musical

CrazyLake casts entertaining ‘Spell’

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By John Lyle Belden

Lest there be any confusion, the current production of “The 25th Annual Putnam County Spelling Bee” is in Greenfield.

In an odd coincidence, there is a Putnam County in Indiana (west of Indy) but the title was intended as an all-American sounding location while the musical was developed by William Finn and Rachel Sheinkin in New York and Massachusetts prior to its 2005 Off-Broadway, then Tony-winning Broadway, run. So, please head just east of Indianapolis, into Hancock County, to see this CrazyLake Acting Company production, directed by Amy Studabaker and Christine Schaefer.

Studabaker is also music director, choreographer with Kaydence Forsyth, and stars as Marcy, one of the middle-school contestants at the Bee, a qualifier for the national contest in Washington, D.C.

The cast is famously an interesting assembly of adolescent eccentrics: Marcy is a high-achiever who speaks not five, but six languages; defending champ Chip (Luke Agee) is a noble Boy Scout; Leaf Coneybear (Corey Yeaman) is an imaginative but unsteady lad who spells words in trance-like outbursts; shy Olive (Taylor Shelton), who reads the dictionary like a favorite novel, speaks the word into her hand; politically-active Logainne (Alex Gawrys-Strand) traces the word on her arm; while William Barfeè (Matt Little) famously uses his “magic” foot. There are also adults of varying maturity: Mitch (Ethan Stearns), performing as “comfort counselor” as part of his court-ordered community service; Vice Principal Panch (Trever Brown), who promises he will behave much better this time; and our host Rona Lisa Peretti (Noelle Russell), the county’s leading realtor and past winner at the 3rd Annual Bee.

Zane Roberts, Alex Ross, Petra Russell, Ross McMichael, Jeff Pipkin, and Ashley Pipkin play various parents and siblings, as well as a vision of Jesus. Stage Manager Blair Connelly can be seen occasionally as the gym’s custodian.

In addition, as has been customary with this improv-inspired show from its beginning, there are three contestants drawn from the audience.

It’s interesting to see the adult actors embrace their inner children to capture the whimsy and apprehension of the “tween” transition from child to teenager. Yeaman keeps Leaf’s silliness grounded in his discovery of true potential. Studabaker and Gawrys-Strand each portray their girls feeling the pressure of high expectations, sensing they are growing up too soon. Agee plays the alpha discovering to his dismay that some things just can’t be controlled. Shelton fits the most endearing part, Olive (which she notes, anagrams to “I love”), nicely. Little’s “Bar-fay” manages to balance his know-it-all nature with enough odd charm and shielded humility to keep him likable, even one to root for.

Loaded with L-A-U-G-H-S, this Bee is buzz-worthy. The musical opens Friday, July 12, running through July 21, at H.J. Ricks Centre for the Arts, 122 W. Main St. (U.S. 40) in downtown Greenfield. Discount tickets are available at Hometown Comics and Games. For information and tickets online go to crazylakeacting.com.

Fall for the charms of SSS ‘Music Man’

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By John Lyle Belden

It’s an often-told story: A stranger comes into a sleepy town and everything changes. However, in this case, that’s the stranger’s plan the whole time.

Summer Stock Stage presents a full production of Meredith Willson’s “The Music Man,” directed by founding artistic director Emily Ristine Holloway. And I do mean “full” – the whole musical on the full-size Ayers Auditorium stage (at Park Tudor School) with orchestra in the back, led by Mike Berg Raunick, and a cast that Holloway tongue-in-cheek calls “seventy-six actors” (a rough count in the program is close to that number). They represent 30 different Indiana schools, she said, mainly teenagers with younger children in age-appropriate roles.

This company gives an exceptional performance throughout, from the overture to the curtain call.

In 1912, “Professor” Harold Hill (Justus Palumbo) arrives in River City, Iowa, a practiced con man posing as a traveling salesman of band instruments and uniforms. The grift involves convincing a town it needs a youth band, selling them everything they need with the promise he’ll organize and teach, but skipping town with the money before giving a single actual lesson.

Iowans aren’t that easy to fool, especially town librarian Marian Paroo (Jilayne Kistner), but Hill accepts the challenge, demonizing the new pool tables downtown and getting everyone singing and dancing as they await the arrival of their instruments. Both Marian and Mayor Shinn (Andrew King) suspect something dishonest is happening, but are swept up in the events of that magical summer. Marion’s shy, lisping little brother Winthrop Paroo (Tad Klovsky) is coming out of his shell; meanwhile, local delinquent Tommy Djilas (Justice Harris) is doing honest work, albeit as Hill’s unwitting accomplice.

