Download viewable PDF - Milwaukee Repertory Theater

In this issue . . .
From the Artistic Director
The Holiday Season Approaches – Page 2
Joe Hanreddy talks about
A CHRISTMAS CAROL – Page 3
HOLMES AND WATSON:
A MUSICAL MYSTERY
Two People Locked in
a Room – Page 5
Prologue
The Rep’s Online News Magazine November/December 2009
THE LADY WITH ALL THE ANSWERS
An evening with America’s
favorite advice columnist – page 6
A Fan Letter to Laura Gordon – Page 8
The Department of Dead Things – Page 10
Tiny Tim Turnovers – Page 14
Michael Santo and Richard Farrell. Photo by Jay Westhauser.

From the Artistic Director
THE HOLIDAY SEASON APPROACHES
It’s that time of year when the trees are almost bare, the holiday season is approaching and
we’re in rehearsals for three plays designed to take the chill off the advancing Wisconsin winter.
In the Quadracci Powerhouse Theater, veteran Milwaukee Rep director J.R. Sullivan will direct
virtuoso Rep Resident Acting Company Member Laura Gordon as THE LADY WITH ALL THE
ANSWERS. For almost half of the 20 th century, readers from around the world sought the
advice of Midwest native Esther Pauline Lederer, who, under the name of Ann Landers, wrote
a syndicated advice column for the Chicago Sun-Times. Topics ranged from the deliciously
trivial (the appropriateness of vacuuming in the nude to the proper way to hang a toilet roll),
to heartfelt pleas for help with depression, divorce and grief, to the cultural lightning rods of
abortion and homosexual unions. David Rambo’s beautifully crafted and respectfully-written
Joseph Hanreddy
play imagines Mrs. Lederer finishing the column that begins: “The sad, incredible fact is that
after 36 years of marriage, Julius and I are being divorced.” As she struggles to embrace the one life event that has no
easy answers, ‘Eppie’ re-lives with her readers her funniest and most controversial columns. Laura and J.R. are sure
to make THE LADY WITH ALL THE ANSWERS a fully emotionally-engaging and entertaining evening.
Over in the glorious Pabst Theater, I’m delighted to return to direct our annual production of A CHRISTMAS CAROL
after entrusting the production to Judy Berdan’s capable hands for the last few years. During my time as The Rep’s
Artistic Director, working on A CHRISTMAS CAROL has always been a wonderfully joyful, celebratory experience and
including it as one of my artistic projects during my last season at
the helm was a top priority. Just as the Pabst is one of Milwaukee’s
great treasures, actor Jim Pickering is one of The Rep’s great assets,
and he will be returning as Ebenezer Scrooge. In past CAROLs,
Lee Ernst and Jon Daly have also given us memorable, yet quite
different, Scrooges and one of my great joys at The Rep has been
to lead an acting ensemble where this demanding role can be so
well served by so many members of the same company. As in all of
Charles Dickens’ works, A CHRISTMAS CAROL is filled with an array
of richly-drawn characters and this year’s production boasts one
of the strongest casts we’ve ever assembled, including Lee Ernst
making his debut as Jacob Marley. Another notable CAROL debut
this year will be Grant Goodman, last season’s Mr. Darcy in our
production of PRIDE AND PREJUDICE, in the key role of Ebenezer
Scrooge’s nephew, Fred.
And in the Stackner Cabaret, we will be premiering HOLMES AND
WATSON: A MUSICAL MYSTERY, a brand new work from Jahnna
Beecham and Malcolm Hilgartner, the writing/composing/directing
team that gave us such great Stackner shows as DOGPARK: THE
MUSICAL, THEY CAME FROM WAY OUT THERE and CHAPS!. In
their newest creation, Holmes and Watson are trapped by their arch
nemesis, Moriarty, and must deal with blackmail, murder, mayhem
and a secret that has been buried for 20 years. Jahnna and Malcolm
have devised a devilishly clever story that takes the legendary duo
on a journey from Baker Street to Victorian music halls and back
again as they play a desperate game to solve the mystery in time to
save their lives. Come see how it all turns out.
All the best for a lovely holiday season and a prosperous and healthy
new year.
Joseph Hanreddy, Artistic Director
Get two for $50 or four for $100 *
Holiday
Each pass is good for one ticket to any Rep show, anytime,
any theater. It’s simple, easy and affordable. It’s the
perfect gift for the theater lover in your life! Plus,
for each $100 purchased you will receive a free value
gift pass good for one free Rep ticket.
Call 414-224-9490 or
visit milwaukeerep.com
*Side orchestra or balcony seats. $45.00 prime seats available.
All passes are good for the 2009/10 season.
2

So what is it about A CHRISTMAS CAROL? Why do people find the story so compelling? Why do you?
It’s the story that best captures the truest and purest spirit of Christmas. Ebenezer Scrooge’s long night with the
Ghosts of the Past, Present and Future is a living example of how the practice of charity and compassion can
lead to humane working conditions, opportunity and a decent life for all. A CHRISTMAS CAROL is also one of the
most hopeful of stories. Ebenezer’s great epiphany is understanding that the man he was in his younger years is
not the man he must be forever, and that living a life that takes into account the well being of others is essential
to living fully and joyfully. This is the elemental and universal lesson of life, the cornerstone of all religions and
the perfect complement to the celebration of Christ’s birth.
There is also a special appeal to experiencing a performance of A CHRISTMAS CAROL with loved ones in that the
story focuses strongly on the family unit as a wellspring of love and support – a theme we’ve tried to foreground
in our stage adaptation.
What company members are in the cast this year? Is anyone joining the cast for the first time?
Jim Pickering is returning to play Ebenezer Scrooge, Torrey Hanson will play Bob Crachit and Gerry Neugent
will play Young Scrooge. Lee Ernst, who was a fine Scrooge in a long list of fine Scrooges at The Rep, will play
Jacob Marley this year. Jonathan Smoots and Jenny Wanasek will come back to play Mr. and Mrs. Fezziwig. Grant
Goodman, who was so outstanding as Mr. Darcy in last year’s production of PRIDE AND PREJUDICE, will play
Scrooge’s nephew, Fred – the role that I think embodies the purest spirit of CHRISTMAS. The wonderful Elizabeth
Ledo returns to play Fan. Nell Geisslinger, a lovely young actress from the Oregon Shakespeare Festival, is joining
us to play Belle. Timothy Douglas, who has directed past Rep productions of GEM OF THE OCEAN, THE NIGHT
IS A CHILD and TROUBLE IN MIND, is also a very talented actor and will play the Ghost of Christmas Past.
Actors who have been featured at The Rep, but will be performing in A CHRISTMAS CAROL for the first time, are
Wayne Carr, Drew Brhel and Carey Cannon. I’m really looking forward to working with the exceptional cast we’ve
assembled this year.
MillerCoors presents Milwaukee Repertory Theater’s production of
A CHRISTMAS CAROL
by Charles Dickens, adapted by Joseph Hanreddy and Edward Morgan
PERFORMANCE INFORMATION
November 27 – December 27, 2009
Tickets: $25.00 – $65.00*
(*$15 off children 18 and under.)
A CHRISTMAS CAROL • November 27 – December 27, 2009 Pabst Theater
ARTISTIC DIRECTOR JOE HANREDDY TALKS
ABOUT A CHRISTMAS CAROL
CAST LIST
Drew Brhel, Carey Cannon, Wayne T. Carr, Timothy Douglas,
Lee E. Ernst♦, Nell Geisslinger, Grant Goodman, Torrey Hanson♦
Elizabeth Ledo, Gerard Neugent♦, James Pickering♦,
Jonathan Smoots, Jenny Wanasek
ENSEMBLE
Thaddeus Bruno, Jesse Dornan, Jeffrey Frieders, Rob Glidden,
Xzavien Hollins, Georgina McKee, Adam C. Meredith, Mariel Neto,
Annie Rubino, Dylan Saunders, Olivia Williamson, Joetta Wright
♦Member of The Rep’s 2009/10 Rep Resident Acting Company.
Generously sponsored by
3
Jonathan Smoots, James Pickering and Jenny Wanasek in
Milwaukee Repertory Theater’s 2008/09 production of A
CHRISTMAS CAROL. Photo by Jay Westhauser.

