Carmel

Civic gets ‘Curious’ with story of mystery and maths

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By John Lyle Belden

One nice thing about the Booth Tarkington Civic Theatre production of “The Curious Incident of the Dog in the Night-Time” (by Simon Stephens, based on the Mark Haddon novel) is that instead of a realistic looking dead dog in the middle of the stage, there is a chalk-outline style silhouette – with the garden fork stuck in it. Can’t avoid that detail as the dog, Wellington, is indeed dead.

But this play isn’t really about the dog.

The canine crime, however, is what starts Christopher Boone, a teenager in Swindon, England, who is definitely on the autism spectrum but specific diagnoses are not mentioned and irrelevant as long you understand he’s just different, to start writing his very detailed “book” on this curious incident, to aid in his investigation of the apparent murder.

So, what we see are the events of Christopher’s (Ozzy Heath) writing, also being the play that his teacher Siobhan (Jean Childers Arnold) encourages to make of it with the help of community actors (Lisa K. Anderson, Matt Anderson, Lukas Robinson, Rex Wolfley, Kennedy Morgan and Carrie Andrews Reiberg). It does appear that Christopher’s father Ed (Eric Reiberg) and mother Judy (Afton Shepard) play themselves, but that might just be us sharing his memories. Everything will add up, though, as Christopher is exceptionally good at “maths,” as the British call them.

The first act involves the quirky pursuit of justice for Wellington, which leads to a rather upsetting discovery. In the second, resolving a new mystery means taking on the most horrific challenge of Christopher’s life – the London Underground subways.

Jay Hemphill directs this production that helps deliver Christopher’s unique perspective through image projections and the other players acting as various characters, barriers, and at several moments, choreographed chaos. The neurodivergent think in straight lines and simple facts, but the world around us is mazes and metaphors.

Lebanon high schooler Heath does an excellent job of expressing that perspective, complete with a respectfully accurate presentation of the boy’s tics and quirks. Showing this person so honestly helps us to empathize and cheer him on.

Arnold’s Siobhan is that favorite teacher we either fondly remember or wish we had. She obviously understands working with students like Christopher and making him feel respected and, in this curious context, normal. Contrast this almost too good to be true character (perhaps because seen through the boy’s eyes) with his parents, neither of whom would be named Britian’s Mom or Dad of the Year.

Reiberg and Shepard each play their roles with a brutal honesty in which they see where they slipped up, finding themselves needing and willing to do the work to restore the most important and fragile thing in Christopher’s world – trust.

This story has lots of humor and persistence and compassion in a demonstration that seeing things through a different way of thinking can lead to amazing insights. And in the end, you will cheer the answer to an A-Levels maths problem!

Christopher doesn’t mind tight spaces, so we see “The Curious Incident” in The Studio Theater at the Center for the Performing Arts in downtown Carmel, through March 29. Get tickets at civictheatre.org or thecenterpresents.org.

CCP: On tonight’s episode of ‘I Loathe Darcy…’

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By John Lyle Belden

The Jane Austen novel “Pride and Prejudice” has become so familiar to those who have enjoyed it on page and screen that someone once inserted zombies into the story. What we’ll get here, though, is much more alive. Carmel Community Players presents a recent adaptation by Kate Hamill that plays into the expectations of our romcom and sitcom-fueled culture.

Directed by Samantha Kelly, the essence of the story, set in genteel 19th-century England, is intact: the relatively poor Bennet family worry that their four daughters will not be able to marry above their station, pinning their hopes on a few local bachelors with wealth or potential.

Let’s meet our bachelorettes: Beautiful Jane (Caitlin Karas), the eldest, would love to marry wealthy Charles Bingley (Grayson Wieneke), who is interested but reluctant to pop the question. Lizzie (Katie Endres) is smart, headstrong and declares she “shall never marry.” Quirky Mary (Elizabeth Enderle) everyone considers disturbingly homely (apparently even Death won’t touch her, only giving her gaunt features and a persistent cough). Spritely Grace (Lydia Miller), the youngest, is hyper and impulsive. Also on hand is equally destitute friend Charlotte Lucas (Desiree Black), who seems to kindly accept her role as a wallflower.