But even master manipulator Hill isn’t immune to changing attitudes – or love.

The cast also features Gracie Reckamp as Amaryllis, the girl with a crush on Winthrop; Taylor Smith as Marcellus Washburn, an old friend of Hill’s now in on the scam; Paige Murray as the Mayor’s wife Eulalie, who wishes to be seen as cultured so is easily talked into leading a women’s dance committee; Gabi Bradley as Zaneeta Shin, the Mayor’s daughter who is seeing Tommy; Elizabeth Hutson as Marion and Winthrop’s mother, who takes a shine to Hill from the beginning; Caleb Trinoskey as Charlie Cowell, a crude traveling salesman out to expose Hill; and Martini Otaletan, Jackson Bullock, Thomas Bowling, and Colin Alber as city School Board members who find themselves formed into a pitch-perfect barbershop quartet.

Palumbo and Kistner, both college-bound high school graduates, give professional-level performances as Harold and Marion. He gives Hill suave charisma and endless charm; while she presents as nobody’s fool, while understanding that this “band” may be the best thing to ever happen to this town.

King amuses with his bossy bluster as Mayor Shinn. Murray easily steals scenes as his wife. Hutson’s Mrs. Paroo is a steady presence, an old Irish soul whose only desire is for love to prevail. Klovsky, naturally, charms as Winthrop.

While the songs and story are what makes this musical famous, this production features some incredible dancing, choreographed by Phillip Crawshaw. The big numbers fill the stage with precision and dazzling moves; moments when Tommy and Zaneeta pair up really pop; and the movement and clever use of the books during “Marian the Librarian” are simply stunning.

For anyone who likes “The Music Man,” or is open to it, this brilliant production is a must. Performances are 7 p.m. Friday and Saturday, 2 p.m. Saturday and Sunday, June 28-30. The Saturday Matinee is a “sensory-friendly” performance for patrons who would be more comfortable with that. Park Tudor is at 7200 N. College Ave., Indianapolis, follow the signs to Ayers Auditorium. Go to summerstockstage.com for tickets.

Footlite ‘In Paris’ in Indy

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By John Lyle Belden

At a time when the French capital is on our minds with the upcoming Olympics, Footlite Musicals presents “An American in Paris.”

Based on the 1951 Gene Kelly film – a showcase for both his dancing and the celebrated music of George and Ira Gershwin – the musical, with book by Craig Lucas, had its world premiere in Paris (naturally) in 2014 before its acclaimed Broadway run in 2015. The local production, Footlite’s summer show featuring college-age performers, is directed and choreographed by Kevin Bell.

With World War II just ended and the City of Lights finally recovering, we meet Adam (Seth Jacobsen), an American still limping from his war wounds. He makes his living playing piano and writing music while helping local friend Henri (Louis Soria) become a nightclub singer, unbeknownst to his industrialist parents. Meanwhile fellow American soldier Jerry (Alexander Holloway) purposely misses his train out of Paris so he can stay and work on his art.

From the beginning there is a mysterious girl (Jaelynn Keating) who we find out is Lise, a second-generation ballerina who, at the request of American heiress Milo Davenport (Remi Shirayanagi), is to star in a new ballet written by Adam, who feels a deeper connection. For Jerry it was love at first sight, as he insists on having more time with Lise to finish his sketch of her. But what neither man knows is that she is a long-time friend of Henri, who is working up the courage to propose to her.

The cast also includes Audrey Beaverson, Ella Bassler, Tajeyon Bohannon, K. Dottery, Emma Gedig, Josh Hoover, Tatum Meadors, Danny Roberds, Katie Van Den Heuvel, and Thomas Zotz as The Maestro of the ballet company.

This production is unusual in being a sort of hybrid of a traditional stage musical and ballet, with graceful dancing in most scenes. This works in part because of the triple-threat talents of Holloway and Keating. Their singing is exceptional in numbers like “I’ve Got Beginner’s Luck” and “The Man I Love” and their dancing is exquisite, especially together in the climactic title ballet. Jacobsen is also strong in stage presence and singing voice, as well as showing he’s quite a dancer in a fantasy scene.

