review

Fringe review: 4.48 Psychosis

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By Wendy Carson

“4.48 Psychosis,” by Savage at Last at Theatre on the Square Stage Two, is one of those edgy, artistic shows that makes the Fringe what it is. The performance is created to give you an insight to the constant suffering of psychotics. Aparently the 4.48 of the title is a reference to the 1 hour and 12 minutes of clarity that she experiences.

My best take on the production was, What if William Shakespeare wrote “One Flew Over the Cuckoo’s Nest”?

While the show’s disjointed narrative is necessary to drive whatever story that exists here, difficult and challenging are the best descriptors I can come up with. Plus, it has the strangest, most awkward ending I’ve ever experienced.

This show is not for everyone, but it is a powerful experience for anyone who attends. If you do add this to your schedule, I strongly suggest that you schedule a light comedy afterwards to keep our brain from being overwhelmed.

Fringe reviews: Thursday, Aug. 13

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Reviews of IndyFringe 2015 performances by John Lyle Belden and Wendy C. Carson. Includes: “Auditioning for Swan Lake” by Lou Ann Homan (Maggie Mae Productions); “Home Grown Original” by Band O’ Leers; “Mr. Boniface, the Wise” by KT Peterson; “My Sister Diane: A Story of Hope, Humor and Hospice” by Jim May, Storyteller; “Not My Baby!” by Dreadmelon Productions; “Tipped & Tipsy” by Jill Vice. All but “Tipped…” are at the IndyFringe Theatre.

Auditioning for Swan Lake (review by John)

Storyteller Lou Ann Homan starts us off with an Estonian fairy tale, which alone is nearly worth the price of admission, and helps set the theme of this story of stories about dance.

Homan always wanted to be a dancer, but she grew up Baptist. When an AARP bulletin says that the three ways to preserve memory as you age are learning a new language (took that in high school), learn an instrument (piano, got that covered) and learn to dance (oops!), she seeks to express her inner ballerina. She finds an adult class, and after a few months has the desire to try out for a local production of “Swan Lake.” Where lack of raw talent or actual ability might fail her, she’s sure to persevere with her knack for telling stories – right?

No matter what her ballet judges thought, Homan wins us over with her true tales of how she “almost danced” on skates, how a Saturday night dance helped save her son’s life, and how sometimes what you need isn’t in the flash cards. If you’re in the mood for stories spun with heart and humor, this is definitely a show to check out. Wearing a tutu is optional, but she’ll have hers on.

Home Grown Originals (review by John)

Let us simplify your expectations. Ironically, this show stretches the concept of a “Fringe show” by not being edgy or avant garde or having some odd agenda. It’s straightforward a group of eight friends playing some really good Hoosier-made music.

Alex “Tunesmith” Murphy recently wrote a bunch of songs, then recorded them with his ensemble, the Band O’Leers. Now he presents these rockabilly-country-blues tunes on the IndyFringe Basile stage, featuring vocals by Murphy, Tim Spradlin and Lori Ecker.

It’s an entertaining crowd-pleasing set, featuring oughta-be-hits like “Kiss Me Like You Mean it,” “Future Ex-Wife” (feel free to sing along on the chorus) and “You’re only Human if you Try.” If guitars and a corny joke or two are your bag, head on over and give them a listen.

The CD of the songs will also be available, featuring vocals by local legend Karen Irwin.

Mr. Boniface, the Wise (review by Wendy)

Zany doesn’t even begin to describe the characters in this play. In fact, the titular character, Mr. Boniface — a goat-man who lives in the youngest child’s wallpaper and tells her what to do – is the most normal one on display.

We have: the aforementioned youngest child, Gerty, who may be either schizophrenic or just a clairvoyant genius; Angora, a certified scientific genius, who is so bored with the level of education at her school, she has been expelled for her little pranks against the other students; Inga, their harried, narcoleptic mother who is determined that Angora get back into school so that she can succeed at fulfilling her scientific potential; and Mr. Capshaw, Angora’s science teacher, who is madly in love with her and her brain – so much so, that they plan to fake their own deaths and run of to Wisconsin so that she can be part of a pig-cloning team.

