SummerStage presents a Wisconsin classic in beautiful Lapham Park

By Katherine Beeson

Live theater is back and SummerStage opened its long-awaited 2021 season with Larry Shue’s comedy/farce “The Nerd.” The production is directed by Dustin J. Martin.

The plot: Willum, a slightly-uptight architect in Terra Haute, Indiana, is on the verge of losing his girlfriend, Tansy, who is taking a job as a television meteorologist in Washington, DC. Tansy and another friend, theater critic Axel, arrange a surprise birthday party for Willum, even though Willum had already invited a client and his family to dinner. Suddenly an uninvited guest, Rick Steadman, appears. Rick had saved Willum’s life in Vietnam (although they never met) and had decided to take Willum up on his offer to come visit any time. Rick is the “nerd” of the play’s title, complete with tape on his glasses, flood pants, shirt sticking out of his zipper and uncouth bearing. The party is thrown into complete chaos.

James Stevens as Rick plays the title character with a nice touch, which isn’t easy as the man is more a predictable caricature than an actual character. Scott Fudali is appropriately strait-laced as Willum and makes us believe that he will put up with Rick forever because he owes him his life. Nicholas Callan is fun to watch as he plays Axel, a cool observer who watches the madness unfold in front of him and yet willingly joins in the fun because he has “a few minutes before I must leave for the theater.” Patrice Hood as Tansy takes a bit before she relaxes into her part -- her opening dialogue with Axel seemed to be an actress saying her lines instead of a person having a real conversation. Jim Mallman, Stephanie Demyum Smith and Luke Krieser round out the cast as the Waldgrave family. (Luke played the obnoxious kid and was quite good at it!)

There must be an unwritten rule somewhere in this state that on any given weekend, a Wisconsin theater group must present a Larry Shue play. (Shue was actually born in New Orleans, grew up in Kansas and Illinois but was a playwright in residence at the Milwaukee Rep when his two plays were published. So that is Shue’s connection to Wisconsin and apparently this tie remains as strong as ever.) I don’t find Larry Shue to be as clever a playwright as many people do, but I can say that this creative cast made the most of what Shue gave them – which actually wasn’t much. There was no reason to include a bratty, screaming child in this show at all – a child whose parents don’t seem to notice that he has been missing for more than a half hour and was absent from dinner. Another needless point in the story is that the wife continually feels the urge to smash plates when she is stressed.

Shue also makes a number of outdated references, including twice mentioning Marjorie Main and her gumption. (Marjorie Main -- Anyone? Anyone? — was the actress who played Ma Kettle in the “Ma and Pa Kettle” series of movies in the 1940s and 50s and had died five years before this play was written. I have no idea if she had gumption or not.)

This show starts out slow, which gave me time to notice some staging oddities: Why does Willum not have a table yet his girlfriend serves all this food? Why does only one actor appear to have a fork? Why do some characters run shoeless outdoors in November in Indiana?

Nicholas Callan Haubner and Scott Fudali in SummerStage’s “The Nerd.”

There is a scene in this show that is absolutely hilarious and occurs in Act II, when in a desperate attempt to get Rick to leave, Willum, Tansy and Axel decide to show Rick “their ways” and perform an intricate pagan pig-god chant and dance. Truly funny.

A costuming note: If you are putting a man in a tuxedo, no matter in real life or on the stage, it simply can NOT be two sizes too big – especially if the character is supposed to be urbane and sophisticated. Opt for a suit instead. Also, a prop mishap led to a confusing moment that was supposed to be funny.

“The Nerd” is a safe choice for any theater group as it will get some laughs (and it did on opening night.) But it is also getting stale, corny by today’s audiences and done to death.

“The Nerd” at SummerStage runs through July 3

LCP’s ‘Outside Mullingar’ an Irish charmer

By Marilyn Jozwik

It felt like a grand re-opening at Lake Country Playhouse Thursday night. In so many ways.

Not only was it a return to in-person, live theater, but it was a chance to showcase all the improvements at the cozy community venue.

Sandra Renick gave us a tour before the show—John Patrick Shanley’s “Outside Mullingar”--mentioning the new HVAC system that ensures pure air throughout, new lighting including a flashy starburst chandelier in the roomier lobby (now that the piano and old box office are gone) and the new classic box office window at the top of the stars. There’s been fresh paint, new woodwork and art throughout.

And faces. Yes, faces and handshakes and hugs, when comfortable.

The small, but appreciative audience was well-spaced for this tender, heartwarming comedy by the playwright of “Doubt: A Parable” and screenwriter of “Moonstruck.”

The show, directed by Terry Haller, is set squarely in Ireland, in Mullingar, a town of about 21,000 in County Westmeath. In community theater, so much can go wrong when trying to manage any accent among the cast. Rebecca Richards served as the dialect coach and did a masterful job getting the cast of Breanne Brennan, Robb Bessey, Rob Kuhnen and Maggie Wirth sounding like natives of the Emerald Isle.

Rosemary (Breanne Brennan), Tony (Robb Bessey) and Aoife (Maggie Wirth) gather after the funeral of Aoife’s husband and Rosemary’s father in a scene from Lake Country Playhouse’s “Inside Mullingar.”

There’s something about that lilt in a brogue that just makes lines sound folksier, funnier and sometimes wiser. Like when Anthony (Kuhnen) produces a very dirty handkerchief from his pocket and Rosemary (Brennan) cringes, saying, “Eww, it’s half alive!”

Shanley’s story is a simple one and we see a few Irish cliches: the long-standing feud; the “cracked, mad” loner; the love of the land. In the end, it’s a love story.

The story opens with Tony Reilly (Bessey) and his son Anthony (Kuhnen) in their kitchen discussing the funeral of their neighbor. Soon the deceased’s widow, Aoife Muldoon (Maggie Wirth), joins the group and the discussion turns to Aoife’s daughter Rosemary (Brennan), who stays outside, smoking; a piece of property owned by the Muldoons that the Reillys need to cross to get to their home; who will get the farm when Tony passes; their own mortality.

Tony says, “The funeral reminds me that time is in short supply.”

In Act II, Anthony and Rosemary find themselves parentless as they continue to live side-by-side. The capable Rosemary tells her neighbor that she cleared the heather. “That’s a two-man job,” says Anthony. “Or a one-woman job,” Rosemary counters. The long-time neighbors catch up on the past few years, breaking through barriers and solving the mysteries of their enigmatic personas with humor and tenderness.

Shanley takes four simple people and shows how strong family ties and myths, culture, duty and, finally, love can complicate matters when stirred into the pot of life. His dialogue is wonderfully vivid, full of humor and sweetness. This cast enacts it beautifully.

The performers have created distinct characters as the audience peeks into the kitchens of the Reillys in Act I and Rosemary Muldoon in Act II. Bessey handles the cynical Tony Reilly with an aloof, unemotional manner that contrasts with his son Anthony’s more volatile, emotional nature.  The two spar over things little and big. Tony says his son lacks joy in his work on the family farm, which has prompted him to consider selling it to another relative. Anthony feels stuck “in the fields” even when a voice in his head tells  him “to go.” In the end there are respect, understanding and love between the two.

Wirth gives another memorable performance as the widow Aoife Muldoon, while Brennan gives Rosemary a spunky, no-nonsense character that is endearing.

