fairy tale

This reviewer praises CCP young artist production

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

By John Lyle Belden

Carmel Community Players presents the fantastical tale “This Girl Laughs, This Girl Cries, This Girl Does Nothing,” an internationally popular play for young actors and audiences by Finegan Kruckemeyer, the CCP Rising Star Production performing through this next Sunday at The Cat in Carmel.

Starting with a Grimm premise – a woodcutter father abandons his triplet daughters in the woods – we get a story with more whimsical adventure than grown-up reality, which works just fine in a work as entertaining as it is allegorical. A talented cast ages 13 to 18, directed by Amber K. Roth, keep the mood light with a fair number of laughs at the play’s little absurdities.

From the “once/twice/thrice upon a time” that they are born, the title characters are played – from girls to women – by Sydney Weitz as Albienne, the one who loves sweets and, seeing the abandonment as an opportunity, laughs and heads out towards the west; Maile Alpizar as Beatrix, the one who loves the sun and, resolving to find their Papa to understand what happened, dries her tears and heads out towards the east; and Vivienne Thibodeau as Carmen, the one who tends to carry the weight of the world for others, feels this is a perfect time to unshoulder the burden and make the most of where she is.

Events are described through with the aid of a cast of Narrators who also play supporting characters including various villagers, “Vickings,” and woodland creatures: Maggie Croddy, Lucy Cooper, Amelie Thibodeau, Emmy Bobenmoyer, Sophia Sweeney, Delaney McWilliams, and Corbin Cowles, whose roles include a romantic interest or two.

There is also a lighthouse with a perplexed keeper (Bobenmeyer), a sword, a cheeky badger (Cooper, who also plays Papa), some cherry trees, and a boombox, all in a triple-shot globe-circling journey that will somehow bring things back to where they began. The moral of the story is quoted on the cover, “Life is not for going back;” for the lessons, truly applicable to all ages, you need to see this for yourself.

Performances nicely carry the narrative forward with appropriate youthful energy. Weitz plays her character as one with an appetite not to consume for its own sake but to savor – even if it’s the thrills of a different vocation. Alpizar wears her freckles with pride, shining like an intrusive sunbeam into every situation. Vivienne Thibodeau aptly portrays the arc of an empath learning how much of a regard for others is too little, too much, and just right.

Roth is assisted by Student Dramaturg Anna Pfeiffer. Samantha Kelly is Stage Manager, assisted by Grace Kelly.

A jam-packed 75 minutes – not too much for the young, worth the ticket for the rest – follow “This Girl…” Thursday through Sunday at The Cat, 254, Veterans Way, downtown Carmel. Get tickets at carmelplayers.org or thecat.biz.

Drag Theatre lets its ‘Freak Flag Fly’

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

By John Lyle Belden

(Note: Out of respect for the art form and its performers, they are identified by their Drag names as given in the show program.)

In the gay community, “fairy” stings as a pejorative, but Indy Drag Theatre celebrates Fairy Tales in style with its production of “Shrek” at the District Theatre. This parody/homage melds the Oscar-winning 2001 film with the Tony-winning 2008 musical (incorporating more elements of the 1990 children’s book) with bits of sassy attitude (RuPaul’s voice does pop in) appropriate to the milieu.

With all audio lip-synched the story is unchanged, so what sells the show are the non-stop visuals – costumes and props by Ailish Forner, makeup by Ciara Myst, wigs from Hair by Blair, with choreography by Kitt St. Clair, and directed by Maddie Deeken with Beelzebabe – and comic yet compelling performances by Miss Kay-Ottic as Shrek, DeLulu Devant as Donkey, and Luna Magick as Lord Farquaad. Princess Fiona is nicely portrayed by Kalinda, with Cici Pasion and Madison Avenue as her younger versions, and Axel Rosie as “love’s true form.” Natalie PortMan puts the drag in Dragon with her performance as the fire-breathing beauty. Our Shrek and Fiona have chemistry (and not just gastric), while Donkey and Farquaad are each major scene-stealers.

Also notable is Alicia Brooke as Pinocchio and Robin Hood. Various other creatures are embodied effectively by Eli Rose, Johnnee Crash, Brentlee Bich, Norah Borealis, Milo Xpat Tayshuns, Rodick Heffley, Freddie Fatale, Senator Gale Lagations, Ava Morningstar, Aqua Marie, and Gorge Bush.

