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.”

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.

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

RIP Productions breathes life into musical comedy

By Marilyn Jozwik

Death can be funny. And heart-warming. And, of course, a time for introspection.

At least that’s what death is in the RIP Productions delightful play “RIP A Musical Comedy of Life & Death” by local playwright Robert Grede.  The show is being presented at Next Act Theatre. Alan Piotrowicz directs.

Rarely does a musical feature so many dead characters – five to be exact – the same as the number of live folks. At the beginning, at least. That five-to-five ratio changes to six and four later on.

There are all sorts of discussions about life after death, commentary on the funeral business, discussions about work and relationships, all woven into a clever story with hummable tunes.

The show also features perhaps every funeral/death pun/joke in the book, which is maybe a bit overdone. Those moments often brought the prerequisite groans from the audience.

Nonetheless, Grede has created some unique characters and an enjoyable story to go along with some very lovely tunes (16 in all) beautifully sung by the cast and backed up by a full-sounding four-piece orchestra directed by Jessi Kolberg on keyboards. Choreographer Ami Majeskie makes great use of the small stage with lots of clever upper body movements, all crisply executed. “Doing the Zombie Dance,” which opens Act 2, is a particularly catchy, beat-heavy tune and lively, fun dance by the five dead people led by Chrissie, who proclaims, “I don’t want to be a zombie, doing the zombie dance.”

The story opens at the aptly named McCobb Mortuary, where four recently deceased – two older, two younger – sing about what they had to live for and hoping they could have their lives back. Dead people never sounded so good.

Throughout the show, we learn all about the departed and how they died: Emily (Taylor Miñan), a young mother; John Doe (Cory J. O’Donnell), a young man involved in a robbery who can’t be identified; an older woman, Doris (Stephanie Beschta), whose “mind has gone to mush”; and an older man, Robert “RJ” (Tom Marks), who celebrates his hedonistic lifestyle. Later, Chrissie (Krista Rose), a young female drug addict, joins the dead.

We meet funeral director George McCobb’s awkward trainee, Vic (Ethan Smith), and then McCobb (Shayne Patrick) himself. Vic sings about his failed marriage caused partly by his long work hours and occupational hazard of being surrounded by formaldehyde. “She left me for someone who didn’t smell bad,” he sings. Later, he bemoans his lot in “Dead End Job.”

McCobb describes in song how his father taught him the business and how he carries on his ruthless tradition in the tough training of his protégé.  The insincere McCobb intones all the expected cliches to the bereaved. When they leave, he celebrates the tidy sum he’ll make with joyous remarks of “Ka-ching,” and a matching gesture.

Stephanie Beschta (Doris), Krista Rose (Chrissie), Taylor Miñan (Emily), Cory J. O’Donnell (John Doe), and Tom Marks (RJ). rehearse a scene from RIP Productions “RIP A Musical Comedy of Life & Death.” Photo by Stacy Kaat Photography

We also meet McCobb’s socialite wife, Margaret (also played by Beschta), and a young upstart, Gina (also played by Rose), who is hoping to get a job at the funeral home.

The audience also gets to know all the deceased in song, dance and dialogue, especially the young Emily, whose sister, Julia (Elisebeth Sparks), wrestles with that loss and a mother in hospice care. The scene when Julia sees her sister Emily for the last time in the singing of “One More Day” is perhaps the most moving in the show.

You couldn’t have drawn up a more perfect funeral director than the tall, thin, straight as a reed Shayne Patrick. His slick black hair seems painted on, giving him an even more severe look to match his impassive, dour persona. And his voice, low and perfectly modulated, fits his creepy character to a T. I think even Vincent Price would be jealous. Patrick is truly a commanding presence.

As mortician trainee Vic, Smith is totally likeable as he fumbles his way through the funeral business, gradually finding his calling … and love along the way. As he says, “We are the loved ones’ portal to the next world.”

I really enjoyed the quintet of deceased – Miñan, O’Donnell, Beschta, Marks and Rose – and their interactions, as well as their wonderful song and dance performances that do justice to the clever lyrics and pleasing arrangements. Miñan, Beschta and Rose especially provide some lovely harmonies on tunes like “Eton Ridge.” Beschta and Rose also seamlessly transition from dead characters (Doris and Chrissie) to living ones (Margaret and Gina), providing distinct characterizations for each.

I loved Nicki Heininger’s choice of costumes for the deceased. Rather than the expected riffs on black, she went with lavender outfits – from suits to shoes. A very eye-appealing visual.

On opening night, one character’s line bobbles, even during a tune, were quite noticeable, but did not detract from the overall enjoyment of the show. Most likely that will be cleaned up in subsequent performances.

Nonetheless, “RIP A Musical Comedy of Life & Death” is a wonderful twist on the fairy tale adage. According to Chrissie in the show: “Everyone died happily ever after.”

If you go

Who: RIP Productions

What: “RIP A Musical Comedy of Life & Death”

When: Through July 28

Where: Next Act Theatre, 255 S. Water St., Milwaukee

Info/Tickets: 414-278-0765; nextact.org 

WCT’s ‘Lifespan of a Fact’ questions literary freedom with compelling performances

By Marilyn Jozwik

There doesn’t seem to have been a time in our history when facts and truth have taken such a beating. Journalists especially have been put under a microscope these days and questions abound about their integrity.

In Waukesha Civic Theatre’s “The Lifespan of a Fact,” in their new black box theater space still under construction, we see fact checker Jim Fingal (Aidan Sternberg) and essayist John D’Agata (Jake Konrath) in a metaphorical ring, sparring relentlessly as their editor at the magazine, Emily (Julie Ferris-Tillman), referees the match.

Jim Fingal and John D’Agata wrote the book on which this play is based. In a sort of nesting dolls scenario, the book is based on a magazine essay written by D’Agata about Las Vegas’ high rate of suicides after a 16-year-old jumped from the top of a hotel. Due to a disagreement about D’Agata’s approach to the story, it was never published, but years later a version that was fact-checked by Fingal appeared in another magazine.

The dynamics of the three characters in the show are intriguing – and entertaining – and the three performers inhabit them most believably under the direction of Meghan Hopper.

The show opens with young and eager Harvard grad Jim Fingal being interviewed by Emily for a job as a fact checker for a story – about the 16-year-old suicide victim -- by a well-known essayist – John D’Agata. Emily gives Fingal the assignment, which he has just a few days to complete.

It soon becomes apparent that Fingal’s idea of fact checking does not mesh with those of the author or his editor. Emily is astounded when Fingal provides a spreadsheet of over 130 pages when D’Agata’s essay was only 15 pages.

Jim Fingal (Aidan Sternberg) checks his phone in a scene from Waukesha Civic Theatre’s “The Lifespan of a Fact.” Photos by The Holleys Photography

Fingal’s fact-checking takes him to D’Agata’s home in Las Vegas, where his ultra-diligence angers D’Agata, who tells him “Don’t get bogged down in the details” and “Don’t over-estimate your importance.” Fingal tells D’Agata that readers will trust that events occurred as they are detailed in his story, even if it’s off by just a second, as with the amount of time D’Agata said it took the young man to fall.

D’Agata defends his right to alter facts to create the mood, tone and style he’s seeking in his literary work and talks about his personal investment in the essay. He calls Fingal “a particular kind of dilettante” and claims that he is among those “who look down their noses on ambiguity, nuance …”

Emily, who flies to Las Vegas to moderate the heated discussion between the two, also gets frustrated with Fingal’s attention to minutiae, which leaves him confused as to what is important enough to fact check. “There is no code book,” she says, “It’s called judgement.”

