Summer Stock Stage

Summer Stock ‘Chorus’ dances into our hearts

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

(This production is by Summer Stock Stage Mainstage, not its Eclipse program as originally stated in this review.)

By Wendy Carson

This summer has been very special for John and myself. We have both had two productions of our favorite musicals staged (“Godspell” for him and “A Chorus Line” for me). I am especially delighted at the fact that each production of my fave was so vastly different, so if you saw Footlite’s, “A Chorus Line,” you really need to check out the version produced by Summer Stock Stage’s Mainstage company as well.

Director/choreographer Andrew Winans and co-director Emily Ristine Holloway bring us a longer presentation that includes more of the original script and heavily highlights the dancing abilities of each of the actors. A Tony and Pulitzer-winning “sensation” in 1975, the plot revolves around the various characters desperately vying for a job in a new show, bringing the tales of why and how each one became a dancer as well as why they continue to pursue this path as a career.

Nowhere are these skills better highlighted than in the two solo dance numbers.

Mike (Jacob Richardson) bounds out of the gate with his spectacular version of “I Can Do That” explaining how he took over his sister’s place in dance class, giving us tap, jazz, and acrobatic moves that wow the whole audience.

Anna Seitz brings the sad desperation of past Broadway featured dancer Cassie’s attempt to get a job no matter how demeaning. Her performance makes her dance during “The Music and the Mirror” seem effortless despite the fact it is one of the most complex and physically taxing numbers in this show.

Ivan Figuerora as Paul has the lone soliloquy and brings every bit of the emotional rawness of the story of his journey to becoming a man who is fully comfortable in his own body and soul.

Destinee Rodriguez as Diana, not only saps every drop of sorrowful beauty of the show’s one breakout hit, “What I Did For Love,” but also shows the struggles all students (performers or not) can face against a headstrong and uncaring teacher in “Nothing.”

“At the Ballet” highlights the desolate family lives and strong singing abilities of three of our characters: Savannah McClure as Shelia whose father’s distance is overcome by finding self-esteem through dance. Savannah McCarthy is Bebe, whose lack of physical beauty is at odds with her talent. Tess Holloway’s spectacularly voices Maggie who overcomes her father’s desertion by finding solace in the arms of dance partners.

While each cast member gets an individual moment to shine, their skill as dancing in a cohesive unit might be overlooked but is a far more difficult skill than one might expect. They include Fiona Curtis as Val, Hillary McGuire as Judy, Nina Abel as Connie, Keira Himes as Kristine, Clive Guidry as Al, Fletcher Hooten as Richie, Collin Alber as Mark, Cory Wilcher as Bobby, Keilyn Bryant as Don, and AJ Thomas as Greg.

Matthew Conwell, as Zach, the director/choreographer with their fate in his hands, and Justice Harris as Larry, his assistant, show such command of the dance steps you can believe their characters came up with them.

As I have said with every other production of the show, I would honestly attend every single performance if I could. Sadly, there are only two more opportunities for you to experience it: tonight and Sunday (July 29-30) at the Ayres auditorium of Park Tudor High School, 7200 N. College, Indianapolis (note there are street construction closures on College in the Broad Ripple area, south of Park Tudor). For tickets, visit summerstockstage.com.

Eclipse presents exceptional ‘Cabaret’

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

By Wendy Carson

When most people think of the musical, “Cabaret,” they consider Sally Bowles to be the main character. However, this is really the story of the writer, Clifford Bradshaw, and his quest to write a novel. It is, after all, based on semi-autobiographical stories by an actual writer living in 1930s Berlin.  

Yet, as crafted by Joe Masteroff (with songs by John Kander and Fred Ebb), it is actually the Emcee who is the storyteller and master manipulator of the entire plot. We see him pulling the strings, putting all of the pieces into play, joyously watching the outcomes, and savagely commenting on it all through song. This has never been so utterly clear as it is in Eclipse’s current production.

From the first second he takes the stage, Matthew Conwell’s presence as our host enthralls. We can’t help but obey his every command. Fortunately for the rest of the cast, he directs us all to pay attention to the other performers who are equally outstanding.

The Kit Kat Girls: Rosie (Reagan Cole Minnette), Lulu (Peyton Wright), Frenchie (Cora Lucas), Texas (Julia Murphy), Fritzie (Lizzie Mowry), and Helga (Emily Lynn Thomas), are all at the top of their game. Their dexterity, balance, and skill bringing life to Alexandria Van Paris’s choreography (which in some cases would make even Fosse impressed) shows that they are all destined for promising stage careers if they choose to pursue them. They also bring a hint of joy to the jaded seediness of their roles.

