Yolanda Valdivia

Catalyst’s ‘Starmites’ shine

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

By John Lyle Belden

First a few disclaimers: Wendy and I are good friends with Casey Ross and adore everything she does. Furthermore, as little children John and Wendy watched ‘70s Saturday Morning cartoons and enjoyed the trippy creations of Sid & Marty Krofft; also, John’s favorite movies include the animated “Yellow Submarine” and the cheese-tastic 1980 flick “Flash Gordon.” For younger readers here, think the goofy fun of the live-action Power Rangers shows.

Where I am going with all this is to set your expectations for Ross’s lifelong passion project, the unlikely Broadway cult classic “Starmites,” which she has adapted with the blessing of its creators, Barry Keating and Stuart Ross (no relation). Designed and directed by Casey Ross, this Catalyst Repertory production is on the Basile stage of the IndyFringe Theatre through Oct. 14.

In our current world, twenty-ish girl-at-heart Eleanor (Jaelynn Keating [again, no relation]) is too attached to her comic book collection, especially the obscure 80’s sci-fi hero series “Starmites.” As she flips the pages of the Legend of Milady, just a dimension or two away the actual defenders of Innerspace sense that a beautiful young woman has picked up the “sacred texts.” Could she be the Milady foretold? They call out to her.

Eleanor hears voices, which convinces Mom (Damaris Burgin) she is right to have the comics slipped back into their protective sleeves and sold to the neighborhood bookshop. But as the girl puts her collection away, she is suddenly whisked away to Innerspace by the wicked Shak Graa (Paul Hansen).

Our villain wants the Milady prophesy fulfilled, as it will reveal his most sinister creation, the Cruelty, a (musical) instrument of torture. Not believing any of this is happening, Eleanor evades him and encounters Spacepunk (Joseph Massingale), leader of the Starmites – gadget tech Ack Ack (Bradley Allen Lowe), goofy Razzledolf (Noah Nordman) and suave Harrison (Matthew Blandford). Faced with painfully naïve boys in men’s bodies who are stuck (since their comic was cancelled in 1994), she decides that either this is somehow real, or at least the best way out of this “delusion” is through it, agreeing to join their quest to find the Cruelty ahead of Shak Graa. They are led by the lizard Trink (puppet design by Timothy Taylor), who says in a darkly familiar voice he’s seen the dread instrument in Banshee Castle – the one place the Starmites dare not go.

The castle is occupied by the man-eating band of Shotzi (Addison Koehler), Balbraka (Yolanda Valdiva), Maligna (Jessica Hawkins), and Banshee Boy (Brant Hughes), led by their dread Diva (Burgin). The way they read the texts, a true Princess must marry to reveal the Cruelty, which means Diva’s daughter Bizarbara (Keating) can wed a Starmite before having the whole squad for dinner (as the main course).

So there you have it, the Hero’s Journey slash Fairy Tale slash ahead-of-its-time Female Empowerment done with catchy tunes, fun dancing, a healthy dose of humor, and low-budget aesthetic – in its context, a delightfully entertaining feast for the inner child in all of us. Inspired by the books of the Comics Code Authority era, beyond a little middle-school innuendo this is an all-ages show – the rare Casey Ross production without a single F-bomb.

Troupers that they are, the cast commit to this otherworldliness, especially Hansen, delivering an over-the-top villain with a wild smile and manic evil laugh, as well as literally puppeting Trink from the shadows that seem to follow our heroes around. Massengale manages to project his leading-man persona through the colorful wig and immature – though willing to learn – worldview, like a noble flightless Peter Pan. Starmites and Banshees alike also put their all into this. Keating’s character(s) may or may not be the prophesied heroine, but she is very much the star of this show. Her songs are limited, making her powerhouse voice especially stand out. Fortunately, they include a duet with Burgin, whose soulful voice is her superpower.

