Civic Theatre

Entertaining ride on ‘Orient Express’

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By John Lyle Belden

There are two kinds of people who watch a production – film or stage – of the Agatha Christie mystery “Murder on the Orient Express.”

First, there are those who have never seen how it ends. If you encounter such a patron at the Booth Tarkington Civic Theatre production of the play, running through March 25, DO NOT TELL THEM WHODUNIT. Being one of the most famous and creative reveals in the genre, it’s best to be savored as it happens.

Then, there are the fans of stage, screen, or the original text, who know the answer and just enjoy the widely varied and wildly interesting cast of characters, all falling under the scrutiny of Christie’s eccentric Belgian detective, Hercule Poirot.

Penned by Ken Ludwig (at the request of the Christie estate), this “Murder on the Orient Express” more than satisfies both groups. The blizzard of clues – too many, in fact, Poirot notes – will keep newcomers guessing, and Ludwig’s comic touch ensures at least as many laughs as thrills.

Eric Reiberg is pitch-perfect as Poirot in, a credit to him and director John Michael Goodson, a fairly laid-back portrayal of the character. Rather than have an exaggerated look and personality, even his famous curled mustache is understated, letting the various suspects on board the train do the clowning. Still, his bearing, accent, and little quirks are true to character and exert the proper gravitas (in this story, the detective is already world famous).

To set up the play, we get some disturbing audio, as well as Poirot addressing the audience that what we see is a flashback to one of his most complex and troubling cases. With this, we open in Istanbul, Turkey, in 1934. Needing a quick ride across Europe, the detective travels the famed Orient Express, bound for Calais, France, as the honored guest of the director of the rail line, Monsieur Bouc (Rex Wolfley).  

Various men and women board, including a very cocky yet nervous American businessman, Samuel Ratchett (Lee Russell), who tries to hire Poirot to find out who sent him threatening letters. Offended by his rudeness, the detective refuses. But when, with the train halted by a snowdrift in what was then Yugoslavia, Ratchett lies dead of multiple stab wounds, Hercule Poirot finds himself on the case.

Aside from ever-patient conductor Michel (Ronald May) we have our suspects – in fun performances by Evangeline Bouw, Luke Faser, Lauren Frank, Susan Hill, Alexis Koshenina, Sherra Lasley, and Clay Mabbitt – who all have alibis. And what might the motive be? As Poirot peels back the layers of the mystery and discovers hidden identities, he can only come to one conclusion. Or, perhaps, two.

A script like this allows for going a little over the top, and Lasley is a hoot as our brash American who married into riches and belts into song. Bouw is sweetly memorable as a countess who happened to go to medical school. Hill is commanding as the Russian princess; Koshenina is retreating as a shy missionary. Mabbitt and Frank slyly arouse our suspicions even before their characters board – but we actually see where they are at the apparent time of the murder.

I’ll say no more. You need to see this for yourself, but tickets for this wild ride are selling fast.

The Orient Express was an actual rail line, but, alas, its last departure was in 2009. Next best thing is to see this version. Performances are in the appropriately intimate confines of The Studio Theater at the Center for the Performing Arts in downtown Carmel. For information and tickets, go to civictheatre.org or thecenterpresents.org.

Civic ‘Anne Frank’ stirs young audience

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By Wendy Carson 

This past Wednesday, I was fortunate enough to be allowed to attend one of the special student showings of “The Diary of Anne Frank,” at the Booth Tarkington Civic Theatre. It was eye-opening for all, to say the least. Overhearing their comments both during and after the show helped drive home how important theatrical productions of Holocaust stories are in our world.

With most of the audience being of roughly the same age as Anne, the tragedy of her life and situation really resonated with the students. While they were aware of World War II as history, seeing the images in context really drove these horrors home. After the performance, most were busy wiping tears from their eyes, even those who had read Anne’s “Diary of a Young Girl” prior to attendance.

The power of the show begins with the spectacular set design of Ryan Koharchik. The multi-level set reflects the spaces these souls were forced to inhabit during their two years in hiding but the grim truth of the situation comes from the high, chain-link fence topped with razor wire that serves at the back wall to the show. This also allows for Michael J. Lasley to project timely background photos to further the message beginning with the initial one of Anne’s photograph and actual pages of writing from her diary. Lasley also has a short moment on stage near the end of the show.

