Archives for category: Combat Theatre


The Rep Lab is coming and it’s selling out fast.  My play, Give Until It Hurts, is in the line-up as well as Patrick Holland’s, The Cowboy, so Bunny Gumbo is well represented.  Hop to it!


Tickets now on sale!

The Rep’s highly-lauded Intern Ensemble presents its annual short-play festival.
Now in its fifth season, the critically-acclaimed performance includes
everything from comedy to drama to music – and much more!

Tickets available at 414-224-9490 and cost just $15.
The last three years have sold-out, so get your tickets now while you can!

Tickets available at 414-224-9490 and cost just $15.

April 10-13, 2015

Stiemke Studio

Performance times:

Friday, April 10, 8 pm

Saturday, April 11, 4 & 8 pm

Sunday, April 12, 7 pm

Maonday, April 13, 7:30 pm


Every Show You’ve Ever Seen

by Amelia Roper

Directed by Literary Coordinator and 2010-2011 Directing Intern Leda Hoffmann
Commissioned for REMIX 38 (2014) at the Actors Theatre of Louisville, this tribute to the theater features the Acting Intern Ensemble. Calling upon the collective memory of artists and audiences alike, it begs us to consider our experience of theater as something much greater than any single moment.

by Jose Rivera
Directed by 2014-2015 Directing Intern Hannah Greene
Prolific playwright and Academy Award Nominee Jose Rivera (The Motorcycle Diaries, 2004) ponders the consequences of one man’s lifetime of lies.
The Latest News from the Primordial Ooze 
by Rich Orloff
Directed by Literary Coordinator and 2010-2011 Directing Intern Leda Hoffmann
A primordial creature reveals to his girlfriend that his fins are really fingers. What’s worse, he can breathe air! In this punny short originally produced in 2012 by Milwaukee’s Pink Banana Theatre Co., Barry considers taking one small step for an amphibian, and one giant leap for amphibian-kind.

People Are Dancing 
Book and Lyrics by Sarah Hammond, Music by Benny Gammerman
Directed by 2014-2015 Directing Intern Philip Muehe
This 10-minute musical by Sarah Hammond, whose Hum of the Arctic appeared in Rep Lab 2013, showcases two strangers who meet on a plane to Venice, fall in love, and eat gelato three times a day. On their last night together, Jim wants to make a clean break, but Rebecca reminds him that they still have time. They are, after all, in Venice. And in Venice, people are dancing.

Give Until It Hurts 
by James Fletcher (1989-1990 Acting Intern)
Directed by Artistic Associate and 2011-2012 Directing Intern JC Clementz
Local actor and Bunny Gumbo Artistic Director James Fletcher takes non-profit fundraising to the extreme. Two goons hired by National Public Radio bust in on Robert at dinner time and guilt him into giving…at gunpoint.

by Steve Yockey
Directed by 2014-2015 Directing Intern Philip Muehe
From Yockey’s award-winning short-play cycle very still & hard to see, this “play that tastes like black licorice” catches Elizabeth in the throes of a Jaegermeister-fueled breakdown. Repeating a cycle of love, loss, and alcohol abuse, she hallucinates an unusual and somewhat unsympathetic companion.

The Cowboy 
by Patrick Holland (1998-1999 Acting Intern)
Directed by 2014-2015 Directing Intern Hannah Greene
In this thrilling offering, featured in “The Best American Short Plays 2011-2012,” The Cowboy muses on his role in the deaths of three women: Linda, Kim, and Amanda. But are their flirtations with The Cowboy their only connection?

Devised Piece
created by Artistic Intern Ensemble
Directed by 2014-2015 Directing Interns Hannah Greene and Philip Muehe
With a reputation as the highlight of every Rep Lab, this eagerly-anticipated play is a world-premiere created and devised by the Artistic Intern Ensemble.


Combat Boot Camp returns to the Waukesha Civic Theatre for one night only!  The folks at Bunny Gumbo have taken Combat Theatre and put it in the hands of high school actors.  6 shows, written directed and acted all within 48 hours.  Don’t miss this annual event.

Bunny Gumbo in association with the Waukesha Civic Theatre presents Combat Boot Camp.  Saturday, January 10th at 7:00 pm.  The Waukesha Civic Theatre, 264 West Main Street.  Tickets are only $10.  Hop on it!