Mrs. Bennet (Amanda Falcone) is frantic, to say the least, constantly extolling the virtues of her marriageable daughters to anyone who’ll listen. Meanwhile, Mr. Bennet (Matthew Socey) just wants to be left alone to read his newspaper or otherwise let things play out as they will.

At social events we meet Mr. Bingley’s posh sister Caroline (Amalia Howard), as well as the nervous Fitzwilliam Darcy (Alec Cole), who has a legendarily awkward meet-cute with Lizzie. We also encounter George Wickham (Drake Smith), ambitious but “only a Lieutenant” in the Royal Army; rich but rather creepy cousin Mr. Collins (Grant Bowen); and the fiercely upper-class Lady Catherine de Bourgh (Elizabeth Ruddell).

In Hamill’s snappy script, what we get is a sort of cross between “Fiddler on the Roof” (sans music) and “Taming of the Shrew” as though presented by the Hallmark Channel – and it works delightfully. Farcical elements entertain: Falcone’s over-the-top performance making it understandable that neighbors start to avoid her; Bowen leering in such a way that we feel Lizzie’s dread at possibly marrying Collins; the various comical jump-scares around Mary, so much that I started to feel bad for her (or at least Enderle).

It all melds well with the romantic drama aspects, such as Lizzie’s grudgingly growing appreciation of Mr. Darcy, and Lydia discovering that to leap before one looks can bring on consequences. Endres and Cole acquit themselves well as more true-to-book versions of the characters.

Nicely paced while funny and charming, indulge in “Pride and Prejudice” Thursday through Sunday (two performances Saturday) at The Cat, 254 Veterans Way, Carmel. Get tickets at carmelplayers.org or thecat.biz.

Cajun celebration with GHDT

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By John Lyle Belden

While the parties are rolling out in New Orleans – starting with a Super game and parading towards Mardi Gras – Gregory Hancock Dance Theatre indulges in some big fun “Down on the Bayou.”

Gregory Glade Hancock dusts off a couple of past works with the feel of southern Louisiana culture, starting with the title sequence. It kicks off with the Hank Williams Sr. hit, which the dancers take to with joyous energy, like a hot night on Bourbon Street. An eclectic mix follows, with various rhythms. Being the lone principal male dancer, Thomas Mason gets a huge workout, including pairing with Abigail Lessaris and Olivia Payton, and even a solo. Also we see the talents of Josie Moody, Audrey Springer, and new members Sophie Jones and Cordelia Newton.

A couple of numbers showcase the young students of the Academy of Gregory Hancock Dance Theatre: Abigail Arboleda, Arden Brothers, Fiadh Flynn, Penelope Lomax, Hazel Moore, Josie Steinmetz, Megan Webb, and Britteny Zhang. They already show great poise and potential.

The main company gets their mojo working with “Papa Legba,” featuring Mason as the titular Vodun character, as well as Newton, Springer, and Moody, before the others join in. Atmosphere (including lighting designed by Mason) and Hancock’s costuming contribute to this piece’s mystical feel.

The second half of the program brings out Hancock’s knack for visual storytelling with “Why Look at That Moon,” set to a series of songs by celebrated Louisiana-born songwriter Victoria Williams. Her unique voice and country-folk style provide the canvas on which the dancers bring forth movement suggesting the “Boogieman,” the woman at the “Clothesline,” the “Wobbling” bird, and even old “Tarbelly and Featherfoot.” Featured dancers include Lessaris, Moody, and Newton, and there is a sweet pas de deux with Mason and Jones to “Can’t Cry Hard Enough.”  

A celebratory and sensational program of dance, we have two weekends left “Down on the Bayou,” through Feb. 23 at The Florence at the Academy of GHDT, 329 Gradle Drive, Carmel. Get info and tickets at gregoryhancockdancetheatre.org.

Musical mystery madness at ATI

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By John Lyle Belden

Actors Theatre of Indiana presents “Whodunit: The Musical” by Ed Dixon, a musical theatre comedy treatment of an early-20th century murder mystery in a style something like a Carol Burnett Show sketch.

