Category: Theater

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First Stage Presents The World Premiere Of: Esperanza Rising.

Esperanza Rising is a world premiere commissioned by First Stage. It is adapted for the stage by Alvaro Saar Rios with original music by Dinorah Marquez and is based on the book by Pam Munoz Ryan. This is the most personal and poignant play that First Stage has presented this season and maybe in the period that I have been enjoying their plays.

First Stage is a tremendous youth theater opportunity for both audience members and young aspiring actors. When they play at the Todd Wehr theater they usually present large scale musicals with wonderful choreography and of course, music, with large ensembles of adult and young actors, and dynamic presentations around characters well known to their young audience.

(left to right) Ashley Marie Rodriguez, Laura Crotte, Miranda Rose, and Aria Martinez in ESPERANZA RISING. First Stage, 2025. Photo by Paul Ruffolo.

Esperanza Rising is a bit different. Dinorah Marquez has provided some very memorable songs and music that celebrates Mexican culture and family. These songs are sometimes sung by the ensemble and sometimes by individual characters in the play. But here they support the storytelling instead of being a major force in the play. And that adds to the personal. And the storytelling is key.

And a quick reminder. When First Stage presents these larger plays at the Todd Wehr, the core cast of adults remains constant, but the young actors rotate via alternating casts. So I saw the Hope cast on Sunday May 4th, 2025. So if you are hoping to see a particular young actor, check the link below to see which cast (Hope or Dream) they are a part of and when they are performing.

The play is set in the 1930s and begins in Mexico where Esperanza is growing up on her family’s farm. Her father is a very wealthy land owner and the 1930s were a turbulent time and after a pair of family tragedies, Esperanza’s mother decides to move to California along with some of the staff from their farm. They settle in a migrant farm camp and for the first time in her life Esperanza confronts hardship and poverty and the need to work. It is a growing experience for a young girl who is about to turn 13 when we meet her. And this is a very special story about the importance of family and community.

Laura Crotte (left) and David Flores in ESPERANZA RISING. First Stage,
Photo by Paul Ruffolo.

There are five adult roles around Esperanza, but three adult actors. Ashley Marie Rodriguez is Mama. A confident and strong woman who so obviously loves her family but makes a tough decision in the face of adversity and wishes nothing more than a better future for her daughter. Laura Crotte plays both Abuelita and Hortensia. As Abuelita she is the doting grandmother to Esperanza who lovingly teaches her to knit. She too has to make some tough decisions. And Crotte smoothly transitions to Hortensia, a practical and emphatic woman who befriends Esperanza’s family in California. And David Flores is Papa and Alfonso. First a caring and doting father who always gives his daughter a doll for her birthday and does so again for her 13th. But this one takes on more meaning and Esperanza cherishes it. Flores is also simply solid and practical as Alfonso as he moves his family to California and helps Mama and Esperanza reach there as well.

Now, there are two storytellers per the cast list. They are the narrators who fill in the back story and history of the period as well as fill in the relationships of the characters and at times tell us what the characters are thinking. They also get to play a number of small parts: the ‘bad’ guys in Mexico in silly silly mustaches, the immigration agent in California, and a police officer. The storyteller roles are played by young actors from the alternating casts. On Sunday they were played by Lucia Harris and Eleanor Dysart with flair and grace but a bit of comedic posturing when on stage as the ‘bad’ guys, and a certain bit of menace as the border agent or police officer.

Miranda Rose (left) and Thomas Alberto Bastardo (right) in ESPERANZA
RISING. First Stage, 2025. Photo by Paul Ruffolo.

There are three other young person roles. Miguel who is Alfonso’s son, childhood friend of Esperanza, and shall we say, love interest. Thomas Alberto Bastardo makes a suave and thoughtful Miguel, an optimistic youth and like his father, someone who can get things done. And Isabel, a young girl at the migrant farm who is paired with Esperanza to baby sit Isabel’s younger siblings. Aria Martinez is a delight with her curious questions and disbelief that Esperanza needs to be taught to change a diaper. They end up being very close in the end. And Marta, an activist and union organizer on the farm. Erin E. Frailing presents a very determined and focused Marta but… The storytellers are eager to march and chant her slogans.

