Anne Beck

Civic charms with historical mystery

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By John Lyle Belden

In 1918, Tsar Nicholas II of Russia, his wife, and their children were all arrested, then secretly executed in a mass of confusion, smoke and bullets. This much is historical fact.

Naturally, there were also rumors. The Bolsheviks were possibly not all happy with killing children. A persistent story soon arose that one of the Tsar’s daughters, 17-year-old Grand Duchess Anastasia Nikolaevna Romanova, had somehow escaped and lived in hiding. Among supporters of Imperial Russia – while from its ashes the Soviet Union immediately ascended – this legend, at least, would never die.

This sets the stage for the musical “Anastasia,” presented by the Booth Tarkington Civic Theatre.

The book by Terrance McNally takes inspiration from two motion pictures of the same name, a 1956 film by Authur Laurents and the 1997 Don Bluth animated feature, as well as a prior play by Marcelle Maurette. Musicians Stephen Flaherty and Lynn Ahrens added and adapted songs from the 1997 version. Here, as in all the scripts, some liberties were taken with history, so for those who accept more recent forensic discoveries on the matter, consider this a fascinating fairy tale in a parallel world.  

After opening scenes with Louisa Zabel, then Keegan Connor, portraying the authentic Anastasia, we find ourselves in St. Petersburg (renamed Leningrad by the Soviets) in 1927, ten years after the Tsar’s death. Hearing the rumors of the lost Grand Duchess, prospective con men Dmitry (Troy Bridges), a handsome grown-up street urchin, and Vlad (Steve Kruze), who used to work his grift among nobility as a faux Count, see a prospective payday in finding a young woman to present as Anastasia to the Dowager Empress (Jill O’Malia), the Tsar’s mother living in exile in Paris. (As a bonus, this also gets them out of the ever-worsening USSR.)

By chance they find Anya (Isabella Agresta), an amnesiac who had mentioned being a princess while in the sanatorium but now keeps that to herself, as it keeps triggering mysterious dreams. With this true backstory making her royal provenance possible, the three prepare to attempt their con, but Vlad notices she knows far more about Russian court life than she should.

Adding to their difficulties, Soviet secret police officer Gleb Vaganov (Nathanael Hein), who has his own personal connection to the Tsar’s family execution, is growing wise to their plans.

It’s a minor spoiler, but it’s in the program that Anya makes it to Paris for Act II. There we also meet Countess Lily (Nina Stilabower), the Dowager Empress’s lady in waiting, who is still sweet on Vlad despite seeing through his schemes. One climactic scene takes place at a ballet, during which we get an exquisite performance by ballerina Izzy Casciani.

Agresta manages to combine everyday girlish charm with regal bearing to keep us guessing while hoping that Anya is who she pretends to be, in a performance that shows the woman “pretending” less and less each scene. Bridges is great in these likable rascal leading man roles (think if Disney’s Alladin were a twenty-something Russian) and charms his way through this show as well. Meanwhile, Kruze is as smooth as top-shelf vodka.

In a standout performance, opera tenor Hein employs his powerful voice to add authority to his man on a dark mission, bringing more than expected to the story’s necessary villain. Overall, this show is a pleasing adventure with the feel of history and how people lived then, peppered with charming tunes like “Once Upon a December” and the powerful big number “Journey to the Past.”

Director Anne Beck noted she immersed herself in the musical’s story and the appeal of its what-if mystery, and it shows. The costumes by Adrienne Conces excellently reflect the story – brilliant white for Imperial glory, drab earth tones for Russia after its fall, then a swift shift to bright colors in the City of Lights. The production also effectively employed scenic projections provided by Broadway Media Distribution, enhancing the audience experience. Music director is Kayvon Emtiaz and Katie Stark is stage manager.

So, even in this bit of fiction, is she, or was she, that tragically lost girl? True nobility knows to be discreet, so you’ll have to see for yourself. “Anastasia” is at the Tarkington stage at The Center for the Performing Arts in downtown Carmel through May 11. Get info and tickets at civictheatre.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.

