Logan Hill

Musical mystery madness at ATI

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By John Lyle Belden

Actors Theatre of Indiana presents “Whodunit: The Musical” by Ed Dixon, a musical theatre comedy treatment of an early-20th century murder mystery in a style something like a Carol Burnett Show sketch.

As long as you keep this in mind and adjust expectations accordingly, you should have some fun with this felonious farce, loosely inspired by the classic (serious) mystery novel, “The Circular Staircase” by Mary Roberts Rinehart. Some liberties were taken with plot and characters, giving the show twists of its own – even the program book can’t be completely trusted.

In 1931, spooky happenings at remote Sunnyside Cottage have scared off the entire staff except for head butler Thomas (John Vessels Jr.), just in time for the arrival of vacation renter Carrie (Judy Fitzgerald) who arrives with her personal maid Liddy (Cynthia Collins). Soon they are joined by Carrie’s niece Sally (Logan Hill), who has brought a friend from school – a man! Call him Jack (Jacob A. Butler). Things eventually go from awkward to scary when, after the lights go out and are restored, the portrait of Sunnyside’s deceased owner, Mr. Armstrong, is found destroyed and a crowbar – and an expensive cufflink – are discovered on the stairs. Thomas suggests calling the police in the morning, but that becomes sooner when, after all had gone to bed, a dead body is discovered in the middle of the floor.

This rather loose stiff is Reggie Armstrong, the owner’s estranged son – who had also been romantically stalking Sally and framed Jack for embezzlement at his work. Detective Jarvis (Eric Olson) arrives, trusty magnifying glass in hand, to search for clues. It turns out that nearly everyone had an issue with Reggie, and everyone has a gun. Before this mystery is solved, there will be another body, the fortune-telling cards of Zara the groundskeeper, and several song and dance numbers including, “It’s Harder to Move a Body,” and “A Dark and Stormy Night.”

Eventually, though, a Mysterious Stranger will appear to reveal all.

The campy capers are made entertaining by an excellent cast. Fitzgerald takes all the absurdity in stride, including the over-the-top British accent of fellow ATI co-founder Collins. Butler shows interesting versatility; Olson masters the melodrama; and Hill’s performance includes some award-worthy overacting. Vessels, like his character, is master of this madhouse. Julie Lyn Barber is director, with choreography by Carol Worcel, and musical and vocal direction by Brandon Vos.

Discover “Whodunit” through Feb. 16 at The Studio Theater at the Center for the Performing Arts in downtown Carmel. For tickets and info, visit atistage.org or thecenterpresents.org.

Little extras make Z&Z ‘Rocky’ an ‘absolute pleasure’

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By John Lyle Belden

It’s been a few years since we looked in on the Zach & Zack (“Zachk”) production of “The Rocky Horror Show” (not the movie, the original Richard O’Brien stage play) and “Brad, I’m so glad” I returned for this year’s edition.

If you are reading this, odds are you know the story – a super-campy musical tribute to the spooky “science-fiction double-feature” of decades past. If you don’t… well, “virgins,” this isn’t just a play, it’s an experience. Just roll with the weirdness and shout along when prompted.

That’s one of the cool things about this production: The audience prompts are flashed above the stage. It keeps everyone mostly in unison, though it standardizes the shouts and we are asked not to add more if we know additional lines (I said quite a few, normal-voiced, at my table, surprised by how many I remembered).

Producer Zach Rosing and director Zack Neiditch have assembled an excellent cast of joyous freaks. In charge of this menagerie is the incomparable Tim Hunt as Dr. Frank N. Furter, the “Sweet Transvestite” and our host as “a-hole” square Brad (Suraj Choudhary) and naïve “slut” Janet (Logan Hill) arrive at his castle looking for a phone but instead finding a mad experiment – bringing life (itself!) to the muscular Creature, Rocky (Johnnie Ray Hughes). Overseeing this mayhem are Matt Branic as Riff-Raff, Elizabeth Gee as Magenta, and Matthew Altman as a marvelous trans Columbia (it completely works, especially when the costume malfunctions).

