Cabaret

Being in ‘Error’ feels just right

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By John Lyle Belden

It’s fascinating to see Clerical Error Productions expand its offerings beyond an annual parody of a popular offbeat British sitcom. Case in point: company Creative Consultant and Vaudeville Coordinator James Benn just brought to the District Theatre cabaret stage, “In the Life: Songs of Gay Harlem.”

Accompanied by longtime local pianist Carl Hines, Benn introduces himself as Dr. Tyrell Leviticus Worthington, our instructor in American History – to be more precise, American Black LGBTQ History.

Moments later he is settled on his seat by the piano, enlightening us about “The Life” (code for LGBTQ culture at the time) in 1920s and ‘30s Harlem neighborhoods of New York. As we quickly discover, many of the jazz, blues and early pop icons are also Gay Icons, some surprisingly out and proud. The names include Fats Waller, Bessie Smith, Alberta Hunter, Clara Smith, Billy Strayhorn, Ethel Waters, and the legendary Ma Rainey. With his warm earnest delivery, and the perfect beat popping out of his fingers, Benn puts the “easy” in speakeasy, entertaining in a way so everyone in the packed room feels his personal touch.

Also, you come away knowing a bit more than you did going in. An evening with these classics could have you itching to find the records yourself – provided you’ve got something that plays 78s.

Keep an eye and ear out for his next show – follow “James Solomon Benn” on Facebook and LinkedIn – and check out ClericalErrorProductions.com for upcoming productions, including the Beckett play “Happy Days” with CEP founder Kate Duffy, Feb. 23-26 at the District Theatre in downtown Indianapolis.

Footlite: New take on ‘New World’

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By John Lyle Belden

“Songs For a New World,” the first show by Jason Robert Brown (“Parade,” “The Last Five Years,” “13,” “Bridges of Madison County,” “Mr. Saturday Night”) is hard to describe, existing in an undefined middle ground between musical, song-cycle, and cabaret. Critics haven’t been kind, but many adore it, including local performer Jerry Beasley, who directs the current production of “Songs” at Footlite Musicals.

“It’s a concert,” he said, desiring it to be something more. “I wanted to tell 14 little stories.”

Perhaps bringing it closer to Brown’s original concept of various narratives all linked by a common theme – a person’s profound moment of decision – Beasley enriches the musical without altering its content. The cast is expanded from four to eight main singers plus two soloists, and he adds little touches to bring more context. The classic “Stars and the Moon” becomes a lesson shared among more than one singer, and thus us watching. “Christmas Lullaby” shows how an expecting mother truly feels she is giving hope to others. The youth in “The Steam Train” returns to a later song, giving it a today’s-news edge. There is humor in “The River Won’t Flow” and heartache in “The Flagmaker, 1775” – there is something for everyone throughout.

Wonderful performances by Ryan Bridges, Cameron Callan, Erin Emtiaz, Dylan Kelly, Maggie Meier, Abigail Miller, Keziah Muthama, and Kendrell Stiff, with Kayvon Emtiaz as “King of the World” and the incomparable Kevin Bell in “Surabaya-Santa.” Kelsey McDaniel stands by as swing; the on-stage orchestra is led by Jeremy Kaylor.

Appropriately, this is Footlite’s January “cabaret” production, with the audience seated on the stage in close proximity to the actors. While the chairs are in rows rather than at tables, there are still only so many of them, so act quick for tickets to remaining performances, Thursday through Sunday, Jan. 19-22. Contact Footlite.org or call 317-926-6630.

IndyFringe: Gray Pride

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This is part of IndyFringe 2022, Aug. 18-Sept. 4 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By Wendy Carson

Norman Lasiter, with musical director Christopher Marlow, teamed up to bring us one of the most enjoyable hours of cabaret theater I believe I have ever seen.

Lasiter’s stories of growing up in a small town south of Indianapolis, pursuing his career in New York and California, and being an out and proud since 1980 (he was literally born in a closet) are punctuated with familiar songs that further enhance the tales.

Even during the darkest memories (living in New York during the worst of the AIDS crisis), he finds hope to keep enduring in memory of those lost.

The whole show is upbeat and cheeky, and Lasiter’s voice is sheer beauty. Marlow even gets a chance to shine on his own during their rendition of “I Love a Piano.” I know I say this a lot, but this show is certainly not to be missed.

However, there are very few tickets left for his next two performances at the IndyFringe Theatre – 7 p.m. tonight (as we post this) and noon Sunday, Sept. 3-4 – so get yours immediately, grab a libation, and settle back for an hour you won’t forget.

