Acacia Theatre Company

Acacia Theatre’s “Acts of Peace” reviewed by Harry Cherkinian of The Shepherd Express

October 18, 2024

In the three-part Acts of Peace:  A Journey through One-Acts currently playing at Acacia Theatre, we see the universal themes that dwell in all of us: the search for identity, life’s meaning and finding our place in the world. The characters range from a young boy to Jesus Christ. And this Journey is more about the travels along the way rather than the destination. Much like life itself.

The “star” of this production is Theophilus North, the namesake and title of the centerpiece of Acts of Peace’s first segment. The one-hour, one-act version is based on the autobiographical novel by Wisconsin’s own Thornton Wilder. The upbeat, well-written adaptation by Matthew Burnett is a likable and inspirational look into North’s journey out of his hometown and job and into Newport, Rhode Island where he encounters “high society” through a various assortment of odd jobs including French tutor, tennis instructor and would-be sleuth He does it all, even with no experience but plenty of can-do attitude.

“When in doubt, act twice as certain,” North says. And it’s works so well thanks in large part to the delightful performance by David Duncan III. Duncan makes North a positive influence where he goes and whoever he’s dealing with—even when they disagree with him. Supported by a solid cast who appear in multiple roles throughout the one-acts, Theophilus North gives us insight into Wilder’s youth and all that life that lies ahead of him—even when spying on a rich young women running off with her much older boyfriend. “At last! A real adventure!” North exclaims. And that it most definitely is.

In the 30-minute The Happy Journey to Trenton and Camden, written by Wilder himself, a family of four departs by car to visit their adult daughter and sister who’s recently out of the hospital. However, this “journey” is not so happy getting past the facade of proper manners and iconic “perfect family” image. In a beautifully balanced performance by Annette Lovrien Duncan, Ma is clearly the matriarch, and in a flash, she can go from pleasant to unnerving. Its what’s unsaid lying beneath the surface that makes viewing so complexing. And as the young son, Arthur, who unintentionally upsets “the boss,” Seth Hoffman is remarkable in his range of emotions given the limits of this supporting role. At journey’s end, it’s a telling final scene between elder ailing daughter, Beulah (nicely played by Annika Buck), and Ma. It’s easier to deal with that chicken in the oven rather than face real emotions, painful as they can be.

Kerruan Sheppard is a down to earth, accessible Jesus in King of Kings, Prince of Peace. He’s animated and bursting with life at spreading the Good Word in this 15-minute piece. And among his many words of wisdom, is the constant reminder that life is not only a physical journey. but also a journey of the” interior”-heart and soul, searching for peace.

Acts of Peace:  A Journey through One Acts runs through October 27 in Norvell Commons at St. Christopher’s Church, 7845 N. River Road, River Hills. Run Time: 1 hour, 45 minutes (with a 10-minute intermission).  For more information, call:  414-744-5995, or visit acaciatheatre.com.

See the full review here.

Anne Siegel from TotalTheater.com reviews Acts of Peace: A Journey Through One-Acts

A series of one-acts opens the fall season at Acacia Theater Company. Acacia performs in the lower level of a church in leafy River Hills, WI. Despite what one may imagine a “church basement” looks like, this handsome space has been refitted nicely with an impressive stage, lighting, seating and sound to bring the audience in close proximity to the actors. It is a black box theater equal to many of the “professional” performing arts space around town.

In this production, Acacia explores the lesser-known works of Wisconsin’s most famous playwright, Thornton Wilder. Of course, Wilder’s best-known play is Our Town, which debuted in 1938 and is currently being reprised on Broadway.

Almost every child in America has been exposed to school productions of Our Town. Given its current place on Broadway, Our Town remains as relevant today as it did almost a century ago. Wilder was a three-time winner of the Pulitzer Prize (one of these was for Our Town.)

One finds certain similarities between the characters in Our Town (set in 1901) and the first two Acacia one-acts, Theophilus North and The Happy Journey to Trenton and Camden. The characters represented here are simple country folk, who are often engaged in domestic chores. Most characters are content to “root where they are planted,” but a few wonder about the world beyond their horizon. The characters are very tight with their neighbors, and secrets don’t stay secret long within these close communities.

Like the current Broadway production of Our Town, Acacia’s one-acts incorporate a diverse cast. A white mother may be paired with a Black father, for instance, or kids in one family may encapsulate a rainbow of colors. However, that’s about where the similarity ends.

