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Constellation: Ambitious bird has lesson for young audiences

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By Wendy Carson 

Constellation Stage and Screen in Bloomington brings to life one of Mo Willems popular children’s books in a delightful show for old and young alike, “Don’t Let the Pigeon Drive the Bus! The Musical!”

Pigeon (Yul Carrion) is frustrated because he never gets to do what he wants to do. Everywhere he goes, he is met with the same refrain: “Fly off, bird!” As he sulks in the park, a new sign is suddenly placed beside him announcing that this will be a new Bus Stop. When the bus pulls up and he meets the Bus Driver (Sarah Cassidy), complete with her Official Bus Driver’s Hat, he realizes that he wants to drive the bus, too. However, nobody takes him seriously and he goes away dejected.

Suddenly, there is panic as the bus breaks down, potentially making all passengers late to their destinations. In the disarray, Pigeon grabs the Official Bus Driver’s Hat, but realizes his feet are too short to reach the pedals. He feels broken due to this, as well as the fact that he never learned to fly. With encouragement from his new human friends, and a lesson from the Driver, he flaps off throughout the audience, saving the day by “doing his thing.” All turns out well and Pigeon is satisfied – until a new sign for an Airport appears, and he has a new quest.

While the show is targeted primarily to the 8 and under demographic, there is plenty here for the adults who accompany them to enjoy. Hand-puppetry includes some traditional style (no actor visible), while most of it is the more modern style of a visible puppeteer (like “Lion King” or that “Q” show for grownups).

Carrion brings all of the energy and emotion you could desire to his turn as Pigeon and his puppetry skills are on point. However, the two standouts of the cast are the younger performers involved. Sophia Linville is superb in her numerous roles including the Bus Engine and the rogue Puppy. Still, it is Miriam Spillman’s Little Old Lady character that steals the show. Both of these ladies are bound to be standouts in future acting endeavors should they choose to pursue them.

The cast includes Tucker Ransom as the Hot Dog Vendor and Busy Business Man, and Nikki Stawski as a City Worker and cool Teenager. They and Spillman also appear as Ducks.

One note, there was a promotion beforehand to purchase a Pigeon stuffie along with your tickets, but demand was higher than expected and they are all sold out. However, I have been advised that a similar deal may be offered during their Fall production of “Curious George” and they expect to have enough supplies to meet the demand.

Another note to parents: There is an ice-cream coupon for The Chocolate Moose with the program. (Just a thought.)

Performances run through May 14 at the Waldron Arts Center, 122 S. Walnut St., Bloomington. Get info and tickets at seeconstellation.org. 

DivaFest: Play honors Depression-era ‘Book Women’

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By Wendy Carson

Between 1935 and 1943, The Pack Horse Library Project employed around 200 women to deliver books and other reading material to the around 100,000 residents of the Appalachian Mountains in rural Kentucky. These “Book Women” faced numerous dangers and hardships in their rounds but were spurred on by the delight of bringing books to people who might never have read or seen one before. Local actress and author J. E. Hibbard imagines a portrait of four of these women as well as their mule, Nellie, as they prepare for a visit from First Lady, Eleanor Roosevelt, in “Ballad of the Book Women.”

Four actresses each play one of the Book Women, as well as other roles to flesh out the story. They also sing songs that help give the flavor of the play’s time and location. Not only do these ladies have to deal with weather, thieves, and the sheer ruggedness of the terrain, they also frequently come up against those who are not only illiterate but also wary of what they see as the evils of reading and writing.

MaryAnne Matthews plays Edna, the feisty elder of the group, but shines as the character of Hal, a crusty loner who secretly looks forward to the visits for food, friendship, and stories that are read to him.

Chelsea Mullen portrays Mandy, who is always making scrapbooks to prevent any piece of reading material from going to waste. Her sweetly delightful turn as one of the few school teachers reminds us of the dire need in the area, rejoicing that her class finally received two books from which to learn, while having sticks in the dirt as the only method for students to practice their writing.

