Cynthia Collins

ATI: World premiere musical exposes ‘Mr. Confidential’

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By John Lyle Belden

Publisher Bob Harrison just wanted to make a magazine that everyone would buy, and everybody would talk about. He got his wish, briefly outselling Reader’s Digest, but what people – especially the famous – had to say was nearly more than he could handle.

This is the true story behind “Mr. Confidential,” the new musical getting its world premiere at Actors Theatre of Indiana. Both the book-of-the-musical and the big, detailed book of the same name are by Samuel Garza Bernstein, whose lyrics are set to music by David Snyder.

Harrison (Don Farrell) has gotten some notoriety around New York for his girlie magazines. No naughty bits are revealed, but frilly undies and bathing suits are enough to get him in trouble in 1952. Still, if visual suggestions of sex and sin can’t get published, what’s to stop printing words about it – especially when everyone privately buzzes about how the squeaky-clean image of Hollywood is a dirty sham.

Harrison gets everyone involved: his sister and business partner Edith Tobias (Cynthia Collins), headstrong niece Marjorie Meade (Shelbi Berry Kamohara), naïve nephew Michael Tobias (Jacob Butler), devoted girlfriend Jeannie Douglas (Diana O’Halloran*), and even legendary broadcast journalist Walter Winchell (John Vessels), who brings in zealous Commie-hunter Howard Rushmore (Tim Fullerton) to manage the magazine and provide provocative political content.

“Confidential” magazine is a hit, and soon Marjorie, tired of being little more than wife to Fred Meade (Kieran Danaan), heads out to Los Angeles to get Hollywood dirt right from the source, with informants including exotic model/actress Francesca de la Pena (Jaddy Ciucci).

Back in New York, Rushmore bristles at there being far more stories about “deviants” than secret Reds, and makes his move. Big Bob counters with an alleged brush with death that captures the nation’s attention, so his now-former managing editor enacts a most public and sensational revenge.

The cast also includes Judy Fitzgerald as Rushmore’s wife, Jason Frierson as the Los Angeles County prosecutor, Alex Coveny as Harrison’s attorney, and Emily Bohannon and Megan Arrington in various roles such as pin-up models and trial witnesses.

Farrell’s charisma and Collins’ no-nonsense approach set the high bar that all meet in their performances. Vessels’ knack for going from serious to silly in a heartbeat, complete with you-gotta-be-kidding-me expression, make him an excellent Winchell (and the judge at trial). Berry Kamohara employs her awesome voice exquisitely, especially when singing the potential classic, “Girl Next Door.” O’Halloran manages to project the air of a trusting woman with her own mind in a role where she could come off as a subservient ditz. Fullerton nimbly carries Rushmore down a path of single-minded obsession reminiscent of Javert in “Les Mis,” and just as self-destructive.

The show is enhanced by numerous projections of genuine headlines, photos, and magazine pages, as well as moments of celebrities declaring their shock at finding such stories about them in print. This, and versatile sets, are courtesy of Willem De Vries, with Baxter Chambers on lighting and Zach Rosing on sound. Kevin Casey is stage manager, assisted by Emma Littau.

Silly journalist that I am, I could be burying a lead here – that work is under way to get “Mr. Confidential” to a New York stage.

Is it ready for Broadway? I’m no expert, merely a long-time observer, so I am not qualified to say “no” (that’s too pessimistic for this blog anyway) but I’m sensing it’s not a “yes” – yet. To borrow from home improvement culture, I’d say this musical has “good bones.” The base story is fascinating, it has good songs, and meaty roles. My guess is that, like many that have gone on to meet Tony, this show will see some revisions and evolution as it makes its way to ever-bigger markets, and perhaps the Big Apple.

So, wouldn’t you like to get in on the ground floor, see what the fuss is about, and meet the guy who alerted eager readers to the possibility that Liberace was not a man’s man in the way they thought?

One weekend remains, performances Friday through Sunday, May 12-14, at the Studio Theater in the Center for the Performing Arts in downtown Carmel. For information and tickets, go to atistage.org or thecenterpresents.org. Bernstein’s book, “Mr. Confidential,” and other merch are also available for sale.

(*The actress was misidentified in the initial posting of this review. We apologize for the error and any confusion.)

