Year: 2017

At TOTS: A story of street-lights people who don’t stop believin’

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By John Lyle Belden

The rock hits of the 1980s form the tapestry of “Rock of Ages,” the Broadway musical in its first local production at Theatre on the Square.

Sarah Hoffman plays Sherrie, a small-town girl, livin’ in a lonely world; Davey Pelsue is Drew (a/k/a aspiring rocker Wolfgang von Cult), a city boy, born and raised in South Detroit – you know how the song goes.

They work at the Bourbon Room, an LA bar and club owned by Dennis Dupree (Dave Ruark) with Lonny (John Kern), our Narrator – they want nothing but a good time, and it don’t get better than this.

But foreign developer Hertz Kleinaman (Bryan D. Padgett) and son Franz (Zach Ramsey) have plans to tear down the Sunset Strip. When City Planner Regina Kuntz (Andrea Heiden) objects, the Mayor (Josiah McCruiston) fires her, so she leads the resistance, reminding all that they built this city on rock and roll.

Facing the final countdown, the Bourbon Room has one last show, headlined with newly-solo rock god Stacee Jaxx (Thomas Cardwell) and featuring Wolfgang’s debut. In all that’s happening, Drew loses Sherrie, and it will take more than words to win her back. And yes, “Oh, Sherrie” is also in the show (but not the title song, as they couldn’t get rights to Def Leppard’s hits).

This exceptional, energetic cast includes Paige Scott as “Mama” Justice, owner of the nearby Venus Gentleman’s Club; Jonathan Krouse as Joey Primo, Jaxx’s replacement in Anvil; a dancing chorus including Jessica Hawkins, Jordan Fox, Tessa Gibbons, Katherine Jones, Janice Hibbard and Jessica Hughes; and Hannah Boswell as the wonderfully anonymous Waitress No. 1. Director Ty Stover let Boswell expand her role to help smooth scene changes, she said, and she has become an audience favorite.

Not everyone is radio-perfect in reproducing the old FM-band tunes, but this isn’t meant to be a revue. Some lyrics and verses are altered by context, and some songs nicely mashed-up, to serve the musical’s story. The performers front-and-center, however, are stellar – especially Hoffman, as well as Pelsue, who delivers as though this musical was written for him.

The show is incredibly fun, whether you remember the decade of big hair and big attitudes, or only know the 30-year-old songs (yes, that old) from the Classic Rock station. The onstage bar actually offers retro sodas and beer before each act, and cast members occasionally cross the fourth wall to sit with you.

Got too much time on your hands? You have no excuse not to see this. Here they go again at TOTS, 627 Massachusetts Ave., through April 1. Call 317-685-8687 or visit www.tots.org.

John L. Belden is also Associate Editor and A&E editor of The Eagle (formerly The Word), the Indianapolis-based Midwest LGBTQ news source.

Old lore gets modern makeover in Catalyst’s ‘Slaying the Dragon’

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By John Lyle Belden

I got so much more than I expected when I saw “Slaying the Dragon,” and I have high expectations from a play written by Casey Ross.

Ross’ plays are character-driven with great dialogue, flavored with enough of the absurd to make them entertaining without stretching credulity. And with her latest comedy production – presented by her Catalyst Repertory at Theater at the Fort, directed by Carey Shea – Ross enters the realm of fairy tales and conjures a thought-provoking fable.

Mythical kingdoms have reluctantly come into the 21st century, and the castle of King Farenwide (Dan Flahive) is now a condo. His Queen (Nan Macy) is happy as long as she has a place to garden, but Princess Maleena (Abby Gilster) is frustrated that her parents neither embrace New World ways nor accept that she has. To the King’s delight, a Knight has moved nearby – and being the only handy noble, a good prospect for his daughter (she’s not pleased with that prospect). But upon visiting Sir Alexander Meander (Matt Walls), they meet his roommate, Flameson (Tristan Ross), a dragon.

