By Mary Boyle

The 1950’s are often referred to as the “Golden Age” of the United States.  The soldiers from WWII came home and built the solid middle class homes and families depicted in shows like Leave It to Beaver: healthy, happy families with two children living the American Dream.  Of course, it was mostly an illusion; a dream that was out of reach for many Americans but was sold as the norm.  The entire decade of the 1960’s was largely about destroying that illusion and, in theatre, the play that did it was Edward Albee’s WHO’S AFRAID OF VIRGINIA WOOLF, a sometimes hilarious and frequently shocking production that throws back the curtains on a marriage built on similar illusions to watch it implode, up close and personal, over the course of a couple of hours.  This season, the Milwaukee Chamber Theatre tells this groundbreaking story, in all its uncomfortable and arresting glory, for a new generation to witness.

Directed by Keira Fromm, Who’s Afraid of Virginia Woolf? was an instant success at its debut, winning the Tony Award and New York Drama Critic’s Circle Award for Best Play.  The story focuses mainly on George (James Ridge), a history professor at a New England college, and his wife Martha (Laura Gordon), the daughter of the college president, who have returned home from a faculty party.  They are soon joined by Nick (Casey Hoekstra) and Honey (Kate Romand), a new biology professor and his wife, who Martha invited over for drinks.  Martha and George take turns taking shots at one another and the fight turns increasingly nasty.  Although Nick and Honey are as embarrassed and uncomfortable as the audience, they cannot seem to tear themselves away from the proverbial train wreck that is George and Martha’s marriage and quickly become involved in the fray which, fueled by a constant supply of drinks, unveils the unstable underpinnings of both of their relationships.

This play is an intimate production with just 4 actors and MCT chose their actors wisely – there are perhaps no better candidates for George and Martha than Wisconsin’s own James Ridge, a core company member of the American Players Theatre, and Milwaukee’s Laura Gordon; both deliver splendid, riveting performances.  Casey Hoekstra and Kate Roman are also well cast and make their MCT debuts with truly impressive performances.  Moreover, this production is ideally suited to the cozy black box that is the Studio Theatre at the Broadway Theatre Center, located in Milwaukee’s Historic Third Ward, and Jason Fassl’s set design works wonderfully to transport the audience to the 1960’s home of an East Coast college history professor. Altogether, these details add up to an iconic production of an iconic play and is a credit to the Milwaukee theatre scene.

Just four years after the play’s debut it was made into a film starring Elizabeth Taylor as Martha and Richard Burton as George.  The film won Taylor an Oscar for Best Actress but the Academy struggled with the film, despite its popularity, because of the language used and the nature of the story was very controversial at the time.  Considered one of the great American plays, Who’s Afraid of Virginia Woolf? has become controversial in different ways as it’s aged.  On the one hand, the play is nearly three hours long, which in itself can be a difficult sell to modern audiences.  On the other hand, though the play was groundbreaking in its day, it doesn’t hit the same in our current times, where we have broader knowledge of generational trauma and a different view of what constitutes a healthy family and healthy marriage. 

For my own part, the play feels a bit elitist.  In fact, the title is actually an Ivy League joke – a play on the Disney ditty “Who’s Afraid of the Big Bad Wolf” and English author Virginia Woolf, who was the pioneer of using stream of consciousness as dialog and who is believed to have suffered from bipolar disorder (I feel that both of those attributes relate to the play, but I’m no expert).  In essence, I feel that the playwright was working way too hard to seem smart.  That being said, it’s worth seeing from a historical and cultural standpoint and, quite frankly, anytime you get to see James Ridge and Laura Gordon act, you should.
 
WHO’S AFRAID OF VIRGINIA WOOLF? runs through February 12th in the Studio Theatre at the Broadway Theatre Centre, located at 158 N. Broadway Street in Milwaukee’s Historic Third Ward.  Tickets may be purchased online at https://www.milwaukeechambertheatre.org/  or by calling the Box Office at (414) 291-7800.

Join Milwaukee Chamber Theatre for a very special Artist Appreciation Night and get exclusive access to our SIPSTUDIO which takes place on Saturday, January 28th from 7-7:50pm, prior to the 8pm performance. Mingle with staff, special guests, and other patrons in the 5th floor rehearsal hall for unlimited wine courtesy of our neighbors and season partner 2A Wine Merchants! All tickets are just $15, no codes needed.  Get Tickets!

MCT offers a special ASL Performance on Sunday, Feb 12th at 2 p.m.  Tickets HERE.
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There are TalkBacks after the performance on January 26, February 2, and February 9.
 
