First Stage Production Shows the Perils of Virtual Programming

Milwaukee’s First Stage theater company is one of the great companies for young people in the world. Artists from all over use the First Stage model when trying to create family friendly theater companies.

As a city, we are lucky to have First Stage around. Their professional productions provide work for a variety of adult artists and for young people beginning their lives in the world of theater. I am always pleased and excited with each each and every production at the Marcus Center.

But the current production of “She Kills Monsters: Virtual Realms” is a vivid example of the difficulties performing plays online. Simply put, this effort falls flat and it’s hard to figure out where the problems reside.

The play, written by Qui Nguyen, was originally intended as an adult comedy-drama about a woman named Agnes Evans whose parents and sister Tilly were killed in an automobile accident. The drama revolves around Agnes playing a Dungeons and Dragons module that Tilly had created.

It had its debut almost 10 years ago in New York and also enjoyed a run at Steppenwolf in Chicago. There is a version of the play intended for young audiences, and this is the one First Stage used. It removes almost all the explicit language and soft-pedals some of the focus on Tilly’s sexuality. It also turns Agnes from a grown woman into a high school cheerleader.

That version has been widely produced around the world, especially at the high school level and it has been successful, but the First Stage production has come up empty.

Directed by Coltyn Giltner, the play is missing the kind of interaction between characters that is at the heart of live theater. Instead of a story that invites the audience in, this is really a flat and unimaginative recitation of lines from a play by characters bound by Zoom boxes and a convoluted story.

One thing clearly obviously missing is any sense that these characters are talking to each other. For some reason, every time a character speaks, that character is looking straight ahead at the camera. The only way that dialogue can seem close to realistic is to have actors look in a designated direction, and the other actor look in the opposite direction.

Otherwise what we are left with is something less than even a staged reading. It is more like a recitation and it left me feeling so empty. The run of “The Quest for Solomon’s Treasure,” written by John MacLay, is coming to an end, but it was head and shoulders above Monster for the kind of communication that is the backbone of any theatrical production.

Let’s hope that First Stage soon gets back on a real stage.

Conversations: Jim Pickering and Tami Workentin

Milwaukee and Wisconsin are home to dozens and dozens of wonderful theater artists, some who appear on stage and others who work behind the scenes.

Each of them has a set of skills and experiences that bring so much enjoyment into our lives. These conversations are designed to get to know them a little better and get to know about those things that make their work so memorable.


Vritual Theater Earns Its Spurs With Sklight’s Delightful “Earnest”

Many theater companies have tried too cope with the pandemic by creating theater virtually.

And I must confess that I’ve avoided all of it, mainly because I so relish a night in a real theater with a real stage and real lights and real music and real actors and real seats and real cookies at intermissions. 

Boy, what I’ve been missing.

I put a tentative toe into the virtual theater water with “Being Earnest,” produced by Skyllight Music Theater. 

I should have known that when creative people put their talents to work in new and untried ways they would triumph over all the boulders and barriers in their way.

This production of a piquant take on the classic Oscar Wilde play is so much fun, so very real and so smart that the 100 minutes flew by and – unlike a real night in the theater – I immediately watched the whole thing again. 

Directed by Michael Unger, the Artistic Director at Skylight, the show featurs a cast of seven and some of the most delightful and clever songs you’ve ever heard.

It was about eight years ago that this production, with book by Paul Gordon and music by Mr. Gordon and Jay Gruska, had its premiere. It was designed as a production of the 1960’s, set in London’s Carnaby Street, a bastion of off beat culture that featured distinctive styles in clothing, music and morals.

For those of us in the United States, this production from Sklylight resembles nothing so much as the pioneering television show “Laugh-In.”

The performance is conducted in a socially distanced manner, with characters appearing in boxes that move around the screen, change colors, morph into other boxes, switch characters, show still pictures and dance – as the saying goes – like no one is watching.

Everybody knows the story of the play by Mr. Wilde. It’s about two young couples in love, complete with misplaced identities, conventions of high society and an overbearing mother, Lady Bracknell, one of the most memorable characters in the history of modern theater.

