Village Playhouse showcases thoughtful productions at One-Act Festival

By Katherine Beeson

Village Playhouse opened its 37th One Act Festival last weekend. This festival showcases short plays by Wisconsin playwrights and provides a wonderful opportunity for writers to see their works on stage. This production runs through Aug. 21.

The three shows featured this year are very different and each is thought-provoking, yet sometimes not in the way the playwright may have intended.

Each actor in these three One Acts delivers a solid performance.

"Sing Me to Sleep" by Mike Willis involves Willie, (Paul Weir) a widowed man who recently put down his dog (the dog's ashes and a bowl of beer are lovingly placed in the yard of his country home). Willie is visited by his doctor (Morgan Gates), the son of family friends, who delivers bad news to Willie. The old man does not have long to live, and this information segues into a heartfelt discussion of why people humanely end the lives of dying animals when the same option is not readily available to them. Very touching production.

Amy Wickland, foreground, is confronted by an older version of herself, played by Karolyn Wolkos, in “Bubble in the Loop.”

The second play, "Bubble in the Loop," tells the story of a woman seated at a table who, after an explosion of lights, discovers that she is face to face with an older version of herself. They ultimately discuss time travel and who may have invented the time machine. The older woman, Natalie (Karolyn Wolkos), tells younger woman, Nat (Amy Wickland), about dreams she experienced featuring the son she never had. At this point, my mind wandered to questions about whether Nat could then change the future by having a child and other aspects of the present altering the known future. The play does not venture onto this path, but stays focused on the time machine. Either scenario might invite challenging post-show discussions.

The last play is "Family Affair," a story of a husband (Paul Weir), wife (Barbara Stigler), two teenage daughters, Quinn and Ellie (Grace Berendt and Abrielle Newman), and the ongoing troubles of dealing with Scott, the father's off-stage alcoholic brother. These four actors portray their struggling characters wonderfully.

There are a few problems with this script, however. This may have been a great first-draft, but there are many character/situation inconsistencies. For example, Quinn is away at college and avoids coming home due to her parents' constant fighting; yet later she questions her sister's desire to leave because Quinn has many pleasant memories there. (Wait -- what?) Also, we are told that the girls are dealing with fallout from their father's supporting their drunken uncle all their lives, yet the family wants to keep Scott's latest problem a secret from away-at-college, tough-cookie Quinn to "spare" her. The full reason as to why the father is constantly saving and protecting his brother before taking care of his wife and daughters is never fully explained other than to say his parents told him to do so. Little tweaks and attention to detail could have made this story much more powerful. However, this show does encourage conversations about family loyalty and obligations.

All in all, Village Playhouse delivers a great way to experience new theater.

The productions are at the Interchange Theater Co-Op (nice place with a bar) at 628 No. 10th St. Call 414-207-8749 for ticket information. Show times are 7:30 p.m. Aug. 19 and 20, and 2 p.m. Aug. 21. Any writers may submit shows for consideration for future One Acts at info@villageplayhouse.org.

The group's next full production is "Dracula" by Steven Dietz, running Nov. 4 through 12.

WA Players put an exclamation point on “1776” Declaration

When Katherine Beeson’s 20-year dream of directing “1776” came true, she didn’t need to get area performers for the musical, presented by the West Allis Players.

Instead, she has somehow resurrected the men representing the 13 colonies who signed the Declaration of Independence on July 4, 1776 for the show.

So invested are the performers in their roles you can feel the presence of their characters: their passion, their anger, their disgust, their joy, their sense of duty and commitment, their intelligence, their discomfort in the oppressive heat with buzzing flies in the room.

Joe Nolan IS John Adams. Hal Erickson IS Benjamin Franklin. Dave Jirik IS John Dickinson. Coltyn Von Deylen IS Edward Rutledge. Paul Weir IS Stephen Hopkins. Matt Hoye IS Thomas Jefferson. Robert Best IS John Hancock. And so on.

Beeson’s own emotional attachment to this show shines through each and every real-life character who risked his own life to defy the British crown and form a nation. As Ben Franklin says during the debate on independency: “We’re a new nationality; we require a new nation.”

The show provides a window into the personalities and passions of the representatives of the 13 colonies, as well as the considerable powers of persuasion they possessed, as they debate the merits of independence from England and the document written to declare their independence. These are not stodgy, one-dimensional historical cutouts. They are flesh and blood, all so well portrayed.

There are moments of levity, more than a few bawdy references, some charming tunes and light-hearted banter. But the scenes that stand out are the fiery speeches, as well as some wonderfully poignant musical moments.

In this show, most of the key action revolves around the two major proponents of independence, John Adams (Nolan), delegate from Massachusetts, and Ben Franklin (Erickson), delegate from Pennsylvania whose wit and congeniality provide a perfect counter-balance to the prickly Adams, who is called “obnoxious and disliked” by colleagues.

A more perfect pair, I couldn’t imagine. Nolan as Adams is relentless, tireless in his pursuit of independent colonies. A big plus is his pure, full voice that richly delivers several tunes and pairs nicely with his wife Abigail (Angie Rodenkirch), who converses with him throughout the show via correspondence.

Erickson’s Franklin is so spot on that one almost feels he has left his heavenly home for an earthly visit. Erickson’s Franklin has a mischievous laugh and considerable charm –  sort of “the life of the party.” He delivers the wit of America’s foremost Renaissance man with impeccable timing. His engagement with Nolan’s Adams and other characters couldn’t be better. He also proves to be a capable and engaging song and dance man.

As Dickinson, Jirik represents the most ardent supporters of King George and the crown. He chides Adams mercilessly in his tirade against independence. He ridicules Adams’ idea of the “spirit” in the colonies while there are no army, navy or other necessities of a nation. “What is so terrible about being called an Englishman?” Dickinson wonders. Jirik carries himself like a true statesman as he makes his case eloquently.

All the representatives have their moments. Some are small and effective, while others fill the room at Independence Hall with their fire. Such is the case of Von Deylen’s Edward Rutledge, the delegate from South Carolina who insists that an anti-slavery paragraph be removed from the Declaration. He spews his contempt for the hypocrisy of the northern colony delegates, many of whom own slaves themselves, in his stirring “Molasses to Rum to Slaves.” As Rutledge, Von Deylen’s anger is like a runaway freight train as he prowls throughout the hall, his well-trained voice rising and falling beautifully in passionate crescendos. A real highlight reel.

Another highlight is Ellen Therese as Martha Jefferson, who renders a charming, crystal clear “He Plays the Violin,” as she explains what it is that charms her about her husband as he embarks on writing the Declaration of Independence.

Nick Jungers is all spunk as he sings an ode to his Lee family heritage (and to “ly” adverbs) in Virginia, the oldest colony and the one to deliver the resolution for independence. Another charming bit is “The Egg,” which opens Act II, in which Adams, Jefferson and Franklin are “waiting for the egg to hatch … in this congressional incubator.”

But perhaps the most moving number is one that puts the focus on the fight in the field for independence. The song is “Momma, Look Sharp,” sung by the young courier (Abby Von Deylen, wife of Coltyn), who periodically delivers messages to the Congress from Commander Washington and others. The courier muses with the congressional custodian, Andrew McNair (Randall J. Tranowski), in the empty chamber about two friends who died in battle. Abby Von Deylen, sings the simple chant with a mesmerizing, haunting quality – with McNair joining in later -- the somber mood amplified by Zach Buehler’s lovely violin playing.

Marshall Mauney directs the nine-member orchestra, which handles Sherman Edwards’ music wonderfully and keeps a good balance with the vocalists. Sound is crisp and ample to highlight Edwards’ lyrics and Peter Stone’s book. Well-fitting period costumes and a handsome set (Paul Weir, who also delivered a fine comic performance as Stephen Hopkins), complete with four elegant chandeliers, provide the perfect palette for painting this important portrait of American history.

If you go

Who: West Allis Players

What: “1776”

When: 2 p.m. Sunday, July 24 and 31; 7:30 p.m. Friday and Saturday, July 29 and 30

Where: West Allis Central High School Auditorium, 8516 W. Lincoln Ave.

Sunset’s ‘Newsies’ makes headlines with extra, extra energy

By Marilyn Jozwik

Everybody loves an underdog story. And when those underdogs are exploited kids in New York City doing battle with big names in the corporate world, you’ve got quite the story. It’s the story of “Newsies,” Sunset Playhouse’s latest musical offering.

The year is 1899 and the city’s “papes,” as the city’s young newspaper sellers call them, are owned by Pulitzer (Jonathan R. Nass) and Hearst, who make their fortunes on the backs of homeless and other needy kids who sell their newspapers, earning barely enough to survive. When the price newsies pay for the papers goes up, their unofficial leader, Jack Kelly (Jacob Cesar), decides it’s more than the newsies can take. With the help of newcomer newsies, brothers Davey and Les Jacobs (Aaron Jackson and Nolan Zellermayer), as well as Katherine (Krista Laszewski), a sympathetic reporter (and Jack’s love interest), the kids form a de facto union and are able to broadcast their plight, getting the big shots to back down.

