Jim Melton

‘Everybody’s Girl’ on Epilogue stage

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By John Lyle Belden

Going up Alabama Street to see Madison Avenue sounds confusing – especially if you know the layout of Indianapolis – but actually, it’s the direction to a fabulous show.

Magic Thread Cabaret (Klein and Alvarez Productions) presents drag artist Jim Melton as Ms. Madison Avenue in “Maddie: Everybody’s Girl” for two weekends at Epilogue Players theatre.

We attended and enjoyed her performance of this revue at the White Rabbit in Fountain Square in March. Portraying the hour before she takes the stage, we visit Maddie preparing with accompanist Dustin Klein (every dressing room has a piano, right?) and occasionally fussed over by Tina Brannum Mahern as Mimi the maid. Make no mistake, though, this is all about Maddie and “the mostly true story of my colorful life.”

We learn she is the hottest thing to come out of Bull’s Butt, Idaho, as she relates her struggles with show biz, life, and her inner diva, interspersed with showtunes and standards including the full (with intro) version of “Somewhere Over the Rainbow.” She is a bit vulnerable, quite funny, and all heart (but not “Roxy Hart,” she substitutes “Madison Avenue” in that lyric).  

Admitting to her stumbles and that at 26, “I’m still learning,” she also notes, “I’m the greatest star, but no one knows it” (from “Funny Girl”). This production is a step in the right direction.

Funny and fabulous, showing she can carry a tune and hold an audience, experience the glow of Madison Avenue, “Everybody’s Girl,” June 27-29 and July 5-6 at 1849 N. Alabama St. (corner of 19th and Alabama), Indianapolis. Get tickets at kleinandalvarez.com.

Old play’s themes are ever current

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By John Lyle Belden

Was there ever a good time to be 15 years old?

For an answer, there is the hit Broadway musical “Spring Awakening.” Based on a controversial 1891 German play, it presents the Teutonic teens of the 1890s with music styled from the 1990s (by Duncan Sheik, lyrics and book by Steven Sater), because, aside from the Latin lessons, it’s all essentially the same. Put aside the cultural and technological differences, and the themes ring familiar.

The musical, now at the District Theatre, is presented by Fast Apple Artists, founded by Kelsey Tate McDaniel, an Indianapolis actress and recent New York University graduate. Mack Fensterstock directs.

Wendla (McDaniel) is becoming aware of feelings and mysteries which her mother is hesitant to explain. Her upbringing has been idyllic, which is good, except she’s feeling uncomfortably naïve. The other girls, especially Martha (Sophie Sweany) and Ilse (Eden Franco), wish they had such quiet homes; Anna (Adrian Daeger) and Thea (Lauren Lewis) muse over which boys they will eventually marry.

As for the boys, Moritz (Kendrell Stiff) is struggling, with no adult willing to cut him any slack. His best friend, Melchior (Dylan Kelly), is a budding intellectual growing frustrated with the status quo. Georg (Nathan Brown) lusts after his piano teacher. Hanschen (Jim Melton) and Ernst (Parker Taylor) quietly lust for each other. Otto (Kipp Morgan) just lusts.

For much of the play, we get glimpses into their lives and conversations, with the microphones coming out when characters let their hormone-fueled inner selves express their questions and frustrations. As we move into the second act, we see what happens when a lack of guidance and support brings our youths to hard – even tragic – lessons.

As the production’s trigger warning notes, “Spring Awakening” deals with issues of sexuality, abuse, assault and rape, firearms, suicide, teen pregnancy, abortion – stuff we’ll likely still be singing about in the 2090s.

The cast includes Jennifer Simms in Adult Woman roles and S. Michael Simms in Adult Man roles, as well as Bailey Rae Harmon, Katie Kobold, and Alexis Koshenina in ensemble parts.

The players, especially with being not much older than the persons they portray, give a powerful performance that we feel as much as hear. The simple stage set (recycled from the District’s former “outback” stage) puts the emphasis on the emerging personalities they present.

