5 Reasons “Rusalka” is a Bewitching Romp

Milwaukee Opera Theatre & Danceworks Make Magic Once Again

As a seasoned fan of the Milwaukee Opera Theatre (MOT), there’s something I’ve noticed over the years: This company is at their very best and brightest whenever they partner with Danceworks Inc. With MOT under the direction of Jill Anna Ponasik and Danceworks under the artistic direction of Christal Wagner, it’s a match made in — well — this time it’s a Slavic river teeming with nymphs and sprites. That’s where the latest MOT + Danceworks collab, Rusalka, takes place.  I was lucky to see this magical show on opening night at Danceworks Studio. I enjoyed it so much, I made the mistake of telling others to rush out and see it, only to learn this one-weekend run is all but sold out. But perhaps, if we clamor loudly enough, the run could be extended… A fangirl can hope. To do my part in loudly clamoring, read on for 5 reasons this Rusalka is so bewitching and derves to run for weeks and weeks. Oh the whimsy! The humor! This is the MOT + Danceworks sweet spot. These two companies always bring out the best in each other, and Rusalka is no exception. There’s a fantastical, fairytale quality to this story that makes for an enchanting spectacle for eye and ear.  In fact, many unfamiliar with the myth of Rusalka might be quick to say, “Ahhh… it’s like The Little Mermaid!” And they’d be right. Rusalka is a water nymph who falls in love with a human and trades her voice to a witch for the chance to join her prince on land. But this isn’t Disney, so there’s no “Kiss the Girl” and (unsurprising spoiler) no happy ending. MOT’s Rusalka has been adapted wonderfully by Jason Powell, so it has been trimmed of its original three-hour length to something today’s audiences can tolerate. While the singing is in Czech, spoken English interludes move the story along and do so in pleasant, ultra-charming rhyme. This Rusalka is immensely funny, fanciful, lighthearted, all-around delightful, and had me thinking: “This is so Milwaukee Opera Theatre.” The voices! The music! Rusalka opens with a Wood Nympth Trio (Tabetha Steege, Erin Sura, Brennan Martinez) who are each and in harmony as lovely as can be. Next we are treated to Rusalka’s “Song to the Moon.” Saira Frank plays the titular role and she and her voice are, in a word, ravishing. Frank is a master of that starry-eyed, dreamy sensibility of an amorous river nymph. Then there’s Ježibaba (Colleen Brooks) the evil sorceress who grant’s Rusalka’s wish. Brooks’ mocking way makes for delicious witchiness. Next we meet the Prince (Tim Rebers) whose comedic delivery makes way for strong, strapping vocals. Rebers and Brooks share captivating chemistry and intimacy, particularly in their final tragic duet. Lastly, as Rusalka’s father Vodník, David Guzmán beautifully bellows his “Lament.” All of the singing is supported by a simple musical duet: a piano (Ruben Piirainen) and a harp (Erin Brooker-Miller). While the piano grounds, the harp brings splendid magic, proving that for this Rusalka, that’s all you need.  The dancing! The movement!  There are eight Danceworks dancers in Rusalka, filling the cozy stage with big energy. Throughout the show, the dancers take on myriad roles: sprites doing sprightly things, demons doing demonic things.  The dances range from fluid to frenzied, darkly writhing to tenderly rolling. The dancers’ all-around agility and emotive movements help set the mood and the scene, giving the audience something marvelous to look at when the operatic words are lost on you.  One of my favorite dances occurs during a party given by the Prince. With red solo cups as props and a Foreign Princess getting progressively tipsy, it’s all so amusing and imaginative, good luck not grinning widely. The looks! Inspired! The costumes, hair, and makeup for Rusalka are not to be passed over in praise. Together, they set the tone and transport the audience to various worlds. The mystical sprites and nymphs don their best Ren Faire garb: flowy frocks in earth or water tones, trimmed with ribbons and the occasional sparkle of sequins. In stark laugh-aloud contrast, the very human Prince appears to have emerged from the pages of a J.Crew catalog. A final fashion shout-out to Vodník’s fully-painted bald head and beard. That’s dedication, and it pays off in creating an otherworldly vibe.  The Moon! Aka Jason Powell! Saving one of the best for last, Jason Powell as our narrator, The Moon, tops my list of Rusalka favorites. First, thank-you to Powell for adapting this opera into something we mere mortals can contend with. Second, Powell’s easygoing good humor may just make his Moon one of the most-likable characters I’ve seen on stage this season. His costume: A white mechanic’s jumpsuit with MOON scrawled on the pocket, polished off with gold sequined kicks. Powell easily earns his showstopper “Glorification of the Moon,” despite admitting: “Does it move the plot? It categorically does not.” Placed just before the final tragic duet of the show, this ode to The Moon clinches it: Rusalka will leave you utterly enamored with every inch of the spectacle before you. Visit milwaukeeoperatheatre.org and danceworksmke.org to see what's next for these gems of Milwaukee's performing arts scene.