Director Tommy Lueck has assembled a mostly young cast of incredibly talented youngsters who fill the stage with tons of energy and verve as the ragtag newsies bring their fight right to the suits in their plush offices.

Cesar as Jack Kelly is the pivot point for the show. Besides being the go-to guy for his cohorts, Jack is the best buddy and guardian angel of Crutchie (Clayton R. Irwin), who needs a crutch to maneuver selling papes on his bum leg. Cesar nicely executes a Brooklyn accent, and embodies the spunk and passion of Jack.

But this show is all about the stirring anthems for the newsies’ cause, with heart-pounding music and sharp, athletic dancing in tunes like “Carry the Banner,” “The World Will Know,” “Seize the Day” and the tap-happy “King of New York.” This Sunset group doesn’t miss a beat and doesn’t miss any opportunity to impress in both song and dance.

The promotional material for the show shows a young newsie airborne, doing an amazing dance move. It’s not an exaggeration. The cast executes a bagful of terpsichorean tricks – ballet spins, kung fu like kicks, stage-filling cartwheels, high-flying leaps, even dancing on newspapers and a nifty paper tossing sequence – with effortless ease and incredible energy and engagement that are all impeccably synchronized.  Abby Rasmussen choreographed the show. And while the entire cast was wonderful, Amy Brandel and Mason Hanizeski added something extra to their performances.

The dancing alone would make this a great show, but there are also some musical highlights under Mark Mrozek’s direction and six-piece orchestra.

Ceci Corinne Rodriguez as Jack’s friend and vaudeville performer, Medda Larkin, delivered a rousing “That’s Rich,” even though her mike lost power in the performance we saw, while Laszewski navigated the fast-paced “Watch What Happens” beautifully and matches Cesar’s Jack nicely in song and passionate demeanor.

Ceci Corinne Rodriguez as Medda Larkin in Sunset Playhouse’s “Newsies.”

The elaborate multi-layered set provides lots of (literal) jumping off points for this dynamic group. The scene with the huge “working” printing press that produced the newsies’ own story and then their subsequent dissemination was a thrilling highlight in a show filled with extras.

If you go

Who: Sunset Playhouse

What: “Disney Newsies: The Broadway Musical”

When: Through Aug. 7

Where: 800 Elm Grove Road, Elm Grove

Tickets/Info: 262-782-4430                                                                                

Youngsters love the fun, wild ride of Bombshell's 'Chitty Chitty Bang Bang'

By Katherine Beeson

My grandson loves the movie “Chitty Chitty Bang Bang” and was my special guest when I reviewed the musical presented by Bombshell Theatre Co. at Hart Park Rotary Stage in Wauwatosa. This was his first theatrical production, and we were both very excited.

The story centers on Aractacus Potts, a widowed inventor with two children, who restores an old race car that turns out to have magical powers. (They name the auto Chitty Chitty Bang Bang when they hear the rhythmic sound it makes!) Potts encounters Truly Scrumptious, a candy heiress, when he tries to peddle his latest confectionary creation. She joins the family when trouble strikes. The valuable automobile is coveted by the royalty of Vulgaria and when the children’s grandfather (believed to be the inventor) is kidnapped by Vulgarian spies, the family goes to the rescue. They encounter a baron and baroness who ban all children and the Potts youngsters are kidnapped by the kingdom’s evil Child Catcher. Working with a clever Toy Maker, Potts and Truly are able to rescue all the town’s captured children, along with Grandfather and their beloved car.

While the cast is worth noting, I want to comment on the effect this show has on children. Besides Rory, there were many children in the audience and ALL of them were riveted to the stage for the entire show! One little girl was so taken by Truly singing “Lovely, Lonely Man” that she ran to the front of the audience area and began to dance. Rory was literally dancing in his seat during the lively “The Bombie Samba.” (After one song, he was holding his sunglasses while clapping but then decided his clapping wasn’t loud enough, so dropped the shades and continued to applaud.)

I asked Rory to tell me his favorite part and he answered, “I liked all of it.” The show is fast moving with lots of color and the car is definitely the star of the show. Rory wants to come back and see it again. (That will be possible because while the front paved area is reserved for paid ticket sales, the grassy area just behind it is a great place for lawn chairs and blankets and there is no charge!) There are plastic chairs offered, but most people brought their own.

Bombshell Theatre Co. is planning to bring a family-friendly show to Hart Park every summer and I hope they are successful. It was a wonderful production in an outdoor setting with a nearby-playground and refreshments for sale. Parking is close by.

Presenting a show outdoors does present a few challenges. Weather is a real factor (two shows had to be cancelled on a rainy Saturday and the wind attacked a few set pieces) and the passing trains contribute a loud vocal interruption (the cast cleverly adds railroad-inspired dialogue that gave the audience a chuckle). But Bombshell used very simple stage design and moved walls and furniture in and out with ease.

Director Michael Pocaro, actors Eric Welch (Potts,) Abby Urban (Truly) and the entire talented cast and crew brought magic to the park with this wonderful presentation of “Chitty Chitty Bang Bang.” One happy 5 year-old could not stop talking about it on the way home.

“Chitty Chitty Bang Bang” runs through July 2.

Waukesha Civic’s ‘Mamma Mia!’ an irresistible joy ride

By MARILYN JOZWIK

There is a song from Disney’s “Frozen” that reminds me of Waukesha Civic Theatre’s presentation of “Mamma Mia!”

That song is “Let It Go!”

I have seen “Mamma Mia!” several times, but never had I seen it not only reach so many moments of sheer joy, but so many emotional peaks as well. It was as if director and choreographer Ami Majeskie said to this talented cast and crew, “Just let it go!”

With Abba’s popular, hummable tunes as the stars along with its plucky female characters -- about-to-be-married Sophie (Courtney Denzer) and her indomitable mom Donna (Brandite Reed), a rocker turned taverna owner -- and the beautiful, romantic setting of a tiny Greek island, “Mamma Mia!” has a lot going for it.

This show has it all, and lots of it! Fabulous vocals, from soloists to ensemble; sharp, snappy, energetic dancing and effective choreography; wonderful emotive performances; colorful costumes (Lisa Quinn); even a gorgeous multi-layered, multi-niched set (Evan Crain) and creative lighting (Mike Van Dresser). This show is about as good as it gets.

The story revolves around Sophie, who is getting married to Sky (William Coleman) at her mom’s Grecian isle inn. Sophie never knew her dad, but would love to have him give her away at her wedding. After reading about her mom’s romantic adventures around the time of her probable conception in her mom’s diary, Sophie realizes her dad could be one of three men. So, unbeknownst to her mom, she invites all three – Sam (Timothy Barnes), Harry (Ernesto Bellafonte) and Bill (Michael Fantry) – to the wedding. Other guests include Sophie’s best friends Lisa and Ali (Katrina Reigh and Brittany Roux) and Donna’s friends and bandmates Tanya and Rosie (Jaclyn Janowski and Katie Lynne Krueger). Pepper and Eddie (Ryan Vanselow and Christopher Orth), fun-loving inn staff, add lots of spice to the show. While Donna is reluctantly reacquainted with her romantic past, Sophie is grappling with her genetic past and unsure of her future with Sky.

The three might-be fathers of Sophie sing “Thank You for the Music” in a scene from Waukesha Civic Theatre’s “Mamma Mia!". Pictured are, from left, Michael Fantry (Bill), Ernesto Bellafonte (Harry), Timothy J. Barnes (Sam).

The thing that stands out from early on is the music, directed by Julie Johnson. Denzer’s Sophie gets things started with her ethereal “I Have a Dream,” which displays her sweet and crystal-clear vocals as well as the beautifully balanced ensemble, whose music washed over the whole show like gentle waves on the sand.

Every soloist impressed: Reed’s Donna with her incredibly bold, emotive vocals; the lovely harmonies of Reed, Krueger and Janowski in tunes like “Dancing Queen” and “Mamma Mia!”; Bellafonte’s deep, rich tones; Coleman’s seductive “Lay All Your Love on Me”; Barnes’ forceful “S.O.S.”.

Sophie confides to her best friends about what she learned in her mom’s diary in a scene from Waukesha Civic Theatre’s “Mamma Mia!” Pictured are, from left, Katrina Reigh (Lisa), Courtney Denzer (Sophie), Brittany Roux (Ali).

The first half is simply rapid-fire energy, with super fun tunes like “Dancing Queen,” “Super Trouper,” “Honey, Honey” and “Voulez Vous” performed with verve, while Act II gets more introspective, to the heart of the story. Act II opens with the several-minute instrumental “Entr’acte” accompanied by a stage bathed in lavender with clever spot lighting, creating a mini light show.

By the middle of Act II, the audience has fallen under the spell of this cast. It starts with an intense “Knowing Me, Knowing You” with Barnes’ Sam and Reed’s Donna belting out their emotions. I love Barnes’ embellishments, and the strength and purpose in his songs, but I thought he needed to occasionally pull back to leave a little more room for Reed’s outstanding vocals in the duets.