As some original music was lost, music director Billy Sharfenberger helped with arrangements; he leads the stage-right band of Caleb Hamilton, Graham Bethal and Travis Zinck. Kathy Hoefgen is stage manager (aided by Hughes).

Granted, this is not your typical musical, or familiar material, but we earnestly feel this is worth taking the chance. Step into Innerspace and the experience that is “Starmites.” Find the stage at 719 E. St. Clair St., Indianapolis; tickets at indyfringe.org.

Troy story gets musical treatment, giving the women their say

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

By John Lyle Belden

“Troilus and Cressida” is regarded as one of Shakespeare’s “problem plays,” problematic for both its blending of comedy and tragedy, and the unclear resolution of the title characters’ story. But it is set during the myth-shrouded events of the Trojan War – and war is messy.

In crafting “Troilus & Cressida: The Musical” for Southbank Theatre Company, Marcia Eppich-Harris adds to her adaptation a series of songs she wrote and composed, giving the production an operatic feel and allowing her to emphasize the plight of those who suffered most: the women of Troy.

Our narrator is the prophetess Cassandra (Yolanda Valdivia). True to legend, her words are frequently ignored when they don’t say what Trojan (male) leaders want to hear. Therefore, it is up to us to listen.

Seven years into the siege of Troy, the Greeks – led by Agamemnon (Rachel Snyder) with Ajax (Kendall Maxwell), Ulysses (Kevin Bell), Diomedes (Nick Asher), and fights-only-when-he-wants-to Achillies (Brant Hughes) – seek a way to break the stalemate so they can sack the city and go home. A challenge for single combat between champions is offered, and the Trojans – led by Priam (Karen Webster-Cones) with sons Hector (Robert Beltz), Paris (Natalie Marchal) and Troilus (Matthew Walls), and military leader Aeneas (Aaron Henze) – take the bait.

There is also romance: As her father has gone over to the Greeks, Cressida (Amalia Howard) is cared for by her uncle, Pandarus (Paul Hansen), who cleverly arranges her courtship with Prince Troilus. Love blooms – until a prisoner swap nips that in the bud.

There is also comedy: Agamemnon’s Fool, Thersites (Anthony Nathan at his goofy best) takes up no sword but employs his rapier wit, and juggling, to survive and mock the senseless goings-on.

There is definitely tragedy, such as the lengths Achillies’ servant and lover Patroclus (Will Harris) will go to for his master.

And never forget the women, as Cassandra, Cressida, Hector’s wife Andromache (Jennifer Kaufmann), and Helen (Carolyn Rae Lynch) for whom the Greek ships arrived, lament their position – even in nobility – of being little more than property.

Lane Snyder is unforgettable as Agamemnon’s daughter Iphigenia, especially in the role she takes on in the second act (the Bard’s five acts are condensed to two).

As in the Shakespeare original, the play ends with little more than death and disillusionment. The legendary climax to the war – a kingdom for a horse, as ol’ Will would say – is only hinted at. For its moment, though, Eppich-Harris’s musical lets us dwell on the grinding endlessness of human conflict, and the innocents (and innocence) destroyed.

Four performances remain: Thursday through Sunday, July 20-23, at Shelton Auditorium on the southwest corner of Butler University, 1000 W. 42nd St., Indianapolis. For information, see southbanktheatre.org. Tickets are available through Butler’s site.

The ‘flip’ side of the American ‘Dream’

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

By John Lyle Belden

Some lucky people find themselves in a rather American dilemma: Is it better to hold on to a legacy, or to cash out? This situation is at the heart of the new comedy, “Dream Hou$e,” by Ellana Pipes, playing at Fonseca Theatre Company.

Latinx sisters Patricia (Yolanda Valdivia) and Julia (Lexes Rubio) have this good fortune, inheriting the family’s beautiful mission-style home, hand-built over a century ago, from their mother who recently passed. Wanting to get the most out of their property, Patricia contacted the real estate reality TV show, “Flip It & List It!” Suddenly, the host Tessa (Jean Arnold) appears with her crew (Brant Hughes, Chris Creech and Mad Brown) to record every step of the house’s transformation.

