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POTS’ Virtual Production of “I Am My Own Wife” Opens Feb. 19th

Playhouse on the Square continues its 52nd season with on-stage performances streamed right to your living room.

“Offering productions in this new format gives us the exciting opportunity to meet the demands of our patrons, but also keeps our team and community safe. In addition, we have the chance to share who we are and what we do to a much larger national audience, and that is pretty exciting,” says director of community relations, Marcus Cox.

Bill Simmers

Charlotte von Mahlsdorf

Art does, after all, have its place during a national crisis. During Nazi Germany’s national crisis, traditional art was the only acceptable art. “Degenerate” art was not allowed. Or as Nazi Germany called it, modern art — gasp and pearl clutch. They would not have allowed the play I Am My Own Wife, penned by playwright Doug Wright and based on the true story of a real-life German trans woman, Charlotte von Mahlsdorf. She managed to survive both the Nazi onslaught and the repressive East German Communist regime. She was a tough cookie.

Michael Gravois will play the role of Mahlsdorf — again. He first performed the one-person play at Circuit Playhouse in August 2006. The production earned Gravois and director Stephen Hancock Ostrander nominations. The production was also nominated in the 2007 Ostranders for best play. Associate director and resident company member Dave Landis will direct this current production.

I Am My Own Wife, online from Playhouse on the Square, playhouseonthesquare.org, opens Friday, Feb. 19, 7-10 p.m., and continues through Feb. 28, $25.

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Intermission Impossible Theater

THE OTHER PLACE: 90 Perfect Minutes at Circuit Playhouse

Go to The Other Place. It’s not an uplifting play, this story of Dr. Juliana Smithton, a biophysicist developing drugs to treat dementia, while losing her grip on reality. She has brain cancer. Or maybe she doesn’t. Her husband is screwing around and filing for divorce. Or maybe he’s not. Her daughter’s dead in a ditch somewhere, or maybe she’s at the bottom a the river sleeping with the fishes, or maybe — just maybe — she’s dropping by the family’s second home and bringing the twins to visit grandmother.

Sharr White’s critically acclaimed play The Other Place is not an uplifting experience but, with its unique structure and big heart, it’s an experience audiences are unlikely to forget any time soon. For fans of good acting and unconventional mysteries, its arrival at Circuit Playhouse is fantastic news. This is the rare piece of theater where everything you think you know one minute is wiped clean in the next, stringing viewers along until the hopeful, but not very happy end.

Go to The Other Place. You’ll see Kim Sanders play an unsuspecting woman with problems of her own who’s come home to drown her sorrows in wine and Chinese takeout only to find a stranger in the kitchen who wants to hug it out. This scene between Sanders and an astonishingly good Kim Justis is funny, tense, hard to watch, impossible not to watch, and as fine a thing as anyone is likely to watch on any stage probably ever. Unless something extraordinary occurs between now and August — and it certainly could — this is the scene that will very likely earn both performers an Ostrander award. 

THE OTHER PLACE: 90 Perfect Minutes at Circuit Playhouse

Go to The Other Place, where Michael Gravois vividly falls apart and pulls himself together after taking more than anybody could ever be expected to bear and where Kinon Keplinger shows, once again, that he’s among the most versatile character actors in town. These are two of Memphis’s most reliable actors at the top of their game. Gravois is uncommonly vulnerable here, and a magnificent ensemble player. His most heart crunching sounds happen off stage, framing and lifting some of Justis’ best work to date. Keplinger has taken on more showy roles in the past but he’s never been better. 

Go to The Other Place. Director Dave Landis and his first-rate cast and crew have served up 90 minutes of bracing uncertainty. It’s a tight, concise script with zero padding, and beautifully acted. It’s not the best thing I’ve seen, but it’s the best I’ve seen in Memphis in ages. Just go.