IndyFringe: Jewel Box Revue 2022

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This is part of IndyFringe 2022, Aug. 18-Sept. 4 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By John Lyle Belden

Tom Alvarez and Dustin Klein’s Magic Thread Cabaret celebrates the past and showcases today’s talent with Jewel Box Revue 2022 at the District Theatre.

The original Revue toured nationally and internationally from 1936 to 1999, featuring live-singing “female impersonators” and a “male impersonator” – what we now call drag queens and kings. With their widespread appeal and fame, as Alvarez notes, “these pioneers were among the first to crack open the closet door.”

Today’s jewels are Miss Pearl (Keith Potts), Miss Sapphire (Isaiah Moore), Miss Opal (Ervin Gainer) and Miss Ruby (Jim Melton); with emcee Danny Diamond (Kelsey VanVoorst); dancers and co-choreographers Topaz (Xavier Medina) and Jade (Jade Perry); and sparkling on-stage musicians Galen Morris on bass, Matthew Dupree on drums, and music director Klein on piano.

Alvarez wrote and directed the show, featuring songs from Broadway and past greats.

Among the various numbers: Potts is exquisite in delivering the Judy Garland hit “The Man That Got Away” as well as “The Ladies Who Lunch” from the musical “Company.” Moore has us feeling Etta James’ “At Last.” Opal gives proper sass to Pearl Bailey’s “You Can Be Displaced.” Melton is arousing with “Don’t Tell Mama” from “Cabaret” and inviting with Rosemary Clooney’s “C’mon-a My House.” Even VanVoorst gets into the act, challenging Potts with “Anything You Can Do.”

Wendy and I were fortunate to get into a sold-out audience. It’s recommended you act fast to get in to see this marvelous show, 7:15 p.m. Thursday or 9 p.m. Friday, Sept. 1-2.

Eclipse presents exceptional ‘Cabaret’

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By Wendy Carson

When most people think of the musical, “Cabaret,” they consider Sally Bowles to be the main character. However, this is really the story of the writer, Clifford Bradshaw, and his quest to write a novel. It is, after all, based on semi-autobiographical stories by an actual writer living in 1930s Berlin.  

Yet, as crafted by Joe Masteroff (with songs by John Kander and Fred Ebb), it is actually the Emcee who is the storyteller and master manipulator of the entire plot. We see him pulling the strings, putting all of the pieces into play, joyously watching the outcomes, and savagely commenting on it all through song. This has never been so utterly clear as it is in Eclipse’s current production.

From the first second he takes the stage, Matthew Conwell’s presence as our host enthralls. We can’t help but obey his every command. Fortunately for the rest of the cast, he directs us all to pay attention to the other performers who are equally outstanding.

The Kit Kat Girls: Rosie (Reagan Cole Minnette), Lulu (Peyton Wright), Frenchie (Cora Lucas), Texas (Julia Murphy), Fritzie (Lizzie Mowry), and Helga (Emily Lynn Thomas), are all at the top of their game. Their dexterity, balance, and skill bringing life to Alexandria Van Paris’s choreography (which in some cases would make even Fosse impressed) shows that they are all destined for promising stage careers if they choose to pursue them. They also bring a hint of joy to the jaded seediness of their roles.

The Kit Kat Boys, Bobby (Isaiah Hastings) and Victor (Jet Terry) are both athletic and charismatic to the point of making you sad that the script doesn’t offer them more stage time.

Cynthia Kauffman gives Sally Bowles a happier outlook. She keeps her character intentionally ignorant to anything around her that is not currently making her happy and promoting her career.

Donathan Arnold’s turn as Clifford Bradshaw makes the character as All-American as apple pie, while reminding us that apples can be tart, rotten, sweet and that all recipes have secret ingredients within them. Being an African American makes casting sense, as in the era Black ex-pats often found Europe more welcoming than back home. And he does seem to enjoy Germany – until he doesn’t.

Judy Fitzgerald and Charles Goad truly break your heart as Fraulein Schneider and Herr Schultz, a couple so hopelessly in love but still wary of the dangers arising around them.

Mowry’s delightful turn as the dedicated “lover” of sailors, Fraulein Kost, helps bring some much-needed humor into much of the storyline outside of The Kit Kat Club. But her true loyalties are no laughing matter.

Scott Van Wye pours on the charm as the mysterious Ernst Ludwig. We almost don’t mind the true nature of his “work,” until it’s literally on his sleeve.

Eclipse is a program of Summer Stock Stage that gives the alumni of the youth program a chance to be part of a professional production. They not only learn from experienced director Carlos Medina Maldonado but also by working alongside Equity actors Fitzgerald (co-founder of Actors Theatre of Indiana) and Goad.