Needless to say, hilarity ensues throughout the show as everyone tries to get what they want, and it seems that only Mr. Boniface will persevere.

While Mr. Boniface’s Presidential bid was never revealed to any of us during the play (the actors are distributing campaign stickers around the festival), I hope to eventually hear more of his platform as he seems to be one of the more reasonable possibilities for the 2016 ticket.

So, for a wacky, fun time enjoy this little insight into a family that will make yours look totally normal.

My Sister Diane (review by John)

Jim May warms us up with a little about his Catholic boyhood (including how “genuflecting” spelled backwards is pronounced) and his life as a professional storyteller.

Then he relates the story of an autumn 14 years ago, when, while working on a new telling of “Noah’s Ark” he is struck by a flood of another sort, no less devastating: His sister, the sibling he had been closest to growing up, has cancer. He and other family members fly out to see her, and talk with doctors who reveal that there is little to no hope for remission or cure. Then, the tale turns to the soothing miracle of hospice, as Diane gets to fade away in comfort with the people she loved.

A story that should have left us all in weeping puddles on the floor instead becomes uplifting and inspiring in May’s masterful hands. Instead of mourning, we celebrate the passing of a beautiful soul with one who truly loved and admired her. And for those with end-of-life decisions on their minds, the narrative provides an excellent overview of hospice care.

Not My Baby! (review by Wendy)

A man is on death row for killing a police officer. He and his family are doing everything they can to get his sentence overturned. The twist: The police officer in question was a K-9 who looked like just another dog and was attacking the man’s sister. The simplest solution would be for his sentence to be commuted to life with no parole, but since the Governor is eyeing a run for the Presidency, his “Hard on Crime” platform prevents him from showing any compassion to this man’s plight. While the helplessness of all involved overweighs the plot, the family dynamic is what this show is really about.

G-maw adds some much needed comic relief as the matriarch of the clan. However, the true standout of the bunch is little Adeesa. With her Jester’s hat of a hairstyle and idiot-savant shifts from utter nonsense to brilliant clarity, she provides insight on the true path of salvation for all the characters in this comic drama.

While it’s true that the specter of death and tragedy hangs solidly over everyone, the overall love and hope displayed by this troubled group makes the whole story resonate with everyone. Despite the dour subject matter, there is a good amount of comic relief to prevent the audience from being overwhelmed.

While I will admit that this show had not been one of my first choices to see at the Fringe this year, I am grateful to no end that it made it onto my schedule. I look forward to seeing more productions from this group and expect them all to be gracing more of our community stages in the future.

Tipped & Tipsy (review by Wendy)

Jill Vice puts on a whirlwind one-woman performance in the story of Candy, the bartender at Happy’s Bar, and her regular customers.

Among the patrons we meet Pat, the homeless, alcoholic ex-boxer; Ace, the muscle-headed, tough guy who has a crush on her; and Rico, the disco ladies-man, who is also “The owner of this place.”

She shifts from one person to another with such ease you almost forget that she is alone onstage inhabiting these characters. Everyone’s stories are woven together into a rich tapestry portraying the family dynamic that comes from people habitually sharing the same space.

Like a shot of tequila, the results are more bitter than sweet, but the brutal honesty of these lives and their reasons for seeking out alcohol to help numb them to their failures is a revelation to behold.

The show is certain to be a buzz-worthy crowdpleaser. However, while the intimate venue of Theatre on the Square’s second stage highlights the story perfectly, once the word gets out, you might not be able to get a table, so reserve your seats quickly.

Oh, and don’t forget to always TIP YOUR BARTENDER.

Review: When the world becomes Springfield

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Bart Simpson of the 22nd century (portrayed by Ryan O'Shea) in
Bart Simpson of the 22nd century (portrayed by Ryan O’Shea) in “Mr. Burns: A Post-Electric Play” at Indy’s Phoenix Theatre. — Phoenix Theatre photo

By John Lyle Belden

Throughout mankind’s history, we have been storytellers. Imagine how it will be for us, saturated in pop culture as we are, if the “stories” of television and movies suddenly stop.

