a highly constructive component to studying the novel.

This all became apparent to me over the course of the run, when we would hold post-show discussions after select performances. These twenty minute talk-backs were the chance for students to directly engage with the actors. Our conversations covered some fairly heavy topics such as gender roles, racism, the class economics of the Depression and the treatment of the mentally impaired.

But were these topics too much for teenagers to grapple with? In every instance, I was surprised by their eagerness to discuss. Such a forum seemed to give them the freedom to say just what they thought about those aforementioned topics and how our modern world is both alike and different from that of 1937. As an educational show, Of Mice and Men offers so much to sink one’s teeth into. It’s like a little microcosm of all the politics America has always struggled with. I would encourage any social studies or history teacher to check it out.

While the show is an intellectual goldmine, I also loved the fact that it offered the students so many opportunities for emotional release! I’m not even talking about all the tragedy – yes, they cried as much as the adults – but the willingness that they had to laugh, mock and cheer was admirably bold.

For an actor, it was rejuvenating. It felt like being in Elizabethan England, playing to the groundlings at the Globe. That kind of audience participation is so important as it recognizes the inherent fact that this is all make-believe and that we’re all experiencing the story. Of course you don’t want to be disrespectful to any performer, but why shouldn’t audiences “aaaaaawwwww” at the dog or jeer the bad guy? Hopefully those kids had as much fun as the actors and came away thinking about “The Theatre” as a place where they can not only reflect, but also relax.

I think this is something else our show succeeded in doing and for that, I’m so grateful I got to be involved. One of the biggest discussions in the theatre world right now is cultivating audiences from an early age. Of Mice and Men offers teenagers everything they could ask for – a riveting drama with plenty of action and comedic relief. And what do you know, they’re learning a thing or two to boot!

Just two performances left, Friday, Dec 15 and Saturday, Dec 16 at 7:30 p.m. Tickets and information here

Charles Hubbell: The Claudius of Clout

Charles Hubbell is an actor currently performing in Park Square Theatre’s Hamlet. In this production, he portrays the conniving Claudius, killer of Hamlet’s father – usurper of the throne. Such a cool and calculating character demands a smart and experienced actor and Hubbell fits the role perfectly. Not only does he have experience with the play, but actually doing it at Park Square before, albeit as a different character. Looking back on the show, directed by Mary Finnerty, he recalls:

I played the role of Laertes. I was an insufferable hack then. Long hair, arrogant and rebellious. I regret I caused a lot of mischief during that production. Now I’m back as Claudius which is great fun because I’m bringing my years of experience and hopefully some maturity to the role. It’s fun to do those same Laertes/Claudius scenes I did then [once] as the hot headed youth but now I’m the cool, calculating King. 

Even when sitting in on a recent rehearsal, I would definitely vouch for this sense of maturity.

Charles Hubbell as Claudius (Photo by Amy Anderson)

A native of the Twin Cities, Hubbell was born and raised in Golden Valley and Crystal, respectively, before studying at the University of Minnesota. In addition to working his way through all the characters in Hamlet, he works as a talent agent for Agency Models and Talent, finding actors and models for the commercial market. His long experience in the independent movie world, as well as voiceover work, television and web shows, lends itself quite naturally to finding work for others in the field. Not only that, but he is an accomplished puppeteer and loves working with puppet teams to create webisodes and live comedy shows. These ain’t your typical kid-friendly puppets shows, however, as Hubbell prefers more grown up comedy, for those who enjoy Jim Henson-styled puppetry. His work has been seen on the web with Transylvania Television and at The Brave New Workshop with Tipsy Kangaroo’s Naughty Puppet Review.

Don’t expect that same level of irreverence with Claudius, however. As you take in Park Square’s production, you’ll be hooked by a very Machiavellian figure. Not just a politician, but a strategist, who is playing a long game of chess he intends to win. Perhaps not unlike many real-life figures throughout history, he is willing to challenge the divine and bend the will of his subjects.

Tickets and more information at parksquaretheatre.org

Adapted and directed by Joel Sass and featuring Charles Hubbell as ‘Claudius”. 

Meet Eva Gemlo!

