Carolyn Lynch

Houston-inspired musical at Footlite

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , , , , , ,

By Wendy Carson         

 I’ll begin by noting that neither John nor myself have seen the movie, “The Bodyguard,” which is the source for the musical of the same name, now on stage at Footlite. That said, this review will focus solely on the merits of the stage show, and not be complicated by comparisons that film fans will make. I was told that there were a few changes made for the story flow, but those are for others to examine and recount.

The overall plot is basic: Obsessed fan threatens pop star and experienced bodyguard is hired to protect her. Add to this a few ambition issues and romantic subplots, and the whole thing could easily boil down to a cheesy “Hallmark Movie” – yet somehow it all works together quite well. I found myself actually charmed by the spectacle.

No matter your personal opinion of Whitney Houston, she had a fierce voice. With the majority of the songs presented being what might be considered personal anthems, the show’s success or failure heavily lands on the actress/singer playing her role. Fortunately, Angela Nichols-Manlove fills those shoes almost effortlessly. She fully brings out the headstrong sassiness of Houston’s character Rachel while still showing her vulnerable side.

RC Thorne gives the titular character the firm determination of the profession but manages to highlight the fear that drives him in this endeavor. He brings believable life to the hard-boiled exterior with a soft heart archetype.

JB Scoble as The Stalker was appropriately creepy. I was quite impressed with the choreography of his interactions with various characters during the scenes he shared. However, I never felt as though the script tried to adequately explain his motivation and backstory. This weakness of the source material aside, Scoble and director Bradley Allan Lowe made our mystery man appropriately menacing.

Young Cairo Graves as Rachel’s precocious son, Fletcher, is the breakout star of the show. His talent at not stealing every scene he is a part of (which he could quite easily do) was as impressive as his scope of abilities. He is a true triple-threat who we could see delighting us for many years to come.

Melissa Urquhart is also sharp as Rachel’s sister, Nicki, around whom much of the plot twists. Additionally, she provides a powerful voice on a couple of numbers.

At our performance, Lowe ably stepped in for a supporting actor Shalmon Radford, who fell ill. (Hopefully, Radford will return this weekend.) The cast also includes Sam Hill, Robert Dooley, Carolyn Lynch, and Miranda Nehrig. Backing singers and dancers were Anya Andrews, Damaris Burgin, Kaylee Johnson Bradley, Kendell Crenshaw, Azia Ellis-Singleton (Nicki understudy), Suzana Marmolejo (Rachel U/S), DeSean McLucas, Jada Radford, and Ryley Trottier.

Whether you are a fan of the movie, or of Whitney, or just want to see something different and upbeat, this is a show that will bring you laughs, possibly tears, and make you sing along in joy.

For “All the Man That I Need” (and other hits), see “The Bodyguard,” by Alexander Dinelaris (based on a screenplay by Lawrence Kasdan), playing through March 19 at Footlite Musicals, 1847 N. Alabama St., Indianapolis. Get tickets and info at Footlite.org.

Mud Creek has its hands on something special

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

“American Dream, Japanese car.”

That line from “Hands on a Hardbody” sums up the theme of this musical, which had a brief Broadway run, but is more suited to the Heartland. Local hands have crafted it for Mud Creek Players through Sept. 24.

Based on a 1990s documentary about an actual contest, in this musical by Doug Wright with songs by Amanda Green and Trey Anastasio, a Nissan dealer in the small east-Texas city of Longview selects 10 contestants to stand with at least one hand touching a Hardbody pickup, with the last one who loses contact with the vehicle winning it. Dealer Mike Ferris (Joe Aiello) has ordered extra inventory to sell to onlookers, which annoys his assistant Cindy Barnes (Kathy Borgmann), but she’s hoping for the best. The event is covered live by radio station KYKX, announced by deejay Frank Nugent (Jeremy Crouch).

Benny (Onis Dean) has won this contest before, but his wife left him in that prize truck. He is full of plans and strategies to win again. Aging and injured former oil-rig worker J.D. (Chris Otterman) sees this as the chance for something to go right, as wife Virginia (Beth Ray-Scott) resents his stubborn insistence at competing yet stands by with refreshments and cool towels. Ronald (Noah Nordman) is between jobs and sees opportunities with a new truck, providing there’s no rain and he keeps his blood sugar up. Norma (Anya Andrews) sees the Lord’s Will in winning the contest, buoyed by “prayer warriors” at her church and Gospel music on her Walkman. Jacinta (Natalie Coronado Hammerle) hopes to sell the truck after winning so she can finish her veterinary degree. Janis (Jennifer J. Kaufmann) has six kids and little else, aside from a devoted cheerleader of a husband, Don (Collin Moore). Chris (Nicholas Gibbs), out of the Marines long enough to have grown his hair, doesn’t say much. Greg (Matthew Blandford) is a young, out-of-work dreamer. Equally fresh-faced Kelli (Nicole Crabtree) has a job but could use a better vehicle. Heather (Carolyn Lynch) acts like just being a hot blonde is enough to make her win – and unbeknownst to others, she may be right.

