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Spinning a story with a bit of Broadway
March 16, 2020 March 16, 2020 dougandcarlotta Reviews, Stage	Aaron Cleveland, Andrea Odle, Brad Root, Broadway, cabaret, Fat Turtle Theatre Company, Jackson Stollings, Jenn Kaufmann, Jennifer Poytner, Jessica Crum Hawkins, john, Kaitlin Holden, Linda Parr, musical, Nicole Amsler, review, revue, Richelle Lutz, Shannon Rice, steampunk, Tessa Gibbons, This Is Us: An Inspirational Steampunk Broadway Cabaret
By John Lyle Belden
These are unusual times, so here is an unusual show.
While advising all who feel unwell or uncomfortable to sit this one out, Fat Turtle Theatre is, last we heard, continuing with its production of "This is Us: An Inspirational Steampunk Broadway Cabaret."
This is a little out of the comfort zone for Fat Turtle, a company that typically does plays, as well as founder Aaron Cleveland, who as the show's Narrator is called upon to sing. But it does fit within the mission of presenting Indiana works, as the revue of Broadway songs are hung like ornaments on an original story by local playwright Nicole Amsler.
The setting and aesthetic, as noted in the title, are the alternate-history dystopia of Steampunk, with its corsets and clockworks. This helps give the whole production a familiar, yet otherworldly feel.
Cleveland recites Amsler's fable about a grieving father who devises "a machine to take all the pain of the world" and how his children strive to save him from it. Honestly, it sounds like the seed from which a great original musical could be grown.
But for now, we get an interesting selection of songs that loosely fit the theme, taken from a wide variety of Broadway shows. While some are easily recognizable, like a tune from "Wicked," and include current hits like one from "Dear Evan Hansen," there are also numbers from shows such as "Newsies," "The Color Purple," "Kinky Boots," "Jekyll & Hyde," "Mean Girls," and even a beautifully appropriate song from the underappreciated "Pirate Queen."
To deliver these song-and-dance bits, we have area talents Tessa Gibbons, Jessica Hawkins, Kaitlin Holden, Jenn Kaufmann, Richelle Lutz, Jennifer Poytner, Brad Root and Jackson Stollings. Direction and choreography are by Andrea Odle, and there is a small band of musicians, led by Linda Parr.
The result is an entertaining distraction — for a couple of hours — from current events, and the opportunity to enjoy songs even fans of showtunes don't hear every day. This gang puts their hearts into their performances — as well as a bit of humor, when Hawkins and Stollings take on a fun old standard. Actually, every individual gets a chance to stand center and shine.
The costumes, by Shannon Rice, include inventive use of blue LED wires to enhance the retro-sci-fi feel and add necessary emphasis when the circuits resemble the human heart.
There is one scheduled weekend left, March 20-21 at The Switch, 10029 E. 126th St., Suite D, Fishers (in Ji-Eun Lee Music Academy), and as this cabaret is also a company fundraiser, all who are interested, and feel up to it, are encouraged to attend, or at least consider Fat Turtle in your charitable giving.
Details are at FatTurtleTheatre.com.
Gregory Hancock gives fairy tales a fun twist
February 18, 2020 February 18, 2020 dougandcarlotta Reviews, Stage	Abigail Lessaris, Allie Hanning, Alyssa Henderson, Anna Williamson, Annabelle Breeden, Ashton Curry, Audrey Holloway, Audrey Springer, Ava Thomas, cabaret, Camden Lancaster, Carmel, Chloe Holzman, comedy, dance, Elli Thacker, Evangeline Meadows, fairy tale, fundraiser, Gregory Glade Hancock, Gregory Hancock Dance Theatre, Hannah Brown, Hannah Winkler, Isabella Webb, Jillian Hogan, john, Josephine Meadows, Josie Moody, Megan Webb, Molly Kinkade, Morgan Beane, Olivia Payton, Rebecca Zigmond, review, Sophia Rice, Stella Kitchen, Stephanie Blaufuss, Taylor Smith, The Academy of GHDT, Thomas Mason, Vincent Kitchen, Violet Kitchen, Zoe Hacker, Zoe Maish
An issue I sometimes have with dance is that I find it hard to follow exactly what is going on, what the dancers are trying to portray — there is no such problem with "Once Upon a Time," by Gregory Hancock Dance Theatre.
