Constellation Stage & Screen

Constellation musical tests couple’s commitment

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By John Lyle Belden

The opening song for “The Break,” a new rock musical presented by Constellation Stage and Screen of Bloomington, declares “this is not a love story.” But while it’s not a typical rom-com plot, this is a humorous story about love, tested in rather extreme fashion.

Samantha (Alex Keiper) and Charlie (Louis Pardo) have known each other since they started college. They have only dated – and had sex with – each other, and for years have lived together. They were perfectly fine with this.

One day, they realize that perhaps they should take the natural next step: marriage. It also dawns on them that neither has personal experience to truly know that each is the best partner for the other – no basis of comparison. They decide to take a “break” of 30 days for a “sexual walkabout,” separately sampling one-night stands with strangers to get the lay of the land (so to speak) before reuniting to finally commit to each other. There are a few ground rules, including shared custody of Rodrigo the iguana, but otherwise they are free to explore.

This musical, by Michael Kooman and Christopher Dimond, indulges in mature topics and language, but keeps things light with no graphic simulated intercourse. The scenes more reflect their experiences and feelings before and after the sex. There are plenty of questionable potential hookups, but some go quite well – one song declares “That felt f***ing good!”

Under the direction of Scott Weinstein, Keiper and Pardo turn in excellent performances. As Sam and Charlie, they convincingly show ease with each other, a depth of feeling that includes mutual empathy and genuine hurt when the rules are bent. Being the only actors on stage, each smoothly morphs into the various men and women our explorers encounter. Keiper is even the voice of Rodrigo, who also gets a song.

Overall, the show is a funny, entertaining reflection of our swipe-right/left dating landscape and the apprehension we all experience when the ring and ceremony make “til death do us part” feel too real.

Speaking of which, the last scene does involve a wedding (which is even hinted at in the beginning). How these two come to know that next step is the right one, though, is a heartfelt journey worth joining them on. Performances run through June 23 at Waldron Auditorium, 122 S. Walnut St. in downtown Bloomington. Get info and tickets at seeconstellation.org.

‘Gold’en opportunity for kids as audience guides the adventure

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By Wendy Carson

Constellation Stage and Screen of Bloomington presents the very child-friendly family production, “Alex Gold: Stuck on Repeat,” by Sarah Ziegler Blair and Kellen Blair, directed by Jack McCarthy.

Alex (Jo Moran) has a very active and often distracting imagination. In fact, it caused him to fail the sixth grade so he must repeat the year. When he tries to tell his best friend Morgan (Carolyn Stouder) the news, he chickens out and tells her he’s going to study in France next year. What could possibly go wrong?

Luckily, Alex has a large team of brain cells (the audience) to assist him in dealing with his situation. We provide some guidance throughout the show by way of words given pre-show (much akin to Mad Libs) and polls throughout. Depending on the outcome of these prompts, the story line is transformed.

While his second trip through sixth grade starts well, a chance encounter with Morgan leads him to pose as Luc, the French exchange student taking Alex’s place. His schemes for success are even further hampered by his overly adoring wannabe bestie Thad Mazinsky (Tucker Ransom). Add to this the presence of Mr. McCurdle (Paul Daily), the Middle School principal, who loathes “wackiness” but has his own secret indulgences. It’s easy to see that Alex really needs all our help to make it through the year.

Rounding out the cast are Kenny Hertling and Sophia Hoffman who portray various students and characters, as well as representing the changes in seasons by throwing leaves, snowflakes, flowers, and at one point “money” throughout the audience.

While the show is funny and silly, it also teaches children about parts of speech (those words provided earlier were nouns, verbs and adjectives); how to carry oneself in times of struggle; the importance of truthfulness; and the difference between being friendly and actually being a friend. Judging by the response of all the kids in our audience this interactive experience, inspired in part by games like “Minecraft,” is perfect for grades K-5.

Performances, at Waldron Auditorium, 122 S. Walnut St. in downtown Bloomington, are 6:30 p.m. Friday, 1 p.m. Saturday and Sunday (May 3-5); 6:30 p.m. Friday, 1 and 4 p.m. Saturday and Sunday (May 10-12).

