Fraser’s Sensory Supports and Training Program - Making Spaces More Accessible for Those with Sensory Differences

Article by Becky Fillinger, photos provided

A Discussion with Gina Brady, Fraser’s Sensory Supports and Training Program Manager

Not everyone processes environments the same way – our environments can be thought of as along a spectrum from low sensory load to high sensory load – think quiet library to loud shopping mall. We talked to Gina Brady, Fraser’s Sensory Supports and Training Program Manager, about their nationally recognized initiatives that help many kinds of organizations embed accessibility and inclusion into their operations, environments, and culture. We focused on live theater performances – keep reading if you know individuals and families who are hesitant to attend theater for sensory overload reasons.

Gina BradyQ: Can you tell us about how you became interested in creating sensory-friendly adaptations to help people fully participate in community life?

A: As an occupational therapist, I spent years working directly with individuals with sensory processing differences. Again and again, families would tell me about all the places they wanted to go but couldn't. Whether it was a theater performance, a sporting event, an airport, or even a community festival, the environment often made it too overwhelming. It made me realize that we spend a lot of time helping individuals adapt to the world, but we also need to help the world adapt to them. If we can make small, thoughtful changes to the environment, we create opportunities for more people to participate, connect with others, and simply enjoy being part of their community. 

Q: What is Sensory-Friendly Minnesota?

A: Sensory-Friendly Minnesota is an initiative led by Fraser that helps organizations become more welcoming and accessible for people with sensory sensitivities. We partner with theaters, sports venues, airports, hospitals, museums, libraries, businesses, and community organizations to provide training, consultation, and practical sensory supports. Every organization looks a little different, but the goal is always the same: to remove barriers so more people can comfortably participate in everyday experiences. Ultimately, it's about creating communities where everyone feels like they belong. 

Q: Every successful program has a story. How did Fraser's sensory supports program evolve from helping a few families into a model that's now recognized across the country?

A: It really started by listening. Families shared the challenges they were facing, and organizations wanted to be more inclusive but weren't always sure where to begin. We worked alongside both groups to develop practical solutions that made a real difference. We started with just a few partnerships, learned from every experience, and continued to refine our approach. As more organizations saw the impact these changes had on families, the program naturally expanded. Today, we're fortunate to work with partners across Minnesota and beyond who are committed to making their spaces more welcoming for everyone. 

Q: Can you tell us about your Sensory Kits?

A: Our Sensory Kits are designed to give individuals tools that can help them feel more comfortable in different environments. Depending on the setting, they may include items like noise-reducing headphones, fidget tools, visual supports, sunglasses, or weighted lap pads. The important thing is that sensory needs aren't one-size-fits-all. What helps one person may not help another, so having different options allows people to choose what works best for them. Sometimes a simple tool can make the difference between leaving early and being able to enjoy the entire experience.

Q: Let's shift to live theater. What is a sensory-friendly performance, and how does it differ from a traditional show?

A: The performance itself doesn't change. You're still seeing the same production, the same talented cast, and the same incredible story. What changes is the environment. We make thoughtful adjustments that help reduce sensory overload so people who might otherwise find the experience overwhelming have the opportunity to enjoy live theater more comfortably. The goal isn't to change the artistic experience; it's to make it more accessible. 

Q: How did Fraser become involved in making live theater performances more accessible?

A: Theaters wanted to reach more families and create experiences that were truly welcoming for everyone. They knew accessibility mattered, but they wanted guidance on how to do it well. Fraser brings expertise in sensory processing, while the theaters bring their expertise in creating amazing performances. Together, we've built partnerships that allow more people to experience live theater in a way that works for them.

Q: What changes are made to the sound, lighting, and overall environment during a sensory-friendly performance?

A: Every production is different, but we typically make adjustments such as lowering sudden loud sounds, softening lighting transitions, keeping the house lights slightly brighter, and providing designated quiet spaces where guests can take a break if they need one. We also support families before they even arrive by providing pre-event communication that helps them know what to expect, from the theater environment to the performance itself. Having that information ahead of time can significantly reduce anxiety around new experiences and help guests feel more prepared. One of the most important parts, though, is staff training. When ushers, volunteers, and theater staff understand sensory needs and know how to support guests, it creates a welcoming atmosphere from the moment families walk through the doors. 

Q: How do you determine which adjustments will make the biggest difference without changing the artistic integrity of the show?

A: That's always our goal… to preserve everything that makes the performance special while making it more accessible. We work closely with the production team to identify moments that may be particularly overwhelming and discuss adjustments that reduce sensory challenges without changing the story or creative vision. When certain elements are essential to the performance and can't be modified, we provide visual cues or advance warnings so guests know what's coming and are less likely to be startled. Every show is unique, so each sensory-friendly performance is thoughtfully planned to balance accessibility with the artistic vision.

Q: Can you describe what a designated quiet space is and how families use it during a performance?

A: A quiet space is a calm, welcoming area where guests can step away if they need a break from a performance. These spaces are typically equipped with comfortable seating, adjustable lighting, and sensory tools like fidgets or weighted lap pads to help guests regulate and recharge. Sometimes someone only needs a few minutes to regroup before returning to the performance. Knowing that option is available gives families peace of mind because they don't have to choose between staying through discomfort or leaving the event altogether.

Q: Many people associate sensory sensitivities with autism. Who else benefits from these accommodations?

A: Autism is certainly one group that benefits, but sensory-friendly accommodations help many different people. Individuals with ADHD, anxiety, PTSD, dementia, traumatic brain injuries, sensory processing differences, and other disabilities may all appreciate a more predictable, supportive environment. Young children and older adults can benefit as well. The reality is that when we create environments that are easier to navigate, we often make the experience better for everyone.

Q: What does it mean to parents when they know they won't be judged if their child needs to move around, make noise, or take a break?

A: Parents tell us they can finally relax. Instead of worrying about whether someone is staring at them or whether they'll need to leave if their child responds differently, they can simply enjoy the experience with their family. That freedom allows families to focus on making memories together instead of managing stress. Hearing those stories is one of the most rewarding parts of this work.

Q: If someone has been hesitant to bring a family member to live theater, what would you tell them?

