musical

Mud Creek filled with holiday ‘Spirit’

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , ,

By Wendy Carson

Christmas is the time of the year we all gather with family and/or friends and celebrate the joy of the season. However, not all of us have loved ones with which to celebrate.

In Mud Creek Players’ “The Spirit of Christmas: A Holiday Cabaret,” such is the plight of Mabel (Anne Phelan), who is spending Christmas Eve cleaning the local theater where she volunteers. While struggling not to feel sorry for herself, a mysterious voice reminds her that while she may not have actual souls to be around, her rich supply of Christmas memories are what she should focus on.

The rest of the cast (Audrey Beaverson, Lauren Bogart, Nicole Bridgens, Stephen DiCarlo, Emily Keenan, Sophie Liese, Dani Lopez-Roque, Karen Naber, Noah Nordman, and Tara Weed) embody those memories and help guide Mabel through them to renew her Christmas Spirit. Even director Chris Bundy steps in a time or two.

Through a mix of traditional and newer songs, with a lesser-heard one or two, they remind Mabel, and us, of the delights of childhood and the meaning of Christmas. They even have a hilarious take on “The 12 Days of Christmas” that will have you seeing that song in a very different way.

Bundy and the Mud Creek crew have changed up the seating arrangements, giving the “Barn” a true cabaret set-up with audience members seated at tables throughout the venue. Tables are provided with a delicious snack mix and Holiday Punch for all as well as a trio of desserts and other drink choices served by the performers at intermission, all at no extra charge.

Remaining performances, Friday through Sunday, Dec. 8-10, are sold out, according to MudCreekPlayers.org. Go to the Contact page on the site, or email info@mudcreekplayers.org to ask about possible openings due to cancellations or additional seating.

Getting to look a lot like ‘Xmas’

PWJW_Indy Reviews, Stage , , , , , , , , , , , ,

By John Lyle Belden

I’ll never forget the moment a few years ago during a show when Claire Wilcher shouted, “That just happened!” as she rolled with the comic chaos, ever one of this city’s biggest talents.

As the Phoenix Theatre Cultural Center sought to revive its traditional “Very Phoenix Xmas,” it was entrusted to Wilcher, who directed and wrote the whole show with “& Friends,” which include costars Shawnte P. Gaston, Carlos Medina Maldonado, and Ben Asaykwee, who co-wrote songs with her. Putting aside lame wordplay (for a moment) this is simply, “A Very Phoenix Xmas Returns: The Return of the Very Phoenix Xmas.”

Yeah, it’s happening.

A quick warning: In the edgy spirit of the Phoenix Theatre, there are a fair number of F-bombs dropped among the fake snowflakes, though as usual nothing blasphemous for this holy season. This fun is for high schoolers and older.

The overall theme is Christmas season in central Indiana, with some comic shots taken at traditions including the IRT “Christmas Carol,” the Symphony’s “Yuletide Celebration,” and the Carmel Christkindlmarkt. To start the second half of the show, we even get a look at actual Yelp reviews for local attractions.

Between scenes, we get “greetings” from various Hoosiers throughout history, from Col. Eli Lilly to Madam C.J. Walker to Kurt Vonnegut. (And by the way, Claire, Wendy and I have always called that freeway “the Babyface.”)

All four have their moments to shine, including Gaston as an infamous billionaire, Maldonado and his “box dance,” and Asaykwee as a disaffected member of whatever today’s generation is called. Order the theme cocktail before the show or at intermission, and you, too, can be part of the performance!

Once again, the Phoenix balances engaging in tradition with thumbing its nose at it. This ‘Xmas’ is fresh, funny, heartfelt, and entertaining with deftly delivered satire and all the feelings – from fun to frustration – of the holiday season.

Performances run through Dec. 23 at 705 N. Illinois St., downtown Indianapolis. Get tickets at phoenixtheatre.org. And at the show, tell Gustav we said “Hi.”

