By Mary Boyle Can you believe that it’s been nearly 23 years since Shrek, the Dreamworks Animation film inspired by the children’s book of the same name by William Steig, hit the theaters? Featuring the voices of Mike Myers, Cameron Diaz, Eddie Murphy, and John Lithgow, Shrek was an unparalleled success, being the first to win an Academy Award for Best Animated Feature and the first 21st Century animated film to be preserved in the Library of Congress National Film Registry. Not only did the film inspire three sequels and a couple of Puss in Boots spin-offs, there was also a Broadway musical, with music by Jeanine Tesori and a book and lyrics by David Lindsay-Abaire, which ran for a little over a year. Now, the Kimberly Akimbo award winning duo have revisited their original musical and sent it off for a national tour, so audiences can “fall in love all ogre again” with SHREK THE MUSICAL. Directed and choreographed by Danny Mefford, the musical follows essentially the same storyline as the film, although here we get the chance to meet Shrek as a young child on his 7th birthday, which is also when his parents send him off into the world to find a place of his own. Settling down in a swamp all to himself for several years, Shrek (Nicholas Hambruch) is shocked to suddenly find his home invaded by a bunch of fairy tale creatures who have been run out of the kingdom by Lord Farquaad (Timmy Lewis). Shrek vows to go to the kingdom of Duloc to get his new neighbors restored to their own homes and is joined on his quest by a talking Donkey (Naphtali Yaakov Curry). When they reach Duloc, Lord Farquaad has another quest for Shrek to get his swamp back: he must rescue the Princess Fiona (Cecily Dionne Davis) from her tower, guarded by a fire-breathing dragon, so that Farquaad can marry her and legitimately become the King of Duloc. This is not a Broadway-level version of the show, but that doesn’t mean it isn’t a good time. The use of puppets helps to slim the cast and move the story along, as well as the original music written for the show and directed by Harrison Rothis. What I like about the production is that the actors make the characters their own, rather than trying to be the originals from the film, which would be an impossible reach. The cast, overall, is quite talented – there were plenty of opportunities to steal the show, and Farquaad, Donkey, Pinnochio, and Gingy took turns doing it. What I didn’t care for was the blatant rainbow washing with the “fabulous” wolf from Little Red Riding Hood. The original message from the film, to learn to love and accept yourself the way you are, was far more subtle. In this version of the musical, the writers don’t trust the audience to figure out the message for themselves, which is mildly annoying. Nonetheless, the show is a good time for all, but especially those within the Shrek fandom. SHREK THE MUSICAL comes courtesy of Round Room Live and Fifth Estate Entertainment to the Marcus Performing Arts Center, located at 929 N. Water Street in downtown Milwaukee, on Friday and Saturday, March 22nd and 23rd. To purchase tickets, visit www.MarcusCenter.org, call 414-273-7206, or visit the MPAC Box Office at 929 North Water Street, Downtown Milwaukee. Groups of 10 or more can secure their seats by calling 414-273-7207. SHREK THE MUSICAL is the part of the2023/24 MPAC Presents Series. About Marcus Performing Arts Center A mission-based non-profit organization located in downtown Milwaukee, the Marcus Performing Arts Center (MPAC)brings high-quality arts and cultural programming to Southeastern Wisconsin. MPAC strives to act as an energizing force that connects the community to the world through collaboration, innovation, social engagement, and the transformative power of the performing arts. Through multiple performance series, community events, and educational experiences, MPAC brings a diverse range of celebrated artists to the region. A fixture in Milwaukee for over 50 years, MPAC is proud to be part of the Milwaukee Theater District, as well as a dedicated War Memorial facility. Learn more at www.MarcusCenter.org. About Fifth Estate Entertainment Founded in 2016, Fifth Estate Entertainment is a New York based theatrical production and general management company specializing in developing and producing live entertainment for the stage as well as managing tours, New York City productions, and special events. Recent productions include the 10th Anniversary tour of Rock of Ages, Mystery Science Theater 3000 Live, and In Residence on Broadway. About Round Room Live Round Room Live is the leading producer and promoter of exhibitions and family show entertainment, specializing in transforming both new and iconic intellectual property into engaging and thrilling live events. Round Room creates unique live experiences tailored to the distinct character of each property and produces the highest quality productions for audiences around the world. Their current roster of touring theatrical shows includes: Blippi: The Wonderful World Tour, Blippi The Musical (2023 Olivier Award nomination for Best Family production), Sesame Street Live!, Peppa Pig Live, Nitro Circus 20th Anniversary Tour, and Blue’s Clues & You! Live On Stage. Round Room’s Immersive and Entertainment Experiences division is currently touring: Formula 1: The Exhibition, Jurassic World: The Exhibition, Mandela: The Official Exhibition, and Tupac Shakur: Wake Me When I’m Free.
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By Mary Boyle Celebrating its 38th season, local actor, director, and producer Mark Bucher's small but steady Boulevard Theatre has done over 300 productions over the years, persevering after the loss of their permanent home in Bayview by moving on to the Plymouth Church in Milwaukee, where they continue to create "elevated presentations" that focus on back-to-basics theatre and the use of local talent, while also striving to make live theatre accessible and affordable to Milwaukee area audiences. I stopped in to catch their season finale, which happened to be the Midwest premiere of CECILE. French playwright Jean Anouilh seems to be experiencing a bit of a renaissance, as of late. Milwaukee's newest small theatre, Vanguard Productions, did a reading of Anouilh's Antigone at the beginning of the month, and American Players Theatre has his Ring Around The Moon in their upcoming season. A prolific writer, Anouilh’s career began in the 1930’s and didn’t finish until his final play in 1981. Written in 1954, Cécile (ou l'École des pères – or the School for Fathers) is a romantic comedy that follows a common theme among Anouilh’s plays of “maintaining integrity in a world of moral compromise.” Directed by David Flores, who acts as a bit of a narrator for the production, we meet Cécile’s widowed father, Monsieur Orlas (Matt Specht), who is