Thursday, September 29, 2016


compiled by Matthew Reddin

It's official: A LOVELY SUNDAY FOR CREVE COEUR has stolen the hearts of critics and audience members alike! The late-period, rarely produced Tennessee Williams play has earned rave reviews in its first weekend, and we're excited for more people to see the play in the next three weeks (we close October 16).

But don't just take our word for it. Here's our collection of what several of Milwaukee's theatre critics had to say about the show. Don't forget to pick up your tickets at the MCT box office!

Molly Rhode (L) and Kelly Doherty in LOVELY SUNDAY.
Photos by Paul Ruffolo.
Mike Fischer, Milwaukee Journal Sentinel
"Powerful quartet delivers 'A Lovely Sunday for Creve Coeur'"
"Takeaways: 'A Lovely Sunday for Creve Coeur'"

"an exceptionally well-acted production ... under Leda Hoffmann’s direction. Alternately funny and poignant, it’s another welcome reminder that late Williams deserves much more attention."

"Kelly Doherty gives her latest nuanced, supremely intelligent performance in sketching a woman who is both wistfully wise to life’s disappointments and determined to make the best of the hand she’s been dealt."

"Doing battle with Bodey for Dorothea’s soul, Molly Rhode adeptly straddles the line between snobby, deliciously snarky comments on Bodey’s life and pathos regarding her own profound loneliness."

"Disheveled and frequently in tears, the reliably comic Karen Estrada captures the unintended humor in Sophie’s plight, while still letting us feel Sophie’s pain."

The full cast of LOVELY SUNDAY, from left: Karen
Estrada, Kelly Doherty, Kay Allmand, Molly Rhode.
Dave Begel, OnMilwaukee
"'A Lovely Sunday for Creve Coeur' is an unbridled joy at Chamber Theatre" 

"For a play that is so riotously funny, the laughs easily give way to the famed Tennessee Williams sorrow in 'A Lovely Sunday for Creve Coeur.' The perfect production, which opened Friday night at Milwaukee Chamber Theatre, is one of the less frequently produced Williams plays, but the character portraits are familiar to anyone who knows Williams."

"The torrent of a variety of colors is an assault on the eyes ... set design by Courtney O'Neill captures all of the crampiness of this dwelling with a marvelous sense of space."

"The one thing this play needs is a special sense of clarity for each character. It only works with four distinct personalities that cross only briefly. And (director Leda) Hoffmann makes that happen."

"This play may be one that is rarely seen, but the production at Chamber makes it both valuable and vital."

Kay Allmand (L) and Kelly Doherty in LOVELY SUNDAY.
Selena Milewski, Shepherd Express
"A Light-handed Exploration of Loneliness"

"Milwaukee Chamber Theatre’s production of a little-known late work by Tennessee Williams, A Lovely Sunday for Creve Coeur, is a masterful study of loneliness, unlikely companionship and 'going on' after dreams are shattered."

"As the heart-and-soul character of the play, Bodey, Kelly Doherty is a force of nature. ... it’s fascinating to watch Doherty react in different ways and build gradually toward revelation of her character’s own unfulfilled desires and refusal to take any more verbal abuse."

"Andrea Bouck’s costume design offers a charming glimpse into the period and effectively evokes each character’s slight variations in class, ethnic background, temperament and even shifting emotions."

Julie McHale, Waukesha Freeman
"'Lovely Sunday' shows Tennessee Williams' humorous side"

"Dorothea is an unhappy civics teacher ... spinning her fantasies around an imagined life with a man of some social consequence. Kay Allmand vividly brings her personality to life."

"Masterfully directed by Leda Hoffman, this talented group of actors captures the dichotomy of a lovely Sunday amidst a quartet of broken hearts."

Anne Siegel,
'"A Lovely Sunday for Creve Coeur" Review'

"Although 'creve coeur' is the French word for heartache, one discovers more humor than anguish in this sweet, funny play."