The very last performance, 4 p.m. Sunday, May 12, will be Sensory Friendly, accommodating those on the autism spectrum or with similar conditions. It will feature lower sound, lights on with no strobe or flashing, more room in the seats and the freedom for patrons to talk and move as needed. Resource materials are available, and tickets for this particular show are Pay-What-You-Will (minimum $5).

For details and tickets, contact Constellation at 812-336-9300 or visit seeconstellation.org.

Going ‘Wrong’ goes right in Bloomington

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By Wendy Carson

John and I saw two different productions of “The Play That Goes Wrong” this past weekend, and from what we witnessed we would like to make this point: All of the mishaps involved throughout the show are meant to be there. You are not witnessing a very poor performance. Laugh along and enjoy all of the goofiness. Do NOT leave at intermission! That said, let’s get to the actual review. I am reviewing the production by Constellation Stage and Screen in Bloomington.

The show begins prior to the “actual” start of the play. Two crew members wander through the area, dealing with a door that refuses to stay shut and a mantlepiece that won’t stay in place. An audience member is recruited to assist with the mantlepiece repair and eventually the issue is resolved. The stage is mostly a large room with a second-story “study” visible to the side (which honestly looks a little shaky).

The “director” eventually appears and, once he has found the spotlight, welcomes us all to the performance. He muses about some of their past shows being less than perfect, then announces “The Murder at Haversham Manor” (that is the play within this play, a London West End hit by Henry Lewis, Henry Shields, and Jonathan Sayer).

Of course, props immediately fall, doors cannot be opened, people keep stepping on the dead man’s hand (causing him to yelp in pain), cues are missed, etc. This is a broad farce and everything that could possibly go wrong does, wherein lies the title and hilarity of the show.

Our cast consists of Jonathon Harris (Bobby Ayala Perez) who portrays the deceased, Charles Haversham. Sandra Wilkinson (Haley Glickman) plays the part of Florence Colleymoore, Charles’s fiancé. Chris Bean (Gavin Douglas) being the aforementioned director as well as Inspector Carter. Max Bennett (Andy McCain) is Cecil Haversham (Charles’s brother) and later reappears as Arthur the Gardener. Dennis Tyde (David Sheehan) as Perkins, the Butler. Robert Grove (Peter Sipla) as Thomas Colleymoore (Florence’s brother). Our crew consists of Stage Manager, Annie Twilloil (Alanna Porter), who also steps in for Florence after Glickman’s character is knocked out, and Trevor Watson (Michael Sheehan) who runs Lighting and Sound.

I know that the cast list is confusing with actors playing actors who are playing parts in a show, but this also adds to the fun. There is some very heavy slapstick comedy with some actors endangered at points during the show. But Fighting and Intimacy Director Leraldo Anzaldue has put this cast through their paces well and nobody actually gets hurt (we hope).

Chad Rabinovitz, the show’s actual director, does an amazing job getting every last drip of hilarity out of his cast while keeping any one of them from upstaging another (a difficult job, given the script).

Each and every member of the cast plays their part immaculately, so it is impossible to single out the talents of each one. However, the constant battle for the part of Florence between Glickman and Porter throughout the second act, as well as everyone’s physical dealings with the collapse of the Study floor (especially Silpa) are highlights of the second act that you really must see. Again, don’t leave at intermission.

The show is spectacularly funny and well worth the drive to Bloomington, playing through April 14 at the Waldron Arts Center, 122 S. Walnut St. Get info and tickets at seeconstellation.org.

‘Matilda’ musical Constellation’s holiday offering

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By John Lyle Belden

In this season where all children are striving to make the Nice List, Constellation Stage and Screen of Bloomington presents one gifted little girl who is “a little bit naughty.”

In “Roald Dahl’s Matilda: The Musical,” with songs by the equally devious Tim Minchin and book by Dennis Kelly, while every English child is told by Mum and Dad they are a miracle, Matilda Wormwood’s mother says her birth was the worst day of her life and father dismisses her as an awful excuse for a boy – they were already content with son Michael, who is blissfully immune to books and stories, or thinking.

Things only get worse from there, as Matilda starts school under sadistic headmistress Miss Trunchbull. Fortunately, she finds friends among schoolmates and allies including librarian Mrs. Phelps, who adores the girl’s stories, and teacher Miss Honey, who strives to rise above her deep insecurities to help her.

