Reviews

Review: Hitchcock, hilarity and ice cream

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By John Lyle Belden

The downside to classic old films is, well, that they’re old. There’s a good chance you’ve already seen them, maybe more than once, or at least have heard about them so much that you know their plots, including the “spoilers.” This is especially problematic for mystery thrillers, which rely on you getting surprised by that twist near the end.

To keep them entertaining, the trick with such well-worn stories is how they’re told. Case in point: Patrick Barlow’s manic re-imagining of master of suspense Alfred Hitchcock’s classic, “The 39 Steps.” This London and Broadway hit is now playing on the stage of Carmel Community Players in the Clay Terrace shopping center.

The dramatic elements of Hitchcock’s movie are still there: In 1930s London, a man attending a performance by “Mr. Memory” meets a mysterious woman who insists she go home with him, then reveals she is being followed. During the night, the woman is murdered and the man is on the run, trying to clear his name. All he knows is that secrets are about to be taken out of the country, and that the espionage involves a master spy with part of his finger missing and something called “The 39 Steps.”

So, that’s the plot, but even if you know all the answers, it’s still worth both your time and your dime (actually a bit more) to see Barlow’s version, brought to life by central Indiana actors Jay Hemphill, Libbi Lumpkin, Neal Eggeson and Craig Kemp, under the direction of Lori Raffel.

The delivery of the story’s scenes rely more on slapstick than suspense, combined with wink-to-the-audience use of stagecraft, where chairs become cars; trunks become trains; curtains and windowshades just hang in midair where needed; and a supporting actor inhabiting two roles slyly converses with himself.

Eggeson and Kemp are identified in the program only as “Clown 1” and “Clown 2,” nimbly taking on all the roles of people encountered by our hero, Richard Hannay, played dashingly by Hemphill. Both Clowns bring the funny as they propel the plot forward, including Eggeson’s gender-bending turn as a Scottish inkeeper’s wife, Kemp’s entertaining portrayal of Mr. Memory and the goofy chemistry between them as the thugs in pursuit of our hero.

Hemphill plays a Hannay who is at times blusteringly confused as to what is going on, and at other moments a little self-aware that he’s the hero of the play, balancing this dance with our expectations and the fourth wall perfectly.

Lumpkin – a fierce balance of beauty, brains and bravery – fills the pumps of both the murder victim and the woman Hannay ends up handcuffed to during one of his escapes. Even at her most irritating and irritated at the other cast members, she never loses her charm with us.

Aside from our foursome, credit must also be given to stage manager Mark Peed, whose necessary interventions add to the magic rather than distract. And watch for references to other Hitchcock classics hidden in the story.

Another fine feature at CCP is the availability of ice cream at the concessions during these hot summer weekends. “Alfred Hitchcock’s The 39 Steps” plays through Sunday at 14299 Clay Terrace Blvd., Suite 140, Carmel. Call 317-815-9387 or visit carmelplayers.org.

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Review also in July 30 edition of the Greenfield Daily Reporter.

Review: Where there’s “Smoke,” there’s a mighty fine show

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The cast of Beef & Boards Dinner Theatre's
The cast of Beef & Boards Dinner Theatre’s “Smoke on the Mountain: Homecoming,” running through Aug. 16. — Beef & Boards photo

By John Lyle Belden

For regular patrons of Beef & Boards Dinner Theatre in northwest Indianapolis, just saying, “There’s a ‘Smoke on the Mountain’ show!” is enough to get many scrambling to contact the box office.

The popular original off-Broadway show centers on a gospel-singing family putting on a “sing” at a rural North Carolina church in the 1930s. Aside from seeing the interpersonal drama among the Sanders clan and sharing a few laughs, the audience is treated to a series of old-time hymns and gospel tunes, with the cast playing an array of instruments.

The sequel, “Sanders Family Christmas,” has the family returning to Mount Pleasant Baptist Church for a holiday sing in 1941, the last show before the Sanders’ son goes off to war.

The present production, “Smoke on the Mountain: Homecoming,” takes place in late 1945, with the war over and young Dennis (Will Boyajian) back with the family, following through on his service as a chaplain and a lifelong call to take the pulpit as the Mount Pleasant minister.

