By Mary Boyle

One of the movies that took the 80’s by storm was the 1982 hit Tootsie, starring Dustin Hoffman and based on the story by Don McGuire and Larry Gelbart. Nominated for 10 Academy Awards and featuring other big-name stars such as Jessica Lange and Bill Murray, as well as a debut performance by Geena Davis, the film was deemed worthy enough to be added to the National Film Registry by the Library of Congress in 1998.  In 2018, TOOTSIE joined the list of films turned into Broadway musicals, which now makes its World Premiere in Milwaukee as the final production in the Broadway at the Marcus Center series.

With music and lyrics by David Yazbek and book by Robert Horn, Tootsie the musical comedy essentially follows the same story as the film, with some minor adjustments.  Michael Dorsey (Drew Becker) is a New York based actor struggling to find work because he’s developed a reputation as being difficult to work with; so difficult that his agent, Fran Fields (Dianne Manaster), fires him.  When his ex-girlfriend, Sandy Lester (Payton Reilly), who is also an actor, asks him for help preparing for a new role in a musical, Sandy is exasperated that Michael plays the role of a woman better than she can and – voila! – an idea is born. 

Michael auditions for the role as Dorothy Michaels and impresses the show’s producer, Rita Marshall (Kathy Halenda), much to the chagrin of Ron Carlisle (Adam Du Plessis), the womanizing Director who had previously banned Michael from any of his shows and finds something oddly familiar an annoying about Dorothy.  Michael only tells his secret to his roommate, Jeff Slater (Jared David Michael Grant), who is alternately appalled and gleeful as Michael’s career as Dorothy takes off and he finds himself falling for his leading lady, Julie Nichols (Ashley Alexandra), and being the object of desire by the leading man, Max Van Horn (Matthew Rella).

Unlike the film, which had Michael auditioning for a role in a soap opera, the switch to a Broadway musical makes this production a play-within-a-play and a bit of a quirky love letter to, as well as a spoof on, live theatre.  For those looking for a deep and thoughtful dive on the disparities between women and men in showbusiness, you will not find it here – this is a largely lighthearted and rather shallow comedy, though Michael does come to the eventual conclusion that “being a woman is no job for a man.” 

Directed by Dave Soloman, with choreography by Denis Jones, this musical version of Tootsie too often sacrifices heart and depth for comedy, often coming off as corny – some of this is the writing and some of it is due to the acting.  Jared David Michael Grant, who plays Michael’s roommate Jeff, gives a wooden performance, and neither Drew Becker or Ashley Alexandra has the vocal talent that the stars of a Broadway show require.  That being said, the character of Sandy, played by Payton Reilly, absolutely steals the show, though it helps that her character’s songs are well-written and hysterical.  Overall, this production was still a good time and full of laughs and, if you’re a Broadway musical aficionado, you’ll likely want this one under your belt.
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TOOTSIE runs through June 11th at the Marcus Center's Uihlein Hall.  Tickets start at $40 and are available online at www.MarcusCenter.org, by calling 414-273-7206, or in person at the Marcus Center Box Office at 929 North Water Street in Milwaukee. Groups of 10 or more can secure their seats by calling 414-273-7207.
 
Ticket buyers are reminded that the Marcus Performing Arts Center Box Office/Ticketmaster are the only official retail ticket outlets for all performances at Marcus Performing Arts Center. Ticket buyers who purchase tickets from a ticket broker or any third party should be aware that Marcus Performing Arts Center is unable to reprint or replace lost or stolen tickets and is unable to contact patrons with information regarding time changes or other pertinent updates regarding the performance.
 
About Marcus Performing Arts Center
The Marcus Performing Arts Center (MPAC) serves as a performing arts community gathering space in Southeastern Wisconsin, bringing high-quality arts and cultural programming to the region for over 50 years. As a mission-based non-profit organization located in downtown Milwaukee, 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 performing arts. Through multiple performance series and community events, MPAC brings a diverse range of performing arts to the region. Presented series include Johnson Financial Group Broadway at the Marcus Center, MPAC Presents, Dance, Jazz, National Geographic Live, Rainbow Summer, and additional special performances from internationally renowned artists. MPAC's education, community engagement, and inclusion initiatives provide free experiences that annually engage students and life-long learners in Milwaukee. MPAC is proud to be a dedicated War Memorial facility, honoring those who bravely served our country. For more information, visit 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 18-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 and past productions include Ain’t Too Proud, Beautiful, Cats, Chicago, Dear Evan Hansen, Mean Girls, Moulin Rouge! and To Kill A Mockingbird.

By Mary Boyle

The theatre world was probably one of the hardest-hit during the pandemic: theaters closed and shows closed with them; some of those theaters never reopened, and some of those shows never made it back. There was one show, however, that was a bit of an anomaly.  SuperYou, a small show that never got to open as it was scheduled to in May of 2020, made its way instead to playing concerts on pick-up trucks during the pandemic, garnering over 22 million views on TikTok, then on  to selling out concerts at Carnegie Hall, to being the only new musical featured on the mainstage at the inaugural 2022 MusicalCon in London. With a devoted fan base, SuperYou music has been sung and shared by thousands of fans around the world who have been featured weekly for the last 2 1/2 years on SuperYou’s Fan Cover Fridays.  With a planned opening in the West End in 2024, this little musical may be the most popular show that has yet to be seen on Broadway.  Amazingly, you can see its World Premiere right here in Milwaukee, thanks to  Skylight Music Theatre.

