comedy

Intimate look at classic ‘Murder’

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

By John Lyle Belden

As the saying goes, the axle of a railroad car evolved from an old Roman chariot, so as for generations we moved from city to city on narrow but comfortable boxes, things still might feel a little close.

Especially when there’s a dead body in the next car.

When Carmel Community Players found themselves staging the traditionally large production of “Murder on the Orient Express” in the intimate confines of The Cat, director Lori Raffel opted not to re-invent the on-stage railroad. “Why not?” she mused, understanding that theatre-goers know how the magic works. Indeed, seeing cast members and stage managers Samantha Kelly and Chloe Vann transform the sleeper cars to the lounge car (which doubles as a fine Istanbul restaurant) in half-light doesn’t hurt the show one bit, perhaps even aiding the flow as we don’t just stare at a curtain between scenes.

And, as noted, you are never far from the action, especially in the Cat’s up-front love seats (first-come for patrons). This way you never miss a clue, or a punchline in this Ken Ludwig script approved by the Agatha Christie estate.

Please, if you know the solution to this mystery, don’t tell! But if you don’t, relax, it was a difficult case for Christie’s famed Belgian detective Hercule Poirot (Larry Adams), and the resolution has surprised and delighted whodunit fans for decades. Again, if you do know – shh! – and enjoy how it plays out with the wit of Ludwig in Christie’s world, presented by this talented local cast.

In 1934, Monsieur Bouc (Earl Campbell) is rightly proud to be in charge of the famed Orient Express (an actual legendary line that ran the length of Europe) and to host Poirot on an unusually crowded journey to France. However, while a snowstorm halts the train in the mountains of Yugoslavia (around Croatia today), the very shady Samuel Ratchett (Tim Latimer) is found dead in his cabin.

Until the snow clears and police arrive from Zagreb, it is up to Poirot to solve this expansive closed-door mystery. Whodunit? Considering it is revealed that Ratchett was a man who literally got away with murder, there is motive, and plenty of suspects. Was it the English woman and Scottish soldier (Olivia Carrier and Jeffrey Stratford) who have been quite secretive? Or the wealthy Russian Princess in exile (Cathie Morgan) or her Swedish missionary nurse (Nicole Sherlock)? Or the loud new-money American (Vickie Phipps)? Or the former nurse turned Hungarian Countess (Viviana Quiñones Fabre)? Or yet, Ratchett’s personal secretary (Jonathan Young)? Conductor Michel (Mohamed Armin) has his own puzzle as others claim to see a mysterious someone in a jacket just like his.

Performances are solid all around, especially Adams’ command of the proceedings as the famed Belgian. Phipps has a ball as the stereotypical obnoxious American. It is impressive how this all-volunteer community cast commit to and hold on to their various spoken accents, especially Stratford’s thick brogue.

Remaining departures for “Murder on the Orient Express” are Thursday through Sunday at The Cat, 254 Veterans Way, downtown Carmel. For info and tickets, visit carmelplayers.org.

‘Somewhat True,’ definitely entertaining

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

By John Lyle Belden

“The Somewhat True Tale of Robin Hood,” by Mary Lynn Dobson, is a perfect play for teen and tween actors, and Main Street Productions does it proud on their Westfield stage.

Historians can tie themselves in knots trying to figure out who the “real” English folk hero was, but that absolutely does not matter here. From the title onward, we are treated to something like the atmosphere of a Muppet film, or Monty Python, or a sort of G-rated “Deadpool.” Essentially, they are in a story, and know it, are just fine with it, and as things progress, they take advantage of it.

I’m tempted to call this “the Yeater brothers strike again.” It is upon Owen that is cast the enormous responsibility – and ego – of being Robin, “a great character of literature,” he reminds us. To strike the karmic balance, slightly younger bro Quinn is the conniving Sheriff of Nottingham. (Big brother Mason is stage manager, their little brother was in the audience.)

