John

Review: Adults from adult films, adulting

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

By John Lyle Belden

Let’s clear up one thing right away: There is no sex, simulated or otherwise, in the play “Porno Stars at Home,” on the second stage at Theatre on the Square through April 23. Nor is there nudity (which seems odd, considering TOTS’s brave history). Believe it or not, there is more sex in the shows which both precede and follow it on the theatre’s schedule.

What you get, in Leonard Melfi’s famous 1970s drama, are five people portraying five real, fragile women and men who happen to have jobs engaging in sex acts for adult films.

“My birthday party will not be a disaster,” declares Georgia Lloyd Bernhardt (played by Lisa Marie Smith) as guests start to arrive at her tidy New York apartment. She desperately wants and needs to believe that statement is true, as she faces the stress of turning 35 in an industry that demands youth, as well as a secret she will eventually reveal to her friends. Her quest for a clean space away from her “work” is reflected in her spartan furnishings and desire that all keep even their language clean (a hopeless quest).

First to arrive is her peer, Barry Olivier (Todd Kenworthy). Later we meet hyper Norma Jean Brando (Frankie Bolda), hunky Montgomery McQueen (Jay Hemphill) and beautiful Uta Bergman-Hayes (Miranda Nehrig).

Norma Jean, a confessed nymphomaniac, has a surprise of her own: The last man she casually had sex with is allegedly a playwright and would not only write a part for her, but a play for all five of this group, telling about their lives. (Who knew “going meta” was a thing in the ’70s?) The anticipation of a visit by this man, and the hope it gives to these actors longing for “legitimate” roles, is a touchstone for the drama that follows.

As one might guess, this quintet aren’t happy with a life of boinking on film. Montgomery confesses he hates working in all-male films, despite his ample “talent” tenting his slacks. Meanwhile, Uta says she is tired of sex in all forms and wishes to find a more real and less physical form of intimacy – her attitude is reflected in her wardrobe, sharply dressed in a pantsuit that covers her to her neck and wrists, topped off on her entry with a concealing hat. Barry apparently has compartmentalized his feelings for women from the sex of his job, but seems conflicted on which applies in his relationship with Georgia, one of his more popular co-stars.

I won’t spoil much by saying that Georgia’s little party is indeed a “disaster” – a beautiful, entertaining wreck that tests and humanizes these characters who found themselves in lives of equal parts fame and shame. Considering that thousands of men and women are involved in the adult film industry to this day (a much bigger, wilder world thanks to the internet), this look at the “scene” 40 years ago has striking relevance – only the rotary phone (and no individual mobiles) betrays the era, since retro décor and disco fashion could become in vogue at any time. Kudos to this quintet, and director Bill Wilkison, for bringing these hurting souls to life – and I can’t help but hope those alter egos made it away from their “day job” to answer an audition notice by an enigmatic off-Broadway playwright by the name of Melfi…

Needless to say, “Porno Stars at Home” is for mature audiences. Find TOTS at 627 Massachusetts Ave., Indianapolis. Call 317-685-8687 or visit0 tots.org.

(Review also published at The Word.)

Review: The price of defying godlike power

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

By John Lyle Belden

In the hands of Eclectic Pond Theatre Company, one of Western civilization’s oldest surviving plays truly becomes timeless.

“Prometheus Bound,” attributed to ancient Greek playwright Aeschylus, was based on the myth of the Titan who defied the ruling god Zeus and brought fire – and with it, civilizing knowledge – to humankind. For his “crime,” Prometheus was chained to a rock and subjected to daily torture. In the play, he is visited by characters who ask him why he committed the act and to beg for forgiveness.

In the ETC production, playing Friday through Sunday at Wheeler Arts Community Center, Prometheus is the online name of a hacker (played by Bradford Reilly) who worked for the NSA and its director – nicknamed “Zeus,” of course – to develop the all-knowing Firenet. Acting similarly to real-world fugitive Edward Snowden, the online titan makes the secret program public – giving “Fire” to mankind.

He is shackled by Hephaestus (Tristan Ross) and Kratos (Taylor Cox), now represented by the prison warden and guard. The Chorus who questions Prometheus and listens to his soliloquies is a TV reporter played by Ann Marie Elliott. Oceanus, the fellow Titan who begs the prisoner to reconcile with Zeus, is in 2016 his attorney, played by Ross. Cox also takes a second role as Hermes, Zeus’ messenger.

Prometheus also encounters Io (Elysia Rohm), a woman whom Zeus lusted after. In mythology, she was turned into a cow, today she is only called one as an epithet, and is disappeared to a neighboring prison cell.

