By Mary Boyle

A young American playwright from Denver, Max Posner has created a significant amount of Off-Broadway stir with his plays: dark comedies that bring an almost alarming amount of reality to the stage. Next Act Theatre in Milwaukee is tackling the Wisconsin premiere of Posner’s most recent play, THE TREASURER, from 2017, for their season finale, which gives area audiences a chance to get a taste of this up-and-coming writer.

This production marks the first play directed by Cody Estle, Next Act’s Artistic Director, who took over for David Cecsarini in the middle of last season.  The story of The Treasurer is a relatable one to any middle-aged person, in that it is about taking care of an aging parent, but this story goes a bit further into the dynamics of the parent-child relationship. 

Ida Armstrong (Annabel Armour) finds herself alone and destitute after the death of her second husband and calls on her three sons for help; the three sons she abandoned when they were quite young to marry said second husband. “The Son” (Reese Madigan) who takes charge of Ida’s finances is the narrator of our story; he is quite certain he’s going to hell because he doesn’t love his mother, yet he and his brothers (Alexis Green and David Flores) seem powerless to say no to her unreasonable demands.  Most of the contact between The Son and Ida takes place over the phone, as he is in Denver and she is in Albany, and each conversation is oftentimes both funny and painful to witness.  Meanwhile, between calls, we watch Ida’s desperate attempts to connect with another human being while her condition deteriorates both mentally and physically, until the time comes when she must be moved to a facility that can offer more care.

The set design seems ridiculously sparse and simplistic – mostly a single wing back armchair that gets moved back and forth as the story switches from phone calls between the brothers to whatever Ida is up to now – and then, out of the blue, an entire Asian restaurant rolls onto the stage, where Ida and her son are finally face-to-face at one of the most awkward and uncomfortable dinners you will ever attend (but kudos to Scenic Artist Carri Dahl for her amazing work).

Reese Madigan, who is regularly seen in The Milwaukee Rep’s annual production of A Christmas Carol as Bob Cratchit, and was recently seen this season in Renaissance Theaterworks’ production of Witch, is entirely believable as Ida’s frustrated, struggling son and is an excellent choice for the strong and steady actor who carries the bulk of the production on his shoulders.  Annable Armour, who makes her Next Act debut, gives an inspired performance as the narcissistic and rapidly aging Ida Armstrong, managing to elicit the same empathy from the audience that her character wrings out of her children, though that character is difficult to like.  David Flores and Alexis Green, who also make their Next Act debuts, take on a wide variety of other characters in stride, besides playing Ida’s other children, making for a very strong cast.
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What’s fascinating about Posner’s play is the realness of it; every one of the characters will remind you of yourself or someone you know, which is what makes it so accessible.  Yes, this play will have you considering the care of an aging parent, or your care as the aging parent, but it also delves deeply into the relationship we have with our parents and our children, how that relationship makes us feel about ourselves, and how it plays out in our lives.  As thought-provoking as it is uncomfortable and as funny as it is heartbreaking, The Treasurer is a worthy piece of modern theatre.
 
THE TREASURER runs through May 19th at the artistic home of Next Act Theatre, located at 255 S. Water Street in Milwaukee.  Tickets may be purchased by calling (414) 278-0765 or online at www.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

Sir Tom Stoppard is a prolific British playwright, who also writes for television and film.  A fan of Shakespeare, two of Stoppard’s best-known works are based on the bard, including the 1998 film Shakespeare in Love, starring Gwyneth Paltrow and Ralph Fiennes, among other greats, and his 1966 play Rosencrantz and Guildenstern Are Dead, which he rewrote and directed as a film in 1990 starring Gary Oldman and Tim Roth – the only film he ever directed.  While this film was no cinematic hit, it has remained a cult classic among Shakespeare enthusiasts, as it is built on Shakespeare’s Hamlet, where Rosencrantz and Guildenstern appear as minor characters.  I have been waiting for over a decade for someone to stage this play and, blessedly, Sheboygan Theatre Company’s Studio Players came to the rescue with their production of ROSENCRANTZ & GUILDENSTERN ARE DEAD.

