Graham Brinklow

Footlite ‘Succeeds’

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

By John Lyle Belden

We all know of a person who got into a prime position by dumb luck, fell upwards, however you want to call it. But wouldn’t it be wild if there were a simple instruction manual for the ambitious but unqualified?

“How To Succeed in Business Without Really Trying” at Footlite Musicals will show the way!

Based on a 1952 book of the same name by Shepherd Meade – who promoted it as satire, despite the fact he actually rose from mailroom to vice-president in his company – the musical was a hit in 1961, written by Abe Burrows, Jack Weinstock, and Willie Gilbert, with songs by Frank Loesser. More familiar with folks today are the hit revivals which appropriately featured the actors behind Ferris Beuller and Harry Potter in the role of the lead corporate climber.

J. Peirpont Finch (Brett Edwards) is literally on the outside looking in, as a window washer for downtown office buildings. But he has The Book (it was originally published with a yellow cover, so while similar, is not a “Dummies” book). He apparently has the fast-talking mind of a con man, but is somewhat ethical as he seeks to advance his career without committing any crimes or crushing anyone who isn’t acting a fool.  

Finch finds himself at World Wide Wickets (even back then, you needed the WWW to succeed) where he meets all manner of characters: A company president, J.B. Biggley (Graham Brinklow), with an easily exploitable private life; human resources manager Mr.  Bratt (Dan Miller) who will say yes to anything; friendly mail room manager Mr. Twimble (Jeffry Weber) who sees a long career as an end in itself; whiny Bud Frump (Josh Vander Missen), a literal mama’s-boy attempting literal nepotism (advancing as J.B.’s nephew); very hands-on department head Mr. Gatch (Jay Stanley); and various other executives and secretaries. This being the mid-20th century, women are consigned to the latter group, which includes Rosemary (Lauren Werne), who sees Finch’s potential; Smitty (Maggie Meier), Rosemary’s good-spirited bestie; Miss Jones (Joi Blalock), J.B.’s confidante and right hand; and Hedy LaRue (Sarah Marone-Sowers), J.B.’s worst-kept-secret of a mistress.

Will Finch climb the entire corporate ladder in the span of two Broadway comedy musical acts? Well, it would be a pretty lame show if he didn’t – but it won’t be easy, especially with conniving Frump around.

Edwards manages to heap on enough charm as Finch to help us overlook, and even cheer on, his otherwise questionable dealings. In a time when marrying well was one of the few easily attainable options for women, Werne makes Rosemary come off as brilliant. Solid stage veteran Brinklow manages to always emanate boss vibes, even when dancing like a Groundhog or doing a little knitting to relax. Vander Missen and Marone-Sowers show talent beyond being comic foils, holding our interest each in their own quirky ways.

Overall, this production, directed by Paula Phelan with choreography by Linda Rees, orchestra conducted by Aaron Burkhart and stage managed by Melissa Yurechko, does a brilliant job of satirizing office life, applicable to past eras and, to a degree, today. Does the number “Coffee Break” advance the plot? It doesn’t matter, we’ve all been there and appreciate a shout-out to the sacred bean. One could envision that with a more diverse, yet still corrupt and clueless, executive staff, Finch’s grandson could “succeed” just as wildly now.

Join the “Brotherhood” of witnesses to this sharply witty white-collar adventure. Performances run through May 21 at the Hedback Theater, 1647 N. Alabama St., Indianapolis. Get tickets and info at footlite.org.

BCP presents serious drama

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

By John Lyle Belden

Wendy remembers a video rental place (remember those?) where the clerks kept putting the 1987 Streisand movie “Nuts” on the comedy shelves, and it definitely did not belong there.

While the courtroom drama, the original stage version of which is at Buck Creek Players, does have its moments of legal wit, and a defendant who deflects with “inappropriate humor,” this play is dead serious.

In a courtroom on the grounds of New York’s Bellevue Hospital in the winter of 1979, a hearing will determine if Claudia (played by Jenni White) is competent to stand trial for manslaughter. Her mother and stepfather (Miki Mathioudakis and Tim Latimer) are naturally concerned. Judge Murdoch (Ed Mobley) and prosecutor MacMillan (Dave Hoffman) are prepared for a fairly routine proceeding, with Dr. Roesnthal (Graham Brinklow) declaring the defendant unfit, and the state signing off on it. Officer Harry (Tracy Jones) is just biding time until the next smoke break.

But Claudia doesn’t believe she is “nuts,” and works with attorney Lewinsky (Michael Swinford), whose apparently disorganized manner makes him look out of his depth – until he starts asking some surprisingly probing questions.

White masterfully portrays the easily underestimated Claudia, as she plays into her opponents’ assumptions until the moment she can turn the tables. Still, she’s hardly in control. Her parents represent past pain that she never reconciled, and her stepfather being put on the stand rips those wounds back open.

