“Almost Maine” at Mud Creek Players

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reviewed by Ken Klingenmeier

It’s always a bit difficult to review a play which you have directed or been in with a clear sense of purpose. And for me, trying to review Mud Creek Players’ production, maybe any production, of John Cariani’s brilliant play about love – Almost Maine – is likely to be a struggle. A struggle with my own memories, and ideals.

When I first read the script in 2011, I was immediately taken by the thoughtful and original concepts put forth in Cariani’s writing – simply put, I loved it! It is such a unique play – 9 vignettes, each portraying some aspect of love. Along the way, it shows us love that is sweet, or complicated, or star-crossed, or taboo, or dismaying – with characters from all over the map of humankind. I was so taken on that first reading that I immediately set about planning to direct the show. The production was a wonderful experience for me with some of the hardest work I had ever done for a local show. In the end, I felt I loved the play even more.

Mason Odle and Jennifer Poynter work together in a scene entitled “Her Heart”

As it turns out, I had no reason to think I wouldn’t be pleased. Mud Creek Players’ Almost Maine is a charmingly entertaining journey through these stories of love. Just as I remembered, John Cariani indeed provides an unbeatable script in terms of humor, sweetness, and originality. I guarantee you that you have never thought about love in the same way Mr. Cariani writes about it.

Kyrsten Lyster and Matt Hartzburg in a scene called “Getting It Back”

The nine stories in the play are brought to life by director Andrea Odle and her impeccable cast of players – all of whom do near flawless work onstage. Jackson Stollings and Lexi Odle make up one of the four duos director Odle has employed, working in a scene which is visited periodically through the play. Mason Odle and Jennifer Poynter team up for four of the tidy scenes, while Matt Hartzburg and Krysten Lyster appear together in three others. Mssrs. Odle and Hartzburg share a scene called “They Fell”, which is perhaps the most inventively written offering. All these scenes come off so well due to the fine work of the director and the actors – it would be impossible to presume to name a best one, let alone a favorite. Let me just say that I am especially thrilled to have seen this play which I love so much – done so well.

Jackson Stollings and Lexi Odle share the stage in MCP’s production of “Almost Maine”

The vignettes are played on a variety of sets designed by Ms. Odle and they too work very well. Music, which the author offers as a part of producing his show, is a great fit.

Bottomline: Andrea Odle’s directorial debut with MCP’s Almost Maine is an unmitigated success. Her choices for her actors and for the production in general were both innovative and correct. Furthermore, the quality of acting is seamlessly superior. The result is a wonderfully full entertainment which is a must see! This is top-notch community theatre!

I’m betting that seats for this production of Almost Maine will go fast – do yourself a large favor and get to their web page at https://www.mudcreekplayers.org/reservations . (BTW – they no longer take reservations by phone.)

  • photos by Duane Mercier
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“Grease” at Beef and Boards Dinner Theatre

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reviewed by Ken Klingenmeier

Most of us are familiar with the popular musical Grease from the 1978 film version which starred John Travolta and Olivia Newton-John. Of course, it was first a small offbeat show put together by friends Warren Casey and Jim Jacobs which developed from its early form in a small nightclub in Chicago in 1971, on through to an off-Broadway styling in February of 1972, before becoming a full blown Broadway hit in larger and larger venues until it closed in 1980 with a run totaling 3,388 performances.

Beef and Boards Dinner Theatre adds to the show’s history with a talent filled edition directed by Eddie Curry, and choreographed by Ron Morgan. Musical director Terry Woods adroitly manages the song filled score and Jill Kelly Howe’s costumes fill the stage with color and throwback 1959 style.

Sarah Daniels as Sandy Dumbrowski and Kaleb Lankford as Danny Zuko take center stage in B&B’s production of “Grease”.

B&B newcomers Sarah Daniels and Kaleb Lankford take the epochal roles of Sandy Dumbrowski and Danny Zuko, applying masterful singing talents to each character’s catalog of songs. Ms. Daniels has had prior experience in the role and it indeed shows as her choices seem both easy and genuine. Lankford’s Zuko is a lively conveyance of all the traits we expect from the “greasy” character. As I noted, both have killer voices and it is a pleasure to hear each of their performances in the production.

Sandy and the Pink Ladies (left), and Danny and the T-Birds (right) remember Summer Nights in a scene from B&B’s production of “Grease”.

