“Buddy – The Buddy Holly Story” at Beef & Boards Dinner Theatre

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reviewed by Ken Klingenmeier

Buddy – The Buddy Holly Story is Beef & Boards Dinner Theatre’s tuneful summertime treat for 2019. The jukebox musical was first presented in 1989 in London’s West End where it played for 12 and a half years. With a storyline written by Alan James and music by the inimitable Buddy Holly, the show provides a touchstone history of the rock n roll artist’s rise, and his fateful demise. We first find Holly and his band – The Crickets – in Lubbock Texas as he pushes against the predominant country style music with a self-possessed passion for rock. After failures in Lubbock and Nashville, the band finds their way to Clovis New Mexico where, in the recording studio of Norman Petty, they are finally able to record their signature sound with a long series of cuts. Eventually, it’s on to Harlem’s Apollo Theatre and further stardom.

Cricket drummer Jerry Allison (Josh McLemore), frontman Buddy Holly (Kyle Jurassic) and bassist Joe Maudlin (James Daley) perform at the Apollo Theatre in Harlem in Beef and Boards’ production of “Buddy – The Buddy Holly Story”.

Although the narrative of the plot follows Holly’s climb to success in a thinly threaded storyline, it is the music that is the show. Studio sessions, an elongated Apollo Theatre show, one privately romantic song for Holly’s wife, and a grand, full blown final concert scene form the true impact of this musician’s journey. And what an outstanding display of talent and energy is offered here by every cast member!

Kyle Jurassic as Buddy Holly in Beef and Boards’ production of “Buddy – The Buddy Holly Story”.

Directed by Jeff Stockberger, Buddy features a full roster of talented musicians and vocalists. Kyle Jurassic takes the title role, in his third opportunity to do so – having played the part at the Dutch Apple Dinner Theatre in Lancaster PA and at Harrah’s Resort in Atlantic City. Jurassic shows a tremendous understanding of the man – whose quiet nature in private is coupled with a fierce drive for self-expression and a charismatic stage aura. Jurassic knows how to rock the house, and does so in song after song with an energetic force in both his Holly-mimicking vocals and his fine guitar work. I think we are very fortunate to be the benefactors of his previous encounters with this character. Buddy Holly truly comes alive in Jurassic’s performance on the B&B stage.

The Big Bopper (Chuck Caruso), Buddy Holly (Kyle Jurassic) and Ritchie Valens (Edward LaCardo) rock the house in Beef and Boards’ production of “Buddy – The Buddy Holly Story”.

The supporting cast is rife with accomplished players and singers. Edward LaCardo does an impressive high octane rendering of “La Bamba” as Ritchie Valens. Chuck Caruso is superb as The Big Bopper (J.P.Richardson), offering an authentically slick version of the Bopper’s hit, “Chantilly Lace”. In the Apollo Theatre scene, Tarra Conner Jones blows the roof off as Mama Pearl in her rendition of “Shout”, with a tremendous and lively accompaniment by Joshua L.K. Patterson. James Daley on bass and Josh McLemore on drums form Holly’s band – The Crickets, along with guitarist Christopher Tucker. This trio crushes the Buddy Holly catalog with absolutely dynamic presentations.

Buddy Holly (Kyle Jurassic) reassures his wife Maria Elena (Kelly Powers-Figueroa) in Beef & Boards Dinner Theatre’s production of “Buddy – The Buddy Holly Story”.

Other highlights include B&B favorite John Vessels as Lubbock C&W DJ, Hipockets Duncan; Justine Figueroa as Holly’s New Mexico producer, Norman Petty; Kelly Powers-Figueroa as Holly’s wife, Maria Elena; and Sarah Hund, showing her extraordinary fiddle chops as a featured musician in several scenes.

The undeniable high point of the show is the second act finale, where the entire cast portrays the final fateful Holly/Valens/Bopper appearances at Cedar Lake Iowa. Consisting of 10 musical numbers, we are entertained with a concert-like event, in which we get to see and feel the unbound talents these noted performers gave to their audience. It’s crazy-good!

On the more technical side, Kristy Templet provided the exceptional musical direction, Michael Layton devised a clever scenic design, Ryan Koharchik’s lighting ideas were perfect, and Jill Kelly Howe once again knocked it out of the park with her costume designs. Chef Odell Ward’s inviting menu featured honey-mustard chicken and cajun cod, along with a good variety of veggies and other dishes.

Bottomline: Even with its rather thin storyline, this show is a rousing portrait of one of the great rock n roll pioneers. The standing ovation for these performers was well-deserved – I daresay, everyone in attendance had a memorable time.

