Studio Theater

Civic hosts Christie’s deadly countdown

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By John Lyle Belden

Set in the intimate confines of the Studio Theater, rather than its regular stage next door, the Booth Tarkington Civic Theatre invites you to look in on a classic mystery: See those 10 people at the party? They are all guilty of something, and one by one they will die. Who will be standing at the end? Are you sure you know?

The Civic presents Agatha Christie’s “And Then There Were None.” Director Charles Goad (who we are more used to seeing on the stage than behind it) has trusted his talented cast the freedom to bring out the dark humor in the play’s growing suspense. Even when a character is one you wouldn’t mind seeing become the next victim of “Mr. Unknown,” he or she is presented in an entertaining manner.

Matt Anderson and Christy Walker sharply portray the domestics who literally help set the scene in a fine house on an island off the English coast. Vera (Carrie Schlatter at her steadily unraveling best) thought this was just a job opportunity. Army Cpt. Lombard (Joshua Ramsey as a unflappable man proud of all his qualities, good and bad) was advised to bring his revolver, just in case. Anthony (Bradford Reilly, doing upper-class spoiled well) is up for any kind of adventure. Mr. Daniels – or is that Blore? – (Steve Kruze, working the fine line between gruffness and guilt) was, or is, a cop, making him impossible to trust. Retired Gen. MacKenzie (Tom Beeler, showing mastery of a subtle character) can see this for the final battle it is. Emily (Christine Kruze, working a stiff upper lip that could break glass) is as sure of her own innocence as she is of everyone else’s immorality. Dr. Armstrong (David Wood, becoming even more likable as we find the man’s flaws) feels he could really use a drink, though he doesn’t dare. And prominent judge Sir William Wargrave (David Mosedale in top form) knows a thing or two about unnatural death, having sentenced so many to the gallows.

The cast is completed by Dick Davis as Fred, the man with the boat.

These actors give a delicious recreation of the old story which doesn’t feel dated, considering a strong storm on a remote island would cut off smartphone reception just the same as past means of communication. The plot is propelled by the old poem “Ten Little Soldiers” (a more palatable version than the frequently used “Ten Little Indians” or its original, more controversial, title). Ten tin soldiers stand on the mantle, their number decreasing throughout the play as the victims accumulate. The verse is on a plaque by the fireplace, and reprinted in the program for us to follow along.

I don’t want to give spoilers, but bear in mind that Christie wrote more than one way to end the story. See for yourself at the Center for the Performing Arts in downtown Carmel through April 8. Call 317-843-3800 or visit civictheatre.org.

Civic presents fun ‘complete’ look at Bard’s catalog

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By John Lyle Belden

Whether you have only a passing interest in the Bard of Avon, or have memorized all his plays and sonnets, you will enjoy “The Complete Works of William Shakespeare, Abridged,” presented by the Booth Tarkington Civic Theatre through April 1.

Since this is a more intimate show than the typical Civic play, it is staged in the Studio Theater, at the other end of the lobby from the Tarkington in The Center for the Performing Arts in downtown Carmel.

Frankie Bolda, Kelsey Van Voorst and Antoine Demmings (as themselves) are Shakespeare enthusiasts – you might even have seen Frankie or Kelsey in one of the Bard’s plays – who, thanks to a script by Adam Long, Daniel Singer and Jess Winfield, discuss and present the man and all his works in 97 minutes (plus intermission).

The results are fun and unconventional — just as Shakespeare was in his day — with features such as “Othello” in rap, all 16 of the Bard’s comedies as a single mashed-up play, the Histories as a football game and, naturally, “Titus Andronicus” as a cooking show.

The second act is mostly devoted to “Hamlet,” which gets further abbreviated over and over with madcap results.

This trio do an excellent job, not only Bolda and Van Voorst, who are no strangers to the art of making acting silly look easy, but especially Demmings — who had not done stage work before, but should now consider playing Othello for real. A tip of the Elizabethan headgear to John Michael Goodson for his directing, and to Will Tople for the simple yet appropriate stage design.