For true “Boo, Hiss” evil (we are encouraged to shout along), there is Harrison Coon as dastardly Prince John, sharply performing like a demented Benedict Cumberbatch. On the noble side of the coin, there is our Lady Marian, Rachel Bush, fortunately talented enough to avoid being upstaged by her scream queen Lady in Waiting, Ella Crites.

Robin manages a band of Merry Men (of any gender), manically played by Maile Alpizar, Nora Gapinski Coon, Sammy Geis, Neil Hackman, Isabella Hasseld, Kaavya Jethava, Owen Lockert, Anna Pfeiffer, and scene-stealing Zach Harvey as (actually little) Little John – all armed with spoons (I’m guessing an homage to the Costner film?). They are co-led by Sister Tuck, Kaelyn Harvey, armed (naturally) with a ruler.

Hackman and Pfeiffer also play guards at Prince John’s Court, which is attended by a trio of highly entertaining Fawning Ladies: Chaya Flicker, Tatum Meadors and Sophia Musick.

As for the story, you likely already know it – except maybe the part about bowling, and the essential role of the Town’s Guy (Teddy Epstein), our narrator and the characters’ link to the all-important Miss Technical Director (Megan Mramor, according to the Crew list).

Also, you can tell it’s Medieval England because the footwear is all by Sir Chuck Taylor (those are the rules, I guess).

Directed by Nikki Lynch and Becca Bartley, saying this is delightful seems to sell this show short, but it truly is a hilarious delight to see kids taking history and “great literature” on such a fun ride, complete with cheeky “you get that?” after-school special moments.

As I post this, there is a matinee today (July 30), as well as performances Aug. 3-6 at the Basile Westfield Playhouse, 220 N. Union St., downtown Westfield. For info and tickets, see westfieldplayhouse.org.  

Fonseca: Play’s college gives bold lesson

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

By John Lyle Belden

Founding father Thomas Jefferson’s proudest achievement was the 1819 founding of the University of Virginia, an institution of higher learning open to (if Wikipedia can be believed) “students from all social strata, based solely on ability.” It admitted its first woman in the 1890s, and the first Black student – after a lawsuit – in 1950. Of course, it’s widely known now that Jefferson was an Enlightenment thinker who opposed the slave trade, yet owned hundreds of people of color himself, including Sally Hemmings, who – with little choice in the matter – was his mistress with whom he fathered a few children (who essentially got nothing from his estate).

In “tj loves sally 4 ever” by James Ijames, presented by Fonseca Theatre Company, directed by Josiah McCruiston, we step to the 200-year-old walls of Commonwealth of Virginia University (next stop over in the theatre multiverse from UVA, not to be confused with Virginia Commonwealth, a totally different college). It was founded by Founding Fathers and, until recently, honored them with statues that have been removed. On the stage set by Kristopher D. Steege, the monuments literally leave their shadow on the school. There is an appropriately diverse student body, with a Black Greek scene and hip-hop at the Homecoming events, but there are tensions. So many tensions.

Our guide (the fourth wall is very thin) and central character is Sally (Chandra Lynch). You can guess at the last name – but this is “now,” not back then, if it matters. She is furthering her studies as a research assistant to dean Thomas Jefferson (Eric Bryant) – not “that” one from ages ago, just a descendant. To make this digestible in a 90-minute (no intermission) comic drama, we have the rest of the students represented by these souls: Harold (Atiyyah Radford), a student activist who is always right, in principle anyway; and Annette and Pam (Shandrea Funnye and Avery Elise), two Sisters of Beta Beta Epsilon who smile through gritted teeth as they give tours of campus buildings with names of past slaveholder and anti-integration families by day, and in the evenings Stomp the Yard and speak their minds. As scenes and discussions require some elaboration for the audience, Annete and Pam quietly slip in to offer “Footnotes.”

All this happens during a memorable Homecoming week where different views of history are on inevitable collision course – including a certain white man’s feelings for a young black woman in his employ.

