Prologue
News Magazine & Show Guide
Winter 2008
GLENGARRY GLEN ROSS By David Mamet January 30 – March 2, 2008 Quadracci Powerhouse Theater Patty & Jay Baker Theater Complex Also in this issue . . . Grafton City Blues • Stackner Cabaret Now – March 9, 2008 Enchanted April • Stiemke Theater February 8 – March 9, 2008 The Night is A Child • Quadracci Powerhouse Theater March 12 – April 13, 2008 Endgame • Stiemke Theater March 21 – April 20, 2008
MILWAUKEE
MESSAGE FROM THE REP’S ARTISTIC DIRECTOR There’s a feeling of intense energy and excitement around The Rep as we rehearse our upcoming production of David Mamet’s GLENGARRY GLEN ROSS, one of the two great American plays about salesmen living at the bottom of the totem pole of commerce. GLENGARRY is a thrilling roller coaster ride of a play – laceratingly funny, harrowing and, at the end of the day, extraordinarily human and moving. It’s an actor’s piece in that it absolutely demands driven, passionate, ruthlessly savage performances. We couldn’t be more ecstatic about the cast we’ve assembled, led by veteran American Players Theatre actor Jim DeVita as Ricky Roma, the prince of the salesroom, and Peter Silbert as Shelly “The Machine” Levene. Kate Buckley, who so sensitively guided last season’s Stiemke Theater production of FROZEN, will return to The Rep to direct. In the Cabaret, frequent Rep collaborator Kevin Ramsey (SAM COOKE – FOREVER MR. SOUL, FROM MY HOME TOWN and IF THESE SHOES COULD TALK) has created a new musical set in and around our own Grafton, Wisconsin, entitled GRAFTON CITY BLUES. From 1929 – 1932, Paramount Records was located there and some of the finest blues records ever made were recorded by artists that included Louis Armstrong, Ma Rainey and Alberta Hunter. Kevin has assembled an extraordinary group of blues artists for the production and it promises to be a “don’tmiss” event. Early in February in the Stiemke Theater, we’ll be producing ENCHANTED APRIL, a delightfully charming and romantic story set in the 1920s. A pair of conventional English wives work up the courage (as well as the cash) to escape the dreary London winter and their conventionally inattentive English husbands to rent a sun-drenched wisteria-laden villa in Portofino. Resident Acting Company members Laura Gordon, Deb Staples, Rose Pickering, Brian
Vaughn, Gerry Neugent and Torrey Hanson will be featured, and Michael Halberstam, the Artistic Director of The Writer’s Theatre in Chicago, will be making his Rep debut as director. This March, we’re honored to be producing the world premiere production of THE NIGHT IS A CHILD, an engrossing new play by Charles Randolph-Wright that blends a compelling story, vibrant characterizations and seductive Brazilian music and dance, as well as intriguing elements of mystery and fantasy. The play tells the story of Harriet, a mother of three grown children, who spontaneously flies to Rio hoping that an exotic vacation will help her heal the painful memories of a family tragedy. We’ll be working directly with this very exciting and accomplished playwright to bring his thoughtful and uplifting play to life. Timothy Douglas, the director of last season’s powerful production of GEM OF THE OCEAN, will return to direct a cast headed by Resident Acting Company Member Lanise Antoine Shelley and featuring Elizabeth Norment, who many Rep audience members will remember fondly for her several performances here, including the leading roles in WIT and THE MAI. And finally, in the 1930s, Irish playwright Samuel Beckett expatriated himself to Paris where he helped to usher in a new age for the theater with highly theatrical, compelling and eternally provocative works like WAITING FOR GODOT and his all-too-seldom produced masterpiece, ENDGAME. Acclaimed Irish director Ben Barnes, who directed recent productions of A MONTH IN THE COUNTRY and TRANSLATIONS, will direct Lee Ernst and Mark Corkins in the Stiemke Theater as two of Beckett’s most enduring characters. All the best for a safe, peaceful and fulfilling 2008. Joe Hanreddy Artistic Director
PROLOGUE • Volume 3. Issue 3. • 414/224-1761 • milwaukeerep.com Published quarterly by Milwaukee Repertory Theater. An ARTSscene Publication Call Marcus Promotions, Inc. for Advertising Opportunities 414-344-3336. Artistic Director Managing Director Editor Photography
Joseph Hanreddy Timothy J. Shields Cindy E. Moran Allan Knox Jay Westhauser
Editorial Staff David Anderson Kristin Crouch, Christina DeCheck Sandy Ernst, Brent Hazelton Amy Richter
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QUADRACCI POWERHOUSE THEATER
THE REP
QUADRACCI POWERHOUSE THEATER
THE DOG EAT DOG WORLD OF REAL ESTATE
GLENGARRY GLEN ROSS
You think you’re a thief? So what? You get befuddled by a middle-class morality . . . ? Get shut out of it. Shut it out. You cheated on your wife . . . ? You did it, live with it. You f*** little girls, so be it. There’s an absolute morality? May be. And then what? If you think there is, then be that thing. Bad people go to hell? I don’t think so. If you think that, act that way. A hell exists on earth? Yes. I won’t live in it. That’s me.
