Rebecca Burkhart

Want to see a snowman? ETC presents ‘Frozen’

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

By John Lyle Belden

Given the weather lately, some ice and snow would be refreshing. To get the feel, if not the chill, enter an air-conditioned church hall to see the musical “Frozen Jr.” presented by Epsilon Theatrical Company.

As the title indicates, this is the stage version of the 2013 animated Disney film which added songs, a few updates, and hit Broadway in 2018, with book by the movie’s screenwriter Jennifer Lee and music and lyrics by Kristen Anderson-Lopez and Robert Lopez.

The addition of “Jr.” means that this is both cast with and appropriate for children, with ETC’s actors aged about 9 to 19. The content edits are few enough to keep the show tight length-wise, while not lacking in substance. And though a community kids’ production, the talent and dedication are exceptional throughout.

The familiar plot is intact: In the Norway-adjacent kingdom of Arendelle, the King and Queen’s two daughters love each other, but the fact that one of them has magical ice-elemental powers leads to near-tragedy and their parents keeping them apart as they grow up. Later, with the parents lost at sea, elder Princess Elsa is crowned queen as she comes of age, and despite her best efforts, inadvertently releases her weather powers. Seen as a “monster,” she runs away into the mountains. Her sister Princess Anna, eventually joined by local ice-cutter Kristoff, reindeer Sven, and the living snowman Olaf (who the sisters made when they were children), travel off to find her. After Elsa’s big song – you know the one – there is conflict, betrayal, and a true-love ending a little different from other Disney fairy-tale classics.

Epsilon treats us to three sets of sisters – Lila Dodyk and Ellie Richart as young Anna and Elsa, Riley Sutton and Rose Kennerk as “middle” Anna and Elsa with a charming “Do You Want to Make a Snowman?” and Brynn Dunlap and Lauren Bowman completing the play as the maturing Anna and Elsa, respectively. Dunlap gives us the full range of her character, from hopeful, to smitten, to determined, to commanding and heroic. Bowman delivers an apt performance of immense power barely checked by equally powerful fear. Pushed to her limit vocally, she ascends without “letting go” of her vocal chords.

Silas Tripple and Ashlynn Stone play the King and Queen. Other nobility on hand include Caleb Estes as the Duke of Weselton (his “weasel”-ish political demeanor makes him quite entertaining) and Zach Kolterman as Prince Hans of the Southern Isles, who sparks an instant romance with Anna.  Gavin McMillin is the Bishop at the coronation.

The stone trolls of the film have been replaced by the “hidden folk,” also of Scandinavian lore, led by Pabbie (Thomas Kim) and skilled in the ways of magic.

For provisions on Anna and Kristoff’s journey, there is the Oaken Family shop wagon, where Oaken (Tripple) and his kin go all out to provide “Hygge.” Soloists in that rousing musical number include Fender Brokamp, Kennerk, and Amelia Landrum.

Speaking of Kristoff, Aaron Owens delivers the country-boy charm with subtle dignity, accompanied by Judah Owens as Sven – charming in his own way, with more speaking lines than I recall the deer having in the movie. As the “love interest,” Kolterman effectively gives us both sides of Prince Hans.

Elsa’s powers manifest with a “Snow Chorus” of dancers: Molly Ades, Rebecca Burkhart, Bethany Frederick, Hazel Heath, Ellie Richart, and Riley Sutton. Their presence worked without being gimmicky or distracting, arms pointing like the spread of frost on windows. A crew member mentioned to me that some had formal ballet training, and the others learned to follow right in step to deliver their effects.

Natural scene-stealer Colm Tripple embodies the naïve and noble Olaf with easy charisma. He is said to be interested in working behind the scenes as well, so I expect we’ll be seeing a lot of this kid in the future.

The talented cast also includes Norah Ambrose, Ceci Burkhart, Althea Butz, Skyler Cook, Jonah Gibbons, Sarahanne Gibbons, Phebie Heath, Lydia Nilsen, Ella Owens, Jonny Owens, Adelaide Phillips, Nova Prater, Bea Rader, Abby Rowls, Brooklynn Shaw, Ember Stritar, Zoe’Rose Taylor, Greta Wolff, Conrad Zook, and Graham Zook.

Past ETC company member Allyssa Moore returns again to direct, with music director Tiffany Billingsly, choreographer Kennedy Wilson, and stage manager Mia Joelle Baille. The impressive costuming was thanks to costume manager Kate Ambrose, wardrobe director Lawana Penrod, and Moore as “glam squad & wig design.”

All the fun of the popular show, with the thrill of having it all happen right in front of you by eager young local performers, find “Frozen Jr.” playing at Broadway United Methodist Church, 609 E. 29th St., Indianapolis, Friday through Sunday, June 27-29. Get tickets at epsilontheatricalco.org.

‘Fiddler’ at Footlite: ‘Tradition!’ refreshed

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

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.