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.

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‘Hosanna’ to the Mud Creek ‘Superstar’

By John Lyle Belden

“Jesus Christ Superstar,” Andrew Lloyd Webber and Tim Rice’s rock opera passion play, opened, appropriately, on Good Friday at Mud Creek Players.

The production, directed by Michelle Moore, embraced its setting within the cozy confines of the MCP “barn,” with rough-wood sets and a punk aesthetic, backed by a five-piece rock band. Cast members filled the aisles at times, lending a feeling more immersive than crowded. The costumes appeared to be raided from “Hair” or “American Idiot,” but still worked in the overall look, making our two male leads better stand out — the disciple Judas (Michael Lipphardt) all business in a leather jacket, and Jesus (Onis Dean) dressed casual like a man who, naturally, would fit in anywhere.

For those unfamiliar with this telling of the last week of Christ’s life, these are the main two perspectives — Judas fearing what could happen, and Jesus frustrated that only he can see what must happen — followed by the points of view of Mary Magdalene (Pearl Scott), a woman in love with the man as much as what he stands for; and Caiaphas (Lot Turner), the High Priest who sees a threat not only to his own personal power, but also to the safety of Jews in occupied Roman Palestine.

Dean and Lipphardt sing their hearts out — and I worry for their throats. Scott is pure sweetness. Turner just oozes corruption, ably accompanied by Kata Ewigleben as Annas. We also get good vocals from Eli Robinson as Simon the Zealot and Austin Stodghill as the Apostle Peter. Jeremy Crouch is regal as Pilate, and Rick Barber absolutely fabulous as King Herod.

“Don’t get me wrong, now,” I won’t say this production is flawless, but taken as a whole, in the spirit of this time of year, it is an incredible experience and celebration of a foundational event of Christianity.

Performances run through May 4. Mud Creek Players is at 9740 E. 86th St. in northeast Indianapolis, near Geist. Call 317-290-5343 or visit mudcreekplayers.com.

Phoenix: Faith, belief, and relationships tested in ‘The Christians’

By John Lyle Belden

On my own spiritual path, I have found there are generally two kinds of people in regards to faith: Those who find comfort in certainty — some things are always true and must be believed — and those who find comfort in doubt, that there are things we’ll never fully know, and we can question them and change our minds.

But, can both points of view get along in the same body of believers? That is the central dilemma of “The Christians,” the Lucas Hnath play now on stage at the Phoenix Theatre.

An American megachurch has everything going its way. It is growing and thriving with a joyful congregation and popular ministers, and it has just paid off the debts on its huge building. During the celebration, its leader, Pastor Paul (Grant Goodman) delivers a sermon that shocks his Evangelical staff and members: He no longer believes in Hell as a place of eternal punishment.

He even backs this idea up with scripture (this is an actual subject of debate in progressive churches). He is then challenged by his Associate Pastor (Ray Hutchins), who leaves and starts his own church.

The “cracks” that Paul had hoped to fix with his hopeful message instead widen as church members start an exodus to the rival congregation. This worries the megachurch board, represented by Elder Jay (Charles Goad). The congregants have their own questions, especially choir member Jenny (Kelsey Leigh Miller). And Paul’s wife, Elisabeth (Jen Johansen) has her own views on the subject.

The two types of believers find it nearly impossible to communicate, with those of certainty speaking of what is “right and wrong,” and the pastor, feeling free to doubt, speaking of what is just and merciful.

The narrative is much like a recollection by Pastor Paul — with “and then this happened”-style notes — done in the overall style of a church service with the audience as congregation (hymn lyrics are projected so we can sing along) and a choir that includes Miller, Bambi Alridge, Aaniyah Anderson, MaryBeth Walker Bailey, Adam Blevins, Caryn Flowers, Abby Gilster, Bridgette Ludlow, Marlana Haig and Dave Pelsue. Thus this show relates the hard lessons for Paul and those around him, and a parable for us all.

Goodman, Hutchins and Johansen deliver convincing performances of where each character stands on the Word. Miller and Goad ably portray people caught in the middle, each in their own way.

There is a lot to unpack when one comes away from this play, questions of faith and doctrine, of how much one should be willing to compromise, and of what happens when it’s revealed your perfect organization was too good to be true. It delivers the message without preaching, just a look at fallible humans wrestling with the answers — kinda like a Bible story.

Amen.

“The Christians” runs through April 14 on the Russell main stage at the Phoenix, 705 N. Illinois St. Call 317-635-7529 or visit phoenixtheatre.org.

 

IndyFringe: ‘They Shall Take Up Serpents’

This show is part of the 14th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 16-26, 2018 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By Wendy Carson

When I went into this show, I expected a story about the wild and crazy acts of the notorious “Snake-Handling” Churches. However, I got much more than I was prepared for.

The story focuses on one young girl who drives over two hours in order to attend services at the church for the past eight weeks, and is feeling the desire to “Stand up front” (i.e. hold the snakes). The tale of how she came to be here is bittersweet and insightful.

We also meet a female elder of the church as she explains the history of their congregation as well as the coal mining area it is set in. While she doses out her information with saucy bits of humor, her story is quite moving as well.

Enter into this mix a fresh, young reporter who sees this church as fodder for a story that can launch his career, as well as a few others who mock and deride the worshipers.

The resulting show is very beautiful. It reminds you what true religious devotion and actual Christianity are about. With today’s climate of religious hypocrisy running rampant, it’s nice to see that no matter what your dogma may be, the church can be a haven of family and community for anyone who asks to be a part.

“They Shall Take Up Serpents” is presented by Garrett Matthews Productions at the Firehouse union hall first floor, 748 Mass Ave.