Paully Crumpacker

Indy Drag’s crowning achievement

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By John Lyle Belden

“Divorced. Beheaded. Died. Divorced. Beheaded. Survived.” Divas – Bedazzled – Live!

If there was ever a Broadway show perfect for Indy Drag Theatre parody treatment, it’s “Six.” Now the concert musical gets IDT’s royal treatment as its debut production in the Phoenix Theatre Cultural Centre.

The original musical by Toby Marlow and Lucy Moss (a smash in the UK as well as New York) is a fabulous fantasia in which the six wives of England’s King Henry VIII arrive from the afterlife as pop stars. In a sing-off, the one who had the worst time with the legendary monarch gets named the girl group’s leader.

No strangers to corsets, we have six queens* playing the Queen: Natasha Kennedy is Catherine of Aragon, whom Henry started an entire church denomination to dump. CiCi Pasiòn is Anne Boleyn, who found out the hard way she was not allowed to fool around like the randy Royal. Madison Avenue is Jane Seymour, who would give Henry a son if it was the last thing she’d do – and it was. Brentlee Bich is Anna of Cleves, the German whose portrait was apparently the Renaissance version of Glamour Shots. Kiki Crimi is Katherine Howard, who even in this venue can’t catch a break, after a life of abusive treatment before losing her head. Natalie PortMa’am is Cathine Parr, who put up with the gout-ridden old King through his final days. (Tip of the crown to Kelsey McDaniel, our lady in waiting serving as Swing.)

Aside from taking creative license as a Drag Parody, the production is expanded to include an on-stage “band” – The Crown Jewels – play-synching their instruments: Dallas Fort Worth as Sir Pluck-A-Lot on bass, Jared Matthew as Keys McQueen on keyboards, Faith Camire as the Earl of Beats on drums, and the fabulous Freddie Fatale as Duke Strummer on guitar. They add a couple of extra songs, including a big number featuring puppet versions of the Six women.

This spectacular is directed by April Rosè, who also choreographed, assisted by Canila Carpenter. Costumes are by Caitlin Davey, with makeup by Celeste Al’Dreams and wigs by Gayle Thyme. Stage set is by Miss Kay-Otic, with props by Tricera Tits. Stage manager is Brian Kitta. Lighting is by Paully Crumpacker, with sound by Cadence.

The show is supremely entertaining with just enough real history to make you want to go look it up. This is coupled with the ever-present issue of women – even at the highest office – being tied to the fortunes of men, disregarded on their own merits. Each Queen presents her frustration while also showing her strength. Catherine confronts rejection; Anne consoles herself with her post-mortal fame; Jane tempers pride of motherhood with regret. Anna of Cleves’s section especially satirizes modern beauty standards with her swipe-left/swipe-right number, and demonstrates that unconventional beauty is still beautiful, worthy to be “Queen of the Castle.”

High artistic standards coupled with individual passions coming together in unselfish collaboration continue a local entertainment phenomenon. The house is a little bigger, but will still get filled.

Performances of “Six: A Drag Parody Musical” continue through Sunday, March 15, on the Livia & Steve Russell main stage at 705 N. Illinois St. in downtown Indianapolis. Get tickets at phoenixtheatre.org, and info at indydragtheatre.org.  

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*(Note: Out of respect for the art form and its performers, they are identified by their Drag names as given in the show program.)

Lessons impact more than students in ALT drama

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By John Lyle Belden

Home Economics education was a normal part of growing up female in America for most of the 20th century. Colleges took it a step further with degree programs and entire departments so that ambitious ladies could get socially acceptable careers in fields like foods and nutrition or education, or to just become more knowledgeable housewives.

In “Borrowed Babies,” the drama by Jennifer Blackmer presented by American Lives Theatre, an enterprising professor at an Indiana college creates an innovation within that system.

In 1952, Judy London (Jen Johansen) starts her “Home Management House” where four senior Home Ec majors will reside while taking on practical projects in aspects such as cooking and sewing. For them to better understand infant care, Mrs. London has arranged for an actual one-month-old from the local Children’s Home, who will live with them throughout the semester.

In 1982, the program has been inactive for over a decade and the House, where Mrs. London still has her office, is about to be demolished by the University to make way for new construction. Assisted by distracted student Shelly (Rachel Ivie), they are packing up accumulated paperwork and records when a 30-year-old woman (Lauren Briggeman) arrives, insisting on speaking with the professor. Wendy, they discover, has been here before.

On a singular stage set, designed by Nick Kilgore, we witness both eras. Bridget Haight’s direction, lighting design by Paully Crumpacker, and the skill of the cast – especially Johansen – make the story’s constant flow between these periods natural and easy to follow.

In the ‘50s, we get to know the four students: Vera (Hannah Luciani) is an honor student, eager to please. Louise (Carmia Imani) is ambitious, her eye on both a career and a certain young man, though she is regarded as the group’s worst cook. Betty (Dorian Underwood) is bright and upbeat with dreams of making it in the New York art scene. Bernie (Sarah Powell), daughter of a former “Rosie the Riveter” and an overbearing father, enjoys fixing things – however, she resists helping to care for the baby, as she doesn’t plan to have one of her own.

Julie Dixon plays Mrs. Rose McGuinness, a social worker with the Children’s Home.

Blackmer, a Professor of Theatre at Ball State University in Muncie, based this play on a past program of “practice houses” there. Having this grounded in a real mid-century experiment, done with the best intentions but a more ends-justify-means standard of ethics typical at the time, makes this drama even more fascinating. It also gives a glimpse into the lives of women college students who must reconcile unlimited potential with limited opportunities.

In addition, this production gives us the pleasure of seeing two of Indy’s best actors, Johansen and Briggeman, go toe-to-toe in a battle of wills. Those playing students also get moments to shine, especially Powell in her deeply conflicted role.

Class is in session, with lessons that ask hard but important questions. “Borrowed Babies” runs through Feb. 22 at the Phoenix Theatre Cultural Centre, 705 N. Illinois St. in downtown Indianapolis. For tickets, go to phoenixtheatre.org.