Playwright Bryna Turner explores four decades in the life of a New England woman’s college in her 2018 comedy Bull in a China Shop. Kith and Kin Collective presents a staging of the comedy to open November just in time for an historic US presidential election that could change things quite a bit for the nation. Turner’s comedy explores the concept of revolution and what it means to be at odds with the world. 5 women cover a tremendous amount of territory in 90-minute show that runs November 2 - 10 at Inspiration Studios on 1500 S. 73rd St. in West Allis. Playwright Bryna Turner explores four decades in the life of a New England woman’s college in her 2018 comedy Bull in a China Shop. Kith and Kin Collective presents a staging of the comedy to open November just in time for an historic US presidential election that could change things quite a bit for the nation. Turner’s comedy explores the concept of revolution and what it means to be at odds with the world. 5 women cover a tremendous amount of territory in 90-minute show that runs November 2 - 10 at Inspiration Studios on 1500 S. 73rd St. in West Allis. For more information, visit Kith and Kin online. It’s set in a kitchen. It’s all about a sandwich. Four former inmates hang out in a kitchen of a diner trying to create the perfect sandwich. This is SUCH a clever idea for a stage comedy. It’s a cozy, little kitchen that could potentially explore quite a few different abstracts as Milwaukee Chamber Theatre presents the Milwaukee premiere of Lynn Nottage’s Clyde’s. Director Dimonte Henning presents a cleverly-framed comedy featuring an impressive cast including Bryant Bentley and Nate Press. The comedy runs November 8 - 24 at the Broadway Theater Center Studio Theatre. For more information, visit Milwaukee Chamber Theatre online. So...it’s an opera. But it’s a Milwaukee Opera Theatre opera, so you know it’s going to be cool and intimate and all kinds of hip. MOT teams-up with Early Music Now to present Alcina--a story about a sorceress who has a reputation of transforming her ex-lovers into lions and tigers and boulders and things. Sounds cool. And then...it’s being staged at a vintage clothing and home goods store named Dandy. Cool chamber orchestra. Cool, old opera. Cool venue. This should be great fun. The show runs November 12 - 17 at Dandy on 5020 W. Vliet St. For more information, visit Milwaukee Opera Theatre online. Tomas Edison and Henry Ford were...at best...a couple of jerks. At worst they were...well...just totally reprehensible human beings who did awful things to other people in favor of their own advancement. They shared a winter estate not far from Fort Meyers Florida which is probably one of the stranger bits of Floridian history. Edison’s Last Breath evidently takes place far from Florida in a bar in New York where the two men met. Sound like a fascinating topic for a drama. Playwright Tim Duax debuts his Edison/Ford show in the intimate space of Inspiration Studios on 1500 S 73rd St. The show runs November 15 - 24. For more information, visit Inspiration Studios Online. Next Act Theatre opens a quaint, little romance on the edge of Autumn as it presents the comedy Almost, Maine. Karen Estrada directs a quartet of actors including Rachel Zientek, Bree Bell, Rudy Galvan and Jake Horstmeier. The play examines romantic connections in a small town in Maine that’s so far north that it might as well be in the Canadian wilderness. The show runs Nov. 20th - Dec. 15th at the Next Act Theatre on 255 S Water St. For ticket reservations and more, visit Next Act online. Robert Anderson’s I Never Sang for My Father tells the tale of a widowed college professor’s relationship with his aging father. The play debuted back in 1968 and was later turned into a film starring Gene Hackman. Boulevard Theatre presents a staged reading of the play featuring some outstanding actors including David Ferrie, Matt Specht, Joan End and Caitlin Compton. The show runs Nov. 25 - Dec. 1 at The Sugar Maple on 441 E. Lincoln Ave. For more information, visit Boulevard Theatre online. The back room of the bar is a fantastic, little place with one of the best selections of exotic, little beers anywhere in town. Always a fun show at the Sugar Maple.