The subject matter is as familiar as childhood — popular fairy tales. But Gregory Glade Hancock and his dancers have put their own spin (and leap, and…) on the stories to freshen the narrative. Like in the musical "Into the Woods," they all seem to occupy the same fanciful space, including an Enchanted Forest, in which the dancers got to work their own choreography.
Red Riding Hood (Hannah Brown) starts the stories by making her delivery. It seems Grandma appreciates the goodies so much, she just wants to dance with Red, though she does look suspiciously furry. As it turns out, the Wolf (Olivia Payton) while big, isn't so bad — despite harassing pigs — and mostly just wants to get belly-rubs from the Princesses.
Narcoleptic Beauty (Chloe Holzman) — turns out it wasn't just a cursed spinning-wheel — turns in the show's best performance, especially when constantly dancing in and out of consciousness with the Handsome Prince (Thomas Mason). She puts in moments of gracefully collapsing throughout the show, to great comic effect. As for his Highness, being the only man in the company, he has to be everybody's Prince, which does result in a chase scene or two. But the one he loves is himself, exemplified with his solo number with a hand-mirror — what a "selfie" was 500 years ago.
In other stories coming to life:
Cinderella (Camden Lancaster) sweeps through, dreaming of future happiness, but the glass that is most important to her is in the spectacles on her face, not the shoes on her feet. The Fairy Godmother (Hannah Winkler) gives her frames worthy of Elton John. But Cindy's desire to look good is greater than her myopia, with appropriately funny results.
Little Bo Peep (Josie Moody) has given up on sheep and herds the Three Little Pigs (Payton*, Winkler, and Jillian Hogan).
(*Not only ironic — playing Pig and Wolf — but I could have sworn all three Pigs were with the Wolf when he huffed and puffed them. Talk about talent.)
Rapunzel (Zoe Maish) has the strongest weave in the kingdom, which others can't resist messing with.
Snow White (Anna Williamson) shakes off the apple's effect and, with the Prince otherwise occupied, looks for love elsewhere. Seven young students don cap and beard as the Seven Dwarves (Annabelle Breeden, Ashton Curry, Violet Kitchen, Vincent Kitchen, Josephine Meadows, Isabella Webb, and Elli Thacker) — one of which also opens the show by playing the Boy in pajamas with the storybook of these twisted tales.
Pinocchio (Morgan Beane) is the Trickster character of the show. Having not learned his lessons yet, he gets his long nose into all manner of mischief throughout the evening.
As for the Witch (Abigail Lessaris), the apple isn't the only curse that's failing. Her powers have fizzled, and she dances desperately to rekindle them — but be careful what you wish for.
We are also enchanted by some fairies (Zoe Hacker, Alyssa Henderson, Evangeline Meadows, Megan Webb). The supporting cast (who also act as ushers) include Stephanie Blaufuss, Allie Hanning, Audrey Holloway, Molly Kinkade, Stella Kitchen, Sophia Rice, Taylor Smith, Audrey Springer, Ava Thomas, and Rebecca Zigmond.
This is the Hancock company's annual cabaret fundraiser, fitting nicely into the big black-box studio of the Academy of GHDT (329 Gradle Drive, Carmel, near the Center for the Performing Arts). The students don't pressure you too much to give, though there is a clever "grow Rapunzel's hair" board to track giving. There is also a free treat at every seat.
The talent and athleticism are amazing to watch, with graceful and easy-to-follow storytelling through movement. This show gives a chuckle to all ages, is an easy inspiration to youth — and reminds the casual viewer that there is more to dance than "The Nutcracker."
It's also very popular. The final performances Saturday and Sunday are sold out, but Friday, Feb. 21, has been added. Get tickets at ghdtonceuponatime.eventbrite.com. Get company information at www.gregoryhancockdancetheatre.org.
