By Mary Boyle German playwright Frank Wedekind’s Frühlings Erwachen, or Spring Awakening, made its premiere in 1906, but was rarely staged afterwards, as it was deemed too controversial. The story follows a group of teenaged schoolchildren entering into the throes of puberty, and how they are adversely affected by the grown ups who are supposed to be guiding them, from parents to teachers to church leaders. The play’s subtitle, A Children’s Tragedy, gives just a vague hint at what the play might entail, which happens to be instances of rape, suicide, teen pregnancy, child abuse, and abortion. One can only imagine how shocking this particular piece of theatre was to audiences at the time, yet it managed to persist. Then, in 2006, the play was made into a rock musical that made its way to Broadway, winning several Tony Awards, including for Best Musical, as well as a Grammy for Best Musical Theatre Album. Here in Milwaukee, Skylight Music Theatre has added yet another layer of complexity to the production by casting the show with a mix of deaf, hard-of-hearing, and hearing actors, further pushing the boundaries of live theatre. Are you read to experience this SPRING AWAKENING? With music by Duncan Sheik and book and lyrics by Steven Sater, the original story is left largely unchanged: it’s still set in Germany in the early 20th century, and the costumes and set design reflect that, with the boys in matching school uniforms and the girls looking like a Laura Ingalls/cottage core mash-up. This production is inspired by the 2015 Broadway revival by Deaf West, which produces Deaf-centered theatre in Los Angeles, and is designed to be experienced by both hearing and deaf audiences the same way, in real time. To accomplish this, some of the actors are deaf or hard-of-hearing and use Sign Language while being shadowed by their voices, played by a hearing actor; however, many of the hearing actors are also using Sign Language and, at times, there is also open caption, meaning the text is sometimes projected on the wall to be read. “There is an unfortunate history of the Hearing world deciding what is best for those who are Deaf, including forcing them to read lips and prohibiting the use of Sign Language,” explained Michael Unger, Skylight’s Artistic Director. This discrepancy is not unlike the treatment of the children by the adults in the play. Unger shares directing responsibilities with renowned deaf theatre artist, Alexandria Wailes, who loves utilizing the power of theatre to bring people together from various backgrounds and help them move through the fears of the unknown; to create spaces that open dialogue across generations about the things that cause discomfort, which hopefully leads to learning, healing, and compassion. “Theatre-making can also be about celebrating, elevating, amplifying the voices of those overlooked or assumed to not have anything to contribute,” Wailes said. “It is about challenging preconceptions and allowing for the reflection on how much or how little may have changed.” Spring Awakening is a tragedy whose themes are timeless: we see them in Shakespeare’s Romeo & Juliet, the famous star-crossed lovers, and we can recognize it in John Hughes’ 1980s film, The Breakfast Club. In each of these stories, we see children on the verge of adulthood, constrained by the expectations of their elders without given any context, guidance, or consideration, and the havoc it wreaks in their lives. Here, we have Melchoir (Caden Zane Marshall), a brilliant and handsome young mind who is both a teachers’ pet and the envy of his classmates, and Wendla (Erin Rosenfeld), a young girl who is both desperate to understand the adult world and equally desperate to remain a little girl. Rosenfield is deaf, so she is shadowed by her voice, played by Emma Knot, who was seen last season at Skylight as Poppy in Noises Off. Marshall is a hearing actor and American Sign Language interpreter, so he is also sometimes voiced by other actors. Trouble begins with a fellow classmate, Moritz (Joseph Saraceni), who is particularly struggling with his changing body and unable to get help from the adults in his life (a variety of characters played by Milwaukee favorites Karen Estrada and Joel Kopischke, as well as acclaimed deaf actor Liz Tannebaum). Saraceni is also a deaf actor, so his voice is shadowed by Edie Flores. Melchoir tries to help Moritz by providing him with a graphic essay about sex, but it only makes things worse, as Moritz’s lack of sleep and language barrier threatens his educational prospects. Meanwhile, Wendla is shocked when she learns that another classmate, Martha (Kaia Fitzgerald), is being abused by her parents, and doesn’t know where to go with her questions, since her mother refuses to talk about “difficult” topics. Tensions and problems build as children are either failed by or terrorized by the very adults in their lives who are supposed to help them, often under the guise of cultural decency. In the original play, it is the voices of the children that are amplified, and what they have to say is deeply uncomfortable. The modern version is still uncomfortable, which only serves to demonstrate that we have yet to fully address and understand these problems. Then there is the additional layer of the amplification of Deaf voices, as well as a graphic scene involving partial nudity. No amount of rock music can convince viewers that this is a fun, lighthearted Broadway frolic; in fact, the music felt incongruent to me, and not just because it didn’t align with the time the rest of the play is set in – after all, it worked just fine for Hamilton – but more because I felt that these topics are too serious to work as a musical. I wanted it to be a drama. That being said, the cast is very dedicated and talented, and the music was well performed, overall. As Unger says, “There is a reason this old play, with new music, has resonated so profoundly with a younger generation of theatregoers.” There is no doubt that Skylight is pushing the boundaries of theatre with this production, but will the people that need to see it get themselves into the seats? My hope is that younger audience members make their way to the theatre community who may not have felt it was for them, with this one, but I challenge anyone over the age of 30 to give this one a try, especially if the very idea of it makes you uncomfortable. This is how we learn and grow. SPRING AWAKENING runs through March 17th at the Cabot Theatre in the Broadway Theatre Center, located at 158 N. Broadway in Milwaukee’s historic Third Ward. Tickets may be purchased at https://www.skylightmusictheatre.org/ or by calling the Box Office at (414) 291-7800. This show is recommended for ages 10 and up. About Skylight Music Theatre Founded in 1959, Skylight is Milwaukee’s professional Equity music theatre company and the largest employer of Wisconsin actors in the state. We are Milwaukee’s Home for Music Theatre--the only professional Milwaukee arts company devoted solely to music theatre. Skylight produces the full breadth of music theatre, ranging from blockbuster Broadway musicals to reimagined operas, and from exciting world premieres to contemporary off-Broadway hits. Skylight’s mainstage home is the Cabot Theatre in the Broadway Theatre Center, which was built by Skylight in Milwaukee’s Historic Third Ward in 1992. Considered to be one of Milwaukee’s most beautiful theatres, the Cabot Theatre is based on the design of an 18th-century French opera house. With just 350 seats, it offers audiences great views of the action onstage. Skylight Music Theatre marks its 63rd season in 2022-2023. Skylight Music Theatre is a proud Cornerstone Member of the United Performing Arts Fund.
