Broadway in Milwaukee: The Book of Mormon

Hysterical fun (definitely not for the whole family)

It said it right on the ticket: "Parental Advisory: Explicit Language." I really had zero expectations going into The Book of Mormon last night at the Marcus Center. All I knew was that the show was supposedly hilarious and clutch-your-pearls irreverent.

Well it certainly was irreverent. As my mom and I walked out of the theater, we heard a woman behind us say "That was the crudest thing I've ever seen." Very matter-of-factly. And she's right — it's not like any Broadway musical I've ever witnessed. To pit it against Les Miserables or Phantom would be utterly ridiculous: If those are the apples of Broadway, this show is a ginormous orange. But it's a juicy, hysterical, spellbinding orange, and I wish I could go back for more.

Those who know me well know I'm not into irreverent humor riddled with — as my Dad calls them — "F Bombs." It's just not my thing. And yet somehow this show had all manner of merits that, though I cringed at times, I was cringing through hysterical laughter. Oh, and did you catch what I said before about walking out of the theater with my mom? Even she loved The Book of Mormon (and "woo hoo!"-ed after a particularly racy number), as did the old guy who sits next to her. So if we three can check our somewhat pearl-clutching standards at the door, trust me — so can you. 

And Broadway-loving ladies, I can't stress this enough: This is one to take your boyfriend to. Just as the Mormons in the show set out to convert a village of Ugandans to members of the Church of Jesus Christ (of Latter-day Saints), you too can set out to convert your fella to a Broadway-loving man. This is your stereotypical guy humor from the get-go — plus, just tell your guy that the whole thing was written by the creators of South Park. Done deal.

But okay, beyond the humor, this show rocked my socks in a totally traditional-Broadway sense. Though I've never heard the original soundtrack (so I had nothing to compare it to), the cast we saw in Milwaukee last night was, in a word, flawless. I didn't know such talent existed in a touring cast. This is, without a doubt, the best show we've seen at the Marcus Center this season in terms of the quality of the production (crazy-cool sets and transitions) and the star power of literally each and every member of the cast. How is it possible there wasn't one dud in the whole bunch? My mind is blown.

Then there's the music, which again harkens back to the humor. The melodies are seriously lovely and catchy with a classic Broadway vibe to them. Like, I'd call the tunes themselves sort of Disney-fied — which to me just means they have mass appeal. The humor comes in with the insanely clever and unexpected lyrics set to these mainstream-Broadway-sounding songs. For instance, there's an adorable duet called "Baptize Me" that's really all about first-timers having sex. But it's so well executed that everyone in the crowd was laughing and going "Awww!" instead of clutching their pearls. (That's a mild example compared to the rest of the show, but still.)

And I haven't even touched on the choreography, which also felt like they purposely used every cliché Broadway chorus line move ever created, in a totally cheeky way. It was hilarious while also being genuinely eye-popping and full of first-class talent. If you couldn't already tell, I loved this show from start to finish. And if you're wondering if all this hilarity and questionable humor has any heart, don't worry — it totally does. The Book of Mormon truly has something for everyone — except the kids. Don't bring the kids. 

A long weekend in Nashville, TN

Barbecue & bikes & brides — oh my! 

“Nashvegas,” they said. Also “hot chicken” and “hope you like country.” While I’m not that into country music or places readily compared to Vegas, Nashville has been high on my list of stateside cities to see someday. 

I’m happy to report that the experience, through fraught with more bachelorettes than I could count (well, almost), didn’t disappoint. Here’s how we spent a long weekend in Nashville — what we loved, liked, and wished we’d done differently. 




Things to do & spots to explore
Our first couple nights in Nashville were spent in the heart of downtown, a short walk from Broadway. Broadway is the main drag, full of tourists, bars (some overpriced, some offering kick-ass deals), food, live music, stores hawking three-for-one pairs of cowboy boots, and a barrage of bachelorettes. 

At one point we even made a drinking game of it: From our perch at Rippy’s, we counted 25 parties in an hour and a half, indentifying each either by their matching shirts/boots, the bride’s dollar store veil/tiara, and/or the steady stream of “Woo!” emanating from neighboring bars and passing pedal taverns. 





But back to Broadway itself. It’s fun to check out at least once, ideally at night to get the full neoned effect. Beyond that and a stop at the tasty Jack’s Bar-B-Que (yum!), I’d recommend moving off Broadway sooner rather than later. 