Mr. Unger has taken this cast of all local performers and turned each one into a finely-drawn character pulling the strings of our hearts as each tickles our souls. 

The dynamic duo of Max Pink and Joey Chelius are the young men while Stephanie Stazak and Ashley Oveido are the two young women caught up in the wild affair. 

They are joined “onstage’ by Nathan Marinan who plays Lady Bracknell with a gusto that shocks,the laways delightful Karen Estrada as the prim and not always proper Miss Prism and the versatile Tim Rebers as three distinct characters. 

A special mention has to be made of Tyler Milliron who gets billing as video consultant. I’m not sure what that is, but the video work putting this whole thing together is amazing. It moves along at a perfect pace, quickly enough to move the story along but patiently enough so that we can savor each moment on the screen. 

I also have to say something about Mr. Pink, the Shorewood High School graduate who is recently returned to Milwaukee from theRoyal Conversavatoire in Scotland. He is the son of Michael Pink, Artistic Director of the Milwaukee Ballet, and his wife, Jane. Max Pink is a remarkably handsome young man, taking after his stunning mother, and very talented, taking after his brilliant father. 

I am thrilled that I finally caved in to move to the virtual theater and now intend to travel the breadth of Milwaukee’s creative community, enjoying each and every moment.

Production Credits:  Director, Michael Unger; Music Director, Conor Keelan; Choreographe,  Amanda Marquardt; Costume Coordinator,  Shima Orans;

Video Consultant,  Tyler Milliron; Stage Manager,  Samantha Pekelnicky.

Oh My, How I Miss Live Theater in Milwaukee.

The last time I actually sat in a darkened theater and watched action on a brightly lit stage only a few yards from my seat was in February of 2020.

It was the magnificent confines of the Cabot Theatre and Skylight Music Theatre was staging a startlingly funny production of “The 25th Annual Putnam County Spelling Bee.” With the always marvelous Samantha Sostarich leading the way this wispy little musical had a capacity crowd rocking and rolling in seats all night long. Sitting in the audience was Michael Unger, the new artistic director of Skylight and, coincidentally, a co-director of the world premiere of “Spelling Bee.”

Little did I know then that this was the end of the road for all the joy I always felt when walking into a theater, tickets clutched in one hand, a program in the other. Yes, theater was work, but it was more fun than anything else I’d ever done in my life.

In the early days of the pandemic I, like everyone else, was wrapped up in how to get along. Was I washing my hands enough. Oh, God, I think I just touched my face. How far was six feet, really? But now life in the pandemic has become the new normal and I exist in a world with no live theater. Here is some of what I miss.

Mark Clements and The Rep. He has a touch with the big musical that is truly world class. I’ve seen “Man of La Mancha” and “West Side Story” countless times, and his productions of those two shows were as good as any I’ve ever seen anywhere, including New York, Chicago and Philadelphia productions. Mr. Clements is in his 10th year and he and Executive Director Chad Bauman have led a transformation of The Rep into an active and vital player in the social structure of the city. The Rep uses its three theaters and skilled and experienced human capital in a serious effort to expand opportunities for underserved populations both as parts of production teams and as members of the audience. The Rep has produced a lot of virtual content that’s on its website, and much of it is fascinating. But nothing matches a live evening in the Quadracci.

Speaking of music, I truly miss the Skylight Music Theatre and it’s new artistic director, Mr. Unger. He was kind of just getting his feet wet when the Coronavirus came along and he barely missed a step as he pivoted to deliver content virtually. Intelligent discussions and delightful music is available on their website, but again, I miss sitting in the Cabot laughing, crying, holding my breath and humming along with yet another great Skylight production.  Mr. Unger promises a new era for Skylight, continuing to pay homage to the classic musicals that have been the backbone of the company but being more aggressive in producing new and rarely produced works. In addition, Mr. Unger has hired the multi-talented Susan Varela as Director of Artistic Operations. Ms. Varela has a distinguished history on stages the world over and will bring a needed dose of sophistication to productions.

