LCP’s ‘Proof’ adds up to a riveting drama

By Marilyn Jozwik

Families are complicated. Even very small families.

In “Proof,” by David Auburn, Lake Country Playhouse takes on the complex dynamics of a father and his two daughters, each devoted to each other while trying to navigate a serious family issue.

The play won the 2001 Pulitzer Prize for Drama and the Tony Award for Best Play.  

It is a poignant, tender story, beautifully written and beautifully acted by this cast of four. Naomi Tiefel directs.

At the center of “Proof” is Catherine, the daughter of Robert (Michael Chobanoff), a well-known mathematician, whose work is admired by his peers and his students at the University off Chicago.

Hal (Keenan Ellis) and Catherine (Anna Gumberg) have a serious discussion after her father’s death in a scene from Lake Country Playhouse’s “Proof.” Photos by James G. Baker

When Robert’s behavior becomes erratic, 25-year-old Catherine (Anna Gumberg) steps in to take care of him, while her older sister, Claire (Ariel Korducki), has left the family home to become a successful businesswoman in New York.

Catherine resents her for leaving her alone with her father and for trying to manage her life. Claire feels she is doing her best for the family by helping with bills. Says Claire, “You mathematicians. You stumble around creating these disasters then I have to fly in to clean it up!”

It soon becomes apparent that Catherine, like her father, is suffering from a mental illness – her depression leads to her inertia, leaving the home in shambles -- but her devotion to her father doesn’t waver. An ex-graduate student of Robert’s, Hal, has taken a shine to Catherine and tries to help her deal with her difficulties.

Catherine (Anna Gumberg) and her sister Claire (Ariel Korducki) sit on the swing in the family’s back yard and make plans for the future after their father’s death in a scene from Lake Country Playhouse’s “Proof.”

When Hal (Keenan Ellis) stumbles across a ground-breaking mathematical proof among Robert’s notebooks, relationships become frayed as the proof’s author is in question.

A play about a mathematician doesn’t sound like a barrel of laughs. But playwright Auburn has created such real characters and a story that is so relatable that it makes for a riveting drama, especially in the hands of this marvelous cast.

This is Catherine’s story, and Gumberg couldn’t be better. Catherine, like all of playwright Auburn’s characters, has many layers, which are cleverly revealed in flashbacks and her imaginings of her father. Each scene reveals something new, giving depth to the character which Gumberg embraces.

Gumberg must navigate three pivotal relationships. At the heart is the duty Catherine feels for her father.

The scenes of Catherine and her father are filled with emotional intensity. Perhaps the finest moment comes in Act II when Catherine finds Robert shivering outside their home, complaining about the heat inside. Catherine had decided to return to school after seeing several months of improvement in her father’s mental illness. He’s maniacally writing in his notebook, shivering uncontrollably but insisting he has returned to his former mental acuity and is frantically solving difficult problems.  It is a scene so expertly created by Chobanoff and Gumberg. Your heart breaks for both characters.

As Catherine’s sister, Claire, Korducki has the right tone for the pragmatic businesswoman. She and Catherine both care for their father, but Claire thinks her financial support is superior to Catherine’s emotional support. Korducki as the perky, take-charge sister contrasts with Gumberg’s sullen, introspective character.

I really enjoyed Ellis’s portrayal of Hal, who is thrust in the middle of this family in turmoil. His Hal, the quintessential math nerd, is unassuming and earnest, which endears him to the family, and the audience. His relationship with Catherine is as complicated as some of the math problems he solves.

The compelling performances have the audience rooting for this family.  

The show is set entirely on the family’s backyard deck, with a small table and chairs, a comfy padded chair and a swinging bench. Combined with Mike Rodenkirch’s set design and Breanne Brennan’s lighting, the audience is brought right into each scene.

If you go

Who: Lake Country Playhouse

What: “Proof”

When: Through May 23

Where: 221 E. Capitol Drive, Hartland

Info: www.lakecountryplayhousewi.org

Sunset’s ‘Grand Hotel’ welcomes the Roaring 20s in grand style

By Marilyn Jozwik

As “Grand Hotel The Musical” began at the Sunset Playhouse I was reminded of the opening of the musical “Cabaret.”

Both are set in late 1920s Berlin during a time of opulence and decadence in Germany’s capital.  With images of World War I destruction starting to fade, the city had come alive with wealth and culture, but the brutality of the Nazi era was just around the corner.

While “Cabaret” opens with the song “Willkommen” at the popular Kit Kat Klub, the height of decadence in Germany, “Grand Hotel” opens at its namesake, the height of opulence.

“Cabaret” moves on to dwell on Berlin’s and Germany’s seamy side, its hedonism the seeds of Nazism, antisemitism, authoritarianism. Its location is pivotal.

“Grand Hotel” almost entirely loses its setting and could be a “grand” hotel almost anywhere in the world as it follows the stories of a handful of guests with barely a hint of politics or history. While there is an old doctor in residence, who’s taking morphine for his war wounds; a Jew, whose ethnicity is initially an issue for his residency; and references to the German mark, it steers clear of the pressing issues in Germany that “Cabaret” tackles.

