Girlhood (It’s complicated) explores the concept of girlhood in the United States and highlights the many ways young women have influenced politics, education, work, health, and fashion.
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Girlhood (It’s complicated) was created by the National Museum of American History and the Smithsonian Institution Traveling Exhibition Service. The exhibition is supported by the Smithsonian’s American Women’s History Initiative, a program of the Smithsonian American Women’s History Museum.
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Volume 30, Issue 765 • September 19-October 2, 2024
Managing Editor Noah Mitchell 612-461-8723
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Editor Emeritus Ethan Boatner
Lakey Bridge, E.B. Boatner, Buer Carlie, Natasha DeLion, Alyssa Homeier, Terrance Griep, Elise Maren, Jen Peebles-Hampton, Linda Raines, Alexander Reed, Madison Roth, Gregg Shapiro, Randy Stern, Susan Swavely, Carla Waldemar, Todd P. Walker, Emma Walytka,
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Inspiration Steven W. Anderson (1954-1994), Timothy J. Lee (1968-2002), Russell Berg (1957-2005), Kathryn Rocheford (1914-2006), Jonathan Halverson (1974-2010), Adam Houghtaling (1984-2012), Walker Pearce (1946-2013), Tim Campbell (1939-2015), John Townsend (1959-2019), George Holdgrafer (1951-2024)
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What’s Old is New Again
In this issue, we feature not one but two events that combine opera and drag. I’ll admit: before reading these stories, I had not spent much time considering going to the opera. Isn’t opera just musical theater but louder and harder to understand?
However, the parallels drawn between opera and drag by An Opera Theater’s Divas and Drag and Minnesota Opera’s Glam Jam opened my eyes. The bravado and drama that make opera unique aren’t stuffy and old-fashioned, as the popular conception of opera dictates — they’re some of the very same qualities I enjoy most about drag.
Following this realization, the dots began to connect themselves in my head. The rap music I grew up listening to isn’t just inspired by jazz and soul; it is made by recycling and reimagining snippets from those classic records. The more I go back and listen to them, the more I enjoy them just as much or more than the contemporary music they’ve inspired.
Physical media is cool again. Decades-old fashion trends return like they never left. So many of our popular stories in media are ones we’ve been telling ourselves for thousands of years, updated for mod-
ern audiences with more familiar places and faces.
I’m sure you’re all well aware of these trend cycles. However, I’m less sure many of you think of opera as trendy and cool.
I’m now trying to find more things from the past that aren’t trending, but are more relevant to our modern lives than I thought. Do I have any discoveries to report? No, but I’ll keep my eyes open. If
you catch me at a future First Thursday dressed like a Golden Age pirate, you know how it happened.
So, if you’ve got the time to do some historical research (scroll through Pinterest or hit the shuffle button on Wikipedia), consider making something old your new thing. Or, maybe, your new new thing isn’t as new as you thought. Time is, after all, a flat circle.
D&D 2024 hosts Dick von Dyke & Queenie von Curves. Photo by Jerrald Dyon Spencer, taken at Apostle Supper Club.
BY E.B. BOATNER
For Every Dream There Is a Troll
Only the Olympian can count the costs of making their Olympic team, of competing, of reaching the podium in Bronze, Silver, or Gold. I can’t, and certainly neither can a Troll. Yet while there exists a Troll for every dream, Dreams and Dreamers make better copy.
Trolls hissed “coward” when Simone Biles withdrew from the All-Around Finals in 2021 at the Tokyo Olympics. In reality, she made a heroic lifeand sanity-saving choice. Returning after months of self-scrutiny and training to compete in Paris, Trolls criticized her untidy hair as she sailed on to add four more medals.
A commentator-Troll speculated about American rugby star and two-time Olympian Ilona Maher, “I bet [she] has a 30% BMI.”
Maher responded, “I think you were trying to roast me, but this is actually a fact. I do have a BMI of 30. Well, 29.3 to be exact.” The team won Bronze.
Trolls kept silent about U.S. shot put champ Ryan Crouser’s 320 pounds and Chinese woman’s weightlifter Li Wenwen’s 331 pounds. Perhaps Crouser’s massive 6’7” frame and Wenwen’s tendency to lift up her coach in victory (both Gold medalists) were daunting even at a distance.
The sheer exuberance and determination of
the athletes generally overrode and negated Trolls’ nattering. Hampton Morris, 20, won Bronze in the men’s 61kg weightlifting event — the first U.S. weightlifter to medal since 1984. Coached by his father, Tripp, Morris trains at home in their garage in Marietta, Ga.
Nigerian participation was determined so late that cyclist Ese Ukpeseraye had to borrow an approved cycle from the German team for keirin and sprint events. She didn’t medal, but has won multiple Golds at African track cycling championships and felt she’d “set the ball rolling for cycling in Nigeria.”
Far from the fainting couch were two who competed while bearing future potential athletes: Firsttime Olympian Yaylagul Ramazanova of Azerbaijan felt her 6 1/2-months baby kick just before releasing her last arrow, scoring 10 to win that round. Egyptian Nada Hafez, at her third Olympics, was 7 months along with her “Little Olympian.”
Following an inquiry by the Romanian Olympic and Sports Committee, officials stripped Jordan Chiles of her bronze medal in the women’s floor exercise final. They allocated it to Romania’s Ana Bărbosu, who moved to third place. Might double Bronzes have been a more even-handed solution?
Officials, not the athletes, caused the stir.
In the 1936 Olympics, Japanese pole-vaulting friends Shuhei Nishida and Sueo Oe tied for Silver. Refusing a tie-breaker, officials awarded the Silver to Nishida and Bronze to Oe. Back in Japan, they had the medals halved and the pieces joined into two Silver/Bronze “Friendship Medals.”
Greco-Roman wrestler Mijaín López, after winning an unprecedented fifth consecutive Gold, paused in the ring, removed his shoes, and in a moving and historical gesture signaling his retirement at 41, walked away, leaving them on the mat.
Bookending the hoop-la of the Opening’s “Last Supper” foolishness, a Francophobe-Troll snarked at Closing that France couldn’t find enough French stars and borrowed Americans, overlooking that Tom Cruise’s leap from the Eiffel Tower and the appearance of Snoop Dog represented the handover of the Olympics from Paris to Los Angeles, U.S., in 2028.
Trolls will always be with us, but so will the strong of body and spirit. Mute the Couch Kvetcher’s mic and embrace the patient, those brave Dream-believers determined to finish the race. Follow your own Dream.
Reproductive Medicine and Infertility Associates
BY CARLA WALDEMAR
La
I’m here to guide you to Gia, a sweet little kitchen that pays tribute to Italy, which opened during midwinter in Armatage’s former Cave Vin. Now that it’s high summer, there’s all the more reason to salute its celebration of all that’s fresh and seasonal — and the backstory is just as intriguing as what you’ll find on your plate. Here goes:
Co-chefs/owners Jo Seddon and Lisa Wengler met during a brief overlap at kitchen maestro Gavin Kaysen’s now-shuttered Bellecour. Seddon, a British doctor before a mid-life career change found her on the line at London’s Michelinstarred River Café, followed her husband’s job to Minneapolis. Wengler, meanwhile, trained at the prestigious Culinary Institute of America.