The departing pastor, the Rev. Mervin Oglethorpe (John Vessels), responded to a request to open a church in Texas and will leave the next day, taking his very pregnant wife, June (Sarah Hund), the Sanderses’ elder daughter. Burl and Vera Sanders (Bob Payne and Pam Pendleton) still have daughter Denise (Christina Rose Rahn), Dennis’ fraternal twin, now married with twins of her own, as well as Burl’s troubled brother, Stanley Sanders (Brian Gunter).

They are hosting one more sing before the Oglethorpes depart, but it becomes apparent that there are still a few issues to work out.

It helps that most of the cast is the same as past B&B “Smoke on the Mountain” productions, especially Vessels as the emotional and hyperactive Brother Mervin and Hund at her comic best as simple June, who provides the family band’s percussion, sometimes in hilariously inventive ways, and signs rather than sings — though some of her gestures might confuse any deaf audience members who happen by the church.

Boyajian and Rahn make their B&B debuts but manage to fit right in as though they had always played the Sanders twins, especially when circumstances force them to re-enact a song from when Dennis and Denise were very young.

It’s not all comedy; be prepared for some very serious moments of testimony and a lot of talk about Jesus. But this is what comes naturally in a musical with a song list that looks like one from a small-town Sunday school.

In fact, especially when Dennis or Stanley recall their darkest hours, it’s easy to forget that these are fictional characters. But the spirit (or Spirit, if you believe that way) of the play stays true to the memories of those of us who ever attended a little church in the backwoods -– or a hometown congregation anywhere.

One hopes that playwright Connie Ray would eventually see fit to have the Sanderses go see June and Mervin for a Texas-sized gospel sing, but for now we can enjoy witnessing the “Homecoming” daily except Mondays through Aug. 16 at 9301 N. Michigan Road, near the Pyramids. Call 317-872-9664 or see beefandboards.com.

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Review also appears in the July 23 edition of the Greenfield Daily Reporter.

Review: Say yes to the dresses

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The Cast of Theatre on the Square's "Love, Loss and What I Wore" by Nora and Delia Ephron, playing on the TOTS Second Stage through Aug. 1 -- TOTS photo by Abdul-Shaheed
The Cast of Theatre on the Square’s “Love, Loss and What I Wore” by Nora and Delia Ephron, playing on the TOTS Second Stage through Aug. 1 — TOTS photo by Abdul-Shaheed

By John Lyle Belden

A local production of “Love, Loss and What I Wore” by Nora and Delia Ephron returns to Indianapolis, now playing at Theatre on the Square (the first production was a couple of years back at the Phoenix) and is, again, a funny and heartwarming little show about how our wardrobe links to our memories.

The play is mostly a set of monologues performed by five women. In the center is Adrienne Reiswerg as Gingy, the central recurring character who has lived a full life and, to remember it, has made drawings of the various dresses and outfits she has worn along the way. As stage manager Stacy Ricks hangs the drawings up behind her, Gingy relates the story behind each garment.

In addition, Rhoda Ludy, Miki Mathiodakis, Lucinda Phillips and Bridget Schlebecker portray numerous characters – mothers, daughters, sisters, fiances – who remember boldy and fondly a certain dress, or bra, or shoes, or even finding a unique purse.

The delivery brings out a lot of laughs – “You’re not wearing that, are you?” – as well as a few tender moments. It will no doubt also stir up some memories of your own favorite item.

You don’t have to be female or fashion-obsessed to love this show. The well-crafted script is in very able hands on the TOTS Second Stage. But if clothes are your thing, you simply have to see it.

This production runs through Aug. 1 at 627 Massachusetts Ave.; call 317-685-8687.

Review: Ohmygod, you guys! CrazyLake has hit with “Legally Blonde”

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Amy Studabaker (left) is townie hairdresser Paulette and Peyton Cole is Harvard law student Elle Woods in the CrazyLake Acting Company production of
Amy Studabaker (left) is townie hairdresser Paulette and Payton Cole is Harvard law student Elle Woods in the CrazyLake Acting Company production of “Legally Blonde: The Musical” — CrazyLake photo

By Wendy Carson

CrazyLake’s new show, “Legally Blonde: The Musical,” does a fantastic job of showcasing many of the talented young adults in the Hancock County area. With a mere 15 percent of the enormous cast consisting of adults, it’s really impressive to see these kids ruling the stage. I’m sure most of them will be off to college and out of the area very soon, but those that do stick around should be regulars on the area stages very soon.

