By Mary Boyle A young American playwright from Denver, Max Posner has created a significant amount of Off-Broadway stir with his plays: dark comedies that bring an almost alarming amount of reality to the stage. Next Act Theatre in Milwaukee is tackling the Wisconsin premiere of Posner’s most recent play, THE TREASURER, from 2017, for their season finale, which gives area audiences a chance to get a taste of this up-and-coming writer. This production marks the first play directed by Cody Estle, Next Act’s Artistic Director, who took over for David Cecsarini in the middle of last season. The story of The Treasurer is a relatable one to any middle-aged person, in that it is about taking care of an aging parent, but this story goes a bit further into the dynamics of the parent-child relationship. Ida Armstrong (Annabel Armour) finds herself alone and destitute after the death of her second husband and calls on her three sons for help; the three sons she abandoned when they were quite young to marry said second husband. “The Son” (Reese Madigan) who takes charge of Ida’s finances is the narrator of our story; he is quite certain he’s going to hell because he doesn’t love his mother, yet he and his brothers (Alexis Green and David Flores) seem powerless to say no to her unreasonable demands. Most of the contact between The Son and Ida takes place over the phone, as he is in Denver and she is in Albany, and each conversation is oftentimes both funny and painful to witness. Meanwhile, between calls, we watch Ida’s desperate attempts to connect with another human being while her condition deteriorates both mentally and physically, until the time comes when she must be moved to a facility that can offer more care. The set design seems ridiculously sparse and simplistic – mostly a single wing back armchair that gets moved back and forth as the story switches from phone calls between the brothers to whatever Ida is up to now – and then, out of the blue, an entire Asian restaurant rolls onto the stage, where Ida and her son are finally face-to-face at one of the most awkward and uncomfortable dinners you will ever attend (but kudos to Scenic Artist Carri Dahl for her amazing work). Reese Madigan, who is regularly seen in The Milwaukee Rep’s annual production of A Christmas Carol as Bob Cratchit, and was recently seen this season in Renaissance Theaterworks’ production of Witch, is entirely believable as Ida’s frustrated, struggling son and is an excellent choice for the strong and steady actor who carries the bulk of the production on his shoulders. Annable Armour, who makes her Next Act debut, gives an inspired performance as the narcissistic and rapidly aging Ida Armstrong, managing to elicit the same empathy from the audience that her character wrings out of her children, though that character is difficult to like. David Flores and Alexis Green, who also make their Next Act debuts, take on a wide variety of other characters in stride, besides playing Ida’s other children, making for a very strong cast. What’s fascinating about Posner’s play is the realness of it; every one of the characters will remind you of yourself or someone you know, which is what makes it so accessible. Yes, this play will have you considering the care of an aging parent, or your care as the aging parent, but it also delves deeply into the relationship we have with our parents and our children, how that relationship makes us feel about ourselves, and how it plays out in our lives. As thought-provoking as it is uncomfortable and as funny as it is heartbreaking, The Treasurer is a worthy piece of modern theatre. THE TREASURER runs through May 19th at the artistic home of Next Act Theatre, located at 255 S. Water Street in Milwaukee. Tickets may be purchased by calling (414) 278-0765 or online at www.nextact.org. About Next Act Theatre Since 1990, Next Act Theatre has been engaging the hearts and minds of audiences with intimate, compelling productions intended to stimulate thought, foster the exchange of ideas, and promote the development of new perspectives and understanding. Next Act believes that stories work best when they involve characters in the midst of a struggle or a quest. Audiences identify with them, becoming emotionally and intellectually invested. The character’s situation, tragedy or triumph becomes the audiences’ to endure, mourn or celebrate. The theatre proves itself, then, as essential to the nourishment of our human spirit by bringing us together to examine, experience and explore the human condition, perhaps coming away with knowledge and perspective that only a good story can deliver.
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By Mary Boyle Sir Tom Stoppard is a prolific British playwright, who also writes for television and film. A fan of Shakespeare, two of Stoppard’s best-known works are based on the bard, including the 1998 film Shakespeare in Love, starring Gwyneth Paltrow and Ralph Fiennes, among other greats, and his 1966 play Rosencrantz and Guildenstern Are Dead, which he rewrote and directed as a film in 1990 starring Gary Oldman and Tim Roth – the only film he ever directed. While this film was no cinematic hit, it has remained a cult classic among Shakespeare enthusiasts, as it is built on Shakespeare’s Hamlet, where Rosencrantz and Guildenstern appear as minor characters. I have been waiting for over a decade for someone to stage this play and, blessedly, Sheboygan Theatre Company’s Studio Players came to the rescue with their production of ROSENCRANTZ & GUILDENSTERN