Flawed king gets royal treatment in VFR’s ‘Richard II”

By MARILYN JOZWIK 

In so many of Shakespeare’s plays the modern-day expression “The bigger they are, the harder they fall” is most apt.

In Voices Found Repertory’s “Richard II,” one of Shakespeare’s history plays, England’s King Richard II (Kyle Conner) is smugly comfortable in his lofty post as the story begins. As the tragedy unfolds, Richard undergoes a fall from grace and an ignominious ending. Hannah Kubiak directs.

The play takes place from 1398-1400, at a time when kings thought they had divine rights, that their ancestry deemed that they should be above others. Says King Richard: “Not all the water in the rough rude sea can wash the balm off from an anointed king; the breath of worldly men cannot depose the deputy elected by the Lord.”

Scott Oehme-Sorenson, Stefan Kent and Matt Specht, from left, in a scene from Voices Found Repertory’s “Richard II.” Photo by Alexis Furseth

Totally unaware of his incompetence, Conner’s Richard revels in his kingliness, effecting a haughty tone and entitled manner bordering on petulance.

Yet, Richard’s indecisiveness, injustice, treachery and other leadership missteps give his cousin Bolingbroke (Stefan Kent), who is more attuned to his subjects and their needs, the opportunity to unseat the king from his lofty throne.

Things start to go off the rails for King Richard after he uses the death of John of Gaunt (Scott Oehme-Sorenson), Bolingbroke’s father, for a money and land grab, providing the means to start a war in Ireland. Richard angers his people with taxes, as well as noblemen for the sins of their ancestors.

While King Richard is away at war, Bolingbroke, determined to take back the land that is rightfully his, fills the leadership void in England, doing away with King Richard’s right-hand men and claiming the crown for himself.

Stefan Kent, Scott Oehme-Sorenson, Matt Specht, Brandon C. Haut and Jessica Trznadel, from left, in a scene from Voices Found Repertory’s “Richard II.” Photo by Alexis Furseth

Richard’s pity party when he realizes he’s losing the crown is a thing of beauty. Conner’s eyes are imploring, his voice filled with emotion as reality sets in and he sees the kingship slipping away. He sometimes looks to the audience for answers on how to deal with the next chapter in his life: “What must the king do now? Must he submit? The king shall do it: must he be deposed? The king shall be contented. Must he lose The name of king? o' God's name, let it go. … My subjects for a pair of carved saints and my large kingdom for a little grave, A little little grave, an obscure grave.”

In a bit of comedy, Richard aborts a couple efforts to hand his crown to Bolingbroke, looking almost like a child unwilling to give up his favorite marble after losing a match.

Conner dials through a whole host of emotions, using the entire stage plus broad and nuanced gestures. He makes the most of Shakespeare’s eloquence, from barely audible whispers to thunderous rants.

I loved the scene in which Richard is given a mirror and wonders if his new state as deposed king has made a change in his appearance. Conner makes Richard such a pitiful creature that it is heart-breaking to see what he’s become.

Brandon C. Haut and Faith Klick in a scene from Voices Found Repertory’s “Richard II.” Photo by Alexis Furseth

This is a marvelous cast, starting with Conner’s Richard and Kent’s Bolingbroke. Faith Klick as the Queen adds some wonderful scenes, including her tender farewell to Richard before his imprisonment and her departure for France. Jessica Trznadel, Melissa Tolner, Brandon C. Haut, and Matt Specht as the Duke of York complete the cast.

Voices Found gives the play a Roaring Twenties look, with men in suits and women characters in flapper-type outfits. The king himself wears a ruby-bedecked crown and a deep purple suit, setting him apart from his minions. He spends much of his time on his modern-looking throne on a slightly raised portion of the stage. Music of the 20s also is part of the show as are period set pieces.

Also enhancing the show are the fight scenes, which are quite realistic. 

If you go:

Who: Voices Found Repertory

What: “Richard II”

When: Through Sept. 3

Where: Inspiration Studios, 1500 South 73rd St, West Allis

Info/Tickets: https://www.voicesfoundrep.com

Sunset’s ‘Little Mermaid’ oceans of fun and fantasy

BY MARILYN JOZWIK

In the middle of a warm summer, it was cool and refreshing to experience Sunset Playhouse’s “The Little Mermaid.”

Including the many popular Disney tunes, Sunset’s production is awash in color with fabulous vocals, outstanding performances and non-stop aquatic and terrestrial action. Couldn’t be a better choice for a matinee or evening of top-notch entertainment.

The appreciative audience rewarded cast and crew with thunderous applause on several occasions for the sights and sounds they so enjoyed.

The delightful story centers around the headstrong Ariel (Riley Luettgen), a mermaid who is enchanted by humans and the world above the sea, which infuriates her father, King Triton (Jeff Adam). Triton, ruler of the seas, has his reasons for mistrusting humans. When Prince Eric (Jacob Cesar) is washed overboard in a storm, Ariel saves him and both are immediately smitten. Her love for a human is most distressing to Triton and he tasks Sebastian (Aundre L. Reid) to keep tabs on her wanderlust. Complicating life for Ariel are her six jealous Mersisters and evil aunt, Ursula (Kathryn Perry).

King Triton (Jeff Adam) is surrounded by his daughters, from left, Allana (Elisabeth Adam), Aquata (Cora Kay Trexell), Adella (Gabrielle Adam), Arista (Katelyn Farebrother), Atina (Amanda M Mahlum) and Andrina (Dana Marklund). Sebastian (Andre L. Reid), right, and a King’s Court member (Elijah Luna), top, observe the scene.

I don’t even know where to begin on what I loved about this show. Just when I thought one scene had to be the highlight, another one would come along – one highlight after another.

Everything is working for director/choreographer Karl Miller and music director Mark Mrozek, who handled keyboards as well as five other musicians.  Add to that the gorgeous costumes (Lisa Quinn), including beautiful, floaty mermaids, wide-winged gulls, sinister eels, royalty above and below the sea and a variety of other sea life and land life.

So many scenes are a kaleidoscope of color, enhanced by screen projections, with perfect sound and lighting (Scott Varga and Marty Wallner). All the components are in place for performers to showcase their immense talents.

Luettgen sets the mood with her portrayal of Ariel. She is light and dreamy in her tunes of longing – “The World Above” and “Part of Your World” – and spunky in her interactions with her protective, unyielding father.

Kathryn Perry plays Ursula in Sunset Playhouse’s “The Little Mermaid.”

Reed Wilbanks is charming with pleasing vocals and nifty dance moves as Ariel’s hopelessly in love buddy, Flounder. Another one of Ariel’s cohorts is Scuttle, the clumsy gull, played with marvelous physicality by Bryce Giammo who rolls and flaps and squawks his way into the hearts of audience members.

But these were just the appetizers to some of the entrees to come, starting with Perry, who embodies the malicious Ursula with her growling, posturing and strutting as she details her wicked ways in “Daddy’s Little Angel.” Perry’s booming voice captures all of Ursula’s nastiness as she revels in one of Disney’s most well-known antagonists.