As long as you keep this in mind and adjust expectations accordingly, you should have some fun with this felonious farce, loosely inspired by the classic (serious) mystery novel, “The Circular Staircase” by Mary Roberts Rinehart. Some liberties were taken with plot and characters, giving the show twists of its own – even the program book can’t be completely trusted.

In 1931, spooky happenings at remote Sunnyside Cottage have scared off the entire staff except for head butler Thomas (John Vessels Jr.), just in time for the arrival of vacation renter Carrie (Judy Fitzgerald) who arrives with her personal maid Liddy (Cynthia Collins). Soon they are joined by Carrie’s niece Sally (Logan Hill), who has brought a friend from school – a man! Call him Jack (Jacob A. Butler). Things eventually go from awkward to scary when, after the lights go out and are restored, the portrait of Sunnyside’s deceased owner, Mr. Armstrong, is found destroyed and a crowbar – and an expensive cufflink – are discovered on the stairs. Thomas suggests calling the police in the morning, but that becomes sooner when, after all had gone to bed, a dead body is discovered in the middle of the floor.

This rather loose stiff is Reggie Armstrong, the owner’s estranged son – who had also been romantically stalking Sally and framed Jack for embezzlement at his work. Detective Jarvis (Eric Olson) arrives, trusty magnifying glass in hand, to search for clues. It turns out that nearly everyone had an issue with Reggie, and everyone has a gun. Before this mystery is solved, there will be another body, the fortune-telling cards of Zara the groundskeeper, and several song and dance numbers including, “It’s Harder to Move a Body,” and “A Dark and Stormy Night.”

Eventually, though, a Mysterious Stranger will appear to reveal all.

The campy capers are made entertaining by an excellent cast. Fitzgerald takes all the absurdity in stride, including the over-the-top British accent of fellow ATI co-founder Collins. Butler shows interesting versatility; Olson masters the melodrama; and Hill’s performance includes some award-worthy overacting. Vessels, like his character, is master of this madhouse. Julie Lyn Barber is director, with choreography by Carol Worcel, and musical and vocal direction by Brandon Vos.

Discover “Whodunit” through Feb. 16 at The Studio Theater at the Center for the Performing Arts in downtown Carmel. For tickets and info, visit atistage.org or thecenterpresents.org.

Words, dance and visual art flow into GHDT ‘Melange’

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By John Lyle Belden

On the weekend of January 11-12, Gregory Hancock Dance Theatre presented its fourth iteration of “Melange,” a largely-improvised blending of artistic disciplines by three individuals who had not only not rehearsed, but met one another on the first performance day. At the center is a performer who sings or speaks – the only element that is prepared – while a GHDT dancer interprets the goings-on in dance and a local artist captures an impression on a canvas.

Actor Jean Arnold was at the center of the space, delivering a program of spoken word, poetry and song. At the start she gave a rhythmic recitation of the folk song “The Unicorn” to set the mood of wonder and introspection with a touch of humor.

Compiled and arranged by Arnold, these pieces include a mother’s reflections on children, one she called “Fearless and Fierce,” a passage relating inner peace to world peace, one on “The Dancer,” and one “on Loving.”

The source material, she said, was literally all around us as the big box of a performance space – The Florence at the Academy at Gregory Hancock Dance Theatre – before its recent renovation had various quotes, sayings, poetry, and scripture passages of numerous faiths written below the floorboards and behind the wall surfaces, under the guidance of founder and artistic director Gregory Glade Hancock. Arnold had seen these, she said, and included some in her performance – quoting sources ranging from the Bible to Jimi Hendrix.

GHDT principal dancer Thomas James Mason was a flowing force that moved throughout the performance. He ranged from pure interpretation to moments of interplay with Arnold, when she would, with a mischievous grin, join him for a step or two. At moments, an old-time microphone stand would swirl in and out by Mason at her beckoning.

The dancer seeming to be all over the stage was captured in a number of dynamic poses by portraitist Robert Maurice Smith. In his drawing Saturday evening, Smith also captured Arnold’s energy, including, in a moment of late inspiration, the pages of the script binder that she occasionally held appearing to flow out to merge with Mason’s outstretched limbs. At the end of the performance, host (and GHDT assistant director) Abigail Lesaris auctioned the impromptu artwork with proceeds going to the dance company.  