ARE DEAD. The title of the play is taken straight from the final scene from Hamlet in which an English Ambassador arrives and announces that "Rosencrantz and Guildenstern are dead." Rosencrantz and Guildenstern were the childhood friends of Hamlet who are sent for by the King and Queen of Denmark to discover what’s wrong with Hamlet and, eventually, escort him to England. In Hamlet, they play a very small part in the play; in this play, they are the stars of the show, set in the spaces between the parts of Hamlet where the two characters appear. We meet the duo on their way to Elsinore, flipping coins and discussing the law of probability. With no way to refuse the King and Queen’s request, their fear, frustration, and confusion grows as they become caught up in the tragedy. Directed by Duncan Doherty, this Rosencrantz and Guildenstern is modelled after Laurel and Hardy, the iconic comedic duo who appeared in the age of silent film in the late 1920s and continued in popularity through the early 1950s, which was an inspired choice. Michael V. Hayes, who plays Rosencrantz, is tall and thin, like Laurel, while Daniel Hennell, who plays Guildenstern, is short and stout like Hardy, so the physical resemblance is there, complete with bowler caps and suits, but the characters are also quite similar in their somewhat dimwitted, yet philosophical, manner, which works perfectly for this slightly dark comedy. These two characters bear the brunt of the dialog, which is nearly as witty and complex as any written by Shakespeare, and they manage it well. The Studio Players was born in 2012, as an offshoot of the Sheboygan Theatre Company, to offer an alternative to their mainstage productions in an intimate black box space – in this case, at the 8th Street Ale Haus Taproom (next door from the bar/restaurant), located at 1132 N 8th Street in Sheboygan. While the “theater” is lacking in sound and lighting technology, the actors make the most of the space, which offers an opportunity to get up close and personal with both the play and the players, as well as a chance to see some rare productions outside of Milwaukee’s theatre district. The remaining cast consists of Jeff Kelm as Claudius/Tragedian, Paul Kobylorz as Alfred/Polonius/Horatio, Amy Jo Krueger as The Player, Samuel Loomans as Hamlet/Tragedian/Spy, Judith Maupin as Gertrude/Tragedian, and Corrine M. Schultz as Ophelia/Tragedian/Ambassador/Soldier. As with most community theatre, some of the actors are steeped in STC history, while others are brand new, but the strength is in the whole, and this is a strong cast. Despite two intermissions, this production moves quickly and is sure to delight fans of Shakespeare or anyone wishing to broaden their live theatre experience. ROSENCRANTZ & GUILDENSTERN ARE DEAD runs through April 28th at the 8th Street Ale Haus Taproom (next door from the bar/restaurant), located at 1132 N 8th Street in Sheboygan. Tickets may be purchased online at https://www.stcshows.org/ for Saturday, April 27th at 7 p.m. and Sunday, April 28th at 2 p.m. Join STC Studio Players for their final show in May, RENT! About Sheboygan Theatre Company Originally known as Community Players, Sheboygan Theatre Company (STC) was founded in 1934 when talented citizens from nearly 30 separate theatre groups combined to provide quality entertainment on the shore of Lake Michigan. In 90 seasons, STC has experienced many changes, but our commitment to quality has never diminished. STC produces at least four Main Stage shows each year in the Leslie W. Johnson Theatre on the Horace Mann Middle School campus, as well as smaller productions through our "black box" theatrical group, Studio Players. STC operates as a non-profit within the Sheboygan Area School District Community Recreation Department and is a volunteer-run organization with a 15-member Advisory Committee. By Mary Boyle Tina Turner was undoubtedly a pioneer in the musical world. One of the world’s best-selling artists, selling more concert tickets than any other solo performer, she was the first female artist and the first black artist to appear on the cover of Rolling Stone Magazine, and one of only three women to be inducted into the Rock and Roll Hall of Fame twice. Her life story, which is one of overcoming a long stream of tragedy and hardships, has been recounted in books, films, and even on Broadway. TINA: THE TINA TURNER MUSICAL was unveiled in the West End in 2018 and was nominated for 12 Tony Awards after its premier on Broadway in 2019. Now, the North American Tour, one of eight tours of the production around the world, has made its way to Milwaukee thanks to the Broadway at the Marcus Center series, where fans of all ages can experience the life of this amazing artist for themselves. As a child of the 80s, I remember in real time the rise of Tina Turner, but didn't have a concept of all that she had risen from. Born Anna Mae Bullock in Brownsville, TN in 1939, the young girl did her first singing in church while being bounced back and forth between the parents and grandparents who raised her. Eventually, she made it to St. Louis where she met Ike Turner, an up-and-coming R&B artist who only had to hear Bullock sing once before he brought her into his band. Rebranding Anna Mae as Tina Turner, the duo married in 1962 and spent the next 14 years in a tumultuous relationship that produced a lot of popular music, but also became so physically abusive, Tina had to escape to a nearby hotel with nothing but 36 cents where, thankfully, she was given the room that quite