Nick Sweet and Mitchell Blohm as Ursula’s menacing eel companions, Flotsam and Jetsam, contribute fine vocals, harmonizing nicely as they glide their slinky characters around the stage.

The cast of Sunset Playhouse’s “The Little Mermaid.”

Perhaps the best-known tune and scene from the show is “Under the Sea,” featuring the Jamaican crab Sebastian, a servant of King Triton. As Sebastian, Reid showcases his incredible range and rich tones as well as nimbleness. In the romantic “Kiss the Girl,” Reid’s voice turns sweet and silky as the gentle calypso music encourages the kiss to unlock Ariel’s caged voice.

I loved Cesar in “One Step Closer,” in which his Prince character and Ariel communicate through dance when Ariel has lost her voice. He and Luettgen’s mute Ariel connect beautifully, the lyrics seeming to propel his steps. Plus, the tune is in his vocal wheelhouse, allowing him to breeze effortlessly through both song and dance.

Led by dance captain Cora Kay Trexell, the Mersisters (Dana Marklund, Katelyn Farebrother, Amanda M. Mahlum, Gabrielle Adam and Elisabeth Adam) are a sight for the eyes – with their colorful gauzy costumes and sharp, effortless choreography – and for the ears with several opportunities to showcase soaring soprano voices and lovely harmonies.

Morgan Gates’ Chef Louis contributes a hilarious, madcap Les Poissons as he cavorts with the frolicking chefs and crab puppet that transforms almost magically into Reid’s Sebastian.

From stem to stern, Sunset’s “The Little Mermaid” is simply oceans of fun, music and dance..

If you go:

Who: Sunset Playhouse

What: Disney’s “The Little Mermaid”

When: Through Aug. 6

Where: 700 Wall St., Elm Grove

Info: 262-782-4430; SunsetPlayhouse.com

Summit Players ‘Macbeth’ a scary story in the woods

By Marilyn Jozwik

After frolicking through Shakespeare’s light-hearted “Much Ado About Nothing” last season, Summit Players is wading into one of The Bard’s bloodiest plays, “Macbeth,” for their 2023 production.

While I’ve seen shows that dramatize the bloodshed – including one that offered rain ponchos for audience members in the first rows who might be sprayed with red liquid –-Summit Players sanitizes the violence, using strips of red material strategically placed at mortal wound sites. Considering there were a number of children among the large audience at Havenwoods State Park in Milwaukee, it was a good choice.

And by the way, the kids – as well as the adults – were totally engrossed in the show with the nonstop action and energetic performances of the players, sound effects, audience engagement and a wooded, warm, windy summer night setting.

While Summit Players normally produces Shakespeare’s comedies, the decision was made to do this well-known tragedy with its witches, murders and ominous tone – a perfect scary story in the woods!

“Macbeth” is a tale of power and greed. Macbeth, a Scottish general, will stop at nothing to attain the Scottish throne. He believes the prophecy of three witches that he is to be king and, along with the encouragement of his wife, Lady Macbeth, starts his trail of mayhem by killing King Duncan of Scotland. As the murders continue, Macbeth and Lady Macbeth find themselves descending into paranoia and madness which leads to their demise.

Maureen Kilmurry again gets incredible energy and engagement from this troupe of six which literally dons many hats – and other costume pieces – to create dozens of characters.

Dylan Thomas and Vivian Romano play the scheming and murderous Macbeth and Lady Macbeth in this understudy performance for Cole Conrad and Maya Danks. The duo certainly do justice to the iconic theatrical pairing, delivering their lines with appropriate conviction and strength.

The cast also includes Kaylene Howard (Malcolm, Lady Macduff, Witch, Fleance), George Lorimer (Macduff, Duncan, Siward, Murderer), Caroline Norton (Ross, Witch, Murderer, Donalbain, Gentlewoman, Young Siward) and Matthew Torkilsen (Banquo, Porter, Doctor, Bloody Captain, Old Man, Macduff's Son, Apparitions).

The show is full of Shakespeare’s heady metaphors that this cast makes sure to clearly articulate so that the last row of audience members on their portable chairs can enjoy the beauty of the language, especially full of sinister images.

“There’s daggers in men’s smiles,” says Donalbain (Norton) highlighting the idea that appearances can be deceiving and people should not be swayed by a one’s pleasing demeanor. When Macbeth says “Full of scorpions is my mind,” he indicates he can’t rest easy until his enemies are vanquished.

And, of course, you’ll want to stay alert for the famous lines like Lady Macbeth’s “Out damned spot,” said while she tries to clean the imaginary blood from her hands as the gravity of her evil deeds takes hold. And the “Out, out brief candle” speech, uttered by Macbeth when he learns of his wife’s death.

The three witches (Norton, Howard, Romano) are an especially animated bunch, conjuring up all sorts of problems for Macbeth and others. The trio utter the famous “double, double toil and trouble” poem with it’s sing-songy list of ingredients in the imaginary cauldron that is both ominous and humorous.

Perhaps the most dramatic moment of the performance belonged to Lorimer’s Macduff upon hearing of the slaughter of his wife and children by Macbeth’s cohorts. His anguish is doubled when he feels he may be somewhat responsible. Lorimer’s voice rings with such sorrow and anguish that it echoes in the nearby woods.

Carrie Johns as production manager provides sound effects such as a trumpet sounding, thunder and drums, and cues the audience for bird and wind sounds.

If you go:

Who: Summit Players

What: “Macbeth”

When: Through Aug. 19

Where: Various state parks in southeast Wisconsin

Info: www.summitplayerstheatre.com

LCP’s ‘Our Town’ spotlights universal themes

By Marilyn Jozwik

It might seem as though Thornton Wilder’s “Our Town,” set in the early part of the previous century, has little relevance to today.

However, the show, LCP’s summer production, feels even more relevant today.

Director Sandra Renick has taken great care with the classic and has elicited emotional, at times humorous, performances filled with humanity and passion. The diverse cast also reflects communities of today, even though the fictional town of Wilder’s play was quite a homogeneous group in many ways.

Perhaps the highlight of the well-known show is the finale, in which Emily Webb (Sarah Jo Martens) goes back in time to her home in Grover’s Corners, New Hampshire, in 1899 when she is just 12 years old.  She has only that one day from her past to experience. Martens takes Wilder’s beautiful prose and pours so much emotion into it as she bemoans, “I can’t look at everything hard enough!” She sees her busy family and realizes how precious time is as she screams, “Time goes so fast we never look at one another!” She adds, “Do human beings even realize life as they live it?” Martens is at her best here, as the spotlight reveals a whole host of emotions on her expressive face.

It is an incredibly poignant scene in a play filled with simple wisdom, truths, laughter and tears that the whole cast presents  beautifully.

Simon Stimson (Talen Marshall), center, is questioned by Constable Warren (Ralph Netzel) and Mr. Webb (Dave Somerscales). Emily Webb (Sarah Jo Martens), right, and George and Rebecca Gibbs (Brian Maxwell and Evie Maasen) watch the night sky from their homes.

