musical

Asaykwee and friends present the story behind the Carol

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By John Lyle Belden

When you think about it, there is only one ghost featured in Charles Dickens’s “A Christmas Carol.” That would be the tortured soul of Jacob Marley; other beings present as “spirits” not of a particular person but a vague experience – Christmas Past, Present, and Future, as well as the consequences of poverty.

Local creative Ben Asaykwee apparently did think about it and expanded on these concepts to create a new holiday musical, “Wonders,” which has its world premiere at The District Theater in downtown Indy.

To bring his ideas to life, he once again casts his December show in “Q-munity” style, finding a place in cast or chorus for all 46 new and veteran actors who applied, including about a dozen children. Under Asaykwee’s direction, they harmonize into a large stage family, welcoming us into the story they tell.

A couple of other things to note:

* It is essential you have some familiarity with the original Dickens story, as this is a sort of companion piece to that narrative, presenting the perspective of the ethereal beings who undertake the mission of redeeming Mr. Ebenezer Scrooge. In this story, the quest is necessary not only for his wellbeing, but also for mankind’s.

* As for the old miser, Scrooge himself makes only one brief, uncredited appearance. To set things in motion for a very eventful Christmas Eve, we meet various supporting characters from the book, including Fezziwig (Bastian Ciucci Russell or Calvin Meschi); Bob and Mary Cratchit (Noah Lee and Elizabeth Gee), Scrooge’s sister (Lillie Oblon) and his former sweetheart (Michelle Wofford); and, stranded in “The Pale,” the shade of Marley (Kevin Caraher).

* This may be Asaykwee’s most ambitious high-concept work that we have seen. Set largely in the realm of the spirits of humanity – a place they for their own reasons call the Basket – we are outside of conventional earthly dimensions and “time appears differently here.” Though the production has the feel of experimental theatre, once we get a handle on the concepts in the opening scenes it all mostly works, and it helps that to the audience, the spirits are very friendly guides – even ones we associate with more negative aspects of life.

Within this Basket we find a pantheon of spirits that include Truth (Asaykwee), Hope (Sarah Zimmerman), Joy (Noah Winston), Pleasure (Tiffanie Holifield), Honor (Maria Meschi), Ambition (Jaddy Ciucci), Curiosity (Shelbi Berry Kamohara), Fear (Matt Anderson), Memory (Hannah Elizabeth Boswell), Avarice (Kallen Ruston), Creativity (Zach Himes), and Innocence (Megan Arrington), who does much of the narration. They maintain the balance of light and darkness for mortals they refer to as “Turtles,” seeing humans as slow and simple.

In this mythos, these entities consider themselves strands in a “braid” that binds human order. However, two aspects – Apathy and Despair – became lost and formed The Knot, a state of pervasive darkness. The others carry wonder as a tangible energy supply helping keep it at bay; still, The Knot is strengthening. Yet down in Dickensian London, a man with the most dark of souls could help turn the tide if he is made, somehow, to see the light. To get results, the mission must focus on the most optimistic day of the year – Christmas.

This complex production manages a sort of holiday miracle in that the strands of plot around the events and characters of “Carol,” interlaced with the immortals’ own struggles, stay cohesive and easy to follow. Asaykwee infuses it all – script and original songs – with his entertaining style, a sort of fun yet daring and mischievous sense of humor reminiscent of legends like Danny Kaye or Gene Wilder. Aside from Dickens, we can see stylistic influences of “Inside Out,” “Neverending Story,” and practically any movie where an angelic being tries to directly influence mortals (“…Wonderful Life”? “Xanadu”?).

Boswell assists with direction, and Ruston is assisted as stage manager by Sofie Frank. The wonderfully colorful and eclectic costumes for the pantheon are a group effort by the cast along with Kristin Boyd, Allison Jones, Kat Robinson, Traci Snider, Asha Patel, Robyn Lamey, and Ben Lamey.

