Month: January 2019

BCP musical a story of love and letters

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By Wendy Carson

Buck Creek Players’ latest offering, “After the Fair,” brings us a feminine twist of the traditional Cyrano tale.

In a country town in Victorian England, Edith Harnham is a well-to-do woman of a certain age who finds herself stuck in a rut. Her love for her husband, Arthur, is fading, and she feels trapped by her station and circumstances. However, her young maid, Anna, provides her with an escape of sorts. The girl falls in love with a gentleman she meets at the fair, and the two set upon a romantic correspondence. Since Anna can barely read or write, Edith serves as her go-between, penning her letters, and a web of love and deceit is cast.

Lori Ecker shows Edith to be a very passionate woman who has just lost touch with that side of herself, and blossoms once it is recaptured. Scott S. Semester as Arthur blusters his way through most of the show ignoring all but his own business until something reminds him of why he fell in love with his wife in the first place.

Tara Sorg is a delight to behold as Anna, the simple country girl who falls hard for a man she knows nothing about. Her wide-eyed optimism is refreshing even though her naïveté could ultimately be her downfall.

Rounding out the cast is Zachary Hoover as the dashing yet churlish Charles. While he knows his time with Anna was just some wild oats being youthfully sown, her letters touch his heart and sway him to consider her to be more than a mere dalliance.

How will this play out, and will there be a happily ever after? This Off-Broadway musical based on a Thomas Hardy short story doesn’t give our characters an easy out as tension and complications mount. Though enmeshed in the strict class structure of the time, we can still relate to the characters’ yearnings – falling in love, with its joys and pains, happens in every era.

Performances of “After the Fair” run through Feb. 10 at the Buck Creek Playhouse, 11150 Southeastern Ave. (Acton Road Exit off I-74). Call 317-862-2270 or visit www.buckcreekplayers.com.

 

ATI: Ruth sure is missing out on a great show

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By Wendy Carson

Ambition. It’s all that drives some people. Even though they have talent and skills, they strive to be recognized and adored for it. How far will a person go to get what they want?

This question is the main premise of the show, “Ruthless: The Musical,” presented by Actors Theatre of Indiana. It is a musical parody of classic noir “The Bad Seed” and “All About Eve,” with a whole lot of campy fun thrown in.

Judy Fitzgerald nimbly portrays Judy Denmark, a doting mother who, while abundantly proud of her daughter Tina, possesses a fierce drive of her own. John Vessels delivers with all of his vamping glory as Sylvia St. Croix, who will do anything to be part of show biz – again.

Suzanne Stark’s portrayal of viciously bitter reviewer Lita Encore channels Madeline Kahn and Megan Mullally in evoking the requisite Evil Wielder of the Poisonous Pen (we’ll try not to take it personally).

Laura Sportiello brilliantly pulls off the gawkiness and questionable talent of Tina’s rival, Louise Lehrman, while also proving she is not one to be underestimated. Meanwhile, Cynthia Collins is fun as the put-upon Miss Thorn, a third-grade teacher whose own showbiz aspirations were crushed by stark reality. Her self-written musical about Pippi Longstocking and questionable casting choices provide the fodder to set this chaos in motion.

Finally, we turn to Nya Skye Beck’s performance as Tina Denmark, the talented and seemingly perfect child whom we all wish we had. Only a fourth-grader, Beck’s level of talent at acting, singing and dance is amazing. During the show, my partner John said, “She is the real deal,” and I heartily agree. I hope to see her in many more productions in the coming years, before the call of Broadway whisks her away.

The first act more reflects “Seed,” with Act Two taking aspects of “Eve” with Sportiello in an alternate role. Satire abounds – there’s a big musical number called “I Hate Musicals” – secrets are exposed, and it all comes down to an ending to die for. On the whole, this show is hilarious and highly entertaining.

“Ruthless” runs through Feb. 17 at the Studio Theater in the Center for the Performing Arts in downtown Carmel. ATI notes the content is relative to a PG-13 rating. For info and tickets, visit atistage.org or thecenterpresents.org.

IRT reminds us of the very human cost of the Holocaust

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By John Lyle Belden

A recent survey reported that an alarming percentage of people don’t believe the Holocaust happened, or that as many were killed as history attests (six million Jews, perhaps 17 million overall).

This makes productions such as the drama “The Diary of Anne Frank” — which opened the weekend before Holocaust Remembrance Day at Indiana Repertory Theatre — so vital to public conversation.