possibly saved her life. Through hard work and providence, Turner was able to rebuild a solo career that began in earnest with her 1984 album, Private Dancer, which went on to win 3 Grammy Awards and achieve 5X Platinum status. With book by American playwright Katori Hall, with Frank Ketelaar and Kees Prins, TINA is a jukebox musical featuring all of Turner’s greatest hits, from her time with the Ike and Tina Turner Revue, to her rise to solo stardom in the 80s, including “Shake a Tailfeather,” “Better Be Good To Me,” “River Deep – Mountain High,” “Proud Mary,” “What’s Love Got to Do With It,” “We Don’t Need Another Hero,” “(Simply) The Best,” and more. Most of the music is performed with a live band, directed by Dani Lee Hutch, and the show becomes a full-on concert by the end, which has audience members leaving on a high note after going through Turner’s hardships. In the North American tour, Tina is played alternately by Ari Groover and Zurin Villanueva and, when you see how much energy this performance takes, you’ll understand why. I saw Villanueva, and though she has the physical energy required for this part, she missed the mark on recreating Turner’s iconic, raspy voice, which she seemed to be exerting a lot of energy trying to replicate, resulting in an overall harshness. By the end of the show, I felt that she would surely blow out her voice by the end of the tour. One of the highlights of the production is Young Anna Mae, who is also double cast as Brianna Cameron or Symphony King. I saw Cameron, and she stole the show – that kid has a voice! Notable performances also for Deon Releford-Lee, who is well cast and believable as Ike Turner, and Roz White as Turner’s mother, Zelma. Tina Turner passed away nearly a year ago on May 24th, 2023, after suffering a lengthy fight with intestinal cancer and kidney disease; assisting in the making of this musical was one of her final projects. While the musical highlights much of the struggle of Turner’s life, it would be impossible to fit in all the triumphs, from the many amazing musical collaborations she’d made over her lifetime, to all the good work she contributed to, and to all the doors she broke down as a black, female artist. Tina Turner was truly an icon who deserves to be remembered, and what better tribute than a musical? TINA: THE TINA TURNER MUSICAL runs through April 28th at the Marcus Performing Arts Center’s Uihlein Hall, located at 929 N. Water Street in Downtown Milwaukee. Tickets may be purchased online at www.MarcusCenter.org, calling 414-273-7206 or by visiting the MPAC Box Office. Groups of 10 or more can secure their seats by calling 414-273-7207. About Marcus Performing Arts Center A mission-based non-profit organization located in downtown Milwaukee, the Marcus Performing Arts Center (MPAC) brings high-quality arts and cultural programming to Southeastern Wisconsin. MPAC strives to act as an energizing force that connects the community to the world through collaboration, innovation, social engagement, and 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 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 with over 400,000 subscribers. Presentations include Disney’s The Lion King, Wicked, The Book of Mormon, and Hamilton. Current productions include & Juliet, Hadestown, Hamilton, Kimberly Akimbo, MJ: The Musical and Moulin Rouge! The Musical. By Mary Boyle I keep saying it, but the First Stage Young Company is truly the best-kept theatre secret in Milwaukee. These high school aged kids receive college-level training from some of Milwaukee’s finest actors and directors, along with a professional-level performance space, which makes for some of the best, most economical live theatre in the area. For their final performance this season, YC is doing AN ENEMY OF THE PEOPLE, adapted by the great American playwright Arthur Miller (Death of a Salesman) from the original play by Henrik Ibsen, and it could not be any more timely. “The wisest man is not the one who possesses all the answers, but the one who questions everything.” Directed by Joshua Pohja, An Enemy of the People centers on Dr. Thomas Stockmann (John Eash-Scott), a doctor in a small Norwegian town that is becoming known for their healing spring. Unfortunately, the Doctor has discovered that the spring is contaminated with toxins from further upstream, because of the way it was constructed (which he’d advised against), but he is certain that when he tells his brother, Peter (William Kastner), who also happens to be the town’s Mayor, the town will fix the problem by rebuilding the spa, and he will become a hero of the people. The doctor’s wife, Catherine (Maya Thomure), and adult daughter, Petra (Reily Fitzsimmons), aren’t as certain, but Catherine’s father, Morten Kiil (Thatcher Jacobs), seems delighted by the potential chaos. “Silence in the face of injustice is complicity.” Initially, the town’s reporters, Billing (Mara Holzen) and Hovstad (Elena Marking), are determined to break the doctor’s story and reveal the incompetence of the town’s leaders; however, the Mayor demands that the Doctor keep his findings a secret, as revealing them will cause the town to lose much-needed money from visitors. The doctor refuses but, before he can get his statement published, the Mayor visits the newspaper. When the reporters and the owner, Aslaksen (Madison Jones), learn from the Mayor that a new tax will be enforced to pay for the rebuild of the spa, they realize that the people will blame them, so they refuse to print the Doctor’s report. “The measure of