Following up on last year’s acclaimed production of “Heathers,” McDaniel and company establish themselves as a welcome new facet in the jewel of Indy’s stage scene.

Performances of “Spring Awakening” are Thursday through Saturday evenings, and Saturday and Sunday afternoons, at 627 Massachusetts Ave., Indianapolis. Get tickets at indydistricttheatre.org. Learn about Fast Apple Artists on McDaniel’s website.

Footlite: Dancers put it all on the ‘Line’

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By John Lyle Belden

Footlite Musicals opens its 2023-24 season with a summer Young Adults (college-age) production of the 1975 Broadway phenomenon, “A Chorus Line.”

With original concept and direction by Michael Bennett, book by James Kirkwood and Nicholas Dante, music by Marvin Hamlisch and lyrics by Edward Kleban, the musical collected 9 Tonys (of 12 nominations) and a Pulitzer, and became the longest-running show on Broadway, prior to “Cats.” This might not be news to you, but I mention it anyway to note this is a major undertaking for any company, especially considering it has a cast of 19, all with song parts and lines, plus another eight in support. And at points, they are all on stage, dancing for their lives.

This is the story of those who call themselves Broadway “gypsies” (given modern sensibilities, I won’t repeat that), the working dancers who strive for parts in the chorus, backing up the stars everyone actually came to see.  On a rehearsal stage, empty save for dance mirrors, some very talented people are sought to blend into a perfect dancing background for an unnamed star in an upcoming major musical production. They vary in age (though all look in their 20s), background and ability. Zach (Kendrell Stiff) has one day to sort this out – “four boys, four girls.”

With the help of assistant Larry (Parker Taylor), the line is trimmed to 17 hopefuls. To Zach’s astonishment, they include aging former featured dancer Cassie (Julia Ammons). He feels this is beneath her; she feels she badly needs a job.

We get some interesting characters, each with their quirks: Kristine (Sarah Tewes) and Al (Thomas McEvilly) are married; Connie (Jocelyn Evans) is short; Val (Taylor Moss) is – um – stacked; Mike (Sam Schultz) “can do that;” Sheila (Kelsey McDaniel) puts up a tough front, but softens in “At the Ballet” with Bebe (Isabella Davis) and Maggie (Alanna Porter); aspiring actress Diana (Mayi Reyes) is no-nonsense; we also have Judy (Sierra Shelton), Richie (Kipp Morgan), Don (Cordale Hankins), Mark (Samuel Smith), Greg (Nathan Brown), Bobby (Tyler Williams), and Paul (Troy Bridges) who brilliantly gives us one of the best non-musical moments. The initially cut dancers, played by Bailey Rae Harmon, Katie Kobold, Bailee Davis, Wayden Wagoner, Jim Melton, Peter Valentino, Tyler Swinford, and Jared Harris, reappear in various musical numbers, especially to back up the others’ personal stories. Director-choreographers Rick and Chris Barber didn’t let any of this immense talent go to waste.

In an ensemble, it’s tough to give individual praise, but where the story lands on a person’s shoulders, each ably handles the load with a song and a step-kick, or a refreshing punch line. Stiff is solid as the enigmatic director who presents a cold façade, but a genuine curiosity about and concern for the auditioners. Shiny hats off to Ammons for handling the exhausting song-and-dance of “Music and the Mirror,” and especially to Reyes for keeping the wide-ranging hit “What I Did for Love” wonderfully under control.

Dare I indulge the cliché? This Chorus Line is the “One” to see. (A “singular sensation!”) Performances run through July 9 at 1847 N. Alabama St. in downtown Indianapolis. For info and tickets, go to footlite.org.

