The King turns Queen in Phoenix’s ‘Georgia McBride’

By John Lyle Belden

Phoenix Theatre opens its 2019-20 season with the fabulous Off-Broadway comedy, “The Legend of Georgia McBride” by Matthew Lopez.

Set in the Florida Panhandle, just as Casey (Sam C. Jones), a budding Elvis impersonator with a bit of high school musical experience, is finally getting his act to work, Cleo’s Bar on Panama City Beach decides to change its entertainment. Desperate for a bigger (or any) audience, bar manager Eddie (Ty Stover) takes a chance on his cousin, drag queen Miss Tracy Mills (John Vessels).

Casey is in a bind, as his wife Jo (Bridgette Ludlow) is pregnant, so he stays on as bartender. Then, when Miss Tracy’s fellow entertainer, Anna-Rexia Nervosa (Jonathan Studdard), can’t go on, Casey is pressed into service in dress, wig and makeup, and Georgia McBride is born!

Once our hopelessly hetero hero accepts his new persona, “her” popularity rises on the beach-bar scene, but Casey can’t bring himself to tell Jo what he’s been doing. It’s easy to see that a reckoning is coming for Florida’s newest Queen.

This play is loaded with both humor – in side-splitting comic moments – and heart. In Jones and Ludlow’s performance, you can tell Casey and Jo truly love each other, though he tests her patience with his immaturity, and she his with her bouts of pessimism.

Vessels is amazing, whether playing the confident woman backstage or the hilarious performer in the spotlight. Studdard is excellent in double-duty as Rexy, who informs Casey that the drag life is more than just a lip-synching gig; and as Casey and Jo’s landlord and friend, Jason – his double-take when he find’s out about Casey doing drag is priceless. Stover as Eddie is in his element, as he plays a thin-tempered but lovable Falstaff with bills to pay.

The drag scenes are played to the Phoenix audience as the bar’s audience, so cast members informed us after opening night that people sitting up front could tip them like in a regular drag show. Those scenes include clever musical mash-ups, and wonderful costumes by Stephen Hollenbeck. Suzanne Fleenor directs.

The “Legend” continues through Oct. 6 at the Phoenix, 705 N. Illinois in downtown Indianapolis. Information and tickets at phoenixtheatre.org.

Advertisements

Storefront’s ‘Pilgrims’ carrying some heavy baggage across the stars

By John Lyle Belden

In the future, a ship’s cabin still looks like a comfortable hotel room, it’s just that the ship is sailing through space. A man enters, eyeing the layout and smoothing the bed like one conditioned by military service. Everything is in order for the long journey. Suddenly, an annoyingly perky teen girl bursts in and makes herself at home. Something is amiss here.

“Pilgrims,” the drama by Claire Kiechel, directed by Chelsea Anderson on the new Broad Ripple stage of Storefront Theatre of Indianapolis, is in the tradition of the best science-fiction stories, using a distant fantasy situation to probe questions about our present humanity.

Aboard the aptly named starliner, “Destiny,” Ryan Ruckman portrays a soldier returning as a migrant to the planet where he once fought its natives. Struggling with PTSD, he is haunted by what happened there, but feels compelled to return. Ruckman often gets cast in this kind of rugged role, so is a natural fit, and has honed the skill of showing the human under the he-man facade.

Kelsey Leigh Miller, as the teen roommate, puts her inner child on full display to excellent effect, then lets the girl’s more mature aspects creep in as their journey continues. We easily see her as whatever she presents herself to be at every moment.

Our other character is Jasmine, a 2600B model AI android and the cabin’s personal valet. She appears when called upon to dispense food or supplies — but not much in the way of news, except to say that a quarantine remains in effect, keeping our two humans in close quarters for possibly the entire three-month voyage. Carrie Schlatter is excellent in this difficult role, managing speech that is artificially friendly without robotic cliché flatness, and economy of movement that reflects someone who is programmed rather than engaging in natural human action.

We are along for the long ride, as the play is a single movie-length act. Numerous scenes and little revelations track the passing of time, as the couple’s interactions – and perhaps something else – slowly change them, drawing them closer in unexpected yet inevitable ways.

Apparently among the beings of the “new world” (which the girl naively calls “aliens”) there is no word for the concept of “regret;” yet that is the biggest thing our Pilgrims bring with them. See how they unpack it in the play’s remaining weekend, Thursday through Sunday evenings (Sept. 19-22) at 717 Broad Ripple Ave. Get information and tickets at storefrontindy.com.

Would be a crime to miss ATI’s ‘Scoundrels’

By John Lyle Belden

The criminal culture on the French Riviera of “Dirty Rotten Scoundrels” is an easy-going atmosphere where there is truly honor among thieves, the setting for the raucous comedy of the 1988 film (starring Michael Caine and Steve Martin) and the more recent Broadway musical, now presented by Actors Theatre of Indiana.

