John

How an orphan became a legend

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NOTE: As the Word/Eagle is in flux with the renaming and corresponding change in official website, John is putting his reviews here — for now.

By John Lyle Belden

The Phoenix Theatre in downtown Indy starts its season with the local premiere of Tony-winning play “Peter and the Starcatcher” – based on the book by humorist Dave Barry and Ridley Pearson – a prequel to the popular adventures of Peter Pan. The production is not a musical, though a few strains of song figure into the plot, and while maintaining panto-esque silliness, is not a roll-in-the-aisles comedy. Consider it a fantasy that refuses to “grow up.”

Fortunately, the Phoenix has a couple of regulars seemingly blessed with eternal youth: Nathan Robbins as the Boy without a name – at first – and Phebe Taylor as Molly, the girl who turns out to be the other half of the play’s title. They are easily the most complex characters, with the Boy’s justifiable distrust of adults and whimsical wish to always remain a child, and Molly’s intellect, desire for adventure and devotion to her noble eccentric father, Lord Aster, played by Paul Nicely. They also stand out as all other characters are mostly caricatures.

Being broadly drawn is just fine for our villain Black Stache (known by a more familiar name eventually), played with grinning gusto by Eric J. Olson. Other notable performances include Dan Scharbrough’s faithful and scene-stealing Smee; John Vessels Jr. as the “beautiful” Mrs. Bumbrake; Michael Hosp as simple and smitten Alf; Tyler Ostrander as Prentiss, the young “leader” no one follows; and Ian Cruz in multiple roles, including an unusual island native chieftan.

It felt to me at times the show tried too hard to be funny, especially with modern references sprinkled in which felt dissonant with the 19th-century setting, but overall the show is sure-fire entertainment, sure to make your heart and imagination soar.

The play runs through Oct. 23 at 749 N. Park Ave. For info and tickets, call 317-635-7529 or see phoenixtheatre.org.

John L. Belden is Associate Editor at The Eagle (formerly The Word), the central-Indiana based Midwest LGBTQ news source.

Thanks a ‘Million’

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NOTE: As the Word/Eagle is in flux with the renaming and corresponding change in official website, John is still putting his reviews here.

By John Lyle Belden

On a December day in 1956, something extraordinary happened.

And the fact that it did happen, and occur largely spontaneously, is practically unbelievable – but then, there’s the sound recordings, and that famous photo. On that day, in the little studio of Sun Records in Memphis, Tenn., four legends – Carl Perkins, Elvis Presley, Johnny Cash and Jerry Lee Lewis – held an impromptu gospel/country/rockabilly jam session that a local newspaper would declare the “Million Dollar Quartet.”

The Broadway musical of that same title, commemorating that day, is presented locally by Actors Theatre of Indiana at The Center for the Performing Arts in downtown Carmel through Oct. 2.

In the play’s dramatization, Perkins (Jeremy Sevelovitz) and his brothers are in a recording session, trying to come up with his next hit, when Sun’s owner and producer Sam Phillips (Don Farrell) surprises him with the label’s latest signee – a hyper Louisiana boy, Lewis (Taylor Gray), who is days away from his own first hit. Phillips wants to add boogie-woogie piano to enrich Perkins’ rockabilly sound – which the guitar legend resists, at first.

Meanwhile, Cash (Brandon Alstott) is expected to stop by; Phillips has a surprise contract extension for him, but Cash has a surprise of his own. Then, Presley (Adam Tran), who started with Sun but sings for RCA, stops by with his latest girlfriend (Betsy Norton), and can’t resist picking up a guitar and joining in. All four singers, and even the young woman, sing solos and harmonies of familiar songs from the era, including the stars’ biggest hits.

Of course, there’s also a little drama as Cash and Phillips need to resolve conflicting plans, Jerry Lee gets a little too brash, and Phillips seriously considers the future of his struggling operation. We also get flashbacks to show what the Sun boss first saw in each of these eventual legends. But overall, the music is what drives the show.

And what a wonderful show it is. Gray was understudy for Lewis on the musical’s national tour, but is overjoyed to be the number one Killer for ATI, as are we who see him expertly capture the energy and raw talent of Jerry Lee. Sevelovitz, also no stranger to his role, plays the heck out of his guitar as Perkins, recreating the look, sound and attitude of the original man in Blue Suede Shoes. The local actors: Alstott seems right at home as the Man in Black, Tran radiates The King’s charisma, and Norton is as charming as ever as beautiful Dyanne (based on Elvis’s actual companion; her name was changed to avoid confusion with another personality of the era). ATI co-founder Farrell ties it all together as the man in charge. The talents of Kroy Presley as Brother Jay on stand-up bass and Nathan Shew as Fluke on drums ably round out the cast. Direction is by the nationally-renowned stage and TV director DJ Salisbury.