In Acacia’s Theophilus North, a robust young school teacher (David Duncan III) breaks away from his small town to see the world. It’s 1926, and he makes it as far as Newport, RI. Upon arrival, he trades in his ornery car for a bicycle. The bicycle seems to suit him quite well as he makes his way around town. Duncan exhibits all the wonder and excitement of someone out on his own for the first time. Happily, the only person Theophilus knows in Newport immediately offers to post a newspaper ad for his tutoring services. The Newport friend also signs up Theophilus to teach summer tennis. Theophilus, who is somewhat nervous by this offer, immediately finds some “How to Play Tennis” books in the town library. He then begins training the kids who’ve signed up for lessons. One of the wiser kids asks, half-way through the program, whether they are “ever going to hit the ball over the net.” The hard-working Theophilus prevails. Eventually, he finds his meaning and purpose in these new environs.

Others in the cast include: Mark Thompson, Zackary Henke, Kerruan Sheppard, Mack Bates, Jaleesa Joy, Annika Buck, Annette Lovrien Duncan (David’s mother), and Seth Hoffman. Since most of the characters are titled “Man 1, Man 2, Woman 1,” etc., it is difficult to assign actors to various characters.

This one-act is followed by the briefer, The Happy Journey to Trenton and Camden, also written by Thornton Wilder. In essence, the play resembles an episode of the old TV series, “The Waltons.” A family of four leaves their farm to visit the oldest daughter, Beulah (played by Annika Buck), who lives in Camden. One guesses that the play’s time period may be pre-Great Depression.

Before the Kirby family departs on their trip, “Ma” (Annette Lovrien Duncan) tells all her neighbors about the purpose of their visit. Ma tells one woman, who offers to feed their cat, that she will leave the back door unlatched for her. A good deal of humor is incorporated into this family journey as well.

Jaleesa Joy and Seth Hoffman play the younger children, who bicker in the car until reminded by their parents (Mack Bates plays Pa) to mind their manners. Both Joy and Hoffman play their roles convincingly.

In a scene that will be very familiar to those born before the arrival of GPS, Pa asks a gas station attendant about directions to Camden, where their married daughter lives.

The final one-act is a monologue by Jesus (Kerruan Sheppard). He knits together a number of biblical phrases into a personal, convivial, one-on-one talk about God. Sheppard does a particularly fine job here, keeping the audience’s attention while only having a single chair as a prop.

Acacia’s evening of one-acts lasts about two hours, with a brief intermission between play one and two. At times, it’s difficult to link the connections between these three short plays. Also, the overall concept of “acts of peace” is given a relatively broad interpretation. In the first play, Theophilus North discovers that his life has new meaning in his adopted community of Newport. And in the third play, the character of Jesus makes mention of peacekeepers.

Although the three directors do a good job of pacing each act, they are hampered somewhat by the extremely minimal sets/props. Wilder himself was a fan of “minimalist staging,” but a few suggestive backgrounds and props would have improved the Acacia experience. Costumes also lean towards the “minimal,” with the addition of a hat or shawl expected to convey each character (costumes by Marie Wilke). In the final one-act, the character of Jesus wears the same clothing that the actor has worn throughout the production.

In comparison, the production’s sound (no name listed in the program) and lighting (by Dan Hummel) are relatively sophisticated.

In summary, one can imagine that Thorton Wilder fans will welcome this staging of his lesser-known works.

It should also be noted that Acacia Theatre Company offers tickets on a pay-what-you-can basis for every performance. Eliminating financial barriers to the theater experience allows more people to experience and enjoy live theater.

 

Cast: David Duncan III (Theophilus North), Mark Thompson (Man 1), Kerruan Sheppard (Jesus, and various roles in other one-acts), Jaleesa Joy (Woman 1, child in <I>Happy Journey </I>, Annika Buck (Woman 2, Beulah), Annette Lovrien Duncan (Woman 3, Ma).
Technical: Set: Ashley Petrowsky; Costumes: Marie Wilke; Lighting: Dan Hummel.
Critic: Anne Siegel
Date Reviewed: October 2024
Read the full review here.

ACACIA’S ‘AGITATORS’ SHINES LIGHT ON ACTIVIST DUO’S FRIENDSHIP

June 26, 2024

Review by Marilyn Jozwik of Wisconsin Theater Spotlight

“The unlikely friendship of Susan B. Anthony and Frederick Douglass spanned some 45 years during some of the most tumultuous times in American history.

Those two extraordinary figures and times are the substance of “The Agitators,” by Mat Smart, currently at Acacia Theatre Company, who brought this beautifully staged production to their intimate space with outstanding performances. Lori Woodall-Schaufler directs.

In the opening scene we immediately see the contrasts and the connections of the characters. The year is 1849 and the place is the Anthony family’s farm in Rochester, New York, where Douglass and his family are staying as guests. The Anthonys were Quakers and believed in the equality of all men. Their home was often the meeting place for abolitionists, such as Douglass.