A huge mural of green fields served as a fitting backdrop for the show, while the Reillys’ kitchen in Act I flipped efficiently and moved to the other side of the stage for the sturdy Muldoon kitchen in Act II.

IF YOU GO

WHO: Lake Country Playhouse

WHAT: “Outside Mullingar”

WHEN: Through July 2

WHERE: 2211 Capitol Drive, Hartland

INFO/TICKETS: www.lakecountryplayhouse.org

Summit Players present a refreshing ‘Winter’s Tale”

By MARILYN JOZWIK

After a one-year absence due to the pandemic, Summit Players Theatre is back to bringing accessible versions of Shakespeare to outdoor audiences around the state.

The youthful Players opened their season Friday with a preview performance of “The Winter’s Tale,” directed by Maureen Kilmurry, on the campus of Marquette University. And it appears this talented ensemble hasn’t missed a beat.

With a cool breeze blowing and dark clouds skirting the area, the Players were energized from the start, presenting the often-overlooked Shakespeare play with lots of dramatic and comedic flair.

We first see Polyxenes (Jackson Hoemann), the King of Bohemia, visiting his childhood friend, Leontes (Michael Nicholas), King of Sicily. It is a pleasant visit of royal pals until Leontes suspects his friend of having an affair with his pregnant wife and Queen of Sicily, Hermione (Maura Atwood). That situation never ends well.

Even though the oracle says Hermione is blameless, Leontes is so certain of his suspicions that his wife’s unborn child is not his that he has Hermione imprisoned and the daughter she has in prison banished. The cherry on top of this disaster is the death of Leontes’ son.

Leontes’ child is left in the wild and found and raised by a shepherd, also played by Nicholas. Sixteen years later the child, Perdita (Caroline Norton), finds love amidst all sort of confusion and merriment.

Jackson Hoemann (left) and Michael Nicholas perform in Summit Players Theatre “The Winter’s Tale.”

After the dramatic opening, the show turns to Shakespeare, and the Players, at their comedic best. Disguises and mistaken identities abound and clownish characters appear from behind the bedspread-sized screen to take the drama to farce, to romance and to a happy ending.

There are some 30 characters that the six Players handle expertly. Production manager Emily Elliott was a tornado of activity “backstage,” helping performers navigate their many simple, but effective costumes. She also handles the clever sheep puppets.

Nicholas tackles two big pieces of the show with impressive performances, trading the royal bearing of King Leontes to play the hayseed shepherd who raises the king’s daughter. Nicholas toggles seamlessly between the two roles. He is the angry, vindictive – and later remorseful – king. In between, he puts on a straw hat and an Andy Griffith accent as the dutiful Bohemian shepherd. Unlike the king, the shepherd is kind, gentle and humane, even Christlike as he looks for his lost sheep. Nicholas does such a wonderful job of playing both sides of this coin.

Norton pairs well with Nicholas as his son and later as a naïve young shepherd, giving those roles lots of animation. Just as she did in “Romeo and Juliet,” the last Players presentation in 2019, Norton is an audience favorite with her big gestures and spirited, comical performances.

Maura Atwood lends a lovely soprano voice while performing several roles Summit Players Theatre “The Winter’s Tale.”

Norton also transforms from the young shepherd to the princess Perdita, who at age 16 has fallen for Polyxenes’ son, Florizel, nicely played by Cole Conrad.

In the end, it is the common folk that endear us with their good hearts and humor, rather than the callous royalty.

The ensemble cast, also including Kaylene Howard, is fully engaged with the audience. With non-stop action, occasional tunes and audience prompts such as “Wind,” “Cheer,” “Roar,” “Baaah,” “Grrr” and “Applause,” the show never gets bogged down. Especially notable is the lovely soprano voice of  Atwood.

Summit Players Theatre does such a good job of helping audiences understand and appreciate The Bard – just as much as the Players do! -- with an easy-to-understand guide at their website and a printed plot summary at their performances

As with all of Shakespeare, the show is more enjoyable with a bit of reading beforehand.

For a list of Summit Players Theatre performance dates and locations, go to https://www.summitplayerstheatre.com/shows

Next Act’s ‘Natural Shocks’ takes the stage by storm

By Marilyn Jozwik

It’s no wonder Next Act Theatre keeps returning to Lauren Gunderson for its productions. One of America’s most prolific playwrights, Gunderson keeps cranking out shows that are entertaining, compelling and relevant.

Previous Gunderson shows at Next Act include “The Revolutionists” and “The Book of Will,” among my favorites.

In Next Act’s latest offering, “Natural Shocks,” a one-woman show, Gunderson takes the audience on a wild ride through one harrowing hour in the life of Angela, played magnificently by Jennifer Vosters.

The show, directed by Michael Cotey, is available for streaming through June 13 at www.nextact.org.

Angela is frantic as she takes the viewer through her basement in anticipation of a tornado. We are captivated by the animated Angela, who pieces together her life as doom looms. We follow her through her basement that looks like it could be anybody’s – exposed rafters. boxes on shelves, dim lighting over work tables – recording herself at selfie length with her cell phone.

There’s a gun in her basement.  “I don’t like guns,” says Angela. “(but) you need them in this messed up world.”

In Gunderson’s rapid-fire prose, Angela vents on life from her perspective as an insurance agent, confiding to her audience, “I can be glib and morbidly humorous.”

Vosters’ Angela gets in a zone when she talks about insurance. And her enthusiasm puts her audience in thrall – over insurance! Her explanations of all the types of insurance that cover everything from nuclear disasters to earthquakes and even reinsurers (who cover insurance companies in case of widespread disaster) are engrossing.

“I always have dice on me,” says Angela. “Roll them and meet your fate.” 

She collects dice. She dissects probabilities. She seems obsessed with it. “Life is a game of chance,” she says.

Which brings her to Shakespeare’s “Hamlet” and his “To be or not to be” speech and its words “the heart-ache and the thousand natural shocks.” “To live, or not to live,” says Angela after quoting a large swath of the play.

Gunderson’s reasonings are so engaging and her one-liners nonstop. Angela morphs her passion for her work in insurance to diatribes on risk, chance, human fallibility – even Hamlet -- that are surprisingly mesmerizing. “People are fine with terrible perils as long as they control it,” says Angela, explaining why some people fear flying but embrace driving, which is far more dangerous.

Angela hypnotizes us with her wit and arguments that sometimes seem the ramblings of a terrorized woman. Yet, Gunderson is creating pieces to a marvelous puzzle that is Angela, including takes on Angela’s mother, her childhood and her relationships.

It all comes together in a tight knot as the storm descends on Angela. There is so much going on in the final moments that it is hard to take it all in, so we concentrate even more so as to understand the storm in Angela’s life. We have come to know Angela quite well and we feel for her and her situation, which is so much more than one person.

Next Act again uses this streaming opportunity to create intelligent and captivating theater with high production values that puts the audience in a terrifying, harm’s way experience. Vosters captures so many emotions in Angela – terror in what’s coming, wistful remembrances, the passions in her life – all with a wide blue-eyed, relatable, girl-next-door (albeit a smart one!) attitude. You can’t turn away.

Just a marvelous piece of theater.

Review: "The Last Five Years" -- introducing Ghostlight Theatre Co.

By Katherine Beeson

Last year saw the cancellations of a myriad of live theater performances. A brave new group not only forged ahead with just such an endeavor, but scheduled its premiere production while the world was still in quarantine!

