musical

SSS ‘Grease’ the One You Want on these Summer Nights

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

Though more than six decades have passed, there is something that sparks the imagination about the 1950s, with its big cars, slick and styled hair, and early rock’n’roll.

The college-age performers with Summer Stock Stage have fully tapped into that mystique with their production of the musical “Grease,” directed and choreographed by Audra Bryant. Their grandparents may not even remember the original era, but certainly do the nostalgia wave of the 1970s, punctuated by the musical’s film version (which likely someone is still streaming even now). The current production is sort of a hybrid of the movie and the 1971 Broadway version (by Jim Jacobs and Warren Casey), including songs from the former with plot mostly of the latter.

The result is thoroughly entertaining, with Bryant’s choreo bringing out the best of the cast’s dancing talent. Singing is excellent, too: Olivia Broadwater as new girl Sandy lets her voice soar much like her namesake from the film. Mabry Scott Smith takes charge of the Danny Zuko role, as Bryant Cobb does with top T-Bird Kenickie (who gets to sing the praises of “Greased Lightning”). Erin Lambertson gives teen-punk gravitas to her turn as Rizzo, from her taunting “Sandra Dee” to breaking our hearts in “There are Worse Things I could Do.”

As the stage version gives more classmates the opportunity to shine, we get Rayon Lim as Doody with “Magic Changes” reminiscent of a young Ricky Nelson, as well as a charming rendition of “Freddy My Love” by Kha’Lea Wainwright as Pink Lady Marty, and a cheeky duet of “Mooning” by Cajani Romar Hurd and Clairey Huffman as Roger of the T-Birds and Jan of the Pink Ladies. Aleksei Ivar Koslovski is T-Bird Sonny; Sophia Dotson is cutely indecisive Frenchy; Nina Abel is energetic overachiever Patty Simcox; and Justin Taylor Smith is nerdy Eugene (dissed by the others, but still rather likable).

The ensemble players, as Rydel High students, are no less impressive – Jacob Richardson, Sofia Warren-Fitzgerald, and dance captains Anna Seitz and Sam Hulka.

Paige Murray is impressive as Miss Lynch, as is Brianna Gutierrez-Diaz as Cha-Cha. Kana’i Nakata is a natural unabashed scene-stealer as disc jockey Vince Fontaine (who sets up scene transitions as well as working the big dance) and the Teen Angel.

Nostalgic and a little naughty with the hopeful energy of youth, “Grease” is indeed the word. But not for long; remaining performances (as this posts) are Friday through Sunday, June 5-7, at the Schrott Center for the Arts on the campus of Butler University in Indianapolis. Get info and tickets at summerstockstage.com.

Westfield stage shares wonderful ‘Secret’

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

With “The Secret Garden: The Musical,” Main Street Productions brings to life the popular English children’s story (first published in the U.S.) by Frances Hodgson Burnett, adapted with book and lyrics by Marsha Norman, and music by Lucy Simon, a Tony-winning Broadway hit in 1991.

The current Westfield production, directed by Andrea Odle, reflects life in the early years of the 20th century when death seemed far more common. In fact, most of the cast are ghosts.

Mary Lennox (Polly Hamm), a spoiled 10-ish year-old girl living in India (then under British rule) finds herself the bizarre beneficiary of her military elite parents’ neglect. A cholera outbreak kills all the adults including Mary’s father Albert (Josh Vander Missen), mother Rose (Heather Hansen), and servant Ayah (Elizabeth Belle), but sparing her. Discovered by British authorities, Mary is sent to England and an uncle she has never met. Guardians unseen but sometimes heard and felt, the spirits follow.

The manor at Misselthwaite on the misty Yorkshire Moors is already understood to be haunted, most recently by the ghost of Mary’s mother’s sister Lily (Kata Ewigleben), who passed 10 years before, as well by as her surviving husband, reclusive hunchback Arichibald Craven (Mike Lipphardt). He is attended by servants, headed by Mrs. Medlock (Mary Garner), and his physician brother Neville Craven (Braden Hunt).

Of course, the arrival of an energetic and naturally curious girl will bring about some changes. Mary develops a friendship with Martha the chambermaid (Tessa Gibbons) and her outdoorsy brother Dickon (Nate Moore), as well gardener Ben Weatherstaff (Ron Freeman), and eventually Mary’s cousin Colin (Harper Moore), who, though “sickly,” is at least as impetuous as her.

