Theater
‘Romantic Fools’ at the Tenth Street Theater
Fools and their fantasies: Perhaps at one time or another every person plays a fool for love. Portraying both the foolish and the fantastical through the course of a loosely related romance, In Tandem Theatre Company closes its season with Rich Orloff’s comic revue Romantic Fools. Twelve short sketches travel down a wayward path between the first date and first walk down the aisle for one attractive couple, with bizarre twists and turns along the way. While much of the script runs through highly humorous material, it crosses some sexually explicit subjects with a kinky bent, somewhere between Saturday Night Live and a Dr. Laura therapy session. Playwright Orloff’s prolific one-act plays are often featured in the annual Best American Short Plays collections. Here the comedic elements are provided within the subtle format of a game show with the main contestants being Lori (Georgina McKee) and Andrew (Ryan Schabach) who, along with other assorted characters on this path to love, reveal an intensity and complete compatibility which gave credibility to the absurd situations on stage. Sometimes characters speak directly to the audience, eliciting smiles and giggles. Director Jane Flieller also keeps the skits fresh and flowing with minimal props on a red and gold stage reminiscent of television’s matchmaking games of the past – but here using only one door instead of three. Sometimes the situations and dialogue entice the audience into uncomfortable territory for conservative mindsets, leaving little romance but considerable foreplay. While several great scenes incorporate some very funny lines that anyone can relate to, one special sketch provides classic appeal. After her engagement, Lori tries to find a wedding planner. A guest appearance by the artistic director surprises everyone as a figure from the comics past. Smoking a large cigar with heavy eyebrows and a mustache, the planner promises Lori a perfect event from “married to buried,” and puns ensue in rapid succession. This Romantic Fools resists the overly sweet and sentimental moments of courtship by employing sexuality, a contemporary and open vision of dating and mating. These fantasies may appeal to mature audiences for an evening of pure delusional entertainment. While the theater company presents this play as “a comic collection of dating do’s and don’ts”, some fools for love may prefer observing more heartfelt emotion and less dysfunction. Still, InTandem successfully delivers a provocative night of fun.. InTandem Theatre Company presents Romantic Fools at Tenth Street Theatre until May 17. Also enjoy supporting an innovative mission for the promotion of theater arts in Milwaukee by attending their annual fundraiser, Bottoms Up – a casual evening of beer tasting on June 5. For more information and tickets for either the play or fundraiser: 414.271.171 or visit In Tandem’s website. For venue, tickets, showtimes and more, visit Footlights Milwaukee online.
May 4th, 2009 by Peggy Sue Dunigan
May 4-12, 2009
It's a splashy week in Milwaukee performing and visual arts: Marvin Hamlisch, old-time radio, The Great Divorce, Beauty and the Beast, 42nd Street, Willy Wonka, Mad Hot Ballroom, Cirque du Soleil and more.
May 3rd, 2009 by Brian Jacobson
‘Cabaret’ at Carte Blanche Studios
...many of the players have to deliver lines, sing, and kick kick twirl kick while in various stages of provocative wear only inches from the front row. A series of invisible doors and narrow entryways rush players onstage and props switch back and forth. With no abundance of space, every inch becomes amorphous and left to the audience to imagine further.
May 3rd, 2009 by Brian Jacobson
April 29 to May 4
We’re adjusting the timing of this weekly preview to give you a better jump on planning your outings. As a result what you see here are the events going on just through this weekend (and one event beyond). Check back Monday, May 4 for a new selection of performing, musical, and visual arts happening in Milwaukee and the surrounding areas. The first days of May (May Day! May Day!) presents new offerings from a wild farce from Windfall Theater (I had seven margaritas!), a Wild Space Dance performance about Jones Island (Kaszubes in ballet shoes!), and a standout from Alverno Presents (Inyembezi Zam!). Comedy Headline Comedian Mike Kosta, JD’s Comedy Café, 4/30-5/2 Also Featuring Josh Alton, Steve Hartman, Geoff LaFleur. Contact: 414.271.5653 or JD’s. The Midnight Show, ComedySportz, 5/2 at 12:00 a.m. (naturally) The hardest working day of the week for this venue is Saturdays, when they regularly host a 3:00 p.m. matinee for kids and then two more shows at 7:30 and 10:00 p.m. But it’s the adults only, must be 18 or older show that takes place late which has the most ribald sass. Contact: 866.512.5233 or ComedySportz. Headlining Comedian Billy Gardell, Jokerz Comedy Club, 4/30-5/2, 8 p.m. Star of Hit TV Series such as Heist, Yes Dear, and the King of Queens, Billy Gardell is the kind of comedian that makes you laugh your ass off. Sort of a mix of a New Jersey guy doing the Redneck Comedy Tour material as Jackie Gleason. See here: _ Dance Map of Memories, Wild Space Dance Company at Studio 1661, 5/1. Back by overwhelming public demand, Map of Memories will return for an encore performance, telling the story of Milwaukee’s Jones Island. Inspired by the lives of Polish, Kaszubian, and Eastern European immigrants who founded the Island’s fishing village in the 1870s, Map of Memories merges expressive contemporary dance with historic images and text. Prior to the evening performances, Milwaukee historian and author John Gurda will discuss the island’s journey from thriving fishing village to harbor hub. Contact: 414.271.0712 or Wild Space. Rhapsody in Blue, Cashiel Dennehy School of Irish Dance at South Milwaukee Performing Arts Center, 5/2 A high-flying, powerful performance that combines the traditional, innovative and unique. Rhapsody showcases all that Irish dancing has to offer – there is truly something for everyone in this show. The event features dancers of all ages shining on stage, a raffle, a silent auction and much more. Contact: 414.766.5049 or SMPAC. _ Theater Stations Of The Cross, Boulevard Ensemble Studio Theater, 4/29 Boulevard closes its 23rd season by staging the premiere of local Milwaukee playwright and actress Beth Monhollen’s comedy of waitressing. As an actress, Monhollen has appeared with many companies in Milwaukee (Late-Night Theatre X, Inertia Ensemble) and has consistently won accolades for her work. A founding member of Milwaukee’s WIND-UP DOLLS THEATRE (an all-women improvisational-based theatre company), Monhollen has performed countless times with the feminist ensemble as well as creating many of its pieces. This production marks Ms. […]
