musical

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.

‘Boots’ a good fit for Civic

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By John Lyle Belden

The musical “Kinky Boots,” now on stage at the Booth Tarkington Civic Theatre, is a story both of its time and for today.

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

From today’s perspective, this venture looks like a typical business risk of reaching a niche market. In its context, it’s a cultural bombshell. In 1999, we’re getting used to seeing openly gay characters on TV; in 2005, we are still about five years from the repeal of “don’t ask, don’t tell” in the military, with gay marriage settled even later.

But this isn’t an artifact of a less-enlightened time. The plot delves into the world of Drag, a culture now under attack, as is gender fluidity and expression in general. “Kinky Boots” reminds us how much we have changed for the better, and how much we haven’t.

Jacob A. Butler plays Charlie Price, a young man who doesn’t want to spend his life making shoes, yet unsure of what he does want. While seeking a job in London with his fiancé Nicola (Braxton Hiser), he encounters club headliner Lola (Jonathan Studdard), who complains about the flimsy heels they have to wear. Meanwhile, as his father (Fernow McClure) has recently died, Charlie has to shut down the Price & Son factory and lay off employees who are like family to him. When one of the workers, Lauren (Kelsey McDaniel), suggests he look to fill an underserved market, inspiration strikes. With Lauren (who secretly has a crush on him) as his assistant, and Lola brought on as designer, Kinky Boots footwear is born.

Not all the workers are on board at first, especially “manly man” Don (Peter Scharbrough). Charlie also has difficulty with Nicola, who wants to sell the factory to convert the building into condos. His hopes rest on the new boots being a hit at a designer footwear show in Milan in just a few weeks – leaving him short on both time and budget.

The large cast includes Tommy McConnell and Ryan Thomas as Charlie and Lola as young boys, and Joshua Hyde as Lola’s father. Our queen is backed by a cloud of Angels, played fabulously by drag performers April Rosè, Justin Sheedy, Blair St. Clair, Vera Vanderwoude St. Clair, Parker Taylor, and Jason Wendt.

Studdard is incredible, bringing both power and vulnerability to the role of Lola. Butler plays Charlie like one on a crash course through the school of hard knocks, needing to learn fast for the sake of others besides himself. Among the lessons are that reliance on others goes both ways, as well as that drag is life, not just a lifestyle.

Scharborough is also notable, Don being a man who has sense literally knocked into him. McDaniel is both sweet and funny as Lauren, making her every-woman character one to root for.

This production is directed by Suzanne Fleenor, who hopes the show will raise both our spirits and our desire to stand for equal rights for all. Brent Marty is musical director; Deena Fogle is stage manager. Choreography is by Kasey Walker.

Fun, funny, and most of all, inspiring, “Kinky Boots” is about a lot more than shoes. Performances run through Oct. 19 at The Tarkington in The Center for the Performing Arts in downtown Carmel. For info and tickets, visit civictheatre.org or thecenterpresents.org.

IRT does A-OK with the B-E-E

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By John Lyle Belden

Funny how so much of your life seems to hinge on what happens in your middle-school years. Funny enough, in fact, that it’s good to laugh – with, not at – the struggles of the kids caught up in “The 25th Annual Putnam County Spelling Bee” at Indiana Repertory Theatre.

Being the IRT, you can expect and experience a highly professional production, including the nicely constructed Gym setting (in a fictional “Putnam County, USA,” though the program notes there is such a county in Indiana, to the west of Indy) with a lively scoreboard that lights up to cleverly illustrate and comment on the goings-on below. A sharp cast of local and visiting actors give us characters we can all relate with or knew in our school days.

We meet Rona Lisa Peretti (Michelle Lauto), our upbeat emcee and past champion; assistant principal Doug Panch (Ryan Artzberger), who calls out the words and promises to behave this time; and Mitch Mahoney (R.J. Griffith), who is “comfort counselor” as part of his court-ordered community service.