While fun and familiar, this production is also a loud and proud celebration of our differences, and how together we can find in that freakiness a common bond.

Good news: This time we have the review up in time for you to see the show! Seats sell fast, so get tickets at indydistricttheatre.org for performances 7 p.m. Thursday, 8 p.m. Friday and Saturday, 2 p.m. Saturday and Sunday, Nov. 21-24 at 627 Massachusetts Ave., Indianapolis.

Andersen’s own duckling-to-swan story in new musical

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

By John Lyle Belden

The life of Danish author Hans Christian Andersen was quite extraordinary, resembling a novel – or perhaps, a fairy tale.

Indy Bard Fest presents “Andersen: A Fairy Tale Life,” a new musical written and directed by June McCarty Clair (with music by Derek Hakes and lyrics by John C. Clair), based on the true events of the tale-spinner’s life.

We first follow Andersen as a boy (played by Preston Blair) in the small town (at the time) of Odense on Denmark’s island of Funen – far enough from Copenhagen for it to be considered boring but close enough for royalty to visit for a quiet vacation. Raised on literature by his father (before he died) and folk tales by his illiterate mother (Lisa Anderson), the lad would sing and recite for coins on the street.

Having a good voice and endless ambition, as a teen (Grant Craig) he makes his way to Copenhagen hoping to be a performer as well as a writer. Nearly penniless, he finds his way to Jonas Collin (Mac Williams), who takes him in, and with famous voice teacher Siboni (Thom Brown), scientist H.C. Orsted (Duane Leatherman), and, reluctantly, Jonas’s son Edvard (J.B. Scoble) undergo a grand experiment to see if a low-born person with potential can bloom into a celebrated genius. Struggling at first, Andersen is sent to study under cruel schoolmaster Simon Meisling (Matthew Socey) to improve his grammar. Instead, he writes a poem which somehow makes its way into print.

This first act not only gives us an interesting biography but also provides a showcase for the talents of Blair and Craig, who get their own songs and fully realized scenes – not just used as younger faces to get to the man we know. With Craig’s charm and vocal chops, he easily portrays the star potential of the confident young Dane.

The second act brings on Andersen as a young adult, in which Matt Anderson channels his charisma into a man who came across as gangly, awkward, and eccentric, yet somehow enchanting. In these years success came easily, but happiness and a sense of belonging elude him. People love his stories, but what about the man?

This play includes references to a number of Andersen’s tales, with one even acted out by children. The songs serve the plot well – such as “Another Door,” as young Christian deals with rejection as he pursues his destiny. The second-act song “Fairy Tale Life” has showstopper potential.

Other notable performances include Rachelle Woolston as Mette the Fortune Teller, Sara Tewes as a famous ballerina, Erika Koepfer as Louise Collin, Nan Macy in brash-woman roles as usual, and Greta Shambarger as the one kindly person who doesn’t slam the door in Andersen’s face. They are joined by Beth Gibson, Derek Hakes, Emelyn Woolston, Owen Flint, Andy Burnett, Mel Burnett, Lucy Isles (Little Match Girl), Jacob Meneghini (Ugly Duckling), and Thom Johnson (Mayor of Odense).    

“Andersen: A Fairy Tale Life” is an entertaining examination of a true rags to riches story, a testament to overcoming one’s disadvantages with persistence. We get glimpses into both the author’s humor and his melancholy that informed his often-tragic writings. Ever feeling the outsider, he still lived a full and, eventually, celebrated life. The story doesn’t delve into current scholars’ controversial speculation of his sexuality, yet does portray the loneliness we know he felt.

Remaining performances are Friday through Sunday at Shelton Auditorium, 1000 W. 42nd St., Indianapolis (southwest corner of Butler University campus). For information, see indybardfest.com, or find tickets here.

Footlite celebrates love on ‘This Island’

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

By John Lyle Belden

Footlite Musicals provides a taste of the tropics with its young artists production of “Once on This Island,” the Broadway hit by Lynn Ahrens and Stephen Flaherty, based on Rosa Guy’s “My Love, My Love,” a Caribbean retelling of Hans Christian Anderson’s “The Little Mermaid.” It copies the original mostly in theme and a few plot elements, standing as its own as a story of love, sacrifice and the forces that work around – and often against – us.

