Anthony James Sirk

The more you know: Zach & Zack ‘Rocky’ returns

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By John Lyle Belden

“The Rocky Horror Show” has returned to the Athenaeum’s Basile Theatre through Halloween night. With this show, if you know, you know – and you should go.

Here are some more things you should know:

  • This is the live stage show, originally created by Richard O’Brien, NOT a screening of his cult-classic film. A few things are different from the movie – no “toast,” and “everybody’s lucky” without a bannister – but the story and all the absurd fun are the same, enhanced by the experience of live theatre.
  • As this is a historic building, there are no props allowed, and don’t throw anything! (But feel free to dress up).
  • Zach Rosing did sound and video design, while Zack Neiditch is the director. Neither appears on stage, but we do get proof that they are not the same person.
  • For those who don’t know or don’t remember, the audience responses are displayed on a signboard above the stage. Please shout them on cue.
  • Despite being performed in Indiana, within the show there is “no law against giving in to absolute pleasure.” This note is a good place to remind everyone that the content is very “R” rated.
  • Tim Hunt returns as the fabulous Frank N. Furter, as does Johnnie Ray Hughes as his creation, Rocky – his toned physique worthy of the “Charles Atlas Seal of Approval.”
  • Other roles, mostly new to the company, include Reno Moore and Sophie Sweany-Kocher as Brad and Janet, Michael Krauter as Riff Raff, Addi Koehler as Magenta, Julia Ammons as Columbia, and Jonathan Young as Eddie and Dr. Scott.
  • The Narrator is played by Cynthia Collins, which works great with the gender-bending nature of the show. In Zach & Zack’s “Rocky,” this character is also free to roam about the theatre, making things even more wild and funny. Also, apparently, this Man has a neck, among other things.
  • To ensure their names appear in the search tags, we’ll list the ensemble “phantoms:” Megan Arrington-Marks, Kelvin Burzon, Brittany Michelle Davis, Pablo Gonzalez, Kennedy Morgan, Cìcì Pasìon, and Kenan Timmin.
  • The backstage band is music director Teneh B.C. Karimu on keyboards, Linnea Holt on synth, Matt Day on Guitar, Connor Allen on bass, Andrew Howard on drums, and Julian Orem with the sweet-patootie saxophone.
  • The excellent crew includes Kenny Shepard as choreographer, Claire Wilcher having her hands full as intimacy director, and Katie Angel as stage manager. Brilliant costume design is by Anthony James Sirk.
  • Perhaps the best news is something that isn’t even contained in the Basile theatre. There is a new bar and a big restroom (in a unisex arrangement with numerous private toilets) on the same floor! Intermission still gets busy and crowded, but you no longer have to wander the building to find relief.
  • Everyone does a fantastic job, above and beyond the fact that even when this show is bad, it’s good.
  • The seating looks plentiful, but trust me, with this show it can fill fast. Get tickets and info at rockyhorrorindy.com.

Mother’s devotion touches the world

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

By John Lyle Belden

There’s something unique and fascinating about the cliché Jewish Mother. When encountered in performance it guarantees entertainment for the combination of simple values and cultural complexity. When you meet this personality in the real world, especially displaying a familiar mélange of honest concern and resolved acceptance, you find yourself wanting this woman for your second Mom.

In 1970s New York, countless LGBT youth found this maternal comfort in Jeanne Manford, and in her humble and loving way, she changed the world.

Phoenix Theatre Cultural Center presents the world premiere of “Everybody’s Favorite Mothers” by James Still, directed by Zack Neiditch.

When Jeanne’s son Morty (Jack Ducat) came out to her (Constance Macy), she accepted him without question. Her husband Jules (John St. Angelo) took more time to come around, he admits, but was fully accepting when he saw the violence that confronted a gay man just being himself.

Having been outspoken with a strong sense of justice since boyhood, Morty was an avid activist, working with close friends Mike (Matthew David Consell) and Leena (Alicia Barnes). As they planned to join a Gay Rights march on the anniversary of the Stonewall uprising (which had happened just a couple of years before), Morty asked his mother to walk with him. Feeling challenged at her initial hesitation, Jeanne firmly says she’ll be there.

For someone who prefers to live her own life, “I’m not a joiner,” Mrs. Manford is more conflicted than she realizes. The night before the march (which she likes to think of as a “parade”), she finds herself visited in her dreams by icons of motherhood. Maria Von Trapp from “The Sound of Music” (Zarah Shejule) appears in drag-inspired finery to reassure Jeanne and get her mind ready for the coming big day. She introduces two mothers from the past – the Virgin Mary (Barnes) and Mrs. Cratchit (St. Angelo) – and one from the future, Marge Simpson (Conwell), all eager to share encouragement.

The next day’s march sets Jeanne on a path of activism, Jules by his side, that leads to the founding of what is now PFLAG. Her firm sense that family members should support one another fueled her drive to help resolve estrangement between queer kids and their families, and give support to other parents.    

Still – the former playwright in residence at Indiana Repertory Theatre, now living on the West Coast – said he had great difficulty writing this important story of a little-known hero. While researching he found a relevant speech by President Barack Obama and realized that to include this event from 2008 in a story from 1972, he had to be very flexible with the element of time. Thus, to help focus on the central relationship of Morty and Jeanne, they take charge of their story to “rewind” and “forward-wind” to help them, and us watching, better understand what happened. This adds context and drama to a struggle that included trauma that proves difficult to get past.

Shejule also makes an appearance as the principal of the school where Jeanne teaches, having the impossible task of persuading her to reduce her activism.

This play’s clever presentation goes beyond Still’s words and Neiditch’s direction. Sound and video projections by Ben Dobler include actual news footage. The simple set with seating on two sides is by Rob Koharchik with lighting by Michael Moffatt. Anthony James Sirk did the costumes, which include fantastic plastic wigs and outfits for the dream sequence. Props, including Maria’s cute pet goat, are by Kristin Renee Boyd. Stage manager is Emily Root, assisted by Morgan Grabczak.

Ducat presents all the fed-up stress and sense of personal peril in Morty’s struggle to end discrimination. Conwell plays Mike more glib but with his own sense of worry – he also does a perfect Marge voice. Barnes, who said she reflected on her own journey to inform the role, plays Leena as eager and empathetic while dealing with the unfortunate rift among some activist gays and lesbians. Shejule’s turn as Maria is a delight. St. Angelo presents Jules as steadfastly supportive, as his fragile health allowed.

Macy – also the Phoenix Theatre Christel DeHaan Artistic Director – seems effortlessly amazing as Jeanne, working through her infrequent uncertainties while never diminishing her sense of doing what is right.

An unflinching look at the fight for gay rights featuring a mother’s uncompromising care, “Everybody’s Favorite Mothers” delivers an important chapter in American LGBTQ+ history, and a reminder that this story still continues.

Performances run through Sept. 20 at 705 N. Illinois St., downtown Indianapolis. Get info and tickets at phoenixtheatre.org.

For information on PFLAG, see pflag.org.