Carmel Community Players

CCP’s Rising Stars bring ‘Green Gables’ to life

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By John Lyle Belden

Carmel Community Players chose well in its summer Rising Stars production for performers ages 8 to 18, a show with plenty of youth roles: Lucy Maud Montgomery’s “Anne of Green Gables,” adapted by Joseph Robinette, directed by Amber K. Roth.

The classic turn of the 20th century story tells of Anne Shirley, an orphan sent to be adopted by siblings Matthew and Marilla Cuthbert, who had requested a boy – to help at their farm in rural Prince Edward Island – but feel persuaded to keep Anne instead. She dislikes her name but can’t get anyone to call her “Cordelia.” She hates her red hair and freckles, and anyone who mocks them. But aside from the flashes of temper, she is energetic and endlessly talkative with a wild, romantic imagination, and a positive attitude to the point of adoration. Carolyn Noneman embodies this famous free spirit perfectly, in look and tone, as though she had stepped out of the pages of Montgomery’s novel.

Aided by some “aging” makeup, high-schoolers Lincoln Everitt and Luciana Lindner embody middle-aged Matthew and Marilla with the necessary maturity, he with his wise easy nature and she with her caring fastidiousness.

Lucy Cooper is more charming than frustrating as the village of Avonlea’s biggest busybody (and neighbor of the Cuthberts), Rachel Lynde, as entertaining a gossip as one is likely to encounter.

Lilah Cross plays the well-behaved perfect counter to Anne’s force-of-nature personality as her “bosom friend” Diana Berry, while 10-year-old Lucy Isles shows great star potential as Diana’s little sister Minnie May. The Berry children live with their mother (Claire Moeller) next door to Green Gables.

Jack Levine is young Gilbert Blythe, who earns Anne’s wrath early on and spends the rest of the story hoping to win her forgiveness. Others in the cast, some in multiple roles, are Spencer Rees Bland, Amelia Fine, Mitchell Ried, Madeline Sappenfield, Greta Shambarger, Sophia Sweeney, Amelie Thibodeau, Edward Wilson, Owen Yeater, Quinn Yeater, and Eliza Graefnitz, whose roles include Diana’s Great Aunt Josephine, who finds herself charmed by Anne as well.

Various events from the book are enacted, including the “raspberry cordial” incident, the hair disaster, the game of “dares,” the Queens Academy exams, and the night Anne must save a life. My impression of this performance was that it not only tells the story wonderfully, but also could make one interested in reading the book to see what else happened.   

Roth is assisted by Melina J. Degolyer and student director and dramaturge Annabelle Pfeiffer. Hats off to the cast and crew, including Ghost Morrow, Erin Wilson, stage manager Elinah Atwell and assistant stage manager Ava McKee, for their valiant efforts at making the intimate stage of The Cat into multiple settings in frequent half-light scene changes. Roth’s stage design is also notable for its triangular rotating walls, with Montgomery’s text surrounding the scenes in the background.

While it is the Fourth of July weekend, consider spending a bit of it with a classic of Canadian literature. “Anne of Green Gables” has performances Friday and Saturday (Sunday is sold out), July 5-6, at The Cat, 254 Veterans Way, Carmel. Get tickets at thecat.biz or carmelplayers.org.

CCP sets intriguing ‘Dinner Party’

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By Wendy Carson

Most of us are familiar with Neil Simon plays and know what to expect from them. However, “The Dinner Party,” presented by Carmel Community Players, is different. Written in his later years, the script was originally intended to be farcical but as he fleshed out the characters, a more serious storyline emerged. That’s not to say you won’t laugh – his wit still shines through in the dialogue – but expect to be moved to serious conversation/contemplation afterwards.

The setup is simple: Six people are invited to a dinner party at a fancy restaurant by the lawyer who handled their divorces. However, no one knows who else has been invited, the host is a no-show, and the staggered arrivals of the guests just ups the confusion.

SEMI-SPOILER ALERT! The six people are actually the two halves of three different formerly married couples. This is where the serious dialogue, peppered with biting humor, comes in.

And now, to our guests.