By David Mamet PERFORMANCE INFORMATION Previews: January 30 & 31 February 1 – March 2, 2008 Tickets: $9.00 – $56.00
–Ricky Roma, GLENGARRY GLEN ROSS
losers get axed. Unfortunately, not all the salesmen are still at the top of their game. Bitter desperation sets in. Knowing that their jobs and their livelihoods are on the line, four unethical real estate agents will go to any lengths to unload undesirable Florida land tracts on prospective buyers.
Daniel Mooney as Roma and Kenneth Albers as Levene in The Rep’s 1985/86 production of GLENGARRY GLEN ROSS. Photo by Mark Avery.
How do you view your work environment? Are your co-workers valued team players, trusted colleagues and even good friends? Is success in your office marked by harmonious collaboration and perhaps a little healthy competition? Or, is your office a war zone, a savage battleground full of lying, thieving backstabbers who would stop at nothing to fight and claw their way to the top of the corporate ladder? This second scenario certainly isn’t attractive, but how do things get bad enough to make that kind of viciousness a possibility? Playwright David Mamet’s Pulitzer Prize-winning GLENGARRY GLEN ROSS (1984) provides the appropriate recipe for workplace disaster. Set in a cutthroat Chicago real estate office, the salesmen are issued a challenge: the top salesman will win a Cadillac; the 8
Not since Arthur Miller’s DEATH OF A SALESMAN (1949) has there been such a scathing exploration of the American myths of capitalism and corporate success. Drawing a comparison between Miller’s and Mamet’s salesmen, critic Carla J. McDonough suggests the unrelenting thirst for success that motivates the characters of GLENGARRY GLEN ROSS: The main concern of Willy Loman was to be “well-liked” or accepted in masculine society . . . but in GLENGARRY, the well-liked motif is rejected for a ruthlessness that Ricky Roma, the top salesman, epitomizes. Roma gains other characters’ confidence or liking only so that he can use them for business ends. . . . His only desire is to be top salesman, because it is the position that gives him power and identity, rather than the admiration of others that Willy Loman desired. In this world, the briefest of conversations is manipulated for business ends, and behind every word that the characters speak, the threat of failure compels them to survive at any cost. Within this corrupt and demoralizing system, the weak and needy are
THE REP
Peter Silbert as Moss and Kenneth Albers as Levene in The Rep’s 1985/86 production of GLENGARRY GLEN ROSS. Photo by Mark Avery.
penalized, the strong rewarded and money becomes the only benchmark of success. Michael Billington, reviewing the London premiere of the play, comments on the anxieties underpinning the salesmen’s callous tactics: GLENGARRY GLEN ROSS is filled with the spiraling obscenity and comic bluster of real estate salesmen caught off-guard; yet underneath that there is fear and desperation. Mamet says that he admires his characters’ pragmatic individualism, but to me the piece comes across as a chillingly funny indictment of a world in which you are what you sell.
CAST LIST Mark Corkins◆, Jonathan Gillard Daly◆, James DeVita, Lee E. Ernst◆, Mark Murphey, James Pickering◆, Peter Silbert◆ ◆
Member of The Rep Resident Acting Company THE REP IN DEPTH Join us for The Rep In Depth, our lively informative half-hour talk which starts 45 minutes before every performance in the Quadracci Powerhouse Theater. Rep Resident Acting Company Member James Pickering will lead this Rep In Depth. Made possible in part by the generous support of:
Mamet’s script is dangerous. It’s hard-edged, exciting and a genuine rush of adrenaline. It’s also very funny. But come prepared to re-examine all those ideals you thought you understood about work, success and the American dream. Kristin Crouch Literary Director (Right) James Pickering as Williamson and Kenneth Albers as Levene in The Rep’s 1985/86 production of GLENGARRY GLEN ROSS. Photo by Mark Avery.
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STACKNER CABARET
THE REP
NEW MUSICAL ABOUT GRAFTON’S PARAMOUNT RECORDS AND THE BLUES COMES TO CABARET AKM: How is Grafton like New Orleans? KR: A river runs through both of them. Their musical traditions and contributions are very different. New Orleans is the birthplace and Grafton is one of the cradles. AKM: What were your greatest sources of inspiration for this musical?