CAT: Fantastic fun with legendary car

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

Carmel Apprentice Theatre is a resident company at, naturally, The Cat venue in downtown Carmel. Everyone who shows up for rehearsal gets a part, as well as mentored by the more experienced performers. This makes for a relaxed easy-going atmosphere on and behind the stage that translates easily to the audience. In this mode, it’s good to take on a production that welcomes aspects of the silly and unreal.

CAT now presents the stage version of the musical “Chitty Chitty Bang Bang,” based on the book and movie by James Bond creator Ian Fleming. It originated in stories the author told his children, into which he couldn’t help but add some kid-friendly international intrigue. This translated well into the 1968 film musical starring Dick Van Dyke. Music and lyrics are by Richard M. Sherman and Robert B. Sherman, the story adapted by Jeremy Sams from the script by Roald Dahl and Ken Hughes.

To keep things going smoothly, stage veterans take key roles including Evan Wang as inventor Caractacus Potts, Brook-Glen Gober as sweets heiress Truly Scrumptious, Duane Leatherman as Grandpa Potts, Allison Hermann as the rebellious Vulgarian Toymaker, and Hannah Janowicz as the sinister Childcatcher. Other roles have two or even three actors in rotation, while others are in the chorus or dancers. Notable performances include Gober’s precision recreation of the music box scene, and the antics of David Ralstin and Elaine Endris as bumbling Vulgar spies Goran and Boris. Hopefully you will be at a performance with Leroy Delph, looking like a cartoonish king from a playing card, as the immature Vulgarian ruler Baron Bomburst.

And yes, there is the car! Locally fabricated by Scott Osborn of Brown Hound Studios, “Chitty” is an excellent recreation of the movie’s automobile. Does it really float and fly? You’ll have to see for yourself, but don’t forget to say “Please!” when you ask.   

Will Wood directs, with Wang as music director, Ashley Thibodeau the choreographer, and Amanda Lund stage manager.

Featuring classic songs including “Toot Sweets,” “Hushabye Mountain,” “Me Ol’ Bamboo,” and, of course, the title tune, this production is as delightful as a seaside picnic by your favorite roadster. Performances are 7 p.m. Fridays and Saturdays, 2 p.m. Saturdays and Sundays, through Nov. 19 at The Cat, 254 Veterans Way (a couple of blocks south of Main St. in the Arts & Design District), Carmel. Get info and tickets at thecat.biz.

Constellation: Fun international adventure for kids, by George

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , ,

By John Lyle Belden

For so many of us, whether children or kids-at-heart, a little monkey called Curious George has been part of our lives. But a lot has happened since the mini-ape encountered the Man in the Yellow Hat decades ago, and through adventures penned by original authors Margret and H.A. Rey and their successors, he has become a rather clever primate.

Inspired by his antics on the PBS Kids animated series, “Curious George: The Golden Meatball” brings the characters to life, presented by Constellation Stage and Screen in Bloomington. The live-action musical features young Juna Sparks as George, with Tucker Ransom as the Man in the Yellow Hat. The remaining cast play various characters, chorus, and delivery personnel essential to the plot. In their feature roles, Maggie Lynn Held is the Doorman to George’s apartment building, Gabriel Armstrong is famous Italian Chef Pisghetti, assisted by Sophia Hoffman as Netti, and Marco Molldrem is the sly inventor, Phinneas. Nicholas Ranauro choreographed and directs.

We open, after some song and dance about the title character, on All You Can Eat Meatball Day, which is Pisghetti’s way of saying thanks to all his customers – who aren’t showing up because Phinneas has built a machine that quickly makes rival meatballs (that are more like meat-cubes, but they seem to be a hit). Discouraged, the Chef closes shop – for good, he says.

George, who had just learned how to make the meaty treats, wants to help. To this end, his curiosity will take him, and the others, all the way to the The Golden Meatball contest in Rome.

This show is squarely aimed at the 10-and-under demographic, with several moments that directly engage the audience. This is a perfect way to introduce a child to the wonder of live theatre, done in a professional manner that grownups can appreciate.

