Beyond the Bling: Lauren Anderson’s ‘Jewelry Power Elite’ Evolves into a Manifesto for Modern Courage
As the Minnesota Fringe Festival prepares to ignite the Twin Cities’ theatrical landscape on August 6, one of the region’s most seasoned comedic voices is taking a decidedly personal turn. Lauren Anderson, a staple of the Minneapolis improv scene for over two decades, is reviving her critically acclaimed one-woman show, Jewelry Power Elite, for a two-weekend residency at the historic Dudley Riggs Theatre.
What began as a whimsical exploration of statement jewelry has blossomed into a poignant, multi-layered narrative that bridges the gap between lighthearted comedy and the raw realities of contemporary political activism. For Anderson, the transition from sketch ensemble player to solo storyteller represents more than just a career milestone; it is an act of reclamation.
A Legacy of Laughter: The Making of a Comedian
To understand the gravity of Jewelry Power Elite, one must first look at the foundation upon which Anderson built her career. A St. Louis Park native, Anderson was raised on a steady diet of comedy titans—Steve Martin, Robin Williams, Chris Farley, and the anarchic brilliance of The Kids in the Hall. However, it was the legendary Carol Burnett who served as her North Star.
"I thought she had the coolest job in the world," Anderson reflects. That admiration for the craft of performance pushed her toward Climb Theatre, where she performed for young audiences, eventually leading her to the hallowed halls of the Brave New Workshop (BNW).
Her tenure at BNW, beginning in 2004, became a masterclass in endurance. From a scholarship student to a full-time cast member by 2006, Anderson spent the better part of her adult life under the stage lights. Her early promise was evident in 2007, when she performed a standout monologue at the now-defunct Ivy Awards. "I pretended to be a drunk woman singing ‘Frosty the Snowman’ at a work event," she recalls with a laugh. That brash, high-energy charisma became her signature, anchoring her through years of weekly sketch and improv shows.
The Catalyst: A Shift in Perspective
The journey toward Jewelry Power Elite was neither linear nor planned. Following the 2020 layoffs at the Brave New Workshop—a byproduct of the COVID-19 pandemic—the industry landscape shifted. While Anderson continued to perform on a show-by-show basis as the organization was absorbed by Hennepin Arts, the forced pause allowed for introspection.
The inspiration for her solo show came from an unlikely source: fellow performer and director Derek “Duck” Washington. After witnessing Anderson perform a post-pandemic cabaret sketch—a hilariously relatable bit about sourdough bread and the absurdity of modern dating—Washington saw a depth that extended beyond standard sketch comedy.
"She just has this charm that sucks people in," Washington notes. "While watching her, I was like, this could be a whole show for me. I want to see Lauren do a whole one-person show."
During a casual outing with friends, Washington pitched the idea. Initially, the concept felt foreign to Anderson, who had spent her life as part of a collective. But as she sat with the idea, she realized she possessed a unique "fulcrum" for her stories: her collection of statement jewelry.
The Jewelry as a Diplomatic Arsenal
The show uses Anderson’s penchant for bold accessories as a narrative device, framing life milestones through the items she was wearing at the time. This thematic choice draws inspiration from the late Madeleine Albright, who famously used her collection of brooches as a "personal diplomatic arsenal."
"I actually started collecting her [Heidi Daus] because I read about her in a book by Madeleine Albright, who I do talk about in the show," Anderson explains.
However, the "power" in Jewelry Power Elite is not merely aesthetic. As the show has evolved from its debut at last year’s Fringe to this current revival, it has incorporated darker, more urgent themes. Anderson’s recent experiences as a Minneapolis resident have fundamentally altered the tone of her material.
"I live a block away from where Renee Good was murdered, and so for me, and for most of my Minneapolis neighbors, it was hell," Anderson says. "One of the things that helped me live to fight another day was to brace myself and put on some protest jewelry."
This intersection of grief and armor is the beating heart of the show. Whether she is wearing a dove of peace brooch to a "No Kings" protest or using accessories to navigate the personal and political instability of the last few years, the jewelry serves as a symbol of intentionality.
Implications: A Manifesto for Vulnerability
For those expecting a standard evening of sketch-style gags, Jewelry Power Elite offers a profound surprise. While the comedy remains—as Anderson maintains that laughter is her favorite way to connect with an audience—the show is unafraid to dwell in dramatic, vulnerable spaces.
"I’m a seasoned enough performer that I could be vulnerable onstage and not have that be a terrifying experience," Anderson 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."
The show acts as a manifesto for the audience as much as the performer. By highlighting jewelry as an "unnecessary thing" that can nonetheless provide courage, Anderson challenges her viewers to find their own tools for self-assertion. In a world that often feels chaotic, her message is one of reclaimed agency: by intentionally choosing the items we carry on our bodies, we define our place in the world.
Looking Ahead: The Dudley Riggs Run
The revival of Jewelry Power Elite serves as a bridge between Anderson’s past as an improv stalwart and her future as a solo artist. By expanding the Fringe version with new material regarding her activism, she ensures the show remains a living, breathing response to current events rather than a static retrospective.
As Hennepin Arts hosts the production at the Dudley Riggs Theatre, the timing is poignant. For a performer who has spent most of her adult life on stage, the shift to a solo format is both a homecoming and a bold new direction.
Performance Details:
- Venue: Dudley Riggs Theatre, 824 Hennepin Ave., Minneapolis.
- Dates: July 24, July 25, July 31, and August 1.
- Time: All shows begin at 8 p.m.
- Admission: $20.
For audiences in the Twin Cities, this show offers a rare opportunity to witness a veteran performer shed the armor of sketch comedy to reveal the human being beneath. In Jewelry Power Elite, the bling is just the beginning—the real treasure is the courage found in the reflection.
Chronology of a Career
- Early 2000s: Begins career with Climb Theatre, performing for young audiences.
- 2004: Lands first gig with the Brave New Workshop (BNW).
- 2006: Transitions to a full-time cast member at BNW.
- 2007: Performs a breakout monologue at the Ivy Awards.
- 2020: Cast laid off due to the pandemic; begins working on a show-by-show basis as BNW is absorbed by Hennepin Arts.
- 2023: Debuts the original version of Jewelry Power Elite at the Minnesota Fringe Festival.
- 2024: Expands and revives the show for a two-week run at the Dudley Riggs Theatre, incorporating new reflections on activism and local history.
