musical

Review: Where there’s “Smoke,” there’s a mighty fine show

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The cast of Beef & Boards Dinner Theatre's
The cast of Beef & Boards Dinner Theatre’s “Smoke on the Mountain: Homecoming,” running through Aug. 16. — Beef & Boards photo

By John Lyle Belden

For regular patrons of Beef & Boards Dinner Theatre in northwest Indianapolis, just saying, “There’s a ‘Smoke on the Mountain’ show!” is enough to get many scrambling to contact the box office.

The popular original off-Broadway show centers on a gospel-singing family putting on a “sing” at a rural North Carolina church in the 1930s. Aside from seeing the interpersonal drama among the Sanders clan and sharing a few laughs, the audience is treated to a series of old-time hymns and gospel tunes, with the cast playing an array of instruments.

The sequel, “Sanders Family Christmas,” has the family returning to Mount Pleasant Baptist Church for a holiday sing in 1941, the last show before the Sanders’ son goes off to war.

The present production, “Smoke on the Mountain: Homecoming,” takes place in late 1945, with the war over and young Dennis (Will Boyajian) back with the family, following through on his service as a chaplain and a lifelong call to take the pulpit as the Mount Pleasant minister.

The departing pastor, the Rev. Mervin Oglethorpe (John Vessels), responded to a request to open a church in Texas and will leave the next day, taking his very pregnant wife, June (Sarah Hund), the Sanderses’ elder daughter. Burl and Vera Sanders (Bob Payne and Pam Pendleton) still have daughter Denise (Christina Rose Rahn), Dennis’ fraternal twin, now married with twins of her own, as well as Burl’s troubled brother, Stanley Sanders (Brian Gunter).

They are hosting one more sing before the Oglethorpes depart, but it becomes apparent that there are still a few issues to work out.

It helps that most of the cast is the same as past B&B “Smoke on the Mountain” productions, especially Vessels as the emotional and hyperactive Brother Mervin and Hund at her comic best as simple June, who provides the family band’s percussion, sometimes in hilariously inventive ways, and signs rather than sings — though some of her gestures might confuse any deaf audience members who happen by the church.

Boyajian and Rahn make their B&B debuts but manage to fit right in as though they had always played the Sanders twins, especially when circumstances force them to re-enact a song from when Dennis and Denise were very young.

It’s not all comedy; be prepared for some very serious moments of testimony and a lot of talk about Jesus. But this is what comes naturally in a musical with a song list that looks like one from a small-town Sunday school.

In fact, especially when Dennis or Stanley recall their darkest hours, it’s easy to forget that these are fictional characters. But the spirit (or Spirit, if you believe that way) of the play stays true to the memories of those of us who ever attended a little church in the backwoods -– or a hometown congregation anywhere.

One hopes that playwright Connie Ray would eventually see fit to have the Sanderses go see June and Mervin for a Texas-sized gospel sing, but for now we can enjoy witnessing the “Homecoming” daily except Mondays through Aug. 16 at 9301 N. Michigan Road, near the Pyramids. Call 317-872-9664 or see beefandboards.com.

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Review also appears in the July 23 edition of the Greenfield Daily Reporter.

Opening in the wide open spaces of “Oklahoma,” or Noblesville

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Nick Gehring (Curly) and Emma Rund (Aunt Eller) in the Young Adults production of "Oklahoma!" at the Booth Tarkington Civic Theatre in Carmel. -- Civic Theatre photo
Nick Gehring (Curly) and Emma Rund (Aunt Eller) in the Young Adults production of “Oklahoma!” at the Booth Tarkington Civic Theatre in Carmel. — Civic Theatre photo

There are two stage openings of note this weekend.

The Rodgers and Hammerstein musical “Oklahoma!” is on the boards at the Booth Tarkington Civic Theatre in The Center for the Performing Arts in downtown Carmel. This is the annual summer production performed mainly by late teen and early 20s actors. Given the youth theatre and high school thespian scene, these “kids” might already have some seasoning, but career- or volunteer-vocation-wise, they are just getting started.

Summer brings out local devotees of the immortal Bard (both on stage and in audience) for Shakespeare in the Park. Thursday through Saturday this weekend and next, a production of the comedy “Twelfth Night” will be presented at Seminary Park, located between 10th and 11th streets, and Division and Hannibal streets in Noblesville. Festivities start at 7:30 p.m. and admission is free.