Holiday favorite ‘Elf’ returns to Civic

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By John Lyle Belden

Just two years ago (what seems a lifetime now), the Booth Tarkington Civic Theatre had one of their biggest-ever hits with the musical “Elf,” based on the 2003 Wil Farrell film that is already a beloved Christmas classic.

And as live theatre has returned around central Indiana, so, too, has Buddy and his friends. And – a holiday miracle? – this production is just as wonderful as it was before.

This presents the reviewer with a problem. How do I say practically the same thing I wrote in 2019?

Like this — To save you the click and page-load of a link to the previous review, the following is the same text that still applies, with updated cast and info as needed:

The book by Thomas Meehan and Bob Martin, with songs by Matthew Sklar and Chad Beguelin, allows Buddy the Elf to escape the shadow of Ferrell’s unique talent to make him his own wonderful character — portrayed happily here by Matt Bays. 

As in the original story, Buddy is a human who, as a baby, crawled into Santa’s sack, unseen until the end of the journey. Finding that the boy’s single mother had died, Santa Claus (Parrish Williams) lets him be raised by the elves, allowing Buddy to think he was one of them. 

The truth is inevitably revealed, and Buddy travels to find his biological father — who doesn’t know he exists — in New York City. The dad, Walter (Jack Tanselle), is a workaholic executive at a publishing house of children’s books who is rough on coworkers like good-natured Deb (Nina Stilabower) and neglectful of wife Emily (Carrie Neal) as well as son Michael (Dylan Aquaviva). Naturally, Walter doesn’t believe this strange man in elvish tights is his son, so has him sent away. Since Buddy claims to be from the North Pole, he is dropped off at the next-best thing — Macy’s. There he ends up among the store’s Santa’s helpers, where he falls in love with fellow “elf” Jovie (Emily Bohannon). 

From there, the story is Buddy’s struggle for acceptance and belonging, along with a chance to save Christmas for his father’s family, and the whole world — when Santa is stranded in Central Park, his sleigh too low on the Christmas Spirit that fuels it (PETA nixed his reindeer a while ago). Other notable roles include Jonathan Studdard as the stressed-out Macy’s Manager, Dick Davis and Kelsey VanVoorst as hapless children’s book writers, and Jeff Angel as Mr. Greenway, the curmudgeonly owner of the publishing company, who wants a new hit Christmas story from Walter — or else!

The feel of the show throughout is best described by one of its song titles: “Sparklejollytwinklejingley.” The mood is perpetually sweet, even when characters aren’t “Happy All The Time.” And even when they feel that “Nobody Cares,” there’s a fun dance break. 

Directed by Michael J. Lasley and Anne Beck with choreography by Beck and musical direction by Brent Marty, this is a magical ensemble effort. Seeing it on a matinee with an audience of mostly children, I noticed they were all entranced and swept up in the spirit of it all. 

Just as sweet and special as spaghetti with syrup, “Elf” is yet another holiday must-see in central Indiana, playing through Dec. 24 at the Tarkington theater in the Center for the Performing Arts in downtown Carmel, right next to the Christkindlmarkt. (Arrive early for hope of parking.) See www.civictheatre.org or thecenterpresents.org for info and tickets.

Magical ‘Elf’ at Civic

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By John Lyle Belden

A new Christmas classic was created in 2003 with the film “Elf,” starring Will Ferrell, which has since become an even bigger spectacle as a Broadway musical, now presented by the Booth Tarkington Civic Theatre.

The book by Thomas Meehan and Bob Martin, with songs by Matthew Sklar and Chad Beguelin, allows Buddy the Elf to escape the shadow of Ferrell’s unique talent to make him his own wonderful character — portrayed happily here by Matt Bays. 

As in the original story, Buddy is a human who, as a baby, crawled into Santa’s sleigh, unseen until the end of the journey. Finding that the boy’s single mother had died, Santa Claus (Parrish Williams) let him be raised by the elves, They let Buddy think he was one of them, even when he grew much taller than his adopted family. 

