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Minnesota Ballet descends into pit with ‘Poe’

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Minnesota Ballet descends into pit with ‘Poe’


DULUTH — In Minnesota Ballet’s subterranean studios at the St. Louis County Depot, artistic director Karl von Rabenau reassured the dancers rehearsing “Poe.”

Death (Kyra Olson) is lifted by the Accused (Matthew Frezzell) during a rehearsal of “The Pit and Pendulum” segment of “Poe” at the Minnesota Ballet studios Oct. 9.

Jed Carlson / Superior Telegram

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“If it’s a little awkward, that’s OK,” he said. “Death …” His voice trailed off. Well, yeah. Death can be awkward.

Later, sitting in the Depot’s rotunda for an interview about his decision to create a piece inspired by the writing of Edgar Allan Poe, von Rabenau said, “I just thought that was a great way to bring in the Halloween spirit.”

Von Rabenau previously choreographed the company’s

“Sleepy Hollow”

(2021), and now Minnesota Ballet is preparing to present “Poe,” its first evening-length work to premiere in the Depot’s rechristened Studio Four.

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“It’s a very unique space,” said company dancer Sean Sullivan. “There is a stage space and a seating space, but it is still in the historic train depot. Also, the audience is right there! You can see the audience, and that’s a very rare thing.”

Studio Four contrasts with the DECC’s spacious Symphony Hall, where the audience, from the perspective of a dancer looking into stage lights, might disappear into the darkness.

“We’re trained to be big (in expression) so the people in the back can see you,” said company dancer Brooke Bero. “In order to dial that down, there’s a lot of these roles that need to be a little bit more human.”

“It does give you that feeling of, OK, I have to feel what I would really, really feel if I was in the space of this pit and I can’t see anything, there’s darkness around me,” said company dancer Matthew Frezzell, one of the dancers performing the role of the Accused in a segment inspired by Poe’s “The Pit and the Pendulum.”

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Dancer cower together.

Taylor Phillips, from left, Brianna Crockett, Matthew Frezzell and Victor Smith cower during a rehearsal of “The Pit and Pendulum” segment.

Jed Carlson / Superior Telegram

“I don’t think Duluth is used to seeing dancing that close up, and being that drawn into it,” said von Rabenau.

There’s another advantage to Studio Four: Because the capacity is so limited

(150, to Symphony Hall’s 2,221),

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the company can plan several performances of a given program, rather than just playing for a single weekend. “Poe” is scheduled for seven performances, spanning Oct. 20-29.

“As a dancer, it’s nice to not only get to perform it, but get to perform it again and try and add more to it,” said Bero. “Versus with ‘Sleeping Beauty,’ it’s like one and done, hope you did well!”

Dancers embrace.

Death (Kyra Olson) embraces the Accused (Matthew Frezzell) during a rehearsal of “The Pit and the Pendulum” segment.

Jed Carlson / Superior Telegram

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Weather led to heartbreak for that spring production, which had only two performances planned for Symphony Hall on March 11 and 12. A weekend snowstorm forced the cancellation of the Sunday matinee, and kept some people who’d planned to attend the Saturday evening performance from getting to the venue.

“That was incredibly disappointing,” said von Rabenau. “We’re just moving on.”

For “Poe,” von Rabenau adapted a handful of the author’s eerie compositions. “We’re going to be doing ‘The Masque of the Red Death,’” said the choreographer. “‘The Purloined Letter,’ which into that we’re going to fold portions of ‘The Raven’ and ‘The Tell-Tale Heart,’ and then the final one will be ‘The Pit and the Pendulum.’”

The “Pit” segment has an Accused (Frezzell and company dancer Isaac Sharratt will alternate in the role) facing a panel of masked judges. At rehearsal last week, dancers paid careful attention to nailing their choreography as judges, since the masks will limit their ability to coordinate visually with other performers.

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Masked dancers perform.

The judges perform during a rehearsal of “The Pit and the Pendulum” segment.

Jed Carlson / Superior Telegram

“When you have that key part of it, your peripheral (vision), taken away from you, there’s so much more internally that needs to happen,” said company apprentice Juliana DeBellis. “The mental load increases a lot.”

The masks create a powerful visual effect, though, with the judges moving in synchrony to condemn the Accused. The “Pit” segment is one of two, the other being the “Masque” segment, to feature a dancer personifying Death itself. Bero and company dancer Kyra Olson alternate in that role.

“If I’m Death, I’ve had people pass through me over and over and over and over again,” said Bero. “When we’re doing ‘The Pit and the Pendulum,’ and it’s one more person pleading, ‘Please don’t let me go,’ I take pity on him … but you still have to be steadfast, like, this is my job.”

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Dancers embrace during practice.

Death (Kyra Olson, left) embraces the Accused (Matthew Frezzell) during a rehearsal.

Jed Carlson / Superior Telegram

“As a dancer, you don’t get words to express what you’re doing,” said Sharratt. “You get to do that deep dive into the character.”

“Being scared of the dark, that’s a very human experience,” said Bero. “Then as a dancer … I can add my arsenal of technical training to (portray) that visually.”

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“In Studio Four, because it’s such an intimate space,” said DeBellis, “by taking these stories that are so intensely filled with all of these very, very human moments, there’s so much opportunity for the audience to just become encompassed by that.”

While the dancers won’t be using their voices, certain words will be heard. Von Rabenau, who built the show’s score from music by composers including Dmitri Shostakovich and Bela Bartok, is incorporating selected texts performed by two iconic actors.

“I came across Vincent Price and Basil Rathbone reading Edgar Allan Poe,” said the choreographer. “I’ve used some of that.”

Dancers group up as they rehearse.