A: I'd tell them this experience was created with them in mind. Everyone attending understands the purpose of the performance. If someone needs to move around, make noise, use a sensory tool, or step into a quiet space, that's okay. Those accommodations are expected and welcomed. Our hope is that families leave thinking, "We can do this," and feel more confident participating in other community events, too.

Q: What's the biggest challenge in transforming a large live production into a sensory-friendly event?

A: Every production is different, so there isn't a one-size-fits-all approach. The biggest challenge is finding the right balance between preserving the artistic vision and creating an environment that's more accessible. It takes planning and collaboration, but when you see families who never thought they'd be able to attend a Broadway show enjoying the performance together, it's absolutely worth it.

Q: Have performers embraced these adaptations?

A: Absolutely. The performers, production teams, and theater staff have been incredibly supportive. Many of them tell us afterward how meaningful it is to perform for audiences who may never have had the opportunity to experience live theater before. They also often comment on how powerful it is to see the audience respond with the house lights up, allowing them to witness reactions they wouldn't normally see during a traditional performance. There's a shared understanding that the arts should be accessible to everyone.

Q: What advice would you give to smaller community theaters that want to become more accessible but have limited budgets?

A: Start small. Accessibility doesn't always require a large investment. Training staff, creating a sensory guide before the performance, setting aside a quiet space, or simply letting families know they're welcome can have an enormous impact. It's less about having every accommodation on day one and more about taking intentional steps to make your space more inclusive.

Q: Are there new technologies or innovations that could make theater even more inclusive?

A: We're seeing more organizations explore things like digital sensory guides, sensory maps, virtual reality experiences, and new assistive technologies that help guests prepare before they arrive. Those tools are exciting, but I still think the biggest difference comes from people. When staff understand sensory needs and create a welcoming environment, families notice. Technology can support accessibility, but kindness and understanding are what make people feel like they belong.

Q: Thank you so much for your good work - how may we follow your news as you continue to make the world more accessible?

A: The best place is Fraser's website, Facebook, Instagram and YouTube where we share upcoming sensory-friendly events, new partnerships, and resources for families and organizations. Our hope is to continue working with communities across Minnesota and beyond because every new partnership creates more opportunities for people to participate, connect, and belong. At the end of the day, that's really what this work is all about. It's not just about making a theater performance sensory-friendly; it's about making sure everyone has the opportunity to experience the things that bring joy and connection. 

What Does Forgiveness Look Like? Check out the Titus Kaphar Exhibit at Mia

Titus Kaphar’s Exhibiting Forgiveness runs through January 3, 2027 and brings together nine paintings Kaphar created for his film Exhibiting Forgiveness. The work explores memory, family, trauma, healing and forgiveness - and Mia describes the exhibition as a place where viewers can consider their own experiences of healing and resilience. You don't have to know anything about contemporary art to appreciate this exhibit.  The subject is human and recognizable: What do we do with painful memories? Can we forgive someone who hurt us? What does healing actually look like? In Gallery 333 – free and open to everyone.

Paris Couture: The Runway Comes to Mia in New Exhibit

Christian Lacroix (French), Coup de roulis sweater and skirt ensemble, 1991. Palais Galliera, inv. 1995.64.1A–B. Photo by Guy Marineau.

Forget the runway! This fall, some of Paris’ most spectacular fashion lands at the Minneapolis Institute of Art (Mia). Paris Couture, opening October 4, brings more than 80 haute couture masterpieces from Paris' fashion museum, Palais Galliera, to Mia. This is the first time these fashion treasures have been exhibited in the United States, and it gives a wonderful historical perspective to how we look at fashion.

The exhibition spans more than a century of fashion, from the early days of haute couture to today, with creations by Christian Dior, Coco Chanel, Cristóbal Balenciaga, Elsa Schiaparelli, Madeleine Vionnet and many others. Among the standouts: Schiaparelli’s dazzling 1938 shocking-pink evening cape, Dior’s heavily embellished 1952 “Palmyre” dress (worn by Wallis Simpson, Duchess of Windsor), and a sculptural Balenciaga ensemble from 1967. If you visited Mia during the Modern Art and Politics in Germany 1910–1945 exhibit earlier this year, you’ll see similar timelines of history – only this time the story is told by Parisian couture.

Christian Dior (French, 1905–1957) “Palmyre” (Palmyra) evening gown worn by Wallis, Duchess of Windsor 

Schiaparelli’s dazzling 1938 evening cape

The point isn’t simply to admire beautiful clothes. Paris Couture invites visitors to look at fashion as art - and to appreciate the extraordinary craftsmanship, innovation, materials and imagination that go into garments designed to be worn, not merely displayed. Curator Max Bryant emphatically notes, “Everyone here is important.” On view through January 17, 2027, it’s a chance to see Parisian fashion history extremely up close without booking a flight to Paris.

Gallery13 Opening at Aloft, October 9, Features Derek Meier's Smashed Realities

Gallery13 with Aloft Presents: Derek Meier 'Smashed Realities'

Opening Night October 9

5:30-7:30pm

Aloft, 900 Washington Ave S

Derek Meier's Smashed Realities is about small spatial constructions in the artist's paintings that occur throughout his work. Each work provides visual anchors where the eye may want to go back to over and over again to sense the variance in individual spaces, signs, and forms, checking and rechecking their significance within the entirety of a work. This event is free and open to the public. More info

Shakespeare’s As You Like It Opens Ten Thousand Things’ 2026-2027 Season

Ten Thousand Things (TTT) launches its 2026-2027 season with Shakespeare’s As You Like It, September 30 – November 8, directed by Artistic Director Caitlin Lowans in TTT’s signature style.

To escape death, our heroine, her best friend, and one of Shakespeare’s iconic fools flee to the forest, where outside conventions, they encounter earnest shepherds and ironic aristocrats alike. This comedy considers how we choose to live in community, with one another and with the natural world, as love – both romantic and familial – transforms us each in turn.

The cast features Nubia Monks as Rosalind, Darius Dotch as Orlando and Isa Condo-Olvera as Celia, with Katie Bradley, Dustin Bronson, Bill McCallum and Greg Watanabe. Original music by Joni Griffith; design by Sarah Bahr; text coaching by Will Sturdivant and wrestling choreography by Annie Enneking.