Realizing that the story she’s in is quite tragic, Matilda strives to change it, with the help of some hilariously juvenile pranks and her rather exceptional mind. For the many children of all ages in the sold-out audience, the musical is wildly entertaining and inspiring, peppered with catchy tunes including “Naughty,” “Telly,” “Revolting Children,” and “When I Grow Up.”

Indy audiences may recognize Jaddy Ciucci as self-centered ballroom champion Mrs. Wormwood. Others in the adult cast include Jake Stibbe as Mr. Wormwood, an ethics-challenged used car dealer; Jaden Holtschlag as dance partner Rudolpho; Amy Jo Jackson as Miss Trunchbull, a former Olympic hammer thrower more interested in punishment than instruction; Catherine O’Connor as Mrs. Phelps; and Emily Davis, winning our hearts (and Matilda’s) as Miss Honey.

The story Matilda spins for the librarian is portrayed in shadow puppets and appearances by Yul Carrion as the Escapologist and Laura Rong as the Acrobat.

Among the youth actors there are two casts split among the various performances through Dec. 31. We saw Team Rebellion with Noey Kroethe as Matilda, Lila Parker as Michael, Piper Reynolds as brave Bruce, Lyra Dimick as “best friend” Lavender, Alma Sela as Alice, Chloe Duggan as Amanda, Mary Clarie Shaw as Hortensia, Theresa Baird as Tommy, Lydia Levesque as Eric, and Stella Jay Durfee as Nigel, who gets a crash course on the meaning of “narcolepsy.”

Half the performances feature Team Revolting: Miriam Spillman (Matilda), Cooper Tucker (Michael), Reid Walz (Bruce), Sophia Linville (Lavender), Madeleine Cartledge (Alice), Hailey Houghton (Amanda), Lily Ensmenger (Hortensia), Jasmine Nolting (Tommy), Lucy Pell (Eric), and Viv Taylor (Nigel).

Kate Galvin directs, with musical director Brandon Magid, choreographer Lauren Haughton Gillis, and stage manager Lori Garraghty. No newts were harmed in the making of this show.

Tickets have been selling fast for “Matilda: The Musical,” performed in the Buskirk-Chumley Theater, 114 E. Kirkwood, Bloomington. Get info and tickets at seeconstellation.org.  

Constellation: Fun international adventure for kids, by George

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By John Lyle Belden

For so many of us, whether children or kids-at-heart, a little monkey called Curious George has been part of our lives. But a lot has happened since the mini-ape encountered the Man in the Yellow Hat decades ago, and through adventures penned by original authors Margret and H.A. Rey and their successors, he has become a rather clever primate.

Inspired by his antics on the PBS Kids animated series, “Curious George: The Golden Meatball” brings the characters to life, presented by Constellation Stage and Screen in Bloomington. The live-action musical features young Juna Sparks as George, with Tucker Ransom as the Man in the Yellow Hat. The remaining cast play various characters, chorus, and delivery personnel essential to the plot. In their feature roles, Maggie Lynn Held is the Doorman to George’s apartment building, Gabriel Armstrong is famous Italian Chef Pisghetti, assisted by Sophia Hoffman as Netti, and Marco Molldrem is the sly inventor, Phinneas. Nicholas Ranauro choreographed and directs.

We open, after some song and dance about the title character, on All You Can Eat Meatball Day, which is Pisghetti’s way of saying thanks to all his customers – who aren’t showing up because Phinneas has built a machine that quickly makes rival meatballs (that are more like meat-cubes, but they seem to be a hit). Discouraged, the Chef closes shop – for good, he says.

George, who had just learned how to make the meaty treats, wants to help. To this end, his curiosity will take him, and the others, all the way to the The Golden Meatball contest in Rome.

This show is squarely aimed at the 10-and-under demographic, with several moments that directly engage the audience. This is a perfect way to introduce a child to the wonder of live theatre, done in a professional manner that grownups can appreciate.

Ransom looks like he stepped right out of the book’s pages, and perfectly personifies the monkey’s patient and caring guardian. Sparks lithely makes use of her dance training to tumble and communicate with gestures as George only speaks in vague chatter. Armstrong manages to work that thin line of Italian caricature to charm the kids without looking objectionable to their parents (for those my age, he reminded me a bit of Father Guido Sarducci from SNL).

