Marina Eisenbraun

Look what they’ve done

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

By John Lyle Belden

It could be said that Cryptid Entertainment makes musicals for those who hate musicals, or rather, for those who don’t care for Broadway fare with the airs and prestige of classical opera. Building an enviable audience, Dakota Jones and company have given us weird stuff that he has written, then weird stuff that others originally made, much to the delight of Indy’s weirdos (including us).

But perhaps Mr. Jones has been running a long, long grift. Now he brings to the IF Theatre stage a bona fide Off-Broadway and ON Broadway hit, John Cameron Mitchell’s “Hedwig and the Angry Inch” (songs by Stephen Trask). To be fair, though, this Glam-Punk Post-Cold War masterpiece is right in the Cryptid wheelhouse. Let’s open the wig box and have a look.

Having to take what she can get, the IF is allowing “internationally ignored” genderqueer singer Hedwig Robinson to set up in what is apparently a punk-themed art show. She is backed by her band The Angry Inch and her current husband, Yitzhak, a former drag queen from the former Yugoslavia. During her set, she explains her background, growing up on the wrong side of the Berlin Wall; her botched sex change (the “inch”); and her life in America and relationship with rock star Tommy Gnosis – who is performing a sold-out concert down the street. Doing the math would have this taking place around the year 2000, but as rock ‘n’ roll is timeless, don’t sweat the details.

With direction and fierce costuming by Marina Eisenbraun, Hedwig is portrayed by Job Willman, also known as Ilana a la Mode. The performance brings on all the sass, spirit and sadness the role demands, and then some. Jess Hackenberg is Yitzhak, a deep well of resentment tempered with grudging love for the person who brought him out of his disintegrating homeland – obviously wishing (without saying it aloud) that he could perform as his true self once more. As Hedwig frequently interacts with the audience, Cryptid’s production has the thinnest fourth wall we have seen for this particular show. Willman’s drag queen experience likely aids their comfort with the fans, while seating is set all the way up and around the raised stage.

The onstage band (as The Angry Inch) is led by Jill Stewart (keyboard and guitar) with Chris Ritchie (bass), Kristin Cutler (drums), Sally McSpadden Hanna (guitar), Ainsley Paton (bass), and Ben Hogan (guitar). They rock!

Expressing philosophy that hearkens to Plato with the attitude of Pussy Riot, this show transcends its pretense of a concert or definition as a musical to be an incredible sensual experience, fueled by bitter comedy, a driving beat, and the search for both identity and a soul’s “other half.”

As has been the rule lately with Cryptid shows, tickets are going fast and sellouts are likely, “whether you like it or not.” “Hedwig” runs through May 31 on the Basile main stage of IF, 719 E. St. Clair St., Indianapolis. Tickets at indyfringe.org.

Cryptid ‘Bats’ another hit

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

By John Lyle Belden

Part of the genius of Dakota Jones is that through Cryptid Entertainment he and his accomplices do masterful work in the space where comedy, horror, schlock, and camp intersect. They strike again in collaboration with Stagequest Theatrical Services – directed by Ty Stover – with an incredible production of “Bat Boy: The Musical.” Production manager Jones did, and does, a lot to bring this to the IF Theatre stage.

Originally, Bat Boy was a half-human creature brought to public attention in the fantastical tabloid newspaper Weekly World News in 1992, appearing in reports of bizarre happenings for years afterward. He became part of the theatre world in 1997 with a musical written by Brian Flemming and Keythe Farley, music and lyrics by Laurence O’Keefe. The show has played Off-Broadway, on London’s West End, and made its local debut at the Phoenix Theare in the early 2000s.

Now, the home of IndyFringe is transformed into a struggling 1990s West Virginia mountain town. In a nearby cavern, the three Taylor kids are smoking drugs harmlessly exploring when they encounter the fearful, feral Title Character! They freak out. It freaks out. The sister is bitten. It’s chaos. Cue the singing.

Fortunately, Sheriff Reynolds (Benjamin Elliot) gets involved and brings the Bat Boy (Parker Taylor) to local veterinarian Dr. Thomas Parker (Noah Winston) and his family, wife Meredith (Paige Scott) and daughter Shelley (Alicia Barnes). Rather than euthanize the creature, they keep it/him, which Mrs. Parker names Edgar and teaches to speak and to act civilized.

Meanwhile, the residents of Hope Falls, W.Va., are upset that the Bat Boy has not been destroyed, claiming it’s the cause of a mysterious plague that has been killing their cattle. Worse, having this apparent abomination in their midst wouldn’t be right with the Rev. Hightower’s big Tent Revival coming to town.

It should be noted that while this musical gets really silly, it is definitely not for young audiences. Consider it a “hard R” – especially with what happens in the woods in Act 2. But if you are into what Cryptid puts out, you’ll find this a hilarious, very entertaining and bizarrely inspiring production.

Brilliant casting is a major factor in this sure-fire hit. We have noticed that Parker Taylor has been one of the best young actors in Indianapolis. His willingness to commit to unconventional characters delivers a convincingly heroic lead. Scott nimbly takes on the weirdness as she so often does. Winston and Barnes each add a touch of drama to the absurdity.

All other actors take on multiple roles. Dave Pelsue and Shelbi Berry Kamohara especially show incredible range. Pelsue’s parts include Mama Taylor and the high-spirited Rev. Hightower. Kamohara’s turns include an old man, the bully Rick Taylor, and an oversexed Nymph. Gender-fluid casting and costuming also keep things interesting with Jonathan Young, Nina Stilabower, Bobby Haley, Ashley Bennett, and Jed Ottersen.  

Stover ensures the necessary chaos comes off with professional polish. Dakota Lumley provides clever set design, as well as creating Bat Boy’s distinctive look. (Parker noted that his fangs were carefully crafted to allow him to sing.) Vocal direction is by Jill Stewart. Costumes and technical direction are by Marina Eisenbraun.

If you, too, want to “love your Bat Boy,” act fast as – to no one’s surprise – tickets are selling very quickly, with opening weekend sold out. The show runs through March 8 at the IF, 719 E. St. Clair, Indianapolis. Get tickets at indyfringe.org.