The contestants are: Chip Tolentino (Matheus Barbee), noble Boy Scout and last year’s winner; Logaine Schwartzandgrubenniere (Devin Mathias), a budding activist with two very involved dads; Leaf Coneybear (Dominique Lawson), a homeschooled free spirit unsure of his own worth; William Barfeè (Brett Mutter), armed with confident bluster and his “magic foot;” Marcy Park (Ayana Strutz) an overachiever (six languages!) who was spelling champ at her previous school; Olive Ostrovsky (Ariana D. Burks), a shy girl with distant parents, her best friend is the Dictionary; and some spellers chosen from the audience (don’t worry, you have to apply to be selected).

This musical, by Rebecca Feldman with Rachel Sheinkin (book) and William Finn (music and lyrics), directed and choreographed for IRT by Patdro Harris, is lively, funny, and heartfelt. We get both the present challenge for these youths, the stress of the bee expressed in the song “Pandemonium,” as well as a look into their inner lives, as each gets at least a song of their own. Castmates step in to portray family members as needed. The humor comes from their situations, as well as great one-liners such as an interesting “fact” given about each contestant – including the selected audience members – and the replies to “please use the word in a sentence.”

The elements of improv keep the show fresh and unpredictable (these actors are up to the challenge), and even yielded some of the biggest laughs on opening night. If you are familiar with the show, you know who wins the contest – but the finalists’ performance lends sufficient tension to make the ending work. It is also uplifting to see most who don’t hoist the trophy each find victory in their own way.

It’s hard singling out individual performances, as this was such a great ensemble. Artzberger is such an IRT mainstay that it’s easy to overlook just how naturally he puts on every character he’s called on to play. Lauto isn’t local, but as Peretti has a natural chemistry as though she truly was this county’s top realtor and past spelling champ. Griffith gives the right balance of “street” and sweet called for in Mitch’s situation.

Mathias is familiar to local audiences, though not necessarily her earnest lisping inner child as Logaine. Lawson demonstrates wonderful versatility by leaving behind his turn as Seymour from “Little Shop” a few months ago to give us the charmingly naïve, yet brave, Leaf – reflecting many of us in the audience when blurting “is that even a word?” when given something obscure to spell – as well as an important moment as one of Logaine’s dads. Barbee also has some great moments (including one Chip would rather forget) and a good pitching arm with the snack tray. When done right, you just want to give Olive a big reassuring hug – and I think Burks had us all that smitten. Barfee is so many things – obnoxious, aggrieved, confident to a fault, needing to succeed to feel worthy, wanting to be appreciated, and on the edge of unsure – Mutter nails them all. As Marcy, Strutz was perfectly cast as she is not only wonderful in the role, but also capable of the dance and gymnastics that make her solo number really pop.

Kudos also to scenic design (mentioned above) by Britton Mauk, and music director Joshua Burniece. In the lobby balcony, there is a display that includes how costume designer Linda Pisano reflected the characters’ personalities in their outfits.

This show is at the IRT for just a short spell, through Oct. 13, at 140 W. Washington St. in the heart of Downtown Indianapolis. See irtlive.com for information and tickets.

Footlite hosts incredible ‘Cabaret’

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By John Lyle Belden

Theatre so often holds up a mirror to the current mood, so we find ourselves with a new production of the Tony and Oscar-winning sensation, John Kander and Fred Ebb’s musical “Cabaret” at Footlite Musicals, directed by Isaac Becker-Chamberlin.

In 1930s Berlin, many deal with the growing social and political tensions with hedonistic pursuits. Welcome – “wilkommen” – to the Kit Kat Club, where a living cypher of an Emcee (Lucy Fields) has a story to show you. “Leave your troubles outside!” These characters will have plenty of their own.

American writer Cliff Bradshaw (Derek Savick-Hesser) encounters a friendly local, Ernst Ludwig (Bobby Haley) who sends him to a friendly boarding house run by Fraulein Schneider (Marie Beason) and to the very friendly Kit Kat, where he encounters English singer Sally Bowles (Addison Koehler). We also meet Fraulein Kost (Emily Gaddy), a young woman seemingly “related” to half the German navy; as well as older gentleman Herr Schultz (Len Mozzi), who runs a fruit stand and is sweet on Schneider.

