Joseph Massingale

Civic’s ‘Pill’ a strong dose

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By John Lyle Belden

What appears to be just a pop “jukebox musical” turns out to be one of the most important theater works in central Indiana this year.

The Booth Tarkington Civic Theatre presents Alanis Morissette’s “Jagged Little Pill: The Musical,” directed by Civic’s Executive Artistic Director, Michael J. Lasley. The show features all 12 songs on Morisette’s 1995 album – a breakthrough both in international stardom and psychologically as she bared raw emotions in her break from dance-pop (influencing the outspoken and genre-bending women vocalists and singer-songwriters who followed).  The lyrics are all hers, with music co-written by Glen Ballard. The musical also includes eight songs from her other albums, a repurposing of her “Uninvited” (originally on a film soundtrack), and two new songs for this production.

Perfectly matching Morrisette’s style, the book of the musical is by author and screenwriter Diablo Cody. The meshing of lyrics to a coherent plot is not only the most successful since “Mama Mia,” but also delivers impactful messages in a powerful work that stands in a very sum-greater-than-parts way. The uncompromising nature of both Morrisette and Cody comes through in that while this should be necessary viewing for all high schoolers, the language and content keep this strictly PG-13 at least. The circumstances and emotional heft of some scenes even shook adults in the audience.

The story of the musical centers on the Healy family of suburban Connecticut. Mary Jane (Abigail Okerson) stays at home, recovering from a car accident, while husband Steve (Rex Wolfley) works extra hours in Manhattan to keep them afloat. Son Nick (Cole Hurt), a high school senior, has just been accepted to Harvard, while younger adopted sister Frankie (Desirae Brown) deals with being a Black girl in likely the most White circumstances in America. Fortunately, she has a girlfriend, Jo (Kelsey McDaniel), who couldn’t be more out but whose mother insists being gay is a “phase.”

With the arrival of Christmas break, Nick is invited by fellow members of the school swim team to a party (unsupervised, of course) at a classmate’s house. Frankie also goes, invited by new classmate Phoenix (Jacob Schilling), who admired her poetry; they quickly leave, neither liking all the noise and alcohol. Bella (Bridget Dean), who takes on an up-for-anything attitude to fit in, is last seen with popular and well-connected Andrew (Keaton McDorman).

Meanwhile, Mary Jane has been feeling herself drifting apart from her husband, as well as in constant pain as her meds aren’t working anymore. The pharmacy won’t fill another prescription, so she found pills elsewhere, while promising herself that she’ll start cutting her dose.

The next day, news of Bella’s sexual assault – cruelly spread by photos on social media – rocks the school and affects the Healy family in various ways. Everyone’s façade of perfection is shattering.

Like in life, this show has a number of lighter moments as well, aided by the more upbeat songs. The issue of irony in “Ironic” is thoroughly dealt with in a way that lets us know all involved understand how ironically unironic the song is, and that perhaps we should all just lighten up about it. “Head Over Feet” gets an appropriately charming moment as well. Still, this pill is indeed jagged, and the cast are fortunately all capable of the trademark Alanis “wail,” put to great use by McDaniel in “You Oughta Know” and Oakerson in an unforgettable performance of “Uninvited.”

The ensemble of Chloe Boelter, Ashley Chisler, Drew Hedges, Courtney Krauter, Halle Massingale, Joseph Massingale, DaSean McLucas, Larkyn Muth, Aiden Powell, Jade Radford, Matthew Sumpter, and Mary Kate Tanselle fill various roles, and frequently appear on stage as chorus. Aided by Kasey Walker Lewellyn’s excellent choreography, such scenes amplify the impact of the songs without being visually crowded. The ensemble work really shines in the appropriately disturbing new song, “Predator.”

Music director is Brent Marty, with orchestra managed by Al French. Sydnie Blair is stage manager, assisted by Chrysa Conley.

Lasley noted that, of course, no one had any idea when this musical was scheduled that the topic of public shame of and accountability for sexual assault would become as timely as it has in recent weeks. Still, understanding that it has always been an ongoing concern, he said from the first rehearsals onward he took extra measures for all cast members to feel the stage is a safe space. Actors who spoke after the performance expressed gratitude for this. Intimacy director Emily Rogge Tzucker, who has worked regularly with Civic, helped ensure that the performers would stay professional and not take on the trauma of their characters.

The sense of safety extends to the audience as well. Civic coordinated with Prevail, a local organization that supports victims of crime and abuse, to have one of their staff in the lobby during every performance of “Jagged Little Pill.” Audience members are free to leave during the show if they feel upset or overwhelmed and will have someone to talk to.

Performances are Friday through Sunday, Oct. 9-11, and Friday and Saturday, Oct. 16-17, in the Tarkington at the Allied Solutions Center for the Performing Arts in downtown Carmel. Get info and tickets at civictheatre.org or thecenterpresents.org.

Catalyst’s ‘Starmites’ shine

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By John Lyle Belden

First a few disclaimers: Wendy and I are good friends with Casey Ross and adore everything she does. Furthermore, as little children John and Wendy watched ‘70s Saturday Morning cartoons and enjoyed the trippy creations of Sid & Marty Krofft; also, John’s favorite movies include the animated “Yellow Submarine” and the cheese-tastic 1980 flick “Flash Gordon.” For younger readers here, think the goofy fun of the live-action Power Rangers shows.

Where I am going with all this is to set your expectations for Ross’s lifelong passion project, the unlikely Broadway cult classic “Starmites,” which she has adapted with the blessing of its creators, Barry Keating and Stuart Ross (no relation). Designed and directed by Casey Ross, this Catalyst Repertory production is on the Basile stage of the IndyFringe Theatre through Oct. 14.