The women’s instant chemistry propelled them from popups to catering to brick-and-mortar when the pair realized they missed the satisfaction of interacting with diners as well as with produce from the delivery truck. When they found this site on Xerxes Avenue, they slapped on some bright, white paint, tossed out banquettes in favor of four-tops, and fired up the range.
Today, crisp white cloths (remember those, anyone?) and perky bud vases dress the cache of tables. A housemother-ish maîtresse d’ welcomes guests, and friendly, informed servers (looking at you, Christian) guide them through their meal.
The menu leads off with a handful of snacks (olives, salami, arancini, etc.) and sharing plates: prosciutto di Parma paired with cantaloupe, a seasonal marriage made in Italy and heaven, cheese plate, and bruschetta with toppings ($16-18). Instead, we went straight for the small plates ($12-19), sharing a Tuscan panzanella salad plumped with sweet bursts of roasted cherry tomatoes and addictively crisp little croutons of focaccia. Satisfying comfort food invented by Italy’s nonnas as a frugal way to use up day-old bread. Still works.
A second small plate — slim ravioli filled with creamy ricotta and nutty Parmesan — came dressed with fresh tomato, a subtle hit of chili and grassy hints of basil. I could devour a plate or ten on a daily basis, it’s that good: supple, savory, light and well-balanced.
Five mains are on offer ($27-35), and this is where you’ll find a few more pasta preparations. We ordered one, in fact — orecchiette alla Norma, the classic salute to eggplant, which was in short supply, alas. Instead, slow-cooked tomato lapped the well-timed “little ear” pasta shapes, abetted by basil (‘tis the season), plus bits of ricotta salata. Good, but not habitforming. Next time: rigatoni in a white wine-infused ragu with rosemary and Parmesan, maybe.
Dark chocolate truffles, braised duck leg. Photos by Mike Hnida
Or steer for something huskier — seafood like scallops upon risotto, bronzini en papillote with new potatoes and veggies, or, our choice, and a grand one: a pork chop. Thick-cut, meaty and perfectly timed, it rested on a rustic bed of braised greens mined with sweet golden raisins, savory pine nuts and a splash of cream. Is it worth $35? Your call…
Desserts (often an afterthought in Italy) are few but well-chosen. There’s the mandatory chocolate number, a strawberry frangipane tart with almond praline ice cream, a pair of chocolate truffles, and our choice: a lemon and blackberry posset, which is simply a lovely, puddingy marriage of lemon, sugar and cream — light enough and tart enough to cleanse one’s palate while pleasing one’s sweet tooth.
Oh yes, there’s also my favorite for a steamy day: affogato — ice cream afloat in a shot of espresso. That’s my premier mid-afternoon pick-up, but I lacked the courage to slurp the tiny amount of caffeine after dark.
Instead, I sipped the last of my Gia Old Fashioned while my friend lingered over his limonata. The short and well-curated drinks menu accompanies a wine list that favors Italy, with over a dozen BTG ($12-22).
Gia boasts a few parking places, but there’s generous street space, too. Grazie, signore!
Gia Closed Sun., Mon. 5555 Xerxes Ave. S. 612-274-7163 www.Giampls.com
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The siesta cocktail
Goddesses Unite!
An Opera Theatre Proves That Librettos Can Be a Total Drag
The word “diva” is Latin for “goddess.” Back when that dead language was alive, the concept of diva was reserved for a royal woman who would be deified — made into a goddess — after her death, a personal redefinition of the most extraordinary sort. After a millennium or two, the word worked itself into the Italian language where it described a female opera singer whose fame surpassed her lifespan, echoing into the far-flung future. The modern English version of the word satisfies multiple possible definitions: a woman of enormous talent; a woman of enormous influence; a woman of enormous temperament.
The art form most associated with divas, opera, might itself, like the OG divas, need redefinition. Opera operates within the shadow of old meanings and negative stereotypes: overdressed, overweight performers over performing overdressed, overweight songs, sopranos and tenors telling over-the-top tales of madness or death or both.
Happily, a troupe of local troupers is ready to do that work by combining two creative expressions that might, at first glance, seem as compatible as liquid foundation and five o’clock shadow.
“DIVAS & DRAG showcases the art of drag and the spectacle of opera,” declares the hybrid event’s website. “Drag and opera artists forge their brilliance for unforgettable mashups celebrating self-expression through the most spectacular art forms ever to grace the stage.”
One trait that the disparate art forms share is a pronounced sense of self.
“DIVAS & DRAG is a celebration of identity, of all the beautiful, expressive ways that we know ourselves,” declares Kelly M. Turpin. “For audiences who have joined us for D&D in years past, it’s going to be like nothing they’ve seen before. And for D&D newbies, it’s time to come aboard this one-of-a-kind celebration of art and love.”
Turpin ought to know, as she is the Executive Director & Producer of An Opera Theatre, the creative organization that presents D&D. This manifestation is just one of many meant “to create a company that inspires community engagement by utilizing local Minnesota artists of the highest
D&D 2024 hosts Dick von Dyke and Queenie von Curves. Photo by Brittany Powell, taken at Apostle Supper Club. Victoria DeVille and Queenie von Curves at D&D 2023. Photo by Brianne Bland.
caliber and presenting opera theatre works focused on social justice and community action.”
The current presentation is the third iteration of this particular community action.
“This year, DIVAS & DRAG pays homage to variety shows of the early 1960s,” the website elaborates, “when opera on TV was still in fashion!”
The refashioning, the redefinition will be hosted by local drag legend Dick von Dyke and burlesque artist Queenie von Curves. The hosts will add a new feature to the one-hundred-minute-long show: real-time, in-house interviews with the gathered artists.
The artists include four local opera singers: Corissa Bussian, Justin Anthony Spenner, Kara Morgan, and Maurice Fields III. Their dore-mi-ing will catalyze the Twin Cities’ most accomplished drag and burlesque artists as they do their cosa on stage: Andre 1,000, Corissa Bussian, Del the Funky Homosexual, Jared Mikach, Justin Anthony Spenner, Kara Morgan, Luma Notti, Maurice Fields, Miss Ava Cado, Texas Tea Cake$, Victoria DeVille, and Zetta Laveau.
“Together,” a recent press release promises, “they will perform new routines set to live opera performances.”
These will be complemented by pianist Jared Miller.
“Together” is key, is the key … but for together to happen, members of the community have to show up. For members of the community to show up, certain allowances are made.
Explains AOT’s website, “Our first steps toward this goal include offering ‘pay as you are able’ ticket options, providing opera education immersion classes for ESL and immigrant communities, and community partnerships with local social non-profit organizations.”
The operatic redefining that will take place during DIVAS & DRAG will do so at a location that has just recently endured a profound redefinition of its own. The local community rallied to save the decades-old Victoria Theater Arts Center from the ignoble fate of becoming a parking lot … and, having spared it that ignoble fate, gave it a modern name and a modern identity that better reflects the modern community: 825 Arts.
