musical

Fun carnivorous musical ‘Little Shop’ at ATI

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By John Lyle Belden

Despite the poshness of the city’s reputation, for the next couple of weekends, Carmel, Indiana, has a Skid Row.

Actors Theatre of Indiana presents “Little Shop of Horrors,” the popular musical by Howard Ashman and Alan Menken based on the classic horror film by Roger Corman.

It’s likely you are familiar with the story – a nerdy guy finds a weird houseplant that brings him instant fame, but it requires a very special (and gruesome) diet. If you know this from the 1986 film musical, know that the stage version has a few differences, as well as the original “Don’t Feed the Plants” ending. Other popular songs include “Dentist!” and “Suddenly Seymour.”

Joey Boos, a regular at Beef & Boards, makes his ATI debut as Seymour Krelborn in all his nebbish glory. Michaela McGarel, whom we recently saw in “Beehive,” is amazing as sweet, tragic Audrey. Mark Fishback plays the florist Mushnik, their impatient and frustrated boss. Jameelah Leaundra, Maya Mays, and Kayla Perry deliver harmony and guide the allegory as the Motown-inspired chorus.

Jathan Briscoe and Evangeline Bouw appear briefly in the beginning, then vanish to bring the alien flytrap Audrey II to life as voice and puppeteer, respectively. Kevin Toniazzo-Naughton nimbly plays all the other roles, most notably sadistic Orin Scrivello, DDS.

The director and choreographer is D.J. Salisbury, whose love of this musical shows through. The performances all hit the right tone for this campy romp with heart and a lot to say about ambition and what we are willing to do for our dreams.

The scenic design by Jay Ganz makes good use of the modest-sized Studio Theater, including movable walls that smooth the costume and set changes. Musical direction is by Nathan Perry. Stage manager is Nina J.S. Ludwick, assisted by Melissa A. Nathan. Kudos also to costume designer Guy Charles Clark, especially for the outfits in the final number.

As this posts, there are still tickets available for Halloween night. ATI’s “Little Shop of Horrors” runs through Nov. 8 at the Allied Solutions Center for the Performing Arts in downtown Carmel. For info and tickets, go to atistage.org or thecenterpresents.org.

The more you know: Zach & Zack ‘Rocky’ returns

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By John Lyle Belden

“The Rocky Horror Show” has returned to the Athenaeum’s Basile Theatre through Halloween night. With this show, if you know, you know – and you should go.

Here are some more things you should know:

  • This is the live stage show, originally created by Richard O’Brien, NOT a screening of his cult-classic film. A few things are different from the movie – no “toast,” and “everybody’s lucky” without a bannister – but the story and all the absurd fun are the same, enhanced by the experience of live theatre.
  • As this is a historic building, there are no props allowed, and don’t throw anything! (But feel free to dress up).
  • Zach Rosing did sound and video design, while Zack Neiditch is the director. Neither appears on stage, but we do get proof that they are not the same person.
  • For those who don’t know or don’t remember, the audience responses are displayed on a signboard above the stage. Please shout them on cue.
  • Despite being performed in Indiana, within the show there is “no law against giving in to absolute pleasure.” This note is a good place to remind everyone that the content is very “R” rated.
  • Tim Hunt returns as the fabulous Frank N. Furter, as does Johnnie Ray Hughes as his creation, Rocky – his toned physique worthy of the “Charles Atlas Seal of Approval.”
  • Other roles, mostly new to the company, include Reno Moore and Sophie Sweany-Kocher as Brad and Janet, Michael Krauter as Riff Raff, Addi Koehler as Magenta, Julia Ammons as Columbia, and Jonathan Young as Eddie and Dr. Scott.
  • The Narrator is played by Cynthia Collins, which works great with the gender-bending nature of the show. In Zach & Zack’s “Rocky,” this character is also free to roam about the theatre, making things even more wild and funny. Also, apparently, this Man has a neck, among other things.
  • To ensure their names appear in the search tags, we’ll list the ensemble “phantoms:” Megan Arrington-Marks, Kelvin Burzon, Brittany Michelle Davis, Pablo Gonzalez, Kennedy Morgan, Cìcì Pasìon, and Kenan Timmin.
  • The backstage band is music director Teneh B.C. Karimu on keyboards, Linnea Holt on synth, Matt Day on Guitar, Connor Allen on bass, Andrew Howard on drums, and Julian Orem with the sweet-patootie saxophone.
  • The excellent crew includes Kenny Shepard as choreographer, Claire Wilcher having her hands full as intimacy director, and Katie Angel as stage manager. Brilliant costume design is by Anthony James Sirk.
  • Perhaps the best news is something that isn’t even contained in the Basile theatre. There is a new bar and a big restroom (in a unisex arrangement with numerous private toilets) on the same floor! Intermission still gets busy and crowded, but you no longer have to wander the building to find relief.
  • Everyone does a fantastic job, above and beyond the fact that even when this show is bad, it’s good.
  • The seating looks plentiful, but trust me, with this show it can fill fast. Get tickets and info at rockyhorrorindy.com.