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By Mary Boyle Heidi Armbruster is not only a playwright, but has an extensive list of theatre, film, and television credits from New York, where she was based as an actor. Wisconsin, though, is her real home; the place where she grew up, and the place she returned to when her father became sick. Her father, a farmer from the middle of the state, encouraged Heidi to write a play about her experience and, thankfully, she did. Filled with humor, insight, and plenty of Wisconsinisms, SCARECROW is a heartfelt one-woman show performed by the playwright, herself, and can be seen through March 17th at Milwaukee’s Next Act Theatre. Directed by Milwaukee’s own Laura Gordon (Who’s Afraid of Virginia Woolf), Scarecrow is both written and performed by Heidi Armbruster, which is something that deserves repeating. Imagine losing a parent you are very close with; now imagine writing about that process; now imagine telling that story to a room full of strangers. Repeatedly. Let’s be honest: not many people would want to process their grief this way. On the other hand, Armbruster, who was brilliant in two productions at The Rep last season, Wife of a Salesman and God of Carnage, clearly has the acting chops to pull it off. Death is something every one of us will have to deal with, yet a terribly uncomfortable topic that nobody is interested in discussing – which is why it makes for excellent theatre. Last summer at American Players Theatre, I saw an amazing one-woman show called Mala, about a middle-aged woman who was slowly losing her mother. The show was a masterpiece of emotions, ranging from hysterically funny to unbearably sad but, with the magical empathy of theatre, the audience can be safely guided through an all-too-relatable story, experiencing the myriad of emotions brought by such circumstances, and come out the other side unscathed, but with greater understanding. Scarecrow hits a little closer to home because it is so firmly set in Wisconsin culture (many of us will see similarities to ourselves and people we know in this play); but, because it is so entirely born and raised in Wisconsin, it is too polite to drag people to the highs and lows of emotional ranges, preferring to stick with the good old fashioned midwestern habit of not really talking about the problem and making light it, instead. Or so it would seem. We don’t talk about it, but we live through it, right along with Heidi. On the journey, we learn not only that we can live through it, but what we can learn from it. Trust me, these are lessons worth learning. SCARECROW runs through March 17, 2024, at 255 S. Water Street in Milwaukee, the artistic home of Next Act Theatre. Tickets may be purchased by calling (414) 278-0765 or online at nextact.org. About Next Act Theatre Since 1990, Next Act Theatre has been engaging the hearts and minds of audiences with intimate, compelling productions intended to stimulate thought, foster the exchange of ideas, and promote the development of new perspectives and understanding. Next Act believes that stories work best when they involve characters in the midst of a struggle or a quest. Audiences identify with them, becoming emotionally and intellectually invested. The character’s situation, tragedy or triumph becomes the audiences’ to endure, mourn or celebrate. The theatre proves itself, then, as essential to the nourishment of our human spirit by bringing us together to examine, experience and explore the human condition, perhaps coming away with knowledge and perspective that only a good story can deliver. By Mary Boyle Written by British playwright Catherine Johnson and known as a “jukebox musical” (a musical featuring pop music, as opposed to original music composed for the production), Mamma Mia! is built on the music of the Swedish band ABBA and is named for their 1975 hit song of the same name. First unveiled in the West End in 1999, the show was an immediate success that went to Broadway in 2001 and ran through 2015, earning its place in the top-ten longest-running Broadway shows. The musical became a hit movie in 2008 starring Meryl Streep, Pierce Brosnan, Colin Firth, and Amanda Seyfried, which then went on to spark a hit sequel, Mamma Mia! Here We Go Again, in 2018, starring those same actors, plus the addition of Cher. In 2023, a 25th Anniversary North American Tour of MAMMA MIA! began, which has finally made it to Milwaukee as part of the Marcus Performing Arts Center’s Broadway at the Marcus Center season, from February 20-25, 2024. Sophie Sheridan (Alisa Melendez) is only 20 years old, but she is about to get married to Sky (Grant Reynolds), the guy she loves, on the small Greek island she was raised on by her single mother, Donna (Christine Sherrill). Donna has run a little hotel on the island since Sophie was born and, though Sophie had always wondered, had never revealed any information about Sophie’s father. Deciding that she didn’t want to have a wedding without her dad, if she could help it, Sophie investigates her mother’s diary from the year before she was born and narrows it down to three men: Harry Bright (Rob Marnell), Bill Austin (Jim Newman), or Sam Carmichael (Victor Wallace). To lure them to the island, Sophie sends them invitations to the wedding that appear to be from her mother, who has no idea what Sophie is up to; meanwhile, the men arrive with no idea that Sophie exists. Luckily, Donna’s two best friends, Tanya (Jalynn Steele) and Rosie (Carly Sakolove), arrive to help with the wedding and keep Donna from losing her mind when she is suddenly confronted with her past. My first experience with Mamma Mia! was the 2008 film, which I found to be unbearably cringy, but it clearly found a place in the hearts of my daughter’s generation (I think my niece may have worn out her DVD, she watched it so many times). Not being a great fan of ABBA didn’t help my opinion. Nonetheless, when the opportunity to see this tour presented itself, I wanted to see if the live-on-the-stage version made a difference, and it did. This production is just pure fun the whole way through. The choreography by Anthony Van Laast is perfection, and the overall design of the show by Mark