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
 
For people who aren’t Shakespearean aficionados or very familiar with the Bard, Much Ado About Nothing is an excellent entry play because it feels so modern.  Fans of the sharp, witty bickering and banter between Elizabeth Bennet and Mr. Darcy in Pride & Prejudice will be delighted by the exchanges between Beatrice and Benedick in Much Ado (In fact, one can’t help but wonder if Jane Austen’s famous couple was inspired by Shakespeare).  Shakespeare’s incredible ability to frame the perfect insult is on full display in this play, to hilarious results, along with a bit of tragedy thrown in for good measure, which makes for an altogether pleasing live theatre experience.  This season, the Milwaukee Repertory Theater is bringing this modern-feeling play to a very modern era by setting MUCH ADO ABOUT NOTHING in the early 90’s and, believe it or not, it not only works, it’s pure genius!

Directed by Laura Braza, Much Ado is a romantic comedy focused on two couples: Beatrice and Benedick (Alex Keiper and Nate Burger) and Hero and Claudio (Sarah Suzuki and Kenneth Hamilton).  Soldiers returning home from the Gulf War under the command of Don Pedro (Mark Corkins) have been invited to stay on the estate of Leonato (Jonathan Gillard Daly).  The return of Benedick is mocked by Leonato’s niece, Beatrice, who has been engaging in a “merry war” with Benedick for some time.  Claudio, a friend and fellow soldier to Benedick, is instantly smitten with Hero, Leonato’s only child and heir.  Don Pedro assures Claudio that he will make the arrangements with Leonato so the two might be wed.  Alas, Leonato’s half-brother, Don John (Michelle Shupe), is always looking for an opportunity to cause trouble for Leonato and makes plans to destroy the happy union with help from Borachio (Drew Mitchell).  In the meantime, Don Pedro enlists Claudio, Hero, and Hero’s friends, Ursula (Jenny Hoppes) and Margaret (Katrien Van Riel), in his plan to bring Beatrice and Benedick, who have both sworn to remain single, together.

Then, of course, there’s the Dogberry and Balthasar bit.  You see, there’s a very dimwitted constable and his partner who are charged with security around the town and they, along with their new recruits, accidentally discover Don John’s dastardly plan.  Michael Doherty, who I am a huge fan of, takes the already funny role of Dogberry to an entirely new level (which may or may cross a line for some audience members) with the help of some early 90’s humor and Will Mobley as his sidekick, Balthasar.  You will either be roaring with laughter or uncomfortably disgusted – there’s really no in between on this one.  Fun fact: Michael Doherty happens to be married to Alex Keiper who plays Beatrice, and this is not their first time appearing together on The Rep’s stage (The Nerd).

What’s truly amazing about this production is how well the play works in the early 90’s.  Music Director and Composer Dan Kazemi married Shakespeare’s lyrics to the Grunge sound of bands like Nirvana and Pearl Jam and turned out some songs that fit the era so well you wouldn’t know the words were from 400 years ago.  Costumes by Mieka van der Ploeg are spot on, including a replica Kurt Cobain sweater that Benedick wears towards the end of the show.  Speaking of Benedick, should you have been so lucky to see Nate Burger as Hamlet at American Players Theatre this past summer, you already know that Nate Burger and Shakespeare go together like peanut butter and jelly (and if you didn’t, now you know).  Much Ado is already a very accessible play as far as Shakespeare goes, but Nate Burger makes it even more so because the language seems so much a part of him and, as if that weren’t enough, he plays guitar! 

In fact, several of the actors get to fulfill their 90’s rock icon dreams in this production, including Will Mobley, Alex Keiper, and particularly Katrien Van Riel, who gets to be a brunette Courtney Love.  There are some points where it feels more like a concert than a play, which is fun, and there are plenty of nods to the musicians, fashion, and pop culture of the times to delight any child of the 80’s or 90’s.  The cast, as a whole, is incredibly talented and features a mix of veterans and actors making their Rep debut.  Mark Corkins and Jonathan Gillard Daly, two of Milwaukee’s finest and seen often at The Rep, are perfect for their roles.  I, unfortunately, was unable to see Alex Keiper (Ring of Fire) as Beatrice, but Jaelyn Raeford did it justice as the understudy.  All in all, this is one Shakespearean production you do not want to miss.

