Yes, I know that I am late again. That seems to be my theme this spring! But read on and remind yourself to schedule your visits. Or, if you haven’t seen this yet, imagine what next year’s theater season is going to be like.
We’re thrilled to share MCT’s 2026-2027 season: five exceptional productions centering the excellence of Milwaukee and Wisconsin’s artists in stories that will open your heart, expand your thoughts, and leave you feeling more connected to your community.
MAYBE WE’LL FLY A New Play with Music Inspired by the Life of Mary Nohl By Marie Kohler Music by Josh Schmidt
September 18 – October 11, 2026 BTC Studio Theatre
From renowned Milwaukee artists award-winning playwright Marie Kohler (BOSWELL, MIDNIGHT AND MOLL FLANDERS), and Tony-nominated composer Josh Schmidt (The End, THE ADDING MACHINE, THE MINISTER’S WIFE), comes this wildly theatrical and richly poetic world premiere play with music exploring the life and work of legendary Wisconsin outsider artist Mary Nohl. Propelled by an evocative score for solo cello as well as a contemporary approach to movement from award-winning director Elizabeth Margolius, MAYBE WE’LL FLY will captivate and inspire as it celebrates outsiders everywhere.
A GIFT OF THE MAGI A Musical Inspired by the Short Story by O. Henry Music by Josh Schmidt Lyrics by James DeVita & Josh Schmidt Book by James DeVita
November 13 – December 6, 2026 BTC Studio Theatre
Hailed as “a Christmas delight” (The Isthmus), James DeVita and Josh Schimdt’s original musical based on O. Henry’s classic tale of love and generosity rings in the holidays in its Milwaukee debut. Newlyweds Della and Jim—accompanied by a beautiful live violin and cello score—search turn-of-the-20th-Century New York with full hearts and empty pockets for the perfect gift for one another.
SONGS WITHOUT WORDS (Or, The Mendelssohn Play) by Jennifer Vosters A Locally-Grown New Play
January 22 – February 7, 2027 BTC Studio Theatre
Musical genius siblings Fanny and Felix Mendelssohn were each other’s chief supporters, deepest inspirations, and best friends—but a rigid world immortalized only one in the canon. Featuring a tour de force solo performance from Jennifer Vosters (A DOLL’S HOUSE) and presented for the first time with live music in this full-length world premiere, SONGS WITHOUT WORDS wrestles enduring questions of gender and genius, family and fame, and siblinghood and the power of art.
SKELETON CREW by Dominique Morisseau 2022 Tony Award Nomination for Best Play
March 19 – April 4, 2027 BTC Studio Theatre
One of Detroit’s last auto stamping plants stands on shaky ground, and a close-knit crew of four factory workers must face a future without the steadiest employment they’ve ever known. Milwaukee’s own Dimonte Henning—Director of MCT smash hits THE MOUNTAINTOP and CLYDE’S—brings to life this poetic, powerful, and profoundly American play described by The Financial Times as “not so much state-of-the-nation as state-of-the-world.”
LIBERATION by Bess Wohl 2026 Pulitzer Prize Winner
May 7 – May 23, 2027 BTC Cabot Theatre
1970. Ohio. Six women determined to shake up their lives and change the world form a consciousness-raising group in a community center gym. Fifty years later, one of their daughters tries to understand where things fell apart. Fresh from a celebrated 2025 Broadway run, this provocative, funny, refreshingly irreverent, and intensely relevant powerhouse of a production poses vital questions about what we inherit, what we forget, and what we’re still fighting to understand.
This production includes nudity.
SKELETON CREW and LIBERATION are presented by arrangement with Concord Theatricals on behalf of Samuel French, Inc.
The Milwaukee Repertory Theater is presenting George & Gracie: A Love Story in their Stackner Cabaret. Written by local actor and playwright, Tami Workentin, who plays Gracie Allen here, it is part of World Premiere Wisconsin and is A John (Jack) D. Lewis New Play Development Program production.