Maria Meschi gives up not only Flossie, the leader of the group, but also spectacularly brings Eleanor Roosevelt to life as she tours the country bringing attention to the efforts.

Tracy Nakigozi is a sheer delight to behold as spunky young Rose. Aside from this endearing character, she is the puppet master of Nellie, which she brings to life in many charming ways. I honestly could have watched an entire show made up of her adventures with the mule.

As timely as this production is – with various books under attack today, especially in rural areas – I am greatly saddened by the sparse ticket sales. The talents involved deserve crowds with only a handful of tickets left, not barely enough audience members to outnumber them. Please, go see this delightful show.

Directed by Lucy Fields and presented by Theatre Unchained and IndyFringe for DivaFest 2023, “Ballad of the Book Women” runs Thursday through Saturday, May 4-6, 8 p.m., at IndyFringe Basile Theatre, 719 E. St. Clair St., Indianapolis (just off Mass Ave.). For info and tickets, see indyfringe.org.

DivaFest also presents activities around the Book Women story: Enjoy a “Scrapbooking Extravaganza” crafting hour at 7 p.m. before Thursday’s performance; attend a Post-Show Discussion after Friday’s performance with Cat Cardwell of IndyReads joining cast and crew to discuss expanding adult literacy. Details at the Fringe DivaFest page.

Mud Creek springs delightful ‘Mousetrap’

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By Wendy Carson

Agatha Christie’s “The Mousetrap” is the longest running play in the world. It opened in 1952 and ran continuously in London until a 14-month absence due to COVID, but is back thrilling audiences every night once again.

The show’s staying power is the strength of its story as well as the characters involved. Christie is known for wickedly cutting dialogue, and this script does not disappoint. Mud Creek Players now gives us the opportunity to get caught up in this “trap” here in Indiana.

The story seems somewhat simple at first – the classic whodunit. In the early 1950s, Mollie (Audrey West) and her husband Giles Ralston (Nicholas Gibbs) decide to turn their newly inherited Monkswell Manor in the English countryside into a lodging house. After a foreboding story of a murder is heard on the radio, the guests begin to appear, each more quirky than the one before.

Christopher Wren (Gideon Roark) is a hyper imp who claims to be an architect (named after the original Wren, famed church designer of the Baroque era). Snooty elitist Mrs. Boyle (Jennifer Poynter) is aptly described as a “perfectly horrible woman.” Major Metcalf (Jason Roll) frequently retreats offstage, and has all that he needs in his little bag. Also arriving is Miss Casewell (Zoe O’Haillin) with her macho attitude and unplacable accent.

There is also the unexpected guest, Italian-accented Mr. Paravicini (Jim Gryga) whose car may or may not have broken down in the snow. Oh yeah, there’s also a huge blizzard trapping everyone inside the house. Finally, Detective Sergeant Trotter (Mike Sosnowski) eventually arrives on skis to question everyone about the aforementioned murder.

When the first body drops in Monkswell, paranoia ramps up as it seems that everyone had the opportunity and motive to kill. A vital clue hints that another will soon die as well.

Director Kelly Keller has taken immense pleasure and care in preparing this exquisite mixture of laughs and chills. The cast aids with steady accents and lovely performances. West and Gibbs make a nice couple, but we see them acting a little secretive at first, and is Giles being suspicious or just showing his British stiff upper lip? Roark has Wren wear his dysfunction on his sleeve – which makes him both suspect and too scattered to have pulled off an elaborate crime. Poynter (a much nicer person offstage) seems to relish being perfectly dissatisfied with absolutely everything. Roll plays the Major as someone unusually curious about everything, but with an easy smile and cheerio attitude. O’Haillin may as well have “I have secrets” tattooed on Casewell’s forehead, and while not unfriendly is frequently on edge and chainsmoking (fake stage cigarettes). Gryga has the most entertaining role, as Paravicini is definitely up to something, and is charmingly up front about how untrustworthy he is, but murder? Sosnowski gives us an engaging “let’s go over this again” style detective, constantly reminding himself – and us in the audience – of the clues.