The modern community might well be redefined as it bears witness to the redefinition of two art forms which are, at their disparate cores, celebrations of identity, both individual and collective … or, as AOT themselves put it, “Art should always be of and for the people and that is what An Opera Theatre is all about.”
DIVAS & DRAG
September 19-23, 2024
825 ARTS
825 University Ave. W.
St. Paul, MN 55104
www.anoperatheatre.org/divas-and-drag-2024
Dick von Dyke and Dom Embretson, from D&D 2023. Photo by Brianne Bland.
Dancing On Your Own: A Conversation About Loving Yourself and Everything That Entails
Loving a person is something queer people think of often and deeply. From a history of seeing love as rebellion and resistance to a radical political act to a connection deeper than anything else on earth, queer love is revolution. But what does that mean for self-love? We always talk of loving other queer people, but what about when we have to apply that depth of love to ourselves?
Javan Mngrezzo, a dance artist, educator, and choreographer in the Twin Cities knows the life-long journey of finding self-love even when it’s difficult very well. His queerness, race, gender and his relationship to art all influence the way he’s seen himself over the years.
“I went through what many of us feel like we go through. Being perceived as outside of the norm,” he says. “And while that is already enough to make one tentative to come out, it didn’t help that my specific identity as an African American, gay, cis male came with other unique challenges. But since fully living the truth of my orientation, I haven’t regretted it.”
Living at the intersection of his many identities, Mngrezzo understands what it feels like to be, as he puts it, “a minority in the majority of spaces.”
Recently, he realized that his sexual orientation identity is also gray-sexual, so he adds, “So I operate as a minority not only on the straight/queer spectrum but also on the hyper/asexual spectrum as well.”
This is where his life as a dancer enters (with a flourish). Both as a tool to build a healthy relationship with himself and as a profession that forces you to constantly look into the mirror (literally), Mngrezzo’s experience with dance has been a multi-faceted one.
“I came to dance late — a story you hear with many maleidentifying dancers,” he explains. “Growing up, I was studious; a bookworm who was devoted to studying, homework, and from middle school through [the] end of high school, also very involved in theater.”
Mngrezzo sort of found dance by accident — or, fate, if you will.
He tells the story: “Audition day comes for the [high school] musical. I give the singular worst rendition (honestly probably ever) of ‘Under the Sea’ from ‘The Little Mermaid.’ Suffice it to say, I didn’t get a speaking role … I was put into the ensemble, but was also made one of the dancers. That was a shock because I knew next to nothing about dancing and I wasn’t a physical being in almost any capacity. But the choreographers, who were my undergraduate professors and also first artistic directors, were great at working with the not-so-experienced group of ragtag dancers they were given … I was having the most fun I think I had ever had before.”
And then it was off to the races, or in this case, dances! Mngrezzo’s journey with dance took him from Western Oregon University to Minneapolis, where he’s lived and worked for the past three years.
He says of Minnesota, “I love the ample beautiful bodies of water like the lakes and the river, and also how vibrant the arts are.”
In his time in Minnesota, he’s premiered original works for Amez Dance, Minnesota Dance Theatre, James Sewell Ballet, Black Label’s inaugural Mover’s Make, and ARENA Dance’s 7th “CandyBox,” as well as
teaching in several local studios. He also choreographed a portion of the Twin Cities Gay Men’s Chorus Pride Concert in June, “This Is Me.”
His piece for the TCGMC Pride Concert was a beautiful meditation on the body and the difficulty faced by one who is a stranger to themself. Mngrezzo chose to choreograph a piece to the song “I Am” by B.E. Boykin for the concert.
“It is a beautiful composition; sonically exquisite and thematically charged,” he says.
But it’s more than just a pretty sound. He continues, “… the title of this song strikes me hardest when I ask myself, ‘What is the problem?’ And like a cracked reflection speaking back, it says ‘I Am.’ Pushing far past the point of being ‘one’s own worst critic.’”
This perception of oneself in a negative way, the self-hatred, body dysmorphia, and pain that we have to fight against in the queer community so frequently — it all spilled out so heartbreakingly beautifully in the piece. Audience members approached Mngrezzo afterward, each with their own interpretations of the performance, each deeply moved by it.
“I’ve been navigating a lot of self-hatred, but am also having to frequently remind myself that self-love isn’t a destination, it’s a journey,” he says. “An ongoing journey … I go outside and look into the stars and remember I am a speck of stardust in an ever-expanding universe. A rush of reassurance and freedom — finding solace in that.”
Mngrezzo continues, “Outside of its performance at the concert, I had personally named what I created ‘Am I?’ — just inverting the words from the title of the piece — but I think that in a way maybe that is partially why it is more universal in terms of how it’s perceived. Anyone asking themselves a question beginning that way is actively assessing where they are on their journey with self-love and what direction they’re moving in. Sometimes it can feel like an uphill battle … like swimming upstream, but ultimately, we are who we are, so maybe sometimes that has to be enough?”
Maybe that’s the solution: deciding to love yourself is deciding that you are enough. Your body is enough, your mind. Your talents, your career, your whole self, flaws and ugly parts and beautiful parts and all — it’s just enough, and more than enough, it is lovable. That’s the foundation of the queer community, after all.
“No words could sum it up better than ‘love is love,’” Mngrezzo says. “And I love that I can belong to this community where maybe not everyone will understand [the full intersectionality of one’s identity], but there is no fear of being ‘shunned’ or ‘othered’. I will still be accepted.”
(Top to Bottom) Photo by Blake Nellis:
A Conversation with Nurse and Comedian Nurse Blake
Many people aren’t lucky enough to take two passions of theirs and mesh them together, but Nurse Blake is.
Lavender Magazine sat down with the comedian and practicing nurse to talk about his journey so far and how comedy has more in common with healthcare than people realize.
Lavender Magazine: What caused you to seek a career in the medical field? I’d love to know a little bit more about your background.
Nurse Blake: “Both of my parents are in the medical field. My dad is a respiratory therapist, and my mom is a medical device sales representative. Growing up, my dad primarily worked the night shift. He would come home from work early in the morning, right around the time I would be getting ready for school, and he would tell me wild stories about his night and how he was able to help people and help save lives. So, ever since a young age, all I wanted to do was get into healthcare. I honestly didn’t consider anything else. I started working in healthcare when I was 17 as a patient transporter, then I worked in surgery and as a patient care tech while going to nursing school.”
Lavender: It’s often said that being in the medical field causes people to develop quite a sense of humor to deal with the chaos of the hospital floors. Would you say that your experiences with patients and coworkers are what gave you the stories and anecdotes that you bring to your standup show?
Blake: “I think that healthcare workers are some of the funniest people out there because we need humor to get through our long, busy, short-staffed shifts, and I would say our humor is pretty dark. It’s honestly not surprising that I went from [being] a nurse to doing stand-up comedy just because I have so many stories, and I honestly will never run out of stories. The stories and jokes I share are accurate and all based on real patients, coworkers, nursing school peers, and managers that I’ve met throughout the years.”
Lavender: How did you decide to get into stand-up? Did you get your start doing TikTok or YouTube videos that gained enough followers that it encouraged you to take your show on the road for live performances?