Kevin Ramsey Last season Stackner Cabaret audiences were treated to a spirited production of SAM COOKE – FOREVER MR. SOUL, written and directed by Kevin Ramsey. When he was here last year, Kevin learned about the history of Paramount Records that was located in Grafton, Wisconsin. One person who has assisted him in his research was Angela K. Mack, co-founder of Paramounts Home, paramountshome.org, and Music Director/Instructor with the North Shore Academy of the Arts. Here, Angela interviews Kevin about his exhuberant world premiere musical, GRAFTON CITY BLUES. Angela K. Mack: Where did you grow up and how did you get introduced to the world of theater? Kevin Ramsey: I was born and raised in New Orleans. I grew up a stutterer as a youngster. My sister got me involved in a summer theater program as a form of speech therapy at the Free Southern Theater, which was one of the oldest African-American theater companies in the southern region. I guess you can say I found my passion at age 12. 10
KR: I was fascinated by the idea of the blues being created and recorded in this very small rural all-white town. I was introduced to a brief history of Grafton by Cecilia Gilbert [a former Rep board member and the City of Milwaukee’s Permits and Communications Manager for the Department of Public Works], who I met last season when I was at The Rep doing the Sam Cooke project. It was a most educational encounter. Ms. Gilbert spoke enthusiastically about Paramount Records and other intriguing Wisconsin history, including Bronzeville. I have set the play in an attic in Milwaukee’s historic Bronzeville district. Actually, my set designer, Jill Lyons, suggested the attic. Originally it was set in a basement. I loved the attic idea especially because the piece deals with conjuring up the past and the spirit world. The attic made it feel not so earth-bound. The show is a stylized retelling of stories and tales woven into a musical blues rap discourse celebrating Paramount Records and the blues. AKM: What is the main message of this musical? Why is it important for this message to be told? KR: I would say the question explored in the musical is: what do we do with our legacy and how do we use it? Each audience member will be effected differently, I suppose. As humans we are usually in search of a connection with where we have come from and how we fit in.
STACKNER CABARET AKM: Are there any subtle twists or contradictions you use to convey the message? KR: Certainly. It’s the blues; and the blues is full of contradictions. AKM: Describe your first trip to Grafton, Wisconsin, in one word. KR: Intriguing. AKM: Why is GRAFTON CITY BLUES a great fit for you as a playwright? KR: It fuels my love for history and music.
THE REP
GRAFTON CITY BLUES Concieved, written and directed by Kevin Ramsey PERFORMANCE INFORMATION Preview: January 11, 2008 Now – March 9, 2008 Tickets: $27.00 – $40.00 CAST LIST Jeremy Cohen, Jannie Jones, Eric Noden, Juson Williams
AKM: What aspects of this musical are you the most pleased with? KR: Thus far, I am extremely excited about the cast assembled: Jannie Jones, Jeremy Cohen, Eric Noden and Juson Williams. They will knock your socks off. In terms of the musical, once we are in rehearsals and in front of an audience I will let you know. AKM: Is the story more historical or historical fiction? KR: I think a mixture of both. Recalling history can be very challenging. Whose history are you recalling and from whose perspective? My process was to find as much historical information as possible and then throw it all away.
AKM: Both of the musicals that you have written so far for The Rep, SAM COOKE and GRAFTON CITY BLUES, are about African-American musicians. Do you think that this is a niche that you would like to continue pursuing? KR: Actually, I’ve written four musicals. I grew up surrounded by music, interesting characters and events. Music and stories are in my blood. I am committed to the historical examination and retelling of the African-American musical experience and its artistic contribution to American and world cultures. So, yes, I will.
AKM: What do you want your audience to go away with? KR: An awareness of the legacies in one’s own ‘attic’, as well as a deeper appreciation for the early pioneers of blues music. AKM: How has this musical inspired you personally? KR: I am inspired to listen more deeply to the world around me.
Lawrence Stallings in last season's hit, SAM COOKE – FOREVER MR. SOUL. Photo by Jay Westhauser.
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STIEMKE THEATER
THE REP
FOR “THOSE WHO APPRECIATE WISTERIA AND SUNSHINE. . .” Were it only that some enchantment would step in for us all, to change what we have into what we wish for. To bridge the awkward gap between all of our many befores and afters. Because, for every after found, a before must be lost. And loss is, by nature, an unbalancing thing. –Lotty, ENCHANTED APRIL
Have you ever ached for that first breath of fresh, spring air after a relentless, gloomy winter? Have you ever bathed yourself in the warm, delicious glow of the sun as it peeks through the clouds on a crisp, April day? New, green buds are forming on the delicate vines and the tender blooms of flowers begin to burst forth a sweet and subtle scent . . . awakening hope and the promise of renewal, as the world wakes to life once again. Here in Wisconsin, we understand the anticipation of spring, the rejuvenation of life after months of a difficult winter.
sunshine and warm sea breezes of the Italian Riviera. The women find even more than they hoped for. As they bask in the glory of their surroundings, the ice around their hearts begins to thaw, vulnerabilities are cast aside, relationships are created or mended and husbands arrive just in time to participate in the transformation.