Besides the overall level of acting and singing, the true stand-out here is the choreography by Amy Studabaker. The various dances are not only artfully crafted but perfectly executed. This is especially amazing in the numbers with seven or more dancers performing in unison. The finale with the entire cast is particularly breathtaking.

The show’s story is very faithful to the original movie’s script and the elaborate musical numbers do not detract from the story. However, like the film it was based on, it never takes itself too seriously. Hence, the running gag of Elle’s “Greek Chorus” appearing periodically thoughout.

Payton Cole is sheer perfection in her turn as Elle, a ditzy sorority girl who will do anything (including getting in to Harvard Law School) to snag the man she feels she is destined to be with. Harrison Kenn is appropriately pompous and self-involved as the object of Elle’s affections. Patrick Gawrys-Strand’s does a beautifully nuanced job in his role as Emmitt, the financially disadvantaged kid who is Elle’s most faithful supporter. Studebaker is delightful as Paulette, the salon owner with her dreams of Ireland and a better life with a good man who truly supports her.

Still, many of the true stand-outs are in some of the “lesser role,” such as the divine band of ladies playing Elle’s sorority sisters and the Greek Chorus. Trevor Brown’s take on Kyle, the UPS guy, was hilarious and fun to behold. Of course, I cannot leave out the amazing talents of the two most adorable cast members, Banner McDowell-Fisher and Buddy Brown as Bruiser Woods and Rufus — they were consummate professionals through and through.Honestly, I could easily write at least a dozen or so more paragraphs highlighting every single performer and role but I already feel like I’m exhausting my audience’s patience as well as running out of adjectives. So just let me say that every single cast member was sheer perfection, and if anyone out there misses this production, they will truly regret it.

Performances are today through Sunday and July 17-19 at the H.J. Ricks Centre for the Arts, 122 W. Main St. in downtown Greenfield (on U.S. 40, just west of the county courthouse). Info and tickets at the CrazyLake Facebook page and CrazyLake.com.

Review: Casey Ross Productions’ “Stoops” conquers

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Cast of Casey Ross Productions' "She Stoops to Conquer," Friday, June 19, 2015 -- photo by John Belden
Cast of Casey Ross Productions’ “She Stoops to Conquer,” Friday, June 19, 2015 — photo by John Belden

By John Lyle Belden and Wendy Carson

It’s too easy to call the Grove Haus, the funky former church building in Indy’s Fountain Square district where Casey Ross puts on her plays, the “Groove House” – because Miss “Uncanny Casey” is so, well, groovy.

And speaking of mildly-outdated but still appropriate words, Ross takes the 1700s Oliver Goldsmith comedy “She Stoops to Conquer” and gives it a groovalicious update.

Like the 18th century, the 1980s were a time of big hair, regretful fashion and wacky music. In the meantime, Florida has become synonymous with rednecks, stupidity and all manner of bizarre behavior. Add these two elements to the script of the classic and slightly bawdy play and you have CRP’s latest entertaining diversion. The tale of arranged marriages (including one between two cousins), mistaken identities, besotted or scheming individuals, and overall confusion meshes well with the chosen setting.

Dick and Dorothy Hardcastle (David Malloy and Ross) own both a home and a motel, sufficiently tacky that one can’t tell one from the other. Dick wants charming daughter Kate (Ann Marie Elloitt) to check out his old friend’s son Marlow (Max Jones), whom they haven’t met, as a potential husband; while Dorothy wants her drunken slacker son Tony (Taylor Cox) to marry his cousin (and Kate’s bestie) Constance (Veronica Orech) to better secure their property, especially the precious jewels that Constance inherited and Dorothy is holding onto as dowry.

Marlow arrives with best friend Hastings (Tyler Gordon), who has cultivated a romance with Constance. From here on, the plot gets twisty, as Tony pranks Marlow into thinking the Hardcastle home is the motel, so the young suitor treats Dick like the hired help and pines for Kate, thinking she is a just a maid and not the lady he was supposed to meet – the girl, in turn, plays along for comic situations that would do the Bard proud. Meanwhile, Hastings and Constance conspire to run away to marry, enlisting Tony’s help in getting the valuable jewels. Everything goes wrong, and, this being a comedy, everything goes right in the end.

