Jay Ganz

Solid ‘Salesman’ in Westfield

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

By John Lyle Belden

Nearly everyone has heard of Arthur Miller’s “Death of a Salesman.” If for nothing more, it’s known that this Pulitzer-winning drama is regarded as one of the greatest plays in the English language, with its titular lead Willy Loman ranking with Shakespeare’s Hamlet as a role that defines a great actor. However, I confess I had not seen this play until the current production by Main Street Productions in Westfield.

Directed by Kelly Keller, this staging more than lives up to the work’s reputation. Though it takes a full three hours, its pace and substance fill every minute with meaning. To quote Miller’s script, “Attention must be paid.”

Aaron Moon plays Loman, a traveling salesman who lives in Brooklyn while working the entire New England region. More than 30 years on this circuit has affected him, yet he remains upbeat, smiling big and talking bigger as always. But now there is sadness in his eyes while he speaks triumphantly, mostly of past events – increasingly to people only he can see.

This worries his wife, Linda (Susan Hill), who is also growing frustrated with adult sons Happy (Broden Irwin), who shows no signs of settling down from his playboy lifestyle, and Biff (Connor Phelan) who, while doing all manner of jobs in several different states, has not settled into a productive career path.

The scenes blend this present and Willy’s vivid reminiscing of the past, when his sons were teens, eager to please their old man. The memories especially stick around the time that Biff played in a high school championship football game with college scouts in attendance. These moments include the boys’ schoolmate Bernard (Mike Sosnowski) and his father Charley (Jim Gryga), who remain the Lomans’ friends in the later times.

Willy also remembers his brother, Ben (Tom Smith), who “walked into the jungle, and… walked out rich.”

The cast also includes Jonathan Rogers as Stanley, the waiter at the Chop House, Erin Keller and Desiree Black as two ladies who Happy and Biff meet there, Tanner Brunson as the son of the man who first hired Willy (and is now in charge), and Kristin Hilger as “The Woman.”

This parable from the late 1940s still resonates today with our current hustle and grind culture, coupled with an uncertain job market, as well as anxieties ranging from the personal to society in general. For those who struggle, “fake it till you make it” can only go so far, especially when one can no longer tell the illusion of success from the real thing. Compounding these issues, the play also features themes of mental illness and suicide. The title is not a metaphor.

Moon delivers an award-worthy turn as Willy Loman, a mensch you feel for and fear for as we witness his frustrations, optimistic delusions, and decline. Hill is also stunning as his wife, desperate to bring some sense of stability back to a family that had always been on shifting ground. Irwin’s Happy, in living his own way, is more like his father than he thinks. Phelan is exceptional as conflicted Biff, expressing the strain between expectations that diminish him and a life of freedom that would apparently disappoint those he loves. Smith’s dignified calm speaks volumes.

Excellent set design of the Loman home is by Jay Ganz. The lighting, designed by Stephen DiCarlo and operated by Scott Hall, neatly helps emphasize shifts of time and perspective. Tanya Keller is stage manager.

Remaining performances of “Death of a Salesman” are Thursday through Sunday, Nov. 20-23, at the Basile Westfield Playhouse, 220 N. Union St. Get tickets at westfieldplayhouse.org.

Brooks comedy comes ‘Alive!’ at ATI

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

By John Lyle Belden

One of the cool perks of being Associate Artistic Director of Actors Theatre of Indiana for Darrin Murrell is that he gets to direct the incredibly fun musical, “Mel Brooks’ Young Frankenstein,” adapted by Brooks from his classic comedy film with Thomas Meehan. All songs are also by Brooks, except for the famous scene with Irving Berlin’s “Puttin’ on the Ritz.”

Murrell was overjoyed to have Ben Asaykwee in the title role, as well as Craig Underwood as the Monster, both adept at the necessary physical comedy. Asaykwee’s resemblance to Gene Wilder from the movie is less an impersonation than a reminder that both seem to have been touched by the same muse, hilariously delivering bluster, intelligence, and mischief, capable of being simultaneously the romantic lead and a slapstick clown.

One doesn’t have to have seen the film to follow this show, or have more than a rudimentary knowledge of the Frankenstein legend (Brooks’ approach was more a tribute to Universal Pictures monsters than the Mary Shelley novel). Movie fans will recognize many scenes and characters, though.

