Emily Bohannon

Defiance pulls off hilarious Christmas criminal caper

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By John Lyle Belden

In crime, a well-executed theft requires such skill and finesse to be an art. In “The Heist Before Christmas,” the musical farce by Matt Kramer and Defiance Comedy, the art of larceny quickly devolves from Leonardo da Vinci to Looney Tunes.

An artist in all things theatre, Jay Hemphill performs the role of Nick Demarco, third-generation Master Toy Thief who, with hardened criminal Roxy (Shelby Myers) and her goofy younger brother Bobby (Joseph David Massingale) make a “Christmas Jail Break” (also a song – silly numbers like this, choreographed by Emily Bohannon, run through the plot). Once out, they head to Whitakers Toy Box, an independent store that promises a million dollars’ worth of inventory in its Christmas Eve Extravaganza.

Craig Whitaker (Joe Wagner) doesn’t really have a million bucks worth of toys. He has some Legos, plushes, and a lot of debt to settle, having inherited the shop a year earlier from his father. His frustrated clerks Sarah (Robin Kildall) wants to escape to grad school and Devon (Ramon Hutchins) is preoccupied with his band and finding it a new drummer. Practically the only other thing open is an equally customer-free coffee shop, from which barista Lily (Julia Ammons) comes to drop caffeine-loaded hints that she really, really likes Devon.

Our trio of bandits arrive to commit the meticulously well-planned-out robbery that Nick calls “The Silent Night Swipe,” his masterpiece. Craig is just happy to have someone in the store.

Then, a Karen (Carrie Andrews Reiberg) named Karen, who gets a song called “Karen,” and is a total, you know… comes in through the door Bobby forgot to lock to return an item she bought at a different store but it’s not open and this one is, and can she talk to the manager?

Carlos Medina Maldonado plays all the other roles, except for the Robot outside twirling the sign. A master thespian, we have seen Maldonado deliver as various characters in different companies at the Phoenix Theatre (old and new) and the Indiana Repertory Theatre. With Defiance, he shows his deft character range and (continuing the art metaphor) is the Picasso of the poop joke.

This wacky romp also includes an all-important nutcracker, odd plot twists, improbable romance, awkward ghosts, an ‘80s song as a plot device, and a somewhat happy ending – all the things you want from a Holiday Special by people who typically do stupid stuff for Fringe shows.

Kramer has the knack for writing and directing a “bad” (in his words) story that comes out good, with the help of people with who don’t mind “that just happened” fourth-wall bruising improv-style hijinks. Massingale, who once wowed us in the serious musical “Bonnie and Clyde,” shows great comic flair as a much less threatening bandit. Wagner, who leads an improv troupe of his own, excels at “yes-and”-ing the boss who stays optimistic and primed for success, no matter what, anchoring the spiraling misadventures throughout this somehow coherent narrative. We always knew Hutchins could belt a tune; he can now add twerking for laughs to the resume.

Well-played wishes to stage manager Molly North. Ben Rockey likes seeing his name in these reviews.

Just a few opportunities left to witness “The Heist Before Christmas,” including tonight as I post this, at the IF Theatre, home of IndyFringe, 719 E. St. Clair St., Indianapolis. Tickets at indyfringe.org.

Fringe hosts North Pole comedy mystery

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By Wendy Carson

Defiance Comedy is known for its zany musical spoofs and original content. This year this local comic crew brings us a delightful new treat for the holidays, “Claus Out,” a hilarious parody of the “Knives Out” film franchise.

Twenty years ago, Rudolph was murdered. While Prancer was initially charged, a lack of concrete evidence released him. Amid the chaos, Santa Claus disbanded his reindeer team.

Now, each reindeer has been mysteriously invited back to the scene of the crime, where Santa plans to reveal the truth behind this tragedy. Unfortunately, he is murdered just prior to the revelation. Now there is a bigger case to be solved.

While you may think you know those involved, their true personalities and motives are much cloudier. Take Dasher (Austin Hookfin), dripping with jealousy at the usurping of his leadership role of the team; Dancer (Charlie Rankin) whose affair with a bad-boy reindeer threatens her goody-goody image; Prancer (Joseph David Massingale), the initial suspect whose two days in lock-up left a lasting impression; Vixen (Paige Scott), the sultry seductress with an eye towards wearing the Big Hat; Comet (Shelby Myers), who thinks this is all because Merry is in retrograde and perhaps the right crystal/tea combination will fix everything; Cupid (Preston Dildine), whom everyone loathes, but he used his hiatus from the team to become an internet mogul; and Donder (Kelsey VanVoorst) and Blitzen (Ben Rockey) who are unabashedly German party animals though perhaps a bit slow on the uptake.