In McCruiston’s hands, this production is a cautionary love note to academia, a reminder of what “getting woke” meant originally (the play premiered in early 2020): to awaken to past injustices, acknowledge them and move forward with respect for all, without attempting to gaslight those who know too well the painful past that it wasn’t “that bad.” A hoop skirt might look good on a Black body, but it hearkens to a time when that flesh was property. Issues of both race and sex get a hard look in this play.

Lynch seems to make Ijames’ words her own, giving depth of both feeling and understanding to the often odd goings-on. Radford goes from angry-young-man to shuck-and-jive comic with entertaining alacrity, but without yielding a gram of dignity (even when relieving himself on the wall). Funnye and Elise reminded me of cast members of HBO’s “A Black Lady Sketch Show” with sharp delivery of simultaneously comic and enlightening moments. As for Bryant, he holds his own as the guy who just assumes he understands race, but we see far more of his lily-whiteness than anyone needs to.

Funny and thought provoking – like practically every play at Fonseca, but it maintains the high standard – “tj loves sally 4 ever” runs through August 6 at 2508 W. Michigan St., Indianapolis. Get info and tickets at fonsecatheatre.org.

Comics creator faces his ‘Savage’ truth

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

By Wendy Carson 

“Where do you get the ideas for your stories?” It’s an age-old question that authors are always being asked. Rebecca Gorman O’Neill shows one man’s answer in her brilliant script, “Mynx & Savage,” currently being offered by StageWorthy Productions in their new Irvington location.

Comic book writer/artist Adam Mark Evans (Josh Cornell) has his popular superhero series, “Mynx & Savage,” rapidly approaching its 100th issue. However, he’s been missing deadlines for quite a while, so the publishing house has sent in a brilliant new inker and colorist, Ket (Kayla Cange), to get his script and drawing back on track and help him better manage his time.

Initially, the two hilariously chafe each other raw; it’s Ket’s passion for the storyline that adheres their partnership. Secretly a huge fan of Adam’s work, including an award-winning graphic novel, Ket is dying to see his secret project “that all writers have going on the back burner.” They eventually wear him down, getting a brief peek at some pages, but the truth of that story, Adam fears, could destroy him.

Cornell does a great job of bringing Adam’s damaged psyche through without making him a victim or martyr. Cangle adeptly balances Ket’s justifiable ego regarding their skills with the actual passion of being a part of something they have loved for years.

While all of this is happening, Emma Howell and Tanner Brunson portray the titular characters, as well as others needed throughout. Though their roles seem secondary, they are the true stars of the show. Fully embracing the drawn characters, no matter what storylines or scene changes are thrown at them, they keep their tones in context without slipping into camp. However, their talent is displayed best as Jill & Kyle (who are actually at a camp), the subjects of Adam’s secret story.

Brunson gives Kyle all the vulnerability and bravado of a young boy trying to deal with the struggles of his personal life without his Summer Break bestie knowing. Howell shows Jill as a feisty young girl, tired of always living in the shadow of her two older sisters and ready to be her all, yet still with fears of her own.

I must admit that John and I were definitely among the target audience of the script, I also felt that those in our audience who were not necessarily comics fans enjoyed the show as well. Do note that there is a smattering of curse words, including an F-bomb Adam finds distasteful, so be warned the show is not ideal for very young children – think PG-13.

Directed by StageWorthy Artistic Director John Kastner, this Indiana premiere has three more performances, Friday through Sunday (June 30, July 1-2) at the Stage Door Theater, 5635 Bonna Ave. (on the Pennsy Trail, across from Strangebird), Indianapolis. For ticket info, visit stageworthy.org or call 317-750-6454.

Even in a farcical disaster, ‘Play On!’

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

By John Lyle Belden

The thing about hometown community theatre, when it’s good, it’s great; when it’s bad, it’s… an experience.

In “Play On!” by Rick Abbot, presented by CrazyLake Performance in Greenfield, it’s days before the opening of a new play called “Murder Most foul” (not the story you’re probably thinking of). Director Gerry Dunbar (Trever Brown) took it on because the local playwright, Phyllis Montague (Petra Russell) isn’t charging royalties. However, she is still revising the script, daily – including today.

