Derek Savick-Hesser

Pen-pal pandemonium at Buck Creek Players

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By John Lyle Belden

Buck Creek Players lifts our spirits with a fun production of the classic rom-com musical, “She Loves Me.”

This 1960s Broadway hit by Joe Masteroff, with music by Jerry Bock and lyrics by Sheldon Harnick, is based on the 1937 play “Parfumerie” by Miklos Laszlo, which also inspired the 1998 movie “You’ve Got Mail.” Directed for BCP by Drew Bryson, its setting in 1930s Budapest, Hungary, feels like any European or American major city in a gentler time.

Maraczek’s perfume shop prides itself on its service, including a warm greeting, swift attention to returns and complaints, and even singing you out the door with your purchase. The staff includes neurotic family man Sipos (Phil Criswell), suave ladies’ man Kodaly (Troy Bridges), hopeless romantic Ilona (Miranda Boyle [nèe Nehrig]), eager delivery boy Arpad (Colton Woods), and introverted assistant manager Georg Nowack (Bobby Haley).

On a summer day, owner Mr. Maraczek (Darrin Gowan) brings to the shop a selection of musical cigarette boxes, which Georg fears will never sell. The boss declares they will, and bets him that one will be sold within the hour. Moments later, a young woman, Amalia Balash (Jenna MacNulty), nervously asks for a job at the shop. After being told there are no openings, she quickly talks a customer into purchasing a music box, convincing her it’s for holding sweets.

Amalia is hired; Georg is annoyed. While they bitterly bicker through the coming months, neither knows that they are anonymously writing romantic letters to each other through a lonely-hearts club. The “Dear Friends” of their correspondence plan a first-time in-person rendezvous in December. Looks like they are in for a holiday surprise!

Supporting in roles including shop customers, as well as discreet diners at a cozy café, are Zach Bucher, Drew Hedges, Elizabeth Huston, Sheila Raghavendran, Josh Rooks, Derek Savick-Hesser, Lizzie Schultz, and Lauren Bowers Werne.

Like a well-run parfumerie, this is an excellent ensemble performance. Each of the shop workers, including Gowan’s Maraczek, get moments to shine. We even get a personal-growth arc with Ilona, which Boyle brings out beautifully. On the other hand, Bridges keeps Kodaly cool but difficult to like, his bad-boy persona more than a facade. Criswell keeps Sipos’s nobility hidden, but it’s not hard to detect. High-schooler Woods maintains Arpad’s boyish charm as he matures before our eyes.

Haley shines as his Georg sorts out what he wants, struggling with confidence as events turn out nothing like he expected. As Amalia, MacNulty is simply brilliant – beautiful and powerful in voice and personality. We can’t wait to see how these two finally get together, though, as always with such stories it won’t be easy.

Content is no worse than PG, though there is an instance of self-harm.

Kelsey McDaniel is assistant director. Meg Benedict leads the 12-piece orchestra. Andy Riggs is vocal director. Choreography is by Justin Sheedy. Kayla Richardson is stage manager, assisted by Olivia Lawson.

With lots of laughs and sweet as vanilla ice cream, fall in love with “She Loves Me,” performances Friday through Sunday, Oct. 17-19, at Buck Creek Playhouse, 11150 Southeastern  Ave. (Acton Road exit off I-74), Indianapolis. Get info and tickets at buckcreekplayers.com.

Footlite gets ‘Kinky’ in the best way

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

By John Lyle Belden

With among its many lessons that you should be willing to pull together to try something wild with great potential, the all-volunteer cast and crew of Footlite Musicals present the fun and funny hit, “Kinky Boots.”

With book by Broadway legend Harvey Fierstein and songs by equally iconic Cyndi Lauper (making her the first woman to win a Tony for solo songwriting), the 2013 Broadway musical is adapted from the 2005 British film of the same name, in turn inspired by a true story from the 1990s. Set in that 20-ish year ago era in Northampton, England, a man who has inherited a failing shoe factory seeks to save it by filling an unmet need – sturdy but sexy boots for drag queens.

Charlie Price (Alexander Bast) had planned to move to London and take a lucrative marketing job alongside his fiancé Nicola (Nicole Sherlock) but is called back home when his father (Ted Jacobs) passes away. The shoes are well-made, but in a highly competitive market, nobody seems to want them. While seeking to strike a deal with a family friend (Derek Savick-Hesser) Charlie encounters Lola (Kevin Bell), the drag queen star of her own show. He notices her stilettos won’t hold up a man’s body and, after Price & Sons employee Lauren (Mara Fowler) – who secretly has a crush on him – suggests he find “an underserved niche market” to stay in business, gets the idea to make what will be known as Kinky Boots.

