Review: Buck Creek’s ‘Garland’ charms

By John Lyle Belden

NOTE: Review also appears online with The Word (www.theygayword.com).

“Hi, I’m Judy Garland, Liza Minnelli’s mother.”

BCP Garland
Georgeanna Teipen as Judy Garland in “The Property Known as Garland” at Buck Creek Players through Sunday (BCP photo)

This is how the star, occupying the body of Georgeanna Teipen at Indy’s Buck Creek Playhouse, introduces herself to Ed (Steve Jerk) in the dressing room of Copenhagen’s Falconer Centre as they await what would be her final public concert, March 25, 1969. She then sends Ed on a fool’s errand so that she can be alone for the next hour to talk to us – across space, time and the fourth wall – about her life.

“The Property Known as Garland” was crafted by Billy Van Zandt from Garland’s actual words in interviews and dictations for a never-published memoir. Director D. Scott Robinson said a minimum of dramatic license was employed in the script. While he can’t say Judy’s stories were all true, because “she was a story-teller,” he said. “What you hear is what she actually said.” Robinson added that most aspects of her narrative, including her scandalous first pregnancy, are independently verifiable.

Robinson also said that while he was thrilled to get the rights to this show, he wouldn’t do it without Teipen as Garland. Fortunately, she was quick to say yes, he said. And indeed, from the short dark wig to the sassy attitude that sways from playful and wistful to maudlin and angry, she does – for 90 minutes, no intermission – become Judy Garland.

I must note that for those who are either eager for or cringing at the thought of her belting out full renditions of “Zing! Went the Strings of My Heart” or “Over the Rainbow,” it won’t happen. Teipen is spared inevitable comparisons to the legendary voice, as Judy saves it for her Danish audience.

Still, to hear her story, from little Frances Gumm and her sisters in vaudeville, through her time with MGM and Oz (including backlot Munchkin tales), up through her more recent triumphs (Oscar-nominated for “A Star is Born”) and trials (getting booed off the stage in Australia), is fascinating enough without song breaks. And in Teipen’s performance, we feel those highs and lows with her.

She touches on her appeal to LGBT audiences, including encounters with drag impersonators.

There is also a touch of irony, as she remarks on how each of her peers and rivals are “drunks” while waving her ever-refilling glass of Blue Nun dismissively. She has no problem with it, she says, except for having to switch from wine after being told, after liver surgery, that she could no longer consume hard liquor. And she laments how Marilyn Monroe was careless enough to overdose on pills, just months before she would die from a day of constant consumption of barbiturates.

There is just one weekend of performances left before the Garland glamour leaves us again. Find Buck Creek Players at 11150 Southeastern Ave., Acton Road exit off I-74; call 317-862-2270 or see www.buckcreekplayers.com.

Review: An entertaining and enlightening Sondheim salute

By John Lyle Belden

Did you know that it took three tries before “A Funny Thing Happened on the Way to the Forum” had an opening song that worked?

You get lots of behind-the-scenes glimpses like this in “Sondheim on Sondheim,” Thursday through Sunday at Footlite Musicals. This hybrid of documentary and revue has Stephen Sondheim himself projected on a big screen, talking about his life and career, while live performers – Lauren Bowers, Graham Brinklow, Onis Dean, Laura Duvall-Whitson, Karen Frye, Jeff Fuller, Sarah Marone and Larry Sommers – sing songs from his stage shows. The numbers range from choruses and medleys to full performances of songs like “Gun Song,” “Finishing the Hat” and “Send in the Clowns.”

If you don’t like Sondheim – then, really, why are you reading this? – but if you do like the man or his musicals at all, you’ll find this show charming and insightful. The singers are well up to the task, with some, like director Bill Hale, having worked on the Footlite production of “Follies” a couple of years back. However, the orchestra on stage does threaten to sonically overwhelm them. Fortunately, the audience is also on the Footlite stage, an intimate arrangement that gives the vocalists the freedom and challenge of working un-mic’ed.