Where to? Art lovers can bop into the Frist, a small art museum that welcomes traveling exhibits. We caught the Nick Cave exhibit (below) and had a memorable chat with Mancil, the older & wiser keeper of the Information Desk. He greeted us in his lavender vest, rainbow checked shirt, and pink bow tie patterned with tiny beach umbrellas. This gent was an absolute delight, reminding museum-goers repeatedly that the on-site café fries their own potato chips. He also gave us directions to some of his favorite Nashville hidden gems on a hand-drawn map. 





Anywho, the Frist also has an amazing children’s center, the Martin ArtQuest Gallery. Here you can really let your inner child come out to play, creating stop-motion videos where dinosaurs eat babies, busting out the scissors and glue to flex those crafting muscles, and pushing buttons to make sound wave sand art. 





Need to get a little active after all that art? There are bikes for rent and kayaks for a three-mile jaunt down the Cumberland River. Check any and all kayaking hesitations at the door — if I can do it solo, so can you! I'd definitely recommend it for the spectacular views of the city and the fun of relatively-easy paddling. Plus, in the heat of the day, it was actually cooler on the water.





By bike, we ventured from downtown Nashville and Printer’s Alley to the Gulch. The Gulch is a really cute area, with a totally different vibe from the Vegas-ness of Broadway. The last few days of our trip, we stayed in East Nashville — again, a different vibe from downtown with plenty to eat, drink, and do. 

Germantown is also worth a peek. This corner of the city is close to the home of the Nashville Sounds minor league baseball team — so fun! Instead of racing sausages, they have racing country music stars. Yes, I rooted for Dolly. Sadly, she didn’t win.





We also zipped around Nashville on Bird electric scooters. After my life flashed before my eyes as I full-throttled, then full-stopped the damn thing during my first ride, the scooter experience became increasingly more fun and less tensing-every-muscle-in-my-body. But it turns out these scooters are a safety hazard and are in the process of being banned by the city. If they’ve worked out the kinks and the Birds are back in town, give ‘em a whirl! If not, RIP Bird scooters. I’m glad I didn’t die while riding you.

Eating & drinking 
Now for everyone’s favorite topic: Food! The number of delicious spots to dine in Nashville are too numerous, but I can tell you the spots we hit in our one long weekend. On our first night, we asked our Uber driver where might be good to eat near Broadway, and she said Panera. Needless to say we didn’t trust her judgment. 





So we googled nearby eats and landed on Martin’s Bar-B-Que, walkable from Broadway. The atmosphere at Martin’s is killer: An open-air greenhouse vibe on the roof, sort of rustic-retro-industrial with pops of greenery and neon lights. But despite the ambiance and live music, our food was really just okay. Pro tip: Go to Martin’s for a drink, and make sure you sit on the patio.

Our second night, we ate at Silo in Germantown. It’s a slightly more upscale spot with scrumptious small plates, perfect for sharing. Our favorites were the pan-friend ricotta dumplings with browned butter and mini garlic and herb drop biscuits with pimento cheese spread. 

On Saturday morning, our group had made a reservation at the Listening Room Café — a place that serves brunch over live music. Little did we know that said live music would be singer-songwriters, and that talking during brunch is highly frowned upon. The experience was cool, but maybe not conducive to a large group of friends itching to catch up. The fried chicken and biscuits, however, were lick-the-plate tasty, full stop. That's one way to keep your audience quiet: feed them Southern deliciousness. 

When all you want is a patio and a burger, Pharmacy Burger Parlor & Beer Garden is a must. The place looks small from the outside, but there’s a sprawling tiered backyard with picnic table-style seating. You may have to wait quite a while for a table, but it was worth it for us in the end. The burgers are awesome, and you can get a milkshake, if your little heart desires. Yummo. 





Speaking of waiting for food, two words: Hattie B’s. We’d heard Prince’s chicken is the best, according to several Lyft drivers and locals, but the location wasn’t convenient. So we ventured to everyone’s second favorite, Hattie B’s. There are a few locations, and unfortunately we picked the most-packed one. We waited in line outside in the drizzle for over an hour. Worth it? You bet. I went for medium spice and it was perfect, though next time, I’d probably go for a straight-up hot chicken sandwich. Mmm. 





Feeling all barbecued and chickened out, our last dinner took us to Butcher & Bee for “New American” shared plates. We mostly opted for any plate with a surplus of veggies. Our favorites? The whipped feta with honey, avocado crispy rice with greens and chiles, and Israeli salad with mango, pineapple, cucumber, and herbs. So fresh and so divine after a weekend filled with fried food. No food regrets! 