The mortal “Turtles” are distinguished by simple black outfits, yet shine in their own way. Aside from Caraher, Lee, Gee, and Wafford, they are portrayed by Emerson Black, Ava Button, Carrie Cooper, Jenson Dasbach, Jessica Dickenson, Trèvon D. Foote, Carl Gallagher, Beth Gibson, Spencer Hahn, Lillian Hall, Zara Heck, Mandy Holzhausen, Anna Lee, Ethan Lee, Ashley Marshall, and Morgan Patrick-Roof. Filling in as Cratchit kids, urchins, and small but potent Spirits are Bastian Ciucci Russell, Cosette Clemens, Patrick Clemens, Lyra Dickson, Elsie Huldeen, Amaryllis Lebow, Xylah-Rose Lebow, Zinnia Joy Lebow, Sam Lee, Calvin Meschi, Aaliyah Oblon, Lillie Oblon, and Amelie Pellerin.

Performances are sharp throughout the cast, and roles such as Hope, Curiosity, Innocence, Memory, Joy, Pleasure, and Fear really show off the depth of the players’ talents.

But what of Past, Present, and Yet-to-Come? Join the journey by “candle-shine” and watch to see how they are revealed. Performances of “Wonders” run through Dec. 21 at The District Theatre, 627 Massachusetts Ave., Indianapolis. Get tickets at IndyDistrictTheatre.org or call 317-522-8099.

Chill with another cool Indy Drag parody

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By John Lyle Belden

Do you want to see a gay man? / Though it’s more than being gay. /

The musical that you adore / Has become something more / In an Indy Drag way! /

So now they’re doing “Frozen” / And they made it hot! /

This could make you a big Drag fan, / And a Drag King plays the snowman.

–

Indy Drag Theatre wraps up its fabulous 2025 season with “Frozen: A Drag Parody Musical” at The District Theatre.

Somehow, a fairy-tale story seems even more magical done in the style of Drag, with its exaggerated makeup, wigs, and outfits, and every actor accustomed to being a completely different person than one might see offstage. As this show is mostly lip-synched to audio of the movie and stage versions of the Disney tale, with appropriate costumes, this is a production for all ages (provided “drag queen story hour” doesn’t upset you).

This tale of royal siblings Elsa and Anna features* Lollypop Lyx and B.B. Rosè as their younger selves, with Natalie Port-Ma’am as Queen Elsa and Meadowlark Lane as Princess Anna.

The story doesn’t deviate from the familiar plot: After a childhood accident, Elsa isolates herself with efforts to control her icy weather-based powers. At her coronation, she gets upset at Anna for impulsively becoming engaged to Prince Hans of the Southern Isles (Taron Closeoff) and without meaning to, brings eternal winter to Arendelle. With Elsa hiding away in in the mountains of the Norway-esque kingdom, Anna seeks to reach her with the help of a helpful ice-seller, Kristoff (Jared Matthew), and his faithful reindeer Sven (Norah Borealis).

Popular local entertainer Maurice Mantini works his magic as the enchanted snowman, Olaf; he also plays the girls’ father, King Agnarr, with Gayle Thyme as Queen Iduna. The cast also features Cadence as Oaken, the “hygge” proprietor of the general store and sauna; Rodick as a rather nimble Duke of Weselton; Desiree ‘Denzel’ Bouvier and Ramon Flowers (aka Pricilla Vaggina) as Pabbie and Bulda of the Nordic “Hidden Folk;” as well as Canila Carpenter, Loralei Diamond, Faith Camire, and Cheri Walker-Owens.

For the performance we attended, Matthew had a prior commitment, so understudy Eli Rose nicely filled in as Kristoff.

The show was directed by Dottie B. Minerva and choreographer April Rosè. Sydnie Blair is stage manager. Imaginative sets were designed by Josh Morrow & Tony, with props by Ailish Forner. Giving the fabulous looks are Maria Fruit with costumes, Celeste Al’Dreams with makeup, and wigs by Oriana Peròn.

The company’s diva-level standards of performance are again maintained. Everyone gives their all, from Natalie’s triumph as the Ice Queen to Norah’s endearing deer. This not only showcases the visual spectacle of Drag culture, but also the compelling gestures and emoting that enraptured cinema fans in the silent-movie era.

Also, it’s so much fun.

Performances of this funky “Frozen” are Thursday through Sundy, Nov. 20-23, at The District Theatre, 627 Massachusetts Ave., Indianapolis. Get tickets at indydragtheatre.org.

–

*(Note: Out of respect for the art form and its performers, they are identified by their Drag names as given in the show program.)