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Playwright Jen Silverman’s The Moors is many things. It’s a dark comedy about human connection. It’s a spoof of the work of the the Brontë sisters. It’s a meditation on the nature of truth in a fundamentally warped world of human emotion. More than anything it’s a deeply engrossing and provocative piece of theatre. Renaissance Theaterworks stages a production of the play this autumn. Suzan Fete directs a deeply engaging, little ensemble of actors. Kaylene Howard shows considerable strength in the role of Emilie--a woman who has come to an estate in the middle of nowhere to serve as governess to a small child. As she is introduced to the two sisters who live their and their servant, it gradually becomes clear that both the child she was meant to look after AND the man who had hired her are the products of some deranged imagination. Sarah Sokolovic is deliciously harsh as Agatha--the sister who has taken on the basic responsibilities of running the estate. Sokolovic wields Agatha’s cold and cunningly comic precision like a scalpel that gets right into the heart of Silverman’s script. Allie Babich dreamily cascades across the stage in the role of the lonely sister Hudley. She is quite excited to have a new member of the household. With any luck the new governess might like diving into the strange fantasies that she seems totally obsessed with. Emily Vitrano rounds-out the central cast in the role of Marjory--a woman who plays many roles with many identities throughout the estate. The role could have read as abstract craziness, but Silverman definitely has a structure beneath the madness which Vitrano is wise to bring to the stage. Silverman pairs humans with a couple of animals that serve as a subplot with a sympathetic theme to the rest of the action. Reese Madigan plays earthbound animalistic passion in the role of a talking mastiff who befriends a moor-Hen played by Marti Gobel. Gobel has a kind of stunning perfection about her stage presence that seems a bit at odds with the fragility of a wounded moor-hen who is being nursed back to health by a massive canine. Gobel brings a powerful vulnerability to the role that serves as an endearing connection to Madigan’s mastiff. Jeffrey D. Kmiec’s scenic design is cleverly minimalist. The main set feels elegant and spacious. The moors which rest beyond the estate seem to go on forever even though they’re really only a tiny swath of stage beyond the heart of the action. There’s quite a bit of music that feeds in and around the edges of the production that could have felt really jarring in places, (Hudley's power ballad near the end of the play could have been particularly discordant.) Jill Anna Ponasik has done a clever job of blending the musical interludes into the rest of the production. This is the second time that I’ve seen The Moors in less than a year. (UWM’s Peck School did a staging of the comedy at the beginning of last November.) The one thing that really stands out to me about a production of The Moors is its exploration of the deeply conflicted relativity of truth. Nearly every aspect of what’s being presented is up to interpretation. What’s real? Is the estate truly immense, or do all of the rooms REALLY look alike? How much of what ANYONE is saying can be relied on when everyone has a different reason for lying about...anything? It’s such a weird existential playground populated by such deeply enjoyable madness. I could see a production of this every year. It’s great fun. Renaissance Theaterworks’ production of The Moors runs through November 10th at the Next Act Theatre space on 255 S. Water Street. For ticket reservations and more, visit Renaissance online. A guy shows-up at a house wearing cat ears and a tail. The family there to greet him was expecting a cat, but this is just…a guy. So naturally, they show him the door. He is persistent, though. He insists that he is, in fact, a cat. They are still unconvinced. He utters a meow. That’s all the more convincing they need. Clearly he’s a cat. His name is Pete. They’d been expecting him.
OK, so it’s a little weird. First Stage does a pretty good job of completing the illusion in its production of Pete the Cat. Actor Ethan Smith may not employ a whole lot of cat-like affectations. He may not resemble the classic James Dean illustrations of the title character, Smith does a good job of bringing across the overall idea of an unshakably cool cat in the season opener for the reliably stylish children’s theater company. Written by Sarah Hammond for TheaterWorksUSA, the plot of the one-hour musical moves the title character to the side as the plot focusses on a second grader named Jimmy who is struggling to create an original painting for art class. Pete and a magic VW bus show Jimmy some motivation as they make their way to Paris so they Jimmy can don the magic sunglasses that will allow him to find the inspiration he needed. The child cast at First Stage bring energy to the stage as talented local theatre veteran Todd Denning and First Stage theatre