Wednesday, June 13, 2018

Nomad Nacional

The World Pub invites Milwaukee to “Taste la fun!” 

I don’t consider myself a Nomad girl. Soccer’s not my thing, and the famous Brady Street Prix Fix doesn’t set my world on fire. But when the World Pub announced its pop-up bar, taking over the former La Fuente space on the south side, my ears perked up. 

Nomad Nacional exists thanks to the World Cup, which starts on June 14th. But it's shaping up to be so much more than a bunch of bros chugging PBR and shouting about futbol. For starters, there’s food. I made the delicious mistake of trying the Pork Nalu Bowl upon my first visit, and now I can't go back. Seared pineapple, charred corn, pickled cilantro, avocado, jalapeños, and cilantro-lime rice — outrageously cravable. FYI: Happy Hour is Monday–Friday with $5 margs, Good City’s Nomad Summer Ale, and all-you-can-eat taquitos. 

The space itself is sprawling. There’s a massive interior with high ceilings, an upstairs, and two spacious patios. While there hasn’t been an extensive remodel of the old La Fuente (the interior mural remains, as do the vaguely grimy tables), the folks at Nomad have freshened the place with bright coats of paint and festive décor, inside and out. Want massive murals by local artists? They’ve got that too — about 10 murals total to ogle. It’s an insanely fun vibe, and one that’s begging to be Milwaukee’s new summer go-to. 

Plus, during the month-long World Cup celebration, there’s daily live music and DJs, local vendors, and special events on tap at Nacional. On Friday June 15th, Milwaukee favorite De la Buena will be in the house. For Father’s Day, there’s a pig roast, rock climbing wall, and reps form the Milwaukee Wave to kick around with the kiddos. Yes, everything at Nacional is family-friendly! They’re even countering Father’s Day with a Soccer Mom Sunday on June 24th, with free manicures for moms and specials on mimosas and white wine.

Last but not least, the alley behind Nomad Nacional will host a Vendor Village on select dates throughout the World Cup. Newaukee is hosting a three-day Night Market the weekend of June 28th, too. Could there be any more reason to pop by this pop-up? There’s something for everyone! Oh, and soccer. There will also be soccer. Lots of soccer (in the Fanzone, as they're calling it). With all there is at Nacional to get excited about, they might even eke a cheer or two out of me.

For music lineup, vendor info, and match schedules, follow Nomad Nacional on Facebook or visit

Friday, June 1, 2018

The Milwaukee Ballet presents "Swan Lake"

Michael Pink's updated classic, as sublime as ever

Tchaikovsky's glorious score, the innocent white swan, the evil black swan, the prince, the curse, the ill-fated lovers. Even casual fans of ballet know Swan Lake, as it's arguably the most prevailing piece next to, perhaps, The Nutcracker. Typically performed in four acts, Milwaukee Ballet Artistic Director, Michael Pink, has trimmed the classic into two acts, maintaining Swan Lake's integrity and grandeur while making it a more comfortable experience for modern audiences.

In Pink's version, we see the villainous Count von Rothbart (Timothy O'Donnell*) cast his swan spell on Odette (Luz San Miguel*) and her friends as they play along the lakeshore. His aim: To destroy Prince Siegfried's (Davit Hovhannisyan*) true love, thereby destroying the prince himself and usurping the throne. Von Rothbart also conjures a dark foil for Odette — Odile (Marize Fumero*), the black swan, to further lure Siegfried to his doom. 

Setting the scenes are Lighting Designer David Grill and Set & Costume Designer José Varona. Lighting moves from golden sunshine to rosy sunset, and from the purple hues of twilight to moonlight dancing on enchanted waters. The shifts are subtle, yet so very critical to a story where women are cursed to be birds by day and human by night. Sets fit for a fairytale round out the scenery, transporting the audience to a land of ancient forests and opulent royal courts. 

Varona's costumes mirror the richness and storybook charm of the of Swan Lake's lighting and sets. Eye-popping fabrics are jewel-toned and saturated, lending a sense of the regal and fantastical. Then there are the swan maidens, who are, traditionally, sheathed in white tutus with their queen, Odette, in a similar tutu that's a few notches up on the luxury scale, complete with feathered headdress. 