The inevitable conflict of old prejudices (that dragons are beasts worthy of little more than slaying) and outdated loyalties (a knight must obey orders and kill such beasts) with more modern attitudes can’t help but raise comparisons to events in the offstage world. True to the style of Casey Ross (no relation to Tristan, though they are good friends), the issues are handled with great humor and humanity. While it’s easy to make “Shrek” comparisons, the inspiration here seems more like the Disney short “The Reluctant Dragon” and the stage/film/TV classic “The Odd Couple.”

Gilster is great as the sane center of the swirling silliness. Flahive is fun, and makes riding a mobility chair look as noble as an actual royal steed. Macy tackles yet another maternal role with soothing ease (and a fantastic hat). And Josh Weaver adds to the laugh factor as obliviously mellow Page Jon, the castle servant.

It’s easy to see which is the “Felix” and which is the “Oscar” with Walls and Tristan Ross. Meander makes his best effort at being noble in tarnished armor, while Flameson is an excellent housekeeper and cook (who can light the stove by breathing on it). The actors’ performances are totally up to snuff, especially in Tristan’s talent for not going over-the-top with a fantasy character, aided by excellent makeup effects.

This is definitely a new work that is worthy of seeking out – and a little seeking might be in order. Theater at the Fort is located on the grounds of former Fort Benjamin Harrison (technically in Lawrence) at 8920 Otis Ave.

Performances are 8 p.m. Thursday through Saturday and 5 p.m. Sunday, March 16-19. Get info at uncannycasey.wix.com/catalystrepertory or follow Catalyst Repertory on Facebook; get tickets here.

John L. Belden is also Associate Editor and A&E editor of The Eagle (formerly The Word), the Indianapolis-based Midwest LGBTQ news source.

Footlite show on a ‘Cole’-fired ship

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By John Lyle Belden

With so much drama around us, sometimes it’s nice to indulge in a light musical: All aboard, then, for a “De-Lovely” voyage aboard the SS American in Footlite Musicals’ production of “Anything Goes.”

The comic plot involves love, gangsters on the lam, and a lot of silly disguises and misunderstandings. Billy Crocker (Trenton Baker) wants to stop his girl Hope Harcourt’s (Sydney Norwalk) ill-advised marriage to English “gentleman” Sir Evelyn Oakleigh (Ryan Straut), and gets aid from “America’s Thirteenth-Most-Wanted” Moonface Martin (Tom Bartley) and song-and-dance sensation Reno Sweeney (Susie Harloff).

While that’s good for some laughs, the show’s main purpose is as a delivery vehicle for the hits of Cole Porter (“You’re the Top,” “De-Lovely,” “Friendship,” “I Get a Kick out of You,” “Blow Gabriel Blow” and more, including the title tune) and at that, this production delivers.

Norwalk makes a shining Footlite debut; Baker provides his triple-threat credentials; and Harloff, with the help of Reno’s Angels (Kristen Tschiniak, Becca DeTar, Tara Roberds and Nicole Bridgens) takes charge of the ship with dynamite song and dance numbers (with much credit due to Trish Roberds’ choreography). Straut’s frantic fop is a hoot, and Bartley’s comic chops are spot on, aided by another brilliant performance by Emily Schaab as Martin’s accomplice, Bonnie. Craig Kemp adds to the laughs with his hard-luck businessman, Elisha Whitney (Crocker’s boss). Also impressive are dancing sailors Kyle Cherry and Noah Fields.

The book is admittedly a little dated – and director Kathleen Clarke Horrigan admits as much in her opening curtain speech – but this old gem still entertains. Performances are weekends through March 19 at 1847 N. Alabama St., near downtown Indianapolis. Call 317-926-6630 or visit www.footlite.org.

John L. Belden is also Associate Editor and A&E editor of The Eagle (formerly The Word), the Indianapolis-based Midwest LGBTQ news source.

‘The Lord’ commands center stage in divine comedy at Phoenix Theatre

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By John Lyle Belden

Scot Greenwell – the talented and popular gay Hoosier character actor and star of plays including “Santaland Diaries” and “Buyer and Cellar” – has not been himself lately.