ATI show truly Works

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By Wendy Carson

In the early 1970s, Studs Terkel set out to interview various people about their jobs. The result was the book, “Working: People Talk About What They Do All Day and How They Feel About What They Do.” In 1977, it was turned into a musical by Stephen Schwartz and Nina Faso, with songs by artists including James Taylor.

Much has changed since then, so in 2012, a revised version was created to include a few newer occupations and songs, with the help of Lin-Manuel Miranda. This updated version of “Working: The Musical” is what Actors Theatre of Indiana presents for us.

The performance consists of six actors playing a number of varied personas. With a supremely talented cast and an ever-changing roster of characters, picking out highlights can be challenging, but here are the moments that echoed with me.

Don Farrell flexes his range by giving us an unapologetic yuppie investor and later, Joe, who is searching for purpose and his memory now that he is retired.

Cynthia Collins is at the top of her game as the sassy waitress who considers her work to be the epitome of quality.

Adam Tran’s turn as Joe’s caretaker in “A Very Good Day” is so sweet and moving it may drive you to tears.

The determination to be more than their job and give their children a better future is shiningly evident in Aviva Pressman’s take on “Millwork,” as well as Lillie Eliza Thomas on being “Just a Housewife” (with Pressman and Collins) and her ode to family history in “Cleaning Women.”

Adam Sledge embodies the blue collar worker throughout most of his songs, including Taylor’s “Brother Trucker,” showing the pride one takes in work we usually never even think about.

Direction is by ATI newcomer Lysa Fox.

The show is perfectly summed up in the closing number, “Something to Point To,” where we are reminded that all any of us really wants is something we can show others that we had a hand in making.

Adjust your personal work schedule to fit in this delightful tribute to the working men and women who built our great land, and you just might catch your own personal story being played out onstage.

“Working” is on the job through May 22 at the Studio Theater in the Center for the Performing Arts in downtown Carmel. Get info and tickets at atistage.org or thecenterpresents.org.

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NOTE: There was an edit to the original post to correct a singing credit.

Star encounter opens ATI return to the stage

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By John Lyle Belden

Think of your favorite singer. Imagine that person – someone whose voice spellbound you, someone you could listen to every day for the rest of your life – came to your town. Then, you found yourself talking one-on-one with that person like you’d been friends all your life. And then after joining her on stage, she came home with you for a few hours.

Impossible? For divorced working mom Louise Segar of Houston, Texas, it actually happened.

Quite a character on her own, Louise discovered country music legend Patsy Cline during the singer’s appearances on Arthur Godfrey’s morning television show in the 1950s. She quickly became Patsy’s biggest fan in Houston, constantly pestering the local country radio DJ to spin Cline’s records. When, in 1961, the star was to play a local honky-tonk, Louise made sure to arrive early. Patsy did as well, sent to travel alone by her apathetic record label. Segar’s pushy personality would come to Cline’s rescue, ensuring fair treatment by the venue’s staff and giving her a place to relax (Louise’s kitchen) after the show. She even got Patsy an impromptu interview with the radio station.

This is remembered and relived in the popular Off-Broadway musical, “Always, Patsy Cline,” by Ted Swindley, which opens the 2021-22 season for Actors Theatre of Indiana. ATI co-founders Judy Fitzgerald and Cynthia Collins portray Patsy and Louise, respetively, the former with sweetness and latter with lots of sass.

They are accompanied by an excellent on-stage ensemble of “Bobs,” musicians Nathan Perry, Matt Day, Michael Clark, Greg Gegogeine, Kathy Schilling, and Greg Wolff. The audience also gets involved a bit.

The show is directed by Bill Jenkins, with musical direction by Terry Woods, featuring a wide range of 50s-60s hits including Cline’s chart-toppers (“I Fall to Pieces,” “Crazy,” “Walkin’ After Midnight”).

Third ATI co-founder and artistic director Don Farrell announced on opening night, “Intermission is over!” This fun and sentimental production marks a strong return to regular live theatre. Performances of “Always…” run through Oct. 3 at The Studio Theater in the Center for the Performing Arts in downtown Carmel. Get tickets and info at atistage.org or thecenterpresents.org.

