Musical Theater – Page 2 – an intuitive perspective

October 1, 2026

“Everybody Cut Footloose” That’s Footloose, Milwaukee Rep’s Musical Mainstage Season Opener

A full ensemble of 27 actors performing Footloose at open with an even more energetic reprise at the close of the show should be enough incentive to get you to attend the Milwaukee Rep’s presentation of Footloose, The Musical. But if you need more encouragement, the cast is obviously having a lot of fun and it is seriously contagious. So if you don’t have fun, it’s because you don’t know how to have fun…so sit back and take your cue from Willard.

Pictured: the cast of Footloose. Photo by Michael Brosilow and courtesy of the Milwaukee Repertory Theater.

Ethel McCormack is in sad straits. After he husband has left the family, she does not have the means to continue living in Chicago. So she accepts help from her sister and brother-in-law, but that involves moving to the small town that they live in. So she and her high-school aged son Ren, pack the car and head off on a ten hour drive, for Bomont. Once they arrive there Ren has a hard time adjusting to small town life and abruptly finds out that his favorite outlet for stress relief, dancing, is actually against the law in Bomont. Now, hopefully, I can be forgiven, given the cowboy hats and country music, for thinking we are in Beaumont Texas…I was surprised to see Bomont written on the gym attire on our youngsters at mid-play.

Pictured L to R: Galen Graff, Tarrick Walker, Manuel Abreu, Mathew Callas, Keyon Pickett. Photo by Michael Brosilow and courtesy of the Milwaukee Repertory Theater.

Ren finds out that his new pastor, the Rev. Shaw Moore, was the impetus on banning dancing following a traumatic car accident that killed four local teens on their way home from a…dance. And the pastor’s daughter, Ariel, is, of course, involved with the town’s bad boy but is curious about the new kid. Ren gets a bit of unearned notoriety as a troublemaker but eventually wins over his peers and takes on the Rev. Moore and town council and wins, allowing the big dance finale to end our version of Footloose.

Keyon Pickett alone is worth the price of admission. And you will feel his stage presence immediately on seeing his first Michael Jackson dance step. But beyond his remarkable dancing, Pickett is the real deal. His voice is a true musical instrument. From sad and questioning tunes to triumphal dance numbers, he can hit the whole range of nuance and the whole range of tones. And beyond his musical skill set, he has the chops to be a dramatic actor as well if he ever feels the need to pursue that. He’s going to be big Broadway star some day and we are lucky to have him here in Milwaukee.

Pictured L to R: Maddie Roberts and Keyon Pickett. Photo by Michael Brosilow and courtesy of the Milwaukee Repertory Theater.

The pastor’s daughter, Ariel Moore, is being played by Madison Robert. But she is only playing the role through October 11th. Robert owns this role and I certainly recommend seeing Footloose while she is still here. Robert’s Ariel is something of a free spirit and determined to do things her way and wants more out of life than what Bomont has to offer. Robert brings all of Ariel’s emotions front and center, from her love for her father, and her curiosity about Ren, and her playing the bad girl fling with Chuck. Robert too is in possession of a full, alive, vocal range and non-stop energy as a dancer and actor.

The voice that blew me away? That belongs to Olivia Hellman who plays one of Ariel’s besties, Rusty. And Rusty is a bit of a hell raiser herself. Hellman too is a remarkable dancer and actor, but her voice just fills the room and gave me chills at times. Rusty’s love interest is Willard, who after a bit of an altercation becomes Ren’s best friend. Carson Zoch is a tough talking and blustery acting young man who is just covering up his own self doubts and self perceived inadequacies. Zoch’s Willard has feelings for Rusty too but doesn’t know how to express them until Ren’s dance adventures allow him to break out of his shell. And break out is exactly what Zoch does going from stumbling bumbling to Saturday Night Fever slick in just a few moments of lessons and realizations that he CAN do it.

Pictured: Steven Koehler and Maddie Robert. Photo by Michael Brosilow and courtesy of the Milwaukee Repertory Theater.

