By Mary Boyle

Being born in 1974, I grew up watching the series of stop motion animated television specials 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.  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 for the 2024 season to celebrate the 60th anniversary of the longest-running holiday TV special of all time!

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 Robert L. May 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 (James Carrington), Rudolph (double cast as Gwen Madson or Sylvia Stoeger), 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 (Tim Rebers), 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 (Jamie Mercado) and Clarice (double cast as Kara DeGroot or Amelia Sajdak), a doe who thinks his red nose is cute.  Unfortunately, her father, Commet (Zach Woods), doesn’t want his doe hanging out with a red-nosed reindeer.  Meanwhile, in Christmastown, an elf named Hermey (double cast as Penny Whitmore or Maryn Davis), 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 (Timothy J. Linn).  On their journey, they meet Yukon Cornelius (Zach Wood), a miner searching for silver and gold, and stumble upon the Island of Misfit Toys.  A timeless story about acceptance that is needed more than ever, Rudolph continues to delight generations of children. 

The amazing thing about the First Stage production, which is being produced for the 5th time since its World Premier, is how true it is to the television version.  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).  Zach Woods is great as Coach Comet and Yukon Cornelius, David Flores and Karen Estrada reprise their roles from the 2022 production as Mr. & Mrs. Claus, James Carrington, who was Donner in 2022, brings his endearing energy as Sam the Snowman, but my personal favorite is still J.T. Backes, who returns 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 Penny Whitmore, Gwen Madson, and Kara DeGroot did a phenomenal job as Hermey, Rudolph, and Clarice, respectively.  

Directed by Jeff Frank, with music direction by Tim Rebers 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.  The show runs approximately 75 minutes, including a brief intermission. Recommended for families with young people ages 3-12 and theater lovers of all ages. The Pay What You Choose Performance is Friday, Dec. 6, at 7 p.m., and the Sign Language Interpreted Performance is Sunday, Dec. 22, at 3:30 p.m.

Don’t miss out on the rest of the season productions coming soon! Find tickets and additional information at www.firststage.org/2024-2025-Season.

● Dec. 6 - 25 THE TEMPEST
● Jan. 18 - Feb. 16 THE DINOSAUR PLAY
● Jan. 31 - Feb. 16 EMILY SONG AND THE QUEEN OF THE NIGHT
● March 8 - April 6 DISNEY & PIXAR’S FINDING NEMO
● March 28 - April 13 RIDE THE CYCLONE: HIGH SCHOOL EDITION
● May 2 - 18 ESPERANZA RISING

For additional information about the 2024-2025 season and to order tickets, please go to firststage.org or call (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 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). For more information, visit firststage.org.

By Mary Boyle

"The best way to spread Christmas cheer is singing loud for all to hear," says Buddy the Elf.  Another way is to take the whole family to a holiday show; so, it stands to reason that by going to ELF THE MUSICAL at the Marcus Performing Arts Center in Milwaukee, you can do both!

Fans of Will Ferrell and Christmas movies likely recall the 2003 New Line Cinema film Elf, written by David Berrenbaum and starring Ferrell as Buddy the Elf, who lives in Christmas Town at the North Pole.  Much like Herbie in the animated television classic, Rudolph, the Red-Nosed Reindeer, Buddy has never felt that he quite fit in: he can't make toys as well as the other elves, and he is so much bigger than any of them.  Finally, Buddy learns the truth:  he is not an elf, but a human who crawled into Santa's sack one Christmas Eve at an orphanage.  Buddy's mother had passed away not long after he was born and, though the elves had raised him, he had a father who lived in New York City who never knew he had a son.  Now was the time for Buddy to meet him. 

While the premise sounds corny and, let's face it, it is, the film was not only funny, it was absolutely heartwarming, becoming an instant holiday classic.  The musical, with book by Thomas Meehan and Bob Martin, music by Matthew Sklar, and lyrics by Chad Beguelin, essentially follows the film, but with music to move the story along, including the kind of big Broadway song and dance numbers you'd expect from a Broadway musical, costumes by Gregg Barnes inspired by that classic Rudolph cartoon, and scenic design by Christine Peters inspired by a snow globe. 