But this element of polished vocal skills doesn’t end there. Pink Ladies Casi Riegle (Betty Rizzo), and Kristina Kastrinelis (Marty), plus T-Birds Andy Kear (Roger), and Josh McLemore (Doody), along with Joshua L.K. Patterson (Teen Angel) all knock it out of the park with their amazing voices. Add in the entire cast’s dancing prowess, plowing through Ron Morgan’s inventive combinations with wild enthusiasm, and you have just the right recipe of ingredients to make a memorable show.

Miss Lynch (Karen Pappas) gets caught up in the moment in a scene from B&B’s production of “Grease”.

And I can’t leave out the wonderful comic touches added by Karen Pappas as strait-laced teacher Miss Lynch, B&B fave Jeff Stockberger as the slick and creepy radio DJ, Vince Fontaine, along with a side order of Chris Trombetta as the socially inept Eugene.

Bottomline: You are going to love the entertaining work this high quality cast puts forth. It is such an attractive, joyful bunch of performers. Keep in mind that it IS rated PG-13, but for the most part, the show is a spirited romp with many highlighted moments. Oh, and the buffet was top-notch, too!

Grease continues at Beef and Boards Dinner Theatre through March 31st. Get show times and reservations at http://www.beefandboards.com or you may call the box office at 317-872-9664.

  • – Photos by Julie Curry

“The Diary of Anne Frank” at Indiana Repertory Theatre

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reviewed by Adam Crowe

If you pay attention to local theater schedules, you’ll know that on January 22nd , Indiana Repertory Theater opened its production of The Diary of Anne Frank . Scheduling issues caused a delay in my getting to attend, but I hope the delay in getting this review written and published won’t cause you to miss this marvelous, moving and vital production.

Sometimes a great piece of art is so powerful that it takes on an aura of being “Important”. It can happen to works of fiction, but even more so for stories that are based on or inspired by true events. And the more time that passes between the story and the viewing or hearing can sometimes make the story seem less accessible or relatable. And many times, it can feel that a story is so well known, there is no longer a need to sit down and be enveloped in it; to remember it in a way that those who lived it experienced it. That is the danger about something like The Diary of Anne Frank . We think we know the story so well, that we have no need to sit in a darkened theater and listen to Ann Frank’s words. Don’t believe it. Not for a minute.

Peter (Benjamin Ludiker) shares a moment with Anne Frank (Miranda Troutt) in a scene from IRT’s production of “The Diary of Anne Frank”.

IRT has produced a play that transcends expectation and allows every audience member to remember and re-live a story that combines all of the beauty and horror that is the human experience. It is both important and visceral, reminding us that hope and life can survive even the most profound evil. Based on Anne’s girlhood diaries and written by Frances Goodrich and Albert Hackett, this adaptation is by Wendy Kesselman.

Ryan Artzberger appears as Otto Frank in IRT’s production of “The Diary of Anne Frank”.

As a local actor myself, I am grateful that local talent is well represented. This includes Ryan Artzberger, Constance Macy, Mark Goetzinger, Robert Neal, Rob Johansen, Michael Hosp, Ryan P. Claus and Zachariah Stonerock. All are excellent, as are the remaining cast, most from the Seattle area, where this production will also be performed after its Indianapolis run ends. Most specifically, though, this production belongs to Miranda Troutt, and her impressive portrayal of Anne. Troutt’s Anne Frank is joyful, buoyant, wise beyond her years, aggravating, frustrating, beautiful and fully human.

A scene featuring the cast of IRT’s production of “The Diary of Anne Frank”.

The technical aspects are also first rate. Janet Allen pulls double duty, as IRT’s Artistic Director and as the director of this production. Bill Clarke’s set is beautiful, functional and evocative, as are the costumes of Yao Chen. Andrew Hopson’s sound and Andrew D. Smith’s lights perfectly capture the claustrophobia, tension, and also the community of Anne’s “secret annex”.

The Diary of Anne Frank only runs on the IRT Mainstage through February 24th. Do not delay! Tickets may be purchased by visiting the website at irtlive.com or by calling (317) 635-5252.