I miss every single thing about the tiny Milwaukee Opera Theatre. The company, founded and guided by Jill Anna Ponasik, has delivered – year after year – some of the most memorable and creative productions I’ve seen on a stage anywhere in this world. She staged a one-person show about a monkey, a show in a bookstore that was about friendship,  two spectacular collaborations with Wild Space Dance Company, one about a wedding sung entirely in Serbian and the other the story of a little-known Swiss woman who led a life of unparalleled adventure. Every single time I walk into the a space somewhere I am filled with anticipation of being moved in ways both new and profound. I am almost never disappointed.

Milwaukee Chamber Theatre has been one of the most reliable companies in town for almost half a century. C. Michael Wright who has nurtured and guided the company for 15 years has retired and he has been replaced by Brent Hazelton. Mr. Wright’s work was always distinctive and  sure. He not only programmed the seasons but he directed and acted as well and left big shoes to fill. Mr. Hazelton is a smart and adventurous artist and I can hardly wait to see what he does at Chamber. The promise is tantalizing.

On an annual basis, David Cecsarini produces some of the most provocative and emotionally charged shows in Milwaukee. There is nothing he is afraid to take on and his examinations of societal institution and human condition are the stuff that makes great theatre. Shows like “Twilight: Los Angeles” and “Bravo, Caruso” deliver on the promise that if you watch you will feel the joys and the pains, the dreams and nightmares and the fears and hopes of life in America. Mr. Cecsarini has been the shepherd of Next Act for 30 years and I miss everything about his work, including the great oatmeal raisin cookies they sell in the lobby.

Speaking of Next Act, Renaissance Theaterworks has moved out of the Broadway Theatre Center and into the space at Next Act on Water Street. Renaissance is “theatre by women for everyone” and has built an enviable record of opening up positions, on stage and off, for underserved populations, especially women. But it is not a company that has ever sacrificed quality on the alter of equality. A prime example is “The Ballad of Emmitt Till” which was as searing and profound an examination of race in America that I’ve ever seen in Milwaukee. I’m fascinated by the opportunities open for Renaissance under the artistic guidance of Suzan Fete who has a bold spirit that is often full of surprises.

I also deeply miss the world class family theater at First Stage. I don’t use the phrase “world class” lightly, but it is fitting for First Stage. Under the guidance of Jeff Frank , this company always delivers top flight theater to be enjoyed by adults and children. Shows like “Luchadora” by Milwaukee’s Alvaro Saar Rios, show the reach and high level production values you always get at Firs Stage. Theater officials from around the world come to Milwaukee to see how First Stage does all of its magic, both onstage and off. Milwaukee is a much richer place with the annual hard work and brilliance always on display at the company.

I also miss the smaller companies, many of which struggle for survival but who manage to deliver such high quality work that  I find myself hoping that they make it to the next week. Places like Dale Gutzman’s Off the Wall Theatre and the kids at All In Productions always reach for the starts. Sometimes they strike out but occasionally they hit grand slam homers and it’s always worth waiting for those nights.

Some smaller companies also find strength in collaboration, like Theatre Red which collaborated with Wisconsin Lutheran College for a brilliant production of the equally brilliant “Bonny Anne Bonny” by Milwaukee’s Liz Shipe.

I know this whole column is a look back at why I miss all this theatre, but my hope is that we can all look forward to what is coming. Most of these companies have a variety of virtual entertainment going on and I encourage everyone to check out their websites.

But nothing replaces a night at the theatre and I can hardly wait for a combination of Biden, masks, vaccines and prayer to coalesce and open up those doors and turn on those footlights once again.

Skylight’s “Spelling Bee” a warm and wispy night of high hopes on musical parade

Samantha Sostarich surrounded by her spelling bee wanna bees.

No matter what kind of game you are playing or watching, the rhythm normally follows a predictable pattern.