For something a little different this weekend (for grown-ups only) the Angel Burlesque “Nerdgasm” returns to Theatre on the Square on Mass Ave. in downtown Indy, Friday and Saturday, starting at 10 p.m. Being geeky has never been sexier.

— Go have some fun!

Review: Ohmygod, you guys! CrazyLake has hit with “Legally Blonde”

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Amy Studabaker (left) is townie hairdresser Paulette and Peyton Cole is Harvard law student Elle Woods in the CrazyLake Acting Company production of
Amy Studabaker (left) is townie hairdresser Paulette and Payton Cole is Harvard law student Elle Woods in the CrazyLake Acting Company production of “Legally Blonde: The Musical” — CrazyLake photo

By Wendy Carson

CrazyLake’s new show, “Legally Blonde: The Musical,” does a fantastic job of showcasing many of the talented young adults in the Hancock County area. With a mere 15 percent of the enormous cast consisting of adults, it’s really impressive to see these kids ruling the stage. I’m sure most of them will be off to college and out of the area very soon, but those that do stick around should be regulars on the area stages very soon.

Besides the overall level of acting and singing, the true stand-out here is the choreography by Amy Studabaker. The various dances are not only artfully crafted but perfectly executed. This is especially amazing in the numbers with seven or more dancers performing in unison. The finale with the entire cast is particularly breathtaking.

The show’s story is very faithful to the original movie’s script and the elaborate musical numbers do not detract from the story. However, like the film it was based on, it never takes itself too seriously. Hence, the running gag of Elle’s “Greek Chorus” appearing periodically thoughout.

Payton Cole is sheer perfection in her turn as Elle, a ditzy sorority girl who will do anything (including getting in to Harvard Law School) to snag the man she feels she is destined to be with. Harrison Kenn is appropriately pompous and self-involved as the object of Elle’s affections. Patrick Gawrys-Strand’s does a beautifully nuanced job in his role as Emmitt, the financially disadvantaged kid who is Elle’s most faithful supporter. Studebaker is delightful as Paulette, the salon owner with her dreams of Ireland and a better life with a good man who truly supports her.

Still, many of the true stand-outs are in some of the “lesser role,” such as the divine band of ladies playing Elle’s sorority sisters and the Greek Chorus. Trevor Brown’s take on Kyle, the UPS guy, was hilarious and fun to behold. Of course, I cannot leave out the amazing talents of the two most adorable cast members, Banner McDowell-Fisher and Buddy Brown as Bruiser Woods and Rufus — they were consummate professionals through and through.Honestly, I could easily write at least a dozen or so more paragraphs highlighting every single performer and role but I already feel like I’m exhausting my audience’s patience as well as running out of adjectives. So just let me say that every single cast member was sheer perfection, and if anyone out there misses this production, they will truly regret it.

Performances are today through Sunday and July 17-19 at the H.J. Ricks Centre for the Arts, 122 W. Main St. in downtown Greenfield (on U.S. 40, just west of the county courthouse). Info and tickets at the CrazyLake Facebook page and CrazyLake.com.

Review: An imperfect “10”

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Sean Baker (right) rehearses with Dan Flahive, who is also in the cast of Baker's
Sean Baker (right) rehearses with Dan Flahive, who is also in the cast of Baker’s “Perfect ’10′”, holding its world premiere at Theatre on the Square in downtown Indianapolis. — TOTS photo

By Wendy Carson

Theater on the Square is currently presenting the world premiere of a new play, “The Perfect ’10’,” by local musical talent, Sean Baker. Baker has a long musical history in the Circle City, comprising of being part of several bands, The Leisure Kings being the most well known. He is also the house pianist for Chef Joseph’s at the Connoisseur room, the current and more upscale incarnation of Agio.

Being an autobiographical piece, the story is a new artistic offering for Baker. However, it does fall short of its goal. It plays more as a play being workshopped than a finished product.

This is not to say that it is entirely unwatchable and does not show some promise. The story development in the second act is quite compelling and does prove that, with some polish and rewrites, that this play will work.

