Review: Civil War comedy works

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By John Lyle Belden

NOTE: Review also appears online with The Word (www.theygayword.com).

The most entertaining lesson this Black History Month only has one February weekend of performances, the comic drama “Butler” at Indy’s Phoenix Theatre through Sunday. It is also an important insight into the struggle to bring about the end of slavery, or to at least give African Americans some long-denied dignity.

Lawyer turned Union Army General Benjamin Franklin Butler (played by Stephen Hunt, who perfectly resembles historical photos of Butler), takes command of a fortress that by a fluke of geography is the only piece of Virginia still belonging to the North during the Civil War. As he’s settling in, he receives word of escaped slaves, led by Shepard Malloy (Ramon Hutchins), who insists on speaking to the General.

The opening scene, mainly a conversation between Butler and one of his junior officers (Brandon Alstott), helps set the tone for this play. We get a feel for Butler’s gruff personality and though his agitation over seemingly small details seems eccentric, we find ourselves “astonished” at how well it sets up the dry but sharp comedy of later scenes.

Hutchins is exceptional in a very complex role. His Malloy yearns for freedom, yet his intellect and impulsiveness make him his own worst enemy in a world where people like him aren’t allowed to get in the last word. Yet in one-on-one conversations with Butler, their verbal sparring challenges each other as well as the audience, even while extracting welcome yet un-guilty laughter.

Doug Powers appears as a Confederate Major sent to fetch the escaped slaves, ironically citing the laws of the Union his state was seceding from to compel Butler to return them to his custody. It is in this situation that the Union General reverts to lawyer mode and comes up with a loophole to keep Malloy and his companions in the fort. Note this is based on true events, including the legal means by which Butler manages to hold on to the “property” of a Southern slaveowner.

If an uplifting Civil War comedy can happen, anything is possible. See for yourself Feb. 4-7. Call 317-635-7529 or see phoenixtheatre.org.

Review: Buck Creek’s ‘Garland’ charms

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By John Lyle Belden

NOTE: Review also appears online with The Word (www.theygayword.com).

“Hi, I’m Judy Garland, Liza Minnelli’s mother.”

BCP Garland
Georgeanna Teipen as Judy Garland in “The Property Known as Garland” at Buck Creek Players through Sunday (BCP photo)

This is how the star, occupying the body of Georgeanna Teipen at Indy’s Buck Creek Playhouse, introduces herself to Ed (Steve Jerk) in the dressing room of Copenhagen’s Falconer Centre as they await what would be her final public concert, March 25, 1969. She then sends Ed on a fool’s errand so that she can be alone for the next hour to talk to us – across space, time and the fourth wall – about her life.

“The Property Known as Garland” was crafted by Billy Van Zandt from Garland’s actual words in interviews and dictations for a never-published memoir. Director D. Scott Robinson said a minimum of dramatic license was employed in the script. While he can’t say Judy’s stories were all true, because “she was a story-teller,” he said. “What you hear is what she actually said.” Robinson added that most aspects of her narrative, including her scandalous first pregnancy, are independently verifiable.

Robinson also said that while he was thrilled to get the rights to this show, he wouldn’t do it without Teipen as Garland. Fortunately, she was quick to say yes, he said. And indeed, from the short dark wig to the sassy attitude that sways from playful and wistful to maudlin and angry, she does – for 90 minutes, no intermission – become Judy Garland.

I must note that for those who are either eager for or cringing at the thought of her belting out full renditions of “Zing! Went the Strings of My Heart” or “Over the Rainbow,” it won’t happen. Teipen is spared inevitable comparisons to the legendary voice, as Judy saves it for her Danish audience.

Still, to hear her story, from little Frances Gumm and her sisters in vaudeville, through her time with MGM and Oz (including backlot Munchkin tales), up through her more recent triumphs (Oscar-nominated for “A Star is Born”) and trials (getting booed off the stage in Australia), is fascinating enough without song breaks. And in Teipen’s performance, we feel those highs and lows with her.

She touches on her appeal to LGBT audiences, including encounters with drag impersonators.

There is also a touch of irony, as she remarks on how each of her peers and rivals are “drunks” while waving her ever-refilling glass of Blue Nun dismissively. She has no problem with it, she says, except for having to switch from wine after being told, after liver surgery, that she could no longer consume hard liquor. And she laments how Marilyn Monroe was careless enough to overdose on pills, just months before she would die from a day of constant consumption of barbiturates.

There is just one weekend of performances left before the Garland glamour leaves us again. Find Buck Creek Players at 11150 Southeastern Ave., Acton Road exit off I-74; call 317-862-2270 or see www.buckcreekplayers.com.

Review: Corny cornchip mystery by CRP

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By John Lyle Belden

Years ago, I worked on a production line of a manufacturer of tortilla products. Though not too bad if you don’t mind smelling like a corn chip after work, the shifts were as long and monotonous as you’d imagine. And I guess that for those working in the executive offices, things were about as dull.

