The Rep's Prologue Newsletter Fall 2008

Prologue The Rep’s Subscriber Online Publication Issue 1 Fall 2008

Rep Resident Acting Company Members Lee E. Ernst and Laura Gordon in STATE OF THE UNION.

In this issue . . . • The Rep Kicks Off the 08/09 Season in Style

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• State of the Union Quadracci Powerhouse Theater | September 16 – October 12, 2008

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• isn’t it romantic . . . Stackner Cabaret | September 5 – November 2, 2008

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• i am my own wife Stiemke Theater | September 10 – October 5, 2008

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• Eurydice Quadracci Powerhouse Theater | October 28 – November 23, 2008

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• The Nooj: A Snapshot Rep Resident Company Member Jim Pickering interviews Rep Resident Company Member Gerry Neugent

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• FAQ From the Prop Zone

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• “That’s Right Darling, It’s Incredible” – The Rep’s 2008 Gala

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Artistic Director: Joseph Hanreddy Managing Director: Timothy J. Shields Editor: Cindy E. Moran Photography: Jay Westhauser

Editorial Staff: David Anderson, Kristin Crouch, Christina DeCheck, Sandy Ernst, Brent Hazelton, Amy Richter, Kristy Studinski

The Rep Kicks Off the 08/09 Season in Style! In the years following WWII, America led the Allied effort to turn back the threat of Fascism and assumed a what seemed to be an undeniable role as a benevolent world leader. A spirit of purpose, possibility and well-earned national pride prevailed. The country turned its attention inward to develop an infrastructure and entrepreneurial climate that would be a living symbol of the virtues of a free, democratic society. President Truman’s “Fair Deal” included proposals for compulsory health insurance, federal aid to schools and generous educational opportunities for returning veterans. Strong conservative opposition blocked much of Truman’s program however, and in 1947 the Taft-Hartley Act for regulating labor unions was passed over his veto.

Acting Company Member Lanise Shelley in the title role. On the day Eurydice is to marry Orpheus and consummate their unconditional love, a fateful misstep sends her plummeting aboard a waterlogged elevator to the surreal depths of an underworld, as might be envisioned by Louis Carroll. Orpheus undertakes a rescue mission to retrieve her by charming the gods with his sweet music. EURYDICE is exhilarating, imaginative, no-holds-barred theater. It abounds with unexpected plot twists, abundant, irreverent and quirky humor and visual and musical delights, as well as extraordinary depth and insight into love that knows no barriers. EURYDICE is a perfect match for the talents of San Francisco director Jonathan Moscone, nationally acclaimed for his brilliantly inventive and theatrical productions at the California Shakespeare Festival. This year’s Tony Award-winning set designer, Todd Rosenthal, who has designed many of our most stunning productions, will collaborate with one of the most acclaimed teams of lighting, costume and sound designers we’ve been privileged to host.

Our Quadracci Powerhouse season-opening play, STATE OF THE UNION, is set in 1946. Rep Resident Acting Company Member Lee Ernst plays aeronautics tycoon Grant Matthews – the Republican Party’s dark horse candidate for the White House – a man who has a vision for an America where labor and business and Republicans and Democrats work together to create an era of prosperity and opportunity. Grant is a magnetic speaker, a principled man and a more than capable leader. His toughest challenge may be garnering the support of his estranged wife, Mary, played by Laura Gordon, who sees her husband’s strengths and weaknesses more clearly than any potential voter. STATE OF THE UNION is a romantic comedy at heart, which also manages to provocatively explore the balance between conviction and compromise. Grant and Mary work to reconcile their marriage and individual political convictions inside the ruthless arena of ambition, backroom bargaining, party bosses and special interest groups. It’s a play the Resident Acting Company has robustly embraced and one that promises to be a very special performance.

The Stiemke Theater season starts off with I AM MY OWN WIFE, a recent Broadway success that garnered both the Pulitzer Prize for Drama and the Tony Award for Best Play. WIFE is based on the true story of Charlotte von Mahlsdorf, a transgendered German antiques collector. This is a mesmerizing tale of survival amongst the repressive regimes of the Nazis and the Communists. Von Mahlsdorf was eventually awarded Germany’s highest civil award. The play is a theatrical tour de force that offers a single actor the opportunity to play some 40 roles, and Michael Gotch – last seen in ARMADALE at The Rep – is the ideal actor to take on the challenge.

The fall colors of October will usher in the Quadracci Powerhouse Theater’s production of Sarah Ruhl’s luminous and exquisitely soulful EURYDICE (U-ri-deh-see). The same adjectives also fit Resident 2

And leading off the Stackner Cabaret season, the ever elegant and mellifluous Jimi Ray Malary will team up with jazz genius piano player William Knowles to perform the romantic standards of Jerome Kern, Rogers and Hart and George and Ira Gershwin in the appropriately titled ISN’T IT ROMANTIC . . . . It promises to be an ideal performance to share with someone special in your life. We look forward to seeing you back at The Rep this season. Joseph Hanreddy, Artistic Director

STATE OF THE UNION Quadracci Powerhouse Theater

Interview with Director Michael Halberstam A powerful season in the Quadracci Powerhouse Theater begins with our production of the 1946 Pulitzer Prize-winning political comedy STATE OF THE UNION by Howard Lindsay and Russel Crouse. In this warm and robust story, Director Michael Halberstam adapted by Frank Capra into a film starring Spencer Tracy and Katharine Hepburn, the Republican Party is looking for a new candidate to oppose Truman in the 1948 election. Set in the years following WWII, the party is determined to take back the White House, held by Democrats since 1933. An idealistic political outsider, Grant Matthews, may be the man to re-ignite the party’s appeal. As a leader in the aviation industry, Matthews is progressive, honest and well liked, but has no prior experience in politics. They may be able to get him into office, but only if they can keep him from speaking his mind! When his estranged wife, Mary, joins him on a speaking tour as a campaign prop, tempers begin to flare. STATE OF THE UNION takes a contemporary look at presidential politics and the issues faced by candidates who try to reconcile their principles with the need for winning votes. Literary Director Kristin Crouch sat down with director Michael Halberstam to talk about the upcoming production of STATE OF THE UNION. Kristin Crouch: Michael, what excites you the most about working on this production? Michael Halberstam: Firstly, and foremost I am excited and ignited by this cast. It is a luxury to work on a chestnut piece of writing from this time period and genre and even more so to have a play that is so absolutely relevant to the moment, but what makes doing this show in the Quadracci Powerhouse special is the company. Milwaukee Repertory Theater boasts one of the finest ensembles in the country and for a director to be in collaboration with artists of this caliber in every single role is truly an unparalleled opportunity. Furthermore, there is a scale to this play that can only be realized in environments such as exist at Milwaukee Rep. We are, all of us, very lucky to be exploring this play, in this place, at this time.