The tour includes free performances at correctional facilities, low-income elder centers, centers for people with disabilities, adult English language learning centers, schools and shelters, as well as paid public performances in Minneapolis at Open Book and Hennepin Avenue United Methodist Church; St. Paul performances will be at the Playwrights’ Center and 825 Arts.

Tickets for As You Like It are available at www.tenthousandthings.org. Suggested price is $40, with pay-as-you-can starting at $15. 

PAID, TTT-HOSTED PERFORMANCES

• Thursday & Friday shows at 7:30 pm; Saturdays at 2 pm and 7:30 pm; Sundays at 2 pm
• Tickets are $40 suggested and Pay-As-You-Are from $15
• Pre-Show Readings from the Loft Literary Center, Cow Tipping Press and ReEntry Lab on Thursdays
• Pre-Show Matches from Wrestle Yr Friends on Fridays

Open Book, 1011 Washington Avenue S

• Thursday, Oct 15 (all tickets $15)
• Friday, Oct 16 (post-show reception)
• Saturday, Oct 17
• Sunday, Oct 18

Hennepin Avenue United Methodist Church, 511 Groveland Avenue

• Thursday, Oct 22
• Friday, Oct 23 (post-show conversation)
• Saturday, Oct 24 (open-captioned)
• Sunday, Oct 25

Playwrights’ Center, 710 Raymond Avenue, St. Paul 

• Thursday, Oct 29
• Friday, Oct 30 (post-show conversation, ASL-Interpreted)
• Saturday, Oct 31 (matinee only)
• Sunday, Nov 1 

825 Arts, 825 University Avenue W, St. Paul 

• Thursday, Nov 5
• Friday, Nov 6
• Saturday, Nov 7
• Sunday, Nov 8 

FREE, COMMUNITY-HOSTED PERFORMANCES (reservations required) 

• Wed, Sep 30, 6:30 pm at Gustavus Adolphus College (800 W College Ave, St. Peter)
• Thu, Oct 1, 2 pm at Episcopal Homes – Carty Heights (412 N Dunlap St, St. Paul)
• Fri, Oct 2, 10 am at MSS (900 Ocean St, St Paul) (Audio-Described)
• Mon, Oct 5, 9:45 am at Harmony Learning Center (1961 County Rd C E, Maplewood)
• Wed, Oct 14, 1 pm at Dellwood Gardens (753 E 7th St, St. Paul)
• Tue, Oct 20, 9:45 am at Adult Options in Education (6300 Walker St, St. Louis Park)
• Tue, Oct 27, 1:15 pm, St Paul Conservatory for Performing Artists (16 W 5th St, St. Paul)
• Thu, Oct 29, Time TBD, OWL at Humboldt High School (30 Baker St E, St. Paul)
• Thu, Nov 5, 12 pm at Interact Center (1860 W Minnehaha Ave, St. Paul)

Story Feast Minneapolis, a Harvest Dinner at the Weisman Art Museum, October 24

Saturday, October 24, 6:00pm reception, 7:00pm dinner

On October 24, Story Feast Collective is hosting a five-course, family-style harvest dinner at one long table inside the Weisman Art Museum, Frank Gehry's landmark building overlooking the Mississippi. James Beard nominated chefs Chefs Mateo and Erin Mackbee of Krewe and Flour & Flower (both recently named among the Star Tribune's "Minnesota's Most Vital Restaurants") are cooking a menu built around Minnesota's harvest and food traditions. The chefs were also recently featured on PBS Minnesota, Cooking With Community.

Every dish is served from and on handmade ceramics by Maine Prairie Studio. The Minnesota-based husband and wife team have created over 1,000 original pieces exclusively for the event, transforming the long tables into museum pieces themselves. 

The all-inclusive ticket includes a cocktail hour, the 5-course feast (every course includes at least one vegetarian offering), all beverages throughout dinner, and a goody bag filled with Minnesota-made products guests will want to take home and use.

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A wide variety of alcoholic and nonalcoholic beverages will be offered. Beverage partners include Milk & Honey Ciders, Northstar Kombucha and TÖST along with Brother Justus Whiskey.

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Brother Justus is hosting the cocktail hour and has created a signature cocktail especially for the event. Founder Phil Steger will be pouring his whiskey throughout dinner into handcrafted whiskey tumblers from Maine Prairis Studios. 

Guests also get exclusive access to the Weisman galleries during the cocktail hour, and can join optional tours created for the weekend: the Hmong Museum and Hmong Village with founder Mai Vang Huizel, a Nordic tasting created especially for the event at Ingebretsen's, a studio tour at the Minnesota Center for Book Arts, and a distillery tour and tasting at Brother Justis.

Tickets:  storyfeast.co/minneapolis

Waiting for Godot at the Guthrie – Don’t Wait on Getting Tickets!

October 11 will come quickly – get your tickets now!

What are we all waiting for in our own lives? I think that’s the takeaway for me from Waiting for Godot at the Guthrie Theater. This magnificent play, written by Samuel Beckett and directed by Joseph Haj, will only be on stage until October 11. Haj commented that "Beckett’s search for meaning in a broken world is a large part of why the play continues to resonate with global audiences."

Written after World War II, but highly relevant today, the Guthrie’s production has powerhouse actors – David Strathairn as Vladimir and Jimmy Kieffer as Estragon, along with William Sturdivant as Pozzo, Jim Lichtscheidl as Lucky and Antonio Teodoro as the boy. Valdimir and Estragon wait day after endless day for the arrival of Godot. Their repetitive dialogue reinforces the play’s absurdist and existential themes. The repetitive dialogue seems to me to mirror today’s news organizations asking the same questions of politicians – over and over – and endless analysis of what was meant by the non-answers.

I’d love to hear your thoughts on what the play means to you and what you’re waiting for.

Jimmy Kieffer as Estragon and David Strathairn as Vladimir

175 Years Old and Getting Better Every Year: First Congregational Church of Minnesota

The First Congregational Church of Minnesota is located at 500 8th Avenue SE in the Marcy-Holmes neighborhood.

