Tim Hunt

ATI employs legendary workplace comedy

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By John Lyle Belden

The corporate glass ceiling has a few more openings these days, but women still relate to the frustration of the 1980 movie, “9 to 5,” which made lifelong friends of its stars Jane Fonda, Lily Tomlin, and Dolly Parton, who wrote and performed its iconic theme.

The story, which Fonda brought to film after hearing the plight of admins in the ‘70s, got new life as a Broadway musical by Patricia Resnick with more songs by Parton in 2009. And now, Actors Theatre of Indiana have put it to work at the Studio Theatre in Carmel through May 11.

Set mainly in the offices of mythical Consolidated Industries in 1979, and keeping the plot beats of the original film, Judy Bernley (Devan Mathias [Fonda’s role]) is enduring her first day at work – ever, thanks to being dumped by her philandering husband. She is put under the tutelage of supervisor Violet Newstead (Judy Fitzgerald [Tomlin]), who is still considered “just a secretary” despite seniority over many of the men, including “sexist, egotistical, lying, hypocritical bigot” company VP Franklin Hart (J. Stuart Mill). The tyrannical Mr. Hart is served by personal assistant Roz Keith (Cynthia Collins), an obsessively devoted toady who spies on the others for him, and secretary Doralee Rhodes (Abigail Storm [Dolly]), who constantly deflects but puts up with his blatantly sexist shenanigans while getting no respect from others due to her “backwoods Barbie” accent and looks, but mostly from the rumor she’s banging the boss.  

To set the scene, Ms. Parton herself appears on a screen to introduce the show and its principal trio. The opening number is a breakdown of the theme song, energetically propelling us into their “way to make a living.”

We also meet Grace Villegas, Jaddy Ciucci, and choreographer Carol Worcel as secretaries Maria, Kathy, and Margaret (the “old lush”). Deb Wims is Hart’s oblivious wife Missy, and plays a member of the secretarial pool. Tim Hunt is accountant Joe, who is sweet on Violet. Kenny Shepard portrays Dick (appropriately), Judy’s ex, while Fletcher Hooten is Josh, Violet’s teenage son; Shepard and Hooten also appear as members of the company’s all-male executives, along with Peter Scharbrough as rising star Bob. Scharbrough later cameos as the Chairman of the Board. Jacob A. Butler plays Dwayne, Doralee’s sweet and supportive husband.

The plot brings Judy, Violet, and Doralee together in their mutual hatred of Hart, and after a then-illicit evening with a rather strong dose of pot during which they relate – and we see gloriously performed – their revenge fantasies, they inadvertently find themselves actually acting them out. So, at intermission, Hart is chained away in his own home by the women, who next must figure out how to keep the company running with him gone (the easy part) while working out the means to keep their own freedom (hilarity ensues).

Mathias and Fitzgerald make familiar roles their own while Storm adds her go-getter spark to the lady in the big blonde hair and support bra. Mill takes his tyrant up a comedic notch from the film, aided by his hilariously cheesy company photograph (props design by Casey Clouser). Collins nails the role of Roz. Hunt is sweet as smitten Joe, who helps save the day but gives credit where due.

Indy area stage legend Suzanne Fleenor directs. Stage managers are Duane McDevitt, assisted by Kayla Richardson. Guy Clark’s costume design evokes the era without edging into loud fashion. Jay Ganz designed a clever and functional modular set that allowed for smooth desktop transitions.

The fairly daring-for-its-time show that set the standard for modern workplace comedy is a still-relatable joy and gentle reminder to value everyone who has to punch in at 9 (or, from my experience, 8) to 5. Performances are at the Studio Theatre in the Allied Solutions Center for the Performing Arts in downtown Carmel. Info and tickets at atistage.org and thecenterpresents.org.

A swingin’, showtune singin’ GHDT ‘Melange’

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By John Lyle Belden

If you are reading this before 3 p.m. Sunday, March 16 (I’m posting it only hours before), do consider heading over to Gregory Hancock Dance Theatre’s office and studio on Carmel’s Gradle Drive, in the big black box of The Florence, to see the latest collaboration of “Melange.” For the $20 ticket, you get 16 hit tunes sung by the fabulous Tim Hunt, along with the grace and energy of dancer Abigail Lessaris, during on-the-spot creation of art by painter Lily Kessler.

If, as most will, you read this late Sunday or after, read on to get the feel for this unique production that had excellent performances by other eclectic trios last year and should return in future months.

