Jack Levine

‘HI!’ – ‘Puffs’ a hero’s story for the rest of us

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By John Lyle Belden

The difficulty in writing about the hilarious parody, “Puffs, or Seven Increasingly Eventful Years at a Certain School of Magic and Magic,” is that in the years since the original books and movies of the subject franchise were made and initially enjoyed, its creator has turned out to be much like the villains in her stories.

Still, this Off-Broadway hit by Matt Cox, presented as the summer youth production of Main Street Productions in Westfield, in a way responds to the sense of betrayal by She-Who-Will-Not-Be-Named by giving the narrative to those who don’t feel particularly “Brave,” or “Smart,” or in a privileged elite (like “Snakes”). This one’s for the “Puffs” everywhere, in the spirit, as director Amber K. Roth puts it, of “true friendship.”

Our intrepid Narrator (Carolyn Noneman) informs us up front that this takes place in a certain school of magic in Great Britian in the 1990s, when a certain 11-year-old spent seven years getting into all kinds of adventures, including a literal war. This is NOT about him, despite the fact he keeps showing up.

In rural New Mexico, 11-year-old Wayne Hopkins (Teddy Epstein) also discovers that he is a wizard – also that wizards exist, he’s really British, and owls can deliver mail. He makes his way to the school, where a talking hat chooses to which House each student will belong. While others famously join the “Braves,” Wayne finds himself in the “Puffs,” which is apparently the opposite. His housemates include Oliver Rivers (Spencer Rees Bland), a boy from a non-magical family in Indiana who is gifted in mathematics (for what good that does him here); and Megan Jones (MJ Elliott) a goth loner whose mother (Annalisa Schuth) is in the prison for “Sirius” criminals because she follows the Dark Lord.

Other Puffs include goofy Leanne (Morgan Rusbasan) who thinks that being a wizard at all is cool, and just wants to have a silly slumber party; Ernie Mac (Liam Thompson), succeeding to some degree at trying to be cool; Hannah Abbott (Eve Carson), who maintains high spirits despite the frequent bullying; J. Finch Fletchly (Layne Thompson), whose charisma combines the slacker and class clown archetypes so well, he even enjoys being a possible figment of others’ imagination; nervous Susie Bones (Greta Shambarger), whose family may be cursed; Sally Perks (Nora Gapinski-Coon), who finds she is more attractive without her glasses, making her confident but nearly blind; and Cedric (Carter Dean Kinnett, the one Puff that readers of the books all know about.

The scar-faced kid with weird luck who talks to snakes (name starts with H) is played by Moon Siebe. All other characters are portrayed by Preston M. Blair, Mackey Brose, Lucy Cooper, Lousia Dobson, Jack Elicker, Keighan Johnson, Jack Levine, Calvin Noneman, Dhruvi Shah, Ella M. Steffans, and a mop.

In under two hours (including intermission) we roll through seven years, each more dangerous – with a thicker book – than the one before. The more familiar you are with the franchise, the funnier the jokes and sharper the jabs are. And that really bad thing that happens at the climax of Book 4? It still happens.

Still, this is more than a good-natured mocking of a popular set of stories. It sticks to the point of view of the people trying to live their own epic while finding themselves in support of someone else’s. Those kids in the yellow and black school uniforms mattered, too, and any win can feel good, even if it means climbing from fourth place (of four) to third.

This is reflected in the exuberant performances of our talented cast. While Epstein, Bland, and Elliott are solid as the main trio (a counterpoint to the novels’ threesome), Rusbasan and Thompson are naturals at physical comedy – earning as much as stealing their scenes. Kinnett shines, appropriately, with all the suaveness his housemates lack, as well as cooly presenting a much darker side in Act II. Schuth is fun to watch as she demonstrates that you can take the girl out of the Puffs, but not the Puff from the girl. In addition, we give a shout-out to the ensemble member who played Bippy, the odd elf-like character the Puffs really should have noticed earlier, given their dorm’s proximity to the kitchen.

Carolyn Noneman is an excellent host, engaging the audience as she guides us through the story, taking all its absurdities in stride.

Roth is assisted by Melina J. DeGolyer, with student director and dramaturge Anna Pfeiffer. Stage manager is Samantha Kelly, assisted by students Julia Brammer and Corwyn Barrows. Stage crew are William Gapinski-Coon, Jackson Brammer and Sullivan Hill – hopefully among these I mention are the excellent “shadows” helping make the magic happen.

The spell lasts for one more weekend. See “Puffs” Thursday through Sunday, July 24-27, at the Basile Westfield Playhouse, 220 N. Union St.; get tickets at westfieldplayhouse.org.

CCP’s Rising Stars bring ‘Green Gables’ to life

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By John Lyle Belden

Carmel Community Players chose well in its summer Rising Stars production for performers ages 8 to 18, a show with plenty of youth roles: Lucy Maud Montgomery’s “Anne of Green Gables,” adapted by Joseph Robinette, directed by Amber K. Roth.

The classic turn of the 20th century story tells of Anne Shirley, an orphan sent to be adopted by siblings Matthew and Marilla Cuthbert, who had requested a boy – to help at their farm in rural Prince Edward Island – but feel persuaded to keep Anne instead. She dislikes her name but can’t get anyone to call her “Cordelia.” She hates her red hair and freckles, and anyone who mocks them. But aside from the flashes of temper, she is energetic and endlessly talkative with a wild, romantic imagination, and a positive attitude to the point of adoration. Carolyn Noneman embodies this famous free spirit perfectly, in look and tone, as though she had stepped out of the pages of Montgomery’s novel.