Add into the mix, Elfie (Robin Kildall), who is just trying to keep the Christmas Spirit alive while going full fan-girl on the famous Detective Benoit Bellz (Jason Adams), who was also mysteriously invited in order to solve the crime.

Writer/Director Matt Kramer digs deep into his bag of treats to give us a bounty of laughs, gags and moments of pure comic delight. The amazingly talented cast brings his works and lyrics to life perfectly, not to mention their mastery of Emily Bohannon’s choreography.

Who killed the most famous reindeer? And their boss? As the cast sings in “Intermission Song,” you may think you know, but you’re probably wrong. Find out at the IndyFringe Theatre, 719 E. St. Clair St., Indianapolis, Dec. 8-10 and 14-16. For tickets, go to indyfringe.org.

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.)

Executive dysfunction in holiday parody

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By John Lyle Belden

As we settled in for a long winter’s viewing of “The North Wing,” an original Christmas musical presented by Defiance Comedy at the IndyFringe theatre, Molly North, assistant to the show’s writer and director, Matt Kramer, said this is like if “The West Wing” creator Aaron Sorkin had (presumably under the influence of something) decided to write about the Santa Claus Workshop at the North Pole, and add music.

Well… there is a “walk-and-talk” scene, so we’ll go with that.

Since Burl Ives is dead and Josh Gad costs too much, we have the lovely Paige Scott as our narrator, Jeff the Snowman, ironically with a warmer heart than her other role, Mrs. Claus. The former is charming, literally disarming, and proud to be “a waste of resources.” The latter seems to take pleasure in being naughty – which could be a problem in this setting.

Clay Mabbitt is Thomas the Human (not the one shipped off to New York, that’s another musical), the leading assistant to retiring Head Elf, Mr. Hinkle-Twinkle (Ben Rockey, one of a number of Elfin roles) who apparently learned to speak English by watching “It’s a Wonderful Life.” After another Christmas Eve in which holiday spirit is down, the old man steps down and, before Thomas can be promoted, Mrs. Claus announces an outside hire: Janet (Meg McLane) the human former executive of a Toy Corporation, who has lots of ideas for improving things at The North Wing.

Imminent changes with only 364 Days Until Christmas have elf executive assistant Beatrice (Shelby Myers), Phil the Elf (Austin Hookfin), and random Elves (Rockey and Robin Kildall) very worried. It doesn’t help that Judy Sparkles of North Pole News (Kelsey VanVoorst) reports that disaster is inevitable. It’s enough to drive one to drink – with libations served by Blumpkin the reindeer bartender (VanVoorst in antlers and red nose).

As befits a story inspired by real-world political intrigue, this all gets really silly, really fast. And there are songs. And dancing (choreography by Emily Bohannon). And romance. And, of course, the traditional plots to destroy/save Christmas.

To rescue the holiday, there is a quest for the next must-have toy, which brings – at 164 days to Christmas – the arrival of Binky the Toy Tester (Kildall). Will the thingamajig pass muster? Will it matter?

This cast works together smoothly, and I was particularly impressed with Myers’ performance. The more dramatically inclined Mabbitt makes a great straight man to set up fellow goofballs. Scott’s ability to switch between clown and villain is fun to watch.

As we’ve come to expect from Defiance, this show is full of gut-splitting hilarity and features a number of improv veterans, so expect anything. Also as usual, there’s a bit of ribald innuendo, but aside from the “Naughty” edition 7:30 p.m. Friday and Saturday, there is a “Nice” more all-ages version at 3 p.m. Sunday (Dec. 9-11).

See their style of wacky comedy that sells out Fringe festival shows, now in two full acts, at IndyFringe Basile Theatre, 719 E. St. Clair St., Indianapolis. Get tickets at indyfringe.org.

IndyFringe: The Ballad of Blade Stallion

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This is part of IndyFringe 2022, Aug. 18-Sept. 4 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By Wendy Carson

Matt Kramer and the troupe at Defiance Comedy have brought us another kooky laugh-fest for our enjoyment. From the opening scene of “The Ballad of Blade Stallion” – in which yoga balls are bounced upon to simulate spaceships – you know to expect a silly great time.