'First Date' jitters take form of advice-giving friends in Footlite musical
January 16, 2020 dougandcarlotta Reviews, Stage	Adam Gardner, Alan Zachary, Austin Stodgill, Austin Winsberg, Ben Fraley, cabaret, comedy, Darrin Gowan, DonaMarie Kelley, First Date, Footlite Musicals, Halle Catlow, Hannah Janowicz, Katherine Clarke Horrigan, Linda Parr, Margaret Smith, Michael Weiner, musical, review, Trish Roberts, wendy, Zach Hoover
By Wendy Carson
Dating — the stress, vulnerability, tension, sheer terror, and coping with it all. Is all of this worth it, to possibly find "the One"? This is the subject the Broadway musical, appropriately titled "First Date," playing at Footlite Musicals.
The show focuses on Aaron (Zach Hoover) and Casey (Halle Catlow) as they undergo a blind date, and we experience it with them, while seeing their inner thoughts portrayed by others in the cast.
Starting with drinks at the bar, it is obvious that these two have nothing in common except shared geography and a couple of friends who feel they might be a good fit for each other. Still, they are curious enough to overlook their first impressions — and Casey ignores the "bailout calls" of Reggie (Austin Stodgill), her gay bestie — to get to know each other more.
Religious differences, past relationship horrors, and even the embarrassment of their internet history are broached, yet they keep feeling out the possibility of their compatibility. Each constantly teeters on the verge of leaving, yet in their minds, Casey's sister Lauren (Hannah Janowicz) and Aaron's best friend Gabe (Ben Fraley) keep showing up to convince them to stick it out.
So, will these two make it to dinner — or maybe breakfast? Will Casey actually let Reggie's calls give her an out? Will Aaron overcome his feelings for ex-fiance Allison (DonaMarie Kelley)? Can the head Waiter (Darrin Gowan) inspire them to actually fall in love? Honestly, is any of this actually worth it?
Margaret Smith and Adam Gardner complete the cast as waitstaff and part of the mental chorus.
This being Footlite's annual "cabaret" production, audience seating is on the stage at tables of Darrin's Restaurant, adding an appropriate intimate feel. The show — book by Austin Winsberg, music and lyrics by Alan Zachary and Michael Weiner — is laugh-out-loud funny, with memorable tunes including "First Impression," "The Girl For You," and "I'd Order Love." (We've heard them occasionally on SiriusXM's "On Broadway" channel.) Direction is by Kathleen Clarke Horrigan, with choreography by Trish Roberts and music directed by Linda Parr.
So good, you might want to take a date of your own, "First Date" runs through Jan. 19 at 1847 N. Alabama St., near downtown Indianapolis. Call 317-926-6630 or visit http://www.footlite.org.
IndyFringe: The Madwomen's Late-Nite Cabaret
August 23, 2019 February 25, 2020 dougandcarlotta IndyFringe, Reviews, Stage	cabaret, Cody Ricks, comedy, Dave Ruark, Devan Mathias, Georgeanna Smith Wade, IndyFringe, IndyFringe 2019, Jaddy Ciucci, Julie Lyn Barber, Main Street Artists, music, review, Shawnte Gaston, wendy, women
This show is part of the 15th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 15-25, 2019 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.
From the moment that Lizzie Borden (Cody Ricks) dashes across stage to take her seat at the piano, you know that this show is anything but serious.
We then welcome our beloved hostess Ethel Merman (Dave Ruark hamming it up at his best) straight from her triumphant turn as "Annie".
Throughout the night we are privy to songs revealing aspects of these historical icons who are more misunderstood than evil.
Shawnte Gaston has a quick turn as Medusa but spends most of the show co-hosting as Eve, the embodiment of maternal energy and possibly the most misrepresented of them all. She belts out her sentiments in both "What's the Matter With Kids Today" and "Sometimes I Feel Like a Motherless Child."
Julie Lyn Barber embodies women as diverse as Typhoid Mary, Amelia Earhart, and Mary Stuart but she really stands out as Sybil singing "I Am My Own Best Friend".
Georgeanna Smith Wade gives us a hilarious look into the mindset of Procne (most people know her as Medea) but it is her sultry version of Mata Hari performing "Bang, Bang" that really shines.
