Tim Fullerton

ATI: World premiere musical exposes ‘Mr. Confidential’

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

By John Lyle Belden

Publisher Bob Harrison just wanted to make a magazine that everyone would buy, and everybody would talk about. He got his wish, briefly outselling Reader’s Digest, but what people – especially the famous – had to say was nearly more than he could handle.

This is the true story behind “Mr. Confidential,” the new musical getting its world premiere at Actors Theatre of Indiana. Both the book-of-the-musical and the big, detailed book of the same name are by Samuel Garza Bernstein, whose lyrics are set to music by David Snyder.

Harrison (Don Farrell) has gotten some notoriety around New York for his girlie magazines. No naughty bits are revealed, but frilly undies and bathing suits are enough to get him in trouble in 1952. Still, if visual suggestions of sex and sin can’t get published, what’s to stop printing words about it – especially when everyone privately buzzes about how the squeaky-clean image of Hollywood is a dirty sham.

Harrison gets everyone involved: his sister and business partner Edith Tobias (Cynthia Collins), headstrong niece Marjorie Meade (Shelbi Berry Kamohara), naïve nephew Michael Tobias (Jacob Butler), devoted girlfriend Jeannie Douglas (Diana O’Halloran*), and even legendary broadcast journalist Walter Winchell (John Vessels), who brings in zealous Commie-hunter Howard Rushmore (Tim Fullerton) to manage the magazine and provide provocative political content.

“Confidential” magazine is a hit, and soon Marjorie, tired of being little more than wife to Fred Meade (Kieran Danaan), heads out to Los Angeles to get Hollywood dirt right from the source, with informants including exotic model/actress Francesca de la Pena (Jaddy Ciucci).

Back in New York, Rushmore bristles at there being far more stories about “deviants” than secret Reds, and makes his move. Big Bob counters with an alleged brush with death that captures the nation’s attention, so his now-former managing editor enacts a most public and sensational revenge.

The cast also includes Judy Fitzgerald as Rushmore’s wife, Jason Frierson as the Los Angeles County prosecutor, Alex Coveny as Harrison’s attorney, and Emily Bohannon and Megan Arrington in various roles such as pin-up models and trial witnesses.

Farrell’s charisma and Collins’ no-nonsense approach set the high bar that all meet in their performances. Vessels’ knack for going from serious to silly in a heartbeat, complete with you-gotta-be-kidding-me expression, make him an excellent Winchell (and the judge at trial). Berry Kamohara employs her awesome voice exquisitely, especially when singing the potential classic, “Girl Next Door.” O’Halloran manages to project the air of a trusting woman with her own mind in a role where she could come off as a subservient ditz. Fullerton nimbly carries Rushmore down a path of single-minded obsession reminiscent of Javert in “Les Mis,” and just as self-destructive.

The show is enhanced by numerous projections of genuine headlines, photos, and magazine pages, as well as moments of celebrities declaring their shock at finding such stories about them in print. This, and versatile sets, are courtesy of Willem De Vries, with Baxter Chambers on lighting and Zach Rosing on sound. Kevin Casey is stage manager, assisted by Emma Littau.

Silly journalist that I am, I could be burying a lead here – that work is under way to get “Mr. Confidential” to a New York stage.

Is it ready for Broadway? I’m no expert, merely a long-time observer, so I am not qualified to say “no” (that’s too pessimistic for this blog anyway) but I’m sensing it’s not a “yes” – yet. To borrow from home improvement culture, I’d say this musical has “good bones.” The base story is fascinating, it has good songs, and meaty roles. My guess is that, like many that have gone on to meet Tony, this show will see some revisions and evolution as it makes its way to ever-bigger markets, and perhaps the Big Apple.

So, wouldn’t you like to get in on the ground floor, see what the fuss is about, and meet the guy who alerted eager readers to the possibility that Liberace was not a man’s man in the way they thought?