A CHRISTMAS CAROL • November 27 – December 27, 2009 Pabst Theater
SHARE THE HOLIDAY SPIRIT WITH THE CAST OF A CHRISTMAS CAROL
Following all A CHRISTMAS CAROL performances, costumed actors will be in the Pabst Theater lobby collecting
donations for the Next Door Foundation. Founded in 1969, Next Door plays a vital community role by serving
more than 2,150 Milwaukee central city children, youth and parents each year. Their early intervention efforts
especially benefit children who may be at risk for later school failure. Even the youngest children benefit
from early education programs that promote confidence, an eagerness to learn, self-discipline, curiosity
and communication skills. Next Door also promotes positive outcomes for children 6 to 16 years of age by
strengthening academics, emphasizing relationships to family, building peer support and encouraging service
to the community. Their vision is that the families they serve become self-sufficient and contributing members
of our community. All funds gathered at A CHRISTMAS CAROL will help make the holidays brighter for those in
need. Please remember to give generously!
Holiday Gift Passes are good for one ticket to any Rep show,
anytime, any theater. It’s simple, easy and affordable. It’s the perfect
gift for the theater lover in your life! Plus, for each $100 purchased
you will receive a free value gift pass good for one free Rep ticket.
LOOKING FOR THE PERFECT STOCKING STUFFER?
Rep Gift Passes make perfect stocking stuffers for all the theater
lovers in your life - even for yourself! Each pass is good for one ticket
for any 2009/10 Rep show, any theater, anytime. Value gift passes
are $25 each (Side Orchestra and Balcony seats). Prime gift passes
are $45 each. Plus, for each $100 in Gift Passes purchased you will
receive a free Value Gift Pass for the 2009/10 season. Purchase Rep
Gift Passes at milwaukeerep.com or call 414-224-9490.
Gift certificates are also available.
MILWAUKEE HOLIDAY LIGHTS FESTIVAL
Whisk the kids to a magical wonderland as three downtown parks are lit with thousands of twinkling lights and
dozens *Side orchestra of or animated balcony seats. $45.00 sculptures. prime seats Combine this with hundreds of holiday happenings, plus a convenient Jingle Bus
available. All passes are good for the 2009/10 season.
tour, and you have the Milwaukee Holiday Lights Festival (November 19 – January 3), a six-week celebration of
downtown’s vitality. Led by Milwaukee Downtown, BID #21, the Milwaukee Holiday Lights Festival is the city’s
largest display of holiday cheer. You will be amazed by the transformation of three downtown parks making it
a must-see family attraction! Cathedral Square Park will be adorned with handmade ornaments from 50 metro
Milwaukee schools, Pere Marquette Park will feature “Santa’s Little Helpers” and Zeidler Union Square will
present “Holiday High Seas.”
Call 414-224-9490 or visit milwaukeerep.com
The Jingle Bus returns this year and provides convenient transportation to view the Holiday Lights Festival
for only $1, leaving from the Warming House location at Plankinton Arcade in The Shops of Grand Avenue,
161 W. Wisconsin Avenue between 6 – 9 pm on Thursdays through Sundays, November 20 – January 3. Hot
cocoa, coffee and cookies will be served to awaiting Jingle Bus riders. Coloring books and crayons will also be
distributed to the little ones. Call Milwaukee Downtown for more information at 414-220-4700 to receive a free
holiday guide or visit their website at: MilwaukeeHolidayLights.com.
4

HOLMES AND WATSON: A MUSICAL MYSTERY • November 13, 2009 – January 3, 2010 Stackner Cabaret
Two people in a locked room.
That’s the premise for our new show, HOLMES AND WATSON:
A MUSICAL MYSTERY. It’s also an accurate description of our
lives for the past eight months. Ever since Sandy Ernst and Joe
Hanreddy called in January to say, “Write that show!” Malcolm
and I have been locked in our house reading every word Conan
Doyle ever wrote concerning Sherlock Holmes, as well as The
Annotated Holmes, The New Adventures of Sherlock Holmes and
even The Beekeeper’s Daughter, thoughtfully sent to us by a fan of
last year’s show, DOGPARK: The Musical.
Our evenings have been spent watching every Sherlock Holmes
movie in the canon, including the classic Basil Rathbone versions
and the newer, but no less classic, Jeremy Brett episodes, as
well as goofy send-ups like Gene Wilder’s Sherlock Holmes’
Smarter Brother and John Cleese’s The Strange Case of the End
of Civilization As We Know It.
Richard Farrell and Michael Santo. Photo by Jay Westhauser.
The result of all of this watching and reading is that now we find
ourselves speaking to each other in phony British accents and
saying things like, “Think! Think! We need a mystery plot, plus
music and lyrics by October 20th (the day of first rehearsal at The
Rep), or heads will roll.” We have paced the floor, clutching first
cups of coffee, then steins of beer and finally jugs of vodka waiting
for that “Aha!” moment – which FINALLY came.
Of course it always comes in funny ways. Along with writing musicals, Malcolm and I also write books, including
articles for the Uncle John’s Bathroom Reader series. (You can find our names in the contributor list at the front of
each book underneath our editor’s dog’s name.) This summer we happened to be writing a piece on the consequences
of too much inbreeding in the royal families of Europe (we titled it, “A Royal Mess”), when we hit upon the key to our
mystery. We won’t give it away but here’s a hint: it involves Queen Victoria, Prince Albert-in-the-Can and the QV2.
As I write this, Malcolm is recording the music for the show, lively songs inspired by old English music hall and
19th century parlor songs. I am wearing a derby and clutching a cane about to rehearse with Suzanne Seiber, our
choreographer and good friend, on the “An Eye for the Ladies” number. And speaking of good friends, we are so lucky
to be working with Michael Santo and Richard Farrell, wonderful actors and old
pals who have already breathed life into the characters in a weekend of round the
clock work on the script. We look forward to returning to our artistic home, and
to Sandy and Joe – our guardian angels – first, second and third round’s on us.
Cheers!
Jahnna Beecham and Malcolm Hillgartner, Co-creators
HOLMES AND WATSON: A MUSICAL MYSTERY
By Jahnna Beecham and Malcolm Hillgartner
PERFORMANCE INFORMATION
Preview: November 13, 2009
November 14, 2009 – January 3, 2010
Tickets: $30.00 – $45.00
5
CAST LIST
Richard Farrell and Michael Santo
Costume illustrations by Rep Costume
Director and Designer Holly Payne.