Until they’re not.

Casey Ross’ “Tortillo” imagines such a scenario, in which a corporate drone at a corn chip company could use some excitement in his life – and with a mysterious phone call, he gets it in spades.

Dave (Robert Webster Jr.) could care less about the new ranch flavor of Tortillo stacked chips (like if Pringles made Doritos) but would rather pine for hot co-worker Juniper (Lisa Marie Smith). Steve (Matt Anderson) is all to eager to help Dave score, giving him an excuse to offload all his work on shy but faithful intern Patrick (Davey Pelsue). But during an evening of watching Steve’s 15 seconds of fame on TV, he and Dave get a call from a malevolent voice, telling them to “mind your own masa.”

Naturally, they freak out over the vague threat, but not enough to do anything. The next day, after overeager employee-of-the-month Ted (Tristan Ross) drops off a sample of the new-flavored chips, they make a discovery that will make you think twice before popping open your next can of Tortillos.

What ensues is a bizarre mystery of corruption and revenge with odd and shady characters – and just who is that “John” guy (Brian Kennedy) anyway? He looks familiar – all flavored with dark hilarity like only Casey Ross’ pen can deliver.

Under the expert direction of Tristan Ross (no relation to Casey) this madness flows excellently through two acts. This was originally a 50-minute Fringe show, and hits the same plot beats, but the two Rosses have ensured that it doesn’t feel “padded out.”

The fun and snacks end Sunday at the IndyFringe building’s Indy Eleven stage. See IndyFringe.org or the Casey Ross Productions website or Facebook page for details and tickets.

Review: An entertaining and enlightening Sondheim salute

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By John Lyle Belden

Did you know that it took three tries before “A Funny Thing Happened on the Way to the Forum” had an opening song that worked?

You get lots of behind-the-scenes glimpses like this in “Sondheim on Sondheim,” Thursday through Sunday at Footlite Musicals. This hybrid of documentary and revue has Stephen Sondheim himself projected on a big screen, talking about his life and career, while live performers – Lauren Bowers, Graham Brinklow, Onis Dean, Laura Duvall-Whitson, Karen Frye, Jeff Fuller, Sarah Marone and Larry Sommers – sing songs from his stage shows. The numbers range from choruses and medleys to full performances of songs like “Gun Song,” “Finishing the Hat” and “Send in the Clowns.”

If you don’t like Sondheim – then, really, why are you reading this? – but if you do like the man or his musicals at all, you’ll find this show charming and insightful. The singers are well up to the task, with some, like director Bill Hale, having worked on the Footlite production of “Follies” a couple of years back. However, the orchestra on stage does threaten to sonically overwhelm them. Fortunately, the audience is also on the Footlite stage, an intimate arrangement that gives the vocalists the freedom and challenge of working un-mic’ed.

Circumstances limited the show’s run, so see it this weekend at the Hedback Theater, 1847 N. Alabama St. Call 317-926-6630 or see footlite.org.

Games: Two adorable diversions

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With Christmas gift shopping hitting its peak, we’re providing some reviews of games we’ve discovered.

By Wendy Carson

At the 2015 GenCon, we tried two of the latest games from Asmadi Games, home of absurd and anime-inspired diversions like “We Didn’t Playtest This Game,” “Win, Lose or Banana” and “Whack a Catgirl:”

Adorable Pandaring

We all know that pandas are cute, but is any one panda more adorable than another? In this new card game from Asmadi, players try to gain bamboo (points) by playing pandas that reflect the current Panda Law.

The game consists of nine separate varieties of pandas, each with its own different ability. Players take turns playing their pandas either face up or face down in order to win bamboo; the first player to five pieces of bamboo wins. While this seems simple enough, there is a lot of strategy at play.

First of all, there are four different Panda Laws that determine which pandas are “adorable” at any given time. Once four cards reflecting this law have been played, the most adorable panda of them all, the Red Panda, flips over and the scoring phase begins. Then all “adorable” pandas are shuffled back into the deck and play continues with the other pandas, the “unadorable”ones, remaining in play and the current player choosing then new Panda Law.

Since there are cards that can cause players to gain or lose bamboo or their pandas, copy other pandas’ abilities, or even change the Law, even the best thought-out strategy can be blown in a simple flip of a card. However, the game is still enjoyable and offers many hours of exciting and fun game play.

Note that it may take players a turn or two to fully get the hang of the game mechanics – once they do, it becomes a great time for all involved.

