Tuesday, November 1, 2011
MCT'S HEROES
MCT 2011-2012 season continues with the Milwaukee premiere of Tom Stoppard's English adaptation of HEROES. This play was originally titled, "Le Vent des Peupliers" (direct translation: The Wind in the Poplars) and written by French playwright Gerald Sibleyras.
HEROES Plot Summary:
It's 1959, Henri, Gustave and Philippe are a trio of cantankerous World War I veterans, who spend their last summer days on the terrace of a remote French hospital exchanging barbs. Although their bodies might not be cooperating fully, they become rejuvenated by dreaming up an escape plan to the poplars beckoning in the distance. As Stoppard is the master of scintillating language and magnificent wit, his adaptation of Sibleyras’s play is at once funny and poignant, clever and whimsical.
Directed by C. Michael Wright
Featuring Richard Halverson(Gustave), Dan Mooney(Philippe) & Robert Spencer (Henri)
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Estimated Length: 1 hour, 45 min. Includes a 15min. intermission
When: November 23, 2011 to December 18, 2011
Where: Broadway Theatre Center's Studio Theatre, 158 N. Broadway
How: 414.291.7800 www.milwaukeechambertheatre.com
HEROES Plot Summary:
It's 1959, Henri, Gustave and Philippe are a trio of cantankerous World War I veterans, who spend their last summer days on the terrace of a remote French hospital exchanging barbs. Although their bodies might not be cooperating fully, they become rejuvenated by dreaming up an escape plan to the poplars beckoning in the distance. As Stoppard is the master of scintillating language and magnificent wit, his adaptation of Sibleyras’s play is at once funny and poignant, clever and whimsical.
Directed by C. Michael Wright
Featuring Richard Halverson(Gustave), Dan Mooney(Philippe) & Robert Spencer (Henri)
----------------------------------------------------------------------------------------------------------------------------------
Estimated Length: 1 hour, 45 min. Includes a 15min. intermission
When: November 23, 2011 to December 18, 2011
Where: Broadway Theatre Center's Studio Theatre, 158 N. Broadway
How: 414.291.7800 www.milwaukeechambertheatre.com
***Important Notes***
Winner of the 2006 Olivier Award for Best New Comedy
Sponsored by John E. Holland & Konrad Kuchenbach
Winner of the 2006 Olivier Award for Best New Comedy
Sponsored by John E. Holland & Konrad Kuchenbach
Thursday, October 13, 2011
An Interview with Jonathan West
Jonathan West returns to Milwaukee Chamaber Theatre (MCT) after appearing in TALLEY'S FOLLY in 2008. He is currently the managing director of Sunset Playhouse in Elm Grove. An actor, director and theatre administrator, he has worked at companies including Bialystock & Bloom, Milwaukee Repertory Theater, Skylight Opera Theatre and Next Act Theatre. Next summer, Jonathan will return to MCT to direct the 2012-2013 season opener.
To gain further insights about Jonathan, we asked him a few questions about himself and his upcoming performance as Boolie.
Please tell us how or why you first got involved in theatre?
I had my first experience as an actor at the tender age of 13 in a rousing musical comedy called TAKE ME BACK TO MANHATTAN. I carried a 2 x 4 across the stage and my one line was, "Places, everyone, places!" Clearly, I had tasted the glamour that is a life on the stage and continued by becoming my high school drama club President, studying theatre administration and directing at New York University, and returning to Milwaukee where I ran my own theatre company (Bialystock & Bloom) for twelve years while working with other great companies in town.
Tell us about your first time reading or seeing DRIVING MISS DAISY.
I recall seeing a production of DRIVING MISS DAISY at Milwaukee Rep many, many years ago. I took a date. It was a good date. A gentleman never kisses and tells, I'm afraid.
From your perspective, how would you describe your character, Boolie?
Boolie is just doing what any good son would do—taking care of his mama. He's in a tough spot because he's really Daisy's primary caregiver, but she is fiercely independent. He tries as best he can to let her be independent while making sure she is safe and is socially connected to others. I
have a 91-year-old mother-in-law who is testing my loving, patient wife in many of the ways Daisy tests Boolie.
Was it difficult for you to learn a southern accent?