Genuine Brit Craig Kemp supplies the voice of the radio announcer, quite the honor for those who know “Mousetrap” lore.

Another aspect of this classic is Christie’s brilliant misdirection and final twist. Not only is it satisfying to discover the first time, audiences return with this knowledge to better appreciate the acting and character development. In fact, Mud Creek is offering a $5 discount on a subsequent ticket to the show. However, once you know, longstanding tradition (and Christie’s hatred of spoilers) demands you not tell a soul.

Performances run Thursday through Sunday through May 6 at the Mud Creek Barn, 9740 E. 86th St., Indianapolis. Info and tickets at MudCreekPlayers.org.

No mystery why you should see ‘Clue’ at IRT

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By Wendy Carson 

With all the recent variants (I find the Simpsons version very amusing) as well as a modern upgrade of the original, I think it’s safe to say most of us have played the game of “Clue” at least once. Add to this the widespread interest in murder mysteries (real and fictional) and that the board game is the subject of a film with a large cult following, and you have the perfect recipe for a hilariously good night of theater.

Adapted to the stage by Sandy Rustin, based on the movie script by Jonathan Lynn, the delightfully kooky script has been taken up by Indiana Repertory Theatre director Benjamin Hanna and brought together a dream team of local and regional talents to elevate “Clue” to previously unknown comical heights. Though the plot and characters echo Lynn’s screenplay, there are numerous brilliant additions (apparently the house was built by the Parker Brothers) to keep you laughing anew. Even the game board shows up at one point, as a handy map to the labyrinthine mansion.

Scenic designer Czerton Lim pulls out all the creative stops in giving us a set with multiple slamming doors, secret passageways, moving walls, and tributes to the game and movie (yes, that is Tim Curry as Mr. Boddy in the painting).

John Taylor Philips brings out all of Wadsworth’s condescending arrogance in his turn as the butler and ersatz host of the evening’s events. Andrea San Miguel brings all of the maid Yvette’s cheeky mischief and charm. Henry Woronicz plays up Colonel Mustard’s dotage, yet keeps him somewhat austere. Emjoy Gavino subtly shows Mrs. White’s predatory instincts while still keeping her endearing. Beethovan Oden’s turn as Professor Plum highlights the character’s belief that he is the smartest man in any room. Emily Berman’s version of Miss Scarlet is even more sultry and sassy than expected. IRT favorite Ryan Artzberger easily adapts to each of his three roles, even with mortal wounds.

Eric Sharp takes full advantage of his character’s expansion in this script and brings a delightful bumbling nerdiness to Mr. Green. Claire Wilcher adds another level of comic genius to her spectacular performance as the seemingly prim Mrs. Peacock. Not to be outdone, Devan Mathias plays three different roles with such gusto that two of them have to be killed to keep her from stealing the show.

Whether you have seen the movie, played the game or just want to see a show that will have you laughing almost non-stop, get a “Clue,” playing through May 20 on the IRT mainstage, 140 W. Washington St., downtown Indianapolis. NOTE: Dressing up as any of the characters (old or new), also adds another level of enjoyment to the experience. (I was one of many “Peacocks” on opening night.)

Get info and tickets at irtlive.com.

Constellation: Demands of faith and fame come ‘Fast’

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By Wendy Carson

Last week, as I was looking over my work calendar I noticed that Ramadan began. Not being Muslim, I was only vaguely aware of what this meant to the sports world as a whole or the NCAA basketball tournaments specifically. In “American Fast,” on stage in Bloomington, playwright Kareem Fahmy brings us the story of a brilliant young player who has to deal with the ins and outs of this juxtaposition.