Ghostlight Theatre Co. presented the two-person musical, “The Last Five Years” earlier this year. The show initially ran with a limited live audience and will now be available online for the rest of 2021.

Ghostlight Theatre Co. was founded by local actor Joseph Gallo. It is a semi-professional, non-profit group with no fixed performance location but will center on Washington County and the surrounding areas. “The beauty of Ghostlight is that it’s a company that is not bound by a geographic jurisdiction or a genre of shows,” Gallo said. “I am looking at which titles the company would like to do, as well as which titles the community at large would appreciate and like to see onstage. As far as I’m concerned, the sky is the limit. I am hoping to have one play and one musical each year.”

Gallo is looking ahead and has a dream list of future productions. “I would love to bring the works of Eugene O’Neill, Arthur Miller, and Laura Gunderson to the stage.”

The history of the term “ghost light” is long and varied. It began many years ago as a safety measure; theaters would always leave one single light burning on any open, unused stage so that no one would be stumbling around in the dark. Others soon claimed that the light, originally gas, was left on low to reduce the pressure in the gas tanks in the building. Of course, many theater folk also adhere to the superstition that a light must be left on to placate the theater ghosts that frequently are thought to haunt the space.

Gallo captures the imagination of the term with his group’s name and his tagline: “Keeping the Lights on.” “The Last Five Years” by Jason Robert Brown is a musical told from two points of view and from two opposite ends of a relationship. Cathy, an actress, opens the show at the end of their story by lamenting in “Still Hurting” that, “Jamie is over and Jamie is gone” while Jamie, an aspiring writer, strolls in and begins their romance by singing that he is breaking his Jewish mother’s heart and his grandfather is rolling in his grave because he has fallen for a “Shiksa Goddess.” The couple then experience career highs (his) and lows (hers) as they try to balance life and love.

Cathy (Kathryn Flynn) and Jamie (Joseph Gallo) are wonderful as they play these young lovers. For most of the musical, each takes the stage alone and must move their relationship forward and back. The only time their character “lines” intersected within this musical on-stage “graft” was on their wedding day when they embraced and sang the beautiful “A Miracle Would Happen” and “When You Come Home to Me.”

Their voices seemed a bit rough and strained at times, but this actually helped to convey the emotion each character was feeling. The songs eliminated the need for much dialogue and Flynn and Gallo moved the dual stories along beautifully.

I thoroughly enjoyed this performance. Experiencing a musical, or any theatrical presentation in this online manner, is not without some issues. There was some sound echoing interference early on and I missed reading a program. However, director David Pecsi used the camera angles successfully and created scenes that shifted seamlessly and smoothly. Kudos also to musical director Joshua Parman. The orchestra was wonderful. A shout-out to the cameraperson is also in order!

“The Last Five Years” is available for online viewing by visiting https://www.showtix4u.com/event-details/48032

Students voice ideas on virtual learning in First Stage’s ‘Unmuted’

By Marilyn Jozwik

In the past year students of all ages have certainly become familiar with virtual learning. In First Stage’s “Unmuted,” by First Stage playwright-in-residence Alvaro Saar Rios, we see a virtual gym class going rogue when their substitute teacher goes missing mid-class.

The 20-minute slice of a pandemic year classroom, part of First Stage’s Amplify Series featuring plays by playwrights who fall into the categories of Black, Indigenous and People of Color, features some catchy tunes along with a spunky bunch of performers playing, well, what seem to be themselves.

The show, directed by Anna Skidis Vargas and presented online, looks like a Zoom classroom with a handful of students going through the motions of a gym class. Until they realize their substitute teacher is no longer “in the room” (he had mentioned having trouble with internet) and all their microphones have been unmuted.

Their newfound freedoms prompt a catchy tune about the joys of being unmuted. All the young performers display pleasant vocals, augmented with lots of movement and wide-eyed enthusiasm as they sing about their teacherless virtual classroom. One student provides a verse in Spanish.

Student Mighty Monarch has taken control of the classroom and the youngsters fill the remaining class time with a game of Secret or Dare, which helps us better know them – Mighty Monarch loves to draw superheroes of color, another doesn’t like her long name. One even shares a string of auto-corrected texts that includes some funny results such as, “No, I didn’t send you a Texas.” Finally, a secret leads to a realization they all have – “I miss school!”

Which is the perfect segue to the final tune – another danceable, singable, bouncy bit, which lists all the things the students miss about in-person classes, from lunch and having kids laugh at jokes, to singing in circles and even going to the principal’s office.

Youngsters will be able to relate to the student performers, who peek into their uncharted world of remote learning in an entertaining and timely way.  

Especially enjoyable is the music, which is sure to have the kid viewers dancing in their seats and humming along. Deborah Wicks La Puma did the music and lyrics. The virtual presentation synced up the tunes nicely to showcase the kid actors’ great vocals.

Student performers are Allie Snyder, Noel Rubalcava, Ariel Nelson, Reese Bell, Dayanara Sanchez, Annie Sturtz, Ryon Davis and Naima Gaines.

The play is available on the First Stage YouTube channel through May 30. While making a donation is not required for streaming access, all donations help support the artists involved in the Amplify series and First Stage. To learn more and to register, go to: https://www.firststage.org/amplify.

First Stage actors ham it up in engaging ‘Three Little Pigs’

By Marilyn Jozwik

First Stage’s “Adventures with the Three Little Pigs” sneaks in so many learning opportunities for youngsters. Yet, the unsuspecting youngsters are having so much fun they don’t even know it!

The show, directed by Julia Magnasco and presented virtually through May 30, features three young adult performers (Coltyn Giltner, Kim Hardtke and Brinn Hill) who engage their young audience throughout. J.T. Backes is technical director for the show while Magnasco also wrote the adaptation.

To preview the well-known children’s tale, the trio, clad in overalls with a pastoral backdrop, give the kids some lessons in finance as they mime peddlers selling their wares – mittens, a basketball, roller skates. The kids count out the money along with the “onstage” buyer, who encourages their audience to try out their new wares together.

It’s all a bit of a warmup to the “Three Little Pigs” story, which features peddlers selling the pigs straw, sticks and, finally, bricks, to build their houses. The children are introduced to the villainous wolf and learn what a peddler and a villain are, the latter introduced with ominous music and actions the kids can use to represent the villain, such as stroking a beard or using an evil laugh.

With some fun catchy tunes, the kids can join in as the pigs skip, stomp and hop down the path. There are other fun activities as the young audience joins in to try to blow the pigs’ houses down or pantomime how they would look if they were upset, exhausted or scared.

Before the wolf gets his comeuppance, he tries to lure the pig who built the sturdy brick house to a turnip patch, an apple orchard and a fair. Each time, the pig outsmarts the wolf with some good timing (the kids get to learn about time here) and trickery.

The performers are expressive and thoroughly engaged in the story, which keeps kids busy throughout.

First Stage also offers a Show Experience Kit to help youngsters tell the story at home with cut out characters, props and scenery they can color; piggie and wolf ears and piggie money they can cut out and wear; and simple songs they can learn.

Go to www.firststage.org for tickets to the online show and for more information.

‘9 Circles’ captures horrors of modern warfare

By Marilyn Jozwik

Next Act’s “9 Circles” was almost a victim of the pandemic. It’s a good thing it wasn’t, though, because it’s one of the most riveting pieces of theater I’ve seen.

