musical

Holiday favorite ‘Elf’ returns to Civic

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By John Lyle Belden

Just two years ago (what seems a lifetime now), the Booth Tarkington Civic Theatre had one of their biggest-ever hits with the musical “Elf,” based on the 2003 Wil Farrell film that is already a beloved Christmas classic.

And as live theatre has returned around central Indiana, so, too, has Buddy and his friends. And – a holiday miracle? – this production is just as wonderful as it was before.

This presents the reviewer with a problem. How do I say practically the same thing I wrote in 2019?

Like this — To save you the click and page-load of a link to the previous review, the following is the same text that still applies, with updated cast and info as needed:

The book by Thomas Meehan and Bob Martin, with songs by Matthew Sklar and Chad Beguelin, allows Buddy the Elf to escape the shadow of Ferrell’s unique talent to make him his own wonderful character — portrayed happily here by Matt Bays. 

As in the original story, Buddy is a human who, as a baby, crawled into Santa’s sack, unseen until the end of the journey. Finding that the boy’s single mother had died, Santa Claus (Parrish Williams) lets him be raised by the elves, allowing Buddy to think he was one of them. 

The truth is inevitably revealed, and Buddy travels to find his biological father — who doesn’t know he exists — in New York City. The dad, Walter (Jack Tanselle), is a workaholic executive at a publishing house of children’s books who is rough on coworkers like good-natured Deb (Nina Stilabower) and neglectful of wife Emily (Carrie Neal) as well as son Michael (Dylan Aquaviva). Naturally, Walter doesn’t believe this strange man in elvish tights is his son, so has him sent away. Since Buddy claims to be from the North Pole, he is dropped off at the next-best thing — Macy’s. There he ends up among the store’s Santa’s helpers, where he falls in love with fellow “elf” Jovie (Emily Bohannon). 

From there, the story is Buddy’s struggle for acceptance and belonging, along with a chance to save Christmas for his father’s family, and the whole world — when Santa is stranded in Central Park, his sleigh too low on the Christmas Spirit that fuels it (PETA nixed his reindeer a while ago). Other notable roles include Jonathan Studdard as the stressed-out Macy’s Manager, Dick Davis and Kelsey VanVoorst as hapless children’s book writers, and Jeff Angel as Mr. Greenway, the curmudgeonly owner of the publishing company, who wants a new hit Christmas story from Walter — or else!

The feel of the show throughout is best described by one of its song titles: “Sparklejollytwinklejingley.” The mood is perpetually sweet, even when characters aren’t “Happy All The Time.” And even when they feel that “Nobody Cares,” there’s a fun dance break. 

Directed by Michael J. Lasley and Anne Beck with choreography by Beck and musical direction by Brent Marty, this is a magical ensemble effort. Seeing it on a matinee with an audience of mostly children, I noticed they were all entranced and swept up in the spirit of it all. 

Just as sweet and special as spaghetti with syrup, “Elf” is yet another holiday must-see in central Indiana, playing through Dec. 24 at the Tarkington theater in the Center for the Performing Arts in downtown Carmel, right next to the Christkindlmarkt. (Arrive early for hope of parking.) See www.civictheatre.org or thecenterpresents.org for info and tickets.

Catch the spirit of Civic’s ‘Color Purple’

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By John Lyle Belden

The Booth Tarkington Civic Theatre is helping bring live audiences back in a big way with the Tony-winning musical “The Color Purple.”

For those unfamiliar with the acclaimed Alice Walker novel, or the Oscar-nominated Stephen Spielberg film (starring Whoopi Goldberg), this complex and dark coming-of-age story is difficult to justly describe. From a book by Marsha Norman with music and lyrics by Brenda Russell, Allee Willis and Stephen Bray – directed for the Civic by Michael J. Lasley with musical direction by Teneh B.C. Karimu – “The Color Purple” is challenging and disturbing, yet uplifting and life-affirming. This is one of those musicals where it’s best to just go and see for yourself the pain and triumph, and have the soulful voices wash over you. Whether or not God is in this place, or even with our heroine Celie, his Spirit has no doubt taken notice.

