musical

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.)

For the troubled teen in all of us

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By John Lyle Belden

Summer Stock Stage has taken on the recent Broadway smash hit Best-Musical Tony-winning “Dear Evan Hansen” with brilliant results.

Note that as this posts, there are very few (if still any) seats left for this production, through Sunday, Aug. 9, at Schrott Center for the Arts on the Butler University campus (next to Clowes). See summerstockstage.com.

Centering on teens who see the impending end of high school as a source of relief, this drama is like the old “afterschool specials” but for the current generation. Its set-up could be played for bigger laughs, but this musical, with book by Steven Levenson, music and lyrics by Benj Pasek and Justin Paul, takes the feelings of its characters seriously. The absurdity of dealing with life and death issues at 17 provides ample honest humor to propel the plot.

Evan (Preston Angus) starts his senior year with a cast on his arm (he fell from a tree) and familiar, friendless anxiety. His single mom Heidi Hansen (Emily Ristine Holloway) encourages him the best she can, privately feeling inadequate while dealing with the stress of her job as a nurse and her college classes. Meanwhile, in another stressful scene, Larry and Cynthia Murphy (Eric Olson and Katy Gentry) are dealing with their kids, surly son Connor (Alden Duez), a senior, and daughter Zoe (Erin Rosenfeld), a junior.

In a first for a “Dear Evan Hansen” production, Zoe is deaf (as is the actor) and accompanies speech with sign language – in fact, some songs feature the cast all incorporating ASL in their choreography, and even Evan does some signing as he has long had a crush on her. Accompanying Rosenfeld at all times is Isabella Agresta as a sort of twin who provides her singing voice. Their coordination is flawless, so that understanding that there is just one girl represented becomes easy – especially considering that another character will frequently appear even though he is not really there.

That would be Connor, who displays serious mental health issues. Seeing Evan as also alone and troubled, he signs his cast. Evan had just printed out a letter to himself (“Dear Evan Hansen…”) that he wrote as a therapy assignment, but seeing Zoe mentioned, Connor lashes out, takes the paper from Evan and runs away.

We later discover that Connor takes his own life (no details given) and his parents find the letter. Seeing it addressed to Evan and signed “me,” they assume it was a last message between friends. Evan, feeling trapped and only wanting everyone to feel better, plays along. His anxiety feeds his talkativeness until an entire best-friends scenario is spun and he is trapped as the only source of solace for a grieving family.

Helping him in this charade is smart-aleck family friend Jared (Jack Diamant) and desperate overachiever classmate Alana (Aubrie -Mel Rubel). As the memory of Connor’s passing fades, they take it upon themselves to start The Connor Project to remember their (fictional) friendship and possibly help others.

If you’ve seen promotions for the musical when it was on Broadway, you likely saw the song “Disappear,” in which the Connor Project goes viral. We see various people reacting and posting on numerous screens hanging over the stage. While the moment feels triumphant, it is only the climax of the first act – there is much more to this story, including an inevitable reckoning for the title character.

Directed by Lauren Morris, we get characters in a situation that seems unreal, yet as messy as real life. Angus plays Evan with constant nervous energy, unsure of what he wants or where he fits. At first embodying the old question of, “if a tree falls and no one is there, was there a sound?” he struggles next with finding what feels like real belonging in a false situation. He commits fraud without malice, adding to his inner turmoil. Rosenfeld presents Zoe in her own whirl of confusion, forced to see a new aspect of her “monster” brother while finding affection for Evan. Olson and Gentry play a couple who were on the brink of dissolution, hanging their hopes on what they desperately want and need to be true. Ristine Holloway brings Heidi’s own struggles into the mix, desperate to keep some connection with her son.  Diamant is as close to comic relief as the show gets, while showing Jared’s own hidden issues. As Alana, Rubel is a girl seeking meaning in activity, seeing an opportunity to be the hero until the inconsistencies start to add up. Duez as Connor gives a great performance as a character who was and is always a cypher, even to himself.

I have seen a number of past criticisms of the musical for the way Evan seems to get away with his acts, and the treatment of issues like mental health and suicide, but at least in this production I see a measured handling of complex problems, with situations ending not tragically or happily-ever-after, but in a manner that allows for healing. Whatever our destinies, with honest effort, they “will be found.”

Feel free to dream with ‘Frida Libre’

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By John Lyle Belden

The main critique, and recommendation, we can make of “Frida Libre” by Karen Zacarias, on stage through Aug. 2 by Fonseca Theatre Company, is that this is clearly made to be seen by children.

Based on the life of young Frida Kahlo – a girl who wanted to become a doctor but would grow up to be a world-famous artist – the story of this musical (music by Deborah Wicks La Puma) is presented by her school classmate Alex (Abner Torres Delina Jr.). He is a very shy boy who becomes project partners with a very loud girl, Frida (Flor Mojica), with colorful clothes and a noticeable limp – and the only girl in the school.

All other roles are played by Jay Fuqua and Cara Wilson.

The stern teacher they address as Maestro (Fuqua) gives them an assignment to work together, a paper on “metamorphosis.” To research, they go to Frida’s bright blue house to look through her parents’ books. On the way, we find that Alex is afraid of heights and Frida, though not admitting fear, is reluctant to ride the city trolley (a bit of foreshadowing, for those who know).