Other members of the ghostly chorus are played by Brynn Lee, Amanda McCabe, Bryan Gallet, Jackson Stollings, Connor Phelan, Ryley Trottier, Darrin Gowan and Ellen Vander Missen.

The titular Garden is “secret” in that as it is a reminder of Lily (who had tended it), Archibald has ordered it locked and abandoned, with the key hidden and the door obscured by ivy. These obstacles prove no match for our spirited, and spirit-aided, heroine.

The stage musical leans into the mystical and magical aspects of Burnett’s story. While it feels supernatural to the characters, the results are more the result of persistence and working towards healing, both mentally and physically. Inspiring and holding our interest as a spell of sorts is woven, the “magic” is something attainable to us all. (And nothing says you can’t talk to a robin when you need to.)

Hamm is naturally charming as Mary. Even when obstinate with the upheaval of her life at the beginning, she is still a likable girl. This makes it all the more wild when she goes over-the-top in her loud refusal to be sent away to school – a humorous highlight of the show. Moore as Colin effectively mixes bratty outbursts with frustration at his bedridden life, conditions that improve with Mary’s sunny disposition, as well as actual sunshine.

As Ayah (the only name Mary knows for her is a title referring to a south-Asian nanny or nursemaid), Belle represents Indian culture in her character without becoming a discomfiting stereotype. Her movements and Hindi songs are likely comforting memories for Mary, while aiding the otherworldly atmosphere of these adventures.

The show’s “villain” role falls to Dr. Neville, though he is more driven by misguided good intentions than greed. Hunt brings out all the conflicted feelings as he feels pressured by the demands of family and society – as well as a bit of what’s-in-this-for-me resentment.

The most compelling aspect of this production is its songs, delivered with soaring operatic grace, especially by Ewigleben’s Lily and Lipphardt’s Archibald. Gibbons belts it out excellently as well. Moore presents Dickon as a sort of shaman, singing to equal the birds he speaks with. The sheer beauty of the singing overall helps establish a feeling more romantic than spooky – even with all the ghosts – making “The Secret Garden” as inspiring as it is entertaining.

This production features a beautiful stage design by Jay Ganz, including clever representation of the garden maze. Excellent costume design is by Odle, Garner and McCabe, nicely evoking the era. Dewayne Lewis is assistant director, as well as stage manager with assistant Amy Buell.

Performances are June 4-7 at the Basile Westfield Playhouse, 220 N. Union St. (there is still road construction in the area, but the downtown is accessible). For tickets and info, go to westfieldplayhouse.org.  

Look what they’ve done

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

It could be said that Cryptid Entertainment makes musicals for those who hate musicals, or rather, for those who don’t care for Broadway fare with the airs and prestige of classical opera. Building an enviable audience, Dakota Jones and company have given us weird stuff that he has written, then weird stuff that others originally made, much to the delight of Indy’s weirdos (including us).

But perhaps Mr. Jones has been running a long, long grift. Now he brings to the IF Theatre stage a bona fide Off-Broadway and ON Broadway hit, John Cameron Mitchell’s “Hedwig and the Angry Inch” (songs by Stephen Trask). To be fair, though, this Glam-Punk Post-Cold War masterpiece is right in the Cryptid wheelhouse. Let’s open the wig box and have a look.

Having to take what she can get, the IF is allowing “internationally ignored” genderqueer singer Hedwig Robinson to set up in what is apparently a punk-themed art show. She is backed by her band The Angry Inch and her current husband, Yitzhak, a former drag queen from the former Yugoslavia. During her set, she explains her background, growing up on the wrong side of the Berlin Wall; her botched sex change (the “inch”); and her life in America and relationship with rock star Tommy Gnosis – who is performing a sold-out concert down the street. Doing the math would have this taking place around the year 2000, but as rock ‘n’ roll is timeless, don’t sweat the details.

With direction and fierce costuming by Marina Eisenbraun, Hedwig is portrayed by Job Willman, also known as Ilana a la Mode. The performance brings on all the sass, spirit and sadness the role demands, and then some. Jess Hackenberg is Yitzhak, a deep well of resentment tempered with grudging love for the person who brought him out of his disintegrating homeland – obviously wishing (without saying it aloud) that he could perform as his true self once more. As Hedwig frequently interacts with the audience, Cryptid’s production has the thinnest fourth wall we have seen for this particular show. Willman’s drag queen experience likely aids their comfort with the fans, while seating is set all the way up and around the raised stage.