Ransom looks like he stepped right out of the book’s pages, and perfectly personifies the monkey’s patient and caring guardian. Sparks lithely makes use of her dance training to tumble and communicate with gestures as George only speaks in vague chatter. Armstrong manages to work that thin line of Italian caricature to charm the kids without looking objectionable to their parents (for those my age, he reminded me a bit of Father Guido Sarducci from SNL).

Performances of “Curious George: The Golden Meatball” are 6:30 p.m. Fridays and 1 and 4 p.m. Saturdays and Sundays through Nov. 5 at Waldron Auditorium, 122 S. Walnut St., Bloomington. For info and tickets, visit seeconstellation.org.

Teen rite of passage becomes test for all in Civic musical

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , ,

By Wendy Carson and John Belden

As you might know, the musical “The Prom” is loosely based on a true incident.* Despite historical  authenticity relative to Disney’s “Pocahontas,” this show – book by Chad Beguelin and Bob Martin, music by Matthew Sklar, from a concept by Jack Viertel – presented by Booth Tarkington Civic Theatre, directed by Michael J. Lasley, entertainingly captures the essence of the story, reflecting the attitudes found in more than just one American town.

From their perspective, at least, this is the story of two aging Broadway stars, Dee Dee Allen (Marni Lemons) and Barry Glickman (Chad Leitschuh) with vanity bigger than their talent. After scorching reviews of their latest flop, they desperately need more positive publicity. With the help of their agent, Sheldon Sapperstein (David Maxwell) and a couple of other actors in need a career boost – Angie  Dickinson (Mikayla Koharchik), who can’t seem to get out of the chorus after 20 years, and Trent Oliver (Evan Wallace), a former TV star who never loses a chance to remind you he went to Juliard – they seek to find a worthy cause that won’t strain them too much. 

Emma Nolan (Kelsey McDaniel) is a high school senior in Edgewater, Indiana, who just wants to take her girlfriend to the Prom. However, the conservative small town district’s PTA, led by Mrs. Greene (Marlana Haig), refuses to allow it, going so far as to cancel the event. Just as it seems that Emma’s ally, school principal Mr. Hawkins (Rex Wolfley), found a way to work the whole situation out, our group of “Broadway Heroes” show up and not only alienate everyone involved, but embarrass Emma.  

Luckily, Hawkins, being a devoted fan of Allen, does not run the whole gang out of town. He even takes the diva to the city’s finest restaurant, Applebee’s.  

After some legal cajoling, the PTA agrees to resume the Prom. Emma plans to take Alyssa (Kaylee Johnson-Bradley), who will finally come out to her family and everyone there. But Emma and her Broadway friends are in for a devastating surprise. 

With the support of our well-meaning heroes, Emma must find a way to take her stand, her way, so that if nothing else, she – and everyone – can dance.

Having only heard a few of the songs beforehand and knowing how the story was handled, we had some reservations as to how this would work out. Would setting the story in Indiana, reportedly as a rebuke to the former Vice President, be a mockery of Hoosiers in general? Fortunately, it’s just gentle jibes we can live with (and have that hint of truth). Rather, the musical’s creators and Lasley’s direction have woven a magical story that is the “Footloose” (with a hint of Cinderella) of our era.  

The whole cast is joyously giving their all in bringing this beautiful event to life. While I am without  enough adjectives to even begin to describe each actor’s fantastic performance, I will say that NYU graduate McDaniel’s powerful voice could land her back in the Big Apple. Broadway’s loss is our gain.

Lemons, Leitschuh, Koharchik and Wallace revel in their license to overact. Haig perfectly portrays the insidious evil of indifference and self-righteousness. Wolfley handles well being the character that is the fulcrum on which the whole plot turns.

Performances of “The Prom” run through Oct. 21 at the Tarkington theater in the Center for the Performing Arts in downtown Carmel. Feel free to bring a date, corsage optional, and arrive early as there is ongoing street construction in the area. Get info and tickets at civictheatre.org or thecenterpresents.org.