A Discussion with Jane McBride, Principal Minister

The First Congregational Church of Minnesota is celebrating its 175th anniversary this year – the church is older than the state of Minnesota and more vibrant than ever as a community institution. We talked to Principal Minister Jane McBride about the history of the church, how it is involved with community (so many ways!) and how meaningful engagement becomes real in her congregation. Stop by at 10 AM on Sundays for worship at 500 8th Avenue SE, and you’ll be welcome whether a first-time visitor or long-time church member.Principal Minister Jane McBride performs a baptism remembrance.

Q: First Congregational Church of Minnesota celebrates its 175th anniversary this year – congratulations to you and your congregation! Can you give us a history of the church, formed before Minnesota was a state and before the Civil War?

A: The First Congregational Church of Minnesota was established on Dakota homeland on November 16, 1851 by a small group of settlers from New England. The church’s founding pastor, Rev. Charles Seccombe, was a strict Calvinist and a staunch abolitionist. The present First Church structure, built of red sandstone in Gothic-Romanesque style, was finished in 1888.  The congregation joined the newly formed United Church of Christ denomination in 1961.

Q: What are some defining moments that have shaped the congregation?

A: Our founding pastor contributed to the emancipation of Eliza Winston, an enslaved person brought north by her slave-holding family. The grounds of the church became a temporary stop on the underground railroad when he offered them as a meeting place for Winston and those aiding in her escape. 

When the church steeple sustained serious damage in a windstorm, some wanted to restore it, seeing it as a beacon of hope for the community. Others felt the money would be better spent on serving our neighbors. In the end, the congregation resolved the “steeple-people” controversy by doing both. 

In the 1980s the congregation voted to become “Open and Affirming” to the LGBTQ community (we were the first UCC congregation in Minnesota to take that step). In that same era, we became the first official home of Open Arms of Minnesota, an organization which provides support to those living with HIV, AIDS, and other chronic illnesses.

Q: What traditions have remained important throughout the church's history?

A: As people who covenant to be a community of “differing but kindred minds,” First Church values education as a practice of faith. Over the generations, we have invited people of all ages to engage in study, dialogue and transformation. And we have tended a multitude of connections with the University of Minnesota, founded the same year as the church.

Congregant volunteers making care packages for students during finals.

The church has been deeply committed to work for social justice, to publicly witness Jesus' way of love and justice. From the abolition of slavery, to civil rights, to peace activism during Vietnam, to advocacy for the queer community and immigrant neighbors; throughout our history, we have taken important and often controversial stands.  

The arts, and especially music, are another cherished tradition at First Church. We find connection to each other and the divine through gifts of beauty and creativity. Music is central in our worship. We love to sing, whether accompanied by skillful, heartfelt organ playing or the beat of the congas! Our amazing choir brings joy, healing and inspiration to us each week. 

Q: How does the church engage with the broader Minneapolis community?

A: We are active in caring for the community, and especially in addressing food insecurity. We maintain a Little Free Pantry on our property and provide kitchen space and volunteer support for the Community Kitchen, which prepares 450 meals per week for our unsheltered neighbors. Our members deliver Meals on Wheels and distribute meals at the local elementary school. 

2026 Neighborhood Night Out at the First Congregational Church of Minnesota.

Our church building is a historic landmark, and it is also a lively hub for the community to gather. We are home to the Southeast Playgroup, a space for preschool children and their caregivers to socialize. We host the offices of Southeast Seniors, Jungian Analyst Byron Almén, and musician Bradley Beahan. Many community activities take place within our walls, including voting and neighborhood defense groups that originated out of this past winter’s ICE surge. We curate an art gallery that displays the work of community artists.   

Q: First Congregational Church of Minnesota belongs to the United Church of Christ (UCC), which has a strong tradition of social engagement. How does that commitment show up in your congregation's work?

A: Over our history, our congregation has been willing to take risks to live out our values. We continue to speak up and show up for human dignity and democracy. We host a weekly protest we call the “bridge brigade” on the pedestrian bridge next to our church. We are organizing in partnership with neighbors to protect our upcoming elections. First Church also acknowledges and seeks to make repair for the ways we’ve been complicit in the harms of colonialism, slavery and racial injustice. Our members make annual pledges toward the work of reparations, in addition to their pledges for the operating budget.

Weekly Bridge Brigade gathering this past winter.

Jane praying at airport protest during Metro surge.

Jane leads a Save HCMC prayer vigil.

Q: What local issues are currently inspiring your congregation to take action?

A: We are passionate about food security. In various ways we are committed to feeding our neighbors and creating spaces of loving hospitality that foster belonging for all. We care deeply about the intersection of racial, economic and climate justice, and are exploring how we might become a hub of resilience amid the challenges we face as a society. We feel called to protect our immigrant neighbors and defend and strengthen our democracy.

Q: How do you help members move from concern about social issues to meaningful engagement?

A: Our worship and small group programs provide space for learning, reflection and prayer, as we each wrestle with our role in creating a more just and loving society. Gathered in community, we support each other in stepping into new challenges, even as we incorporate self-care and rest. We have leaders in our congregation whose role it is invite people to be part of larger movements, as we work in partnership with organizations like ISAIAH MN, Unidos MN, and MN Interfaith Power and Light. 

Q: What first called you to ministry, and how did that path lead you to First Congregational Church of Minnesota?

A: I grew up as a pastor’s kid and the church was my second home. I was drawn to spirituality from an early age in a way that seemed different from my peers. In college, I was fascinated by the academic study of religion, and friends sought me out as a listener. All this eventually added up to the realization that I am called to ministry! 16 years ago, I was between church positions, caring for our family’s first kiddo and working part-time at an organic farm. When the search committee from First Church called to ask for an interview, I was thrilled. I’m still thrilled to be part of this generous, warm, adventurous, faithful community!

Q: How do you balance honoring the church's long history while embracing change and innovation?

A: Our congregation draws strength from our traditions and stories, the wisdom of our elders and the witness of those beloved ones who have gone before us. Especially during this anniversary year, we are digging into our history, to consider what it can teach us. On the other hand, I find that we have remarkable freedom to try new things and grow through experimentation and even failure. During meetings, we regularly reflect together – “What’s going well? What is challenging?” And, my favorite, “What are we learning?” 

Q: What do you see as your and the church's unique role in the Twin Cities community?

