Liv Keslin

Legends reimagined make one ‘hell’ of a show

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By John Lyle Belden

Having read it, and heard the recordings, I knew as soon as I saw it that “Hadestown” by Anïas Mitchell would become one of my favorite musicals, and Summer Stock Stage has launched a truly outstanding production.

Do not presume, being the “Teen Edition,” that this is a lesser version. The entire Tony- and Grammy-winning play is intact, with only subtle differences (such as sung keys) for younger performers. Director (and SSS founder) Emily Ristine Holloway noted that students from more than 50 Indiana high schools auditioned. Thus, we get a crème de la crème of young talent.

The source material is an “old song” that dates at least to Ancient Greece, as Mitchell painstakingly blended the myth of Orpheus and Eurydice with the relationship between Hades (god of the Underworld) and Persephone (goddess of Spring) and some very current issues. (Note: The songs were mostly written before “the wall” became a politically-loaded topic; though with its timeliness, it serves as the musical’s centerpiece.)

As hard times come in every era, the messenger god Hermes (Michael Washington) is host of a grungy Depression-era jazz club that looks like an abandoned factory, relating to all a time “of gods and men” with a literal Greek Chorus, the Fates (Noelle Duncan, Meadow Harbert, and Lucy Lindner) to help tell the tale.

“The road to Hell is a railroad track,” Hermes intones, and arriving on its train is Persephone (Isabella Simonsen) to set things blooming again after spending half the year – actually more this time – with husband Hades (Eli Spurgeon). Meanwhile, Orpheus (Preston Angus), mortal but the son of a Muse, making him supernaturally gifted at music, is working on a song he believes will set the cycle of seasons right again. He looks up from his work to see the beautiful mortal Eurydice (Belle K. Iseminger), young but world-weary, seeking comfort. He works his charms on her; they fall in love and are happy – until Hades arrives to take Persephone away for an even longer winter. Dark times strain the young couple until they each end up in Hadestown, “way down under the ground,” for a literally epic showdown between man and god.

It’s tough to describe the sheer power and feeling of the songs and the manner in which they propel this familiar-yet-new plot. I can only hope you can experience it yourselves.

Simonsen is divine as Persephone, while adding the grit of a goddess that has grown tired and unsettled by what has happened, her connection to nature offended by what ironically Hades says he did for her. For his part Spurgeon digs into Hades’ bartitone range to deliver his own divine authority – but there is something more, something uncertain, which he employs to make the character more dangerous.

Iseminger has the lauded natural beauty of Eurydice, backing it up with a firm grasp on her troubled character – even when that person feels unsure – and as good a voice a true mortal can conjure. No key change was necessary for Angus, our Orpheus, as he sweetly hits the lilting notes necessary for his “Epic,” presenting a believable mastery of this and all his songs.

The Fates are wonderfully harmonious and integral, more like a part of the story than commenting bystanders. Washington as Hermes is the quintessential Master of Ceremonies, making his presence firmly felt while never overshadowing other characters as events play out.

Scenes are completed by a large ensemble. Vocally, they are more than background, including amplifying Orpheus’ power in “Come Home With Me,” making plain their Underworld pain to “keep your head low,” and engaging a sort of call-and-response in “If It’s True.” They also show off the fine choreography of Phillip Crawshaw. These players include: Evan Mayer, Maria Beck, Jacob Brewer, Jackson Bullock, Lily Carlstedt, Ivan Figueroa, Max Frank, Sam Funk, Justice Harris, Liv Keslin, Ehren Knerr, Kynden Luster, Morgan Naas, Robert Newton, Sylvi Phillips, Quinn Potter, Jackie Quadrini, Mia Rettig, Haven Sanders, Asha Smitherman, Anna St. Andrè, Alyssa Vasquez, Thomas Whitten, Maggie Webber, and Ethan Wood.

Mythology for a new century, expertly presented – performances of “Hadestown: Teen Edition” are limited, today through Sunday (June 26-29) at Schott Center for the Arts, 610 W. 46th St., Indianapolis (next to Clowes Memorial Hall on the Butler University campus). Additional tickets have been made available but are selling fast. Visit summerstockstage.com for details.

IndyFringe: Women’s Work

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This is part of IndyFringe 2022, Aug. 18-Sept. 4 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By Wendy Carson

One may think it odd that the first person on stage at this female-centric show, “Women’s Work,” is a man (Dave Pelsue), but his musical presence helps to mark the flow of the story as well as punctuate the ever-present position of men always existing even in the shadows of a woman’s life.

We are then introduced to a young girl (Pearl Parker) giving a report on what she wants to be when she grows up. Using data from “The Employments of Women: A Cyclopaedia of Women’s Work” by Virginia Penny, as well as interviews from woman she knows, her tale is acted out by an octet of women playing two sides of each of the four career paths we are shown.

The younger counterparts begin each story reflecting the sparse number of opportunities available to women in previous generations. Other actors present the characters’ more mature perspectives.