For more information visit The Waukesha Civic Theatre

Musical! pic 5

Here it comes.  Combat Theatre like you’ve never seen it before.


8 Writers

8 Composers

8 Directors

34 Actors


And 2 very special Narrators


60 ridiculously talented performers coming together to create 1 great show, and you only have 1 chance to see it.


Bunny Gumbo presents, Combat! The Musical!


Saturday, June 7th at 8:00

The Milwaukee Youth Arts Center (MYAC)

325 W. Walnut Street

Tickets are $18 and available at the door only


Normally our writers are challenged with writing a play based on a random Subject and Location.  Not so with Combat! The Musical!  This time they get 1 of 8 parts of a story.  Oh, and they have to write a song or two.  Once the first writer and musician team is done with their installment, they pass it on to the next team who must take the story on the next leg of the journey.  Only then, when the story is complete, does the real fun begins.  Our directors and actors have to whip all of these pieces together in one short day for this most challenging of musicals.


So get your Bunny on!


Visit us at for more details.


One night only!

Combat!  The Musical!


8 Writers

8 Musicians

8 Directors

36 Actors


60 ridiculously talented people coming together to create a new musical in just 24 hours.


Normally our writers get a random subject and location and must create a play based on those variables.  This time they get one of 8 parts of the story.  Oh, and they have to write a song or two.  Once the first team of writer and musician is done with their installment, they pass it on to the next team who must take the story on the next leg of the journey.  Only then when the story is complete, does the real fun begins.  Our directors and actors have to whip all of these pieces together in one short day for our one night only show.


The Bunny Gumbo Theatre Company presents

Combat! The Musical!

Saturday, June 7th at 8:00 pm

The Milwaukee Youth Arts Center

325 W. Walnut Street

(on the corner of Walnut and MLK Jr. Drive)

Tickets are $18 and available at the door only


The Milwaukee Youth Arts Center is a collaboration of First Stage Children’s Theatre and Milwaukee Youth Symphony Orchestra.


For more information about Bunny Gumbo, write to or visit our website:


And for info on all things theatrical in Milwaukee go to:

Combat Boot Camp returns to kick off the New Year at the Waukesha Civic Theatre.  We’ve assembled some of the brightest high school talent and are throwing them into the trenches.  7 plays written, directed and acted in 48 hours.

Our writers will gather with nothing but blank pages. They will literally draw their subjects and locations from a hat, and from there the writing frantically begins. Friday night they bring their finished scripts to WCT, where they will be joined by the actors and directors. Each director will randomly draw a writer’s name from a hat. They will do the same to select their actors. This is the first time the actors and directors will see the script. And between Friday night and Saturday night, these casts will have to memorize, block, costume, and light their shows. No matter what happens, the curtain goes up at 7pm on Saturday night, and the show begins!

This show only appears once a year for a single night.  Tickets are only $10, $8 for students and seniors.

Come see a truly entertaining show and kick off 2014 with a bang!

The Waukesha Civic Theatre in association with the Bunny Gumbo Theatre Company presents Combat Boot Camp.  January 4th, 2014 at 7:00pm.  264 West Main Street, Waukesha.  Box Office: 262.547.0708

Combat Boot Camp: We do it because we can!

You can find further details here:

Over the course of the thirteen years we have been producing Combat Theatre, there are any number of the plays produced that have deserved attention and a life outside of the single night they were produced.Certainly one of the highlights of all those productions was Patrick Holland’s The Cowboy.  Patrick’s play has been published in The Best American Short Plays 2011-2012 along with the likes of plays by such hacks as John Guare.  Well done, Master Holland!


Hey Fletcher,


Well the book is out! It’s so weird to me to see “The Cowboy” published especially in this particular anthology. I keep flashing back to writing it at three in the morning at a Starbucks for Combat! But I am so grateful to everyone from Combat. Without your support, this play would have never been written. And what a wonderful acknowledgement of the work we all do than to have it included in the “The Best American Short Plays Of 2011-2012.”


For the anthology William Demastes, the editor, wrote this about “The Cowboy”:

“The Cowboy by Patrick Holland is haunting in its own way. The work is perfectly crafted to present a collection of improbabilities leading to a fantastic accident that generates the feeling that the accident was no accident at all. The messy lives of three women come together in an unexpectedly appropriate manner, overseen by the silent hand of a character known as the Cowboy, begging the question: What forces lie beneath daily events beyond our control and even understanding?