In the near future, civilization has collapsed. There are rumors of plagues, radiation zones and endless fires. Survivors keep lists of loved ones and ask each stranger they meet about them. But, above all, the most important thing that must be known is: What was it that Sideshow Bob said to Bart Simpson in that “Cape Fear”-inspired episode?

Welcome to the brave new world of “Mr. Burns, a Post-Electric Play,” on stage through Sunday at the Phoenix Theatre in downtown Indianapolis.

In a dark forest shortly after an unnamed apocalypse, a band of survivors, played by Eryn Bowser, Paeton Chavis, Paul Collier Hansen, Jen Johansen and Eric J. Olson keep their minds occupied by recounting a favorite “Simpsons” episode. A new stranger, played by Rob Johansen, suddenly joins them. Suspicions fade as he remembers the scenes and dialogue that the others forgot. A bond forms.

Years later, Ryan O’Shea joins the group as they are one of many bands of actors roaming the land, keeping culture alive via stories of fabled Springfield. Human creativity mixes into this scene, adding and modifying lines of the scripts. In the second act, we jump ahead a couple of generations to see what this new storytelling tradition has evolved into.

The play, by Anne Washburn, is an entertaining commentary on our media-addicted culture. It’s interesting to see how humanity comes to value something so inspired by and a parody of other works while discarding and forgetting those things that came before, the things that gave the animated comedies their substance. Then, to see what today’s reruns become after so many hands have meddled in their portrayal makes one wonder what Shakespeare would think of all the liberties taken with his works today.

This professional cast handles this work expertly, from the fear, confusion and search for connection in the first act to the avant-garde absurdity of the bizarre “Mr. Burns” episode in the second. You do not even need to be familiar with “The Simpsons” (or “Cape Fear” or Gilbert and Sullivan) to follow and enjoy this play, especially considering the end product is likely unlike anything in Simpsons-creator Matt Groening’s wildest dreams.

Find the Phoenix at 749 Park Ave. (corner of Park and St. Clair near Mass. Ave.) in downtown Indy. Call 317-635-7529 or see www.phoenixtheatre.org.

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Also published in the Aug. 6 edition of the Greenfield Daily Reporter.

Review: Hitchcock, hilarity and ice cream

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By John Lyle Belden

The downside to classic old films is, well, that they’re old. There’s a good chance you’ve already seen them, maybe more than once, or at least have heard about them so much that you know their plots, including the “spoilers.” This is especially problematic for mystery thrillers, which rely on you getting surprised by that twist near the end.

To keep them entertaining, the trick with such well-worn stories is how they’re told. Case in point: Patrick Barlow’s manic re-imagining of master of suspense Alfred Hitchcock’s classic, “The 39 Steps.” This London and Broadway hit is now playing on the stage of Carmel Community Players in the Clay Terrace shopping center.

The dramatic elements of Hitchcock’s movie are still there: In 1930s London, a man attending a performance by “Mr. Memory” meets a mysterious woman who insists she go home with him, then reveals she is being followed. During the night, the woman is murdered and the man is on the run, trying to clear his name. All he knows is that secrets are about to be taken out of the country, and that the espionage involves a master spy with part of his finger missing and something called “The 39 Steps.”

So, that’s the plot, but even if you know all the answers, it’s still worth both your time and your dime (actually a bit more) to see Barlow’s version, brought to life by central Indiana actors Jay Hemphill, Libbi Lumpkin, Neal Eggeson and Craig Kemp, under the direction of Lori Raffel.

The delivery of the story’s scenes rely more on slapstick than suspense, combined with wink-to-the-audience use of stagecraft, where chairs become cars; trunks become trains; curtains and windowshades just hang in midair where needed; and a supporting actor inhabiting two roles slyly converses with himself.

Eggeson and Kemp are identified in the program only as “Clown 1” and “Clown 2,” nimbly taking on all the roles of people encountered by our hero, Richard Hannay, played dashingly by Hemphill. Both Clowns bring the funny as they propel the plot forward, including Eggeson’s gender-bending turn as a Scottish inkeeper’s wife, Kemp’s entertaining portrayal of Mr. Memory and the goofy chemistry between them as the thugs in pursuit of our hero.