George & Gracie: A Love Story starts with a framing tale of George Burns restarting his solo career after Gracie Allen’s passing. While waiting in the theater for his cue to go on, his mind starts to race through memories of the key points in his/their career and his life with Gracie. Workentin has merged portions of Burns & Allen routines with pivotal points in their private lives to bring us their love story.
Pictured L to R: James Pickering, Tami Workentin, Jonathan Riker. Photo by Michael Brosilow and courtesy of the Milwaukee Repertory Theater.
Beyond the nostalgia of ‘experiencing’ the magic of George & Gracie, there is also the excitement around seeing James Pickering in the lead on the small Stackner stage again, playing opposite his wife, Workentin. And their obvious affection for each other certainly contributes to their depictions of George & Gracie. And this is a love story for the ages.
The humor here has aged a bit. And it was apparent in the audience response a few times on opening night this past Sunday. Some things that I thought were funny got mild laughter or a few polite chuckles instead of the noisier response I would have expected. That’s not on Workentin. She pulled together a great group of jokes and gags that express Burns & Allen to a tee. I think it’s more to the difference in humor and sensibilities inherent in 2026 compared to the middle 20th Century. Remember, they retired their TV show in 1958.
L to R:Tami Workentin, James Pickering. Photo by Michael Brosilow and courtesy of the Milwaukee Repertory Theater.
Tami Workentin is marvelous as Gracie. She has every tic, twist, and turn down pat and her inflection and timing certainly resemble Gracie and exemplify the era. Jame Pickering plays George Burns. When in contemporary Burns mode he is the loving mindful husband mourning the loss of his wife and partner. But when in the memory events, he seemed a little bit off. He certainly got the timing right and the jokes right but he didn’t quite have the joy and presence of George Burns. Sometimes its a curse to play a person still in the audience’s mind.
The third actor is one to really keep an eye on. Jonathan Riker plays the elevator guy. That doesn’t sound particularly significant, but trust me, he’s an integral part of the story. And at about 5 minutes before curtain, pay close attention to the stage. Similar to his first appearance in I Am My Own Wife at Milwaukee Chamber earlier this season, Riker is walking around the stage carefully positioning props, giving the stage one more sweep up, and picking up litter and a few scraps of torn newspaper. Just as the play begins, a bit of sleight of hand, and voila, magic! Watch, you won’t want to miss it. But after that Riker is in fact the elevator guy, train porter, bell hop, stage manager, radio announcer, and guide who keeps George on track. Riker helps sell this show!
L to R: Tami Workentin, Jonathan Riker, James Pickering. Photo by Michael Brosilow and courtesy of The Milwaukee Repertory Theater.
And the costumes are amazing for all three characters. And there are many costume changes in just this two hour show. But Jason Orlenko really went all out for the dresses and gowns that Workentin wore as Gracie. The colors and textures and fit is truly high couture.
And this is another Laura Braza direction…she has provided the Rep and Milwaukee theater any number of outstanding memorable experiences. This is another one!! Any time you see her directing, run out and see the play.
L to R: Tami Workentin, James Pickering. Photo by Michael Brosilow and courtesy of The Milwaukee Repertory Theater.
George & Grace: A Love Story runs in the Milwaukee Rep’s Stackner Cabaret from now through June 14, 2026. Running Time: Approximately 1 hour and 40 minutes with no intermission. Recommended Age: 14 and up.
It is April 12, 2026. It is snowing inside the Todd Wehr Theater at the Marcus Performing Arts Center. It is not MY fault. My snow shovel is still at my back door and my snow brush is still in the car. No, it’s those pesky kids at First Stage presenting a very accomplished and engaging production of Disney’s Frozen!
Molly Hill Fuller in Disney’s Frozen. First Stage, 2026. Photo by Paul Ruffolo.
And again, First Stage is providing me with a new cultural experience. Being a man of a certain age whose grandchildren grew up very far away, I was never exposed to Frozen before this past weekend. Yes, I knew the major character’s names but only because they are now very popular crossword puzzle clues. LOL!