D’Agata has a hard time with Fingal’s and Emily’s perspectives: “I’m not a journalist. I’m an essayist.” “You might not be,” says Emily, “but I am.” Fingal echoes her sentiments, saying he doesn’t want to “adjust to your (D’Agata’s) poetic truth” and that the essayist “violates 10 rules of journalistic ethics.”

But in the end, D’Agata has confidence in his storytelling. “I started with the facts … and I wrote to his spirit,” he says of the young man who died, railing about how slavishly sticking to the facts produces “overprocessed garbage” and “even the most precise numbers in this world tell you nothing.”

The is like a tennis match, with arguments batted back and forth like tennis balls. In one moment you see Fingal’s point. In the next, you agree with D’Agata. The match comes down to the final point as the deadline approaches to hold the essay or let the presses run with it. And it provides lots of food for thought.

These three performers hold your attention throughout, each striking the right tone for their character. Sternberg as the diligent fact checker is totally engaging, perfecting the bulldog-like tenacity of his character and youthful exuberance. Fingal’s crisp, neatly pressed pants, argyle vest and perfectly coiffed hair are a stark contrast to the rumpled D’Agata.

At times, their arguments turn into class warfare. D’Agata, who comes from modest roots, chides the privileged Fingal for being out of touch. “Did you ever want to curl up in a corner and die?” he asks.

Konrath’s D’Agata matches Sternberg’s passion and fits the arrogant, in-love-with-his-words writer to a tee. His indignation at his essay’s being questioned by this upstart is palpable.

Ferris-Tillman is the perfect go-between as the editor, trying to strike the right balance between allowing her star writer literary freedom and holding him to the facts that may get in the way of the story.

Director Hopper keeps the performers moving – in Emily’s office, D’Agata’s home, on the phone, standing sitting and gesturing -- so that the dialogue-heavy show doesn’t get bogged down. The actors do the rest as they are totally invested in their characters.

If you go:

Who: Waukesha Civic Theatre

What: The Lifespan of a Fact

When: Through July 21

Where: 264 W. Main St., Waukesha

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

Talented dancers line up for Sunset’s singular sensation, ‘A Chorus Line’

By Marilyn Jozwik

In decades of seeing community theater musicals, I had never seen “A Chorus Line.”

And after seeing Sunset Playhouse’s production I can see why it is not popular among local groups. The number of top-notch dancers required is daunting.

Maybe for some groups, but not Sunset.

Sunset has attracted a bevy of fine young dancers -- mostly dance or arts majors -- who show off considerable terpsichorean skills in this professional-quality musical.

The 1975 musical features two memorable Marvin Hamlisch tunes, “One” and “What I Did for Love.” The final scene showcases all the performers, bedecked in matching golden spangled outfits, who proceed onto the stage one-by-one to take their final bows. The sight brought gasps from the audience as the dancers filled the stage with brilliance visually as well as talent-wise. Perhaps the most stunning finale I’ve ever witnessed, putting an exclamation point on this outstanding production.

The “Chorus Line” story is a simple one, with complicated characters: A group of dancers is auditioning for a Broadway show. They are a motley crew: tall, short, dark, light from all sorts of backgrounds. All desperately want the job as they describe in “I Hope I Get It.” The show’s director Zach (played by Karl Miller, also the director and choreographer of “A Chorus Line”) puts the dancers through some tough tests with the help of his assistant (Dijon Michelle Kirkland). And you can see these are all some special performers.

The opening looks like a real-time audition with dancers executing Zach’s instructions in small and large groups until their number is winnowed down to 17. At that point, the remaining dancers all line up and are asked by Zach to talk about themselves. This is all beautifully done in dialogue, song and dance.

Diana (Olivia R. Coleman) describes her feelings about an acting class as she sings “Nothing” in a scene from Sunset Playhouse’s “A Chorus Line.”

I very much enjoyed Mike (Dance Captain Clayton R Irwin), the youngest of 12 kids. We learn that he tagged along to his sister’s dance lessons and became hooked on dance. Irwin gave Mike that special something, including a couple of cartwheels across the stage.

Another engaging piece was “At the Ballet,” featuring Makenna Lemke, Abby Bloomquist and Christine Herrmann as Sheila, Bebe and Maggie, all telling about how they grew to love dance.

My favorite was Olivia R. Coleman as Diana in “Nothing.” Ironically, she infuses loads of emotion into her song about her inability to feel anything in an acting class.

All the characters are fleshed out until the audience sees more than just bodies dancing.

Act 2 focuses on Cassie (Vivian Romano), a seasoned dancer who once lived together with Zach, who featured her in several shows. Down on her luck, she is hoping to keep dancing, even if it’s just in the chorus line. In “The Music and the Mirror,” Romano beautifully dances, and sings, “Give me somebody to dance for, give me somebody to show.”

In the most moving scene of the show, Paul, a shy Puerto Rican boy played by Humberto Barraza, is called onstage by Zach, who wants to know more about his motivation to be a dancer. Barraza imbues Paul with a quiet, sincere vulnerability as he tells his story growing up gay. You could hear a pin drop during his mesmerizing monologue.

Connie (Heather Blachowski), from left, Val (Riley Luettgen), Diana (Olivia R. Coleman), Kristine (Olivia Grace Forsyth), Judy (Erica Wright), Sheila (Makenna Lemke), Cassie (Vivian Romano), Maggie (Christine Herrmann) and Bebe (Abby Bloomquist) rehearse for a broadway musical in a scene from Sunset Playhouse’s “A Chorus Line.”

In “One,” we see the difficult dynamic of Cassie, a special talent, having to blend in with the other dancers as they practice a piece for the show. Zach chides Cassie for not wanting to be the star, to which she replies, “They’re all special. I’d be happy to be dancing in that line.”

In the show’s most beautiful showcase piece, Coleman’s Diana leads the dancers in “What I Did for Love,” in which the dancers talk about moving on from their dance passion without regret. What makes this piece so special is that many of these performers are presumably articulating their own thoughts, and the heartfelt honesty shines through.

Mark Mrozek directs a fine horn-heavy orchestra that lets the dancers sparkle, while set, light and costume designers – Katie Johnson, Martin Yates and Lisa Quinn – must be congratulated on a quality show, especially the truly extraordinary finale.

While it is not my custom to mention a cast this large, I feel compelled to recognize all of this fabulously talented cast of dancers who have not already been mentioned: Will Nysse (Don), Heather Blachowski (Connie/Dance Captain), Michael Trimboli (Greg), Jacob Rankin (Bobby), Erica Wright (Judy), Kristopher Davis-Washington (Richie), Daniel Bingham (Al), Olivia Grace Forsyth (Kristine), Riley Luettgen (Val), Luke Wenger (Mark), Isabel Marin Young (Tricia), Summer Alyssa Feil (Vicki) and Maya J. Buffomante (Lois).

It is apparent that they are doing this for love.

If you go:

Who: Sunset Playhouse

What: “A Chorus Line”

When: Through Aug. 4

Where: 700 Wall St., Elm Grove

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

LCP brings mystery and music to a marvelous ‘Jane Eyre’

By Marilyn Jozwik

Lake Country Playhouse turns into the misty moors of England and the mysterious mansion of Thornfield for its summer production of “Jane Eyre The Musical,” with music and lyrics by Paul Gordon and book by John Caird.

As does Charlotte Bronte’s somewhat autobiographical 1847 novel “Jane Eyre,” the musical takes on a somber, sometimes austere tone as it follows the strong-willed heroine who overcame the cruelty of adults as a youngster and followed her own path to find ways to be kind, to love and to be loved. Breanne Brennan directs.

LCP checks all the boxes in this fine production: a stellar cast with wonderful performances and vocals, a quartet of fine musicians, a hard-working set design with back screen visuals that takes audiences to dozens of locations, and spotless lighting and sound. Even the simple movements are well-conceived and precisely executed. This is a well-oiled machine of a production.

