Magical ‘Elf’ at Civic

By John Lyle Belden

A new Christmas classic was created in 2003 with the film “Elf,” starring Will Ferrell, which has since become an even bigger spectacle as a Broadway musical, now presented by the Booth Tarkington Civic Theatre.

The book by Thomas Meehan and Bob Martin, with songs by Matthew Sklar and Chad Beguelin, allows Buddy the Elf to escape the shadow of Ferrell’s unique talent to make him his own wonderful character — portrayed happily here by Matt Bays. 

As in the original story, Buddy is a human who, as a baby, crawled into Santa’s sleigh, unseen until the end of the journey. Finding that the boy’s single mother had died, Santa Claus (Parrish Williams) let him be raised by the elves, They let Buddy think he was one of them, even when he grew much taller than his adopted family. 

The truth is inevitably revealed, and Buddy travels to his father — who doesn’t know he exists — in New York City. The dad, Walter (J. Stuart Mill), is a workaholic executive at a publisher of children’s books who is rough on coworkers like good-natured Deb (Mary Margaret Montgomery) and neglectful of wife Emily (Carrie Neal) and son Michael (Ben Boyce). Naturally, Walter doesn’t believe this strange man in elvish tights is his son, so has him sent away. Since Buddy claims to be from the North Pole, he is dropped off at the next-best thing — Macy’s. There he ends up among the store’s Santa’s helpers, where he falls in love with fellow “elf” Jovie (Emily Schaab). 

From there, the story is Buddy’s struggle for acceptance and belonging, along with a chance to save Christmas for his father’s family — and the whole world, when Santa is stranded in Central Park, his sleigh too low on the Christmas Spirit that fuels it. Other notable roles include Jonathan Studdard as the stressed-out Macy’s Manager, and Jeff Angel as Mr. Greenway, owner of the publishing company, who wants a new hit Christmas story from Walter — or else!

The feel of the show throughout is best described by one of its song titles: “Sparklejollytwinklejingley.” The mood is perpetually sweet, even when characters aren’t “Happy All The Time.” And even when they feel that “Nobody Cares,” there’s a fun dance break. 

Directed by Michael J. Lasley with perfect choreography by Anne Beck and musical direction by Brent Marty, this is a magical ensemble effort. And seeing it on a matinee with the audience mostly children, I noticed they were all entranced and swept up in the spirit of it all. 

Just as sweet and special as spaghetti with syrup, “Elf” is yet another holiday must-see in central Indiana, playing through Dec. 28 at the Tarkington theater in the Center for the Performing Arts in downtown Carmel, right next to the Christkindlmarkt. (Arrive early for hope of parking.) See www.civictheatre.org or thecenterpresents.org for info and tickets.

 

Rumor has it: Civic makes ‘Sense’

By John Lyle Belden

If you wonder at the possible appeal of a play based on a Jane Austen novel, consider the number of people, from all backgrounds, now hooked on Downton Abbey. And it’s not just the accents, the fine clothes, or even the tea – but a good well-told story that sustains such period tales’ popularity. And we all feel for those living mired in an environment of strict rules of conduct and etiquette.

“Sense and Sensibility,” a light drama based on Austen’s 1811 novel, at Booth Tarkington Civic Theatre through Feb. 17, also emphasizes a public scourge with which we can all identify: The constant gossip and rumors, frequently spoken to set up and frame the scenes, sound all too familiar in our Twitter and TMZ world.

Weathering this social storm are the Dashwood family. The widow Mrs. Dashwood (Carrie Neal) and her daughters – sensible Elinor (Emily Bohn), romantic Marianne (Morgan Morton) and young Margaret (Elisabeth Giffen Speckman) – are forced to live on their own in a humble cottage, as their former estate had gone to a son from Mr. Dashwood’s prior marriage (women weren’t allowed to inherit). Despite being dropped to the lower rungs of the almost caste-like society of 1790s England, Elinor and especially Marianne receive the attentions of very promising single men, including shy Robert Ferrars (Joshua Ramsey), rakish John Willoughby (Justin Klein) and steady Colonel Brandon (Bradford Reilly).

In addition to these men, the cast also includes scene-stealer extraordinaire Matt Anderson as the Dashwoods’ cousin Sir John, whose generosity helps the women stay on their feet. In exchange, he – and nearly anyone else around – only want the latest juicy news from around the countryside.

This recent adaptation of Austen’s story by Kate Hamill, directed for the Civic by John Michael Goodson, is marked by its reliance on swirling rumor to drive the plot, as well as its minimalist staging. Little more than chairs and a few props are used, putting the focus squarely on the actors. Aside from Bohn and Morton, whose characters are the focal point of the book and play, all other cast members play multiple roles, and even the occasional dog or horse. This adds to the show’s sense of humor – enough to entertain, but never overreaching into farce. For instance, at one point Abby Gilster frequently enters and exits a scene as two different characters, making it an inevitable laugh line when one has to remark about the other.