A: I would like us to be known for our collaborative spirit. I see us as a small, scrappy church able to do mighty things, because of our commitment to working with others. We cultivate partnerships with like-minded folks, such as the other congregations in the UCC and beyond, or the Neon campus ministry at the University of Minnesota. We also forge fruitful alliances with surprising partners, like Community Kitchen volunteers who practice another faith or no faith at all, and a vampire-themed Live Action Role Play group.

Q: If someone who had never attended church walked through your doors this Sunday, what would you hope they would experience?

A: I hope they feel that our worship is alive. I hope they experience something that moves them to tears or laughter or deep thought. I hope they appreciate the beauty of poetry, scripture, music, visual art and preaching woven together in a coherent yet diverse conversation, and understand there’s room for their voice, too. I am positive that someone will greet them, learn their name and invite them to stay for coffee, and I hope they will feel we are ready to meet them wherever they are on their journey!

Q: You've inspired me! How may we stay current on your news and events?

A: At our website, www.firstchurchmn.org, you can sign up for our weekly email and quarterly newsletter, and find links to our social media accounts.

Kolman & Reeb Gallery's 3rd Annual "The Big Tiny Show" to Showcase Artists From Across Minnesota

The Big Tiny Show begins Saturday, October 3, and runs through November 7

Artist Reception: Saturday, October 3, 6:00pm – 8:00pm

From its inception, Kolman & Reeb Gallery has been committed to supporting Minnesota artists. Now in its third year, The Big Tiny Show continues that commitment by giving artists from across the state an opportunity to share their work with a broader audience. The tremendous response to this year’s juried call for art reflects the enthusiasm of Minnesota artists and the breadth of perspectives they are eager to share.

From tried-and-true oil on canvas to fiber arts and wire sculptures, gallery patrons can expect an inspiring and diverse exhibition. Adopting its name from the guideline that no one piece of art can be larger than 12 inches, The Big Tiny Show involves a variety of subject matter and media. With the varied assortment, the depth of the show has allowed for an innovative and contemporary curation.

“With this show, Anita and I were eager to open the call to all media types and expressions. The results were overwhelming, and we received a significant response from Minnesota artists interested in showing their work. Our panel of judges was delighted by the superior quality of the art submitted. We’re eager for our patrons to come and view the diverse collection from across Minnesota. Opening the call to all types of media offered a unique experience as the curator." Jodi Reeb, gallery curator and co-partner

All are invited to come and view this interesting blend of styles from emerging and established Artists. All art on display during The Big Tiny Show will be available for purchase.

Kolman & Reeb Gallery is in Studio 395, The Northrup King Building, 1500 Jackson Street NE. For more information, please visit kolmanreebgallery.com or call 612-385-4239.

Minneapolis Heart Institute Foundation’s Heart 360 Concert to Feature Russell Dickerson, Nov 13

Supporting Twin Cities-Based Research for Heart Patients Worldwide

November 13 at The Armory – Tickets Start at $50

Doors open 6pm / Concert 8pm

Heart 360 is an annual concert event benefiting the Minneapolis Heart Institute Foundation (MHIF) and lifesaving heart research and education for patients around the world. It’s more than a concert - it’s a night to unite, celebrate, and fuel lifesaving heart research. This year it will take place at The Armory, 500 6th Street. Presenting sponsors are Great Clips and K102.

The theme, Heart 360, celebrates the 360-degree approach that is critical to advancing heart and vascular care – renowned physicians, committed researchers, grateful patients – and a community that believes in this work.

Russell Dickerson, known for his high-energy stage presence, has achieved multiple number-one singles on the Billboard Country Airplay chart, including "Blue Tacoma," "Every Little Thing," and "Love You Like I Used To."

General Admission tickets are all-in priced at only $50. A Premium VIP Experience is offered featuring admission to the concert and a reception with a hosted bar with appetizers. All VIP ticketholders have access to premier concert viewing from the first-level balcony as well as the main room. Prices start at $250.

A recognized leader across all specialties of heart and vascular research, MHIF strives to create a world without heart and vascular disease. Their work is funded by generous donors and sponsors, and engages in cutting-edge research initiatives with its physician partners from the Allina Health Minneapolis Heart Institute® at Abbott Northwestern Hospital and at 38 community sites across Minnesota and western Wisconsin. 

Each year, MHIF leads more than 220 research studies with more than 2,200 patients and publishes more than 250 articles to share learnings from research. MHIF research has improved the standard of care around the world through protocols like Level One for heart attack, which significantly improved outcomes and survival for patients. They provide more than 11,000 hours of education each year putting its research into practice to improve outcomes among health care providers.

Tiffany Chung's "indelible traces" Opens at WAM September 19

Photo credit: Marco Cappelletti

Photo credit: Madeeha Lamoreaux for Weisman Art Museum

indelible traces reveals histories overlooked or intentionally ignored

Tiffany Chung’s indelible traces at the Weisman Art Museum WAM) is an immersive exploration of displacement, migration, climate change, resource extraction, war, and the ways human stories become embedded or forgotten in maps and landscapes. Chung, a Vietnamese American artist, uses meticulously drawn maps, diagrams, and archival research to trace the movements of people forced from their homes by war, political upheaval, and environmental disaster. Her work transforms maps from neutral tools of geography into deeply personal records of loss, survival, memory, and resilience.  Her exquisite embroidery also tells the stories of the people and cultures that get left behind in traditional archives.

Photo credit above and below: Madeeha Lamoreaux for Weisman Art Museum

Is Chung a historian, artist or fine craftsperson, or all three? You’ll probably decide she qualifies in all categories. Her works ask viewers to look beyond borders and statistics and consider the individual lives behind mass migrations. indelible traces is worth a visit for anyone interested in history, immigration, geography, or contemporary art - and particularly for visitors willing to slow down and discover the human stories hidden within the lines and patterns of the maps.

Opening day is September 19 and the exhibit will run through December 6. Chung will give an artist talk on October 28. The museum is free to visit - this exhibit is worth adding to your fall schedule!

Centuries Old Tapestry - The Meeting of Dante and Virgil - on Display at Mia

Is your fall schedule bursting with activities - Lynx playoffs, Gophers games, coursework, farmers markets, and just too many things to list? Looking for a worthwhile outing that won’t eat up your entire day? Make a quick stop at Mia to view a nearly 500-year-old masterpiece that has finally come out of hiding. After nearly 70 years in storage, The Meeting of Dante and Virgil is back on display, and its 17.4-foot size makes it impossible to miss.