Santa (Mark Fishback) begins the tale of Buddy the Elf, who travels from the North Pole to find his father, Walter Hobbs (Ralph Prentice Daniel), a workaholic childrens book publisher who has no time for his wife, Emily (Marie Lemon), or their son, Michael (Theodore Lowenstein), even though it's the holiday season.  When Buddy arrives at Walter's NYC office, his secretary, Deb (Zuly Cabrera), thinks someone has sent a singing telegram, but Buddy insists that he is Walter's son.  Walter has security escort Buddy to Macy's where he works to help the other "elves" get ready for Santa.  While there, he meets and falls for Jovie (Tara Nicole Vinson), one of the other elves at the department store.  Meanwhile, Emily sends a sample of Buddy's hair off for DNA testing and discovers that Buddy truly is Walter's son.  While most people think Buddy is crazy, they also can't help liking him, but will his overabundance of Christmas spirit be too much for the big apple?

Directed by Sam Scalamoni, the musical feels as though it's geared more towards families with young children than the film; there is a little less focus on the relationship between Buddy and Jovie, and some of the more harsh encounters Buddy has in New York do not happen on the stage.  Trying to fill Will Ferrell's shoes is a really tall order and I wouldn't say that the film translated into a musical perfectly, but the cast is vocally strong and the most touching and magical parts of the film remain touching and magical in the musical, which makes it an excellent choice for families who aren't keen on Dickens' Victorian classic or the ballet, but are looking for a family-friendly holiday theatre experience in downtown Milwaukee.  

ELF THE MUSICAL runs through December 1st 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 thetransformative power of the performing arts. Through multiple performance series, community events, andeducational 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 22-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, Hell’s Kitchen, MJ: The Musical, Moulin Rouge! The Musical, The Outsiders and Stereophonic.   

​Production Biographies
NETWORKS PRESENTATIONS (Producer) an industry-leading producer of touring theatrical productions, committed to delivering quality entertainment to audiences worldwide for more than 25 years. Current and upcoming productions include A Beautiful Noise, Beetlejuice, The Book of Mormon, Come From Away, Elf, Funny Girl, Les Misérables, Life of Pi, Mean Girls, Peter Pan, and To Kill a Mockingbird. www.networkstours.com

WARNER BROS. THEATRE VENTURES (Producer), under the supervision of Executive Vice President, Mark Kaufman, was most recently represented on Broadway with the eight-time Tony Award-nominated hit musical Beetlejuice, based on the cult movie classic. Directed by two-time Tony nominee Alex Timbers, Beetlejuice featured an originalscore by Eddie Perfect and a book by Scott Brown and Emmy nominee Anthony King. In addition, Theatre Ventures ’Olivier Award-winning musical Charlie and the Chocolate Factory recently toured North America following its successful runs on London’s West End, Broadway and an Australian production at Sydney’s Capitol Theatre and Melbourne’s Her Majesty’s Theatre. Additional projects include a successful summer 2018 production of the musical version of Dave, directed by Tina Landau at the Arena Theatre in Washington, DC, and a musical adaptation of 17 Again, which premiered at NAMT (National Alliance for Musical Theatre) in fall 2018. Presently in development is a stage version of the movie musical A Star is Born and a dramatic version of Dog Day Afternoon from playwright Stephen Adly Guirgis. The division’s previous Broadway productions include Oscar winner William Goldman’s adaptation of Stephen King’s Misery, starring Bruce Willis and Laurie Metcalf; the record-breaking holiday hit Elf; theTony Award-winning musical The Bridges of Madison County; and The Curious Incident of the Dog in the Night-Time,which won the Tony Award for Best Play in 2015. Additionally, the division co-produced the original musical Secondhand Lions at Seattle’s 5th Avenue Theatre.  Theatre Ventures also licenses third-party stage rights to the various properties held within the Studio’s vast library, including such productions as Hairspray, The Bodyguard, Diner, Top Hat, Singin’ in the Rain, The Wizard of Oz, The Color Purple and 42nd Street, as well as the upcoming Broadway Vacation and Mr. Saturday Night.