This is officially Disney’s Frozen but from what saw Sunday, this is every four to seven year old girl’s Frozen. I don’t remember seeing such a young audience at prior First Act events and this is the first time the theater has been completely sold out. So don’t wait to get tickets if you are considering going. And like many character driven plays based on other major sources, the electricity was palpable and exciting as you experience the buzz and hear the chatter of young voices. But once the lights went down things were different this time. In other big stage musicals, after the initial hush, the young audience will often engage with the action directly, answering questions, telling a character not to do something, or just trying to enter the conversation. This time the hush was nearly total and lasted curtain to curtain. They were totally engaged and on the edge of their seats to just as great an extent, and yes, into it, dancing in place or waving their arms to the music. Amazing. And I almost forgot to mention, this group was a fashion parade of every type of Elsa or Anna princess dress in existence. A very delightful encounter beyond just the music and theater.
The full official title is Disney’s Frozen, The Broadway Musical. So this is a full fledged musical with about two dozen amazing songs with the original music and lyrics by Kristen Anderson-Lopez and Robert Lopez, with the book by Jennifer Lee, and based on the Disney film also written by Lee. So the story is driven by song and to enhance that experience, there is a live five piece orchestra on site, but sequestered away in an orchestra ‘pit’ somewhere.
Cast in Disney’s Frozen. First Stage, 2026. Photo by Paul Ruffolo.
And here at First Stage, Director Michael Dean Morgan and Associate Director and Choreographer Michelle LoRicco have brought all of First Stage’s magic to bear and have created a seamless event around the complex story that just sweeps you up in a north wind! And I mean that in a good way. In his note from the director, Morgan states: “Rather than hiding the stagecraft, our ensemble of storytellers…brings the magic to life. There are no projectors, no screens, just talented artists shaping the storms, the snow, and even puppeteering beloved characters. ” And this is the magic of First Stage productions. Yes, there are storms to be exhibited, through lights and waving lengths of silky materials, and actors moving set pieces to take us to new environs, and amazing puppets to be the mythical and imaginary characters vital to the story. The stage craft is right there in front of us and we clearly see it and we embrace it as part of the story. And we move from castle bedroom to an ice castle on a mountain top and on and on.
Did Morgan say puppets? Yes, Indeed! Once again Puppet Designer Niki Kulas has created a cast of amazing puppets, again clearly showing the audience how they work, and enchanting us with how well they represent the characters. Let’s start with Sven, a giant reindeer head that a younger actor wears like a vest and sways around the stage making everyone of us want to pat it on the nose. And the animated snowman, Olaf, sings and ‘dances’ and shuffles through the action attached to another young actor at the feet and manipulated manually. And the Hill People, which to this viewer are giant trolls from my youthful fairy tales. Giant troll head and giant hands controlled by two actors, one bobbing the head while another waves the hand. They are a bit of comic relief when they appear as rescuers at two stress points in the narrative. Here the magic of stage craft and the magic of the forest unites.
(L to R) Cal Jordan, Jake Horstmeier, George Lorimer, Tesney Schatzman, Jamie Mercado, Karen Estrada, and Elliot Lippman in Disney’s Frozen. First Stage, 2026. Photo by Paul Ruffolo
I think I am going to stick this notice here today: First Stage uses a core cast of adults and young adults in their main stage musicals like Frozen. And then fill out the roles with two alternating casts of younger actors. The two casts for Frozen are the Fire Cast and the Frost Cast. So if you hope to see a particular young actor make sure you order tickets for a performance featuring their cast. I saw the Frost Cast.