Bellafonte and Reed’s “Our Last Summer” is a thing of beauty with their vocals melding to a rich, mellow blend. It sets the stage for Reed’s tender “Slipping through My Fingers.” In one of the show’s sweetest moments, Donna gently helps Sophie into her wedding dress as the song continues. Denzer and Reed have such a wonderful connection, especially in that scene, which prompted retrieval of tissues as sniveling could be heard throughout the audience. 

The ensemble and role players filled the stage with crisp choreography and beautiful musical blends during Waukesha Civic Theatre’s “Mamma Mia!” Pictured are, from left, Mindy Pitchford (Ensemble), Jackson Wolf (Ensemble), Brittany Roux (Ali), Micah Liss (Ensemble), Michelle Delamatter (Ensemble), Alexa Ferrell (Ensemble), Vanessa Yenor (Ensemble), Olivia Gilberto (Ensemble)

Bookending the more serious moments are Tanya’s “Does Your Mother Know” and Rosie’s “Take a Chance,” two flings at romance performed with playfulness and vigor by Janowski and Krueger, respectively.

Putting an exclamation mark on the show is the finale with the whole cast returning to the stage for a few more numbers in glitzy outfits, demonstrating once again the gorgeous music, fabulous dancing and energy that make this such an enjoyable production.

If You Go:

Who: Waukesha Civic Theatre

What: “Mamma Mia!”

When: Through June 19

Where: 264 Main St., Waukesha

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

Summit Players provide something extra for ‘Much Ado About Nothing”

By Marilyn Jozwik

Shakespeare’s comedies are perfectly suited for a relaxing summer evening outdoors. And Summit Players Theatre has honed the genre to a fine point, offering audiences top-notch entertainment for seven seasons.

This year’s offering is the sprightly “Much Ado About Nothing.” With its comical characters, language laughs and action-packed scenes, it is right in the Players’ wheelhouse.

Maureen Kilmurry directs this cast of six, who effectively and energetically don simple costume pieces, accents and postures to fill the 20-plus roles seamlessly. The troupe looked fresh and lively for the season opener outside Lalumiere Hall on the Marquette University campus. The perfect sunlit evening created a perfect setting for the show, with nearby church bells ringing during a wedding scene and birds chirping their approval from nearby trees.

Maya Danks as Don John and Caroline Norton as Conrade in a scene from Summit Players Theatre “Much Ado About Nothing.”

The story centers around the pairing of Benedick (George Lorimer), a soldier who fancies himself a sort of macho man who has no intent to marry, and Beatrice (Caroline Norton), a feminist character who also proclaims her independence, and her loathing of Benedick.

Benedick and Don Pedro (Ogunde Snelling Jr) have returned from battle and are staying at Leonato’s (Maya Danks) home as the play opens.

Benedick and Beatrice’s relationship is called “a merry war” and “skirmish of wit.” Benedick often chides Beatrice, on one occasion saying “I would my horse have the speed of your tongue.” Their wit and humor bounce merrily off each other in a way that shows a deeper connection. Their relationship reminds me of a modern-day romantic comedies in which a couple starts out seeming to dislike each other and by the end of the show are hopelessly in love.

George Lorimer as Benedick, King Hang as Claudio, Ogunde Snelling Jr as the Friar, Emma Knott as Hero and Maya Danks as Leonato in a scene from Summit Players Theatre “Much Ado About Nothing.”

In this case, neither is ready to give up their independence and marry. Says Beatrice, “I had rather hear my dog bark at a crow than a man swear he loves me.” Says her cousin, Hero, “She cannot love, she is so self-endeared.”

Norton and Lorimer are wonderful as the reluctantly in-love couple, batting barbs back and forth as fast as Serena and Venus Williams tennis balls. Lorimer is tall and lean, giving his Benedick lots of expression and big movements to punctuate the comedy. Norton, too, has wonderful comic timing and nuance to her tone to get the most out of Shakespeare’s witty words. The two also do a nice job portraying Borachio and Conrade, accomplices to Don John’s wicked plans. The scenes in which they each hide behind a bush prop to overhear other characters talking about them is a hoot.

While Beatrice and Benedick romp through the show with their light-hearted relationship, Hero (Emma Knott), Beatrice’s cousin, is wooed by Claudio (King Hang) in more traditional fashion. Knott handles the meek, staid Hero wonderfully, while transforming totally to the dim Dogberry, leader of the clownish Watch group (which also includes Hang and Snelling Jr).  With a hillbilly accent proudly spouting a slew of hilarious malaprops and exaggerated antics, Knott’s Dogberry keeps the mood light after Don John has cast doubt on Hero’s character and aims to discredit her.  Knott also lends a lovely soprano voice as Balthazar, who sings of the infidelity of men. The occasional choral music was nicely done, with guitar, ukulele and percussion accompaniments, which served to enhance the show.

Ogunde Snelling Jr as Don Pedro, Maya Danks as Leonato, Emma Knott as Hero and King Hang as Claudio in a scene from Summit Players Theatre “Much Ado About Nothing.”

Danks also has two disparate roles – Leonato and Don John -- and gives each a distinct portrayal. Leonato, Hero’s father and Beatrice’s uncle as well as host to most the gatherings, is connected to all characters. He is a reasonable man and a stickler for justice. Danks’ Don John character, just defeated in war, bitterly tries to spoil Hero and Claudio’s relationship.  

Snelling Jr has a clear, perfect-for-outdoors voice and is most engaging as Don Pedro (Don Pedro’s brother), a prince and nobleman and perhaps the most honorable character in the show, as well as the Friar. Hang’s Claudio must dial through a range of emotions as he falls in love with Hero, is tricked into believing she is unfaithful and then sorts through more trickery at the end.

There is a charming little song and dance number at the end that punctuates the joy and energy the cast has for this Shakespearean piece. The actors’ efforts were roundly appreciated by a good-sized audience on a lovely summer night.

If You Go:

Who: Summit Players Theatre

What: “Much Ado About Nothing”

When: Through Aug. 20

Where: Various state parks

Info: www.summitplayerstheatre.com

Sunset’s ‘Inspector’ examines a family’s conscience in dramatic thriller

By Marilyn Jozwik

JB Priestley is not the least bit subtle about his messages in his morality play “An Inspector Calls,” being presented by Sunset Playhouse through June 19.

In the show, the Inspector (Mark Neufang) rattles off nuggets regarding civil behavior to this well-to-do British family. “Public men have their responsibilities as well as their privileges,” he tells Arthur Birling (Martin Yates), a successful businessman and respected citizen. “We don’t live alone; we are responsible for one another,” the inspector tells the family, which includes Birling, his wife Sybil (Jenny Kozak), daughter Sheila (Miranda Hunt) and her intended, Gerald (Ryan Zierk), and son Eric (Hans Pfrang). The maid (Karolyn Wolkos)) appears occasionally.

Though set in in 1912 England, the show’s message is timeless and important, especially today when so much of our country is divided into camps.

But don’t think this show is just a long-winded sermon. Instead, it is compelling and dramatic, without a dull moment.

The family in Priestley’s play is not unlike those of today in so many ways, making it easy for playgoers to relate. Arthur Birling is arrogant and pompous, spouting his theories of the day, which include that there will be no war (England was two years away from WWI), there will be peace for decades (there were two world wars in less than 30 years), they’re building unsinkable ships (think Titanic). Everyone knows an Arthur Birling.

The ensemble cast of “An Inspector Calls” concludes the show in tableau fashion. Pictured from left are the Maid (Karolyn Wolkos), Sybil Birling (Jenny Kozek), Arthur Birling (Martin Yates), the Inspector (Mark Neufang), Sheila Birling (Miranda Hunt, Eric Birling (Hans Pfrang) and Gerald Croft (Ryan Zierk).

 The Birlings are celebrating a special family event when the Inspector arrives with some disturbing news to derail the happy day. During his interrogation, secrets are revealed and this very comfortable, proper family is suddenly confronted with improprieties and most uncomfortable information about each other.

It would be really easy for this show to slide off the rails with weak characterizations of these very strong characters. If any one of them should lose credibility, the play would slip into implausibility. As it is, the show is a taut thriller with excellent performances eliciting audible reactions from the audience, which is drawn into this family drama by the compelling layers of revelations.

Under Carol Dolphin’s direction, this cast fulfills their characters’ duties wonderfully, conveying a certain sense of entitlement in each, especially the older generation. There were a few dialogue miscues on opening night, which didn’t affect the overall show.

Neufang as the enigmatic inspector is the consummate grill master, vexing the family with his intrusions and rapid-fire questioning. Family members, whose wealth and positions in the community have sheltered them from ever questioning their moral responsibilities, call him “rude, peculiar and suspicious” and having a manner that is “severe and confident.” Arthur Birling rebukes him, saying, “I don’t like your tone.” Neufang’s performance checks off all the boxes as he confidently circles the room, targeting each family member. Like a cunning creature, Neufang’s Inspector stalks the unsuspecting family, who haughtily resent his spoiling their day even while disturbing character flaws are revealed. Neufang’s total command of the Inspector role is the fulcrum that gives the rest of the cast firm footing for their roles.