"Without her family or a solid grasp of English, Estrada demonstrates that Sophie is particularly isolated from the world around her ... (she) shines in this role."

Peggy Sue Dunigan, BroadwayWorld Milwaukee
'Gifted Women Define Tennessee Williams' Tender Heartbreak at MCT'

"Allmand's Dorothea and Doherty's Brodey discover an uncommon sisterhood onstage ... Doherty offering warmth to Brodey's boldness, and Allmand giving strength to Dorothea when confronted with disappointment."

"There's more feminine prowess on the Broadway Center Studio Theatre stage than imaginable despite the levels of continual heartbreak."

Tuesday, September 20, 2016

Daydreaming Within Reason: A Lesson from Tennesee Williams

by Logan Peaslee, marketing and development assistant

“One wakes up in the morning and reaches for eyeglasses, coffee, and a myth. You can see that one needs vision, energy, and that myth. Otherwise, the day is simply impossible to face, endure, survive.” –Tennessee Williams

Tennessee Williams, photographed in 1965, about
10 years before he wrote CREVE COEUR.
Photo: Wikimedia Commons.
But what is the myth that Williams believes we reach for in the morning? The answer lies in his play, A LOVELY SUNDAY FOR CREVE COEUR, which follows a group of women as they hope their way through a Sunday. Dorothea, a 30-something schoolteacher, hopes for love. Bodey, her kind-hearted German roommate, hopes to pair Dorothea with Bodey’s twin brother. Helena, the local art teacher, hopes to feign class. And Miss Gluck, Dorothea and Bodey’s neighbor, hopes to survive the loss of her mother. 

Bodey reaches for the myth that her twin brother, Buddy, and Dorothea should be together. Bodey believes that, if Dorothea were to focus her attention on Buddy, she could see Buddy romantically. In turn, Bodey reaches for the myth that two people can be meant for each other and that she is capable of recognizing and facilitating that.

Helena reaches for the myth that one’s success is reflected in one’s wealth. More specifically, she believes that she can elevate herself socially by securing nicer housing. The myth that Helena reaches for is not an uncommon one; people often occupy their presents by working towards obtaining things, material things that they think will bring them mental ease.

Dorothea reaches for the myth that what she feels for her principal, Ralph Ellis, is love. Dorothea mistakes her admiration of Ralph Ellis’ class for adoration of Ralph Ellis as a person. She also perceives her sexual encounter with him as proof of his commitment to her. Believing there is a mutual commitment between herself and someone she adores, Dorothea—and, consequently, the audience—assumes she is in love. But if her hope goes unfulfilled, can the audience assume she is experiencing true heartbreak? Or is Dorothea just experiencing disappointment and loneliness as she hopes? 

One character is without a doubt experiencing true heartbreak—Miss Gluck. Miss Gluck is being torn apart by the loss of her mother, yet her heartbreak is on the periphery of the play, emerging only as a comical inconvenience. With this structure, Williams criticizes people’s tendency to name disappointment heartbreak and shows that doing so discredits a supremely real and supremely difficult experience. It’s much like people who are late to eat their lunch describing themselves as starving. Frustratingly, Dorothea even equates her situation to Miss Gluck’s when she says, “Now Miss Gluck, now Sophie, we must pull ourselves together and go on.” 

Moreover, this play serves to criticize how personal myths, like Dorothea’s “romantic illusions” (as Helena describes them), can waste a day; they can waste a lovely Sunday. Williams implies that relying on unfounded hope and waiting for unpromised outcomes may tend to lead to disappointment, disappointment that may be falsely named heartbreak. Myths can plunder the present. But he also claims that myths help us face, endure, and survive the day. Williams would likely suggest that we daydream within reason.

The myth we reach for is that one’s life—its possibilities and its experiences and its relationships—is more magical, more romantic than it is. Life is beautiful and heartbreaking, absolutely. It’s just beautiful and heartbreaking less often than in our daydreams. Some days are nothing more than a lovely Sunday for a picnic in a park.