Epsilon ‘School’ a class act

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By Wendy Carson

 While it seems that bringing a popular movie to the stage would be an instant ticket to success, there are a few that feel dependent on their stars to pull off the magic of the original – “School of Rock” is one such property. No matter how talented the cast, it is almost impossible to match the man-boy magic of Jack Black. Luckily, Epsilon Theatrical Company has struck that match in their amazing casting of Caleb Wilson as Dewey Finn.

Wilson brings out the lovable side of this Peter Pan character who is absolutely obsessed with winning the local Battle of the Bands and becoming a Rock God.

After sponging off his best friend Ned Schneebly (Darin Richart) for years, he is finally given an ultimatum by Ned’s hot new girlfriend Patty Di Marco (Afton Shepard) to pay some rent or get out. This leads to Dewey posing as Ned for a substitute teaching position at a posh prep school, Horace Green.

While Dewey’s initial lackadaisical attitude has him on the rocks, he happens to overhear his students’ music class and decides to create a band out of these kids to win the contest. While they have only been exposed to classical music, he fast-tracks them on a rock education and creates an awesome band, complete with back-up singers, roadies, sound and light techs, groupies, even a manager/promotions director.

The shenanigans run fast and furious throughout, but everything manages to come together in the end with love and understanding winning the day.

While the several adults in the cast give exceptional performances, Allison Williamson’s turn as Rosalie Mullins, the uptight Principal of Horace Green (and Dewey’s love interest), is sheer perfection.

As for the kids, please note that although the show does have an orchestra at the rear of the building, all the kids with instruments on stage genuinely play them, and do a wonderful job. Principal band members backing Finn (guitar, vocals) are Zack Mooneyham (Luke C. Wilson) on lead guitar, Freddie Hamilton (Colm Tripple) on drums, Lawrence Turner (Thomas Kim) on keyboard, Katie Travis (Tess Eggeson) on bass, and Tomika Spencer-Williams (Koto Hoskins) as featured vocalist. While they, and gold-star student Summer Hathaway (Ellie Richart) as the band Manager, do get most of the lines and attention, all the young performers were amazing at bringing their rock-star roles to life.

Directed for ETC by Jayson Elliott with additional choreography by Mary McDonnel and Tim Reed as music director, “School of Rock” was adapted from the Mike White film by Andrew Lloyd Webber with book by Julian Fellowes, new music by Webber and lyrics by Glenn Slater. (Though ALW was involved, rest assured this musical is [mostly] Cat-free.)

For a feel-good musical tour-de-force that will have you banging your head for a long time afterwards, sit in with the cool kids at Epsilon’s usual venue, Broadway United Methodist Church, 609 E. 29th St., Indianapolis, 7 p.m. Friday, 2 and 7 p.m. Saturday, and 3 p.m. Sunday, Nov. 14-16.

Info and tickets at epsilontheatricalco.org.

Brooks comedy comes ‘Alive!’ at ATI

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By John Lyle Belden

One of the cool perks of being Associate Artistic Director of Actors Theatre of Indiana for Darrin Murrell is that he gets to direct the incredibly fun musical, “Mel Brooks’ Young Frankenstein,” adapted by Brooks from his classic comedy film with Thomas Meehan. All songs are also by Brooks, except for the famous scene with Irving Berlin’s “Puttin’ on the Ritz.”

Murrell was overjoyed to have Ben Asaykwee in the title role, as well as Craig Underwood as the Monster, both adept at the necessary physical comedy. Asaykwee’s resemblance to Gene Wilder from the movie is less an impersonation than a reminder that both seem to have been touched by the same muse, hilariously delivering bluster, intelligence, and mischief, capable of being simultaneously the romantic lead and a slapstick clown.

One doesn’t have to have seen the film to follow this show, or have more than a rudimentary knowledge of the Frankenstein legend (Brooks’ approach was more a tribute to Universal Pictures monsters than the Mary Shelley novel). Movie fans will recognize many scenes and characters, though.

Professor of brain science Frederick Frankenstein (Asaykwee) – pronounced “fronk-en-steen” – discovers he has inherited his infamous grandfather’s castle in Transylvania. He goes there to settle his estate, met at the train station by servant Igor (John Vessels, Jr.), an odd man with a migrating back hump who has hired an eager young assistant, Inga (Sophie Jones), for his new master. At the castle, we meet horse-frighteningly eccentric housekeeper Frau Blucher (Julie Lyn Barber). Finding the laboratory and his grandfather’s notes, Frederick insists he won’t repeat any abominable and dangerous experiments – until, of course, he finds the right body and brain.

