musical

Straight dope from the Cryptid crew

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By John Lyle Belden

Before you read any further, please go to IndyFringe.org and get your tickets for Cryptid Entertainment’s production of “Reefer Madness: The Musical,” this and next weekend (May 2-4 and 9-11) at IF Theatre, and quickly, as performances have been selling out.

Did you score some of this good stuff? Awesome. Here’s what you can expect.

It was high time this campy cult hit – based on the “informative” film from 1936 – returned to Indy, years after its 2007 debut at a venue that has since changed its name (coincidence?). The victim of that production, a young Tony Schaab, has recovered from his habit of wearing strange furry suits to lead the Cryptid cast as the valiant Lecturer, warning us all of the dangers of…

MARIJUANA!

With the help of wholesome young actors, he relates the fateful story of The Harper Affair, in which Jimmy Harper (Chris Ritchie) forsakes his girlfriend Mary Lane (Melissa Mellinger) and the innocence of the Five and Dime soda fountain for the sweet temptations inside the Reefer Den run by Jack Stone (Justin Klein) and his stoned lady Mae (Jessica Hawkins). There, college dropout Ralph Wiley (Daniel Draves) can’t wait to hook more teens and seductress Sally (Addi Koehler) adds carnal pleasures to the mix.

Schaab also watches events unfold as friendly soda jerk Mr. Poppy. Other endangered youths are played by Cameron Hicks, Drake Smith, Kelly Hutchings, Kennedy Wilson, Kylie Schweikarth, and Linda Thompson. As it turns out, the pull of the pot is so strong that perhaps not even Jesus himself (Klein) can help. Only death and destruction – and a bizarre chase scene – can be the result.

From time to time, Abby Morris carries informative placards, including one that says, “REEFER MAKES YOU GIGGLE FOR NO GOOD REASON.” Fortunately, with this cast, under the direction of Bradley Allan Lowe, we have many good reasons to laugh. Music is by the two-person orchestra of Billy Scharfenberger and Elliott Smith. The incredible set is by Dakota Lumley.

Within the badly-made moralizing ‘30s film and the book and songs of the 1998 musical by Kevin Murphy and Dan Studney, there is a cautionary tale (exaggerated as it is) that letting yourself get drawn into addictive behavior can lead to a downward spiral of bad consequences. It could also be noted that the issue with destructive habits isn’t the substance – one could get in these kinds of trouble with legal gambling or alcohol, or whatever consumes your time and attention – but how much we understand the true dangers, and that the desire by some to control you won’t necessarily stop with that one “bad” thing.

Or… never mind – just laugh yourself silly at this over-the-top musical adventure with the most dangerous weed since that Little Shop play that was in town last year.

Big thanks to Cryptid artistic director Dakota Jones for bringing “Reefer” back to Indy, and to stage manager Ariel Laukins for helping me get the info for this review.

Wow… Can you imagine what it would be like if The Stuff actually became legal? Like in maybe about half the U.S. states in one form or another, including all the ones that border this one? *[exhales]* Uh-oh.  

Footlite: ‘Change’ shines

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By John Lyle Belden

When you are the singular housekeeper working in the basement of a modest home, it can feel like your only friends are the new washer and dryer. The swish-swish of the laundry sings to you, a rhythm matched by the Motown backup singers on the radio.

This is the world of Caroline Thibodeaux in “Caroline, or Change,” presented by Footlite Musicals, directed by Bradley Alan Lowe. It is the Indiana premiere of this 2003 Broadway musical by Tony Kushner, with music by Jeanine Tesori, based on Kushner’s own childhood.

Caroline (Damaris Burgin), a Black single mother in Lake Charles, La., in 1963, is fortunate to have a job working for the Gellman family even though they can’t pay much. Their young son, Noah (Asher Ortman) has taken a liking to her, but mostly her companions are Washing Machine (Anya Andrews), Dryer (Markell Pipkins), and The Radio (Jada Radford, Nia Hughes and Vivian Husband). We also meet personifications of the Bus (Samuel McKanney) that brings her to this neighborhood and the Moon (Angela Manlove) that shines up above. But this is not “Beauty and the Beast” – the feeling is closer to “Driving Miss Daisy” but as a musical is almost entirely sung-through. Consider it like an opera for the domestic servant, with music that includes Gospel, R&B, and Jewish Klezmer refrains.