While Wendy Kesselman’s new adaption of the play by Frances Goodrich and Albert Hackett is stirring, nothing would ring true without the amazing skills of the actors here, under the direction of versatile theatre artist Claire Wilcher. Especially since many regular theater goers will know several of them for their numerous comedic roles and will be delighted to see their incredible range highlighted here.

Rebecca Piñero brings the shy stoicism of Anne’s older sister Edith to light, keeping her character from being overlooked and fading into the background.

Kevin Caraher as Mr. Kraler, who keeps the doors to the Franks’ business open and running while ensuring no one else is aware of the eight souls above, shows both the hopefulness and fear of his role.

Mookie Harris as the dentist Mr. Dussel keeps his character cold and very removed from the others he is with, but also hints that this is the character’s way of shielding himself from the devastation of losing more people he cares about.

Jay Hemphill and Carrie Reiberg as Mr. and Mrs. Van Daan bring the elitist pomposity out in their characters, yet still show us the struggles of a couple terrified of the situation they have been put into.

Garrett Rowe, as Peter Van Daan, brings his character’s growth from fear at being thrown into a new situation with unbearable co-inhabitants, delicately budding into happiness and growing romance throughout their time together.

David Wood as Otto Frank keeps the optimistic outlook as the leader of this group of survivors. Brittany Magee’s maternal turn as Edith Frank is perfection indeed. She enacts the struggles and sorrows of a mother fighting to keep control of her family and situation so well you might think she has raised a slew of teenagers herself.

Anyone who has ever witnessed her on stage before obviously knows the spectacular comic whirlwind that is Kelsey VanVoorst. Now we are a party to the depth of her pathos as she portrays Miep Gies, the character most at risk of tragedy for her part in this endeavor. VenVoorst keeps Miep as upbeat as possible as she bravely smuggles in the supplies to keep the group alive during their time in hiding. The strength and resolve that keeps her going are evident as she forces herself to find the happiest news she can find to share with the families.

Finally, we arrive at the cornerstone role of the play, Gemma Rollison as Anne Frank (alternately played by Sydney Pinchouck on Feb. 28 and 24). Known as a brave girl who fought through so much to keep herself optimistic through her lifetime, this side of Anne is presented perfectly, yet Rollinson also brings the girl’s precocious and obnoxious spirit also noted in her writing and memories of her surviving father. Beginning as an oblivious 13-year-old who thinks teasing her companions is the height of joy, Rollinson exquisitely brings out Anne’s changes into a budding young woman by the show’s end.

As this country has recently experienced fear and confinement from a life-threatening disease, it feels like we can identify somewhat with the desperation and anxiety faced here. However, the fatalities of the Coronavirus are nothing in comparison to the horrors of the Holocaust. This grave, terrible reality is precisely why these stories must be told and retold. As the years pass and memories begin to fade, we must ensure that this dark chapter of the past is never forgotten or allowed to recur. The Indianapolis Jewish Community Relations Council is on hand in the lobby to provide information of how to participate in continuing this vital effort.

After seeing the reactions of the young people in the audience, I urge you to get as many of them to this show as you can (as well as yourselves). While the subject matter is rather intense and is probably not suitable for all ages, anyone 13 and up really needs to see what life could have been like for themselves if they had been born during this time. Performances run through Feb. 25 (public showtimes at 7 p.m. Thursdays through Saturdays, 2 p.m. Sundays) at the Tarkington theatre in the Center for the Performing Arts in downtown Carmel. Get info and tickets at civictheatre.org or thecenterpresents.org.

Civic adds suspense with ‘Wait Until Dark’

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By John Lyle Belden

“Wait Until Dark,” the suspense stage drama by Frederick Knott, relies on a belief many consider a myth, or exaggerated at best: That the blind have heightened senses to compensate for lack of sight. In the play’s adaptation by Jeffrey Hatcher, presented this month by the Booth Tarkington Civic Theatre, this becomes true for Susan as she is constantly trained, both by herself and near-bullying by her husband, to be hyper-aware of her surroundings, so as to become more self-sufficient.

