“Rabbit Hole” at Mud Creek Players

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reviewed by Larry Adams

rabbit hole:     1. a metaphor for an entry into the unknown, the disorienting, the mentally deranging.

  1. something that is intricate or convoluted like a labyrinth and often has no outlet or resolution.

 

Nothing succeeds in community theater like the tried and true comedies, mysteries and musicals; precisely why I appreciate and admire those venues which periodically take a chance on a lesser known, perhaps more challenging (for both the cast and audience) piece. Don’t get me wrong, I understand the appeal and even the necessity of the time-tested standards. Theaters have to “put butts in the seats” to remain solvent, and, as a semi-regular audience member myself, I can attest to the fact that sometimes, after a long week of work, life, and whatever, you really just wanna sit back and be entertained. But I truly feel that it is also the obligation of our local theaters to stretch the minds of their audiences on occasion, to comment on the human condition, and to leave their patrons pondering unanswered questions and possibilities rather than neat and happy endings. Fortunately, Mud Creek Players’ production of Rabbit Hole accomplishes all of these more lofty-sounding goals, while managing to entertain as well.

Just before closing up my office last night and starting the long trek from Zionsville to East 82nd Street for the show, I texted my wife to remind her of my gig as guest reviewer for A Seat on the Aisle and to give her the thumbnail sketch of what I thought I was in for. “A 4-year-old boy is accidentally run over,” I typed, sarcastically adding, “and hilarious hijinks ensue.” You can imagine my surprise to find I was not that far off. That’s because David Lindsay-Abaire’s Pulitzer Prize winning script somehow pulls off an amazing feat: conjuring up that most devastating of human experiences- the loss of a child- and balancing it with a subtle humor that reads as natural, unforced and honest; taking a premise that would seem almost inevitably to lead to either the relentlessly depressing or maudlin, and instead leaving the audience with an experience that is- dare I say- enjoyable while still tugging at the strings of both the mind and the heart.

Credit a fine cast and the deft touch of director Michelle Moore for successfully bringing such a challenging script to the stage. Holly Hathaway (whom I last saw in a flawless performance as part of one of the finest productions I have ever had the pleasure to attend, CCP’s August: Osage County– and, yeah, okay, my mom was in it, but still…) delivers a rich portrayal of Becca, a mother eight months into her struggle to cope with the accidental death of her four-year old son, Danny. In what is a fairly balanced ensemble piece, Ms. Hathaway’s character gives us the widest range of emotions, swinging from laughter to anger to tears, from love to resentment to hopelessness, often within the same scene and always in a manner that seems natural and sincere. Becca’s husband Howie, played by Robert Webster with just the right mix of restraint, frustration and, at times, rage, is the perfect complement to his mate: one ready to move on but holding on to the memories, the other stuck in place and unable to tolerate them.

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From left: Jen Otterman (as Nat), Kimberly Biberstein (Izzy), Holly Hathaway (Becca), Robert Webster (Howie) and Kyle Dorsch (Jason) in a scene from Mud Creek Players’ “Rabbit Hole”.

Kimberly Biberstein gives a spirited, fun performance as Izzy, Becca’s generally care free and irresponsible sister. Though ably carrying much of the humor of the show, Ms. Biberstein still manages to convey that Izzy too has not been immune to the loss of her nephew. The final member of the family on stage, Becca’s and Izzy’s mother Nat, is played by Jen Otterman, and her performance is a true delight. Charmingly flaky, and giving the audience a sense that age has perhaps taken a slight toll on her verbal filters, Nat’s musings on the Curse of the Kennedys provides some welcome, lighthearted moments in the first act, while a touching scene with Becca in the second hints at an underlying wisdom born of carrying a heavy burden for so many years. Taken together, these four characters illustrate the depth of human despair in the face of senseless tragedy, the desperate and disparate attempts to cope and help each other, and the conflicts that inevitably arise.

The one missed note in the roster of characters is Jason, the teenage driver who accidentally causes Danny’s death. This is not, I must emphasize, the fault of the actor, Kyle Dorsche, who I frankly feel plays the role for everything it’s worth. In this case, I blame the author, who admittedly has one more Pulitzer Prize than I do. In a play that is striking for the complexity and authenticity of its characters, Jason’s appearances are distractingly written in one or perhaps two dimensional fashion, drifting between cartoonishly nerdish and almost serial killer creepy. Taking a character whose expected guilt, regret and anguish would seem ripe for development and exploration, the author instead goes for- well, I’m not exactly sure what, really, certainly not comedy relief- with a character who is somehow both prying and oddly detached from the destruction he has caused. If there was a point to be made, Mr. Lindsay-Abaire, I missed it.