Blake: “I started making Facebook videos in 2017 which were based on my experience as a nurse after having a panic attack coming home from one of my shifts. I was super burnt out and just needed an outlet to be creative and connect with other nurses, so I started creating funny videos that quickly went viral. Over time, I would post videos on Facebook, Instagram and TikTok. I would get so much engagement and comments about coming to cities and doing a show that in 2019 I did five really small shows where I would rent out the small local theater and sell tickets on Eventbrite and that has now led me to doing over 100 shows last year around the world.”
Lavender: Do you still practice nursing, or have you gone completely into comedy? And, if you’re still nursing, do you find that your sense of humor helps to put your patients at ease?
Blake: “Yes, I’m still a nurse and I still have my license. I make sure to always keep it renewed and active. When I’m not doing comedy,
Photos by Rowan Daley
Prokofiev's
I run NurseCon, which is an education and conference company that I started. NurseCon At Sea is actually one of the largest nursing conferences that takes place on a cruise ship, where we provide continuing education courses, night parties, and meet-ups for nurses from all over the country and world.”
Lavender: For decades, gay men were banned from donating blood. Talk to us about Banned4Life, the group you created to help end this discrimination by the FDA.
Blake: “Back when I was in nursing school, I went to donate blood in honor of one of my classmates, Emmy, who suffers from sickle cell anemia. Unfortunately, this was back in 2013 and I was actually turned away from donating blood for being gay. The FDA had banned bisexual males from donating blood for life, so essentially a permanent ban. I decided to create a grassroots campaign for life, where we raised awareness on the issues while also encouraging eligible blood donors to donate blood. After years of advocacy and providing research to the FDA in favor of lifting the ban, I’m happy to say that the permanent gay blood ban is no longer in effect. That campaign made me realize the power I had and the power of my voice. So as much as I love comedy, I love advocacy and being a nurse. I try to advocate for better working conditions and staffing for nurses, which also help patients and improve patient outcomes.”
Lavender: What have been some of the major highlights?
Blake: “I would say some highlights are performing at the Chicago theater, in Chicago … Obviously, haha. Oh, and the Sydney Opera House. Also, when I’m on NurseCon At Sea and I take a step back and just see thousands of nurses of all different ages learning, connecting, and having a good time, that is a major highlight of my life.”
Lavender: What keeps you going every single day? What has this job/ career path meant to you?
Blake: “My days are busy, and my days are long, especially when I’m on the road touring. What keeps me going is definitely seeing people in the audience of all different ages, backgrounds, and nursing specialties all coming together for a night to just laugh when our job is extremely challenging. I also love seeing comments and feedback from people who watch my videos and come to my shows. Just knowing that I am able to provide someone to laugh encourages me to continue on with what I do. Nursing is such a great field, and it provides me so many opportunities that are honestly limitless. There are so many things that nurses can do, either working in the hospital or outside the hospital, that help other people.”
Nurse Blake’s Shock Advised Comedy Tour will be making a stop in Rochester, MN on Nov. 8 and in La Crosse, WI on Nov. 9. He will also make stops throughout the Midwest this October and November. www.nurseblake.com
BY EMMA WALYTKA
‘RENT’ Coming to Schneider Theater at the Bloomington Center for the Arts
From telling the story of impoverished young artists to underlining the marginalization of the HIV/AIDS crisis and showing the boldness, beauty and adversity the queer community faces in lower Manhattan’s East Village, “RENT” weaves advocacy, authenticity, struggle and perseverance into the depth of living in the shadow of the epidemic.
By focusing on the lives of the LGBTQ+ community, beauty comes protruding out from complex, non-normative relationships through hardship and, of course, a multitude of songs.
In early August, two cast members, Sara Masterson (playing Maureen) and Mitchell Douglas (playing Angel) were cast for the musical, set to run from October 3-27 at the Schneider Theater in Bloomington. This showing also hits a particularly rewarding milestone — this is the
first time in ten years that a regional company is producing it, Douglas said.
“‘RENT’ feels like this explosive, energetic exploration of what it means to be in community,” Masterson said. “It explores all of the different facets, asking: what bonds you and what brings you closer together despite differences and challenges?”
There are many instances where the characters of “RENT” are at odds with one another, but there are also so many other times where the gravitational pull to community is stronger than everything else, Masterson added.
Masterson said she has loved “RENT” since she was just five years old, recalling her kindergarten parent-teacher conference. It entailed a five-star rating with an additional note: to have Sara work on how often she wants to sing songs from “RENT” on the playground.
Her route to casting was unconventional and spontaneous. A good friend of hers sent a text in early August detailing that there was a changeover with the role and that casting was still looking for one of the main characters, Maureen.
Mitchell Douglas. Photo by Jonah Hale. Sara Masterson. Photo by P&D Portraits
The character Maureen was originally played by none other than the ice princess herself: Idina Menzel. Maureen is a bisexual performance artist, who is often described as outrageously bold.
Though Masterson imagined that she was up against at least nine others for the role of Maureen, she sent in a self-tape and, just two days later, she was in.
Masterson, who is originally from Cleveland, Ohio, and has also lived in New York, said she moved to Minneapolis in 2021 because the city offered her the opportunity to not only be a professional actor with consistent bookings, but also the ability to buy and afford a home.
Watching a tape of the 2008 Broadway cast is one of the ways Masterson is preparing for the rehearsal process, reminding herself of the scope and rhythm of the musical.
“Maureen and I are wildly different people in how we present to the world,” Masterson said. “But, we are similar in the sense that we live our lives being boldly who we are, coming from a place of intense truth.”
Douglas, playing Angel, said they felt a lot of similarities with their character, alluding to the fact that they both “march to the beat of their own drum,” in a beautiful way.
“Being a non-binary person of color playing a role like Angel is so exciting because she was a nonbinary individual exploring the world before she had the vernacular to do it,” Douglas said. “Because of stories like her and the ball that got rolling because of people where her story is based out of, is why I get to lead the life that I do now.”
This cast specifically is exciting because the level of passion, heart, strength and empathy they all hold is incredible, Douglas says.
“I don’t mean to brag, but every time I hear a name that’s on this cast, it’s like, ‘Wow, we are kinda stacked,’ this is going to be insane,” Douglas adds.
Douglas said the nature in which their and Masterson’s characters’ relationships are built challenge audiences in an alluring way, with the characters adding an extra level of “spice.”
“‘RENT’ takes it a step further, of carrying the mantle for other people to create, to carve out space, using your own identity to carve out space for other people,” Masterson said.
Masterson added that she is most excited about performing the song “La Vie Bohème” every night. The song is from the 1996 musical, with its lyrics reflecting a celebration of bohemianism.
“I know it is a dorky answer, but the song is just so fierce,” Masterson said.
Douglas fell in love with “RENT” immediately, remembering a dream they wrote in the stars years ago: to play Angel in their 20s and Collins in their 30s.
Angel, a street drummer known for her humorous nature and caring personality, finds out she is HIV positive.
“We are halfway there,” Douglas added. “I am so excited for every facet of the show, but in particular ‘Take Me or Leave Me’ is one of my favorite duets.”
