Belfry Theatre’s “Father of the Bride”

reviewed by Daniel Shock

Birthdays, funerals, and weddings—the three family events where you become the producer, star, or supporting character of the story. Of the three, weddings are easily the most elaborate. I have found that, much like dogs, I prefer others’ weddings. There’s very little for me to do at your weddings. I was late to the last one I attended, so late that I came in through the kitchen just in time to hear ‘you may kiss the bride’. Weddings where I have a role (video, singer, usher, best man, or groom) immediately put me in anxiety mode. The play, Father of the Bride, staged in 1949 and based on a novel by Edward Streeter, is a light and breezy romp through the anxiety and misery a father feels as his daughter plans her wedding.

Kay Banks (Lizzie Schultz, right) presents her fiancé, Buckley Dunstan (Daniel Alejos)

The story is simple. Daughter Kay Banks (Lizzie Schultz) announces her engagement to a young man, Buckley Dunstan (Daniel Alejos), while her family eats breakfast. The family, titular father Stanley Banks (Dave Hoffman), mother Ellie Banks (Debbie Underwood), and brothers Ben (Gideon Roark) and Tommy (Tommy Lockwood), react in a variety of ways. Kay reassures her family that it will be a very small wedding. The family, especially Father, breathes a sigh of relief. A few moments later, the groom arrives at the house and meets the family. The happy couple again assures everyone that the wedding will be small—no more than 50 guests, which still seems too much. Don’t believe them. The rest of the play is told mostly from Mr. Banks’ perspective, detailing the planning of the wedding. Will everyone emerge from the play with their lives and relationships intact?

Kay Banks (Lizzie Schultz) with her father, Stanley (Dave Hoffman)

Director Barcia Alejos has assembled a likable group of actors to tell this story. Dave Hoffman as Mr. Banks is clearly having a good time as he slowly loses his sanity, yet he also imparts touching words of wisdom. He is the heart of the show and very funny. Debbie Underwood as mother Ellie is warm and maternal, enabling her daughter’s matrimonial desires. Gideon Roark and Tommy Lockwood as the brothers find many opportunities to annoy and support their older sister. Belfry regulars Dana Lesh and Rob Lawson almost steal the show as the secretary and caterer, respectively. Lizzie Schultz and Daniel Alejos as the young couple in love are just as dreamy-eyed and sweet as you would want them to be.

As the show began, I was concerned about the pace and quality of the dialogue delivery. Something seemed off, as if it was the first time the cast had seen the lines. It was uniform across the whole cast; I can’t pin it down on any one person. It may well be that getting back into it for a Thursday evening show was a little rough. I’m happy to report that things picked up and improved by the time Stanley Banks tries on his twenty-year-old tuxedo. You might say things ‘tightened’ up. There are also a number of actors with smaller roles who shine and add a lot to the show.

Stanley (Dave Hoffman) deals with the caterer (Rob Lawson)

The technical aspects of the show were fine. The set by Jay Ganz and José Alejos was perfect, believable as a warm family home. Lighting was simple, bright, and well lit. Sound was okay, though all the actors used microphones, which occasionally dropped out and were distractingly taped to their faces. I confess, I miss the old Belfry where you didn’t need microphones, and it felt more intimate. The costumes were a mixed bag and did not seem to represent a consistent era, though this did not hamper my enjoyment of the show.

Addie McMillan is the Wedding Singer

Lastly, if you arrive 25 minutes early, there is a young woman, Addie McMillan, credited in the program as the wedding singer, who sings 6 or 7 songs from the era. She sings beautifully, and you will be convinced she time traveled from the ’50s to perform. Catch it if you can.