The title of the play is taken straight from the final scene from Hamlet in which an English Ambassador arrives and announces that "Rosencrantz and Guildenstern are dead."  Rosencrantz and Guildenstern were the childhood friends of Hamlet who are sent for by the King and Queen of Denmark to discover what’s wrong with Hamlet and, eventually, escort him to England.  In Hamlet, they play a very small part in the play; in this play, they are the stars of the show, set in the spaces between the parts of Hamlet where the two characters appear.  We meet the duo on their way to Elsinore, flipping coins and discussing the law of probability.  With no way to refuse the King and Queen’s request, their fear, frustration, and confusion grows as they become caught up in the tragedy.

Directed by Duncan Doherty, this Rosencrantz and Guildenstern is modelled after Laurel and Hardy, the iconic comedic duo who appeared in the age of silent film in the late 1920s and continued in popularity through the early 1950s, which was an inspired choice.  Michael V. Hayes, who plays Rosencrantz, is tall and thin, like Laurel, while Daniel Hennell, who plays Guildenstern, is short and stout like Hardy, so the physical resemblance is there, complete with bowler caps and suits, but the characters are also quite similar in their somewhat dimwitted, yet philosophical, manner, which works perfectly for this slightly dark comedy.  These two characters bear the brunt of the dialog, which is nearly as witty and complex as any written by Shakespeare, and they manage it well. 

The Studio Players was born in 2012, as an offshoot of the Sheboygan Theatre Company, to offer an alternative to their mainstage productions in an intimate black box space – in this case, at the 8th Street Ale Haus Taproom (next door from the bar/restaurant), located at 1132 N 8th Street in Sheboygan.  While the “theater” is lacking in sound and lighting technology, the actors make the most of the space, which offers an opportunity to get up close and personal with both the play and the players, as well as a chance to see some rare productions outside of Milwaukee’s theatre district. 

The remaining cast consists of Jeff Kelm as Claudius/Tragedian, Paul Kobylorz as Alfred/Polonius/Horatio, Amy Jo Krueger as The Player, Samuel Loomans as Hamlet/Tragedian/Spy, Judith Maupin as Gertrude/Tragedian, and Corrine M. Schultz as   Ophelia/Tragedian/Ambassador/Soldier.  As with most community theatre, some of the actors are steeped in STC history, while others are brand new, but the strength is in the whole, and this is a strong cast.  Despite two intermissions, this production moves quickly and is sure to delight fans of Shakespeare or anyone wishing to broaden their live theatre experience. 

ROSENCRANTZ & GUILDENSTERN ARE DEAD runs through April 28th at the 8th Street Ale Haus Taproom (next door from the bar/restaurant), located at 1132 N 8th Street in Sheboygan.  Tickets may be purchased online at https://www.stcshows.org/ for Saturday, April 27th at 7 p.m. and Sunday, April 28th at 2 p.m.  Join STC Studio Players for their final show in May, RENT!
 
About Sheboygan Theatre Company
Originally known as Community Players, Sheboygan Theatre Company (STC) was founded in 1934 when talented citizens from nearly 30 separate theatre groups combined to provide quality entertainment on the shore of Lake Michigan. In 90 seasons, STC has experienced many changes, but our commitment to quality has never diminished.  STC produces at least four Main Stage shows each year in the Leslie W. Johnson Theatre on the Horace Mann Middle School campus, as well as smaller productions through our "black box" theatrical group, Studio Players.  STC operates as a non-profit within the Sheboygan Area School District Community Recreation Department and is a volunteer-run organization with a 15-member Advisory Committee. 