Meanwhile, there is concern in the village that a new Dr. Frankenstein is in residence. Inspector Kemp (Eric Olson), whose previous encounter with a reanimated creature literally cost him an arm and a leg, is determined to keep such events from happening again.

Frederick’s fashion-forward fiancé Elizabeth (Megan Arrington-Marks) will also arrive, just as hijinks get into high gear. 

As in the film, the Monster (Underwood) stumbles upon a Hermit (Adam B. Shapiro) who is blind and lonely, but he does get a song.

Other roles are covered by James Garrett Hill, Drew Kempin, JoBeth Hilton, Hannah Boswell and Natalie Fischer, with Emily Chrzanowski on hand as understudy.

Few frights, but a lot of laughs and double-entendres in Brooks’ bawdy style, with a few asides taking aim at popular monster-movie tropes. This being a “horror” show with song and dance numbers, indulging in silliness fits the milieu perfectly.

Vessels has fun with his character, delivering a nice homage to the late Marty Feldman with a bit of his own flair. Olson, well disguised by Kemp’s facial hair and costume, embodies the character perfectly for maximum comic effect. Jones’s Inga is winsome as the sidekick who is always smarter than she lets on, caring enough to let distracted Frederick catch up to her true affections. Barber nicely menaces and deadpans as Blucher, contrasted with the wild emoting over her “boyfriend.”  Arrington-Marks gives the full measure of self-obsessed Elizabeth, as well as her change of heart.

Even when dangerous, Underwood as the Monster doesn’t come across as monstrous – just a big guy (with Abbie Normal’s brain) very confused at waking up from the dead. Also, fire bad.

Nathan Perry is musical director; choreography is by Carol Worcel; and Kevin Casey is stage manager. The castle scenic design is by Jay Ganz (note the gargoyles), with props designed by Christian Condra.

Performances of “Young Frankenstein” run through Nov. 9 in the intimate confines of The Studio Theater at the Allied Solutions Center for the Performing Arts in downtown Carmel. For info and tickets, go to atistage.org or thecenterpresents.org.

Macabre musical brings ‘Ripper’ to the stage

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By John Lyle Belden

“Funny, it takes a murder for anyone to notice we passed this way.”

This lament is sung by the women mostly known from their tragic fates in “Jack the Ripper: The Whitechapel Musical,” by Steven Bergman and Christopher DiGrazia, presented by Carmel Apprentice Theatre, directed by Jake Williams.

This version of the well-told blend of history and legend stands apart for several reasons. It is mostly sung-through like an operetta, and Jack himself (played by Leo Milletary) frequently takes center stage. Who – among the dozens of suspects proposed by investigators, historians, and countless enthusiasts – is he? The musical gives an interesting theory (new to us), which I’ll leave for you to discover.

The story follows the people whom we do know, including the five most-known Ripper victims: Mary Ann “Polly” Nichols (Kate Knoll), Annie Chapman (Hannah Smith), Elizabeth Stride (Ella Owens), Catherine Eddowes (Cassie Scalzi), and Mary Jane Kelly (Reagan Nagel). Investigating the murders are Inspector Frederick Abberline (Mac Williams), assisted by Dr. Rees Ralph Llewellyn (Duane Leatherman), with Cameron Kaufman as the policeman on duty. A pesky chorus of Gentlemen of the Press (C. Leroy Delph, Tim West, and Kat Moore) are determined to print the facts, even if they have to make them up. Marissa Hassie plays the barmaid at The Ten Bells, a tavern where the doomed women all knew one another.

It is 1888 in foggy, filthy London and Jack is writing “The Story of the Century” in poor women’s blood. After the first falls, a “Merry Maid” presumes she won’t be so foolish – and her body is found next.  Knowing they should be cautious, the next two still can’t help being defiant and fatalistic. Meanwhile, Mary Kelly – the youngest and most mysterious (her life history still confounds Ripperologists) – knows more than she lets on.