Thompson is simple, but effective. While the dialog can feel a bit rushed, at times, the story is driven mainly by the music, and this cast has some incredible vocal talent in the main characters: Melendez as Sophie and Sherrill as Donna; however, Jalynn Steele, who plays Donna’s wealthy and eccentric friend, Tanya, manages to steal the show with both her voice and her spectacular and energetic stage presence. I would have loved to feel more chemistry between Donna and Sam (who, interestingly, both live in Wisconsin), though they paired well vocally. With such a huge fan base, tickets will sell fast for this production; but, even if you aren’t a big fan, Mamma Mia! is a fun way to spend a February evening in Milwaukee, so go ahead and get some Broadway Musical into your life! MAMMA MIA! runs through February 25th at the Marcus Performing Arts Center, located at 929 N. Water Street in Downtown Milwaukee. Tickets may be purchased online at www.MarcusCenter.org, calling 414-273-7206 or by visiting the MPAC Box Office. Groups of 10 or more can secure their seats by calling 414-273-7207. MAMMA MIA! last played the Marcus Performing Arts Center in the 2014/15 season. About Marcus Performing Arts Center A mission-based non-profit organization located in downtown Milwaukee, the Marcus Performing Arts Center (MPAC) brings high-quality arts and cultural programming to Southeastern Wisconsin. MPAC strives to act as an energizing force that connects the community to the world through collaboration, innovation, social engagement, and the transformative power of the performing arts. Through multiple performance series, community events, and educational experiences, MPAC brings a diverse range of celebrated artists to the region. A fixture in Milwaukee for over 50 years, MPAC is proud to be part of the Milwaukee Theater District, as well as a dedicated War Memorial facility. Learn more at www.MarcusCenter.org. Johnson Financial Group, with offices in Wisconsin and Minnesota, is a privately owned financial services company offering banking, wealth and insurance solutions through its subsidiaries, Johnson Bank, Johnson Wealth, and Johnson Insurance Services. For more information visit johnsonfinancialgroup.com. Broadway Across America (BAA) is part of the John Gore Organization family of companies, which includes Broadway.com, The Broadway Channel, BroadwayBox.com, Group Sales Box Office and Broadway Brands. Led by 20-time Tony-winning theater producer John Gore (Owner & CEO), BAA is the foremost presenter of first-class touring productions in North America, operating in 48 markets with over 400,000 subscribers. Presentations include Disney’s The Lion King, Wicked, The Book of Mormon, and Hamilton. Current productions include & Juliet, Hadestown, Hamilton, Kimberly Akimbo, MJ: TheMusical and Moulin Rouge! The Musical. By Mary Boyle Heidi Schreck’s mother, a debate coach, came up with an amazing scheme to help her daughter pay for college: traveling around the country, from one American Legion to another, giving speeches and taking part in debates on the Constitution for prize money. The scheme worked and, while the scholarship money was the main goal, Schreck became a self-proclaimed "Constitution zealot" along the way. Although she began college in pre-law, taking part in her school's theatre production changed her career trajectory. Still, her passion for our country's most important document never really waned and, reflecting back on her teenage years, she combined both of her passions into one incredibly successful play called WHAT THE CONSTITUTION MEANS TO ME, which is running at The Rep's Stiemke Studio through March 17th. Schreck knew she wanted to write a play about her experience but didn’t know at the time what it would become. “I ended up making a much more personal play than I thought I would,” Schreck said in an interview on the Late Show with Stephen Colbert. “The play became about the stories of the women in my family, the way their lives have been shaped by the Constitution, [and] the way the Constitution has failed them over generations.” Schreck's play made an immediate splash when it hit the stage in 2019, and has gone on to be named a Pulitzer Prize finalist for Drama, as well as receiving two Tony Award nominations for Best Play and Best Performance by an Actress in a Leading Role in a Play, along with winning several awards. It was even filmed and premiered this past October on Amazon Prime Video, where it was also nominated for several awards. After a sold-out Broadway run, the play is quickly making its way across the country. Directed by Laura Braza, the play stars the talented Jessie Fisher as Schreck, who took a leave of absence from her Broadway role in A Beautiful Noise, the Neil Diamond Musical for the opportunity to do the show. Fisher, who was last seen on The Rep’s stage in Grounded during their 2016/17 Season, is joined by Will Mobley, who was in last season’s Much Ado About Nothing at The Rep, as a Legionnaire and Schreck’s friend, Danny. The cast is rounded out by three young performers, only one of whom appears in each show: Maria (Rose) Campbell, Hazel Dye, and Maya O’Day-Biddle. Both Fisher and Mobley give emotional and believable performances that are a credit to the writing. There is a reason this play has been so successful, and I think it is because there isn’t a single person in the country who isn’t affected by the Constitution: it binds us all. No matter how good your Civics class was in school, you will learn both amazing and horrifying facts about this document, which is the oldest living constitution in the world. For instance, you will hear about as the amendment that gave women the right to birth control and to vote, while also learning that the word “woman” is not mentioned in our Constitution. Don’t conclude that this is a show for women, though – this production has insights for literally everyone. Funny, thought-provoking, and intensely moving, this is one play that makes it impossible not to engage in politics. Tickets will sell quickly for this one – get yours now. WHAT THE CONSTITUTION MEANS TO ME runs through March 17th, 2024, in the Stiemke Studio, located within the Associated Bank Theater Center at 108 E. Wells Street in downtown Milwaukee. Tickets may be purchased at www.MilwaukeeRep.com, by calling the Ticket Office at 414-224-9490 or visit the Ticket Office in person at 108 E Wells Street in Downtown Milwaukee. Talks and Events Early Bird Performance: Tuesday, February 13 at 6:30pm TalkBacks: Thursdays Feb 15, Feb 22, Feb 29 after the 7:30pm performance Post-Show Panels: Friday, February 16 – What Does the Constitution Mean to You? Panelists include UWM Professor Jim Tasse and Milwaukee Rep Teen Council Member Silver Anderson. Tuesday, February 20 – Why is it Important to have Women Represented in Government? Panelists include Judge Kristy Yang and Representative Dora Drake. College Nights: Tuesday, February 20 - Learn more here