Father of the Bride presented by the Belfry Theatre and performed at Noblesville United Methodist Church (enter door 2) is running for three more performances. Tonight at 8:00 PM, Saturday Matinee at 2 PM, and Sunday Matinee at 2 PM. For tickets, call the box office at 317-773-1085 or go online at https://www.thebelfrytheatre.com/

• – photos by Indy Ghost Light (Rob Slaven)

“Anastasia” at Booth Tarkington Civic Theatre

reviewed by Carrie Neal

Jewels, brocades, royalty, and waltzes. Mystery, intrigue, and a case of mistaken identity…or is it? Rarely has a story seemed more ideally suited for musical theatre adaptation than that of Anastasia Romanov, and it is a story Booth Tarkington Civic Theatre is beautifully equipped to tell. 

For those unfamiliar with this dark period of Russian history, Tsar Nicholas, Tsarina Alexandra, and their five children were brutally murdered by Bolsheviks in July of 1918. For almost ninety years, many believed that Anastasia, the youngest daughter, somehow escaped and survived. In this scenario, would she have had any way of knowing who she was, and how would she have attempted to find out? Anastasia’s voyage of self-discovery takes the audience on an enthralling personal quest. 

from left: Nina Stilabower as Countess Lily, Jill O’Malia as Empress Maria, and Steve Kruze as Vlad Popov

From the moment the overture begins (with the orchestra under the adept leadership of Matthew Konrad Tippel), we’re enfolded in a fairytale world of enchantment by this flawless Faberge egg of a show. Everything is picture perfect: stunning projections overseen by Michael J. Lasley, lighting and scenic design expertly executed by Ryan Koharchik, dazzling hair and wig design by Andrew Elliot, and gorgeous costumes built by designer Adrienne Conces and her talented support staff.

Troy Bridges as Dmitry and Isabella Agresta as Anya/Anastasia

The versatile cast is stellar across the board, not a weak link among them and perfectly cast by director Anne Beck. While something glowing could be said about every single ensemble member, the standout of the evening was Matthew Sumpter’s gorgeous a cappella solo in “Stay, I Pray You.” The haunting song brought chills and was strongly evocative of “Anatevka” from Fiddler on the Roof. 

Each lead in this excellent production is truly remarkable. All have golden voices and are utterly believable as the characters they portray. Newcomer Nathaniel Hein, a seasoned opera singer, dazzles with his vocals and manages to make the villain Gleb likeable. Steve Kruze and Nina Stilabower delight as former lovers Countess Lily and Vlad Popov, who reconnect later in life with instantaneous and hilarious sparks. As the seasoned heart and soul of the show, Jill O’Malia as the Dowager Empress is both regal and heartbreaking. As the male lead, Troy Bridges is a perfect Dmitry, at turns puckish and serious with soaring vocals.

Isabella Agresta as Anastasia and Nathaniel Hein as Gleb Vaganov

But of course the show really belongs to the title character, and there couldn’t be a more ideal Anya/Anastasia than Isabella Agresta. She has astonishing vocal control and transitions between belt and head voice with ease, but also flawlessly embodies the character at every stage of her journey, be it street sweeper, eager student, or newly reborn Grand Duchess. Her performance moved me to tears several times. 

We who love theatre are constantly in search of that rare show which entertains and dazzles us at every turn, and that magic is happening at the Booth Tarkington Civic Theatre through May 11th. Director Anne Beck has truly outdone herself with this one, and tickets are available online at civictheatre.org. Don’t wait! This show could very likely be a sellout. 

• photos by Zach Rosing

ALT’s “A Case for The Existence of God”

reviewed by Adam Crowe

American Lives Theatre (ALT) is one of several arts organizations in residence at the Phoenix Theatre Cultural Centre in downtown Indianapolis. In the tumult of the post-Covid arts landscape, the addition of multiple arts groups to this space is a bright spot. ALT has produced a number of exceptional productions over the past four years and its latest such offering is Samuel D. Hunter’s A Case for The Existence of God.

