Actors Theatre of Indiana

Brooks comedy comes ‘Alive!’ at ATI

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By John Lyle Belden

One of the cool perks of being Associate Artistic Director of Actors Theatre of Indiana for Darrin Murrell is that he gets to direct the incredibly fun musical, “Mel Brooks’ Young Frankenstein,” adapted by Brooks from his classic comedy film with Thomas Meehan. All songs are also by Brooks, except for the famous scene with Irving Berlin’s “Puttin’ on the Ritz.”

Murrell was overjoyed to have Ben Asaykwee in the title role, as well as Craig Underwood as the Monster, both adept at the necessary physical comedy. Asaykwee’s resemblance to Gene Wilder from the movie is less an impersonation than a reminder that both seem to have been touched by the same muse, hilariously delivering bluster, intelligence, and mischief, capable of being simultaneously the romantic lead and a slapstick clown.

One doesn’t have to have seen the film to follow this show, or have more than a rudimentary knowledge of the Frankenstein legend (Brooks’ approach was more a tribute to Universal Pictures monsters than the Mary Shelley novel). Movie fans will recognize many scenes and characters, though.

Professor of brain science Frederick Frankenstein (Asaykwee) – pronounced “fronk-en-steen” – discovers he has inherited his infamous grandfather’s castle in Transylvania. He goes there to settle his estate, met at the train station by servant Igor (John Vessels, Jr.), an odd man with a migrating back hump who has hired an eager young assistant, Inga (Sophie Jones), for his new master. At the castle, we meet horse-frighteningly eccentric housekeeper Frau Blucher (Julie Lyn Barber). Finding the laboratory and his grandfather’s notes, Frederick insists he won’t repeat any abominable and dangerous experiments – until, of course, he finds the right body and brain.

Meanwhile, there is concern in the village that a new Dr. Frankenstein is in residence. Inspector Kemp (Eric Olson), whose previous encounter with a reanimated creature literally cost him an arm and a leg, is determined to keep such events from happening again.

Frederick’s fashion-forward fiancé Elizabeth (Megan Arrington-Marks) will also arrive, just as hijinks get into high gear. 

As in the film, the Monster (Underwood) stumbles upon a Hermit (Adam B. Shapiro) who is blind and lonely, but he does get a song.

Other roles are covered by James Garrett Hill, Drew Kempin, JoBeth Hilton, Hannah Boswell and Natalie Fischer, with Emily Chrzanowski on hand as understudy.

Few frights, but a lot of laughs and double-entendres in Brooks’ bawdy style, with a few asides taking aim at popular monster-movie tropes. This being a “horror” show with song and dance numbers, indulging in silliness fits the milieu perfectly.

Vessels has fun with his character, delivering a nice homage to the late Marty Feldman with a bit of his own flair. Olson, well disguised by Kemp’s facial hair and costume, embodies the character perfectly for maximum comic effect. Jones’s Inga is winsome as the sidekick who is always smarter than she lets on, caring enough to let distracted Frederick catch up to her true affections. Barber nicely menaces and deadpans as Blucher, contrasted with the wild emoting over her “boyfriend.”  Arrington-Marks gives the full measure of self-obsessed Elizabeth, as well as her change of heart.

Even when dangerous, Underwood as the Monster doesn’t come across as monstrous – just a big guy (with Abbie Normal’s brain) very confused at waking up from the dead. Also, fire bad.

Nathan Perry is musical director; choreography is by Carol Worcel; and Kevin Casey is stage manager. The castle scenic design is by Jay Ganz (note the gargoyles), with props designed by Christian Condra.

Performances of “Young Frankenstein” run through Nov. 9 in the intimate confines of The Studio Theater at the Allied Solutions Center for the Performing Arts in downtown Carmel. For info and tickets, go to atistage.org or thecenterpresents.org.

Musical blast from the past by ATI

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By John Lyle Belden

Every era has both its triumphs and struggles; they were also years which those who grew up in tend to remember fondly. For some of us – and many of our parents – that was the 1960s, a time of big changes, big hair, and a lot of great music.

“Beehive: The 60’s Musical” presented by Actors Theatre of Indiana, gives us more than 30 hits from the decade, with emphasis on songs sung by women – from “It’s My Party” to “Me and Bobby McGee.”

