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Footlite brings on teen hit

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By John Lyle Belden

“Bring it On: The Musical,” based on the popular movie, is about more than cheerleading and the fun of being in a dance crew. Aside from being about friendship, acceptance, honesty, dedication and keeping everything in perspective, it is an immersive look at teenage life.

A Young Artists Production of Footlite Musicals, the entire cast are teens playing high school students. There are no onstage adult roles, placing the audience solidly in the kids’ world, where what they feel, experience and want is all that matters. For Campbell (Sierra Shelton), that means a lifetime of dedication towards one goal: to lead her cheer team to a championship at Nationals. 

But fate — or perhaps something more — has disrupted her plans, and Campbell goes from cheer Captain at posh Truman High to one of the new seniors at Jackson High, a gritty school that had disbanded its cheerleading program. What Jackson does have, though, is a dedicated Dance Crew, led by Danielle (Sophia Araceli Hughes). Could this be Campbell’s ticket back to her “one perfect moment?” 

At this point,  one could predict all the teen-movie plot beats, and likely understanding this, writer Jeff Whitty (“Avenue Q”) and songwriters Tom Kitt, Amanda Green and Lin-Manuel Miranda toy with those expectations. The show is somewhat by-the-numbers to keep it comfortably entertaining, with enough tweaks to keep us engaged and help turn some tropes on their ear. One can recognize Miranda’s driving rap-patter in some numbers, but it works and adds to the contemporary feel with his present fame.

Shelton and Hughes are each solid in their leadership roles, great in voice, step and charisma. However, our hero is Erin Vaughn as Bridget, who goes from cheer-wannabe who has to settle for the mascot costume at Truman to becoming fully accepted into her class and Crew at Jackson — becoming a hottie without a cliche “makeover.” 

Supporting roles are well-played, despite less depth in their scripting. Addison Bartley as Eva is the most complex of these, cheerfully chewing scenery as the girl-next-door who isn’t as nice as she first seems (yes she goes to expremes, but didn’t we all as sophomores?). 

Fellow Truman squad members include Katherine Felli as Skylar, who frankly enjoys playing the blonde stereotype to the hilt; Bailey Harmon as her minion, Kylar; and Maxwell Catlow as he-man with a gooey center Steven.

The Jackson students feel a bit more real, including Nathan Brown as Randall, the school DJ; Devin McDuffy and Devon Cummings as Cameron and his best bud Twig, who has the hots for Bridget; and Jaelynn Keating and Evan Vaughan as Nautica and La Cienega, Danielle’s sassy crewmates. The show broke ground with the first transgender high school character on Broadway, and most refreshingly La Cienega is completely accepted in the Jackson High culture, with only one fleeting reference in the dialogue; Vaughan plays it all with attitude, but naturally.

This fun show was packed with cheer and dance fans on Sunday, and the momentum could carry over to its second (and final) weekend, Thursday through Sunday, Aug. 15-18, at 1847 N. Alabama St. Get info and tickets at www.footlite.org.

Making Oceania Great Again

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By John Lyle Belden

Citizens: Do not look away! You are witnessing a rare insight into Room 101 of the Ministry of Love, where thought-criminal Winston Smith will offer his confession and confront his insanity, his failure to love Big Brother.

This is “1984.” (Your official Ministry of Truth calendar should reflect this.) The plus-good Citizens of Monument Theatre Company are providing you this opportunity, where they expose the troubling writings of George Orwell, as adapted by Michael Gene Sullivan, directed for MTC by David Ian Lee.

