musical

Footlite gets truly ‘Wild’

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By John Lyle Belden

In 1928, Joseph Moncure March published his narrative poem, “The Wild Party,” a tale of Prohibition Era excess that was shocking at the time, and still quite racy. Taking the notion of living well as the best revenge to its debauched extreme, the story has been made into a film and at least two stage shows. The musical with book, music and lyrics by Andrew Lippa premiered in New York in 2000.

Now, “Andrew Lippa’s Wild Party” has taken over the stage of Footlite Musicals, directed by Bradley Allan Lowe. 

Queenie (Nina Stilabower) “was a blonde” with extreme sexual appettes. She would find them sated by fellow vaudeville performer Burrs (Joseph David Massingale). But she gets jaded, and he takes things too far. Thus, hoping for both excitement and a chance to embarrass her lover, Queenie proposes they throw a party. And with a guest list familiar with a wide range of sin, things are bound to get very, very wild.

Among those who show up for a long night of loud phonograph jazz, cocaine, and bathtub gin are Madeline (Miranda Nehrig) the lesbian, Eddie (Daniel Draves) the pugilist, Mae (Karen Hurt) Eddie’s gal, Jackie (Cameron Hicks) the dancer, Brothers D’Armano (Connor Chamberlin and Isaac Becker) the lovers and musical producers, Dolores (Aprille Goodman) the hooker, and Nadine (Lauren Frank) the minor. Fashionably late comes vivacious Kate (Logan Hill) with her date, Mr. Black (Allen Sledge).

Also occupying the stage for much of the show are Ervin Gainer, Logan Laflin, Claire Slaven, DeSean McLucas, Grant Craig, Jacoba White, Job Victor Willman, Anna Lee, Reno Moore and Tessa Gibbons. True to the title, the cast create a visual cacophony throughout most of the scenes, with some appropriate freezes when the action focuses on a solo or duo. Prior to the party, many stand by (and sing and dance) as a chorus mostly unseen by Queenie and Burrs. When the party gets going, there is a lot happening.

Lippa putting his own spin on the text, creating a mostly sung-through musical, didn’t seem to do the original verse any favors. Since March gave various characters the spotlight in the poem, it translated to Queenie and Burrs’ songs mostly advancing the plot, while the most memorable numbers are asides with supporting characters. Nehrig puts in the best performance with Madeline’s comic sapphic lament “An Old-Fashioned Love Story.” Draves and Hurt charm with Eddie and Mae’s “Two of a Kind.” The D’Armanos give us a fun digression, with Queenie and Burrs, presenting part of their saucy Biblical musical.

Stilabower and Massingale do very well as the leads, while Sledge adds surprising depth as Black develops feelings for Queenie, who surprises herself by reciprocating. Hill is dynamite, channeling the greatest redheaded comics in her portrayal of Kate. 

A note must be made of the show’s content. It goes beyond the swear words and the drunken fight (At this party? Who would have guessed?). This is the most mature content I’ve seen in a Footlite show – two words: choreographed rape. In movie terms, consider this a hard “R”. 

If you are familiar with the source material, or feel you are up for this kind of entertainment, check out the Wild Party through March 20 at 1847 N. Alabama St., Indianapolis. Info and tickets at footlite.org.

‘Birds’-inspired ‘Fowl’ far more funny than frightening

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By Wendy Carson

Ben Asaykwee, the force behind Q Artistry and creator of the perennial favorite “Cabaret Poe,” has tapped his deep comical well to bring us the hilarious musical delight that is “The Fowl.” In this sharp parody of Alfred Hitchcock’s classic, “The Birds,” we are transported to 1960s Bodega Bay, California, where several mysterious bird attacks occur. 

We are reminded that the secondary romantic plot is better suited to a film on the Hallmark channel, though necessary to facilitate the events in which the attacks take place. While the show’s costumes and “wigs” give everything the look of a cartoon, they are quite ingenious and perfectly reflect the quirkiness of the show. The special effects are crude but reinforce the irreverence of the production. 

Though the look is reminiscent of what one would expect from an elementary school show, the cast and crew are genuine in their love of what they are doing and passion to make you laugh. It is also an excellent mentoring opportunity, as local stage veterans work side by side with young actors. 

This show is presented in two acts. The first retells the movie, pulling no punches at some of its more ludicrous portions.

The second act revolves around the stories of the birds themselves (from their point of view) and supposition as to why these attacks were necessary. While I personally take umbrage at the constant disparaging comments regarding the tardiness of the penguins, the birds do make some very valid points.

Asaykwee, as director/choreographer, had cast members each learn more than one set of roles, not only to help gain experience, but also in case a Covid-positive test sidelined any performers. You’ll see at least a different order in the lineup from one show to the next. Therefore this is a true ensemble effort. That flock includes: Matt Anderson, Shelbi Berry, Quincy Carman, Jaddy Ciucci, Ellie Cooper, Finley Eyers, Fiona Eyers, Janice Hibbard, Tiffanie Holifield, Noah Lee, Maria Meschi, Pat Mullen, Himiko Ogawa, Inori Ogawa, Wren Thomas, Diane Tsao, and Noah Winston. 