For next time
If I ever make it back to Nashville, here’s what’s on my hit list: First, Centennial Park and the Parthenon. Yes, there’s a replica of Greece’s parthenon in Nashville! Second, I’d scope out Opryland Hotel — an insane hotel with an entire indoor river, complete with boat cruises. I’d also like to spend some more time bopping around to various neighborhoods. If renting a car, I’d do a stop at Cheekwood gardens & estate and perhaps a day trip to Mammoth Cave. Oh that there were more hours in a day! Luckily, with the hours we had to work with, Nashville didn’t disappoint. 

Broadway Across America, Milwaukee 2019–2020

The Marcus Center announces a dynamite season

Be prepared. Milwaukee is not throwing away its shot. Not waving through a window. Rather, the heat is on. The Marcus Center's 2019–2020 Broadway Across America season is loverly and couldn't possibly go wrong. (Insert The Band's Visit reference here; I'm exhausted). 

But really, the Marcus Center just announced its next season, and while there's been plenty of buzz over the promise of Hamilton making its way to Milwaukee, there are other killer shows in the lineup that already have me itching for fall. 

DEAR EVAN HANSEN
September 24–29, 2019

Synopsis 
"A letter that was never meant to be seen, a lie that was never meant to be told, a life he never dreamed he could have. Evan Hansen is about to get the one thing he’s always wanted: a chance to finally fit in. DEAR EVAN HANSEN is the deeply personal and profoundly contemporary musical about life and the way we live it."

My two cents
I find it impossible not to fall for the original cast recording of Dear Evan Hansen. The things Ben Platt does with his voice... Good luck not crushing hard. So excited to experience this one! 




HAMILTON
October 22–November 17, 2019

Synopsis
"HAMILTON is the story of America's Founding Father Alexander Hamilton, an immigrant from the West Indies who became George Washington's right-hand man during the Revolutionary War and was the new nation’s first Treasury Secretary. Featuring a score that blends hip-hop, jazz, blues, rap, R&B, and Broadway, HAMILTON is the story of America then, as told by America now."  

My two cents
You can read about how much I love Hamilton here. It's really cool that Milwaukee has secured this masterpiece for almost a month — the problem is, tickets are going to disappear. Honestly, now that Milwaukee has its Hamilton dates set, I'd use the potential lull in supply/demand to snag tickets in Chicago. The Milwaukee run will sell out with or without your single ticket purchase.




THE BAND'S VISIT
November 26–December 1, 2019

Synopsis
"In an Israeli desert town where every day feels the same, something different is suddenly in the air. Dina, the local café owner, had long resigned her desires for romance to daydreaming about exotic films and music from her youth. When a band of Egyptian musicians shows up lost at her café, she and her fellow locals take them in for the night. Under the spell of the night sky, their lives intertwine in unexpected ways, and this once sleepy town begins to wake up."   

My two cents
I haven't seen this show or listened to the music. But any musical that starred Green Bay native Tony Shalhoub on Broadway and won the Tony for Best Musical is a must-see in my book. 





THE LION KING
February 5–March 1, 2020

Synopsis 
"Giraffes strut.  Birds swoop.  Gazelles leap.  The entire Serengeti comes to life as never before.  And as the music soars, Pride Rock slowly emerges from the mist. This is Disney’s THE LION KING, making its triumphant return to the Milwaukee!"

My two cents
If you're a Lion King alum thinking "been there, done that," think again. I kinda felt that way the last time I saw this show in Milwaukee, but walked away feeling like it really, truly, never gets old. I, for one, am looking forward to experiencing that sense of Lion King wonder all over again.




THE PLAY THAT GOES WRONG
March 17–22, 2020

Synopsis 
"What would happen if Sherlock Holmes and Monty Python had an illegitimate Broadway baby? You’d get THE PLAY THAT GOES WRONG, Broadway & London’s award-winning smash comedy! Welcome to opening night of The Murder at Haversham Manor where things are quickly going from bad to utterly disastrous. With an unconscious leading lady, a corpse that can’t play dead, and actors who trip over everything (including their lines), it’s 'TONS OF FUN FOR ALL AGES' (HuffPost) and 'COMIC GOLD' (Variety) – sure to bring down the house!"

My two cents
I've had my eye on this one for a while and am crazy-thrilled that Milwaukee gets to welcome this wild romp of a murder-mystery. 




MY FAIR LADY
April 14–19, 2020

Synopsis
"Boasting such classic songs as 'I Could Have Danced All Night,' 'The Rain in Spain,' 'Wouldn’t It Be Loverly' and 'On the Street Where You Live,' MY FAIR LADY tells the story of Eliza Doolittle, a young Cockney flower seller, and Henry Higgins, a linguistics professor who is determined to transform her into his idea of a 'proper lady.'  But who is really being transformed?"