—

*The true story happened in Mississippi in 2010. (Click here for details) Thanks to Civic for sharing the link.

Catalyst’s ‘Starmites’ shine

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

First a few disclaimers: Wendy and I are good friends with Casey Ross and adore everything she does. Furthermore, as little children John and Wendy watched ‘70s Saturday Morning cartoons and enjoyed the trippy creations of Sid & Marty Krofft; also, John’s favorite movies include the animated “Yellow Submarine” and the cheese-tastic 1980 flick “Flash Gordon.” For younger readers here, think the goofy fun of the live-action Power Rangers shows.

Where I am going with all this is to set your expectations for Ross’s lifelong passion project, the unlikely Broadway cult classic “Starmites,” which she has adapted with the blessing of its creators, Barry Keating and Stuart Ross (no relation). Designed and directed by Casey Ross, this Catalyst Repertory production is on the Basile stage of the IndyFringe Theatre through Oct. 14.

In our current world, twenty-ish girl-at-heart Eleanor (Jaelynn Keating [again, no relation]) is too attached to her comic book collection, especially the obscure 80’s sci-fi hero series “Starmites.” As she flips the pages of the Legend of Milady, just a dimension or two away the actual defenders of Innerspace sense that a beautiful young woman has picked up the “sacred texts.” Could she be the Milady foretold? They call out to her.

Eleanor hears voices, which convinces Mom (Damaris Burgin) she is right to have the comics slipped back into their protective sleeves and sold to the neighborhood bookshop. But as the girl puts her collection away, she is suddenly whisked away to Innerspace by the wicked Shak Graa (Paul Hansen).

Our villain wants the Milady prophesy fulfilled, as it will reveal his most sinister creation, the Cruelty, a (musical) instrument of torture. Not believing any of this is happening, Eleanor evades him and encounters Spacepunk (Joseph Massingale), leader of the Starmites – gadget tech Ack Ack (Bradley Allen Lowe), goofy Razzledolf (Noah Nordman) and suave Harrison (Matthew Blandford). Faced with painfully naïve boys in men’s bodies who are stuck (since their comic was cancelled in 1994), she decides that either this is somehow real, or at least the best way out of this “delusion” is through it, agreeing to join their quest to find the Cruelty ahead of Shak Graa. They are led by the lizard Trink (puppet design by Timothy Taylor), who says in a darkly familiar voice he’s seen the dread instrument in Banshee Castle – the one place the Starmites dare not go.

The castle is occupied by the man-eating band of Shotzi (Addison Koehler), Balbraka (Yolanda Valdiva), Maligna (Jessica Hawkins), and Banshee Boy (Brant Hughes), led by their dread Diva (Burgin). The way they read the texts, a true Princess must marry to reveal the Cruelty, which means Diva’s daughter Bizarbara (Keating) can wed a Starmite before having the whole squad for dinner (as the main course).

So there you have it, the Hero’s Journey slash Fairy Tale slash ahead-of-its-time Female Empowerment done with catchy tunes, fun dancing, a healthy dose of humor, and low-budget aesthetic – in its context, a delightfully entertaining feast for the inner child in all of us. Inspired by the books of the Comics Code Authority era, beyond a little middle-school innuendo this is an all-ages show – the rare Casey Ross production without a single F-bomb.

Troupers that they are, the cast commit to this otherworldliness, especially Hansen, delivering an over-the-top villain with a wild smile and manic evil laugh, as well as literally puppeting Trink from the shadows that seem to follow our heroes around. Massengale manages to project his leading-man persona through the colorful wig and immature – though willing to learn – worldview, like a noble flightless Peter Pan. Starmites and Banshees alike also put their all into this. Keating’s character(s) may or may not be the prophesied heroine, but she is very much the star of this show. Her songs are limited, making her powerhouse voice especially stand out. Fortunately, they include a duet with Burgin, whose soulful voice is her superpower.