Optimist Theatre presents "A Midsummer Night's Dream: The Lover's Tale"

Shakespeare once again casts its spell over Milwaukee 

There’s just something about Shakespeare in the Park. First, there’s the fact of seeing Shakespeare performed, which is infinitely more engaging and surprisingly relatable than it is when you’re stuck reading it in a 9th grade English class. 

Then there’s the fact of enjoying such marvelous vocabulary, elaborate phraseology, glorious witticisms, chaotic hilarity, and stellar performances beneath a clear blue sky — albeit, Milwaukee enjoyed a strangely hazy sky this day.

A Midsummer Night’s Dream is my personal favorite for all its magic, romance, and humor, so perhaps this review is biased. Or perhaps, as are we all, I’m just so thrilled to be back seeing a live performance. And given the response on the Marcus Center lawn, I’d wager I’m not alone in that sentiment.  

The Optimist Theatre’s 2021 production is a touring show with a mobile set, bringing Shakespeare to 14 neighborhoods in and around Milwaukee. Shows take place afternoons and early evenings, every weekend through Labor Day. The play itself is a trimmed-down version of Midsummer by ML Cogar, whose selections focus on telling The Lovers' Tale. 

Here we see Shakespeare’s four lovers: Helena (Susie Duecker), Demetrius (King Hang), Hermia (Rebekah Farr), and Lysander (Fabian Guerrero). In the name of love, they find themselves in the woods and meet accidental mischief at the hands of the forest sprite Puck (Libby Amato) and the fairy king Oberon (Seth Hale). 

The cast really nails it, bringing vibrant energy and charm to their roles. They never once stumble over the Bard’s words, which is not only a mark of utmost poise, but also ensures the audience is never distracted or taken out of the world of the play. In key moments, this troupe is also laugh-aloud funny. Their love of both their craft and these characters is evident, and such genuine excitement urges the audience to sit up, engage, and feel invested in the hijinks. 

The women of The Lover’s Tale are particular standouts. Feisty and funny with plights you feel for, both Duecker and Farr have ample space to lean into hysterics and heartbreak. In short, they’re a wildly entertaining duo and bring a refreshing modernity to their portrayal of these friend-or-foe maidens. As for the ladies’ counterparts, Hang and Guerrero lend ample spark and vigor to each of the lovesick leading men. Altogether, they’re a worthy, wonderful foursome.

Where the fae folk are concerned, Amato and Hale are nicely paired as Puck and Oberon, respectively. Amato plays Puck with an ever-present glint of merry mischief in her eye, embodying the iconic sprite with cool confidence. The charismatic Hale, for his part, shines in moments that hinge on comedic timing, for which he has a keen sense.

