music

Doomed ‘Lady Day’ lives again in Indy dive

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By John Lyle Belden

It’s 1959, the last year of singer Billie Holiday’s life, and she is in a city she’d rather not visit, Philadelphia, at a place she loves to be. It’s “Lady Day at Emerson’s Bar & Grill,” a Fonseca Theatre Company production hosted by the Linebacker Lounge, just a couple of doors down from Fonseca’s previous venue at Indy Convergence.

The cozy confines of the Linebacker stand in nicely for Emerson’s. It is a bar (but no grill, though there are delicious Mexican sandwiches next door that you are allowed to bring in) so entrance is restricted to ages 21 and up. Drink service is available before the show and a brief intermission, cash only (there is an ATM on site). But mostly, the place lends atmosphere, a small triumph of “site-specific” theatre.

As for the Lady herself, Monica Cantrell slips comfortably into a role she has played before. Holiday’s distinctive voice and vocal style can be difficult to emulate, especially without sounding like a parody, but Cantrell takes it on with apparent ease — singing soulful jazz ballads and purring stories that are a blend of reminiscing and confessional. Billie tells of idolizing Bessie Smith, honoring her with a rendition of “Gimme a Pigfoot;” life on the road, especially touring the Jim Crow South; and of how she wrote her biggest hit, “God Bless the Child,” for her mother, known as The Duchess.

She tells of men she loved and speaks frankly of her heroin addiction, advising patrons to watch out for “white men in white socks,” the probation officers who monitor her movements after her release from a year in prison. Her mind is not entirely her own, but she’ll pick up a snippet of song — “What a little moonlight can do,” she smiles — to get her thoughts on track.

“Singin’ is livin’ to me,” she says. But as she slowly breaks down, it becomes heartbreakingly apparent she doesn’t have much of either left in her.

Music is provided by Tim Brickley, and Jon Stombaugh as Holiday’s accompanist Jimmy Powers. Little Zoe Lee makes an adorable cameo as the singer’s canine companion, Pepe. And I’m pretty sure I heard Bryan Fonseca himself as the voice of Mr. Emerson.

Directed by FTC co-artistic director Dena Toler, “Lady Day” is a beautiful biography of a troubled woman in troubled times. It speaks volumes about addiction and our racial history without preaching. Just listen to that voice, the likes of which we may never hear again, a woman who “got her own,” on the verge of losing it all.

Performances run through April 7. Find the Linebacker, a sweet little spot that boasts Indy’s second-oldest liquor license, at 2631 W. Michigan St. Due to its small size, this show sells out easily, so find info and tickets at www.fonsecatheatre.org.

An evening with the marvelous Melissa Schott

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 By John Lyle Belden

I remember in 2005 seeing the Footlite Musicals production of “42nd Street,” and being blown away by the performance of Melissa Schott in the lead role. I had no idea that — like her character, ingenue Peggy Sawyer — she had just taken her first big chance on a major stage role, and come out on top. All I knew was that she lived in New Palestine, within the coverage area for the Greenfield Daily Reporter, the paper I wrote for.

Melissa SchottWith such a talented “local” to watch, I soon saw her perfect portrayal of the legendary singer in “Always, Patsy Cline.” So, it was no surprise when — again, nearly on a whim — she tried for and got entertainment work in New York.

And this year, for one wonderful weekend, she came “home,” recently performing her first cabaret revue, “Songs in the Key of Me,” at The CAT in Carmel, presented by Magic Thread Cabaret.

Schott said the show’s title refers to how, in taking so many roles as other people, “it’s easy to forget your own voice.” To find those pieces of herself, she brings out the works of people who have influenced her, from Karen Carpenter to Sara Bareilles.

She set the mood by opening with “That’s Life” and “Ain’t We Got Fun,” but also touched our hearts with Cline’s hit “Crazy,” as well as “Pretty Funny” from the musical of “Dogfight.”

Being a classic triple-threat, Schott brought out her tap shoes for a couple of numbers, including — naturally — “42nd Street.”

She shared the stage with old friend Scott Harris of Nashville on the piano, but took over the keys to start the second act, singing and playing Bareilles’ “Gravity.” She also invited Broadway performer Cory Lingner up for a duet of “Only Us” (from “Dear Evan Hansen”).

Revealing yet another facet of her talent, Schott played a song she wrote, “Worlds Away,” inspired by her longing for home while on tour.

