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WISCONSIN THEATER SPOTLIGHT

  • Play Reviews 2026-27 Season
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Zalmy (A.J. Magoon), left, and Shmuel (Alex Mitchell) travel the streets of New York in their “Mitzvah Tank” seeking to reignite Jewish souls in a scene from Next Act Theatre’s “Trayf.” Photos by Michael Brosilow

Next Act’s ‘Trayf’ takes teens’ faith and friendship on a bumpy ride

September 21, 2026

By Marilyn Jozwik

Even though it’s 1991 and the two main characters are 18-year-old Orthodox Jews in NYC, there is something very timeless and universal about “Trayf,” now being presented at the Next Act Theatre. Elyse Edelman directs.

In “Trayf” (a Yiddish word meaning “forbidden” or “unkosher”), playwright Lindsay Joelle presents Zalmy (A.J. Magoon) and Shmuel (Alex Mitchell), who have taken up the banner of a popular rabbi known as Rebbe. While the trend with post-Holocaust Jews is to become assimilated, Rebbe’s message is quite the opposite, encouraging his followers to embrace their culture and reignite the spark of their Jewish souls.

With youthful exuberance and hope, Zalmy and Shmuel go all out on their mission to light up Jewish souls. They are two teenagers off on the adventure of a lifetime. They rent an RV – that they dub “Mitzvah Tank.” They believe the Messiah may be coming soon and that  performing mitzvahs – good deeds – could hasten his arrival.

Shmuel (Alex Mitchell) and Zalmy (A.J. Magoon) spot Jonathan (Lucas Prizant) on the streets of New York and decide to to take him on as a project and help him connect with his Jewish roots in a scene from Next Act Theatre’s “Trayf.” Photos by Michael Brosilow

On the RV is a banner that reads: “Zalmy and Shmuel’s Mitzvahs on the Spot, For People on the Go.” Their plan is to find Jews on the streets of New York who have neglected their Judaism and lead them back to the fold. They want “Jews to fall in love with being Jewish,” says Shmuel.

What makes this show so engaging, so funny, so thoughtful is Joelle’s expertly drawn characters and Magoon and Mitchell’s superb portrayals of Zalmy and Shmuel. They are, at heart, just kids, teenagers. As Orthodox Jews, their lives have been different from most teens. The strict rules they follow have kept them from experiencing much of what other kids do. Shmuel, in particular, plays by the book – the Torah, to be exact. When Zalmy mentions Elton John, Shmuel has no idea who he is talking about. Zalmy yearns for more freedom. He sneaks out at night just to ride with people of all kinds on the subway or to go to the theater. Shmuel is shocked, but promises not to tell Zalmy’s parents.

Their friendship is classic. They’ve known each other most of their lives and are joined at the hip, bound by their love of Judaism. Their conversations are sweet, genuine and touching, like their hilarious discussions about sex and Shmuel’s first date.

But the test of their friendship comes when they meet Jonathan (Lucas Prizant), who just found out, after his father’s death, that the father was Jewish. Since his mother was Catholic, Shmuel questions his Jewish soul.

Yet, the two friends decide to take Jonathan on as a project. Zalmy invites him to his home for Shabbat dinners, which soon becomes a habit. Zalmy is jealous of Jonathan’s freedoms – his many girlfriends, clothing options, musical interests, his job at a music store – while Jonathan yearns for the kind of closeness, values and religious traditions of Zalmy’s family. And Shmuel is jealous of Zalmy’s relationship with Jonathan, insisting, “He’s dragging you down.”

Zalmy (A.J. Magoon), foreground, finds his friendship with Shmuel (Alex Mitchell) is on thin ice in a scene from Next Act’s “Trayf.” Photos by Michael Brosilow

Zalmy starts testing boundaries of his faith, which threatens to derail his friendship with Shmuel. Their perfect friendship and the constancies in their lives are unraveling.

No one is happy, including Jonathan’s girlfriend, Leah (Rachael Zientek), who is angry at Jonathan’s new religious rituals. She decides to confront Shmuel, who tells her: “We have a saying in the community. ‘There is no love, only acts of love. Real love comes by doing.’”

Leah snaps back, “I know what it means to be Jewish … you learn that being Jewish is a liability.”  

The question becomes, can Zalmy and Shmuel’s friendship survive the crisis? Will they continue their mission? Will Jonathan’s newfound faith get him a seat in the “Tank?”

It is a wild ride, but so worth the trip, with a most heart-warming and satisfying conclusion.

Magoon and Mitchell beautifully capture the innocence, the naivete, the passions of Zalmy and Shmuel, making them such layered and likeable relatable characters. Along with Prizant’s Jonathan and Zientek’s Leah, they capture so well what is at the heart of a friendship, what is at the heart of our faith, how fragile and important they are and just how hard it is to keep both.

The audience loved the show, with much laughter as well as appreciative applause after each scene. And, as always, Next Act leaves the audience with a lot to think about.

