By Mary Boyle Irish American playwright Eugene O'Neill (1888-1953) is the only playwright to ever win the Pulitzer Prize for Drama four times. Though his name may not ring a bell to everyone, the titles of some of his plays surely will, such as Bound East for Cardiff, The Emporer Jones, Beyond the Horizon, Anna Christie, or The Iceman Cometh, among others. Interestingly, it is one of O'Neill's failed plays that, decades after his death, became considered one of his greatest works, and Milwaukee Chamber Theatre has taken great pains to bring A MOON FOR THE MISBEGOTTEN to their stage. O'Neill was revolutionary to American theatre in that he brought realism to the stage by writing the stories of people not usually represented in our culture: alcoholics, prostitutes, immigrants, and the poor. Moon for the Misbegotten is actually a sequel for his earlier work, Long Day's Journey Into Night, which was inspired by events in O'Neill's own life, and where we are first introduced to the character of James Tyrone Jr. (La Shawn Banks), now a failed actor who has come home to Connecticut. James has been left with his family's estate, which includes a poor plot of land that Phil Hogan (James Pickering) has been farming for years. Mike Hogan (A.J. Magoon), the last of the old Irish farmer's sons, is running away from the farm like his brothers before him, leaving his sister, Josie (Kelly Doherty), to care for both the farm and their aging, alcoholic father. While James and Josie have long had a tenderness for each other, and James made a promise to sell the land to Phil once the estate is settled, Phil isn't so certain that the money of their new wealthy neighbor, T. Steadman Harder (Zach Thomas Woods), might cause James to go back on his word. Brent Hazelton, MCT's Artistic Director, intended to stage a production of Moon for his first season with MCT in 2020, but I'll bet you can guess what happened next. A large part of MCT's mission is casting local talent and, though years passed before he could make the production a reality, his inspiration, Kelly Doherty, an up and coming local actor who he felt was made for the role of Josie, was still available when the time came. Doherty truly was perfect for the role, as was Milwaukee icon James Pickering as Phil. The bulk of the play is supported on the shoulders of these two actors, and they carry it so impressively. Although they spent little time on the stage, A.J. Magoon (who makes his MCT debut) and Zach Thomas Woods, two of my favorite local actors, also certainly make their mark. La Shawn Banks, who makes an impressive MCT debut as James, is a Chicago-based actor who has frequented plenty of other Wisconsin stages, including American Players Theatre and Children's Theatre of Madison. This production is the 24th show directed by Mary MacDonald Kerr, who is a local actor, herself, alongside an entire production crew filled with Wisconsin-based artists. Utilizing local talent is what MCT does best, and it is on full display in every aspect of this production. That being said, there is a reason O'Neill's works are rarely produced (this show hasn't been professionally produced in the Milwaukee area since 1995). Seeing this show reminded me of when I read Wuthering Heights by Emily Brontë in high school. To my modern mind, it was no more than a soap opera; however, I could also appreciate that, in the time it was written, it was revolutionary. The same can be said of O'Neill's plays. The struggle of Josie and James to love each other because they can't love themselves was probably enlightening to audiences of the time; the way that shame can get in the way of connecting with others and living the lives we want was a concept that needed to be spelled out then, but is far too obvious and overdramatized for audiences now. I was also reminded of MCT's production of Who's Afraid of Virginia Woolf? from last season, in that this is also a play that hits differently in our modern culture, yet I relish the chance to see where we came from in theatre. To that end, Milwaukee Chamber Theatre delivers in a way that no other local theatre company does. As with Virginia Wolf, you should see A Moon for the Misbegotten because it's a rare opportunity to see what great theatre was, but also because you should see James Pickering act if you have the chance and, as an added bonus, see three of the future icons of Milwaukee theatre on one stage with the current one. This one has a short run, so act accordingly. A MOON FOR THE MISBEGOTTEN runs through February 4th in the Studio Theatre at the Broadway Theatre Center, located at 158 N. Broadway in Milwaukee's Historic Third Ward. Tickets may be purchased online at www.milwaukeechambertheatre.org or by calling the box office at (414) 291-7800. Join MCT at MARN for A MOON FOR THE MISBEGOTTEN Happy Hour between performances on Saturday, February 3. Try an Irish Coffee or the Irish Blonde Cocktail while enjoying MARN's current exhibition, ‘Behind the Queen.’ Plus, local Milwaukee Irish band áthas will be leading a traditional Irish open session - bring your instrument and play along! MARN will honor 10% off selected purchases from the Cafe, when you bring in a ticket stub from ANY currently running show or performance in Milwaukee! This event is free and open to the public. About Milwaukee Chamber Theatre Founded in 1975 by Montgomery Davis and Ruth Schudson, guided until 2020 by Michael Wright and Kirsten Finn, and now led by Brent Hazelton, Milwaukee Chamber Theatre (MCT) partners with other arts organizations, community-based organizations and universities to produce thought-provoking productions and innovative outreach programs on an intimate, human scale. As a leader in developing Milwaukee and Wisconsin’s theater community, MCT provides regular employment and a stable artistic home to local theatre professionals through a five-play subscription season, the Young Playwrights Festival (YPF), and the Montgomery Davis Play Development Series (MDPDS). MCT performs at the Broadway Theatre Center in Milwaukee’s Historic Third Ward and is a proud Member Group of the United Performing Arts Fund.
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By Mary Boyle Louisa May Alcott's famous semi-autobiographical novel, Little Women, originally published as two separate volumes in 1868 and 1869, was an instant success that has never fallen out of fashion. Inspiring several film versions, including the most recent one from 2019 starring Saoirse Ronan, Emma Watson, Florence Pugh, Laura Dern, Meryl Streep, and Timothee Chalamet, the novel has also inspired several stage adaptations, beginning with one for Broadway in 1912 and, more recently, an adaptation that made its world premier in 2018 in Minneapolis by Kate Hamill. Known for writing contemporary plays adapted from classic novels, Hamill has become one of the most-produced playwrights in the country since she was named "Playwright of the Year" by The Wall Street Journal in 2017. Now, Milwaukee audiences can enjoy this most recent production of LITTLE WOMEN through February 18th, courtesy of The Milwaukee Repertory Theater. Little Women is a coming of age story set during America's Civil War in Concord, Massachusetts, where the four March sisters and their mother, who they lovingly refer to as Marmee (Colleen Madden), are doing their best to keep their household afloat while Mr. March is off fighting in the War. The oldest sister, Meg (Cy Paolantonio), works as a governess to help earn money for the family, while Jo (Amelio Garcia), the second oldest, works for their rich aunt (also played by Madden). A tomboy and aspiring writer, Jo has no interest in leading the life that is expected of a young woman. Beth (Katie Peabody), the third youngest, is a fragile and timid girl, content to stay home with her family, while Amy (Rebecca Cort), the baby, cannot wait to grow up. Their lives begin to change when they become acquainted with their new neighbor, Laurie (Austin Winter), an orphaned teenage boy who has come to live with his grandfather, Mr. Laurence (Chiké Johnson). Directed by Marti Lyons, Hamill's adaptation, by necessity, streamlines Alcott's lengthy novel in order to fit it into an acceptable run time, which is to be expected; however, the resulting tale is very nearly relying on the audience's familiarity with the story to fill in some of the blanks that are left. Fans of the novel will note that some of the details of the main characters have also been changed, and while some have been made to give more focus to certain topics in the story, other changes seem unnecessary. Nonetheless, the heart of the tale is left intact, and those who are unfamiliar with the story will inevitably fall in love with it, as everyone else has for the past several generations, and those who know it well will undoubtedly come to see it in a new light. In its time, Little Women was somewhat radical in that it normalized nontraditional paths for women and legitimized their dreams to become something beyond mothers, while still honoring the importance and value of family and home -- concepts that we still struggle with, today. Furthermore, the story portrayed the idea of a "democratic family," in which the members were equal individuals with individual aspirations, regardless of gender. The character of Jo, in particular, as an unabashed tomboy, challenged gender norms for young women; this aspect, in particular, is what Hamill focuses on. Amelio Garcia, as a transmasc actor (a person who is assigned female at birth, but who