Preview the first few pages:

But it on Amazon:


Musical Combat is coming your way, June 7th and 8th.  You already know that Bunny Gumbo fills the stage with a ton of talent, but did you know that talent can sing?  We’ve had plays with songs in the past, but this is the first Combat where half of the shows will be musicals.  Our superb cast of  Milwaukee talent will create 16 brand new shows in just 48 hours.

The Bunny Gumbo Theatre Company presents Musical Combat.

8 writers

8 directors

30 actors

16 plays is 48 hours

The Milwaukee Youth Arts Center (MYAC) 325 W. Walnut Street (on the corner of Walnut and MLK Drive)

Friday, June 7th and Saturday, June 8th at 8:00 pm.

Tickets are $18 and available at the door only.  Weekend packages are available for only $30.

For more info, visit us at  and

Bunny Gumbo; we do it because we can!

The holidays will soon be a thing of the past and there’s a long winter still ahead of us until the spring.  Wouldn’t you like to see the Bunny before then?  Come on, you know you want to.  Stop lying.  Seriously, just stop, you’re embarrassing yourself.  Hop on over to the Waukesha Civic Theatre for an evening of Combat Theatre…Boot Camp Style!

We’ve taken the concept of Combat Theatre and put it into the hands of young performers from local high school.  Now in its 8th season, Combat Boot Camp challenges these 50 young performers to write, direct and act these plays in just over 24 hours.  And due to the success of the show we’ve been able to expand the production to 8 plays.  But you can only catch this fabulous show on one night, and then it’s gone forever.  Saturday, January 5th at 7pm.  Tickets are only $8 for students, $10 for big kids.

For more information including how to get involved, visit:

Bunny Gumbo; we do it because we can!

Kennedy as Bobby Galena 

Robert W.C. Kennedy is a man of many names.  The W.C. is a mystery to all but his closest friends and family, but his nicknames (all given with love) are well known: The Detective, The Department Store of Technique, The Golden Pharaoh, and of course, The Deacon.  And if you’ve been a patron of theatre in Milwaukee over the last decade or so, you’ve seen his work on any number of stages.

Master Kennedy been a huge part of the success of Bunny Gumbo having appeared in more Combat pieces than any other actor.  He’s also appeared in the Bunny Gumbo productions, ‘Losers’ portraying Kurt (a part that was written for him), and has the distinction of being the only actor to portray a part in all three plays of ‘Criminal Acts.’

Indeed, it’s hard not to run into Robert if you spend any time in Milwaukee.  He’s a lifelong patron of the Milwaukee Transit System, bartends at Irish Fest,  routinely shows up in short films made in the Cream City, and can occasionally be found supping at Real Chile with Bai Ling.  He’s a good guy to know, so let’s get to it.

Kennedy in Bialystock & Bloom’s production of “Search and Destroy” 

How did you first get involved in theatre?

My First Grade Thanksgiving pageant found me playing an apple. The producers admired how I peeled back the layers to get to the core of that character and cast me in the role of John F. Kennedy for some sort of patriotic revue that they were fond of in southern Indiana during the lead up to the U.S. Bicentennial celebration. (There is no way I was cast solely on name alone.) I enjoyed the chicks you got as JFK, and I was hooked. I played Bobby Shaftoe in “Babes in Toyland” a year or two after that, before taking a 10-year hiatus and moving north.

I didn’t take to the stage again until my senior year of high school, having spent the previous three primarily occupied with Dungeons & Dragons. During that year, I was in the chorus of “HMS Pinafore,” played Captain Ahab in a course stage version of “Moby Dick,” and Julius Caesar and others in the senior follies program.

I went off to college with big plans to major in anything but theatre.  I took one introductory course that covered all aspects of the theatre craft, from performance to the technical. When it came time for the final projects, my fellow students wanted to keep me far away from anything heavy or electric, and I was assigned the job of “actor.” So, I played the guy in a scene from “Same Time Next Year” while others did the important stuff.

The slightly older young woman playing opposite me wore a slip in the scene. I thought I might like to spend more time around women in their underwear, so I pulled a bit of a grift with the assistance of my older brother to secure one of the hard-to-get spots in an introduction to acting class. I still had no intention of taking this on as a major.

