musical

‘Carol’ gets musical comedy treatment

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By John Lyle Belden

“Marley was dead to begin with…” truly is a downer opening, but things can only go up from there, especially when Charles Dickens gets the once-over by local theatrical genius Ben Asaykwee, who wrote and directed the musical “A Christmas Carol Comedy,” playing through this weekend at the District Theatre.

Asaykwee has another show (“ProZack” at the Phoenix) so entrusts a cast of young and old, veterans and newcomers, led by the versatile Matt Anderson as Ebenezer Scrooge (and the assistant director).

To set the irreverent tone, we have a batch of young urchins (Quincy Carman, Ellie Cooper, Zara Heck, Ethan Lee, Sam Lee, Judah Livingston, Esmond Livingston, and Calvin Meschi) providing narration and appearing as needed. Others play various roles, notably Jared Lee at Bob Cratchit, Emerson Black as Jacob Marley, Amanda Hummer as Christmas Past, Tiff Bridges as Christmas Present, Shelbi Barry as Christmas Future, and Maria Meschi as ol’ Fezziwig. In addition, we have the talents of Lisa Anderson, Jenni Carman, Reilly Crouse, Jessica Dickson, Austin Helm, Emily Jorgenson, Anna Lee, Noah Lee, Adriana Menefee, Kallen Ruston, Michelle Wafford, and Charlotte Wagner.

Drop all expectations of a faithful rendition of the holiday classic (we all know it already) and revel in the silliness as this gang has a ball bringing more joy to the season. The revelation of Tiny Tim must be seen to be believed. There are also song-and-dance numbers, as Dickens no doubt never intended – watch out for flying cast members.

Our evening’s viewing at the District (627 Massachusetts Ave., Indianapolis) was a sell-out; it will likely happen again. See indydistricttheatre.org.

The Elf may not enjoy this, but you will

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By John Lyle Belden

For an Elf, labor at the Toy Workshop is like a factory job anywhere in the world, with lunch hour your one respite from the constant grind. Being in the desolate dark zone above the Arctic Circle, when one of your workers – who has issues, to say the least – requests to entertain the crew with a “celebration of truth and pure being” during the break, it’s a good idea to let him ramble his weird poetry or whatever.

But as we see reenacted at the Phoenix Theatre Cultural Center, when “ProZack the Sad Elf” gets an unused storage room to put on his show, things get weirder than usual. Apparently, this year we get “The ProZack Holiday Musical (No, it’s not!)” starring Ben Asaykwee, Ben Asaykwee, Ben Asaykwee, Ben Asaykwee, Ben Asaykwee, Ben Asaykwee, and a demented Tree.

ProZack provides profound spoken verse with titles like “Nothingness,” and “Untitled.” Tinsel plays and sings holiday songs, even after he’s killed. Videographer Snowflake is up to some visual trickery. Tinkle tries to bring “levity” but has problems with his puppet, Mr. Tree, whose anger is growing, and growing. Meanwhile Glister, the industrial death metal Elf, has caught a worrying case of sentimentality.

With so much going wrong, ProZack has to frequently go backstage, where Snowflake also set up cameras. We see the elves interact and try to find their way through this madness that includes odd holiday movie references and the secret of what’s stored away in that “empty” room.

Not to mention the literal “Star” of the show…

With the help of multimedia and other effects, Asaykwee delivers a fun and surprisingly action-packed one-person show, masterfully juggling the various personae throughout the two-act “lunch hour.” There was much laughter, some finger-snapping (how you applaud poetry), and a bit of innuendo – so this is for humans of double-digit age (or relative equivalent for elves or other mythical beings).

“ProZack The Sad Elf,” also created, written, and directed by Asaykwee, runs through Dec. 23 on the Basile Theatre stage at the Phoenix, 705 N. Illinois St. in downtown Indianapolis. Get information and tickets at phoenixtheatre.org.

Executive dysfunction in holiday parody

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By John Lyle Belden

As we settled in for a long winter’s viewing of “The North Wing,” an original Christmas musical presented by Defiance Comedy at the IndyFringe theatre, Molly North, assistant to the show’s writer and director, Matt Kramer, said this is like if “The West Wing” creator Aaron Sorkin had (presumably under the influence of something) decided to write about the Santa Claus Workshop at the North Pole, and add music.

Well… there is a “walk-and-talk” scene, so we’ll go with that.

