A CHRISTMAS CAROL - Milwaukee Repertory Theater

The Rep’s Insider Newsletter
2010/11 Season Winter 2010 • Issue 2
A Letter from the
Artistic Director - pg 2
Caroline O’Connor: International
Musical Theater sensation takes
the stage at Milwaukee Rep! - pg 3
A CHRISTMAS CAROL
Why it matters - pg 10
The Rep’s Christmas
Family Tradition - pg 13
Playwright/Director Brent Hazelton
brings LIBERACE! to Rep’s
Stackner Cabaret - pg 6
Mr. Showmanship - Walter Liberace
Milwaukee’s Native Son - pg 8
Fun Facts from production –
SECRETS REVEALED - pg 15
And much, much more!
Artistic Director: Mark Clements | Managing Director: Dawn Helsing Wolters
Editor: Cindy E. Moran | Graphic Design: Megan Gadient
Editorial Staff: Lindsay Adams, Sandy Ernst, Brent Hazelton, Patrick Schley, Jean Spivey
Cast of The Rep’s 2009/10 production of A CHRISTMAS CAROL. Photo by Jay Westhauser.
PROLOGUE IS AVAILABLE ONLINE QUARTERLY FROM MILWAUKEE REPERTORY THEATER.
MILWAUKEE REPERTORY THEATER | Patty & Jay Baker Theater Complex | 108 E. Wells Street | Milwaukee, WI 53202
Administrative Office: 414-224-1761 | Fax: 414-224-9097 | Ticket Office: 414-224-9490 | Fax: 414-225-5490 | milwaukeerep.com

MILWAUKEE REPERTORY THEATER • Winter 2010 • 2
A LETTER FROM THE ARTISTIC DIRECTOR
Mark Clements. Photo by Robert Allen.
“A new energy abounds at
The Rep and the city of
Milwaukee continues to tell us
that they like what they see!
Thank you, Milwaukee! ”
-Mark Clements
CABARET has upended some traditional notions of Rep productions and
exceeded our box office expectations. MY NAME IS ASHER LEV has blown
the walls out of the Stiemke Studio (almost literally), and brought the
pain and triumphs of a young artist’s struggle through elegant, stark
and ultimately simple, powerful storytelling. LAUREL & HARDY in the
Stackner Cabaret had its audience reveling in the timeless routines of two
cherished stars of early American cinema. Rep Platforms has rewarded
those subscribers and newcomers who have braved the late Thursday
nights in the Stackner Cabaret with musical theater treats, local virtuoso
musicians and storytellers of all shapes and sizes – all for the financial
benefit of The Rep’s Education programs! The Patty & Jay Baker Theater
Complex is alive and kicking with the power of art and our audiences are
responding to this new era with overwhelming zeal and support.
With our first round of productions closing, new artists have arrived to
keep The Rep at the center of Milwaukee’s entertainment scene. The
fabulous, international theater star, Caroline O’Connor, has joined us
for the U.S. Premiere of BOMBSHELLS – a spectacular, fun and moving
journey through the lives of six extremely different women facing very
different “bombshell” moments in their lives. The Rep is also proud to
present the world premiere of LIBERACE!, a play about Milwaukee’s own
Wladziu Valentino Liberace written and directed by The Rep’s Artistic
Associate, Brent Hazelton, and featuring charismatic Milwaukee actor and
musician Jack Forbes Wilson.
And finally, what better way to follow all of this ‘newness’ than with a
dose of a Milwaukee classic? I am delighted to welcome back former Rep
Artistic Director Joseph Hanreddy to direct his own adaptation of Charles
Dickens’ A CHRISTMAS CAROL, featuring six members of our Resident
Acting Company at the beautiful Pabst Theater. This year’s production
marks the 35 th consecutive year of The Rep’s heartwarming and festive
spectacle. The journey of old Ebenezer will be portrayed by Rep veteran
Jim Pickering, as he marks his 13 th year playing Scrooge and 24 th year in
the production.
As the warmth of summer and fall gives way to winter’s chilly breath,
The Rep will continue to provide audience members old and new with a
place to escape the cold and soak in the beauty of the human experience.
Our mission to become a VITAL epicenter of cultural events in Milwaukee
continues and your support is equally vital to our success. Please join us!
Wishing you and yours the best for the festive season.
Mark Clements, Artistic Director
CABARET set. Scenic design by Todd Edward Ivins.
Photo by Michael Brosilow.

MILWAUKEE REPERTORY THEATER • Winter 2010 • 3
CAROLINE O’CONNOR: INTERNATIONAL MUSICAL
THEATER SENSATION TAKES THE STAGE AT MILWAUKEE REP
A regular on the prominent stages of Broadway, the West End, Edinburgh and Australia, Caroline
O’Connor has received international acclaim and 28 prestigious awards for her outstanding musical
theater performances.
O’Connor began her entertainment career as an
Irish dancer, and as a teenager she took third
in the World Irish Dancing Championship. She
went on to train at the esteemed Royal Ballet
School in London but was told by Australian
musical theater luminary Anthony Warlow that
“she had far too much personality for her ballet
slippers,” and should consider musical theater.
O’Connor took his advice and her career has
since been filled with iconic roles, television
and motion picture deals. O’Connor is one of the
only actresses to star as both Velma and Roxie in
productions of CHICAGO, and her role as Roxie in
Sydney, Australia, earned her two major awards:
the Mo Award and the Green Room Award, both Caroline O’Connor.
for Best Female Musical Theatre Performer. She made her Broadway debut as Velma at Broadway’s
Shubert Theater in 2002, and the show was extended to 2003 due to its overwhelming success.
She has also starred in classic musicals such as FUNNY GIRL, WEST SIDE STORY, MACK & MABEL and
MAN OF LA MANCHA.
Her movie credits include Baz Luhrmann’s international mega-hit Moulin Rouge in which she
played Nini Legs In The Air, a character most remembered from the powerful Tango de Roxanne
number. She later played iconic entertainer Ethel Merman in De-Lovely, the 2004 musical portrait
of American composer Cole Porter. In the movie, she performs the title song of Porter’s hit musical
ANYTHING GOES in a re-creation of the show’s 1934 opening night performance. Her rendition of
the song is also on the film’s soundtrack.
Now she comes to Milwaukee to perform in her international hit, BOMBSHELLS, from November 22
– December 19, on The Rep’s Quadracci Powerhouse stage. O’Connor’s one-woman show has sold
out in four countries, was filmed for television in Australia and has earned her multiple awards which
include London Theatregoers’ Choice Award for Best Solo Performance, Edinburgh Fringe Festival’s
coveted Fringe First Award and the Green Room Award for Best Female Actor in a Play. She also
received her second Laurence Olivier Award nomination, the highest British Theatre honor, for her
run of BOMBSHELLS in London’s West End at the Arts Theatre.
(Continued on next page)