alum Tori Watson capably round-out th adult cast. The music by Will Aronson harnesses sort of a classic light pop rock feel for Pete to groove to. As commissioned by TheaterWorksUSA, the overall aesthetic of Pete’s cool in the show seems firmly grounded in the boomer aesthetic that would likely be brought-in by many of the grandparents who will be taking kids to the show. The visual feel of the show lives-up to First Stage’s high standards. There’s a sharp visual reality to the Martin McClendon’s scenic design that feels more or less inspired by Pete creator James Dean’s art style. The color palette that McClendon is working with feels very true to the cool colors that Dean casts the page in. Talented lighting designer Jason Fassl has done a remarkable job of lending luminescent color to the stage as well in a huge cat head that rests above the stage. With eyes that light-up. It’s too bad that the cat head above everything couldn’t look a bit more like Dean’s classic design for Pete. That distinctive Pete the Cat face is a genius piece of design that is instantly recognizable to anyone who might have been a kid or read to a kid in the past 15 years. That basic bit of iconography would have gone a long way towards making the show feel a bit more rooted in the title character. First Stage’s production of Pete the Cat continues through November 3rd at the Todd Wehr Theater in the Marcus Center for the Performing Arts on 929 N. Water Street. For ticket reservations and more, visit First Stage online. October appears to be play host to dark comedy as local small stages present a promising scattering of different narratives including history, the future, fortunes gained, illusive and illusory. Here's a look at some of what's coming to the stage in the first full month of Autumn 2024. New York-based playwright Frank Winters had work appear onstage locally before Marquette University Theatre had staged a production of his drama Student Body back in 2018. It was a tense one-hour conversation that touched on some pretty deep questions in a very tight format that locked-in inescapable realities. This week, Marquette stages the world premiere of Winters’ In the Cities of Refuge--a drama set in a small-town homeless shelter which looks to be every bit as deep and intense as Winters’ Student Body. The show runs Oct. 4th- 13th. For ticket reservations and more, visit Marquette Theatre Online. The Milwaukee Turners had been a staunchly progressive group in Milwaukee back in the late 19th and early 20th century. This month, Cabaret Milwaukee stages a historical production that celebrates the Turners within the beautiful historic structure that is Turner Hall. It should prove to be an interesting journey as the group will be staging the drama with larger-than-life bunraku style puppets. Should be a fascinating evening at the Palm Garden Tavern at Turner Hall. For more information, visit the show’s Facebook events page. Frisch, Frei, Stark, Treu: A Puppet History of the Milwaukee Turners runs Oct. 11 - 27. January 20th. Kind of a nondescript date overall. It’s the date on which everything happens in In the Canyon by playwright Calamity West. It’s five scenes long. Each scene takes place on a different January 20th...from 2007 to 2067. A lot of thematic ground is covered from a woman’s right to choose...to climate change. It’s a drama that The Constructivists will be staging at The Broadway Theatre Center. The ever-changing landscape of America is presented in a progression of scenes that are directed by Jaimelyn Gray. The show runs Oct. 12 - 26. For more information, visit The Constructivists online. Playwright Jen Silverman’s The Moors is a fun pseudo-deconstruction of the Bronte sisters’ work that made a local appearance in a UWM production not too long ago. This month, the deliciously clever dark comedy makes its way to the stage with a Renaissance Theaterworks production that features the return of talented local actress Sarah Sokolovic. Directed by Suzan Fete, the show has a remarkable cast including Marti Gobel, Allie Babich, Emily Vitrano and Reese Madigan. The show runs Oct. 20 - Nov. 10 at the Next Act Theatre on 255 S Water St. For ticket reservations and more, visit Renaissance online. Hungarian playwright György Spiró sculpted an interesting narrative with Dust. A husband and wife win the lottery and they must work out precisely what it is that they’ve won. It’s a small fortune, but what is it that they’ve really won? The delightfully expressive drama was staged with Theatre Gigante just over a decade ago. The drama returns in another Gigante production that opens at month’s end. The show runs Oct. 28 - Nov. 3 at Kenilworth 508 Theatre. For more information, visit Gigante online. The space looks powerful thanks to AntiShadows. It’s the center of a church, but it’s the heart of a big mess of human emotion cast in a simple glow with simple sheets that might be curtains. The lighting group also designed the set, which transports the center of the sanctuary into the cozy, little living space of an activist who