There is some Spanish spoken at times but you don’t need to be bi-lingual to understand the meaning…it is apparent from the situation. And First Stage recommends Esperanza rising for young people 7 to 17 and theater lovers of all ages, I highly recommend this to adult theater goers even if you don’t have a child in tow. This story and these situations are pure drama and I think anyone interested in theater will enjoy this. And despite the era, the topics are very contemporary in their feel. First Stage has done an incredible job and again, I will say, this is a very poignant and rewarding presentation.

Cast in ESPERANZA RISING. First Stage, 2025. Photo by Paul Ruffolo.

Esperanza Rising will continue from now until May 18, 2025 at the Todd Wehr Theater in Marcus Performing Arts Center. The play runs about 75 minutes with a short intermission.

Additional information and tickets can be found here.

And extra credit reading: The Playbill

Ashley Marie Rodriguez (left) and Isabel Scardino (right) in ESPERANZA
RISING. First Stage, 2025. Photo by Paul Ruffolo.

And the final word from Isabel: “My Heart Is Dancing”.

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UWM’s Peck School of the Arts: The Curious Incident of the Dog in the Night-Time

The Curious Incident of the Dog in the Night-Time is an award winning play by Simon Stephens based on a novel of the same name by Mark Haddon. It is a multi-faceted theatrical gem.

Christopher is the protagonist here, a 15 year old math genius who is somewhere on the autism spectrum. And one night just before midnight, he discovers that his neighbors dog has been killed by being stabbed with a pitchfork. While surveying the incident and mourning the loss of the dog, he is discovered by the neighbor who, of course, immediately suspects him. Christopher decides to become a detective for the moment in investigate Wellington’s death (that’s the dog) and discover the person who murdered him. His father forbids it. But Christopher determines that it is the right thing to do and continues on his quest anyway. And the drama begins…

The deeper subjects of the play are readily apparent in the text and actions on stage. Of course there are the stories around family and neighborhood and village…but we go on to get a glimpse into how people with autism perceive the world around them…and how the world around them reacts to them…there are myriads of subtle cues. But Christopher steps completely outside his comfort zone and shows remarkable focus and bravery, a positive message for all of us.

We have two Christophers here. Zane Kurs for the first half and then Skylar Staebler post intermission. Both young actors personified the goals and struggles that Christopher exhibited in his quest. The only quibble I have here is Kurs speech was lost or indecipherable at times in his efforts to adopt an English accent.

Despite not being the focus of the play, for me, I see Christopher’s dad, Ed, as the most dynamic character in the play. Played by Gabe Rodriguez, Ed swings from doting father, to demanding father, to angry spouse, to a confused and desperate adult in the just that moment’s notice that the play requires.

One other actor that I’d like to single out is Autumn G. Gill as Siobhan. Siobahn is Christopher’s personal support staff and mentor at the special school he attends. Gill is remarkable in providing the stable support and empathetic help he needs to find his way.

Christopher’s mother, Judy, is lovingly played by Mikaela Bowers. We don’t get to meet her directly until late in the play, but Bowers brings out a loving and protective mother who despite her feelings doesn’t quite always know how to react to Christopher’s needs.

The Curious Incident of the Dog in the Night-Time has dozens of other characters who a played by an ensemble of remarkable young actors. Each one of them has to assume a number of roles (that is the way the script is written), from policeman, to principal, to a number of neighbors, to strangers on the street and train, to train station staff.

Director Ralph Janes is presenting this play in the round, using the Mainstage Theatre’s thrust for most of the action. In addition, a fair amount of technology is involved. Large screens are set up around the theater and behind the proscenium, as well as a half dozen monitors just about the stage. These were used to project scenic bits at times, like the train station that Christopher is looking for, and other times, video shots taken by ensemble actors with handheld cameras in the pit or the camera mounted to Christopher’s chest. I found these a bit confusing and distracting. If they were meant to signal the confusion that Christopher experiences outside his normal world, well maybe. But I think the action that Janes choreographed on stage with the cast was far more effective and deserved our full attention.

A better use of technology here might have been mics on the actors.

As I write this there are only two more performances….tonight at 7:30 and tomorrow, May 4, 2025 for a 2 PM matinee. The Curious Incident of the Dog in the Night-Time is being performed on the Mainstage Theatre in the Theatre Building at 2400 E Kenwood Blvd (just west of Mitchell Hall and North of Mellencamp Hall).