This makes things rough, to say the least, on the cast: devoted thespian couple Henry and Polly (Corey Yeaman and Rai Ortman); Billy (Luke Agee), who will play the detective; Violet (Alexandra Gawrys-Strand) the ingenue; stage veteran Saul (R. Brian Noffke); and high-schooler Smitty (Olivia Greer). They, stage manager Andy (Ethan Stearns), all-around tech Louise (Alex Ross), and Gerry struggle to get through even a single act’s run-through.

Brown is great at this kind of role, the character in the eye of a storm of things going sideways; and he has one heck of a hurricane in Phyllis’s constant changes, the actors’ growing uncertainty, and a vital central prop that keeps changing names. Russell, for her infuriating part, smartly plays it with naïve aplomb.

As for the cast within the cast, director Christine Schaefer said it was a struggle at first to get these actors to adjust to things going wrong, like dropped lines, being “right,” and to seem to forget all they knew and comically overact. Yeaman’s semaphore-like gesticulations and Ortman’s melodramatic moves are a hoot. Noffke, no stranger to the wacky, has to amp up his own impishness to match.

The result? Wendy and I have rarely laughed so hard. The constant punchlines, sight-gags, and other farcical elements make classics of this style like “Noises Off” look almost sedate. If you’ve dealt with live theatre, or any situation where things can go very publicly wrong, you can’t help but appreciate every hilarious moment.

Upon reflection, it seems there is the seed of a fairly decent whodunit in the play within this play, but what we get instead may be far more rewarding, and worth the jaunt out to The H.J. Ricks Centre for the Arts, 122 E. Main St. (U.S. 40) in downtown Greenfield. As I post this, it opens tomorrow with performances June 23, 24, 30, July 1 and 2. Tickets are just $10 in advance at CrazyLakeActing.com or at Hometown Comics & Games, 1040 N. State St. in Greenfield, or $15 at the door. 

Life gets funnier with age for these ‘Girls’

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

By John Lyle Belden

“Life is like Jello,” says Carlene, the “black widow of Eden Falls.” We’re not sure if that’s true, but we did find ourselves shaking a lot – from laughter – at “The Hallelujah Girls,” the Jones Hope Wooten comedy on stage at Epilogue Players, directed by Therese Burns.

Lea Ellingwood plays manicurist Carlene, thrice widowed and giving up on love, while Barbara Lemay is her sister, Crystal, who hasn’t been the same since that tornado, yet is ever joyous with her celebration – complete with baking and invented “carols” – of every calendar holiday. They join Mavis (Elizabeth Popplewell), who doesn’t mind time away from her frustratingly drab husband, and Nita (Tracy Brunner) who escapes with trashy romance novels like her ne’er-do-well son likes to escape his parole officer, to meet up with Sugar Lee (Valerie Nowosielski) at a long-abandoned church. In the wake of a mutual friend passing away without realizing her dreams, Sugar has decided this building will become her new day-spa, and she needs her fellow 50-plus ladies to pitch in.

At first reluctant at this mutual midlife project, the others agree, and Spa-Dee-Dah! becomes the Georgia town’s newest hotspot, complete with sauna. Not everyone is thrilled with this, as social vultu- I mean butterfly Bunny Sutherland (Elizabeth Ruddell) wanted to raze the old church and build a museum to hersel- I mean the town. Her first attempt at sabotage fails; sending Sugar’s ex-fiance Bobby Dwayne (Brad Burns) to take the renovation contract gives the women the most reliable worker in the area. Sugar and Bobby smolder below the surface, but she refuses to forgive him for what happened the day of their high school graduation, tolerating him until the work is done.

Meanwhile, single postal worker Porter (Grant Bowen), having survived a near-death experience, decides to court Carlene. Noticing the women working at the former church, he dubs them “the Hallelujah Girls.”

The play takes place over a year of Fridays, when the Girls routinely gather, highlighted by Crystal’s latest over-the-top costume. There are the ups and downs of starting a small business, Bunny’s endless plotting, and, my, Bobby Dwayne does look good in them shorts, right, Sugar Lee?