Add to this Jaddy Ciucci (although on the performance I saw this role was played by Devan Mathias), portraying not only Joan of Arc, Philomela, and Ann Boleyn, but a "Physical Embodiment of a Controlled Substance" (Mary Jane) and pleadingly insisting "I'd Be Good For You"
Needless to say, these women (and characters) deserve to be seen and heard and who knows when you will get another chance to do so. Presented by Main Street Artists, remaining performances are 9 p.m. Saturday and 1:30 Sunday at the IndyFringe Theatre, 719 E. St. Clair.
Doomed 'Lady Day' lives again in Indy dive
March 20, 2019 April 10, 2020 dougandcarlotta Reviews, Stage	addiction, Bessie Smith, Billie Holiday, Bryan Fonseca, cabaret, Dena Toler, Fonseca Theatre Company, historical, john, Jon Stombaugh, Lady Day, Lady Day at Emerson's Bar & Grill, Linebacker Lounge, Monica Cantrell, music, musical, play, race, review, Tim Brickley
It's 1959, the last year of singer Billie Holiday's life, and she is in a city she'd rather not visit, Philadelphia, at a place she loves to be. It's "Lady Day at Emerson's Bar & Grill," a Fonseca Theatre Company production hosted by the Linebacker Lounge, just a couple of doors down from Fonseca's previous venue at Indy Convergence.
The cozy confines of the Linebacker stand in nicely for Emerson's. It is a bar (but no grill, though there are delicious Mexican sandwiches next door that you are allowed to bring in) so entrance is restricted to ages 21 and up. Drink service is available before the show and a brief intermission, cash only (there is an ATM on site). But mostly, the place lends atmosphere, a small triumph of "site-specific" theatre.
As for the Lady herself, Monica Cantrell slips comfortably into a role she has played before. Holiday's distinctive voice and vocal style can be difficult to emulate, especially without sounding like a parody, but Cantrell takes it on with apparent ease — singing soulful jazz ballads and purring stories that are a blend of reminiscing and confessional. Billie tells of idolizing Bessie Smith, honoring her with a rendition of "Gimme a Pigfoot;" life on the road, especially touring the Jim Crow South; and of how she wrote her biggest hit, "God Bless the Child," for her mother, known as The Duchess.
She tells of men she loved and speaks frankly of her heroin addiction, advising patrons to watch out for "white men in white socks," the probation officers who monitor her movements after her release from a year in prison. Her mind is not entirely her own, but she'll pick up a snippet of song — "What a little moonlight can do," she smiles — to get her thoughts on track.
"Singin' is livin' to me," she says. But as she slowly breaks down, it becomes heartbreakingly apparent she doesn't have much of either left in her.
Music is provided by Tim Brickley, and Jon Stombaugh as Holiday's accompanist Jimmy Powers. Little Zoe Lee makes an adorable cameo as the singer's canine companion, Pepe. And I'm pretty sure I heard Bryan Fonseca himself as the voice of Mr. Emerson.
Directed by FTC co-artistic director Dena Toler, "Lady Day" is a beautiful biography of a troubled woman in troubled times. It speaks volumes about addiction and our racial history without preaching. Just listen to that voice, the likes of which we may never hear again, a woman who "got her own," on the verge of losing it all.
Performances run through April 7. Find the Linebacker, a sweet little spot that boasts Indy's second-oldest liquor license, at 2631 W. Michigan St. Due to its small size, this show sells out easily, so find info and tickets at www.fonsecatheatre.org.
An evening with the marvelous Melissa Schott
December 7, 2018 May 4, 2020 dougandcarlotta Reviews, Stage	cabaret, Carmel, Cory Lingner, dance, Dustin Klein, john, Magic Thread Cabaret, Melissa Schott, music, review, Scott Harris, Songs in the Key of Me, tap, The CAT, Tom Alvarez
I remember in 2005 seeing the Footlite Musicals production of "42nd Street," and being blown away by the performance of Melissa Schott in the lead role. I had no idea that — like her character, ingenue Peggy Sawyer — she had just taken her first big chance on a major stage role, and come out on top. All I knew was that she lived in New Palestine, within the coverage area for the Greenfield Daily Reporter, the paper I wrote for.
With such a talented "local" to watch, I soon saw her perfect portrayal of the legendary singer in "Always, Patsy Cline." So, it was no surprise when — again, nearly on a whim — she tried for and got entertainment work in New York.
