drama INK
The donor newsletter of Milwaukee Rep ISSUE 13 • WINTER 2020
SPEAKING
directl y
Welcome to Drama Ink’s new look! We are excited to share our new look and feel with you. Even though we have a new look, you can still look forward to the same interesting content and insider access. This issue is one of the first examples of our new visual identity, which is in turn part of our new institutional branding that we are unveiling at our 2020/21 Season Announcement event on Monday, February 10. We have been planning this institutional rebranding for quite some time, most recently working with a branding firm based in California. The firm interviewed staff, members of our Board, Subscribers, and community members to determine what makes Milwaukee Rep so special and how we at Milwaukee Rep can better share all the great work we do with the community. In the end, they recommended that we focus our branding around four elements: exceptional artwork, inspiring people, cultivating community, and igniting education. While this issue of Drama Ink is one of the first examples of our new visual identity, you will begin to see a comprehensive institutional marketing campaign later this spring. Our objective is to enhance the way we tell the story of Milwaukee Rep and our impact throughout Southeastern Wisconsin. This updated branding is an
Mark Clements
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Artistic Director
outcome of our new strategic plan, approved (in late 2019) by our Board of Trustees that will carry us through 2024. Our previous strategic plan, adopted in 2015, was completed nearly two years early, necessitating a new plan to guide us through the next phase of our organization’s history. Read more starting on page 4. Let’s not, however, lose sight of our current season, which has so far surpassed all our expectations. West Side Story has now topped In the Heights as the bestselling production in Milwaukee Rep history outside of A Christmas Carol. Additionally, every production this fall received rave reviews from the press. But the best is yet to come! We’re excited to host the world premiere productions of Hootenanny: The Musicale and Antonio’s Song later this spring. We are also pleased to share that we received a $25,000 grant from the National Endowment for the Arts to support our upcoming production Eclipsed. Be on the lookout for all of our exciting community engagement programming surrounding this production. We would also like to share the results of our recent Donor Survey that you will find on page 6. How do your opinions match those of the respondents? Thank you to everyone for your commitment to Milwaukee Rep.
Chad Bauman
Executive Director
Cover: Isabel Bastardo, Brianna Mercado, Reese Parish, Terynn Erby-Walker, Courtney Arango, Brooke Johnson, Gina dePool and Isabella Abel-Suarez in West Side Story.
SCENES
behind the Seamless Scene Changes in West Side Story
It may come as a surprise that Milwaukee Rep’s recent production of West Side Story was as complicated offstage as it was onstage. Because the movement of set pieces was so flawless, audience members may not have even noticed the rough city streets transforming into a lively school dance or Doc’s shop. This effect was achieved by scenic automation, a method of moving parts of the set using machinery programmed to follow computerized commands. Automation is quickly becoming an industry standard, and, when done well, gives the illusion of the scenery coming to life. In a show like West Side Story, the scenic automation was as much an artistic element as a technical one, with scene changes taking on an almost dance-like quality.
With nine set pieces controlled through scenic automation technology, West Side Story was one of the most complicated productions to cross the Quadracci Powerhouse stage. Set pieces were built onto “wagons,” or rolling platforms, and were moved on and off stage with the help of a large wheel connected to a motor beneath the wagon. Each and every set movement on and offstage was programmed into the system. Much like a stage manager, the computer told every motor exactly how far to move the set at exactly what time. With the push of a button, scene changes were completed within 30 seconds and controlled within 1/1000th of an inch—nothing was left to chance! On this page: Cast members of West Side Story. Photos by Michael Brosilow.
A week before the rest of the cast and crew of West Side Story arrived, Milwaukee Rep’s tech team started installing the automation equipment. Leading the team were co-technical directors John Houlter-McCoy and Sean Walters, with special assistance from Rep carpenter and automation expert Bill Burgardt. The key to pulling off complicated designs like West Side Story? “Lots of communication,” says Walters. “We’re lucky the spirit of communication and helpfulness is there, so we all know that, yes, this may be taking a little bit, but we’ll get there and it’s going to be safe.”