     

By Mary Boyle
 
In 2004, when American playwright John Cariani’s play made its premiere in Portland, Maine, it broke box office records and, in the two decades since, has gone on to be the most produced play in American high schools.  This popularity in high schools is due largely to the play’s ability to be  cast with as little as four actors or as many as nineteen, and also because the set design and costumes can be acquired quite easily, which is perfect for a theatre program on a tight budget; however, there’s more to it than simply numbers.  The play is comprised of nine different short plays that all share a common theme and a common place.  The theme is love and, at a glance, that may seem too simple or quaint, yet it has demonstrated a universal appeal.  The place is derived from the playwright’s home state but, technically speaking, it isn’t a place at all; it’s ALMOST, MAINE, and Milwaukee area audiences have the opportunity to see what a professional theatre company can do with this production through December 15th at Next Act Theatre.

Directed by Milwaukee’s own Karen Estrada, Almost, Maine works well as a holiday show because it is set in wintertime in the state that is so far north it’s practically Canada.  The characters are all around the same age and from the same community, with characters from one vignette often mentioned in others, but the one thing they all have in common is that they are experiencing love in some way: the beginning or ending, the losing or finding, or the everyday miracles that occur with the transformative power of love.  While sometimes silly and sappy, there is also the sharpness and sadness when, on occasion, the characters’ lives resemble our own truths a little too closely. 

The cast of four is comprised of actors who are frequently seen on Milwaukee area stages, though two are new to Next Act Theatre, with each actor playing 4-5 different characters.  Rachael Zientek (Unnecessary Farce with Milwaukee Chamber Theatre, Newsies with Skylight Music Theatre, Elephant & Piggie’s “We Are In A Play” with First Stage) and Jake Horstmeier (Noises Off! with Skylight Music Theatre) make their Next Act debuts, while Rudy Galvan (The Mousetrap with Next Act) and Bree Beelow make a return.  The cast is very well balanced, cohesive, and equally talented, transitioning with ease between characters while always seeming well matched in each combination.  The simple but effective scenic design by Lisa Schlenker ties the production together with a festive Northwoods bow.
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Sweet, endearing, and full of heart, Almost, Maine is like a cup of hot chocolate with whipped cream and sprinkles in front of the fire on a cold winter night.  In fact, I’d highly recommend making a date night out of this show, accompanied by dinner at any number of nearby Milwaukee restaurants (I tried Café Benelux, just a short drive away in the Third Ward, and enjoyed a boozy peppermint mocha with my dinner, which was delightful!).
 
ALMOST, MAINE runs through December 15th, 2024, 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
 
When you think of the holidays and Charles Dickens, most people think of A Christmas Carol, but Skylight Music Theatre brings another tale of Dickens’ to the stage for their 65th holiday season: a Tony Award-winning musical based on Dickens’ 1838 novel Oliver Twist, written and composed in 1960 by Lionel Bart, called OLIVER!

Directed by Skylight’s artistic director Michael Unger, Oliver! is one of those musicals that you know even if you think you’ve never seen it.  I’ll bet the phrase, “Please, sir, I want some more,” uttered by a ragged child with a British accent rings a bell, whether you’ve read Oliver Twist, saw the musical performed live, or saw the1968 film adaptation of the musical, which won an Academy Award.  The music of Oliver! has become a part of our culture.  You may hear a melody when you read the words, “Food, glorious food!”  When you read the lyrics to the song “Consider Yourself”, it’s entirely likely you will be able to hum the melody or even sing along:
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The musical generally follows the story of Oliver Twist but is made more family-friendly with plenty of big Broadway song and dance numbers choreographed by Stephanie Staszak and music directed by David Bonofiglio.  Oliver (double cast as Gus Kolbe or Mac Heinrich) is one of many orphans in the workhouse still hungry after their ration of gruel, but he has the audacity to ask for more. Widow Corney (Candace Decker) and Mr. Bumble (Miss Kyle Blair), who run the workhouse, sell Oliver to Mr. & Mrs. Sowerberry (Nathan Marinan and Samantha Sostarich), the undertakers, where he is treated even worse than the workhouse.  Oliver runs away into the city and meets the Artful Dodger (double cast as Jenna Krysiak or Harper Fornstedt), who brings Oliver to Fagin (Randall Dodge), a criminal who teaches the children to pickpocket and exchange their stolen goods for food and a place to stay.  With Fagin, Oliver meets more of London’s criminal underworld, including Nancy (Rachel Shoenecker) and Bet (Hope Riesterer), who are nice to Oliver, but everyone steers clear of Nancy’s mean and dangerous boyfriend, Bill Sikes (Jared Brandt Hoover).