Susan (Susie Duecker) ventures out into the field to meet with a pensive Douglass (Dennis Lewis) and inquire how he liked the peach cobbler she made earlier. Her impatience and feistiness are evident while he slowly and carefully reflects on his responses. Susan is already becoming known for her activism,but realizes she has chosen a different path than most women. “I am 29 and should have six or seven children by now.” Douglass, meanwhile, has escaped slavery, yet admits, “There is no place in America that I’m safe.” At one point Susan asks, “How do we end slavery?”

Each scene wonderfully recreates an important meeting with the two as their fight to end slavery intensifies. We see Douglass’s fiery nature and learn about his life. “Slavery stole the first 20 years of my life,” he tells Susan. She confides that if a man would propose an equal marriage she may consider it. Their relationship grows close and tender as he continues his fight for his race, which came with the 14th and 15th Amendments, after the Civil War.

In their 1867 meeting in Haymarket Square we begin to see cracks in their common cause. While Frederick continues his fight to get the vote for black men, Susan’s attention turns to getting equal rights for women, particularly suffrage. They realize that their current goals have put them at odds with each other. Susan bemoans their separation, saying, “It felt like we were in lockstep.”

As Act 2 opens, the pair have been out of touch for a while and meet at a baseball game where Frederick’s son is playing. The two reconnect and begin to engage in the easygoing conversation they had for years, sharing the progress of their causes. Suddenly, Frederick gets up to leave when he realizes the police have been called because someone has seen a black man too close to a white woman. Susan objects, wondering what will she tell the police. “Your skin will keep you safe,” says Frederick.

In other scenes we witness the burning of Frederick’s home, which he believed was the work of the Ku Klux Klan, and the death of his wife Anna.

In a most charming scene, the two meet at the White House in 1888, where Susan will present her cause to President Cleveland. Frederick was certain that after black men were given the right to vote with the enactment of the 15th Amendment, women would soon follow. “I thought you were right behind us,” says Frederick.

There is both power and tenderness in Lewis’ and Duecker’s performances. Both display unbridled passion as their characters articulate how they’re going to devote their lives to bring equality to all in America. Yet, they never lose sight of the admiration, tenderness and devotion their characters had for each other.

Lewis assumes a stateman’s air as Douglass waxes eloquent: “Words can shine a light on injustice.” In Act 2, he leaves the stage with a fiery recitation of “My Country ‘Tis of Thee,” that brings goosebumps.

Duecker has memorable moments too and is most delightful when she doesn’t take her larger-than-life character too seriously, as when she takes time to ease her tired feet in a bucket of warm water, with Frederick assisting. Both Lewis and Duecker never let their characters lose their humanity.

Enhancing these marvelous performances is the use of visuals at the back of the stage, especially the opening montage of depictions of slavery and the final one showing figures of the equality movements. Scenes between help place the characters at the Anthony and Douglass homesteads and other locations. Characters were also outfitted well in period costumes. A crisp, full sound system provided violin and piano music, sometimes coinciding with Frederick’s own movements on the violin. Douglass played the violin for his family, and his grandson, Joseph, became a concert violinist.”

Read the review here.

Get tickets here.

TotalTheater.com says that The Agitators gives “life and resonance”.

Review by Anne Siegel of TotalTheater.com

“Two important figures from America’s past form an unlikely but enduring friendship in The Agitators, the current production by Acacia Theatre Company.

In The Agitators, playwright Mat Smart focuses on the unlikely friendship between suffragist Susan B. Anthony and one of her most famous contemporaries, Frederick Douglass. They first meet in 1849 at Anthony’s family home in Rochester, NY. Anthony’s father, a devout Quaker and abolitionist, is an admirer of Douglass who regularly hosts him and his family for Sunday dinners. The friendship between Susan and Frederick continues until Douglass’s death in 1895.

From the moment we meet 29-year-old Anthony, we learn that she is somewhat of an anomaly in her world. She is single, and she comments that most women her age are married and have “six or seven children.” During her first conversation with Douglass, she mentions that if she were married and decided to divorce, she would be at a legal disadvantage. In that era, her husband would legally claim the children and all their shared property, and she could be left without a cent. She remarks that this is among the many injustices against women that she seeks to correct.

Douglass, an escaped slave who later rises to prominence as a speaker, writer and activist, replies that he knows all too well about injustice. He talks candidly about his life as a slave. He says that his birth date was never officially recorded, “just as one would not recognize when a sheep or cow was born.” As a grown man, he is forced to select a date for marking his birthday.

