'ART' (GUTHRIE THEATER, 2023)
photo by Dan Norman
"One of the most rewarding Twin Cities productions of 2023... With this production, Wojtanowicz delivers the breakout performance I’ve been longing to experience after years of enjoying his gifts on Twin Cities stages. It’s a tour de force of emotional extremes, at once hilarious, heartbreaking, sweet, subtle and passionate." -- Rob Hubbard for the Pioneer Press
"A taut, timely production by Kimberly Senior... The three actors are unreservedly excellent, with Wojtanowicz delivering a showstopping sequence... Wojtanowicz is flawless as he breathlessly evokes the distinct characters. He delivers like a skilled master musician who effortlessly switches between instruments to play vivid, comically disarming music." -- Rohan Preston for the Star Tribune
"A taut, timely production by Kimberly Senior... The three actors are unreservedly excellent, with Wojtanowicz delivering a showstopping sequence... Wojtanowicz is flawless as he breathlessly evokes the distinct characters. He delivers like a skilled master musician who effortlessly switches between instruments to play vivid, comically disarming music." -- Rohan Preston for the Star Tribune
FALSETTOS (THEATER LATTÉ DA, 2023)
photo by Dan Norman
"Theater Latté Da's aesthetic of intimate and insightful interpretations of musical theater lives on in its richly entertaining season-opening production of William Finn's 'Falsettos.' The deeply committed cast throws itself passionately into each characterization and song, the attention to musical detail is awe-inspiring, and the stagecraft is impeccable... Shaping his solos splendidly is Max Wojtanowicz as Marvin’s partner, Whizzer, who delivers show-stopping ballads in each act." -- Rob Hubbard for the Pioneer Press
BEAUTY AND THE BEAST (ORDWAY CENTER, 2022)
photo by Dan Norman
"The stupendous work of the creative team is matched by extraordinary performances... Other standouts include Max Wojtanowicz as Lumiere, the half-human, half-lamp who mines his lines for maximum humor and leads with grace on "Be Our Guest." Wojtanowicz has surefire chemistry with Jorie Ann Kosel, who plays Babette and with whom he nails some naughtily witty repartee." -- Rohan Preston for the Star Tribune
CHRISTMAS OF SWING (History Theatre, 2021)
photo by Rick Spaulding
"Besides a skilled quartet of instrumentalists led by David Lohman, the sisters’ chief collaborator is Max Wojtanowicz as Bing Crosby... Wojtanowicz’s smooth delivery, jazzy embellishments and laid-back manner are spot-on." -- Kathy Berdan for the Pioneer Press
A Gentleman's Guide to Love and Murder
(Old Log Theater, 2019)
photo by Maureen Kvam
"What's not to love about Max Wojtanowicz as the charmingly devious serial killer Monty? With his dreamy voice and affable nature, we can't help but root for this murderer." -- Jill Schafer for Cherry and Spoon
"Wojtanowicz's wry asides and winning voice convince us it's possible to be a romantic lead/villain/musical comedy hero." -- Chris Hewitt for the Star Tribune
"This is a darn hard show and Max Wojtanowicz, a winsome local talent, tackles the main role of Monty Navarro like a champ... I must proclaim him a bonafide romantic lead! His voice is lovely, his chemistry electric, and he handily drives the show." -- Erin Roberts for Minnesota Playlist
"Monty is played by Max Wojtanowicz, whose beautiful voice is well known to Twin City theatergoers, and whose comedic gifts are put to splendid effect. Monty's competing desires for Phoebe and Sibella give Wojtanowicz the opportunity to shine, and his self-effacing delivery of "Foolish to Think" is surprisingly moving." -- Arthur Dorman for Talkin' Broadway
"Wojtanowicz's wry asides and winning voice convince us it's possible to be a romantic lead/villain/musical comedy hero." -- Chris Hewitt for the Star Tribune
"This is a darn hard show and Max Wojtanowicz, a winsome local talent, tackles the main role of Monty Navarro like a champ... I must proclaim him a bonafide romantic lead! His voice is lovely, his chemistry electric, and he handily drives the show." -- Erin Roberts for Minnesota Playlist
"Monty is played by Max Wojtanowicz, whose beautiful voice is well known to Twin City theatergoers, and whose comedic gifts are put to splendid effect. Monty's competing desires for Phoebe and Sibella give Wojtanowicz the opportunity to shine, and his self-effacing delivery of "Foolish to Think" is surprisingly moving." -- Arthur Dorman for Talkin' Broadway
Ball: A Musical Tribute To My Lost Testicle
(Southern Theater, 2018)
photo by Dan Norman
"Shortly after being diagnosed with testicular cancer in January of 2016, his friend/collaborator/director Nikki Swoboda suggested he might want to write a musical about it. Unthinkable, yes, but that's what artists do, they process what's going on in the world and in their lives through their art, creating something that's both personal and universal. So that's what Max did. He journaled through the process of surgeries, chemotherapy, and recovery, and even invited Nikki and several composers into the chemo suite to start working on songs. He finished treatment in April (and is now in remission), and performed his show at Fringe that August. At the time it was so new and raw, a really emotional moving experience. Now with a few years of distance, it's just as moving." -- Jill Schafer for Cherry and Spoon
"Ball is not to be missed... Mining cancer for comedy is tricky business, but the jokes and lyrics about cancer and its treatment clearly struck a chord with the audience. Members alternately laughed and dabbed at their eyes in different passages, and “Be Brave” is so powerful as to bring tears to the eyes just recalling it... If anything, this show has gotten better with age." -- Basil Considine for Twin Cities Arts Reader