In other words, “Grand Hotel” doesn’t take itself too seriously, which makes for lots of lively music and dancing – especially Roaring Twenties Charleston, et al – as well as a charming May-December romance. Yet, it doesn’t leave you with much to chew on as does “Cabaret.”

Otto Kringelein (Karl Miller), Witt (Patrick Couillard), Hermann Preysing (Cory Klein) and Elizaveta Grushinskaya (Lynn Marie Bertoni-Shaw) meet as guests at the Grand Hotel in a scene from Sunset Playhouse’s “Grand Hotel the Musical.”

The musical quite faithfully follows the 1932 film that features Greta Garbo’s famous line, “I want to be alone.”

The show, directed by Tommy Lueck, opens with an old colonel/doctor from WWI (Glenn Villa) observing the busy comings and goings of mostly well-healed visitors to the hotel, including Otto (Karl Miller), an accountant living out his last days in style; Flaemmchen (Aly Olson-Turek), a blonde bombshell and Hollywood wannabe; Felix (Joshua Pope), a handsome, destitute baron living the high life while in debt to the underworld; Elizaveta (Lynn Marie Bertoni-Shaw), a Russian ballerina past her prime; and Hermann (Corey Klein), desperate to keep the business he manages from failing. These guests interact, leading to life altering changes for all.

Sunset does a marvelous job capturing the often-frenetic pace of the busy hotel with a central revolving door, a trio of miming telephone operators and energetic bellhops. All are handsomely dressed in glamorous period outfits (costume design by Lisa Quinn), with a clean, uncluttered set – complete with glimmering chandelier – that complete the look of elegance. It is a veritable feast for the eyes.

All the characters are well-cast and execute song a dance wonderfully, but I especially enjoyed Pope’s smarmy baron. Pope hits all the right notes for his character -- exuding charm and affability -- while effortlessly handling the music and dance. His “Roses at the Station” is heart-wrenching, and beautifully delivered, while his scenes with Bertoni-Shaw’s aging ballerina are tender and funny. Bertoni-Shaw gives the diva layers of doubt and self-deprecating humor that are so endearing.

Baron Felix Van Gaigern (Joshua Pope) sings the touching “Roses at the Station” in a scene from Sunset Playhouse’s “Grand Hotel the Musical.”

In a small, but memorable role, Jim Feeley plays a tough gangster to a tee. Posing as Baron Felix’s chauffeur, Feeley adds texture to his scenes.

Mark Mrozek on keyboards directs the seven-piece pit band, which keeps up the nearly non-stop lively music with a notable Roaring Twenties feel. The audience favorite was “We’ll take a Glass Together,” the show’s ensemble centerpiece of raucous music and dance, celebrating friendship and the good life.

The Charleston is prominent in the dance numbers and is often a backdrop to long scenes, effectively giving them life and energy. SaraLynn Evenson is the show’s choreographer. I especially enjoyed “Maybe My Baby Loves Me,” featuring Matthew Matysik-Przybylski and Brian Ginn in a dynamic routine.

If you go:

Who: Sunset Playhouse

What: “Grand Hotel the Musical”

When: Through May 11

Where: 700 Wall Street, Elm Grove

Info: 262-782-4430; SunsetPlayhouse.com

Sunset’s ‘Odd Couple’ a laugh-filled romp

By Marilyn Jozwik

When theatergoers think of comedy, they think of Neil Simon. And when you think of a Neil Simon comedy, you think of “The Odd Couple.

With its 1965 debut on Broadway, the 1968 movie and the 1970s TV series, the play had tons of early exposure and hasn’t stopped being a stage favorite for audiences since.

The full house at Sunset Playhouse for a recent Sunday matinee proved that the long-in-the-tooth comedy still has tremendous appeal.

Directed by Brian Zelinski, the outstanding cast had the audience responding to Simon’s comedy with chuckles, chortles, guffaws, giggles and every other sort of tickle-the-funny-bone sound one could imagine.

Most are familiar with the basic premise of the play. Friends and poker pals Oscar Madison and Felix Unger end up living together in Oscar’s New York City apartment after Felix’s wife kicks him out. Their friendship begins to dissolve when the slovenly Oscar realizes he can’t live with the fastidious Felix. Simon has cleverly added four other poker playing friends as well as a pair of British sisters to optimize the laughter.

The show opens with the four card-playing guests at Oscar’s messy apartment. Oscar is in the kitchen preparing a “buffet” of stale potato chips, warm coke, and brown and green sandwiches. Felix shows up late and distraught with no place to stay, so Oscar agrees to let him stay with him. Keep your ears open because some of Simon’s best dialogue comes in that first scene. 

In Act 2, the card players are back, but this time Oscar’s place is spotless. Felix is serving perfectly made sandwiches and insisting everyone use coasters and not leave crumbs, an air purifier is running and the cards have been disinfected. Everyone leaves in disgust, missing the old ways.

Tired of nights at home, Oscar convinces Felix to get together with the two sisters living in their building. The pair end up providing the perfect foils for the friendship and a satisfying ending.