The club’s “Beautiful!” dancers are played by Tajeyon Bohannon (Victor), Logan Laflin (Hans), Halle Massingale (Frenchie), Amy Matters (Fritzie), Nicole Sherlock (Rosie), Louis Soria (Bobby), Nate Taillon (Herman), Linda Thomson (Texas), Katie Van Den Heuvel (LuLu), and Kennedy Wilson (Helga).

The familiar story plays out of people in a city distracting itself from the oncoming madness, finding everyday pursuits – love, family, marriage, and making a little money – all becoming tainted by this atmosphere. The songs advance the plot as well as entertain, from fun numbers like “Don’t Tell Mama” and “Two Ladies” to the defiant melancholy of the title song.

You’ve seen it before, perhaps, but not like this. Diverse casting, including plus-sizes, makes this Berlin dive look a bit more authentic, but still loaded with talent.

Koehler is amazing, playing Sally as a gritty survivor, always one step ahead of any sense of failure, thus never wanting the party to stop. Beason and Mozzi are so adorable, you really do want to see Schneider and Schultz together. Haley keeps Ernst so darn likable – until he’s not. Savick-Hesser is a charming audience proxy, our emissary to this very foreign world. His Cliff is an interesting soul, sorting out his feelings for men, and Sally, while both savoring Europe and missing Pennsylvania.

Key to the unique nature of this “Cabaret” is Fields’ outstanding performance as the Emcee. Being a trans woman allows her to present a perplexingly androgynous character. Essential to the role is the notion that this person is in charge, ever crafting expectations and pulling the strings on the narrative you are meant to see. Absolute control over their look and presentation, coupled with the clown jester’s license to confront you with dark truth while wearing a big smile, as well as being a near-constant presence, helps Fields emphasize that what they show you is important. In the end, after all, it’s life and death.

Choreography is by Conner Becker-Chamberlain and Emily Theurer. Wild and appropriate costumes designed by Marina Turner. Stage manager is Jeremy Crouch. And the “Beautiful!” orchestra is led by Kristin Cutler.

Come to the “Cabaret” through Oct. 6 at Hedback Theater, 1847 N. Alabama, downtown Indianapolis. Get tickets and info at footlite.org.

ATI: Sentimental song sojourn sheds light on Man in Black

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By John Lyle Belden

In the lowlands along the Mississippi River in Northeast Arkansas, they still grow cotton. We see the big bales in the fields when we drive through the area about once a year to visit relatives near Little Rock. Not much around but farmland, tiny crossroads towns, and rural churches. In pre-mechanized days, cotton farming was incredibly hard; consider what a life of growing and harvesting that crop can do to a family, to a man.

One of those men was John R. “Johnny” Cash, one of the greatest singer-songwriters to come out of the 1950s Memphis music scene. Actors Theatre of Indiana presents a fresh telling of his decades-old story in “Ring of Fire: The Music of Johnny Cash” by Richard Maltby Jr. and William Meade. The series of songs presented make this a musical journey from his boyhood farm to nearby Memphis, Tennessee, then on to Nashville and – as Johnny put it – “everywhere, man.”  

Kent M. Lewis, who has performed this show elsewhere, took on the trifecta of director, choreographer and performer, lending his tone-perfect Cash voice as primary vocalist. Brandon Alstott, who has played Cash in “Million Dollar Quartet,” easily takes on the character of young Johnny and lends his own vocal lead and harmony contributions. Matt McClure gets in some vocals as well, and while Lewis and Alstott pick acoustic guitars, McClure straps on an electric, providing the distinctive churning rhythm attributed to Cash bandmate Luther Perkins.

