Trixie Mattel and Katya Zamolodchikova did a live recording of their podcast “The Bald and the Beautiful” July 28 at State Theatre in Minneapolis. 

After competing side by side on season seven of RuPaul’s Drag Race, Trixie and Katya began pursuing comedy together in their popular series, “UNHhhh,” launched in 2016. They continue to perform as a duo in a variety of formats, bringing pre-recorded and live productions to fans worldwide.

Trixie, originally from a small town in Wisconsin, speaks often about growing up in the Midwest. The star contributes to a proud and vibrant LGBTQ+ community in Milwaukee, WI, where Trixie owns the gay bar This Is It!

Like Milwaukee, Minneapolis is a hidden hub of queer culture. Here are a few significant moments in Twin Cities drag history — including a brief review of Trixie and Katya’s sold-out show.

1914 – Julian Eltinge performs at the Metropolitan Opera House

In the early twentieth century, “female impersonators” found success on Broadway, performing vaudeville for wealthy individuals in elite venues. Julian Eltinge was perhaps the most successful performer, as his decades-long career included a variety of musical comedies, films and a specially requested show for King Edward VII of England.

Eltinge appeared at the Metropolitan Opera House in Minneapolis in 1914, performing “The Fascinating Widow,” a show specifically designed to showcase his skills. Rather than exaggerating the mannerisms and appearances of women, female impersonators like Eltinge focused on mastering the act of deception, convincing audiences they were women until the big reveal at the end of the show.

1949 – Jewel Box Revue starts a six-month contract with Curly’s Theater Cafe

The Jewel Box Revue made history as the first inclusive touring company of female impersonators. Over 25 performers at once put on shows across the United States, from Ohio to Miami to Minneapolis. Whereas the vaudeville era often incorporated blackface and offensive stereotypes, this early revue –– formed in 1939 –– was more racially inclusive and began acknowledging diversity.

Though the shows in Minneapolis were immensely popular, the city and police requested the termination of the revue’s six-month contract with Curly’s. This was just one of many efforts to suppress drag that continued to impact life into the twenty-first century. 

1970s – Club Cabaret, Casablanca Show Lounge and Gay ‘90s

The Club Cabaret was a venue for drag that opened in 1972 on Hennepin Avenue. Drag started to enter the mainstream in this era, finding its place in popular culture.

Though Club Cabaret did not last long (it closed the same decade it opened), other locations took its place. One of these venues was the Casablanca Show Lounge, now called Lafemme Lounge, in the upstairs of the popular bar Gay ‘90s.

2001 – Margarita Bella becomes a space for gay Latinos

The Latin bar Margarita Bella expanded its clientele in 2001 by inviting the queer community for “gay nights,” often involving drag queens. At this time, plenty of LGBTQ+ spaces existed across the city, yet there was (and is) still a surprising lack of diversity in many communities. The owners prioritized welcoming gay Latinos and creating mutual support among individuals.

June 28, 2023 – Minneapolis resolution declares drag performance is free speech

As anti-drag bills passed across the country, the Minneapolis City Council recently affirmed drag culture as a part of free speech. Led by Council President Andrea Jenkins, who is transgender, the committee discouraged future efforts to criminalize drag by declaring they “condemn the rise of anti-drag and anti-transgender legislation where bans and restrictions have passed or are being advanced.”

July 28, 2023 – Trixie and Katya live at State Theatre 

The beautiful and historic State Theatre was filled with hundreds of Trixie and Katya fans, many of whom waited months to see the duo after the original show in February was canceled. 

Trixie stunned on stage in an elaborate, sparkly and (obviously) pink ensemble. Katya, also gorgeous in a short gold dress, brought the chaotic energy she is known for and multiplied it by ten.

It was a Red Bull, she explained, that motivated her to run laps around Trixie and perform handstands. 

“Montréal didn’t get that!” Katya said, referring to the previous night’s show.

