musical

Review: Footlite’s ‘Gypsy’ a triumph

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

By John Lyle Belden

It’s regarded as the story of the ultimate “stage mom,” a helicopter parent from before those birds were invented. “Gypsy,” based on the life of Gypsy Rose Lee and her relationship with her Mama Rose, is at Footlite Musicals through May 22.

We meet Rose and young daughters Baby June and Louise as the girls sing and dance for a Seattle talent show. But Mama’s ambitions run much higher, getting an act centered on June – with lesser-talented Louise blended in with backup boys – on the vaudeville circuits all the way to Broadway. But as the girls grow up and vaudeville fades (weakened by the “talkies” and Depression before its eventual demise at the feet of TV), Rose keeps pushing despite the odds, famously declaring “Everything’s Coming Up Roses.”

The word “awesome” is so overused in this era, but is the most appropriate adjective for Susan Boilek Smith as Rose. She inhabits this tiger mom with claws out all the way, making us feel for her and root for her, even when her ways seem too overbearing or her fast-talk borders on grift. Fortunately, Rich Baker is well able to keep up as Rose’s longsuffering companion, Herbie.

A quick salute to Rogue Salyers as Baby June and Brynn Elliott as little Louise, a good start to hopefully long careers or avocation on stage. After a strobe-lit time transition, Stacia Ann Hulen excellently slips in as Dainty June.

Elise Annette Delap plays teen/adult Louise, barely able to keep her immense talent under the facade of her “untalented” character. (Playing a skilled seamstress who eventually found international fame on the burlesque stage, perhaps she wasn’t so lacking after all.) Her strong portrayal matches well with Smith as a force of nature, revealing that this is the story of two women, each strong and wonderful in her own way.

As for the supporting cast, it’s a pity that Noah Nordman as chorus-boy Tulsa only gets one song.

As those familiar with the musical know, the title “Gypsy” refers to the life Rose, Herbie and the kids live in their pursuit of fame, as well as the blossoming Gypsy Rose that Louise becomes. We meet strippers in the “You Gotta Get a Gimmick” scene, and Delap as Lee does a little “teasing,” but there’s no real nudity, keeping this largely an all-ages show.

Footlite Musicals is in the Hedback Theater, 1847 N. Alabama St., just north of downtown Indy. Call 317-926-6630 or see footlite.org.

(Review also posted at The Word)

Review: Civic Theatre continues ‘Tradition’

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

By John Lyle Belden

The popular musical “Fiddler on the Roof” has a few nights left, Wednesday through Saturday at the Booth Tarkington Civic Theatre in The Center for the Performing Arts in downtown Carmel.

Directed by Michael J. Lasley with musical direction by Brent Marty, the story of a poor Jewish man confronting changes in society in Russia at the turn of the 20th century still maintains its power in this latest production of a show that has seen many local stages – not to mention Broadway runs and a 1971 movie.

Tobin Strader is an entertaining narrator as Tevye, the dairyman blessed with five headstrong daughters. Marni Lemons is an excellent complement as his wife, Golde. We also get great performances from Laura Muse, Virginia Vasquez and Daniela Pretorius as their eldest daughters, and Troy Johnson, Tanner Brunson and Joseph Massengale as the girls’ suitors.

One of the more interesting cast members is the title character – the Fiddler – a living metaphor performed by Erin Jeffrey. She appears throughout in various scenes as emphasis is needed, proficiently playing her instrument.

Praise is also due to choreographer Anne Nicole Beck, as scenes with various numbers of the cast of more than 30 players flow smoothly, naturally, and at times breath-takingly (yes, the “bottle dance” is included, involving five dancers).

Whether you’ve seen “Fiddler on the Roof” a dozen times or never at all – and really, you should at least once – the Civic production is well worth the ticket. Call 317-843-3800 or see civictheatre.org or thecenterpresents.org.

(Review also published at The Word)

Reiew: Duo puts on killer show

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

By John Lyle Belden

To use the language of its era, “White City Murder,” by and starring Ben Asaykwee and Claire Wilcher, is a marvel and a spectacle, well worthy of your dime – well, many of them; it is 2016, after all.

But in a room of the Irvington Lodge, it’s 1893 in Chicago at the Worlds Fair, the setting for much of this musical drama by Q Artistry in which Asaykwee and Wilcher are more than 30 characters and, thanks to a keyboard and vocal loopers, the musical instruments as well.