A new face you might see around Park Square is that of Eva Gemlo! As a ticketing associate, she’s among the few and the proud to play a part in one of the most vital facets of a theatre company. The one selling you your ticket is probably going to be the first face you see that evening, after all, and Eva will definitely leave you with a bright first impression. Not only does she have plenty of theatre experience, but really loves the administrative side of things, saying,

I’ve been lucky enough to work with A Red Orchid theatre down in Chicago where I had a very similar job… it’s very easy to work a job like this if you believe in what your ‘selling’.

A joy of theatre was built up in college. Eva attended Luther College in Decorah, Iowa, where she majored in theatre with a minor in management. Going further back, the seeds of that joy can be found when she was one of thousands of local students to visit Park Square and revel in the experience of watching Of Mice and Men when she was in high school. Here she is now helping to continue that special thrill for many more students.

Eva considers herself rather fortunate to be able to blend her management and theatrical skills. A working actor, she’s been very busy performing the role of Titania in A Midsummer Night’s Dream with Zephyr Theatre while gearing up to play Ishmael in Theatre Coup D’Etat’s Moby Dick this November. When not performing, rehearsing, or working at Park Square she just likes to simply spend time with friends and family. Hey, who doesn’t? We at Park Square appreciate all her hard work and positive energy!

Business…

Pleasure! (Photos by Connie Shaver.)

 

Role Reprisal: John Middleton

John Middleton

Starting the 2017-2018 season off with a bang is Henry and Alice: Into the Wild by Michele Riml and directed by Mary M. Finnerty. A few of those names may sound familiar to the Park Square faithful, as this delightful rom-com is a sequel to that other delightful rom-com, Sexy Laundry, which brought the house down in 2014. Finnerty also directed the precursor and wouldn’t you know it, John Middleton is also back in the role of Henry, while this time around Carolyn Pool plays his counterpart , Alice. Melanie Wehrmacher rounds out the cast as an interloping family member.

I was able to ask Middleton a few questions about what it’s like getting to act the same character in a new play. After all, that’s not something that happens very often in the theatre. Unlike a movie sequel, you do not have the opportunity to “go back” and catch the first one. For him, the biggest difference will be the fact that in Sexy Laundry he had the even more unique experience to act opposite his real-life wife, Charity Jones. While that may not be the case for Henry and Alice, he is excited to work with friend Carolyn Pool who he says is, “… a terrific actress who’s carried me through productions before – including Dead Man’s Cell Phone here at Park Square.” That production was in 2010, so that gives you an idea of how familiar audiences should be with Middleton. Most recently, he was seen on the Andy Boss Thrust Stage in Idiot’s Delight by Girl Friday Productions, playing the wily, straight-talking American.

 

Sexy Laundry with Charity Jones. Photo by Petronella Ytsma 

But how far can we go? Middleton’s very first production at Park Square in 1991’s The Marriage of Figaro, and while he may not have had many lines he distinctly remembers moving a lot of chairs around. That was only a year after he first came to the Twin Cities as an actor. Hailing from Wisconsin, he landed a role playing a pirate in a production of Peter Pan at the Children’s Theatre Company and liked Minnesota so much he decided to stay. I believe I can speak for the community here when I say we’re certainly glad he did! Other recent Park Square Theatre credits include: Calendar Girls, Romeo and Juliet, The School for Lies, and American Family.

As you can see, Henry and Alice: Into the Wild is but the latest in many wonderful turns on the Park Square boards for John Middleton. As we herald the start of the new season, let’s revisit the familiar world of Sexy Laundry and the actor who brought it to life then as he will now.

Addie’s Delight

Playing a part in Idiot’s Delight from Girl Friday Productions at Park Square is Adelin Phelps, who portrays the character Mrs. Cherry. I was able to catch up with her and ask her some of what she thought about the show and the relevance it can hold in our 21st century world.