Play football or basketball, Monopoly, bridge, golf, Fortnite or Call of Duty, dominoes, Saturday morning soccer, Trivial Pursuit – it’s always the same.

Fun and cheerful in the early going and then, when victory or defeat are rubbing elbows, things get serious and tense and even a little uncomfortable.

It’s even the same thing in a middle school spelling bee, as evidenced by the production of “The 25th Annual Putnam County Spelling Bee,” the wispy little musical that opened over the weekend at Skylight Music Theatre.

Under the watchful eye of Rona Lisa Peretti, a hot shot real estate salesperson and former Bee champion, a collection of socially awkward misfits gather for their chance – a lonely chance – at a brass ring that has eluded them everywhere else in their lives.

Like reality, the first act of this show is one joy-filled laugh after another, full of wonderful songs and laughs galore. The second act is less joyful, indeed it has elements of sadness and pain that are a dramatic counterpoint to the first part of the play. 

It all adds up to an evening of mixed emotion for those of us in the audience.  At intermission everyone had a smile and a chuckle. On the way out of the theater it was noticeably more quiet. 

Director and Choreographer Brian Cowing gave plenty of room for his talented cast of actors to do what they do best – pull every laugh out of every joke and situation all evening long. He kept things moving along and threw in dashes of limited but spirited choreography that was skillful.

The strongest thing Mr. Cowing has going for him is a cast full of actors, singers and (even) dancers who are as delightful as can be.

The cast is led by Samantha Sostarich who plays Ms. Peretti, the lady who runs the spelling bee. Ms. Sostarich introduces the story, the players and just about everything else with the kind of aplomb you might expect from a woman who loves being the biggest fish in this small pond. Ms. Sostarich has grown into a marvelous presence on stage, with a wonderful voice and a magnificent touch for comedy. As she takes her place behind that infernal spelling bee bell, you know you are in good hands with Ms. Sostarich at the helm.

She is joined at the table by Robby McGhee, a co-founder of all In Productions and an actor who is starting to get good roles in Milwaukee. He plays an assistant principal who is moving on from a slightly troubled past. Mr. McGhee is a burly presence who plays marvelously with Ms. Sostarich.

At the heart of this contest are the six kids who all want to go home with the big cup and win a trip to nationals in Washington D. C. 

James Carrington plays William Barfee whose last name is continually mispronounced (it rhymes with parfait). Mr. Carrington never met a double cheeseburger he didn’t like, and insists he looks great in a pair of cargo shorts and uses a “magic foot” to help him spell out the words. Mr. Carrington has a carriage that begs for affection and it’s easy to take him to your heart.

Kendyl Ito plays Marcy Park, a young girl burdened by expectations that she will always be perfect. Ms. Ito is an adult Equity actor from New York but she creates a middle school student to perfection. Her big number, when she revolts against the life of high expectations that has been crafted for her, is perhaps the highlight of the evening. 

Yando Lopez plays defending champion Chip Tolentino with a verve and easy smile that turns him into every teenage boy you’ve ever loved. He is done in, however, by his inability to control his hormones and his song that opens the second act (an homage to an involuntary erection) is a crowd grabber.

Kaylee Annable plays Logainne SchwartzandGrubenierre, saddled with gay fathers, pigtails that seem somehow too young and a lisp that sends shivers down your spine.

Ryan Stajmiger plays Leaf Coneybear, suffering from the conflict between sibling ridicule and personal egotism. Mr. Stajmiger creates a character who you think might end up either in jail or the governor’s office.

And finally there is Amanda Rodriguez who plays Olive Ostrovsky, a young girl whose life is a latch key. She has been dropped off alone, missing her mother who has traveled to India and who doesn’t have the $25 entry fee. As she waits and hopes for her father to arrive we are swept up in the sadness lurking just beneath her quixotic surface. 

Ms. Sostrach steps into the role of her mother for the poignant “The I Love You Song,” the warmest moment of the evening shared with Shawn Holmes who steps out of his role as the Comfort Counselor who is responsible for bidding goodbye to those who miss a word. 