We begin with Claude Pichon (Grant Bowen), a sort of everyman with a deep love of literature. Albert Donay (Bradley Allan Lowe) a curious, mousey type that has little knowledge of interpersonal niceties. Andre Bouville (Jason Creighton) a pompous jerk who flaunts his wealth and popularity amongst women. Mariette Levieux (Becky Larson) an elegant lady author whom Albert takes a shine to, is Claude’s ex and known to Andre as well. Yvonne Souchet (Alaine Sims) a flighty woman who entices Claude, can’t make up her mind whether to stay or go, and is Albert’s ex. Finally, we have Gabrielle Bouville (Amalia Howard) a sensuous woman of mystery and manipulation.

The result of these machinations is an hour and a half of deep delving into relationships, love, passion, fear, confusion, and possibilities.

Co-Directors Matt Trgovac and Tonya Rave bring out sterling performances in each cast member. Bowen as Claude mostly plays it cool as viewer proxy. Lowe gives an interesting character study, odd but not absurd. Creighton has Andre seethe with air of a power broker who can’t bear not being in control. Larson plays Mariette mostly level-headed, but the edges are fraying. Sims lets Yvonne’s issues plainly show, as in this off-kilter setting her erratic behavior seems fitting. In Howard’s performance you can practically see steam rising off Gabrielle, shifting from seductive to pouty to dominatrix calm in a heartbeat.

Set in Paris, we hear these French characters in plain English with no distracting accents. But the setting does lend some tension, contrasting old-world mores with the permissive atmosphere of the city’s reputation.

Performances of “The Dinner Party” run Thursday through Sunday, May 2-5, at The Cat, 254 Veterans Way, downtown Carmel. See thecat.biz or carmelplayers.org for info and tickets.

CCP: Follow the journey of ‘Violet’

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By John Lyle Belden 

Carmel Community Players brings us its production of the heartwarming and bittersweet musical, “Violet,” which is becoming familiar through its Off-Broadway and Broadway runs as well as fairly recent local productions.

As creators Jeanine Tesori and Brian Crawley (based on a story by Doris Betts) intended, we are advised that the disfiguring scar on the title character’s face is not visible on the actor, Sarah Marone-Sowers, so that we may choose to see it with our minds’ eye, or opt to see the beauty within. For Violet, it is a curse she carries into adulthood from a years-ago accident with her father and a wayward axe head. At last, in 1964, she has saved enough to take a Greyhound bus from the hills of North Carolina all the way through Tennessee and Arkansas to Tulsa, Oklahoma, where a television preacher works miracles. She reached her hand to the black-and-white screen, but the Lord’s healing somehow did not reach her. Now she believes she will get her new face, direct from the source.

On her travels, she meets a friendly, well-meaning grandmother (Christine Sanserino) and two soldiers, Flick (Onis Dean), a black Sergeant, and Monty (Dominic Piedmonte) a white Corporal. As they ride, she also remembers the past, in flashbacks with Young Violet (Kenzi Stewart) and Dad (Darrin Gowan). Her budding friendship with the G.I.’s is tested in an overnight stay in Memphis, Tenn., leading to an awkward parting in Fort Smith, Ark. (the soldiers to the nearby military post). Next stop: Tulsa and an eye-opening encounter with a very busy Preacher (Scott A. Fleshood).

The cast also includes Jay Becker, Damaris Burgin, Chloe Vann, and Lawrence Wunderlich in various roles, the men (and Fleshood) taking turns as bus driver. Burgin is notable as keeper of a Memphis boarding house and the televangelist’s choir leader. Vann also sings well in the choir and at a Music Hall. Wunderlich is the Preacher’s assistant. Becker plays a rude fry cook.

Marone-Sowers shines as a woman desperately applying blind faith to deep wounds (physical and mental), as does Dean, portraying one who also knew the lifelong pain of others’ judgement, yet found his strength. The high level of talent in Gowan and high school freshman Stewart elevates their characters as more than dramatic device. These strong spirits boldy show their story, following Violet to their necessary encounter on a cathedral stage. Kathleen Horrigan directs.

Especially for anyone who can’t see their own beauty, take a good look at “Violet,” Thursday through Sunday, March 7-9, at the Switch Theatre, located in Ji-Eun Lee Music Academy, 10029 E. 126th St., Suite D, Fishers. Get tickets and info at carmelplayers.org.