Performances of “Curious George: The Golden Meatball” are 6:30 p.m. Fridays and 1 and 4 p.m. Saturdays and Sundays through Nov. 5 at Waldron Auditorium, 122 S. Walnut St., Bloomington. For info and tickets, visit seeconstellation.org.

Powerful forces at work in ‘Moon and Sea’

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By John Lyle Belden

Parts of what are now the Moon and Earth’s ocean bed once existed together, but a long-ago calamity separated them forever. Though the Moon and the Sea pull at each other, their yearning doesn’t stop the ever-increasing distance (1.5 inches a year, according to astronomers) between them.

This love story is the literal backdrop for “The Moon and the Sea,” a new musical by Douglas Lyons, with songs by Creighton Irons, presented live by Constellation Stage and Screen in Bloomington.

Singer-songwriters Charlie (Rico Lebron) and Erin (Naree Asherian) were solidly in each others’ orbit. He planned to make a visit to a seaside hideaway memorable for her, but that moment was usurped by the lovelorn spirits of Moon (Alexa Green) and Sea (Demetrio Alomar) communing in song and light.

Later, a moment of uncertainty divides our human lovers, leaving Charlie’s personal satellites – best friend Elijah (Scott Van Wye) and mother (Green) – to try to help him over the loss. Then, an open-mike night with amateur singer and “finance-bro” Doug (Jesse Townes) leads to a revelation of how much things have changed.

The pain of all-important choices reflects back and forth in song among the mortals, Moon, and the tides in an exceptional yet relatable love story.

Lebron gives us a great portrayal of a young man who confuses what he wants with what he needs, as we follow his rocky path of personal growth. Asherian’s aspirational young woman also has some learning to do, and the lessons come hard. Together in beautiful moments of song, we hear and see how wonderfully Charlie and Erin fit together, at least on stage. Townes gives us a man more noble than he would be portrayed in the Hallmark Movie version of this story; his aging frat-boy has feelings and perspective, too.

For their parts, Alomar and Green communicate passion and longing with operatic power. Under the direction of Josh Rhodes, the human and supernatural sides of this production mesh perfectly.

Van Wye makes a solid friend and gives appropriate moments of humor, as does Green as Mom and Rhonda the bartender.

The ending may surprise some, but I found it satisfying, and feel this truly new musical is worth experiencing. Performances run through June 25 at Waldron Auditorium, 122 S. Walnut St., Bloomington. For info and tickets visit seeconstellation.org.

Constellation: Ambitious bird has lesson for young audiences

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By Wendy Carson 

Constellation Stage and Screen in Bloomington brings to life one of Mo Willems popular children’s books in a delightful show for old and young alike, “Don’t Let the Pigeon Drive the Bus! The Musical!”

Pigeon (Yul Carrion) is frustrated because he never gets to do what he wants to do. Everywhere he goes, he is met with the same refrain: “Fly off, bird!” As he sulks in the park, a new sign is suddenly placed beside him announcing that this will be a new Bus Stop. When the bus pulls up and he meets the Bus Driver (Sarah Cassidy), complete with her Official Bus Driver’s Hat, he realizes that he wants to drive the bus, too. However, nobody takes him seriously and he goes away dejected.

Suddenly, there is panic as the bus breaks down, potentially making all passengers late to their destinations. In the disarray, Pigeon grabs the Official Bus Driver’s Hat, but realizes his feet are too short to reach the pedals. He feels broken due to this, as well as the fact that he never learned to fly. With encouragement from his new human friends, and a lesson from the Driver, he flaps off throughout the audience, saving the day by “doing his thing.” All turns out well and Pigeon is satisfied – until a new sign for an Airport appears, and he has a new quest.

While the show is targeted primarily to the 8 and under demographic, there is plenty here for the adults who accompany them to enjoy. Hand-puppetry includes some traditional style (no actor visible), while most of it is the more modern style of a visible puppeteer (like “Lion King” or that “Q” show for grownups).

