musical

Agape ensemble brings ‘Hunchback’ to life

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By John Lyle Belden

God bless those who are less seen.

This applies not only to stories such as Victor Hugo’s “The Hunchback of Notre Dame,” but also to Agape Theatre Company, a program of Our Lady of the Greenwood Catholic Church. The company shares the spotlight among its participants, as backstage crew are brought up at every curtain call, and during the run of each production, the understudies get to take the stage.

Wendy and I attended one of the understudy-led matinees of the Disney Theatricals musical of “The Hunchback of Notre Dame,” and, honestly, it was superb.

Perfect for an endeavor that explores the link between faith and classic drama, while giving youth from junior high to college experience in the theatre arts, the “Hunchback” musical – book by Peter Parnell, music by Alan Menkin, lyrics by Steven Schwartz – draws closer to the original Hugo novel for inspiration than the animated movie. Moments of lightness are contrasted with the dominating 15th-century atmosphere of the Paris cathedral of Notre Dame, complete with Church choir and Latin chant. Songs from the 1996 film are kept, including title character Quasimodo’s “Out There,” Romani dancer (and romantic lead) Esmeralda’s “God Help the Outcasts,” the Festival of Fools theme “Topsy Turvy,” and most notably “The Bells of Notre Dame” which is used as an exposition and framing device throughout the show.

Wendy told me, “I keep forgetting they’re understudies.” Given their chance to shine, we got stellar performances by Caleb Wilson as Quasimodo, standing in for Ben Frederick; Ruth Bowen as Esmeralda, in place of Rebekah Barajas (who was Maria in Agape’s “West Side Story”); Jake Hobbs as self-righteous Archdeacon Dom Claude Frollo, otherwise played by Aiden Lucas; and Olivia Schemmel as the energetic “Queen of the Gypsies” Clopin Trouillefou, rather than the “King” played by Cyrus Dzikowski. We saw Quasimodo’s unfortunate parents played by Isaiah Haydon, in the place of Jack Tiehen – who instead portrayed Captain of the Guard Phoebus, in place of Wilson – and Hailey Ready, in place of Bowen.

Several in the cast play the plaster Saints and stone Gargoyles, who, rather than being comic relief as in the movie, are Quasimodo’s only true unjudging friends. As the conversations are in his head, we hear the Hunchback speak without impediment, as well as the statuary. In understudy, we saw Sarah Franklin, Rachel Majorins, and Ellie Wooden as the Gargoyles. Also notable was Nate Irskens as St. Aphrodesius.

Directed by past Agape performer Brynn Hensley, assisted by Sofy Vida and under the eye of artistic director Dr. Kathy Phipps, with musical direction by David Turner and stage managing by Mia Joelle Baillie with Joseph Devine, this is solid quality entertainment no matter who is on stage.

Remaining performances are 7:30 p.m. Friday, 2:30 p.m. Saturday (with understudies), 7:30 p.m. Saturday, and 3 p.m. Sunday, July 28-30, at Lutheran High School, 5555 S. Arlington, Indianapolis.

For tickets and information, including how performers ages 8-18 can join Agape’s Theater Practicum Class and take part in their upcoming Christmas production of “Rudolph the Red-Nosed Reindeer,” visit agapetheatercompany.com.

Troy story gets musical treatment, giving the women their say

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By John Lyle Belden

“Troilus and Cressida” is regarded as one of Shakespeare’s “problem plays,” problematic for both its blending of comedy and tragedy, and the unclear resolution of the title characters’ story. But it is set during the myth-shrouded events of the Trojan War – and war is messy.

In crafting “Troilus & Cressida: The Musical” for Southbank Theatre Company, Marcia Eppich-Harris adds to her adaptation a series of songs she wrote and composed, giving the production an operatic feel and allowing her to emphasize the plight of those who suffered most: the women of Troy.

Our narrator is the prophetess Cassandra (Yolanda Valdivia). True to legend, her words are frequently ignored when they don’t say what Trojan (male) leaders want to hear. Therefore, it is up to us to listen.

