Civic: Good News(ies)

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.

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CCP ‘Streetcar’ a well-crafted vehicle

By Wendy Carson

A Streetcar Named Desire” is probably Tennessee Williams’ most famous play: the story of Blanche DuBois, an aging southern socialite who has squandered all her resources and must seek the assistance of her sister, Stella Kowalski, to survive.

Blanche is horrified by Stella’s “common” husband, Stanley, and the “squalor” in which they live (low-rent apartments in New Orleans’ French Quarter), but she has no other options so must endure this state of affairs. While Stella and Stanley’s place is small and rustic, it is clean, homey and they are quite satisfied with it.

Though Stanley has a fiery temper and loutish ways, he truly loves Stella and would do anything for her. Needless to say, Blanche and Stanley are at odds from the beginning and their tense friction continues throughout the progress of the play.

Desperate to escape her current situation and find someone who can afford to return her to her previous status, Blanche begins to woo one of Stanley’s friends, Mitch. Being a long-time bachelor who lives at home with his ailing mother, he appears to be a perfect mark. However, though she plays at being young and prudish, her reckless, scandalous past soon catches up with her. Meanwhile, Blanche’s trauma-fueled drunken delusions are getting worse, making her untrustworthy even when the worst actually happens.

Laura Lanman Givens glides beautifully through Blanche’s various moods, making the character far more sympathetic than she is often played – leading this production to a refreshing lightness rarely seen in a Williams show. Jonathan Scoble aptly shows Stanley’s hot-headed fury without making him an insufferable lout. Addison D. Ahrendt’s portrayal of the devoted sister and wife — forced to endure the stormy tantrums of the two people she loves the most – is delicate, yet perfectly nuanced.

Adam B. Workman makes the most of his moments as Mitch; Sebastian Ocampo is charming as their poker buddy, Pablo; Scott Prill and Susan Yeaw as loving/bickering neighbor couple Steve and Eunice Hubbell, add just the right spice to the scene; and Addie Taylor’s two brief roles seem to bookend the play. Also making brief but important appearances are Nolan Korwoski, Susan M. Lange and Ken Klingenmeier. Brent Wooldridge is director.

There is one weekend left to catch this classic of American drama, Thursday through Sunday, May 2-5, presented by Carmel Community Players at The Cat, 254 Veterans Way in downtown Carmel. Call 317-815-9387 or visit www.carmelplayers.org.

Civic goes Wilde

By John Lyle Belden

If you think Victorian English manners and society were stuffy and insufferable, imagine how it was for someone living through it. Fortunately, Oscar Wilde had his rapier wit to help him skewer those pretensions in his masterpiece farce, “The Importance of Being Earnest,” which the Booth Tarkington Civic Theatre presents in the cozy confines of the Studio Theater through April 6.

In 1890s London, among polite folks for whom ignorance is a virtue and honesty a vice, John (Ethan Mathias) and Algernon (Bradford Reilly) have been undertaking some “Bunburying” – that’s not code for something obscene; it’s just the simple practice of being one person in town, and another in the country. John is in love with Gwendolen (Carrie Schlatter), while Algernon has fallen in love with John’s ward, Cecily (Sabrina Duprey). But both ladies insist on marrying a man named Earnest. So both our heroes oblige, and hilarious confusion follows.

Gwendolen’s aunt, Lady Bracknell (Vickie Cornelius Phipps), is very particular about who the girl marries. Meanwhile, Cecily’s governess Miss Prism (Miki Mathioudakis) is trying to get the attention of the Reverend Chasuble (Craig Kemp), but she is also hiding an important secret.

The incomparable Matt Anderson completes the ensemble as the butler at each house. Performances are top-notch, and even the scene changes are entertaining — executed by the actors under Anderson’s watchful eye.

When the world is full of absurdity, nonsense starts to make its own sort of sense. That was Wilde’s world then, and some could argue that reflects our world now. So, enjoy this Earnest effort at classic comedy.

The Studio Theater is at the Center for the Performing Arts in downtown Carmel. For tickets and information, call 317-843-3800 or visit civictheatre.org.

CCP: ‘I Love You, You’re Perfect…’ has changed

By John Lyle Belden

When director Dee Timi proposed staging the popular musical comedy “I Love You, You’re Perfect, Now Change” to Carmel Community Players, she said she knew that writer Joe Dipietro had updated the 20-year-old show’s content to reflect dating and relationships in a more online-centered age, but hadn’t yet seen how. Fortunately, the “new” edition is as funny and entertaining as ever.

“I like it,” she said. “It’s more relevant.”