A young Jane (Paige Lombardi), left, enjoys a visit with her schoolmate Helen (Gabriella George) as adult Jane (Emily Keiner) reflects on the scene.

The story is well-known, although I overheard more than one patron trying to remember the story from their reading of the novel years ago.

Moving the show along are 41 songs that follow Jane through her life. Early scenes show the orphaned Jane (Emily Keiner) and the abuse of her wicked aunt Mrs. Reed (Olivia Najera) and then her equally harsh days at school. When her aunt leaves her at the school, her wish is that Jane “be made humble and kept useful.” At school, Jane befriends her sweet classmate Helen (Gabriella George), who teaches her forgiveness.

Jane (Emily Keiner), suitcase in hand, prepares to leave Lowood School and strike out on her own.

Eight years later as a young adult, Jane leaves the school after being told she’d “be mad to leave” as she has no money, no talent, no beauty and no class. Nonetheless, she finds a job as a governess to Adele (Reagan Renner), the ward of the enigmatic Edward Rochester (Ezekiel N. Drews), at Thornfield Hall. In a sort of Maria and Captain von Trapp relationship in “The Sound of Music,” Jane grows fond of her enigmatic master. Yet, there are strange occurrences and sounds in the hall that soon reveal some startling truths, turning Jane’s world upside-down.

Unlike many musicals, this is a quiet show. Its tone is subdued and its appearance controlled. Without the big, rousing production numbers, it fits nicely on the intimate LCP stage. It has a marvelous period look, thanks to costume designer Sarah Jo Martens. Simple props and backdrops also help set the numerous locations nicely, while Sue Gedemer directs the lovely, sometimes haunting melodies throughout. I especially enjoyed April Fehrman’s playful clarinet in “The Gypsy,” the charming palm-reading scene. I also loved all the full, lush harmonies the chorus provided in numbers like “Sympathies Exist” to open Act 2 and the closing number,”Brave Enough for Love,” and wished there would have been more such numbers.

But of course, we must talk about Jane, wonderfully portrayed by Keiner, who fits the role like a glove. Throughout the show, we see her resolve to not let the world around her knock her down or set boundaries. As Jane says in Chapter 23 of the novel, "I am no bird; and no net ensnares me: I am a free human being with an independent will." Keiner truly embodies that spirt.

As Edward Rochester, Drews displays a commanding presence, fine vocals and a wide range of emotions, from his fiery tirades to his tender moments with Jane.

I really enjoyed Erin Sura’s light-hearted portrayal of Mrs. Fairfax, the housekeeper at Thornfield Hall, while Regan Renner stole the show with her mischievous Adele character, whose overacting in “Adele’s Melodrama” brought peals of laughter from the audience.

Aly Olson-Turek displayed a marvelous, soaring soprano voice and flirtatious character as Blanche Ingram, Rochester’s wannabe wife. Her “Finer Things” was a thing of beauty.

Thom Cauley choreographed some wonderful scenes on this small stage. I was impressed by the school girls’ sharp, precise movements, dramatizing how their lives were so regimented.

Dialect coach Becca Richards helped place characters in their British settings with effective accents, including a well-done Scottish accent by Rebecca Ruiz as Grace Poole.

The many small, memorable moments in the musicial show an acute attention to detail and the dedication of each cast and crew member to present an outstanding production.

If you go:
Who: Lake Country Playhouse

What: “Jane Eyre The Musical”

When: Through July 21

Where: 221 E. Capitol Drive, Hartland

Info/Tickets: LakeCountryPlayhouseWI.org

Acacia’s ‘Agitators’ shines light on activist duo’s friendship

By Marilyn Jozwik

The unlikely friendship of Susan B. Anthony and Frederick Douglass spanned some 45 years during some of the most tumultuous times in American history.

Those two extraordinary figures and times are the substance of “The Agitators,” by Mat Smart, currently at Acacia Theatre Company, who brought this beautifully staged production to their intimate space with outstanding performances. Lori Woodall-Schaufler directs.

In the opening scene we immediately see the contrasts and the connections of the characters. The year is 1849 and the place is the Anthony family’s farm in Rochester, New York, where Douglass and his family are staying as guests. The Anthonys were Quakers and believed in the equality of all men. Their home was often the meeting place for abolitionists, such as Douglass.

Susan (Susie Duecker) ventures out into the field to meet with a pensive Douglass (Dennis Lewis) and inquire how he liked the peach cobbler she made earlier. Her impatience and feistiness are evident while he slowly and carefully reflects on his responses. Susan is already becoming known for her activism,but realizes she has chosen a different path than most women. “I am 29 and should have six or seven children by now.” Douglass, meanwhile, has escaped slavery, yet admits, “There is no place in America that I’m safe.” At one point Susan asks, “How do we end slavery?”

Each scene wonderfully recreates an important meeting with the two as their fight to end slavery intensifies. We see Douglass’s fiery nature and learn about his life. “Slavery stole the first 20 years of my life,” he tells Susan. She confides that if a man would propose an equal marriage she may consider it. Their relationship grows close and tender as he continues his fight for his race, which came with the 14th and 15th Amendments, after the Civil War.

Susan B. Anthony (Susie Duecker) soothes her feet in a basin of warm water with the help of Frederick Douglass (Dennis Lewis) in a scene from Acacia Theatre Company’s “The Agitators.”

In their 1867 meeting in Haymarket Square we begin to see cracks in their common cause. While Frederick continues his fight to get the vote for black men, Susan’s attention turns to getting equal rights for women, particularly suffrage. They realize that their current goals have put them at odds with each other. Susan bemoans their separation, saying, “It felt like we were in lockstep.”

As Act 2 opens, the pair have been out of touch for a while and meet at a baseball game where Frederick’s son is playing. The two reconnect and begin to engage in the easygoing conversation they had for years, sharing the progress of their causes. Suddenly, Frederick gets up to leave when he realizes the police have been called because someone has seen a black man too close to a white woman. Susan objects, wondering what will she tell the police. “Your skin will keep you safe,” says Frederick.

In other scenes we witness the burning of Frederick’s home, which he believed was the work of the Ku Klux Klan, and the death of his wife Anna.

In a most charming scene, the two meet at the White House in 1888, where Susan will present her cause to President Cleveland. Frederick was certain that after black men were given the right to vote with the enactment of the 15th Amendment, women would soon follow. “I thought you were right behind us,” says Frederick.

There is both power and tenderness in Lewis’ and Duecker’s performances. Both display unbridled passion as their characters articulate how they’re going to devote their lives to bring equality to all in America. Yet, they never lose sight of the admiration, tenderness and devotion their characters had for each other.

Lewis assumes a stateman’s air as Douglass waxes eloquent: “Words can shine a light on injustice.” In Act 2, he leaves the stage with a fiery recitation of “My Country ‘Tis of Thee,” that brings goosebumps.

Duecker has memorable moments too and is most delightful when she doesn’t take her larger-than-life character too seriously, as when she takes time to ease her tired feet in a bucket of warm water, with Frederick assisting. Both Lewis and Duecker never let their characters lose their humanity.

Enhancing these marvelous performances is the use of visuals at the back of the stage, especially the opening montage of depictions of slavery and the final one showing figures of the equality movements. Scenes between help place the characters at the Anthony and Douglass homesteads and other locations. Characters were also outfitted well in period costumes. A crisp, full sound system provided violin and piano music, sometimes coinciding with Frederick’s own movements on the violin. Douglass played the violin for his family, and his grandson, Joseph, became a concert violinist.