"The authenticity of Max's narrative, told with a blend of delightful comic bravado and heartfelt genuine emotion, showed why his little show drew bravos from Fringe-goers, and continues to earn cheers wherever it is performed... Ball is brave enough to tell the truth: gross, painful, often hilarious and tuneful... the show is laden with wit, humor, even goofiness, and fully immersed in Max's warmth and generous heart." -- Arthur Dorman for Talkin' Broadway
"Ball is not to be missed... Mining cancer for comedy is tricky business, but the jokes and lyrics about cancer and its treatment clearly struck a chord with the audience. Members alternately laughed and dabbed at their eyes in different passages, and “Be Brave” is so powerful as to bring tears to the eyes just recalling it... If anything, this show has gotten better with age." -- Basil Considine for Twin Cities Arts Reader
"The authenticity of Max's narrative, told with a blend of delightful comic bravado and heartfelt genuine emotion, showed why his little show drew bravos from Fringe-goers, and continues to earn cheers wherever it is performed... Ball is brave enough to tell the truth: gross, painful, often hilarious and tuneful... the show is laden with wit, humor, even goofiness, and fully immersed in Max's warmth and generous heart." -- Arthur Dorman for Talkin' Broadway
The Good Person of Szechwan (Ten Thousand Things, 2018)
"TTT at its TTT-iest: inclusive, thoughtfully detailed, studded with wonderful actors, and fueled by a sense of fun... The versatile cast is pretty much all fun, all the time... Max Wojtanowicz transforms from a doting mother to a god to a cop who apparently came to Szechwan by way of a Jimmy Cagney movie set in Brooklyn, circa 1948 (in the finale, he shifts among all three characters)... They're magicians as much as they're actors, and half the fun of this lively "Good Person" is seeing how they do their tricks. Which also happens to be appropriately Brechtian." -- Chris Hewitt for the Star Tribune
"Hensley does powerful things with very little in her production. She has assembled a fine cast of top-notch actors who fulfill multiple roles, often bouncing back and forth between genders." -- Renee Valois for the Pioneer Press
"Brecht is known as one of the hardest to produce playwrights of the modern era but you’d never know it by the way Hensley’s cast and crew handily delivers the goods in this production. The adaptation by Hensley moves at a spritely pace. The entire cast has perfect timing." -- Mari Wittenbreer for How Was The Show
"Eight actors—the customary limit for a Ten Thousand Things cast—portray all these characters, along with several others, and all do fantastic work... As the three gods, Max Wojtanowicz, Sun Mee Chomet and Harry Waters Jr. are a delightful trio, each taking on a distinct personality and merrily playing off one another." -- Arthur Dorman for Talkin' Broadway
"Hensley does powerful things with very little in her production. She has assembled a fine cast of top-notch actors who fulfill multiple roles, often bouncing back and forth between genders." -- Renee Valois for the Pioneer Press
"Brecht is known as one of the hardest to produce playwrights of the modern era but you’d never know it by the way Hensley’s cast and crew handily delivers the goods in this production. The adaptation by Hensley moves at a spritely pace. The entire cast has perfect timing." -- Mari Wittenbreer for How Was The Show
"Eight actors—the customary limit for a Ten Thousand Things cast—portray all these characters, along with several others, and all do fantastic work... As the three gods, Max Wojtanowicz, Sun Mee Chomet and Harry Waters Jr. are a delightful trio, each taking on a distinct personality and merrily playing off one another." -- Arthur Dorman for Talkin' Broadway
The Pirates of Penzance (Park Square Theatre, 2018)
photo by Rebecca Bernstein
"With all of the broad comedy, played directly to the audience, things could get out of hand, but the production feels disciplined and serious in its giddiness. The effect is that all of the characters — and, by extension, the actors playing them — seem to be having a swell time in this unorthodox "Pirates." And it is contagious... This "Pirates" takes place during rehearsals on a transatlantic voyage, but frequently pauses for asides to the audience in which we learn about the original production's history (contentious), reviews (raves) and what critics identified as flaws (chiefly, an actor named Hugh Talbot, winningly played here by Max Wojtanowicz, whom this critic declines to trash)." -- Chris Hewitt for the Star Tribune
"An imaginative and whimsical production at Park Square Theatre gives that silliness a twist that refreshes the work while honoring its roots... The nine-member cast is uniformly strong... As the not-very-bright former pirate Frederic, Max Wojtanowicz is not your typical pretty-boy tenor, and his voice is more musical-theater than operetta. But he has the character actor’s knack for dexterously milking maximum humor out of a role, knowing when to deadpan and when to go big... It doesn’t disappoint, whether you’re seeing “Pirates” for the first time or the twenty-first." -- Dominic Papatola for the Pioneer Press
"A supremely entertaining musical that's refreshingly modern, while still respectful of the source, and even providing some historical context around the 1879 NYC premiere... As the somewhat dimwitted tenor playing Frederic, Max Wojtanowicz is so charming and funny, highlighted by a moment of audience contact in Frederic's big song of seduction... This show is proof that classic pieces we love, despite some outdated parts, can be updated to feel fresh, modern, relevant, and still worthy of doing. I didn't think I could love Pirates more, until I saw this ingeniously deconstructed and re-imagined version." -- Jill Schafer for Cherry and Spoon