Sybil and Arthur Birling (Jenny Kozek and Martin Yates) prepare to toast their daughter Sheila (Miranda Hunt) and her intended Gerald Croft (Ryan Zierk) in a scene from Sunset Playhouse’s “An Inspector Calls.”

I especially enjoyed the performances of the younger characters in the cast, including Hunt’s Sheila and Zierk as her beau, Gerald. Their exchanges are lively and passionate, sometimes heated as facades of respectability begin to crumble. There is a really nice connection between the two and other characters that helps make the family so relatable.

As Eric, Pfrang lurks in the background until he gets trapped in the Inspector’s web. Pfrang really shines in the final scenes in which the Birlings reflect in very different ways on the faults revealed by the Inspector.  

Yates’ Arthur maintains a haughty, indignant attitude throughout, going toe-to-toe with the Inspector as he defends himself. Kozek as his wife Sybil, mirrors her husband in her displays of self-importance, and has a tone and confident posture befitting a woman of her status.

All characters handle their British accents nicely, and Michael Talaska’s set design and Matt Carr’s set construction create the Birlings’ well-appointed home convincingly.

If you go:

Who: Sunset Playhouse

What: “An Inspector Calls”

When: Through June 19

Where: 800 Elm Grove Road, Elm Grove

Tickets/Info: 262-782-4430                                                                           

Sunstone makes grand entrance with Gunderson’s ‘Exit, Pursued by a Bear’

By Marilyn Jozwik

Lauren Gunderson has been one of America’s foremost playwrights for more than a decade, the nation’s most produced playwright for two of those years.

So, you can pretty much be certain it’s going to be a good afternoon or evening at the theater if Gunderson’s name is attached to the play.

Sunstone Studios, in its inaugural season, is presenting Gunderson’s “Exit, Pursued by a Bear,” its title based on an obscure Shakespeare stage direction. Stacy Madson is making her directorial debut.

Like other Gunderson shows, “Bear” is smart, edgy, creative, hilarious and relevant. And this incredibly talented cast of four puts an exclamation point behind each of those adjectives. There is constant movement with fast-paced, snappy dialogue that is nearly a laugh a minute. I could have watched this quartet all afternoon.

Gunderson throws everything but the kitchen sink into this play, in which a rural Georgia woman exacts revenge on her abusive husband. Nan Carter (Nicole McCarty), the show’s protagonist, immediately breaks the fourth wall to talk to the audience. Clever stage directions are projected on the wall. The words of President Jimmy Carter (no relation) are often spoken, as well as Shakespeare, with numerous popular references including Anderson Cooper, Ellen Degeneres, Subway, Fox News, Susan Boyle singing “I Dreamed a Dream” from “Les Miz” on YouTube – even a really nice karaoke rendition of Jefferson Starship’s “Nothing’s Gonna Stop Us.”

In their modest backwoods home, Nan has duct-taped her husband Kyle (Jake Konrath) to a beat-up overstuffed recliner with the help of her stripper friend Sweetheart (Patrice L. Hood). Both women are Shakespeare fans and they intend to present to the bound-and-gagged Kyle a theatrical performance of his past misdeeds that have included physical and emotional abuse. In an ironic twist, Sweetheart plays Kyle in this play within a play. Later on, Nan’s gay friend Simon (Christopher Orth) arrives to lend his support to Nan’s theatrical project and plans for Kyle. Their intent is to leave Kyle there, in the chair, surrounded by bear-luring items. “Let nature in and get the hell out,” says Nan.

This cast is a finely-tuned machine, totally prepared and totally invested in this project. Their interactions flow so seamlessly, almost as if they could finish each other’s sentences. McCarty’s Nan is immediately likable with her sincerity. Her eyes are soft and imploring as she speaks to the audience. She expertly toggles through a whole range of emotions, from total defiant commitment to the Kyle comeuppance scheme to softening as he proclaims his penitence and love. “You can talk to me, baby,” Kyle tells her gently. “When you’re duct-taped to a chair we can talk,” she says, after having demonstrating his cruel misogyny. “Revenge is a core American value,” she tells the audience. Just a marvelous performance.

Hood’s Sweetheart is simply a delight to watch. Yet, when Orth’s Simon arrives in a red cheerleader’s outfit to help carry out the scheme the comedy explodes. The vengeful trio cavorts with excitement and energy as their clever plan propels them.

Meanwhile, Konrath as Kyle stays strapped to the chair, grunting his displeasure when he’s gagged, cajoling or ranting when he’s allowed to speak. Despite the fact that he’s usually seated, it is a very demanding role as Kyle is in a near constant state of agitation. Another gem of a performance.

The show is wonderfully staged, with effective set backdrops for a handful of flashbacks and well-timed sound to enhance the scenes. The cozy theater, formerly Off-the-Wall Theater’s space, provides a perfect playground for the performers to deliver this intimate show.

If you go

Who: Sunstone Studios

What: “Exit, Pursued by a Bear”

When: 2 and 7 p.m. Sunday, May 15 and 7 p.m. Monday, May 16

Where: 127 E. Wells St., Milwaukee

Info: www.sunstonestudiosmke.com

‘Steel Magnolias’ blossoms with comedy, poignancy

By Marilyn Jozwik

“Steel Magnolias” is the epitome of a chick play. After all, it’s set in a beauty salon and no place is more sacred to women than a beauty salon. That’s where secrets are shared, feelings are vented and advice freely given. Men are raked over the coals as women assume their place at the top of the gender heap and stick together through good and bad times.

Lake Country Playhouse has beautifully recreated Miss Truvy’s Beauty Spot in a fictional small town in the Deep South, where Truvy (Stephanie Demyun Smith) and her new hire Annelle (Dana Marklund) work their magic on bride-to-be Shelby (Allison Chicorel) and her mom, M’Lynn (Rebecca Richards), as well as feuding friends Clairee (Linda Alexander) and Ouiser (Cynthia Coulthurst).

The play, by Robert Harling, is based on the writer’s sister, who received a family member’s kidney just as happens in “Steel Magnolias.” The play also has special meaning for this show’s director, Sharon Jahneke, who donated a kidney to her daughter. Both were present at the performance.

“Steel Magnolias” opens on a Saturday morning (all four scenes are Saturday mornings) with Shelby preparing for her wedding along with her mother, M’Lynn.  Though suffering from a chronic illness, Shelby is fiercely independent and resentful of her mother’s constant admonishments. “I never worry because I know you worry for both of us,” Shelby tells her mom.

Clairee, whose husband, the town’s mayor, has recently died, stops in and shares recipes, wisdom and barbs, especially with Ouiser, the town grouch whose idea of a Christmas decoration is a “Keep Off the Grass” sign.

Annelle, new to town, is no match for this group in trying to keep her bad marriage and dire circumstances a secret. In no time, the others have squeezed out her story and taken her under their collective wing, where her craftiness shines (especially in some outrageous holiday outfits) and she finds herself on a satisfying spiritual journey.

The action moves to the Christmas season several months later and some surprising news from Shelby. In Act II, we see just how close this bunch has become when tragedy strikes.

Ouiser (Cynthia Coulthurst) gets an earful from Clairee (Linda Alexander) in a scene from Lake Country Playhouse’s “Steel Magnolias.

If you’ve seen the movie, it’s hard not to imagine Julia Roberts, Sally Field, Shirley MacLaine, Olympia Dukakis, Dolly Parton and Daryl Hannah in the roles. Yet, this group has created some wonderful characters that will soon make you forgot the flick with some fine comic performances. I immediately was drawn into Demyun Smith’s gregarious, jolly, likable Truvy. With a convincing Southern drawl and glass half-full attitude, Demyun Smith makes Truvy the hairdresser – and friend – we wish we all had.

Chicorel is the perfect Shelby. With her toolbox of performing skills, Chicorel gives Shelby a range of emotions and good comic timing – moody and quarrelsome with her mom, perky and chatty with salon mates, sensitive and thoughtful as she talks about her future. The tension is palpable between Shelby and her mom, expertly crafted by Richards, who delivers a moving monologue as she deals with her grief. But even in the midst of the serious moments, Clairee and Ouiser find a way to turn the mood into a charming, light-hearted scene.

Coulthurst’s Ouiser has a big personality and dominates the space she’s in with snappy one-liners.  Alexander handles the town grande dame’s wit and sarcasm nicely, though I would have liked to have seen her be a bit more assertive and animated in her role, especially in her scenes with Ouiser

Marklund is well-cast as the young Annelle who comes to town with a boatload of baggage. Her Annelle is eager to please and anxious to find a supportive family of friends in the salon.

The Thursday night predominantly female audience found lots to laugh at in the show with its fine slate of comic performances.

Some lighting and sound effect mishaps and long set changes made for some awkward moments and seemed to throw timing off a smidge for this cast. Nonetheless, this cast does a fine job creating comedy and poignancy with this timeless tale of friendship.

