Sam Hill

‘Lockefield’ showing lots of promise

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By John Lyle Belden

We got an early look at a new play, “Lockefield on the Ave,” presented by Black Light Training and Development on March 28-30, 2025, at The District Theatre. The following paragraphs are my response, posted to the PWJW Facebook page to help get the word around during its one-weekend run. Black Light is doing important artistic work with local creatives in contributing to the story of being Black in America, and especially in Indiana.

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This short play by Robert Webster focuses on the Indiana Avenue scene in Indianapolis in the mid-20th century. Percy Davis (Quinton Hayden) has a little bar on the Avenue. It was started by his father Freeman (Gene Tommy Howard) after a moment of good luck, before his fortunes reversed tragically thanks to his former boss – and Klan member – Jack Sucker (Ray Graham). Jack’s bigotry was inherited from his hooded father and Confederate grandfahter, but his son Tom (Clay Mabbitt) doesn’t see things that way and, as an aspiring journalist, goes so far as to attempt to write for the Black-owned Indianapolis Recorder. In what we will realize is a full circle moment, Tom interviews Percy to get an honest perspective on Indianapolis Avenue and the people there.

We get a lot of information on the characters and especially Indy’s Black history, aided by fellow cast members T. J. O’Neil, Sam Hill, and Tamara Taylor. Much of it feels like a sort of staged documentary, but the true story of the Avenue is something we all need to learn or be reminded of, as it has been largely left out of local history.

With tight direction by Eric Washington, this play is like a rough-cut diamond. There is a lot of potential for Webster and Black Light to polish and form with more drama and perhaps a two-act structure to bring together its elements – including plot points like the Davis pocketwatch, publishing the story, and the Sucker family dynamic – into a priceless gem of theatre. What we have so far is like a healthy first course of soul food, making us hungry for more.

Note that to be authentic, the N-word and opinions that thankfully are not so common now are freely expressed, in their proper context. Take comfort that this show ends with a moment of unity.

A big shout-out to Black Light interim artistic director TJ Rowley for giving me and Wendy a sneak-peek at this precious jewel, with our hope of continued success for the company.

Houston-inspired musical at Footlite

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By Wendy Carson         

 I’ll begin by noting that neither John nor myself have seen the movie, “The Bodyguard,” which is the source for the musical of the same name, now on stage at Footlite. That said, this review will focus solely on the merits of the stage show, and not be complicated by comparisons that film fans will make. I was told that there were a few changes made for the story flow, but those are for others to examine and recount.

The overall plot is basic: Obsessed fan threatens pop star and experienced bodyguard is hired to protect her. Add to this a few ambition issues and romantic subplots, and the whole thing could easily boil down to a cheesy “Hallmark Movie” – yet somehow it all works together quite well. I found myself actually charmed by the spectacle.

No matter your personal opinion of Whitney Houston, she had a fierce voice. With the majority of the songs presented being what might be considered personal anthems, the show’s success or failure heavily lands on the actress/singer playing her role. Fortunately, Angela Nichols-Manlove fills those shoes almost effortlessly. She fully brings out the headstrong sassiness of Houston’s character Rachel while still showing her vulnerable side.

RC Thorne gives the titular character the firm determination of the profession but manages to highlight the fear that drives him in this endeavor. He brings believable life to the hard-boiled exterior with a soft heart archetype.

JB Scoble as The Stalker was appropriately creepy. I was quite impressed with the choreography of his interactions with various characters during the scenes he shared. However, I never felt as though the script tried to adequately explain his motivation and backstory. This weakness of the source material aside, Scoble and director Bradley Allan Lowe made our mystery man appropriately menacing.

Young Cairo Graves as Rachel’s precocious son, Fletcher, is the breakout star of the show. His talent at not stealing every scene he is a part of (which he could quite easily do) was as impressive as his scope of abilities. He is a true triple-threat who we could see delighting us for many years to come.

Melissa Urquhart is also sharp as Rachel’s sister, Nicki, around whom much of the plot twists. Additionally, she provides a powerful voice on a couple of numbers.

At our performance, Lowe ably stepped in for a supporting actor Shalmon Radford, who fell ill. (Hopefully, Radford will return this weekend.) The cast also includes Sam Hill, Robert Dooley, Carolyn Lynch, and Miranda Nehrig. Backing singers and dancers were Anya Andrews, Damaris Burgin, Kaylee Johnson Bradley, Kendell Crenshaw, Azia Ellis-Singleton (Nicki understudy), Suzana Marmolejo (Rachel U/S), DeSean McLucas, Jada Radford, and Ryley Trottier.

Whether you are a fan of the movie, or of Whitney, or just want to see something different and upbeat, this is a show that will bring you laughs, possibly tears, and make you sing along in joy.

For “All the Man That I Need” (and other hits), see “The Bodyguard,” by Alexander Dinelaris (based on a screenplay by Lawrence Kasdan), playing through March 19 at Footlite Musicals, 1847 N. Alabama St., Indianapolis. Get tickets and info at Footlite.org.