By Mary Boyle

Tina Turner was undoubtedly a pioneer in the musical world.  One of the world’s best-selling artists, selling more concert tickets than any other solo performer, she was the first female artist and the first black artist to appear on the cover of Rolling Stone Magazine, and one of only three women to be inducted into the Rock and Roll Hall of Fame twice.  Her life story, which is one of overcoming a long stream of tragedy and hardships, has been recounted in books, films, and even on Broadway.  TINA: THE TINA TURNER MUSICAL was unveiled in the West End in 2018 and was nominated for 12 Tony Awards after its premier on Broadway in 2019. Now, the North American Tour, one of eight tours of the production around the world, has made its way to Milwaukee thanks to the Broadway at the Marcus Center series, where fans of all ages can experience the life of this amazing artist for themselves.

As a child of the 80s, I remember in real time the rise of Tina Turner, but didn't have a concept of all that she had risen from.  Born Anna Mae Bullock in Brownsville, TN in 1939, the young girl did her first singing in church while being bounced back and forth between the parents and grandparents who raised her.  Eventually, she made it to St. Louis where she met Ike Turner, an up-and-coming R&B artist who only had to hear Bullock sing once before he brought her into his band.  Rebranding Anna Mae as Tina Turner, the duo married in 1962 and spent the next 14 years in a tumultuous relationship that produced a lot of popular music, but also became so physically abusive, Tina had to escape to a nearby hotel with nothing but 36 cents where, thankfully, she was given the room that quite possibly saved her life.  Through hard work and providence, Turner was able to rebuild a solo career that began in earnest with her 1984 album, Private Dancer, which went on to win 3 Grammy Awards and achieve 5X Platinum status.

With book by American playwright Katori Hall, with Frank Ketelaar and Kees Prins, TINA is a jukebox musical featuring all of Turner’s greatest hits, from her time with the Ike and Tina Turner Revue, to her rise to solo stardom in the 80s, including “Shake a Tailfeather,” “Better Be Good To Me,” “River Deep – Mountain High,” “Proud Mary,” “What’s Love Got to Do With It,” “We Don’t Need Another Hero,” “(Simply) The Best,” and more.  Most of the music is performed with a live band, directed by Dani Lee Hutch, and the show becomes a full-on concert by the end, which has audience members leaving on a high note after going through Turner’s hardships.

In the North American tour, Tina is played alternately by Ari Groover and Zurin Villanueva and, when you see how much energy this performance takes, you’ll understand why.  I saw Villanueva, and though she has the physical energy required for this part, she missed the mark on recreating Turner’s iconic, raspy voice, which she seemed to be exerting a lot of energy trying to replicate, resulting in an overall harshness.  By the end of the show, I felt that she would surely blow out her voice by the end of the tour.  One of the highlights of the production is Young Anna Mae, who is also double cast as Brianna Cameron or Symphony King.  I saw Cameron, and she stole the show – that kid has a voice!  Notable performances also for Deon Releford-Lee, who is well cast and believable as Ike Turner, and Roz White as Turner’s mother, Zelma.

Tina Turner passed away nearly a year ago on May 24th, 2023, after suffering a lengthy fight with intestinal cancer and kidney disease; assisting in the making of this musical was one of her final projects.  While the musical highlights much of the struggle of Turner’s life, it would be impossible to fit in all the triumphs, from the many amazing musical collaborations she’d made over her lifetime, to all the good work she contributed to, and to all the doors she broke down as a black, female artist.  Tina Turner was truly an icon who deserves to be remembered, and what better tribute than a musical?

TINA: THE TINA TURNER MUSICAL runs through April 28th at the Marcus Performing Arts Center’s Uihlein Hall, 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.
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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: The Musical and Moulin Rouge! The Musical.

By Mary Boyle

​I keep saying it, but the First Stage Young Company is truly the best-kept theatre secret in Milwaukee.  These high school aged kids receive college-level training from some of Milwaukee’s finest actors and directors, along with a professional-level performance space, which makes for some of the best, most economical live theatre in the area.  For their final performance this season, YC is doing AN ENEMY OF THE PEOPLE, adapted by the great American playwright Arthur Miller (Death of a Salesman) from the original play by Henrik Ibsen, and it could not be any more timely.
 