While I do admit that this musical is one of my all-time favorites, this production makes me feel like I have never actually seen it before. If I could, I would gladly watch every performance.

You can see it Thursday through Sunday, June 9-12, at the Phoenix Theatre, 705 N. Illinois, Indianapolis. Find info and tickets at phoenixtheatre.org.

Spinning a story with a bit of Broadway

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By John Lyle Belden

These are unusual times, so here is an unusual show.

While advising all who feel unwell or uncomfortable to sit this one out, Fat Turtle Theatre is, last we heard, continuing with its production of “This is Us: An Inspirational Steampunk Broadway Cabaret.”

This is a little out of the comfort zone for Fat Turtle, a company that typically does plays, as well as founder Aaron Cleveland, who as the show’s Narrator is called upon to sing. But it does fit within the mission of presenting Indiana works, as the revue of Broadway songs are hung like ornaments on an original story by local playwright Nicole Amsler.

The setting and aesthetic, as noted in the title, are the alternate-history dystopia of Steampunk, with its corsets and clockworks. This helps give the whole production a familiar, yet otherworldly feel. 

Cleveland recites Amsler’s fable about a grieving father who devises “a machine to take all the pain of the world” and how his children strive to save him from it. Honestly, it sounds like the seed from which a great original musical could be grown.

But for now, we get an interesting selection of songs that loosely fit the theme, taken from a wide variety of Broadway shows. While some are easily recognizable, like a tune from “Wicked,” and include current hits like one from “Dear Evan Hansen,” there are also numbers from shows such as “Newsies,” “The Color Purple,” “Kinky Boots,” “Jekyll & Hyde,” “Mean Girls,” and even a beautifully appropriate song from the underappreciated “Pirate Queen.” 

To deliver these song-and-dance bits, we have area talents Tessa Gibbons, Jessica Hawkins, Kaitlin Holden, Jenn Kaufmann, Richelle Lutz, Jennifer Poytner, Brad Root and Jackson Stollings. Direction and choreography are by Andrea Odle, and there is a small band of musicians, led by Linda Parr. 

The result is an entertaining distraction — for a couple of hours — from current events, and the opportunity to enjoy songs even fans of showtunes don’t hear every day. This gang puts their hearts into their performances — as well as a bit of humor, when Hawkins and Stollings take on a fun old standard. Actually, every individual gets a chance to stand center and shine. 

The costumes, by Shannon Rice, include inventive use of blue LED wires to enhance the retro-sci-fi feel and add necessary emphasis when the circuits resemble the human heart. 

There is one scheduled weekend left, March 20-21 at The Switch, 10029 E. 126th St., Suite D, Fishers (in Ji-Eun Lee Music Academy), and as this cabaret is also a company fundraiser, all who are interested, and feel up to it, are encouraged to attend, or at least consider Fat Turtle in your charitable giving.

Details are at FatTurtleTheatre.com.

Gregory Hancock gives fairy tales a fun twist

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By John Lyle Belden

An issue I sometimes have with dance is that I find it hard to follow exactly what is going on, what the dancers are trying to portray — there is no such problem with “Once Upon a Time,” by Gregory Hancock Dance Theatre.

The subject matter is as familiar as childhood — popular fairy tales. But Gregory Glade Hancock and his dancers have put their own spin (and leap, and…) on the stories to freshen the narrative. Like in the musical “Into the Woods,” they all seem to occupy the same fanciful space, including an Enchanted Forest, in which the dancers got to work their own choreography.

Red Riding Hood (Hannah Brown) starts the stories by making her delivery. It seems Grandma appreciates the goodies so much, she just wants to dance with Red, though she does look suspiciously furry. As it turns out, the Wolf (Olivia Payton) while big, isn’t so bad — despite harassing pigs — and mostly just wants to get belly-rubs from the Princesses. 

Narcoleptic Beauty (Chloe Holzman) — turns out it wasn’t just a cursed spinning-wheel — turns in the show’s best performance, especially when constantly dancing in and out of consciousness with the Handsome Prince (Thomas Mason). She puts in moments of gracefully collapsing throughout the show, to great comic effect. As for his Highness, being the only man in the company, he has to be everybody’s Prince, which does result in a chase scene or two. But the one he loves is himself, exemplified with his solo number with a hand-mirror — what a “selfie” was 500 years ago.