This is the tale of Khady (Victoria Nassif), the star player on her college team and a key reason that they have made the NCAA Women’s Tournament. Her Coach (TayLar) feels that while she is an amazing talent, she doesn’t acknowledge the rest of the team’s contributions because she is entirely focused on herself. Boyfriend Gabe (Austin Michael Young), a star on the men’s team, tries to support her but she is so self-obsessed that his will is about to break. Then there is Khady’s mother, Suzan (Haneen Arafat Murphy), who became more devoted to her faith in the past year and insists that Ramadan fasting happen regardless of the tournament.

NOTE: for those not familiar with Ramadan, followers are not to have any food or drink (including water) during the daylight hours of the month-long celebration.

Nassif brings a passionate drive to Khady, showing the struggles of a young woman trying to find herself in life without alienating everyone around her. She gives the character actual flaws and edges just as any college-aged girl would have, yet manages to keep her identifiable if not sympathetic.

Murphy gives Suzan a fiercely protective mama-bear vibe while still keeping herself oblivious to exactly how far her daughter has strayed from her hardline faith. Murphy is able to keep Suzan loving and identifiable without the overbearing bent the character could have.

TayLar gives Coach all the qualities that the position demands. She is fair but just, inspiring but realistic, and just distant enough to allow Khady to stand or fall on her own terms yet compassionate enough to support her when she does.

Young shows Gabe as a true friend, yet becoming tired of being used both as Khady’s personal cheerleader and figurative punching bag. He brings great love and devotion to his role but also the strength to stand up for himself and find his own self-worth.

Director Reena Dutt gives us a new story to help us to gain more knowledge of other religious traditions. The fact that it centers around basketball can aid in Hoosiers’ ability to better identify with the story. Dutt keeps the narrative honest especially in a story that is all about the true costs of winning.

I must note that, going in, I had no idea what the show was about or why it had such an odd title. But “fast” has many meanings – speed, like the play of our young point guard; holding tightly to something; doing without, especially to show devotion. All these come into play during this unique drama. So don’t let the odd title dissuade you from experiencing this tale, a beautiful peek into a different side of people’s “hoop dreams.”

Presented by Constellation Stage & Screen, performances run through April 8 at the Ted Jones Playhouse (formerly home of Bloomington Playwrights Project, now part of Constellation), 107 W. 9th St. Get info and tickets at SeeConstellation.org.

IRT: Shakespeare’s wife has her say

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By Wendy Carson

The title of the play, “Shakespeare’s Will,” by Vern Thiessen, is a turn of phrase that would impress the Bard himself, not only a twisting of William Shakespeare and describing the document of his estate, but also alluding to the willful nature of the man and his wife, Anne Hathaway.

Speaking of language, words overused in popular speech have lost their impact, still I feel the only way to describe this amazing one-woman show, at the Indiana Repertory Theatre, is “tour-de-force.” Thiessen has written a script that sweeps us through “Bill” and Anne’s first meeting, courtship, marriage, their children, his career, and the aftermath of his death. This reveals Hathaway as a remarkable woman in her own right.

Tracy Arnold takes us on a 90-minute ride through Hathaway’s complicated relationship with her husband. While we are taught incessantly about Shakespeare, little is ever told to us about the woman he married. We know her name, the names of her children, and if we are lucky, the actual terms of the titular will.

The show begins as Anne returns home following her husband’s funeral. She is sad, rain-soaked, tired, and carrying a copy of Shakespeare’s will which she hesitates to read. She turns instead within and reminisces of her time spent with (and often without) him.

Arnold uses a bench, chair, shawl, and a spectacular bed as her props to whisk us away to numerous points in time she reenacts. While going at a whirlwind pace, you never feel any scene is rushed or too brief. The various other characters she inhabits throughout are extremely well crafted, especially Hathaway’s father.

Director Brenda DeVita keeps the narrative guided on Hathaway’s path within the greater story of her connection to Shakespeare. History fails to record the lives of women, so we are left with far too few verifiable facts to work with in their remembrance (a mere nine in this case, according to DeVita).