Dick Natrop gives a wonderful performance as the Stage Manager, describing life in the small town with ease and likeability, letting a thought marinade effectively, as when he points out where all the churches are in town. When he gets to the Baptist church he says, it’s “Down in the holler, by the river.” He pauses just the right amount of time to let the significance of that sink in.

As the Stage Manager, Natrop speaks in a conversational tone – like he’s talking to a neighbor. Natrop has the perfect weathered look for the role – like he’s just stepped out of the farm field or workshop -- and a folksy believability.  As the Stage Manager, he dismisses the town’s lack of culture, saying townsfolk enjoy “pleasures of a kind,” such as the sun coming up, birds singing and the change of seasons.

He explains the three acts of the play, which opens in 1901 and reflects “daily life” in Grover’s Corners. One-thousand days later is Act 2 and a “love and marriage” theme. Finally, it’s nine years later – 1913 – and the town has undergone significant changes.

The Gibbs family, front row from left, Emily (Evie Maasen), Mrs. Gibbs (Paula Nordwig) and Dr. Gibbs (Mack Bates) watch their son George marry Emily Webb along with other townspeople.

On the surface, it all seems very ordinary, until Wilder begins to make the audience realize just how extraordinary life is – and how fleeting.

The centerpiece of the show is the sweet relationship between George Gibbs (Brian Maxwell) and Emily Webb (Martens) as they navigate courtship, marriage and life’s trials and tribulations, along with their family’s and townsfolks.’ Maxwell is totally engaging as the young tender-hearted George, whose life ambition is to be a farmer. The heart-wrenching emotions he pours out in the waning moments of the play put a cherry on a first-rate performance  

The Gibbs and Webb families are nicely portrayed, with marvelous performances by Mack Bates and Paula Nordwig as Dr. and Mrs. Gibbs – the town’s physician and wife -- and Angelique Tober and Dave Somerscales as Mr. and Mrs. Webb – the town’s newspaperman and wife. I especially enjoyed Nordwig’s character with her New England accent and stoic, chilling demeanor in the final act.

The staging of this play is wonderfully understated. There is a peacefulness and stillness, as if the entire cast was told to treat the Wilder classic with dignity and respect. The few props are moved imperceptibly and characters move quietly, with no wasted motion. Miming takes the place of props as characters pour coffee, deliver milk and newspapers, string beans and perform other daily tasks. So effective are the motions that you can almost swear you see the coffee cups. The gentle, well-timed sounds of falling rain, singing birds, horse whinnies and train whistles also help create the setting, while tight lighting illuminates all the nuanced emotions. Breanne Brennan handled sound and light design, while Lori Albers was the stage manager and Christ Celestin the set designer.

This is a large cast of 26, with all performers giving each character something special and unique. Elizabeth Markman provides a splash of color to the show with her excitable portrayal of opinionated Mrs. Soames, while Ali McCloud is an especially animated young paperboy and baseball player. James Marlega Jr. is a charming Howie Newsome, leading his imaginary horse around the stage as he delivers milk.

The town choir, led by Simon Stimson (Talen Marshall), provides some pleasant tunes of the times. Marshall’s Stimson, an alcoholic, is the sort of character that spotlights the ugly side of small-town life and the devastating effects of gossip and character assassination.

The play makes great use of the small space and with virtually no pauses in the action, keeping the show moving at a swift pace without feeling rushed. Which is a good thing since no one wants to miss the many nuggets of wisdom and life’s lessons Wilder tosses about like seeds in the wind.

IF YOU GO:

WHO:   Lake Country Playhouse

WHAT:   “Our Town”

WHEN:   Through July 16

WHERE: Lake Country Playhouse, 221 E. Capitol Drive, Hartland

INFO:    LakeCountryPlayhouseWI.org

Love and friendship meet humor and complexity in Boulevard's 'Significant Other'

By Catherine Jozwik

Known for its intimate and moving performances, Milwaukee’s Boulevard Theatre delivered a heartfelt and hilarious stage reading of New York City-based playwright Joshua Harmon’s LGBTQIA+ comedy “Significant Other” June 7 at The Sugar Maple, a cozy bar located in the city’s Bay View neighborhood.

The intimate venue filled up with playgoers ranging from ages 20-approximately 75 quickly, and about 20 attendees had to be turned away, a testament to the power and popularity of this production.

Directed by Boulevard Theatre founder and artistic director Mark Bucher, “Significant Other” featured a talented cast of seven, including Joan End as Helene, Grace Berendt as Kiki, Keith Smith in several roles including Evan and Roger, Kyle Conner as Jordan, Mohammed ElBsat in several roles including Will, Mary Grace Seigel as Vanessa, and Caitlin Compton as Laura. The script, which explores how friendships change as people start getting married and having children, is incredibly relatable.

All performances were stellar, but Conner’s was exceptional, conveying a perfect mix of humor, longing, and pathos. Berendt was also quite enjoyable to watch as self-obsessed motormouth Kiki, and Seigel played the bored pessimist Vanessa, who later finds true love, to a T. End was also well-cast as Jordan’s warm-hearted grandmother Helene. The reading included a well-timed rendition of Celine Dion’s romantic hit song “Because You Loved Me.”

Unfortunately, due to budget constraints, the run of this wonderful stage reading was limited. But this reviewer is very much looking forward to Boulevard Theatre’s next production.

Audience gets caught up in comedy and mystery in Sunset’s ‘Spider’s Web’

By Marilyn Jozwik

Agatha Christie knows just the right ingredients to use in order to whip up a delicious murder mystery.

In her “Spider’s Web,” Sunset Playhouse’s latest Furlan Auditorium production, Christie assembles an intriguing group of characters at a British Manor — a young girl and witchcraft, a nosy neighbor, a desk with a hidden compartment, a room that appears behind a bookcase with the touch of a button and, of course, the clever inspector come to investigate a murder.

Although “Spider’s Web” is not quite up to Christie’s best such as “And Then There Were None,” “The Mousetrap” and “Witness for the Prosecution,” there is lots of action, mystery and comedy to keep audiences on their toes and chuckling. Director Carol Dolphin does a marvelous job in getting the most out of Christie’s wit and keeping characters in motion so that the play never gets bogged down in dialogue.

Rowland (Jim Feeley), Jeremy (Justin Lee Tidwell), Hugo (Hal Erickson) and Clarissa (Alexandria A. Eggert), from left at table, get noisy during a game of bridge while the Inspector (Jason Peregoy), left, and Constable (Tyler Peters) investigate a murder in a scene from Sunset Playhouse’s “Spider’s Web.”

And while the material is not top-notch Christie, the performances are top-notch, starting with Alexandria A. Eggert as Clarissa, the mistress of the manor occupied by herself, her new husband Henry (Christopher Orth) and his almost teen-aged daughter Pippa (Lydia Wilhelm).

Clarissa, Henry and Pippa have just recently moved into the manor, previously owned by an antique dealer. Left behind is an old desk that has a hidden compartment that makes the desk of special interest to a couple characters. Clarissa loves a good spoof and flits about describing all sorts of fantastic tales she imagines about the place, to make her life more interesting, entertaining her guardian Rowland (Jim Feeley) and two other houseguests, Hugo (Hal Erickson) and Jeremy (Justin Lee Tidwell).