The classic translation of the Greek drama is kept intact, so to be understandable we must take myth as metaphor, but Reilly manages to communicate well his disdain for a tyrant of any era. Ross, Cox and Elliott, all experienced with Shakespearean dialogue in a modern setting, have no trouble with this material either. I first thought that Elliott in her role smiled a bit much for such serious subject matter, but it works as a portrayal of the cynical nature of today’s media – addressing world-changing news with an incredulous grin. Rohm is effective in making us feel Io’s plight – whether as the maiden pursued by an amorous god, or an inconvenient affair that a man in power can’t let walk free.

To better understand the story and put it in a relatable context, there are several well-produced broadcast news breaks shown on a screen to the side of the simple set of Prometheus’s cell. These were helpful and fit right in with the whole concept of the play.

Director Carey Shea and company have produced an excellent fresh take on an old story, a commentary on the “gods” we may all find ourselves answering to. Find Wheeler Arts at 1035 Sanders St., Indianapolis, near Fountain Square. For information and tickets, see eclecticpond.org.

(Also posted at The Word)

Review: ‘Passion’ on TOTS stage

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

By John Lyle Belden

“Beauty is power,” we are told. But what if one is not beautiful; how does she get what she desires?

This question is at the heart of Stephen Sondheim’s musical, “Passion,” playing through March 26 at Theatre on the Square.

In a past era, Italian army officer Giorgio (Scott Russell) has found love with Clara (Jessica Hawkins), who is inconveniently married. He is assigned to a new post, where, while meeting the other officers, he learns that a woman, Fosca (Lori Ecker), lives in the quarters of the commanding Colonel (Norman Brandenstein), her cousin.

Fosca suffers from unspecified mental and physical ailments, leaving her weak and enhancing her unattractiveness. Giorgio takes pity on her, and being the only man to show her true kindness, she falls in love with him. His heart is with Clara, but Fosca’s persistence starts to affect him.

Is Fosca manipulative and cruel, or misunderstood and seeking affection the only way she knows how? Do Giorgio’s acts and reactions show weakness, or tested inner strength? The answers audiences must decide for themselves, and Ecker and Russell don’t make it easy with their nuanced performances.

Fosca is more plain than ugly, in a long, black, shapeless dress with minimal makeup and hair severely pulled back; but in her era as in ours, to look so ordinary is enough, coupled with her odd demeanor and an attitude that hints at a lack of inner beauty as well. Still, Ecker can’t help but shine and makes us feel for her, even when other characters can’t or won’t.

Clara, on the other hand, has bright dresses, colorful makeup and an angelic demeanor (she even knows Giorgio is friends with Fosca) that lets you forget she’s an adulteress; and Hawkins gives her a clear, charming voice and easy smile.

Russell plays Giorgio as the eager, loyal hound who rests easy at Clara’s feet and is devoted to the troops he serves with and over. Such qualities are easily misunderstood and abused by Fosca, who drives him to physical illness that seems to mirror her own.

This musical is not known for its catchy showtunes, but for possibly being Sondheim’s most complex romantic story, a show he counted among his favorites in interviews for “Sondheim on Sondheim.” To judge for yourself, see “Passion” at TOTS, 627 Massachusetts Ave. in downtown Indy. Call 317-685-8687 or see www.tots.org.

(Review also posted on The Word.)

 

Review: Not an easy ‘Road’

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

By John Lyle Belden

The Phoenix Theatre doesn’t shy away from difficult topics, and neither does popular playwright Steven Dietz, whose newest work, “Clover Road,” occupies the Phoenix’s Basile downstairs stage through April 10.

Kate Hunter (played by Jen Johansen), a mother whose child has been missing for four years, receives word that her teenage daughter is on the compound of a cult run by the charismatic Harris McClain (Bill Simmons). We meet Kate as she arrives at a room in an abandoned motel with a man (Rob Johansen) who has been hired to abduct the girl and bring her back to the room for deprogramming. He tests her resolve and thickness of her psychic armor before leaving, then arrives later with a girl Kate doesn’t recognize (Mara Lefler). The mind games begin – for everyone involved in this story – building to an inevitably tragic conclusion.

The opening night performance made a profound impression on mental health professionals in the audience.

“I kept thinking, ‘this is very realistic,’” said Katie Sahm, a licensed clinical social worker with Counseling Associates in the Community Health network, during a post-play discussion. Lefler’s portrayal of a youth convinced of the cult leader’s apocalyptic message felt accurate, she said.

