musical

New dinner theatre celebrates Broadway

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By John Lyle Belden

This year there is a new place for dinner and a show, in an old, familiar building. The Murat Shrine Club (north side of the historic building that now houses the Old National Center) hosts Downtown Dinner & Theatre. We got to experience it for the current production of “Broadway Off Broadway.”

After the opportunity to dine like a Potentate at a small buffet, patrons were ushered upstairs to the intimate cabaret stage for a musical revue.

The theme, of course, is various songs of Broadway hits, performed by a very talented troupe: Alicia Barnes, Alexis Koshenina, Jennifer Simms, Parker Taylor, and Rex Wolfley. Company artistic director Simms directed the show and Wolfley wrote its “book,” so to speak, with input from the others.

The narrative structure is built on our cast finding themselves in a “classroom” with magical properties, instructed by the disembodied voice of a spirit of musical theatre, “BOB,” by Ty Stover of StageQuest Theatrical Services. This impish entity helps to bring out the self-confidence, vocal and otherwise, in each of our singers.

All the while, we are treated to exceptional renditions of around 20 showtunes. Some of them you might expect – from Sondheim, Andew Lloyd Weber, Rogers and Hammerstein, etc. – plus some wonderful surprises. (There were whispers of, “What was that one from?”) Look for something from “Chess,” “Wicked,” “In the Heights,” “Spring Awakening, “Dear Evan Hansen,” and even this year’s Tony winner, “Maybe Happy Ending.”

Performances are sharp throughout, infused with good humor – especially as they act manipulated by BOB invisibly positioning them for numbers and dance breaks. Taylor, quickly becoming one of Indy’s biggest stage talents, is particularly good at this. While all are well-cast vocally (and their strengths were taken into account in song selection), Koshenina exhibits show-stopping power and range.

We give this “class” high marks. You can attend Friday through Sunday, Sept. 12-14, Friday the 19th, or matinee or evening Saturday the 20th, at 510 N. New Jersey St., downtown Indianapolis. Get info and tickets at downtowndt.com.

Musical blast from the past by ATI

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By John Lyle Belden

Every era has both its triumphs and struggles; they were also years which those who grew up in tend to remember fondly. For some of us – and many of our parents – that was the 1960s, a time of big changes, big hair, and a lot of great music.

“Beehive: The 60’s Musical” presented by Actors Theatre of Indiana, gives us more than 30 hits from the decade, with emphasis on songs sung by women – from “It’s My Party” to “Me and Bobby McGee.”

Our guides through this time of feminine revolution are six outstanding singers: Rachel Dudt, Riley Francis, Michaela McGarel, Kayla Perry, Kria Rangel, and Abigail Storm, who also acts as host. They are backed by a live band, led by Greg Wolff. The show is directed and choreographed by Carol Worcel.

There are a couple of scenes with direct impersonations of the original singers – done very well – but mostly the emphasis is on heartfelt renditions that sound like we remember coming from our transistor radios. On occasion there may be some audience involvement, such as providing names for “The Name Game,” and throughout we are encouraged to clap and even sing along.

In all, this is just a fun evening of music that still entertains and inspires, even decades later. For the Boomers who remember, or those of other generations who love swinging to the oldies, there are two more weeks of “Beehive,” Wednesday through Sunday, Sept. 10-14 and 17-21, at The Studio Theater of the Allied Solutions Center for The Performing Arts in downtown Carmel. Get info and tickets at atistage.org or thecenterpresents.org.

Summer Stock’s ‘Chill’ a hot ticket

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By John Lyle Belden

Talk about an upgrade – Summer Stock Stage presents a Mainstage young artist production of the Broadway hit “Be More Chill.”

Based on a story genre that dates back to tales of Faust in the 1500s, through to modern musicals like “Damn Yankees” and “Little Shop of Horrors,” filtered through the world of teen movies since the 1980s and contemporary youth culture, this musical by Joe Iconis with book by Joe Tracz, based on the 2004 novel by Ned Vizzini, centers on a “Loser Geek Whatever” high schooler named Jeremy (Gabriel Vernon Nunag) whose father (Drew Kempin) is too depressed to wear pants, his crush Christine (Aubrie-Mei Rubel) doesn’t notice him, and his best friend Michael (Alex Pharo) doesn’t mind also being a dork, because he knows they will eventually be “cool in college.”