The plot is familiar to readers of the bestselling book, “Devil in the White City” by Erik Larson (not cited as a source, but likely an influence on Asaykwee’s writing of the show). An impressive complex of buildings, known as the White City for its monochrome style, hosts the Fair while just a couple of miles away, a man known at the time as H.H. Holmes was running his hotel – popularly known as his “murder castle” for its various rooms designed for killing people and processing and disposing of their bodies. Aside from his psychopathy, Holmes killed for profit, selling skeletons to colleges and cashing in on insurance policies. This show delves into his past, and continues after the Fair closes to portray Holmes’ actions to stay ahead of Pinkerton detectives (investigating insurance fraud, not murder), ending not long after his brief stay in Irvington (just blocks away from where the musical is staged).

The story of the person regarded as America’s first serial killer (and one of the most prolific) is told in a fascinating, eccentric manner with old-time pizzazz, drawing a gasp one moment, nervous laughter the next. In the hands of these two master comic actors, it is a performance not to be missed.

And, if I must stop gushing and be a critic for a moment, that’s the show’s main flaw: It feels like a show only these two pros can do. As a musical that can be picked up, re-staged and performed by others – say, in Chicago or even off-Broadway – “White City Murder” has a lot of rough edges. Fortunately, Asaykwee is such a great showman and Wilcher an improv goddess that any goofs, flubs, lulls or moments of this-isn’t-quite-working are easily smoothed over – likely easily forgotten by most of the audience by the end. The musical interludes could use some work, and reliance on electronics does invite technical glitches. There is clever use of what look like large cardboard cutouts that stops for no reason and could be useful in more parts of the plot. I could nitpick further, but it wouldn’t surprise me if Asaykwee and Wilcher are already making tweaks for the show’s second weekend.

Still, as a sort of “beta test” of a show that’s good enough to perform but not quite perfected, this is an excellent first edition.

Remaining performances are Saturday (March 26), and Thursday through Saturday, March 31 to April 2, at 5515 E. Washington St., Indianapolis. See qartistry.org for tickets.

(Review also posted at The Word)

Review: ‘Passion’ on TOTS stage

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

By John Lyle Belden

“Beauty is power,” we are told. But what if one is not beautiful; how does she get what she desires?

This question is at the heart of Stephen Sondheim’s musical, “Passion,” playing through March 26 at Theatre on the Square.

In a past era, Italian army officer Giorgio (Scott Russell) has found love with Clara (Jessica Hawkins), who is inconveniently married. He is assigned to a new post, where, while meeting the other officers, he learns that a woman, Fosca (Lori Ecker), lives in the quarters of the commanding Colonel (Norman Brandenstein), her cousin.

Fosca suffers from unspecified mental and physical ailments, leaving her weak and enhancing her unattractiveness. Giorgio takes pity on her, and being the only man to show her true kindness, she falls in love with him. His heart is with Clara, but Fosca’s persistence starts to affect him.

Is Fosca manipulative and cruel, or misunderstood and seeking affection the only way she knows how? Do Giorgio’s acts and reactions show weakness, or tested inner strength? The answers audiences must decide for themselves, and Ecker and Russell don’t make it easy with their nuanced performances.

Fosca is more plain than ugly, in a long, black, shapeless dress with minimal makeup and hair severely pulled back; but in her era as in ours, to look so ordinary is enough, coupled with her odd demeanor and an attitude that hints at a lack of inner beauty as well. Still, Ecker can’t help but shine and makes us feel for her, even when other characters can’t or won’t.

Clara, on the other hand, has bright dresses, colorful makeup and an angelic demeanor (she even knows Giorgio is friends with Fosca) that lets you forget she’s an adulteress; and Hawkins gives her a clear, charming voice and easy smile.

Russell plays Giorgio as the eager, loyal hound who rests easy at Clara’s feet and is devoted to the troops he serves with and over. Such qualities are easily misunderstood and abused by Fosca, who drives him to physical illness that seems to mirror her own.

This musical is not known for its catchy showtunes, but for possibly being Sondheim’s most complex romantic story, a show he counted among his favorites in interviews for “Sondheim on Sondheim.” To judge for yourself, see “Passion” at TOTS, 627 Massachusetts Ave. in downtown Indy. Call 317-685-8687 or see www.tots.org.

