Special Guest Show Review: “Manawa Rodeo” by Matty Day
Manawa, Wisconsin: a town in Waupaca County with fewer than 1,500 residents. While its most famous high school graduate—Senator Joseph McCarthy—may have put the town on the map, it’s the annual Mid-Western Rodeo keeps it in the spotlight, drawing a crowd 10 times the town’s population each summer.
Among the masses in Manawa for last summer’s rodeo—its 67 th anniversary—was an eager first-time attendee: one Frank R. Hermans. There, amid the thrill of the competition, the dazzling sights and sounds, and the meat sweats from too much BBQ beef, Frank’s rodeo-addled brain began buckin’ up an all-new homage to the event—the likes of which ain’t never been bucked before: “Manawa Rodeo”.
This twisted, twangy, 10-gallon tribute debuted on February 5th , kicking off the 27 th (!) season of Let Me Be Frank Productions. The story—co-written as always by Frank and 20-year conspirator Pat Hibbard—sees the small town rearing into rodeo mode. However, bull-riding itself is barely a blip on this script, focusing instead on a fierce, three-way competition to crown this year’s Manawa Rodeo Queen.
The round-up of talent includes contestants Amy Riemer as a fiery tomboy-turned-head-turner; Lisa Borley, a barrel (rider) of laughs whose friends dared her to compete; and Kasey Schumacher, well assured she’s all that and a case of Coor’s. Sarah Galati embodies the role of reigning rodeo queen, who can’t wait to ditch her crown and the goody-two-boots responsibilities that came with it. Each actress has a comically distinct personality, emphasized by regional dialogue and countified clothing.
While the gals are the stars, the plot plays off of four Frankly unforgettable characters. Presiding over the ceremonies is Pat Hibbard as Boss Hogg, clad in a sterling white countrypolitan suit and calling the shots (and playing bass). Paul Evansen plays rodeo ace Slim Shadey, who brings bales of bravado, bull-riding experience, and just plain bull. Tom Verbrick as speech-impeded, squeaky-shoed rodeo clown Disco Dalton is tasked with keeping everyone out of trouble (heaven help us). Last, and certainly least credible, is Frank’s Snidely Quackman, a good ol’ salesboy with a wagon full of whatever fiddle-faddle fix-all he says you need, no prescription necessary.
Throughout, the rodeo queen contestants get more competitive (and catty), the reigning queen gets more disillusioned (and drunk), Slim Shadey tries harder to smooth-talk the ladies, Boss Hogg gleefully overshares, Dalton ups the ante on his hayseed antics, and Snidely abandons all interest in the bulls’ bucks and just tries to make his own, whipping up miracle cures, tonics, serums and substances on the spot.
I’ve been attending Frank’s shows since the S.C. Grand days, and this just might be my favorite batch of characters he and Pat have created, with the cast fully leaning into these silly roles and delivering some of the best wordplay yet penned for LMBF. If the rest of 2026’s shows are just half as clever as this one, season 27 could be special.
Between the set design—with a huge, rodeo-representing backdrop, wooden bleachers, Boss Hogg’s podium and Snidely’s concoction wagon—and the perfect costumes (ranging from realistic to glamorous to aptly clownish), it’s enjoyably easy to, well, “Lose Yourself” in this fun story. Dashes of audience interaction and self-awareness make the show all the more engaging. I brought my mom with me to the show for her birthday (thanks for giving her a shout-out, Frank!) and we shared tons of good laughs.
What’s always most amazing about LMBF shows, though, is when the absurd one-liners give way to absurdly talented musical performances. In an instant, voices go from goofy to gorgeous, Ross Loining’s masterful lighting shows come to life, and the band rollicks into form. We’re suddenly taken from an original theatre production to a hi-fi concert experience, as pro soundman Kelly Klaus dials in the dynamic range of eight different lead singers. Ross and Kelly combine to make the beautiful Meyer Theatre into a radiant-yet-pleasant audio-visual experience through all parts of the show.
The setlist was suitably rodeo-ready, ranging from legends like Reba McEntire and Garth Brooks, to later stars like Toby Keith and Miranda Lambert, to contemporary artists like Kacey Musgraves and Thomas Rhett. As always, you likely know most of the songs at LMBF shows, but even if the tunes are new to you, the gifted cast and band’s performances make for a compelling introduction.
