Kayla Carter

IRT’s unique and traditional ‘Carol’

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

By John Lyle Belden

After a recent performance, the cast of “A Christmas Carol” at the Indiana Repertory Theatre was asked, what percentage of their script was the words of original author Charles Dickens?

While it’s difficult to get a precise number, IRT regular Rob Johansen – who returns to again play Ebenezer Scrooge – is certain it is over 90 percent. The rest came from the hands of past artistic director Tom Haas, he said, “a great writer.” A copy of the Dickens novella, which Haas filled with margin notes and line markings as he adapted it in the 1980s, was recently rediscovered and is on public display at the theatre.

To this process, add director Cara Hinh, who finds a fresh approach with emphasis on scenes that are not always played. I sensed, especially in the first half of the show, a little more humor; however, the spooky and tragic aspects get their moments as well. The familiar story is intact, but note the details. “Know them better,” as it were.

The style of this Indy holiday tradition is the same: A full cast, playing various characters, narrate as they perform their roles, working on a spare stage covered in drifts of “snow” with a few necessary props and setpieces, such as the old metal frame that serves as the office of Scrooge & Marley. Hinh’s staging again makes liberal use of the trap doors, with the elevator-style entrance in the center presenting the Cratchit table. Others are used to great effect, especially in the Ghost of Marley’s visit, and in the final tombstone reveal.

Apparently, according to a post-show discussion, the concept of the production is that an old theatre has lost its roof, leading to the snowy nearly-bare abandoned stage, upon which Spirits of Theatre and/or the Holiday walk the boards to tell once again this Victorian classic. This is reflected in the audience seeing, in shadow, the actual back wall of the old Indiana Theatre, with its nearly forgotten pillars.  

Hernàn Angulo makes a splendid IRT debut as poor Bob Cratchit. We also welcome stage and screen actor Cleo Berry as a Ghost of Christmas Present who is both boisterous and no-nonsense. Natasia Reinhardt returns as Christmas Past, really working the Jack-Frost costume by Linda Pisano. Ryan Artzberger reprises Marley’s Ghost, as well as ol’ Fezziwig. Kenneth La’Ron Hamilton is again Nephew Fred and Young Scrooge – the former irrepressibly cheerful, the latter with his goodwill steadily eroding. Other ensemble members are Jennifer Johansen, Alyssa Naka Silver, Kayla Carter, Kerah Jackson or Vivian Morton as Betsy Cratchit, and Sofia Perlaza or Cate Thomas as Tiny Tim (we saw Jackson and Perlaza).

Whether as a returning tradition or for the first time experiencing this exceptional rendition of a holiday favorite, see Charles Dickens’ “A Christmas Carol” through Dec. 24 at the IRT, 140 W. Washington St., in the heart of downtown Indianapolis. Get tickets and info at irtlive.com.

IRT’s ‘Carol’ familiar and fresh

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

By John Lyle Belden

On the evening I write this, yesterday I saw a wonderful matinee performance of Charles Dickens’ “A Christmas Carol” at Indiana Repertory Theatre.

Earlier today, during a haircut, I told the barber about yesterday’s show. She fondly remembered seeing it years ago as a little girl. After telling her of all the unique features of the IRT production, she said she would look into seeing it this year with some friends. If you, too, haven’t seen it in a while (or at all) perhaps we can persuade you to consider this Indianapolis holiday tradition as well.

Don’t misunderstand; in being a little different, this play is not a parody, or a twist on the story like the movie, “Scrooged.” The Dickens book was adapted decades ago by past IRT artistic director Tom Haas and has been presented annually since the mid-1990s. Its style allows various actors to slip into alternate roles throughout the narrative, which they tell as well as perform, maintaining both the classic language and a good story flow. Only one actor stays the same throughout – as Ebenezer Scrooge – in the well-practiced grasping hands of Rob Johansen. He has played the old miser for a few years now, since switching with Ryan Artzberger, who mainly portrays Jacob Marley’s ghost (“Marley was dead” is vital to the plot, you know) and poor, good-natured Bob Cratchit.