identifies as male and lives as a man), is perfectly cast in the role of Jo. While Alcott, herself, may have simply wanted the same autonomy and independence as a man while still being a woman (after all, Jo does eventually fall in love and get married in the book), casting a trans actor in this role gives a new and timely lens to the story, while still retaining Jo's words, written nearly 150 years ago. Little Women, I think, has remained popular in large part because of its rare focus on the complexities of growing up as a woman in our culture; unfortunately, in all this time, that really hasn't gotten any less complex. Gender, as a whole, is a topic that feels more full of complexities than ever, and yet the way Hamill tells the story suggests that perhaps these seemingly modern complexities have always been there, along with the solution to them. Marmee's response to all of Jo's frustration about being expected to behave like a lady seems perfectly natural: acceptance, empathy, love, and understanding. Played brilliantly by Colleen Madden, Marmee is a mother who clearly loves each of her children unconditionally, equally, fiercely, and without any judgement. She cherishes her role as a mother without having any expectation of her children to be like her, yet her children clearly cherish their mother, though they do not necessarily want to follow in her footsteps. One can't help but wonder what the world would look like if we all had parents like Marmee. With a talented cast of largely debut actors, anchored by Milwaukee favorites Madden and Johnson, Hamill's Little Women is a funny, heartwrenching, endearing, thought-provoking, tear-jerking, and altogether lovely production that reaffirms why Alcott's classic tale endures. Don't miss this one. LITTLE WOMEN runs through February 18th, 2024, in the Quadracci Powerhouse Theater, located at 108 E. Wells Street in downtown Milwaukee. Tickets may be purchased online at www.MilwaukeeRep.com, by calling the Ticket Office at 414-224-9490 or in-person at the Box Office. For more information visit www.Milwaukeerep.com. Access ServicesASL Interpreted Performance: Thursday, February 1, 7:30pm – the show will be signed for patrons who are deaf or have low hearing. Sensory Friendly All Access Performance: Tuesday, February 6 at 6:30pm – tickets are $10, to purchase and for more information visit: https://tickets.milwaukeerep.com/56057/60544/ Captioned Theater Performance: Sunday, February 18, 2pm – the show includes captions. 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 There's nary a Wisconsinite who hasn't heard of GUYS ON ICE, the ice fishing musical by Fred Alley, with music by James Kaplan, which made its premiere at Northern Sky Theater (then American Folklore Theater, which Fred co-founded) in Door County way back in 1998. An instant hit, The Milwaukee Rep premiered the musical 25 years ago, and now brings it back for a 25th Anniversary production at their Stackner Cabaret through March 17th. Directed and choreographed by Jeffrey Herbsts and set in Door County, the musical features two friends, Lloyd (Steve M. Koehler) and Marvin (Doug Mancheski), who regularly spend their wintertime in Marvin's ice shanty on the lake, trying to catch fish. When Marvin gets an accepted invitation from his favorite TV fishing personality to visit his shanty, he invites Lloyd to join him to be on the show. As they wait for the TV crew to arrive, the two friends are visited by Ernie "the mooch" (Dan Klarer), a bothersome gossip who is always scavenging for some bait, a bite to eat, and a beer to wash it down while he spreads the latest news. Lloyd, expressing his annoyance after Ernie shares news about the state of his relationship, is reminded by Marvin: "It's Door County, Lloyd! There's tourists, pickled eggs, and gossip." All three actors, the director, and Ryan Cappleman, the accompanist, are veterans of this show, and it shows. Fast-paced and fun, it's easy to understand how this production has made multiple seasons at Northern Sky, but it's also an excellent show for the intimate Stackner Cabaret, where you can get dinner before the show or have appetizers, dessert, or drinks during the performance. With underground parking, it's easy to get in and out and enjoy a full evening in one place without ever having to get out into the cold, which makes for an ideal show for a Wisconsin evening, both in theme and location. Full of classic Swedish Lars and Ole jokes, love for the Green Bay Packers, and tales of the fish that got away, Guys On Ice is an ode to Northern Wisconsin, snowmobile suits, and the glorious sport of ice fishing that keeps the audience laughing from start to finish, even if you don't care about football or have never been ice fishing at all. Heartwarming, funny, and a little Door County in the heart of Milwaukee's theater district - you can't go wrong. GUYS ON ICE runs through March 17th at The Rep's Stackner Cabaret, located at 108 E. Wells Street in Milwaukee. Tickets may be purchased at www.MilwaukeeRep.com, by phone at 414-224-9490, or in-person at the Ticket Office. 