Hemphill plays a Hannay who is at times blusteringly confused as to what is going on, and at other moments a little self-aware that he’s the hero of the play, balancing this dance with our expectations and the fourth wall perfectly.

Lumpkin – a fierce balance of beauty, brains and bravery – fills the pumps of both the murder victim and the woman Hannay ends up handcuffed to during one of his escapes. Even at her most irritating and irritated at the other cast members, she never loses her charm with us.

Aside from our foursome, credit must also be given to stage manager Mark Peed, whose necessary interventions add to the magic rather than distract. And watch for references to other Hitchcock classics hidden in the story.

Another fine feature at CCP is the availability of ice cream at the concessions during these hot summer weekends. “Alfred Hitchcock’s The 39 Steps” plays through Sunday at 14299 Clay Terrace Blvd., Suite 140, Carmel. Call 317-815-9387 or visit carmelplayers.org.

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Review also in July 30 edition of the Greenfield Daily Reporter.

Review: Where there’s “Smoke,” there’s a mighty fine show

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The cast of Beef & Boards Dinner Theatre's
The cast of Beef & Boards Dinner Theatre’s “Smoke on the Mountain: Homecoming,” running through Aug. 16. — Beef & Boards photo

By John Lyle Belden

For regular patrons of Beef & Boards Dinner Theatre in northwest Indianapolis, just saying, “There’s a ‘Smoke on the Mountain’ show!” is enough to get many scrambling to contact the box office.

The popular original off-Broadway show centers on a gospel-singing family putting on a “sing” at a rural North Carolina church in the 1930s. Aside from seeing the interpersonal drama among the Sanders clan and sharing a few laughs, the audience is treated to a series of old-time hymns and gospel tunes, with the cast playing an array of instruments.

The sequel, “Sanders Family Christmas,” has the family returning to Mount Pleasant Baptist Church for a holiday sing in 1941, the last show before the Sanders’ son goes off to war.

The present production, “Smoke on the Mountain: Homecoming,” takes place in late 1945, with the war over and young Dennis (Will Boyajian) back with the family, following through on his service as a chaplain and a lifelong call to take the pulpit as the Mount Pleasant minister.

The departing pastor, the Rev. Mervin Oglethorpe (John Vessels), responded to a request to open a church in Texas and will leave the next day, taking his very pregnant wife, June (Sarah Hund), the Sanderses’ elder daughter. Burl and Vera Sanders (Bob Payne and Pam Pendleton) still have daughter Denise (Christina Rose Rahn), Dennis’ fraternal twin, now married with twins of her own, as well as Burl’s troubled brother, Stanley Sanders (Brian Gunter).

They are hosting one more sing before the Oglethorpes depart, but it becomes apparent that there are still a few issues to work out.

It helps that most of the cast is the same as past B&B “Smoke on the Mountain” productions, especially Vessels as the emotional and hyperactive Brother Mervin and Hund at her comic best as simple June, who provides the family band’s percussion, sometimes in hilariously inventive ways, and signs rather than sings — though some of her gestures might confuse any deaf audience members who happen by the church.

Boyajian and Rahn make their B&B debuts but manage to fit right in as though they had always played the Sanders twins, especially when circumstances force them to re-enact a song from when Dennis and Denise were very young.

It’s not all comedy; be prepared for some very serious moments of testimony and a lot of talk about Jesus. But this is what comes naturally in a musical with a song list that looks like one from a small-town Sunday school.

In fact, especially when Dennis or Stanley recall their darkest hours, it’s easy to forget that these are fictional characters. But the spirit (or Spirit, if you believe that way) of the play stays true to the memories of those of us who ever attended a little church in the backwoods -– or a hometown congregation anywhere.

One hopes that playwright Connie Ray would eventually see fit to have the Sanderses go see June and Mervin for a Texas-sized gospel sing, but for now we can enjoy witnessing the “Homecoming” daily except Mondays through Aug. 16 at 9301 N. Michigan Road, near the Pyramids. Call 317-872-9664 or see beefandboards.com.