Buddy – The Buddy Holly Story continues at Beef and Boards Dinner Theatre through August 18th. Find 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 Little Mermaid” at Beef & Boards Dinner Theatre

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reviewed by Ken Klingenmeier

Beef & Boards Dinner Theatre’s ambitious new production, The Little Mermaid is, of course, based on the 1986 eponymous Disney film which became 2008’s Broadway version of the Hans Christian Andersen fairy tale from 1837. Director Elizabeth Payne and choreographer Ron Morgan have, with their fine work in this production, completed a trifecta of tremendous treats from B&B – counting the recent 42nd Street and Grease.

Prince Eric (Nate Willey) and Ariel (Sarah Daniels) are afloat (center) for the “Kiss the Girl” number in Beef & Boards’ production of “The Little Mermaid”.

The technical staff has gone all out for this one with multi-media set aspects, puppetry, an outstanding array of colorful costumes, blacklight features, plus flying (and floating) performers. Every scene is augmented with at least one upgraded stagecraft attribute. Coupled with the top level performances by the cast, the show is a very appealing experience for every audience member – young and old.

Sarah Daniels stars as Ariel in Beef & Boards’ production of “The Little Mermaid”.

All the major roles are filled by outstanding talents: Sarah Daniels (Ariel), Nate Willey (Prince Eric), Michael Ray Fisher (Sebastian), Peter Scharbrough (King Triton) and Kelly Teal Goyette (Ursula) all possess and display rich voices which lift the production. Ms. Daniels returns to B&B after her achievement as Sandy in Grease, once again charming us with her exceptional gifts, making her Ariel a sweet but persistent mermaid. Mr. Willey joins her in the story’s romantic coupling, finding just the right tone of regal character for his Prince. Mr. Fisher adds shine to the role of Sebastian, the crab recruited to guide Ariel’s choices. Peter Scharbrough’s stately King Triton conveys power, while Ms. Goyette is especially nasty as the villainous Ursula, albeit adding an evil charm to the portrayal.

There is conflict between siblings Ursula (Kelly Teal Goyette) and King Triton (Peter Scharbrough) in Beef & Boards’ production of “The Little Mermaid”.

There are also many exceptional supporting performers. Fifth grader Jack Clark does awesome work as Flounder, Chris Trombetta brings rollicking squawks and flutters as the busybody seagull – Scuttle, real-life twins Austin Glen Jacobs and Ryan Alexander Jacobs provide Ursula’s nefarious henchmen Flotsam and Jetsam, Brett Mutter has a lively seafood recipe as Chef Louis, and John Vessels adds his comical talents as the Prince’s guardian Grimsby. Kristen Noonan displays her fearless flying aerial talents in a few of the more extravagant production numbers.

Grimsby (John Vessels, center) leads a vocal contest of prospective princesses in Beef & Boards’ production of “The Little Mermaid”.

An array of beautiful feminine characters are supplied by the gifted dance ensemble – Jennifer Ladner, Kristen Noonan, Amy Owens, Sally Scharbrough, AnnaLee Traeger and Christine Zavakos. Danard Daniels Jr. and Logan Moore skillfully step into a series of supporting roles.

Ariel (Sarah Daniels) and Prince Eric (Nate Willey) from a scene in Beef & Boards’ production of “The Little Mermaid”.

Although B&B costumer Jill Kelly Howe has the advantage of a great many rentals from MSMT Costumes at her disposal here, her work at augmenting, arranging and fitting the plethora of costumes certainly deserves notice. Terry Woods leads the B&B orchestra through the challenging score, while Troy Trinkle coordinates the aerial facets of the show with Ms. Noonan. Also, special nods go to wig designer Kurt Alger, lighting designer Ryan Koharchik, and scenic designer Michael Layton for their noteworthy work on the production.

Bottomline: The entire family will enjoy this enchanting and spectacular version of the Disney favorite. Gold standard performances by this wonderfully talented group of actors and actresses will thrill the little ones. Kudos to B&B Artistic Director Eddie Curry for bringing together this absolutely brilliant cast.

The Little Mermaid continues at Beef and Boards Dinner Theatre through June 30th. Find show times and reservations at http://www.beefandboards.com or you may call the box office at 317-872-9664.

  • – photos by Julie Curry

“42nd Street” at Beef and Boards Dinner Theatre

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reviewed by Ken Klingenmeier

42nd Street, which opened this week at Beef and Boards Dinner Theatre, certainly has a long history. The 1933 film musical, which many of us are familiar with, was based on the eponymous 1932 novel by Bradford Ropes. In turn, a Broadway stage version, directed by Gower Champion, appeared in 1980 to great acclaim, winning awards for choreography and costuming. Some memorable tunes come from the show – namely “We’re in the Money”, “Lullaby of Broadway”, “Shuffle Off to Buffalo”, and the title song – “42nd Street”.

