By Mary Boyle Nearly every high school student in the US is required to read Animal Farm, the allegorical novella by George Orwell, published in 1945, that tells the cautionary tale of the 1917 Russian Revolution, played out in an English barnyard. Since our recent Presidential election, sales of Orwell's other well-known book, 1984, have skyrocketed; between "alternative facts" and the constant accusations of Russian involvement in our government, there's never been a better time to reacquaint yourself with this iconic tale, and the high school-aged cast of Young Company, First Stage's advanced, college-level actor training program, most certainly does it justice. Adapted from Orwell's book by Ian Woolridge, and directed by Matt Daniels, Young Company's Animal Farm is powerful, shocking, and beautifully modern, yet wonderfully traditional, thanks to the brilliant costume designs of Kristina Sneshkoff and the scenic design of Madelyn Yee. Old Major (Claire Zempel), Manor Farm's prize-winning boar, gathers the animals together to tell them something important: man is their enemy. If ever animals are to be free of the tyranny of men, they must revolt, and never adopt the habits of men. Shortly after Old Major dies, three younger pigs, Snowball (Jake Badovski), Napoleon (Mary Jensik), and Squealer (Sydney Salter), consolidate Old Major's words into a philosophy called Animalism. With the help of their fellow animal comrades, they take the farm from Mr. Jones, change "Manor Farm" to "Animal Farm," and seem to be well on their way to freedom and harmony. Perhaps nobody is more zealous a believer in their leader than Boxer (Elliott Brotherhood), a strong draft horse who knows that if he just keeps working harder, everything will work out in the end; however, his helpmate, Clover (Alex Salter), and Benjamin the Donkey (Abby Barbeau), aren't as certain. As the animals work harder, their rations get smaller, and the rules seem to keep changing; they look to the raven, Moses (Matthias Wong), who promises they will all go to live on Sugarcandy Mountain when they die, and place what hope, if any, they have left with him. Elliott Brotherhood is a homeschooled Junior from Mequon, and while he has been in multiple productions with First Stage, Animal Farm is his Young Company debut. "Being in Animal Farm reminded me not to take my freedom for granted...it’s scary to think that the Bolshevik Revolution, and the various political movements in Eastern Europe after World War II that serve as the model for the Animal Farm story, all took place in the 20th Century -- not that long ago." Both Elliott and Grace Reasoner, a sophomore at Cedarburg High School who plays a pig, are grateful for their experience with Young Company. "First Stage provided a safe environment to learn about things that were sometimes difficult, or to have a window into someone else’s life or situation," said Elliott. "They helped me to realize that everyone comes from a different place, but that we all have value. They have helped to teach me responsibility, showed me how to problem solve, taught me how to work with others as a team and, most importantly, helped me to gain a strong work ethic. First Stage has been a huge part of my life." Grace feels that her time with Young Company will help her towards a career in acting. "Animal Farm has been an amazing experience -- probably one of my favorite shows I've ever been in. Our director, Matt Daniels, is a genius, and helped us work out the kinks in all of our different animal movement and sounds. I wouldn't have wanted to do this show with any other director. I am truly proud of the work we have done and the show we are now able to present." There are two more performances of Animal Farm this Saturay, May 20th, at 3:30 and 7 p.m. at the Milwaukee Youth Arts Center, located at 325 W. Walnut Street in Milwaukee. Tickets are $14 and are available online at www.FirstStage.org or through the First Stage Box Office at (414) 267-2961. This production is recommended for ages 12 and up. About First Stage Celebrating its 30th anniversary in the 2016-2017 season, First Stage is one of the nation’s leading theaters for young audiences and families. First Stage touches hearts, engages minds, and transforms lives by creating extraordinary theater experiences for young people and families 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 use theater to promote active learning throughout the curriculum, serving over 20,000 students throughout southeastern Wisconsin each year. In 2012, First Stage was selected to participate in the Partners in Education program of the John F. Kennedy Center for the Performing Arts. First Stage is the recipient of the Milwaukee Business Journal’s Eureka Award in 2013 and 2015, recognizing creativity and innovation in business, education, and the arts. First Stage is a member of TYA/USA, the American Alliance for Theatre and Education, the Wisconsin Alliance for Arts Education, Theatre Wisconsin, and Milwaukee Arts Partners, and is a cornerstone member of the United Performing Arts Fund (UPAF).