And there are a few adult characters that I’d like to mention. Of course: Rev. Moore. For a pastor, he seems a bit domineering and officious in Steven Koehler’s portrayal. Koehler’s Moore is hard to like and it is hard to understand his motivations…until his final confrontation with Ren. A character who catches up with you is his wife Vi. She seems too compliant until you realize she is just holding back. Jackey Good is a perfect Vi and my goodness, her singing in ‘Learning To Be Silent’ with Ethel and Ariel and then the solo, ‘Can You Find It In Your Heart’, is a moving thing of beauty. Listen. And Rae Davenport as Ren’s mom, Ethel McCormack, is the calm and thoughtful and supportive mom you would hope every teen has in their life. And watch carefully as Milwaukee favorite Dimonte Henning plays a convincing high school athletic coach, Roger Dunbar.

It boggles my mind that just one person, Stephen Mear, can perform the dual roles of director and choreographer so effectively. Besides the dozens of actors, there are 18 songs which all require not just the direction of the actors but quite elaborate dance sequences as well. His version of Footloose is seamless and constantly in motion. This is where most of the fun gets made. And Rep stalwart, Dan Kazemi is the conductor (and a keyboard player) of the live band that is performing at the back of the set.

Footloose, The Musical, continues from now through November 1, 2026 at the Milwaukee Repertory Theatre’s Ellen and Joe Checota Powerhouse Theater.

Additional Information Here and Ticket Info Here

Extra Credit Reading: The Program

Pictured L to R: Maddie Roberts, Jackey Moore, Rae Davenport Photo by Michael Brosilow and courtesy of the Milwaukee Repertory Theater.

September 29, 2026September 29, 2026

Sunday In The Park With George Is A Musical Romp At Lake Country Playhouse!

Do you ever wonder where playwrights get their ideas for grand Broadway musicals? Well, Sunday In The Park With George, might be a little unusual and then, maybe not. But clearly James Lapine (book) and Stephen Sondheim (lyrics and music), started with Georges Seurat’s masterpiece painting, A Sunday Afternoon on the Island of La Grande Jatte. And then they imagined the life and personality of many of the prominent individuals that Seurat has depicted, developed a back story for each of them, and wove then all together into a grand and masterful Broadway musical. But trust me, they did take some poetic license with some of the figures chosen. There isn’t a one to one correlation…but it is amazing nonetheless. But do keep in mind, despite this taking place in a real place and time, and with a real historical figure, this is just a bit of very clever story telling.

*A Sunday Afternoon on the Island of La Grande Jatte*, By Georges Seurat 1884 – Art Institute of Chicago, Public Domain.

But the real magic isn’t in the dots on the canvas or the story from Sondheim and Lapine, it’s from the masterful direction of Caitlin Nettesheim who needs to weave the historic characters and references in with the contemporary back references and 18 actors, many of them doubling up, and produce the engaging presentation that I experienced this past Sunday at Lake County Playhouse & Academy. And extra credit for her clever use of cacophony several times to change scenes and casts.

Suze Falk and Company. Photo courtesy of Lake Country Playhouse & Academy. Photo by Marie Helser Photography.

The obvious focus of Sunday In The Park With George is Georges Seurat. Lapine has a bit of fun during the first act poking some fun at the stereotype of the artist but there is also a serious love story here, a love triangle of sorts, between George and Dot (his model and lover) and George and Art. Jack Anderson plays a George who never loses focus on his painting often at the expense of his personal life and social life. He never stops sketching whether he’s got a willing model or just catching others from afar each Sunday on the Island of La Grande Jatte. Anderson presents the distracted work ethic and focus of an artist. And his adept muttering and giving under the breath voice to self utterances as he daubs at the painting in the studio, certainly set the scene for his eventually personal loss. Some more red here, and here some blue. But, to quote the great man (in the play): “White, a blank page or canvas. The challenge: bring order to the whole, through design, composition, tension, balance, light and harmony.”