My two cents
Confession: I thoroughly enjoy the movie My Fair Lady. I found the touring show, the last time it came to Milwaukee while I was in college, to be a little dull. Could it be solved with better seats? New staging? Fresh costumes? Maybe! I'm excited to give it a go.




MISS SAIGON
June 16–21

Synopsis
"Experience the acclaimed new production of the legendary musical MISS SAIGON, from the creators of Les Misérables. This is the story of a young Vietnamese woman named Kim who is orphaned by war and forced to work in a bar run by a notorious character known as the Engineer. There she meets and falls in love with an American G.I. named Chris, but they are torn apart by the fall of Saigon." 

My two cents
My parents raised me on a handful of big Broadway musicals, and Miss Saigon is one of them. The score is soaring, moving, entrancing. The story is, admittedly, a downer. What do you expect from the creators of Les Miserables? But I am jumping out of my skin at the chance to finally see this show firsthand. 

In a nutshell, I don't remember the last time I've been this excited about what's coming to the Marcus Center. Fingers crossed that the touring productions and the acoustics inside the venue hold up their end of the bargain. 

Why I'm loving "Waitress" the musical

Broadway fans, listen to this! 

Waitress the movie came out in 2007. I remember wanting to see it, but never did. Cue spring 2016 when Waitress the musical debuted on Broadway. The score is written by Sara Bareilles, and I was surprised how much I loved it. I admit her songs like "Brave" and "Love Song" are powerful and fun — but a touch too pop-y and like something from a commercial for womens products for me to listen to on a loop. 

Well shut my mouth, I listened to her Waitress demo on repeat for two weeks straight. It was what finally lured me away from my beloved Hamilton, to be honest. I think that Sara's melodies are super catchy across the board, and her pop-y, romantic, kinda-Hallmark-card lyrics (I mean that in the best way) work perfectly for a musical. Not to belittle the lyrics — I love them and there are plenty of beautiful, subtle moments. But I think what fueled my obsession were the melodies and Sara's insanely beautiful vocals demo-ing the songs. 

Now there's an original cast recording, too, starring Tony-winner Jessie Mueller as Jenna. Here's a brief synopsis: Jenna is a young woman, unhappily married to a shmuck, who works in a diner and also happens to be a phenomenal baker of pies. We find out very quickly that Jenna is pregnant, and she goes on to have an affair with her also-married baby doctor. We watch Jenna find her footing, along with her two best friends and fellow waitresses. It's not really giving anything away to say there's a happy ending, and I like that.

The Waitress musical follows the movie, which I finally saw after becoming obsessed with the demo album. I ordered the movie on Amazon for like $8. It was pretty great. Keri Russell is charming as always, and Nathan Fillion is everything. Boy do I love that man. He takes a corny line like "I could find the whole meaning of life in those sad eyes" and makes your heart burst in the most sincere way. I love that Sara worked that same line into one of the show's sweetest songs, "You Matter to Me." It's such a simple truth — that what we all really need at the end of the day is to know that we matter to someone. 

Sappy alert! But really, Waitress is so much more than sap. It's funny, empowering, sweet, and sentimental. Of course I've only listened to the music, so I can't speak to the production as a whole. But if you're searching for a new musical to fall for, give Waitress a shot. And if you've got a new Broadway obsession of your own that I should check out, please share in the comments! Friends don't let friends not know about amazing Broadway musicals.

Lift up your hands for "Hedwig & The Angry Inch"

This is one of the Milwaukee Rep's very best

You enter beneath the red glow of poster-plastered walls like a dank and storied New York cabaret. A ticket-taker clad in grunge points in the direction of a table with a framed command: “Take the damn ear plugs.” Toto, I have a feeling we’re not in the Stiemke anymore. 

But when you get inside and look up, it’s there outlined in rope lights: STIEMKE. Beneath the unmistakable proof that you are indeed at the Milwaukee Repertory Theater, there sits a stage and a cluster of small tables to complete the cabaret illusion. We lucked out with a table smackdab front and center — a table that came with a warning from one of the aforementioned ticket-takers: Hedwig may interact with you. She may touch you. But unless invited, do not touch Hedwig. 




I put on a front of being totally at ease with the notion of Hedwig coming into my personal space, nodded, and said something like, “Sounds great, bring it on!” I then nervously munched  the gummy bears piled in a bowl on our table. Beside the dish, a note: “Eat me, we’re real gummy bears. Don’t be an asshole and steal this sign.” I didn’t steal it, but I’d be lying if I said it wasn’t tempting to pocket something so small yet so clever as a memento of this brilliant production. It’s arguably one of the very best the Rep has ever staged. 