At first reluctant, the sisters are stunned into compliance with the amount the home could sell for. But things take a turn when, as renovations begin, the walls begin to bleed.

This is not the only bit of magic around, as the sisters (as siblings do) can suspend time for a moment when they really need to discuss something. Otherwise, we tackle some real-world issues of neighborhood transformation/gentrification, the struggle to preserve culture, and how does one best move on when dealing with unavoidable change?

Arnold is a wild joy to behold as the ever-upbeat TV host. She’s savvy in the ways of media and real estate, lacing her persistent charm with an all-business demeanor. However she’s never mean, even taking a liking to the young women; her candid honesty helps keep her from coming off as the villain.

Valdivia and Rubio shine in their own ways. They each approach the situation differently, and have issues to resolve with the house, and each other. Still, their portrayal shows the tested patience of a family bond, with the easy give-and-take of a comedy duo.

Director Jordan Flores Schwartz says it is in Pipes’s script that the community in the play is called “Highville,” so it is either by fate or coincidence it is staged in the Near-West Indy area of Haughville. Given ongoing events in the surrounding city, this does seem apt.

With equal parts hilarity and heart, “reality” and the surreal, this “Dream Hou$e” is well worth a look. Performances run through April 16 at 2508 W. Michigan St., Indianapolis. Tickets and info at FonsecaTheatre.org.

Shakespeare fun and foolishness set to music

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

By John Lyle Belden

It’s hardly a new idea to base a musical on a Shakespeare play (a recent Oscar-winning remake of an Oscar-winning film comes to mind). New York based songwriter Shaina Taub, with Kwame Kwei-Armah, adapted the Bard’s comedy “Twelfth Night” for its musical debut in Central Park in 2018.

Southbank Theatre Company brings that version to the IndyFringe Theatre (outdoors preferably, but on the Basile stage in bad weather) through May 8. 

If the story doesn’t easily spring to mind, note it is where we get the quote, “If music be the food of love, play on.” The play checks many of the boxes for a Shakespeare comedy: disguises, mistaken identities, siblings separated, wild wooing, nobles who will not marry, and ending up with a wedding anyway.

What makes this musical version exciting and interesting is that Taub’s songs do more than just put a tune behind Shakespeare’s words. They illuminate the themes of this old story, making it fresh and relatable. This makes the show the perfect companion to a traditional production of the play.

For instance, our central character Viola (Michelle Wofford), a woman recently arrived in mythical Illyria (vicinity of today’s Albania) finds it safer to disguise herself as a man, opening up surprising opportunities. In the song “Viola’s Soliloquy,” she sings of “the Devil’s blessing” that simply wearing trousers gives her.  

Viola, taking the name Cesario, finds her/himself between Duke Orsinio (Dave Pelsue), his employer, and the Countess Olivia (Natalie Fischer), who keeps spurning Orsinio’s advances, but has found herself smitten with Cesario. However, the Viola within the disguise pines for Orsinio, who only sees in her a dutiful young man.

Still, this wouldn’t be a Shakespeare comedy without the silly subplots. There is much opportunity for merriment in the Countess’s court, with sack-sotted Sir Toby Belch (Mark Cashwell), worst-at-wooing Sir Andrew (Kim Egan), mischievous Maria (Brittney Michelle Davis) and Fabian (Jordan Paul Wolf), who all seek to take pompous Molvolio (Hannah Boswell) down a peg or two.

Then there is the arrival of Viola’s lost-at-sea twin brother Sebastian (Matthew Blandford), accompanied by his rescuer Antonio (Z Cosby), who braves arrest to be by the man he secretly loves. Other roles are played by Brant Hughes, Ron Perkins and Yolanda Valdivia, who is also on hand as Officiant for the inevitable marriages. 

