Louisiana

Footlite: ‘Change’ shines

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

By John Lyle Belden

When you are the singular housekeeper working in the basement of a modest home, it can feel like your only friends are the new washer and dryer. The swish-swish of the laundry sings to you, a rhythm matched by the Motown backup singers on the radio.

This is the world of Caroline Thibodeaux in “Caroline, or Change,” presented by Footlite Musicals, directed by Bradley Alan Lowe. It is the Indiana premiere of this 2003 Broadway musical by Tony Kushner, with music by Jeanine Tesori, based on Kushner’s own childhood.

Caroline (Damaris Burgin), a Black single mother in Lake Charles, La., in 1963, is fortunate to have a job working for the Gellman family even though they can’t pay much. Their young son, Noah (Asher Ortman) has taken a liking to her, but mostly her companions are Washing Machine (Anya Andrews), Dryer (Markell Pipkins), and The Radio (Jada Radford, Nia Hughes and Vivian Husband). We also meet personifications of the Bus (Samuel McKanney) that brings her to this neighborhood and the Moon (Angela Manlove) that shines up above. But this is not “Beauty and the Beast” – the feeling is closer to “Driving Miss Daisy” but as a musical is almost entirely sung-through. Consider it like an opera for the domestic servant, with music that includes Gospel, R&B, and Jewish Klezmer refrains.

Noah has his own difficulties, as his mother died and his musician father Stuart (Phil Criswell) is remarried, to close family friend Rose (Emily Mae Gaddy), of which the boy does not approve. Also on hand are his Gellman grandparents (Dan Flahive and Gisele Dollinger).

Caroline rides the homeward bus with fellow domestic Dotty (Zarah Shejule). She shares her small home with daughters Emmie (Kaylee Johnson-Bradley), Jackie (Cairo Graves), and Jo (Praia Graves) – her son is with the Army in Vietnam.

Rose notices that, being a typically careless boy, Noah keeps leaving pocket change in his pants when they go into the laundry. She decides to teach him a lesson by announcing that whatever Caroline finds, she gets to keep. However, the boy then makes a point of leaving nickels, dimes, and quarters to see what happens. As for Caroline, the arrangement doesn’t feel right, but this small “raise” is making a big difference for her girls.

National events are naturally at the edge of this story. They are in a relatively quiet Southern city, but still hear news of JFK as well as the Civil Rights struggle elsewhere – also, the statue of a Confederate “hero” in the center of town has disappeared.

Things get more interesting with the Hannukah visit of Rose’s father. Mr. Stopnick (Graham Brinklow) is a liberal New Yorker who feels for what “Negroes” are going through, but wishes they would take a different approach than that of Martin Luther King Jr.

Performances are wonderful all around. Burgin is endearing yet tough as the title character. The limits of her pride are often tested as dealing with “change,” in any form, makes her stronger. Johnson-Bradley is fierce as Emmie, an impetuous youth finding her voice and place in the world she’s growing into. Ortman’s Noah is a likable kid who makes mistakes but means well, though he learns that not everything you say can be taken back.

The most complex role, next to Caroline, turns out to be Rose. Gaddy plays her as someone who realizes she is the “evil stepmother” in this tale and defies that by showing she does care in her own way. At first homesick for New York, she dedicates herself to the household and family she has chosen, including the boy she hopes one day with love her, and the proud Black woman she tries to understand.

Discover this unconventional look at some interesting people (and appliances). “Caroline, or Change” plays through March 16 at 1847 N. Alabama St., downtown Indianapolis. Get tickets at footlite.org.

CCP shows its strength

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

By John Lyle Belden

The title of the play, “Steel Magnolias,” written by Robert Harling based on events in his life, refers to the fact that – as one character remarks – men are expected to be pillars of strength, yet women are like hardy flowers of even stronger mettle.

Carmel Community Players presents a mostly-female production of this Off- and on Broadway hit (also made into a beloved film in 1988), directed by Elizabeth Ruddell.