From Madison, Wisconsin, she attended Coe College in Cedar Rapids, Iowa, receiving her B.A. in acting. Immediately after graduation, she moved on up to the Twin Cities to pursue a career in the theatre. In her time here she has firmly established herself as a performer and collaborator, working with such noted companies as Minnesota Jewish Theatre, History Theatre, Theatre Latte Da, Walking Shadow and Frank Theatre. If that’s not enough, she is a core and founding member of Transatlantic Love Affair, a group that has earned a bevy of recognition in recent years. She now finds herself within the ranks of Girl Friday Productions and the grand cast of Idiot’s Delight – Robert Sherwood’s prophetic satire on the state of the world just prior to the outbreak of World War II. This marks her debut with Girl Friday, and her second time on a Park Square stage (following 2012’s King Lear).

While definitely not from the world of medieval England, Mrs. Cherry does happen to be a Brit among the band of internationals holed up in the Alpine hotel in which Idiot’s Delight takes place. Young and newly married to the dashing Mr. Cherry (Gabriel Murphy), she must reconcile the joys of kissing, dancing and abundant love with the stark realities of encroaching war. Those themes certainly lend themsevles to the political strife currently swirling around the world, not just at home, and how we are able to overcome that discord is a central question of the piece. As Phelps says, The need for humor, the struggle for an open, brave heart, the importance to understand history, and connecting with other humans… that draws me as a person to the project.”

Especially the benefits of connecting with other humans is apparent in Sherwood’s play. An ensemble cast of characters all born in different countries are suddenly forced into company with each other, thanks to the actions of their own governments. In a sense of irony, the very people they should be at war with become their friends within the walls of the hotel.

All these international characters is most exciting to Phelps who relishes the chance to use her sense of play and imagination in creating a dialect or new physicality to bring her role to life. And the dancing! There’s much for any actor to sink their teeth into and Phelps is eager to share that infectious zeal with the audiences. Indeed, viewers are in for a treat when they take their seats this summer. Phelps has been delighted to work with Girl Friday Productions and director, Craig Johnson in getting to tell such a story!

 

 

Chatting with the Master Sleuth Himself!

Actor E.J. Subkoviak, who is playing Nero Wolfe this summer in Might as Well Be Dead: A Nero Wolfe Mystery, graciously offered his insight into not only the character but to just how vast and enthralling the world of this play is!

1. What is like to play such a renowned character? You’re second time around, do you find yourself discovering new layers behind the character?

I first played Rex Stout’s armchair detective Nero Wolfe at Park Square a few years ago in The Red Box, and it was a real honor, as this was the first time Mr. Wolfe had ever been commissioned to appear onstage anywhere.

He’s very much an American Sherlock Holmes in many ways. (In fact, there are those devoted fans who believe – yes, they did the math – that Wolfe may be the love child of Holmes and his Jersey girlfriend Irene Adler. They even took the Jim Garrison conspiracy approach and noted that ShERlock HOLmes and NERo WOLfe both have the ER/OL in the middle of their names. Mr. Stout neither confirmed nor denied this theory, but was obviously flattered that people had put so much time and research into something he created.)

Like Holmes, he’s an eccentric genius who hides his emotions, and has his own addictions. (Holmes has his cocaine; Wolfe has his lavish gourmet meals.) And being a man of mystery, there is so much mystery about the man himself. Why is yellow his favorite color? (His dwellings look like Colonel Mustard’s house.) What’s with the orchid fascination? (We never see it onstage, but he has a rooftop full of them.) Why is he so hard on women? Why won’t he leave the house? Did something happen to him in his past life as an Albanian spy to create this corpulent grump? These are questions that can’t help but come to mind, and even after so many books, Stout leaves them as questions. What we know about Wolfe we know only through the eyes of his young protege, Archie Goodwin, who narrates the books and the plays.

In playing Wolfe a second time, I find he’s very much in my blood now. Based on the original reaction of the “Wolfe Pack” (the Rex Stout fan club – their name, not mine, I swear) and Rebecca Stout-Bradbury, Stout’s daughter and one of the heads of his estate, I didn’t see how I could change a thing I was doing. The only thing I looked for this time around were opportunities to show hints – and in such a plot-heavy venue as mysteries are, all we have room for are hints – of things Wolfe may be too afraid to reveal explicitly, so that he becomes slightly more than just a robust super-computer expunging deductions and menus. In this case, I found some brief moments in his interactions with Archie Goodwin (his Dr. Watson) that suggest he’s quietly aware that while he’s always barking orders and often scolding his protege’s antics, Archie’s the closest thing to family as he’ll ever have, which ties in somewhat with Archie’s final speech that invokes the title of the show. Again, it doesn’t play into the mystery as a whole, or the puzzle the audience is obviously attentive to, but it’s an attempted step up with the character in this second episode.