There are quite a few good laughs to be had, especially Sean’s encounter with “Beaux Derek.” Maybe with the trimming of unneeded characters, Justine and Allyson in particular, it would flow better. The interactions with Sean’s therapist might be better reflected with her in voice-over, save for a late-night phone call which plays perfectly. Also, while the bartender’s actions are quite funny, he does tend to upstage and draw attention from some of the more vital dialogue. A reining in of his antics is needed. Plus, it wouldn’t hurt to add a few more songs and eventually turn the show into a full-fledged musical.

I would advise you to either watch or re-watch the movie, “10” (1979, directed by Blake Edwards, starring Dudley Moore and Bo Derek) prior to the show as there are quite a few inside jokes and nods to it in the play. Still, if you’d like to catch a rising talent at beginning of his writing career, go and check out “The Perfect ’10’” at TOTS, 627 Massachusetts Ave., Indianapolis. Call 317-685-8687.

Review: Bobdirex’s “Jesus Christ Superstar”

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From left, Patrick Clements, Joe Doyel and Julia Perillo as Jesus, Judas and Mary Magdalene in Bobdirex's production of
From left, Patrick Clements, Joe Doyel and Julia Perillo as Jesus, Judas and Mary Magdalene in Bobdirex’s production of “Jesus Christ Superstar.” — Photo by Zach Rosing

By John Lyle Belden

Producer and director Bob Harbin, a/k/a Bobdirex, is notable for bringing shows that are new and/or rarely-seen in Indy, and always thought-provoking. So, as he now presents the Andrew Lloyd Webber and Tim Rice standard “Jesus Christ Superstar” – which has featured rocker Sebastian Bach, cinema-version star Ted Neeley and others over the last decade or two – I had to ask, as I prepared what I would write here: What new thing(s) does Bob feel he is showing us with his “Superstar”?

So I asked him directly, and he generously responded:

“I’ve seen a couple of those local productions, and always felt like little attention had been paid to casting people who could really sing the leads – I felt like I was being yelled at when I think the folks were simply trying to hit the notes. I’ve wanted to investigate this show, but promised myself I’d never do it without the voices.
“I also wanted to do something that didn’t feel like it had to move to another time zone to make it relevant, and cast it with the best folk with a blind eye to gender, color, size, etc., which is something that’s important to me every time.
“I really believe in the abilities of our local talent – we just have to pay attention to where we put them, and sometimes wait until the right ones are available. I love that the performance you’ve just seen and that you’ve just enjoyed was done by someone who could be your next-door neighbor.”

Well, he nailed it on the voices. In “Superstar,” playing Thursday through Sunday and June 19-21 at the former Civic Theatre stage at Marian University, Joe Doyel sings with all the necessary power needed for the lead role, Judas Iscariot.

(For those unfamiliar with the plot of Webber and Rice’s musical Passion Play, much of the story is told from the point of view of Judas. His frustration at, and arguably misunderstanding of, Jesus’ actions at the end of his ministry lends a thought-provoking perspective without compromising the sacred aspects of the Gospels. We also see Jesus’ frustration at followers who don’t seem to grasp his purpose, Mary Magdalene’s responses to her master’s fading morale, and the Jewish leaders – driven by politics as much as faith – conspiring against what they see as a “dangerous” man.)

For the other male lead, Patrick Clements embodies the full range of feelings – gentle, irritated, consoling, angry, despairing and humbled – necessary to portray Jesus. He never overdoes it, which would bring too much attention to the actor rather than the Christ he represents, but you still sense the authority he brought to his red-letter biblical utterances.

But this play’s biggest revelation is 17-year-old Julia Perillo as Mary. Her sweet, strong voice is tested but doesn’t break, providing the necessary feminine counterpoint to Judas’ proud bluster. When she sings of her beloved Christ, “he scares me so,” we shudder with her.

In another vocal coup, Harbin has brought Michael Lasley – usually encountered as the “voice of God” who tells us to silence our cell phones at the Booth Tarkington Civic Theatre – onto the stage as Caiaphas to rumble with astounding clarity all of those low notes.

Ty Stover is excellently cast as Pontius Pilate. We’re used to seeing him in lighter roles, but it’s easy to see how he can still do such an iconic dramatic role in his sleep (which he doesn’t – he was totally awake, I’m sure).

The role of King Herod, the closest Webber and Rice come to comedy relief, is played flamboyantly by Danny Kingston. Though the performance verges on “Queen Herod,” he still makes it work.