Felix (Tony Davis) shows photos of his family to dinner guests, sisters Gwendolyn (Tess Cinpinski) and Cecily (Brigid O’Brien) in a scene from Sunset Playhouse’s “The Odd Couple.”

The parts of Oscar and Felix are bucket list roles for many performers, and luckily Sunset snatched a perfect pairing in Mike Owens as the easygoing sportswriter Oscar and Tony Davis as the CBS newsman and neat freak Felix. The contrast is stark – Owens’ Oscar looks relaxed in a loose Mets T-shirt, Felix is wound-tight in a pressed white dress shirt. I loved the scene in which Oscar is standing in one spot talking to a Felix who is in constant motion, in and out of the kitchen, dramatizing how Oscar is perfectly content to live in his mess while Felix cannot sit still until everything is perfect.

Owens’ Oscar keeps an even keel, while Davis’ Felix pouts, cries, and exaggerates his every discomfort.  Each maintains every inch of their character and really solicited lots of laughs from the audience as they handled Simon’s fast-paced, witty dialogue with aplomb.

I also enjoyed the poker-playing quartet of Murray (Bob Fuchs), Speed (Karl Miller), Roy (Michael Fantry) and Vinnie (Casey Van Dam) who have great fun with Simon’s lines, like when Fantry’s Roy deadpans to Speed: “Could you do me a favor? Smoke toward New Jersey.” When Oscar joins them, the laughs are compounded.

Tess Cinpinski and Brigid O’Brien as the British sisters add to the humor with delightful portrayals and look fabulous in their bright green and rose dresses, adding pops of color to the set.

The hard-working set is easy on the eyes (save for Oscar’s messes!) and has lots of well-working, well-used doors for Oscar’s eight-room apartment.

Wisconsin’s cold, grey days might be nothing to laugh at, but Sunset’s “The Odd Couple” most certainly is!

If You Go:

Who: Sunset Playhouse

What: “The Odd Couple”

When: Through Feb. 2

Where: 700 Wall St., Elm Grove

Tickets/Info: 262-782-4430; SunsetPlayhouse.com

WCT wins its case for an entertaining ‘Legally Blonde’

By MARILYN JOZWIK

The audience has rendered its verdict – they loved Waukesha Civic Theatre’s presentation of “Legally Blonde.”

The evidence was solid – lots of laughs throughout and hoots and hollers accompanying hearty applause after musical numbers during Waukesha Civic Theatre’s recent Sunday matinee.

After a brief delay to start the show due to some technical problems, the sorority girls of Delta Nu burst onto the stage for “Omigod You Guys” to celebrate the pending engagement of their president, Elle Woods. The excitement was palpable, like a bunch of teens at a Katy Perry concert. Often, it takes a scene or two to ramp up to this kind of energy, but, omigod you guys. That was amazing. And it only got better from there.

Especially when Hailey Hentz as Elle stepped onto the stage. This is perhaps one of the single most impressive performances I’ve seen on the local stage. The performance was spot on, totally effortless in creating the perfect Elle – a little naïve (OK, maybe a lot), a little spoiled (OK, maybe a lot), a lot diva. But Hentz also captured Elle’s inner strength, which really seemed natural to her character. And could she dance (she is a professional ballroom dancer)! Plus, her singing voice is perfect for Elle, with just the right hint of vulnerability at times.

Ami Majeskie is the show’s director and choreographer and I am always impressed with what she brings to the stage. This is no exception. The smiles and energy reached to the back rows and beyond.

The story of Elle Woods, played by Reese Witherspoon in the 2001 movie, is a sort of twist on the underdog. Elle, a fashion design major is certain to become engaged to her Harvard-bound boyfriend (Christopher Welsh) – until he dumps her in quest of someone more serious, to help him achieve his political career goals. Elle is crushed and sets her sights on getting into Harvard’s law school to be near him and prove she can be what he’s looking for.

At Harvard, the perky, pretty Elle is a fish out of water – not taken seriously by anyone. Until she meets Paulette (Keegan Timm), her hairstylist, who sees Elle’s potential, and Emmet (Phillip Steenbekkers), a shy law student who sees a kindred spirit in Elle. Elle learns to utilize her special skill set to earn the respect and admiration of her peers. Rather than the ugly duckling who reveals her inner beauty, it is the story of the pretty swan who reveals her inner strength and fortitude.

This show is non-stop fun, music and dance at a high level. The dance numbers were nothing short of spectacular, led by Elle, Serena, Margot and Pillar (Hentz, Sierra Rottier, Isabella Zeimet and Alyna Williams) and the Delta Nus. An especially impressive number is “Whipped Into Shape,” led by Brooke (Heather David), a fitness guru accused of murder. David leads a group of dancers in a marvelous jump-roping routine. The girls are singing while jumping rope (try that sometime) in sync during the high-energy piece.

The eight-piece orchestra, conducted by music director Ashley Makeever on keyboard, maintains a bright, full sound throughout. The vocals are all well-delivered.

A real crowd favorite was Keegan Timm’s portrayal of Paulette, the hairstylist who becomes Elle’s major support. Her rendition of “Ireland,” in which she sings of her dreams of meeting a handsome Irishman, was a huge hit. With her outfits and characterization, her character, literally and figuratively, adds bursts of color to the show.