The truth is inevitably revealed, and Buddy travels to his father — who doesn’t know he exists — in New York City. The dad, Walter (J. Stuart Mill), is a workaholic executive at a publisher of children’s books who is rough on coworkers like good-natured Deb (Mary Margaret Montgomery) and neglectful of wife Emily (Carrie Neal) and son Michael (Ben Boyce). Naturally, Walter doesn’t believe this strange man in elvish tights is his son, so has him sent away. Since Buddy claims to be from the North Pole, he is dropped off at the next-best thing — Macy’s. There he ends up among the store’s Santa’s helpers, where he falls in love with fellow “elf” Jovie (Emily Schaab). 

From there, the story is Buddy’s struggle for acceptance and belonging, along with a chance to save Christmas for his father’s family — and the whole world, when Santa is stranded in Central Park, his sleigh too low on the Christmas Spirit that fuels it. Other notable roles include Jonathan Studdard as the stressed-out Macy’s Manager, and Jeff Angel as Mr. Greenway, owner of the publishing company, who wants a new hit Christmas story from Walter — or else!

The feel of the show throughout is best described by one of its song titles: “Sparklejollytwinklejingley.” The mood is perpetually sweet, even when characters aren’t “Happy All The Time.” And even when they feel that “Nobody Cares,” there’s a fun dance break. 

Directed by Michael J. Lasley with perfect choreography by Anne Beck and musical direction by Brent Marty, this is a magical ensemble effort. And seeing it on a matinee with the audience mostly children, I noticed they were all entranced and swept up in the spirit of it all. 

Just as sweet and special as spaghetti with syrup, “Elf” is yet another holiday must-see in central Indiana, playing through Dec. 28 at the Tarkington theater in the Center for the Performing Arts in downtown Carmel, right next to the Christkindlmarkt. (Arrive early for hope of parking.) See www.civictheatre.org or thecenterpresents.org for info and tickets.

 

Civic: Here we go again!

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By John Lyle Belden

It’s hard to imagine anyone not knowing about the musical “Mamma Mia!” Between the popular film (which recently launched a sequel) and the various touring productions through the years since it premiered on Broadway in 2001, practically everyone with an interest in this show has seen it. And it stands as one of those theatre experiences people eagerly go to again and again, perhaps bringing along children or hold-outs unfamiliar with its goings-on.

Since rights recently became available for local productions, it is naturally popping up — now “Mamma Mia!” is at the Booth Tarkington Civic Theatre, Center for the Performing Arts in downtown Carmel, through Oct. 19.

Directed and choreographed by Anne Beck, this edition of the musical — featuring an engaging romantic comedy plot, and twenty-two hits by 70s-80s superstars ABBA — takes advantage of its large stage and generously-sized volunteer cast to really go big on the singing and dancing, while simultaneously embracing the show’s use of simple sets, employing a couple of small set pieces and a rotating center stage that is put to effective use. 

Thanks to Meryl Streep and Pierce Brosnan’s efforts on the big screen, the karaoke nature of the musical doesn’t require perfect singers, still Civic didn’t skimp on the talent. Becky Larson stars as Sophie Sheridan, a girl who invites three men to her wedding, knowing only that one of them is her father. Her mother, Donna, is portrayed wonderfully by Kara Snyder, while her best friends and “Dynamos” are fun roles for Civic favorites Laura Lockwood as cougarish Tanya and Marni Lemmons as free-spirit Rosie. Our three possible papas are sharply played by Clay Mabbitt as Sam the architect, Ethan Mathias as “Headbanger” Harry the banker, and Parrish Williams as Bill the travel writer. Joseph David Massingale is more than a handsome face as the prospective groom, Sky.

Also great are Cameron Hicks and Nate Schlabach as Sky’s buds, Pepper and Eddie; Jessica Linxwiler and Julia Ammons as maids-of-honor Ali and Lisa; and supporting ensemble Matthew Altman, Tanner Brunson, Sydney Chaney, Tyler Hartman Derry, David Johnson, Jonathan Katter, Emily Lantz, Dani Morey, Miles Morey, Kipp Morgan, Jacquelyn Rae, Emily Schaab, Caitlin Stacy, and Tiffany Whisner.

