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. 

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. 

Broadway in Milwaukee: The Lion King

A decade later, Disney still brings the magic

"The Lion King" premiered on Broadway in 1997 but didn't make it to the Midwest until several years later. I first saw it in Chicago in 2005. I remember being blown away, crying during "Circle of Life" in total awe that someone could not only dream up such a spectacle but also bring it to life on stage. After all these years and despite (and because of) some tweaks to the production, "The Lion King" roars with all of its original magic and then some. 

To start with the tweaks: "The Morning Report" has been cut completely from the show (no complaints here). They also eliminated the Cirque du Soleil -style acrobatics in "Can You Feel the Love Tonight." A pity —  I always enjoyed that part. But they made up for it with some noticeable additions: African dancers in gorgeous costumes during the crowd-favorite reprise of "He Lives in You."

Other songs I can't get enough of include "The Grasslands Chant," "The Lioness Hunt," "Rafiki Mourns," "One by One," and "Endless Night." Overall, upon this Milwaukee viewing, I decided the lionesses are my favorite by far. The way they dance and how their costumes transform is mesmerizing — every movement a perfect blend of power and grace. 

While "Endless Night" is a winning ballad in my book (and is superbly performed by Jelani Remy in this touring production) "Rafiki Mourns" wins for being the most moving. This is the tribute Mufasa didn't get after his death in the animated movie — a sorrowful and beautiful song elevated with expert staging and exquisite costume design (cue the tearful lionesses).

In sharp contrast, "One by One" is an absolutely joyful way to start the second act of the show. According to composer Lebo M, it's a "freedom song" — an uplifting hymn calling Africans to "hold tight, don't get weary, don't lose your strength." 

It's amazing to me that, though this was the fourth time I've seen "The Lion King," there's always something new to discover — details like the gently swaying grasslands, the mechanics of the cheetah costume, and the way the fireflies flit across the savannah. It didn't hurt that L. Steven Taylor's Mufasa delivered a "They Live in You" that had me gaping like an awestruck schoolgirl. All of these elements combined for a show that's one part "Hakuna Matata," one part inspiration to take our place in the circle of life. In other words: Disney's classic formula for magic.

The Milwaukee Rep presents "Guys & Dolls"

The house wins with this musical classic

Considering the Milwaukee Repertory Theater's core mission of igniting positive change and inspiring meaningful dialogue, I initially wondered where Guys & Dolls fits in with such a narrative. Past Milwaukee Rep musicals include Ragtime and The Color Purple — shows that certainly have a lot of cultural significance and a lot to say. 

But a show like Guys & Dolls is no less culturally significant, really. The musical comedy about two small-time gamblers and the women who love them topped Entertainment Weekly's list of the "Greatest Musicals of All Time." When the show opened on Broadway in 1950, it garnered unanimously rave reviews, ran for 1200 performances, and won the Tony for Best Musical.






Though Guys & Dolls might not offer deep self reflection, it continues to be a staple of the American musical tradition for accomplishing the one thing musical theater set out to offer in the first place: An escape. A sense of sheer joy. A break from the monotony of reality and our own personal problems. A chance to be part of a fantasy world of song and dance for a few hours — where the laughs are rehearsed and the guy gets the girl — and leave with a smile. 

While certain plot points are certainly squirm-worthy by today's standards (women patiently waiting 14 years for a promised marriage, or being duped into one-night flings in Havana — all at the hands of two gambling schmucks), it's best to check your feminism at the door and let a nearly 70-year-old musical do its thing. At this Milwaukee Rep production, the Guys & Dolls "thing" is to wow audiences with superb talent, gloriously dizzying choreography, electric set design (literally), and hilarity to boot.






The four leads are expertly cast, bringing knockout voices, humor, and heart to their respective roles. The veritable Don Juan of the crew is Sky Masterson, played by Nicholas Rodriguez with charm for days and a voice worth swooning over. It's easy to see why the timid Sarah Brown, played by Emma Rose Brooks, would follow him all the way to Havana just for a dinner date. It's in Cuba that Brooks' comedic side comes out to play, singing "If I Were a Bell" with adorably tipsy flair. 

Bringing another dose of humor is Kelly Faulkner as Miss Adelaide — the doll who's been waiting 14 years to wed gambler Nathan Detroit, played by the golden-voiced Richard R. Henry. Faulkner is an absolute delight, working the ditzy chorus girl persona to perfection, and with a stellar voice and pair of dancing shoes to back it up.






In fact, spectacular dancing shoes back up this entire Guys & Dolls production, taking the show to next-level greatness. Choreography by Stephen Mear is a treat to watch at every juncture, especially the scintillating Havana scene with its flurry of ruffles, high kicks, and seduction. I dare say there is better choreography and talent on stage now at the Milwaukee Repertory Theater than in some of the touring Broadway productions I've seen in recent years. 