"[The creative team] has certainly taken the comic opera out of the museum, and pumped it with helium, lifting the whole enterprise to glorious heights... Max Wojtanowicz does not possess the pretty-boy looks associated with Frederic but uses that fact to make his portrayal enormous fun, pumped with energy while still delivering full force with his gorgeous tenor, with an exquisite "Oh, Is There Not One Maiden's Breast?" ... Several duets by Ms. McGlave and Mr. Wojtanowicz are so shimmering in the purity of their sound that one forgets this is a rollicking comedy and not a vocal recital." -- Arthur Doman for Talkin' Broadway
"An imaginative and whimsical production at Park Square Theatre gives that silliness a twist that refreshes the work while honoring its roots... The nine-member cast is uniformly strong... As the not-very-bright former pirate Frederic, Max Wojtanowicz is not your typical pretty-boy tenor, and his voice is more musical-theater than operetta. But he has the character actor’s knack for dexterously milking maximum humor out of a role, knowing when to deadpan and when to go big... It doesn’t disappoint, whether you’re seeing “Pirates” for the first time or the twenty-first." -- Dominic Papatola for the Pioneer Press
"A supremely entertaining musical that's refreshingly modern, while still respectful of the source, and even providing some historical context around the 1879 NYC premiere... As the somewhat dimwitted tenor playing Frederic, Max Wojtanowicz is so charming and funny, highlighted by a moment of audience contact in Frederic's big song of seduction... This show is proof that classic pieces we love, despite some outdated parts, can be updated to feel fresh, modern, relevant, and still worthy of doing. I didn't think I could love Pirates more, until I saw this ingeniously deconstructed and re-imagined version." -- Jill Schafer for Cherry and Spoon
"[The creative team] has certainly taken the comic opera out of the museum, and pumped it with helium, lifting the whole enterprise to glorious heights... Max Wojtanowicz does not possess the pretty-boy looks associated with Frederic but uses that fact to make his portrayal enormous fun, pumped with energy while still delivering full force with his gorgeous tenor, with an exquisite "Oh, Is There Not One Maiden's Breast?" ... Several duets by Ms. McGlave and Mr. Wojtanowicz are so shimmering in the purity of their sound that one forgets this is a rollicking comedy and not a vocal recital." -- Arthur Doman for Talkin' Broadway
Dr. Seuss' The Sneetches
(Children's Theatre Company, 2017)
photo by Dan Norman
"Dr. Seuss's message of moving beyond prejudice to friendship couldn't have come at a better time, especially when wrapped up in the colorful, heart-warming, and highly entertaining package that is CTC's production... This cast is a dream, and everyone, down to the smallest Sneetch, is so energetic and fully committed to telling this story... Highlights in the large ensemble are too many to mention, but just to name a few: Max Wojtanowicz as the proud mayor of the star-bellies... Thanks, Children's Theatre, for bringing us this message just when we need it most." -- Jill Schafer for Cherry and Spoon
"The stars have aligned for the Children’s Theatre Company’s latest world premiere... Max Wojtanowicz makes a suitably snooty Mayor Snietzsche, doing his best to maintain the status quo." -- Pamela Espeland for MinnPost
"The stars have aligned for the Children’s Theatre Company’s latest world premiere... Max Wojtanowicz makes a suitably snooty Mayor Snietzsche, doing his best to maintain the status quo." -- Pamela Espeland for MinnPost
Ball: A Musical Tribute To My Lost Testicle
(The Catalysts / Minnesota Fringe Festival, 2016)
*** Top Ten Shows of 2016
(Cherry and Spoon, Twin Cities Arts Reader) ***
photo by Ann Erickson
"Friends, I'm calling it: Ball is the best show of the Fringe and Max Wojtanowicz gives the best performance of the Fringe. As funny and musically delightful as it is heartfelt and moving." -- Jill Schafer for Cherry and Spoon
"We have a winner. Max Wojtanowicz’s show is charming, witty, moving and thoroughly enjoyable. Singing about his journey as a survivor of testicular cancer, Wojtanowicz is sharp and wry, avoiding what he calls the “pastelization of cancer.” And because he has such charisma, and a gorgeous voice, Ball is not so much about what he lost, but the grace, beauty and elegance that he gained from his traumatic survivor’s experience." -- Rohan Preston for the Star Tribune
"And frankly, he knocks the damn thing out of the park. Whether it’s a telling reinterpretation of a pre-existing song from the musical theater canon, or taking one of those tunes and offering up his own satirical lyrics, or presenting a completely original song of his own, Wojtanowicz slays this thing. This is a story that needs to be told, in the hands of a storyteller who knows exactly how to tell it. Ball is fantastic. Max as a performer is inspiring." -- Matthew Everett for Single White Fringe Geek
"Max Wojtanowicz has turned his tragedy into a hilarious and heart-warming musical triumph. Sensitively but not cloyingly directed by his longtime partner in crime Nikki Swoboda, and featuring spot on original tunes by Jason Hansen, Michael Gruber, and music director Andrew Cooke, Mr. Wojtanowicz has created one of the most life-affirming shows of the festival." -- Todd O'Dowd for L'etoile Magazine
"I honestly don’t even know where to begin. This show has everything. If Ball was the only Fringe show I saw, I'd be completely satisfied." -- Laura Van Zandt for One Girl Two Cities