questioning aloud the wisdom of hiring such a young governess for his seventeen-year-old daughter to the governess, herself: twenty-three-year-old Araminthe (Caitlin Kujawski Compton). On the one hand, Orlas complains that his daughter and her governess are basically the same age, so how can the governess possibly guide her? On the other hand, Orlas admits he is in love with Araminthe; but, when she points out that she is too young for him according to his own words, he insists that, in fact, she is much more mature. Orlas is unhappy about his daughter’s suitor, le Chevalier (A.J. Magoon), who has no fortune - though neither does Cécile (Sarah Donofrio), which is why le Chevalier admits to Araminthe that his own father has forbidden him to marry Cécile. Instead, he confides to the governess that he has plans to abduct both Cécile and Araminthe and elope with Cécile that very evening. Araminthe reports the plan to Orlas, who is certain his daughter cannot be the target of le Chevalier, but that it is Araminthe, his love, who will be abducted that evening. Orlas calls on his old friend and Araminthe’s father, Monsieur Damiens (Michael Pocaro), and the two fathers hatch a scheme to foil the lovers’ plans, but what will happen when Monsieur Damiens finds out that Orlas wishes to keep his friend’s daughter for himself? This production of Cécile was a dramatized reading, meaning the actors had their scripts with them, but also had costumes and a bit more freedom of movement than a traditional reading. Although the original play had no music, this version truly was elevated by the addition of several songs, under the direction of Donna Kummer, who also served as the pianist. The entire cast was quite vocally proficient: “La Vie En Rose” was performed beautifully by Donofrio and Kajawski Compton, and “Mimi” by Richard Rodgers, C’est Si Bon” by Henri Betti, and “C’est Magnifique” by Cole Porter were all excellent additions to the show. The intimate space at Plymouth Church was a lovely setting for this type of production, where the performers really must carry the show without the help of sound enhancement or fancy lighting – luckily, they were up to the task. A.J. Magoon, who was recently seen in A Moon for the Misbegotten with Milwaukee Chamber Theatre, was particularly delightful, funny, and charming as le Chevalier. Small theatre companies like Boulevard offer area audiences the chance to see plays that often escape the notice of larger outfits. While Anouilh’s Antigone regularly makes the circuit because it is the play he is best known for, Cécile is rarely staged. I feel lucky to have had a chance to see it and, in particular, to see this version, which was made entirely entertaining by the addition of live music – I would love to see a full staging of this production. While Milwaukee’s small theatre companies contribute so much to the fabric of the arts scene here, offering a less costly ticket while still producing a quality performance and making work for local actors, they are terribly underfunded. Boulevard has been implementing a Pay-What-You-Can admission policy since the pandemic, which is so admirable, but not sustainable without support from audience members who can support their work. Want to help grow our theatre community? Commit to seeing shows from smaller companies while broadening and enriching your theatre experience! To learn more, donate, and keep abreast of Boulevard Theatre’s 2024/25 season, go to: https://milwaukeeboulevardtheatre.com/ By Mary Boyle The board game Americans know as Clue was invented in the UK by Anthony E. Pratt way back in 1943 during WWII. Inspired by Agatha Christie murder mysteries, which were terribly popular at the time, the war caused a delay in the release of the game, which didn’t come out until 1949. The game was known as Cluedo in the UK, and was purchased by Parker Brothers and renamed Clue in the United States. Now published by Hasbro, the game has evolved many times over the years and continues to be incredibly popular, having inspired books, video games, and the 1985 cult classic film starring Tim Curry, Madaline Kahn, Christopher Lloyd, Michael McKean, and others. In 2017, the story was written for the stage by Jonathan Lynn, the original screenwriter, and adapted by Harry Foster, with additional material by Eric Price. Titled Clue: On Stage, the play starred Sally Struthers and Erin Dilly. Then, in 2020, Sandy Rustin wrote another adaptation that has launched as a North American Tour in 2024. The touring show of CLUE: A NEW COMEDY makes its Wisconsin Premier at the Marcus Performing Arts Center in Milwaukee, March 12th through the 17th. Directed by Casey Hushion, this updated version of the play is essentially the 1985 film played on the stage, but with the constrictions that are inherent to the stage. The year is 1954 and the place is Boddy Manor in New England, where Wadsworth the butler (Mark Price), Yvette the maid (Elisabeth Yancey), and the cook (Mariah Burks) are preparing to greet a series of guests who were invited to the Manor by their employer, Mr. Boddy (Alex Syiek). The guests have each been given a pseudonym to protect their identities: Colonel Mustard (John Treacy Egan), Mrs. White (Tari Kelly), Mrs. Peacock (Joanna Glushak), Mr. Green (John Shartzer), Professor Plum (Jonathan Spivey), and Miss Scarlet (Michelle Elaine). The guests all have one thing in common: they each have a secret that Mr. Boddy is blackmailing them to keep quiet. Mr. Body presents each guest with a murder weapon and challenges the 6 of them to get rid of Wadsworth, the butler, who he claims is the one who knows too much. After turning out the lights, a scuffle ensues, and a gunshot rings out. When the lights go back on, Mr. Body is dead on the floor, and it is up to those who remain to figure out which one among them is the murderer. While the film was initially panned by critics and fell short of reclaiming its budget, its popularity grew exponentially over time, and is regularly referenced in pop culture. With that kind of cult fandom, it makes sense that it was adapted to the stage; the trouble is, nearly every audience member is coming because they loved the movie; they are comparing it to the movie; and, nothing can beat those legendary performances, particularly by Tim Curry and Madaline Kahn, in the film. The play attempts to make up for it by adding a significant amount of physical comedy, particularly by Mr. Green, played by John Shartzer, whose acrobatics and antics are a show within the show. The scenic design by Lee Savage is brilliant, creating all the various rooms and secret passages of the mansion within the confines of the stage. Overall, the cast is very strong, but Mark Price as Wadsworth is an absolute wonder. A delightful, farcical romp, this version of Clue is a fun way to