Taken as a whole, this show is so much fun. There are moments fraught with possible heartbreak (and sad songs), but it all ends well, of course. We all have our favorite scenes — such as the frog-dance of “Lay All Your Love on Me,” or Tanya strutting her stuff in “Does Your Mother Know” — and there’s always the “Megamix” at the end with the outrageous costume reveal and bonus track (“Waterloo”). 

Civic is “having the time of their lives;” it would be a shame to miss the party. Get tickets and information at 317-843-3800, civictheatre.org or thecenterpresents.org.

Civic: Good News(ies)

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By John Lyle Belden

Though based on little-known history and a film that bombed, Disney’s “Newsies” has built a strong following. And now the Tony-winning musical is locally produced in central Indiana by the Booth Tarkington Civic Theatre, running through May 11 at the Center for the Performing Arts in Carmel.

The story is based on the New York Newsboys’ Strike of 1899, during which impoverished children revolted at price hikes on the papers they sold for publishing moguls Joseph Pulitzer and William Randolph Hearst – and won. Disney dramatized it musically for cinemas in 1992, without success (despite starring a young Christian Bale), but the film found fans through its video release. Disney finally put it on the stage (where arguably it always belonged) in 2011 – on Broadway in 2012 – with a fresh book by the legendary Harvey Fierstein while keeping and expanding the music and lyrics by Alan Menken and Jack Feldman.

Although the plot does lean on a mix of fictional and real characters, the overall history rings true, even moreso in the Civic production with the addition of “newsgirls” (boys and girls both hawked papers at the time and participated in the strike).

Our eventual hero, Jack Kelly (Jake Letts) and unfortunately-nicknamed Crutchie (David Cunningham) are among the more respected of the Lower Manhattan Newsies. They are mostly orphans, except for newcomer Davey (Joseph Bermingham) and little sister Les (Emily Chrzanowski), forced to be breadwinners while their father is too injured to work.

Meanwhile, Pulitzer (Steve Cruze) reasons an easy way to make up for flat and declining paper sales is to raise the price of the papers. After all, what can a bunch of poor kids do about it? Faced with possible starvation if they can’t make up their losses, the Newsies give their answer – Strike!

The children have allies: a woman reporter, Katherine (Ani Arzumanian), who wants to stop writing fluff and gets the Newsies on the front page; and Vaudeville diva Medda Larkin (Tiffany Gilliam), who hires Jack (a talented artist, by the way) to paint backdrops and hosts a Newsies rally at her theater. Pulitzer responds, flexing his considerable power, but our underdogs find a way to beat the publishers at their own game.

Other notable roles include Darrin Gowan as Wiesel, who sells the Newsies the papers; Parrish Williams as evil Warden Snyder of The Refuge, an orphanage run like a prison; and Tom Beeler as New York Gov. Theodore Roosevelt (yes, the eventual President).

The show is largely a by-the-numbers musical — complete with reluctant hero, lead characters falling in love, potential betrayal, and “just when you think all is lost…” – but those numbers, the song-and-dance numbers, are something special. Our large youthful ensemble put on several spectacular dancing scenes – directed by Suzanne Fleenor, with musical direction by Brent Marty and choreography by Anne Beck – with memorable tunes including “The World Will Know” and “King of New York.”

For a good-time musical with historical heft, the Civic’s “Newsies” is worth your dime. Call 317-483-3800 or visit civictheatre.org or thecenterpresents.org.

Civic: Sail on with Porter’s songs

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By John Lyle Belden

“The world has gone mad today
And good’s bad today,
And black’s white today,
And day’s night today…”

Makes you wonder what year Cole Porter was writing about, doesn’t it?

But that’s what makes it a great idea to escape from today’s madness on a timeless voyage with “Anything Goes,” the classic musical featuring Porter’s songs, presented by the Booth Tarkington Civic Theatre, in partnership with The Great American Songbook Foundation.

