History Theatre is currently remounting their 2023 original play
The Root Beer Lady, in which playwright/performer Kim Schultz so beautifully captures the spirit of the Boundary Waters Canoe Area Wilderness (BWCAW) and the inspiring life and personality of Dorothy Molter, the last non-indigenous human living in the BWCAW. The Saturday Evening Post once called her "the loneliest woman in America," but throughout the play Dorothy shows us why, in fact, she was "the luckiest woman in America," because she lived an authentic life that was exactly what she wanted, despite society's and her family's expectations of what a proper young woman should do. Whether or not you have a personal connection to the BWCAW like I do (
click here to read about that),
The Root Beer Lady will engage and entertain you for 80 minutes or so, make you laugh, and maybe even inspire you to go for a hike, look up at the trees, or jump in a lake (
continuing through February 23).*
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| Kim Schultz as Dorothy (photo by Rick Spaulding |
Playwright Kim Schultz begins the story at the end of Dorothy's life, the totality of which is then told in a series of flashbacks to important moments throughout the years. Kim, as Dorothy, speaks directly to the audience, as if we're one of the thousands of visitors to her cabin, in a personable, unhurried, naturalistic way. Kim transforms from the older, weary Dorothy to the excited 23-year-old who lands on Isle of Pines for the first time, and we watch her come full circle back to the end. Not only that, Kim also plays Dorothy's dad "Cap," with whom she first visited the island; Bill, the owner of the island resort with whom she worked for many years until he died, leaving her the land (or intending to anyway); and various other visitors to and residents of the lakes. A change in voice or physical stance is enough to let us know exactly who's speaking. The play follows Dorothy through harrowing times in the wilderness, happy times at her busy resort, and challenges with staying on the land after Bill died and while the area transformed more and more back to the wilderness, removing traces of civilization like float planes, businesses, snowmobiles, and eventually non-indigenous residents. Dorothy tells her story in a forthright, humorous, endearing way that makes us feel like old friends by the end of the show. A simple life, well-lived, with friends and family (despite that Saturday Evening Post article), in one of the most peaceful and gorgeous places on the planet. Lucky, indeed
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| Dorothy (Kim Schultz) in her cabin (photo by Rick Spaulding) |
This is one of the more beautiful and effective designs I've seen at the History Theatre, with all
elements working together to really create the feeling of the BWCAW. Framed by the trunks of tall trees, Dorothy's cabin on the right side of the stage is represented by a wall full of vintage photographs, kitschy signs, and tools. The open space on the left allows for the gorgeous backdrop to be seen, an optical illusion in which a fence of weathered boards is painted to look like the far side of a lake with reflections in the water. Behind the fence is projected a sunny sky, or the pink clouds of sunset, or the stars at night, corresponding to lighting changes, so that if you squint a little, you almost feel like you're on Knife Lake. Even the floor around the stage is painted blue, with the posts of a dock leading off of it on one side and a vintage canoe on the shore, transforming the thrust stage into Dorothy's island. Completing the transformation is the sound design, with various and specific sounds of nature coming from all around the theater, adding to that feeling of being surrounded by wilderness. Director Jess Yates (based on the original direction by Addie Gorlin-Han) utilizes the space well as Dorothy moves around to all areas of the stage, not simply sitting and telling her story, and the transitions between scenes and decades are smooth and clear, with scenes differentiated by a change in lighting, or a snippet of music played on the guitar. Dorothy is dressed in simple jeans and button down shirt, with that familiar red plaid flannel shirt and winter gear added in some scenes as we move through the seasons. (Costume design by Sarah Bahr, set design by Chelsea M. Warren, lighting design by Chris Johnson, props design by Abbee Warmboe, video design by Kathy Maxwell, sound design by Katharine Horowitz.)
The Root Beer Lady is a simple, straight-forward story, but so beautifully told from the script, to the performance, direction, and overall design of the piece. The Boundary Waters is the crown jewel of Minnesota, and Dorothy was one of its longest and most well-known residents and caretakers in the 20th century. This play is a beautiful homage to her and the place that she loved and was lucky enough to call home. Unfortunately, with the new administration this unique wilderness area is once again under threat (as are so many things that many of us hold dear). There is currently a 20-year moratorium on sulfide-ore copper mining in the BWCAW watershed; for more information how to make sure that stays in place, visit
Friends of the BWCA or
Save the Boundary Waters. And if this show makes you want to visit the BWCAW, I highly recommend
Ely Outfitting Company, who can help with planning a trip, supplying food and equipment, and even providing a guide to teach you everything you need to know and lead you on the journey of a lifetime.
You can also visit Dorothy's cabin, which was moved to Ely and is now a museum.
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| on my second guided BWCAW trip with Ely Outfitting Company |