In other stories coming to life: 

  • Cinderella (Camden Lancaster) sweeps through, dreaming of future happiness, but the glass that is most important to her is in the spectacles on her face, not the shoes on her feet. The Fairy Godmother (Hannah Winkler) gives her frames worthy of Elton John. But Cindy’s desire to look good is greater than her myopia, with appropriately funny results.
  • Little Bo Peep (Josie Moody) has given up on sheep and herds the Three Little Pigs (Payton*, Winkler, and Jillian Hogan). 

(*Not only ironic — playing Pig and Wolf — but I could have sworn all three Pigs were with the Wolf when he huffed and puffed them. Talk about talent.)

  • Rapunzel (Zoe Maish) has the strongest weave in the kingdom, which others can’t resist messing with. 
  • Snow White (Anna Williamson) shakes off the apple’s effect and, with the Prince otherwise occupied, looks for love elsewhere. Seven young students don cap and beard as the Seven Dwarves (Annabelle Breeden, Ashton Curry, Violet Kitchen, Vincent Kitchen, Josephine Meadows, Isabella Webb, and Elli Thacker) — one of which also opens the show by playing the Boy in pajamas with the storybook of these twisted tales.
  • Pinocchio (Morgan Beane) is the Trickster character of the show. Having not learned his lessons yet, he gets his long nose into all manner of mischief throughout the evening.
  • As for the Witch (Abigail Lessaris), the apple isn’t the only curse that’s failing. Her powers have fizzled, and she dances desperately to rekindle them — but be careful what you wish for.

We are also enchanted by some fairies (Zoe Hacker, Alyssa Henderson, Evangeline Meadows, Megan Webb). The supporting cast (who also act as ushers) include Stephanie Blaufuss, Allie Hanning, Audrey Holloway, Molly Kinkade, Stella Kitchen, Sophia Rice, Taylor Smith, Audrey Springer, Ava Thomas, and Rebecca Zigmond. 

This is the Hancock company’s annual cabaret fundraiser, fitting nicely into the big black-box studio of the Academy of GHDT (329 Gradle Drive, Carmel, near the Center for the Performing Arts). The students don’t pressure you too much to give, though there is a clever “grow Rapunzel’s hair” board to track giving. There is also a free treat at every seat.

The talent and athleticism are amazing to watch, with graceful and easy-to-follow storytelling through movement. This show gives a chuckle to all ages, is an easy inspiration to youth — and reminds the casual viewer that there is more to dance than “The Nutcracker.”

It’s also very popular. The final performances Saturday and Sunday are sold out, but Friday, Feb. 21, has been added. Get tickets at ghdtonceuponatime.eventbrite.com. Get company information at www.gregoryhancockdancetheatre.org.

 

‘First Date’ jitters take form of advice-giving friends in Footlite musical

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By Wendy Carson

Dating — the stress, vulnerability, tension, sheer terror, and coping with it all. Is all of this worth it, to possibly find “the One”? This is the subject the Broadway musical, appropriately titled “First Date,” playing at Footlite Musicals.

The show focuses on Aaron (Zach Hoover) and Casey (Halle Catlow) as they undergo a blind date, and we experience it with them, while seeing their inner thoughts portrayed by others in the cast.

Starting with drinks at the bar, it is obvious that these two have nothing in common except shared geography and a couple of friends who feel they might be a good fit for each other. Still, they are curious enough to overlook their first impressions — and Casey ignores the “bailout calls” of Reggie (Austin Stodgill), her gay bestie — to get to know each other more.

Religious differences, past relationship horrors, and even the embarrassment of their internet history are broached, yet they keep feeling out the possibility of their compatibility. Each constantly teeters on the verge of leaving, yet in their minds, Casey’s sister Lauren (Hannah Janowicz) and Aaron’s best friend Gabe (Ben Fraley) keep showing up to convince them to stick it out.

So, will these two make it to dinner — or maybe breakfast? Will Casey actually let Reggie’s calls give her an out? Will Aaron overcome his feelings for ex-fiance Allison (DonaMarie Kelley)? Can the head Waiter (Darrin Gowan) inspire them to actually fall in love? Honestly, is any of this actually worth it?

Margaret Smith and Adam Gardner complete the cast as waitstaff and part of the mental chorus.

This being Footlite’s annual “cabaret” production, audience seating is on the stage at tables of Darrin’s Restaurant, adding an appropriate intimate feel. The show — book by Austin Winsberg, music and lyrics by Alan Zachary and Michael Weiner — is laugh-out-loud funny, with memorable tunes including “First Impression,” “The Girl For You,” and “I’d Order Love.” (We’ve heard them occasionally on SiriusXM’s “On Broadway” channel.) Direction is by Kathleen Clarke Horrigan, with choreography by Trish Roberts and music directed by Linda Parr.