“I am many things, but I am not quiet,” Arnold said smiling during the performance. Afterward, she noted this was unlike anything she had done on stage and enjoyed the challenge. “I wanted to leave people with something,” she said of her inspired approach.

As with the previous Melange productions, there was an almost polished feel to the unrehearsed proceedings, a confident reflection of artistic professionals. All present understood that this was, like all live theatre, a once-in-a-lifetime experience.

As this posts, there is still today’s performance, 3 p.m. Sunday, Jan. 12, at The Florence, 329 Gradle Drive, Carmel. See gregoryhancockdancetheatre.org for details and tickets, as well as info on their next show, “Down on the Bayou,” three weekends, Feb. 8-23, at The Florence.

CCP: ‘Starcatcher’ a fun origin story

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By John Lyle Belden

Once upon a time, there was a boy who never wanted to grow up, so he didn’t.

How he managed that feat is the tale of “Peter and the Starcatcher,” an all-ages story presented by Carmel Community Players. Adapted for Broadway in 2011 by Rick Elice from the book by humorist Dave Barry and Ridley Pearson, this piece of English Story Theatre now occupies the intimate space of The Cat, directed by Lori Raffel.

During the reign of Queen Victoria (God save her!), two ships depart from London for a faraway tropic kingdom. One has Lord Aster (Grant Bowen), the other has his young daughter Molly (Hannah Janowicz) under the watchful eye of Mrs. Bumbrake (Tanya Haas). Also, aboard one of these is a trunk containing a dangerously wonderful substance.

Molly is aboard the Neverland, captained by crafty crusty Bill Slank (Dan Flahive) who also keeps three captive orphans – bossy Prentiss (Olivia Carrier), hungry Ted (Quinn Yeater) and a Boy too poor for a name (Mason Yeater). Meanwhile the Wasp, under Captain Scott (Chris Vojtko), is taken over by the pirate Smee (Samantha Kelly) for their boss, the infamous Black Stache (Austin Uebelhor). The buccaneers are aware there is a priceless treasure, and that Aster holds its key.

Brian Thibodeau plays Slank’s first mate, Alf, with other characters by Adrian Blackwell, Desiree Black, and Mackey Brose.

The play’s simple staging and air of whimsy propel a wild adventure that includes storms, mermaids, restless island natives, and a large hungry crocodile. Along the way, the Boy gains a name, and a purpose. Little touches like Bumbrake’s alliterations and Stache’s anachronisms keep things interesting as we see the elements come together, laying the foundation of the familiar legend of Peter Pan.

The Yeater brothers are always a treat to see onstage. Quinn’s Ted is a likable goof, while Mason displays both comic and leading-man talent, which combined make him believable as the primary title character without having to actually fly. Janowicz nicely embodies the know-it-all teen girl who speaks Doolittle-esqe languages and works magical devices with scientific precision. Carrier carries on well as the boy who’s more bluster than bravery.

Kelly has an odd charm as almost-smart Smee, while Uebelhor is entertaining as the villain wannabe who struggles to be feared until a sudden injury clarifies his place in this legend. Additional humor is wrung from the growing relationship between Bumbrake and Alf. Blackwell is impressive as a chef-turned-cannibal.

Take some time out from being a grown-up to experience the childish charms of “Peter and the Starcatcher,” performances Thursday through Sunday, Nov. 21-24, at 254 Veterans Way in downtown Carmel (by the Arts & Design district). For info and tickets, see carmelplayers.org or thecat.biz.

ATI presents romantic pen-pal predicament

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By John Lyle Belden

Easing us out of the Spooky Season and into the Holidays, Actors Theatre of Indiana presents the classic musical, “She Loves Me.”

With book by Joe Masteroff, music by Jerry Bock, and lyrics by Sheldon Harnick (who would next write “Fiddler on the Roof”), this “Holiday Love Story,” based on a 1937 play by Miklos Laszlo, so perfectly fits the template of the modern rom-com, it even inspired one – the 1998 film “You’ve Got Mail.”

