The Marquee

Thank you, lovely Julia Bartz at Madison Magazine for including us in “OverTones: Fall Arts Preview, 12 Best Picks of the Season.” Bartz, you’re my hero. Three cheers for standing up for the little guy.

 And at number 6….

“WISCONSIN UNION THEATER. The inaugural Isthmus Jazz series welcomes three celebrated musicians who, between them, hold fifteen Grammys. In October, McCoy Tyner of the original Coltrane Quartet will play the bluesy piano that helped define modern jazz. Eddie Palmieri and His Latin Jazz Band will perform in December. And Dianne Reeves, who sang in the recent film Good Night and Good Luck, will grace the stage in February. Two jazz legends plus one in the making. 10/6, 12/2, 2/15. 262-2201, www.union.wisc.edu/theater”

By Andrew Gans
09 Jul 2006

Telly Leung

Telly Leung, who recently completed a year-long run as Boq in the sit-down production of Wicked in Chicago, will co-star in the Four Seasons Theatre’s upcoming presentation of Sweeney Todd at the Wisconsin Union Theater.

Leung, according to the actor’s official website, will play Tobias in the famed Stephen Sondheim musical, which will be performed Aug. 11-13. Andrew Abrams will direct and musical direct the limited engagement.

The Sweeney company will also feature Rick Henslin as the vengeful barber, Lori Poulson as Mrs. Lovett, Tamara Brognano as the Beggar Woman, Steve O’Connell as Judge Turpin, Jessica Baetz as Johanna, Nathan Lehmann as Anthony Hope, Christopher Smith as The Beadle, John Najem as Pirelli and Tom Henson as Jonas Fogg.

The creative team comprises Jenn Johnson (set designer), Tim Gates (technical director), Ben Smith (lighting designer), Rebecca Sites (costume designer), Jan Ross (wig and make-up designer) and Steve Gotcher (sound designer).

Telly Leung made his Broadway debut in the revival of Flower Drum Song and then appeared in the revival of Stephen Sondheim’s Pacific Overtures. He spent a year playing Boq in the Chicago production of Wicked, and his other theatrical credits include Zanna, Don’t!; Thoroughly Modern Millie; The King and I; Jesus Christ Superstar; and Children of Eden. Leung can be heard on the “Wall to Wall Stephen Sondheim” recording, and his debut EP is titled “Getaway.” Visit http://tellyonline.net for more information.

Considered one of Sondheim’s masterpieces, Sweeney Todd originally premiered at Broadway’s Uris Theatre on Feb. 6, 1979, with a cast led by Len Cariou (Sweeney) and Angela Lansbury (Mrs. Lovett), who both nabbed Tony Awards for their roles. Harold Prince directed the production, which was awarded the 1979 Tony for Best Musical. A 1989 revival at Circle in the Square Theatre featured Beauty and the Beast’s Beth Fowler as Mrs. Lovett and former Evita star Bob Gunton as the man who returns to London to avenge the death of his wife.

A recent major production of the Stephen Sondheim-Hugh Wheeler work, which is based on a version of “Sweeney Todd” by Christopher Bond, was the Kennedy Center mounting, which starred Brian Stokes Mitchell and Christine Baranski. A concert presentation of the musical, directed by Lonny Price and led by Tony winners George Hearn and Patti LuPone confirmed the strength of Sondheim’s score, which boasts such tunes as “The Worst Pies in London,” “Johanna,” “Pretty Women,” “A Little Priest,” “By the Sea” and “Not While I’m Around.” Michael Cerveris and LuPone currenly star in John Doyle’s acclaimed revival of Sweeney at Broadway’s Eugene O’Neill Theatre.

Wisconsin Union Theater is located on the campus of the University of Wisconsin-Madison at 800 Langdon Street in Madison, WI. Tickets are available by calling (608) 262-2201 or by visiting www.fourseasonstheatre.com.

This past week, the faithful WUT staffers took their devotion to an entirely new level, spending a day (completely and inescapably) together. We ventured out to Genesee Depot for a staff retreat to Ten Chimneys, home of Alfred Lunt and Lynn Fontanne, the acting duo that opened the Wisconsin Union Theater in 1939 with Shakespeare’s “The Taming of the Shrew.” We battled, we brainstormed, we bonded.

Like it or not, we left Ten Chimneys with new memories (I think it has something to do with synapses firing in your brain. I could be wrong. I AM an English major, after all). Enjoy some of our favorites.

1. Graphic representations of WUT: In front of us, Jay scattered stickers, markers, streamers and those little pom-pom things. Seriously, it looked like a child’s birthday party had thrown up all over the table. Our mission, if we chose to accept it, was to craft something that represented who and what WUT was, and, from feathers to interpretive dance, boy, did we ever!