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By Mary Boyle Charlotte Brontë is widely regarded as one of the first feminist writers. She published her famous novel, Jane Eyre, in 1847 under the name Currer Bell, so that she might be judged fairly as a writer in a time when women had very little career choices. Her story, which is somewhat autobiographical, was an instant hit in literary London, and quite controversial, both because nobody seemed to know who Currer Bell was, and because the heroine of the story dared to suggest that women had every bit as much heart and spirit as men, and further dared to question the fairness of their lot. Feminism alone, though, is arguably not what has made Brontë 's story remain so popular; great storytelling, and the variety of angles the story can take, has taken it from page to screen to stage, and back to page, time and time again. Now, the Milwaukee Rep will take their turn at it, with Polly Teale's adaptation of Jane Eyre. For many, the appeal of Jane Eyre is the irresistibly romantic relationship between the wealthy and lonely Mr. Rochester and the poor, but intelligent, governess he has hired to care for his ward, Adele. These fans would likely consider the novel a romance; however, there is every bit as much mystery and drama in the story, as well as Jane's struggle to be true to herself, and it is this aspect that Teale focuses on, by emphasizing the similarities between Bertha, Mr. Rochester's secret wife, and Jane. "It is significant that Bertha is a foreigner. She comes from the land of Brontë's imagination; from a land of hot rain and hurricanes. She is both dangerous and exciting. She is passionate and sexual. She is angry and violent. She is the embodiment of everything that Jane, a Victorian woman, must never be." While the actors are dressed in period attire, the set design is almost shockingly modern and sparse. In the novel, Jane (Margaret Ivey) is our narrator; on stage, we don't just hear her story as she tells it, but we experience it with her, speeding through her wretched childhood until she unknowingly meets her employer, Mr. Rochester (Michael Sharon), on her way into town on an icy winter evening. In this tale, Bertha (Rin Allen) is not just Mr. Rochester's secret wife, she is Jane's alter ego; the part of Jane that must be locked away, as Jane once was, in the awful red room as a child. A handful of actors play multiple characters: Andy Paterson is John Reed (Jane's evil cousin) and Richard Mason (Bertha's brother), while Christine Toy Johnson plays Bessie, Blanche Ingram, Grace Poole, and Diane Rivers. Tina Stafford is both Mrs. Reed, Jane's aunt, and Mrs. Fairfax, Mr. Rochester's housekeeper, and Rebecca Hirota plays Jane's childhood friend, Helen Burns, and Mr. Rochester's boisterous French ward, Adele, as well as Mary Rivers. Damian Beldet plays Mr. Brocklehurst, the head of Lowood School, and also Lord Ingram and Saint John Rivers. Directed by KJ Sanchez, The Rep's Jane Eyre remains a powerful tale of perseverance, integrity, and love. Michael Sharon is a practically perfect Mr. Rochester, and audiences will adore the witty banter between Mr. Rochester and Jane, as well as the obnoxiously pompous demeanor of Damian Baldet's Saint John. Fans of the romance of Jane Eyre will be satisfied, while fans of the drama of Jane Eyre will be well rewarded with this intriguing and artistic adaptation of Brontë 's greatest work. Jane Eyre runs through May 21 in the Quadracci Powerhouse Theater, located at 108 E Wells Street in Milwaukee. Tickets may be purchased online at www.MilwaukeeRep.com, by phone at 414-224-9490, or at the Ticket Office at 108 E Wells Street, Milwaukee. 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, which featured 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