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Woven in Florence between 1547 and 1549, this extraordinary Renaissance tapestry is considered the most important Italian Renaissance tapestry in the United States. You don’t need hours to appreciate it - give yourself a little time to stand in front of it, take in the intricate details and imagine the skill and history woven into every thread.

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The exhibition, Back from the Underworld: Mia’s Dante Tapestry Restored, also tells the fascinating story of how this fragile work was brought back to life and made safe for display. It’s the kind of museum visit that delivers a lot without requiring a lot of time. If you’re in Minneapolis, it’s well worth making the effort to visit, even if you only have an hour to spare. The tapestry will be on view in Gallery 330 through January 31, 2027. 

Pritzker Hageman Invites the Community to October 15 Blood Drive

Memorial Blood Centers' bloodmobile will be parked in Pritzker Hageman's lot throughout the drive, and they’ll also have therapy dog teams from North Star Therapy Animals onsite to visit with donors.

Community Blood Drive with Memorial Blood Centers

Thursday, October 15, 2026 | 11 a.m.–5 p.m.

Pritzker Hageman Law Firm, 100 University Ave SE, Minneapolis

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Appointments: pritzlaw.us/donateblood

14th Annual Cine Latino Film Festival, October 7-11

Full line up and ticket options

MSP Film Society's Cine Latino Film Festival returns to The Main Cinema from October 7 – 11, with five days and nights of film screenings, fiestas, flamenco dancing, food trucks, visiting filmmakers, family activities, and more.

 

Screening Wednesday, October 7 at 7:30pm • Opening Night Party 5:30pm

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The opening night film is La Bola Negra. From Cannes-winning directors Javier Calvo and Javier Ambrossi, La Bola Negra follows three generations of men across pivotal moments in Spanish history, bound by pain, desire, and love. Carlos (Milo Quifes) longs to belong in a fractured Spain. Sebastián (Guitarricadelafuente) finds connection across enemy lines. And Alberto (Carlos González) uncovers a long-buried family secret — one that finally gives voice to truths the past tried to erase. Co-written by Calvo, Ambrossi, and Alberto Conejero, and adapted from Conejero's play La Piedra Oscura, and La bola negra and other texts by Federico García Lorca.

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The screening will be preceded by the Cine Latino Opening Night Party sponsored by Netflix and featuring Flamenco dancers.  

A Discussion with Pirronne Yousefzadeh, Director of Theater Latté Da's Production of Indecent

October 2 update: Theater Latté Da has announced the extension of Indecent due to popular demand. The production will now play through October 25, 2026.

Pirronne Yousefzadeh

Theater Latté Da’s new season opens with Indecent, a play about a play - and the artists who risked everything to tell it. Inspired by the true story of Sholem Asch’s seminal Yiddish work, God of Vengeance, and its infamous 1923 obscenity trial, Indecent traces the turbulent journey of a troupe determined to stage a work deemed “indecent.” We talked to director Pirronne Yousefzadeh about why this play resonates so clearly today, artistic freedom, the importance of movement and music to the production and the discussions you’ll probably have after seeing the play. Don’t wait - get tickets here – the play runs until October 16. 

Q: Although Indecent begins more than a century ago, it feels remarkably contemporary. Which themes do you think will resonate most with today's audiences?

A: As Mark Twain may have said (though there’s some debate on this front!), “History doesn’t repeat itself, but it often rhymes.” There are patterns we can recognize in the events of this play that continue to play out in 2026. We see the relationship between fascism and artistic censorship, growing anti-Semitism in Europe and the United States, as well as bigotry in many forms. At the same time, we see the resilience of artists, and that no matter how bleak the circumstances may be, artists will continue to tell stories, and audiences will remain hungry for catharsis and community. So, while the play begins more than a century ago, there’s so much here that resonates with our current moment in both deeply troubling and life-affirming ways.

Q: The play explores censorship, antisemitism, immigration, and LGBTQ+ identity. How do you balance honoring history while allowing audiences to draw their own modern connections?

A: I think that Paula’s brilliant language draws connections to our current sociopolitical moment, as well as countless moments in America’s history. More specifically we honor the history and invest in the story of this play, the more I believe an audience will see, feel, and experience its modern resonances.

Q: Indecent asks difficult questions about who gets to tell stories and whose stories are considered acceptable. How has directing this play influenced your own thinking about artistic freedom?

A: I would say that this play has further radicalized me! I have always been a passionate advocate for artistic expression, and now more than ever, I see that our role as artists is to tell the truth boldly and unapologetically, in acts of both resistance and joy.

Q: The play moves fluidly through time, geography, and memory. What were the biggest challenges in bringing that to life on stage for Theater Latté Da?

A: I would not say it is a challenge as much as it is one of my favorite defining features of this play. I love theater that embraces what only theater can do, and one of those things is the virtuosity and athleticism of incredible actors working at the top of their abilities to tell this story, moving through time, scenic transitions, costume changes…you name it! It is, on one level, what it takes to put on a show. On a deeper level, it is a generous, loving act of solidarity as the troupe facilitates the story together and supports one another. To craft it, it requires time, patience, rigor, precision, and a willingness to play and do some trial and error. But this is one of the most gratifying joys of directing this play.

Q: Music and movement are almost characters themselves in Indecent. How closely did you collaborate with the choreographer and music director to create a unified vision?

A: Emily Michaels King and Spencer Chandler have been integral to this process from the beginning. Emily is an endlessly creative choreographer, and Spencer is an expert music director; each of them brings their wealth of knowledge and decades of expertise to the rehearsal room. We have been in the room together all day every day, and the interwoven nature of music and movement throughout the play requires that we work closely to build it together, one step/measure/line at a time. 

Q: How much historical research did you and the cast undertake before rehearsals began?

A: A great deal! We were quite fortunate that two dramaturgs who worked on previous productions of Indecent, Jo Holcomb and Julie Felise Dubiner, were kind enough to share their dramaturgical materials with us. Their rigorous research has informed character choices and further deepened our understanding of the time period and the play’s structure. For a play like this one, research is essential, and I’d say it’s a bottomless well; we can always do more, learn more, and discover more.