There is something special about watching the children of this cast try their hardest to both define their goal and reach it. 

This is geekdom at its most touching and precise. It’s a competition, yes, but there is no bitter battling on this stage.

Instead, it’s just a bunch of kids trying to figure out how they can actually get a shot at a very special brass ring.

Production Credits: Director/Choreographer, Brian Cowing; Music Director, David Bonofiglio; Costume Designer, Alexae Visel; Lighting Designer, Jamie Roderick; Sound Designer, Tye Hunt Fitzgerald; Stage Manager, Allyson Schiller; Production Photographer , Ross Zentner.


Next Act captures the Golden Age of Television Humor with Laughter on the 23rd Floor

The writers room in Laughter on the 23rd Floor






















Golden Age is a phrase thrown around pretty easily. 

The Golden Age of music. The Golden Age of baseball. The Golden Age of Hollywood.

You can argue about the nominations, but there is one Golden Age it’s hard to argue about.

The Golden Age of television comedy was the 1950’s, headlined by Your Show of Shows and the Sid Caesar Hour. 

And Next Act Theatre is paying homage to that golden age with “Laughter on the 23rd Floor,” the autobiographical play by Neil Simon. 

As it ought to be, this production under the direction of Edward Morgan, is as filled with as many laughs as anything we are likely to see this season in Milwaukee. 

There are nine characters in this play and in typical Simon fashion, each one has an individual identity and each has moments to shine during the two hours of the show. 

The tale takes place in the writer’s room of a 1953 television variety show. The narrator of the play, Lucas Brickman (Zack Thomas Woods) is the Mr. Simon character, the new kid in a room full of zany creative outcasts. 

The writers in the real room included Mr. Caesar, Mel Brooks, Larry Gelbart, Mel Tolkin and, perhaps Woody Allen. 

The characters drawn by Mr. Simon provide plenty of material for Mr. Morgan to shepherd his troops through. And the direction in this show is a beautiful example of a director who has the ultimate trust in his actors. 

The story being told is about the conflict between the show and the NBC network that is looking to cut costs. Although there is a sword hanging over their heads, these comic figures realize it’s just another week of trying to come up with something that will make people laugh.

There is roaring humor on the surface of this production: from the Russian emigree , Mohammad N. ElBsat, to the only girl in the room, Karen Estrada, whose pregnancy may well be the highlight of the evening.

The writers revolve around Max Prince (David Cecsarini), with slicked back hair and a demanding presence who challenges and loves the writers who make him look so good. 

Underneath the surface of the funny, however, the brilliance in this play hones in on the serious business of being funny. This is their livelihood and for these smart people there is nothing funny about being funny. The desperation to be humorous and competitiveness to be the king of the hill for a week are very moving.

A final thought concerns Rick Pendzich, who plays Milt. Earlier this season Mr. Pendzich was The Highland Hitman in Unnecessary Farce at Chamber. It was, perhaps, the funniest performance I’ve ever seen in Milwaukee. In this one, Mr. Pendzich outdoes himself and continues to prove that there is nobody in Milwaukee who handles comedy as he does. 

Cast: Lucas, Zack Thomas Woods; Milt, Rick Pendzich; Val Mohammad N. ElBsat; Brian, Dylan Bolin; Kenny, Seth K. Hale; Carol, Karen Estrada; Max Prince, David Cecsarini; Helen, Lindsay Webster; Ira, Adam Qutaishat.

Production credits: Director, Edward Morgan; Scenic Designer, Rick Rasmussen; Liughting Designer, Mike Van Dreser; Costume Designer, Amy Horst; Sound Designer, David Cecsarini; Properties Master, Heidi Salter; Stage Manager, Jessica Connelly.

The Nerd at The Rep is a tasty tonic for our times

Michael Doherty and Andy Nagraj in The Nerd at The Rep. Photo Michael Brosilow.

Here’s the way my Wednesday went.

First of all I had to appear in traffic court to fight a ticket I got at the airport. Got nothing resolved and demanded a jury trial.