Written and composed by visionary Filipino-American rock artist Lourds Lane, SuperYou is the story of a young girl named Katie (Serena Parrish) who can't seem to fit in.  Frequently bullied at school and seemingly ignored by her mother (Melissa Anderson), who struggles with alcoholism, Katie's best friend is her older brother, Matty (Chris Oram), who encourages Katie to turn her struggles into creativity, as he does with his comic book characters.  Katie names her nightmare/nemesis Mi Roar (Blake Zelesnikar) and creates her superhero self, "Lightning Girl," as well as a character for other "misfits" in her school who are struggling: Ash/Blast (Jenna Rubaii), Samantha/Seven (B. Noel Thomas), Jo Jo/Rise (Wren Rivera), and Missy/Ima-Mazing (Shelby Griswold).

As a young adult, Katie (Kennedy Caughell) and her brother are still creating their characters, but caring for their mother has clipped both of their wings and they've struggled to fly.  When Katie meets Jay (Justin Mattthew Sargent) in the coffee shop she's working in, things seem to be looking up for her, at last, until tragedy strikes.  While Katie struggles to find her way forward, she realizes the superheroes she created as a child are still able to help her, and others.

The grassroots success of SuperYou has given Lane a platform for more outreach with her educational arts and music-based 501c3 SuperYou FUNdation, where Lane teaches global youth and adults to connect to their most empowered superhero selves. The musical also brought together a creative team of talented women with a wealth of Broadway credits among them, including Joann M. Hunter, Director and Choreographer, who has 21 Broadway shows to her credit; Wendy Bobbitt Cavett, Music Supervisor; Anna Lousizos, Scenic Designer, who is a three-time Tony award nominee for In the Heights, The Mystery of Edwin Drood, and High Fidelity; and, Cynthia Nordstrom, whose designs have been seen on Broadway and the Marvel Universe, among other places.

SuperYou replaces Skylight Music Theatre’s previously announced world premiere of The Song of Bernadette and is Skylight’s entry into World Premiere Wisconsin, a first-of-its-kind festival celebrating nearly 50 new and diverse works on stages throughout the state of Wisconsin, many of which have taken place in Milwaukee.  The festival runs through the end of June.

There is no denying that immense talent surrounds this production, both at the production level and within the cast.  Kennedy Caughell, who plays older Katie and is no stranger to Broadway, has an amazing voice that is well suited to the vocal challenges of the songs, which veer from genre to genre, and she is surrounded by other national vocal talent, such as Oram, Griswold, Rubali, Sargent, and Rivera.  They are joined by local artists, Gabriel Manuel Burdette, as well as King Hang, Sarah Zapiain, and Alexis Cimoch, who are all Early Career Professionals and were recently seen in Evita with Skylight.  The characters of Katie's mother and Mi Roar are both dancers. Milwaukee native Melissa Anderson, who has worked with both the Milwaukee Ballet and Danceworks and who teaches at UWM and around the Milwaukee area, is a fantastic addition, while Blake Zelesnikar as Mi Roar, who has been in multiple national tours, makes his Skylight debut.

Despite all of the undeniable talent, both local and nationally, and the draw of a World Premiere that has an almost cult-like following, I had a difficult time getting into this show, though I wholeheartedly support the message of it.  To me, it felt too "feel good;" I found it predictable and lacking in depth, and it bothered me a bit that Katie, a young white girl, is the savior of the misfits, including the black trans character, Samantha/Seven (though I have no doubt that the song "The Truth is Coming for You" will be the new trans anthem). Finding your superhero inside yourself is certainly an excellent message, but the way this message is presented feels firmly rooted in a youth theatre production, not for the Broadway stage.  SuperYou wants to be the new Fun Home, but it is missing the truth and heart that makes Fun Home work.

However, if you are a person who likes to be on top of trends, this is your show because, despite how I felt about it, I suspect this one will make its way to the Tony Awards in the future, once it takes the West End by storm.  Milwaukee truly has an incredible live theatre scene, and the fact that this production is making its World Premiere here is evidence of that.   Don't wait until it comes back to town as a very expensive ticket - be among the first to see a Broadway production in the making.

SUPERYOU runs through June 18th in the beautiful Cabot Theatre at the Broadway Theatre Center, located at 158 N. Broadway in the Historic Third Ward of Milwaukee.  Tickets are available to purchase at the Broadway Theatre Center Box Office in person or  by calling (414) 291-7800, emailing tickets@skylightmusictheatre.org, or online at https://www.skylightmusictheatre.org/upcoming-shows-events/superyou/​.

SPECIAL EVENTS 
Skylight Insights. In-depth discussions with directors and special guests take place one hour before Wednesday and Sunday performances.
ASL (American Sign Language) Performance. SuperYou will be interpreted in American Sign Language (ASL) on Thursday, June 15, 2023, at 7:30 PM. To purchase tickets for this performance, email tickets@skylightmusictheatre.org or call Skylight Music Theatre's Box Office at (414) 291-7800. Mention ASL performance for seating in the appropriate section. Support for ASL performance provided by UPAF (United Performing Arts Fund).



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. Skylight produces the full range 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 18thcentury 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.