Cat, CCP stage farcical salute to struggling actors

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By Wendy Carson      

Is the thought of seeing one more Christmas-themed production making you want to spew your eggnog? If so, you need to drive over to The Cat in Carmel and catch a performance of Carmel Community Players production of “Moon Over Buffalo.”

The 1995 comedy by Ken Ludwig is notable not just for its slamming-door farcical elements but as the vehicle in which Carol Burnett returned to Broadway. Needless to say, there are plot twists and laughs aplenty.

In the summer of 1953, George Hay (Jason Creighton) and wife Caroline (Tonya Rave) have washed out on the Broadway stage as well as in Hollywood and tour the country in reparatory, alternating between productions of “Cyrano de Bergerac” and “Private Lives.” They are currently stuck in Buffalo, N.Y.

Still stinging over the loss of lead roles in the upcoming Frank Capra-directed Scarlet Pimpernel film, they are resigned to make the best of things. Having Caroline’s mostly deaf mother, Ethel (Wendy Brown), along as their costumer and all-around extra doesn’t improve their lot.

In a fortuitous turn of events their daughter, Rosalind (Natalie Piggush), has returned to introduce them to her new fiancé, Howard (Mac Wright). However, she never seems to get the opportunity, and his being tongue-tied doesn’t help. Add to the mix Richard (Brian Sprayue), the Hays’ lawyer who is madly in love with Caroline and trying to sweep her away from her husband; Eileen (Nicole Sherlock), the ingénue who is pregnant from a brief dalliance with George; and finally, Paul (Grant Bowen), Rosalind’s ex, who is still madly in love with her.

Secret loves, mistaken identities, a generous amount of alcohol, and the possibility of being cast in Capra’s film after all make for a rollicking night of craziness. It’s also good for those who like a peek at backstage life and the quirks of showbiz people, flavored with the evergreen lament that live theatre is dying (shakes fist at television).

Directed by Elizabeth Ruddell, the entire cast is spectacular; their tireless embracing of every comic element will keep you laughing so much that you can forget that “Marley was dead” or any other holiday frippery.

Performances are Thursday through Sunday, Dec. 14-17, at The Cat, 254 Veterans Way, downtown Carmel (in the Arts and Design district, a distance away from the Kristkindlmarkt). Get tickets and info at carmelplayers.org.

CCP stages locally penned inspiring comedy

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By Wendy Carson

Things are not going well for Nikki. She postponed her wedding, moved out of her fiancé’s  apartment, dropped the majority of her law clients, and rented a new place of her own which may or may not be haunted. Add to this an obsessive landlord, a clingy fiancé, and a very grumpy police officer and you have the makings for this tender and rollicking play, “aMUSEd,” presented by Camel Community Players. 

The script, by local playwright Megan Ann Jacobs, was originally presented as part of 2019’s DivaFest. She has since expanded the story and enriched each character involved.  

Sebastian (Joe Wagner), the current Muse of Comedy, has tried to avoid serious entanglements with his past “instruments,” but made a single exception for novelist Anita (Wendy Brown) and stays with her to the very end. Even for an immortal, losing someone close scars you deeply.  

Enter Nikki (Ameetha Widdershins), who knows this pain all too well herself. She rented the amazing and affordable apartment where Anita had died, and Sebastian is wallowing in pity. Sparks fly, as they move from standoff to compromise. His lack of a corporeal body makes for some great slapstick humor and mistaken identities involving Nikki’s fiancé, Ryan (Malcolm Marshall), landlord Tyler (Austin Uebelhor), and Officer Bridges (Ahnn Christopher). Plus, Anita makes a post-death appearance or two herself. 

Director Kelly Keller does a great job balancing the zany humor with the touching glimpses of the pain both lead characters must work through.  

The whole cast is a delight to behold and thoroughly immersed in the story. In fact, at our performance, a small scuffle within the show rolled nearly into the audience. Widdershins manages to be both soft and prickly as the moment demands. Marshall, who only recently made his community stage debut, shows steady improvement in taking on a meaty role. Wagner, looking like a mid-level executive (which he sorta is for the gods), has fun being as much trickster as inspiration. Uebelhor is a hoot and nearly steals his every scene. Christopher and Brown give their moments the right touch, as well.   