You'll find none of that tradition in this Milwaukee Ballet version, as its creators have fully embraced modernity in outfitting their swans. The troupe of swans dance in simple white dress, more suited to a contemporary dance than a classical ballet. Given that the nemesis Odile dons a very traditional black tutu, the sleekness of our heroine and her friends is, at first, a little surprising — especially for anyone eagerly anticipating those classic costumes. 

But as soon as the women of the Milwaukee Ballet start moving, all costuming concerns vanish. In skirts that skim their dancers bodies, hair pulled half-back, the female company of sixteen move with such utter grace and precision, it's indeed a wise choice to let their skill shine through more simple attire. Though the principal dancers often stop the show with rounds of applause, the beauty of Swan Lake is how it allows the female company an opportunity to amaze. 

These ladies are mesmerizing, and seeing all sixteen on stage — seventeen including Odette — moving in unison is a marvel of choreography and artistry. Many of the favorite Swan Lake moments can be found: the swan maidens huddled together, the pitter-patter of bourrées, backs arched as a flock of anxious birds. What's missing? The famous Dance of the Little Swans. My one regret.

But whatever traditions are eschewed, they are answered with innovations that strengthen the narrative. In the Pas de Deux, wherein Siegfried meets the swan maiden Odette and tries to win her trust, the dance can sometimes seem all too comfortable right from the start. Traditionally, the white swan and the prince begin this dance closely intertwined and moving together as a pair. In Pink's version, Odette's fear is palpable and her eventual trust in Siegfried feels earned.

It's this passionate and tender relationship that makes Swan Lake a fairytale romance for the ages. Perhaps that's why it never goes out of style, and why the principal roles of Odette, Odile, and Siegfried are an honor for any classical ballet dancer. The Milwaukee Ballet principals do their parts ample justice, with Thursday night's Odette and Odile, Luz San Miguel and Marize Fumero, tipping the scales to give us something transcendent. 

The final moments of the ballet pull your heart into your throat, as the sixteen swan maidens turn their backs to the audience and gaze upon their beloved fallen queen. The movements are simple, the effect breathtaking. That about sums up Michael Pink's Swan Lake on the whole — streamlined and sublime. 

*Indicates dancers for Thursday's performance

Photos of Luz San Miguel, Marize Fumero, and Davit Hovhannisyan by Mark Frohna

Monday, May 21, 2018

The Skylight presents "Urinetown"

Potty humor at its musical best 

The house lights still blazed brightly as townsfolk trickled onto the stage, clutching their bladders in agony. "When did that guy get here?" my neighbor asked, nodding in the direction of a man writhing on the stage floor. His unannounced arrival was the first indication that this musical would be filled with all things unexpected. 

The second clue came when Officer Lockstock, also the narrator, welcomed us to Urinetown: The Musical, flashing his best jazz hands. Yes, a musical that knows it's a musical and repeatedly reminds you it's a musical — that's also unexpected. Lockstock, played by the hilarious Rick Pendzich, goes on to relay the history of Urinetown — the fictitious place, not the 2001 Tony winner.

Per the audience guide, the story is set in a "Gotham-like" city where a 20-year drought has led to the government control of all toilets. An evil corporation, Urine Good Company, regulates public bathrooms and charges people for the privilege to pee. This satire touches on the class system, corporate greed, capitalism, and politics — and it's done with laugh-out-loud gags aplenty.

Luckily, there's so much more than potty humor here. There's a classic boy-meets-girl romance and a root-for-the-underdog verve. Most notably, Urinetown was written by Mark Hollmann and Greg Kotis to be an ode to musical theater itself. Says Skylight Artistic Director Ray Jivoff: "Once you get past the title, a source for comedy in the script, this is a really entertaining Broadway musical that reinvigorated the very notion of what a musical could be." More on that to come. Let's pivot back to the comedy. 

This Skylight cast has comedic timing down pat, playing up the humor in all the usual character tropes. There's our hero — the young & earnest upstart, the wide-eyed dream girl, the cartoonishly evil big wigs, cops with their film noir speech patterns, and Little Sally who innocently pesters our narrator throughout the show. 

Though delivered with childlike naiveté, Little Sally (Kaylee Annable) always asks the big questions. Like, why focus solely on toilets and not other issues affected by a 20-year drought, such as bathing or hydraulics. As Officer Lockstock explains, it's easier for the audience to digest just one issue — and it's easier to write.