In fact, it appears that the spirit of The Lord Almighty, in his “mysterious ways,” has taken over Greenwell’s body to bring audiences His divine message in “An Act of God,” through March 12 at the Phoenix Theatre in downtown Indy.

And God must have a sense of humor, as He has angels Michael and Gabriel take the forms of local actors Joshua Coomer and Michael Hosp, respectively. Michael is intermediary with the audience members, finding and relaying their questions, while Gabriel takes care of handling holy scripture, which includes the Lord’s new and updated Ten Commandments.

Those commands include a couple of old classics, plus some directives that just might surprise you. As He works his way through the list, He recalls the events of the Bible from His perspective, including his dealings with son Jesus Christ and the boy’s crazy idea of going to earth to die for humankind. He reveals that since we were made in His image, and we humans have deep issues, imagine how deep His go?

Needless to say, this show is thought provoking, while fortunately very laugh-provoking, thanks to its original Broadway inspiration through the pen of Emmy-winning Daily Show/Colbert Report writer David Javerbaum. God-as-Greenwell reflects back to us common beliefs on issues such as Creation and Old Testament justice in such a way that one feels challenged, no matter what you believe, letting us decide whether the divine tongue was in cheek. For instance, He relates that the universe is truly only thousands of years old and He faked the dinosaurs, but on the other hand, in the beginning the first people were actually Adam and Steve.

In all, this single 90-minute Act is highly entertaining, and even leaves you with an uplifting message at the end. To get your opportunity to be in this show’s divine presence, call 317-635-2381 or see www.phoenixtheatre.org.

John L. Belden is also Associate Editor and A&E editor of The Eagle (formerly The Word), the Indianapolis-based Midwest LGBTQ news source.

Hilarious glimpse into the dark and ditzy side of Hollywood

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By John Lyle Belden

Playwright Neil Labute’s talent for showing how nasty allegedly civilized people can be to each other is on hilarious display in his comedy, “The Money Shot,” at Theatre on the Square through March 4.

It’s a pleasant evening in the Hollywood Hills when two movie stars meet at one’s home to discuss with their significant others the imminent filming of a love scene. Aging action hero Steve (Earl Campbell) is star and executive producer of the movie being made; friend and Oscar-nominated actress Karen (Sarah McGee) is the love interest. Steve is married to 20-something aspiring actress Missy (Lauren Hall) while Karen’s spouse is Bev (Lisa Marie Smith), an assistant editor on other major films.

As they converse, we get to know this foursome: Steve is a callous ass who can be aggressively ignorant, then skillfully switch the subject when corrected. Karen is a sort of Hollywood holier-than-thou devoted to numerous causes and opportunities to brand herself. Missy is a living embodiment of the stereotypical ditz. Bev is well-educated and easily the smartest person in the room, but gets combative the moment something stupid or insensitive is said – therefore spending the entire 90 minutes of this play in an emotional minefield.

After numerous arguments – generating everything from but-gusting hilarity to jaw-dropping did-he-just-say-that moments – the movie stars get to the topic at hand: The director wants their love scene to not just be steamy, but to also contain actual sex acts. The spouses are asked to agree, or at least veto specific bodily maneuvers. This results in the most bizarre list ever made, as well as a high-stakes wrestling match (yes, actual, by-the-rules wrestling).

If this sounds like something that must be seen to be believed, I heartily agree. See it (but don’t bring the kids; there’s no nudity but plenty of blue and descriptive language)!

Campbell does an incredible job of playing an incredible jerk. McGee swings from inspiring to smug to vulnerable with ease. Their Steve and Karen are easily comparable to various real-world stars, adding to the fun of seeing these portrayals.

Hall gives glimpses of Missy not quite being as dumb as she looks, especially at the film’s climax (pun intended) when she truly perceives these characters’ power dynamic. And Smith, aided by a bold hairstyle choice, disappears into her character, delivering an awesome performance that I don’t want to elaborate too much on, lest I accidentally offend and get beaten up by Bev.

Directed by TOTS boss Lori Raffel, this show on the cozy confines of the Second Stage could easily sell out, so call 317-685-8687 or see www.tots.org. TOTS is at 627 Massachusetts Ave. in downtown Indy.