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 This year marks the 48th production of the Milwaukee Repertory Theater's A CHRISTMAS CAROL, which holds the record as the second-longest, continuous running professional production of Charles Dickens' iconic novella in the country. The show is a part of the holiday traditions of dozens of area families, but has also become a tradition for several of Milwaukee's finest actors, who continue to return to the production, year after year. For those who have yet to experience it, perhaps this is the year to go and see why this particular story—a Christmas ghost story published in 1843—continues to enchant audience and actors, alike. A Christmas Carol, of course, is the tale of Ebeneezer Scrooge, a mean and miserly old man who runs a counting house in Victorian London with his single, ill-treated employee, the good-natured Bob Cratchit. On the night before Christmas, Scrooge is visited by the ghost of his former partner, Marley, who warns Scrooge that he will be doomed to his same terrible fate in the afterlife if he does not change his ways. To help him, Marley tells Scrooge he will be visited by three spirits: the Ghost of Christmas Past, the Ghost of Christmas Present, and the Ghost of Christmas Future. The spirits, by reminding him of his past mistakes and showing him what his future will be if he continues on his path, teach Scrooge a lesson about the true Spirit of Christmas. Adapted and Directed by Mark Clements, the Rep's Artistic Director, who unveiled his version of this classic in 2016, featuring an astounding rotating set design by Todd Edward Ivins, all new costumes by Alexander B. Tecoma, and a new audience participation aspect, which has been dialed back a bit in the following seasons to be less obtrusive. Clements' version highlights the ghost story aspect of the tale and may be too loud and scary for very young audiences. There are several parts of the play that have a horror-movie quality to them, such as when the ghost of Marley makes his entrance and just about everything involving the Ghost of Christmas Future. In my humble opinion, it is still more scary than necessary for a family holiday production; if your children are overly sensitive to brightness and noise, or creepy visuals, you may want to wait before taking them on the journey with Scrooge and stick to The Muppet Christmas Carol, instead. That being said, that same quality can be attractive to more mature audiences, and may keep your teenagers in their seats. The amazing Matt Daniels, who first appeared as Dickens and Scrooge last season, returns to his role, along with all of the key main performers: Reese Madigan, Todd Denning, James Pickering, Rána Roman, Carrie Hitchcock and Mark Corkins reprise their roles as Bob Cratchit, the Ghost of Christmas Present, Mr. Fezziwig/Charitable Worker, Mrs. Cratchit, Mrs. Fezziwig, Assistant to Dickens, Charitable Worker and Mrs. Dilber, and the Ghost of Marley, respectively. Tami Workentin also returns as Ghost of Christmas Past. My favorite new notable this year is Kevin Kantor as Young Scrooge, Assistant to Dickens, and Thomas' Father. All in all, a delightful cast and still a magical performance that can't help but put one in a Christmas mood, between the red and gold beauty of the historic Pabst Theater and the beautifully sung Christmas Carols. If you have yet to make this production a part of your Christmas tradition, give it a try. A CHRISTMAS CAROL runs through December 24th at the historic Pabst Theater, located at located at 144 E. Wells St. in downtown Milwaukee. Tickets can be purchased by calling (414) 224-9490, in-person at the Box Office at 108 E. Wells, or online at www.MilwaukeeRep.com. By Mary Boyle Last season, a brand new theatre company popped up in Milwaukee called Vanguard Productions. They staged a reading of All is Calm: The Christmas Truce of 1914 by Peter Rothstein, and it was such a hit that they remounted a full production inside the beautiful Calvary Presbyterian Church in Milwaukee for this season. There are only eight performances and, by the time of this review, there will only be one weekend left. For those of you looking for a new and moving holiday theatre experience, this is your ticket. Directed by Joshua Pohja, with music direction by Adam Qutaishat, All is Calm is based on the true story of a Christmas truce between the Germans and English on the frontlines in WWI. The production is