Our guides through this time of feminine revolution are six outstanding singers: Rachel Dudt, Riley Francis, Michaela McGarel, Kayla Perry, Kria Rangel, and Abigail Storm, who also acts as host. They are backed by a live band, led by Greg Wolff. The show is directed and choreographed by Carol Worcel.

There are a couple of scenes with direct impersonations of the original singers – done very well – but mostly the emphasis is on heartfelt renditions that sound like we remember coming from our transistor radios. On occasion there may be some audience involvement, such as providing names for “The Name Game,” and throughout we are encouraged to clap and even sing along.

In all, this is just a fun evening of music that still entertains and inspires, even decades later. For the Boomers who remember, or those of other generations who love swinging to the oldies, there are two more weeks of “Beehive,” Wednesday through Sunday, Sept. 10-14 and 17-21, at The Studio Theater of the Allied Solutions Center for The Performing Arts in downtown Carmel. Get info and tickets at atistage.org or thecenterpresents.org.

ATI employs legendary workplace comedy

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By John Lyle Belden

The corporate glass ceiling has a few more openings these days, but women still relate to the frustration of the 1980 movie, “9 to 5,” which made lifelong friends of its stars Jane Fonda, Lily Tomlin, and Dolly Parton, who wrote and performed its iconic theme.

The story, which Fonda brought to film after hearing the plight of admins in the ‘70s, got new life as a Broadway musical by Patricia Resnick with more songs by Parton in 2009. And now, Actors Theatre of Indiana have put it to work at the Studio Theatre in Carmel through May 11.

Set mainly in the offices of mythical Consolidated Industries in 1979, and keeping the plot beats of the original film, Judy Bernley (Devan Mathias [Fonda’s role]) is enduring her first day at work – ever, thanks to being dumped by her philandering husband. She is put under the tutelage of supervisor Violet Newstead (Judy Fitzgerald [Tomlin]), who is still considered “just a secretary” despite seniority over many of the men, including “sexist, egotistical, lying, hypocritical bigot” company VP Franklin Hart (J. Stuart Mill). The tyrannical Mr. Hart is served by personal assistant Roz Keith (Cynthia Collins), an obsessively devoted toady who spies on the others for him, and secretary Doralee Rhodes (Abigail Storm [Dolly]), who constantly deflects but puts up with his blatantly sexist shenanigans while getting no respect from others due to her “backwoods Barbie” accent and looks, but mostly from the rumor she’s banging the boss.  

To set the scene, Ms. Parton herself appears on a screen to introduce the show and its principal trio. The opening number is a breakdown of the theme song, energetically propelling us into their “way to make a living.”

We also meet Grace Villegas, Jaddy Ciucci, and choreographer Carol Worcel as secretaries Maria, Kathy, and Margaret (the “old lush”). Deb Wims is Hart’s oblivious wife Missy, and plays a member of the secretarial pool. Tim Hunt is accountant Joe, who is sweet on Violet. Kenny Shepard portrays Dick (appropriately), Judy’s ex, while Fletcher Hooten is Josh, Violet’s teenage son; Shepard and Hooten also appear as members of the company’s all-male executives, along with Peter Scharbrough as rising star Bob. Scharbrough later cameos as the Chairman of the Board. Jacob A. Butler plays Dwayne, Doralee’s sweet and supportive husband.

The plot brings Judy, Violet, and Doralee together in their mutual hatred of Hart, and after a then-illicit evening with a rather strong dose of pot during which they relate – and we see gloriously performed – their revenge fantasies, they inadvertently find themselves actually acting them out. So, at intermission, Hart is chained away in his own home by the women, who next must figure out how to keep the company running with him gone (the easy part) while working out the means to keep their own freedom (hilarity ensues).

Mathias and Fitzgerald make familiar roles their own while Storm adds her go-getter spark to the lady in the big blonde hair and support bra. Mill takes his tyrant up a comedic notch from the film, aided by his hilariously cheesy company photograph (props design by Casey Clouser). Collins nails the role of Roz. Hunt is sweet as smitten Joe, who helps save the day but gives credit where due.

Indy area stage legend Suzanne Fleenor directs. Stage managers are Duane McDevitt, assisted by Kayla Richardson. Guy Clark’s costume design evokes the era without edging into loud fashion. Jay Ganz designed a clever and functional modular set that allowed for smooth desktop transitions.

