By Mary Boyle

After unveiling a brand new production last season, with record-breaking ticket sales, The Milwaukee Repertory Theater brings back many familiar faces, but also makes some important tweaks to this season's holiday tradition of A Christmas Carol at the Pabst Theater.

Now in its 42nd year, A Christmas Carol has undergone numerous changes over its lifetime, but perhaps none so dramatic as the amazing set design created by Todd Edwards Ivins, which was unveiled last season, and continues to inspire awe.  The streets of Victorian England actually move from Scrooge's Counting House to his dark, cold home, and even from the past to the future.  The costumes, by Alexander B. Tecoma, have also been given a beautiful update, and are more close to the time period and what is described in Charles Dickens' story.  Music Director, Dan Kazemi, who directed several of The Rep's musicals, including Guys & Dolls, I Love a Piano, and Man of La Mancha, brings his magic to A Christmas Carol, as well.   

Last season also saw a significant change in the way the story was told, involving quite a lot of audience participation; a British style of theatre known as "panto," which is quite common across the pond around the holiday season, but didn't go over quite as well here.  Clearly Director Mark Clements headed the reviews and, while there is still some audience participation involved, it is much improved from last season.  The dark parts of the story, such as the appearance of Marley, the Ghost of Christmas Future and Ignorance and Want, are still quite dark, scary, and sometimes loud, and may be a bit much for young children, though these parts were also toned down from last season.  Then again, Charles Dickens, who makes his appearance and begins the tale himself, does warn us that it is, in fact, a ghost story. 

Many of the actors from last year's production returned in their same roles this season: most notably, Jonathan Wainwright, who is wonderful as Dickens and Scrooge;  the amazing Angela Iannone, as Mrs. Fezziwig, Mrs. Dilber, and more; Reese Madigan as Bob Cratchit; the lovely Deborah Staples as the Ghost of Christmas Past; and, of course, the venerable Jonathan Smoots as the Ghost of Marley.  Jesse Bhamrah, who was in the ensemble last season as an Emerging Professional Artist at The Rep, takes his turn as Scrooge's nephew, Fred, and Annelyse Ahmad, who is an ERP this season at The Rep, plays Fred's wife, Ellen.  Milwaukee favorites, Rána Roman and Todd Denning, come on board as Mrs. Cratchit and a whole new Ghost of Christmas Present, and Michael J. Farina, who was recently Nicely-Nicely Johnson in Guys & Dolls, is a perfect Mr. Fezziwig.
New to The Rep are Arya Daire, as Belle, Brade Bradshaw as Dick Wilkins and the Ghost of Christmas Future, Kim Giddens as Alice, Kelsey Rodriguez as Nanny, Daniel Stock as Belle's Husband, and Christopher Peltier as a very believable Young Scrooge. Also new in the ensemble are Anthony Baldasare, Trachel Yvette Green, and Alex Morales.

There are a lot of children in A Christmas Carol who have also been in the cast before, including Ashley Bock, who returns for her third year and plays Tiny Tim this season; Teddy Anagnostopoulos as Sniffer, who returns for his third year; Amalia Cecsarini, who plays the Turkey Boy this season, but has played Tiny Tim twice; Gabe Smith as Young Scrooge, who returns for his seventh year; Tory Trettin as Fan, who returns for her fifth year; Jack Trettin as Boy Scrooge, who returns for his fifth year; Kai Liebenstein, ensemble, who returns for her third year; Liam Jeninga as Peter Cratchit, who returns for his second year; and Jack Burns, Tighe Leszczynski, and Ethan Sprague, who are all in the ensemble and return for their third, second, and second year, respectively.  New to The Rep this season are Olivia Vitrano as Want, Eloise Bejma as Emily Cratchit and Ignorance, Taylor Shanel Barnes as Martha Cratchit, Anthony Wells as Mathew Cratchit, Juliana Garcia-Malacara as Belinda Cratchit, Jakobie Jackson as Thomas, and Makayla Campbell in the ensemble.

Dickens' story never gets old, and a bit of snow falling in the historic Pabst theatre accompanied by some beautifully sung Christmas Carols does wonders to put one in the holiday spirit.  All in all, A Christmas Carol remains a memorable, magical holiday tradition.  

A Christmas Carol runs through December 24th at the Pabst Theater, located at 108 E. Wells St. in downtown Milwaukee.  Tickets can be purchased online at ​www.milwaukeerep.com, by phone at (414) 224-9490. or at the Box Office at 108 E. Wells Street.

About The Rep
In its 64th Season, Milwaukee Repertory Theater is dedicated to providing the highest level of professional theater to Milwaukee and Wisconsin, in addition to offering a wide range of educational and community programs.  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

I admit it:  I am not as well-read as I would like to be.  I never slogged my way through War & Peace, Gone With The Wind, or Moby Dick, and the Disney animated film of The Hunchback of Notre Dame is the closest I've ever come to getting acquainted with Hugo's great work; however, after I saw All The Great Books (Abridged), which opens In Tandem Theatre Company's 20th season, I felt significantly less guilty about being under-read.  In fact, I felt positively relieved!  You, too, can find absolution from your ignorance by attending this fast-paced, witty play happening at the Tenth Street Theatre in Milwaukee through October 29th.