The action takes place in one movie-length act, ends with a rousing encore for the curtain call, and is satisfying throughout. The content is family-friendly (aside from period-appropriate stage cigarettes) and even includes a couple of sacred songs.

Performances are Sept. 23-25 and Sept. 30-Oct. 2; call 317-843-3800 or visit atistage.org.

John L. Belden is Associate Editor at The Eagle (formerly The Word), the central-Indiana based Midwest LGBTQ news source.

It’s ‘only’ a hit

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NOTE: As the Word/Eagle is in flux with the renaming and corresponding change in official website, John is putting his reviews here — for now.

By John Lyle Belden

Rarely has a play dared me so strongly to write a bad review of it.

“It’s Only a Play,” by legendary playwright and librettist Terrance McNally, is on the main stage at Theatre on the Square through Oct. 1, opening the 2016-17 season. In this comedy, a nervous playwright, Peter Austin (played by Dave Ruark) nervously awaits the reviews after opening night of his Broadway play.

All action takes place in a guest room at the home of the play’s rich producer Julia Budder (Afton Shepard), where Austin’s best friend, TV star James Wicker (Adam O. Crowe) tries to relax, glad that he turned down the lead role in the play – though he won’t tell Austin; scandal-plagued lead actress Virginia Noyes (Kathy Pataluch) and acclaimed “genius” director Frank Finger (Thomas Cardwell) each go to get away from the party crowd downstairs; reviled theatre critic Ira Drew (Jeff Maess) seeks someone to take on the play he secretly wrote; and coat-check boy and aspiring actor Gus (Jacob Swain) comes in to deposit coats and accoutrements worn by various celebrities.

The play is loaded with Broadway references and swipes at critics, and teases us with a cliffhanger at intermission. At the end, things get almost groaningly meta. Need I mention that the first version of this play closed during previews (according to Wikipedia)?

Yet, here, it all works.

Yes, even critics can take a joke – and I and another scribe in attendance could even think of someone who the play’s zingers better fit. The discussion of stage legends like Patty Lupone is mixed with more-recognizable celebrities like Lady Gaga, so references to the party downstairs never go flat. “Hamilton” even gets name-checked (and coat-checked).

And the mixture of dysfunctional characters we are presented with – Budder keeps butchering popular quotes, Noyes wears a court-ordered ankle bracelet, and Finger’s insecurity over his incredible success manifests as compulsive kleptomania – are very funny and well-presented by actors far more talented than the poor hacks they portray.

So, who cares if McNally didn’t get a(nother) Tony for this – for TOTS, this romp is “only” a winner.

Find the stage at 627 Massachusetts Ave. in downtown Indianapolis. Call 317-685-8687 or see www.tots.org.

John L. Belden is Associate Editor at The Eagle (formerly The Word), the central-Indiana based Midwest LGBTQ news source.

The Farce is strong with this one

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NOTE: As the Word/Eagle is in flux with the renaming and corresponding change in official website, John is putting his reviews here — for now.

By John Lyle Belden

Today’s political climate has much that is ripe for ridicule, especially Indiana’s present chief executive, who could become America’s Number Two. And if the thought of Gov. Pence as “number two” has you giggling, have I got a theatrical experience for you.

Khaos Company Theatre presents its second play in the “Pence Wars” series, “Mike Pence Strikes Back,” a Star Wars-themed parody in which Indiana Emperor Pence finds himself losing the election for governor of the Hoosier Planet – every ultraconservative ploy to gain favor with the masses seems to backfire. But an unexpected shot at being Vice President of the Galaxy changes everything.

You don’t have to have seen the first play, August’s “Attack of the Homos,” to get into the flow of this one. The story is presented as a play by director Kaylee Spivey Good, with additional scenes by Robert Broemel and Ed Ramthun, and interludes of poetry by Cher Guevara (a/k/a Eagle contributor Walter Beck).