ATI and CSO combine for one killer production

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By John Lyle Belden

Today’s production of Stephen Sondheim’s “Sweeney Todd, The Demon Barber of Fleet Street” at the Palladium of the Center for the Performing Arts in Carmel – a first-time collaboration of Actors Theatre of Indiana and the Carmel Symphony Orchestra – explores the full potential of its dramatic and musical experience.

This popular musical is an inspired choice, with its blending of the macabre, dark humor, and tragic and romantic love, backed by an operatic aural tapestry.

The ATI company — including members of its 2016 “Sweeney” production including director Richard J. Roberts — and the CSO, under the baton of Janna Hymes, are joined by the Indianapolis Arts Chorale with area singers including members of the Indianapolis Children’s Choir. Their powerful vocal presence is like another section of orchestra, on par with the strings or wind instruments. Taken together they provide a properly dense dramatic atmosphere for the actors upon the stage to flourish.

The ATI co-founders reprise their roles. Don Farrell totally disappears into the wig, makeup, and scowl, so that all you see is Sweeney, the barber unjustly exiled so that a corrupt judge could take his wife. Now Todd has returned for vengeance; his plan includes giving the best shave in London – if you survive it. Judy Fitzgerald likewise transforms into Mrs. Lovett, baker of the “worst pies in London,” but the problem isn’t her talents, but her lack of good flesh for the meat pies. Mr. Todd’s impulsive nature with his silver razors presents her with a ghoulish opportunity. Cynthia Collins returns as the mad Beggar Woman, ever present and revealed to be more than just the one to babble “Mischief! Mischief!” outside Lovett’s shop.

Joining the cast for this spectacular: Matthew Conwell is the charming and aptly-named Anthony Hope, who repays his off-stage rescue by wooing and rescuing Sweeney’s long-lost daughter Johanna (bold beauty Elizabeth Hutson). Conwell’s voice is superb, filling the song “Johanna” with harmonious longing. David Cunningham is wonderful as the tragically naive Tobias Ragg. Mario Almonte III is sharp as rival barber Adolfo Pirelli.

For the villians, Tim Fullerton plays judge Turpin as one whose growing madness makes him increasingly dangerous, a true rival to Todd. ATI veteran Michael Elliott presents Beadle Bamford with easy slimy charm.

Rory Shivers-Brimm reprises his earlier turn as characters including madhouse keeper Jonas Fogg, truly triumphant considering his recent recovery from health issues. Karaline Feller completes the cast in roles including the Bird Seller. Thanks to Roberts’s direction and effective use of costumes by Katie Cowan Sickmeier, various players easily morph into supporting roles, such as the pie shop customers, giving the illusion of a larger cast.

Scenic designer Paul Bernard Killian and prop master Amanda Pecora make creative use of this unique setting, with simple set pieces, only the infamous baking oven being instantly recognizable. As for what could be the true “star” of the show, the Barber Chair is deceptively simple. Painted blood red, it takes its proper place on the stage, but doesn’t pull focus from the brilliant work of its human costars. Roberts makes great use of the space as well, further including the orchestra as part of the production by having characters encircle it and making use of the Palladium’s rear balconies.

Did I say “today” at the beginning of this? Yes, for those looking online on Saturday, Feb. 22, 2020, you have the opportunity to make the second of two performances tonight at 8 p.m. (Tickets at thecenterpresents.org or Palladium Box Office). Friday celebrated a triumphant “opening night” (with jokes that they were “halfway through the run”).

For those who can’t make it or read this later, note this as a shining example of what future collaborations can be. Hymes noted after Friday’s show that they had only two weeks of rehearsal to put the various components together – a testament to the level of talent and dedication local theatre performers and musicians put into their work for you, the Central Indiana audience.

Summit: Finding life’s meaning in unlikely ways

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By John Lyle Belden

Summit Performance explores connections, being in the moment, and the fears that affect both, in the comic drama “Be Here Now,” by Deborah Zoe Laufer, directed by Amy Lynn Budd.

Bari (Carrie Ann Schlatter) is an aspiring professor of philosophy, specializing in nihilism, who needs to finish her dissertation. Being in a process that requires a lot of work to argue that nothing at all matters, she’s stuck. Also, her headaches aren’t helping.