THE LADY WITH ALL THE ANSWERS • November 24 – December 20, 2009 Quadracci Powerhouse Theater
An evening with America’s
favorite advice columnist
Come join us in the Quadracci Powerhouse Theater for an
intimate night with America’s favorite advice columnist, Eppie
Lederer. You may know her better as Ann Landers, or even
THE LADY WITH ALL THE ANSWERS. In this hilarious and
touching one-woman show, Rep Resident Company Member
Laura Gordon gives a tour-de-force performance as “America’s
mother.” If you enjoyed Laura in DOUBT and MARY STUART,
just wait until you see her tackle this sharp, funny, yet
deeply human role, created lovingly by David Rambo with the
cooperation of Margo Howard, Eppie’s daughter. THE LADY
WITH ALL THE ANSWERS was first performed in 2005 at The
Old Globe in San Diego and we’re thrilled to be hosting the
Milwaukee-area premiere.
Rep Resident Acting Company Member Laura Gordon.
Eppie Lederer, under the name of “Ann Landers,” wrote her
syndicated advice column for over 45 years, reaching millions
of readers. The combination of her sense of humor, no-nonsense
tone and profound compassion quickly made her an American
institution. She began her career without any experience in
journalism, but with an energetic sense of empathy and a strong
desire to effect positive change. She was well known for her
volunteer efforts and her political activism. A well-connected
woman, she used these resources to enrich her column and the
quality of her advice. The job did not always come so easily,
however. In an interview for Time, she recalls the challenges
of the early years:
“You don’t have to have lived through an immense amount of agony and pain in order to relate to people who
are suffering. I really care about what happens to people, and when I first began to read those letters, it was an
eye-opener. I came from a very solid Midwestern Jewish home. You see, I led a very sheltered life. I had never
seen a man hit his wife. I had never seen any drunkenness. I had never seen any poverty. . . . The mail grew me
up in a hurry.”
In Rambo’s play, we see a grown up Lederer, at the pinnacle of her wit and wisdom. On a summer night in 1975,
20 years into her post as Ann Landers, Eppie is as effervescent as ever, quipping away, even as she struggles
to write the most difficult column of her career. Humbled by the task at hand, Eppie is determined to share a
difficult life change with her readers, but doesn’t quite know where to begin.
So what happens when the lady with all the answers draws a blank? She pulls an all-nighter, complete with a
bubble bath, frequent spritzes of Chanel No. 5 and a chocolate . . . or three. Putting off her difficult charge,
she reminisces with the audience. Between humorous anecdotes, somber memories and impromptu polls of the
audience, we are reminded all over again of the enormous impact she has had on American culture. From the
most serious of social issues to the question of cleaning in the nude, she had her finger on the pulse of the
country and the pulse of the audience. When at last she bites the bullet, sits at her typewriter and shares her
news, it is with elegance and respect, for herself, her family and her readers. After all, she writes, “you, my
readers, are also my friends.”
Milwaukee Rep is proud to present a play that is as funny as it is heartfelt, featuring one of our most beloved
actors. Whether you were a frequent reader or not, Gordon’s performance as the lady with all the answers
(continued on next page)
6

THE LADY WITH ALL THE ANSWERS • November 24 – December 20, 2009 Quadracci Powerhouse Theater
(THE LADY . . . continued)
is bound to leave you feeling like a loyal follower of Landers’ column. She once said, “I would rather have my
column on a thousand refrigerator doors than win a Pulitzer.” Let’s just say that after our production, you might
feel tempted to stick your program up on your refrigerator with a couple of your favorite magnets.
Zoë Cohen, Literary Intern
THE LADY WITH ALL THE ANSWERS
By David Rambo
PERFORMANCE INFORMATION
Previews: November 24 & 25
November 27 – December 20, 2009
Tickets: $10.00 – $60.00
CAST LIST
Laura Gordon♦
♦Member of The Rep’s 2009/10 Resident Acting Company.
THE REP IN DEPTH
Join us for The Rep In Depth, our lively informative half-hour
talk which starts 45 minutes before every performance in the
Quadracci Powerhouse Theater. This Rep In Depth will be led by
Laura Webb.
Made possible in part by the generous support of:
Laura Gordon in The Rep’s 2008/09 Quadracci Powerhouse Theater
production of STATE OF THE UNION. Photo by Jay Westhauser.
QUADRACCI POWERHOUSE
THEATER
The Lady with all the Answers
by David Rambo
November 24 – December 20, 2009
Yankee Tavern
by Steven Dietz
January 5 – 31, 2010
The Seafarer
by Conor McPherson
February 9 – March 7, 2010
Seven Keys to Baldpate
adapted by Joseph Hanreddy,
based on the play by George M. Cohan
March 23 – April 18, 2010
STIEMKE THEATER
Almost, Maine
by John Cariani
January 13 – February 7, 2010
Radio Golf
by August Wilson
March 3 – 28, 2010
Subscribe today at milwaukeerep.com or call 414-224-9490.
STACKNER CABARET
Holmes and Watson: A Musical Mystery
by Jahnna Beecham and Malcolm Hillgartner
November 13, 2009 – January 3, 2010
Pearl Bailey . . . By Request
Story Concept by Roz White, Book by Roz White
and Thomas W. Jones II
January 8 – February 28, 2010
Route 66
by Roger Bean
March 5 – April 25, 2010
7