The concept is simple and challenging. Gregory Glade Hancock assembles a vocalist, a visual artist, and one of his company dancers for a weekend of three performances. The person singing and/or speaking arranges a one-hour program without collaborating with the others – they might not even meet until the first show date. So, for the dancer and artist the work is entirely improvised, drawing inspiration from everything in the moment. The results are each unique, coming together nicely due to the dedication and professionalism of the participants. The artwork is shown to the audience at the end – taking a photo of it is ok – and it is donated to GHDT and immediately auctioned.

Each vocal artist brings their own flair, naturally, and you may know Hunt from his recent “sweet” turn as Frank in Indy’s “Rocky Horror” – but he’s not doing that character here. He sings popular bits from other shows he’s done, ones he just liked the sound of, and one he would really like to do. He also displays his love for the songbook of Rat Pack-style jazz and Harry Connick, Jr., with a number of swinging and sentimental songs. He’ll also give us a little Don McLean (“Not that song,” he says before, “or that other one, either”). The delivery is pure joy; it would be worth the ticket and more if this were just his cabaret.

However, there is also Ms. Lessaris, an instructor and the assistant director for GHDT, and frequently a featured dancer in their shows. Her flowing modern and ballet style matched the beat leaving her glowing with energy (and sweat) and enjoying every minute. Styles ranged from gentle grace to the opportunity for a quick hillbilly jig. The songs having instrumental breaks even gave her “solos” to show off. One wouldn’t know there was no prior collaboration.

Abstract painter Kessler, an adjunct professor at Butler University and creator of “The Art of Living Yoga” book series, literally let the energy of the hour guide her into her work. The resulting in-balance beauty I’ll not elaborate on as today’s creation won’t necessarily be the same as it, however this original – her fastest work, she confessed – was worth more than its multiple bids.

See gregoryhancockdancetheatre.org for information on this and future performances, including the dance programs “Spring Equinox” on April 4-5 and “Summer Solstice” June 6-7, both at The Tarkington at the Center for the Performing Arts in downtown Carmel. The Academy at GHDT is at 329 Gradle Drive.

Little extras make Z&Z ‘Rocky’ an ‘absolute pleasure’

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By John Lyle Belden

It’s been a few years since we looked in on the Zach & Zack (“Zachk”) production of “The Rocky Horror Show” (not the movie, the original Richard O’Brien stage play) and “Brad, I’m so glad” I returned for this year’s edition.

If you are reading this, odds are you know the story – a super-campy musical tribute to the spooky “science-fiction double-feature” of decades past. If you don’t… well, “virgins,” this isn’t just a play, it’s an experience. Just roll with the weirdness and shout along when prompted.

That’s one of the cool things about this production: The audience prompts are flashed above the stage. It keeps everyone mostly in unison, though it standardizes the shouts and we are asked not to add more if we know additional lines (I said quite a few, normal-voiced, at my table, surprised by how many I remembered).

Producer Zach Rosing and director Zack Neiditch have assembled an excellent cast of joyous freaks. In charge of this menagerie is the incomparable Tim Hunt as Dr. Frank N. Furter, the “Sweet Transvestite” and our host as “a-hole” square Brad (Suraj Choudhary) and naïve “slut” Janet (Logan Hill) arrive at his castle looking for a phone but instead finding a mad experiment – bringing life (itself!) to the muscular Creature, Rocky (Johnnie Ray Hughes). Overseeing this mayhem are Matt Branic as Riff-Raff, Elizabeth Gee as Magenta, and Matthew Altman as a marvelous trans Columbia (it completely works, especially when the costume malfunctions).

Steven Ryan Crays appears as unfortunate Eddie and returns as the noble Dr. Scott. The funky phantom ensemble are Alexa Abbott, Megan Arrington, Kelvin Burzon, Brittany Michelle Davis, Danny Kingston, and Kendrell Stiff.

Most impressive to me was the interludes with our dramatic Narrator, Craig Kemp. While initially shown on the nearby screen in the expected stuffy study, his performance literally goes all over the place. You never know where he and his faithful videographer will appear next as he expresses in solemn tones the goings-on and how imperiled our (sorta) innocent couple truly are. This aspect of the show adds to an already immersive experience, raising the entertainment value, especially for us jaded “Rocky” veterans.

A Halloween treat for mature audiences with immature tastes, “The Rocky Horror Show” runs through Nov. 2 at the Athenaeum Theatre (due to its historic nature, no bringing “props” allowed), 401 E. Michigan in downtown Indy (corner of Michigan, New Jersey, and Mass Ave). For tickets, go to rockyhorrorindy.com.

Footlite hosts fresh take on popular fairy-tale musical

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By John Lyle Belden

Sometimes, when you need it most, a special person appears, a wise character who makes everything better with their magical touch.