If you go

Who: Lake Country Playhouse

What: “Steel Magnolias”

When: Through May 22

Where: 221 E. Capitol Drive, Hartland

Info/tickets: www.lakecountryplayhousewi.org

WA Players confirm Simon's 'Rumors' is light-hearted fun

By Janet Mitchell

Neil Simon is a prolific playwright of comedies — touching comedies, crazy comedies and even truly silly comedies. He also penned a rather clever farce called “Rumors.” The West Allis Players opened this comedy on April 22 and has done a fine job. Mary Beth Topf directs this fast-moving romp.

The series of hilarious confusions and light-hearted comedy ensues after couples are invited to the house of the deputy mayor of New York City to celebrate their friends’ 10th wedding anniversary. As the show opens, we see that something has gone terribly wrong. The first couple to arrive finds the husband, Charley, incoherent with a bullet hole in his ear and the wife, Myra, nowhere to be found. The servants are gone with all the food left uncooked in the kitchen. As more couples arrive, they become co-conspirators in an attempt to get at the truth of the shooting while protecting Charley and Glenn, a guest who is running for the state senate. Rumors of possible love affairs and a car crash complicate everything. Once two police officers arrive it appears the jig is up – or is it?

Cory Klein (Ernie), Angela Wills (Claire), Scott Fudali (Lenny), Colleen Hart (Cookie) and Tanya Tranberg (Chris), from left, in a scene from West Allis Central’s “Rumors.” Photo by Kimberly Fudali

This ensemble piece works very well, for the most part, with a talented cast. (Two standouts are Tom Flanagan as police officer Welch and Scott Fudali as Lenny, who delivers an outrageous explanation/monologue for all that has happened.) The energy remains high, and these actors keep up the pace nicely. As with many farces, however, reactions must be exaggerated, and this sometimes results in female voices going so high as to be lost up in the rafters and harder to understand.

Just a warning: Simon uses some rough language which does fit the characters’ reactions to this unbelievable evening.

The West Allis Players are using a different venue than usual for “Rumors” — this show is being presented at Nathan Hale Auditorium on 117th and Lincoln. The preshow announcement says the group will return to Central Auditorium for their summer musical, “1776.”

“Rumors” runs through a matinee on May 1. Tickets can be purchased at the door.

'Camelot's' grand story fits nicely on LCP's cozy stage

By Katherine Beeson

Lake Country Playhouse and its tiny stage have successfully accomplished what few theater groups ever attempt no matter its size – they are presenting the musical “Camelot.” The show is directed by Eric Welch, with musical direction by Ashley Sprangers.

The story of “Camelot” is pretty well-known. A young man becomes king of England after pulling a sword imprisoned in a stone. He then marries the lovely Guenevere and proclaims that justice will not come about due to the spoils of war, but with brave knights sitting as equals at a round table. Lancelot du Lac comes from France to join Arthur but things don’t go quite as planned.

With the world situation as it is, hearing King Arthur’s lofty ideas about establishing a system of justice through courts and not through bloodshed become particularly poignant.

When we think of King Arthur and his world, we imagine a deep forest and a massive castle. So what does set designer Katie Meylink give to the audience? She styles flats that give us just enough of a hint of these spaces and transforms the small stage in a very imaginative way.

Thom Cauley and Anne Mollerskov, as Sir Sagramore and Guenevere, execute dance steps in a scene from Lake Country Playhouse’s “Camelot.”

Arthur is played by Danny Polaski. He does a nice job, but is a bit too meek in his portrayal of the king -- I’d like to see him a bit more regal when he makes his pronouncements. Anne Mollerskov is bewitching as Guenevere and her voice is simply beautiful. Tim Albrechtson is great as Lancelot and plays him with an intensity that shows him at war with his morals and his growing passion for Guenevere. Marcee Doherty-Elst is a convincing Mordred, using a voice in the lowest registers to convey evil and Arthurs’ impending doom. This small-cast version of the show only has eight actors and a number play multiple roles.

One disappointment: recorded music is being used here and because of the rapid tempo, the singers who deliver these phenomenal songs are unable to pause to give any real expression to the beautiful lyrics.

“Camelot” is a wonderful night at the theater. This show is rarely done and I encourage everyone to come out and experience it.

“Camelot” runs through April 10.  

Sunset's sweet, touching 'Barefoot' a great time at the theater

By Katherine Beeson

Sunset Playhouse in Elm Grove is presenting one of Neil Simon’s most beloved romantic comedies, “Barefoot in the Park.” This production is directed by Donna Daniels.

Newlyweds Corie and Paul are proving the adage that opposites attract when they marry after a brief courtship. Corie is a bit of a free spirit while Paul personifies the serious lawyer, intent on furthering his career. They take up residence on the fifth floor of a New York City brownstone in need of some rather urgent repairs.

Trouble begins when the couple interacts with the upstairs neighbor; Corie decides he would be a wonderful suitor for her widowed mother and arranges for them to meet. Nothing goes as planned and when the young couple starts to argue about it, Corie decides she wants to call off their marriage. The term barefoot in the park is an effective way she compares their differences – she wanted to have fun and actually do said walking in freezing February while her husband considers it outlandish and foolish.

Paul and Corie (played by Keith R. Smith and Angela Bolmes) really find their onstage footing as the couple starts to bicker in Act II. Before that, however, the actors are so intent on saying their lines –- and speaking them so rapidly with much over-annunciation -- that they don’t pause long enough for their characters to honestly react to what each other has said. 

Corie tries to explain her phone issues to a repairman (Joel Marinan) in a scene from Sunset Playhouse’s “Barefoot in the Park.”

Rick Richter does a nice job as neighbor Victor Velasco, the man who introduces Corie’s mother to his devil-may-care lifestyle and Joel Marinan gets his share of laughs with a brief comedic turn as the phone repairman. But the real gem is Paula Garcia as Corie’s mother, Ethel Banks. Garcia has a wonderful stage presence and does justice to this plum part. She is funny, touching and totally believable as she moves from depending on her little pink pills to taking an unexpected risk and finding, to her surprise, that she is enjoying her life.

This is a sweet, light comedy and a nice night out at the theater. “Shamma, shamma.”

“Barefoot in the Park” runs through March 30, 2022.  

Superior cast, story telling shine like the stars in WCT's 'Silent Sky'

RUN, don’t walk to see “Silent Sky” at Waukesha Civic Theater.

I honestly don’t know where to begin so I will start with the fundamentals: the playwright and the plot.

Lauren Gunderson found an amazing story in a book titled “Miss Leavitt’s Stars: The Untold Story of the Woman Who Discovered How to Measure the Universe.” She used this biography as the basis of a play that would bring astronomer Henrietta Leavitt (1868-1921) out from the shadows of scientific discovery and shine a light on just what this incredible woman accomplished. Leavitt, along with Annie Cannon and Williamina Fleming, worked at Harvard College Observatory in the early 20th century, cataloging data on Cepheid variables; certain stars that went through periods of light and darkness. Leavitt knew this data should lead to something important and eventually made discoveries that made it possible to measure the distance of a star from the Earth. She received no credit, even though this was a game-changing revelation and others, including Edwin Hubble, used her findings in their work. 

Henrietta Leavitt played by Victoria Hudziak and Peter Shaw played by Nicholas Callan Haubner in a scene from Waukesha Civic Theater’s ‘Silent Sky.’

Gunderson crafted a marvelous play that not only told Leavitt’s story, but also dramatized the many obstacles Leavitt and other women in various fields had to overcome in order to make it, in what was (and still is, in many cases,) a man’s world.

While Leavitt, Cannon and Fleming were real people, Gunderson added two fictional characters to flesh out her story: a sister who represents the pull of home and family and espouses the traditional path of wife and mother; and then, a possible love interest to remind Leavitt that opting for love and family at any point meant sacrificing her career.

Peter Shaw played by Nicholas Callan Haubner, from left, Margaret Leavitt played by Sydney Faris, Henrietta Leavitt played by Victoria Hudziak, Annie Cannon played by Kelly Simon, and Williamina Fleming played by Stephanie Demyun Smith in Waukesha Civic Theater’s ‘Silent Sky.”

The cast of “Silent Sky” was incredible. Victoria Hudziak portrayed Leavitt as straightforward in her career choice, but not unaware of the sacrifices involved. One immediately liked Leavitt due to Hudziak’s earnest, yet nuanced delivery. 

Nicholas Callan Haubner, as Peter Shaw, Leavitt’s boss and possible suitor, brings a wonderful sensitivity to this role and his performance is all the stronger because of it. Sydney Faris as Margaret Leavitt brings a directness to this part as the sister who will love Henrietta no matter where her life takes her.

Kelly Simon as Annie Cannon and Stephanie Demyun Smith as Williamina Fleming give feisty performances as the female “computers” who train and support Leavitt along her path.

Director Dustin Martin took an incredible play, added a fabulous cast and has crafted one of the best shows I have ever seen.

This review had to be long in order to give credit where credit was due, but I can sum it up in four words: Go see “Silent Sky.”

“Silent Sky” runs through February 27.

LCP finds stellar cast for touching ‘Lost in Yonkers’

By Marilyn Jozwik

In the early years of Neil Simon’s playwriting, he was best known for plays that tickled the funny bone with face-paced, witty repartee plus great characters and stories, such as “Barefoot in the Park” and “The Odd Couple.” They were popular comedies, but he was still considered somewhat of a drama lightweight.