Multi-talented Sarah Hund fits in naturally, adept at anything with strings – especially fiddle – and helping sing and tell the story as characters including Cash’s mother as well as collaborator and eventual wife June Carter. Jordan Simmons plays stand-up bass and gets in a few lines; music director Nathan Perry also has a role, mainly performing at the piano or on accordion.

As a “jukebox musical,” revised in 2013 from the original 2006 Broadway version, this is an excellent revue for fans of old-time Country and Gospel music, as well as Cash’s hits, presented with entertaining flair that engages the audience of the intimate Studio Theater in Carmel’s Center for the Performing Arts. Don’t look for an in-depth biography, though. Maltby is reported to say that he saw in Cash’s music and life “the story of America,” and thus we get a fairly simple outline of a complicated man.

His feelings for the downtrodden are expressed in his song/poem “Man in Black” and we see them shown in his prison concerts (despite his “outlaw” image, he never did hard time himself) and frequently returning to hope in faith. He also found himself leaning on little white pills to keep up his tour schedule, he wryly confesses, but the narrative doesn’t dwell much on this aspect of his life. Still, Cash admits in a regretful tone that without raising a hand to anyone, he still hurt many who loved him.

In the end – his passing in 2003 gently hinted at – Johnny Cash leaves us wanting more, which Lewis and company provide in a brief encore with one of the Man in Black’s most fun songs.

Opening night had everyone in the full house buzzing with how much they enjoyed this show. Word will likely get around, so make a reservation to see “Ring of Fire” before the ATI run ends on Sept. 29. Get info and tickets at atistage.org or thecenterpresents.org.

‘Carrie’ even more mind-bending in Drag

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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.)

Surviving high school is such a drag, right?!

So, it stands to reason that Indy Drag Theatre would take on the hottest Prom ever shown on stage or screen in “Carrie: A Drag Parody Musical.” The drag-world embrace of outsiders and making what could be considered trashy fabulous while leaning into its campiness help make this show the perfect medium for genderfluid expression.

As director Ciara Myst pointed out on opening night, the original Stephen King novel boldly took on topics such as abuse and bullying. In addition, the musical itself had a rocky path from being one of Broadway’s biggest flops in 1988 to a cult classic with a notable revival (after some necessary rewrites by creators Lawrence D. Cohen, Dean Pitchford and Michael Gore) in 2012. The Indy Drag Theatre performs flawless lip-synch to audio from both a stage musical performance and the hit 1976 Brian de Palma film. Dottie B. Minerva is assistant director; costumes are by Kalinda, with makeup by Ms. Myst, and wigs from Hair By Blair. Choreography is by April Rosè.

Our fabulous cast ironically plays it straight in reproducing the stage experience, imbuing the scenes with appropriate drama and suspense. St. Pussifer shines as misunderstood, mistreated Carrie White, with Vera Vanderwoude St. Clair chillingly playing her strict and insanely devout mother Margaret. AJ Thoma is solid as good-natured Sue Snell, while Eli Rose is the noble Tommy Ross. Brentlee Bich is furiously bitchy as vengeance-minded Chris (the girl behind the infamous blood-bucket prank). Skarlett Rose also does well as tragic gym teacher Miss Gardner.

Other performers include Cadence, Axel Rosie, Ce Ce Santos, Abigail Brown, Desiree Bouvier, Jose Dos Santos, William Moser, Jack Offerman, and Elle Rulon.

If you are a fan of drag, the original book or film, or high-heeled spectacles like “Rocky Horror,” you simply must see this edition of “Carrie” – when it finally makes its way back to Indy’s District Theater. Due to its proximity to the Fringe festival, there was only one scheduled weekend of performances. When an unspecified emergency forced a cancellation on Sunday, it was announced that Indy Drag Theatre would try to bring the show back at a later date.

In the meantime, make plans for their next scheduled show, “Shrek,” Nov. 15-24. Get details at indydragtheatre.com.