The production and the play itself are not without other flaws. A hinted-at affair that screams “PLOT COMPLICATION!” seems to go almost nowhere, and a marriage being slowly ripped apart suddenly appears to make a rebound for no apparent reason. The humor, which requires a subtle touch in its delivery to feel natural and honest, drifts dangerously close to sitcom levels on a couple of occasions, and the second act drags a bit both in material and pacing. These are minor quibbles, however. “Bottomline,” as Mr. Klingenmeier would say: Mud Creek Players has staged a remarkable production of a remarkable show, one that will leave you talking, laughing, crying, and thinking long after the lights have dimmed. I urge you to take a trip down the Rabbit Hole.

Rabbit Hole continues at Mud Creek Players through March 4th. For ticket information and reservations go to http://www.mudcreekplayers.org or call 317-290-5343.

  • – Photo from Mud Creek Players

 

“Suite Surrender” at CCP

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reviewed by Ken Klingenmeier

Carmel Community Players continues their 2016-17 with Suite Surrender,  the 2008 farce by Michael McKeever. Set in wartime 1942 at the prominent Palm Beach Royale Hotel, the play tells the story of what happens when two self-important celebrities, who happen to be arch-rivals on and off the stage, are mistakenly booked into the same suite of rooms at this prestigious hotel.

Jan Jamison directs her energetic cast through a mayhem filled plot-line. Georgeanna Teipen (as Claudia McFadden) and Jill O’Malia (Athena Sinclair) blithely portray the combatant stars who leave a trail of insistent demands for their striving-to-please secretaries, Thom Johnson (Mr. Pippet) and Addison D. Ahrendts (Murphy). Also caught up in the turmoil are the overwhelmed hotel manager Bernard Dunlap, performed with relish by Sydney Loomis, harried bell boys Otis and Francis (Colton Martin and Steve Jerk, respectively), and somewhat battered gossip columnist, Dora Del Rio (Marjorie Worrell). Kate Hinman plays the interruptive socialite, Mrs. Everett P. Osgood. Toss in a little dog named Mr. Boodles, played with rare calm in the chaos by Sergio, and you have a complete set of delicious characters for the twisting farce.

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The Cast of CCP’s “Suite Surrender”: (from left) Steve Jerk, Colton Martin, Marjorie Worrell, Jill O’Malia, Georgeanna Teipen w/ Sergio, Sydney Loomis, Thom Johnson, Kate Hinman, and Addison D. Ahrendts.

A very packed house enjoyed a good number of laughs as the cast enthusiastically worked through moments of slapstick, word plays, face takes, sub-plots and misunderstandings, all having developed broad characterizations for the tasks. Though a bit uneven at times in their pacing, the team onstage easily won over the crowd with their antics.

All this wild activity takes place on the beautifully appointed set conceived by Bill Fitch, and decorated by Ron Roessler and Ms. Jamison, in a rich set of costumes designed by Patricia Dorwin.

Bottomline: Suite Surrender has enough comic action and farcical plot to please the palate of most theatre goers. And the highly spirited cast truly enjoys giving its all to fulfill the script’s intensions.

Carmel Community Player’s Suite Surrender continues at their Clay Terrace venue through February 26. To learn information about times and dates visit their website: http://www.carmelplayers.org or call 317.815.9387.

  • – Poster by Lori Raffel
  • – Photo by Charlie Hanover

 

 

CRP’s “Tooth of Crime” at Grove Haus

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reviewed by Adam Crowe

Maybe you have never seen a play directed by Casey Ross. The Artistic Director for Catalyst Repertory Productions (formerly Casey Ross Productions) has been producing well received play for the last few years on small budgets and in locations other than the “usual theaters”.   One such location is The Grove Haus, an artists’ collective located South of Downtown Indianapolis. On Friday February 10, the Grove Haus hosted opening night of Tooth of Crime by Sam Shepard. Originally produced in London in 1972, The Tooth of Crime is a musical play. A revised version of the play was presented in 1996, with new music by T-Bone Burnett and it is this version that Casey Ross and Company are presenting at The Grove Haus.