The onstage band (as The Angry Inch) is led by Jill Stewart (keyboard and guitar) with Chris Ritchie (bass), Kristin Cutler (drums), Sally McSpadden Hanna (guitar), Ainsley Paton (bass), and Ben Hogan (guitar). They rock!

Expressing philosophy that hearkens to Plato with the attitude of Pussy Riot, this show transcends its pretense of a concert or definition as a musical to be an incredible sensual experience, fueled by bitter comedy, a driving beat, and the search for both identity and a soul’s “other half.”

As has been the rule lately with Cryptid shows, tickets are going fast and sellouts are likely, “whether you like it or not.” “Hedwig” runs through May 31 on the Basile main stage of IF, 719 E. St. Clair St., Indianapolis. Tickets at indyfringe.org.

Comedy and Cole do double-duty at Footlite

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

Footlite Musicals gives us a two-for-one courtesy of the Cole Porter musical, “Kiss Me Kate,” with book by Sam and Bella Spewack, and some guy named Shakespeare.

In this show you get a backstage romance set during a Baltimore heat wave, as well as the premiere of “Taming of the Shrew: The Musical.” Fortunately for Footlite director Paula Phelan, they are essentially the same story.

Fred Graham (Aaron Mann) has written, produced, directed, and now stars in “Shrew” opposite, appropriately, his ex-wife Lilli Vanessi (Jessica Hawkins). She plays the title character, fair Katherine, while Fred is Petruchio, the daring gentleman out to woo her.

The musical within this musical also features Lois Lane (Paige Penry), who offstage has been seeing Fred, and who on stage plays the pretty younger sister Bianca. She is in turn wooed by Lucentio, played by Bill Calhoun (Jack Sullivan), who shares Lois’s affections as well as her general lack of scruples, demonstrated by the fact he ran up a big gambling debt and placed Fred’s name on the IOU. This brings on the intrusion of two faux-sophisticated mob toughs (Mitchell Hammersley and Ryan Bridges), arriving to collect.

For those who don’t know or remember the story, “Brush Up Your Shakespeare” and note that things get “Too Darn Hot” as “Another Op’nin, Another Show” doesn’t go “Wunderbar” for Fred and Lilli. It’s enough to make her declare “I Hate Men,” while they strive not to fall “So in Love.” If you are reading this thinking, “Why Can’t You Behave,” dear reader, understand that I’m “Always True to you in My Fashion.” In addition, aside from the Porter hits and big dance numbers, this is also a rollicking comedy with misunderstandings and other farcical elements throughout. This especially includes scene-stealing bits by Bridges and Hammersley.

The big cast includes about 30 additional players, including featured singers Kelly Berryman (“Another Op’nin’…”) and Michael Sherman (“Too Darn Hot”); featured musician Jeremy Kaylor; the practically unflappable Dan Flahive as Harry, who plays Kate and Bianca’s father Baptista; Jeremy Crouch as stressed Stage Manager Ralph; the ever-charming Duane Leatherman as Pops the Doorman; and Kevin Caraher as Mr. Harrison from Washington (Lilli’s fiancé).

With the parallel plots, we not only get a fun mid-20th-century musical, but also a reasonable condensation of the Shakespeare comedy, all complete with a happy ending.

Phelan is assisted by Jerry Beasley and Lauren Werne, with stage manager Melissa Yurechko. Lisa Reynolds is vocal director. Choreography is by Erica Wilkinson, and the orchestra is conducted by Aaron Burkhart.

“Kiss Me Kate” has performances Thursday through Sunday through May 17 at the Hedback Theater, 1847 N. Alabama, Indianapolis. Get info and tickets at footlite.org.  

ATI shines with story of faded star

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

Actors Theatre of Indiana gives us a “new way to dream” in an old story, the musical “Sunset Boulevard” by Andrew Lloyd Webber with Don Black and Christopher Hampton, based on the 1950 classic noir film co-written and directed by Billy Wilder.