Laura Gordon • Resident Acting Company Profile
A FAN LETTER TO LAURA GORDON
Dear Ms. Gordon,
20, October, 2009
I’m a longtime fan. I get to see what you do a bit more closely than other fans because I work with you in the same
company of artists. This in no way decreases the pitch of my fandom; rather it intensifies it. I get to see not only what
you do, but also the choices you make, the rigorous discipline of your work and the fertile imagination that you tap in
the process of creating roles and directing plays.
I am going to reminisce a bit. I start in media res – the res being your career
at Milwaukee Rep, the media a cold winter evening in the year ’03. You had
departed Milwaukee before dawn that day and flown to Cleveland with your
husband, Jonathan Smoots, on the saddest of journeys, promising to return in
time for the performance of the show COPENHAGEN we were doing together
with Torrey Hanson. That production remains one of my favorite experiences
in the theater for many reasons, foremost among them was the intensity of
our collaboration in rehearsal. All plays require an emotional closeness and
reliance of one actor upon another, but few to the degree the three of us,
under Joe Hanreddy’s guidance, were called upon to use in a situation in
which we were onstage all the time, dissecting our histories, ferreting out
possible betrayals and working toward the hope of reconciliation – all set in a trialogue whose vocabulary was the
jargon of nuclear physics. The understudy was ready to go on for you, just in case. As I recall, you were excused from
the performance as a matter of course. I don’t know quite how you gave that evening’s performance as fully, clearly
and brilliantly as you did each performance throughout the run of the play. That you did so is not remarkable, however,
to anyone who has worked with you. What shines so brightly in my memory is the joy I felt in my complete certainty
that you would.
I may say that I am as big a fan of your directing as I am of your acting. SKIN TIGHT by Gary Henderson, which you
directed for Renaissance Theaterworks, was the first of your productions I remember seeing. It made an indelible
impression on me in a number of ways. First was how effectively you made use of the wonderfully intimate, but
somewhat eccentric space at the Off-Broadway Theatre. Next were the simple theatrical solutions to the challenges of
telling the complete history of a very close relationship – the trappings domestic, the resonances epic. Then there was
an approach as unselfconscious as were the two actors – even when they had no clothes on.
As I recall, I attended your opening night, and was determined to sit where I could occasionally glance in your direction
to see you react to the performance. I couldn’t take my eyes off the play. It gave me great satisfaction to congratulate
them for their wonderful work that night – two actors with whom I had performed when they were much younger. And
promising. Well, a hefty measure of their promise was realized that evening, and I knew you had done much to help
it shine forth.
Cristina Panfilio and Mark Corkins in The Rep’s 2007/08
Stiemke Theater production of Edward Albee’s SEASCAPE,
directed by Laura Gordon. Photo by Jay Westhauser.
Laura Gordon and James Pickering in rehearsal for THE
CHERRY ORCHARD. Photo by Torrey Hanson.
I have had the good fortune to act to your direction in two plays at The Rep,
HALF LIFE by John Mighton and Edward Albee’s SEASCAPE, neither of
which is exactly a “starter” play for directors. Your imagination, deftness in
communication and sheer doggedness in pursuit of truth and clarity in both
productions have, as I have told you, make me want to be a charter member
of your rep company someday. I’m a fan of your pride in collaboration. It
is very difficult for you to take a compliment about a show you’ve directed.
You certainly never do so without distributing credit to all who’ve worked on
it. You never acknowledge your development as a director without crediting
all the directors you’ve learned from. And you are not being rhetorical. It is
not false modesty. It’s just . . . your “way.” And it’s what contributes to your
being an exemplary resident company artist.
(continued on next page)
8

(A FAN LETTER . . . continued)
Laura Gordon in The Rep’s 2003/04 Quadracci
Powerhouse Theater production of MARY STUART. Photo
by Jay Westhauser.
role (Nell in ENDGAME), or feckless (Mrs. Lind in A DOLL’S HOUSE), or
wicked (Maureen in THE BEAUTY QUEEN OF LEENANE), or gorgeous and
wicked (Queen Elizabeth in MARY STUART), or, for that matter, sightless
(the title role in MOLLY SWEENEY), and even genderless (“Andy” the sailor
in MOBY DICK). You understand the importance of bringing all of yourself
to a role, and yet burying yourself in it. It is what makes acting ensembles
such as ours more than the sum of their parts – the pursuit of excellence
without regard for the trappings of personal success.
I have been a fan of your acting since the first play we acted in together,
seventeen (my God!) seasons ago. DANCING AT LUGHNASA, the first play
Joe directed as Artistic Director of The Rep. You played my mother. Well,
you had to be there, so to speak. In the course of the action, the five Mundy
sisters, of whom you were the one never allowed to cook (ironic, considering
your own expertise in the catering field, not to mention numerous wonderful
holiday dinners you’ve hosted), erupt into a pagan dance. You were the one
dancing on the table, whirling
a cloth of some kind and your
“whinbush” head of hair. You
were gorgeous in that part, which
is no surprise, but what I’m
such a fan of is your willingness
to be gorgeously hideous in a
That you are embarking on a play entitled THE LADY WITH ALL THE ANSWERS, your first solo piece at The Rep, is
delightfully ironic. One of my nicknames for you is “The Valedictorian.” (“Little Miss Perfect” is another.) It figures.
You are always first in the cast to know your lines. Your attendance record at our company’s weekly Artistic Staff
Meetings is by far the best. You do all the assigned reading. When we are working on a new play you are the first to
transcribe textual revisions in your script (Gerry Neugent: “Now wait . . . where does new page 78b go?” Torrey Hanson:
“Go check Laura’s. That’s what I do.”). This valedictory thing began when you were a student at Clarion University of
Pennsylvania. I get a charge out of knowing that you were a National Champion of Forensics in prose interpretation
and in the Oral Interpretation Pentathlon. And, especially, out of knowing what satisfaction you took in thumping
our mutual friend and former colleague, Andrew May, in the finals! I wonder whether, after such triumphs, you ever
departed your default demeanor of calm collection to indulge in the sort of impromptu dance you used to spring into
while watching a Cleveland Browns defender intercept John Elway. I have not attended any of the classes you have
taught at Carthage College, nor the workshops you have conducted for The Rep’s acting interns over the years, but I
can imagine how your students describe their experience in your classroom. Probably . . . like, awesome.
Every actor in this company has a fire burning within. It’s a prerequisite.
The color of each fire’s flame is different – as different as the hue of light
reflected by each planet in the night sky. To my way of seeing, you must be
in your element just at this late autumn, for yours burns the bright yellow of
sugar maple leaves, just as they are about to turn red. Your cool demeanor
– a most useful, steadying presence in a group of artists whose passion for
the work can lead to occasional disarray and disruption – may mislead. Your
friends and colleagues are grateful for the warmth within and without.
Lastly, I’m a big fan of those you keep company with at home. My old friend
and frequent cast mate, Jonathan, and, of course our favorite four-legged
visitor, Toby. Lucky dogs, both of them.
Laura Gordon • Resident Acting Company Profile
Laura Gordon and Jonathan Smoots in The Rep’s 1999/00
Stiemke Theater production of THE BEAUTY QUEEN OF
LEENANE. Photo by Jay Westhauser.
Cheers,
Jim Pickering, Resident Acting Company Member
Laura Gordon and dog Toby. Photo by Jonathan Smoots.
9