Kennedy in Skylight’s production of “The Music Man”

Well, it was just too much damn fun, and everyone seemed to appreciate me in that environment, including the instructor who suggested I audition for (what was then) the Acting Specialist program. I really wish I could remember what piece I auditioned with, but I found out much later that the conversation in the room after I left pretty much centered around “Does he always dress like that?” (Those who knew me then will understand…)

I guess I didn’t realize that I was actually taking Theatre and Drama on as a major, but that’s what happened. I didn’t have much ambition to take it on as a career though, so I grabbed a Communication Arts minor at the last minute (sometime into my fifth year…).

Kennedy as Deiter in Drew Brhel’s “Neibelungen-Lite”

The program eventually evolved into the Specialist In Acting Major (because the professor who took it over during my time liked being “the king of S.I.A.M.), and I re-auditioned for it every semester studying everything from Commedia del’Arte, circus skills, Kabuki and stage combat — they really tried to squeeze a lot of specialties into an undergraduate program. Anything but simple modern American scene study.

I was one of two members from my original class to finish the program.  The other one occasionally shows up Off-Broadway, in Coen Brothers movies and in multiple episodes of “Louis,” that Louis C.K. show.

Kennedy as Che in Michael Moynihan’s “Bang Bang, Gong Gong; The Re-education of Chuck Barris 

What’s did you go to school?

That grade school was St. Columba’s in Columbus, Indiana. I attended from first through fourth grade.

My next grade school was St. Sebastian’s in Milwaukee, in the area now called “Washington Heights.”

That high school was Marquette University High School. (I know what you’re thinking, but I worked in the kitchen to pay tuition.)

That college was the University of Wisconsin — Madison. I worked with rhesus macaques at the Harlow Primate Lab to fund that degree.

Kennedy as Brad Pit in Randy Rehberg’s “A Clean Sweep”

You’ve bounced around a bit.  Where did you grow up?

Born in Columbus, Indiana, which is a lot more like Kentucky than Indiana, although a county or two too north to be “Kentuckiana” proper. It’s the home of shoe genius Chuck Taylor, Ross and Don Barbour (of the Four Freshman, of course) and NASCAR driver Tony Stewart. It’s also the architectural capital of the Midwest.  Seriously, ask an architect.

I moved to Milwaukee between fourth and fifth grade. I was in Madison for five years of higher education, with a brief stint in The Philippines, and have been back in Milwaukee since 1991.

Kennedy as Tony Soprano in Patrick Holland’s “Holy Big Pussy, Batman”

What was your first professional gig?

Live Bait Theatricals (associated with Live Bait Theatre in Chicago) produced a play called “Girls! Girls! Girls! Live On Stage, Totally Rude.” I played a sleazy strip club comedian, and I think we were paid $100 per week for four shows at the Walker’s Point Center for the Arts. It ran for about two-and-a-half months, until one of the cast members broke his leg rehearsing for another show. I had long hair then, and got my first favorable reviews in a major newspaper. That’s about all I remember about it.

Kennedy in Live Bait Theatrical’s production of “Girls! Girls! Girls! Live On Stage, Totally Rude”

Tell us about your upcoming performance in Ireland.

I’ll be brief, because I don’t want to jinx anything.

I’m playing the role of Nathanial Yeshov, a Russian-Chinese from Brooklyn, in Sebastian Barry’s “White Woman Street.” Milwaukee Irish Arts is producing this piece as part of the Acting Irish International Theatre Festival, which is being held at Axis-Ballymun in northern Dublin this year.

I’ve performed in this festival in Chicago, Toronto and Rochester, New York. I did a one-man, hour-long monologue about the  Euro ‘88 Cup and other matters at Irish Fest for this organization.

The play is sort of a Western that takes place in Ohio in 1916. Nathaniel is part of a group of outlaws planning to rob an army train. I have an insane beard. I have an accent. I have a bowie knife. I have a Colt revolver. We ride horses. We get covered in steam during a train robbery.

And they’re flying us out and putting us up in Dublin for a week for this thing.

I’ll stop now before I have to wipe my monitor and keyboard off.

Ask me about it after May 20… It’s gonna be cool!

Kennedy as Nathanial Yeshov in Sebastian Barry’s “White Woman Street” 

Robert has returned since I originally interviewed him and he has this to add:

Looking back at what I wrote in response to this question before we opened that show, it’s hard to believe that the experience could possibly have exceeded my lofty expectations. But it did.

