On Mystery, Currents of Change, and DOUBT: A Conversation with C. Michael Wright

by Jarrod Langwinski

Jarrod Langwinski: Milwaukee Chamber Theatre’s mission is to bring great stories to life. What is it about DOUBT, for you, that makes it a great story? 

C. Michael Wright: I love that it’s an issue play. I love that we meet people with two dramatically different viewpoints. Sister Aloysius and Father Flynn are sort of dramatic opposites in their beliefs, especially in how to raise children, how to guide the parish—specifically, those that are more vulnerable than they. Father Flynn wants to embrace the community, wants to lead with his heart; she’s much more strict and ‘by the rules’ and works more through her head. They both have very valid viewpoints, but I think it’s a very great question to pose to our patrons: how do you treat others and how do you make other people accountable for how they treat others? Because that’s the big issue: Sister Aloysius suspecting Father Flynn of some sort of improper behavior. She’s not certain, but she questions even his attitude toward the young people he works with. She feels like it’s dangerous that he is too soft, too open, too warm, that he’s inviting problems. I also think that Shanley, the writer, placing this in 1964 gives us a sort of a microcosm of how the world is changing. The Catholic Church is changing at this time, but it’s also an example of how the pendulum’s swinging from a post-war era to free love. 

DOUBT director C. Michael Wright

It’s a wonderful picture of two disparate viewpoints and people trying to make other people accountable… but what’s really important too, for today, is that we are all judging each other’s permissiveness in sexual situations. It’s the era of the “Me Too” movement, and there’s that great reflection on how do you know, when you suspect something’s going on? How do you make that jump of knowing rather than just suspecting, and how do you make people accountable for their behaviors? Especially authority figures. So I think DOUBT has great resonance for today, even though it’s a play about 1964 and about the church. It’s also about the way we live our lives and how we judge each other. It’s always great to be aware and be alert and be just and fair to each other.   

JL: You were talking about the environment of the 1960s a bit, really during a time of great change socially, politically, etc. What can audiences today learn about the sociopolitical environment of the play and its ties with religion? 

CMW:  Well, because it’s the Catholic Church, it’s the time of the Second Ecumenical Council where things get dramatically changed in the church. So it’s very specific, and that’s why Shanley is so great in creating this very specific environment where a definite change was happening. Father Flynn represents this next generation of beliefs and behavior, but he’s also got this backing of the whole Catholic Church; whereas Sister Aloysius is holding on to old rules, which makes her almost defunct and allows Father Flynn more leeway in how he can push forward with his own… I don’t want to say political agenda; we don’t know what his behavior is. But we know he wants to embrace this new era of the church. I think what Shanley’s doing is having us look at how the nation was changing at the same time too. Father Flynn is an example of the changing times of our nation. He starts the play talking about John F. Kennedy’s assassination, so we immediately know where we are in time. The nation was hurting and vulnerable, so almost anything’s possible. I think that’s what Shanley is trying to say, that when we are vulnerable, we are at our most open and accessible but also at our most dangerous. 

JL: This production concludes your current season, titled “The Mysteries of Life.” I was curious what the inspiration was for that statement and how that helped you decide on choosing DOUBT.  

CMW:  Well, to me, DOUBT is a mystery. There is this mystery of “Does this priest have a secret?,” and if he does, “What is that secret?” And Sister Aloysius almost becomes a detective trying to solve that mystery. I also like that the Catholic Church is full of mystery; or at least it used to be, less so now. I grew up Catholic, and I was an altar boy, so all of that in the play I remember. I remember the mystery of the priests, the sacraments, and even the architecture: the sacristy, the little room where they hide the wine, the communion wafers, the vestments. And I think people preferred when it was mysterious because you didn’t have to explain everything. Once you start opening stuff up then doubt just keeps growing.  

JL: You don’t immediately just have answers. 

CMW: Right. Because in some ways keeping it mysterious makes it easier to believe. But once you really start looking at everyone’s place in the church and in the world even, the mysteries go away, dissolve. That’s what I’m fascinated by in terms of choosing “The Mysteries of Life” as the season—different ways to look at what is mysterious in their [the characters’] world.   

JL: I feel like even the origins of theatre are partly about explaining the mysterious or attempting to at least bring light to the mysterious, to talk about it. So much of Greek and Roman theatre is about exploring mythology. So this is a very contemporary look at what is mysterious and what are the questions we have. 