Footlite celebrates love on ‘This Island’

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By John Lyle Belden

Footlite Musicals provides a taste of the tropics with its young artists production of “Once on This Island,” the Broadway hit by Lynn Ahrens and Stephen Flaherty, based on Rosa Guy’s “My Love, My Love,” a Caribbean retelling of Hans Christian Anderson’s “The Little Mermaid.” It copies the original mostly in theme and a few plot elements, standing as its own as a story of love, sacrifice and the forces that work around – and often against – us.

Sometimes it takes a village to tell a story. Aside from the named characters, we meet a chorus of 21 Storytellers who introduce the tale and carry it along. They relate that on this island, a small French possession in the Antilles, they honor the local Afro-Caribbean gods including Asaka (Imani Ruffin), Mother of the Earth; Agwe (Kori Smith), lord of Water; Erzulie (Caileigh Jones), goddess of Love; and Papa Ge (Noah Lee), spirit of Death.

The story centers on Ti Moune (Lauren Blackwood), an orphan found in a tree after a storm. Sensing the gods saved her for a reason, an old couple – Mama Euralie (Plezzance Lawrence) and Tonton Julian (Jalen Breiley) – take her in and raise her. Events transpire that Ti Moune encounters and saves Daniel (Colton Woods), son of the nobleman Armand (Edward Rayhill) whose family has governed the island for generations. She even makes her way to Daniel’s side of the island, where he lives in a luxury hotel. But she is not the only woman in his life; enter his lifelong friend Andrea (Rebecca Pinero). Ti Moune finds herself tested by both the trickery of Papa Ge and the discrimination of high society. What is her destiny?

Directed by Dennis Jones and Edward Trout, and excellently choreographed by Kevin Bell, with the island beat of an ensemble led by Gisele Dollinger, this Caribbean fairy tale flows beautifully as all the cast contribute, with Blackwood’s voice sailing through sun and storm. The gods get their due, with Ruffin shining in the song “Mama Will Provide,” and Lee embracing his role as trickster as well as Reaper.

This story with its ring of familiarity set in an exotic locale reminds us that love is noble and real in all cultures. The energy of its telling sweeps us along and makes us root for the girl in the tree.

Performances of “Once on This Island” run through Sunday, Aug. 18, at Hedback Theater, 1847 N. Alabama, Indianapolis. Get info and tickets at footlite.org.

SSS Eclipse ‘Lizzie’ a riotous spectacle

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By John Lyle Belden

The Summer Stock Stage Eclipse program (professional, with collegiate performers) presents “Lizzie,” the new musical by Alan Stevens Hewitt and Steven Cheslik-deMeyer, book by Tim Maner, based on the Lizzie Borden legend, presented internationally since its introduction in 2010.

To clarify “musical,” this show is a Riot Grrl-style Punk Rock Opera – modify expectations accordingly and hold on for the ride.* To ask why it’s in this mode is to miss the cultural mystique of Miss Borden. She was already an outsider – unmarried at 30, still living with her controlling father and detested stepmother – when the gruesome events of August 1892 occurred in Fall River, Mass.

“Lizzie Borden took an ax, gave her mother forty whacks; when she saw what she had done, gave her father forty-one!”

Being rich from their penny-pinching parents, Lizzie and sister Emma hired the best possible representation, and with an all-male jury actually working in their favor, got her acquitted at trial. However, historians and even her fandom are fairly certain she did the deed. Still, this is not just a play about getting away with murder.

The story is presented nearly all in song by four women: Lizzie (Erin Lambertson), older sister Emma Borden (Cora Kendall), neighbor and close friend Alice Russell (Mai Caslowitz), and the Bordens’ maid Bridget “Maggie” Sullivan (Samantha Ringor). Backing them – literally, seen through the slats of the set by Abigail Wagner that suggests both a simple home and cozy barn – are the band of Ginger Stoltz (keyboard and conductor), Ainsley Paton Stoltz (bass), Kirstin Cutler (drums), Joy Caroline Mills (guitar), Sally McSpadden (guitar and keyboard), and Taylor White (cello and percussion). Direction is by local actor and teaching artist Devan Mathias with musical direction by Ben Rose (who coincidentally has worked at the actual Lizzie Borden House, now a B&B).