Reactions are mixed at the factory, though most buy in as the alternative is unemployment. Factory manager George (Ryan Bridges) is eager and creates a steel-reinforced heel. Foreman Don (Drew Kempin) considers himself a “man’s man” and openly mocks Lola, who is brought on board as designer. In three weeks, there will be a major fashion show in Milan that will make or break the enterprise, as well as the people involved.

We also meet, in the opening number, Charlie and Simon (who will become Lola) as boys, played by Sam Houghland and Ryan Thomas, respectively, as well as Simon’s disapproving father (Jerry Davis).  The cast includes Shari Jacobs, Awbrey Brosseit, Jessica Hackenberg, Logan Laflin, Louis Soria, Ruby Waliser, Jennifer Zotz, and Tom Zotz, who also cameos as Richard, Nicola’s boss.

Lola is backed by her cloud of fabulous Angels, performed by drag artists Conner Becker-Chamberlin, a/k/a Darcy Sparks; Leon Benbow-Blomberg / Miss Dominixxx; Caleb Francis / Penny Loafers; Cameron Grant / Anita Richard; Shawn Hunt / Artemis Da Goddess; Dalen Jordan / Donleigh Delights; Paige Penry / Bella DeBall; and Kenan Tinnin / Body Miss Morphia.

Joyfully directed by Jerry Beasley, we get a (much-needed these days) uplifting story of grit and acceptance. The characters are fairly complex – not just the obvious multitudes in Lola, brought out in glorious voice and expression by Bell. Bast gives us a Charlie who is well-meaning, sometimes off-base, yet easy to root for. Kempin’s Don is mostly bluster, a bloke who literally gets sense knocked into him. Sherlock plays Nicola as one who feels certain of her direction, coming to learn that Charlie doesn’t see success her way. Fowler makes her regular young woman Lauren, who goes from slinging shoes on a factory floor to being “executized” to help make the new line,   appropriately adorable.

Among the volunteers putting this spectacle together are set designers Ted Jacobs and Mary Lich, choreographer Thomas Mason, vocal director Ben Rose, and stage manager Melissa Yurechko. Costumer for the queens is Angel Olivera, assisted by Katie Van Den Heuvel and Michael Morrow. Jeremy Kaylor leads the orchestra.

EDITED TO ADD: Beasley messaged me this – “I would like to add that Claire Olvey Slaven also costumed The Angels as well as assistant directed, and Ben Jones created their hair and makeup look! The Price & Son workers costumes were designed by Edith Burton-Bandy.”

As a counter to current controversies, we get a reminder that for its community Drag is not just a lifestyle, but an essential part of life. Let the spirit of “Kinky Boots” raise you up, and remember: “You can change the world, when you change your mind.”

Performances are Thursdays through Sundays through May 18 at Footlite Musicals, 1847 N. Alabama St., Indianapolis. Get tickets (which have been selling fast) at footlite.org.

Footlite hosts incredible ‘Cabaret’

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By John Lyle Belden

Theatre so often holds up a mirror to the current mood, so we find ourselves with a new production of the Tony and Oscar-winning sensation, John Kander and Fred Ebb’s musical “Cabaret” at Footlite Musicals, directed by Isaac Becker-Chamberlin.

In 1930s Berlin, many deal with the growing social and political tensions with hedonistic pursuits. Welcome – “wilkommen” – to the Kit Kat Club, where a living cypher of an Emcee (Lucy Fields) has a story to show you. “Leave your troubles outside!” These characters will have plenty of their own.

American writer Cliff Bradshaw (Derek Savick-Hesser) encounters a friendly local, Ernst Ludwig (Bobby Haley) who sends him to a friendly boarding house run by Fraulein Schneider (Marie Beason) and to the very friendly Kit Kat, where he encounters English singer Sally Bowles (Addison Koehler). We also meet Fraulein Kost (Emily Gaddy), a young woman seemingly “related” to half the German navy; as well as older gentleman Herr Schultz (Len Mozzi), who runs a fruit stand and is sweet on Schneider.

The club’s “Beautiful!” dancers are played by Tajeyon Bohannon (Victor), Logan Laflin (Hans), Halle Massingale (Frenchie), Amy Matters (Fritzie), Nicole Sherlock (Rosie), Louis Soria (Bobby), Nate Taillon (Herman), Linda Thomson (Texas), Katie Van Den Heuvel (LuLu), and Kennedy Wilson (Helga).

The familiar story plays out of people in a city distracting itself from the oncoming madness, finding everyday pursuits – love, family, marriage, and making a little money – all becoming tainted by this atmosphere. The songs advance the plot as well as entertain, from fun numbers like “Don’t Tell Mama” and “Two Ladies” to the defiant melancholy of the title song.