Epsilon presents famous ‘Family’

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By John Lyle Belden

Epsilon Theatrical Company works its unique magic on what is becoming a musical classic, “The Addams Family: A New Musical Comedy.” A Broadway hit with book by Marshall Brickman and Rick Elice, music and lyrics by Andrew Lippa, based on the popular characters by Charles Addams, this “mysterious spooky kooky ooky” clan is well suited to the family atmosphere of ETC.

Director and choreographer Buddy Reeder, a native Hoosier who has performed and directed shows nationwide, embraced the vibe of both the company and the show. Performances are upbeat and energetic, employing the stage, the back of the audience, and the aisleways in between.

Reeder said that after casting special actor Sarah Gasper, a devoted fan who has attended more than 125 performances of the musical and appeared in a number of community productions, he was inspired to greatly expand the number of “Ancestors” who haunt the Addams estate. Their near-constant presence – as chorus, in dance numbers, and roaming the audience – help us all feel like part of the show. We also get, during scene and costume changes, some moments of corny humor with a couple of Cave-Addamses played by Jack London and his grandmother Laurie London.

The family members practically stepped out of the old New Yorker cartoons: gregarious patriarch Gomez (Kent Livingston), sultry slender Morticia (Katie van den Heuvel), darkly darling daughter Wednesday (Gemma Rollison), glutton for punishment son Pugsley (Judah Livingston), charmingly eccentric Uncle Fester (Rodney Sciba), feisty Grandma (Tammy Coss), shaggy Cousin Itt (Ezzy Livingston), and butler/looming presence Lurch (Sean Stroup), who ensures that Thing (uncredited) is always on hand.

The plot (similar to the old oddball family comedy “You Can’t Take It With You”) involves the possibility that nearly-adult Wednesday has somehow fallen in love – and with a “normal” boy! Lucas Beineke (Chase Cornelius) is so okay with the weirdness that they are secretly engaged. Their intentions are to be announced at an Addams family dinner with his parents, Mal and Alice (Jim O’Connor and Brianne Snow) of Ohio, as guests. To ensure mayhem, they will play a very Addams party game.

Meanwhile, Gomez and Morticia’s relationship will be tested by Wednesday’s insistence that her mother not know about the engagement (which Pugsley will privately seek to wreck).

We will also find out Fester’s infatuation with a certain heavenly body – which is presented in a nice special effect.

Other Ancestors are played by Norah Amrose, London Bramer, Fender Brokamp, Lydia Capps, Alec Cole, Sophia Dam, Andy DeLoughery, Sophie Eastman, Mark Gasper, Klara Hollaway, Robin Kim, Thomas Kim, Eliott King, Amelia Landrum, Sharon Livingston, Gavin McMillin, Christian Parchman, Breanne Penrod, Lacey Pierce, Maranatha Potter, Brooklynn Shaw, Rain Stafford, Bella Velasco, Olivia Venable, and Luke Wilson, who is also a featured guitarist.

Rollison is exceptional in her central role, which says a lot considering the talent she shares the stage with. Cornelius as Lucas is endearing with gentle bravery. Sciba gives Fester boyish charm and joyous animated demeanor. Livingston gives Gomez his famous combination of wit and being at wit’s end, while van den Heuvel makes Morticia’s demeanor both chilling and seductive. O’Connor delivers the anticipated amount of bluster as Mr. Beineke, while Snow gives us one of the show’s hilarious highlights as Alice.

A not-so-scary spooky treat for your October, “The Addams Family” has performances Friday and Saturday evening, Saturday and Sunday afternoon (Oct. 23-25), at Broadway United Methodist Church, 609 E. 29th St., Indianapolis. Get tickets and info at epsilontheatricalco.org.