fast-paced, with period music sung by the actors on the stage interspersed with quotes from the actual soldiers who wrote about it in letters home after the event. The church makes for a beautiful setting with good acoustics, which is important, because these performers can really sing. Dan Kerkman, F. Marvin Hannah, Jr., King Hang, Tomás Domínguez, Kai DeRubis, Elliott Brotherhood, Jake Badovski, Joe Picchetti, Joe Nolan , Jared Brandt Hoover, and George Lorimer come together in stunning harmony. Many of these performers were in the original reading by Vanguard. This story, which tells the tale of men who chose to disobey their commanders, lay down their arms, and celebrate the season for one night; to see each other as fellow human beings and not as enemies or others, is the ultimate example of the spirit of Christmas, of peace on earth, and of goodwill toward men, and it is a story that needs to be told right now. This production deserves to be a part of the holiday theatre standards in Milwaukee, right along with A Christmas Carol and The Nutcracker ballet, and a yearly production is the goal for Vanguard. I strongly encourage you to attend All is Calm and to give what you can so we might see it again next year, and for many years to come. ALL IS CALM: THE CHRISTMAS TRUCE OF 1914 runs through December 10, 2023, at Calvary Presbyterian Church in Milwaukee, located at 935 W. Wisconsin Ave. Tickets may be purchased online at: https://www.eventbrite.com/e/all-is-calm-the-christmas-truce-of-1914-tickets-722955337877. By Mary Boyle Besides Sir Arthur Conan Doyle with his brilliant Sherlock Holmes, There may be no name more synonymous with the murder mystery and crime fiction genre than the great Agatha Christie, who wrote 66 detective novels, many featuring her famous characters, Hercule Poirot and Miss Marple. However, Dame Christie also holds the title for writing the longest running play, THE MOUSETRAP which, aside from a short break due to Covid, has been playing in the West End since 1952. Now through December 17th, Next Act Theatre brings this quintessential English production to Milwaukee audiences, so we can see what all the fuss is about across the pond. Set in a grand old home called Monkswell Manor in the winter of 1952, we meet young newlyweds Giles and Mollie Ralston (Josh Krause and Lillian Brown), who are opening their Inn for the very first time. With the news of a recent murder in London on the radio and blizzard conditions settling in outside, the couple are greet their unusual collection of first guest: Christopher Wren (Rudy Galvan), an eccentric and exuberant young man; Mrs. Boyle (Margaret Casey), a discriminating and condescending old widow; Major Metcalf (Doug Jarecki), a retired veteran; Miss Casewell (Libby Amato), a mysterious and modern woman; and finally, Mr. Paravicini (Jonathan Gillard Daly), an unexpected guest brought by the storm. Trapped in the manor by the storm, the Ralstons and their guests have varying reactions to the news that a Detective Sargeant Trotter (Casey Hoekstra) is being sent to the manor; after all, it must be serious if he insists on arriving in the midst of a snowstorm. Directed by Mar MacDonald Kerr, Mousetrap features a strong cast of mainly Milwaukee favorites. Josh Krause and Casey Hoekstra are both excellent and quickly becoming two of my favorite Wisconsin actors. They’ve both been making a name for themselves on the stage at American Players Theatre in recent years, but have also been seen at Next Act and several other Milwaukee stages. Doug Jarecki, Jonathan Gillard Daly and Margaret Casey are Milwaukee pillars, while Libby Amato, who is also the Managing Director at Next Act, has been a quiet but consistent local presence for the past decade. Lillian Brown and Rudy Galvan make impressive Next Act debuts. The cast lineup, alone, would be a draw to any local theatre aficionado, but if that doesn’t do it, then the appeal of seeing such a longstanding classic of English theatre should. Of course, I wouldn’t want to give any hints on this whodunnit, but I will say that Christie was brilliant at keeping audiences, and readers, wondering until the very end; after all, there must be a reason this show has lasted as long as it has and why Agatha Christie is still so well recognized. The set design by Lisa Schlenker and costumes by Jason Orlenko are as impressive as the cast, leading to a brilliant bit of theatre that truly shouldn’t be missed. On top of all of that, Next Act has a conveniently-placed, modern theater with good parking and accessibility, so you really have no excuse not to see this gem and solve the mystery of The Mousetrap for yourself. THE MOUSETRAP runs through December 17th at Next Act Theatre, located at 255 S. Water Street in Milwaukee. Tickets may be purchased at www.nextact.org or by calling (414) 278-0765. 