MUCH ADO ABOUT NOTHING runs through February 12th at the Quadracci Powerhouse Theater, located within the Patty and Jay Baker Theater Complex, 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 Theater Complex. 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
 
The 1950's was a great decade for Broadway.  The Music Man, West Side Story, The King & I, The Sound of Music, and Guys & Dolls all came from this era, a group of musicals often staged and well-loved by audiences everywhere, and all of which I have seen and loved.  Included in this list are three musicals by the dynamic duo of lyricist and librettist Alan Jay Lerner and Frederick Loewe: Brigadoon (technically 1949), Paint Your Wagon, and My Fair Lady.  These Lerner and Loewe musicals have long been on my list of classic musicals to see and, thanks to Broadway at the Marcus Center, I finally got my chance to see the Lincoln Center Tour of MY FAIR LADY.  Unfortunately, I cannot count this one under the list of musicals I love, or even like.

My Fair Lady is based on the 1913 play Pygmalion, written by the great Irish playwright George Bernard Shaw, which is inspired by the mythological Greek character of the same name who carves a statue of a woman, then falls in love with her and then, Pinocchio-like, the statue comes to life.  The musical follows the play quite closely, just with the addition of music, and tells the story of a Cockney flower seller in London by the name of Eliza Doolittle (Madeline Powell) who, while plying her trade in London’s Covent Garden, chances to encounter the renowned linguist, Professor Henry Higgins (Jonathan Grunert), who is secretly making notes on Eliza’s speech. The Professor has a chance encounter of his own when he realizes the man Eliza is trying to sell her flowers to is none other than Colonel Pickering (John Adkison), another linguistics fan who he’d been hoping to meet.  The Professor makes the claim that it is language, alone, that sets the classes apart and brags to the Colonel that with just 6 months of training he could have Eliza speaking so well that he could pass her off in high society. He invites the Colonel to stay with him so they can discuss phonetics further. 

While the Professor wasn’t being serious, his claim intrigued Eliza and, with the many coins the Colonel had generously dropped into her flower basket, she heads to Professor Higgins’ home to ask him to give her language lessons so that she might be able to be hired as an assistant in a flower shop instead of selling them on the streets.  The Colonel recalls the Professor’s claim and challenges him to attempt it, offering to pay for Eliza’s lessons and all that she needs.  Word gets back to Eliza’s drunken, abusive leach of a father, Alfred (Michael Hegarty), that Eliza has moved in with the Professor and, seeing an opportunity, he pays a visit to demand payment for his daughter.  Alfred’s philosophy and his insistence on desiring to remain one of the “undeserved poor” amuses the Professor who, as a joke, recommends Alfred to a wealthy American looking to found morality societies in England who had been bothering him for support.  Mrs. Higgins (Becky Saunders), the Professor’s wealthy mother, is shocked by the Professor and Colonel’s plan and worried for Eliza, but comes to like her quite well.  In fact, everyone comes to like Eliza quite well, including Freddy Eynsford-Hill (Nathan Haltiwanger), a gentleman of no means who haunts Professor Higgins’ front door in the hope that he might get an audience with the young lady who charmed him.

Seemingly good fortune becomes misfortune for both Eliza and Alfred.  During the ball, Eliza is allowed to dance with Professor Zoltan Karpathy (Daniel James Canaday), an obnoxious colleague of Professor Higgins’ who loves nothing better than discovering frauds.  Eliza passes the test when Karpathy guesses that she must be, in fact, a Hungarian princess.  Thus, Professor Higgins wins his bet – but what will become of Eliza?  She no longer fits in her old world yet cannot truly belong to the new one.  Meanwhile, the rich American moralist decides that Alfred is brilliant and, when he unexpectedly dies, leaves enough money to Alfred to put him solidly in the respectable middle class, to Alfred’s horror.  Worst of all, his social climb requires him to give up his evil ways and get married to the woman he’s been living with.  His perfect life is ruined.

For those of you who have no prior knowledge of Pygmalion or My Fair Lady, I know what you’re thinking: you’re thinking that this is a Cinderella, rags-to-riches story in which The Professor realizes he’s in love with Eliza, marries her and takes her away from her old life and her horrible father and they live happily ever after.  Given the popularity of this musical which, in its day, held the record for the longest-running musical on Broadway and won 6 Tony Awards, including one for Best Musical, one might presume it had a very straightforward, somewhat predictable formula.  My Fair Lady is the musical that made Julie Andrews famous; it was so popular that a film version starring Audrey Hepburn was made in 1964 which went on to win 8 Oscars, including one for Best Picture.   Lerner and Loewe’s music from this production is so much a part of our culture that most people will recognize the titles even if they’ve never seen the musical: “Wouldn’t It Be Loverly?” “With a Little Bit of Luck,” “On the Street Where You Live,” “Get Me to the Church on Time.”