In 1991 that all changed with the Pulitzer Prize-winning “Lost in Yonkers,” which is somewhat autobiographical. The show, Lake Country Playhouse’s latest offering, features a marvelous cast that captures Simon’s memorable characters with well-drawn performances. Lea Cornell directs.

This play is no walk in the park to perform, as family members respond to years of emotional trauma. Each role is a gem that this cast has polished brilliantly.

Eddie (Chad Novell) chats with his sister, Bella (Kasandra Novell) while Eddie’s son, Arty (Marlowe Findley), is up to some mischief in a scene from Lake Country Playhouse’s “Lost in Yonkers.”

The story centers around Grandma (Maggie Wirth), the mother of Eddie (Chad Novell), during World War II. Eddie’s wife has just died and Eddie has expended money he didn’t have to treat her cancer. To pay back his loan, he takes a job that requires him to travel around the country. The problem is, Eddie has two teenaged sons, Jay and Arty (Chance Wall and Marlowe Findley), who need a home while he’s gone, so he visits his stern mother to see if she will take the boys in for a year. Problem is, Grandma is mean and unfeeling and Eddie and his family have had little to do with her during his marriage.

To complicate matters, Eddie’s mentally challenged 35-year-old sister, Bella (Kassandra Novell), lives with Grandma and helps run the family candy store below their living quarters. And then there’s Bella and Eddie’s brother, Louie (Eric Madsen), who tries to keep one step ahead of his gangster lifestyle.

Jay and Arty are surrounded by this dysfunction during their father’s absence, opening their eyes to the unsavory sides of the family they never really knew.

It is a marvelous story of how we are shaped by family, how each child responds to his or her parents, how much children need to be loved in order to fully mature.

Jay (Chance Wall), left, and his brother Arty (Marlowe Findley) share a light moment in Lake Country Playhouse’s “Lost in Yonkers.”

It is also a story that requires really strong performances and fortunately LCP has gathered some of the best.

As Grandma, Wirth conveys the old woman’s steely demeanor. With her icy, withering stares and snappy put-downs, Wirth’s Grandma can reduce many to tears. It is only later that we see how she has tried to heal from her own heartache. Wirth is such a pro at capturing a character and her Grandma is one of the finest performances I’ve seen.

Just as captivating is Kassandra Novell’s Bella. Novell has a most difficult task of creating the childlike Bella and the needy relationship she shares with her mother and she doesn’t miss a beat. Her Bella is in a constant state of excitement, nervousness and insecurity as she prattles on, darting about, wringing her hands.  Novell’s Bella is amusing in her scatterbrained ways, yet she garners so much empathy when we see how desperately she wants to break free from her constraints.  “I have to love someone who loves me back before I die,” she implores her mother. The family scene when Bella reveals her big secret is incredibly moving and beautifully timed.    

Adding another layer to the family drama is Louie. Madsen embodies the tough-talking, unscrupulous Louie with a marvelous Brooklyn accent and unflappable swagger. He confronts his mother as a mirror image, telling her, “Just remember: Whatever I’ve accomplished in this life, you’re my partner.” Then he throws her a contemptuous kiss—one of many compelling scenes in this show.

As Jay and Arty, Wall and Findley are a delightful team, providing a lot of the humor in the show as they navigate the landmines of living with a stern, difficult grandmother and off-beat aunt.

As the boys’ father, Eddie, Chad Novell tiptoes around his crusty mother and demonstrates the qualities of a responsible dad.  Angelique Tober portrays his sister, Gert, with her odd speech pattern, in a small, but memorable role.

Dialogue coach Rebecca Richards did a wonderful job of getting just enough Brooklyn accents to create place, while Wirth’s Grandma takes on a fitting Old World accent.

Mike Cornell’s set uses every inch of the stage and appropriate props (Shannon Bader) to aptly create the old woman’s Depression-era home with good spaces for the performers.

If you go

Who: Lake Country Playhouse

What: “Lost in Yonkers”

When: Through Feb. 20

Where: 221 E Capitol Drive, Hartland

Tickets/Info: www.lakecountryplayhousewi.org

Patio Players have a ball with 'Always a Bridesmaid'

What happens when four high school girls make a solemn promise that they will serve as bridesmaids at each other’s wedding? 

The audience finds out as Falls Patio Players presents “Always a Bridesmaid.” a Jones Hope Wooten (Jessie Jones, Nicholas Hope and Jamie Wooten) comedy.  

As it turns out, these women will go through hell and high water to fulfill their group promise – no matter how many times they must rise to the occasion. While one woman found lasting happiness, the others walk down the aisle a number of times over the span of seven years. Four different nuptial scenarios occur here – one with only 24-hour notice, one with a request to wear old bridesmaids’ dresses, one with a French theme and finally, the wedding of the daughter/goddaughter of the women. The outfits worn/thrown together by these ladies serve as an integral part of the show. 

The underlying purpose of this story is to showcase the enduring friendships of these four women and kudos to director Mary Beth Topf for highlighting this important bond. 

However, this play features six talented actresses with a slightly mundane, rather predictable script from which to work. Karen Maio (Libby, the once-married woman and the mother of the young bride) has a great comedic presence and serves ably as the bridesmaid with the most common sense. Dottie Crain plays the oft-married Monette with a Golden Girls’ Blanche sensibility and is fun to watch; Jennifer Sciutti (Deedra) shrewdly approaches her character’s life situation with a take-charge attitude and Anna Marie Zorn shines as rough-around-the-edges Charlie, who initially has no intention of ever marrying. The interaction of these four women helps to get the audience over the not-really-funny parts. 

The entire play takes place in a sitting room of a wedding venue in Laurelton Oaks, Virginia, owned by Sedalia Ellicott. (Angie Rodenkirch.) Sedalia’s purpose is to be sure that the weddings take place without any problems, but doesn’t seem to notice the sartorial mishaps going on all around her. It would be easy to turn Sedalia into a caricature, but Rodenkirch makes her very believable. 

Rebecca Ruiz plays the young bride, Kari. Although she does appear with the others near the end of the play, the playwrights thought it a funny idea to feature her ongoing toast and drinking at her wedding reception (set between the long scene changes of the play) and to have her get drunker each time she appears. It adds absolutely nothing to the show, and I could not help but wonder why her devoted mother and godmothers did nothing to stop the bride from making a fool of herself – especially since they are once again serving as bridesmaids and Kari asks them to be sure she doesn’t have any champagne that day. 

“Always a Bridesmaid” is a pleasant play, if not a true laugh-out-loud comedy. It runs through Feb. 13 at North Middle School Auditorium in Menomonee Falls.

Couples stumble down the aisle in Sunset’s hilarious ‘Four Weddings and an Elvis’

By Marilyn Jozwik

Several years ago, my husband and I attended a wedding at a wedding chapel in Las Vegas. These little marriage-to-go places are as prevalent in Vegas as corner bars are in Milwaukee.

It was fun to see how Sunset Playhouse would handle its Vegas wedding chapel setting in its latest offering, “Four Weddings and an Elvis,” and the multiple couples’ stories created by Nancy Frick. Michael Pocaro directs.

They are stories filled with lots of opportunities for comedy, as Sandy (Colleen Hart), a wedding chapel proprietor for many years, helps several couples try to tie the knot – even though she herself has been married four times to the same man, Ken, who is supposed to be the chapel’s wedding officiant but is rarely sober enough to do his job.

Frick’s writing has some wonderful moments, but sometimes leaves characters onstage with little to say and do for long stretches.

Hollywood stars Vanessa (Sandra Hollander) and Bryce (Karl Miller) strike a surfing pose to emphasize the success of their well-known TV series in a scene from Sunset Playhouse’s “Four Weddings and an Elvis.”

Each of the first three of the four scenes features a couple wanting a Vegas wedding for various reasons with proprietor Sandy offering bits of wisdom to the couple. The most entertaining is Scene 3, in which Marvin (Jim Mallmann), a nerdy Nebraska postal worker, plans to marry Fiona (Tanya Tranberg), a tough ex-con he met online while she was doing time in an Arizona prison for a botched bank robbery. After arranging for her early release, Marvin drives to Vegas to get married.

Everything about this scene hits all the right comedic notes, from Tranberg’s gum-chomping, ready-for-a-fight Fiona to Mallmann’s spot-on portrayal of the dry-as-toast Marvin, who mechanically recites postal codes as easily as his own phone number. Fiona, dressed in tight-fitting black leather and festooned in tattoos, curses and flies around the room at the least provocation, but turns soft and pliant when she’s next to Marvin. Somehow, these disparate characters connect thanks to the marvelous performances of Tranberg and Mallmann. To make the scene even better, Fiona’s robbery accomplice and boyhood friend, Fist (Rob Kuhnen), appears at the wedding chapel, creating even more fireworks. Kuhnen perfectly inhabits Fist with his gangster-like mentality, meshing beautifully with the hijinks in the scene.

