The donor newsletter of Milwaukee Repertory Theater
1
4
Issue 3 • Summer / Fall 2016
2
3
5
A CHRISTMAS CAROL Across the Decades Read more about our new production of A Christmas Carol on page 4
6
DIRECTLY SPEAKING
Dear Friends, During a panel discussion following a performance of Fences last season, a patron asked us, “Why should I come to the theater for the message and not to be entertained?” We believe it is not only our responsibility but our privilege to do both of these things. Our 63rd season includes shows like Disgraced — written by Milwaukee-native and Pulitzer Prize-winner Ayad Akhtar — the hottest show in America right now and one that deals with themes of race, religion, and identity. Shows like this not only entertain but they start conversations — bringing patrons together around themes that impact every member of our community. Great art entertains while asking deeper questions, and this guides our process in selecting the best plays for you to experience. The Start of the Season In just a few weeks, we will open the beloved classic Man of La Mancha and bring back, due to popular demand, Lady Day at Emerson’s Bar and Grill to the Stackner Cabaret. The shows on our stages in the 2016/17 Season exemplify our commitment to producing works that ignite positive change in our community through world-class theater experiences — entertaining, provoking, and inspiring meaningful dialogue among an audience representative of Milwaukee’s rich diversity.
Mark Clements
New Community Engagement Initiative With the launch of Mpact we extend our collective impact and demonstrate how theater can create bridges between disparate communities, bring us together around shared stories, and explore creative ways in which our programming can address community needs. We will tackle three specific focus areas through Mpact: celebrating & strengthening Milwaukee, diversity & inclusion, and literacy & social-emotional learning. We believe these areas are building blocks for a better tomorrow and, as the state’s largest theater and a cultural pillar of Milwaukee, we have to play a leading role. Philanthropic News
Chad Bauman
We are so pleased to share The Rep received a $1 million gift from Phoebe Lewis and her family, in memory of her late husband and former trustee Jack Lewis, to endow our new play development program. In recognition of this extraordinary generosity, we are naming the program the John (Jack) D. Lewis New Play Development Program. The program continues to grow with an aim toward producing 20 new plays over our three theaters in the next five years. Current projects include a new play by Ayad Akhtar, a new musical by Academy Award-winner Eric Simonson and music legend Gordon Gano of The Violent Femmes, as well as a play celebrating the 50th anniversary of Summerfest by Catherine Treishmann. To you — our strongest supporters and closest friends — we are so thankful. Your loyalty and trust in our work inspires us and we are so excited for the start of another tremendous season. Read on for details about the impact of our work on stage and in the community. All our best,
Mark Clements Artistic Director
2
Chad Bauman Managing Director
NEW COMMUNITY ENGAGEMENT ACTIVITIES Mpact Initiative Our new community engagement initiative, Mpact, combines current engagement and education programs with new efforts designed to foster authentic relationships with communities of color, provide meaningful opportunities for civic discourse, and demonstrate that regional theaters have both the privilege and responsibility to be strong and active citizens in our cities. Professional Training Institute for High School Students In July, we announced our new Professional Training Institute (PTI), a free advanced actor training program for students in 8th-12th grade who are interested in pursuing careers as professional theater artists. Sixteen of Southeastern Wisconsin’s most talented young artists were admitted to the inaugural class and will work with leading
theater artists, including Tony Award-winner Anthony Crivello, 10-time Joseph Jefferson Award-winner Hollis Resnik, Broadway star Nathaniel Stampley, Olivier Award nominee Frank Ferrante and renowned director and playwright KJ Sanchez. At the conclusion of this eight-month program, participants will be cast as paid, professional actors in The Rep’s inaugural Professional Training Institute production, which will be a full performance in the Stiemke Studio. Increasing Our Impact We welcome a new staff member — one of our former directing Emerging Professional Residents Nabra Nelson — who will help increase the impact of our Community Engagement Department. We are expanding our Reading Residency program from 20 classrooms to 28, continuing our successful residency with Bronzeville Arts Ensemble, and significantly increasing the number of community engagement events. Join us for events such as a Banned Book Slam and a free flamenco dance workshop during Man of La Mancha, interfaith dinner conversations around Disgraced, and talkbacks about the history of boxing in Milwaukee around The Royale. For a complete list of free community events, please visit us online at www.MilwaukeeRep.com. For more information, please contact Leda Hoffmann, lhoffmann@milwaukeerep.com or Nabra Nelson, nnelson@milwaukeerep.com.