Dinner Dialogue: Monday, February 26, 5-8pm at Hilton Garden Inn and The Social American Tavern (611 N Broadway St). To learn more and to register visit click here. Access Services Audio-Described Performance: Thursday, February 22 at 7:30pm – the show will be described for patrons who are blind or have low vision. ASL Performance: Thursday, February 29 at 7:30pm – the show will be signed for the deaf or hard of hearing. About Milwaukee Repertory Theater Milwaukee Rep is the largest performing arts organization in Wisconsin with three unique performance venues in the Associated Bank Theater Center. For over seven decades, Milwaukee Rep has been a centerpiece of Milwaukee’s vibrant arts and cultural scene with productions ranging from Broadway musicals to Shakespeare to American Classics and New Works that are entertaining, inclusive, and impactful. Under the leadership of Artistic Director Mark Clements and Executive Director Chad Bauman, Milwaukee Repertory Theater ignites positive change in the cultural, social, and economic vitality of its community by creating world-class theater experiences that entertain, provoke, and inspire meaningful dialogue among an audience representative of Milwaukee’s rich diversity. By Mary Boyle Renaissance Theaterworks in Milwaukee was not only founded and run by women, they have dedicated themselves to promoting the work of women, as well. I’m certain that made choosing American playwright Sarah DeLappe’s 2016 play an easy choice for their 31st season. A finalist for the 2017 Pulitzer Prize for Drama, the play was not only written by a woman, the entire cast is made up of women. Young women, mostly. High schoolers, to be exact. Due to the nature of the work, the play is often cast by adult actors but, luckily, Milwaukee has a perfect resource for professionally-trained high school-aged actors in the First Stage Young Company and, in this brilliant collaboration between theatre companies, an exemplary work was created. This is THE WOLVES. Directed by Elyse Edelman, who is a First Stage Young Company alumna herself and who makes her RTW directorial debut with this production, The Wolves follows a group of nine high school girls on an indoor soccer team somewhere in suburban America over a course of several winter Saturdays in 2018. While the audience watches them warm up and practice throughout the production, the play has very little to do with soccer and everything to do with the lives of the average teenage girl in our country. DeLappe’s play was inspired by an art exhibit she visited as a young woman at the New Museum in New York, featuring works from several Arab countries that portrayed the oppressive conditions and war-torn environments faced by the artists, Edelman explained. “...each scene portrays the young women preparing for a unique kind of battle on and off of the soccer field. We witness not the game itself, but the pivotal moments preceding it – the anticipation, the rigorous physical training, the empowering pep talks. It’s about positioning ourselves both on the field for victory and off the field for success in various pursuits.” The cast of young performers are not known by their names but by their numbers and positions on the field: #11 Midfield, Maya Thomure; #25 Defense and Captain, Alice Rivera; #13 Midfield, Josie Van Slyke; #46 Bench, Reiley Fitzsimmons; #2 Defense, Madison Jones; #7 Striker, Ryan Bennett; #14 Midfield, Lorelei Wesselowski; #8 Defense, Natalie Ottman; and #00 Goalie, Elena Marking. As the mother of a recent teenage girl athlete, myself, I can tell you that this play is a brutally realistic representation, which is exactly why it is not for young audiences. The characters do not hesitate to swear–profusely–or tackle the very real topics that teenage girls need to handle, from personal issues such as dating, menstruation, school, and their future to the issues going on in the larger bubble of their community, country, and world. This is a view seldom seen by anyone but the girls growing up in it, which is precisely why this play has been the most talked about off-Broadway production since it first hit the stage. The Young Company cast, as a whole, is breathtaking in their ability to bring their individual characters to life. I’ve often said that YC is the best kept theatre secret in Milwaukee, but RTW has let the cat out of the bag. Marcella Kearns, a frequent YC teacher and collaborator, gives a stunning performance as “Soccer Mom,” the lone adult member of the cast. The scenic design by Doug Dion is cleverly imagined and constructed by Tony Lyons and Timothy Linn, and the costume design by Jason Orlenko lends to the credibility of the story. Funny, intense, heartbreaking, and shockingly real, The Wolves is a profound production and RTW does it full justice. See it if you can. THE WOLVES runs through February 11th at the Theater on 255 S. Water Street in Milwaukee’s Harbor District. Tickets are available at r-t-w.com 24 hours-a-day, by phone at 414-278-0765 or in person at the box office, 255 S. Water St., from 12:00 p.m. to 5:00 p.m. daily and 2 hours before performances. About Renaissance Theaterworks RTW is Milwaukee’s first professional theater company founded and led by women and the nation’s second-oldest professional theater devoted to gender equality. RTW is a resident company at 255 South Water St. in Milwaukee’s Harbor District, with increased capacity and improved accessibility. By Mary Boyle American author Rick Riordan has now written over 20 novels for young adults, but The Lightning Thief, the first in his Percy Jackson & the Olympians series published in 2005, is still the most well known and beloved by his fans. Adapted into a motion picture in 2010 starring Logan Lerman, the movie did not fare nearly as well as the book; however, Disney+ recently unveiled a TV series that is more faithful to the books, which has been gaining popularity. Even lesser known is the musical version of the novel, which was unveiled on Broadway in 2014. Yes, a musical. This season, First Stage brings the Greek Gods to Milwaukee with their production of THE LIGHTNING THIEF: THE PERCY JACKSON MUSICAL, through March 10th. With book by Joe Tracz and music and lyrics by Rob Rokicki, this pop-rock filled musical streamlines Percy's story for the stage, while keeping the essential parts of the tale intact. For the uninitiated, Percy (Ben Nowacek/Silver Anderson) is a 12 year old boy with ADHD and dyslexia, struggling to fit in, but constantly finding himself in trouble at school; in fact, he's been kicked out of several. In his newest school, Percy finally has a friend, Grover (Thatcher Jacobs/Abram Nelson), and a teacher who seems to like him. When he’s kicked out of yet another school, his single mother (Nadja Simmonds) decides it’s finally time to let Percy in on a secret she’s been keeping from him but, before she can get it all out, her and Percy are attacked by a minotaur and Percy learns that his best friend