Complex. Demanding. These are the best words I can find to describe this production. The play itself demands a lot – from its two main actors, and also from its audience. Shepard has created a very specific world, set sometime in an American future, where the inhabitants still speak English, but with elaborate and unusual slang. It takes several minutes (or more) for an audience to adjust their ears and begin to follow what the actors are talking about. Shepard’s setting suggests an elaborate contest being played by his characters, under the gaze of some sort of overlords or “Keepers”. What that contest entails slowly becomes clearer – somewhat.

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From left: Adam Tran as Crow confronts Davey Pelsue as Hoss in CRP’s production of “Tooth of Crime”.

Hoss, played by Davey Pelsue, is our Hero. He is at the top of his “game” and must constantly track the rise of challengers. The latest such foe finally makes his appearance in Act II – in the guise of Adam Tran’s Crow. As I have said before, I try not to detail a play’s entire plot as I don’t wish to spoil the journey. In this instance, such explanation would be a bit pointless, as the ostensible plot is less important than the rapid fire of ideas, spoken and sung. Both lead actors are fierce and their performances are terrific. Playing an assortment of supporting characters, the cast includes Jay Hemphill, Sarah Hoffman, Zach Stonerock, Nan Macy, Ryan Powell and David Malloy. And as it is a musical play – the house band includes Christopher McNeely, Chris Burton, Kris Mainer, Ben Eads, David Rosenfield, Andy Strum, and Craig Burton. Other than some occasional volume issues, the band is great.

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“Tooth of Crime” set: designed by Andrew Darr

Should you go? I will say this – if you want to be an audience member who sits and lets the play wash over you, this might not be the show for you. Complex and demanding, remember? Tooth of Crime requires full investment from its audience. If you are looking for a theatrical experience – something you will find nowhere else – This IS for you. Seating is limited, so get tickets sooner rather than later.

The Grove Haus is located at 1001 Hosbrook Street in the Fountain Square neighborhood.

Tickets for Tooth of Crime may be purchased by visiting http://www.Brownpapertickets.com. The play runs February 10th – 26th. Friday and Saturday curtain at 8 pm. Sunday’s curtain is at 5 PM. Tickets are $20.

 

 

 

 

“The Sunshine Boys” at Westfield Playhouse

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reviewed by Ken Klingenmeier

Mrs. K and I attended a second weekend showing of Neil Simon’s 1972 award-winning classic comedy The Sunshine Boys, currently running at Main Street Production’s Westfield Playhouse in Eagletown. The play is directed by Pamela Kingsley, and stars Duane Leatherman as the cantankerous Willie Clark, and Jeff Maess as Clark’s former vaudeville partner, Al Lewis. Scott Prill takes the role of Clark’s nephew, Ben Silverman, and Adrienne Reiswerg picks up the two nurse roles as the sketch nurse, Miss MacKintosh, and registered nurse, Mrs. O’Neill. Production stage manager Lydia Bowling comes on briefly as TV stage manager, Edie. The proceedings are set on a perfect looking run down apartment design by Ms. Kingsley and John Sampson.

This well-worn storyline is certainly a dated one and I suspect the comedy gods are still pulling for its success. But, The Sunshine Boys is Simon’s 11th show (in an amazing catalogue of 34 plays) and comedy has evolved in the 45 years since it was the toast of Broadway. I’m not saying its production is a futile effort – I’m saying it is certainly a large challenge.

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(From left) Duane Leatherman (as Willie Clark) and Jeff Maess (Al Lewis) in a scene from “The Sunshine Boys” at Westfield Playhouse.

WP’s edition of the script is at best a bit uneven. There are some noteworthy turns – Mr. Prill brings excellent energy and a sense of credibility to his portrayal of Silverman. The east coast accent he lightly employs seems accurate and even. His emotions, running from caring to mild frustration to exasperation and hopefulness are all fully on the mark. Ms. Reiswerg creates a playful sketch nurse and doubles down with her later private RN – nailing the right mood and flat voiced delivery. And young Ms. Bowling seems relaxed and natural in her brief cameo appearance.

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Adrienne Reiswerg (as Nurse MacKintosh) and Duane Leatherman (Willie Clark) in a scene from “The Sunshine Boys” at Westfield Playhouse.

In the larger roles, which plainly are tougher, the unevenness shows it’s face. Part of what seems to me to be missing from time to time is my old favorite essential – pacing, and the idea of suiting the tempo of a scene to it’s content. Some of this falls on the director – but perhaps this being a second weekend “get-back-to-it” performance contributed to this dilemma.