Seven years into the siege of Troy, the Greeks – led by Agamemnon (Rachel Snyder) with Ajax (Kendall Maxwell), Ulysses (Kevin Bell), Diomedes (Nick Asher), and fights-only-when-he-wants-to Achillies (Brant Hughes) – seek a way to break the stalemate so they can sack the city and go home. A challenge for single combat between champions is offered, and the Trojans – led by Priam (Karen Webster-Cones) with sons Hector (Robert Beltz), Paris (Natalie Marchal) and Troilus (Matthew Walls), and military leader Aeneas (Aaron Henze) – take the bait.

There is also romance: As her father has gone over to the Greeks, Cressida (Amalia Howard) is cared for by her uncle, Pandarus (Paul Hansen), who cleverly arranges her courtship with Prince Troilus. Love blooms – until a prisoner swap nips that in the bud.

There is also comedy: Agamemnon’s Fool, Thersites (Anthony Nathan at his goofy best) takes up no sword but employs his rapier wit, and juggling, to survive and mock the senseless goings-on.

There is definitely tragedy, such as the lengths Achillies’ servant and lover Patroclus (Will Harris) will go to for his master.

And never forget the women, as Cassandra, Cressida, Hector’s wife Andromache (Jennifer Kaufmann), and Helen (Carolyn Rae Lynch) for whom the Greek ships arrived, lament their position – even in nobility – of being little more than property.

Lane Snyder is unforgettable as Agamemnon’s daughter Iphigenia, especially in the role she takes on in the second act (the Bard’s five acts are condensed to two).

As in the Shakespeare original, the play ends with little more than death and disillusionment. The legendary climax to the war – a kingdom for a horse, as ol’ Will would say – is only hinted at. For its moment, though, Eppich-Harris’s musical lets us dwell on the grinding endlessness of human conflict, and the innocents (and innocence) destroyed.

Four performances remain: Thursday through Sunday, July 20-23, at Shelton Auditorium on the southwest corner of Butler University, 1000 W. 42nd St., Indianapolis. For information, see southbanktheatre.org. Tickets are available through Butler’s site.

Footlite: Dancers put it all on the ‘Line’

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By John Lyle Belden

Footlite Musicals opens its 2023-24 season with a summer Young Adults (college-age) production of the 1975 Broadway phenomenon, “A Chorus Line.”

With original concept and direction by Michael Bennett, book by James Kirkwood and Nicholas Dante, music by Marvin Hamlisch and lyrics by Edward Kleban, the musical collected 9 Tonys (of 12 nominations) and a Pulitzer, and became the longest-running show on Broadway, prior to “Cats.” This might not be news to you, but I mention it anyway to note this is a major undertaking for any company, especially considering it has a cast of 19, all with song parts and lines, plus another eight in support. And at points, they are all on stage, dancing for their lives.

This is the story of those who call themselves Broadway “gypsies” (given modern sensibilities, I won’t repeat that), the working dancers who strive for parts in the chorus, backing up the stars everyone actually came to see.  On a rehearsal stage, empty save for dance mirrors, some very talented people are sought to blend into a perfect dancing background for an unnamed star in an upcoming major musical production. They vary in age (though all look in their 20s), background and ability. Zach (Kendrell Stiff) has one day to sort this out – “four boys, four girls.”

With the help of assistant Larry (Parker Taylor), the line is trimmed to 17 hopefuls. To Zach’s astonishment, they include aging former featured dancer Cassie (Julia Ammons). He feels this is beneath her; she feels she badly needs a job.

We get some interesting characters, each with their quirks: Kristine (Sarah Tewes) and Al (Thomas McEvilly) are married; Connie (Jocelyn Evans) is short; Val (Taylor Moss) is – um – stacked; Mike (Sam Schultz) “can do that;” Sheila (Kelsey McDaniel) puts up a tough front, but softens in “At the Ballet” with Bebe (Isabella Davis) and Maggie (Alanna Porter); aspiring actress Diana (Mayi Reyes) is no-nonsense; we also have Judy (Sierra Shelton), Richie (Kipp Morgan), Don (Cordale Hankins), Mark (Samuel Smith), Greg (Nathan Brown), Bobby (Tyler Williams), and Paul (Troy Bridges) who brilliantly gives us one of the best non-musical moments. The initially cut dancers, played by Bailey Rae Harmon, Katie Kobold, Bailee Davis, Wayden Wagoner, Jim Melton, Peter Valentino, Tyler Swinford, and Jared Harris, reappear in various musical numbers, especially to back up the others’ personal stories. Director-choreographers Rick and Chris Barber didn’t let any of this immense talent go to waste.