  • Banner artwork by Kyle Ragsdale
  • Photos by Zach Rosing


“To Kill a Mockingbird” at Civic Theatre

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reviewed by Ken Klingenmeier

Harper Lee’s excellent novel To Kill a Mockingbird is the rare American literary classic which enjoys near universal admiration and lasting appeal. It achieved immediate success upon its publication in 1960 and has remained a favorite in all its various forms – as a Pulitzer Prize winning book, an Academy Award winning film production and a popular theatrical venture, the latter having recently reopened on Broadway in a renewed and controversial adaptation by Aaron Sorkin.

Booth Tarkington Civic Theatre’s compelling offering of the original play by Christopher Sergel opened Friday night on the group’s Center for the Performing Arts Tarkington stage. Directed by Emily Rogge Tzucker, the show is rendered in as direct a manner as I have seen it done. By that I mean: the prevailing style of storytelling employed by the cast is realistic, without much added drama “flavoring”, and perhaps more importantly – it is fashioned as a simply told enlightenment.

from left: Atticus Finch (Steve Kruze) and Heck Tate (Clay Mabbitt) confer in a scene from Booth Tarkington Civic Theatre’s “To Kill a Mockingbird”.

This straightforward feeling starts immediately with the opening monologue by Michelle Wafford, as the narrating character Jean Louise Finch, who sets up the 1935 flashback we are invited to observe. As the plain-spoken technique continues through the play, it proves an effective way to set forth the important lessons of Ms. Lee’s story.

The cast is filled with wonderful characterizations. Steve Kruze leads the way as Atticus Finch, the iconic lawyer who sets out to defend a black man, Tom Robinson, in a Southern town with a prevalence of racial bias. Kruze employs the matter-of-fact approach very well and offers a Finch who is as wise but perhaps not quite as saintly as his film predecessor Gregory Peck. This makes for a good measure of originality in the role and the actor especially shines in Finch’s impassioned cross-examination speech.

from left:
Scout (Bridget Bingham), Jean Louise Finch ( Michelle Wafford) , Dill (Ben Boyce) and Jem (Dalyn Stewart) in a scene from Booth Tarkington Civic Theatre’s “To Kill a Mockingbird”.

A trio of young actors take the roles of Scout, her brother Jem and their friend Dill. Bridget Bingham presents a highly spirited Scout – whose inquisitive tomboy aspects are firmly held to. Dalyn Stewart is an accomplished local young performer, and he does a fine job with the wide run of emotions for his Jem. Seventh grader Ben Boyce was well cast as Dill, whose mannerly creativity in finding innocent mischief is adroitly portrayed.

from left: Mayella Ewell (Morgan Morton) is intimidated by her father Bob Ewell (Joe Steiner) in a scene from Booth Tarkington Civic Theatre’s “To Kill a Mockingbird”.

Other standouts include Clay Mabbitt as a pragmatic Sheriff Heck Tate, Joe Steiner as the despicable Bob Ewell, Morgan Morton as his much put-upon daughter, Mayella Ewell, and Antoine Demmings as the doomed defendant Tom Robinson. Holly Stults does first-rate work as elderly neighbor Mrs. Dubose, Chandra Lynch is a sharply drawn housekeeper Calpurnia, and Jason A. Plake is a very believable Prosecutor Gilmer.

A courtroom scene from Booth Tarkington Civic Theatre’s “To Kill a Mockingbird”. Set design by Ryan Koharchik.

The action is presented on Ryan Koharchik’s imaginative and artistic set, with period costuming by Adrienne Conces. Koharchik also designed the effective lighting scheme.

The only tarnish on the production seems to be an old bug-a-boo – a sometimes lax approach to enunciation, especially in the children, but not entirely confined to their efforts. It really is a shame to not be able to make out every word of every line, especially in such an important play. In spite of that misgiving, the show’s many themes come through with sufficient impact. This moving and thoughtful story can not be denied its place in our troubled world.

Prosecutor Mr. Gilmer (Jason A. Plake) questions defendant Tom Robinson (Antoine Demmings) in a scene from Booth Tarkington Civic Theatre’s “To Kill a Mockingbird”.

Bottomline: This is an altogether enjoyable production of a most important play. It would seem to be a valuable endeavor to share with family in terms of what it brings to light for the unenlightened. As the book itself is a treasure – so too the play which, perhaps more readily, allows there to be hope for better understanding and better outcomes.

To Kill a Mockingbird continues at the Booth Tarkington Theatre in the Center for the Performing Arts in Carmel through February 23rd. For ticket information and reservations call 317.843.3800 or go online at http://www.civictheatre.org .

