Category Archives: Waukesha Civic Theatre
What would possess a left-leaning 24 year old from Kenosha, WI to co-write, direct, produce and star in a motion picture intended to skewer the oligarchs who controlled the American media in the 1930’s? In Orson Welles’ own words, “Ignorance.” Having already achieved critical acclaim as a theater actor, playwright and director, perhaps it is this audacity of scope combined with the fresh technological innovations of the silver screen that led Welles to create what is now almost universally agreed to be one of the greatest films ever made.
Citizen Kane, a fictional biopic of the newspaper magnate Charles Kane, is Welles’ first film and employs numerous experimental techniques developed for this movie. Many of these contributions to style and cinematography have entered the movie making lexicon. Today these remain as fresh and important to the story as when Citizen Kane was released in 1941.
Charles Kane, played by the young Orson Welles, is transparent in life and mysterious in death. Welles and his co-writer, Herman Mankiewicz, ask the viewer to share in the detective work of newsreel reporter Jerry Thompson, played by William Alland, to discover Kane’s deepest secrets by investigating the mundane meaning of the final utterance on his deathbed: “Rosebud.” This thinly veiled misdirection provides the audience the opportunity to approach and receive the film on numerous levels. Today, the parallels to our culture remain as strong as they did 76 years ago with just as much opportunity to be challenged and entertained.
With a handpicked cast, many of whom such as Agnes Moorehead and Joseph Cotten would go on to storied careers, Citizen Kane represents a high watermark in cinematic storytelling. Whether you are a fan of film, student of history, have interest in the media’s role in modern politics or simply want to share this experience with friends and family, the Waukesha Civic Theatre invites you to join us at 6:30 pm on Monday, June 5th to watch and celebrate this Hollywood masterwork.
As the days get longer and the temperature gets warmer, the smile that’s already on your face can just keep growing when you join us for our April offerings!
Our next ACAP PlayMakers show, Snow White And The Magnificent Seven, opens tomorrow and has seven performances through Sunday afternoon.
Our next PIX Flix movie of the season will be E.T. – The Extraterrestrial on April 10 at 6:30 pm. The cast of the movie includes Henry Thomas, Drew Barrymore, Dee Wallace, Peter Coyote, and more. All tickets are $5.00, and we have concessions available, including soda, water, beer, wine, cookies, beef sticks, and … wait for it … POPCORN!
If you would like to help us select the movies we present in our PIX Flix movie series next season, click here to complete our survey.
Our next A.C.T. production is Broadway Bound on Saturday, April 15, at 10:00 am.
We open our next Mainstage show, The Drowsy Chaperone, April 28 and continues through May 14. The show has three Pay What You Can performances on April 29 at 7:30 pm, May 7 at 7:30 pm, and May 13 at 2:00 pm.
Our current featured artist in the Waukesha State Bank Art Gallery in our lobby through April 9 is a group of students from Waukesha South High School. They were challenged to create art inspired by 33 Variations in only 33 days, and it is amazing! Our next artist will be Tom Buchs.
If you are looking for a theatre experience outside of Wisconsin, consider joining us for our NYC Theatre Adventure October 12-15, 2017, or for our trip to Chicago to see Hamilton January 3, 2018. Contact John Cramer by email or phone (262-547-4911 ext. 13) if you would like more information about either trip.
Our 60th Season is on sale now. Subscription packages for the Mainstage shows, and individual tickets for everything can be purchased now. Please join us for the second half of our current great season of entertainment!
Registration is open for our A.C.T. spring and summer sessions, including our summer ACT production The Lion King JR.
Just in case you missed it last month, our 61st season will include:
Sex Please We’re Sixty
(directed by Peter Kao)
The Hunchback Of Notre Dame
(an area premier directed by Mark E. Schuster!)
The House Without A Christmas Tree
(an original adaptation by our own Doug Jarecki directed by moi)
The Complete Works Of William Shakespeare (abridged)
(directed by Dustin J. Martin)
Clue: The Musical
(directed by Ken Williams)
Wait Until Dark
(directed by Kelly Goeller)
Father Knows Best
(directed by Rhonda Schmidt)
Season Tickets will go on sale in May 2017.
Thank you to all of the generous donors that have supported us so far this season. If you would like to donate, you can choose from any number of ways you could help us not only maintain, but thrive, as Waukesha’s Cultural Cornerstone.
Please Consider Giving …
* A gift to our Operating Fund
* A gift to our Spotlight On The Future Capital Campaign
* A matching gift through local sponsoring business employers
* A gift that will last a lifetime through your Will or Estate Planning
* A gift by donation to CARS
* A gift by shopping through Amazon Smile
* A gift by purchasing something on our Amazon Wish List
* Choose WCT as your Thrivent Choice charitable organization
* Become a Sponsor of outstanding performances and educational programs
Happy Easter! I’ll see you at the Theatre!
Managing Artistic Director
262-547-4911 ext. 13
So, here we are once more. Gathered again in Spring, 55 years since our inaugural meeting, to celebrate World Theatre Day. Just one day, 24 hours, is dedicated to celebrating theatre around the world. And here we are in Paris, the premier city in the world for attracting international theatre groups, to venerate the art of theatre.