tragically died halfway around the world a couple of decades ago. The captivating Maya Danks comes to occupy that space in My Name is Rachel Corrie with Vanguard Productions this month. Director Josh Pohja as fostered a really strong connection between Danks and the title character in the one-woman show. It’s a script drawn from the writings of an American Gen X activist who went over the Gaza to aid in the cause of pease and ended up tragically crushed to death. Alan Rickman and Katharine Viner did a remarkable job of constructing an expansive 90-minute date with a young woman who was trying to figure everything out from her place in the world at the dawn of a new millennium. It’s remarkably engrossing stuff on a whole bunch of different levels. Aided by AntiShadows, Danks does a brilliantly vivid job of conjuring the full reality of a heartbreakingly sensitive woman of great curiosity who also happens to be staggeringly sharp in articulating complex ideas. Corrie was quite a storyteller. Danks captures her wit, whimsy, heart and compassion with a charming complexity. There’s a lot going on in the text that deals with issues that continue to tragically echo into the now, but the passion that drives the center of the drama is a bond between Danks and Corrie’s writing that is deeply moving. The dynamics of Corrie’s experiences with the Israeli-Palestinian conflict continue to echo into the present. What Rachel Corrie describes in the course of her biography could have happened just this past year. People are suffering. There is death. People in power continue to do what people in power do. It’s so easy to feel so helpless about it. It’s refreshing to get another look at the actions of one woman who happened to be looking for some strategy to change things in some small way that might help. There’s a great deal of complexity to the script drawn together from the deeper emotions of a woman who died way too soon. Danks manages to keep the inner life of the young woman well-rendered and cleverly structured even in the absence of anyone else onstage at all. It’s quite and accomplishment for an actress who hasn’t had as much of a chance to inhabit the center of the stage. It’s really, really cool to see her get there. The drama is a wonderful opportunity to hang out with her and Corey for a little over an hour without intermission. Vanguard Theatre’s production of My Name is Rachel Corrie runs through September 29thh at Calvary Presbyterian Church on 628 N 10th St. For ticket reservations and more, visit Vanguard online. Larger-than-life drama explodes across the small stage this fall as Next Act opens its season with The Elaborate Entrance of Chad Deity. The heartbreakingly relatable Adrian Feliciano is phenomenally engaging as a professional wrestler who has always been paid to lose. His biggest foe just might be the title character: a pro wrestling champion with far greater charisma and far less talent who is played by DiMonte Henning. David Cecsarini makes a similarly impressive appearance as the head of the wrestling organization...a gruff guy of massive authority in and out of the ring. He and the powerfully charismatic Henning make for sharply slick antagonists.
The Net Act production is driven by the engine of love for professional wrestling .Director Michael Cotey’s passion for the amplified drama of the sports entertainment industry crams the ridiculous immensity of pro-wrestling into one of the most intimate stages in town. The restult is positively overwhelming. (Complementary ear plugs are available from the ushers on the way in to the theatre.) Cotey has orchestrated a really impressive production. Scenic Designer Em Allen’s set dominates the stage with the look and feel of a pro wrestling ring. Everything looks SO stylish from the company logo to the precise placement of the massive video projections, the slickly-produced interstitials and everything else. It really is a beautifully over-the-top theatrical experience in every way iimaginable. Lighting Designer Maaz Ahmed manages both powerfully devastating light and subtle nuances. Most people pay good money to see pro wrestling from a great distance. Fans of the strangely popular genre of...um...pop theatre...(?) will be happy to know that local wrestling legend Frankie DeFalco acted as fight coordinator for the show and yes: there ARE a few very definite moments of action that are faithfully adapted from the pro wrestling ring to the ring on the stage. And it all feels SO true to the atmosphere of an actual pro wrestling match from the crash of a body hitting the mat to the swing of a folding chair to the ropes and the lights and the video projections that are as massive and unavoidable as some long-forgotten deity. Somewhere in the midst of all the razzle-dazzle of amplified athleticism beats the heart of a devastating drama. Feliciano speaks with deep passion and love in the role of a guy named “Mace” who is pushed through the motions of circumstances beyond his control...always just out of range of being able to take over his own destiny. Feliciano