KC: STATE OF THE UNION is set over 50 years ago, just after WWII, when the country was also dealing with domestic issues such as massive strikes in industry, rising pressures from special interest groups and a health care crisis. In this way, the play appears to be very relevant to our current generation. How do you think this play speaks to audiences today? MH: Well, I think you’ve just answered your own question even as you were asking it! Delicious how relevant it is, isn’t it? However, there is a special relevancy to the parallel between the prelude to a primary that STATE OF THE UNION describes and the rather grueling primary experience from which we have just emerged. I don’t know personally whether to be relieved that our current pressures are almost exactly the same as those described in the play or depressed. Fortunately, Lindsay and Crouse understand that humor is vital in keeping us all engaged. KC: Where do you find the humor in this story? MH: Groucho Marx was once asked the difference between an amateur and a professional comedian. He said something to the effect of, “An amateur dresses someone up as an old lady, puts them in a wheelchair, takes them to the top of a staircase and pushes them down. With a professional? It’s a real old lady.” I suppose what I’m saying is that all good comedy emerges from darker circumstance. This play finds its laughter in the wonderful balance between matters of great import and delicious human dysfunction and wraps it all up in a text filled with sparklingly delicious wit. KC: The political outsider and presidential hopeful, Grant Matthews, is passionate about trying to unify the nation. What do you hope audiences will take with them about the possibility of Grant’s vision for our future, here in the 21st century? MH: A balance between the intangible and the visceral? A desire to find a fresh perspective for our political process? I wish that we could move away from the media sensationalism of elections. We hold our candidates up to moral standards that we could never live up to ourselves. We force them to stay absolutely consistent to the same ideals with which they launch their campaigns, when what we really want them to (continued on next page)

STATE OF THE UNION Quadracci Powerhouse Theater (Interview . . . Michael Halberstam continued) do is to learn, grow and change just like we do. In return for these unreachable and unrealistic standards, we get professional politicians who spend so much time trying to avoid being specific, taking a stance or tackling any issue that might upset a significant demographic, that we end up with a sort of second rate daytime soap opera being played out at our own expense. If we want politicians like Grant, we need to start focusing specifically on the root problems we face as a nation rather than hot button issues that make for good television. This play accurately predicts our current predicament and I think the conclusion of the play raises all the right questions. KC: The title, STATE OF THE UNION, suggests the political focus of the play – it speaks to the issues involved with a presidential election process. Yet, it really is more of a love story, isn’t it? How do you plan to explore the romantic aspects of the script – the “state of the union” between Grant and his wife, Mary? MH: I’ve always believed that politics is just a macro manifestation of personal interaction. In other words – ‘family’ on a national scale. Mary and Grant are estranged and as is soon revealed in the play (I’m not giving anything away), straying from their vows. Over the course of the play they challenge each other and are forced to confront difficult issues. They have very human responses to those challenges, some of them noble and some of them ignoble. At the conclusion of the play they are forced to ask whether or not they are willing to compromise love in order to preserve their union and must choose accordingly. These are very intimate and personal circumstances with very political overtones.

Katharine Hepburn and Spencer Tracy in the 1948 film State of the Union.

STATE OF THE UNION By Howard Lindsay and Russel Crouse PERFORMANCE INFORMATION Previews: September 16 – 18 September 19 – October 12, 2008 Tickets: $10.00 – $60.00 CAST LIST Lee E. Ernst• Laura Gordon• Torrey Hanson• Dan Mooney Gerard Neugent• James Pickering• Rose Pickering• Steve Pickering Peter Silbert• Deborah Staples• Linda Stephens

Ensemble Eric Bultman Samuel Hicks Joshua Innerst Dennis Kelly Jordan Laroya Brian Rooney Aaron Shand Cassandra Stokes-Wylie Heidi Wermuth

•Member of The Rep’s 2008/09 Resident Acting Company

THE REP IN DEPTH Join us for our lively informative half-hour talk which starts 45 minutes before every performance in the Quadracci Powerhouse Theater. Rep Resident Acting Company Member Torrey Hanson will be leading this Rep in Depth. Made possible in part by the generous support of:

Isn’t it romantic . . . Stackner Cabaret

Romance and the Story of a Love Affair DHK: These composers were all writing music during what was called the “golden age” of popular music. They are responsible for creating many of the popular standards – by that I mean songs that have proven the test of time – that we’re familiar with today. This popular music has become part of the great American songbook. It created the term “pop music.” For this production, we’ll be using what the composers wrote roughly between 1929 and 1939. What all of the music shares is a feeling of romance.

Jimi Ray Malary and William Knowles in The Rep’s 2005/06 Stackner Cabaret production of ELlington: The Life & Music of The Duke. Photo by Jay Westhauser.

The Stackner Cabaret’s 2008/09 season opens with a new production, ISN’T IT ROMANTIC . . ., written and directed by David Hunter Koch. The show features the incomparable velvet-toned Jimi Ray Malary, who wowed Stackner Cabaret audiences when he last appeared in ELLINGTON: THE LIFE & MUSIC OF THE DUKE, during the 2005/06 season. Jazz genius William Knowles will join him again as Musical Director and Pianist. Director David Hunter Koch spoke with The Rep’s Public Relations Director Cindy Moran about his latest Cabaret offering. Cindy Moran: What can you tell us about your new Cabaret piece? David Hunter Koch: ISN’T IT ROMANTIC . . . is a songbook show that features the music of several composers – Jerome Kern, Rodgers and Hart and George and Ira Gershwin. We’re taking some great popular music and then exploring a modern romance through it. We follow the circular path that love takes. Often songbook style shows are told in a chronological fashion about the composers – so while that might be interesting for music historians, it’s not often as enjoyable for the audience. Here we’re doing something different that I hope is a lot more fun for the audience. We’ll be telling the story of a love affair through this type of music. CM: Are these composers from a specific musical time period or do they all just share a quality that you liked? How did you go about choosing the music for this show?

