Don Farrell

ATI’s truly beautiful ‘Bird’

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By John Lyle Belden

La Cage - Michael Humphrey, Greg Grimes, Tim Hunt, Kenny Shepard and Don Farrell - photo credit - Zach Rosing
From left, Michael Humphrey, Greg Grimes, Don Farrell (as ZaZa), Kenny Shepherd and Tim Hunt on the stage of “La Cage aux Folles,” presented by Actors Theatre of Indiana at Carmel’s Center for the Performing Arts through Oct. 1. (Zach Rosing photo)

Hours after seeing the musical “La Cage aux Folles” (literally “The Birdcage,” its original film was also popularly mistranslated “Birds of a Feather”) presented by Actors Theatre of Indiana through Oct. 1, Wendy and I discussed whether this was truly a perfect performance.

Of course, anything can and does happen in live theatre, but without going into pointless nitpicking (issues only we noticed or that evaporate between weekends), this production can only be described as flawless – like the faux female stars of the nightclub of the show’s title, a hotspot on the French Riviera in the late 1970s.

Bill Book and Don Farrell are wonderful as the couple who own, run and live above La Cage, its emcee Georges and star diva (the Great ZaZa) Albin, respectively. Book is in top form, and Farrell is definitely the leading lady. Good thing, too – as the role of saucy butler/maid Jacob has “scene-stealer” written all over it, and Daniel Klingler plays it to the limit, with uproarious results.

Our happy couple is thrown into turmoil when their son, Jean-Michel (Sean Haynes) comes home engaged to – a woman! – Anne (Devan Mathias), the daughter of anti-gay government minister Mr. Dindon (Ken Klingenmeier). To make matters worse, Dindon and his wife (Mary Jane Waddell) would be arriving with Anne for dinner at their house the next day. The young man’s plan is for Georges to “straighten” up and for Albin to stay out of sight – but, of course, nothing ever goes as planned.

Again, great performances by handsome Haynes (Wendy said she could get lost in his eyes) and bubbly Mathias. Klingenmeier is appropriately stiff, and Waddell so nice as the wife who secretly yearns to cut loose; the couple also smoothly play the proprietors of a local cafe.

Speaking of supporting roles, the versatile John Vessels has fun here, especially as stage manager Francis. And then there are the beautiful Les Cagelles: singing, dancing “illusions” played by Greg Grimes, Michael Humphrey, Tim Hunt and Kenny Shepard. Chez magnifique!

Judy Fitzgerald completes the cast, shining as fun-loving restaurateur and welcome friend Jacqueline.

“La Cage aux Folles” was first a French play in 1973, then a film in 1978, and brought to Broadway (adapted by Harvey Fierstein and Jerry Herman) in the early ’80s. You’d think that after 40 years, a story like this would feel quaint and dated; alas, it’s as relevant as ever. This production, directed by Larry Raben with choreography by Carol Worcel, lets the weight of its subtext float on an atmosphere of fun. Scene changes are swirling dance routines, a laugh is never far from the tear, and the arch-conservative does get his well-deserved comeuppance. The songs include timeless anthems “I Am What I Am” and “The Best of Times (is Now),” each as defiant in their own way as they are memorable – and wonderfully executed here.

It’s a good time to go “bird” watching: Performances are at the Studio Theater in the Center for the Performing Arts in downtown Carmel. Get tickets at thecenterpresents.org. Find info on this and other ATI shows at atistage.org or facebook.com/ActorsTheatreOfIndiana.

Thanks a ‘Million’

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NOTE: As the Word/Eagle is in flux with the renaming and corresponding change in official website, John is still putting his reviews here.

By John Lyle Belden

On a December day in 1956, something extraordinary happened.

And the fact that it did happen, and occur largely spontaneously, is practically unbelievable – but then, there’s the sound recordings, and that famous photo. On that day, in the little studio of Sun Records in Memphis, Tenn., four legends – Carl Perkins, Elvis Presley, Johnny Cash and Jerry Lee Lewis – held an impromptu gospel/country/rockabilly jam session that a local newspaper would declare the “Million Dollar Quartet.”

The Broadway musical of that same title, commemorating that day, is presented locally by Actors Theatre of Indiana at The Center for the Performing Arts in downtown Carmel through Oct. 2.