CMW: Right. And theatre itself is mysterious, you know? Sometimes it’s fun to explain and let people in on the magical process of creating theatre, but sometimes it’s nice to keep the mystery, keep the distance, because it’s easier to weave a tale, to seduce—which is a lot of the play, too. It’s very easy for Father Flynn to seduce because he has that power, that father authority figure, and he’s part of that mysterious world of the church. 

JL:  When did you first read the script or see the play? And has your opinion of the play changed as time has gone on?   

CMW: I saw the play on Broadway. I saw the original production and I loved it but felt that there was a coldness to it. And it wasn’t until recently, the past couple years, that I’ve gone back and re-read it because I remembered really liking it. Now I love it because I don’t think of it as a cold play at all; there’s a lot of heat there and some of that has to do with how our times have changed. Now that we’re in this era of confusion and lots of accusations—everybody’s a target for everybody else—it makes me realize how much like animals we are. And we almost have to be like an animal and always be ready to be attacked or ready to attack as you’re trying to protect yourself and others. We talk a lot in rehearsal about the animal in these people. You have to really be careful in our world. It’s a dangerous world. I don’t believe in evil people, but I believe that there’s evil in the world and that we have to watch out and take care of each other. So I’m realizing how much heat there is in the piece and I’m enjoying exploring that. Because I think really exciting theatre has sparks, has heat, has fire.  

JL:  And I know you’re still in the midst of rehearsal (at the time of this interview), but even so, what can you tell us about the process or some of the discoveries you’ve made as a group?  Getting to dive into this play together? 

CMW: I have a great cast, and a great design team. I mean truly, everyone is at the top of their game right now. One thing it started with was scenic. We tried to create a beautiful world, rather than a cold environment. Just like we talked about with magic, I want to seduce the audience with this beautiful world. We have this great stained glass window that’s going to be gorgeous and we’re also playing with not having moving pieces. When I saw it on Broadway, it was all on wagons and you would go from one environment to the next and then it would disappear. We have it all visible at all times. You see four different locations simultaneously. We decided to do the opening with Father Flynn at the pulpit and Sister Aloysius at her desk at the same time: he’s in focus, but she’s sort of replaying his sermon in her head as she’s at her desk. So immediately we’re introduced to these two figures, but he’s looming above her and we see the power he has over her world. That was really fun in terms of design to explore. 

Also, because they’re all in uniform, they’re all in black, we tried to get enough color in the environment so it’s not just a black, black, black world. And the actors, they’re just so great. We’re trying to find just the humanity in it. They’re all great at listening to each other and exploring, they understand the framework, but every one of them is open to discovery every day. We do lots of talking about it, but we also do lots of playing within it. The big thing we’re all learning is that the play is beautifully structured; there aren’t many pauses, there are very few ellipses or dashes, it’s very spare and compact and economical. So we’re trying to really honor that, really make sure we’re not indulging what’s not on the page. I do think Shanley is a wonderful playwright, and this is definitely his best work.   

JL:  So, I was wondering, how have your own beliefs about faith shaped the way you view a show like DOUBT? With your Catholic background, did that have an effect on how you viewed it, or was it more of a separate entity? 

CMW: Probably separate. I left the Church in my teens, and I think I view the play less through a Catholic lens... I don’t really feel the play is about the Catholic Church so much as that that’s just the environment Shanley creates to tell this story. I think it’s about how we protect each other and stay on the alert but also don’t lose our humanity. To me, that’s the most important thing I think, in life, is to not lose that sense. Basically we are all good, but there is evil out there, and we are capable of evil and that we have to somehow stay on top of all of that—watch each other, not judge each other too harshly. But we do have to judge each other... Who do you want to hang with? Who do you want to follow? Especially when you’ve got authority figures who are telling you extremely different things. Think about how our political parties right now are so disparate. These two individuals [in DOUBT] represent two different communities of people, and you have to decide: can you listen to parts of both? Or do you need to make a strong choice and follow it? Because I think we all are looking for leaders: who to listen to, who to believe in, who to trust.  

JL: That’s a very important distinction to make, such an interesting context. Religion does still affect a large portion of people’s lives, but at the same time it’s a lot more subjective now than it was before. People are less afraid to feel one way or another or more likely to have their doubts.  

CMW: Less limitation. 

JL: Yes, it’s less of a “this is what my parents thought and I’m following that.” 