In an ensemble, it’s tough to give individual praise, but where the story lands on a person’s shoulders, each ably handles the load with a song and a step-kick, or a refreshing punch line. Stiff is solid as the enigmatic director who presents a cold façade, but a genuine curiosity about and concern for the auditioners. Shiny hats off to Ammons for handling the exhausting song-and-dance of “Music and the Mirror,” and especially to Reyes for keeping the wide-ranging hit “What I Did for Love” wonderfully under control.

Dare I indulge the cliché? This Chorus Line is the “One” to see. (A “singular sensation!”) Performances run through July 9 at 1847 N. Alabama St. in downtown Indianapolis. For info and tickets, go to footlite.org.

Youths share lessons of ‘Godspell’

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By John Lyle Belden

As a story of Jesus Christ, the 1971 musical “Godspell,” by John-Michael Tebelak with music and lyrics by Stephen Schwartz, goes beyond the traditional Passion Play to give the greater context of what in Jesus’ actions and teachings won him followers, then brought him to the events of the Crucifiction. As a theatre production, it has a degree of flexibility allowing for creative stagings and inserting modern references to allow audiences to relate to a story from around 30 AD nearly 2000 years later.

It is also an easy – and given its playful mood, appropriate – Broadway show to cast with teen and tween actors. Carmel Community Players presents “Godspell” as its summer Rising Star Production with youths in all roles, directed by Tanya Haas, who notes she first performed the musical in high school.

Our setting is a well-stocked child’s playroom, with lots of toys, plushes, crafts, etc., to aid in the lessons our peer teacher, Jesus (Mason Yeater), has come to share. But first, John the Baptist (Nick Lantzer) must rally the kids together, his anointing represented by a bubble wand.

Jesus presents favors to each of the gathered disciples, in this case, ribbon pins. He gives the black ribbon to Lantzer, who from then on plays Judas. (This is the only other named biblical figure, the others are given random modern names to keep them relatable. I could guess who appears to me to represent Simon Peter or Mary Magdeline, but that’s beside the point.)

As anyone familiar with this show, or the Gospel of Matthew, knows, we get a number of Christian Parables, including “The Good Samaritan” and “The Sower and the Seed,” told and enacted by various cast members – along with a couple of people momentarily pulled from the audience.

The various songs, including “Day By Day” and “Light of the World,” feature vocals by all: Isabella Bardos, Emmy Bobenmoyer, Joey Brandenburg, Fender Brokamp, Rachel Bush, Jack Levine, Tatum Meadors, Morgan Rusbasan, Quincy Russell, Greta Shambarger, Owen Yeater and Quinn Yeater, as well as the two leads.

Performances are executed with the youthful energy and humor that makes this personally one of my favorite musicals. Recent high school grad Mason Yeater has great stage presence, able to say with a glance that he understands what in the plot must be taken seriously, even when all are just having fun. In the role’s original look – face makeup and Superman shirt with rainbow suspenders to show his “jester’s license” to speak truth to authority – Jesus is gentle, yet never mocked. Lantzer makes Judas seem kinda sus from the jump, and effectively keeps up the actions of a man willing to play along as long as this movement suits his goals.

All Disciples have their moments. Bush rises to the challenge of both popular numbers “Day By Day” and “Turn Back, O Man.” Shambarger celebrates “Bless the Lord” and duets on “Beautiful City” with Brandenburg. Bardos and Meadors join for “By My Side.” 

There was just a month of rehearsal, so still some rough edges on opening, but the kids are all right, and should be more than ready to bring the “Light of the World” to the stage this weekend (June 22-25) at the Ivy Tech Auditorium, 300 N. 17th St., Noblesville. For information and tickets, see carmelplayers.org or call 317-815-9387.

‘Trailer Park Musical’ a hit at BCP

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By John Lyle Belden

It’s been some years since Indianapolis theatre-goers got to look in on Armadillo Acres, Florida’s most wacky mobile home community, but “The Great American Trailer Park Musical” has returned, presented by Buck Creek Players.