We begin with Betty, who has chosen to become a teacher. Kallen Ruston portrays her bemoaning how everyone she knows is constantly trying to marry her off, regardless of her own preferences – she has dozens of children each day, so is not lacking for the pangs of motherhood. While standing up for her principles and refusing sexual advances from coworkers cause her to change schools, Beverly Roche keeps her optimistic, continuing Betty’s efforts to show each of her students their true potential.

Anne (Katie Carter) relates the challenges of becoming a nurse. She is excited about the importance of her job, as well as the overwhelming information she must remember. As time progresses, her knowledge grows to the level that she inherently knows a patient’s needs; however, gossip and backbiting by other nurses and condescending doctors keep her from doing her best. Miki Mathioudakis shows how Anne’s aggravation has grown as even the young residents disregard her advice, with deadly consequences.

Turning to Carol, we find the rare woman who dares enter the traditionally male field of business and make herself a success. Anna Zimmerman shows the balance required as we catch her doing affirmations to help relieve her high stress levels. She must also deal with a husband who feels his job is more important than hers, so she should naturally be able to blow off her opportunities to pick up the kids because he doesn’t have the time. Her sexist boss is just another hurdle she must overcome. Karin Stratton keeps Carol on an even keel, especially when dealing with inept temps who refuse to stick with a job long enough to actually learn it. She muses about the two years she took away from her job to devote to her children and clawing her way back up to where she was before – and beyond.

We end on Diane (Michelle Wafford), who feels that just being a mother is all of the fulfillment that she needs. While she wonders if she really loves her husband (he’s certainly no Prince Charming) because the moment she held her baby was the first time she ever truly felt it. She is expecting her second child, whether her husband is on board with the idea or not. Then, Gigi Jennewein injects the solemn bitterness Diane feels when her husband leaves her for a much younger girl, forcing to go to work at a local screw factory just to make ends meet. She misses spending time with her kids and realizes none of the other mothers she sees have any idea how hard her life is.

Liv Keslin gives an insight to the future of our narrator, and is glad that she has so many more opportunities afforded her, but still wonders what all of this means.

To find out the answer, have your heart warmed and your inspiration lit, see “Women’s Work,” presented by Betty Rage Productions, in its remaining performances 9 p.m. Friday and 1:45 p.m. Sunday, Sept. 2 & 4, at the IndyFringe Theatre.

Warning: Might actually be a play

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By John Lyle Belden

They tried to warn us.

Some years ago, New Hampshire teacher Alan Haehnel wrote “15 Reasons Not to Be in a Play” to give our youth something of substance beyond “I don’t wanna!” when asked if they would like to be in a school play. That wasn’t enough, as some kids apparently enjoy being on stage, so Haehnel also wrote “18 More Reasons Not to Be in a Play.” And kids have used it – as a play.

Now the complete edition, Haehnel’s “30 Reasons Not to Be in a Play,” appears in Playscripts archives, and Main Street Productions’ “Rising Star” director Tanya Haas has taken the bait. In a two-hour diversion, which its participants insist is not a play, 19 talented local kids – second grade to senior – present this important (and hilarious) PSA at the Basile Westfield Playhouse.

The brave children recruited to this cause are Harrison Gapinski Coon, Ella Crites, Clayton Crocker, Livy Crocker, Blake Fortier, Dylan Fortier, Sammy Geis, Mia Gordon, Neil Hackman, Isabella Hasseld, Owen Hilger, Anastasia Hobbs, Tatyana Hobbs, Liv Keslin, Annalisa Schuth, Amaya Smith, Mason Yeater, Owen Yeater, and Quinn Yeater. I list them all because they all had lines and moments in the spotlight, and due to repeated family names, I’ll refer to them by their first names from here on.

Neil opens with the most simple reason — just two words — but as adults watching need more context, the list continues. Maybe it’s that certain teacher (Ella) or overbearing relative (Amaya). Mia reveals it could be her cell phone, or an allergy, or her mom (Isabella)’s camera, maybe just someone (Quinn) jumping the “cue.” Perhaps Liv would rather be an auctioneer? Maybe it’s growing up with Sammy, who still wants to play a fairy. Could it be Owen’s dreamy eyes? Or bumping into equally handsome Mason at the cast party? Do we have to bring Neil out again? Amaya has other simple, profound reasons, which she may have to explain.

The most entertaining – if this were indeed a “play” – is the dramatization of The Legend of Mort! (Mort… Mort… Mort…). The story is told by Isabella, with unnecessary color commentary by Owen (Ella, Mia and Amaya providing discipline); Mason as the famous Director Frankenburg; Harrison as the appropriately creepy Gordon; Sammy, Anastasia, and Tatyana as enthralled Actors; Blake, Dylan, and Clayton as the chorus of Echoes (echoes… echoes… echoes…); and Owen as ill-fated Mort, demonstrating that being a slacker and method-acting don’t mix.

Finally, if other reasons don’t suffice, the entire cast comes out, led by Harrison, to explain how a play could end civilization as we know it!

We’re convinced: One of the best reasons to go to a play is “30 Reasons Not to Be in a Play.” Performances are this weekend and Thursday through Sunday, Aug. 7, at 220 N. Union St., Westfield. Get info and tickets at WestfieldPlayhouse.org.