“Unnecessary Farce” at Actors Theatre of Indiana

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Once again, I am unable to review one of the area’s current shows – for good reason, because I play a role in it. So, my good friend Adam Crowe has taken the job of reviewing Unnecessary Farce for us.

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Ken is onstage – and that means I get to drop in and tell you all what he’s up to!!

I have been around Theater long enough to know that musicals usually sell better than plays, and new plays can be the hardest sell of all. Without a recognizable name or author, new plays can have trouble gaining traction. That said, a good script will always rise to the top. A perfect example is onstage now at the Studio Theater at the Center for the Performing Arts , where Actor’s Theater of Indiana (“ATI”) is presenting Paul Slade Smith’s Unnecessary Farce.

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Agent Frank (Scott Russell, left) encounters Eric Sheridan (Scot Greenwell) and Karen Brown (Leah Brenner) in a scene from ATI’s “Unnecessary Farce”.

ATI has presented some breathtaking musicals this season, but the Central Indiana premier of Smith’s ridiculously funny comedy is a perfect end to any theatrical season. The author assembles the essential elements of great farce – multiple characters and multiple doors – and sets them loose with secrets, misunderstandings, mistaken identities, and the timing of a swiss watch. An actor himself, the playwright knows not to spend time with deep character development or too much realism. Farces need to get wound up in the first scene and then fly. Unnecessary Farce soars!

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Mayor Meekly (Ken Klingenmeier, right) walks in on some of the mayhem occurring with Agent Frank (Scott Russell, left) and Eric Sheridan (Scot Greenwell) in a scene from ATI’s “Unnecessary Farce”

Director Darrin Murrell (who has been onstage with ATI in My Fair Lady and The Odd Couple) assembles a terrific cast and puts them through their paces, without missing a beat. Ken Klingenmeier plays a Mayor who is the subject of a sting operation run by police officers Scot Greenwell and Jenny Reber. These three are joined by various other characters, all of whom combine to bring the story and the comedy to a perfect boil. Scott Russell, Leah Brenner, Roger Ortman, and Vickie Cornelius Phipps (as a security agent, an accountant, a dangerous Scotsman and the Mayor’s wife, respectively) round out the cast. I will not spoil the fun by telling you how all these folks collide. Suffice it to say, every actor onstage is at the top of their game and the situations that arise as the story unfolds elicit the single most important ingredient to any farce – an audience in stitches!

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Officer Billie Dwyer (Jenny Reber, left) explains her unusual weapon to Agent Frank (Scott Russell) and Todd (Roger Ortman) in ATI’s “Unnecessary Farce”.

Bernard Killian’s set design is pitch perfect, as are the costumes by Donna Jacobi. Marciel Irene Greene designed the lighting and Jonathan Parke the sound and both elements are up to the challenge of keeping track of seven frantic and very busy actors.

A successful farce combines quirky characters and situations with continually rising stakes, keeping the action moving as the situations get constantly crazier (and funnier). Unnecessary Farce may be a “new” play, but it skillfully combines comic situations and ploys that have entertained audiences for as long as theater has existed. ATI has chosen (and cast) wisely. You would be equally wise to get your tickets soon. A show this funny will sell out quickly.

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Mary Meekly (Vickie Cornelius Phipps, left) is looking for her husband in a scene with Agent Frank (Scott Russell) in ATI’s “Unnecessary Farce”

Unnecessary Farce runs through May 15th at the Studio Theater at The Center for the Performing Arts in Carmel. Ticket information at www.atistage.org or call (317) 843-3800.

  • – Show photos by Zach Rosing

“Vanya and Sonia and Masha and Spike” at Spotlight Players

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I welcome the musings of my good friend, acclaimed actor and physician Dr. Larry Adams, as he takes my place at the critic’s desk while I am busy rehearsing for a future production. ========================================================================

“Any idiot can face a crisis. It’s day to day living that wears you out.”

  • Anton Chekhov (1860-1904)

Day to day living is wearing out fifty-some year-old siblings Vanya and Sonia in playwright Christopher Durang’s 2013 Broadway hit. Floating through a purposeless existence in the crumbling lakeside estate of their deceased parents, the two casually bicker and lament the trajectory of their uneventful lives, until Masha, their movie star celebrity sister, pays a surprise visit with her young lover, Spike, threatening to uproot it all.