It's little wonder that a standing ovation followed the finale on opening night. The crowd not only thundered for the aforementioned favorites, but a couple other characters who threatened to steal the show: Michael J. Farina as the likably smarmy Nicely-Nicely Johnson and David Hess as the fatherly Arvide Abernathy. Farina and the Guys & Dolls company drew uproarious applause following the joyful, gospel-style show-stopper "Sit Down, You're Rockin' the Boat." Hess took a quieter approach, beautifully delivering the most poignant tune of the evening, "More I Cannot Wish You."




While Arvide Abernathy wishes that Sarah Brown find her "own true love this day," it's my wish that Milwaukee-area theatergoers take time out of the busyness, the humdrum, the reality, and gamble on a night of musical comedy at the Milwaukee Rep. This one's a sure winner. 

Guys & Dolls is playing through October 29th at the Milwaukee Repertory Theater. Info and tickets at milwaukeerep.com.

*Photos courtesy of Michael Brosilow

Broadway in Milwaukee: Motown

Excelling in song, lacking in story

I'm a lucky girl. My mom bought us season tickets to Broadway in Milwaukee this past year, and we've had an absolute blast. Last night was our last show: Motown. I'd heard nothing but good things about it — people saying it's hard to sit still with one groovy hit after another coming at you. And they're right! The music is outstanding.

I'd consider myself a radio fan when it comes to Motown; I love songs like "My Girl" and "ABC" as much as the next person, but I'm not die-hard into this particular genre. Even so, I recognized most of the tunes — ones that I always knew I loved and ones like "Boogie Shoes" and "You're All I Need To Get By" that I forgot I loved. Being reintroduced to this glorious music was a total treat.

As for the cast that delivered the tunes, they really blew the roof off the Marcus Center. The voices were unique of course, but every one of them was soulful and buttery. True story: During some of the vocals, I was so caught up that I had to remind myself to breathe. Yep, this show's strength really lies with the music and the actors' delivery skills, and in this cast there wasn't a dud to be found.

There was crowd participation when Diana Ross came out into the audience to make two somewhat-willing spectators join her in singing "reach out and touch somebody's hand, make this world a better place if you can." Then came the Kumbaya moment where she had us all hold hands, raise our clasped hands over our heads, sway, and sing those same words. It felt a little goofy — also tricky, because there was no way you could not participate without being a schmuck — but also inspiring to have a whole theatre full of people chanting such a positive message. If you can get past the Danny Tanner-ness of it all.

So this is all well and good, but I can't deny coming away with a certain ambivalence. Of course the show was thoroughly enjoyable. There were times I wanted to jump up and dance. When the boy who played a young Michael Jackson absolutely nailed all his numbers, I was full-on grinning from ear to ear. But upon reflection, what this show lacks is emotional depth and strength of story. Not that the story isn't there — it must just be the way it's scripted that falls a little flat. The show includes key moments in history — the assassinations of JFK and Martin Luther King — and while these are plenty-affecting subjects, I just didn't feel that affected. 

The closest I can get to a fair comparison for Motown is Jersey Boys. Jersey Boys is also a sort of musical review, but I feel like the staging, story, and overall package worked better in Jersey Boys. I mean, remember crying in Jersey Boys. I wasn't really feeling it with Motown. It's like they should either have really gone there with the upheaval of the times, or found a way to artistically skate over it. Maybe showing newsreels without a song? I'm not entirely sure and I'm no expert, but that was my take-away. Lacking in story, excelling in song. So if you're a huge fan of this music, you'll flip out over this show. If you're a radio fan like me, you'll have a blast — but you probably won't obsess over it.

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

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 in Milwaukee: Anything Goes

High hopes dashed on the high seas

It pains me to say this, but if you're thinking of seeing Anything Goes this weekend in Milwaukee, do yourself a favor and save your money. Taking our seats at the PAC last night, I didn't have many expectations — just hopes for impressive dancing (since the show won a Tony award for outstanding choreography in 2011) and timeless Cole Porter tunes. I knew the show had a classic musical vibe and a storyline with sailors & nightclub singers on a ship, romance, and a (probably) predictable plot. And I like all of those things! But somehow this production of Anything Goes did anything but, well, go.

The leading lady, Emma Stratton, was an undeniable bright spot in the production; her voice is phenomenal and she certainly carries off an air of old Hollywood glam. But I'm not sure that any of the dancing was out of this world, and the number of dancers in this touring troupe was trimmed by about half compared to the Broadway cast. When you cut the dance company so blatantly, the choreography inevitably suffers. Not to mention, there wasn't even a showstopping tap number until just before intermission — what's that about?! 