As some original music was lost, music director Billy Sharfenberger helped with arrangements; he leads the stage-right band of Caleb Hamilton, Graham Bethal and Travis Zinck. Kathy Hoefgen is stage manager (aided by Hughes).

Granted, this is not your typical musical, or familiar material, but we earnestly feel this is worth taking the chance. Step into Innerspace and the experience that is “Starmites.” Find the stage at 719 E. St. Clair St., Indianapolis; tickets at indyfringe.org.

‘Sweeney’ stalks Westfield

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

The spooky season has begun, and it’s not just the change in the weather.

Main Street Productions presents “Sweeney Todd: The Demon Barber of Fleet Street” at the Basile Westfield Playhouse. With other local stagings in recent years, the popular film version, and today’s buzz about the Broadway revival with Josh Groban, most folks know this assures a ghoulish good time.

Inspired by 19th-century British “penny dreadfuls” with book by Hugh Wheeler and songs by Stephen Sondheim, attend the tale: Todd (Mike Lipphardt), who had been wrongly “transported” on a prison ship, returns to London to seek his revenge on Judge Turpin (John Parks Whitaker). He arrives with the wistful young sailor Anthony Hope (Nate Moore), who had saved Todd’s life at sea. Sweeney finds at his former home a shop where Mrs. Lovett (Claire Slaven) sells “the Worst Pies in London.” He learns his wife had taken poison and the Judge took his daughter Johanna (Lizzie Schultz) as ward. Coincidentally, Anthony finds Johanna at her balcony and seeks to woo her. Turpin’s will, and local law, are enforced by The Beadle Bamford (Bailey Hunt).

After eliminating the competition, Señor Pirelli (Chris Ritchie), Sweeney opens his barber service just above the pie shop where Lovett’s cooking suddenly gets a whole lot better. In the process, she takes on Pirelli’s former assistant Tobias (Alex Bast) as her own.

In addition, there’s a pesky Beggar Woman (Tessa Gibbons) about. Also, from the dozen-member chorus, Aidan Morris takes the brief role of madhouse-keeper Jonas Fogg.

Some would say the star of the show is the infamous barber chair in which Todd dispatches his victims. I was informed this one was reconditioned from use in the Footlite Musicals production. However, Jay Ganz and Mason Odle designed and built a splendid set around it.

Directed by Andrea Odle, Lipphardt gives us a nearly perfect presentation of Mr. Todd – undying grudge, creepy vocal tone, powerful singing, dead-eyed stare, and all. Slaven wickedly matches him as the ever-plotting Lovett. To the other extreme, Moore and Schultz are ever charming. Bast, in one of the more complex roles, turns in an excellent performance as well.

Perhaps the most interesting was Hunt’s cartoonishly odd Beadle. With his eccentric style and strutting walk, he looks like he escaped from a British “Panto,” yet somehow fits right in this setting. Likewise, Gibbons puts a little more effort than expected in her role, to great effect.

Perhaps the best scene is the entire cast’s enactment of Lovett’s fantasy during “By the Sea,” a surreal bit worthy of some award on its own.

Musical director is Laura Hicks. Dwayne Lewis is stage manager.

Little pies (not meat, though) are sold as souvenir refreshments before and during the show. Greet autumn with this macabre classic, with performances Thursday through Sunday (Sept. 28-Oct. 1) at 220 N. Union St., downtown Westfield. Get info and tickets at westfieldplayhouse.org.

Footlite: Say ‘Hello’ to a familiar show

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

There’s a good chance that nearly everyone who reads this has seen at least one version of “Hello, Dolly!”

If you haven’t, there is a dandy production at Footlite Musicals through Oct. 8. If you have, this is still worth your while, especially with Georgeanna Teipen firmly in charge as master matchmaker Mrs. Dolly Levi.