Noah has his own difficulties, as his mother died and his musician father Stuart (Phil Criswell) is remarried, to close family friend Rose (Emily Mae Gaddy), of which the boy does not approve. Also on hand are his Gellman grandparents (Dan Flahive and Gisele Dollinger).

Caroline rides the homeward bus with fellow domestic Dotty (Zarah Shejule). She shares her small home with daughters Emmie (Kaylee Johnson-Bradley), Jackie (Cairo Graves), and Jo (Praia Graves) – her son is with the Army in Vietnam.

Rose notices that, being a typically careless boy, Noah keeps leaving pocket change in his pants when they go into the laundry. She decides to teach him a lesson by announcing that whatever Caroline finds, she gets to keep. However, the boy then makes a point of leaving nickels, dimes, and quarters to see what happens. As for Caroline, the arrangement doesn’t feel right, but this small “raise” is making a big difference for her girls.

National events are naturally at the edge of this story. They are in a relatively quiet Southern city, but still hear news of JFK as well as the Civil Rights struggle elsewhere – also, the statue of a Confederate “hero” in the center of town has disappeared.

Things get more interesting with the Hannukah visit of Rose’s father. Mr. Stopnick (Graham Brinklow) is a liberal New Yorker who feels for what “Negroes” are going through, but wishes they would take a different approach than that of Martin Luther King Jr.

Performances are wonderful all around. Burgin is endearing yet tough as the title character. The limits of her pride are often tested as dealing with “change,” in any form, makes her stronger. Johnson-Bradley is fierce as Emmie, an impetuous youth finding her voice and place in the world she’s growing into. Ortman’s Noah is a likable kid who makes mistakes but means well, though he learns that not everything you say can be taken back.

The most complex role, next to Caroline, turns out to be Rose. Gaddy plays her as someone who realizes she is the “evil stepmother” in this tale and defies that by showing she does care in her own way. At first homesick for New York, she dedicates herself to the household and family she has chosen, including the boy she hopes one day with love her, and the proud Black woman she tries to understand.

Discover this unconventional look at some interesting people (and appliances). “Caroline, or Change” plays through March 16 at 1847 N. Alabama St., downtown Indianapolis. Get tickets at footlite.org.

Drag ‘Sweeney’ so good it’s a crime

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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.)

As we find today’s politicians embracing Victorian-style social mores, Indy Drag Theatre takes its own swipe at the 19th century with its Parody Musical production of “Sweeney Todd,” the penny dreadful-inspired Tony winner by Stephen Sondheim (book by Hugh Wheeler).

As in past Drag Parodies, this company employs appropriate yet over-the-top looks and attitude, while lip-synching to a blended audio track of Broadway and Hollywood (the 2007 Tim Burton film).

In wonderful form are performers Beelzebabe as the titular Demon Barber of Fleet Street; Heather Bea as Mrs. Lovett whose “worst pies in London” suddenly get a lot better; Madison Avenue as aptly melodramatic lost daughter Johanna; Johnee Crash as conniving enforcer Beadle Bamford; Natalie Port-Ma’am as faux-Italian huckster Adolfo Pirelli; Senator Gale Lagations as Tobias Ragg, the boy true to whoever feeds him; and Ilana a la Mode as the mad Beggar Woman. Also featured are Kelsey McDaniel as self-righteous and evil Judge Turpin and Parker Taylor (who could actually sing his parts and was even in a regular production of this musical) as noble lovestruck hero Anthony Hope. The ensemble includes Samoria Mie (who is also the Bird Seller), Abbey Lay, Freddie Fatale, Alicia Brooke, and Kristen N. Peterson (who also cameos as bedlam-keeper Jonas Fogg).