Playwrights Reed Martin and Austin Tichenor, who are also responsible for The Complete Works of Shakespeare (Abridged) and The Complete History of the World (Abridged),  turn the audience into students and the theater into a classroom...except you're remedial students, and the teachers are actually the Coach (Doug Jarecki) and the Drama Professor (Ryan Schabach), along with a Student Teacher (Chris Goode), since the  English Teacher met with an untimely accident.  Oh yes, and they're going to cram in all the great works of literature into 90 minutes.  No problem.

Doug Jarecki, who played the Coach in In Tandem's 2008 production of the play, returns to reprise his role as the only teacher who could summarize Little Women as a football play, and he does so, brilliantly.  Ryan Schabach's drama queen of a Drama Professor is spot on, and Chris Goode channels Keanu Reeves in Bill & Ted's Excellent Adventure as a dimwitted, but sometimes surprising, Student Teacher.   While total literary nerds might get more of the jokes, I believe audience members will be surprised by how much these great works have become a part of our culture, and how much they already know about them, even if they've never cracked open the book at all.  While some works are regarded with respect, others are viciously ridiculed.  Nonetheless, you will leave the play feeling smarter than when you arrived and, perhaps for the first time, you'll have fun while you're learning!

All The Great Books (Abridged) runs through October 29th at the Tenth Street Theatre, located at 628 N. 10th Street in Milwaukee.  Tickets are available by calling (414) 271-1371, in person at the Tenth Street Theatre Box Office, or online at ​www.intandemtheatre.org (additional fees apply to online orders).

In Tandem Theatre is pleased to partner with Literacy Services of Wisconsin (LSW) to collect books during the comedy, All The Great Books (Abridged). Illiteracy is no laughing matter, but donating great books can be a fun way to help support non-readers in our community. Books for all ages are recommended!

About In Tandem Theatre
In Tandem Theatre, a 501(c)3 nonprofit theatre located in Milwaukee, was founded in 1998 by Chris and Jane Flieller with the commitment to produce exciting, innovative and professional live theatre by presenting creative and eclectic programming that enlightens, inspires, provokes, and entertains a diverse audience in an intimate atmosphere. Its name, In Tandem Theatre, reflects the connection between audience and actor, the audience and the written word – an intimate experience obtained when live audiences are engaged in strong storytelling.  In Tandem Theatre is committed to creating innovative, exciting live theatre designed to inspire, enlighten, provoke and entertain a diverse audience through comedy, drama, musicals, classics and new works.

, 
By Mary Boyle

You are likely to be quite familiar with the MGM film Chitty Chitty Bang Bang if you are over the age of 40.  Directed by Ken Hughes, Chitty was written by Hughes and the famous children's book author, Roald Dahl, based on a 1964 novel by Ian Flemming.  The movie starred Dick Van Dyke, and was brimming with memorable songs written by the amazing Sherman brothers, who have written more motion-picture musical song scores than any other songwriting team in film history, including Mary Poppins, The Jungle Book, Charlotte's Web, and The Aristocats.  Adapted for the Stage by Jeremy Sams, First Stage brings Chitty Chitty Bang Bang to Milwaukee to introduce a whole new generation to the magic story of a very special car.

Directed by Jeff Frank, Chitty is a story of the magic of childhood imagination, but also the very real magic of love.  Jeremy and Jemima Potts (double cast as Jack Trettin/Seth Hoffman and Paige Landrum/Michalene McQuide) spend their summer playing in a beloved old car in the nearby junk yard, but when a scrapper wants to buy it, the junk yard owner gives the children a chance to purchase it first.  Through an amazing bit of luck, their struggling inventor father, Caractacus Potts (Jackson Evans), comes up with the necessary funds to make the purchase. After a bit of tinkering, Chitty is unveiled, and the family discovers she is more than she seems!  Unbeknownst to them, the rulers of Vulgaria are also after the car, and they send their spies, Goran (Nathan Wesselowski) and Boris (Sara Zientek), who mistakenly kidnap Grandpa Potts (Robert Spencer).  Now, Caractacus, Jeremy, Jemima, and Truly Scrumptious (Malkia Stampley -- last seen with First Stage in Welcome to Bronzeville) must save Grandpa while avoiding the Child Catcher (Teddy Warren) and the Baron (Drew Brhel) and Baroness (Elyse Edelman) of Vulgaria.  Luckily, they have the help of a Vulgarian toy maker (Rick Pendzich) and the children of Vulgaria on their side.

Wonderful costume design by Lyndsey Kuhlmann, and scenic design by Martin McClendon, really transports the audience to early 1900's England.  With a cast full of Milwaukee favorites, live piano music by music director Paul Helm, and fantastic choreography by the duo of Milwaukee Ballet's Michael Pink and his wife, Jayne, Chitty is a delightful, magical time for audience members of all ages.  Well done, First Stage!

