The Friday Five for February 24

The Friday Five for February 24

Ben Gazzara #5: Killing of a Chinese Bookie at UWM Union Theatre Why?  When Ben Gazzara died three weeks ago, he left a legacy of memorable tough guys on film. But few remember his legacy as a theater actor, where he played Brick in the original Broadway production of Cat on a Hot Tin Roof, and several other roles created by great American playwrights. He found a happy medium between theater and film working with John Cassevetes, who found unprecedented ways to capture great acting on celluloid. Chinese Bookie, about a two-bit nightclub owner who is tricked into murdering a…

Ben Gazzara


#5: Killing
of a Chinese Bookie at UWM Union Theatre

Why?  When Ben Gazzara died three weeks ago,
he left a legacy of memorable tough guys on film. But few remember his legacy
as a theater actor, where he played Brick in the original Broadway production
of Cat on a Hot Tin Roof, and several other roles created by
great American playwrights. He found a happy medium between theater and film
working with John Cassevetes, who found unprecedented ways to capture great
acting on celluloid. Chinese Bookie,
about a two-bit nightclub owner who is tricked into murdering a mob boss, is
Gazzara’s best work with Cassavetes, and probably the best performance of his
career.

#4: WeSix at Wisconsin Conservatory of Music
Why? Because the
WCM’s resident jazz sextet is always great when they are tackling jazz
standards and classics. But the group turns to original compositions of its own
members, something special happens. This concert is devoted entirely to
original work of the group members, so expect a heady mix of fresh innovation
and hard swing. 

#3: The
Tavern Keepers Daughter
at Broadway Theatre
Center

Why? Because
recently, the Broadway Theater Center has become the place to see world
premieres in town, with Milwaukee Chamber Theatre’s A Thousand Words
currently playing  in the Studio,
and Skylight’s Daddy Long Legs opening
soon in the Cabot. With work like that, why shouldn’t MCT and Skylight put
their collective heads together to bring a new musical to life. That’s the idea
behind Brett Ryback’s The Tavern Keeper’s Daughter, a new World War II-era musical that seems like a
cross between On the Town and It’s
a Wonderful Life
. Muskego native Ryback has
become a triple threat in Los Angeles, where he now lives, receiving awards for
his acting, playwriting and musical performances.

 

#2: Mary
Poppins at The Marcus Center

Why? Because Disney
pulled out all the stops when it brought its beloved movie musical to Broadway.
Sure, Julie and Dick weren’t available, but this 2006 edition of Mary
Poppins
boasts direction by acclaimed Richard Eyre, choreography by
Matthew Bourne, and a book by none other than Lord Downton Abbey himself, Julian Fellowes. The results weren’t not
everyone’s spoonful of sugar, many critics commenting that the show is a tad
long and somewhat preachy. But there are wiz-bang theater effects aplenty (yes,
Mary Poppins does fly and soar up banisters), and some spectacular musical
numbers to keep the kids awake.

#1: The Promise Ring at Turner Hall
Why? Because the
whispers (or Twitters) were true: The revered Milwaukee band of the ‘90s and
early ‘00s have reunited for a couple of concerts (here and Chicago), the
release of some already recorded rarities on an EP, and maybe more. Current
Maritime folks Davey von Bohlen and Dan Didier will be joined by old compadres
Jason Gnewikow and Scott Schoenbeck, and the fans will certainly turn out. In
fact, the show is currently listed as sold out. Let the ticket-scrounge begin.

Mary Poppins photo by Joan Marcus.

Paul Kosidowski is a freelance writer and critic who contributes regularly to Milwaukee Magazine, WUWM Milwaukee Public Radio and national arts magazines. He writes weekly reviews and previews for the Culture Club column. He was literary director of the Milwaukee Repertory Theater from 1999-2006. In 2007, he was a fellow with the NEA Theater and Musical Theater Criticism Institute at the University of Southern California. His writing has also appeared in American Theatre magazine, Backstage, The Boston Globe, Theatre Topics, and Isthmus (Madison, Wis.). He has taught theater history, arts criticism and magazine writing at Marquette University and the University of Wisconsin-Milwaukee.