Unfortunately, Oliver gets caught on his very first foray into thievery.  Amazingly, the wealthy man he stole from, Mr. Brownlow (Rick Richter), takes pity on Oliver and brings him home with him where he is cared for by the housekeeper, Mrs. Bedwin (Paula Garcia).  Fagin, afraid that Oliver will sell out the criminals, goes to Bill Sikes, who orders Nancy to steal Oliver back, though she tries to refuse.  Meanwhile, Widow Corney, now Mrs. Bumble, finds out that the orphan she and Mr. Bumble sold might have wealthy relatives.  Hoping to receive payment for their information, they pay a visit to old Mr. Brownlow, who makes an important realization about Oliver.  Nancy, sick with guilt over taking Oliver away from a chance at a good life, asks Mr. Brownlow to meet her after dark in the city so she can get Oliver back to him.  Will Oliver finally get a chance at a good life?

Like A Christmas Carol, Oliver! is a commentary on the social ills of the time in Victorian England, but that is its only tie to anything related to the holidays.  There is no mention of Christmas and, although the story is simplified from the original, it is a far more dark and violent story than Dickens’ holiday classic.  Nonetheless, this musical is a cultural classic and, with plenty of children in the cast, it manages to pass for a holiday family show, though it is not recommended for children under the age of eight.  Most of the adult cast has been seen on Skylight’s stage before, but Rachel Schoenecker as Nancy, Candace Decker as Widow Corney, and Miss Kyle Blair as Mr. Bumble all made impressive debuts.  Jared Brandt Hoover, who just finished his role as Earl in Skylight’s season opener, WAITRESS, has a knack for playing the bad guy.  Randall Dodge (SWEENY TODD) was particularly fun to watch as Fagin.  I saw the Piccadilly Cast of young performers and I would be remiss if I didn’t mention Jenna Krysiak, who was fabulous as the Artful Dodger.

A Broadway classic, OLIVER! is a worthy show to introduce the whole family to for the holiday season, and you’re sure to “consider yourself at home” at the beautiful and intimate Cabot Theatre!

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OLIVER! runs through December 29th at the Cabot Theatre, located within the the Broadway Theatre Center at 158 N. Broadway in Milwaukee’s Historic Third Ward. Tickets may be purchased by calling the box office at 414-291-7800 or by visiting www.skylightmusictheatre.org.
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Don’t miss the rest of Skylight’s amazing 2024-2025 season!  Experience a Modern and Hilarious Take on a Classic Love Story with Juliet and Romeo  (January 17 – February 2, 2025), take in the Midwest Premiere of Frankenstein: The Musical  (February 21 – March 9, 2025), and be there for the Season Finale and Skylight Premiere of Sister Act  (April 4 – 27, 2025)!
 
About Skylight Music Theatre
Skylight Music Theatre is a professional theatre company that produces high-quality musical productions that entertain, educate, and inspire. We are committed to providing a platform for local talent and showcasing the best of Broadway and beyond. Founded in 1959, Skylight is Milwaukee’s professional Equity music theatre company and the state's largest employer of Wisconsin actors. Skylight produces the full range of music theatre, from blockbuster Broadway musicals to reimagined operas, and from exciting world premieres to contemporary off-Broadway hits. Skylight’s mainstage home is the Cabot Theatre in the Broadway Theatre Center, which was built by Skylight in Milwaukee’s Historic Third Ward in 1992. Considered to be one of Milwaukee’s most beautiful theatres, the Cabot Theatre is based on the design of an 18th-century French opera house. With just 350 seats it offers audiences great views of the action onstage and an undeniable connection with the performers. Skylight Music Theatre marks its 65th season in 2024-2025. Skylight Music Theatre is a proud Cornerstone Member of the United Performing Arts Fund.