A lot happens in the story, so the musical keeps the characters, their motivations and actions mostly sung-through, up front with some handy chairs the only necessary props. Early 20th-century rural Georgia is more evoked than shown. The chorus starts out singing to the Lord, while Celie (Bridgette Michelle Ludlow) essentially asks if the Creator has forsaken her. Life with her abusive father (Bradley Alan Lowe) is so bad, that marriage to whip-toting Mister (Troy T. Thomas) is marginally better.

Though descended from slaves, Mister considers every person on his land his property, even his children. He frequently reminds Celie she is “ugly” and berates young son Harpo (Brenton Anderson) for being kind-hearted. At least Celie’s sister Nettie (Kendra Randle) manages to escape, promising to write to her from wherever she goes – but Mister intercepts the letters, letting Celie think she is alone in the world.

A strong-woman example comes into Celie’s life in Harpo’s bride Sofia (Rachel Bibbs), who will herself find the limits of standing up to authority in that era. We also meet the magnetic Shug Avery (Ashlee Baskin), the singer who is Mister’s one weakness, and who shakes things up even more than expected by befriending Celie. The large cast also features Miata McMichael as sweet Squeak, and Rayanna Bibbs, Tiffany Gilliam and Alexandria Warfield as the Church Ladies – this culture’s equivilant of a Greek Chorus.

Performances are solid, including Ludlow’s perseverance, Baskin’s complexity, Anderson’s charm, Rachel Bibbs’s full-throated attitude, and Thomas’s complete character arc.

Though bad times come frequently, there are genuine moments of joy and laughter, music in the juke-joint, colorful fabrics, and without spoiling, I’ll note that a measure of justice is meted out.

See – and feel – “The Color Purple” through Oct. 23 at the Tarkington theater in the Center for the Performing Arts in downtown Carmel. Get info and tickets at civictheatre.org or thecenterpresents.org.

Hilarious ‘Gentleman’s Guide’ at Footlite

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By John Lyle Belden

As Monty Navarro discovers he is related to the noble D’ysquith family, we become fully aware of two things: first, that him having eight people between himself and the wealth and position of being an Earl means we have the idea behind at least half of the title, “A Gentleman’s Guide to Love and Murder;” and secondly, that we are in for quite the old English style farce with its skewering of Edwardian-era class structure and manners, as well as other kinds of violence happening to numerous D’ysquiths, all played by the same game actor.

This Broadway hit by Robert L. Freedman and Steven Lutvak, on stage at Footlite Musicals, stars handsome devil Troy Bridges as Monty. He is our narrator (this play is his confession) and exudes enough charm to somehow seem the story’s hero – especially considering how boorish and slimy that Daniel Draves portrays each D’ysquith whom our aspiring gentleman has to dispatch.

As for the “love,” Ellen Vander Missen plays Sibella, with whom Monty is smitten, with an interesting mix of sweet and shallow. A girl can’t marry below her station, after all, but who she loves is her business. However, during his ascent, Monty encounters D’ysquith cousin Phoebe (not directly in the succession line, thank goodness) who is a very good girl, and good to marry. Sydney Norwalk plays this role with the right degree of grace – a bit naive, but never the fool.

Our other notable role is the mysterious Miss Shingle, ably portrayed by Claire Slaven. Other parts (aside from nearly half the cast in Draves’s award-worthy effort) are filled by Heather Hansen, Leigh Query, Kelsey McDaniel, Matthew Blandford, Josh Vander Missen, and Footlite favorite Jerry Beasley.

Director Kayvon Emtiaz conducts this macabre mix of music and mayhem as effectively as Jill Stewart leads the orchestra. Each comic beat hits to hilarious effect, making for a surprisingly upbeat dark comedy complete with jaunty tunes like, “I’ve Decided to Marry You,” and “Why Are All the D’ysquiths Dying?”