IndyFringe: Jewel Box Revue 2022

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This is part of IndyFringe 2022, Aug. 18-Sept. 4 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By John Lyle Belden

Tom Alvarez and Dustin Klein’s Magic Thread Cabaret celebrates the past and showcases today’s talent with Jewel Box Revue 2022 at the District Theatre.

The original Revue toured nationally and internationally from 1936 to 1999, featuring live-singing “female impersonators” and a “male impersonator” – what we now call drag queens and kings. With their widespread appeal and fame, as Alvarez notes, “these pioneers were among the first to crack open the closet door.”

Today’s jewels are Miss Pearl (Keith Potts), Miss Sapphire (Isaiah Moore), Miss Opal (Ervin Gainer) and Miss Ruby (Jim Melton); with emcee Danny Diamond (Kelsey VanVoorst); dancers and co-choreographers Topaz (Xavier Medina) and Jade (Jade Perry); and sparkling on-stage musicians Galen Morris on bass, Matthew Dupree on drums, and music director Klein on piano.

Alvarez wrote and directed the show, featuring songs from Broadway and past greats.

Among the various numbers: Potts is exquisite in delivering the Judy Garland hit “The Man That Got Away” as well as “The Ladies Who Lunch” from the musical “Company.” Moore has us feeling Etta James’ “At Last.” Opal gives proper sass to Pearl Bailey’s “You Can Be Displaced.” Melton is arousing with “Don’t Tell Mama” from “Cabaret” and inviting with Rosemary Clooney’s “C’mon-a My House.” Even VanVoorst gets into the act, challenging Potts with “Anything You Can Do.”

Wendy and I were fortunate to get into a sold-out audience. It’s recommended you act fast to get in to see this marvelous show, 7:15 p.m. Thursday or 9 p.m. Friday, Sept. 1-2.

Footlite put a ‘Spell’ on us

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By John Lyle Belden

The Broadway hit “The 25th Annual Putnam County Spelling Bee” is one of those musicals we find simply F-A-N-T-A-S-T-I-C, and Footlite Musicals is treating us to the latest production to hit an Indy stage.

Created by Rebecca Feldman and her theatre collective The Farm (book by Rachel Sheinkin, songs by William Finn, additional material by Jay Reiss), and inspired by America’s fascination with the Scripps National Spelling Bee (launching smart kids to instant momentary fame), this Tony-winner presents a local contest that qualifies the winner for the big Bee in Washington, D.C., with two past Nationals attendees in the mix.

Anyone who reads the dictionary for fun (yes, there’s a song about it) can come across as a little odd – or a lot – so director Kathleen Clarke Horrigan (who often works with actual youth) gives some young adult actors a chance to creatively engage their inner child. There’s:

  • Leaf Coneybear (Josh Vander Missen), raised by hippies and generally clueless, but a spelling savant who gets possessed by the words.  
  • Logainne SwartzandGrubenierre (Jonna Kaufmann), pride of her two dads and likely the world’s youngest firebrand liberal, who writes out the word invisibly on her arm.
  • Marcy Park (Adrian Daeger), epitome of the Asian overachiever stereotype – six languages! — and it’s starting to get to her.
  • Returning champ Chip Tolentino (Jim Melton), the Boy Scout who gets surprised by the one thing he wasn’t prepared for.
  • Olive Ostrovsky (Kelsey McDaniel), who really hopes one of her super-successful parents shows up to see her make her mark; her secret weapons are the hand she recites the word into, and her beloved bestie Websters.
  • William Morris Barfee, pronounced ending in -AY, with one functioning nostril, catty attitude, and the “magic foot” that makes him a potential favorite to win it all. Brendon McCray wore those fancy shoes during opening weekend; upcoming shows have Adam Gardner as Barfee.

And last, but not least, there are three to four lucky spellers plucked from the audience! Don’t worry, you have to apply to get drawn for the gig. If selected, you’ll get at least a moment on the stage and a juice box, provided by Comfort Counselor Mitch Mahoney (Antony Winfrey), a parolee escorting eliminated contestants off the stage as his community service.