(CAROLINE O’CONNOR . . . continued)
“It’s all about the bombshells that happen in women’s lives, such as getting married, becoming a
mother or being a teenage prodigy,” stated O’Connor when describing BOMBSHELLS. She’s the first
to admit that many people have reservations about seeing her show thinking, “here we go again
– widows, mothers, abandoned wives . . .” , but the audience response makes it clear that this is
no run-of-the mill production. “One moment they’re really laughing, slapping their thighs and
exclaiming, ‘That’s me. How does she know?’ , and the next, they’re in tears,” explained O’Connor.
Throughout the production, O’Connor seamlessly shifts between six very complex characters,
which she confesses is “sometimes terrifying and overwhelming.” The difficulty of delivering this
solo production has often resulted in the six roles being split between two or three actors, but
O’Connor has mastered each woman’s monologue. “When you look at the script of BOMBSHELLS
I think you sometimes wonder ‘Would anybody really want to take that on?’ Because it’s really,
really hard. Full on. But I love it,” explained O’Connor. BOMBSHELLS Playwright Joanna Murray-
Smith stated in her author’s notes that she specifically wrote a complex production for O’Connor, “I
was inspired by Caroline . . . I wrote six characters to give full expression to Caroline’s astonishing
versatility as a performer.”
Milwaukee Repertory Theater Artistic Director Mark Clements is excited for BOMBSHELLS to make
its American Premiere at The Rep. “It has long been my ambition to direct Caroline O’Connor since I
first saw this amazing triple-threat actor in action,” stated Clements. “She is a national treasure of
Australia. Milwaukee audiences are in for a real treat.”
Lindsay Adams, Public Relations Coordinator
PROLOGUE • Winter 2010 • 4
For more information on Caroline O’Connor, including video clips and song clips, visit her website at
carolineoconnor.com.
PERFORMANCE INFORMATION
BOMBSHELLS
by Joanna Murray-Smith
American Premiere
PERFORMANCE DATES & TICKETS
Preview: November 22 – 24
November 26 –December 19, 2010
Tickets: $10.00 – $65.00
CAST LIST
Caroline O’Connor*
ENSEMBLE
Rukhamani K. Desai, Stephanie
Lambourn, Georgina McKee
*Member of Actors’ Equity Association,
the Union of Professional Actors and
Stage Managers in the United States.
THE REP IN DEPTH
Our lively informative half-hour
talk starts 45 minutes before
every performance in the
Quadracci Powerhouse. This
Rep in Depth will be led by
Artistic Intern Ensemble
Members Stephanie Lambourn
and Rukhmani K. Desai.
BOMBSHELLS is generously sponsored in part by:

Caroline O’Connor.
A DREAM COME TRUE
MILWAUKEE REPERTORY THEATER • Winter 2010 • 5
Caroline O’Connor. Photo by John Nienhuis.
In 2001, I went to see the Melbourne Theatre Company’s production of a new one-woman play
written specifically for Caroline O’Connor by fellow Australian Joanna Murray-Smith. It was called
BOMBSHELLS, and what I remember about the show was how fantastically brilliant it was, and
also - to my amazement - how Caroline O’Connor had managed to remember so much dialogue.
When I was accepted into the acting internship program here at Milwaukee Rep, one of the first
things I did was research what would be in production during
the nine months of my internship. Incredibly, I discovered that
one of the shows on the Quadracci Powerhouse stage, making
its American debut, would be BOMBSHELLS, directed by Mark
Clements and performed by none other than Caroline O’Connor.
I daydreamed that perhaps I would be lucky enough to meet
her during a lunch break or bump into her having a drink in the
Stackner Cabaret. About a month ago, I learned that not only
would I be part of the ensemble for BOMBSHELLS, but, I would also
be understudying my fellow Australian in the show I had loved and Caroline O’Connor in BOMBSHELLS.
laughed through nine years before.
On our first day of rehearsal, I found myself enthusiastically nodding when Mark Clements, The
Rep’s Artistic Director, described Ms. O’Connor as “an Australian national treasure.” Born in Northern
England to Irish parents, O’Connor grew up in Australia and now lives and works in the United
Kingdom, United States and Australia. But we from down under claim her as ours and she is one of
Australia’s leading ladies of theater.
BOMBSHELLS is a play about six very different women all dealing with the challenges of everyday
life and Caroline O’Connor plays all of these characters. These women come from Australia, the
United Kingdom and America. This is rather fitting, as these are the places where, as of November
22 nd when the production opens in the Quadracci
Powerhouse, Caroline O’Connor will have performed
this play. We have just finished our first week of
rehearsals for BOMBSHELLS and, apart from pinching
myself because I’m sitting next to someone I so
greatly admire, I am still immensely touched by this
play and the characters in it and I am definitely still
laughing even nine years later.
Stephanie Lambourn,
Artistic Intern Ensemble Member
New chums, Caroline and Stephanie take a break during
rehearsal for BOMBSHELLS.

Brent Hazelton, The Rep’s Artistic Associate, has been a member of The Rep’s Artistic
Staff for ten seasons and has been running The Rep’s Artistic Internship Program for
the past eight. He first came to The Rep as an Acting Intern and has directed staged
readings for The Rep and Ten Chimneys and UW-Parkside, as well as collaborated
Brent Hazelton.
with playwrights to generate scripts for the past three Rep Education Department
Touring Shows. Additionally, he has directed full productions for Chamber Theatre’s
Young Playwright’s Festival, Spiral Theatre, Windfall Ensemble and Elgin Symphony Orchestra. LIBERACE! is a world
premiere production and is Brent’s first play produced at The Rep. He sat down with Cindy Moran, The Rep’s PR Director, to
talk about his exciting new play about one of Milwaukee’s most famous native sons.
Cindy Moran: Why write a play about Liberace?
Brent Hazelton: When Mark Clements started to plan this season, one of the first things he asked about was whether
we had ever done a play about Liberace. He knew Liberace was from Milwaukee. Mark feels local connections are
important and believes that what’s on stage should reflect some part of the community. He also wanted a local
perspective on Liberace’s life and in the writing. So he asked me to write it. I’m originally from Whitewater, but have
lived in Milwaukee for quite awhile now, so it feels like home. My dad is from West Allis – he grew up about 20 blocks
from Liberace’s house. The local connection is also one of the main reasons why we wanted Jack Forbes Wilson to play
Liberace – not only because he’s a phenomenal performer and really right for the role – but because he’s also a local
guy and has lived here for many years.
CM: How much did you know about Liberace before you started on this project?
PROLOGUE • Winter 2010 • 6
PLAYWRIGHT/DIRECTOR BRENT
HAZELTON BRINGS LIBERACE!
TO REP’S STACKNER CABARET
BH: Not much. I was ten years old when Liberace died. I knew there was some controversy around his death. I think
that was my first window into concepts like AIDS and homosexuality. When you’re confronted with ideas like that when
you’re that young the context in which you remember them tends to stick. I certainly knew that he was from Milwaukee.
The only tangible memory I had of him was an episode from The Muppet Show – it was this strange, interpretative
modern dance thing with some high art dancers in kind of frightening bird costumes – for whatever reason that stuck
in my head.
CM: Did you know that Jack Forbes Wilson would be playing Liberace when you started writing the play?
BH: Yes. It’s a wonderful thing when you’re creating a one-person play to be able
to write to fit that person, their skills and abilities as a performer. Since Jack lives in
Milwaukee, we’ve had the opportunity to work a little bit over the summer, discuss
drafts together to talk about the music in the show and how that reflects the story
we’re telling. So we’re not starting from scratch when we go into that rehearsal hall
with a brand-new play that we have to put together in three weeks – which is great!
Jack has the musical chops for this role – he’s a great piano player and actor. He’s one
of those people who was born to be on stage telling stories much in the same way that
Liberace was. Jack is also the Musical Director for this production. What I know about
classical music could fit into a thimble – so I ask him, “What do you think is a good
piece of music to go with this moment?” A lot of Liberace’s favorite music – from Chopin to Chopsticks and everything
in between – will be in the show.
(Continued on next page)
Jack Forbes Wilson. Photo by Joe Hang.