The action takes place in Chinquapin Parish, northwest Louisiana, but we hear all about it at Truvy’s Beauty Shop. We open on an eventful day: Truvy (Casey Clouser) has just hired young Annelle (Phoebe Aldridge) as assistant beautician, then Shelby (Emily Haus), daughter of M’Lynn (Tanya Haas), one of the shop’s regulars, arrives to prepare for her wedding that day. Clairee (Susan Boilek Smith), the town’s former first lady, arrives from the dedication of the local football field to her late husband. Local curmudgeon Oiser (Gabrielle Patterson) storms in, this time upset at M’Lynn’s husband – who has also annoyed the whole neighborhood with his efforts to scare birds away from the backyard wedding site.

Time advances through more scenes, giving us insight into both the changes in these women’s lives and how their bonds stay strong and true. There is plenty of good humor, with numerous funny lines and zingers like a sitcom, but flowing naturally like true friends talk. There is also a cloud of misfortune that will eventually overtake them, testing their steel. Even if you know this or have seen it before, this cast keeps the feelings raw and real.

Haus presents Shelby in all her stubborn, upbeat, brave glory. Haas epitomizes the hard strength of the title, making it all the more impactful when she reaches her limit. Aldridge charms, taking us on the curious complex arc of sweet Annelle’s many changes, inevitably for the better. Smith gives us someone who knows she’s a VIP but would rather have fun with it than lord it over anyone. Her fierce loyalty to lifelong best friend Oiser says a lot about her character. Speaking of whom, Patterson gives us a force of nature like a Louisiana hurricane, yet always true to the ladies in this circle.

If you haven’t, we highly recommend you also see the movie with its all-star cast, including Dolly Parton as Truvy. Clouser is a living tribute with her accent and blonde wig, while making the character her own. We never forget this is her house, after all.

Other salutes to the film include a Dolly portrait on the wall (her hits play while we wait for the play to start) and Annelle’s cat-eye glasses like Darryl Hannah wore in the role.

Haas is also producer. Other “Magnolias” involved include stage manager Samantha Kelly, lights by Karissa Henschen (with Doug Vann), and sound by Lori Raffel. “Honorary Magnolia” Jason Creighton provides the good-ol’-boy voice on the radio.

Entertaining and emotional, find some Southern charm up north in Carmel. “Steel Magnolias” plays Thursday through Sunday, Oct. 10-13, at The Cat, 254 Veterans Way. Get info and tickets at carmelplayers.org or thecat.biz.

What a ‘Dream’!

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

By John Lyle Belden

There is a land of centuries-old mysteries, equal parts pagan celebration and reverent tradition working in unique harmony, where in shadowy woods the very air is sodden with magick – Louisiana.

It is in the bayou town of Athens that we find the familiar yet always fresh William Shakespeare rom-com “A Midsummer Night’s Dream,” presented by Bard Fest with Arts for Lawrence in the park amphitheater behind Theater at the Fort, a production called “Shakespeare at the Fort.”

As appropriate to a free public “in the park” Shakespeare play, this “Dream,” directed by Matthew Socey, is highly entertaining regardless of if you’ve practically memorized it, or you slept through high school Lit and have only heard the title in conversation. Wendy said to me afterward that this is not only one of the best “Midsummers” she has seen, but easiest version to follow.

For those who need it, here’s the silly and overall simple plot (Cajun version): The most respected man in the Parish, Duke Theseus (Jo Bennett) and his lovely amazon, Hippolyta (Afton Shepard) are to be married, but they are first asked to settle the engagement of Demetrius (Matthew Walls) to Hermia (Maggie Lengerich) at the insistence of her mama Egeus (Sarah Froehlke) because Hermia wants to marry Lysandra (Kristie Shuh). Fair Helena (Evangeline Bouw) wishes to wed Demetrius, who is repulsed by her playing so easy-to-get. The Duke puts it all off to the wedding celebration day, and everyone agrees to disagree.

Most of the action occurs out in the spooky forest outside town.

Is that a Tulane track star at home for summer break that we see? Naw, it’s Robin Goodfellow (Diane Tsao)! One of the bayou faerie folk, that trickster Puck only answers to the local voodoo king, Oberon (Bennett), who is having some words with his queen Titania (Shepard) over the custody of a little Indian girl becoming their half-fae Changeling (Beatrice Hartz). To aid in childcare are Titania’s faeries Cobweb (Jamie Devine), Moth (Samantha Kelly), and Mustardseed (Monica Hartz).

