Michael J. Lasley

Civic: Sail on with Porter’s songs

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By John Lyle Belden

“The world has gone mad today
And good’s bad today,
And black’s white today,
And day’s night today…”

Makes you wonder what year Cole Porter was writing about, doesn’t it?

But that’s what makes it a great idea to escape from today’s madness on a timeless voyage with “Anything Goes,” the classic musical featuring Porter’s songs, presented by the Booth Tarkington Civic Theatre, in partnership with The Great American Songbook Foundation.

The wacky romantic comedy plot is mainly a means to launch several Porter favorites, including “I Get a Kick Out of You,” “You’re the Top,” “It’s De-Lovely,” “Friendship,” “Blow Gabriel Blow,” and, of course, the title song.

As for the story: All aboard the ocean liner S.S. American, where lovesick Billy Crocker (Juddson Updike) has stowed away, hoping to persuade his socialite girlfriend Hope Harcourt (Kari Baker) not to wed Lord Evelyn Oakleigh (Matt Bays) in a marriage arranged by her mother (Teresa F. Jordan). Billy has to avoid contact with the ship’s crew, as well as his boss, Elisha Whitney (W. Michael Davidson), who had ordered him to stay in New York. Meanwhile, it’s rumored that America’s Most Wanted criminal is on board – but we know for sure that the Thirteenth Most Wanted, Moonface Martin (Parrish Williams) is on the liner, accompanied by his best moll, Erma (Nathalie Cruz). And at the center of it all is a friend to all, headlining showgirl Reno Sweeney (Susie Harloff), with her band of Angels and a song for every occasion.

Despite some difficulty, and wacky situations, love will triumph in the end as it always does. What’s important is how entertaining this shipload of actors and dancers are on the way. With the help of Michael J. Lasley’s direction, Brent Marty’s musical touch and splendid choreography by Anne Beck, this is a pleasing production.

As for our feature performers, Williams is in top comic form, and Harloff has sass and attitude to match her great voice. Baker’s singing is breathtakingly good, Updike keeps up his everyman charm perfectly, and Cruz handily steals the scenes (along with several sailors’ uniforms). I wasn’t sure at first about Bays’ Lord Oakleigh, but he is something special when he cuts loose in the second act.

We’re having such a good time, we can forgive the almost cringe-worthy Asian stereotypes that end up necessary to the plot. Isaac Becker and especially Karen Woods Hurt make the most of their roles as naughty Chinese Christian converts, adding to the humor rather than being an outdated distraction.

“Anything Goes” runs through Oct. 27 at The Tarkington theater in the Center for the Performing Arts in downtown Carmel. Call 317-843-3800, or visit civictheatre.org or thecenterpresents.org.

Civic has big fun with ‘Hairspray’

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By John Lyle Belden

In the hit Broadway musical “Hairspray,” based on the classic John Waters comedy, Wilbur Turnblad – father of Tracy and husband of Edna, our heroines – says, “You gotta go big to be big!”

That was the apparent credo of the Booth Tarkington Civic Theatre production of the musical, playing through May 12 at the Center for the Performing Arts in downtown Carmel.

As befits this spectacular – with a “wow” factor especially necessary for an audience who likely already saw a stage or film version, or the live television broadcast – everything about Civic’s “Hairspray” is big, big, BIG! – the staging, the light displays, the beautiful flying setpieces, the chorus sets with singers in silhouettes, the dance numbers, Edna’s bra…

And this all-volunteer local cast more than rises to the occasion. Evan Wallace is “divine” as Edna, while Nina Stilabower is perfect in song and steps as Tracy, an eager teen with a heart as big as her dress size and her desire to dance on the Corny Collins TV show – the place to be seen in early-1960s Baltimore.

While show producer, strict stage-mom and former Miss Baltimore Crabs, Velma Von Tussle (Mikayla Koharchik), wants nothing to do with the girl, Corny (Justin Klein) lets Tracy join the cast “student council,” where she starts to steal the attentions of lead heartthrob Link Larkin (Zachary Hoover) away from Velma’s spoiled daughter, Amber (Emily Hollowel). This, plus Tracy’s unapologetic love of “race music” and desire that “every day be Negro Day,” can only spell trouble.

Yes, there’s even a big social-conscious message, delivered with power and a sense of fun with the help of R&B deejay Motormouth Maybelle (Joyce Licorish) and her smooth-dancing son Seaweed (Michael Hassel).

Also notable are J. Stuart Mill as Wilbur, the coolest dad ever, and Jenny Reber as Tracy’s best friend, Penny.

And it’s all done bigger than life, as big as Broadway – including the infamous giant can of Ultra Clutch. Under the direction of Executive Artistic Director Michael J. Lasley, Civic concludes its 2017-18 season with a joyous triumph.

“You just can’t stop the beat” – and who’d want to?

For tickets and info visit www.civictheatre.org or thecenterpresents.org, or call 317-843-3800.

Review: Civic Theatre continues ‘Tradition’

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By John Lyle Belden

The popular musical “Fiddler on the Roof” has a few nights left, Wednesday through Saturday at the Booth Tarkington Civic Theatre in The Center for the Performing Arts in downtown Carmel.

Directed by Michael J. Lasley with musical direction by Brent Marty, the story of a poor Jewish man confronting changes in society in Russia at the turn of the 20th century still maintains its power in this latest production of a show that has seen many local stages – not to mention Broadway runs and a 1971 movie.

Tobin Strader is an entertaining narrator as Tevye, the dairyman blessed with five headstrong daughters. Marni Lemons is an excellent complement as his wife, Golde. We also get great performances from Laura Muse, Virginia Vasquez and Daniela Pretorius as their eldest daughters, and Troy Johnson, Tanner Brunson and Joseph Massengale as the girls’ suitors.

One of the more interesting cast members is the title character – the Fiddler – a living metaphor performed by Erin Jeffrey. She appears throughout in various scenes as emphasis is needed, proficiently playing her instrument.

Praise is also due to choreographer Anne Nicole Beck, as scenes with various numbers of the cast of more than 30 players flow smoothly, naturally, and at times breath-takingly (yes, the “bottle dance” is included, involving five dancers).

Whether you’ve seen “Fiddler on the Roof” a dozen times or never at all – and really, you should at least once – the Civic production is well worth the ticket. Call 317-843-3800 or see civictheatre.org or thecenterpresents.org.

(Review also published at The Word)