Smith, who also purports to be an actor named Nathan Thomas, has written his crimes in a diary which is read and re-enacted by Party Members Riley Leonard, Raven Newbolt, Kim Egan and Deont’a Stark. Thomas naturally embodies a complex patchwork of emotions — broken, yet quietly defiant. Leonard presents the pre-arrest Smith burdened by ennui and desperate for a world that makes sense to him. Newbolt plays Julia, the woman Smith risks all for, so effectively her cohorts start to question her loyalty to the Party. Egan, on the other hand, is a true believer, eager for this trial to move on to condemnation and execution. Stark nicely takes on roles including Party officer O’Brien, who eventually shows up himself, in the body of Michael R. Tingley. Karen Sternberg provides the voice of alerts of victories by Oceania forces and other vital news.

This method of presenting Smith’s criminal activity provides an intense experience in the intimate confines of Indy Convergence. The context is made contemporary by the use of hand-held telescreens (smartphones) and the autocratic atmosphere does feel familiar in the world outside. Perhaps the most chilling aspect is the confidence of Tingley’s O’Brien, aware that his role is not player in this game, but the dealer – and the House always wins.

This Citizen rates this drama as double-plus good.

To avoid potential arrest by the Thought Police, it is advisable to make your way to 2611 W. Michigan St. for the remaining weekend. Information and tickets at www.monumenttheatrecompany.com.

Summit: Feel the love of ‘Mary Jane’

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By John Lyle Belden

“Mary Jane,” as the name of both central character and the play presented by Summit Performance Indianapolis, refers not to a quasi-legal substance but to an American everywoman – dealing with one of the worst nightmares a mother could face.

In the drama by acclaimed playwright Amy Herzog (staged Off-Broadway in 2017), Mary Jane – played with bold optimism by Bridget Haight – is the primary caretaker for Alex, a nearly three-year-old boy with cerebral palsy and other conditions likely caused by a brain-bleed during premature birth.

Presented on the intimate confines of the Basile Stage at the Phoenix Theatre, the play is presented without intermission (as intended) but its scenes present the narrative in two acts: In the first, we are in Mary Jane’s apartment, which includes various medical equipment (much of it unseen behind Alex’s door) and a visiting nurse (Nathalie Cruz). In the second, we are in a hospital which becomes for Mary Jane a sort of home – her son still being cared for just off-stage.

The “third act” is the audience’s ride home, reflecting on what they have seen, heard and felt. Yes, it’s that kind of play. Expect no easy answers, or an ending that brings triumph or catharsis. This is a reflection of real struggles, how we find the strength to confront them, and the search for understanding among others in a similar situation, as well as through faith.

Cruz plays a doctor in the latter half; others in the cast take on dual roles as well. Mara Lisabeth Malloy twice plays a mother with a special-needs child – first a new mom receiving an avalanche of advice from Mary Jane on how to cope; later a Jewish mother of seven who, having faith and family for support, takes the mentor role. Kelsey Johnson is a young woman wanting to help but out of her depth, first as a visitor, charmed by the little boy then overwhelmed by the reality of the situation; later as a musical therapist shaken into not becoming yet another part of Mary Jane’s problems. Jan Lucas bookends the story, at first as a helpful apartment Super, and later as a serenely savvy Buddhist nun.

The play is directed by Summit founding artistic director Lauren Briggeman, who – like Herzog – has some understanding of being a caregiver. It’s easy to see the devotion she and all involved had in giving their production genuine heart – including many moments of appropriately uplifting or soothing humor. Haight plays Mary Jane with great strength, even in passing moments when the facade cracks. Castmates all exhibit empathy so convincingly it seems there truly is a sickly toddler residing on the corner of the set.

If you go to theatre for “the feels,” or are open to, I encourage you to visit “Mary Jane,” with performances through Aug. 18 at the Phoenix, 705 N. Illinois in downtown Indianapolis. Call 317-635-7529 or visit www.summitperformanceindy.com.

CCP: Trial drama revisits USS Indianapolis tragedy

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By John Lyle Belden

The story of the USS Indianapolis, a World War II heavy cruiser sunk by a Japanese submarine after delivering essential parts of the first atomic bomb, is well known to Hoosiers. But less known is the fact that the ship’s captain, Charles McVay III, was court-martialed afterward – the only U.S. commander to ever face charges for losing a vessel in wartime.