If you've ever had a Kindergartner or a first-grader in your life, then you may have had the pleasure of reading the wonderfully quirky and hilariously funny adventures of one Junie B. Jones, in the book series written by Barbara Park. At last, First Stage has taken on the challenge of bringing Junie B. to the stage with JUNIE B. JONES IS NOT A CROOK. Playwright Allison Gregory read the Junie B. series to her own child ("at least 800 times"), and fell in love with the humor and the honesty. "Junie B. says what’s on her mind, tries things that she will fail at, and doesn’t spend a lot of time worrying about how she comes off. She is blatantly, boldly flawed. I wish I were half as awesome as her," said Gregory. The play combines two of Park's books: Junie B. Jones is Not a Crook and Junie B. Jones Loves Handsome Warren. Junie B. (Selma Rivera/Molly Domski) and her best friends, Lucille (Tessa Benedic/GraceFisher) and "that" Grace (Erianna Ashmore-Purifoy/Faith Austin) have met a new boy in school, "handsome" Warren (Ryon Davis/Carson Pressley), and each of the girls is determined to get his attention. Unfortunately, Warren's first impression of Junie B. is that she's a "nutball." If that wasn't bad enough, someone has stolen Junie B.'s brand new furry black mittens! Kindergarten isn't easy. Directed by James Fletcher, and featuring Kay Allmand as both Junie B's mom and her teacher ("Mrs., and that's all"), and Dan Katula as both Grandpa Frank and the Principal, Junie B. Jones is Not a Crook explores the truth about "finders keepers," and what it really takes to make a friend. Junie B. is, perhaps, the realest fictional Kindergartner you'll ever meet; consequently, adults either find her hysterical or annoying. If you're already a fan of Junie B., you will likely enjoy seeing her come to life on the stage; if you are new to Junie B., try to remember what it is like to be 5 years old, and be prepared to laugh. JUNIE B. JONES IS NOT A CROOK runs April 28th - June 4th, 2017 at the Marcus Center's Todd Wehr Theater, located at 929 N Water Street in Milwaukee, WI 53202. Tickets are available by calling (414) 273-7206 or online at www.firststage.org. About First Stage Celebrating its 30th anniversary in the 2016-2017 season, First Stage is one of the nation’s leading theaters for young audiences and families. First Stage touches hearts, engages minds, and transforms lives by creating extraordinary theater experiences for young people and families 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 use theater to promote active learning throughout the curriculum, serving over 20,000 students throughout southeastern Wisconsin each year. In 2012, First Stage was selected to participate in the Partners in Education program of the John F. Kennedy Center for the Performing Arts. First Stage is the recipient of the Milwaukee Business Journal’s Eureka Award in 2013 and 2015, recognizing creativity and innovation in business, education, and the arts. First Stage is a member of TYA/USA, the American Alliance for Theatre and Education, the Wisconsin Alliance for Arts Education, Theatre Wisconsin, and Milwaukee Arts Partners, and is a cornerstone member of the United Performing Arts Fund (UPAF). The Northshore Academy of the Arts Building in Grafton has a lot going on for all ages, from yoga to art classes, to dance and theater, with the overall goal of giving greater access to the Arts in our community. Coming up in May, there will be two different theater opportunities at NSAA through Stagekids and Jr. Stagekids: Disney’s The Lion King and Disney’s Aristocats! Based on the beloved Disney animated film, and featuring a jazzy, upbeat score, Disney’s The Aristocats KIDS is a non-stop thrill ride of feline fun, complete with unbelievable twists and turns. Produced and Directed by Angie Mack Reilly, this production is geared towards children ages 6 to 11 years old. Everyone who registers for the show will be in the show; however, if your child wants a role with lines or a solo, they can audition on Tuesday, May 2nd, at 6 p.m. at NSAA. Rehearsals will be on Mondays from 4:15 to 5:30 p.m. from June 12th through August 28th. Disney’s The Lion King has captivated the imagination of audiences around the world, and now, for the first time ever, kids have the opportunity to perform this one-of-a-kind musical with North Shore Academy of the Arts, Stagekids! Produced by Angie Mack Reilly and the NSAA Team, this production is for kids in the 9th grade or younger, and will be performed at the Cedarburg Performing Arts Center the weekend of January 12th and 13th in 2018, with rehearsals beginning in September. Auditions, should your child want a solo role, take place on Tuesday, May 9th, at 6 p.m. If you have questions, or need more information, contact Angie Mack Reilly at angie@ozaukeetalent.com, or contact NSAA by e-mail (info@northshoreacademyofthearts.org) or by phone (262) 377-3514. See the full list of summer course offerings at the NSAA at