Olivia Schemmel

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.

Agape kids return “Sound of Music”

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By John Lyle Belden

Even when one of your musical’s biggest songs is, “Climb Ev’ry Mountain,” who expects to have to scale the peak of a global pandemic?

Agape Performing Arts Company (to which I’ve given much praise in the past), a youth theatre program hosted by Our Lady of the Greenwood Catholic Church, bravely opened its production of Rodgers and Hammerstein’s “The Sound of Music” in March of 2020, only to immediately close.

Because COVID-19, which shut the whole world down.

But director Kathy Phipps and the cast and crew kept following that dream of telling the beloved story of the Von Trapps. With the lineup largely intact, they perform a one-weekend engagement at the Basile Theatre in the Athenaeum downtown, in the heart of Indy’s again-bustling Mass Ave arts-entertainment-dining-etc. district.

Remaining live performances, 2:30 and 7:30 p.m. today and Sunday (June 5-6), are sold out, but Sunday’s shows are available livestreamed at agapeshows.org.

The quality of the child/tween/teen performances is top-notch, as usual, with the bonus that the Von Trapp children actors are very near their characters’ stated ages. Liesl IS “Sixteen, going on Seventeen.” Agape wisely chose to keep college-student Elise Scrogham as the principal Maria, who anchored a solid ensemble Friday night.

To maximize the experience for all young actors, many roles are understudied and double-cast, with the alternate players taking the stage at different performances. Maria is also played by Meghan Wombles. Others include Elijah Beasley and Grant Scott-Miller as Captain Von Trapp, Rebekah Barajas and Silvia Seidle as Liesl, Devyn Knauss and Jackson Steuer as Friedrich, Josee DeBoor and Maggie McKinney as Louisa, Tobin Seiple as Kurt (God bless him), Evelyn Skaggs and Marygrace Rykowski as Brigitta, Adilyn Walker and Regina Kalscheur as Marta, Kesslee DeBoor and Victoria Franklin as Gretl, Olivia Schemmel and Jocelyne Brake as the wise Mother Abbess, and Clayton Muchman understudies Scott-Miller as collaborator Baron von Elberfeld.

Caleb Wilson fits right in as a late casting addition as Franz, the butler. Virginia Sever is the housekeeper, Frau Schmidt. Maura Phipps makes Frau Schraeder (the Captain’s wealthy momentary fiance) likable, and even noble in her final gesture. Aidan Morris, on the other hand, maintains a sinister air around messenger-boy Rolf that only Liesl apparently doesn’t see. The large and harmonious chorus of Sisters of the Abbey are led by Brilynn Knauss (Berthe), Kat Seiple (Margaretta) and Gemma Rollison (Sophia). And we look forward to the energetic Nathan Ellenberger, here as conniving Max Detweiler, chewing up scenes for many shows to come.

You likely know this story (and many songs) by heart. But if you don’t, here’s the pitch: It’s an old-school story of the original Antifa. With music. And children. And nuns. Who sing, even if they’re not supposed to. If you are only familiar with the classic Oscar-winning Julie Andrews film, note that the popular tunes are not in the same order or context, and there are a couple more songs. But “Edelweiss” will still touch your heart.

Even in a volunteer organization, keeping the rights to a legendary show for a dark year aren’t cheap. Please consider buying some swag, making a donation, and making a point of seeing Agape’s future productions, including a one-act “Narnia” at this August’s IndyFringe, and their staging of Shakespeare’s “Macbeth” during BardFest in the fall.