Her musical journey had many stops that felt personal to her, including “Goodbye Yellow Brick Road” and “On a Bus to St. Cloud.” She sang “She Used to be Mine,” from Bareilles’ hit musical “Waitress,” then noted that she would be playing a waitress herself, briefly, on a future episode of the Emmy-winning streaming TV show “Marvelous Mrs. Maisel.”   

Hopefully being a long-time fan doesn’t make me too biased, but her charm, talent, dancing and singing are still superb. And with her residence in the Big Apple, Melissa Schott is one casting-call away from true stardom. Wherever you happen to be able to see her perform, by all means do; and hopefully, she will bring her “Songs in the Key of Me” to another stage very soon.

She closed the show with a medley of tunes from Broadway’s “Thoroughly Modern Millie.” A few days ago, I heard one of the songs from the official cast album, and — meaning no disrespect to a Tony winner — Schott was just as good.

Follow Melissa’s showbiz adventures at melissaschott.com or on Facebook. See magicthreadcabaret.com for future showcases of local talent, presented by Tom Alvarez and Dustin Klein (kleinandalvarez.com).

Phoenix goes bananas for ‘Xmas’

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By John Lyle Belden

You know, it’s just not Christmas season without a visit from Anna Banana!

..Said no one ever. (But don’t tell Anna!) Now that she’s the fourth-most-popular female holiday icon (since most people can’t think of more than three) she gets to host “A Very Phoenix Xmas 13: Merry Superstitious” at the Phoenix Theatre.

As you can already tell, the oddball tone of the previous 12 incarnations of this holiday tradition is still very much alive. However, this edition — directed by quirky Q Artistry founder Ben Asaykwee — features an all-female cast. Past Phoenix stars Jolene Mentink Moffatt, Phebe Taylor, Jaddy Ciucci and Jenni White are joined by Shawnte P. Gaston, the powerhouse presence of Tiffanie Burnett, the instrumental prowess of Beef & Boards regular Sarah Hund and the manic energy of ComedySportz star Frankie Bolda.

While they all play multiple roles, it’s Bolda in the banana outfit, and Ciucci makes a feisty Virgin Mary. But while the comedy is a bit irreverent, the content doesn’t get sacrilegious or too mature. Something amiss does happen to Santa, though, that reverberates through the show.

The series of sketches has numerous authors, including Asaykwee, Jean Childers-Arnold, Lou Harry, Steven Korbar,  Zack Neiditch, and Steffi Rubin. Mariel Greenlee choreographed a touching dance scene, performed by the ensemble, inspired by a historic holiday event.

There are also witches, a history lesson, a look back at a (sorta) famous kick-line, breaking news, surprising mashups, and (in Harry’s contribution) what could be described as “Law & Order: Scriptural Victims Unit.” Plus, the cast tell us what’s on their wish list this season.

For an unusual — What other Christmas show has a talking banana? — funny and fully entertaining holiday treat, check out this “Very Phoenix Xmas,” with performances through Dec. 23 on the mainstage at 705 N. Illinois St. in downtown Indianapolis. Call 317-635-7529 or visit phoenixtheatre.org.

We have a lot to learn

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By John Lyle Belden

Understanding being black in America is not something that one “history month” a year can cover. But at least now, we have the textbook. Fonseca Theatre Company presents “Hooded, or Being Black for Dummies” by Tearrance Arvelle Chisholm, directed by Ben Rose.

Marquis seems to be a typical 14-year-old: doing well in school, hanging out with friends, noticing girls. But when his attempt at the latest internet fad lands him in a police station holding cell for trespassing, he finds himself with someone who sees him as anything but normal. Tru, the cellmate,  appears to be what most would picture a black youth to be, and he wonders why Marquis isn’t. Let the lessons begin.

Chinyelu Mwaafrika plays Marquis, bright-faced and naive, and despite his dark skin, a boy so “white” he needs the guidance of a “magical Negro” — the role Joshua Short as Tru takes on with gusto, complete with penning the titular guide. Yet, his character is more human than film trope, always toying with our and the other characters’ expectations. 

The only other African American in the cast is Warren Jackson as police Officer Borzoi; it is left to the audience to decide if he is an Uncle Tom collaborator with the establishment or a committed law officer with a realistic view of misbehaving young men (which you believe, or to what extent a mix of the two, no doubt says more about your own beliefs and biases).