CMW: We can pick and choose how much of each person’s theories we believe in, with free will. 

JL: So for my final question, with DOUBT rounding off the MCT’s 2017-2018 season of “The Mysteries of Life,” has there been anything that has shaped your perspective going into next season, 2018-2019’s “A Time for Risk”?    

CMW: I usually think each season has almost its own play. Its own series of five plays becomes its own offering, and then you take a break and go into a whole new world. I feel like we’re completing one whole chapter and about to go into another one.  

What I tend to do is collect lots of plays on my shelf and then decide how I might build a season around maybe three of them that have similar themes. Sometimes the theme just evolves on its own. “The Mysteries of Life” was more about embracing theatre as… theatre magic. You know, very little to do with contemporary angst. “A Time for Risk” is more about how we’re all at this brink and need to make strong choices right now. Some of next season’s plays are love stories, with people just kind of opening their hearts to each other, but all are about people who are brave and courageous enough to push forward, take a chance. 

JL: It’s almost as if “The Mysteries of Life” was about questioning humanity and questioning ourselves, then “A Time for Risk” is now about, after self-discovering, making those choices and not looking back. 

CMW: I’ll accept that! 

DOUBT runs Thursday, April 12 to Sunday, April 29 in the Cabot Theatre, 158 N. Broadway. Tickets can be purchased in-person at the box office, via phone at 414.291.7800, or online. Visit milwaukeechambertheatre.com to learn more!

DOUBT's Double Debuts: An Interview with Colleen Madden & Malkia Stampley

by Jarrod Langwinski

Both Colleen Madden and Malkia Stampley have extensive, enviable acting resumes. Colleen, based out of Madison, is a Core Company member at American Players Theatre, who's appeared at Forward Theater Company, Children's Theatre of Madison, Renaissance Theaterworks, the Milwaukee Rep and more. And Malkia is based right here in Milwaukee -- she's a graduate of Marquette, former Rep acting intern and former Skylight Resident Artist -- but has branched out beyond our stages to television, with credits on Shameless, Chicago PD, Empire and a recurring role on Showtime's The Chi.

But there's one place neither of them have ever performed - right here at Milwaukee Chamber Theatre!

DOUBT marks the first MCT show for both Colleen and Malkia, playing Sister Aloysius and Mrs. Muller, respectively. To mark the occasion, we asked them a few questions about their careers and their roles in the show.

Being someone who has performed on a variety of platforms and genres, what kind of characters have you enjoyed the most and what works are captivating you today?

Colleen: It’s always difficult to say what roles, or what kind of roles, are my favorites. Part of the joy of acting is getting to investigate such a variety of types of people. It’s a bit like my children; they’re all my favorites!
I tend to favor poetic plays, poetic in both language and physicality. In essence, theater that doesn’t translate to screen. Plays like THE BROTHERS SIZE, which I recently saw at MCT. It was a world of its own and made me feel I was watching language be reinvented. I do enjoy the occasional episodic, sitcom-structure play, though I suspect tv and film will always do that better.

Malkia: I find myself drawn to contemporary works that deal with current hot topics or any piece that I can parallel with issues in our community today. I strongly believe the theater has to stay relevant and fight continuously to be a part of the conversations happening around the country. I love musicals and started my career primarily singing and dancing in the American classics but I am so grateful that I have been able to find a balance.
I played Truly Scrumptious in CHITTY CHITTY BANG BANG at First Stage just a few months ago and shortly after was in a workshop for a play that focused on the Flint Water Crisis. The light-hearted, not-too-deep works remind me to laugh and the more heavy pieces remind me that our work as an artist can be a catalyst for political and social change.

What excites you the most about Milwaukee's theatre scene?

Colleen: That there is so much going on! And that the smaller or middle-sized theaters are doing really ambitious works, both contemporary and classic, and doing them exceptionally well! The theater scene here makes me want to move to Milwaukee.

Malkia: There has been a shift, a new consciousness in programming and inclusion in Milwaukee. Milwaukee theaters have a very long way to go in terms of diversity and inclusion but I see there are steps being taken and that does excite me! I also love that there is still room for growth in the theater community. Smaller theaters are increasing or maintaining their programming and larger theaters are finding new audiences. It's an exciting time. I love that the few artists of color in Milwaukee have more of a chance to work.

Malkia Stampley.