"We have a winner. Max Wojtanowicz’s show is charming, witty, moving and thoroughly enjoyable. Singing about his journey as a survivor of testicular cancer, Wojtanowicz is sharp and wry, avoiding what he calls the “pastelization of cancer.” And because he has such charisma, and a gorgeous voice, Ball is not so much about what he lost, but the grace, beauty and elegance that he gained from his traumatic survivor’s experience." -- Rohan Preston for the Star Tribune
"And frankly, he knocks the damn thing out of the park. Whether it’s a telling reinterpretation of a pre-existing song from the musical theater canon, or taking one of those tunes and offering up his own satirical lyrics, or presenting a completely original song of his own, Wojtanowicz slays this thing. This is a story that needs to be told, in the hands of a storyteller who knows exactly how to tell it. Ball is fantastic. Max as a performer is inspiring." -- Matthew Everett for Single White Fringe Geek
"Max Wojtanowicz has turned his tragedy into a hilarious and heart-warming musical triumph. Sensitively but not cloyingly directed by his longtime partner in crime Nikki Swoboda, and featuring spot on original tunes by Jason Hansen, Michael Gruber, and music director Andrew Cooke, Mr. Wojtanowicz has created one of the most life-affirming shows of the festival." -- Todd O'Dowd for L'etoile Magazine
"I honestly don’t even know where to begin. This show has everything. If Ball was the only Fringe show I saw, I'd be completely satisfied." -- Laura Van Zandt for One Girl Two Cities
C. (Theater Latte Da, 2016)
photo by Dan Norman
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"C. totally wrecked me & left me with such an exquisite ache I might never recover... The 16-person ensemble of musicians, actors, and singers is fantastic. Highlights in the ensemble are too many to mention, but must include the always entertaining Max Wojtanowicz as everyone's favorite baker." -- Jill Schafer for Cherry and Spoon "C. soars and flies... Performances in C., under the crisp hand of director Peter Rothstein, are, as one has come to expect with this theater, excellent... The quirky Max Wojtanowicz made me giggle endlessly... Everyone, I have to say, to a person, sings brilliantly. This makes C. the best show currently running in the Twins. It’s the play to see. So see it." -- John Olive for How Was The Show |
Shelly Bachberg Presents: Orange Is The New P.O.T.U.S.: The Musical
(The Catalysts / Minnesota Fringe, 2015)
photo by Dan Norman
"If you saw the 2013 Fringe hit Shelly Bachberg Presents: How Helen Keller and Anne Frank Freed the Slaves: The Musical, then you know what to expect. But you don't need the background to appreciate this smart, funny, ridiculous political satire that also includes TV and musical theater references while delivering a half dozen fantastic new songs. This is the third new original musical by creative team Max Wojtanowicz (book and lyrics), Michael Gruber (music and additional lyrics), and Nikki Swoboda (direction and more), and the experience and teamwork shows in this ridiculously funny show that's a mash-up of the Netflix hit Orange is the New Black, musicals like Chicago and West Side Story, and the worst that politics has to offer... A great example of the Fringe musical at its best." -- Jill Schafer for Cherry and Spoon
You Can't Take It With You (Jungle Theater, 2015)
photo by Keri Pickett
"The company comprises one of the warmest and strongest ensemble casts in recent memory in the service of a chestnut from the canon that retains the power to provoke laughter and thought... Max Wojtanowicz' Ed is amiably hapless at just about everything, but plays a mean xylophone." -- Dominic Papatola for the Pioneer Press
"The terrific cast brings each lovable character to life... Julia Valen as Essie and Max Wojtanowicz as Ed make a frenetic couple, she leaping about in ungainly ballet moves, he sputtering about his printing press, and the two constantly billing and cooing." -- Arthur Dorman for Talkin' Broadway
"The plain fact is, You Can’t Take It With You is fabulous fun... The play’s cast is to a person, terrific... the actors get most of the credit for their wonderfulness; these artists thrill... I’ve seen Max Wojtanowicz in a few roles, but in You Can’t Take It With You, as the tall xylophone-playing Ed Carmichael, he takes. Wojtanowicz is an actor of great style and I look forward to seeing him down the theatrical line." -- John Olive for How Was The Show
"The terrific cast brings each lovable character to life... Julia Valen as Essie and Max Wojtanowicz as Ed make a frenetic couple, she leaping about in ungainly ballet moves, he sputtering about his printing press, and the two constantly billing and cooing." -- Arthur Dorman for Talkin' Broadway
"The plain fact is, You Can’t Take It With You is fabulous fun... The play’s cast is to a person, terrific... the actors get most of the credit for their wonderfulness; these artists thrill... I’ve seen Max Wojtanowicz in a few roles, but in You Can’t Take It With You, as the tall xylophone-playing Ed Carmichael, he takes. Wojtanowicz is an actor of great style and I look forward to seeing him down the theatrical line." -- John Olive for How Was The Show
Fruit Fly: The Musical (The Catalysts / Illusion Theater, 2015)
photo by Laurie B Photography
"A brilliant full-fledged two character musical... Fruit Fly is Off-Broadway caliber and really ought to be marketed everywhere. Not only is it first rate as a production but it has wide audience appeal that will illuminate GLBTQ and straight folks alike, even those you’d think would be resistant to its content." -- John Townsend for Lavender Magazine