Professor of brain science Frederick Frankenstein (Asaykwee) – pronounced “fronk-en-steen” – discovers he has inherited his infamous grandfather’s castle in Transylvania. He goes there to settle his estate, met at the train station by servant Igor (John Vessels, Jr.), an odd man with a migrating back hump who has hired an eager young assistant, Inga (Sophie Jones), for his new master. At the castle, we meet horse-frighteningly eccentric housekeeper Frau Blucher (Julie Lyn Barber). Finding the laboratory and his grandfather’s notes, Frederick insists he won’t repeat any abominable and dangerous experiments – until, of course, he finds the right body and brain.

Meanwhile, there is concern in the village that a new Dr. Frankenstein is in residence. Inspector Kemp (Eric Olson), whose previous encounter with a reanimated creature literally cost him an arm and a leg, is determined to keep such events from happening again.

Frederick’s fashion-forward fiancé Elizabeth (Megan Arrington-Marks) will also arrive, just as hijinks get into high gear. 

As in the film, the Monster (Underwood) stumbles upon a Hermit (Adam B. Shapiro) who is blind and lonely, but he does get a song.

Other roles are covered by James Garrett Hill, Drew Kempin, JoBeth Hilton, Hannah Boswell and Natalie Fischer, with Emily Chrzanowski on hand as understudy.

Few frights, but a lot of laughs and double-entendres in Brooks’ bawdy style, with a few asides taking aim at popular monster-movie tropes. This being a “horror” show with song and dance numbers, indulging in silliness fits the milieu perfectly.

Vessels has fun with his character, delivering a nice homage to the late Marty Feldman with a bit of his own flair. Olson, well disguised by Kemp’s facial hair and costume, embodies the character perfectly for maximum comic effect. Jones’s Inga is winsome as the sidekick who is always smarter than she lets on, caring enough to let distracted Frederick catch up to her true affections. Barber nicely menaces and deadpans as Blucher, contrasted with the wild emoting over her “boyfriend.”  Arrington-Marks gives the full measure of self-obsessed Elizabeth, as well as her change of heart.

Even when dangerous, Underwood as the Monster doesn’t come across as monstrous – just a big guy (with Abbie Normal’s brain) very confused at waking up from the dead. Also, fire bad.

Nathan Perry is musical director; choreography is by Carol Worcel; and Kevin Casey is stage manager. The castle scenic design is by Jay Ganz (note the gargoyles), with props designed by Christian Condra.

Performances of “Young Frankenstein” run through Nov. 9 in the intimate confines of The Studio Theater at the Allied Solutions Center for the Performing Arts in downtown Carmel. For info and tickets, go to atistage.org or thecenterpresents.org.

ATI employs legendary workplace comedy

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

By John Lyle Belden

The corporate glass ceiling has a few more openings these days, but women still relate to the frustration of the 1980 movie, “9 to 5,” which made lifelong friends of its stars Jane Fonda, Lily Tomlin, and Dolly Parton, who wrote and performed its iconic theme.

The story, which Fonda brought to film after hearing the plight of admins in the ‘70s, got new life as a Broadway musical by Patricia Resnick with more songs by Parton in 2009. And now, Actors Theatre of Indiana have put it to work at the Studio Theatre in Carmel through May 11.

Set mainly in the offices of mythical Consolidated Industries in 1979, and keeping the plot beats of the original film, Judy Bernley (Devan Mathias [Fonda’s role]) is enduring her first day at work – ever, thanks to being dumped by her philandering husband. She is put under the tutelage of supervisor Violet Newstead (Judy Fitzgerald [Tomlin]), who is still considered “just a secretary” despite seniority over many of the men, including “sexist, egotistical, lying, hypocritical bigot” company VP Franklin Hart (J. Stuart Mill). The tyrannical Mr. Hart is served by personal assistant Roz Keith (Cynthia Collins), an obsessively devoted toady who spies on the others for him, and secretary Doralee Rhodes (Abigail Storm [Dolly]), who constantly deflects but puts up with his blatantly sexist shenanigans while getting no respect from others due to her “backwoods Barbie” accent and looks, but mostly from the rumor she’s banging the boss.  

To set the scene, Ms. Parton herself appears on a screen to introduce the show and its principal trio. The opening number is a breakdown of the theme song, energetically propelling us into their “way to make a living.”

We also meet Grace Villegas, Jaddy Ciucci, and choreographer Carol Worcel as secretaries Maria, Kathy, and Margaret (the “old lush”). Deb Wims is Hart’s oblivious wife Missy, and plays a member of the secretarial pool. Tim Hunt is accountant Joe, who is sweet on Violet. Kenny Shepard portrays Dick (appropriately), Judy’s ex, while Fletcher Hooten is Josh, Violet’s teenage son; Shepard and Hooten also appear as members of the company’s all-male executives, along with Peter Scharbrough as rising star Bob. Scharbrough later cameos as the Chairman of the Board. Jacob A. Butler plays Dwayne, Doralee’s sweet and supportive husband.