Polished and posh local con man Lawrence Jameson (played by TJ Lancaster) has perfected his act of posing as an exiled prince, extracting funds for his “revolution” from willing rich women, including Muriel (Judy Fitzgerald), an American all too eager to spend her ex-husband’s fortune. Lawrence’s accomplice, Andre (Don Farrell), is also the city Chief of Police, so they pretty much have it made.

But shortly after hearing that a notorious swindler, The Jackal, is in the area, Lawrence meets Freddy (Tony Carter) a crude but effective fast-talker who wants the more mature con artist to teach him his methods. They gain a grudging respect for each other, but get on each others nerves to the point that they make a wager – first to fleece their next mark for $50 thousand gets to stay; the other must leave. Enter the Soap Queen of Cincinnati, Christine Colgate (Deborah Mae Hill). The con is on!

The result is hilarious and thoroughly entertaining. Fortunately, the musical’s book by Jeffrey Lane (songs by David Yazbek) doesn’t force our leads to be copies of the charismatic Caine or unique Martin, but excellently-rendered characters that Lancaster and Carter have obvious fun embodying. They and the supremely charming Hill make the most of the show’s frequent slapstick moments. Fitzgerald fits among the criminals, stealing scenes — especially with fellow ATI founder Farrell. Supporting and chorus parts are ably filled by Michael Corey Hassel, Tim Hunt, Annalee Traeger, Brynn Tyszka and Sabra Michelle, who shines as an Oklahoma oil heiress set on marrying our faux Prince. Direction is by New Yorker Michael Blatt.

ATI opens their 2019-20 season with this show in the intimate confines of The Studio Theater at the Center for the Performing Arts in downtown Carmel, running through Sept. 29. Get info and tickets at atistage.org, or thecenterpresents.org.

IRT opens ‘Angry’

By John Lyle Belden

It’s a hot summer night, and what will happen in this room will have life and death consequences for someone you’ve never met.

Welcome to “Twelve Angry Men,” the classic American drama by Reginald Rose opening the 2019-2020 season at Indiana Repertory Theatre. Set in 1957, this play is both very much of its time, and timeless. The struggles and society these dozen characters deal with are every bit as real today as they were then.

Our 12-man jury is tasked with deciding the fate of a young man accused of murder. If the verdict is guilty, the death penalty will be applied. The men are all from different backgrounds, working class to rich. Though all white, they have roots in different ethnicities. 

The jury foreman (Seth Andrew Bridges) calls for a preliminary vote. Since the result seemed so obvious during the trial, all vote “Guilty” — except for one (Chris Amos). Why? He doesn’t want a rush to judgement, he says, and besides, he has some questions.

For the next hour-plus (the play is a single movie-length act) we hear the details of the case, presenting the murder mystery in nearly enough detail to give the audience a vote. 

The men arguing are all sharply acted, under the direction of James Still, giving dimension to their archetypes: Scott Greenwell as mousey, yet wanting to see justice done; Craig Spidle as one easily convinced of the evil “kids these days” can do; Henry Woronicz as a rich broker who wants to see the facts as plain and ordered as the newspaper he reads; Demetrios Troy as a man with more in common with the defendant than he’d like to admit; Casey Hoekstra as a laborer whose work ethic informs his judgement; Michael Stewart Allen as a loud Yankees fan (he wants the deliberations done in time to go to a game) who sounds more certain than he actually is; Mark Goetzinger as an older gentleman struggling to bring perspective to the proceedings; Robert Jerardi as a bigot determined to see “one of them” condemned; Patrick Clear as an immigrant excited to exercise his new citizenship; Charles Goad as an ad man who can’t help playing both sides; Bridges’ foreman, whose skills as a high school coach come into play; and Amos’ holdout, the conscience of the play and principal driver of the “reasonable doubt” that can turn the verdict around. Adam O. Crowe plays the Guard stationed outside the jury room door. 

Most people know, or can easily guess, the outcome of this drama. What is important, and makes this engrossingly entertaining, is how they get there. The knife, the steps, the glasses, all the clues and what they suggest, making for an intense 100 minutes. And the title is apt: these men get plenty angry — including at each other.

The stage set, designed by Junghyun Georgia Lee, is a masterwork, including a washroom to the side that can be made to be seen through screens when needed, as some juror discussions take place privately. The custom-made long wooden jurors’ table sits upon a turntable that slowly moves at times to aid our perspective of the deliberations. And at moments an actor might step away from the churning motion to demonstrate his seeking clarity. 

While the idea seemed gimmicky, the turning table is not constant, and thus works to great effect. Still notes this aspect of the stage was discussed early on in the production. “You mostly just have 12 men sitting around a table,” he said. “We needed something dynamic.”

The deliberations continue through Sept. 29 at the IRT, 140 W. Washington St. in downtown Indy, by Circle Centre. Info and tickets at http://www.irtlive.com.

