Center for the Performing Arts

Brooks comedy comes ‘Alive!’ at ATI

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By John Lyle Belden

One of the cool perks of being Associate Artistic Director of Actors Theatre of Indiana for Darrin Murrell is that he gets to direct the incredibly fun musical, “Mel Brooks’ Young Frankenstein,” adapted by Brooks from his classic comedy film with Thomas Meehan. All songs are also by Brooks, except for the famous scene with Irving Berlin’s “Puttin’ on the Ritz.”

Murrell was overjoyed to have Ben Asaykwee in the title role, as well as Craig Underwood as the Monster, both adept at the necessary physical comedy. Asaykwee’s resemblance to Gene Wilder from the movie is less an impersonation than a reminder that both seem to have been touched by the same muse, hilariously delivering bluster, intelligence, and mischief, capable of being simultaneously the romantic lead and a slapstick clown.

One doesn’t have to have seen the film to follow this show, or have more than a rudimentary knowledge of the Frankenstein legend (Brooks’ approach was more a tribute to Universal Pictures monsters than the Mary Shelley novel). Movie fans will recognize many scenes and characters, though.

Professor of brain science Frederick Frankenstein (Asaykwee) – pronounced “fronk-en-steen” – discovers he has inherited his infamous grandfather’s castle in Transylvania. He goes there to settle his estate, met at the train station by servant Igor (John Vessels, Jr.), an odd man with a migrating back hump who has hired an eager young assistant, Inga (Sophie Jones), for his new master. At the castle, we meet horse-frighteningly eccentric housekeeper Frau Blucher (Julie Lyn Barber). Finding the laboratory and his grandfather’s notes, Frederick insists he won’t repeat any abominable and dangerous experiments – until, of course, he finds the right body and brain.

Meanwhile, there is concern in the village that a new Dr. Frankenstein is in residence. Inspector Kemp (Eric Olson), whose previous encounter with a reanimated creature literally cost him an arm and a leg, is determined to keep such events from happening again.

Frederick’s fashion-forward fiancé Elizabeth (Megan Arrington-Marks) will also arrive, just as hijinks get into high gear. 

As in the film, the Monster (Underwood) stumbles upon a Hermit (Adam B. Shapiro) who is blind and lonely, but he does get a song.

Other roles are covered by James Garrett Hill, Drew Kempin, JoBeth Hilton, Hannah Boswell and Natalie Fischer, with Emily Chrzanowski on hand as understudy.

Few frights, but a lot of laughs and double-entendres in Brooks’ bawdy style, with a few asides taking aim at popular monster-movie tropes. This being a “horror” show with song and dance numbers, indulging in silliness fits the milieu perfectly.

Vessels has fun with his character, delivering a nice homage to the late Marty Feldman with a bit of his own flair. Olson, well disguised by Kemp’s facial hair and costume, embodies the character perfectly for maximum comic effect. Jones’s Inga is winsome as the sidekick who is always smarter than she lets on, caring enough to let distracted Frederick catch up to her true affections. Barber nicely menaces and deadpans as Blucher, contrasted with the wild emoting over her “boyfriend.”  Arrington-Marks gives the full measure of self-obsessed Elizabeth, as well as her change of heart.

Even when dangerous, Underwood as the Monster doesn’t come across as monstrous – just a big guy (with Abbie Normal’s brain) very confused at waking up from the dead. Also, fire bad.

Nathan Perry is musical director; choreography is by Carol Worcel; and Kevin Casey is stage manager. The castle scenic design is by Jay Ganz (note the gargoyles), with props designed by Christian Condra.

Performances of “Young Frankenstein” run through Nov. 9 in the intimate confines of The Studio Theater at the Allied Solutions Center for the Performing Arts in downtown Carmel. For info and tickets, go to atistage.org or thecenterpresents.org.

GHDT ‘Casket Girls’ dance again

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By John Lyle Belden

Though shrouded in myth, the story of the “Casket Girls” is true*. In the 1720s, by order of King Louis IV of France at the urging of the Church, young women were sent to new Gulf Coast colonies to be wives to the men there in hopes of keeping them civilized and Christian.

These filles a la cassette (girls with suitcases) were eventually referred to with the word casquette, which conjured the more popular term. They were pale and delicate, it was said, sensitive to the sun and, perhaps, the magical spirit of New Orleans.