Directed by Kayvon and Erin Emtiaz, this classic musical (book by Michael Stewart, music and lyrics by Jerry Herman) takes us back to New York around the turn of the 20th century, when a dollar could get you a modest night on the town. We meet the widow Dolly at the peak of her powers, arranging a match for “half-a-million-aire” Horace Vandergelder (Darrin Gowan) of Yonkers. She also needs to arrange nuptials between Horace’s emotional niece Ermengarde (Lindsey Schaecher) and the young artist Ambrose Kemper (Thomas Zotz), over her uncle’s objections.

For Dolly to corner Horace for herself, she needs an alternative for Mrs. Irene Molloy (Heather Hansen), which fate provides in the persons of Vandergelder’s wayward employees Cornelius Hackl (Joseph Burke) and Barnaby Tucker (Cordale Hankins). At Molloy’s hat shop, Irene and her assistant Minnie Fay (Bailey Rae Harmon) meet the young men in a most bizarre fashion.

All this leads to everybody – as well as Dan Miller as the charming Ernestina Money – at dinner in the Harmonia Gardens restaurant, complete with the big production number this show is famous for, with Jerry Beasley as the head waiter.

The production goes big with 18 additional human actors in the chorus, plus Sully Emtiaz making his doggy debut. The big orchestra, conducted by Jill Stewart, takes up much of the backstage, allowing the pit to be completely covered for more room to dance.

Set design by Mary “ML” Lich includes a clever split-level stage that helps with Cornelius and Barnaby needing to be in the basement of Vandergelder’s Feed Store, and (literally) adds dimension to other scenes.

Wrangling all this is stage manager Melissa Yurechko.

Teipen and Gowan are stage veterans at the top of their game. Hansen and Harmon are up to the task as well, exhibiting a charm more streetwise than sophisticated, making their pairing with the Yonkers lads believable. Burke is impressive as the likable rube on his first day in the big city. Hankins is a glorious bundle of naïve energy.

From cheerful beginning to happy ending, “Dolly” makes for a nice evening (or Sunday afternoon) of theatre. Performances run through Oct. 8 at 1847 N. Alabama St., Indianapolis. Get info and tickets at Footlite.org.

Old play’s themes are ever current

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

Was there ever a good time to be 15 years old?

For an answer, there is the hit Broadway musical “Spring Awakening.” Based on a controversial 1891 German play, it presents the Teutonic teens of the 1890s with music styled from the 1990s (by Duncan Sheik, lyrics and book by Steven Sater), because, aside from the Latin lessons, it’s all essentially the same. Put aside the cultural and technological differences, and the themes ring familiar.

The musical, now at the District Theatre, is presented by Fast Apple Artists, founded by Kelsey Tate McDaniel, an Indianapolis actress and recent New York University graduate. Mack Fensterstock directs.

Wendla (McDaniel) is becoming aware of feelings and mysteries which her mother is hesitant to explain. Her upbringing has been idyllic, which is good, except she’s feeling uncomfortably naïve. The other girls, especially Martha (Sophie Sweany) and Ilse (Eden Franco), wish they had such quiet homes; Anna (Adrian Daeger) and Thea (Lauren Lewis) muse over which boys they will eventually marry.

As for the boys, Moritz (Kendrell Stiff) is struggling, with no adult willing to cut him any slack. His best friend, Melchior (Dylan Kelly), is a budding intellectual growing frustrated with the status quo. Georg (Nathan Brown) lusts after his piano teacher. Hanschen (Jim Melton) and Ernst (Parker Taylor) quietly lust for each other. Otto (Kipp Morgan) just lusts.

For much of the play, we get glimpses into their lives and conversations, with the microphones coming out when characters let their hormone-fueled inner selves express their questions and frustrations. As we move into the second act, we see what happens when a lack of guidance and support brings our youths to hard – even tragic – lessons.

As the production’s trigger warning notes, “Spring Awakening” deals with issues of sexuality, abuse, assault and rape, firearms, suicide, teen pregnancy, abortion – stuff we’ll likely still be singing about in the 2090s.