If you go:

Who: Acacia Theatre Company

What: “The Agitators”

When: Through June 14

Where: St. Christopher Episcopal Church, 7845 N. River Road, River Hills

Info/Tickets: www.acaciatheatre.com

Theatrical Tendencies' 'Vanya and Sonia' puts a lovable spin on Chekhov-like characters

By Marilyn Jozwik

Comedy is probably one of the hardest genres to pull off for community theater. Slapstick -- the pie in the face, slip on a rug, falling down drunk kind of comedy – is the staple of farces and is an easy laugh to pull off. But the subtle comedy that comes from true characters, witty dialogue and the right delivery can be tough.

In Christopher Durang’s “Vanya and Sonia and Masha and Spike,” presented by Theatrical Tendencies, there is a little of the former and lots of the latter to create one of the funniest comedies I’ve seen in some time. It is a tender story of aging siblings in transition, navigating a world they don’t quite understand. And in the end, it brings them to a place they can.

Mark E. Schuster directs the show with a deft hand for the comedy – and occasional pathos -- and is also responsible for the scenic design, which creates a warm, cozy setting for the Hardwicke family in their Pennsylvania farmhouse.

The show opens with siblings Vanya (Mark Neufang) and Sonia (Jillian Smith) sitting in their comfortable living room, looking out on their pond, waiting for the heron to arrive on this August day in 2013. Both unmarried, they’ve never left home and have spent much of their lives caring for their now deceased parents, professors who named their children after Chekhov characters. The property even features cherry trees.

Spike (Kevin J. Gadzalinski) makes a spectacle of stripping to take a dip in the pond, shocking siblings Vanya (Mark Neufang), Masha (Leslie Grider) and Sonia (Jillian Smith) in a scene from Theatrical Tendencies “Vanya and Sonia and Masha and Spike.” Photo by Katie Synold

Vanya and Sonia are bitter about their dull lives as they sink deeper into middle age, and snipe at each other mercilessly, which gets the comedy rolling. Sonia tells Vanya about dreaming that she was 52 and single, to which Vanya replies, “Were you dreaming in the documentary form?”

Their routine is broken by the arrival of their actress sister, Masha (Leslie Grider), and her much younger beau-du jour named Spike (Kevin J. Gadzalinski), who is handsome, buff and shallow. Masha has made a name for herself in B-movies and her earnings have kept the farmhouse and her siblings afloat.

Adding layers of interest to the show are the cleaning lady, Cassandra (Jaleesa Joy), and a pretty young neighbor, Nina (Madison Van Allen). Cassandra bursts unexpectedly into scenes with dire admonitions that hysterically mash-up literary (i.e. Greek tragedies) and cultural (i.e. The Beatles’ “Magical Mystery Tour”) references. As her name suggests, she is an absolute joy to watch in this over-the-top role that adds a nice splash of spice to the show.

Nina, who Spike has his eye on, is over the moon at meeting movie star Masha. You find yourself smiling at Van Allen’s earnest and starstruck character, who ripples with excitement at being invited into this unusual family.

Cassandra (Jaleesa Joy) reads from a play Vanya has written while Nina (Madison Van Allen), standing, waits to read her part as a molecule to Spike (Kevin J. Gadzalinski), Masha (Leslie Grider), Vanya (Mark Neufang) and Sonia (Jillian Smith) in a scene from Theatrical Tendencies “Vanya and Sonia and Masha and Spike.” Photo by Katie Synold

Act 1 ends with Masha taking Spike and her siblings, as well as Nina, to a costume party she’s been invited to.

The aftermath of the party has brought change to the family that we see in Act II as we learn that Masha wants to sell the family home. More urgent pronouncements come from Cassandra, who warns the family “to avoid all real estate activities for the next 20 years.”

Sonia realizes latent social skills, while Vanya – at Nina’s urging -- gets the courage to present a play he’s writing to his family and friends. It is an unintentionally hilarious bit of dystopia in which Nina portrays a molecule.

Vanya, who is gay, presents his play and scolds Spike for looking at his phone during the “show.” Vanya goes on a tirade that Baby Boomers will surely relate to. He ties himself in knots, pacing and gesturing as he recalls the days of “Ozzie and Harriet,” Perry Como, Dinah Shore and the “articulate” Bishop Sheen; playing Scrabble and Monopoly; watching “Howdy Doody” and Tommy Kirk (whose contract, according to Vanya, was terminated by Disney fearing his homosexuality would become public) in “Old Yeller.”

Cassandra (Jaleesa Joy) and Vanya (Mark Neufang) get dramatic results from Cassandra’s voodoo doll experiment in a scene from Theatrical Tendencies “Vanya and Sonia and Masha and Spike.” Photo by Katie Synold

“There was solidarity,” Vanya cries.   He bemoans that today “you can watch news reports that match what you think” and that we are so disconnected “we don’t even watch the same worthless things together.”

I loved the connection of Neufang and Smith as siblings Vanya and Sonia (who is adopted). Both Neufang and Smith are seasoned and adept at comedy, allowing their characters to grow and provide the depth and humor the playwright intended. Smith as Sonia puts her emotional subtlety on display when she receives a surprise phone call from an admirer. Neufang interacts wonderfully with all the other characters, putting just the right sarcastic spin on Vanya’s musings.

Grider plays the diva role perfectly, unabashedly extolling Masha’s beauty, talent, charm and success with a delightful mix of drama and disdain. Masha describes herself as “lovable monstrous” and Grider embodies those traits to a T. Gadzalinski as Masha’s boy-toy Spike maintains a frat-boy attitude and look of self-satisfaction, which make his bemused character even funnier.

These are wonderful characters that this ensemble cast has imbued with sincerity, heart and humor.  In this case, the whole is greater than the sum of its parts with a beautiful blending of talents.

Rarely have I been so entertained.

If you go

Who: Theatrical Tendencies

What: “Vanya and Sonia and Masha and Spike”

When: Through June 22

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

Tickets/Info: www.theatricaltendencies.com

Sunset’s ‘Rehearsal for Murder’ sets the stage for compelling mystery

By Marilyn Jozwik

Agatha Christie’s mysteries are well-known for gathering murder suspects together for the final scene as the skillful detective expertly interrogates them.

In “Rehearsal for Murder,” Sunset Playhouse’s clever, stylish and totally engaging murder mystery, we see a similar scenario. The show was adapted for the stage by DD Brooke from the television play by Richard Levinson and William Link. Carol Dolphin directs.

But this play has a clever twist to the suspect interrogation that even Agatha Christie would applaud.

The cast of Sunset Playhouse’s “Rehearsal for Murder” includes, seated, from left, Antoinette Stikl, DJ Slater, Kristin Leong, Alicia Rice, Jason Peregoy, William Molitor, Jacob R Regenfelder, Tyler Peters and Brigid O’Brien. Standing, from left, Justice A.L. Velez, Jim Feeley, Ashley Hammarstrom and Scott Laurent.

The play takes place in 1935 at a Broadway theater. Playwright Alex Dennison (Jason Peregoy) is getting ready for a reading of his new play. It is one year since the tragic death of his fiancée Monica (Alicia Rice), who died on opening night of another play Dennison had written. Monica was the star of the show. The story goes back to that night and what transpired before and after the play, which didn’t get the best reviews. Did Monica leap from the balcony in despair after her guests had left her post-show party? Dennison doesn’t think so. But how can he prove it?

One year later, as he gathers all the cast from that fateful night to read his new play, he hopes to find some answers.

What I love about this show is the movements of the characters; natural movements, which gives dialogue-heavy scenes a sense of lightness.  Director Dolphin works her magic here and the performers respond beautifully, giving top-notch performances all around in this taut mystery. Given the theatrical backdrop of the show, performances are especially animated. Everyone is on their A-game as characters sort through the events leading to the death of Monica.

