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Philip C. Matthews stars as Andrew Jackson in the Minneapolis Musical Theatre production of "Bloody Bloody Andrew Jackson." Photo by Laurie Etchen.
On Friday night, "Bloody Bloody Andrew Jackson," now playing at the New Century Theatre in downtown Minneapolis, was picketed by about two dozen protesters objecting to the portrayal of native Americans in the show. Some of the most galvanizing lines from the Broadway hit about the populist president who also initiated the Indian Removal Act have been excised or softened in this version produced by Minneapolis Musical Theatre and presented by Hennepin Theatre Trust. But protest leader Rhiana Yazzie, a Navajo playwright who wrote a public letter criticizing the show, still finds it problematic.
"The story leaves it up to the individaul to decide whether Jackson was a hero or not," she said. "When the bricks of a play are built on misunderstanding, you can take some out but the structure stays flawed. The changes felt very last-minute, like a response to the letter I sent."
But MMT artistic director Steven Meerdink said script modifications – which are generally frowned upon in theater circles -- were made starting on the first day of rehearsal.
“I felt the show was slanted too much in favor of Andrew Jackson as a hero and I wanted the playing field to be more even,” he said. “The way characters were supposed to be costumed was quite stereotypical in my mind and I didn’t want to go down that path.”
In addition to scratching a flying arrow and traditional feathered headdresses, this version has Jackson’s parents die of cholera, not from an Indian attack (which also did not happen in real life), and cuts out a few culturally disparaging references.
Also, when a group of four women recite the old chant “Ten Little Indians” to underscore the decimation of Indian populations going on at the time, Meerdink said he chose not to dress them like rock chicks wearing sunglasses, as called for in the script. “I didn’t want to go there,” he said. “I felt we needed to take a step back to show this negative thing that happened.”
Yazzie attended Sunday night’s performance and came away feeling that the altered work was still inappropriate to stage at all.
“The play’s success hinges on all of that racism toward native Americans, which audiences in New York were hooting and howling at,” she said. “ When you experiment by taking out as much as you can, it still doesn’t work. It just becomes a big downer.”
Meerdink said he “respectfully disagreed” with Yazzie’s assessment. “This is a controversial piece of theater that’s not going to make everyone happy no matter what you do with it,” he said.
A post-show panel discussion is being planned following the June 19 performance of "Bloody Bloody Andrew Jackson." If you've seen it, what did you think? Click "comment" above the photo to tell us.
Three theater artists will test drive new work next Monday at The Southern Theater in Minneapolis. The three are current Playwrights’ Center McKnight fellows Sun Mee Chomet, Denise Prosek and Stephen Yoakam.
The show is 7 p.m. Monday at the Southern, 1420 S. Washington Av., Mpls. Tickets are free but you should reserve, either online or by calling 612-332-7481.
Interested in owning a piece of theater history?
Well, now's your chance.
The Orpheum Theatre, where such shows as “The Lion King,” “The Phantom of the Opera” and "The Book of Mormon" have played, is replacing the seating on its main floor.
And it is offering some of the old red seats where patrons sat, swayed or stomped to music by everyone from former owner Bob Dylan to Diana Ross.
“You can own a piece of the Orpheum Theatre and have it right in your living room!” theater officials exclaim. Or your garage or cabin or, for that matter, your treehouse.
The seats, which sell for $50 apiece, come in twos and threes (no singles are available).
“They are very old and have old parts and have been refurbished many times,” the site continues. “Delivery is not available. You will have to pick them up – pick up dates are two small windows of time during the day on June 24th and June 25th.”
And, oh, “You must PREPAY.”
Playwright Rhiana Yazzie of New Native Theatre has written a letter about the coming production of "Bloody Bloody Andrew Jackson," which opens Friday at the New Century Theatre in Minneapolis. She talks about the way American Indians are depicted in the play.
Here's the letter:
By Rhiana Yazzie
Does Minnesota know itself well enough to responsibly produce a show like Bloody Bloody Andrew
Jackson? The title makes the play sound like a fun, maybe even gory, critique of our seventh president,
about whom most Americans have heard contradictory ideas. Whether or not we’ve investigated the
subject, it sounds like attending this play will likely cast a clearer light on a shadowy part of American
history, one that might include a critique of the spectacular violence waged from 1829–1837 by the
slaveholding president dubbed Old Hickory. Maybe Bloody Bloody will take Andrew Jackson’s campaign
of ethnic cleansing head on? Maybe it will acknowledge the thousands of Native Americans he killed.