Still, through all the laughs and fun, one bad swing of the hammer brings certain disaster. Given the setting, maybe they’ll get a miracle.

Epilogue Players was established as a place for those 50 and older to shine, so this show is a perfect fit, with lively performances by these young-at-heart actors. The wisecracks about aging sound genuine, but with more good humor than despair, striking the funny bone just right. Also, the costume outfits Burns comes up with for Crystal are a treat in themselves. Everyone is sweet-tea refreshing, except for Bunny, whom Ruddell makes just as deliciously evil.

Amanda Greene is assistant director and stage manager. And a hat-tip to props master Diane McGuire for finding the “Why limit Happy to one Hour?” sign that could serve as a theme for the whole project.

With an upbeat theme that it is never too late in life to work on your dreams (including romance), hilarity liberally scattered throughout, and a lesson on the true value of a good peach brandy, this is a fun escape from the local Georgia-like heat, with remaining performances Thursday through Sunday, June 22-25, at 1849 N. Alabama St. (corner of 19th and Alabama), downtown Indianapolis. Tickets and info at epilogueplayers.com.

‘Trailer Park Musical’ a hit at BCP

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

By John Lyle Belden

It’s been some years since Indianapolis theatre-goers got to look in on Armadillo Acres, Florida’s most wacky mobile home community, but “The Great American Trailer Park Musical” has returned, presented by Buck Creek Players.

In this fun bit of redneck revelry, manager Betty (Claire Slaven) keeps the lights on, Lin (Georgeanna Teipen) puts on even more lights in a strategy to keep her death-row husband alive, and Pickles (Claire Gray) is fairly sure this time she’s actually pregnant. Meanwhile agoraphobic Jeannie (Amelia Tryon) is gathering the courage to leave her trailer for the first time in decades so she can join husband Norbert (Jeremy Teipen) on an Anniversary date to see the Ice Capades.

Storms blow into Florida all the time; our present force of nature is Pippi (Emily Gaddy), an exotic dancer hoping she escaped from unbalanced boyfriend Duke (Josh Rooks) – who should arrive by Act Two.

Directed by Ben Jones, the silliness is tempered with a bit of heartache – and a moment of gunplay – but it all works out like a comedy musical should. Tryon and Gaddy, especially, give fabulous performances. Gray manages the sort of genius that plays “box of hair” dumb while still charming. And Rooks isn’t usually the intimidating sort, but adds just a hint of psycho to pull off our marker-fume-addled bad boy.

Hats off (but not too long, for sunburn) to set designer Matt Gray for the on-stage trailers (including Jeannie and Norbert’s cutaway) and stage manager Suzi Brown.

With book by Betsy Kelso and songs by David Nehls, “The Great American Trailer Park Musical” has one more weekend left at 11150 Southeastern Ave. (Acton Road exit off I-74). As of this posting, Friday is sold out, but there are two performances Saturday, June 17, and a matinee Sunday, June 18. Go to buckcreekplayers.com for details.

And while you’re there, consider giving to the fundraising drive for improvements to the playhouse entry. Your donation “buys” a little pink flamingo with your name that gets added to the campaign display.

‘August’ in June in Westfield

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

By John Lyle Belden

It may be cliché, but the phrase “putting the ‘fun’ in dysfunctional” completely fits the Tony and Pulitzer winning tragicomedy “August: Osage County” by Tracy Letts, now on stage for another weekend at the Basile Westfield Playhouse, presented by Main Street Productions, directed by Brent Wooldridge.

Set in in 2007 in rural Oklahoma, where the hills near Tulsa meet the plains, we open with retired poet and professor Beverly Weston (Rob Lawson) hiring Johnna (Bella King) to help care for the house and his wife Violet (Sally Carter), who struggles with mental issues, cancer, and drug addiction. Being not related to anyone else in the play, the young Cheyenne woman will be about the only truly sane and sensible character in the cast.