Carrion brings all of the energy and emotion you could desire to his turn as Pigeon and his puppetry skills are on point. However, the two standouts of the cast are the younger performers involved. Sophia Linville is superb in her numerous roles including the Bus Engine and the rogue Puppy. Still, it is Miriam Spillman’s Little Old Lady character that steals the show. Both of these ladies are bound to be standouts in future acting endeavors should they choose to pursue them.

The cast includes Tucker Ransom as the Hot Dog Vendor and Busy Business Man, and Nikki Stawski as a City Worker and cool Teenager. They and Spillman also appear as Ducks.

One note, there was a promotion beforehand to purchase a Pigeon stuffie along with your tickets, but demand was higher than expected and they are all sold out. However, I have been advised that a similar deal may be offered during their Fall production of “Curious George” and they expect to have enough supplies to meet the demand.

Another note to parents: There is an ice-cream coupon for The Chocolate Moose with the program. (Just a thought.)

Performances run through May 14 at the Waldron Arts Center, 122 S. Walnut St., Bloomington. Get info and tickets at seeconstellation.org. 

Twisty ‘Trap’ in Bloomington

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By John Lyle Belden

A young playwright has possibly written the perfect thriller – could this lead to a perfect crime?

The less you know about the 1978 play “Deathtrap” by Ira Levin, presented by Constellation Stage and Screen in Bloomington, the more vague I should stay in describing it, as it twists and turns like country road switchbacks. This is a sharply written two-act five-person one-room thriller complete with scares and laughs, about a sharply written two-act five-person one-room thriller… Yes, it does get a bit meta, but in a masterful way, fascinating as it is dizzying.

Directed by Chad Rabinovitz, who couldn’t help adding a little appropriate entertainment of his own during the curtain speech, our talented five persons are:

  • Mark Andrew Coffin as aging playwright Sidney Bruhl, who would practically kill for another Broadway hit, and keeps an awful lot of old weapons around his study.
  • Greta Lind as Sidney’s wife, Myra, who doesn’t mind supporting him with her wealth, yet is afraid of what he might do.
  • John Drea as Clifford Anderson, the aspiring writer who has sent perhaps the only copy of his first play, “Deathtrap,” to Sidney for his perusal.
  • Mary Carol Reardon as Helga ten Dorp, likely the world’s most authentic psychic – though the visions do get fuzzy at times.
  • And, Steve Scott as attorney Porter Milgrim, who comes in during the second act for necessary business, and to advance the plot with clever insights.

Coffin and Drea each give us characters who are simultaneously charming and a little suspicious, and good at dark physical comedy. Reardon relishes her work as a wacky medium, while adding suspense as the audience realizes that all her predictions come true – eventually.

In the intimate confines of the Ted Jones Playhouse, the characters can almost sense that audience witnessing them (none were harmed at our performance, and Constellation staff were standing by), adding to the spooky atmosphere provided by designer Seth Howard’s rustic/Medieval set.

For a February chill, step into “Deathtrap,” playing through Feb. 19 at 107 W. 9th St. in downtown Bloomington (formerly home of Bloomington Playwrights Project, now part of Constellation). Get info and tickets at SeeConstellation.org.

‘Anne’ charms Bloomington stage

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By John Lyle Belden

Life can be frustrating when you’ve got a big wild imagination and you are stuck in an orphanage or foster home doing chores and taking care of others. But suddenly, your dreams start to come true!

This is how we meet “Anne of Green Gables,” in a production of Constellation Stage & Screen (formerly Cardinal Stage) at Waldron Auditorium in Bloomington. The play by Catherine Bush adapts and condenses the celebrated Lucy Maud Montgomery novel to a quick-paced movie-length act perfect for the various children and tweens in the audience, just a little younger than the red-haired girl – played by IU student Alexa Norbeck – arriving at the village of Avonlea in beautiful Prince Edward Island, Canada.

Anne (don’t forget the “e”) is to live at Green Gables farm with late-middle-age siblings Matthew and Marilla Cuthbert (Greg Simons and Maria Walker). They had planned on adopting a boy, but before the error can be corrected, Anne charms her way into their lives. The cast also includes Mia Siffin as dramatic busybody Rachel Lynde and Diana, Anne’s “bosom friend;” David Hosei as Gilbert, Anne’s scholastic rival and enemy for mocking her hair; and Kenny Hertling in other roles, including teacher Mr. Phillips.