MILWAUKEE REPERTORY THEATER • Winter 2010 • 7
(BRENT HAZELTON . . . continued)
CM: What did you learn in your research of Liberace’s life?
BH: The most fascinating thing for me was discovering how he began his career. Most of our recent cultural memory
of him is the very overblown “Mr. Showmanship” role with the massive costumes and the hugely spectacular
performances. The first thing I did to learn about Liberace was watch YouTube clips. Many of the clips were from his
TV show in the 1950s. He was much more of a traditional pianist than he would become later in life. There was a very
simple set with a piano and he would come out in a classy tuxedo and play some music while he spoke directly into
the camera. That connection he had with the audience later on was there right from the beginning.
The biggest hook for me about Liberace was looking at that guy from the 1950s and then looking at the performer
who I remember from the ’80s and wondering, “How did that guy become that guy? What is that process?” Anytime
you have someone, whether it’s a public figure or an average joe, go through a personal evolution, there is
something emotional that triggers that. So what caused that change in Liberace? Why did he choose to become
what he became? Who was the private man behind all of the glitz and glamour? These are some of the questions
we’ll be exploring in the play in what I hope to be a clever, interesting and fun production. We’ve got Jack in there
– so one thing for sure is, it’ll be fun with some really great music.
CM: In the field of entertainment, how important was Liberace?
BH: He opened the door creating what we recognize today as modern pop music presentation through his lavish
performances and over-the-top costumes, revolutionized early television entertainment and played a leading
role in putting Las Vegas on the map. Everybody else followed him through that door – Elvis, Elton John, David
Bowie, Kiss, Boy George, Cyndi Lauper, Prince, Madonna – Liberace is definitely Lady Gaga’s spiritual greatgrandfather!
Liberace was already well established in Vegas when Elvis started. He took Elvis under his wing. That
gold lame jacket we always attribute to early Elvis, was literally one of Liberace’s – he gave it to Elvis!
What amazes me the most about Liberace is largely how forgotten he is. To come from the Vegas generation in
the ’60s with Elvis, the Rat Pack and all of those other performers, he was really the leader of that group. So to
have all of those other people live on as iconic figures and to have Liberace marginalized and not taken seriously
as a performer is a little amazing to me. Why have we forgotten him? It is certainly easy to lose sense of him as an
artist inside all of those over-the-top performances, but at the end of the day, he could play the hell out of a piano.
My hope in writing this play is to remind everyone how great he was as a piano player and showman, and to give
people a little insight into his deeply complex personal life – to reclaim a bit of his legacy in his hometown. We
can be proud of the fact that he came right here from Milwaukee.
CM: What designers are you working with to help tell Liberace’s story?
Jack Forbes Wilson. Photo by Michael Brosilow.
BH: Alex Tecoma is designing the costumes and is having a ball with it. Rick Graham, from UWM, has designed a
wonderful set for us. It’s loosely based on the set from his 1950s TV show with all sorts of tricks and flourishes in
it. Lee Fiskness, from Chicago, who last worked with us on SOULTIME AT THE APOLLO, will design our lights – lots
of bright color, moving swirling lights and, of course, chandeliers and the odd candlelabra. It’s going to be great.

Wladziu Valentino Liberace.
MILWAUKEE REPERTORY THEATER • Winter 2010 • 8
MR. SHOWMANSHIP – WALTER LIBERACE:
MILWAUKEE’S NATIVE SON
I’ll be seeing you
in all the old
familiar places
that this heart of
mine embraces
all day through.
Liberace is an icon. The colorful musician and performer sold out
shows across the United States and beyond. From the 1950s through
the 1970s, he was the highest paid performer in the world (and
was so named in the 1978 Guinness Book of World Records). The
notorious fashion of Liberace shocked his critics, who often deemed
him hideously flamboyant, but in the same turn lauded his act as
thoroughly entertaining. Through it all though, Mr. Showmanship
could be heard laughing all the way to the bank. He was a brilliant man who lived to perform and
share his gifts with the audience he loved and they loved him in return. Many are the stages of his
storied career, but they all share the same beginning; it’s here in Milwaukee, Wisconsin, where the
man and the musician were born.
To see Liberace perform was like nothing else. With equal amounts of free-form grace and precision
of craft, he was able to transform the classics into something new, exciting and completely his own.
He was the original single-moniker superstar and there will never be another like him. Such a man
is not born in a day. He was born Wladziu (Walter) Valentino Liberace to an Italian father and Polish
mother in the city of West Allis. His father was an accomplished musician himself, playing French
horn with the Milwaukee Symphony Orchestra and other notable organizations around Milwaukee.
It was under him that young Walter began his tutelage. They attended shows at the Pabst Theater,
where Walter could study the techniques of great musicians first-hand. Through some family ties,
Walter was introduced to renowned Polish pianist, Ignaz Paderewski, at a young age. The boy
who would become Liberace made such an impression on Paderewski that he recommended the
prodigy for a scholarship with the Wisconsin Conservatory of Music.
In his teens, Walter followed in his father’s footsteps, playing with the MSO and other local
symphonies, performing often at the Pabst Theater he attended as a child. However, much to his
father’s chagrin, he would also eschew the classics and play gigs at Milwaukee honky-tonks. He
created dual personalities to better match his diverse venues, but even his classical performances
were starting to stand out for their hints of flair and showmanship. On a night in 1939, in the city of
LaCrosse, Walter’s two paths would converge during the encore of one of his classical performances.
A mocking request came from the audience for the then-popular song Three Little Fishes, and the
entertainer was quick to oblige. He played the tune in the style of several classical composers, all
(Continued on next page)