The play reveals “the vulnerability of all of us,” said Jim Bush, Director of Operations for Eskenazi Health Midtown Community Mental Health Center. The desperation to believe what they hope is true and right is shown in all the characters, aside from svengali McClain, who Simmons imbues with easy charisma.

Sahm, Bush and family therapist Dr. Barbara Riggs, with play director Courtney Sale, frequently cited a person’s need for validation as a factor in why teens like the girl in “Clover Road” find themselves in cults, gangs or with strangers they meet online. Audience discussion turned to the role of social media. At one point in the play, it’s revealed the missing girl had been in contact with a person online who told her what she wanted, or needed, to hear.

“That’s the truly frightening part,” Sahm said of the issue of defending against predators who would wield personal validation as a weapon.

The play’s themes and the expert portrayals – the Johansens and Simmons are excellent as always, and Lefler makes a brilliant Phoenix debut – deliver riveting drama, and are bound to start interesting conversations on the way home.

The Phoenix Theatre is at 749 N. Park Ave. (corner of Park and St. Clair) in downtown Indy. Call 317-635-7529 or see phoenixtheatre.org.

(Review also posted at The Word.)

Avenue Q: A great place to visit again

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

By John Lyle Belden

It’s always amazing, while attending a performance of “Avenue Q,” to see the reactions of those who haven’t seen it before when a Muppet-style puppet drops the F-bomb in one of the first songs (“It Sucks to Be Me”). When I see the, “Did I just hear that?” I’m thinking, “You ain’t heard nothing yet.”

After all, this is the musical that brought us, “Everyone’s a Little Bit Racist” and “The Internet is for Porn.”

Yes, when Fabric-Americans and other diverse people have outgrown Sesame Street, they move uptown, all the way up the alphabet to Avenue Q. This show captures the style of Childrens Television Workshop shows, but is definitely NOT for children. Still, it’s worth it to plug the ears of your Inner Child and go. The show is full of laughs and heart, even with the mature edges, as you get to know and love people just trying to make something of their lives, like all of us.

But what if you have been to this street before? For those who enjoy singing along with “Porn! Porn! Porn!” and look forward to the sight-gag in the hospital scene, you will have a lot of fun with the Footlite Musicals production, running through Sunday at the Hedback Theatre, 1847 N. Alabama St. in downtown Indy.

It’s hard to pick a stand-out performance in this cast, as all are at the top of their game, including Phil Criswell as puppet-seeking-purpose Princeton, Emily Schaab as beautiful Kate Monster, Graham Brinklow and Damon Clevenger as odd couple Nicky and Rod, Chris Meek as struggling comic Brian, Nathalie Cruz as tell-it-like-it-is therapist Christmas Eve, and Ryan England as pervy Trekkie Monster. The biggest pleasant surprise is building super Gary Coleman played by Ervin Gainer, who actually looks like the late child actor. In addition, throw in excellent support from Leigh Alexovich and Dejuan Jackson as boxes, Bears and left hands, as well as Zarah Miller as the legendary Lucy T. Slut.

Another note to newcomers: There is a song about giving to charity, during which the “hat” is passed around the audience – though actors could usually use the money (and cast and crew at Footlite are volunteers), all funds will go towards a genuine charity announced at that point in the show.

Go to www.footlite.org or call 317-926-6630 for ticket reservations.

(This review also posted on The Word.)

After TOTS triumph, Asaykwee continues dark path

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

By John Lyle Belden

If you missed the recent run of the Tracy Letts drama “Killer Joe” at Theatre on the Square, it’s understandable. Sellouts were common, even with an additional performance added.

Still, you would have missed one heck of a show. The raw impact of the story of a redneck Texas family hiring a hitman to kill one of its members, with the titular character agreeing to take the young woman of the family as a “security deposit,” was enforced by a top-shelf cast – including local stage veterans Dan Scharbrough, Nate Walden, Lisa Marie Smith and Jaddy Ciucci.

But the most triumphant performance was by Ben Asaykwee as Joe. For those who only know his work with darkly comic characters – like the many he developed as founder of Q Artistry and shows like “Cabaret Poe” – his chilling transformation into the no-nonsense Texas hitman bordered on shocking. With surprisingly little effort, he projected menace and put us all on notice that his true range and depth is much greater than many ever suspected.

This weekend, TOTS, 627 Massachusetts Ave., Indianapolis, opened the classic Stephen Sondheim musical, “Passion,” playing weekends through March 26. (See www.tots.org.)

Meanwhile, Asaykwee has left downtown and set his sights on entertaining us with the story of an actual killer.