Meow

This is a cute, quick silly game for young and old alike. The deck consists of two types of cards, MEOW (cats) and NOT MEOW (other animals). Players draw a card, look at it and say, “Meow.” If you get two “Not Meow” cards, you win. However, if another player thinks you have a “Not Meow” card they can challenge you. You must then reveal your cards. If you do indeed have a “Not Meow” card, they win. If you do not have a “Not Meow” card, they are then out of the game. Play continues until someone either draws two “Not Meow” cards or successfully wins a challenge.

The lighthearted feeling of this bluffing game is reminiscent of “Win, Lose or Banana.” It’s just a few minutes of gaiety to distract you or lift your spirits.

Find Asmadi online at asmadigames.com, but more recent updates are at their Facebook page.

Games: ‘Road to Infamy’ on fast lane to production

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With Christmas gift shopping hitting its peak, we’re providing some reviews of games we’ve discovered.
Road to Infamy game crop

By Wendy Carson

I played “Road to Infamy” in a playtest demo at this year’s GenCon and really loved it. The game seems complex at first, but after you’ve played it once, the mechanics and strategy are easy to follow. Each player is a wealthy gang leader in Chicago who is competing against rival gangs to become the most infamous of all.

Players have color-coded cards with values from 1 to 6 which are used to bid for one of the three available Resources each turn. Each resource contains a benefit that makes it valuable to your empire: Gangsters (red), which have special abilities to give you strategic advantages; Contraband (green), helps you amass infamy points which lead to eventual victory; and the Cop (blue) who accepts bribes to not confiscate your contraband and to target opponent’s types.

Players spend each turn placing three bids on one or all of the resources. After all bids are made, the player with the highest total for a resource wins the benefits therein. Play then continues until all 12 of the Gangster cards have been claimed. Infamy points are totaled and a victor is declared.

What makes this game more of a challenge is that the designers have taken care to add a lot of checks and balances to the mechanics. They have added bid actions to the cards valued 1 or 2 which make them more valuable and extremely powerful in the right combination.

Also, the Gangster’s abilities are far more useful than you might think at first glance. In fact, The Launderer and The Guard have abilities that can potentially dominate game play if they are acquired early or together. The randomness of any one Gangster’s appearance helps, but know that anyone having either of these will quickly be the target of an assassination attempt.

It is clear that the designers went to a lot of effort to make a playable game that holds up to repeat play. Therefore, it is no surprise that they hit their Kickstarter goal within 4 hours of it going live. They are still working to finalize printing and distribution; for more information, follow their Facebook page.

The movie-themed game for everyone

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With Christmas gift shopping hitting its peak, we’re providing some reviews of games we’ve discovered.
Double Feature game
By Wendy Carson

“Double Feature” is THE must-have game for any party or gathering.

While many movie games require you to know specific details and trivia of films, all you need here is to be able to name the title of a movie that has two items in common. Even if you haven’t seen many movies, you can still play along.

The rules are very basic: You have seven sets of cards representing different categories: PROP, LOCATION, CHARACTER, SCENE, a THEME or GENRE, SETTING, and PRODUCTION. Two different category cards are then turned over, and the first player to name a movie that contains both of the listed elements wins a card. Another card is played to replace the awarded one and the game continues.

An example of game play would be: CHARACTER, “Lions, Tigers or Bears,” and PRODUCTION, “Musical” – answers can range from “The Lion King” to “The Wizard of Oz,” or you could argue the film of “Les Miserables” for the sung line “…the tigers come at night…”

What makes this game such a hit is that you can’t help but participate. Every time I have played it, someone always says they “just want to watch,” and they always end up playing along. In fact, I have seen people just walking past the table during a game who have jumped in and played as well. Even the most game-averse people have enjoyed playing. Also, I have never seen this game not continue until all of the cards were used.

Plus, it is easy to understand and fun for young or old alike. Once you play it, you will have to get your own copy so that it’s always available to enliven any gathering. If you give this game as a gift, don’t be surprised if you end up playing it through at least once before you are finished unwrapping the other gifts.

Published by Renegade Game Studios, “Double Feature” is available at game shops and major retailers. For information, see www.renegadegamestudios.com.

Review: Untraditional tradition delivers again

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By John Lyle Belden

Gayle Steigerwald – a very familiar face to Phoenix Theatre patrons – admits during “A Very Phoenix Xmas X: Oh Come Let Us Adore Us” that what is mainly a lampoon of holiday traditions has become an Indianapolis holiday tradition itself.

Steigerwald, a veteran of numerous “Phoenix Xmas” skits, acts as emcee for this year’s show, with its mixture of old and new elements in its songs and short plays, garnished with projected photos from past productions while Steigerwald banters as the cast change costumes. The other players – Scot Greenwell, Paul Hansen, Olivia Huntley, Rob Johanson, Eric J. Olson, Sara Rieman and Lincoln Sientz with musician Deb Mullins – are also familiar faces, and eagerly deliver like the pros they are.

