Category Archives: Waukesha Civic Theatre
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
I’m an enormously talented man and there’s no use pretending that I’m not.
Noël Coward is one of the wittiest, funniest, and most outrageous playwrights of the British theatre. Somehow, it doesn’t matter that his plays take place in another country, that they present outlandish situations with equally outlandish characters, or that they were written three-quarters of a century ago. They still work.
Noël Peirce Coward was born in 1899 and made his professional stage debut as Prince Mussel in The Goldfish at the age of 12, leading to many child actor appearances over the next few years. During the frenzied 1920s and the more sedate 1930s, Coward wrote a string of successful plays, musicals and intimate revues. He remained a successful playwright, screenwriter and director throughout the World War II years, as well as entertaining the troops and even acting as an unofficial spy for the Foreign Office. His plays during these years included Blithe Spirit which ran for 1,997 performances and outlasted the War.
The post-war years were more difficult for him. Austere Britain – the London critics determined – was out of tune with the brittle Coward wit. In response, Coward re-invented himself as a cabaret and TV star, particularly in America, and in 1955 he played a sell-out season in Las Vegas featuring many of his most famous songs. In the mid-1950s he settled in Jamaica and Switzerland, and enjoyed a renaissance in the early 1960s becoming the first living playwright to be performed by the National Theatre.
Writer, actor, director, film producer, painter, songwriter, cabaret artist as well as an author of a novel, verse, essays and autobiographies, he was called by close friends “The Master.” Coward was knighted in 1970 and died peacefully in 1973 in his beloved Jamaica.
There is nothing deep about this play. There are no symbols, hidden meanings, or secret situations. What we have is the amazingly creative mind of a writer whose sole purpose seems to be to give us enjoyment. So – please laugh. Please enjoy. Please leave your worries behind. This is what Noël Coward would have wished. And so do I.
Theatre and music have always been a big part of my life. From sitting in the audience, to dipping my toes in my opera studies in college, to jumping in head first into musical theatre after I graduated, I have immensely enjoyed the creativity and passion that are invested in a show. I have always loved being on the stage. Each opportunity I have had has helped me grow as an artist and musician. I never thought in a million years that I would be directing a show. I just loved being on the stage so much that I never thought about reversing my role. When I was presented with this opportunity, I was scared, overwhelmed, excited, and thrilled all at once. There were times when I wasn’t sure how it would all come together, but the magic of theatre and the magic of hard work is a real thing. I have always appreciated the work that a director puts into a show but I’ve never understood it until now. I am very lucky to have a wonderful group of students who want to bring this show to life as much as I do!
Throughout the entire process they have been collaborating with one another and with me to turn our music rehearsals into visions of what the show will be. Our rehearsal space up until now has been a small music room with our twenty-nine person cast crammed into it. As you can imagine, envisioning what it would look like on stage was a challenge. Now we have moved onto the stage and we have fallen in love with the space and even more in love with the show.
Up until a few months ago, I had never even heard of Xanadu JR. When I found out what it was about, I just laughed. We all did. I think that is what made this process even more fun. We knew since it was an unfamiliar show, the expectations would be tempered. So, we played around with it! We created our own vision for our Xanadu JR. Sometimes when you don’t have a preconceived notion of what to expect, you can create your own version of the story.
Another collaboration we have loved is with the art teacher, Anne Fitzgerald. We took our vision to her and she and the art students are bringing that to life. She has been such a joy to work with and has made my first directing experience so fun! The in-school collaboration makes this process feel like a family effort.
Speaking of family, I have been fortunate enough to have a mother, Kitty Messplay, who took my vision for costumes and made it a dream come true. After I had searched high and low for costumes without any luck she whimsically came in and took on the task with determination and grace.
We are very excited to share our show with everyone. Our story is fun and we can’t wait to tell it. There has been, and continues to be, a lot of hard work that goes into Xanadu JR. Over the weekend we will be building our set and making our last finishing touches on the costumes. Be sure to come see our crazy mesh of Greek mythology and 80’s zaniness. Tickets are only $10 each! We cannot wait to share our show with you!