"Growing up makes simple-seeming decisions messy, complex, and often painful. These moments of reality threaten to knock Fruit Fly off balance. The sit-commy ambiance (yes, there is a direct reference to Will & Grace) sits uneasily alongside the very real agony created when the two slip apart. Yet Janson and Wojtanowicz are able to pull it off. Part of that stems from the chemistry built by a 20-year friendship. They're naturally comfortable in each other's presence, making their characters so likeable we want to see them through the dark times." -- Ed Huyck for City Pages
"A story that everyone can relate to... Janson and Wojtanowicz’s friendship is so genuine, and their admiration for each other so real, that it was hardly an act for them." -- Katie Fraser for CBS Minnesota
"The story of their “lifelong sexless romance” unspools in humorous and touching scenes that progress chronologically from the 1990s to the present and songs that seem organic, as if singing were the most natural thing in the world. The lyrics are clever (when did you last rhyme “femur” and “lemur”?), Michael Gruber’s music is warm and appealing, the Sondheim references are plentiful and the fourth wall is porous. By the end, you want to invite the two friends out for a drink." -- Pamela Espeland for MinnPost
"Since in addition to being best friends, Max Wojtanowicz and Sheena Janson are both super talented music-theater artists, the result is a musical that's not only fun and entertaining, but also brutally honest and from the heart... The best kind of theater comes from a place of truth, as this show most definitely does. It takes courage to spill your deepest secrets and intimacies of a relationship on stage, but it makes for theater that's so rewarding for the audience, and, I imagine, the creators. Like [title of show], this new musical is a piece that could play on stages around the country with any two actors with the right chemistry. But of course Max and Sheena are the best and most honest Max and Sheena." -- Jill Schafer for Cherry and Spoon
"Growing up makes simple-seeming decisions messy, complex, and often painful. These moments of reality threaten to knock Fruit Fly off balance. The sit-commy ambiance (yes, there is a direct reference to Will & Grace) sits uneasily alongside the very real agony created when the two slip apart. Yet Janson and Wojtanowicz are able to pull it off. Part of that stems from the chemistry built by a 20-year friendship. They're naturally comfortable in each other's presence, making their characters so likeable we want to see them through the dark times." -- Ed Huyck for City Pages
"A story that everyone can relate to... Janson and Wojtanowicz’s friendship is so genuine, and their admiration for each other so real, that it was hardly an act for them." -- Katie Fraser for CBS Minnesota
"The story of their “lifelong sexless romance” unspools in humorous and touching scenes that progress chronologically from the 1990s to the present and songs that seem organic, as if singing were the most natural thing in the world. The lyrics are clever (when did you last rhyme “femur” and “lemur”?), Michael Gruber’s music is warm and appealing, the Sondheim references are plentiful and the fourth wall is porous. By the end, you want to invite the two friends out for a drink." -- Pamela Espeland for MinnPost
"Since in addition to being best friends, Max Wojtanowicz and Sheena Janson are both super talented music-theater artists, the result is a musical that's not only fun and entertaining, but also brutally honest and from the heart... The best kind of theater comes from a place of truth, as this show most definitely does. It takes courage to spill your deepest secrets and intimacies of a relationship on stage, but it makes for theater that's so rewarding for the audience, and, I imagine, the creators. Like [title of show], this new musical is a piece that could play on stages around the country with any two actors with the right chemistry. But of course Max and Sheena are the best and most honest Max and Sheena." -- Jill Schafer for Cherry and Spoon
The Unsinkable Molly Brown (Ten Thousand Things, 2015)
photo by Paula Keller
"Ten Thousand Things’ rollicking revival of The Unsinkable Molly Brown lacks... sophisticated staging and pricey props, [but] it more than makes up for with genuine talent and unbridled enthusiasm... The six other actors in the cast take on 28 supporting and bit roles. Particularly amusing are H. Adam Harris as barkeep Christmas, Kimberly Richardson as snooty Mrs. McGlone and Max Wojtanowicz as a priggish butler." -- Kristin Tillotson for the Star Tribune
"A vivacious production by Ten Thousand Things... The hard-working eight-member cast is completed by savvy performers -- all playing multiple roles -- who know the difference between broad character and caricature... Ten Thousand Things offers a big-hearted and buoyant telling of a tale of rags, riches and realization." -- Dominic Papatola for the Pioneer Press
"Ten Thousand Things uses its unique stagings to make musicals work for the company. The small company doubles and triples up throughout. All of this creates a headlong rush of energy that doesn't stop until the show reaches its end two hours later. The balance of the company carve out their own memorable spaces, from Kimberly Richardson's black-clad society scion Mrs. McGlone to Max Wojtanowicz's haughty butler Roberts." -- Ed Huyck for City Pages
"Even in the rich landscape of the Twin Cities, TTT makes inspiring theater magic... the rest of this talented cast assumes a variety of roles to illustrate her journey through Colorado, class lines, and love... Max Wojtanowicz charms the audience as a disdainful butler and self-congratulatory suitor." -- Lisa Hu for Minnesota Playlist