Jerome Kern’s music has a more traditional feel and style to it. His songs were about what romance should be. George and Ira Gershwin wrote songs that captured the thrill of romance and falling in love. Their music is all about the heart. Rodgers and Hart had a different approach to love and would delve into the heartbreak that can happen and the quirks of being in love. Together, their songs worked well guiding the path of our modern love affair – from infatuation and romance, to disillusionment and heartbreak to solitude and then back to new love. This music captures the timeless and universal journey of love so well. So, for ISN’T IT ROMANTIC . . . we’re going to have a lot of great music that people are familiar with. Songs like: Isn’t it Romantic, I Could Write a Book, Someone to Watch Over Me, My Funny Valentine and Let’s Call the Whole Thing Off, just to name a few. CM: Where did the idea for the show come from? DHK: Will [Knowles, Music Director] and I were in Milwaukee for HULA HOOP SHA-BOOP at the end of last season. We were looking for a new show. Then we got to thinking that a show about romance featuring musical standards would work, but we wanted to put a contemporary twist on it so that it would be about modern love. We would be telling this story of modern romance through the works of these composers. I created the piece specifically with Jimi Ray Malary in mind – Jimi is such a great singer! I wanted to find music that he would love to sing and that would resonate with him. I asked him to give me suggestions. Throughout the year, I would get these little handwritten notes sent to me by Jimi with two or three songs on them. So we started with around 60 songs but then we narrowed it down to 32 or so. (continued on next page) 5

I AM MY OWN WIFE Stiemke Theater

(Romance and the Story of a Love Affair continued) CM: You’ve done several other Cabaret pieces with Jimi Ray Malary and William Knowles before – are you looking forward to collaborating again? DHK: Absolutely! We have a very collaborative rehearsal process. It helps having that built-in shorthand. This will be our fourth collaboration together in the Stackner Cabaret. We worked together for KING OF COOL: NAT KING COLE – THE LIFE, THE MAN, JAZZ ROYALTY and ELLINGTON: THE LIFE & MUSIC OF THE DUKE. Jimi has such ease with people and a great generosity of spirit that makes the rehearsal process something I look forward to. Not to mention both Will’s and Jimi’s connection with the audience. They are both amazing performers! CM: What keeps you coming back to The Rep and the Stackner Cabaret? DHK: I really appreciate the artistic freedom and the high artistic standards. The Stackner Cabaret space is one of the truly great cabaret spaces in the United States. It’s just a great place to work! Jimi, Will and I all view Milwaukee as our second home. CM: Anything else? DHK: My goal in writing ISN’T IT ROMANTIC . . . was to show how relevant these popular standards can be to modern life and modern romance. I hope everyone enjoys coming to see the show as much as we’ve enjoyed putting it together!

ISN’T IT ROMANTIC . . . Written and Directed by David Hunter Koch PERFORMANCE INFORMATION Preview: September 5 September 6, 2008 – November 2, 2008 Tickets: $28.00 – $41.00 CAST LIST William Knowles Don Linke Jimi Ray Malary Scott Napoli Generously sponsored by

Who Was Charlotte Von Mahlsdorf? I AM MY OWN WIFE is the story of playwright Doug Wright’s encounter with a truly remarkable and fascinating German individual: Charlotte von Mahlsdorf. Growing up in Berlin during Hitler’s rise to power, Charlotte, a transvestite, survived two of the most brutally oppressive regimes of the 20th century – Nazism and the Soviet-style Communism of East Germany. Though biologically male, Charlotte openly flouted gender norms by dressing as a woman and living an openly gay lifestyle. Not only did Charlotte somehow manage to survive these totalitarian controls, she appeared to flourish. She was founder and curator of the Gründerzeit Museum, first begun through Charlotte’s passion for collecting antique furniture, clocks, gramophones and records of late 19th-century Germany. She even acquired the last surviving cabaret of the Weimar period, and installed it in her basement where it continued its history as a meeting space for East Germany’s gay community – right under the nose of the East German Stasi police. Much later in 1993, Charlotte received the Bundesverdienstkreuz (Order of Merit), the government’s highest civil honor, for her work in German cultural preservation. When American journalist John Marks first learned about Charlotte, he passed the news along to his playwright friend, Doug Wright. Mesmerized with the story and yet puzzled by Charlotte’s very existence, Wright became excited about the possibility of turning Charlotte’s eccentric life into a play. As he writes in the introduction:

I’d long held a casual interest in gay history, and Charlotte seemed like a veritable treasure trove. There are only a handful of books about gay life in Germany during the Second World War, and even fewer about the plight of the homosexual under Communism. Charlotte’s story, I reasoned, might help fill in the considerable blanks. Furthermore, her quiet heroism – maintaining an unwavering sense of herself during such repressive times – could be a boon to gay men and women everywhere. (continued on next page)

I AM MY OWN WIFE Stiemke Theater (Who was Charlotte . . . continued) What followed were several visits to Charlotte during a two-year period, in which Wright began to get to know his heroine. His research included many interviews with Charlotte herself, as well as media sound bytes, personal commentaries, letters and even government files which revealed a multi-faceted complex charactor full of contradiction and mystery.

Join us in the Stiemke Theater as actor Michael Gotch returns from a stunning performance in last season’s ARMADALE to single-handedly tackle this phenomenal story. Participate in the process of discovery as Gotch portrays nearly 40 characters in the life of Charlotte von Mahlsdorf. See if you can uncover the truth of Charlotte’s existence! Kristin Crouch, Literary Director

Wright’s project shifted into an entirely different direction once he had a look at Charlotte’s secret police file. Was she a gay cultural icon and hero, or had she, in fact, worked as a spy for the secret police to protect her own safety? What would Wright do with the unflattering images evoked by Charlotte’s Stasi file? Wright couldn’t continue to write the play until he found a way to approach the contradictory elements of Charlotte’s story:

For the first time, the play’s structure dawned on me. It wouldn’t be a straightforward biographical drama; it would chart my relationship with my heroine. I would even appear as a character, a kind of detective searching for Charlotte’s true self.

Michael Gotch

I AM MY OWN WIFE By Doug Wright PERFORMANCE INFORMATION Previews: September 10 & 11 September 12 – October 5, 2008 Tickets: $20.00 – $45.00 CAST LIST Michael Gotch

Deborah Staples and Michael Gotch in The Rep’s 2007/08 Quadracci Powerhouse Theater production of Armadale. Photo by Jay Westhauser.

THE REP IN DEPTH Join us for our lively informative half-hour talk which starts 45 minutes before every performance in the Stiemke Theater.