The Kit Kat Boys, Bobby (Isaiah Hastings) and Victor (Jet Terry) are both athletic and charismatic to the point of making you sad that the script doesn’t offer them more stage time.

Cynthia Kauffman gives Sally Bowles a happier outlook. She keeps her character intentionally ignorant to anything around her that is not currently making her happy and promoting her career.

Donathan Arnold’s turn as Clifford Bradshaw makes the character as All-American as apple pie, while reminding us that apples can be tart, rotten, sweet and that all recipes have secret ingredients within them. Being an African American makes casting sense, as in the era Black ex-pats often found Europe more welcoming than back home. And he does seem to enjoy Germany – until he doesn’t.

Judy Fitzgerald and Charles Goad truly break your heart as Fraulein Schneider and Herr Schultz, a couple so hopelessly in love but still wary of the dangers arising around them.

Mowry’s delightful turn as the dedicated “lover” of sailors, Fraulein Kost, helps bring some much-needed humor into much of the storyline outside of The Kit Kat Club. But her true loyalties are no laughing matter.

Scott Van Wye pours on the charm as the mysterious Ernst Ludwig. We almost don’t mind the true nature of his “work,” until it’s literally on his sleeve.

Eclipse is a program of Summer Stock Stage that gives the alumni of the youth program a chance to be part of a professional production. They not only learn from experienced director Carlos Medina Maldonado but also by working alongside Equity actors Fitzgerald (co-founder of Actors Theatre of Indiana) and Goad.

While I do admit that this musical is one of my all-time favorites, this production makes me feel like I have never actually seen it before. If I could, I would gladly watch every performance.

You can see it Thursday through Sunday, June 9-12, at the Phoenix Theatre, 705 N. Illinois, Indianapolis. Find info and tickets at phoenixtheatre.org.

Discover the beauty of ‘Violet’

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

By John Lyle Belden

The musical “Violet” touches on many themes: blind faith, being blinded by faith, the importance of our appearance to ourselves and others, and the necessity to forgive — both others and ourselves. Eclipse productions, a program of Summer Stock Stage, brings all these aspects beautifully into focus in its production of “Violet” at the Phoenix Theatre, through June 15.

In 1964, Violet, a young woman from rural Spruce Pine, North Carolina., travels by bus to Tulsa, Oklahoma, to find a television preacher who conducts televised faith healings. She hopes to finally be rid of a disfiguring facial scar she got from an accident with a wayward ax blade. On the way, she rides with two soldiers on their way to Ft. Smith, Arkansas (nearby Fort Chaffee, to be accurate, but this isn’t mentioned), the last stop before Tulsa.

Along the way, Violet (Elizabeth Hutson) gets to know Flick (Mark Maxwell), a black Sargeant, and Monty (John Collins), a white Corporal, as they get a measure of her and appreciate the woman behind the face. She also meets characters such as a well-meaning old lady (Amanda Boldt) and the driver (Carlos Medina Maldonado), as well Almeta (Chase Infiniti), who runs a boarding house in Memphis, and isn’t comfortable with white folks in her rooms. During this journey, we can see in her memory a younger Violet (Leah Broderick) and her father (Eric J. Olson), who as a widower tries to do as well as he can for his daughter, while enduring a river of deep regrets.

The cast also includes Terrence Lambert, Lily Wessel, and Gabriel Herzog in various roles. At the Tulsa church studio, we meet Maldonado as the preacher with a choir led by Infiniti as featured singer, Lula.

Most of the ensemble are Summer Stock Stage alumni, young adults given an opportunity to show the skills they attained through years in the youth program as well as high school and university; thus we have fresh faces performing like old pros alongside veteran actors Olson and Maldonado.

Hutson is exceptional, her star shining through the plain hair and clothes, helping us to see the scar burned into her psyche even though (as is commonly done in this production) it is not visible on her face. Maxwell and Collins flesh out their characters solidly, and Infiniti gets to show off her powerful voice.

The simple set suggesting an old country church, by designer Geoffrey Ehrendreich, is adorned with mirrors hanging high above it, the shadow of the center one looming in the background as a metaphorical tombstone. Music direction and costumes are by Jeanne Bowling, with a backstage band conducted by pianist Nathan Perry. Eclipse Artistic Director and show producer Emily Ristine Holloway directs.

This beautiful work is playing on the Russell main stage at the Phoenix, 705 N. Illinois St., downtown Indianapolis. Get info and tickets at www.SummerStockStage.com or PhoenixTheatre.org.