Alex Dennison (Jason Peregoy) discusses the opening night of his play with the director (William Molitor) and producer (Antoinette Stikl) at his leading lady’s New York high-rise apartment in a scene from Sunset Playhouse’s “Rehearsal for Murder.”

Peregoy as Dennison is perfectly charming, a little arrogant – but not so much to be off-putting. The role of Dennison is demanding, with mountains of dialogue, and Peregoy is more than up for the challenge. He guides his character through tender scenes with Monica, tense interactions with the cast, confrontations with the director and producer, and some dramatics involving gun play in the final moments.

Rice as Monica is a fitting diva. I loved the pre-show opening night scene as Monica flits about nervously and drapes herself all over Dennison, who came to see his play and its star, who happens to be his fianceé.

In a small, but memorable role, Kristin Leong as Dennison’s assistant, Sally, is absolutely delightful. This is a role that could have faded into the background. Instead, Leong’s Sally is a standout, a bundle of energy scurrying about to please her boss. She is totally awestruck as being part of the theater, even in a small way.

Every character is well-cast, putting every role in good hands. William Molitor as the director, Antoinette Stikl as the producer and Brigid O’Brien, Tyler Peterson and DJ Slater as performers in Dennison’s show, all give distinctive performances.

Even Jim Feeley as the maintenance man has some wonderful, natural exchanges with Dennison.

Putting the icing on this theatrical cake is a terrific performance by Jacob R. Regenfelder, whose character appears in the final scenes to bring the show to a dramatic and unexpected conclusion.

The show also uses some creative staging to bring the scenes nicely into focus. In the early part of show, with Dennison narrating, we see the curtain call from opening night a year earlier projected on a screen in back of the stage. In the opening night party scene, a New York skyline and balcony appear on the big screen, helping to create just the right mood.

There are no perceptible set changes, making this show run seamlessly, and at a quick pace.

If you’re in the mood for a whodunit that’ll keep you entertained and guessing until the end, it’s no mystery that you’ll enjoy Sunset’s “Rehearsal for Murder.”

If you go:

Who: Sunset Playhouse

What: “Rehearsal for Murder”

When: Through June 16

Where: 700 Wall St., Elm Grove

Tickets/Info: 262-782-4430

LCP reaches for the stars with ‘A Rock Sails By’

LCP reaches for the stars with ‘A Rock Sails By’

By Marilyn Jozwik

Watching anyone slip into dementia is heart-breaking, but even more so when those of superior intelligence begin to forget.

Such is the case of Dr. Lynn Cummings, the protagonist in Sean Grennan’s “A Rock Sails By,” being presented by Lake Country Playhouse. The show is directed by Jim Baker.

Jason’s editor (Angie Rodenkirch) explains that she wants him to write “1,200 sexy words” that gets lots of “clicks” in a scene from Lake Country Playhouse’s “A Rock Sails By.”

Cummings (Sandra Renick) is an award-winning astrophysicist, a long-time professor, chairman of her department with a whole list of accolades. She is assertive, quick-witted, demanding of herself. She also has hyperthymesia, which allows her to remember every day of her life in detail.

Her husband, Tom (voiced by the playwright) – whom she dearly loved – died suddenly a couple years earlier, leaving a huge hole in her heart. She frequently finds herself listening to his old voice messages on her phone.

In recent weeks people have noticed changes in Lynn. Her daughter, Olive (A. Schultz), notices her mom forgets things she has mentioned in the same conversation and students notice her “spacing out” in class.

During this time, Jason (Todd Herdt), a magazine reporter, has been ruthlessly stalking Lynn to get her expert opinion on a strange object that is hurtling past the earth.  He finally gets to talk to her for a few minutes for the story, but at the insistence of his editor – who is only concerned about readership -- he takes her words out of context. The story that is published makes it look like Lynn believes the object might contain aliens, which puts her job in jeopardy.

A white-clad Messenger (Goo) creates a celebratory moment with Dr. Lynn Cummings in a scene from Lake Country Playhouse’s “A Rock Sails By.”

Jason, who believes there’s a chance of ETs on the object, agrees to write a new article if Lynn will travel with him to the desert, the best place to watch “the rock sail by.”

While sitting alone under the stars, Lynn is visited by a white-clad messenger, who helps Lynn see and understand her past and the  challenges facing her in the future.

Baker has elicited some wonderful performances from this small cast, starting with Renick as Dr. Lynn Cummings. We see Cummings in many settings, such as a classroom, her office and home, and finally at the site of the rock sailing by. In all these situations, Renick captures Cummings’ sharp wit, passion and sense of loss as she deals with her diagnosis. “I can remember what I did every day of the week. Soon I won’t be able to remember anything,” Cummings says. Renick’s Cummings is totally relatable, likeable and engaging, allowing the audience to fully realize her character.

I also enjoyed Herdt as the reporter, Jason, whose persistence is endearing as he begins to gain the trust of Cummings.  The actress Goo does a wonderful job as the Messenger, a sort of robotic angel. Goo handles the role beautifully, giving the Messenger a distinctive other-worldliness. Her mechanical gestures and speech and occasional spasms give her character a kaleidoscope of personas as she guides Cummings through her journey of discovery.

Other roles were also handled capably, including Schultz as Cummings’ daughter Olive. The scene in which her mother remembers in vivid detail the time the infant Olive fell asleep on her chest is most touching. Sydney Faris as Cummings’ assistant, Mack Bates as her university’s chancellor, Angie Rodenkirch as Jason’s editor and Mike Crowley as Cummings’ doctor round out this fine cast.

Also impressive is the staging of the show. Three large video panels at the back of the stage create settings for various scenes, such as the view from Cummings’ office window, a park, an airport and, finally, starry skies for the final scene. Also enhancing each scene are well-placed background sounds. Especially effective is the ambient sound during the final scene with Cummings and the Messenger. Breanne Brennan handled light, sound and projection design.

Lake Country Playhouse reached for the stars with “A Rock Sails By.’ Luckily for audiences, the cast and crew hit their mark!

If you go:

Who: Lake Country Playhouse

What: “A Rock Sails By”

When: Through May 24

Where: 221 E. Capitol Drive, Hartland

Tickets/Info: LakeCountryPlayhouseWI.org

Next Act's 'Treasurer' rich in humor, pathos

By Marilyn Jozwik

In “The Treasurer” by Max Posner, Next Act Theatre’s latest offering, a son can’t find it in his heart to love his mother, a feeling that haunts him as his mother drifts into her final years. Cody Estle, Next Act’s artistic director, directs the show.

The journey that this son and his two siblings travel as their mother slips away is expertly portrayed by a quartet of performers and is wonderfully staged by Next Act.

A store salesman (David Flores) is pleased to sell Ida (Annabel Armour) a $700 pillow.

Reese Madigan plays The Son. Through a several-minute opening monologue, in which Madigan grabs hold of the audience and never lets go, we learn that he is basically happy, despite some family baggage. His family includes his playwright son, who wants to write about The Son’s “delusional” mother. And what follows is that play.

So much takes place in that opening frame that theater-goers should be fully engaged from the get-go. Madigan’s engaging performance will make that easy. It is in those early moments we learn that his mother left the family for another man when The Son was 13, which left him with emotional scars that have been bandaged through the years. Through The Son’s musings – much of which occur while he’s riding his bicycle – we learn that the bandages have been ripped off and those feelings have resurfaced now that his mother’s second husband has died, leaving her penniless and in slowly declining health.