Overall, Harbin’s direction brings us the familiar story and songs in a highly competent manner that holds our attention, aided by Kenny Shepard’s choreography and a simple set with laddered structures that take advantage of the roomy stage. He also makes the decision to not soften the ending: What happens beyond the cross is left to the viewers and their faith.

Whether you’ve never seen this classic musical or sat through it a hundred times, this production is worth attending. Find the stage at 3200 Cold Spring Road, Indianapolis. Get tickets at 317-280-025 or bobdirex.com.

Review: “American Idiot” at Phoenix Theatre

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By Wendy Carson

From left, Matthew Lee, Spencer Curnett and Lincoln Slentz star as three best friends in
From left, Matthew Lee, Spencer Curnutt and Lincoln Slentz star as three best friends in “American Idiot,” through July 5 at Indy’s Phoenix Theatre. — Phoenix Theatre photo by Zach Rosing

In 2004, punk band Green Day released their celebrated concept album, “American Idiot.” The album’s lineup formed a story of teen angst in the new millennium. Upon hearing the record myself, I could see the threads of the story woven together in a complex narrative that seemed to lend perfectly to a full-fledged musical. Luckily for us all, Michael Mayer felt the same and Billie Jo Armstrong, the band’s lead singer, agreed. While many of the overall themes of the show hearken back to Mayer’s previous show, “Spring Awakening,” the story’s present-day setting makes it more accessible to the target Millennial audience. With Indiana’s current increase in heroin usage and the resulting HIV crisis, the show could not be more relevant and meaningful. Naturally, The Phoenix Theatre proudly brings this story to the Indy stage almost a year to the day after its Broadway run’s end.

The show’s story follows just under a year in the life of three slacker buddies (Johnny, Will, and Tunny). Their disillusionment with life in their suburban home town leads them to decide to take a bus to the big city and go experience all that life can provide. Sadly, Will is waylaid before he can even leave by his girlfriend’s unexpected pregnancy so he is forced to remain behind and long for the adventures relayed by Johnny’s occasional postcards.

In the big city, Tunny is plagued by intense depression and is called to join the army in order to find himself. He eventually ends up a troubled, broken veteran who only survives with the love and devotion of an Extraordinary Girl.

Meanwhile, Johnny’s search for meaning leads him to the seductive world of drugs, courtesy of the charismatic St. Jimmy. During this time he meets the girl of his dreams and they share a fiery affair until she tries to wake Johnny from his drug-fueled haze. Things escalate quite quickly with him choosing the allure of St. Jimmy to the love of Whatsername.

Eventually, all three characters reunite in their little hometown to face the choices they’ve made and how they’ve changed as a result of them.

Directors Bryan Fonseca and Emily Ristine have rounded up an exceptional cast to bring this story to life, many of whom are veterans of the Phoenix’s 2011 production of “Spring Awakening.” Spencer Curnutt expertly brings all of Johnny’s angst and desperation to his performance. Lisa Ermel once again shows her amazing range in the ethereal role of Whatsername. Lydia Burke brings a poetic grace to her Extraordinary Girl. Matthew Lee and Carly Kincannon’s portrayal of Will and Heather expertly show the harsh reality of teenage parenthood. Eric J. Olson shows the dangerously enticing St. Jimmy and his world of drug-fueled oblivion as an easy answer to life’s stresses, yet never lets us forget its cost. Lincoln Slentz’s vulnerability as Tunny was only marred by his struggle to stay in tune on some of the songs. While the remaining five cast members are only listed as “Ensemble”, their ability to believably breathe life into the myriad of roles they are called on to assume makes each one stand out as a major talent.

While the harsh, grittiness of this show might make some apprehensive, the show’s message resounds so much with today’s youth that it should be a must-see for anyone over 15 if only to show them some of the harsh realities of the world and drug addiction in a format they will better respond to. I would best describe the show as this generation’s version of “Hair” (sans nudity but with mature language and a scene of simulated sex). See the show Thursdays through Sundays through July 5 at the Phoenix Theater, 749 N. Park Ave. (corner of Park and St. Clair near Mass. Ave.), Indianapolis, but you should get your tickets soon, because they are selling quickly and you really don’t what to be an American Idiot by missing out.