Happily ever after is not how this musical ends, dear readers; however, that is the least of what bothers me about it.  My Fair Lady has plenty of issues, some of which stem from the fact that it hasn’t aged well.  What was once considered romantic is often, to today’s women, insulting.  Some of the issues relate to the story, itself, which is lacking in character development and has too much ambiguity. Even back in 1913 with Shaw’s Pygmalion, audiences were a bit put off by the play’s “unconventional ending,” but Shaw insisted that marriage between Eliza and Professor Higgins was never meant to be.  On this point, I agree, but the choices directors make to bend the production to whatever their vision of the play is causes issues as well and, in the case of this Tour, which is based on the 2018 Lincoln Center Theater Revival directed by Bartlett Sherr with choreography by Christopher Gattelli, there are simply too many bad decisions.

The actors are talented; the costumes are phenomenal; the set design is great.  I thought Jonathan Grunert did an excellent job as Professor Higgins and Michael Hegarty was a stitch as Alfred P. Doolittle.  Little fault can be found in Lerner & Loewe’s music: “Why Can’t the English,” “I’m an Ordinary Man,” “With a Little Bit of Luck, “On the Street Where You Live,” and “Show Me” are clever, witty, and catchy.  I thought the highlight of the play was “Ascot Gavotte.”  “Get Me to the Church on Time” is probably the most memorable of the showtunes and, unfortunately, this is a large part of where this production went wrong.  For some reason, they thought it would be good to have male, cross-dressing can-can dancers performing lewd dances during this number and all I can say is, no matter how much the musical pokes at morality, it was a very poor decision.

My Fair Lady, like Pygmalion before it, is an unsatisfying story because it seems as though a great deal of trouble is gone through to set up a moral arc, but then it doesn’t go anywhere.  What’s compelling about it is that it could, with the right direction.  This production, unfortunately, really didn’t seem to know what story it was telling.  Does Eliza conquer both the controlling, abusive men in her life and go on to live for herself?  Do we prove that it is the environment of our childhood and not any inherent flaw in our design as human beings that dictate our class, thus demonstrating that social classes are wrong?  Does Professor Higgins come to realize that all people need to be treated with empathy and love?  For those who think these questions are too weighty for a Broadway musical, I have two word for you: Les Misérables.  The thing is, this story is not the predictable rags-to-riches formula and these are just some of the questions that this show envokes.  Alas, audiences, you will leave without any answers.  Should you choose to see it anyway, out of curiosity, hit me up for a discussion.
 
MY FAIR LADY runs through January 8, 2023 at the Marcus Performing Arts Center, located at 929 North Water Street in downtown Milwaukee, as part of the 2022/2023 Johnson Financial Group Broadway at the Marcus Center Season.  Tickets may be purchased at www.MarcusCenter.org, by calling (414) 273-7026, or by visiting the Marcus Center Box Office. Six-show subscriptions are still on sale for the 2022/2023 Johnson Financial Group Broadway at the Marcus Center Season. 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 part of the Milwaukee Theater District as well as 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

I was born in 1974, which means I grew up watching A Charlie Brown Christmas, Emmet Otter's Jugband Christmas, How the Grinch Stole Christmas, and the series of stop motion animated television specials by by Rankin/Bass Productions from the 1960's, which included Santa Claus is Comin' to Town, The Little Drummer Boy and, of course, Rudolph the Red-Nosed Reindeer, along with the traditionally animated Frosty the Snowman.  I can still remember the anticipation of the yearly event of these television specials, which traditionally took place on a Wednesday night, and when I had children of my own, I made sure these shows became a part of their Christmas tradition, too.  Back in 2012, First Stage brought a part of my childhood to life with the World Premiere of RUDOLPH THE RED-NOSED REINDEER: THE MUSICAL and now its back, again, for the 2022 season!

Even if you haven’t seen the original television special, the music of Rudolph went on to become a mainstay of the Christmas music repertoire in our country.  I had always thought the song about Rudolph came from the cartoon, but in fact it was the opposite: the original animated television special was based on the song, which was written in 1949 by Johnny Marks (based on the poem written by his brother-in-law in 1939), who also wrote the other music for the special, as well as music and lyrics for a number of other Christmas classics.  The great Burl Ives, who was the voice of Sam the Snowman (a character made for him and based on him), became an icon of the Christmas Music catalogue because of the television special, with songs such as “Silver and Gold,” “Have a Holly Jolly Christmas,” and his version of “Rudolph the Red-Nosed Reindeer.”  And, if you know the song about Rudolph, then you already know most of the story about this most famous of reindeer; however, the animated special filled in a few more details.

