Justin Klein

Bard Fest: The essential ‘R&J’

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This Show is part of Bard Fest, central Indiana’s annual Shakespeare festival. Info and tickets at www.bardfestindy.com.

By John Lyle Belden

In Shakespeare’s “Romeo and Juliet,” the one line that stands out for me is near the end: “All are punished.” And as the opening narration famously indicates, the purpose of this tragic play is to show how all involved came to that end.

In the Catalyst Repertory production at Bard Fest, director Zach Stonerock has in his adaptation stripped it to its essence. No elaborate sets; costumes are simple black and white apparel; there are few props, or even weapons beyond a simple knife. The setting is “fair Verona,” but not fixed to any place or era. The focus is solely on the characters, their quirks and quarrels (especially the ongoing Montague-Capulet feud).

The famous “balcony scene,” for instance, is presented in two spotlights, like independent soliloquies. We are reminded that Juliet thinks she is alone, that in longingly asking “Wherefore art thou, Romeo?” she doesn’t expect an answer. But when he comes to her, we are so focused on their words and feelings that we hardly notice there was no balcony.

The play’s opening speech, by the way, is delivered by a Chorus who is a blind man – done with subtle brilliance by Tristan Ross. In this way he reminds me of blind Justice, who oversees these foolish men and women coming to their inevitable end.

Elijah Robinson is our impulsive, melancholy Romeo. He is too ruled by his emotions, but this is seen as wonderful to young Juliet, sweetly delivered by Kayla Lee. Her life is strictly ruled by others, but in this boy she sees hope of liberty, away from the constraints of their family names. Thus, despite her showing the dawning of wisdom, the young teen becomes a cult of one to her foolish husband-to-be.

Critical supporting roles are in excellent hands with Kelsey Leigh Miller as Friar Laurence, who tries in vain to make love triumphant; and Beverly Roche as Juliet’s Nurse, a far better maternal figure than her actual mom (Lisa Marie Smith).

Justin Klein is Paris, the young man from out of town caught in the middle of Verona’s passions. Klein is right at home in the Bard’s worlds, but should try to avoid pointy objects.

And to lighten the mood (making the darkness more contrasting) we get excellent comic relief from Audrey Stonerock as the put-upon Capulet servant Peter; and the awesome Kelsey VanVoorst as brash, boastful Mercutio, Romeo’s best bud. (Note to parents: Shakespeare included bawdy innuendo to entertain his audiences; you’ll get quite a bit here.)

With the right editing, “less is more” fully applies – especially here, as Stonerock delivers a fresh perspective on well-known material. The end is the same, thus we understand that “Romeo and Juliet” is not a love story, but a “tale of woe.” Woe to those who miss it.

Remaining performances are 8 p.m. Thursday, 7:30 p.m. Saturday and 5 p.m. Sunday at the IndyFringe Basile Theatre, 719 E. St. Clair, just east of the College and Mass Ave. intersection.

Civic has big fun with ‘Hairspray’

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By John Lyle Belden

In the hit Broadway musical “Hairspray,” based on the classic John Waters comedy, Wilbur Turnblad – father of Tracy and husband of Edna, our heroines – says, “You gotta go big to be big!”

That was the apparent credo of the Booth Tarkington Civic Theatre production of the musical, playing through May 12 at the Center for the Performing Arts in downtown Carmel.

As befits this spectacular – with a “wow” factor especially necessary for an audience who likely already saw a stage or film version, or the live television broadcast – everything about Civic’s “Hairspray” is big, big, BIG! – the staging, the light displays, the beautiful flying setpieces, the chorus sets with singers in silhouettes, the dance numbers, Edna’s bra…

And this all-volunteer local cast more than rises to the occasion. Evan Wallace is “divine” as Edna, while Nina Stilabower is perfect in song and steps as Tracy, an eager teen with a heart as big as her dress size and her desire to dance on the Corny Collins TV show – the place to be seen in early-1960s Baltimore.

While show producer, strict stage-mom and former Miss Baltimore Crabs, Velma Von Tussle (Mikayla Koharchik), wants nothing to do with the girl, Corny (Justin Klein) lets Tracy join the cast “student council,” where she starts to steal the attentions of lead heartthrob Link Larkin (Zachary Hoover) away from Velma’s spoiled daughter, Amber (Emily Hollowel). This, plus Tracy’s unapologetic love of “race music” and desire that “every day be Negro Day,” can only spell trouble.