The movie, which the book of the musical closely follows, starred former silent film star Gloria Swanson (who, unlike her character Norma Desmond, did manage a transition to “talkies”) and William Holden, giving them, Wilder and the film Oscar nominations. It’s also notable for ending with one of the most famous lines in the history of film.

Our Norma is played splendidly by Judy Fitzgerald, joined by the return of fellow ATI co-founder Don Farrell as her butler Max. Being a film noir story, someone will die violently; struggling script writer Joe Gillis (Luke Weber) tells us what leads up to that moment.

After a couple of numbers about the high-pressure hassle of getting a movie produced and made, Joe leaves the Paramount studios – dodging husky repo men after his car – and ends up in the driveway of a large old mansion on Sunset, where he finds an aging movie star about to hold a funeral for her pet chimpanzee.

Promised ample pay, Joe agrees to edit the script Norma has written for her cinematic return (not a “comeback,” she insists). He quickly sees that she is delusional and the pages unfilmable, but he gets to stay at the mansion, so he does. Meanwhile, at Paramount, he works with his friend Artie Green’s (Calvin Bernardo) fiancé Betty Schaefer (Deborah Mae Hill) on an actually promising script for a “Girl Meets Boy” romance.

We also meet various Hollywood folks played by Scot Greenwell, Keith Potts, Megan Arrington-Marks, Brooklyn Stewart, Corey Rudell, Peter Scharbrough, and Eric Olson, who also charmingly portrays legendary director Cecil B. DeMille.

Being set in 1949-50, there are a lot of stage cigarettes. The mood is also set by black-and-white film projections of the era, designed by Joey Mervis. Director Michael Blatt has this typically larger than life musical adapt to the intimate space of The Studio Theater with the help of a flexible set design by Jay Ganz. It hints at the artificiality of Hollywood with pieces at times folding shut like they are part of a backlot studio, other times revealing the worn splendor of Norma’s home.

Musical director is Ginger Stoltz and choreographer is Carol Worcel. Fitzgerald and Weber provide appropriately big bold voices for this big musical, with Farrell’s practically operatic.

There is also a fair amount of humor, mainly directed at the foibles of the movie biz. Norma’s mental decline, meanwhile, is taken more seriously, a contrast that aids the slow-boil suspense.  And it will all lead to that iconic spoken line.

For a look at the dark side of the movie biz, where even “the Greatest Star” can become left behind, see the beautifully tragic “Sunset Boulevard,” Wednesdays through Sundays through May 10 at the Allied Solutions Center for the Performing Arts in downtown Carmel. For tickets, visit atistage.org or thecenterpresents.org.

Civic mounts sturdy ‘Roof’

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

The classic musical, “Fiddler on the Roof,” presented by Booth Tarkington Civic Theatre, is long familiar to theatregoers, while also important today.

Over a century after its setting (as well as 60-plus years after its Broadway debut, and 55 since the movie), we still find “Tradition!” giving way to a changing world. Current events have included an increase in attacks on Jewish people. Also, we can see examples in many cultures of people living with the fear of oppression and being forced to find new places to reside, even after years in what had felt like home.

This production, directed by Executive Artistic Director Michael J. Lasley, is a splendid experience, whether this your first time seeing it live, or it’s an old favorite.  

Tobin Strader, no stranger to the role, plays Tevye the Milkman, the central character and narrator (speaking to us when he’s not commiserating with G_d). Among his worries are finding good husbands for his five daughters – Tzeitel (Gretta Hambrook), Hodel (Mackenzie Foulks), Chava (Sadie Cohen or Lily Carlstedt), Shprintze (Evelyn Giesting), and Bielke (Greta Schaefer). Yente, the Matchmaker (Adrienne Reiswerg) stands by ready to help, but fate (and the girls) have other plans.

Melissa Cohen delivers a strong and faithful Golde, Tevy’s wife. For suitors, shy tailor Motel (Jacob Schilling) already has Tzeitel’s heart; idealist student Perchik (Austin Stodghill) wins over quick-witted Hodel; and kind-hearted Russian Fyedka (Dylan Aquaviva) bonds with Chava over their love of books.

Other notable characters in this large ensemble include Dennis Wimer as Lazar Wolf, the Butcher; Brandon Barkley as Mordcha, the Innkeeper; David Maxwell as the old Rabbi; and Matt Anderson as the local Russian Constable with guarded empathy for these people he has come to respect.