One weekend remains, performances Friday through Sunday, May 12-14, at the Studio Theater in the Center for the Performing Arts in downtown Carmel. For information and tickets, go to atistage.org or thecenterpresents.org. Bernstein’s book, “Mr. Confidential,” and other merch are also available for sale.

(*The actress was misidentified in the initial posting of this review. We apologize for the error and any confusion.)

ATI and CSO combine for one killer production

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

By John Lyle Belden

Today’s production of Stephen Sondheim’s “Sweeney Todd, The Demon Barber of Fleet Street” at the Palladium of the Center for the Performing Arts in Carmel – a first-time collaboration of Actors Theatre of Indiana and the Carmel Symphony Orchestra – explores the full potential of its dramatic and musical experience.

This popular musical is an inspired choice, with its blending of the macabre, dark humor, and tragic and romantic love, backed by an operatic aural tapestry.

The ATI company — including members of its 2016 “Sweeney” production including director Richard J. Roberts — and the CSO, under the baton of Janna Hymes, are joined by the Indianapolis Arts Chorale with area singers including members of the Indianapolis Children’s Choir. Their powerful vocal presence is like another section of orchestra, on par with the strings or wind instruments. Taken together they provide a properly dense dramatic atmosphere for the actors upon the stage to flourish.

The ATI co-founders reprise their roles. Don Farrell totally disappears into the wig, makeup, and scowl, so that all you see is Sweeney, the barber unjustly exiled so that a corrupt judge could take his wife. Now Todd has returned for vengeance; his plan includes giving the best shave in London – if you survive it. Judy Fitzgerald likewise transforms into Mrs. Lovett, baker of the “worst pies in London,” but the problem isn’t her talents, but her lack of good flesh for the meat pies. Mr. Todd’s impulsive nature with his silver razors presents her with a ghoulish opportunity. Cynthia Collins returns as the mad Beggar Woman, ever present and revealed to be more than just the one to babble “Mischief! Mischief!” outside Lovett’s shop.

Joining the cast for this spectacular: Matthew Conwell is the charming and aptly-named Anthony Hope, who repays his off-stage rescue by wooing and rescuing Sweeney’s long-lost daughter Johanna (bold beauty Elizabeth Hutson). Conwell’s voice is superb, filling the song “Johanna” with harmonious longing. David Cunningham is wonderful as the tragically naive Tobias Ragg. Mario Almonte III is sharp as rival barber Adolfo Pirelli.

For the villians, Tim Fullerton plays judge Turpin as one whose growing madness makes him increasingly dangerous, a true rival to Todd. ATI veteran Michael Elliott presents Beadle Bamford with easy slimy charm.

Rory Shivers-Brimm reprises his earlier turn as characters including madhouse keeper Jonas Fogg, truly triumphant considering his recent recovery from health issues. Karaline Feller completes the cast in roles including the Bird Seller. Thanks to Roberts’s direction and effective use of costumes by Katie Cowan Sickmeier, various players easily morph into supporting roles, such as the pie shop customers, giving the illusion of a larger cast.

Scenic designer Paul Bernard Killian and prop master Amanda Pecora make creative use of this unique setting, with simple set pieces, only the infamous baking oven being instantly recognizable. As for what could be the true “star” of the show, the Barber Chair is deceptively simple. Painted blood red, it takes its proper place on the stage, but doesn’t pull focus from the brilliant work of its human costars. Roberts makes great use of the space as well, further including the orchestra as part of the production by having characters encircle it and making use of the Palladium’s rear balconies.

Did I say “today” at the beginning of this? Yes, for those looking online on Saturday, Feb. 22, 2020, you have the opportunity to make the second of two performances tonight at 8 p.m. (Tickets at thecenterpresents.org or Palladium Box Office). Friday celebrated a triumphant “opening night” (with jokes that they were “halfway through the run”).

For those who can’t make it or read this later, note this as a shining example of what future collaborations can be. Hymes noted after Friday’s show that they had only two weeks of rehearsal to put the various components together – a testament to the level of talent and dedication local theatre performers and musicians put into their work for you, the Central Indiana audience.