Also on hand are judge and timekeeper Lilly (Kirsten Cutshall), event medic Dr. Stokes (Sophie Peirce), and Service Dept. mechanics Miki (Lauren Bogart), A.J. (Ahnn Christopher) and Jerry (Peyton Rader). The on-stage band are Ben Craighead, Craig Kemp, Katie Ryan, Jill Stewart, and leader Linda Parr.

The true star, of course, is “Ruby,” the body of a 1997 Nissan pickup. Director Michelle Moore said Mud Creek volunteers fixed up the impressive prop so that it looks brand new, complete with shining red paint job, working tailgate and doors, bed one can climb into, seats, and functional headlights and horn.*

This kind of situation lends itself to a lot of humor, like Kaufmann’s charming take on the straight-talking redneck mama, and a bit of intrigue (what exactly is Mike up to?). It also examines the extreme edge of American competitive spirit. For those familiar with it, this show is like a less-tragic version of the dance-marathon classic “They Shoot Horses, Don’t They?” complete with the mental and physical consequences of forced exhaustion. As Stokes notes, staying awake for what will be 90-plus hours is a tactic used in other countries to torture prisoners. Benny understands this, exploiting the fraying tempers and confidence of fellow competitors – giving Dean a lot to work with in his complex character. We also get an insight into past stresses, such as Chris’s experiences in the first Gulf War, and the frustration of ethnic assumptions, as Jacinta bristles at having to point out she was “Born in Laredo.”

Characters to root for include Norma, as Andrews has us feeling her pain when the Spirit is weak, as well as Greg and Kelli, with their growing feelings and a fateful decision that changes their lives.  

So, who ends up with the truck? That’s kinda beside the point (and a huge spoiler) but this tale does come with a satisfying ending, as well as the what-happens-next lines by each of the main cast during the last songs.  

With the friendly confines of the Mud Creek “Barn,” its excellent stage set (cleverly designed by Moore), and Dani Gibbs choreography that even has the truck “dancing” to the stage edge, there is an immersive element to “Hands on a Hardbody” that makes this as much an experience as a play, complete with a final song with chorus we are invited to join in on.  

Our shortcut to the Lone Star State is 9740 E. 86th St., Indianapolis. For tickets and information, visit MudCreekPlayers.org.

–

(*Moore said the pickup prop – which has no engine to weigh it down or leak on stage, a reinforced hood an actor can climb on, and sets of casters it rests on for easy movement – will be available after this run to a company that wants to mount a production of this musical. Contact her via the website for details.)   

Get on board ‘Priscilla’ with Footlite Musicals

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , ,

By John Lyle Belden

To my gay friends reading this, I have just two words to say about “Priscilla, Queen of the Desert: The Musical” (based on the film “The Adventures of Priscilla…”), at Footlite Musicals through May 20:

FABULOUS! GO!

Need more details? OK. This spectacle is the journey of three Sydney, Australia, drag queens: Tick a/k/a Mitzi (Michael Howard), who wants to connect with the son he barely knows; Bernadette (John Phillips), a widow and aging diva needing to find her next chapter; and Adam a/k/a Felicia (Chris Jones), an impetuous lass in search of fun and adventure.

Tick’s very understanding wife, Marion (Carolyn Lynch), needs an act for her casino in Alice Springs (located in the center of the Australian continent, far from coastal Sydney) and his traveling there would fulfill Tick’s promise to visit his boy, Benji (Rocco Meo). Bernadette provides the showbiz know-how, and Adam provides the transportation – a fabulous RV that is the Priscilla of the title. While the wildlife ignore our trio, the treacherous part of the journey is the human denizens as they travel through Australia’s equivalent of Kentucky (Broken Hill, Woop Woop) and West Virginia (Coober Pedy). Along the way, they do meet one helpful soul, Bob (Dan Flahive), who ends up along for the ride.

Howard presents Tick with charm, charisma and rugged good looks reminiscent of Hugh Jackman. Phillips exudes authority appropriate to one who is, at turns, a regal and maternal personality. Jones goes from carefree to careless and back with aplomb, like the younger sibling you just want to slap sometimes, but love anyway. And Flahive is sweet in his portrayal of what was my favorite character in the film.

Also notable are Sarah Marone as Bob’s mail-order bride Cynthia, of the infamous “ping pong scene,” and Dennis Jones as Sydney diva Miss Understanding.

The story is embellished with more than 20 pop and disco hits from the 1970s and ’80s, including “It’s Raining Men,” “Go West,” “I Will Survive,” and “True Colors.” For those who can’t resist singing along, a special matinee this Saturday (May 12 at 2:30 p.m.) will let you do just that, complete with lyric sheets.

Another spectacular feature of this show is the costumes – the genuine Tony and Oscar-winning outfits sent to Indy from Broadway. The headdresses must be seen to be believed, as well as the visual effect of the big “gumby” pants.

All this, for a story with a little pain, a lot of heart, and a sense of fun as big as the Outback. Footlite is at 1847 N. Alabama St. in downtown Indy. Call 317-926-6630 or visit www.footlite.org.