Since Burl Ives is dead and Josh Gad costs too much, we have the lovely Paige Scott as our narrator, Jeff the Snowman, ironically with a warmer heart than her other role, Mrs. Claus. The former is charming, literally disarming, and proud to be “a waste of resources.” The latter seems to take pleasure in being naughty – which could be a problem in this setting.

Clay Mabbitt is Thomas the Human (not the one shipped off to New York, that’s another musical), the leading assistant to retiring Head Elf, Mr. Hinkle-Twinkle (Ben Rockey, one of a number of Elfin roles) who apparently learned to speak English by watching “It’s a Wonderful Life.” After another Christmas Eve in which holiday spirit is down, the old man steps down and, before Thomas can be promoted, Mrs. Claus announces an outside hire: Janet (Meg McLane) the human former executive of a Toy Corporation, who has lots of ideas for improving things at The North Wing.

Imminent changes with only 364 Days Until Christmas have elf executive assistant Beatrice (Shelby Myers), Phil the Elf (Austin Hookfin), and random Elves (Rockey and Robin Kildall) very worried. It doesn’t help that Judy Sparkles of North Pole News (Kelsey VanVoorst) reports that disaster is inevitable. It’s enough to drive one to drink – with libations served by Blumpkin the reindeer bartender (VanVoorst in antlers and red nose).

As befits a story inspired by real-world political intrigue, this all gets really silly, really fast. And there are songs. And dancing (choreography by Emily Bohannon). And romance. And, of course, the traditional plots to destroy/save Christmas.

To rescue the holiday, there is a quest for the next must-have toy, which brings – at 164 days to Christmas – the arrival of Binky the Toy Tester (Kildall). Will the thingamajig pass muster? Will it matter?

This cast works together smoothly, and I was particularly impressed with Myers’ performance. The more dramatically inclined Mabbitt makes a great straight man to set up fellow goofballs. Scott’s ability to switch between clown and villain is fun to watch.

As we’ve come to expect from Defiance, this show is full of gut-splitting hilarity and features a number of improv veterans, so expect anything. Also as usual, there’s a bit of ribald innuendo, but aside from the “Naughty” edition 7:30 p.m. Friday and Saturday, there is a “Nice” more all-ages version at 3 p.m. Sunday (Dec. 9-11).

See their style of wacky comedy that sells out Fringe festival shows, now in two full acts, at IndyFringe Basile Theatre, 719 E. St. Clair St., Indianapolis. Get tickets at indyfringe.org.

Guys and Dolls and Footlite

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By John Lyle Belden

At last, Footlite Musicals said “can do” to their latest show, with “Luck being a Lady” after some “persons developed a cough” but these people all say “sit down” and enjoy for one more week.

If you are familiar with those references then you know that, after its initial delay, the popular classic musical “Guys & Dolls” is on stage a the Hedback through Dec. 4. Written by Jo Swerling and Abe Burrows with songs by Frank Loesser, this 1950 Broadway hit is based on short stories by Damon Runyon about various characters on the streets of Depression-era New York City.

Some gamblers seek a high-stakes dice game and look to popular cohort Nathan Detroit (Thom Brown) to set it up, in spite of the NYPD’s Lt. Brannigan (David Johnson) keeping close tabs on the most likely locations. Local high-roller Harry the Horse (Jack London) has even brought in Big Jule (Lot Turner) out of Chicago. Nathan’s companions Nicely-Nicely (Scott McFadden) and Benny (Jeffry J. Weber) assure all that craps will occur, but Detroit must first come up with some quick cash to pay off Joey Biltmore (Leo Goffinet).

Seeing a sure-fire bet, Nathan Detroit wagers smooth-talking gambler Sky Masterson (Christopher Vojtko), who just returned from Las Vegas loaded with cash, that he can’t persuade Save-A-Soul Mission “Sergeant” Sarah Brown (Natalie Marchal) to travel to Havana with him. Sky takes that action, and odds are this will lead to one wild, funny, and romantic adventure.

The cast also includes Marie Beason as the Mission’s Gen. Cartwright, who arrives for a surprise inspection; Steve Demuth as Mission drummer Arvide Abernathy, Sarah’s uncle and father figure; and most wonderfully, Jonna Kauffman as Miss Adelaide, showgirl and Nathan’s long-long-long-time fiancé.