Dreamgirls community dance workshop
ACT II OF AMERICAN SONG After each of our 33 performances of American Song, we introduced Act II. Following a brief response to the show by a community leader (for example, Mayor Tom Barrett, MPS Superintendent Dr. Darienne Driver, and Charlie Sykes), we offered small-group facilitated discussions led by trained members of the Zeidler Center for Public Discussion, who served as our Act II partner. Act II has been praised both locally and nationally and was overwhelmingly successful at bringing nearly 5,000 people together for discussion around this thoughtprovoking play and reaching out further into the Milwaukee community. n
“Thank you for doing American Song…and more importantly…Act II. Besides being riveted by Jim’s performance, I listened to strangers’ stories of a suicide and a tragic accident in their younger years. These strangers-turned-neighbors became the people I could now pray for; they now had a face and name; you started the process of our commonality. In my 25+ years of attending The Rep, this had the most impact. Thank you to ALL those involved.” – Marge Schell, Rep Patron
3
A CHRISTMAS THE NEW PRODUCTION OF A CHRISTMAS CAROL: EVEN MORE TO LOVE!
“The gem of A Christmas Carol will definitely be Marley’s doorknocker, as it will employ a real cinematic close-up for the audience.”
The first question most people ask after learning about the new adaptation of The Rep’s beloved holiday production of A Christmas Carol is, “Will it be drastically different from the story I know and love?” In short, no. In fact, the new adaptation, written by Artistic Director Mark Clements, is in some ways even truer to Charles Dickens’ original novella than any version produced by The Rep over the last 40 years. As Clements explains, “The original story is a ghost story that is both scary and witty.” This, along with Dickens’ own theatrical telling of the story, will be reflected in the new adaptation. It has been 15 years since The Rep produced a new version and, given the rapid ways in which the world now interacts with media, we decided it was time to update how we tell this classic story of hope and redemption.
Jim Guy Properties Director
A Show for the Family Clements was inspired by the style of British Panto theater, which incorporates physical comedy and encourages audience participation. “Think of it like [the Nickelodeon children’s television show] Blue’s Clues — the main character is asking the audience to help make decisions on where to go next. In the same way, Scrooge will seek guidance from the audience and from the Ghosts on his journey to redemption,” says Clements. This new version is designed to be a family show, offering something for everyone. In addition to the opportunities to interact, children will be captivated by the stunning visuals and riveting storytelling. Adults will enjoy the production on a deeper level as Scrooge grapples with his conscience. A Sense of Magic and Wonder Additionally, an array of creative elements will enhance the storytelling, including snowfall inside the Pabst Theater, a turntable set and new music underscoring the live action onstage. Clements has even incorporated an additional scene into the story that is present in the original novella but absent from the recent production. Even with all the new technical enhancements, Clements is making sure A Christmas Carol will still be traditional and emblematic of a Victorian Christmas, retaining its sense of magic and wonder. As Clements says, “The source material is so good, it doesn’t need enhancement.” n
Marley’s doorknocker in process.
Inspiration for the design of Marley’s doorknocker.
JOIN US FOR OPENING NIGHT! Friday, December 2, 2016 5:00pm • InterContinental Milwaukee Enjoy dinner before the performance and VIP seating. Tickets are $150 for adults and $75 for children.
4
A Christmas Carol is sponsored in part by
For more information, contact Shannon Theiss at stheiss@milwaukeerep.com or 414-290-5347
AS CAROL NEW SET AND PROPS
2016 PRODUCTION
NEW COSTUMES
It has been 15 years since the A Christmas Carol set was revamped for the Pabst Theater stage. Scenic Designer Todd Edward Ivins’ design is bringing this classic tale to life through an intricate double turntable, drawing in audiences and taking them along Scrooge’s journey as he literally travels through the set. Alexander B. Tecoma Costume Designer
Jim Guy, Properties Director, is hard at work creating the props, which are being designed to last for a decade. Durability and movability are needed for all pieces as well as realism — one of the most important aspects for audiences.
“The end results are sure to create some great magical, whimsical moments for audiences!”
Photo by Austin Bean
Photo by Austin Bean
The props artisans are using digital scanning and 3-D printing to create prototypes before the final products are created. This provides digital files of each prop, so they can be printed and adjusted throughout the years if necessary. The props are designed as if in a pop-up book, giving audiences the most realistic views.