a civilized society is how it treats its dissenters.” Determined to reveal the truth, the Doctor calls a public meeting with the help of his friend, a ship Captain named Horster (Sophia Bernhardt), but the Mayor and Aslaksen work to make sure that the Doctor is discredited. First, Petra is fired from her teaching job; then, their young son, Morten (Lila Lester), is sent home from school after getting beat up by some of the other kids; Captain Horster, who had offered the family passage to America on his ship, lost his position for supporting the doctor. Then, just when the Doctor thinks it can’t get any worse, it does. Will he hide the truth to save himself and his family, or will he stand by his findings and keep his integrity? “The strongest man is the one who stands up against the mob, even if he stands alone.” Ibsen’s play premiered in 1882 – over 120 year ago – while Miller’s adaptation came out in 1950 – 74 years ago – and it continues to be relevant, today. This Young Company production, done in their stark, minimalist style with sparse props and simple costuming, is powerful, moving, and thoroughly enlightening. This is must-see theatre for our times and these kids are nothing short of brilliant. See it while you can! AN ENEMY OF THE PEOPLE runs through April 28th at the Milwaukee Youth Arts Center, located at 325 W. Walnut Street in Milwaukee. Tickets are $15 and may be purchased at firststage.org or by phone (414) 267-2961. About First Stage Founded in 1987, First Stage is one of the nation’s leading theaters for young people and families, and a driving force behind the creation of the best and most innovative plays for family audiences, theater training programs for young people, and education initiatives for its schools and community. First Stage produces plays that honor the young person’s point of view, include diverse and traditionally underrepresented voices and inspire meaningful conversations. First Stage has presented more than 70 world premiere productions that address important subject matters relevant to today’s youth. The Theater Academy is one of the nation’s largest high-impact theater training programs for young people (3-18 years old). Through a challenging curriculum taught by professional teaching artists, the Academy nurtures life skills through stage skills and includes the Next Steps Program that tailors Theater Academy classes to the needs of autistic young people. As Wisconsin’s leader in arts-integrated education in schools, First Stage’s dynamic Theater in Education Programs cleverly blend theater activities with standard curriculum – allowing more than 10,000 students annually to learn traditional academic subjects through creativity and self-expression. First Stage ensures that all programming is not only accessible to its community but that it is reflective of the community it serves. In order to do that, First Stage relies on its community of donors. With an annual operating budget of $5 million, more than half of First Stage’s revenue comes from generous contributions from individuals, corporations, foundations, government sources and the United Performing Arts Fund. Join First Stage’s community of donors with a contribution today and transform lives through theater. First Stage is a member of TYA/USA, the American Alliance for Theatre and Education, the Wisconsin Alliance for Arts Education, Milwaukee Arts Partners and is a cornerstone member of the United Performing Arts Fund (UPAF). firststage.org About Young Company First Stage Young Company, the Theater Academy’s award-winning training program for advanced high school actors, is open to students who want to take their work to the next level. Accepted students will complete college and graduate-level training in Acting, Voice, Movement and Shakespeare as well as electives ranging from Auditioning to Stage Combat to Dialects. Traditionally, the Young Company hosts master classes with guest artists from across the nation, produces a season of three plays and facilitates special excursions to the Utah Shakespeare Festival and American Players Theatre. To learn more, please visit: firststage.org/theater-academy/young-company/ By Mary Boyle There is no denying that Lin-Manuel Miranda's hit musical, Hamilton, changed Broadway forever. Since it first hit the stage in 2015, the unlikely blend of hip-hop, rap, and American history has been making history, winning the Tony Award for Best Musical and a Grammy Award for Best Musical Theater Album, among many others. Although it appeared Off-Broadway just a year later than Hamilton, SPAMILTON: AN AMERICAN PARODY is slightly less well known, but fans of the original, and of Broadway musicals in general, will get plenty of laughs from this parody production appreating at the Marcus Performing Arts Center's Vogel Hall in Milwaukee through April 20th. With book and lyrics by George Alissandrini, creator of Forbidden Broadway, Spamilton very loosely tells the tale of the rise of Lin-Manuel Miranda and his incredible show, while making fun of every other major Broadway show you can think of, and they do it with an incredibly talented cast of just five people (and a few hand puppets, on occasion): Jorge Blakely as Lin-Manuel Miranda, along with Marissa Hecker, Jason Denton, Justin Emmanuel Parker, and Chris Anthony Giles, who each play a variety of characters. The songs for the show are almost entirely built on the music of Hamilton, with a sprinkle of other Broadway classics, for good measure, and played entirely by one pianist (Fred Barton), yet