As a Native American, a playwright, a musical theatre fan, and artistic director of New Native Theatre, I
say right on. What a wonderful opportunity and contribution to American theatre to see a play responsibly
take up these important issues, issues that have determined Native American inclusion and access. We
need as many advocates in the media as we can get. But that’s not what happens, instead this script,
written by J. Michael Friedman and Alex Timbers reinforces stereotypes and leaves me assaulted,
manipulated and devastatingly used as a means to a weak and codependent end.
On June 6th, 2014, Minneapolis Musical Theatre opens Bloody Bloody Andrew Jackson, a co-production
with the Hennepin Theatre Trust. It’s taken four years for any company in the Twin Cities to approach
this offensive play since it debuted in New York in 2010. Could it be because in Minnesota we have a
relationship with Native Americans and their experience collectively embraced? Could it be that we
know our history, the legacy of the vicious founding of this state, and its violent dealings with Native
Americans? Could it also be because Minneapolis is home to the founding of the American Indian
Movement? Could it be for these reasons we can see that the play is an exercise in racial slurs against
Native Americans justified with a thin coating of white shaming? Why would we together be bothered
with it then?
But soon it will be performed and the character Andrew Jackson written by Alex Timbers and J. Michael
Freedman will spew unchallenged racial epithets five times a week on soil that is still yet recovering from
our own troubled history. Soil where blood has been spilled and land has been taken and people have
been shoved aside. There is nothing about this history that is “all sexy pants,” to quote the marketing
machine that accompanied this show. The truth is that Andrew Jackson was not a rockstar and his
campaign against tribal people - known so briefly in American history textbooks as the “Indian Removal
Act” is not a farcical backdrop to some emotive, brooding celebrity. Can you imagine a show wherein
Hitler was portrayed as a justified, sexy rockstar? This play exacerbates the already deficient knowledge
our country has when it comes to Native history; in that context, a false story about this country and our
engagement with Native American people is unforgivable.
I saw this play when it debuted at the Public Theater in New York in 2010 and was invited to speak with
the authors among a group of other Native American artists to openly discuss the play’s inaccurate history
and depiction of Native Americans. It was dubbed as an emo rock musical paralleling George W. Bush’s
rise to power and the following Tea Party movement.
I can list specifically the ways that the play distorts history, but that would take pages. Instead I’ll look at
a few key moments such as the inciting incident where Andrew Jackson’s parents are killed by Indians
who shoot random arrows into the young Jackson’s home –no Jackson’s parents were not killed by
Indians—which creates a vendetta that propels him throughout the rest of the play and justifies countless
tirades, massacres and slurs against Indians.
Even Minneapolis Musical Theatre producer and director, Steven Meerdink says, “this show really falls
short on is its lack of transparency of the fact that it does not try to accurately present historical events and
figures. The authors deliberately skew, distort, satirize, blur, and condense roughly 60 years of history
into a 90 minute play. There are things presented in the play that never actually occurred, and many other
things presented that may have occurred - but with dates, circumstances, or relevant people changed.”
Meerdink says this will appear in a program note.
Aside from skewing historical events, the play does something much worse. Reading this play again this
week has saddened me. It’s even made me think I might have to unfriend J. Michael Freedman on
The most common defense of the play is that it’s a South Park kind of aesthetic, therefore it’s an equal
opportunity defacer. Meerdink echoes what I’ve heard the authors and original producers say in person
and in print, “There are ugly things said about many groups of people in the show - the British, the
Spanish, Native Americans, and European Americans…” But Sesame Street has me thinking, one of
these things is not like the other.
The first time the British are depicted, they are flogging Jackson. But in that scene Jackson never once
makes a racially based insult, in fact there isn’t one racially based insult against the British in the entire
play, not even a gratuitous use of the word “limey.” Jackson in fact remains in control during this scene
and actually walks away from the flogging when he’s had enough leaving the British soldiers
When the Spanish are introduced, again, not one racial remark made to insult them. Instead they are
simply and accurately called Spaniards. But in the introduction to this roundhouse fight with them,
Jackson begins a joke, “Tell me what’s the difference between a little homosexual Indian boy and George
Washington? Besides the fact you’d murder either of them without thinking twice?” This joke goes
unchallenged except for the Spaniards calling back, “You are the gay.”
The authors may have thought this was a joke, perhaps even the producers and the majority of the
audience in New York when it premiered did too. But in Minnesota, it’s not funny at all. Maybe in the
world Alex Timbers and J. Michael Freedman live in, Indians are not targets of racial violence today.
