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.

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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.

An evening with the marvelous Melissa Schott

 By John Lyle Belden

I remember in 2005 seeing the Footlite Musicals production of “42nd Street,” and being blown away by the performance of Melissa Schott in the lead role. I had no idea that — like her character, ingenue Peggy Sawyer — she had just taken her first big chance on a major stage role, and come out on top. All I knew was that she lived in New Palestine, within the coverage area for the Greenfield Daily Reporter, the paper I wrote for.

Melissa SchottWith such a talented “local” to watch for, I soon saw her perfect portrayal of the legendary singer in “Always, Patsy Cline.” So, it was no surprise when — again nearly on a whim — she tried for and got entertainment work in New York.

And this year, for one wonderful weekend, she came “home,” recently performing her first cabaret revue, “Songs in the Key of Me,” at The CAT in Carmel, presented by Magic Thread Cabaret.

Schott said the show’s title refers to how, in taking so many roles as other people, “it’s easy to forget your own voice.” To find those pieces of herself, she brings out the works of people who have influenced her, from Karen Carpenter to Sara Bareilles.

She set the mood by opening with “That’s Life” and “Ain’t We Got Fun,” but also touched our hearts with Cline’s hit “Crazy,” as well as “Pretty Funny” from the musical of “Dogfight.”

Being a classic triple-threat, Schott brought out her tap shoes for a couple of numbers, including — naturally — “42nd Street.”

She shared the stage with old friend Scott Harris of Nashville on the piano, but took over the keys to start the second act, singing and playing Bareilles’ “Gravity.” She also invited Broadway performer Cory Lingner up for a duet of “Only Us” (from “Dear Evan Hansen”).

Revealing yet another facet of her talent, Schott played a song she wrote, “Worlds Away,” inspired by her longing for home while on tour.

Her musical journey had many stops that felt personal to her, including “Goodbye Yellow Brick Road” and “On a Bus to St. Cloud.” She sang “She Used to be Mine,” from Bareilles’ hit musical “Waitress,” then noted that she would be playing a waitress herself, briefly, on a future episode of the Emmy-winning streaming TV show “Marvelous Mrs. Maisel.”   

Hopefully being a long-time fan doesn’t make me too biased, but her charm, talent, dancing and singing are still superb. And with her residence in the Big Apple, Melissa Schott is one casting-call away from true stardom. Wherever you happen to be able to see her perform, by all means do; and hopefully, she will bring her “Songs in the Key of Me” to another stage very soon.

She closed the show with a medley of tunes from Broadway’s “Thoroughly Modern Millie.” A few days ago, I heard one of the songs from the official cast album, and — meaning no disrespect to a Tony winner — Schott was just as good.

Follow Melissa’s showbiz adventures at melissaschott.com or on Facebook. See magicthreadcabaret.com for future showcases of local talent, presented by Tom Alvarez and Dustin Klein (kleinandalvarez.com).

ATI earns its wings with ‘Wonderful’ radio play

By John Lyle Belden

The bottom line with this show is fairly simple: If you like the film “It’s a Wonderful Life” — or are open to, if you haven’t seen it — you will enjoy the live Radio Play. It is popping up around central Indiana, but I saw the Actors Theatre of Indiana production, playing at the Studio Theater in the Center for the Performing Arts in downtown Carmel (by the Kristkindlemarkt).

Done in the style of radio dramas performed in the 1940s (when the movie takes place and was released), an upbeat ensemble, accompanied by a sound-effects artist, provide all the sounds of a “playhouse of the air” so that families gathered around the radio sets in their homes can fill in all the details in their minds. Thus, if you close your eyes you still get the full story, almost like watching the classic Frank Capra film. With eyes open, you can see the performers mug and gesture their way through the show, giving those who braved the weather to see it in person a little extra — not to mention seeing all the tricks employed to make every noise from footsteps to stormy winds.

The script is true to the film’s story: Clarence the Angel (Second Class) is dispatched to help George Bailey, a man who spent his whole life helping others and desperately needs help himself. We get the backstory on George’s “wonderful life” so when he wishes he “had never been born” we can see how different things would be without him. In the end, we see the difference one person can truly make — Merry Christmas, Bedford Falls!

ATI’s founding trio of Cynthia Collins, Don Farrell (voicing Clarence and other characters) and Judy Fitzgerald (who plays Mary, George’s wife) are joined by Adam Crowe (narrator, villainous Mr. Potter, etc.), Paul Tavianini (George), and Luca Arive, Sadie Cohen, Lincoln Everitt and Annabelle Pfeiffer in children’s roles, to perform the story. Fox59 TV personality Sherman Burdette literally provides the bells and whistles, working all the sound effects like a pro.

For a fresh, festive take on a holiday classic, performances of “It’s A Wonderful Life: A Live Radio Play” run through Dec. 23. For information and tickets visit atistage.org or thecenterpresents.org.