The show’s story arc is pure 1930’s idealism: a small town girl, Peggy Sawyer, arrives in New York City to chase her dream of being a Broadway star – but she is turned away at her first audition. Suddenly, as her talents becomes more evident, she’s offered a small role by famous director Julian Marsh. There is a clash with the salty established star of the show, Dorothy Brock. Eventually on opening night, Sawyer is blamed for an injury to the star and is fired on the spot. When Marsh finds he’ll need a replacement for his disabled lead, he chases after Peggy, finds her at the train station and coaxes her to rejoin the cast – which assures her meteoric rise into stardom. The thin plot amounts to the stylings of a revue, where traditionally we come to be entertained primarily by the inserted songs and dancing – and that is exactly what choreographer Ron Morgan and director Eddie Curry have achieved here.

The cast of “42nd Street” in the “Getting Out of Town” number

Mr. Morgan has gone all out, fashioning at least 10 rousing tap dance numbers – most of them employing the complete set of hoofers, which includes all the talented dance corps members and most of the leads. It makes for scintillating musical numbers, which wow us again and again!

Kaylee Verble (center) stars as Peggy Sawyer – with dancers (from left) AnnaLee Traeger, Jen Martin, Sally Scharbrough and Amy Owens.

The sparkling cast is well-stocked with amazing voices and dancers. Kaylee Verble makes her B&B debut in the role of Peggy Sawyer, and she certainly fits the part of the uber-talented small-town girl. Unassumingly reserved and energetically focused, Ms. Kaylee’s Peggy is just perfect for the 30’s storyline. Countering her innocence is the aging star, Dorothy Brock, played to the hilt by B&B favorite, Sarah Hund. Ms. Hund’s undeniable talents are well featured here as she sails through her musical numbers with a seemingly effortless luster.

(foreground from left) Billy Lawlor (Dan Bob Higgins), Abner Dillon (jeff Stockberger) and Dorothy Brock (Sarah Hund) in a scene from “42nd Street”.
(background) – composers Maggie Jones (Lanene Charters) and Bert Barry (Brett Mutter)

The two male leads – director Julian Marsh and youthful star Billy Lawlor – are offered up by Mark Epperson and Dan Bob Higgins. Both return to B&B after recent successes here, and both carry on the high levels of performance we have previously noted from them. Epperson is commanding as director Marsh, while Higgins advances a set of glossy song & dance performances.

Notable supporting role turns are given by Jeff Stockbereger as a comic Abner Dillon – Dorothy Brock’s “sugar-daddy” – as well as, Brett Mutter and Lanene Charters doing fine work as composer/performers Bert Barry and Maggie Jones. Kristy Templet leads the B&B orchestra which turns in great sound and high energy – exactly what is needed for the show.

Peggy Sawyer (Kaylee Verble) and Julian Marsh (Mark Epperson) in the “Lullaby of Broadway” scene

On the tech side – Michael Layton has designed a very colorful and functional rotating set. Costumer Jill Kelly Howe has gone above and beyond her normally exceptional design work and has rendered an unbelievable volume of exquisite, dazzling and shimmering costumes for the cast – which one must see to believe.

Just one example of Jill Kelly Howe’s incredible costume design work as Don Bob Higgins (center) leads the dance corps in “We’re in the Money”.

Bottomline: I am afraid I may not have used enough superlatives to describe the gleaming extravaganza that B&B’s impressive 42nd Street is. The energetic cast provides a splendid array of musical entertainment that I doubt will be matched soon. Congrats to all involved in the effort. This is a true hit show!

42nd Street continues at Beef and Boards Dinner Theatre through May 19th. Find show times and reservations at http://www.beefandboards.com or you may call the box office at 317-872-9664.

  • – Photos by Julie Curry

“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

“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

“Elf, the Musical” at Beef & Boards Dinner Theatre

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reviewed by Ken Klingenmeier

Everyone who has seen the 2003 Will Ferrell film – Elf, is familiar with the story of Buddy Hobbs who, as an orphan baby, crept into Santa’s toy sack one Christmas Eve, only to be brought back home by the jolly one to become part of the colony of elves at the North Pole, eventually growing to be the largest of that crew. Beef & Boards Dinner Theatre’s holiday offering – Elf, the Musical takes that story and resets it as a joyfully rousing tale with a wealth of songs, lively dances and broadly played characterizations.