Jack Anderson and Suze Falk. Photo courtesy of Lake Country Playhouse & Academy. Photo by Marie Helser Photography.

Suze Falk is a willing model as Dot but not above complaining about the working conditions! It’s Hot! It’s so early! And Falk’s Dot isn’t above overdoing directions from George partly of course to get a reaction out of him but to great comic effect to the audience. George:, please lower your chin a bit. Dot: immediately plunging her chin to her chest. And Dot wants to be an active young Parisian, out in public, and sharing her time with the man she loves. George has feelings too and Anderson struggles to suppress them as he remains immersed in his work. At last Dot leaves him for the baker and can’t quite let go and Falk’s portrayal of a conflicted and still in love young woman is very very compelling. She returns to George a number of times to see if she can crack through his shell. But in the end, she moves to the practical and takes care of herself and child (and George’s child). Whether the playwrights meant George to be the main character or Dot, I am not 100% sure, but Falk certainly steals the show here. And her voice ranges from coy to charming to full throated as she expresses the full range of emotions she’s set to experience.

(L to R) Jack Anderson, Elizabeth Nisley, and Luke Hahn. Photo courtesy of Lake Country Playhouse & Academy. Photo by Marie Helser Photography.

There are many other characters, but some notable performances. Luke Hahn as Jules, another painter who is more established than Seurat with some pull in the artistic community. Hahn easily plays the pompous Jules and moves from a critical voice of George’s work to claiming to be a friend. And his even more pompous and self-important wife, Yvonne, given full voice and presence by Elizabeth Nisley. And all of the characters are society darlings or wannabes, except the Boatman played as a common no nonsense working man by Mark Thompson. And the baker, Louis, played by Bradley Carter. The script describes him as well liked and generous and always blinking, and Carter demonstrates those attributes quite ably and for some real comic effect at times. No wonder he draws the attentions of Dot eventually.

Bradley Carter and Suze Falk. Photo courtesy of Lake Country Playhouse & Academy. Photo by Marie Helser Photography.

And ACT I ends with all of our characters forming a tableau resembling the original painting. And they start ACT II in those same positions, complaining about their various positions or plights in their poses. High humor here and this isn’t my best side!

(L to R) Mark Thompson. Jeffrey Polak, and Kelly Clemens. Photo courtesy of Lake Country Playhouse & Academy. Photo by Marie Helser Photography.

And then we have ACT II itself, which is in the contemporary era. And Anderson is still a George, but the great-grandson of Seurat. He is also an artist but not as obsessed or focused, and doubtful much of the time. Anderson captures these various moments quite effectively. It is the opening for his latest piece, an electronic light piece, but related to Seurat in it uses light and color for a particular visual effect. And it is in fact a commission that is meant to be inspired by the great painting. Most of the actors from the previous acts now appear as contemporary art consumers, art critics, or philanthropists. Current George doesn’t handle the social responsibilities very well either.

Tanya Stewart and Emily Keiner. Photo courtesy of Lake Country Playhouse & Academy. Photo by Marie Helser Photography.

There is a lot to unpack here but I will leave most of it to you to discover when you attend the play. But George decides to visit Paris and present his Seurat inspired electronic bit on the Island of La Grande Jatte. And after reviewing the technical needs with his assistant, he asks for some time alone. And now we come full circle as Dot and other characters appear to him , to ask questions and fill in some plot points and bring closure to our story. As some younger generations might say, this final meeting will bring on the feels.

(L to R) Abby Nicola, Gin Mitchell, and Mason Shefchik. Photo courtesy of Lake Country Playhouse & Academy. Photo by Marie Helser Photography.

Some side notes: Nettesheim does an amazing job telling this story through movement and postures. A lot of story gets told in a rather small space. And the set is simple and spare, with just a small raised ridge down the center parallel to the audience that allows certain characters prominence. And the back wall is simply an off white, canvas colored. When we are on the Island it becomes the mounting point for the park trees and when we are in the studio, it IS the canvas that George works on.