Maybe the murder rate of Native Americans in their world isn’t astronomical. Maybe in their world, gay
Native Americans don’t have the highest suicide and murder rate in the entire country. Then again,
maybe they are right, these unfortunate Indians are murdered without a second thought. Maybe that’s the
political comment they were hoping to make with this scene and asking their audience to be aware of and
call for a change?
It is these moments of unchallenged cruelties raged against Native Americans that leave me pained, even
more so than the untrue history. I want so badly to be on the same side as the authors, I know they want
to prove Jackson was a troubled character in American history with a terribly violent, unstable, genocidal
mind. But when they keep adding gratuitous brutalities against Indians I have to question what their real
organizing principle as artists actually is when Jackson says to an Indian character, “You are despicable
creatures! You show no loyalty to anything. Your music is terrible, your table manners suck, and your
painting skills are absolutely dreadful. I mean look at this.” Then a stage direction reads, “Pulls out a
primitive drawing of a buffalo.” The fact is that the writers are not satirizing this practice, they are
employing the practice as a process for writing. “Primitive” is a deeply fraught and loaded term that has
been used to justify atrocity against indigenous people world over. It is not a benign stage direction. It
trades in the same disregard for the humanity and culture of Native Americans that this “emo rockstar”
exhibits. Where is the line? Where is the satire?
This isn’t the only instance where stage directions give insight to the authors’ points of view. After
Jackson’s parents are killed, “Three young Indian boys enter and dance around…taunting [Jackson] all
the while and pretending to shoot arrows at him. They’re really fucking annoying.” Because this is the
post Broadway publication, I can’t help but wonder if there is an allusion to the protests the authors got
from real Native Americans; and if not, it certainly sets up what is yet come out of Jackson’s mouth. You
Indians have “No artistic vision. You’re savages! You’re soulless, Godless and well you get the point.”
The play finds any and all opportunities to berate Indian characters Jackson encounters.
Ultimately, watching/reading the play means putting up with 85 minutes of racist tirades before getting to
the last five minutes of white guilt. Well, thank goodness it’s a musical and I can at least enjoy tapping
my toes, at least up until Ten Little Indians. Children’s songs and nursery rhymes like this have socialized
generations of children to believe that Native people were expendable and that there was no need to
empathize with them; it was also used to attack African Americans and to envision a future that doesn’t
include adult Native or African Americans.
During Ten Little Indians, ridiculous, inane, powerless Indian characters are coerced into or are gladly
signing their lands away for smallpox blankets and dream catchers—dream catchers? Any Minnesotan
should know that’s Ojibwe not Cherokee. Then after hearing nine ways in which Indians are killed it’s
reveal that the last death is a hanging.
Wow. How does that land here in Minnesota? Our state holds the record for the largest mass hanging in
U.S. history when 38 Dakota men were executed in Mankato. Will there be any acknowledgement of this
history while the production runs? Or will the producers and creative team just take their paychecks
quietly and move on without so much as an apology?
As the play nears its end, finally, Jackson doesn’t relent on his nauseating remarks about Native people
and their culture. To justify his defiance of the Supreme Court ruling that removal of tribes from their
land was illegal and unconstitutional, Jackson implores a Native character Black Fox, “I wish you’d built
symphonies in cities, man, and put on plays and showed yourselves a little more essential. You know, to
the culture? And yeah, you totally were here first, absolutely, but we don’t give a shit, and we never
I will echo what Steve Elm, artistic director of Amerinda, an arts and theatre group in New York said, “I
felt that there was a joke that I wasn’t in on… this play seemed to be expressly written without any idea
that there are Native people still alive.” And I will further say, that this play takes for granted that people
from the dominant culture don’t have the capacity for kindness, change, or self-evaluation. We have many
allies here in Minnesota and they will not stand idly by while history is whitewashed and Native culture--
already imperiled by hundreds of years of misrepresentation--is further debased as a theatrical device.
If the authors had any understanding of contemporary Native American culture or artists, would they have
been so quick to make such debasing statements about Native Americans. Because, let’s face it, these
comments are not about Indians in 1838, this is about their sense of the absence and extinction of Native
peoples right now. Perhaps this says less about the authors themselves and more about the erasure of
Native history in this country. But as artists, who are political, and intentionally incendiary in so much of
the body of their work, there’s no excuse for this ignorance and there’s no excuse for the way this
ignorance is suffused throughout this play.