Trixie and Katya’s unscripted hour-long conversation had the audience in constant laughter. They discussed Katya’s weird dreams, the Minneapolis-St. Paul rivalry and unpleasant hook-up stories. 

As usual, the duo’s contrasting personalities made for an amusing dynamic. Trixie, poised with her legs crossed, was not fazed by Katya’s antics, but the way the two friends made each other laugh was, in itself, enough to entertain the crowd.

Gamut Gallery’s new exhibition, “The Periphery of Power,” features artwork celebrating diversity as well as challenges conventional notions of beauty, power and art itself.

Though the gallery has seven exhibitions per year, this will be the only one in 2023 with unsolicited artwork. After receiving over 1,000 art pieces in their call for submissions, Guest Curator Esther Callahan selected 45 exceptional works, which went on display on July 15. 

“The open call is awesome. This was our biggest open call to date,” Gamut Gallery Director Cassie Garner said.

There were no concrete parameters for submitting artists to follow. Instead, Callahan allowed the theme to naturally reveal itself as she searched for common ground between submissions.

From the work they received came “The Periphery of Power,” a theme that pays homage to people who exist in the margins and are often excluded from traditional narratives. 

“Whether it’s their gender, their sexuality, their education, their ethnicity, their size, their abilities … all of these things are part of this conversation,” Callahan said.

Each individual piece is intentionally arranged in the gallery space to create a cohesive narrative from one artwork to the next. On one wall, black-and-white work takes center stage. Turn to the other wall and viewers will be met with an explosion of vibrant colors and patterns. These differences convey the wide range of emotions making up the human experience.

“We also have to show you the joy and the power of life”, Callahan said. “The color is really important to us being able to just have a little bit of movement and softness in the way that we embrace ourselves and each other.”

As suggested by the exhibition’s variety of work, featured artists come from all walks of life. There is artwork from individuals in their 70s, those who are just starting out their career and everyone in between.

Kathryn Blommel, a studio art major at the University of Minnesota, has shown her work before, but never at Gamut Gallery. Her featured piece depicts a partial figure reaching out, representing the search for a sense of belonging. 

“It’s great to showcase my work outside of the University setting,” Blommel said. “I also think it’s just a great opportunity for students like me to get real-world experience with showcasing their work. It’s nice to get in touch with curators and local artists to build connections and a sense of community.”

An open-call exhibition also means a greater quantity of work. “The Periphery of Power” makes good use of the space — no matter where you’re standing in the gallery, you’ll have dozens of pieces to admire and interpret. 

“In a lot of other exhibits, you’re not going to have this many pieces. You’re gonna have a lot more space between them. This is a little bit more like a salon-style thing where you’re having the joy of showcasing a number of pieces at once,” Callahan said.

Gamut Gallery’s “The Periphery of Power” is on display until Aug. 18. For more information and gallery hours, visit their website.

When The Killers announced they would perform a show at First Avenue the night before playing at TC Summer Fest, fans understandably went wild. Tickets that went on sale less than a week before the July 13 concert date sold out instantly.

The buzz for this band isn’t new — after their 2004 debut album “Hot Fuss,” featuring hits like “Mr. Brightside” and “Somebody Told Me” — The Killers became a household name. They usually play large-capacity venues such as Xcel Energy Center, so seeing them alongside just 1,500 other attendees was a once-in-a-lifetime opportunity. 

Resale tickets were strictly prohibited for this show. Without scalpers, the venue legitimately reached capacity. That is a rarity for live music — typically, at least some tickets will be lost to those who hoard them in hopes of making a profit.

Attendees of all ages began packing the main room when doors opened at 7:30 p.m. No opening act was necessary for this show — fans got the energy going by themselves. When the band took the stage at 9:00 p.m. the crowd was buzzing in anticipation.

With a loud burst of confetti kicking off the song “Sam’s Town,” the 100-minute set officially began. Lead singer Brandon Flowers matched the audience’s excitement from the beginning. Dressed in all black, he sported a classic look and a near-constant smile. 

