Athol Fugard's play about a railway conductor haunted by a woman who killed herself with his train receives an exemplary Midwest premiere at Milwaukee Chamber Theatre.
In March 2010, the Florentine Opera took a risk on a new work. The opera, Robert Aldridge and Herschel Garfein’s Elmer Gantry, which had received its world premiere performance three years prior, took the stage that month to high acclaim from Milwaukee audiences.
When Stephen Sondheim’s Sweeney Todd: The Demon Barber of Fleet Street opened on Broadway in 1979, its murderous themes caught the attention of audiences and critics alike and helped them sharpen their appreciation for less cheery musicals.
In 2006, a delusional gunman entered a one-room schoolhouse in Lancaster County, Pennsylvania, home of an Old Order Amish community, with the intention of acting out his obsessive fantasy of molesting Amish girls. Although thwarted by the unexpected arrival of police, he shot 10 girls, ages 6 to 13, execution-style before killing himself. Five of the girls died.
Former artistic director Bill Theisen is back at the Skylight, and boy, does he have a story to tell.
Roelf Visagie, a white Afrikaner who drives a train in his native South Africa, is haunted by the death of a black African woman and her child. One night, out of nowhere, the woman steps in front of his engine as a way of committing suicide.
There’s a funny contrast at the heart of Good People. Its heroine is Margie, a South Boston mother working paycheck to paycheck who runs out of paychecks. She earns our sympathy almost immediately, with a can-do spirit and relentless drive. But most of us in the audience aren’t Margies.