In impressive moments, we have Michael Krauter as the Russian who hits that long high note in “To Life;” Jennifer Hasty as the ghost of Fruma-Sarah; and Kennedy Whisner dancing as young “Chavaleh” in Tevye’s memory.

One of the best aspects of this production is that the Fiddler (Alex Avila-Hernandez) actually plays his instrument, and very well, frequently appearing as a living metaphor.

Brent E. Marty is music director, Sydnie Blair is stage manager, and Kasey Walker Lewellyn is choreographer – Is it me, or does the “bottle dance” at the wedding get more intricate every time I see one of these productions?

The village of Anatevka awaits your visit, that is, until the last carts roll out on May 9. Performances are Thursdays through Sundays at The Tarkington theatre in the Allied Solutions Center for the Performing Arts in downtown Carmel. Get tickets at civictheatre.org or thecenterpresents.org.

– –

P.S. An interesting note, unrelated to this production: There is now an actual Anatevka in Ukraine, near Kiev. It is, as Wikipedia states, “a refugee settlement that provides food, housing, education, and medical support for refugees” from the 2014 and 2022 Russian invasions. Established by local Jewish leaders, it is named after the shtetl in “Fiddler on the Roof.”

IRT: Facing horror with hope and hospitality

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

We all have a story.

Those of us who remember – most of us alive at the time do – all have a story of where they were and what they were doing on Sept. 11, 2001. Just the two numbers, “9/11,” conjure feelings and/or flashes of memory. While people around the world watched on their televisions, many individuals had more personal stories. Among them were thousands aloft on various airlines, unaware what had happened to four other passenger jets that day.

This is their story.

The Indiana Repertory Theatre presents the regional premiere of “Come From Away,” the musical by Irene Sankoff and David Hein, based on real events and real people involved with the emergency landing of 38 planes (including a jumbo 777) on the remote airfield at Gander, Newfoundland, Canada. All air traffic in and around the U.S. was grounded for days while authorities investigated the terrorist attacks in New York; Washington, D.C.; and Pennsylvania, making certain no other aircraft were involved. To the friendly and very hospitable Newfoundlanders, their only concern was that a number of people that equaled the local population had unexpectedly come to stay for a while. “Welcome to the Rock!”

Directed by James Vàsquez, this production is suffused with the welcoming spirit of the Canadian Maritimes and its folk traditions, set on a simple performing-hall stage partly surrounded by musicians on fiddle, pipes, guitars, and percussion. Wooden chairs and tables suffice for the scenes, as the story is told and enacted by a cast in which every actor has at least two roles.

Gander Mayor Claude Elliott (Brian Ray Norris) coordinates the town’s efforts with the assistance of policeman (of a two-man force) Oz (David Kirk Grant), teacher Beulah (Terra C. MacLeod), new local TV reporter Janice (Hannah Embree) and others, including getting a local school bus driver (Brett Mutter) to put the drivers’ strike on hold to help. Bonnie (Bets Malone) of the local SPCA adamantly seeks out animals in the aircraft holds that need care.

Meanwhile, on the jumbo jet, impatient passengers wonder what’s going on.  This includes Mutter and Jesse Bhamrah as gay couple Kevin and Kevin; Larry Raben as Nick from England, who gets to know Diane from Texas (Crissy Guerrero); Will Mann as Bob from New York, and later as an African traveler; Laraisha Dievelyn Dionne as Hannah, whose son is a New York firefighter; and Embree as a harried flight attendant. Up front is Beverley Bass (Jean McCormick), who was the first woman captain for American Airlines. Bhamrah also plays Ali, a Muslim passenger who gets looked on with suspicion by the others.

No doubt due to the plethora of stories gathered to make this musical, along with the talent and dedication of Vàsquez and the cast, this is an outstanding ensemble effort that still manages to give so many individual perspectives. We get the full range of feelings, from the fear and apprehension, as well as the shock as each character realizes what had happened, to the gratitude and good humor from and in reaction to the Islanders’ generosity. The local flavor includes a sort of Newfoundland initiation so that those “from Away” feel more at home – see the displays on the balcony level of the lobby to learn about the Cod and the Ugly Stick.

Music Director is Angie Benson; especially notable in the band are Liz Browder-Bohall on fiddle and Landon Thomspon on percussion (including the Stick).

