Riveredge Nature Center

Andy Larsen, Riveredge's first Executive Director and naturalist, passed away on Friday, September 22, after a lengthy battle with Parkinson's Disease. It is no stretch to say that Riveredge, as we know it today, would not exist without the immense sacrifice, passion, and devotion of Andy and his family. 

​Beginning his time at Riveredge just one year after it was founded by daring dreamers from the Whitefish Bay Garden Club in 1968, everything you see at Riveredge today can be traced directly to the work of Andy and the dedicated group of volunteers he inspired and led. 

From time spent walking along railroad tracks throughout southern Wisconsin in order to collect remanent prairie seed used to establish the prairies at Riveredge, to pioneering the inquiry-based education style that still is used today at Riveredge, to engaging the curiosity of children and adult learners alike, his legacy will forever continue in every living thing on this land, and in every person that comes to be awed, renewed, and inspired by those living things. Andy's motivating drive was inspiring a deeper understanding and appreciation for our planet in those around him. He succeeded mightily; hundreds of thousands of people have developed a closer relationship to the natural world because of his life and his work. 
​
A public celebration of life will occur on Saturday, November 18th from 1 – 5 p.m. at Mequon Nature Preserve.  All memorial gifts received by Riveredge for Andy will be placed in a designated fund to financially support full and partial school field trip scholarships. This will allow countless classes of children the opportunity to engage their curiosity about the natural world on the Riveredge land Andy so loved. Many of the schools most in need of this financial assistance come from urban locations, yet the funds will also be available to schools from any geographic region.

If you would like to donate in memory of Andy, please contact Riveredge Nature Center at (262) 375-2715.

By Mary Boyle

Since its premier on Broadway in 1950, Guys & Dolls became, perhaps, America's best-loved musical.  Based on the New York underground themed short stories by Damon Runyun written in the 20's and 30's, the musical, written by Frank Loesser and book by Jo Swerling and Abe Burrows, won the Tony Award in 1951, and inspired the 1955 film of the same name, starring Marlon Brando, Frank Sinatra, Jean Simmons, and Vivian Blaine.  Now, Guys & Dolls makes its way to The Milwaukee Repertory Theater's stage to kick off their 64th Season in grand style.

Were it necessary to describe this musical in one word, that word would be "fun."   Guys & Dolls is the timeless entertainment of boy meets girl at the intersection of high brow and low brow; a combination of great storytelling and unforgettable music that leaves no doubt as to why this particular piece has enjoyed such enduring popularity over the past 67 years.

Audiences are bound to find at least one familiar song within the musical.  Guys & Dolls brought us the ever-popular "A Bushel and a Peck," as well as "Luck Be a Lady" and "Sit Down, You're Rockin' the Boat,"  each of which is not only sung by a very talented cast, but well choreographed by Stephen Mear.  

Directed by Mark Clements, Guys & Dolls is The Rep's 8th large-scale musical to be staged in the Quadracci Theater, and features a mix of Milwaukee's favorite actors, as well as some new faces to The Rep's stage.  Michael J. Farina and Matt Daniels, who both appeared in last season's Man of La Mancha, are well-cast as Nicely-Nicely Johnson and Lieutenant Brannigan, respectively.  Milwaukee Rep favorite, Kelly Faulkner, was born to be Miss Adelaide.  Similarly, Emma Rose Brooks, who also appeared in Man of La Mancha, was destined to be Sarah Brown.  Richard R. Henry is new to The Rep as the lovable Nathan Detroit, and so is Nicholas Rodriguez, who plays the suave and handsome Sky Masterson.  Andrew Varela, who was seen last season in Sweeny Todd at Skylight, makes his Rep debut as Big Jule.

The Rep made a wise choice, all around, for this opener.  Singing, dancing, comedy, romance - Guys & Dolls has it all, in spades!  This is the musical for people who don't like musicals; a perfect production to drag your reluctant theater-goer to, but equally perfect for a musical theater junkie.  Don't miss it!

Guys & Dolls runs through October 29th at the Quadracci Theater, located at 108 E. Wells Street in Milwaukee.  Tickets are available online at ​https://www.milwaukeerep.com, at the Ticket Office at 108 E. Wells, or by calling (414) 224-9490.  There are a number of Community Events, including Workshops and TalkBacks, in conjunction with the performance, which can be found at: www.milwaukeerep.com/Tickets--Events/Events/

About Milwaukee Repertory Theater
Milwaukee Rep is a nationally-recognized company that presents compelling dramas, powerful classics, award-winning contemporary works and full-scale musicals housed in its three unique performance venues: the Quadracci Powerhouse, Stiemke Studio, and Stackner Cabaret. The Rep also produces an annual production of A Christmas Carol, featuring a World Premiere of a new adaptation in 2016 at the historic Pabst Theater.  Under the leadership of Artistic Director Mark Clements and Managing 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

Summer is quickly coming to a close, and I can't think of a better way, or a better place, to celebrate than with a performance of Shakespeare's "A Midsummer Night's Dream" at the American Players Theatre.