You’ve seen it before, perhaps, but not like this. Diverse casting, including plus-sizes, makes this Berlin dive look a bit more authentic, but still loaded with talent.

Koehler is amazing, playing Sally as a gritty survivor, always one step ahead of any sense of failure, thus never wanting the party to stop. Beason and Mozzi are so adorable, you really do want to see Schneider and Schultz together. Haley keeps Ernst so darn likable – until he’s not. Savick-Hesser is a charming audience proxy, our emissary to this very foreign world. His Cliff is an interesting soul, sorting out his feelings for men, and Sally, while both savoring Europe and missing Pennsylvania.

Key to the unique nature of this “Cabaret” is Fields’ outstanding performance as the Emcee. Being a trans woman allows her to present a perplexingly androgynous character. Essential to the role is the notion that this person is in charge, ever crafting expectations and pulling the strings on the narrative you are meant to see. Absolute control over their look and presentation, coupled with the clown jester’s license to confront you with dark truth while wearing a big smile, as well as being a near-constant presence, helps Fields emphasize that what they show you is important. In the end, after all, it’s life and death.

Choreography is by Conner Becker-Chamberlain and Emily Theurer. Wild and appropriate costumes designed by Marina Turner. Stage manager is Jeremy Crouch. And the “Beautiful!” orchestra is led by Kristin Cutler.

Come to the “Cabaret” through Oct. 6 at Hedback Theater, 1847 N. Alabama, downtown Indianapolis. Get tickets and info at footlite.org.

‘Bright Star’ shines at Footlite

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

By John Lyle Belden

After more than five years since its last appearance in the city*, “Bright Star” returns to Indy at Footlite Musicals. The musical by legendary entertainer Steve Martin and singer/songwriter Edie Brickell was born of their bluegrass collaborations, as well as a true backwoods legend. Known for the absurd (as well as his banjo), Martin is also a big fan of feel-good musicals (look up “Pennies from Heaven”), so it is not surprising this piece resembling an Americana opera was a Broadway hit.

In rural North Carolina, Billy Cane (Bobby Haley) returns from World War II to find his father (Phil Criswell) waiting, but his mother has passed away. An aspiring writer, he takes his stories to the town bookstore where owner Margo (Alyssa Linville) edits them for submission. Being sweet on Billy (which everyone but the boy can see), she does it for free and encourages him. Thus boosted, Billy decides to take his writing in person to the prestigious Asheville Southern Journal. There, once past the automatic rejection of staffers Daryl (Bryan Padgett) and Lucy (Kennedy Wilson), editor Alice Murphy (Aprille Goodman) – seeing something strangely special about the boy – agrees to give the stories a look.

From here the scenes switch back and forth from 1945 to the 1920s as we get Alice’s backstory, her relationship with her strict Bible-thumping parents (Shari Jacobs and Dan Miller) and the young man she with whom she fell in love, Billy Ray Dobbs (Luke Bockelman), son of wealthy businessman and town Mayor Josiah Dobbs (Dick Davis). When the romance starts to bear fruit, Alice is sent to give birth in a remote cabin to avoid scandal to either family. One night, the Mayor arrives and literally takes matters into his own hands.

Director Isaac Becker-Chamberlin admits to a lifelong love of folk and bluegrass music, and shepherds this ode to Appalachia well. His husband Conner Becker-Chamberlin, who was in the cast of the 2018 Phoenix Theatre production, choreographed charming, era-appropriate movement that even has the set pieces gracefully moving on and off stage. Jeremy Crouch is stage manager.

Ensemble/chorus roles are executed smoothly by Bailey Rae Harmon, Derek Savick-Hesser, Logan Laflin, Olivia Mozzi, Emily Theurer, and Alexander Bast, whose parts include Max, the smitten lad with no chance with Margo. A splendid bluegrass and strings orchestra, conducted by percussionist Kristin Cutler, completes the atmosphere and scene, with a couple of players working in solos.

While the story winds to a fairly predictable – or, rather, inevitable? – end, the performances are strong. In addition, the vocal talents are outstanding, especially Linville, Bockelman, and Goodman, our leading lady. Having experience as a professional singer, Aprille said she moved to Indy in recent years, surprised to find her home just a few blocks from Footlite’s Hedback Theatre. Happy with her “day job,” she’s pleased to lend her talents to local community stages. Consider us all blessed.

These folks have “quite a good story to tell.” Performances of “Bright Star” run through March 17 at 1847 N. Alabama St., Indianapolis. Get tickets and info at footlite.org.

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*After this was initially posted, saying five-plus years since the musical’s last local appearance, it was pointed out to us that there was a staging in nearby Greenwood, Ind., last year, so we altered the lead sentence for accuracy.