The sock monkeys and lighted dancers return, and we get unusual takes on Christmas carols, the tree, gifting, and even the jolly character at the center of the celebration. There’s an avant garde piece, a bit of political commentary, and moments that reach more for the heart than the funny bone. Nothing is too sacred for this bunch, but there is no big sacrilege either. So, feel free to indulge in this alternate “tradition,” playing through Dec. 20 at the Phoenix, 749 Park Ave. (corner of Park and St. Clair downtown); see www.phoenixtheatre.org or call 317-635-7529.

At ATI: A salute to another era, and some sweet stories

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By John Lyle Belden

Actors Theatre of Indiana is easy to overlook, with its home space being The Studio Theater, next to the bigger Tarkington stage in the Center for the Performing Arts up in downtown Carmel. Yet this little company produces some excellent and worth-seeking shows.

“The Andrews Brothers,” which played just in time for Veterans’ Day, was a valentine to the old USO shows that kept GI’s, sailors and Marines’ spirits up during World War II (and the organization is a valuable resource to service members to this day).

Three men (played by Michael Dotson, Jay Emrich and Don Farrell) – conveniently, brothers with the last name “Andrews” – who couldn’t make the cut for service due to health reasons, but still wanting to do their part, want to move up from being USO stagehands to performing on that stage. When illness prevents the Andrews Sisters from making a South Seas gig, the Brothers get their big break in a way they hadn’t imagined.

Our trio, with pin-up girl Peggy Jones (Mary Jayne Waddell) sing and dance their way through many memorable hits from the era, both as guys, and, hilariously in the second act, as the “Sisters.” It’s all a lighthearted affair, and was a fun trip down memory lane for many in the audience who remembered those days. This led to many wonderful conversations between them and the cast after the show.

As for myself, I and Wendy fell ill in the following days and the distraction of fighting the flu (yes, I had my shot, so I guess it could have been worse!) kept us from writing a timely review.

But ATI is on stage again, and while the previous show was for the young-at-heart, this one is a treat for actual little ones (and the parents and caretakers who read them their bedtime stories): “A Year With Frog and Toad.”

I remember reading the sets of short stories about best-friend amphibians by Arnold Lobel to my son years ago, and can even recall a few favorites. Those scenes are there in the live musical play, crafted by Willie and Robert Reale. The lead characters are brought to life excellently by Bradley Reynolds and Don Farrell, with the help of some supporting critters (Kyra Kenyon and Shelby Putlak), including a very eager snail (Tim Hunt).

If you or your kids are at all familiar with these woodland companions, make plans to visit them on Friday, Saturday or Sunday through Dec. 27. Call 317-843-3800 or visit atistage.org.

Review: Locally-sourced ‘Toyland’

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By John Lyle Belden

The Footlite Musicals production of “Babes in Toyland” is both old and fresh, as the classic songs by Victor Herbert a century ago are set in a new book by the show’s director Bob Harbin (of Bibdirex fame) and comic megatalent Claire Wilcher (who, unfortunately, isn’t in the show). Harbin notes in the program that the original script is public domain, allowing him to put his and Claire’s own spin on the play.

The first act is practically a play in itself, set mostly in Mother Gooseland. Jack and Jill (Thomas Whitcomb and Breanna Jaffe) have taken a tumble, and Bo Peep (Samantha Shelton) has lost her sheep, but the biggest drama is that Mary Contrary (Claire Cassidy) wants to marry Tom Piper (Jonathan Krouse), but wicked landlord Barnaby (Jeff Fuller) demands to wed her instead. Neither Mary’s mother (Susan Smith) nor Mother Goose herself (Miki Mathioudakis) like the deal, but what hope is there for a happy ending – especially when Tom disappears? Fortunately some Gypsies (“We are Gypsies!” is a running gag) come in to help save the day.

Barnaby suffers a setback, but is not finished. The plot takes our characters in the second act to Toyland, home of a toymaker (Dan Flahive) who has given up on his craft. Time to work up another dramatic showdown towards a happy ending.

This show is very much geared towards the children and kids-at-heart, tykes who don’t mind if the beak of Mother Goose’s Gander (voiced by Curtis Peters) gets a little out of synch or if some of the joke lines fall flat. Another giggle-worthy moment or song-and-dance spectacle from this large all-ages cast is coming right up. Kudos to Fuller for playing his “boo-hiss” villain for all it’s worth. And best scene-stealer goes to Keilyn Bryant as Little BB (as in “Boy Blue”). Harbin does a great job wrangling all of the various elements that go into this show, providing an experience that feels like a holiday tradition, yet is a good alternative to the other traditional holiday shows around town you saw last year (and the year before, and the year before…).

“Toyland,” at the Hedback Theater, 1847 N. Alabama St. in downtown Indy, closes on Dec. 13, so get your reservation now at 317-923-6630 or www.footlite.org.