But Jeremy won’t wait that long. Even risking further unpopularity by signing up for the school play (the Shakespeare-ish “Midsummer Night-Mare with Zombies” adapted by eager drama teacher Mr. Reyes [Luke Aguilar]) doesn’t help because Christine has friend-zoned him – a combination of her ADD and the attention paid by handsome extracurricular-activity hopper Jake (Kendrell Stiff).

In an odd encounter, the school bully Rich (Maddux Morrison) confesses he is mean because he was instructed to be by his Super Quantum Unit Intel Processor, or Squip, which is a black-market Japanese nano-computer in pill form. Once taken with regular Mountain Dew, its circuitry migrates to the brain and gives your personality – and popularity – a total makeover.

At the local shopping mall, Jeremy finds the dealer and buys, then takes, his own Squip (Piper Murphy), which appears only in his field of vision, looking something like a “Tron” version of Timothee Chalamet with greenish hair. This program immediately takes charge of his shopping decisions and when the popular girls show up, has him acknowledge the “beta,” Brooke (Jilayne Kistner), instead of the alpha, Chloe (Jayla Shedeed), to help set up his ascendance in high school society. As for Michael, the Squip employs an optic-nerve blocker so that the BFF is literally out of sight, out of mind.

The cast also includes Isabella Agresta, and Jenna Rolan as the school gossip. Devan Mathias directs, with music direction by Cameron Tragesser and impressive choreography by Darian Wilson.

The set design by Chyna Mayer includes several screens which at times show video linked from smartphones the actors are holding at the time, giving such moments an authentic feel. Costumes by Tony Sirk include the anime-style green Squip cybersuits as well as the odd outfits used in the school play.

Nunag’s performance is excellent, and Rubel’s adorable, while this musical gives the supporting roles plenty of moments to shine, making Kempin’s Mr. Heere and Kistner’s Brooke characters to feel for, as well as lending Morrison’s bad-boy Rich a more nuanced persona. Then there’s the fact that the big hit song is sung by the neglected best friend – as Pharo nails his rendition of “Michael in the Bathroom.”

Murphy, as the Squip, perfects the Terminator stare and affect with cooly-efficient movement. Her aura of subtle menace compels obedience.

While a fun musical centered on teen angst, this tale of the wish to exchange one’s self for a promised “upgrade” harkens back to ancient roots while becoming only more relevant in the current spread of A.I.

After all, we each now hold a compact supercomputer just inches from our brains every day.

You, too, can “Be More Chill” by avoiding the August heat and seeing this production tonight (as I post this) and Sunday, Aug. 9-10, and Thursday through Sunday, Aug. 14-17, at Schrott Center for the Arts, 610 W. 46th St., Indianapolis (Butler University, next to Clowes Hall). Get info at summerstockstage.com and tickets at butlerartscenter.org.

Nifty ‘nautical nonsense’ by Summer Stock Stage

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By John Lyle Belden

The very concept of “SpongeBob SquarePants” – conflating a living sea sponge with the rectangular kind from your kitchen – alerts you that none of this should be taken seriously (that, and its countless anthropomorphic absurdities).

But you likely know this, as the Nickelodeon animated series created by Stephen Hillenberg and voiced by comedian Tom Kenny has been entertaining children and childish adults for decades. Unsurprisingly, it also spawned a stage musical, now presented by the teen performer program of Summer Stock Stage at Schrott Center for the Arts on the Butler University campus, directed and choreographed by Jerico and Jonnie Hughes.

But can the quality silliness of the half-hour toon be sustained for two full acts of live theatre? To quote the familiar TV opening sequence: “Aye, Aye, Captain!”

However, Patchy the Pirate (Lucas Heiden) isn’t really needed for this show, despite how much he tries to get involved. With the traditional voiceover of a faux Cousteau, and the help of a just slightly off-stage foley artist (Ethan Cantrell), we meet our principal players: SpongeBob (Jaivean Wilson), Patrick (Taylor Smith), Squidward (Michael Washington), Sandy (Ariyana Johnson), Mr. Krabs (Simon Allen), his daughter Pearl (Madison Fleener), and Krabs’ devious rival Plankton (Lewis Claxon), accompanied by devoted AI partner Karen (Gracie Navarro).