“The wisest man is not the one who possesses all the answers, but the one who questions everything.”
 
Directed by Joshua Pohja, An Enemy of the People centers on Dr. Thomas Stockmann (John Eash-Scott), a doctor in a small Norwegian town that is becoming known for their healing spring.  Unfortunately, the Doctor has discovered that the spring is contaminated with toxins from further upstream, because of the way it was constructed (which he’d advised against), but he is certain that when he tells his brother, Peter (William Kastner), who also happens to be the town’s Mayor, the town will fix the problem by rebuilding the spa, and he will become a hero of the people.  The doctor’s wife, Catherine (Maya Thomure), and adult daughter, Petra (Reily Fitzsimmons), aren’t as certain, but Catherine’s father, Morten Kiil (Thatcher Jacobs), seems delighted by the potential chaos. 
 
“Silence in the face of injustice is complicity.”
 
Initially, the town’s reporters, Billing (Mara Holzen) and Hovstad (Elena Marking), are determined to break the doctor’s story and reveal the incompetence of the town’s leaders; however, the Mayor demands that the Doctor keep his findings a secret, as revealing them will cause the town to lose much-needed money from visitors.  The doctor refuses but, before he can get his statement published, the Mayor visits the newspaper.  When the reporters and the owner, Aslaksen (Madison Jones), learn from the Mayor that a new tax will be enforced to pay for the rebuild of the spa, they realize that the people will blame them, so they refuse to print the Doctor’s report.
 
“The measure of a civilized society is how it treats its dissenters.”
 
Determined to reveal the truth, the Doctor calls a public meeting with the help of his friend, a ship Captain named Horster (Sophia Bernhardt), but the Mayor and Aslaksen work to make sure that the Doctor is discredited.  First, Petra is fired from her teaching job; then, their young son, Morten (Lila Lester), is sent home from school after getting beat up by some of the other kids; Captain Horster, who had offered the family passage to America on his ship, lost his position for supporting the doctor.  Then, just when the Doctor thinks it can’t get any worse, it does.  Will he hide the truth to save himself and his family, or will he stand by his findings and keep his integrity?
 
“The strongest man is the one who stands up against the mob, even if he stands alone.”
 
Ibsen’s play premiered in 1882 – over 120 year ago – while Miller’s adaptation came out in 1950 – 74 years ago – and it continues to be relevant, today.  This Young Company production, done in their stark, minimalist style with sparse props and simple costuming, is powerful, moving, and thoroughly enlightening.  This is must-see theatre for our times and these kids are nothing short of brilliant.  See it while you can!
 
AN ENEMY OF THE PEOPLE runs through April 28th at the Milwaukee Youth Arts Center, located at 325 W. Walnut Street in Milwaukee.  Tickets are $15 and may be purchased at firststage.org or by phone (414) 267-2961.
 
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
 
About Young Company
First Stage Young Company, the Theater Academy’s award-winning training program for
advanced high school actors, is open to students who want to take their work to the next level.  Accepted students will complete college and graduate-level training in Acting, Voice, Movement and Shakespeare as well as electives ranging from Auditioning to Stage Combat to Dialects. Traditionally, the Young Company hosts master classes with guest artists from across the nation, produces a season of three plays and facilitates special excursions to the Utah Shakespeare Festival and American Players Theatre. To learn more, please visit:  firststage.org/theater-academy/young-company/

By Mary Boyle

There is no denying that Lin-Manuel Miranda's hit musical, Hamilton, changed Broadway forever.  Since it first hit the stage in 2015, the unlikely blend of hip-hop, rap, and American history has been making history, winning the Tony Award for Best Musical and a Grammy Award for Best Musical Theater Album, among many others.  Although it appeared Off-Broadway just a year later than Hamilton, SPAMILTON: AN AMERICAN PARODY is slightly less well known, but fans of the original, and of Broadway musicals in general, will get plenty of laughs from this parody production appreating at the Marcus Performing Arts Center's Vogel Hall in Milwaukee through April 20th.