As a child, Douglass was sold to a nearby plantation where he had no friends or family. Several times, he recalls, his mother would walk the 12 miles between their plantations to see him after dark. It was the only time she could slip away without alerting her owners. She would sing him to sleep, then trudge back 12 miles to her home before dawn.

These firsthand narratives give life and resonance to this piece, which proceeds chronologically through their crusades for equal rights. Both of these self-described “agitators” travel frequently to spread their message, and the play follows them through the years.

Douglass, who focuses on voting rights for African-American men, sees victory in 1870 when federal laws. Later, Douglass admits to Anthony that her crusade for voting rights for women, would be won in only a few years. But 10 years later, Anthony is still fighting hard. Douglass seems more surprised by the government’s failure to allow women voting than he does during a personal tragedy in 1872. His Rochester home is burned to the ground, probably the work of a white arsonist. A naïve Anthony disputes his claims about what caused the fire. Nonetheless, Douglass decides to move his family closer to Washington, DC.

Under the able direction of Lori Woodall-Schaufler, The Agitators is less of a history lesson than a deep dive into the personalities of these two activists and their dedication to related casuses. Both Susie Decker (as Anthony) and Dennis Lewis (as Douglass) deliver realistic portrayals of their individual characters. In this two-hander, one might decide that Lewis has the more difficult role. He must play a character much older than himself, and, as Douglass, he is often required to play the violin.

Both actors adeptly convey their character’s stoic demeanor through the years, even when personal tragedies threaten to throw them off-track. They console and congratulate each other in a series of letters and during brief visits. They display an authentic concern for each other’s welfare.

The Agitators is a good reminder that the personal sacrifices of these two have resulted in rights that we Americans take for granted today. Douglass is often apart from his wife and children as he travels the country, while Anthony realizes that she cannot be an effective force for change if she marries and has children. The play’s setting is a simple one that changes frequently during its three-hour performance. Set designer Ashley Petrowsky pairs with properties co-designers Abbey Pitchford and Alexandria Eggert to bring fresh visual effects (and a few costume changes) to designate changes in location as well as the passing of time. Projections Creator Grace Michaels amplifies the historical time period in a series of slides that depict scenes such as slave auctions, lynchings, and political meetings, as an (all-male) Senate creates the foundations of government we know today. Lighting Designer Dan Hummel excels at setting the mood. Credit also goes to Sound Designer/Engineer Colin Kovarik for enlivening the story with musical sequences of the era, as well as offering a vast audio library of naturalistic sounds.

The only quibble this reviewer has with The Agitator is the play’s extremely long running time: a full three hours, with one intermission. Trimming the play by 30-45 minutes would be helpful for maintaining audience attention spans (although it should be noted that not a single person left the theater early during the performance attended by this reviewer). It is to the cast and director’s credit that this very long play doesn’t sag at any time during the performance.

In terms of the company’s background, Acacia has been part of Milwaukee’s theatrical scene since 1980. Under the guidance of longtime artistic director Janet Peterson, it produces plays that have parallels to Christian beliefs. Acacia’s repertoire ranges from the recent (and popular) Miss Bennet: Christmas at Pemberly, (a sequel to Jane Austen’s Pride and Prejudice, ) to an assortment of both well-known and rarely produced mysteries, dramas and musicals.

For the past couple of years, Acacia’s “home” has been located in the downstairs theater space inside a large church. The Colonial-styled church was built about 15 years ago in a leafy, wealthy Milwaukee County suburb, but it wasn’t until recent years that the congregation added its small theater. The intimate space offers excellent visual and sound capabilities that are beyond what one finds at some non-profit theaters in the Milwaukee area.

It should also be noted that Acacia, following the lead of at least one other non-profit Milwaukee theater, offers tickets to every performance on a pay-what-you-can basis. Eliminating financial barriers allows more members of Milwaukee’s arts-loving community to experience and enjoy live theater, and one applauds the theater’s ability to keep afloat with donations.”

Cast: Dennis Lewis (Frederick Douglass), Susie Duecker (Susan B. Anthony).

Technical: Set: Ashley Petrowsky; Costumes: Marie Wilke; Lighting: Dan Hummel; Sound Designer/Engineer: Colin Kovarik; Props Co-designers: Abbey Pitchford and Alexandria Eggert; Projections Creator: Grace Michels.

Critic: Anne Siegel

Date Reviewed: June 2024
Read the review here.
Get tickets here.

Agitating for Justice at Acacia Theatre

June 21, 2024

Review by Harry Cherkinian of the Shepherd Express

Susie Duecker and Dennis Lewis  Photo: Melinda Rhodebeck

Frederick Douglass was a leader in the fight to abolish slavery in the mid-19th century. He himself escaped slavery and became the voice of the abolitionist movement. Susan B. Anthony was a pioneer for women’s rights, a social reformer who sought a woman’s right to vote as well as financial independence.