(MR. SHOWMANSHIP . . . continued)
PROLOGUE • Winter 2010 • 9
the while shooting what would become his trademark winks and flourishes at
the audience: Liberace was born.
From this point on, Liberace’s career was in an up-turn, carrying him to venues in New York,
Las Vegas and around the world, but he never forgot his roots. He loved Usinger’s Famous
Sausage and reportedly held wild, all-night parties at Mader’s German Restaurant. In 1982,
he graced Milwaukee’s beloved Summerfest, performing to a crowd of 9,000 fans. Two
years later, he played to capacity crowds at the Marcus Center’s Uihlein Hall and in 1986,
between commitments at Caesar’s Palace, he made his final hometown appearance, selling
out the Riverside Theater.
This past month, the famed Liberace Museum in Las Vegas closed its doors. The performer
had wanted it to be built close to home in Wauwatosa, but it was not to be. However,
there will soon be a chance to revisit the spectacle of Liberace in the city of his youth.
Milwaukee’s native son returns for one final performance, so that he might once again revel
in the love of the audience he so deeply appreciated. Relive the flamboyant legacy of Mr.
Showmanship and honor the memory of the genius musician, Walter Valentino Liberace.
LIBERACE! runs from November 19th through January 16th in The Rep’s Stackner Cabaret.
Jacob Crawford, Guest Contributor/UWM Film Studies graduate
PERFORMANCE INFORMATION
LIBERACE!
Written and Directed by Artistic
Associate Brent Hazelton
World Premiere
In co-operation with the Liberace
Foundation
LIBERACE! is generously sponsored in part by:
PERFORMANCE DATES & TICKETS
Previews: November 19 and 20, 2010
November 21, 2010 – January 16, 2010
Tickets: $35.00 & $45.00
CAST LIST
Jack Forbes Wilson*
*Member of the Actors’ Equity
Association, the Union of
Professional Actors and Stage
Managers in the United States.
Wladziu Valentino Liberace.

PROLOGUE • Winter 2010 • 10
A Christmas Carol – WHY IT MATTERS
A Christmas Carol opens with perhaps the most famous obituary in English literature:
“Marley was dead: to begin with. There is no doubt whatever about that. The
register of his burial was signed by the clergyman, the clerk, the undertaker and the
chief mourner. Old Marley was as dead as a doornail.”
A death notice is a decidedly un-cheery beginning for a story that has been read as a family
holiday tradition for more than 150 years, as well as enjoyed in literally hundreds of film and
television versions, cast with actors ranging from a sublime Alastair Sim, to sweetly touching
Mr. Magoo, to a seriously scary Jim Carrey in 3-D. Our “good old city” has held a warm spot in its
heart for A CHRISTMAS CAROL, supporting a 35-year run at The Pabst Theater that has given Jim
Pickering, Lee Ernst, Jon Daly, Richard Halverson and Daniel Mooney a turn or two or three as
the “squeezing, wrenching, grasping, scraping, clutching old sinner.”
If you’re new to the story, let me assure you that after that chilly beginning,
things become considerably more buoyant as Marley’s surviving business
partner is escorted throughout the reaches of London and the world to see
and hear Christmas celebrated in the warm and fuzzy traditions of family
dinners, gift-giving and heart-warming Christmas carols – traditions that
historians maintain Dickens resurrected from the middle ages, and describe
a Christmas considerably less as it was for the Victorians, and more as
Dickens thought it should be. Today, when we yearn to recapture the “real”
Christmas, more often than not we turn to Dickens, likely not realizing that
his traditions were almost as imagined as the triad of spirits that magically
transport Ebenezer Scrooge across the boundaries of time and space.
(Continued on next page)
James Pickering and Jenny Wanasek. Photo by John Nienhuis. Headshots: Rep Resident Acting Company
Members James Pickering and Lee E. Ernst. Both to return to A CHRISTMAS CAROL.

(A CHRISTMAS CAROL . . . continued)
Because so many of us come to the story via a
“treatment” rather than the novella itself, it’s a
surprise how many who love the story don’t really
know it. In the stage adaptation that I initially
crafted with Ed Morgan in 1998, our goal was to
create a version that was as theatrical, visually
spectacular, musically joyous and ultimately
uplifting as we could possibly make it – without
shortchanging the depth of Dickens’ insight into
the lonely, bitter soul who lives at the story’s center.
Those opening lines, of course, are key to the whole
thing. Dickens drives away at the fact of Marley’s
death as if somehow there were doubts – as if
at any moment the old reprobate’s corpse might
suddenly resurrect. (Spoiler alert – it does.) A
CHRISTMAS CAROL is a story of the spiritual rebirth
of one whose soul has died, so, poetically, it must
MILWAUKEE REPERTORY THEATER • Winter 2010 • 11
Other Rep Resident Acting Company Members in this year’s
production of A CHRISTMAS CAROL include Deborah Staples,
Jonathan Gillard Daly, Laura Gordon and Peter Silbert.
begin with the finality of death. Ultimately the trigger that allows Scrooge to find joy in life and
become “as good a friend and as good a man as the city of London knew” is when a gothic reaper
in the shape of the Ghost of Christmas Future forces him to glimpse under the blanket that covers
his own corpse and recognize the waste of spending so many of his precious years in his “money
changing hole.”
As much as A CHRISTMAS CAROL is about spiritual renewal and reconnecting with family, it’s also
about money and poverty. “If they would rather die,” Scrooge rants, speaking of the starving poor,
“they had better do it, and decrease the surplus population.” The words sting as sharply today as
they did in 1843. If Dickens left us an image of all of the goodness that Christmas can engender, he
also left us with a nightmare vision of inner-city poverty that lives in our own city as inhumanely as
it did his. And yet, our appreciation of Dickens and the endurance of A CHRISTMAS CAROL come more
from a novelist’s ability to penetrate an individual human soul, than from his ability to articulate
a political manifesto. George Orwell, a passionate socialist who was to write his own apocalyptic
vision of the future in 1984, pointed out in an essay on Dickens that “He has no plan to change
society; his target is ‘human nature,’” and that Dickens’ only real lesson is “that capitalists ought to
be kind, not that workers ought to be rebellious.” Orwell dubs Dickens’ outrage “a generous anger.”
Ultimately in this simple story, Dickens asks a profoundly simple thing: that at this “festive time of
the year,” those of us who have been blessed with privileges and good fortune should take the time
to be truly grateful – and to act in ways, both big and small, in which we can be kind and generous
to our “fellow-passengers to the grave.” That, he posits, is what it truly means to “know how to keep
Christmas well.”
Joseph Hanreddy, Director
Former Rep Artistic Director 1993 - 2010/Director of Fellowship in Directing and Design at UWM’s
Peck School of the Arts