ENCHANTED APRIL has seen worldwide popularity and success since the first printing of Von Arnim’s novel in There’s a similar 1922. That joy in ENCHANTED year alone, APRIL. Playwright the novel went Matthew Barber’s through an extraordi2003 stage adaptanary 20 reprints, and tion of Elizabeth saw film and stage adapvon Arnim’s 1922 tations as early as 1925. novel presents the Rose Pickering in The Rep’s The first adaptation ran radiating life and Stiemke Theater production of on Broadway in 1925, warmth of the sun as ENCHANTED APRIL. and was followed by a it spills over the tersecond film in 1935, for RKO Radio Films. races of an Italian villa, offering a respite In 1992, Mike Newell directed an immensely to four Englishwomen who have come to successful film starring Josie Lawrence, escape the dreariness of England only a Miranda Richardson, Joan Plowright and few short years following the devastation Polly Walker. Matthew Barber’s current and loss of World War I. In this heartadaptation was produced on Broadway in warming story, Lotty, the neglected wife 2003, earning Tony Award nominations for of a humorless and patronizing barrister, Best Play and Best Actress (Jayne Atkinson). sees a newspaper ad offering an Italian castle for the month of April. She immediWhether you hunger for a little exciteately sets about renting it, behind her ment, renewal or just need to leave the husband’s back, and finds the three past behind, come join “those who women in England least likely to be comappreciate wisteria and sunshine. . .” patible with each other to share the expense and the adventure with her. All Kristin Crouch four of the women yearn to escape the Literary Director boredom and joylessness of their lives, and to find healing and restoration in the 12
ENCHANTED APRIL Based on the novel by Elizabeth von Arnim
Adapted by Matthew Barber PERFORMANCE INFORMATION Previews: February 8 & 9 February 10 – March 9, 2008 Tickets: $23.50 – $43.50 CAST LIST Marilynn Bogetich, Laura Gordon◆, Torrey Hanson◆, Linsey Page Morton, Gerard Neugent◆, Rose Pickering◆, Deborah Staples◆, Brian Vaughn◆ ◆Member
of The Rep Resident Acting Company THE REP IN DEPTH Join us for The Rep In Depth, our lively informative half-hour talk which starts 45 minutes before every performance in the Stiemke Theater. Rep Resident Acting Company Member Laura Gordon will lead this Rep In Depth.
400 E. Mason St Milwaukee, WI 53202 414-271-8525 delind@execpc.com www.delindgallery.com 13
QUADRACCI POWERHOUSE THEATER
THE REP
QUADRACCI POWERHOUSE THEATER
Playwright Charles Randolph-Wright talks about his exciting new play
THE NIGHT IS A CHILD
THE NIGHT IS A CHILD Milwaukee Repertory Theater is thrilled to be producing the world premiere production of THE NIGHT IS A CHILD, a new play by Charles Randolph-Wright. The multi-talented Mr. Randolph-Wright – he’s a playwright, film and television director as well as an actor – also has a new film, Mama, I Want to Sing!, opening in 2008. Here he shares with us the inspiration behind his uplifting new play, THE NIGHT IS A CHILD. Charles Randolph-Wright
Colorado schools. An Omaha mall. A Crandon, Wisconsin gathering of friends. We have seen these horrific images over and over in the news. The event that started me thinking about writing THE NIGHT IS A CHILD was Columbine. Unfortunately, those images keep coming. When Columbine happened, I immediately thought of the parents. What happens when your child does something unspeakable? The parents are the first to be blamed, but are they responsible for the crimes of their children? I remember watching the news and seeing a parent running from the media, attempting to find some respite in his home. It made me realize that for these parents and families, there is no respite, there is no relief. A great friend and hero of mine is a retired army general. He called me during 9/11 to see how I was doing, since I lived downtown in New York City. I told him that I felt inadequate – 14
I should have listened to my family and gone to medical school so that I could be helpful. Instead I felt helpless and useless. He said something to me that I will never forget – “Art is the salve that heals our wounds.” I think of those amazing words constantly. I think of those words when I see these tragedies all over our country and all over the world. As I was working on the play, I would become overwhelmed and put it down for a while. Then a tragedy like Virginia Tech would happen, and again I would hear my friend’s words. I realized that I had to keep writing. The character of Harriet Easton lives in a small town outside of Boston. She’s lived there all her life and raised three children. One of her twin sons commits a horrendous crime, and on the one year anniversary of that crime, when life becomes unbearable, Harriet travels to the one place she always wanted to visit – Brazil. I was in Brazil on an anniversary of Columbine and saw those images once again on the news. My hands immediately went to my computer. Brazil is where I go to escape, where I go to breathe. When my plane lands, I immediately exhale. Magic and beauty permeate that country – the people, the music, the food, the religion, the sports, the dance. It is an extraordinary world. We make in a week what some people there earn in a lifetime, yet they are infinitely happier. You see it. You feel it. I love juxtapositions, the collisions of cultures. The idea of a middle-aged
THE REP
By Charles Randolph-Wright PERFORMANCE INFORMATION Previews: March 12 & 13 March 15 – April 13, 2008 Tickets: $9.00 – $56.00
Charles Randolph-Wright and his mother.