Aided by some “aging” makeup, high-schoolers Lincoln Everitt and Luciana Lindner embody middle-aged Matthew and Marilla with the necessary maturity, he with his wise easy nature and she with her caring fastidiousness.

Lucy Cooper is more charming than frustrating as the village of Avonlea’s biggest busybody (and neighbor of the Cuthberts), Rachel Lynde, as entertaining a gossip as one is likely to encounter.

Lilah Cross plays the well-behaved perfect counter to Anne’s force-of-nature personality as her “bosom friend” Diana Berry, while 10-year-old Lucy Isles shows great star potential as Diana’s little sister Minnie May. The Berry children live with their mother (Claire Moeller) next door to Green Gables.

Jack Levine is young Gilbert Blythe, who earns Anne’s wrath early on and spends the rest of the story hoping to win her forgiveness. Others in the cast, some in multiple roles, are Spencer Rees Bland, Amelia Fine, Mitchell Ried, Madeline Sappenfield, Greta Shambarger, Sophia Sweeney, Amelie Thibodeau, Edward Wilson, Owen Yeater, Quinn Yeater, and Eliza Graefnitz, whose roles include Diana’s Great Aunt Josephine, who finds herself charmed by Anne as well.

Various events from the book are enacted, including the “raspberry cordial” incident, the hair disaster, the game of “dares,” the Queens Academy exams, and the night Anne must save a life. My impression of this performance was that it not only tells the story wonderfully, but also could make one interested in reading the book to see what else happened.   

Roth is assisted by Melina J. Degolyer and student director and dramaturge Annabelle Pfeiffer. Hats off to the cast and crew, including Ghost Morrow, Erin Wilson, stage manager Elinah Atwell and assistant stage manager Ava McKee, for their valiant efforts at making the intimate stage of The Cat into multiple settings in frequent half-light scene changes. Roth’s stage design is also notable for its triangular rotating walls, with Montgomery’s text surrounding the scenes in the background.

While it is the Fourth of July weekend, consider spending a bit of it with a classic of Canadian literature. “Anne of Green Gables” has performances Friday and Saturday (Sunday is sold out), July 5-6, at The Cat, 254 Veterans Way, Carmel. Get tickets at thecat.biz or carmelplayers.org.

Youths share lessons of ‘Godspell’

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By John Lyle Belden

As a story of Jesus Christ, the 1971 musical “Godspell,” by John-Michael Tebelak with music and lyrics by Stephen Schwartz, goes beyond the traditional Passion Play to give the greater context of what in Jesus’ actions and teachings won him followers, then brought him to the events of the Crucifiction. As a theatre production, it has a degree of flexibility allowing for creative stagings and inserting modern references to allow audiences to relate to a story from around 30 AD nearly 2000 years later.

It is also an easy – and given its playful mood, appropriate – Broadway show to cast with teen and tween actors. Carmel Community Players presents “Godspell” as its summer Rising Star Production with youths in all roles, directed by Tanya Haas, who notes she first performed the musical in high school.

Our setting is a well-stocked child’s playroom, with lots of toys, plushes, crafts, etc., to aid in the lessons our peer teacher, Jesus (Mason Yeater), has come to share. But first, John the Baptist (Nick Lantzer) must rally the kids together, his anointing represented by a bubble wand.

Jesus presents favors to each of the gathered disciples, in this case, ribbon pins. He gives the black ribbon to Lantzer, who from then on plays Judas. (This is the only other named biblical figure, the others are given random modern names to keep them relatable. I could guess who appears to me to represent Simon Peter or Mary Magdeline, but that’s beside the point.)

As anyone familiar with this show, or the Gospel of Matthew, knows, we get a number of Christian Parables, including “The Good Samaritan” and “The Sower and the Seed,” told and enacted by various cast members – along with a couple of people momentarily pulled from the audience.

The various songs, including “Day By Day” and “Light of the World,” feature vocals by all: Isabella Bardos, Emmy Bobenmoyer, Joey Brandenburg, Fender Brokamp, Rachel Bush, Jack Levine, Tatum Meadors, Morgan Rusbasan, Quincy Russell, Greta Shambarger, Owen Yeater and Quinn Yeater, as well as the two leads.

Performances are executed with the youthful energy and humor that makes this personally one of my favorite musicals. Recent high school grad Mason Yeater has great stage presence, able to say with a glance that he understands what in the plot must be taken seriously, even when all are just having fun. In the role’s original look – face makeup and Superman shirt with rainbow suspenders to show his “jester’s license” to speak truth to authority – Jesus is gentle, yet never mocked. Lantzer makes Judas seem kinda sus from the jump, and effectively keeps up the actions of a man willing to play along as long as this movement suits his goals.

All Disciples have their moments. Bush rises to the challenge of both popular numbers “Day By Day” and “Turn Back, O Man.” Shambarger celebrates “Bless the Lord” and duets on “Beautiful City” with Brandenburg. Bardos and Meadors join for “By My Side.” 

There was just a month of rehearsal, so still some rough edges on opening, but the kids are all right, and should be more than ready to bring the “Light of the World” to the stage this weekend (June 22-25) at the Ivy Tech Auditorium, 300 N. 17th St., Noblesville. For information and tickets, see carmelplayers.org or call 317-815-9387.