"A vivacious production by Ten Thousand Things... The hard-working eight-member cast is completed by savvy performers -- all playing multiple roles -- who know the difference between broad character and caricature... Ten Thousand Things offers a big-hearted and buoyant telling of a tale of rags, riches and realization." -- Dominic Papatola for the Pioneer Press
"Ten Thousand Things uses its unique stagings to make musicals work for the company. The small company doubles and triples up throughout. All of this creates a headlong rush of energy that doesn't stop until the show reaches its end two hours later. The balance of the company carve out their own memorable spaces, from Kimberly Richardson's black-clad society scion Mrs. McGlone to Max Wojtanowicz's haughty butler Roberts." -- Ed Huyck for City Pages
"Even in the rich landscape of the Twin Cities, TTT makes inspiring theater magic... the rest of this talented cast assumes a variety of roles to illustrate her journey through Colorado, class lines, and love... Max Wojtanowicz charms the audience as a disdainful butler and self-congratulatory suitor." -- Lisa Hu for Minnesota Playlist
FAVORITE ARTISTS OF 2013: "Every year I pick a few of my favorite artists, not for just one performance, but for multiple remarkable works throughout the year... One of the stars of Ordinary Days, Max Wojtanowicz shined in this and several other projects on and off stage. On stage he was a member of the ensemble of the delightful baseball musical Johnny Baseball at Park Square, and also played a rare serious non-musical role in the clever Six Characters in Search of an Author at the Gremlin. But even more impressive is his creative work. The charming autobiographical musical Fruit Fly that he wrote with best friend Sheena Janson was presented as part of Illusion Theater's Fresh Ink series, in which he also starred. Lastly, he was one of the brains behind the hilarious political satire musical Shelly Bachberg Presents: How Helen Keller and Anne Frank Freed the Slaves: The Musical at this summer's Fringe (with music by Michael Gruber for both musicals). He's a great talent onstage and behind the scenes, with more to come I'm certain." -- Jill Schafer (from Cherry and Spoon)
Ordinary Days (Nautilus Music Theater, 2013)
*** 2014 IVEY Award for Overall Excellence ***
photos by Ben Krywosz
"This is the ideal cast Ordinary Days needed... The voices. Oh my God, the voices. Wojtanowicz, Ponasik, Scholz-Carlson, and Rodau are each in their own way fantastic. They make it look so easy. If you've seen any musical theater at all, though, you know it's not easy. Not a bum note. Not a moment when you feel them straining. Time and again, song after song, they just blow you right out of your seat... To be in such an intimate space, so close to such vocal powerhouses, is a treat you don't want to miss... Ordinary Days is anything but ordinary. You should see and hear it for yourself. Very highly recommended!" -- Matthew A. Everett with the Twin Cities Daily Planet
"The new musical Ordinary Days is everything I want musical theater to be - original, authentic, relevant, moving, and compelling... Max is one of those actors I'd watch in anything because he makes everything better with his commitment and his believability in the moment... If you want to see what the future of musical theater looks like, go see Ordinary Days." -- Jill Schafer at Cherry and Spoon
"The ensemble cast... delivers impeccably on the promise of Gwon’s heartfelt score... [Warren is] played with endearing earnestness and gentle humor by Max Wojtanowicz." -- Susannah Schouweiler at Knight Arts
"The new musical Ordinary Days is everything I want musical theater to be - original, authentic, relevant, moving, and compelling... Max is one of those actors I'd watch in anything because he makes everything better with his commitment and his believability in the moment... If you want to see what the future of musical theater looks like, go see Ordinary Days." -- Jill Schafer at Cherry and Spoon
"The ensemble cast... delivers impeccably on the promise of Gwon’s heartfelt score... [Warren is] played with endearing earnestness and gentle humor by Max Wojtanowicz." -- Susannah Schouweiler at Knight Arts
Shelly Bachberg Presents: How Helen Keller and Anne Frank Freed the Slaves: The Musical
(Minnesota Fringe Festival, 2013)
photo by Dan Norman
"A MUST SEE! Most everyone except maybe tea party members will find something to like about this show in which a certain conservative Minnesota congresswoman and presidential candidate presents her fractured view of history." -- Richard Chin at the Pioneer Press
"FAVORITE MUSICAL: It could have been a one-note sketch extended to an hour, but the creators took the various elements of the concept and stretched, bent, and broke them into something amazing. The fractured history at the core of the story gets crazier and crazier, ending with Anne Frank facing off with evil Abraham Lincoln for the right to free the president's slaves. The company was first rate and the message wasn't so overwhelming to get in the way of the fun." -- Ed Huyck at the City Pages
"The musical love child of Stephen Colbert and Stephen Sondheim... The lyrics are witty, the book is brilliant, and the music is delightful. Everything about the production is top-notch. It is my favorite show in the Fringe so far, and my favorite new musical in ages." -- Wendy Gennaula at the Twin Cities Daily Planet
"The creators of last year's Fringe hit Fruit Fly: The Musical return with this completely ridiculous (in a good way) offering, featuring a fantastic cast... The show is jam-packed with mixed up historical stories, songs that are fun and lively (despite their messed up messages of "truth"), rousing ensemble numbers, and costumes that are way above average for a Fringe show." -- Jill Schafer at Cherry and Spoon