Initially we meet our princesses Elsa and Anna as youngsters at bed time. Elsa is a bit quiet and thoughtful and wary and played with just the right about of reserve by Emily Dalecky (Frost). Her younger sister Anna presents a different personality, as played by McKenna Becker (Frost), she is sassy and direct and eager to live. After pushing her parents out of the bedroom she is the one bouncing off the walls wanting to play. She finally convinces Elsa to build a ‘snowman’ from toys and pillows and such and they name it Olaf. The dynamic set here for the sisters personalities and relationship helps mold the action in the rest of the story.
(Spoiler Alert?) This is a Disney princess fairy tale so there is magic and mystery and tragedy and duplicity all wrapped about the moral about the true love of family and sisters. Of course there is a secret, Elsa has the power to freeze things with a wave of her hand. A power no one understands and one that she can’t control herself. Once she harms Anna, they are separated and sequestered until adulthood. The King and Queen go off to find a solution but perish in a storm. The cloistered siblings are fairly naive when the are united as adults at Elsa’s coronation. Anna meets Prince Hans, who has 12 elder brothers, and immediately falls for the handsome young man and immediately agrees to marry him. Hans is played as suave and smooth and maybe a bit rakish by William Kastner (Frost). Delightfully romantic on meeting, he turns into a villain soon enough and Kastner has the chops for that as well.
Cole Bugiel (left) and Melody Marks (right) in Disney’s Frozen. First Stage, 2026. Photo by Paul Ruffolo.
When Anna announces her engagement to Elsa at the coronation, Elsa gets angry and with a wave of her hand, starts a new Ice Age. Elsa then heads for the mountains to protect her family and friends and kingdom from her powers and creates her own Ice Castle on a mountain. Anna pursues to try to help Elsa and the great adventures begin. Anna needs some help and meets Kristoff who provides cold weather mountain gear and immediately starts to provide his services as a guide. William Swoboda (Frost) gives Kristoff a bit of swagger but definitely a solid sense of self-sufficiency without any sign of doubt or thought for himself. And of course, he brings along his friend Sven, played by Johnathan Doome (Frost). And the emergence of the animated living Olaf is just a delight. A very animated and charming Dominic Lasky (Frost) gets to inhabit this fan favorite.
Molly Hill Fuller (center), Alice Rivera (right), and cast in Disney’s Frozen. First Stage, 2026. Photo by Paul Ruffolo.
At this point, Elsa and Anna are adults and are now played by different actresses. Molly Hill Fuller plays a somewhat imperious and ‘icy’ figure here but clearly defines the sense of fear she holds that is part of the under story to her power. Anna is portrayed by Alice Rivera (Frost) as not quite the sassy lass of the first scenes but certainly a determined can do at any cost woman of action. It serves her well and Rivera is true to the character. For me, Anna is the more intriguing character in the play and remained my focus point throughout. The highlight is a duet between Elsa and Ann, “I Can’t Lose You”, sung when they are finally reunited. Both actors have lush clear voices that fill the room and hold the moment. Their pairing is just just right and they both have presence and voice beyond what you would expect here in a youthful cast.
But Anna falls victim to Elsa’s powers once again, so all parties must retreat to their home in Arendelle to expose the villains and effect the magic that provides our happily ever after.
Disney’s Frozen runs one hour and 45 minutes plus an intermission. First Stage Recommends this for families with young people ages 8-18 and determined adventurers of all ages. I saw a lot of young people here that were younger than 8. And it seemed that a lot of these were already familiar with the story and the characters. But if you are wondering, there is some flirtation between Hans and Anna, the King and Queen do perish in a storm that is lightly depicted on stage, and there is magic and some threats of violence. The trolls are more comical than ominous.
Molly Hill Fuller in Disney’s Frozen. First Stage, 2026. Photo by Paul Ruffolo.
P.S. I have rambled on a lot more than usual, but something that I partially missed. Pay attention to Elsa as a quick costume change on stage switches her from Queen Elsa in regal blue to the Ice Queen in shimmery icy white threads.
First Stage presents Disney’s Frozen in the Todd Wehr Theater in the Marcus Performing Arts Center from now through May 17th, 2026. Tickets and further information here