The denizens of Bikini Bottom are played by Paige Murray (Mayor), Claire Kashman (Mrs. Puff), Ehren Knerr (Johnny the Bartender), Graham Bodkin (Perch Perkins), Eli Neal (Old Man Jenkins), Dexter Smith (Larry the Lobster), and Elijah Britt, Evan Cohen, Elowyn Dunn, Nayima Hall, Justice Harris, Eleanor Hendrickson, Seraphim Holmes, Shaleigh Hreskowsky, Henry Kirk, Jyone Kneeland, Isiah Littell, Collin McCune, Robert Newton, Quinn Potter, Vaben Sanders, Olivia Steele, and Keliyah Vincent.

Our tropical undersea village is shaken – literally – by the news that nearby volcano Mt. Humungous is about to erupt. Sandy – a genius inventor, as one would expect from a squirrel capable of living under the ocean – wants to tinker a way to stop the disaster. Plankton, on the other hand, persuades everyone that evacuation is the best option (which he will exploit in his newest evil scheme). Either way, they have until sundown of the next day, emphasized by a countdown clock projected above the stage, before their homes are destroyed.

What follows include a Krabs cash-grab; a benefit concert with The Electric Skates (Little, Steele, and Dexter Smith), with Squidward trying to work in his “Tentacle Spectacle;” Patrick receiving the cult-like devotion of a school of sardines; a Pirate musical number; SpongeBob’s climb to deliver Sandy’s Eruptor Interrupter; and general paranoia and mayhem, with boisterous gloating by Plankton.

This comes with plot-advancing pop songs by various artists including Jonathan Coulton, David Bowie with Brian Eno, Plain White T’s, T.I., Panic! At the Disco, Alex Ebert, Cyndi Lauper with Rob Hyman, Yolanda Adams, The Flaming Lips, Sara Bareilles, Steven Tyler and Joe Perry; Lady Antebellum, John Legend, They Might Be Giants, and Kenny with Andy Paley, as well as the SpongeBob Theme Song by Hillenburg, Derek Drymon, Mark Harrison and Blaise Smith.

One practically magical aspect of this production, which speaks to the talents of the cast, is that they so perfectly embody the spirit of their familiar characters, they “look” the part with just a few visual cues in hair and wardrobe, avoiding distracting and cumbersome outer costumes. Wilson practically glows with SpongeBob’s perpetual boyish optimism, Johnson with Sandy’s pragmatic can-do attitude. Taylor Smith’s Patrick nimbly employs voice and expression to capture the essence of his low-brains/high-loyalty personality. Likewise, Allen is spot-on in nailing the craven capitalist Krabs. With Fleener’s portrayal of Pearl, we see the show’s emphasis on her being a mildly spoiled teenage girl more than being a young whale. Washington expertly portrays Squidward in double-legged trousers with natural ease, including a dance with tentacle taps.

This approach to costuming especially works for Plankton; Claxon sometimes puppets his near-microscopic self, and his flashy green outfit with a (coincidental?) resemblance to Marvel’s Loki helps hint at his cooly sinister intent.

The overall style, from the musical’s book by Kyle Jarrow to the Hughes’s approach and cast and crew’s all-in energy give us a kids show that embraces that part in all of us that wants a fun time and adventure with characters who feel like friends.

This production “The SpongeBob Musical” only has the one weekend: If you see this right after we post, perhaps you can make it to the Saturday or Sunday (July 26-27) performances at Schrott, 610 W. 46th St., Indianapolis (next to Clowes). Info and tickets at summerstockstage.com.

Hadestown comes to Footlite

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By John Lyle Belden

“And we’re going to sing it again, and again!”

For those who missed the recent other production of “Hadestown,” or have seen it and want more, Footlite Musicals brings the “Teen Edition” (largely unchanged from the original) to its stage through Sunday.

The Tony-winning sensation by Anïas Mitchell tells an “old song” that dates at least to Ancient Greece, blending the myth of Orpheus and Eurydice; the relationship between Hades (god of the Underworld) and Persephone (goddess of Spring); and some rather current issues.

The show is set more recently, with buildings resembling downtown New Orleans, reflecting the jazzy style in which we get our story. Our host and narrator is the messenger god Hermes (Plezzance Lawrence), accompanied by a literal Greek Chorus of Fates (Lauren Blackwood, Zyan-Kristyna Byrd, and Ruth Par).