​Narrated by Sam the Snowman (Tommy Novak), Rudolph (double cast as Liam Eddy/Lucia Harris), as we all know, was born with a bright and glowing red nose, to the dismay of his father, who is none other than Donner (James Carrington), one of Santa’s original sleigh team.  As Rudolph grows, his father tries to help him by covering up his “nonconformity” but, in the end, Rudolph is found out and ostracized by Santa (David Flores) and his reindeer community, except for his mother (Ashley Oviedo) and Clarice (double cast as Emily Honigman/Lauren DeGroot), a doe who thinks his red nose is cute.  Unfortunately, her father, Dasher (Rick Pendzich), doesn’t want his doe hanging out with a red-nosed reindeer.  Meanwhile, in Christmastown, an elf named Hermey (double cast as Layton Lal/Abram Nelson), who would much rather be a dentist than be an elf, is threatened with being fired by the Boss Elf (J.T. Backes) if he doesn’t get back to work making toys.  These two misfits meet and decide to run away together, despite the danger of the Abominable Snowman of the North (Tim Linn).  On their journey, they meet Yukon Cornelius (Rick Pendzich), a miner searching for silver and gold, and stumble upon the Island of Misfit Toys.  A timeless story about acceptance, there’s a reason the original special went on to become the second longest continually running Christmas TV special in the USA. 

The amazing thing about the First Stage production, which is being produced for the 4th time since its World Premier, is how true it is to the original.  The incredible scenic, puppet and costume design by Brandon Kirkham is truly as if the special was brought to life, but then the cast takes it a step further: most of the actors sound remarkably like the original voice actors (who, incidentally, were all Canadian, except for Ives).  Rick Pendzich is a ringer for Coach Comet and hysterical as Yukon Cornelius, David Flores and Karen Estrada are perfect as Mr. & Mrs. Claus, Tommy Novak does a fine job as Sam the Snowman, but my personal favorite is J.T. Backes as the Boss Elf and Charlie in the Box – it’s like listening to the original!  The Young Performers are double cast; I saw the Silver Cast and Layton Lal, Liam Eddy and Emily Honigman did a phenomenal job as Hermey, Rudolph, and Clarice, respectively.  Donner isn’t really a remarkable character in the animated special, but I would be remiss if I didn’t add that James Carrington brought his usual charm and humor to the role and made Donner stand out.

Directed by Jeff Frank, with music direction by Raven Dockery and choreography by Ami Majeskie, RUDOLPH THE RED-NOSED REINDEER: THE MUSICAL is the perfect holiday show for young children and their families.  Tickets may be purchased at firststage.org or through the Marcus Center Box Office, in person at 929 N. Water Street in downtown Milwaukee or by phone (414) 273-7206 or toll free at (888) 612-3500. The number for TDD (for deaf and hard of hearing patrons) is (414) 273-3080.
 
Special events for RUDOLPH THE RED-NOSED REINDEER: THE MUSICAL
Sensory Friendly Performance: Saturday, December 10, 2022 at 3:30 p.m.
A Sensory Friendly Performance with accommodations for families with children on the autism spectrum will take place on Saturday, December 10 at 3:30 p.m. Sensory accommodations include a quiet area staffed by an experienced educator, lower sound, house lights up 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/.
 
Grandparent Holiday Brunch: Sunday, December 11 before the 1:00 p.m. performance of RUDOLPH THE RED-NOSED REINDEER: THE MUSICAL

Gather the entire family and join First Stage for a festive holiday brunch before the 1 p.m. performance of RUDOLPH THE RED-NOSED REINDEER: THE MUSICAL on Sunday, December 11, 2022. The brunch will be held at the Marcus Performing Arts Center in the Bradley Pavilion located at 929 N. Water Street. Registration is from 11:00 a.m. – 11:45 a.m. The brunch will begin at 11:30 a.m. Tickets are $65 for adults and $45 for children 12 and under, which includes a delicious pancake breakfast buffet, holiday-themed activities and programing for the kids, plus your ticket to the show! Already have tickets for the show, but want to attend the brunch? Tickets are $50 for adults and $30 for children 12 and under. To learn more or to register, please visit Grandparent Holiday Brunch.

ASL Interpreted Performance: Sunday, December 18, 2022 at 3:30 p.m.
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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 ensures that all programming is not only accessible to its community but that it is reflective of the community it serves.  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 young people on the autism spectrum and with other developmental disabilities. 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 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). 