An Evening of Repartée

Please join us for the 2nd Annual Evening of Repartée on Monday, October 6 at 6:30 pm in The Rep’s Stackner Cabaret. Relax with a lovely glass of wine, snack on delicious appetizers and mingle with the members of the Resident Acting Company, and guests who are the featured presenters for the evening. You will be treated to readings, short stories and poems, all personally selected and presented by members of The Rep’s Resident Acting Company. The evening will conclude with sumptuous desserts and coffee. Donations for this delightful evening are $50, $75 or $100. As seating is limited, please reserve your place now! Call Lindsay Rocamora, Development Events Coordinator, at 414-290-5347.

EURYDICE Quadracci Powerhouse Theater

A New Twist on a Classic Myth The story of Orpheus and Eurydice (U-rideh-see), endures as one of the most tragic and haunting losses of all the Greek myths. Never have the words, “Don’t look back,” resonated with such bitter regret. Orpheus, as the ancient story goes, was a gifted poet and a musician, renowned for having the “ability to charm wild beasts and make even trees and rocks move by his music.” After the death of his bride, Eurydice, the lovesick and forlorn Orpheus journeyed all the way to the mouth of the underworld to try to bring his love back to the world of the living. He composed music to express the unbearable sadness that filled his every breath; so mournful and moving was his song that even the nymphs and gods wept and granted him one chance to retrieve his wife. There was only one condition – Orpheus was to leave the underworld, trusting that Eurydice was behind him. He was not to look back until both were safely home. The Orpheus/Eurydice myth has been preserved in western culture for thousands of years, passed down through a variety of re-imaginings and adaptations in literature, music, drama, film and other forms of pop culture. The story has been the inspiration for poets, such as Rilke and Auden, composers such as Gluck and Offenbach, and dramatists such as Tennessee Williams, Mary Zimmerman and now Sarah Ruhl. The majority of adaptors have offered their version of the myth from the traditional, masculine point of view of the heartbroken Orpheus. Ruhl, on the other hand, offers audiences a striking, contemporary twist. In her poignant and whimsical re-telling, it is Eurydice’s journey that we follow. It is an offbeat and eccentric world, with more connection to our modern life than the distant world of the ancient myth. Ruhl’s re-telling begins with a gentle exploration and subtle mockery of romantic love, including all the exuberance and excess of feeling that young lovers enjoy. She makes it clear that it’s not a perfect love – they do have their communication issues: he loves his music, and she prefers her books. Yet, when Eurydice 8

dies on her wedding day, it is not the end of her story, but the beginning of a new journey. Eurydice begins to explore a new world on her own; it is a topsy-turvy world of oddities and eccentricities, where Eurydice must begin the process of reconstructing and rebuilding her memories. She is guided in this process of remembering by her protective, watchful father. The drama draws on a personal story here for playwright Ruhl, who lost her own father to cancer in 1994, when she was 20 years old. She describes the play as “very much about my dad, in a way. . . . It was inspiring to see how gracefully he handled being sick. I partly wrote the play to have more conversations with him, but I wasn’t consciously aware of that at the time.” As a curious exception (or maybe it is an act of will?) in the underworld, the Father has retained his memories, and it is he who will re-connect with his daughter and teach her how to survive in this strange place. Together, they explore words, names, meanings, and relationships, forging a new bond as father and daughter: Eurydice: Tell me the names of my mother and brothers and sisters. Father: I don’t think that’s a good idea. It will make you sad. Eurydice: I want to know. Father: It’s a long time to be sad. The young woman must look back and decide what to hold on to, and what is too painful to keep. When Orpheus makes his way down to the underworld to reclaim his lost bride, Eurydice must decide what she wants to do; she must make a decision about the relationships she is willing to sacrifice and the ones she wants to keep. In a poignant and tender way, Sarah Ruhl explores the anguish of remembering, the bliss of forgetfulness, and the curious ways we find to keep connections to the ones we love – living and dead. Kristin Crouch, Literary Director

Resident Acting Company Interview

The Nooj: A Snapshot Rep Resident Acting Company Member Jim Pickering talks with Rep Resident Acting Comany Member Gerry Neugent

Rep Resident Acting Company Member Lanise Antoine Shelley.

EURYDICE By Sarah Ruhl PERFORMANCE INFORMATION Previews: October 28 – October 30 October 31 – November 23, 2008 Tickets: $10.00 – $60.00 CAST LIST Laurie Birmingham Wayne Carr William Dick David Duffield Eric Hissom Jose Sanchez Lanise Antoine Shelley•  •Member of The Rep Resident Acting Company

A mild, sunny, Wauwatosa morning in July. Gerry’s driveway, just outside the open door of the garage. A garage filled with toys. Many belong to Gerry. More belong to his two boys: Gerry (aka “G-3”), seven years old, and Peter, Rep Resident Acting Company Member one and a half. Gerry Gerard Neugent. (our Gerry, that is – “G-2”), is home with the boys today. Kate, his wife of seven years, is out lawyering. She is an associate with Burbach and Stansberry. Snacks are dispensed. Customary interview questions ensue. “Somewhere around sixth grade, it came to me. I just sorta knew: my dream from about sixth grade on was to be an actor and live in Milwaukee. I swear to God. It’s the truth. I’m livin’ in Des Moines, Iowa; my parents went to Marquette; my Dad grew up in Milwaukee. I always came to Christmas up here, 4th of July and whatnot, so I always loved Milwaukee and that’s what I wanted to do. I’m not lyin’.” (Peter has retrieved a red container from the depths of the garage) “Is that real gas?”

THE REP IN DEPTH Join us for our lively informative half-hour talk which starts 45 minutes before every performance in the Quadracci Powerhouse Theater. This Rep in Depth will be led by actor Wayne Carr.

“Hey, Bub, put that down.”

Made possible in part by the generous support of:

(The container is, in fact, empty, and Gerry puts it on a shelf. At this point G-3 emerges from the basement, where he has been occupying himself with about a hundred cubic yards of Legos. Gerry helps the boys set up plastic bowling pins in the driveway. As we continue the interview they conduct a spirited debate about what ball should be used to knock them down, and why.)

(Peter obeys promptly and with good grace.) “You can’t play with that. Pick, put that on the tape that I told my kid he couldn’t play with gas.”