A railroad train from the Underworld brings Persephone (Grace Graves), whose summer stays seem shorter in recent years, before husband Hades (Carter Hinton) comes to claim her. Meanwhile, Orpheus (Eduardo Palapa), the mortal son of a Muse, uses his supernatural gift of music to work on a song he believes will set the cycle of seasons right again. He looks up from his work to see the beautiful mortal Eurydice (Willa Cortez), young but world-weary, seeking comfort. They fall in love and are happy – until the long hard winter returns. Eventually, each of these lovers will go to Hadestown, “way down under the ground,” where events lead to an “Epic” showdown between man and god.

The ensemble players are integral to the story as well, adding vocals for emphasis and moments of call-and-response, as well as aiding the narrative with movement choreographed by Kevin Bell. These are Owen Alvis, Devin Barringer, Marguerite Bougeois, Fender Brokamp, Emma Copes, Christian Diaz, Eloni Fitzpatrick, Oliver Hayes, Hawk Hendrix, Oliver Martinez-Torme, Anna McGaha, Staci Raymount, Louis Rivelli, Ruby Schoettle, Adryan Simmons, and Zoe Wilson.

The production is directed by Dennis Jones and Ed Trout, who said he really wanted to emphasize the soul of the work – both in the jazz sense and the essence of the ancient legend. For instance, he had Hinton bring out the melodic tones of Hades’ baritone part.

Graves is a delight, both in Persephone’s sassy songs and her repartee. Cortez is also excellent in voice and manner as the tragic Eurydice. Palapa is simply amazing, his Orpheus believably sounding like one touched by the divine. Lawrence as Hermes entertainingly guides the proceedings like one with godly prerogative.

The orchestra, led by Gisele Dollinger, occupies an upstage loft and features a hot trombone solo by Aaron Burkhart. Trout designed the set, which includes using the Hedback Theatre stage trapdoor as a dramatic means of descent.

All this combines into a powerful, unforgettable theatre experience. Timeless legends retain their form while becoming relevant to our lives in this century. Perhaps love conquers all, but it’s still a hell of a fight.

“Hadestown: Teen Edition” has performances Thursday through Sunday, July 24-27, at 1847 N. Alabama St., Indianapolis. Get tickets at footlite.org.  

Legends reimagined make one ‘hell’ of a show

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By John Lyle Belden

Having read it, and heard the recordings, I knew as soon as I saw it that “Hadestown” by Anïas Mitchell would become one of my favorite musicals, and Summer Stock Stage has launched a truly outstanding production.

Do not presume, being the “Teen Edition,” that this is a lesser version. The entire Tony- and Grammy-winning play is intact, with only subtle differences (such as sung keys) for younger performers. Director (and SSS founder) Emily Ristine Holloway noted that students from more than 50 Indiana high schools auditioned. Thus, we get a crème de la crème of young talent.

The source material is an “old song” that dates at least to Ancient Greece, as Mitchell painstakingly blended the myth of Orpheus and Eurydice with the relationship between Hades (god of the Underworld) and Persephone (goddess of Spring) and some very current issues. (Note: The songs were mostly written before “the wall” became a politically-loaded topic; though with its timeliness, it serves as the musical’s centerpiece.)

As hard times come in every era, the messenger god Hermes (Michael Washington) is host of a grungy Depression-era jazz club that looks like an abandoned factory, relating to all a time “of gods and men” with a literal Greek Chorus, the Fates (Noelle Duncan, Meadow Harbert, and Lucy Lindner) to help tell the tale.

“The road to Hell is a railroad track,” Hermes intones, and arriving on its train is Persephone (Isabella Simonsen) to set things blooming again after spending half the year – actually more this time – with husband Hades (Eli Spurgeon). Meanwhile, Orpheus (Preston Angus), mortal but the son of a Muse, making him supernaturally gifted at music, is working on a song he believes will set the cycle of seasons right again. He looks up from his work to see the beautiful mortal Eurydice (Belle K. Iseminger), young but world-weary, seeking comfort. He works his charms on her; they fall in love and are happy – until Hades arrives to take Persephone away for an even longer winter. Dark times strain the young couple until they each end up in Hadestown, “way down under the ground,” for a literally epic showdown between man and god.

It’s tough to describe the sheer power and feeling of the songs and the manner in which they propel this familiar-yet-new plot. I can only hope you can experience it yourselves.

Simonsen is divine as Persephone, while adding the grit of a goddess that has grown tired and unsettled by what has happened, her connection to nature offended by what ironically Hades says he did for her. For his part Spurgeon digs into Hades’ bartitone range to deliver his own divine authority – but there is something more, something uncertain, which he employs to make the character more dangerous.