Frick put her best foot forward in this scene, sending the post intermission portion of the show on a fast-moving wild ride to the satisfying conclusion.

In Scene 1, we meet Sandy, who welcomes Bev (Sarah Briana Monahan) and Stan (Cory Klein) to her wedding chapel. Bev’s and Stan’s spouses have left them and plan to marry each other. In a fit of rage, Stan wants to stick it to his wife and marry Bev, who has grown quite fond of Stan, is all-in for the wedding and wants to have an Elvis theme. Sandy’s friend, John (Michael Fantry), an Elvis impersonator, arrives arrayed in sequined white bellbottoms and shirt and an overdone black pompadour to capably croon a few of the King’s tunes.

The cast of Sunset Playhouse’s “Four Weddings and an Elvis” includes, from left, standing, Bob Hirschi, Cory Klein, Michael Fantry, Jim Mallmann and Rob Kuhnen, seated, Colleen Hart, Sarah Briana Monahan, Sandra Hollander and Tanya Tranberg.

In Scene 2, two washed-up Hollywood stars, Vanessa (Sandra Hollander) and Bryce (Karl Miller), try to infuse life into their dying careers by getting married. They swoosh into the wedding chapel like a mighty wind, expounding their career highlights and striking arrogant poses to an unseen audience. When Sandy is unable to get her usual officiant, over-the-hill Elvis impersonator Lou (Bob Hirschi) fills in, much to the dismay of the vain couple.

I enjoyed all the portrayals in these scenes and the snappy repartee of the characters, who all come together for a very special wedding at the end.

Enhancing the show is Matt Carr’s set, awash in red and hearts, looking like a Valentine’s Day party about to take place. A perfect setting for all the couples’ shenanigans.

If you go

Who: Sunset Playhouse

What: “Four Weddings and an Elvis”

When: Through Feb. 6

Where: 700 Wall St., Elm Grove

Tickets/Info: 262-782-4430

MEG’s ‘Diary of Anne Frank’ surrounds audience with poignant story

By Marilyn Jozwik

There are so many wonderful moments in MEG’s “The Diary of Anne Frank,” directed by Reva Fox.

For starters, let’s go to the end. That’s when Randall T. Anderson as Anne’s father, Otto, returns to the secret annex in Amsterdam where the Frank family and several other Jews hid from Nazis for more than two years during World War II. In a wonderfully portrayed, emotional scene, Anderson pours out all his character’s feelings about the ordeal that left him the only survivor among the hideout’s eight occupants.

To get to that poignant ending, theatergoers travel an incredible journey with this exceptional cast. It is a journey that helps us understand the characters thrust together by the terrible circumstances of their time as seen through the eyes of Anne Frank, a girl of middle school age. This diverse group dials through myriad emotions during its confinement: frustration, anguish, joy, hope, desperation. And this cast taps into all of these so well.

Zaela Schlissel, a freshman at Kettle Moraine High School, fills Anne’s shoes perfectly, capturing the roller coaster of emotions that embody the plucky youngster, trapped like a bird in a cage, unable to spread her wings in the prime of her youth. Her Anne is lively, curious and outspoken, yet sometimes fearful and impertinent, as she tries to deal with her changing being and strange housemates. The three-years-older son of the Van Daans (Maggie Marks and Joel Dresang), Peter, who with his parents has joined the Franks in the annex, compares her constant chatter to a quacking duck. Anne and Peter’s relationship is a sweet respite from the bickering adults, who sometimes display the worst of their characters. Madeleine Craig, who played the role of Peter as the understudy, was marvelous as the shy teen who grows fond of Anne, bringing light to their dark days.

Anne Frank (Zaela Schlissel) shares a tender moment with her father (Randall T. Anderson) in a scene from Milwaukee Entertainment Group’s “The Diary of Anne Frank.”

Ella Curan strikes the right tone as Margot, the dutiful older sister of Anne, who, unlike Anne, is quiet and respectful, her mother’s favorite. Anne is much closer to her father and often does verbal battle with her mother (Pam Scheferman).

I also loved the portrayal of Marks as Mrs. Van Daan. Her relationship with her husband (Dresang) is volatile as they bicker constantly with each other and the others. Yet, in perhaps the most tender scene of the show – and one that shows how much they rely on each other for emotional strength – Mrs. Van Daan gently comforts her husband after he has been roundly chastised for stealing some bread from the group’s rations. With his head on her shoulder, she promises him, “If you’re hungry, just hold on to me.”

Another favorite scene shows Marks’ Mrs. Van Daan pleading desperately and defiantly with her husband, who needs to sell the fur coat her father gave her, the last vestige of her once-comfortable life, as their funds are steadily dwindling. The whole group had just enjoyed a piece of spice cake brought to them by their protectors, Miep Gies (Gabriella Ashlin) and Mr. Kraler (Chris Braunschweig). The room grows silent with the realization that the last of their comforts will soon disappear. The only sound is that of the difficult Mr. Dussel (Nate Press), a dentist who has lately joined the group, eagerly scraping his plate of cake crumbs, oblivious to the mood around him.

The eight occupants of the annex hideout gather in the main room in a scene from Milwaukee Entertainment Group’s “The Diary of Anne Frank.”

MEG’s basement theater at the Brumder Mansion proves an ideal setting for the story. Well-costumed characters occupy spaces all around the audience, spaces that are prop appropriate and nicely lit. While the main stage contains the kitchen table and main meeting area, just to the audience’s left is Anne and her sister Margot’s room. Later, Mr. Dussel joins Anne in her room, an untenable situation for both, while Margot joins her parents in theirs. To the right of the audience is a door used for the water closet, a place that causes much consternation since it can’t be used during the hours the factory below them is operating. The large Brumder basement also creates a good space for Peter’s attic room, which the boy shares with his cat. Plus, the 1910 building contains the right kind of ambience for the 1940s show.

This is the third production I’ve seen of this play over the years, and perhaps the finest as far as cast and staging.

If you go:

Who: Milwaukee Entertainment Group

What: “The Diary of Anne Frank”

When: Through Jan. 22

Where: Brumder Mansion, 3046 W. Wisconsin Ave.

Tickets: 414-388-9104

Bombshell Theatre marches in with a fabulous 'Funny Girl'

By Katherine Beeson

Fanny Brice, a rubber-faced comedienne of the vaudeville era, would be completely lost to today’s audiences had it not been for her son-in-law, producer Ray Stark. Stark took a biography of Brice and, with musician Jule Styne and lyricist Bob Merrill, turned it into stage gold.

That golden glow continues to shine brightly on Bombshell Theatre Co. and its production of “Funny Girl.”

The plot is well-known. Fanny, a Jewish girl from New York, becomes a comedic success when hired by vaudeville showman Florenz Ziegfeld. She meets and marries Nicky Arnstein, a sophisticated gambler with a shady past and an uncertain future. They attempt to weather their storm of a marriage as Fanny’s star rises while Nicky’s prospects plummet.

Bryanna VanCaster truly embodies the spirit of Fanny Brice and is wonderful. Her mugging and comedic moves are spot on. VanCaster also allows Fanny’s vulnerability to peek through when she tries to hide behind her stage bravado during her personal life collapse. Although VanCaster has no chance to really belt out any songs (“My Man” does not appear in the stage version), she does get to deliver a strong ending to “Don’t Rain on My Parade.”

Eric Welch is perfect as Nicky Arnstein. He is suave, smooth and charming as the mysterious man who sweeps into Fanny’s life. Welch keeps Arnstein tightly in check and never lets the gambler’s polished facade crack as he deals with his dwindling fortunes. Welch does double-duty here; he is also the “Funny Girl” director.

I absolutely loved Tim Albrechtson as Eddie Ryan, a friend and early supporter of Fanny who remains close to the family. His energy and accent are great. Other actors deserving of mention are Marcee Doherty-Elst as Mrs. Brice and Glenn Villa as the impresario Ziegfeld. Kudos also to choreographer SaraLynn Evenson and music director Julie Johnson. Recorded music is used during the show.

Bryanna VanCaster and Eric Welch in Bombshell Theatre Company’s “Funny Girl.”

The set itself is beyond clever. Designed by Katie Meylink, this small thrust stage, with no back space or wing space, was transformed into a huge train station, a cozy bar and a sprawling mansion by use of an upstage screen and computer images of each scene. Set pieces are placed and taken off with almost choreographic precision and give a three-dimensional effect to the photo shown. I’ve never seen anything like thi,s and it was amazingly effective.

Costuming is a bit uneven. The principals and dancers are lovely in period pieces, but the supporting actors seem to fade a little in generic outfits.

This stage version is different from the movie most people know. Well-known songs such as “People,” “I’m the Greatest Star” and “His Love Makes Me Beautiful” are here, but there are many songs dealing with vaudeville rehearsals or emotional moments that, while entertaining, didn’t make the transition to the silver screen. (As I mentioned, “My Man” does not appear in the stage version and the song “Funny Girl” was only added to the show’s later revival.)

This is Bombshell Theatre Co.’s first production and if “Funny Girl” is any indication, nobody will be raining on its parade anytime soon.

