Meet Addie Gorlin-Han, a Twin Cities Theatrical Rising Star

Article by Becky Filliner, photo provided

In August 2024, American Theatre magazine featured Addie Gorlin-Han in their "6 Theatre Workers You Should Know" series, highlighting her as a notable figure in the theater community. Tracy Brigden, Senior Artistic Producer at the Guthrie, praised Gorlin-Han's leadership, noting her advocacy for local artists, diverse voices, and inclusive practices and that Addie is on track to “be a brilliant artistic director.” That predicted future appears to be now. We talked to Addie about current projects, including directing Fun Home at Theater Latté Da and what’s next in her flourishing career. 

Addie Gorlin-HanQ:  You’ve certainly been busy in the Twin Cities recently – directing The Root Beer Lady at the History Theater in February and slated to direct Fun Home at Theater Latté Da, starting in April. With all of the exciting projects you've taken on recently, does it feel like you've stepped into a new chapter in your career?

A:  I'm glad it seems that way! I've actually stepped into a new chapter of my life now that I have two kids, Owen (3.5) and Benny (1). I have my job at the Guthrie as Associate Producer and I'm dedicated to being present there so between that and kids, I actually spend a lot of emotional energy being selective about what I'm going to pursue, especially when rehearsals for projects happen during my kiddos' bedtime. It's a hard balance and I constantly feel like I should be doing more!

Q:  Fun Home is an intimate and deeply personal story - what is your vision for bringing it to life on the Theater Latté Da stage? How do you approach balancing the show’s humor with its heavier emotional moments? What do you hope audiences take away from this production of Fun Home?

A:  Yes, it's a deeply personal and beautifully intimate story for Alison Bechdal and many members of the audience alike. 

I find it productive to hinge the storytelling/world building on a single line from the play - one that I feel summarizes the action of the story. For this piece Alison and Bruce's lyrics: "I want to know what's true, dig deep into who, and what, and why, and when, until now gives way to then" immediately stuck out as the reason for the play and for the movement of the piece. At the very top of the show, Alison sits down with a notebook and opens a box from her father's past; she pulls out random relics (antiques, linens, etc.) which serve as catalysts connecting her to memories of her past that track across her relationship with her closeted dad, to get to the bottom of why he died, and to wrestle with memories of her own coming of age - as a young queer person and as an artist. 

Because of this, I loved the idea of her returning to a metaphorical warehouse, a big storage room of memories, where all her father's antiques are stored and which she hasn't encountered in the last 20 years until this very moment when she actively decides to dust off and uncover his "boxes of junk" in order to deal with this material head-on. As such, you'll see that scenically we've created a warehouse of memories - the side walls are shelves filled with objects, antiques, furniture that, when pulled from the back walls and onto the stage locate us in a specific memory or time in Alison's life.

Fun Home runs April 2 - May 4 at Theater Latté Da

What also strikes me about the play and the graphic novel, is that Alison could have worked through all of these memories with contempt, anger at her father, resentment and bitterness towards her family - and to be clear, she doesn't shy away from complicated, messy truths of it all. But she does so with an overwhelming sense of love. I appreciate that on a personal level because I grew up in the 2000s with a trans sibling and despite the challenges, I've experienced the very real and tender ways a family can be brought together through the journey. I think that's the key to balancing the humor with heavier moments - that it's all rooted in truth.

My sibling is also working as a consultant on this show - they're a caricature artist and work at Birchbark Books. They're coordinating an effort to bring in queer graphic artists from their book and caricature community to tech to draw moments from rehearsal; those drawings will then be on display and used to promote the show. I'm really excited about the partnerships they're working on – stay tuned for more details from Theater Latté Da. 

Q:  What is the casting process like for this production, especially with the three actors playing Alison at different ages?

A:  We did a big casting call based on Latté Da’s regional auditions and then had an additional casting session for the young folks. I wasn't actually concerned about finding three people who looked like one another; at the beginning of the process, I was ready to adjust a "concept" around whoever walked in and brought the most convincing portrayal of Alisons and we'd work from there, but it just so turns out that we have three talented actors who do have some striking resemblance.

Q:  Do you anticipate specific challenges in directing the younger actors, particularly Small Alison?

A:  Haha yes, people seem to come to me when there are children in shows (e.g. A Christmas Carol at the Guthrie) and I'm sure that has something to do with the fact that I have a K-12 teaching credential and sort of a camp counselor personality. So, it's actually one of my greatest joys. I try to treat them just like the adults, but I do generally have blocking a bit more spelled out. 

Q:  How early in a production do you start to work with the music director and the set and lighting directors?  I imagine Fun Home will have moments that lean heavily on music and the set to convey emotions and different time periods.

A:  The musical director, Jason Hansen, is the dad of one of my kid's friends, a husband of my dear work friend and colleague, and my musical directing partner on A Christmas Carol so I'm not sure when work officially began but we've been talking about it for quite a while. I guess since I was asked to do the show. Same thing with the choreographer - we've been chatting for a while and she's been a big part of helping with set design since how things move is so interconnected with the space. This is my first show with set designer is Eli Sherlock, and he has become a wonderful colleague who knows the Latté Da space well so I've leaned on him for his knowledge. The lighting designer is also a collaborator from the Guthrie, as is our costume designer, and sound designer a collaborator from Root Beer lady.

And yes, the set design as I spoke to earlier is maximalist in the surrounding, but minimalist in the utilization of the furniture. 

Q:  Are there other works you’d love to direct for us here in the Twin Cities?

A:  Yes, so many! I'm working on a new musical with two friends about the Princess Kay of the Milky Way competition at the state fair - I'd love to see that come to fruition. I'd love to tackle a classic. A new play featuring a lot of women. I have a list of dream shows on my website, which is an approach I credit to Lavina Jadwhani (director and adaptor of Christmas Carol at the Guthrie) but it's useful and I try to keep it up to date as I read plays throughout the year.

Q:  What’s next for you after Fun Home? How may we follow your news? 

A:  Root Beer Lady will be touring Minnesota this summer. I believe Christmas Carol next year...I'll be line producing the mainstage shows at the Guthrie. So, directing wise, nothing new new on the horizon but TBD! I always try not to get anxious this time of year. :)