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By Mary Boyle

Next Act Theatre's outgoing Artistic Director, David Cecsarini, is a huge fan of playwright Bill Cain, so it's no surprise that he chose to direct one of his plays for his last turn as Artistic Director and the final play of Next Act's season.  Cain's EQUIVOCATION ran in 2018 at Next Act and HOW TO WRITE A NEW BOOK FOR THE BIBLE in 2019.  Then, in March of 2020, Next Act had to cancel Cain's 9 CIRCLES because of the pandemic, which was later released as a virtual production in 2021.  In 2022, Cecsarini also directed the world premiere of Cain's THE LAST WHITE MAN and now shares anther world premiere with GOD'S SPIES.

Interestingly, it was during the pandemic when Cain wrote this play, which is the imagined tale of how Shakespeare may have come about writing King Lear in the Elizabethan pandemic known as The Plague.  The year is 1603 and the story is set in a bawdy house near The Globe Theatre in London, where a prostitute named Ruth (Eva Nimmer) is trying to throw out her most recent client, a naive Scottish lawyer and scrivener named Edgar (Zach Thomas Woods). Edgar  has made his way to the city to see his beloved King Jamie VI be crowned James the First of England, but became distracted at the theatre by the lovely Ruth.  Before Ruth can throw him out, a man enters who is looking for Edgar, as he hired him to copy a sonnet.  The man is none other than the Bard, himself (Mark Ulrich), and Ruth, who finds her gentlemen at The Globe, knows all of his plays by heart.  What might have been a brief encounter for all of them suddenly becomes a long acquaintance when their door is marked by a red "X" and they are forbidden to leave because of The Plague.

While King Lear is predominantly a heavy tragedy, God's Spies is surprisingly funny for a play set during The Plague, especially considering we aren't too far out of our own recent pandemic.  The Shakespeare of this play is quite accessible, human, and relatable and, in between the jokes about Scottish accents and the English monarchy, there are moments of great insight and poignancy, all woven in with bits of the actual text of King Lear.  Woods, Nimmer, and Ulrich work beautifully together and, combined with a convincing set design by Rick Rasmussen and costumes by Amelia Strahan, it isn't hard to be transported to Elizabethan England while also realizing the similarities to our own time.

Audiences members who enjoy Shakespeare will have no problem being intrigued by this story, which is set near the time when historians believe King Lear was actually written; however, one does not need to be a fan of the Bard, or even English history, to appreciate this tale, which actually centers on Ruth who, though she is a "small person," has more courage, understanding, and wisdom than either of the learned gentlemen she is housebound with.  There is a universal truth to the suffering our characters endure and it is one that, hopefully, we will learn from our trials, as well: that, above all, we are here to love one another.  This is not so much a historical play as it is a timeless and timely one - go see it while you can.

GOD'S SPIES runs through May 21st at Next Act Theatre, located at 225 S. Water Street in Milwaukee.  Tickets may be purchased by going to www.NextAct.org or by calling (414) 278-0765.  Masks may be required or optional, based on Milwaukee's CDC Covid-19 transmission level.  Masks are provided.  GOD’S SPIES is sponsored by Jan Serr & John Shannon and Donna Martynski and is presented as part of World Premiere Wisconsin, a state-wide festival celebrating new plays and musicals from March 1 – June 30, 2023, presented by the Ten Chimneys Foundation. To learn more, visit www.worldpremierewisconsin.com.  

Next Act Theatre is excited to announce its 2023-24 season. This season is the first chosen by Next Act’s new Artistic Director, Cody Estle. He assumed the role in December 2022. It represents a significant change for Next Act Theatre after the retirement of former Producing Artistic Director David Cecsarini, who held the role for 30 years. Estle, formerly the Artistic Director of Chicago’s Raven Theatre, was named one of Newcity Stage’s “Fifty People Who Really Perform For Chicago” and called “a masterful director of mid-American realism” by Chicago writer Kerry Reid.
 
The 23-24 season includes two Wisconsin premieres (SPLASH HATCH ON THE E GOING DOWN, THE TREASURER), one Midwest premiere (SCARECROW) and a revival of a timeless play (THE MOUSETRAP). It showcases Milwaukee talent, including directors Mary MacDonald Kerr (THE MOUSETRAP) and Laura Gordon (SCARECROW). In addition, the latter play is a home-grown story – SCARECROW takes place on a dairy farm outside of Madison, and this is the first time the play will be performed in Wisconsin. Heidi Armbruster, recently seen in the Milwaukee Rep’s GOD OF CARNAGE and WIFE OF A SALESMAN, will perform the play she wrote. Estle’s directorial debut will take place at the end of the season with THE TREASURER.


About Next Act Theatre

Next Act Theatre engages 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.  Led by Producing Artistic Director, David Cecsarini for 30 seasons, Next Act welcomed Cody Estle in December of 2022 as the new Artistic Director. Next Act continues its tradition of creating high-quality, professional theatre in Milwaukee. The past 30 seasons have earned the company its strong reputation for producing engaging work that feels intimate, powerful and personal. The plays presented are passionate, often bold, sometimes humorous, and always up-close-and-personal presentations of life.  A strong, vibrant and financially stable company, Next Act produces a four-show season of contemporary drama. The company is particularly noted for its acting excellence, accessible performance style, and for a varied and consistently interesting selection of plays, chosen from the best new works and off-Broadway hits. Next Act has mounted more than 100 main stage productions, including over 100 area premieres and six original scripts.