Gregory Hancock Dance Theatre has revived its production that tells the legend with “modern gothic vampire” flair, featuring original music by Cory Gabel. Choreography and costumes are again by Gregory Glade Hancock, with lighting by Ryan Koharchik.

This modern-dance ballet centers on the character of Catherine (Abigail Lessaris), a Casket Girl who lives with the Sisters of St. Ursula until she finds her beau, Jean (guest dancer Cody Miley). But supernatural forces strike, changing her forever.

The second act brings the undead Catherine back to New Orleans a century later, finding an ally in voodoo priestess Mother Ava May (Olivia Payton) and love with sweet Saraphine (Josie Moody). But evil Lucien (Thomas Mason) wants to rule the city, and if Catherine doesn’t join him, he knows the Casket Girl now has something to lose.

Dancers also include Nathalie Boyle, David Elser, Fiadh Flynn, Sophie Jones, Zoe Maish, Vivien Mickels, Hazel Moore, Audrey Springer, Josie Steinmetz, and Lucy Grontkowski of The Conservatory of Dance at Granger, Ind., with guest vocalist Tessa Gibbons.

Stunning and beautiful throughout, the music and movement embrace a dark atmosphere evoking the works of Anne Rice and the goth-punk aesthetic of the World of Darkness roleplaying games. Gabel, in close collaboration with Hancock, brings a Nine-Inch-Nails-esque percussion to the score, giving a relentless beat to the characters’ stilled and breaking hearts.

A unique danse macabre for this spooky season, “The Casket Girls” have just one performance remaining, 5 p.m. today (Oct. 25) as I post this, at The Tarkington in the Allied Solutions Center for the Performing Arts in downtown Carmel. Watch for this production to likely return in coming years.

With this, GHDT opens its 28th season. Next up is its next improvised collaboration in the “Melange” series on Nov. 15-16 as Mickels dances while vocalist Jessica Hawkins sings and Madhuchhanda Mandal creates a visual work of art. The full company celebrates the Holidays with Winterfest on Dec. 4-7 and 11-14. These performances will be at The Florence performance space at The Academy of Gregory Hancock Dance Theatre, 329 Gradle Dr., Carmel.

Full information and tickets at gregoryhancockdancetheatre.org.

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(*History and legend of the Casket Girls at NewOrleans.com)

Civic: Fun time at a ‘Rotten’ show

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By John Lyle Belden

Farce, parody, and satire collide hilariously with history in the hit musical “Something Rotten!” now staged by the Booth Tarkington Civic Theatre.

What even director Michael J. Lasley concedes is a “dumb” show is done smartly not by mocking William Shakespeare (though it’s not totally kind to him) so much as the cult of personality around him – which did start, to some degree, in his own time. In the process, the modern stage musical also gets skewered with gags comparable to the barbs in “Forbidden Broadway.”

During the English Renaissance (there’s a song about it), brothers Nick (Daniel Wilke) and Nigel Bottom (Jacob Schilling) struggle to get their next play completed when they are upstaged – again – by Shakespeare (Michael Krauter). They are so broke that Nick’s wife Bea (Addi Koehler), over his objections, goes out to find work herself.

Needing a surefire hit but desperate for an idea, Nick visits a soothsayer, Nostradamus (Parrish Williams). Being the nephew of the famous prophetic writer, he gets accurate but cloudy visions. This is how Nick Bottom comes to invent the “musical,” or at least tries to.

Nigel, a talented poet as well as playwright, meanwhile finds himself courting Portia (Ellen Vander Missen) the poetry-obsessed daughter of local Puritan leader Brother Jeremiah (David Maxwell), who vociferously objects.

With the help of the seer’s questionable skills, and secret funding by Jewish moneylender Shylock (Daniel Draves), the Bottoms seek to beat the Bard at producing what they are foretold will be his greatest work – “Omlette!”

Josh Vander Missen plays the company’s former patron, as well as a magistrate. A minstrel (Austin Stodghill) leads the remaining ensemble of Julia Ammons, Amanda Boldt, David Brock, Cam Hicks, Braxton Hiser, Karen Hurt, Emily Lantz, Melissa Ritchie, Nicole Sherlock, Michael Sherman, Louis Soria, Caitlin Stacy, Landon Storm, Blake Valentine, and Eric VanVeelen.