A celebration of love and Gershwin, “An American in Paris” has performances Thursday through Sunday, June 27-30, at Footlite’s Hedback Theater, 1847 N. Alabama St., Indianapolis. Get tickets at footlite.org.

Buck Creek’s wonderful ‘Woods’

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By John Lyle Belden

The show “Into the Woods” could be considered the quintessential Stephen Sondheim musical (with book by James Lapine). Even in a world of fantasy and magic there is a sense of realism, real stakes and real consequences. It is also one of his works you are likely familiar with, thanks to numerous community and professional theatre stagings, as well as a popular movie (and, of course, its runs on Broadway).

Therefore, when Buck Creek Players took it on this year, under the direction of Ben Jones and music director Jill Stewart, they decided to make the production stand out while still true to its story and audience expectations. The result is an “Into the Woods” that is outstanding by practically every measure.

The experience starts the moment you enter the theater and see the stage. Aside from a large lone tree at the back of the stage –­ its hollow necessary to a number of scenes – setpieces are adorned with raised branches to suggest the ever-looming Woods where our stories are set. Those rotating pieces themselves look like giant open books, the covers walls of old bookshelves. Other props look like stacks of books (classic and popular titles on the spines) and scattered like random leaves on the floor are pages with burnt edges – we were told Jones had them be copies of pages from commonly banned books.  Set design and construction are credited to Matt Gray.

Roles are well-cast. Ellen Vander Missen, notable for leading ladies at Footlite Musicals, makes her BCP debut as Cinderella. Central characters the Baker and his Wife are wonderfully played by Ball State graduate Mason Mast and local favorite Miranda Nehrig. The quirky wit of Thom Turner fits perfectly as the Narrator and Mysterious Man. Cordale Hankins embodies the youthful impulsiveness of Jack (of “Beanstalk” fame) while Georgeanna Teipen returns to BCP as his Mother. Shelia Raghavendran appears to be having fun as brave, energetic Little Red Riding Hood.  Emily Gaddy commands her scenes as the Witch.

Others include Claire Slaven as Cinderella’s Stepmother and Jeremy Teipen as her father, with Claire Gray and Jenna MacNulty as the stepsisters; Addison Koehler as Rapunzel; Josh Rooks a striking presence as the Wolf and the Prince’s Steward;  Charming Princes played by Liam Boyle (for Cinderella) and Zach Bucher (for Rapunzel); Amelia Tryon as the spirit of Cinderella’s mother as well as the once-eaten Red Riding Hood’s Granny; and Anna Spack as diverse characters including some very expressive flocks of birds.

In a notable addition to the cast, Dominc Kattau brings the cow Milky-White to life, saying a lot with just a “Moo” and making scenes with his double-takes and antics.

The show also features a 16-member backstage orchestra, conducted by Jill Stewart.

For the unfamiliar, Act I has a number of popular fairy tales occurring simultaneously in and around the titular forest; Act II is what happens after the story says “happily ever after.” The songs serve the plot and work in Sondheim’s often complex style. The refrain of “Into the Woods” from the “Opening” sticks with you, and the Princes’ lament “Agony” is a favorite. The show’s “hit” songs come near the end – “You Are Not Alone” and “Children Will Listen.” No matter what your experience is with this musical, though, you are sure to be delighted.

More likely, however, you could be disappointed at missing out. As I finish this, Friday and Sunday’s performances are sold out, leaving two shows this Saturday (June 22), 2:30 and 7:30 p.m., at the Buck Creek Playhouse, 11150 Southeastern Ave., Indianapolis (Acton Road exit off I-74). Call 317-862-2270 or visit buckcreekplayers.com for tickets.

Constellation musical tests couple’s commitment

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By John Lyle Belden

The opening song for “The Break,” a new rock musical presented by Constellation Stage and Screen of Bloomington, declares “this is not a love story.” But while it’s not a typical rom-com plot, this is a humorous story about love, tested in rather extreme fashion.

Samantha (Alex Keiper) and Charlie (Louis Pardo) have known each other since they started college. They have only dated – and had sex with – each other, and for years have lived together. They were perfectly fine with this.

One day, they realize that perhaps they should take the natural next step: marriage. It also dawns on them that neither has personal experience to truly know that each is the best partner for the other – no basis of comparison. They decide to take a “break” of 30 days for a “sexual walkabout,” separately sampling one-night stands with strangers to get the lay of the land (so to speak) before reuniting to finally commit to each other. There are a few ground rules, including shared custody of Rodrigo the iguana, but otherwise they are free to explore.