After the Nazis came to power in their native Germany (initially via elections, don’t forget), the Frank family moved to The Netherlands, where Otto Frank ran a small factory in Amsterdam. But then Germany started invading its neighbors, with the Dutch quickly succumbing to the blitzkrieg. Letting friends and neighbors assume they had made a run for Switzerland, Otto secreted his family, along with that of his best friends and fellow Jews, the Van Daan’s, in an upstairs “secret annex” to his plant. Non-Jewish allies, Mr. Kraler and Miep Gies, ran the factory and kept their secret, bringing them supplies at night. Along with his wife, Edith, Otto had his daughters — quiet, studious Margot, and energetic Anne, who stilled herself by obsessively writing in her diary. Hermann and Auguste Van Daan were accompanied by their teenage son, Peter. Miep later brought them an eighth refugee, dentist Albert Dussel, who kept to himself and kept sane thinking of his Gentile fiance waiting elsewhere in the city. Thus a group of people lived as best they could for two years, until their nightmares came true.

Those are the facts, the rest we know from the words of a girl growing up while her world crumbles outside. These words — from romantic optimism to despairing angst — come to life on the IRT’s stage, which is skillfully crafted by Bill Clarke to portray its cramped quarters (though more horizontally-arranged than the actual annex for dramatic reasons) with impeccable detail. Inhabiting it are an excellent cast of local and Seattle-area actors (this production will move — sets, actors and all — to Seattle Children’s Theatre later in the year).

Miranda Troutt wins and breaks our hearts as Anne, star and narrator of her story. Her frequent bouts of optimism both uplift and annoy her housemates, but she doesn’t hold back in her writings of her teenage frustrations. Hannah Ruwe portrays Margot, who is stronger in spirit than in body and striving to be more mentor than rival to her sister. Benjamin N.M. Ludiker plays Peter as an introvert gradually coming to terms with the force of nature who is slowly falling in love with him. Ryan Artzberger turns in another powerful IRT performance as Otto, whose bravery is contrasted with Betsy Schwartz’s worrisome Edith. Robert Neal and Constance Macy give layered performances as the Van Daans, his character pragmatic to a fault, hers desperately clinging to artifacts of their past life. Sydney Andrews is a ray of much-needed sunshine as Miep. Mark Goetzinger is solid as Kraler. Rob Johansen is oddly endearing as our feeling-out-of-place dentist.

This play does an excellent job, as director Janet Allen put it, “to put a human face on genocide.” Anne’s face smiles to us through old photographs, but we get a real person’s full spectrum of genuine human emotions and yearnings in her writings, and works like this that they inspired. For a deeper look beyond the dry pages of history texts and by-the-numbers online articles, get to know these very real people whom a regime declared less than human, condemned to extermination. Note that only one of the eight in the annex survives the war (spoiler alert — it’s not Anne).

IRT’s “The Diary of Anne Frank” will be presented to thousands of local students during its run. There are also public performances through Feb. 24 on the mainstage at 140 W. Washington St. in downtown Indy (near Circle Centre). Call 317-635-5252 or visit irtlive.com.

Fat Turtle drama a matter of maturity

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By John Lyle Belden

In “Adults,” the new play by Jeremy Grimmer in its world premiere with Fat Turtle Theatre Company, the characters are all adults.

They are consenting adults, okay with having sex whenever they want. They are adults who are free to gather and play video games at any time. They can feel comfortable enough with any situation to not let it bother them. They can say “I love you.”

“Life isn’t easier, just because it looks freer,” says E.J. (Colin Landberg). This is his house, which he inherited and now lives in alone. One night he brought home Sarah (Afton Shepard), who decided to be “not married” for one day. She awakens shocked to find him fixing her breakfast — is this the way adults do this? Charmed and conflicted, she engages in one more romp before going home to her husband — then returns about once a week. Her marriage is crumbling, having lost its intimacy, but she has kids so she doesn’t divorce; it seems like the adult thing to do.

Old high school friends Meg (Kim Egan), Seth (Josh Turner) and Fred (Brad Root) come over to E.J.’s to play a shared online wargame. While each has a life (and Seth a wife) outside this gathering, all that matters here is leveling up and what snacks are being offered. They even eventually meet Sarah (introduced as E.J.’s neighbor) and are totally cool with her. Why wouldn’t they be? We’re all adults here.

Thus we go through five years of an affair and unusual friendships, the events that lead up to today, when our couple has to make hard — adult — choices.