By Mary Boyle

I personally cannot think of a better way to celebrate the holidays than with live theatre, but nothing feels more festive than the historic and ornate, red and gold Pabst Theater and entering into the timeless story of Christmas spirit that is Charles Dickens' A CHRISTMAS CAROL, performed each season, unfailingly, by The Milwaukee Repertory Theater. 

A Christmas Carol, of course, is the tale of Ebeneezer Scrooge, a mean and miserly old man who runs a counting house in Victorian London with his single, ill-treated employee, the good-natured Bob Cratchit.  On the night before Christmas, Scrooge is visited by the ghost of his former partner, Marley, who warns Scrooge that he will be doomed to his terrible fate in the afterlife if he does not change his ways.  To help him, Marley tells Scrooge he will be visited by three spirits: the Ghost of Christmas Past, the Ghost of Christmas Present, and the Ghost of Christmas Future.  The spirits, by reminding him of his past mistakes and showing him what his future will be if he continues on his path, teach Scrooge a lesson about the true Spirit of Christmas.

Now in its 47th year, the Rep's production of A Christmas Carol is the second-longest, continuous running professional production in the country, though there was a bit of a hiccup over the pandemic.  In 2020, for the 45th Anniversary of the production, The Rep still managed to honor the tradition by producing a one-man show starring Lee E. Ernst called Jacob Marley's Christmas Carol, which was available for streaming.  In 2021, the show went back to a full cast, bringing Ernst on in the role of Scrooge, which had been played by Jonathan Wainwright for the past 4 years and Jonathan Smoots before that.  The production is a holiday tradition for families, but also for a number of Milwaukee's finest actors, who return year after year and become familiar faces.  Change can be difficult for holiday traditions and, this year, another big change occured when, once again, the role of Scrooge was recast: this time to Milwaukee favorite Matt Daniels which was, in my humble opinion, an excellent choice; in fact, I hope he decides to stick around for awhile.  

While the production has lost many longtime performers (Jonathan Smoots, Deborah Staples, Angela Iannone, and Jonathan Gillard Daly, to name a few of my favorites), the "newer" cast members have already become part of the tradition.  This year, Reese Madigan, Todd Denning, James Pickering, and Mark Corkins reprise their roles as Bob Cratchit, the Ghost of Christmas Present, Mr. Fezziwig/Charitable Worker, and the Ghost of Marley, respectively.  Madigan has been Bob Cratchit since Director Mark Clements unveiled the new production, along with the stunning rotating set design by Todd Edwards Ivins, in 2016 and I can't imagine the role without him.  Tami Workentin joined the cast in 2019 as the Ghost of Christmas Past and has returned, again, this season.  Carrie Hitchcock, who was the perfect (and perhaps only) replacement for Angela Iannone, joined the cast in 2021 and returned this year as Mrs. Fezziwig/Charitable Worker/Mrs. Dilber.  Rána Roman, who also joined the cast in 2021 and returns this year, is delightful as Mrs. Cratchit.  Christopher Peltier, who has been floating around for a few seasons now, is fun to watch in his various roles and one to keep an eye on.

Although A Christmas Carol is an British tale, I am still not crazy about the British pantomime addition to this production which, to me, lends itself more to comedy and slapstick when I want this show to be full of magic and wonder, but it's bearable.  The Rep recommends the show for ages 6 and up, but know that Clements really amps up the ghost story part of show; the initial appearance of Jacob Marley is still quite the loud jump scene, though it seems to have been reigned in significantly over the years.  In all, the show is a family-friendly holiday delight, sure to fill you with Christmas Spirit, and I encourage all to see it, if you can.  As Tiny Tim, who is played by the enchanting Lainey Techtmann this season, says: "God bless us, every one."

Tickets to A CHRISTMAS CAROL may be purchased at www.MilwaukeeRep.com, by calling the Ticket Office at 414-224-9490, or in-person at 108 E Wells Street in downtown Milwaukee. Group tickets are available for parties 10+ by calling 414-290-5340. 

A Christmas Carol is presented by Jay Franke and David Herro and West Bend Mutual Insurance Company with Executive Producers Molly and Tom Duffey, Associate Producer Saints Andrew and Mark Charitable Gift Trust. Studio Gear is the Equipment Sponsor.


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

​Victor Hugo couldn't have known when he published his story in 1862 that his book, which is one of the longest ever written, would go on to become one of the greatest novels of the 19th century and then, 123 years after its publication, go on to become a musical that would become one of the longest running musical in the world; however, it was very clear that he had set out from the beginning to change the many injustices he saw in the world.  To his Italian publisher he said:

​While it may seem that something as light and frivolous as a Broadway Musical could not possibly inspire any change in the world, I challenge you to experience LES MISÉRABLES, happening through December 4th at the Marcus Performing Arts Center in downtown Milwaukee, and see if you don't come away from it unmoved.