One needn't wonder why this particular gem of Shakespeare's remains a perennial favorite; it is easily one of his most accessible plays, combining  romance, magic, and a liberal amount of comedy that keeps audiences engaged from beginning to end.  Midsummer is best performed outdoors, and APT's newly rebuilt stage nestled in the woods of Spring Green, combined with an excellent cast, makes for a positively magical experience.   

Theseus, the Duke of Athens (Jonathan Smoots), and Hippolyta, Queen of the Amazons (Laura Rook) are getting ready for their impending wedding when the Duke is interrupted by Egeus (Chiké Johnson), who wants the Duke's hand in forcing his wayward daughter, Hermia (Melisa Pereyra), to marry the man he has chosen for her: Demetrius (Nate Burger), instead of the man his daughter wants: Lysander (Juan "Rivera Lebron).  When the Duke insists that Hermia must obey her father, she and Lysander decide to flee Athens in order to get married, and they tell Hermia's friend, Helena (Elizabeth Reese), who happens to be madly in love with Demetrius.  Thinking to improve her chances with Demetrius, Helena tells him of the lovers' plans, and all four end up in the woods - the stomping grounds of the fairies -  on a Midsummer's Eve.  Meanwhile, Oberon (Gavin Lawrence), the King of the Fairies, and Titania (Colleen Madden), the Queen of the Fairies, have had a bit of a falling out.  Oberon and his right hand fairy, Puck (Cristina Panfilio), decide to have a little fun with the Fairy Queen and the mixed up lovers, with hilarious results.

One of my favorite parts of Midsummer is the play within the play: a group of tradesmen who fancy themselves actors are putting on a play for the Duke, in honor of his marriage.  Peter Quince (Tracy Michelle Arnold), Bottom (John Pribyl), Flute (Casey Hoekstra), Snout (Ty Fanning), and Starveling (Xavier Roe) go to practice their play in the woods, and Puck can't resist having a little fun with them, as well, but it's their play that will have you in stitches!

The cast features some of Milwaukee's finest, including Jonathan Smoots, a charter member of APT, who played King Lear, among other roles, last season.  Cristina Panfilio is in her element as Puck - she was having so much fun, it was contagious.  John Pribyl is absolutely superb as Bottom.  Altogether, this was the finest production of Midsummer I've ever seen.  Whether you're a fan of the Bard, or you've been waiting for the perfect intro to Shakespeare, this is one performance you don't want to miss.

A Midsummer Night's Dream runs through October 8th at the American Players Theatre in Spring Green.  Tickets may be purchased online at ​americanplayers.org, or call (608) 588-2361, but hurry - there are only 4 performances of Midsummer left!   The APT Season goes through November, with performances of A View from the Bridge, The Unexpected Man, The Maids, A Flea in her Ear, and Cyrano de Bergerac.

By Mary Boyle

I've seen and heard a number of brilliant musical performances at The Rep's Stackner Cabaret Theatre over the past several years, and I can confidently tell you that the singing by Marguerite Willbanks in Souvenir was the worst I've ever heard in any performance (at the Stackner, or otherwise).  Of course, that was by design, as Ms Willbanks was playing the intriguing and eccentric Florence Foster Jenkins; a woman without a touch of musical ability, but who managed to pack Carnegie Hall, nonetheless.

The story of Florence Foster Jenkins was recently brought back into the limelight with last year's  Oscar nominated film of the same name, starring Meryl Streep; however, the musical production, written by Stephen Temperley, opened off Broadway at the New York Theatre in 2004.  In the musical, Ms Foster Jenkins' story is told by her empathetic accompanist, Cosme McMoon (played by Jack Forbes Wilson), who can't decide if his patroness's singing was folly or madness - but if it was folly, "her folly was so stupendous, you had to admire the scale - like the Chrysler Building."

Ms Foster Jenkins was born  to a wealthy family in Pennsylvania in 1868, and was quite an accomplished pianist who dreamed of studying music abroad.  When her father refused to indulge her, she eloped with a Doctor Jenkins in Philadelphia.  She left the Doctor after only a year, but kept his name, and supported herself by giving piano lessons, eventually moving to New York.  Her father's death left her independently wealthy, and her new status as a great patron of the arts gave her the ability to style herself as an accomplished singer to her fellow Manhattan socialites; the only trouble was, she couldn't actually sing.

One critic at the time said that Ms Foster Jenkins "could sing anything except notes;" another said that no singer "has succeeded in liberating themselves quite so completely from the shackles of musical notation."  Despite her lack of ability, her private concerts generated a loyal, almost cult-like following, which included the likes of well-known musicians such as Cole Porter,  who reportedly had to bang his cane into his foot in order not to laugh out loud when she sang, and yet he rarely missed one of her recitals.  