John and I both loved the show when we originally saw it, and I really like this more fully fleshed-out version, nicely paced and never feeling padded. It lovingly brings all of the characters to a just and happy ending.

Performances are Friday through Sunday at The Switch Theatre, 10029 E. 126th St., Suite D, Fishers. For info and tickets, see carmelplayers.org.

Intimate look at classic ‘Murder’

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By John Lyle Belden

As the saying goes, the axle of a railroad car evolved from an old Roman chariot, so as for generations we moved from city to city on narrow but comfortable boxes, things still might feel a little close.

Especially when there’s a dead body in the next car.

When Carmel Community Players found themselves staging the traditionally large production of “Murder on the Orient Express” in the intimate confines of The Cat, director Lori Raffel opted not to re-invent the on-stage railroad. “Why not?” she mused, understanding that theatre-goers know how the magic works. Indeed, seeing cast members and stage managers Samantha Kelly and Chloe Vann transform the sleeper cars to the lounge car (which doubles as a fine Istanbul restaurant) in half-light doesn’t hurt the show one bit, perhaps even aiding the flow as we don’t just stare at a curtain between scenes.

And, as noted, you are never far from the action, especially in the Cat’s up-front love seats (first-come for patrons). This way you never miss a clue, or a punchline in this Ken Ludwig script approved by the Agatha Christie estate.

Please, if you know the solution to this mystery, don’t tell! But if you don’t, relax, it was a difficult case for Christie’s famed Belgian detective Hercule Poirot (Larry Adams), and the resolution has surprised and delighted whodunit fans for decades. Again, if you do know – shh! – and enjoy how it plays out with the wit of Ludwig in Christie’s world, presented by this talented local cast.

In 1934, Monsieur Bouc (Earl Campbell) is rightly proud to be in charge of the famed Orient Express (an actual legendary line that ran the length of Europe) and to host Poirot on an unusually crowded journey to France. However, while a snowstorm halts the train in the mountains of Yugoslavia (around Croatia today), the very shady Samuel Ratchett (Tim Latimer) is found dead in his cabin.

Until the snow clears and police arrive from Zagreb, it is up to Poirot to solve this expansive closed-door mystery. Whodunit? Considering it is revealed that Ratchett was a man who literally got away with murder, there is motive, and plenty of suspects. Was it the English woman and Scottish soldier (Olivia Carrier and Jeffrey Stratford) who have been quite secretive? Or the wealthy Russian Princess in exile (Cathie Morgan) or her Swedish missionary nurse (Nicole Sherlock)? Or the loud new-money American (Vickie Phipps)? Or the former nurse turned Hungarian Countess (Viviana Quiñones Fabre)? Or yet, Ratchett’s personal secretary (Jonathan Young)? Conductor Michel (Mohamed Armin) has his own puzzle as others claim to see a mysterious someone in a jacket just like his.

Performances are solid all around, especially Adams’ command of the proceedings as the famed Belgian. Phipps has a ball as the stereotypical obnoxious American. It is impressive how this all-volunteer community cast commit to and hold on to their various spoken accents, especially Stratford’s thick brogue.

Remaining departures for “Murder on the Orient Express” are Thursday through Sunday at The Cat, 254 Veterans Way, downtown Carmel. For info and tickets, visit carmelplayers.org.

Youths share lessons of ‘Godspell’

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By John Lyle Belden

As a story of Jesus Christ, the 1971 musical “Godspell,” by John-Michael Tebelak with music and lyrics by Stephen Schwartz, goes beyond the traditional Passion Play to give the greater context of what in Jesus’ actions and teachings won him followers, then brought him to the events of the Crucifiction. As a theatre production, it has a degree of flexibility allowing for creative stagings and inserting modern references to allow audiences to relate to a story from around 30 AD nearly 2000 years later.

It is also an easy – and given its playful mood, appropriate – Broadway show to cast with teen and tween actors. Carmel Community Players presents “Godspell” as its summer Rising Star Production with youths in all roles, directed by Tanya Haas, who notes she first performed the musical in high school.