John L. Belden is also Associate Editor and A&E editor of The Eagle (formerly The Word), the Indianapolis-based Midwest LGBTQ news source.

Soured friendship flavors ‘Suite’ farce

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By John Lyle Belden

A Hollywood star-studded 1940s benefit for the war effort is the backdrop of the comedy “Suite Surrender,” on stage through Feb. 26 at Carmel Community Players.

Claudia McFadden (Georgeanna Teipen) headlines the big show at the Palm Beach Royale Hotel, but her former friend and hated rival, Athena Sinclair (Jill O’Malia) is on the bill as well. Fortunately, hotel manager Mr. Dunlap (Sydney Loomis) has them booked in suites on opposite sides of the building. Unfortunately, they both feel entitled to the Presidential Suite, and make themselves at home in its east and west bedrooms.

It is up to Dunlap, Claudia’s assistant Pippet (Thom Johnson) and Athena’s assistant Murphy (Addison D. Ahrendts) to keep the divas from even seeing one another, lest the sparks fly hotter than the fires started by rowdy shore-leave sailors in the downstairs lobby. Caught in the middle are hapless bellhops Otis (Colton Martin) and Francis (Steve Jerk), local socialite and event organizer Mrs. Osgood (Kate Hinman), and nosy journalist Dora Del Rio (Marjorie Worell).

Naturally, this all results in one hilarious farce, with goofy misunderstandings, frantic wild takes and lots of well-timed physical humor. Loomis is a master of manic mannerisms. Johnson’s minion-under-pressure shtick works perfectly. Teipen and O’Malia practically purr in their cattiness. Worell is literally whacked like a tennis ball to great effect. Hinmon hits the right comic notes, but don’t let her sing. Martin and Jerk recall the great pratfalling comics of the era. Ahrendts adds a touch of romance while getting in a few funny moments herself. And the biggest trooper of them all is little dog Sergio as Claudia’s Mr. Boodles.

As the hijinks work their way to the inevitable happy ending, watch for the twist, with its bit of wry commentary on show business.

Find CCP at 14299 Clay Terrace Boulevard, north of downtown Carmel. Call 317-815-9387 or visit carmelplayers.org.

John L. Belden is also Associate Editor and A&E editor of The Eagle (formerly The Word), the Indianapolis-based Midwest LGBTQ news source, which has a brief version of this and other theatre reviews.

Catalyst’s ‘Tooth’ gives us much to chew on

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By John Lyle Belden

When you enter the Grove Haus theater to experience “Tooth of Crime,” presented by Catalyst Repertory, you enter another world.

It’s a dystopian potential America of the 2080s, a Mad-Max atmosphere in which the battles aren’t over oil but fame – and your place on the rock ‘n’ roll charts. Those on top find themselves “marked,” with life and death consequences.

Hoss (Davey Pelsue) is an aging Marker at the top of The Game. He respects the Code, as well as the country and blues musicians that inform his down-and-dirty rock style. He doesn’t test the wrath of the Keepers, but is not too happy that other performers are bending the rules, especially Gypsies who don’t abide by the Code at all.

Vexed and paranoid, Hoss fires his stargazer, Mirra (Ryan Powell), for advising him to be cautious. A Deejay, Rudio Ran (Jay Hemphill), reassures him he’s still on top, but he suspects it’s flattery. His manager and girlfriend, Becky Lou (Sarah Hoffman) is worried, and the drugs Doc (Nan Macy) give him make him even more unmanageable. Then, right-hand man Chaser (Zach Stonerock) informs Hoss that a rival has marked him, and a Gypsy by the name of Crow (Adam Tran) is on his way to do battle. Chaser finds an impartial Ref (David Molloy) to adjudicate.

The culture of this play has its own dialect – though after a while you can “suss” it out – and the duel is mainly psychic, through words spoken and sung. Though they brandish guns and knives, Hoss and Crow strive to break each other’s mind and soul before fatally attacking the body.