The Killers have been putting on high-energy arena shows for decades. In the smaller-than-usual venue, the band’s power could hardly be contained. Flowers expertly occupied the space on stage, confidently moving from side to side. Sometimes, as he was amping up himself and the audience, it looked as if he was about to take off from his podium and fly directly into the crowd.

Transitions between songs were quick and efficient. After a cover of “I Could Never Take The Place Of Your Man” by Prince, the band played a sequence of three songs from their third album, “Day & Age,” including the simple and uplifting tune “Human.”

The band never focused too heavily on a single era of their music. With a good mix of new and old songs, there was something for everyone to sing along to. Superfans and casual fans alike seemed overjoyed to be a part of the intimate and exuberant performance.

Flowers announced a change of pace mid-set before playing “Runaway Horses,” an acoustic track that tells a small-town story of choosing between chasing big things or staying put.

“If there was ever a record made for a room this size, it was this one,” Flowers said.

This mellowed-out energy didn’t last long — the band revved back up for the show’s second half with heavy drums, electric guitar solos and a rock-and-roll stage presence. “When We Were Young” and “All These Things That I’ve Done” got the crowd particularly pumped up, leaving fans eager for more as the band took a short break pre-encore.

In one last burst of energy, Flowers gave his all for a three-song encore, allowing the audience plenty of time to savor the last moments of this special evening. The final song was one everyone had anticipated: “Mr. Brightside,” which passionately chronicles heartache and jealousy in an upbeat manner.

Singing the 2004 megahit along with Brandon Flowers himself was a bucket-list item many fans crossed off that night. The room was deafening as Flowers prepared to leave the stage, but only after humbly announcing his gratitude to the audience.

“Thank you for coming on such short notice,” he said. “See you tomorrow.”

The Loft Literary Center’s Wordplay festival returned in full swing on July 8 after four years of virtual events. With an outstanding author lineup, book-related vendors and streets full of literature lovers, the celebration was a reader’s dream.

Since its founding in 1974, the Loft has served as a haven for writers and readers from the Twin Cities and beyond. They offer workshops, readings and events like Wordplay to foster a thriving, active literary community.

Thanks to organizations like the Loft, Minneapolis has one of the richest literary cultures in the country.

“This is a really good place to be a writer,” Antonia Angress, author of “Sirens & Muses” and graduate of the University of Minnesota’s Master of Fine Arts program, said. “There’s a lot of other writers, a lot of independent bookstores and literary events, and a lot of government support for the arts. It sort of feels like this hidden gem.” 

Wordplay’s main attraction was the variety of panels featuring both local and national writers. These took place across several stages located on festival grounds and inside the Loft space off Washington Avenue in downtown Minneapolis.

Angress, alongside trailblazing writer Eileen Myles and Krista Burton, author of the nonfiction book “Moby Dyke,” was a featured panelist in a discussion on writing LGBTQ+ experiences. The three writers talked about finding community, pushing against harmful political narratives with literature and how representation is vital in challenging times.

Myles, who has been a part of queer history for decades, explained when they did not know if LGBTQ+ communities would find a place in this country, writing was especially cathartic.

“I didn’t know if there was a future, I just knew there was a present, and I wanted to represent it,” Myles said.

“Writing Queer: The Importance of Queer Voices” was one of many panels centered on the Loft’s festival theme this year, “Narrative Power.” Director of Special Events Shahenda Helmy discussed this theme and how the team implemented it in the 2023 Wordplay festival.

“It’s inspired by a quote from Toni Cade Bambara that goes, ‘The job of the writer is to make the revolution irresistible,’ so that was our inspiration behind looking for authors and curating these panels that would inspire revolution in all people,” Helmy said. “We were thinking about authors who use their work to push movements for social change.”

A panel called “The Memories We Hold: Black Womanhood in America” featured Mahogany L. Browne, Lyzette Wanzer and Carolyn Holbrook, who discussed the politicization of Black women’s hair.