Civic’s ‘Pill’ a strong dose

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By John Lyle Belden

What appears to be just a pop “jukebox musical” turns out to be one of the most important theater works in central Indiana this year.

The Booth Tarkington Civic Theatre presents Alanis Morissette’s “Jagged Little Pill: The Musical,” directed by Civic’s Executive Artistic Director, Michael J. Lasley. The show features all 12 songs on Morisette’s 1995 album – a breakthrough both in international stardom and psychologically as she bared raw emotions in her break from dance-pop (influencing the outspoken and genre-bending women vocalists and singer-songwriters who followed).  The lyrics are all hers, with music co-written by Glen Ballard. The musical also includes eight songs from her other albums, a repurposing of her “Uninvited” (originally on a film soundtrack), and two new songs for this production.

Perfectly matching Morrisette’s style, the book of the musical is by author and screenwriter Diablo Cody. The meshing of lyrics to a coherent plot is not only the most successful since “Mama Mia,” but also delivers impactful messages in a powerful work that stands in a very sum-greater-than-parts way. The uncompromising nature of both Morrisette and Cody comes through in that while this should be necessary viewing for all high schoolers, the language and content keep this strictly PG-13 at least. The circumstances and emotional heft of some scenes even shook adults in the audience.

The story of the musical centers on the Healy family of suburban Connecticut. Mary Jane (Abigail Okerson) stays at home, recovering from a car accident, while husband Steve (Rex Wolfley) works extra hours in Manhattan to keep them afloat. Son Nick (Cole Hurt), a high school senior, has just been accepted to Harvard, while younger adopted sister Frankie (Desirae Brown) deals with being a Black girl in likely the most White circumstances in America. Fortunately, she has a girlfriend, Jo (Kelsey McDaniel), who couldn’t be more out but whose mother insists being gay is a “phase.”

With the arrival of Christmas break, Nick is invited by fellow members of the school swim team to a party (unsupervised, of course) at a classmate’s house. Frankie also goes, invited by new classmate Phoenix (Jacob Schilling), who admired her poetry; they quickly leave, neither liking all the noise and alcohol. Bella (Bridget Dean), who takes on an up-for-anything attitude to fit in, is last seen with popular and well-connected Andrew (Keaton McDorman).

Meanwhile, Mary Jane has been feeling herself drifting apart from her husband, as well as in constant pain as her meds aren’t working anymore. The pharmacy won’t fill another prescription, so she found pills elsewhere, while promising herself that she’ll start cutting her dose.

The next day, news of Bella’s sexual assault – cruelly spread by photos on social media – rocks the school and affects the Healy family in various ways. Everyone’s façade of perfection is shattering.

Like in life, this show has a number of lighter moments as well, aided by the more upbeat songs. The issue of irony in “Ironic” is thoroughly dealt with in a way that lets us know all involved understand how ironically unironic the song is, and that perhaps we should all just lighten up about it. “Head Over Feet” gets an appropriately charming moment as well. Still, this pill is indeed jagged, and the cast are fortunately all capable of the trademark Alanis “wail,” put to great use by McDaniel in “You Oughta Know” and Oakerson in an unforgettable performance of “Uninvited.”

The ensemble of Chloe Boelter, Ashley Chisler, Drew Hedges, Courtney Krauter, Halle Massingale, Joseph Massingale, DaSean McLucas, Larkyn Muth, Aiden Powell, Jade Radford, Matthew Sumpter, and Mary Kate Tanselle fill various roles, and frequently appear on stage as chorus. Aided by Kasey Walker Lewellyn’s excellent choreography, such scenes amplify the impact of the songs without being visually crowded. The ensemble work really shines in the appropriately disturbing new song, “Predator.”

Music director is Brent Marty, with orchestra managed by Al French. Sydnie Blair is stage manager, assisted by Chrysa Conley.

Lasley noted that, of course, no one had any idea when this musical was scheduled that the topic of public shame of and accountability for sexual assault would become as timely as it has in recent weeks. Still, understanding that it has always been an ongoing concern, he said from the first rehearsals onward he took extra measures for all cast members to feel the stage is a safe space. Actors who spoke after the performance expressed gratitude for this. Intimacy director Emily Rogge Tzucker, who has worked regularly with Civic, helped ensure that the performers would stay professional and not take on the trauma of their characters.