the sound is far from sparse. Fast-paced, bare bones, and hilariously funny, this is a musical for people who want to make fun of musicals, but who still have a healthy respect and love for the art form. SPAMILTON: AN AMERICAN PARODY runs through Saturday, April 20th at the Marcus Performing Arts Center's Vogel Hall, located at 929 N. Water Street in downtown Milwaukee. To purchase tickets, visit www.MarcusCenter.org, call 414-273-7206, or visit the MPAC Box Office at 929 North Water Street, Downtown Milwaukee. Groups of 10 or more can secure their seats by calling 414-273-7207. About Marcus Performing Arts Center A mission-based non-profit organization located in downtown Milwaukee, the Marcus Performing Arts Center (MPAC)brings high-quality arts and cultural programming to Southeastern Wisconsin. MPAC strives to act as an energizing force that connects the community to the world through collaboration, innovation, social engagement, and 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. By Mary Boyle I think that there is no fairy tale more familiar to all than Cinderella. The tale of a young woman who goes from servant to princess has been told in all genres across every culture since ancient times. Through April 7th, the Milwaukee Ballet presents their take on this classic story, and it's every bit as funny, magical, and family-friendly as the Disney version we will all compare it to. Directed by Michael Pink, this production is the funniest ballet I've yet to see by Milwaukee Ballet, even compared to The Nutcracker and Peter Pan, and this is entirely because of the stepsisters, who are performed by two male dancers in drag. I saw Garett Glassman and Eric Figueredo as Prunella and Lucretia, respectively, and they simply stole the show. Before the ball, the stepsisters are given a dancing lesson where the dancing master (Parker Brasser-Vos) and the Violinist (Alexander Koulos) add brilliantly to the comedic delight. Yet, while there is plenty of humor to entertain audience members of all ages, there is also plenty of beauty, romance, and magic to enchant. Lahna Vanderbush was a lovely and graceful Cinderella, regardless of whether she was in rags or finery, and Randy Crespo was a regal Prince. Marize Fumero made a fierce and intimidating stepmother who didn’t need any special powers to keep Cinderella’s weak father, performed by Davit Hovhannisyan, in check. While the spirit of Cinderella’s mother watched over her and transformed a pumpkin and mice into a carriage and horses, Cinderella was also helped by Jack, a serving boy, performed by the always delightful and energetic Barry Molina. The bright and colorful costumes on the Spirits of the Enchanted Garden and Courtiers by Peter Cazalet were like a spring bouquet of flowers, while the whimsical scenic design by Bruce Brockman placed the story firmly in the land of fairytales. While this version of Cinderella is very family-friendly, parents should know that it is long, though there are two intermissions to allow for set and costume changes, which helps to give time to get the wiggles out. That being said, this is an all-ages show that can be both a fun family outing, a romantic date activity, or a fun introduction to classical ballet. CINDERELLA with the Milwaukee Ballet runs April 4-7 at the Marcus Performing Arts Center, located at 929 North Water Street in downtown Milwaukee. Tickets may be purchased online at www.MilwaukeeBallet.org or by calling 414-902-2103. About Milwaukee Ballet Milwaukee Ballet is a Company of international artists, supported by a talented team of professionals and artisans. Our School & Academy attracts students from around the country to train under celebrated dancers, choreographers, and faculty. Our commitment to our craft is equal to our commitment to the community we serve. Learn more at www.MilwaukeeBallet.org. By Mary Boyle Can you believe that it’s been nearly 23 years since Shrek, the Dreamworks Animation film inspired by the children’s book of the same name by William Steig, hit the theaters? Featuring the voices of Mike Myers, Cameron Diaz, Eddie Murphy, and John Lithgow, Shrek was an unparalleled success, being the first to win an Academy Award for Best Animated Feature and the first 21st Century animated film to be preserved in the Library of Congress National Film Registry. Not only did the film inspire three sequels and a couple of Puss in Boots spin-offs, there was also a Broadway musical, with music by Jeanine Tesori and a book and lyrics by David Lindsay-Abaire, which ran for a little over a year. Now, the Kimberly Akimbo award winning duo have revisited their original musical and sent it off for a national tour, so audiences can “fall in love all ogre again” with SHREK THE MUSICAL. Directed and choreographed by Danny Mefford, the musical follows essentially the same storyline as the film, although here we get the chance to meet Shrek as a young child on his 7th birthday, which is also when his parents send him off into the world to find a place of his own. Settling down in a swamp all to himself for several years, Shrek (Nicholas Hambruch) is shocked to suddenly find his home invaded by a bunch of fairy tale creatures who have been run out of the kingdom by Lord Farquaad (Timmy Lewis). Shrek vows to go to the kingdom of Duloc to get his new neighbors restored to their own homes and is joined on his quest by a talking Donkey (Naphtali Yaakov Curry). When they reach Duloc, Lord Farquaad has another quest for Shrek to get his swamp back: he must rescue the Princess Fiona (Cecily Dionne Davis) from her tower, guarded by a fire-breathing dragon, so that Farquaad can marry her and legitimately become the King of Duloc. This is not a Broadway-level version of the show, but that doesn’t mean it isn’t a good time. The use of puppets helps to slim the cast and move the story along, as well as the original music written for the show and directed by Harrison Rothis. What I like about the production is that the actors make the characters their own, rather than trying to be the originals from the film, which would be an impossible reach. The cast, overall, is quite talented – there were plenty of opportunities to steal the show, and Farquaad, Donkey, Pinnochio, and Gingy took turns doing it. What I didn’t care for was the blatant rainbow washing with the “fabulous” wolf from Little Red Riding Hood. The original message from the film, to learn to love and accept yourself the way you are, was far more subtle. In this version of the musical, the writers don’t trust the audience to figure out the message for themselves, which is mildly annoying. Nonetheless, the show is a good time for all, but especially those within the Shrek fandom. SHREK THE MUSICAL comes courtesy of Round Room Live and Fifth Estate Entertainment to the Marcus Performing Arts Center, located at 929 N. Water Street in downtown Milwaukee, on Friday and Saturday, March 22nd and 23rd. To purchase tickets, visit www.MarcusCenter.org, call 414-273-7206, or visit the MPAC Box Office at 929 North Water Street, Downtown Milwaukee. Groups of 10 or more can secure their seats by calling 414-273-7207. SHREK THE MUSICAL is the part of the2023/24 MPAC Presents Series. 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. About Fifth Estate Entertainment Founded in 2016, Fifth Estate Entertainment is a New York based theatrical production and general management company specializing in developing and producing live entertainment for the stage as well as managing tours, New York City productions, and special events. Recent productions include the 10th Anniversary tour of Rock of Ages, Mystery Science Theater 3000 Live, and In Residence on Broadway. About Round Room Live Round Room Live is the leading producer and promoter of exhibitions and family show entertainment, specializing in transforming both new and iconic intellectual property into engaging and thrilling live events. Round Room creates unique live experiences tailored to the distinct character of each property and produces the highest quality productions for audiences around the world. Their current roster of touring theatrical shows includes: Blippi: The Wonderful World Tour, Blippi The Musical (2023 Olivier Award nomination for Best Family production), Sesame Street Live!, Peppa Pig Live, Nitro Circus 20th Anniversary Tour, and Blue’s Clues & You! Live On Stage. Round Room’s Immersive and Entertainment Experiences division is currently touring: Formula 1: The Exhibition, Jurassic World: The Exhibition, Mandela: The Official Exhibition, and Tupac Shakur: Wake Me When I’m Free. By Mary Boyle Celebrating its 38th season, local actor, director, and producer Mark Bucher's small but steady Boulevard Theatre has done over 300 productions over the years, persevering after the loss of their permanent home in Bayview by moving on to the Plymouth Church in Milwaukee, where they continue to create "elevated presentations" that focus on back-to-basics theatre and the use of local talent, while also striving to make live theatre accessible and affordable to Milwaukee area audiences. I stopped in to catch their season finale, which happened to be the Midwest premiere of CECILE. French playwright Jean Anouilh seems to be experiencing a bit of a renaissance, as of late. Milwaukee's newest small theatre, Vanguard Productions, did a reading of Anouilh's Antigone at the beginning of the month, and American Players Theatre has his Ring Around The Moon in their upcoming season. A prolific writer, Anouilh’s career began in the 1930’s and didn’t finish until his final play in 1981. Written in 1954, Cécile (ou l'École des pères – or the School for Fathers) is a romantic comedy that follows a common theme among Anouilh’s plays of “maintaining integrity in a world of moral compromise.” Directed by David Flores, who acts as a bit of a narrator for the production, we meet Cécile’s widowed father, Monsieur Orlas (Matt Specht), who is questioning aloud the wisdom of hiring such a young governess for his seventeen-year-old daughter to the governess, herself: twenty-three-year-old Araminthe (Caitlin Kujawski Compton). On the one hand, Orlas complains that his daughter and her governess are basically the same age, so how can the governess possibly guide her? On the other hand, Orlas admits he is in love with Araminthe; but, when she points out that she is too young for him according to his own words, he insists that, in fact, she is much more mature. Orlas is unhappy about his daughter’s suitor, le Chevalier (A.J. Magoon), who has no fortune - though neither does Cécile (Sarah Donofrio), which is why le Chevalier admits to Araminthe that his own father has forbidden him to marry Cécile. Instead, he confides to the governess that he has plans to abduct both Cécile and Araminthe and elope with Cécile that very evening. Araminthe reports the plan to Orlas, who is certain his daughter cannot be the target of le Chevalier, but that it is Araminthe, his love, who will be abducted that evening. Orlas calls on his old friend and Araminthe’s father, Monsieur Damiens (Michael Pocaro), and