And while there are tons of music and dance, there were uniformly wonderful performances, led by Hentz as Elle. I especially enjoyed Steenbekkers as Elle’s meek mentor and Mark Neufang as the arrogant, smarmy Professor Callahan.

The set is mostly dark wood tones with pink accents, a perfect backdrop for the pink-dominated outfits that filled the stage.

While not holiday-themed, Waukesha Civic Theatre’s “Legally Blonde” is the perfect show for the season of stories of transformation (think Scrooge), with a joyous, youthful attitude and loads of entertainment value.

If you go

Who: Waukesha Civic Theatre

What: “Legally Blonde”

When: Through Dec. 22

Where: 264 W Main St., Waukesha

Info/Tickets: (262) 547-0708; www.waukeshacivictheatre.org

Sunset adds mirth to Christ’s birth in ‘Twas the Month Before Christmas’

By Marilyn Jozwik

There is perhaps no story more frequently told than that of the birth of the Christ Child.

But none have been told quite like the hilarious, touching and thoughtful “’Twas the Month Before Christmas” being presented by Sunset Playhouse.  James Fletcher directs.

The show was written by Douglas M. Jarecki, who also plays two characters in the show and did designs for light, props and set.

The five performers skillfully portray 13 characters, some very recognizable, like Mary and Joseph and the Three Kings. But there are others that don’t show up in the Bible story many people are familiar with, such as the widowed innkeeper and his daughter, two servants of the kings, a royal Egyptian couple and even an entrepreneur with a sandblasting business (this is the desert, after all!).

The opening scene sets the sort of tone Jarecki takes throughout the story. A pregnant Mary (Sara Zientek) is waiting at a local pub to meet a blind date set up by her cousin. Of course, that would be Joseph (Douglas M. Jarecki) she’s meeting. Joe is taken by the pretty young woman, but is shocked when he realizes she is eight months pregnant, and nearly speechless when she tells him the circumstances of the conception. It is here that Jarecki as Joseph wrestles with the explanation Mary offers him--that she will give birth to the Son of God. The writer Jarecki does a marvelous job here showing Mary and Joseph’s cornucopia of emotions in a funny, yet respectful and understanding, way.  This sets the stage for the humor and humanity Jarecki instills in his characters and story of the birth of Jesus.

John Cramer, Mitch Weindorf and Douglas M. Jarecki, from left, portray the The Kings in Sunset Playhouse’s “‘Twas the Month Before Christmas.”

Jarecki doesn’t hesitate to poke gentle fun at some of the inconsistencies in the Bible story, such as when Joseph tells Mary he’s a carpenter, prompting Mary’s comment, “But you’re in a desert.” He answers, “Work is slow.”

There are other characters and stories that Jarecki has inserted -- those of the widowed innkeeper (John Cramer) and his daughter (Hanah Ripp-Dieter) and the Three Kings (Cramer, Jarecki and Mitch Weindorf).

The inn where Mary and Joseph end up staying has met hard times making ends meets since the innkeeper’s wife died and the innkeeper insists that his singing and guitar playing will be an amenity people desire. His daughter tries to convince him that the music is keeping prospective customers away, as evidenced by all the empty rooms. But when the innkeeper hands over the reins to his daughter, things change--especially when Mary and Joseph find space in their stable for the royal birth. It is a sweet story that Cramer and Ripp-Dieter handle wonderfully with their sincere portrayals.

The cast of Sunset Playhouse’s “‘Twas the Month Before Christmas”: Standing, Mitch Weindorf, Douglas M. Jarecki and John Cramer; seated, Hanah Ripp-Dieter and Sara Zientek.

Jarecki’s Three Kings are a barrel of laughs as they plan their trip and travel to Bethlehem to witness the birth of Jesus. Each has a distinctive character. Jarecki plays Melchior, the practical one. Cramer is Balthazar, old and a bit dotty but with a charming, playful way about him. Weindorf’s Gaspar is hopelessly in love with one of his servants. His head is in the clouds, when it should be in the sky, following the brightest star. The repartee among the three is fast and fun, especially when Melchior and Balthazar chide Gaspar for choosing his gift of myrrh--a tree resin used as funeral incense--as his gift for the Christ Child.

But of course, the focus is Mary and Joseph, wonderfully portrayed by Jarecki and Zientek, who keep it real with their characters throughout this magnificent journey. There is something surprising around every corner, such as when Joseph tells Mary as they start their journey with their suitcases: “The donkey is all loaded.”

Jarecki weaves the incidents with an eye for comedy, but never loses sight of the important story he’s telling. His characters have very human qualities and emotions and understand the enormity of the moment. Their foibles make them most endearing.

If you go:

Who: Sunset Playhouse

What: “’Twas the Month Before Christmas”

When: Through Dec. 22

Where: 700 Elm St., Elm Grove

Info/Tickets: sunsetplayhouse.com; 262-782-4430

Next Act’s ‘Almost, Maine’ warms up to love

 By Marilyn Jozwik

‘Almost Maine’ by John Cariani has become a staple in theater repertoire’s since its inception in 2004 and it’s easy to see why. It’s funny, poignant, clever and engaging. Plus, its cold, snowy Maine setting and vignettes of portrayals of love make it a yummy holiday entertainment feast.