Samuel D. Hunter’s play is a tour de force for two actors, and the ALT cast is up to the task. Eric Reiberg plays Ryan, a man with little to speak of in terms of worldly goods. He has a need to buy some local Idaho land, which was once owned by his family, as the source of his and his daughter’s future. Eric Thompson plays Keith, a mortgage broker who runs into Ryan at the day care where each has a daughter. Ryan needs Keith and his skills. Keith’s needs are slower to reveal themselves, but prove just as compelling.

Eric Reiberg as Ryan confers with Eric Thompson as Keith in ALT’s “A Case for the Existence of God”

Over 90 (intermission free) minutes, these two characters pull the audience into a tale of American trauma: familial, legal, economic, racial, and more. The audience will not likely see all the twists coming from Hunter’s tight script, but the rewards are there.

Directed by Andrew Kramer, with a lighting design by Tim Dick, A Case for The Existence of God is the latest in a line of thoughtful and surprising plays from ALT. With only one weekend left, audiences need to step up quickly to see for themselves if the case for the existence of God is proven.

American Lives Theatre’s production of A Case for The Existence of God runs at Phoenix Theater Cultural Center through April 28th. Tickets are available through the Phoenix website at www,phoenixtheatre.org or by calling (317) 635-7529.

• – photo by Indy Ghost Light (Rob Slaven)
  
  

“Little Shop of Horrors” at IRT

reviewed by Daniel Shock

Little Shop of Horrors began its life in 1960 as a low-budget black and white horror-comedy film by Roger Corman. It was a small success that grew in popularity on TV during the 1960s and ’70s. Future Disney creators Howard Ashman and Alan Menken were inspired to create an off-Broadway musical adaptation of the story in 1982. The success of the musical led to a film version directed by Frank Oz in 1986. I can remember going to see the film as a 15-year-old knowing nothing about it and finding it absolutely charming.

Dominique Allen Lawson (as Seymour) and Lucy Maria Godinez (as Audrey)

If you don’t know the story – the location is Skid Row, a Los Angeles neighborhood filled with homelessness and poverty. The story begins with a Greek chorus of three neighborhood women—Crystal (Raquelle Viteri), Ronnette (Jessy Jackson), and Chiffon (Tiffany Theana Taylor)—singing the title song and warning of the coming horrors. A brick wall slides away to reveal the interior of Mushnik’s flower shop. Mr. Mushnik (Ryan Artzberger), the owner and boss, is lamenting the lack of customers and decides to close up shop and send his employees home for good. These employees include the timid and well-meaning but clumsy assistant Seymour Krelborn (Dominique Allen Lawson), and sweet Audrey (Lucy Maria Godinez), a girl with a low sense of self-worth and tacky fashion sense. Forced to speak up to save the store and their jobs, Audrey encourages Seymour to tell Mr. Mushnik about the exotic plant he found during a recent total eclipse of the sun (the audience LOVED that bit).

Their idea is that this plant could sit in the window and attract customers. When they set the plant in the window, it immediately brings in a new customer and a large order for flowers. Our floral trio is ecstatic at the change of fortune, and Mushnik orders Seymour to keep that plant healthy no matter what it takes. The only problem is that the plant seems to be dying. Seymour eventually figures out that what the plant wants is blood—human blood, HIS blood. So, he nurses it back to health with drops of blood from his fingers. As the plant grows larger, so does the love between Audrey and Seymour. There are just a couple of obstacles that need to be overcome for them to be together. The first is that Audrey doesn’t believe she deserves a success like Seymour. The second is her abusive motorcycle-riding dentist boyfriend (played by Kyle Patrick). I wonder how they might…take care…of him?

Dominique Allen Lawson (as Seymour) battles Audrey II (manipulation by Rob Johansen)

The cast of this IRT production is uniformly perfect. Our tragic hero, Seymour, as played by Dominique Lawson, is nerdy, timid, and full of heart. Lucy Maria Godinez brings a wonderful sense of humor and powerhouse voice to Audrey. Together, their performance of “Suddenly Seymour” brings down the house and will leave you smiling or crying…or both. Ryan Artzberger as Mr. Mushnik is funny and fatherly. Kyle Patrick has a lot of costume changes as he plays Orin the twisted dentist and at least five or six other roles. He brought a fun charisma to the dentist and he makes every character distinct.  