Avoid all the death and mayhem of the real world at the entertaining mayhem of “A Gentleman’s Guide to Love and Murder,” running through Oct. 3 at 1847 N. Alabama in downtown Indy. Get tickets and info at footlite.org.

Star encounter opens ATI return to the stage

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By John Lyle Belden

Think of your favorite singer. Imagine that person – someone whose voice spellbound you, someone you could listen to every day for the rest of your life – came to your town. Then, you found yourself talking one-on-one with that person like you’d been friends all your life. And then after joining her on stage, she came home with you for a few hours.

Impossible? For divorced working mom Louise Segar of Houston, Texas, it actually happened.

Quite a character on her own, Louise discovered country music legend Patsy Cline during the singer’s appearances on Arthur Godfrey’s morning television show in the 1950s. She quickly became Patsy’s biggest fan in Houston, constantly pestering the local country radio DJ to spin Cline’s records. When, in 1961, the star was to play a local honky-tonk, Louise made sure to arrive early. Patsy did as well, sent to travel alone by her apathetic record label. Segar’s pushy personality would come to Cline’s rescue, ensuring fair treatment by the venue’s staff and giving her a place to relax (Louise’s kitchen) after the show. She even got Patsy an impromptu interview with the radio station.

This is remembered and relived in the popular Off-Broadway musical, “Always, Patsy Cline,” by Ted Swindley, which opens the 2021-22 season for Actors Theatre of Indiana. ATI co-founders Judy Fitzgerald and Cynthia Collins portray Patsy and Louise, respetively, the former with sweetness and latter with lots of sass.

They are accompanied by an excellent on-stage ensemble of “Bobs,” musicians Nathan Perry, Matt Day, Michael Clark, Greg Gegogeine, Kathy Schilling, and Greg Wolff. The audience also gets involved a bit.

The show is directed by Bill Jenkins, with musical direction by Terry Woods, featuring a wide range of 50s-60s hits including Cline’s chart-toppers (“I Fall to Pieces,” “Crazy,” “Walkin’ After Midnight”).

Third ATI co-founder and artistic director Don Farrell announced on opening night, “Intermission is over!” This fun and sentimental production marks a strong return to regular live theatre. Performances of “Always…” run through Oct. 3 at The Studio Theater in the Center for the Performing Arts in downtown Carmel. Get tickets and info at atistage.org or thecenterpresents.org.

IndyFringe: Oak Island, in Concert

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This is part of IndyFringe 2021, Aug. 19-Sept. 5 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By Wendy Carson

Joe Barsanti was so inspired by the documentary series, “The Curse of Oak Island,” that he decided to write a show around it. With fellow Marian University graduate Brandi Underwood filling in the book to complement his music and lyrics, the two created a two-hour musical dedicated to telling the story of one family’s deep connection to the island and its legendary treasures.

What they are providing here with American Lives Theatre (at the IndyFringe Basile Theatre) is a mere taste of the full show, which will be produced locally next spring. Performed as a concert without costumes, blocking or a full cast, just the four main characters are represented in this version.

Jeanne Bawling is the put-up mother who is trying to bering her two sons back together after her husband’s death. Joseph Massingale plays Will, the son who shared his father’s obsession with finding the treasure buried on the island. Zachary Hoover is Drake, the other brother who escaped the madness of the Island’s call and made a life for himself elsewhere. John Brennan Hayes portrays Frank, the father of the family who’s curiosity turned to a mania as he cannot break the Isand’s pull to finally be the one to solve the mystery of exactly what lies beneath.

This offering is an excellent peek at what promises to be an engaging show.

IndyFringe: Rocket in Your Pocket! Father Ned in Space – The Musical

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This is part of IndyFringe 2021, Aug. 19-Sept. 5 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By Wendy Carson

The wacky group from Perpendicular Island are back again and this time they have a divine mission to assist the Vatican (and Ned’s mortal enemies, the Jesuits) in beating the Lutherans into space.

