Dear World

I first became aware of  Ten Thousand Things theater by reading an article in The New York Times back in November and kicked myself for never having seen a show. I was immediately inspired by their purpose, bringing the power of art to nontraditional and frequently under-served audiences. Performing in prisons, reservations, homeless shelters, and rural communities, the shows are staged in a way that blur the line between actor and audience, making that pesky fourth wall a thing of the past. 

When they're not performing at these nontraditional venues, the troupe is hosted at Open Book and Bedlam Lowertown.  Opening night of Dear World was at Open Book and I loved having the opportunity to see that new-to-me space as well as see a show.   

Performances are atypical for traditional theater goers as there's no dimming of the lights, no clear demarcation between stage and audience.  Performers are on the floor, at the same level as the audience, and chairs make a square around the performance. Actors frequently make eye contact with audience members, even engage with them at points. It was interesting to me to see how other people reacted at certain moments, to see how they cocked their head to one side or laughed or grimaced. It made the experience feel more communal, less a "show" and more a shared experience. 

Dear World tells the story of a band of artistic sorts in Paris confronting a band of evil Presidents ("they are all named President") who want to destroy their little cafe by digging for oil.  It's a hyperbolic story of the small and good vs. the big and evil and despite the fact that I'm an energy attorney ("energy" includes petroleum products), I loved it.  Any "evil" would have served the same purpose, somebody has to be Goliath. 

The actors were fantastic, with beautiful voices supported by live instrument accompaniment, the show was a quick 100 minutes with intermission. Sometimes funny, sometimes sweet, each actor brought a unique voice and authority to their role. I was especially impressed by Sheena Janson's dear Nina, young and in love, and Kris Nelson's Sewer Man, fresh off his role as Bob Cratchit at the Guthrie's Christmas Carol, Nelson brings gravitas to a seemingly comical character, depth around the edges of a lighthearted song. 

Dear World shows through February 7th and I highly recommend it not only for its own sake, but for the sake of supporting Ten Thousand Things' important role as a deliverer of art to forgotten pockets of our community. 

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