music

Thanks a ‘Million’

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NOTE: As the Word/Eagle is in flux with the renaming and corresponding change in official website, John is still putting his reviews here.

By John Lyle Belden

On a December day in 1956, something extraordinary happened.

And the fact that it did happen, and occur largely spontaneously, is practically unbelievable – but then, there’s the sound recordings, and that famous photo. On that day, in the little studio of Sun Records in Memphis, Tenn., four legends – Carl Perkins, Elvis Presley, Johnny Cash and Jerry Lee Lewis – held an impromptu gospel/country/rockabilly jam session that a local newspaper would declare the “Million Dollar Quartet.”

The Broadway musical of that same title, commemorating that day, is presented locally by Actors Theatre of Indiana at The Center for the Performing Arts in downtown Carmel through Oct. 2.

In the play’s dramatization, Perkins (Jeremy Sevelovitz) and his brothers are in a recording session, trying to come up with his next hit, when Sun’s owner and producer Sam Phillips (Don Farrell) surprises him with the label’s latest signee – a hyper Louisiana boy, Lewis (Taylor Gray), who is days away from his own first hit. Phillips wants to add boogie-woogie piano to enrich Perkins’ rockabilly sound – which the guitar legend resists, at first.

Meanwhile, Cash (Brandon Alstott) is expected to stop by; Phillips has a surprise contract extension for him, but Cash has a surprise of his own. Then, Presley (Adam Tran), who started with Sun but sings for RCA, stops by with his latest girlfriend (Betsy Norton), and can’t resist picking up a guitar and joining in. All four singers, and even the young woman, sing solos and harmonies of familiar songs from the era, including the stars’ biggest hits.

Of course, there’s also a little drama as Cash and Phillips need to resolve conflicting plans, Jerry Lee gets a little too brash, and Phillips seriously considers the future of his struggling operation. We also get flashbacks to show what the Sun boss first saw in each of these eventual legends. But overall, the music is what drives the show.

And what a wonderful show it is. Gray was understudy for Lewis on the musical’s national tour, but is overjoyed to be the number one Killer for ATI, as are we who see him expertly capture the energy and raw talent of Jerry Lee. Sevelovitz, also no stranger to his role, plays the heck out of his guitar as Perkins, recreating the look, sound and attitude of the original man in Blue Suede Shoes. The local actors: Alstott seems right at home as the Man in Black, Tran radiates The King’s charisma, and Norton is as charming as ever as beautiful Dyanne (based on Elvis’s actual companion; her name was changed to avoid confusion with another personality of the era). ATI co-founder Farrell ties it all together as the man in charge. The talents of Kroy Presley as Brother Jay on stand-up bass and Nathan Shew as Fluke on drums ably round out the cast. Direction is by the nationally-renowned stage and TV director DJ Salisbury.

The action takes place in one movie-length act, ends with a rousing encore for the curtain call, and is satisfying throughout. The content is family-friendly (aside from period-appropriate stage cigarettes) and even includes a couple of sacred songs.

Performances are Sept. 23-25 and Sept. 30-Oct. 2; call 317-843-3800 or visit atistage.org.

John L. Belden is Associate Editor at The Eagle (formerly The Word), the central-Indiana based Midwest LGBTQ news source.

IndyFringe: Journey from Johannesburg

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By Wendy Carson

For a white child growing up in South Africa, the word Apartheid was never spoken about. Even so, it was ever present. While the privilege of his race afforded him much that others lacked, Toby Tobias still felt a deep love and connection to his homeland and only begrudgingly left it rather than serve the mandatory two-year term in the army enforcing its hateful policies.

Being the son of a Polish Jew, Tobias migrated to Jerusalem. During his time there, his life was again, idyllic. Even though tensions were rising among the Muslims and Jews, it was never evident in the daily life most of the country. He fell in love with the country as well as his future wife and felt he had found his homeland paradise. However, the Arab uprising of 1987 changed the country forever and he was forced to once again leave the land he loved, and this time move to America.