A unique experience, this show is tender, defiant, tragic, and challenging, yet beautifully enjoyable. Happily, IRT has scheduled Student Matinees of the show to help bring youth a new and more accessible side of the history they are learning.

Performances run through April 16 on the Upperstage of the IRT, 140 W. Washington St. in Downtown Indianapolis. For information and tickets, visit irtlive.com.

Catalyst creates outstanding ‘Streetcar’

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By Wendy Carson and John Lyle Belden

With all of the winter weather we are having, it is satisfying to have Catalyst Repertory bring us a steamy trip to 1950s New Orleans with its imaginative production of Tennessee Williams’ “A Streetcar Named Desire.”

The first clue to the uniqueness of the show is the inventive set design of Nick Kilgore. He has basically cut apart the walls and rooms of an apartment house to make them easily flow into each other without losing each location’s identity. The actors enter, exit, and perform within the full 360 degrees of set as well as multiple levels available to them. With the size of the stage, you might think this is incredibly cramped, but it never feels claustrophobic. In fact, the layout causes a rare intimacy to occur between the troupe and audience, seated “in the round,” which makes the whole a more enjoyable evening. A couple of pieces – a bedroom vanity, a nearby bar piano – even extend into the audience space naturally. The concessions bar for patrons at intermission is even part of the set, suggesting a piece of nearby Bourbon Street.

For those unfamiliar with the tale: Fading Southern belle Blanche DuBois (Sara Castillo Dandurand) turns up on the shabby doorstep of her younger sister, Stella (Anna Himes) and Stella’s husband Stanley Kowalski (Ian McCabe). Blanche lives in a world of delusion she consistently concocts to keep her from realizing that she is desperate, alone, old, and without any other place to go. After months of living with her disdain and lying, Stanley is determined to send her packing.

This description, of course, doesn’t do justice to the genius of Williams’ drama, and in the practiced hands of director Casey Ross – herself an artisan of plot and dialogue – narrative richness and tension as thick as Louisiana humidity imbues the play from start to finish.  

Dandurand transforms into Blanche, wearing her pride like a fading flower, masking dysfunction with flirtatious charm so well it fools everyone – except Stanley. For his part, McCabe ably puts on Kowalski’s working-man swagger. He is devoted to Stella, but has issues (to put it mildly), complete with a low-simmering rage fed by a lifetime of being called a Pollack, among other things. Perhaps the fact he has to present a public mask helps him detect Blanche’s. The two circle each other throughout, like a pampered cat and a mangy dog, claws out, fangs in their smiles. Himes is also wonderful as a Stella who sees the good in Stanley, is eagerly the yin to his yang, and tries to be at peace with the fact her debutante days may be gone forever.

Making a stunning dramatic debut is Brian DeHeer as Mitch Mitchell, Stanley’s bowling and poker buddy who knew him since their WWII service together. Feeling lonely as he tends to his ailing mother, Mitch starts falling for Blanche – it won’t be a soft landing. 

In excellent support are Audrey Stonerock and Matt Kraft as neighbors Eunice and Steve Hubbell, as well as Tom Alvarez as poker buddy Pablo, Mitchell Wray as a boy who comes around, and Viviana Quinones as a local flower-seller. Alvarez’s partner in Magic Thread Cabaret (a co-producer), Dustin Klein, tickles the ivories at the corner piano, with old tunes and his new compositions to underscore the action. At the club microphone is the exquisite voice of Courtney Wiggins. David Mosedale and Wendy Brown complete the cast, mainly in the final scene.

For either those new to “Streetcar,” or Williams fanatics looking for something fresh, we cannot recommend this production enough. There are adult themes and herbal cigarettes (though perhaps the first-ever Ross-directed play without an F-bomb), yet if you can take the heat, you won’t regret the experience of this scorching masterpiece.

Performances run Fridays through Sundays, through March 19 at the IndyFringe Basile Theatre, 719 E. St. Clair, Indianapolis. For tickets, go to IndyFringe.org.