THE DEPARTMENT OF DEAD THINGS
From the Prop Shop
Rep Prop Director Jim Guy. Photo by John Nienhuis.
If you think about it (and I do – maybe too much), it takes a lot of dead
things to make live theater. I’m not referring to all the trees we dispatch for
our lumber, production notes, custom newspapers and magazines, or the
seemingly endless reams of paper that roll out of the Stage Management
office. I’m talking about the things we create in the Prop Shop to replicate
things and persons no longer living. Dead bodies, disembodied heads and
sacrificial barnyard animals – you get the idea. Almost every Prop Department
in every major regional theater employs an artisan who numbers among
their specialties the production of convincingly realistic dead stuff. We are
fortunate to have two such people: Our Ladies of Superior Craftsmanship,
Sarah and Anna.
Need proof? Well, I’m hoping you had the good fortune to enjoy our opening Quadracci Powerhouse Theater
production, THE GOVERNMENT INSPECTOR. Among the props featured in those two acts of exquisitely garish
décor and aggressive goofiness was a 12-foot square polar bear rug which spent the last scene of Act 1 and
almost all of Act 2 staring the audience down from center stage. It sort of became the “pet prop” during technical
rehearsals, with actors lounging on it and grooming it while they waited for the action to resume. As I’ve had to
explain to a number of curious patrons as well as several of our staffers, No Bears Were Harmed in the Making of
This Rug.
When the head form arrived, we realized two things. First off, though
pretty darned massive, the grizzly head was still much too small for the
scale of the body. And nobody likes a pinheaded polar bear. The second
revelation was that, strange as this may seem, taxidermy bear head forms
are not built to be jumped on. Go figure. The plan that we devised was to
cover the head form with layer after layer of sprayable insulation foam,
much like the stuff that you would buy to seal cracks around your doors
and windows. By spraying the foam on and then letting it dry between
layers, we created enough tiny air pockets so that when Sarah carved the
final layer into a polar bear head’s shape, it had just enough spongy give
to survive the rough treatment. Then Sarah upholstered the head with a
fake fur that she trimmed and toned to match the rest of the body and
there it was, a completely convincing giant polar bear rug with a hinged
jaw suitable for hiding huge wads of rubles. (You know – like at home.)
The body of the rug was fashioned from two enormous sheepskin rugs,
one of which was a piece of stock originally purchased for our 2005/06
production of SUEÑO. The other we purchased to complete our bear and
the Prop Gods smiled upon us in that – defying all odds – the hair colors
on the two rugs actually matched. One of the requirements discussed
with the director before rehearsals even began was that the head had
to be particularly durable (read: Actor Proof), as it was likely to be lain
on as well as stood upon. (We were unsurprised at this since our own
Gerry Neugent was playing the lead character. No horizontal surface goes
untraversed.) The intrepid Sarah headed straight for the catalog file (you
wouldn’t believe some of the things we have in there) and in one of
our taxidermy catalogs found
the foam form for a grizzly bear
head, as well as a set of teeth,
some eyes and a tongue, all in
lifelike plastic.
Above left: Gerard Neugent in The Rep’s 2009/10 Quadracci
Powerhouse Theater production of THE GOVERNMENT
INSPECTOR; Peter Silbert and Gerard Neugent in THE
GOVERNMENT INSPECTOR. Photos by Jay Westhauser.
(continued on next page)
10

From the Prop Shop
(DEAD THINGS . . . continued)
The other non-living prop entity in THE GOVERNMENT INSPECTOR was the pair of fake hands that got slammed in
a trap door which was then stood on, all accompanied by Torrey Hanson’s agonized screams. (Move over, Shemp.)
This shameless business was invented during the first week of rehearsal. The bit was that Mr. Hanson was to start
down a flight of stairs, pop back up to confirm instructions and at the conclusion of the exchange, Mr. Neugent was
to slam the trap door just as Torrey’s head dipped clear
but before his hands managed to escape. The audience
was treated to the sight of a set of fingers trapped by the
door that Mr. Neugent then walked across. Casting and
Molding Ace Anna sprung into action, making detailed
plaster casts of our carpenter Erik’s hands, which were
chosen because they are roughly the size of catchers’
mitts. No chance the folks in the back of the house were
going to miss this bit. Anna then made silicone negative
molds of the hands and filled them with a liquid rubberlike
substance in a flesh tone. While that was still in a
liquid state, a pair of rods was introduced to serve as
handles that would keep Torrey’s real hands well out of
Rep Props Artisan Sara Heck irons in the Prop Shop. Photo by John Nienhuis.
danger. When they came out of the molds, the hands were
so detailed that you could actually see the fingerprints. With the help of our friends in the Costume Department,
Anna attached a pair of sleeves that matched the costume and masked Torrey’s hands on the rods from the prying
eyes of the folks in the balcony. Paint was added so the hands matched the be-smudged makeup on the actor. As
an added bonus, when the heavy trap door fell on the hands, the resilient material of the fingers arched briefly
upward, as if in a spasm of pain.
Over the years we’ve been called on to build a lot of dead stuff. RICHARD III had a dead body that had to contain
a radio-controlled pump so it could bleed – and stop bleeding – on cue. Rubber trout with magnets in their
mouths were caught by fishermen with steel hooks on their fishing rods in SOUNDING THE RIVER: HUCK FINN
REVISITED. King Lear’s knights stopped by with a freshly killed wild boar as their dish to pass. A sacrificial rooster
in THE NIGHT IS A CHILD and a rat that became Renfield’s afternoon snack in DRACULA both had to bleed
when executed. (Yum.) Our beloved A CHRISTMAS CAROL features a deceased turkey as big as a little boy and a
wrapped body that is dumped from a cart headlong into an eight foot deep pit. It took forever to get that head to
sound right when it hit the timbers.
11
James Pickering in The Rep’s 2008/09 production of
A CHRISTMAS CAROL. Photo by Jay Westhauser.
Perhaps the two most widely traveled members of the MRT Props Post
Mortem Cavalcade are Mr. Humphrey Hoskins and Sylvia. Mr. Hoskins is
widely known as the Hardest Working Dead Guy in Show Business. He was
originally constructed for our production of ARSENIC AND OLD LACE,
directed by our own Jim Pickering. We knew when we started working
on the show that one of the major prop challenges was to construct two
realistic dead bodies which would be hauled from place to place on stage,
and that one of them was to be wrestled with. Now, I don’t know about
you, but I’m good and tired of stage corpses that are so stiff that they look
like we robbed the window at J.C. Penney or so limp that they act like rag
dolls. So we set out to make a couple of fully articulated and realistic dead
guys. The key, I figured, was in the natural movement of the limbs. So
instead of the usual hinges or bolts used at the joints, I asked Erik to weld
up joints that incorporated the universal joints from a socket wrench set
so that the corpses had ball joints at the shoulders, hips and everywhere
else that you and I have ball joints. We built a skeleton, fit it with its
joints and padded it out with urethane foam and polyester batting to the
physical proportions of a real person. The hands were cast rubber (thanks
(continued on next page)