In 1930s Budapest, Maraczek’s Parfumerie opens with a sales staff that includes anxious yet jaded family man Sipos (John Vessels), hopeless romantic Ilona (Nathalie Cruz), suave ladies’ man Kodaly (Eric Olson), shy yet competent Georg (Jacob Butler), eager delivery and stock boy Arpad (Ben Friessen), and Mr. Maraczek (Darrin Murrell) himself. Business is brisk this summer day, but there is uncertainty that the new musical cigarette boxes will sell. The boss bets Georg its price that at least one box will – then Amalia (Sophie Jones), a headstrong woman seeking a job at the shop, persuades a customer to gladly buy.

With her costing him money, then taking a job alongside her at the store, Georg and Amalia bicker. They can’t stand each other. However, each has also privately written lonely-hearts letters to an anonymous lover – of course, unknowingly, each other. As the calendar turns to December, the “dear friends” decide to meet in person, at a café notorious for romantic rendezvous. What could go wrong?

Butler and Jones are nicely cast as the sweet and sassy secret (to each other) lovers, whose angry sparks generated at work hide a flame growing in spite of itself. Vessels gives dignified charm to his Hungarian everyman that contributes to the comedy without stealing scenes. Likewise Cruz, who in her Act II solo makes being barely literate sound like an adventure. Friesen, whose character has the same last name as the original playwright, makes an interesting catalyst to several scenes while cheerfully playing the maturing lad making his way in the world. Olson gives us a bad boy in both the playful and eventually literal sense, breaking hearts and making scenes with panache. It was good to see Murrell, a steady hand both on stage and off (as ATI’s Associate Artistic Director), as the good-natured but firm – and troubled – boss.

Customers adding little touches of fun in the shop, and appearing in other roles, are Elizabeth Akers, Cynthia Collins, Terrance Lambert, Josh Maldonado, Carrie Neal, and Brett Mutter, who has a wonderful turn as the café head waiter.

Note that it’s not all fun and romance, as subplots include infidelity and a moment of self-harm. But true to romantic stories throughout the ages, all will be well in the end.

The show is directed by Richard J. Roberts, who is also resident dramaturg at Indiana Repertory Theatre. Thus, he found this story interesting as a look into the relatively carefree atmosphere of Eastern European cities in the years before World War II and the strife that followed. Unlike the air of denial that permeates “Cabaret,” this reflects more of a genuine joy that – especially from our perspective – is worth celebrating though (or because) it can prove fleeting.

Choreography is by Carol Worcel, with music and vocal direction by Nathan Perry, and Jessica Greenhoe is stage manager.

For those who enjoy watching the journey from meet-cute to “I do,” or need an idea for your next romantic date, may I suggest “She Loves Me,” performances through Nov. 17 in The Studio Theater at The Center for the Performing Arts in downtown Carmel. Get info and tickets at atistage.org or thecenterpresents.org.

Anguish of atrocity honored in Gregory Hancock program

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By John Lyle Belden

Gregory Hancock Dance Theatre presented another brilliant example of its ability to tell a story and evoke feeling through movement with its “Autumn Nights” program.

“Art should be challenging,” founder and director Gregory Glade Hancock says. This is certainly brought to bear in the debut of his important work, “Beyond These Gates the Land Groans.” These words were written on a wall of the Police Prison Camp at Salaspils, Latvia, operated by Nazi Germany as a labor and concentration camp from October 1941 until the Soviets closed it at war’s end in 1945. Though not as infamous as larger facilities, it was just as cruel, leading to the deaths of thousands of people (many of them, children) from disease, starvation and other mistreatment.

In 1967, a Memorial was built to remember those who were lost there, which included a number of sculptures whose brutal appearance reflected their suffering. Hancock saw these on a recent visit to Latvia and said he was instantly inspired to compose this piece.

The resulting performance literally stunned us. The movement portrayed the grace of humanity but no further beauty. Dancers worked in open space against the constant tension of being in a restrained, hopeless place. They appear as representation of the memorial statues, in the same poses, and move to express their struggle and sorrow. They come forward, challenging us to see them, hear their silenced cries. The stark vision extends to the costumes (also by Hancock), plain prisoner uniforms hanging loose upon starved bodies, as well as there being no music, just the ongoing rhythm of a recorded human heartbeat. At a moment of desperate necessity, there is the wail of a violin. At the end, as we had been cautioned before the show, few felt like applauding – some in the audience briefly clapped out of respect for the artists; the rest of us, intensely moved, honored it with silence.