Hedwig and the Angry Inch, the brainchild of John Cameron Mitchell and Stephen Trask, made its Off-Broadway debut in 1998 and has enjoyed a cult following ever since. It wasn’t until 2014 that the rock musical finally made it to Broadway, starring Neil Patrick Harris and going on to win four Tony Awards. There’s also a 2001 film adaptation. 

Hedwig is a far cry from mainstream musical theater fodder. The show’s formula follows Hedwig, a genderqueer performer, who shares her story through songs and monologues of growing up on the wrong side of the Berlin Wall, undergoing a botched sex change operation, coming to America as a G.I.’s wife, hitting rock bottom, picking herself up, falling in love, and falling apart. 

The show blends rock and cabaret with introspective speeches, comedy, and even improv. Hedwig demands audience reaction and interaction, and if you fall short, sneak away to use the bathroom, or are responsible for a rogue cell phone ringing, the titular star will call you out. So come present and wide open — or, as Hedwig says, “fully dilated.” 

Embodying Hedwig in this Rep production is Matt Rodin, creator and host of The Red Carpet Challenge on Broadway.com and The Come Up on the Broadway Podcast Network. Milwaukee, lift up your hands for this outstanding, unparalleled performance. Rodin runs the gamut from a “slip of a girly-boy” to punk rock queen to sweetly-sung emotion to comedian to gyrating sex fiend. 

The character of Hedwig is certainly fleshed out, and Rodin bravely nestles into every corner of her being. His is an honest, heartfelt, and dryly humorous Hedwig. In terms of vocals and rock ‘n’ roll, there’s no ifs, ands, or buts — Rodin is as killer as they come, and he does it all in glorious wigs, sky-high platforms, and ten pounds of glitter. Shout out to the exceptional Mieka Van Der Ploeg, Costume Designer. 

The only other character called out in the playbill is that of Yitzhak, Hedwig’s second husband and member of her band, The Angry Inch. In his heart, Yitzhak is a drag performer. Threatened by Yitzhak’s talent, Hedwig agrees to marry him on the condition that he never wear another wig. 

The incomparable Bethany Thomas plays the Rep’s Yitzhak, quietly stewing and smoldering throughout the show as tension builds between herself and Rodin. Without drag, Yitzhak is incomplete, and Thomas’ brooding over the loss of her true self is felt even silently. There are a handful of moments throughout the show where Thomas gets to sing, and these are moments to treasure. Her voice is at once powerful and lovely. 

In the final moments of Hedwig, she unleashes the full power of her instrument and exuberant stage presence in a shower of glitter and wholeness. It’s that moment that sticks with me and makes me teeter on the edge of scooping up more tickets to this show. Thomas is just that superb. 

The rest of the cast is made up of badass bandmates (Maxwell Emmet on guitar, Tommy Hahn on bass, and Patrick Morrow on drums) and a slew of young roadies who listen intently from the sidelines and occasionally mob the stage. Their presence adds to the immersive quality of Hedwig. 

If you’re seated in one of the two-seater bistros like I was, you may feel particularly drenched in this production. A couple to my right had Hedwig straddling their table and a pair of ladies to my left were playfully called out as “stinky.” A guy named Ezra wound up being a repeat target, and I myself enjoyed a fringed car-wash lapdance from Hedwig herself. Hey, if I can handle the theatricality of it all, so can you. Don’t fear the front row. It’s all part of the immersion.

Says Scenic Designer Scott Davis, “You are plummeted into the world we are trying to experience the minute you walk into the Stiemke theater. The lobby is designed to feel like a grunge club. We redid the bar and there are non-gender bathrooms. By the time you are sitting in your seat, you already have a feel of what the world is. You already understand where we are trying to put you.”

Where Davis alongside Director Mark Clements, Lighting Designer Jason Fassl, and Projection Designer Mike Tutaj have put us is an intimate space, at once as edgy and moody in its lighting as it is spectacularly glam. This is a show that sends you back into the world reeling from the pageantry, the thundering music, the raw and tender moments, the palpable experience of it all. 

Days later I’m craving the songs, the performances. To witness the staging once more. To see what else I can pick up on, or to experience what new twist Rodin will bring to another evening’s show. No two will be alike. But I feel I can confidently say that each one will end with a standing ovation, hands lifted in openness and praise.  

Photo credit: Michael Brosilow

4 Reasons "Hamilton" has got me helpless

The hottest ticket on Broadway & your new obsession

This show is genius. Its creator is genius. I'm not going to even attempt to match it by writing some meticulously-crafted prose to pick apart the aforementioned genius. I just want to spread the obsession in my own small way. Cliffs notes: Hamilton is a hip-hop musical about the life of America's "$10 Founding Father," Alexander Hamilton.