(Review also posted on The Word.)

 

Avenue Q: A great place to visit again

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

By John Lyle Belden

It’s always amazing, while attending a performance of “Avenue Q,” to see the reactions of those who haven’t seen it before when a Muppet-style puppet drops the F-bomb in one of the first songs (“It Sucks to Be Me”). When I see the, “Did I just hear that?” I’m thinking, “You ain’t heard nothing yet.”

After all, this is the musical that brought us, “Everyone’s a Little Bit Racist” and “The Internet is for Porn.”

Yes, when Fabric-Americans and other diverse people have outgrown Sesame Street, they move uptown, all the way up the alphabet to Avenue Q. This show captures the style of Childrens Television Workshop shows, but is definitely NOT for children. Still, it’s worth it to plug the ears of your Inner Child and go. The show is full of laughs and heart, even with the mature edges, as you get to know and love people just trying to make something of their lives, like all of us.

But what if you have been to this street before? For those who enjoy singing along with “Porn! Porn! Porn!” and look forward to the sight-gag in the hospital scene, you will have a lot of fun with the Footlite Musicals production, running through Sunday at the Hedback Theatre, 1847 N. Alabama St. in downtown Indy.

It’s hard to pick a stand-out performance in this cast, as all are at the top of their game, including Phil Criswell as puppet-seeking-purpose Princeton, Emily Schaab as beautiful Kate Monster, Graham Brinklow and Damon Clevenger as odd couple Nicky and Rod, Chris Meek as struggling comic Brian, Nathalie Cruz as tell-it-like-it-is therapist Christmas Eve, and Ryan England as pervy Trekkie Monster. The biggest pleasant surprise is building super Gary Coleman played by Ervin Gainer, who actually looks like the late child actor. In addition, throw in excellent support from Leigh Alexovich and Dejuan Jackson as boxes, Bears and left hands, as well as Zarah Miller as the legendary Lucy T. Slut.

Another note to newcomers: There is a song about giving to charity, during which the “hat” is passed around the audience – though actors could usually use the money (and cast and crew at Footlite are volunteers), all funds will go towards a genuine charity announced at that point in the show.

Go to www.footlite.org or call 317-926-6630 for ticket reservations.

(This review also posted on The Word.)

After TOTS triumph, Asaykwee continues dark path

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

By John Lyle Belden

If you missed the recent run of the Tracy Letts drama “Killer Joe” at Theatre on the Square, it’s understandable. Sellouts were common, even with an additional performance added.

Still, you would have missed one heck of a show. The raw impact of the story of a redneck Texas family hiring a hitman to kill one of its members, with the titular character agreeing to take the young woman of the family as a “security deposit,” was enforced by a top-shelf cast – including local stage veterans Dan Scharbrough, Nate Walden, Lisa Marie Smith and Jaddy Ciucci.

But the most triumphant performance was by Ben Asaykwee as Joe. For those who only know his work with darkly comic characters – like the many he developed as founder of Q Artistry and shows like “Cabaret Poe” – his chilling transformation into the no-nonsense Texas hitman bordered on shocking. With surprisingly little effort, he projected menace and put us all on notice that his true range and depth is much greater than many ever suspected.

This weekend, TOTS, 627 Massachusetts Ave., Indianapolis, opened the classic Stephen Sondheim musical, “Passion,” playing weekends through March 26. (See www.tots.org.)

Meanwhile, Asaykwee has left downtown and set his sights on entertaining us with the story of an actual killer.

Apparently unafraid of ghosts – working as he has for the past several years in former Masonic Lodge 666 in the haunted neighborhood of Irvington – Asaykwee, with megatalent Claire Wilcher, present “White City Murder,” a new musical based on the exploits of America’s first known serial killer, H.H. Holmes, performed just blocks away from where Holmes briefly lived and is believed to have killed at least one child, who is said to still haunt the home.

The musical runs March 18-20, March 26 and March 31-April 2 at the lodge, 5515 E. Washington St., Indianapolis. It’s plot concerns the “murder hotel” where dozens of young women disappeared during the 1893 Chicago Worlds Fair. The events are recounted in the book “The Devil in the White City” by Erik Larson, which tells of Holmes’ many murders to collect on victims’ insurance and the building he had constructed to make the process of killing and disposal more efficient.