His life here has been challenging on many levels, but still satisfying. He still struggles to promote racial harmony and coherence as a society in order that we may all live together in peace.

His story is punctuated by hauntingly beautiful songs he has written to help convey his message. These pieces not only echo the political messages of singers such as Sting, Bob Dylan and Paul Simon, his voice sounds so much like them you will feel that you are actually listening the them perform.

So, if “Graceland” is among your favorite albums, do not miss this poignant tribute to love, understanding, and true harmony amongst all peoples.

Also, CDs of his music will be available for sale after the show.

Performances are 7:30 p.m. Friday and Sunday, Aug. 26 and 28, in the Phoenix Theatre underground stage. Info and tickets at indyfringefestival.com.

IndyFringe: Prodigal Hoosier

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By Wendy Carson

“Prodigal Hoosier” is a time-traveling trip told mainly through song.

We begin with a tender look back at Kevin Kelso’s music teacher and the lessons learned, far beyond just piano skills. The show then moves from tributes to famous mathematicians, his loving wife, his obsession with goals and plans to a “Fight Song” for the mythical Farmers Insurance University.

Kelso’s musical skills showcased are quite impressive. The song for his father, “You can take the boy out of Brown County, but you can’t take Brown County out of the boy” is a tender delight. Although my personal favorite number was his musical version of Shelley’s poem “Ozymandias,” simply because I love the source material.

Also, if you’re lucky, he might come out and do an encore song. Truly a delightful evening of joy and music for young and old alike.

Performances are 6 p.m. Saturday and Sunday, Aug. 27-28, on the Phoenix Theatre underground stage. Info and tickets at indyfringefestival.com.

IndyFringe: Class, Grass and Ass

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By Wendy Carson

It is clear from the onset that Debra Mullins aspires to be Bette Midler. This crazy tribute to the style and sassiness of “The Divine Miss M” is her attempt to do so. From her back-up group, The Debutants (think Indy’s version of Midler’s “Harlettes”) to her choice of songs, she does her best to invoke the diva.

While some of her attempts do fall a bit flat, the show is still entertaining. The comedy bits are great, the costuming and choreography work well, but she seems to miss some steps here and there.

For instance, the Who song, “Squeezebox” was written as “Momma’s got a Squeezebox” to help hammer home the double entendre. Her change of the lyrics to “Daddy’s got a Squeezebox” removes the main thing that makes this number so naughty.

Still, the show is a very good cabaret review that showcases several talents from around town that are rarely seen on these stages. So, get the girls together, grab a glass of wine, sit back and have a good time.

Performances at the Theatre on the Square main stage Friday, Saturday and Sunday, Aug. 26-28. Get info and tickets at indyfringefestival.com.

IndyFringe: Little Butchie Sings

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By Wendy Carson

The show begins with a stunning spoken-word poem about the prejudices faced throughout life; race, religion, sexuality, etc. It then launches into an autobiographical Cabaret retrospective of James Solomon Benn, aka “Little Butchie”.

We see his early beginnings as a precocious, bratty singer in his dad’s church. His family suspects his effete tendencies even at a young age, yet still pressure him to worship a beautiful, blond, European Jesus with buns of steel.

The songs he chooses for his story are mostly familiar pop songs and show tunes but presented in delightfully original interpretations. For example, the aforementioned Jesus is accepted as his lord to “I Will Follow Him,” and the number “Happy Talk,” from South Pacific, is sung as an Etta James scat song.

For a delightful evening of laughs, love, self-acceptance, song, and general sassiness, look no further than spending it with the Divalicious Little Butchie.

Performances at the Indyfringe Basile Theatre, Saturday and Sunday, Aug. 27-28. Info and tickets at indyfringefestival.com.

 

Review: Buck Creek’s ‘Garland’ charms

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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

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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

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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

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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

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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!