is, in fact, a satyr. The next thing Percy knows, he’s waking up at Camp Half-Blood with an irritated Dionysus (Jamey Feshold) and his teacher who, as it turns out, is a centaur named Chiron (Matt Daniels), informing him he’s a demigod and that his mother was lost in the attack. While at camp, Percy befriends Annabeth (Sanaiah Hibbler/Calleigh Mills) and Luke (Austin Nelson Jr.), a disgruntled son of Hermes who is angry that the gods are often absentee, uninvolved parents who often never bother to claim their half-human children. Percy’s father, however, does claim him and, as the son of Poseidon, Percy learns that he has a way with water. Before he can absorb it all, he is suspected of stealing Zuess’s lightning bolt and sent on a hero’s quest to retrieve it before a war erupts amongst the gods. Not wanting to leave camp, Luke reminds Percy that Hades is probably the true thief and that, by going to the underworld, he will likely be able to find his mother. With that as his true mission, Percy is joined by Annabeth and Grover on a crazy, monster-filled adventure. Directed by Jeff Frank, The Lightning Thief is an ideal way for younger fans of the book, movie, or TV series to experience the story in a different way that is fun, family-friendly, and less scary than its other visual counterparts. The costumes by Yvonne Miranda and scenic design by Madelyn Yee are Broadway quality but, as always, the music suffers a bit with the sound quality in the Todd Wehr theater, though the cast (Nadja Simmonds, in particular) is vocally strong. The young performers, who are double cast in either the Minotaur or Chimera casts, respectively, do an excellent job, but Matt Daniels and Jamey Feshold are the glue that holds this production together. Daniels, in particular, is spectacular as the centaur Chiron, Hades, and Poseidon, as well as other characters, though his performance is so good that you may not realize that all of those characters are performed by the same actor. Feshold shines as Dionysus and as Aries, the god of war. Together, they make the performance a good time for all ages in the audience. I am personally a huge fan of the Percy Jackson series, so I was skeptical about this adaptation, but it really does work – although I believe it works best if you are a fan or, at least, already familiar with the story, because a lot of detail is lost in order to fit it into a 75 minute show. The music is not always brilliant, but it does manage to summarize large parts of text and move the story along in a fast-paced way that still remains largely true to the book. As with the novel, the musical is still a great crash-course in Greek mythology that may inspire a deeper dive, but also serves as a great way to introduce young Percy Jackson fans to the wonder of live theatre. Either way, you can’t really lose on this production, unless you wait too long to buy your tickets - it seems Percy Jackson is a hot commodity in any format. THE LIGHTNING THIEF: THE PERCY JACKSON MUSICAL runs through March 10, 2024 at the Marcus Center’s Todd Wehr Theater, located at 929 N. Water Street in downtown Milwaukee. Tickets start at $20 and can be purchased in person at the Marcus Center Box Office at 929 N. Water Street, by phone at (414) 273-7206 or online at firststage.org. Special events for THE LIGHTNING THIEF: The Percy Jackson Musical Pay What You Choose Performance: Friday, February 9, 2024 at 7:00 p.m. Pay What You Choose tickets are available on a first come, first served basis with a minimum suggested ticket price of $10 per person. Doors open at 6:00 p.m. on the day of the performance. Patrons are encouraged to arrive early. Tickets may also be reserved in advance by phone at (414) 267-2961, weekdays 9 a.m. – 4 p.m. For more information, please visit: firststage.org/events-tickets/tickets-offers/pay-what-you-choose/. Sensory Friendly Performance: Saturday, February 17, 2024 at 3:30 p.m. A Sensory Friendly Performance with accommodations for families with children on the autism spectrum will take place on Saturday, February 17, 2024 at 3:30 p.m. Sensory accommodations include a quiet area staffed by an experienced educator, adjusted sound and lighting, and more. Tickets for Sensory Friendly Performances are $10. Order online or by phone at (414) 267-2961, weekdays 9 a.m. – 4 p.m. to reserve tickets. To learn more visit: firststage.org/plan-your-visit/sensory-friendly-performances/. ASL Interpreted Performance: Sunday, March 3, 2024 at 3:30 p.m. This performance will be sign language interpreted for patrons who are deaf or hard of hearing. Assistive listening devices are also available at the Todd Wehr Theater. To learn more, please visit: firststage.org/plan-your-visit/accessibility/sign-language-interpreted-performances/ About First Stage Founded in 1987, First Stage is one of the nation’s leading theaters for young people and families, and a driving force behind the creation of the best and most innovative plays for family audiences, theater training programs for young people, and education initiatives for its schools and community. First Stage produces plays that honor the young person’s point of view, include diverse and traditionally underrepresented voices, and inspire meaningful conversations. First Stage has presented more than 70 world premiere productions that address important subject matters relevant to today’s youth. The Theater Academy is one of the nation’s largest high-impact theater training programs for young people (3-18 years old). Through a challenging curriculum taught by professional teaching artists, the Academy nurtures life skills through stage skills and includes the Next Steps Program that tailors Theater Academy classes to the needs of autistic young people. As Wisconsin’s leader in arts-integrated education in schools, First Stage’s dynamic Theater in Education Programs cleverly blend theater activities with standard curriculum – allowing more than 10,000 students annually to learn traditional academic subjects through creativity and self-expression. First Stage ensures that all programming is not only accessible to its community but that it is reflective of the community it serves. In order to do that, First Stage relies on its community of donors. With an annual operating budget of $5 million, more than half of First Stage’s revenue comes from generous contributions from individuals, corporations, foundations, government sources, and the United Performing Arts Fund. Join First Stage’s community of donors with a contribution today and transform lives through theater. First Stage is a member of TYA/USA, the American Alliance for Theatre and Education, the Wisconsin Alliance for Arts Education, Milwaukee Arts Partners, and is a cornerstone member of the United Performing Arts Fund (UPAF). firststage.org By Mary Boyle I was a child of the 80s, yet I somehow missed the 1980 film Xanadu, starring Olivia Newton John and the great Gene Kelly. Then again, perhaps it isn't