If anyone can set such a macabre topic to music in an entertaining fashion, it’s Asaykwee – who has already succeeded with the works of Edgar Alan Poe and writing an opera about the tragic Donner Party. And if anyone can help make such an odd show work, it’s Wilcher, who just helped co-write “Babes in Toyland,” is a comic legend with 3-Dollar Bill and ComedySportz, and gave brilliant performances in musicals including “Cabaret” and “Man of LaMancha.”

Find ticket information at www.qartistry.org, or follow “Qartistry” on Facebook.

(This story also posted on The Word.)

Review: An entertaining and enlightening Sondheim salute

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

By John Lyle Belden

Did you know that it took three tries before “A Funny Thing Happened on the Way to the Forum” had an opening song that worked?

You get lots of behind-the-scenes glimpses like this in “Sondheim on Sondheim,” Thursday through Sunday at Footlite Musicals. This hybrid of documentary and revue has Stephen Sondheim himself projected on a big screen, talking about his life and career, while live performers – Lauren Bowers, Graham Brinklow, Onis Dean, Laura Duvall-Whitson, Karen Frye, Jeff Fuller, Sarah Marone and Larry Sommers – sing songs from his stage shows. The numbers range from choruses and medleys to full performances of songs like “Gun Song,” “Finishing the Hat” and “Send in the Clowns.”

If you don’t like Sondheim – then, really, why are you reading this? – but if you do like the man or his musicals at all, you’ll find this show charming and insightful. The singers are well up to the task, with some, like director Bill Hale, having worked on the Footlite production of “Follies” a couple of years back. However, the orchestra on stage does threaten to sonically overwhelm them. Fortunately, the audience is also on the Footlite stage, an intimate arrangement that gives the vocalists the freedom and challenge of working un-mic’ed.

Circumstances limited the show’s run, so see it this weekend at the Hedback Theater, 1847 N. Alabama St. Call 317-926-6630 or see footlite.org.

At ATI: A salute to another era, and some sweet stories

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

By John Lyle Belden

Actors Theatre of Indiana is easy to overlook, with its home space being The Studio Theater, next to the bigger Tarkington stage in the Center for the Performing Arts up in downtown Carmel. Yet this little company produces some excellent and worth-seeking shows.

“The Andrews Brothers,” which played just in time for Veterans’ Day, was a valentine to the old USO shows that kept GI’s, sailors and Marines’ spirits up during World War II (and the organization is a valuable resource to service members to this day).

Three men (played by Michael Dotson, Jay Emrich and Don Farrell) – conveniently, brothers with the last name “Andrews” – who couldn’t make the cut for service due to health reasons, but still wanting to do their part, want to move up from being USO stagehands to performing on that stage. When illness prevents the Andrews Sisters from making a South Seas gig, the Brothers get their big break in a way they hadn’t imagined.

Our trio, with pin-up girl Peggy Jones (Mary Jayne Waddell) sing and dance their way through many memorable hits from the era, both as guys, and, hilariously in the second act, as the “Sisters.” It’s all a lighthearted affair, and was a fun trip down memory lane for many in the audience who remembered those days. This led to many wonderful conversations between them and the cast after the show.

As for myself, I and Wendy fell ill in the following days and the distraction of fighting the flu (yes, I had my shot, so I guess it could have been worse!) kept us from writing a timely review.

But ATI is on stage again, and while the previous show was for the young-at-heart, this one is a treat for actual little ones (and the parents and caretakers who read them their bedtime stories): “A Year With Frog and Toad.”

I remember reading the sets of short stories about best-friend amphibians by Arnold Lobel to my son years ago, and can even recall a few favorites. Those scenes are there in the live musical play, crafted by Willie and Robert Reale. The lead characters are brought to life excellently by Bradley Reynolds and Don Farrell, with the help of some supporting critters (Kyra Kenyon and Shelby Putlak), including a very eager snail (Tim Hunt).

If you or your kids are at all familiar with these woodland companions, make plans to visit them on Friday, Saturday or Sunday through Dec. 27. Call 317-843-3800 or visit atistage.org.