the two fathers hatch a scheme to foil the lovers’ plans, but what will happen when Monsieur Damiens finds out that Orlas wishes to keep his friend’s daughter for himself? This production of Cécile was a dramatized reading, meaning the actors had their scripts with them, but also had costumes and a bit more freedom of movement than a traditional reading. Although the original play had no music, this version truly was elevated by the addition of several songs, under the direction of Donna Kummer, who also served as the pianist. The entire cast was quite vocally proficient: “La Vie En Rose” was performed beautifully by Donofrio and Kajawski Compton, and “Mimi” by Richard Rodgers, C’est Si Bon” by Henri Betti, and “C’est Magnifique” by Cole Porter were all excellent additions to the show. The intimate space at Plymouth Church was a lovely setting for this type of production, where the performers really must carry the show without the help of sound enhancement or fancy lighting – luckily, they were up to the task. A.J. Magoon, who was recently seen in A Moon for the Misbegotten with Milwaukee Chamber Theatre, was particularly delightful, funny, and charming as le Chevalier. Small theatre companies like Boulevard offer area audiences the chance to see plays that often escape the notice of larger outfits. While Anouilh’s Antigone regularly makes the circuit because it is the play he is best known for, Cécile is rarely staged. I feel lucky to have had a chance to see it and, in particular, to see this version, which was made entirely entertaining by the addition of live music – I would love to see a full staging of this production. While Milwaukee’s small theatre companies contribute so much to the fabric of the arts scene here, offering a less costly ticket while still producing a quality performance and making work for local actors, they are terribly underfunded. Boulevard has been implementing a Pay-What-You-Can admission policy since the pandemic, which is so admirable, but not sustainable without support from audience members who can support their work. Want to help grow our theatre community? Commit to seeing shows from smaller companies while broadening and enriching your theatre experience! To learn more, donate, and keep abreast of Boulevard Theatre’s 2024/25 season, go to: https://milwaukeeboulevardtheatre.com/ By Mary Boyle The board game Americans know as Clue was invented in the UK by Anthony E. Pratt way back in 1943 during WWII. Inspired by Agatha Christie murder mysteries, which were terribly popular at the time, the war caused a delay in the release of the game, which didn’t come out until 1949. The game was known as Cluedo in the UK, and was purchased by Parker Brothers and renamed Clue in the United States. Now published by Hasbro, the game has evolved many times over the years and continues to be incredibly popular, having inspired books, video games, and the 1985 cult classic film starring Tim Curry, Madaline Kahn, Christopher Lloyd, Michael McKean, and others. In 2017, the story was written for the stage by Jonathan Lynn, the original screenwriter, and adapted by Harry Foster, with additional material by Eric Price. Titled Clue: On Stage, the play starred Sally Struthers and Erin Dilly. Then, in 2020, Sandy Rustin wrote another adaptation that has launched as a North American Tour in 2024. The touring show of CLUE: A NEW COMEDY makes its Wisconsin Premier at the Marcus Performing Arts Center in Milwaukee, March 12th through the 17th. Directed by Casey Hushion, this updated version of the play is essentially the 1985 film played on the stage, but with the constrictions that are inherent to the stage. The year is 1954 and the place is Boddy Manor in New England, where Wadsworth the butler (Mark Price), Yvette the maid (Elisabeth Yancey), and the cook (Mariah Burks) are preparing to greet a series of guests who were invited to the Manor by their employer, Mr. Boddy (Alex Syiek). The guests have each been given a pseudonym to protect their identities: Colonel Mustard (John Treacy Egan), Mrs. White (Tari Kelly), Mrs. Peacock (Joanna Glushak), Mr. Green (John Shartzer), Professor Plum (Jonathan Spivey), and Miss Scarlet (Michelle Elaine). The guests all have one thing in common: they each have a secret that Mr. Boddy is blackmailing them to keep quiet. Mr. Body presents each guest with a murder weapon and challenges the 6 of them to get rid of Wadsworth, the butler, who he claims is the one who knows too much. After turning out the lights, a scuffle ensues, and a gunshot rings out. When the lights go back on, Mr. Body is dead on the floor, and it is up to those who remain to figure out which one among them is the murderer. While the film was initially panned by critics and fell short of reclaiming its budget, its popularity grew exponentially over time, and is regularly referenced in pop culture. With that kind of cult fandom, it makes sense that it was adapted to the stage; the trouble is, nearly every audience member is coming because they loved the movie; they are comparing it to the movie; and, nothing can beat those legendary performances, particularly by Tim Curry and Madaline Kahn, in the film. The play attempts to make up for it by adding a significant amount of physical comedy, particularly by Mr. Green, played by John Shartzer, whose acrobatics and antics are a show within the show. The scenic design by Lee Savage is brilliant, creating all the various rooms and secret passages of the mansion within the confines of the stage. Overall, the cast is very