At our performance, we saw Berry doing her best Tippi Hendren, a scene-stealing turn by Finley Eyers as an over-eager Seagull, and a beautiful interpretive Ostrich dance by Holifield.

With all the current stress in the world and each of our lives, it is good to be able to go out and have a really good laugh. This show will afford you a whole flock of opportunities to do just that. So go out and catch “The Fowl” – Thursday through Sunday (March 3-6) at The District Theatre, 627 Massachusetts Ave., Indianapolis – before the opportunity flies past.

ATI goes ‘Big’

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By John Lyle Belden

“The Big Bang: The Musical,” presented by Actors Theatre of Indiana, has nothing to do with the similarly named sitcom that recently ended its TV run. Instead, picture a cross between “The Producers” and “History of the World, Part 1” — sans Mel Brooks, but still funny.

Written by Jed Feuer and Boyd Graham, who staged it Off-Broadway in 2000, the show is a presentation for potential New York backers (us in the audience) of what Jed (played by Darren Murrell) and Boyd (Jon Vessels) promise will be the next sure-fire musical smash.

Imagine this borrowed Manhattan apartment as a full Broadway stage, and accompanist Albert (Brent Marty) as a full orchestra, as a cast of hundreds (portrayed by our two manic creators) bring to life the entire history of Western Civilization, from Adam and Eve – with their hit number, “Free Food and Frontal Nudity” – to the present. Fortunately, we get just the “highlights” of this extravaganza/trainwreck in a hilarious 90 minutes.

Chock-full of cheesiness, dated references and over-the-top slapstick, Murrell and Vessels still manage to “sell” this show, even if it’s obvious the fictional backers shouldn’t buy in. “The Big Bang” is a satire of creator hubris and naked pandering in the Big Apple, as well as a silly farce that even steals/homages a Carol Burnett gag. The more you like Old Broadway, the more you will love this mock musical, directed by New York-based entertainer Michael Blatt.

Performances run through Feb. 20 in the Studio Theatre in the Center for the Performing Arts in downtown Carmel. For tickets and information, visit atistage.org or thecenterpresents.org.

Footlite put a ‘Spell’ on us

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By John Lyle Belden

The Broadway hit “The 25th Annual Putnam County Spelling Bee” is one of those musicals we find simply F-A-N-T-A-S-T-I-C, and Footlite Musicals is treating us to the latest production to hit an Indy stage.

Created by Rebecca Feldman and her theatre collective The Farm (book by Rachel Sheinkin, songs by William Finn, additional material by Jay Reiss), and inspired by America’s fascination with the Scripps National Spelling Bee (launching smart kids to instant momentary fame), this Tony-winner presents a local contest that qualifies the winner for the big Bee in Washington, D.C., with two past Nationals attendees in the mix.

Anyone who reads the dictionary for fun (yes, there’s a song about it) can come across as a little odd – or a lot – so director Kathleen Clarke Horrigan (who often works with actual youth) gives some young adult actors a chance to creatively engage their inner child. There’s:

  • Leaf Coneybear (Josh Vander Missen), raised by hippies and generally clueless, but a spelling savant who gets possessed by the words.  
  • Logainne SwartzandGrubenierre (Jonna Kaufmann), pride of her two dads and likely the world’s youngest firebrand liberal, who writes out the word invisibly on her arm.
  • Marcy Park (Adrian Daeger), epitome of the Asian overachiever stereotype – six languages! — and it’s starting to get to her.
  • Returning champ Chip Tolentino (Jim Melton), the Boy Scout who gets surprised by the one thing he wasn’t prepared for.
  • Olive Ostrovsky (Kelsey McDaniel), who really hopes one of her super-successful parents shows up to see her make her mark; her secret weapons are the hand she recites the word into, and her beloved bestie Websters.
  • William Morris Barfee, pronounced ending in -AY, with one functioning nostril, catty attitude, and the “magic foot” that makes him a potential favorite to win it all. Brendon McCray wore those fancy shoes during opening weekend; upcoming shows have Adam Gardner as Barfee.

And last, but not least, there are three to four lucky spellers plucked from the audience! Don’t worry, you have to apply to get drawn for the gig. If selected, you’ll get at least a moment on the stage and a juice box, provided by Comfort Counselor Mitch Mahoney (Antony Winfrey), a parolee escorting eliminated contestants off the stage as his community service.

We also meet host, and past champion, Rona Lisa Peretti (Sarah Marone-Sowers); vice-principal Panch (Bryan D. Padgett), returning as word pronouncer, promising there won’t be an incident this time; and a brief cameo by Jesus Christ himself (Ed Trout). Trout and Andrew Exner also appear as paternal characters, while Hannah Janowicz plays Moms, and Leaf’s hot sister, Marigold.

This production is full of the energy and fun that has made this musical a hit nationwide, with trophy-worthy performances all around. Like Rona, you’ll be hard-pressed to select your “favorite part of the Bee.”

You also have a shot at seeing what was a nearly sold-out run. This was to be Footlite’s traditional January show that places the audience on-stage for a more intimate cabaret feel. However, with present health concerns, the stage will only hold cast (and audience spellers), which works fine for this particular musical, and ticket-holders take the regular seats – still general admission — allowing for bigger audiences than initially planned. Performances run through Sunday, Jan. 23. Get information and tickets at footlite.org.

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.