Then, trompin’ around these woods are common folk of the Mechanical trades who wish to put on a play for the Duke’s wedding, rehearsing in secret. Exceedingly patient director Petra Quill (Chynna Fry) is staging the old favorite “Pyramus and Thisbee” starring Flute (Justina Savage) as Thisbee, Starveling (Emily Hauer) as Moonshine, Snout (Beverly Roche) as Wall, Snug (Froehlke) as a Gator, and the colorful Bottom (Kelsey VanVoorst) as Pyramus. But then, stuff happens.

A lot of stuff happens – go see the play!

The vicinity of New Orleans is a perfect setting, and not just to try out some passable Southern accents. The environment is embraced in the music used, costuming, and just the otherworldly air of the whole show. More people have watched “True Blood” and other bayou-set stories than have visited Greece, so engaging the audience is easy. The change in what kind of beast chases Thisbee works perfectly and adds to the comedy. (Fear the Chomp!) It all contributes to a flavorful comic gumbo that goes down easy.

And finally, we have a place where the Elizabethan habit of English people always saying “adieu” makes sense.

The stage would be a bit small for most serious productions, but the intimate nature of it and the surrounding lawn allows for an immersive and interactive experience. Entrances and exits are literally from and to anywhere, fairies dance with kids in the audience, and in an ingenious move, the nobles viewing the Mechanicals’ play are seated in the exact center of the audience. Rather than divide our attention at one end of the stage, they are out of the corners of our eyes, allowing us to enjoy the unintentional hilarity of the play-within-the-play on the stage, while they comment and quip like posh robots from Mystery Science Theater 3000.

The cross-gender casting, which has become more common across all stages in recent years, feels more natural here, and non-hetero feelings add to the stress of our four mortal lovers. In a great mockery of Shakespeare-era plays having boys play women, Savage shines as (pardon if I’m wrong on personal gender) a female actor playing a man who resents having to play a woman. Fry’s Petra aside, the other Mechanicals portray rough men in a gentle art (adding to comic potential).

The double-casting of Oberon/Theseus and Titania/Hippolyta is good as it always is in bringing a unity to the overall play, but largely stopping there avoids audience confusion. (Since we never see them in the same room, perhaps they are secretly the same entities? Voodoo works in mysterious ways.)

The whole cast, top to Bottom, are exceptional – which is praise I often heap on every one of these actors individually in practically everything they do. And to that I’ll add Guy Grubbs as Theseus’ servant Philostrate, whose every entry is a punchline.

The above aside, I’ll toss my text roses at the wonderful surprise that is 7-year-old Beatrice Hartz. Anyone who saw the advance photos of Shepard holding the Changeling as just promotional can be forgiven (if I can be) for thinking her just a dancing prop in the play. With the assurance of her mother in the cast (and her father and a best friend in the front row opening night), she flits her way into and out of her every scene and cue like a pro. Her confidence radiates, and feeds into her character as the fellow fae play along. In this world, she will be become a power to rival her sitters, so it adds meaning as she literally calls their dances at one point, and when she places her hand before a character in a “halt” gesture (which is obeyed) we almost feel the invisible door close. She even gets to speak a line.

Classic with a twist? A drug-induced fever-dream by Tennessee Williams? However you think of it, the price is right – free, but please “buy” $0 tickets online for headcount. While the content is family friendly and the site is easy to reach, do note a few things. The weather is Louisiana-like with high heat and humidity, so shading, sunscreen, and hydration are advised as the play starts before sundown. A couple of food trucks are nearby, and picnics are OK. Bring your own lawn chairs, or sit on a blanket. And in these intimate confines the company goes old-school with no microphones on actors. Fortunately, most lines seem to be uttered in an excited state, but a little audience noise discipline, extending to the nearby swings, would be appreciated.

Performances are just this one weekend: 7:30 p.m. Friday, July 22; Saturday, July 23; and Sunday, July 24; at the small park behind Theater at the Fort, 8920 Otis Ave., Lawrence (far north end of Indy’s Post Road). Tickets and info at indybardfest.com and artsforlawrence.org.