“And your parents were cool with this?” (continued on next page)

Resident Acting Company Interview (The Nooj continued) “Oh, yeah. Very cool. My Dad, the lawyer, and my Mom. They wanted me to go to college so I could get a degree and go anywhere I had to, and do anything else. Go to law school. I always say that to Torrey Hanson: ‘We should take night classes together.’” (A spate of inter-generational laughter as Peter’s twohanded delivery scatters the pins. The ball of choice is a regulation-size basketball. Marquette blue and gold.) “You know my one regret in high school was that – well I made the basketball team when I was a senior, and I always regret that I didn’t get to wear the uniform. See I quit basketball . . .” “To do theater.” “You got it. I’ve always loved team sports. Being part of a team. So that’s another reason why I love what I’m doing now. It’s a team kind of thing.” “So you were a theater jock in high school . . . ” “Speaking of which, I remember walking down the hallway one day, and my classmate Ross Verba saying, ‘Hey, Gerry, you’re real good at that acting.’ I said, ‘Yeah, I’m gonna make it.’ He said ‘I think you are. But I’m gonna beat you to TV.’ And he did. Four years later I was an apprentice at APT and he was the number one draft pick of the Packers.” (G-3 pipes up from down the driveway, “Hey, Dad, you met a PACKER??”) “Yeah. I grew up with one. So, my senior year at Marquette Michael Wright [now Artistic Director of Milwaukee Chamber Theatre] came to teach a class and direct a show; and he walked me through the whole process of getting a job as an actor--I mean I didn’t know what a headshot was; heck, when I got there I didn’t even know where The Rep was--and arranged for me to audition for Brenda DeVita, and, actually, Lee Ernst out at American Players Theatre--” “What other theaters in the area have you worked for?” “First Stage, Chamber Theatre, Renaissance, Next Act, a summer program with Skylight. I worked with a group that’s now defunct called Inertia Ensemble Theatre . . . . HEY, Gerry, be careful with the little boy, okay, brother? . . . and something else in Chicago. Oh, yes, and Madison Rep. One of my all-time favorite shows there, 10

Brian Vaughn and Gerard Neugent in The Rep’s 2006/07 Stiemke Theater production of THE NERD. Photo by Jay Westhauser.

LOBBY HERO. Man, I would do that again in a minute if someone called.” “Name your top five.” “THE MENAECHMUS TWINS . . .” “A play by Plautus is in your . . . ?” “Most fun I ever had. I was one of the servants, we had a real slap stick, and I remember I had to go get one of the twins to beat me up, really kick my . . . that was so funny. . . . THE NERD and THE FOREIGNER . . .” “We’ll count them as one . . .” “. . . LOBBY HERO, and what else? Oh, ENCHANTED APRIL this spring. Not necessarily the role, but just the experience of doing that show. And YOU NEVER CAN TELL at APT. I was one of the twins. It was awesome. It was like a daiquiri on a hot summer day.” “Top five wish list.” “I can give you two roles that I want to do and it’s uneducated . . . ” “What do you mean?” “See, here’s the great thing. I don’t know enough. I hear people like Brian Vaughn who’s been doing theater 365 days a year since he was two or something at Utah, and he knows every play that was ever written. See, I get to experience everything for the first time. So, I don’t know enough. But the two roles that I want to do are Claudius and Iago. I want to be the bad guy. Nobody ever thinks I’m the bad guy.” (continued on next page)

Resident Acting Company Interview (The Nooj continued) “Well, comedy was sort of your way into this thing . . . ” “And, in THE FOREIGNER, Owen. Man, he’s great.” “So that’s your pantheon of villains? Claudius, Iago and Owen Musser.” “Yep. I would be an awesome villain.” “I know what you mean. One of the things I love about this profession is getting the chance to astonish people . . . you do some despicable character and they say, ‘Whoa, dude, where did that come from’ . . . ” “ . . . yes, a bad guy’s different. The leading man’s voice is loud in my head, but the bad guy’s on a different track.”

meet G-1.) “And you guys. The stories I’ve heard about Lee and Randall Duk Kim, and you and Larry Shue, and Jim Baker and all those people he worked with, and everybody’s imitation of Baker delivering the punch line of a joke. God dang it. All that stuff. I just hope someday somebody does an imitation of me like they do of Baker. With love in their hearts. I love the stories. They make us better. The love and respect that we have as a company – and they have it at APT – it really is so good because you trust – ” “It’s fuel.”

“You mean the essence . . . ?”

“– and you get these memories and these feelings, and they propel you. I mean, that’s what actors in a resident company do: they allow you to go farther faster. And that’s how you learn. From sitting around a table in rehearsal with Rose and Daly and Peter Silbert and Laura Gordon . . . ”

“Yes.”

“. . . the ‘A student’ in the class . . . ”

“Well, at first it was that I had this comfort zone in front of people. That I could ride an audience. That I could sit in silence, or on a laugh. I am very comfortable with an audience. I am able to find out what we hit and what we miss with an audience. That was earlier and then I started to learn my craft, from studying – myself, and the text, and talking with my peers – and found out the words can give me everything I need . . . ”

“Right.”

“Villains, clowns, romantic heroes, all of them. What do you think is the rush? The buzz?”

(G-3 re-emerges from Legoland, “Hey, Dad?. “What is it, Buddy? What do you need?” “I can’t start the video.” “Well, you’ll have to figure it out, because I’m doing an interview.” “I know.” “Why don’t you just hit ‘start’ and save it and we’ll get back to it. Is Peter down there with you? “He is.” “Make sure that he is.”) “ . . . and then I recognized that moments of theater can be like the perfect golf swing. They just feel like nothing. Nothing at all, and when that happens, you do a play and you feel stronger. Your body actually feels stronger after the performance. But you want to know why I really do theater?” “Sure.” “Because my entire life is based on lore. On storytelling. From my Dad, my uncles, the stories they tell, the same stories over and over again.” (At this point it occurs to me that I’d really like to

“Left turn, here. When I took riding lessons my instructor had a wonderful saying: When the student is ready, the teacher will appear.” “Cool.” “So what have you learned from Gerry and Peter?” (A fortuitous interruption as Peter, wondering, most likely, about the delay in lunch service gives a yell from the back door. Gerry asks, “Yeah, Buddy, where are you? What are you doing?” “Daddy, here!” Peter runs toward Gerry, a Lego construction of dubious shape and function in his hand. He trips and hits the deck. “Owowowowowow!” Gerry picks him up, sits down, and props him on the paternal lap, “Peter, you okay?” he asks, and, before Peter can choose the option of tears, says, “Why don’t you pull these shorts up a little bit. You’ll look better.” Peter chooses the option of lower lip biting, and complies with the suggestion. Gerry smiles at him. Peter smiles back.) “The first time they see you. I mean it’s like you’ve been out of focus, and the first time they really see you as a fellow creature . . . everything changes. You know, you can’t really do magic for kids. They’re not into the ‘How did that happen?’ (continued on next page) 11