Learning it wasn't difficult..maintaining it is. Our dialect coach Michelle was on to me quickly and has tried hard to make sure I sound like I'm from Atlanta , not Texas Texas
Lastly, what message do you hope the audience takes from this play?
I hope audiences relax, enjoy, and are charmed by Ruth Schudson and Michael Torrey. They're worthy of a lovely evening in the theatre.
Thank you Jonathan! We're looking forward to the show!
Friday, October 7, 2011
An interview with Michael A. Torrey
Michael Torrey makes his MCT debut in DRIVING MISS DAISY as Hoke Coleburn. Past Milwaukee appearances include “MASTER HAROLD” …and the boys at Next Act Theatre and A MIDNIGHT CRY, THE LION, THE WITCH AND THE WARDROBE and THE TRUE CONFESSIONS OF CHARLOTTE DOYLE at First Stage Children’s Theater. A Chicago resident, Michael has performed with numerous Chicago companies and other regional theatres.
To gain further insights about Michael, we asked him a few questions about himself and his upcoming performance as Hoke.
Please tell us how or why you first got involved in theatre?
I had done a play in high school and a friend's mother was the leading acting coach in town and she offered to work with me after seeing the play. A few years later I took her up on her offer and the rest they say is history.
Tell us about your first time reading or seeing DRIVING MISS DAISY.
I don't really remember the first time I read or saw "Driving Miss Daisy" but I have had the experience of playing the role of Hoke before. I remember reading the story in preparation and being moved by a truly well written and poignant story.
From your perspective, how would you describe your character, Hoke?
A man of quiet grace, dignity and gentleness.
Was it difficult for you to learn a southern accent?
Not really. The play is written to help you with Hoke's speech pattern and it didn't hurt that I grew up in the south.
Do you have a favorite Hoke quote?
Many times during the play people inquire into Hoke's personal business (i.e. finances) and he always, politely refutes it with “Dat for me and him to know."
Lastly, what message do you hope the audience takes from this play?
Through it all we are all really the same and you never know when certain people enter into your life the profound effect that they will have on you. Stay open to the possibilities.
Thank you Michael! We're looking forward to the show!
Monday, September 26, 2011
RUTH SCHUDSON: Milwaukee's Leading Lady
When MCT co-founder Ruth Schudson takes the stage in DRIVING MISS DAISY this fall it will mark her 65th production with Milwaukee Chamber Theatre! This occasion is a great opportunity to tell you more about our remarkable co-founder.
Ruth Schudson, the daughter of Russian immigrants, was born and raised in Wisconsin. Her father was an actor and director in Russia, which helped inspire her own theatrical aspirations. After graduating from Chicago’s Goodman School of Drama in 1947, she worked at regional theatres and helped found companies in Illinois and Oregon before realizing all she desired artistically was right here in Milwaukee.
In the 1950s, Ruth performed with groups including the Milwaukee Players and Alverno College, where she also taught. During this time she married Armand Schudson and had two children, Nia and David.
As her theatre career continued, she performed regularly at Milwaukee Repertory Theater, which is where she met fellow actor and director Montgomery Davis in the early 1970s. After seeing Ruth as Mrs. Gibbs in The Rep’s OUR TOWN, Monty asked Ruth to be in a production of Shaw's DON JUAN IN HELL, which they performed at Vogel Hall in June 1975. Monty and Ruth followed the success of that show with DEAR LIAR and Milwaukee Chamber Theatre was born!
At MCT, Ruth Schudson has played not only a wife and mother, but also a teenager, Ethel Rosenberg, a princess, Gertrude Stein, a serpent and even a rabbi!
Some of Ruth's favorite roles include:
Title Role - MRS. WARREN’S PROFESSION
Mrs. Higgins - PYGMALION
Helene Hanff - 84 CHARING CROSS ROAD
Grace -THE FAITH HEALER
Mrs. Dowey -THE OLD LADY SHOWS HER MEDALS
Mrs. Alving -GHOSTS
Carrie Watts -THE TRIP TO BOUNTIFUL
Some of her other 65 appearances include WELL, ANGELS IN AMERICA: PERESTROIKA, THE ROAD TO MECCA, LOST IN YONKERS, TALKING HEADS, MISALLIANCE, KIMBERLY AKIMBO, HAY FEVER, JOE EGG, ANDROCLES AND THE LION and THE IMMIGRANT.