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 Are you looking for the perfect play or concert to brighten your holiday experience? Look no further! Here is a complete listing of offerings, from ballets and live-theatre to concerts, in Ozaukee and the greater Ozaukee area (Milwaukee, Washington and Sheboygan Counties). For specific theatre reviews, keep your eye on www.ozaukeelivinglocal.com/editorofozreviews/! Theatre Acacia Theatre Co. - MISS BENNET: CHRISTMAS AT PEMBERLY Nov. 10- Dec. 3 First Stage - THE BEST CHRISTMAS PAGEANT EVER: THE MUSICAL Nov. 24 - Dec. 24 Sheboygan Theatre Co. - A CHRISTMAS CAROL Dec. 1-9 West Bend Theatre Co. - A CHRISTMAS CAROL Dec. 1-10 The Commercialists: Charlie Brown Christmas Dec. 4 Cedarburg Children's Theater - THE GRINCH WHO STOLE CHRISTMAS Dec. 15-17 Milwaukee Ballet - THE NUTCRACKER Dec. 8-28 Concerts Milwaukee Symphony Orchestra - Elf in Concert Nov. 24-26 Festival City Symphony - Holiday Songs & Dances Pajama Jamboree Dec. 6 MSO Holiday Concert at the CPAC Dec. 7 MSO Handel's Messiah Dec. 8-10 MSO Holiday Pops Dec. 14-19 A Rockapella Christmas at the CPAC Dec. 16 By Mary Boyle When Harper Lee’s book, To Kill A Mockingbird, was published in 1960, she had no idea the impact it would have in our country. A Southern Gothic based on events from her own hometown of Monroeville, Alabama in 1936, when Lee was just ten years old, the novel became an instant American classic that has never been out of print. Just two years after the novel was published, the film, starring Gregory Peck as Atticus Finch, was released, also achieving instant success and awarding Peck with an Oscar for Best Actor. Interestingly, it took until 1990 for a play to be created – a production in Monroeville by Christopher Sergel that has become a beloved tradition for the townspeople. While this play made several tours in the UK, it has never seen a Broadway production until Academy Award® winner Aaron Sorkin unveiled his new version on Broadway in 2018 starring Jeff Daniels as Atticus Finch. In 2022, the production went on tour, which is why Milwaukee area audiences are finally able to see Sorkin’s TO KILL A MOCKINGBIRD on the big stage. Directed by Bartlett Sherr, To Kill A Mockingbird is a story told by a young girl, modeled after Lee, named “Scout” Finch (Melanie Moore), who lives in the small town of Maycomb, Alabama during the Great Depression. Her widowed father, Atticus (Richard Thomas), the town’s lawyer, is called to represent Tom Robinson (Yaegel T. Welch), who has been accused of beating and raping Mayella Ewell (Mariah Lee), the eldest daughter of Bob Ewell (Ted Koch), one of the town’s most vocal KKK members. While the trial rocks the community, Scout and her older brother, Jem (Justin Mark), befriend Dill Harris (Seven Lee Johnson), who is staying with his aunt for the summer. These three children, despite the best efforts of their father and caretaker, Calpurnia (Jacqueline Williams), become as caught up in the trial as Atticus, learning both the horrors and the wonders of the people in their community. I wish I could say that this story was no longer relevant; alas, it’s clear that we need it now every bit as much as we did in 1960 – not just because racism continues to be a problem, but because the story presents themes that we still wrestle with today, such as gender roles, class, and justice. Moreover, it is such an important snapshot of where we have been, how far we have come, and where we don’t want to go ever again. In truth, I can’t ever imagine a time when this story will not be essential. Although the main character of the book is Scout, subsequent versions of the story focus more on Atticus, and this version of the tale is no different. Lee, herself, had issues with this; in fact, the production would have happened sooner but for a dispute about this very issue. Thankfully, both sides came to an agreement, and Scout has a prominent role as the narrator of the play, as it is her innocence that makes the story so profound. Despite dealing with some serious topics, such as rape and murder, there is plenty of laughter to be found over the course of the play, which makes the two hour and thirty-five minute run time pass efficiently. Richard Thomas is a gem as Atticus, but the rest of the cast is equally well cast, with great costuming by Ann Roth. The set design by Miriam Buether can be a bit clumsy, but everything else is so good you won't really notice. There’s a reason why hundreds and thousands of high school students had to read this book: if you think you know the story, I urge you to see it again as a play; if you’ve never experienced To Kill A Mockingbird, the theatre is the best way. TO KILL A MOCKINGBIRD runs through November 12th at the Marcus Performing Arts Center's Uihlein Hall, located at 929 N. Water Street in downtown Milwaukee. Tickets can be purchased online at www.marcuscenter.org/ or by calling 414-273-7206. 