Eric Olson

Girl seeks protection from the forces of history in ‘Golem of Havana’ at Phoenix Theatre

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By John Lyle Belden

Just the title of the new musical playing at the Phoenix Theatre, “The Golem of Havana,” suggests the complex nature of its story, but the various threads weave together into a fascinating historical tapestry, set in Cuba during its 1950s Revolution.

The title entity is dreamed up by a Jewish girl in Havana, inspired by the legends her family brought with them from eastern Europe (having survived the Nazis and gotten away from Soviet occupiers). Rebecca (Lydia Burke) creates a homemade comic book about the Golem – a giant clay guardian crafted and enchanted by a Rabbi to protect the people – that followed the Jews across the ocean to continue its service.

Her father, Pinchas (Eric J. Olson), is a struggling tailor living on dreams, while her mother, Yutka (Lori Ecker), tries to keep his ambitions grounded. Meanwhile, family friend and government policeman Arturo (Carlos Medina Maldonado) promises to help them through his connections.

Rebecca befriends the family’s black Cuban maid, Maria (Teneh B.C. Karimu), who worries about the fate of her son, Teo (Ray Hutchins), who has joined the Revolutionaries. While praying for her son’s safe return, Maria introduces Rebecca to her faith in the goddess Yemaya, and at a time when the Hebrew god seems so distant, this local deity feels more responsive when it seems, at first, that things are changing for the better.

But the faith and humanity of all are tested when Teo arrives at the family home, injured, and hunted by authorities seeking to execute him. Yutka confronts conflicting urges to protect the man or to turn him away and protect her family, while remembering what happened to her and her sister (Betsy Norton) when they were betrayed to the Nazis in Hungary.

The cast also features Wheeler Castaneda, Rob Johansen, and Paul Nicely as Cuban President Fulgencio Batista.

The songs and music (under the musical direction of Karimu) flow nicely with the story. Under the steady hand of director Bryan Fonseca, the gripping drama of people caught in the changing tides of history keeps the focus on the heroic and tragic stories of individuals rather than the background events – a good thing, since neither the doomed Batista regime nor the imminent Castro victory are celebrated by history.

Burke gives us an appealing and endearing character. Hutchins reveals the pain that informs Teo’s choices. Olson’s happy optimist and Ecker’s pragmatic pessimist show how opposites do attract and make a family we can root for. Maldonado also does well in his layered portrayal of a man of mixed loyalties. Nicely shows his skill in revealing just enough humanity in a cold-hearted character to make him truly frightening.

As Rebecca says, stories matter, and “The Golem of Havana” matters not just as a Jewish story or a Cuban story, but also as a human story. It runs through July 16 on the Phoenix mainstage at 749 N. Park Ave. (corner of Park and St. Clair) in downtown Indy. Call 317-635-7529 or visit phoenixtheatre.org.

Incredible ‘Cabaret’

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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

The Actors Theatre of Indiana production of Kander and Ebb’s “Cabaret” is one of those “even if you’ve seen it before” shows that you absolutely should see.

And if you are only familiar with the Joel Gray/Liza Minnelli movie version of the musical, you haven’t seen it like this – as ATI and director Billy Kimmel opt for the “revival” version of the production. This perfectly suits the brilliant Ben Asaykwee as the randy Emcee (in the Tony-winning style of Alan Cumming).

Asaykwee struts and coos his way through the story of American writer Cliff Bradshaw (Eric J. Olson) and wayward English singer Sally Bowles (ATI co-founder Cynthia Collins) in Berlin just as the Nazis are seizing power. Collins is appropriately brash and charismatic and in great voice. Olson tackles an everyman role (though gay, or at least bisexual) with the perfect touch, our proxy to events that are at first unbelievable in a fun and entertaining sense, then chilled with approaching calamity.