Rather than consider this a superhero adventure like a Daredevil comic or Netflix episode, the theme here (and lesson, if you want to draw one) is attention to detail. For Susan (played by Carly Masterson) the importance eventually becomes life-and-death, but in everyday terms it helps her avoid a stubbed toe on the furniture and to keep track of what switches are on and off. Such attention to detail is vital to our villain, Roat (Jay Hemphill), as well. He always wears gloves, has a thought-out plan, and is quick to adapt when a doll of unusual value reaches the wrong destination. Let the game of wits begin.

In Greenwich Village in 1944 (set earlier than previous stage/film versions), Carlino (Parrish Williams), a dirty ex-cop who still carries his badge, takes a quick look around a basement apartment. He is joined by Roat, who discuss the fact that their female partner had the doll on a train and hid it in the bag of the man who lives in the apartment. But when she went to get it back from him (with an innocent-sounding story), she said they couldn’t find it. Roat finds this unacceptable, as evidenced by the woman’s body hanging in the closet. But before these two can carry the corpse out, the man’s blind wife, Susan, comes home. During the intense minutes before she leaves again, the men stay perfectly still. She senses them, but assumes it is Gloria (Mary Kate Tanselle), the girl who lives upstairs whom she hires to help around the apartment, playing another nasty prank.

Susan’s husband Sam (Colby Rison) ironically makes a living with his keen eyes, as a photographer. Serving with the Marines in the War in Italy, what he saw through his camera broke him mentally. While in the hospital, he met Susan (recovering from the accident that blinded her) who suggested he recover by taking pictures of babies and brides – which is now his living.

Roat and Carlino book fake appointments to take Sam a distance away, while they work to con Susan out of the location of the doll. Complicating events is a surprise visit by Mike (Lukas Robinson), who says he’s an old Marine buddy of Sam’s. He stays around, sharing Susan’s growing suspicion of the other men’s actions. Suspense builds towards the famous climax in which Susan’s handicap becomes her biggest asset, while Gloria, who came on the scene a total brat, gets her shot at being the heroine.

Even if you’ve seen any version of the show, or know where the doll is (or why it’s special), this production, directed by Emily Rogge Tzucker, will still have you on edge. Masterson gives us a woman who, while vulnerable, is strong and resourceful, and easy to root for. Rison’s Sam comes across a bit mean, but truly loves his wife. Williams is usually reliable for comic relief, and arguably there’s a couple of moments here, but he never loses his sinister edge. Hemphill just oozes evil and the overconfidence that is Roat’s one weakness. Robinson, in his theatrical debut, works his charming character like a pro. Tanselle, as the tween coping with parental strife at home and menial work for her neighbor, plays a nice character arc from irksome to trusted partner. Note that on coming Sunday matinees, Gloria will be played by Izzy Ellis.

An old thriller that still thrills, “Wait Until Dark” plays through March 26 in the intimate confines of the Studio Theater at the Center for the Performing Arts in downtown Carmel. For info and tickets, see civictheatre.org or thecenterpresents.org.

Civic steps up with Hitchcock comedy

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By John Lyle Belden

One of Alfred Hitchcock’s most acclaimed films is also one of his earliest successes. “The 39 Steps,” a 1935 spy thriller set in Britain, not only reflected the tensions of inevitable war with Germany, but also set the style and elements of most of his classic movies that followed. They include the innocent man on the run; settings in famous landmarks; the icy, beautiful blonde…

However, when you see “The 39 Steps” as presented by the Booth Tarkington Civic Theatre, you might think of another famous filmmaker – notably Mel Brooks’ “High Anxiety,” in which the comic genius thoroughly spoofed Hitchcock’s work. Yes, this thriller is a comedy! Adapted from the film (and the 1915 novel by John Buchan) by Patrick Barlow, from a concept by Simon Corble and Nobby Dimon, the noir farce involves just four frantic actors and (like “Anxiety”) a few references to other Hitch classics.