Mildred (Jenny Kosek), the gardener, lives next door in a cottage and often makes herself at home right in Clarissa and Henry’s home, loudly spouting her opinions with a hearty Cockney accent.

They all seem to be having a jolly good time until a body is discovered at a most inconvenient time and must be disposed of before Clarissa’s husband returns with an important guest, causing more than a few moments of hilarity.

The cast of Sunset Playhouse’s “Spider Web.” From left, back, Tyler Peters, Christopher Orth, Justin Lee Tidwell, Jenny Kosek, Hal Erickson, Nate Press, Jonathan R. Nass; seated on couch, Jason Peregoy, Alexandria A. Eggert, Jim Feeley; seated, front, Lydia Wilhelm.

Eggert is like a butterfly, giving Clarissa lots of nervous energy and animation as she gleefully relates one tale after another, until she finally hits upon the truth.

As always, I loved Kosek’s portrayal of her character, the zaftig gardener Mildred. Kosek’s Mildred is big and bombastic, stealing every scene she’s in.

There are lots of subtleties that this seasoned cast employs that really make the most of the material, and that was evident in the opening scene with Rowland and Hugo sampling port wine. Feeley and Erickson effortlessly display their chumminess with their gestures and easy banter, making the audience feel right at home in the on-stage living room with their natural portrayals. Tidwell as Jeremy arrives a bit later and easily joins the duo’s merriment.

Each character has a marvelous turn with Christie’s rich dialogue, such as when a character picks up a club and muses, “You could crack a man’s head open” during one of Clarissa’s tales, giving the “crack” such an emphasis as to make one jump. Jason Peregoy as the Inspector gives his character an efficient, no-nonsense manner, but also is able to highlight the comedic moments.

Listen for a mention of Christie herself in the dialogue and even some of her plays.

The handsome living room set includes frequent and flawless usage of the bookcase’s hidden door. Double doors to the stage-left foyer and another set to the stage-right patio also helped create a most spacious area and lots of room for characters to roam.

If you go:

Who: Sunset Playhouse

What: “Spider’s Web”

When: Through June 18

Where: Sunset Playhouse, 700 Wall St., Elm Grove

Info: www.SunsetPlayhouse.com

Bombshell's 'Sunset Boulevard' travels back to 20s in style

By Katherine Beeson

Bombshell Theatre Co. has been bringing large-scale musicals to small performance spaces and doing a fantastic job. This tradition continues with its spring show, Andrew Lloyd Webber’s “Sunset Boulevard,” directed by Eric Welch with musical direction by Tracy Garon.

The show is a fast-paced behind-the-scenes peak at changing 1940s Hollywood. I really enjoyed Bombshell’s treatment of this musical. The story unfolds smoothly and the audience is quickly mesmerized by the entertainment industry that is moving into the modern era and a star it leaves behind.

Norma Desmond used to be a silent-movie star, but, with the advent of talkies, her career ended. Joe Gillis is a poor, struggling Hollywood writer who stumbled onto Norma’s sprawling estate, where she lives with her devoted attendant, Max. When the actress discovers that Joe is a writer, she convinces him to work on the screenplay she has written – a massive tome that she is sure will prove to be her comeback. Joe, who faces the repo man, and needs money desperately, moves in and moves from the guest house, to the main house and, finally, to Norma’s bed. As much as he values his integrity, Joe opts to enjoy her luxuries while he secretly works on movie projects with a young writer he met on the Paramount studio grounds. Things begin to unravel as time goes on and Norma finds that a movie comeback is not what the studio has in mind and that Joe has another life outside the gates of her mansion.

Kara Ernst-Schalk and Eric Welch in Bombshell Theatre Company’s “Sunset Boulevard.”

Kara Ernst-Schalk is a fantastic Norma. A part like this can easily become a caricature but Ernst-Schalk keeps her in check. One was drawn in instantly as she describes her former life in the movies (“With One Look”.) Eric Welch is very good as Joe, but he could project a bit more angst

and self-loathing as he wrestles with the compromises he is willing to make for his comfortable life. Rae Pare (Betty Schaffer) does a nice job as the other struggling writer who falls in love with Joe. I would have liked a bit more chemistry between this couple as it seems they take the leap from the friend zone to singing “Too Much in Love to Care” without much evident passion. Brent Allen (Max, the manservant) is wonderfully severe as he makes it known that “madam’s” welfare is his only purpose.

Other great characters include Glenn Villa (Cecil B. DeMille) and Karl Miller (Sheldrake/John.) The music is wonderful as are the voices.

Kara Ernst-Schalk in Bombshell Theatre Company’s “Sunset Boulevard.”

Costuming, however, was a bit uneven. Mary Seigel pulled out all the stops when she outfitted Norma. Her turbans, her jacket/capes, her long gowns all reflected the 1920s of Desmond’s heyday. Joe and Max also appear suitably turned out. However, when the scenes include the modern women of the late 1940s/early 1950s, less care is taken. This was the era of the long-lined bras and high-waisted girdles, which did serve to lift it up and hold it in. A few of the women are clad in ill-fitting clothing in sizes a bit too small and it is distracting. The chorus men fared no better; as five male salesmen singing “The Lady’s Paying” they appear downstage in suits of various styles and fit – more consignment store than atelier.

“Sunset Boulevard” runs at the Broadway Theatre Center until May 7.

WA Players romp through Shakespeare's comedies, and tragedies

In attempting to showcase the entire folio of the Bard, most people would be overcome by the sheer magnitude of the project. But, by staging “The Complete Works of William Shakespeare, Abridged” The West Allis Players is able to present all the highlights within two hours – and in a very funny way. This romp is directed by Mary Beth Topf.

A comedic troupe of six actors as themselves – Tom Flanagan, A. C. Hampshire, Derek Jacobs, Bill Kaiser, Dan Terrio and Randy Tranowski leave no stone unturned as they tackle the comedies, tragedies and histories of the man from Stratford-on-Avon. It takes 20 minutes for them to

present “Romeo and Juliet,” but once the “players” realize that they will never get through all the works until past midnight, they speed up their pace and the show really gets going.

A few highlights include their realization that they must present these plays with today’s theatergoers in mind. They decide that the best way to showcase “Othello” (the black general known as the Moor of Venice) is by rapping a recap of the plot. To speed through many of the lesser-known royal plays, the sextet stages a football game between all Shakespeare’s kings with a crown as the prize. Their presentation of the final play, “Macbeth,” was really well-done!

Derek Jacobs and Randy Tranowski in West Allis Players “The Complete Works of William Shakespeare, Abridged.”

Kaiser does the lion’s share of narration and keeps the story moving while Tranowski handles the brunt of the physical comedy. He jumps off stage – jumps back onstage and plays most of the female parts, nonplussed when his character loses his flowing wigs in the process.