Personally, this brought a lot of feelings from that time back for me. I could relate in a small way to what it was like for the people portrayed, as while the 9/11 attacks didn’t happen to them directly, it had a profound effect on their lives. The world had changed, and even after the emergency had passed and the aircraft left, no one would be the same afterward. I hope that some of that impact is impressed on those who can only see this as just a historical event from a quarter-century ago.

There is also a relic from the World Trade Center on display in the IRT lobby, on loan from the Indianapolis International Airport.

If you can, go to “Come From Away,” running through May 10 on the main stage at 140 W. Washington St., in the heart of downtown Indianapolis. Tickets and info at irtlive.com.

Disney next-generation tale on Epsilon stage

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , , , ,

By Wendy Carson

For those of you who are not familiar with the Disney Descendants franchise, allow me to sum up: All of the classic Heroes and Villains now have teenage kids. All villains (including offspring) have been banished to the “Isle of the Lost” where magic doesn’t work and evil is the status quo. Everyone else lived in the “United States of Auradon.”

Epsilon Theatrical Company gives us a glimpse of these lands in “Disney Descendants: The Musical,” performed by an eager local cast of various ages.

Belle (Macie Barker) and the now-human Beast (Jim O’Connor) rule Auradon, and plan to crown their son Ben (Eliott King) as king in a grand coronation ceremony. The youth wishes to heal the rift between his people and those of the Isle, especially as there is now a second generation. In this spirit, he has invited four of the Villains’ kids to attend school in Auradon for a year.

Though there is pushback from both sides, the plans go through and Carlos (Gavin McMillin), son of Cruella DeVil (Mary McDonnel); Jay (Christian Parchman), son of Jafar (Rodney Sciba); Evie (Lacey Pierce), daughter of The Evil Queen from Snow White (Kellie Lawrence); and Mal (Phebie Heath) daughter of Maleficent (Sharon Livingston) arrive at school. The group has plans to steal the wand of the Fairy Godmother (Kate Ambrose) in order to permanently open a portal to the Isle so Maleficent can rule all of Auradon.

Also added to the mix are Doug (Tyrell Smith), the son of Dopey; Chad (Luke Wilson), the empty-headed son of Prince Charming; Jane (Greta Shambarger), daughter of the Fairy Godmother; and Audrey (Adriana Nicholson), daughter of Sleeping Beauty. Rounding out the cast are a few teachers and a huge ensemble of very talented youngsters keeping everything hip-hopping.

As the “bad” kids seek to exploit being good, the “good” kids find themselves acting on their dark side. While this plot may feel a bit predictable (watch for a twist, though), the songs are fun and the whole cast does an amazing job of keeping the show upbeat and enjoyable. Jayson Elliott directs. A couple of big shout-outs to wardrobe director Lawana Penrod who did a stand-out job bringing together a wild group of outlandish costumes that were absolutely perfect for each character, as well as Mary McDonnel and Macie Barker who worked together to give us some lively choreography that really sparkled.

This show is an excellent choice for younger children, so round up your kids and grandkids and head over to catch it or else you might feel “Rotten to the Core” for missing out. Performances are Friday through Sunday, April 17-19, at Broadway United Methodist Church, 609 E 29th St., Indianapolis. Get tickets at epsilontheatricalco.org.

Local ‘Greatest Star’ in Footlite ‘Funny Girl’

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , ,

By Wendy Carson

The musical “Funny Girl” and Barbra Streisand are so connected in most people’s minds that it’s honestly hard to picture anyone else in the part. After all, Fanny Brice was a force of nature. She grew up as an ordinary girl with an amazing voice and acting ability. Though constantly reminded that she was no great beauty (we wish to differ – Google her photos), her ambition and talent kept her going and made her a star.

Considering that the title role is onstage most of the show’s duration and carries the majority of the musical numbers (including two of Barbra’s biggest hits), this role is also a star-maker.

The performance of Kennedy Wilson (who sort of resembles the real Brice) in Footlite Musicals’ current production proves that she is an equivocal force to be reckoned with. She brings out the sweet, bitter, and triumphant feelings of each word she utters. I am honestly so glad to have witnessed her tour-de-force in this role.