A Fairy Godmother? Sure. But for now. I’m referring to Bob Harbin. Mr. “Bobdirex” has cast his spell on Footlite Musicals in his direction of Rodgers and Hammerstein’s “Cinderella.” While most often seen as a version of the 1957 television production, he has gone with the 2013 Broadway book of the musical by Douglas Carter Beane. Consider this a more postmodern and “woke” version — as one critic of the New York staging put it, influenced by “Les Mis” and “Spamalot” — while still retaining plenty of the fairy-tale charm and the wonderful R&H songs.

We check off the old story points: A girl is reduced to servitude by her cruel stepmother and spoiled stepsisters, but she keeps a positive attitude “in her own little corner” by the hearth. Meanwhile, the local Prince (who is quite Charming, but he’ll go by one of his several names) needs to find a bride so he holds a Royal Ball, which our evil Steps go to but leave Cinder-Ella behind, to be rescued by a Fairy Godmother, who provides the gown and glass slippers while charming a pumpkin into a carriage and handy animals into its horses, driver and footmen. Spell ends at midnight, so after Cindy and the Prince fall in love-at-first-sight, the clock chimes, and off she goes…

But, wait! Also: Prince ‘Topher (Jacob Hardin) is more than two-dimensional and has his own inner struggle; likewise, stepsisters Charlotte (Kristin Cutler) and especially Gabriella (Tara Cherry) have feelings other than snobby disdain, with the latter secretly in love with peasant rabble-rouser Jean-Michel (Dustin Branum) — oh, and there’s that young student revolutionary added to the cast. Madame Stepmother (Jill O’Malia) is still evil as heck, but we have another villain in minister Sebastian (Markell Pipkins), who maintains the kingdom until the Prince comes of age, enacting all sorts of oppressive measures. And to top it all off, when she runs from the ball, Cinderella (Lauren Russel) takes both shoes! What’s going on here?!

You have until Dec. 15 to see how this all works out to the expected happy ending. With the odd twists and its constant way of mining humor from them, this is an entertaining take on the whole Once-Upon-a-Time schtick, and with tunes like “The Prince is Giving a Ball,” Fol-De-Rol,” “Impossible is Possible,” and “Ten Minutes Ago,” sure to please any who love the original show.

Great performances by all I’ve listed so far — who knew we could find the Stepsisters so fun? — as well as Heather Catlow as Marie, the old woman with something shiny under that frumpy dress; and Chris Jones as Lord Pinkleton, servant to Topher and Sebastian, and master of the sarcastic eye-roll. 

Russel is appropriately beautiful in voice, movement and attitude. Cutler wields both ditsy-ness and sarcasm to hilarious effect. Cherry also plays not-too-bright but makes up for it with chutzpah and surprising depth. Branum plays a boy full of radical fire, but ironically low in confidence, and charming either way. Catlow is appropriately maternal with wry humor. Hardin makes the most of a story that usually just makes him the means to Cinderella’s end, showing some growth from spoiled boy to worthy of his eventual kingdom.

The show also looks great, with costumes by the team of Etta Biloon, Renee Stout, Vickie Tewes, and Darlene Uggen; and wigs by Tim Hunt and Jill Wooster (you’ll never forget Gabrielle’s hairpiece). Sets are by Stephen Matters; choreography is by Linda Rees; music director and orchestra conductor is Kayvon Emtiaz. Note the cast and crew are all volunteers, doing it for the love of the art.

Oh, and there are also puppets. Who doesn’t like puppets?

Thanks, Bob! For a fresh and fun diversion from all the holiday happenings, “Cinderella” graces the Footlite stage at 1847 N. Alabama St., near downtown Indianapolis. Call 317-926-6630 or visit www.footlite.org.

Would be a crime to miss ATI’s ‘Scoundrels’

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By John Lyle Belden

The criminal culture on the French Riviera of “Dirty Rotten Scoundrels” is an easy-going atmosphere where there is truly honor among thieves, the setting for the raucous comedy of the 1988 film (starring Michael Caine and Steve Martin) and the more recent Broadway musical, now presented by Actors Theatre of Indiana.

Polished and posh local con man Lawrence Jameson (played by TJ Lancaster) has perfected his act of posing as an exiled prince, extracting funds for his “revolution” from willing rich women, including Muriel (Judy Fitzgerald), an American all too eager to spend her ex-husband’s fortune. Lawrence’s accomplice, Andre (Don Farrell), is also the city Chief of Police, so they pretty much have it made.