Jessy Jackson, Tiffany Theana Taylor, and Raquelle Viteri, who make up the skidrow Greek chorus of Ronnette, Chiffon, and Crystal, bring lots of personality and talent to their numbers. Their choreography and singing are flawless, and the show wouldn’t be the same without them. And last, but definitely not least, is the fantastic duo that make the plant, Audrey II, come to life—Rob Johansen and Allen Sledge. Mr. Johansen is usually very visible on the IRT stage, but here, his performance is completely within the puppet. Allen Sledge provides the voice for Audrey II…and he is marvelous. I have no idea how these two performers worked together to make such a seamless effect of a gigantic talking and singing plant. I can only imagine that it was exhausting.

Kyle Patrick (as dentist Orin), Raquelle Viteri (as Crystal) , Tiffany Theana Taylor(as Chiffon), and Jessy Jackson (as Ronnette)

Director Benjamin Hanna has brought together a fantastic team of technical talent as well. Music Director Andrew Bourgoin led the band to a fun toe-tapping performance. Choreography by Breon Arzell fit the show perfectly. Czerton Lim’s set was well done. Izumi Inaba designed many colorful costumes for the cast that sparkled with personality all on their own. Dawn Chiang’s lights were bright and moody in all the right spots. Sound design, I imagine, was a challenge for this show, and it was pulled off with great skill by designer Todd Mack Reischman.

Little Shop of Horrors runs at the Indiana Repertory Theatre (140 W. Washington Street, Indianapolis, IN 46204) through May 19. There are performances Tuesday through Saturday. Fans of the 1986 movie will not be disappointed in this show. But, if the movie is all you know, be aware that there are differences, most notably the ending is different but no less enjoyable. For tickets, please contact the Ticket Office: 317.635.5252 or purchase them online at https://www.irtlive.com/shows-and-events/events/little-shop-of-horrors/

• – photos by Zach Rosing
• – artwork by Kyle Ragsdale

“Moon Over Buffalo” at Mud Creek Players

reviewed by Ken Klingenmeier

Ken Ludwig’s Moon Over Buffalo came to Broadway in 1995, starring Carol Burnett in her return after a 30 year absence. One of Ludwig’s numerous farces, Moon Over Buffalo follows patterns of jealousy, drinking, frantic misunderstandings, and a celebrity audience member – all of which appear in some of his earlier plays. Add in an untimely pregnancy, a deaf old lady, some delicious Irish coffee, and jokes about Buffalo (my home town!!) and you have a road map for confusion, mayhem and many good laughs.

Directors Dani Lopez-Roque and Kelly Keller’s troupe of actors and actresses cover all of Ludwig’s bases as they spin out the tale of two aging actors – George and Charlotte Hay – at the bottom level of their careers, treading the boards in lowly Buffalo, but still hoping for that big break to come along.

Sean Berne and Zoe Haillia star as George and Charlotte Hay in Mud Creek’s “Moon Over Buffalo” (photo by Sunspot Photography – Erin Keller)

Sean Berne and Zoe O’Haillin are well-matched as the Hay couple – perhaps because they are truly coupled in life! Their energetic, over-the-top choices fit the script perfectly. Berne does a highly-paced vigorous portrayal, loaded with bits and fratfalls. Ms. O’Haillin, while a good deal more demure, does her part to lend chaos through her character, especially using her expressive facial gestures and piercing tones.