With a new script come changes in characters and an opportunity to add fresh dimensions to the costumes. Alexander B. Tecoma, Costume Designer, is attempting to string LED lights throughout the costumes for many characters, such as the Ghost of Christmas Past and Ghost of Christmas Present. Tecoma explains, “Our challenges will definitely be to incorporate technology into our costumes. It’s exciting but also a learning process as it’s very new.” Many of these lights will be on different controls, creating movement on stage. Tecoma says inspirations for his designs came from simple things such as candles, icicles, and snowstorms. One challenge for designers of shows such as A Christmas Carol is how to build costumes that can last 10-15 years. Tecoma tells us, “Knowing these costumes need to last is the first thing we think about and plays a part in our creation of the costumes.” The costume shop has been working to research and gather durable fabric and figure out how to change batteries for the LED lights in the costumes and keep them from overheating.
Costume shop artisans working to weave LED lights into a costume for A Christmas Carol.
Costume renderings by Alexander B. Tecoma The base of the turntable set is near completion.
5
ASSOCIATE ARTISTS Learn more about two of our Associate Artists working on the new production of A Christmas Carol! Hometown: Cincinnati, Ohio College/Education/Training: Miami University, BFA in Theatre Design and Production, MFA from University of Missouri-Kansas City If not your current profession, what did you want to be when you grew up? Veterinarian What was your favorite project at The Rep? Tied between Cabaret, Next to Normal, and Assassins. Cabaret was my favorite for many reasons — it was uncharted territory for The Rep and was just magical — for the audience and the performers.
Todd Edward Ivins Scenic Designer
How did you end up doing what you do now? I got into theater after doing special effects makeup in high school, fell in love with design and ended up going to school for scenic and costume design. I went to an international school for six weeks in the Czech Republic and the experience of this very avant-garde theater had a lasting impression on me. What are you most excited about for the upcoming production of A Christmas Carol? In most productions of A Christmas Carol, each time the characters begin in a new scene, there is a need to set up — a sort of “commercial break.” In this show, however, the double turntable setup and continuous nature of the script will allow audiences to go on a journey with the characters, eliminating the need for pauses and setup that often accompanies this tale. I think this is going to invoke exciting things for audiences and draw them into Dickens’ London in a new way.
Hometown: Born in Nashville, raised in California If not your current profession, what did you want to be when you grew up? I’ve wanted to do this my entire life — I didn’t know exactly what I would be doing now, but I always knew I wanted to create music. What was your favorite project at The Rep? Musically — Bombshells was really fun. How do you go about composing a piece of music? Research is a major part of my job. I need to live and breathe the music of whatever genre and time I’m composing for and know the feeling of what someone would have heard at that time and place. I learn the “language” of that music and make it accessible to audiences today. Technology has made the research phase of my creation process much more accessible. Being able to research music from 2500 B.C. and recreate that today — it’s truly amazing. John Tanner Original Score Composer
What are you most excited about for the upcoming production of A Christmas Carol? There is a TON of music in this show. Versions we’ve done before have had musical moments that underscored scene changes, but this is more like a movie — where the music really underscores the action and dialogue. It is a whole different approach to this show and my challenge is not to get in the way but to explain emotionally what the dialogue may mean. Music has this ability to bypass the intellect, going straight to the heart in a way that is universal.
JOHN TANNER ON THE IMPORTANCE OF A CHRISTMAS CAROL
“There is never a time when the show doesn’t move me. This is really an important
show. Even if it’s just someone walking across the stage — it tells a story. It says something to all of us — if Scrooge can change, what hope is there for me? And I think, well, there’s a lot. He didn’t change all of London — just the people around him. That’s what I think this show can do, and I don’t discount the impact of that on our community.”
6
2016 GALA RECAP
Photo by Austin Bean
On May 14th, nearly 400 people joined us in the Stiemke Studio, which had been transformed into a Milwaukee neighborhood block party for our annual gala. The evening’s entertainment in the Quadracci Powerhouse Theater was led by The Rep’s Teen Council — an organization for teens by teens who work to engage youth from all over Milwaukee with the art on Rep stages. They were joined on stage by Rep favorites Nova Y. Payton, Kelley Faulkner, and Gavin Gregory, as well as many community leaders and partners, including Milwaukee Mayor Tom Barrett and retired Northwestern Mutual Foundation President John Kordsmeier. Together they announced the launch of Mpact. In total, our gala raised more than $350,000! Save the date for next year’s gala on May 13, 2017.
Photo by Mark Hines
Photo by Austin Bean
A group of donors enjoy a presentation of the new set at our warehouse in Franklin. Jim Medved (left), the Charge Scenic Artist, displays the paint work. Additionally (not pictured) Tyler Smith, Technical Director, presents the turntable set design, logistics, and the hundreds of wheels that make up the set.
