Aaron Burkhart

Hadestown comes to Footlite

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

“And we’re going to sing it again, and again!”

For those who missed the recent other production of “Hadestown,” or have seen it and want more, Footlite Musicals brings the “Teen Edition” (largely unchanged from the original) to its stage through Sunday.

The Tony-winning sensation by Anïas Mitchell tells an “old song” that dates at least to Ancient Greece, blending the myth of Orpheus and Eurydice; the relationship between Hades (god of the Underworld) and Persephone (goddess of Spring); and some rather current issues.

The show is set more recently, with buildings resembling downtown New Orleans, reflecting the jazzy style in which we get our story. Our host and narrator is the messenger god Hermes (Plezzance Lawrence), accompanied by a literal Greek Chorus of Fates (Lauren Blackwood, Zyan-Kristyna Byrd, and Ruth Par).

A railroad train from the Underworld brings Persephone (Grace Graves), whose summer stays seem shorter in recent years, before husband Hades (Carter Hinton) comes to claim her. Meanwhile, Orpheus (Eduardo Palapa), the mortal son of a Muse, uses his supernatural gift of music to work on a song he believes will set the cycle of seasons right again. He looks up from his work to see the beautiful mortal Eurydice (Willa Cortez), young but world-weary, seeking comfort. They fall in love and are happy – until the long hard winter returns. Eventually, each of these lovers will go to Hadestown, “way down under the ground,” where events lead to an “Epic” showdown between man and god.

The ensemble players are integral to the story as well, adding vocals for emphasis and moments of call-and-response, as well as aiding the narrative with movement choreographed by Kevin Bell. These are Owen Alvis, Devin Barringer, Marguerite Bougeois, Fender Brokamp, Emma Copes, Christian Diaz, Eloni Fitzpatrick, Oliver Hayes, Hawk Hendrix, Oliver Martinez-Torme, Anna McGaha, Staci Raymount, Louis Rivelli, Ruby Schoettle, Adryan Simmons, and Zoe Wilson.

The production is directed by Dennis Jones and Ed Trout, who said he really wanted to emphasize the soul of the work – both in the jazz sense and the essence of the ancient legend. For instance, he had Hinton bring out the melodic tones of Hades’ baritone part.

Graves is a delight, both in Persephone’s sassy songs and her repartee. Cortez is also excellent in voice and manner as the tragic Eurydice. Palapa is simply amazing, his Orpheus believably sounding like one touched by the divine. Lawrence as Hermes entertainingly guides the proceedings like one with godly prerogative.

The orchestra, led by Gisele Dollinger, occupies an upstage loft and features a hot trombone solo by Aaron Burkhart. Trout designed the set, which includes using the Hedback Theatre stage trapdoor as a dramatic means of descent.

All this combines into a powerful, unforgettable theatre experience. Timeless legends retain their form while becoming relevant to our lives in this century. Perhaps love conquers all, but it’s still a hell of a fight.

“Hadestown: Teen Edition” has performances Thursday through Sunday, July 24-27, at 1847 N. Alabama St., Indianapolis. Get tickets at footlite.org.  

‘Fiddler’ at Footlite: ‘Tradition!’ refreshed

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

Footlite Musicals presents the beloved classic, “Fiddler on the Roof,” and judging by the sellout opening night, the show still has wide appeal. Director Paula Phelan likens it to a sort of theatrical comfort food.

With songs by Jerry Bock and Sheldon Harnick, and book by Joseph Stein, the story set in the Jewish village of Anatevka in pre-Revolution Russia centers on the family of milkman Tevye, who has five daughters, three of them marrying age but he can’t afford a dowry. In the first Act, the focus is more on village life, and the small but growing changes that come to established “Tradition!” Act Two brings even harsher changes, as the cruel outside world overtakes their simple, manageable one.

Daniel Draves brings an air of paternal authority with the right touch of whimsy to Tevye, complete with a singing voice that nicely hits every “biddy-biddy bum.” Jennifer Hallberg as his wife, Golde, matches his bluster with the patience of an Old Testament matriarch. Elder daughters Tzeitel (Allison Williamson), Hodel (Paige Penry) and Chava (Nicole Sherlock) bravely come of age before our – and their father’s – eyes. The younger daughters, Bielke and Shrpinze, are played by Rebecca Burkhart and Greta Shambarger.

As for the suitors, Alex Bast is charming and only a little goofy as the tailor Motel, who wins Tzeitel despite her being promised by Tevye to the butcher Lazar Wolf (Graham Brinklow). Michael Sherman as radical intellectual Perchik, who causes a stir in the village and wins Hodel’s affection, wears confidence as armor, never shaken except by love. Jackson Lee is Fyedka, the Russian Christian who refuses to take part in an anti-Jewish “demonstration” and shares his books and heart with Chava.