http://northshoreacademyofthearts.com/nsaa-brochures/. By Mary Boyle Perhaps the greatest worry for parents today is autism: the CDC estimates that 1 in 68 children will have autism spectrum disorder (ASD), and experts still don't fully understand why. What we do know is that, with that statistic, autistic people are all around us, so it is imperative that we have a better understanding of this epidemic, and how we can best help the children who are affected by it. Amazingly, one of the best ways to do this may be through the theater; at least, that's what I discovered when I saw Mockingbird at First Stage. Live theater has this incredible way of giving the audience a heightened sense of walking in someone else's shoes; a path to empathy that is stronger and more real than any lecture, conversation, or story can create. In Mockingbird, based on the novel by Kathryn Erskine, we spend some time in Caitlin's shoes (Alex Salter/Emily Harris); an 11 year old autistic girl who is dealing with the loss of her brother in a school shooting. Caitlin's father (Dan Katula), a widower, is doing the best he can, but Caitlin doesn't process things the way most people do, and he is clearly overwhelmed. One of the things Caitlin and her brother loved was the movie, To Kill A Mockingbird. Caitlin envisions herself as Scout, her brother as Jem, and her father as the lawyer, Atticus Finch. While Jem is gone, it is up to her and her father to make things right, for themselves and their community. Directed by Marcella Kearns, Mockingbird is not a lighthearted look at autism, though it is not short on humor. As Caitlin narrates her own story, her honesty and insight can be as funny as it is brilliant, and the use of lighting and sound creates a very clear experience of what it is like to be Caitlin. This play should be required viewing for anyone who has any association with autistic people; it is, quite possibly, one of the most powerful, insightful, and moving performances I've ever seen at First Stage. Mockingbird runs through April 9th at the Todd Wehr Theater, located at 929 N. Water St. in downtown Milwaukee. Tickets are available by calling the Ticket Office at (414) 267-2961, or on the First Stage website at http://www.firststage.org. Mockingbird is recommended for ages 7 and up. There is a special Sensory Friendly Performance: Saturday, April 8 at 1:00 p.m. First Stage has recently announced its 2017/18 Season, which will include Chitty Chitty Bang Bang, The Miraculous Journey of Edward Tulane, A Charlie Brown Christmas, The Wiz, The Cat in the Hat, Spookly the Square Pumpkin, Antarctica, WI, Judy Moody and Stink: The Mad, Mad, Mad, Mad Treasure Hunt. The season will also include two performances by the First Stage Young Company: The Skin of Our Teeth and Henry V. Theatergoers can save up to 50% off regular single-ticket prices and get the best seats of the season by ordering a Family Package before June 30th! By Mary Boyle Groucho Marx may not be very familiar to anyone under the age of 50, and yet, the cigar-smoking, grease-mustached, stooped-walking, bespectacled middle child of the famous Marx Brothers will forever be a part of American culture. Those funny black glasses with the big nose and mustache attached? That's Groucho. That song about Lydia the tattooed lady? Groucho made that famous. Groucho, along with Charlie Chaplin, W.C Fields, Mae West, Buster Keaton, and Jimmy Durante, made the jump from Vaudeville to film in the 1920's, inspiring generations of actors and comedians along the way. While Groucho has been gone since 1977, today's audience can still get a perfect sense of his wit and talent thanks to Frank Ferrante, who's bringing this comic genius to The Rep's Stackner Cabaret stage in An Evening With Groucho. The production is written, directed, and performed by Ferrante, who is accompanied by pianist, Gerald Sternbach, one of L.A.'s foremost Musical Directors. Ferrante enters the stage as himself but, with the help of a bit of grease paint and some glasses, transforms himself into Groucho before the audience's eyes. Part storytelling, part musical, and pure comedic genius, Ferrante uses his own sharp wit, inspired by Groucho, and the people in the audience to move the performance along, making each show unique. The intimacy of the Stackner is the perfect venue for this production, and Ferrante certainly does his best to get to know the audience...intimately. Ferrante, who was shy as a child, discovered Groucho on the T.V. quiz show, You Bet Your Life. In 1985, as a Drama Student at the University of Southern California, Ferrante invited Groucho's son, Arthur, to his senior