Our setting is a well-stocked child’s playroom, with lots of toys, plushes, crafts, etc., to aid in the lessons our peer teacher, Jesus (Mason Yeater), has come to share. But first, John the Baptist (Nick Lantzer) must rally the kids together, his anointing represented by a bubble wand.

Jesus presents favors to each of the gathered disciples, in this case, ribbon pins. He gives the black ribbon to Lantzer, who from then on plays Judas. (This is the only other named biblical figure, the others are given random modern names to keep them relatable. I could guess who appears to me to represent Simon Peter or Mary Magdeline, but that’s beside the point.)

As anyone familiar with this show, or the Gospel of Matthew, knows, we get a number of Christian Parables, including “The Good Samaritan” and “The Sower and the Seed,” told and enacted by various cast members – along with a couple of people momentarily pulled from the audience.

The various songs, including “Day By Day” and “Light of the World,” feature vocals by all: Isabella Bardos, Emmy Bobenmoyer, Joey Brandenburg, Fender Brokamp, Rachel Bush, Jack Levine, Tatum Meadors, Morgan Rusbasan, Quincy Russell, Greta Shambarger, Owen Yeater and Quinn Yeater, as well as the two leads.

Performances are executed with the youthful energy and humor that makes this personally one of my favorite musicals. Recent high school grad Mason Yeater has great stage presence, able to say with a glance that he understands what in the plot must be taken seriously, even when all are just having fun. In the role’s original look – face makeup and Superman shirt with rainbow suspenders to show his “jester’s license” to speak truth to authority – Jesus is gentle, yet never mocked. Lantzer makes Judas seem kinda sus from the jump, and effectively keeps up the actions of a man willing to play along as long as this movement suits his goals.

All Disciples have their moments. Bush rises to the challenge of both popular numbers “Day By Day” and “Turn Back, O Man.” Shambarger celebrates “Bless the Lord” and duets on “Beautiful City” with Brandenburg. Bardos and Meadors join for “By My Side.” 

There was just a month of rehearsal, so still some rough edges on opening, but the kids are all right, and should be more than ready to bring the “Light of the World” to the stage this weekend (June 22-25) at the Ivy Tech Auditorium, 300 N. 17th St., Noblesville. For information and tickets, see carmelplayers.org or call 317-815-9387.

CCP presents funny whodunit

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By John Lyle Belden

In the whodunit world, things are never as they first appear. “The Musical Comedy Murders of 1940,” by John Bishop, is presented by Carmel Community Players, but in Noblesville, as CCP is still raising funds for a hometown stage.

Also, there’s not a whole lot of music. It’s more about making and staging a musical, with only a couple of choruses sung. And, really, it’s about the murders of 1938, when the show “Manhattan Holiday” flopped in part because the cast mutinied after chorus girls were knocked off one by one by the Stage Door Slasher, who was never caught.

So, now, in late 1940, we are in the home of “angel” investor Elsa Von Grossenknueten (Richelle Lutz), who is gathering fellow persons involved in “Manhattan Holiday” who wish to pitch a new musical, “White House Merry-Go-Round.” She also invited a friend, Michael Kelly (Sam Brown), a very thinly-disguised NYPD Detective. We should also note that the maid, Helsa Wenzel (Tanya Haas), a fellow Bavarian who Elsa brought to America when things got rough in Germany (note the date), was apparently killed by a masked phantom in the opening scene, then comes back unharmed doing her regular duties minutes later. Also – and this is important to both the plot and the comedy – the house is riddled with secret doors and passages, with practically every wall on stage capable of opening or revolving.

Arriving through the snowstorm that will trap them there (naturally) are charming but unfunny comic Eddie McCuen (Jeffrey Haber), stage and screen director Ken De La Maize (Kelly Keller), chorine turned actress Nikki Crandall (Hannah Janowicz), overbearing producer Marjorie Baverstock (Eboni Wallace), Irish tenor Patrick O’Reilly (Robert Fimreite) and bickering songwriting duo Roger Hopewell (Eric Bowman) and Bernice Roth (Amber Roth). Note that by the final curtain, a number of these characters will each turn out to be someone entirely different – this includes, of course, the Stage Door Slasher!