The plot is unchanged: Todd returns to London with a hunger for revenge, and in the process sets up his deadly barber shop to practice with his ultra-sharp razors until the he gets the Judge in his chair. Those dispatched in the process provide the necessary ingredient for partner Lovett’s pies. Meanwhile, Anthony has found Todd’s daughter Johanna locked away (by the Judge, of course) and conspires to free her. There’s also a lot of singing, you get the gist.

While this tale of “man devouring man” has always been served up with a dollop of social commentary, it’s never been done quite like this. Under the direction of Max McCreary, assisted by Kalinda, one point emphasized is that while murder, cannibalism, kidnapping, etc., are just fodder for musical comedy, the “crime” that has us all concerned now in 2025 is the legislative attacks on Drag. Audio cut-ins include the text and debate on anti-drag bills proposed in states nationwide. (The one in Indiana recently failed in committee, but language from “dead bills” can appear in other measures.) Posters on the walls point up how retrograde such attitudes are, connecting the Victorian drama to current events, making the unlikely choice of “Sweeney Todd” for this production strangely perfect.

Messaging aside, the show is spectacular and thoroughly entertaining, with boundless energy and sassy humor.  Kudos to choreographer April Rose, as well as to Alish Forner for costumes, Ciara Myst for makeup, and wigs by Hair By Blair.

If you are wondering about the Barber Chair, typically the silent star of the show – no drag queen is going to let herself be upstaged by furniture. The chair is plain, but the deaths are fabulous with flowing blood-ribbons. There is a nice barber seat in the VIP room, in case you want to upgrade your ticket.

For satire that cuts deep, make your appointment with “Sweeney Todd: A Drag Parody Musical,” Thursday at 7 p.m., Friday and Saturday at 8 p.m., and Saturday and Sunday at 2 p.m. at The District Theatre, 627 Massachusetts Ave., downtown Indianapolis. Get tickets at indydistricttheatre.org.

‘…Now Change’ has changed!

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By Wendy Carson

Mud Creek Players brings us the delightful relationship-based musical comedy, “I Love You, You’re Perfect, Now Change.” However, after casting the production with scripts from a previous version, director Kevin Bell discovered that the “perfect” script had itself changed, thanks to updates by the creators, Joe DiPietro and Jimmy Roberts.

Therefore, if you’ve seen a past version of this show, get ready for a few new twists and takes on some of its classic skits.

This production’s expanded cast keeps the laughter rolling throughout, deftly moving from one scene to the next. Highlights include: Alex Bast’s sweet desire to be more of a ‘Stud” while Kennedy Wilson yearns to be more of a “Babe”; Lauren Werne’s poignant dating video; Kristin Hilger & Logan Laflin sharing a movie date; and Jeremy Crouch and Derek Sumpter just being “Guys”. It’s impossible to pick just one scene to highlight the talents of Onis Dean, Yolanda Valdivia, and Nicole Crabtree, as each remembered role is just as fantastic as the next. I also loved the inclusion of stagehand Meriah Reynolds as an extra included in parts of the show.

If this isn’t familiar, know that the musical is a very funny and at times touching tribute to relationships, from dating to marriage and family to finding yourself single and seeking again.

So, head out this Valentine’s weekend (Feb. 14-15) for a lot of love and laughs at Mud Creek, 9740 E. 86th St., Indianapolis. Get tickets at mudcreekplayers.org.

Musical mystery madness at ATI

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By John Lyle Belden

Actors Theatre of Indiana presents “Whodunit: The Musical” by Ed Dixon, a musical theatre comedy treatment of an early-20th century murder mystery in a style something like a Carol Burnett Show sketch.

As long as you keep this in mind and adjust expectations accordingly, you should have some fun with this felonious farce, loosely inspired by the classic (serious) mystery novel, “The Circular Staircase” by Mary Roberts Rinehart. Some liberties were taken with plot and characters, giving the show twists of its own – even the program book can’t be completely trusted.