experience the film live or, for those who haven’t seen the film (seriously?!), a great way to introduce yourself to the Clue fandom. CLUE: A NEW COMEDY runs through March 17th at the Marcus Performing Arts Center, located at 929 N. Water Street in Downtown Milwaukee. Tickets may be purchased online at www.MarcusCenter.org, calling 414-273-7206 or by visiting the MPAC Box Office. Groups of 10 or more can secure their seats by calling 414-273-7207. About Marcus Performing Arts Center A mission-based non-profit organization located in downtown Milwaukee, the Marcus Performing Arts Center (MPAC) brings high-quality arts and cultural programming to Southeastern Wisconsin. MPAC strives to act as an energizing force that connects the community to the world through collaboration, innovation, social engagement, and the transformative power of the performing arts. Through multiple performance series, community events, and educational experiences, MPAC brings a diverse range of celebrated artists to the region. A fixture in Milwaukee for over 50 years, MPAC is proud to be part of the Milwaukee Theater District, as well as a dedicated War Memorial facility. Learn more at www.MarcusCenter.org. Johnson Financial Group, with offices in Wisconsin and Minnesota, is a privately owned financial services company offering banking, wealth and insurance solutions through its subsidiaries, Johnson Bank, Johnson Wealth, and Johnson Insurance Services. For more information visit johnsonfinancialgroup.com. Broadway Across America (BAA) is part of the John Gore Organization family of companies, which includes Broadway.com, The Broadway Channel, BroadwayBox.com, Group Sales Box Office and Broadway Brands. Led by 20-time Tony-winning theater producer John Gore (Owner & CEO), BAA is the foremost presenter of first-class touring productions in North America, operating in 48 markets with over 400,000 subscribers. Presentations include Disney’s The Lion King, Wicked, The Book of Mormon, and Hamilton. Current productions include & Juliet, Hadestown, Hamilton, Kimberly Akimbo, MJ: TheMusical and Moulin Rouge! The Musical. By Mary Boyle Vanguard Productions made a splash in the Milwaukee theatre scene back in 2022 with their concert performance of All Is Calm: The Christmas Truce of 1914 by Peter Rothstein. What was meant to be a single production turned into a new company, founded by George Lorimer and Joshua Pohja, which returned this past holiday season to mount a glorious full production of All Is Calm, with the intent of making it a yearly offerring. The new company has hit the ground running with a series of APEX Classes and Readings, the most recent of which was Jean Anouilh’s ANTIGONE, adapted by Lewis Galantiere and directed and re-imagined by Joshua Pohja. Two shows, back-to-back, one night only. The actors had very little time with the script and even less time with each other – particularly Gregory Linington (King Creon), who jumped into the performance to cover a sick actor at the last minute. The location was Calvary Presbyterian Church in Milwaukee, and the set was laid out as a theatre in the round, the audience surrounding a long table. The cast was a mixture of mainly First Stage Young Company alumni and a couple of seasoned regional actors. Anouilh’s Antigone is based on the tragic tale by the ancient Greek Sophocles. Antigone (Chantae Miller) is a princess of Thebes and the daughter of Oedipus (yep, that guy). Oedipus has died, and the kingdom of Thebes had been ruled by Antigone’s two brothers, Polynices and Eteocles, who were supposed to rule the kingdom on alternate years; however, when Polynices’ turn came up, Eteocles refused to yield, and the brothers killed each other in combat. Oedipus’ brother, Creon (Gregory Linington), became the new king; his wife, Eurydice (Maya Danks), the queen. Eteocles was given a hero’s burial, while Polynices, Creon ruled, was to be left to rot. In fact, anyone attempting to bury him will be put to death. Antigone’s nurse (Shanti Lleone) realizes that Antigone is not in her bed early in the morning and finds her coming in from outside. Her sister, Ismene (Josie Trettin), joins them and tells Antigone that they must not go and bury their brother, as Antigone had suggested, but what we soon learn is that Antigone had already gone out and done it. While she waits for Creon’s men to come for her, she meets with her fiancé, Haemon (Jake Badovski), the son of Creon, to tell him that, although she loves him, she will not be marrying him. Eventually, the Guard (Elliott Brotherhood) comes for Antigone and Creon is shocked that the agitator is his own niece. Will he actually put her to death? This dramatic reading was spellbinding. The Chorus, Leo Madson, was the youngest performer, but had a lion’s share of the lines, and he did it with great intensity and passion. George Linington was the ideal commanding presence as Creon, while tiny Chantae Miller was perfectly cast as his opposition: the fierce, indignant, and rebellious Antigone. Although she had not a single line, Maya Danks’ performance as Eurydice must be commended – it was a long time to sit so poised and knitting, emanating the emotions being thrown around the table. Elliott Brotherhood created a much-needed tension break as the bumbling guard, while Jake Badovki’s performance as the tortured Haemon was heartbreaking. Josie Trettin and and Shanti Lleone rounded out an overall incredibly talented cast. My one complaint of the evening was the sound, which was also an issue at All Is Calm. The cavernous space of the church has an echo affect that made it difficult to understand all of the words unless an actor was facing you directly, despite the addition of sails of fabric strung from the ceiling, which did not seem to help the sound, but did make a dramatic tent-like affect over the staging area. Hopefully, this issue can be solved, because it seems that Vanguard is working to make a theatre home at Calvary Presbyterian. With their upcoming APEX Classes and more performances on the horizon, I’m excited to see what this talented group does next! Learn more about Vanguard Productions shows and actor training at: https://www.vanguardmke.com/ By Mary Boyle German playwright Frank Wedekind’s Frühlings Erwachen, or Spring Awakening, made its premiere in 1906, but was rarely staged afterwards, as it was deemed too controversial. The story follows a group of teenaged schoolchildren entering into the throes of puberty, and how they are adversely affected by the grown ups who are supposed to be guiding them, from parents to teachers to church leaders. The play’s subtitle, A Children’s Tragedy, gives just a vague hint at what the play might entail, which happens to be instances of rape, suicide, teen pregnancy, child abuse, and abortion. One can only imagine how shocking this particular