ATI and CSO combine for one killer production

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.

Discover the beauty of ‘Violet’

By John Lyle Belden

The musical “Violet” touches on many themes: blind faith, being blinded by faith, the importance of our appearance to ourselves and others, and the necessity to forgive — both others and ourselves. Eclipse productions, a program of Summer Stock Stage, brings all these aspects beautifully into focus in its production of “Violet” at the Phoenix Theatre, through June 15.

In 1964, Violet, a young woman from rural Spruce Pine, North Carolina., travels by bus to Tulsa, Oklahoma, to find a television preacher who conducts televised faith healings. She hopes to finally be rid of a disfiguring facial scar she got from an accident with a wayward ax blade. On the way, she rides with two soldiers on their way to Ft. Smith, Arkansas (nearby Fort Chaffee, to be accurate, but this isn’t mentioned), the last stop before Tulsa.

Along the way, Violet (Elizabeth Hutson) gets to know Flick (Mark Maxwell), a black Sargeant, and Monty (John Collins), a white Corporal, as they get a measure of her and appreciate the woman behind the face. She also meets characters such as a well-meaning old lady (Amanda Boldt) and the driver (Carlos Medina Maldonado), as well Almeta (Chase Infiniti), who runs a boarding house in Memphis, and isn’t comfortable with white folks in her rooms. During this journey, we can see in her memory a younger Violet (Leah Broderick) and her father (Eric J. Olson), who as a widower tries to do as well as he can for his daughter, while enduring a river of deep regrets.

The cast also includes Terrence Lambert, Lily Wessel, and Gabriel Herzog in various roles. At the Tulsa church studio, we meet Maldonado as the preacher with a choir led by Infiniti as featured singer, Lula.

Most of the ensemble are Summer Stock Stage alumni, young adults given an opportunity to show the skills they attained through years in the youth program as well as high school and university; thus we have fresh faces performing like old pros alongside veteran actors Olson and Maldonado.

Hutson is exceptional, her star shining through the plain hair and clothes, helping us to see the scar burned into her psyche even though (as is commonly done in this production) it is not visible on her face. Maxwell and Collins flesh out their characters solidly, and Infiniti gets to show off her powerful voice.

The simple set suggesting an old country church, by designer Geoffrey Ehrendreich, is adorned with mirrors hanging high above it, the shadow of the center one looming in the background as a metaphorical tombstone. Music direction and costumes are by Jeanne Bowling, with a backstage band conducted by pianist Nathan Perry. Eclipse Artistic Director and show producer Emily Ristine Holloway directs.

This beautiful work is playing on the Russell main stage at the Phoenix, 705 N. Illinois St., downtown Indianapolis. Get info and tickets at www.SummerStockStage.com or PhoenixTheatre.org.