2. Wooly, the theater dog:  If you read Claire’s Meet the Staff, then you already know that she harbors an overwhelming desire to torture a puppy by making it roam around in the windowless Wisconsin Union Theater offices. Sure, it’d keep up troop morale, but, really, who wants to subject a sweet, innocent puppy to what goes on in this place? Luckily, Claire got to indulge her fantasy with Wooly, the cute and cuddly staff dog at Ten Chimneys. Although, maybe it was unlucky, as now she’s more convinced than ever of the necessity of one at WUT.

3. Pimping our hubcaps metaphor: As part of our goal on Friday was to revamp our outdated theater mission, we spent an afternoon pondering possible new purpose statement wordage. The question at large was, “What word do we use to portray that WUT is a cultural center for connections?” I whisper, “Epicenter,” and it gets repeated around the room. “Epicenter, epicenter, epicenter,” fading out in nothing short of a remarkably lame earthquake joke. Derek pipes up with, “Hubcap,” which is greeted with laughter. Somehow, the whole mission statement shenanigans get referred to as “pimping our hubcaps.”

4. Ralph almost killing us: Speaking of hubcaps, we almost lost ours in a near-death experience with Ralph behind the wheel of a fleet vehicle, veering into oncoming traffic. Fortunately, we are still alive, and staff retreat day didn’t turn into some new sappy theater holiday of remembrance.

5. Don’t judge a house by its cover: From the outside, it may look like just another
Wisconsin farm house, but inside is another story. The Lunts had decorated the house with the delicacy that one would put into creating a set for the stage. Our dedicated tour guide informed us that the Lunts collected crystal and constructed their own chandeliers. It doesn’t get more glamorous than that! Or does it? From the Delft china to the rare wall murals, I left with overwhelming interior decorating urges. And I have those on an every day basis, so it’s no joke that my readings were off the chart!!

 6. Alfred Lunt’s cheap tendencies: Yes, behind every posh woman is a penny-pinching man, and the Lunts were no exception. We were delighted (and slightly appalled) at Alfred’s usage of gold scotch tape to outline the doorframes instead of footing the bill for hand-painting. As a feminist disclaimer, I don’t believe that men should be expected to pay for everything, but in the immortal words of Lady Marmalade, “Why spend mine when I can spend yours??”  

7. The studio: The Lunts were known for both entertaining and their love of the stage, so it’s no wonder that they built a cozy studio on their Ten Chimneys property, which housed practice performances and served as a space for cohorts. Admirably, when World War II broke out, and their friend Noel Coward called from England to say that he didn’t know if and when he would see them again, the Lunts locked the door to their studio, not to open it again until after peace was restored.

8. The love triangle with Noel Coward: While it has been said that the Lunts were inseparable, they seemed to have a serious third-wheel situation with playwright Noel Coward. Swimming nude in their pool and joining them on television shows, Coward even wrote a stage play in which they all acted, a portrayal of a torrid love triangle…and not your standard one for the time, if you catch what I’m saying.

9. The Lunt-Fontanne Program Center: We were like kids in a candy shop in this joint. It was the hubcap (ha ha) of glamour, with a mock stage, floor lights and fancy hats (yeah, we tried them on. Don’t act like you wouldn’t have done the same!).

10. Oh, right. The modernized mission statement: Creating connections and opportunities for the university and community by serving as an innovative performing arts presenter and venue rooted in a tradition of excellence.

Unless you spent spring semester living in one of those cells the university benevolently terms a “dorm room,” you may remember the Wisconsin Union Facilities Improvement Plan, acronym WUFIP. Or perhaps you even remember the “Wisconsin Union Master Plan” from spring 2005. Under either name, this initiative’s epic life came to an end, spring 2006, in a tragic voting misadventure. Or so we thought. ( This student can’t help but be reminded of that scene in Austin Powers where a female assassin tries to kill Powers and only succeeds in hurting herself progressively worse with each attempt. “Why won’t you die?!”) *

While its future is now in the hands of you, student, few can deny the passion in those that continue to push for WUFIP, despite its tumultuous past.

Adam Robinson, Facilities Plan Assistant, fills us in on ‘FIP as it rises like a phoenix from the ashes…again.

LZ: In brief terms, explain the WUFIP initiative.

AR: The Wisconsin Union Facilities Improvement Plan is a student-led initiative to renovate and restore Memorial Union and build a new environmentally-friendly south campus union.

LZ: What is responsible for the plan’s revival?

AR: Preliminary results show that WUFIP failed by 600 out of 8,000 votes, but there were some problems with DoIt. Some people couldn’t vote at all, and others voted twice. The student judiciary committee declared the results null and void.

LZ: So this means that, while people can vote again, WUFIP can’t be changed in any way, correct?

AR: Right. The language must appear exactly the same as it did on the previous ballot. In addition, students will get a chance to vote on the living wage initiative as well, as both initiatives were on the same spring ballot.

LZ: I’ve heard rumors that there won’t be a
Union South if WUFIP fails. Care to clear that up?