As for the other tropes, our hero is Bobby Strong, played by Lucas Pastrana, a recent grad of the Peck School of the Arts. Pastrana's voice is as mighty as his character's surname; his demeanor on point as the archetypal leading man. Bobby Strong's love interest, Hope, is played by Milwaukee native Rachael Zientek, who walks the fine line between sickly-sweet and knowingly-saccharine, and does so with a lovely voice to boot. These two make a delightful and funny pair.

Aside from perhaps Pendzich's Officer Lockstock and Annable's Little Sally, few drew bigger laughs than the maniacal men controlling the toilets: Steven M. Koehler as head honcho Caldwell B. Cladwell, Doug Jarecki as Senator Fipp, and James Carrington as the shrieking Mr. McQueen. There's also Penelope Pennywise (Amber Smith), a pawn in the bad guys' plot to increase the fee to pee. Pennywise controls Public Amenity #9 — the toilet used by Bobby Strong and his band of revolutionaries. Smith's Pennywise doesn't skip a beat, her voice commanding through her character's palpable sleaze.  

The Skylight has also assembled a dynamite ensemble cast, with each voice a force and each character an asset to Urinetown's side-splitting humor. The ensemble does a lot of the heavy lifting in bringing the aforementioned musical odes to life — from mimicking a chorus of plunger-toting Ziegfeld girls to marching à la Les Miserables to attempting the famous Fiddler bottle dance with (again) plungers in place of bottles. 

Beyond the laughs, one of the biggest show-stoppers is Act Two's "Run, Freedom, Run!" — a gospel-inspired tune with an acapella break that showcases just how stunningly talented this entire cast is.

In the end, you may leave Urinetown wondering, as Little Sally does, what kind of a musical is this? Officer Lockstock would have me remind me you that it isn't supposed to be a happy one. It's one full of mixed signals: comedic tropes, untimely death, catchy music, rich vs. poor, hope for tomorrow, and an ultimately uncertain future. It makes you think not only about the baddies who want to regulate our metaphorical toilets, but also the do-gooders who act on righteous principle alone without regard to reality. 

As show creator Mark Hollmann says, "No one has the answer; Urinetown merely raises the questions." The one thing you won't be questioning as you leave the Skylight is whether or not this was two hours of your time well spent. For that, the answer would be a hearty yes. Just make sure to exercise your right to pee before all the laughing kicks in.

Urinetown is playing at the Skylight Music Theatre, now through June 10th. Info and tickets at

*Photos by Mark Frohna

Tuesday, May 8, 2018

Derby Day at Maxie's

Hours of anticipation for 2 minutes of sports

People get really into Derby Day. They're so into it, I have a sneaking suspicion it's becoming just another excuse for the masses to get drunk and wear lavish headwear they normally wouldn't dare to don. Who am I kidding? That's more so a fact than a suspicion. But that doesn't mean my first-ever Derby party (don't knock it 'til you try it, amiright?) wasn't super fun — it was actually a blast.

This was Maxie's 11th year hosting their Derby party, which apparently grows a little bit bigger each year. Admission is $15, benefitting the Hunger Task Force. There's a big white tent in the lot beside the restaurant and a big brass band playing swing-y classics. Be sure to pop inside the restaurant for a quick shot of A.C. on a hot day. There you can also enter your raffle tickets ($1 each) for the prize(s) of your choosing. I went for a Good Kind gift card and cheese board paraphernalia, but left empty handed. 

In addition to raffles, picking which horse will win, place, or show is certainly a must. It makes the two-minute race itself worthwhile. As for outfits, there are prizes for the best hats and costumes. Colonel Sanders was an obvious pick for Best Costume this year, and a pair of adorable jockeys easily snagged Best-Dressed Couple.

Food & drink-wise, note: The cocktails are super sweet. I switched to beer after puckering my way through one mint julep. However, though overly doused in simple syrup, I will say it was also stacked with bourbon. Do with the info what you will — I'll be the one drinking beer next year, and making sure to hydrate. The food was standard Maxie's fare: mac 'n' cheese, chicken tenders, house-made chips, ribs, and more. Plenty tasty! 

But my favorite thing about Derby Day at Maxie's was the people watching. Sometimes folks just like an excuse to put on their Sunday best and be a little bit fabulous. Though I can't confirm firsthand, I've heard that other parties, like the one at the Iron Horse Hotel, can turn into a mess of day-drinkers who are one spiked sweet tea away from vomiting all over your dress shoes.