Iseminger has the lauded natural beauty of Eurydice, backing it up with a firm grasp on her troubled character – even when that person feels unsure – and as good a voice a true mortal can conjure. No key change was necessary for Angus, our Orpheus, as he sweetly hits the lilting notes necessary for his “Epic,” presenting a believable mastery of this and all his songs.

The Fates are wonderfully harmonious and integral, more like a part of the story than commenting bystanders. Washington as Hermes is the quintessential Master of Ceremonies, making his presence firmly felt while never overshadowing other characters as events play out.

Scenes are completed by a large ensemble. Vocally, they are more than background, including amplifying Orpheus’ power in “Come Home With Me,” making plain their Underworld pain to “keep your head low,” and engaging a sort of call-and-response in “If It’s True.” They also show off the fine choreography of Phillip Crawshaw. These players include: Evan Mayer, Maria Beck, Jacob Brewer, Jackson Bullock, Lily Carlstedt, Ivan Figueroa, Max Frank, Sam Funk, Justice Harris, Liv Keslin, Ehren Knerr, Kynden Luster, Morgan Naas, Robert Newton, Sylvi Phillips, Quinn Potter, Jackie Quadrini, Mia Rettig, Haven Sanders, Asha Smitherman, Anna St. Andrè, Alyssa Vasquez, Thomas Whitten, Maggie Webber, and Ethan Wood.

Mythology for a new century, expertly presented – performances of “Hadestown: Teen Edition” are limited, today through Sunday (June 26-29) at Schott Center for the Arts, 610 W. 46th St., Indianapolis (next to Clowes Memorial Hall on the Butler University campus). Additional tickets have been made available but are selling fast. Visit summerstockstage.com for details.

Want to see a snowman? ETC presents ‘Frozen’

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By John Lyle Belden

Given the weather lately, some ice and snow would be refreshing. To get the feel, if not the chill, enter an air-conditioned church hall to see the musical “Frozen Jr.” presented by Epsilon Theatrical Company.

As the title indicates, this is the stage version of the 2013 animated Disney film which added songs, a few updates, and hit Broadway in 2018, with book by the movie’s screenwriter Jennifer Lee and music and lyrics by Kristen Anderson-Lopez and Robert Lopez.

The addition of “Jr.” means that this is both cast with and appropriate for children, with ETC’s actors aged about 9 to 19. The content edits are few enough to keep the show tight length-wise, while not lacking in substance. And though a community kids’ production, the talent and dedication are exceptional throughout.

The familiar plot is intact: In the Norway-adjacent kingdom of Arendelle, the King and Queen’s two daughters love each other, but the fact that one of them has magical ice-elemental powers leads to near-tragedy and their parents keeping them apart as they grow up. Later, with the parents lost at sea, elder Princess Elsa is crowned queen as she comes of age, and despite her best efforts, inadvertently releases her weather powers. Seen as a “monster,” she runs away into the mountains. Her sister Princess Anna, eventually joined by local ice-cutter Kristoff, reindeer Sven, and the living snowman Olaf (who the sisters made when they were children), travel off to find her. After Elsa’s big song – you know the one – there is conflict, betrayal, and a true-love ending a little different from other Disney fairy-tale classics.

Epsilon treats us to three sets of sisters – Lila Dodyk and Ellie Richart as young Anna and Elsa, Riley Sutton and Rose Kennerk as “middle” Anna and Elsa with a charming “Do You Want to Make a Snowman?” and Brynn Dunlap and Lauren Bowman completing the play as the maturing Anna and Elsa, respectively. Dunlap gives us the full range of her character, from hopeful, to smitten, to determined, to commanding and heroic. Bowman delivers an apt performance of immense power barely checked by equally powerful fear. Pushed to her limit vocally, she ascends without “letting go” of her vocal chords.

Silas Tripple and Ashlynn Stone play the King and Queen. Other nobility on hand include Caleb Estes as the Duke of Weselton (his “weasel”-ish political demeanor makes him quite entertaining) and Zach Kolterman as Prince Hans of the Southern Isles, who sparks an instant romance with Anna.  Gavin McMillin is the Bishop at the coronation.

The stone trolls of the film have been replaced by the “hidden folk,” also of Scandinavian lore, led by Pabbie (Thomas Kim) and skilled in the ways of magic.