When they were only a teen, Douglas recounts painting a mural of “RENT” in their friend’s basement after their own parents said “no.”
“To be able to create this as an adult, and to look back at how proud my younger self would have been is simply surreal,” Douglas said.
RENT
Artistry Theater and Visual Arts
Schneider Theater – Bloomington Center for the Arts 1800 West Old Shakopee Rd. Bloomington, MN 55431 www.artistrymn.org
Children’s Art is for Everyone
juliany taveras on Children’s Art and Their Recent Award
“It was so wonderful to work with those young people,” says juliany taveras, reminiscing about the process of bringing their adaptation of “Morris Micklewhite and the Tangerine Dress” to life at the Children’s Theatre Company last year.
Nearly in the same breath, they looked forward: “I love imagining other children getting to play those roles and getting to have those conversations … the process [of creating] itself is just as impactful as the product and the audience experience.”
This look forward is not for nothing. taveras was recently awarded the Distinguished Play Award from the American Alliance for Theatre & Education(AATE) for their adaptation of “Morris Micklewhite and the Tangerine Dress.” This still-new play is slated to be performed at more theaters soon. taveras walked me through their artistic journey, described working on “Morris Micklewhite and the Tangerine Dress” and took a little time to dream about the future.
On Becoming a Playwright
taveras is quick to credit their love of writing to public libraries. Their mother, apparently, loves to say that taveras loves stories because of her many visits to the library while pregnant. It must be true — taveras loved their local library so much that they celebrated at least one birthday there. Their love
of reading stories eventually turned into a love of creating them.
“Inevitably when you read a lot you eventually ask yourself — what if I write my own little thing?” taveras explains. “Around nine or ten I wanted to start doing that.”
taveras began writing poetry and fan fiction pretty young, but only once they got to college did they begin to explore playwriting. They specifically found inspiration in Virginia Grise’s “blu,” which is a story that centers two queer women and poetically grapples with issues like state violence and war.
“It wasn’t until I read ‘blu’ that I was like, ‘Wait, you can do this,’” says taveras. “I love playwriting as a medium. The story can live in exciting ways on the page and the stage. I like that I can be with playwriting and extroverted with the playmaking process.”
“Morris Micklewhite and the Tangerine Dress”
taveras was honored when they received the Distinguished Play Award for “Morris Micklewhite and the Tangerine Dress.”
“Even just the title, I’m like, ‘Wow, thank you, I feel so distinguished,’” taveras jokes. They continue: “It can feel like children and children’s art are not super valued by larger culture. I can struggle with feelings of futility … [but art like this] matter[s]. It has an impact.”
“‘Morris’ is a really sweet story — I had the honor of adapting it [from Christine Baldacchino’s book],” says taveras, “and [the award] is affirming in centering the kind of art that I want to put out in the world.”
This isn’t the first time that taveras has adapted a children’s book, and they love doing it.
“Part of the power of a children’s book is that it’s so concise. The ideas are simple and not complex,” says taveras.
When working on their adaptation, they strove to bring the essence of the children’s book onto the stage.
“How do I capture these things that the book evokes in me as a reader? How do I use the medium of theater and the stage to evoke that same feeling in an audience?”
It was magical for taveras to see their story come to life at CTC.
“[The opening night of] ‘Morris Micklewhite and the Tangerine Dress’ was so surreal. There were two openings with two casts and … both crowds were amazing. There was so much support. So much love.”
taveras describes the joy of “getting to hear the genuine reaction” of kids sitting near them in the audience, but they were also struck by the reactions from older members of the audience.
“[Some] adults … said things like, ‘Oh my gosh, this healed something in my inner child,’” says taveras. “As a trans nonbinary adult getting to craft this story that’s how I felt, too. It was emotional for me in the best way. Children’s art is for everyone.”
Photo courtesy of juliany taveras
When I ask taveras what they think the future holds for “Morris Micklewhite and the Tangerine Dress,” they take a moment to let the ramifications of the question seep in.
“I love that question because it invites me to dream,” taveras says. “The commission was for three theaters and I’m excited to see how other theaters and companies work on the same script.”
They pause for a moment before continuing: “Thinking about there being more life to it — it doesn’t just end. I’m thrilled to imagine young people who will get to embody these characters.”
“I’ve never even said this out loud until now, but I’m thinking about access — where can it be as accessible as possible for kids and families to engage with this story? Is there ever a world where it’s translated? I want to write more in Spanish and I could see this being meaningful for immigrant families.”
More taveras
If you missed “Morris Micklewhite and the Tangerine Dress” when it was at CTC and are interested in seeing more of taveras’ work, they have a diverse portfolio. They have several plays available for free on New Play Exchange.
“Plays are fun to read even if you can’t see them,” they say, although hearing that folks are performing their plays is always exciting.
They tell me about a small arts school in California that found one of their plays on NPX and wound up producing it because “their students resonated with it.”
taveras also wrote a screenplay adaptation for “Julián is a Mermaid” by Jessica Love that has been announced for a release sometime in 2025 or 2026.
“If [adapting children’s books] is my lane, I love it,” says taveras. “[“Julián is a Mermaid” is] really beautiful for fans for ‘Morris.’ [It] is about a kid who just wants to express.”
And if you want to watch something now, they worked on a few episodes of Amazon’s “With Love.”
“Every episode is a different premise. It follows a Mexican-American family and has really queer characters,” they explain.
For anything else, taveras’ website is a great resource to find out what they’re putting out into the world.
“People will sit around and tell a story,” taveras muses. “There is an ancient aspect to [storytelling] — we’ve been doing some version of this forever.”
Whether that story is about a tangerine dress, a Mexican-American family, or something else entirely, taveras is a storyteller you want to pull up a stool for.
www.julianytaveras.com
EXPRESS YOUR AUTHENTIC SELF
Monét X Change to host MN Opera’s New Glam
Jam Benefit Concert
Join the Minnesota Opera on Sep. 28 for the first-ever Glam Jam benefit concert hosted by “RuPaul’s Drag Race All-Stars 4” winner Monét X Change. The hour-long show will feature performances by Monét X Change and a cast of soprano and mezzo-soprano artists ranging from operatic classics to musical theater favorites to some rarely performed arias.
Monét made her operatic debut in full drag in the Twin Cities as the Duchess of Krakenthorp in “The Daughter of the Regiment” in 2023. Monét is known for appearing on “RuPaul’s Drag Race” Season 10 and for being the first queen of color to be inducted into the Drag Race Hall of Fame after she won Season 4 of “RuPaul’s Drag Race All-Stars.”
She said “Drag Race” provided her with the opportunity to join the Minnesota Opera in “The Daughter of the Regiment,” which was a meaningful performance for her since it was her first opera performance in full drag.
Her rendition of “Vi ravviso, o luoghi ameni” from “La sonnambula” on “RuPaul’s Drag Race All-Stars: All Winners” in 2022 caught the eye of the Minnesota Opera and the San Francisco Symphony as well as stunning audiences and fans of “RuPaul’s Drag Race.”