AR: The associate chancellor for facilities has explained that if the students do not fund a new south campus union, then the university will take the land. They will then work with a private developer to knock down Union South and build a private complex specifically to meet the needs of the Wisconsin Institute for Discovery (the interdisciplinary research facility being built across the street, between University and Johnson). So while you might see a restaurant or two, students won’t have the kind of access to meeting rooms and event space that are the prominent parts of our unions, to say nothing of the student governance of the facility. In a side note, it would cost as much to renovate Union South as it would to build a new building.

LZ: Didn’t WUFIP exist in another form before it was WUFIP?

AR: There was a referendum in the spring of 2005. “The Wisconsin Union Master Plan.” The plan was much different than what we know as “WUFIP.” It was created by the Union based on a student survey done in the late 1990s. This would’ve majorly expanded Memorial Union and renovated Union South, but students came along in the fall of 2005 and decided, “ we want a new plan that reflects the priorities of new students and don’t want to mess with Memorial Union.” There was 13% turnout at the election, and the referendum was defeated in a 53-47% margin. We’re glad that failed because it was an outdated plan and because the campaign wasn’t really led by students. The current plan is both created and led by students.

LZ: When will students be presented with the opportunity to vote again?

AR: In the fall, October 17-19.

LZ: Will the voting be electronic again?

AR: It’s up to ASM to decide how students will vote. We don’t know at this point.

LZ: Is the WUFIP committee approaching this initiative differently than the one in the spring?

AR: We’re focusing on getting more students involved and informed, and reaching out to students in more personal ways. We’re going to flyer and chalk again, but we’re also going to reach out to dorms and different student organizations. We’re going to hold events across campus and really utilize the media this time.

LZ: How can students learn more?

AR: We have a website: www.union.wisc.edu/fip

LZ: Anything else you’d like people to know?

AR: We’re looking for volunteers! Email me at aarobinson@wisc.edu.

*Disclaimer: Lauren is not trying to sway students to vote in either direction, despite the fact that she is gainfully employed in the Memorial Union in a couple different ways, and it pretty much owns her soul. And, also, the throwback to the spy movie was for comedic purposes and not a secret admission of malicious intent toward “WUFIP”. She is also not trying to persuade you to rent New Line Cinema’s cinematic gem “Austin Powers,” but she would like to thank them for giving her a source for ridiculous quotes. And finally, “Who throws a shoe? Honestly!”

This past week, we presented Seu Jorge with special guest Jehro. (If you weren’t lucky enough to attend, maybe you saw the great review in the Capital Times. Booya.) If you aren’t familiar with the Brazilian samba star Seu Jorge or the
Caribbean grassroots musician Jehro, I suggest you utilize my favorite resource for gathering information and winning fights over useless trivia with your roommates: Google.

Anyway, I’m not trying to sell their records, so let’s get to the point.

This was the show where our guerilla marketing reached a brand new level. Think “The Life Aquatic” showing, think ticket giveaways beyond your wildest dreams, think hands stained with chalk residue for four consecutive days, think my usually fearless butt on WSUM’s radio show “On Wisconsin.” Sure, I can hold my own on a microphone when I can see my audience. When you present me with a microphone in a booth with three other people and a gaggle of people out there in Radioland–listening, judging–I suddenly freak out. Doesn’t matter if I’ve prepared pages and pages of notes. Push me in front of this kind of mic and my shaking, red-faced self will blurt out everything I’ve prepared in 12 seconds flat, no breaths. Idiot.

So with all that effort, it’s no wonder that the news of skyrocketing ticket sales led me to the point of jumping up and down in the theater lobby, high-fiving people. There are no limits to my idiocy.

Now you’d think that with all this joy and relief overwhelming me, I’d leap at the chance to begin the dance party in the front of the theater, right?? Right?? Let loose after a strict diet of poster tape, chalk, and emailing professors, right? But as circumstance would have it, being led to the front of the theater with my free-spirited boss and her uninhibited children had me sweating almost as much as that darn radio show.

Now why would that be?? Megan and I had just done the introduction to the show less than a minute earlier. Yeah, we were on stage, with a microphone, trying to balance cracking jokes with presenting all relevant information: a daunting task, mind you. People are more afraid of public speaking than death, and, suddenly dancing has me quivering in my cute kitten heels? (Black with little bows. Simultaneously sweet and naughty = Über hott).

But we all know I’m not going to tell my boss no, so to the front of the theater I go, swinging my hips and praying that it’ll only take ten seconds to get everyone to leave their seats and follow suit so I won’t feel like such a dancing fool.

It couldn’t be so easy. Slowly, people began to trickle up to the front, with a little encouragement by moi. “No, don’t be afraid. Let loose. Nobody’s watching you.” Riiiiiiiiiiiight. Except everyone and their mother.

 But by the end of the night, even the mothers were shaking their money-makers. The moral of the story: kick off those kitten heels and start the revolution, baby!