project performance, based on Groucho. According to Ferrante, "It was serendipity." Just a year later, he starred in Arthur's play, Groucho: A Life in Revue, and he has played Groucho ever since, from New York to London, and even for a PBS special. Although he never met Groucho, himself, Ferrante is close with his family members, and has had the opportunity to meet and speak with many who were close with the famous comedian. Groucho, along with his brothers, Chico, Harpo, Gummo, and Zeppo, star in five of the American Film Institute's 100 Funniest Movies: Duck Soup (1933), A Night at the Opera (1935), A Day at the Races (1937), Horse Feathers (1932), and Monkey Business (1931). In 1949, the brothers split up, and Groucho went on to perform solo on both radio and television. Vaudeville performers like the Marx Brothers inspired our modern day variety television shows, such as the Ed Sullivan Show and the Tonight Show. In fact, Groucho Marx was the very first guest on The Tonight Show Starring Johnny Carson in 1962. Getting to know Groucho is an essential part of understanding American culture, and Frank Ferrante brings this icon to life, right on the stage, the way he was meant to be experienced. As Ferrante says, "Tell 'em Groucho sent ya!" An Evening With Groucho runs through May 28th at The Rep's Stackner Cabaret (108 E. Wells St. in Milwaukee). Tickets can be purchased online at www.milwaukeerep.com, by calling (414) 224-9490, or in person at the Ticket Office. An Evening With Groucho is sponsored by David and Camille Kundert. The Rep is sponsored in part by the United Performing Arts Fund. 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 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 The classic story of Beauty and the Beast is all the rage right now, thanks to Emma Watson taking a turn as Belle in Disney's new live action version of their 1991 animated hit; however, long ago, before Disney got a hold of it, the story was a French fairy tale called La Belle et la Bête, which made its first appearance in print in the 18th Century, and inspired an opera by the name of Zémire et Azor, which is making a timely appearance at Skylight Music Theatre through March 26th. Written by Jean-François Marmontel, with music by André Ernest Modeste Grétry, this opera from 1771 has remained a favorite for audiences of all ages, and Director James Ortiz has added a very special twist to this production. “We have created a true spectacle, a visual feast, featuring giant-size puppetry to tell this fairy tale,” said Ortiz. “At its core, Beauty and the Beast is a rollicking evening of great music, magic and heart, with moments of real poignancy and tenderness. We have infused our production with vivid sets, elaborate costumes, compelling dance, and enormous puppets to transport the audience to another world where the power of love can break a curse.” To make the opera even more accessible to today's audiences, Skylight's music director, Shari Rhoads, and director/designer, Ortiz, have done their own translation of the original French into English, except for Zémire’s famous aria, Air de la Fauvette, which remains in its original language. Zémire (Gillian Hollis) is the youngest daughter of a wealthy, widowed merchant named Sander (Eric McKeever). While her older sisters, Fatme (Erin Sura) and Lisbe (Sarah Thompson Johansen), demand gifts from their father whenever he returns home, Zémire asks for nothing; when her father insists, she asks only for a rose. Sander and his servant, Ali (Nicholas Nestorak), lose their ship at sea and are driven to a seemingly abandoned castle to seek shelter from the storm. When Sander picks a rose for his youngest daughter, he is confronted by Azor (Chaz'men Williams-Ali), the beast, who demands that Sander give his youngest daughter to pay for his thievery, but that she must come willingly. Sander returns to his daughters empty-handed, except for the rose for Zémire, intending only to bid farewell to his daughters, and then to sacrifice himself to the beast, but Zémire learns of Azor's demand, and she forces Ali to bring her to the castle. This particular production is an excellent example of 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 massive form of Azor is an impressive, and endearing, piece of puppetry, while Gillian Hollis, as Zemire, looks as if she stepped right out of a Renaissance painting. Nicholas Nestorak, as Ali, gets all of the laughs, while the sisters get all the animosity. The beautiful Cabot Theatre enhances the elaborate set design and costumes, and the voices of the performers and music of the live orchestra are