This musical, by Michael Kooman and Christopher Dimond, indulges in mature topics and language, but keeps things light with no graphic simulated intercourse. The scenes more reflect their experiences and feelings before and after the sex. There are plenty of questionable potential hookups, but some go quite well – one song declares “That felt f***ing good!”

Under the direction of Scott Weinstein, Keiper and Pardo turn in excellent performances. As Sam and Charlie, they convincingly show ease with each other, a depth of feeling that includes mutual empathy and genuine hurt when the rules are bent. Being the only actors on stage, each smoothly morphs into the various men and women our explorers encounter. Keiper is even the voice of Rodrigo, who also gets a song.

Overall, the show is a funny, entertaining reflection of our swipe-right/left dating landscape and the apprehension we all experience when the ring and ceremony make “til death do us part” feel too real.

Speaking of which, the last scene does involve a wedding (which is even hinted at in the beginning). How these two come to know that next step is the right one, though, is a heartfelt journey worth joining them on. Performances run through June 23 at Waldron Auditorium, 122 S. Walnut St. in downtown Bloomington. Get info and tickets at seeconstellation.org.

Dearly beloved, gather for ‘The Wedding Singer’

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By John Lyle Belden

Being a Generation X’er, I get mixed feelings about 1980s nostalgia, but some things catch the kitschy spirit of the decade just right, like the Tony-nominated musical, “The Wedding Singer,” based on the 1998 Adam Sandler film.

Presented by the 21st-century actors of Eclipse, the professional-level program of Summer Stock Stage, “Wedding Singer” is on the main stage of the Phoenix Theatre Cultural Centre through June 16, directed by Kate Galvin.

In 1985 New Jersey, singer-songwriter Robbie Hart (Alex Pharo) is having modest success leading an in-demand wedding band, Simply Wed, with best friends Sammy (Micah Phillips) on bass and George (Matthew David Conwell) on keytar. Robbie is also looking forward to his own wedding, to Linda (Kha’Lea Wainwright), but things don’t go to plan. Meanwhile, Julia Sullivan (Leela Rothenberg), who with her cousin Holly (Dori Salumurovic) are waitresses at the wedding venue, is getting engaged to rich Wall Street boyfriend Glen Guglia (Jack Ducat). Julia has Robbie promise to sing at her wedding – which he eventually will, but not in the way anyone expected.

The plot hits all the expected beats of a typical rom-com, from the meet-cute all the way through to the “go out and get her!” What’s important is how the story goes from here to there, and all the charming, mildly dramatic, and laugh-out-loud moments along the way.

Pharo takes on this journey well, making Robbie a hero to root for, funny and charming without any of Sandler’s mannerisms so the character stands on its own. Rothenberg makes Julia both noble and sweet, the kind of woman worth going great lengths for. She and Salumurovic have a natural chemistry as well, like they grew up as almost-sisters. Phillips, looking like a mad scientist combined Hall and Oates, and Conwell, a sort of Boy George homage, also make memorable likable characters. Wainwright and Ducat give their roles each a flavor of vanity that befits the era – Glen’s especially, as a “greed is good” trader overflowing with hubris.  

Local stage veteran Devan Mathias steals scenes in roles including Robbie’s grandmother Rosie and Julia’s mother Angie. The supporting ensemble get a lot of time on stage – weddings, a bar mitzvah, at the mall, etc. – so get a lot of moments as well, featuring Isabella Agresta, Kayla Mariah Fifer, Fletcher Hooten, Byron Ledford, Hillary McGuire, and Maddux Morrison (who rocks Fake Billy Idol).

The musical, with book by Chad Beguelin and Tim Herlihy (from Herlihy’s screenplay), music by Matthew Sklar and lyrics by Beguelin, avoids the endless headaches of song rights by providing originals with the familiar feel of ‘80s hits, from the catchy “It’s Your Wedding Day” to the charm of “Come Out of the Dumpster.”

Galvin is aided by music director Jerico Hughes, choreographer Phillip Crawshaw and stage manager Rebecca Roeber. Embarrassingly accurate fashion and look by Wendy Meaden (costumes) and Andrew Elliot (wigs, hair, and makeup).

Highly entertaining with a story of love lost and found “Right in Front of Your Eyes,” find “The Wedding Singer” tickets at phoenixtheatre.org.