Apparently unafraid of ghosts – working as he has for the past several years in former Masonic Lodge 666 in the haunted neighborhood of Irvington – Asaykwee, with megatalent Claire Wilcher, present “White City Murder,” a new musical based on the exploits of America’s first known serial killer, H.H. Holmes, performed just blocks away from where Holmes briefly lived and is believed to have killed at least one child, who is said to still haunt the home.

The musical runs March 18-20, March 26 and March 31-April 2 at the lodge, 5515 E. Washington St., Indianapolis. It’s plot concerns the “murder hotel” where dozens of young women disappeared during the 1893 Chicago Worlds Fair. The events are recounted in the book “The Devil in the White City” by Erik Larson, which tells of Holmes’ many murders to collect on victims’ insurance and the building he had constructed to make the process of killing and disposal more efficient.

If anyone can set such a macabre topic to music in an entertaining fashion, it’s Asaykwee – who has already succeeded with the works of Edgar Alan Poe and writing an opera about the tragic Donner Party. And if anyone can help make such an odd show work, it’s Wilcher, who just helped co-write “Babes in Toyland,” is a comic legend with 3-Dollar Bill and ComedySportz, and gave brilliant performances in musicals including “Cabaret” and “Man of LaMancha.”

Find ticket information at www.qartistry.org, or follow “Qartistry” on Facebook.

(This story also posted on The Word.)

Review: Civil War comedy works

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

By John Lyle Belden

NOTE: Review also appears online with The Word (www.theygayword.com).

The most entertaining lesson this Black History Month only has one February weekend of performances, the comic drama “Butler” at Indy’s Phoenix Theatre through Sunday. It is also an important insight into the struggle to bring about the end of slavery, or to at least give African Americans some long-denied dignity.

Lawyer turned Union Army General Benjamin Franklin Butler (played by Stephen Hunt, who perfectly resembles historical photos of Butler), takes command of a fortress that by a fluke of geography is the only piece of Virginia still belonging to the North during the Civil War. As he’s settling in, he receives word of escaped slaves, led by Shepard Malloy (Ramon Hutchins), who insists on speaking to the General.

The opening scene, mainly a conversation between Butler and one of his junior officers (Brandon Alstott), helps set the tone for this play. We get a feel for Butler’s gruff personality and though his agitation over seemingly small details seems eccentric, we find ourselves “astonished” at how well it sets up the dry but sharp comedy of later scenes.

Hutchins is exceptional in a very complex role. His Malloy yearns for freedom, yet his intellect and impulsiveness make him his own worst enemy in a world where people like him aren’t allowed to get in the last word. Yet in one-on-one conversations with Butler, their verbal sparring challenges each other as well as the audience, even while extracting welcome yet un-guilty laughter.

Doug Powers appears as a Confederate Major sent to fetch the escaped slaves, ironically citing the laws of the Union his state was seceding from to compel Butler to return them to his custody. It is in this situation that the Union General reverts to lawyer mode and comes up with a loophole to keep Malloy and his companions in the fort. Note this is based on true events, including the legal means by which Butler manages to hold on to the “property” of a Southern slaveowner.

If an uplifting Civil War comedy can happen, anything is possible. See for yourself Feb. 4-7. Call 317-635-7529 or see phoenixtheatre.org.

Review: Buck Creek’s ‘Garland’ charms

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

By John Lyle Belden

NOTE: Review also appears online with The Word (www.theygayword.com).

“Hi, I’m Judy Garland, Liza Minnelli’s mother.”

BCP Garland
Georgeanna Teipen as Judy Garland in “The Property Known as Garland” at Buck Creek Players through Sunday (BCP photo)

This is how the star, occupying the body of Georgeanna Teipen at Indy’s Buck Creek Playhouse, introduces herself to Ed (Steve Jerk) in the dressing room of Copenhagen’s Falconer Centre as they await what would be her final public concert, March 25, 1969. She then sends Ed on a fool’s errand so that she can be alone for the next hour to talk to us – across space, time and the fourth wall – about her life.

“The Property Known as Garland” was crafted by Billy Van Zandt from Garland’s actual words in interviews and dictations for a never-published memoir. Director D. Scott Robinson said a minimum of dramatic license was employed in the script. While he can’t say Judy’s stories were all true, because “she was a story-teller,” he said. “What you hear is what she actually said.” Robinson added that most aspects of her narrative, including her scandalous first pregnancy, are independently verifiable.

Robinson also said that while he was thrilled to get the rights to this show, he wouldn’t do it without Teipen as Garland. Fortunately, she was quick to say yes, he said. And indeed, from the short dark wig to the sassy attitude that sways from playful and wistful to maudlin and angry, she does – for 90 minutes, no intermission – become Judy Garland.