The wacky romantic comedy plot is mainly a means to launch several Porter favorites, including “I Get a Kick Out of You,” “You’re the Top,” “It’s De-Lovely,” “Friendship,” “Blow Gabriel Blow,” and, of course, the title song.

As for the story: All aboard the ocean liner S.S. American, where lovesick Billy Crocker (Juddson Updike) has stowed away, hoping to persuade his socialite girlfriend Hope Harcourt (Kari Baker) not to wed Lord Evelyn Oakleigh (Matt Bays) in a marriage arranged by her mother (Teresa F. Jordan). Billy has to avoid contact with the ship’s crew, as well as his boss, Elisha Whitney (W. Michael Davidson), who had ordered him to stay in New York. Meanwhile, it’s rumored that America’s Most Wanted criminal is on board – but we know for sure that the Thirteenth Most Wanted, Moonface Martin (Parrish Williams) is on the liner, accompanied by his best moll, Erma (Nathalie Cruz). And at the center of it all is a friend to all, headlining showgirl Reno Sweeney (Susie Harloff), with her band of Angels and a song for every occasion.

Despite some difficulty, and wacky situations, love will triumph in the end as it always does. What’s important is how entertaining this shipload of actors and dancers are on the way. With the help of Michael J. Lasley’s direction, Brent Marty’s musical touch and splendid choreography by Anne Beck, this is a pleasing production.

As for our feature performers, Williams is in top comic form, and Harloff has sass and attitude to match her great voice. Baker’s singing is breathtakingly good, Updike keeps up his everyman charm perfectly, and Cruz handily steals the scenes (along with several sailors’ uniforms). I wasn’t sure at first about Bays’ Lord Oakleigh, but he is something special when he cuts loose in the second act.

We’re having such a good time, we can forgive the almost cringe-worthy Asian stereotypes that end up necessary to the plot. Isaac Becker and especially Karen Woods Hurt make the most of their roles as naughty Chinese Christian converts, adding to the humor rather than being an outdated distraction.

“Anything Goes” runs through Oct. 27 at The Tarkington theater in the Center for the Performing Arts in downtown Carmel. Call 317-843-3800, or visit civictheatre.org or thecenterpresents.org.

Civic youth stake a sure bet

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By John Lyle Belden

If you didn’t know the ages of the actors in Booth Tarkington Civic Theatre’s production of the classic Frank Loesser musical, “Guys and Dolls,” you would be hard-pressed to guess. Yes, this is the summer show by the Civic’s Young Artist Program for ages 14-18, but those strong voices, dancing chops and overall talent on display compare with any professional tour you’re likely to see.

They bring afresh the story first presented to their great-grandparents’ generation in 1950: Nathan Detroit (Hayden Elefante) needs a place to host his infamous floating craps game, but NYPD Lt. Brannigan (Daniel Miller) is watching all his usual haunts. So, to finance a likely location, Detroit makes a can’t-miss bet with high-roller Sky Masterson (Nathan Nouri) – that he can’t sweep away stoic Salvation Army Sgt. Sarah Brown (Katelyn Soards) on a dinner date to Cuba. Meanwhile, Detroit’s got a doll of his own to worry about; his long-time fiance, showgirl Adelaide (Katherine Patterson), is increasingly allergic to not being married.

Nouri and Soards’ voices soar operatically as they win our hearts. Meanwhile, Elefante is very entertaining and Patterson gives an award-worthy performance. And then there’s Detroit’s right-hand man Nicely-Nicely Johnson, played oh so nicely by Mahesh Gupta. Kudos also to Emily Chrzanoski as Sister Abernathy and Luke Vreeman as Chicago gangster Big Jule.

This musical is directed and choreographed by Anne Beck, who gives these teens quite a workout. The clever dance-filled opening number, setting the stage of the mean streets of New York, is practically a show in itself.

This has been one of my favorite musicals, with hits like “Fugue for Tinhorns (‘I got the horse right here…’)” and “Sit Down, You’re Rockin’ the Boat” – Wendy likes “Adelaide’s Lament” and “Luck Be a Lady” – and this production did not disappoint. But it’s only for one weekend, with performances through Sunday, July 29, at the Tarkington theatre in the Center for the Performing Arts in downtown Carmel. See civictheatre.org for details and tickets.