One week into rehearsals more than a year ago, the whole country shut down and there was no saying if and when Bill Cain’s intense story of an Iraqi War veteran on trial for murder would see the light of stage.

But it has. And through May 16, the virtual show is available for viewing. Visit https://nextact.org for details.

Directed by Michael Cotey, “9 Circles” refers to the chapters in the military life of young soldier Daniel Reeves (Casey Hoekstra), a Texan with a personality disorder. He is just the sort of person who should not be sent into battle, some say. Yet, Reeves sees his disorder differently: “It’s to my advantage. I don’t mind killing people.”

The play is based on a heinous war crime committed during the Iraqi War and depicted in the book “Black Hearts,” by Jim Frederick.

Daniel Reeves (Casey Hoekstra), left, talks to his lawyer (David Cecsarini) in a scene from Next Act’s “9 Circles.”

We follow Reeves in shadowy scenes, from his tirade at a lieutenant (David Cecsarini) for serving him discharge papers, to his days of imprisonment and trial.  Along the way, through lawyers, a pastor and a psychiatrist, we learn about Daniel’s past – his single mother who made him man of the house, his run-ins with the law, his drug and alcohol habits pre-military. He is a ticking time bomb.

Reeves has loved being a soldier, identifying those days as the best of his life. The military also has given him a chance at real empathy. A horrifying, yet also tender, incident is emblazoned on his mind.

We learn about the horrors of war, the impossible moral dilemmas presented to soldiers in modern warfare every day, the toll it all takes on bodies and souls. Humanity becomes hard to see in the jungles of battle in which soldiers become like animals – prey and predators.

Hoekstra is a human storm, erupting like a volcano at the dichotomy of war and morality that his superiors want him to see, although he cannot. His inner struggles bubble over when he talks to the people trying to save him. At first he seems like a callous, incorrigible, morally bankrupt human being – except we see that this war fits those descriptions as well. “Everything we did over there is a crime over here,” says one lawyer.

Cain’s characters make some interesting historical references, including comparing the Iraqi War to the 1571 Battle of Lepanto, a naval conflict in which Christians of the fleet of the Holy See defeated the Muslim Ottoman Turks who had been invading Europe. Cain, a Jesuit priest, also includes the Biblical story of Jesus and a Syrian woman who wanted Jesus to help her daughter.

Daniel Reeves (Casey Hoekstra) gets in the face of an army attorney (Chike Johnson).

Next Act’s video production is first-rate, from the lighting (Noele Stollmack) and sound (Grover Hollway) to the amazing quartet of performers.

Reeves’ mental pain is worse than any physical damage and Hoekstra makes that pain palpable. When confined to a straight-jacket, his fast-heaving breaths are akin to those of a leashed dog ready to attack. He gets up in the face of the pastor and psychiatrist, exercises in manic fits, screams until you think he’ll burst. At times we loathe him; at other times we want desperately for someone to understand him, to wrap their arms around him and tell him, “It‘s OK.”

We begin to realize that there were many Daniel Reeveses sent off on impossible tasks and that they were let down by many people.

Hoekstra heads the outstanding foursome of performers, which also includes Malkia Stampley, Chike Johnson and the aforementioned Cecsarini, each handling multiple roles.

First Stage’s ‘Copper Horns in Water’ dips into Indigenous culture

By Marilyn Jozwik

America’s Indigenous Peoples have a rich culture of storytelling. Those stories can be a wonderful source of material for family theater.

Milwaukee’s First Stage children’s theater has opened its virtual “Amplify” BIPOC short play series with “Copper Horns in Water,” based on Anishinaabe storytelling traditions. The BIPOC play series features newly commissioned work from Black, Indigenous and People of Color (BIPOC) playwrights and directors.

“Copper Horns in Water” runs virtually through May 16. For more information, visit https://www.firststage.org/amplify 

“Copper Horns in Water,” written by Ty Defoe, features 12 students from Milwaukee’s Indian Community School and adult actress Marisa Carr. Johamy Morales directs.

The play, a little over 15 minutes, is recommended for families with children 8 and older. It is a fun way for children to learn about Indigenous Peoples and their love of nature, to learn a few Anishinaabe (related to Algonquin) words and to hear some Native American music. The play also shares how heavy a burden it can be for even young people to do the right thing.

In the story, four sea creatures – North, South, East and West – are excitedly getting ready to receive their Copper Horns, which will help them keep their water safe and clean. It is a sort of coming-of-age time for the youngsters, somewhat like a “quinceanera” for 15-year-old girls in Spanish and Latin countries.

Unc-Aunt Boo-Boo (Carr) tells the four about their big responsibility once they wear the Copper Horns, saying that “copper creates peace and balance with our relatives in the sky, the thunderbirds.”

All the creatures are excited about the prospect, except North, who begins to wilt under the weight of the responsibility, especially when it looks like “the two-legged beings” are planning to upend the creatures’ watery world.

The children at home are encouraged to put on their own, hand-made “copper horns” and help the sea creatures with their noble cause.

I love the energy and enthusiasm of the children in the show, as well as Carr, who truly look like they are having fun with the tale. For the youngsters watching, it gives a taste of how even they can be good stewards of the land.

The production is nicely done, with the children speaking in front of watery backdrops with engaging visuals and sound.

Though just a small sample of the stories of Native Americans, it may spark a viewer’s interest in learning more about the many tribes in our state currently, the many more that once lived here and their beautiful, enduring culture.

Parents and teachers can view an enrichment guide for “Copper Horns in Water” at https://bit.ly/3gsqx7R

Village Playhouse fiddles with infidelity in trio of Shaw comedies

By Marilyn Jozwik

Village Playhouse is going British as it presents three short George Bernard Shaw comedies online through April 25. Visit www.villageplayhouse.org for more information.

At the heart of the trio is a wide variety of justifications for infidelity. True to form, the Brits in the show present their myriad cases for having a fling. And with a British accent, there seems to be nothing you can’t talk your way out of.

“An Evening with Shaw” begins with “How He Lied to Her Husband.” Dawn Molly DeWane plays Aurora Bumpas who delights in the fact she may be the only Aurora in all of London, or even in the world. But when love poems written by a family friend, Henry Apjohn (Clayton Mortl), to his dear Aurora turn up missing, Aurora suddenly realizes there is no mistaking whom they were intended for should her husband find them.

I love the movement in this play, especially DeWane, who frets and fidgets from one end of the stage to the other over the ramifications of her dalliance. Mortl’s Henry remains mostly calm as the two devise ways of dealing with Aurora’s husband (Paul Weir).

Mr. Lunn (Derek Jacobs), from left, Mrs. Juno (Amy Wickland), Mrs. Lunn (Sarah Jo Martens) and Mr. Juno (Edward Grant) discuss the merits of their affairs in a scene from Village Playhouse’s “Overruled.”

Mortl has a deep, resonant voice that carries the British accent nicely. Though Mortl handled a script throughout, it soon came to be just another prop.

In “Overruled,” we see Mrs. Juno (Sarah Jo Martens) and Mr. Lunn (Derek Jacobs), who have met and fallen in love on a cruise ship. They are meeting at a hotel to discuss their affair and what it means to their marriages. They soon hear the voices of their respective spouses and scurry away. In walk Mrs. Juno’s husband (Edward Grant) and Mr. Lunn’s wife (Amy Wickland), who have met on the same cruise. They, too, describe their feelings and desires.