Sometimes it takes a village to tell a story. Aside from the named characters, we meet a chorus of 21 Storytellers who introduce the tale and carry it along. They relate that on this island, a small French possession in the Antilles, they honor the local Afro-Caribbean gods including Asaka (Imani Ruffin), Mother of the Earth; Agwe (Kori Smith), lord of Water; Erzulie (Caileigh Jones), goddess of Love; and Papa Ge (Noah Lee), spirit of Death.

The story centers on Ti Moune (Lauren Blackwood), an orphan found in a tree after a storm. Sensing the gods saved her for a reason, an old couple – Mama Euralie (Plezzance Lawrence) and Tonton Julian (Jalen Breiley) – take her in and raise her. Events transpire that Ti Moune encounters and saves Daniel (Colton Woods), son of the nobleman Armand (Edward Rayhill) whose family has governed the island for generations. She even makes her way to Daniel’s side of the island, where he lives in a luxury hotel. But she is not the only woman in his life; enter his lifelong friend Andrea (Rebecca Pinero). Ti Moune finds herself tested by both the trickery of Papa Ge and the discrimination of high society. What is her destiny?

Directed by Dennis Jones and Edward Trout, and excellently choreographed by Kevin Bell, with the island beat of an ensemble led by Gisele Dollinger, this Caribbean fairy tale flows beautifully as all the cast contribute, with Blackwood’s voice sailing through sun and storm. The gods get their due, with Ruffin shining in the song “Mama Will Provide,” and Lee embracing his role as trickster as well as Reaper.

This story with its ring of familiarity set in an exotic locale reminds us that love is noble and real in all cultures. The energy of its telling sweeps us along and makes us root for the girl in the tree.

Performances of “Once on This Island” run through Sunday, Aug. 18, at Hedback Theater, 1847 N. Alabama, Indianapolis. Get info and tickets at footlite.org.

Buck Creek’s wonderful ‘Woods’

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

By John Lyle Belden

The show “Into the Woods” could be considered the quintessential Stephen Sondheim musical (with book by James Lapine). Even in a world of fantasy and magic there is a sense of realism, real stakes and real consequences. It is also one of his works you are likely familiar with, thanks to numerous community and professional theatre stagings, as well as a popular movie (and, of course, its runs on Broadway).

Therefore, when Buck Creek Players took it on this year, under the direction of Ben Jones and music director Jill Stewart, they decided to make the production stand out while still true to its story and audience expectations. The result is an “Into the Woods” that is outstanding by practically every measure.

The experience starts the moment you enter the theater and see the stage. Aside from a large lone tree at the back of the stage –­ its hollow necessary to a number of scenes – setpieces are adorned with raised branches to suggest the ever-looming Woods where our stories are set. Those rotating pieces themselves look like giant open books, the covers walls of old bookshelves. Other props look like stacks of books (classic and popular titles on the spines) and scattered like random leaves on the floor are pages with burnt edges – we were told Jones had them be copies of pages from commonly banned books.  Set design and construction are credited to Matt Gray.

Roles are well-cast. Ellen Vander Missen, notable for leading ladies at Footlite Musicals, makes her BCP debut as Cinderella. Central characters the Baker and his Wife are wonderfully played by Ball State graduate Mason Mast and local favorite Miranda Nehrig. The quirky wit of Thom Turner fits perfectly as the Narrator and Mysterious Man. Cordale Hankins embodies the youthful impulsiveness of Jack (of “Beanstalk” fame) while Georgeanna Teipen returns to BCP as his Mother. Shelia Raghavendran appears to be having fun as brave, energetic Little Red Riding Hood.  Emily Gaddy commands her scenes as the Witch.

Others include Claire Slaven as Cinderella’s Stepmother and Jeremy Teipen as her father, with Claire Gray and Jenna MacNulty as the stepsisters; Addison Koehler as Rapunzel; Josh Rooks a striking presence as the Wolf and the Prince’s Steward;  Charming Princes played by Liam Boyle (for Cinderella) and Zach Bucher (for Rapunzel); Amelia Tryon as the spirit of Cinderella’s mother as well as the once-eaten Red Riding Hood’s Granny; and Anna Spack as diverse characters including some very expressive flocks of birds.

In a notable addition to the cast, Dominc Kattau brings the cow Milky-White to life, saying a lot with just a “Moo” and making scenes with his double-takes and antics.

The show also features a 16-member backstage orchestra, conducted by Jill Stewart.