woman from a suburb of Boston exploring Brazil provided an opportunity for me to play with all kinds of themes – social, political, racial and religious. Harriet slowly learns how to samba throughout the play, which becomes her ultimate process of allowing the layers to drop. Dance does free anyone who commits to it. And in THE NIGHT IS A CHILD, there is Brazilian music – music that is hypnotic and inviting. So now, this is the invitation for Milwaukee Rep audiences to dance. Perhaps we should have samba lessons in the lobby. Actually, based on what I’ve already experienced in your wonderful city, perhaps dancing in the lobby is not too much of a stretch. I wanted to premiere this play in a place that also has a collision of cultures – perhaps not the same as Brazil, but a city that understands the mixtures of various worlds. I fell in love with Milwaukee Rep and the incredible artistic team there, led by Joe Hanreddy, who enticed me to discover your magic and beauty. The Rep has opened its doors and heart to me. How could I not dance? Hopefully, we’ll all be dancing together in the lobby or on the street – wait a minute, it’s Milwaukee in the winter. Let’s dance inside.
CAST LIST Jonathan Gillard Daly◆, Monette Magrat, Elizabeth Norment, Lanise Antoine Shelley◆ ◆Member
of The Rep Resident Acting Company THE REP IN DEPTH Join us for The Rep In Depth, our lively informative half-hour talk which starts 45 minutes before every performance in the Quadracci Powerhouse Theater. Rep Resident Acting Company Member Jonathan Gillard Daly will lead this Rep In Depth. Generously sponsored by
and made possible in part by the generous support of:
Charles Randolph-Wright Playwright 15
STIEMKE THEATER
THE REP
FINDING HUMOR IN THE HEART OF DESPAIR Nothing is funnier than unhappiness, I grant you that. –Nell, ENDGAME
Samuel Beckett
Samuel Beckett – Irish playwright, poet, novelist – is perhaps one of the most recognizable names of twentiethcentury literature. Alongside other literary giants such as James Joyce, J.M. Synge, W.B. Yeats, Ezra Pound and T.S. Eliot, Beckett has contributed to shaping the canon of modern Western literature. He achieved worldwide renown for his play, WAITING FOR GODOT (1952), and enduring fame with a Nobel Prize for Literature in 1969. At the same time, “Sam the man,” who was an intensely private individual, continues to be an enigmatic figure and the “meaning” of his plays is often debated and remains largely misunderstood. The Beckettian world is a minimalist one, and his plays are often set amidst a sparsely inhabited wasteland; it is a world bespeaking emptiness, a void the seemingly bleak expanse, (and sometimes cramped confines), of nothingness. Is it pessimism at the core of his vision, or is there something else at work here? 16
Born and raised in Ireland, the young Samuel Beckett left his homeland for a new life in France at the start of World War II. Though an active supporter of the French Resistance while living in Paris and later in the countryside of France, Beckett continued to visit his home country and witnessed, first hand, the ravages the war had wreaked all around him. The Irish countryside, in particular, was decimated by war-time emigration, poverty and loss. It must have looked much like the desolated landscapes that later appeared in his plays. All over Europe, Beckett was exposed to the wretchedness and misery brought about by the war. Overflowing with pain, sadness and despondency, the world appeared devoid of meaning, purpose or sense. The utter failure of mankind was an inescapable fact of reality. Yet, the task of the artist, according to Beckett, was one of finding the appropriate response to devastation. The writer was well-known for a jovial sense of humor and his love of jokes and laughter. He soaked up vaudeville entertainment and the work of silent film stars Buster Keaton and Charlie Chaplin. Common to all of these performances is the decreasing dependence on words (which have also failed to provide meaning), and the focus, instead, on humorous physical actions and routines. In response to the tribulations of life, Beckett created characters who could find comfort by sharing in their experiences through little games and routines (however simple). In this way, his characters create pleasure by sharing one another’s burdens. Literary critic Fintan O’Toole
STIEMKE THEATER offers a hopeful perspective on Beckett’s use of humor: Beckett’s humor never takes the form of comic relief. It is never a way of punctuating the horror, of giving the audience a break from the pervasive despair. It exists, rather, right at the heart of Beckett’s vision. For the best way to misunderstand Beckett has always been to see him as a mere purveyor of thrilling bleakness, beating his breast about the sorrow of the world and the awfulness of existence. His real interest, rather, is in the endless ways we think up to stave off despair, the fabulous, perverse energy we bring to the task of keeping going. The words and gestures with which his people defy the darkness may, because they are pointless, be utterly tragic. But, because they can have no effect, they are also free and loose and light, utterly gratuitous and gloriously excessive and therefore, in the end, funny.