is positively brilliant as a man who is truly in love with a job that he sometimes hates. Thee’s a strong statement being made in Kristoffer Díaz’ script regarding the American Dream, the cultural identity of the U.S., the nature or money, power and racism and the whole twisted history of the North American continent...but what audiences are most likely to love about the show is its deep wells of passion and affection for that strangely persistent pop cultural powerhouse that IS pro wrestling. Next Act Theatre’s production of The Elaborate Entrance of Chad Deity runs through October 6th a the Next Act Theatre on 255 S. Water St. Milwaukee small stage theatre opens the season with some potentially badass moments onstage. The Milwaukee Rep debuts a cabaret show tribute to the women of rock. Next Act opens a show set in the world of professional wrestling. There's also a contemporary look at a Greek classic and more. Here's a look. Milwaukee Rep hosts a celebration of rock divas that opens the theatre season downtown this year. Created by the Rep’s Mark Clemons Women of Rock is directed by Dan Kazemi. A group of 4 women celebrate such legends as Janis Joplin, Tina Turner, Joan Jett, Debbie Harry, Alanis Morissette, Brandi Carlile and P!nk. The show runs Sep. 6 - Nov. 3 at the Stacker Cabaret. For more information, visit Milwaukee Rep online. Next Act Theatre opens its season with a comic drama from the heart of popular fiction. The Elaborate Entrance of Chad Deity tells the story grounded in the glossy world of pro wrestling. Dimonte Henning plays the title character...a heroic, charismatic pro wrestler. The relatively small Adrian Feliciano plays a superior athlete named “The Mace” who is paid to lose. Next Act’s Devid Cecsarini makes quite a transformation as the bald, goateed head of the wrestling organization. Playwright Kristoffer Diaz finds considerable depth in a pop cultural arena that is brought to the stage by talented director Micheal Cotey. The show runs September 11th - October 6th at Next Act’s space on 255 S. Water St. For ticket reservations and more, visit Next Act Online. A lot can happen before a kiss. A lot can happen afterward as well. A 1988 ronantic drama stagplay was turned into a popular film in 1992 starring Meg Ryan and Alec Baldwin. Years later, it’s been turned into a musica that’s being co-produced by the Milwaukee Rep. Prelude to a Kiss a musical makes part of its world premiere with the Rep September 10th - October 19th. The show makes its debut at The Harris Theater in the Sharon Lynne Wilson Center for the Arts on 3270 Mitchell Park Drive in Brookfield. For ticket reservations and more, visit the Rep online. One of the oldest surviving dramas in the history of storytelling gets a modern update as Milwaukee Chamber Theatre presents An Iliad. Kellen "Klassik" Abston and N'Jameh Camara play Poet and Muse in a reflection of the ancient world in the relatively intimate confines of the Goodman MainStage Hall at the Milwaukee Youth Arts Center. A tight, little 90 minute concentration of ancient drama makes its way to a mainstage with a couple of powerful talents under the direction of Brent Hazelton. The show runs September 20th - October 6th on 325 W. Walnut St. For ticket reservations and more, visit Milwaukee Chamber Theatre online. Rachel Corrie was a student activist who had been tragically killed while protesting in Gaza all the way back in 2003. My Name Is Rachel Corrie is a powerful dramatic presentation on the life of an American activist. I'd seen a production of the drama at Marquette 15 years ago. This month Vanguard Productions stages the drama at Cavalry Presbyterian Church on 628 N 10th St. The production features the talented Maya Danks as the young activist. For more information, visit Vanguard online.
There’s a misty moodiness to the outdoor stage at Lapham Peak in Delafield. The late summer haze finds a perfect outdoor home for SummerStage’s production of Shakespeare’s Hamlet. Director Dustin J. Martin finds the classic heart of the tragedy with a pleasantly familiar staging to Shakespeare’s classic. Zach Thomas Woods is a deeply charismatic figure as the emo college kid who is home from classes in Wittenberg visiting family tragedy. His father’s dead. His father’s ghost tells him that it his uncle who is responsible. The madness plays itself out from there in a thoroughly engaging production. Some of Shakespeare’s best-known moments take their turn on a simple stage. It’s absurdly difficult to find original energies in so much of Hamlet’s speech from the gravedigger’s scene to that impossible soliloquy at the top of Act III. Woods finds quite a bit of genuine emotion in and amidst the cliched vocalizations of a character who can often read like little more than a cover band doing Shakespeare’s Greatest Hits. On some level, Hamlet seems like some tedious emo kid who is always quoting Shakespeare. It's difficult to navigate around the ominous echo of the play's history. Woods finds the soul at the heart of the cliche and brings it to the stage quite admirably.
