Milwaukee Chamber Theatre has proven the success of playwright Margaret Raether’s Jeeves series twice now, with productions of both Jeeves Intervenes and Jeeves in Bloom that were wildly successful for the company. So it makes sense they’d go for the trifecta with Jeeves Takes A Bow, the third and final adaptation, which takes this brilliant valet and his dense employer to the Big Apple.
Few characters in 20th-century literature have quite as much intellectual and comic clout as Reginald Jeeves, better known as the personal valet, or “gentleman’s gentleman,” to hapless, dim-witted Bertram Wilberforce “Bertie” Wooster. As one of the last of the idle rich in England’s post-Edwardian era, Wooster has little to do other than get himself into trouble and then rely on Jeeves to get him out of it again.
There’s a saying around the Milwaukee Rep that “the company is built on the backs of interns.” That sentiment might come off as a joke if the people saying it weren’t so appreciative, or acutely aware that it’s true.
It’s rare when every living U.S. president gets together in a room. In the nation’s history, it’s only happened a handful of times, when either political obligation or tragedy summons the country’s current and former commanders in chief to the same physical location.
Playwright Christopher Durang’s most famous work, "Vanya and Sonia and Masha and Spike," may be strongly influenced by the plays of 19th-century Russian writer Anton Chekhov. But it’s the contemporary elements he’s woven in, including quasi-autobiographical details pulled from his life and that of friends like Yale Drama School classmate Sigourney Weaver, that gives its characters the energy, vitality and pathos needed to rise above stereotypes and give the play its lasting comedic appeal.
Winner of the 2013 Tony Award for best play, Durang’s classic/contemporary mashup will conclude Forward Theater’s 2014–15 season, running April 9-26 at the Overture Center.
Skylight Music Theatre will take a bold step this month, staging its first world premiere opera since artistic director Viswa Subbaraman took over the company in 2013. The Snow Dragon, by Thai-American composer Somtow Sucharitkul, is a fantasy epic about a boy who can travel between his world and a realm of eternal cold — and also a real-world drama illuminating the sensitive issue of domestic abuse.
It’s been almost a century since the Scopes “Monkey” Trial so famously fictionalized in "Inherit the Wind," yet the battle over teaching evolution and/or creationism in schools still rages on. But while the central question may have remained the same, the cultural landscape has changed since the 1925 trial that challenged a state law against the teaching of evolution, or that 1955 play that revived its themes and conflicts.
In its history as a company, Milwaukee Opera Theatre has gained a reputation for high-energy, imaginative productions. Their latest undertaking may be one of the most traditional in the opera canon — Gilbert and Sullivan’s The Mikado — but when MOT stages the classic, it comes with a twist: a complete reinterpretation of the score and story that sets it in a “percussion playground” where rhythm rules.