piece of theatre was to audiences at the time, yet it managed to persist. Then, in 2006, the play was made into a rock musical that made its way to Broadway, winning several Tony Awards, including for Best Musical, as well as a Grammy for Best Musical Theatre Album. Here in Milwaukee, Skylight Music Theatre has added yet another layer of complexity to the production by casting the show with a mix of deaf, hard-of-hearing, and hearing actors, further pushing the boundaries of live theatre. Are you read to experience this SPRING AWAKENING? With music by Duncan Sheik and book and lyrics by Steven Sater, the original story is left largely unchanged: it’s still set in Germany in the early 20th century, and the costumes and set design reflect that, with the boys in matching school uniforms and the girls looking like a Laura Ingalls/cottage core mash-up. This production is inspired by the 2015 Broadway revival by Deaf West, which produces Deaf-centered theatre in Los Angeles, and is designed to be experienced by both hearing and deaf audiences the same way, in real time. To accomplish this, some of the actors are deaf or hard-of-hearing and use Sign Language while being shadowed by their voices, played by a hearing actor; however, many of the hearing actors are also using Sign Language and, at times, there is also open caption, meaning the text is sometimes projected on the wall to be read. “There is an unfortunate history of the Hearing world deciding what is best for those who are Deaf, including forcing them to read lips and prohibiting the use of Sign Language,” explained Michael Unger, Skylight’s Artistic Director. This discrepancy is not unlike the treatment of the children by the adults in the play. Unger shares directing responsibilities with renowned deaf theatre artist, Alexandria Wailes, who loves utilizing the power of theatre to bring people together from various backgrounds and help them move through the fears of the unknown; to create spaces that open dialogue across generations about the things that cause discomfort, which hopefully leads to learning, healing, and compassion. “Theatre-making can also be about celebrating, elevating, amplifying the voices of those overlooked or assumed to not have anything to contribute,” Wailes said. “It is about challenging preconceptions and allowing for the reflection on how much or how little may have changed.” Spring Awakening is a tragedy whose themes are timeless: we see them in Shakespeare’s Romeo & Juliet, the famous star-crossed lovers, and we can recognize it in John Hughes’ 1980s film, The Breakfast Club. In each of these stories, we see children on the verge of adulthood, constrained by the expectations of their elders without given any context, guidance, or consideration, and the havoc it wreaks in their lives. Here, we have Melchoir (Caden Zane Marshall), a brilliant and handsome young mind who is both a teachers’ pet and the envy of his classmates, and Wendla (Erin Rosenfeld), a young girl who is both desperate to understand the adult world and equally desperate to remain a little girl. Rosenfield is deaf, so she is shadowed by her voice, played by Emma Knot, who was seen last season at Skylight as Poppy in Noises Off. Marshall is a hearing actor and American Sign Language interpreter, so he is also sometimes voiced by other actors. Trouble begins with a fellow classmate, Moritz (Joseph Saraceni), who is particularly struggling with his changing body and unable to get help from the adults in his life (a variety of characters played by Milwaukee favorites Karen Estrada and Joel Kopischke, as well as acclaimed deaf actor Liz Tannebaum). Saraceni is also a deaf actor, so his voice is shadowed by Edie Flores. Melchoir tries to help Moritz by providing him with a graphic essay about sex, but it only makes things worse, as Moritz’s lack of sleep and language barrier threatens his educational prospects. Meanwhile, Wendla is shocked when she learns that another classmate, Martha (Kaia Fitzgerald), is being abused by her parents, and doesn’t know where to go with her questions, since her mother refuses to talk about “difficult” topics. Tensions and problems build as children are either failed by or terrorized by the very adults in their lives who are supposed to help them, often under the guise of cultural decency. In the original play, it is the voices of the children that are amplified, and what they have to say is deeply uncomfortable. The modern version is still uncomfortable, which only serves to demonstrate that we have yet to fully address and understand these problems. Then there is the additional layer of the amplification of Deaf voices, as well as a graphic scene involving partial nudity. No amount of rock music can convince viewers that this is a fun, lighthearted Broadway frolic; in fact, the music felt incongruent to me, and not just because it didn’t align with the time the rest of the play is set in – after all, it worked just fine for Hamilton – but more because I felt that these topics are too serious to work as a musical. I wanted it to be a drama. That being said, the cast is very dedicated and talented, and the music was well performed, overall. As Unger says, “There is a reason this old play, with new music, has resonated so profoundly with a younger generation of theatregoers.” There is no doubt that Skylight is pushing the boundaries of theatre with this production, but will the people that need to see it get themselves into the seats? My hope is that younger audience members make their way to the theatre community who may not have felt it was for them, with this one, but I challenge anyone over the age of 30 to give this one a try, especially if the very idea of it makes you uncomfortable. This is how we learn and grow. SPRING AWAKENING runs through March 17th at the Cabot Theatre in the Broadway Theatre Center, located at 158 N. Broadway in Milwaukee’s historic Third Ward. Tickets may be purchased at https://www.skylightmusictheatre.org/ or by calling the Box Office at (414) 291-7800. This show is recommended for ages 10 and up. About Skylight Music Theatre Founded in 1959, Skylight is Milwaukee’s professional Equity music theatre company and the largest employer of Wisconsin actors in the state. We are Milwaukee’s Home for Music Theatre--the only professional Milwaukee arts company devoted solely to music theatre. Skylight produces the full breadth of music theatre, ranging from blockbuster Broadway musicals to reimagined operas, and from exciting world premieres to contemporary off-Broadway hits. Skylight’s mainstage home is the Cabot Theatre in the Broadway Theatre Center, which was built by Skylight in Milwaukee’s Historic Third Ward in 1992. Considered to be one of Milwaukee’s most beautiful theatres, the Cabot Theatre is based on the design of an 18th-century