From the Prop Shop
(DEAD THINGS . . . continued)
Rep Props Crafts Artisan Anna Warren. Photo by John Nienhuis.
again, Erik), the face was cast from a life mask of one of that
season’s acting interns, and our pals in the Hair and Makeup
Department provided a wig. Costumes gave him a nice white
shirt, a lovely hand-painted tie that looked like a Father’s Day
gift gone bad and a natty pin-striped suit and wingtip shoes. In
all honesty, I have to say that Mr. Hoskins dresses better than
me. When picked up and moved about, Mr. Hoskins looks and
moves like a dear departed uncle. As a matter of fact, when my
wife and I went to see the show, we sat next to a woman who,
following the scene in which Lee Ernst wrestled the corpse
into submission (or was it the other way around?), insisted to
her friend “Oh, that was a real actor.” Mission accomplished.
As it turned out, Mr. Hoskins gets more work than some real actors. We started a resume of the places he’s worked
on his chest, and have had to continue it on his back. Among the places he’s plied his craft have been The
Goodman in Chicago, Utah Shakespearean Festival and Houston’s Alley Theatre. Mr. Hoskins has been hanged,
thrown out a window and tossed down a flight of stairs and he’s still convincingly dead. He’s traveled so much
that Erik built him his own casket-shaped shipping crate. Last month he had a gig at Discovery World playing
– guess what? – a dead body.
Sylvia is the deceased goat that we created for our production of Edward
Albee’s THE GOAT OR, WHO IS SYLVIA? She is revealed at the end of
the play, decapitated by a jealous rival, her head presented as a grisly
trophy. Sylvia is one creepily realistic prop. Once again we employed
a foam taxidermy form for the base material of the head, as well as
taxidermy tongue and eyes. The skeleton of the body was fashioned
from wood, steel rod and a heavy wire mesh. One of the team of artisans
who worked on Sylvia had never actually seen a real goat up close (city
kids . . .), so she took a field trip to a goat farm where she photographed
a few likely models and matched up fake hair samples to their actual
coats. Goat hair is pretty coarse, but as it happened the match for
color and hair length we found was an off-white alpaca that was an
almost perfect match for real goat hair. Hooves and nose were sculpted
from plastic and the alpaca was tailored and hand-stitched onto the
skeleton. The result was disturbingly realistic. And Sylvia’s reputation
as an effective and well-crafted prop has spread throughout the national
prop network over the years. This year alone she has appeared in five
productions of her namesake play. If she was a union goat, we’re pretty
sure that would make her eligible for Equity health benefits.
I asked Anna and Sarah why they thought that projects like these are favorites among Props Artisans. After some
discussion, they decided that it is in large part because of the amount of naturalistic detail that is required
to convince a close-up audience that what they’re looking at is real. What we’re producing looks genuine, not
“theatrical.” This, I might add, is the kind of detail that artists and audience alike have come to expect from our
Prop Department. Our Ladies of Superior Craftsmanship also like that they get to experiment with and manipulate
new and different materials in order to achieve their effects, so there’s also the challenge of beating the learning
curve on a tight schedule. Ultimately, though, they agreed that “we just like to fool people.” Good job, ladies.
James Guy, Properties Director
To view behind-the-scenes photos of The Rep’s Prop Department, go to milwaukeerep.com.
Joseph Hanreddy in The Rep’s 2004/05 Stiemke
production of THE GOAT OR WHO IS SYLVIA? Photo by
Jay Westhauser.
12

MARK CLEMENTS NAMED REP’S NEXT
ARTISTIC DIRECTOR
On October 7, 2009, the Milwaukee Repertory Theater Board
of Trustees announced that it had chosen London native Mark
Clements as its next Artistic Director. Mark will succeed current
Artistic Director Joe Hanreddy, who has been with The Rep since
the 1993/94 season. Mark has started working part-time to plan
The Rep’s 2010/11 season, and will assume his new position full
time next year while Joe finishes the 2009/10 season.
Following the announcement to staff and Board, Mark was in
town for a week of media interviews and meetings with the
Board, donors, other arts leaders and artistic staff. If you missed
anything, you can go to milwaukeerep.com to catch up.
Mark’s whirlwind week in Milwaukee was topped off with a big
celebration at the Harley-Davidson Museum. Over 200 people
attended the event including Rep staff, Board, Milwaukee actors,
theater professionals, theater supporters and local media. Mark
addressed the gathered attendees and shared his excitement
about accepting his new leadership post at The Rep, and
expressed that he was honored to be following Joe Hanreddy as
Artistic Director.
Artistic Director Announcement
The Rep would like to thank everyone who attended the celebration
and gave Mark such a warm welcome to Milwaukee. A special
thanks also goes to Board of Trustees Member Patrick Smith,
Harley-Davidson and Stacey Watson, Harley-Davidson Museum
Director, as well as all of the wonderful Harley-Davidson Museum
staff for making it such a memorable event. We would also like
to thank Zeppos & Associates for their assistance in the Artistic
Director announcement.
Mark Clements. Photo by Robert Allen.
Cindy Moran, Public Relations Director
13
Guests at The Rep’s Announcement party at the Harley-Davidson Museum; Mark
Clements, Rep Board President John Kordsmeier, Rep Managing Director Dawn
Helsing Wolters, Rep Artistic Director Search Committee Member Judy Hansen
and Rep Board Member and Harley-Davidson Retail Director Patrick Smith.
Photos by Megan Gadient.

ANNIE JANSEN JURCZYK AND JIM PICKERING
CREATE DELICIOUS HOLIDAY APPETIZERS
The Rep News
On Sunday, October 11, Development Director Annie Jansen Jurczyk and
Resident Actor Jim Pickering (aka Ebenezer Scrooge), were Celebrity
Guest Chefs at the first annual Milwaukee Home and Fine Living Wine
& Dine Event. Over 7,500 people attended the two-day event held at
the Midwest Airlines Center in downtown Milwaukee.
Annie Jansen Jurczyk and Jim Pickering on the Culinary
Stage at the Wine & Dine Event.
Many who know Annie through her work at The Rep aren’t aware that
in her free time she is an accomplished cook. Her friends and family
have enjoyed her culinary creations and she’s even been auctioned off
as a guest chef for area fundraisers, including The Rep’s Annual Gala.
Although Jim is also multi-talented, he isn’t particularly known for his
cooking expertise. But being a first-class entertainer, and always willing
to try new things, he embraced his role as Celebrity Chef’s Assistant.
Annie and Jim demonstrated on the Culinary Stage how to prepare Tiny Tim Turnovers, a scrumptious appetizer
perfect for holiday entertaining. Looking like they could have their own cooking show on the Food Network, the
cooking team expertly demonstrated how to prepare the appetizers. A chop here, a fold there, a little of this and a
little of that. Annie shared many of her cooking tips and the audience was eager to learn more. As the demonstration
concluded, MATC culinary students walked around and distributed the freshly-baked Tiny Tim Turnovers. Based on
the positive audience response, we thought it would be a great idea to share Annie’s recipe here. Enjoy!
Cindy Moran, Public Relations Director
Tiny Tim Turnovers
These tasty treats are made using phyllo dough that is
found in the freezer section of your grocery store. One
box includes a twin pack of dough – each containing
20 sheets, measuring 14 by 18 inches. Thaw dough
slowly, in it’s box and wrapping bag, overnight.
Ingredients for the filling:
3 Apples (peeled, cored and cubed)
1 tsp. Cinnamon
¼ tsp. Nutmeg
1 T. Butter
1 Pomegranate (To remove seeds open the pomegranate in a
bowl filled with cold water and let the seeds sink to the bottom
of the bowl. The unusable white pith floats to the top. Skim the
pith off and strain the water to collect the seeds.)
♦In a small sauce pan melt the butter and add apple,
cinnamon and nutmeg. Stirring frequently, cook until
apples soften (about 5 minutes). Take off heat and cool.
Add pomegranate and mix until combined.
♦To assemble the turnovers, lay the phyllo sheets on a
clean work surface and cover with a damp cloth. Lay out
a single sheet of phyllo and spray it with a good quality
cooking spray – like Smart Balance. Place another sheet
of phyllo dough on top of the first sheet, and spray again.
Top with the third sheet of phyllo. Do not spray. Cut the
stack of phyllo sheets lengthwise into three strips using a
pizza cutter or knife. For each triangle, spoon a tablespoon
of the filling about 1 inch from one end of each strip. Fold
the end over the filling at a 45-degree angle. Continue
folding to form a triangle that encloses the filling, using
the entire strip. Repeat with remaining phyllo and apple
mix.
♦At this point you can freeze unbaked turnovers for a later
date. Layer with wax or parchment paper so that they
won’t stick together, or place on a cookie sheet and freeze
until firm, then place in a freezer bag.
♦Place turnovers (frozen or fresh), on a greased baking
sheet. Spray the tops of the triangles with cooking spray.
Bake in a 375° oven about 15 minutes or until golden.
Sprinkle with powdered sugar and let cool.
14