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Kathy Pataluch, Jenni White and Jim LaMonte in Spotlight Players’ production of “Vanya and Sonia and Masha and Spike”

Vanya and Sonia and Masha and Spike, Spotlight Players’ latest offering, is at first glance a play that can’t make up its mind, careening back and forth between- at some points- a black humor study of disagreeable siblings trapped in the ennui of unfulfilled lives, and- at others- a rather pedestrian 70’s TV sitcom. Themes of loneliness, unreached potential, and lives left discarded on the berm in the world’s mad rush for youth and novelty are jarringly juxtaposed against sight gags, plot complications and one-dimensional characters whom one could easily imagine showing up at Mr. Roper’s door in a rerun of “Three’s Company.” In this, a little familiarity with the Russian playwright Anton Chekhov is like insanity in the workplace: it’s not essential, but it sure helps. Chekhov, a nineteenth and early twentieth century physician who in his spare time dabbled a bit in literature and playwriting during the waning days of the Russian Empire, is the ghost behind the setting and nearly all of the machinations of Vanya and Sonia et al. His trademark mix of comedy and tragedy was presumably the model for Durang’s modern day script, and Durang does everything but take out Super Bowl ads to telegraph this to the audience- probably a wise thing when your prospective audience includes Biology majors like me, whose first thought when someone mentions “Chekhov” is not masterworks of great literature but “Shields up, keptin?” The setting of an ancestral home on a lake, multiple character names, and several plot devices are all straight out of Chekhov’s most famous works, and, as if this weren’t enough, Durang’s characters pointedly and repeatedly vocalize for the audience their parents’ preoccupation with community theater and the dead Russian playwright. Suddenly (or at least, for me, after a little post hoc research at the University of Google), the structure of the show begins to make some sense. We watch, sympathize and laugh as the six characters on stage express their dreams, lament their failures and attempt to exert some control over lives that are not quite what they had hoped. But after nearly two and a half hours of bickering and angst-filled inertia that seems, in true Chekhovian style, to go almost nowhere, Durang suddenly (spoiler alert!) wraps it all up with a rather contrived and decidedly un-Chekhovian happy ending that is, I’m afraid, both jarring and ultimately unsatisfying. Back to the 70’s sitcom. Roll credits. “And next, on a very special MacGyver…”

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Jim LaMonte and Nan Macy in Spotlight Players’ production of “Vanya and Sonia and Masha and Spike”

My problem with the script aside (and let me emphasize that, unlike A Seat on the Aisle’s head honcho, my good friend Ken Klingenmeier, this humble back-bencher has absolutely no training or qualifications in theater criticism at all beyond a book report I wrote in middle school; this show won the 2013 Tony Award, for Pete’s sake, so you should probably take my review with the proverbial grain of salt), I must say that Spotlight Players has, as is its habit, once again staged a production that showcases the best of Indianapolis community theater. The actors are all top-notch, inhabiting their characters with strong choices befitting their roles, and director Jeremy Tuterow has molded them into a cohesive unit that seems comfortable managing whatever the text throws at them.

Newcomer Rahshe Byrd plays Spike, a boy-toy who seems to flirt, tease, and strip to his underwear at every opportunity “because,” as one character wryly notes, “he can.” I could have stood with a little less bopping in his walking every time he crossed the stage, but Byrd resists the urge to overact that is seen in most first-timers to the stage and instead exudes a natural delivery, confidence and poise that bodes well for a promising theatrical career ahead. Megan Nicole Smith brings a youthful exuberance and sweetness to Nina, the one fully likable character of the show, sparking some life in the world-weary Vanya and providing a nice counterpoint to Masha’s rough edges and sharp elbows in an enjoyable (if somewhat downplayed) rivalry for Spike’s romantic attentions.

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Rahshe Byrd and Nan Macy in Spotlight Players’ production of “Vanya and Sonia and Masha and Spike”

Jenni White plays Cassandra, the domestic servant and soothsayer who, like her namesake, is prone to making dire predictions of doom that no one takes seriously. Durang seems to have conjured her straight out of Central Casting as the nutty housekeeper, with no real purpose in the show but comedy relief, but White laudably commits to it entirely, nearly taking over every scene she inhabits. Nan Macy is wonderful as Masha, the aging movie star diva, injecting every line and facial expression with a theatrical flourish that is both humorous and sad in its attempt to cover the fall from a life and theatrical career that have not met her expectations. White and Macy drew the biggest laughs of the night.