DOUBT takes place during a time of great change in our country's history; socially, politically, and in the realm of religion. How do you think it speaks to today's movements of change as well as feelings of uncertainty and what do you think contemporary audiences can learn from plays like DOUBT?

Colleen: I think it urges us not to flee from the gray areas just because we don’t completely understand. Great swaths of us are single issue voters, and refuse to take in all the complexities of an issue, at the cost of the two things that make us uniquely human: reason and compassion.

Malkia: DOUBT reminds us that one's platform or fight is not for everyone and we have to be okay with that. We do not know everyone's story or agenda. People have baggage and sometimes complex situations that make it difficult to march or support a particular cause, no matter how basic and right it appears to all of us.
I read about black teen activists who refused to march for the March of Our Lives. The platform is strong, the cause is rooted in the desire for unity and justice, but when you look at the complete lack of interest, support and coverage for teens of color who were often demonized for marching or speaking up by all kinds of people since the killing of Trayvon Martin or even since the crack epidemic in the 1980s, its difficult not to understand. People have called them stupid and believe they are missing an opportunity to shed a light on their causes, but I wonder if the black teen activists who refuse to participate see that the fight to protect their agenda is more important than rushing to pick up someone else's.

Colleen, you've been performing with American Players Theatre for 18 seasons. What's something valuable you've learned over that time that's helped you grow as an actor?

Colleen: That I’m only one part of the story. When we rehearse in that gray big open space at APT, in front of a thousand empty seats, we sometimes feel a little lost. When, finally, people arrive en masse and fill up those seats, we hit the groove. We need to give our play to an audience!

Malkia, having had success in Chicago, New York, and even while touring Japan, what has been one of the biggest lessons you've learned as an actor? And how has that helped you work on complex roles such as Mrs. Muller?

Malkia: One of the biggest lessons I have learned as an actor over the past few years is that I am human and most likely so is my character (though I have played a reindeer, dog, alien, etc.) It is very easy to be intimidated by a character and their complexities but letting that character live in me, not judging them and allowing them to be quirky like me, have the same fears and joys as I do, has helped me to appreciate their humanity. Another simple but eye-opening lesson has been the act of breathing and listening. We do it so well in real life! Nerves can shorten breath or keep you in your head, but when I focus on breathing and listening, my character is able to fully exist.

Milwaukee Chamber Theatre's 2017-2018 season is aptly titled, "The Mysteries of Life." How do you think shows such as Doubt, A Parable bring audiences and artists alike to better question or understand their own uncertainties?

Colleen: I really hope that when people leave their seats after seeing Doubt, they are still untangling what happened. That’s life!

Malkia: DOUBT is one of the few pieces that I can hear and watch over and over again. I think it's the trickery in Shanley's writing that forces me to check my judgement in others. There are times I find myself agreeing with one character one day and then disagreeing with them the next!
We are quick to put people in a box based on a feeling, the way they look or the interpretation of something you may have seen. Lingering in uncertainty is what people are afraid of. We rush to make quick decisions about people and situations and refuse to change our opinions. I sometimes can be slow to make a decision but I think it is based in the fear that once I do, I can't change my mind. We all judge or assume and okay, it is what it is, but I hope we learn to acknowledge when we may be wrong about someone or something.

What advice would you give young actors of today as they try to break into the ever-changing world of theatre?

Colleen: First of all, there is so much more to theater than acting! There is design, directing, dramaturgy, coaching, stage management! Go to see theater, as much as you can, and investigate what really turns you on. If it’s acting, study the performances and start to discern what helps the story and what doesn’t. Then audition for local productions. Finally, don’t stress about being nervous and clueless when you get on stage; we all feel that way! Breathe and be.

Malkia: I am a firm believer that whatever you dream long enough you can achieve. I would add to that placing yourself around the right people. For those who are new to a theater community, take an acting class (even if you already have your degree), volunteer to usher, reach out to casting directors of every theater, apply for any type of job (box office, reception). Shift your life to include the theater community you want to be a part of.
My biggest advice is to stay fluid, open, ready and willing to change. If you love the classics, great, but you limit yourself when you refuse to audition for that wacky, abstract new work. The biggest theaters in town may hire you, but for most of us in the local scene, the strongest and most consistent relationships will be with smaller theaters (where you really get to work your chops) and the artists who work in those smaller theaters so don't ever take that for granted - they will be your rock as you travel up the ladder of success and trust me, you will crave that foundation and friendship when it's time to celebrate every success.