much of a surprise, since the film was not acclaimed. In fact, it inspired the Golden Raspberry Awards, given to honor the worst films of the year. Somehow, though, the film developed a cult following as the years went by and, in 2007, a musical version by Douglas Carter Beane, with music and lyrics by Jeff Lynne and John Farrar, was unveiled on Broadway. The musical, which was far more successful than the film, has developed a following of its own, and now Skylight Music Theatre has brought XANADU, in all its disco glory, to Milwaukee area audiences. Milwaukee's own Doug Clemons, who is usually seen on the stage, makes his directorial debut with this sparkling production, where roller disco meets Greek mythology. Sonny Malone (Mitchell Gray), an aspiring artist in Los Angeles, is so frustrated by his art that he is on the verge of commiting suicide, but is interrupted by Kira (Kaitlin Feely), the Greek Muse Clio masquerading as a trendy young Australian woman, complete with roller skates and legwarmers. With Kira to guide him, Sonny finds an old abandoned theater called Xanadu, which he hopes to turn into a roller disco; but, the owner of the theater, a real estate mogul named Danny Maguire (Rick Richter), wants to tear the old theater down and turn it into condos. Meanwhile, Kira's jealous sister, Melpomene (Molly Rhode), has a plan to get rid of Kira: Muses are forbidden by Zues to create, themselves, or to fall in love with the humans they choose to inspire, so Melpomene, with the help of her sister Calliope (Rhonda Rae Busch), conspires to use magic to make Kira and Sonny fall in love. Roller Disco had its heyday in the 70s and 80s, but the culture still persists today -- in fact, it was even featured in a Peppa Pig episode! The hobby has made an even bigger comeback since the pandemic, with a strong relationship to the Queer community. Clemons' Xanadu is full of pride, if not a spectacular display of roller skating ability, and is a fast, funny, and fabulous 90 minutes of campy fun, featuring a few songs that everyone will recognize, such as "Evil Woman" and "Strange Magic" by Electric Light Orchestra. Kaitlin Feely and Mitchell Gray both make a fantastic Skylight debuts, alongside veterans Rick Richter, Samatha Sostarich, and Molly Rhode. Keep an eye out for D Eric Woolweber, who manages to steal several scenes in the production with his dancing ability, as well as his comedic skills. A strong cast with incredible vocal talent, alongside live music played on the stage directed by David Bonofiglio, elevates the entire production. While not to be taken seriously, Xanadu has some seriously solid performers and is a great show to bring in some love, light, and color on a Wisconsin winter evening. XANADU runs through February 11th in the beautiful Cabot Theatre, located in the Broadway Theatre Center at 158 N. Broadway in Milwaukee's Historic Third Ward. Tickets may be purchased by calling the box office at 414-291-7800 or by visiting www.skylightmusictheatre.org. Don't miss Skylight's upcoming celebration of legendary songwriter Tim Rice! An Evening with Sir Tim Rice is set for March 23, 2024 at the Broadway Theatre Center in Milwaukee’s Third Ward. Tickets are on sale now and can be purchased at www.skylightmusictheatre.org. Additionally, a limited number of VIP tickets are available, which include a meet and greet with Sir Tim Rice and a champagne toast following the performance. About Skylight Music Theatre Skylight Music Theatre is a professional theatre company that produces high-quality musical productions that entertain, educate, and inspire. We are committed to providing a platform for local talent and showcasing the best of Broadway and beyond. Founded in 1959, Skylight is Milwaukee’s professional Equity music theatre company and the state's largest employer of Wisconsin actors. Skylight produces the full range of music theatre from blockbuster Broadway musicals to reimagined operas, and from exciting world premieres to contemporary off-Broadway hits. Skylight’s mainstage home is the Cabot Theatre in the Broadway Theatre Center, which was built by Skylight in Milwaukee’s Historic Third Ward in 1992. Considered to be one of Milwaukee’s most beautiful theatres, the Cabot Theatre is based on the design of an 18th-century French opera house. With just 350 seats it offers audiences great views of the action onstage and an undeniable connection with the performers. Skylight Music Theatre marks its 64th season in 2023-2024. Skylight Music Theatre is a proud Cornerstone Member of the United Performing Arts Fund. By Mary Boyle Irish American playwright Eugene O'Neill (1888-1953) is the only playwright to ever win the Pulitzer Prize for Drama four times. Though his name may not ring a bell to everyone, the titles of some of his plays surely will, such as Bound East for Cardiff, The Emporer Jones, Beyond the Horizon, Anna Christie, or The Iceman Cometh, among others. Interestingly, it is one of O'Neill's failed plays that, decades after his death, became considered one of his greatest works, and Milwaukee Chamber Theatre has taken great pains to bring A MOON FOR THE MISBEGOTTEN to their stage. O'Neill was revolutionary to American theatre in that he brought realism to the stage by writing the stories of people not usually represented in our culture: alcoholics, prostitutes, immigrants, and the poor. Moon for the Misbegotten is actually a sequel for his earlier work, Long Day's Journey Into Night, which was inspired by events in O'Neill's own life, and where we are first introduced to the character of James Tyrone Jr. (La Shawn Banks), now a failed actor who has come home to Connecticut. James has been left with his family's estate, which includes a poor plot of land that Phil Hogan (James Pickering) has been farming for years. Mike Hogan (A.J. Magoon), the last of the old Irish farmer's sons, is running away from the farm like his brothers before him, leaving his sister, Josie (Kelly Doherty), to care for both the farm and their aging, alcoholic father. While James and Josie have long had a tenderness for each other, and James made a promise to sell the land to Phil once the estate is settled, Phil isn't so certain that the money of their new wealthy neighbor, T. Steadman Harder (Zach Thomas Woods), might cause James to go back on his word. Brent Hazelton, MCT's Artistic Director, intended to stage a production of Moon for his first season with MCT in 2020, but I'll bet you can guess what happened next. A large part of MCT's mission is casting local talent and, though years passed before he could make the production a reality, his inspiration, Kelly Doherty, an up and coming local actor who he felt was made for the role of Josie, was still available when the time came. Doherty truly was perfect for the role, as was Milwaukee icon James Pickering as Phil. The bulk of the play is supported on the shoulders of these two actors, and they carry it so impressively. Although they