Becoming aware they are both dreamers, each reveals their ideal inner self: He is Super Luchador (Fuqua), a masked wrestler in a white cape who crushes fear and saves lives. She is Frida Libre (Wilson), running free and working to heal the world. As they study, he shows an eye for details, while she reveals her talent at painting. With the help of a caterpillar in a strawberry jelly jar, they opt for a more elaborate presentation, sure to knock Maestro’s socks off.

Carried along with catchy tunes like “Paint Me a Picture,” “206 Bones,” and “Metamorphosis,” this one-hour narrative presents aspects of Kahlo’s upbringing in Mexico City with sufficient dramatic license to soften her pain and setbacks (though not shying away from them), making it relatable to young audiences. We even find how their dreams, seeming momentarily impossible, come true.  

Mojica, who also portrayed young Frida in the more mature production “La Casa Azul,” fits comfortably in her flower-embroidered slippers. Her charm brings us along to find this is about more than just the transformation of the insect in the jar. Delina eagerly easily connects with the kids of all ages watching, as Alex finds himself growing as well.

Fuqua and Wilson add to the fun, especially as the heroic alter egos. Also, his Maestro comes across as appropriately intimidating, at least from the students’ perspective.

Speech and songs are mostly in English, which casually translates the numerous Spanish words sprinkled in – lending authenticity with understandability and enhanced educational value.

Chandra Lynch directed, with vocal direction by Josiah Ray McCruiston, choreography by Linda Thomson, and costumes by Cee-Cee Swalling.

There is one weekend left! Bring your children to “Frida Libre” performances Friday evening and Saturday and Sunday afternoons (July 31- Aug. 2), at 2508 W. Michigan St., Indianapolis.

While there, see the paintings in “A Celebration of Frida, Luchadors, and Mexican Heritage,” a collaboration with Arte Mexicano en Indiana, in the lobby and next-door gallery.

For details and tickets, see fonsecatheatre.org.

What a ‘Ride’!

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By John Lyle Belden

For those in search of the next “Rocky Horror” phenomenon, or who feel that the stakes in “Spelling Bee” weren’t high enough, we invite you to “Ride the Cyclone”!

First developed in Canada in 2008 by Jacob Richmond and Brooke Maxwell, then appearing Off-Broadway the next year, “Ride the Cyclone: The Musical” has more recently taken on cult status with a large Tik-Tok community of fan art, theories, and costumes. The Phoenix Theatre now gives this experience a whirl, directed by K.T. Peterson.

In a storage building for a traveling carnival, a ghostly lament is heard, and the Amazing Karnak (Ben Asaykwee) awakens. Not a boast, he says, just the name on the side of his box. Unknown carny magic allows him to read the future, but only of one’s time and manner of death. This being too much of a downer, he’s been adjusted to be more cryptic. As he knows his own demise is imminent, he uses his remaining power to find those he couldn’t properly warn. Six teens, members of a school choir from Uranium City in far north Saskatchewan, died when The Cyclone roller coaster went off its rails. Their spirits are summoned to give one of them the opportunity to resume the life they had lost.

Enter overachiever Ocean (Mia Stewart); sassy only-gay-in-town Noel (Parker Taylor); surly adoptee from Ukraine, Mischa (Seth Jacobsen); comics-obsessed dreamer Ricky (Noah Lee), who had been struck mute from an earlier trauma; and plain and shy Constance (Marachey Fowler), most notable for being Ocean’s best friend and whose catchphrase is a very Canadian “So-rry!”

They are soon joined by Jane Doe (Olivia Broadwater), who had not been identified after the accident as no one could find her head. She replaces it with one from a doll. Having no identity of her own, she looks, acts, and speaks like an animated toy.

They each sing their case for going back through the light (like “Cats,” but more relatable) in a show that is at turns funny, moving, and surreal.

Asaykwee brings a bit of magic to all his roles. Here he gives wide expression to his wooden face, taking charge of the entire stage though he never leaves his box. He also shares this space with some of the best young talent we have seen around Indy.

Taylor once again makes us love a quirky character, even if his life’s dream is to die elsewhere. His Noel is comfortable in his queerness, while frustrated at missing the opportunity to be where he better fits in.

In fact, they all wanted to escape life in their dying former mining town (in our present day, home to under 100 residents). Perhaps it is more frustrating for Ocean, who Stewart plays as a controlling Alpha whose youth shows in her lack of tact. Or for Constance, who feared becoming resigned to living her whole life in Uranium (which, sadly, happened). Fowler takes on her pain of being overlooked and taken advantage of, converting it to inner strength.  

Ricky surprises them all, having regained his voice, and he has a lot to say. Ironically upbeat, Lee shares his sad origin and the cool sci-fi fantasy synthesized from his unconventional upbringing, complete with sexy catgirls.

Mischa is a little older than the others but was mostly denied a regular childhood. Jacobson handles his angst well. Feeling culturally mixed-up, he channels his feelings into hip-hop rhymes, and longs for the girl who liked him on YouTube.

Broadwater shows immense talent in working within the limits of her character in both movement and personality, taking her from creepy to heartbreaking with apparent ease.

Note the production is for teens and up, complete with a few F-bombs and a giant rat (Kristin Wentz). Appropriately cluttered yet versatile stage design is by David B. Vogel, complimented by lighting design by Michael Moffatt and sound and video projections by Ben Dobler.

Like the best carnival rides, The Cyclone is fun, wild, exhilarating, and affecting – and makes me want to get in line for another ticket.

Get yours at the Phoenix Theatre Cultural Centre, where “Ride the Cyclone: The Musical” runs through Aug. 2 at 705 N. Illinois St., downtown Indianapolis. See phoenixtheatre.org.