Soon, Beverly disappears and family members come out of the woodwork (or at least fly in from other states). Strain, secrets, and substance use all take their toll in scenes both hilarious and disturbing – often simultaneously.

Carter gives a tour de force performance, swinging from one extreme to another, to moments of cool rationality, throughout. In turn, Violet’s daughters have their own issues with which they don’t deal well: Barbara (Molly Bellner) divorcing husband Bill (Jeff Peabody) and at wits end with teen daughter Jean (Megan Janning); Ivy (Monya Wolf) chafing to get out from under her mother’s thumb while keeping a devastating secret; and Karen (Caity Withers), who is set to marry Steve (JB Scoble), a guy so sketchy he could only be from Florida. Meanwhile, Violet’s sister Mattie Fay (Julie Dutcher) spreads bitterness that only her saintly patient husband Charlie (Jim LaMonte) can tolerate, saving her sharpest barbs for “loser” adult son Little Charles (Jonathan Rogers). Also on hand is Sheriff Deon Gilbeau (Mike Bauerle), who was Barbara’s prom date in high school. Each of these actors get several moments to shine.

Set design by Ron Roessler gives us a full house to hold all the action, while allowing easy movement, visibility and acoustics (attic scenes were as audible as on stage). Susan Yeaw is stage manager.

Hearts and dishes will break in this skewed portrait of Americana. Performances are Thursday through Sunday, June 15-18, at 230 N. Union St., Westfield. Get info and tickets at westfieldplayhouse.org.  

Eclipse: ‘80s comedy so ‘very’ dark

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

By John Lyle Belden

Summer Stock Stage opens its season with an Eclipse production of “Heathers: The Musical,” based faithfully on, if not the greatest, the most brutally honest Generation X teen movie.

Up front I must note that themes of teen alienation, bullying, homophobia, and especially suicide are essential to the plot, with the latter vital to the dark satire of this story. Those who saw the 1989 film, starring Winona Ryder, Christian Slater and Shannen Doherty, will understand, those who haven’t and could be triggered should exercise caution.

“Dear Diary…” Our central character and narrator is Veronica (Taryn Feuer), who sees senior year of high school as a final endurance run before escaping its toxic culture. Cruel classmates like jocks Kurt and Ram (Hayden Elefante, DeSean McLucas) pick on the weak and odd, like her friend Martha (Kallie Ann Tarkleson) so she has a plan: get in good with the elite clique – the Heathers.

Heather Chandler (Isabella Agresta) is awful, and in charge; Heather Duke (Micah Friedman) is Chandler’s number-one bitch and heir apparent; and Heather McNamara (Kha’Lea Wainwright) is a cheerleader.  

Enter the pale, dark-haired stranger, J.D. (Charlie Steiner), just the right mix of well-read loner and budding psychopath to turn Veronica on and lead her down a path of deadly events that has her wondering: Is she going to Prom – or to Hell?

The adults, of course, are next to useless, including aging hippie teacher Ms. Fleming (producer and program artistic director Emily Ristine). Eric J. Olson portrays ineffective Principal Gowan and a couple of father roles. Jared McElroy also plays dads, as well as Coach Ripper. Cora Lucas steps in as Veronica’s Mom.

The student body includes Lucas, Ben Holland, Elijah Baxter, Olivia Broadwater, and Jane Kaefer.

The musical’s songs, excellently performed, reflect the plot beats of the movie, such as “Our Love is God,” and don’t feel out of place. The dark comedy helps to bring the story together and make its elements – a foreshadowing of too many headlines between that year and now – easier to take. Still, director Maria Amenabar Farias pulls no punches.

Feuer is excellent in a role that is not quite hero, not quite victim, and we believe her and empathize when she wishes she could just put all this aside and “be Seventeen.” Tarkleson gives a brave portrayal of one who smiles through her pain, but can only take so much. Agresta emanates dark power as the kind of alpha who doesn’t let a small thing like death keep her from commanding the stage.