For the unfamiliar, Act I has a number of popular fairy tales occurring simultaneously in and around the titular forest; Act II is what happens after the story says “happily ever after.” The songs serve the plot and work in Sondheim’s often complex style. The refrain of “Into the Woods” from the “Opening” sticks with you, and the Princes’ lament “Agony” is a favorite. The show’s “hit” songs come near the end – “You Are Not Alone” and “Children Will Listen.” No matter what your experience is with this musical, though, you are sure to be delighted.

More likely, however, you could be disappointed at missing out. As I finish this, Friday and Sunday’s performances are sold out, leaving two shows this Saturday (June 22), 2:30 and 7:30 p.m., at the Buck Creek Playhouse, 11150 Southeastern Ave., Indianapolis (Acton Road exit off I-74). Call 317-862-2270 or visit buckcreekplayers.com for tickets.

KidsPlay gets the “facts” on legendary tale

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

By John Lyle Belden

When your happily ever after isn’t going so well, or otherwise you’re at your cottage during the day, you tune into what’s happening on the Fairy Tale Network. And in the spirit of those non-magical folk who obsess over celebrity and true crime stories, you get the eyewitness accounts of Real Talk with Fairy Tale Legends.

This is the set of “The Snow White Variety Show,” by Brian Taylore, presented by KidsPlay Inc., the Greenfield-based program for young performers in grades 3-8. Directed by founder Christine Schaefer and Amy Studabaker, with choreography by Frances Hull and stage-managed by Blair Connelly and Ethan Stearns, once again we get a fairly polished and professional production, giving us a glimpse of real budding talent mixed in with youthful exuberance, giving a show that you don’t have to be related to one of the cast to enjoy.

Our Announcer (Anthony Stunda) introduces “Real Talk…”, hosted by Heidi Perbole (Ellie Stearns), who is eager to get the Grimm truth about Snow White. Seven dwarves are on hand to tell what really happened – not the seven you’ve heard of, we get Wordy (Nora Smith), Rowdy (Reid Connors), Nerdy (Charles Wallace), Weepy (Aria Studabaker), Creepy (Everett Sumpter), Howdy (Alexandria Ellis), and Bob (Asher Ortman). As is routine with “true crime” TV, all the scenes are presented on stage by reenactors, giving us characters including Snow’s parents (Kayte Reasoner and Ben Erwin), the Evil Queen (Chloe Elkins), The Huntsman (Jack Joyner), the Magic Mirror (Audra Speicher), and Snow White herself (Reese Weitekamp). As each dwarf relates a part of the story, in his or her own quirky way, the “actors” perform it in the same manner – Wordy’s bits are verbose, for instance, while Howdy’s has a cowboy flavor.

Even mythical folk have to pay the bills, so the broadcast is peppered with commercials for things like the Big Bad Wolf’s (Carter Pipkin) house-flipping business, Rumpelstiltskin’s (Nora Jeter) gold investments, or Cinder-sella (Kyndall Watkins) offering you a great price on a new or used carriage (deals end at midnight). KidsPlay has posters by these “advertisers” for auction in the theater lobby.

This enchanted set also has appearances by Tanner Pipkin, Elliott Holms, Molly Wallace, Amelia Melby, Sawyer Erwin, Addalyn Torres, Abilene Kaucher, Spencer Pipkin, Essie Ortman, and Josie McConnell, in various roles.

A funny and charming fresh take on a familiar story, with twists you may not expect, performances are this weekend only, Nov. 10-12 at H.J. Ricks Centre for the Arts, 122 W. Main St. (US 40) in downtown Greenfield. Tickets are still only $5 each. See info and pictures by searching “KidsPlay” on Facebook.

IndyFringe: Sing Down the Moon: Appalachian Wonder Tales

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

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

By John Lyle Belden

Local youth ensemble Agape Theater Company goes with something more whimsical than their usual serious projects with “Sing Down the Moon: Appalachian Wonder Tales,” a musical by Mary Hall Surface and David Maddux that presents familiar fairy tales as they would be told in the mountains of rural Virginia or North Carolina.