The fairly daring-for-its-time show that set the standard for modern workplace comedy is a still-relatable joy and gentle reminder to value everyone who has to punch in at 9 (or, from my experience, 8) to 5. Performances are at the Studio Theatre in the Allied Solutions Center for the Performing Arts in downtown Carmel. Info and tickets at atistage.org and thecenterpresents.org.

ATI presents romantic pen-pal predicament

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By John Lyle Belden

Easing us out of the Spooky Season and into the Holidays, Actors Theatre of Indiana presents the classic musical, “She Loves Me.”

With book by Joe Masteroff, music by Jerry Bock, and lyrics by Sheldon Harnick (who would next write “Fiddler on the Roof”), this “Holiday Love Story,” based on a 1937 play by Miklos Laszlo, so perfectly fits the template of the modern rom-com, it even inspired one – the 1998 film “You’ve Got Mail.”

In 1930s Budapest, Maraczek’s Parfumerie opens with a sales staff that includes anxious yet jaded family man Sipos (John Vessels), hopeless romantic Ilona (Nathalie Cruz), suave ladies’ man Kodaly (Eric Olson), shy yet competent Georg (Jacob Butler), eager delivery and stock boy Arpad (Ben Friessen), and Mr. Maraczek (Darrin Murrell) himself. Business is brisk this summer day, but there is uncertainty that the new musical cigarette boxes will sell. The boss bets Georg its price that at least one box will – then Amalia (Sophie Jones), a headstrong woman seeking a job at the shop, persuades a customer to gladly buy.

With her costing him money, then taking a job alongside her at the store, Georg and Amalia bicker. They can’t stand each other. However, each has also privately written lonely-hearts letters to an anonymous lover – of course, unknowingly, each other. As the calendar turns to December, the “dear friends” decide to meet in person, at a café notorious for romantic rendezvous. What could go wrong?

Butler and Jones are nicely cast as the sweet and sassy secret (to each other) lovers, whose angry sparks generated at work hide a flame growing in spite of itself. Vessels gives dignified charm to his Hungarian everyman that contributes to the comedy without stealing scenes. Likewise Cruz, who in her Act II solo makes being barely literate sound like an adventure. Friesen, whose character has the same last name as the original playwright, makes an interesting catalyst to several scenes while cheerfully playing the maturing lad making his way in the world. Olson gives us a bad boy in both the playful and eventually literal sense, breaking hearts and making scenes with panache. It was good to see Murrell, a steady hand both on stage and off (as ATI’s Associate Artistic Director), as the good-natured but firm – and troubled – boss.

Customers adding little touches of fun in the shop, and appearing in other roles, are Elizabeth Akers, Cynthia Collins, Terrance Lambert, Josh Maldonado, Carrie Neal, and Brett Mutter, who has a wonderful turn as the café head waiter.

Note that it’s not all fun and romance, as subplots include infidelity and a moment of self-harm. But true to romantic stories throughout the ages, all will be well in the end.

The show is directed by Richard J. Roberts, who is also resident dramaturg at Indiana Repertory Theatre. Thus, he found this story interesting as a look into the relatively carefree atmosphere of Eastern European cities in the years before World War II and the strife that followed. Unlike the air of denial that permeates “Cabaret,” this reflects more of a genuine joy that – especially from our perspective – is worth celebrating though (or because) it can prove fleeting.

Choreography is by Carol Worcel, with music and vocal direction by Nathan Perry, and Jessica Greenhoe is stage manager.

For those who enjoy watching the journey from meet-cute to “I do,” or need an idea for your next romantic date, may I suggest “She Loves Me,” performances through Nov. 17 in The Studio Theater at The Center for the Performing Arts in downtown Carmel. Get info and tickets at atistage.org or thecenterpresents.org.

ATI: Sentimental song sojourn sheds light on Man in Black

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By John Lyle Belden

In the lowlands along the Mississippi River in Northeast Arkansas, they still grow cotton. We see the big bales in the fields when we drive through the area about once a year to visit relatives near Little Rock. Not much around but farmland, tiny crossroads towns, and rural churches. In pre-mechanized days, cotton farming was incredibly hard; consider what a life of growing and harvesting that crop can do to a family, to a man.