pure magic. Drama, romance, comedy -- audiences will find it all in Skylight's Beauty and the Beast. Beauty and the Beast (Zémire et Azor) runs through Sunday, March 26th in the Cabot Theatre, located at 158 N. Broadway in Milwaukee. Tickets are available at the Box Office, by calling (414) 291-7800, or online at http://www.skylightmusictheatre.org. About Skylight Music Theatre Since the beginning, Skylight Music Theatre has established a reputation for broad and adventuresome repertoire, encompassing baroque opera, European operetta, Gilbert and Sullivan, Broadway musicals, contemporary chamber operas, and original musical revues. This tantalizing mix of repertoire fulfills the mission of the Skylight, which is to bring the full spectrum of musical theatre works to a wide and diverse audience in celebration of the musical and theatrical arts and their reflection of the human condition. By Mary Boyle When you think back to the books you were required to read in high school, it's likely that you read the play The Glass Menagerie by Tennessee Williams; it's equally likely that you didn't get much, if anything, from reading it, because this play requires more empathy than your average high school student can muster. Many a grown-up can recall that painful classroom reading of Romeo and Juliet in their freshman year that ruined Shakespeare for all time (plays, you see, are meant to be seen, not read). Luckily, now is your chance to experience this theater classic the way it was meant to be, with The Milwaukee Repertory Theater's production of The Glass Menagerie. The play, which brought Williams into the limelight, premiered in Chicago in 1944, but quickly made its way to Broadway, where it won the New York Drama Critics Circle Award in 1945. Largely autobiographical, the story is set in the same tenement building in St. Louis during the Great Depression that Williams, himself, began to write in, while the characters are modeled after Williams and his family; particularly his older sister, Rose, who suffered from schizophrenia and was institutionalized after a botched lobotomy during a period of time when Williams was away from St. Louis. Williams went on to be a prolific playwright, winning Pulitzer prizes for his plays, A Streetcar Named Desire and Cat on a Hot Tin Roof, and made sure that Rose was well cared for throughout her life. In this "memory play," Williams character is Tom Wingfield (played by Ryan Imhoff), a young man struggling with the weight of putting aside his own dreams in order to support his mother, Amanda (Hollis Resnik), and his sister, Laura (Kelsey Brennan), after their father left them. A faded Southern Belle, Amanda escapes her bitter reality by living in her storied past, while simultaneously fretting over the future, and what will become of her and her children. Laura's life has been shaped by her disability: a leg crippled by a childhood illness that has left her with a noticeable limp; more crippling, though, is her social anxiety, which has left her unable to attend the typing classes her mother had hoped would gain her employment and, therefore, financial security. Laura wants nothing more than to be left alone with her glass menagerie, but the logical option to secure Laura's future would, of course, be a husband, so Tom is charged with finding a "Gentleman Caller" (Brandon Dahlquist) to save the day. Directed by Mark Clements, The Rep's Menagerie has an excellent cast and a brilliant set that stays true to Williams' vision: seemingly stark, direct, and simple. The narrator takes the guesswork out; the metaphors are obvious. On the surface, it appears to be mainly a story of desperation and regret, but what makes it timeless and intriguing is its relationship to each individual in the audience; the way a person identifies with the characters in the play that changes with age, life experiences, and the passage of time, so that although the play remains the same, it is different each time you see it. Though some of the social conditions that contribute to the characters' troubles in this play no longer exist, the play remains as compelling as ever. Perhaps, those thousands of high school English teachers are on to something. The Glass Menagerie runs through April 9th at the Quadracci Powerhouse Theater, located at 108 E. Wells St. in Milwaukee. Tickets can be purchased by calling the Ticket Office at 414-224-9490, online at https://www.milwaukeerep.com, or in person at the Ticket Office, Monday – Sunday from 12 p.m. – 6 p.m. The Ticket Office will also be open on performance days from noon until 15 minutes after curtain. 