I’ve seen the show several times, but never enjoyed it so much as Next Act Theatre’s recent version. Part of it is being able to better appreciate Cariani’s expert writing in creating memorable, relatable characters and charming looks at love in nine short stories. It’s one thing to have 120 minutes to flesh out characters. It takes a whole other expertise to do it in less than 15 minutes.

Rudy Galvan and Bree Beelow in a scene from Next Act Theatre’s “Almost, Maine.”

Under the direction of Karen Estrada, the four performers -- Rachael Zientek, Jake Horstmeier, Rudy Galvan and Bree Beelow -- play multiple roles and give each of their characters loads of substance and realism. Even when a character carries a broken heart in a bag or brings her boyfriend’s love in sacks, they are not jokes or punchlines. They keep their humanity, which makes their stories more touching, sad, joyous or humorous.

The show takes place in the cozy, fictional Almost, Maine, described by one character like this: “We never got organized, so we’re ‘almost’ (a town).” Each little story is a thought-provoking gem – almost needing more than just a quick scene change to fully digest. But while the dialogue is taut and carefully crafted, there is much conveyed in the silences and body language – indecision, longing, wistfulness.

I love Horstmeier in the bookend scenes as he waits for his girlfriend with a myriad of looks, from resignation to anticipation. He ratchets up the intensity effectively as he verbally spars with his wife (Beelow) at the skating rink in perhaps the most poignant scene of the nine.

Galvan has several fine turns, but my favorite is the scene with a woman (Zientek) who camps out on his lawn to watch the Northern Lights. The situation is strange, but the two draw you in so convincingly as to believe it could happen.

Zientek is especially appealing in the story in which she decides to break up with her boyfriend (Galvan), who refuses to make a commitment. Just a charming piece.

Beelow displays a wide range of characterizations, but none better than that of a tough, outdoorsy woman who needs lots of coaxing to see the love of her adoring boyfriend (Galvan) in a funny, charming bit.

Scenic designer Lisa Schlenker and scenic artist Carri Dahl have created a lovely winter set featuring a towering evergreen tree backdrop and ice and snow-dappled stage, making one want to join the scene with a mug of hot cocoa.

If you go

Who: Next Act Theatre

What: “Almost, Maine”

When: Through Dec. 15

Where: 255 S. Water St., Milwaukee

Info: NextAct.org; 414-278-0765

Boulevard's "I Never Sang for My Father' hits notes of pathos and humor

Holidays are a time of joy, laughter, music, great food--and, for some, family strife.

The Boulevard Theater's production of "I Never Sang For My Father" by Robert Anderson, set in the 1960s on the East Coast, explores painful and complex family dynamics between a father and his two grown children, mainly, his son.

Gene Garrison, former Marine and a recent widower, has come home to visit his parents. He adores his doting mother and desparately tries to find it in his heart to love his selfish and inflexible father, especially when he consider how cruel his father has been towards his daughter Alice after she married a Jewish man. When a family tragedy strikes, Gene must make a profound life decision. 

Directed by Boulevard Theater founder Mark Bucher, the production's stellar cast included Matt Specht as Gene Garrison, Joan End as Margaret Garrison, David Ferrie Tom Garrison, Caitlin Compton as sister Alice Garrison, and Angelita Colin, Pat Sturgis and Bob Balderson playing multiple roles. 

All cast members brought realism, pathos and gentle humor to the production. The Sugar Maple, Boulevard's play venue for several years, provided an intimate theater experience for all guests. The lack of scenery and focus on minimal stage lighting helped put the wonderful acting front and center.. 

While not full of holiday cheer, "I Never Sang For My Father" is a touching and thought-provoking play with universal themes of father and son relationships.

If you go:

Who: Boulevard Theatre

What: “I Never Sang for My Father”

When: Through Dec. 1

Where: Sugar Maple, 441 E. Lincoln Ave., Bay View

Info: MilwaukeeBoulevardTheatre.com

Director Mark Bucher (right) rehearses a scene for Boulevard Theatre’s “I Niver Sang for My Father” with David Ferrie and Angelia Colin. Photo by Troy Freund of Troy Freund Photography

Sunset’s ‘9 to 5’ works overtime with hilarity and hijinks

By Marilyn Jozwik9

Dolly Parton has a whole slew of hit songs, but none has had more mileage than “9 to 5.” The song was featured in the 1980 film by the same name that she starred in – along with Jane Fonda and Lily Tomlin -- and then was the centerpiece of “9 to 5 the Musical.” Parton wrote the music and lyrics for the show’s 17 songs.

Sunset Playhouse is presenting ‘9 to 5 the Musical,” and Parton herself -- in her folksy country way -- narrates briefly. After that, this stellar cast takes over and romps nonstop with hilarity and hijinks in this rollicking comedy.