Matt Kraft has just one role, but it’s a doozy. His Richard Hannay gets thrown into all manner of unlikely situations, including being set up for murder. To clear his name, he must rush from London to Scotland and back. Along his story, he encounters Haley Glickman as a doomed spy, a starved-for-excitement Scottish wife, and most importantly the woman who is determined to have him arrested, until she realizes the cops aren’t real. All other roles are played by Eric Reiberg and John Walls, in the program as Man #1 and Man #2, though the roles are also referred to as the Clowns. This latter label definitely works, as they slip into various characters and caricatures exhibiting Monty Python-level hilarity. For their part(s), Kraft and Glickman manage an excellent mix of slapstick and leading-couple chemistry.

Sharp direction is provided by John Michael Goodson (if he did a Hitchcock-style cameo, I missed it). Clever stage design by Ryan Koharchik has set elements all on rollers, so scene changes match the manic pace of the show.

No need to go all the way to the Highlands for this adventure, just as far north as Carmel, on the Tarkington stage at the Center for the Performing Arts through Feb. 19. For info and tickets, go to civictheatre.org or thecenterpresents.org.

Holiday favorite ‘Elf’ returns to Civic

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By John Lyle Belden

Just two years ago (what seems a lifetime now), the Booth Tarkington Civic Theatre had one of their biggest-ever hits with the musical “Elf,” based on the 2003 Wil Farrell film that is already a beloved Christmas classic.

And as live theatre has returned around central Indiana, so, too, has Buddy and his friends. And – a holiday miracle? – this production is just as wonderful as it was before.

This presents the reviewer with a problem. How do I say practically the same thing I wrote in 2019?

Like this — To save you the click and page-load of a link to the previous review, the following is the same text that still applies, with updated cast and info as needed:

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 sack, unseen until the end of the journey. Finding that the boy’s single mother had died, Santa Claus (Parrish Williams) lets him be raised by the elves, allowing Buddy to think he was one of them. 

The truth is inevitably revealed, and Buddy travels to find his biological father — who doesn’t know he exists — in New York City. The dad, Walter (Jack Tanselle), is a workaholic executive at a publishing house of children’s books who is rough on coworkers like good-natured Deb (Nina Stilabower) and neglectful of wife Emily (Carrie Neal) as well as son Michael (Dylan Aquaviva). 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 Bohannon). 

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 (PETA nixed his reindeer a while ago). Other notable roles include Jonathan Studdard as the stressed-out Macy’s Manager, Dick Davis and Kelsey VanVoorst as hapless children’s book writers, and Jeff Angel as Mr. Greenway, the curmudgeonly 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 and Anne Beck with choreography by Beck and musical direction by Brent Marty, this is a magical ensemble effort. Seeing it on a matinee with an audience of 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. 24 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.

Catch the spirit of Civic’s ‘Color Purple’

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By John Lyle Belden

The Booth Tarkington Civic Theatre is helping bring live audiences back in a big way with the Tony-winning musical “The Color Purple.”

For those unfamiliar with the acclaimed Alice Walker novel, or the Oscar-nominated Stephen Spielberg film (starring Whoopi Goldberg), this complex and dark coming-of-age story is difficult to justly describe. From a book by Marsha Norman with music and lyrics by Brenda Russell, Allee Willis and Stephen Bray – directed for the Civic by Michael J. Lasley with musical direction by Teneh B.C. Karimu – “The Color Purple” is challenging and disturbing, yet uplifting and life-affirming. This is one of those musicals where it’s best to just go and see for yourself the pain and triumph, and have the soulful voices wash over you. Whether or not God is in this place, or even with our heroine Celie, his Spirit has no doubt taken notice.

A lot happens in the story, so the musical keeps the characters, their motivations and actions mostly sung-through, up front with some handy chairs the only necessary props. Early 20th-century rural Georgia is more evoked than shown. The chorus starts out singing to the Lord, while Celie (Bridgette Michelle Ludlow) essentially asks if the Creator has forsaken her. Life with her abusive father (Bradley Alan Lowe) is so bad, that marriage to whip-toting Mister (Troy T. Thomas) is marginally better.

Though descended from slaves, Mister considers every person on his land his property, even his children. He frequently reminds Celie she is “ugly” and berates young son Harpo (Brenton Anderson) for being kind-hearted. At least Celie’s sister Nettie (Kendra Randle) manages to escape, promising to write to her from wherever she goes – but Mister intercepts the letters, letting Celie think she is alone in the world.