Directed by Fat Turtle co-founder Aaron Cleveland, this script feels almost too polished to be new, and the cast give solid performances, especially Landberg as easy-going heart-on-sleeve E.J. and Shepard as sweet but girl’s-got-issues Sarah. While even the characters note the improbability of their situation lasting so long, this only goes to the overall atmosphere of arrested development throughout the cast. We find that it’s not enough just to be an adult; at some point you also have to grow up.

Be warned that another theme element is food — starting with the awesome smell of bacon for the first scene in the air before the play even starts. It might be best to have dinner before the show.

This sharp drama nicely leavened with comic elements is worth the effort to find, with one remaining weekend of performances, Thursday through Sunday, Jan. 17-20, at Theater at the Fort, 8920 Otis Ave. on the grounds of old Fort Benjamin Harrison off of North Post Road in Lawrence. Get info and tickets at fatturtletheatre.com.

IRT: Happiness is a long list

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By Wendy Carson

Depression, suicide, and mental illness have all been highly stigmatized subjects. Only recently have we as a nation been broaching these topics, yet still refer to them in hushed tones.

In the Indiana Repertory Theatre’s staging of “Every Brilliant Thing” by Duncan Macmillan and Jonny Donahoe, we are presented with a unique look at someone dealing with the above issues through personal accounts of his experiences.

This is the story of a Man (no name is given) whose mother’s first attempt at suicide is when he is 7 years old. To somehow make sense of things, and help her heal, he begins to make a list of things that are worth living for. No matter how hard he tries to get this across to her, she seems to not listen. After a while the list is abandoned in the pages of a favorite book and forgotten.

During his college years, he begins wooing a girl and inadvertently loans her the book containing the list. She delights in the idea and returns it to him with a few of her own additions. The two continue adding to the list and he continues to send its contents to his mother, but to no avail. Her suicidal tendencies overwhelm her no matter what.

Since this is not a fairy tale, nobody lives happily ever after. The man and his girlfriend marry, then separate. The abandoned list resurfaces, only about 1,000 items shy of one million. How many more Brilliant Things can they add?

The story overall is quite endearing. It’s never too dark or too syrupy, but very true to the realities of the world. What sets it apart is the manner in which it is presented.

Prior to the show, lone performer Marcus Truschinski hands out postcards and other scraps of paper to various members of the audience. Each has a word or phrase on it along with a number. When he mentions that number – an item on the list – during the show, the person holding the corresponding card must shout out the information for all to hear.

There is a small section of audience seating at the rear of the stage which patrons can choose. Of course, these people will be incorporated into the show, as the script requires various other people to interact with Truschinski in order to tell the story. However, in a stroke of misdirection, audience members from all over are actually used.

True to the show’s fringe-festival roots, with its audience interaction each performance is entirely unique. Add to this Truschinski’s amazing improv skills and you have an evening of theater that is uplifting, thought provoking, touching, and enriching throughout.

Make a note to add this experience to your own list. Performances are through Feb. 10 on the upperstage of the IRT, 140 W. Washington St. in downtown Indy; call 317-635-5252 or visit irtlive.com.

Even the bitterest fruit can revive sweet memories

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By Wendy Carson

The term “comfort food” exists for a reason. Some of our happiest and most vivid memories consist of the scent and taste of a dish that exudes love and safety. Therefore, even though the apples are not as sweet and fresh in the dead of winter, a home-baked pie can still transform a dank prison cell into the warm, inviting kitchen of one’s childhood.

This is the crux of Jennifer Fawcett’s new play, “Apples in Winter,” at the Phoenix Theatre.

Miriam arrives in a prison kitchen to bake the apple pie that is her condemned son’s last request, under the watchful eye of the guards. The audience bears witness to her efforts and the story of how she came to be in this situation.

Her story is all too common: A loving mother does the best she can to raise her child well. However, due to forces beyond her control (or were they?), he turns down a darker path. Was she too naïve to realize what was happening or to prevent his escalation? That you can decide on your own, you are merely here to listen to her tale. Judgement has already been made and is what has brought us all to this place and time.

Jan Lucas gives a poignantly heart-wrenching performance as Miriam. She deftly brings forth the loving memories of her radiant child but never pulls the punches on the troubled soul he evolved into. She perfectly turns the wretched situation into a confession of love, guilt, and sorrow, without overwhelming the audience with bitterness.

Now, a few words about that pie. During this show, Lucas actually prepares and bakes an apple pie, from scratch, in front of the audience. At the end, a lucky audience member wins it in a charity raffle to bring it home for their own consumption. Tickets are sold before the performance, which has no intermission.