Yes, there’s even a big social-conscious message, delivered with power and a sense of fun with the help of R&B deejay Motormouth Maybelle (Joyce Licorish) and her smooth-dancing son Seaweed (Michael Hassel).

Also notable are J. Stuart Mill as Wilbur, the coolest dad ever, and Jenny Reber as Tracy’s best friend, Penny.

And it’s all done bigger than life, as big as Broadway – including the infamous giant can of Ultra Clutch. Under the direction of Executive Artistic Director Michael J. Lasley, Civic concludes its 2017-18 season with a joyous triumph.

“You just can’t stop the beat” – and who’d want to?

For tickets and info visit www.civictheatre.org or thecenterpresents.org, or call 317-843-3800.

Rumor has it: Civic makes ‘Sense’

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By John Lyle Belden

If you wonder at the possible appeal of a play based on a Jane Austen novel, consider the number of people, from all backgrounds, now hooked on Downton Abbey. And it’s not just the accents, the fine clothes, or even the tea – but a good well-told story that sustains such period tales’ popularity. And we all feel for those living mired in an environment of strict rules of conduct and etiquette.

“Sense and Sensibility,” a light drama based on Austen’s 1811 novel, at Booth Tarkington Civic Theatre through Feb. 17, also emphasizes a public scourge with which we can all identify: The constant gossip and rumors, frequently spoken to set up and frame the scenes, sound all too familiar in our Twitter and TMZ world.

Weathering this social storm are the Dashwood family. The widow Mrs. Dashwood (Carrie Neal) and her daughters – sensible Elinor (Emily Bohn), romantic Marianne (Morgan Morton) and young Margaret (Elisabeth Giffen Speckman) – are forced to live on their own in a humble cottage, as their former estate had gone to a son from Mr. Dashwood’s prior marriage (women weren’t allowed to inherit). Despite being dropped to the lower rungs of the almost caste-like society of 1790s England, Elinor and especially Marianne receive the attentions of very promising single men, including shy Robert Ferrars (Joshua Ramsey), rakish John Willoughby (Justin Klein) and steady Colonel Brandon (Bradford Reilly).

In addition to these men, the cast also includes scene-stealer extraordinaire Matt Anderson as the Dashwoods’ cousin Sir John, whose generosity helps the women stay on their feet. In exchange, he – and nearly anyone else around – only want the latest juicy news from around the countryside.

This recent adaptation of Austen’s story by Kate Hamill, directed for the Civic by John Michael Goodson, is marked by its reliance on swirling rumor to drive the plot, as well as its minimalist staging. Little more than chairs and a few props are used, putting the focus squarely on the actors. Aside from Bohn and Morton, whose characters are the focal point of the book and play, all other cast members play multiple roles, and even the occasional dog or horse. This adds to the show’s sense of humor – enough to entertain, but never overreaching into farce. For instance, at one point Abby Gilster frequently enters and exits a scene as two different characters, making it an inevitable laugh line when one has to remark about the other.

High marks to all the cast, with clear characterizations despite a fairly high-energy pace (no dreary corset drama, this!). And as a woman’s novel adapted by another woman, it’s easy to see the story as a celebration of women working to live as much as possible on their own terms.

A review of the original New York production of this version calls it “Jane Austen for those who don’t usually like Jane Austen,” but that sells the source material short. This “Sense and Sensibility” looks through the old story through a more contemporary lens, while leaving Miss Austen’s intentions intact. It only makes “sense” that you should check this out.

Performances are on the Tarkington stage at the Center for the Performing Arts in downtown Carmel. Call 317-843-3800 or visit www.civictheatre.org, or thecenterpresents.org for tickets.

The war for Scotland’s crown has two distinct factions; this is their story — BONG BONG! (Bardfest review)

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By John Lyle Belden

The action is already under way, with gunfire, sirens, heavily-armed soldiers. When the hurly-burly is done, the winning officer meets three strange women who greet him with titles he doesn’t have and aren’t likely to get. But when he meets the leader, one of those unlikely titles is granted to him – could he be fated for more? It doesn’t help that the boss named someone else his chief lieutenant. That puts two people between our man and the top of the power structure; but his persuasive and sexy wife has ideas on how to fix the situation – though there will be blood. Lots of blood.