Steven Ryan Crays appears as unfortunate Eddie and returns as the noble Dr. Scott. The funky phantom ensemble are Alexa Abbott, Megan Arrington, Kelvin Burzon, Brittany Michelle Davis, Danny Kingston, and Kendrell Stiff.

Most impressive to me was the interludes with our dramatic Narrator, Craig Kemp. While initially shown on the nearby screen in the expected stuffy study, his performance literally goes all over the place. You never know where he and his faithful videographer will appear next as he expresses in solemn tones the goings-on and how imperiled our (sorta) innocent couple truly are. This aspect of the show adds to an already immersive experience, raising the entertainment value, especially for us jaded “Rocky” veterans.

A Halloween treat for mature audiences with immature tastes, “The Rocky Horror Show” runs through Nov. 2 at the Athenaeum Theatre (due to its historic nature, no bringing “props” allowed), 401 E. Michigan in downtown Indy (corner of Michigan, New Jersey, and Mass Ave). For tickets, go to rockyhorrorindy.com.

Footlite gets truly ‘Wild’

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By John Lyle Belden

In 1928, Joseph Moncure March published his narrative poem, “The Wild Party,” a tale of Prohibition Era excess that was shocking at the time, and still quite racy. Taking the notion of living well as the best revenge to its debauched extreme, the story has been made into a film and at least two stage shows. The musical with book, music and lyrics by Andrew Lippa premiered in New York in 2000.

Now, “Andrew Lippa’s Wild Party” has taken over the stage of Footlite Musicals, directed by Bradley Allan Lowe. 

Queenie (Nina Stilabower) “was a blonde” with extreme sexual appettes. She would find them sated by fellow vaudeville performer Burrs (Joseph David Massingale). But she gets jaded, and he takes things too far. Thus, hoping for both excitement and a chance to embarrass her lover, Queenie proposes they throw a party. And with a guest list familiar with a wide range of sin, things are bound to get very, very wild.

Among those who show up for a long night of loud phonograph jazz, cocaine, and bathtub gin are Madeline (Miranda Nehrig) the lesbian, Eddie (Daniel Draves) the pugilist, Mae (Karen Hurt) Eddie’s gal, Jackie (Cameron Hicks) the dancer, Brothers D’Armano (Connor Chamberlin and Isaac Becker) the lovers and musical producers, Dolores (Aprille Goodman) the hooker, and Nadine (Lauren Frank) the minor. Fashionably late comes vivacious Kate (Logan Hill) with her date, Mr. Black (Allen Sledge).

Also occupying the stage for much of the show are Ervin Gainer, Logan Laflin, Claire Slaven, DeSean McLucas, Grant Craig, Jacoba White, Job Victor Willman, Anna Lee, Reno Moore and Tessa Gibbons. True to the title, the cast create a visual cacophony throughout most of the scenes, with some appropriate freezes when the action focuses on a solo or duo. Prior to the party, many stand by (and sing and dance) as a chorus mostly unseen by Queenie and Burrs. When the party gets going, there is a lot happening.

Lippa putting his own spin on the text, creating a mostly sung-through musical, didn’t seem to do the original verse any favors. Since March gave various characters the spotlight in the poem, it translated to Queenie and Burrs’ songs mostly advancing the plot, while the most memorable numbers are asides with supporting characters. Nehrig puts in the best performance with Madeline’s comic sapphic lament “An Old-Fashioned Love Story.” Draves and Hurt charm with Eddie and Mae’s “Two of a Kind.” The D’Armanos give us a fun digression, with Queenie and Burrs, presenting part of their saucy Biblical musical.

Stilabower and Massingale do very well as the leads, while Sledge adds surprising depth as Black develops feelings for Queenie, who surprises herself by reciprocating. Hill is dynamite, channeling the greatest redheaded comics in her portrayal of Kate. 

A note must be made of the show’s content. It goes beyond the swear words and the drunken fight (At this party? Who would have guessed?). This is the most mature content I’ve seen in a Footlite show – two words: choreographed rape. In movie terms, consider this a hard “R”. 

If you are familiar with the source material, or feel you are up for this kind of entertainment, check out the Wild Party through March 20 at 1847 N. Alabama St., Indianapolis. Info and tickets at footlite.org.