E.J. Subkoviak

2. Are you a fan of this genre and had you always known about Nero Wolfe? When did you first discover the series?

Indeed, mystery and thrillers have always been my favorite genre, even as a boy. While everyone else in my 3rd grade class was reading Judy Blume, I was reading the adventures of Encyclopedia Brown, boy detective, and trying to use my eight year-old wits to help him solve such mind-boggling capers as “The Case of the Broken Globe”.

Nero Wolfe was a name I was somewhat familiar with, perhaps remembering the William Conrad TV series that aired during my youth. When our director Peter Moore first told me he was considering me for the role, I said, “Oh yeah, isn’t he like a judge or a lawyer or something?” And he said, “No, he’s a detective. Look him up.” So I did – I googled “Nero Wolfe” and got my answer: “Morbidly obese private detective…” I had to stop for a minute and look at myself in the mirror at that point and do a little crying, but it wasn’t long before I became very intrigued by everything else I read about the guy.

3. What are some influences you draw upon as an actor taking on a great detective role such as this?

The Nero Wolfe books are, to me, a nice combination of the hard-boiled detective stories with the Jessica Rabbits holding a gun on the cover, and the more elegant Agatha Christie-like drawing room mysteries that always had the detective gathering all the suspects at the end and slowly, methodically, revealing who the killer is and how they did it. Being a mystery lover, I loved watching such TV sleuths as Stacy Keach’s Mike Hammer and David Suchet’s Hercule Poirot.

Other than that, I try not to do too much, and I just try to remain confident that our playwright Joseph Goodrich is right when he tells me, “You ARE Nero Wolfe.” That takes a little pressure off me acting-wise, but puts a lot of pressure on me to start some kind of exercise regiment.

4. What’s your favorite part of the show and what do you think audiences will enjoy the most?

My favorite parts to play are the moments that highlight the differences between Wolfe and Archie. Archie is Wolfe’s Dr. Watson, but what sets this team apart from the Holmes/Watson relationship, and indeed adds some fun and interest, is not only the age difference and the mentor/protege picture, but that these two are really cut from two very different cloths. They’re an odd couple solving mysteries together, and when their tactics, behaviors and vocabulary clash, it makes for some often laugh-inducing fun. Archie is also a much more outgoing, dare I say likable guy, so to see him throw grouchy Mr. Wolfe a little sunshine now and again is rewarding, especially in the middle of so much murder and mayhem. I really think this relationship is at the heart of what makes the Nero Wolfe stories fun enough to give it a real fan base.

Peter Moore [director], always finds a group of terrific and talented people, and this is no exception. I am delighted to be working again with so many old friends and many new ones, cast and crew alike. Wolfe would call them “satisfactory”, which, to the rest of us, means “exceeds all expectations”.

 

Making the Past Present

Something you’ll hear a lot about in regards to Idiot’s Delight, is the history of the events taking place and how it can arguably be a mirror to today’s world. If history does indeed repeat itself, then can this play serve as a guide book to our future? Perhaps not even a guidebook, but a warning? With stakes that high, I wouldn’t recommend missing out on this one!

Dramaturg Kit Gordon. (Courtesy photo)

Helping to make sense of all this, for the actors as well as the audience, is the role of the dramaturg. Serving in this role is long time Girl Friday dramaturg, Kit Gordon, who has been involved with the company since the earliest days. She is also a company member of Theatre Pro Rata and has served as their resident dramaturg for a number of years as well. 

What skills lend themselves to being a good dramaturg? Certainly a passion for history and theatre, but also finding a joy in academic research. Gordon studied all of it in college and worked in the humanities, English literature and women’s studies. She then went on to complete her PhD in English, with a focus on Shakespeare within her own experiences as a teacher, writer and theatre practitioner. Up until 2013, her day job was an undergraduate academic adviser at the University of Minnesota.