Wilke and Schilling play the brothers as well-meaning souls, with Nick defined by his stubbornness and Nigel by his naïve charm. Krauter’s Shakespeare goes from preening rock star to devilishly conniving as he seeks to steal what was supposed to be his own play. Standout performances by the leading ladies as well: Ellen Vander Missen’s headstrong Portia charms, while Koehler steals scenes as a woman with great strength of heart as well as muscle. Maxwell manages to make his Puritan bluster both menacing and highly amusing. A familiar face to Civic patrons, Williams has fun embracing his strange, silly role (he knew I’d write this).

Lasley directs with choreography and additional staging by Anne Beck, musical direction by Brent E. Marty (orchestra led by Al French), and stage managed by Matthew Keller. The musical was written by Karey Kirkpatrick and Wayne Kirkpatrick with John O’ Farrell.

For those who enjoy musicals, or “Hate Shakespeare,” or don’t mind seeing some hams sing about “Eggs,” go experience “Something Rotten!” Performances run through Oct. 18 at the Tarkington in the Allied Solutions Center for the Performing Arts in downtown Carmel. Get info and tickets at civictheatre.org.

Musical blast from the past by ATI

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By John Lyle Belden

Every era has both its triumphs and struggles; they were also years which those who grew up in tend to remember fondly. For some of us – and many of our parents – that was the 1960s, a time of big changes, big hair, and a lot of great music.

“Beehive: The 60’s Musical” presented by Actors Theatre of Indiana, gives us more than 30 hits from the decade, with emphasis on songs sung by women – from “It’s My Party” to “Me and Bobby McGee.”

Our guides through this time of feminine revolution are six outstanding singers: Rachel Dudt, Riley Francis, Michaela McGarel, Kayla Perry, Kria Rangel, and Abigail Storm, who also acts as host. They are backed by a live band, led by Greg Wolff. The show is directed and choreographed by Carol Worcel.

There are a couple of scenes with direct impersonations of the original singers – done very well – but mostly the emphasis is on heartfelt renditions that sound like we remember coming from our transistor radios. On occasion there may be some audience involvement, such as providing names for “The Name Game,” and throughout we are encouraged to clap and even sing along.

In all, this is just a fun evening of music that still entertains and inspires, even decades later. For the Boomers who remember, or those of other generations who love swinging to the oldies, there are two more weeks of “Beehive,” Wednesday through Sunday, Sept. 10-14 and 17-21, at The Studio Theater of the Allied Solutions Center for The Performing Arts in downtown Carmel. Get info and tickets at atistage.org or thecenterpresents.org.

GHDT finishes season strong; watch for more

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By John Lyle Belden

This evening (June 7) Gregory Hancock Dance Theatre concludes its 27th season with bold works for “Summer Solstice.”

According to my quick websearch, earth.com notes the Solstice (longest day of the year, coming in just two weeks) is celebrated by many spiritual traditions, important for “setting an intention” for the coming months. With this weekend’s program, Gregory Glade Hancock and his talented dancers show their continued willingness to expand the use of movement to communicate feelings and stories.

In the world-premiere of “Let It Be Known,” poet Bruce Ford delivers a long monologue of hip-hop style verse that speaks to struggle and aspiration that draws on his Black experience and hope for humanity. As he speaks, dancers Thomas Mason, Sophie Jones, Abigail Lessaris, Josie Moody, Cordelia Newton, Olivia Payton, and Audrey Springer reflect and illuminate his words. Together, they make the “music” that we feel – no background song is played or necessary. Ryan Koharchik’s exceptional (as always) lighting design comes into play here with precise use of spotlights.

Another premiere is “Journey to Freedom,” a series of dances evoking the pain of a nation’s people being invaded, occupied, and displaced, as well as their bravery to overcome. The focus is on Eastern Europe, which Hancock is personally familiar with, including recent travels. The pieces honor Latvia, where residents once kept a secret “national anthem;” Poland, once invaded on two fronts attempting to erase if from the map; and, Ukraine, where their struggle continues today. The movement is strong and evocative, to music ranging from traditional to contemporary, as well as sublime work by Polish composer Frederic Chopin (a beautiful solo by Moody). The principal dancers are joined by summer interns Nathalie Boyle, Gwynevere Deterding, Tasha Sterns-Clemons, and Izzy Wolf, with Academy of GHDT student Hazel Moore appearing as the “flower girl.”