Norbeck presents Anne as a wild-eyed romantic, a bit melodramatic and prone to renaming things when what they were called seems too plain, but also relatable as she takes on life lessons without losing an ounce of her spirit. Siffin is a study of contrasts, wildly over-the-top to the delight of younger audience members as Rachel, yet sweet and best-friendly as Diana. Hosei presents Gilbert as a regular boy – not mean in his teasing and slowly finding he likes this smart and special girl, if she would only forgive him. Simons portrays a respectful father-figure, discovering the closest he would ever get to a daughter. Walker has an arc of growth in Marilla, as she learns that strict upbringing might not be best for the fire-haired force of nature she has come to love.

Direction is by Mallory Metoxen. The clever stage design by Erin Gautille is also noteworthy, made up of wooden boxes decorated like children’s toy blocks with furniture and other features painted on the sides.

Like the book, this play is fine for all ages, wonderful for children. Performances run through Nov. 27; get info and tickets at seeconstellation.org.

‘Hedwig’ heralds Cardinal’s transformation

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By Wendy Carson

The on- and Off-Broadway hit musical “Hedwig and The Angry Inch” is a unique experience, even more so now as the final production of Cardinal Stage in Bloomington.

As you enter the theater, you notice that it is in the middle of renovations. Your ushers and the crew are all wearing protective vests and hard hats. The entire place is a miasma of construction, complete with caution tape and even a port-a-potty on stage. However, this sets a perfect scene for the spectacle you are about to behold.

For those of you unfamiliar with the story, Hedwig is a visionary singer who escaped East Germany by way of marriage to a G.I. But her dark reality ruins the fairy tale, as she endured a botched sex-change operation, becoming essentially genderless. Rather than sink into despair, she recreates herself into a rock goddess while also creating a rock god, Tommy Gnosis. As with every other man in her life, he leaves her; still she rages on, continuing to tell her story no matter what.

The most surprising part of this production is that James Rose is one of the few trans, genderfluid, or non-binary performers to play the title role. While one may consider this a bit of stunt-casting, Rose quickly shows the talent and passion that makes Hedwig resonate with any audience.

While I have seen and enjoyed other stagings of this show, Rose is the first performer I’ve seen who shows the true duality of Hedwig and Tommy Gnosis. As developed by originator John Cameron Mitchell (with songs by Stephen Trask), the two are distinct persons but portrayed by the same actor. In the Cardinal production, directed by queer performer John Jarboe, the revelation of Gnosis is the best presented I’ve ever seen. Rose makes Hedwig’s “other half” their own person, with his own distinct reckoning.

Paige Scott as Yitzhak (Hedwig’s “husband” from the former Yugoslavia) brings the anger requisite to the character but subtly shows us the deep love felt for Hedwig. With the character being relegated to the background for much of the story, her transformation during the finale is so much more joyous to behold.

Hedwig’s backup band, The Angry Inch, are comprised of Dan Kazemi on keyboard, Ben Jackson on guitar, Galen Morris on bass, and Bryce Greene on drums. They are all an integral part of the show, not just as accompanists, but also bringing out the true rock-and-roll performances demanded of them. They all bring such a sense of joy to the musical, keeping the story from becoming unbearably morose. They also work the crowd prior to the show – let them know if you’ve spotted “Phyllis” in the audience.

I did particularly love Christopher Simanton & Johna Sewell’s costume and wig designs. They made brilliant use of ordinary objects found on or near a construction site and transformed them into stunning works of art. I do recommend taking a moment or two after the show ends to fully take in their amazing array of “wigs” throughout the space, created by props master Aubrey Krueger.*

Since this is Cardinal’s final production before merging with Bloomington Playwrights Project and Pigasus Institute to form Constellation Stage & Screen, the renovation and rebuilding theme of both the show and its design are quite appropriate. So, say goodbye to the old and welcome the new with this amazing update of what is quickly becoming a timeless classic.

Performances run through June 26 at Waldron Auditorium, 122 S. Walnut St., Bloomington, and tickets are pay-what-you-can. Details at cardinalstage.org.

*This last credit was added after initial posting, when it was pointed out Simanton and Sewell mainly made the wigs (and wig-like objects) for people’s heads. Krueger’s designs are static, displayed around the stage set.