Maxie's Derby Day, on the other hand, was utterly welcoming to people of all ages. Watching grandmas get down to blaring trumpets while little ones practice their breakdancing — it's such fun! Shall we do it again? You can bet on it. See you next May!

Monday, May 7, 2018

Naples, Florida with the fam

Reflections & things to do

My parents, brother Kevin, and I have been going to Naples, Florida, for as long as I can remember. There are pictures of me as a baby taking a bath in the sink at my grandma's condo. We celebrated my grandparents' 50th anniversary with the extended family there, when I was about nine. All six of my dad's brothers, his one sister, all of their spouses, and all of my cousins — they were all there. 

I remember the plastic alligator that sat in the courtyard of my grandma's condo building — you could see it every time you got on the elevator from the lobby. "Is it really real?" we kids would ask, ever skeptical. My dad insisted it was, even though it never budged from its spot, year after year. We eventually got wise. 

Every day of Naples vacation, we'd walk down to the boardwalk that stood between Grandma and Grandpa's high-rise and the Gulf. In those days, it felt like an excruciating distance. If we were lucky, Dad would let us hop on a passing tram — but he and my mom preferred the walk. Easy for them, but tough on little legs. Kevin and I now laugh at how un-epic the walk from the Stratford condo to the beach is. 

These days, it's my dad's aforementioned "one sister" — my only blood-relative aunt on the Lawler side — who now occupies my grandparents' former condo. It's been a handful of years now since they left this world for that big, beautiful boardwalk in the sky. Shoutout to my aunt for keeping the Naples tradition alive and letting our family of four — plus Kevin's fiancé, Erin — stay for a week this April. Below are some thoughts and notes-to-self for making a Naples family vacation worth your while. 

First off, recognize that Naples is largely well-to-do retirees. This means a lack of youth culture, limited nightlife, and drivers who are allegedly either drunk or asleep at the wheel by mid-afternoon. You can never be too careful when cruising through Pelican Bay. Due to its demographic, the bulk of what one does in Naples is beach, eat, nap, eat, pool, and eat.

If it's shopping you crave, know that you're probably not going to buy anything — not the $200 chambray shirtdress and not the $400 yellow mule sandals. Since all you're doing is browsing, browse downtown, rather than at a mall. Scope out 5th Avenue, 12th Street, and 3rd Avenue; it's cute even if you leave empty-handed. 

Activity-wise, we made the best of it. On Friday morning, my mom, Erin, and I accompanied my aunt to the condo pool for water aerobics — an unforgettable hour of shakin' what mama gave us with a bunch of darling oldies. If that's not quintessential Naples, I don't know what is. We also borrowed bikes and rode the path along the boardwalk one morning. Next time, a sunset bike trip would be even more picturesque, given the golden hour. 

We also spent a day on a boat, meandering the inland waterways until we reached Marco Island and our lunch destination, Snook Inn. This was actually one of our favorite spots we ate at. It's cazh, has a giant patio on the water with ample umbrellas for shade, and serves up scrumptious grouper sandwiches (get it fried!) and iced lemonade. Note to self: On our way to the island, we passed many boats camped out along small beaches. In the future, it would be fun to work some beach time into the boat day.

On our final morning in Naples, some of us rented tandem kayaks to paddle the mangroves. It was a fun time, even if the view offers a lot of the same. We did see some birds, but nothing more impressive than that — not like the family of otters we saw while biking or the dolphins we spied during boat day. The act of renting the kayaks was also a bit of a hassle. But would we do it again? Why not!

Probably one of our favorite mornings was spent at the Botanical Garden, where most of these photos were taken. It was Kevin's birthday, and they happened to have a dino exhibit — his favorite. The gardens are gorgeous and lush — absolutely worth the trip. Just bear in mind that it can get scorching around midday, however, there is a café in the gardens, if you're craving shade and sustenance. 

Speaking of eating! I already mentioned Snook Inn, which was our favorite casual spot. Our favorite fancier spot was Tommy Bahama. Yes it's a chain, but Naples boasts the original, and the experience really is a treat. The live music was on point. Our waiter was such a delight and made us feel like every dining decision we made, from the drinks we ordered to our entrée picks, was the right one. 