One of those men was John R. “Johnny” Cash, one of the greatest singer-songwriters to come out of the 1950s Memphis music scene. Actors Theatre of Indiana presents a fresh telling of his decades-old story in “Ring of Fire: The Music of Johnny Cash” by Richard Maltby Jr. and William Meade. The series of songs presented make this a musical journey from his boyhood farm to nearby Memphis, Tennessee, then on to Nashville and – as Johnny put it – “everywhere, man.”  

Kent M. Lewis, who has performed this show elsewhere, took on the trifecta of director, choreographer and performer, lending his tone-perfect Cash voice as primary vocalist. Brandon Alstott, who has played Cash in “Million Dollar Quartet,” easily takes on the character of young Johnny and lends his own vocal lead and harmony contributions. Matt McClure gets in some vocals as well, and while Lewis and Alstott pick acoustic guitars, McClure straps on an electric, providing the distinctive churning rhythm attributed to Cash bandmate Luther Perkins.

Multi-talented Sarah Hund fits in naturally, adept at anything with strings – especially fiddle – and helping sing and tell the story as characters including Cash’s mother as well as collaborator and eventual wife June Carter. Jordan Simmons plays stand-up bass and gets in a few lines; music director Nathan Perry also has a role, mainly performing at the piano or on accordion.

As a “jukebox musical,” revised in 2013 from the original 2006 Broadway version, this is an excellent revue for fans of old-time Country and Gospel music, as well as Cash’s hits, presented with entertaining flair that engages the audience of the intimate Studio Theater in Carmel’s Center for the Performing Arts. Don’t look for an in-depth biography, though. Maltby is reported to say that he saw in Cash’s music and life “the story of America,” and thus we get a fairly simple outline of a complicated man.

His feelings for the downtrodden are expressed in his song/poem “Man in Black” and we see them shown in his prison concerts (despite his “outlaw” image, he never did hard time himself) and frequently returning to hope in faith. He also found himself leaning on little white pills to keep up his tour schedule, he wryly confesses, but the narrative doesn’t dwell much on this aspect of his life. Still, Cash admits in a regretful tone that without raising a hand to anyone, he still hurt many who loved him.

In the end – his passing in 2003 gently hinted at – Johnny Cash leaves us wanting more, which Lewis and company provide in a brief encore with one of the Man in Black’s most fun songs.

Opening night had everyone in the full house buzzing with how much they enjoyed this show. Word will likely get around, so make a reservation to see “Ring of Fire” before the ATI run ends on Sept. 29. Get info and tickets at atistage.org or thecenterpresents.org.

ATI: ‘Forbidden’ bits both fresh and familiar

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By John Lyle Belden

What Weird Al is to popular music, “Forbidden Broadway” is to popular musicals.

Created by Gerard Alessandrini more than 40 years ago, this Off-Broadway parody revue has been frequently updated and presented worldwide, including a couple of times by Actors Theatre of Indiana, which is performing it again in Carmel through May 12.

Since TV producer Dick Wolf seems to have poached every between-gigs Broadway actor to be on his shows, it seems appropriate that this edition of “Forbidden” opens with “Broadway SVU” (BUM BUM!). As for the rest of the musical skits, skewering various musicals while backhandedly saluting the folks who make them (both creators and talent), I’ll respect the tradition of letting the audience be surprised. There will be some new material, as well as some returning laughs – after all, part of the joke of “Les Mis” is that it never ever truly goes away!

ATI co-founder Cynthia Collins joins the return of accompanist extraordinaire Brent Marty at the piano as well as three new faces to explore this forbidden world: Kieran Danaan, William Kimmel, and Christine Zavakos.

Kimmel, who is also director and choreographer, admitted it was tricky to guide his own performance, as well as helping set up the right set of send-ups from the show’s vast catalogue.

“We had to choose the best for our voices, and for the costumes, the best look-alikes,” he said after opening night. “Most importantly, we had to make sure the order was right, for who is performing a song while the others were changing backstage for the next one.”   

The result is a hilariously dizzying array of Wicked ice queens, naughty puppets, an aging Annie, a boy named Crutchie, and the true spirit of “tradition!” But it’s not all raspberries – watch for a heartfelt nod to shows that you won’t likely see revived, as well as a tribute to a Broadway genius recently departed.

