Greg Wolf

Journey with ‘Violet’ at ATI

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By Wendy Carson

 One quick note before I dive into the review: This is the third production of the musical “Violet” we have seen over the years, the first time based on the 1997 Off-Broadway production, before it was taken to Broadway in 2014. Each local performance has not only been different, but also better than the one before. Therefore, if you have seen the show prior to this, I still strongly suggest you see it, the latest edition, at Actors Theatre of Indiana. It’s a superb production, and I adored it (and not just because my hometown is part of the show).

Written by acclaimed composer Jeanine Tesori with Brian Crawley, based on a Doris Betts short story, the plot has remained consistent: At the age of thirteen, Violet was hit in the face by a flying axe head, leaving her horribly scarred. Years later, in the 1960s, she is on her own and has finally saved up enough money for the bus fare to take her from North Carolina to Tulsa, Oklahoma, and the TV Preacher whom she knows will be able to restore her beauty. Along the way, she befriends a couple of soldiers. The three of them quickly become close, with the men reluctant to let her take the final leg of her journey as they are sure she will be sorrowfully disappointed in her Preacher’s abilities. They are both waiting for her when she returns, healed, but not as she had expected.

Sydney Howard expertly brings out the adult Violet’s hopefulness and sorrow over her predicament while Quincy Carmen as young Vi (in frequent flashbacks) shows the innocence and fortitude that made her the woman she became.

Luke Weber as Monty, the Army Private First Class fresh from Special Forces school, shows the naivete of a soldier looking forward to going to war. Maurice-Aime Green as Flick, the more seasoned Sergeant, reflects the harsh reality of the differences the mere color of his skin brings to his military career and everyday life.

Matt Branic, as Violet’s father, brings out the devotion, stoicism and love of a single parent trying to do the best for his little girl, despite that one horrific moment.

Eric Olson is sheer perfection as the Preacher who may or may not actually have the power to heal, but certainly has the ability to motivate.

While it is easy to present both the Father and the Preacher in a negative light, Branic and Olson each maintain their characters’ humanity as they play their parts in Violet’s life. This is not a story of “good” or “bad” people, but of a journey, and the life lessons learned along the way.

As the rest of the cast play many interchangeable characters throughout the show, one pair does stand out with their true diva roles: Tiffany Gilliam brings down the house as the Music Hall Singer the trio goes out to see while overnighting in Memphis. It is obvious that were she around during that era, she would indeed have been a star on that stage.

Tiffanie Bridges seems to channel the voice of the angels as her turn as Lula, the lead singer in our Preacher’s choir. While her character reminds him that she is singing not for the “show,” but for the Lord, her talent shows this to be true.

ATI co-founder Judy Fitzgerald’s roles include a friendly fellow passenger; other characters, including bus drivers, are provided by Richard Campea and Cody Stiglich.

Director Richard J. Roberts has taken eleven talented singers and actors, a phenomenal script, and a band that can bring such vivid emotion to their music, and given us a beautifully moving show. Pianist Nathan Perry is music director, with musicians Greg Gegogeine, Charles Platz, Kathy Schilling and Greg Wolf. The versatile stage by P. Bernard Killian features a map of the bus route painted across the floor, which includes Fort Smith, Arkansas (where I was born).

Performances of “Violet” run through Nov. 13 in The Studio Theatre at The Center for the Performing Arts in downtown Carmel. For tickets and information, visit atistage.org or thecenterpresents.org.

ATI back in the habit

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By John Lyle Belden

“Nunsense” is habit forming – the clever slogan, and title of one of the show’s songs, is quite apt. A sure-fire crowd-pleaser since opening Off-Broadway nearly thirty-seven years ago, this musical by Dan Goggin has had thousands of productions worldwide, and the show’s official website has at least eight sequels and spin-offs if you want to see the Little Sisters of Hoboken doing something different. The more than 25,000 actors who have donned the habit could petition the Pope to be named their own order.

This is all to say that the classic “Nunsense,” done afresh this month by Actors Theatre of Indiana, may be a bit familiar to y’all reading this. If you haven’t seen the show, or at least not in a while, by all means, go! Goggins’ humor, with just a touch of absurdity, doesn’t get too sacred and is never profane. You don’t have to be Catholic to appreciate this, but if you are, be warned that Reverend Mother has her clicker!

The Little Sisters are in a bind, needing to raise funds quickly to bury deceased nuns (inadvertently poisoned by the convent cook), put on a show displaying their own varied talents. That’s all you need to know going in, as well as the fact that there will be a pop quiz – with prizes – at one point.

Suzanne Stark is our Rev. Mother, Sister Mary Regina. A veteran of nun roles in “Sound of Music” and “Sister Act,” she is right at home as the boss of this little sisterhood. Asserting her authority without coming off as stiff or mean, she guides this show with a steady hand – except when she doesn’t, in a hilarious encounter with a mysterious little bottle.

Illeana Kirven is Sister Mary Hubert, the second-ranking nun. She tackles this project with unflagging joyous energy, suppressing as best she can her feelings about Rev. Mother using part of their last windfall to buy a giant TV.

Katelyn Lauria is street-tough Sister Robert Ann, who drives (and repairs) the convent vehicle. Her gregarious style and frequent funny bouts of scene-stealing are nicely countered by the moment she describes her spiritual path, revealing genuine devotion.

Rachel Weinfeld is Sister Mary Leo, the novice who feels there’s room in her vows for also becoming a celebrated ballerina. Her dancing is sweet, her manner charming.

Stephanie Wahl is the ever-popular Sister Mary Amnesia, who can’t remember who she is, and is otherwise a few beads short of a rosary. Wahl, who is also dance captain, handles this special character well, keeping us laughing with her more than at her. She also does an excellent job wielding the puppet Sister Mary Annette.

Directed by Karen Sheridan with choreography by Anne Beck, this production also features the all-priest onstage band of Greg Wolf, Greg Gegogeine, and music director Jay Schwandt, as well as production assistant Gillian Norris lending a helping hand as a student from Mount St. Helens School.

See the Sisters sing and dance their way to their miracle in ATI’s season opener, through Sept 25 at the Studio Theater in the Center for the Performing Arts in downtown Carmel. Get information and tickets at atistage.org or thecenterpresents.org.