Real life does not offer any “do-overs” — the chance to see how things would have turned out if key decisions had been made differently. But in art, all things are possible. The characters in Next Act Theatre’s Milwaukee premiere of Three Views of the Same Object live out three different versions of the same life-and-death scenario.
The play, which was to open April 3, concerns the end-of-life decisions made by Poppy and Jesse, two aging academics who have had quite enough of worldly challenges and not enough of each other. In their younger days, they’d agreed that if one died first, the other would willingly follow. But now the time is drawing near, and each is having doubts.
Here’s the inevitable challenge with Romeo and Juliet: finding actors who are talented enough to bring gravitas to the roles of the doomed lovers and yet young enough to convincingly portray them.
Seventeenth-century playwright Aphra Behn is not a household name, even among theatergoers.
Between productions of Florentine Opera’s Julius Caesar, by Georg Frideric Handel, Ensemble Musical Offering presents an all-Handel weekend on March 28–30. The Hallmarks of Handel concert is designed to give fans of the timeless German composer the chance to enjoy some of his best-loved chamber music.
Violinist Irene Sazar has ambitious goals. Through her San Francisco-based performance group Real Vocal String Quartet, she aims to engage a new generation of listeners and broaden their musical horizons.
The barricades have once again gone up on Broadway. Are they worth dropping everything and joining this time?
Some 20 events are planned to explore the themes raised by Madison Opera’s production of Dead Man Walking on April 25 and April 27. There will be panel discussions on criminal justice and art exhibits as social commentary, along with film showings and opera previews at area libraries.
Opera buffs know that “high Baroque” opera is a different beast than the Puccini potboilers that attract casual operagoers. With its upcoming production of George Frideric Handel’s Julius Caesar, Milwaukee’s Florentine Opera will recreate the 1724 production with painful accuracy. Almost.
The vastly accomplished cast of the Milwaukee Rep’s Ain’t Misbehavin’ sings, dances and acts. Among the five of them, they play piano, drums, bass, banjo-uke, violin, saxophone, trumpet and tuba. On opening night, they moved from task to task and location to location with nonchalant joy.