THE REP
ENDGAME By Samuel Beckett PERFORMANCE INFORMATION Previews: March 21 & 22 March 23 – April 20, 2008 Tickets: $23.50 – $43.50 CAST LIST Mark Corkins◆, Lee E. Ernst◆, Laura Gordon◆, Torrey Hanson◆ ◆Member
of The Rep Resident Acting Company THE REP IN DEPTH Join us for The Rep In Depth, our lively informative half-hour talk which starts 45 minutes before every performance in the Stiemke Theater. Rep Resident Acting Company Member Torrey Hanson will lead this Rep In Depth.
In Beckett’s masterful ENDGAME (1957), you will see that Hamm and Clov seem to be at the end of things, with no hope for continuing on. They struggle for a way to express what is ultimately inexpressible. To alleviate their suffering and to increase their chances for survival, the characters find meaning in the precision of their physical business and routines. They create humor and entertainment in depending on one another, in the very act of depicting the human condition in characters such as these Beckett produces not sadness and desolation, but warmth, humor and empathy for all the rest of us who continually fail and cling to the hope that relief may be just around the next corner. Kristin Crouch Literary Director
Lee E. Ernst and Mark Corkins in The Rep’s Stiemke Theater production of ENDGAME.
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FRIENDS
PERFORMANCE CALENDAR
THE REP 4 5 % 3 $!9 /$ 3(
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Or stand in the control booth at the back of the theater and learn what it’s like to control every lighting and sound cue during a play? If the answer is “Yes!� to any of these questions – then do we have the experience for you! It will be as close as one can come to being an actor without having to worry about stage fright – all while indulging in superior wines and enjoying the finest chocolate! The Rep’s beautiful production of ENCHANTED APRIL runs from February 8 – March 9 in the Stiemke Theater. The sets and costumes for this production will be exquisite and the performances promise to be memorable. After seeing the show at your convenience, come to the theater on Monday, March 10 at 7:00 pm for the Enchanted Wine and Chocolate Party hosted by the Friends of The Rep. Once you arrive, you’ll receive a glass of wine as you are seated in the theater.
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The cost for this event is only $75 and it includes a ticket to The Rep’s Stiemke Theater production of ENCHANTED APRIL that you may use at your convenience. (Please note that Stiemke Theater subscribers will pay only $50 for the event since you will already have your ticket to the performance.) This will most certainly be an enchanted evening – an experience you won’t want to miss! Please note: as seating is very limited, please call 414-2900716 to make your reservations for this event. Deadline to RSVP is Monday, March 3rd.
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Afterwards you’ll be led on a behindthe-scenes tour of this beautiful production. The tour will take you to the production control booth to talk to the Stage Manager about running the lighting and sound cues during a performance. Next, you will head to the dressing rooms to see and feel the costumes up close. Last, you’ll walk on the set and see what backstage at a play actually looks like. When you are done touring, join us in the lobby for more wine, delectable chocolates and hors d’oeuvres.
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Or walk on the stage and go through entrances that the actors use to go to the backstage area? Or learn about props from an artisan in our prop department?
Rep actors from ENCHANTED APRIL, led by Associate Artistic Director Sandy Ernst, will reveal insights about their experience with this production and answer your questions.
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Did you ever wonder what it would be like to wear the beautiful hats that Deb Staples is seen in on stage? Or take a peek at what a real dressing room looks like?
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(P) = Preview (O) = Opening Night (B) = Bus Matinee (TT) = Theater Thursday (TB) = Talkback (FS) = Family Sunday Matinee & Smoke-Free Sunday Matinee (SF) = Smoke-Free Sunday Matinee (A) = Audio Description (I) = Interpreted (C) = Captioned Theater QUADRACCI POWERHOUSE THEATER: NM = THE NORMAN CONQUESTS, RG = ROUND AND ROUND THE GARDEN, TM = TABLE MANNERS, LT = LIVING TOGETHER GLEN = GLENGARRY GLEN ROSS, CHILD = THE NIGHT IS A CHILD STIEMKE THEATER: BACHELORS = THE BACHELORS, APRIL = ENCHANTED APRIL, END = END GAME STACKNER CABARET: BLUES = GRAFTON CITY BLUES, HULA = HULA HOOP SHA-BOOP
GET INVOLVED
THE REP
TALKBACKS Talkbacks (post-show discussions) for GLENGARRY GLEN ROSS follow the evening performances on Wednesday, February 6, 13, 20 and 27, for ENCHANTED APRIL on Tuesday, February 12, 19 and March 4, for THE NIGHT IS A CHILD on Tuesday, March 18 and 25 and April 1 and 8, and for ENDGAME on Thursday, March 27 and April 3, 10 and 17. THE REP IN DEPTH Join us for The Rep In Depth, a lively, informative half-hour talk which starts 45 minutes before every performance in the Quadracci Powerhouse Theater and Stiemke Theater. It’s free and you can drop in any time during the course of the talk. This popular series is sure to enhance your theatergoing experience with background information about the play you are about to see. Come and join all the other audience members who enjoy this free educational event! JOIN THE FRIENDS OF THE REP Join the Friends and join the fun! Members of the Friends of The Rep collectively donate thousands of hours of volunteer time and effort to assure that The Rep has the resources to maintain its artistic standards and meet its financial objectives. The Friends’ volunteer