Then down in front of my television set to watch 22 of the finest lawmakers in the world ask a series – a long series – of questions about the minutiae of the impeachment effort against Donald J. Trump, who is – shamefully – still the president of the United States. 

Then I changed my clothes and tried to find a matching pair of socks. 

Then I drove to the Milwaukee Repertory Theatre and had trouble getting my ticket that would both let me in and let me out of the parking structure.

Then I ordered a sandwich and two soda’s at the bar in the Quadracci Powerhouse that cost me $22.

I was badly, desperately in need of something that might put a smile on my face and proving that Lady Luck will eventually shine, along came The Nerd.

It was nearly 40 years ago that the Larry Shue play had its world premiere at The Rep. Since then it’s been produced thousands of times – Broadway, London’s West End, Division I, II and III colleges, high schools, amateur community theater groups and companies all over the world. 

I was worn out when I sat in my seat. I was semi-grumpy and frustrated with my world and the rest of the world.

But this production, under the sparkling baton of JC Clementz, made me laugh in the simplest way possible. 

A lot of very smart people will argue that The Nerd has a profound relevance to today, that there are deep meanings, that it reflects the search for identity.

I don’t know, maybe they’re right. Obviously they are a lot smarter than I am.

I think The Nerd is so popular because it asks so little from the audience. 

All I had to do was hold on to m Rep soda cup, lean forward, clear my mind of everything that’s wrong in the world, and let a group of actors go to work with a mental massage that proves the funny bone is connected to all the other bones in the body, 

The Nerd is a simple story. The title character, Rick Steadman (Michael Doherty, is an inspector in a chalk factory in Wisconsin. During the Vietnam War he saved the life of Willum Cubbert (Andy Nagraj) who is an architect. Cubbert owed his life to Rick and Rick decides to cash that check and arrives, surprisingly, on Willum’s doorstep, suitcases in hand. 

We throw into this mix a rogue’s gallery of players: Tansy, the wannabe weather girl who Willum loves; Axel, the best friend who is a prissy drama critic; the Waldgrave family – Warnock, a stuffy client of Willum’s, Celia, his neurotic wife, and Thor, their grade school son.

Everybody has their moments with twists and turns that are both easy to see coming and easy to follow once they show up. 

It is absolutely the best easy funny show you can see and the perfect tonic for a world going nuts all around us. If everything were this simple, life would be a lot more fun. 

I walked out of the theater whistling that famous song from Gypsy asks, “May We Entertain You?”

Hell, yeah. 

Caast: Willum Cubbert, Andy Nagraj; Tansy McGinnis, Alex Keiper; Axel Hammond, Jeremy Peter Johnson; Warnock Waldgrave, chris Nixon; Celia Waldgrave, Lillian Castillo; Thor Waldgrave, Damon McCoy; Thor Waldgrave, Charlie Cornell; Rick Steadman, Michael Doheerty. 

Production credits: Director, JC Clementz; Scenic Designer, Arnel V. Sancianco; Costume Designer, Misti Bradford; Lighting Designer, Lee Fiskness; Sound Designer, Pornchanok Kanchanabanca; Casting Director, Frank Honts; Stage Manager Kate Ocker,

Skylight’s “Newsies” Tries Hard But Just Doesn’t Deliver

The cast of Newsies at Skylight Music Theatre

“The wolf also shall dwell with the lamb,
The leopard shall lie down with the young goat,
The calf and the young lion and the fatling together;
And a little child shall lead them.” – Isaiah 11:6

The verse above sounds a lot like the world today when you see young people everywhere trying to engage with life and lead us adults to a better place. 

Greta Thunberg, the climate change girl, Malala Yousafzai, the Pakistani Nobel Peace Prize winner, all those students from Parkland High School demanding tighter control of guns.

You would think that a musical about children rebelling against the grown ups and trying to force a new world order would passionately resonate with an audience.

Unfortunately the production of “Newsies” that opened over the weekend at Skylight Music Theatre is a corny repetitive show that seems to take itself too seriously.