“Black women cannot get out of girlhood without having some kind of traumatic experience regarding their hair — it’s universal,” Browne said.

“Embodied Literature: How Our Bodies (Dis)Connect Us From Who We Are,” “Climate Change in Literature” and “It Ran In My Family Until It Ran Into Me: Confronting Generational Trauma” were just a few of the many other topics explored at Wordplay.

Event planners prioritized the inclusion of Minnesota-based authors. They mixed local voices with established national names, encouraging a melding of 30+ unique perspectives.

“It highlights all the incredible authors who call Minnesota home, but it’s also an opportunity to bring in outside authors and have this huge concentration of talent and ideas in a single place,” Angress said.

Because of the relevant theme, Wordplay is not just a place for book lovers. It is also a safe and empowering space for people to bring tough questions and reflect on experiences.

“Even if you don’t consider yourself a reader, the conversations that are happening on stage are conversations that we know are relevant to people,” Helmy said. “Absolutely this is a book event for book people, but it’s also an event for Minneapolis residents who are looking for something really fun and engaging to do on a beautiful Saturday in July.”

Pizzeria Lola offers a combination of classic and Korean-inspired wood-fired pizzas in a casual atmosphere.

Located off Xerxes Avenue in Minneapolis, Pizzeria Lola was the first restaurant opened by award-winning chef Ann Kim in 2010. Kim has since unveiled three sister restaurants: Hello Pizza, Young Joni and Sooki & Mimi. After being featured in an episode of the Netflix show “Chef’s Table” last fall, Kim and her pizza have gained worldwide attention. 

Pizzeria Lola has 31,000 followers on Instagram, but it would be difficult to tell just by looking at the restaurant from the outside. Tucked away in a mostly residential neighborhood, the restaurant is attractive but humble. Its patio provides shade, sun and invites well-behaved dogs with water bowls — likely because the pizzeria pays homage to Lola, Kim’s late dog who is adorably memorialized in photos on the restaurant’s walls.

Inside, Pizzeria Lola mixes modern furnishings with a ‘70s vibe. Fleetwood Mac and the Eagles play through speakers, a disco ball spins from the ceiling and a sign points to a photo booth, which customers can pay to use. 

It’s also hard to miss the large copper oven sitting in the center of this modestly sized restaurant. According to Pizzeria Lola’s website, the core of this artsy and functional piece was sourced from 16th-century France.

Like its setting, the restaurant’s menu is also friendly to all ages and diets. Pizzeria Lola offers a wide variety of pizzas, including your classic marinara and unique recipes like Korean BBQ drawing from Kim’s heritage. There are also gluten-free, vegetarian and vegan options. If you’re looking for a beverage to go with your meal, cocktails, wine and beer are available.

I started off my meal with peas and burrata, the current special starter. This green twist on bruschetta includes basil mint pesto, crushed peas, olive oil and a generous blob of burrata on a toasted baguette. Not only was it delicious, but it was also beautifully garnished with pea shoots and fresh-grated pepper.

As a long-time fan of margherita pizza, I knew I had to try Pizzeria Lola’s take on the classic recipe. I was not disappointed by the sweet tomato, tasteful mozzarella and cooked-to-perfection crust, all of which created a satisfying balance. The chefs did not go overboard with the olive oil, either, which is usually what’s responsible for my rare complaint about wood-fired pizza.

Though more expensive than its competitors, such as the chain Punch Pizza, Pizzeria Lola’s prices were not anything unexpected for an independently-owned, sit-down restaurant. Still, with my margherita pizza costing $16 and the starter $15, this restaurant may be a special-occasions-only destination for students on a budget.

The incredible pizza and personality of Pizzeria Lola make dining at this establishment an experience to remember.

With over 20,000 monthly listeners on Spotify, this local, up-and-coming shoegaze band’s influence spans beyond the small house shows where they got their start.

she’s green, comprised of Teddy Nordvold (bass), Zofia Smith (vocals), Liam Armstrong (guitar), Raines Lucas (guitar) and Kevin Seebeck (drums), have had many recent “firsts,” including the June 30 release of their debut EP, “Wisteria,” and an exciting performance at Fine Line Music Cafe.