High marks to all the cast, with clear characterizations despite a fairly high-energy pace (no dreary corset drama, this!). And as a woman’s novel adapted by another woman, it’s easy to see the story as a celebration of women working to live as much as possible on their own terms.

A review of the original New York production of this version calls it “Jane Austen for those who don’t usually like Jane Austen,” but that sells the source material short. This “Sense and Sensibility” looks through the old story through a more contemporary lens, while leaving Miss Austen’s intentions intact. It only makes “sense” that you should check this out.

Performances are on the Tarkington stage at the Center for the Performing Arts in downtown Carmel. Call 317-843-3800 or visit www.civictheatre.org, or thecenterpresents.org for tickets.

Paige Scott and EclecticPond boldly bringing Bronte to today’s audience

By John Lyle Belden

EclecticPond Theatre Company brushes off a dusty classic with “J. Eyre,” bringing new life to Charlotte Bronte’s 1847 novel “Jane Eyre” as a contemporary musical.

The style is modern, but the English countryside setting of this gothic romance remains. The actors’ clothes evoke the period rather than copy it. In fact, the style of this production – through July 30 at Grove Haus near Indy’s Fountain Square – focuses primarily on the story of relationships and the people swept up in them.

The seven actors never leave the stage, with all providing narration, singularly or in harmony, throughout. Two of them each portray a single role, Devan Mathias as Jane and Tim Hunt as Edward Rochester, while the others – Miranda Nehrig, Mary Margaret Montgomery, Abby Gilster, Chelsea Leis and Carrie Neal – chameleon from one supporting character to another.

Written and directed by Paige Scott, the musical’s story largely follows the book: Orphan Jane endures a wretched childhood, including abuse at the hands of her aunt and cousin, and the death of her only school friend (Montgomery) in a typhus outbreak. She then takes a job as governess for a girl in the care of crude, spoiled playboy Rochester. But Jane falls in love with him – realizing her feelings as he prepares to marry gold-digger Blanche (Nehrig) – and when it looks like she will finally find happiness, she finds out his terrible secret. (In case you didn’t read or don’t remember the novel from your literature classes, I’ll leave it there.)

The sung narrative interludes between scenes aid the flow of the story without interrupting it, and relieves one of the need to have read it beforehand to understand its events. Scott’s songs feel like they’ve always been a part of this classic, rather than freshly written. Her captivating adaptation of the novel suggests the script for an autumn Oscar-bait movie. Add in excellent performances by the cast and keyboard accompanist Jacob Stensberg, and this is the kind of show that, if presented Off-Broadway, would soon find itself under the big lights.

You can find “J. Eyre” at 1001 Hosbrook Street; and tickets and info at eclecticpond.org.

Altogether ‘Ooky’ fun

NOTE: As the Word/Eagle is in flux with the renaming and corresponding change in official website, John is putting his reviews here — for now.

By John Lyle Belden

You know it’s going to be fun when the orchestra starts the theme and the audience joins in on the “snap-snap”s.

In “The Addams Family: A New Musical” at Footlite Musicals in Indianapolis, the familiar “mysterious and spooky” characters from the Charles Addams comics and popular TV show and movies are brought to the stage with all the macabre oddities fans have come to expect.

However, in this story daughter Wednesday is now a young woman, and in love. It seems her beau and his family are “normal,” but that facade wears thin during a wacky meet-the-parents dinner.

Excellent performances all around by Ivy Bott (Wednesday), Michael Davis (Gomez), Kathleen Clarke Horrigan (Morticia), Bryan D. Padgett (Uncle Fester), Marie Beason (Grandma), Xavier Wilson (Pugsley), Trenton Baker (Lurch), Joseph Massingale as boyfriend Lucas and Darrin Gowan and Carrie Neal as his parents. There is also an entertaining chorus of ghostly Ancestors – once an Addams, always an Addams.

Davis pulls off the patriarch role with proper panache, and it’s good to see Horrigan stepping down from her usual post at the Footlite director’s chair to inhabit “Tish”s slinky dress. They command every scene they’re in – her more than him, of course.

Bott can go from flat deadpan to dark-edged emotion and back, all in character, in no time flat. Massingale plays the most mellow character in the cast (aside from Lurch), but when he gets to the love song “Crazier Than You,” we believe it. Neal’s emotional powderkeg performance is award-worthy.

There are lots of ghoulish touches that add to the fun, including appearances by Thing and Cousin Itt, making this a perfect pre-Halloween treat.

Find the Addams Mansion on the Footlite stage at 1847 N. Alabama, downtown Indy, through Oct. 9. Info and tickets at footlite.org.

John L. Belden is Associate Editor at The Eagle (formerly The Word), the central-Indiana based Midwest LGBTQ news source.