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(From left) Scott Prill (as Ben Silverman) and Duane Leatherman (Willie Clark) in a scene from “The Sunshine Boys” at Westfield Playhouse

Don’t get me wrong, Maess and Leatherman do share some nice moments together at times. There are real belly laughs to be enjoyed here – but the “classic” quality of the comedy, and an approach which I felt was short on pacing and tempo, takes some of the humorous intentions off the stage.

Bottomline: As so often occurs, the goodness outweighs the concerns here and attending the comfortable and easy to reach (now that the Keystone Pkwy/US 31 highway project has been completed) theatre still provides an entertaining evening.

The Sunshine Boys continues through February 19th. You can get theatre information and reservations at http://www.westfieldplayhouse.org or by calling 317.402.3341 .

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Footnote: Anyone who has ever attended a play at Westfield Playhouse knows about a very special distinction which exists there – the lack of indoor plumbing, which results in the necessity for port-a-johns outside of the building. Granted , this is a distinction the theatre would rather not have, but to their credit, it is referred to openly and light heartedly in their pre-show greeting and in their references to the building. Still, it has been this way for a long time, so I took the opportunity of this visit to do a little investigative reporting. John Sampson, the president of the theatre, answered my questions openly and honestly. The theatre has been actively doing plays in the old church since 2002 – so 15 years ago they set up a stage area, cleaned up the property and opened for business, with temporary portable bathrooms outside the doors.

When asked why this was still the status of things, Sampson told me they had the following situation. The building had had a septic system which, due to age and lack of maintenance, had fallen out of usefulness. The theatre was not allowed by Westfield to put in a new system because a sewage system was in the planning stages for the “near future”. So Westfield Playhouse has been asking certain government types “when?” on an annual basis and have been told “in about 2 years” for the past nine years or so. I must say, they are a patient lot. As I said, Sampson and the other good folks who helm the organization are nothing but good-natured about the status quo, but John told me he would be glad to have this information given out to my readers. A little knowledge goes a long way – especially when you have to pee outside.

Dance Kaleidoscope’s “Divas” at IRT

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reviewed by Ken Klingenmeier

DK’s latest collection of dances, entitled Divas, opened to a packed house audience on IRT’s OneAmerica Stage for its very limited run. The compilation features dances by eleven choreographers including artistic director David Hochoy and guest choreographer Nicholas A. Owens, who present their new works entitled “Janis” and “Franklin”, respectively. Add to that the creations of nine members of the DK troupe, whose workshop pieces are offered as a first act.

That first act consists of an assortment of divas’ recordings put to dances which range from romantically sentimental to pragmatically humorous with stops in between. All nine offerings show creative savvy and style that someday may lead to major opportunities. Indeed, some of the dancer/choreographers have already had their works seen in local theatre productions.

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Zach Young (left) and Stuart Coleman in Timothy June’s “Enlightenment”, part of Dance Kaleidoscope’s “Divas”.

Of the nine, my favorites include a dynamic styling of Barbara Streisand’s “Don’t Rain on My Parade”, choreographed by Stuart Coleman and danced in a sparkling solo by Aleksa Lukasiewicz. Also, Brandon Comer’s design for Patti LaBelle’s haunting rendition of “Over the Rainbow”, danced by a group of eight, is pleasing in its evocative emotional blendings. It serves as a touching salute to our personal loses of loved ones.

Conversely, Timothy June puts his sense of humor to work in a hilarious piece entitled Enlightenment, which deals with personal discovery and self-acceptance. A delightful veil of a storyline enables June’s dancers to go from self-protective to fancy free – for Shirley Bassey’s “I Am What I Am”. Finally,  Jillian Godwin’s First Touch,  Adele’s “I Miss You”, illuminates the “first spark,…first glance,…first yearning,…first touch” of a relationship. It is indeed truly touching and poignant.

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(From left) Aleksa Lukasiewicz, Brandon Comer, Caitlin Negron and Timothy June in David Hochoy’s “Janis”, part of Dance Kaleidoscope’s “Divas”.

The second act consists of the full dance company in Mr. Hochoy’s Janis and Mr. Owens’ Franklin – both of which are tributes to these legendary ladies’ music and message. Janis is a hard rockin’, joyful set of Joplin’s earthy song renditions highlighted by dancer Jillian Godwin’s powerful solo for “Me and Bobby McGee”, and a group of 6 mixing it up for an impassioned “Cry Baby”. Joplin’s performances of “Move Over” and “Try (Just a Little Bit Harder)” round out the work.