Now for the 4 Reasons I'm obsessed...

Reason 1: I'll say it again — hip-hop musical.

Yep. Hip-hop and rap. The music and lyrics are current and accessible in a way that other show-tune-y productions just aren't. So if you don't think Broadway is your thing, think again — Hamilton redefines the very essence of what show tunes can sound like.

Reason 2: There's a jam for everybody.

Show creator Lin-Manuel Miranda says Hamilton is essentially a Venn diagram where history, hip-hop, and musical theater collide — and though it's primarily hip-hop, there are references to all three of these unique pieces of the pie. So whether you get caught up in the sweet melodies, quick rhymes, historical nuances, or bumping beats, Hamilton will hook your eardrums and emotions one way or another. 

Quick song picks to get you started -->

For the rap lovers: "My Shot"

For the Destiny's Child fans: "Helpless"

For the show-tuners: "You'll Be Back"

My jam: "Wait For It"

** These are a kazillion times better in context & there are too many others to mention, so just go to YouTube or Spotify and listen! **

Reason 3: History. 

Did you know that the father of America's financial system was an immigrant from the West Indies? Neither did I. As Lin-Manuel says, Alexander Hamilton's story fits the hip-hop narrative of starting from nothing and rising out of it. Hamilton seeks to humanize the Founding Fathers and bring a dose of our nation's history to the masses, while also re-imagining that history with players that reflect the face of modern America. Black George Washington? Listen to "Right Hand Man" and you'll soon discover you wouldn't want it any other way.

Reason 4: Lin-Manuel Miranda is a genius.

The man is a Tony winner who read a Hamilton biography by Ron Chernow and turned dry history into a Broadway smash. His lyrics are so layered and jam-packed with references to history and Broadway and hip-hop icons that you will, no question, hear something new with every repeat listen. Check out genius.com to get sucked into the brilliant black hole. Oh, and Lin-Manuel stars in the show as Alexander Hamilton himself. So. Still need further proof of genius? Watch him freestyle rap on the Tonight Show.

Now go listen. Get obsessed. Then we can geek out together! Oh, and if you have $300+ to spare plus airfare to New York, CALL ME.

P.S. I don't own the pics, I'm just a fangirl. RISE UP.

Broadway's "Finding Neverland" soars into Milwaukee

For the child in all of us, feet are (mostly) off the ground for this Peter Pan-inspired musical 

A fairy light flits against the curtain as it rises on a scene of Kensington Gardens circa 1904. "Welcome to London!" sings the ensemble, whirling on and off the stage as nannies push prams, ladies gossip, children gallop, and playwright James Barrie snags an open park bench in search of inspiration. 

That inspiration is at the core of Finding Neverland. It's the story of how Peter Pan's author, J.M. Barrie, gets inspired by a family of four darling boys and their high-spirited mother, Sylvia, to create one of the most beloved characters in children's literature. 

To tell a story chockfull of pirates, pixie dust, mermaids, thimble kisses, rogue shadows, dog nannies, and kids in flight, a sense of magic and enchantment is a must. For the most part, Finding Neverland pulls through in awakening that sense of childlike wonder, especially in its bright, illustrative sets and moments sprinkled throughout the show that dive directly into Barrie's imagination. 

For instance, at a dull dinner party, the mirthless adults remain frozen in time as James, Sylvia, the children, and the waitstaff clown about singing "We Own the Night." Another such moment comes after a day of make-believe in Kensington Gardens, as Sylvia and James attempt to tuck the riled-up boys into bed. "I won't go to bed, I won't, I won't!" the littlest, Michael, gleefully shouts. As the brothers bounce on their beds, James imagines them flying. And once again, when Barrie begins to lose his way, his imagination springs to life in the form of the scalawag Captain Hook.

These moments always come just in the knick of time to inject another dose of playfulness into Finding Neverland. For though the sets are picture perfect, the costuming exquisite, the choreography of Broadway caliber, it's in the songs where this musical, sometimes, falls flat. The score is triumphant, filled with power ballads and pop-style tunes — but they're just not terribly catchy or memorable. That, and some of the lyrics and phrasing feel a bit out of place and time for a musical set in 1904. 

But what saves the otherwise-forgettable songs in this Finding Neverland national tour is the incredible — and consistent — talent on stage. Will Ray who plays Barrie also played Valjean on Broadway, so that certainly speaks to the caliber of his vocal ability and range. He nails every note. John Davidson acts as both Barrie's producer, Charles Frohman, and the Captain Hook of Barrie's imagination. His is a crowd-pleasing performance, full of laughs. But in terms of voice alone, none surpass Lael Van Keuren as Sylvia. Her big song, "All That Matters," is made memorable thanks to her soaring, life-giving instrument. What a joy to behold.