There is also puppetry afoot in this Midsummer Night’s Dream, courtesy of Ron Scot Fry. It’s a whimsical element that takes the theatrics to a dreamy place. Though it’s a little confusing at first to hear a voiceover speak for one of the puppets, it’s a quibble that soon makes way for appreciation of this imaginative choice. In truth, when the puppet Titania appeared, my theater-going friend and I each let out an “Oooh!” of awe. 

All told, this Midsummer makes smiles and laughter easy. It’s at once classic, escapist, and comforting — just what we need from the theater on what we hope is the heels of a pandemic. It’s exciting to think that this mobile production will bring Shakespeare to so many corners of Milwaukee. 

A Midsummer Night’s Dream: The Lovers’ Tale is free to see — but, as we’re reminded before the curtain rises, it’s not free to produce. Donations are welcome. For all the details on where Shakespeare in the Park is headed next, visit optimisttheatre.org/msnd. There you will also find COVID precautions, and notes on bringing in chairs, blankets, food, and drink. 

SistaStrings brings "The Sound" to Milwaukee Opera Theatre

New music video debuts for second Distance Commission

The Milwaukee Opera Theatre (MOT) continues its experiment in theater-from-a-distance with a new virtual collaboration. Together with Milwaukee-based duo SistaStrings, MOT has created their first-ever music video, featuring filming by Traveling Lemur, lighting by Encore Theatrical Lighting, puppet design (yep) by Angry Young Men, sound design by Johanna Rose, and a stellar vocal ensemble.

At the heart of the collab is, of course, SistaStrings. Chauntee and Monique Ross formed the group in 2014. Their music truly can’t be pigeonholed. Their site says the SistaStrings sound “combines their classical background with R&B with a touch of gospel influence that culminates in a vibey, lush sound.” With soulful voices and gorgeous harmonies between violin and cello, this duo is unlike any other. 

So how did this collaboration come about? Director Jill Anna Ponasik reached out to Chauntee and Monique and asked, “What’s something Milwaukee Opera Theatre could help you make that you wouldn’t produce on your own?” Swiftly, they gave Ponasik their wishlist: a music video about imposter syndrome — with puppets and a choir. 

And that’s exactly what Ponasik and company delivered at this weekend’s Zoirée (Zoom soirée). The hour-long virtual event followed a four-part format: a pre-recorded interview with Chauntee and Monique, a viewing of their music video The Sound, a Q&A talk-back, and finally a live performance.

During the interview, we learn how Monique (cello) and Chauntee (violin) first fell in love with their respective strings. It was love at first listen for Monique and the cello: “It was so beautiful,” she says, the memory a clear and wistful one. Asked what exactly the sound is in The Sound, the sisters touch on that aforementioned imposter syndrome: the irritating noise of others in their heads as they grew up. Those voices told them to “tone it down” or be other than what they are, which is out-loud in love with their instruments and their music. 

Now for the puppets. Chauntee and Monique reference a film they saw that used puppets to represent the “other.” It’s the idea that you can send a serious message, but sending it with puppets makes it easier to digest and even draws some laughter along the way. As was mentioned during the talk-back, “puppets can say and do things we as humans cannot.” In The Sound, each sister is represented by a puppet. It’s a chance, they say, to exist free from stereotypes. 

On the sisters’ desire for a choir: “Just a dream, just a dream.” It’s a dream that Milwaukee Opera Theatre helped bring to life. The music video for The Sound opens with footage of 2020’s Black Lives Matter protests. The chants of the protests mingle with the strings warming up. “The sound drives me crazy,” the refrain repeats. Harmonious voices and strings, sparkling face masks, shades of purple and blue in braids, puppets, lighting — this is a striking collaboration, and it’s one that is better seen and heard, not read about. 

Chauntee and Monique closed this Zoirée with "Amazing Grace," played from two separate locations. Even the limitations of Zoom couldn’t muddy their glorious music. I walked away from this experience eager to see SistaStrings live. I hope that day is sooner than later. 