Patty (Cynthia Collins) and Luanne (Zariya Butler), coworkers at her other job, a distribution center for knicknacks of various faiths, dislike Bari’s “smug gloom” and seek to somehow make her happy. Desperate, Patty sets up a date with her cousin Mike (Ryan Ruckman), who has issues of his own.

Suddenly, Bari collapses. After a brief seizure, she awakens to unheard music, experiencing fantastic visions — and the realization that absolutely everything is awesome.

While this play is Bari’s story, Mike is a complex presence as well, with a tragic past and an eccentric present life of gathering cast-off items and building them into little houses. And he has a pet crow. Ruckman is solid, maintaining an easy charm that makes his oddities quaint rather than disturbing.

The setting, a little town just a couple of hours away from New York City, is sort of a metaphorical character of its own: Cooperville, where nearly everyone has the last name of Cooper, including Patty. She believes in astrology and fate, and easily justifies her fear of ever leaving town by citing the dangers of the Big City. Collins plays her a little curmudgeonly, but with a big heart. By contrast, her niece Louanne blithely walks the thin line between optimistic and naive. Butler serves up a perfect dose of sweetness.

As for Bari, Schlatter expertly carries her philosophical load, expounding on questions that would give Hamlet a stroke, at times seeming to babble like one who is high (which technically the character is “tripping” at times) yet thanks to Laufer’s script, giving profound insights. This being modern times in enlightened society, she (and the others) understand there is likely a serious medical explanation for what is happening to her. But realizing that even if it’s endangering her life, it does seem to make her feel happy for perhaps the first time, does she really want to give that up?

When all is said and done, you might find yourself looking for the “garbage house” in your own backyard. See for yourself to understand what I mean. “Be Here Now” runs through Feb. 2 on the Basile Stage at the Phoenix Theatre, 705 N. Illinois St. in downtown Indianapolis. Call 317-635-7529 or visit phoenixtheatre.org.

ATI tells important ‘Story’

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Update, Jan. 18, 2021: This production is available online pay-per-view through Feb. 14. See atistage.org for details.

By Wendy Carson

“This is a story about two rabbits.”

Seven innocuous words that begin not only a beautifully illustrated children’s book, but also a major political ballyhoo about race and censorship.

“Alabama Story,” a play by Kenneth Jones making its Indiana premiere with Actors Theatre of Indiana, is based on a true story of one simple book that sparked a major racial controversy due to its depiction of a white bunny marrying a black bunny. 

The setting is 1959 and even though George Wallace (“Segregation now, segregation tomorrow, segregation forever!”), has yet to be voted in as Governor, he is the leading political voice of Alabama. Racism is a fact of everyday life and the beginnings of the Civil Rights movement are just starting to stir. Rosa Parks had recently sparked the Montgomery bus boycott, and the Rev. Dr. Martin Luther King Jr. was still a local pastor. 

Enter Emily Wheelrock Reed (Cynthia Collins), the state librarian, and her diligent assistant, Thomas Franklin (Samuel L. Wick). Franklin brings the initial hubbub over “The Rabbits’ Wedding” to her attention, but Reed dismisses it until Senator E.W. Higgins (Don Farrell) starts pressuring her to remove the book from the library system. 

We also see the story of two children who grew up together. Lily Whitefield (Maeghan Looney), the daughter of a cotton plantation owner and Joshua Moore (Cameron Stuart Bass), the son of one of the Whitfields’ servants, descended from their slaves. They meet up again as adults, in exchanges that echo the book, but overshadowed by painful events of their past.

Overseeing all of this is the book’s author and illustrator himself, Garth Williams (Paul Tavianini). He takes on all of the supporting roles as well as giving his personal insight to the drama. Williams reiterates that he only chose the black and white colors for the rabbits due to his love of Oriental artworks which draw on those two colors for balance. He never meant for his tale to become what many believed to be a subversive indoctrination of their children into believing that interracial marriage was normal.

Bass’s performance shows that even though Franklin is living a better life himself, he never forgets the trauma and struggles he went through and his people are still enduring. Looney does a commendable job of showing the naiveté of the privileged class during these changing times.

Collins shows the strong, stalwart woman that Reed was, holding her own and never wavering no matter what came her way. Wick is endearing as Franklin, a free-thinking young man who was raised to be prejudiced but refuses to succumb to the hatred.