efforts provide extra “people” resources to help The Rep sustain its leadership as one of the finest regional theaters in the country. Membership fees range from $15 – $40 for one year. For more information, go to our website at: milwaukeerep.com/support/volunteer.htm. PLAY READINGS AT BEAUTIFUL TEN CHIMNEYS ESTATE This Spring, Ten Chimneys Foundation and Milwaukee Repertory Theater continue the fourth season of their highlyacclaimed collaboration “The Plays of Lunt and Fontanne: Play Readings at Ten Chimneys.” Featuring The Rep’s Artistic Intern Company, the series gives audiences an opportunity to enjoy some of the 20th Century’s most successful plays – at the estate of the actors who made them famous. This Spring’s Ten Chimney’s Play Reading schedule is as follows: THE GUARDSMAN by Ferenc Molnar – March 31, 2008 ARMS AND THE MAN by George Bernard Shaw – May 12, 2008 The readings begin at 7 pm. There is a $15 suggested donation at the door. Call 262-968-4161, extension 500, to reserve seats and for further information.
Maintaining the Safety, Security and independence of the Elderly.
• Confidential assessments & consultations by professional care managers • Medication trained and supervised caregiving staff • 24/7 service and emergency response
Milwaukee 414.963.2600 Waukesha 262.521.3016 www.elderselectstaff.com
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BASIC INFORMATION TICKET OFFICE: 414-224-9490 TICKET OFFICE FAX: 414-225-5490 ADMINSTRATIVE OFFICE: 414-224-1761 FAX: 414-224-9097 WEBSITE: milwaukeerep.com SINGLE TICKET PRICES Quadracci Powerhouse Theater: $9.00 – $56.00 Stiemke Theater: $23.50/$33.50/$43.50 Stackner Cabaret: $27.00/$32.00/$35.00/$40.00 Pabst Theater: $22.50 – $65.00 REP TICKET OFFICE HOURS Monday – Friday: Noon – 6 pm Saturday – Sunday: Noon – 6 pm Window service is available until curtain time. DISCOUNTS FOR STUDENTS AND SENIOR CITIZENS Receive $5 off any seat bought in advance or purchase half-price “rush tickets” 60 minutes prior to curtain. Offer valid for QUADRACCI POWERHOUSE and STIEMKE THEATER performances only. Proper identification is required. This offer cannot be used in conjunction with other discounts. GROUP DISCOUNTS For more information on The Rep’s Group Discounts, please contact The Rep’s Ticket Office at 414-224-9490 and ask for Lisa Bonack, Group Sales Coordinator. A NOTE ON RUNNING TIMES To find out the exact running time for one our performances, please call the administrative office at 414-224-1761 on or after the first date of performance. Our receptionist will be happy to let you know the actual running time. Running times are also posted on our website at: milwaukeerep.com. PARKING Located within the Milwaukee Center complex is an underground parking structure operated by InterParking. Enter off East Kilbourn Avenue or North Water Street, park, and then take the elevator to M or 2 for seating in the Quadracci Powerhouse Theater or Stackner Cabaret, and to G for the Stiemke Theater or Rep Ticket Office. Patron Parking Passes for the Milwaukee Center Parking Garage are available in the Quadracci Powerhouse and Stiemke Theater lobbies for $6.50. Save time and money! See the House Manager for details or to buy a pass.
THE REP ACCESS SERVICES Please contact The Rep Ticket Office to request Access Services, 414-224-9490. DEAF OR HARD OF HEARING SERVICES: A sign language interpreted performance is scheduled for GLENGARRY GLEN ROSS on Thursday, for February 28, 2008 at 7:30 pm, for ENCHANTED APRIL on Sunday, March 2, 2008, for THE NIGHT IS A CHILD on Thursday, April 10, 2008 at 7:30 pm and for ENDGAME on Sunday, April 13, 2008. A Captioned Theater performance is scheduled for GLENGARRY GLEN ROSS on Sunday, March 2, 2008 at 2:00 pm and for THE NIGHT IS A CHILD on Sunday, April 13 at 2:00 pm. A script synopsis is available for those patrons who are deaf or hard of hearing and would like to read it prior to attending a performance. If you would like to receive the synopsis, please call 414-224-1761. The Quadracci Powerhouse Theater and the Stiemke Theater are equipped with an infrared listening system, which ensures clarity of sound from any seat in the house. If you would like one of the listening devices, please stop at the House Manager’s desk to check out a headset prior to watching your performance. BLIND OR LOW VISION SERVICES: Audio-described performances are scheduled for GLENGARRY GLEN ROSS on Thursday, January 31 at 7:30 pm and Tuesday, February 26, for ENCHANTED APRIL on Thursday, February 21 at 7:30 pm, for THE NIGHT IS A CHILD on Thursday, March 13, 2008 and Tuesday, April 8, 2008 and for ENDGAME on Thursday, April 3, 2008. Audio description is the art of talking pictorially to make the arts accessible to people who are blind or have low vision. A cassette describing the visual elements and plot line of the productions are available at no cost to our patrons. Please call William Newcomb at 414-290-5717 to make reservations for either of these audio-described performances or to receive the tapes. Large print programs are available in the Quadracci Powerhouse Theater or Stiemke Theater by asking any usher. All Rep theaters are wheelchair accessible.