Steiner gets the brooding aspects of his boy with delusions of antihero down even better than Slater in the film. He lets J.D’s dysfunction creep up on Veronica so she doesn’t realize until it’s too late she’s truly a “Dead Girl Walking.”

A darkly comic epic where bad attitudes and good intentions can both have tragic ends, “Heather: The Musical” (by Laurence O’Keefe and Kevin Murphy, based on the screenplay by Daniel Waters) has one more weekend of performances, Friday through Sunday (Thursday is sold out), June 9-11, at the Phoenix Theatre Cultural Centre, 705 N. Illinois St., downtown Indianapolis. For info and tickets, see phoenixtheatre.org.

Footlite ‘Succeeds’

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

By John Lyle Belden

We all know of a person who got into a prime position by dumb luck, fell upwards, however you want to call it. But wouldn’t it be wild if there were a simple instruction manual for the ambitious but unqualified?

“How To Succeed in Business Without Really Trying” at Footlite Musicals will show the way!

Based on a 1952 book of the same name by Shepherd Meade – who promoted it as satire, despite the fact he actually rose from mailroom to vice-president in his company – the musical was a hit in 1961, written by Abe Burrows, Jack Weinstock, and Willie Gilbert, with songs by Frank Loesser. More familiar with folks today are the hit revivals which appropriately featured the actors behind Ferris Beuller and Harry Potter in the role of the lead corporate climber.

J. Peirpont Finch (Brett Edwards) is literally on the outside looking in, as a window washer for downtown office buildings. But he has The Book (it was originally published with a yellow cover, so while similar, is not a “Dummies” book). He apparently has the fast-talking mind of a con man, but is somewhat ethical as he seeks to advance his career without committing any crimes or crushing anyone who isn’t acting a fool.  

Finch finds himself at World Wide Wickets (even back then, you needed the WWW to succeed) where he meets all manner of characters: A company president, J.B. Biggley (Graham Brinklow), with an easily exploitable private life; human resources manager Mr.  Bratt (Dan Miller) who will say yes to anything; friendly mail room manager Mr. Twimble (Jeffry Weber) who sees a long career as an end in itself; whiny Bud Frump (Josh Vander Missen), a literal mama’s-boy attempting literal nepotism (advancing as J.B.’s nephew); very hands-on department head Mr. Gatch (Jay Stanley); and various other executives and secretaries. This being the mid-20th century, women are consigned to the latter group, which includes Rosemary (Lauren Werne), who sees Finch’s potential; Smitty (Maggie Meier), Rosemary’s good-spirited bestie; Miss Jones (Joi Blalock), J.B.’s confidante and right hand; and Hedy LaRue (Sarah Marone-Sowers), J.B.’s worst-kept-secret of a mistress.

Will Finch climb the entire corporate ladder in the span of two Broadway comedy musical acts? Well, it would be a pretty lame show if he didn’t – but it won’t be easy, especially with conniving Frump around.

Edwards manages to heap on enough charm as Finch to help us overlook, and even cheer on, his otherwise questionable dealings. In a time when marrying well was one of the few easily attainable options for women, Werne makes Rosemary come off as brilliant. Solid stage veteran Brinklow manages to always emanate boss vibes, even when dancing like a Groundhog or doing a little knitting to relax. Vander Missen and Marone-Sowers show talent beyond being comic foils, holding our interest each in their own quirky ways.

Overall, this production, directed by Paula Phelan with choreography by Linda Rees, orchestra conducted by Aaron Burkhart and stage managed by Melissa Yurechko, does a brilliant job of satirizing office life, applicable to past eras and, to a degree, today. Does the number “Coffee Break” advance the plot? It doesn’t matter, we’ve all been there and appreciate a shout-out to the sacred bean. One could envision that with a more diverse, yet still corrupt and clueless, executive staff, Finch’s grandson could “succeed” just as wildly now.

Join the “Brotherhood” of witnesses to this sharply witty white-collar adventure. Performances run through May 21 at the Hedback Theater, 1647 N. Alabama St., Indianapolis. Get tickets and info at footlite.org.