Indeed, while the Guys hold their own, it is the “Dolls” who truly shine in this production, with Marchal giving an exceptional performance in her Footlite debut, while Kauffman charms as the girl who’s a bit more smart and savvy than she lets on. And you can tell Beason is having fun as the evangelist just pleased to see sinners come in the door, whatever the pretext.

Unlike the floating craps game, this action will be easy to find: 1847 N. Alabama in downtown Indianapolis. Get info and tickets at footlite.org.

Journey with ‘Violet’ at ATI

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By Wendy Carson

 One quick note before I dive into the review: This is the third production of the musical “Violet” we have seen over the years, the first time based on the 1997 Off-Broadway production, before it was taken to Broadway in 2014. Each local performance has not only been different, but also better than the one before. Therefore, if you have seen the show prior to this, I still strongly suggest you see it, the latest edition, at Actors Theatre of Indiana. It’s a superb production, and I adored it (and not just because my hometown is part of the show).

Written by acclaimed composer Jeanine Tesori with Brian Crawley, based on a Doris Betts short story, the plot has remained consistent: At the age of thirteen, Violet was hit in the face by a flying axe head, leaving her horribly scarred. Years later, in the 1960s, she is on her own and has finally saved up enough money for the bus fare to take her from North Carolina to Tulsa, Oklahoma, and the TV Preacher whom she knows will be able to restore her beauty. Along the way, she befriends a couple of soldiers. The three of them quickly become close, with the men reluctant to let her take the final leg of her journey as they are sure she will be sorrowfully disappointed in her Preacher’s abilities. They are both waiting for her when she returns, healed, but not as she had expected.

Sydney Howard expertly brings out the adult Violet’s hopefulness and sorrow over her predicament while Quincy Carmen as young Vi (in frequent flashbacks) shows the innocence and fortitude that made her the woman she became.

Luke Weber as Monty, the Army Private First Class fresh from Special Forces school, shows the naivete of a soldier looking forward to going to war. Maurice-Aime Green as Flick, the more seasoned Sergeant, reflects the harsh reality of the differences the mere color of his skin brings to his military career and everyday life.

Matt Branic, as Violet’s father, brings out the devotion, stoicism and love of a single parent trying to do the best for his little girl, despite that one horrific moment.

Eric Olson is sheer perfection as the Preacher who may or may not actually have the power to heal, but certainly has the ability to motivate.

While it is easy to present both the Father and the Preacher in a negative light, Branic and Olson each maintain their characters’ humanity as they play their parts in Violet’s life. This is not a story of “good” or “bad” people, but of a journey, and the life lessons learned along the way.

As the rest of the cast play many interchangeable characters throughout the show, one pair does stand out with their true diva roles: Tiffany Gilliam brings down the house as the Music Hall Singer the trio goes out to see while overnighting in Memphis. It is obvious that were she around during that era, she would indeed have been a star on that stage.

Tiffanie Bridges seems to channel the voice of the angels as her turn as Lula, the lead singer in our Preacher’s choir. While her character reminds him that she is singing not for the “show,” but for the Lord, her talent shows this to be true.

ATI co-founder Judy Fitzgerald’s roles include a friendly fellow passenger; other characters, including bus drivers, are provided by Richard Campea and Cody Stiglich.

Director Richard J. Roberts has taken eleven talented singers and actors, a phenomenal script, and a band that can bring such vivid emotion to their music, and given us a beautifully moving show. Pianist Nathan Perry is music director, with musicians Greg Gegogeine, Charles Platz, Kathy Schilling and Greg Wolf. The versatile stage by P. Bernard Killian features a map of the bus route painted across the floor, which includes Fort Smith, Arkansas (where I was born).

Performances of “Violet” run through Nov. 13 in The Studio Theatre at The Center for the Performing Arts in downtown Carmel. For tickets and information, visit atistage.org or thecenterpresents.org.

Cat ‘CAT’ show is so very ‘Addams’

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By John Lyle Belden

The Cat, a nice little stage in downtown Carmel, includes in its programs the Carmel Apprentice Theatre, in which local stage veterans work with new and less-experienced performers to bring forth a wonderful experience for actors and audiences alike. Appropriately opening on Halloween weekend, CAT presents “The Addams Family: A New Musical,” by Andrew Lippa with Marshall Brickman and Rick Elice.