Paris is a world city, fit to contain the globes theatre traditions in a day of celebration; from here in France’s capital we can transport ourselves to Japan by experiencing Noh and Bunraku theatre, trace a line from here to thoughts and expressions as diverse as Peking Opera and Kathakali; the stage allows us to linger between Greece and Scandinavia as we envelope ourselves in Aeschylus and Ibsen, Sophocles and Strindberg; it allows us to flit between Britain and Italy as we reverberate between Sarah Kane and Prinadello. Within these twenty-four hours we may be taken from France to Russia, from Racine and Moliere to Chekhov; we can even cross the Atlantic as a bolt of inspiration to serve on a Campus in California, enticing a young student there to reinvent and make their name in theatre.
Indeed, theatre has such a thriving life that it defies space and time; its most contemporary pieces are nourished by the achievements of past centuries, and even the most classical repertories become modern and vital each time they are played anew. Theatre is always reborn from its ashes, shedding only its previous conventions in its new-fangled forms: that is how it stays alive.
World Theatre Day then, is obviously no ordinary day to be lumped in with the procession of others. It grants us access to an immense space-time continuum via the sheer majesty of the global canon. To enable me the ability to conceptualise this, allow me to quote a French playwright, as brilliant as he was discreet, Jean Tardieu: When thinking of space, Tardieu says it is sensible to ask “what is the longest path from one to another?”…For time, he suggests measuring, “in tenths of a second, the time it takes to pronounce the word ‘eternity’”…For space-time, however, he says: “before you fall asleep , fix your mind upon two points of space, and calculate the time it takes, in a dream, to go from one to the other”. It is the phrase in a dream that has always stuck with me. It seems as though Tardieu and Bob Wilson met. We can also summarise the temporal uniqueness of World Theatre day by quoting the words of Samuel Beckett, who makes the character Winnie say, in his expeditious style: “Oh what a beautiful day it will have been”. When thinking of this message, that I feel honoured to have been asked to write, I remembered all the dreams of all these scenes. As such, it is fair to say that I did not come to this UNESCO hall alone; every character I have ever played is here with me, roles that seem to leave when the curtain falls, but who have carved out an underground life within me, waiting to assist or destroy the roles that follow; Phaedra, Araminte, Orlando, Hedda Gabbler, Medea, Merteuil, Blanche DuBois….Also supplementing me as I stand before you today are all the characters I loved and applauded as a spectator. And so it is, therefore, that I belong to the world. I am Greek, African, Syrian, Venetian, Russian, Brazilian, Persian, Roman, Japanese, a New Yorker, a Marseillais, Filipino, Argentinian, Norwegian, Korean, German, Austrian, English – a true citizen of the world, by virtue of the personal ensemble that exists within me. For it is here, on the stage and in the theatre, that we find true globalization.
On World Theatre Day in 1964, Laurence Olivier announced that, after more than a century of struggle, a National Theatre has just been created in the United Kingdom, which he immediately wanted to morph into an international theatre, at least in terms of its repertoire. He knew well that Shakespeare belonged to the world. In researching the writing of this message, I was glad to learn that the inaugural World Theatre Day message of 1962 was entrusted to Jean Cocteau, a fitting candidate due to his authoring of the book ‘Around the World Again in 80 Days’. This made me realise that I have gone around the world differently. I did it in 80 shows or 80 movies. I include movies in this as I do not differentiate between playing theatre and playing movies, which surprises even me each time I say it, but it is true, that’s how it is, I see no difference between the two.
Speaking here I am not myself, I am not an actress, I am just one of the many people that theatre uses as a conduit to exist, and it is my duty to be receptive to this – or, in other words, we do not make theatre exist, it is rather thanks to theatre that we exist. The theatre is very strong. It resists and survives everything, wars, censors, penury.
It is enough to say that “the stage is a naked scene from an indeterminate time” – all’s it needs is an actor. Or an actress. What are they going to do? What are they going to say? Will they talk? The public waits, it will know, for without the public there is no theatre – never forget this. One person alone is an audience. But let’s hope there are not too many empty seats! Productions of Ionesco’s productions are always full, and he represents this artistic valour candidly and beautifully by having, at the end of one of his plays, and old lady say; “Yes, Yes, die in full glory. Let’s die to enter the legend…at least we will have our street…”
World Theatre Day has existed for 55 years now. In 55 years, I am the eighth woman to be invited to pronounce a message – if you can call this a ‘message’ that is. My predecessors (oh, how the male of the species imposes itself!) spoke about the theatre of imagination, freedom, and originality in order to evoke beauty, multiculturalism and pose unanswerable questions. In 2013, just four years ago, Dario Fo said: “The only solution to the crisis lies in the hope of the great witch-hunt against us, especially against young people who want to learn the art of theatre: thus a new diaspora of actors will emerge, who will undoubtedly draw from this constraint unimaginable benefits by finding a new representation”. Unimaginable Benefits – sounds like a nice formula, worthy to be included in any political rhetoric, don’t you think?…
As I am in Paris, shortly before a presidential election, I would like to suggest that those who apparently yearn to govern us should be aware of the unimaginable benefits brought about by theatre. But I would also like to stress, no witch-hunt!