Dare to explore – once more if you’ve seen it before – “Forbidden Broadway” at the Studio Theatre in the Centre for the Performing Arts in downtown Carmel. Get info and tickets at atistage.org or thecenterpresents.org.

ATI: World premiere musical exposes ‘Mr. Confidential’

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By John Lyle Belden

Publisher Bob Harrison just wanted to make a magazine that everyone would buy, and everybody would talk about. He got his wish, briefly outselling Reader’s Digest, but what people – especially the famous – had to say was nearly more than he could handle.

This is the true story behind “Mr. Confidential,” the new musical getting its world premiere at Actors Theatre of Indiana. Both the book-of-the-musical and the big, detailed book of the same name are by Samuel Garza Bernstein, whose lyrics are set to music by David Snyder.

Harrison (Don Farrell) has gotten some notoriety around New York for his girlie magazines. No naughty bits are revealed, but frilly undies and bathing suits are enough to get him in trouble in 1952. Still, if visual suggestions of sex and sin can’t get published, what’s to stop printing words about it – especially when everyone privately buzzes about how the squeaky-clean image of Hollywood is a dirty sham.

Harrison gets everyone involved: his sister and business partner Edith Tobias (Cynthia Collins), headstrong niece Marjorie Meade (Shelbi Berry Kamohara), naïve nephew Michael Tobias (Jacob Butler), devoted girlfriend Jeannie Douglas (Diana O’Halloran*), and even legendary broadcast journalist Walter Winchell (John Vessels), who brings in zealous Commie-hunter Howard Rushmore (Tim Fullerton) to manage the magazine and provide provocative political content.

“Confidential” magazine is a hit, and soon Marjorie, tired of being little more than wife to Fred Meade (Kieran Danaan), heads out to Los Angeles to get Hollywood dirt right from the source, with informants including exotic model/actress Francesca de la Pena (Jaddy Ciucci).

Back in New York, Rushmore bristles at there being far more stories about “deviants” than secret Reds, and makes his move. Big Bob counters with an alleged brush with death that captures the nation’s attention, so his now-former managing editor enacts a most public and sensational revenge.

The cast also includes Judy Fitzgerald as Rushmore’s wife, Jason Frierson as the Los Angeles County prosecutor, Alex Coveny as Harrison’s attorney, and Emily Bohannon and Megan Arrington in various roles such as pin-up models and trial witnesses.

Farrell’s charisma and Collins’ no-nonsense approach set the high bar that all meet in their performances. Vessels’ knack for going from serious to silly in a heartbeat, complete with you-gotta-be-kidding-me expression, make him an excellent Winchell (and the judge at trial). Berry Kamohara employs her awesome voice exquisitely, especially when singing the potential classic, “Girl Next Door.” O’Halloran manages to project the air of a trusting woman with her own mind in a role where she could come off as a subservient ditz. Fullerton nimbly carries Rushmore down a path of single-minded obsession reminiscent of Javert in “Les Mis,” and just as self-destructive.

The show is enhanced by numerous projections of genuine headlines, photos, and magazine pages, as well as moments of celebrities declaring their shock at finding such stories about them in print. This, and versatile sets, are courtesy of Willem De Vries, with Baxter Chambers on lighting and Zach Rosing on sound. Kevin Casey is stage manager, assisted by Emma Littau.

Silly journalist that I am, I could be burying a lead here – that work is under way to get “Mr. Confidential” to a New York stage.

Is it ready for Broadway? I’m no expert, merely a long-time observer, so I am not qualified to say “no” (that’s too pessimistic for this blog anyway) but I’m sensing it’s not a “yes” – yet. To borrow from home improvement culture, I’d say this musical has “good bones.” The base story is fascinating, it has good songs, and meaty roles. My guess is that, like many that have gone on to meet Tony, this show will see some revisions and evolution as it makes its way to ever-bigger markets, and perhaps the Big Apple.

So, wouldn’t you like to get in on the ground floor, see what the fuss is about, and meet the guy who alerted eager readers to the possibility that Liberace was not a man’s man in the way they thought?