David Malloy is entertaining as Pence, giving the state’s Dark Lord a dastardly cartoon villain voice and posture. Guevara is impressive as Donald Trump – especially as the actor looks nothing like him – but with big hair, big suit and big, boorish attitude, he pulls it off. The supporting cast of Michael Maloney, Lauren McDaniel, Bridget Isakson (who plays Tolkein’s elf Arwen, because, why not?), Heather Bartram, Chloe Farhar, and even Good for a scene, all make multiple contributions to this farce.

The trick to enjoying the show is to keep your expectations as low as your opinion of Trump and Pence, and just go with whatever is happening. Pence Wars has the style and humor of SNL or MadTV with the special effects of a kid’s birthday party. Yet while situations get a tad immature, the content is not for children.

While the scenes are played for laughs, the recited verse is serious and thought-provoking, reminding us that this is the future of our state and country we’re joking about here.

There are just two more dates for this chapter, 7 p.m. Friday and Saturday – note that Friday is pay-what-you-can admission – and the trilogy’s conclusion, “Election 2016, A New Hope,” is scheduled for Oct. 7,8, 14 and 15. For information and tickets, see www.kctindy.com.

John L. Belden is Associate Editor at The Eagle (formerly The Word), the central-Indiana based Midwest LGBTQ news source.

IndyFringe: Barking Signals (Badly) During Goldwater

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By John Lyle Belden

Life in rural America was fairly simple in the 1960s. And in most towns, one of the most important things going on in the fall was high school football.

That was the case in a small Virginia coal country town, where a coach is having trouble fielding a team, so he will accept anyone who shows up — including three very different boys who barely know the rules of the game.

One student is desperate to leave the backwoods town behind, and feels having sports on his list of extra-curriculars will help him get into college. His best friend would rather read than play a physical game, but to his joy (and the coach’s) finds that there are whole volumes on the strategies of the gridiron. The third walk-on has to balance school and practice with his shifts at the mine; he has a very personal reason for joining the team.

One would think this little drama with comic touches is about football. But it’s not, just as for the coach, not even football is all about football. It’s about life and growing up and understanding the people you find yourself on a team with. And on that field, this show scores a victory.

It suits up Saturday and Sunday afternoon, Aug. 27-28, at the Theatre on the Square second stage. Info and tickets at indyfringefestival.com.

IndyFringe: Act a Foo’ Improv Crew

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By John Lyle Belden

I debated even bothering with this review, because who doesn’t know about Act a Foo’? For a few years now, this ensemble has been making people laugh with improvisational comedy all over Indy. They even have a regular gig at the IndyFringe building.

For this year’s Fringe festival, the Crew are on the Phoenix Theatre mainstage. And from what I’ve seen, they get funnier and more polished with every performance. So, naturally, what you next see will be even better than what I saw. Funny how that works.

The style of comedy is little “games” like the popular TV show “Whose Line is it Anyway”  in which audience suggestions get incorporated into skits make up on the spot. These guys have been at it long enough that they even enjoy throwing verbal curveballs at each other to try to disrupt their natural comic rhythm, with even funnier results.

And don’t think it’s all on them. Audience members not only have to give suggestions, but occasionally also get involved, like when two ordinary folks have to move the arms and legs for two crew members trying to engage in a silly conversation.

Now for the important part: last shows for this festival are Saturday and Sunday afternoons, Aug. 27-28. Info and tickets at indyfringefestival.com.

IndyFringe: I’d Like To See More Of You

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By John Lyle Belden

Local theatre producer-director Bob Harbin (Bobdirex productions) presents a mature-content burlesque show in an old-fashioned Vaudeville style. Harbin himself doesn’t bare all, though co-conspirator and local comedy goddess Claire Wilcher comes close, and some other heavenly bodies present themselves for a tease and/or a laugh.

The well-rounded nature of this show, with songs and bawdy humor added to the flashes of skin, make it exceptionally entertaining.

We also learn that by state law, while pasties and discretion are required of performing women, for men, the “full Monty” is legal. Remember the Youtube video with a couple of men dancing with nothing on their bare skin but a couple of towels? That routine is reproduced live. One false move, and we get more of a show than anyone counted on!

You should see more of this. Performances are Saturday and Sunday, Aug. 27-28, at Theatre on the Square. Info and tickets at indyfringefestival.com.

IndyFringe: Silken Veils

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By John Lyle Belden

Like others of my generation and older, I remember seeing the Iranian revolution of 1979 in news reports on television. The taking of hostages at the American Embassy by the revolutionaries overshadowed for us any other thoughts of how the events affected others.

Today we are presented with another point of view, in the multimedia play “Silken Veils.”

