Rep’s ‘Women of Rock’ Is Musical Blast

Milwaukee Repertory Theater presents Women of Rock in the Stackner Cabaret, September 6 – November 3, 2024. Pictured: Katrien Van Riel, Paris Bennett and Bridget Barkan. Photo by Mark Fronha.

A heady perfume of feminism and powerful anthems called Women of Rock has taken root in the Stackner Cabaret, the Milwaukee Rep’s elegant name since 2017 for its small, usually musical dinner theater. There you can just buy tickets to sit at a cozy table, but also order drinks,  snacks and, if you arrive early enough, a full meal.

Too often formula has ruled these Cabaret outings where good and usually imported singers limit themselves to imitating one known famous artist and maybe a few friends, or indulge in a controlled karaoke environment. The atmosphere is always professional, but the event tends to be hit or miss even for devotees of such fare.

But this time the concept from artistic director Mark Clements – aided by the nationally reputed Dale Brown Casting company — cracks the mold and even left its promotional come-ons in the dust. It has handed the idea to one of the Rep’s most talented regulars, composer Dan Kazemi, to both direct and music direct the ensemble. It moves far beyond the advertised women of rock in the press release: Janis Joplin, Tina Turner, Joan Jett, Debbie Harry, Alanis Morissette and Brandi Carlisle.

May we add Blondie, Gwen Stefani, Heart, Merry Clayton, rockabilly legend Wanda Jackson, 4 Non Blondes (a pioneer 1990s lesbian group), Pink, and even Dolly Parton, who was recently and deservedly inducted into the rock ‘n’ roll hall of fame.

The production — in what looks to me like a show sure to travel to other cities after its run here — chose two outstanding singers (a third waits in the wings) to mix their personal histories with the history of women in rock. It is a composite of ad-lib naturalism, guided storytelling and precise orchestration. It also likes to surprise, with such things as a female duet of Radiohead’s “Creep.”

The opening night duo whose personal stories fit the glove are Paris Bennett, not only a Broadway name and recording artist but a top finalist on “American Idol,” and Bridget Barkan, also a lifelong singer (her father was a noted songwriter), movie-stage-TV presence and teaching artist.

Barkan flips her long curly red hair and blasts like Janis Joplin in heat, but she also reaches gently inside Joni Mitchell’s “Both Sides Now” on an acoustic guitar. Bennett quips like the down-home girl next door, but she has so much voice and energy that she makes Tina Turner and Ann Wilson (lead singer of Heart) look tired.

Both are multi-talented singers. They can mock the standard diva mannerisms and wiggle like floozies, yet still pull the heart strings and move across a wide spectrum of famous female singers.

There were too many little self-congratulatory moments between the two and the sort of bawdy playing with the audience that seemed too rehearsed. But as soon as they got back to the singing and the stories, here came yet another tale of heartache, childbirth and behind-the-scenes recognition of the importance of women to the rock movement over many decades.

The musical choices were not just about how long big notes can be held, they were also about the poetry of the lyrics and the meaning to women. That encompasses both onstage women and those backstage – as we learn from moments involving Elvis Presley and the Rolling Stones.

There is a third performer onstage who deserves even bigger mention – the associate music director, guitarist. bassist and constantly gyrating accompanier, Katrien Van Riel. She is the only instrumentalist onstage though the orchestral volume dominates the space. If you look twice she is probably the hardest working performer, which is saying quite a bit given the held notes and intricate singing of the leading duo of singers.

Too bad the audience can’t see Katrien’s right foot in action. Her real fingering is exciting and her constant motion a show in itself, but that nimble foot selects among a series of prerecorded and augmenting showstoppers — percussion, keyboard, guitar licks and even backup voices. The sound mix is so great — it puts to shame any home entertainment center you’re ever heard — and one of many things well handled by the Rep crew, including the simple but flashy costumes, the lighting shifts and shadows and the story coordination that had to be taking place.

The story being told by and about the women of rock is doubly important at this point in our history. So was the reality that, while the men in the audience were grinning and reverberating to the presentation, it was the women in the house who had deeper moments of recognition.

Women of Rock is locked into the Stackner Cabaret through November 6 – and my guess about it then hitting the road is pure speculation.

Women of Rock Gallery

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Dominique Paul Noth served for decades as film and drama critic, later senior editor for features at the Milwaukee Journal. You’ll find his blog here and here.