Based on the famous Charles Addams characters, which went from New Yorker cartoons in the 1940s and ‘50s to television and movies (and even a Hanna-Barbera “Scooby-Doo”-style cartoon in the 1970s, as we see during the pre-show entertainment), the 2010 Broadway musical showcases the family’s unconventional and gently macabre lifestyle while engaging with a wacky comedy premise: Now-adult daughter Wednesday wants to marry a young man from a “normal” Ohio family.  

First-time director Elaine Miller managed to get the best out of this cast of varied experience, including former apprentice turned stage regular JB Scoble as Gomez Addams, writer and dancer (who gets to show off her tango) Audrey Larkin as Morticia, Carmel High senior Jayda Glynn as a picture-perfect Wednesday, Ball State grad Elaine Endris as mischievous masochist brother Pugsley, crew-turned-cast member Jake Williams as charming Uncle Fester, Jeff Hamilton as feisty Grandmama, and classically-trained Evan Wang as the butler, Lurch. (Thing was played by “R.C.”, and Cousin Itt was absent, likely at a hair appointment.) The more conventional Beinecke family are played by Tim West as lovestruck Lucas, Chelsie Christian as his mom and compulsive poet Alice, and Greg Gibbs as buttoned-down dad Mal.

When one is an Addams, you’re in the family forever, so the ghostly Ancestors are on hand as well. They are portrayed by Erin Coffman, Ashley Mash, Diana Pratt, Vivian Schnelker, Mark Gasper, and the stage debut of Sarah Gasper, a natural charmer who after attending dozens of performances of “Addams Family” finally gets to live her dream.

What this show might lack in professional polish is more than made up for in the fun everyone has in bringing this story to life. Given the gusto with which the titular family treat any endeavor, any rough edges actually add to the overall experience. Scoble’s performance stands toe-to-toe (sword-to-sword?) with the likes of John Astin or Raul Julia, and Larkin is dead(ly) sexy. Everyone has standout moments, especially Christian in her “full disclosure” outburst.

While oddness is the rule in this world, one aspect of the musical that, to me, seemed distracting was Fester’s wooing of the Moon (yes, that big rock in the sky). Williams manages to pull off the illogical longing, further aided by Mash portraying the heavenly body, dancing in shimmering gray with matching mask. Miller’s choice in this, rather than using a light or glowing ball, sweetens the scene and makes it more relatable – we see the lover that Fester sees.

Performances of this spooky, “ooky,” fun and funny show run Thursdays through Sundays through Nov. 13 at The Cat, 254 Veterans Way, next to Carmel’s Main Street arts and cultural district. For information and tickets, go to thecat.biz.

Civic opens season with ‘Rent’

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By John Lyle Belden

“Rent” is very much of its own time – the struggles of Generation X to make their mark as the AIDS epidemic wreaks havoc on creative and marginalized communities – yet our recent encounter with an incurable plague makes the lyric, “one song before the virus takes hold,” feel all too familiar.

In this context, the Jonathan Larson masterpiece musical takes the stage of the Booth Tarkington Civic Theatre, directed by Michael J. Lasley. We meet filmmaker Mark (Austin Stodghill) and songwriter Roger (Joseph Massingale), living what they thought was rent-free in a building now managed by ex-roommate Benny (Kerrington Shorter). There are also friends Tom Collins (Austin Hookfin) and Angel (Kendrell Stiff), free-spirit Mimi (Jaelynn Keating), and activist Maureen (Olivia Broadwater) who left Mark for attorney Joanne (Miata McMichel), as well as a full cast representing the hoi polloi of New York City, including Julia Ammons, who is a stunning soloist in the signature song, “Seasons of Love.”

Act One centers on a particular Christmas Eve in the 1990s, giving us the lives of our characters in that pivotal day; Act Two carries through the next year, with its changes and loss.

If you are familiar with the show, picture the perfect Maureen: Broadwater solidly fits the bill. Stodghill portrays Mark well, and Massingale – master of unconventional manly roles (like in “Bonnie and Clyde”) – is well within his element here. We feel the chemistry between the couples: Roger and Mimi, Maureen and Joanne, and especially Tom and Angel. Civic newcomer Stiff has big high-heels to fill in their iconic role, and does not disappoint.

Circumstances had Wendy elsewhere, so I brought my friend, Mary, as my plus-one. Her impressions: “’Rent’ was fantastic. Thought Roger and Mimi had great chemistry. Angel was absolutely gorgeous. And even though I have watched [the 2005 film] countless times on DVD, I didn’t expect to get emotional during [the] death scene. Watching it live just hit me differently.”