Resident Acting Company Interview (The Nooj continued) aspect of a trick. For them, the rabbit was there, and now the rabbit’s just gone. They just want the rabbit back. That’s what we have to do in plays. Have people see what we do in that way. And the other thing, of course, is . . . well, I’m an actor. That’s all I ever want to do, but there are more important things than theater. Than work.” (Gerry puts Peter in a wagon and pulls him around for awhile.) “And you can’t be sarcastic with kids. Or satirical. There’s no point. You say ‘Thanks a lot for cleaning up your room, Gerry,’ and he just says ‘You’re welcome.” He hasn’t cleaned it up. So you have to be straight with them. And that’s true in a play as well. So I learned that from them. And also that I can leave work at work, because when I come home and see them – they don’t care. They want to play or whatever. And they help me remember the first time . . .” “Right – like that cliché about trying to give the illusion of ‘the first time’ in performance . . . ” “True cliché . . . ” “ . . . of course . . . ” “Another thing: Gerry’s playing baseball now. Oh, and everyone who loves theater should be a baseball fan!”

front yard and my car. I can’t resist one more question.) “Favorite actors to watch?” “I’m a huge Harrison Ford fan. And Danny Kaye. Don’t tell Smoots. Oh, and Buster Keaton. And that guy in No Country for Old Men – Javier Bardem. When he’s flipping the coin for the guy in the gas station and telling him to call it? Awesome. Anton Chigurz. Creepy.” “I have yet to see that movie. I loved the book so much I didn’t want to . . . ” “Just Google that one scene, man. I watch it with my eyes and ears covered. It’s like the first time you see the velociraptors in Jurassic Park . . . and then I watched him do this love story in some movie Kate rented, and he was just terrific. So Harrison Ford – I practice that lopsided smile in the mirror. Danny Kaye, he can do anything with his body. And Keaton, too, I really admire that. The timing. And when you have it, you can one-two punch the audience all day. And you know, comedians make the best actors. Of drama, after a while. Steve Martin. Bill Murray. I think it’s because in comedy you have to commit to these absurd situations . . . ” (At this point the image of Gerry as Camille hanging from a chandelier in A FLEA IN HER EAR flashes through my mind.)

(This hollered directly into my microphone.) “I don’t get it, how they can not be. Anyhow . . . so Gerry’s walking around the house, swinging an imaginary baseball bat, jumping up and touching my shoulder calling me “out!” and robbing homeruns . . . two guys on, two outs, bottom of the ninth, a run down, and the guys strikes out, or hits one out, and he’s collapsed in the batter’s box or everybody’s high-fiving him . . . THAT’S drama. That’s theater. That’s what we should strive for all the time. And seeing them experience things for the first time, that reminds me of how I did. Like a dreamsicle. When was the last time you had a dreamsicle? Can you remember that? Well, that is so useful . . .” (Now G-3 has come outdoors and joined his brother. It is clearly time to eat. I pack up my ancient cassette recorder in preparation for departure and realize that the guys probably don’t even know what it is. I decide not to experiment with a “first encounter” at this point, and wrap things up with Dad. We start strolling to the 12

Gerard Neugent in The Rep’s 2005/06 Quadracci Powerhouse production of A FLEA IN HER EAR. Photo by Jay Westhauser.

“ . . . and when you can commit to the text of a drama with the same commitment, when you can take what you can do naturally and apply it to what you learn along the way, then you can become an artist.” (I turn off the recorder, climb into my car, and say goodbye to all three of the boys. Hey, I can recognize a curtain line as well as the next guy.) Jim Pickering, Resident Acting Company Member

Backstage at The Rep

FAQ From the Prop Zone I’m writing this at an altitude of 32,000 feet, on my way to Seattle for a national conference of not-for-profit theater Prop Department managers. Yup, there is such a thing, and in typical prop style it’s called the Society of Properties Artisan Managers (S*P*A*M). There are about 75 active members, and around 40 of us are gathering for our 15th annual meeting to discuss matters of professional and artistic importance, tour some sites of prop interest, attend workshops and, of course, swap war stories with those of our tribe. The war stories are often the best part, as the wars we Prop Masters fight are unlike wars fought in most other professions. (I hope to be able to relate some of the more entertaining and esoteric stories at some future time, the Prologue Powers allowing.) For now, though, I thought I’d tackle a topic that may help you to understand who these prop people are and what it is that they actually do. In my discussions with colleagues, there seems to be a list of Frequently Asked Questions that come up whenever we are introduced to someone unfamiliar with our somewhat rarefied field of endeavor. Among these questions are: “Can you actually do that for a living? Did you go to school for that? Where do you find all that stuff? Where do you keep it all? Isn’t your job fun?” But tied for first place in the Prop FAQ sweepstakes are: “What exactly is a prop?” and “What’s the strangest thing you’ve ever been asked for?” I guess it makes the most sense to tackle the first of those two, since that will best help in understanding the others. So here goes: WHAT IS A PROP? The glib answer would be: What isn’t? But that’s not much help to the uninitiated, so let’s go with an image. Picture, if you will, a house that has just been built from scratch, or a completely blank and vacant apartment or workspace. All you’ve got are walls, doors, windows, ceilings and floors. That’s the set – the structure within which the play takes place. But an empty room doesn’t tell you much. So here come the props to provide information and help tell

the story without wasting actors’ time explaining things that can just as effectively be revealed visually. Everything that goes into that space that tells you where and when these events are taking place – as well as the character and condition of those inhabiting this world – are the props. Floor coverings, window treatments, light fixtures, furniture, everything in the drawers, all the decorative items, all the stuff in the actors’ pockets, the luggage they carry, the contents of that luggage (unless they wear it – then it’s a costume), everything carried on and off the stage, and everything that is eaten, drunk, read, smoked, thrown, shot, smashed, trashed and burned. It’s the stuff that tells the story without words, reinforces script points and performances and helps to complete and add detail to the world into which the playwright, designers, director and actors will draw you. Accuracy in design, historical period and apparent function are crucial.

Karissa Vacker in The Rep’s 2005/06 Quadracci Powerhouse Theater Production of A MONTH IN THE COUNTRY. Photo by Melissa Vartanian.