General Jesuit (David Molloy) and Captain Jesuit (Manny Castillas) must endure the ever-suffering Father Ned (John Lindley) and questionable housekeeper Mrs. O’Boyle (Kate Duffy), because Ned’s imbecilic Priest-in-training Father Dermott McDermott (Blake Mellencamp) is the nephew of the regional Bishop. Luckily, the perverted sot Father Finn Flannagan (David Whicker) has been left back at the Parish – or has he?

Add to this group May Anne Mathews as a Cosmic Otter, Krysten Lyster as a very “Random” Alien as well as Shari Grinnell as the Voice of the Vatican, who keeps trying to keep this mission in check.

Needless to say, things go hilariously awry. Plus, there are several fun songs punctuating the story (wait until you hear Ned’s!).

So strap in and launch into a galaxy of silliness that pokes fun not only at the British sitcom “Father Ted,” but also Star Trek, Star Wars, Monty Python, and others. Launchpad is the District Theatre.

IndyFringe: Narnia

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This is part of IndyFringe 2021, Aug. 19-Sept. 5 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By John Lyle Belden

To be fair, I must note that since the opening performance of “Narnia” by Agape Theater Company, there were a lot of notes and technical fixes. For this youth company, hosted by Our Lady of the Greenwood Catholic Church, this was not one of their most polished productions – but they have set themselves a high standard over the past few years.

But it was a daunting project, even for its original creators, to adapt “The Lion, the Witch, and the Wardrobe” by C.S. Lewis – an epic fairy-tale fantasy layered thick with Christian symbolism – into a workable musical, which then the local players, a talented cast of about two-dozen aged tween to college, had to hammer down into a single hour.

This heroic effort, directed by Aidan Morris and Grant Scott-Miller, is led by Ethan Wood, Rebekah Barajas, Flannery Partain and Alyssa McDonald as the Pevensie children, Silvia Seidle as the White Witch, and Caleb Wilson as the lion Aslan (and briefly as Father Christmas). McDonald steadily manages the heavy, conflicted role of Edmund. Laura Sickmeier gives a “best supporting”-worthy turn as Tumnus. Alex Bast (who is also music director) and Julie Seidle deftly handle scene-stealing roles as Mr. and Mrs. Beaver.

Since scenes and props, aside from a well-constructed sleigh, had to be rudimentary for a shared stage, the artistic emphasis is on excellent costuming, from regal Aslan to Indy’s cutest Squirrel.

The songs (by Thomas Thierney and Ted Drachman from the book by Jules Tasca) are servicable, but reach their height at “Deep Magic,” which lets Wilson and Silvia Seidle shine in a hero-villian standoff.

Will Aslan defeat the Witch? Will the Sons of Adam and Daughters of Eve ascend the Four Thrones? See it all play out on the Basile Auditorium in the Athenaeum.

Agape kids return “Sound of Music”

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By John Lyle Belden

Even when one of your musical’s biggest songs is, “Climb Ev’ry Mountain,” who expects to have to scale the peak of a global pandemic?

Agape Performing Arts Company (to which I’ve given much praise in the past), a youth theatre program hosted by Our Lady of the Greenwood Catholic Church, bravely opened its production of Rodgers and Hammerstein’s “The Sound of Music” in March of 2020, only to immediately close.

Because COVID-19, which shut the whole world down.

But director Kathy Phipps and the cast and crew kept following that dream of telling the beloved story of the Von Trapps. With the lineup largely intact, they perform a one-weekend engagement at the Basile Theatre in the Athenaeum downtown, in the heart of Indy’s again-bustling Mass Ave arts-entertainment-dining-etc. district.

Remaining live performances, 2:30 and 7:30 p.m. today and Sunday (June 5-6), are sold out, but Sunday’s shows are available livestreamed at agapeshows.org.

The quality of the child/tween/teen performances is top-notch, as usual, with the bonus that the Von Trapp children actors are very near their characters’ stated ages. Liesl IS “Sixteen, going on Seventeen.” Agape wisely chose to keep college-student Elise Scrogham as the principal Maria, who anchored a solid ensemble Friday night.