We soon meet Marquis’s adoptive mother, Debra (Mara Lefler), embodying the well-meaning liberal who is blind to her own racial insensitivity. The next day, at private high school Achievement Prep, we meet Marquis’s classmates and best friends, Hunter and Fielder (Patrick Mullen and James Banta), as well as the girls clique of Meadow (Ivy Moody) and her disciples Prairie (Lefler) and Clementine (Dani Morey), who has a crush on Marquis.

All this — plus plenty of jibes at our meme-driven, eyes-on-phones, culture — lead to a lot of hilarious situations. But, as Rose says: It’s all funny, until it’s not. For instance, the opening scenes deal with the hot online trend of “Trayvonning” — a joke frequently repeated until its uncomfortable aspects are smoothed over. But it also has you primed for the gut-punch of the very final scene.

There are lessons for us throughout this production, starting with a slide show that runs while we take our seats in the intimate confines of Indy Convergence. Tru is a fount of wisdom, both in what he says and what he writes. In addition, we get a funny take on the young white man who takes on hip-hop culture too wholeheartedly.

Jackson and Banta also play mythical characters Apollo and Dionysus. The latter calls on Marquis to enjoy the trappings of white privilege, but hooded and African-garbed Apollo whispers a more vital truth to him.

Hearing of the violent death of an unarmed black person makes us wonder how such tragic circumstances could come about. No one should die for a handful of Skittles, yet they do. One of the lessons of “Being Black for Dummies” is that sometimes just putting up your hands is not enough.

What lesson will you take from this powerful play?

Performances run through Dec. 2 at Indy Convergence, 2611 W. Michigan. Get information and tickets at fonsecatheatre.org.

CCP: Look who’s back!

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By John Lyle Belden

For a number of years in the recent past, Carmel Community Players would stage the musical “Forever Plaid.” So, now the good old days are back in more ways than one.

The Plaids, a struggling four-part vocal group, were on their way to a promising gig in 1964 when their car was struck by a bus on its way to New York taking fans to see the Beatles live on Ed Sullivan’s show, killing the quartet instantly. But thanks to a cosmic alignment, a hole in the ozone, or some other metaphysical reason, the Plaids have returned to Earth to perform the show they didn’t get to do when they were alive.

The rapport and harmony of CCP’s incarnation of the foursome are natural and well-polished, a reflection of three of them having sung the roles together before: Darren Gowan as Sparky, Syd Loomis as Jinx, and Rich Phipps as Frankie. They are joined by Howard Baetzhold as Smudge, the character who tends to have trouble getting in synch anyway, but as things progress fits right in. The backing musicians are director Sandy Baetzhold on piano and “Uncle Dick” Richard Leap on drums.

There is more going on than sharp four-part harmony on oldie hits including “Catch a Falling Star,” “Sixteen Tons,” and “Perfidia.” They deliver a Calypso segment as well as their high-speed rendition of Ed Sullivan’s classic acts, along with amusing patter as they try to sort out their unusual situation.

Tired of the news and troubles of 2018? Take a step back as gentlemen from a gentler era entertain you as only the Plaids can. There are moments of audience participation – with one lucky fan getting the chance to become an Honorary Plaid – and all get to sign the Plaid Book of Life.

“Forever Plaid” won’t last forever. Performances run through Oct. 7 at The Cat performance venue, 254 Veterans Way in downtown Carmel. For info and tickets, visit carmelplayers.org.

IndyFringe: ‘Broadway’s Leading Ladies: A Tribute’

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This show is part of the 14th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 16-26, 2018 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By John Lyle Belden

Presented by Dustin Klein and Tom Alvarez and their Magic Thread Cabaret, “Broadway’s Leading Ladies” is a rousing revue sung by local divas Shelbi Berry, Rayanna Bibbs and Virginia Vasquez.

From the moment the trio get to “work” on a hit from “Hamilton,” we are treated to one powerful performance after another. You’ll want Vasquez to “Gimme, Gimme” more, see Berry “Defying Gravity,” and be reassured that Bibbs is “…Not Going.” Yes, as the latter song says, you’re gonna love them.

Kudos also to the three-piece band of Klein, Greg Gegogeine and Greg Wolff, as well as Austin Schlenz for his on-stage assistance.

No tables at this cabaret, on the third floor of the Firehouse union hall (748 Mass Ave.), but we don’t care — they would only get in the way of the standing ovation.