One weekend remains, performances Friday through Sunday, May 12-14, at the Studio Theater in the Center for the Performing Arts in downtown Carmel. For information and tickets, go to atistage.org or thecenterpresents.org. Bernstein’s book, “Mr. Confidential,” and other merch are also available for sale.

(*The actress was misidentified in the initial posting of this review. We apologize for the error and any confusion.)

Journey with ‘Violet’ at ATI

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By Wendy Carson

 One quick note before I dive into the review: This is the third production of the musical “Violet” we have seen over the years, the first time based on the 1997 Off-Broadway production, before it was taken to Broadway in 2014. Each local performance has not only been different, but also better than the one before. Therefore, if you have seen the show prior to this, I still strongly suggest you see it, the latest edition, at Actors Theatre of Indiana. It’s a superb production, and I adored it (and not just because my hometown is part of the show).

Written by acclaimed composer Jeanine Tesori with Brian Crawley, based on a Doris Betts short story, the plot has remained consistent: At the age of thirteen, Violet was hit in the face by a flying axe head, leaving her horribly scarred. Years later, in the 1960s, she is on her own and has finally saved up enough money for the bus fare to take her from North Carolina to Tulsa, Oklahoma, and the TV Preacher whom she knows will be able to restore her beauty. Along the way, she befriends a couple of soldiers. The three of them quickly become close, with the men reluctant to let her take the final leg of her journey as they are sure she will be sorrowfully disappointed in her Preacher’s abilities. They are both waiting for her when she returns, healed, but not as she had expected.

Sydney Howard expertly brings out the adult Violet’s hopefulness and sorrow over her predicament while Quincy Carmen as young Vi (in frequent flashbacks) shows the innocence and fortitude that made her the woman she became.

Luke Weber as Monty, the Army Private First Class fresh from Special Forces school, shows the naivete of a soldier looking forward to going to war. Maurice-Aime Green as Flick, the more seasoned Sergeant, reflects the harsh reality of the differences the mere color of his skin brings to his military career and everyday life.

Matt Branic, as Violet’s father, brings out the devotion, stoicism and love of a single parent trying to do the best for his little girl, despite that one horrific moment.

Eric Olson is sheer perfection as the Preacher who may or may not actually have the power to heal, but certainly has the ability to motivate.

While it is easy to present both the Father and the Preacher in a negative light, Branic and Olson each maintain their characters’ humanity as they play their parts in Violet’s life. This is not a story of “good” or “bad” people, but of a journey, and the life lessons learned along the way.

As the rest of the cast play many interchangeable characters throughout the show, one pair does stand out with their true diva roles: Tiffany Gilliam brings down the house as the Music Hall Singer the trio goes out to see while overnighting in Memphis. It is obvious that were she around during that era, she would indeed have been a star on that stage.

Tiffanie Bridges seems to channel the voice of the angels as her turn as Lula, the lead singer in our Preacher’s choir. While her character reminds him that she is singing not for the “show,” but for the Lord, her talent shows this to be true.

ATI co-founder Judy Fitzgerald’s roles include a friendly fellow passenger; other characters, including bus drivers, are provided by Richard Campea and Cody Stiglich.

Director Richard J. Roberts has taken eleven talented singers and actors, a phenomenal script, and a band that can bring such vivid emotion to their music, and given us a beautifully moving show. Pianist Nathan Perry is music director, with musicians Greg Gegogeine, Charles Platz, Kathy Schilling and Greg Wolf. The versatile stage by P. Bernard Killian features a map of the bus route painted across the floor, which includes Fort Smith, Arkansas (where I was born).

Performances of “Violet” run through Nov. 13 in The Studio Theatre at The Center for the Performing Arts in downtown Carmel. For tickets and information, visit atistage.org or thecenterpresents.org.

ATI back in the habit

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By John Lyle Belden

“Nunsense” is habit forming – the clever slogan, and title of one of the show’s songs, is quite apt. A sure-fire crowd-pleaser since opening Off-Broadway nearly thirty-seven years ago, this musical by Dan Goggin has had thousands of productions worldwide, and the show’s official website has at least eight sequels and spin-offs if you want to see the Little Sisters of Hoboken doing something different. The more than 25,000 actors who have donned the habit could petition the Pope to be named their own order.