Under the direction of Molly Rhode – whose work on and off stages I have loved and admired – this Newsies is less about a changing of the guard and more about “see how they run.”

The story, based on a 1992 Disney movie, is simple.

The street urchins who deliver newspapers survive in a kind of secret band of brothers and sisters slaving for the New York City barons, including Joseph Pulitzer.

The publishers announce a slight increase in the price of the papers – which also means an increase in costs for for the children.

Led by the charismatic bad boy Jack Kelly, (Marco Tzunux) the kids moan, groan and finally grip their reality and decide to form a union and go on strike. The play is based on an actual 1899 strike by newsboys, a two-week stoppage that ended when a compromise was reached.

The decades old Disney film was not well received but found a life as a small cult favorite and was revived as the stage production in 2011. It was nominated for a delivery bag full of Tony awards and won two, for choreography and original score.

Three years ago a national tour played at the Marcus Center. That production was full of verve and joy. Oh, they had urchins but those urchins got a kick out of life. They were full of characters who were distinct and developed.

The Skylight production is devoid of any joy as well as almost totally devoid of a commitment that acting is a part of a performance on stage. 

There is little effort made to create believable characters but a lot of embracing stereotypes – a belligerent Joseph Pulitzer, fawning aides, greedy supervisors, evil jailers, big-hearted women of ill-repute and noble (against all odds) boys. 

Because there is little acting, what we are left with is a series of musical numbers that reminded me of nothing so much as a review of talent. It’s as if Ed Sullivan might come out to introduce each act since there was no real thread to pull things together. 

Music is expected to serve the story in a musical, but in this case there was a story that was in service of the dancing and singing.

A typical display of variety show talent overkill came when, in one number,  we had a tap dancer, followed by three tap dancers, then three more tap dancers, then a whole slew of tap dancers, then a small group of tap dancers and finally a stage full of tap dancers and guys doing flips and cartwheels. Enough already.

The most memorable scenes from “Les Miserables is the one where the group of rebels charge with fists raised singing the fierce “Do You Hear the People Sing.” In Newsies we get songs with titles like “The World Will Know,” “Seize the Day” and Once and For All.” 

The creative team on this one just took the whole “this sure is relevant today” thing way too seriously. We are supposed to enjoy or be moved by musical theater, not expected jusst to sit back and watch kids dance.

The cast is not without talent and Ms. Rhode has done an admirable job getting a bunch of local kids to impersonate professional performers. But a lot of the urchin newsies look more like almost-adult newsies and accomplished actors like Lee Palmer, Rachel Zientek and Chase Stoeger suffer along with this irregularly spaced effort.

This show needed to give us something to care about but it couldn’t move from the comic section to the front page. 

Janet Maslin was the highly respected film critic of the New York Times and reviewed the film, and what she wrote 25 years agocould easily apply to the Skylight Production. 

“The real trouble lies in its joyless, pointless execution. It’s a tedious story which will seem dull to children and badly contrived to their parents.”

Cast: Jack Kelly, Marco Tzunux; Katherine Plumber, Rachael Zientek; Crutchie, Jordan Arrasmith; Davey, Nicholas Parrott; Les, Abram Nelson/Edward Owczarski; Joseph Pulitzer, Lee Palmer; Medda Larkin, Natalie Harris; Wiesel/Mayor, Kevin James Sievert; Oscar Delancey/Stage Manager, Shawn Holmes; Morris Delancey/Teddy Roosevelt, Christopher Elst; Snyder/Jacobi/Nunzio, Chase Stoeger; Race/Bunsen/Darcy, Austin Ryan Hunt; Finch/Sietz/Bill, Jonathan Turner; Hannah/Bowery Beauty/Nun, Stephanie Staszak; Spot Coonlan/Bowery Beauty/Newsie, Jamie Mercado; Albert, Joseph Davila; Specs, Kamani Graham; Henry, Matthew Peterson; Romeo, Keleous Lange; Elmer, Nathan Kabara; Buttons, Nolan Van Haren; Tommy Boy, Tikvah Schlissel; Jojo, Francis Faye; Ensemble, Eloise Field; Max Larson, Michael Loomans, Lily Miller, Alicia Rivera, Paisley Schroeder. 

