Anna Spack

Buck Creek’s wonderful ‘Woods’

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By John Lyle Belden

The show “Into the Woods” could be considered the quintessential Stephen Sondheim musical (with book by James Lapine). Even in a world of fantasy and magic there is a sense of realism, real stakes and real consequences. It is also one of his works you are likely familiar with, thanks to numerous community and professional theatre stagings, as well as a popular movie (and, of course, its runs on Broadway).

Therefore, when Buck Creek Players took it on this year, under the direction of Ben Jones and music director Jill Stewart, they decided to make the production stand out while still true to its story and audience expectations. The result is an “Into the Woods” that is outstanding by practically every measure.

The experience starts the moment you enter the theater and see the stage. Aside from a large lone tree at the back of the stage –­ its hollow necessary to a number of scenes – setpieces are adorned with raised branches to suggest the ever-looming Woods where our stories are set. Those rotating pieces themselves look like giant open books, the covers walls of old bookshelves. Other props look like stacks of books (classic and popular titles on the spines) and scattered like random leaves on the floor are pages with burnt edges – we were told Jones had them be copies of pages from commonly banned books.  Set design and construction are credited to Matt Gray.

Roles are well-cast. Ellen Vander Missen, notable for leading ladies at Footlite Musicals, makes her BCP debut as Cinderella. Central characters the Baker and his Wife are wonderfully played by Ball State graduate Mason Mast and local favorite Miranda Nehrig. The quirky wit of Thom Turner fits perfectly as the Narrator and Mysterious Man. Cordale Hankins embodies the youthful impulsiveness of Jack (of “Beanstalk” fame) while Georgeanna Teipen returns to BCP as his Mother. Shelia Raghavendran appears to be having fun as brave, energetic Little Red Riding Hood.  Emily Gaddy commands her scenes as the Witch.

Others include Claire Slaven as Cinderella’s Stepmother and Jeremy Teipen as her father, with Claire Gray and Jenna MacNulty as the stepsisters; Addison Koehler as Rapunzel; Josh Rooks a striking presence as the Wolf and the Prince’s Steward;  Charming Princes played by Liam Boyle (for Cinderella) and Zach Bucher (for Rapunzel); Amelia Tryon as the spirit of Cinderella’s mother as well as the once-eaten Red Riding Hood’s Granny; and Anna Spack as diverse characters including some very expressive flocks of birds.

In a notable addition to the cast, Dominc Kattau brings the cow Milky-White to life, saying a lot with just a “Moo” and making scenes with his double-takes and antics.

The show also features a 16-member backstage orchestra, conducted by Jill Stewart.

For the unfamiliar, Act I has a number of popular fairy tales occurring simultaneously in and around the titular forest; Act II is what happens after the story says “happily ever after.” The songs serve the plot and work in Sondheim’s often complex style. The refrain of “Into the Woods” from the “Opening” sticks with you, and the Princes’ lament “Agony” is a favorite. The show’s “hit” songs come near the end – “You Are Not Alone” and “Children Will Listen.” No matter what your experience is with this musical, though, you are sure to be delighted.

More likely, however, you could be disappointed at missing out. As I finish this, Friday and Sunday’s performances are sold out, leaving two shows this Saturday (June 22), 2:30 and 7:30 p.m., at the Buck Creek Playhouse, 11150 Southeastern Ave., Indianapolis (Acton Road exit off I-74). Call 317-862-2270 or visit buckcreekplayers.com for tickets.

Bewitching comedy at Buck Creek

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By John Lyle Belden

If you had the power to acquire anything you desired, when you get it, is it truly yours? Now, change that to “any-one.”

Buck Creek Players puts a little spooky in Spring with their production of the classic comedy, “Bell Book and Candle,” by John Van Druten. If the story of genuine spellcasting witches living among us looks familiar, the 1950 play (and the 1958 film version) was part of the inspiration for the hit TV sitcom “Bewitched.”

On Christmas Eve in 1950s New York, Gillian Holroyd (Anna Spack), the more powerful and practical of her witchy clan, notices a tenant of her building, Shep Henderson (Josh Rooks), is quite handsome. Upon finding out from silly Aunt Queenie (Nancy Laudeman) that Shep will soon be engaged to a woman Gillian has hated since they were schoolmates, she decides powerful magic to ensnare him will be worth the risk. But first, Gillian’s equally carefree brother Nicky (Ben Jones) and Queenie are there to exchange gifts. His to them are copies of non-witch Sidney Redlitch’s latest book “Magic in Mexico,” so the witches and warlock can mock it. But knowing Shep, a publisher, wants to work with Redlitch (Jeremy Teipen), they use the photo on the book jacket to cast a summoning spell.

With a little help from feline familiar Pyewacket, the magic is set into motion, and love, or something like it, is in the air. Calling off his engagement, Shep seems contented in Gillian’s arms, and he’s poised to work with Redlitch on his book about witches in the Big Apple. However, as anyone familiar (pardon the pun) with witchlore in any medium (sorry, can’t help it) knows that when significant energy goes out, who knows how it will come back.

Suddenly, Shep is confused, overwhelmed, and proposing marriage. Also, it turns out Nicky is helping Redlitch in exchange for drawing illustrations, and that Nicky and Queenie have taken him around the NYC magickal community. For Gillian, who takes her spellwork seriously, and had only wanted Shep for a good time, this could spell – I mean, lead to – disaster! And on top of it all, she’s starting to develop strange new feelings; this could cost her far more than she ever anticipated.

Directed by Mel DeVito, the rom-com that helped bring us Samantha, Sabrina, and arguably the “Charmed” sisters, is truly a bewitching delight.

Rooks, stepping into the shoes of the likes of Rex Harrison and Jimmy Stewart, gives us another example of the likable everyman character he is gaining mastery of. His constantly conflicted soul is plain for all to see, feeling put-upon by outside forces while never entirely yielding his inner strength. Spack is commanding without being bossy, clearly the woman in charge, even when things start to go sideways. Queenie, who only recently embraced her powers, is played by Laudeman as both the “cool aunt” and a little girl enjoying her new toys – which makes her both fun and, in Gillian’s mind, in need of restraint. Jones (who admits to using Paul Lynde as a touchstone) presents Nicky as practically giddy at any chance to wield some powers. A practiced warlock, he only lets Gillian limit him to a degree. Teipen, our other “mortal” in the cast, goes from drunkenly taking it all as a gag (he was summoned from a Christmas party) to soberly seeing he’s in over his depth in genuine occult activity.

Pyewacket is a clever rather life-like animatronic, moving and mewing precisely on cue. Without seeing a special credit for the kitty, I’ll note that props are by DeVito and Suzi Brown. Costumes, an eclectic mix of conservative, wild, and glamorous, as needed, are by Tiffany Wilson. Rich Laudeman is stage manager.

Fun and enchanting, see “Bell, Book and Candle” this Friday through Sunday, April 5-7 at Buck Creek Playhouse, 11150 Southeast Ave. (Acton Road Exit off I-74), Indianapolis, or the Witches might not bring back the Sun after they blot it out on the 8th. Tickets at buckcreekplayers.com.