Theatre is for me represents the other it is dialogue, and it is the absence of hatred. ‘Friendship between peoples’ – now, I do not know too much about what this means, but I believe in community, in friendship between spectators and actors, in the lasting union between all the peoples theatre brings together – translators, educators, costume designers, stage artists, academics, practitioners and audiences. Theatre protects us; it shelters us…I believe that theatre loves us…as much as we love it…
I remember an old-fashioned stage director I worked for, who, before the nightly raising of the curtain would yell, with full-throated firmness ‘Make way for theatre!’ – and these shall be my last words tonight.
Welcome to another jewel of the 60th Waukesha Civic Theatre season. You are in for another Civic treat. From the start of 33 Variations, you will be entranced by the phenomenal work of Ludwig van Beethoven. Throughout the show, you will hear the works of Beethoven’s Diabelli Variations and follow the journey of a musicologist as she discovers the reason for 33 distinct variations on a waltz theme.
This unique play is like no other in that we get to enjoy classical music inside a personal journey around that music. The music in this play is often considered to be one of the greatest sets of variations for piano. This play holds a special place in my heart because of my musical background in playing in various symphonies through my younger years. While I didn’t have the opportunity to perform this specific variation since it was written for the piano, I did enjoy the other Beethoven pieces that I have played in the past. Since my primary instrument was bassoon, I will unfortunately not have the opportunity to play this variation. I do, however, get the pleasure and the honor to hear my wife practice and perform these Beethoven variations at home and while I watch this moving story unfold around the music.
Please enjoy this production of 33 Variations and tell your friends and family about the show. We have many ticket packages to enjoy this and as many productions of Civic that interest you. Please remember that we thrive on entertaining the community and the generosity of our civic family.
Board of Directors
I love how highly theatrical 33 Variations is in examining how we choose to live our lives when we know the end is closer than the beginning. It is this combination of theatricality and powerful storytelling that drew me to this play.
“Time is scarce” multiple characters tell us during the play. Both Dr. Katherine Brandt and Beethoven are trying to complete their work before their bodies ultimately rob them of the ability to do so.
For me, it is much broader than that. Time is scarce for all of us. None of us know how much time we have left. Therefore, we need to lives our lives to the fullest and enjoy what we have been given and those closest to us.
My eldest daughters are entering high school this fall. I have spent a lot of time recently bemoaning the little time I have left with them until they become adults and head out into the world. This play has directly challenged me to be sure that I do not waste that time while I have it.
After all … Time is scarce.
Next month, on Monday, March 20th, we bring Mr. Holland’s Opus back to the big screen. Friends, bring tissues.
Glenn Holland is a composer who wants to write the great American symphony. Instead he grinds out a career teaching high school music for decades to children of widely varying attitude and aptitude, while fighting his administration for funding and appreciation.
At home he’d love nothing more than to share his love of music with his only child, but tragedy strikes and his son is born deaf. Along with this heartbreak, Holland’s stubbornness causes him to estrange himself from the boy for years.
Michael Kamen was so moved by his experience composing for this movie that afterward he founded the Mr. Holland’s Opus Foundation (www.mhopus.org) to “[keep] music alive in our schools by donating musical instruments to under-funded music programs nationwide.”
Richard Dreyfuss gives us yet another Oscar and Golden Globe nominated performance in this modern family classic, with an ending evocative of It’s a Wonderful Life.
Please join me on Monday, March 20th for the feel-good movie of 1995. I’m not crying – you are!
I’d like to welcome you to Blithe Spirit, the fourth Mainstage show of our historic 60th season. We are thrilled to present this classic play by Noël Coward! With such timeless opportunities for our local talent, I’m honored to be a member of the Board. Yet, surprisingly, there are still some people who don’t know of this entertainment gem centered right here on Main Street!
We have a plethora of different entertainment options running year-round! Between 135+ stage performances, 12 movies, 27 weeks of A.C.T. classes, 18 Friday Night Live concerts, countless hours of design, rehearsals, & construction (and so much more!), the Waukesha Civic Theatre is a bustling metropolis! Our special events – like the upcoming Festival Of Fools – provide entertaining and fun ways to support the theatre. And our education program even extends beyond our doors to teach kids in local schools. That’s right: we’re not just for actors! Whether you can pound a hammer, program a computer, alphabetize a file cabinet, or perform an aria, there are plenty of ways to get involved almost every day of every week. So spread the word!
You are also invited to join in celebrating the Waukesha Civic Theatre’s proud achievement of providing challenging, enriching, and entertaining opportunities for 60 HISTORIC SEASONS. Having reached this elite diamond status, we ask you to help us look to the future with your support. Without the generous support from our guests, we could not continue to provide these great services to the Waukesha County community and beyond. Please consider a donation today. Thank you!
I look forward to seeing you, and let me know what you think!
Board Of Directors