Ivan Figueroa

Legends reimagined make one ‘hell’ of a show

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By John Lyle Belden

Having read it, and heard the recordings, I knew as soon as I saw it that “Hadestown” by Anïas Mitchell would become one of my favorite musicals, and Summer Stock Stage has launched a truly outstanding production.

Do not presume, being the “Teen Edition,” that this is a lesser version. The entire Tony- and Grammy-winning play is intact, with only subtle differences (such as sung keys) for younger performers. Director (and SSS founder) Emily Ristine Holloway noted that students from more than 50 Indiana high schools auditioned. Thus, we get a crème de la crème of young talent.

The source material is an “old song” that dates at least to Ancient Greece, as Mitchell painstakingly blended the myth of Orpheus and Eurydice with the relationship between Hades (god of the Underworld) and Persephone (goddess of Spring) and some very current issues. (Note: The songs were mostly written before “the wall” became a politically-loaded topic; though with its timeliness, it serves as the musical’s centerpiece.)

As hard times come in every era, the messenger god Hermes (Michael Washington) is host of a grungy Depression-era jazz club that looks like an abandoned factory, relating to all a time “of gods and men” with a literal Greek Chorus, the Fates (Noelle Duncan, Meadow Harbert, and Lucy Lindner) to help tell the tale.

“The road to Hell is a railroad track,” Hermes intones, and arriving on its train is Persephone (Isabella Simonsen) to set things blooming again after spending half the year – actually more this time – with husband Hades (Eli Spurgeon). Meanwhile, Orpheus (Preston Angus), mortal but the son of a Muse, making him supernaturally gifted at music, is working on a song he believes will set the cycle of seasons right again. He looks up from his work to see the beautiful mortal Eurydice (Belle K. Iseminger), young but world-weary, seeking comfort. He works his charms on her; they fall in love and are happy – until Hades arrives to take Persephone away for an even longer winter. Dark times strain the young couple until they each end up in Hadestown, “way down under the ground,” for a literally epic showdown between man and god.

It’s tough to describe the sheer power and feeling of the songs and the manner in which they propel this familiar-yet-new plot. I can only hope you can experience it yourselves.

Simonsen is divine as Persephone, while adding the grit of a goddess that has grown tired and unsettled by what has happened, her connection to nature offended by what ironically Hades says he did for her. For his part Spurgeon digs into Hades’ bartitone range to deliver his own divine authority – but there is something more, something uncertain, which he employs to make the character more dangerous.

Iseminger has the lauded natural beauty of Eurydice, backing it up with a firm grasp on her troubled character – even when that person feels unsure – and as good a voice a true mortal can conjure. No key change was necessary for Angus, our Orpheus, as he sweetly hits the lilting notes necessary for his “Epic,” presenting a believable mastery of this and all his songs.

The Fates are wonderfully harmonious and integral, more like a part of the story than commenting bystanders. Washington as Hermes is the quintessential Master of Ceremonies, making his presence firmly felt while never overshadowing other characters as events play out.

Scenes are completed by a large ensemble. Vocally, they are more than background, including amplifying Orpheus’ power in “Come Home With Me,” making plain their Underworld pain to “keep your head low,” and engaging a sort of call-and-response in “If It’s True.” They also show off the fine choreography of Phillip Crawshaw. These players include: Evan Mayer, Maria Beck, Jacob Brewer, Jackson Bullock, Lily Carlstedt, Ivan Figueroa, Max Frank, Sam Funk, Justice Harris, Liv Keslin, Ehren Knerr, Kynden Luster, Morgan Naas, Robert Newton, Sylvi Phillips, Quinn Potter, Jackie Quadrini, Mia Rettig, Haven Sanders, Asha Smitherman, Anna St. Andrè, Alyssa Vasquez, Thomas Whitten, Maggie Webber, and Ethan Wood.

Mythology for a new century, expertly presented – performances of “Hadestown: Teen Edition” are limited, today through Sunday (June 26-29) at Schott Center for the Arts, 610 W. 46th St., Indianapolis (next to Clowes Memorial Hall on the Butler University campus). Additional tickets have been made available but are selling fast. Visit summerstockstage.com for details.

Summer Stock ‘Chorus’ dances into our hearts

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(This production is by Summer Stock Stage Mainstage, not its Eclipse program as originally stated in this review.)

By Wendy Carson

This summer has been very special for John and myself. We have both had two productions of our favorite musicals staged (“Godspell” for him and “A Chorus Line” for me). I am especially delighted at the fact that each production of my fave was so vastly different, so if you saw Footlite’s, “A Chorus Line,” you really need to check out the version produced by Summer Stock Stage’s Mainstage company as well.

Director/choreographer Andrew Winans and co-director Emily Ristine Holloway bring us a longer presentation that includes more of the original script and heavily highlights the dancing abilities of each of the actors. A Tony and Pulitzer-winning “sensation” in 1975, the plot revolves around the various characters desperately vying for a job in a new show, bringing the tales of why and how each one became a dancer as well as why they continue to pursue this path as a career.

Nowhere are these skills better highlighted than in the two solo dance numbers.

Mike (Jacob Richardson) bounds out of the gate with his spectacular version of “I Can Do That” explaining how he took over his sister’s place in dance class, giving us tap, jazz, and acrobatic moves that wow the whole audience.

Anna Seitz brings the sad desperation of past Broadway featured dancer Cassie’s attempt to get a job no matter how demeaning. Her performance makes her dance during “The Music and the Mirror” seem effortless despite the fact it is one of the most complex and physically taxing numbers in this show.

Ivan Figuerora as Paul has the lone soliloquy and brings every bit of the emotional rawness of the story of his journey to becoming a man who is fully comfortable in his own body and soul.

Destinee Rodriguez as Diana, not only saps every drop of sorrowful beauty of the show’s one breakout hit, “What I Did For Love,” but also shows the struggles all students (performers or not) can face against a headstrong and uncaring teacher in “Nothing.”

“At the Ballet” highlights the desolate family lives and strong singing abilities of three of our characters: Savannah McClure as Shelia whose father’s distance is overcome by finding self-esteem through dance. Savannah McCarthy is Bebe, whose lack of physical beauty is at odds with her talent. Tess Holloway’s spectacularly voices Maggie who overcomes her father’s desertion by finding solace in the arms of dance partners.

While each cast member gets an individual moment to shine, their skill as dancing in a cohesive unit might be overlooked but is a far more difficult skill than one might expect. They include Fiona Curtis as Val, Hillary McGuire as Judy, Nina Abel as Connie, Keira Himes as Kristine, Clive Guidry as Al, Fletcher Hooten as Richie, Collin Alber as Mark, Cory Wilcher as Bobby, Keilyn Bryant as Don, and AJ Thomas as Greg.

Matthew Conwell, as Zach, the director/choreographer with their fate in his hands, and Justice Harris as Larry, his assistant, show such command of the dance steps you can believe their characters came up with them.

As I have said with every other production of the show, I would honestly attend every single performance if I could. Sadly, there are only two more opportunities for you to experience it: tonight and Sunday (July 29-30) at the Ayres auditorium of Park Tudor High School, 7200 N. College, Indianapolis (note there are street construction closures on College in the Broad Ripple area, south of Park Tudor). For tickets, visit summerstockstage.com.