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 the Wisconsin Theatre News page!

The holidays are a time of traditions and this is also true in the world of performing arts.  Many area families make the Milwaukee Ballet's The Nutrcracker or the Milwaukee Rep's A Christmas Carol a part of their annual tradition, but new opportunities come up each holiday season, and there's something for everyone!


Ballet
Milwaukee Ballet's THE NUTCRACKER: DROSSELMYER'S IMAGINARIUM, Dec. 7-24

Theatre
Ozaukee
Cedarburg Children's Theater presents A CHRISTMAS CAROL, Dec. 12-15
Memories Dinner Theater's Cinnamon Grits: Christmas in the South, Dec. 12-20
Memories Dinner Theater's Winter Wonderettes, December 13-22

West Bend
West Bend Theatre Co.'s A CHRISTMAS CAROL, December 6-15

Slinger
KM Playhouse presents ONE CHRISTMAS EVE AT EVERGREEN MALL, Nov. 29 - Dec. 8

Menomonee Falls
Falls Patio Players presents CHRISTMAS CAROL, Dec. 6-8

Colgate
Mr. Fezziwig's Feast with Morningstar Productions, December 8, 13, 14, and 15

Milwaukee
ELF THE MUSICAL at the Marcus Performing Arts Center, Nov. 26- Dec. 1
Milwaukee Rep's A CHRISTMAS CAROL, November 26 - December 24
First Stage RUDOLPH THE RED-NOSED REINDEER: THE MUSICAL Nov. 29 - Dec. 29
A VERY DEADLY CONSTRUCTIVISTS HOLIDAY (WITH MUSIC), Dec. 5 - 14 *Adults Only
John McGivern's Winter Wonderland, December 6-8
Vanguard Productions' ALL IS CALM: THE CHRISTMAS TRUCE OF 1914, Dec. 6-22
Pink Umbrella Theater presents A CHRISTMAS CAROL, Dec. 14-15 
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Fond du Lac
In Tandem Theatre's ALL IS CALM: THE CHRISTMAS TRUCE OF 1914, Nov. 21 - Dec. 1


Concerts
Ozaukee
The Commercialists presents A Charlie Brown Christmas, Dec. 9 at the PWHS PAC
Frankie Moreno with Frankie's Christmas Party, December 13th at the CPAC
MSO Holiday Concert at the CPAC, December 19

West Bend
The Four C Notes Season's Greetings Holiday Show, Dec. 18th at The Bend Theater
A WhiskeyBelles Christmas, December 21 at The Bend Theater

Milwaukee
MSO's Bach's Christmas Oratorio, November 22-24
MSO's Film with Orchestra The Muppet Christmas Carol, November 29 - December 1
Festival City Symphony's "Festival Carols & Bells" Holiday Pajama Jamboree, Dec. 4
Canadian Brass, December 5
The Commercialists: Charlie Brown Christmas, December 6
Adrian Dunn's Wonderful: A Soulful Celebration, December 7
MSO's Hometown Holiday Pops, Dec. 14-22
The King's Singers, December 16
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Other Performance Events
Ozaukee
Comedy Tonight at the CCC: The Santa Roast, December 14

By Mary Boyle

For their second show of the season, Milwaukee Chamber Theatre chose a play by American playwright Lynn Nottage.  The only woman to win the Pulitizer Prize for Drama twice, Nottage’s plays often focus on the experience of working-class Black Americans.  Timely and relevant, Nottage’s most recent play is the story of a group of ex-convicts trying to rebuild their lives, one sandwich at a time, in CLYDE’S.