Dancers were the principal GHDT company – Sophie Jones, assistant director Abigail Lessaris, Thomas Mason, Cordelia Newton, Josie Moody, Olivia Payton, and Audrey Springer – with GH Academy students Arden Brothers and Hazel Moore.

The program also had lighter and otherwise entertaining works. It opened with “The Visit,” a 1992 Hancock dance with Eastern European influences, appropriate to the Halloween season. Mason enters the center spotlight and summons the others in a bewitching circle of celebration and magick. The “sisters” include Lessaris, Moody, Payton, Springer, and provide a lovely introduction of new dancers Jones and Newton – the latter getting a brief solo. Student Penelope Lomax also makes an appearance.

Hancock also revived a fun 2008 piece, “The Seven Deadly Sins.” All listed above, as well as students Abigail Arboleda, Fiadh Flynn, Morgan Rice, Josephine Steinmetz, Charlotte Terzino, and Brittney Zhang, take turns in various numbers embodying Pride, Sloth, Wrath, Gluttony, Greed, Envy, and, of course, Lust. In the end, Terzino reappears as Virtue to set the moral order right.

The “Autumn Nights” came and went – last Friday evening and Saturday afternoon – at The Tarkington of the Center for the Performing Arts in downtown Carmel. Upcoming events will be nearby on The Florence stage at Gregory Hancock’s office and Academy, 329 Gradle Drive:

 “Melange” returns with three artists of different disciplines combining their talents in a single improvised theme. On Nov. 16-17, visual artist Kevin James Wilson, vocalist Tessa Gibbons, and GHDT’s Josie Moody will create a masterpiece within the same space.

“WinterFest,” a celebration of different year-end holidays, will be at the Florence on December 6-8 and 13-15.

For information on these and performances in 2025, visit GregoryHancockDanceTheatre.org.

‘Boots’ a good fit for Civic

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By John Lyle Belden

The musical “Kinky Boots,” now on stage at the Booth Tarkington Civic Theatre, is a story both of its time and for today.

With book by gay Broadway legend Harvey Fierstein and songs by equally legendary Cyndi Lauper (making her the first woman to win a Tony for solo songwriting), the musical is adapted from the 2005 British film “Kinky Boots,” in turn inspired by a true story from the 1990s. Set in that 20-ish year ago era in Northampton, England, a man who has inherited a failing shoe factory seeks to save it by filling a niche market – sturdy but sexy boots for drag queens.

From today’s perspective, this venture looks like a typical business risk of reaching a niche market. In its context, it’s a cultural bombshell. In 1999, we’re getting used to seeing openly gay characters on TV; in 2005, we are still about five years from the repeal of “don’t ask, don’t tell” in the military, with gay marriage settled even later.

But this isn’t an artifact of a less-enlightened time. The plot delves into the world of Drag, a culture now under attack, as is gender fluidity and expression in general. “Kinky Boots” reminds us how much we have changed for the better, and how much we haven’t.

Jacob A. Butler plays Charlie Price, a young man who doesn’t want to spend his life making shoes, yet unsure of what he does want. While seeking a job in London with his fiancé Nicola (Braxton Hiser), he encounters club headliner Lola (Jonathan Studdard), who complains about the flimsy heels they have to wear. Meanwhile, as his father (Fernow McClure) has recently died, Charlie has to shut down the Price & Son factory and lay off employees who are like family to him. When one of the workers, Lauren (Kelsey McDaniel), suggests he look to fill an underserved market, inspiration strikes. With Lauren (who secretly has a crush on him) as his assistant, and Lola brought on as designer, Kinky Boots footwear is born.

Not all the workers are on board at first, especially “manly man” Don (Peter Scharbrough). Charlie also has difficulty with Nicola, who wants to sell the factory to convert the building into condos. His hopes rest on the new boots being a hit at a designer footwear show in Milan in just a few weeks – leaving him short on both time and budget.