Mathioudakis and Latimer tackle difficult roles professionally, she a chameleon whose colors shift from cool to hot as events unfold, he the type of person you at first mistrust because he’s rich, but then find he’s far worse than anyone suspects.

Hoffman plays it competent but stiff, while Swinford as the legal wild card is like a lithe, crafty fox. Mobley is great at crusty characters, and is in charge here. Brinklow is a study in confident arrogance. Jones is subtly reassuring, an unlikely friend. Completing the cast, Adrienne Reiswerg ably plays the court recorder, who, at the play’s close, gets in the last word.

The portrayal of mental healthcare in the late 70s seems so long ago, it’s easy to forget that only a few decades have passed, and much of the stigma – of mental illness, of sex work, and of women’s issues – still remains. And it’s further shocking how the nature of the childhood abuse Claudia suffered becomes almost a footnote in this case. There would be more attention paid today, but, honestly, how much?

Yes, “Nuts” is not a comedy, but it’s kinda funny how its issues are still resonant today.

One weekend of performances remain, Friday through Sunday, Oct. 6-8, at Buck Creek Playhouse, 11150 Southeast Ave. (Acton Road exit off I-74). Call 317-862-2270 or visit www.BuckCreekPlayers.com.

Avenue Q: A great place to visit again

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

By John Lyle Belden

It’s always amazing, while attending a performance of “Avenue Q,” to see the reactions of those who haven’t seen it before when a Muppet-style puppet drops the F-bomb in one of the first songs (“It Sucks to Be Me”). When I see the, “Did I just hear that?” I’m thinking, “You ain’t heard nothing yet.”

After all, this is the musical that brought us, “Everyone’s a Little Bit Racist” and “The Internet is for Porn.”

Yes, when Fabric-Americans and other diverse people have outgrown Sesame Street, they move uptown, all the way up the alphabet to Avenue Q. This show captures the style of Childrens Television Workshop shows, but is definitely NOT for children. Still, it’s worth it to plug the ears of your Inner Child and go. The show is full of laughs and heart, even with the mature edges, as you get to know and love people just trying to make something of their lives, like all of us.

But what if you have been to this street before? For those who enjoy singing along with “Porn! Porn! Porn!” and look forward to the sight-gag in the hospital scene, you will have a lot of fun with the Footlite Musicals production, running through Sunday at the Hedback Theatre, 1847 N. Alabama St. in downtown Indy.

It’s hard to pick a stand-out performance in this cast, as all are at the top of their game, including Phil Criswell as puppet-seeking-purpose Princeton, Emily Schaab as beautiful Kate Monster, Graham Brinklow and Damon Clevenger as odd couple Nicky and Rod, Chris Meek as struggling comic Brian, Nathalie Cruz as tell-it-like-it-is therapist Christmas Eve, and Ryan England as pervy Trekkie Monster. The biggest pleasant surprise is building super Gary Coleman played by Ervin Gainer, who actually looks like the late child actor. In addition, throw in excellent support from Leigh Alexovich and Dejuan Jackson as boxes, Bears and left hands, as well as Zarah Miller as the legendary Lucy T. Slut.

Another note to newcomers: There is a song about giving to charity, during which the “hat” is passed around the audience – though actors could usually use the money (and cast and crew at Footlite are volunteers), all funds will go towards a genuine charity announced at that point in the show.

Go to www.footlite.org or call 317-926-6630 for ticket reservations.

(This review also posted on The Word.)

Review: An entertaining and enlightening Sondheim salute

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

By John Lyle Belden

Did you know that it took three tries before “A Funny Thing Happened on the Way to the Forum” had an opening song that worked?

You get lots of behind-the-scenes glimpses like this in “Sondheim on Sondheim,” Thursday through Sunday at Footlite Musicals. This hybrid of documentary and revue has Stephen Sondheim himself projected on a big screen, talking about his life and career, while live performers – Lauren Bowers, Graham Brinklow, Onis Dean, Laura Duvall-Whitson, Karen Frye, Jeff Fuller, Sarah Marone and Larry Sommers – sing songs from his stage shows. The numbers range from choruses and medleys to full performances of songs like “Gun Song,” “Finishing the Hat” and “Send in the Clowns.”

If you don’t like Sondheim – then, really, why are you reading this? – but if you do like the man or his musicals at all, you’ll find this show charming and insightful. The singers are well up to the task, with some, like director Bill Hale, having worked on the Footlite production of “Follies” a couple of years back. However, the orchestra on stage does threaten to sonically overwhelm them. Fortunately, the audience is also on the Footlite stage, an intimate arrangement that gives the vocalists the freedom and challenge of working un-mic’ed.

Circumstances limited the show’s run, so see it this weekend at the Hedback Theater, 1847 N. Alabama St. Call 317-926-6630 or see footlite.org.