The Son’s two siblings agree that he should be the mother’s financial caretaker and his first order of business is finding a new home for her. She insists on moving to an expensive senior community and gets her way even though The Son says, “She doesn’t deserve it.” He must perform all the unsavory tasks, like telling her that her 14-year-old dog must be put down and trying to reign in her rampant spending, money which is coming out of his pocket. “She shouldn’t be donating MY money to the symphony,” he bemoans when he learns of the $3,000 gift.

Annabel Armstrong and Alexis Green in a scene from Next Act’s “The Treasurer.”

As his mother’s dementia worsens, so does her spending – such as a $700 pillow – and the contentious phone conversations elevate between her and The Son. Anyone who’s had to deal with aging parents will find many points that resonate with them.

Annabel Armour is marvelous as she portrays the aging mother, whose behavior becomes more erratic as the story progresses. You can see Ida’s feisty nature through Armour’s portrayal and how that spirit turns into childlike tantrums as she realizes her faculties are receding. It is at times comical and at times sad – but Armour always solicits an emotion. The hardest part is watching as Ida’s dignity starts to slip away.

Alexis Green and David Flores are wonderful as The Son’s siblings and several other roles. I especially enjoyed Green as she portrayed a Talbot’s store salesperson. Her expressions and casual comments during Ida’s ramblings are pitch perfect. Flores, too, gives each role a distinct characterization.

The scenes are short and digestible, Next Act using lighting and simple props to create store shops, Ida’s apartment, an airplane cabin, an elevator and others. In one of the show’s final scenes, we see Ida and her son in a beautifully created, colorful Chinese restaurant set that silently opens up from the back of the stage and glides forward with Ida and her son sitting and eating at a table. The conversation is minimal, but you can sense The Son’s discomfort. The detail and clarity of the set seem to indicate how clearly and vividly The Son recalls the meeting – perhaps his last -- and his realization that he will never love his mother leading to his sense of guilt.  

I love some of the techniques, such as the cross-talking, as when Ida is trying to understand her children’s conversation but their words sound in a torrent to her aging mind. Also effective are the intense, dramatic music and sounds that come from everywhere, helping to give more emotional depth to each scene.

If you go:

Who: Next  Act Theatre

What: “The Treasurer”

When: Through May 19

Where: 255 S. Water St., Milwaukee

Tickets: 414-278-0765; nextact.org

Patio Players tap into talent for its trip to '42nd Street'

By Katherine Beeson

They had me at hello.

The “hello” in this case, was the curtain rising for the opening number of “42 nd Street,” Falls Patio Players’ spring musical. As soon as the chorus line of feet dancing in perfect precision was visible to the audience, I knew I was in for a wonderful time.

Briefly, “42 nd Street” tells the simple story of a young girl from Allentown,

Pennsylvania circa 1933, who longs to get into a show on Broadway. The plot may be simple, but the music and dancing are anything but.

I can’t rave enough about the fantastic dancing. “42 nd Street” means tap;tap means precision and choreographer Melissa Bloch-Meier assembled the most talented hoofers I have seen on stage in many years. Most amateur groups shy away from doing a complicated production such as this

one, but Bloch-Meier found real talent and made them shine in each and every number. I also want to give credit to director Doug Clemons and music director Julia Johnson.

I like how this show begins, with someone turning a movie reel that broadcasts all the stars. This immediately transforms the audience back to the movies shown in the days of the Great Depression and is a nice touch.

This show stars D. Eric Woolweber (Julian,) Courtney Giovinazzo (Peggy), Lynn Bertoni Shaw (Dorothy), Ben Bartos (Billy) and Heath Jones-Hartwig (Bert.) But just like many of the Busby Berkeley musical extravaganzas of the period, the real highlights are the chorus girls!

Falls Patio Players’ presentation of “42 nd Street” is pure enjoyment. The show runs through April 28 at North Middle School Auditorium, so do as the song advises and “Come and meet those dancing feet, on the avenue I’m taking you to…”

Sunset's 'Superstar' delivers beauty and passion

By Katherine Beeson

Years ago, young song wriJesusters Andrew Lloyd Webber and Tim Rice presented a simple concert version of a few songs they believed would be appropriate in the telling of the Passion of Jesus Christ, from Palm Sunday to His crucifixion. This evolved into the contemporary rock opera “Jesus Christ Superstar” and Sunset Playhouse opened its production this weekend.

Most Christians know this story quite well, but Webber and Rice bring a contemporary flavor to it without losing any of its punch or reverence. Sunset’s production, directed by Tommy Lueck, is a powerful presentation that is simply fantastic from beginning to end.

Jesus is portrayed as a man with ethereal qualities and Joshua Pope is wonderful as he almost glides through the week before his death. Pope presents Jesus as a man with patience and courage, yet his raw rendering of “Gethsemane” shows an underlining fear as Jesus, the man, faces the mortality that Jesus, as God, had not fully contemplated.

Bob Fuchs as King Herod in Sunset Playhouse’s “Jesus Christ Superstar.”

Pope challenges God to explain why this must happen. “You’re far too keen on where and how, not so hot on why.” This has always been my favorite song and Pope did it justice.

This story is told from Judas Iscariot’s point of view and Jesse Weinberg brings his strong passion and growing despair to the part. Judas realizes that Jesus must be killed (to fulfill His prophesy of dying for our sins) but laments that he, Judas, is the onechosen to betray him. Weinber g delivers in every scene and deserves sharing thecurtai n call with Pope.

Natalie E. Wikstrom, as Mary Magdalene, has a stirring voice and portrays the redeemed sinner with style and grace.

Joshua Pope as Jesus in the Last Supper scene of Sunset Playhouse’s “Jesus Christ Superstar.”

A number of supporting characters are standouts. Calaphas (Tom Flanagan) and Annas (Coltyn VonDeylen) are the political operatives who strive to get Jesus convicted. Both men have great stage presence. Bob Fuchs (King Herod) deftly injects a bit of vaudeville and levity into “King Herod’s Song.”

Nicholas Callan Haubner as Pontius Pilate, almost steals the show. He appears in full, caped military regalia and brings a balance of complete power yet honest justice as he asks Jesus questions in hopes to spare the man’s life. When the crowd demands crucifixion and Pilate hands him over to be flogged, Haubner’s powerful steps, in perfect rhythm with each movement of the cracking whip, adds an emotional foreboding.

The ensemble numbers are strong and tell the story nicely. Musical director Mark Mrozek has assembled a wonderful orchestra.

This show is great from set and costume design to choreography and lighting (the electricity as the whipping is delivered adds so much.)

I was very happy to be able to experience such a beautiful show. However, I have to tell you that the production is completely sold-out. Contact the Sunset box office to be put on a waiting list. The show runs through May 5.

Forte's 'Hello, Dolly!' sweeps into Saber Center

By Katherine Beeson

Saber Center for the Performing Arts transformed itself into Yonkers and New York City as the Forte Theatre Company presented its spring musical, “Hello, Dolly!” The show is directed by Randall Dodge with Alex Chilsen as music director.

As most know, this is the story of Dolly Levi, a popular widow who makes her living as, among other things, a matchmaker. She reveals to the audience that her secret goal is to find a second

spouse for herself and she frequently speaks to her late husband, Ephraim, asking him for a sign that he approves of her marrying again. Her goal not just any husband; she is determined to land

Horace Vandergelder, the half-millionaire and owner of a very popular feed store in Yonkers who has hired her to match him with the fancy hat shop owner and widow, Irene Malloy. Thrown into the mix are Vandergelder’s employees, Cornelius Hackl and Barnaby Tucker who just want a day of adventure in the Big Apple and are determined not to return until they’ve kissed a girl. They turn to Dolly for advice and dancing lessons. How can Dolly accomplish all this in one day? Just watch!