Patrick Vaughn is smooth as the deceptively charming Ernst Ludwig, Debra Babich is strong yet sweet as landlady Fraulein Schneider, and Darrin Murrell as Jewish shopkeeper Herr Schultz makes you ache to know that such a wonderful man is unwilling to see the growing danger around him. Also notable are Judy Fitzgerald as working-girl Fraulein Kost, Nicholas Roman and Kenny Shepard as sensuous bookends Bobby and Victor (and other roles as needed), the BEAUTIFUL Kit Kat girls Nicole Bridgens, Jenee Michelle, Ashley Saunders and Carol Worcel (who also choreographed) and the BEAUTIFUL orchestra.

As history lesson, allegory, love story and brilliant entertainment, this show works on all levels. See it through Nov. 20 at the Studio Theatre (next to the Tarkington) in The Center for the Performing Arts, 4 Center Green, Carmel. Call 317-843-3800 or see www.atistage.org. Note there are a few table seats right next to the stage; inquire with the box office as to availability.

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

How an orphan became a legend

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

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

By John Lyle Belden

The Phoenix Theatre in downtown Indy starts its season with the local premiere of Tony-winning play “Peter and the Starcatcher” – based on the book by humorist Dave Barry and Ridley Pearson – a prequel to the popular adventures of Peter Pan. The production is not a musical, though a few strains of song figure into the plot, and while maintaining panto-esque silliness, is not a roll-in-the-aisles comedy. Consider it a fantasy that refuses to “grow up.”

Fortunately, the Phoenix has a couple of regulars seemingly blessed with eternal youth: Nathan Robbins as the Boy without a name – at first – and Phebe Taylor as Molly, the girl who turns out to be the other half of the play’s title. They are easily the most complex characters, with the Boy’s justifiable distrust of adults and whimsical wish to always remain a child, and Molly’s intellect, desire for adventure and devotion to her noble eccentric father, Lord Aster, played by Paul Nicely. They also stand out as all other characters are mostly caricatures.

Being broadly drawn is just fine for our villain Black Stache (known by a more familiar name eventually), played with grinning gusto by Eric J. Olson. Other notable performances include Dan Scharbrough’s faithful and scene-stealing Smee; John Vessels Jr. as the “beautiful” Mrs. Bumbrake; Michael Hosp as simple and smitten Alf; Tyler Ostrander as Prentiss, the young “leader” no one follows; and Ian Cruz in multiple roles, including an unusual island native chieftan.

It felt to me at times the show tried too hard to be funny, especially with modern references sprinkled in which felt dissonant with the 19th-century setting, but overall the show is sure-fire entertainment, sure to make your heart and imagination soar.

The play runs through Oct. 23 at 749 N. Park Ave. For info and tickets, call 317-635-7529 or see phoenixtheatre.org.

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

Review: Untraditional tradition delivers again

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By John Lyle Belden

Gayle Steigerwald – a very familiar face to Phoenix Theatre patrons – admits during “A Very Phoenix Xmas X: Oh Come Let Us Adore Us” that what is mainly a lampoon of holiday traditions has become an Indianapolis holiday tradition itself.

Steigerwald, a veteran of numerous “Phoenix Xmas” skits, acts as emcee for this year’s show, with its mixture of old and new elements in its songs and short plays, garnished with projected photos from past productions while Steigerwald banters as the cast change costumes. The other players – Scot Greenwell, Paul Hansen, Olivia Huntley, Rob Johanson, Eric J. Olson, Sara Rieman and Lincoln Sientz with musician Deb Mullins – are also familiar faces, and eagerly deliver like the pros they are.

The sock monkeys and lighted dancers return, and we get unusual takes on Christmas carols, the tree, gifting, and even the jolly character at the center of the celebration. There’s an avant garde piece, a bit of political commentary, and moments that reach more for the heart than the funny bone. Nothing is too sacred for this bunch, but there is no big sacrilege either. So, feel free to indulge in this alternate “tradition,” playing through Dec. 20 at the Phoenix, 749 Park Ave. (corner of Park and St. Clair downtown); see www.phoenixtheatre.org or call 317-635-7529.