The sense of safety extends to the audience as well. Civic coordinated with Prevail, a local organization that supports victims of crime and abuse, to have one of their staff in the lobby during every performance of “Jagged Little Pill.” Audience members are free to leave during the show if they feel upset or overwhelmed and will have someone to talk to.

Performances are Friday through Sunday, Oct. 9-11, and Friday and Saturday, Oct. 16-17, in the Tarkington at the Allied Solutions Center for the Performing Arts in downtown Carmel. Get info and tickets at civictheatre.org or thecenterpresents.org.

Footlite lands fantastic production of ‘Pippin’

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By John Lyle Belden

Things across the world are rough now, but Footlite Musicals is partying like it’s Seven-hundred Ninety-Nine with its spectacular production of “Pippin,” the Tony-winning classic by Stephen Schwartz and Roger O. Hirson with contributions from Bob Fosse.

To explore the timeless human pursuit of “glory and meaning,” a troupe of performers presents a story very loosely based on the oldest son of Charlemagne (medieval ruler of much of Europe, a/k/a The Holy Roman Empire). Not letting history get in the way, the Leading Player (Anya Andrews) declares that the prince is not a hunchback (like the real Pepin). Our handsome Pippin (Parker Taylor) instead bears an affliction of the spirit, always feeling empty and unfulfilled.

Charlemagne (Edward Trout) is not really concerned, expecting that his likely heir will safely pursue intellectual things while he and his brawny son Lewis (Jack Sullivan) go to war. Pippin insists on going along – the first of many searches for his “Corner of the Sky.”

Meanwhile, Lewis’s mother Fastrada (Shari Jacobs) plots to get his son on the throne.

We also have an entertaining encounter with Pippin’s exiled grandmother Berthe (Miki Mathioudakis). Eventually, we also meet kindly widow Catherine (Nicolette Màntica) with her son Theo (Oliver Barszcz).

And canine actor Shadow Vest is “not a duck.”

The musical’s scenes are further brought to life by the ensemble of Leon Benbow-Blomberg, Dustin Branum, Nate Copeland, Skye Fuller, Xaviera Kuissi, Kylie McGuffey, Kerrigan McSweeney, Jed Otterson, Gwendolyn Pickett, and Louie Rivelli – all doing their Fosse-est.

Directed by Claire Slaven with Jerry Beasley and Zac Speer, this show is fascinating from start to finish. We get mesmerizing performances by Andrews and Taylor, the former as befits a circus ringleader and the latter as the fresh-faced searcher with charming naivete. Trout gives us a no-nonsense ruler and rather understanding father. Jacobs is appropriately devious. Sullivan makes an oddly charming meathead. Mathioudakis makes the most of her prestige role. Màntica comes in as a beautiful voice of reason – much to the Leading Player’s chagrin – making Catherine’s love feel genuine.

Choreography is by Thomas Mason, with McSweeney and Taylor, preserving the Fosse style while bringing a unique vision for this production. For instance, when Pippin is exploring carnal pleasures, the ensemble remains mostly clothed with maneuvers as graceful as they are sensuous, resulting in “sex” that’s almost G-rated.

Vocal director is Ben Rose, the orchestra is conducted by Jeremy Kaylor, and stage manager is Melissa Yurechko, assisted by Cagney Gladden. Lyndsey and Laura Vest wrangle the props, as well as perky Shadow.

The cast and crew have plenty more “Magic to Do” with performances Thursday through Sunday through Oct. 4 at 1847 N. Alabama St., Indianapolis. Tickets, which are selling fast, are available at footlite.org.

Southbank delivers brilliant Bechdel biography

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By John Lyle Belden

Southbank Theatre Company opens its season of Origins with the coming of age and coming-out musical, “Fun Home,” based on the graphic memoir by Alison Bechdel, with book and lyrics by Lisa Kron and music by Jeanine Tesori.

Cartoonist Bechdel, reaching the age that her father died, tries to come to terms with the past with her art. As she draws, stumped for the right captions to add, she remembers her life as a restless girl with her brother, sister, and parents in a “House on Maple Avenue” in Beech Creek, Pa., as well as her fateful first year of college when, in her words, she came out as a lesbian, and her closeted gay father killed himself.