After the intermission, the mood shifts from the very serious to the exceedingly strange with an abridged version of Hancock’s 2006 “Alice and Her Bizarre Adventures in Wonderland,” envisioning Lewis Carrol’s classic story through a warped punk-Goth lens – as if to wonder, what would frighten yet enthrall a young girl today? Springer is our title character, bringing us with her down the rabbit hole to meet a fascinating edging on nightmarish cast. Highlights include Payton as the Cheshire Cat, Mason as the Caterpillar, Lessaris as the Duchess, Newton as the Mouse, Moody as Queen of Hearts, and Jones as the Mock Turtle. All the dancers are in Wonderland, including students Moore, Fiadh Flynn, Penelope Lomax, Josie Steinmetz, and Megan Webb.

As for the dance sequences, Hancock said he was once asked, “if you choreograph this while awake, what are your nightmares like?” It says something about our tastes, I guess, but we were thrilled, with Wendy hoping to see the full show staged again someday.

What we know will happen is the upcoming 28th season. It kicks off with the “Fashion at the Florence” fundraiser on Sept. 13 at 329 Gradle Drive, Carmel. Dance programs feature the return of “The Casket Girls” in October, “Exodus” in March 2026 and “Antony and Cleopatra” the following June. There will also be “Melange” presentations of improvised dance and art with guest vocalists the weekends of Sept. 20 and Nov. 15, as well as March 14 and May 16, 2026.

For all the details – and tickets to today’s 5 p.m. performance at The Tarkington stage of the Allied Solutions Center for the Performing Arts in Carmel, if you see this right after it’s posted – visit gregoryhancockdancetheatre.org.  

‘Spring’ anticipates more artistry from GHDT

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By John Lyle Belden

Gregory Hancock Dance Theatre had a beautiful two-day run of its program, “Spring Equinox,” on April 4 and 5 at the Center for the Performing Arts in Carmel. Circumstances led to us seeing it on the second day.

I’m usually not comfortable writing up something you who read this cannot also enjoy. However, Gregory Glade Hancock’s company has much more planned in the coming weeks and months.

In “Spring Equinox,” which he said was themed around “beauty in unexpected places,” Hancock mostly brought back works he choreographed for a past generation, including “The Western Wall,” as dancers represented prayers flying up from the old Jewish Temple wall  in Jerusalem, using colorful costumes from the 1998 premiere; and “Contusion,” an abstract dance set to the percussion music of Australia, originally premiered in 1999 but now with updated costumes to better reflect Aboriginal culture. This latter piece, even with less of a storytelling element, was still a crowd-pleaser with its energy and rhythms that the audience spontaneously picked up, clapping to encourage the dancers.

This season’s company – Abigail Lessaris, Sophie Jones, Josie Moody, Cordelia Newton, Olivia Payton, Audrey Springer, and Thomas Mason – had solo opportunities in 1998’s “God’s Island,” with its country-folk soundtrack, and for Mason, an excerpt from the recent production, “There’s No Place Like Home.”

This program also presented a beautiful new work by Hancock, “The Lady of Krakow,” inspired by his recent visit to Poland during a tour of Eastern Europe. There, he saw a street performer singing, observing not only her but also how other people reacted, stopped to listen, or just walked on by. “And I thought to myself,” Hancock said in his pre-show talk, “what if they just started dancing?”

In this performance, acclaimed local vocalist Ashley Nicole Soprano stood center stage as The Lady, treating us all to sacred operatic arias as the GHDT dancers walked around and by, then one or two or more at a time, stopped, and swaying to her vocal spell, became the music visually.  Hancock student dancers Arina Bolotina, Magnolia Donaghey, Penelope Lomax, Isabella Webb, and Brittney Zhang joined the company in this wonderful spectacle. It had the feel of a street scene being elevated to a moment in a ballet or classic silver-screen musical.

Soprano will return to collaborate with GHDT in its next “Melange,” May 17-18 at The Florence performance space in The Academy of GHDT, 329 Gradle Drive in Carmel. In this show, as in past Melanges, our vocalist will be the only one with a planned program, but no rehearsal. She will be joined by Hancock company dancer Springer, who will interpret as the singing and music moves her, and visual artist Gaby Mojica, who will observe and create an original work in acrylic paint inspired by it all.

The company as a whole will return to The Tarkington stage at the Allied Solutions Center for the Performing Arts in downtown Carmel for “Summer Solstice” on June 6-7 with another program of new and revived dances.

For information, and tickets to “Melange,” see gregoryhancockdancetheatre.org; tickets to “Solstice” are also available at thecenterpresents.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.

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.