The cocktails are a must. Loved the pina colada and flavored margaritas. The house marg tastes like any house marg, so spring for something special. For dinner, about half of us got the macadamia-crusted snapper and half got the signature chicken. The snapper was delish, but I'd pick the chicken next time. Trust me.

As for nightlife, Kevin, Erin, and I attempted to find some at the Sunset Beach Bar. My guess is that it's a fun place to hang if it's earlier in the evening — say, around actual sunset. But later (like, after 9pm), there were hardly any people there and the drinks were just so-so. If you're going out after your elders hit the hay, I say check out a spot in downtown Naples. Not sure exactly where, but it'd be worth a peek, rather than growing increasingly tired in a low-energy beachside bar. 

At the end of the day, nobody goes to Naples for the wild and crazy nights, though. They go for sunny days spent with family — and sometimes that's all you need.

Sunday, April 15, 2018

The Milwaukee Rep presents "Our Town"

An American classic celebrates the beauty of everyday-ness

"I’ve married two hundred couples in my day. Do I believe in it? I don’t know. I suppose I do. M marries N. Millions of them. The cottage, the go-cart, the Sunday afternoon drives in the Ford — the first rheumatism — the grandchildren — the second rheumatism — the deathbed — the reading of the will. Once in a thousand times it’s interesting." _Thornton Wilder, Our Town

Poignant with humor aplenty, Thornton Wilder's 1938 Pulitzer Prize-winning Our Town feels ageless. It's the simple story of a small town called Grovers Corners — a snapshot of the people who live there, their daily lives, their milestones, and their demises. The play unfolds in three acts, spaced apart in time: Daily Life (1901), Love & Tradition (1904), and Death & Eternity (1913). 

Beautifully written, with minimal sets and moments that suggest the characters are aware of the parts they're playing, this is a wonderful and enduring work of dramatic art — and one that the Milwaukee Repertory Theater carries out with ease. 

The main characters include the all-knowing Stage Manager (the narrator), The Gibbs family, and the Webb family. George Gibbs and Emily Webb are young lovers whose lives we follow from adolescence in Act One to marriage in Act Two to heartbreak in Act Three.

The Rep has assembled a diverse, knock-out cast of 31, including (but not limited to) Laura Gordon as the Stage Manager, Di'Monte Henning as George Gibbs, Cher Desiree Alvarez as Emily Webb, Rana Roman as Mrs. Webb, Matt Zambrano as Mr. Webb, Chiké Johnson as Dr. Gibbs, and Elizabeth Ledo as Mrs. Gibbs. 

Gordon does an exquisite job of keeping rapt attention through all her narrative exposition, her presence warm and comforting in its omniscience. Henning and Alvarez are simply adorable as the young lovers. From bright-eyed childhood to heart-aching adulthood, theirs is a delightful and affecting journey to behold.

Among the rest of the Grovers Corners townsfolk, there are notable Milwaukee favorites: James Pickering, Carrie Hitchcock, Jonathan Wainwright, and Jonathan Smoots, to name a few. In an especially cool move, the Stage Manager introduces much of the local talent as they file on stage in the first moments of the show. As the 31 actors pour in from the back of the house and down the aisles, they set up sparse props and even costume themselves on stage, as if admitting up front that it's all for show.

This is part of what makes Our Town so singular. The artful staging and breaking of the fourth wall celebrates the wonder of theatrics — actors stepping into another's shoes, creating a world that exists only on stage, and using play to drive an audience's thoughts and feelings. There's something remarkable in that.

The other part of what makes Our Town singular is the stories it shares. Stories of real, everyday people. People dealing with generational differences, the fear of progress, a longing to grow up, and an aching to stay young. People who perhaps never got to see Paris, but always enjoyed "pleasures of a kind." Ordinary people whose message is a timeless one: "Happiness — that's the great the thing. The important thing is to be happy." 

Though Our Town is not, perhaps, a risk for the Milwaukee Repertory Theater, that doesn't make it any less special and satisfying. Sometimes, there's nothing better than a play that inspires laughter, sweet tears, and a warm-fuzzy feeling. "Once in a thousand times it's interesting," the Stage Manager says. With a classic as beloved and far-reaching as Our Town, the Rep succeeds in making things more than a little interesting indeed. 