PERFORMANCE INFORMATION
PROLOGUE • Winter 2010 • 12
MillerCoors proudly presents
Milwaukee Repertory Theater’s
production of A CHRISTMAS CAROL
by Charles Dickens,
adapted by Joseph Hanreddy and
Edward Morgan
PERFORMANCE DATES & TICKETS
December 3 – December 26, 2010
Tickets: $25.00 – $65.00
CAST LIST
Drew Brhel*, Jonathan Gillard Daly*♦, Lee E.
Ernst*♦, Kelley Faulkner*, Nell Geisslinger*,
Grant Goodman*, Laura Gordon*♦, James
Pickering*♦, Peter Silbert*♦, Jonathan
Smoots*, Deborah Staples*♦, John Tufts*,
Jenny Wanasek*
ENSEMBLE
Jonathan Butler-Duplessis, LaToya Codner,
Georgia Mallory Guy, David Hathway,
Sydney Kirkegaard, Ryan Krause, Michael Lindsey,
Alexander Pawlowski IV, Giuseppe Ribaudo,
Kaitlyn Serketich, Greta Wohlrabe, Charlie Wright
*Member of Actors’ Equity Association, the Union of Professional
Actors and Stage Managers in the United States.
♦ Member of 2010/11 Rep Resident Acting Company.
Cast of The Rep’s 2009/10 production of A CHRISTMAS CAROL. Photo by Jay Westhauser.
Generously sponsored by:
About Sponsor MillerCoors
MillerCoors brews great beer and recognizes that it also has
a great responsibility – to its people, the environment and
its communities. MillerCoors is proud to sponsor Milwaukee
Repertory Theater’s A CHRISTMAS CAROL, now in its 35 th
year as a beloved part of our community’s holiday tradition.
MillerCoors believes in supporting Milwaukee’s dedication
to the arts to help keep it a vibrant place where residents
enjoy living, working and playing. The company has been
a committed community partner throughout its history of
more than 155 years and this annual sponsorship for The Rep
is just one example of how MillerCoors continues to work in
Milwaukee to preserve community and cultural pride.
A WARM FUZZY
Iriene Wells – she goes by Riene – has
been attending The Rep’s production of
A CHRISTMAS CAROL for 33 years with
her family. She first attended the show
as a single mom with her two kids and
a friend. Now remarried, her blended
family has grown to 20. This photo was
taken December 6, 2009 when her group
of 21 came to see the production. They
are planning to come again this year. We would like to thank Reine and her family for making A
CHRISTMAS CAROL a part of their family holiday tradition. Has your family also been making A
CHRISTMAS CAROL part of your holiday tradition for 25 or more years? We would like to know!
Please e-mail Cindy Moran, Public Relations Director, at cmoran@milwaukeerep.com.

MILWAUKEE REPERTORY THEATER • Winter 2010 • 13
THE REP’S CHRISTMAS FAMILY TRADITION
This holiday season marks the 35th year that Milwaukee Repertory Theater has staged a
performance of A CHRISTMAS CAROL at the Pabst Theater. For the past 16 years, this holiday classic
has included a post-performance tradition that has touched the lives of hundreds of local families
who may never have visited the Pabst, nor seen a show at The Rep.
For six seasons (1991 – 1996), the role of the Ghost
of Christmas Present was played by an actor named
Michael Nash. Michael was born to play this role – he’s
a big guy with a big heart. Back in those days we were
doing Amlin Gray’s adaptation of A CHRISTMAS CAROL,
and the costume for the Ghost of Christmas Present
was very “Christmas-y:” green velvet with white trim
and Michael’s beard was dyed red. He sort of looked like
Santa’s brother. His appearance in Scrooge’s bedroom
was a bit of theater magic, and as Scrooge cowered in
disbelief at the apparition before him, Michael would
begin laughing, a booming, hearty laugh, for no reason
at all. And soon the entire Pabst audience would be Michael Nash and James Pickering. Photo by Jay Westhauser.
laughing as well – it would start in the front rows and ripple back to the upper gallery, 1,300
people sharing joyous laughter just because Michael was laughing. Magic, indeed.
In 1994 Michael decided that he wanted to share this joy in a more tangible manner. One of the
servers in the Stackner Cabaret also worked for Rosalie Manor, a Milwaukee social service agency,
and a conversation she and Michael had one night led to the start of a wonderful idea. She selected
a few families in need, and Michael began going to the lobby of the Pabst after each show to
ask for donations. He’d then come up to my office in the Cabaret and count the collection. It was
mostly loose change as I recall; he’d have stacks of pennies and nickels on my desk. We didn’t have
computers in our offices back then, and I have lost the ledger book that Michael and I used to
record the nightly collections, but I’d guess it was about $2,000 that first year.
For the next couple of years, Michael enlisted a couple of the acting interns to assist him in the
lobby after the shows, and the amount collected each season grew to perhaps $5,000. Michael
would use this money to buy gifts for the families and would take deliveries to their homes
in his Christmas Present costume. The Cabaret server went with him to her clients’ homes and
remembers, “I do recall the look of wonder on both the faces of the kids as well as their mothers
when Michael showed up in full costume! The regal nature of his costume and the energy of his
charismatic personality was such a stark contrast to the humble homes of our clients.”
In 1997, we had a different Ghost of Christmas Present – and a decision to make. In three short
years Michael had created an important tradition here at The Rep, and so the entire cast of A
CHRISTMAS CAROL stepped in to fill his shoes. So now the actors and stage managers create a
sign-up chart each year, and the cast takes turns going to the lobby of the Pabst after the show
(Continued on next page)

(CHRISTMAS FAMILY TRADITION . . . continued)
PROLOGUE • Winter 2010 • 14
to collect donations from our audience. Returning actors guide those new to our production,
and two interns volunteer to sort and count the nightly collection. That money is then brought
to the Stackner Cabaret, where I recount it and deposit it with our Accounting Department. Our
Development Department selects a different local agency each year, focusing on those that help
children and families in need – present-day Cratchits, you might say. Then there is a Rep shopping
day, when dozens of Rep staff go to Kohl’s Department Store early on a Saturday morning, with lists
of ages and sizes for the families that the chosen agency has selected to receive assistance. In mid-
December one of our rehearsal halls is literally filled with gifts, sorted by family, and all Rep staff
assist with the wrapping project. And then, shortly before Christmas, other Rep staff volunteer to
deliver the gifts to the families’ homes.
“You wish to remain anonymous?” the three Businessmen ask Scrooge early in Act I, mistaking
his stinginess for something else entirely. “I wish to be left alone!” is his stern reply. But Scrooge’s
sentiment has been shared by none of the many people who have contributed to The Rep’s effort.
I have had the great good fortune to assist in this collection tradition every night of the past 16
holiday seasons, and never cease to be touched by the generosity of our audiences, as well as by
the enthusiasm and support the entire Rep staff provides to this undertaking. While that ledger
book that Michael and I used in the early days seems to be lost forever, I do have records going back
to 1999. From 1999 through 2009 we have collected a staggering sum of $233,056.36. With the
2010 collection the total donations from audiences of A CHRISTMAS CAROL will surpass a quarter of
a million dollars, an amount that leaves me speechless with gratitude. And this is all because one
actor, long ago and on his own, decided to help a few families. We have lost track of Michael Nash,
but as I count the hundreds of dollars each night, I remember him counting the stacks of pennies
and nickels here in my office. I have no doubt if he were here with us now – well, we would be
laughing together.
With joy and appreciation,
Kristen Olsen, Stackner Cabaret General Manager
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 Sojourner Family Peace
Center. Sojourner Family Peace Center’s mission is to create peaceful
communities in which domestic respect and a life free from violence is the right
of every woman, man and child. Sojourner Family Peace Center provides
education, advocacy and resources to keep people safe. They operate a 42-bed
shelter that provides safety and support services to thousands of women and children.
Additional programs include a 24-Hour Domestic Violence Hotline, Family Advocacy and
Support Services, Children’s Advocacy, Ending Violence through Education and a batterer’s
intervention program. Sojourner Family Peace Center is committed to creating communities
where people live peacefully. Please remember to give generously!
James Pickering.