Alexander B. Tecoma (right, with white costume), The Rep’s Senior Draper and Costume Designer on A Christmas Carol, displays costumes for the Ghost of Christmas Past and the Ghost of Christmas Present.
2016 “Block Party” Gala
Jim Medved Charge Scenic Artist
7
Photo by Mark Hines
“The set is the largest and most complicated we have created.”
Teen Council and community members present information about Mpact.
SPOTLIGHT ON THE DONOR
DEBRA AND PETER JOHNSON Milwaukee Rep has played a huge part in Debra and Peter Johnson’s lives for over 30 years. Deb has been passionate about coming to The Rep since her parents were subscribers when she was in high school. After marrying Peter, Deb shared her love of theater with him and they have been regular Rep patrons ever since. Deb describes her passion, “I couldn’t live without attending plays! I mourn the end of play season like Packers fans mourn the end of football season!” Explaining her love of the sets Deb describes her feelings, “Each time I walk through the doors of the theater, it’s as if I’m entering a different world for a few hours.” Seeing The Merchant of Venice was an epiphany, she comments. “For the first time I really got Shakespeare. I let the words just wash over me instead of trying to cling to each one and stepped back from the Shakespearean language, letting the beauty of the play hit me. I loved it so much I had to see it twice.” It is these types of experiences that keep the Johnsons coming back every year. Deb believes, “The Rep has enhanced my life immensely.” For this reason, the Johnsons have become members of the Limelight Legacy Society. The Society honors members who make a legacy gift in their estate plans, allowing future generations to enjoy world-class theater in Milwaukee. Deb and Peter Johnson are ready to give this ultimate encore. “We want our legacy to continue after we leave this stage. By supporting The Rep in this way, we will help bring quality theater to Milwaukee for future generations to enjoy.”n
Peter and Debra Johnson
“We donate currently because we know ticket prices don’t cover the costs to produce the quality shows we are lucky enough to see every season. We have decided to include The Rep in our charitable giving plan because The Rep has been a major part of our lives for well over 30 years and counting.“
THE LIMELIGHT LEGACY SOCIETY Honoring The Rep with a generous legacy gift of any size helps create the art on our stages. As a Legacy donor, you may direct your gift to one of four key areas including general operations, new play development, artistic enhancements, and community engagement. Your gift may entitle you and your estate to significant tax and related financial benefits. The Limelight Legacy Society honors members with playbill acknowledgement, legacy recognition, and the use of The Rep’s Donor Lounge — located in the Quadracci Powerhouse Theater. If you are interested in joining the Limelight Legacy Society, would like more information, or have already named The Rep in your estate plans, please contact Chuck Rozewicz, Director of Major and Planned Giving at crozewicz@milwaukeerep.com or 414-290-0717.
8
THE FOREIGNER RETURNS HOME
It all started here! When The Foreigner returns to the Quadracci Powerhouse in November, this comic masterpiece will be coming home. While The Rep enjoys a long tradition of premiering plays that have achieved significant success, in this case it was from here that Larry Shue’s national and regional career as a playwright was launched. Larry Shue
How it all began
John Dillon
In a recent phone interview, former Artistic Director John Dillon recalls that when he came to The Rep for the 1976/77 Season, he remembered a “very talented guy” [Larry Shue] from the Harlequin Theater in Rockville, Maryland. He invited Shue to act in two shows that season and after he did well, Dillon offered him more roles for the following season.
At the end of the 1977/78 Season, the company and the Board of Trustees gathered to celebrate. As was the tradition, the actors were asked to perform a medley of favorite scenes from the season and also to include various new short pieces they had prepared. When Dillon learned that the company was not fond of this additional expectation, he looked for an alternative. Shue offered to write a skit for the actors. The piece was a hit. Realizing he had a comic genius on his hands, Dillon asked Shue to write a play. Shue accepted the challenge and in the spring of 1979, Dillon produced his one-act play Grandma Duck is Dead at the Court Street Theater, at the time The Rep’s second stage committed to the exploration of new work. As the saying goes, “the rest is history.” Shue was off to a new career as a comedic playwright.