IndyFringe: ‘There Ain’t No More!’

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This show is part of the 14th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 16-26, 2018 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By John Lyle Belden

Commonly portrayals of “hillbilly” culture are presented ironically or mockingly — you’ll have none of that here. This one-person drama of an old folk singer raging against the dying of the light presents the Ozarks of Arkansas, dirt roads and all, with utmost respect.

One would expect nothing less from Fayetteville, Ark., resident Willi Carlisle, a University of Arkansas graduate who has performed at the Ozark Folk Center, as well as numerous folk and Fringe events. In “There Ain’t No More!” he shows his mastery of guitar, banjo, fiddle, harmonica and accordion as his dying alter ego looks back on and relives his eventful life.

A young man falls in love with the music as much as the girls at a square dance, then pursues the music of rural America all the way to Vietnam, where his efforts to entertain the troops confront the horrors of war that greet his USO band. Concluding his days in the hills of the Heartland, the folkie wonders what kind of legacy he will leave, terrified the music will die with him. And that pisses him off.

No doubt you’ve seen word of the Best of Fringe awards he garnered elsewhere. Well, this is one show that lives up to the hype. A local actor seated behind me told her companion after the show: “That right there is the whole ball of wax!”

Carlisle — the nicest person to meet offstage — is a towering talent (and not just because he’s six-foot tall) who still connects with audiences practically on a soul level. You experience the story as much as see and hear it, aided by his part-time use of a mask and a clever scroll he unwinds to help tell his tale.

I find myself at a loss to describe better how and why this show is so awesome, and not just because I’m from Arkansas, too (did feel a little homesick, I’ll admit). Don’t just take my word for it, ask the crowds that have seen it, or are gathering for the remaining performances at the IndyFringe Basile (mainstage) Theatre, 719 E. St. Clair St.

IndyFringe: Captain Ambivalent, ‘Happy Fun Time at the Complex’

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This show is part of the 14th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 16-26, 2018 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By Wendy Carson

The Artlians are among us. They have infiltrated our planet through their clever use of “art installations” that are actually secret devices that they eventually used to decimate our world.

However, we are now safe in “The Complex” (think bunker) thanks to the benevolent protection of Binky (think Clippy as a hand puppet). Binky is here to assist us and keep us safe from the dangerous mutants outside the Complex. In an effort to keep up our morale, Captain Ambivalent is here to entertain us with a concert. Our glorious protector Binky though, wants to upload his masterpiece, “Binky: The Hand that Shook the World”

For those of you who have not encountered him roaming the fringe, our superhero is an amazing musician and songwriter who uses the accordion as accompaniment  — think Weird Al, but with all original songs, which are hilariously delightful and do a great job developing the overall story line of the show.

The result is a rollicking, entertaining hour full of lots of great music and lots of family-friendly fun.

A few general notes:

1. I was at the opening performance of the show and the turnout would have barely filled a minivan. This is a wonderful show and really needs to be seen and enjoyed by more people. Seriously, bring out your kids and give it the audience it deserves.

2. This show is an excellent “palate cleanser” for your brain after seeing one of the many more gritty and serious offerings on other stages.

3. Also, he has CDs, buttons and other merchandise for sale so if you liked the show, check this out so you can enjoy his music long after the Fringe ends.

Captain Ambivalent performs at ComedySportz, 721 Mass Ave.

CCP: Artist ‘dying’ to get popular in Twain farce

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By John Lyle Belden

Mark Twain’s almost-forgotten farce, “Is He Dead?” has come alive in Fishers, thanks to Carmel Community Players.

Twain, the celebrated American author and humorist, wrote the play while traveling Europe and had planned on staging it in 1898, but those performances never happened. The script was rediscovered in 2002 and, adapted by noted playwright David Ives, finally reached Broadway in 2007.

Now it’s here.

A fictional version of actual master painter Jean-Francois Millet (played by Jaime Johnson) struggles to get noticed or even sell a single painting from his shabby home in Barbizon, France. His international circle of disciples, Chicago (Matt Hartzburg), Dutchy (Adam Powell) and O’Shaughnessy (Kelly Keller) recognize his genius, as do landladies Bathide (Lucinda Ryan) and Caron (Susan Hill), who don’t mind getting art for rent payments. But moneylender Bastien Andre (Larry Adams) wants real Francs in payment for debts owed, and threatens to foreclose not only on Millet’s studio, but also Monsieur Leroux (Keven Shadle), whose daughter he desires. However, Marie (Morgan Morton) is repulsed by Andre and is in love with Millet. Meanwhile, her sister Cecile (Monya Wolf) has her eye on Chicago.