MCT Board Member Profile: Emily Shircel

by Max Seigle

MCT board member Emily Shircel, with husband Leo
and twins Jacob and Lily.

1. WHERE ARE YOU FROM?

I grew up in Grafton and went to Grafton High School. I later graduated from St. Olaf College in Minnesota and lived in Minneapolis for a few years after graduation. After discovering an interest in law, I moved to Chicago for law school at Loyola University Chicago, School of Law. I practiced in Chicago for a few years and then moved to Milwaukee when a job opened up at Quarles & Brady. It was a return home for me as well as my husband, Leo, who is from Sheboygan. We currently live in Whitefish Bay with our 17-month-old twins, Jacob and Lily.

2. HOW DID YOU LEARN ABOUT MCT?

I first discovered MCT through a UPAF Smart Card promotion. A friend and I had front row seats to LEND ME A TENOR in 2014 and we thought it was hilarious. I loved the character Max, played by Rick Pendzich.

3. WHY DID YOU DECIDE TO JOIN THE BOARD?

About three years ago, a colleague of mine at Quarles & Brady sent out a note to staff saying that she was leaving her seat on the MCT board. She asked if anyone was interested in replacing her and I jumped at the opportunity. I met with MCT staff to learn more about the company and was happy to hear they were looking for younger, energetic board members. I officially joined the board in 2014.

I’ve also been a huge fan of the arts going back to my childhood. I’ve always loved dance and musical theater, and even performed a little bit. Back in 2008, I played Millie Dillmount in the show THOROUGHLY MODERN MILLIE, with Lakeshore Productions in Random Lake, WI. It was a memorable experience for many reasons, including meeting my husband who was also in the show.

After I started my legal career, I was always looking for ways to stay attached to the arts. Being a board member for MCT allows me to have that connection and enjoy the arts in a new and intriguing role.

4. FAVORITE PLAY OR PLAYS? 

I loved BOEING BOEING in 2015. I just thought it was delightful.

I was also a huge fan of GREAT EXPECTATIONS in 2017 and was able to see the show a few times. I saw it first with a “Girls Night Out” program with my colleagues from Quarles & Brady and we sat in the front row. I was able to see the show again with some friends and we sat further back in the Cabot Theatre. It was neat to see the production from different perspectives, take in more details and see how the actors had grown so well together.

5. FAVORITE ACTORS?  

Rick Pendzich: As mentioned earlier, I loved him in LEND ME A TENOR in 2014. I really enjoyed his physical side of acting and his comedic timing was spot on! I am looking forward to seeing him next season in SHERLOCK HOLMES AND THE CASE OF THE JERSEY LILY. I was able to get a preview of that performance at the MCT holiday party this past year, and Rick delivered a memorable sneak peek!
 
Josh Krause: I loved him as Pip in GREAT EXPECTATIONS in 2017 and later on that year as Jimmy in MIRACLE ON SOUTH DIVISION STREET. I actually started seeing Josh’s work when he was in college at Cardinal Stritch University and it has been wonderful to see how he has grown in his acting. I think he is one of the budding talents in Milwaukee and am excited to see that MCT is recognizing that and giving him some wonderful opportunities to showcase his talents. One of things I love about his acting is how much dimension he brings to his roles. 

Rana Roman: She brings so much energy and light to the stage. I love anything she’s a part of.

6. SPECIAL MOMENTS OR ACHIEVEMENTS THAT STAND OUT AT MCT?

I love being involved in a working board and with a passionate group of people.  It’s inspiring to see the energy from board members to pack the theatre on opening nights and how board members come together when MCT staff really needs their help. One example was the board’s contribution to bringing larger groups to see GREAT EXPECTATIONS and help fill seats in the Cabot Theatre.

As part of my role on the board, I sit on the Audience Development Committee and help generate ideas to draw more people to our shows. Before becoming a lawyer, I worked in the marketing department of the Saint Paul Chamber Orchestra. I have been able to bring part of that professional experience to this committee role at MCT.

7. WHAT DO YOU DO PROFESSIONALLY? 

After college in Minnesota, I spent two years in the marketing department of the St. Paul Chamber Orchestra. During my time there, the orchestra was going through contract negotiations and I was fascinated by the legal process involved. I thought it could be interesting to “marry” law and the arts in a career and that’s what initially steered me on a path to law school.