“I love the scene here, I love going to shows here,” Nordvold said. “Being able to be part of the Minneapolis music scene with this band is very, very gratifying.”

About a year ago, the pieces fell into place and the five musicians played their first gig as she’s green. Their paths crossed in a series of lucky ways: through roommates, through mutual friends and by working at Radio K where Nordvold and Armstrong met as University of Minnesota students.

“We tried learning this demo that I had,” Armstrong said. “Then we kind of just started playing shows once we had enough songs written.”

Since then, the band has been in dozens of lineups alongside local acts such as Lapdogs, Daphne Jane, 12th House Sun and Psylo. 

Bonding with other Twin Cities-based musicians is an essential part of their success — the connections are valuable ways to form new friendships, expand their career and make their music as great as it can be. 

“It’s really easy to be inspired by other bands,” Smith said.

While their shows get bigger and bigger, friends help to ground the musicians. The group explained how, after unexpectedly playing at the spacious Fine Line, they found familiar faces in the crowd to quell their nerves.

“Our friends are really holding it down for us, which we appreciate greatly,” Nordvold said. “They’re at a lot of the shows we play and they’re normally right up front and rocking it out with us.”

Buried underneath the light, aurally pleasant melodies of she’s green’s songs are lyrics about depression, grief and growth. Though words are just one part of these intricate soundscapes, the musicians agree that connections with audience members are often rooted in the emotional depth of the lyrics.

“Sometimes I’ll make eye contact with people while I’m saying something really intense, and they’ll just kind of be like, ‘Whoa,’” Smith said. “I can tell they’re kind of shocked, but they can also really feel what I was feeling.”

The group finds inspiration from a variety of places: movies, different eras of music and, as made evident by their name and album cover, nature. 

“We joke about being a moss rock band,” Nordvold said. “We all love the outdoors.”

On “Wisteria,” Smith’s airy and soaring vocals contrast the heavy instrumentals, creating melodies that are reminiscent of the turbulent natural world. The EP contains five songs, which are intentionally arranged to replicate the structure of a live performance. 

The strong opening track, “Lakes,” ebbs and flows between dynamics. An ethereal wash of sound takes over in the chorus, but the verses are more subdued with their guitar-based melodies. 

Little gems of lyrics can be found within these songs. In “Mandy,” Smith sings, “Drifting through all the open space that calls me / Dancing through all the moments that define me.” Even though lyrics are not the main focus of the EP, there is a delicate beauty in the sparing words the songs provide. 

Listening to “Wisteria” feels like drifting down a glittering river in the sun, whilst simultaneously evoking feelings of sitting on a porch in the country as the dark sky cries. That’s the magic of the record — the listener gets to conjure up their own image of what each track represents.

All five band members are eager for the EP to make its way to the ears of their audience and hope that this project will draw new people to their music. 

As they refocus their energy on forthcoming projects, she’s green aims to continue creating spellbinding songs that serve as a way to work through a wide array of emotions.

“If we can provide a cathartic experience for people while doing something cathartic, it’s super rewarding,” Armstrong said. 

she’s green will perform next on July 21, location to be announced. In the meantime, listen to the five-track dreamscape “Wisteria.”

The first installation of the 2023 Green Roof Poetry series, curated by All My Relations Arts, took place at the Walker Art Center on June 22.

All My Relations Arts (AMRA) is a nonprofit organization serving as a hub for contemporary Native art. Their Native Authors Program, established in 2020, supports writers of all genres and creates a space for growth, community and support.

Though the event was moved indoors due to heat and poor air quality, it still flourished in a bright and supportive environment.

When AMRA reached out to Art Coulson and asked if he would want to be the 2023 program mentor, he eagerly agreed. Coulson has published over a dozen books, but he still learns from the 12 cohort members just as they learn from him.