Ruth has also performed with Next Act Theatre, Skylight Opera Theatre, Madison Repertory Theatre and Princeton’s McCarter Theatre among others. Her film credits include The Hindenburg and a featured role in Baraboo.
Few actors have had as great an impact on the Milwaukee theatre community as Ruth Schudson. Throughout her career, she has served as a mentor, role model, and friend to countless aspiring and established actors. Milwaukee Chamber Theatre has chosen to honor this occasion by creating “The Ruth Schudson Leading Lady Fund.”
This donor designated fund will celebrate Ruth’s career and legacy by supporting the work of one MCT actress each season. The Ruth Schudson Leading Lady Fund not only pays tribute to this icon of Milwaukee theatre, but allows MCT to establish a more self-sustaining focus for the future. MCT will host a celebratory “Tribute to Ruth Schudson” on Monday, October 24 at the Broadway Theatre Center as a fundraiser for the Leading Lady Fund.
*** The Tribute will feature performances by Gladys Chmiel, Flora Coker, Laura Gordon, Carrie Hitchcock, Marti Gobel, Laura Gray, Mary MacDonald Kerr, Michelle Lopez-Rios, Raeleen McMillion, Dan Mooney, Norman Moses, Sheri Williams Pannell, April Paul, Molly Rhode, Betsy Skowbo, Chase Stoeger, Susan Sweeney, James Tasse, Jacque Troy, Jenny Wanasek and Sara Zientek.***
To make a contribution to the Fund or make a reservation for the Tribute, call MCT at 414.276.8842.
Wednesday, April 13, 2011
The Lion in Winter - TECH
Hello! My name is Allie Bonesho and I am extremely fortunate to be playing Alais in THE LION IN WINTER, which opens on Friday, April 14 in the Cabot Theatre! I am a junior, Theatre Arts major at Marquette University and have loved every second of my experience with MCT! From working with seasoned professionals and actors I have admired to re-telling James Goldman’s classic story, the experience as a whole has only increased my desire to pursue a career as a professional actress!
It is Sunday, April 10, and we just finished our final run-through of our 10 out of 12 TECH and the weekend has sparked even greater excitement and anticipation to hear the response from a live audience! The costumes are beautiful and the set’s vastness and depth creates a phenomenal stage picture in the Cabot Theatre. Today started with hair and make-up and we continued to run light and sound cues. Judy’s organization as stage manager and Michael’s remarkable vision made the collaboration with the costume, lighting and scenic designers run smoothly!
After we finished a cue-to-cue, we took a dinner break and Tim Braun (who is understudying Geoffrey and Philip along with serving as MCT’s marketing intern) and Kelsey Lauren (who is understudying Alais and previously served as MCT's marketing intern) went to Milwaukee Public Market and reviewed notes for a Nutrition exam and Theology class.
Following the dinner break, we got in costume again and did a run-through of the show. The run went well and we stopped for any safety concerns regarding entrances and exits that needed glow tape, costume adjustments, and any light/sound cue issues. Following the run, Michael gave us notes and Judy confirmed our schedule for Tuesday.
Throughout the rehearsal process and our TECH this weekend, I have been amazed by the level of professionalism the MCT staff and technicians of the Broadway Theatre Center bring to all that they do! I would not trade any moment of this process and no words can express my gratitude to all involved! I am excited for opening and to hear the laughter of a live audience to the story of a witty, dysfunctional, but loving family!
That’s all for now, I will try to write again soon! Good night! :)
-Allie
It is Sunday, April 10, and we just finished our final run-through of our 10 out of 12 TECH and the weekend has sparked even greater excitement and anticipation to hear the response from a live audience! The costumes are beautiful and the set’s vastness and depth creates a phenomenal stage picture in the Cabot Theatre. Today started with hair and make-up and we continued to run light and sound cues. Judy’s organization as stage manager and Michael’s remarkable vision made the collaboration with the costume, lighting and scenic designers run smoothly!
After we finished a cue-to-cue, we took a dinner break and Tim Braun (who is understudying Geoffrey and Philip along with serving as MCT’s marketing intern) and Kelsey Lauren (who is understudying Alais and previously served as MCT's marketing intern) went to Milwaukee Public Market and reviewed notes for a Nutrition exam and Theology class.