The large cast includes Tommy McConnell and Ryan Thomas as Charlie and Lola as young boys, and Joshua Hyde as Lola’s father. Our queen is backed by a cloud of Angels, played fabulously by drag performers April Rosè, Justin Sheedy, Blair St. Clair, Vera Vanderwoude St. Clair, Parker Taylor, and Jason Wendt.

Studdard is incredible, bringing both power and vulnerability to the role of Lola. Butler plays Charlie like one on a crash course through the school of hard knocks, needing to learn fast for the sake of others besides himself. Among the lessons are that reliance on others goes both ways, as well as that drag is life, not just a lifestyle.

Scharborough is also notable, Don being a man who has sense literally knocked into him. McDaniel is both sweet and funny as Lauren, making her every-woman character one to root for.

This production is directed by Suzanne Fleenor, who hopes the show will raise both our spirits and our desire to stand for equal rights for all. Brent Marty is musical director; Deena Fogle is stage manager. Choreography is by Kasey Walker.

Fun, funny, and most of all, inspiring, “Kinky Boots” is about a lot more than shoes. Performances run through Oct. 19 at The Tarkington in The Center for the Performing Arts in downtown Carmel. For info and tickets, visit civictheatre.org or thecenterpresents.org.

CCP shows its strength

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By John Lyle Belden

The title of the play, “Steel Magnolias,” written by Robert Harling based on events in his life, refers to the fact that – as one character remarks – men are expected to be pillars of strength, yet women are like hardy flowers of even stronger mettle.

Carmel Community Players presents a mostly-female production of this Off- and on Broadway hit (also made into a beloved film in 1988), directed by Elizabeth Ruddell.

The action takes place in Chinquapin Parish, northwest Louisiana, but we hear all about it at Truvy’s Beauty Shop. We open on an eventful day: Truvy (Casey Clouser) has just hired young Annelle (Phoebe Aldridge) as assistant beautician, then Shelby (Emily Haus), daughter of M’Lynn (Tanya Haas), one of the shop’s regulars, arrives to prepare for her wedding that day. Clairee (Susan Boilek Smith), the town’s former first lady, arrives from the dedication of the local football field to her late husband. Local curmudgeon Oiser (Gabrielle Patterson) storms in, this time upset at M’Lynn’s husband – who has also annoyed the whole neighborhood with his efforts to scare birds away from the backyard wedding site.

Time advances through more scenes, giving us insight into both the changes in these women’s lives and how their bonds stay strong and true. There is plenty of good humor, with numerous funny lines and zingers like a sitcom, but flowing naturally like true friends talk. There is also a cloud of misfortune that will eventually overtake them, testing their steel. Even if you know this or have seen it before, this cast keeps the feelings raw and real.

Haus presents Shelby in all her stubborn, upbeat, brave glory. Haas epitomizes the hard strength of the title, making it all the more impactful when she reaches her limit. Aldridge charms, taking us on the curious complex arc of sweet Annelle’s many changes, inevitably for the better. Smith gives us someone who knows she’s a VIP but would rather have fun with it than lord it over anyone. Her fierce loyalty to lifelong best friend Oiser says a lot about her character. Speaking of whom, Patterson gives us a force of nature like a Louisiana hurricane, yet always true to the ladies in this circle.

If you haven’t, we highly recommend you also see the movie with its all-star cast, including Dolly Parton as Truvy. Clouser is a living tribute with her accent and blonde wig, while making the character her own. We never forget this is her house, after all.

Other salutes to the film include a Dolly portrait on the wall (her hits play while we wait for the play to start) and Annelle’s cat-eye glasses like Darryl Hannah wore in the role.

Haas is also producer. Other “Magnolias” involved include stage manager Samantha Kelly, lights by Karissa Henschen (with Doug Vann), and sound by Lori Raffel. “Honorary Magnolia” Jason Creighton provides the good-ol’-boy voice on the radio.

Entertaining and emotional, find some Southern charm up north in Carmel. “Steel Magnolias” plays Thursday through Sunday, Oct. 10-13, at The Cat, 254 Veterans Way. Get info and tickets at carmelplayers.org or thecat.biz.