“It’s a great mixture of writers — we have poets and creative nonfiction writers and fiction writers — so it’s a really good group to mix it up and talk about genre and form,” Coulson said. 

Cohort members meet each month over Zoom to discuss their current projects, aspirations and roadblocks. Though each writer has their own unique topics and writing style, there is an undeniable benefit in coming together to share the joys (and hardships) of their art.

“Writing is a really solitary process, so it’s nice to be around folks who all have goals and aspirations to get their work out there and have simultaneously committed to uplifting others,” said An Garagiola, a current member of the cohort and graduate student at the University of Minnesota.

Like Garagiola, the other cohort members have busy lives. Nicholas DeShaw, who works as an outreach coordinator for the Department of American Indian Studies at the University, explains how AMRA intertwines with his professional life.

“The main part of my job is to find ways to outreach the department to the wider community, both on campus and off campus,” DeShaw said. “I’m planning to bring some of the [AMRA] artists to campus to speak about their work, and also just to let students know about All My Relations and the cool work they do.”

Curating and reading at Green Roof Poetry was special to the cohort members. After the pandemic made virtual meetings the norm, the group’s first full in-person gathering took place at the Walker. 

“It’s really important for the work that these writers are doing to get out into the broader community,” Coulson said. “Nobody wants to be in an echo chamber — you don’t want to just write for a small group of people.”

Green Roof Poetry attendees gathered in Cargill Hall, a large open space with massive windows that look onto the hill. DJ Austin Owen spun some records as people trickled in. Then, Megan Leafblad of the Walker and AMRA director Angela Two Stars gave introductions that officially got the reading rolling.

Rosetta Peters is a poet and author, but she is also an engaging performer. Her story about family, forgiveness and loss was moving in its out-loud form. Peters would be an excellent audiobook reader.

Coulson shared an excerpt from his middle grade novel called “Chasing Bigfoot,” which follows a young Cherokee boy on a summer roadtrip with his storytelling uncles and cousins. Though geared toward kids, adult attendees seemed more than happy to “put on their 13-year-old ears,” as requested by the author.

Unfortunately, writers Annastacia Cardon and Tashia Hart were unable to make it to the event, but Cardon’s cousin and Two Stars read their work for them. Cardon’s in-progress fantasy novel and Hart’s contemporary romance displayed the diversity of the art being created by AMRA’s authors.

According to Coulson, going out into the community is great because it shows the public all the unique art coming from the Native community.

“They’re going to see that there are Native writers writing about a lot of different topics in a lot of different forms and genres. We’re not some monolith. We’re out there creating like all other authors do,” Coulson said. 

There are two more nights of Green Roof Poetry to catch before the summer is over, with curation by authors Tish Jones on July 13 and Danez Smith on August 3.

Indie singer-songwriter Leith Ross showcased top-notch lyricism and an engaging stage presence on the smoky evening of June 14.

With record levels of air pollution, the short walk from the parking ramp to the Entry left an acrid taste in the throat — but it was washed away by Ross’s smooth, euphonious voice. 

Opening act Kai Warrior and her acoustic guitar took the stage first. As a smaller artist, her setlist mostly consisted of unreleased songs that included lyrics about hypochondria and growing out of one’s hometown. 

Kevin Atwater also performed several songs, such as “Star Tripping,” which explores young love, religious shame and sexuality.

The heartfelt performances of Warrior and Atwater were generally well-received, but the acoustic, lyric-heavy songs blended together. It is difficult to amp up a crowd with only a guitar, and restlessness ensues when fans have been waiting in the venue for over two hours to see the artist they came for.

When Ross and their band members finally crammed onto the tiny stage, the energy in the room inevitably grew. They started with a sequence of songs from Ross’s most recent album, “To Learn,” which effectively displayed the artist’s famously devastating lyricism.

The kinship between the musicians on stage was palpable. Ross’s friends seemed to make them more comfortable on stage, both during songs and in between. With bass and electric guitar players, a drumset and several acoustic guitars, the instrumentals and vocal melodies blended to create pleasing harmonies.