Anyone who has worked in an office would find the story relatable. Three office workers, who have been mistreated in various ways by their self-serving, arrogant boss, fantasize about ways to get back at him. When an opportunity arises to teach him a lesson, the trio take advantage of it. And in the process the whole company learns that three smart, determined women can run an office successfully and profitably with kindness and efficiency.

This show is so much fun with its colorful characters, colorful sets, clever choreography with Parton’s easy-going tunes guiding the plot.

The cast of Sunset Playhouse’s “9 to 5 the Musical.”

Director and choreographer Karl Miller has a great cast to work with, starting with the three office workers – Violet, Doralee and Judy -- at the heart of the boisterous fun. As Violet, Margaret Teshner is a bulldog. A single mom, Violet has been passed over for a promotion, even though her experience and knowledge surpass the male chosen for the job. You can’t help but root for Violet, as Teshner imbues her character with lots of gumption. She really shines in a spangled golden outfit, opening the second act with the rousing “One of the Boys.”

Dana Marklund is a wonderful Dorlee, channeling her inner Dolly Parton with her folksy, country manner – and, of course, the big, blonde hair! As Judy, Vivian Romano takes her character from mousy to a determined, take-charge attitude, the transition complete with her passionate “Get Out and Stay Out” as she sends her cheating ex-husband packing in song.

But the crowd favorite was Heather Houdlett as Roz, who carries a torch for her uncaring boss. She brought the house down with her robust vocals in the lightly risqué “Heart to Hart” in which she sings of how she could please her boss in a romantic setting.

Franklin Hart (Parker Cristan) meets with his secretary Doralee (Dana Marklund) in a scene from Sunset Playhouse “9 to 5 the Musical.”

All the ladies’ consternation centers around Franklin Hart, the ultimate bad boss. Parker Cristan absolutely embraces his baddie role, making it easy for the audience to anticipate and revel in his sweet comeuppance. Cristan showcases Hart’s sleaziness so effectively in the seductive “Here for You,” as he professes his lust for his voluptuous secretary, Doralee.  In fantasy and reality, Parker’s Hart is a human punching bag at the hands of his abused employees. He’s hog-tied, poisoned and pummeled as each of the women imagine their revenge in “Dance of Death,” “Cowgirl’s Revenge” and “Potion Notion.” Cristan couldn’t be better.

I also enjoyed Michael Trimboli’s tender portrayal of Joe, Violet’s boyfriend. His soft, pleasant voice is perfect for the pair’s sweet rendition of “Let Love Grow.”

Mark Mrozek directs the six-piece pit band that keeps a good pace and good balance with the vocals.

With a cast that provides non-stop laughs, music and dance, “9 to 5” is a great evening or afternoon of entertainment!

If You Go

Who: Sunset Playhouse

What: “9 to 5 the Musical”

When: Through Nov. 3

Where: 700 Wall St., Elm Grove

Info/Tickets: SunsetPlayhouse.com; 262-782-4430 

TT cast eats up the comedy in ‘The Vultures’

By Marilyn Jozwik

What could be better than a good murder mystery during this spooky time of year? And who doesn’t love a good comedy … any time of the year?!

Theatrical Tendencies theater company’s latest offering has combined the genres in the delightfully devilish “The Vultures,” by Mark A. Ridge.

The story looks familiar (think Agatha Christie’s “And Then There Were None”) at the onset: six relatives gather on a stormy night at a mansion in the middle of nowhere for the reading of the will of a wealthy relative. One of them will inherit his fabulous estate.

Mr. Crosby (Scott Sorensen) is the estate’s executor, and once all have arrived – and at the specified time (exactly 20 years after the wealthy one’s passing) – he reads the will … and the heir to the fortune is announced.

But there is something sinister in the air. The mansion’s long-time housekeeper, Talbot (Jillian Smith), dressed in black, glides about with a stern, severe and stone-faced demeanor, scaring the daylights out of everyone as she pops unexpectedly into a room with ominous pronouncements. Shelves in the study where the will is read contain a Ouija board, tarot cards and skulls.  At one point a messenger from a nearby asylum (Matthew Umstot) warns the guests that a homicidal maniac has escaped and could be in the neighborhood … or in the building! And what murder-mystery would be complete without a doctor (William Kirsch)?

Ashley (Madison Van Allen), left, Mary (Kelly Simon) and Charles (Danny Slattery) discuss the strange goings-on in a scene from Theatrical Tendencies “The Vultures.” Photos by Carly Irland

Everyone is on edge, especially when a dead body falls out from behind a wall! And there is another mystery: a priceless watch is hidden somewhere in this scary place. Of course, there is no phone service and the bridge is out on the only road to the mansion.

What sets the show apart from other murder mysteries is the comedy and the character – not your standard Professor Plum and Colonel Mustard fare. Instead, there is Harrison (Kevin J. Gadzalinski, an underwear model; Ashley (Madison Van Allen), a nail technician; Charles (Danny Slattery), a realtor; Mary (Kelly Simon), a crusty old lady; Hunter (Nathan Broege), a hairdresser; and Paul (Christopher Orth), an accountant. The meeting of the six also provides an opportunity for two gay lovers to reunite and for one character’s homophobia to be exposed.