For provisions on Anna and Kristoff’s journey, there is the Oaken Family shop wagon, where Oaken (Tripple) and his kin go all out to provide “Hygge.” Soloists in that rousing musical number include Fender Brokamp, Kennerk, and Amelia Landrum.

Speaking of Kristoff, Aaron Owens delivers the country-boy charm with subtle dignity, accompanied by Judah Owens as Sven – charming in his own way, with more speaking lines than I recall the deer having in the movie. As the “love interest,” Kolterman effectively gives us both sides of Prince Hans.

Elsa’s powers manifest with a “Snow Chorus” of dancers: Molly Ades, Rebecca Burkhart, Bethany Frederick, Hazel Heath, Ellie Richart, and Riley Sutton. Their presence worked without being gimmicky or distracting, arms pointing like the spread of frost on windows. A crew member mentioned to me that some had formal ballet training, and the others learned to follow right in step to deliver their effects.

Natural scene-stealer Colm Tripple embodies the naïve and noble Olaf with easy charisma. He is said to be interested in working behind the scenes as well, so I expect we’ll be seeing a lot of this kid in the future.

The talented cast also includes Norah Ambrose, Ceci Burkhart, Althea Butz, Skyler Cook, Jonah Gibbons, Sarahanne Gibbons, Phebie Heath, Lydia Nilsen, Ella Owens, Jonny Owens, Adelaide Phillips, Nova Prater, Bea Rader, Abby Rowls, Brooklynn Shaw, Ember Stritar, Zoe’Rose Taylor, Greta Wolff, Conrad Zook, and Graham Zook.

Past ETC company member Allyssa Moore returns again to direct, with music director Tiffany Billingsly, choreographer Kennedy Wilson, and stage manager Mia Joelle Baille. The impressive costuming was thanks to costume manager Kate Ambrose, wardrobe director Lawana Penrod, and Moore as “glam squad & wig design.”

All the fun of the popular show, with the thrill of having it all happen right in front of you by eager young local performers, find “Frozen Jr.” playing at Broadway United Methodist Church, 609 E. 29th St., Indianapolis, Friday through Sunday, June 27-29. Get tickets at epsilontheatricalco.org.

‘Time to Dance’ with Summer Stock Stage ‘Prom’

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By John Lyle Belden

Indianapolis young artist program Summer Stock Stage opens its 2025 season with “The Prom,” a 2018 Broadway musical loosely based on actual events and still-persistent attitudes. This is an Eclipse production (no relation to the Bloomington company) in which young actors gain professional experience alongside experienced and Equity performers.

New York theatre narcissistic has-beens Barry Glickman (Adam B. Shapiro) and Dee Dee Allen (Lanene Charters) discover their latest musical is such a flop, it will immediately close. Commiserating with friend Angie Dickinson (Alexandria Van Paris), a 20-year veteran who can’t escape the chorus, and unemployed former sitcom star Trent Oliver (Logan Mortier) – who can’t stop talking about attending Juilliard – they decide they need to take on an activist cause to enhance their public profiles. Finding an online story about a prom cancelled because a lesbian student wants to take a girl as her date, inspiration strikes.

Meanwhile, at fictional James Madison High School in Edgewater, Indiana, Emma (Mai Caslowitz) finds herself bullied even more than usual as the other students blame her for the prom’s cancellation. Fortunately, Principal Hawkins (Ryan Artzberger) is an ally and working on both a legal remedy and persuading the PTA, led by homophobic president Mrs. Greene (Megan Raymont). That meeting appears to be about to bring about the dance’s reinstatement, when suddenly, our Broadway gang shows up to “help.”

With incurable hams in the land of the tenderloin, we get a lot of laughs and maybe a bit of schadenfreude at watching the New Yorkers fail spectacularly. On the other hand, it’s cruel to Emma, who has enough stress from the fact that her secret girlfriend Alyssa (Jocylon Evans) is Mrs. Greene’s daughter.

Still, there is a lot of heart, hope and energy in this fun musical by Bob Martin, Chad Beguelin and Matthew Sklar, based on a concept by Jack Viertel. This production is directed by SSS Artistic Director Emily Ristine Holloway, expertly managing the comical interventions and put-downs of Hoosier culture while maintaining the humanity of all the characters.