But shortly after hearing that a notorious swindler, The Jackal, is in the area, Lawrence meets Freddy (Tony Carter) a crude but effective fast-talker who wants the more mature con artist to teach him his methods. They gain a grudging respect for each other, but get on each others nerves to the point that they make a wager – first to fleece their next mark for $50 thousand gets to stay; the other must leave. Enter the Soap Queen of Cincinnati, Christine Colgate (Deborah Mae Hill). The con is on!

The result is hilarious and thoroughly entertaining. Fortunately, the musical’s book by Jeffrey Lane (songs by David Yazbek) doesn’t force our leads to be copies of the charismatic Caine or unique Martin, but excellently-rendered characters that Lancaster and Carter have obvious fun embodying. They and the supremely charming Hill make the most of the show’s frequent slapstick moments. Fitzgerald fits among the criminals, stealing scenes — especially with fellow ATI founder Farrell. Supporting and chorus parts are ably filled by Michael Corey Hassel, Tim Hunt, Annalee Traeger, Brynn Tyszka and Sabra Michelle, who shines as an Oklahoma oil heiress set on marrying our faux Prince. Direction is by New Yorker Michael Blatt.

ATI opens their 2019-20 season with this show in the intimate confines of The Studio Theater at the Center for the Performing Arts in downtown Carmel, running through Sept. 29. Get info and tickets at atistage.org, or thecenterpresents.org.

Zach & Zack’s ‘Angry Inch’ measures up

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By John Lyle Belden

Once again, internationally ignored superstar Hedwig Robinson takes the stage in Indianapolis, fronting “Hedwig and the Angry Inch.” The German glam goddess tells her story while shadowing former partner Johnny Gnosis, who is on another stage, reaping the benefits of scandal.

“Hedwig,” the acclaimed Off-Broadway musical, is a transcendent sensory experience when done right — and Zach (Rosing) & Zack (Neiditch) may have succeeded with this month’s production on the Epilogue Players stage.

That’s right, this punk youthquake is in the little corner theatre that typically showcases older actors. But on the other hand, given her Cold War backstory, the character of Hedwig isn’t so young anymore. The show was originally performed and set around the year 2000, so to keep the story fresh this play blurs the last 20 years into a spacetime setting of its own — not hard to reconcile for folks like me for whom the 20th century feels like yesterday, but might require some don’t-think-about-it for younger viewers.

Tim Hunt is Hedwig, with face, voice and attitude much like the show’s creator and original star, John Cameron Mitchell. Her look is made complete by exquisite costumes and headpieces by costumer Beck Jones, especially during “Wig in a Box.”

Hedwig’s present husband, Yitzhak, is portrayed perfectly by Kate Homan, from his sulking resentment and grudging fidelity to an outstanding transformation at the end.

They are backed by a solid onstage band of Jacob Stensberg, Matt Day, Steven Byroad and Andrew McAfee. They perform on a punk-aesthetic stage complete with cleverly used discarded-but-functional televisions.

As fans know, the “Angry Inch” refers to more than the band; it’s the result of the botched sex-change operation in East Berlin when young Hansel Schmidt became Hedwig. So, needless to say, there is mature content in this show (but no nudity). And as the historical context slips further into the past, and it being less unusual to see a Trans entertainer on stage, we are confronted with the other, larger, more universal theme of the play — the personal search for completion.

This world’s foundational myth (in the “Origin of Love”) is that humanity was only content when each “person” was a complete set of two individuals fused together. But in the longing for finding one’s other half, they ironically lose or give away parts of themselves. This is Hedwig’s journey — losing her “parts” to gain a man, yielding her creativity in the attempt to hold another, then denying Yitzhak his own completion for as long as her own soul is fragmented.

As the many puzzles presented come together, we all share in the completion of a beautiful experience, a feeling no one can tear down.

Performances are Thursday through Sunday (Jan. 11-14) at 1849 N. Alabama St. Click here for info and tickets.

ATI’s truly beautiful ‘Bird’

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By John Lyle Belden

La Cage - Michael Humphrey, Greg Grimes, Tim Hunt, Kenny Shepard and Don Farrell - photo credit - Zach Rosing
From left, Michael Humphrey, Greg Grimes, Don Farrell (as ZaZa), Kenny Shepherd and Tim Hunt on the stage of “La Cage aux Folles,” presented by Actors Theatre of Indiana at Carmel’s Center for the Performing Arts through Oct. 1. (Zach Rosing photo)

Hours after seeing the musical “La Cage aux Folles” (literally “The Birdcage,” its original film was also popularly mistranslated “Birds of a Feather”) presented by Actors Theatre of Indiana through Oct. 1, Wendy and I discussed whether this was truly a perfect performance.