The plot brings Judy, Violet, and Doralee together in their mutual hatred of Hart, and after a then-illicit evening with a rather strong dose of pot during which they relate – and we see gloriously performed – their revenge fantasies, they inadvertently find themselves actually acting them out. So, at intermission, Hart is chained away in his own home by the women, who next must figure out how to keep the company running with him gone (the easy part) while working out the means to keep their own freedom (hilarity ensues).

Mathias and Fitzgerald make familiar roles their own while Storm adds her go-getter spark to the lady in the big blonde hair and support bra. Mill takes his tyrant up a comedic notch from the film, aided by his hilariously cheesy company photograph (props design by Casey Clouser). Collins nails the role of Roz. Hunt is sweet as smitten Joe, who helps save the day but gives credit where due.

Indy area stage legend Suzanne Fleenor directs. Stage managers are Duane McDevitt, assisted by Kayla Richardson. Guy Clark’s costume design evokes the era without edging into loud fashion. Jay Ganz designed a clever and functional modular set that allowed for smooth desktop transitions.

The fairly daring-for-its-time show that set the standard for modern workplace comedy is a still-relatable joy and gentle reminder to value everyone who has to punch in at 9 (or, from my experience, 8) to 5. Performances are at the Studio Theatre in the Allied Solutions Center for the Performing Arts in downtown Carmel. Info and tickets at atistage.org and thecenterpresents.org.

‘Sweeney’ stalks Westfield

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

By John Lyle Belden

The spooky season has begun, and it’s not just the change in the weather.

Main Street Productions presents “Sweeney Todd: The Demon Barber of Fleet Street” at the Basile Westfield Playhouse. With other local stagings in recent years, the popular film version, and today’s buzz about the Broadway revival with Josh Groban, most folks know this assures a ghoulish good time.

Inspired by 19th-century British “penny dreadfuls” with book by Hugh Wheeler and songs by Stephen Sondheim, attend the tale: Todd (Mike Lipphardt), who had been wrongly “transported” on a prison ship, returns to London to seek his revenge on Judge Turpin (John Parks Whitaker). He arrives with the wistful young sailor Anthony Hope (Nate Moore), who had saved Todd’s life at sea. Sweeney finds at his former home a shop where Mrs. Lovett (Claire Slaven) sells “the Worst Pies in London.” He learns his wife had taken poison and the Judge took his daughter Johanna (Lizzie Schultz) as ward. Coincidentally, Anthony finds Johanna at her balcony and seeks to woo her. Turpin’s will, and local law, are enforced by The Beadle Bamford (Bailey Hunt).

After eliminating the competition, Señor Pirelli (Chris Ritchie), Sweeney opens his barber service just above the pie shop where Lovett’s cooking suddenly gets a whole lot better. In the process, she takes on Pirelli’s former assistant Tobias (Alex Bast) as her own.

In addition, there’s a pesky Beggar Woman (Tessa Gibbons) about. Also, from the dozen-member chorus, Aidan Morris takes the brief role of madhouse-keeper Jonas Fogg.

Some would say the star of the show is the infamous barber chair in which Todd dispatches his victims. I was informed this one was reconditioned from use in the Footlite Musicals production. However, Jay Ganz and Mason Odle designed and built a splendid set around it.

Directed by Andrea Odle, Lipphardt gives us a nearly perfect presentation of Mr. Todd – undying grudge, creepy vocal tone, powerful singing, dead-eyed stare, and all. Slaven wickedly matches him as the ever-plotting Lovett. To the other extreme, Moore and Schultz are ever charming. Bast, in one of the more complex roles, turns in an excellent performance as well.

Perhaps the most interesting was Hunt’s cartoonishly odd Beadle. With his eccentric style and strutting walk, he looks like he escaped from a British “Panto,” yet somehow fits right in this setting. Likewise, Gibbons puts a little more effort than expected in her role, to great effect.

Perhaps the best scene is the entire cast’s enactment of Lovett’s fantasy during “By the Sea,” a surreal bit worthy of some award on its own.

Musical director is Laura Hicks. Dwayne Lewis is stage manager.

Little pies (not meat, though) are sold as souvenir refreshments before and during the show. Greet autumn with this macabre classic, with performances Thursday through Sunday (Sept. 28-Oct. 1) at 220 N. Union St., downtown Westfield. Get info and tickets at westfieldplayhouse.org.