If you go:

Who: Next Act Theatre

What: “Trayf”

When: Through Oct. 4

Where: 255 S. Water St., Milwaukee

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

World famous tenor Tito Merelli (Michael Stickney), left, gives wannabe star Max (Chris Gonyo) some performance tips in Sunset Playhouse’s “Lend Me a Tenor.”

Sunset’s ‘Lend Me a Tenor’ hits all the right comedic notes

September 14, 2026

By Marilyn Jozwik

 “Lend Me a Tenor,” Sunset Playhouse’s latest offering, is Ken Ludwig’s first of many plays, and it has become his most popular.

It’s easy to see why. It’s fast pace, visual humor, clever dialogue and farcical situations make for highly entertaining theater.

But there’s a lot that can go wrong. First and foremost, the stage must be created to high standards as it takes quite a beating from all the hijinks. It brings to mind that Nissan commercial where a guy repeatedly opens and slams the door on the car to test its durability. The same is true of “Lend Me a Tenor,” in which six doors play a huge part as entries to bathrooms, a closet and the hotel hallway, as well as a passage between two visible hotel rooms. All must perform flawlessly to keep the performers doing the same.

Sunset’s production held up to that test. But of course, people don’t come to the theater to see doors slamming.

Saunders (Jim Mallmann), left, tries to explain the evening’s confusing events to Maggie (Brigid O’Brien), Bellhop (Christopher S. Orth) and Julia (Cathy Marschall) in a scene from Sunset Playhouse.’s “Lend Me a Tenor.”

The show takes place in 1934, when a famous tenor, Tito Merelli (Michael Stickney), is scheduled to perform “Pagliacci” for the 10th anniversary of the Cleveland Grand Opera Company. The company’s general manager, the irascible Saunders (Jim Mallmann), and his meek assistant, Max (Chris Gonyo), are anxiously awaiting Merelli’s arrival for the evening’s performance as the rehearsal is just minutes away. Bullied by Saunders, Max is responsible for Merelli’s whereabouts and comfort before the show. Finally, Merelli shows up, with his fiery wife (Alexa Farrell) berating him in no uncertain terms for eating like a pig and feeling sick and being a womanizer. The Merellis’ arguments are epic, with broad gestures and thick Italian accents.

Tito Merelli as Pagliacci (Michael Stickney) shares a humorous misunderstanding with ingenue soprano Diana (Rachel Wenndt) in a scene from Sunset Playhouse’s “Lend Me a Tenor.”

Max befriends Merelli, who tutors Max in his aspirations to be a world-class tenor like himself. When Merelli seems to be indisposed for the evening’s performance, it may be Max’s chance to show just how good he is. Suddenly, there are two Pagliaccis in the hotel, and the police, as well as Max’s girlfriend, Maggie (Brigid O’Brien); ingenue soprano Diana (Rachel Wenndt); opera guild chairwoman Julia (Cathy Marshall); and a bellhop (Christopher S. Orth) are all hoping to spend time with the famous Merelli. The action is dizzying as mistaken identities lead to hilarious situations.

This ensemble cast, directed by Michael Pocaro, generally handles the fast pace and physical humor well, but there were a few pacing  and syncing issues at the performance we saw which will probably be ironed out in the future.

Gonyo is a lovable Max, who finds himself in near constant motion as he tries to balance his roles as Merelli’s keeper, Saunders’ factotum and the subject of adulation. He is totally engaged with his demanding character and the audience as the fulcrum of much of the humor.

The cast of Sunset Playhouse’s “Lend Me a Tenor”: Back, from left, Christopher S. Orth, Rachel Wenndt, Jim Mallmann, Alexa Farrell, Brigid O’Brien and Chris Gonyo; front, Cathy Marschall and Michael Stickney.

As Merelli, Stickney couldn’t be more perfect. He is so comfortable as the demanding divo, passionate about his music, a willing mentor to Max and totally bemused when another Pagliacci is in the house. He has such marvelous expressions as his evening goes completely off the rails and his Italian accent is spot on. Loved the scenes with him and Farrell’s Maria, who is effectively and hilariously over the top as Merelli’s buxom jealous wife. Definitely a scene stealer.

I also enjoyed Cathy Marschall as Julia, chairwoman of the Cleveland Opera Guild, who affects a nice British accent and breezy attitude as she finds herself in the middle of the muddle. One of the best lines in the show has Saunders saying that her outfit makes her look “like the Chrysler Building.”

A shout-out has to go to scenic designer and technical director Scott Wirtz Olsen for the set design and master carpenter Duane Bauer for building the set, which provided a hard-working, visually appealing playground for the performers, contributing to the many successful gags.

If you go:

Who: Sunset Playhouse

What: “Lend Me a Tenor”

When: Through Sept. 27

Where: 700 Wall St., Elm Grove

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

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