Having been hired to retrieve the only copy of some very important secret plans (Who doesn’t make a copy?) as well as a kidnapped girl, Astria (Emily Bohannon), Blade Stallion (*sting* “Blade Stallion!”) sets off to get his paycheck.

Stallion (Zack Joyce) was not aware of the choreography included in his theme song, but manages to make it through that obstacle, only to find that he must also babysit two young children once he gets to his ship.

Cobalt (John Kern) and Skye (Rachelle Martin) are not only familiar with his legend, they feel he might even be “Space Jesus.” As much as Stallion hates telling stories, he manages to control the kids somewhat by telling them his backstory.

We learn he was raised by witches, as well as the origins of his Space Nemesis, The Dandelorian (Clay Mabbitt). This chapter also introduces us to his fellow Space Pirate Academy graduates: cyborg Ann Droid (Meg McLane), with whom he shares a sordid love; and Bando (Kelsey VanVoorst), an anthropomorphic feline who may or may not have his best interests at heart.

Add to this a lot of crazy songs, improbable plot twists, the entire cast milking every bit of humor out of the entire script, and some bizarre characters thrown in, and you have another typically hilarious Defiance show.

Witness the marvel that is “The Ballad of Blade Stallion (Blade Stallion!)” at the District Theatre, 5:30 p.m. Thursday and 8:45 p.m. Saturday, Sept. 1 and 3.

Holiday favorite ‘Elf’ returns to Civic

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By John Lyle Belden

Just two years ago (what seems a lifetime now), the Booth Tarkington Civic Theatre had one of their biggest-ever hits with the musical “Elf,” based on the 2003 Wil Farrell film that is already a beloved Christmas classic.

And as live theatre has returned around central Indiana, so, too, has Buddy and his friends. And – a holiday miracle? – this production is just as wonderful as it was before.

This presents the reviewer with a problem. How do I say practically the same thing I wrote in 2019?

Like this — To save you the click and page-load of a link to the previous review, the following is the same text that still applies, with updated cast and info as needed:

The book by Thomas Meehan and Bob Martin, with songs by Matthew Sklar and Chad Beguelin, allows Buddy the Elf to escape the shadow of Ferrell’s unique talent to make him his own wonderful character — portrayed happily here by Matt Bays. 

As in the original story, Buddy is a human who, as a baby, crawled into Santa’s sack, unseen until the end of the journey. Finding that the boy’s single mother had died, Santa Claus (Parrish Williams) lets him be raised by the elves, allowing Buddy to think he was one of them. 

The truth is inevitably revealed, and Buddy travels to find his biological father — who doesn’t know he exists — in New York City. The dad, Walter (Jack Tanselle), is a workaholic executive at a publishing house of children’s books who is rough on coworkers like good-natured Deb (Nina Stilabower) and neglectful of wife Emily (Carrie Neal) as well as son Michael (Dylan Aquaviva). Naturally, Walter doesn’t believe this strange man in elvish tights is his son, so has him sent away. Since Buddy claims to be from the North Pole, he is dropped off at the next-best thing — Macy’s. There he ends up among the store’s Santa’s helpers, where he falls in love with fellow “elf” Jovie (Emily Bohannon). 

From there, the story is Buddy’s struggle for acceptance and belonging, along with a chance to save Christmas for his father’s family, and the whole world — when Santa is stranded in Central Park, his sleigh too low on the Christmas Spirit that fuels it (PETA nixed his reindeer a while ago). Other notable roles include Jonathan Studdard as the stressed-out Macy’s Manager, Dick Davis and Kelsey VanVoorst as hapless children’s book writers, and Jeff Angel as Mr. Greenway, the curmudgeonly owner of the publishing company, who wants a new hit Christmas story from Walter — or else!

The feel of the show throughout is best described by one of its song titles: “Sparklejollytwinklejingley.” The mood is perpetually sweet, even when characters aren’t “Happy All The Time.” And even when they feel that “Nobody Cares,” there’s a fun dance break. 

Directed by Michael J. Lasley and Anne Beck with choreography by Beck and musical direction by Brent Marty, this is a magical ensemble effort. Seeing it on a matinee with an audience of mostly children, I noticed they were all entranced and swept up in the spirit of it all. 

Just as sweet and special as spaghetti with syrup, “Elf” is yet another holiday must-see in central Indiana, playing through Dec. 24 at the Tarkington theater in the Center for the Performing Arts in downtown Carmel, right next to the Christkindlmarkt. (Arrive early for hope of parking.) See www.civictheatre.org or thecenterpresents.org for info and tickets.