The heart of the show, however, belongs to Vanya and Sonia, the show’s only truly three dimensional characters, played with depth and feeling by Jim LaMonte and Kathy Pataluch respectively. Pataluch captures the resigned despair of a middle aged woman sidelined throughout life by circumstance and choice; her second act portrayal of disbelief that anyone could genuinely be interested in her is both touching and spot-on. LaMonte, always a bright point in any production of his I’ve been fortunate enough to see, once again impresses with his laser-lock on the character, illustrating with subtlety and finesse the fatalistic acquiescence to dreams deferred by family obligations, circumstance, and the inertia of life. His deft handling of a climactic monologue bemoaning the death of everything from rotary phones to Ozzie and Harriet is a highlight of the show and brought poignancy and meaning to what could easily have come off as simply a rambling, disjointed rant. We’ve all known people like Vanya and Sonia in our lives- heck, we’ve all been people like Vanya and Sonia in our lives, at one time or another. And it is that appeal to the universal that is theater at its best. We can all relate.

In Vanya and Sonia and Masha and Spike, Spotlight Players has succeeded in bringing a challenging show- challenging for both the actors and the audience- to the Indianapolis area, and I encourage everyone to support it and take advantage of it. There certainly is a market, and even a need, for perennial favorite shows; but the rich community theater “community” we boast has the potential- and, I daresay, the obligation– to expand the horizons of our audience from time to time with off-the-beaten-path shows such as this. “Only entropy comes easy,” Chekhov once wrote; to stay relevant and alive, theater has to grow. No matter how much you like it, you can only watch Steel Magnolias so many times.

Larry Adams

(As a side note: At the door, Spotlight Players is collecting packages of underwear- something Spike would appreciate- for The Coburn Place, a transitional housing program for victims of domestic abuse, and Horizon House, a secular resource center for the homeless. I don’t think a donation gets you any discount off your ticket- though it does get your name in a drawing for a season pass- but it will make you feel just a little bit better about yourself!)

Vanya and Sonia and Masha and Spike continues at Spotlight Players new venue, Theater at the Fort, 8920 Otis Ave. in Lawrence through April 17th. You can find out more information and make reservations by going to http://www.spotlight-players.org or by calling 317-366-4795.

  • – Photos from Spotlight Players

“Guys and Dolls” at Beef & Boards Dinner Theatre

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To me, modern productions of Guys and Dolls, the 1950s show which recently opened at Beef & Boards Dinner Theatre, have the good feeling of a pair of nicely worn, comfortable shoes – providing a pleasant and agreeable experience that is both cozy and familiar. So it goes with the B&B production directed by Elizabeth Stark Payne, choreographed by Ron Morgan, with musical direction by Kristy Templet.

The colorful Runyonesque characters in the story are well-done by many recognizable B&B performers. Betsy Norton (featured in last year’s Beef and Boards Christmas show) takes the role of Save-a-Soul Mission’s Sergeant Sarah Brown. Playing opposite her is Timothy Ford (Robert in 2015’s The Drowsy Chaperone) as slick gambler Sky Masterson. B&B regulars Deb Wims and Eddie Curry take the parts of Miss Adelaide and Nathan Detroit. All four players bring great energy to their roles. Ms. Norton’s bell-like soprano is a highlight of the show and Ms. Wims hits a high mark with her comic portrayal. Mssrs. Ford and Curry sing and dance through their iconic roles with aplomb.

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Featured players include Shaun Rice (returning after his great portrayal of Uncle Fester in last year’s The Addams Family) as Nicely Nicely Johnson; Mark Goetzinger (back for his 32nd production at B&B) as Arvide Abernathy, Sarah Brown’s grandfather; Jeff Stockberger (you all know funnyman Stockberger’s resume, I believe) as Benny Southstreet; Daniel Scharbrough (returning after much too long an absence) as Lt. Brannigan; and Daniel’s son – Peter Scharbrough (another B&B regular) as Big Jule. Highlights from this group include Rice and company in a lively “Sit Down, You’re Rockin’ the Boat” and Goetzinger’s beautifully sensitive rendition of “More I Cannot Wish You”. Also noteworthy are the musical numbers presented at the Hot Box Nightclub – with Hot Box Girls Danielle Carnagua, Amanda Downey and AnnaLee Traeger joining Ms. Wims for several sparkling presentations.

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Deb Wims (top) as Miss Adelelaide performs “A Bushel and a Peck” with the Hot Box Girls.