followed, including the two works for which he is best known: The Nerd (1981) and The Foreigner (1983), as well as his more serious play, Wenceslas Square (1984). Named by the American Theatre Critics Association as one of the best regional theater plays for the 1983/84 Season, The Foreigner was subsequently produced Off-Broadway in November of 1984 at the Astor Place Theatre in New York City. The Foreigner was still playing there at the time of Shue’s untimely death in a plane crash in 1985. The Foreigner had received mixed reviews from critics, but audiences were delighted and word-of-mouth made the play a hit. As reported in a 1988 New York Times article, “one of the few Off-Broadway plays to overcome negative reviews, The Foreigner played 685 performances and fully recouped its $250,000 investment.” Shue commented that both The Nerd and The Foreigner expressed his own dream that “the wishy-washy nice guy will emerge triumphant.” Shue was enormously proud of the effect his plays had on audiences. “You have tired, neurotic people filing in,” he explained, “and you have kids coming out — giggling and flirting.” His two comic masterpieces have continued to uplift audiences as they have been mounted and re-mounted in theaters across the country during recent decades. n
The playwright emerges That same year, Shue was named Playwright in Residence for The Rep, and his mature, full-length plays soon
Photo by Mark Avery
Laurence Ballard, William Leach, and Alan Brooks. Seated: Peter Rybolt, Bonnie Horan, and Ellen Lauren in the 1982/83 production of The Foreigner.
The model of the set for the upcoming 2016 production of The Foreigner, running from November 15 – December 18.
9
Front Cover A Christmas Carol Photo Credits Masthead: Jonathan Smoots as Ebenezer Scrooge, Amalia Cecsarini as Tiny Tim and cast, 2014/15. Photo by Michael Brosilow.
1: Craig Wallace and Christopher Donahue, 2013/14. Photo by Michael Brosilow.
2: Daniel Mooney as Ebenezer Scrooge, 1987/88. Photo by Mark Avery.
3: A scene from the 2012/13 production. Photo by Michael Brosilow.
4: Jonathan Gillard Daly as Ebenezer Scrooge and Zachary Seher as Tiny Tim, 2002/03. Photo by Jay Westhauser.
5: Show art for the new 2016/17 production. 6: Scott Gonering as Tiny Tim and Daniel Mooney as Ebenezer Scrooge, 1987/88. Photo by Mark Avery.
UPCOMING EVENTS September 11, 2016 Lady Day at Emerson’s Bar and Grill Opening Night September 22, 2016 TechTalk ($1,000+ donors), The Royale September 24, 2016 Man of La Mancha Opening Night September 30, 2016 The Royale Opening Night October 17, 2016 Magic in the Making — Behind the Scenes ($250+ donors)
When The Rep produces a world premiere play, how long does it take to go from original idea to Opening Night? It depends on the project. We developed the last two Quadracci Powerhouse world premieres — Five Presidents by Rick Cleveland and American Song by Joanna Murray-Smith — in three to four years. Once The Rep commissions a new work, the playwright has around 12 months to craft the first draft of the script. After the first draft, we’ll provide feedback, then receive a second draft within about six months. We’ll give that second draft a week-long workshop, where we hear the play aloud from actors (usually for the first time), and brainstorm basic directorial and design concepts. We’ll receive another draft based on the lessons from the workshop after about another six months. Then we’ll decide whether or not the play is of a high enough standard to be produced at The Rep. If so, development continues for another eight to 16 months — literally right up to opening night — as we continue to collaborate with the playwright to achieve the strongest possible experience for the audience. n
October 18, 2016 First Rehearsal ($2,500+ donors), The Foreigner November 6, 2016 I Love a Piano Opening Night
DO YOU HAVE A QUESTION FOR MARK? Submit your questions to onthemark@milwaukeerep.com and see his answers in an upcoming issue!
November 18, 2016 The Foreigner, Opening Night VIP Opening Night Dinner ($5,000+ donors) December 2, 2016 A Christmas Carol, Opening Night VIP Opening Night Dinner ($5,000+ donors) January 9, 2017 Backstage Tours ($100+ donors) January 20, 2017 Disgraced, Opening Night VIP Opening Night Dinner ($5,000+ donors) January 22, 2017 McGuire Opening Night February 24, 2017 Grounded Opening Night For more information visit www.MilwaukeeRep.com
10
Issue 3 • Summer / Fall 2016 Milwaukee Repertory Theater • Development Department 108 E. Wells Street • Milwaukee, WI 53202 • 414-290-5366 Marina S. Krejci Chief Development Officer mkrejci@milwaukeerep.com
Shannon Theiss Development Events Manager stheiss@milwaukeerep.com
Chuck Rozewicz Director of Major and Planned Giving crozewicz@milwaukeerep.com
Nicholas Pjevach Development Database Manager npjevach@milwaukeerep.com
Amy Dorman Director of Annual Giving adorman@milwaukeerep.com
Contributor: Aileen O’Carroll
Steph O’Connor Associate Director of Annual Giving soconnor@milwaukeerep.com