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 18-time Tony-winning theater producer John Gore (Owner & CEO), BAA is the foremost presenter of first-class touring productions in North America, operating in 48 markets with over 400,000 subscribers. Presentations include Disney’s The Lion King, Wicked, The Book of Mormon and Hamilton. Current and past productions include Ain’t Too Proud, Beautiful, Cats, Chicago, Dear Evan Hansen, Mean Girls, Moulin Rouge! and To Kill A Mockingbird. By Mary Boyle Looking for some seasonal live theatre? Halloween is an excellent time to tell a story about a WITCH, and Renaissance Theaterworks has one to tell. Though it's not particularly scary, in the traditional sense, you may find that this play makes you squirm in your seat a little, nonetheless, while keeping you laughing, throughout, as well as giving you something to think about on the way home. American playwright Jen Silverman seems to enjoy a good, dark tale. Her 2017 play, The Moors, which is set in England in the popular Regency period, has enjoyed great success, as has The Roommate, which RTW did in their 2019 season. Witch is her newest play and is based on an English play from 1621 called The Witch of Edmonton, which itself is based on the real story of Elizabeth Sawyer, who was burned as a witch not long before the play was written. WITCH bridges the gap between modern time and Jacobean England by using completely modern language and shifting the story just enough to keep it attached to its roots, while demonstrating how the struggles and views of the past are still very much the ones we suffer with today. The Devil (Neil Brookshire - There Is A Happiness That Morning Is) has come to visit the small village of Edmonton, looking to purchase some souls. Cuddy Banks (James Carrington - Airness) seems like an easy sell; as the only son and heir to his father, Sir Arthur Banks (Reese Madigan - A Christmas Carol), Cuddy is consumed with jealousy over his father's open preference for Frank Thorney (Joe Picchetti), a poor villager elevated in station by Sir Arthur. Meanwhile, Frank, as good and charming as he seems, is another easy sell: after all, Cuddy is in the way of his aspirations. Then there's Winnifred, a serving girl at the castle who's carrying a secret. But, most tempting of all is Elizabeth Sawyer (Mati Gobel): known by the villagers as a witch, why wouldn't she want to sell her soul for some vengeance? Directed by Susan Fete, WITCH is a study of the spectrum of human emotions - fear, love, anger, jealousy and, above all, hope - and what their overabundance or lack can do to us. While this sounds quite serious, the play is every bit as funny as it is thoughtful. Filled with a talented cast of familiar Milwaukee-based actors, this production will hardly scare you; in fact, just like the 1600s play it was based on, it will leave you with a healthy dose of sympathy for the witch, and maybe even some for the Devil. WITCH runs through November 12th 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. Special Events Captioned Performances: Sat, 4pm Oct. 21 & 28, Thurs. 7:30pm Nov. 2 & 9. Wine Wed!: Enjoy a FREE glass of wine on Wed. evening performances. Arrive early! Must be 21+ to consume alcohol. Wed. 7:30 p.m. Oct. 25, Nov. 1, Nov. 8 Post-Show Talk: Stay after the show to discuss the play. Fri. Oct. 27, 7:30 p.m. Wed. Nov. 1, 1:30 p.m. Play Club: This enhanced subscription includes a digital copy of the script, an invitation to the First Rehearsal and a private post-show discussion, with wine and cheese, led by RTW Artistic Director, Suzan Fete. Must be a Play Club subscriber to participate. Sun. Oct. 29 2:00 p.m. Pre-Show Talk: Artistic Director Suzan Fete leads a conversation at 6:45pm. Fri. Nov. 3 7:30 p.m. ASL Interpreted Performance: Sun. Nov. 5 2:00 p.m. Sensory Friendly Performance: a specially modified and relaxed performance for people with sensory sensitivities. Wed. Nov. 8 1:30 p.m. Audio Described Performance: Fri. Nov. 10 7:30 p.m. Contact Community Engagement Manager Ryan Rehak (rrehak@r-t-w.com) for information on these community events. 