How will Minneapolis Musical Theatre handle these tirades and images of violence against Native
Americans? Will it be a safe place for a Native American family to spend their Sunday afternoon? Will
Native youth that see the play feel empowered or erased and battered? How will the MMT actors feel
about saying all of these cruel lines after four weeks? Will it get old? Will we learn anything? Do they
care? Will we just say stop?
There has to be a better way to make a political point. The first step is to be smarter about your subject
matter. Learn about the culture you’re trying to make a point about. Ask yourself, how are contemporary
people living with this historical legacy?
If you don’t know what Native American artists are doing right now here in our state, go to All my
Relations Gallery in Minneapolis, see great Native American fine art. There’s nothing primitive about it
and there never was. See shows at my company, New Native Theatre, we could produce four original
musicals with the budget Bloody Bloody Andrew Jackson has, with work about, by, and for Native
Americans that honors our cultures, our traditions, and broadens our understanding of American history.
Watch dance by Emily Johnson and Rosy Simas. Listen to First Person Radio on KFAI. Read The Circle
News. Or, look just 300 miles north to Thunder Bay where Northwest Ontario’s largest regional
company, Magnus Theatre has a mandate to produce at least one First Nations play a year from Canada’s
ever growing canon of thriving Aboriginal theatre.
I grew up in New Mexico where Native American culture is very visible. Most of the normal markers of
New Mexican culture take directly from the architecture, iconography, and Native artists of the tribes that
have continuously lived there for time immemorial. New Mexico is not perfect in its relationship with
tribes, but certainly the dominant culture in New Mexico embraces it, identifies with it, and protects it.
As a young person, I once attended a show in Albuquerque’s big theatre, Popejoy Hall. The Flying
Karamazov Brothers came to do a comedy program. I don’t remember anything about the show this
many years later, except for the moment when that east coast based group had a short exchange where
they made a Tonto voice, a quip, then a punchline. This happened right in the middle of a heightened
moment of acrobatics, but instead of that New Mexican audience laughing, they all stopped. Not a peep
came from that so-called funny punchline. In that moment, I knew my community had my back. My
community said in its denial of a laugh at their punchline, that it’s not ok to stereotype and strip humanity
from Native Americans. As a child that moment was powerful. Does Minnesota have the back of the
Native American children who call this state home? Who is going to stand up for them? Or are we going
to laugh along with this ridiculous show and celebrate genocide?
Minnesotans should be proud that this state is where so many great contemporary Native American
leaders have lived and worked. Those living in Minneapolis should be especially proud that only a few
weeks ago Columbus Day was changed to Indigenous Peoples Day following the example of Red Wing
which made the change a few months earlier. Perhaps the entire State of Minnesota will come next.
These are things to be proud of and these are the ways we as Minnesotans can turn our trajectory from the
violent past that was the founding of this state to a more equitable home for all.
Is Minnesota, its audiences and artists, at that point yet of supporting Native Americans and defending
their humanity in the way that audience did when I was a kid?
I hope so.
I think it was an unfortunate choice for Minneapolis Musical Theatre to produce this play and I have no
doubt they played into the same disconnect the authors did, not considering the effect it could have on
real people or that Native Americans might actually be audience members. However, my call to action
lies more with the authors who will continue to profit from productions of this play. Their royalties
should go to places that actively do the work of dealing with Andrew Jackson’s legacy ---like the
Minnesota Indian Women’s Resource Center, Ain Dah Yung shelter for homeless Native youth, the
Minnesota Indian Women’s Sexual Assault Coalition, or many of the other worthy organizations directly
serving Native people--- and don’t engage in the play’s same laissez-faire attitude of lightly encouraging
audiences members to question over cocktails whether or not Andrew Jackson was an American Hitler
while aggressively dehumanizing the people Jackson tormented. Because, he was.
Bradley Greenwald (right) can’t get enough of playwright Bertolt Brecht and composer Kurt Weill.
Fresh off his star turn as Macheath in Frank Theatre’s production of “The Threepenny Opera,” Greenwald is headlining a concert titled “Weill & Brecht: The Berlin Years.”
He will be joined by fellow singers Prudence Johnson (below) and Diana Grasselli, and will be accompanied by pianist Dan Chouinard, violinist Gary Schulte and guitarist Brian Barnes.
The concert will take place in Open Eye Figure Theatre’s 90-seat auditorium, an intimacy that suggests an oversized living room. The song list includes numbers from “Threepenny” such as "Ballad of Mack the Knife," "Pirate Jenny," and "Pimp's Ballad."
7:30 p.m. Thu.-Sun, Open Eye Figure Theatre, 506 E 24th St., Mpls. $22. 612-874-6338 or online.
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