Les Misérables mainly follows the story of a Frenchman named Jean Valjean, who spends a harsh 19 years in prison under the watchful eye of the relentless prison guard, Javert, for stealing a loaf of bread for his sister's starving child.  Finally released from prison, Valjean quickly learns that life is impossible when one has been branded a thief, until he is shown mercy and given a shot at redemption by the Bishop of Digne.  Valjean reinvents himself as a generous and respected man who runs a factory staffed with poor single women who, without the work, would be destitute.  Unfortunately, the factory foreman doesn’t share his employer’s benevolence and takes his vengeance on one of the women workers, Fantine, who wouldn’t stand his advances.  Left on the streets with no way to send money to her little daughter, Cossette, Fantine quickly succumbs to the horrors of 19th century France.  When Valjean discovers her on the streets, he vows to help her but, unfortunately, Javert has also caught up with him.  Escaping Javert again, Valjean rescues Cossette from the abusive family who had been charged with her care, the Thénardiers, and starts a new life in Paris but, not only does his past keep catching up with him, the very conditions that took him to prison in the first place are coming to a boiling point that culminates in the Paris Uprising of 1832. 

This North American Tour, produced by Cameron Mackintosh in 2009 to commemorate the show’s 25th Anniversary, is the same one that came to Milwaukee in 2018, also through the Broadway at the Marcus Center Season, and continues to enjoy record-breaking runs.  The incomparable Nick Cartel and Hayden Tee return to their roles as Valjean and Javert, but nearly all the remainder of the cast is new. Haley Dortch is splendid as Fantine, delivering a tear-jerking “I Dreamed a Dream.”  Monsieur and Madame Thénardier, now played by Matt Crowle and Christina Rose Hall (who theatregoers may recall from Skylight’s 2017 production of Sweeny Todd), still managed to delight the audience and steal the show. Christine Heesun Hwang was heartbreaking as Éponine and well matched to Gregory Lee Rodriguez as Marius.  Addie Morales’ operatic style did not fit my expectation as Cosette, yet there is no denying that her range is admirable; it worked better in some songs than others.  The young performers are always an audience favorite at Les Miz, and while little Cosette (Cora Jane Messer/Hazel Vogel) was perfect on Opening Night, Gavroche (Harrison Fox/Gabriel Lafazan) was unfortunately difficult to understand.

The music of Les Misérables, directed by Brian Eads, never fails to awe and inspire – particularly “I Dreamed a Dream,” “On My Own,” “Bring Him Home,” “Do You Hear The People Sing?” “One Day More,” and “Master of the House.”  Although the country they’re fighting for justice in isn’t our own, something stirs in your chest when they wave the bright red flag and repeat the chorus, “Can you hear the people sing?”  We come back to this story again and again because we recognize the universal truths in it: that we must forgive each other and ourselves and, most importantly, that we must love each other.  As Hugo wrote, “To love another person is to see the eyes of God.”

Tickets for Cameron Mackintosh’s acclaimed production of Alain Boublil and Claude-Michel Schönberg’s Tony Award-winning musical phenomenon, LES MISÉRABLES, may be purchased at www.MarcusCenter.org, by calling (414) 273-7206, or by visiting the Marcus Center Box Office at 929 North Water Street, Downtown Milwaukee. Single ticket prices start at $40 and are subject to change.

LES MISÉRABLES is part of the 2022/2023 Johnson Financial Group Broadway at the Marcus Center Season.  Subscribers may choose between a 6 or 7-show packages; the 7-show package includes LES MISÉRABLES.  Groups of 10 or more can secure their seats by calling 414-273-7207.  More information can be found at www.LesMis.com, the official global website for LES MISÉRABLES.

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 50years. 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

Are you looking for the perfect play or concert to brighten your holiday experience?  Look no further!  Here is a complete listing of offerings, from ballets and live-theatre to concerts, in Ozaukee and the greater Ozaukee area (Milwaukee, Washington and Sheboygan Counties).  For specific theatre reviews, keep your eye on www.ozaukeelivinglocal.com/editorofozreviews/!