Hear and feel the ‘Voices of the Avenue’

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By John Lyle Belden

From Emancipation in the 1860s to well into the 20th century, Black populations brought together by community and herded by racist policies gathered in neighborhoods across America that managed – despite contrary forces – to flourish, at least for a time. In Indianapolis, that legacy is Indiana Avenue.

That street, and its jazz-infused culture, is celebrated at the District Theatre on Massachusetts Ave. in the world premiere musical, “Voices of the Avenue,” a stunning, inspiring story by new playwright Brandi L. Metzger.

Set at an actual popular Indiana Ave. nightspot, the Sunset Terrace, this is the story of sisters Constance (Jodi Holmes), a writer for the Indianapolis Recorder (still a voice for Black issues today), and Pearl (Komoca Rowley), a singer and regular at the Sunset. On the night of club owner Denver’s (Jay Fuqua) 50th birthday celebration, Connie arrives hoping to persuade Pearl to join her in leaving for New York to seek bigger opportunities. The joint is jumping, thanks in part to performer Burnin’ Bernie (Keiston Drake). Also present is a mysterious white man, calling himself Apollo (Clay Mabbitt), who keeps writing something in his notebook.

This is also a story of a time and a place at a cultural and historical crossroads few on the Avenue saw coming. As Denver reminisces, despite troubles through the 1920s and ‘30s, the Black communities rallied and “Indy’s Harlem” persevered. But it is 1945; soon, thousands of men – mostly white – will be returning from the War and the age of “redevelopment” and suburban boom will begin. This Apollo represents succinctly. An advance scout and embodiment of the coming change, he presents himself as an amateur hypnotist who can freeze the moment to let us in our own era beyond the fourth wall know what forces are at play and the justifications they will use to act.

The brighter side of the Avenue, full of life and brave joy, is personified by the music of the outstanding on-stage ensemble, led by Matt “BigBeatz” Franklin at the keyboard, with jazz pianist Carl Hines, Jef Payne on trumpet, and Byron L.A. Hobbs on drums. Stephen Martin Drain and Nakia B. White tend the bar and provide backup vocals. Club patrons are played by Heather Strain, Teresa Francis and DaJuan Thrasher.

This production is in the able hands of veteran director Nikki Miles, assisted by Angela Leonard. Justin M. Lewis provides cool choreography appropriate to the times, and even gets Mabbitt to cut a rug.

The songs are all original, by Metzger in collaboration with Franklin and the actors who perform them. They perfectly capture and move the plot, and a rousing salute to “The Sunset” is fun to sing along to – which we’re encouraged to do at the end.

Holmes and Rowley give great performances with voices sharp whether in song or snapping at each other as siblings do. We can feel their relational struggles as well as the growing shadow of the bigger story they are in. Fuqua plays Denver as all charm and blind optimism, perhaps not an angel, but a vital part of the Avenue. Drake gives Bernie the driven attitude of the talented up-and-comer not wanting to consider there might not be a place to get to.

The only disappointment is that this intense experience clocks in at just under an hour. Still, a lot of story and history is packed in. It never feels rushed, like great jazz; I just wasn’t ready for it to end. It’s one thing to learn by reading, lecture, or even documentary, about the spirit of Indiana Avenue, but “Voices of the Avenue” gets you to truly feel it.

This work was brought about by Black Light Training and Development, a grantee of the Andrew W. Mellon Foundation. Metzger is a recent graduate of its playwriting course. Find more information at the program’s Facebook page.

Remaining performances of “Voices” are today (as we post this) and tomorrow, Saturday and Sunday, June 1-2, at the District Theatre, 627 Mass. Ave., Indianapolis. Get tickets at indydistrictthteatre.org.

‘Fiddler’ at Footlite: ‘Tradition!’ refreshed

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By John Lyle Belden

Footlite Musicals presents the beloved classic, “Fiddler on the Roof,” and judging by the sellout opening night, the show still has wide appeal. Director Paula Phelan likens it to a sort of theatrical comfort food.

With songs by Jerry Bock and Sheldon Harnick, and book by Joseph Stein, the story set in the Jewish village of Anatevka in pre-Revolution Russia centers on the family of milkman Tevye, who has five daughters, three of them marrying age but he can’t afford a dowry. In the first Act, the focus is more on village life, and the small but growing changes that come to established “Tradition!” Act Two brings even harsher changes, as the cruel outside world overtakes their simple, manageable one.