The play not only makes use of the small stage at the head of the house, but also the central floor area, with actors occasionally sitting with and talking directly to the audience. This intimate staging not only helps us connect with the action, but also precludes the need for sticking microphones to the actors. This is a refreshing change from most Indy-area community theatre. However, in this environment, enunciation and vocal projection are more critical, and any failings are more noticeable. Opening night only had a few unclear lines, which no doubt have been worked on during this intervening week, and the story was easy to follow.

The stage set is appropriately tacky, with a couple of in-joke posters, and Ross’s sound design includes a lot of snippets of ’80s hits, keeping the mood light and fun.

Under the direction of partner “Fedora Dave” Matthews, Ross makes a welcome return to the boards, exuding gleeful maternal malevolence under a burgundy wig. Elliott is 100 percent pure-cane sweetness; Cox does slackerdom proud; Gordon is suave and valiant; Orech is comically sharp; and Molloy is fun as the blustering patriarch. Also notable is John Garlick, who comes in late in the play as Marlow’s father. Jones does great at his complex character, having to come off as naive, shy and buffoonish, but then win us over as the romantic hero at the end (Elliott-as-Kate’s kind, forgiving nature helps).

The setting doesn’t translate 100 percent, but is close enough when one considers Southern society can be at least as idiosyncratic as Olde England. One reference to pounds instead of dollars sounds out of place, but can be forgiven.

The show has one more weekend, Friday through Sunday at 1001 Hosbrook St. Tickets are $15. Get info at facebook.com/caseyrossproductions and go get your groove on.

“Idiot Anthems” – We should have more shows like this

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“Ja-ja-ja-jaded…” Carly Kincannon shows the softer side of Aerosmith during an informal cabaret show June 17 at Theatre on the Square. — photo by John Belden

By Wendy Carson

Wednesday night, select members of the “American Idiot” cast got together at Theatre on the Square for an “Idiot Cabaret” concert. Even though most notice of the show was by Facebook invite or other theater insider word-of-mouth, the crowd was decently large and up for anything.

Taking the stage dressed in what would best be called “casual black” were Lydia Burke, Lisa Ermel, Olivia Huntley and Carly Kincannon, with castmates Spencer Curnutt and Matthew Lee. (“American Idiot” continues through July 5 at the Phoenix Theatre.)

The theme for the evening was “Songs of Angst,” with the first half of the set being popular songs that were meaningful to each performer during their school years and the second half being favorite songs of angst from Broadway.

While the radio hits were familiar, each singer chose their own arrangement, and while most were in stark contrast to the original, all of them were equally beautiful. Who would have thought that “Jaded” by Aerosmith would work perfectly as a torch song?

The whole show was spectacular, with each singer bringing their all — even the few technical glitches between the songs were entertaining. Everyone who missed this event really missed out on a unique and fantastic show.

For anyone out there who didn’t know about the cabaret show, John and I are doing our best to find out about these events as soon as possible and will be posting that information here, as well as the Facebook page, so you won’t miss another one.

Personally, I would really like to see more of these cabaret events happening. Hopefully, someone will step up and organize them into a monthly occurrence. Besides replacing the “Glee” withdrawal most of us are feeling, the opportunity to showcase many of our talented local actors in a more relaxed light would be very welcome. Especially our teen and young adult performers would get a chance to test their range and gain more experience. There is so much potential for some amazing shows, plus, the one-night-only scheduling should help to make the audiences more diverse yet still very supportive.

Review: An imperfect “10”

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Sean Baker (right) rehearses with Dan Flahive, who is also in the cast of Baker's
Sean Baker (right) rehearses with Dan Flahive, who is also in the cast of Baker’s “Perfect ’10′”, holding its world premiere at Theatre on the Square in downtown Indianapolis. — TOTS photo

By Wendy Carson

Theater on the Square is currently presenting the world premiere of a new play, “The Perfect ’10’,” by local musical talent, Sean Baker. Baker has a long musical history in the Circle City, comprising of being part of several bands, The Leisure Kings being the most well known. He is also the house pianist for Chef Joseph’s at the Connoisseur room, the current and more upscale incarnation of Agio.

Being an autobiographical piece, the story is a new artistic offering for Baker. However, it does fall short of its goal. It plays more as a play being workshopped than a finished product.

This is not to say that it is entirely unwatchable and does not show some promise. The story development in the second act is quite compelling and does prove that, with some polish and rewrites, that this play will work.