We certainly saved our best performance for the festival, and it’s a good thing we did. We had the Lord Mayor of Dublin Andrew Montague in the audience. He loved it and even tweeted about it. There was spontaneous audience applause during one particularly “complicated” moment in the script, and a standing ovation followed. Pretty much everything you can hope for during a critical performance.

The show was so different from what they usually have at this festival that we were kind of media darlings over there, getting interviewed on RTE Radio 1 and getting our picture on the cover of The Irish Times.

We walked away with a nomination for best production (getting edged out by a well-deserving production of “Someone Who’ll Watch Over Me” from Calgary). And one of our cast won Best Actor in a Supporting Role. The festival participants, the hotel staff and the Ballymum neighborhood treated us like visiting royalty. And the camaraderie of the cast was epic.

The whole experience had a pretty profound effect on me. I took a little side trip to Belfast, and I remember thinking on the train up there that I might actually be achieving the best life for which anyone such as I could really hope. And the funny thing is that this all happened because I participate in this often-thankless hobby. I’m not even doing this for a living and here I am reaping a reward greater than anything money could buy.

It made me question my notions of commercial theatre, the role of performing arts in society, and my whole purpose in “the great hidden scheme.” Yep. Pretty deep thoughts between all of that Guinness and whiskey. Don’t ever ask me about it again; it will bore you to tears.”

Kennedy and the cast of “White Woman Street”

Do you have a favorite venue in Milwaukee?

It’s like a 20-way tie. Every space has its own little quirks, its limitations, and its charms. I fondly recall water bottles backstage at the Walker’s Point Center for the Arts freezing in winter; all of the chaotic cafes and bars I performed in with Inertia Ensemble; the Boulevard Theatre back when the only commercial operation for miles of Kinnikinnic was the Big Beer Bar; the unsurpassable backdrops of the courtyard, lake, and grand hall of the Villa Terrace; and my mansion-away-from-home at the Brumbder. And there is nothing like the exercise in focus that is the Irish Cultural and Heritage Center, with dancers stomping above you and pipers droning away next door. But they do have that great pub…

Oh, I suppose the Steimke, the old Off-Broadway, and the spaces at the Broadway Theatre Center are nice too. There just a little “refined” for my tastes.

And there is one little acoustically perfect spot on the main stage at UWM that is killer! (Anyone who has performed there knows what I’m talking about.)

Kennedy as Father in Tony Woods’ “Flaming Feet”

Why Milwaukee?

As I always say: “It’s a great base of operations.” I can live here affordably — damn-near opulently — and yet still get anywhere in the world without much hassle.

In the summer months, I hardly think there is a more entertaining place to live. And I’ve been a few places. If you have trouble finding something to do, you simply aren’t looking.

This goes the same for the other nine months out of the year. Just a few weeks back, I was trying to figure out how I was going to see and do everything that I wanted to with rehearsals, performances and this upcoming trip. I realized that there was just no way I could squeeze in everything that was being offered to me.

Whenever I hear someone say “there’s nothing to do in Milwaukee,” I laugh. And I cry. Because I know that person is lame.  I read this in some musician’s interview recently, and I couldn’t agree more: “There are two kinds of people who hate Milwaukee. Those who have never been here. And those who have never left.” (Sure it gets cold. Grow a pair, ya’ pussies!)

Kennedy as Brett Michaels in Tom Dillon’s “The All Access Pass to My Heart”

Has there been a favorite gig?

I’ve learned something from every single one, so I’m hesitant to even start listing them. I remember starting to put together a top 10 list for some reason several years ago, and it just kept growing and growing. I’m fickle.

I’ve enjoyed so many Combat experiences because of the people with whom I’ve had a chance to work and the roles in which I would never be cast anywhere else. But you don’t really live with those pieces long enough for them to stick with you in any deep, emotional way. Of course, the sumo wrestling / rodeo clown piece was memorable.

Kennedy as Siomoto in Tony Woods’ “Yipee-Kai-Yay-Yokihama”

Yeah, I’m not even going to start going into the productions I have done with different companies in the area because I simply cannot list how many good times I have had in Milwaukee theatre, and it would be unfair to leave any out. Even though they haven’t all been life-changing experiences, I can honestly say there isn’t a single gig that I regret doing. I even enjoyed the camaraderie aspect of traveling around to hotel conference centers throughout Wisconsin doing murder mysteries for corporate parties. The “theatre” wasn’t so memorable, but the friendships are.