I ultimately ended up pursuing corporate immigration law and spent two years practicing at a boutique firm in Chicago. In 2013, I came to Milwaukee to join a similar practice with Quarles & Brady. My job involves helping companies navigate the legal process when sponsoring employees for temporary and permanent work authorization. The employees range from computer engineers to sports professionals. I enjoy the variety of this work and the humanitarian element that comes with it. The experience has shown me that the legal profession doesn't always have to be adversarial, but can truly be a “win-win” in certain circumstances.

Working at Quarles & Brady has been a great experience. I love the work-life balance the company provides, along with the value placed on women in the workforce.

8. WHAT YOU DO FOR FUN? ANY HOBBIES?

With 17-month-old twins at home, my husband and I don’t have a lot of free time. But when we do, we love to check out the theatre scene in Milwaukee. I would say that’s the number one thing we enjoy doing together. We also like to travel and try new restaurants. We’re huge Harry Potter fans, too!

9. WHERE TO EAT BEFORE A SHOW?

We usually just grab drinks either before or after a show. We like the laidback, relaxed atmosphere at Camp Bar in the Third Ward. Their old-fashioneds are amazing!

We’ve also enjoyed the roof top bar at the new Journeyman Hotel in the Third Ward. There’s a very hip and trendy vibe and you can relax on the couches with the fires going.

10.  FAVORITE WISCONSIN SPOT THAT NEVER GETS OLD?

Since moving back to the Milwaukee area, my husband and I have enjoyed exploring the beautiful bike trails. The Oak Leaf Trail is one of our favorites with its connection to the lakefront. We like doing this as well because we can bring our kids along for the ride!

11. ANY OTHER ORGANIZATIONS THAT YOU’RE A PART OF THAT YOU ENJOY AND WANT PEOPLE TO KNOW ABOUT? 

I recently joined the UPAF Next Generation Council. This group works to build the next generation of art enthusiasts and supporters in Milwaukee. We have a thriving arts scene today that adds so much to our community, and we want to ensure that it stays that way long into the future. At Quarles & Brady, I lead an associate level corporate campaign to spread awareness and funds for UPAF so it can support many local arts organizations, including MCT. 

12. BACK TO MCT: WHAT WOULD YOU LIKE PEOPLE IN THE AREA TO KNOW ABOUT THIS THEATRE COMPANY WHO MAY NOT BE FAMILIAR WITH IT?

For me, MCT’s overall production value is truly impressive. I love knowing that when I see a show, the quality of the acting and the sets is going to be equally strong. When my husband and I bring guests to the shows, they enjoy it just as much as we do. We make an effort to bring our friends and family to each show we attend to expose MCT to as many people in our circle as possible. I also feel that our producing artistic director, Michael Wright, selects great stories that need to be told and stories with relevance to the world around us.

Want to follow Emily's example and join our board? Send managing director Kirsten Finn an email at kirsten@milwaukeechambertheatre.com to learn more!

Review Roundup: THE BROTHERS SIZE

In just one weekend, MCT's production of THE BROTHERS SIZE, Tarell Alvin McCraney's blend of contemporary and mythic drama, has already won the hearts and minds of hundreds of audience members, as well as members of the local press! We've compiled a whole list of reviews here for you to check out before you arrive at the theatre - or after, if you want to relive the experience. To purchase tickets, call 414.291.7800 or visit our online box office.

Mike Fischer, Milwaukee Journal Sentinel

The four men of MCT's production of THE BROTHERS SIZE:
Marques Causey (Elegba), Jahmés Tony Finlayson
(the Egungun), Andrew Muwonge (Oshoosi)
and Travis A. Knight (Ogun). Photos by Paul Ruffolo.

"'Brothers Size' reveals divine sparks in three men"

"McCraney’s plays are filled with lyrical, transcendent arias; their delivery here is magical."

"Gobel’s actors — all doing excellent work — never let us forget the godlike men beneath the masks."

“(a) historic, landmark production”

"Muwonge’s Oshoosi can seem like a punk.  But Muwonge simultaneously suggests a sensitive and romantic dreamer, filled with a love reflecting his belief in a better world."

"Gobel has a poet’s sense of language, and she’s attracted to playwrights and productions that feature it.  We are incredibly lucky that this extraordinary artist makes her home in Milwaukee."