The truckers who frequent the somewhat dingy diner known as Clyde’s have no idea that Clyde is a woman (Lachrisa Grandberry), that she is a terror to her kitchen staff, that the people making the meals have all done time in jail, or that Clyde, herself, is an ex-convict.  All they know is that the food is good, thanks to Montrellous (Bryant Bently), the sandwich yogi in the kitchen.  While Montrellous can’t convince Clyde that a sandwich can change someone’s life, Rafael (Justin Huen) and Letitia (N’Jameh Camara), who also work in the kitchen, are converts who idolize and aspire to emulate their sandwich guru.  When new hire Jason (Nate Press) arrives, will he be able to handle the heat in the kitchen?

As MCT’s Artistic Director Brent Hazelton points out, Wisconsin incarcerates 615 people per 100,000 per year and, while non-Hispanic Black people only make up 6% of our State’s population, they make up almost 40% of the incarcerated population.  Clyde’s sheds a light on some of the different issues that feed into this problem, as well as how difficult it is for a formerly incarcerated person to find work, which can easily lead to a road straight back to prison.  

Director Dimonte Henning and actors Bryant Bentley (seen this past summer at APT in Ma Rainey’s Black Bottom) and N’Jameh Camara are no strangers to MCT; all three were a part of The Mountaintop last season, and Camara was the sole actor in MCT's season opener, An Iliad. The other three cast members, Lachrissa Grandberry, Justin Huen, and Nate Press, each make their MCT debuts, but are all familiar faces on Milwaukee stages. Lachrisa Grandberry, in particular, delivered a brave and stunning performance as Clyde.  A strong and talented cast, all around, combined with an amazingly realistic restaurant kitchen by scenic designer Stephen Hudson-Mairet and costumes by Trinae Williams-Henning, are what saves this play from the writing, which unfortunately fell short of being great, despite the very real importance of the topic and its relevance to the City of Milwaukee.

Nottage’s dialogue is at times so brutally realistic it makes one cringe to hear it; at others, it feels contrived and unbelievable, which then extends to the characters; some of their stories could be lifted from actual people, while others are so obviously fictional it’s difficult to stay invested.  Some characters are simply not developed enough, and we miss the opportunity to see a redemption or a comeuppance.  The ending, to me, was shocking.  While I realize not all plays have a happy ending, or even a real resolution, this one felt so contrary to the arc of the storyline.  With a topic this important, I wanted a powerful ending that would inspire audiences to empathize with the frustration, anger, hopelessness, and hope of the characters; to think about it in a new and deeper way or, perhaps, even to take action.  Alas, that is not this play, yet it is certainly not without merit. 

Montrellous says, “You know what I love about a sandwich?  It’s a complete meal you can hold between your fingers.”   Do not arrive hungry for this play!  The detailed descriptions of different sandwich possibilities, alone, will have your mouth watering (and may well give you some recipe ideas you’ll want to try at home!  Monty’s sage wisdom about this most humble of culinary delights is insightful and comforting, revealing a beautiful universal truth: done with great love and care, any task can be elevated from a cumbersome job to a sacred act.
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CLYDE’S runs through November 24, 2024, at the Studio Theatre in the Broadway Theatre Center, located at 158 N. Broadway St. in Milwaukee’s Historic Third Ward.  Tickets may be purchased by calling the Box Office at (414) 291-7800 (M-Sa, 12-6pm and 2 hours before BTC showtimes) or Online at https://www.milwaukeechambertheatre.org/clydes.
 
Special Events:

• Thursday, 11/14, 7:30pm — Thursday Talkback, a post-show discussion with the artists
• Saturday, 11/16 — SipStudio: An Insider Experience, with behind the scenes sneak peeks and drinks provided by Thelma Carol Wine Merchants — 6:00-8:00pm, between the matinee (4pm) and evening (8pm) shows, free and open to all Saturday, 11/16 ticketholders.
• Thursday, 11/21, 7:30pm — Thursday Talkback, a post-show discussion with the artists
• Friday, 11/22, 7:30pm — ASL Interpreted Performance

 
About Milwaukee Chamber Theatre

This is Milwaukee Chamber Theatre’s 50th Season!  To celebrate, they’ve curated a lineup of plays that reflect MCT’s traditional values as they express them today as a part of a “Past, Present, and Future” theme:  

• Exceptionally well-written comedies and dramas from unique voices including two Pulitzer Prize winners in Lynn Nottage and Suzan-Lori Parks, and two of Western literature’s most influential and impactful authors in Homer and Henrik Ibsen, both of whose words are brought to life through pulse-pounding contemporary adaptations.  
• Strengthening and developing the local professional artist community as they continue their four-year track record of more than 90% of season artists residing in Milwaukee or Wisconsin. 
• A commitment to reflecting the multiplicity of Milwaukee’s voices and perspectives with nearly 50% of season artists identifying as Black, Indigenous, or People of Color and more than 50% as women since 2020.