The CAT (performing at The Cat, naturally) is a program that welcomes all levels of experience. Milletary, a local musician, makes an impressive theatrical debut. Williams, a familiar face in local community theatre, ably expresses the frustration known to dog Abberline during and long after the Whitechapel murders, with a measure of empathy. The women are equal measure charming and feisty; this especially comes out in their songs, such as “Stride’s Song (Life is Short),” with its take on the “and then there were none” nursery rhyme. In contrast to the fear felt by the ladies, the Gentlemen of the Press are practically giddy with excitement as “The Weekly London Murders” continue to sell papers.

Williams is also music director, with choreography by Maureen Hiner-Akins, and Kellyn Johnson is stage manager.

Performances resume Halloween weekend, Friday through Sunday (Oct. 31-Nov. 2) at The Cat, 254 Veterans Way, just south of Carmel’s Main Street Arts & Design District. Get tickets at thecat.biz.

Cryptid ‘Evil Dead’ a big mess – just how we like it

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By John Lyle Belden

Why am I even writing this?

Oh, right. They let us in for free. Got thoroughly doused with wet, cold, red, gelatin-fortified fake blood – right in the face, torso, and thoroughly in the crotch – at no charge.

However, if you are reading this, wishing to enjoy the same macabre shower, and you don’t have a ticket to Cryptid Entertainment’s production of “Evil Dead: The Musical,” well, you are pretty much out of luck. Every seat in the IF Theatre’s Basile main stage is covered in gore sold out, every show, except – possibly – the added final performance at midnight on Halloween.

Let me reassure you, though, if you are bothered by wild horror-based humor, R-rated hijinks, nasty words, near-nudity, horny trees, and FUN, then you have (metaphorically) dodged the bullet (and for-real a lot of wet ickiness). Dakota Jones and company can provide you more wholesome entertainment next month.

Since you are likely to miss it, I could frankly write anything here: that Chris Ritchie as Ash truly commits to the role by actually cutting off his hand every night (they sew it back on; these people are professionals!) or that Kylie Schweikarth intensely studied the Mike Rowe “crawlspace” commercials to perfect her lurking in the basement, or that Payton Ullman keeps an exorcist on speed-dial, or that Jess Hackenberg is so method that she took three and a half semesters of the Lost Enochian language to better evoke the Necronomicon, or that Suraj Choudhary managed to memorize the line “stupid b*tch” in Guiness World Record Time (look it up), or even that Tony Schaab’s passionate portrayal of the Moose was so moving the audience could not stay in their seats. And Jonathan Young’s Jake was indeed reliable, we just can’t publicly say at what.

Oh, but you do have a ticket and was just wondering what to expect? If I told you it was awful, would you give up your seats, because I’ve got these friends, and…

All, right, I’ll admit it. It was awesome.

Like “The Rocky Horror Show,” it’s a fully immersive theatre experience – but instead of the audience messing with the actors, the cast and crew mess with you! And it does get messy, reaching well into the seating. Don’t wear anything too delicate. The musical takes on the plots of “Evil Dead” and “Evil Dead 2: Dead by Dawn” with lots of nods to “Army of Darkness,” featuring Ritchie at his most Bruce Campbell-est and the others all camping it up, including songs and a zombie dance number. Unfamiliar with the films? It’s not a hard plot to follow.

And that Moose – give him the Tony!  

Find out more at indyfringe.org or the Cryptid Entertainment page on Facebook.

Pen-pal pandemonium at Buck Creek Players

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By John Lyle Belden

Buck Creek Players lifts our spirits with a fun production of the classic rom-com musical, “She Loves Me.”

This 1960s Broadway hit by Joe Masteroff, with music by Jerry Bock and lyrics by Sheldon Harnick, is based on the 1937 play “Parfumerie” by Miklos Laszlo, which also inspired the 1998 movie “You’ve Got Mail.” Directed for BCP by Drew Bryson, its setting in 1930s Budapest, Hungary, feels like any European or American major city in a gentler time.

Maraczek’s perfume shop prides itself on its service, including a warm greeting, swift attention to returns and complaints, and even singing you out the door with your purchase. The staff includes neurotic family man Sipos (Phil Criswell), suave ladies’ man Kodaly (Troy Bridges), hopeless romantic Ilona (Miranda Boyle [nèe Nehrig]), eager delivery boy Arpad (Colton Woods), and introverted assistant manager Georg Nowack (Bobby Haley).

