musical

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.

Andersen’s own duckling-to-swan story in new musical

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By John Lyle Belden

The life of Danish author Hans Christian Andersen was quite extraordinary, resembling a novel – or perhaps, a fairy tale.

Indy Bard Fest presents “Andersen: A Fairy Tale Life,” a new musical written and directed by June McCarty Clair (with music by Derek Hakes and lyrics by John C. Clair), based on the true events of the tale-spinner’s life.

We first follow Andersen as a boy (played by Preston Blair) in the small town (at the time) of Odense on Denmark’s island of Funen – far enough from Copenhagen for it to be considered boring but close enough for royalty to visit for a quiet vacation. Raised on literature by his father (before he died) and folk tales by his illiterate mother (Lisa Anderson), the lad would sing and recite for coins on the street.

Having a good voice and endless ambition, as a teen (Grant Craig) he makes his way to Copenhagen hoping to be a performer as well as a writer. Nearly penniless, he finds his way to Jonas Collin (Mac Williams), who takes him in, and with famous voice teacher Siboni (Thom Brown), scientist H.C. Orsted (Duane Leatherman), and, reluctantly, Jonas’s son Edvard (J.B. Scoble) undergo a grand experiment to see if a low-born person with potential can bloom into a celebrated genius. Struggling at first, Andersen is sent to study under cruel schoolmaster Simon Meisling (Matthew Socey) to improve his grammar. Instead, he writes a poem which somehow makes its way into print.

This first act not only gives us an interesting biography but also provides a showcase for the talents of Blair and Craig, who get their own songs and fully realized scenes – not just used as younger faces to get to the man we know. With Craig’s charm and vocal chops, he easily portrays the star potential of the confident young Dane.

The second act brings on Andersen as a young adult, in which Matt Anderson channels his charisma into a man who came across as gangly, awkward, and eccentric, yet somehow enchanting. In these years success came easily, but happiness and a sense of belonging elude him. People love his stories, but what about the man?

This play includes references to a number of Andersen’s tales, with one even acted out by children. The songs serve the plot well – such as “Another Door,” as young Christian deals with rejection as he pursues his destiny. The second-act song “Fairy Tale Life” has showstopper potential.

Other notable performances include Rachelle Woolston as Mette the Fortune Teller, Sara Tewes as a famous ballerina, Erika Koepfer as Louise Collin, Nan Macy in brash-woman roles as usual, and Greta Shambarger as the one kindly person who doesn’t slam the door in Andersen’s face. They are joined by Beth Gibson, Derek Hakes, Emelyn Woolston, Owen Flint, Andy Burnett, Mel Burnett, Lucy Isles (Little Match Girl), Jacob Meneghini (Ugly Duckling), and Thom Johnson (Mayor of Odense).    

“Andersen: A Fairy Tale Life” is an entertaining examination of a true rags to riches story, a testament to overcoming one’s disadvantages with persistence. We get glimpses into both the author’s humor and his melancholy that informed his often-tragic writings. Ever feeling the outsider, he still lived a full and, eventually, celebrated life. The story doesn’t delve into current scholars’ controversial speculation of his sexuality, yet does portray the loneliness we know he felt.

Remaining performances are Friday through Sunday at Shelton Auditorium, 1000 W. 42nd St., Indianapolis (southwest corner of Butler University campus). For information, see indybardfest.com, or find tickets here.

Little extras make Z&Z ‘Rocky’ an ‘absolute pleasure’

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By John Lyle Belden

It’s been a few years since we looked in on the Zach & Zack (“Zachk”) production of “The Rocky Horror Show” (not the movie, the original Richard O’Brien stage play) and “Brad, I’m so glad” I returned for this year’s edition.

If you are reading this, odds are you know the story – a super-campy musical tribute to the spooky “science-fiction double-feature” of decades past. If you don’t… well, “virgins,” this isn’t just a play, it’s an experience. Just roll with the weirdness and shout along when prompted.

That’s one of the cool things about this production: The audience prompts are flashed above the stage. It keeps everyone mostly in unison, though it standardizes the shouts and we are asked not to add more if we know additional lines (I said quite a few, normal-voiced, at my table, surprised by how many I remembered).

Producer Zach Rosing and director Zack Neiditch have assembled an excellent cast of joyous freaks. In charge of this menagerie is the incomparable Tim Hunt as Dr. Frank N. Furter, the “Sweet Transvestite” and our host as “a-hole” square Brad (Suraj Choudhary) and naïve “slut” Janet (Logan Hill) arrive at his castle looking for a phone but instead finding a mad experiment – bringing life (itself!) to the muscular Creature, Rocky (Johnnie Ray Hughes). Overseeing this mayhem are Matt Branic as Riff-Raff, Elizabeth Gee as Magenta, and Matthew Altman as a marvelous trans Columbia (it completely works, especially when the costume malfunctions).

Steven Ryan Crays appears as unfortunate Eddie and returns as the noble Dr. Scott. The funky phantom ensemble are Alexa Abbott, Megan Arrington, Kelvin Burzon, Brittany Michelle Davis, Danny Kingston, and Kendrell Stiff.

Most impressive to me was the interludes with our dramatic Narrator, Craig Kemp. While initially shown on the nearby screen in the expected stuffy study, his performance literally goes all over the place. You never know where he and his faithful videographer will appear next as he expresses in solemn tones the goings-on and how imperiled our (sorta) innocent couple truly are. This aspect of the show adds to an already immersive experience, raising the entertainment value, especially for us jaded “Rocky” veterans.

A Halloween treat for mature audiences with immature tastes, “The Rocky Horror Show” runs through Nov. 2 at the Athenaeum Theatre (due to its historic nature, no bringing “props” allowed), 401 E. Michigan in downtown Indy (corner of Michigan, New Jersey, and Mass Ave). For tickets, go to rockyhorrorindy.com.