With nine set pieces controlled through scenic automation technology, West Side Story was one of the most complicated productions to cross the Quadracci Powerhouse stage. When scenic automation works correctly, there’s very little to see—everything moves in tandem, smoothly transitioning from scene to scene. With constantly evolving technology, such as the systems that make scenic automation possible, Milwaukee Rep pushes the limits.
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2019 AND
Milwaukee Rep’s N
In 2015, Milwaukee Rep adopted a new mission to create positive change in the cultural, social, and economic vitality of its community through world-class theater experiences that entertain, provoke and inspire meaningful dialogue among an audience representative of Milwaukee’s rich diversity. After 60 years of centering solely around an artistic endeavor, we recognized that it was no longer enough to just produce exceptional theater and that we needed to reexamine our traditional missions in the light of the needs of the world around us today.
2015 Five Year Strategic Plan With our new mission and values came a new strategic plan designed to carry us to 2020. By 2018, we had completed nearly all of our strategic priorities. We had eliminated all debt, increased our cash reserves, and bolstered our endowment while growing our budget by 40% on a sustainable basis. A new production of A Christmas Carol opened to great acclaim. The John (Jack) D. Lewis New Play Development Program produced some of the most exciting new plays in the country, including plays centered on Milwaukee stories and narratives from historically underrepresented communities. Additionally, with the support of 15 partner organizations, 20 community leaders and more than 100 partners, we launched Mpact — an innovative education and engagement platform that has served hundreds of thousands of people, as we engage with some of our city’s greatest challenges and opportunities. Because we serve audiences of up to 300,000 people at nearly 700 performances of 15 plays annually, we are
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best known for the work that is on our stages. Just like Milwaukee, however, we are not what people usually expect. We’re more diverse, impactful and relevant. From the stage to the streets, everything we do, we do to bring out the best in our region.
The Future of Milwaukee Rep As we headed into our 65th Anniversary Season, we began a new planning process to chart the future of our theater. We conducted an independent analysis, which included interviews with community leaders, donors and patrons. The most commonly articulated refrain was: “We almost feel as though The Rep is a different company.” Data supported this transformation, as we now have the largest number of donors, Subscribers and ticket buyers in the past two decades. All of this begged the question: how could we position our work better to not only be excellent, but also relevant and vital to Milwaukee? The non-profit theater industry is in a moment of disruption. Shifting patterns of demographic change as we move to a non-majority culture offer us thrilling opportunities for new forms of collaboration and expression. Technology is altering our attention spans, exploding the competitive environment for leisure time as well as training consumers to expect art on demand delivered to their own homes. Through our strategic planning process, we looked at all these changes through a lens of opportunity, leading us to double down on our mission of artistic excellence and civic engagement.
Above: Milwaukee Repertory Theater. Photo by Michael Brosilow.
D BEYOND
New Strategic Plan
Our new 2019-2024 Strategic Plan calls for us to: Address the challenges of the Patty & Jay Baker Theater Complex. The Complex has served as an exceptional home for four decades but, as Wisconsin’s largest performing arts organization, the wear and tear on the building has been substantial. A recent report from the country’s leading planning firm for arts facilities confirmed we have outgrown our current facilities, lack modern amenities and, even with superb upkeep, all major systems are well overdue for a replacement. Further, a building-wide remodel and expansion is necessary to fully serve our mission, remain competitive on a regional or national level, and welcome under-represented communities.
Strengthen our commitment to Equity, Diversity & Inclusion. To be a theater that is welcoming and inspirational to all, we have to address current systems of inequality. We will continue to produce work that features diverse artists and playwrights, including actors from underrepresented communities on our stages, and use our art to create citywide platforms for discussion and action. We will increase our efforts to diversify our audiences in
terms of age, ethnicity and socio-economic status and improve access for people with disabilities. We will create programs to develop talented artists and leaders of color and expand our collective cultural competency.