This action movie playing out live at Bard Fest is Shakespeare’s “MacBeth.” It’s tightly scripted (about 90 minutes in one act) by First Folio Productions director Carey Shea, and set in an urban battle zone, more Syria than Scotland, with characters from your favorite cop shows (“Law and Order: Inverness” perhaps?).

The story is familiar – death, more witches, death, “out damned spot,” death – and the Bard’s tragedies get the use-guns-for-swords treatment from time to time, but this production also has what Indy’s theatre scene truly needs: more Nan Macy.

Macy, along with Janice Hibbard and Leah Hodson play the Wyrd Sisters, who seem to pop up everywhere. Or are we just looking through the eyes of MacBeth (Adam Tran), seeing reassurance that his dark deeds to gain the crown are inevitable and right? Or maybe it’s just a clever, efficient use of talented actors.

Devan Mathias is a hot, nasty Lady MacBeth, Ryan Ruckman a noble doomed king Duncan, and Chelsea Anderson and Nathan Thomas are both worthy of their badges as good-cops Macduff and Malcolm. Craig Kemp as Columbo-esque detective Ross strives to put the clues together. Justin Klein as tragic Banquo is our most sympathetic character – next to Jilayne Kistner as his hard-luck daughter Fleance.

The end result is engaging and entertaining. One can just take it at face value – wild action as an ambitious couple slay their way to the top, then face the consequences – or as a high-caliber examination of the lust for power and the dangers of unaddressed and untreated mental illness, never mind when it’s suffered by people in positions of authority.

Don’t be concerned by the legendary curse (that’s for the cast and crew to contend with), the Indy Eleven stage at the IndyFringe theater, 719 E. St. Clair, still stands. Remaining performances are tonight and Sunday (Oct. 28-29).

For information, see www.indyfringe.org.

Review: Little Women – The Musical

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Sisters Jo (Julia Bonnett, lower left) and Amy (Karen Woods Hurt) reconcile after the anger between them nearly led to tragedy, while friend Laurie (Ethan Litt) and sister Beth (Betsy Norton) look on in a scene from "Little Women: The Broadway Musical" at the Booth Tarkington Civic Theatre in downtown Carmel. -- Civic Theatre photo
Sisters Jo (Julia Bonnett, lower left) and Amy (Karen Woods Hurt) reconcile after the anger between them nearly led to tragedy, while friend Laurie (Ethan Litt) and sister Beth (Betsy Norton) look on in a scene from “Little Women: The Broadway Musical” at the Booth Tarkington Civic Theatre in downtown Carmel. — Civic Theatre photo

By John Lyle Belden

For anyone who enjoyed – or haven’t read and are curious about – the classic Louisa May Alcott novel, I highly recommend “Little Women: The Broadway Musical” at the Booth Tarkington Civic Theatre through Sept. 26.

The story of the four March sisters coming of age in 1860s Concord, Mass., is told in a nicely-paced play that gives each moment its proper weight, then breezes to the next with the help of a song or two. We meet Jo (Julia Bonnett), the headstrong writer bursting with confident energy; beautiful Meg (Betsy Norton); musical and tragic Beth (Amanda Kennedy); and Amy (Karen Woods Hurt), whose brash immaturity at first makes her the least likable, but results in making her the most complex and interesting of these four characters – a credit to Hurt as well as the musical’s book by Allan Knee. Still, the narrative is from Jo’s point of view, and Bonnett is more than up to the task.

For the rest of the cast: Katie Schuman embodies wise mom Marmee. Dan Scharbrough perfectly balances menace and paternal kindness as gruff Mr. Laurence, who lives next door. Ethan Mathias ably handles the growing conflicting emotions of Professor Bhaer, Jo’s neighbor in New York. Ethan Litt and Justin Klein lend appropriate boyish energies to the roles of Laurie and Brooke, the young men in the girls’ lives. And Vickie Cornelius Phipps is excellent as fussy Aunt March, as well as Mrs. Kirk, Jo and Bhaer’s landlord.

This would be an excellent show for those with “little women” (or men) who could see themselves in the characters. Jo’s enthusiasm, especially, is contagious, perhaps encouraging those who would want to write up some stories themselves. The Tarkington stage is at The Center for the Performing Arts in downtown Carmel. Call 317-843-3800 for tickets.