Together, this black man and white woman forged a 45-year friendship that helped shaped the U.S. Constitution in their fight for equality, justice and freedom for all peoples. Their strategy was simple and direct: Agitate. Agitate.  Agitate. They succeeded in the decades-long battle.

And their friendship is the basis for Mat Smart’s play, The Agitators, now playing at Acacia Theatre Company.  They agitate” politicians, the U.S. government and even each other. Douglass’ priority is to end slavery; Anthony’s is women’s rights. They meet at the intersection of personal freedoms and social equality for all.

They fight. They bicker. They take care of each other while leading their own lives of speeches, appearances and family matters. And we learn much of the history of their pivotal roles in history and their successful results despite many challenges and setbacks.

Discourse and Debate

The Agitators is long on discourse and debate clocking in at nearly three hours. And with the two actors interacting with a back screen protection of location and time, it requires a great deal of chemistry and masterful acting to keep the audience engaged. Fortunately, Acacia has both in the top-notch performances of Susie Duecker as Anthony and Dennis Lewis as Douglass.

Duecker is a veteran talent at Acacia and once again, captivates the audience with her multi-layered portrayal of a woman who shunned a traditional marriage and children for the fight for equality. She balances Anthony’s determined, confident approach with an inner vulnerability that Douglass understands and complements.

The chemistry between the two actors works so well. Lewis is the (at first) quiet soft-spoken celebrity who slowly warms up to the high-energy Anthony. It’s a beautifully restrained performance and each actor balances out the other.

Director Lori Woodall-Schaufler makes good use of the intimate theater space and back-screen projections while keeping the focus as this fascinating relationship. Even as the two spar and argue, we always know that they “fight the good fight.” Together.

“It’s always the right time to stand up against injustice,” implores an impassioned Douglass at play’s end. Those very words ring true and remain relevant even today. The Agitators reminds us that the fight for justice is constant—past, present and future.

The Agitators runs through June 30 in Norvell Commons at St. Christopher’s Church, 7845 N. River Road, River Hills. Run Time:  2 hours, 50 minutes (including a 10-minute intermission). For more information, call: 414-744-5995, or visit acaciatheatre.com.

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See the review here.

Get tickets here.

Charles Williams on Stage: A Reflection by Dr. Sørina Higgins

March 18, 2024

“I had the very great privilege of seeing The House by the Stable and Grab and Grace performed this evening by Acacia Theatre. How marvelous to see the play come to life in the bodies, voices, faces, and movements of the actors! It was performed in a quite intimate space–seating for 99 people–and where I was seated on the aisle end of the middle front row, I was inches away from the cast members, practically on the stage itself, immersed in the action. How intense!

Many people asked me how many of CW’s plays I’ve seen before and were surprised to hear the answer: “None!” Indeed, I’ve long been disappointed that I wrote a dissertation about, oh, maybe 4 dozen plays, and I’ve never seen ANY of them performed before tonight. I’ve had readings of them, which is awesome, but there’s nothing like bodies moving in choreography on a stage, their voices in my ears, breathing the same air, my eyes taking them in without screen mediation. It’s incarnational.

And Incarnation is the point of these two plays: “substance is love, love substance,” Mary says, closing House, and Faith echoes her in Grab: “The Peace be with you, / and Love which is all substance in all things made.” The word “Love” was one of CW’s names for God, so Faith’s line literally means that God has become substance, has become flesh, has become matter. Therefore, Man’s choices matter. Although giving up Pride whom he loved is hard and bitter “agony,” he does it, by Grace.

I want to praise the Acacia Theater cast, director, crew, et al for their remarkable work on these strange, profound plays. I’m very impressed. They brought to life these hybrid medieval-modernist works with verve and aplomb.

Kudos to Maura Atwood for her transcendentally tranquil Mary, her blue eyes astonishing, drawn out by the costume designer Marie Wilke’s clever matching color touches. I don’t know whether Maura is a Jedi Master or practicing mystic in real life, but she sure was on stage, and her worn, mismatched clothes and work boots were unable to detract from the pure spiritual flame shining through her. That heavenly azure was repeated in Faith’s costume, its lapis lazuli color contrasting with its no-nonsense business cut: and those contrasting hues bring out the competing qualities of uncompromising sternness and celestial peace in her character. Molly Kempfer managed both to perfection in her posture, poise, delivery of lines, and the poignancy of her final offer to Man: “When you want me, if you want me, I will come / quicker than you can think.”