Milwaukee Chamber Theatre's production of A LOVELY SUNDAY FOR CREVE COEUR runs Sept. 21 to Oct. 16 at the Broadway Theatre Center's Studio Theatre, 158 N. Broadway. Click here for tickets or call 414.291.7800.

Grissom, James. Follies of God: Tennessee Williams and the Women of the Fog. New York, NY: Knopf, 2015.

Monday, August 29, 2016

Taking a Trip to LOVELY SUNDAY's Real Creve Coeur Lake

by Logan Peaslee, MCT marketing and development assistant

Although mentioned frequently throughout Tennessee Williams' A LOVELY SUNDAY FOR CREVE COEUR and even used as the title, Creve Coeur is never actually seen by audience members; the play's action takes place entirely in the home of its protagonist Dorothea. But the destination’s history, current status, and name itself are too interesting to leave offstage.

Photo: St. Louis Post-Dispatch
Creve Coeur Lake, which is the largest natural lake in Missouri (320 acres!), has a history of hosting boating events. In the 1880s, the lake hosted the Mississippi Valley Regatta and the Creve Coeur Regatta. Perhaps most interestingly, the rowing competition for the 1904 Summer Olympics was held at Creve Coeur Lake, with the United States earning five gold medals for rowing that year. By the 1930s, when Williams' play takes place, the lake had become a popular picnic spot for residents of St. Louis. In A LOVELY SUNDAY FOR CREVE COEUR, several of the characters are preparing for one such picnic.

Creve Coeur’s interesting history did not end with the 1904 Summer Olympics. As recently as June of 2015, the park found itself in the news. A rising in the Missouri River pushed Creve Coeur Lake out of its banks and flooded the entire park. With the picnic areas, trails, and parking lots completely under water, there was likely little prospect of a lovely Sunday at Creve Coeur. Fortunately, the park's facilities had been designed to withstand flooding after a similarly large flood two decades prior (the Great Flood of 1993) destroyed the park’s amenities, and the park has since recovered

The name of the lake and park is French, and it means “broken heart” or "heartbreak." Legend has it that a Native American princess fell in love with a French fur trapper when the area was being settled. When her love was not returned, she jumped from a ledge overlooking the lake. From then on, the French settlers referred to the lake as broken heart lake, Creve Coeur Lake. 

Boating is a part of Creve Coeur Lake's history
as well as its present. Photo: Wikimedia Commons.
Since A LOVELY SUNDAY FOR CREVE COEUR explores the concept of heartbreak, it is fitting that Tennessee Williams included this particular lake in his play. The meaning of “creve coeur” also raises an evocative question: why a location never even visited in the play is worthy of the title.

In 1945, Creve Coeur Lake and the area surrounding it became a county park. Visiting the park today, you can return to the lake’s boating roots and sail, as well as canoe, kayak, and paddleboard. The park has Missouri’s first and only treetop adventure course. At fifty feet in the air, the course offers zip lines, swings, and an obstacle course. For those who prefer dry land and who are afraid of heights, Creve Coeur Park has gorgeous hiking and biking trails. Aside from the many exciting activities mentioned, the park remains a popular picnic spot. So if you’re ever in the St. Louis area and want to have a LOVELY SUNDAY afternoon, head to Creve Coeur Park!


Barr, Diana. “Missouri Declares State of Emergency Amid Flooding.” St. Louis Business Journal. St. Louis Business Journal, 19 June 2015. Web. 24 Aug. 2016.

“Contests at the Oars.” Archives. The New York Times, n.d. Web. 24 Aug. 2016.

“Creve Coeur.” St. Louis County. St. Louis County Government, n.d. Web. 24 Aug. 2016.

“Creve Coeur Lake Memorial Park.” St. Louis Audubon Society. Wild Bird Center of South County, n.d. Web. 24 Aug. 2016.