So good, you might want to take a date of your own, “First Date” runs through Jan. 19 at 1847 N. Alabama St., near downtown Indianapolis. Call 317-926-6630 or visit http://www.footlite.org.

IndyFringe: The Madwomen’s Late-Nite Cabaret

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This show is part of the 15th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 15-25, 2019 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By Wendy Carson

From the moment that Lizzie Borden (Cody Ricks) dashes across stage to take her seat at the piano, you know that this show is anything but serious.

We then welcome our beloved hostess Ethel Merman (Dave Ruark hamming it up at his best) straight from her triumphant turn as “Annie”.

Throughout the night we are privy to songs revealing aspects of these historical icons who are more misunderstood than evil.

Shawnte Gaston has a quick turn as Medusa but spends most of the show co-hosting as Eve, the embodiment of maternal energy and possibly the most misrepresented of them all. She belts out her sentiments in both “What’s the Matter With Kids Today” and “Sometimes I Feel Like a Motherless Child.”

Julie Lyn Barber embodies women as diverse as Typhoid Mary, Amelia Earhart, and Mary Stuart but she really stands out as Sybil singing “I Am My Own Best Friend”.

Georgeanna Smith Wade gives us a hilarious look into the mindset of Procne (most people know her as Medea) but it is her sultry version of Mata Hari performing “Bang, Bang” that really shines.

Add to this Jaddy Ciucci (although on the performance I saw this role was played by Devan Mathias), portraying not only Joan of Arc, Philomela, and Ann Boleyn, but a “Physical Embodiment of a Controlled Substance” (Mary Jane) and pleadingly insisting “I’d Be Good For You”

Needless to say, these women (and characters) deserve to be seen and heard and who knows when you will get another chance to do so. Presented by Main Street Artists, remaining performances are 9 p.m. Saturday and 1:30 Sunday at the IndyFringe Theatre, 719 E. St. Clair.

Doomed ‘Lady Day’ lives again in Indy dive

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By John Lyle Belden

It’s 1959, the last year of singer Billie Holiday’s life, and she is in a city she’d rather not visit, Philadelphia, at a place she loves to be. It’s “Lady Day at Emerson’s Bar & Grill,” a Fonseca Theatre Company production hosted by the Linebacker Lounge, just a couple of doors down from Fonseca’s previous venue at Indy Convergence.

The cozy confines of the Linebacker stand in nicely for Emerson’s. It is a bar (but no grill, though there are delicious Mexican sandwiches next door that you are allowed to bring in) so entrance is restricted to ages 21 and up. Drink service is available before the show and a brief intermission, cash only (there is an ATM on site). But mostly, the place lends atmosphere, a small triumph of “site-specific” theatre.

As for the Lady herself, Monica Cantrell slips comfortably into a role she has played before. Holiday’s distinctive voice and vocal style can be difficult to emulate, especially without sounding like a parody, but Cantrell takes it on with apparent ease — singing soulful jazz ballads and purring stories that are a blend of reminiscing and confessional. Billie tells of idolizing Bessie Smith, honoring her with a rendition of “Gimme a Pigfoot;” life on the road, especially touring the Jim Crow South; and of how she wrote her biggest hit, “God Bless the Child,” for her mother, known as The Duchess.

She tells of men she loved and speaks frankly of her heroin addiction, advising patrons to watch out for “white men in white socks,” the probation officers who monitor her movements after her release from a year in prison. Her mind is not entirely her own, but she’ll pick up a snippet of song — “What a little moonlight can do,” she smiles — to get her thoughts on track.

“Singin’ is livin’ to me,” she says. But as she slowly breaks down, it becomes heartbreakingly apparent she doesn’t have much of either left in her.

Music is provided by Tim Brickley, and Jon Stombaugh as Holiday’s accompanist Jimmy Powers. Little Zoe Lee makes an adorable cameo as the singer’s canine companion, Pepe. And I’m pretty sure I heard Bryan Fonseca himself as the voice of Mr. Emerson.

Directed by FTC co-artistic director Dena Toler, “Lady Day” is a beautiful biography of a troubled woman in troubled times. It speaks volumes about addiction and our racial history without preaching. Just listen to that voice, the likes of which we may never hear again, a woman who “got her own,” on the verge of losing it all.

Performances run through April 7. Find the Linebacker, a sweet little spot that boasts Indy’s second-oldest liquor license, at 2631 W. Michigan St. Due to its small size, this show sells out easily, so find info and tickets at www.fonsecatheatre.org.