spent little time on the stage, A.J. Magoon (who makes his MCT debut) and Zach Thomas Woods, two of my favorite local actors, also certainly make their mark. La Shawn Banks, who makes an impressive MCT debut as James, is a Chicago-based actor who has frequented plenty of other Wisconsin stages, including American Players Theatre and Children's Theatre of Madison. This production is the 24th show directed by Mary MacDonald Kerr, who is a local actor, herself, alongside an entire production crew filled with Wisconsin-based artists. Utilizing local talent is what MCT does best, and it is on full display in every aspect of this production. That being said, there is a reason O'Neill's works are rarely produced (this show hasn't been professionally produced in the Milwaukee area since 1995). Seeing this show reminded me of when I read Wuthering Heights by Emily Brontë in high school. To my modern mind, it was no more than a soap opera; however, I could also appreciate that, in the time it was written, it was revolutionary. The same can be said of O'Neill's plays. The struggle of Josie and James to love each other because they can't love themselves was probably enlightening to audiences of the time; the way that shame can get in the way of connecting with others and living the lives we want was a concept that needed to be spelled out then, but is far too obvious and overdramatized for audiences now. I was also reminded of MCT's production of Who's Afraid of Virginia Woolf? from last season, in that this is also a play that hits differently in our modern culture, yet I relish the chance to see where we came from in theatre. To that end, Milwaukee Chamber Theatre delivers in a way that no other local theatre company does. As with Virginia Wolf, you should see A Moon for the Misbegotten because it's a rare opportunity to see what great theatre was, but also because you should see James Pickering act if you have the chance and, as an added bonus, see three of the future icons of Milwaukee theatre on one stage with the current one. This one has a short run, so act accordingly. A MOON FOR THE MISBEGOTTEN runs through February 4th in the Studio Theatre at the Broadway Theatre Center, located at 158 N. Broadway in Milwaukee's Historic Third Ward. Tickets may be purchased online at www.milwaukeechambertheatre.org or by calling the box office at (414) 291-7800. Join MCT at MARN for A MOON FOR THE MISBEGOTTEN Happy Hour between performances on Saturday, February 3. Try an Irish Coffee or the Irish Blonde Cocktail while enjoying MARN's current exhibition, ‘Behind the Queen.’ Plus, local Milwaukee Irish band áthas will be leading a traditional Irish open session - bring your instrument and play along! MARN will honor 10% off selected purchases from the Cafe, when you bring in a ticket stub from ANY currently running show or performance in Milwaukee! This event is free and open to the public. About Milwaukee Chamber Theatre Founded in 1975 by Montgomery Davis and Ruth Schudson, guided until 2020 by Michael Wright and Kirsten Finn, and now led by Brent Hazelton, Milwaukee Chamber Theatre (MCT) partners with other arts organizations, community-based organizations and universities to produce thought-provoking productions and innovative outreach programs on an intimate, human scale. As a leader in developing Milwaukee and Wisconsin’s theater community, MCT provides regular employment and a stable artistic home to local theatre professionals through a five-play subscription season, the Young Playwrights Festival (YPF), and the Montgomery Davis Play Development Series (MDPDS). MCT performs at the Broadway Theatre Center in Milwaukee’s Historic Third Ward and is a proud Member Group of the United Performing Arts Fund. By Mary Boyle Louisa May Alcott's famous semi-autobiographical novel, Little Women, originally published as two separate volumes in 1868 and 1869, was an instant success that has never fallen out of fashion. Inspiring several film versions, including the most recent one from 2019 starring Saoirse Ronan, Emma Watson, Florence Pugh, Laura Dern, Meryl Streep, and Timothee Chalamet, the novel has also inspired several stage adaptations, beginning with one for Broadway in 1912 and, more recently, an adaptation that made its world premier in 2018 in Minneapolis by Kate Hamill. Known for writing contemporary plays adapted from classic novels, Hamill has become one of the most-produced playwrights in the country since she was named "Playwright of the Year" by The Wall Street Journal in 2017. Now, Milwaukee audiences can enjoy this most recent production of LITTLE WOMEN through February 18th, courtesy of The Milwaukee Repertory Theater. Little Women is a coming of age story set during America's Civil War in Concord, Massachusetts, where the four March sisters and their mother, who they lovingly refer to as Marmee (Colleen Madden), are doing their best to keep their household afloat while Mr. March is off fighting in the War. The oldest sister, Meg (Cy Paolantonio), works as a governess to help earn money for the family, while Jo (Amelio Garcia), the second oldest, works for their rich aunt (also played by Madden). A tomboy and aspiring writer, Jo has no interest in leading the life that is expected of a young woman. Beth (Katie Peabody), the third youngest, is a fragile and timid girl, content to stay home with her family, while Amy (Rebecca Cort), the baby, cannot wait to grow up. Their lives begin to change when they become acquainted with their new neighbor, Laurie (Austin Winter), an orphaned teenage boy who has come to live with his grandfather, Mr. Laurence (Chiké Johnson). Directed by Marti Lyons, Hamill's adaptation, by necessity, streamlines Alcott's lengthy novel in order to fit it into an acceptable run time, which is to be expected; however, the resulting tale is very nearly relying on the audience's familiarity with the story to fill in some of the blanks that are left. Fans of the novel will note that some of the details of the main characters have also been changed, and while some have been made to give more focus to certain topics in the story, other changes seem unnecessary. Nonetheless, the heart of the tale is left intact, and those who are unfamiliar with the story will inevitably fall in love with it, as everyone else has for the past several generations, and those who know it well will undoubtedly come to see it in a new light. In its time, Little Women was somewhat radical in that it normalized nontraditional paths for women and legitimized their dreams to become something beyond mothers, while still honoring the importance and value of family and home -- concepts that we still struggle with, today. Furthermore, the story portrayed the idea of a "democratic family," in which the members were equal individuals with individual aspirations, regardless of gender. The character of Jo, in particular, as an unabashed tomboy, challenged gender norms for young women; this aspect, in