I’m not the biggest fan of all the moments when the actors call for the house lights to be turned on, but the audience as a group then gets a chance to be a part of a few scenes without leaving their seats.

“The Complete Works of William Shakespeare, Abridged” runs at the Liberace Auditorium of West Milwaukee Intermediate School until April 30.

Magic and mishaps follow Forte's 'Into the Woods'

Forte Theatre Company, a professional group dedicated to bringing theater productions to the southwestern suburbs of Milwaukee, is presenting Stephen Sondheim’s fantasy musical, “Into the Woods.” The show is directed by Randall Dodge with musical direction by Alex Chilsen.

“Into the Woods” is a brilliant mash-up of a variety of fairy tales – Cinderella, Little Red Riding Hood, Jack and the Beanstalk, The Baker and a few others. It’s a high energy show and lots of fun to watch.

On the night we attended, however, the theater had major sound issues that seriously affected the first act. Sondheim’s dialogue and lyrics are so clever in this show and the fact that the volume was so compromised was a real shame. The Witch’s story-background explanation, Little Red Ridinghood’s clever banter with the Baker, the menacing wolf, the pithy interchange between the fleeing Cinderella and the Baker’s Wife were reduced from bon mots to just words. I know this musical very well, but judging from the lack of the audience’s reactions to what should be funny

lines, they did not and they really missed out. I am sure the actors realized their words were not hitting their marks but I don’t know if they were aware as to why. Only the two princes seemed to over-project with their song “Agony,” as some of their witticisms were easily understood.

Fortunately, the sound problem was corrected for Act Two. We were able to completely understand all the humor and every song and we were treated to a phenomenal show!

Ashley Rodriguez, as the Witch, delivered a powerful performance with an amazing voice. Molly Kempfer was a fantastic Little Red Ridinghood and held a wail longer than I thought humanly possible! Other standouts include George Lorimer and Brett Sweeney (the lovelorn princes,) Kaitlin Feely (Cinderella,) Christie Burgess (The Baker’s Wife) and Tim Rebers (The Baker.) The orchestra was wonderful and the sound effects provided by these instruments were spot on! Scene Designer Robert Sagadin created lush, rich woods that added so much to the stories unfolding within it.

Scott Howland does a nice job as the Narrator, but his stage direction has him moving around the various scenes that are frequently depicted at the same time. He remains on the peripheries of the lighting as he watches the action, but when it is time for the Narrator to, well, narrate again, the follow spotlight did not always know where he was headed and many of his lines were spoken in the shadows.

The moving of set pieces was also a bit of a distraction. Many of them were moved in and out by tech people but little was done to minimize their appearance on stage. Ideally, the people moving these pieces should be hidden by them instead of walking next to them. Seeing people in black with headsets is a bit of a disappointment. Some characters moved things on and off and that always works better – except when their characters would not be doing this work. Haughty stepsisters should not be striking Cinderella’s fireplace and two actresses, in full costumes, should not be used to facilitate props needed for a scene when these characters have not yet appeared on stage and won’t do so for another hour!

When all the magic was working as it should, this musical was a wonderful evening of Fairy Tale Theater!

“Into the Woods” runs through April 23.

Cast blossoms in LCP's 'Secret Garden'

By Katherine Beeson

Lake Country Playhouse opened its spring musical, “The Secret Garden,” on March 17. Directors Breanne Brennan and Sandra Renick completely understand this beautiful story and have crafted a production filled with tragedy, longing, hope and love.

A cholera epidemic, in early 20th century India, kills most of a prominent British family, leaving only Mary Lennox, a neglected, albeit, spoiled girl. She is sent to live with her Uncle Archibald Craven, the widowed and grieving spouse of her late mother’s deceased sister, Lily. Craven doesn’t

want her either, but opens his home to her and leaves her in his brother’s care. Strong-willed Mary makes friends with the manor’s kind servants and her growing curiosity leads her to family secrets and a garden, hidden and long abandoned.

The musical features Mary’s parents, Indian servants and others as “dreamers” who provide the child’s backstory. This group also does a wonderful job conveying the initial gloom that greets the young girl upon her arrival in England.

Nicholas Callan Haubner plays the tortured Archibald Craven with a depth that is mesmerizing; his tenor voice is rich and rivals that of Mandy Patinkin, the actor who created the role on Broadway.

Mary Lennox is portrayed by Evie Maassen who conveys all the spunk, stubbornness and determination of this child who must begin life anew in a strange land and a stranger new home. Kudos – a great job.

Craven’s late wife, Lily, is also one of the frequently appearing dreamers and serves as a reminder of all the man has lost. Suze Falk is almost ethereal in this part – soft and elegant with a beautiful voice. Haubner and Falk are wonderful on stage as they share their love in Archibald’s dreams.

Other standouts include Dr. Neville Craven (Justin Welch), housemaid Martha (Kendall Yorkey), Archibald’s son Colin (Liam Eddy), gardeners Dickon (Oliver Kuhtz) and Ben (James Baker), and Lexi Cole Ellis and Andrew Byshenk (Mary’s parents, who adhere to the British high-brow parental thinking of that time; basically ignore your children and leave their upbringing to the servants.)

Cathy Pfeiler was musical director while Sue Gedemer conducted a strong chamber orchestra.

Stage design (by Chris Celestin and Megan Wells) is kept to a minimum, which allows for seamless transitions from manor to garden to memories of the past.

The only problem with this production is that if you do not have tickets for any of the remaining shows, you are out of luck; the group announced that the run is completely sold-out.

The show runs through April 2.

WCT presents powerful, captivating 'Rent'

By KATHERIINE BEESON

Wow, just wow…

Waukesha Civic’s production of “Rent” is real, gritty and a totally immersive experience.

This is the story of a group of friends who navigate life in the Alphabet City section of New York City in the late 1990s; people hampered by a lack of money, a decent place to live and faced with the devastating effects of AIDS. As most people know, this musical is very loosely based on Puccini’s opera “La Boheme.”

Heather David as Mimi in Waukesha Civic Theatre’s “Rent.”

The audience is immediately drawn in. We see how this group of friends became a close family. We feel their love, their pain; we celebrate with them and we grieve with them. Director Ann Majeskie literally transports us into their world.

“Rent” is an ensemble production and the leads were fantastic. Logan Vasquez (Mark), Justine Spanbauer (Roger), Heather David (Mimi), Aaron J. Robertson (Benny), Keegan Charlier (Maureen), Ellie Mungo (Joanne), Ernest Bell (Collins) and William Coleman (Angel) truly understand their characters and bring the intensity these roles demand. Iwas completely blown away.

The orchestra, led by Ashley Sprangers (who also served as Music Director) was small but very polished. The set design by Michael Talaska lends itself to seamless scene changes and Majeskie moves the story without interruption. Creator Jonathan Larson’s songs are energetic and mesmerizing.

There was, however, a bit of an issue with voice volume. The orchestra is set on stage, and it does, occasionally, overwhelm the actors. Many times the dialogue spoken over the music is just too hard to hear and therefore, to understand. Even some of the solos get a bit lost if the singers are not projecting. I brought a friend who had never seen “Rent,” (I know, hard to believe) and she mentioned that she had a hard time because of this. Fortunately, there are belters among the cast and the ensemble songs are strong.