Gwen Rice, OnMilwaukee

"Chamber's 'Brothers Size' is a stunning accomplishment for all involved"

"Amazing performers take audiences on an epic journey. You've never seen a show like this before.”

"A fierce and smart performer in her own right, Gobel literally choreographs 'The Brothers Size' in a way that feels striking and magical, with a story that's both culturally specific and painfully universal.”

"As Ogun, Travis A. Knight is strong and formidable, both physically and emotionally."

Harry Cherkinian, Shepherd Express

"Milwaukee Chamber Theatre's 'The Brothers Size' is a stark parable for the times we live in"

"This taut, powerful production grips the audience from start to finish."

"as the suave, smooth Elegba, Marques Causey is fascinating to watch, a streetwise “serpent” in a gritty Garden of Eden."

"Knight conveys every detailed nuance, verbal and non verbal, of a man in great inner turmoil, trapped by his own responsibility and need to connect to his last remaining family member."

Dom Noth, UrbanMilwaukee   

"'The Brothers Size' upsets expectations"

"Lighting designer Jason Fassl pointedly blinds us at times with spotlights facing into the action like human observers.'

"Travis A. Knight is a true stage leader, quietly smart in how he reflects Ogun’s internal control, stronger than even he realizes and then stunningly angry when offended."

“’The Brothers Size’ is speaking volumes.”

An Interview with Marti Gobel on "The Brother/Sister Plays"

by Marcella Kearns

While THE BROTHERS SIZE stands on its own, the play is also grouped within Tarell Alvin McCraney’s Yoruba-inspired trilogy, THE BROTHER/SISTER PLAYS. SIZE was the first of the three to be written and produced but stands chronologically second within the stories.

Marti Gobel, who’s directing our production of THE BROTHERS SIZE, has a close connection to this body of work. She directed the chronologically first play in the series, IN THE RED AND BROWN WATER, at Marquette University in 2014 as a collaboration with UPROOTED Theatre. Now, she embarks on THE BROTHERS SIZE at MCT and will independently produce a reading of the final play, MARCUS; OR THE SECRET OF SWEET, at the Broadway Theatre Center during the run of THE BROTHERS SIZE.

MCT Education spoke to her right before the beginning of rehearsals for THE BROTHERS SIZE to dive a little deeper into her relationship with McCraney’s plays.

MCT: What were your impressions when you first encountered McCraney’s work? What drew you to him as a playwright?

MG: My first impressions of McCraney’s work came from an actor’s perspective. I was given a copy of IN THE RED AND BROWN WATER from a respected colleague who wanted to know if I had any interest in playing Oya.

My first read of the script left a deep stamp on my creative self as I had never encountered a voice as unique and clear as McCraney’s. The notion that an actor would speak what they were going to do before actually doing said action was an amazing approach to character and its development. I stuttered at the challenge this would offer me as an actor.

It was to be several years later that I would have the opportunity to direct the play and my appreciation of his work deepened when I approached the script with director’s eyes. Again, I was excited for the challenge of telling this story with a script that alerted the players and the receivers of action that was to immediately follow text. I found the guiding of my actors towards a clear presentation of this incredibly challenging. How does one tell and feel and then show and feel without dropping the rhythm of the piece in its entirety? The journey was very rewarding. And, of course the playwright is so skilled that I soon realized the rhythm had been given to us. The sound of the drum ultimately became the key to the door of success for McCraney’s works.

MCT: McCraney has called his plays a “triptych” rather than a “trilogy.” What does this mean for you as a director, building the worlds of each play? How are they linked for you on a level beyond the web of recurring characters?

MG: The plays are definitely a triptych, for each of these works stand firmly and beautifully on their own. This is not to say that one won’t find a deeper understanding of each of the plays found in THE BROTHER/SISTER PLAYS with a familiarity of them all. It does mean that each play, on its own, offers rich and full characters moving through uniquely common circumstances. They are linked together (for me) because they all offer stories of a group of people, navigating through life, in a single community. The community has its rhythm so each play can pick up the “beat,” or continue it, very easily. 

MCT: What role does the story of Ogun and Oshoosi Size play in the wider context of this trilogy, in your personal view? How does it speak to the other plays, in other words; what does it address that is unique?