Rozalind (Chrizann Taylor) and Howard (Jeff Haber) (photo by Sunspot Photography – Erin Keller)

Veteran actress Jean Adams does her turn as Charlotte’s mother Ethel with excellent timing as she has some of the best and gentlest laugh-lines in the show. The Hays’ well-grounded daughter Rozalind is brought to life by Chrizann Taylor with a nice even styling. Jeff Haber adds his clownish Howard (Rozalind’s almost fiancé) to his growing list of peformances, as does Michael Marshall (Rozalind’s other almost fiancé) with a lively Paul. Anabella Lazaridez is cute and funny as Eileen (Howard’s next fiancée) and Craig Kemp completes the cast as lawyer Richard (Charlotte’s almost next husband). Even the backstage crew adds to the fun with their flamboyant set-change antics.

from left: Charlotte Hay (Zoe O’Haillia), Richard (Craig Kemp), George Hay (Sean Berne) and Paul (Malcolm Marshall) (photo by Indy Ghost Light Photography)

Chris Bundy’s five door set works well for the farcical action, Karen Webster-Cones’ costumes add the right touch, and props by Eric Bowman are plentiful and proper.

Bottomline: Directors Lopez-Roque and Keller have put together a production brim full of comedy – physical, visual, spoken and showy. With their energetic cast delivering it all at top-speed, the show moves from moment to moment in a happy madcap blur.

from left: George (Sean Berne) with Eileen (Anabella Lazaridez) – and Ethel (Jean Adams) (photo by Indy Ghost Light Photography)

Moon Over Buffalo continues at Mud Creek Players through May 4th. You can find more info about reservations, the theatre’s location and the company’s upcoming schedule by going to http://www.mudcreekplayers.org .

“Ship of Dreams” at Indy Fringe Theatre

reviewed by Vickie Cornelius Phipps

I had the pleasure of seeing Ship of Dreams last night at Indy Eleven Theatre, in the IndyFringe Theatre. The 2022 Fringe show written by Paige Scott, Jason Adams, and Aaron Stillerman is back for a limited time with a cast of Indy’s funniest comedians. Eight friends attempt to cross an ocean of impossibility to stage James Cameron’s cinematic masterpiece “Titanic.” Paige Scott directs this hilarious and creative nostalgia-induced farce as a production of Working-Class Socialite.

The cast includes Elysia Rohn, Hannah Elizabeth Boswell, Tracy Herring, Shelby Myers, Meg McLane, Brittany Magee, Courtney McClure, and Jason Adams. Everyone brings their game and lights up the stage with minimalist theatre. This parody is described as part clown show and part puppet show with the use of cardboard, a projector, and an embarrassingly low budget.

An iconic scene from “Ship of Dreams”

If you love or even liked the movie “Titanic”, you will definitely pick up on all the funny DiCaprio references. My Heart Will Go On is sung extremely well by the cast as the ship takes its last breath. This production contains flashing lights and adult language. It is recommended for audiences age 13 and up.

There are only three more chances to catch this show, April 19^th, 20^th at 7:30p and the 21^st at 5:00p. Located at 719 E. St. Clair Street downtown Indy. For tickets contact the Box Office at 317-210-4639 or email info@indyfringe.org.

The Village Theatre’s “Sylvia” at the CAT

reviewed by Ken Klingenmeier

A.R. Gurney is well known for his plays The Dining Room, Love Letters, and The Cocktail Hour. His comedy Sylvia opened off-Broadway in 1995. The story of an unusual romantic triangle between a man, his wife and their female dog, Sylvia, was immediately hailed as “a delightful fantasy”, and “delicious and dizzy”.

The Valley Theatre’s inaugural production, directed by Larry Adams, certainly fetches that description.

Greg (Mason Odle) plays with his new dog Sylvia (Amber Shatto) in a scene from “Sylvia”

When Greg brings Sylvia into the couple’s empty-nested apartment, his wife Kate objects to the idea. The needy pet gains a rather strong hold on Greg’s heartstrings and he loses interest in his already troublesome job. As Sylvia challenges Kate for his affections, Kate worries about the changes in her husband and seeks an answer from friends and professionals.