Daniel Draves brings an air of paternal authority with the right touch of whimsy to Tevye, complete with a singing voice that nicely hits every “biddy-biddy bum.” Jennifer Hallberg as his wife, Golde, matches his bluster with the patience of an Old Testament matriarch. Elder daughters Tzeitel (Allison Williamson), Hodel (Paige Penry) and Chava (Nicole Sherlock) bravely come of age before our – and their father’s – eyes. The younger daughters, Bielke and Shrpinze, are played by Rebecca Burkhart and Greta Shambarger.

As for the suitors, Alex Bast is charming and only a little goofy as the tailor Motel, who wins Tzeitel despite her being promised by Tevye to the butcher Lazar Wolf (Graham Brinklow). Michael Sherman as radical intellectual Perchik, who causes a stir in the village and wins Hodel’s affection, wears confidence as armor, never shaken except by love. Jackson Lee is Fyedka, the Russian Christian who refuses to take part in an anti-Jewish “demonstration” and shares his books and heart with Chava.

Being volunteer community theater with a popular show, there is a huge cast, with, to name a few, notable turns by Adreinne Reiswerg as Yente the Matchmaker; MarKay Burkhart as the ghost of Grandma Tzeitel, Lauren Laski as Fruma-Sarah; Jeremy Crouch as the town Beggar; Tom Bartley as Modchal the Inkeeper; Chris Vojtko as the Rabbi’s son; and Duane Leatherman with his unmistakable honeyed voice as the wise Rabbi. Dan Flahive lends his stage presence to the role of the Russian Constable who won’t admit he likes the Jews in his charge, but sees little sense in harassing them – though will if ordered by the Tzar’s officials.

As per, well, tradition, all the familiar songs are here – “Matchmaker,” “If I Were a Rich Man,” “To Life,” “Miracle of Miracles,” “Sunrise, Sunset,” “Do You Love Me?” etc. – and the memorable scenes such as the wedding “bottle dance” (executed smoothly by Joe Burke, Logan Laflin, Derek Savik-Hesser, and Derek Sumpter). Though the subtext is of inescapable tragedy (this year, the fact that Perchik comes from Kyiv gains resonance), the heart of this story is inspiring and uplifting in its perseverance. This is personified especially by Kevin Bell as the Fiddler of the title, the myth made manifest for his people. Bell convincingly play-synchs the instrument as he concentrates on his effective movement, adding a touch of nearly balletic storytelling to his role.

Director Phelan’s excellent guidance includes about the best staging of the final departure we have seen. Crew also includes choreographer Linda Rees, vocal director Lisa Reynolds, costume designer JoAnne Bogdon, and stage manager Melissa Yurechko. The orchestra is conducted by Aaron Burkhart.

Two weekends remain of “Fiddler on the Roof,” through May 19 at the Hedback Theater, 1847 N. Alabama St., Indianapolis. Get tickets and info at footlite.org.

Civic charms with historical mystery

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By John Lyle Belden

In 1918, Tsar Nicholas II of Russia, his wife, and their children were all arrested, then secretly executed in a mass of confusion, smoke and bullets. This much is historical fact.

Naturally, there were also rumors. The Bolsheviks were possibly not all happy with killing children. A persistent story soon arose that one of the Tsar’s daughters, 17-year-old Grand Duchess Anastasia Nikolaevna Romanova, had somehow escaped and lived in hiding. Among supporters of Imperial Russia – while from its ashes the Soviet Union immediately ascended – this legend, at least, would never die.

This sets the stage for the musical “Anastasia,” presented by the Booth Tarkington Civic Theatre.

The book by Terrance McNally takes inspiration from two motion pictures of the same name, a 1956 film by Authur Laurents and the 1997 Don Bluth animated feature, as well as a prior play by Marcelle Maurette. Musicians Stephen Flaherty and Lynn Ahrens added and adapted songs from the 1997 version. Here, as in all the scripts, some liberties were taken with history, so for those who accept more recent forensic discoveries on the matter, consider this a fascinating fairy tale in a parallel world.  

After opening scenes with Louisa Zabel, then Keegan Connor, portraying the authentic Anastasia, we find ourselves in St. Petersburg (renamed Leningrad by the Soviets) in 1927, ten years after the Tsar’s death. Hearing the rumors of the lost Grand Duchess, prospective con men Dmitry (Troy Bridges), a handsome grown-up street urchin, and Vlad (Steve Kruze), who used to work his grift among nobility as a faux Count, see a prospective payday in finding a young woman to present as Anastasia to the Dowager Empress (Jill O’Malia), the Tsar’s mother living in exile in Paris. (As a bonus, this also gets them out of the ever-worsening USSR.)