Despite all this, I can see the potential in Anything Goes — I'm just afraid we Milwaukeeans aren't being treated to it in full. Of course the show itself isn't new — the music is old, the story is old, and surely that's a big part of why the entire production felt rather lackluster and stale. But remember: I love the Cole Porter era! I'm all for sweet little ditties and tap shoes for days! But I think that when you're working with such old-fashioned material, there has to be some freshness to compensate. This show requires outstanding talent throughout the cast, impeccable (and fully realized) choreography, romantic chemistry, and overall Zing! This particular Anything Goes just did not deliver.

It's too bad, because I really wanted to love this show. And I sincerely hope that musicals like this continue to be performed and performed well. What saved the show for me were the folks sitting around us. They were all in their late seventies — even their eighties — and they were loving every minute of it. The gentleman seated next to my mom, who kept his winter hat on through all of the first act, tapped his toes and softly clapped in time with the music. When my mom and I applauded like normal theater-goers, he cheered "EEEYYYY!" and pumped his fists in the air. Another older fellow actually leaped out of his seat at the end of the first act with uproarious applause. If that sort of enthusiasm is worth anything, then there must be something going right in Anything Goes.

Broadways "An American in Paris" comes to Milwaukee

'S wonderful, 's marvelous — 's that simple!

Set in the City of Light in post-World War Two with plucky soldiers in a new town, a love triangle (er, square?), and an easy-breezy Gershwin score, An American in Paris has all the hallmarks of a golden age musical. The 2015 Tony winner was even inspired by the 1951 movie starring Gene Kelly and Leslie Caron. 




It's the story of American GI Jerry Mulligan, who decides to say in Paris after the war in hopes of becoming a professional painter. Jerry makes two new friends, an American would-be composer named Adam and a French would-be crooner named Henri, and falls for the sweetly mysterious Lise, a French shopgirl and aspiring prima ballerina. Unbeknownst to Jerry, Lise just happens to be Henri's betrothed. Who, I wonder, will get the girl? 

The marvelous thing about An American in Paris is that, though classic in its song and story, the minds behind this new version have created a wholly refreshing interpretation that transforms the way one thinks about and experiences decades-old musicals. That freshness you're feeling? Dance. From curtain rise to fall, An American in Paris hinges on dance. Even the set changes are every bit as beautifully and seamlessly choreographed as the company's every move. 




Those moves, designed by Choreographer and Director Christopher Wheeldon, lend an exquisitely intimate beauty and grace to the show. An American in Paris is a work of art from start to finish, as every danced moment, from the nuance of falling in love to show-stopping kick lines, is crafted to artistic perfection. At times it's wonderfully surreal and, at other times, downright sexy.

Of course any choreography is only as good as the talent executing it, and the talent in this touring cast is off the charts. The lead actors nail every note, dance step, and line of dialogue. Finding a troupe of serious triple threats on a national tour is no guarantee, so a visit to Milwaukee from this caliber of artistry is a sheer delight.




First up, there's McGee Maddox as Jerry. He trained with the Houston Ballet and joined the National Ballet of Canada in 2009. Through highly-athletic choreography, Maddox's movements appear effortless and lighter than air. I kept wondering when he would mess up or miss his mark — but, to my eyes, he never did. Echoes of Gene Kelly. 

Dancing opposite Maddox is leading lady Allison Walsh. She was part of An American in Paris from its first Broadway workshop, dancing in the Broadway ensemble for the show and even playing Lise as an alternate. When our trio of lovestruck fellows swoon over Lise in "'S Wonderful, 'S Marvelous," there's no question as to why. From the way her movements mesmerize to the loveliness in her singing voice, Walsh earns every bit of starry-eyed praise heaped upon her. 




The triple-threat talent doesn't stop there. Matthew Scott as American composer Adam, Ben Michael as French singer Henri, and Kirsten Scott as American society sweetheart Milo — they each do their share to round out the lead roles with star power. Matthew Scott brings the clever laughs, then turns around and belts a beautiful solo. Michael's Henri is sweetly lovable and more than a little unsure, then turns around and leads a chorus of marabou-feathered, dream-sequence showgirls like a downright dandy.

Even Kirsten Scott's role of "the other woman," at risk of being a throwaway part, is made special with Kirsten behind it. She's funny, quick as a whip, and appears utterly at home on stage. What a treat to not only see this fantastic quintet in action, but to also experience the talents of the entire ensemble in all their exuberance.




That feeling of joy and jubilation is what An American in Paris is all about. Though still reeling from the war (which lends the perfect dash of drama to this otherwise soaring musical), our cast of characters grows to realize that though life is dark, it's up to us to choose love and light. It's also up to those with a knack for the arts to go out and create works that bring some brightness into the world. An American in Paris does just that.

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."