Dalton, Gloria. “History.” The Heart of Community and Commerce. City of Creve Coeur, n.d. Web. 24 Aug. 2016

“History of Creve Coeur.” St. Louis County. St. Louis County Government, n.d. Web. 24 Aug. 2016.

“Sporting Affairs.” Archives. Chicago Tribune, n.d. Web. 24 Aug. 2016.

Sullivan, James. Spalding’s Official Athletic Almanac for 1905. New York, NY: The American Publishing Company, 1905. 

Monday, August 22, 2016


compiled by Matthew Reddin

Still haven't made it to our summer show, VANYA AND SONIA AND MASHA AND SPIKE? Good thing there's still one week of shows left for the hilarious comedy at the Cabot Theatre!

Tickets are still available at the MCT box office, but if you need a push, here's what several of Milwaukee's theatre critics had to say about the production:

Mike Fischer, Milwaukee Journal Sentinel
"Chamber's 'Vanya and Sonia' whips human loneliness into a frappe"
"Takeaways: 'Vanya and Sonia and Masha and Spike'"

"As is also true here of (C.Michael) Wright and (Jenny) Wanasek, (Carrie) Hitchcock rescues her character from all-out caricature, overcoming the script’s weaker moments to channel the combination of insecurity and longing afflicting characters true to both Chekhov and 21st-century life, in which we feel more alone than ever, despite all the ways we’re ostensibly connected."

"(In) the best moment in the play, as we watch Sonia take a phone call from a man she met at a party ... Wanasek suggests a woman desperate to claw free of the protection in which she’s long swaddled herself, even as she clings to it like a security blanket."

"Wright is poignant in conveying the underlying angst of an aging man, longing for a vanished sense of community and shared experience in a world where those connections we make frequently sacrifice depth for breadth."

Dave Begel, OnMilwaukee
"Misery with laughs on the menu as Chamber Theatre opens season"

"Under the feathery touch of director Marcella Kearns, this Christopher Durang play takes isolation, desolation and disappointment, and stands them on their ear, filling the Cabot Theatre with chuckles, laughters and outright roars of fun."

"(Kearns) has a clear understanding that these roles are big roles, needing big performances. Even as shy and reticent as Vanya is, it still takes an actor with Wright's skills to make it seem as funny as it can be without overdoing it.

Peggy Sue Dunigan, Broadway World
MCT channels a crazy Chekhov in Durang's 'Vanya and Sonia and Masha and Spike'

"Associate Artistic Director Marcella Kearns directs the production succinctly and with comic success. By adding her own intuition about timing into the play. Kearns often opens up opportunities for more humor to happen on stage."

"MCT's hilarious Vanya and Sonia and Masha and Spike awakens the possibilities in the audience, wherever and whenever they are in life as well."

Anne Seigel, TotalTheatre
Review: 'Vanya and Sonia and Masha and Spike'

"Well-known Milwaukee actress Carrie Hitchcock is more than up to the challenge of playing Masha. Her every gesture and syllable reeks with the dramatic flair so important to this character."

"Although the play ends on a note that seems to restore family relationships (at least for a while), Durang doesn’t pretend that everyone will get what they want out of life. Real life often fails to end that way, and this reality is more satisfying than a sugar-coated finale."

Russ Bickerstaff, Shepherd Express
Vanya and Sonia meet Masha and Spike

"The script whimsically plays heavy family drama like a light sitcom—it’s Anton Chekhov by way of Neil Simon."

Monday, August 8, 2016

Nostalgia: Both Curse and Comfort

by Marcella Kearns

Ray Bradbury (top), John
Hodgman (center) and
Vanya (C. Michael Wright, bottom)
each have their own
takes on the benefits and
disadvantages of nostalgia.
“I learned to let my senses and my Past tell me all that was somehow true.” In an introduction to semi-autobiographical novel DANDELION WINE, Ray Bradbury rhapsodizes about the creative soil of memory. His fictionalized portrait of Waukegan, Illinois in the 1920s centers on young boys encountering firsthand the delights of capturing a summer’s spirit in their grandfather’s wine and a summer’s events in their reflection and writing. Even the darkest moments—and there are dark moments—remind his characters to capture and fully embrace the richness of simply living and the sweetness of remembering the past.