Being volunteer community theater with a popular show, there is a huge cast, with, to name a few, notable turns by Adreinne Reiswerg as Yente the Matchmaker; MarKay Burkhart as the ghost of Grandma Tzeitel, Lauren Laski as Fruma-Sarah; Jeremy Crouch as the town Beggar; Tom Bartley as Modchal the Inkeeper; Chris Vojtko as the Rabbi’s son; and Duane Leatherman with his unmistakable honeyed voice as the wise Rabbi. Dan Flahive lends his stage presence to the role of the Russian Constable who won’t admit he likes the Jews in his charge, but sees little sense in harassing them – though will if ordered by the Tzar’s officials.

As per, well, tradition, all the familiar songs are here – “Matchmaker,” “If I Were a Rich Man,” “To Life,” “Miracle of Miracles,” “Sunrise, Sunset,” “Do You Love Me?” etc. – and the memorable scenes such as the wedding “bottle dance” (executed smoothly by Joe Burke, Logan Laflin, Derek Savik-Hesser, and Derek Sumpter). Though the subtext is of inescapable tragedy (this year, the fact that Perchik comes from Kyiv gains resonance), the heart of this story is inspiring and uplifting in its perseverance. This is personified especially by Kevin Bell as the Fiddler of the title, the myth made manifest for his people. Bell convincingly play-synchs the instrument as he concentrates on his effective movement, adding a touch of nearly balletic storytelling to his role.

Director Phelan’s excellent guidance includes about the best staging of the final departure we have seen. Crew also includes choreographer Linda Rees, vocal director Lisa Reynolds, costume designer JoAnne Bogdon, and stage manager Melissa Yurechko. The orchestra is conducted by Aaron Burkhart.

Two weekends remain of “Fiddler on the Roof,” through May 19 at the Hedback Theater, 1847 N. Alabama St., Indianapolis. Get tickets and info at footlite.org.

Footlite ‘Succeeds’

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

We all know of a person who got into a prime position by dumb luck, fell upwards, however you want to call it. But wouldn’t it be wild if there were a simple instruction manual for the ambitious but unqualified?

“How To Succeed in Business Without Really Trying” at Footlite Musicals will show the way!

Based on a 1952 book of the same name by Shepherd Meade – who promoted it as satire, despite the fact he actually rose from mailroom to vice-president in his company – the musical was a hit in 1961, written by Abe Burrows, Jack Weinstock, and Willie Gilbert, with songs by Frank Loesser. More familiar with folks today are the hit revivals which appropriately featured the actors behind Ferris Beuller and Harry Potter in the role of the lead corporate climber.

J. Peirpont Finch (Brett Edwards) is literally on the outside looking in, as a window washer for downtown office buildings. But he has The Book (it was originally published with a yellow cover, so while similar, is not a “Dummies” book). He apparently has the fast-talking mind of a con man, but is somewhat ethical as he seeks to advance his career without committing any crimes or crushing anyone who isn’t acting a fool.  

Finch finds himself at World Wide Wickets (even back then, you needed the WWW to succeed) where he meets all manner of characters: A company president, J.B. Biggley (Graham Brinklow), with an easily exploitable private life; human resources manager Mr.  Bratt (Dan Miller) who will say yes to anything; friendly mail room manager Mr. Twimble (Jeffry Weber) who sees a long career as an end in itself; whiny Bud Frump (Josh Vander Missen), a literal mama’s-boy attempting literal nepotism (advancing as J.B.’s nephew); very hands-on department head Mr. Gatch (Jay Stanley); and various other executives and secretaries. This being the mid-20th century, women are consigned to the latter group, which includes Rosemary (Lauren Werne), who sees Finch’s potential; Smitty (Maggie Meier), Rosemary’s good-spirited bestie; Miss Jones (Joi Blalock), J.B.’s confidante and right hand; and Hedy LaRue (Sarah Marone-Sowers), J.B.’s worst-kept-secret of a mistress.

Will Finch climb the entire corporate ladder in the span of two Broadway comedy musical acts? Well, it would be a pretty lame show if he didn’t – but it won’t be easy, especially with conniving Frump around.

Edwards manages to heap on enough charm as Finch to help us overlook, and even cheer on, his otherwise questionable dealings. In a time when marrying well was one of the few easily attainable options for women, Werne makes Rosemary come off as brilliant. Solid stage veteran Brinklow manages to always emanate boss vibes, even when dancing like a Groundhog or doing a little knitting to relax. Vander Missen and Marone-Sowers show talent beyond being comic foils, holding our interest each in their own quirky ways.

Overall, this production, directed by Paula Phelan with choreography by Linda Rees, orchestra conducted by Aaron Burkhart and stage managed by Melissa Yurechko, does a brilliant job of satirizing office life, applicable to past eras and, to a degree, today. Does the number “Coffee Break” advance the plot? It doesn’t matter, we’ve all been there and appreciate a shout-out to the sacred bean. One could envision that with a more diverse, yet still corrupt and clueless, executive staff, Finch’s grandson could “succeed” just as wildly now.

Join the “Brotherhood” of witnesses to this sharply witty white-collar adventure. Performances run through May 21 at the Hedback Theater, 1647 N. Alabama St., Indianapolis. Get tickets and info at footlite.org.