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.

Ancient tragedy an IRT triumph

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By Wendy Carson

First, let me say that Greek mythology is my forte and “Oedipus Rex” is a favorite of the tragedies, so I had very high hopes for this production. That said, David Daniel’s recent adaptation of Sophocles’ script, called simply “Oedipus,” exceeded anything I could have imagined.

This timeless drama, superbly directed by Indiana Repertory Theatre playwright-in-residence James Still, is on the IRT mainstage through March 18.

The play begins near the end of the legend and slowly recounts the events that will lead to its tragic conclusion. Oedipus has been doomed to kill his father and marry his mother. Fearing this prophesy, he flees his kingdom for neighboring Thebes, which he saves by solving the riddle of the Sphinx. He becomes King, and the land prospers for many years under his reign.

However, as we come to the start of the play the land is again struggling. Oedipus and his Queen, Jocasta, send her brother, Creon, to the Oracle to tell them the will of the Gods to end their plague. From there, much drama ensues.

Scenic designer Carey Wong gives us a barren stage with the brown hues bearing out the dusty death throes Thebes is suffering. Costume designer Sara Ryung Clement opts for flowing garments that hearken to a desert lifestyle showing what the land has become. The subtle ombre tones highlight their downtrodden plight while also touching on some of the character’s roles. I particularly liked her take on Creon’s garb, showing him as a statesman with an altered modern dress shirt but still a man of leisure with the rest of the ensemble.

Lindsay Jones (sound design) and Mariel Greenlee (movement) choreograph our characters’ actions to help translate the stylizations of the ancient time as well as the religious devotions of the ancient Greeks. Utilizing only percussion instruments, played by Chorus member Jed Feder, the soundscape is both lovely and demanding as the narrative drives it to be.

As for the cast, every performance was sheer perfection. Highlights for me were: Ryan Artzberger’s turn as the Corinthian perfectly brings a much needed touch of light humor to an otherwise grim story. Lisa Wolpe as Tiresias the seer highlights Oedipus’s fatal flaws of hubris and obliviousness. Trieu Tran’s Creon artfully walks the fine line between loving relative, potential suspect, and distant observer. All the rest – Olivia D. Dawson, Jan Lucas, Sola Thompson, and Mary Beth Fisher as Jocasta – beautifully flexed their acting muscles to the height of their skills.

Regarding David Alan Anderson’s role as Oedipus, a man of good heart but doomed by fate and pride, it is so good to see him commanding the stage again. I have been a fan of his acting talents since we first saw him around 20 years ago. My delight in his name being a part of this production was enormous. I am thrilled to say that he brought forth what is his greatest performance that I have ever witnessed. He flawlessly inhabited the character, sparking every emotional note such that he drew the audience into the story as witnesses, not merely observers.

I spoke with some people afterwards; they were all quite moved by this production. Even those who had no prior knowledge of the story felt later that they had known it all their life. This is what great theater is about, and I am proud to have witnessed such a thing of beauty as is being given to us here.

To attend “Oedipus” at the IRT, 140 W. Washington in the heart of Downtown Indianapolis, find tickets and information at irtlive.com.

Civic ‘Anne Frank’ stirs young audience

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By Wendy Carson 

This past Wednesday, I was fortunate enough to be allowed to attend one of the special student showings of “The Diary of Anne Frank,” at the Booth Tarkington Civic Theatre. It was eye-opening for all, to say the least. Overhearing their comments both during and after the show helped drive home how important theatrical productions of Holocaust stories are in our world.

With most of the audience being of roughly the same age as Anne, the tragedy of her life and situation really resonated with the students. While they were aware of World War II as history, seeing the images in context really drove these horrors home. After the performance, most were busy wiping tears from their eyes, even those who had read Anne’s “Diary of a Young Girl” prior to attendance.