We find her upbringing to be a little unusual, in a house with a museum-like collection of various antiques, with a father who not only teaches English at the high school but also runs a mortuary (the “Fun[eral] Home” of the title) passed down through the family. Father always has need of a young handyman to help with home improvement projects – his true purpose to which the kids are oblivious, while their mother understands too well.

Directed by Southbank founder and artistic director Marcia Eppich-Harris, she has again assembled an excellent cast. Patrick Vaughn plays conflicted and complex father Bruce, exacting and demanding with others as he strives to maintain tight control on himself. Afton Shephard gives an intense portrayal of self-sacrificing mother Helen. Orion Cortez and Lilly Adams give appropriately goofy teen performances as siblings John and Christian. Their comfort with unconventional surroundings especially comes through in the “Come to the Fun Home” TV-commercial skit they work on with little sister Alison – darkly “fun” in the conventional sense of the word.

Alison herself is portrayed by three actors:

Julie Lyn Barber is splendid as Adult Alison, greeting the memories playing out before her with a grin of hard-won wisdom and an unshakable sense of regret. Sharing her lack of certainty ironically makes her a more reliable narrator.

Emery Haley is Medium Alison, the college freshman discovering herself while struggling to understand her father – unaware their last day together will be their last day ever. Her coming out – first to herself, then her family – is a relatable experience for many, and we can all sense her apprehension at life away from home for the first time. We share her joy as she declares she’s “Changing My Major” to making love to Joan – smartly played by Nia Hughes. Her growing anxiety over life’s changes is also palpable.

Ellie Richart has a big role as Small Allison. This is not the kind of show that says “that’s me as a kid” and moves on – many of the pieces of this play’s puzzle are revealed in her early life. Richart’s talent especially shines in “Ring of Keys” in which the subject of the song is never seen but must be realized through the girl’s description and expression; this is a pivotal moment in Alison’s young life, and Richart nails it.

Bobby Haley also does very well as the various men in Bruce’s life. Most scenes of them together come off more serene than tawdry, adding to the growing tension as the Bechdels find their life of secrets ever harder to manage.  

Music director is Kristin Cutler, choreography by Andre Williams, and stage manager is Madison Pickering. The set design by Scott Hall features large reproductions of panels from the book made by Eppich-Harris and Casey Ross.

A compelling production of the Tony-winning, Pulitzer-nominated masterpiece, “Fun Home” has four remaining performances, Thursday through Sunday, Sept. 24-27 at Shelton Auditorium, 1000 W. 42nd St., Indianapolis (southwest corner of Butler University campus). Get info and tickets at southbanktheatre.org.

Extraordinary ‘Ordinary’ at Mud Creek

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By John Lyle Belden

The musical “Ordinary Days,” an Off-Broadway hit by Adam Gwon, asks us to see the special in the mundane, presenting us with four New Yorkers just trying to live their lives while at the same time pondering their purpose.

Presented by Mud Creek Players, we meet Warren (Angie Ticen), an aspiring artist who is trying in vain to promote a fellow creative by cat-sitting for him while he’s in jail (for making art in violation of the law). The pithy inspirational sayings her mentor wrote on walls, she has made into flyers that no one wants to take.

One flutters to the ground, picked up absent-mindedly by Deb (Paige Butler), a grad student who is more concerned with her thesis on Virginia Woolf. However, once she gets back to her apartment, she finds the book with all of her notes is missing. In a bit of synchronicity, Warren sees the book by a Central Park bench and picks it up.

Meanwhile, Jason (Noah Nordman) is moving in with his girlfriend Claire (Jacklyn Rhinesmith), which soon tests their relationship. Their tension will only build, as he is a hopeless romantic while she is cautious by nature, and for a reason she is reluctant to tell.

Warren arranges to meet Deb at the Metropolitan Museum of Art to give her the book, a public place to reassure her that she is “not a wierdo” – in a manner that nearly convinces that she is. Meanwhile, among the exhibits, Jason and Claire find they might not have as much in common as they thought.

Sung-through in catchy tunes with heartfelt lyrics, these four make their way towards a beautiful climactic scene that transforms their everyday struggle to relate to one another into something extra-ordinary. The result is a truly New York story that touches us all.

Ticen is a delight as a fairly goofy artist who wants to make a serious impact on the world – somehow. Her impulsive behavior fortunately pays off in hoping Deb is also gay. As for Butler, she presents a compulsive planner finding herself rethinking the plan, dabbling in spontaneity.