I really enjoyed Smith’s portrayal of Talbot, who stalks the mansion like a specter, providing the perfect parody for the murder-mystery servant. Her monotone deliveries are spot-on, such as when she tells the group: “I can tell you the cause of death: It was murder.”   Smith’s Talbot provides just the right backdrop for the show’s comedy.

As Ashley, the ditzy nail technician, Van Allen is a hoot. She adds whimsy with her perky southern accent and clueless malapropisms, such as describing her eye issues as “stigmata.” Just a delight to watch!

Paul (Christopher Orth), left, and Hunter Nathan Broege) get some intriguing clues as they try their hand at the Ouija board in a scene from Theatrical Tendencies “The Vultures.” Photos by Carly Irland

Contrasting the effervescent Ashley is Simon’s dour Mary, who constantly reminds the group: “This house is haunted!” Simon uses an affected accent for her snobbish, uptight character, but needs to tone it down so as not to be too strident.

Orth as the mild-mannered accountant, Paul, is wonderful. His character is delightfully distressed, shrieking at every thunder clap and strange noise.

Mark A. Schuster directs the show with a keen eye for comedy, which this entire cast executes so well. He is also the scenic designer. Aaron J. Robertson is lighting and sound designer, no small task with the eerie music and thunder claps, as well as blackouts and flashes of lightning outside the window.

If You Go

Who Theatrical Tendencies

What: “The Vultures”

When: Through Oct. 27

Where: Inspiration Studios, 1500 S. 73rd St., West Allis

Info/Tickets: www.theatricaltendencies.com 

Elton John music gets royal treatment in WCT’s “Aida”

By Marilyn Jozwik

With its handsome Egyptian captain, two beautiful princesses and ancient Egyptian setting it is little wonder Disney thought “Aida” could make a successful animated feature. Instead, “Aida,” based on Verdi’s opera of the same name, became a Broadway musical in 2000.

Waukesha Civic Theatre visits the enchanted land of the Nile, pharaohs and mystery as it successfully brings “Aida” to the stage with a stellar cast, an exceptional 11-piece orchestra that delivers Elton John’s music with power, tenderness and majesty, and colorful, dynamic dance numbers. Ashley S. Jordan is directing consultant for the show while Raven Dockery is music director.

“Aida” tells the story of the princess Aida (Patric Hood), who is among four Nubian women captured by Egyptian soldiers after their boat sails into Egypt. The two nations (Egypt and Nubia) have been at war. Unaware of her royalty, Radames (Ben Ardis), the Egyptian captain, is captivated by Aida and spares the four from certain death. Radames’ father, Zoser (Jordan Pollard), is secretly poisoning the Pharaoh (Christopher Johnston), whose death would make Radames his successor. Radames and the Pharoah’s daughter, Amneris (Courtney Giovinazzo), are soon to wed.

In Act 2, Radames and Aida’s romance heats up, while Amneris realizes that Radames has become detached in their own relationship. Meanwhile, Aida has an ally in Mereb (Ernest Bell), Radames’ Nubian servant who helps Aida navigate her incarceration.  When Aida’s own father, the King of Nubia (Jeff Hardy), is captured, Aida and Mereb must find a way to save him. Loyalties and love, obligations and desires intermingle as Radames, Aida and Amneris are thrust into complicated situations. And in the end, love conquers all.

While the story is intriguing, it is “Aida’s” music that stands out. Fortunately, the trio of Hood, Ardis and Giovinazzo are more than up to the challenge of Elton John’s music and Tim Rice’s lyrics. Julie Johnson directs an amazing orchestra that travels Aida’s journey with tender ballads and pulsating drums, music that rocks and music that rocks a baby to sleep. Audience members loved the big, rousing ensemble numbers such as “The Gods Love Nubia” and roared their approval.

Hood is in total command of Aida, dialing through a wide range of emotions with her expressiveness. You feel her indignation at her capture, her love of country and Radames, her inner turmoil as she must decide who she loves most. She pours herself into the role and her vocals are incredible. Ardis also boasts a commanding presence and strong, pleasing vocals that matches wonderfully with Aida in tunes like “Elaborate Lives” and “Enchantment Passing Through.”

Giovinazzo as the princess Amneris is delightfully ditzy as she cavorts through her substantial wardrobe in “My Strongest Suit” (which has a bit of Glenda’s “Popular“ from “Wicked” vibe) and has fun with Rice’s lyrics such as “I would rather wear a barrel than conservative apparel.” Giovinazzo hits all the right notes vocally, as well as handling Amneris’ complicated love life with some charming light moments and decisive strength as her character grows in responsibility.

Ernest Bell as Mereb provides some goosebump moments with his intense character and rich, powerful and silky vocals in tunes like “How I Know You,” where he describes how he was captured by the Egyptians and forced into servitude, like Aida. Ashley Levells as Nehebka, one of the Nubian captives, also has some wonderful vocal and dance moments as in the stirring “Dance of the Robe,” which showcases Ciara Hart’s marvelous choreography while the Nubians sing their expectations: “Aida, Aida, all we ask of you is a lifetime of service, wisdom, courage.”