The two couples dial through their feelings of indignation, guilt, honor, morality and a host of others as they quite civilly discuss their arrangements. Mrs. Lunn is looking for someone interesting. Mrs. Juno simply wants to be adored. The quartet of performers handle the debate wonderfully.

Natural and unnatural forces lead to disaster in a scene from Village Playhouse’s “Passion, Poison and Petrification.” Pictured are, from left, The Constable (Luis Castillo), Phyllis (Dawn Baldwin), The Landlord (Bob Stahley), George (Paul Weir), Adolphus (Evan Prier), Magnesia ( Antoinette Stikl) and The Doctor (Bradley Skonecki), front.

The last playlet, “Passion, Poison and Petrification,” is a strange bit of surreal comedy that almost looks like a parody of a Shakespearean tragedy. In it, Lady Magnesia (Antoinette Stikl) is being attended to by her maid, Phyllis (Dawn Baldwin), who has a sense that harm will be visited upon her mistress. Magnesia later is having a dream in which a figure is about to stab her when she awakes to find her husband, Lord George (Paul Weir), over her with a knife. George talks his way out of his diabolical intentions, but when Magnesia’s admirer, Adolphus (Evan Prier), arrives, George mixes a poisonous concoction for him, which leaves him in agony.

An antidote for the poison is at hand, but the results are just plain weird, yet lead to all sorts of campish comedy. Along the way, we see The Landlord (Bob Stahley), The Constable (Luis Castillo) and The Doctor (Bradley Skonecki).

Though his was just a bit part, I loved Castillo’s comic timing as The Constable, which elicited waves of laughter.

Directed by Tom Zuehlke, performers all did well with the British accents. Though a bit uneven, they all conveyed a sort of righteous attitude on the part of most characters, who handled Shaw’s witty dialogue capably.

Always enjoy seeing Paul Weir, whose dignified carriage and marvelous engagement fit his characters nicely.

Director Zuehlke keeps the scenes moving crisply with lots of character movement, facial expressions and gestures, as well as well-paced dialogue.

The last show, “Passion, Poison and Petrification,” included lots of lighting and sound effects which mostly worked well, as did the simple set.

An evening with Shaw is professionally filmed, making use of multiple angles and techniques for an enjoyable viewing experience.

Cudahy HS solves mystery of pandemic performing with successful ‘Clue’

By Marilyn Jozwik

There is something extra special about Cudahy High School’s virtual presentation of “Clue: On Stage.”

The show can be viewed at BroadwayOnDemand.com through April 11.

Not only is it a campy, well-produced romp by a troupe of energetic and enthusiastic high school students, but it is presented during a pandemic. That no-small feat was handled with the use of clear face guards by all performers, which are virtually imperceptible on the virtual presentation.

The show is based on the Hasbro board game and a motion picture. It immediately has the feel of Agatha Christie’s “And Then There Were None” as six guests have been invited by an unknown host to a mansion on a hill on a dark, stormy night. Only this is not the serious business Christie’s classic is. Instead, “Clue” is camp.

Anyone familiar with the game will recognize the sextet as they arrive: Colonel Mustard (Benjamin Oman), Miss White (Lola D’Aquisto), Miss Peacock (Keira Herbert), Mr. Green (Francesco Magestro), Miss Scarlet (Leyla Sutton) and Professor Plum (Laykin Chappell).

They are greeted by the mansion’s butler, Wadsworth (Zack Burki), who manages the mansion along with the maid (Makayla Bishop) and cook (Jordyn Adams). We learn a little about the guests over dinner, but then Mr. Body (David Steininger) arrives with a suitcase full of incriminating evidence against all of them as he hands each a gift of a murder weapon a la the board game – lead pipe, candlestick, revolver, wrench, rope and dagger.

Soon, lights go out, dead bodies show up -- and show up again – in various familiar rooms: the lounge, hall, library, billiard room, etc. A motorist (Gaven Bradley) pops in, as do a cop (Felicity Petrusczak) and even a singing telegram girl (Lauren Jarantowski-Bejzak). Madcap antics ensue as more than a half-dozen doors, a balcony and a secret passage are portals to surprising discoveries and hilarious hijinks, sending the characters on a high-paced mission to find the incriminating evidence and the murderer(s).

Burki as the stuffy butler Wadsworth heads this fine cast with a commanding stage presence. His  character takes full command of the proceedings with a haughty air, affected accent and fine physical comedy and comic timing.

The whole cast really got into the fun and funny as they moved into the parlor for some classic doubletalk and quick wit that moved the small, socially-distanced audience to waves of laughter.

Completing the cast as FBI agents are Sydney Campbell, Kate Papala and Skyler Geshrick. Ella Bronk served on stage crew, Noah Moebius on set construction and stage crew, while Marites Guarin was student director.

Director Erin Shaughnessy has her charges articulating well and well-rehearsed to handle the wit and physicality of the show, with a screenplay by Jonathan Lynn and written by Sandy Rustin. Assisting were Andrea Damitz Liegler, theater manager; John Witt, technical director; and Kyle Ahonen, assistant technical director.

The set is sturdy and well-designed to handle a lot of rough treatment, including lots of door action. The virtual presentation offers good, clear sound for the characters’ voices, ominous organ chords and other audio effects to set the mood. Visually, the show moved nicely to various scenes to create a professional quality appearance.

This review is also available at BrewtownBuzzSouth.com

Young actors present mature performances in "The Crucible."

By Catherine Jozwik

Arthur Miller’s still relevant 1953 play “The Crucible,” a partially fictionalized account of the 1692 Salem witch trials and a parallel to 1950s McCarthyism in which individuals were accused of communism by US Government figures, is brought to life in Milwaukee theater company First Stage’s current production.

Part of First Stage’s Through Our Lens 2021 Virtual Season of Plays and directed by Ann Joseph-Douglas (“The Piano Lesson,” “The Heart is a Lonely Hunter”), “The Crucible” is a Young Company Performance Project, “an actor-driven presentation that uses limited production elements, allowing the connection between actor and audience to be enhanced, emphasizing the power of the spoken word to come alive in exciting ways,” according to a press release. The project, with Matt Daniels as its director, is sponsored by the United Performing Arts Fund and Children’s Wisconsin.

Eloise Field as Abigail Williams in First Stage’s “The Crucible.”

Set in Salem, Massachusetts, over 300 years ago, “The Crucible” explores themes of justice, morality, fear, jealousy, revenge and religion through its Puritan characters, superbly explored by First Stage actors. As unfounded accusations of witchcraft spread through Salem causing hysteria, neighbors, friends and even family members begin to turn on each other, leading to tragic consequences and a shocking conclusion.

The immensely absorbing play, developed by artistic director Jeff Frank, works well as a virtual radio-style broadcast, with a short opening sequence of several characters in costumes, coordinated by Shannon O’Donnell, running through the woods. Black-and-white illustrations of Puritan homes and courtrooms are used as a backdrop, although First Stage actors are able to convey the complex emotions of the characters through Miller’s literary (and often tricky 17th-century) dialogue alone.

Daisha Lafford as Tituba in First Stage’s “The Crucible.”

The play, which runs approximately two hours and 30 minutes, is suitable for families with children ages 13 and up.