 Holiday Theatre
November 16-December 11 The Nativity Variations with The Rep
​Nov. 18-Dec. 31 A Jolly Holiday: Celebrating Disney's Broadway Hits at Skylight
Nov. 25-Dec. 24 Rudolph The Red-Nosed Reindeer™: The Musical with First Stage
Nov. 25-Dec. 11 Every Christmas Story Ever Told (and Then Some) with Kettle Moraine Playhouse
November 26 The Hip Hop Nutcracker at the Marcus Center
November 27 Hartford City Band Holiday Concert at the Schauer Center
November 29-December 24 A Christmas Carol with The Rep
November 30 "A Shining Star" Holiday Pajama Jamboree with Festival City Symphony
December 1-4 BEHS presents White Christmas, The Musical at the Wilson Center
December 1-18 Elf The Musical at Sunset Playhouse
December 2 B2WINS Sounds of the Season at the Schauer Center in Hartford
December 2-4 Christmas Carol with the Falls Patio Players
December 3-4 The Nutcracker Ballet at the Weil Center in Sheboygan
December 2-11 A Christmas Carol with West Bend Theatre Company
December 11 Canadian Brass Christmas at the Wilson Center
December 2-10 The Best Christmas Pageant Ever with Sheboygan Theatre Company
December 3-5 A Christmas Carol with West Bend Theatre Company
December 6 Tenors MKE Holiday Concert at Sunset Playhouse
December 7-11 Festive Folk Cabaret at Sunset Playhouse
​December 8-11 MSO Holiday Pops Concert
December 9-11 A Christmas Carol with Cedarburg Children's Theater*
December 9-11 A Kodachrome Christmas Starring John McGivern at the CPAC*
December 9-12 Another Night Before Christmas at the Kettle Moraine Playhouse
​December 9-18 Another Night Before Christmas at Memories Dinner Theater*
December 15 MSO Holiday Concert at the Cedarburg Performing Arts Center (CPAC)*
December 16 MSO Holiday Concert at the Wilson Center
December 16-18 MSO presents Handel's Messiah 
December 17 OzaukeChorus presents Christmas Memories at the GHS Auditorium
December 17 Cherish the Ladies Celtic Christmas at the CPAC*
December 17 Marie Osmond - A Symphonic Christmas at the Weil Center
December 17 MSO Film with Orchestra: The Snowman
December 18 Christmas at Holy Hill with the Lakeshore Symphonic Band
​December 10-24 The Nutcracker with The Milwaukee Ballet

By Mary Boyle

The music of the 1960's is a fascinating cultural study.  In the beginning of the era, there's the innocent and happy doo wop that carried over from America’s Golden Age in the 1950's; but then, with each of the decade’s tragedies – the assassination of JFK in 1963, the war in Vietnam, the assassination of Martin Luther King Jr. – the music, begins to change and mature, along with a generation of people.  One thing is for sure: it is an era when women really began to make their mark on the music scene, from The Angels and The Supremes to Dusty Springfield and Janis Joplin, and this is the theme of the Milwaukee Repertory Theater’s latest production at the Stackner Cabaret: BEEHIVE: THE 60s MUSICAL.

Created by Larry Gallagher and directed by Laura Braza, The Rep’s Associate Artistic Director, Beehive includes a cast of six young ladies who reflect on their formative years in the 1960’s and the music of women that highlighted the soundtrack of their youth, while performing it from a vintage music studio.  Two members of the cast are local actors returning to The Rep: Jackey Boelkow as Alison, who was recently a swing in Titanic The Musical, and Jamie Mercado as Wanda, who appeared most recently in Dad’s Season Tickets at the Stackner.  The remainder of the cast includes Sarah Lynn Marion as Laura, Tess Marshall as Pattie, Desireé Tolodziecki as Jasmine, and Amaya White as Gina.

This production is, for people who lived through the era, a lovely walk down memory lane, but every song, except for a couple created for the show, was familiar to this Gen Xer.  The trouble with the production is the tendency to compare the songs to the originals and, while the cast is quite talented, there are few who can really do Diana Ross or Tina Turner justice, particularly when there is no live band performing with them.  That being said, Sarah Lynn Marion may have sung Janis Joplin’s songs better than Janis Joplin did, and her Grace Slick was every bit as impressive as the real deal.  For those who remember where they were on Friday, November 22, 1963, the performance of “Abraham, Martin, and John” may bring a momentary tear to the eye but, in all, Beehive is a perfectly fun way to spend an evening enjoying the food, drinks, and desserts at the Stackner – I dare you not to sing along!
​
BEEHIVE: THE 60s MUSICAL runs through January 15th at the Stackner Cabaret, located within the Patty and Jay Baker Theater Complex, 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 Theater Complex. 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.