This is portrayed in the drama “The Failure to Zig-Zag,” presented by Carmel Community Players. The title is also one of the charges against McVay – a violation of the practice of constantly changing course in good weather to avoid being targeted. The play by John B. Ferzacca (which premiered at Indiana Repertory Theatre in 1981) examines the trial, as well as the events that led up to it. It combines courtroom drama with flashbacks to the ship and the survivors’ ordeal, lending elements of horror.

Director Susan Rardin brings this powerful story back to central Indiana with a cast of varying experience, including military veterans, but all dedicated to bringing an important part of history to life. They even got to perform scenes for the annual USS Indianapolis survivors’ reunion.

Tim Latimer portrays McVay with constant unshakable dignity, mingled with disbelief that the Navy to which he had devoted his entire life would so crudely abuse him. Powerful performances run through the entire cast, including Kevin Caraher as Cpt. James Harcourt, the defense counsel; Ron May as Cpt. Dwight Effis, the prosecutor; Robert Fimreite as Rear Adm. David Wall, tasked with keeping the Navy’s reputation spotless; Jeremy Teipen as Lewis Greene, a reporter and grieving father; Brad Staggs as Lt. Cmdr. Alan Brett, the USS Indianapolis Executive Officer; and especially Ron Gotanco as Commander Mochitsura Hashimoto (another unprecedented element of the trial was testimony by the enemy). Other roles, including ship’s crew, were played by Kirk Donlan, Drew Hunter, Hank Kratky, Tyler Marx, Nolan Karwoski, Rich Phipps, Pavel Polochanin, Jeremy Ried, Austin Uebelhor and Joe Wagner.

Wendy and I had an opportunity to read the script over a year ago, and this is one of the plays we had most anticipated. It’s hard to describe the impact of seeing this unfold in front of and around you, all based on actual events, tragedy compounded by travesty – but with the spirit of a survivor throughout.

The term “must-see” gets thrown around a lot (even by us) but this play definitely qualifies. Performances are Thursday through Sunday, July 25-28, at the Cat, 254 Veterans Way in downtown Carmel. Tickets are selling fast (Thursday is already sold out) at www.carmelplayers.org.

Fat Turtle @ the Fort: Go see ‘Joan’

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By John Lyle Belden

Something precious has been stuck in a house for a long time.

Joan Wright was once an “author, traveler and businesswoman,” but in the three years since her husband died she has just been Joanie, a lonely woman spending her days in a bathrobe, knitting and watching the world out her back window.

But changes are coming. Her adult daughters are planning to move halfway across the country, and suddenly an old friend is in her living room, inviting her to a gathering of “the old gang” to celebrate her upcoming birthday. It’s exciting, and a bit frightening, but does it feel right?

This is the essence of the new drama, “Go Be Joan,” by Nathaniel Adams, a premiere by Fat Turtle Theatre at Theater at the Fort.

Kathy Bauchle plays Joan as a strong woman throughout – sometimes channeling that strength into her stubborn insistence on “not being a burden” by getting into nice clothes and out of the house to be among others.

Her girls each have their own issues, especially with the changes that life cast their way. Elder daughter Katherine (Afton Shepard) wears her constant nervous smile like a shield as she tries to maintain control of every situation she’s in. Her little sister Lindsie (Audrey Stonerock) has been taking care of Joan the past few years and really, really, wants their mother to move to St. Louis with them. Shepard and Stonerock swing from comaraderie to conflict and back like real siblings, as the deeper layers of the plot are revealed.

Katherine’s daughter Cara (Natalie Marchal) adds another generation to the mix, with her own quirks and concerns. She seems a bit two-dimensional and cliché at first, a selfish child preoccupied with the digital world in her smartphone, until Joan’s insistence on communicating yields to us a nice insight into Cara and her post-Millennial perspective. In return, we see the girl help her grandmother into the 21st century – which in the context of Joan’s shutting herself off from the world in recent years takes on special relevance.