 

Familiar tunes abound in the score: the standards “A Bushel and a Peck”, “If I Were a Bell” and “Luck Be A Lady” all come from this show and are well-presented by the cast. Ms. Templet’s orchestra does a really fine job with the tune-filled score, while other technical aspects, such as Michael Layton’s crafty set design, Jill Kelly’s bright array of costumes and Ryan Koharchik’s lighting scheme all add greatly to the total stage picture and the story-telling.

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Shaun Rice (center) as Nicely Nicely Johnson, leads the cast in a rousing “Sit Down, You’re Rockin’ the Boat”

Bottom line: A familiar show is presented with a comfortable depiction. And let’s not forget the added features at Beef and Boards: the wonderful buffet (this time featuring Honey Mustard Chicken and Battered Cod) plus, the usual wonderful service provided by every waiter and staff member.

Guys and Dolls continues at Beef and Boards Dinner Theatre through May 15th. Show times and reservations can be obtained at http://www.beefandboards.com or by calling 317-872-9664.

  • – Photos by Beef & Boards Dinner Theatre

Cast for “Calder – The Musical”

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Klein & Alvarez Productions, LLC proudly announces the cast of “Calder,The Musical.”

Alexander Calder-Logan Moore
Thalia the Muse/Narrator-Maggie Held
Young “Sandy” Calder-Mitchell Wray/ Ian Gamble
Peggy Calder-Jordan Pecar/Piper Murphy
Louisa Calder-Virginia Vought
Nanette Calder/Ensemble-Emily McDuffee
Stirling Calder/Piet Mondrian/Ensemble-Jake McDuffee
Zelda Fitzgerald/Dancer/Ensemble-Chelsea Anderson
Josephine Baker/Dancer/Ensemble-Ashley Saunders
Gertrude Stein/NYC Times Editor/Dancer/Ensemble-Christa Runion
Dancer/ensemble/Trapeze Artist/Acrobat-Erin Fiandt

Congratulations to all of the cast members! And remember the show dates for the IndyFringe production of this brand new show will be Aug. 18th-28th 2016.

Addendum: I just wanted to add some important info and clarification given to me by Tom Alvarez, who is the lyricist for this show. – First of all, the dates above are the dates for the 2016 IndyFringe and of course every Fringe show gets a total of 6 shows during those dates – Calder’s  six dates are TBA. Also, I am pleased to note this: Tom informed me that Klein and Alvarez Productions is planning a full-length offering of “Calder – The Musical” – date and venue info is also TBA.

“Fences” at Indiana Repertory Theatre

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My good friend,  Adam Crowe is guest reviewer of IRT’s newest offering:

Thanks again to Ken for allowing me some space on his blog. I am grateful that he trusts me to write about theater, and especially grateful that it has allowed me to see some wonderful theater that I might otherwise have missed. At the same time, I am sometimes sorry when Ken is unable to see something, knowing how much he loves the Theater. Tonight was one of those nights – when my feelings of good fortune were tinged with regret that Ken might miss Indiana Repertory Theatre’s masterful production of August Wilson’s Fences.

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David Alan Anderson and Marcus Naylor in IRT’s production of “Fences”.

August Wilson is, for me, the pre-eminent American playwright of the last quarter of the 20th Century. His body of work explores the African-American experience from 1904 through 1997, specifically life as it was experienced in the North (Wilson was from Pittsburgh). The ten plays that make up August Wilson’s Twentieth Century are varied and fascinating, with Fences being the best known and perhaps most accessible. Fences is Wilson’s story covering the post WWII experience – through the eyes of Troy Maxson, a garbage man who’s glory days – as a baseball player in the Negro Leagues – are decidedly behind him. Maxson was unable to make it to Major Leagues, and his pride, regret, and bitterness hang onto him like a second skin, both propelling and trapping him. Wilson, telling these stories of Black America, succeeds in capturing experiences relatable to all. In Troy’s story, we see human accomplishment and loss and how those emotions entangle Troy with his wife, sons, brother, and friends in ways recognizable to every audience.

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David Alan Anderson and Kim Staunton in IRT’s production of “Fences”.

The winner of the 1987 Tony Award for Best New Play, along with that year’s Pulitzer Prize for Drama, Fences cannot succeed without a powerful actor at its core, and IRT has wisely handed those duties to David Alan Anderson. Whether as a leading (The Whipping Man) or supporting (Radio Golf) player, Anderson is always compelling. Here, you can’t take your eyes off of him. He is frequently a fascinating whirl of motion, laughing or re-telling old stories. But it is in his quieter moments that Anderson truly compels the audience’s attention – his face showing us every thought and emotion as they cascade inside him. The supporting cast is excellent, but Kim Staunton is exceptional as Rose Maxson. Rose is Troy’s equal, and Staunton matches Anderson every step of the way.