It’s true. This Indiana “premiere” of the 2018 edition, with its references to Google and Netflix retains a lot of the content, charm and hilarity of the original show, and, appropriately, feels like its happening to people you know.

Libby Buck, Christian Condra, Jonathan Scoble and Brenna Whitaker portray numerous characters in 20 different scenes. Sometimes all four are on stage — like the familiar hell of the family road trip. Other times they pair up — including a sweet bit of obsessive parenting with “dads” Condra and Scoble.

This foursome delivers excellent performances, like polished players from SNL or Second City. Condra ups the ante in some parts by mugging like classic Jim Carrey, and it works — especially with his over-the-top inmate in the skit, “Scared Straight.” And Buck seems to channel Vicki Lawrence’s “Mama” character in the charming tribute to dating in one’s senior years.

Performances were packed opening weekend; the show runs through March 10 at The Cat performance venue, 254 Veterans Way in downtown Carmel. Call 317-815-9387 or visit carmelplayers.org.

An American classic comes to life on Civic stage

By John Lyle Belden

“To Kill A Mockingbird,” the celebrated novel by Harper Lee, is likely a book you are familiar with, perhaps from reading it in school, or by seeing the Gregory Peck film which closely followed Lee’s story.

The Booth Tarkington Civic Theatre presents a live production of “To Kill A Mockingbird,” the play adapted by Christopher Sergel which is performed annually in Monroeville, Alabama, Lee’s hometown on which the novel’s setting is based. Unlike that production, the local staging doesn’t pick a trial jury from the audience – but attorney Atticus Finch still speaks directly to us.

For the unfamiliar, the story, set in Mayscomb, Ala., in the mid-1930s, is told by Finch’s young daughter, Jean Louise, known as Scout. The play gives us a grown-up Jean Louise (Michelle Wafford), who emerges from the audience to narrate for her younger self (Bridget Bingham), who is trying to make sense of all the things happening around her.

Scout, her brother Jem (Dalyn Stewart) and friend Dill (Ben Boyce) are occupied with what the reclusive neighbor Boo Radley might look like. The only clues are items left in a tree in his yard. But a bigger distraction comes when Atticus (Steve Kruze) is appointed by Judge Taylor (Tom Smith) to defend a black man, Tom Robinson (Antoine Demmings), who has been accused of beating and “having his way” with teenager Myella Ewell (Morgan Morton) by her father, town drunk Bob Ewell (Joe Steiner). The children endure taunts for their father defending a black man, but Atticus counsels them to endure and be confident he is doing the right thing. Scout wonders if she can feel pride in her father at all, until an incident with a mad dog reveals there’s more to the man than she ever suspected. Likewise, Jem wonders why his punishment for his vandalism of bitter, hateful neighbor Mrs. Dubose’s (Holly Stults) garden is to deliver kindness, until he comes to understand the whole situation.

The Robinson trial is a big spectacle, so the children sneak in to see it for themselves (thus allowing us to witness it), finding only room to sit in the “Colored” section with the Rev. Sykes (Brad Thompson). They marvel at how Atticus takes advantage of flaws in the testimony, and the kids are sure this will come out in their (and Robinson’s) favor. What does happen gives life lessons the children will never forget. And the events that follow will result in men killed, Jem injured, and Scout becoming a whole lot wiser.

Other notable characters include Sheriff Heck Tate (Clay Mabbit); the Finches’ cook, Calpurnia (Chandra Lynch); and an appearance by Boo Radley (Colby Rison) himself.

Under the direction of Emily Rogge Tzucker, this important story rises from the page to remind us of how horrible, yet accepted, hatred and injustice can be – then, and even more than 80 years later. Of course, that includes the bigoted context of the South in the 20th century, in which no person would even think of saying “African American” and “black” was mostly just a color you painted. So, be warned, the word “nigger” is used numerous times, by characters with either malice or apathy towards its dehumanizing effects. And if my writing the word out in the previous sentence bothers you too much, you should steel yourself before seeing this play – and go anyway.

Scout’s purpose in this story is to learn to see the world through others’ eyes – a man who would rather do what’s right than what’s popular, a person in unspeakable pain, a person judged purely by his skin tone, even a person who just can’t deal with other people – and thus teach us to do the same. Experience it for yourself at the Tarkington theater at the Center for the Performing Arts in downtown Carmel, through Feb. 23. Information and tickets at civictheatre.org or thecenterpresents.org, or call 317-843-3800.

ATI: Ruth sure is missing out on a great show

By Wendy Carson

Ambition. It’s all that drives some people. Even though they have talent and skills, they strive to be recognized and adored for it. How far will a person go to get what they want?