Of course, anything can and does happen in live theatre, but without going into pointless nitpicking (issues only we noticed or that evaporate between weekends), this production can only be described as flawless – like the faux female stars of the nightclub of the show’s title, a hotspot on the French Riviera in the late 1970s.

Bill Book and Don Farrell are wonderful as the couple who own, run and live above La Cage, its emcee Georges and star diva (the Great ZaZa) Albin, respectively. Book is in top form, and Farrell is definitely the leading lady. Good thing, too – as the role of saucy butler/maid Jacob has “scene-stealer” written all over it, and Daniel Klingler plays it to the limit, with uproarious results.

Our happy couple is thrown into turmoil when their son, Jean-Michel (Sean Haynes) comes home engaged to – a woman! – Anne (Devan Mathias), the daughter of anti-gay government minister Mr. Dindon (Ken Klingenmeier). To make matters worse, Dindon and his wife (Mary Jane Waddell) would be arriving with Anne for dinner at their house the next day. The young man’s plan is for Georges to “straighten” up and for Albin to stay out of sight – but, of course, nothing ever goes as planned.

Again, great performances by handsome Haynes (Wendy said she could get lost in his eyes) and bubbly Mathias. Klingenmeier is appropriately stiff, and Waddell so nice as the wife who secretly yearns to cut loose; the couple also smoothly play the proprietors of a local cafe.

Speaking of supporting roles, the versatile John Vessels has fun here, especially as stage manager Francis. And then there are the beautiful Les Cagelles: singing, dancing “illusions” played by Greg Grimes, Michael Humphrey, Tim Hunt and Kenny Shepard. Chez magnifique!

Judy Fitzgerald completes the cast, shining as fun-loving restaurateur and welcome friend Jacqueline.

“La Cage aux Folles” was first a French play in 1973, then a film in 1978, and brought to Broadway (adapted by Harvey Fierstein and Jerry Herman) in the early ’80s. You’d think that after 40 years, a story like this would feel quaint and dated; alas, it’s as relevant as ever. This production, directed by Larry Raben with choreography by Carol Worcel, lets the weight of its subtext float on an atmosphere of fun. Scene changes are swirling dance routines, a laugh is never far from the tear, and the arch-conservative does get his well-deserved comeuppance. The songs include timeless anthems “I Am What I Am” and “The Best of Times (is Now),” each as defiant in their own way as they are memorable – and wonderfully executed here.

It’s a good time to go “bird” watching: Performances are at the Studio Theater in the Center for the Performing Arts in downtown Carmel. Get tickets at thecenterpresents.org. Find info on this and other ATI shows at atistage.org or facebook.com/ActorsTheatreOfIndiana.

Paige Scott and EclecticPond boldly bringing Bronte to today’s audience

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By John Lyle Belden

EclecticPond Theatre Company brushes off a dusty classic with “J. Eyre,” bringing new life to Charlotte Bronte’s 1847 novel “Jane Eyre” as a contemporary musical.

The style is modern, but the English countryside setting of this gothic romance remains. The actors’ clothes evoke the period rather than copy it. In fact, the style of this production – through July 30 at Grove Haus near Indy’s Fountain Square – focuses primarily on the story of relationships and the people swept up in them.

The seven actors never leave the stage, with all providing narration, singularly or in harmony, throughout. Two of them each portray a single role, Devan Mathias as Jane and Tim Hunt as Edward Rochester, while the others – Miranda Nehrig, Mary Margaret Montgomery, Abby Gilster, Chelsea Leis and Carrie Neal – chameleon from one supporting character to another.

Written and directed by Paige Scott, the musical’s story largely follows the book: Orphan Jane endures a wretched childhood, including abuse at the hands of her aunt and cousin, and the death of her only school friend (Montgomery) in a typhus outbreak. She then takes a job as governess for a girl in the care of crude, spoiled playboy Rochester. But Jane falls in love with him – realizing her feelings as he prepares to marry gold-digger Blanche (Nehrig) – and when it looks like she will finally find happiness, she finds out his terrible secret. (In case you didn’t read or don’t remember the novel from your literature classes, I’ll leave it there.)

The sung narrative interludes between scenes aid the flow of the story without interrupting it, and relieves one of the need to have read it beforehand to understand its events. Scott’s songs feel like they’ve always been a part of this classic, rather than freshly written. Her captivating adaptation of the novel suggests the script for an autumn Oscar-bait movie. Add in excellent performances by the cast and keyboard accompanist Jacob Stensberg, and this is the kind of show that, if presented Off-Broadway, would soon find itself under the big lights.

You can find “J. Eyre” at 1001 Hosbrook Street; and tickets and info at eclecticpond.org.

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.