Review: Locally-sourced ‘Toyland’

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

By John Lyle Belden

The Footlite Musicals production of “Babes in Toyland” is both old and fresh, as the classic songs by Victor Herbert a century ago are set in a new book by the show’s director Bob Harbin (of Bibdirex fame) and comic megatalent Claire Wilcher (who, unfortunately, isn’t in the show). Harbin notes in the program that the original script is public domain, allowing him to put his and Claire’s own spin on the play.

The first act is practically a play in itself, set mostly in Mother Gooseland. Jack and Jill (Thomas Whitcomb and Breanna Jaffe) have taken a tumble, and Bo Peep (Samantha Shelton) has lost her sheep, but the biggest drama is that Mary Contrary (Claire Cassidy) wants to marry Tom Piper (Jonathan Krouse), but wicked landlord Barnaby (Jeff Fuller) demands to wed her instead. Neither Mary’s mother (Susan Smith) nor Mother Goose herself (Miki Mathioudakis) like the deal, but what hope is there for a happy ending – especially when Tom disappears? Fortunately some Gypsies (“We are Gypsies!” is a running gag) come in to help save the day.

Barnaby suffers a setback, but is not finished. The plot takes our characters in the second act to Toyland, home of a toymaker (Dan Flahive) who has given up on his craft. Time to work up another dramatic showdown towards a happy ending.

This show is very much geared towards the children and kids-at-heart, tykes who don’t mind if the beak of Mother Goose’s Gander (voiced by Curtis Peters) gets a little out of synch or if some of the joke lines fall flat. Another giggle-worthy moment or song-and-dance spectacle from this large all-ages cast is coming right up. Kudos to Fuller for playing his “boo-hiss” villain for all it’s worth. And best scene-stealer goes to Keilyn Bryant as Little BB (as in “Boy Blue”). Harbin does a great job wrangling all of the various elements that go into this show, providing an experience that feels like a holiday tradition, yet is a good alternative to the other traditional holiday shows around town you saw last year (and the year before, and the year before…).

“Toyland,” at the Hedback Theater, 1847 N. Alabama St. in downtown Indy, closes on Dec. 13, so get your reservation now at 317-923-6630 or www.footlite.org.

Review: Fun but unusual “Family” show

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , ,
Gomez Addams (Eddie Curry, center) is caught between honoring the wishes of his daughter Wednesday (Samantha Russell, left) and wife Morticia (Erin Cohenour) in a scene from
Gomez Addams (Eddie Curry, center) is caught between honoring the wishes of his daughter Wednesday (Samantha Russell, left) and wife Morticia (Erin Cohenour) in a scene from “The Addams Family: A New Musical Comedy,” playing at Beef & Boards Dinner Theatre through Nov. 22. — B&B photo

By John Lyle Belden

Beef & Boards Dinner Theatre, 9301 Michigan Road in northwest Indianapolis, hosts “The Addams Family: A New Musical Comedy,” through Nov. 22.

High schooler Samantha Russell more than holds her own in her excellent portrayal of Wednesday Addams next to seasoned pros including Erin Cohenour (Morticia), Eddie Curry (Gomez), Amanda Butterbaugh (Grandma), Jeff Stockberger (Lurch) and Shaun Rice as Uncle Fester, the role he played on national tour.

The story — with Wednesday falling in love with a “normal” boy and trust issues developing between her parents — shows a family that, despite their oddities, are good-natured people we can somewhat identify with. The songs are fun and the comic hijinks entertaining. Though the subplot of Fester’s love affair with the Moon (yes, the actual heavenly body) is a little distracting, it still fits into the odd family culture the Addamses have been famous for, for generations.

The cast also includes Simon Barnes as Pugsley Addams, Blake Spallacy as Wednesday’s beau, and John Vessels and Sarah Hund as his parents. Thing is uncredited, which is unfair as he is quite “hand”some. (No Cousin Itt in this production — maybe in a sequel? — which I’m guessing was a relief to the costume crew.) Also, Jennifer Ladner, Samuel McKanney, Amy Owens, Peter Scharbrough, Kenny Shepard and Christine Zavakos appear as ghostly ancestors — trapped by Fester on this side of the grave until they help Wednesday fulfill her destiny — to help give the show more of an old-time big-dance-number musical feel.

Full disclosure: Your family will enjoy spending time with this family. Get info and tickets at 317-82-9664 or beefandboards.com.