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Review also appears in the July 23 edition of the Greenfield Daily Reporter.

Review: Say yes to the dresses

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The Cast of Theatre on the Square's "Love, Loss and What I Wore" by Nora and Delia Ephron, playing on the TOTS Second Stage through Aug. 1 -- TOTS photo by Abdul-Shaheed
The Cast of Theatre on the Square’s “Love, Loss and What I Wore” by Nora and Delia Ephron, playing on the TOTS Second Stage through Aug. 1 — TOTS photo by Abdul-Shaheed

By John Lyle Belden

A local production of “Love, Loss and What I Wore” by Nora and Delia Ephron returns to Indianapolis, now playing at Theatre on the Square (the first production was a couple of years back at the Phoenix) and is, again, a funny and heartwarming little show about how our wardrobe links to our memories.

The play is mostly a set of monologues performed by five women. In the center is Adrienne Reiswerg as Gingy, the central recurring character who has lived a full life and, to remember it, has made drawings of the various dresses and outfits she has worn along the way. As stage manager Stacy Ricks hangs the drawings up behind her, Gingy relates the story behind each garment.

In addition, Rhoda Ludy, Miki Mathiodakis, Lucinda Phillips and Bridget Schlebecker portray numerous characters – mothers, daughters, sisters, fiances – who remember boldy and fondly a certain dress, or bra, or shoes, or even finding a unique purse.

The delivery brings out a lot of laughs – “You’re not wearing that, are you?” – as well as a few tender moments. It will no doubt also stir up some memories of your own favorite item.

You don’t have to be female or fashion-obsessed to love this show. The well-crafted script is in very able hands on the TOTS Second Stage. But if clothes are your thing, you simply have to see it.

This production runs through Aug. 1 at 627 Massachusetts Ave.; call 317-685-8687.

Review: Ohmygod, you guys! CrazyLake has hit with “Legally Blonde”

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Amy Studabaker (left) is townie hairdresser Paulette and Peyton Cole is Harvard law student Elle Woods in the CrazyLake Acting Company production of
Amy Studabaker (left) is townie hairdresser Paulette and Payton Cole is Harvard law student Elle Woods in the CrazyLake Acting Company production of “Legally Blonde: The Musical” — CrazyLake photo

By Wendy Carson

CrazyLake’s new show, “Legally Blonde: The Musical,” does a fantastic job of showcasing many of the talented young adults in the Hancock County area. With a mere 15 percent of the enormous cast consisting of adults, it’s really impressive to see these kids ruling the stage. I’m sure most of them will be off to college and out of the area very soon, but those that do stick around should be regulars on the area stages very soon.

Besides the overall level of acting and singing, the true stand-out here is the choreography by Amy Studabaker. The various dances are not only artfully crafted but perfectly executed. This is especially amazing in the numbers with seven or more dancers performing in unison. The finale with the entire cast is particularly breathtaking.

The show’s story is very faithful to the original movie’s script and the elaborate musical numbers do not detract from the story. However, like the film it was based on, it never takes itself too seriously. Hence, the running gag of Elle’s “Greek Chorus” appearing periodically thoughout.

Payton Cole is sheer perfection in her turn as Elle, a ditzy sorority girl who will do anything (including getting in to Harvard Law School) to snag the man she feels she is destined to be with. Harrison Kenn is appropriately pompous and self-involved as the object of Elle’s affections. Patrick Gawrys-Strand’s does a beautifully nuanced job in his role as Emmitt, the financially disadvantaged kid who is Elle’s most faithful supporter. Studebaker is delightful as Paulette, the salon owner with her dreams of Ireland and a better life with a good man who truly supports her.

Still, many of the true stand-outs are in some of the “lesser role,” such as the divine band of ladies playing Elle’s sorority sisters and the Greek Chorus. Trevor Brown’s take on Kyle, the UPS guy, was hilarious and fun to behold. Of course, I cannot leave out the amazing talents of the two most adorable cast members, Banner McDowell-Fisher and Buddy Brown as Bruiser Woods and Rufus — they were consummate professionals through and through.Honestly, I could easily write at least a dozen or so more paragraphs highlighting every single performer and role but I already feel like I’m exhausting my audience’s patience as well as running out of adjectives. So just let me say that every single cast member was sheer perfection, and if anyone out there misses this production, they will truly regret it.