Grow the John (Jack) D. Lewis New Play Development Program.
In recent years, we have launched critically acclaimed new plays that thrilled local audiences and then went on to successful productions in other cities including Boston, Chicago, Phoenix, Tucson, and New York. We currently have 10 new plays under commission from world-renowned artists such as Pulitzer Prize-winner Ayad Akhtar, Gordon Gano of The Violent Femmes, Academy Award-winner Eric Simonson and Pulitzer Prize finalist Dael Orlandersmith. While we have repositioned ourselves to be both a worldclass artistic institution and a dedicated instrument of positive civic change, we have encountered challenges with regard to communicating our new self. Therefore, under the leadership of Chief Marketing Officer Lisa Fulton, Milwaukee Rep is unveiling a complete rebranding effort in early 2020 that focuses on our deep commitment to you and our community. With this ambitious new plan, we’ll demonstrate that at our very best, Milwaukee Rep is vital to our community, because we unite people of all backgrounds to share live experiences that help develop empathy. In an increasingly complicated world, we can move beyond mere expression of the issues our community faces and move toward fostering deeper listening and understanding — continuing to create positive change in our city.
Left: Community members at an interfaith dinner around Milwaukee Rep’s production of Our Town. Right: Kevin Kantor, Kelley Faulkner, Jordan Baker, Bill Geisslinger, Zach Fifer and Aubyn Heglie in Things I Know To Be True. Photo by Michael Brosilow.
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SURVEY
donor
We asked & you answered
In September, we sent out a survey to you, our donors, as your feedback is important to us. In total, more than 750 individuals responded and shared their thoughts. WHO PARTICIPATED IN THE SURVEY?
WHICH DONOR BENEFITS ARE THE MOST VALUABLE?
WHAT INSPIRED YOUR FIRST GIFT TO MILWAUKEE REP?
WHETHER YOU’RE A CLASSICS CONNOISSEUR, A NEW PLAY AFICIONADO, OR A MAVEN OF MUSICALS, WHAT REP EXPERIENCE BROUGHT YOU THE MOST JOY? “A Christmas Carol… it’s our family tradition!” “Merton at the Movies (1978-79 Season) when Larry Shue tap danced at the curtain call.”
WHAT PROJECTS, PROGRAMS OR SERVICES ARE YOU INTERESTED IN SUPPORTING?
“Without a doubt, many of the excellent musicals. Man of La Mancha, In the Heights, and Next to Normal made huge impressions with their excellent quality.” “You expect me to pick just one? I couldn’t possibly. I have cried at performances. I have laughed uproariously at others. I have had discussions that lasted months with friends and strangers who saw the play I did.”
Thank you to all those who participated in the survey!
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MARK
on the
Ask Artistic Director Mark Clements...
As part of Mark’s 10th anniversary celebration, we asked him to share his top ten dream directing projects. Please note: just because these are on Mark’s bucket list, they are not guaranteed to appear in future Rep seasons! I’d like to do more Shakespeare. Coriolanus, The
Any collaboration with Andrew Bovell (Things I Know to
Tempest, or The Scottish Play—I’m too superstitious to say the name. It’s considered bad luck.
be True) again.
An opera—probably La Boheme or anything by Puccini. The Weir, an Irish work by Conor McPherson. The Hired Man, a British musical that is maybe one of the top five most important, seminal works I’ve seen.
Contemporary classics like An Inspector Calls by J.B.
I always like to direct in a way that hasn’t been done before whether the piece is famous or a new work. The latter might include another play by Rick Cleveland (Five Presidents), Joanna Murray-Smith (Songs for Nobodies, American Song), or Catherine Trieschmann (One House Over)—these are writers I’ve worked with before and I’ve enjoyed working with them.