This show is also a little different for Agape as it highlights its younger performers, which enhances the innocent fun of the stories’ presentation. In this production, we get three tales you’ve heard before, but not quite like this:

In “Jack and the Wonder Bean,” directed by Brynn Hensley, crafty Jack (Rachel Majorins) climbs the beanstalk to encounter a huge Giantess (Anastasia Lucia, with puppet support by Nate and Jacob Osburn) and escapes back home to his Ma (Harmony Quinn), bringing goods including a magic Hen (Caroline Hildebrand) and enchanted Fiddle (Evangeline Hillebrand).

In the hoe-down song-and-dance number “The Sow and Her Three Pigs,” directed by Kiron Branine and Rebekah Barajas, narrators Ellie Barajas and Rachel Majorins tell of a Mama-pig (Laney Ballard) who worries what her offspring will do after she is gone. Martha (Nora Moster) and Mary (Joanna Barajas) go cheap on building materials, while Nancy (Eden Majorins) finds something even stronger than bricks. Here comes the Fox (Flannery Partain), hungry for bacon. The simple set includes a cloud-wagon for deceased piggies to sit on while awaiting their relatives’ fate, while most of the cast get involved in the do-si-dos (the dance, not the cookie).

Finally, we get the Cinderella variant, “Catskins,” directed by Grant Scott-Miller. An orphan girl (Lacey Pierce) finds a home with a Farmer (Aubri Cottrell) and his Wife (Harmony Quinn). When the Wife dies, the Farmer, embittered by grief, becomes abusive. The spirit of her adopted mother comes to Catskins’ aid with the help of a magic trunk, and the girl ends up a servant to a fine Lady (Anastasia Lucia) and her Daughter (Flannery Partain). It happens that in that land, a Rich Boy (Jacob Osburn) is holding fancy dances to find himself a bride. Our heroine is a bit crafty and doesn’t need talking mice to help her in this interesting version of the old tale.

The presentation is fun and entertaining, and the Giantess puppet is impressive. Remaining performances are 1:45 p.m. Saturday and 5:15 p.m. Sunday, Aug. 27-28, in the Basile Auditorium at the Athenaeum.

Relax with CrazyLake’s ‘Mattress’

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

By John Lyle Belden

CrazyLake Acting Company brings fun and fairy tale romance to the stage with “Once Upon a Mattress,” the comedy musical by Mary Rodgers and Marshall Barer based on the Hans Christian Anderson story “The Princess and the Pea” (the 1959 Broadway production was notable for making Carol Burnett a star).

A Minstrel (Matt Little) gives us the popular version of the tale – acted out by Ellie Stearns, Charles Wallace, and Aria Studabaker – then proceeds to introduce how it “really” happened. 

Queen Aggravain (Noelle Russell) is solidly in control of the kingdom, with husband King Sextimus (Trever Brown) mute from a curse. It is decreed that no one may marry until her son Prince Dauntless (Chris O’Connor) takes a bride – who must be a genuine Princess. The Queen is sole arbiter of what “genuine” means, and with a willing accomplice Wizard (Coy Hutcherson) comes up with tests that somehow every visiting Princess fails. Lady Larken (Alex Gawrys-Strand), the senior Lady-in-Waiting, finds she really can’t wait to wed Sir Harry (Cael Savidge), so the noble knight sets forth to find a suitable Princess. The Queen sends him to the Swamplands, as surely no nobility lives there. Yet he returns with a pretty girl, bearing a crown and a pedigree – who stuns the court by swimming the moat to reach the castle.

Dauntless is in love, Aggravain is appalled, and damp dame Princess Winnifred (Katie Brown) is ready for whatever test Her Majesty comes up with. After such a crude introduction, this new contestant would surely fail a “sensitivity” test – time to order 20 mattresses.

Aside from a full cast of Knights and Ladies, we also have the antics of the Jester (Alec Cole) who is joined by the King and the Minstrel for some subversive comic relief.

Directed by Christine Schaefer and Amy Studabaker, the show features a lot of hilarity and entertaining song-and-dance, including the popular songs, “Shy!” and “Happily Ever After.” Russell is deliciously dastardly as our wicked Queen, while Trever Brown exhibits great miming and physical comedy as the randy King. O’Connor plays Dauntless a little naive and a touch spoiled, but still likable – downright adorable as the kid aching for his first kiss. Savidge manages a cool Lancelot-light portrayal, while Gawrys-Strand keeps Larken on an emotional edge without going overboard. Hutcherson makes a dandy toady. Little and Cole ably play their supporting parts, especially the latter in a nice dance number with the Jester’s father, Sliding Peter Jingle, smoothly danced by Dana Hart.

