Melody Simms

Epilogue brings monster tale to life with radio magic

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By John Lyle Belden

When dealing with a familiar favorite story, the best part is in how it’s told.

In “Frankenstein: The Radio Play,” presented by Epilogue Players, Mary Shelley’s classic novel is presented as a radio drama produced in 1940s London – an escape from the horrors of the real world. Adapted by Philip Grecian from his stage play, based on Shelley’s 1818 book, the production gives us a theatre of the mind experience while providing a glimpse into how the audio magic is made.

The immersive experience goes a step further by not renaming the actors as British counterparts, and by including radio ads promoting every advertiser in the program. This may be the best promotion English Ivy’s restaurant and bar (in today’s Indianapolis, just down the street) has ever gotten.

Craig Kemp (actually from the U.K., by the way) voices the titular figure, Victor Frankenstein – whom any literature buff will note is the true “monster” of the novel – in fine fashion, from the soothing doctor in love to the ecstatic “it’s ALIVE!” during the creature’s “birth.” Other actors provide major and minor parts (the broadcast audience can’t see them, so switching is a manner of inflection, which they easily do). Principally, Alex Bast is the doctor’s friend and assistant, Henry Clerval; Dale W. Smith is their peer, Professor Waldman; Caity Withers, the studio announcer and producer, is Baroness Frankenstein; Phoebe Aldridge is young Catherine Frankenstein; Melody Simms is Catherine’s governess, Justine Moritz; Bella King is Victor’s cousin and fiancé, Elizabeth Frankenstein; Grant Bowen is Arctic explorer Capt. Robert Walton, as well as the blind man, Delacey; and Jason Creighton is The Creature (usually referred to by epithets, by himself as Adam/Lucifer, but never as his “father’s” name), giving an appropriately powerful rendition of the misunderstood beast.

Also deserving of star billing are foley artists Amanda Greene, Roger E. Dutcher, Karen Markle, and Zach Thompson, who undertake complex effects with as close as the era allowed to surround-sound. Seeing the various gadgets used only adds to the fun while their acoustical accuracy doesn’t break their spell. Daniel Watson directs and composed some of the music, performed by Bethany Watson on piano.

Glancing over the novel’s plot summary as well as various films from James Whale to Kenneth Branagh and variations including breakfast cereal and Abbot & Costello, I probably should make some notes of the story here. This play does start and end on Cpt. Walton’s ship approaching the North Pole. Henry sounds quite handsome, with no hunchback noted, and is a fellow scientist, not a servant. Also, a critical plot point, the brain supplied to the creature is that of a genius Victor admires (not “Abbie Normal”), which becomes evident at the Adam’s clarity after his initial mental fog, making his reasoned impulses for revenge more menacing. Finally, there is no postmodern wink or sight-gags among the English cast; this show is played for chills, not laughs.

Performances run through Feb. 26. Space is limited at the little theatre on Hedback Corner, 1849 N. Alabama St., and tickets are selling fast. Get yours at EpiloguePlayers.com.   

‘Sweeney Todd’ now serving customers at Footlite

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

By John Lyle Belden

The dirty streets of 19th century London have been a rich source of great stories, from the fact-inspired fiction of Charles Dickens to the fiction-inspiring facts of Jack the Ripper. Out of these shadows steps “Sweeney Todd: The Demon Barber of Fleet Street.” Now, attend the tale at Footlite Musicals.

This murderous denizen of Dickens-era penny-dreadfuls is the subject of a popular 1979 musical by Stephen Sondheim, with book by Hugh Wheeler, based on a 1973 play by Christopher Bond. Perhaps you’ve seen the Tim Burton film, or the occasional stage show over the years. Under the direction of Josh Vander Missen, this Footlite production still manages to thrill.

Daniel Draves masterly uses his average-joe looks as the title character. Todd is just another man getting off a boat, a friendly barber – or with a small shift of expression he casts an air of menace, or even madness. He wields a sort of gravitas as well as those trademark silver blades.

Jennifer Simms is a spot-on pitch-perfect Mrs. Lovett on a par with stage and screen notables who have taken on the infamous pie shop. She needs better meat, though, and Todd needs a disposal method as he slashes his way towards long-overdue revenge – you see where this is going.

Troy Bridges is adorable in manner and voice as Anthony Hope, the sailor whose life Todd saves on their recent voyage (for Todd, who had been sent away under another name, it is his secret return from exile). Hope becomes just that as he seeks to rescue Todd’s daughter, Johanna (Christina Krawec) from the evil Judge Turpin (Ben Elliott).

While Elliott makes Turpin downright creepy, Donald Marter portrays the judge’s assistant, Beadle Bamford, as more of an amoral product of his time. You get the sense that if he were hired instead to bust heads for Mr. Todd, he’d do so with the same joy in a day’s “honest” work.

Parker Taylor excels in (pardon the expression) a meaty role as somehow-innocent youth Tobias Ragg. He’ll talk up a crowd for you, seeing it as more a game than a grift, and returns Lovett’s kindness with total devotion.

Other notable roles include Rick Barber as Todd’s rival, Adolfo Pirelli; a cameo by Dan Flahive as bedlam-keeper Jonas Fogg; and Melody Simms as the ever-present Beggar Woman.

One nice touch to this production is the opening overture is played on Footlite’s 1925 theater pipe organ (the full orchestra plays though the musical).

Set designer Stephen Matters delivers on one of the show’s true “stars,” the modified barber chair which Todd uses to dispatch and dispose of his victims, sitting upon a versatile two-story wooden frame.

Equal parts gothic thriller and dark comedy with a good serving of Sondheim, this “Sweeney Todd” is worth experiencing, or revisiting if you’ve met the man before. Performances run through Oct. 2 at the Hedback Theater, 1847 N. Alabama St., Indianapolis. Get info and tickets at Footlite.org.