Q: Were there discoveries about the real people behind God of Vengeance that surprised you?

A: Yes! While I. L. Peretz discouraged Asch from moving forward with The God of Vengeance, he was a bit of a radical himself, though he wrote in a more quietly subversive way. From 1894-96, he published the Yontev-bletlekh (Holiday Papers). These were stories framed by Jewish holidays and seemed to be simple stories of Jewish life. But underneath, they hid socialist messages in a way that made them quite popular with Jewish progressives while escaping censorship from the Tsar. Even though we see Peretz as a bit more conservative in the play, it’s an important reminder that people work for social progress in different ways, and a small step forward to one is perhaps a gargantuan step to another.

Q: What conversations do you hope audiences are having after the show?

A: I hope that audiences give themselves the time and space to reflect on the play and process the thoughts, questions, and emotions that come up. I hope it sparks conversation about being an immigrant in America, about how we preserve language and cultural traditions, and how we can learn from the past to shape a better future.

Q: If you could invite one of the real artists depicted in the play to see this production, who would it be, and what would you hope they would say afterward?

A: I would invite Sholem Asch. I would want him to see that even now, in 2026, we are still talking about and performing his remarkable play. 

MPRB is Hosting 6 Community Engagement Sessions on the 2027-28 Budget

Join MPRB for any of six community engagement sessions on September 10, 17, 19 and October 8, 22 and 24.

The Minneapolis Park and Recreation Board (MPRB) is hosting six community engagement sessions on the 2027-28 budget. They will walk attendees through their budget and how how they use your tax dollars and leverage other revenue sources to serve the residents of Minneapolis. They are also asking for input on what matters most to residents.

MPRB is requesting a 5.86% tax levy increase to sustain current service levels. This funding won't restore previous cuts, but it will: 

• Keep their team stable and ready to serve you 

• Protect and grow the tree canopy 

• Support hundreds of teen jobs and after-school programs 

• Maintain child care and summer camp services 

• Protect natural areas and open Upper Harbor and North Commons in North Minneapolis 

Attend any of six community budget meetings this fall. Park commissioners and MPRB leaders will walk through exactly how they spend our dollars and what each program means for our city. These are city-wide meetings - you can attend the one closest to you, some of them, or all of them. Light snacks provided.

September 10, 6–8 pm | 40th Street Park (1900 E 40th St) 

September 17, 6–8 pm | Harrison Park, Spark'd Studio (503 N Irving Ave) 

September 19, 1–3 pm | River Hub at Graco Park (810 Sibley St NE) 

October 8, 6–8 pm | Lyndale Farmstead Park (3900 Bryant Ave S) 

October 22, 6–8 pm | Powderhorn Park (3400 15th Ave S) 

October 24, 1–3 pm | Elliot Park (1000 E 14th St) 

If you can't make a meeting, take their survey and tell them what you value about Minneapolis Parks. These decisions belong to all of us.

My Very Own Bed Announces 6th Annual Steps for Sleep, September 26

The Twin Cities community is invited to a free event at DeLaSalle High School on September 26 (or to Walk Anywhere) - optional donations and individual fundraisers support $100,000 goal for children's beds.

Twin Cities nonprofit My Very Own Bed will host its 6th Annual Steps for Sleep walk and wellness event on Saturday, September 26, from 3:00-5:30pm at DeLaSalle High School on Nicollet Island. This free, all-ages community gathering combines a scenic outdoor walk through Boom Island Park, an interactive Wellness Fair, and family-friendly activities to highlight the powerful link between physical activity and healthy, restorative sleep for children and families. More info.

Open before and after the walk, the interactive Wellness Fair offers practical tools to improve daily energy and sleep. Attendees can try hands-on activities, explore new movement and stress-relief techniques, connect with local health experts, and take home giveaways to help the entire family build healthier habits.

Steps for Sleep pairs active fun for the community with a goal to raise $100,000 through sponsors, donors, and peer-to-peer fundraisers. All proceeds directly fund brand-new beds and personalized Dream Kits for local children moving out of shelters and into stable homes.

A good night’s sleep is essential for a child’s physical health, emotional stability, and academic success. Yet across the Twin Cities, thousands of kids sleep on floors, air mattresses, or share overcrowded beds. Since 2014, My Very Own Bed has delivered more than 12,000 beds and Dream Kits, including a new mattress, frame, sheet set, blanket, mattress pad, pillow, stuffed animal, and age-appropriate books. In 2026 alone, the organization aims to reach 2,100 more children.

Ways to Participate:

• In-Person Walk & Wellness Fair, Saturday, September 26, 3:00–5:30pm: Join the free, family-friendly event at DeLaSalle High School (1 DeLaSalle Drive, Minneapolis) to walk, explore the interactive Wellness Fair, and enjoy community activities.

• Walk Anywhere, September 12–26: Can’t make it to Minneapolis? Take steps from your own neighborhood over two weeks. 

• Launch a Fundraiser: Multiply your impact by starting an individual or team fundraising page to earn event prizes. The first $15,000 raised will be matched dollar-for-dollar by generous sponsors.

• Cost and Registration: Free admission for all participants. Optional donations and peer-to-peer fundraisers directly support kids in the community. More info.

Founded in 2014 by Michael Allen, My Very Own Bed is a 501(c)(3) nonprofit dedicated to ensuring children in the Twin Cities have a dedicated, comfortable place to sleep. By partnering with local social service agencies and community volunteers, the organization delivers brand-new beds and Dream Kits directly to families transitioning from homelessness or shelters into stable housing.

Children’s Theatre Company Opens 2026-2027 Season With Pinocchio

Article by Becky Fillinger, photos provided

A Discussion with Director, Greg Banks

Pinocchio opens the Children’s Theatre Company's 2026-2027 season. We talked to Director and Adaptor Greg Banks about the timelessness of Pinocchio, what it means to become a ‘real person’ in today’s world, and why the show’s themes will resonate with children and adults. It’s on stage from September 8 to October 18 – get tickets here.

Q: Pinocchio has been retold countless times. What drew you to create your own adaptation?