Chitty Chitty Bang Bang runs through November 5th at the Todd Wehr Theater, located at 929 N. Water St. in Milwaukee.  Tickets are available in person at the Marcus Center box office at 929 N. Water Street, by phone at (414) 273-7206, or online at www.firststage.org. 
​

About First Stage
First Stage is one of the nation’s leading theaters for young people and families. First Stage touches hearts, engages minds, and transforms lives by creating extraordinary theater experiences through professional theater productions that inspire, enlighten, and entertain. Its Theater Academy, the nation’s largest high-impact theater training program for young people, fosters life skills through stage skills and serves over 2,100 students each year. As Wisconsin’s leader in arts-integrated education in schools, First Stage’s dynamic Theater in Education programs promote literacy, character building, and experiential learning throughout the curriculum, serving over 20,000 students each year. First Stage was selected to participate in the Partners in Education program of the John F. Kennedy Center for the Performing Arts (2012), and was the recipient of the Milwaukee Business Journal’s Eureka Award, recognizing creativity and innovation in business, education, and the arts for its Next Steps program for students with autism (2013, 2015). First Stage is a member of TYA/USA, the American Alliance for Theatre and Education, the Wisconsin Alliance for Arts Education, Theatre Wisconsin, Milwaukee Arts Partners, and is a cornerstone member of the United Performing Arts Fund (UPAF).

By Mary Boyle

​Gilbert and Sullivan were masters of the comic opera, and almost entirely responsible for the modern musical.  Last season, Skylight Music Theatre in Milwaukee tackled G & S's Pirates of Penzance, to the delight of audiences, but in their inaugural season in 1959,  they did Gilbert and Sullivan's 1885 work, The Mikado.  The production was so popular with audiences that Skylight has done it every decade since, but this time around, they decided to shake things up a little and do Hot Mikado -- a swinging, jazzy, bluesy, gospel number that will have you laughing out loud and clapping along!

Hot Mikado was a 1939 Broadway Musical, produced by Mike Todd and based on Gilbert and Sullivan's The Mikado, with an all-African-American cast, starring the amazing Bill "Bojangles" Robinson.  This production mostly stayed true to G & S's original, but the musical arrangements by Charles L. Cooke were all Jazz.  

Director Austene Van, who is making her Skylight debut, sets her Mikado in a 1940's nightclub, creating a play within a play scenario that is so perfect, I can't believe that nobody has done it before.  The phenomenal six-piece band on stage, led by music director Michael Duff, completes the nightclub feel, but seating a few audience members at small tables at the sides of the stage goes the extra mile.

"I think Skylight audiences will be thrilled by this updated version of Gilbert & Sullivan’s comic masterpiece," Van said. "It remains true to the wonderful G & S music and harmonies, but takes a fresh approach to address some of the out-dated dialog and stereotyping that makes audiences wince.  I am fascinated with Gilbert & Sullivan’s ability to craft such a funny and outrageous story while hiding political and cultural messages.  In 1885, when The Mikado premiered in London, it was a time when the world was swept up in a craze for all things Japanese, so the messages are hidden behind the opulence of Japanese motifs."

Milwaukee actors and Skylight favorites abound in this production, and they are favorites with good reason.  Chris Klopatek, who was previously in Pirates of Penzance, is Ko-Ko, the Lord High Executioner.  Rána Roman, who can be seen on stages all over Milwaukee, is Yum-Yum. Ryan Cappleman is brilliant as the multi-personality-disordered Pooh-Bah, the "Lord High of everything else."  Making their Skylight debut is Michael Penick as Nanki-Poo, Peter Sipla as The Mikado, Alexis J. Roston as Pitti-Sing, and Christie Burgess as Peep-Bo. 

Though she is also making her Skylight debut, she is no stranger to Milwaukee:  Jamecia Bennett, the Grammy Award-winning singer, songwriter, director, vocal arranger, producer, and the new lead singer of the 3-time Grammy Award winning Sounds of Blackness, absolutely kills it as Katisha -- in fact, I believe I can safely say that the reason you need to see Hot Mikado is so you can hear this woman sing.

Bennett and Cigarette Break will be performing for one night only in the Skylight Bar and Bistro this Monday, October 9 at 7:30 p.m.  Tickets can be purchased for $20 at the door, for cash only, and entry is limited to the first 100 patrons.  The Skylight Bar and Bistro is located on the second floor of the Broadway Theatre Center.

Hot Mikado only runs through October 15th in the beautiful Cabot Theatre, and tickets are going fast!  Tickets can be purchased in person at the Broadway Theatre Center Box Office, located at 158 N. Broadway in the Historic Third Ward, or by calling (414) 291-7800, Monday–Saturday, noon - 6 p.m. Box Office hours are noon - 6 p.m. The Box Office window is also open two hour s prior to each performance. Tickets may be purchased online at www.skylightmusictheatre.org.

​About Skylight Music Theatre
Skylight Music Theatre’s mission since 1959: To bring the full spectrum of music theatre works to a wide and diverse audience in celebration of the musical and theatrical arts and their reflection of the human condition.  Skylight presents productions Skylight Style–bringing fresh approaches or interesting twists to music theatre works, creating meaningful connections, not only between the characters on stage, but with the audience, as well. The beautiful, intimate Cabot Theatre allows audiences to feel close to the powerful emotions on stage.

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

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/