A little bit about Tom Klubertanz

Here's a great look inside Tom's life as a theatre professional and teacher.  Tom's character, Murray Burns, knows how to live his life to the fullest, and we believe Tom does too!  Don't forget to check out Tom and the rest of the cast on stage during A THOUSAND CLOWNS starting today and running through August 26.

Meet Thomas Kindler

We're getting closer to opening night! Today we're taking a closer look at Thomas Kindler who is debuting in the role of Nick Burns at MCT. Thomas is finishing up his summer here at MCT and will be a freshman at Brookfield Central High School this fall. This kid does it all - sings, acts, and of course, plays the ukulele! Don't forget to catch him onstage for this show, August 9-26! 

Meet Patrick Lawlor from A THOUSAND CLOWNS

Milwaukee Chamber Theatre is only a week away from opening A THOUSAND CLOWNS in the Cabot Theatre on August 9. We have fabulous people working on the show so we thought we would interview the cast.  Today we will be featuring Patrick Lawlor (Arnold Burns) who was just seen as Virgil Blessing in last season's BUS STOP.  Hope you enjoy his insights into the theatre world and our season opener!

What are some of your favorite moments in theatre that made you who you are today?

Patrick Lawlor

To work in the Theatre is to have countless moments that make you who you are. Just getting to do this for a living opens you up to endless little miracles, wonders, triumphs, tragedies. Taking on a role that you feel is beyond your ability and performing it well, doing free Shakespeare in the Park and getting acting notes from the local homeless guy who collects cans from the park's trash, getting "rained out" at an indoor theatre in Los Angeles when floods short out your electrics,  bringing classical theatre to inner-city kids or folks in depressed Appalachia, even waiting out a thunderstorm with the audience at an outdoor venue, all of these energize us in special and unexpected ways.  It's the odd little things that happen all the time in theatre that make me who I am today.

Other examples that come to mind include: explaining to a fellow member of a four-person touring show how it might be difficult to find fresh sushi in rural West Virginia, watching from the wings at American Players Theatre as a huge bat flew out of the trap door on stage during a performance of HAMLET, performing for children who are seeing their first show ever, and watching Stacy Keach's RICHARD III. All of these things and innumerable others are the stuff that keep me going.  Add to that, getting to learn by watching and performing with the remarkable actors that were around the San Francisco Bay Area as I was getting started in the late 70's through the 80's instilled in me that every person I work with contributes to who I am as an actor. I am grateful to continue my development and education with my talented and extremely generous co-workers in A THOUSAND CLOWNS .

Tell us about your first reaction upon reading A THOUSAND CLOWNS.

I first read it in college years ago and saw it as a silly piece, a warning about conforming and giving up. I was not impressed, though I did learn a monologue to use as an audition piece. Picking it up again for this production, with a little more life behind me and a VERY DIFFERENT experience. 

This time, I read a beautiful examination of life, relationships and responsibility. It had an examination of growing up, and what that does and does not necessarily mean. I no longer see "giving up," but rather "trading up" - letting go of certain aspects of childhood, or childishness in order to experience the benefits and rewards of maturity, responsibility and relationships with others. Murray is confronted with that moment (that we all SHOULD be confronted with at some point), when he realizes that there are some things that are more important to him than himself. How he handles that confrontation... Well, that's the play. It's a beautiful piece of theatre!

What’s it like playing an instrument (ukulele) you’ve never played before in front of an audience?

Patrick Lawlor as Virgil Blessing in BUS STOP

I love it! Playing music rocks and having to do it in front of an audience gives me that extra incentive to learn it! That said, it really doesn't apply to me in this play, but it has in several others.

From your perspective, how would you best describe your character?

Murray and I spend some time describing my character in the play, so you'll just have to see it to find out.

But briefly, Arnold Burns is a good guy with a good job (Murray's agent), a good family, a good life and a crazy, immature, wonderful brother who he loves dearly and worries about constantly

If your character could spend a day in Milwaukee, where would they go and what would they do?

Arnie would stay at the Pfister.  He'd get up early to find a farmer's market somewhere to grab some fresh fruit. He’d take a bunch of meetings at the local TV affiliates in the morning while Shirley and the kids check out the zoo. He'd try to time it so the Mets were playing the Brewers (or the Braves, if we stay true to the period, though in that case,  he'd probably still follow his beloved Giants, even though they broke his heart by moving to San Francisco) and he'd definitely catch the game that afternoon. He'd hook up with Shirley and the kids for a nice family dinner, maybe at Kopp's. Then a few calls to clients, etc., before ending the day with a relaxing cocktail with Shirley in the Pfister's BLU (or whatever it was called in 1962). 

Thank you so much Patrick for your kind words about your experiences in the theatre and also about A THOUSAND CLOWNS.  We all look forward to seeing your performance next week!

An Interview with Daniel Mooney

A Milwaukee native, Daniel returns to MCT where he has been seen in MOONLIGHT AND MAGNOLIAS, TAKE ME OUT, MISALLIANCE, HAY FEVER, HOMEBODY/KABUL, HOTEL ON MARVIN GARDENS, MEDEA, LOVE LETTERS, MAJOR BARBARA and WAITING FOR GODOT. In addition to 20-some years with Milwaukee Repertory Theater, he has worked with Next Act Theatre, Renaissance Theaterworks, First Stage, Skylight Opera Theatre and Theatre Gigante. In a career of over 40 years, he has worked at theatres across the country and has appeared in over 200 productions. He has been seen on television in Law & Order and The Untouchables (1993-94).

To gain further insights about Dan, we asked him a few questions about himself and his upcoming performance as Philippe.

1. What have been some of your most memorable moments working in theatre?

For more than 40 years I have been lucky enough to work with many wonderful people in many wonderful productions so I have many wonderful memories. My favorite was in 1980, I was the narrator in A CHRISTMAS CAROL at The Rep. On opening night my three-year-old son was sitting on his mother’s lap in the fourth row. The house lights went down, the curtain went up, the light came up on me, I took a deep breath and before I could speak the first line: “Marley was dead.” A small voice, which filled the Pabst, yelled, “THAT’S MY DADDY!”

2. You’re from Milwaukee, but you’ve also worked at theatres across the country, in your opinion, what is unique about theatre in Milwaukee?

Milwaukee is a great theater town because many talented young people choose to stay and work here. We have so many outlets – Renaissance, Next Act, Milwaukee Chamber, First Stage, In Tandem, Boulevard and The Rep.

As a result you will see some of the best, newest most exciting work in the country.

3. Tell us about your first reaction to the HEROES script?

The first time I read it I thought it was very sad. The second time, I thought it was very funny. It is Tom Stoppard after all. I hope the audiences see both.

4. What is your favorite Philippe quote?

The favorite line from Philippe is: “It’s a bugger.”

My favorite line from the play is when Gustave perfectly describes the months of the year: “Don’t talk to me about autumn. September and October are living death. November is a funeral… December is the stupidest month of the lot- Christmas! January and February you think are never going to end… March and April can’t make up their minds… Then- God help us- here come May, June, July…”

5. What message do you hope the audience takes from this play?

There used to be an expression: “If you have a message call Western Union.” Now it would be: “If you have a message post it on Facebook.” I just want the audience to sit down, turn off their cell phone and enjoy what we’re giving them.