In 1931, spooky happenings at remote Sunnyside Cottage have scared off the entire staff except for head butler Thomas (John Vessels Jr.), just in time for the arrival of vacation renter Carrie (Judy Fitzgerald) who arrives with her personal maid Liddy (Cynthia Collins). Soon they are joined by Carrie’s niece Sally (Logan Hill), who has brought a friend from school – a man! Call him Jack (Jacob A. Butler). Things eventually go from awkward to scary when, after the lights go out and are restored, the portrait of Sunnyside’s deceased owner, Mr. Armstrong, is found destroyed and a crowbar – and an expensive cufflink – are discovered on the stairs. Thomas suggests calling the police in the morning, but that becomes sooner when, after all had gone to bed, a dead body is discovered in the middle of the floor.

This rather loose stiff is Reggie Armstrong, the owner’s estranged son – who had also been romantically stalking Sally and framed Jack for embezzlement at his work. Detective Jarvis (Eric Olson) arrives, trusty magnifying glass in hand, to search for clues. It turns out that nearly everyone had an issue with Reggie, and everyone has a gun. Before this mystery is solved, there will be another body, the fortune-telling cards of Zara the groundskeeper, and several song and dance numbers including, “It’s Harder to Move a Body,” and “A Dark and Stormy Night.”

Eventually, though, a Mysterious Stranger will appear to reveal all.

The campy capers are made entertaining by an excellent cast. Fitzgerald takes all the absurdity in stride, including the over-the-top British accent of fellow ATI co-founder Collins. Butler shows interesting versatility; Olson masters the melodrama; and Hill’s performance includes some award-worthy overacting. Vessels, like his character, is master of this madhouse. Julie Lyn Barber is director, with choreography by Carol Worcel, and musical and vocal direction by Brandon Vos.

Discover “Whodunit” through Feb. 16 at The Studio Theater at the Center for the Performing Arts in downtown Carmel. For tickets and info, visit atistage.org or thecenterpresents.org.

A family life far from ‘Normal’

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By John Lyle Belden

We encourage all who can to see “Next to Normal,” the Tony and Pulitzer-winning musical by Brian Yorkey and Tom Kitt at Footlite Musicals.

A couple of caveats: There are all manner of content warnings for this dramatic rock opera about a mother’s struggle with severe bipolar disorder, including themes of suicide, drug use, and treatment by electroconvulsive therapy (ECT). This production places all the seating on the stage, meaning both a more intimate experience and limited audience size. Technically all performances – through Sunday, Jan. 19 – are sold out, but any who wish to take a seat left by a no-show are encouraged to try. Call 317-926-6630 for details.

Diana Goodman (Angela Manlove) looks like a typical suburban Mom, with a headstrong son, Gabe (Parker Taylor); overachieving daughter, Natalie (Tessa Gibbons); and very understanding even when baffled husband, Dan (Milo Ellis). She has also had 16 years of bipolar symptoms, for which she has taken numerous medications.

Off her pills at Gabe’s urging, she goes manic, including inviting Natalie’s new boyfriend Henry (Nate Taillon) to dinner. But everything will come crashing down when the birthday cake comes out.

Bobby Haley plays both psychopharmacologist Dr. Fine and the more helpful therapist, Dr. Madden.  

Realizing the complexities of portraying mental disorders, as well as the advances in diagnosis and treatment since the show’s premiere Off-Broadway in 2008 (and on Broadway the next year), director Paige Scott sought guidance from mental health professionals, including Tracy Herring and Erin Becker (who are also local actors). They said they have seen in their practice people much like the musical’s characters – those with serious mental illness as well as family members with their own issues. Herring noted that practically all the portrayals of symptoms and treatment here are appropriate and not sensationalized for the stage.

“I expected to hate it,” Becker said of her first encounter with the show. But she, too, appreciated the manner in which the events were shown, adding that ECT has become even more manageable than what Diana experiences – the character’s over-the-top response a reaction to past horror stories of “shock therapy.” While considered a last resort (as it is presented here) for severe conditions, Becker notes that some patients will undergo a session, “maybe 30 seconds,” and go to work later that day.