“Rent” runs through March 26. Do not miss this show!

Audience joins the celebration at 'Flanagan's Wake'

By Katherine Beeson

An Irish man’s life is celebrated with a traditional Emerald Isle funeral in West Bend Theatre Company’s latest production, “Flanagan’s Wake.” The show is directed by Robb Bessey.

. Musical director is Janice Westphal (who also plays the fictional music director Tara O’Doul.)

Dear Flanagan has gone to meet his maker and his family and friends gather to send him off with a wake to end all wakes. This interactive production welcomes the audience (the American cousins who traveled from across the “big pond”) to the village of Grapplin and shows them exactly how the Irish mourn their dearly departed.

Upon arrival, audience members meet the residents of the village. They all receive a nametag – in this place all men become “John” and all women are “Mary” followed by their real names. The editor of the village’s newspaper hands out programs, cleverly designed as copies of the Grapplin Village Gazette (published “occasionally.”) The guests, seated at pub-style tables, are offered soft drinks or more substantial beverages and then the fun begins.

The cast interacts with the audience from the beginning and will search for willing “marks” – people they can call on during the show. (No one is forced to participate; everyone is able to just sit back and enjoy the shenanigans.)

Music is an important part of this show and the audience is given the lyrics of many songs so that they can join in with chestnuts such as “Danny Boy.”

The ensemble cast is a group of true Irish mourners in every sense of the word. Plan on having the best time at a funeral – it’s a fun night and I am sure Flanagan was sorry to have missed it.

“Flanagan’s Wake” runs through March 19 with evening and matinee performances. The show takes place at the West Bend Masonic Center.

Young audience dives into First Stage's 'SpongeBob'

By Katherine Beeson

First Stage has done it again.

“The SpongeBob Musical for Young Audiences” is a show based on the much-watched and well-loved cartoon. I reviewed with my date, my 6-year-old grandson, Rory. He could not wait for the show to begin!

The story is simple – A seismic event threatens the city of Bikini Bottom; SpongeBob SquarePants and his friends and neighbors face a very dangerous situation. With a lot of planning – as well as singing and dancing – they overcome all adversity and have a happy ending!

Gracie Halverson (center) with Bree Beelow (left), Raven Dockery (far left, rear), Zach Thomas Woods and Jesse Bhamrah (rear, center), Doug Clemons, Lachrisa Grandberry (far right, rear) and cast in “The SpongeBob Musical for Young Audiences” at First Stage. Photo by Paul Ruffolo

There are two youth casts and the Sponge Cast took the stage for our wonderful performance. It didn’t take long for the children in the audience to identity all the characters and completely get into the spirit of the show.

Adults not familiar with the cartoon may need to ask the younger set to explain just who is who. SpongeBob was easy; a boy with a yellow pompadour wig and a cardigan sweater and tie. But no sponge and no square pants. There was nothing, except Rory’s explanation, to let me know that Patrick, sporting a beanie with a spinner on top, was a starfish. Likewise, he had to tell me that the character in a tail-less white and grey jumpsuit was Sandy Cheeks, a squirrel who lives under the sea with an air-filled diving suit to help her breathe but uses no such apparatus on stage. Only Squidward -- played with style by Doug Clemons -- was easily recognizable with a few extra appendages. The jellyfish were really cute as see-through umbrellas with attached flowing tentacles.

Doug Clemons (center), Lachrisa Grandberry (left) and cast in “The SpongeBob Musical for Young Audiences” at First Stage. Photo by Paul Ruffolo

But young audiences know these characters and will simply enjoy the magic. That is what truly matters. All the littles in the theater seemed to be very attentive and at the end when the group started singing about their “best day ever,” Rory’s and many other soft voices joined in!

My official review is that this show delivers a wonderful musical adventure for young theatergoers. My grandson never took his eyes off the stage and as we walked to our car, he volunteered, “That was really good!”

“The SpongeBob Musical for Young Audiences” runs through April 2.

Poetry and passion ignite Next Act's 'Happiness'

By KATHERINE BEESON

I am rarely surprised in the theater. I don't mean figuring out the murderer or a secret identity. I mean being truly surprised by an incredible script. Playwright Mickle Maher accomplished this with "There is a Happiness that Morning is," Next Act Theatre's current production. 

The plot concerns two college instructors, together for 20 years and both teachers of the poetry of William Blake. The two instructors are caught making love out on the grounds of the school, in full view of students and the school's president. They are fired, with the opportunity to offer an apology before their last classes.  

Cassandra Bissell in Next Act’s “There is a Happiness That Morning is.”

These last classes are the ones that will fill the audience with amazement. Most of their monologues are presented with almost rapid-fire delivery and Maher has imbued these pronouncements with beautiful poetry; unexpected sentiments on life, love and relationships.  

Neil Brookshire (Bernard) and Cassandra Bissell (Ellen) are the exposed lovers and both do a phenomenal job capturing the character and passion of this couple. Kudos to director Mary MacDonald Kerr for a story well told. 

Neil Brookshire in Next Act’s “There is a Happiness That Morning is.”

As a final note: there is a surprise near the end of the play that brings shock and a secret revelation to the story. I won't say anymore as I want future audiences to enjoy it as much as I did. 

"There is a Happiness that Morning Is" runs through March 19.

WCT's 'Always a Bridesmaid' comedic toast to friendship

By Barbara Zaferos

Waukesha Civic Theatre is currently staging a rollicking rendition of “Always a Bridesmaid,” full of froth, foibles and frantic fun.

At the heart of the comedy are four friends from high school days who have promised to be in each other’s weddings, whatever it takes. In the case of these women, time has changed many things, but their strong friendship and willingness to travail life’s obstacles, and often funny circumstances, to keep that vow remains constant.

Written by Jessie Jones, Nicholas Hope and Jamie Wooten, the hilarity plays out on a single set depicting the bridal parlor of the fictitious Laurelton Oaks wedding venue, somewhere in Virginia, run with precision by no-nonsense Sedalia, played effectively by Carly Irland. With a cool demeanor, she makes her character’s intention clear to preserve the place’s reputation of having never lost a bride, even when resorting to a few not-so-subtle tactics.

The audience gets to know the four friends as they show up for one such occasion – Monette’s third nuptial journey. The brassy, self-absorbed Monette takes the good-natured barbs from her friends in stride as she jumps headlong into a possibly ill-conceived marriage. Anne Thelke gives the role the sass and flirtatious quality it requires, while still showing occasional glimpses of the character’s uncertain, more human side.

Michele McCawley (Deedra), from left, Lesley Grider (Libby Ruth), Anne Thelke (Monette) and Amy Bates (Charlie), seated, propose a toast in Waukesha Civic Theatre’s “Always a Bridesmaid.”

Easy humor pops up through the entire play as the clock ticks down for the bride’s entrance at the next wedding, and the one to follow, and yet another.