In this fun bit of redneck revelry, manager Betty (Claire Slaven) keeps the lights on, Lin (Georgeanna Teipen) puts on even more lights in a strategy to keep her death-row husband alive, and Pickles (Claire Gray) is fairly sure this time she’s actually pregnant. Meanwhile agoraphobic Jeannie (Amelia Tryon) is gathering the courage to leave her trailer for the first time in decades so she can join husband Norbert (Jeremy Teipen) on an Anniversary date to see the Ice Capades.

Storms blow into Florida all the time; our present force of nature is Pippi (Emily Gaddy), an exotic dancer hoping she escaped from unbalanced boyfriend Duke (Josh Rooks) – who should arrive by Act Two.

Directed by Ben Jones, the silliness is tempered with a bit of heartache – and a moment of gunplay – but it all works out like a comedy musical should. Tryon and Gaddy, especially, give fabulous performances. Gray manages the sort of genius that plays “box of hair” dumb while still charming. And Rooks isn’t usually the intimidating sort, but adds just a hint of psycho to pull off our marker-fume-addled bad boy.

Hats off (but not too long, for sunburn) to set designer Matt Gray for the on-stage trailers (including Jeannie and Norbert’s cutaway) and stage manager Suzi Brown.

With book by Betsy Kelso and songs by David Nehls, “The Great American Trailer Park Musical” has one more weekend left at 11150 Southeastern Ave. (Acton Road exit off I-74). As of this posting, Friday is sold out, but there are two performances Saturday, June 17, and a matinee Sunday, June 18. Go to buckcreekplayers.com for details.

And while you’re there, consider giving to the fundraising drive for improvements to the playhouse entry. Your donation “buys” a little pink flamingo with your name that gets added to the campaign display.

Powerful forces at work in ‘Moon and Sea’

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By John Lyle Belden

Parts of what are now the Moon and Earth’s ocean bed once existed together, but a long-ago calamity separated them forever. Though the Moon and the Sea pull at each other, their yearning doesn’t stop the ever-increasing distance (1.5 inches a year, according to astronomers) between them.

This love story is the literal backdrop for “The Moon and the Sea,” a new musical by Douglas Lyons, with songs by Creighton Irons, presented live by Constellation Stage and Screen in Bloomington.

Singer-songwriters Charlie (Rico Lebron) and Erin (Naree Asherian) were solidly in each others’ orbit. He planned to make a visit to a seaside hideaway memorable for her, but that moment was usurped by the lovelorn spirits of Moon (Alexa Green) and Sea (Demetrio Alomar) communing in song and light.

Later, a moment of uncertainty divides our human lovers, leaving Charlie’s personal satellites – best friend Elijah (Scott Van Wye) and mother (Green) – to try to help him over the loss. Then, an open-mike night with amateur singer and “finance-bro” Doug (Jesse Townes) leads to a revelation of how much things have changed.

The pain of all-important choices reflects back and forth in song among the mortals, Moon, and the tides in an exceptional yet relatable love story.

Lebron gives us a great portrayal of a young man who confuses what he wants with what he needs, as we follow his rocky path of personal growth. Asherian’s aspirational young woman also has some learning to do, and the lessons come hard. Together in beautiful moments of song, we hear and see how wonderfully Charlie and Erin fit together, at least on stage. Townes gives us a man more noble than he would be portrayed in the Hallmark Movie version of this story; his aging frat-boy has feelings and perspective, too.

For their parts, Alomar and Green communicate passion and longing with operatic power. Under the direction of Josh Rhodes, the human and supernatural sides of this production mesh perfectly.

Van Wye makes a solid friend and gives appropriate moments of humor, as does Green as Mom and Rhonda the bartender.

The ending may surprise some, but I found it satisfying, and feel this truly new musical is worth experiencing. Performances run through June 25 at Waldron Auditorium, 122 S. Walnut St., Bloomington. For info and tickets visit seeconstellation.org.

Eclipse: ‘80s comedy so ‘very’ dark

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By John Lyle Belden

Summer Stock Stage opens its season with an Eclipse production of “Heathers: The Musical,” based faithfully on, if not the greatest, the most brutally honest Generation X teen movie.

Up front I must note that themes of teen alienation, bullying, homophobia, and especially suicide are essential to the plot, with the latter vital to the dark satire of this story. Those who saw the 1989 film, starring Winona Ryder, Christian Slater and Shannen Doherty, will understand, those who haven’t and could be triggered should exercise caution.