“I spent a lot of time, energy, and money on school, so to be performing in drag while doing opera and seeing the two worlds I’ve probably spent the most time and energy crafting and creating magic coming to life is a dream come true,” Monét says.
Monét received a degree in opera performance from Westminster Choir College in New York City. She has been interested in singing opera since high school and received guidance from her choir director Chantel Wright while studying at Westminster.
“She said, ‘You need to do this music thing. You have a great gift, and you would do yourself a disservice if you don’t pursue music,’” Monét says. “She thought I could do it in a real way, and she was right.”
As a performer, Monét enjoys being able to bring the text to life, putting her spin and interpretation on the texts, and having people enjoy what she creates. She also enjoys performing in drag and wowing the audience through her drag and performance. In the audience, Monét said she enjoys being “hit with a wall of sound” and hearing live performances of artists she loves after admiring them through various old recordings and videos.
Last season, Monét performed with the Dayton Opera and Cincinnati Symphony Orchestra. Aside from the Glam Jam, she will perform at the San Francisco Opera’s Pride concert, reprise her role as the Duchess of Krakenthorp with Opera Colorado and perform with Symphony Nova Scotia this season.
In addition to Monét X Change’s return, audience favorites Adriana Zabala, Symone Harcum, Karin Wolverton, Jasmine Habersham, and Deborah Nansteel will return to the stage with the Minnesota Opera Orchestra’s full force behind them, directed by Christopher Franklin.
The Glam Jam is a reimagined version of the Minnesota Opera’s annual gala that previously
Monét X Change. Photo by Liam James Doyle
could accommodate only a few hundred people, Minnesota Opera President and General Director Ryan Taylor said in a press release. The unique concert brings a fundraising opportunity for the Minnesota Opera while allowing people to enjoy a one-of-a-kind event.
“Proceeds from this one-night-only event will continue to make our work on the stage and in the community possible, as well as ensure a thriving Resident Artist Program, which has trained artists as exhilarating performers and arts leaders for nearly 30 years,” Taylor said.
This season’s incoming cohort of Minnesota Opera Resident Artists will debut on the Ordway Stage at the Glam Jam pre-concert reception. Incoming artists include John Mburu, Ángel Vargas, Kara Morgan, Fumiyase Kawase
and David Wolfe. The Resident Artists program offers artists a full season of employment at the beginning of their professional careers alongside masterclasses and mentoring.
Guests will be invited to attend an after-party immediately following the concert that will include signature cocktails, light snacks, dancing, and live music.
The Glam Jam will also introduce The Forte Award, which recognizes individuals and corporations for contributions to Minnesota’s arts community and Minnesota Opera’s mission. The 2024 recipients are Gale Sharpe, William White, and Ascent Private Capital Management.
Sharpe began her journey at the Walker Art Center in 1966 when the Minnesota Opera was still called Center Opera and became a distinguished figure in the world of opera through her dedication and longevity. White has been a board member of the Minnesota Opera since 2016 and is known for his community building by inviting new people to the opera, in turn creating new fans and supporters. Ascent has sponsored the Minnesota Opera since 2012 and has been actively engaged with the opera community.
Between Monét as emcee and the various performances by herself and new and returning Minnesota Opera members backed by the Minnesota Orchestra, the jam-packed concert will be nothing short of entertaining. Enjoy the one-night-only event and support the Minnesota Opera at the one-of-akind benefit concert.
The Minnesota Opera’s Glam Jam will be on Sep. 28 at 7:30 p.m. at the Ordway Center for Performing Arts. Tiered tickets range from $78 to $403 and can be purchased online at mnopera.org/season/2024-2025/glam-jam/. You can also buy tickets through the Minnesota Opera Patron Services at 612-333-6669, open Monday through Friday from 10 a.m. to 5 p.m.
Monét X Change in MN Opera's 2023 production of The Daughter of the Regiment. Photo by Dan Norman
BY NOAH MITCHELL
ArneCon Returns to Minneapolis
The second edition of the gaming convention will take place from October 4 to 6.
Calling all dwarves, druids and dungeon masters: ArneCon 2, the second edition of the gaming convention honoring Dungeons & Dragons co-creator Dave Arneson, is returning to Minneapolis. The convention will take place from October 4 to 6 at the Park Place DoubleTree Hotel.
ArneCon2 will feature several different games across different genres, including role-playing games, war games and board games. It will also feature numerous special guests, including some of the original D&D players.
“This is shaping up to be the biggest meeting of the original “Blackmoor Bunch” in many years!” the ArneCon2 website says.
The special guests include Blackmoor demo participant and Greyhawk supplement author Robert Kuntz, tabletop RPG designer and The Escapist co-founder Alexander Macris, RPG adventure author and actor Ronin Wong and Malia Arneson, Dave’s daughter.
RPG sessions at ArneCon 2 will include Into The Wild Blue Yonder, an adventure written and refereed by Kuntz using AD&D 1E rules, Adventure Conqueror King System refereed by game author Macris, and Rahaisa, a Daystar original version of a D&D adventure from 1980 refereed by Wong.
Three-day badges for ArneCon 2 are available on the convention’s website for $50.
ArneCon 2
October 4-6, 2024
DoubleTree by Hilton Hotel Minneapolis – Park Place 1500 Park Pl. Blvd.
Minneapolis, MN 55416 www.tfott.com/arnecon
Media is seeking to add a Twin Cities based full time Account Executive to our sales team. We are looking for an outgoing,organized, self-driven & motivated professional with excellent phone, writing and presentation skills. Candidates should enjoy working directly with clients who are interested in growing their business through Lavender advertising and event sponsorships. Candidates must be local.
Compensation: $1,500 base + commission every issue (two weeks) and an employee benefits package that includes group health, dental, life insurance and LTD.
Applicants should have experience with Mac software environment, Excel, Word, social media platforms & database software such as Filemaker Pro. They should exhibit an elevated level of organization, attention to detail, the ability to work as part of a team, effective communication,self direction, enjoys working with new people and has a natural drive to grow.
Please send your cover letter and resume to Stephen Rocheford, President & CEO. stephen rocheford@lavendermagazine com
4330 Nicollet Avenue, Minneapolis, MN 55409
Lavender
BY E.B. BOATNER
Books
“Goodnight Tokyo”
Like many beyond the covers of “Goodnight Tokyo,” Yoshida’s characters are searching. For love, if you want to be specific, and, mirroring many readers, hiding behind something else throughout their quest. Mitsuki, for example, is known as a procurer. No, not the kind you’re thinking — a searcher for props for a film company. Its giant warehouses are bursting at the seams, yet always lack something — a particular object that she must rush to find. A midnight taxi driver ferries her about her rounds, while he himself frequents a nocturnal diner in search of a particular lady. A different lady is a stealer and distributor — of loquats. Like characters in similar books, and the classic film, “La Ronde,”people interact or pass unknowingly; some find love while others … we understand.