FUN FACTS FROM PRODUCTION –
SECRETS REVEALED
Having powered through the first three openings of our new season,
we take time to reflect on some of the details of our experience.
For instance:
During the combined runs of CABARET, MY NAME IS ASHER LEV and
Jim Guy.
LAUREL AND HARDY, our stalwart Wardrobe Department did 389 loads
of laundry. Surprisingly, the three-character LAUREL AND HARDY in the tiny Stackner Cabaret was
the Laundry Leader with 225 wallpaper paste-laden loads over a long run. CABARET came in a
distant second with 108 loads because, as Costume Director Holly Payne explains, “They’re just not
wearing that much.”
You could light up a small town with the power that it takes to run a performance of CABARET,
according to Lighting Director Craig Gottschalk. The light bulb inventory alone is something more
than impressive. There are 1606 practical lamps (those displayed on stage as part of the scenery,
such as table lamps, the lights in the Kit Kat Klub sign and the swagged festoon strings) and 795
conventional lamps in the show’s inventory of theatrical lighting instruments. The grand total is
2,401 Things That Light Up.
The performers in the number Money Makes the World Go Around tossed more than 4,000 “Kit Kat
Bucks” into the audience, designed by Props Graphic Artisan Jill Lyons. All were printed and handcut
in the Prop Department.
The Master of Ceremonies in CABARET handed
out 200 hot pink carnations to audience
members.
Laurel and Hardy slathered more than 80
gallons of wheat paste wallpaper adhesive on
each other in the course of their run.
What did Sally and Cliff actually drink when it
appeared that they were downing raw eggs
and Worcestershire sauce in their “Prairie
Oysters?” Real pasteurized-in-the-shell Grade A
large eggs and Lea and Perrins Worcestershire.
Troopers, indeed.
The wallpaper used in LAUREL AND HARDY’s
wallpaper scene was hand-printed and handpainted
on canvas in the Prop Department by
Soft Props Artisan Margaret Hasek-Guy.
(Continued on next page)
PROLOGUE • Winter 2010 • 15
Kelley Faulkner and Geoffrey Hemingway in The Rep’s 2010/11
production of CABARET. Photo by Michael Brosilow.

(FUN FACTS . . . continued)
The cast of MY NAME IS ASHER LEV attended a life drawing class at MIAD as part of their preparation
for the play.
Button, button . . . the 531 buttons on the 1,300 square feet of tufted walls in CABARET were
covered by the Costume Department and installed over a period of several days by the Paint and
Properties Departments. Soft Props Artisan Margaret Hasek-Guy hand-tied each of the 87 buttons
on the tufted chesterfield coach in CABARET.
The movie contract that appears several times in LAUREL AND HARDY is a genuine copy of Stan
Laurel’s contract with Hal Roach Studios, and features Mr. Laurel’s actual signature.
Each and every hair on Sally Bowles head was individually handtied
into her wig by our Wig Mistress Lara Dalby.
The beautiful “antique” Telefunken cathedral radio and the
chandelier upon which the Master of Ceremonies descended in
the opening number of CABARET were built by Prop Carpenter
Erik Lindquist. The chandelier was crafted from 1½” square steel
box tube, expanded steel mesh, wrought iron detail and assorted
lamp parts. We have no idea how much it weighs, so don’t ask.
The Giant Movie Contract unrolled across the stage in LAUREL
AND HARDY is 132” long and features language from Charles
Laughton’s 1932 MGM contract.
Though the two upstage table lamps in the Kit Kat Klub were
hard-wired directly into the Quadracci Powerhouse lighting
system, the two downstage lamps were battery-powered and
radio controlled so that they could be picked up and carried
offstage without being unplugged, but would still dim up and
down with the appropriate light cues when in place.
All 25 Japanese paper lanterns in the Engagement Party scene in CABARET were actually made
of nylon for durability, and were hand-dyed and hand-painted by Prop Crafts Artisan Sarah Heck.
No liquid was killed to make these cocktails. In order to avoid breakage, spillage and subsequent
slippage on the dance floor in the Kit Kat Klub, the glasses of champagne and martinis (2 olives,
please) in CABARET were made by Props Artisan Anna Warren of poured resins in acrylic glassware.
Each glass had a metal disc on its base that corresponded to a magnet under the surface of the
serving trays, so that the servers could move quickly and gracefully without fear of toppling drinks.
We called them “magnetinis.”
These are just a few of the fun facts from the wonderful world of The Rep’s Production departments.
Jim Guy, Properties Director/Fun Fact Expert
MILWAUKEE REPERTORY THEATER • Winter 2010 • 16
Radio in CABARET. Gerard Nuegent and
William Theisen in The Rep’s 2010/11
production of LAUREL AND HARDY. Photos
by Michael Brosilow.

A SEASON OF FIRSTS
As we began thinking about the 2010/11 season, we set out to challenge ourselves.
PROLOGUE • Winter 2010 • 17
SET UP: Audiences already come to The Rep with high expectations: the highest quality productions of classics,
new works and world premieres showcasing the talents of the Resident Acting Company along with a wide array
of educational programming.
CHALLENGE: Maintaining The Rep’s strong foundation, but embracing this opportunity to shake things up a bit.
Make an impact on the audience from the very beginning, signifying our entrance into a new era with a new
Artistic Director, Mark Clements, at the helm.
RESULT: A SEASON OF FIRSTS . . . We opened the season to rave reviews with CABARET, our first full-scale
musical in the Quadracci Powerhouse. Musical fans and skeptics alike have sent in notes of appreciation for the
production and there were standing ovations at every performance.
• Building on popular programs like Rep In Depth and Director’s Dialogue, we have launched an array of
events called Rep Platforms with musicians, visual artists, cast members and spoken word artists. These
performances can be tied to what is appears on our stages, but throw new voices and perspectives into the
mix. Over 250 people attended the first three, which included an evening of Kander and Ebb favorites and a
performance by Lil’ Rev.
• We have invited hundreds of MPS students not to simply attend a traditional student matinee, but to explore
the world behind the production at Rep Immersion Days. Students spent the entire day at The Rep, beginning
with workshops, production demonstrations and a tour of our building, followed by an intimate lunch with
artists from the production and ending with a performance. Over 400 students attended the debut of this
program in October!
Attendee Katie Koza of Verona Area High School wrote, “From the experience, I learned more about all the
intricate details that go into a theater production. I was amazed by all the different backstage factors that
have to move in synchrony in order to engender a seamless production, from the set changes to the lighting
to the props. I learned more about the tensions that built before World War II from the perspective of the
everyday people and the show people of Berlin. Also, I gained a new appreciation for theater and all of the
people who make theater larger than life.”
And we’ve only just begun! We want to do more of this exciting work for you in the months and years to come.
Your support is vital. Please consider a donation in support of these exciting new programs.
Anne Cauley, Individual Giving Manager
MAKE AN INVESTMENT IN THE REP!
> Mail: Milwaukee Repertory Theater
108 East Wells Street Milwaukee, WI 53202
> Phone: 414-290-5376
> Web: milwaukeerep.com/tickets/support
Stiemke Studio, fresh with new, purple seats! MY NAME IS ASHER LEV set design by Kevin Depinet. Photo by Michael Brosilow.