The actors took great pains with their portrayals, resulting in beautiful, heartfelt work. Manlove brings us into Diana’s pain, but we also see the toll her illness takes on the others. Gibbons’s Natalie acts out, needing to be seen; Ellis’s Dan is a rock that is crumbling. Meanwhile, Taylor gives a brilliantly fierce performance as Gabe. Haley strikes the right balance of professionalism and empathy as Madden. Taillon as Henry plays the kind of friend we all need at times like these.

With mental health awareness having come to the fore in today’s culture, “Next to Normal” is as important a theatre work as ever, and in Scott’s careful hands, with this cast and crew, a masterpiece.

Footlite Musicals is located at 1847 N. Alabama St., Indianapolis; online at footlite.org.

Defiance pulls off hilarious Christmas criminal caper

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By John Lyle Belden

In crime, a well-executed theft requires such skill and finesse to be an art. In “The Heist Before Christmas,” the musical farce by Matt Kramer and Defiance Comedy, the art of larceny quickly devolves from Leonardo da Vinci to Looney Tunes.

An artist in all things theatre, Jay Hemphill performs the role of Nick Demarco, third-generation Master Toy Thief who, with hardened criminal Roxy (Shelby Myers) and her goofy younger brother Bobby (Joseph David Massingale) make a “Christmas Jail Break” (also a song – silly numbers like this, choreographed by Emily Bohannon, run through the plot). Once out, they head to Whitakers Toy Box, an independent store that promises a million dollars’ worth of inventory in its Christmas Eve Extravaganza.

Craig Whitaker (Joe Wagner) doesn’t really have a million bucks worth of toys. He has some Legos, plushes, and a lot of debt to settle, having inherited the shop a year earlier from his father. His frustrated clerks Sarah (Robin Kildall) wants to escape to grad school and Devon (Ramon Hutchins) is preoccupied with his band and finding it a new drummer. Practically the only other thing open is an equally customer-free coffee shop, from which barista Lily (Julia Ammons) comes to drop caffeine-loaded hints that she really, really likes Devon.

Our trio of bandits arrive to commit the meticulously well-planned-out robbery that Nick calls “The Silent Night Swipe,” his masterpiece. Craig is just happy to have someone in the store.

Then, a Karen (Carrie Andrews Reiberg) named Karen, who gets a song called “Karen,” and is a total, you know… comes in through the door Bobby forgot to lock to return an item she bought at a different store but it’s not open and this one is, and can she talk to the manager?

Carlos Medina Maldonado plays all the other roles, except for the Robot outside twirling the sign. A master thespian, we have seen Maldonado deliver as various characters in different companies at the Phoenix Theatre (old and new) and the Indiana Repertory Theatre. With Defiance, he shows his deft character range and (continuing the art metaphor) is the Picasso of the poop joke.

This wacky romp also includes an all-important nutcracker, odd plot twists, improbable romance, awkward ghosts, an ‘80s song as a plot device, and a somewhat happy ending – all the things you want from a Holiday Special by people who typically do stupid stuff for Fringe shows.

Kramer has the knack for writing and directing a “bad” (in his words) story that comes out good, with the help of people with who don’t mind “that just happened” fourth-wall bruising improv-style hijinks. Massingale, who once wowed us in the serious musical “Bonnie and Clyde,” shows great comic flair as a much less threatening bandit. Wagner, who leads an improv troupe of his own, excels at “yes-and”-ing the boss who stays optimistic and primed for success, no matter what, anchoring the spiraling misadventures throughout this somehow coherent narrative. We always knew Hutchins could belt a tune; he can now add twerking for laughs to the resume.

Well-played wishes to stage manager Molly North. Ben Rockey likes seeing his name in these reviews.

Just a few opportunities left to witness “The Heist Before Christmas,” including tonight as I post this, at the IF Theatre, home of IndyFringe, 719 E. St. Clair St., Indianapolis. Tickets at indyfringe.org.

Ben Asaykwee saves Christmas!

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By John Lyle Belden

OK, so I exaggerate a bit. Still, local creative treasure Ben Asaykwee does bless us with two holiday shows this month.