“Forgotten on Sunday”
What looks to be by the cover another summer romance beach read grows deeper by the page into a decades-long exploration into family secrets and lost love. The title’s “forgotten” are the aged, warehoused, however kindly, who no longer expect Sunday visitors; those who wait and remember, living in the endless past. Justine, only 21, is a nursing assistant who lives with her grandparents and her cousin Jules. Listening to her charges’ repeated stories, Justine has bonded with Hélène, nearing 100. The two exchange stories, Hélène’s of her lost love, wartime, and their summer at the beach; Justine’s of her lack of love. Life goes on until an anonymous phone call to the nursing home changes their lives. Moving, endearing, yet never, ever treacly.
“Point and Shoot: A Gay Marine’s Story III”
Continuing the bildungsroman of ex-Marine Brad Spicer, “Point and Shoot” is less than a month from the events of “Sugar Baby Bridge” and “Semper Civilian”, leaving a ways to jump from rural Ohio to Marine to an uncertain future. Brad, avoiding personal responsibility for his lack of domicile, income, car, and driver’s license, is pleased to be asked by James, video pornographer, to assist on the Big Island for a long weekend with two straight Marine “subjects.” When even a barely verbal actor complains he never listens, Brad realizes something’s wanting, but is both angered by criticism and afraid to assume agency. Volume four is titled “Outstanding Marine: Book 0”: a backstory, offering perhaps offering a window into Brad’s mind, and further intimations of his future.
“All’s Fair in Love and Treachery”
Following “Act Like a Lady, Think Like a Lord,” Connally’s well-researched Regency-era mystery will enthrall. June 21, 1815: All London is celebrating news of Napoleon’s surrender at Waterloo, but Lady Petra Forsyth has received information that her fiancé’s death three years earlier was not mishap, but murder, at the hands of now-paramour Duncan Shawcross. Concurrently, she’s called by Queen Charlotte to investigate a death at the Asylum for Female Orphans, which may cover a group of radicals tied to certain aristocracy plotting to topple the monarchy (nothing Regency was ever simple). No matter; wealthy, single — “I’ll never marry!” — Petra summons the wit and wile to lead the beach-bound reader through a thorny summer romp, as Connolly wields her writerly skills to keep those pages turning.
BY RANDY STERN
An SUV of Our Own
Subaru is one of our favorite brands. This is true. The Forester is our favorite SUV. This is also true.
The reasons are plenty. The company’s American arm loves us, and we love them back. The SUV provided many memories of us for being practical and just right for our lifestyle.
For 2025, the love affair with our community continues with a new Forester.
You can say that this Forester has caught up with the times, while still delivering everything we ask for from previous iterations of this popular model. Visually, it has a new personality. However, it continues to be powered by the same driveline as always.
Let us break all of this down for you.
The body is new. You can see it within the details — a new grille texture, headlamps, side glass profile, the rear pillar badge, the liftgate, and taillights. It just looks like a new Forester visually.
What you do not see — rather, not notice — is that the Forester retains the same body dimensions as the last-generation model. Just an inch or two difference in some places, but the wheelbase remains the same.
You will notice that the Forester is stronger than before. Subaru added 10% more torsional rigidity throughout the body and structure through better welding at key points. This is something you will feel when you take your Forester onto the dirt or gravel road.
There are five trim levels available on the 2025 Forester. We sampled the Sport model, which featured some bronze-finished elements inside and out, including the 19-inch aluminum wheels.
Subaru also tweaked the interior while mixing familiar and new elements never-before-seen on a Forester. The main dials of the instrument cluster are analog, while the center screen is digital. There’s plenty of information to scroll through, which is also available on the top part of the big 11.6-inch infotainment touchscreen. You will also find the switches and controls are the same as on most Subarus.
About that big touchscreen — it is the newest element in the 2025 Forester. This is the same Starlink touchscreen you will find the latest Outback, Crosstrek, Ascent, Impreza, and Legacy. Not sure why it took so long for it to get into the Forester, but it is here and works very well.
Our Forester Sport wears a soft StarTex leather-like upholstery in black along with dark bronze stitching and trim. The front seats are softer and more comfortable than before with plenty of support. The rear seat room is very good for most bodies. Four to five people could sit comfortably inside across two rows of seats.
Behind the rear seats is 27.5 cubic feet of cargo space that is easy to get to and load up. Fold down the rear seats, and it will expand to 69.1 cubic feet.
A 180-horsepower 2.5-liter horizontally opposed four-cylinder engine powers the 2025 Forester. The “Boxer” engine also puts down 178 pound-feet of
Photos by Randy Stern
Community Connection brings visibility to local LGBTQ-friendly non-profit organizations. To reserve your listing in Community Connection, email advertising@lavendermagazine. com.
ANIMAL RESCUE
Second Chance Animal Rescue
Dedicated to rescuing, fostering, caring for, and adopting out dogs and cats into forever homes.
P.O. Box 10533 White Bear Lake, MN 55110 (651) 771-5662 www.secondchancerescue.org
BUSINESS ASSOCIATIONS
Quorum
Minnesota's LGBTQ+ and Allied Chamber of Commerce working to build, connect, and strengthen for a diverse business community. 2446 University Ave. W., Ste 112 St. Paul, MN 55114 (612) 460-8153 www.twincitiesquorum.com
ENVIRONMENT
The Nature Conservancy
TNC is an environmental nonprofit working to create a world where people and nature thrive. 1101 W. River Pkwy., Ste. 200 Minneapolis, MN 55415-1291 (612) 331-0700 minnesota@tnc.org www.nature.org/minnesota
EVENT VENUES
Landmark Center
A classic venue, with a grand cortile and beautiful courtrooms, accommodates celebrations of all sizes. 75 W. 5th St. St. Paul, MN 55102 (651) 292-3228 www.landmarkcenter.org
GRANTMAKERS/FUNDERS
PFund Foundation
PFund is the LGBTQ+ community foundation that provides grants to students and grants to non-profits. PO Box 3640 Minneapolis, MN 55403 (612) 870-1806 www.pfundfoundation.org
HEALTH & WELLNESS
Aliveness Project
Community Center for individuals living with HIV/AIDS – on-site meals, food shelf, and supportive service. 3808 Nicollet Ave. S. Minneapolis, MN 55102 (612) 824-LIFE (5433) www.aliveness.org
Family Tree Clinic
We're a sliding fee sexual health clinic and education center, now in Minneapolis. 1919 Nicollet Ave. Minneapolis MN 55403 (612) 473-0800 www.familytreeclinic.org
COMMUNITY CONNECTION
Keane Sense of Rhythm
Celebrate your true self with Tap dance!
1st week free, Join us now!
2161 University Avenue W., Ste. 117 St. Paul, MN. 55114 (612) 251-4744 info@tapcompany.org www.tapcompany.org
NAMI Minnesota
(National Alliance on Mental Illness)
Providing free classes and peer support groups for people affected by mental illnesses.
1919 University Ave. W., Ste. 400 St. Paul, MN 55104 (651) 645-2948 www.namimn.org
Rainbow Health
Providing comprehensive health services for LGBTIA+ people, those living with HIV & folks from underserved communities facing healthcare barriers. 701 S. 4th Ave., #1500 Minneapolis, MN 55415
HIV and STI screening, treatment, education, and referrals. Doxy PEP, nPEP, PrEP, and Reproductive Health. 525 Portland Ave., 4th Fl. Minneapolis, MN 55415 (612) 543-5555 reddoor@hennepin.us www.reddoorclinic.org
LIBRARIES
Quatrefoil Library
Your LGBTQ+ library and community center. Free membership, events, and e-books/audiobooks. Check us out!