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Kim Staunton and Edgar Sanchez in IRT’s production of “Fences”.

Director Lou Bellamy, who’s most recent work at IRT was last Season’s brilliant “What I Learned In Paris”, is an expert interpreter of August Wilson. He has called this cast the “strongest I’ve had the pleasure of leading”. That relationship shines through onstage, as Bellamy and his actors tell Wilson’s story with every bit of the heart and heartbreak the author could have envisioned. In addition, the cast is blessed with costumes by Matthew Lefebvre and a scenic design by Vicki Smith. Both of these artists provide the actors with exceptional support.

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Terry Bellamy and Elise Benson in IRT’s production of “Fences”.

Do not miss the opportunity to see the work of a great American Playwright – as presented by an extraordinary Cast. August Wilson’s Fences continues its run through April 3rd. You can find out more about the schedule and reserve tickets by calling the Box Office at (317) 635-5252, or by going to the website at http://www.irtlive.com .

* – Photos by Zach Rosing

 

“Dial M for Murder” at Epilogue Players

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Saturday night found Mrs K and I attending Epilogue Players’ Dial M for Murder, the Frederick Knott play which had the unusual distinction of premiering on British television in 1952, before opening for successful runs that same year on West End in London as well as on Broadway. It was later adapted to become a popular film in 1954, which was directed by Alfred Hitchcock.

The plot is full of wonderful twists as the main character plots his wife’s demise, sees his plan come out all wrong, and tries to recover from the fallout with what looks to be a foolproof alternative scheme. Brent A. Wooldridge directs the action with a deft hand, keeping the actors on a smooth rail as they spin the tale. Tight pacing and plenty of subtle nuisances make for an engaging telling of the murder-mystery. Under Wooldridge’s “baton” the always tricky endeavor of staging American actors as English accented characters is done with unblemished perfection.

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Sarah M. Froehlke (as Margot Wendice), Ken Ganza (as Inpector Hubbard) and Jay Hemphill (as Tony Wendice) star in Epilogue Players’ production of “Dial M for Murder”.

The cast is impressive from top to bottom. Jay Hemphill is flawless as Tony Wendice, the husband with murder on his mind. He is totally in tune with his character and presents a completely detailed portrayal. He is fast becoming one of the most highly regarded actors in our local theatre scene and this is for good reason. Tony’s wife Margot is played by Sarah M. Froehlke. I have known Sarah for many years, but I believe this is the first time I have seen her work and she does a very wonderful job with what is an emotional and, at times, quite physical role.

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Sarah M. Froehlke (as Margo Wendice) and James Gross (as Max Halliday) share a past, and a drink, in Epilogue Players’ production of “Dial M for Murder”.

James Gross plays the American, Max Halliday, and picks a correct low-key persona to do so. The underplay works on all levels, though the idea bled into his line delivery a bit and at times, especially early on, I had a little trouble hearing him. That notwithstanding, he is spot on in his characterization and delivered an intelligent portrait of the man. Mike Bauerle takes the role of Captain Lesgate, a thuggish opportunist who is engaged to commit the murder. His villain is not overly villainous, which works well as he makes us believe his character is a truly effective thug and not a caricature.

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Jay Hemphill (as Tony Wendice) trys to convince Mike Bauerle (as Capt. Lesgate) to do his dirty work in Epilogue Players’ production of “Dial M for Murder”.

Ken Ganza’s rendering of Inspector Hubbard is a thing to behold. Here again, an underplayed style is most effective and Ganza’s Scottish accent is right on the money. The character is written with an almost Columbo-like persona, and Ganza presents what is basically a master-class on playing a murder-mystery inspector. Rounding out the top-notch cast is Jacob Swain who does a solid job with his various voice-on-the-phone responsibilities and as Thompson, who works alongside Hubbard.

Lastly, let me give kudos to Stephen E. Foxworthy for his effective set design. And his ideas were skillfully constructed by Lea Viney. Linda Grow’s costumes, Jeff Kern’s lighting design and Duane Mercier’s sound design all added to the event’s impact.

Bottom-line: this is a fully realized production of what is really one of the best murder-mystery plays, in my opinion. The direction is crisp and correctly styled, and the actors deliver impressive performances.