Priestley or Journey’s End by R.C. Sherriff.
Kiss of the Spider Woman has always been a favorite of mine.
More epic musicals such as Titanic. Death of a Salesman. I’ve done it three times and I think I have one more in me.
Above: Lee E. Ernst and Reese Madigan in Death of a Salesman. Photos by Michael Brosilow.
Do you have a question for Mark? Submit your questions to onthemark@milwaukeerep.com and see his answers in an upcoming issue!
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UPCOMING EVENTS February 5, 2020: Magic in the Making Donors $250+ are invited for an exclusive behind-thescenes experience in our prop shop. Meet Properties Director Jim Guy and learn more about what it takes to support a story through props.
February 10, 2020: Season Announcement Join us in the Quadracci Powerhouse as we unveil the 2020/21 Season!
March 6, 2020: Opening Night of Eclipsed Donors $2,500+ are invited to at least one opening night event per season. These special evenings include a dinner at Saint Kate – The Arts Hotel and tickets to the performance, followed by a post-show reception with the cast in the Quadracci Powerhouse lobby.
March 16, 2020: Backstage Tour Donors $100+ are invited to enjoy a backstage tour of Milwaukee Rep’s Patty and Jay Baker Theater Complex. Enjoy an exclusive backstage tour of all three Rep theaters, production shops, and administrative offices.
April 24, 2020: Opening Night of Destiny of Desire Donors $2,500+ are invited to at least one opening night event per season. These special evenings include a dinner at Saint Kate – The Arts Hotel and tickets to the performance, followed by a post-show reception with the cast in the Quadracci Powerhouse lobby.
PRESENTING SPONSOR:
Milwaukee Repertory Theater • Development Department 108 E. Wells Street • Milwaukee, WI 53202 Chuck Rozewicz
Morgen Clarey
Chief Development Officer crozewicz@milwaukeerep.com
Associate Director of Development, Events & Stewardship mclarey@milwaukeerep.com
Amy Dorman Director of Development adorman@milwaukeerep.com
Alli Engelsma-Mosser Major Gifts Officer aengelsma-mosser@milwaukeerep.com
Cassidy Skorija Associate Director of Development, Institutional Giving cskorija@milwaukeerep.com
Stephan Thomas Development Database Manager sthomas@milwaukeerep.com
To make a gift in support of Milwaukee Repertory Theater, please contact the Development Department at
414-290-5376 or visit www.MilwaukeeRep.com
April 29, 2020: Unscripted Donors $100+ are invited to join us for our new speaker series. Hear from Rep Artists on a variety of topics related to our Season and enjoy a complimentary continental breakfast at Saint Kate – The Arts Hotel.
May 9, 2020: Curtain Call Ball Milwaukee Rep’s largest fundraiser, the Curtain Call Ball, is a night of dinner, dancing, live and silent auctions, and a world-class theatrical experience. This year, we will celebrate Mark Clements’ 10th anniversary as Artistic Director.
June 9, 2020: Unscripted Donors $100+ are invited to join us for our new speaker series. Hear from Rep Artists on a variety of topics related to our season and enjoy a complimentary continental breakfast at Saint Kate – The Arts Hotel.
UNSCRIPTED This fall, we introduced our brand new Unscripted series. Our inaugural Unscripted in September featured a panel of artists from Two Pianos, Four Hands, moderated by Associate Artistic Director May Adrales, who discussed the process of creating the show. This was followed by a performance from Two Pianos, Four Hands actor and pianist Ben Moss. In December, Unscripted welcomed Michael Doherty and Lillian Castillo from the cast of The Nerd and Kelley Faulkner and Veronica Garza from the cast of Nunsense to discuss comedy and performance. Attendees learned all about the secret ingredients of good comedy and enjoyed an inside look at two of the 2019/20 Season’s funniest productions. With the coffee and the conversation flowing, our new Unscripted Series was off to a great start!