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SUNDAY BRUNCH 10am - 3pm
German
Famous Friday Fish Fry 1034 North 4th Street 414-276-4844
WATER STREET BREWERY - 1101 N. Water St., 414-2721195; 3191 Golf Rd., 262-646-7878. Milwaukee’s brew pub since 1987. Featuring freshly brewed beer, appetizers, sandwiches, and nightly entree specials. A variety of seasonal and specialty beers brewed on premises in the downtown theatre district. Open daily 11 a.m. Friday Fish Fry www.waterstreetbrewery.com
HISTORIC TURNER RESTAURANT - 1034 N. 4th St. 414-276-4844. Located in an 1883 historic landmark. Serving Classic American and German specialties. Famous Friday Fish Fry. Take-out and banquet facilities available. Located across from the Bradley Center. www.historicturner.com ★ ☎ -
Casual Italian
Mexican
Weekend Brunch 10am - 3pm Saturday & Sunday
Connecting you to issues, ideas, and life-long learning. Connecting Wisconsin to the world.
wisconsin public radio
IDEAS 90.7 WHAD-FM www.wpr.org 800-486-8655
Traditional Mexican Food Great Margaritas downtown
801 N. Jefferson 190th & Bluemound Rd. Milwaukee Brookfield 414-273-4224 262-784-4275
LOUISE’S TRATTORIA - 801 N. Jefferson, 414-273-4224; 190th & Bluemound Rd., 262-784-4275. California-style specialty pizzas, freshly made pastas, and foccacia breads, all baked on premises. Take-out and delivery available. Open daily 11 a.m. www.louiseswisconsin.com
2856 N. Oakland Ave. Milwaukee 414-964-2850
OAKLAND TRATTORIA - 2856 N. Oakland Ave., 414-9642850. Featuring wood-fired pizzas prepared in an open display kitchen. Traditional Italian specialty pastas, appetizers, and sandwiches served in a casual Trattoria-style atmosphere. Banquets and Catering Available. www.oaklandtrattoria.com
Fine Dining
1122 N. Edison St. • Milwaukee (414) 223-1122
places to wine & dine before or after the show For advertising opportunities, call 414.344.3336.
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Now on exhibit for a limited engagement at the Milwaukee Public Museum, 800 W. Wells Street, Milwaukee. Tickets and information: 414-223-4676 or www.mpm.edu
W W W. F O O T L I G H T S . C O M
KIL@WAT - 139 E. Kilborn Ave., 414/291-4793. With a menu as unique as the decor, Kil@wat delivers an experience defined by abundant choices of good food served in a setting that radiates relaxed style.
KEY: ★=Late Night Kitchen
Wisconsin Public Radio is a proud media partner of
RUDY’S MEXICAN RESTAURANT - 1122 N. Edison St. Milwaukee, 414-223-1122. Since 1985, Rudy’s has served fresh, authentic Mexican food in Milwaukee. Popular menu items include fajitas, chuletas, tacos, and enchiladas. A selection of premium margaritas made with a number of top-shelf tequilas complement the menu. www.rudysmexican.com ★ ☎ -
☎=Pre-show Reservations c =Shuttle =Live Entertainment -=Late Night Dessert Menu
Milwaukee Public
Presented locally by
MUSEUM
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• 55 undergraduate majors
• Graduate degrees and e-learning • Adult education
Concordia University Wisconsin 12800 North Lake Shore Drive, Mequon, WI 53097 Toll-free: 1.888.700.8336, 262.243.4300 www.cuw.edu
H I G H E R
L E A R N I N G .
G R E A T E R
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milwaukeerep.com
For most Concordia University Wisconsin students it means a transformation that prepares them for lives of service to Christ in the Church and in the world. Discover what a CUW education might mean for you.
Milwaukee Repertory Theater Patty & Jay Baker Theater Complex 108 East Wells Street Milwaukee, WI 53202
What does “Higher Learning, Greater Rewards” mean for you?