Act 1 brings into focus the conditions the Borden sisters were likely living in, and potential motives for what is to come. The tensions weigh on Lizzie and Emma, while a longing grows in Alice; meanwhile, with a dollar from the girls in hand, Maggie is quick to go downtown for the afternoon so she can say she didn’t see a thing someone might be doing.

In Act 2, there is quite a mess – one song is titled, “What the F*** Now, Lizzie?!” – and loosely period costumes give way for something more turn of the Millenium (all designed by Allison Jones) as events take a more modern procedural, crime-of-the-century feel. The number in which Lizzie and Emma make their Kardashian-esque public plea is priceless.

Throughout it all, these ladies rock their hearts out. There are also touching, tender moments, including a song between Lizzie and Alice that recurs in each act, giving two meanings to “Will you lie?” Overall, a bravura performance.

This show brings more of a different perspective to the Borden case and legend than giving any new facts. Events portrayed in any medium are always conjecture and subject to artistic license. Perhaps a good friend “coming to call” could mean more in 1890s New England. Still, the major points follow the story as told elsewhere. This version is very feminist-focused, so one can forgive the downplaying of other problematic aspects such as suspicions cast on local immigrants. On this stage, it’s the grrls’ turn to tell the story – the closest you get to a male presence is Daddy’s body under a sheet.

Four performances remain for “Lizzie,” Thursday through Sunday, Aug. 8-11, at the Phoenix Theatre Cultural Centre, 705 N. Illinois St., Indianapolis. See phoenixtheatre.org for tickets or get info at summerstockstage.com.

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(*“Lizzie” could be compared stylistically to the musical “Six,” but the latter was developed in the U.K. more recently.)

‘White City Murder’ strikes again

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By John Lyle Belden

One hundred thirty-one years ago, Chicago hosted the World’s Fair. Practically everyone who was anyone at the time was there. Also, a notorious and prolific serial killer, who had his victims coming to him, which he dispatched not only for the thrill but also for cold hard cash.

You might already know about this, especially if you have read Erik Larson’s “The Devil in the White City.” Before that non-fiction bestseller was in print, Ben Asaykwee, then living and performing in Chicago, started work on a musical inspired by the brazen exploits of swindler and murderer H.H. Holmes.

Eight years ago, Asaykwee and collaborator Claire Wilcher premiered “White City Murder” in Indy’s Irvington neighborhood (just blocks where Holmes had briefly resided, killing one of his last victims). Last weekend, the duo opened the latest edition of this fascinating historical extravaganza in the black-box Basile stage at the Phoenix Theatre Cultural Centre.

For such an audacious event as the shining white Fair, with the unbelievably dark deeds occurring just miles away, Asaykwee and Wilcher go big with carnival barker energy befitting a Buffalo Bill show (Bill also makes an appearance – in fact our actors portray dozens of people from simple to celebrity). Once they have grabbed our attention, they keep us fascinated and entertained by the story of tragic fates and horrible deeds, aided by a hidden keyboard and a vocal looper to reflect the inventive atmosphere of the late nineteenth century.

A large paper notepad registers the body count, climbing ever higher. It is unknown how many Holmes killed – he was convicted of just one murder and had been pursued only for insurance fraud – but this is not to celebrate that. Asaykwee gives us a snapshot of a wild time in a dynamic era, presenting those whose lives were touched and ruined as much as the man who doomed them. And for us – twenty-first century consumers of true-crime entertainment in its various forms – he gives us a show that truly kills, complete with catchy tunes and wry gallows humor.

Back when I first saw this, I noted its rough edges (now nicely polished) and wondered if this performance was only suited to Asaykwee and Wilcher’s unique style and talents. I now sense others willing to engage the gusto this show demands could do it just fine, but still, make a date to see the originators.

“White City Murder” runs through Aug. 4 at 705 N. Illinois St. in downtown Indianapolis. Info and tickets at phoenixtheatre.org.