If You Go:

Who: Waukesha Civic Theatre

What: “Aida”

When: Through Sept. 29

Where: 264 W. Main St., Waukesha

Info/Tickets: 262-547-0708; www.waukeshacivictheatre.org

Hellzapoppin at Sunset’s ‘Arsenic and Old Lace”

By Marilyn Jozwik

A little bit farce, a little bit macabre, a little bit murder mystery and a lot of comedy is being served up by Sunset Playhouse for its version of the classic 1939 play “Arsenic and Old Lace” by Joseph Kesselring.

Michael Pocaro directs the screwball comedy and has a fine, seasoned cast to handle the physicality and humor. The show also features a wonderful sprawling set (Duane Bauer, Master Carpenter) that provides perfect views and functioned for all the important locales of the Brewster home – the front door, the staircase offering a landing for Teddy Roosevelt’s ‘charge up the hill,’ doors to the basement (where Teddy’s Panama Canal is located) and kitchen, and a double-wide window where much mischief takes place.

For those not familiar with the play – which was the basis for the 1944 movie starring Cary Grant -- it features the Brewster family, including sweet spinster sisters, Abby (Marilyn White) and Martha (Kay Esposito), their dotty brother Teddy (Corey Klein) – who thinks he is Teddy Roosevelt – and nephew Mortimer (Brandon Haut), a theater critic who is engaged to the parson’s daughter Elaine (Sarah Briana Monahan).

Mortimer is trying to get his uncle into a nice facility after neighbors complain about his bugle blowing and after finding a dead body in a window seat.  But when more bodies show up, as does Mortimer’s wicked brother Jonathan (Nicholas Callan Haubner), a prison escapee wanted for murder, Mortimer realizes he’s got more trouble than he can handle!

Spinster sisters, from left, Martha (Kay Esposito) and Abby (Marilyn White) entertain Mr. Gibbs (Hal Erickson), a potential lodger, in a scene from Sunset Playhouse’s “Arsenic and Old Lace.”

Spinster sisters Abby and Martha (Marilyn White and Kay Esposito, from left, share a light-hearted moment with a prospective tenant (Hal Erickson) in a scene from Sunset Playhouse’s “Arsenic and Old Lace.”

Throw in a police officer hoping Mortimer will find his story ideas intriguing, some lonely old men, a doctor who can change a convict’s appearance and a little arsenic and you have a dark comedy with lots of light moments.

For younger theater-goers the Teddy Roosevelt references may not resonate, such as when Teddy Brewster retreats to the basement to build a lock on the Panama Canal or yells “charge” as if he is attacking San Juan Hill. Other references such as Judith Anderson, a popular Broadway and Hollywood star of the day, and terms like ‘hellzapoppin,” meaning hectic and chaotic, also put some wrinkles on the show, set in 1941.

Nonetheless, this cast gives these quirky characters lots of spunk and energy as the unlikely story unfolds.

The central characters to the story are Abby and Martha Brewster, and White and Esposito couldn’t be better. White portrays the livelier sister, Abby, with verve but I so enjoyed Esposito’s more reserved Martha and her attentiveness to the other characters, especially Abby. I loved the way the two huddled together while they talked and seemed like the type that could finish each other’s sentences.

Klein’s Teddy is perfectly suited (in more ways than one!) for his character, who thinks he’s Teddy Roosevelt. His khaki uniform, thick moustache and round glasses give him the right look for Teddy to inhabit his fantasy world. Klein is so much fun to watch as he interjects the famous president’s cries of “bully!” and “charge!” before his hasty ascent to his second-floor room. It is a great character and Klein doesn’t disappoint.

The cast of Sunset Playhouse’s “Arsenic and Old Lace.”

Haut’s Mortimer is a most demanding role as he toggles beautifully between so many emotions – romantic interludes with his fiancé, shock and disbelief at what he learns is happening in the household, indignation as he confronts his brother, concern as he deals with challenging family members. He also must endure being trussed and nearly tortured and nearly bored to death by a loquacious Irish cop (a most entertaining Jim Feeley).

The cast of Sunset Playhouse’s “Arsenic and Old Lace.”

I also enjoyed Monahan’s Elaine, Mortimer’s fiancé, who finds herself in some sticky situations, as well as Haubner as Jonathan, Mortimer’s brother, whose scarred face, scowls and scary, commanding presence adds a decided touch of evil to his scenes.

Jim Donalson is wonderful as Jonathan’s sidekick doctor who performs plastic surgery periodically to keep his fugitive partner from being caught. While he isn’t the creepy Peter Lorre type in the movie, his comedic skills and accented English, especially when he implores his boss, Jonathan, with cries of “Chonny,” are well done.

While “Arsenic and Old Lace” has been around the block a few times it still has its wit and charm, lovable eccentric characters, some twists and turns and a satisfying ending. It’s a bumpy, wild ride and Sunset has just the vehicle.

If you go:

Who: Sunset Playhouse

What: “Arsenic and Old Lace”

When: Through Sept. 22

Where: 700 Wall St., Elm Grove

Info/Tickets: 262-782-4430; SunsetPlayhouse.com