Ross also made sure to involve the fans with a unique method of crowd engagement: a “questions box” sat at the merch table before the performance began. Fans could ask anything, but mostly stuck with silly questions like “What’s your favorite soup?” (Classic tomato) and “Can you give us a tattoo tour?” (Ross only has one—a bagel on their arm). 

The artist admitted the box originated as a crutch for the stressful task of coming up with good audience banter every night. But it stuck around and proved to be a success, provoking lots of laughs.

Fans sang most passionately to “I’d Have to Think About It” and “Monogamy,” released together in 2021. The collective voice of the crowd was quite beautiful — a rare treat in the world of live music.

Ross was aware of the fact they were talking to a largely queer audience. They discussed their favorite queer TV shows and bravely came out as a regular milk drinker. 

“There are a lot of oak milk drinkers on this stage,” they said about their bandmates. 

Warrior and Atwater also showcased bittersweet songs about the LGBTQ+ experience, ensuring that the show was a safe space for all.

“I love when the homosexuals are happy,” Ross said. “I also love when they’re sad but it’s poignant and important. Balance!”

Ross’s song “Music Box” was an unexpected highlight of the show. Released on its own, the single showcases a poetic, non-traditional lyric structure and melancholy melody. Its live version was even more interesting — it included a quirky little offbeat drum and, fittingly, music box sounds.

At just over an hour, the set went by fast. Ross closed out their encore with “We’ll Never Have Sex,” a song that depicts pure, gentle love. After the unfinished version attracted an abundance of admiration on TikTok, Ross released the tune in early 2022. It quickly became their most popular song with almost 50 million streams on Spotify.

Ross’s tenderness is clearly their strength — in lyricism, vocals and personality. With songs that truly hold their own, this growing artist stands out as the raw, real deal.

There’s no “one-size-fits-all” when it comes to showing your pride. Whether you like the lively environment of drag shows or prefer something more low-key –– like a jazz concert by the lake –– the Twin Cities makes it easy to show up for the LGBTQ+ community. In fact, U.S. News & World Report placed Minneapolis and St. Paul in their top 21 cities to celebrate Pride in 2023.

Here is A&E’s list of events to check out before Pride Month ends.

Pride Panel: Cultivating Connections Through Queer Art and Performance (June 22)

Get inspired by and learn from queer creatives at the Minneapolis Institute of Art. In this panel discussion, audiences will learn the unique practices of local writers, performers, photographers and other interdisciplinary artists to hear how their art connects with LGBTQ+ identity. The event is hosted by Juleana Enright, a queer Indigenous artist, and will feature Kehayr Brown-Ransaw, Trista Marie McGovern and Julia Starr. Learn more here.

Pride Drag Brunch at CRAVE (June 24)

With a variety of themed events –– such as the 90s, Taylor Swift or Dolly Parton –– Drag Brunch has become a popular way to show up for LGBTQ+ entertainers, and have a great time doing it. This Pride Weekend, order some delicious food and dance it out with drag queens Lady Cassadine, Priscilla Es Yuicy and Frozaen Pissàs on the rooftop of CRAVE American Kitchen & Sushi Bar. You can learn more or grab tickets here. 

Twin Cities Pride Festival (June 23-25)

Slather on some sunscreen and celebrate Pride in Loring Park. The 51st annual Twin Cities Pride Festival will include three days of local LGBTQ+ vendors, food trucks, a beer garden and live entertainment. After two years of reduced operations, the festival came back in full swing in 2022. Have a look at vendors and plan out your weekend here.

Pride Celebration & Clearance Sale at The Irreverent Bookworm (June 24-25)

Calling all bookworms on a budget! The Irreverent Bookworm, a queer-owned bookstore, is hosting a giant clearance sale for Pride Weekend. According to their Instagram, there will be thousands of books on sale for $1 or less. Plus, keep an eye out for announcements about special merch and giveaways. Visit the Irreverent Bookworm website here.