Theater audiences are a smart bunch; and there are experts in every audience. At The Rep they may be so close to the stage that they can feel the breeze when the actors turn the pages of a period magazine. Any inaccuracy that the audience picks up on can take their head out of the game and distract them at a moment that, in the play’s world of compressed reality and rapid-fire delivery of ideas, may leave them in the informational dust. Add to that the fact that a historically and contextually accurate, smoothly functioning prop can spark and reinforce an actor’s character and performance and help them to tell the story completely and naturally, and you can see the importance of good, well designed and thoroughly (continued on next page) 13

From the Development Department (FAQ From the Prop Zone continued)

“That’s Right Darling, It’s Incredible” That was the response May 31, 2008 at UNFORGETTABLE, The Rep’s Gala featuring more than 300 guests. Chaired by Ed Hashek, John Jors and Wendy and Warren Blumenthal, this year’s gala grossed over $94,000, which will be used to support The Rep’s many artistic programs. The Gala featured a 140-item silent auction held outside of the Stackner Cabaret.

James Pickering and James DeVita in The Rep’s 2007/08 Quadracci Powerhouse Theater production of GLENGARRY GLEN ROSS. Photo by Jay Westhauser.

thought-out props on both sides of the footlights. (The footlights, by the way, are also props.) Durability is a factor as well. Though you may not walk across, much less move, your couch every day, prop furniture is likely to endure more action during the run of a show than household furniture survives in a lifetime. Ease and consistency of operation, for actors as well as crew, is another consideration. Actors have enough to do – what with remembering what to say and how to say it, how to move, where to be and how to best meet the ever-changing demands of performance before a live audience – all while wearing other people’s clothes and hair, without having to worry about whether the gun is going to fire or if they’ll be able to speak clearly while pounding down dinner in front of a paying audience. (Let’s face it, nobody – except maybe a prop person – is paying to see the furniture.) And on a two-show day, the crew has to be able to re-set and re-dress the stage, set props for the top of a second performance, prepare the effects, meals and, in general, make it look like it needs to in less time than it takes the average person to get ready for work in the morning. So that, in not-so-brief terms, is what a prop is and what it is meant to do. I could (as many know) go on, but I’m already over my allotted space, approaching my destination and this laptop (a past and future prop), is running out of power. Perhaps at some time in the future I can share stories of exploding stoves, radiocontrolled bleeding corpses and armored furniture. Until then, enjoy a show at The Rep, home of Better Living Through Props. Jim Guy, Properties Director

“Our goal was to have both an incredible experience for our guests as well as raise significant dollars for The Rep,” co-chair Ed Hashek explained. “A major factor in the successful fundraising was the auction, which for the first time included a silent auction electronic bidding system sponsored by M&I Wealth Management.” The new high-tech silent auction system allowed guests to bid electronically on everything from Kopp’s Custard for a year to a walk-on role in The Rep’s 33rd production of A CHRISTMAS CAROL. “Using the electronic bidding system added another layer of excitement to an already exciting event,” said Ed Hashek.

Rose Pickering and Ed Hashek

After the silent auction, guests moved onto the stage of the Quadracci Powerhouse Theater where they were treated to a sumptuous dinner by Shully’s Catering, featuring Strauss lamb and seared halibut and ending with a fabulous strawberry dessert. The Live Auction took place there and was followed by a performance featuring Stackner Cabaret sensation Jimi Ray Malary, accompanied by talented jazz pianist William Knowles. The intimate performance showcased a selection of songs from the upcoming Stackner Cabaret show ISN’T IT ROMANTIC . . . , which will open the Stackner Cabaret season on September 5 and run through November 2. (continued on next page)

Rep News and Information

Get Involved – Rep Events and News Talkbacks Talkbacks (post-show discussions) take place after the following performances: I AM MY OWN WIFE – 7:30 pm September 17, 24 and October 1. STATE OF THE UNION – 7:30 pm September 25, October 2 and 9. EURYDICE – 8:00 pm November 7, 14 and 21. Molly Gallagher, Tameica Greene and Pam Coleman

(Gala continued) “While we were all thrilled with the evening, planning this gala was almost as much fun as attending,” co-chair Wendy Blumenthal noted. “We had wonderful committee chairs and committee members working on everything from Corporate Tables to the Auction. And there was outstanding support from The Rep staff, from set and lighting designers to our Development Department. It was this kind of team effort that resulted in our financial success.” The 2009 Gala will be chaired by Rich and Maribeth Meeusen and Joe and Sarah Rock, and we’re planning an even more entertaining event, so save the date of May 16, 2009! To ensure that your name is on the invitation list, or if you are interested in participating in the planning process, please contact Lindsay Rocamora, Development Event Coordinator at 414-290-5347 or lrocamora@milwaukeerep.com. Lindsay Rocomora, Development Event Coordinator

6OGPSHFUUBCMF This year our Gala made over $94,000 to support The Rep’s Artistic Programs. We would like to thank the companies that helped make this possible. Badger Meter, Inc.

Johnson Controls Inc.

Bell Ambluance

KPMG LLP

Briggs & Stratton

M&I Wealth Management

Deloitte

Marcus Hotels & Resorts

Foley & Lardner LLP

Metavante Corporation

GE Healthcare

Miller Brewing Company

Godfrey & Kahn S.C.

Northwestern Mutual Financial Network

The Rep in Depth Join us for our 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! Stackner Cabaret One of Milwaukee’s best kept secrets is The Rep’s Stackner Cabaret. Not only does the Cabaret have some of the best cabaret musical entertainment in the state, it’s a great location to meet friends before or after any of The Rep’s shows. Arrive early and enjoy dinner and drinks before you see a Rep performance. With a delightful menu in a unique theater surrounding, it’s the perfect place to meet before you see a show in the Cabaret, Quadracci Powerhouse Theater or the Stiemke Theater. As a recent M Magazine article says “Half the fun of attending concerts and plays is talking about them afterward.” Stop up after the show and enjoy desserts and drinks – you never know who you’ll see! The Stackner Cabaret bar and restaurant is open to the public before and after all evening Rep performances and is located just up the escalator in the Milwaukee Center. The Stackner Cabaret is smoke-free. For dinner reservations, call 414-224-9490. To view the menu and other information, visit milwaukeerep.com

Rep News and Information Become a Member of 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 ensure that The Rep has the resources to maintain its artistic standards and meet its financial objectives. Membership fees range from $15 – $40 for one year. For more information, go to our website at: milwaukeerep.com/support/volunteer.htm.