Some of the highlights for me:
Right from the first song, Amy’s vocal arrangements featured all four female vocalists singing in delightful harmony, while also holding down some two- steppin’, hip-swivelin’ choreography. Whenever one of the men sang lead, he was graced with the ladies’ lovely backing vocals.
Paul getting things going with Garth was perfect, but his voice was downright moving on George Strait’s “Amarillo By Morning”. It made for an endearing turn all the more impressive, as his character is written to be the least likable of the
show.
The ace LMBF band consists of Pat on bass, John Singer on guitar, Tony Pilz on keyboard, and Andrew Klaus on drums. I had never really heard this group play country together, but with Pat’s galloping thump, Tony’s honkytonk keys, John’s Telecaster twang and Andy swingin’ like barroom doors.
Amy’s performance on Casey Kearney’s “Born to Rodeo” was one of the first moments where the crowd was captivated by the switch from madcap humor to minor-key, heartfelt music.
Tom’s clown shoes got the theatre’s toes tapping with Randy Travis’ “Cowboy Boogie”—one of the most fun-for-fun’s-sake songs of the set.
Another standout musical moment from Act I was Lisa singing her ever-lovin’ heart out on the Danielle Bradbury version of Pam Tillis’ “Maybe It Was Memphis”. Heck, I’d never heard any version of this song before, but with how much she made it her own, do I need the others?
Pat singing “As Good As I Once Was” by Toby Keith was excellent and felt perfect for the show’s plot, but it was on Garth Brooks’ “Good Ride Cowboy” when he really beamed in that bright white get-up.
Frank brought his immaculate crooning drawl to all three of his numbers, but it was the banjo-clad swagger of Keith Urban’s “Somebody Like You” that really swung.
Funnily enough, Amy’s character in the show has a twinge of confidence issues, but there is such a reassuring ease about her every time she’s centerstage. This was especially apparent while singing Reba McEntire’s “Going Out Like That”. I have a funny feeling this wasn’t her first rodeo with a Reba song…
Lainey Wilson is another one of these newfangled singers I know nothing about, but Kasey kicked her spurs into “Hang Tight Honey” for a big finish to the first act.
The band brought a sizable rock energy to these songs, and with the fantastic lead vocals, harmonies, fun dancing and sound/light production, the show featured numerous concert-like highs.
Sarah treated us to yet another of these moments where everything came together, with her rendition of “Like We Never Loved at All” by Faith Hill having even the most grizzled of cowpokes rubbin’ sawdust from our eyes.
Act II also had all four women strutting to Shania Twain’s “Man! I Feel Like a Woman”, with Lisa on lead and Amy, Kasey and Sarah in solidarity with killer choreography.
What better song for the show’s biggest moment than Gretchen Wilson’s “Here for the Party”, with Sarah on lead and the full cast in tow for this rootin’/tootin’/boot-scootin’ country crescendo!
“Manawa Rodeo” has a good joke about “context” that I won’t spoil. On that note, this show is easy on the ears and eyes throughout, no matter how much or how little you know going into it. Last year, I did read Frank’s book, Simply Frank, written with our friend, the late Andrew Kruse-Ross, and it made me appreciate Frank and LMBF on a whole new level. But I only was familiar with a handful of the songs beforehand, and I admittedly had to look up Manawa on a map, and—at the risk of destroying my country credibility—I have never been to a rodeo. The show is enjoyable regardless, and no
prior context is needed to get the jokes.
Some of the show’s humor might not be suitable for little kids, but the production is great for all ages. Anyone with ears can appreciate the talents of this cast, band and crew. If a silly, summery story full of local musical prodigies sounds like a good time right about “meow”—oh, dear…—rope a ticket for “Manawa Rodeo” at the Meyer Theatre.
Performances:
Saturday, February 7 at 7:30pm
Thursday, February 12 at 7:30pm
Friday, February 13 at 7:30pm
Saturday, February 14 at 7:30pm
Thursday, February 19 at 1:00pm & 7:30pm
Friday, February 20 at 7:30pm
Saturday, February 21 at 1:00pm & 7:30pm
Sunday, February 22 at 1:00pm
Let Me Be Frank Productions will also bring “Manawa Rodeo” to Manitowoc’s Capitol
Civic Centre on Wednesday, February 11 at 7:00pm.