*Photos courtesy of Michael Brosilow

Friday, April 13, 2018

The Milwaukee Ballet presents "Beauty & the Beast"

World premier ballet casts its magic spell

Roses wave hello, storybook pages spring to life, the townsfolk are actually nice, and the troupe of orphan children are a little creepy. This isn't Disney's Beauty & the Beast. There are no singing teapots or yellow ballgowns to be found. Instead, Michael Pink gives us a world premier Milwaukee ballet inspired by the 1796 adaptation by Jeanne-Marie Leprince de Beaumont. Per the show notes: "Our Belle is the hero of her own story; a voracious reader, quick-witted, and the maker of her own destiny." 

Though this hardly strays from the Belle many of us know and love, there are some unexpected changes to the story that might leave you scratching your head if you don't read the synopsis before the curtain rises (always read the synopsis!). The powerful enchantress (the spellbinding Lizzie Tripp)is backed by a small army of orphans clad in white — a rather ghostly sight, brought to life by students from the Milwaukee Ballet School. 

When we meet Belle (the graceful Nicole Teague-Howell*), the townsfolk adore her. She's reading Aladdin and his Magic Flying Carpet aloud, and all are swept up in the tale. Belle's pair of fussy, frivolous sisters (Marize Fumero and Lahna Vanderbush) offer an amusing foil for our heroine. They'd rather fawn over the latest fashions and be courted by a couple of peacocking, candy-colored dandies (Parker Brasser-Vos and Randy Crespo) than read a book.

Belle's loving father, Maurice (Patrick Howell*), is en route to the city when he gets lost in the forest and stumbles upon the Beast's castle. The enchantment on display is sheer magic: Statues come alive and whirl about the stage (Janel Meindersee and Josiah Cook), the banquet table has a mind of its own, and out in the garden, the hedges bloom with smiling roses that wave merrily. They warn Belle's father not to pluck one of the buds, for fear of the Beast. You might guess what happens next. 

The Beast (the vigorous Isaac Sharratt*) bears down upon Maurice, his crimson cape commanding the stage and making the monster appear larger than life. This is just one of the many stunning and effective bits of costumed wizardry by designer Paul Daigle. 

Color plays a definite part in the narrative, with townsfolk dressed in muted, neutral tones. Rich colors are reserved for the castle, as Belle dons her provincial blue throughout most of the ballet. When she shows up in the final scene, wearing crimson to match the Beast's own cape, it's clear which world she's chosen. While there are surely a slew of other subtleties to praise in the costuming, sometimes it's just as simple as this: The costumes are pretty. The dancers' skirts twirl beautifully. The colors pop. It's all-around gorgeous to behold. 

In this Beauty & the Beast, the biggest departure from Disney's "tale as old as time" is an interlude at the end of Act One and beginning of Act Two, where characters step from the pages of Belle's storybook. There's Rapunzel (Alana Griffith*), the Three Little Pigs (Carly Bartel, Lindsay Crivello & Madeline Rhode*), and Little Red Riding Hood (Zoe Maxwell*), among others. 

These particular characters seem handpicked to echo Belle's own plight: A princess held captive, pigs terrified of a huffing-puffing beast, and a provincial girl who, in this production, tames the Big Bad Wolf by showing some kindness. Michael Pink wanted his Beauty & the Beast to be thought-provoking, and to that I say — success!

Naturally, this glorious achievement comes down to movement and music. The original score by Philip Feeney is strong: equal parts ominous and mysterious, sweeping and joyful. Set to these storied notes, Michael Pink's choreography dazzles the eye and moves the spirit. The build up to Belle and the Beast finally dancing together is thick with tension, her movements hands-off and palpably apprehensive before welcoming this creature into her personal space. It's mesmerizing to watch the progression, from warming up to each other to playful friendship and flirtation. 

The company as a whole danced exquisitely on Thursday night — a particular favorite being scenes that featured the Milwaukee Ballet School. These young performers played more than just spine-chilling orphans and jolly rosebuds — they also cheerily followed the Pied Piper out of Belle's storybook to much delight. Though one might crave more such delight — a whirl of color and a stage full of spinning ballerinas — as a grand finale, Michael Pink offers something even better. The final moments capture the heart of this fairytale: Belle and her prince, moving beautifully together as one.

*Indicates dancers for Thursday's performance

Photos of Nicole Teague-Howell and Isaac Sharratt by Mark Frohna