Nordman’s Jason is the kind of dreamer who neglects to see if his partner is on the same cloud. His adventurousness is tempered with knowing “you don’t do New York alone.” Rhinesmith’s Claire is sweet but guarded with her own suppressed fear to “let things go.”

Dani Lopez-Roque directs, assisted by Nicole Crabtree. Stage manager Jalynn Cheatham and crew Jalecia Cheatham also appear as needed in a few scenes.

The little inspirational flyers end up everywhere, so feel free to take one. “Ordinary Days” has just two more days, Friday and Saturday, Sept. 18-19, at the Mud Creek Barn, 9740 E. 86th St., Indianapolis. Get tickets at mudcreekplayers.org.

It’s no jive, ATI’s back in the ‘Hive’

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By John Lyle Belden

Actors Theatre of Indiana is buzzing again with the sound of a “Beehive” musical, opening its season with “Never Can Say Goodbye,” remembering the music of the 1970s.

Five of the six women from last year’s “Beehive: The ‘60s Musical” return: Rachel Dudt, Riley Francis, Michaela McGarel, Kayla Perry, and Kira Rangel, joined by Deborah Mae Hill, who was featured in last season’s “Sunset Boulevard” at ATI. Carol Worcel again directs, with musical direction by Ginger Stoltz.

Taking inspiration from the prior musical by Larry Gallagher, this edition is by Fred Stuart with George Luton. While the song selection for this revue gives emphasis to female performers, some songs – originally recorded by men – still feel like ones your Mom (or grandmother) sang along to with the radio back in the day. Whatever the source, as soon as you hear these hits, you can’t help but think of the era they came from.

To help put everyone in the Beehive mood, the ladies revisit the “Name Game” – with a bit  more funk. They take on various aspects of 1970s sound, from the country-rock feel of Linda Ronstadt to the punky pop of Blondie. For the mellow side, there’s a mashup of “First Time Ever I saw Your Face” and “You Light Up My Life” which works nicely.

At the end of the first act comes an excellent tribute to the classic rock band Heart, in which guitarist Bryan Hedrick steps forward into the fog-bathed spotlight. Worcel said this took some persuading, as the musicians prefer to stay in the background, but it came off great. And by the combined power and harmony of the women’s voices, they managed to evoke the legendary vocals of Ann Wilson.

The Beehive band, led by Stoltz, also included Gisele Dollinger, Chloe McManallen, Dave Paulson, Neil Broeker, Christian Starnes, Matt Greven, and Greg Wolff.

The second half of the show ranged from Motown to Country to Disco – as well as the “ooga-chaka” version of “Hooked on a Feeling” – with a couple of instances of bringing an audience member into the act.

Worcel noted after opening night that this was very much a collaborative effort to bring these songs so wonderfully to life. Aside from the cast, and Stoltz and the musicians, she acknowledged stage managers Nina J.S. Ludwick and Hadleigh Pierce.

An excellent evening (or Sunday matinee) of music and memories with an infectious feeling of funky fun, “Never Can Say Goodbye: The 70’s Beehive Musical” is in its second weekend, running through Sept. 20 in The Studio Theater of the Allied Solutions Center for the Performing Arts in downtown Carmel. For info and tickets, visit atistage.org or thecenterpresents.org.

A glorious thing, so see these ‘Pirates’ sing

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By John Lyle Belden

Buck Creek Players are buccaneers with their fun production of Gilbert and Sullivan’s “The Pirates of Penzance.”

Famous for its singing swashbucklers and songs like “Poor Wandering One” and the rapid-fire “I am the Very Model of a Modern Major-General,” the comic operetta found a great source for satire in the popular romantic stories of pirates (the Golden Age of Piracy being long over and passed into myth by the 1870s, when this was written). Arthur Sullivan (music) and W.S. Gilbert (libretto) also mocked serious opera by figures such as Verdi, and even their previous hit, “H.M.S. Pinafore.” Humor is also drawn from issues of British class and manners, as well as blind obedience to duty – however, in their cheeky fashion, there remained absolute devotion to Her Majesty, Queen Victoria.