Tavianini brings a “Mr. Rogers” -type warmth to Williams, who also wrote and illustrated numerous other children’s books (including books by Laura Ingalls Wilder and E.B. White), none of which sparked any controversy.

However, the standout performance is by Farrell. He oozes all of the slick sliminess of a typical Southern politician. His soft-spoken words hold a thousand brutal attacks within, the demure and friendly smile hiding the fangs that are ready to strike you down with their poisonous barbs. He does such a great job embodying the character, you will likely want to punch him (but please don’t). 

ATI chose this play to be their first foray into serious drama and they have done an excellent job of it, under the direction of Jane Unger. This show is important to give you context as to this country’s history and what our future could be again should we glorify the past instead of learning from it.

Performances run through Nov. 17 in The Studio Theater at the Center for the Performing Arts in downtown Carmel. Get information and tickets at atistage.org or thecenterpresents.org.

ATI ‘Forbidden Broadway’: Here we go again!

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By Wendy Carson

Upon entering the lobby for Actors Theatre of Indiana’s newest staging of “Forbidden Broadway,” we were surprised and delighted to see a blown-up copy of our previous review of the show. They also had poster copies of the other reviews — we were just happy to be among them.

So, since this show was just staged by ATI less than a year ago, you are probably thinking that you’ve already seen it and there’s no reason to see it again. That’s where you are dead wrong.

“Forbidden Broadway,” created and curated in New York by Gerard Alessandrini, is a living creature that is constantly changing and evolving in new and delightful ways. Yes, some of the skits are the same ones covered in the previous incarnation, however at least half of the offerings here are different. In fact, the tribute to Carol Channing, slyly tipping its hat to her recent passing – as well as her generosity towards her legacy — is making its debut in this show.

There is even an audience sing-a-long during the tribute to Stephen Sondheim’s impending 90th birthday. Also, for those of you who have seen or are seeing The Civic Theatre’s delightful production of “Newsies,” their tribute will leave you howling.

For those who haven’t seen any of this, it is all a loving tribute to Broadway musicals and those who worked on and in them. It’s never mean – one can mock the cumbersome Lion King puppets and Les Mis rotating stage, while still understanding at the core it’s still meaningful art. While the more you know about the shows, the funnier it is, the all-in performances of ATI founders Cynthia Collins, Don Farrell and Judy Fitzgerald with Logan Moore, and Keith Potts on piano, entertain no matter how “in-house” the gags get. Note the content does get very PG-13 (those Avenue Q puppets still can’t keep their felt paws off each other).

So, get out there and prepare to laugh yourself silly at the glorious antics and talent of the latest production of “Forbidden Broadway,” through May 19 at The Studio Theater in the Center for the Performing Arts in downtown Carmel. Call 317-84-3800 or visit atistage.org or thecenterpresents.org.

ATI: Ruth sure is missing out on a great show

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By Wendy Carson

Ambition. It’s all that drives some people. Even though they have talent and skills, they strive to be recognized and adored for it. How far will a person go to get what they want?

This question is the main premise of the show, “Ruthless: The Musical,” presented by Actors Theatre of Indiana. It is a musical parody of classic noir “The Bad Seed” and “All About Eve,” with a whole lot of campy fun thrown in.

Judy Fitzgerald nimbly portrays Judy Denmark, a doting mother who, while abundantly proud of her daughter Tina, possesses a fierce drive of her own. John Vessels delivers with all of his vamping glory as Sylvia St. Croix, who will do anything to be part of show biz – again.

Suzanne Stark’s portrayal of viciously bitter reviewer Lita Encore channels Madeline Kahn and Megan Mullally in evoking the requisite Evil Wielder of the Poisonous Pen (we’ll try not to take it personally).

Laura Sportiello brilliantly pulls off the gawkiness and questionable talent of Tina’s rival, Louise Lehrman, while also proving she is not one to be underestimated. Meanwhile, Cynthia Collins is fun as the put-upon Miss Thorn, a third-grade teacher whose own showbiz aspirations were crushed by stark reality. Her self-written musical about Pippi Longstocking and questionable casting choices provide the fodder to set this chaos in motion.