In the end, what resonated most with me was the joy worn on the sleeve of each and every artist involved in The Sound. After a year of a lot of nothingness and uncertainty on the Arts front, this group of creators and performers voiced during the talk-back how genuinely pleased they were just to get a call from Ponasik asking them to flex their creative muscles once more. As a review-writer, I can relate to that thirst for involvement. Enormous thanks to Ponasik and MOT for involving us all. 

Catch The Sound at three more Zoirées: February 26th & 27th at 7:30pm, and February 28th at 2pm. Info and tickets at milwaukeeoperatheatre.org.

Short & Sweet "In The Cloud"

MOT's successful experiment in virtual theater 

As the pandemic roars on, what are the performing arts to do? “We’re going to make art because that’s what we do,” said Director Catie O’Donnell during the first Zoirée (that is, Zoom-soirée) of Milwaukee Opera Theatre’s "The Distance Commissions" series. 

This first commission by Matt Zembrowski is called In The Cloud: A Story in Five Songs. Zembrowski wrote the show just last month, and this in-the-moment creation allows for some seriously of-the-moment theater. His mini musical is set right now — in our isolating, anxious-making, loss-ridden time of pandemic. 

In The Cloud’s five songs follow a small family. In the cast: MOT alum Rae Pare as the grown daughter, Milwaukee native Marilyn White as the mother, and “local boy” (his words) Normal Moses as the father. Tremendously beloved in Milwaukee, Moses has been “yanked” (also his words) from retirement to lend this character a touching voice. 

While I don’t want to say too much, I will say there are echoes of all of us in Zembrowski’s story-songs. In the past year, we’ve likely either felt similar feelings (“when will it end?”) or encountered similar characters and attitudes. Though the story is, as Moses said during this first Zoirée, “not exactly happy,” we’re left with a reminder that “all we have is time, and no one knows how much.” Do with that what you will — literally.

What the brilliant Jill Anna Ponasik and her Milwaukee Opera Theatre team have chosen to do with their time is to find a way to keep creating. With "The Distance Commissions" Zoirées, the hope is to strike a balance, delivering the sense of community we’re all craving while avoiding the streaming of a full-length piece of theater. 

As Director Catie O’Donnell pointed out in the post-show discussion, not only is the content of In The Cloud a reflection of the moment we’re in, but so is the way this piece has been put together and shared. The format for MOT’s Zoirées goes like this: Start by logging into the intimate 18-person Zoom (a link is sent to your inbox beforehand to make it super easy). You’re then greeted by Artistic Director Jill Anna Ponasik, who tells you a bit about the show and introduces the key players. Yes, you get to bump virtual elbows with the actors, director, and playwright!

In The Cloud has been pre-recorded, so together the Zoirée attendees watch the 20-minute film. Short and sweet. It was filmed at the actors' homes using phone cameras, then edited together seamlessly — a testament to making-do in these tough times. After the show, the audience is invited to ask questions and share comments. Ponasik ends by asking what people miss most about live theater.

At least, that's how it went on night one. It’s possible some tweaks will be made over the course of In The Cloud’s six performances. One thing that I imagine will remain the same is MOT’s openness to both introverts and extroverts — that is, you can choose whether or not you turn your camera on and participate in the talk-back.

As one who prefers to be a wallflower in virtual hangouts, I can attest that there is zero pressure to go out of your comfort zone here. However, upon reflection, I would turn my camera on from the start next time — for the sense of community and as a tribute to the creatives who so bravely put themselves out there for us. Showing them the smiles on our faces and muted applause is the least we can do. 

To answer Ponasik’s question: What do I miss most about live theater? That sense of awe. I miss marveling at the talented actors, the production design, the mood-making lighting, the rush of movement, the glorious voices. And of course I miss the alive-ness. Not just seeing scripted (and unscripted) moments come and go, but also the physical coming together of a community of theater lovers. As one woman noted at last night’s Zoirée, I too miss being part of a crowd of applause.