“Dear Diary…” Our central character and narrator is Veronica (Taryn Feuer), who sees senior year of high school as a final endurance run before escaping its toxic culture. Cruel classmates like jocks Kurt and Ram (Hayden Elefante, DeSean McLucas) pick on the weak and odd, like her friend Martha (Kallie Ann Tarkleson) so she has a plan: get in good with the elite clique – the Heathers.

Heather Chandler (Isabella Agresta) is awful, and in charge; Heather Duke (Micah Friedman) is Chandler’s number-one bitch and heir apparent; and Heather McNamara (Kha’Lea Wainwright) is a cheerleader.  

Enter the pale, dark-haired stranger, J.D. (Charlie Steiner), just the right mix of well-read loner and budding psychopath to turn Veronica on and lead her down a path of deadly events that has her wondering: Is she going to Prom – or to Hell?

The adults, of course, are next to useless, including aging hippie teacher Ms. Fleming (producer and program artistic director Emily Ristine). Eric J. Olson portrays ineffective Principal Gowan and a couple of father roles. Jared McElroy also plays dads, as well as Coach Ripper. Cora Lucas steps in as Veronica’s Mom.

The student body includes Lucas, Ben Holland, Elijah Baxter, Olivia Broadwater, and Jane Kaefer.

The musical’s songs, excellently performed, reflect the plot beats of the movie, such as “Our Love is God,” and don’t feel out of place. The dark comedy helps to bring the story together and make its elements – a foreshadowing of too many headlines between that year and now – easier to take. Still, director Maria Amenabar Farias pulls no punches.

Feuer is excellent in a role that is not quite hero, not quite victim, and we believe her and empathize when she wishes she could just put all this aside and “be Seventeen.” Tarkleson gives a brave portrayal of one who smiles through her pain, but can only take so much. Agresta emanates dark power as the kind of alpha who doesn’t let a small thing like death keep her from commanding the stage.

Steiner gets the brooding aspects of his boy with delusions of antihero down even better than Slater in the film. He lets J.D’s dysfunction creep up on Veronica so she doesn’t realize until it’s too late she’s truly a “Dead Girl Walking.”

A darkly comic epic where bad attitudes and good intentions can both have tragic ends, “Heather: The Musical” (by Laurence O’Keefe and Kevin Murphy, based on the screenplay by Daniel Waters) has one more weekend of performances, Friday through Sunday (Thursday is sold out), June 9-11, at the Phoenix Theatre Cultural Centre, 705 N. Illinois St., downtown Indianapolis. For info and tickets, see phoenixtheatre.org.

Footlite ‘Succeeds’

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By John Lyle Belden

We all know of a person who got into a prime position by dumb luck, fell upwards, however you want to call it. But wouldn’t it be wild if there were a simple instruction manual for the ambitious but unqualified?

“How To Succeed in Business Without Really Trying” at Footlite Musicals will show the way!

Based on a 1952 book of the same name by Shepherd Meade – who promoted it as satire, despite the fact he actually rose from mailroom to vice-president in his company – the musical was a hit in 1961, written by Abe Burrows, Jack Weinstock, and Willie Gilbert, with songs by Frank Loesser. More familiar with folks today are the hit revivals which appropriately featured the actors behind Ferris Beuller and Harry Potter in the role of the lead corporate climber.

J. Peirpont Finch (Brett Edwards) is literally on the outside looking in, as a window washer for downtown office buildings. But he has The Book (it was originally published with a yellow cover, so while similar, is not a “Dummies” book). He apparently has the fast-talking mind of a con man, but is somewhat ethical as he seeks to advance his career without committing any crimes or crushing anyone who isn’t acting a fool.  

Finch finds himself at World Wide Wickets (even back then, you needed the WWW to succeed) where he meets all manner of characters: A company president, J.B. Biggley (Graham Brinklow), with an easily exploitable private life; human resources manager Mr.  Bratt (Dan Miller) who will say yes to anything; friendly mail room manager Mr. Twimble (Jeffry Weber) who sees a long career as an end in itself; whiny Bud Frump (Josh Vander Missen), a literal mama’s-boy attempting literal nepotism (advancing as J.B.’s nephew); very hands-on department head Mr. Gatch (Jay Stanley); and various other executives and secretaries. This being the mid-20th century, women are consigned to the latter group, which includes Rosemary (Lauren Werne), who sees Finch’s potential; Smitty (Maggie Meier), Rosemary’s good-spirited bestie; Miss Jones (Joi Blalock), J.B.’s confidante and right hand; and Hedy LaRue (Sarah Marone-Sowers), J.B.’s worst-kept-secret of a mistress.