Director Kevin Bell really struck gold casting Wilson, as well as the rest of the cast in this spectacular production. Looking and sounding sharp are Drew Hedges as steady friend Eddie, Graham Brinklow as Fanny’s first producer, Tom Keeney, Andrew Ranck as the immortal Flo Ziegfeld, and Aaron Mann as Nicky Armstein, the hard-luck gambler who won Fanny’s heart. Back home on Henry Street, Miki Mathioudakis is Mama Brice, with Adrienne Reiswerg as “auntie” Mrs. Strakosh.

Bell also choreographs, with Katie Van Den Heuvel; Yolanda Valdivia is assistant director; Jeremy Kaylor conducts the orchestra. Sets are by Bell and Jerry Beasley, costumes by Etta Biloon.

The musical, by Jule Styne and Bob Merrill with book by Isobel Lennart, is based on Brice’s rise to fame as “The Greatest Star” and her quest to be as successful at love as she was on stage. Whether this is familiar to you or new, this production is enjoyable as well as inspiring, Wilson’s Brice a portrait of unflagging persistent optimism. No “rain on [her] parade” for sure.

Hey theatre patron, here she is! “Funny Girl” has two weekends, running through March 22 at the Hedback Theater, 1847 N. Alabama St. in downtown Indianapolis. Tickets and info at footlite.org.

Indy Drag’s crowning achievement

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

“Divorced. Beheaded. Died. Divorced. Beheaded. Survived.” Divas – Bedazzled – Live!

If there was ever a Broadway show perfect for Indy Drag Theatre parody treatment, it’s “Six.” Now the concert musical gets IDT’s royal treatment as its debut production in the Phoenix Theatre Cultural Centre.

The original musical by Toby Marlow and Lucy Moss (a smash in the UK as well as New York) is a fabulous fantasia in which the six wives of England’s King Henry VIII arrive from the afterlife as pop stars. In a sing-off, the one who had the worst time with the legendary monarch gets named the girl group’s leader.

No strangers to corsets, we have six queens* playing the Queen: Natasha Kennedy is Catherine of Aragon, whom Henry started an entire church denomination to dump. CiCi Pasiòn is Anne Boleyn, who found out the hard way she was not allowed to fool around like the randy Royal. Madison Avenue is Jane Seymour, who would give Henry a son if it was the last thing she’d do – and it was. Brentlee Bich is Anna of Cleves, the German whose portrait was apparently the Renaissance version of Glamour Shots. Kiki Crimi is Katherine Howard, who even in this venue can’t catch a break, after a life of abusive treatment before losing her head. Natalie PortMa’am is Cathine Parr, who put up with the gout-ridden old King through his final days. (Tip of the crown to Kelsey McDaniel, our lady in waiting serving as Swing.)

Aside from taking creative license as a Drag Parody, the production is expanded to include an on-stage “band” – The Crown Jewels – play-synching their instruments: Dallas Fort Worth as Sir Pluck-A-Lot on bass, Jared Matthew as Keys McQueen on keyboards, Faith Camire as the Earl of Beats on drums, and the fabulous Freddie Fatale as Duke Strummer on guitar. They add a couple of extra songs, including a big number featuring puppet versions of the Six women.

This spectacular is directed by April Rosè, who also choreographed, assisted by Canila Carpenter. Costumes are by Caitlin Davey, with makeup by Celeste Al’Dreams and wigs by Gayle Thyme. Stage set is by Miss Kay-Otic, with props by Tricera Tits. Stage manager is Brian Kitta. Lighting is by Paully Crumpacker, with sound by Cadence.

The show is supremely entertaining with just enough real history to make you want to go look it up. This is coupled with the ever-present issue of women – even at the highest office – being tied to the fortunes of men, disregarded on their own merits. Each Queen presents her frustration while also showing her strength. Catherine confronts rejection; Anne consoles herself with her post-mortal fame; Jane tempers pride of motherhood with regret. Anna of Cleves’s section especially satirizes modern beauty standards with her swipe-left/swipe-right number, and demonstrates that unconventional beauty is still beautiful, worthy to be “Queen of the Castle.”

High artistic standards coupled with individual passions coming together in unselfish collaboration continue a local entertainment phenomenon. The house is a little bigger, but will still get filled.

Performances of “Six: A Drag Parody Musical” continue through Sunday, March 15, on the Livia & Steve Russell main stage at 705 N. Illinois St. in downtown Indianapolis. Get tickets at phoenixtheatre.org, and info 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.)