On a summer day, owner Mr. Maraczek (Darrin Gowan) brings to the shop a selection of musical cigarette boxes, which Georg fears will never sell. The boss declares they will, and bets him that one will be sold within the hour. Moments later, a young woman, Amalia Balash (Jenna MacNulty), nervously asks for a job at the shop. After being told there are no openings, she quickly talks a customer into purchasing a music box, convincing her it’s for holding sweets.

Amalia is hired; Georg is annoyed. While they bitterly bicker through the coming months, neither knows that they are anonymously writing romantic letters to each other through a lonely-hearts club. The “Dear Friends” of their correspondence plan a first-time in-person rendezvous in December. Looks like they are in for a holiday surprise!

Supporting in roles including shop customers, as well as discreet diners at a cozy café, are Zach Bucher, Drew Hedges, Elizabeth Huston, Sheila Raghavendran, Josh Rooks, Derek Savick-Hesser, Lizzie Schultz, and Lauren Bowers Werne.

Like a well-run parfumerie, this is an excellent ensemble performance. Each of the shop workers, including Gowan’s Maraczek, get moments to shine. We even get a personal-growth arc with Ilona, which Boyle brings out beautifully. On the other hand, Bridges keeps Kodaly cool but difficult to like, his bad-boy persona more than a facade. Criswell keeps Sipos’s nobility hidden, but it’s not hard to detect. High-schooler Woods maintains Arpad’s boyish charm as he matures before our eyes.

Haley shines as his Georg sorts out what he wants, struggling with confidence as events turn out nothing like he expected. As Amalia, MacNulty is simply brilliant – beautiful and powerful in voice and personality. We can’t wait to see how these two finally get together, though, as always with such stories it won’t be easy.

Content is no worse than PG, though there is an instance of self-harm.

Kelsey McDaniel is assistant director. Meg Benedict leads the 12-piece orchestra. Andy Riggs is vocal director. Choreography is by Justin Sheedy. Kayla Richardson is stage manager, assisted by Olivia Lawson.

With lots of laughs and sweet as vanilla ice cream, fall in love with “She Loves Me,” performances Friday through Sunday, Oct. 17-19, at Buck Creek Playhouse, 11150 Southeastern  Ave. (Acton Road exit off I-74), Indianapolis. Get info and tickets at buckcreekplayers.com.

Civic: Fun time at a ‘Rotten’ show

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By John Lyle Belden

Farce, parody, and satire collide hilariously with history in the hit musical “Something Rotten!” now staged by the Booth Tarkington Civic Theatre.

What even director Michael J. Lasley concedes is a “dumb” show is done smartly not by mocking William Shakespeare (though it’s not totally kind to him) so much as the cult of personality around him – which did start, to some degree, in his own time. In the process, the modern stage musical also gets skewered with gags comparable to the barbs in “Forbidden Broadway.”

During the English Renaissance (there’s a song about it), brothers Nick (Daniel Wilke) and Nigel Bottom (Jacob Schilling) struggle to get their next play completed when they are upstaged – again – by Shakespeare (Michael Krauter). They are so broke that Nick’s wife Bea (Addi Koehler), over his objections, goes out to find work herself.

Needing a surefire hit but desperate for an idea, Nick visits a soothsayer, Nostradamus (Parrish Williams). Being the nephew of the famous prophetic writer, he gets accurate but cloudy visions. This is how Nick Bottom comes to invent the “musical,” or at least tries to.

Nigel, a talented poet as well as playwright, meanwhile finds himself courting Portia (Ellen Vander Missen) the poetry-obsessed daughter of local Puritan leader Brother Jeremiah (David Maxwell), who vociferously objects.

With the help of the seer’s questionable skills, and secret funding by Jewish moneylender Shylock (Daniel Draves), the Bottoms seek to beat the Bard at producing what they are foretold will be his greatest work – “Omlette!”

Josh Vander Missen plays the company’s former patron, as well as a magistrate. A minstrel (Austin Stodghill) leads the remaining ensemble of Julia Ammons, Amanda Boldt, David Brock, Cam Hicks, Braxton Hiser, Karen Hurt, Emily Lantz, Melissa Ritchie, Nicole Sherlock, Michael Sherman, Louis Soria, Caitlin Stacy, Landon Storm, Blake Valentine, and Eric VanVeelen.