This house is smaller than the regular Civic stage, so sellouts are likely; call 317-924-6770 or visit civictheatre.org.

John L. Belden is also Associate Editor and A&E editor of The Eagle (formerly The Word), the Indianapolis-based Midwest LGBTQ news source.

ATI hosts one wild wedding

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By John Lyle Belden

“It Shoulda Been You” is a freewheeling comedy musical in a single movie-length act, presented by Actors Theatre of Indiana through Feb. 12 at The Studio Theater in The Center for the Performing Arts in downtown Carmel.

The setting is a wedding held at a hotel, with all its comic potential – especially when the bride and groom come from different backgrounds. Rebecca Steinberg (Laura Sportiello) is from a middle-class Jewish family, while her fiancé Brian Howard (Michael Ferraro) is from well-to-do WASPs. Tasked with not letting this blessed occasion become a disaster is Rebecca’s unmarried older sister Jenny (Karaline Feller), who fortunately has the help of magically fabulous wedding planner Albert (John Vessels).

Bring on the inevitable clash of personalities between Rebecca’s parents, Murray (Matthew Reeder) and Judy (Judy Fitzgerald), and Brian’s parents George and Georgette (Bill Book and Cynthia Collins); and mix in Maid of Honor Annie (Teneh B.C. Karimu) and Best Man Greg (Jeff Pierpoint) – who are more a part of the upcoming marriage than anyone suspects – Rebecca’s ex-boyfriend Marty (Nic Eastlund), and the assorted roles played by Paul Hansen and Holly Stults, and you have a volatile combination that results in hilarity with a welcome happy ending for all.

The songs are snappy, adding to the punchlines and helping the story along. The cast is excellent in voice and comic form. Vessels puts his scene-stealing skills to excellent use, and you can’t help but feel for Sportiello’s Jenny from the moment she opens the show through to when she utters its last line.

Having this play in the intimate confines of the Studio Theater adds to the close familial atmosphere, and even facilitates one actor’s entrance. To get everyone in the mood, there is a Guestbook as you enter the theater, and ushers let you know as you are seated whether you are on the bride or groom’s side. A necessary salute, then, to director Bill Jenkins and the crew for a fun production, including an elegantly simple, yet simply elegant set by P. Bernard Killian.

And by the way, I’m leaving out a surprising plot twist – see it for yourself!

For information and tickets, call 317-843-3800 or visit atistage.org.

John L. Belden is also Associate Editor and A&E editor of The Eagle (formerly The Word), the Indianapolis-based Midwest LGBTQ news source.

At ATI: A salute to another era, and some sweet stories

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By John Lyle Belden

Actors Theatre of Indiana is easy to overlook, with its home space being The Studio Theater, next to the bigger Tarkington stage in the Center for the Performing Arts up in downtown Carmel. Yet this little company produces some excellent and worth-seeking shows.

“The Andrews Brothers,” which played just in time for Veterans’ Day, was a valentine to the old USO shows that kept GI’s, sailors and Marines’ spirits up during World War II (and the organization is a valuable resource to service members to this day).

Three men (played by Michael Dotson, Jay Emrich and Don Farrell) – conveniently, brothers with the last name “Andrews” – who couldn’t make the cut for service due to health reasons, but still wanting to do their part, want to move up from being USO stagehands to performing on that stage. When illness prevents the Andrews Sisters from making a South Seas gig, the Brothers get their big break in a way they hadn’t imagined.

Our trio, with pin-up girl Peggy Jones (Mary Jayne Waddell) sing and dance their way through many memorable hits from the era, both as guys, and, hilariously in the second act, as the “Sisters.” It’s all a lighthearted affair, and was a fun trip down memory lane for many in the audience who remembered those days. This led to many wonderful conversations between them and the cast after the show.

As for myself, I and Wendy fell ill in the following days and the distraction of fighting the flu (yes, I had my shot, so I guess it could have been worse!) kept us from writing a timely review.

