Bembenek drama retold in musical
‘Run Bambi Run’ on Milwaukee stage
Maybe only God can finally settle the question of whether Lawrencia Bembenek killed Christine Schultz in 1981.
In the meantime, the Milwaukee Repertory Theater’s lively new musical “Run Bambi Run” revisits all the key elements of this troubling and fascinating true-crime story about a young Milwaukee woman.
Written by Eric Simonson with songs by Gordon Gano of the Violent Femmes, the world premiere production of “Run Bambi Run” is staged by director Mark Clements as something like “Once” meets Brecht, with actors playing and swapping instruments, and also occasionally addressing the audience directly.
At times, morally complicated, even unsavory characters brazenly step forward into the spotlight, such as Douglas Goodhart, as attorney Donald Eisenberg, in the rockabilly feature “Mean Clean Lean Cold Winning Machine.”
Of course, any comments I make here about character morality refer to how they’re depicted in the show. I’ve only met one of its real-life figures in person — long ago — and some characters are dramatic composites.
A few of Gano’s many songs, such as “Why Does It Always Got to Be Me,” could have come right off an early Femmes album. But music director and keyboardist Dan Kazemi, the production’s secret weapon, has cooked up an impressive variety of arrangements, including a touch of polka (hey, it’s south side Milwaukee in the ‘80s), country, funk and “Disco Fred.”
In a recent interview, Gano said he took inspiration for one song from singer Joan Jett. As Bembenek (who hated the nickname Bambi), Erika Olson brings Jett’s kind of never-back-down energy to her performance and her character’s drive for justice. The warmth that Olson displays in scenes with her parents (John Carlin and multi-instrumentalist Megan Loomis) goes a long way to humanize a character who, we should remember, was only 22 when she married Elfred Schultz and when someone murdered his ex-wife.
Much of “Run Bambi Run” plays as Bembenek vs. the Milwaukee Police Department; she believed the police framed her in retaliation for her sexual discrimination complaint against the department. Simonson’s script depicts the MPD of the era as a clown show but a lethal one, an old white boys network led by Chief Harold Breier (played here as a cartoon villain by local acting hero Matt Daniels).
It’s an energetic and versatile cast. In addition to Olson, let me single out: Sarah Gliko as Christine and a reporter and on multiple instruments; Loomis playing stand-up bass arco (with a bow) in character as Bembenek’s mother; and Goodhart as both Eisenberg and nebbishy but stubbornly persistent investigator Ira Robins.
A hat tip to costume designer Mieka van der Ploeg for wonderful period clothing; audience members may be scouring thrift shops for some of these duds.
If you come to this show believing Bembenek was innocent — or with an open mind — I expect you’ll leave on her side. If you arrive convinced of her guilt, “Run Bambi Run” may not change your mind. But you’ll meet a force who never gave up.