NEW TEEN COUNCIL AT THE REP
MILWAUKEE REPERTORY THEATER • Winter 2010 • 18
On October 17 th , more than 50 teenagers from all over Southeastern Wisconsin came to The Rep for a wildly
successful CABARET Teen Night. This was the inaugural event of our newly formed Teen Council, which was
launched this season and was inspired by teen involvement at other theaters across the nation.
Milwaukee Repertory Theater’s Teen Council is currently in its beginning stages. The Teen Council is run by
five teen officers who were among the first to enroll with the guidance of our Education Department. The
officers meet twice a month to discuss what the council hopes to achieve and plan upcoming events. Soon,
the officers will expand to a full board of 20 members, all whom are current metro Milwaukee students .
The Teen Council is an organization by teens for teens. They promote a love and appreciation of theater to a
younger generation, bringing together peers from all over the region. Students fully plan their own events,
including marketing, fundraising strategies and budgeting. They are learning important business skills and
creating fun things to do for a younger generation, as well as celebrating their love for theater!
The first event was fantastic. Students arrived at The Rep at 5:00 pm for a meet-and-greet with the Council
members. Beginning at 5:30 pm, the teens ate dinner, prepared by Teen Council officers and Rep staff, and
then met and spoke with Resident Acting Company Member Lee E. Ernst, the Emcee in CABARET. After
talking with Lee about the production and the world of professional theater, the students attended the
evening performance. Teens even came from as far as Lake Geneva for this event.
For their next event, the Council is planning an event during A CHRISTMAS CAROL that may also include
ice-skating, hot cocoa and cookies!
If you are interested in being on the Teen Council or participating in events, please contact The Rep’s
Education Department at 414-290-5370 or jkostreva@milwaukeerep.com.
Jenny Kostreva, Education Director
Students meet and greet during a taco dinner,
then took their seats in the Quadracci Powerhouse.
Photos by Jenny Kostreva.

GET INVOLVED
REP EVENTS AND NEWS
MILWAUKEE REPERTORY THEATER • Winter 2010 • 19
REP TALKBACKS
Talkbacks (post-show discussions), will take place after BOMBSHELLS on Thursday, December 2, 9 and 16.
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. 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 of 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.
SAMPLE DOWNTOWN’S HOLIDAY SPIRIT DURING THE
MILWAUKEE HOLIDAY LIGHTS FESTIVAL
November 18, 2010 – January 2, 2011
Thousands of lights, dozens of animated displays, sparkling rooflines,
brilliant wreaths and a stretch of Moravian stars. For 12 seasons,
the six-week Milwaukee Holiday Lights Festival has electrified
downtown with brilliant light displays and exhilarating events.
The best way to see downtown’s lights and sights is aboard the
convenient Columbia St. Mary’s Jingle Bus. At just $1 per person, it
offers a whole lot of bang for your buck!
Catch the tour from the Official Warming House at the Plankinton
Arcade in The Shops of Grand Avenue, Thursday through Sunday,
from 6 to 9 p.m. until January 2. Tours fill fast so arrive early to
secure your spot! While riders await their Columbia St. Mary’s Jingle Bus tour, free hot cocoa, coffee and
cookies are served compliments of The Chocolate Factory. Plus, kids receive a free coloring book.
Once on board, Public Service Ambassadors will acquaint riders with downtown’s street décor, window
displays and decorated parks, including “Community Spirit Park” at Cathedral Square Park, “Having a Snow
Ball” at Pere Marquette Park and “Magical Moments” at Zeidler Union Square.
And best of all, Columbia St. Mary’s Jingle Bus riders receive a special $3 parking rate at The Shops of Grand
Avenue. Enter the structure from Plankinton Ave. between Wisconsin Avenue and Michigan Street, and
remember to pick up your parking voucher at the Columbia St. Mary’s Jingle Bus ticket sales table.
For more information about the Holiday Lights Festival or Jingle Bus, please call Milwaukee Downtown at
414-220-4700 or visit their website at: MilwaukeeHolidayLights.com.
(Continued on next page)