I love this show and Forte did a nice job bringing it to life. As soon as the curtain rose, we were in New York City and treated to the city’s best-known matchmaker plying her trade. Candace Decker

was a wonderful Dolly Levi – her voice beautiful, her stage presence captivating. Horace Vandergelder is properly crabby; Karl Miller does a great job. Ryan Cappleman as Cornelius has

great spark and energy and Owen Groth brings mischief to his part as Barnaby Tucker.

There is a very small orchestra here, but that turns out to be just the proper amount of accompaniment; it was solid yet never overpowered the singers. Singing was a bit of an issue; the

ensemble pieces were fine, but many times the melody was lost and only the lower harmonies remained.

Costume designer is Nikki Heiniger and while most of the outfits were nice, there were two errors that were very distracting.

A costumer designer should assess the heat of the stage, the activity of the actors/dancers and the fabric used in the costume. The Cornelius character was moving so much on a very warm stage that he sweated through his sport coat, which was very evident to the audience. A simple tee shirt might have made a difference.

The other error was that Dolly spent all of Act I and a good portion of Act II in the same outfit, which should have been more attractive. The actress was a slightly larger woman, yet would have looked fantastic (as Dolly should have) in a more flattering, elegant outfit, rather than the dull mustard-colored dress with a bit of cranberry accent she wore.

Another, albeit minor, point was the inability to make actresses stand out. Ermengarde, Vandergelder’s niece, should have been accented with at least a splash of bright color; her pale beige renders her almost bland on the brightly lit stage.

I also had an issue with the judge character, whose huge white wig and bushy moustache made him appear more of a caricature.

Attention to detail would have made a huge difference in this production.

Yet, there was so much to like with Forte’s production of “Hello Dolly!”

I just hope the major flaws are corrected before next weekend’s performances. The show runs through April 21 at Saber Center for the Performing Arts, 8222 51st St Street in Franklin.

MOT's 'I Wanna Fly' ascends with story and song

By Katherine Beeson

(Note: I had intended to see this performance and write my review but due to circumstances beyond my control I was unable to do so. I felt that the premise of this production alone deserved a mention.)

“I Wanna Fly” is a collaboration of singer Lynette Knapp Ryan and pianist David Bonofiglio. It begins with the music from the 21st century’s “December Songs,” which itself is an adaption of Schubert’s 19 th century “Die Winterreise. It continues with Ryan’s personal story, told through music and song, detailing her beginnings in a small town to moves to other cities, another country and finally her chance encounter with the Milwaukee Opera Theatre.

This intriguing combination of music and story runs through March 10 at The Florentine Opera Center.

Acacia cast wonderfully inhabits 'House by the Stable'

By Katherine Beeson

“The House by the Stable” is traditionally a Christmas play, but Acacia Theatre Company has proved that this is a timeless tale and has done a wonderful job presenting a story that is part play, part allegory, all very entertaining.

A man (Man) is enchanted by a beautiful woman (Pride) and is about to engage in a simple game of dice with Pride’s brother, Hell. Hell is after a misplaced jewel (Man’s Soul) and he engages the unaware Man in rolling for this prize. Before the game finishes a young couple comes, seeking a

place to stay as the woman is about to give birth. Man does not want them in his house but offers them a stable and instructs his man servant (Angel Gabriel) to make them comfortable. Pride and Hell are not happy with this arrangement but Man does not succumb to their temptations and ultimately welcomes the Savior into his home. Pride and Hell return in Act II to find Man and Gabriel are now joined by Grace and Faith in the battle of good versus evil.

This ensemble cast pulls the audience in from the beginning. Of special note – Shannon Nettesheim Klein (Pride) is alluring yet forceful, Jason Will (Hell) is appropriately sinister and Michael D. Delong (Gabriel) is a kind angel who is a bit of a true (may I say this of an angel?) badass. Joshua

Biatch (Man,) Zachary Henke (Joseph and Grace,) Maura Atwood (Mary) and Molly Kempfer (Faith) round out this strong cast.

The show was directed by Elaine Wyler.

There is a talkback session following each performance.

“The House by the Stable” runs through March 17.

Next Act's 'Scarecrow' a welcoming field of self-discovery

By Barbara Zaferos

 Playwright and actress Heidi Armbruster’s “brings it” in the Wisconsin premiere of her one-woman show, “Scarecrow.” 

Funny and poignant, her storytelling of a deeply personal experience in her life is fueled by her recollections and yearnings projected on stage with sustained vocal and physical energy throughout the 90-minute production. Her words and inflections are vivid and physicality clear as she commands the stage. 

Whether standing still with arms outstretched or moving at an agitated pace around the spare stage set, her thoughts take on meaning and she treats the audience to a witty, emotional ride. 

At the heart of the story is a pivotal time which comes with the passing of her father and demonstrates how she navigates through internal upheaval and even fear, possibly opening a new door for herself to walk through. 

For this professional, big-city actress coming home to Wisconsin — amid her father’s illness and again after her father’s death — reconciles her sense of loss as she takes time to grieve on the farm where her dad lived. 

Armbruster skillfully traverses this uncertain territory with delightful flashes of humor, daydream glimpses of things she didn’t say — but possibly wished she had — mingled with a deeper contemplation that had her struggling over what it meant that her dad was her “most important person.” 

To depict the Wisconsin dairy farm, she first had to “travel” there driving from the big city three months after her dad’s funeral “passing through one unincorporated town, with one church and three bars, after another.” 

The farm’s essence comes into sharp focus as she revisits it for a period of time. It is a place where her dad thrived, We see her feelings evolve through the process as she readies herself to take on a fresh mindset. 

As Armbruster tells her story, she appears small on the wide expanse of stage, which brings to mind her sense of being alone in a wider world at that moment. She weaves the tale of her loss as she finds comfort in the touch of a small kitty, the sounds of the open spaces, the sights of her dad‘s belongings, and the feel of the earth between her hands in a garden of wild chives. 

It is easy to see moments of our own lives reflected in her journey of self-discovery. The show’s connective thread of charming authenticity was well served. 

“Scarecrow,” directed by Laura Gordon, runs through March 17 at Next Act Theatre, Milwaukee. 

Sunset scores an ace with clever 'Fox on the Fairway'

Katherine Beeson

If you’re a fan of farce or a lover of the links, Sunset Playhouse has teed up just the show for you!

Ken Ludwig’s “A Fox on the Fairway” is light and entertaining. Written in the traditional “farce” style with a nod to 1930s’ classics, his two-dimensional characters are lively and likable.

The Quail Valley Country Club is hosting rival Crouching Squirrel and Racquet Club for its annual golf tournament. Despite losing every year, Quail Valley’s manager makes an outrageous bet with

his counterpart at the Crouching Squirrel. Things quickly go awry when an ace golfer changes teams, replacements present additional challenges and relationships get in the way of everything.

While Ludwig presents no innovative farce plots, director Brian Zelinski adds fresh perspective. Ludwig’s plays often offer a speedy show recap and Zelinski’s take on this is very clever.

The cast of Sunset Playhouse’s “A Fox on the Fairway” includes, from left standing, Mike Owens, Michael Fantry, Sarah Briana Monahan and Jordan Paullin; seated, from left, Tanya Tranberg and Colleen Hart.

This is a true ensemble cast and all six actors are well-suited for their roles. With farce, it’s easy to go over the top, but this talented group keeps everything (almost) believable!

“A Fox on the Fairway” runs at Sunset Playhouse in Elm Grove through February 4.

Vanguard's 'All is Calm' depicts a moving wartime holy night

By Katherine Beeson

While many holiday theaters are filled with traditional productions featuring Santa, elves, reindeers and even a Tim who is Tiny, Vanguard Productions is presenting the Milwaukee premiere of a moving and simply wonderful story, “All is Calm: The Christmas Truce of 1914.” The director is Joshua Pohja and musical director is Adam Qutaishat.