And this year, for one wonderful weekend, she came "home," recently performing her first cabaret revue, "Songs in the Key of Me," at The CAT in Carmel, presented by Magic Thread Cabaret.
Schott said the show's title refers to how, in taking so many roles as other people, "it's easy to forget your own voice." To find those pieces of herself, she brings out the works of people who have influenced her, from Karen Carpenter to Sara Bareilles.
She set the mood by opening with "That's Life" and "Ain't We Got Fun," but also touched our hearts with Cline's hit "Crazy," as well as "Pretty Funny" from the musical of "Dogfight."
Being a classic triple-threat, Schott brought out her tap shoes for a couple of numbers, including — naturally — "42nd Street."
She shared the stage with old friend Scott Harris of Nashville on the piano, but took over the keys to start the second act, singing and playing Bareilles' "Gravity." She also invited Broadway performer Cory Lingner up for a duet of "Only Us" (from "Dear Evan Hansen").
Revealing yet another facet of her talent, Schott played a song she wrote, "Worlds Away," inspired by her longing for home while on tour.
Her musical journey had many stops that felt personal to her, including "Goodbye Yellow Brick Road" and "On a Bus to St. Cloud." She sang "She Used to be Mine," from Bareilles' hit musical "Waitress," then noted that she would be playing a waitress herself, briefly, on a future episode of the Emmy-winning streaming TV show "Marvelous Mrs. Maisel."
Hopefully being a long-time fan doesn't make me too biased, but her charm, talent, dancing and singing are still superb. And with her residence in the Big Apple, Melissa Schott is one casting-call away from true stardom. Wherever you happen to be able to see her perform, by all means do; and hopefully, she will bring her "Songs in the Key of Me" to another stage very soon.
She closed the show with a medley of tunes from Broadway's "Thoroughly Modern Millie." A few days ago, I heard one of the songs from the official cast album, and — meaning no disrespect to a Tony winner — Schott was just as good.
Follow Melissa's showbiz adventures at melissaschott.com or on Facebook. See magicthreadcabaret.com for future showcases of local talent, presented by Tom Alvarez and Dustin Klein (kleinandalvarez.com).
'Cabaret Poe' right at home on yet another stage
October 9, 2018 May 4, 2020 dougandcarlotta Reviews, Stage	Ben Asaykwee, cabaret, Cabaret Poe, Georgeanna Smith Wade, Halloween, Jaddy Ciucci, john, Julie Lyn Barber, musical, Phoenix Theatre, Poe, Q Artistry, Rebekah Taylor, Renae Stone, review
For those who know of "Cabaret Poe," the musical exploration of Edgar Allan Poe's stories and poems by Ben Asaykwee and presented by his Q Artistry productions, know that it has returned for its 10th year with its premiere with the Phoenix Theatre on its black-box Basile stage — complete with a couple of tweaks to adapt to its space and keep it fresh.
For those who have not yet seen it, this is a perfect opportunity to experience what is becoming a local fall tradition. It started a decade ago in haunted Irvington, and has since moved to Mass. Ave. and even Circle Centre Mall. Now, in partnership with the Phoenix, it and other Q Artistry works have a new home.
Asaykwee is Zolius, the gaunt acerbic leader of his little band, including fair ladies Morella and Berenice, and a mysterious Shadow that haunts the proceedings. He also has a small four-piece orchestra to provide music and much of the atmosphere. Our women are dual-cast; depending on the performance, you may see original performers Renae Stone as Morella and Julie Lyn Barber as Berenice, or Georgeanna Smith Wade and Jaddy Ciucci respectively.
They prefer you experience the suspense of not knowing what comes next, so there is no set published program, and I won't spoil that here. Just know that many favorites will be recited and acted out, including "The Tell-tale Heart," "The Cask of Amontillado" and, of course, "The Raven."
Rebekah Taylor slinks her way around the stage as the silent Shadow, and even gets to interpret one piece in a featured dance.
There are a few moments of audience interaction, so it truly is a little different at each performance. Changes to the set include lights embedded in the crypt-stage, used to good effect. Asaykwee's style and his contributions to Poe's words add clever dark humor, making for a thoroughly entertaining evening. There are no major scares, just a spooky atmosphere, and TV-PG language so this show is good for tweens and older.