French opera house. With just 350 seats, it offers audiences great views of the action onstage. Skylight Music Theatre marks its 63rd season in 2022-2023. Skylight Music Theatre is a proud Cornerstone Member of the United Performing Arts Fund. By Mary Boyle Heidi Armbruster is not only a playwright, but has an extensive list of theatre, film, and television credits from New York, where she was based as an actor. Wisconsin, though, is her real home; the place where she grew up, and the place she returned to when her father became sick. Her father, a farmer from the middle of the state, encouraged Heidi to write a play about her experience and, thankfully, she did. Filled with humor, insight, and plenty of Wisconsinisms, SCARECROW is a heartfelt one-woman show performed by the playwright, herself, and can be seen through March 17th at Milwaukee’s Next Act Theatre. Directed by Milwaukee’s own Laura Gordon (Who’s Afraid of Virginia Woolf), Scarecrow is both written and performed by Heidi Armbruster, which is something that deserves repeating. Imagine losing a parent you are very close with; now imagine writing about that process; now imagine telling that story to a room full of strangers. Repeatedly. Let’s be honest: not many people would want to process their grief this way. On the other hand, Armbruster, who was brilliant in two productions at The Rep last season, Wife of a Salesman and God of Carnage, clearly has the acting chops to pull it off. Death is something every one of us will have to deal with, yet a terribly uncomfortable topic that nobody is interested in discussing – which is why it makes for excellent theatre. Last summer at American Players Theatre, I saw an amazing one-woman show called Mala, about a middle-aged woman who was slowly losing her mother. The show was a masterpiece of emotions, ranging from hysterically funny to unbearably sad but, with the magical empathy of theatre, the audience can be safely guided through an all-too-relatable story, experiencing the myriad of emotions brought by such circumstances, and come out the other side unscathed, but with greater understanding. Scarecrow hits a little closer to home because it is so firmly set in Wisconsin culture (many of us will see similarities to ourselves and people we know in this play); but, because it is so entirely born and raised in Wisconsin, it is too polite to drag people to the highs and lows of emotional ranges, preferring to stick with the good old fashioned midwestern habit of not really talking about the problem and making light it, instead. Or so it would seem. We don’t talk about it, but we live through it, right along with Heidi. On the journey, we learn not only that we can live through it, but what we can learn from it. Trust me, these are lessons worth learning. SCARECROW runs through March 17, 2024, at 255 S. Water Street in Milwaukee, the artistic home of Next Act Theatre. Tickets may be purchased by calling (414) 278-0765 or online at nextact.org. About Next Act Theatre Since 1990, Next Act Theatre has been engaging the hearts and minds of audiences with intimate, compelling productions intended to stimulate thought, foster the exchange of ideas, and promote the development of new perspectives and understanding. Next Act believes that stories work best when they involve characters in the midst of a struggle or a quest. Audiences identify with them, becoming emotionally and intellectually invested. The character’s situation, tragedy or triumph becomes the audiences’ to endure, mourn or celebrate. The theatre proves itself, then, as essential to the nourishment of our human spirit by bringing us together to examine, experience and explore the human condition, perhaps coming away with knowledge and perspective that only a good story can deliver. By Mary Boyle Written by British playwright Catherine Johnson and known as a “jukebox musical” (a musical featuring pop music, as opposed to original music composed for the production), Mamma Mia! is built on the music of the Swedish band ABBA and is named for their 1975 hit song of the same name. First unveiled in the West End in 1999, the show was an immediate success that went to Broadway in 2001 and ran through 2015, earning its place in the top-ten longest-running Broadway shows. The musical became a hit movie in 2008 starring Meryl Streep, Pierce Brosnan, Colin Firth, and Amanda Seyfried, which then went on to spark a hit sequel, Mamma Mia! Here We Go Again, in 2018, starring those same actors, plus the addition of Cher. In 2023, a 25th Anniversary North American Tour of MAMMA MIA! began, which has finally made it to Milwaukee as part of the Marcus Performing Arts Center’s Broadway at the Marcus Center season, from February 20-25, 2024. Sophie Sheridan (Alisa Melendez) is only 20 years old, but she is about to get married to Sky (Grant Reynolds), the guy she loves, on the small Greek island she was raised on by her single mother, Donna (Christine Sherrill). Donna has run a little hotel on the island since Sophie was born and, though Sophie had always wondered, had never revealed any information about Sophie’s father. Deciding that she didn’t want to have a wedding without her dad, if she could help it, Sophie investigates her mother’s diary from the year before she was born and narrows it down to three men: Harry Bright (Rob Marnell), Bill Austin (Jim Newman), or Sam Carmichael (Victor Wallace). To lure them to the island, Sophie sends them invitations to the wedding that appear to be from her mother, who has no idea what Sophie is up to; meanwhile, the men arrive with no idea that Sophie exists. Luckily, Donna’s two best friends, Tanya (Jalynn Steele) and Rosie (Carly Sakolove), arrive to help with the wedding and keep Donna from losing her mind when she is suddenly confronted with her past. My first experience with Mamma Mia! was the 2008 film, which I found to be unbearably cringy, but it clearly found a place in the hearts of my daughter’s generation (I think my niece may have worn out her DVD, she watched it so many times). Not being a great fan of ABBA didn’t help my opinion. Nonetheless, when the opportunity to see this tour presented itself, I wanted to see if the live-on-the-stage version made a difference, and it did. This production is just pure fun the whole way through. The choreography by Anthony Van Laast is perfection, and the overall design of the show by Mark Thompson is simple, but effective. While the dialog can feel a bit rushed, at times, the story is driven mainly by the music, and this cast has some incredible vocal talent in the main characters: Melendez as Sophie and Sherrill as Donna; however, Jalynn Steele, who plays Donna’s wealthy and eccentric friend, Tanya, manages to steal the show with both her voice and her spectacular and energetic stage presence. I would have