Finally, we turn to Nya Skye Beck’s performance as Tina Denmark, the talented and seemingly perfect child whom we all wish we had. Only a fourth-grader, Beck’s level of talent at acting, singing and dance is amazing. During the show, my partner John said, “She is the real deal,” and I heartily agree. I hope to see her in many more productions in the coming years, before the call of Broadway whisks her away.

The first act more reflects “Seed,” with Act Two taking aspects of “Eve” with Sportiello in an alternate role. Satire abounds – there’s a big musical number called “I Hate Musicals” – secrets are exposed, and it all comes down to an ending to die for. On the whole, this show is hilarious and highly entertaining.

“Ruthless” runs through Feb. 17 at the Studio Theater in the Center for the Performing Arts in downtown Carmel. ATI notes the content is relative to a PG-13 rating. For info and tickets, visit atistage.org or thecenterpresents.org.

ATI earns its wings with ‘Wonderful’ radio play

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By John Lyle Belden

The bottom line with this show is fairly simple: If you like the film “It’s a Wonderful Life” — or are open to, if you haven’t seen it — you will enjoy the live Radio Play. It is popping up around central Indiana, but I saw the Actors Theatre of Indiana production, playing at the Studio Theater in the Center for the Performing Arts in downtown Carmel (by the Kristkindlemarkt).

Done in the style of radio dramas performed in the 1940s (when the movie takes place and was released), an upbeat ensemble, accompanied by a sound-effects artist, provide all the sounds of a “playhouse of the air” so that families gathered around the radio sets in their homes can fill in all the details in their minds. Thus, if you close your eyes you still get the full story, almost like watching the classic Frank Capra film. With eyes open, you can see the performers mug and gesture their way through the show, giving those who braved the weather to see it in person a little extra — not to mention seeing all the tricks employed to make every noise from footsteps to stormy winds.

The script is true to the film’s story: Clarence the Angel (Second Class) is dispatched to help George Bailey, a man who spent his whole life helping others and desperately needs help himself. We get the backstory on George’s “wonderful life” so when he wishes he “had never been born” we can see how different things would be without him. In the end, we see the difference one person can truly make — Merry Christmas, Bedford Falls!

ATI’s founding trio of Cynthia Collins, Don Farrell (voicing Clarence and other characters) and Judy Fitzgerald (who plays Mary, George’s wife) are joined by Adam Crowe (narrator, villainous Mr. Potter, etc.), Paul Tavianini (George), and Luca Arive, Sadie Cohen, Lincoln Everitt and Annabelle Pfeiffer in children’s roles, to perform the story. Fox59 TV personality Sherman Burdette literally provides the bells and whistles, working all the sound effects like a pro.

For a fresh, festive take on a holiday classic, performances of “It’s A Wonderful Life: A Live Radio Play” run through Dec. 23. For information and tickets visit atistage.org or thecenterpresents.org.

Permit yourself to enjoy ‘Forbidden Broadway’

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By John Lyle Belden

That beloved but misnamed (not actually on a “Square”) spot on Mass Ave. has returned to life with a wonderful send-up of the world of Broadway musicals.

Actors Theatre of Indiana presents “Forbidden Broadway’s Greatest Hits” all this month at the District Theatre (former home of Theatre on the Square), its first production under new name and management. ATI regulars Cynthia Collins, Don Farrell, Judy Fitzgerald and Logan Moore, with Brent Marty at the piano, give us the parodies made famous in the off-Broadway show that has been savaging its on-stage neighbors since 1982 – no one is safe, from Bob Fosse to “Les Mis” to Spongebob.

It’s impressive what gets made fun of – lay-offs of the cast of “Beauty and the Beast,” the rotating stage of “Les Miserables,” those massive headpieces in “Lion King.” Wendy loves that one of her pet peeves, actors reliant on visible microphones, gets skewered by a big-singing stage legend.

Speaking of legendary actors, they get parodied as well, including some girl named Carol and this guy named Mandy.

The result is so very funny. The more you know about the source material, the more hilarious it all is, but this show had everyone laughing.

And these five people playing it all are practically legend-level themselves – they should beware, lest someone down the street at IndyFringe makes fun of them!

Performances through July 29 at the District, 627 Massachusetts Ave., downtown Indianapolis. (ATI then returns to its home in Carmel to start its 2018-19 season, which concludes with more Forbidden Broadway next summer.) For info and tickets, see atistage.org.