Will Finch climb the entire corporate ladder in the span of two Broadway comedy musical acts? Well, it would be a pretty lame show if he didn’t – but it won’t be easy, especially with conniving Frump around.

Edwards manages to heap on enough charm as Finch to help us overlook, and even cheer on, his otherwise questionable dealings. In a time when marrying well was one of the few easily attainable options for women, Werne makes Rosemary come off as brilliant. Solid stage veteran Brinklow manages to always emanate boss vibes, even when dancing like a Groundhog or doing a little knitting to relax. Vander Missen and Marone-Sowers show talent beyond being comic foils, holding our interest each in their own quirky ways.

Overall, this production, directed by Paula Phelan with choreography by Linda Rees, orchestra conducted by Aaron Burkhart and stage managed by Melissa Yurechko, does a brilliant job of satirizing office life, applicable to past eras and, to a degree, today. Does the number “Coffee Break” advance the plot? It doesn’t matter, we’ve all been there and appreciate a shout-out to the sacred bean. One could envision that with a more diverse, yet still corrupt and clueless, executive staff, Finch’s grandson could “succeed” just as wildly now.

Join the “Brotherhood” of witnesses to this sharply witty white-collar adventure. Performances run through May 21 at the Hedback Theater, 1647 N. Alabama St., Indianapolis. Get tickets and info at footlite.org.

ATI: World premiere musical exposes ‘Mr. Confidential’

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By John Lyle Belden

Publisher Bob Harrison just wanted to make a magazine that everyone would buy, and everybody would talk about. He got his wish, briefly outselling Reader’s Digest, but what people – especially the famous – had to say was nearly more than he could handle.

This is the true story behind “Mr. Confidential,” the new musical getting its world premiere at Actors Theatre of Indiana. Both the book-of-the-musical and the big, detailed book of the same name are by Samuel Garza Bernstein, whose lyrics are set to music by David Snyder.

Harrison (Don Farrell) has gotten some notoriety around New York for his girlie magazines. No naughty bits are revealed, but frilly undies and bathing suits are enough to get him in trouble in 1952. Still, if visual suggestions of sex and sin can’t get published, what’s to stop printing words about it – especially when everyone privately buzzes about how the squeaky-clean image of Hollywood is a dirty sham.

Harrison gets everyone involved: his sister and business partner Edith Tobias (Cynthia Collins), headstrong niece Marjorie Meade (Shelbi Berry Kamohara), naïve nephew Michael Tobias (Jacob Butler), devoted girlfriend Jeannie Douglas (Diana O’Halloran*), and even legendary broadcast journalist Walter Winchell (John Vessels), who brings in zealous Commie-hunter Howard Rushmore (Tim Fullerton) to manage the magazine and provide provocative political content.

“Confidential” magazine is a hit, and soon Marjorie, tired of being little more than wife to Fred Meade (Kieran Danaan), heads out to Los Angeles to get Hollywood dirt right from the source, with informants including exotic model/actress Francesca de la Pena (Jaddy Ciucci).

Back in New York, Rushmore bristles at there being far more stories about “deviants” than secret Reds, and makes his move. Big Bob counters with an alleged brush with death that captures the nation’s attention, so his now-former managing editor enacts a most public and sensational revenge.

The cast also includes Judy Fitzgerald as Rushmore’s wife, Jason Frierson as the Los Angeles County prosecutor, Alex Coveny as Harrison’s attorney, and Emily Bohannon and Megan Arrington in various roles such as pin-up models and trial witnesses.

Farrell’s charisma and Collins’ no-nonsense approach set the high bar that all meet in their performances. Vessels’ knack for going from serious to silly in a heartbeat, complete with you-gotta-be-kidding-me expression, make him an excellent Winchell (and the judge at trial). Berry Kamohara employs her awesome voice exquisitely, especially when singing the potential classic, “Girl Next Door.” O’Halloran manages to project the air of a trusting woman with her own mind in a role where she could come off as a subservient ditz. Fullerton nimbly carries Rushmore down a path of single-minded obsession reminiscent of Javert in “Les Mis,” and just as self-destructive.