"FAVORITE MUSICAL: It could have been a one-note sketch extended to an hour, but the creators took the various elements of the concept and stretched, bent, and broke them into something amazing. The fractured history at the core of the story gets crazier and crazier, ending with Anne Frank facing off with evil Abraham Lincoln for the right to free the president's slaves. The company was first rate and the message wasn't so overwhelming to get in the way of the fun." -- Ed Huyck at the City Pages
"The musical love child of Stephen Colbert and Stephen Sondheim... The lyrics are witty, the book is brilliant, and the music is delightful. Everything about the production is top-notch. It is my favorite show in the Fringe so far, and my favorite new musical in ages." -- Wendy Gennaula at the Twin Cities Daily Planet
"The creators of last year's Fringe hit Fruit Fly: The Musical return with this completely ridiculous (in a good way) offering, featuring a fantastic cast... The show is jam-packed with mixed up historical stories, songs that are fun and lively (despite their messed up messages of "truth"), rousing ensemble numbers, and costumes that are way above average for a Fringe show." -- Jill Schafer at Cherry and Spoon
Six Characters in Search of an Author (Alan Berks & Company, 2013)
"Director Alan Berks and his company, in a co-production with Gremlin Theatre, have brilliantly adapted Pirandello’s script for a contemporary audience... Under Berks’ sharp direction, interest never flags... John Middleton as the Father and ShaVunda Horsley as the Step Daughter carry on a compelling battle of recrimination. Colleen Barrett as the Mother and Max Wojtanowicz as the Son are equally compelling in their silence... Berks and company have created a powerful philosophical tragedy, both moving and thought-provoking." -- William Randall Beard at the Star Tribune
"The company, especially the nameless family, really relish the chances they're given here... Max Wojtanowicz as the Son has to hide nearly everything inside, except for a few key heartbreaking moments near the end of the play." -- Ed Huyck at City Pages
Fruit Fly: The Musical (Minnesota Fringe Festival, 2012)
photo by Dan Norman
"A girl and her gay male best friend: It's become a staple of TV and movies in recent years. But seldom is it dealt with as cleverly as in Sheena Janson and Max Wojtanowicz's tuneful tribute to their 17-year friendship. Michael Gruber helped them fashion this brisk, breezy and very funny little two-person musical, its songs full of witty rhymes in the Cole Porter tradition. Brimming with affection and honesty, it chronicles their evolution from being an imagined couple to his coming out to her dating and his jealousy. It's sweet-spirited, high-energy, crisp as can be and totally delightful." -- Rob Hubbard at the Pioneer Press
"This musical explores their evolving friendship as a gay man and a straight woman, full of broad physical comedy and sharp, sarcastic wit. Their depiction of gay culture and the emotional complications of this kind of relationship is funnier than "Will & Grace" (which they reference), and has some delightful songs." -- William Randall Beard at the Star Tribune
"A moving and honest tribute to friendship. It is so beautiful to see two incredibly talented performers in perfect harmony. Light flows off of them in waves. You get to drink it all in, leaving the theater with a very sunny high." -- H Adam Harris at Minnesota Playlist
"A simple and tremendously entertaining Fringe offering... Wojtanowicz and Janson fairly burst with acting prowess, musical chops and pure charm." -- John Olive at How Was the Show
"The happiest show in the Fringe! ... The dynamic duo of Max Wojtanowicz and Sheena Janson are top-notch singer-actors, and Michael Gruber's score lets them shine. Nikki Swoboda's deft direction makes the implausibility of cabaret-in-the-round a feature, not a bug." -- Wendy Gennaula at TC Daily Planet
"This musical explores their evolving friendship as a gay man and a straight woman, full of broad physical comedy and sharp, sarcastic wit. Their depiction of gay culture and the emotional complications of this kind of relationship is funnier than "Will & Grace" (which they reference), and has some delightful songs." -- William Randall Beard at the Star Tribune
"A moving and honest tribute to friendship. It is so beautiful to see two incredibly talented performers in perfect harmony. Light flows off of them in waves. You get to drink it all in, leaving the theater with a very sunny high." -- H Adam Harris at Minnesota Playlist
"A simple and tremendously entertaining Fringe offering... Wojtanowicz and Janson fairly burst with acting prowess, musical chops and pure charm." -- John Olive at How Was the Show
"The happiest show in the Fringe! ... The dynamic duo of Max Wojtanowicz and Sheena Janson are top-notch singer-actors, and Michael Gruber's score lets them shine. Nikki Swoboda's deft direction makes the implausibility of cabaret-in-the-round a feature, not a bug." -- Wendy Gennaula at TC Daily Planet
The Wizard of Oz (Children's Theatre Company, 2011)
photo by Dan Norman
"Nearly everything works well together in director Peter Rothstein's magical revival of "Oz" ... The Tin Man's yearning is beautifully conveyed by Max Wojtanowicz on "If I Only Had a Heart." A newcomer to "Oz," [he] gives a touching performance..." -- Minneapolis Star Tribune
"A show in which limitations do not exist and boundaries are limitless... The Tin Man’s boots are filled by a very able, highly enjoyable Max Wojtanowicz, also a CTC veteran. Together, the three men make for a circus troupe of sorts, using their impressively flexible bodies and elastic facial expressions to not only embody their roles, but make them their own." -- Minnesota Monthly Magazine