Civic’s puttin’ on a hit

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NOTE: As the Word/Eagle is in flux with the renaming and corresponding change in official website, John is putting his reviews here — for now.

By John Lyle Belden

For a more-silly-than-spooky Halloween crowd-pleaser, you can’t go wrong with “Young Frankenstein,” presented by the Booth Tarkington Civic Theatre through Nov. 5 at The Center for the Performing Arts in downtown Carmel.

In this Mel Brooks musical, based on the Mel Brooks movie (inspired by the Mary Shelley novel), Frederick Frankenstein (played by Steve Kruze), grandson of the infamous mad doctor – who has changed the pronunciation of his surname in a vain attempt to shake its infamy – must go to his grandfather’s castle in the generically central/eastern European town of Transylvania Heights to settle the estate.

Once there, Frederick meets family servant Igor (Damon Clevenger), who has rounded up a lovely lab assistant, Inga (Devan Mathias). At the castle, they are welcomed by Frau Blucher (Vickie Cornelius Phipps), who was more than a housekeeper to the elder Frankenstein – a case in which a single line from the film became a whole song in the musical.

The temptation to follow in the family business becomes too great, and Frederick makes a Monster (B.J. Bovin) despite the village having passed a law against such practices, inviting the ire of local police Inspector Kemp (Parrish Williams). Add a surprise visit by Frederick’s fiancé Elizabeth (Nathalie Cruz) and a lot of mayhem – and song-and-dance numbers – ensue.

This production goes all-out on the famous “Puttin’ on the Ritz” singing Monster scene, a great credit to the cast and choreographer Anne Nicole Beck. And Williams doubles as the blind Hermit in another famously funny scene.

No one can match the manic genius of Gene Wilder, but Kruze manages to make the title role his own. Cruz and Phipps are natural scene-stealers, and Mathias is a treat. Bovin makes the most of the limited motions of the Monster, and his often-confused expressions add to the comedic effect. But the show doesn’t work without a great Igor (pronounced “Eye-gor”), and Clevenger is pitch-perfect in the role. It’s a credit to the others that he doesn’t steal the whole show.

Brooks’ gags still zing and his Tony-nominated monster of a musical still entertains. Get info and tickets at civictheatre.org.

John L. Belden is Associate Editor at The Eagle (formerly The Word), the central-Indiana based Midwest LGBTQ news source.

Review: Civic Theatre continues ‘Tradition’

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By John Lyle Belden

The popular musical “Fiddler on the Roof” has a few nights left, Wednesday through Saturday at the Booth Tarkington Civic Theatre in The Center for the Performing Arts in downtown Carmel.

Directed by Michael J. Lasley with musical direction by Brent Marty, the story of a poor Jewish man confronting changes in society in Russia at the turn of the 20th century still maintains its power in this latest production of a show that has seen many local stages – not to mention Broadway runs and a 1971 movie.

Tobin Strader is an entertaining narrator as Tevye, the dairyman blessed with five headstrong daughters. Marni Lemons is an excellent complement as his wife, Golde. We also get great performances from Laura Muse, Virginia Vasquez and Daniela Pretorius as their eldest daughters, and Troy Johnson, Tanner Brunson and Joseph Massengale as the girls’ suitors.

One of the more interesting cast members is the title character – the Fiddler – a living metaphor performed by Erin Jeffrey. She appears throughout in various scenes as emphasis is needed, proficiently playing her instrument.

Praise is also due to choreographer Anne Nicole Beck, as scenes with various numbers of the cast of more than 30 players flow smoothly, naturally, and at times breath-takingly (yes, the “bottle dance” is included, involving five dancers).

Whether you’ve seen “Fiddler on the Roof” a dozen times or never at all – and really, you should at least once – the Civic production is well worth the ticket. Call 317-843-3800 or see civictheatre.org or thecenterpresents.org.

(Review also published at The Word)