A: It’s a great adventure story with a ton of exciting encounters; finding ways to recreate and tell a story as complex as this is always a fascinating challenge. What is particularly engaging for me is that this story goes right to the heart of growing up, what that means, and how we've all had to make that journey and continue to do so right through our lives. It resonates for all of us whether as parents/guardians of young ones or as young ones setting out on that journey. This story speaks to the child in all of us.

Greg Banks

Q: What aspects of Carlo Collodi’s original story were you most eager to preserve?

A: The playfulness of Pinocchio set against Collodi’s adult world, a world that is full of tricksters and people out to take advantage of his innocence. It's a pretty hostile place. Collodi doesn’t shy away from exposing Pinocchio to that world and I was keen to hold on to that. Young people want to know about the world and how it works. We need to answer their ‘why’ questions as honestly as we can.

Q: Many people think of Pinocchio as a story about telling the truth, but it also explores identity, belonging and growing up. Which themes resonate most strongly with you?

A: All of them. They are all tied in together. Where does Pinocchio belong? Is he a puppet or is there more to him? He begins as an entirely selfish, self-obsessed ‘child’ with no sense of how his behaviour affects the world. The story is all about his growing up and by the end he has developed altruism, empathy, a sense of himself and his agency in the world. He cries, he becomes truly human, he belongs in the world.

Q: What does becoming a 'real boy’ symbolize in your adaptation?

A: Being a ‘real boy’ has more resonance at this time when being gender fluid has currency and meaning for many people. It’s less complicated for Pinocchio who doesn’t know what it means to be a real boy, but he senses there is something else, that he is not simply a puppet, not simply a plaything of Geppetto’s. He also resists the definition of himself as a ‘puppet boy’ given to him by others. But by the end of the story, he has discovered who he really is. He has become a real boy on his own terms. Finding out who we really are is a journey we all go on throughout our lives.

Which is why Pinocchio resonates with audiences more than 140 years after it was written.

Q: How do you create a production that engages children while offering deeper layers for adults?

A: I avoid talking down to children in my writing, I don’t patronise them; I try to tell the story as clearly as I can. The crucial part is choosing a story that already contains those deeper levels. I have to be engaged in the story for myself, I have to find my connection, it has to speak to me. After that, it’s a really intuitive process, there are no rules to follow. I trust my instinct and see what comes up.

Q: Does your Pinocchio change in unexpected ways compare to traditional versions?

A: Essentially, I stay pretty faithful to Collodi’s original story, the difference being that the story is told by a gang of painters who have been employed to repaint the whole stage. They arrive for work and are shocked to find the theatre filled with audience members who have come to watch Pinocchio. After a bit of back and forth they agree to tell the story themselves and then use all the stuff on the stage, scaffolding, paint cloths, planks, ladders, buckets, etc., to help create the different scenes and costumes. It means we and the audience really have to use our imagination to create Pinocchio’s world and can have a lot of fun on the way. One reviewer commented that within two minutes she had forgotten the Disney version all together.

Q: Today’s children are growing up in a world shaped by social media and artificial intelligence. Does Pinocchio’s search for authenticity feel especially relevant today?

A: Finding out who you are and what you want to do with your life has always been a fundamental part of being human. Social media and AI, while seeming to provide answers, often seem to confuse the issue, obscuring who we are with who everyone else seems to be. Pinocchio’s search for authenticity is as old as time, and while being especially relevant today is being made harder by the advent of social media and AI.

Q: If you could summarize the heart of your adaptation in one sentence, what would it be?

A: In this adaptation, I wanted the audience to share in the fun and energy that all young ones - in this case, Pinocchio - have, for discovering the world, and to be with him as he emerges into being a fully rounded 'real boy' who has learned to love his papa...a boy full of empathy and self-awareness.

Ukrainian Global Symphony Celebrates Ukrainian Heritage at Orchestra Hall, September 12

Pre-concert events take place 6:30pm-7:45pm

On September 12 at 8:00pm, the stage at Orchestra Hall will come alive with the Ukrainian Global Symphony as conductor Nickolai Podvin makes his long-awaited debut on the Orchestra Hall stage - fulfilling a dream he has held since he was five years old. A conductor of Bulgarian and Roma heritage and a graduate of the Royal Academy of Music in London, Podvin will lead an extraordinary ensemble of musicians from the Minnesota Orchestra, Saint Paul Chamber Orchestra, Minnesota Opera, Rochester Symphony, South Dakota Symphony, Duluth Superior Symphony Orchestra, University of Minnesota, and the Twin Cities Musicians Union.

Tickets

At the heart of the evening lies a performance of the uncensored version of Ukrainian composer Borys Liatoshynsky’s Third Symphony - a monumental work first heard in this restored form in 1991 following the fall of the Soviet Union, when the original fourth movement was finally recovered. Recent discoveries have since revealed Soviet alterations within the first, second, and third movements as well. To help fully restore the work, Podvin has digitized the current score and provided the Liatoshynsky Foundation in Ukraine with crucial resources to reconstruct and publish the complete, uncensored score for the first time.

The program will also feature a rediscovered cello concerto, performed by multi-Grammy Award-winning, world-renowned cellist Matt Haimovitz. 

“In these times, our concert halls must become sanctuaries for Ukrainian music. We must preserve and protect Ukraine's cultural identity, now more than ever.”  Nickolai Podvin

This concert is more than a performance - it is a movement. It seeks to raise awareness of Ukraine's rich contributions to classical music, long overshadowed and suppressed. This event was made possible through generous community support, strong partnerships, and funding provided by the Minnesota Humanities Center Cultural Heritage Fund. With gratitude to the Twin Cities Musicians Union, Orchestra Hall, and the Ukrainian American Community Center.

Fine Art Opening Event at Washburn Lofts, September 17

Free art opening event submitted by the Washburn Lofts

“Atlas of Elsewhere” Fragments from Worlds Between the Natural and Imagined / A Solo Exhibition by Megan Gonyo 

Opening Reception Thursday, September 17, 5-7pm

Wine & Cheese

Free and Open to the Public

 

Megan Gonyo is a Minneapolis-based abstract artist and multi-passionate entrepreneur with a curiosity about how we experience the world and how our environments shape our well-being. Come view her large-scale installation on the first floor of the historic Washburn Lofts condo building, 700 S 2nd Street, adjacent to the Mill City Museum.

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Exhibition on view by appointment. Contact megan@megangonyo.com