  • – Photos by Zach Rosing

“Ruthless! The Musical” at Actors Theatre of Indiana

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reviewed by Larry Adams

“Life’s a bitch, and it starts in the third grade.”- Miss Thorn, school teacher and frustrated former actress – Ruthless! The Musical

Eight year-old precocious talent Tina Denmark has a problem. Desperate to launch her way along a meteoric path to show business fame and fortune (“I’ve already had a normal childhood- it’s time to move on”), she’s lost her chance at the lead role in her grade school’s production of Pippi in Tahiti. Somehow, despite asking nicely and saying “please,” she has managed to wrangle her way only as far as understudy to her untalented but well-connected classmate, Louise Lehrman. Now Tina is doomed to watch her rival take her rightful place in the limelight… Unless…

So begins the hilarious 1992 Off-Broadway sardonic send up of theater, actors and wannabes known as Ruthless! The Musical, Actors Theatre of Indiana’s third show of their 2018-2019 season. Set in a vaguely 1950s and 60s-ish noir universe spritzed lightly with humorous anachronisms, this campy, musical mashup of the cinema’s Golden Age classics The Bad Seed and All About Eve mixes high energy musical numbers with rapid fire witty dialogue for an evening of dark- sometimes extremely dark- laughs that, though not hitting ALL the marks, is well worth the price of admission- and maybe even a second look to catch what you missed while you were laughing the first time around!

Nya Skye Beck stars as the precocious Tina Denmark
in ATI’s production of “Ruthless! The Musical”

One of ATI’s three founders, Judy Fitzgerald, leads the fairly well-balanced ensemble with a commanding performance in the somewhat bipolar role of Judy Denmark: bland, ditzy mother of Tina and housewife of perennially absent husband “Fred” (or “Ted” or “Phil” or something) in the first act, and conniving, back-stabbing Broadway diva in the second. Co-founder Cynthia Collins absolutely nails it with her hysterical take on the aforementioned Miss Thorn, coping with her crushed dreams of stardom while simultaneously trying to convince herself that she’s landed in a rewarding profession down here on Earth with the rest of us plebs.

Ball State grad Laura Sportiello makes the most of arguably the least flashy role(s) in the production, somehow singing and dancing appropriately poorly as the untalented Louise in Act One (whereas that sort of thing comes natural to me, it’s truly gotta be challenging for a trained and talented actress), then shining as the not-so-subtly named Eve in Act Two’s “Penthouse Apartment” number. Suzanne Stark, though not quite as Ethel Mermany as the “I Hate Musicals” joke in Act Two would seem to call for (a song that, while a bit too long and self-aware, is completely worth it just for its “How Do You Handle a Problem Like Maria?” gag), still impresses as acid-tongued theater critic Lita Encore.

from left: Judy Fitzgerald (Judy Denmark), Nya Skye Beck (Tina Denmark),
and John Vessels (Sylvia St. Croix) appear together in ATI’s
production of “Ruthless! The Musical”

The juiciest roles of the show are those of little Tina Denmark and her unscrupulous manager, Sylvia St. Croix, played with show-stopping performances by Nya Skye Beck and John Vessels respectively. Although originally written for six women, Ruthless! has made somewhat of a tradition of casting a man as St. Croix ever since Joel Vig landed the role in the original Off-Broadway production. Putting a man in drag for some cheap laughs might seem a bit of a hackneyed cliché in theater, especially when it’s just the sort of thing you’re trying to spoof, but it really works in this case. Vessels pulls off the characterization without going over the top, and his vocals are precisely what the part requires. Combining spot-on comic timing with pitch-perfect expressions and body language, he chalks up some of the biggest laughs of the evening. Most impressive, however, is real-life fourth grader Nya Skye Beck, whose acting, vocal and dancing talents rival those of her fictional theatrical prodigy. Ms. Beck soars through what is at times a difficult musical score (handled adroitly by the instrumental accompaniment of Keith Potts, Greg Wolff and Greg Gegogeine), and is absolutely convincing as the poster child for the Daisy Clover School for Psychopathic Ingenues. Her parents should be afraid. Very afraid. (Just kidding. I expect to see her star in the entertainment world rising brightly in the years to come, even without resorting to homicide.)