MUSIC | FOOD | FUN

Wine and Chocolate Bar at InterContinental Indulge in something sinful at the InterContinental Milwaukee Chocolate Bar located in CLEAR. Decadent chocolates from around the globe prepared for you personally by our chef. It’s the perfect compliment to a cocktail. Play Readings at Beautiful Ten Chimneys Estate This fall, the Ten Chimneys Foundation and Milwaukee Repertory Theater launch a fifth season of their highly-acclaimed collaboration “The Plays of Lunt and Fontanne: Play Readings at Ten Chimneys.” Featuring The Rep’s Artistic Intern Acting 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 fall’s Ten Chimney’s Play Reading schedule is as follows: O MISTRESS MINE by Tarrence Rattigan Monday, September 8, 2008 CLARENCE by Booth Tarkington Monday, October 20, 2008 The readings begin at 7 pm. Play readings are just $15 in advance or $20 at the door. Call 262-968-4161, extension 500, to reserve seats and for further information. You may also visit tenchimneys.org and go to the section called public programs to learn more about the Ten Chimneys play readings.

The Rep’s 2007/08 Intern Acting Company at a Ten Chimney’s play reading last season

The Rep’s Stackner Cabaret

414-224-9490 for dinner reservations Generously Sponsored by

Performance Calendar

September SEPTEMBER TUESDAY

WEDNESDAY

THURSDAY

FRIDAY

(P)8:00

(P)7:30

I AM... WIFE

(P)7:30

7:30 ROMANTIC

(P)7:30

STATE 17

7:30 I AM... WIFE

(P)7:30 (TB)7:30

7:30 ROMANTIC

(A)6:30

6:30

7:30 ROMANTIC 7:30 STATE

(P)(A)7:30

STATE 19

ROMANTIC

8:00 ROMANTIC

4:00/8:00 ROMANTIC

STATE 20

8:00 I AM... WIFE

7:30 ROMANTIC

8:00 ROMANTIC

STATE 26

8:00 STATE

(A)7:00

ROMANTIC

4:00/8:00 I AM... WIFE

7:30 I AM... WIFE

(TT)(TB)7:30

(0)8:00

I AM... WIFE (O)8:00

SUNDAY 7

13 (O)8:00

7:30 ROMANTIC

STATE 18

I AM... WIFE

STATE 24

I AM... WIFE

SATURDAY 6

4:00/8:00 STATE

2:00/7:00 I AM... WIFE 2:00/(A)7:00 ROMANTIC

4:00/8:00 I AM... WIFE 4:00/8:00 ROMANTIC

4:00/8:00 STATE

2:00/7:00 STATE

2:00/7:00 I AM... WIFE 2:00/7:00 ROMANTIC

(FS)2:00/7:00

STATE

1:30/(TB)7:30 I AM... WIFE

(A)7:30

I AM... WIFE

8:00 I AM... WIFE

4:00/8:00 I AM... WIFE

2:00/7:00 I AM... WIFE

ROMANTIC

7:30

ROMANTIC

8:00 ROMANTIC

4:00/8:00 ROMANTIC

2:00/7:00 ROMANTIC

ROMANTIC

7:30

30 6:30 I AM... WIFE

October OCTOBER TUESDAY

WEDNESDAY 1

1:30/7:30 STATE (TB)7:30

THURSDAY 2

I AM... WIFE

(I)7:30

7:30 ROMANTIC

(B)1:30/7:30

STATE 9

(I)(TB)7:30

7:30

7:30 ROMANTIC

8:00 I

8:00 STATE

7:30 ROMANTIC

4:00/8:00 STATE

I AM... WIFE

2:00/7:00 ROMANTIC

STATE

2:00/7:00 ROMANTIC

4:00/8:00 ROMANTIC

(O)8:00

2:00/7:00 STATE

(NS)2:00/7:00

4:00/8:00 ROMANTIC

8:00 ROMANTIC

EURYDICE 31

AM... WIFE

SUNDAY 5

4:00/8:00 ROMANTIC

8:00 ROMANTIC

ROMANTIC

(A)(P)7:30

4:00/8:00 STATE 4:00/8:00 I

8:00 ROMANTIC

24 7:30

7:30 ROMANTIC

AM... WIFE

17 7:30 ROMANTIC

EURYDICE 30

8:00 ROMANTIC

7:30 ROMANTIC

ROMANTIC

(P)7:30

SATURDAY

8:00 STATE

STATE 10

EURYDICE 29

FRIDAY 3

I AM... WIFE

16 7:30 ROMANTIC

(P)7:30

STATE

7:30 ROMANTIC

(TB)7:30

2:00/7:00 ROMANTIC

4:00/8:00 ROMANTIC

2:00/7:00 ROMANTIC

EURYDICE

8:00 ROMANTIC

November NOVEMBER TUESDAY

WEDNESDAY

THURSDAY

FRIDAY

SATURDAY 1

4:00/8:00 EURYDICE

SUNDAY 2

4:00/8:00 ROMANTIC

1:30/7:30 EURYDICE

EURYDICE 19

7:30 EURYDICE

(B)1:30/7:30

EURYDICE

EURYDICE 8

EURYDICE

(TB)8:00

7:30 EURYDICE

(TB)8:00

EURYDICE 15

4:00/8:00 EURYDICE

7:30 TUNA EURYDICE 21

(TB)8:00

8:00 TUNA EURYDICE 22

4:00/8:00 EURYDICE

(TT)7:30

(P)8:00

7:30 TUNA

(A)6:30

7:30 TUNA

6:30 TUNA

7:30 TUNA

(I)7:30

7:30 TUNA

27 7:30 TUNA

Quadracci Powerhouse Theater STATE = STATE OF THE UNION

EURYDICE = EURYDICE

Stiemke Theater I AM...WIFE = I AM MY OWN WIFE

Stackner Cabaret ROMANTIC = ISN’T IT ROMANTIC TUNA = GREATER TUNA CAROL = A CHRISTMAS CAROL (Value Performances)

(O)8:00

8:00 TUNA

2:00/7:00 ROMANTIC

(FS)2:00/7:00

TUNA

EURYDICE

7:00 TUNA

4:00/8:00 TUNA

2:00/7:00 EURYDICE

2:00/(A)7:00 TUNA

4:00/8:00 TUNA

7:00 EURYDICE

2:00/7:00 TUNA

CAROL

2:00/7:30 CAROL

12:00/4:30 CAROL

8:00 TUNA

4:00/8:00 TUNA

2:00/7:00 TUNA

(P)2:00/(O)7:30

7:30 TUNA

TUNA

4:00/8:00 EURYDICE

2:00/7:00 EURYDICE

(P) = Preview (O) = Opening (TT) = Theater Thursday (TB) = Talkback (FS) Family Sunday Matinee & Smoke-Free (SF) = Smoke-Free (A) = Audio Description (I) = Interpreted in ASL (C) = Captioned Theater (B) = Bus Matinee

17 Pabst Theater