loved to feel more chemistry between Donna and Sam (who, interestingly, both live in Wisconsin), though they paired well vocally. With such a huge fan base, tickets will sell fast for this production; but, even if you aren’t a big fan, Mamma Mia! is a fun way to spend a February evening in Milwaukee, so go ahead and get some Broadway Musical into your life! MAMMA MIA! runs through February 25th at the Marcus Performing Arts Center, located at 929 N. Water Street in Downtown Milwaukee. Tickets may be purchased online at www.MarcusCenter.org, calling 414-273-7206 or by visiting the MPAC Box Office. Groups of 10 or more can secure their seats by calling 414-273-7207. MAMMA MIA! last played the Marcus Performing Arts Center in the 2014/15 season. About Marcus Performing Arts Center A mission-based non-profit organization located in downtown Milwaukee, the Marcus Performing Arts Center (MPAC) brings high-quality arts and cultural programming to Southeastern Wisconsin. MPAC strives to act as an energizing force that connects the community to the world through collaboration, innovation, social engagement, and the transformative power of the performing arts. Through multiple performance series, community events, and educational experiences, MPAC brings a diverse range of celebrated artists to the region. A fixture in Milwaukee for over 50 years, MPAC is proud to be part of the Milwaukee Theater District, as well as a dedicated War Memorial facility. Learn more at www.MarcusCenter.org. Johnson Financial Group, with offices in Wisconsin and Minnesota, is a privately owned financial services company offering banking, wealth and insurance solutions through its subsidiaries, Johnson Bank, Johnson Wealth, and Johnson Insurance Services. For more information visit johnsonfinancialgroup.com. Broadway Across America (BAA) is part of the John Gore Organization family of companies, which includes Broadway.com, The Broadway Channel, BroadwayBox.com, Group Sales Box Office and Broadway Brands. Led by 20-time Tony-winning theater producer John Gore (Owner & CEO), BAA is the foremost presenter of first-class touring productions in North America, operating in 48 markets with over 400,000 subscribers. Presentations include Disney’s The Lion King, Wicked, The Book of Mormon, and Hamilton. Current productions include & Juliet, Hadestown, Hamilton, Kimberly Akimbo, MJ: TheMusical and Moulin Rouge! The Musical. By Mary Boyle Heidi Schreck’s mother, a debate coach, came up with an amazing scheme to help her daughter pay for college: traveling around the country, from one American Legion to another, giving speeches and taking part in debates on the Constitution for prize money. The scheme worked and, while the scholarship money was the main goal, Schreck became a self-proclaimed "Constitution zealot" along the way. Although she began college in pre-law, taking part in her school's theatre production changed her career trajectory. Still, her passion for our country's most important document never really waned and, reflecting back on her teenage years, she combined both of her passions into one incredibly successful play called WHAT THE CONSTITUTION MEANS TO ME, which is running at The Rep's Stiemke Studio through March 17th. Schreck knew she wanted to write a play about her experience but didn’t know at the time what it would become. “I ended up making a much more personal play than I thought I would,” Schreck said in an interview on the Late Show with Stephen Colbert. “The play became about the stories of the women in my family, the way their lives have been shaped by the Constitution, [and] the way the Constitution has failed them over generations.” Schreck's play made an immediate splash when it hit the stage in 2019, and has gone on to be named a Pulitzer Prize finalist for Drama, as well as receiving two Tony Award nominations for Best Play and Best Performance by an Actress in a Leading Role in a Play, along with winning several awards. It was even filmed and premiered this past October on Amazon Prime Video, where it was also nominated for several awards. After a sold-out Broadway run, the play is quickly making its way across the country. Directed by Laura Braza, the play stars the talented Jessie Fisher as Schreck, who took a leave of absence from her Broadway role in A Beautiful Noise, the Neil Diamond Musical for the opportunity to do the show. Fisher, who was last seen on The Rep’s stage in Grounded during their 2016/17 Season, is joined by Will Mobley, who was in last season’s Much Ado About Nothing at The Rep, as a Legionnaire and Schreck’s friend, Danny. The cast is rounded out by three young performers, only one of whom appears in each show: Maria (Rose) Campbell, Hazel Dye, and Maya O’Day-Biddle. Both Fisher and Mobley give emotional and believable performances that are a credit to the writing. There is a reason this play has been so successful, and I think it is because there isn’t a single person in the country who isn’t affected by the Constitution: it binds us all. No matter how good your Civics class was in school, you will learn both amazing and horrifying facts about this document, which is the oldest living constitution in the world. For instance, you will hear about as the amendment that gave women the right to birth control and to vote, while also learning that the word “woman” is not mentioned in our Constitution. Don’t conclude that this is a show for women, though – this production has insights for literally everyone. Funny, thought-provoking, and intensely moving, this is one play that makes it impossible not to engage in politics. Tickets will sell quickly for this one – get yours now. WHAT THE CONSTITUTION MEANS TO ME runs through March 17th, 2024, in the Stiemke Studio, located within the Associated Bank Theater Center at 108 E. Wells Street in downtown Milwaukee. Tickets may be purchased at www.MilwaukeeRep.com, by calling the Ticket Office at 414-224-9490 or visit the Ticket Office in person at 108 E Wells Street in Downtown Milwaukee. Talks and Events Early Bird Performance: Tuesday, February 13 at 6:30pm TalkBacks: Thursdays Feb 15, Feb 22, Feb 29 after the 7:30pm performance Post-Show Panels: Friday, February 16 – What Does the Constitution Mean to You? Panelists include UWM Professor Jim Tasse and Milwaukee Rep Teen Council Member Silver Anderson. Tuesday, February 20 – Why is it Important to have Women Represented in Government? Panelists include Judge Kristy Yang and Representative Dora Drake. College Nights: Tuesday, February 20 - Learn more here Dinner Dialogue: Monday, February 26, 5-8pm at Hilton Garden Inn and The Social American Tavern (611 N Broadway St). To learn more and to register visit click here. Access Services Audio-Described Performance: Thursday, February 22 at 7:30pm – the show will be described for patrons who are