Our spirited Ghosts of Christmas Past and Present are entertainingly presented by Natasia Reinhardt and Sean Blake, respectively. Kenneth L’Ron Hamilton is impressive as both Nephew Fred and Young Scrooge. Talented tykes Henry Kirk or Juniper O’Meara (depending on performance) touch our hearts as Tiny Tim and Child Scrooge. The ensemble also include Kayla Carter, Weezie Chavers, Jennifer Johansen, Sami Ma, and Belle Renee Moore.

Veteran director Cara Hinh makes her IRT debut helming this production. Little changes in staging are noticeable, including clever use of the trapdoors and elevators. This especially adds to the tension of Marley’s visit. But while there are spooky moments, there is far more good-natured humor running through much of the play. The cast visibly enjoy sharing this story with you.

A continued tip of the Victorian top hat to set designer Russell Metheny, whose contributions and annual tweaks are subtle but interesting on a nearly-bare stage covered to overflowing with drifts of the IRT’s artificial snow.  Kudos also to lighting designers Michael Lincoln, Bentley Heydt and Molly Tiede for their atmospheric contributions. Costumes, including a beautifully fresh look for Christmas Past, are by Linda Pisano.

Unique yet familiar, treat yourself to the tradition of IRT’s “A Christmas Carol,” playing through Christmas Eve on the mainstage at 140 W. Washington St., in the bustling heart of downtown Indianapolis. Info and tickets at irtlive.com.

History’s flow through Black communities explored in ‘Riverside’

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By John Lyle Belden

The Indianapolis Shakespeare Company, a/k/a Indy Shakes, understands you don’t have to look across the Atlantic for a compelling timeless story. In fact, their current world premiere, “Riverside” by M.L. Roberts, takes place in part on the very ground where it is being performed.

Executive Artistic Director Ryan Arzberger said Roberts underwent extensive research and numerous interviews with people who have lived in the area for decades in the African-American communities in and around Indianapolis, then created a chronicle of a family whose legacy runs through both Indiana and Black history, a well-informed historical fiction and relatable human epic.

A talented and dedicated ensemble play all the parts, from the eternal River that predates the red, then white and black, people who settled here, up to the cusp of present generations in the 1960s. They are Olamide Asanpaola, Kayla Carter, Terra Chaney, Holiday, Malik James, Akili Ni Mali, Ed Gonzalez Moreno, and Milicent Wright, with Jamaal McCray, Josiah McCruiston, and Clarissa Todd as swings. Rudi Goblen directs.

In 1821, there is a settlement of free African-Americans on the White River, led by church Pastor Simon (Moreno) and Sister Sarah Johnson (Carter), who is knowledgeable of the law and whom in the nearby new city of Indianapolis will uphold it. One day, Jacob (James) happens upon the town; he is technically “free” but his white “Massa” who brought him up from Mississippi to work a new farm near Lafayette has him under an unreasonable contract of servitude. After a dramatic standoff, Jacob gains his physical freedom, but it takes time, and Sarah’s gentle patience, to break the chains in his mind and spirit.

The Johnson family that starts on the River follows it down into the heart of Indianapolis, where we find them on legendary Indiana Avenue in the 1920s. Times seem good, but peace is fragile and short-lived, as are some of the neighborhood residents.

As turbulent times follow, Johnsons move upriver to the growing community of Riverside, home of today’s park (and Taggart Memorial Amphitheatre, where this play is presented). In 1962, there is a popular amusement park there, posted Whites Only. Grudgingly accustomed to the culture of segregation, local Blacks take advantage of the singular “Colored Frolic Day” at the park – except for the Johnson children, who at least attempt a protest.

Peppered with humor, music, spirit, and hope, while never afraid to confront the darkness, “Riverside” presents an endearing portrait of a family, a people, and their well-earned place in this American city we call home. The performers help us not just see but feel how the rivers of water and time have brought us to where we are today.

“Riverside” is presented 8 p.m. Thursday through Saturday, July 25-27, at 2441 N. White River Parkway, Indianapolis. Performances at this beautiful outdoor venue are free, with paid VIP seating available. Either way, reserve a ticket to help with headcount for this not-for-profit organization. For more information, visit IndyShakes.com.