This is all to say that the classic “Nunsense,” done afresh this month by Actors Theatre of Indiana, may be a bit familiar to y’all reading this. If you haven’t seen the show, or at least not in a while, by all means, go! Goggins’ humor, with just a touch of absurdity, doesn’t get too sacred and is never profane. You don’t have to be Catholic to appreciate this, but if you are, be warned that Reverend Mother has her clicker!

The Little Sisters are in a bind, needing to raise funds quickly to bury deceased nuns (inadvertently poisoned by the convent cook), put on a show displaying their own varied talents. That’s all you need to know going in, as well as the fact that there will be a pop quiz – with prizes – at one point.

Suzanne Stark is our Rev. Mother, Sister Mary Regina. A veteran of nun roles in “Sound of Music” and “Sister Act,” she is right at home as the boss of this little sisterhood. Asserting her authority without coming off as stiff or mean, she guides this show with a steady hand – except when she doesn’t, in a hilarious encounter with a mysterious little bottle.

Illeana Kirven is Sister Mary Hubert, the second-ranking nun. She tackles this project with unflagging joyous energy, suppressing as best she can her feelings about Rev. Mother using part of their last windfall to buy a giant TV.

Katelyn Lauria is street-tough Sister Robert Ann, who drives (and repairs) the convent vehicle. Her gregarious style and frequent funny bouts of scene-stealing are nicely countered by the moment she describes her spiritual path, revealing genuine devotion.

Rachel Weinfeld is Sister Mary Leo, the novice who feels there’s room in her vows for also becoming a celebrated ballerina. Her dancing is sweet, her manner charming.

Stephanie Wahl is the ever-popular Sister Mary Amnesia, who can’t remember who she is, and is otherwise a few beads short of a rosary. Wahl, who is also dance captain, handles this special character well, keeping us laughing with her more than at her. She also does an excellent job wielding the puppet Sister Mary Annette.

Directed by Karen Sheridan with choreography by Anne Beck, this production also features the all-priest onstage band of Greg Wolf, Greg Gegogeine, and music director Jay Schwandt, as well as production assistant Gillian Norris lending a helping hand as a student from Mount St. Helens School.

See the Sisters sing and dance their way to their miracle in ATI’s season opener, through Sept 25 at the Studio Theater in the Center for the Performing Arts in downtown Carmel. Get information and tickets at atistage.org or thecenterpresents.org.

ATI show truly Works

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By Wendy Carson

In the early 1970s, Studs Terkel set out to interview various people about their jobs. The result was the book, “Working: People Talk About What They Do All Day and How They Feel About What They Do.” In 1977, it was turned into a musical by Stephen Schwartz and Nina Faso, with songs by artists including James Taylor.

Much has changed since then, so in 2012, a revised version was created to include a few newer occupations and songs, with the help of Lin-Manuel Miranda. This updated version of “Working: The Musical” is what Actors Theatre of Indiana presents for us.

The performance consists of six actors playing a number of varied personas. With a supremely talented cast and an ever-changing roster of characters, picking out highlights can be challenging, but here are the moments that echoed with me.

Don Farrell flexes his range by giving us an unapologetic yuppie investor and later, Joe, who is searching for purpose and his memory now that he is retired.

Cynthia Collins is at the top of her game as the sassy waitress who considers her work to be the epitome of quality.

Adam Tran’s turn as Joe’s caretaker in “A Very Good Day” is so sweet and moving it may drive you to tears.

The determination to be more than their job and give their children a better future is shiningly evident in Aviva Pressman’s take on “Millwork,” as well as Lillie Eliza Thomas on being “Just a Housewife” (with Pressman and Collins) and her ode to family history in “Cleaning Women.”

Adam Sledge embodies the blue collar worker throughout most of his songs, including Taylor’s “Brother Trucker,” showing the pride one takes in work we usually never even think about.

Direction is by ATI newcomer Lysa Fox.

The show is perfectly summed up in the closing number, “Something to Point To,” where we are reminded that all any of us really wants is something we can show others that we had a hand in making.

Adjust your personal work schedule to fit in this delightful tribute to the working men and women who built our great land, and you just might catch your own personal story being played out onstage.

“Working” is on the job through May 22 at the Studio Theater in the Center for the Performing Arts in downtown Carmel. Get info and tickets at atistage.org or thecenterpresents.org.

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NOTE: There was an edit to the original post to correct a singing credit.