By chance they find Anya (Isabella Agresta), an amnesiac who had mentioned being a princess while in the sanatorium but now keeps that to herself, as it keeps triggering mysterious dreams. With this true backstory making her royal provenance possible, the three prepare to attempt their con, but Vlad notices she knows far more about Russian court life than she should.

Adding to their difficulties, Soviet secret police officer Gleb Vaganov (Nathanael Hein), who has his own personal connection to the Tsar’s family execution, is growing wise to their plans.

It’s a minor spoiler, but it’s in the program that Anya makes it to Paris for Act II. There we also meet Countess Lily (Nina Stilabower), the Dowager Empress’s lady in waiting, who is still sweet on Vlad despite seeing through his schemes. One climactic scene takes place at a ballet, during which we get an exquisite performance by ballerina Izzy Casciani.

Agresta manages to combine everyday girlish charm with regal bearing to keep us guessing while hoping that Anya is who she pretends to be, in a performance that shows the woman “pretending” less and less each scene. Bridges is great in these likable rascal leading man roles (think if Disney’s Alladin were a twenty-something Russian) and charms his way through this show as well. Meanwhile, Kruze is as smooth as top-shelf vodka.

In a standout performance, opera tenor Hein employs his powerful voice to add authority to his man on a dark mission, bringing more than expected to the story’s necessary villain. Overall, this show is a pleasing adventure with the feel of history and how people lived then, peppered with charming tunes like “Once Upon a December” and the powerful big number “Journey to the Past.”

Director Anne Beck noted she immersed herself in the musical’s story and the appeal of its what-if mystery, and it shows. The costumes by Adrienne Conces excellently reflect the story – brilliant white for Imperial glory, drab earth tones for Russia after its fall, then a swift shift to bright colors in the City of Lights. The production also effectively employed scenic projections provided by Broadway Media Distribution, enhancing the audience experience. Music director is Kayvon Emtiaz and Katie Stark is stage manager.

So, even in this bit of fiction, is she, or was she, that tragically lost girl? True nobility knows to be discreet, so you’ll have to see for yourself. “Anastasia” is at the Tarkington stage at The Center for the Performing Arts in downtown Carmel through May 11. Get info and tickets at civictheatre.org or thecenterpresents.org.

ATI: ‘Forbidden’ bits both fresh and familiar

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By John Lyle Belden

What Weird Al is to popular music, “Forbidden Broadway” is to popular musicals.

Created by Gerard Alessandrini more than 40 years ago, this Off-Broadway parody revue has been frequently updated and presented worldwide, including a couple of times by Actors Theatre of Indiana, which is performing it again in Carmel through May 12.

Since TV producer Dick Wolf seems to have poached every between-gigs Broadway actor to be on his shows, it seems appropriate that this edition of “Forbidden” opens with “Broadway SVU” (BUM BUM!). As for the rest of the musical skits, skewering various musicals while backhandedly saluting the folks who make them (both creators and talent), I’ll respect the tradition of letting the audience be surprised. There will be some new material, as well as some returning laughs – after all, part of the joke of “Les Mis” is that it never ever truly goes away!

ATI co-founder Cynthia Collins joins the return of accompanist extraordinaire Brent Marty at the piano as well as three new faces to explore this forbidden world: Kieran Danaan, William Kimmel, and Christine Zavakos.

Kimmel, who is also director and choreographer, admitted it was tricky to guide his own performance, as well as helping set up the right set of send-ups from the show’s vast catalogue.

“We had to choose the best for our voices, and for the costumes, the best look-alikes,” he said after opening night. “Most importantly, we had to make sure the order was right, for who is performing a song while the others were changing backstage for the next one.”   

The result is a hilariously dizzying array of Wicked ice queens, naughty puppets, an aging Annie, a boy named Crutchie, and the true spirit of “tradition!” But it’s not all raspberries – watch for a heartfelt nod to shows that you won’t likely see revived, as well as a tribute to a Broadway genius recently departed.

Dare to explore – once more if you’ve seen it before – “Forbidden Broadway” at the Studio Theatre in the Centre for the Performing Arts in downtown Carmel. Get info and tickets at atistage.org or thecenterpresents.org.