The official show photo for Black and Foxy Co’s cabaret Ember, which plays at the University of Minnesota’s Rarig Kilburn Theatre as part of the 2026 Minnesota Fringe Festival.

What does a theatre producer do? In short, oversee everything – financial, logistics, creative, and anything else that needs nudging, nurturing, prodding, or otherwise for a show to happen. Larger organizations and projects might hire whole layers of producers to track the moving parts. For a Fringe Festival producer, however, it’s usually one person tracking all of the moving parts. Whether or not they’re also the director is a matter of personal sanity (or lack thereof) – but in live performance, it’s never boring.

Producer and director Christy Johnson spoke with the Arts Reader’s Basil Considine about returning to the Minnesota Fringe to bring her latest show, Ember, to life.

Official Show Description
A musical and storytelling cabaret focused on radiance. Come watch what happens when artists are given the freedom to express themselves without limits. Three guest artists will be revealed throughout the run!

If someone met you for the first time in an elevator, how would you describe yourself?

An extroverted foodie who is obsessed with Bob’s Burgers, music, and hazy IPAs.

Fringe show casts and crews come together in all sorts of ways. How did you recruit yours?

Some people that I recruited are my friends, and others I found through the Fringe Unified Auditions!

You have a number of guest performers joining the show on select nights. Who are these artists and how did you come to recruit them? Have you worked with all of them before?

Duck Washington, Brettina Davis, Kayla Hambek. Fun Fact: they played siblings in Theatre Pro Rata‘s production of Three Sisters. I asked them to be in my show because they’re talented and extraordinary storytellers.

I met Duck back in 2015; we worked together on a production of The Prime of Miss Jean Brodie at Theatre in the Round Players, and he helped mentor me in sound design!

Kayla and I met at work and then performed together in Mamma Mia at Fridley Theater in 2021.

Brettina and I met each other last year, and we were in a production called Fefu and Her Friends at Theatre Pro Rata this past May!

Your storytelling and cabaret show has the theme “Radiance”. Why this, and why now?

With the current climate, it’s hard to have hope day to day. Oftentimes, it can increase anxiety, produce stress, and then create sadness. When I thought about the theme, I kept coming back to the idea of the light burning within oneself. I started looking at words that captured that, and the term radiance came up.

Radiance can be found in a lot of places, in our homes, outdoors, and in people. I chose the title Ember, since an ember is itself a source of radiant energy. The why has been clear to me from the beginning: people shouldn’t be afraid to be the heroes of their own story. And when systems fail us, people can rise up in their place.

What’s a favorite moment in this show, and why?

I can’t pick a singular moment in the show, so I will say two. My first favorite moments are during the actors’ storytelling. Suddenly, we are transported to their world, for a moment in time, and we see the stories through their eyes.

Secondly, my other favorite moment is when the actors are singing. Everyone has beautiful voices, and I love listening to them bring the songs to life. It’s enjoyable watching the characters take shape as they step into the show and command the stage.

This isn’t your first time in a Fringe show. What’s it like balancing the directing and producing hats with trying to see other artists’ work?

Balancing both is difficult work. The best way I can describe it is a constant feeling of excitement, mixed with imposter syndrome, sprinkled with anticipation for the finished show. The Fringe staff have built a great support system for the producers, making sure they’re aware of deadlines and can easily get answers to questions along the way. However, when you’re balancing the director and producer roles, it’s key to set healthy boundaries for yourself.

What I mean is to make sure you’re keeping everyone informed, and the show is moving forward. And knowing when to turn that off so that you’re able to maintain a healthy state of mind and reduce stress levels. When it comes to seeing others’ work, I go to the shows that I have energy for, and I rest when needed.

What are some shows by other artists that you are looking forward to seeing,?

Too Fat to Run (Fat Theatre Project).

Be Not Afraid (Third Space Theater).

Kismet (Tiyatro Misafir).

What’s up for you (creatively or otherwise) in the coming, post-Fringe season?

Participating in a D&D live campaign in October and attending Timberwolves games when their season starts!

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Basil Considine

Basil Considine was the Editor of the Twin Cities Arts Reader from 2018-2022. He served as Performing Arts Editor and Senior Classical Music and Drama Critic for the Arts Reader's first five years, before succeeding Hanne Appelbaum. He was previously the Resident Classical Music and Drama Critic at the Twin Cities Daily Planet and remains an occasional contributing writer for The Boston Musical Intelligencer and The Chattanoogan. He holds a PhD in Music and Drama from Boston University, an MTS in Sacred Music from the BU School of Theology, and a BA in Music and Theatre from the University of San Diego.

Basil was named one of Musical America's 30 Professionals of the Year in 2017. He was previously the Regional Governor for the National Opera Association's North Central Region and the 2021-2022 U.S. Fulbright Faculty Scholar to Madagascar.

Latest posts by Basil Considine (see all)

• FRINGE FILE #13: INTERVIEW – Christy Johnson and the Radiant Ember in the Theatre - July 29, 2026
• FRINGE FILE #12: INTERVIEW – Storyteller and Producer Jena Young on The Label Maker and More - July 28, 2026
• FRINGE FILE #11: INTERVIEW – Paul Andrew Willis, Jr. and The Importance of Being Eternal - July 27, 2026