When it comes to dramaturgy, Gordon’s loves the research but is quick to point out that her job is “not to have all the answers but to know where to find them”, as stated in a 2014 interview with Chris Hewitt in the Pioneer Press

I asked her to expand upon some of the themes of Idiot’s Delight and comment on all of the drawing-a-parallel-to-our-modern-world talk that’s been going on with this play. Echoing sentiments of Adelin Phelps and Craig Johnson, she says:

 

Our world is in some ways more complex than it was in 1936, but people are still people – and some of them are dangerous. While the parallels are not exact, the emotions that spring from our fears about what might happen (with ISIS, with North Korea, with radical political movements in the U.S.) are similar to those felt by characters in the play… I think that by exploring the dilemmas of the characters in the play, we explore our own.”

 

No matter what the “big picture” is, it seems to all boil down to the people in the room and the relationships they hold with each other. That’s what turns a good story into a riveting drama and what Girl Friday excels so much at bringing to life. Like any meaningful work of art, this play has an ability to make you think. Oh, you’ll laugh, for sure. Maybe so hard as to produce a tear, but you’re still bound to come away with a new sense of humanity – how special it really is to be able to live and love in peace.

You can check out Girl Friday’s website here and see the online study guide compiled by Kit Gordon! https://www.girlfridayproductions.org/upcoming-show

 

Craig Johnson on Reviving a Classic

In anticipation of Idiot’s Delight, this year’s offering from Girl Friday Productions at Park Square, I wanted to get to know more about some of the creative souls behind the show. Who are they and what part do they play in bringing such a production to life?

In combing through the wildly impressive credits of actors and designers, I gravitated to the person at the helm and decided to ask him a few questions first. As the director, Craig Johnson, is no rookie when it comes to either the theatre, Park Square or Girl Friday. According to his profile on Minnesotaplaylist.com, he’s a veteran of 200 productions, including 52 at Park Square over the years. This includes multiple awards and recognitions, especially for his work with Girl Friday Productions which include Our Town (director), Street Scene (director), Camino Real (actor) and The Matchmaker (director) which was one of the first shows to grace the Andy Boss Thrust at Park Square a couple of summers ago. This year, now he is in charge of Idiot’s Delight by Robert Sherwood and offers his take on the play.

What about this play drew you to the project? What speaks to you as an artist and perhaps, a “normal” person?

Idiot’s Delight…um…delighted me on several levels when I first read it. I have a nostalgic love for these big, sleek, well-constructed, entertaining yet thoughtful, limousine-like plays that Broadway produced in its heyday between the wars. It was a time when a lot of people could afford to go to the theater regularly. Of course this was mainly people in the New York area, but it was a wide swath of the population, and the good plays usually went out on tour around the country and got picked up by resident stock companies in places like Saint Paul and Minneapolis. I like dusting off these old plays whose names and authors I recognize but have never seen or read, and hoping they still have something to say to us. And I like when one of these plays, like Idiot’s Delight, still resonates. It connects us to our shared theatrical history that broadens that stream beyond yet another revival of A Midsummer Night’s Dream, Uncle Vanya, or The Importance of Being Earnest — just to name three plays I absolutely love!

You’re a history buff, are there parallels to our current world situation? If so, how do you highlight this in the production? (Maybe without giving too much away!)

Author Robert Sherwood wrote Idiot’s Delight in 1936, during the depths of the Great Depression, when many were becoming increasingly alarmed by the threat of European fascism in Italy and Germany. He imagines how another world war might occur–and was startlingly accurate in some ways to actual events just a few years in the future. That alone is fascinating. But the play also looks at the toxic brew of populism, nationalism, xenophobia, and militarism, and how those forces can lead a culture away from civil society toward barbarism. In that, sadly, many might see echoes of current events making headlines in the US and Europe. So the play works as a sober cautionary tale.

You’ve worked a ton with Girl Friday Productions. What keeps you coming back to GFP?