Performances are today through Sunday and July 17-19 at the H.J. Ricks Centre for the Arts, 122 W. Main St. in downtown Greenfield (on U.S. 40, just west of the county courthouse). Info and tickets at the CrazyLake Facebook page and CrazyLake.com.

Review: Casey Ross Productions’ “Stoops” conquers

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Cast of Casey Ross Productions' "She Stoops to Conquer," Friday, June 19, 2015 -- photo by John Belden
Cast of Casey Ross Productions’ “She Stoops to Conquer,” Friday, June 19, 2015 — photo by John Belden

By John Lyle Belden and Wendy Carson

It’s too easy to call the Grove Haus, the funky former church building in Indy’s Fountain Square district where Casey Ross puts on her plays, the “Groove House” – because Miss “Uncanny Casey” is so, well, groovy.

And speaking of mildly-outdated but still appropriate words, Ross takes the 1700s Oliver Goldsmith comedy “She Stoops to Conquer” and gives it a groovalicious update.

Like the 18th century, the 1980s were a time of big hair, regretful fashion and wacky music. In the meantime, Florida has become synonymous with rednecks, stupidity and all manner of bizarre behavior. Add these two elements to the script of the classic and slightly bawdy play and you have CRP’s latest entertaining diversion. The tale of arranged marriages (including one between two cousins), mistaken identities, besotted or scheming individuals, and overall confusion meshes well with the chosen setting.

Dick and Dorothy Hardcastle (David Malloy and Ross) own both a home and a motel, sufficiently tacky that one can’t tell one from the other. Dick wants charming daughter Kate (Ann Marie Elloitt) to check out his old friend’s son Marlow (Max Jones), whom they haven’t met, as a potential husband; while Dorothy wants her drunken slacker son Tony (Taylor Cox) to marry his cousin (and Kate’s bestie) Constance (Veronica Orech) to better secure their property, especially the precious jewels that Constance inherited and Dorothy is holding onto as dowry.

Marlow arrives with best friend Hastings (Tyler Gordon), who has cultivated a romance with Constance. From here on, the plot gets twisty, as Tony pranks Marlow into thinking the Hardcastle home is the motel, so the young suitor treats Dick like the hired help and pines for Kate, thinking she is a just a maid and not the lady he was supposed to meet – the girl, in turn, plays along for comic situations that would do the Bard proud. Meanwhile, Hastings and Constance conspire to run away to marry, enlisting Tony’s help in getting the valuable jewels. Everything goes wrong, and, this being a comedy, everything goes right in the end.

The play not only makes use of the small stage at the head of the house, but also the central floor area, with actors occasionally sitting with and talking directly to the audience. This intimate staging not only helps us connect with the action, but also precludes the need for sticking microphones to the actors. This is a refreshing change from most Indy-area community theatre. However, in this environment, enunciation and vocal projection are more critical, and any failings are more noticeable. Opening night only had a few unclear lines, which no doubt have been worked on during this intervening week, and the story was easy to follow.

The stage set is appropriately tacky, with a couple of in-joke posters, and Ross’s sound design includes a lot of snippets of ’80s hits, keeping the mood light and fun.

Under the direction of partner “Fedora Dave” Matthews, Ross makes a welcome return to the boards, exuding gleeful maternal malevolence under a burgundy wig. Elliott is 100 percent pure-cane sweetness; Cox does slackerdom proud; Gordon is suave and valiant; Orech is comically sharp; and Molloy is fun as the blustering patriarch. Also notable is John Garlick, who comes in late in the play as Marlow’s father. Jones does great at his complex character, having to come off as naive, shy and buffoonish, but then win us over as the romantic hero at the end (Elliott-as-Kate’s kind, forgiving nature helps).