“The Crucible” features the following First Stage Young Performers:

-Sam Bower (Whitefish Bay) as John Proctor

-Trevor Schmitt-Ernst (Wauwatosa) as Reverend Parris

-Costello Mylott (Milwaukee) as Thomas Putnam

-Liam Jeniga (Delavan) as Giles Corey

-Kate Ketelhohn (Cedarburg) as Francis Nurse

-Kamani Graham (Milwaukee) as Reverend Hale

-Zachary Nowacek (Wauwatosa) as Ezekiel Cheever

-Jonathan Edwards (Milwaukee) as Marshal Herrick

-Aderynf Grace (Milwaukee) as Judge Hathorne

-Madison (“Maddie”) Uphoff (Madison) as Deputy Governor Danforth

-Eloise Field (Oconomowoc) as Abigail Williams

-Magdalyn Rowley-Lange (Milwaukee) as Mary Warren

-Jeana Bormett (Madison) as Betty Parris

-Ella Vitrano (Greendale) as Susanna Wolcott

-Nora Rommelfanger (Wauwatosa) as Mercy Lewis

-Daisha Lafford (Milwaukee) as Tituba

-Elisheva Scheuer (Bayside) as Elizabeth Proctor

-Selma Rivera (Milwaukee) as Mrs. Ann Putnam

-Molly McVey (Bayside) as Rebecca Nurse

-Sabrina Borg (Cedarburg) as Sarah Good

-Emily Treffert (Glendale) as Stage Directions/Martha Corey

A recorded performance of “The Crucible” can be streamed through Broadway on Demand through March 7. Tickets are priced at $15, $25, or $40 and can be purchased online at www.firststage.org, or by calling 414-267-2961.

Teachers learn life lessons in Next Act’s ‘Principal, Principle’

By Marilyn Jozwik

Next Act Theatre has followed up its successful “The Christians” with another pandemic-era success, “Principal, Principle.”

Tickets for the virtual show, presented through March 7, are available at www.nextact.org.

The show, by Joe Zarrow, follows the first school year of rookie English teacher Kay Josephs (April Paul) at a fictional urban Chicago school, Chinua Achebe High School. (Achebe was a real Nigerian novelist, best known for “Things Fall Apart,” published in 1958.)

Josephs is young, full of idealism, energy and optimism as she embarks on her new career. During her first school year, her English Department colleagues, with whom she shares an office, turn her ideas about teaching on their head.

Most of the play, directed by Marti Gobel, takes place in the English Department room, shared by Kay with colleagues Denise (Flora Coker), Shelley (Malaina Moore) and Ola (Ericka Wade), the department head.

Josephs’ strictly-by-the-book approach and passion catch the eye of Principal Wei (Megan Kim), who asks her to be part of the Instructional Leadership Team as a Master Teacher. While she is flattered by the recognition, her English Department cohorts think little of it. Instead, they each share their own ideas about teaching, and what they think about all the academic buzzwords like best practices, rubrics, high standards, honor, achievement and rigor.

Kay (April Paul), on desk, proclaims to her office mates, from left, Ola (Ericka Wade), Shelley (Malaina Moore) and Denise (Flora Coker), that she’s going to start teaching her way in a scene from Next Act Theatre’s “Principal, Principle.”

After going through the first semester following all the requirements, Kay is moved by Shelley, who has chucked much of the curriculum for what she says is more relevant info for her mostly black students. In a “Les Miz” style speech Kay hops on the desk – and on Shelley’s bandwagon -- and proclaims, “I’m going to do things my way!”

Kay returns from semester break with her own agenda that works well at first, but then the wheels fall off. She listens to crusty Denise, a veteran teacher on the cusp of retirement who is cynical and sarcastic. Denise praises Shelley’s creativity in the classroom, yet still believes students need to learn boring basics because the workaday world they are facing isn’t going to be fun.

Meanwhile, Ola, the peacemaker, brings treats to school to keep the little quartet of teachers on an even keel.

As the school year winds down, Kay faces all sorts of challenges in the classroom (which the audience never actually sees), such as students who don’t show up, who plagiarize, who forge their parents’ signatures, who mock students and teachers – as well as deep divisions within the teachers’ ranks, based on race and ideology. The characters begin to come more into focus as relationship dynamics shift.

The ensemble cast is wonderful, handling with precision the fast and witty dialog as the four teachers vent, criticize, calm, encourage and expound on the trials and tribulations of their profession.

The characters in “Principal, Principle” are so relatable, the conversations are so real. Anyone who has worked in any field may recognize colleagues they’ve had in these characters.

Wade is wonderful as Ola, the calming force, trying always to mediate and see all sides of a situation. Coker portrays the irritable Denise with just the right grumpy tone and sarcastic wit.

But the centerpiece is the relationship between Kay, who is White, and Shelley, who is Black. Paul and Moore are marvelous as the two passionate teachers who find themselves in a complicated battle of principles in which there is no winner.

Principal Wei (Megan Kim), facing, discusses the new rigorous standards at Chinua Achebe High School with Kay Josephs (April Paul) in a scene from Next Act Theatre’s “Principal, Principle.”

Kim handles the Principal Wei role with appropriate self-righteousness, while Malkia Stampley, her face partially shown at a microphone, reads numerous school announcements that hammer home the barrage of rules and often useless interruptions that are typically part of the students’ and educators’ day.

Village Playhouse’s ‘Salome’ seduces audience with its power and passion

By Marilyn Jozwik

In the days of the pandemic, a staging of a show with elaborate costumes, set, music and a full cast is a rarity. In its current presentation, Village Playhouse does all that with Oscar Wilde’s “Salome,” which revolves around the Biblical story of Judah’s tetrarch, Herod Antipas, and his manipulative stepdaughter Salome’s femme-fatale attraction to John the Baptist that leads to the prophet’s beheading.

It is an ambitious and mostly successful production, directed by Tom Zuehlke, getting some marvelous performances from key actors. The show, which is pre-recorded, is available via Zoom through Feb. 21. Tickets are $15. For information, go to  www.villageplayhouse.org/salome.

Unfortunately, the show had a rocky start, with loud music and crowd noise overpowering the conversation among the soldiers (Luis Castillo, Todd Herdt and John Goltz) and the queen’s page (Amy Wickland).

Hannah Kubiak as Salome soon appears and her seductive ways are put to use as the story’s themes of lust, greed and power begin to play out. During a celebration, the young Syrian guard, Narraboth (Goltz), has been gazing, almost trance-like, at Salome, fixated on her beauty like a teen with a crush, while the queen’s page repeatedly admonishes him. Kubiak’s Salome exudes poise and confidence, and a playful, flirtatious manner. She’s certain that her wiles and beauty can be used to her advantage. She charms Narraboth and easily convinces him to bring her John the Baptist (Derek Jacobs), a prophet and follower of Jesus who has been imprisoned for preaching the word of God.

Salome is fascinated by the prophet, and their scene together is intriguing in its dynamics. Kubiak’s Salome is seductive, saying John the Baptist is “like a moonbeam, a slash of silver.” She adds, “I am amorous of your body,” and talks erotically of his hair and mouth. Meanwhile Jacobs’ John bristles at Salome’s advances, snarling, “Do not speak to me, I listen only to God.” Jacobs plays the prophet with an inner strength and conviction that ripples through his characterization.