Wilke and Schilling play the brothers as well-meaning souls, with Nick defined by his stubbornness and Nigel by his naïve charm. Krauter’s Shakespeare goes from preening rock star to devilishly conniving as he seeks to steal what was supposed to be his own play. Standout performances by the leading ladies as well: Ellen Vander Missen’s headstrong Portia charms, while Koehler steals scenes as a woman with great strength of heart as well as muscle. Maxwell manages to make his Puritan bluster both menacing and highly amusing. A familiar face to Civic patrons, Williams has fun embracing his strange, silly role (he knew I’d write this).

Lasley directs with choreography and additional staging by Anne Beck, musical direction by Brent E. Marty (orchestra led by Al French), and stage managed by Matthew Keller. The musical was written by Karey Kirkpatrick and Wayne Kirkpatrick with John O’ Farrell.

For those who enjoy musicals, or “Hate Shakespeare,” or don’t mind seeing some hams sing about “Eggs,” go experience “Something Rotten!” Performances run through Oct. 18 at the Tarkington in the Allied Solutions Center for the Performing Arts in downtown Carmel. Get info and tickets at civictheatre.org.

‘Absolute pleasure’ in Westfield

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By John Lyle Belden

“The Rocky Horror Show” is the kind of stage performance that defies conventional theatre reviews.

Its cheesy-bad plot and pretensions as an allegedly cautionary tale are taken seriously by absolutely no one in the cast or audience, not even its satirical aspects as a spoof/homage to mid-20th century schlock horror or “this could happen to you” films directed at teens. This is by design. Created by Richard O’Brien and – with the help of producer-director Jim Sharman and the star charisma of Tim Curry – a hit in London (then elsewhere) since 1973, this is not just a tribute to all its movie and music influences, but a completely immersive bizarre entertainment experience.

Main Street Productions of Westfield brings “Rocky Horror” to glorious life to open the spooky season, evenings of Oct. 1-4. Note this means those involved in or attending other local shows can see it on Wednesday. The Saturday, Oct. 4, performance is scheduled for midnight, ending the run in a perfectly demented atmosphere. Also note that this is indeed the stage musical, not the film “Picture Show,” and this is an actual cast – no shadowcast – however, any and all call-backs are welcome and encouraged. Authorized audience props are available for sale – no waterguns – and the show program is on newsprint for use as the newspaper. Finally, because things a bit obscene are portrayed and a lot obscene are shouted, it is recommended for ages 18 and up; viewer discretion advised.

You likely already know what’s happening. If not, just accept the lipstick “V” (for “virgin”) on your face, try to relax and be ready for anything – you’ll survive.

Bradley Allen Lowe is outstanding as the ambisextrous* Dr. Frank N. Furter. This is his world; we’re just dancing in it. DaSean McLucas bravely embodies his creation, Rocky. Kelby Herwehe-Schounce and Dezaray Dagey give incredible performances as Brad and Janet, the two squares caught in the middle of the madness (kudos to them for putting up with shouts of “a**hole/slut” every performance). Logan Laflin throws himself totally into “handyman” Riff Raff. Talje Wiersma compliments perfectly as his twisted sister Magenta, and Alyna Hope Whitis shines as energetic assistant Columbia. The Phantoms are phantastic: Gwen Burke (also Trixie, who sings the theme), Jake Carrico (who doubles as Eddie), Jonathan Ramey (also Dr. Everett V. Scott), Kiara Hollaway, Samantha Kelly, Abby Morris, and Diego Rafael Samaniego. The Narrator, Broden Irwin, apparently does have a neck – but feel free to mock him for not having one, just to see how he reacts.

Bringing this all together are directors James H. Williams and Brandon Schultz, with musical director Ben Rose. Choreography is by Bryttnei Whitehurst (though instructions for the “Time Warp” were already provided – it’s just a jump to the left…).

For those who only know the movie, some scenes are different. Brad gets a song, and while some stage versions don’t have the lines “everybody’s lucky” and “a toast;” both have been worked back in (O’Brien has tinkered with the script over the years due to the film’s popularity). We do recommend buying the props (money supports the theatre) as the “toast” you get is a nice souvenir.  Becky the Bakester has also made appropriately decorated cookies for the concessions stand.  