Was she mad, or a musical genius?  Was she aware that her singing was awful, or did she truly believe that she was a great soprano?  Was it her wealth that brought her fans, or the absolute passion she had for music?  Perhaps it was simply the sheer confidence she had in her own ability that attracted people to her?  These unanswered questions are what makes the Florence Foster Jenkins story so compelling.

Souvenir: A Fantasia on the Life of Florence Foster Jenkins, Directed by Laura Braza, with Musical Direction by Jack Forbes Wilson, forces us to think of music in an entirely different way.  Why do some notes make us cringe?  Who made the rules about which note should follow what note, or what makes music good?  I've been told many times that, in order to purposely sing very badly, a person must be able to sing very well, and Marguerite Willbanks certainly reinforces that statement at the end of her performance -  but which takes more talent:  singing in a way that others hear as beautiful, or singing the way that sounds beautiful to you?

Souvenir runs through November 5, 2017, in the Stackner Cabaret, located at 108 E. Wells Street in Milwaukee.  Tickets can be purchased online at www.MilwaukeeRep.com, by phone at (414) 224-9490, or in person at the Ticket Office (108 E. Wells Street).

About Milwaukee Repertory Theater
Milwaukee Rep is a nationally-recognized company that presents compelling dramas, powerful classics, award-winning contemporary works and full-scale musicals housed in its three unique performance venues: the Quadracci Powerhouse, Stiemke Studio, and Stackner Cabaret. The Rep also produces an annual production of A Christmas Carol, featuring a World Premiere of a new adaptation in 2016 at the historic Pabst Theater.  Under the leadership of Artistic Director Mark Clements and Managing 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

For whatever reason, some people find Shakespeare intimidating.  The antiquated language can feel overwhelming to them, or their perception of it is that it is "elite" or "high brow" - even (dare I say?) stuffy.  The truth is, it's anything but; sharp wit, bawdy jokes, drunkenness, lewdness, bad puns, and innuendo can be found in abundance in the comedies, but even make their way into the tragedies.  How, then, to convince skeptical audiences that Shakespeare is a really good time?  Why, you add alcohol, of course!

Since 2015, the Bard & Bourbon Theatre Company has been performing fully staged Shakespearean productions with one (or two) seriously drunk actors.  Their third season opened this weekend at the Tenth Street Theatre in Milwaukee with "Twelfth Night (Drunk)," and they are not kidding when they say that  you've never seen Shakespeare like this.

"Twelfth Night" may already be one of Shakespeare's drunkest plays, with the beloved alcoholic, Sir Toby Belch, and his companion, Sir Andrew Aguecheek,   well in their cups over the majority of the tale.  One might assume, as I did, that those characters would be the ones chosen to actually be drunk for Bard & Bourbon's production, but not so!  To be fair, they rotate the actors chosen to do shots over the run of the show, so no certain actor's liver is taking all of the punishment.  Consequently, each performance is completely unique, somewhat unpredictable, and the exact opposite of stuffy.  In fact, the theater itself creates a more accessible, casual environment: seating is open, feel free to wear jeans, and be prepared to cheer like you're at a college keg party every time an actor downs a shot.  Drink, too, if you'd like (in fact, there are some cleverly named mixed drinks on the menu, such as "Sir Toby's Belch" and the "Illyria"), but the cookies and coffee were also quite satisfactory.

Directed by Dylan K. Sladky,  "Twelfth Night (Drunk)" has a fun, vaudeville flair, and is most excellently cast.  Brittany Curran was a very drunken Viola/Cesario when I saw her, as was her "twin," Keegan Siebken, as Sebastian.  Brittany Boeche was simply amazing as Sir Toby Belch, and Brandon Herr was the perfect Sir Andrew.  Adam Czaplewski was everything Malvolio is supposed to be, and Grace DeWolff and Maddie Wakley were brilliant as Feste and Maria, respectively.  Ashley S. Jordan was an elegant Olivia; Joel Kopischke was great as Antonio, and Alexandra Pakalski was quite convincing as Duke Orsino.  Keep an eye out for the floating cast member, Zachary Dean, who added a lot of fun to the production.

"Twelfth Night (Drunk)" runs through Sunday, September 3rd at the Tenth Street Theatre, located at 628 N. 10th Street in Milwaukee.  Performances begin at 7:30 p.m.  Tickets are $18, with discounts for students, seniors, artists, and military, as well as groups of 8 or more, and can be purchased online at    https://www.bardandbourbon.com/current-production/ or at the door.  To keep on top of their season, follow them on Facebook: www.facebook.com/pg/BardandBourbon/