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By Mary Boyle

When you hear the title of The Rep's season closer on the Quadracci Powerhouse stage, you might jump to the conclusion that it is something violent and terrifying involving war or murder, when in fact it’s simply about a meeting between two sets of parents regarding a fight between their eleven year old sons; a meeting that could happen to anyone who has children.  This meeting, however, does not go well and, while there is no war or murder involved, the GOD OF CARNAGE certainly makes an appearance.

Veronica and Michael (Heidi Armbruster, recently seen in Wife of a Salesman at The Rep, and Adam Poss) have invited Annette and Alan (Makha Mthembu, who makes her Rep debut, and Elan Zafir) to their home to discuss a fight between their sons.  Annette and Alan’s son, Benjamin, hit Veronica and Michael’s son, Henry, in the face with a stick, causing significant damage to two of his teeth, but Veronica and Michael see no reason why they can’t discuss the incident and come to a resolution like mature adults.  Unfortunately, the maturity levels drop rather quickly and it’s not just one couple against the other, but each couple fighting with each other, as well.

Originally written in French by playwright Yasmina Reza, who based it on a real-life experience she had with her own son, GOD OF CARNAGE was translated into English by Christopher Hampton and made its London premiere in 2008 and its Broadway premiere in 2009, starring Jeff Daniels, Hope Davis, James Gandolfini, and Marcia Gay Harden as Veronica, who won a Tony for Best Actress, while the play won a Tony Award for Best Play.  The play was made into a film in 2011 called Carnage, which starred Jodie Foster, Kate Winslet, Chistoph Waltz, and John C. Reilly, and has gradually made its way across the country.

Directed by Ryan Quinn, who returns to his hometown to direct his fourth production for The Rep, it seems that the point of this play is to make the audience as uncomfortable as possible while still making them laugh – and you most certainly will laugh, though some of it will be the nervous kind.  While the struggles of children being violent and the marital and family struggles each of the characters are experiencing are entirely relatable, some of their behavior is simply beyond the bounds of normal and entering into the realm of ridiculous – and yet, nobody could possibly complain about the acting in this production, as each of the cast members fully embody their characters, even when they’re behaving completely erratically.  What is certain is there will be plenty of fodder for discussion after the play, which is always a good thing.
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GOD OF CARNAGE runs through May 14th at 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 108 E Wells Street in Milwaukee.  Group tickets are available for parties 10+ by calling 414-290-5340.
 
About Milwaukee Repertory Theater
Milwaukee Rep is the largest performing arts organization in Wisconsin with three unique performance venues in the Patty & Jay Baker Theater Complex– the Quadracci Powerhouse, Stiemke Studio and Stackner Cabaret. For over six 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

Since 2013, anyone who has had a child in their life has probably had the song “Let It Go” from Disney’s animated film, Frozen, stuck in their head at some point.  In fact, you may be thinking at the very reading of this, “Thanks a lot – I just finally got it out of my head and now you’ve put it back in there!”  People, I’m here to tell you that Disney’s FROZEN, The Hit Broadway Musical, is here in Milwaukee and it is worth getting that song stuck in your head again, I promise.

Frozen is the story of two sisters, Elsa and Anna, who are princesses of the Kingdom of Arendelle.  Elsa, the eldest, is born with a peculiar magic: she can create snow and ice out of thin air.  Her parents, the King and Queen, make sure to remind Elsa to keep her magic a secret, but Anna is enchanted by it and begs Elsa to demonstrate her skills whenever they’re alone.  One night, Elsa accidentally hits Anna with a blast of magic that nearly kills her.  From that point on, the King and Queen close up the castle and keep the girls apart, for the safety of both of them.  Unfortunately, in true Disney fashion, the parents both perish in a shipwreck soon after, leaving Elsa to prepare to be Arendelle’s future Queen and to learn to control and continue to hide her magic on her own, even from her own sister.  However, upon Elsa’s coronation, when the castle is finally opened up to guests, Elsa’s secret is revealed.  Now, it’s up to Anna to show Elsa and the rest of the Kingdom that Elsa is not the monster they believe her to be.

Directed by Michael Grandage, Frozen the musical follows essentially the same story as the animated film.  Jennifer Lee, who wrote the film, wrote the book for the musical, with added music and lyrics by Kristen Anderson-Lopez and Robert Lopez. The creative team for Frozen also includes fantastic scenic and costume design by two-time Tony and Olivier Award winner Christopher Oram and all kinds of special effects in lighting by six-time Tony Award winner Natasha Katz, as well as video design by Tony winner Finn Ross. Everyone’s favorite characters, Sven the reindeer (Collin Baja/Dan Plehal) and Olaf the snowman, are puppets designed by Michael Curry.  Sven is an actor inside the puppet, while Olaf is controlled and voiced by the amazing Jeremy Davis. 
  
Young Anna (Avelyn Choi the night I attended) truly steals the show with her adorable sassiness, while grown Anna (Lauren Nicole Chapman) is also funny and sassy – what might be a bit too sassy for some audience members.  In their effort to make the musical appeal to all ages, the production does push a bit on the boundaries of appropriateness for young children, particularly between Anna and Hans (Will Savarese) and Anna and Kristoff (Dominic Dorset).  Then there is the hysterical, but naughty, “Hygge” scene with Oaken (Jack Brewer), which features a nearly nude ensemble from the sauna; nonetheless, when Elsa (Caroline Bowman) sings her signature song, you’d have to be made of ice to not be moved by it.  From the same producers as The Lion King, Frozen is a perfect show to introduce young children to Broadway musicals, with plenty of magic for all ages.