Desperate for a way to quickly raise thousands of Francs, our artists get an idea after a clueless English art buyer (Dave Bolander in one of a number of hilarious roles) states that genius is only rewarded after the artist has died. Chicago then talks Millet into “contracting an illness” so horrible as to guarantee publicity of his impending “death.” Meanwhile, Millet appears in a dress as his twin sister, the Widow Tillou, to inherit the inevitable riches.

This being a comedy, of course, things don’t go entirely as planned.

Twain’s wry humor is woven throughout this satirical farce, and little moments of 19th-century style silliness work in the overall context. Johnson plays Millet as a down-on-his-luck everyman who just wants what’s due him, playing it straight against the comic antics of his students – and his scenes in drag are “Some Like it Hot” hilarious. Chicago, our lone American character, appears to be Twain’s surrogate in the story, a fast-talking charming schemer in the mold of Tom Sawyer, and Hartzburg turns on the charm in the role. Powell is like a caricature of a caricature, but is so likable it works. Wolf gets in some great moments with the old girl-disguised-as-man gag. And Johnson is delectably “boo-hiss!” worthy as our top-hatted melodrama villain, complete with twirled mustache.

Direction is by Mark Tumey, who said he came to love the play while portraying Andre in a production in Arizona.

The show’s social commentary on art and fame resonates a bit today, but mostly this is just a fun evening with the work of one of America’s greatest writers. As CCP is still seeking a full-time home, performances for this play are at Ji-Eun Lee Music Academy, 10029 E. 126th St., Suite D, in Fishers, through June 24. Call 317-815-9387 or visit carmelplayers.org.

Get on board ‘Priscilla’ with Footlite Musicals

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By John Lyle Belden

To my gay friends reading this, I have just two words to say about “Priscilla, Queen of the Desert: The Musical” (based on the film “The Adventures of Priscilla…”), at Footlite Musicals through May 20:

FABULOUS! GO!

Need more details? OK. This spectacle is the journey of three Sydney, Australia, drag queens: Tick a/k/a Mitzi (Michael Howard), who wants to connect with the son he barely knows; Bernadette (John Phillips), a widow and aging diva needing to find her next chapter; and Adam a/k/a Felicia (Chris Jones), an impetuous lass in search of fun and adventure.

Tick’s very understanding wife, Marion (Carolyn Lynch), needs an act for her casino in Alice Springs (located in the center of the Australian continent, far from coastal Sydney) and his traveling there would fulfill Tick’s promise to visit his boy, Benji (Rocco Meo). Bernadette provides the showbiz know-how, and Adam provides the transportation – a fabulous RV that is the Priscilla of the title. While the wildlife ignore our trio, the treacherous part of the journey is the human denizens as they travel through Australia’s equivalent of Kentucky (Broken Hill, Woop Woop) and West Virginia (Coober Pedy). Along the way, they do meet one helpful soul, Bob (Dan Flahive), who ends up along for the ride.

Howard presents Tick with charm, charisma and rugged good looks reminiscent of Hugh Jackman. Phillips exudes authority appropriate to one who is, at turns, a regal and maternal personality. Jones goes from carefree to careless and back with aplomb, like the younger sibling you just want to slap sometimes, but love anyway. And Flahive is sweet in his portrayal of what was my favorite character in the film.

Also notable are Sarah Marone as Bob’s mail-order bride Cynthia, of the infamous “ping pong scene,” and Dennis Jones as Sydney diva Miss Understanding.

The story is embellished with more than 20 pop and disco hits from the 1970s and ’80s, including “It’s Raining Men,” “Go West,” “I Will Survive,” and “True Colors.” For those who can’t resist singing along, a special matinee this Saturday (May 12 at 2:30 p.m.) will let you do just that, complete with lyric sheets.

Another spectacular feature of this show is the costumes – the genuine Tony and Oscar-winning outfits sent to Indy from Broadway. The headdresses must be seen to be believed, as well as the visual effect of the big “gumby” pants.

All this, for a story with a little pain, a lot of heart, and a sense of fun as big as the Outback. Footlite is at 1847 N. Alabama St. in downtown Indy. Call 317-926-6630 or visit www.footlite.org.