strong, but Mark Price as Wadsworth is an absolute wonder. A delightful, farcical romp, this version of Clue is a fun way to experience the film live or, for those who haven’t seen the film (seriously?!), a great way to introduce yourself to the Clue fandom. CLUE: A NEW COMEDY runs through March 17th at the Marcus Performing Arts Center, located at 929 N. Water Street in Downtown Milwaukee. Tickets may be purchased online at www.MarcusCenter.org, calling 414-273-7206 or by visiting the MPAC Box Office. Groups of 10 or more can secure their seats by calling 414-273-7207. About Marcus Performing Arts Center A mission-based non-profit organization located in downtown Milwaukee, the Marcus Performing Arts Center (MPAC) brings high-quality arts and cultural programming to Southeastern Wisconsin. MPAC strives to act as an energizing force that connects the community to the world through collaboration, innovation, social engagement, and 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 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 with over 400,000 subscribers. Presentations include Disney’s The Lion King, Wicked, The Book of Mormon, and Hamilton. Current productions include & Juliet, Hadestown, Hamilton, Kimberly Akimbo, MJ: TheMusical and Moulin Rouge! The Musical. By Mary Boyle Vanguard Productions made a splash in the Milwaukee theatre scene back in 2022 with their concert performance of All Is Calm: The Christmas Truce of 1914 by Peter Rothstein. What was meant to be a single production turned into a new company, founded by George Lorimer and Joshua Pohja, which returned this past holiday season to mount a glorious full production of All Is Calm, with the intent of making it a yearly offerring. The new company has hit the ground running with a series of APEX Classes and Readings, the most recent of which was Jean Anouilh’s ANTIGONE, adapted by Lewis Galantiere and directed and re-imagined by Joshua Pohja. Two shows, back-to-back, one night only. The actors had very little time with the script and even less time with each other – particularly Gregory Linington (King Creon), who jumped into the performance to cover a sick actor at the last minute. The location was Calvary Presbyterian Church in Milwaukee, and the set was laid out as a theatre in the round, the audience surrounding a long table. The cast was a mixture of mainly First Stage Young Company alumni and a couple of seasoned regional actors. Anouilh’s Antigone is based on the tragic tale by the ancient Greek Sophocles. Antigone (Chantae Miller) is a princess of Thebes and the daughter of Oedipus (yep, that guy). Oedipus has died, and the kingdom of Thebes had been ruled by Antigone’s two brothers, Polynices and Eteocles, who were supposed to rule the kingdom on alternate years; however, when Polynices’ turn came up, Eteocles refused to yield, and the brothers killed each other in combat. Oedipus’ brother, Creon (Gregory Linington), became the new king; his wife, Eurydice (Maya Danks), the queen. Eteocles was given a hero’s burial, while Polynices, Creon ruled, was to be left to rot. In fact, anyone attempting to bury him will be put to death. Antigone’s nurse (Shanti Lleone) realizes that Antigone is not in her bed early in the morning and finds her coming in from outside. Her sister, Ismene (Josie Trettin), joins them and tells Antigone that they must not go and bury their brother, as Antigone had suggested, but what we soon learn is that Antigone had already gone out and done it. While she waits for Creon’s men to come for her, she meets with her fiancé, Haemon (Jake Badovski), the son of Creon, to tell him that, although she loves him, she will not be marrying him. Eventually, the Guard (Elliott Brotherhood) comes for Antigone and Creon is shocked that the agitator is his own niece. Will he actually put her to death? This dramatic reading was spellbinding. The Chorus, Leo Madson, was the youngest performer, but had a lion’s share of the lines, and he did it with great intensity and passion. George Linington was the ideal commanding presence as Creon, while tiny Chantae Miller was perfectly cast as his opposition: the fierce, indignant, and rebellious Antigone. Although she had not a single line, Maya Danks’ performance as Eurydice must be commended – it was a long time to sit so poised and knitting, emanating the emotions being thrown around the table. Elliott Brotherhood created a much-needed tension break as the bumbling guard, while Jake Badovki’s performance as the tortured Haemon was heartbreaking. Josie Trettin and and Shanti Lleone rounded out an overall incredibly talented cast. My one complaint of the evening was the sound, which was also an issue at All Is Calm. The cavernous space of the church has an echo affect that made it difficult to understand all of the words unless an actor was facing you directly, despite the addition of sails of fabric strung from the ceiling, which did not seem to help the sound, but did make a dramatic tent-like affect over the staging area. Hopefully, this issue can be solved, because it seems that Vanguard is working to make a theatre home at Calvary Presbyterian. With their upcoming APEX Classes and more performances on the horizon, I’m excited to see what this talented group does next! Learn more about Vanguard Productions shows and actor training at: https://www.vanguardmke.com/ |
Mary BoyleReviewing live theatre in Wisconsin since 2014. Proud member of the American Theatre Critics Association. #OzTheatre
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