particular, is what Hamill focuses on. Amelio Garcia, as a transmasc actor (a person who is assigned female at birth, but who identifies as male and lives as a man), is perfectly cast in the role of Jo. While Alcott, herself, may have simply wanted the same autonomy and independence as a man while still being a woman (after all, Jo does eventually fall in love and get married in the book), casting a trans actor in this role gives a new and timely lens to the story, while still retaining Jo's words, written nearly 150 years ago. Little Women, I think, has remained popular in large part because of its rare focus on the complexities of growing up as a woman in our culture; unfortunately, in all this time, that really hasn't gotten any less complex. Gender, as a whole, is a topic that feels more full of complexities than ever, and yet the way Hamill tells the story suggests that perhaps these seemingly modern complexities have always been there, along with the solution to them. Marmee's response to all of Jo's frustration about being expected to behave like a lady seems perfectly natural: acceptance, empathy, love, and understanding. Played brilliantly by Colleen Madden, Marmee is a mother who clearly loves each of her children unconditionally, equally, fiercely, and without any judgement. She cherishes her role as a mother without having any expectation of her children to be like her, yet her children clearly cherish their mother, though they do not necessarily want to follow in her footsteps. One can't help but wonder what the world would look like if we all had parents like Marmee. With a talented cast of largely debut actors, anchored by Milwaukee favorites Madden and Johnson, Hamill's Little Women is a funny, heartwrenching, endearing, thought-provoking, tear-jerking, and altogether lovely production that reaffirms why Alcott's classic tale endures. Don't miss this one. LITTLE WOMEN runs through February 18th, 2024, in the Quadracci Powerhouse Theater, located at 108 E. Wells Street in downtown Milwaukee. Tickets may be purchased online at www.MilwaukeeRep.com, by calling the Ticket Office at 414-224-9490 or in-person at the Box Office. For more information visit www.Milwaukeerep.com. Access ServicesASL Interpreted Performance: Thursday, February 1, 7:30pm – the show will be signed for patrons who are deaf or have low hearing. Sensory Friendly All Access Performance: Tuesday, February 6 at 6:30pm – tickets are $10, to purchase and for more information visit: https://tickets.milwaukeerep.com/56057/60544/ Captioned Theater Performance: Sunday, February 18, 2pm – the show includes captions. About Milwaukee Repertory Theater Milwaukee Rep is the largest performing arts organization in Wisconsin with three unique performance venues in the Associated Bank Theater Center. For over seven decades, Milwaukee Rep has been a centerpiece of Milwaukee’s vibrant arts and cultural scene with productions ranging from Broadway musicals to Shakespeare to American Classics and New Works that are entertaining, inclusive, and impactful. Under the leadership of Artistic Director Mark Clements and Executive Director Chad Bauman, Milwaukee Repertory Theater ignites positive change in the cultural, social, and economic vitality of its community by creating world-class theater experiences that entertain, provoke, and inspire meaningful dialogue among an audience representative of Milwaukee’s rich diversity. By Mary Boyle There's nary a Wisconsinite who hasn't heard of GUYS ON ICE, the ice fishing musical by Fred Alley, with music by James Kaplan, which made its premiere at Northern Sky Theater (then American Folklore Theater, which Fred co-founded) in Door County way back in 1998. An instant hit, The Milwaukee Rep premiered the musical 25 years ago, and now brings it back for a 25th Anniversary production at their Stackner Cabaret through March 17th. Directed and choreographed by Jeffrey Herbsts and set in Door County, the musical features two friends, Lloyd (Steve M. Koehler) and Marvin (Doug Mancheski), who regularly spend their wintertime in Marvin's ice shanty on the lake, trying to catch fish. When Marvin gets an accepted invitation from his favorite TV fishing personality to visit his shanty, he invites Lloyd to join him to be on the show. As they wait for the TV crew to arrive, the two friends are visited by Ernie "the mooch" (Dan Klarer), a bothersome gossip who is always scavenging for some bait, a bite to eat, and a beer to wash it down while he spreads the latest news. Lloyd, expressing his annoyance after Ernie shares news about the state of his relationship, is reminded by Marvin: "It's Door County, Lloyd! There's tourists, pickled eggs, and gossip." All three actors, the director, and Ryan Cappleman, the accompanist, are veterans of this show, and it shows. Fast-paced and fun, it's easy to understand how this production has made multiple seasons at Northern Sky, but it's also an excellent show for the intimate Stackner Cabaret, where you can get dinner before the show or have appetizers, dessert, or drinks during the performance. With underground parking, it's easy to get in and out and enjoy a full evening in one place without ever having to get out into the cold, which makes for an ideal show for a Wisconsin evening, both in theme and location. Full of classic Swedish Lars and Ole jokes, love for the Green Bay Packers, and tales of the fish that got away, Guys On Ice is an ode to Northern Wisconsin, snowmobile suits, and the glorious sport of ice fishing that keeps the audience laughing from start to finish, even if you don't care about football or have never been ice fishing at all. Heartwarming, funny, and a little Door County in the heart of Milwaukee's theater district - you can't go wrong. GUYS ON ICE runs through March 17th at The Rep's Stackner Cabaret, located at 108 E. Wells Street in Milwaukee. Tickets may be purchased at www.MilwaukeeRep.com, by phone at 414-224-9490, or in-person at the Ticket Office. About Milwaukee Repertory Theater Milwaukee Rep is the largest performing arts organization in Wisconsin with three unique performance venues in the Associated Bank Theater Center. For over seven decades, Milwaukee Rep has been a centerpiece of Milwaukee’s vibrant arts and cultural scene with productions ranging from Broadway musicals to Shakespeare to American Classics and New Works that are entertaining, inclusive, and impactful. Under the leadership of Artistic Director Mark Clements and Executive Director Chad Bauman, Milwaukee Repertory Theater ignites positive change in the cultural, social, and economic vitality of its community by creating world-class theater experiences that entertain, provoke, and inspire meaningful dialogue among an audience representative of Milwaukee’s rich diversity. |
Mary BoyleReviewing live theatre in Wisconsin since 2014. Proud member of the American Theatre Critics Association. #OzTheatre
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