In our current world, twenty-ish girl-at-heart Eleanor (Jaelynn Keating [again, no relation]) is too attached to her comic book collection, especially the obscure 80’s sci-fi hero series “Starmites.” As she flips the pages of the Legend of Milady, just a dimension or two away the actual defenders of Innerspace sense that a beautiful young woman has picked up the “sacred texts.” Could she be the Milady foretold? They call out to her.

Eleanor hears voices, which convinces Mom (Damaris Burgin) she is right to have the comics slipped back into their protective sleeves and sold to the neighborhood bookshop. But as the girl puts her collection away, she is suddenly whisked away to Innerspace by the wicked Shak Graa (Paul Hansen).

Our villain wants the Milady prophesy fulfilled, as it will reveal his most sinister creation, the Cruelty, a (musical) instrument of torture. Not believing any of this is happening, Eleanor evades him and encounters Spacepunk (Joseph Massingale), leader of the Starmites – gadget tech Ack Ack (Bradley Allen Lowe), goofy Razzledolf (Noah Nordman) and suave Harrison (Matthew Blandford). Faced with painfully naïve boys in men’s bodies who are stuck (since their comic was cancelled in 1994), she decides that either this is somehow real, or at least the best way out of this “delusion” is through it, agreeing to join their quest to find the Cruelty ahead of Shak Graa. They are led by the lizard Trink (puppet design by Timothy Taylor), who says in a darkly familiar voice he’s seen the dread instrument in Banshee Castle – the one place the Starmites dare not go.

The castle is occupied by the man-eating band of Shotzi (Addison Koehler), Balbraka (Yolanda Valdiva), Maligna (Jessica Hawkins), and Banshee Boy (Brant Hughes), led by their dread Diva (Burgin). The way they read the texts, a true Princess must marry to reveal the Cruelty, which means Diva’s daughter Bizarbara (Keating) can wed a Starmite before having the whole squad for dinner (as the main course).

So there you have it, the Hero’s Journey slash Fairy Tale slash ahead-of-its-time Female Empowerment done with catchy tunes, fun dancing, a healthy dose of humor, and low-budget aesthetic – in its context, a delightfully entertaining feast for the inner child in all of us. Inspired by the books of the Comics Code Authority era, beyond a little middle-school innuendo this is an all-ages show – the rare Casey Ross production without a single F-bomb.

Troupers that they are, the cast commit to this otherworldliness, especially Hansen, delivering an over-the-top villain with a wild smile and manic evil laugh, as well as literally puppeting Trink from the shadows that seem to follow our heroes around. Massengale manages to project his leading-man persona through the colorful wig and immature – though willing to learn – worldview, like a noble flightless Peter Pan. Starmites and Banshees alike also put their all into this. Keating’s character(s) may or may not be the prophesied heroine, but she is very much the star of this show. Her songs are limited, making her powerhouse voice especially stand out. Fortunately, they include a duet with Burgin, whose soulful voice is her superpower.

As some original music was lost, music director Billy Sharfenberger helped with arrangements; he leads the stage-right band of Caleb Hamilton, Graham Bethal and Travis Zinck. Kathy Hoefgen is stage manager (aided by Hughes).

Granted, this is not your typical musical, or familiar material, but we earnestly feel this is worth taking the chance. Step into Innerspace and the experience that is “Starmites.” Find the stage at 719 E. St. Clair St., Indianapolis; tickets at indyfringe.org.

Civic opens season with ‘Rent’

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By John Lyle Belden

“Rent” is very much of its own time – the struggles of Generation X to make their mark as the AIDS epidemic wreaks havoc on creative and marginalized communities – yet our recent encounter with an incurable plague makes the lyric, “one song before the virus takes hold,” feel all too familiar.

In this context, the Jonathan Larson masterpiece musical takes the stage of the Booth Tarkington Civic Theatre, directed by Michael J. Lasley. We meet filmmaker Mark (Austin Stodghill) and songwriter Roger (Joseph Massingale), living what they thought was rent-free in a building now managed by ex-roommate Benny (Kerrington Shorter). There are also friends Tom Collins (Austin Hookfin) and Angel (Kendrell Stiff), free-spirit Mimi (Jaelynn Keating), and activist Maureen (Olivia Broadwater) who left Mark for attorney Joanne (Miata McMichel), as well as a full cast representing the hoi polloi of New York City, including Julia Ammons, who is a stunning soloist in the signature song, “Seasons of Love.”

Act One centers on a particular Christmas Eve in the 1990s, giving us the lives of our characters in that pivotal day; Act Two carries through the next year, with its changes and loss.

If you are familiar with the show, picture the perfect Maureen: Broadwater solidly fits the bill. Stodghill portrays Mark well, and Massingale – master of unconventional manly roles (like in “Bonnie and Clyde”) – is well within his element here. We feel the chemistry between the couples: Roger and Mimi, Maureen and Joanne, and especially Tom and Angel. Civic newcomer Stiff has big high-heels to fill in their iconic role, and does not disappoint.

Circumstances had Wendy elsewhere, so I brought my friend, Mary, as my plus-one. Her impressions: “’Rent’ was fantastic. Thought Roger and Mimi had great chemistry. Angel was absolutely gorgeous. And even though I have watched [the 2005 film] countless times on DVD, I didn’t expect to get emotional during [the] death scene. Watching it live just hit me differently.”

This is why you should experience this musical, and bring a friend, as well as Kleenex (you’ll need it for the curtain call).

Performances run through Oct. 22 at the Tarkington in the Center for the Performing Arts in downtown Carmel. Get info and tickets at civictheatre.org or thecenterpresents.org.