Considering the real-life 2010 incident that inspired the musical happened in Mississippi (complete with prom fake-out and celebrity aid), the show was apparently set in Indiana as a thumb in the eye of then-Vice President Mike Pence. It is good to see local companies take charge of the way Hoosiers are portrayed, even with an honest look at anti-LGBTQ attitudes. Frankly, though I understand the rules regarding scripts, I think it would be best if there were a local (fictional) setting for any conservative state where the musical is staged, lest folks think this is just poking fun at the ignorant people “over there.”

Any concerns about the story are rendered moot by the excellent performances. Charters and Shapiro are delights as well-meaning divas working to get over themselves. Van Paris, “antelope legs” and all, brings the “zazz” throughout. Mortier nimbly plays a goober who seems self-absorbed but wants to just feel appreciated, which comes about in – for him – a surprising way. Local treasure Ben Asaykwee brings his understated charm to the role of Glickman and Allen’s assistant Sheldon. Artzberger is solid as always, and a natural aid in helping the younger stars shine.

As for the youthful roles, Caslowitz gives an award-worthy, relatable, endearing performance, winning our hearts in the songs “Dance With You” and “Unruly Heart.” Evans does a lot with her principal supporting role, especially Alyssa’s signature song.

Excellent work as well by ensemble players Isabella Agresta, Lauren Blackwood, Keilyn Bryant, Izzy Casciani, Noah Greer, Tess Holloway, Seth Jacobsen, Day Johnson, Jilayne Kistner, Reagan Cole Minnette, Maddux Morrison, Martini Olaletan, Jacob Richardon, and Sofia Warren Fitzgerald.

The dancing is also fantastic, choreographed by Sean Aaron Carmon with choreography supervisor Phillip Crawshaw.

One week remains of this spectacle – a sort of “Footloose” for our times – as Summer Stock Stage takes on its new residence at Schrott Center for the Arts at Butler University. Performances are Wednesday through Sunday, with two shows on Saturday, June 4-8. Get tickets at summerstockstage.com or butlerartscenter.org.

Omigod you guys(?) – Indy Drag goes to law school

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By John Lyle Belden

(Note: Out of respect for the art form and its performers, they are identified by their Drag names as given in the show program.)

Many of us are familiar with the 2001 film “Legally Blonde,” and perhaps with the 2007 stage musical, however for Indy Drag Theatre, it was a parody tribute to this fun comedy in 2022 that got the company rolling. Now, this clever melding of both movie and Broadway – acted, danced and neatly lip-synched by local Drag Queens and Kings – has returned to The District Theatre.

Also notable as an actor in conventional musicals, Parker Taylor makes a stunning transformation into Honey Bunn, who plays our blonde heroine, Elle Woods. To win back the love of her ex-boyfriend Warner (played by Cadence), she leaves UCLA to enter Harvard Law School. Needless to say, it won’t be easy for her but very funny and entertaining for us. In Boston, Elle gets help from teaching assistant Emmett (Eli Rose) and local beautician Paulette (Sydnie Blair), but no help from Vivienne (Kalinda), who is with Warner now.

Elle finally gets to prove herself as part of a team of interns for Professor Callahan (Kristen N. Peterson), who is defending a famous fitness expert Brooke Wyndham (Vera Vanderwoude St. Clair) charged with murder.

The cast includes Axel Brozie as classmate Enid, and AJ Thoma, Kitt St. Clair, and B.B. Rosè as Elle’s Delta Nu sisters Margot, Serena, and Pilar, who appear as her literal Greek Chorus. Sean Seager is dog-gone cute as anthropomorphic pooch Bruiser, as well as hot UPS man Kyle.

A tip of the wig also to Ilana a la Mode, Madison Avenue, Kami Kamora, RoDick Heffley, Josè Dos Santos, Ellen Vander Missen, DeLuLu De Vant, Justin Sheedy, Sophie Sweany, Tiffany Rae, and CiCi Pasion.

Directed by IDT co-founders Blair St. Clair and April Rosè (who choreographed), stage manager is Natalie Port-Ma’am, with costumes by Alish Forner, makeup by St. Pussifer, wigs by Hair By Blair and sturdy sets by Josh Vander Missen.

While the Queens usually get the attention in these shows, it takes all kinds to make the magic work, and I must note the stellar King performance by Peterson as conniving, cruel creep Callahan.

With its energy, flair, and embrace of all things pink and shiny, this musical meshes perfectly with the Drag Theatre format, providing a wonderful experience all around. Get “Legally Blonde(r)” this Thursday through Sunday, May 15-18, at the District Theatre, 627 Massachusetts Ave., Indianapolis. Get tickets at indydistricttheatre.org.