His “Christmas Carol Comedy” returns, a parody of the Dickens classic that even Asaykwee calls “the dumbest thing you’ll see on stage.” It’s a perfect chance to stop taking the world seriously for a couple of hours, relax, and laugh at the absurdity.

Remember how silly it was last year, having Matt Anderson as Scrooge and Tiffanie Bridges as Tiny Tim? Well, this year they switched roles. As usual there is a huge cast, with every child who auditioned included as an “urchin” and one of the many, many Cratchit children. The approach of having experienced actors and novices work side-by-side works great in this low-stakes environment. It even bridges generations; for instance, Jaddy Ciucci and Maria Meschi, long-time collaborators with Asaykwee, get to perform with their young sons.

Hannah Boswell gets rowdy as Ghost of Christmas Past, Noah Lee and Mariana Haig are Mr. and Mrs. Cratchit, Kelly Haas is Nephew Fred, Kendrell Stiff is the Dodger, and Spencer Hahn is Kermit the coincidentally-named frog. Also appearing are Lisa Anderson, Luna Capehart, Sophia Capehart, Patrick Clemens, Carrie Cooper, Ben Curry, Jensen Dasbach, Lyra Dickson, Jessica Dickson, Ansel Dilger, Aliyah Distelrath, Lillie Distelrath, Cari Gallagher, Beth Gibson, Lillian Hall, Zara Heck, Elsie Huldeen, Adriel Kyrie, Anna Lee, Ethan Lee, Jared Lee, Samuel Lee, Calvin Meschi, Bastian Russell, Benjamin Thomas, Fynlee Thomas, Charlotte Wagner, and Noah Winston. Boswell also assists Asaykwee with direction.

And it’s also a musical, so we get some clever Ben Asaykwee songs like the gloriously superfluous “We Fly,” and the wit of “You Can’t Take it With You,” which has a style reminiscent of his Cabaret Poe.

But mostly – as it is even sung in one chorus – “this is dumb!” Hilariously, cheekily entertainingly, dumb, and a must-add to your holiday traditions. Performances run through Dec. 22 at The District Theatre, 627 Massachusetts Ave. in downtown Indy.

Also at the District, on Dec. 14, 15, 18, 21, 22, and 23, Asaykwee hosts his Happy JingleSprinkleTimez Cabaret. Another all-ages show, Ben presents a program of songs, stories, poetry and charming video vignettes. The opening performance had a technical glitch that made its moment even funnier;  a couple of surprises are likely whenever you attend, as Asaykwee works the spontaneous magic of live theater.  

And, if the connection to the North Pole is good, we also get a visit with ProZack the Sad Elf.

So, to sum up: Marley’s still dead, Ben Asaykwee performs live, and it would be smart to experience the dumbness. Get tickets at indydistricttheatre.org.

Drag Theatre lets its ‘Freak Flag Fly’

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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.)

In the gay community, “fairy” stings as a pejorative, but Indy Drag Theatre celebrates Fairy Tales in style with its production of “Shrek” at the District Theatre. This parody/homage melds the Oscar-winning 2001 film with the Tony-winning 2008 musical (incorporating more elements of the 1990 children’s book) with bits of sassy attitude (RuPaul’s voice does pop in) appropriate to the milieu.

With all audio lip-synched the story is unchanged, so what sells the show are the non-stop visuals – costumes and props by Ailish Forner, makeup by Ciara Myst, wigs from Hair by Blair, with choreography by Kitt St. Clair, and directed by Maddie Deeken with Beelzebabe – and comic yet compelling performances by Miss Kay-Ottic as Shrek, DeLulu Devant as Donkey, and Luna Magick as Lord Farquaad. Princess Fiona is nicely portrayed by Kalinda, with Cici Pasion and Madison Avenue as her younger versions, and Axel Rosie as “love’s true form.” Natalie PortMan puts the drag in Dragon with her performance as the fire-breathing beauty. Our Shrek and Fiona have chemistry (and not just gastric), while Donkey and Farquaad are each major scene-stealers.