Dan Flahive is neighbor and old friend John Patty, who delivers the invitation – and a mysterious wrapped gift – to Joan. He, too, lost a spouse years ago, so has a special insight into their situation. Flahive’s knack for playing a best friend you feel you’ve known and loved all your life is in full effect here. He plays it coy enough to balance the chemistry between his and Bauchle’s character deftly between platonic/agape friend and possible love-interest.

Fat Turtle artistic director Brandi Underwood directs.

This is a good start for a promising play, and an excellent opportunity for local audiences to support local art. The characters and their story touch our hearts with gentle humor and an insightful look at how we grieve and learn to go on living.

Oh, and my opening statement above refers to more than just the title character.

Performances of “Go Be Joan” run through July 28 at 8920 Otis Ave., on the grounds of Fort Benjamin Harrison in Lawrence. Get information and tickets at www.fatturtletheatre.com.

‘Mamma Mia!’ gets the local treatment

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By John Lyle Belden

It’s hard to imagine a more fun musical than “Mamma Mia,” with its high-energy blend of a sunny exotic setting, Shakespeare-worthy rom-com plot, and the familiar 70s-80s hits of international supergroup ABBA. At long last, the rights are available to community theatres, and CrazyLake Acting Company of Greenfield has taken it on in marvelous fashion. 

Set on a Greek island resort around the year 2000, young Sophie (Jamie McDowell) prepares for her wedding to boyfriend Sky (her real-world fiance, Austin Fisher) but first, she wants to invite her father, who could be one of three different men. So, she invites them all — and they all show up! This only adds to the stress for Sophie’s mother, Donna (Shari Jacobs), who fortunately has her “Dynamos” — Tanya (Noelle Russell) and Rosie (Amy Studabaker) — to literally back her up. 

The three men, Sam (Patrick McCartney), Bill (Coy Hutcherson), and Harry (Matt Little), don’t know what’s going on — at first. This will not be a typical wedding!

Throw in more than 20 others to play various roles and the chorus, and the whole production is infused with infectious fun — making it hard not to sing along.

The whole cast seems to enjoy it, too, with moments like the frog-dance of “Lay All Your Love On Me;” the three “dads” each offering to give the bride away, inspiring a wild nightmare as McDowell sings “Under Attack;” Russell going full-cougar with “Does Your Mama Know,” and even in more emotional scenes like Jacobs belting “The Winner Takes it All.”

Direction is by Studabaker and Christine Schaefer — no strangers to fun and funny goings-on, with choreography by Studabaker and Elizabeth Orr.

For much less than the last touring production’s ticket, you can experience all this with familiar (and just as talented) performers, Friday through Sunday at the H.J. Ricks Centre for the Arts, 122 W. Main St. (US 40) in downtown Greenfield. Info and tickets at www.CrazyLakeActing.com.

Phoenix hosts stunning tribute to artist’s life, GHDT’s ‘La Casa Azul’

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By John Lyle Belden

“La Casa Azul” translates to “The Blue House,” the place where Mexican artist Frida Kahlo’s life both began and ended, the place she always called home, no matter where her celebrated and tragic life took her.

“La Casa Azul: The Musical” is a newly-revised production by Gregory Hancock Dance Theatre playing at the Phoenix Theatre in downtown Indianapolis. It combines dance and sung-through drama, much like a cross between a ballet and an opera with Latin-flavored music. The actors all embody various individuals and chorus parts, with the exceptions of Valerie Nuccio as Kahlo and JL Rey as her husband, muralist Diego Rivera – who vividly resemble their real-life counterparts – and Abigail Lessaris as La Muerte, the beautiful dancing embodiment of Death.

The whole these parts combine to is an exceptional theatrical experience: stunning, sad, humorous, thought-provoking and inspiring.