Franklin features five of Aretha’s stirring recordings. The three more recognizable to this writer are the familiar “A Natural Woman”, “You’re All I Need to Get By” and, of course, “Respect”. The framework of these dances strongly covered human needs, human love, and the pervasive longing for respect. “You Are My Sunshine” and “First Snow in Kokomo” complete the piece.

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Stuart Coleman and Caitlin Negron in Nicholas A. Owens’ “Franklin”, part of Dance Kaleidoscope’s “Divas”.

Both of these top level choreographers provide great understanding of the emotion inherent in the Joplin/Franklin music. The DK troupe of dancers, a premier group who seem to gain in their artistry each time I see them, provide the wonderfully emotional and concise performances that their choreographers seek. For these reasons, Dance Kaleidoscope again proves itself a valuable treasure in this city’s wealth of artistic riches.

Finally, the excellent costumes by Cheryl Sparks and Guy Clark, with additional costume pieces provided by Barry Doss and Lydia Tanji – coupled with impressive lighting designs by Laura E. Glover – lend sensation and sensitivity to the proceedings.

Bottom-line: This is a fantastic evening of dance you won’t want to forego. Unfortunately, this is a very brief offering, so be sure to get your tickets soon. You cannot plan to go to this wonderful production next weekend; it’ll be gone.

Dance Kaleidoscope’s Divas continues only through February 12. Get information and tickets at http://dancekal.org/features/concerts/divas-february-9-12 or by calling 317.635.5252.

  • – Photos by Crowe’s Eye Photography

“Joseph and the Amazing Technicolor Dreamcoat” at Beef and Boards Dinner Theatre

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reviewed by Ken Klingenmeier

Beef and Boards’ production of Joseph and the Amazing Technicolor Dreamcoat continues their 2017 season. This often produced musical (or perhaps it’s an operetta) gets a first class rendering under the direction/choreography of former Joseph tour cast member and B&B regular, Doug King. Kristy Templet is musical director.

This show is one of the most popular Rice/Webber musicals; tens of thousands of school, community and professional productions have been done all over the world. The show’s universal message, energetic music, and family-friendly story make it a favorite for many theatre-goers. Several things set the show apart from many other popular shows. First of all, there is no romantic theme in the show – no boy meets, boy loses, boy gets back girl type storyline. Secondly, the songs are written in a myriad of styles. There is a French ballad, a western tune, a calypso, the famous rock n roll Elvis number, a boppy 60’s piece and even some jazz. Ms. Templet’s accomplished 5 piece orchestra is more than up for the task.

Of course, this is the well-known story of Joseph and his father Jacob from the book of Genesis, in which Jacob favors Joseph over all his other 11 sons by giving him a special coat of many colors. This results in the brothers’ angry reaction of selling Joseph off into slavery. Joseph’s sufferings, and his eventual rise to power (due to his innate ability to interpret dreams) play out in the stage version.

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Tim Wessel stars as Joseph and Andrea Fleming as the Narrator in Beef and Boards’ production of “Joseph and the Amazing Technicolor Dreamcoat”

Director King is blessed to have a really remarkable cast to work with. Tim Wessel plays his self-described “dream role” as Joseph with a dynamic stage presence and exceptional vocal artistry. He is an excellent Joseph in every way! Sharing the spotlight with Wessel is an equally dynamic performer, Andrea Fleming. Ms. Fleming, who takes the role of the Narrator, packs a lot of vocal power in her diminutive frame. Douglas E. Stark, longtime Executive Director of B&B, is featured as Joseph’s father Jacob, and Ryan Neal Green makes his B&B debut as the Elvis-styled Pharaoh in one of the most popular numbers in the show.

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Joseph (Tim Wessel) surrounded by his brothers in Beef and Boards’ production of “Joseph and the Amazing Technicolor Dreamcoat”

As good as the leads are in this production, and they are exceptional, this is as much an ensemble piece as a vehicle for main characters. The troupe of eleven “brothers” and a smaller band of “wives” are instrumental in a majority of scenes, and are joined the 8 member children’s choir, who also enliven the proceedings.