Joshua Biatch and Shannon Netteshiem Klein were dynamic and riveting as Man and Pride, playing the complex, tense chemistry between the characters beautifully. Pride is a particularly difficult role, because the character herself is always playing roles, so she needs to perform on multiple levels simultaneously. There were great nuances of face and gesture, which my proximity (CW would say “propinquity,” silly fellow) enable me to appreciate. Man’s role is exhausting and challenging, and Josh played it with great energy and fervor. He made me cry at the end of Grab, when he gives up his Pride whom he loves. The choice was agonizing: Faith and Pride cannot live together, and there were lines I found convicting and difficult, such as: “I owe her, after all, a great deal, / and she understands me, she soothes me.” How impossible it seems to give up something or someone soothing or understanding (in their case, with kisses and pleasure exchanged and enjoyed), all because of a vow to Immanuel? Isn’t it easy to think that Faith and whichever of the Seven Deadly Sins we love to fondle can somehow co-exist? But they cannot. We must break our own hearts and give them up.

Jason Will as Hell was perfect, professional, flawless, crisp, controlled, and really rather terrifying. He’s got powerful physical presence on stage and glorious diction. Indeed, he made Hell a little too attractive and persuasive, which I suppose is part of the point! Someone asked him after whether he found it hard to play the character of Hell. I forget his answer, but I thought of CS Lewis’s reply to a similar question about writing from a demon’s POV in The Screwtape Letters: He said something like you basically just let the worst of yourself out, like the self that’s contrary to sanctification, and let it run. I’m afraid I’d find it all too easy to play Hell. Or Pride. Or Lust.

Anyway. Michael D. DeLong brought a beautiful speaking voice to Gabriel along with fabulous physical and facial nuances to convey angelical power, and Zackary Henke did an admirable job of animating CW’s very weird, “puckish” Grace. The Director, Elaine Wyler, is to be commended for understanding these complex plays so thoroughly and Matt Norby as Stage Manger for bringing them to life energetically and persuasively! And to all of them for memorizing and speaking the POETRY beautifully!

I loved, loved, loved being there, meeting the cast (I feel like I know them all already), talking with Janet Peterson, Artistic Director, about some other plays she might want to add to future seasons, and participating in the talkback panel afterwards. The audience was deeply engaged, laughing or groaning at all the right places and asking good questions. I could tell I wasn’t the only one whose conscience was convicted by the work. It’s all too easy to get into a Williamsian tangle in which one’s secret life contradicts one’s public Christian persona, living hypocritically instead of honestly, so how strange that he should write a play condemning the very kind of moral compromise he himself practiced for decades. It just goes to show that God uses broken instruments to speak His truths–because there are no other kinds.

I hope to write more throughout the weekend about the themes, ideas, staging details, and more. I’m giving a bit of a pre-show talk tomorrow, too, so maybe I’ll summarize that when I get a chance. Many thanks to Acacia and especially Jason Will for hosting my visit to Milwaukee, and to all of you who supported me on this adventure!”

Photos: Dr. Sørina Higgins

Read her full blog, and learn more about Charles Williams by clicking here.

ACACIA CAST WONDERFULLY INHABITS ‘HOUSE BY THE STABLE’

March 15, 2024

By Katherine Beeson of Wisconsin Theater Spotlight

L to R: Joshua Biatch, Shannon Nettesheim Klein, and Jason Will

Photo: Melinda Rhodebeck

Acacia Ponders Pride, Faith and Grace in ‘The House by the Stable’

March 7, 2024

By Harry Cherkinian of The Shepherd Express

L to R: Joshua Biatch, Shannon Nettesheim Klein, and Jason Will
Photo: Melinda Rhodebeck

“How much is a soul worth? What is the value of it?  And are we even aware that we have a soul?

These are just some of the heady questions posed in The House by the Stable currently playing at Acacia Theatre Company. Acacia presents theater with a spiritual perspective. And the “house and stable” in this production refers to the night of the birth of the Christ Child when there was “no room in the inn.” Just a stable for the miraculous birth.

With such thought-provoking material, playwright Charles Williams provides no easy answers. Just an intriguing approach to the eternal fight over man’s soul. Considering that the play was written over 85 years ago, its messages are “timeless and everywhere” just like its setting. The “characters” are Biblical in nature—Mary, Joseph, the angel Gabriel—but also represent character traits. Pride, Faith, Grace. There’s also that fiery place “down below”—Hell. And finally, Man, caught up in the struggle for the “jewel”—his soul.

As Pride and Hell (now brother sister) scheme to get Man’s soul, the struggle ensures between good and evil. Man is the owner of the house and the stable. Gabriel his manservant. And so the conflict begins—eternal “game on.” Despite protestations, Man allows Mary and Joseph space in the stable. And the sinful siblings are thwarted—for now.