Someday we’ll get back there. For now, take heart in works like Milwaukee Opera Theatre’s "The Distance Commissions." 

Meet me in the "Enchanted Park(ing lot)"

Milwaukee Opera Theatre & Danceworks stage a COVID-era spectacle

Leave it to Milwaukee Opera Theatre (MOT) and Danceworks to beautifully contort themselves to keep up with the times. In their sixth collaboration, Directors Jill Anna Ponasik and Dani Kuepper take the theatrics to an Enchanted Park(ing lot). Finding a way to go out of doors—now that’s thinking outside the black box. 

For those of you just tuning in: Live theater is suffering big time thanks to COVID. Moving productions outside simply isn’t a viable option for many companies. But MOT and Danceworks dared to do it. Both groups are small enough to pivot, renowned enough to draw a crowd, and plucky enough to pull it off. In fact, anyone who’s seen a Danceworks/MOT collab likely wasn’t surprised to learn that their next locale would be a parking lot along the river, where patrons are asked to BYO blankets, chairs, and warming beverages. 

How does it work? Purchase tickets ahead of time at danceworksmke.org. You’ll be assigned a numbered parking space in which to set up your chairs and enjoy. Enchanted Park(ing lot) features just eight pieces of music and dance for a 45 minute performance. For a near-hour of live entertainment—a joy that’s increasingly impossible to come by these days—it’s so worth it to mask up and brave an October night.

As for the show itself, it lives up to its name. It’s also haunting, which is fitting for the season. Most of the eight pieces feature a mix of song and dance. I find that movement helps to drive home a mood in those songs not performed in English. Some of the dancing is frantic and disjointed, which feels relatable nowadays whether or not that was the intention. In other pieces, dancers seemed to play catch with energy and push away shadows. 

“Danse Macabre” features a flurry of dancers, sweeping through the brush to take their places on the pavement. With Becky Schulz on violin and Joe Riggenbach lending both his baritone and mandolin, the song-and-dance troupe delivered a spectacularly spooky little showstopper. Here’s a snippet of the translation: 

The winter wind blows and the night is dark; 

Moans are heard in the linden-trees. 

Through the gloom, white skeletons pass, 

Running and leaping in their shrouds. 

See? Told you it was haunting. Other standouts include a structured improvisation by the Danceworks Youth Performance Company, a gorgeous Copland song-and-dance duet by soprano Tiana Sorenson and dancer Maggie Seer, and a transfixing finale by tenor Emanuel Camacho. Another favorite: “Sixth Sense,” a structured improvisation featuring the gorgeous movements of Christal Wagner and Michael “Ding!” Lorenz playing tuned crystal glasses. You read that right. Unreal. 

Of course don’t forget the many other musicians, singers, and dancers, as well as those behind the lighting and costumes, tech and audio. As I walked back to my car, sad to leave and wondering when my next live show would be, I marveled at the artists who brought this Enchanted Park(ing lot) to life. How do they feel about this work? Is it fulfilling? Full of strangeness? To me, it was a gift.

Together, Milwaukee Opera Theatre and Danceworks took an eerie moment in theater history and found a way to make magic. While I hope the days of parking lot performances will soon be behind us, I’m grateful to these companies for their unrelenting innovation. 

So snag a ticket, grab a chair, and head to the Danceworks parking lot. Support these local artists, and keep an ear out for other ways to (safely) support our entertainers. It’s only through our engagement as audiences that live theater will survive. If this industry occupies a room in your heart, as it does mine, show it by showing up in whatever way you can. 