Tickets have been selling briskly, so act fast. The show runs through Nov. 4 at the Phoenix Theatre, 705 N. Illinois St. Call 317-635-7529 or visit phoenixtheatre.org.
'Brooklyn' comes to Footlite
January 12, 2018 May 21, 2020 dougandcarlotta Reviews, Stage	Amy Douglas, Barri McPherson, Brooklyn: The Musical, cabaret, Curt Pickard, Donny Torres, fairy tale, Footlite Musicals, homelessness, john, Kathleen Clarke Horrigan, Kendra Randle, Linda Parr, Mark Schoenfeld, Michael Davis, musical, Page Brown, Rayanna Bibbs, review, Shelbi Berry, Stephen Matters, Stevie Jones, Tristan Bustos
As it is often said, context is everything.
"Brooklyn: The Musical" has a backstory that nearly overshadows the show itself. Its creators, Mark Schoenfeld and Barri McPherson, once collaborated decades ago before going seperate ways. More recently, McPherson, who had a comfortable life in New England, came across Schoenfeld, then a homeless street musician in Brooklyn. She took him in, and inspired by his tough life, they wrote what would become this musical.
After opening in Colorado, "Brooklyn" had a nearly full year on Broadway – October 2004 to June 2005. New York critics were not kind, but Kathleen Clarke Horrigan of Indy's Footlite Musicals saw it during its final month and fell in love. After years of hunting for a way to bring the musical to Indiana, she finally has "Brooklyn" occupying the Footlite stage.
This is Footlite's traditional January "cabaret" style show, with seating right on the stage, actors and audience sharing a common space. When we arrive to take our seats, we are transported to a grubby street corner by the Brooklyn Bridge, complete with trash, graffiti and discarded humanity. One man, the Street Singer (Stevie Jones) starts to perform with a generous voice and open guitar case. He is joined by four others, hardy "City Weeds" that spring up to help present his "Sidewalk Fairy Tale."
For the most part, this show is the play-within-the-play about a Parisian girl, "Brooklyn," named for the home of the American father she never knew. After losing her mother (played by Page Brown), Brooklyn (Shelbi Berry) eventually makes her way to New York as a famous singer, with one unfinished song that only her real dad would know. Local diva Paradice (Kendra Randle) is not amused and wants this French upstart off her turf. Brooklyn accepts Paradice's challenge for a winner-take-all sing-off in hopes that this will aid her quest. But when she finds her father (Donny Torres) and learns his truth, will a happy ending to this tale be possible?
I'm leaving out a lot of details, of course, so you can discover them yourself. Dwelling on them would ruin the overall fantasia effect of the story, anyway. In the end, we truly learn who this story is about and for, which then sets the "fairy tale" as a whole in a clearer light.
The issue of homelessness permeates this story and production, but – as is true in everyday conversations – it is not directly addressed. This show won't preach to you, but does present these people's humanity, the "Heart Behind These Hands," and clues to what can bring a person down to life under a bridge. This production is also helping raise awareness and funds for the local Coalition for Homelessness Intervention and Prevention (www.chipindy.org).
Jones is a wonderful narrator with sweet voice and charisma to spare. Beautiful Berry and sassy Randle make an excellent sweet-sour yin-yang. Brown is angelic (literally) and Torres brings all the layers of his complex character. In other words, these "weeds" are a pitch-perfect bouquet of talent.
Also impressive is the look and atmosphere of the stage set by Stephen Matters, like a gritty set for "Rent" gone to seed, complete with lights and sounds (but thankfully no smells) to make you feel almost a bit unsafe. Costumes (by Curt Pickard) and props are marvels of recycling and improvisation with discarded everyday objects, oddly adding to the whimsy of some scenes.
Combine these elements with backing street people (Rayanna Bibbs, Tristan Bustos, Amy Douglas and Michael Davis) and an on-stage band led by Linda Parr, and you have one of those musicals that is as much an experience as a show. Don't be surprised if you find yourself humming an "Unfinished Lullaby" or have the words "With our tears, we water roses" tattooed to your memory.