MG: The characters Ogun Size and Oshoosi Size are tied to the character Elegba. The three are found in all of the plays. In the Yoruba tradition (which is at the root of all of THE BROTHER/SISTER PLAYS), Ogun, Oshoosi and Elegba are considered a most powerful combination. It is Ogun who clears the path, Oshoosi who shows us the most direct path and Elegba who opens the door. These steps produce growth and enlightenment for the human souls.

In all of the plays found in the trilogy, this is what ALL of the characters are seeking to do. And, here lies the specialness of these plays. I have seldom found a play that looks to examine our inner self rather than our outer circumstances. It’s truly mind-blowing to process the plays as living myth rather than fictional stories with no embedded morals.

MCT: Tell us a little more about Elegba, both in the play and in the broader sense.  

MG: Elegba is one of the most recognizable deities found in the Yoruba tradition and/or religious practice. He is the greatest of teachers because he always offers you a choice – usually one that is full of temptations and another that will lead to righteousness. No matter the choice that is made, his goal is to always leave you with a lesson you will never forget. He makes things happen — good or bad. Elegba represents the transitional or center point of the crossroads where one MUST make a decision. This is true of the character Elegba found in THE BROTHERS SIZE.

From left, the three men of THE BROTHERS SIZE: Ogun (Travis A. Knight),
Oshoosi (Andrew Muwonge) and Elegba (Marques Causey). Photo by Paul Ruffolo.

MCT: As you note above, McCraney’s characters are named after and embody the characteristics of orishas of the Yoruba faith. In what other ways does McCraney weave deep West African roots into a distinctly contemporary American context?

MG: The Yoruba believe that when one calls the orishas to live among us that the goal is not to fully lose one’s self in the process but to become oneself more fully and therefore evoke the divinity already within you. We as theatre professionals must always remember that we are artists who (in many senses) do our work for the betterment of our society as a whole. Yes, we do this through storytelling, but I believe there is always an element of the actual real-life individual as we create character.

When this is coupled with the Yoruba tradition and beliefs we see stories that are performed with a vulnerability that is entirely human and yet has the power to elevate everyone to their higher selves. In short, McCraney has given us plays that encourage the gods and goddesses in our selves. By placing the stories in an urban American setting, we are given an accessibility to concepts that are foreign. These concepts survived their arrival to North America via the slaves of West Africa by the practitioners shrouding them, out of necessity, in the Judeo-Christian spiritual practices. Despite this, the heart of the Yoruba spiritual practice remains intact. The continuation of West African oral tradition and/or storytelling was the way in which this was done. McCraney has structured the plays in a way that honors this tradition and makes them accessible to everyone.

MCT: Sidebar question for the geeks of Milwaukee: I was asked a while back about whether this may compare in any way to Neil Gaiman’s literary (and now TV series) spin on gods of many faiths appearing in a contemporary American context — AMERICAN GODS. Do you have any thoughts about that?

MG: I love that show! Believe it or not, I in no way compared it to THE BROTHER/SISTER PLAYS. It’s funny how the brain categorizes all manner of things.

I was totally fascinated by the cinematography and particularly the main actors. The episode where the phenomenon of Jesus is addressed had me sitting up in bed waaaaaay later than I should have been… One of my favorite books is Jitterbug Perfume by Tom Robbins. The series made me pick it up again. If you don’t know the story, it revolves primarily around the god Pan. We watch him as he loses power because people, through the passage of the ages, stop worshiping/believing in/doing those things under his domain. It’s a great story that weaves together many cultures and times/places throughout history.

MCT: What do you hope an audience will take away from this production of THE BROTHERS SIZE?

MG: I hope the audience walks away with this: We are ALL gods and goddesses who from time to time forget just how powerful we are. And, no matter who, or what, or where you are, you must never forget that you are your ancestors’ WILDEST dream.

THE BROTHERS SIZE, by Tarell Alvin McCraney, opens Feb. 21 and runs through March 18, at the Broadway Theatre Center’s Studio Theatre. Directed by Marti Gobel, the cast includes Marques Causey, Travis A. Knight, and Andrew Muwonge, along with percussionist Jahmés Tony Finlayson. Tickets are available in person at 158 N Broadway, via phone at 414.291.7800, or online at milwaukeechambertheatre.com.

Marti Gobel's staged reading of MARCUS; OR THE SECRET OF SWEET, will take place on March 12 at the Broadway Theatre Center. Admission is Pay What You Can. More details will be revealed closer to the performance date.