But ATI is on stage again, and while the previous show was for the young-at-heart, this one is a treat for actual little ones (and the parents and caretakers who read them their bedtime stories): “A Year With Frog and Toad.”

I remember reading the sets of short stories about best-friend amphibians by Arnold Lobel to my son years ago, and can even recall a few favorites. Those scenes are there in the live musical play, crafted by Willie and Robert Reale. The lead characters are brought to life excellently by Bradley Reynolds and Don Farrell, with the help of some supporting critters (Kyra Kenyon and Shelby Putlak), including a very eager snail (Tim Hunt).

If you or your kids are at all familiar with these woodland companions, make plans to visit them on Friday, Saturday or Sunday through Dec. 27. Call 317-843-3800 or visit atistage.org.

Review: A ‘Fantastick’ show

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By Wendy Carson

Once upon a time, there was a boy, a girl, their two fathers and a wall. Thus begins “The Fantasticks,” a little fairy tale of love, deception, desire, foiled plans and happiness presented by Actors Theatre of Indiana.

From the opening strains of the show’s most famous song, “Try to Remember,” you are whisked back to a time when the world was filled with dewy-eyed optimism, and happily-ever-afters can be found at every turn. Therefore, it is very easy to see why this show holds the unbeatable record of running continuously for 42 years and 17,161 performances.

In fact, the aforementioned song is performed by El Gallo, who serves as the narrator and possible villain of the story. Joining him in his unfurling of the story is The Mute, who not only sets the mood by providing props and ambiance to help set each scene but also presents our storyteller with a sounding board of sorts with which to judge the proceedings.

As the beginning of the show approaches, the audience is privy to the standard calls to the cast and crew that are generally kept backstage for only them to hear. All of the main characters enter wearing all black clothes and are provided with a few articles of color by our narrator and his assistant to wear in order to differentiate one from another. Only the two fools are actually allowed any more of a costume for themselves.

The basic story is hardly unique, a son and daughter of two feuding families fall in love despite being separated by a “grudge wall” and seek to marry. What sets this apart is that the fathers are actually best friends and are merely pretending to feud in order to get their children together. They even go as far as to hire a renowned robber to abduct the girl so that the boy can save her and they can drop the sham of a feud and all be joined together in happiness.

While it does appear that this is the outcome, after a bit the children grow jaded and restless for adventure so the boy leaves to seek his fortune and experience life. The girl is left to her daydreams and decides to run away with her would-be abductor in order to find her own adventures. The fathers now feud in earnest and the wall is resurrected.

Heedless of our narrator’s warnings, the world is a harsh place that scars and reshapes them both. They are reunited, worse for wear, with eyes fully opened to the bitter realities of life and adulthood.

Laura Sportiello’s portrayal of Luisa, the girl, is so beamingly bright one might need sunglasses to take it all in. Michael Ferraro’s subtle turn as the boy, Matt, seems almost wooden in comparison. Both Paul Collier Hansen and Michael Elliot do an excellent job of balancing the roles of Henry and Mortimer, the fools, somewhere directly between menacing and pathetic.

In an inspired stroke of casting genius, the roles for the fathers, Bellomy and Hucklebee are both portrayed by women. Judy Fitzgerald and Cynthia Collins excellently embody these roles and make you forget the roles could ever be played by men.

With this level of talent already present it is hard to believe that it could be surpassed, but Logan Moore and Holly Stults manage to do just that. Moore’s stunning portrayal of El Gallo brings menace, delight, snark, and morality to the mix. The ease in which he shifts from seductive to dangerous is wondrous to behold. Assisting him is his narrative duties is The Mute, brilliantly brought to life by Stults. She not only helps out keeping the action going but wordlessly gives the audience commentary and a voice throughout the show.

“The Fantasticks” won’t have an endless run here, playing through Sunday (Sept. 27) at The Studio Theater in The Center for the Performing Arts in downtown Carmel. Call 317-843-3800.