“Funny Girl” runs through January 16 at Sunset Playhouse’s Maria Eichmann Studio Theater in Elm Grove.

Forte’s ‘Miracle on 34th Street’ a festive holiday musical

By Marilyn Jozwik

Forte Theatre Co. is taking audiences back in time to Dec. 24, 1947, to the fictional radio station studio WFTC in Milwaukee. The occasion is a presentation of “Miracle on 34th Street,” the beloved Christmas classic that gets everyone believing in the spirit of the season. The show is adapted from the 1947 Lux Radio Hour Broadcast by Lance Arthur Smith. Randall Dodge directs.

Complete with flashing “Applause” and “On Air” signs above the stage, three large clocks on the back wall -- showing the correct times in three different parts of the country -- and standing microphones, “Miracle on 34th Street: A Live Musical Radio Play” gives the audience a taste of live radio back in the day. It is a fun family ride from start to finish with great music, marvelous performances and a wonderful holiday message for all ages.

Several performers play a variety of roles, slipping in and out of characters as easily as an old pair of slippers. The musical follows the familiar story of the single mom, Doris (Leah Gawel), a Macy’s employee, who falls for her handsome neighbor, Fred (Joey Chelius), an attorney. Doris considers herself practical and sensible and teaches her young daughter, Susan (Layla Katers), not to believe in fantasies like Santa Claus. Fred sees no harm in such delights of childhood and helps the old man who claims to be Kris Kringle (Robert A. Zimmerman) keep his job as Santa Claus at Macy’s (King Hang plays Mr. Macy), while Doris almost has him fired. The story takes the jolly Kris to an inept psychiatrist and a courtroom where a plan Fred and Doris devised saves Kris and helps bring a family together at Christmastime.

Robert A. Zimmerman as Kris Kringle in Forte Theatre Company’s “Miracle on 34th Street: A Live Musical Radio Play.”

What I loved about this show is the music and the expressive, high-spirited and light-hearted performances. Ryan Cappleman gets the show started in fine fashion as the announcer -- introducing all the performers in the radio show -- and then proceeds to the piano where he beautifully performs Jon Lorenz’s music, plus doing his announcer duties and playing other characters.  Justin Hall handles a variety of instruments and sound effects as the Foley Artist.

Lorenz’s music takes many well-known holiday tunes and gives them clever, jazzy remakes, such as “Jazzy King Wenceslas” “Jingle Mashup,” “Rest Ye Merry Gents” and “Jazzy Halls.” Also included are several of Lorenz’s lovely original tunes. This cast offers first rate vocals and lots of Andrews Sisters type harmonies in this high-spirited production. The Friday night audience appreciated the energy, providing lots of applause even when the sign wasn’t lit! 

The audience loved the fresh music, especially “You Better Watch Out!” a fun “Santa Claus is Coming to Town” spinoff by the whole cast, and “Don’t Let Us Down,” featuring Chelius and Zimmerman. As Susan, the 10-year-old Katers sang a delightful “I Believe in You” that was a big hit with the audience.

Layla Katers plays Susan in Forte Theatre Company’s “Miracle on 34th Street: A Live Musical Radio Play.”

Zimmerman has the perfect look and demeanor for the Kris Kringle role. I really enjoyed the scene where Kris teaches Susan how to make believe they are monkeys. So charming.

Chelius segues from the laid-back Fred to the tightly-wound psychologist Dr. Sawyer to other characters with ease, while Gawel nicely toggles from practical Doris to other roles – including a little boy. Eiche and Hang also give distinct personas to their characters. Katers plays the precocious Susan with lots of spunk and energy, especially when she whirls around her potential new home.

The show is a fast-paced 90 minutes with no intermission. Exits in the rear of the theater make it easy for youngsters of all ages to slip out for a bathroom break, if needed.

If you go:

Who: Forte Theatre Company

What: “Miracle on 34th Street”

When:  Wednesday, December 22nd @ 7:30 pm; Thursday, December 23rd @ 7:30 pm; Friday, December 24th @ 12 pm

Where: The Fine Arts Center at Martin Luther High School, 5201 S.76th St., Greendale

Info/Tickets: www.fortetheatrecompany.org; (414) 366-3634 or email tickets@fortetheatrecompany.org

WCT’s ‘Sister Act’ a special gift for the holidays

By Marilyn Jozwik

“Sister Act,” Waukesha Civic Theatre’s holiday production, is a perfect celebration for the season of joy. With its diva singer, frolicking nuns, gangster characters and hummable tunes, it is pure entertainment from start to finish.

But WCT has added a very special ingredient to this holiday dish: heart and soul. I actually felt myself tearing up at several of the songs. They were sung with so much emotion, which is quite a feat in a show that could easily be enjoyed for its hijinks, music and spunky, spicy main character alone.

The story is similar to the one in the popular Whoopie Goldberg movie. Deloris, a singer on the rise, has witnessed a murder by her gangster boyfriend (David Kaye), who fears she’ll turn him in to the cops. So, he and his henchmen (Thomas Hess, Don Lambert, Christopher Orth, Jacob Regenfelder) try to hunt her down so he can keep her from talking – permanently. To protect her from the thugs, Eddie, the detective on the case who had a thing for Deloris in high school, takes her to a convent where she dons a habit and turns the hapless nun choir into a slick production that brings churchgoers – and cash – in large numbers to the struggling parish. Monsignor O’Hara, (a playful, Irish-brogued Ralph Garcia) loves the increasing membership of his flock and the end to money trouble, but the convent’s Mother Superior (Paula Garcia) finds the worldly Deloris a bad influence on her pious charges and prays to find a way to have her removed. The push-pull between Deloris and Mother Superior is wonderfully crafted by these two multi-talented actresses.

The final scenes are just a rollicking good time as the nuns chase – and are chased – by the gangsters – throughout the church, wielding some unorthodox weapons as the bad guys get their comeuppance.

I don’t even know where to start, I enjoyed this Mark E. Schuster-directed show so much. I’ll begin with Patrice L. Hood as Deloris. Hood had the role from Dec. 10 to 12 (I attended the Dec. 11 matinee), while Ashley Levells-Riemer had the role for the first and third weekends. Hood is invested in this role, effortless and real, making it easy to love her colorful character and her nun “sisters.” She belts out tunes like “Take Me to Heaven” and “Fabulous Baby!” in Vegas-revue style, but gets into a sweet reverie in the title tune “Sister Act,” in a wonderful scene that sees Deloris wrestling with two very different life choices.

Deloris as Sister Mary Clarence (Ashley Levells-Riemer) leads the sisters in a rousing number in a scene from Waukesha Civic Theatre’s “Sister Act.” Also pictured, from left, are Anna LaPean, Sandra Hollander (Sister Mary Martin of Tours), Jaclyn Janowski (Sister Mary Patrick), Teri Bergendahl, Ann Lambert.

Making Hood’s Deloris even more delicious to watch is the absolutely spot-on portrayal of Mother Superior by Paula Garcia, who sets the perfect tone for the conflict between the two with her no-nonsense acting and lovely, heartfelt vocals on “Here Within These Walls.” Her rendition of “I Haven’t Got a Prayer” is a thing of beauty with its artful pauses and dynamics during Mother Superior’s faith crisis.

Eddie (Ernest Bell) sings a soulful “I Could Be That Guy” in a scene from Waukesha Civic Theatre’s “Sister Act.”

But the tune that really brings down the house is Ernest Bell’s soulful “I Could Be That Guy” as Eddie, who mulls how he can change his “Sweaty Eddie” image to be the love of Deloris’s life. Just a gorgeous piece of music.

And not to be forgotten is Alexa Farrell’s Sister Mary Robert singing “The Life I Never Led,” as the young postulant breaks out of a life of denial to assert herself. Farrell injects much passion into the tune that helps set the tone for the show’s finale.

I loved the nun choir, especially Mary Wadina’s Sister Mary Lazarus and her feisty rap tunes and Sarah Brown’s Sister Mary Patrick (Jaclyn Janowski handled the first and third weekends) and the extra verve and energy she brought to the role. All wore well-fitting outfits to look like real nuns, and not costumed performers (until they started adding glitzy embellishments), executed flawlessly the many movements – choreographed by Ami Majeskie – and carried the music nicely. Plus, they were just plain fun to watch.

Monsignor O’Hara (Ralph Garcia) and Mother Superior (Paula Garcia) meets with the sister in a scene from Waukesha Civic Theatre’s “Sister Act.” Also pictured are, from left, Silas Knerler, Sandra Hollander (Sister Mary Martin of Tours) and Jaclyn Janowski (Sister Mary Patrick).

The nine-piece orchestra under music director and keyboardist Julie Johnson kept a spritely pace throughout whole show, with a good balance between vocals and orchestra. Simple set pieces made for swift scene changes and meant the focus was squarely on all the wonderful performers.

If you go:

Who: Waukesha Civic Theatre

What: “Sister Act”

When: Through Dec. 19

Where: 264 W. Main St., Waukesha

Info/Tickets: (262) 547-0708; waukeshacivictheatre.org