Appropriately, Katie Brown is the real deal: brilliant in acting, singing, dancing, and comic timing. (Her first scene coming on like a sort of Medieval redneck had me thinking she’d be perfect in “Annie Get Your Gun.”) Her Princess “Fred” is the kind of royalty nearly anyone could fall in love with.

A wonderful diversion from the outside heat and hassles, “Once Upon a Mattress” opens Friday and runs through July 17 at the H.J. Ricks Centre for the Arts, 122 W. Main St. (US 40), Greenfield. Discount tickets are available at Hometown Comics (1040 N. State St.); for information see CrazyLakeActing.com.

Gregory Hancock gives fairy tales a fun twist

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

By John Lyle Belden

An issue I sometimes have with dance is that I find it hard to follow exactly what is going on, what the dancers are trying to portray — there is no such problem with “Once Upon a Time,” by Gregory Hancock Dance Theatre.

The subject matter is as familiar as childhood — popular fairy tales. But Gregory Glade Hancock and his dancers have put their own spin (and leap, and…) on the stories to freshen the narrative. Like in the musical “Into the Woods,” they all seem to occupy the same fanciful space, including an Enchanted Forest, in which the dancers got to work their own choreography.

Red Riding Hood (Hannah Brown) starts the stories by making her delivery. It seems Grandma appreciates the goodies so much, she just wants to dance with Red, though she does look suspiciously furry. As it turns out, the Wolf (Olivia Payton) while big, isn’t so bad — despite harassing pigs — and mostly just wants to get belly-rubs from the Princesses. 

Narcoleptic Beauty (Chloe Holzman) — turns out it wasn’t just a cursed spinning-wheel — turns in the show’s best performance, especially when constantly dancing in and out of consciousness with the Handsome Prince (Thomas Mason). She puts in moments of gracefully collapsing throughout the show, to great comic effect. As for his Highness, being the only man in the company, he has to be everybody’s Prince, which does result in a chase scene or two. But the one he loves is himself, exemplified with his solo number with a hand-mirror — what a “selfie” was 500 years ago.

In other stories coming to life: 

  • Cinderella (Camden Lancaster) sweeps through, dreaming of future happiness, but the glass that is most important to her is in the spectacles on her face, not the shoes on her feet. The Fairy Godmother (Hannah Winkler) gives her frames worthy of Elton John. But Cindy’s desire to look good is greater than her myopia, with appropriately funny results.
  • Little Bo Peep (Josie Moody) has given up on sheep and herds the Three Little Pigs (Payton*, Winkler, and Jillian Hogan). 

(*Not only ironic — playing Pig and Wolf — but I could have sworn all three Pigs were with the Wolf when he huffed and puffed them. Talk about talent.)

  • Rapunzel (Zoe Maish) has the strongest weave in the kingdom, which others can’t resist messing with. 
  • Snow White (Anna Williamson) shakes off the apple’s effect and, with the Prince otherwise occupied, looks for love elsewhere. Seven young students don cap and beard as the Seven Dwarves (Annabelle Breeden, Ashton Curry, Violet Kitchen, Vincent Kitchen, Josephine Meadows, Isabella Webb, and Elli Thacker) — one of which also opens the show by playing the Boy in pajamas with the storybook of these twisted tales.
  • Pinocchio (Morgan Beane) is the Trickster character of the show. Having not learned his lessons yet, he gets his long nose into all manner of mischief throughout the evening.
  • As for the Witch (Abigail Lessaris), the apple isn’t the only curse that’s failing. Her powers have fizzled, and she dances desperately to rekindle them — but be careful what you wish for.

We are also enchanted by some fairies (Zoe Hacker, Alyssa Henderson, Evangeline Meadows, Megan Webb). The supporting cast (who also act as ushers) include Stephanie Blaufuss, Allie Hanning, Audrey Holloway, Molly Kinkade, Stella Kitchen, Sophia Rice, Taylor Smith, Audrey Springer, Ava Thomas, and Rebecca Zigmond. 

This is the Hancock company’s annual cabaret fundraiser, fitting nicely into the big black-box studio of the Academy of GHDT (329 Gradle Drive, Carmel, near the Center for the Performing Arts). The students don’t pressure you too much to give, though there is a clever “grow Rapunzel’s hair” board to track giving. There is also a free treat at every seat.