The rats (Victor Smith, left, Brianna Crockett, top, and Taylor Phillips, right) surround the Accused (Matthew Frezzell) during a rehearsal.

Jed Carlson / Superior Telegram

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While ballet is foundational to “Poe,” the piece delves into contemporary forms as well. “It’s very well-balanced stylistically,” said DeBellis. Viewers “will get a little taste of a lot of different ways of moving, which is really exciting.”

Bero described “Poe” as “a great starter show” for people who aren’t accustomed to seeing ballet, or concert dance generally.

“You could familiarize yourself with the stories beforehand,” said Bero. “Sometimes people are like, ‘I don’t get what they’re trying to say.’”

“You could go read it at intermission, between acts,” said DeBellis.

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“It’s a lot more digestible than something like a four-act ‘Swan Lake,’” Bero noted.

Attendees can expect some spooky atmospherics as well. “Not to give any spoilers,” said Sullivan, but “there’s a lot of cool other stuff, too, besides the movement.”

Von Rabenau thinks the piece will prove a draw for audience members hoping to get into the seasonal spirit, as well as for fans of the author seeking a new way to experience his classic tales.

“We’ve heard from so many people talking about how much they enjoy Edgar Allan Poe,” von Rabenau said. “I don’t think there is another company that’s done an entire evening of Poe works.”

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Dancer is dragged away my masked men.

The Accused (Matthew Frezzell) is pulled away by the judges during a rehearsal of “The Pit and the Pendulum” segment.

Jed Carlson / Superior Telegram

Given that his company will be performing in a building that’s also offering “haunted history tours,” von Rabenau noted the performers are taking appropriate precautions.

“We’ll try to not make it too spooky,” he said, not wanting “to encourage any of the extracurricular beings that are around.”

For tickets and information, see

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minnesotaballet.org.





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MSU Alum Having Career Year for Minnesota Vikings

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MSU Alum Having Career Year for Minnesota Vikings


Former Michigan State wide receiver and current Minnesota Viking Jalen Nailor has been terrific in his third season in the pros. As the third wide receiver on the field alongside Justin Jefferson and Jordan Addison, Nailor has improved his career numbers in his now third year in the league.

Drafted in the sixth round of the 2022 NFL Draft out of MSU, the Vikings landed a strong piece to an even stronger offense in the Vikings. Nailor’s efforts since joining the Vikings have provided the franchise comfort knowing he is out on the field.

In his first season, Nailor played in 15 games, recording nine receptions in 13 targets. He posted 179 receiving yards in his rookie campaign, averaging 19.9 yards per reception. Receiving seven first downs in Year 1, the Vikings looked to get Nailor more involved on the roster in Year 2.

Though the team wanted to get more out of Nailor, they were unable to due to Nailor’s lack of time on the field. In his second season, Nailor only played in six games. In the six games, Nailor totaled only three receptions that went for 29 receiving yards. Nailor received one first down on the season before he was inactive in Weeks 15, 16 and 17.

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In what would be a do-or-die season after a lackluster second-season campaign, Nailor made sure he reminded Viking fans why he belonged. Playing in 15 games for the Vikings this season, Nailor has dropped career highs in four different statistical categories. MSU fans should be proud of their former Spartan.

Nailor has 20 receptions, which is one of his new career highs, and he has totaled 280 yards, averaging 14 yards per reception. His best game on the season came against the Detroit Lions back in Week 7, where he recorded four receptions in five targets and got 76 receiving yards, averaging 19 yards per reception.

As the Vikings approach the postseason, Nailor should be a key piece to a deep playoff run if the Vikings make it as far. Minnesota, going into Week 17, has a record of 13-2 and should continue to be a force to take seriously for whoever it faces in the playoffs.

Don’t forget to follow the official Spartan Nation Page on Facebook Spartan Nation WHEN YOU CLICK RIGHT HERE, and be a part of our vibrant community group Go Green Go White as well WHEN YOU CLICK RIGHT HERE



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NEXT Weather: 10 p.m. report for Minnesota on Dec. 24, 2024

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NEXT Weather: 10 p.m. report for Minnesota on Dec. 24, 2024


NEXT Weather: 10 p.m. report for Minnesota on Dec. 24, 2024 – CBS Minnesota

Watch CBS News


Meteorologist Lisa Meadows says high temperatures will be in the 30s for Christmas day, with patchy fog in the morning.

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An Unusual Airport Is Closing in Minnesota

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An Unusual Airport Is Closing in Minnesota


A small airport with a bigger claim to fame is closing in northern Minnesota after more than a half-century of operation. The Piney-Pinecreek Border Airport is so named because its runway crosses the US-Canada border, reports Minnesota Public Radio. In fact, it’s been hailed as “the world’s first binational airport,” notes the Minneapolis Star Tribune. Despite the bragging rights, however, the airport has been mostly used by hunters and fishermen, and the cost of maintenance has proven to be too much. The airport has a 3,297-foot runway, of which 2,350 feet are in Minnesota and the rest in Canada, per the Grand Forks Herald.

“It’s a tough decision to close an airport ever, but the evidence was all there that now was the time,” says Ryan Gaug of the Minnesota Department of Transportation. The airport opened in 1953 and is one of six now that straddle the border—but only Piney-Pinecreek has a paved runway. “It’s always been the No. 1 fun fact that I’ve shared with friends, family, coworkers, colleagues here at MnDOT,” says Gaug. The agency has jointly owned the airport with the municipality of Piney, Manitoba, in Canada, but the town ended the arrangement because it was unable to meet the cost of maintenance. As such, “a colorful era in the history of Minnesota aviation” ends on Friday, per the Herald. (More Minnesota stories.)

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