Under the direction of Fabrice Conte-Williamson, the cast takes the light-hearted material and runs with it. Amy Bates breathes life to her role as Charlie – a rough-around-the-edges, let-it-all-hang-out type of gal who loves to gripe. She delivers her lines with great timing and plays up some of the funniest moments in the show with gusto.

In contrast, the role of sweet Libby Ruth exudes a sunny disposition, bringing friends together and insisting everything is going to work out.

Lesley Grider shines as the hopeless romantic and kind-hearted Libby Ruth who looks on the bright side even when the others are grousing about everything from relationships and men to aging and the weather.

The fourth friend Deedra, played by Michele McCawley, got the betrayal in a marriage and the upended new relationship storyline, which turned trauma into more chuckle-worthy wedding humor.

Kari (Amber Weissert) in a scene from Waukesha Civic Theatre’s “Always a Bridesmaid.”

Amber Weissert gives off buoyant energy as the young, spirited Southern belle Kari, whose intermittent dialog as a bride delivering the toast at her own wedding between scenes is played directly to the audience. Her connection with the four friends becomes clear in the end as the cycle continues.

I liked the quirks these actors created in their characterizations, which visually also carried the unique quality of each, thanks to some funny, unexpected costume choices from scene to scene.

Sisterhood lives in this handful of women – who will no doubt hold onto their friendship kicking, screaming and giggling into each new situation. In the end, the audience is pretty sure they will keep their relationships strong and tales of their rides on the marriage-go-round intact.

“Always a Bridesmaid” will be presented through Feb. 19 at Waukesha Civic Theatre, 24 W. Main St. in Waukesha.

LCP's 'Bloody Murder' slays with surprises

By Barbara Zaferos

When it comes to staging a murder mystery the characters at the heart of it are all important. Plot twists come and go, but as an audience we need to be drawn in by the people and how the actors portray them.

In “Bloody Murder” by Ed Sala, being performed by Lake Country Players through Feb. 19, we are in on the thoughts and conversations of an array of British types gathered for a weekend of fun and games at the country estate of Lady Somerset, portrayed with aplomb by Sara Sarna.

As the audience members take their seats, 40’s music sets the mood and the interior decor is visible, putting them in the midst of the action. The intimate space of the 80-seat theater suits the small scale of the show just right.

For his story, the playwright calls for an assortment of stock characters one might expect to see including the fading actor, the innocent ingenue, a mysterious countess, faithful maid and smarmy nephew. The ensemble cast is up for the challenge.

Under the direction of Andrea Ewald, the actors dive right in to make these stereotypical folks their own through their vocal delivery, timing and body language. They each help propel the storyline in style, even though a few inconsistencies in dialect were evident.

The ensemble, for the most part, is successful in keeping focus and moving the plot along on its unforeseen path. A few instances of veering into overly cartoonish facial expressions proved distracting at times, especially with theatergoers so close to the stage.

Sarna is solid in her portrayal of the aristocratic lady of the house with lots on her mind as her weekend guests arrive and questions arise. On this particular day, when one guest is killed, Lady Sommerset doesn’t call the police but instead decides to take things in a different direction. That sets off unexpected consequences and humorous revelations of just exactly what this assortment of individuals may be hiding – and what they may be capable of.

Two of the most polar-opposite guests at the weekend meetup are The Major, portrayed by Mike Owens, and Devon Tremane, played by Bob Hurd. An initially awkward conversation between the two sets the tone of what may be to come.

Owens exhibits a sure command of his upstanding character’s boastful demeanor while Hurd makes his hard-drinking, fading actor believable.

Other cast members include Becca Richards who effectively brings out the various shades of her character, Jane the maid. Also included are Amy Wickland as Charles, Jaleesa Joy as Emma. The opening night performance featured Evelyn Ewald in the role of the Countess in red.

In a play of this genre the surprise element is essential, so this review won’t give away any zigs or zags in the plot that make this work unique.

To discover the inventive twists and hilarity that ensues, check it out at Lake Country Playhouse, 221 E. Capitol Dr., Hartland.

Go see if, as touted in the playbill, it is ”A Comedy to Die For.”

Bombshell's 'Whorehouse' promises a good time at the theater

By Katherine Beeson

“Lord, have mercy on my soul…”

 Bombshell Theater showcases the infamous Chicken Ranch in its latest production “The Best Little Whorehouse in Texas” at the side theater of Sunset Playhouse. The show is a bit bawdy, a bit rowdy and a really good time. Director Eric Welch has done a nice job. 

Most people know the popular 1982 movie with Dolly Parton, Burt Reynolds, Dom Deluise and Charles Durning. The musical opened in 1978 and is a bit different. (The film was modified as a showcase for Parton and Reynolds.) The stage version centers on the ranch and the relationship between Miss Mona and Sheriff Ed Earl is more friendship than an ongoing romance.

 Everyone does a great job, but there are real standouts. Eric Nelson is funny as TV watchdog Melvin P. Thorpe and Tim Albrechtson is great as the Governor. Both Kathryn Perry (Jewel) and Jennifer Larson (Doatsy Mae) have beautiful voices and the opportunity to show them off. The tender ballad between Robbyn Wilks (Miss Mona) and Bob Benson (Sheriff Ed Earl) pulled at the heartstrings. 

Bombshell’s dance numbers are filled with real energy; choreographer Saralynn Evenson gives us boot-stompin’ precision as the Aggie boys get ready to visit the ranch. My favorite number was the combination of the Governor’s “Sidestep” with Melvin’s “Texas Has a Whorehouse in it.”

 There are a few technical issues. It’s a smaller space and the actors do not have microphones. There is a lack of projection at times and coupled with Southern accents, makes dialogue among the girls a bit hard to understand.  

According to an announcement at the theater, “The Best Little Whorehouse in Texas” is sold out for its entire run. Bombshell’s next production is “Sunset Boulevard” in April.

First Stage's 'Rudolph' shines bright for the holidays

First Stage is ushering in the 2022 holiday season with an adaptation of the beloved classic, “Rudolph the Red-Nosed Reindeer: The Musical.”

Judging by the reactions of the children (of all ages) in the audience, this was a perfect start to Christmas! This production is conceived and directed by Jeff Frank with musical direction by Raven Dockery.

Everyone knows the story of how a deer, born with a shiny, glowing red nose, was initially shunned by almost everyone and then became a hero when Santa needed his help guiding his sleigh on Christmas Eve. Each and every character has become a classic holiday icon and this show was a complete delight to experience.

Ashley Oviedo (lower left), Tommy Novak (as Sam the Snowman), Lauren DeGroot, Lucia Harris (as Rudolph) and James Carrington (center) and cast in First Stage’s “Rudolph the Red-Nosed Reindeer: The Musical”

I want to start by complimenting the actors who made much of this theater magic possible – the talented performers, dressed from head to toe in white, who moved around the stage (and many times on the floor) to help bring a number of the characters, ranging from the tiny Dolly for Sue to the huge menacing Bumble, to life.