The power of the show begins with the spectacular set design of Ryan Koharchik. The multi-level set reflects the spaces these souls were forced to inhabit during their two years in hiding but the grim truth of the situation comes from the high, chain-link fence topped with razor wire that serves at the back wall to the show. This also allows for Michael J. Lasley to project timely background photos to further the message beginning with the initial one of Anne’s photograph and actual pages of writing from her diary. Lasley also has a short moment on stage near the end of the show.

While Wendy Kesselman’s new adaption of the play by Frances Goodrich and Albert Hackett is stirring, nothing would ring true without the amazing skills of the actors here, under the direction of versatile theatre artist Claire Wilcher. Especially since many regular theater goers will know several of them for their numerous comedic roles and will be delighted to see their incredible range highlighted here.

Rebecca Piñero brings the shy stoicism of Anne’s older sister Edith to light, keeping her character from being overlooked and fading into the background.

Kevin Caraher as Mr. Kraler, who keeps the doors to the Franks’ business open and running while ensuring no one else is aware of the eight souls above, shows both the hopefulness and fear of his role.

Mookie Harris as the dentist Mr. Dussel keeps his character cold and very removed from the others he is with, but also hints that this is the character’s way of shielding himself from the devastation of losing more people he cares about.

Jay Hemphill and Carrie Reiberg as Mr. and Mrs. Van Daan bring the elitist pomposity out in their characters, yet still show us the struggles of a couple terrified of the situation they have been put into.

Garrett Rowe, as Peter Van Daan, brings his character’s growth from fear at being thrown into a new situation with unbearable co-inhabitants, delicately budding into happiness and growing romance throughout their time together.

David Wood as Otto Frank keeps the optimistic outlook as the leader of this group of survivors. Brittany Magee’s maternal turn as Edith Frank is perfection indeed. She enacts the struggles and sorrows of a mother fighting to keep control of her family and situation so well you might think she has raised a slew of teenagers herself.

Anyone who has ever witnessed her on stage before obviously knows the spectacular comic whirlwind that is Kelsey VanVoorst. Now we are a party to the depth of her pathos as she portrays Miep Gies, the character most at risk of tragedy for her part in this endeavor. VenVoorst keeps Miep as upbeat as possible as she bravely smuggles in the supplies to keep the group alive during their time in hiding. The strength and resolve that keeps her going are evident as she forces herself to find the happiest news she can find to share with the families.

Finally, we arrive at the cornerstone role of the play, Gemma Rollison as Anne Frank (alternately played by Sydney Pinchouck on Feb. 28 and 24). Known as a brave girl who fought through so much to keep herself optimistic through her lifetime, this side of Anne is presented perfectly, yet Rollinson also brings the girl’s precocious and obnoxious spirit also noted in her writing and memories of her surviving father. Beginning as an oblivious 13-year-old who thinks teasing her companions is the height of joy, Rollinson exquisitely brings out Anne’s changes into a budding young woman by the show’s end.

As this country has recently experienced fear and confinement from a life-threatening disease, it feels like we can identify somewhat with the desperation and anxiety faced here. However, the fatalities of the Coronavirus are nothing in comparison to the horrors of the Holocaust. This grave, terrible reality is precisely why these stories must be told and retold. As the years pass and memories begin to fade, we must ensure that this dark chapter of the past is never forgotten or allowed to recur. The Indianapolis Jewish Community Relations Council is on hand in the lobby to provide information of how to participate in continuing this vital effort.

After seeing the reactions of the young people in the audience, I urge you to get as many of them to this show as you can (as well as yourselves). While the subject matter is rather intense and is probably not suitable for all ages, anyone 13 and up really needs to see what life could have been like for themselves if they had been born during this time. Performances run through Feb. 25 (public showtimes at 7 p.m. Thursdays through Saturdays, 2 p.m. Sundays) at the Tarkington theatre in the Center for the Performing Arts in downtown Carmel. Get info and tickets at civictheatre.org or thecenterpresents.org.