The four young boys in the cast also keep pace with the grown-ups. In Act Two, their sweet washboard-and-ukulele song, "We're All Made of Stars," is a charming, lighthearted little ditty made all the more amusing by these four young fellows. It would be nice to see more of that from Finding Neverland — the chance to really let the children, and just the children, shine. 

But it can't be denied that there are shining moments aplenty in this Pan-themed spectacular. Again, the choreography is remarkably well-crafted and perfectly executed by a brilliant cast of characters. Especially unforgettable is the way in which Sylvia goes to Neverland in a flurry of sparkle and light. It's absolute magic, and moments like these make one sigh and revel at the splendor of what's possible at the theater. 

That sense of appreciating the idea of a play and its infinite possibilities — that's an essential truth in Finding Neverland. It's an invitation to search your imagination, unlock the child within, and embrace the way in which a playful nature makes it possible to survive even the darkest of times. A bit of imagination and silliness go a long way, and there's enough of each in Finding Neverland to take you "straight on 'til morning."

MOT & Theater RED present "A Chorus Line"

Two local theater companies, one singular sensation! 

They say A Chorus Line is a ground-breaking spectacle, revitalizing the American musical in 1975 with its focus on an ensemble cast of characters inspired by the real lives of Broadway dancers. 

The show chronicles the ambitions, dreams, and daily struggles that befall any Broadway hopeful, and does so in a mix of dialogue, monologue, montages, and show-stoppers. The structure was, in 1975, revolutionary, and is no less revered by avid lovers of musical theater today.




This weekend at Cardinal Stritch University, two Milwaukee theater companies are further revolutionizing this Broadway classic, adapting A Chorus Line to a concert format. With Milwaukee Opera Theatre's singer-centric art and commitment to reimagining classic and contemporary lyric theater, and Theater RED's dedication to roles for women and growth in craft for artists, their combined efforts are guaranteed to yield one singular sensation. 

As if the missions of these small-but-mighty companies weren't enough to pique interest, the cast boasts 100% local Milwaukee artists — and that really is something to brag about. Our city is teeming with such talent, and the performers assembled for A Chorus Line do so much more than keep local theater afloat — they truly make it soar. 

This weekend, for two nights only, take flight with some of Milwaukee's brightest stars. A Chorus Line is playing at Cardinal Stritch University, August 27 & 28, at 7:30 pm. Tickets here!

Broadway in Milwaukee's 2016/2017 season

What's coming to the Marcus Center? 

Last night, the Marcus Center announced which Broadway musicals will be coming through Milwaukee in the 2016/2017 season. I have to say, it feels like a mixed bag of tricks to me. There are two shows I've seen recently and the rest are an assortment I feel I could take or leave. 

First, a shout out to the two shows I've already seen. Cinderella was hands-down one of my favorite musical theater experiences to date. Yes, I'm a sucker for a good fairytale, but if you have even a teeny tiny soft spot for the story of Cinderella, plan on seeing this show. The music is sweeping, the sets are like a picture book, the costumes are gorgeous, and the magical elements are, well, magical. I plan on making a repeat visit to see the show in Milwaukee for sure. 

And then there's Book of Mormon. I don't know the last time I laughed harder at a musical. That said, I just saw it last summer, so seeing it again this October seems like a bit much, especially with the promise of Hamilton starting its Chicago run this fall (deep breaths). But it doesn't matter if I go see Book of Mormon a second time — what matters is that if you haven't seen it yet and if you can appreciate some irreverent humor (which, I honestly don't and even I loved this musical, so that tells you something!), don't miss this show! There's a reason the Marcus Center is bringing it back so soon. It's a cash cow. And it's a cash cow because people are obsessed with it.

Now let's look at the rest of the lineup. Beautiful: The Carole King Musical. While I don't see myself rushing to see this one, I'm sure it's great and I would give it a shot if the timing works out and ticket prices aren't too scary. After all, it was nominated for Best Musical at the Tony Awards in 2014. Sound of Music leaves me asking: How could it be better than the movie? The movie is so ingrained in me that I worry I will just be comparing the show to the  movie the entire time. That, and having flashbacks to the horrific Carrie Underwood incident. We won't speak of it again.

Then there's Elf and Chicago. I don't know much of anything about Elf as a musical — but it's another instance of wondering how it could possibly rival the movie. Then again, all that wonderful Christmas spirit might be a sheer delight to witness in a lavish stage production. As for Chicago, it's been around for a while, but I've never seen it. I'd probably consider shelling out for that one to check it off my list... It's about time. Still, I'm not all that jazzed about it. (See what I did there?)