Michael Chobanoff is suitably duplicitous in th role of King Claudius--the man who murdered Hamlet’s father in order to claim the throne. Chobanoff manages a much more dominant stage presence in the role of the villain than most actors often manage. The politician’s presence that settles-in around Chobanoff finds a perfect match to Woods’ crafty madness in the role of Hamlet. Ariana Manghera’s Ophelia finds a sharp and emotional connection with Woods’ Hamlet. It’s often difficult to find a genuine connection between the characters in and amidst the machinations of murder and political intrigue that dominate the plot. Manghera deftly finds the strength in Ophelia that can be so difficult for most actresses to locate. She’s got a solidly well-articulated chemistry with Woods that works its way through the edges of the play with striking clarity in and amidst all of the heartache and political drama. The big finale comes across with uncommon strength thanks to the passion of Josh Scheibe as Ophelia’s brother Laertes. An early appearance firmly establishes a family connection between Laertes, Ophelia and their father. (William Molitor lends a paternal texture to the proceedings as their father Polonius.) A deft establishment of that connection serves as a firm foundation for the tragedy near the play’s end. Scheibe cleverly wields that tragedy as a slicingly precise motivation for the tragedy’s climactic conflict. The physics energy of the drama’s aggression makes a compelling appearance on the stage thanks to the work of fight choreographer Christopher Elst. The sword fight between Hamlet and Laertes jumps around the outdoor set with pragmatic energy that eschews unnecessary flair in favor of a classy dramatic poise. Elst’s fight choreography moves everything quite gracefully across the stage with the kind of energy that blunts some of the strangely dark and inadvertent comedy that can sometime unfortunately surface amidst a whole bunch of dead people onstage at the end of the tragedy. SummerStage of Delafield’s production of Hamlet continues through September 7th at Lapham Peak on W329 N846 County Highway C in Delafield. For ticket reservations and more information, visit Summerstage online. Once again, Milwaukee Irish Fest rolls its way through the Maier Festival grounds this weekend. The Theatre Pavilion comes to rest just precisely where it has in recent years: in a cozy, little snug place just beyond the water that’s far from the noise and commotion of the rest of the fest. I had an opportunity to see a couple of performances opening night.
Irish Fest continues through Sunday, August 19th at Henry Maier Festival Park. For a complete listing of upcoming events at the Theatre Pavilion, visit Irish Fest online.
The heart of the summer of 2024 wraps-up with a variety of different shows coming to small stages in Milwaukee including the debut of a musical set in a portrait studio and a stages reading of a cyberpunk-inspired sci-fi drama. Also this month: the return of the Milwaukee Black Theatre Festival and the Drama Tent at Milwaukee Irish Fest. Here's a look at some of what lies ahead. Pink Umbrella Theatre opens the month this weekend with a new musical by David Lancelle and Patrick Thompson. It’s a story set in a photography studio. It’s a place to get family portraits and headshots--that sort of thing. One partner calls-in sick, leaving the entire studio to one person. Sounds like a fun premise for a small-scale musical for the small stage. August 2 - 11 at Christ Church Episcopal on 5655 N. Lake Drive in Whitefish Bay. For more information, visit Pink Umbrella online. The Third Annual MKW Black Theatre Festival takes the stage of the Marcus Center this month. The festival opens with a production of the classic theatrical narrative for colored girls who have considered suicide / when the rainbow is enuf directed by Linetta Alexander. Also opening the festival: Idris Goodwin’s The Realness: A Break Beat Play. Denzel Taylor directs an interesting personal political drama as a young artist enters the hip-hop scene of the mid-to-late 1990s and tangles with the reality of dreaming for love or money in “the middle-class fantasy of rap.” Also featured later-on on the festival: Bill Harris’ Stories About the Old Days and a pay-what-you-can reading of In the Blood--Suzan-Lori Parks’ modern re-telling of The Scarlett Letter. For more information, visit Black Arts MKE online. I really don't want to miss this one, but there is SO MUCH opening next week. Local playwright Rick Bingen seems to be channeling J. Michael Straczynski's "The Mind of Simon Foster" or Philip K. Dick's "Paycheck" in a story involving a man who seems to be leaking memories. He's got to race against the clock to try to build a device to save the memories. Kind of a fun cybeerunky-sounding sci-fi premise that's being presented in a staged reading directed by the talented Maya Danks. The reading runs August 9 - 10 at The Brick House on 504 East Center St. For more information, visit The Brick House online. Beloved contemporary musical The Prom makes its way to another local staging as Bombshell Theatre Co. presents the heartwarming comedy in a production at the Next Act/Renaissance Theaterworks stage. Madison Nowak and Ashley Rodriguez play a couple looking to go to the prom together. The conservative adults in charge of the prom choose to shut it down rather than have anything like that go on...which prompts a national news story that catches the eyes of a few big names from Broadway looking to struggle against faltering careers on the stage. The show runs August 9th - 18th. For more information, visit Bombshell Theatre online. Milwaukee Irish Fest returns to the festival grounds this year. Once again, the Theatre Pavilion Tent features a number of cozy, small stage shows including Wild Sky--a 2022 play about the Easter Rising of 1916 by Deirdre Kinahan. Also on the festival this year: Green and Blue--the story of two men patrolling between two different Irelands during the height of the conflict. THAT show comes to Irish Fest courtesy of Belfast's touring Kabosh Theatre Company. For the full schedule and more, visit Milwaukee Irish Fest online. |
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October 2024
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