Apr 28th, 2009 by Brian Jacobson
further details and terms
We posted last week that auditions are being held at the Milwaukee Theatre before the June 5-7 run of the national tour of The Wizard of Oz for additional munchkins in the form of local children. A closer look at the tour's website revealed, however, some qualifiers that will be a boon for some local groups, but a limitation to individual parents that should be known.
Apr 27th, 2009 by Brian Jacobson
Hair wants to shine, but falls flat
Even though Hair defined the "rock musical" genre and illustrated drug use, its message was actually quite serious and intellectual. But the players at UWM seem to have trouble paying homage to these great American social issues. On stage, actors seem more intent on portraying various stages of being stoned. Illegal drug use pervades the entire show, but it here it seemed to overtake all other aspects.
Apr 24th, 2009 by Russ Bickerstaff
Brooklyn Boy at Milwaukee Chamber Theatre
Milwaukee Chamber Theatre closes its 34th season with playwright Donald Margulies’s semi-autobiographical play. It focuses on a novelist who, after two attempts at the great American novel, gets it right on the third try to critical acclaim and popularity by penning a semi-autobiographic novel called Brooklyn Boy. With the vague notion that this achievement may endear him to his dying father and save his withering marriage, the author attempts to re-draw his life as he thinks it should be. But new found fame and a re-discovered past proceed to pull him in opposite directions. James DeVita is understated and charming as Eric Weiss, the writer suffering through a mid-life crisis. As the character is quietly devastated to learns that success cannot alter the relationships with his father and soon to be ex-wife, actor DeVita expresses frustration and anger with a unique deft without resorting to simply yelling. The supporting cast members all neatly avoid playing into stereotypes. Robert Spencer as Eric’s father Manny Weiss is able to create a rich and complicated relationship with his son. Rebecca Rose Phillips gives depth as an enamored groupie and Tom Klubertanz is lovable as Ira, Eric’s childhood friend who forces him to reminisce and ultimately deal with his grief. Rounding out the cast is Darrel Cherney, Michelle Lopez-Rios and Julie Swenson in strong and multi-faceted performances. Although much of the play is a reflection on Weiss’s life growing up in a Jewish family and community, director and MCT Producing Artistic Director C. Michael Wright makes sure the play is not just a Jewish story. Brooklyn Boy is relatable to anyone, regardless of religious or ethnic background. Brooklyn Boy runs through May 3rd at the Broadway Theatre Center. For tickets call 414.291.7800 or visit MCT’s website.
Apr 23rd, 2009 by Russ Bickerstaff
‘I Just Stopped to See the Man’ at Steimke Theater
Whether an individual actually walks side by side with the Devil or only faces personal demons during his life, the human soul suffers — needing to sing “the blues”. In the Stiemke Theater’s final selection of the season, I Just Stopped By To See The Man, all three of its characters sidestep tragedy in order to gain greater self-understanding through songs played from the strings of a guitar named Angela. Striking chords of a story that blends both American music history and broken humanity, renowned British playwright Stephen Jeffreys concentrates on myths surrounding ‘the devil’s music’, or the blues. The Rep invited director Regge Life with his prestigious credentials and experience to develop these character studies together with the Milwaukee Repertory Theater actors by debuting Eric Hellman (Karl) and Cedric Young (Jesse). Resident Rep acting company member Lanise Antoine Shelley (Della) complements the small cast that reveals the complexity of certain personalities and circumstances on the stage. The premise of the play surrounds Jesse Davidson, an aging blues musician of legendary fame who faked his death in a devastating car accident to escape his former life. His only legitimate child, a daughter named Della, returns home after a long estrangement as a fugitive from her own mistakes at the age of 27 and the pair hide in seclusion. Then Karl, an English rock star on tour in Memphis, enters the quiet but sullen household searching for his musical blues hero and the inspiration to redeem himself from his own devils. This compelling and soul searching play challenges the audience assertions on what one considers to be the devil’s activities, especially in music, and the choices made in life when one might claim “the devil made me do it.” Simultaneously, the script confronts racial prejudices and religious conformity viewed from several time periods. Hellman, Young and Shelley provide emotionally nuanced performances integrating all these elements that makes the audience care for each character, especially bluesman and rock star who form an unexpected connection. Hellman and Young sing evocative rhythms on the guitar including Churchyard Blues lyrics that cry: where my body’s broken/and my soul is damned to hell /The devil has me right down/under his spell. Acted on a simple but beautifully constructed set with a skewed perspective, the stage lighting casts shadows through the slats of the humble home reinforcing the mindset that human lives are indeed shadowed by misfortune. Despite one’s belief in an actual ‘Devil’ or his ability to buy a person’s soul, the play celebrates through the power of a uniquely American music through the suffering of all humanity — but also the innate desire to survive deep pain by invoking compassion and understanding. I Just Stopped By To See the Man throws insight on life’s everyday woes when the only relief as Jesse believes is “to sing those blues, when the heart’s too sick to pray.” I Just Stopped By To See The Man until May 3. For information call: 414.224.9490 or milwaukeerep.com.