Tickets to FROZEN start at $40 and are available online at www.MarcusCenter.org, by calling 414-273-7206, or in person at the Marcus Center Box Office at 929 North Water Street in downtown Milwaukee.  Groups of 10 or more can secure their seats by calling 414-273-7207.  VIP Ticket Packages, which include prime seat locations and a VIP Fan Pack, are also available.  Frozen will play Tuesdays through Thursdays at 7:30 p.m., Fridays at 8:00 p.m., Saturdays at 2:00 p.m. and 8:00p.m., and Sundays at 1:00 p.m. and 6:30 p.m.

Ticket buyers are reminded that the Marcus Performing Arts Center Box Office/Ticketmaster are the only official retail ticket outlets for all performances at Marcus Performing Arts Center. Ticket buyers who purchase tickets from a ticket broker or any third party should be aware that Marcus Performing Arts Center is unable to reprint or replace lost or stolen tickets and is unable to contact patrons with information regarding time changes or other pertinent updates regarding the performance.

About Marcus Performing Arts Center
The Marcus Performing Arts Center (MPAC) serves as a performing arts community gathering space in Southeastern Wisconsin, bringing high-quality arts and cultural programming to the region for over 50 years. As a mission-based non-profit organization located in downtown Milwaukee, 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 performing arts. Through multiple performance series and community events, MPAC brings a diverse range of performing arts to the region. Presented series include Johnson Financial Group Broadway at the Marcus Center, MPAC Presents, Dance, Jazz, National Geographic Live, Rainbow Summer, and additional special performances from internationally renowned artists. MPAC's education, community engagement, and inclusion initiatives provide free experiences that annually engage students and life-long learners in Milwaukee. MPAC is proud to be a dedicated War Memorial facility, honoring those who bravely served our country. For more information, visit 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 18-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 and past productions include Ain’t Too Proud, Beautiful, Cats, Chicago, Dear Evan Hansen, Mean Girls, Moulin Rouge! and To Kill A Mockingbird.

By Mary Boyle
 
Today is World Theatre Day, so I decided it was a good time to write about my experience with live theatre.  I have been a theatre critic since 2014 – nearly a decade ago.  One of the first shows I reviewed was Milwaukee’s First Stage Young Company doing a production of Romeo and Juliet.  First Stage is one of the country’s leading theatre programs for young performers and families and their Young Company, founded by John Maclay, is really special: a group of high school kids who receive college-level actor training and put on two public performances each year, including at least one by Shakespeare.  I didn’t realize it at the time, but this was the the Young Company’s first fully produced production.  I brought my two children, who were 11 and 8 years old, because I was homeschooling them and it was a perfect educational opportunity.  I had no idea that it would end up being a defining moment in our lives. 

You see, I had always been a fan of Shakespeare, despite the fact that my introduction to it was as horrible as most students in this country (though now I consider myself lucky that I had any introduction at all).  My Freshman English teacher made our class take turns reading Romeo and Juliet with no real context given, because I don’t think she had any understanding of it, herself.  To say it was brutal is an understatement.  Nonetheless, I chose Early English Lit. in my Junior year and my teacher, Mr. Trost, lit a fire in me for Shakespeare that never went out; but, aside from the old movies they showed us in class and an enduring love for the version of Hamlet with Mel Gibson, my relationship with the Bard was a literary one – I had never seen it performed live until Young Company.  I shared that passion for literature with my children and my oldest, Molly, also caught the Shakespeare bug.  Seeing those high school kids on that stage that day inspired her, to say the least (and, to be fair, they were breathtaking – Mary Elsa Henrichs as Juliet and Joseph Schwalb, who is still the best young performer I’ve ever seen, as Mercutio became YC legends).  Molly wanted to be one of those kids on that stage.

Remember that Molly was only 11 at the time of the play and you must be in high school to audition for Young Company, so she started with a two-week stint in the First Stage Summer Theater Academy that very summer.  She walked in a shy, anxious, and cautious kid and walked out a confident and daring young lady who boldly proclaimed that two weeks was not enough.  She did four weeks in the summer of 2015 and another in 2016, along with some additional school year intensives and a production of Twelfth Night with Milwaukee Youth Theatre, which was great fun.  In 2017, she was finally old enough to take the YC Summer Academy course where they did a production of The Tempest directed by none other than Matt Daniels, one of Milwaukee's finest actors and directors who went on to become the Director of Young Company after John Maclay.  That fall, Molly entered the ranks of the famous Young Company, becoming one of the kids she had idolized and admired for so long.  Not only that, she auditioned and earned three parts in their spring production of Henry V.