Hilarious new creation at Mud Creek

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

By John Lyle Belden

In the classic comedy style of something simple going wildly out of control, “In the Beginning…” — a new play at Mud Creek Players — God creates the Heavens and the Earth, and immediately regrets it.

At first, the Almighty (Nicole Crabtree) tries to put the Big Bang back into its bottle, or at least mop up it all up with black holes, but alas, once matter and energy exist, they can’t be destroyed. She may as well see what’s happening on the little blue thing, where a bunch of living things are crawling, swimming, flying and running around everywhere. There, she tries to customize a creature that stands upright, with less fur and a big brain — another mistake.

In this silly possibility of how everything came to be, we meet God’s top angels — Michael (Kate Carpenter), Gabriel (Eric Dixon), Lucifer (Connor Phelan), as well as the Voice of God (Craig Kemp) — and Biblical characters including Adam (Kelly Keller), Eve (Tanya Keller), Noah (Fred Margison) and Moses (Alaina Moore). 

Unless you are really devoted to a literal interpretation of Scripture, you should find all this a lot of hilarious fun. If we are made in the Lord’s image, wouldn’t it make sense that — just like when we invent and accomplish things — our Heavenly Parent is also just making it up as they go along?

Crabtree plays that unprepared Mother/Father with the right touch of exasperation and growing love for the critters she brought into being, however unintended. Dixon and Carpenter keep things lively with his urge to “smite” and her love of writing up new Commandments. Phelan’s Lucifer, naturally, is the smartest angel in the room, suave and brash, but eventually resigned to having to deal with all the extra souls that turned sour. Kemp reassures us that, as we all suspected, the commanding voice of the Almighty has a British accent. The humans all have their humanish quirks, especially Eve, who apparently overdoses on the Tree of Knowledge. And young actors Hadley Skinner and Ben Odom get a charmingly amusing moment in featured roles.

The Mud Creek Barn goes high-tech with this premiere production, with visual effects by Stephen DiCarlo that perfectly help the story along. Jay Ganz directs.Crew member Collin Moore wrote the script, and it shows a fair amount of polish for a new play.

Truly, something wonderful has been created. Performances are Friday through Sunday (Feb. 7-9) and Feb. 14-15 at 9740 E. 86th St. (Castleton/Geist area), Indianapolis. Call 317-290-5343 or visit mudcreekplayers.org.

 

Mud Creek presents a little mystery with a lot of laughs

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

By John Lyle Belden

It’s a real treat to see stage veterans cut loose on a good American farce, such as the faces familiar to audiences at Mud Creek Players generating laughter with “Exit the Body.”

In the early 1960s – when telephones were not only still connected to the wall, in rural areas you still had to talk to the local operator – popular mystery writer Crane Hammond (played by Linda Eberharter) is spending a few weeks in the New England countryside to relax and work on her next novel, dragging reluctant secretary Kate (Barb Weaver) along. The cottage, just down the road from best friend Lillian (Judy McGroarty) and arranged by local real estate agent Helen (Ann Ellerbrook), has secrets of its own – including the possibility of hidden stolen diamonds! It appears that the housekeeper, Jenny (Savannah Jay), is in cahoots with local thug Randolph (Eric Matters) to recover those jewels, wherever they are.

Meanwhile, Lillian introduces her new husband, Lyle (Tim Long), but because of trouble with the old husband, she tells people that he is actually Crane’s husband, Richard (Joe Forestal – he’ll show up eventually). For local flavor, we have handyman/taxi driver/sheriff Vernon (Kevin Shadle). And for the titular Body, we have Phillip Smith (Tom Riddle), who could be anybody.

The hilarious slamming-door antics are helped along by a closet at the center of the set (designed by Jay Ganz) that opens into both the living room and the backstage library. The script and cast make full use of its comic and spooky (the body was there, now it’s gone!) possibilities. Though a mystery, this show delivers more laughs than chills, much like a Scooby-Doo episode for grown-ups.

Ellerbrook has Crane dealing with being in the plot rather than writing it, with McGroarty’s Lillian welcoming the diversion and Weaver’s Kate chewing the scenery with biting sarcasm. Long has Lyle just taking it all in stride. Generating the most laughs are Shadle – with a style reminiscent of a Carol Burnett cast member, keeping his character at the edge of absurdity – and Jay, whose airhead Jenny manages to charm while squeezing all the corn out of a Southern accent.

“Exit the Body” runs through Sept. 29 at the Mud Creek Players “Barn” at 9740 E. 86th St. (between Castleton area and Geist Reservoir). Call 317-290-5343 or visit www.mudcreekplayers.org.