(GET INVOLVED . . . continued)
PROLOGUE • Winter 2010 • 20
REPARTEE: AN INTIMATE EVENING OF LITERATURE
Please plan on joining The Friends of Milwaukee Repertory Theater for an evening of poetry,
short stories and songs all personally selected and presented by the Resident Acting Company.
This year we are also happy to present special guest Poet Laureate of Wisconsin, Marilyn Taylor.
From funny to poignant, the presentations are captivating and totally entertaining. Tickets
for the evening are available at $50, $75 and $100 levels. Seating is limited. Please RSVP by
Monday, November 29, 2010 to Becca at 414-290-5347 or development@milwaukeerep.com.
Monday December 6, 2010 in The Rep’s Stackner Cabaret
• 6:30 pm Wine & Hors D’oeuvres • 7:30 pm Literary Presentations • 8:30 pm Coffee and Desserts
PRE-PERFORMANCE MATINEE LUNCHEON at INTERCONTINENTAL
Come join the InterContinental for a special pre-show matinee
luncheon before The Rep’s performance of BOMBSHELLS on
Wednesday, December 15. The inclusive lunch buffet is from
11:45 am to 1:15 pm and costs $15 (includes tax and gratuity).
To attend, please call 414-905-1200 or e-mail rebeccarosado@
marcuscorp.com. Our guest speaker will be Associate Artistic
Director Sandy Ernst.
DIRECTOR’S DIALOGUE
We are excited to again be offering our Director’s Dialogue Series for the 2010/11 season. The Director’s
Dialogue Series is your chance to get behind-the-scenes information and meet the directors of our
productions. Hear what they have to say about their process, learn more about the play and get a chance to
ask them any questions you may have about a professional production. The series will feature BOMBSHELLS
on Tuesday, November 23 at 6 p.m. and will be led by Mark Clements. Tickets are only $20. Please check
out our website at milwaukeerep.com/support/events.htm for the most current information or contact our
Development Events Manager, Becca Kitelinger at 414-290-5347 or development@milwaukeerep.com.
HOLIDAY ARTISAN FAIR
The Rep is holding a Holiday Artisan Fair on Saturday,
December 4 th from 12 to 8 pm in the InterContinental’s
Gallerie M. The fair will feature 15 Rep artists who will be selling
handmade art and crafts including jewelry, ornaments, bags,
blank books, greeting cards, hats, monsters and more. Cash or
check only. Come early to find unique one-of-a-kind gifts!
LOOKING FOR THE PERFECT STOCKING STUFFER?
Rep Gift Certificates make perfect stocking stuffers for all of the theater lovers in your life! They’re also a
convenient way to introduce The Rep to family, friends or co-workers. Gift Certificates can be purchased at
The Rep’s Ticket Office, by calling 414-224-9490 or by going online at: milwaukeerep.com. Share the gift of
theater with a Rep Gift Certificate!
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BASIC INFORMATION
TICKET OFFICE: 414-224-9490
TICKET OFFICE FAX: 414-225-5490
ADMINISTRATIVE OFFICE: 414-224-1761
ADMINISTRATIVE OFFICE FAX: 414-224-9097
WEBSITE: milwaukeerep.com
SINGLE TICKET PRICES
Quadracci Powerhouse: $10 – $65
Stackner Cabaret: $35 & $45
Pabst Theater: $25 – $65
MILWAUKEE REPERTORY THEATER • Winter 2010 • 21
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: BOMBSHELLS on December 16
at 7:30 pm .
A CAPTIONED THEATER PERFORMANCE is
scheduled for BOMBSHELLS on Sunday,
December 19 at 2:00 pm.
REP TICKET OFFICE HOURS
Monday – Sunday: Noon – 6 pm
Window service is available until curtain time.
DISCOUNTS FOR STUDENTS & 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
Studio performances only. Proper ID is required.
This offer cannot be used in conjunction with other
discounts or Economy seating.
GROUP DISCOUNTS
Group Discounts are available for groups of 10 or
more. For more information, please contact The Rep’s
Ticket Office at 414-224-9490.
THE REP’S UNDER 40 DISCOUNT
For patrons under the age of 40, select Quadracci
Powerhouse tickets are available for $20. To order
tickets visit: milwaukeerep.com/entourage.
Under 40 tickets are based on availability.
A NOTE ON RUNNING TIMES
For exact running time for a performance, please
call the administrative office at 414-224-1761 on
or after the first date of performance. Running times
are also posted at: milwaukeerep.com.
PARKING
Located within the Milwaukee Center complex is
an underground parking structure operated by
InterParking. Enter on East Kilbourn Avenue or
North Water Street. Patron Parking Passes are
available in the Quadracci Powerhouse and Stiemke
Studio lobbies for $7.00. See the House Manager for
details or to buy a pass.
A SCRIPT SYNOPSIS is available for those patrons
who are deaf or hard of hearing and would like to
read the script prior to attending a performance. If
you would like to receive the synopsis, please call
414-224-1761.
The Quadracci Powerhouse and the Stiemke Studio
are equipped with an INFRARED LISTENING
SYSTEM, which ensures clarity of sound from any
seat in the house. If you would like a listening
device, 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 BOMBSHELLS on Tuesday, November 30 at
6:30 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-Ellingen 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 or Stiemke Studio by asking
any usher.
All Rep theaters are WHEELCHAIR ACCESSIBLE.

CALENDAR LISTING
NOVEMBER THROUGH JANUARY
PROLOGUE • Winter 2010 • 22
MON
22
7:30 BOM
TUE
16
23
30
7
14
21
28
7:30 BOM
7:30 LIB
6:30 BOM
7:30 LIB
TUE
6:30 LIB
7:00 ACC
7:30 LIB
7:00 ACC
7:30 LIB
WED THU FRI SAT SUN
17 18 19 20 21
24 25 26 27 28
1
7:30 BOM
7:30 LIB
WED
7:30 BOM
7:30 LIB
THU
FRI SAT
3 4 5
8 9 10 11 12
1:30/7:30 BOM
7:00 ACC
7:30 LIB
15 16 17 18 19
1:30/7:30 BOM
7:00 ACC
7:30 LIB
2
22 23 24 25 26
7:00 ACC
7:30 LIB
29 30
7:30 BOM
7:00 ACC
7:30 LIB
7:30 BOM
7:00 ACC
7:30 LIB
7:30 BOM
7:00 ACC
7:30 LIB
2:00/7:00 ACC
7:30 LIB
31
8:00 LIB 8:00 LIB 7:00 LIB
8:00 BOM 4:00/8:00 BOM 2:00/7:00 BOM
8:00 LIB
8:00 BOM
7:30 ACC
8:00 LIB
8:00 BOM
7:30 ACC
8:00 LIB
8:00 BOM
7:30 ACC
8:00 LIB
4:00/8:00 LIB
4:00/8:00 BOM
2:00/7:30 ACC
4:00/8:00 LIB
4:00/8:00 BOM
2:00/7:30 ACC
4:00/8:00 LIB
4:00/8:00 BOM
2:00/7:30 ACC
4:00/8:00 LIB
2/ 7:00 LIB
SUN
2:00/7 BOM
12:00/4:30 ACC
2:00/7:00 LIB
2:00/7:00 BOM
12:00/4:30 ACC
2:00/7:00 LIB
2:00/7 BOM
12:00/4:30 ACC
2:00/7:00 LIB
2:00 ACC 12:00/4:30 ACC
2:00/7:00 LIB
SHOW KEY:
LIB - LIBERACE!
BOM - BOMBSHELLS
ACC - A CHRISTMAS
CAROL - PRIME
ACC - A CHRISTMAS
CAROL - VALUE
STEP - THE 39 STEPS
LONE - NOBODY
LONESOME FOR ME
TON - SPEAKING
IN TONGUES
ACCESS SERVICES
Preview
Pay What You Can
Opening
Talkback
Interpreted in ASL
Audio Description
Captioned Theater
Smoke-free
7:30 LIB
7:30 LIB 7:30 LIB
4:00/9:00 LIB
TUE
WED
THU
FRI
SAT
1 2
SUN
4
5 6 7
8 9
2:00/7:00 LIB
11
18
25
7:30 LIB 7:30 LIB 7:30 LIB 8:00 LIB 4:00/8:00 LIB 2:00/7:00 LIB
7:30 STEP
7:30 LIB
12 13 14 15 16
7:30 STEP
7:30 LIB
19 20 21 22 23
26 27
7:30 STEP
7:30 LIB
6:30 STEP 7:30 STEP 7:30 STEP
6:30 LONE
1:30/7:30 STEP
7:30 TON
7:30 LONE
7:30 STEP
7:30 TON
7:30 LONE
8:00 STEP 4:00/8:00 STEP 2:00/7:00 STEP
8:00 LIB
4:00/8:00 LIB 2:00/7:00 LIB
8:00 STEP 4:00/8:00 STEP
8:00 LONE
8:00 LONE
28 29 30
8:00 STEP
8:00 TON
8:00 LONE
2:00/7 STEP
7:00 LONE
4:00/8:00 STEP 2:00/7:00 STEP
4:00/8:00 TON 2:00/7:00 TON
4:00/8:00 LONE 2 / 7:00 LONE