1220 E. Lake St. Minneapolis, MN 55407 (612) 729-2543 www.qlibrary.org
MEDIA & COMMUNICATIONS
Radio K
Radio K is the award-winning studentrun radio station of the University of Minnesota. 330 21st. Ave. S. Minneapolis, MN 55455 (612) 625-3500 www.radiok.org
MUSEUM
Minnesota Historical Society
Create your own adventure at MNHS historic sites and museums around Minnesota. mnhs.org
Minneapolis Institute of Art
Enjoy masterpieces from all over the world & every period of human history. Free admission daily! 2400 3rd Ave. S. Minneapolis, MN 55404 (612) 870-3000 www.artsmia.org
Walker Art Center
Showcasing the fresh, innovative art of today and tomorrow through exhibitions, performances, and film screenings. 725 Vineland Pl. Minneapolis, MN 55403 (612) 375-7600 www.walkerart.org
PERFORMING ARTS
Chanhassen Dinner Theatres
The nation's largest professional dinner theater and Minnesota's own entertainment destination. 501 W. 78th St. Chanhassen, MN 55317 (952) 934-1525 www.ChanhassenDT.com
Children’s Theatre Company
Children’s Theatre Company excites the imagination with world-class family-friendly theatre for kids, teens, and adults. 2400 3rd Ave. S. Minneapolis, MN 55404 (612) 874-0400 www.childrenstheatre.org
Guthrie Theater
Open to the public year-round, the Guthrie produces classic and contemporary plays on three stages. 818 S. 2nd St. Minneapolis, MN 55415 (612) 377-2224 www.guthrietheater.org
Minnesota Opera
World-class opera draws you into a synthesis of beauty; breathtaking music, stunning costumes & extraordinary sets. Performances at the Ordway Music Theater - 345 Washington St. St. Paul, MN 55102 (612) 333-6669 www.mnopera.org
Minnesota Orchestra
Led by Music Director Designate Thomas Søndergård, the Minnesota Orchestra, one of America’s leading symphony orchestras. 1111 Nicollet Mall Minneapolis, MN 55403 (612) 371-5656, (800) 292-4141 www.minnesotaorchestra.org
Ordway Center for the Performing Arts
Leading performing arts center with two stages presenting Broadway musicals, concerts & educational programs that enrich diverse audiences. 345 Washington St. St. Paul, MN 55102 (651) 224-4222 info@ordway.org www.ordway.org
Twin Cities Gay Men’s Chorus
An award-winning chorus building community through music and offers entertainment worth coming out for! 1430 W. 28th St., Ste. B Minneapolis, MN 55408 (612) 339-SONG (7664) chorus@tcgmc.org www.tcgmc.org
RELIGIOUS & SPIRITUAL
All God’s Children Metropolitan Community Church
A welcoming, inclusive, safe place to explore and discover God’s love for ALL God’s children. 3100 Park Ave. Minneapolis, MN 55407 (612) 824-2673 www.agcmcc.org
Many Hearts, One Song; Many Hands, One Church. Find us on Facebook and Twitter. 1900 Nicollet Ave. Minneapolis, MN 55403 (612) 871-7400 www.plymouth.org
St. Philip's Lutheran Church
We invite and welcome those of every spiritual background, ethnicity, gender orientation, or economic situation. 6180 Hwy 65 Fridley, MN 55432 (763) 571-1500 www.splcmn.org
University Baptist Church
Creating safe and inclusive spaces for 175 years, UBC stands proudly with our LGBTQ+ family. 1219 University Ave. SE Minneapolis, MN 55414 (612) 331-1768 www.ubcmn.org
Westminster Presbyterian Church
An open and affirming congregation, welcoming persons of all sexual orientations, gender expressions and identities. 1200 Marquette Ave. Minneapolis, MN 55403 (612) 332-3421 www.westminstermpls.org
SENIOR LIVING
Friends & Co
Fostering meaningful connections for older adults for 50+ years. Offering quick drop-in chat line, phone & visiting companionship services. 2550 University Ave. W., Ste. 260-S St. Paul, MN 55114 (612) 721-1400 www.friendsco.org
Lyngblomsten Community Services
Empowering older adults to live well at home through caregiver support, memory-loss enrichment, & wellness education.
1415 Almond Ave. St. Paul, MN 55108 (651) 632-5330 www.Lyngblomsten.org/CommunityServices
Senior Community Services
Providing non-medical services that meet the changing needs of older adults & support their caregivers. 10201 Wayzata Blvd., Ste. 335 Minnetonka, MN 55305 (952) 541-1019
www.seniorcommunity.org/lav
SOCIAL SERVICES
Lutheran Social Service of Minnesota
Serving all Minnesotans with personcentered services that promote full and abundant lives.
lssmn.org | (651) 642-5990 | (800) 582-5260
Employment Opportunities | lssmn.org/careers PICS (Partners in Community Supports) | picsmn.org
Pooled Trust | (888) 806-6844
Supported Decision-Making | (888) 806-6844
TRAVEL DESTINATIONS
Discover St. Louis Park
Minnesota’s Sweet Spot! Visit us for exceptional dining, attractions, shopping, hotels and event space.
1660 Hwy 100 S., Ste. 501 St. Louis Park, MN 55416 (952) 426-4047
www.DiscoverStLouisPark.com
torque. This is connected to a continuously variable transmission with eight shift points that can be accessible through the paddle shifters behind the steering wheel. Symmetrical all-wheel drive continues to be standard, along with an X-Mode system with three traction profiles to choose from.
By the way, we should mention that we averaged 27.4 MPG. Not bad in terms of fuel economy, although Subaru and the Environmental Protection Agency state that it could get up to 32 MPG on the highway.
The driving experience the Forester delivers is exactly what we expect from a Subaru. We expect a smooth ride, competent handling, solid steering, and brakes. If you have driven an older Forester, you are in for a treat. You will notice the improvements over the years and appreciate how much Subaru has evolved in keeping the driving experience to the complete satisfaction of its loyal owners.
Another commitment Subaru has made to its customers is to keep them safe. The company’s EyeSight Driver Assist Technology has been further en-
hanced for 2025. The newest addition to this suite of driver assistance technology is Automatic Emergency Steering, which helps to avoid a collision by having the Forester turn away from it.
For 2025, you have five Forester models to choose from, with pricing starting from $29,695. Our Forester Sport tester came with a sticker price of $37,590.
The newest version of one of our favorite vehicles turns out to be quite the value. For a new vehicle, getting one that is well-equipped for under $38,000 is rare these days, especially an SUV with all-wheel drive standard.
The 2025 Subaru Forester continues to give us what we want. We want our vehicles to be practical while giving us the ability to drive through any conditions. If you love your current Forester — or, maybe you’re thinking of swapping out of your Outback or upgrading from your Crosstrek — you are going to love this new one.