Cynthia Collins portrays Miss Thorn in ATI’s
production of “Ruthless! The Musical”

And finally, I’d be remiss without noting that a Mr. Sherman Burdette, in an uncredited cameo, pulled down some righteous laughs from all the way up in the cheap seats opening night. Quite frankly, I didn’t recognize him, but the elderly lady seated next to me seemed quite excited to seehim, pointing him out to me several times both before and during his performance. Apparently some sort of animal charisma thing. Maybe he could land a television gig somewhere. A local morning news program, perhaps.

For an actor, the temptation with parody is to play the material too broadly, to reach further and further for laughs until it’s just too much, and the whole, admittedly flimsy house of cards upon which the genre is built simply collapses. I credit co-directors William Jenkins and Matthew Reeder for keeping the cast reined in, as well as for the wonderful comic flow that runs through their production.

Suzanne Stark makes her ATI debut as theater critic Lita Encore
in ATI’s production of “Ruthless! The Musical”

By spoofing theater and theatrical critics, however, Ruthless! sets itself up for some criticism of its own, and unfortunately it serves up more than a few softball targets. It’s not just that the script can be a bit too Inside Baseball- although it can and sometimes is. (“Write what you know” can often be taken to extremes by playwrights, to the detriment of their audiences.) No, the primary problem with this type of humor is that the joke can start to wear a little thin, and Ruthless! comes dangerously close to that as early as the end of the first act. The scene and entire PLOT change in the second act do little more than point this out, and, although none of the songs are particularly likely to end up on American Top 40, by the time we reach Judy/Ginger’s “Totally Forgettable Song on the Piano Top” (not its real name), it starts to feel like a Saturday Night Live skit that’s gone on a bit too long. Ironically, the show hits its low near the end of the second act with the surprisingly uninspired and seemingly obligatory title song “Ruthless!” which, though gamely slogged through by the all-in cast, feels as if the writers were just phoning it in by that point. Fortunately, a high-spirited ending (with one particular actor’s death scene featuring a silent, theater in-joke that was Totally Worth It – I Don’t Care if ANYbody Else Got It) redeems the evening just before the curtain figuratively falls. Despite these few shortcomings of its book and lyrics, Ruthless! The Musical proves a welcome change of pace from the tried and sometimes tired standards that make the rounds year after year, as well as just a great evening full of laughs. Sure, it may not be Les Miserable, but at times, it absolutely kills! (Yeah, okay, sorry about that.)

Ruthless! The Musical continues at ATI’s Studio Theatre in the Center for the Performing Arts in Carmel through February 17th. You can get information about the schedule and tickets by calling 317.843.3800 or by logging on at http://www.atistage.org .

  • – photos by Ed Stewart & Philip Paluso

“Every Brilliant Thing” at Indiana Repertory Theatre

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reviewed by Ken Klingenmeier

Playwright Duncan Macmillan’s Every Brilliant Thing, which opened this week on IRT’s UpperStage and is directed by Tim Ocel, is such an original, unique, and inspired piece of theatre – it came as a bit of a surprise. It tells the story of one man’s life with a severely depressed mother whose failed attempts at suicide provoke him to start, at age six, a list of every brilliant thing about being alive – such as 1. ice cream, 2. Kung Fu movies, 3. burning things, 4. laughing so hard you shoot milk out your nose, 5. things with stripes. The first short list is left on the mom’s pillow and returned to him – with spelling corrections. So begins a life changing list – added to through high school and college and marriage and more suicide attempts…

The play is presented as a sort of interactive monologue – using a good number of audience members, either as list-item readers, or as actual characters in the story – the father, a veterinarian, a counselor, a professor, a love-interest. This aspect must make the production totally different for each performance – though our particular assemblage worked quite well, with notable performances by the volunteers. The glue for this innovative approach (the central character – the nameless Man) is played by the very likeable Marcus Truschinski, an actor we have enjoyed seeing here in The Mystery of Irma Vep, and The Hound of the Baskervilles, who does an amazing job holding it all together through the variety of audience offerings.

Marcus Truschinski in IRT’s production of “Every Brilliant Thing”

The play strives to teach us that 1. life is worth living, 2. you need to pay attention to all things – good and bad, and 3. (a plainly spoken idea) if you ever feel that you want to kill yourself – don’t.