But the costuming here is amazing. Lush and decadent. Top hats and morning coats, rich colorful formal dresses, and particularly for Dot, bustles. Costume Designer Sarah Jo Martens is always spot on, but she has outdone herself this time.

And there is of course, incidental and supporting music throughout the show, it is a musical after all. There are six musicians on stage: two wind players, two keyboards, a cello, and a percussionist. They were delights!

And check the painting above for the soldiers before you come, thank me later.

Sunday In The Park With George plays at the Lake Country Playhouse & Academy in Hartland WI from now through October 11, 2026. RUNTIME: 150 minutes. + 15 Minute Intermission

Additional information HERE and Tickets HERE

September 24, 2026

MAMMA MIA! Broadway at the Marcus Performing Arts Center

I knew that Mamma Mia was out there but I didn’t really know anything about it so didn’t now what to expect as I took my seat this past Tuesday. But you can never go wrong with ABBA music. <–Fact!

So I was surprised to find myself observing a Greek Island just in advance of a young couple’s wedding. Sophie is the bride in question. She is the daughter of a single mom, Donna, who runs a taverna on the island. She doesn’t know who her father is. So she snoops in her mother’s old diary and comes up with three possible suspects and invites them to her wedding using her mother’s name but without her mother’s knowledge. They all accept. What could possibly go wrong? Well everything and nothing but we have a wonderful story to tell with wonderful songs. And, I forgot, Donna was something of a rock star in her day in an all girl band, the Dynamos, and they are attending the wedding too, that’s Rosie and Tanya. So not only do we get the usual musical excitement as actors break into song but we got an extra treat of a Dynamos performance in platform boots and Vegas style costumes. Are you ready for Dancing Queen?

A quick formality: The lyrics and music are by the mavens behind ABBA of course, Benny Andersson and Bjorn Ulvaeus with the book (story) by Catherine Johnson. And this high powered and vibrant touring production is directed by Phyllida Lloyd! One other production superstar is the lighting designer, Howard Harrison. His lighting emphasis and washes really really enhanced the performances on stage.

From my seat, the star of this show is Juliette M. Ojeda! She personifies what I feel the character of Sophie is all about here. And her voice is just a marvelous instrument and carries the weight of each song and the mood of the moment. And her dance steps are a smooth, lithe, and agile as any I’ve seen on this stage. Ojeda also knows how to work with and work off of the other performers on stage. Her mother, Donna, is played by Jessica Crouch, and she pulls off being a bit older version of Sophie. That relation should be the other way around but I couldn’t take my focus off of Ojeda. And Crouch too has the moves and the voice to be the focal point in every scene she enters. And she is majestic when she takes on her role as the leader of Donna and the Dynamos.

And the Dynamos? Given that Sophie is 20 now, they must be about 40 somethings? But Erica Mansfield as Tanya and Kayla Ryan Walsh as Rosie still show us the moves and the style and the youthful exuberance that they obviously have worked to maintain. And they can still strut in their own platform shoes and colorful ABBA outfits to boot.

When the father possibilities show up, Sophie tries to determine, without any luck, which one is her father. In a sense of desperation she asks all three to walk her down the aisle. They don’t all know that initially but accept it. Then after a few conversations and dreams, Sophie decides the only one really deserving of walking her down the aisle is her mother.

There are a few other shenanigans before and during the wedding, but true love wills out, but not necessarily as we would expect, but everyone will be happy in the end.

But, but, we aren’t done yet. AFTER the curtain call, there is a grand finale with the entire cast and chorus singing these marvelous ABBA songs and the audience is welcome to join in. So brush up on your lyrics and get your voice in shape because if ABBA is your thing, you will want to have that last bit of fun.

And I hope the full moon is getting scale, because he’s spending a lot of time on stage.

One Quibble: It’s a live band. A great live band. But it could tone down a few decibels. Particularly in the first act, even though the actors are well mic’d, the music drown them out a few times.

Mamma Mia! runs at the Marcus Performing Arts Center from now through September 27, 2026.

TICKETS!! Additional INFORMATION!