Circumstances limited the show’s run, so see it this weekend at the Hedback Theater, 1847 N. Alabama St. Call 317-926-6630 or see footlite.org.

Review: Untraditional tradition delivers again

By John Lyle Belden

Gayle Steigerwald – a very familiar face to Phoenix Theatre patrons – admits during “A Very Phoenix Xmas X: Oh Come Let Us Adore Us” that what is mainly a lampoon of holiday traditions has become an Indianapolis holiday tradition itself.

Steigerwald, a veteran of numerous “Phoenix Xmas” skits, acts as emcee for this year’s show, with its mixture of old and new elements in its songs and short plays, garnished with projected photos from past productions while Steigerwald banters as the cast change costumes. The other players – Scot Greenwell, Paul Hansen, Olivia Huntley, Rob Johanson, Eric J. Olson, Sara Rieman and Lincoln Sientz with musician Deb Mullins – are also familiar faces, and eagerly deliver like the pros they are.

The sock monkeys and lighted dancers return, and we get unusual takes on Christmas carols, the tree, gifting, and even the jolly character at the center of the celebration. There’s an avant garde piece, a bit of political commentary, and moments that reach more for the heart than the funny bone. Nothing is too sacred for this bunch, but there is no big sacrilege either. So, feel free to indulge in this alternate “tradition,” playing through Dec. 20 at the Phoenix, 749 Park Ave. (corner of Park and St. Clair downtown); see www.phoenixtheatre.org or call 317-635-7529.

At ATI: A salute to another era, and some sweet stories

By John Lyle Belden

Actors Theatre of Indiana is easy to overlook, with its home space being The Studio Theater, next to the bigger Tarkington stage in the Center for the Performing Arts up in downtown Carmel. Yet this little company produces some excellent and worth-seeking shows.

“The Andrews Brothers,” which played just in time for Veterans’ Day, was a valentine to the old USO shows that kept GI’s, sailors and Marines’ spirits up during World War II (and the organization is a valuable resource to service members to this day).

Three men (played by Michael Dotson, Jay Emrich and Don Farrell) – conveniently, brothers with the last name “Andrews” – who couldn’t make the cut for service due to health reasons, but still wanting to do their part, want to move up from being USO stagehands to performing on that stage. When illness prevents the Andrews Sisters from making a South Seas gig, the Brothers get their big break in a way they hadn’t imagined.

Our trio, with pin-up girl Peggy Jones (Mary Jayne Waddell) sing and dance their way through many memorable hits from the era, both as guys, and, hilariously in the second act, as the “Sisters.” It’s all a lighthearted affair, and was a fun trip down memory lane for many in the audience who remembered those days. This led to many wonderful conversations between them and the cast after the show.

As for myself, I and Wendy fell ill in the following days and the distraction of fighting the flu (yes, I had my shot, so I guess it could have been worse!) kept us from writing a timely review.

But ATI is on stage again, and while the previous show was for the young-at-heart, this one is a treat for actual little ones (and the parents and caretakers who read them their bedtime stories): “A Year With Frog and Toad.”

I remember reading the sets of short stories about best-friend amphibians by Arnold Lobel to my son years ago, and can even recall a few favorites. Those scenes are there in the live musical play, crafted by Willie and Robert Reale. The lead characters are brought to life excellently by Bradley Reynolds and Don Farrell, with the help of some supporting critters (Kyra Kenyon and Shelby Putlak), including a very eager snail (Tim Hunt).

If you or your kids are at all familiar with these woodland companions, make plans to visit them on Friday, Saturday or Sunday through Dec. 27. Call 317-843-3800 or visit atistage.org.

Books and plays

Start this weekend early by seeing comic Bill Scheft, a writer for Late Night With David Letterman, as he signs copies of his book “Shrink Thyself” Thursday starting at 6:30 p.m. at Bookmama’s book store at 9 S. Johnson Ave. in Indy’s Irvington neighborhood.