With book and lyrics by George Alissandrini, creator of Forbidden Broadway, Spamilton very loosely tells the tale of the rise of Lin-Manuel Miranda and his incredible show, while making fun of every other major Broadway show you can think of, and they do it with an incredibly talented cast of just five people (and a few hand puppets, on occasion): Jorge Blakely as Lin-Manuel Miranda, along with Marissa Hecker, Jason Denton, Justin Emmanuel Parker, and Chris Anthony Giles, who each play a variety of characters.

The songs for the show are almost entirely built on the music of Hamilton, with a sprinkle of other Broadway classics, for good measure, and played entirely by one pianist (Fred Barton), yet the sound is far from sparse.  Fast-paced, bare bones, and hilariously funny, this is a musical for people who want to make fun of musicals, but who still have a healthy respect and love for the art form.

SPAMILTON: AN AMERICAN PARODY runs through Saturday, April 20th at the Marcus Performing Arts Center's Vogel Hall, located at 929 N. Water Street in downtown Milwaukee.  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.  
 
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.

By Mary Boyle

I think that there is no fairy tale more familiar to all than Cinderella.  The tale of a young woman who goes from servant to princess has been told in all genres across every culture since ancient times.  Through April 7th, the Milwaukee Ballet presents their take on this classic story, and it's every bit as funny, magical, and family-friendly as the Disney version we will all compare it to.

Directed by Michael Pink, this production is the funniest ballet I've yet to see by Milwaukee Ballet, even compared to The Nutcracker and Peter Pan, and this is entirely because of the stepsisters, who are performed by two male dancers in drag.  I saw Garett Glassman and Eric Figueredo as Prunella and Lucretia, respectively, and they simply stole the show.  Before the ball, the stepsisters are given a dancing lesson where the dancing master (Parker Brasser-Vos) and the Violinist (Alexander Koulos) add brilliantly to the comedic delight.  Yet, while there is plenty of humor to entertain audience members of all ages, there is also plenty of beauty, romance, and magic to enchant.

Lahna Vanderbush was a lovely and graceful Cinderella, regardless of whether she was in rags or finery, and Randy Crespo was a regal Prince.  Marize Fumero made a fierce and intimidating stepmother who didn’t need any special powers to keep Cinderella’s weak father, performed by Davit Hovhannisyan, in check.  While the spirit of Cinderella’s mother watched over her and transformed a pumpkin and mice into a carriage and horses, Cinderella was also helped by Jack, a serving boy, performed by the always delightful and energetic Barry Molina.  The bright and colorful costumes on the Spirits of the Enchanted Garden and Courtiers by Peter Cazalet were like a spring bouquet of flowers, while the whimsical scenic design by Bruce Brockman placed the story firmly in the land of fairytales.

While this version of Cinderella is very family-friendly, parents should know that it is long, though there are two intermissions to allow for set and costume changes, which helps to give time to get the wiggles out.  That being said, this is an all-ages show that can be both a fun family outing, a romantic date activity, or a fun introduction to classical ballet.

CINDERELLA with the Milwaukee Ballet runs April 4-7 at the Marcus Performing Arts Center, located at 929 North Water Street in downtown Milwaukee.  Tickets may be purchased online at www.MilwaukeeBallet.org or by calling 414-902-2103. 
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About Milwaukee Ballet
Milwaukee Ballet is a Company of international artists, supported by a talented team of professionals and artisans. Our School & Academy attracts students from around the country to train under celebrated dancers, choreographers, and faculty. Our commitment to our craft is equal to our commitment to the community we serve.  Learn more at www.MilwaukeeBallet.org.