As an aside, let me say that I talked with Ed Mobley before the show. Ed is the new president of Epilogue Players and he is excited about the changes he has begun incorporating into the  organization. Some that he mentioned are: the new online reservation system – brownpapertickets.com – which is now in place; a brand new sound system; the ability to take payment at the door for credit cards; plans for remodeling the light booth as well as the restroom facilities; and excitement is building for next year’s 40th anniversary season. Clearly, Epilogue has upgraded their program design and quality. Included in “Dial M’s” program, there are some very nice character photos alongside the actor bios. At the top of the list of changes and improvements is the rewriting of by laws to allow people of all ages to become members of Epilogue. Previously, membership was limited to persons over 50 years of age. (Ed assured me that there will still be a focus on plays for the more senior members of our community.)

Dial M for Murder continues through March 13th. Reservations and ticket information can be found by calling 317.926.3139, by emailing epilogue.players@yahoo.com, or on the internet at http://www.brownpapertickets.com .

* – photos by Rann DeStefano

 

 

“Voices of a Generation: The Folk/Rock Revolution” at Dance Kaleidoscope

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Dance Kaleidoscope choreographers Nicholas A. Owens and David Hochoy have brought their visionary talents to the fore with the creation of Voices of a Generation: The Folk/Rock Revolution, which had its World Premier Thursday evening at IRT UpperStage.  Employing songs recorded by Bob Dylan, Simon and Garfunkle, Leonard Cohen, Stephen Stills, Joni Mitchell, Carole King, Richie Havens and The Byrds, this piece certainly spoke to me, because the generation voiced in this assemblage of 1960’s popular folk and rock music is my generation. Mssrs. Owens and Hochoy have taken on the job of showing the fabric of an older generation by expressing these familiar tunes with mood, color and form. Aided by costumes by Guy Clark and lighting design by Laura Glover, the results are extremely successful.

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From top: Paige Robinson, Mandy Milligan and Mariel Greenlee perform their haunting “Suzanne” (Leonard Cohen) in DK’s “Voices of a Generation”

Of course, an equal credit in the endeavor goes to the cadre of DK dancers. Performing tirelessly through the program of 17 songs, their movements and visuals provide exciting, joyous and even tearful moments. First act highlights include: Timothy June and company’s lighthearted “Mr. Tambourine Man” (Bob Dylan), a raucous Company rendition of “The House of the Rising Sun” (Nina Simone), and “The 59th Street Bridge Song (Feelin’ Groovy)” (Simon and Garfunkel) performed in a merry, bouncy solo by Brandon Comer. Leonard Cohen’s “Suzanne” is featured in a haunting depiction by a trio of dancers – Mariel Greenlee, Many Milligan and Paige Robinson, followed by a strong and stirring “For What It’s Worth” (Buffalo Springfield) showcasing six company members. The first half of the program ends with a very effective and emotional “Bridge Over Troubled Water” (Simon and Garfunkel) by the Company. I noticed more than one person wiping their eyes after this moving selection as the lights came up for intermission.

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The second act brings a change to brighter costumes and a continuance of first rate performances. There is a fine example of comic dance as Mariel Greenlee offers a witty solo for her amusing perception of “Twisted” (Joni Mitchell), followed by a display of thoughtful story-telling  in “Homeward Bound” (Simon and Garfunkel) with Noah Trulock in the lead role. A beautifully earnest interpretation of modern-day types of love is next with “Will You Love Me Tomorrow?” (Carole King). Following that, the company gives us a joyous conveyance of “Freedom” (Richie Havens), a sensitive and lovely “Both Sides Now” (Joni Mitchell) and a most striking version of “Turn! Turn! Turn!” (The Byrds) to close the offerings. As the audience stood to acknowledge what we had witnessed, I felt that this program could certainly not be topped for its originality, it’s sparkling performances and by this company’s knack for entertaining. I hope they will consider a tribute to the next decade sometime soon.

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The Dance Kaleidoscope Company ends “Voices of a Generation” with the impressive “Turn! Turn! Turn!” (The Byrds)

Bottom-line: DK’s new collection of dances is an evocative and colorful hit. A wonderful musical catalog, strong performances and extraordinary choreography make it a must-see, even if music from the 60’s is not what you grew up loving.

Dance Kaleidoscope’s Voices of a Generation: The Folk/Rock Revolution runs through March 6th on IRT’s UpperStage. Ticket information and schedules can be found at http://www.dancekal.org or by calling 317.635.5252.

  • – Photos by Crowe’s Eye Photography

 

 

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