This is why you should experience this musical, and bring a friend, as well as Kleenex (you’ll need it for the curtain call).

Performances run through Oct. 22 at the Tarkington in the Center for the Performing Arts in downtown Carmel. Get info and tickets at civictheatre.org or thecenterpresents.org.

Larson’s sense of time running out drives musical

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By Wendy Carson

Welcome to 1990 and Jonathan Larson’s semi-autobiographical tale of his struggles to become a successful Broadway composer, “Tick, Tick… Boom!” While it was only a budding one-man show during his lifetime, playwright David Auburn (“Proof”) reworked the script into this beautiful Off-Broadway smash, finding its local premiere at the Phoenix Theatre.

It is the story of three friends Jon (Patrick Dinnsen), his best friend/roommate Michael (Eddie Dean) and his girlfriend Susan (Gabriela Gomez). While each has sought their future on the stage, only Jon is still true to his vision.

Michael has foregone his acting aspirations to pursue a more lucrative career as a marketing executive and is moving out to a luxurious yuppie abode. Susan still dances on occasion, but mostly earns her income trying to teach rich, untalented children ballet. While she and Jon are still in love, she can’t help but want to leave the dreariness of New York.

Meanwhile, Jon approaches his 30th birthday while mounting a workshop of “Superbia,” the musical that he is sure will be the ticket to his dreams. While he could use the support of his friends, they seem to be more focused on their own issues and he seeks solace in the arms of his lead actress.

Things then go from bad to worse, but a spark of hope still glows at the end.

Throughout the show you can see glints of impending plotlines that will end up in Larson’s masterpiece, “Rent.” It is chilling to know that his own demise was on the horizon and though he didn’t actually see it coming, he realized it was a strong possibility.

Gomez gives Susan a loving and sympathetic touch, yet never stops her from being true to herself. She also portrays numerous other characters, including Jon’s agent and the aspiring actress. Each one is endearing, highlighting her range of skills.

Dean shows Michael’s loyalty, with a distance that builds to a poignant resolution. He also fills in the numerous other roles required throughout, giving him more chances to spotlight his humorous side.

Dinnsen is superb as Jonathan, the only static character in the show. He also brings the hopefulness as well as the hopelessness of a man chasing a dream that seems insurmountable.

Under Emily Ristine Holloway’s direction, we get a lively, upbeat look at another side of Larson and what made him actually tick (before the “boom”). The show benefits from a versatile stage design by Zac Hunter that foreshadows the “Rent” set, as well as on-stage band of Ginger Stoltz, Ainsley Paton, Eddie McLaughlin, and Kristin Cutler. Having musicians visible is a nod to the way Larson originally performed this piece, and it should be noted that “Superbia” was an actual musical he worked on – one of its songs is featured in this production.

Performances run through Oct. 30 at the Phoenix, 705 N. Illinois St., Indianapolis. Get information and tickets at phoenixtheatre.org.

‘Sweeney Todd’ now serving customers at Footlite

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By John Lyle Belden

The dirty streets of 19th century London have been a rich source of great stories, from the fact-inspired fiction of Charles Dickens to the fiction-inspiring facts of Jack the Ripper. Out of these shadows steps “Sweeney Todd: The Demon Barber of Fleet Street.” Now, attend the tale at Footlite Musicals.

This murderous denizen of Dickens-era penny-dreadfuls is the subject of a popular 1979 musical by Stephen Sondheim, with book by Hugh Wheeler, based on a 1973 play by Christopher Bond. Perhaps you’ve seen the Tim Burton film, or the occasional stage show over the years. Under the direction of Josh Vander Missen, this Footlite production still manages to thrill.

Daniel Draves masterly uses his average-joe looks as the title character. Todd is just another man getting off a boat, a friendly barber – or with a small shift of expression he casts an air of menace, or even madness. He wields a sort of gravitas as well as those trademark silver blades.

Jennifer Simms is a spot-on pitch-perfect Mrs. Lovett on a par with stage and screen notables who have taken on the infamous pie shop. She needs better meat, though, and Todd needs a disposal method as he slashes his way towards long-overdue revenge – you see where this is going.