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 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 Texting is the main form of communication for high school students, these days, and the inherent loss of nuance, tone, and body language that informs a face-to-face conversation has caused plenty of problems previous generations couldn't possibly imagine. In the World Premiere play, "TXT U L8R," performed by the First Stage Young Company, a group of students are getting strange texts from people they don't know that create all kinds of chaos, but is it a clever prank, or is there something more to their digital companions than meets the eye? Playwright, Eric Coble, has done several adaptations for the stage, including Sherlock Holmes: The Baker Street Irregulars, which made its world premier at First Stage in their 2014/15 season. "TXT U L8R," however, is an original that Coble wrote specifically for Young Company to perform at the 2016 New Visions/New Voices conference in Washington D.C. last May. The week-long conference, hosted by the John F. Kennedy Center for the Performing Arts, inspires new plays and musicals geared towards young audiences and families. Directed by Milwaukee favorite, Matt Daniels, who also happens to be the Associate Director of the Young Company, "TXT U L8R" is Clue meets The Breakfast Club, with a little bit of Horton Hears a Who, for good measure; in other words, kids ages 12 and up are going to love this fast-paced, funny, mystery that manages to shed some light on the people we see, but don't really see, every day. Tickets for TXT U L8R are selling fast! The remaining performances are on Saturday, March 18th, at 3:30 and 7 p.m. at the Milwaukee Youth Arts Center, located at 325 W. Walnut St. in Milwaukee. Tickets are $14, and can be purchased by calling (414) 267-2961, or online at http://www.firststage.org/. About First Stage Celebrating its 30th anniversary in the 2016-2017 season, First Stage is one of the nation’s leading theaters for young audiences and families. First Stage touches hearts, engages minds, and transforms lives by creating extraordinary theater experiences for young people and families 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 use theater to promote active learning throughout the curriculum, serving over 20,000 students throughout southeastern Wisconsin each year. In 2012, First Stage was selected to participate in the Partners in Education program of the John F. Kennedy Center for the Performing Arts. First Stage is the recipient of the Milwaukee Business Journal’s Eureka Award in 2013 and 2015, recognizing creativity and innovation in business, education, and the arts. First Stage is a member of TYA/USA, the American Alliance for Theatre and Education, the Wisconsin Alliance for Arts Education, Theatre Wisconsin, and Milwaukee Arts Partners, and is a cornerstone member of the United Performing Arts Fund (UPAF). By Mary Boyle Most people know of Robin Hood, the English outlaw/hero who robs from the rich and gives to the poor. Countless ballads, tales, books, plays, and movies tell the story of this nobleman who left his wealthy life to live with the Merry Men in Sherwood Forest; now, First Stage is taking a stab at it, with hilarious results, in their World Premiere of Robin Hood. Written by Joe Foust and John Maclay, who also act in the production, this new version of a celebrated classic stays very true to its roots, while being entirely engaging to today's audience. Fight scenes, non-stop humor, and a brilliant cast makes for a perfect play that the entire family can enjoy. In this version, Robin Hood (Dominique Worsley/Domonique Champion) and his Merry Men, led by Little John (James Fletcher) and Friar Tuck (Tommy Novak), are training a band of kids who wish to become Merry Men, themselves: Geoffrey (Jack Burns/Ben Kindler), Kate (Grace Berendt/Zora Allison), Joan (Taylor Loomans/Camara Stampley), Much (Nicholas Doermann/Jonathan Neustifter), and Elizabet(Anna Fitzsimmons/Jennie Babisch). Far from being a damsel in distress, Maid Marion (Allie Babich) is just as much of a match as Robin against the evil Archbishop of York (Joe Foust) and the Sherrif of Nottingham (John Maclay), who are quite possibly the most brilliant and entertaining evil duo ever to cross Todd Wehr's stage. There are two odd characters who manage to steal the show with the few lines they have: the Deputy to the Sherrif (Elliot Brotherhood/Jacob Badovski), and Sir Thomas, the Silent (Teddy Esten/Benjamin Sturcyz). As you might imagine, Sir Thomas really doesn't have much to say, and so his part requires a lot of body language. Teddy Esten, a