Visual storyteller Gregory Hancock sets new season

By John Lyle Belden

First, a bit of unfinished business. After seeing the opening of Gregory Hancock Dance Theatre’s “Antony & Cleopatra” in June, I posted a quick review on the PWJW Facebook page but have yet to officially add a write-up here. Since, like many companies, GHDT can shine up an old gem and give it another whirl in a future season, this may be some useful commentary:

Like most of his work, this production has choreography and costumes by Gregory Glade Hancock. In addition, he insisted on music and songs by award-winning composer Cory Gabel, who also worked with him on 2018’s “The Casket Girls.”

Aside from being a dance showcase without spoken lines, this “Antony and Cleopatra” is quite different from the Shakespeare play in the story it tells. The narrative is pared down and freely adapted, with adventurous casting. It is set not in Roman-era Egypt, but a more modern time – the nightlife world of Club Isis. Gabel’s songs include (prerecorded) vocals, combining with power-pop and dance music for a feel reminiscent of “Movin’ Out,” with the song lyrics and movement weaving the plot to good effect.

The two men in the company, Adrian Dominguez and Thomas Mason, are the title characters respectively. Not just supporting characters (in both the role and lifting-the-women sense), this is quite a showcase for their talents, especially in a beautifully sensuous pas de deux.

Also incredible are Abigail Lessaris as Antony’s spurned wife Octavia, and Zoe Maish as Lamprius the Soothsayer, agent of Fate. As usual, there are first-rate performances from the whole company, including “G2”.

Even (especially?) with its toying with setting and gender, Hancock’s production is still a compelling fascinating story of forbidden desire and love, rash actions and tragic consequences. It may not be what actually took place in Roman Alexandria, but note the Bard wasn’t a historian, either.

The next performance of “Antony and Cleopatra”… is when Mr. Hancock and company feel like doing it.

To open the 2022-23 season, GHDT celebrates a quarter century of dance with the “25th Season Celebration,” Aug. 26-27 at The Tarkington in the Center for the Performing Arts in downtown Carmel. According to the press release, Hancock “link(s) together theatrical tales from throughout GHDT’s rich 25-year history and will tell the collective story through moving, poignant and memorable theater, thrilling movement, and beautiful music.” Sounds like fun.

This year’s remaining performances also have an air of the familiar. October 28-29, Hancock’s “There’s No Place Like Home” returns. This wonderful production, inspired by “The Wizard of Oz,” is based on young Hancock’s journey of discovery as the Boy from Kansas in a strange land, with dance drenched in the magic and culture of India. Performances will again be at the Tarkington; see our prior review for more info.

This is followed on December 2-3 with the holiday classic, “The Nutcracker.” Everyone has their Christmas traditions; if this is yours, get your seats at the Pike Performing Arts Center (6701 Zionsville Road, Indianapolis).

Celebrating the new this season is “New World Dances” on weekends of February 11-26, 2023, featuring work that Hancock created during the recent pandemic, presented at The Florence, GHDT’s new black box performance space, 329 Gradle Drive, Carmel.

This anniversary “season of reflection” also includes “Illumination,” April 7-8, with a spiritual theme, and “Director’s Choice,” June 9-10, which Hancock (naturally) picks, both at The Tarkington in Carmel.

For the information and tickets, see gregoryhancockdancetheatre.org.

Bard Fest: Tragic Egyptian queen still fascinating

By John Lyle Belden

Indy Bard Fest presents the Improbable Fiction Theatre Company production of “Antony and Cleopatra” – which, though I know that’s the way Shakespeare titled it, should give the doomed last Queen of Egypt first billing.

Already an incredible talent, Afton Shepard throws herself fully into her title role, portraying Cleopatra’s “infinite variety” of moods and mental states. But under her demeanor, ranging from stormy to sultry, burns a fierce intelligence. All this and more Mark Antony, well-portrayed by Darin Richart, sees, and dedicates himself to as they rule the Eastern third of the Roman Empire. But confict with fellow triumvir Caesar (the eventual Augustus, played by Thomas Sebald) is inevetable.

This production, directed by Ryan T. Shelton, pares down the cast and puts the focus more squarely on Cleopatra. Having ruled since she was a teen – and still showing fits of immaturity – she is also well traveled and educated. She knows a woman’s typical place in this world (much like ours, in a way) and is not afraid to use seductive charms to camoflauge her true wisdom.

Many characters are placed on the weary shoulders of Craig Kemp, who enters as the Soothsayer and appears as various messengers and soldiers as the story demands. The excellent cast includes Bobbi Bye as Caesar’s advisor Agrippa, Dana Lesh and Barb Weaver as Cleopatra’s servants Charmian and Iras, Duane Leatherman as third triumvir Lepidus, Jamie Devine as Caesar’s sister Octavia, Becca Bartley as Cleopatra’s guard Alexas, and Jet Terry as Antony’s faithful soldier Scarus. Kevin Caraher gets a meaty role in Enorbarbus, steadfast for Antony up to the point that he sees history turning and fearing himself on the wrong side, “when valor preys on reason.”

Gender-blind casting is nothing new in today’s theatre, but I liked that Caesar’s soldier Dolabella, played by Evangeline Bouw, seems to lend an element of feminine empathy in being the last Roman to guard Cleopatra at the end.

Scholars debate the fine points of even the original historical sources, but this powerful play gives a good sense of the era and the essence of the larger than life persons in it. We feel we have met Cleopatra and Antony, and it’s an honor.

Performances are Thursday, Saturday and Sunday (Oct. 28, 30, 31) at The Cat Theater, 254 Veterans Way in downtown Carmel. Get info and tickets at indybardfest.com.