The show is enhanced by numerous projections of genuine headlines, photos, and magazine pages, as well as moments of celebrities declaring their shock at finding such stories about them in print. This, and versatile sets, are courtesy of Willem De Vries, with Baxter Chambers on lighting and Zach Rosing on sound. Kevin Casey is stage manager, assisted by Emma Littau.

Silly journalist that I am, I could be burying a lead here – that work is under way to get “Mr. Confidential” to a New York stage.

Is it ready for Broadway? I’m no expert, merely a long-time observer, so I am not qualified to say “no” (that’s too pessimistic for this blog anyway) but I’m sensing it’s not a “yes” – yet. To borrow from home improvement culture, I’d say this musical has “good bones.” The base story is fascinating, it has good songs, and meaty roles. My guess is that, like many that have gone on to meet Tony, this show will see some revisions and evolution as it makes its way to ever-bigger markets, and perhaps the Big Apple.

So, wouldn’t you like to get in on the ground floor, see what the fuss is about, and meet the guy who alerted eager readers to the possibility that Liberace was not a man’s man in the way they thought?

One weekend remains, performances Friday through Sunday, May 12-14, at the Studio Theater in the Center for the Performing Arts in downtown Carmel. For information and tickets, go to atistage.org or thecenterpresents.org. Bernstein’s book, “Mr. Confidential,” and other merch are also available for sale.

(*The actress was misidentified in the initial posting of this review. We apologize for the error and any confusion.)

Constellation: Ambitious bird has lesson for young audiences

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By Wendy Carson 

Constellation Stage and Screen in Bloomington brings to life one of Mo Willems popular children’s books in a delightful show for old and young alike, “Don’t Let the Pigeon Drive the Bus! The Musical!”

Pigeon (Yul Carrion) is frustrated because he never gets to do what he wants to do. Everywhere he goes, he is met with the same refrain: “Fly off, bird!” As he sulks in the park, a new sign is suddenly placed beside him announcing that this will be a new Bus Stop. When the bus pulls up and he meets the Bus Driver (Sarah Cassidy), complete with her Official Bus Driver’s Hat, he realizes that he wants to drive the bus, too. However, nobody takes him seriously and he goes away dejected.

Suddenly, there is panic as the bus breaks down, potentially making all passengers late to their destinations. In the disarray, Pigeon grabs the Official Bus Driver’s Hat, but realizes his feet are too short to reach the pedals. He feels broken due to this, as well as the fact that he never learned to fly. With encouragement from his new human friends, and a lesson from the Driver, he flaps off throughout the audience, saving the day by “doing his thing.” All turns out well and Pigeon is satisfied – until a new sign for an Airport appears, and he has a new quest.

While the show is targeted primarily to the 8 and under demographic, there is plenty here for the adults who accompany them to enjoy. Hand-puppetry includes some traditional style (no actor visible), while most of it is the more modern style of a visible puppeteer (like “Lion King” or that “Q” show for grownups).

Carrion brings all of the energy and emotion you could desire to his turn as Pigeon and his puppetry skills are on point. However, the two standouts of the cast are the younger performers involved. Sophia Linville is superb in her numerous roles including the Bus Engine and the rogue Puppy. Still, it is Miriam Spillman’s Little Old Lady character that steals the show. Both of these ladies are bound to be standouts in future acting endeavors should they choose to pursue them.

The cast includes Tucker Ransom as the Hot Dog Vendor and Busy Business Man, and Nikki Stawski as a City Worker and cool Teenager. They and Spillman also appear as Ducks.

One note, there was a promotion beforehand to purchase a Pigeon stuffie along with your tickets, but demand was higher than expected and they are all sold out. However, I have been advised that a similar deal may be offered during their Fall production of “Curious George” and they expect to have enough supplies to meet the demand.

Another note to parents: There is an ice-cream coupon for The Chocolate Moose with the program. (Just a thought.)

Performances run through May 14 at the Waldron Arts Center, 122 S. Walnut St., Bloomington. Get info and tickets at seeconstellation.org.