Footlite gets ‘Kinky’ in the best way

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

By John Lyle Belden

With among its many lessons that you should be willing to pull together to try something wild with great potential, the all-volunteer cast and crew of Footlite Musicals present the fun and funny hit, “Kinky Boots.”

With book by Broadway legend Harvey Fierstein and songs by equally iconic Cyndi Lauper (making her the first woman to win a Tony for solo songwriting), the 2013 Broadway musical is adapted from the 2005 British film of the same name, in turn inspired by a true story from the 1990s. Set in that 20-ish year ago era in Northampton, England, a man who has inherited a failing shoe factory seeks to save it by filling an unmet need – sturdy but sexy boots for drag queens.

Charlie Price (Alexander Bast) had planned to move to London and take a lucrative marketing job alongside his fiancé Nicola (Nicole Sherlock) but is called back home when his father (Ted Jacobs) passes away. The shoes are well-made, but in a highly competitive market, nobody seems to want them. While seeking to strike a deal with a family friend (Derek Savick-Hesser) Charlie encounters Lola (Kevin Bell), the drag queen star of her own show. He notices her stilettos won’t hold up a man’s body and, after Price & Sons employee Lauren (Mara Fowler) – who secretly has a crush on him – suggests he find “an underserved niche market” to stay in business, gets the idea to make what will be known as Kinky Boots.

Reactions are mixed at the factory, though most buy in as the alternative is unemployment. Factory manager George (Ryan Bridges) is eager and creates a steel-reinforced heel. Foreman Don (Drew Kempin) considers himself a “man’s man” and openly mocks Lola, who is brought on board as designer. In three weeks, there will be a major fashion show in Milan that will make or break the enterprise, as well as the people involved.

We also meet, in the opening number, Charlie and Simon (who will become Lola) as boys, played by Sam Houghland and Ryan Thomas, respectively, as well as Simon’s disapproving father (Jerry Davis).  The cast includes Shari Jacobs, Awbrey Brosseit, Jessica Hackenberg, Logan Laflin, Louis Soria, Ruby Waliser, Jennifer Zotz, and Tom Zotz, who also cameos as Richard, Nicola’s boss.

Lola is backed by her cloud of fabulous Angels, performed by drag artists Conner Becker-Chamberlin, a/k/a Darcy Sparks; Leon Benbow-Blomberg / Miss Dominixxx; Caleb Francis / Penny Loafers; Cameron Grant / Anita Richard; Shawn Hunt / Artemis Da Goddess; Dalen Jordan / Donleigh Delights; Paige Penry / Bella DeBall; and Kenan Tinnin / Body Miss Morphia.

Joyfully directed by Jerry Beasley, we get a (much-needed these days) uplifting story of grit and acceptance. The characters are fairly complex – not just the obvious multitudes in Lola, brought out in glorious voice and expression by Bell. Bast gives us a Charlie who is well-meaning, sometimes off-base, yet easy to root for. Kempin’s Don is mostly bluster, a bloke who literally gets sense knocked into him. Sherlock plays Nicola as one who feels certain of her direction, coming to learn that Charlie doesn’t see success her way. Fowler makes her regular young woman Lauren, who goes from slinging shoes on a factory floor to being “executized” to help make the new line,   appropriately adorable.

Among the volunteers putting this spectacle together are set designers Ted Jacobs and Mary Lich, choreographer Thomas Mason, vocal director Ben Rose, and stage manager Melissa Yurechko. Costumer for the queens is Angel Olivera, assisted by Katie Van Den Heuvel and Michael Morrow. Jeremy Kaylor leads the orchestra.

EDITED TO ADD: Beasley messaged me this – “I would like to add that Claire Olvey Slaven also costumed The Angels as well as assistant directed, and Ben Jones created their hair and makeup look! The Price & Son workers costumes were designed by Edith Burton-Bandy.”

As a counter to current controversies, we get a reminder that for its community Drag is not just a lifestyle, but an essential part of life. Let the spirit of “Kinky Boots” raise you up, and remember: “You can change the world, when you change your mind.”

Performances are Thursdays through Sundays through May 18 at Footlite Musicals, 1847 N. Alabama St., Indianapolis. Get tickets (which have been selling fast) at footlite.org.