Based on a true story, “All is Calm: The Christmas Truce of 1914” depicts the coming together of Allied and German troops who decide to lay down their weapons and celebrate the birth of Jesus together. They see each other not as the enemy, but as men “here because we’re here” and form a strong, albeit brief, bond during that holy time in 1914.

This show has an ethereal, haunting quality that truly stirs the soul. The men take turns reciting letters to home, reports to military commanders and diary descriptions of their experiences. This show truly captures a small, yet significant slice of time overlooked inmost history books.

As the men raise their cups and their celebration goes on, they suddenly hear someone in the distance singing the French translation of “Oh Holy Night” (Minuit Chrétien) in tones so clear and pure that the men can do nothing but stop to listen. Tomás Dominguez literally gave me goosebumps with his rendition.

The show is an ensemble presentation and all the men were wonderful. Lighting design by AntiShadows, LLC, contributes much to the overall effect of the show.

If you go to see “All is Calm,” I advise two things. First, come early to hear one of the actors give a pre-show speech that provides the audience with background on the production and general WWI wartime experiences. He will take questions from the audience. I do not know when this speech begins – we arrived about 20 minutes before show time and he was already speaking. The second is to sit as close to the stage as possible. The church’s acoustics coupled with the fact that no microphones are used (and the actors are using accents) makes it a bit hard to understand a lot of what is said. The facial expressions and general tones help, but I felt I missed a bit due to this.

“All is Calm: The Christmas Truce of 1914” runs through Dec. 10 at Calvary Presbyterian Church, 935 W. Wisconsin Ave.

Next Act's 'Mousetrap' captures all the elements of Christie's murder-mystery

By Katherine Beeson

The queen of murder mysteries, Agatha Christie, wrote a thriller so popular that it opened in London in 1952 and (except for the Covid break) has been running ever since!

Rumor has it that if cab drivers did not get adequate tips from riders going to the theater, they would yell out the name of the murderer as they drove away.

That play is “The Mousetrap” and Next Act Theatre is presenting this who-dun-it to Milwaukee audiences.

Christie’s approach is very formulaic – Monkswell Manor house, horrible weather, plethora of guests trapped with no means of communication – and a possible murderer among them. That being said, it is still a lot of fun to watch what happens.

Over the wireless, the guests hear about a “homicidal maniac” on the loose and the person’s description could fit almost everyone in the house. A police official calls to say he is sending over a sergeant to question the guests because a notebook left by the killer lists two addresses – that of the murdered woman and Monkswell Manor. The phone lines soon go down and…

This is an ensemble cast with a number of standouts. Rudy Galvan is a delight as Christopher Wren and Casey Hoekstra plays Sergeant Trotter with intense energy as he works to find out secrets and solve the crime.

The scenic design of Monkswell Manor was impressive (Lisa Schlenker) and costumes (Jason Orlenko) were striking.

“The Mousetrap” is directed by Mary Macdonald Kerr and runs through December 17.

Sunset’s ‘Blithe Spirit’ conjures up humor and mystery

By Marilyn Jozwik

Noel Coward’s comic farce “Blithe Spirit” is one of those plays that never seems to age despite being more than 80 years old. Minus politics, dated themes and references, the show breezes through the years with nary a wrinkle.

Sunset Playhouse’s presentation is fresh and stylish with a handsome, well-appointed set, sparkling costumes, mood-setting lighting and sound, as well as wonderful performances. Dustin J. Martin directs.

The story, set in 1941 Kent, England, centers around a socialite couple, crime novelist Charles (Nate Press) and his wife Ruth (Stephanie Demyun-Smith). The pair have invited friends Dr. Bradman and his wife Violet (Tom Van Gilder and Vicki Spauldiing) to a dinner party featuring a well-known local medium, the eccentric Madame Arcati (Beth Perry), who will conduct a séance in order for Charles to gather material for his latest novel.

Madame Arcati (Beth Perry) attempts to reach spirits from beyond during a dinner party seance with hosts Ruth and Charles (Stephanie Demyun-Smith and Nate Press), right, and their guests Dr. and Mrs. Bradman (Tom Van Gilder and Vicki Spaulding) in a scene from Sunset Playhouse’s “Blithe Spirit.” Rebeka Schmieder photo

Both couples look upon Arcati as an amusement and even a bit dotty. Yet, the thrilling séance produces the deceased first wife of Charles, Elvira (Tess Cinpinski), whom only he can see and hear. Her spiritual presence in the household causes his wife Ruth to question his sanity and their marriage, which leads to much hilarity and slapstick.

Director Martin has created all the elements for a successful production, especially showcasing Coward’s effervescent language. Characters use upper crust affected accents, giving emphasis to the playwright’s stellar word choices. Terms like “roguish,” “spurious,” and “churlish” get the aural spotlight. When a cheery Charles encounters his taciturn wife at breakfast and remarks “You’re very glacial this morning,” his “glacial” is unexpected and emphasized.

From the start, Press and Demyun-Smith are perfectly at ease as the wealthy couple, dressed to the nines and routinely enjoying dry martinis, giving the audience a taste of their good life. The pair interact wonderfully and their frequent sparring is especially effective.

Elvira (Tess Cinpinski) terrorizes Ruth (Stephanie Demyun-Smith) while her husband Charles (Nate Press) tries to calm her in a scene from Sunset Playhouse’s “Blithe Spirit.” Rebeka Schmieder photo

What makes the show so timeless is Coward’s insight into the dynamics of marriage with his clever, witty repartee. The barbs are batted about, often cutting with precision, as when Ruth says to Charles “You are very annoying when you try to be witty at all costs.”

But the show really takes off when Cinpinski, as Elvira -- Arcati’s “ectoplasmic revelation” -- floats her way into Charles and Ruth’s life. Cinpinski breaks out a whole toybox full of mischievous poses and pouty postures, as her pale character playfully flits and skips about the living room trying to convince Charles that her spiritual presence in his home is a good idea. She torments, teases and taunts Charles and Ruth mercilessly. The scenes in which Charles talks to both Elvira -- whom Ruth can’t see or hear -- and Ruth certainly are some verbal gymnastics for the trio of performers, and they handle the challenge nicely.

As Madame Arcati, Perry is an absolute delight. Perry takes the bucket-list role and scampers with it, inhabiting Arcati as comfortably as her loose-fitting flashy outfits. Her character’s passion is palpable, especially when she realizes the success she’s achieved as a medium.  Perry’s Arcati is in perfect control of every situation, never letting her character lose faith in her talents or look silly.

Van Gilder and Spaulding are a good pairing as Charles and Ruth’s friends Dr. and Mrs. Bradman, excitedly playing along as Madame Arcati instructs them at the séance table.

The cast of Sunset Playhouse’s “Blithe Spirit” includes from left, standing, Amy Wickland, Tom Van Gilder, Vicki Spaulding and Beth Perry; seated, from left, Stephanie Demyun-Smith, Nate Press and Tess Cinpinski. Rebeka Schmieder photo

I also enjoyed Amy Wickland as Charles and Ruth’s overly eager maid Edith, who yes’ms her way through the household enthusiastically. She’s wonderful in the final moments as she becomes the key to resolving Charles’ dilemma.

Katie Johnson’s elegant set -- complete with flickering fireplace, lit wall sconces and chandeliers -- and Lisa Quinn’s striking costumes are a feast for the eyes, while sound and light (David A. Robins and Martin Yates) are spot on, helping to create captivating mystical moments.

If you go:

Who: Sunset Playhouse

What: “Blithe Spirit”

When: Through Nov. 5

Where: 700 Wall St., Elm Grove

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