John and I happened to win the pie on the night we attended (winter weather limited the audience, helping our odds, and it was truly a random drawing – yes, John paid for his ticket). So, to share our bounty, I feel that a short review of the pie is appropriate: First, it is beautifully made with a lattice-style top. The crust was lighter and crisper than I’ve had before (more like a cookie), and my favorite part. Though the apples used were not the best quality (as per the script, and it being January), they were perfectly spiced and brought forth a nice flavor. I suggest serving it with a scoop of a quality vanilla ice cream to fully enjoy the experience.

All in all, this show is a moving tribute to a mother’s love and determination to persevere throughout whatever challenges she must face. Performances continue through Jan. 27 at the Phoenix, 705 N. Illinois St.; call 317-635-7529 or visit phoenixtheatre.org.

Footlite presents who-will-do-it murder mystery musical

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By John Lyle Belden

One thing is clear from the beginning of “Murder Ballad,” someone is going to die.

Playing at Footlite Musicals, this intense no-intermission rock opera presents four characters: our Narrator (Miranda Nehrig), who guides the fateful story’s journey while eventually becoming a character in her own right; Tom (Dave Pelsue), a proud bartender with dreams but little to show for them; Sara (Bridgette Michelle Ludlow), a frustrated poet fiercely in love with Tom, but feeling them drifting apart; and Michael (Daniel Draves), a writer who gives up his verse to make a perfect life for Sara.

After a coy courtship, Michael and Sara marry, have a daughter, make a home – but eventually, feeling restless again, Sara calls Tom at his new, successful bar. Old feelings awaken; this will not end well.

Pelsue, a veteran of shows such as “Rock of Ages” and “Tooth of Crime,” is totally in his element. Nehrig combines singing chops with exceptional acting – her ability to effectively speak volumes with a simple facial expression suits the Narrator role well. Ludlow makes a wonderful, powerful Indy theatre debut. And Draves works well the full range of emotions – his tenderness in apt contrast to his eventual rage.

Audience seating is on the Footlite stage, with actors sometimes moving among the cabaret tables for a more immersive experience. There is also a great on-stage band, with Eddie McLaughlin, Kris Manier, Will Scharfenberger and music director Ainsley Paton.

At the core, this is a story of love, betrayal and consequences, things we can all relate to. The principal mystery – who is killed, at whose hands – is revealed at the end. But then, we get what may be the musical’s best song in the Finale: a commentary on how we in the audience so enjoy murder as entertainment (so long as it’s not us getting hurt).

So, maybe we all got a little blood on our hands. Still, it’s one hell of a show.

“Murder Ballad” has one more weekend of shows, Thursday through Sunday (Jan. 17-20) at 1847 N. Alabama St.; call 317-926-6630 or visit www.footlite.org.

Bring on BOLT, with a ‘sad story’ worthy of the telling

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By John Lyle Belden

A new Indianapolis theatre company, Be Out Loud Theatre (BOLT), comes “out” in a big way with the Tennessee Williams rarity “And Tell Sad Stories of the Death of Queens.” For one of Williams’ short dramas, this “play in two scenes” is a rich, satisfying gumbo of New Orleans sass and sadness.

As confessed “transvestite” Candy Delaney (Lance Gray) approaches her 35th birthday, she brings home Karl (Chris Saunders), a brooding, conflicted man, in the hopes of making him as close to a husband as she can hope for. The French Quarter provides some shelter to local gays – as does Candy, a landlord of three properties: “Queens make the best tenants,” she purrs – but this is still around 1960 and being “queer” can be dangerous. Candy’s dreams of normalcy are marred by the catty upstairs renters, Alvin (Joe Barsanti) and Jerry (Christian Condra).

Given the title (and that I was unfamiliar with the script), I couldn’t help bracing myself for a fatal moment. But actually the plot is more about the life of queens in that time and place. In Tennessee Williams fashion, the story is so much about wanting not only what one doesn’t have, but what might not be possible. Gray commands the stage as Candy spins her dreams, her plans, somehow believing she can will them to be. Saunders projects danger, even just standing still; he wants things – money, affection, to be comfortable with himself – but the stigma of the queer keeps them just out of reach of his clenched fists.

BOLT founder and director Michael Swinford makes a bold statement with his premiere production. He said he wanted to start with an LGBTQ-focused play that predates Stonewall and the AIDS generation. For a stark reminder of how life used to be – even in carefree New Orleans – this was an excellent story to tell.

“And Tell Sad Stories of the Death of Queens” plays through Jan. 20 on the cabaret second stage at The District Theatre (former home of Theatre on the Square), 627 Massachusetts Ave., now managed by IndyFringe. For info and tickets, visit http://www.indyfringe.org.