Well, I’ve known GFP artistic director Kirby Bennett for many years — she’s a friend, neighbor, and colleague. I so admire the unique niche she’s carved out in the rich theatrical ecosystem of the Twin Cities. GFP does one show every two years. They are large-scale shows that most small professional companies wouldn’t touch because of the personnel expense. But Kirby’s care and thoughtful planning is much appreciated by actors and designers. The scripts, too, carry an interesting thread — they are usually about what it means to be an American. They’re plays that still carry meaning and hope for us today, even though they cluster in that rich period of American writing from the 1920s to the 1950s. Some productions like Our Town revisit familiar texts, but others, like Camino Real and Street Scene are like Idiot’s Delight plays once heralded that we think warrant coming off the bookshelf and having another turn in the spotlight.

I should probably get your basic info: Where do you come from in life and artistically? Your college/ training, hometown, etc.

I was born and raised in Saint Paul — though because of my Dad’s job with 3M we lived overseas in Tokyo and Belgium for several years when I was growing up. I’ve been doing plays since my triumphant debut in Green Eggs and Ham in 6th grade. I went to the University of Minnesota, and after a long career doubling my theater work with my job managing the James J. Hill House for the Minnesota Historical Society, I now focus on acting, directing and teaching full time. And love every minute of it. Also I’ve done 52 shows at Park Square going back to 1979, so this is like home to me.

What do you want audiences to come away thinking and/or feeling after seeing this show?

I hope audiences appreciate the thoughtful balance of entertainment and social commentary that Sherwood offers. There are show tunes to enjoy, a rich tapestry of quirky characters to laugh at, and a poignant love story. But there are important questions to ponder: How should Americans interact with the rest of the world? What are the forces that harden us against our neighbors? What does it mean to close a border — to keep some inside and others out? How do we balance freedom and security?

There you have it, folks, I could not have said it any better myself!

Come see just what Johnson means this summer at Park Square where Girl Friday Productions will be presenting Idiot’s Delight on the Andy Boss Thrust Stage June 29 – July 23.

The Mighty Quinn Shadko

Those of you who regularly attend shows at Park Square Theatre might be familiar Quinn Shadko, the actor and singer, who has appeared on stage in The Snow Queen, The Diary of Anne Frank and went on as the understudy in Of Mice and Men. Where you might not know her from is the day-to-day operations of the theatre, a job she just recently took on, working in the education department. Due to those two latter credits, Shadko knows first hand the extraordinary impact that Park Square’s education series has on the students of Minnesota (and even Wisconsin and Iowa at times). Every year over 32,000 students come through the doors to see theatre and it is her job to not only manage the mind-boggling logistics, but also ensure the experience is positive, enriching and long lasting. She sums it up best by saying:

“It’s our privilege to bring to life for them what they’re reading on the page, and usually it’s an impression that lasts a lifetime. We don’t just want to create a new generation of artists or even theatre-goers, but smart, sensitive citizens who think globally and see theatre as a medium for open discussion and social change.”

These sentiments are vital, especially considering that this may be the first time a student has or will see a play. Every little detail must count! Education and entertainment must go hand-in-hand!

Quinn Shadko (left) in The Snow Queen. Photo by Petronella. 

Shadko has always been involved in theatre and is an experienced actor with local and national credits under her belt including a national tour of Clifford the Big Red Dog and (much much more locally) The Realish Housewives of Edina. Not limited to the stage, she also works a fair amount in voiceover and is currently the voice of HealthPartners on the radio.

Hailing from southwest Minneapolis, she attended Breck School where her drama director, Tom Hegg, was a force in her early development as a performer. Following high school she moved to Houston, Texas to attend Rice University and studied classical voice performance and linguistics. Not done yet, she then moved to New York where she earned a Master of Music in voice performance (with a specialty in musical theatre) from NYU.

After time away from Minnesota, however, she knew she wanted to return home and take advantage of the ability to blend artistic opportunities with such a high quality of life. Indeed, whenever Shadko finds herself not working or performing, she hits the lakes of Minneapolis and loves exploring the city. Right now you can prepare to see her in the role of “Zerlina” in Don Giovanni, produced by Skylark Opera at the Woman’s Club in Minneapolis. It’s an English-language adaptation and set in Minnesota during the Prohibition Era!

Photo by Vera Mariner.

How lucky we are at Park Square to have her manage such a special program as the education series. Of course it’s a mighty responsibility but that suits Shadko just fine. She wouldn’t want it any other way.

 

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