blind or have low vision. ASL Performance: Thursday, February 29 at 7:30pm – the show will be signed for the deaf or hard of hearing. About Milwaukee Repertory Theater Milwaukee Rep is the largest performing arts organization in Wisconsin with three unique performance venues in the Associated Bank Theater Center. For over seven decades, Milwaukee Rep has been a centerpiece of Milwaukee’s vibrant arts and cultural scene with productions ranging from Broadway musicals to Shakespeare to American Classics and New Works that are entertaining, inclusive, and impactful. Under the leadership of Artistic Director Mark Clements and Executive Director Chad Bauman, Milwaukee Repertory Theater ignites positive change in the cultural, social, and economic vitality of its community by creating world-class theater experiences that entertain, provoke, and inspire meaningful dialogue among an audience representative of Milwaukee’s rich diversity. By Mary Boyle Renaissance Theaterworks in Milwaukee was not only founded and run by women, they have dedicated themselves to promoting the work of women, as well. I’m certain that made choosing American playwright Sarah DeLappe’s 2016 play an easy choice for their 31st season. A finalist for the 2017 Pulitzer Prize for Drama, the play was not only written by a woman, the entire cast is made up of women. Young women, mostly. High schoolers, to be exact. Due to the nature of the work, the play is often cast by adult actors but, luckily, Milwaukee has a perfect resource for professionally-trained high school-aged actors in the First Stage Young Company and, in this brilliant collaboration between theatre companies, an exemplary work was created. This is THE WOLVES. Directed by Elyse Edelman, who is a First Stage Young Company alumna herself and who makes her RTW directorial debut with this production, The Wolves follows a group of nine high school girls on an indoor soccer team somewhere in suburban America over a course of several winter Saturdays in 2018. While the audience watches them warm up and practice throughout the production, the play has very little to do with soccer and everything to do with the lives of the average teenage girl in our country. DeLappe’s play was inspired by an art exhibit she visited as a young woman at the New Museum in New York, featuring works from several Arab countries that portrayed the oppressive conditions and war-torn environments faced by the artists, Edelman explained. “...each scene portrays the young women preparing for a unique kind of battle on and off of the soccer field. We witness not the game itself, but the pivotal moments preceding it – the anticipation, the rigorous physical training, the empowering pep talks. It’s about positioning ourselves both on the field for victory and off the field for success in various pursuits.” The cast of young performers are not known by their names but by their numbers and positions on the field: #11 Midfield, Maya Thomure; #25 Defense and Captain, Alice Rivera; #13 Midfield, Josie Van Slyke; #46 Bench, Reiley Fitzsimmons; #2 Defense, Madison Jones; #7 Striker, Ryan Bennett; #14 Midfield, Lorelei Wesselowski; #8 Defense, Natalie Ottman; and #00 Goalie, Elena Marking. As the mother of a recent teenage girl athlete, myself, I can tell you that this play is a brutally realistic representation, which is exactly why it is not for young audiences. The characters do not hesitate to swear–profusely–or tackle the very real topics that teenage girls need to handle, from personal issues such as dating, menstruation, school, and their future to the issues going on in the larger bubble of their community, country, and world. This is a view seldom seen by anyone but the girls growing up in it, which is precisely why this play has been the most talked about off-Broadway production since it first hit the stage. The Young Company cast, as a whole, is breathtaking in their ability to bring their individual characters to life. I’ve often said that YC is the best kept theatre secret in Milwaukee, but RTW has let the cat out of the bag. Marcella Kearns, a frequent YC teacher and collaborator, gives a stunning performance as “Soccer Mom,” the lone adult member of the cast. The scenic design by Doug Dion is cleverly imagined and constructed by Tony Lyons and Timothy Linn, and the costume design by Jason Orlenko lends to the credibility of the story. Funny, intense, heartbreaking, and shockingly real, The Wolves is a profound production and RTW does it full justice. See it if you can. THE WOLVES runs through February 11th at the Theater on 255 S. Water Street in Milwaukee’s Harbor District. Tickets are available at r-t-w.com 24 hours-a-day, by phone at 414-278-0765 or in person at the box office, 255 S. Water St., from 12:00 p.m. to 5:00 p.m. daily and 2 hours before performances. About Renaissance Theaterworks RTW is Milwaukee’s first professional theater company founded and led by women and the nation’s second-oldest professional theater devoted to gender equality. RTW is a resident company at 255 South Water St. in Milwaukee’s Harbor District, with increased capacity and improved accessibility. By Mary Boyle American author Rick Riordan has now written over 20 novels for young adults, but The Lightning Thief, the first in his Percy Jackson & the Olympians series published in 2005, is still the most well known and beloved by his fans. Adapted into a motion picture in 2010 starring Logan Lerman, the movie did not fare nearly as well as the book; however, Disney+ recently unveiled a TV series that is more faithful to the books, which has been gaining popularity. Even lesser known is the musical version of the novel, which was unveiled on Broadway in 2014. Yes, a musical. This season, First Stage brings the Greek Gods to Milwaukee with their production of THE LIGHTNING THIEF: THE PERCY JACKSON MUSICAL, through March 10th. With book by Joe Tracz and music and lyrics by Rob Rokicki, this pop-rock filled musical streamlines Percy's story for the stage, while keeping the essential parts of the tale intact. For the uninitiated, Percy (Ben Nowacek/Silver Anderson) is a 12 year old boy with ADHD and dyslexia, struggling to fit in, but constantly finding himself in trouble at school; in fact, he's been kicked out of several. In his newest school, Percy finally has a friend, Grover (Thatcher Jacobs/Abram Nelson), and a teacher who seems to like him. When he’s kicked out of yet another school, his single mother (Nadja Simmonds) decides it’s finally time to let Percy in on a secret she’s been keeping from him but, before she can get it all out, her and Percy are attacked by a minotaur and Percy learns that his best friend is, in fact, a satyr. The next thing Percy knows, he’s waking up at Camp Half-Blood with an irritated Dionysus (Jamey Feshold) and his teacher who, as