There are quite a few good laughs to be had, especially Sean’s encounter with “Beaux Derek.” Maybe with the trimming of unneeded characters, Justine and Allyson in particular, it would flow better. The interactions with Sean’s therapist might be better reflected with her in voice-over, save for a late-night phone call which plays perfectly. Also, while the bartender’s actions are quite funny, he does tend to upstage and draw attention from some of the more vital dialogue. A reining in of his antics is needed. Plus, it wouldn’t hurt to add a few more songs and eventually turn the show into a full-fledged musical.

I would advise you to either watch or re-watch the movie, “10” (1979, directed by Blake Edwards, starring Dudley Moore and Bo Derek) prior to the show as there are quite a few inside jokes and nods to it in the play. Still, if you’d like to catch a rising talent at beginning of his writing career, go and check out “The Perfect ’10’” at TOTS, 627 Massachusetts Ave., Indianapolis. Call 317-685-8687.

Review: Bobdirex’s “Jesus Christ Superstar”

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From left, Patrick Clements, Joe Doyel and Julia Perillo as Jesus, Judas and Mary Magdalene in Bobdirex's production of
From left, Patrick Clements, Joe Doyel and Julia Perillo as Jesus, Judas and Mary Magdalene in Bobdirex’s production of “Jesus Christ Superstar.” — Photo by Zach Rosing

By John Lyle Belden

Producer and director Bob Harbin, a/k/a Bobdirex, is notable for bringing shows that are new and/or rarely-seen in Indy, and always thought-provoking. So, as he now presents the Andrew Lloyd Webber and Tim Rice standard “Jesus Christ Superstar” – which has featured rocker Sebastian Bach, cinema-version star Ted Neeley and others over the last decade or two – I had to ask, as I prepared what I would write here: What new thing(s) does Bob feel he is showing us with his “Superstar”?

So I asked him directly, and he generously responded:

“I’ve seen a couple of those local productions, and always felt like little attention had been paid to casting people who could really sing the leads – I felt like I was being yelled at when I think the folks were simply trying to hit the notes. I’ve wanted to investigate this show, but promised myself I’d never do it without the voices.
“I also wanted to do something that didn’t feel like it had to move to another time zone to make it relevant, and cast it with the best folk with a blind eye to gender, color, size, etc., which is something that’s important to me every time.
“I really believe in the abilities of our local talent – we just have to pay attention to where we put them, and sometimes wait until the right ones are available. I love that the performance you’ve just seen and that you’ve just enjoyed was done by someone who could be your next-door neighbor.”

Well, he nailed it on the voices. In “Superstar,” playing Thursday through Sunday and June 19-21 at the former Civic Theatre stage at Marian University, Joe Doyel sings with all the necessary power needed for the lead role, Judas Iscariot.

(For those unfamiliar with the plot of Webber and Rice’s musical Passion Play, much of the story is told from the point of view of Judas. His frustration at, and arguably misunderstanding of, Jesus’ actions at the end of his ministry lends a thought-provoking perspective without compromising the sacred aspects of the Gospels. We also see Jesus’ frustration at followers who don’t seem to grasp his purpose, Mary Magdalene’s responses to her master’s fading morale, and the Jewish leaders – driven by politics as much as faith – conspiring against what they see as a “dangerous” man.)

For the other male lead, Patrick Clements embodies the full range of feelings – gentle, irritated, consoling, angry, despairing and humbled – necessary to portray Jesus. He never overdoes it, which would bring too much attention to the actor rather than the Christ he represents, but you still sense the authority he brought to his red-letter biblical utterances.

But this play’s biggest revelation is 17-year-old Julia Perillo as Mary. Her sweet, strong voice is tested but doesn’t break, providing the necessary feminine counterpoint to Judas’ proud bluster. When she sings of her beloved Christ, “he scares me so,” we shudder with her.

In another vocal coup, Harbin has brought Michael Lasley – usually encountered as the “voice of God” who tells us to silence our cell phones at the Booth Tarkington Civic Theatre – onto the stage as Caiaphas to rumble with astounding clarity all of those low notes.

Ty Stover is excellently cast as Pontius Pilate. We’re used to seeing him in lighter roles, but it’s easy to see how he can still do such an iconic dramatic role in his sleep (which he doesn’t – he was totally awake, I’m sure).