But since this is a Bunny Gumbo interview, I don’t think I’m playing favorites in mentioning “Losers.” And anyone who saw it will know I’m not pandering either. That was just a solid production all around. Who doesn’t like working with their favorite performers and best friends on meaningful content in a collaborative environment with overwhelmingly successful results? Maybe there are people out there who didn‘t think that show was something special, but I haven’t met them yet.

And I guess I’ll always have a soft spot for that one-man production of “In High Germany” I did at Irish Fest a few years back. Only two performances of a monologue, basically about soccer, but my father got a chance to see it and later said it was the first time he realized how really good I was at this stuff. Critics, audiences and directors can say what they want about me from that point forward. I ain’t even hearin’ it.

Kennedy as Kurt in James Fletcher’s “Losers”

Has there ever been a gig that scared you?

They’re all pretty scary if we stop and think about them too long — and maybe this one is just coming to mind because it was so recent — but I had nightmares about that goddamn train scene in The Music Man. It became one of those things I looked forward to doing every night and wanted to do again the moment it was over, but there was just such potential for disaster, me being the only non-musical theatre person in the bunch. My natural rhythms are just not of the Meredith Wilson middle-America type. But it was such a rush as it took off each time and barreled forward, taking everything in its path with it. And when it was on, it was so on. The audience loved it and people still give me credit for being a part of that. While I’m usually pretty humble, I’ll take all the kudos I can get for living through that one. I used to wake up in the middle of the night, sweating, sit bolt upright in bed and scream, “No it ain’t. No it ain’t. But you gotta know the territory!” The horror, The horror…

Kennedy as Lionel in John Van Slyke’s “Sweet Smell of Silence”

Any dream roles out there?

Nah. I don’t read enough dramatic literature to know what is available out there, and I can’t look at any individual performance and say “I’d really like to give that a shot some day.” There are shows I’d like to be in, sure, but I’d probably be totally inappropriate for them. I try to just take what is offered to me and make it my own. I’m not setting out to define any character or put my stamp on anything. And I guess when I become aware of or see someone else tackling a really challenging role I just think “Good for him. Looks like a lot of work.” I think I try to treat whatever role I’m working on as “the one I’ve been preparing for all this time.” I think I’d get depressed if I was always thinking that a better role was coming after this one. That sounds a little counter-intuitive, doesn’t it?

Kennedy as Van in Randy Rehberg’s “Fangs for the Memories”

What’s your day job?

I’m a corporate communications specialist, responsible for internal communications at an area utility company employing approximately 4,700 people. My role is to engage a diverse workforce in the organization’s mission, to improve their efficiency and effectiveness in providing essential energy services to our customers.

I didn’t just pull that off of a job description. That’s actually what I do. I ask questions. I conduct interviews. I research projects and I research technologies. I teach. I do a lot of writing. I examine challenges and try to come up with the simplest solutions to barriers of understanding. And I go to too many meetings.

If all works out, employees understand what their company is doing, how they contribute to it, and they want to do it better. And when a customer flicks a switch and a light goes on, they don’t ever have to think about the small miracle that we just made happen.

The Deacon will be escaping this weekend to join Bunny Gumbo for another round of Combat Theatre.  For more info go to: Bunny Gumbo

Have you heard?  A special holiday season Combat is coming your way this weekend.  Bunny Gumbo has put together a superb cast of Milwaukee talent to create 16 brand new shows in just 48 hours.  Work off that Thanksgiving meal, put Black Friday and Cyber Monday out of your head, and forget about your Christmas shopping list for a while.  Come see the show that’s both naughty AND nice.

The Bunny Gumbo Theatre Company presents Combat Theatre.

8 writers

8 directors

30 actors

16 plays is 48 hours

The Milwaukee Youth Arts Center (MYAC) 325 W. Walnut Street (on the corner of Walnut and MLK Drive)

Friday, November 30th and Saturday, December 1st at 8:00 pm.

Tickets are $18 and available at the door only.  Weekend packages are available for only $30.

For more info, visit us at or

Bunny Gumbo; we do it because we can!