For theatre, we have three openings:

The Phoenix Theatre presents the British Broadway comedy “One Man, Two Guvnors,” starting Thursday and running through Oct. 18 at 749 N. Park Ave., downtown Indy. This is the show that got James Corden (now the host of The Late Late Show on CBS) his Tony. But since Corden is in L.A., our show is locally cast.

Buck Creek Players present the comedic thriller “Cliffhanger,” opening Friday and running for two weekends, in which murder has rarely been so funny. The playhouse is out on Southeastern Ave. off the Acton Road Exit.

Over at the Hedback, 1847 N. Alabama in Indy, Footlite Musicals presents “Nice Work if You Can Get It,” a feel-good musical loaded with Gershwin numbers. It opens Friday and runs through Oct. 11.

See you in the audience!

Big opening weekend

There is a lot happening around Indy this weekend, especially on stages.

Theatre on the Square opens “Enter Love” a new musical with book by local talents Kenny Shepard, Don Seybold and Ty Stover. First curtain is 8 p.m. Friday.

The Center for the Performing Arts in downtown Carmel sees two openings: “Little Women: The Musical” at the Booth Tarkington Civic Theatre on The Tarkington stage, of course, and “The Fantasticks” presented by Actors Theatre of Indiana at The Studio Theater next door.

Meanwhile, the classic “The Odd Couple” opens the Mud Creek Players season in the Mud Creek Barn on east 86th Street near Geist.

For two shows only, Friday and Saturday, Indiana Performing Arts Centre presents “A Night on the Town With the ‘Rat Pack'” at the Athenaeum, 401 E. Michigan St. in downtown Indy.

See you in the audience!

IndyFringe 2015 Wrap-Up

We had a great time at this year’s IndyFringe. Though we didn’t see all the shows, we saw quite a few, so, here in one place are the links to all our reviews, for anyone wanting to look one up:

“4.48 Psychosis” by Savage at Last

“4Square” by AV Productions

“Acting My Age” by Matt Holt

“The Adventures of Les Kurkendaal” by Les Kurkendaal

“Auditioning for Swan Lake” by Lou Ann Homan

“The Best of Indy Magic Monthly” by Magic Taylor’d for You (Taylor Martin)