Following the dinner break, we got in costume again and did a run-through of the show. The run went well and we stopped for any safety concerns regarding entrances and exits that needed glow tape, costume adjustments, and any light/sound cue issues. Following the run, Michael gave us notes and Judy confirmed our schedule for Tuesday.
Throughout the rehearsal process and our TECH this weekend, I have been amazed by the level of professionalism the MCT staff and technicians of the Broadway Theatre Center bring to all that they do! I would not trade any moment of this process and no words can express my gratitude to all involved! I am excited for opening and to hear the laughter of a live audience to the story of a witty, dysfunctional, but loving family!
That’s all for now, I will try to write again soon! Good night! :)
-Allie
Saturday, February 12, 2011
Tech begins today
Sorry I’ve been so out of touch: rehearsals have kept me hopping!
The process of unfolding, discovering and crafting this piece has been equal parts challenge and fun, and I wish I could’ve shared more with you over these weeks, but (with apologies to Las Vegas) what happens in rehearsal, stays in rehearsal. I can share that a few of our biggest challenges has been figuring out which characters know what at what point in the story, what makes each character tick and what the timeline of the story is. But directing a crackerjack cast like this makes it a lot easier. Working with this group of actors has been illuminating and wonderful: Sara Zientek soaks everything up like a sponge, Jonathan Wainwright is unbelievably incisive, Betsy Skowbo always brings in something new every day, and Drew Brhel and C. Michael Wright, being directors in their own right, bring an added perspective to their performances.
But today we head into tech, adding all the design elements. The set is installed in the space, the lights are hung, costumes are at the ready, more new props arrive every day, and sound will be added to the mix. In short, this is when everything begins to come together. All the work we’ve done in the rehearsal room finally mixes with the visual aspects of the piece. And, for myself, this is my favorite time in the process. As a director, the image or idea you have of the show finally begins to resolve itself into three dimensions and you begin to see all the collaboration of the many past months pay off. Concept meets rehearsal meets drawing board and we begin to put it all up today in expectation of an audience on Thursday night. It’s generally a slow process: actors are working hard to adjust to the new environment, designers are working as quickly as they can to get the look and sound of the play just right, and our technical staff (who are amazing!) are working to make sure everything runs smoothly and as designed. Working as fast as we can in four and a half days to move from rehearsal to finished world on stage can be an arduous process. Yet, the world of the play and the audience experience begin to form itself in front of our eyes and it is truly a magnificent experience.
See you at the theatre!
The process of unfolding, discovering and crafting this piece has been equal parts challenge and fun, and I wish I could’ve shared more with you over these weeks, but (with apologies to Las Vegas) what happens in rehearsal, stays in rehearsal. I can share that a few of our biggest challenges has been figuring out which characters know what at what point in the story, what makes each character tick and what the timeline of the story is. But directing a crackerjack cast like this makes it a lot easier. Working with this group of actors has been illuminating and wonderful: Sara Zientek soaks everything up like a sponge, Jonathan Wainwright is unbelievably incisive, Betsy Skowbo always brings in something new every day, and Drew Brhel and C. Michael Wright, being directors in their own right, bring an added perspective to their performances.
But today we head into tech, adding all the design elements. The set is installed in the space, the lights are hung, costumes are at the ready, more new props arrive every day, and sound will be added to the mix. In short, this is when everything begins to come together. All the work we’ve done in the rehearsal room finally mixes with the visual aspects of the piece. And, for myself, this is my favorite time in the process. As a director, the image or idea you have of the show finally begins to resolve itself into three dimensions and you begin to see all the collaboration of the many past months pay off. Concept meets rehearsal meets drawing board and we begin to put it all up today in expectation of an audience on Thursday night. It’s generally a slow process: actors are working hard to adjust to the new environment, designers are working as quickly as they can to get the look and sound of the play just right, and our technical staff (who are amazing!) are working to make sure everything runs smoothly and as designed. Working as fast as we can in four and a half days to move from rehearsal to finished world on stage can be an arduous process. Yet, the world of the play and the audience experience begin to form itself in front of our eyes and it is truly a magnificent experience.
See you at the theatre!
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