In VANYA AND SONIA AND MASHA AND SPIKE, playwright Christopher Durang too dips into nostalgia. Siblings Vanya and Sonia look back on the past and find comfort, along, perhaps, with a trace of wistfulness or longing for what once was. That past wasn’t perfect, but its recollection has the effect of soothing them in need. Though their sister Masha declares “I can’t remember dates or decades. I just live!”, listen for what follows—even she finds herself recalling what was and what might have been.

No harm, right?

Exactly, according to Southampton professors Constantine Sedikides and Tim Wildschut, who have revolutionized thinking about this potent force and experience.

Nostalgia has been typically characterized as a useless or potentially dangerous impulse, a sense of “living in the past” without regard for present needs. Certainly, for all humans who perceive our lives unfolding along a linear timeline, idealizing the past without taking into consideration the changing circumstances of the present in order to build a healthy collective future is irrational. Writer and comedian John Hodgman often and eloquently warns of this very risky aspect of nostalgia. In an interview with Josh Jackson, he says,

Everyone who enjoyed a stable and relatively happy childhood will look back on their childhood and think that it’s the best. That’s the parlor trick of nostalgia, and it’s why nostalgia is the worst. It is a toxic impulse that leads to nothing good, honestly. The idea that things were better once and are terrible now and getting worse every minute is what fuels the worst, in my opinion, movements in contemporary culture…

Sedikides and Wildschut’s study over the course of the last decade asks us to re-frame our thinking, however. They attest that instead of vilifying nostalgia, we can and should actively employ its effects to counteract depression, anxiety, or pain. As they’ve discovered so far, nostalgia is a universal human experience and powerful for healing across cultures. This kind of thinking about the past, Sedikides explains, “is always related to intimacy maintenance: I want to remind myself of the people who are no longer here and what they meant for me. It serves to remind you of what intimacy you have achieved and therefore what you are most capable of… Nostalgia stands out as adaptive.” Indeed, historical-based research and current studies indicate that the mind, through nostalgia, actually temporarily alters the body’s perception of the condition of a room.

With this framework in hand, they have been developing nostalgia-based therapies for depression and are even beginning to explore the potential for its active use in easing the effects of Alzheimer’s. The key seems to be mindfulness of nostalgia as a tool—a calming agent, fuel for resilience in difficult periods. By connecting to the past and what we loved, we flood ourselves with warmth. Ever hear a song that “takes you back”? Smell a smell that recalls holiday meals, a loved one’s perfume, a campfire? Memory, along with that sweet tinge of longing for what’s past, buoys us.

The conclusion may seem simple, but its application is tricky. Sedikides speaks of nostalgia as the “perfect internal politician, connecting the past with the present, pointing optimistically to the future.” The trick is not to try to re-create any perceived notion of the past, but to draw on that, in Sedikides’ words, “inexhaustible bank account” to move forward. Durang’s characters certainly find an anchor in memory, but their nostalgia also serves as a platform from which to speak. Nostalgia, that anchor in the past, becomes a general reminder that warmth, love, and true connection with others in the present is possible.


Adams, Tim. “Look Back in Joy: The Power of Nostalgia.” The Guardian. The Guardian, 9 Nov. 2014. Web. 1 Aug. 2016.

Jackson, Josh. “The Real John Hodgman: We’re Not Making This Up!” Paste. Paste Magazine, 17 Nov. 2012. Web. 1 Aug. 2016.

Ward, Baldwin H., ed. Nostalgia: Our Heritage in Pictures and Words. Petaluma, CA: News Front/Year, Inc., 1975.