The plot, which works in the opera’s own absurd world, centers on Frederic (Shederick Whipple) who finds his apprenticeship to the Pirate King (Casey Adams) at an end, or is it? His childhood nurse, Ruth (Lauren Laski) was supposed to sign him to a ship’s pilot, but had misunderstood the word; now, a revelation in the fine print could doom Frederic further. Meanwhile, this seashore hideaway has been discovered by the many female wards of Major-General Stanley (Daniel Draves), most notably Mabel (Devyn Kerr), who takes a shine to Frederic, who has repented his pirate life and now seeks to eradicate his former shipmates.

Directed by Georgie Teipen, the cast embraces the fun of this show – both in its inherent silliness and the kitsch of being a well-known century-plus old comedy. The sellout audience at our performance certainly picked up on it. It helps that aside from a lot of comic talent on the stage, there are genuine opera performers in Whipple, a tenor whose vast experience includes playing Frederic, and Kerr, a marvelous coloratura soprano who teaches voice at her alma mater, Franklin College. Laski is also wonderful in both voice and performance – and doesn’t look so “plain” once Ruth embraces the pirate life. Adams also excels, and we selfishly hope he won’t be going home to Idaho anytime soon. Draves plays the Major-General in fine form, signature song and all.

Among the cast of Pirates and Maidens, Christine Kruze and Jennifer J. Kaufmann get standout moments, as well as Scott Fleshood, leader of the chorus members (formerly pirates) who return as policemen.

All this comic energy for an unserious opera makes for a very entertaining outing to the Buck Creek Playhouse, 11150 Southeastern Ave. (Acton Road Exit of I-74), Indianapolis. Remaining performances are Friday through Sunday, Sept. 4-6. Get tickets at buckcreekplayers.com.

School is such a Drag in parody musical

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By John Lyle Belden

Twenty years later, it can by forgiven to forget what an outright phenomenon the 2006 Disney Channel movie “High School Musical” was. Featuring a clever script by Peter Barsocchini and the rising talents of Zac Efron, Vanessa Hudgens, and Ashley Tisdale, this teenage tale of defying expectations soared far above typical Disney Channel fare, winning Emmys, Teen Choice Awards, and devoted fans, leading to sequels and more.

Indy Drag Theatre, phenomenal in its own way, apparently gave it a look and said, “b!tch, let’s do this!”

To keep the litigious Mouse at bay, IDT fiercely presents “Night School Musical: A Drag Parody” at the Phoenix Theatre Cultural Centre, directed by Natalie Port Ma’am and Madison Avenue with choreography by Meadowlark Lane.* This cast of drag queens and kings lip-synch the original musical – playing it more-or-less straight, so to speak – with some fabulous enhancements including surprise song additions and “Glee” references to keep it all in campy parody mode.

Dragnar Johnson portrays Troy, the star of the Wildcat basketball team and son of its coach (played by Maurice Mantini), who happens to sing well and considers trying out for the Winter Musicale to get with cutie Gabriella (A.J. Thoma), who aspires to be more than a math-nerd. Having rivals for the lead roles does not sit well with Broadway-obsessed Sharpay (April Rose) and her brother Ryan (Tad Strange); fortunately, theatre teacher Ms. Darbus (Norah Borealis) is on their side.

Schoolmates are portrayed by Sydnie Blair, King Kairi, Lollypop Lyx, Iliana a la Mode, Taron Closeoff, Eli Rose, Rodick, Long Schlong Johnson, Canila C, Caroline Rogers, Jakkie Lupia, Gayle Thyme, and Manatea.

The look and style of drag add just enough magical realism to get us into this fantasy of high school life, where championships on the line are as high-stakes as it gets, and cliques and assumed roles can be overcome by song-and-dance numbers. Earnest professional performances by all rekindle the magic that makes this such an enduring hit.

Credit where due: Costume design is by Maria Fruit; makeup design by Calyko Magick-Waffle; wig design by Oriana Peron with Mackenna Mullins as wig tech; set design by Miss Kay-Ottic with props by Alish Forner; lighting design by Pauly Crumpacker; and stage manager is Brian Kitta, with stage crew Tricera Tits and production manager Mason Veselsky. Superlatives all.

Want to get in on the act? Before the show there is a VIP raffle to win a moment on the stage during one of the scenes.

This is in the main stage of the Phoenix, 705 N. Illinois St., downtown Indianapolis, but all those seats will likely fill fast, Friday through Sunday evenings and Saturday and Sunday matinees, Aug. 28-30. Get tickets at phoenixtheatre.org and info at indydragtheatre.org.

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