While the Man’s story is, in itself, engaging, its inventive structure – for me – proved to have a shortfall. The power of the message – the Man’s plea to his mother (and to himself) to realize what a wonderful world we live in – gets somehow lost at times within the distractions of the volunteer audience members’ participation. Goofs are laughed at, clever comebacks are availed, dear moments are broken into and shattered. Granted, these are my own sensibilities at work here, but I found the result to be: an important message which could have been so much more powerfully conveyed. I get the outreach idea for including the ticket holders, and I get the use of lightness rather than heavy-handedness – especially with such an important life preserving theme. I guess I am just more traditional minded in what I think works best.

Marcus Truschinski and audience member Ron Gifford in IRT’s production of “Every Brilliant Thing”

This is not to say that I did not enjoy the play. On the contrary, it’s innovative concept alone was a fine experience. Truschinski’s performance was certainly top-notch – well deserving of the ovation he received, and the humorous moments – both as written and as discovered in the audience’s participation – were most enjoyable. Indeed, I highly recommend that as many of you who can – go see this imaginative show, and see what you think for yourself.

Every Brilliant Thing will continue its run at Indiana Repertory Theatre through February 10th. For specific information on dates, show times, and ticket orders, visit IRT’s website at http://www.irtlive.com/.

  • Banner artwork by Kyle Ragsdale
  • Photos by Zach Rosing

“They’re Playing Our Song” at Beef and Boards Dinner Theatre

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reviewed by Ken Klingenmeier

First of all: Happy New Year to all you ASOTA readers. I hope you have the best year possible!

Mrs K and I kicked off our 2019 theatre year with a Beef and Boards Sunday matinee presentation of Neil Simon’s They’re Playing Our Song – with words and music by Carole Bayer Sager and Marvin Hamlisch, respectively. Loosely based on the real life Sager/Hamlisch relationship, the 1979 Broadway musical relates the story of composer Vernon Gersch and lyricist Sonia Walsk as they join forces to collaborate on a set of songs, fall in love, find their way out of it, and resolve their differences in the end.

Vernon (David Schmittou) and Sonia (Sarah Hund) in a scene from B&B’s production of “They’re Playing Our Song”

B&B favorites David Schmittou and Sarah Hund likewise join forces in the lead roles. Schmittou is sharp as the composer, balancing the comic and songster aspects of the role with aplomb. Ms. Hund is an energetic Walsk, hitting all the right buttons for the lyricist’s erratic and lively personality. Add in her absolutely true and lovely vocal gifts, and she gives us an uplifting performance to witness and enjoy.

To aid the lead characters, Simon has invented their alter egos for inclusion. The four roles are taken by B&B veterans Doug King (who doubles as choreographer for the show), Peter Scharbrough, Lauren Morgan and AnnaLee Traeger. The foursome provides background for several scenes, sometimes dancing, often singing, and although there are really none of what I would call “production numbers” in the show, their talented presence livens the production, none the less.

from left: Sarah Hund, Lauren Morgan and AnnaLee Traeger as Sonia (left) and her alter egos in a scene from B&B’s production of “They’re Playing Our Song”

The script itself seems to be a twist on the “odd couple” circumstance, with unsuited characters finding reasons to come together, be thrown apart and realign in the finale. Though Simon’s laugh lines are true to his pedigree, the premise and the movement through the play’s time-frame left gaps for me and my perspective. In the end, having it be presented as a musical filled many of the emotional gaps.

Jeff Stockberger directs, and has a natural affinity for the quickly paced jokes and bits the play offers; Michael Layton provides the very adaptable set design; and musical director Debbie Myers does a wonderful job – along with her talented band of musicians.

from left: Doug King, David Schmittou and Peter Scharbrough as Vernon (center) and his alter egos in a scene from B&B’s production of “They’re Playing Our Song”

Chef Odell Ward comes through with a fine buffet menu including baked chicken, beef stroganoff, and the usual salad items and carved roast beef. However, I missed the fried shrimp, and the brussels sprouts in cream sauce – which were listed on the table menu, but did not appear for some reason.

Bottomline: Although this is not one of my favorite Simon scripts, the enjoyment of having David Schmittou and Sarah Hund back before my eyes more than made up for it. They are true stage professionals and their talents are impressive enough to carry the day.

They’re Playing Our Song continues at Beef and Boards Dinner Theatre through February 3rd. Show times and reservations can be viewed at http://www.beefandboards.com or you may call the box office at  317-872-9664.

  • – Photos by Julie Curry

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