Apr 22nd, 2009 by Peggy Sue Dunigan
How I Became a Pirate at First Stage
Each pirate on this ship, cleverly dressed for the sailing, sings and dances to rhythmic tropical tunes while young Jeremy learns pirate code and language enough to join the crew. When a midnight storm ensues, the mast lets loose over the stage before intermission. In the second act, pirates search the audience. Representing the Arrgh's cast, Austin Zdziarski as Jeremy Jacob ably handles this zest for sea life, and helps them bury their booty. But he still longs for soccer games and kisses goodnight.
Apr 22nd, 2009 by Peggy Sue Dunigan
Ain’t Misbehavin’s Trenyce Cobbins dishes on the show
"It's amazing," says Cobbins. "Now it's like a well-oiled machine - but somehow it's a different show every day. [Players] keep adding to the show. The way you say a line, a harmony with more emotional investment in it."
Apr 22nd, 2009 by Brian Jacobson
Performance and Visual Art Openings April 22-29
This Spring week's new offerings include a night of comedy and trivia at the Cedarburg Cultural Center, a play offering an unusual look at waitressing, the return of Insurgent, . Here are some openings and highlights.....
Apr 21st, 2009 by Brian Jacobson
Social Security at Sunset Playhouse Theater
Successful New York art dealers Barbara and David Kahn are about to have a problem. That problem comes in the form of a elderly, walker-using, bitter woman named Sophie. She is Barbara’s mother, and ever since Sophie’s husband died and children have grown up she has developed a penchant for creating arguments and difficulties with all those who surround her. Barbara’s sister Trudy and her husband Martin — who had been taking care of the aging mother — are flying off to Buffalo to end their college daughter’s involvement in a situation of extreme debauchery. This encompasses the first act of the low gravity comedy by playwright Andrew Bergman. From this point on, surprises of character, witty retorts, and twists of plot try to keep us engaged. Social Security, despite its unaffected title, is essentially a play about romantic lust: from the initial exploration of it by someone in her later teens, to the nourishment or dissolution of it by couples in their mid-years, and finally in the inspiring rediscovery of it by someone in the winter of life. Dialogue exchanges are well-handled by the two different couples, but it does not support the script. It requires a more grounded and naturalistic acting approach, rather than the screwball ping-pong pace this staging undertakes. The energy and commitment by the actors is right, but the broad tone is off. As a result, the audience is set up for an uproarious heart attack of bawdy engagement but instead the verbal-based jokes flatline, producing only a modicum of laughter. There are moments of broad humor that bring gasps and guffaws, but overall they seem misplaced in this production. Actor Susan Dwyer Loveridge plays Barbara with sufficient talent but at times her emotional reactions are at such a high precipice that it leaves her nowhere to go. Donna Daniels (Trudy) and John Roberts (Martin) share equal talent in their roles as an overly worrisome and neurotic couple, however they approach the play with a reserved commitment and come across as caricatures. Bonnie Krah (Sophie) and Glenn Villa (David) are the standouts of the cast. Krah’s role as the mother is a bold, extreme, and yet genuine creation. Despite Sophie’s overboard behavior, Krah plays her with professionally trained honesty from moment to moment. We totally buy her both as the crotchety parent and into the transition of a romantic woman. As the cut-up, abrasive art dealer, and son-in-law, Villa shows how to make a sparsely written character come to life and play it without pretense. He treats the character as a real person. Douglas Smedbron rounds out the able cast as the love-swooned artist Maurice. The set looks amazingly posh, giving the illusion of an upscale Manhattan apartment. The general wash of lighting works for a comedic piece and the changes of mood are supported by invisible modifications to the illumination. A lengthy set/costume change between the scenes of act two felt long enough to break the story flow, though. Sunset’s production of Social Security […]
Apr 21st, 2009 by Michael Madden