To continue the conversation on the topic: Charles (Chuck) Bryant and Josh Clark of STUFF YOU SHOULD KNOW fame explore nostalgia (and John Hodgman’s perspective!) in an episode of their podcast. Check it out at

Thursday, August 4, 2016

So who are Vanya, Sonia, Masha and Spike anyway?

by Matthew Reddin, MCT marketing director

We're only a week away from opening night for VANYA AND SONIA AND MASHA AND SPIKE, but there's one question left to answer: Who are these people?

Answering that honestly? There be spoilers. But we can hint at more than enough about the six characters who'll appear on the Cabot Theatre stage using the words of the best authority on the subject: Christopher Durang, the playwright who wrote the play in the first place.

In his Author's Note in the published script of VANYA AND SONIA AND MASHA AND SPIKE, Durang writes that the names of his first three titular characters are lifted from Chekhov, with a "very modern" name to jar the listener into laughter. But he also adds that "the play is not based on Chekhov, nor is it a parody of Chekhov. ... It's as if I took characters and themes from Chekhov and put them in a blender."

In a sense, then, these abridged character descriptions, all in Durang's words, could be likened to a tasty sextet of summer smoothies. Drink up -- we'll see you at the theater.

VANYA (C. Michael Wright)

He has mostly lived in the house he grew up in. I feel that he went to college but then came home expecting to stay only a while. But he stayed the rest of his life, partly to take care of his parents as they suffered a long period of illness and then died.

SONIA (Jenny Wanasek) 

She was adopted. She was 8 when she joined the family. Vanya was probably 10 or 11, Masha was probably 13 or even 14. When their parents decided to adopt Sonia, they undoubtedly told their two older children to be kind and welcoming. And I think Vanya did like Sonia pretty quickly, and they were closer in age. Masha was already in her own world.

MASHA (Carrie Hitchcock)

Masha is a successful actress and movie star who has a glamorous life, and is a millionaire from her successful Sexy Killer movies. There are many prototypes of the self-involved, glamorous actress: Madam Arkadina in Chekhov's The Seagull, Judith Bliss in Noel Coward's Hay Fever, and Bette Davis as Margo Channing in the classic film All About Eve.

SPIKE (JJ Phillips)

Spike is Masha’s “beloved,” as she says. But basically they have been together for three months, and their age difference is really rather big. Spike genuinely likes and finds Masha attractive, but as a young man he has a non-stop eye for lots of women, including young women.

CASSANDRA (Rรกna Roman)

I have always loved the Greek tragedy character of Cassandra, who sees the terrible future ahead and warns people, but the god Apollo has cursed her so that no one believes what she prophesies. Cassandra has pretty much no connection to Chekhov, but my impulse was to give Vanya and Sonia a cleaning woman who had the name Cassandra and could indeed see the future, at least somewhat.

NINA (Elodie Senetra)

Nina is indeed somewhat like Nina in The Seagull. In Chekhov, she is an aspiring actress, and she is agog at meeting Madam Arkadina. But my Nina is also American, and she has rather classy tastes. She is very young and full of hope.

VANYA AND SONIA AND MASHA AND SPIKE, directed by Marcella Kearns, runs August 11 to 28 at the Broadway Theatre Center's Cabot Theatre, 158 N. Broadway. For tickets and additional information, call 414.291.7800 or visit

Friday, July 15, 2016

MCT Board Member Profile: Erin Burke

by Max Seigle

I’m originally from Madison. I spent my college years in Milwaukee at UWM and lived in Austin, Texas for a while. I moved back to Milwaukee in 2013 after Baird recruited me for a job here. I love being back in Wisconsin because I’m close to family and friends again, and it’s amazing to see how Milwaukee has grown since my college days. 

I learned about MCT through UPAF (United Performing Arts Fund). I joined the organization’s Next Generation Council and a staff member referred me to MCT’s producing artistic director, Michael Wright, and managing director, Kirsten Mulvey. When I met them, it was just a really good fit right away and they made the decision to join the board an easy one.