In modern America (the 1990s, judging by the ages of the characters) a bride flees the altar and hides in her changing room. Afraid she will become like her parents, she must confront her conflicted feelings towards them — a father who stood against the Shah only to help bring another oppressive regime to power, the mother who responded to rejection by loving her husband anyway — and the memory of her brother’s horrific death.

The telling of the intertwined stories incorporates live actors, flashbacks, Rumi poetry, shadow puppetry, marionettes and animation. The Pantea Productions players flow these elements perfectly into one another for a unified performance that will touch your heart, and remind you that while those captured Americans were able to end their ordeal, for some who called Persia home, the pain continues.

From my experience of more than a dozen IndyFringe shows this year, I’m declaring “Silken Veils” the best show of the Fringe — a high bar, considering other performances. Judge for yourself at the final performance 10:30 p.m. Saturday, Aug. 27, on the main stage of the Phoenix Theatre. Info and tickets at indyfringefestival.com.

IndyFringe: Modern dance options

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By John Lyle Belden

For this entry I’m reviewing two shows: “Inspired Motion” by Crossroads Dance Indy and “Carve” by Motus Dance with Orkestra Projekt.

I’ll admit up front: Dance isn’t really “my thing.” One might think that disqualifies me from being a reliable reviewer of these modern dance shows. But I disagree, to the extent that in this I am the proxy for the average viewer, who hasn’t spent years studying or even thinking about modern dance. Yet you’ve got that Fringe ticket — what are you going to see?

I couldn’t help but think, while watching the dancers execute movements they and their teachers and choreographers had labored over and rehearsed for endless hours, that what I was seeing was like trying to read something with not just unfamiliar words, but a foreign alphabet. When they move their arms like so, or collapse to the floor, or leap in a certain fashion, does it have a meaning they are trying to communicate to us? What is it?

I later spoke with one of the dancers, and she liked my idea that one of the local dance troupes or schools should put on a Fringe show of “the vocabulary of dance,” in which their movements could be better explained and understood. So I can stand at the end of the show, knowing, “ah-ha, I get it now.”

But for now you get my feeble attempts to interpret.

In “Inspired Motion,” in which the dances were designed by the dancers themselves, the performance of the young women of Crossroads Dance can be summed up in the word “graceful.” They flowed one into another like the instinctive flight of a flock of birds. On one piece reflecting the conformity of a cult (going by the printed program) they danced in unison  and unified groups with precision.

For us who must be beat over the head with a metaphor, the piece, “Single Use” makes excellent use of plastic grocery bags as costume and fashion accessories. The ladies even indulge in a bit of humor as they bring their point home.

In “Carve,” on the other hand, the movement of Motus and music of Orkestra Projekt were displays of constant unresolved tension. The dancers had mastery over their bodies and executed their moves expertly. The musicians performed modern Phillip Glass-style pieces (including one by Glass) with sharp precision as well, assuring us that any and all discordant notes were placed there with intent.

On one hand, the styles of these two ensembles, who shared the stage for much of the show, are perfectly suited to one another and their melding is a master stroke. If you like the style of either, this performance is highly recommended. On the other hand, where is the sin in a major chord; and while dance can express strife , stress and pain, can’t it also express joy?

Ah, but what do I know.

Both shows are held on the generous confines of the Theatre on the Square main stage. “Inspired Motion” has performances Friday and Saturday, Aug. 26-27. The last performance of “Carve” is Sunday evening, Aug. 28. Get info and tickets at indyfringefestival.com.

 

IndyFringe: Drankspeare

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By John Lyle Belden

Just the concept is enough to drive ticket sales: Shakespeare’s “Romeo and Juliet” done as a comedy and a drinking game — with the cast drinking as well.

The actors got started on their cans of local Sun King brew even before all the audience were seated. Then, whenever a couplet rhymed, someone would shout, “Drink!” And all did.

It’s a credit to the Eclectic Pond players that they are so fully familiar with the Bard that they mostly remembered the lines of the play, and even went off-script in Shakespearean style — with a few modern idioms thrown in for comic effect.

The show even ends in the manner of a Shakespearean comedy.

Fortunately, the ComedySportz venue has plenty of drinks (with and without alcohol) for the crowd to play along. Whether or not you wet your whistle, this hilarious show is a must-see. Remaining performances are Friday and Saturday, Aug. 26-27, both at 6 p.m. Get info and tickets at indyfringefestival.com.