Herod (Eric Madson), is also entranced by his stepdaughter, asking her to perform a dance at the party he’s hosting, much to the disgust of his wife, Herodias (Stacy Madson). Eric Madson and Stacy Madson are wonderful as the feuding couple, exchanging barbs and disagreeing on their assessment of John  (she does not believe his teaching and is not a big fan; he is uncertain of his powers and his relationship with Jesus, but does not want to see John killed.)

Madson is spellbinding as his crazed Herod throws his crown of roses – which he says are burning his head -- leaving a blood stain on the table, an omen of death. Earlier, he had slipped in the blood of Narraboth. Herod is terrified of death. Madson infuses his character with anguish and confusion as his Herod rails and contorts in a fit of paranoia. Meanwhile, Herodias mocks him, saying, “What do you care if she dances in blood? You are so deep in it.”

Herod finally convinces Salome to dance, saying she can have anything she wants if she does so. After the dance, she says she desires the head of John the Baptist on a platter. At this suggestion, Herod again is anguished, as he doesn’t want to betray his oath yet does not want to see the prophet killed. Herodias, meanwhile laughs at his dilemma.

The Dance of the Seven Veils was rather disappointing. As was brought up at the talk-back, its background music is quite unpleasant. It has the sound of something poorly digitally produced. The rather long dance scene was visually appealing, with dreamlike layering on Salome. There probably was too much movement; something slower and suggestive would have worked better for the character.

The play, nonetheless, was well-staged and professionally videotaped using multiple angles and techniques . Costumes and set pieces were appropriate and substantial, while lighting was muted, all enhancing the production.

First Stage's 'Peligro Island' lets kids in on the adventure

By Catherine Jozwik

David Flores, Loralei Madson, and Eleanor Hannan (from left) take part in “Escape from Peligro Island,” presented by Milwaukee First Stage children's theatre.

Employing mobile and digital technology, Milwaukee First Stage children's theatre offers viewers a chance to take a thrilling airplane journey to a remote island in its delightfully exciting and interactive new production “Escape from Peligro Island—A Create Your Own Adventure Play.”  

Written by Finegan Kruckemeyer and directed by Jeff Frank, the play is a virtually-staged version of Choose-Your-Own adventure books—young adult novels in which readers have many opportunities to choose between several scenarios at specific plot junctures. These books, with titles such as “The Abominable Snowman,” “The Cave of Time,” and “Journey Under the Sea,” gained popularity in the late 1970s and early 1980s, selling more than 250 million copies. The books are still widely read among children and young adults today—and by some Generation Xers and millennials who fondly remember checking them out from their local libraries when they were children.

Nadja Simmonds, Matt Daniels, Loralei Madson, and Eleanor Hannan (from left) perform in Milwaukee First Stage children's theatre “Escape from Peligro Island.”

After a chance meeting on a plane with colorful Aussie Giles Feswick, shy, nerdy “Peligro Island” protagonist Callaway Brown finds himself stranded on a deserted island. He faces many tough decisions throughout the course of the play, including whether to flee or fight villains using ninja-style moves, whether or not to delve into secret “vampire” files, whether or not to attempt to abduct evil mastermind Catherine Granger, and which type of MacGuyver-esque technology to use to escape an underwater prison. Through the course of the production, Brown gathers together his courage—and gains confidence and self-sufficiency in the process.

Throughout the duration of the play, virtual audience members are presented with two scenarios, in which they can text the answer of their choice to a digital poll. Answers are tallied up in less than 90 seconds, with the most popular answer determining Callaway Brown’s fate.  

Featuring talented young actors Lorelai Madson as Callaway Brown (who displays some impressive martial arts moves), Eleanor Hannan as Teen Girl and Liam Eddy as Young Boy, the production includes enjoyable performances from Nadja Simmons, Matt Daniels and David Flores, who each play multiple roles. “Escape from Peligro Island” is a charming and exhilarating escape, which is much-appreciated during these stressful times. The play is recommended for ages 6 and up with a runtime of approximately 65 minutes.

Performances will be livestreamed through streaming service Broadway on Demand at 7 p.m. Feb. 5, and 1 p.m. and 3:30 p.m. Feb. 5. Pre-recorded performances featuring specific adventures, with descriptions, will be available to stream through February 28. Tickets are priced at $15, $25 or $40, and can be purchased at www.firststage.org or by calling 414-267-2961. 

‘Eliza on the Ice’ a cool, calculating thriller

Max Williamson

Ayanna Ellzey

By Marilyn Jozwik

Josiah Thomas Turner

Theater has been a pale version of its former self during these COVID-challenged months. But there are still ways to make it shine, virtually: good story-telling and acting can overcome the obstacles currently presented.

On Jan. 14, The Constructivists offered a live presentation of “Eliza on the Ice,” an original play by Josiah Thomas Turner, directed by Malaina Moore.

The compelling thriller utilized just two performers, each presenting their characters remotely via YouTube at www.constructivists.org. It can currently be viewed at that site. Donations are welcome.

With those strikes against it -- a virtual format with actors at different locations – the show had some ground to make up. Yet, it took only moments to be thoroughly drawn into the world created by Turner. The story opens with Matthew Bennett doing voiceover of stage directions in a serious, “Dragnet” sort of voice. He describes a basement living quarters on the outskirts of Slinger, Wisconsin, as “a college apartment … never abandoned.” It is dark and cheerless, complete with “an ancient box TV.”

We see the two characters on separate screens – Eliza (Ayanna Ellzey) and Tom (Max Williamson). Minutes in, we can feel the tension in the situation. Tom has come in from a blizzard and confronts Eliza. She is saying things like, “I want to make you happy, sweetie” and calling him “my man.” But there’s an edge to her voice. Her words are hiding something, a tone which Ellzey’s Eliza maintains throughout the play. Though desperate, she is confident of her own guile. When Tom chastises her for putting her hair up, saying, “I want your hair long, something to grab onto,” you know this is a complicated situation. His voice has a sinister tone. He is cocky and condescending, smirking with self-satisfaction in his perceived control, which is confirmed as the narrator describes the gun in his waistband. Meanwhile, Eliza is making mental calculations.

Turner’s story is taut, each character providing more clues to who they are and how they got to this point. Eliza is smart – a college student, motivated, self-assured. With each situation, you can see the wheels turning in her head, assessing the situation and opportunities for escape. By the time we see her, she knows how to play the game to stay safe, until she realizes she has an ace card, which mostly guarantees she won’t be harmed by Tom. Yet, how short is Tom’s fuse?

The conversations are masterful, capturing the mindsets of oppressed and oppressor, which both Williamson and Ellzey handle so well. When Eliza seems jumpy, Tom confronts her with, “You got a fast mouth, Eliza. You gotta lie slow.” Early on, Eliza, dripping with terms of endearment, asks Tom, “Don’t you like me sweet?” to which Tom snarls, “I don’t trust you sweet.”

Each scene, cleverly separated by blackouts in the apartment, is pressure-packed, the cat-and-mouse game playing out as each character learns more about each other. Turner has created a psychological thriller that keeps the audience just as engaged as the characters.

The edge-of-your-seat tension travels through Eliza’s captivity--using a Biblical parable of 40 days and 40 nights, according to Turner in the talkback after the show. At that time, Turner also said that the play’s theme and character names are taken from “Uncle Tom’s Cabin,” Harriet Beecher Stowe’s 1852 book describing the evils of slavery. In the book, Eliza, a hunted slave, escapes to Canada, at one point running over frozen patches of the Ohio River.

