The Armor of Adornment: Lauren Anderson Returns with an Expanded Vision of "Jewelry Power Elite"

As the Minnesota Fringe Festival prepares to ignite the Minneapolis arts scene once again on August 6, the city’s theatrical landscape is already humming with anticipation. Taking center stage before the festival even officially commences is Lauren Anderson, a luminary of the local comedy scene and a veteran of the legendary Brave New Workshop (BNW). Anderson is set to revive her hit one-woman show, Jewelry Power Elite, for a two-weekend residency at the historic Dudley Riggs Theatre.

For audiences who witnessed the show’s debut at last year’s Fringe, this iteration promises a deeper, more resonant experience. While the core premise remains rooted in Anderson’s penchant for statement jewelry, the production has evolved. It now incorporates fresh material, specifically focusing on her recent journey into political activism, transforming a collection of accessories into a conduit for personal and societal reflection.

The Intersection of Bling and Biography

At its heart, Jewelry Power Elite serves as a creative manifesto—a meditation on how individuals curate their outward appearance to project internal resolve. For Anderson, jewelry is never merely decorative; it is a tactical choice.

"The show is really kind of a manifesto for finding the thing that makes you feel intentional and gives you courage," Anderson explains. "Jewelry is an easy way to do it, because it’s an unnecessary thing. It’s deeply personal, and so by intentionally choosing deeply personal items to carry around on your body every day, you’re announcing yourself and your place in the world."

This philosophy was forged in the crucible of recent Minneapolis history. Living just a block away from the site of Renee Good’s murder, Anderson found herself navigating the collective trauma that gripped the city. "It was hell," she says. "One of the things that helped me live to fight another day was to brace myself and put on some protest jewelry."

By utilizing her personal collection as a narrative backbone, Anderson traces the timeline of her life, using specific pieces as "anchors" for the stories she tells. From her upbringing in St. Louis Park to the stage of the Brave New Workshop, each accessory serves as a bookmark for a chapter of her evolution.

A Chronology of a Comedy Career

To understand the weight and wit behind Jewelry Power Elite, one must look at the two decades of comedic labor that preceded it. Born and raised in St. Louis Park, Anderson’s formative years were defined by a rigorous study of the greats. Her comic sensibilities were shaped by the subversive genius of The Kids in the Hall, the manic brilliance of Robin Williams and Chris Farley, and the legendary versatility of Carol Burnett.

"I thought she [Carol Burnett] had the coolest job in the world," Anderson recalls. That early fascination led her to the Climb Theatre, where she honed her craft performing for young audiences. It was there that she found her pathway to the Brave New Workshop. After receiving a scholarship to complete the troupe’s training program, she officially joined the company in 2004, transitioning to a full-time role by 2006.

By 2007, Anderson had established herself as a formidable force in the Twin Cities, earning a slot to perform a monologue at the prestigious—though now-defunct—Ivy Awards. Her recollection of the event highlights the brash, improvisational spirit that defines her work: "I pretended to be a drunk woman singing ‘Frosty the Snowman’ at a work event."

That performance was a harbinger of the decades to follow. For the better part of 20 years, Anderson lived the life of a repertory player, performing sketch and improv every weekend. The intensity of this lifestyle was such that, for a time, her identity was inextricably linked to the stage. "I’ve been on stage for most of my adult life," she says. "To the point where when I have an odd Friday off, I’m like, ‘What do people do?’"

The monotony of that routine was shattered in 2020, when the COVID-19 pandemic forced the closure of the Brave New Workshop and the subsequent layoff of its entire cast. The institution has since been absorbed by Hennepin Arts, and while Anderson continues to work with the troupe on a show-by-show basis, the hiatus provided the space—and the necessity—for her to pivot toward solo performance.

The Catalyst for Solo Success

The transition from ensemble player to solo act was not, surprisingly, an ambition Anderson had long harbored. The idea was sparked by director and fellow performer Derek "Duck" Washington. As the head of Rogues Gallery Arts and a fixture in the local horror and improv communities, Washington had long observed Anderson’s command of the stage.

"She just has this charm that sucks people in," Washington notes. The lightbulb moment occurred when Washington watched Anderson perform a solo cabaret sketch following the pandemic reopening. In the sketch, she riffed on the absurdities of the era—sourdough bread-making, the anxieties of post-lockdown dating, and the recurring refrain: "It got weird."

"While watching it, I was like, ‘This could be a whole show for me,’" Washington says. "I want to see Lauren do a whole one-person show."

During a subsequent social outing, Washington posed the challenge. Initially skeptical, Anderson began to search for a structure that felt authentic. The solution came in the form of her jewelry box. "I was like, ‘What if I told stories about my life through the lens of the jewelry I wore when it happened?’" she explains.

Supporting Data: The Diplomacy of Adornment

The intellectual depth of the show draws inspiration from historical figures who understood the semiotics of style. A recurring theme in Jewelry Power Elite is the influence of the late Madeleine Albright. Anderson cites a book about the former Secretary of State as a primary reason for her fascination with Heidi Daus, a jewelry designer whose work Anderson frequently wears.

"I actually started collecting her because I read about her in a book by Madeleine Albright, who I do talk about in the show," Anderson says. "[Albright] wore brooches every single day, and she famously said the brooches are part of my personal diplomatic arsenal."

This "diplomatic arsenal" concept is what allows Anderson to bridge the gap between comedy and political critique. Whether it is a dove of peace brooch worn at a protest or a statement piece worn during a difficult life transition, the jewelry serves as a non-verbal argument, an extension of the performer’s intent.

Implications: A New Era of Vulnerability

For long-time fans of Anderson’s work at the Brave New Workshop, Jewelry Power Elite offers a departure from the high-energy, rapid-fire sketch comedy they have come to expect. While the show remains fundamentally funny, it leans into a vulnerability that is rarely afforded in the world of fast-paced improv.

"I’m always trying to make people laugh," Anderson admits. "It’s my favorite way to connect to people, but in this instance, it was nice to let those dramatic moments roll."

This shift in tone is, for Anderson, a professional milestone. Having spent two decades behind the protective veneer of a character or a group dynamic, performing as herself—with all the attendant risks—is a different caliber of challenge.

"I’m a seasoned enough performer that I could be vulnerable onstage and not have that be a terrifying experience," she says. "But it was new enough that it was still kind of exhilarating. You know you’re going in the right direction if it scares you as much as it excites you."

Attend the Performance

The revival of Jewelry Power Elite offers audiences a rare glimpse into the mind of one of Minneapolis’s most resilient performers. It is a show that honors the history of the Twin Cities comedy scene while marking a bold step into a more personal, poignant future.

The production will run at the Dudley Riggs Theatre (824 Hennepin Ave., Minneapolis) on the following dates:

• Friday, July 24 at 8:00 p.m.
• Saturday, July 25 at 8:00 p.m.
• Friday, July 31 at 8:00 p.m.
• Saturday, August 1 at 8:00 p.m.

Tickets are priced at $20. For those interested in witnessing how Anderson transforms the mundane into the meaningful, further information and booking details can be found via the Hennepin Arts official event portal. As the Fringe Festival nears, this show stands as a reminder of the power of art to provide both shelter in a storm and the armor required to face the next one.