In the play’s dramatization, Perkins (Jeremy Sevelovitz) and his brothers are in a recording session, trying to come up with his next hit, when Sun’s owner and producer Sam Phillips (Don Farrell) surprises him with the label’s latest signee – a hyper Louisiana boy, Lewis (Taylor Gray), who is days away from his own first hit. Phillips wants to add boogie-woogie piano to enrich Perkins’ rockabilly sound – which the guitar legend resists, at first.

Meanwhile, Cash (Brandon Alstott) is expected to stop by; Phillips has a surprise contract extension for him, but Cash has a surprise of his own. Then, Presley (Adam Tran), who started with Sun but sings for RCA, stops by with his latest girlfriend (Betsy Norton), and can’t resist picking up a guitar and joining in. All four singers, and even the young woman, sing solos and harmonies of familiar songs from the era, including the stars’ biggest hits.

Of course, there’s also a little drama as Cash and Phillips need to resolve conflicting plans, Jerry Lee gets a little too brash, and Phillips seriously considers the future of his struggling operation. We also get flashbacks to show what the Sun boss first saw in each of these eventual legends. But overall, the music is what drives the show.

And what a wonderful show it is. Gray was understudy for Lewis on the musical’s national tour, but is overjoyed to be the number one Killer for ATI, as are we who see him expertly capture the energy and raw talent of Jerry Lee. Sevelovitz, also no stranger to his role, plays the heck out of his guitar as Perkins, recreating the look, sound and attitude of the original man in Blue Suede Shoes. The local actors: Alstott seems right at home as the Man in Black, Tran radiates The King’s charisma, and Norton is as charming as ever as beautiful Dyanne (based on Elvis’s actual companion; her name was changed to avoid confusion with another personality of the era). ATI co-founder Farrell ties it all together as the man in charge. The talents of Kroy Presley as Brother Jay on stand-up bass and Nathan Shew as Fluke on drums ably round out the cast. Direction is by the nationally-renowned stage and TV director DJ Salisbury.

The action takes place in one movie-length act, ends with a rousing encore for the curtain call, and is satisfying throughout. The content is family-friendly (aside from period-appropriate stage cigarettes) and even includes a couple of sacred songs.

Performances are Sept. 23-25 and Sept. 30-Oct. 2; call 317-843-3800 or visit atistage.org.

John L. Belden is Associate Editor at The Eagle (formerly The Word), the central-Indiana based Midwest LGBTQ news source.

At ATI: A salute to another era, and some sweet stories

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By John Lyle Belden

Actors Theatre of Indiana is easy to overlook, with its home space being The Studio Theater, next to the bigger Tarkington stage in the Center for the Performing Arts up in downtown Carmel. Yet this little company produces some excellent and worth-seeking shows.

“The Andrews Brothers,” which played just in time for Veterans’ Day, was a valentine to the old USO shows that kept GI’s, sailors and Marines’ spirits up during World War II (and the organization is a valuable resource to service members to this day).

Three men (played by Michael Dotson, Jay Emrich and Don Farrell) – conveniently, brothers with the last name “Andrews” – who couldn’t make the cut for service due to health reasons, but still wanting to do their part, want to move up from being USO stagehands to performing on that stage. When illness prevents the Andrews Sisters from making a South Seas gig, the Brothers get their big break in a way they hadn’t imagined.

Our trio, with pin-up girl Peggy Jones (Mary Jayne Waddell) sing and dance their way through many memorable hits from the era, both as guys, and, hilariously in the second act, as the “Sisters.” It’s all a lighthearted affair, and was a fun trip down memory lane for many in the audience who remembered those days. This led to many wonderful conversations between them and the cast after the show.

As for myself, I and Wendy fell ill in the following days and the distraction of fighting the flu (yes, I had my shot, so I guess it could have been worse!) kept us from writing a timely review.

But ATI is on stage again, and while the previous show was for the young-at-heart, this one is a treat for actual little ones (and the parents and caretakers who read them their bedtime stories): “A Year With Frog and Toad.”

I remember reading the sets of short stories about best-friend amphibians by Arnold Lobel to my son years ago, and can even recall a few favorites. Those scenes are there in the live musical play, crafted by Willie and Robert Reale. The lead characters are brought to life excellently by Bradley Reynolds and Don Farrell, with the help of some supporting critters (Kyra Kenyon and Shelby Putlak), including a very eager snail (Tim Hunt).

If you or your kids are at all familiar with these woodland companions, make plans to visit them on Friday, Saturday or Sunday through Dec. 27. Call 317-843-3800 or visit atistage.org.