To maximize the experience for all young actors, many roles are understudied and double-cast, with the alternate players taking the stage at different performances. Maria is also played by Meghan Wombles. Others include Elijah Beasley and Grant Scott-Miller as Captain Von Trapp, Rebekah Barajas and Silvia Seidle as Liesl, Devyn Knauss and Jackson Steuer as Friedrich, Josee DeBoor and Maggie McKinney as Louisa, Tobin Seiple as Kurt (God bless him), Evelyn Skaggs and Marygrace Rykowski as Brigitta, Adilyn Walker and Regina Kalscheur as Marta, Kesslee DeBoor and Victoria Franklin as Gretl, Olivia Schemmel and Jocelyne Brake as the wise Mother Abbess, and Clayton Muchman understudies Scott-Miller as collaborator Baron von Elberfeld.

Caleb Wilson fits right in as a late casting addition as Franz, the butler. Virginia Sever is the housekeeper, Frau Schmidt. Maura Phipps makes Frau Schraeder (the Captain’s wealthy momentary fiance) likable, and even noble in her final gesture. Aidan Morris, on the other hand, maintains a sinister air around messenger-boy Rolf that only Liesl apparently doesn’t see. The large and harmonious chorus of Sisters of the Abbey are led by Brilynn Knauss (Berthe), Kat Seiple (Margaretta) and Gemma Rollison (Sophia). And we look forward to the energetic Nathan Ellenberger, here as conniving Max Detweiler, chewing up scenes for many shows to come.

You likely know this story (and many songs) by heart. But if you don’t, here’s the pitch: It’s an old-school story of the original Antifa. With music. And children. And nuns. Who sing, even if they’re not supposed to. If you are only familiar with the classic Oscar-winning Julie Andrews film, note that the popular tunes are not in the same order or context, and there are a couple more songs. But “Edelweiss” will still touch your heart.

Even in a volunteer organization, keeping the rights to a legendary show for a dark year aren’t cheap. Please consider buying some swag, making a donation, and making a point of seeing Agape’s future productions, including a one-act “Narnia” at this August’s IndyFringe, and their staging of Shakespeare’s “Macbeth” during BardFest in the fall.

Cardinal show anything but ‘Ordinary’

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By John Lyle Belden

For these unusual times, Cardinal Stage of Bloomington presents an unusual theatre experience.

Shown online on-demand through Feb. 21, Cardinal’s production of the musical “Ordinary Days” by Adam Gwon relies on technological wizardry to allow four actors to interact while performing their parts in Covid-safe separate locations. Set in New York, circa 2008, we meet four “ordinary” individuals who will have an extraordinary influence on one others’ lives.

Our introduction to them, and this play, initially struck us with an uneasy “what’s this?” feeling. The obviously green-screen NYC backdrop, with our struggling artist-slash-artist’s-assistant-slash-pamphleteer? singing about – what’s this about, again? – but he sure is eager. And wordy. This song could have been written better. And there’s just a single piano in the background. Why does this feel like an audition tape?

If it all seems puzzling to you as well, stick with it. It gets much better.

After Warren (Henry Miller) ends his song with a winning smile, we jump to frustrated grad student Deb (Nina Donville) singing the foundation of her character arc, then to Jason (Julian Diaz-Granados) and Claire (Kayla Marie Eilers) who we discover are moving in together. So that connects two of the characters, but how about the others? A lost-and-found, followed by an odd but artsy rendezvous, kicks off an unlikely relationship between two souls seeking their purpose in art and words. And by the time this hour and a half (no intermission) is over, one pair will affect the other in a subtle but profound way.