To say we spent a lot of time at the Milwaukee Youth Arts Center, the home of First Stage, would be an understatement; we joked that my car knew the way there by itself.  Molly was only 15, so I drove her to every rehearsal and, since MYAC was about 30-40 minutes from our house, I stayed and worked while she did, getting to know the rest of the cast and some of the other parents.  Henry V was unique in that it had a particularly long rehearsal and run time compared to other YC shows, and Matt Daniels does some amazing things to sync up a cast, so these kids had an unusually long time to work on this show together and were bonded in a way I had never seen before.  When the show opened, I reviewed it, of course, but I also volunteered as a parent helper, being an usher, collecting tickets, or guarding the stage, so I was also able to stay and watch the show, which I was thrilled to do.  I’d had the experience of seeing the opening and closing of a show, but never the progression of one, and I was fascinated.  Because I worked from home and homeschooled, I was even able to help with the weekday school performances.  In short, I was there for nearly all of it, which I suspect is a bit of an anomaly.

As the kids worked their way through the performances, I was right there with them, watching up close and taking it all in.  I had seen the show 17 times by the time we reached the final performance.  I recall talking with some of the more veteran YC parents shortly before the final show and one of them noting that the last performance was coming up and how it was going to be so hard.  I nodded my head in agreement.  I had seen the final performances for Molly’s other two shows and they were quite bittersweet.  For some of the cast, this would be their last performance with the Young Company because they were Seniors and would be going on to college.  Although it was Molly’s first year in Young Company, I had been watching some of these kids perform for years, both in Young Company and in the First Stage main stage shows.  My youngest, Eamon, had also started in the Summer Academy by then, and we had been a First Stage family long enough to understand that it would be a difficult chapter to close.  I thought I understood what was about to happen; I thought I was prepared.  People, I was not prepared.




​The structure of the play was unusual in that all of the actors warmed up and stayed on the stage the entire time, sitting on benches on the sidelines like athletes when it wasn’t their time to be up (being all in, all the time only added to the closeness of the cast, I'm sure).  I was in my usual place, standing guard at the tape boundary at the edge of the stage to keep audience members from walking through it (there was no actual raised stage to define it and we didn’t want people tripping over cords and lights).  I was just feet away from the cast, who were standing in a circle doing their usual pre-show warm-ups.  I remember Mary Jensik, who normally led the warm ups, saying something like, 'Alright, everyone, it’s our last show – get what you want out of it,' like a coach at a sports game.  Then, Elliott Brotherhood, one of the Seniors who played Henry, spoke up.  He wanted to thank all of them and tell them what an honor it was to work with them.  There was a catch in his voice.  

In my head I was screaming, “Shut up, Elliott!  Don’t do this now!”  but it was too late.   I was like a deer in the headlights.  Suddenly, I understood all too well the emotional trauma we were about to subject ourselves to, but there was no running away.  The only way out was through.  I took my seat next to my sister and my niece, who were seeing the performance for the first time, and tried to brace myself for what was about to come.  Because I had seen nearly every performance, I recognized when they were coming unglued in the more emotional scenes and the little changes they made to their final performance; in fact, I felt that I was one of the only ones who really saw what was happening.  My heart began to break when Henry started to come apart a little as he begged Lord Scroop to explain how he could have been among those who had betrayed him: "Why so didst thou?" I knew what it meant when Montjoy gave Henry his "ransom" coin back instead of keeping it; when Henry shook everyone's hands and barely held himself together through his band of brothers speech; when, instead of walking off the stage at their last meeting, Henry gave Montjoy one coin and kept one for himself.
     
But we were in public.  There was no time to feel the feels because I had to get back down to guard the stage at the close, to send the cupcakes with them to the after-party, to take my sister and niece out to dinner and try, fruitlessly, to explain to them what they truly just witnessed, but of course they couldn't possibly understand.  There was only time for brief hugs and knowing nods because to do anything more would have been enough force to break the composure everyone was struggling valiantly to maintain. I know that because early the next morning, when I finally had time alone to reflect on what happened, I fell apart.

In life, and especially as a parent, there are very few times when we are aware when we are facing the last time: the last time we will read the bedtime story we’ve read every night for a thousand nights; the last time we will brush their hair for them; the last time we will get to hold their hand as we cross the street.  Were we to know they were the last times in advance, we would have a hard time getting through life because the poignancy, the fleetingness of it all would become too real and too difficult to bear.  The final performance of Henry V, for me, was like a sped-up version of parenting in that every action was the last time, but I was well aware of it: the last time Captain Jamy would confound his fellow soldiers, the last time Pistol would eat a leek, the last time Henry would kiss Kate.  Milestones that bring them to the next chapter in their lives but, with each step forward, they leave their old selves behind – a death you have no real time to mourn, because the play must go on and reach its end.  That, in a nutshell, is parenting. 

But it was even more than that.  I had witnessed magic happen and I knew that I might never see the likes of it again.  The thought of it nearly destroyed me.  I was shaking by the end of the play, but I had to pull it together and keep on going.  By the time I got Molly from the afterparty and got us home to bed, I only was able to sleep for a couple of hours before I had to drop my youngest off at a rehearsal.  I pulled into an empty parking lot and, finally, was able to sit and think about what had happened.  I put on the song that played at the close of the Henry V – “An Acre of Land” by PJ Harvey – and I just sobbed to the sound of my heart shattering until there was nothing left in me.  This, I imagined, is why people become actors.  They experience this magic at some point – this “swing” (to quote Girls in the Boat, a YC play Molly was in later) in which the sum of the parts are greater than the whole – and they keep working so that they might experience it again.  To think, some of these kids were able to reach this level at such a young age…how would they go on?  I could hardly bear it. 