We also meet host, and past champion, Rona Lisa Peretti (Sarah Marone-Sowers); vice-principal Panch (Bryan D. Padgett), returning as word pronouncer, promising there won’t be an incident this time; and a brief cameo by Jesus Christ himself (Ed Trout). Trout and Andrew Exner also appear as paternal characters, while Hannah Janowicz plays Moms, and Leaf’s hot sister, Marigold.

This production is full of the energy and fun that has made this musical a hit nationwide, with trophy-worthy performances all around. Like Rona, you’ll be hard-pressed to select your “favorite part of the Bee.”

You also have a shot at seeing what was a nearly sold-out run. This was to be Footlite’s traditional January show that places the audience on-stage for a more intimate cabaret feel. However, with present health concerns, the stage will only hold cast (and audience spellers), which works fine for this particular musical, and ticket-holders take the regular seats – still general admission — allowing for bigger audiences than initially planned. Performances run through Sunday, Jan. 23. Get information and tickets at footlite.org.

‘Hunchback’ musical at Footlite

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By John Lyle Belden

Footlite Musicals had chosen for its young adults (high school/college student) production Disney Theatricals’ “The Hunchback of Notre Dame” long before the historic cathedral suffered from a recent fire. But with that reminder of the building’s central place in French culture in mind, this performance takes on even more resonance.

Like the Disney animated film, the musical is based loosely on the Victor Hugo novel, but retains much of the original story’s air of tragedy. Its grounding in a sacred place is reinforced by a well-voiced choir that adds atmosphere and exposition throughout the show. Stained-glass windows are projected on the theatre walls and actors frequently work the aisles, giving the production an immersive, intimate feel.

The Archdeacon Frollo (Markell Pipkins) is not a two-dimensional villain; his backstory is shown to give him motivations, but not justification, as he is not entirely the righteous figure he believes he is. Kyle Cherry shows great talent and charisma in embodying Quasimodo, our titular Hunchback, providing the man within the disfigured face (under heavy makeup) and body.

Director Kathleen Clarke Horrigan had so much talent to choose from that any of the dancing Gypsies could have flying-kicked their way into the lead role, but Adrian Daeger was wisely chosen for lovely Esmeralda. Though highly regarded among Gypsies, the character is not a part of the Parisian band led by Clopin (Jim Melton), so she doesn’t notice their cruelty to Quasimodo until it is nearly too late. Her kindness then distinguishes her from the other characters, all cruel and selfish except perhaps for the soldier Phoebus (Jacob Hardin), who has become Captain of the Notre Dame cathedral guard.

Melton is superb in what turns out to be more than just a supporting character, as Clopin provides much of the narration. Fortunately, Hardin acts and sings as good as he looks. Pipkins was aptly cast in a central role, as he is fascinating to watch and listen to.

Supporting characters are also excellent, particularly the statues that are our hunchback’s only friends: Gargoyles (Olivia Ash, William Cisneros and Noah Fields) and statues of The Madonna (Tayler Seymour) and a female warrior Saint (Megan Delucanay), possibly Joan of Arc (though a French Catholic hero, not officially a saint at the time). Not wasted as comic relief, these five are Quasimodo’s advisors in the moments he is alone, each from their carved-in-stone perspective.

While the ending is not happy-shiny (potentially a relief or a shock to you, depending on if you preferred the book or the animation), it is quite appropriate and heroic in its own way. I found it satisfying, as it adheres to the musical’s central question, “What makes a monster, and what makes a man?”

And as is typical of “student” productions on central Indiana stages, these actors are no mere kids, having walked – and danced – the boards for maybe a decade in various youth productions. They provide another quality show at Footlite, and a good excuse to go inside from the summer heat. Performances are July 4-7 and 11-14 at 1847 N. Alabama St., near downtown Indianapolis. Call 317-926-6630 or visit www.footlite.org.