The cast includes Jennifer Simms in Adult Woman roles and S. Michael Simms in Adult Man roles, as well as Bailey Rae Harmon, Katie Kobold, and Alexis Koshenina in ensemble parts.

The players, especially with being not much older than the persons they portray, give a powerful performance that we feel as much as hear. The simple stage set (recycled from the District’s former “outback” stage) puts the emphasis on the emerging personalities they present.

Following up on last year’s acclaimed production of “Heathers,” McDaniel and company establish themselves as a welcome new facet in the jewel of Indy’s stage scene.

Performances of “Spring Awakening” are Thursday through Saturday evenings, and Saturday and Sunday afternoons, at 627 Massachusetts Ave., Indianapolis. Get tickets at indydistricttheatre.org. Learn about Fast Apple Artists on McDaniel’s website.

Summer Stock ‘Chorus’ dances into our hearts

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , , , , ,

(This production is by Summer Stock Stage Mainstage, not its Eclipse program as originally stated in this review.)

By Wendy Carson

This summer has been very special for John and myself. We have both had two productions of our favorite musicals staged (“Godspell” for him and “A Chorus Line” for me). I am especially delighted at the fact that each production of my fave was so vastly different, so if you saw Footlite’s, “A Chorus Line,” you really need to check out the version produced by Summer Stock Stage’s Mainstage company as well.

Director/choreographer Andrew Winans and co-director Emily Ristine Holloway bring us a longer presentation that includes more of the original script and heavily highlights the dancing abilities of each of the actors. A Tony and Pulitzer-winning “sensation” in 1975, the plot revolves around the various characters desperately vying for a job in a new show, bringing the tales of why and how each one became a dancer as well as why they continue to pursue this path as a career.

Nowhere are these skills better highlighted than in the two solo dance numbers.

Mike (Jacob Richardson) bounds out of the gate with his spectacular version of “I Can Do That” explaining how he took over his sister’s place in dance class, giving us tap, jazz, and acrobatic moves that wow the whole audience.

Anna Seitz brings the sad desperation of past Broadway featured dancer Cassie’s attempt to get a job no matter how demeaning. Her performance makes her dance during “The Music and the Mirror” seem effortless despite the fact it is one of the most complex and physically taxing numbers in this show.

Ivan Figuerora as Paul has the lone soliloquy and brings every bit of the emotional rawness of the story of his journey to becoming a man who is fully comfortable in his own body and soul.

Destinee Rodriguez as Diana, not only saps every drop of sorrowful beauty of the show’s one breakout hit, “What I Did For Love,” but also shows the struggles all students (performers or not) can face against a headstrong and uncaring teacher in “Nothing.”

“At the Ballet” highlights the desolate family lives and strong singing abilities of three of our characters: Savannah McClure as Shelia whose father’s distance is overcome by finding self-esteem through dance. Savannah McCarthy is Bebe, whose lack of physical beauty is at odds with her talent. Tess Holloway’s spectacularly voices Maggie who overcomes her father’s desertion by finding solace in the arms of dance partners.

While each cast member gets an individual moment to shine, their skill as dancing in a cohesive unit might be overlooked but is a far more difficult skill than one might expect. They include Fiona Curtis as Val, Hillary McGuire as Judy, Nina Abel as Connie, Keira Himes as Kristine, Clive Guidry as Al, Fletcher Hooten as Richie, Collin Alber as Mark, Cory Wilcher as Bobby, Keilyn Bryant as Don, and AJ Thomas as Greg.

Matthew Conwell, as Zach, the director/choreographer with their fate in his hands, and Justice Harris as Larry, his assistant, show such command of the dance steps you can believe their characters came up with them.

As I have said with every other production of the show, I would honestly attend every single performance if I could. Sadly, there are only two more opportunities for you to experience it: tonight and Sunday (July 29-30) at the Ayres auditorium of Park Tudor High School, 7200 N. College, Indianapolis (note there are street construction closures on College in the Broad Ripple area, south of Park Tudor). For tickets, visit summerstockstage.com.