This rare gem of an almost-forgotten musical has performances today through Sunday and Jan. 18-21 at 1847 N. Alabama. Call 317-926-6630 or visit www.footlite.org.
Incredible 'Cabaret'
November 8, 2016 July 2, 2020 dougandcarlotta Reviews, Stage	Actors Theatre of Indiana, Ashley Saunders, Ben Asaykwee, Billy Kimmel, cabaret, Carol Worcel, Cynthia Collins, Darrin Murrell, Debra Babich, Eric Olson, Jenee Michelle, john, Judy Fitzgerald, Kander and Ebb, Kenny Shepard, musical, Nicholas Roman, Nicole Bridgens, Patrick Vaughn, review
NOTE: As the Word/Eagle is in flux with the renaming and corresponding change in official website, John is still putting his reviews here.
The Actors Theatre of Indiana production of Kander and Ebb's "Cabaret" is one of those "even if you've seen it before" shows that you absolutely should see.
And if you are only familiar with the Joel Gray/Liza Minnelli movie version of the musical, you haven't seen it like this – as ATI and director Billy Kimmel opt for the "revival" version of the production. This perfectly suits the brilliant Ben Asaykwee as the randy Emcee (in the Tony-winning style of Alan Cumming).
Asaykwee struts and coos his way through the story of American writer Cliff Bradshaw (Eric J. Olson) and wayward English singer Sally Bowles (ATI co-founder Cynthia Collins) in Berlin just as the Nazis are seizing power. Collins is appropriately brash and charismatic and in great voice. Olson tackles an everyman role (though gay, or at least bisexual) with the perfect touch, our proxy to events that are at first unbelievable in a fun and entertaining sense, then chilled with approaching calamity.
Patrick Vaughn is smooth as the deceptively charming Ernst Ludwig, Debra Babich is strong yet sweet as landlady Fraulein Schneider, and Darrin Murrell as Jewish shopkeeper Herr Schultz makes you ache to know that such a wonderful man is unwilling to see the growing danger around him. Also notable are Judy Fitzgerald as working-girl Fraulein Kost, Nicholas Roman and Kenny Shepard as sensuous bookends Bobby and Victor (and other roles as needed), the BEAUTIFUL Kit Kat girls Nicole Bridgens, Jenee Michelle, Ashley Saunders and Carol Worcel (who also choreographed) and the BEAUTIFUL orchestra.
As history lesson, allegory, love story and brilliant entertainment, this show works on all levels. See it through Nov. 20 at the Studio Theatre (next to the Tarkington) in The Center for the Performing Arts, 4 Center Green, Carmel. Call 317-843-3800 or see www.atistage.org. Note there are a few table seats right next to the stage; inquire with the box office as to availability.
John L. Belden is Associate Editor at The Eagle (formerly The Word), the central-Indiana based Midwest LGBTQ news source.
IndyFringe: Class, Grass and Ass
August 25, 2016 July 5, 2020 dougandcarlotta IndyFringe, Reviews, Stage	Bette Midler, cabaret, Class Grass and Ass, comedy, Debra Mullins, IndyFringe, IndyFringe 2016, music, review, Theatre on the Square, wendy
It is clear from the onset that Debra Mullins aspires to be Bette Midler. This crazy tribute to the style and sassiness of "The Divine Miss M" is her attempt to do so. From her back-up group, The Debutants (think Indy's version of Midler's "Harlettes") to her choice of songs, she does her best to invoke the diva.
While some of her attempts do fall a bit flat, the show is still entertaining. The comedy bits are great, the costuming and choreography work well, but she seems to miss some steps here and there.
For instance, the Who song, "Squeezebox" was written as "Momma's got a Squeezebox" to help hammer home the double entendre. Her change of the lyrics to "Daddy's got a Squeezebox" removes the main thing that makes this number so naughty.
Still, the show is a very good cabaret review that showcases several talents from around town that are rarely seen on these stages. So, get the girls together, grab a glass of wine, sit back and have a good time.
Performances at the Theatre on the Square main stage Friday, Saturday and Sunday, Aug. 26-28. Get info and tickets at indyfringefestival.com.
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