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 Nothing makes you feel old like realizing the children who were born when Disney's animated film, Aladdin, was released are now old enough to drink. I was in my Senior year of high school when the film came out, but you're really never too old for a Disney movie, and this one was a hit. I mean, who could ever forget Robin Williams' amazing performance as the voice of the Genie? I had no idea that there has been a musical based on the film running on Broadway since 2014 (with a small break for the pandemic), or that it has become the 10th highest grossing musical of all time, but thanks to a North American Tour and the Marcus Performing Arts Center's Broadway at the Marcus Center Series, Milwaukee audiences can experience ALADDIN live on the stage! The tale of Aladdin is associated with the book One Thousand and One Nights, the collection of Middle Eastern folktales often referred to as "Arabian Nights." Aladdin (Adi Roy) is an orphan living on the streets of Agrabah, trying to stay alive while not getting caught stealing by the palace guards. Meanwhile, at the palace, the Sultan (Sorab Wadia) is constantly searching for a suitor for his daughter, Princess Jasmine (Senzel Ahmady), who stubbornly refuses every prince she meets. This agrees with the Sultan's evil plotting advisor, Jafar (Anand Nagraj), who is next in line for the throne should Jasmine fail to wed; but, to make sure he succeeds, Jafar is searching for a magic lamp hidden in the desert. When Jasmine decides to escape her gilded cage to see what life is like outside the palace walls, she meets Aladdin in the marketplace. Unaware that the pretty girl he is falling for is the Princess, Aladdin helps her navigate the marketplace, but their blossoming friendship is soon interrupted by the palace guards, who arrest Aladdin for stealing and reveal that Jasmine is the Princess. Jafar purchases Aladdin's freedom and sends him to the cave of wonders to get the magic lamp; however, though Aladdin is warned to touch nothing but the lamp, he is tempted by the teasure in the cave and becomes trapped inside. Wondering what is so great about a dirty old lamp, Aladdin tries to polish it up and discovers the Genie (Marcus M. Martin), who will grant Aladdin three wishes. Aladdin is certain that, if he were a prince, he would be able to win the heart of the Princess and, with the Genie to help him, he returns to Agrabah in style. Directed by Thomas Schumacher and with book by Chad Beguelin, the Broadway musical of Aladdin is fairly close to the animated film, and features the songs by Alan Menken and Tim Rice from the film that people know and love, such as "Arabian Nights," "Friend Like Me," "Prince Ali," and "A Whole New World;" but, there are also several added songs with lyrics by Beguelin and Howard Ashman that, unfortunately, largely only help to move the musical along as a musical, and don't seem to really fit with the feel of the original music. The other big change from the film is that the animal characters are replaced by people, but it doesn't take away from the story. Iago, who is Jafar's sarcastic parrot in the film, is instead a sarcastic sidekick played by Aaron Choi, while Aladdin's animal friends are replaced by three human friends: Babkak (Jake Letts), Omar (Nathan Levy), and Kassim (Colt Prattes). Jasmine has an entourage of ladies (Lizzy Marie Legregin, Sonia Monroy, and Adriana Negron) instead of a tiger, but they don't really play much of a part in the tale. A colorful feast for the eyes, Aladdin is full of sparkly costumes, magical special effects, and big Broadway dance numbers that are simply fun to watch and, while you might think the stars of the show are Aladdin and Jasmine, it's the Genie who drives this production. Let's be honest: Robin Williams is a tough act to follow, but Marcus M. Martin does it right by putting his own spin on the character, while still delivering the stream of punchlines and rapid-fire impressions that Williams' Genie was known for, leaving the audience laughing and clapping. This is a family-friendly production and a great first Broadway performance for kids, yet entirely palatable for adult audiences (especially those who grew up loving the animated film). See it while you can! ALADDIN runs through October 22nd at the Marcus Performing Arts Center's Uihlein Hall, located at 929 N. Water Street in downtown Milwaukee. Tickets can be purchased online at www.marcuscenter.org/ or by calling 414-273-7206. Run time is 2 hours and 30 minutes with one intermission. There is a Sign Language Interpretation on October 21 at 2:00 p.m. For more information, visit AladdinTheMusical.com/tour. About MarcusPerforming Arts Center A mission-based non-profit organization located in downtown Milwaukee, the Marcus Performing ArtsCenter (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, JohnsonBank, 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 withover 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. |
Mary BoyleReviewing live theatre in Wisconsin since 2014. Proud member of the American Theatre Critics Association. #OzTheatre
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