John McGivern was completing a run of the play “Shear Madness” in Chicago when a member of the company took him aside and commanded, “You’re going on stage this summer and tell the stories you’ve been telling us backstage.”
Once upon a time, the holiday season at Skylight Opera Theatre meant a Gilbert & Sullivan operetta. That tradition changed over the theater’s 50-year history, but now it’s come full circle: “H.M.S. Pinafore” sailed onto the Skylight stage in time to make this season merry and bright with some delightful performances and much-needed comic relief in these uncertain times.
The 132-year-old operetta, which was the duo’s first international hit, remains one of their treasures. Arthur Sullivan’s tuneful score and W.S. Gilbert’s witty lyrics combine to produce some of their most memorable songs, including “I’m Called Little Buttercup.”
Caroline O’Connor is “on stage” even when she’s offstage. Performing courses through her veins like lifeblood as she breaks into a phrase of a song or a character she plays. My 45-minute interview with her is really more of a preview of “Bombshells,” the upcoming one-woman show written specifically for her that opens Nov. 22 at the Milwaukee Repertory Theater’s Quadracci Powerhouse stage.
Perhaps German social critic Frank Wedekind would be gratified to know that his banned 1891 play “Frühlings Erwachen” became the inspiration for one of Broadway’s most influential contemporary productions.
Musical legends never die, but every so often they lose their museums.
For George Gonzalez, one the greatest challenges in directing “The Santaland Diaries,” author David Sedaris’ wickedly funny bitch session about a season spent serving time as an elf in Santaland at Macy’s department store, was what to do about Snowball, the fellow elf on whom main character Crumpet (R. Peter Hunt) has a crush.
A doctor, his female and male patients, and a vibrator. Was there ever a better prescription for an “examining room” comedy?
Forward Theater Company opens its 2010-11 season Nov. 4 at The Playhouse in Madison’s Overture Center for the Arts with Pulitzer Prize nominee Sarah Ruhl’s “In the Next Room, or the vibrator play.” The play was both a 2010 Pulitzer finalist and Tony Award nominee.
Many adult children today struggle to balance their lives and families with the needs of ailing, elderly parents and relatives who can no longer care for themselves.
Maybe it was an idea whose time has finally come, but American Players Theatre has at last embraced the Christmas holidays with a musical version of “The Gift of the Magi,” the Spring Green company’s first-ever holiday production. The only question is – what took them so long?
In this wacky production, when Mother Superior is invited to St. Gabriel’s Catholic Church to create a new type of holiday show, one that blends the secular with the sacred, she comes up with a zany scenario that combines “the gift-ness with the Christmas.” One scene has Santa Claus babysitting the baby Jesus so that Mary and Joseph can go caroling with the neighbors.
Life in 1880s rural Wisconsin was challenging enough working the farm, dealing with the harsh winters and integrating immigrants with the “Yankees” in the developing Midwest. Add love to the mix and you have “Main-Travelled Roads,” a charming remembrance of the era set to music.
“Mozart was a genius of melody,” says out (and uncannily named) opera star Melody Moore. “What sets him apart from many other composers is that he wrote what is known in the German language as ein ohrwurm (an earworm) - a tune that continues to repeat convulsively in the listener’s ear, one that sticks with you long after the opera is over.”
The pleasure of singing Mozart’s earworms has Moore eager to take the stage next month as Countess Almaviva in Madison Opera’s production of Mozart’s “The Marriage of Figaro.” The lavish production, which plays Overture Hall on Nov. 5 and 7, launches the company’s 50th season.