Nuccio holds our focus throughout, the hero of the story, winning our hearts despite no effort made to make us love her. Kahlo was brash and outspoken, an unapologetic Communist who hated America and its citizens’ condescending attitudes; still, above all she was a proud woman devoted to her homeland. But the stage also belongs to Lessaris, as Death is ever present. Never speaking a word, her movement and constant attendance speak volumes. At times, Kahlo can even sense her dancing near, occasionally even helping her to her feet to live another day – La Muerte is patient.

The ensemble includes Alyssa Lopez as Kahlo’s sister Christina; Johnathon Contreras as the boyfriend who was with her in a near-fatal accident; Bill Book as her father, who encouraged her to paint during her recovery; Onis Dean as various doctors who rarely give good news; and Dick Davis as Henry Ford (who Kahlo despised) and exiled Leon Trotsky (with whom she had an affair). Jessica Crum Hawkins, who played Kahlo in the 2015 premiere of “La Casa Azul,” portrays Trotsky’s wife.

Gregory Glade Hancock not only provided the choreography, but also the costume design, music and lyrics – with Kate Ayers. The songs flow as easily as the dancing, easing us through the plot. For clarity, a full synopsis is printed in the program. Stage direction is by Mexican artist Georgina Escobar.

The costumes are a vibrant tribute to Mexico and its culture, as well as the dapper decadence of New York in one scene. The set is adorned with a fractured portrait of Kahlo, a reminder of her many facets which only come together when we see her life completed.

For anyone with an interest in Frida Kahlo and her art, seeing this is almost a duty. Performances run through July 28 on the Russell main stage of the Phoenix, 705 N. Illinois St. See LaCasaAzulTheMusical.com for information and tickets.

‘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.

BCP succeeds at ‘Disaster’

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By John Lyle Belden

Before we give the world to the Millennials, let’s have one more fun show for the memories of Boomers and Generation X, a silly tribute to 1970s pop music and death-defying films in “Disaster! The Musical,” on stage through June 16 at Buck Creek Players.

This show by Seth Rudetsky (an “ah-mah-zing” personality on Sirius/XM’s Broadway channel) and Jack Plotnick takes on thrillers such as “Earthquake” and “The Poseidon Adventure,” and adds fire, rats, sharks, piranhas and disco.

It’s 1979 New York, and the casino ship Barracuda is holding its grand opening. It only has to float to be legit, so it stays moored to the pier. Owner Tony Delvecchio (Corey Yeaman) sank a lot of money into this venture, so what’s a few cut corners going to hurt? That shaking is just construction on the West End Highway, right?

Chad (Scott A. Fleshood) needs to get back into action with the ladies, so gets friend Scott (Jamison Hemmert) to bring him on the boat as a fellow waiter. But just as he’s getting his “what’s your sign?” working, he runs into Marianne (Allie Buchanan), who left him at the altar, choosing her career as a Times reporter over him.

Others on this journey include disaster expert Professor Ted Scheider (Joe Wagner), who wants everyone off the boat immediately; Sister Mary Downey (Emily Gaddy), out to save souls, but worries for her own when faced with an old temptation; Maury and Shirley Summers (Michael Davis and Laura Duvall-Whitson), a couple in a long, happy marriage on what could be their last voyage; disco diva Levora Verona (Joi Blalock), whose career is on the skids; and ship’s entertainer Jackie Noelle (Jessica Crum Hawkins) and her twins Ben and Lisa (both played by Ava Lusby).

The cast also includes Joshua Cox, Christine King, Paige Land, Carrie Powell, Jason Ryan, and Ben Rockey in dual roles as the dutiful security guard and a rich passenger.

The show manages to balance an absurd, fun atmosphere with a touch of genuine suspense. It unapologetically embraces cheesy elements including puppet killer fish, obviously fake body doubles, and a “CASINO” sign that flips over to signal when the boat has capsized, somehow making it all work. And then there’s the music, as pop hit lyrics are warped to fit the plot, and vice versa. For instance, during the opening number every possible meaning for the words “Hot Stuff” is explored to help set up the various elements of the oncoming calamity.