Four friends, Mason and Andrea Odle, Amber Shatto and JB Scoble, fill the roles of the play. Not surprisingly, the Odles are very comfortable as the couple. They easily play off each other and provide the comic conflict for the storyline. Mr. Odle is extremely expressive throughout. Ms. Odle finds the proper frustrations in Kate’s problems.

Ms. Shatto is marvelously lively and cute as the title character. Her Sylvia is a playful, opinionated, lusty doggy. The fact that Sylvia can talk to Greg and Kate never seems odd – she just can, which is Gurney’s genius at work.

from left: Kate (Andrea Odle) is not pleased with the anguish her friend Phyllis (JB Scoble) suffers because of Sylvia (Amber Shatto) and her husband Greg (Mason Odle)

JB Scoble nearly steals the show – okay, not nearly – most definitely steals it with his three stage personae. His guy in the park, Tom, is a New Yorker full of apt bookish advice for Greg’s situation. His turn as Kate’s high society friend Phyllis is riotously funny. And his genderless therapist Leslie is truly something you don’t want to miss.

JB Scoble as Tom, Phyllis and Leslie

These players all work together to bring an at times hilarious, at times thoughtful, and at times touching and sweet story to life. Gurney’s script is full of reflections on, in his words “the need to connect in an increasingly alien and impersonal world.” That idea is much accomplished here.

The show is not without need of some adjustment, in my humble opinion. It runs to nearly 2 and a half hours – with intermission. That is curable with a bit more attention by director Adams to pace and tempo. There are many moments of languishing dialogue – full of long pauses where cues could be picked up more quickly. That one correction alone would make the action more realistic – though talking with a dog is hardly that, I know.

Bottomline: It is a lot of fun for me seeing four friends of mine, putting on a show directed by another very good friend. Fun to laugh at their antics and fun to see the enjoyment they all get from doing community theatre together. Their hard work has paid off in this show as was shown by the well-earned standing ovation they received. Go see it!

Sylvia continues at the CAT venue in Carmel through April 21^st. Tickets can be purchased at Sylvia- April 12th – 21st Tickets, Multiple Dates | Eventbrite

• – photos by Indy Ghost Light (Rob Slaven)

“The King and I” at Beef & Boards Dinner Theatre

reviewed by Ken Klingenmeier

Rodgers and Hammerstein’s The King and I, which opened this week at Indianapolis’ Beef & Boards Dinner Theatre, is celebrating its 73^th year of existence. Opening on Broadway in March of 1951 to solidly positive reviews, the show has since enjoyed a long series of productions all over the world. It made a star of Yul Brynner and won the 1952 Tony Award for Best Musical.

B&B director Brian Jose develops a production rich in talent, design and diversity. With musical direction by Kristy Templet and choreography by Jennifer Ladner, Jose strikes a triumph in his directorial debut. Keying on the diverse characters in the script, we gain focus on cultural differences and attempts at better understanding.

Hannah Louise Fernandes as Anna Leonowens and Jae Woo as King Mongkut in “The King and I”

The cast is led by Hannah Louise Fernandes as visiting school teacher Anna Leonowens, who with her stunning soprano voice sets a bar for excellence. A consummate performer, Ms. Fernandes is engaging throughout and provides a strong characterization of a woman somewhat ahead of her time. Siam’s King Mongkut is offered by Jae Woo in a sharply clever performance. Highly animated and confident in his position as ruler, Woo’s King effectively utilitizes a wide berth of emotions – from the humor of his curiousity to a harsh outrage. As a pair, Woo and Ms. Fernandes provide much entertainment, especially in their enlightening conversations and in “Shall We Dance”.