Troy Bridges is adorable in manner and voice as Anthony Hope, the sailor whose life Todd saves on their recent voyage (for Todd, who had been sent away under another name, it is his secret return from exile). Hope becomes just that as he seeks to rescue Todd’s daughter, Johanna (Christina Krawec) from the evil Judge Turpin (Ben Elliott).

While Elliott makes Turpin downright creepy, Donald Marter portrays the judge’s assistant, Beadle Bamford, as more of an amoral product of his time. You get the sense that if he were hired instead to bust heads for Mr. Todd, he’d do so with the same joy in a day’s “honest” work.

Parker Taylor excels in (pardon the expression) a meaty role as somehow-innocent youth Tobias Ragg. He’ll talk up a crowd for you, seeing it as more a game than a grift, and returns Lovett’s kindness with total devotion.

Other notable roles include Rick Barber as Todd’s rival, Adolfo Pirelli; a cameo by Dan Flahive as bedlam-keeper Jonas Fogg; and Melody Simms as the ever-present Beggar Woman.

One nice touch to this production is the opening overture is played on Footlite’s 1925 theater pipe organ (the full orchestra plays though the musical).

Set designer Stephen Matters delivers on one of the show’s true “stars,” the modified barber chair which Todd uses to dispatch and dispose of his victims, sitting upon a versatile two-story wooden frame.

Equal parts gothic thriller and dark comedy with a good serving of Sondheim, this “Sweeney Todd” is worth experiencing, or revisiting if you’ve met the man before. Performances run through Oct. 2 at the Hedback Theater, 1847 N. Alabama St., Indianapolis. Get info and tickets at Footlite.org.

ATI back in the habit

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By John Lyle Belden

“Nunsense” is habit forming – the clever slogan, and title of one of the show’s songs, is quite apt. A sure-fire crowd-pleaser since opening Off-Broadway nearly thirty-seven years ago, this musical by Dan Goggin has had thousands of productions worldwide, and the show’s official website has at least eight sequels and spin-offs if you want to see the Little Sisters of Hoboken doing something different. The more than 25,000 actors who have donned the habit could petition the Pope to be named their own order.

This is all to say that the classic “Nunsense,” done afresh this month by Actors Theatre of Indiana, may be a bit familiar to y’all reading this. If you haven’t seen the show, or at least not in a while, by all means, go! Goggins’ humor, with just a touch of absurdity, doesn’t get too sacred and is never profane. You don’t have to be Catholic to appreciate this, but if you are, be warned that Reverend Mother has her clicker!

The Little Sisters are in a bind, needing to raise funds quickly to bury deceased nuns (inadvertently poisoned by the convent cook), put on a show displaying their own varied talents. That’s all you need to know going in, as well as the fact that there will be a pop quiz – with prizes – at one point.

Suzanne Stark is our Rev. Mother, Sister Mary Regina. A veteran of nun roles in “Sound of Music” and “Sister Act,” she is right at home as the boss of this little sisterhood. Asserting her authority without coming off as stiff or mean, she guides this show with a steady hand – except when she doesn’t, in a hilarious encounter with a mysterious little bottle.

Illeana Kirven is Sister Mary Hubert, the second-ranking nun. She tackles this project with unflagging joyous energy, suppressing as best she can her feelings about Rev. Mother using part of their last windfall to buy a giant TV.

Katelyn Lauria is street-tough Sister Robert Ann, who drives (and repairs) the convent vehicle. Her gregarious style and frequent funny bouts of scene-stealing are nicely countered by the moment she describes her spiritual path, revealing genuine devotion.

Rachel Weinfeld is Sister Mary Leo, the novice who feels there’s room in her vows for also becoming a celebrated ballerina. Her dancing is sweet, her manner charming.

Stephanie Wahl is the ever-popular Sister Mary Amnesia, who can’t remember who she is, and is otherwise a few beads short of a rosary. Wahl, who is also dance captain, handles this special character well, keeping us laughing with her more than at her. She also does an excellent job wielding the puppet Sister Mary Annette.

Directed by Karen Sheridan with choreography by Anne Beck, this production also features the all-priest onstage band of Greg Wolf, Greg Gegogeine, and music director Jay Schwandt, as well as production assistant Gillian Norris lending a helping hand as a student from Mount St. Helens School.

See the Sisters sing and dance their way to their miracle in ATI’s season opener, through Sept 25 at the Studio Theater in the Center for the Performing Arts in downtown Carmel. Get information and tickets at atistage.org or thecenterpresents.org.