The day was March 24, 2018 when theatre broke my heart.  For weeks and months, afterwards, I could feel every crack of my brokenness.  I couldn’t talk about Henry V or listen to any of the music from it without crying.  Five years have passed and I still can’t listen to “An Acre of Land” without falling apart – I know, because I keep on trying around March 24th each year.  Molly had basically the same experience, and I suspect several of the other cast members did, as well, though we never really spoke about it.  We share a common PTSD that very few people would understand, though if you’ve seen the film of Hamilton and wondered why Lin Manuel Miranda can barely keep himself together throughout the show, it’s because they filmed his final performances; his last times.  Watching actors lose it at their final performances triggers my PTSD, but I also want to see it because I recognize it and identify with it, though I have never stepped foot on the stage.

In his song, “Anthem,” Leonard Cohen sings, “There is a crack, a crack in everything; that’s how the light gets in,” and I believe in those words like I believe in the power of live theatre and its ability to transform people because, gradually, the cracks made by Henry V filled with light.  When I imagine my heart, I think it must be like the Japanese art of Kintsugi, in which broken pottery is put back together with gold, making the piece even more beautiful and unique than when it was whole.  After nearly a decade of watching live theatre, I recognize those actors who are full of cracks; who understand that art is made to break us apart and bring us back together, better than we were before. 

First Stage teaches "life skills through stage skills."  Most of the kids, including mine, don't go on to become actors, but they walk away more grounded in themselves, more confident in their abilities, and more accepting of others, which are excellent life skills.  Molly and I are still Shakespeare fans, but these days we will always choose to see it being performed before reading it; in fact, we recently saw Born With Teeth at the Guthrie, near where she goes to school in the Twin Cities, which is an imagined relationship between Christopher Marlowe and William Shakespeare that was absolutely brilliant – go see it if you're able to.
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Though it was therapeutic to write about this experience, I don’t think I will ever really heal from it, but I’m okay with that; in fact, I dare say I cherish those scars, as well as all the others that live theatre has given me since.  I had intended to release this on the 5th anniversary, but what better day to publish it than on World Theatre Day?  You may think my experience with this production is overly, pardon the pun, dramatic, but if there is one thing you take away from it, let it be that theatre is important.  The First Stage motto is “transforming lives through theatre” and I can assure you that theatre can change your life for the better if you let it, so please don’t read Shakespeare, see it performed.  See any play, then see another and watch how you grow as a person because of it, even if you didn’t like the play.  Support your local theatre companies – they are the lifeblood of our culture – and make sure to support theatre programs in schools.  Allow theatre to change your heart and we will change the world into a better and more empathetic place.  I’m not being dramatic; it’s simply the truth.

By Mary Boyle

When looking for humor, it’s hard to beat a good old fashioned farce.  From stage to screen, it’s a format we all know well (even if we don’t know the technical term) for a comedy that involves multiple doors, physical stunts, and a play on words.  Though a farce can seem exaggerated or silly, getting it right is exceedingly difficult because the actors must remain serious in the face of extreme ridiculousness; furthermore, the timing must be impeccable.  English playwright Michael Frayn made an important discovery while watching a performance of a farce he had written from backstage: the play was even funnier from behind.  This discovery led to Frayn’s biggest hit – a standard British farce with a brilliant play-within-a-play twist that is seen from both sides of the stage.  This season, Milwaukee’s Skylight Music Theatre takes this production to a whole new level by adding live music and an incredibly talented cast and crew for the much anticipated NOISES OFF.

“Noises Off” is a stage direction in theatre that means no sound should be coming from offstage, but this group of actors are definitely struggling to keep it down.  We meet our cast in the midst of their final dress rehearsal, but Director Lloyd Dallas (Matt Daniels) is at his wit’s end trying to get to the play’s end because his actors and crew are a mess.  Dotty Otley (Linda Mugleston) can’t remember her lines or when and where to put her plate of sardines, Gary Lejeune (Max Christian Pink) is besotted by Dotty and couldn’t finish a sentence clearly to save his life, Brooke Ashton (Becky Cofta) is besotted with the Director and doesn’t seem to have room in her head for much else, Frederick Fellowes (Jake Horstmeier) decides it’s a good time to question the motives of his character, Belinda Blair (Jenna K. Vik) is busy keeping tabs on all of the inside drama, and Seldson Mowbray (Joel Kopischke) can’t stay sober long enough to catch his cue.  Meanwhile, the all-around stagehand, Tim Allgood (Alexander Johnson), hasn’t slept in over 48 hours and the stage manager, Poppy Norton-Taylor (Emma Knott), seems to be having a nervous breakdown.  The outlook isn’t good for this production that is scheduled to make a tour of Great Britain, and that’s just what’s happening on the stage.

Traditionally, Skylight has only performed musicals; in fact, this is their very first play.  Director Michael Unger, who considers NOISES OFF to be the “funniest play ever written,” figured out a loophole to bring this hilarious production to the beautiful Cabot Theatre by adding music to it.  The music is all by Combustible Edison, an early 90’s neo-lounge music band inspired by the likes of Henry Mancini.  Music Director Kurt Cowling leads the brilliant house band, The Sardines, with beautiful vocals by Leah Gawel both in the beginning of the production and between acts, giving a fun cabaret feel to the show.  The music is not essential to the play but makes for great entertainment during intermission.