They blend in nicely with the white of Christmas Town and one soon forgets they are there. My grandson’s favorite part was when they manipulated the young bucks as they tried to take flight – or as he told me, “I liked when Rudolph was flying!” Fantastic job!!!

Sam, the snowman who narrates the story, is played by Tommy Novak, who is wonderful. Another standout is David Flores as Santa Claus.

Karen Estrada and David Flores in First Stage’s “Rudolph the Red-Nosed Reindeer: The Musical.”

The performance we saw featured the Gold Cast of young performers and I have no doubt that the Silver Cast was equally talented. While I can’t mention everyone by name, Lucia Harris as Rudolph, Lauren DeGroot as Clarice and Abram Nelson as Hermie were great!

First Stage is known for its excellent children’s shows and their “Rudolph” must be added to the list. The children in the audience clapped, gasped and sang along.

Wonderful job all around!

“Rudolph, the Red-Nosed Reindeer: The Musical” runs through Dec. 24.

WCT gets it right in 'Play That Goes Wrong'

By Katherine Beeson

It takes a very, very talented cast to put on a very, very terrible performance and do it with expert timing and panache. Fortunately, Waukesha Civic Theatre had such a cast in their newest production, “The

Play That Goes Wrong.” This show is simply a great and very funny night at the theater!

I can’t give you too many details as that would spoil the fun, but I can tell you that this play within a play revolves around a hapless Drama Society on its opening night of the 1920’s murder mystery “Murder at Haversham Manor.” We see stagehands darting around trying to finish the set while actors are milling around – one tardy thespian even makes his way through the audience, costume in hand! Nothing is finished; no one is ready.

This theater group is the typical “let’s put on a play” sort of local citizen troupe and the director even addresses the audience, confessing to all the past failures they have encountered. One of the leads, reminiscent of the small town talent in productions such as this, continues to break the fourth wall and takes bows every time he does something he feels is remarkable.

Mike Stickney, from left, Kally Kibitlewski, Nathan Broege, Emily Hintz, Kathryn Mooers, Jonah McGinnis, Jabril Rilley, Morgan Gates in a scene from Waukesha Civic Theatre’s “The Play That Goes Wrong.”

As the show goes on, we see just how poorly the Drama Society prepared for this show and how wonderfully Waukesha Civic enacted it!

Director Jennifer Dobby has done a simply fantastic job with this entire comedy romp!

For the audience, the fun begins before the show starts – actually, before most of them are in their seats, although I don’t believe they will realize it.

We didn’t!

This ensemble cast is phenomenal! Pay close attention to both programs to see which actor is playing the actor playing the character (or stagehand) in the “Murder at Haversham Manor” production! I’ve drawn lines in my program to try to be sure to identify the correct person but have given up – let me simply say kudos to each and every one of these actors!

On a side note, it is completely reasonable and realistic to have stagehands go the extra mile during mishaps in a production and these little bits were fantastic!

“The Play That Goes Wrong” runs through Nov. 13. Don’t miss it!!!

Sunset’s ‘Clue’ slays with its comedy

By Marilyn Jozwik

Who doesn’t remember the whodunit board game Clue with its colorful characters, eclectic murder weapons and multi-roomed mansion?

Sunset Playhouse brings the intriguing murder mystery to the stage with all of the game’s elements cleverly employed in “Clue on Stage,” based on the screenplay by Jonathan Lynn and written by Sandy Rustin. Dustin Martin directs.

The eight doors to different rooms, fast-paced humor and hijinks and a high-speed retelling of the day’s events by the butler Wadsworth (Mark Neufang) is reminiscent of Ray Cooney’s “Lend Me a Tenor.”

The ingenious set design by Matt Carr is one of the stars of the show. As each of the doors on the sides of the grand foyer at Boddy Manor opens, a nicely appointed room pulls out as characters enter — and retracts as characters leave the room — revealing all places on the board game (library, lounge, billiard room, etc.).

The characters arrive one-by-one to a grand dinner party, not knowing why they were invited. Each has a pseudonym to hide past secrets. The show is set in 1954 near Washington D.C. in the midst of the anti-Communist “Red Scare.” There are some political overtones, but mostly it’s just high-speed fun with an outstanding cast of characters that find themselves whirling through the mansion to discover the killer.

The cast of Sunset Playhouse’s “Clue on Stage”: from left, Dustin Martin, Michael Fantry, Allison Chicorel, Stephanie Demyun Smith, Nicholas Callan Haubner, Ruth Arnell, Phil Stepanski, Brittany Haut, Brandon Haut, Mark Neufang, Katie Krueger and Jim Mallmann.

These are wonderful characters, each with their own stories and motives to kill. After dinner, each guest is given a wrapped gift. Curiously, each contains a potential murder weapon – knife, gun, wrench … As the bodies pile up, blackmail is revealed, suspicions grow deeper and the hilarity mounts.

Listen carefully because there is lots of witty wordplay that the cast handles wonderfully.

Though the show seems a little sluggish early, it picks up steam soon enough, once the characters are established and the killing starts. Murder never looked so hilarious.

Neufang heads this outstanding cast with his pitch-perfect portrayal of the butler Wadsworth, who guides the manor’s guests through the madcap mystery with his proper accent and attitude that unravels into hysteria as the plot thickens.  Neufang got a huge ovation after re-enacting the day’s liquidations with breakneck speed and impeccable comic timing.

Miss Scarlet (Ruth Arnell), from left, Professor Plum (Nicholas Callan Haubner), Colonel Mustard (Phil Stepanski), Mr. Green (Brandon Haut) and Mrs. White (Brittany Haut) examine the curious gifts they received at Bodde Manor in a scene from Sunset Playhouse’s “Clue on Stage.”

I loved all the portrayals here: Ruth Arnell’s cynical femme fatale, Miss Scarlet; Stephanie Demyun Smith’s tightly wound and tipsy wife of a senator; Brittany Haut’s gloomy Mrs. White, who has left five husbands in her wake; Phil Stepanski’s clueless Colonel Mustard, who admits that he “struggles with (language) nuance”; Nicholas Callan Haubner’s effete academic, the pompous Professor Plum; Brandon Haut’s timid and clumsy Mr. Green; and Allison Chicorel’s Yvette, the sexy French maid with a faux accent and secret past. All bring more than a little something extra to their roles as they maneuver the many doors and rooms of Boddy Manor.

This cast also does a great job with the physicality that has characters dashing through doors, crawling through secret panels and synchronizing door openings. Dead bodies fall on characters, are propped up on a couch and chair, moved about and sometimes end up in amorous positions!

The three ensemble members – Katie Lynn Krueger, Jim Mallmann and Michael Fantry — add so much to the show with their small roles. I especially enjoyed Krueger’s character, who delivers a brief singing and dancing telegram. I’m still laughing just thinking about it!

This fast-paced comedy — which comes in at under 100 minutes, including intermission – will keep you guessing until the very end with its mystery and intrigue.

If you go

Who: Sunset Playhouse

What: “Clue on Stage”

When: Through Nov. 6

Where: 700 Wall Street, Elm Grove

Tickets/Info: 262-782-4430