I want to welcome you to The Musical Comedy Murders Of 1940, the first Mainstage offering of our 62nd Season at Waukesha Civic Theatre! As President of the Board of Directors, I am delighted that you have chosen to spend a few hours with us to enjoy quality live entertainment.
Waukesha Civic Theatre offers a wide variety of performances and educational opportunities that enrich our community’s culture year round, from our Mainstage series, Random Acts of Entertainment, Education and Outreach series, and our PIX Flix movie series to our community partnerships such as ACAP PlayMakers, the Waukesha STEM Academy, the Waukesha Art Crawls, and our downtown restaurant partners.
With so many programs and activities geared for all ages… you are sure to find something to fit your particular interest. Conquer your fears and audition for one of our productions, satisfy your artistic abilities and help build a set, sew costumes or be part of a stage crew! Showcase your vocal ability with the Civic Broadway Singers or the Civic Senior Players.
Sponsor a table or help behind the scenes with our Gala fundraiser The Shamrock Shindig on March 16, 2019!!
The realm of possibilities for involvement abounds and we invite you to take action and get involved! Pick up one of our 2018-2019 Season Calendars at intermission and I encourage you to speak to any Board member about how you can get involved in our community.
Become an ambassador for Waukesha Civic Theatre and help us to spread the word throughout our community about the excellent entertainment and educational opportunities that the theatre provides.
Now sit back, relax, and enjoy the show.
In many ways, I am The Man In The Chair. As a child and young girl, I spent hours in our living room, ears glued to the speakers, listening to my mom and dad’s LPs, imaging the likes of Julie Andrews, Ethel Merman, and Mary Martin as they gallivanted across the streets of London in My Fair Lady, rode the vaudeville circuit in Gypsy, and sang and danced on sugar sands in South Pacific! I could see them so clearly in my mind’s eye that it was as if they were right there with me in the room, performing just for me, thrilling me and making me laugh and cry, dance and sing! How can you NOT love a classic musical?!?!?
Welcome to The Drowsy Chaperone, where we all get to be The Man In The Chair! As a WCT board director and performer, I am constantly amazed and thrilled by the variety of theatre options the WCT brings to our community every season. From cutting edge drama like 33 Variations to the innumerable learning opportunities through ACAP, STEM Academy, and A.C.T. to family friendly classic movies with PIX Flix and more, WCT is truly a gem. But I confess, deep down in my heart, my absolute favorites are the WCT musicals. No one does them better than WCT!
Our historic 60th season ends next month with Neil Simon’s Barefoot In The Park, as we look forward to our 61st season and your continued support. Without the generous support of our guests, we could not continue to provide these great services to the Waukesha community. Please consider a donation today to support our mission to provide quality live theatre performances and educational opportunities that will enrich, challenge, and entertain both participants and audience members for years to come.
Enjoy the Show!
Jane G. Klett
Board of Directors
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.
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
There was a time in my life as an actor, when I would put off the hardest thing about a role. Perhaps it would be a difficult emotional moment, or a new dialect, or any number of things that would make me uncomfortable. I would hope that through the process of rehearsal, these moments would take care of themselves. Of course, they seldom did, and come opening night I would dread those moments.
I got involved in a 24 hour theatre project when I was living in Los Angeles and it changed my perspective on tackling a role. Here there was no time to prepare. Too many lines? Too bad, you’ve only got 12 hours. You’ve never done a Spanish accent before? Sorry, you go up in 6 hours. Having a hard time crying for this scene? Better figure it out because you are going on next.
There is a moment just before you enter the stage where you are absolutely terrified. This could very well not work. But you push yourself over that threshold, somehow it does work, and you leave the stage feeling like you can do anything for the next month. From that moment forward I haven’t looked back on my old way of thinking. I now find the most difficult part of a role and I tackle it first.
I’ve been producing Combat Theatre for almost 20 years now, Combat Boot Camp for 12, and I’ve seen so many other actors, both professional and student, face that same fear and challenge over and over again. And I’ve seen the way they feel after they triumph, and how it changes them. I can’t think of a better or more entertaining acting exercise.