“Breakneck Hamlet” by Tim Mooney

“Bromance” by Farewell Tour Productions

“Cabaret of Puppetry” by Peewinkle Studios

“Ca-Ching” by Nomads Collective

“Camp Summer Camp” by Defiance Comedy

“Cocooned in Kazan” by Royal Kung Foolery

“The Comedy Magic of Oscar Munoz” by Oscar Munoz

“Dancing in the Mist” by RibbetRepublic

“Drosselmeyer’s Magical Bedtime Story” by No Exit Performance

“The Eulogy” by Michael Burgos

“Fruit Flies Like a Banana” by Fourth Wall

“Ghost Story” by Peter-John Byrnes

“Growing Up All Over Myself” by Mat Alanso-Martin

“Hannibal: LIAR!” by Chris Hannibal

“Hell’s Fourth Ring: The Mall Musical” by Casey Ross Productions

“Home Grown Originals” by Band O’ Leers

“An Indian Comedian: How Not To Fit In” by Krish Mohan

“I’m Not Gay” by Submatter Press

“Interrupting the Sermon” by First Hand Theatrical

“The Invisible Man” by What’s in a Name? Company

“Jason Adams is a God Damn Mind Reader” by Jason Adams

“Kill the Column” by MamaProductions

“Laughing Sober” by Rick Garrett

“A Little Business at the BIG TOP” by David Gaines

“Men’s Room” by MayDay Productions

“Mom?” by Box of Clowns

“Mr. Boniface, the Wise” by KT Peterson

“My Sister Diane” by Jim May

“Not My Baby!” by Dreadmelon Productions

“The Not So Secret Origin of Captain Ambivalent” by Captain Ambivalent

“ODDyssey” by Blair Godshall

“Orange is the New Black Keys” by ComedySportz Indianapolis

“Sarge” by Clifton Performance Theatre

“The Secret Book of Jesus” by Maximum Verbosity

“Shakespeare’s Ear” by Early Music in Motion

“The Shout” by In the Mix

“The Sibling Staircase” by Sally Perkins

“Speedthru” by Eclectic Pond

“Threads” by Tonya Jone Miller

“Tipped and Tipsy” by Jill Vice

“Top Shelf: Our Last American Tour – Again” by Betty Rage

“The Traveling Tap Dance Super Show” by TapMan Productions with Circle City Tap Company

“Ulysses Grant: A Fluxkit Opera” by Stephen Rush

“Up Yours, Indianapolis” by The Fleece Academy

“VELOUR” by Schedule C Productions

“Whisper in My Good Ear” by Vintage Players

“Who Run The World: A Madwomen’s Cabaret” by Main Street Artists

“The Wizer of Odd” by Gift of Gab

“Working Titles” by Jeremy Schaefer

“The Yellow Wallpaper” by Earlham Theatre Department

Fringe review: Home Grown Original

By John Lyle Belden

Let us simplify your expectations. Ironically, “Home Grown Originals,” at the IndyFringe Basile Theatre, stretches the concept of a “Fringe show” by not being edgy or avant garde or having some odd agenda. It’s straightforward: a group of eight friends playing some really good Hoosier-made music.

Alex “Tunesmith” Murphy recently wrote a bunch of songs, then recorded them with his ensemble, the Band O’Leers. Now he presents these rockabilly-country-blues tunes on the IndyFringe Basile stage, featuring vocals by Murphy, Tim Spradlin and Lori Ecker.

It’s an entertaining crowd-pleasing set, featuring oughta-be-hits like “Kiss Me Like You Mean it,” “Future Ex-Wife” (feel free to sing along on the chorus) and “You’re only Human if you Try.” If guitars and a corny joke or two are your bag, head on over and give them a listen.

The CD of the songs is also available, featuring vocals by local legend Karen Irwin.

Fringe Review: Fruit Flies Like a Banana

By Wendy Carson

Whether you are familiar with or new to the antics of The Fourth Wall, you would be delighted with the trio’s latest foray into speedy musical education, “Fruit Flies Like a Banana: Alphabetical Disorder,” which played at Theatre on the Square.

This year they attempt to make it through the alphabet with the help of random letters thrown at them from the audience. Each letter corresponds with a comedy-music bit, which the performers – being virtuoso musicians as well as masters of physical comedy – perform. With the ever-present countdown clock looming over them, they effortlessly move from piece to piece almost instantaneously.

Not only are the numbers cleverly arranged and choreographed, each one is curated to educate the listener on the history of not only the composer, style and instruments used but how and why they have chosen the material.

Their antics are a joy to behold and they make music education into a game that can be enjoyed by old and young alike.

Fringe review: Who Run the World: A Madwomen’s Cabaret

By John Lyle Belden

In “Who Run the World: A Madwomen’s Cabaret,” by Darrin Murrell, presented by Main Street Artists at the IndyFringe Basile Theatre, Julie Lyn Barber plays all the roles (except for Murrell as Lizzy Borden, our accompanist) including a certain woman running for President next year on the Democrat ticket.

As the candidate prepares to accept her nomination, other famous and infamous female leaders from history appear to her to give encouragement and advice in song. For example, Cleopatra croons “Cry me a (Nile) River” and Queen Elizabeth I sings “Like a Virgin.” The visitors come from all over time and the globe, from Chinese empress Wu Zetian to British prime minister Margaret Thatcher.

The performances are wonderful and witty, but the show is problematic in that a bright strobe light sits center stage and flashes straight at the audience during every character transition, which happens at least a dozen times. Also, I found the voice-over introducing each character before she appears sounding distorted and hard to hear.

Aside from the flaws, this cabaret is an interesting and entertaining musical history lesson.