Directed by Elizabeth Ruddell, whose assistant, the mysterious O. Carrier, performs the phantom, this play embraces both mystery and farce. The former is complicated by encroaching shadows of war, and the latter gets wacky even to the point of a “Scooby-Doo” moment among sliding and spinning doors. Standout performances include Haas being full of surprises, Keller stylishly dropping names in his alleged films, Haber showing the talent it takes to be good at being “bad,” and Janowicz playing a true triple-threat – singing, dancing, and firearms.

Four performances remain, Thursday through Sunday, March 2-5, at the Ivy Tech Noblesville Auditorium, 300 N. 17th St. Get info and tickets at CarmelPlayers.org.

Time tick, tick, ticking forward

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By John Lyle Belden

As I post this, 2022 has recently come to a close. And you might wonder, what were our favorite shows of this last year? Well, I just did a rough count of more than 150 reviews we posted, so – yeah, hard question.

Like an actor who never forgets that line he stumbled on at opening night, I can’t help but think about the reviews we didn’t do. Aside from scheduling and illness having us miss shows outright, there were a couple of performances that we caught at the ends of their run and didn’t get around to the writeup.

And like Jon in “Tick, Tick… Boom!” I feel the march of time.

There were actually two productions of that Jonathan Larson musical in central Indiana this last year – running practically simultaneously. We managed to get a review in of the well-done Phoenix Theatre production, but circumstances had us nearly miss the Carmel Community Players edition, which had its differences and was excellent in its own way.

Wendy and I would like to go on the record as saying we also enjoyed the CCP “TTB,” directed by Kathleen Horrigan, performed at the Switch Theatre in Fishers.

As is easier to do in volunteer community theatre, there was, in addition to Dominic Piedmonte as Jon, Ervin Gainer as his roommate Michael, and Margaret Smith as his girlfriend Susan, an ensemble of B.K. Bady-Kaye, Onis Dean, Abby Morris, and Ryley Trottier to portray other roles. This also helped distinguish the production from the stripped-down Phoenix show.

Piedmonte was great as Larson’s stand-in character, and Gainer is frankly one of those actors I can’t get enough of. Smith also did well as a character that is tricky as you don’t want to find yourself disliking Susan or Jon too much as their relationship falters. Having the full cast helped in letting Trottier play “Superbia” star (and potential “other woman”) Karessa, leading to a brilliant moment with both women singing “Come to Your Senses.”

Wendy found this version of the show really gave the feel of Larson’s dilemma of the world changing around him – not all for the better – as he turned 30 years old. And as he somehow feared and we have come to know, his life would end a few short years later.

A big thanks again to Carmel Community Players (hat tip to Lori Raffel), and all the local stages who let us come in and see what they have to show us. We look forward to another big year of theatre in 2023.

Fulgham ‘Christmas’ comes to Carmel

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By John Lyle Belden

Poinsettias are immortal.

Also, treasures and saints come in unexpected forms; cherished traditions can include a bad pageant or enthusiastic bell-ringer; there’s nothing like a well-stocked fridge; and love can bring anyone together. These lessons and more are brought to us by Robert Fulgham, author of the best-seller about life-lessons from kindergarten, in “Uh-Oh, Here Comes Christmas!” presented by Carmel Community Players, directed by Kate Hinman.

Aptly-named Joy Ried joins new and familiar faces Tonya Rave, Tom Riddle, Kevin Shadle, and Matt Trgovac as they work through 14 scenes and skits – including a recurring bit about a certain red-leafed plant. The audience, in turn, gets a full-body workout, focused on both the heartstrings and funny bone.

Fulghum’s simple yet deep essays come alive in able hands – with an extra shout-out to assistant stagehand Mitchell Ried – for a must-see holiday treat.

The crew also includes stage manager and assistant director Jeremy Ried, stagehand Chrysa Keenon, and Lori Raffel on lights and sound.

Four performances remain: Thursday through Saturday at 7:30 p.m., Sunday at 2:30 p.m. (Dec. 15-18) at The Cat, 254 Veterans Way in downtown Carmel (just south of the Main Street arts district). Get info and tickets at CarmelPlayers.org.