From the Development Department
YOU CAN MAKE A DIFFERENCE
We are entering a significant period in The Rep’s history. The 2009/10
season marks a time of great renewal starting with the arrival of our new
Managing Director, Dawn Helsing Wolters. She brings a passion for The
Rep, boundless energy, enthusiasm and a wealth of knowledge gleaned
from working at numerous leading regional theaters. This season also
marks the end of Artistic Director Joe Hanreddy’s 17-year tenure at
The Rep. Joe has consistently brought us high-quality productions of
classics and new works, has invited phenomenal directors and designers
from around the world to work on our stages and has assembled a topnotch
Resident Acting Company. He has invited us to dream, to think,
to reconsider.
Those qualities will also represent the next phase of The Rep. We will
continue to produce work at the quality you expect, but with the fresh
perspectives of Dawn and our Incoming Artistic Director Mark Clements,
encouraging us to reimagine what The Rep is and what it can be.
As the next chapter unfolds, one thing remains constant – our dependence
on you. The actors on stage require the concentrated attention from our
audience. This focused attention can often infuse the actors with a rush
of energy that can dramatically propel a performance. We also rely on
your finacial support. The Rep plays a crucial role within our community,
not only through our productions, but with the numerous programs that
bring the arts into classrooms and bring thousands of students to The
Rep each year. We are cultivating a new generation of arts supporters,
performers, directors and more.
We are thrilled to celebrate this momentous year with you by enjoying
Joe Hanreddy’s fantastic final season. Join us in dreaming of what future
seasons can bring.
Please consider making a donation to help us enter this new era with
strength and security. To make a donation to The Rep, visit our website
milwaukeerep.com and click on “Support The Rep.” If you would prefer
to make a gift in installments or explore the other ways to give, please
contact Anne Cauley at acauley@milwaukeerep.com or 414-290-5376.
Anne Cauley, Individual Giving Manager
Join us for the Director’s Dialogue Series
on Tuesday, November 24 at 6 pm with
the Director of THE LADY WITH ALL
THE ANSWERS, J.R. Sullivan.
Kathleen Romond and Gerard Neugent in THE GOVERNMENT
INSPECTOR; Melanie McCullough and C.E. Smith in
SOULTIME AT THE APOLLO; Elizabeth Norment in THE
YEAR OF MAGICAL THINKING. Photos by Jay Westhauser.
Enter an actual rehearsal space of The Rep and gain an insider’s
perspective into THE LADY WITH ALL THE ANSWERS. Hear about
the production from the director and ask him questions first hand!
Tickets are $25 and all proceeds go to support The Rep’s Artistic
Program. RSVP at 414-290-5347 or development@milwaukeerep.
15

TICKET OFFICE: 414-224-9490 • TICKET OFFICE FAX: 414-225-5490
ADMINISTRATIVE OFFICE: 414-224-1761 • ADMINISTRATIVE FAX: 414-224-9097
WEBSITE: milwaukeerep.com
TALKBACKS
Talkbacks (post-show discussions) will take place after the following evening performances:
THE LADY WITH ALL OF THE ANSWERS
Sunday, December 6 and 13
THE REP IN DEPTH
Join us for The Rep In Depth, a lively, informative half-hour talk which starts 45 minutes before every
performance in the Quadracci Powerhouse Theater and Stiemke Theater. It’s free and you can drop in any
time during the course of the talk. This popular series is sure to enhance your theatergoing experience with
background information about the play you are about to see. Come and join all the other audience members
who enjoy this free educational event!
JOIN THE FRIENDS OF THE REP
Join the Friends and join the fun! Members of the Friends of The Rep collectively donate thousands of hours of
volunteer time and effort to assure that The Rep has the resources to maintain its artistic standards and meet
its financial objectives. The Friends’ volunteer efforts provide extra “people” resources to help The Rep sustain
its leadership as one of the finest regional theaters in the country. Membership fees range from $15 – $40 for
one year. For more information, go to our website at: milwaukeerep.com/support/volunteer.htm.
SINGLE TICKET PRICES
Quadracci Powerhouse Theater: $10.00 – $60.00
Stiemke Theater: $25.00
Stackner Cabaret: $30.00 – $45.00
Pabst Theater: $25.00 – $65.00
(Note: Prices are subject to change.)
REP TICKET OFFICE HOURS
Monday – Friday: Noon – 6 pm
Saturday – Sunday: Noon – 6 pm
Window service is available until curtain time.
BASIC INFORMATION
General Information
DISCOUNTS FOR STUDENTS AND SENIOR CITIZENS
Receive $5 off any seat bought in advance or purchase half-price “rush tickets” 60 minutes prior to curtain.
Offer valid for QUADRACCI POWERHOUSE and STIEMKE THEATER performances only. Proper identification is required.
This offer cannot be used in conjunction with other discounts or Economy seating. Discount is not available online.
GROUP DISCOUNTS
Group Discounts are available for groups of 10 or more. For more information on The Rep’s Group Discounts, please
contact The Rep’s Ticket Office at 414-224-9490.
THE REP’S UNDER 40 DISCOUNT
For patrons under the age of 40, tickets as low as $15 are available for select Quadracci Powerhouse Theater seats.
For more information or to order tickets visit: milwaukeerep.com/under40. (Prices subject to change without notice.)
A NOTE ON RUNNING TIMES
To find out the exact running time for one of our performances, please call the administrative office at 414-
224-1761 on or after the first date of performance. Our receptionist will be happy to let you know the actual
running time. Running times are also posted on our website at: milwaukeerep.com.
16