"A Chorus Line" in concert

Presented by Milwaukee Opera Theatre & Theater RED

Having never seen A Chorus Line before (blasphemy!), I wasn't really sure what to expect from this Milwaukee Opera Theatre (MOT) and Theater RED collaboration, staged the past two evenings at Cardinal Stritch University. I know the show is considered a musical theater classic, credited with the rebirth of the modern American musical, and for that I'm eternally grateful. But what of the show itself? 

In its entirety, A Chorus Line takes place during a dance audition for a Broadway chorus line. The characters are 20- and early 30-somethings, but MOT and Theater RED cast a lineup of veteran Milwaukee actors in the roles of young hopefuls for a unique touch. Knowing these two theater companies and their dedication to innovation, a twist of some kind wasn't surprising. But the effect this particular twist had on the story and audience was, indeed, remarkable. 

Playing for two nights only, with an aforementioned cast of Milwaukee favorites, the sold-out audience was no doubt packed with friends, family, groupies, and avid lovers of Milwaukee theater. Even I, a relative newbie to the Milwaukee theater scene, recognized a handful of faces in the Chorus Line cast and couldn't wait to see what they did with their part. 

There was the dryly hilarious and always-commanding Angela Innanone. Twinkle-toed David Flores. Diane Lane with her pitch-perfect delivery, both in song and comedic timing. The darling duo Karen Estrada and Doug Jarecki. Marcee Doherty-Elst bringing the va-va-voom. And angel-voiced Beth Mulkerron and Rana Roman taking it home with the show's famous ballad, "What I did for Love." 

On more than one occasion, applause erupted in earnest support of these actors that Milwaukee theater-goers have come to truly love. As the crowd rose to its feet in a final standing ovation, the sheer amount of pride in our city's incredible talent was palpable. 

It's insanely invigorating to play even a small part in such a community — and by viewing theater, you are indeed a part of it. I hope that Milwaukeeans who might be new to live theater will someday take a chance and join in the fun. As this Chorus Line proved, the theater scene in our town is a singular sensation.

*Photos by Traveling Lemur Productions

Renaissance Theaterworks presents "The Violet Hour"

A thrilling journey through time

Spirited performances, laugh-out-loud moments, gorgeous costuming, and a healthy dose of the metaphysical — it's all waiting in The Violet Hour. The work by Richard Greenberg debuted in 2002, played Broadway in 2003, and now graces the stage at Milwaukee's Renaissance Theaterworks in the Third Ward.

The story is set in 1919 New York and tells of aspiring publisher John Pace Seavering (charmingly played by Neil Brookshire), a businessman who's just starting out and has yet to publish a single novel. Armed with the funds to send just one book to print, John is torn between a poetic tome by his Princeton chum, Denis, or an honest autobiography by his mistress, Jessie Brewster — a quasi-famous singer (the bewitching Marti Gobel slays this role). 

Denis (played by Nicholas Harazin, oozing charisma) hasn't a penny to his name, though he's in love with an heiress named Rosamund (a lovely, lilting Cara Johnston) and needs the promise of being published to win her hand in marriage. Jessie, a black woman who rose to a glimmer of stardom in pre-1920s New York, is intent on having her life story nailed into peoples' brains.

It seems the fate of his friends lies in John's hands — or does it? Now for the metaphysical twist! John and his melodramatic assistant, Gidger (played with hysterical gusto by David Flores), receive a mysterious gift: a printing machine delivered to their office, unannounced. The machine starts spewing pages of history from the future (remember, this is 1919) — history of the world and the personal histories of each of the characters in our play. 

The Violet Hour repeatedly plays with the concept of predictability. John has tickets to a play that is said to be a good-but-predictable bit of theater, and Gidger questions why John would bother going at all if you can see the ending all along. Now, John and Gidger have their own sort of script before them: these pages from the future. Of course The Vioet Hour itself plays with this predictability, as who among us could foresee that a rogue fortune-telling printer would show up in 1919 — unless you read the show program. 

As John and Gidger marvel at the historical pages before them, it raises the question: Is the future fixed? Truly, the only certainty in life is that a future of some kind is inevitable. That, and death. How we get from here to there — the journey — depends entirely on our choices here and now. You might think life can be predictable and the future scripted, like a play with an ending you see coming a mile away, but in fact our choices make it unpredictable. 

Having peered into the future, John must decide: Denis' book or Jessie's? I certainly don't want to spoil the ending, but I will say that The Violet Hour offers no shortage of conversation and introspection after the curtain falls. If you could glimpse the consequences of your actions, how would you proceed? A good decision now can lead to sadness down the road — but how can we know that? All we can do is make the best of the present, as the future is indeed uncertain. 

The Violet Hour is playing at Milwaukee's Renaissance Theaterworks through April 30th. Information and tickets at r-t-w.com. 

*Photos by Ross E. Zentner

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."