For the audience, this requires paying close attention as much as possible, but not getting too concerned that you can’t tell exactly what’s said or even going on. This drama with music was written by Sam Shepard in 1972 and rewritten in 1997, which helps explain its vibe being somewhere between “Easy Rider” and “Hedwig and the Angry Inch,” filtered through Greek tragedy.

This show isn’t for everyone, but if you go with it, you can witness a stylish indictment of the corrosive nature of celebrity, and experience the passion that Pelsue and his castmates put into their performance. Hoss practically sweats every word and lyric he utters. Crow is like a preening bird, but with a dangerous edge even when knocked off-balance.

An on-stage band provides excellent accompaniment to the show’s proceedings. The music was provided by Shepard, with additions by T Bone Burnett in the 1990s, and director Casey Ross found a more recent hit to finish the play.

Performances are Fridays through Sundays through Feb. 26 at 1001 Hosbrook St., near Fountain Square. Get info and tickets at uncannycasey.wix.com/catalystrepertory.

John L. Belden is also Associate Editor and A&E editor of The Eagle (formerly The Word), the Indianapolis-based Midwest LGBTQ news source.

Civic presents fabulous farce

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By John Lyle Belden

A man is shot. A woman is missing. Reputations and political careers are on the line. A doctor is called. The police are on their way.

Believe it or not, that is the setting for a hilarious comedy: Neil Simon’s “Rumors,” presented by the Booth Tarkington Civic Theatre through Feb. 18 at The Center for the Performing Arts in downtown Carmel.

Ken and Chris Gorman (Kim Ruse and Clay Mabbitt) are first to arrive at the anniversary party of their friend Charlie, the Deputy Mayor of New York. But the servants are gone, leaving uncooked food in the kitchen, Charlie’s wife is missing and their host has a hole in his earlobe from trying to shoot himself. Ken, as the man’s attorney, is trying desperately to keep the potential scandal under wraps, which isn’t easy when other friends arrive: Leonard and Claire Ganz (Parrish Williams and Carrie Schlatter), Ernie and Cookie Cusack (Trevor Fanning and Marni Lemmons), and finally Glenn Cooper (Steve Kruze) with his own political ambitions to consider, as well as neurotic wife Cassie (Christine Kruze, yes they’re married in real life, too).

Excuses for what is going on get more bizarre as events unfold, but eventually all are informed. But then, the police (Joanne Kehoe and Joe Aiello) arrive. What story to tell them?

This American farce in the Moliere mold has gag after well-written wacky gag, excellently played by a cast well-suited and experienced in stage comedies, directed by Charles Goad, no stranger to delivering a punchline himself. Ruse and Schlatter have such chemistry that when one woman delivers a zinger, just a glance between them sets off even more laughter. Mabbitt and Williams also sell the jokes with their knack for physical shtick, especially when Ken is deafened by the second gunshot, and when Leonard has to pretend to be Charlie – and convincingly explain what’s been going on the whole time.

This show is a welcome escape from today’s constant stresses (political and otherwise). Call 317-843-3800 or visit civictheatre.org. Tickets also available at thecenterpresents.org.

John L. Belden is also Associate Editor and A&E editor of The Eagle (formerly The Word), the Indianapolis-based Midwest LGBTQ news source.

Boy overcomes inner blindness in IRT’s ‘The Cay’

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By John Lyle Belden

It is interesting when a theatre, for its show during Black History Month, stages a production that gets us to think about race in a bigger context than the typical American struggle of black/white. Such is the case with “The Cay,” on the upperstage of the Indiana Repertory Theatre through Feb. 26.

Adapted from the Theodore Taylor novel by Gayle Cornelison, and directed by Richard J. Roberts, the two-person drama is told from the perspective of a white boy, Phillip (Dalyn Stewart), who has the adventure of a lifetime. It is 1942, and living in the Caribbean, he sees World War II as an exciting novelty. As the island of Curacao is home to a Royal Dutch Shell oil refinery, German U-boats lurk nearby. This fact goes from fascinating to frightening when one sinks the ship taking Phillip home to America.