Fleshood makes ‘70s suave look cool; Yeaman is just sleazy enough for us to enjoy every misfortune he encounters; Wagner makes a likable egghead; Hemmert is charming in a hard-luck way; Duval-Whitson and Davis are sweet enough to induce sugar-shock; Rockey can’t help but steal scenes; and the ladies are top-notch — Buchanan providing a humorous yet respectful reflection of the era’s feminist struggles; Hawkins giving dimension to what could have been just a damsel-in-distress role; Blalock being a sassy force of nature in her own right; and Gaddy making a supporting role look like a star turn.  

Lusby is very impressive in her community theatre debut. The seventh-grader shows a lot of talent and a knack for comedy as she smoothly switches between siblings throughout the show.

Director D. Scott Robinson can be reassured that ironically, in this “Disaster” everything went right. Find the Buck Creek Playhouse at 11150 Southeastern Ave. (Acton Road exit off I-74). Find info and tickets at 317-862-2270 or buckcreekplayers.com.

Discover the beauty of ‘Violet’

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By John Lyle Belden

The musical “Violet” touches on many themes: blind faith, being blinded by faith, the importance of our appearance to ourselves and others, and the necessity to forgive — both others and ourselves. Eclipse productions, a program of Summer Stock Stage, brings all these aspects beautifully into focus in its production of “Violet” at the Phoenix Theatre, through June 15.

In 1964, Violet, a young woman from rural Spruce Pine, North Carolina., travels by bus to Tulsa, Oklahoma, to find a television preacher who conducts televised faith healings. She hopes to finally be rid of a disfiguring facial scar she got from an accident with a wayward ax blade. On the way, she rides with two soldiers on their way to Ft. Smith, Arkansas (nearby Fort Chaffee, to be accurate, but this isn’t mentioned), the last stop before Tulsa.

Along the way, Violet (Elizabeth Hutson) gets to know Flick (Mark Maxwell), a black Sargeant, and Monty (John Collins), a white Corporal, as they get a measure of her and appreciate the woman behind the face. She also meets characters such as a well-meaning old lady (Amanda Boldt) and the driver (Carlos Medina Maldonado), as well Almeta (Chase Infiniti), who runs a boarding house in Memphis, and isn’t comfortable with white folks in her rooms. During this journey, we can see in her memory a younger Violet (Leah Broderick) and her father (Eric J. Olson), who as a widower tries to do as well as he can for his daughter, while enduring a river of deep regrets.

The cast also includes Terrence Lambert, Lily Wessel, and Gabriel Herzog in various roles. At the Tulsa church studio, we meet Maldonado as the preacher with a choir led by Infiniti as featured singer, Lula.

Most of the ensemble are Summer Stock Stage alumni, young adults given an opportunity to show the skills they attained through years in the youth program as well as high school and university; thus we have fresh faces performing like old pros alongside veteran actors Olson and Maldonado.

Hutson is exceptional, her star shining through the plain hair and clothes, helping us to see the scar burned into her psyche even though (as is commonly done in this production) it is not visible on her face. Maxwell and Collins flesh out their characters solidly, and Infiniti gets to show off her powerful voice.

The simple set suggesting an old country church, by designer Geoffrey Ehrendreich, is adorned with mirrors hanging high above it, the shadow of the center one looming in the background as a metaphorical tombstone. Music direction and costumes are by Jeanne Bowling, with a backstage band conducted by pianist Nathan Perry. Eclipse Artistic Director and show producer Emily Ristine Holloway directs.

This beautiful work is playing on the Russell main stage at the Phoenix, 705 N. Illinois St., downtown Indianapolis. Get info and tickets at www.SummerStockStage.com or PhoenixTheatre.org.