Act 2 shows the impact of Christ’s life—and earth—as Pride and Hell return from their exile in the “malignant lands” only to see Faith firmly ensconced in Man’s house. Hence, the struggle and battle begin.  Again. Timeless. Everywhere.

The seven-member cast does a uniformly excellent job under the astute direction of Elaine Wyler. As Man, Joshua Biatch shows a depth of range in the tug of war over his soul, one moment, vacillating, the next commanding and determined. Shannon Nettesheim Klein is simply sinfully delicious as the seductive Pride, calculating and cool, yet in a moment petulantly irrational when things go awry. And Jason Will makes “Hell” into a comical character yet knows when he’s outmatched (cue the Angel Gabriel with Michael D. DeLong’s gentle yet commanding performance.)

The rest of the cast does equally as well: Molly Kempfer as Faith; Maura Atwood as Mary and in the dual of Joseph and Grace, Zackary Henke.

The House by the Stable reminds us that the battle between good and evil is ongoing. Timeless. Everywhere. Even today.

The House by the Stable runs through March 17 in Norvell Commons at St. Christopher’s Church, 7845 N. River Road, River Hills. Run Time:  80 minutes (including a 10-minute intermission). For more information, call:  414-744-5995, or visit acaciatheatre.com.”

See the review here.

Shepherd Express: Acacia Theatre’s Christmas Present for Jane Austen Fans

November 29, 2023

BY HARRY CHERKINIAN NOV. 14, 2023 3:54 P.M.

Jason Will and Cara Johnston as Arthur and Mary in Acacia Theatre Company’s Miss Bennet: Christmas at Pemberley
PHOTO BY MELINDA RHODEBECK

Jason Will and Cara Johnston as Arthur and Mary in Acacia Theatre Company’s Miss Bennet: Christmas at Pemberley

Jane Austen fans — and actually anyone who enjoys a charming holiday show — will be delighted to know that there’s a sequel to her classic Pride and Prejudice now on stage at Acacia Theatre Company. And what a merry way to celebrate the season!

Miss Bennet: Christmas at Pemberley finds those Bennet sisters in December 1815, two years after the older two, Elizabeth (Shannon Nettesheim Klein) and Jane (Olivia Najera), have married well and found happiness. But then there’s the “Miss Bennet” of the title; bookish, outspoken Mary (Cara Johnston), who plays pianofortes and takes care their aging parents. Cue the matchmaking sisters and brothers-in-law, William Darcy (Ben Yela) and Charles Bingley (Josh Schiebe). And who shows up to celebrate Christmas? But the equally awkward and bookish Lord Arthur De Bourgh (Jason Will).

We can see where this is heading and it’s straight for the holiday hearts as witty wordplay and farcical antics unfold within the proper drawing room now containing a new, German tradition—a live evergreen Christmas tree! When the fourth Bennet sister, Lydia Wickham, (Bekah Rose), arrives, she creates her own festivities as she sets her sights on Lord De Bourgh, despite already being married herself. To add to the merriment of the season, De Bourgh’s controlling cousin Anne (Jena Dorn) shows up unexpectedly—to announce her engagement to the beleaguered and even more confused Lord. And the holiday spirit really kicks in trying to sort out all the romantic entanglements—real and imagined.

Playwrights Lauren Gunderson and Margot Melcon have brought Austen and her heroines delightfully back to life and on the stage in this first-rate production directed by Erin Nicole Eggers and Janet Bouman Peterson. The dialogue is smart and snappy while proper to the times. And the plotline of this sequel meshes seamlessly with Austen’s story and arc of action.

Using the intimate space at the Norvell Commons, Acacia once again proves that “less can be so much more” within the cozy space and sets, ideal for all the wickedly animated back and forth among the so-called proper British behaving characters.

The ensemble of eight is outstanding and excel in their individual roles. Acacia has a real find in Jason Will playing the innocent, socially inept De Bourgh (having previously appeared in Jacob Marley’s Christmas Carol and We Will Not Be Silent) He is perfectly matched with the equally multi-talented Cara Johnston as the outspoken, quietly passionate Mary, seeking more of the world outside of her books and music. The cast works so well together and have their comedic timing down pat, including those upper-class British accents.

Miss Bennet: Christmas at Pemberley is a great way to get into the spirit of the holidays, a remembrance of things past while celebrating the present(s) season.

Miss Bennet: Christmas at Pemberley runs through Dec. 3 in Norvell Commons at St. Christopher’s Church, 7845 N. River Road, River Hills. For more information, call: 414-744-5995, or visit acaciatheatre.com.

ALL REMAINING PERFORMANCES ARE SOLD OUT!