"Max Wojtanowicz steps into the galvanized role of the Tin Man, ... [and] offers a nice, knowing performance that makes the role his own." -- St. Paul Pioneer Press
"The Wizard of Oz will make anyone wish that they could be whisked off to the yellow brick road for a day... [its] cast – wonderful down to the last munchkin – make it capable of entertaining all ages... Dean Holt, Max Wojtanowicz and Reed Sigmund star as the Scarecrow, Tin Man and Cowardly Lion, respectively, and also turn in lovable performances. Although they are playing familiar, well-loved characters, they also make them their own." -- Twin Cities Metro Magazine
"A show in which limitations do not exist and boundaries are limitless... The Tin Man’s boots are filled by a very able, highly enjoyable Max Wojtanowicz, also a CTC veteran. Together, the three men make for a circus troupe of sorts, using their impressively flexible bodies and elastic facial expressions to not only embody their roles, but make them their own." -- Minnesota Monthly Magazine
"Max Wojtanowicz steps into the galvanized role of the Tin Man, ... [and] offers a nice, knowing performance that makes the role his own." -- St. Paul Pioneer Press
"The Wizard of Oz will make anyone wish that they could be whisked off to the yellow brick road for a day... [its] cast – wonderful down to the last munchkin – make it capable of entertaining all ages... Dean Holt, Max Wojtanowicz and Reed Sigmund star as the Scarecrow, Tin Man and Cowardly Lion, respectively, and also turn in lovable performances. Although they are playing familiar, well-loved characters, they also make them their own." -- Twin Cities Metro Magazine
Torch Song Trilogy (Workhouse Theatre Company, 2011)
photo by Duane Atter
"Torch Song Trilogy has a big powerfully beating human heart. Max Wojtanowicz wears the role of Arnold like a second skin. He has a very big pair of bunny slippers to fill here, and it comes off looking like the part was written for him. He's onstage with very little respite for the entire span of the evening. He's the hub around which everything else spins. Wojtanowicz makes it easy to forget that what he's doing is actually very hard. He could be just a naughty, bawdy clown. He could be a stereotype. He could be a bad Harvey Fierstein impression. He is none of these things. He's simply Arnold, and he's a big part of the reason this whole show works as well as it does." -- Twin Cities Daily Planet
"Audiences can be grateful to Workhouse Theatre Company for its rare, masterful production of Harvey Fierstein's Torch Song Trilogy... Fierstein delivered an iconic performance as Arnold, the autobiographical role that he wrote for himself. Max Wojtanowicz gets out from under that shadow to create a unique characterization. There is a wide-eyed exuberance to his over-the-top camp, and he brings an extravagant emotional vulnerability to his portrayal... This is a powerful production of a significant and often overlooked American play." -- Minneapolis Star Tribune
"Workhouse... delivers the goods in its latest production... part of that credit goes to the actors, led by Max Wojtanowicz as Arnold. The character uses his bitchiness to hide a trunkful of insecurities and Wojtanowicz plays the different sides very well, slipping between funny and dramatic moments with ease." -- City Pages, Minneapolis
"Audiences can be grateful to Workhouse Theatre Company for its rare, masterful production of Harvey Fierstein's Torch Song Trilogy... Fierstein delivered an iconic performance as Arnold, the autobiographical role that he wrote for himself. Max Wojtanowicz gets out from under that shadow to create a unique characterization. There is a wide-eyed exuberance to his over-the-top camp, and he brings an extravagant emotional vulnerability to his portrayal... This is a powerful production of a significant and often overlooked American play." -- Minneapolis Star Tribune
"Workhouse... delivers the goods in its latest production... part of that credit goes to the actors, led by Max Wojtanowicz as Arnold. The character uses his bitchiness to hide a trunkful of insecurities and Wojtanowicz plays the different sides very well, slipping between funny and dramatic moments with ease." -- City Pages, Minneapolis
[title of show] (Urban Samurai Productions, 2011)
photo by George Calger
"[The director Ryan Grimes] has chosen a cast of pleasant personalities and talents. Wojtanowicz muscles his way to the top with exuberance and a charming sense of humor. His character, Hunter, wrote the piece, so it stands he should get all the best lines." -- Minneapolis Star Tribune
"As [title of show] creators Hunter and Jeff, Wojtanowicz and Qualls have no problem convincing the audience that they're the best of friends as they play off each other seamlessly. Wojtanowicz carefully intertwines hilarity with seriousness... Both actors are in fine vocal form." -- Twin Cities Daily Planet
"A well-sung staging... Max Wojtanowicz and Adam Qualls are dishy and funny ... as Hunter and Jeff. They both sing well and have a certain... excuse-me-please charm..." -- Pioneer Press, St. Paul
"As [title of show] creators Hunter and Jeff, Wojtanowicz and Qualls have no problem convincing the audience that they're the best of friends as they play off each other seamlessly. Wojtanowicz carefully intertwines hilarity with seriousness... Both actors are in fine vocal form." -- Twin Cities Daily Planet
"A well-sung staging... Max Wojtanowicz and Adam Qualls are dishy and funny ... as Hunter and Jeff. They both sing well and have a certain... excuse-me-please charm..." -- Pioneer Press, St. Paul
The 500 Hats of
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Mr. McGee and
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