All this is accompanied by a live band, and the wit and wisdom of accordion-wielding jester Feste (Paige Scott).

With all the action of the classic comedy, but condensed down to a manageable hour and a half, this romp is an excellent showcase for the talented cast. Scott is simply amazing, whether giving chiding counsel, a beautiful ballad, or some handy narration to the audience. Speaking of fools, Boswell is a riot in an arc that goes from bombastic to pathetic, but always fun. Cashwell employs his improv skills and comic chops to great effect. Pelsue has long cornered the market on cool-guy-who-can-sing, so is totally in his element. Fischer has the sweet/feisty mix down perfectly. And Wafford is endearing with an inner strength befitting the character. Everyone else? Awesome, awesome, awesome – directed by Max McCreary with musical direction by Ginger Stoltz.

Performances are Thursday through Saturday evenings, and Sunday afternoon, at IndyFringe, 719 E. St. Clair, Indianapolis. Get information at southbanktheatre.org and tickets at indyfringe.org.

Fonseca Theatre’s journey through America with ‘Miss You Like Hell’

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

By Wendy Carson

In the style of an organization willing to challenge conventions, Fonseca Theatre Company stages it’s latest offering, “Miss You Like Hell,” in a garage-warehouse. The sets surround the audience and a trail divides it into four sections, which are mostly filled with rolling and swiveling chairs to help viewers follow the action.

This musical by Quiara Alegria Hudes, with music and lyrics by Erin McKeown, is the spiritual and physical journey of a mother and daughter as they travel across the United States. While on the surface this sounds like a cliche plot, there are a lot of story elements twisting and turning so that you are never quite sure exactly how you feel about the main characters at any time.

Beatriz (Sarah Zimmerman) says she has come to reconnect with her teenage daughter, Olivia (Sharmaine Ruth), who she has not seen in years. She seems genuinely worried about Olivia’s mental state after finding a blog post threatening suicide, but Beatriz has her own needs and agenda as well. Zimmerman does a skillful job meting out her character’s motivations in a way that makes you understand that no matter how many mistakes she has made, she is still a parent and ultimately loves her child, even if her actions don’t always seem that way.

Very reluctant at first, Olivia eventually embraces this adventure with her mom and discovers more about her family history, including the background of major events in her life. Ruth deftly swerves from belligerent brat to scared child to young adult seamlessly. Her performance shows the truth of what growing up means to a person as well as what it takes out of a child.

The rest of the cast compose a Greek chorus as well as their individual roles.

Paul Collier Hansen and Patrick Goss delightfully provide some much needed comic relief as Mo and Higgins, two best friends from Arkansas on a meaningful journey of their own. Ian Cruz is in rare form as Manuel, a possible love interest and convenient rescuer. Bridgette Ludlow charms us as Olivia’s most active blog respondent, as well as the strong dose of reality that she needs to grow. Paige Scott plays up her fierce side playing the various officers of the law that are encountered throughout the trip. Yolanda Valdivia is solid as Beatriz’s attorney, taking on her difficult immigration case. Dan Scharbrough gives his curmudgeonly best as a South Dakota bureaucrat and a Wyoming hotel manager. Some scenes are punctuated with a dancing ancestor, portrayed with bold grace by Camile Ferrera. Company founder Bryan Fonseca directs. Tim Brickley leads an excellent on-stage band.

The story begins in Philadelphia, our cradle of freedom, and ends in southern California, where part of the “wall” we hear so much about now stands. This examination of the American dream dwells on questions of heritage, culture, justice and rights. But above all, it is about family, the one we are born to, and the fellow travelers who become just as important to us.

This road trip is worth the journey, playing through July 28 at Kinney Group, 2425 W. Michigan St., Indianapolis (just a block from Fonseca Theatre’s new home, now under construction). Enter at the back doors. The venue gets rather warm in the summer weather, so dress light. Find info and tickets at FonsecaTheatre.org.