2023 Twin Cities LGBTQ+ Pride March Honoring Ashley Rukes (June 25)

Miss the simple, childlike joy of parade-watching? Stake out a spot on Hennepin Avenue and watch LGBTQ+, BIPOC and ally groups share their pride. This annual march honors Ashley Rukes, former director of the Twin Cities Pride Parade, and starts at 11 a.m. It is free to attend. View the parade lineup here.

Marble walls, gold candelabras, a chandelier — stepping into the set of “The School for Lies” is like joining an elegant party.

Set in 1666 Paris, the larger-than-life play featured an ambitious class of graduating fourth-years, who are students in the University of Minnesota/Guthrie Theater BFA Acting Program. This glamorous final production was directed by Stephen DiMenna and took place at the Guthrie’s intimate Dowling Studio with performances from April 15-23.

“The School for Lies” is based on “Le Misanthrope,” an iconic comedy created by the 17th-century French playwright Molière. Though this adaptation is also set in the past, the actors brought a modern twist to the still-relevant commentary on the hypocrisy of high culture. While gossiping in couplets, they snapped photos on iPhones and danced under disco balls.

We are introduced to an eccentric cast of characters in the salon of Celimene, an enthralling and witty widow who is being sued for slander. Celimene, played by Lucy Farrell, is surrounded by suitors who wear colorful ruffles and try to win her love through charm and pizzaz. However, she is unfazed by these theatrical displays of affection, still mourning the loss of her beloved husband.

Then we meet Frank, the only character who doesn’t care for the supposed inauthenticity of such flashy lives. Dressed in all black, he sticks out like a sore thumb. Frank, portrayed by Nathan Noel, is somewhat pretentious, despite his claims of being the only down-to-earth person in the entire city of Paris. He goes on long rants about how lust, greed and culture get in the way of genuine connection.

But not even Frank is able to avoid the allure of Celimene. He falls for her quickly and seems to have an instant change of heart, becoming the romantic he says he despises. The lovestruck suitor tries to charm the widow with promises of picturesque walks in the city and endless affection. Celimene sees that Frank is unique and is drawn to him right away.

Happy endings can’t happen that easily, though. Love triangles develop, with Frank getting tangled up in the very world he initially mocked for phoniness. Celimine’s cousin Eliante, her suitor Philinte and the scheming gossip Arsinoe enter the mix, giving the play drama and keeping the audience on their toes.

In the course of two hours, viewers were invited into this world of jokes, elegance and affection. The lively characters revealed themselves to be misleadingly wholesome, making it easy to connect with and root for them as the play went on, despite their delusions of grandeur. After all, they just wanted what all of us do — authentic love, friendship and connection.

The nine talented actors seen onstage brought their best to the performances by shedding their own skin and fully transforming into their characters. If it wasn’t advertised that they were college students, viewers might guess they were seasoned professionals at the Guthrie.

Even more obvious than their skill was their own enjoyment of the play. With sly innuendos, comical characters and modern dance numbers, the audience could tell the smiles on stage were genuine.

The company of 2022 faced a tumultuous few years, with the pandemic disrupting the program’s regularly scheduled shows and adding health concerns to everyone’s lives. Instead of the tragedy and realism typical of this final production, the actors were given this lighthearted, charming performance to close out their college careers on a high note.

“The School for Lies” stunned visually in addition to entertaining grandly. The chic set and elaborate costumes — all designed by faculty designers from the Department of Theatre Arts & Dance — create an all-encompassing world of glamor. From the tiny details like bows and color schemes to the huge hair and dresses, everything fit together perfectly.

Poking fun at the French and listening to gossip has never been so much fun, but in addition to its humor, the play is deeply heartful. The audience watches as vibrant characters search for their own truth and authenticity in the midst of so many distractions.

Throughout the performance, Frank, Celimene and the gang change, grow and find that what they’ve been looking for has been there all along — an important lesson for everyone.