The role of King Herod, the closest Webber and Rice come to comedy relief, is played flamboyantly by Danny Kingston. Though the performance verges on “Queen Herod,” he still makes it work.

Overall, Harbin’s direction brings us the familiar story and songs in a highly competent manner that holds our attention, aided by Kenny Shepard’s choreography and a simple set with laddered structures that take advantage of the roomy stage. He also makes the decision to not soften the ending: What happens beyond the cross is left to the viewers and their faith.

Whether you’ve never seen this classic musical or sat through it a hundred times, this production is worth attending. Find the stage at 3200 Cold Spring Road, Indianapolis. Get tickets at 317-280-025 or bobdirex.com.

Review: “American Idiot” at Phoenix Theatre

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By Wendy Carson

From left, Matthew Lee, Spencer Curnett and Lincoln Slentz star as three best friends in
From left, Matthew Lee, Spencer Curnutt and Lincoln Slentz star as three best friends in “American Idiot,” through July 5 at Indy’s Phoenix Theatre. — Phoenix Theatre photo by Zach Rosing

In 2004, punk band Green Day released their celebrated concept album, “American Idiot.” The album’s lineup formed a story of teen angst in the new millennium. Upon hearing the record myself, I could see the threads of the story woven together in a complex narrative that seemed to lend perfectly to a full-fledged musical. Luckily for us all, Michael Mayer felt the same and Billie Jo Armstrong, the band’s lead singer, agreed. While many of the overall themes of the show hearken back to Mayer’s previous show, “Spring Awakening,” the story’s present-day setting makes it more accessible to the target Millennial audience. With Indiana’s current increase in heroin usage and the resulting HIV crisis, the show could not be more relevant and meaningful. Naturally, The Phoenix Theatre proudly brings this story to the Indy stage almost a year to the day after its Broadway run’s end.

The show’s story follows just under a year in the life of three slacker buddies (Johnny, Will, and Tunny). Their disillusionment with life in their suburban home town leads them to decide to take a bus to the big city and go experience all that life can provide. Sadly, Will is waylaid before he can even leave by his girlfriend’s unexpected pregnancy so he is forced to remain behind and long for the adventures relayed by Johnny’s occasional postcards.

In the big city, Tunny is plagued by intense depression and is called to join the army in order to find himself. He eventually ends up a troubled, broken veteran who only survives with the love and devotion of an Extraordinary Girl.

Meanwhile, Johnny’s search for meaning leads him to the seductive world of drugs, courtesy of the charismatic St. Jimmy. During this time he meets the girl of his dreams and they share a fiery affair until she tries to wake Johnny from his drug-fueled haze. Things escalate quite quickly with him choosing the allure of St. Jimmy to the love of Whatsername.

Eventually, all three characters reunite in their little hometown to face the choices they’ve made and how they’ve changed as a result of them.

Directors Bryan Fonseca and Emily Ristine have rounded up an exceptional cast to bring this story to life, many of whom are veterans of the Phoenix’s 2011 production of “Spring Awakening.” Spencer Curnutt expertly brings all of Johnny’s angst and desperation to his performance. Lisa Ermel once again shows her amazing range in the ethereal role of Whatsername. Lydia Burke brings a poetic grace to her Extraordinary Girl. Matthew Lee and Carly Kincannon’s portrayal of Will and Heather expertly show the harsh reality of teenage parenthood. Eric J. Olson shows the dangerously enticing St. Jimmy and his world of drug-fueled oblivion as an easy answer to life’s stresses, yet never lets us forget its cost. Lincoln Slentz’s vulnerability as Tunny was only marred by his struggle to stay in tune on some of the songs. While the remaining five cast members are only listed as “Ensemble”, their ability to believably breathe life into the myriad of roles they are called on to assume makes each one stand out as a major talent.

While the harsh, grittiness of this show might make some apprehensive, the show’s message resounds so much with today’s youth that it should be a must-see for anyone over 15 if only to show them some of the harsh realities of the world and drug addiction in a format they will better respond to. I would best describe the show as this generation’s version of “Hair” (sans nudity but with mature language and a scene of simulated sex). See the show Thursdays through Sundays through July 5 at the Phoenix Theater, 749 N. Park Ave. (corner of Park and St. Clair near Mass. Ave.), Indianapolis, but you should get your tickets soon, because they are selling quickly and you really don’t what to be an American Idiot by missing out.