Erin Burke.
I also became involved because theatre has always been a big part of my life. I studied classical theatre and production stage management at UWM and spent college summers working behind the scenes in theatre companies in the Madison area. It’s important for me, as well, to serve the arts community. I genuinely believe giving my time and financial support is a privilege.

MASTER CLASS (2014-2015) was definitely a favorite. As board members, we get a chance to sit on an “Adopt a Show” committee and work to fill the seats during a show’s run. MASTER CLASS was the first show I did that for and we nearly sold out opening night. I remember the standing ovation; you could feel the energy in the crowd! I just have beautiful feelings about that night.

I am now looking forward to GREAT EXPECTATIONS in the upcoming season. I think that is going to be an amazing production because everybody has an attachment to that play, and I think it will be a great way to close out the season.

Angela Iannone, who played Maria Callas in MASTER CLASS, was incredible.

I love James Pickering. He was in LOVE STORIES last season and I just think he’s a local gem.

I am also a big fan of Doug Clemons and Adam Estes. They were in a show last December called THE STORY OF MY LIFE that was a partnership between MCT and the Milwaukee Opera Theatre. Clemons and Estes are probably two of Milwaukee’s strongest vocalists, and to see them in the same show together was a once-in-a-lifetime experience.

I really enjoy sitting at the board meeting and looking around the table. It’s an incredible group of people, everyone from community leaders to business professionals that have helped build Milwaukee. We have a growing group of young professionals, too.

I’m very proud of the way the board embraces a new person that joins and really tries to play to their strengths. We help them find their place and I think that’s what makes them stay with us.

I am a retirement specialist and financial advisor at Baird. I have been in that role since moving to Milwaukee three years ago. I have an office in Waukesha and spend a few days of the week serving clients in Madison. I love the work because it allows me to blend my financial background with my ability to connect to people well. It’s really important to me that I’m there to guide my clients through this kind of critical life planning. I’m also passionate about closing the gap in financial education for women, and this role allows me to do that.

My husband and I are big “foodies.” We even plan vacations based on restaurants we want to try.
We also love to travel. We like to do those get in the car and see the country kind of trips. One of my favorites was five years ago when we drove to Yellowstone Park. When we arrived, it was dusk, you could see the fog rolling in and there were two bison at the main gate. It was just breathtaking. I didn’t even know something like that existed in the United States.

One other big love of mine is promoting dog rescue, especially senior dogs. My husband and I have rescued two of them. We have a Corkie-Chihuahua mix named Winston, and a Pug-Chihuahua mix named Elsie. We take them everywhere with us. If I could bring them to work, I would!

Onesto in the Third Ward. I love their mushroom gnocchi. I also love Merriment Social in Walker’s Point. They have great tapas and a gastropub menu as well.

My husband, George, and I love to go to Door County in the fall. It’s just a really incredible place to disconnect. There is so much to see there experiencing Wisconsin at its best. And it’s a fun drive to go there and pass through the Green Bay area, it’s very pretty.

Festa Italiana. I like the food, music and people there. I feel like it’s a smaller version of Summerfest and not quite as crowded. It’s really family-friendly, too, and I really enjoy that part of it.

I sit on the Next Generation Council with UPAF. It is made up of leaders from various Milwaukee companies, large and small. We focus on promoting and engaging the next generation of philanthropists for the Milwaukee arts scene. We want to keep it thriving for years to come. This group is really the next generation of leaders in the city and I just feel privileged to be a part of it.

I am also the board president of the Capital City Theatre in Madison. It’s a new musical theatre company, now in its third year. They have an amazing group of talented, hardworking individuals. The group most recently featured Gypsy and the show was a huge success.

I think the biggest thing you need to know is that MCT is a gem of classical theater and new works. It’s really a beautiful, intimate experience, and once you go see one show, you’re going to be hooked!

This upcoming season is the perfect time to check us out. There will be a little bit of everything. Artistic director Michael (Wright) has really created an amazing 2016-2017 season.