Photo credit: Mark Frohna

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

First Stage's "A Wrinkle in Time" Coaxes the Imagination

A little wrinkled, but still worth your time

“It was a dark and stormy night,” begins Madeline L’Engle’s 1962 Newberry Award winner — an iconic start to an iconic piece of young adult literature. A Wrinkle in Time, it turns out, is a challenging story to tell in any medium other than its original form. Disney certainly struggled to tell it in their star-studded 2018 feature film. The stage play, adapted by John Glore for a 2010 debut, also proves tricky at times, but by and large, Milwaukee’s First Stage is up to the challenge. 

In quick summary, A Wrinkle in Time follows teenager Meg Murry, her younger brother Charles Wallce, and fellow teen Calvin O’Keefe on a fantastical journey through space and time — a rescue mission for the Murrys’ father and the whole of the universe. The three are guided across galaxies by the supernatural trio of Mrs. Whatsit, Mrs. Who, and Mrs. Which. 

In this cast of characters, three adult actors not only take on the roles of the magical guides, but each grown-up also plays two to three additional smaller parts. This way, the adult cast in this First Stage production remains quite small. Matt Daniels, arguably the most theatrical of the three, is marvelously unexpected as Mrs. Whatsit. At first the character is funny and eccentric, then later transforms into a mighty, towering being with a regal air and otherworldly cadence. 

Elyse Edelman plays both Mrs. Who, the Murrys’ mother, and a gentle giant by the name of Aunt Beast. Edelman seems to have the most fun with the character of Mrs. Who, cheerily twittering scientific mumbo jumbo to make your head spin. Parker Gaspar Muñoz takes on the part of Mrs. Which, who is merely a glowing orb of light crafted, so it seems, through clever use of a flashlight. For a ball of light, Muñoz’s presence is plenty commanding. 

These three are matched by our main child leads as well as en ensemble cast of eight kids. First Stage splits the young performers cast in two. The performance I saw featured the Time Cast, with Selma Rivera as Meg, Milo Elliott as Charles Wallace, and Liam Jeninga as Calvin.  Elliott is a standout as Charles Wallace, who possesses a genius-level brain. Elliott makes that brain believable. He’s also especially good at being super creepy when under the possession of a certain all-evil demon called It. 

As Meg, Rivera captures the heroine’s turbulent moods as well as her smarts. The character of Meg is a brainiac when it comes to math and science, and Rivera leaves you no doubt that she’s as intellectual as the story claims. Jeninga’s Calvin brings a solid fix of everyman energy to the trio — good for the overall balance of dynamics. 

This Wrinkle in Time also makes living, breathing parts of the lighting, sound, staging, and puppeteering. Director Jeff Frank has a talented crew assembled: Scenic Designer Martin McClendon, Costume Designer Samantha C. Jones, Lighting Designer Greg Hoffmann, Sound Designer Joe Cerqua, and Puppet Designer Marissa Ashlyn. 

Put all of these together, and it makes for a dynamic piece of theater. The ensemble cast, shrouded in black, are used to push props and people about the stage. Whether our heroes are catapulting through space and time or confronting an immense, pulsating brain, the use of physical movement and intense lighting effects help propel the story. Simple physical props — swaths of fabric, a wheeled platform — fuel the imagination as these simple forms become magnificent creatures and evil specters. 

Yet for all its inventive staging and good performances, this is a wordy show with lots of narration and brainy fast-talking. Not a show for very young children. And it was a little tough to hear at times. Also, the scale of this story is, quite literally, out of this world. Is the stage the right place for a tale as big as this? 

Rose-colored glasses on: A Wrinkle in Time winds up being a good exercise in imagination. Due to the limitations of the stage, much of the visual beauty and ominousness of the worlds L’Engle created must been seen through one’s own inner eye. Without a Disney-sized movie budget or the book’s deluge of descriptive language, it was always going to be impossible to recreate those settings in our physical realm. But First Stage has met the challenge of L’Engle’s material head-on. Although this isn’t my favorite First Stage endeavor, if you go into their staging with a spirit of play and a mind readied to imagine, it will be worthy of your time.   

Photo credit: Paul Ruffolo