If this is your kind of show at all, its worth the trip up to Westfield (note the downtown construction detours), at 220 N. Union St. See westfieldplayhouse.org for tickets.

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(*This was an apt description of the character [played by Curry] in a Guardian review of the original production; I couldn’t resist using it here.)

Time to dance again: Footlite presents ‘The Prom’

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By John Lyle Belden

It’s not spring; still, any time is good for recognizing we need to let those around us be their authentic selves. In this spirit comes the latest production of “The Prom” at Footlite Musicals.

This Broadway hit – book by Chad Beguelin and Bob Martin, music by Matthew Sklar, lyrics by Beguelin, concept by Jack Viertel, inspired by actual 2010 events in Mississippi – is, as I’ve mentioned before, sort of a “Footloose” for our era, with hints of “Cinderella.”

Broadway stars, or at least they used to be, Dee Dee Allen (Karen Frye) and Barry Glickman (Sam Godsey) have their latest show flop so bad, it closes after opening night. Commiserating with their assistant, Sheldon (Isaac Becker-Chamberlin); Angie Dickenson (Abigail Okerson), who has been stuck in the chorus of “Chicago” for years; and unemployed former sitcom star Trent Oliver (Dustin Branum), who constantly mentions attending Julliard; they look for something to improve their public profile.  

In the (fictional) town of Edgewater, Indiana, the High School PTA cancels its Prom after learning student Emma Nolan (Marachey Fowler) plans to bring another girl as her date. While finding herself more bullied than usual, Emma has an ally in the principal, Mr. Hawkins (Shawn Hunt). Together they petition the PTA, led by staunch conservative Mrs. Greene (Katie-Rose Connors), to reconsider. But as they make their case, guess who comes barging in to “save” the day?

The cast also includes Claire Donnelly as Alyssa, Mrs. Greene’s daughter and Emma’s secret girlfriend; Zaylee Jaliwala and Nayima Hall as cheerleaders Kaylee and Shelby; Zaire Gladden-Williams and Conner Becker-Chamberlin as students Nick and Kevin; as well as Kevin Bell, Nate Copleland, Jerry Davis, Nathan DeMyers, Sophie Eastman, Kathleen Fox, Cari Gallagher, Emma Gedig, Josh Hoover, Kerrigan McSweeney, Michael Morrow, Gwendolyn Pickett Kenan, Tinnin, Katie Van Den Heuvel, Jennifer Zotz, and Thomas Zotz.

As events unfold for a teen who just wanted to dance, all characters confront uncomfortable truths, from the New Yorkers’ narcissism to schoolmates’ unquestioned beliefs. The musical was written as taking place in Indiana as a jab at then-Vice President Pence, but having Hoosiers play Hoosiers lends an authentic feel and softens the genuinely funny digs against our state (though the play does make Applebee’s look good).

Frye gloriously goes full diva, reminiscent of Patti LuPone at her most catty, as Dee Dee. Godsey’s Barry is like the sweet hyper child of James Corden and Harvey Fierstein. Donnelly’s dancer, “antelope legs” and all, follows her chorus instincts to help a fellow girl in trouble. Branum makes the most of a unique character with an interesting arc, whose unconventional thinking ends up helping.  Hunt plays Mr. Hawkins steadfast as the fulcrum on which the whole plot turns (I know I said this in a prior review, it still works). Isaac Becker-Chamberlin is charming as the one responsible for wrangling the various celebrity egos.

Connors is daunting as a woman whose mothering instincts have overtaken her compassion. Jerry Beasley, who directed with Claire Slaven, helped guide her actions at the show’s end, which suggest the possibility of healing.

As for the star of the show, Marachey Fowler is amazing! From her first song, she exhibits natural power, control, and stage presence. You can’t help but feel not just for her, but with her, in every scene. We are amazed this is only her second musical, and look forward to seeing whatever she does next.

Donnelly is also excellent, and nails Alyssa’s signature song. Her fellow students also sing well, and wow us with their dancing, choreographed by Thomas Mason.

The orchestra is led by Jeremy Kaylor.

Make a date for “The Prom,” with two more weekends, through Oct 5, at 1847 N. Alabama St., Indianapolis. Get info and tickets at footlite.org.