The show is still being refined for the time when live theater returns. Once shedding the cloak of virtuality, the show should elevate to an even more outstanding psychological thriller.

Village Playhouse's one-act festival plays for laughs, introspection

By Marilyn Jozwik

I’m heartened by the fact that community theater groups are finding creative ways to present powerful dramas and clever comedies.

Village Playhouse streamed a live presentation of two, one-act plays Tuesday evening: “Old Friends” by Jon Kolb and “The Interview” by Carol Ratliff Drury. The plays were part of VP’s 35th Annual One-Act Play festival.

Stacy Madson directed both shows. Both are available to watch on the Village Playhouse Facebook page: https://www.facebook.com/VillagePlayhouse

Donations are welcome.

“Old Friends,” a 20-minute drama, features Paul Weir as Ed and Dale Jackson as Jack, old friends who meet up at a coffee shop. Both are dealing with their own mortality after the death of one of their spouses.

Weir and Jackson are comfortable in their roles as old friends and bring the audience into their private conversation. Katie Kadaver plays the waitress in the show.

The conversation is believable as the pair start discussing their health, a major topic among older folks. “Our bodies betray us,” says Jack. “Digest the food, damn it,” says Ed of his own ailments.

Jack asks, “How long have we been doing this?” Ed replies, “Back when we felt good.”

They talk about “that form” doctors ask you to fill out. “Pull the plug, don’t pull,” says Ed about all the questions asked.

The conversation is amiable until it turns to a difficult topic for Ed. “You picked a scab, now I’m bleeding,” Ed rails.

The sore subject gets out in the open and both men are obviously shaken. Weir’s Ed goes on the offensive as his anger – and voice -- rise over the perceived slight and his fragile state. The scene turns tense and passionate, with both performers handling the changing moods well.

Playwright Kolb does a nice job bringing the conversation to a satisfying conclusion, while Weir and Jackson pack a lot of emotional substance into the brief meeting.

Amy Wickland plays a woman participating in a virtual job interview in “The Interview,” part of Village Playhouse’s Original One Act Festival.

In “The Interview,” Amy Wickland plays Amy, who is applying for a job through a virtual interview. The 13-minute comedy travels through the session, from the rough start due to technical difficulties, to an array of questions, to Amy’s decision at the end.

Elizabeth M. Havican, a last-minute replacement for Antoinette Stikl who was unable to do the show, plays a frazzled employee trying to solve computer problems that prohibit Amy from seeing her three interviewers, voiced by Scott Sorensen, Sandra Baker-Renick and Jon Goltz. Stikl is the proverbial chicken-with-its-head-cut-off as she scurries about the room in her futile attempts to restore video, laying the foundation for the comedy.

Madson, it appears, directs performers to play the comedy big. Wickland is wide-eyed and demonstrative as the interviewee who is put through the wringer. A lot of the humor resonates from interview situations such as we’ve all had, as the interviewee wonders how the questions relate to the job …  although, in this case, Amy doesn’t quite know what the job entails.

After being asked about her pets, she pantomimes brushing her cat and chasing her dog. In another charming bit, she gets totally wrapped up in describing her perfect date. Wickland is just a delight to watch.

The aggressive and overly professional interviewers fall over each other as they lead poor Amy along until the questions start to worry her about just what she would be asked to do on the job.

Though a bit unpolished, “The Interview” is fun 13-minute romp.

Next Act’s ‘Christians’ puts faith to the test

By Marilyn Jozwik

Pastor Paul (David Cecsarini) preaches to his congregation with Elder Jay (Rick Richter), left, and Associate Pastor Joshua (Andrew Muwonge) at his side in a scene from Next Act Theatre’s “The Christians.”

Local theaters have been trying for these past pandemic-altered months to figure out how to bring quality dramas, comedies and other stage presentations to the public. Virtually.

It is apparent Next Act Theatre has put considerable time, talent and resources into making their 2020-21 season opener, “The Christians,” a successful and enjoyable presentation. Mission accomplished!

Next Act has used this opportunity to produce a slick presentation (filmed at Gethsemane United Methodist Church in Pewaukee), showcasing fine performances and a thought-provoking script with a high quality, professional video.

Your ticket will get you into Next Act’s site, where you’ll find “The Christians,” the show’s program, dates for talkbacks, ways to order refreshments, plus a very helpful six-minute video presented by A.J. Magoon on how to show “The Christians” on your TV for a most comfy theatrical experience.

“The Christians,” by Lucas Hnath, first shows a pastor at the head of a mega-church giving a sermon. David Cecsarini, Next Act’s artistic director, is spellbinding in the role of Paul, the pastor, as the viewing audience sits in the “pews” at home. The sermon moves along with Paul describing the church’s humble beginnings with just a handful of people, its moving to a gymnasium when his flock grew, and its latest move 10 years earlier to a big, new, beautiful church structure. “You prayed, and stayed and paid,” he says, and then announces that their church is debt free. But after Pastor Paul presents that good news, he makes some startling revelations, based on an epiphany he’s had that has changed a basic tenet of his faith. This leads to a faith crisis for Pastor Paul, divisions in his church and turmoil in his family.

Associate Pastor Joshua (Andrew Muwonge) speaks with Pastor Paul (David Cecsarini) during a service in a scene from Next Act Theatre’s “The Christians.”

The production has been carefully produced to allow viewers to see important reactions of those listening. When Pastor Paul explains his newly formed ideas on his faith, the camera focuses on the concerned looks of those in the church – Elder Jay (Rick Richter), the pastor’s wife, Elizabeth (Marti Gobel), Associate Pastor Joshua (Andrew Muwonge) and Jenny, a congregant (Emily Vitrano). The camera tightly focuses on speakers as they passionately speak and often create artistic visuals, as when Associate Pastor Joshua and Pastor Paul face each other with colorful vertical stained glass rising behind them.

While Hnath’s script sometimes puts dollops of double talk into characters’ mouths, it nonetheless creates plenty of moral food for thought. Each character has been affected by Pastor Paul’s sermon. Associate Pastor Joshua, brought into the church as a shiftless youth, has become a pillar of his congregation who has embraced its principles without exception. Muwonge as Joshua is passionate and earnest as he wrestles with his superior’s upsetting new views of his religion. Richter’s Elder Jay is wonderful in his meeting with Pastor Jay, deftly presenting a verbal balancing act of the church council’s decision and his respect for his pastor. Also compelling is Vitrano as congregant Jenny, who gives a testimony about how Pastor Paul and his church have been such a help and comfort to her. Her tone changes from thankful and gracious to challenging and angry as she relates how her boyfriend’s questions about Pastor Paul has put the sermon in a new light for her.

Pastor Paul’s wife, Elizabeth (Marti Gobel), speaks passionately during a service in a scene from Next Act Theatre’s “The Christians.”

Some of the most moving moments come when Pastor Paul and his wife sit down to discuss how she and their daughter have responded to Paul’s new direction.  Gobel’s and Cecsarini’s characters show their deep respect and love for each other as they grapple with these new questions that are at the heart of their lives. Elizabeth is pained by her husband’s decision and her taut emotions are palpable. 

As always, Cecsarini has selected a drama with much to say and has found the team to aptly articulate the playwright’s message.

If you go (virtually)

Who: Next Act Theatre

What: “The Christians”

When: Through Dec. 13

Tickets: nextact.org; (414) 278-0765