The talent and athleticism are amazing to watch, with graceful and easy-to-follow storytelling through movement. This show gives a chuckle to all ages, is an easy inspiration to youth — and reminds the casual viewer that there is more to dance than “The Nutcracker.”

It’s also very popular. The final performances Saturday and Sunday are sold out, but Friday, Feb. 21, has been added. Get tickets at ghdtonceuponatime.eventbrite.com. Get company information at www.gregoryhancockdancetheatre.org.

 

Footlite hosts fresh take on popular fairy-tale musical

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

By John Lyle Belden

Sometimes, when you need it most, a special person appears, a wise character who makes everything better with their magical touch.

A Fairy Godmother? Sure. But for now. I’m referring to Bob Harbin. Mr. “Bobdirex” has cast his spell on Footlite Musicals in his direction of Rodgers and Hammerstein’s “Cinderella.” While most often seen as a version of the 1957 television production, he has gone with the 2013 Broadway book of the musical by Douglas Carter Beane. Consider this a more postmodern and “woke” version — as one critic of the New York staging put it, influenced by “Les Mis” and “Spamalot” — while still retaining plenty of the fairy-tale charm and the wonderful R&H songs.

We check off the old story points: A girl is reduced to servitude by her cruel stepmother and spoiled stepsisters, but she keeps a positive attitude “in her own little corner” by the hearth. Meanwhile, the local Prince (who is quite Charming, but he’ll go by one of his several names) needs to find a bride so he holds a Royal Ball, which our evil Steps go to but leave Cinder-Ella behind, to be rescued by a Fairy Godmother, who provides the gown and glass slippers while charming a pumpkin into a carriage and handy animals into its horses, driver and footmen. Spell ends at midnight, so after Cindy and the Prince fall in love-at-first-sight, the clock chimes, and off she goes…

But, wait! Also: Prince ‘Topher (Jacob Hardin) is more than two-dimensional and has his own inner struggle; likewise, stepsisters Charlotte (Kristin Cutler) and especially Gabriella (Tara Cherry) have feelings other than snobby disdain, with the latter secretly in love with peasant rabble-rouser Jean-Michel (Dustin Branum) — oh, and there’s that young student revolutionary added to the cast. Madame Stepmother (Jill O’Malia) is still evil as heck, but we have another villain in minister Sebastian (Markell Pipkins), who maintains the kingdom until the Prince comes of age, enacting all sorts of oppressive measures. And to top it all off, when she runs from the ball, Cinderella (Lauren Russel) takes both shoes! What’s going on here?!

You have until Dec. 15 to see how this all works out to the expected happy ending. With the odd twists and its constant way of mining humor from them, this is an entertaining take on the whole Once-Upon-a-Time schtick, and with tunes like “The Prince is Giving a Ball,” Fol-De-Rol,” “Impossible is Possible,” and “Ten Minutes Ago,” sure to please any who love the original show.

Great performances by all I’ve listed so far — who knew we could find the Stepsisters so fun? — as well as Heather Catlow as Marie, the old woman with something shiny under that frumpy dress; and Chris Jones as Lord Pinkleton, servant to Topher and Sebastian, and master of the sarcastic eye-roll. 

Russel is appropriately beautiful in voice, movement and attitude. Cutler wields both ditsy-ness and sarcasm to hilarious effect. Cherry also plays not-too-bright but makes up for it with chutzpah and surprising depth. Branum plays a boy full of radical fire, but ironically low in confidence, and charming either way. Catlow is appropriately maternal with wry humor. Hardin makes the most of a story that usually just makes him the means to Cinderella’s end, showing some growth from spoiled boy to worthy of his eventual kingdom.

The show also looks great, with costumes by the team of Etta Biloon, Renee Stout, Vickie Tewes, and Darlene Uggen; and wigs by Tim Hunt and Jill Wooster (you’ll never forget Gabrielle’s hairpiece). Sets are by Stephen Matters; choreography is by Linda Rees; music director and orchestra conductor is Kayvon Emtiaz. Note the cast and crew are all volunteers, doing it for the love of the art.

Oh, and there are also puppets. Who doesn’t like puppets?

Thanks, Bob! For a fresh and fun diversion from all the holiday happenings, “Cinderella” graces the Footlite stage at 1847 N. Alabama St., near downtown Indianapolis. Call 317-926-6630 or visit www.footlite.org.