Production credits; Director, Molly Rhode; Music Director, Christie Chiles Twillie; Choreographer, Molly Rhode/David Roman; Sc.enic Designer, Front Row Theatricals; Costume Designer, Jason Orlenko; Lighting Designer, Joseph Arthur Franjoine; Sound Designer, Hankyu Lee;Production Stage Manager, Daniel J. Hanson; Production Photographer, Mark Frohna. 

Holy Moses! Nunsense Continues to Deliver A Blessed Abundance of Laughs

The Little Sisters of Hoboken at The Rep

So this nun, Sister Robert Anne, found this tiny canister of something labeled “RUSH” in the girls locker room, and she’s brought it to the Mother Superior. 

The reverend mother does a serious “tsk tsk” and then, once she’s alone, she decides to take the cap off and take a whiff of whatever this may be. 

Just as you might expect, she is repelled by the smell, but gradually falls in love with the high – the RUSH – that grabs hold of her. 

Sister Mary Regina (Melody Betts) is off and running with what may well be the funniest drunk/high scene ever on any stage in Milwaukee. 

It starts with the room getting warmer, waving her hands to cool off, followed by a series of moments on her trip – moments that include her miracle pregnancy and a sighting of Elvis. 

There’s a reason that getting high is called a trip and the one with Ms. Betts as the conductor is astoundingly funny. The kind of humor where laugh upon laugh roll through the audience until it’s so loud you can barely hear the actor.

The exhausting performance comes at the end of the first act of Nunsense, the decades-old musical review being staged by The Rep at the Stackner Cabaret.  And it’s a good thing that an intermission came along so people could recover.

Nunsense premiered in 1985 and it’s been done around the world time after time after time, always to the joy and applause from audiences.

Under the wonderful and skillful direction of Malkia Stampley, these five actors dash through this two hour special with nary a pause in the hilarity.

Ms. Betts is joined by four other nuns who make up what’s left of the Little Sisters of Hoboken – Sister Robert Anne (Kelley Faulkner), Sister Mary Amnesia (Veronica Garza), Sister Mary Hubert (Lachrisa Grandberry) and Sister Mary Leo (Candace Thomas).

These are five great singers, great actors and spectacular comedic timing. Shows like this can fall flat if the timing isn’t right, but Ms. Stampley has kept things moving at an ideal pace.

Ms. Faulkner did double duty as the movement director for the production and she has brought a fun-filled kind of dance to five characters who all look different. 

Like any great revue, this one is held together by a flimsy story but gives each of the stars moments to shine.

Ms. Betts has her rush-fueled trip; Ms. Faulkner sings “Growing Up Catholic,” a ballad that ruminates on the changes in both the church and the world; Ms. Garza dazzles with her “I Could’ve Gone to Nashville,” a plaintive cry for what might have been; Ms. Grandberry slams the door shut with her exuberant “Holier Than Thou” and Ms. Thomas delights with her portrayal of her morning routine in “Benedicte,” revealing her drive to be the first nun ballerina. 

Some of the humor in Nunsense is corny and some seems a little dated, but with these five “wimpletons” on stage, the laughing never stops. 

Cast: Sister Mary Regina, Melody Betts; sister Robert Anne, Kelly Faulkner; Sister Mary Amnesia, Veronica Garza; Sister Mary Hubert, Lachrisa Grandberry; Sisterm Mary Leo, Candace Thomas. 

Production credits: Director, Malkia Stampley; Music Driector, Dan Kazemi; Costume Designer, Debra Krajec; Sound Designer, Zack Bernstein; Scenic Designer, Lisa Schlenker; Lighting Designer, Jared Gooding; Stage Movement Director, Kelley Faulkner; Stage Manager, Emily Wright; Casting Director, Frank Honts; Production photographer, Michael Brosilow.