David Johnson

Hyperion haunts local stage with popular British thriller

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

By John Lyle Belden

It’s extremely difficult to do horror on stage.

To be more precise, it is very hard to do frightening on stage. Horror in a broader sense abounds in theatres, especially at this time of year. We get literature and social commentary with a bit of chill with Frankenstein, or we indulge in campy jump-scares with horror-comedies and musicals. We even get normalized ghoul-next-door with a show about witches or the Addams Family.

But spookiness that kinda gets to you, or has the easy-to-scare friend in the next seat gasp or nearly jump out of their chair? That’s hard. That’s “The Woman in Black,” presented by Hyperion Players.

Based on the 1983 novel (set early in the 20th century) by Susan Hill, this gothic story was adapted by Stephen Mallatratt into the second longest-running play on London’s West End. It is directed here by local actor and director Liz Carrier.

On a rehearsal stage with a scattering of set pieces, we meet David Johnson and Nicholas Gibbs as Arthur Kipps, solicitor, and Actor, a trained thespian. Disturbed by memories raised during a traditional British Christmas telling of ghost stories, the former has written his story out and asks the latter to help him in presenting it to close family and friends. During the course of this play, both will be Actors and, depending on the scene, either will be Kipps. It’s not hard to follow, though – this isn’t the scary aspect.

From our vantage as the shadows of this empty hall, we see the tale unfold of young Kipps being called from foggy London to the foggy village of Crythin Gifford to attend to the estate of recently deceased Mrs. Drablow, especially her Eel Marsh House manor among the marshlands by the North Sea. Things start out eerie enough, including encounters with certain townsfolk, but get worse with sightings of the titular Woman, mysterious noises, and a growing number of disturbances.

The acting, both overall and play-within-the-play, is excellent. Johnson nimbly switches from one character to another in tone, accent, and expressions. Gibbs shows practiced confidence in engaging the Kipps script and an earnest manner in portraying the junior solicitor. With their aid, Carrier arranges the proper dark atmosphere for this story, making vital the contributions of sound designer Zach Catlin, Adam Fike for the lighting, and hair and makeup artist Bella Lazarides. With all the fog, shadow and sound effects, we can imagine we see the horses, the friendly dog, and even…

Please note the cast list is just two persons.

Spend some time in the dark with an unsettled – and a trifle unsettling – spirit; experience the mystery of “The Woman in Black,” performances Thursday (yes, Halloween!), Friday and Saturday at The Switch Theatre in Ji-Eun Lee Music Academy, 10029 126th St., Fishers. Get info and tickets at HyperionPlayers.com.

Guys and Dolls and Footlite

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

By John Lyle Belden

At last, Footlite Musicals said “can do” to their latest show, with “Luck being a Lady” after some “persons developed a cough” but these people all say “sit down” and enjoy for one more week.

If you are familiar with those references then you know that, after its initial delay, the popular classic musical “Guys & Dolls” is on stage a the Hedback through Dec. 4. Written by Jo Swerling and Abe Burrows with songs by Frank Loesser, this 1950 Broadway hit is based on short stories by Damon Runyon about various characters on the streets of Depression-era New York City.

Some gamblers seek a high-stakes dice game and look to popular cohort Nathan Detroit (Thom Brown) to set it up, in spite of the NYPD’s Lt. Brannigan (David Johnson) keeping close tabs on the most likely locations. Local high-roller Harry the Horse (Jack London) has even brought in Big Jule (Lot Turner) out of Chicago. Nathan’s companions Nicely-Nicely (Scott McFadden) and Benny (Jeffry J. Weber) assure all that craps will occur, but Detroit must first come up with some quick cash to pay off Joey Biltmore (Leo Goffinet).

Seeing a sure-fire bet, Nathan Detroit wagers smooth-talking gambler Sky Masterson (Christopher Vojtko), who just returned from Las Vegas loaded with cash, that he can’t persuade Save-A-Soul Mission “Sergeant” Sarah Brown (Natalie Marchal) to travel to Havana with him. Sky takes that action, and odds are this will lead to one wild, funny, and romantic adventure.

The cast also includes Marie Beason as the Mission’s Gen. Cartwright, who arrives for a surprise inspection; Steve Demuth as Mission drummer Arvide Abernathy, Sarah’s uncle and father figure; and most wonderfully, Jonna Kauffman as Miss Adelaide, showgirl and Nathan’s long-long-long-time fiancé.

Indeed, while the Guys hold their own, it is the “Dolls” who truly shine in this production, with Marchal giving an exceptional performance in her Footlite debut, while Kauffman charms as the girl who’s a bit more smart and savvy than she lets on. And you can tell Beason is having fun as the evangelist just pleased to see sinners come in the door, whatever the pretext.

Unlike the floating craps game, this action will be easy to find: 1847 N. Alabama in downtown Indianapolis. Get info and tickets at footlite.org.

Civic: Here we go again!

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

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.