The setting doesn’t translate 100 percent, but is close enough when one considers Southern society can be at least as idiosyncratic as Olde England. One reference to pounds instead of dollars sounds out of place, but can be forgiven.

The show has one more weekend, Friday through Sunday at 1001 Hosbrook St. Tickets are $15. Get info at facebook.com/caseyrossproductions and go get your groove on.

“Idiot Anthems” – We should have more shows like this

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“Ja-ja-ja-jaded…” Carly Kincannon shows the softer side of Aerosmith during an informal cabaret show June 17 at Theatre on the Square. — photo by John Belden

By Wendy Carson

Wednesday night, select members of the “American Idiot” cast got together at Theatre on the Square for an “Idiot Cabaret” concert. Even though most notice of the show was by Facebook invite or other theater insider word-of-mouth, the crowd was decently large and up for anything.

Taking the stage dressed in what would best be called “casual black” were Lydia Burke, Lisa Ermel, Olivia Huntley and Carly Kincannon, with castmates Spencer Curnutt and Matthew Lee. (“American Idiot” continues through July 5 at the Phoenix Theatre.)

The theme for the evening was “Songs of Angst,” with the first half of the set being popular songs that were meaningful to each performer during their school years and the second half being favorite songs of angst from Broadway.

While the radio hits were familiar, each singer chose their own arrangement, and while most were in stark contrast to the original, all of them were equally beautiful. Who would have thought that “Jaded” by Aerosmith would work perfectly as a torch song?

The whole show was spectacular, with each singer bringing their all — even the few technical glitches between the songs were entertaining. Everyone who missed this event really missed out on a unique and fantastic show.

For anyone out there who didn’t know about the cabaret show, John and I are doing our best to find out about these events as soon as possible and will be posting that information here, as well as the Facebook page, so you won’t miss another one.

Personally, I would really like to see more of these cabaret events happening. Hopefully, someone will step up and organize them into a monthly occurrence. Besides replacing the “Glee” withdrawal most of us are feeling, the opportunity to showcase many of our talented local actors in a more relaxed light would be very welcome. Especially our teen and young adult performers would get a chance to test their range and gain more experience. There is so much potential for some amazing shows, plus, the one-night-only scheduling should help to make the audiences more diverse yet still very supportive.

Review: An imperfect “10”

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Sean Baker (right) rehearses with Dan Flahive, who is also in the cast of Baker's
Sean Baker (right) rehearses with Dan Flahive, who is also in the cast of Baker’s “Perfect ’10′”, holding its world premiere at Theatre on the Square in downtown Indianapolis. — TOTS photo

By Wendy Carson

Theater on the Square is currently presenting the world premiere of a new play, “The Perfect ’10’,” by local musical talent, Sean Baker. Baker has a long musical history in the Circle City, comprising of being part of several bands, The Leisure Kings being the most well known. He is also the house pianist for Chef Joseph’s at the Connoisseur room, the current and more upscale incarnation of Agio.

Being an autobiographical piece, the story is a new artistic offering for Baker. However, it does fall short of its goal. It plays more as a play being workshopped than a finished product.

This is not to say that it is entirely unwatchable and does not show some promise. The story development in the second act is quite compelling and does prove that, with some polish and rewrites, that this play will work.

There are quite a few good laughs to be had, especially Sean’s encounter with “Beaux Derek.” Maybe with the trimming of unneeded characters, Justine and Allyson in particular, it would flow better. The interactions with Sean’s therapist might be better reflected with her in voice-over, save for a late-night phone call which plays perfectly. Also, while the bartender’s actions are quite funny, he does tend to upstage and draw attention from some of the more vital dialogue. A reining in of his antics is needed. Plus, it wouldn’t hurt to add a few more songs and eventually turn the show into a full-fledged musical.

I would advise you to either watch or re-watch the movie, “10” (1979, directed by Blake Edwards, starring Dudley Moore and Bo Derek) prior to the show as there are quite a few inside jokes and nods to it in the play. Still, if you’d like to catch a rising talent at beginning of his writing career, go and check out “The Perfect ’10’” at TOTS, 627 Massachusetts Ave., Indianapolis. Call 317-685-8687.