A strong-woman example comes into Celie’s life in Harpo’s bride Sofia (Rachel Bibbs), who will herself find the limits of standing up to authority in that era. We also meet the magnetic Shug Avery (Ashlee Baskin), the singer who is Mister’s one weakness, and who shakes things up even more than expected by befriending Celie. The large cast also features Miata McMichael as sweet Squeak, and Rayanna Bibbs, Tiffany Gilliam and Alexandria Warfield as the Church Ladies – this culture’s equivilant of a Greek Chorus.

Performances are solid, including Ludlow’s perseverance, Baskin’s complexity, Anderson’s charm, Rachel Bibbs’s full-throated attitude, and Thomas’s complete character arc.

Though bad times come frequently, there are genuine moments of joy and laughter, music in the juke-joint, colorful fabrics, and without spoiling, I’ll note that a measure of justice is meted out.

See – and feel – “The Color Purple” through Oct. 23 at the Tarkington theater in the Center for the Performing Arts in downtown Carmel. Get info and tickets at civictheatre.org or thecenterpresents.org.

Civic: ‘Nothing’ actually a big deal

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By John Lyle Belden

For the first time in its long history, the Booth Tarkington Civic Theatre takes on Shakespeare with the comedy, “Much Ado About Nothing.”

Directed and adapted to one movie-length act by Emily Rogge Tzucker, the story — traditionally set in medieval Italy — takes place in 1945 as our soldiers come home from the War to an Italian villa in the Hollywood hills. As is usually the case, the character names and Shakespearean dialogue are largely untouched. 

At the fabulous estate of Leonato (Tom Beeler), Don Pedro (Joshua Ramsey) returns with his troops, including Claudio (Nicholas Gibbs), who has fallen for Leonato’s daughter, Hero (Carly Masterson); Benedick (John Kern), who enjoys verbally sparring with Leonato’s shrewish niece, Beatrice (Sara Castillo Dandurand); and Pedro’s surly brother, Don John (Darby Kear), who would rather stir up trouble than celebrate. Events include characters conniving to get Benedick and Beatrice to hook up, as well as the “fatal” wedding ceremony of Claudio and Hero. John’s wicked plot is uncovered by the goofy yet zealous constable Dogberry (Kelsey VanVoorst) and true to the Bard, we’ll get a very happy ending.

The cast also includes Jim Mellowitz as Antonio, Leonato’s brother; Sabrina Duprey and Leah Hodson as Hero’s best friends Margaret and Ursula; Max McCreary and Elisabeth Speckman as Borachio and Conrade, Don John’s devious but careless accomplices; Bill Buchanan and Matt Hartzburg as the Friar and the Sexton; Joe Steiner as Verges, Dogberry’s right-hand man; and Jonathan Doram as Balthazar, the soldier who performs Shakespeare’s song “Sigh No More” (music by Brent Marty), as well as one of Dogberry’s Watchmen, with Buchanan. To complete this list, Hartzburg, Julie Ammons and Stephanie Johnson play house servants.

The convoluted story is easy to follow and the actors do an excellent job of bringing it to life, complete with perfectly overdone comic moments. Master comic VanVoorst is in her element. Kern crisply delivers Benedick’s constant — and eventually contradictory — musings. The look provided by set and lighting designer Ryan Koharchik — with mood-setting skies and interesting circular motifs — and costume designer Adrienne Conces provides the perfect atmosphere for the mischief and merriment, while reflecting the height of the era’s style.

Don’t “let it be marked down that you are an ass” (as Dogberry would say) for missing the opportunity to enjoy Civic’s midwinter romp, through Feb. 22 at the Tarkington stage in the Center for the Performing Arts in downtown Carmel. Call 317-843-3800, or visit civictheatre.org or thecenterpresents.org.

Magical ‘Elf’ at Civic

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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.

 

Civic: Here we go again!

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By John Lyle Belden

It’s hard to imagine anyone not knowing about the musical “Mamma Mia!” Between the popular film (which recently launched a sequel) and the various touring productions through the years since it premiered on Broadway in 2001, practically everyone with an interest in this show has seen it. And it stands as one of those theatre experiences people eagerly go to again and again, perhaps bringing along children or hold-outs unfamiliar with its goings-on.