Ticket Information Here!

Extra Credit Reading: The Program is here.

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Next Act Theatre’s Circle Mirror Transformation: “Are We Going To Do Any Real Acting In This Class?”

A mid-play plaint from Lauren. And then Theresa and Marty assure her they are acting.

The Next Act description of Circle Mirror Transformation doesn’t quite do the play justice. Although every word in the description is true, the play that you will see when you attend transcends your expectations. And although a comedy, there is enough angst, pathos, and confusion to bring us all into an awareness of human frailties as well.

Playwright Annie Baker hasn’t given us a straight forward comedy either. Her Circle Mirror Transformation tells its story through a series of vignettes or skits delimited by black outs that represent the passage of time and allow the cast to change costume and sometimes moods or personas. Our overall setting is a community center class in acting. The action occurs over six weeks and includes a number of games or exercises performed by the five class participants and then candid interactions between class members outside the parameters of the class. The nuts and bolts of this play will resonate with theater insiders and long time theater buffs as well.

The Cast of Circle Mirror Transformation. Photo courtesy of Next Act Theatre.

Director Cody Estle has very carefully assembled a cast that could clearly represent a typical community center class roster. But it is more complex than that and transformation is part of the title and he has deftly brought about the transformations that each character exhibits as the play progresses…not all of them for the better it would seem…but maybe that’s not my call.

Marty is the class leader. Tami Workentin brings us a very confident and in control Marty who without a doubt leads her class through exercises that seem redundant and at times silly to those of us in the audience. I thought Baker was having a bit of fun with theater basics here but I was assured these are actual exercises. And who knew that it is so hard to count to ten as a group. But Workentin doesn’t remain the direct taskmaster throughout and brings on an incredible empathy as she gets to know her students and their issues…well except for Lauren’s late payment for the class. But the confidence that Workentin brings to the class does bring them all out of the shells and lets them feel themselves in a safe space.

left to right, Mark Ulrich, Tami Workentin, and Elyse Edelman. Photo courtesy of Next Act Theatre.

Mark Ulrich is James, Marty’s husband. At first he is rather stiff and maybe a bit resistant and Ulrich gives us a sense that he has to be there…maybe to make sure there are enough students to hold the class? I have been in classes like that. But he does have a fun side that he feels free to exhibit at last, including taking a spin at the hula hoop. And Ulrich gets it. Later Ulrich shows us some tender moments as well, which weren’t quite expected.

Milwaukee favorite Elyse Edelman is Theresa, an actor who has recently relocated to this small community, Shirley, Vermont. We don’t immediately know that she is here because she is hurting after a break up with a boy friend. Edelman is free flowing and natural in this role and brings a sense of direction and purpose to Theresa. Everyone in the class admires her.

Chloe Attalla and Reese Madigan. Photo courtesy of Next Act Theatre.

Another Milwaukee favorite, Reese Madigan plays Schultz, a divorced local man who seems to be here to forget his troubles. Madigan’s Schultz takes an immediate shine to Theresa and Madigan gives us a very shy unsure man as he tries to open up conversation with Theresa. And they seem to hit if off well until Madigan shifts to a clingy lover and ends up pushing Theresa away. But as an actor wannabe, he throws himself into the class wholeheartedly except for the occasional groan when the counting to ten circle fails.

And Chloe Attalla is Lauren, a sixteen year old high school student who is interested in acting. At first Attalla gives us a perfect example of reticent sixteen year old, which is totally expected given she is the only high school aged student in the class. But Atalla also can be explosive when she asks the question in the title or when she shouts at Theresa: “You are a real actor, why aren’t you teaching the class?”. And she too apparently has a issue at home as she dodges Marty’s questions about payment. Attalla plays down to sixteen years old exquisitely. I hope we get to see more of her on Milwaukee stages.

The cast of Circle Mirror Transformation counting to ten! Photo courtesy of Next Act Theatre.

Next Act Theatre is performing Circle Mirror Transformation from now until May 18, 2025. The play runs two hours without intermission in their shared theater building at 255 South Water Street in Milwaukee, Wisconsin.

More information and tickets here!