What do you think friends? Have any of you seen these shows that have me feeling lukewarm? I would love nothing more than to be proven wrong and have someone tell me they adored Elf or Beautiful or even a Sound of Music sans Julie Andrews. So if you have any scoop on these shows, share it freely! You know what they say: Friends don't let friends miss out on must-see touring Broadway theater. 

P.S. What even is The Illusionists? I just keep picturing this.

Broadway's "Les Miserables" comes to Milwaukee

After 32 years, Les Miz continues to bring it home

This musical and I go way back. By age five, I could sing every word to "Lovely Ladies" and had deemed Cosette my ultimate idol. Twenty-five years later, Les Miserables (Les Miz for short) holds the same power over me — and I know I'm not alone.

Les Miz, based on the book by Victor Hugo, is now in its 32nd year, having played to more than 70 million people in 44 countries and 22 languages. It's the fifth-longest-running Broadway musical of all time. And if the enthusiastic reception at the Marcus Center on opening night is any indication, Boubil and Schonberg's masterpiece continues to keep a strangle hold on Milwaukee-area hearts. 




Set in 19th century France, Les Miserables is a story of redemption, revolution, unrequited love, and sacrifice — an ode to the human spirit. It's simultaneously tragic, uplifting, and soul-stirring. The central figures are Jean Valjean, the fugitive ex-convict on a journey to become an honest man, and the pious Inspector Javert, who has hunted Valjean for decades in the name of law and duty.

Then there's Fantine, a young factory worker forced to turn to prostitution to support her sick child, Cosette — who is eventually taken in and raised by Valjean. Fast forward 10 years and there's Marius and Enjolras, young men and students on the verge of revolution, and Eponine, a girl from the streets who loves Marius and must watch him fall for the now-grown Cosette. Oh, and don't forget the fan favorites and comic relief, innkeepers and cons Monsieur and Madame Thénardier. 

It's a lot to digest in a nearly three-hour show, but this superb national touring casts makes every moment worthwhile. Rather than operatic vocals, Nick Cartell brings a four-octave frontman vibe to Valjean, in the best and most exciting way. In softer moments, his voice entrances, and his rendition of the moving "Bring Him Home" is absolutely exquisite — as good as anything you'd find on Broadway. Fantine, the angel-voiced Mary Kate Moore, gives us a beautiful "I Dreamed A Dream" — her voice big, clear, and effortless.




The women of the revolution — a grown-up Cosette and Eponine, played by Jillian Butler and Emily Bautista, respectively — are each incredibly strong. With one a sweet soprano and the other a sky-high belter, these parts can sometimes play out as shrill or try-hard. Butler and Bautista consistently strike the perfect chord. 

Bringing the laughs, Allison Gunn nails Madame Thénardier, perfectly lacking in any kind of finesse. J Anthony Crane's Monsieur Thénardier, though plenty animated, left me wondering if his talk-singing was intentional or due to illness.

If there were time and attention span to heap praise on each and every member of the cast, I would. Alas, let's talk about the gorgeous sets and lighting that brings the world of Les Miz to stunning life. Artful lighting lends all the drama of a Renaissance painting. The freshened set design is based on Victor Hugo's own sketches. Scene transitions from city streets to a factory floor to an ivied courtyard to a towering barricade — it's all seamless and larger than life.




But it's the little things in this production of Les Miserables that truly make it a master work; things that are either new additions or simply things one notices upon repeat viewings. For instance, there's such palpable tension between Valjean and Javert (shout out to understudy Steve Czarnecki) just before "Who Am I?" The two fix each other with a nose-to-nose stare, menacing and silent — one of the only moments in the show not backed by the orchestra. It's chilling.

Even the supporting characters deliver on nuance. There's the booze-loving revolutionary, Grantaire, and his particular fondness for the little street urchin, Gavroche. Keep an eye on these two during "Drink With Me" and the moments following the fall of Gavroche at the barricade — and keep a Kleenex handy. Better yet, keep a Kleenex handy throughout. There's such richness in the small moments and rapture in the production as a whole, it's easy to be swept away in a tide of emotion. Ugly crying? You bet.

Following the resounding and emphatic standing ovation for this touring production of Les Miz, it's a great comfort to know that a show that so speaks to me also speaks to my fellow theatergoers. Though she's pushing 33, Les Miserables stands the test of time and trends. Magnificent performances, dazzling sets and staging, soaring orchestrations — these things are as timeless as the show's central message: "Even the darkest night will end, and the sun will rise."