Also notable is Alicia Brooke as Pinocchio and Robin Hood. Various other creatures are embodied effectively by Eli Rose, Johnnee Crash, Brentlee Bich, Norah Borealis, Milo Xpat Tayshuns, Rodick Heffley, Freddie Fatale, Senator Gale Lagations, Ava Morningstar, Aqua Marie, and Gorge Bush.

While fun and familiar, this production is also a loud and proud celebration of our differences, and how together we can find in that freakiness a common bond.

Good news: This time we have the review up in time for you to see the show! Seats sell fast, so get tickets at indydistricttheatre.org for performances 7 p.m. Thursday, 8 p.m. Friday and Saturday, 2 p.m. Saturday and Sunday, Nov. 21-24 at 627 Massachusetts Ave., Indianapolis.

ATI presents romantic pen-pal predicament

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By John Lyle Belden

Easing us out of the Spooky Season and into the Holidays, Actors Theatre of Indiana presents the classic musical, “She Loves Me.”

With book by Joe Masteroff, music by Jerry Bock, and lyrics by Sheldon Harnick (who would next write “Fiddler on the Roof”), this “Holiday Love Story,” based on a 1937 play by Miklos Laszlo, so perfectly fits the template of the modern rom-com, it even inspired one – the 1998 film “You’ve Got Mail.”

In 1930s Budapest, Maraczek’s Parfumerie opens with a sales staff that includes anxious yet jaded family man Sipos (John Vessels), hopeless romantic Ilona (Nathalie Cruz), suave ladies’ man Kodaly (Eric Olson), shy yet competent Georg (Jacob Butler), eager delivery and stock boy Arpad (Ben Friessen), and Mr. Maraczek (Darrin Murrell) himself. Business is brisk this summer day, but there is uncertainty that the new musical cigarette boxes will sell. The boss bets Georg its price that at least one box will – then Amalia (Sophie Jones), a headstrong woman seeking a job at the shop, persuades a customer to gladly buy.

With her costing him money, then taking a job alongside her at the store, Georg and Amalia bicker. They can’t stand each other. However, each has also privately written lonely-hearts letters to an anonymous lover – of course, unknowingly, each other. As the calendar turns to December, the “dear friends” decide to meet in person, at a café notorious for romantic rendezvous. What could go wrong?

Butler and Jones are nicely cast as the sweet and sassy secret (to each other) lovers, whose angry sparks generated at work hide a flame growing in spite of itself. Vessels gives dignified charm to his Hungarian everyman that contributes to the comedy without stealing scenes. Likewise Cruz, who in her Act II solo makes being barely literate sound like an adventure. Friesen, whose character has the same last name as the original playwright, makes an interesting catalyst to several scenes while cheerfully playing the maturing lad making his way in the world. Olson gives us a bad boy in both the playful and eventually literal sense, breaking hearts and making scenes with panache. It was good to see Murrell, a steady hand both on stage and off (as ATI’s Associate Artistic Director), as the good-natured but firm – and troubled – boss.

Customers adding little touches of fun in the shop, and appearing in other roles, are Elizabeth Akers, Cynthia Collins, Terrance Lambert, Josh Maldonado, Carrie Neal, and Brett Mutter, who has a wonderful turn as the café head waiter.

Note that it’s not all fun and romance, as subplots include infidelity and a moment of self-harm. But true to romantic stories throughout the ages, all will be well in the end.

The show is directed by Richard J. Roberts, who is also resident dramaturg at Indiana Repertory Theatre. Thus, he found this story interesting as a look into the relatively carefree atmosphere of Eastern European cities in the years before World War II and the strife that followed. Unlike the air of denial that permeates “Cabaret,” this reflects more of a genuine joy that – especially from our perspective – is worth celebrating though (or because) it can prove fleeting.

Choreography is by Carol Worcel, with music and vocal direction by Nathan Perry, and Jessica Greenhoe is stage manager.

For those who enjoy watching the journey from meet-cute to “I do,” or need an idea for your next romantic date, may I suggest “She Loves Me,” performances through Nov. 17 in The Studio Theater at The Center for the Performing Arts in downtown Carmel. Get info and tickets at atistage.org or thecenterpresents.org.