The boy is pulled onto a makeshift raft by an old black man, Timothy (David Alan Anderson). Being from the Virgin Islands, he knows how to survive on the open sea, and later, upon the small island (the “Cay” of the title) where the raft is carried by the tides.

But their survival is complicated by two factors: Phillip being blind to his own white privilege and spoiled state, and being literally blinded by a head injury. Even without physical sight, he “sees” Timothy as “Black” as a cultural state of being, something fundamentally different than himself. Over time, Phillip’s inner vision is corrected as the old man teaches him lessons in self-reliance he will need in the coming tests.

Anderson is brilliant as always in his role, and Stewart is a revelation as he more than keeps up with his costar. A lot is put on his shoulders, being narrator as well as one of a two-person cast, and Stewart handles it with Tom-Sawyeresque charisma. (Or Huck Finn, if you wish, given the obvious plot comparisons.)

The other “star” of this production is Stew, the cook’s cat on Phillip and Timothy’s ill-fated ship, which ended up on the raft with them and as a companion on the island. Rather than wrangle a real housecat (with its own diva demands), scenic designer Eric Barker molded some common kitchen items into a metal cat which the actors move around as needed – sound designer and composer Matthew Tibbs provides violin-string “meows” when appropriate.

After the opening night performance, Roberts and Barker said the cat design inspired them to make other aspects of the set, including the towering palm trees and the fish the characters catch, constructed of the metal flotsam and jetsam of life that wash up on distant shores. The result is a strangely beautiful stage and unifying visual theme that fits the story perfectly.

Find the IRT downtown at 140 W. Washington St.; call 317-635-5252 or visit www.irtlive.com.

John L. Belden is also Associate Editor and A&E editor of The Eagle (formerly The Word), the Indianapolis-based Midwest LGBTQ news source.

ATI hosts one wild wedding

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By John Lyle Belden

“It Shoulda Been You” is a freewheeling comedy musical in a single movie-length act, presented by Actors Theatre of Indiana through Feb. 12 at The Studio Theater in The Center for the Performing Arts in downtown Carmel.

The setting is a wedding held at a hotel, with all its comic potential – especially when the bride and groom come from different backgrounds. Rebecca Steinberg (Laura Sportiello) is from a middle-class Jewish family, while her fiancé Brian Howard (Michael Ferraro) is from well-to-do WASPs. Tasked with not letting this blessed occasion become a disaster is Rebecca’s unmarried older sister Jenny (Karaline Feller), who fortunately has the help of magically fabulous wedding planner Albert (John Vessels).

Bring on the inevitable clash of personalities between Rebecca’s parents, Murray (Matthew Reeder) and Judy (Judy Fitzgerald), and Brian’s parents George and Georgette (Bill Book and Cynthia Collins); and mix in Maid of Honor Annie (Teneh B.C. Karimu) and Best Man Greg (Jeff Pierpoint) – who are more a part of the upcoming marriage than anyone suspects – Rebecca’s ex-boyfriend Marty (Nic Eastlund), and the assorted roles played by Paul Hansen and Holly Stults, and you have a volatile combination that results in hilarity with a welcome happy ending for all.

The songs are snappy, adding to the punchlines and helping the story along. The cast is excellent in voice and comic form. Vessels puts his scene-stealing skills to excellent use, and you can’t help but feel for Sportiello’s Jenny from the moment she opens the show through to when she utters its last line.

Having this play in the intimate confines of the Studio Theater adds to the close familial atmosphere, and even facilitates one actor’s entrance. To get everyone in the mood, there is a Guestbook as you enter the theater, and ushers let you know as you are seated whether you are on the bride or groom’s side. A necessary salute, then, to director Bill Jenkins and the crew for a fun production, including an elegantly simple, yet simply elegant set by P. Bernard Killian.

And by the way, I’m leaving out a surprising plot twist – see it for yourself!

For information and tickets, call 317-843-3800 or visit atistage.org.

John L. Belden is also Associate Editor and A&E editor of The Eagle (formerly The Word), the Indianapolis-based Midwest LGBTQ news source.