What does “Pay-What-You-Can” really mean for our tickets?

October 11, 2023

The days are growing shorter, and the sound of laughter intermingled with smoke from roaring bonfires fills the crisp night air. Fall has returned in full radiance as the leaves’ majestic colors burst forth in a final blaze of glory. As we enter this new season (both in weather and performances), we wanted to take a moment to remind you of our Pay-What-You-Can ticketing model (for all subscriptions and single ticket sales), and help clarify what that actually means.

As we rebuild from the chaotic events of the last few years, we see now, more than ever, the need to remove barriers to the performing arts. Since reopening in the fall of 2021, we have offered all of our tickets as Pay-What-You-Can. As of last season, Acacia is thrilled to announce that we are the first theater company in Milwaukee to move to a completely Pay-What-You-Can model for all ticket sales!

What Does Pay-What-You-Can Mean?
Just what it says. We don’t decide what our tickets cost; you do. You give us the amount of money you think is fair (either to you or to us), and we let you in. Simple, right?

“What Should I Pay?”
Well, whatever you can. But if you need guidelines, here’s what we ask you to consider:

“What Am I Accustomed To Paying?”
Most small Milwaukee-area companies charge between $15 and $30 a ticket. We’d appreciate if you can land in that range, with a suggested price of $20 per ticket. If you typically get senior or student discounts, feel free to adjust accordingly.

“What Am I Willing To Pay?”
We understand that we are small, non-profit theatre company. If you want to take us out for a test drive, pay a modest amount for your ticket — you can always pay extra as you leave!

“What Am I Able To Pay?”
Maybe you’re a student on a tight budget, or a senior on a fixed income. Maybe you have a large family, or you’re going through some tough times. We get it. Arts and culture are frequently the first items in the budget to be cut when facing tough economic choices, especially when tickets to larger productions can cost over $100. We want to make it possible for you to see live theatre regardless of your situation. If you have $20, that’s great, but if you have $5, that’s fine too; we will never turn you away.

“What Is The Difference Between A Ticket Purchase And A Donation?”
A ticket purchase includes any amount paid for tickets that is less than or equal to our suggested ticket price of $20. Anything over that amount will qualify as a donation. In other words, a patron cannot give us $20, say that they want to pay $5 for their ticket, and then indicate that they want the other $15 to be a donation. The entire $20 suggested ticket price must be met before a payment can be counted towards a donation (pursuant to I.R.S. code).

Please Bear In Mind…
Although we try to keep our production costs as low as possible, between space rental, performance royalties, cast and crew stipends, prop/costume/set expenses, publicity material, etc., even small-scale theatre is an expensive venture. While we seek individual donations, grant support and corporate sponsorship to help underwrite our shows, we also ask that you do your part through your ticket purchase, to the extent of your ability.

SUBSCRIBER BENEFITS
First choice of seats each year (your current seats, or new ones).
Subscription purchases and seat renewal give you the opportunity to access ticket sales before they are open to the public every season.
Exchange your tickets without a fee (non-subscribers will be charged a $3 per ticket fee in order to exchange tickets to another performance).

HOW DO I SUBSCRIBE?

ONLINE: You can subscribe or renew electronically by clicking here. Patrons who subscribe electronically will be sent the option to pick their seats and performances from their computer or electronic device.
BY MAIL: If you would like to renew your subscription via mail, or if you would like to become a new subscriber, contact our office by phone (414-517-1771) or email (office@acaciatheatre.com), and we can mail you a brochure to fill out and mail back to the office along with your payment. You will be contacted to confirm your preferred seats as well as show dates and times. Your season tickets can then be mailed to you, or held at the Will Call table.
BY PHONE: You may also call our office at 414-744-5995, and our Administrator will be happy to assist you in getting the best seats available!

OTHER INFORMATION
Suitability For Children: Some Acacia shows may contain mature subject matter. Parents are encouraged to call the Acacia office for information on show themes before bringing children. Unless specified, our plays are not appropriate for children under five.
Weather Policy: Acacia Theatre Company does not cancel or reschedule performances due to inclement weather, nor can we offer refunds.
Wheelchair Seating: Wheelchair seating is available. Please inform us if you have special needs when ordering your tickets.

WHY SUPPORT ACACIA?
Acacia was conceived as an oasis, a place to refresh the spirit and renew the mind through the art of theater. The company is solely sustained by the support of patrons such as yourself. If Acacia’s existence is important to you, please consider giving a donation. For more ways to support Acacia, call 414-744-5995 or click here.

PERFORMANCES
All performances are being held at:
The Norvell Commons at St. Christopher’s Church
7845 North River Road
Milwaukee, WI 53217