By Mary Boyle

​This time, last year, Renaissance Theaterworks staged modern American playwright Jen Silverman’s WITCH, a dark comedy built on the real story of Elizabeth Sawyer, a woman who was burned for being a witch in 1600s England.  Though it sounds tragic and possibly scary, the play contained far more humor than horror.  This season, RTW opens with another dark comedy by Silverman: THE MOORS, which has many similarities to The Witch, and makes for an ideal evening of spooky season theatre.

The Moors is the third production of Silverman’s works by RTW.  Director Suzan Fete, who is fascinated by the playwright, tackled Silverman’s THE ROOMATE in their 2019 season.  Much like The Witch, The Moors is set in historic England, but this time the 1840s, and though this play is dripping with Gothic Victorian style, neither play is truly a period piece. 

Sisters Agatha (Sarah Sokolovic) and Huldey (Allie Babich) reside in a large manor house on the savage moors of England with only their dog, a Mastiff (Reese Madigan), and a curious maid who is sometimes named Marjory (Emily Vitrano).  The dullness and seclusion is interrupted the day the new governess, Emilie (Kaylene Howard), arrives.  Emilie immediately knows there is something quite peculiar going on in the household: she was persuaded to take the position from the letters of a Master Branwell, only to discover there seems to be no Branwell, nor any child to be cared for, not to mention the exceedingly odd behavior of the two sisters and the maid.  Meanwhile, the poor and lonely Mastiff, roaming the moors in search of meaning and happiness, calls out to God and is sent a Moor-Hen (Marti Gobel).  Terrible truths are revealed; hidden desires are unveiled and, just when you think it can’t possibly get weirder, it does.

Like The Witch, The Moors keeps you laughing, often nervously, while squirming with a slight discomfort in your seat.  Silverman seems to enjoy exploring the need for people to be seen, but her characters often have desires or traits hidden in their depths that, once revealed, are difficult to watch.   I’m not sure I agree with Fete’s fascination with Silverman’s work, but nobody can argue with the quality of acting or the casting in this production.  Reese Madigan and Marti Gobel, as Mastiff and Moor-Hen, respectively, are no strangers to Silverman’s work, with both actors having roles in The Witch last season.  Their highly physical performances in this play were simply inspiring to watch.  Milwaukee native Sarah Sokolovic is perfection as the fierce and formidable Agatha, while Allie Babich makes an iconic RTW debut as Huldey.  Emily Vitrano, another regular on Milwaukee stages, is pure comedic genius, and Kaylene Howard, who has spent several summers traveling Wisconsin State Parks with Summit Players, made a strong RTW debut as Emilie.
 
The overall atmosphere of The Moors, which is the essence of Sweeny Todd, but in the countryside, is every bit as impressive as the acting and casting.  Scenic design by Jeffrey D. Kmiec, lighting design by Noele Stollmack, and costume design by Jason Orlenko undoubtedly bring the Victorian Gothic to the stage and are essential to the quality of the play.  Next Act Theatre is a modern, comfortable and intimate venue with easy and close parking, which is always appreciated in downtown Milwaukee.

All said, The Moors is a delightfully wicked and mildly disturbing bit of theatre, well executed by Renaissance Theaterworks, and well chosen for the season. 
 
THE MOORS  runs through November 10th at Next Act Theatre, located at 255 S. Water St. in downtown Milwaukee.  Tickets may be purchased online at www.r-t-w.com/, by calling the office at (414) 273-0800, or at the Box Office at 158 N. Broadway St. in Milwaukee's Third Ward Monday through Friday from noon - 5 p.m. and 2 hours before each performance.
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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.