I must note that for those who are either eager for or cringing at the thought of her belting out full renditions of “Zing! Went the Strings of My Heart” or “Over the Rainbow,” it won’t happen. Teipen is spared inevitable comparisons to the legendary voice, as Judy saves it for her Danish audience.

Still, to hear her story, from little Frances Gumm and her sisters in vaudeville, through her time with MGM and Oz (including backlot Munchkin tales), up through her more recent triumphs (Oscar-nominated for “A Star is Born”) and trials (getting booed off the stage in Australia), is fascinating enough without song breaks. And in Teipen’s performance, we feel those highs and lows with her.

She touches on her appeal to LGBT audiences, including encounters with drag impersonators.

There is also a touch of irony, as she remarks on how each of her peers and rivals are “drunks” while waving her ever-refilling glass of Blue Nun dismissively. She has no problem with it, she says, except for having to switch from wine after being told, after liver surgery, that she could no longer consume hard liquor. And she laments how Marilyn Monroe was careless enough to overdose on pills, just months before she would die from a day of constant consumption of barbiturates.

There is just one weekend of performances left before the Garland glamour leaves us again. Find Buck Creek Players at 11150 Southeastern Ave., Acton Road exit off I-74; call 317-862-2270 or see www.buckcreekplayers.com.

Review: Corny cornchip mystery by CRP

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

By John Lyle Belden

Years ago, I worked on a production line of a manufacturer of tortilla products. Though not too bad if you don’t mind smelling like a corn chip after work, the shifts were as long and monotonous as you’d imagine. And I guess that for those working in the executive offices, things were about as dull.

Until they’re not.

Casey Ross’ “Tortillo” imagines such a scenario, in which a corporate drone at a corn chip company could use some excitement in his life – and with a mysterious phone call, he gets it in spades.

Dave (Robert Webster Jr.) could care less about the new ranch flavor of Tortillo stacked chips (like if Pringles made Doritos) but would rather pine for hot co-worker Juniper (Lisa Marie Smith). Steve (Matt Anderson) is all to eager to help Dave score, giving him an excuse to offload all his work on shy but faithful intern Patrick (Davey Pelsue). But during an evening of watching Steve’s 15 seconds of fame on TV, he and Dave get a call from a malevolent voice, telling them to “mind your own masa.”

Naturally, they freak out over the vague threat, but not enough to do anything. The next day, after overeager employee-of-the-month Ted (Tristan Ross) drops off a sample of the new-flavored chips, they make a discovery that will make you think twice before popping open your next can of Tortillos.

What ensues is a bizarre mystery of corruption and revenge with odd and shady characters – and just who is that “John” guy (Brian Kennedy) anyway? He looks familiar – all flavored with dark hilarity like only Casey Ross’ pen can deliver.

Under the expert direction of Tristan Ross (no relation to Casey) this madness flows excellently through two acts. This was originally a 50-minute Fringe show, and hits the same plot beats, but the two Rosses have ensured that it doesn’t feel “padded out.”

The fun and snacks end Sunday at the IndyFringe building’s Indy Eleven stage. See IndyFringe.org or the Casey Ross Productions website or Facebook page for details and tickets.

Review: An entertaining and enlightening Sondheim salute

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

By John Lyle Belden

Did you know that it took three tries before “A Funny Thing Happened on the Way to the Forum” had an opening song that worked?

You get lots of behind-the-scenes glimpses like this in “Sondheim on Sondheim,” Thursday through Sunday at Footlite Musicals. This hybrid of documentary and revue has Stephen Sondheim himself projected on a big screen, talking about his life and career, while live performers – Lauren Bowers, Graham Brinklow, Onis Dean, Laura Duvall-Whitson, Karen Frye, Jeff Fuller, Sarah Marone and Larry Sommers – sing songs from his stage shows. The numbers range from choruses and medleys to full performances of songs like “Gun Song,” “Finishing the Hat” and “Send in the Clowns.”

If you don’t like Sondheim – then, really, why are you reading this? – but if you do like the man or his musicals at all, you’ll find this show charming and insightful. The singers are well up to the task, with some, like director Bill Hale, having worked on the Footlite production of “Follies” a couple of years back. However, the orchestra on stage does threaten to sonically overwhelm them. Fortunately, the audience is also on the Footlite stage, an intimate arrangement that gives the vocalists the freedom and challenge of working un-mic’ed.

Circumstances limited the show’s run, so see it this weekend at the Hedback Theater, 1847 N. Alabama St. Call 317-926-6630 or see footlite.org.