IndyFringe 2019 reviews

Here are links to the reviews on this site from the 15th Annual Indianapolis Theatre Fringe Festival — IndyFringe — in August 2019.

(Click on the title)

The Adventures of Crazy Jane & Red-Haired Annie

Adventures While Black in Great Britain

And Then They Came For Me

Behind Every Great Mariska Hargitay is a Great Kurt Fitzpatrick

BRAIN-O-RAMA: Mentalism and Mischief

Class Dismissed: Figuring Out What the Hell We’re Going to Do With Our Lives

The Cookie Dough Show

The Day Penny Drowned

Fairy Godmother & Associates

Fallen from the Toybox

FootLose

Game of Crows: Winter’s Coming,  Father Ned!

Generations

Is Your Brain Still Cooking?

Iron in Your Future

It Gets Bitter, The Ron Popp Story

Jan of All Trades

Jeannette Rankin: Champion of Persistence

Journey to Hell

Lady LIVES

A Life of Sorrow: The Life and Times of Carter Stanley

The Last Man

Les Chanteuses

The Madwomen’s Late-Nite Cabaret

Make Me A Match

Nharcolepsy

Not Dead Yet

Orgasmo Adulto Escapes from the Zoo

Phantom of Fountain Square

Pretty Face: An American Dream

The Prodigal Hoosier Returns (pending)

The Reluctant Mind Reader

Schoolhouse Rock LIVE, Fringe Edition

Tasty Bits: The Magic and Stories of Taylor Martin

A Thousand Words

Vinny the Pooh

Vixen DeVille Revealed

VolleyBrawl

What They Said About Love

YAS, Twain

IndyFringe: The Madwomen’s Late-Nite Cabaret

This show is part of the 15th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 15-25, 2019 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By Wendy Carson

From the moment that Lizzie Borden (Cody Ricks) dashes across stage to take her seat at the piano, you know that this show is anything but serious.

We then welcome our beloved hostess Ethel Merman (Dave Ruark hamming it up at his best) straight from her triumphant turn as “Annie”.

Throughout the night we are privy to songs revealing aspects of these historical icons who are more misunderstood than evil.

Shawnte Gaston has a quick turn as Medusa but spends most of the show co-hosting as Eve, the embodiment of maternal energy and possibly the most misrepresented of them all. She belts out her sentiments in both “What’s the Matter With Kids Today” and “Sometimes I Feel Like a Motherless Child.”

Julie Lyn Barber embodies women as diverse as Typhoid Mary, Amelia Earhart, and Mary Stuart but she really stands out as Sybil singing “I Am My Own Best Friend”.

Georgeanna Smith Wade gives us a hilarious look into the mindset of Procne (most people know her as Medea) but it is her sultry version of Mata Hari performing “Bang, Bang” that really shines.

Add to this Jaddy Ciucci (although on the performance I saw this role was played by Devan Mathius), portraying not only Joan of Arc, Philomela, and Ann Boleyn, but a “Physical Embodiment of a Controlled Substance” (Mary Jane) and pleadingly insisting “I’d Be Good For You”

Needless to say, these women (and characters) deserve to be seen and heard and who knows when you will get another chance to do so. Presented by Main Street Artists, remaining performances are 9 p.m. Saturday and 1:30 Sunday at the IndyFringe Theatre, 719 E. St. Clair.

IndyFringe: VolleyBrawl

This show is part of the 15th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 15-25, 2019 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By Wendy Carson

Welcome to the 2019 Championships of the extremely underground sport of VolleyBrawl.

This year’s lineup is sure to be thrilling and we begin with a rousing match between “Sugar and Spike” (a pair of lunch ladies) and “Clark & Nancy” a couple who seem out of their league as well as out of their wits. While the game seems pretty routine at first, we find out soon that this is literally a duel to the death (all players wear collars that deliver a lethal shock upon losing).

We then meet some of our other teams: “Orphan Twin Force” (a goofy pair of orphans with strange supernatural powers fighting in honor of their Sensei); “Aceholes” (two stereotypically cartoonish Russians); “The Cowpokes” (a couple of yokels in Cowboy hats); “Team Tiffany” (think 80’s style pop-tarts); and “Top Gunz” (every 80’s macho movie cliché in one).

Add to this “Zeros 2 Heroes” which is made up of a very douchey guy trying to make time with his partner (who is definitely NOT an undercover cop who has spent the last three years infiltrating the sport in order to avenge her dead husband who was also undercover investigating the game but got to close and was killed).

The whole show overflows with silliness and 80’s references abound. Musical numbers are tight and enjoyable. Even the volleyball gets its own song during the Memorial Montage to athletes lost on the way to the finals.

In the hands of a less skillful cast, this show would be just okay. However, Matt Kramer and Defiance Comedy have recruited a stellar cast and together they make this one of the funniest offerings of the Festival.

Remaining performances are Friday and Sunday evenings at the IndyFringe Theater, 719 E. St. Clair.