senior at Cedarburg High School, plays Sir Thomas in the Sherwood Cast, and Robin Hood will be his final performance with First Stage. "Robin Hood has been very different from most of the other productions I've been in, and I think most of it has to do with the maturity and experience level of my cast," Esten explained. Many shows I've done have a large mix of younger and older performers, so you get a large skill gap within the group, where many of the younger kids don't understand exactly what the director wants. With this cast, there was a lot of immediate response from people. They all worked very hard and were very focused while rehearsing, but still knew how to have fun when on breaks; not to mention, having the playwrights in the cast with us was certainly interesting -- we would never know if lines were going to stay, because we kept adding and cutting different pieces as we went along, which is normally against copyright laws." "Bittersweet" was the word Esten used to describe his last production with First Stage. "It's amazing to think that I've been a very large part in this amazing community that is First Stage, but also really sad I won't be returning as a Young Performer at the Todd Wehr. I have absolutely loved every moment of working with this company, to the point where 'company' is a much less fitting word than 'family' is. The people there are absolutely one of a kind, and I doubt I will run into another group so dedicated to changing lives through theatre. I'm very proud of all the work I've done at First Stage, and I hope to return in a number of years as a part of the adult cast." While Esten intends to pursue a career in theater because of his experience in First Stage, he said that he learned so much more than acting. "Life skills through stage skills is more than just a motto or catch phrase at First Stage, it's a guarantee," Esten said. "The amount of things I have learned through my many classes that are applicable to my life is astounding; perhaps the most important being a skill many people my age don't have: the ability to be myself. I never have to put on a mask to go in public, or to school, or anywhere; I'm just me. [Furthermore], I find myself using more intelligent English than many other people, due to my experience with Shakespeare. I find myself raising my hand and not being afraid to offer a counter opinion to something I don't agree with. I find myself able to stand up to someone who is harassing or mistreating another person. These things all come from what I do in theatre, which is to feel for other people." First Stage, like most theater, hopes to bring current events and important discussions to people in the way only theater can. Director Jeff Frank explains that, underneath the grand adventure of Robin Hood, there are important questions asked within the play about what actions we take in the face of corrupt authority, whether it is acceptable to break a law to right a wrong, and what makes a leader. "[We've created] something quite wonderful that speaks to days of yore, but also reflects the issues that still plague us today." Robin Hood will have you laughing out loud while you simultaneously discover profound truths. As Robin says, "We must always strive for kindness...kindness can change the world." Robin Hood runs through March 12th at the Marcus Center's Todd Wehr Theater in Milwaukee (929 N. Water St.). Tickets can be purchased in person at the Marcus Center Box Office, by calling (414) 273-7206, or online at www.firststage.org. About First Stage Celebrating its 30th anniversary in the 2016-2017 season, First Stage is one of the nation’s leading theaters for young audiences and families. First Stage touches hearts, engages minds, and transforms lives by creating extraordinary theater experiences for young people and families 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 use theater to promote active learning throughout the curriculum, serving over 20,000 students throughout southeastern Wisconsin each year. In 2012, First Stage was selected to participate in the Partners in Education program of the John F. Kennedy Center for the Performing Arts. First Stage is the recipient of the Milwaukee Business Journal’s Eureka Award in 2013 and 2015, recognizing creativity and innovation in business, education, and the arts. First Stage is a member of TYA/USA, the American Alliance for Theatre and Education, the Wisconsin Alliance for Arts Education, Theatre Wisconsin, and Milwaukee Arts Partners, and is a cornerstone member of the United Performing Arts Fund (UPAF). |
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