General Information
PARKING
Located within the Milwaukee Center complex is an underground parking structure operated by InterParking. Enter off
East Kilbourn Avenue or North Water Street, park, and then take the elevator to M or 2 for seating in the Quadracci
Powerhouse Theater or Stackner Cabaret, and to G for the Stiemke Theater or Rep Ticket Office. Patron Parking
Passes for the Milwaukee Center Parking Garage are available in the Quadracci Powerhouse and Stiemke Theater
lobbies for $7.00. See the House Manager for details or to buy a pass.
ACCESS SERVICES
Please contact The Rep Ticket Office to request Access Services, 414-224-9490.
DEAF OR HARD OF HEARING SERVICES:
A sign language interpreted performance is scheduled for THE LADY WITH ALL THE ANSWERS on Thursday,
December 17 at 7:30 pm and A CHRISTMAS CAROL on Wednesday, December 9 at 7:00 pm.
A Captioned Theater performance is scheduled for THE LADY WITH ALL THE ANSWERS on Sunday, December
20 at 2:00 pm.
A script synopsis is available for those patrons who are deaf or hard of hearing and would like to read it prior to
attending a performance. If you would like to receive the synopsis, please call 414-224-1761.
The Quadracci Powerhouse Theater and the Stiemke Theater are equipped with an infrared listening system,
which ensures clarity of sound from any seat in the house. If you would like one of the listening devices, please
stop at the House Manager’s desk to check out a headset prior to watching your performance.
BLIND OR LOW VISION SERVICES:
Audio-described performances are scheduled for THE LADY WITH ALL THE ANSWERS on Thursday, December
1 at 6:30 pm and Tuesday, December 15 at 7:30 pm and HOLMES AND WATSON: A MUSICAL MYSTERY
on Sunday, November 22 at 7:00 pm. Audio description is the art of talking pictorially to make the arts
accessible to people who are blind or have low vision. A cassette describing the visual elements and plot line
of the productions are available at no cost to our patrons. Please call Erin Burgess at 414-290-5346 to make
reservations for either of these audio-described performances or to receive the tapes.
Large print programs are available in the Quadracci
Powerhouse Theater or Stiemke Theater by asking
any usher.
All Rep theaters are wheelchair accessible.
Prologue is available online quarterly
by Milwaukee Repertory Theater
Artistic Director: Joseph Hanreddy
Managing Director: Dawn Helsing Wolters
Editor: Cindy E. Moran
Graphic Design: Megan Gadient
Editorial Staff: David Anderson, Kristin Crouch,
Sandy Ernst, Brent Hazelton, Kristy Studinski
Photography: Jay Westhauser
milwaukeerep.com
17

November
TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY SUNDAY
17 18 19
20 21 22
24 25
7:30 LA
7:30 HW
Performance Calendar
7:30 HW 7:30 HW 8:00 HW 4:00/8:00 HW 2:00/ 7:00 HW
7:30 LA
26 27
2:00/
8:00 LA
7:30 CC
28
4:00/8:00 LA
2:00/7:30 CC
29 2:00/7:00 LA
12:00/4:30 CC
7:30 HW
8:00 HW 4:00/8:00 HW 2:00/7:00 HW
2009/10
Season Schedule
QUADRACCI POWERHOUSE
THEATER
LA THE LADY WITH ALL THE
ANSWERS
YT YANKEE TAVERN
STIEMKE THEATER
AM ALMOST, MAINE
STACKNER CABARET
HW HOLMES & WATSON:
A MUSICAL MYSTERY
PB PEARL BAILY
21
MONDAY
7:00 CC
7:30 HW
December
TUESDAY WEDNESDAY THURSDAY FRIDAY SATURDAY
1 2
3 4 5
6
6:30 LA 7:30 LA 7:30 LA 8:00 LA 4:00/8:00 LA
7:00 CC 7:30 CC 2:00/7:30 CC
PABST THEATER
CC A CHRISTMAS CAROL
SUNDAY
2:00/ 7:00 LA
12:00/4:30 CC
6:30 HW 7:30 HW 7:30 HW 8:00 HW 4:00/8:00 HW 2:00/7:00 HW
8 9
10 11 12
13
1:30/7:30 LA 7:30 LA 8:00 LA 4:00/8:00 LA 2:00/ 7:00 LA
7:00 CC 7:00 CC 7:30 CC 2:00/7:o0 CC 12:00/4:30 CC
7:30 HW 7:30 HW
15
7:30 LA
16
1:30/7:30 LA 7:30 LA
7:00 CC 7:00 CC
7:30 HW 7:30 HW
22 23
24 25
7:00 CC 2:00/7:00 CC
7:30 HW 2:00/7:30 HW
29
30
31
7:30 HW 8:00 HW 4:00/8:00 HW 2:00/7:00 HW
17 18 19
20
8:00 LA 4:00/8:00 LA 2:00/7:00 LA
7:30 CC 2:00/7:o0 CC 12:00/4:30 CC
8:00 HW
4:00/8:00 HW 2:00/7:00 HW
26 27
2:00/7:30 CC
4:00/8:00 HW
12:00/4:30 CC
2:00/7:00 HW
7:30 HW
7:30 HW
7:30 HW
January
TUESDAY
WEDNESDAY
THURSDAY
FRIDAY SATURDAY
1 2
3
4:00/8:00 HW 2:00/7:00 HW
5 6 7 8 9
10
7:30 YT 7:30 YT 7:30 YT 8:00 YT 4:00/8:00 YT 2:00/7:00 YT
8:00 PB 8:00 PB
12
6:30 YT
13
7:30 YT
14
7:30 YT
15
8:00 YT
16
4:00/8:00 YT
17
7:30 AM 7:30 AM 8:00 AM 4:00/8:00 AM
8:00 PB 4:00/8:00 PB
6:30 PB 7:30 PB 7:30 PB
19 20
1:30/7:30 YT
21
7:30 YT
22
1:30/7:30 AM 7:30 AM
7:30 PB 7:30 PB
26 27 28 29
7:30 AM
7:30 PB
1:30/ 7:30 YT
7:30 AM
7:30 PB
7:30 YT
7:30 AM
7:30 PB
8:00 YT
8:00 AM
8:00 PB
8:00 YT
8:00 AM
8:00 PB
23
SUNDAY
7:00 PB
2:00/7:00 YT
2:00/7:00 AM
2:00/ 7:00 PB
24
4:00/8:00 YT 2:00/7:00 YT
4:00/8:00 AM 2:00/7:00 AM
4:00/8:00 PB 2:00/7:00 PB
30 31
4:00/8:00 YT
4:00/8:00 AM
4:00/8:00 PB
2:00/7:00 YT
2:00/7:00 AM
2:00/7:00 PB
Legend
Preview
Opening Night
Pay What You Can
Talkback
Smoke–Free
Interpreted in ASL
Audio Description
Captioned Theater
18