Nathalie Cruz as Lady Thiang sings “Something Wonderful”

Secondary roles are filled with a plethora of skillful performers from around the country and the world. Actors and actresses with roots in Japan, Korea, Thailand, the Philippines, and Hong Kong have come together for this production. Highlights include Nathalie Cruz as Lady Thiang, whose enchanting solo work in “Something Wonderful” is a pleasure to experience. Also, “We Kiss in a Shadow” as rendered by the lovers Lun Tha (Yu Hin Bryan Chan) and Tuptim (Alice Jihyun Kim) is sweetly moving. And the company’s presentation of “The Small House of Uncle Thomas” is colorful, bright, and charming. Finally, the cadre of little princes and princesses provide some adorable moments.

The two lovers Tuptim (Alice Jihyun Kim) and Lun Tha (Yu Hin Bryan Chan) pledge their futures

Ryan Koharchik’s lighting scheme augments Michael Layton’s fine set design, and costume coordinator Kathy Henry makes good use of her resources. Kristy Templet flawlessly leads the orchestra through the detailed score.

Bottomline: a top-notch cast supported by B&B’s always remarkable designers and musicians give this musical from the deep past a freshness and liveliness that lifts one’s spirit. Congratulations to all involved – personally, I prize this high level of musical theatre.

The King and I continues at Beef and Boards Dinner Theatre through May 19th. Show times and reservation availablity can be viewed at http://www.beefandboards.com or call the box office at 317-872-9664.

• – photos provided by Indy Ghost Light (Rob Slaven)

GHDT’s “Fables and Folklore”

reviewed by Daniel Shock

The Gregory Hancock Dance Theatre presents Fables and Folklore, a double feature of tales expressed through contemporary dance. The first piece is a world premiere of “Golem,” based on the Jewish folklore story “The Golem of Prague.” The second piece is the returning Hancock adaptation of “Pinocchio,” which premiered in 2011.

In his director’s notes, Mr. Hancock observes that while the two stories are very different, they share the common theme of creation to better the world, which he describes as a beautiful sentiment. Mr. Hancock’s vision for “Golem” is uncannily prescient, portraying a community of joyful Jewish people who, during an eclipse, are suddenly faced with anger and violence. In the darkness of the eclipse, a Golem (a clay figure brought to life by magic) with the word “truth” written on its chest is created. Hancock’s Golem symbolizes the people sharing their stories of loss and grief, and overcoming darkness through their “own voices.”

A scene from “Golem” by the Gregory Hancock Dance Theatre performers

Mr. Hancock, in brief comments before the performance, mentioned that the upcoming eclipse on Monday and the current conflict in the Middle East were not considered when he began working on this piece a year ago. The piece, full of energy and whimsical choreography set to klezmer music, leaves one wondering how the dancers could possibly be in anything but a good mood after rehearsals and performances. It’s infectious. The dancers are credited as a group, with no characters specifically named, yet their synchronicity and individuality are apparent. Their talent is enviable.

After the intermission, the story and musical styles shift to “Pinocchio”. Gepetto, portrayed by Thomas Mason, is reimagined from a woodcarver to a wheelchair-bound steampunk robot maker. The contemporary, electronic music accompanies the tale of the Cricket (Abigail Lessaris) and Gepetto as he creates Pinocchio (Vincent Kitchen). The integration of a wheelchair into the dance is beautifully executed, with the three performers working harmoniously, using the wheelchair both as a vehicle and a platform for dance. As we follow Pinocchio’s journey into the world, encountering various influences that lead him astray, the Blue Fairy (Camden Lancaster) emerges to guide and warn him, ultimately reuniting him with the Cricket and Gepetto. The four lead performers are exceptional, with Camden Lancaster’s Blue Fairy and Abigail Lessaris’s Cricket being particularly captivating. Vincent Kitchen brings a delightful energy to Pinocchio, and Thomas Mason demonstrates remarkable dancing ability, confined to a wheelchair or not. Bravo!

from the back: the Cricket (Abigail Lessaris), Gepetto (Thomas Mason), and Pinocchio (Vincent Kitchen)