Since rights recently became available for local productions, it is naturally popping up — now “Mamma Mia!” is at the Booth Tarkington Civic Theatre, Center for the Performing Arts in downtown Carmel, through Oct. 19.

Directed and choreographed by Anne Beck, this edition of the musical — featuring an engaging romantic comedy plot, and twenty-two hits by 70s-80s superstars ABBA — takes advantage of its large stage and generously-sized volunteer cast to really go big on the singing and dancing, while simultaneously embracing the show’s use of simple sets, employing a couple of small set pieces and a rotating center stage that is put to effective use. 

Thanks to Meryl Streep and Pierce Brosnan’s efforts on the big screen, the karaoke nature of the musical doesn’t require perfect singers, still Civic didn’t skimp on the talent. Becky Larson stars as Sophie Sheridan, a girl who invites three men to her wedding, knowing only that one of them is her father. Her mother, Donna, is portrayed wonderfully by Kara Snyder, while her best friends and “Dynamos” are fun roles for Civic favorites Laura Lockwood as cougarish Tanya and Marni Lemmons as free-spirit Rosie. Our three possible papas are sharply played by Clay Mabbitt as Sam the architect, Ethan Mathias as “Headbanger” Harry the banker, and Parrish Williams as Bill the travel writer. Joseph David Massingale is more than a handsome face as the prospective groom, Sky.

Also great are Cameron Hicks and Nate Schlabach as Sky’s buds, Pepper and Eddie; Jessica Linxwiler and Julia Ammons as maids-of-honor Ali and Lisa; and supporting ensemble Matthew Altman, Tanner Brunson, Sydney Chaney, Tyler Hartman Derry, David Johnson, Jonathan Katter, Emily Lantz, Dani Morey, Miles Morey, Kipp Morgan, Jacquelyn Rae, Emily Schaab, Caitlin Stacy, and Tiffany Whisner.

Taken as a whole, this show is so much fun. There are moments fraught with possible heartbreak (and sad songs), but it all ends well, of course. We all have our favorite scenes — such as the frog-dance of “Lay All Your Love on Me,” or Tanya strutting her stuff in “Does Your Mother Know” — and there’s always the “Megamix” at the end with the outrageous costume reveal and bonus track (“Waterloo”). 

Civic is “having the time of their lives;” it would be a shame to miss the party. Get tickets and information at 317-843-3800, civictheatre.org or thecenterpresents.org.

Kids play the darndest things

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By John Lyle Belden

The Booth Tarkington Civic Theatre presented its Young Artist Program production of the popular musical “A Chorus Line” over the weekend (July 25-28). Considering the actors are all teenagers, one familiar with the show might ask, “Really?!” “Did they even do THAT song?”

Yes, and yes.

Putting aside that kids are usually quite familiar with the language and concepts expressed by the play’s young adult characters, director Emily Rogge Tzucker answers the concerns in her program note, stating that this story of Broadway “gypsies” giving their all for a possible chorus role is instructive to young aspiring performers. Not every singer or dancer will become a star; in fact, most don’t. In “Chorus Line,” nearly 30 are vying for eight spots – “four boys, four girls.” The musical, with book by James Kirkwood and Nicholas Dante, and songs by Marvin Hamlisch and Edward Kleban, humanizes those random faces we see in the background of every show, as each of the main contenders tells what brought them to this point in their lives.

Given the various school and youth programs (including YAP) around central Indiana, the Civic cast are all incredibly talented, a stage loaded with singing/dancing/acting “triple-threats.” And they gave excellent performances in this one-weekend run.

Outstanding performers included: Emily Chrzanowski, who as Diana nearly brought the house down twice, with “Nothing” and “What I Did for Love;” Katelyn Soards as sassy Sheila; Laney McNamar as stage veteran Cassie, stunning in “The Music and the Mirror;” Elie Anania as Val of the infamous “Dance Ten; Looks Three” number; Hayden Elefante as brash Bobby; and Jacob Schilling as troubled Paul. Luke Vreeman played Zach, the director of the show within the show – at first a godlike presence, eventually a man who has to make some hard decisions.

I wouldn’t be surprised to see these names (or any other listed in the program) again on stage here – or elsewhere.

Keep up with future Civic productions at civictheatre.org.