it turns out, is a centaur named Chiron (Matt Daniels), informing him he’s a demigod and that his mother was lost in the attack. While at camp, Percy befriends Annabeth (Sanaiah Hibbler/Calleigh Mills) and Luke (Austin Nelson Jr.), a disgruntled son of Hermes who is angry that the gods are often absentee, uninvolved parents who often never bother to claim their half-human children. Percy’s father, however, does claim him and, as the son of Poseidon, Percy learns that he has a way with water. Before he can absorb it all, he is suspected of stealing Zuess’s lightning bolt and sent on a hero’s quest to retrieve it before a war erupts amongst the gods. Not wanting to leave camp, Luke reminds Percy that Hades is probably the true thief and that, by going to the underworld, he will likely be able to find his mother. With that as his true mission, Percy is joined by Annabeth and Grover on a crazy, monster-filled adventure. Directed by Jeff Frank, The Lightning Thief is an ideal way for younger fans of the book, movie, or TV series to experience the story in a different way that is fun, family-friendly, and less scary than its other visual counterparts. The costumes by Yvonne Miranda and scenic design by Madelyn Yee are Broadway quality but, as always, the music suffers a bit with the sound quality in the Todd Wehr theater, though the cast (Nadja Simmonds, in particular) is vocally strong. The young performers, who are double cast in either the Minotaur or Chimera casts, respectively, do an excellent job, but Matt Daniels and Jamey Feshold are the glue that holds this production together. Daniels, in particular, is spectacular as the centaur Chiron, Hades, and Poseidon, as well as other characters, though his performance is so good that you may not realize that all of those characters are performed by the same actor. Feshold shines as Dionysus and as Aries, the god of war. Together, they make the performance a good time for all ages in the audience. I am personally a huge fan of the Percy Jackson series, so I was skeptical about this adaptation, but it really does work – although I believe it works best if you are a fan or, at least, already familiar with the story, because a lot of detail is lost in order to fit it into a 75 minute show. The music is not always brilliant, but it does manage to summarize large parts of text and move the story along in a fast-paced way that still remains largely true to the book. As with the novel, the musical is still a great crash-course in Greek mythology that may inspire a deeper dive, but also serves as a great way to introduce young Percy Jackson fans to the wonder of live theatre. Either way, you can’t really lose on this production, unless you wait too long to buy your tickets - it seems Percy Jackson is a hot commodity in any format. THE LIGHTNING THIEF: THE PERCY JACKSON MUSICAL runs through March 10, 2024 at the Marcus Center’s Todd Wehr Theater, located at 929 N. Water Street in downtown Milwaukee. Tickets start at $20 and can be purchased in person at the Marcus Center Box Office at 929 N. Water Street, by phone at (414) 273-7206 or online at firststage.org. Special events for THE LIGHTNING THIEF: The Percy Jackson Musical Pay What You Choose Performance: Friday, February 9, 2024 at 7:00 p.m. Pay What You Choose tickets are available on a first come, first served basis with a minimum suggested ticket price of $10 per person. Doors open at 6:00 p.m. on the day of the performance. Patrons are encouraged to arrive early. Tickets may also be reserved in advance by phone at (414) 267-2961, weekdays 9 a.m. – 4 p.m. For more information, please visit: firststage.org/events-tickets/tickets-offers/pay-what-you-choose/. Sensory Friendly Performance: Saturday, February 17, 2024 at 3:30 p.m. A Sensory Friendly Performance with accommodations for families with children on the autism spectrum will take place on Saturday, February 17, 2024 at 3:30 p.m. Sensory accommodations include a quiet area staffed by an experienced educator, adjusted sound and lighting, and more. Tickets for Sensory Friendly Performances are $10. Order online or by phone at (414) 267-2961, weekdays 9 a.m. – 4 p.m. to reserve tickets. To learn more visit: firststage.org/plan-your-visit/sensory-friendly-performances/. ASL Interpreted Performance: Sunday, March 3, 2024 at 3:30 p.m. This performance will be sign language interpreted for patrons who are deaf or hard of hearing. Assistive listening devices are also available at the Todd Wehr Theater. To learn more, please visit: firststage.org/plan-your-visit/accessibility/sign-language-interpreted-performances/ About First Stage Founded in 1987, First Stage is one of the nation’s leading theaters for young people and families, and a driving force behind the creation of the best and most innovative plays for family audiences, theater training programs for young people, and education initiatives for its schools and community. First Stage produces plays that honor the young person’s point of view, include diverse and traditionally underrepresented voices, and inspire meaningful conversations. First Stage has presented more than 70 world premiere productions that address important subject matters relevant to today’s youth. The Theater Academy is one of the nation’s largest high-impact theater training programs for young people (3-18 years old). Through a challenging curriculum taught by professional teaching artists, the Academy nurtures life skills through stage skills and includes the Next Steps Program that tailors Theater Academy classes to the needs of autistic young people. As Wisconsin’s leader in arts-integrated education in schools, First Stage’s dynamic Theater in Education Programs cleverly blend theater activities with standard curriculum – allowing more than 10,000 students annually to learn traditional academic subjects through creativity and self-expression. First Stage ensures that all programming is not only accessible to its community but that it is reflective of the community it serves. In order to do that, First Stage relies on its community of donors. With an annual operating budget of $5 million, more than half of First Stage’s revenue comes from generous contributions from individuals, corporations, foundations, government sources, and the United Performing Arts Fund. Join First Stage’s community of donors with a contribution today and transform lives through theater. First Stage is a member of TYA/USA, the American Alliance for Theatre and Education, the Wisconsin Alliance for Arts Education, Milwaukee Arts Partners, and is a cornerstone member of the United Performing Arts Fund (UPAF). firststage.org |
Mary BoyleReviewing live theatre in Wisconsin since 2014. Proud member of the American Theatre Critics Association. #OzTheatre
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