The changing scenes of the story require actors to play many roles, which leads me to my praise for the astonishing work of B&B costumer Jill Kelly Howe, who may have outdone her Mitty winning turn in the B&B Christmas show with the plethora of incredibly beautiful and appropriate costumes she and her small staff of seamstresses have gathered together. What an amazing job she has done here! I’ll also add praise for Michael Layton’s scenic design (which includes a nifty tri-faced pyramid on the stage revolve) and Ryan Koharchik’s impressive lighting. Sound design by Daniel Hesselbrock completes the tech aspects of the show.

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Pharaoh (Ryan Neal Green) rocks the house in Beef and Boards’ production of “Joseph and the Amazing Technicolor Dreamcoat”

The main feature that cannot be denied in all the work done by the performers in this now classic piece of theatre has to be the endless energy injected into almost all of the 19 or so musical offerings. This is an in-shape group of entertainers, who seem to never stop. The program ends with the unique Megamix segment, which left me wondering just how the group could keep going. It truly is an amazing display of lively and fun stage action.

Bottom-line: Though it’s quite possible you have seen this show somewhere before, don’t miss these talented and inspiring performances. And, of course, as always Chef Odell has supplied good eats (try the Chicken Kiev – my favorite this time!) and the B&B staff cannot be beat for their hospitality.

Joseph and the Amazing Technicolor Dreamcoat continues at Beef and Boards Dinner Theatre through March 26th. Show times and reservations can be viewed at http://www.beefandboards.com or call the box office at  317-872-9664.

 

“Rumors” at Booth Tarkington Civic Theatre

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reviewed by Ken Klingenmeier

After seeing both a world premiere and an Indiana premiere in the past 7 days, I was contemplating what it was going to be like to see such a familiar play as Neil Simon’s Rumors, which just opened at Booth Tarkington Civic Theatre. Here’s a play I have worked on in college and have seen at least 3 or 4 times. Would I be mouthing the words while remembering those experiences? Would my mind wander to past productions?

If you have forgotten – Rumors, Simon’s self-described “elegant farce”, is the tale of a group of 8 well-heeled friends meeting at the tenth anniversary party for a couple whom we never see, but whose actions before the play cause a string of mayhem and deception as the friends try to figure out what to do for and about the bedroom bound husband and the never accounted for wife.

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From left: Parrish Williams (as Leonard Ganz), Carrie Schlatter (Claire Ganz) and Clay Mabbit (Ken Gorman) in Civic’s “Rumors”.

Well, I needn’t have worried about a nostalgia – this production, directed by Charles Goad with a masterful understanding of Simon’s “set ’em up, knock ’em down” comedy style, is enormously fresh and exceedingly funny. Goad’s cast play the unending laugh lines with ingenious characterizations that fill the stage with a kind of quirky study of humanity.

Rumors is above all an ensemble piece and it was a great treat for me to see so many friends and acquaintances on stage, working so well together. The ensemble aspect is not lost on this group – indeed, it seems to be magnified. The story is told and emoted in a clear framework of comic acuity and tremendous acting agility. (I think having everyone being chaotic in evening clothes is a brilliant Simon bow to Moliere’s farcical plays which generally dealt with the well-to-do.)

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From left: Marni Lemons (as Cookie Cusack), Trevor Fanning (Erne Cusack) and Kim Ruse (Chris Gorman) in Civic’s “Rumors”.

Indeed, the first big laugh comes at the first actress’ first entrance, before she says a word. The production has that kind of inspired craftsmanship, hilarious characters saying and doing hilarious things. Of course, Neil Simon is a genuine genius with regard to writing comic situations, relationships, and reactions. This script is full of some of his best work.

It is all done on an uber-impressive two story set, designed by Ryan Koharchik, depicting the rich digs of a deputy mayor – with the main characters all dressed to the nines in Adrienne Conces’ polished costume designs.

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from left: Christine Kruze (as Christine Cooper) and Steve Kruze (Glenn Cooper) in Civic’s “Rumors”.

I won’t try to mention each actor and actress’ individual endeavors, just know that all are remarkable as they contribute to the full effect of the show, which for me was a wonderfully happy two hours, watching a very familiar comedy.

Bottom-line: Even if you have seen Neil Simon’s 1988 farce a few times before, you will appreciate and enjoy this company’s take on the enduring piece. These top rate performers get every last chuckle out of this wonderful old script.

Civic’s production of Rumors continues at Carmel’s Center for the Performing Arts through February 18th. For ticket information and reservations call 317.843.3800 or go online at http://www.civictheatre.org .

*- Photos provided by Civic Theatre

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