This question is the main premise of the show, “Ruthless: The Musical,” presented by Actors Theatre of Indiana. It is a musical parody of classic noir “The Bad Seed” and “All About Eve,” with a whole lot of campy fun thrown in.

Judy Fitzgerald nimbly portrays Judy Denmark, a doting mother who, while abundantly proud of her daughter Tina, possesses a fierce drive of her own. John Vessels delivers with all of his vamping glory as Sylvia St. Croix, who will do anything to be part of show biz – again.

Suzanne Stark’s portrayal of viciously bitter reviewer Lita Encore channels Madeline Kahn and Megan Mullally in evoking the requisite Evil Wielder of the Poisonous Pen (we’ll try not to take it personally).

Laura Sportiello brilliantly pulls off the gawkiness and questionable talent of Tina’s rival, Louise Lehrman, while also proving she is not one to be underestimated. Meanwhile, Cynthia Collins is fun as the put-upon Miss Thorn, a third-grade teacher whose own showbiz aspirations were crushed by stark reality. Her self-written musical about Pippi Longstocking and questionable casting choices provide the fodder to set this chaos in motion.

Finally, we turn to Nya Skye Beck’s performance as Tina Denmark, the talented and seemingly perfect child whom we all wish we had. Only a fourth-grader, Beck’s level of talent at acting, singing and dance is amazing. During the show, my partner John said, “She is the real deal,” and I heartily agree. I hope to see her in many more productions in the coming years, before the call of Broadway whisks her away.

The first act more reflects “Seed,” with Act Two taking aspects of “Eve” with Sportiello in an alternate role. Satire abounds – there’s a big musical number called “I Hate Musicals” – secrets are exposed, and it all comes down to an ending to die for. On the whole, this show is hilarious and highly entertaining.

“Ruthless” runs through Feb. 17 at the Studio Theater in the Center for the Performing Arts in downtown Carmel. ATI notes the content is relative to a PG-13 rating. For info and tickets, visit atistage.org or thecenterpresents.org.

‘Poppins’ returns, live on stage, to Civic Theatre

By John Lyle Belden

The Booth Tarkington Civic Theatre has displayed a “practically perfect” sense of timing by presenting the Disney Broadway musical “Mary Poppins” just as the sequel hits the movie theaters. Before watching the follow-up on the screen, see the story of the original Banks family and the magical nanny who changed their lives for the better, delivering serious lessons in her “spoonful of sugar” style.

Jeremy Shivers-Brimm is Bert — narrator and everyone’s friend — who was once told to learn a trade, “so I learned ‘em all” (including, famously, a chimney sweep). He nimbly embraces all the character’s likable aspects, helping it step out of the shadow of Dick Van Dyke’s film persona. Devan Mathias is our Mary (she also took the role in Civic’s previous “Poppins” production), sharply confident — both actor and character — seizing and holding our trust and affection every moment she’s on the stage.

The various supporting roles all have a touch of whimsy, from pleasantly blustery Admiral Boom (Rory Shivers-Brimm), neighbor Miss Lark (Katie Stark), the Policeman (Ben Angelo) on the street, to the efficiently-choreographed staff of the bank, making the central family feel comparatively normal and relatable. Father George Banks (J. Stuart Mill) has a good heart, but keeps it restrained by a drive for precision and order; mother Winifred (Mikayla Koharchik) has made her sacrifices as well. Son and daughter Michael (Ben Kistner) and Jane (Sydney Pinchouck) resist their parents’ desire for discipline, requesting a nanny on their terms. What surprises await when they get precisely what they asked for!

While the children meet interesting characters including Bert, the Bird Woman (Mary Margaret Montgomery), word merchant Mrs. Corry (Kendra Randle) and friendly statue Neleus (Alex Smith), it’s hardly a surprise that even Queen Victoria (Susan Smith) shows up. But if the lessons don’t sink in, an alternative nanny, the cruel Miss Andrew (Smith), could be called.

All performances are “spit-spot” polished, including the gentle antics of house servants Mrs. Brill (Ragen Sanner) and Robertson Ay (David Cunningham). Young performers Kistner and Pinchouck have a natural ease on stage that belies their age.  

Wonderful steps-in-time were arranged by director Anne Beck, providing the big singing and dancing spectacle one would expect, including a bit of flight and other wire work. For fans of the P.L. Travers books, note there are aspects of them not in the original Disney film (such as Neleus and Miss Andrew) and a little different order of events — you hardly notice the penguins are missing.

Performances are through Dec. 29 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.