Donville delivers as a woman struggling with the expectations of others, and herself, brought to a personal crossroads by impish Warren, in whom Miller channels the “if I can make it there” spirit of the Big Apple, even when his perpetual optimism is challenged. Diaz-Granados’ Jason is a hopeful romantic, wishing to communicate the depth of his feelings for Claire, but instead, at the worst moment, blurts out a proposal. Eilers effectively presents Claire as someone yearning to move forward, but held by a nagging uncertainty. Under the direction of Cardinal Artistic Director Kate Galvin, Gwon’s plot gently weaves together these “ordinary” yet interesting lives with a gust of the wind through the high-rises.

Also tying the scenes and thematic threads together are music director Ray Fellman on piano, and video editor Alyssa V. Gomez of CO-OP Productions, who brilliantly creates character interaction in this strange (for live stage fans) medium. For the vocal harmonies, I’m guessing credit goes in part to sound editor Robert Hornbostel. Rounding out the crew is stage manager Corey Hollinger.

To experience “Ordinary Days,” go to CardinalStage.org, and gather around the screen for a $25 “household” ticket, but only through Sunday.

During a year of challenges, a man-eating plant is discovered in Greenfield

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By John Lyle Belden

With this year’s shutdown, what’s a student thespian from Greenfield-Central or other area schools to do? A few have found their way to Skid Row, now set up on the stage of Greenfield’s Ricks Centre in the Ricks-Weil Theatre Company production of “Little Shop of Horrors.”

Though it’s held outside the restrictions of Indianapolis/Marion County, the R-W crew are taking measures for the audience’s health and safety, including closing every other row of seating, and no concessions.

Directed by Indy actor Dan Scharbrough, with musical direction by Kathy Borgmann, choreography by Jennifer Darr, and costumes by producer Beth Ray-Scott, the familiar musical follows the story of an old Roger Corman film – via book and songs by Howard Ashman and Alan Menken – in which an ordinary guy finds an extraordinary plant with a macabre appetite.

Seymour (Steven Allen) can’t find the brightly-colored flytrap in any of his reference books, so he names it after his sweet co-worker Audrey (Ciara Huckeby) and presents it to his flower-shop boss Mushnik (Corey Yeaman). It’s a hit, but it’s wilting. Clumsy Seymour’s minor injury near the flower clues him in to what the plant really wants – blood! But he’s not the only one sporting bandages; Audrey is getting the worst of her “semi-sadist” boyfriend, local dentist Orin Scrivello (Cael Savage).

The cast also includes A.J. Springman as Patrick Martin of World Botanical Enterprises, Marie Hall as a Homeless Woman, and a full Greek chorus of “Ronettes:” Carolyn Bolton, Saige Chandler, Frances Hull, Ali Kern, Juliana McGuire, Leah Olin, and Vicki Kortz, who also voices Audrey II.

Befitting a comic musical, the “Horrors” are more fun than scary, even with characters getting eaten. Allen and Huckeby are well cast, with appealing looks and good voices. Our Audrey manages the skid-row accent without sounding too cartoony. Savage plays the grade-A jerk with just enough tongue in cheek. Having more than three Ronettes works in this production, with different ones at times coming on and off stage singularly or in twos or threes – like on a busy street. While there is plenty of youthful energy, the actors range from high school and college to… out of school a while.

As for the “star,” Kortz giving what is often cast as a deep-voiced monster a fierce feminine tone makes her Audrey II appropriately threatening (I’d say something here about the “mean green Mother,” but that song’s not in the stage version).

For anyone who has only seen the 1986 Frank Oz movie, note that aside from different songs (some familiar hits, like “Suddenly Seymour,” are still there) it has a different ending, closer to the original 1960 film.

Another note: In the second (and final) weekend, July 24-26, former G-C drama teacher Ted Jacobs will play the Dentist, while Savage plays Mr. Martin.

And yes, there will be a giant man-eating plant on the stage (in puppet form). Audrey II puppeteers include Allen (small) and Olin (big).

The H.J. Ricks Centre for the Arts is at 122 W. Main St. (US 40) in downtown Greenfield. Tickets are $13, $10 for students, at www.seatyourself.biz. See Ricks-Weil Theatre Company on Facebook for more information.