The synchronization with the music and each other undoubtedly required countless hours of rehearsal. The production’s technical aspects were as dazzling as the performances. Gregory Hancock’s costumes were a delight. For “Golem,” the simple vibrant blue and black attire reflected the tale of a people experiencing both joy and despair. The steampunk costumes in “Pinocchio” were inventive, with gears adorning the joints, adding a playful element. The Blue Fairy and Cricket’s costumes brought splashes of color to the otherwise monochromatic palette of black, silver, and gold. Ryan Koharchik’s lighting design masterfully created distinct spaces on a bare stage, showcasing the transformative power of great lighting.

This production of Fables and Folklore is wonderfully directed and choreographed by Gregory Hancock. Should you have the opportunity to see this or any production by the Gregory Hancock Dance Theatre, I highly recommend it. There is one more performance tonight, April 6, at the Booth Tarkington Theatre, 3 Carter Green, Carmel, IN 46032. https://www.gregoryhancockdancetheatre.org/tickets-now-on-sale-for-fables-and-folklore/

“That Championship Season” at Main Street Productions

reviewed by Ken Klingenmeier

Jason Miller’s 1972 play That Championship Season – which won the 1973 Pulitzer Prize for Drama as well as the 1973 Tony Award for Best Play – is rarely produced these days. Notably direct in its portrayal of 5 men who once shared the glory of a high school basketball championship, the script is quite raw, with curse-filled anger, disparaging references to blacks, Jews and women, infidelities, double-dealing and rough humor. As the playwright did not hold back on language and frankness, neither does Main Street Productions’ offering, directed by Lori Raffel.

The Coach (Jim Simmons) with Tom Daley (Adrian Blackwell)

Set in the Scanton PA home of the Coach, earnestly played by Jim Simmons, what remains of the winning team has gathered to celebrate their glory days of 25 years ago. There is town mayor George Sitkowski, an often frantic Earl Campbell, whose re-election day is upcoming. His former teammates have acted as advisors and beneficiaries of George’s position. That includes Phil Romano, an oily Ken Kingshill, whose wealth is derived from his mining operations – with permits provided by the mayor, junior high school principal James Daley, played with wide open emotions by Mark Kamish, and Tom Daley, James’ unsuccessful alcoholic brother, stoically offered by Adrian Blackwell, who seeks nothing more than a chance to be cynical while downing the next bottle.

Tom Daley (Adrian Blackwell) and Mayor George Sitkowski (Earl Campbell)

As the storyline quickly turns from celebrating to strategizing an election plan, the play reflects themes of nostalgia, failure, the importance of winning, and a cacophony of human flaws. The Coach’s idealisms, which once drove the team to proud victories, now ring hollow, and he is shown to be a bigot and a fraud. Friendships hard won by shared glories are brutally tested by recent events.

Phil Romano (Ken Kingshill) with James Daley (Mark Kamish)

This is a difficult play in many ways – certainly for the actors playing the nightly anguish and disarray, but also for audience members. There is no one to root for here – there is hardly any protagonist to identify with – perhaps the Coach in his finer moments of encouragements. But all are antagonists, leaving us patrons with a dis-balanced feeling at the end – no doubt what the playwright was aiming for.

That championship team: Coach (Jim Simmons), Tom (Adrian Blackwell), Phil (Ken Kingshill), George (Earl Campbell) and James (Mark Kamish)

Bottomline: This ensemble of performers work hard to do the script justice. Though the workings are uneven at times, there is enough energy and understanding of motivation to provide a strong overall production. Be warned of very harsh language and attitudes. Not everyone desired to sit through the opening night show, and it was not surprising to me as our senses are indeed tested.

That Championship Season continues in Westfield through April 14^th. Information about the schedule and reservations can be found at www.westfieldplayhouse.org or by calling 317-402-3341.

• – photos by Rob Slaven – Indy Ghost Light Photography