Nominated for several Tony Awards and winner of Drama Desk and Outer Critics Circle Awards, NOISES OFF was made into a film in 1992 starring Carol Burnett and Michael Caine.  Skylight’s production brings together some of Milwaukee’s finest actors with a big name from Broadway: Linda Mugleston, who is fresh from a tour of Music Man starring Hugh Jackman; however, the talent doesn’t stop there.  The ingenious set design by Tony and Olivier Award-winning scenic designer Todd Rosenthal, which allows the audience to truly see what’s happening backstage, takes the production next level.  

The entire cast, with the exception of Mugleston and Alexander Johnson, who has regularly been seen at Door Shakespeare but who is new to Skylight, has worked with Skylight before.  Matt Daniels and Max Christian Pink, both recently seen together in Titanic The Musical with The Rep, are normally cast in quite serious roles, so it was fun to see them in a comedy.  Pink, in particular, bears the brunt of most of the physical comedy of the play, which includes a spectacular fall down a staircase, and though he has been seen for many years on Milwaukee stages as a young performer, his talent is undeniable as an adult actor.  The overall talent level of this cast was just astounding.  I have seen one other farce on the Cabot stage, which was Milwaukee Chamber Theatre’s production of Unnecessary Farce in 2019, and I thought that was the funniest show I had ever seen, but Michael Unger may just be right about this one.  One thing is for certain: if you’re in need of a good laugh, NOISES OFF is just the ticket.

NOISES OFF runs through April 2nd 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.

Special Events

Skylight Insights. In-depth discussions about the background of each production with Artistic Director, Michael Unger, and special guests take place one hour before all Wednesday and Sunday performances.
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ASL Performance. Noises Off will be interpreted in American Sign Language (ASL) on Thursday, March 30 at 7:30p.m. To purchase tickets for this performance, email tickets@skylightmusictheatre.org or call Skylight Music Theatre's Box Office at (414) 291-7800. Mention ASL performance for seating in the appropriate section. Supported by UPAF Connect.
 
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.

By Mary Boyle

Of all the shows thus far in their 2022/2023 Season of Broadway at the Marcus Center, SIX THE MUSICAL has had the most energy and the highest opening night attendance.  Perhaps this is because the production is so new, only making its official debut on Broadway in 2021 and already beginning a North American Tour just this past year.  Perhaps it’s because it won the Tony Award for Best Original Score.  Then again, it could be because it raises the voices of women everywhere by telling the stories of the women who have only been known throughout history by their common role as one of the wives of Henry VIII.  Whatever the reason, it is clear that SIX is a cultural phenomenon, so you don’t want to miss your chance to see it in Milwaukee through the Broadway at the Marcus Center Series through March 12th.

Written by Toby Marlow and Lucy Moss, SIX was originally unveiled at the Edinburgh Festival Fringe in 2017, where it was performed by students from Cambridge University.  The show tells the story of the six wives of Henry VIII by the wives, themselves, who come together in a concert to see who suffered the most in their time with the King.  Each of the wives is inspired by various pop divas: Catherine of Aragon (Gerianne Perez) is a mix Beyonce and Shakira, Anne Boleyn (Zan Berube) is Lily Allen and Avril Lavigne, Jane Seymour (Amina Faye) is Adele and Sia, Anna of Cleves (Terica Marie) is Nicki Minaj and Rihanna, Katherine Howard (Aline May Agoitia) is Ariana Grande and Britney Spears, and Catherine Parr (Sydney Parra) is Alicia Keys and Emeli Sande.  They are accompanied by “The Ladies In Waiting” band: Lena Gabrielle, Sterlyn Termine, Liz Faure, and Caroline Moore.

You’re probably familiar with the rhyme: “Divorced, beheaded, died; divorced, beheaded, survived.”  This little lyric forms the backbone of the show, but the rest is the most entertaining history lesson you will ever experience.  The energy is more like a concert than a typical Broadway show, and these are some truly talented women.  With no intermission, this production is fast-paced and high energy, with a deep message whose time has come, at last.  Tickets will go fast for this one, so get them while you can.

SIX THE MUSICAL runs through March 12, 2023, at the Marcus Center’s Uihlein Hall, located at 929 N. Water Street in downtown Milwaukee.  Tickets may be purchased at www.MarcusCenter.org, by calling 414-273-7206, or visit the Marcus Center Box Office. Single ticket prices start at $40 and are subject to change. Groups of 10 or more can secure their seats by calling 414-273-7207.


About Marcus Performing Arts Center
The Marcus Performing Arts Center (MPAC) serves as a performing arts community gathering space in Southeastern Wisconsin, bringing high-quality arts and cultural programming to the region for over 50 years. As a mission-based non-profit organization located in downtown Milwaukee, 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 performing arts. Through multiple performance series and community events, MPAC brings a diverse range of performing arts to the region. Presented series include Johnson Financial Group Broadway at the Marcus Center, MPAC Presents, Dance, Jazz, National Geographic Live, Rainbow Summer, and additional special performances from internationally renowned artists. MPAC's education, community engagement, and inclusion initiatives provide free experiences that annually engage students and life-long learners in Milwaukee. MPAC is proud to be a dedicated War Memorial facility, honoring those who bravely served our country. For more information, visit 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 18-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 and past productions include Ain’t Too Proud, Beautiful, Cats, Chicago, Dear Evan Hansen, Mean Girls, Moulin Rouge! and To Kill A Mockingbird.