Having moved away from its traditional Christmas revue after 25 festive editions, B&B’s production of this well-known holiday fare could not have been a better choice. The talented cast, festooned in Jill Kelly Howe’s amazingly colorful costumes, on the modern-styled set by Michael Layton, is directed by Douglas E. Stark, who has a turn onstage himself as (whisper) Old St. Nick. The sparkling musical score played by B&B’s orchestra is led by Kristy Templet, with choreography by B&B regular Ron Morgan. 

from left: Buddy (Don Bob Higgins) and Jovie (Emily Grace Tucker) in a scene from B&B’s production of “Elf, the Musical”

Dan Bob Higgins takes the role of Buddy, and with a noteworthy flourish of innocence and naivete, propels his giant elf in a lively and energetic performance filled with joy and fun. Blessed with a remarkable vocal talent coupled with an easy dancing style, Higgins is perfect in the role, so much so that it is a bit difficult to envision his last B&B appearance as Bernardo in the summer of 2017’s West Side Story.  Playing his romantic interest – Jovie, is Emily Grace Tucker. She displays her own impressive set of vocal and dance talents and is an ideally jaded foil for Buddy’s wide-eyed nature. 

from left: Buddy (Dan Bob Higgins), Michael Hobbs (Aiden Shurr), Emily Hobbs (Heather Patterson King) and Walter Hobbs (Mark Epperson) in a scene from B&B’s production of “Elf, the Musical”

Three notable featured roles are issued by Mark Epperson as Buddy’s father
Walter Hobbs, Heather Patterson King as step-mother Emily, and Aiden Shurr as brother Michael. All three give adroit performances with 5th grader Shurr showing a stage maturity that impresses. A large ensemble fills the essential minor roles with unfailing skillfulness. Standouts include Kenney M. Green as a feisty department store manager, Jonathan Fluck as the bah-humbug boss Mr. Greenway, and Brad Mutter and Peter Scharbrough as Walter Hobbs’ top assistants – Chadwick and Matthews. Two very young ladies, Emery Jane Allen, and Sylvie Templet, are both bright spots in the ensemble’s proceedings. 

Buddy and the ensemble in a scene from B&B’s production of “Elf, the Musical”

Bottomline: Some may miss the traditional B&B Christmas, and that is understandable. But I applaud the theatre’s choice to change the holiday offering to a more timely show. Elf, the Musical is a great choice – colorfully festive, spirited, and with just enough Christmas magic to bring a measure of wonder to children’s imaginations – the show is a must-see for the season. And bring an appetite, as Chef Odell Ward has done wonders in his kitchen.

Elf, the Musical continues at Beef and Boards Dinner Theatre through December 31st. Show times and reservations can be viewed at http://www.beefandboards.com or you may call the box office at  317-872-9664. 

Finally – I’d like to express my wish for a very happy holiday season to all my readers and especially to my inestimable staff of cohorts: Larry, Adam, Mark, Vickie, and our most recent addition – Dave.

  • – Photos by Julie Curry

“Man of La Mancha” at Beef & Boards Dinner Theatre

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reviewed by Adam Crowe

On a Sunday evening, most small business owners are likely watching football or enjoying a quiet evening before heading back into the work week. But not Doug Stark. Stark spends Sunday greeting his audience at Beef & Boards Dinner Theater.  An Indianapolis institution, Beef & Boards often appears to be a well oiled machine. Seeing Stark reminded me that not all the work is done backstage . . . or in the kitchen. And in all the years that Stark has been producing at Beef & Boards, presenting hundreds of plays and musicals, this is the first time they have presented Man of La Mancha.

Written by Dale Wasserman, with music by Mitch Leigh and Lyrics by Joe Darion, Man of La Mancha is based on Miguel Cervante’s “Don Quixote”. The musical tells the story through the device of a play within a play. At the outset, Cervantes is being held by the Spanish Inquisition and in order to appease his fellow prisoners, spins the tale of Alonso Quijano, an old gentleman who has read so many books of chivalry and thought so much about injustice that he has lost his mind and set out to be a Knight, renamed Don Quixote. The adventures of Don Quixote make up the bulk of the story, with Cervantes casting a spell over his fellow prisoners, even as he himself heads to interrogation as the musical ends.

Eddie Richard

Eddie Curry (Sancho Panza) and Richard White (Don Quixote) in a scene from Beef and Boards’ “Man of La Mancha”

Man of La Mancha features a beautiful score of Spanish influenced music, including the classic songs “The Impossible Dream” and “Dulcinea”. Terry Woods and his talented orchestra are in fine form and I especially enjoyed Chris Tucker’s terrific acoustic guitar playing. The Cast is uniformly delightful and features Richard White as Cervantes/Quixote. White has quite a resume, including voicing Gaston in the original Disney feature “Beauty and the Beast”. He is joined by Beef & Boards regular Eddie Curry, as the delightful sidekick Sancho Panza. Erica Hanrahan-Ball rounds out the leading players as the tortured Aldonsa, re-christened Dulcinea by Don Quixote. All three give performances of depth and pathos. These strong leads are joined by over a dozen actor/singers playing multiple roles. Every cast member excels. Together, performers and musicians combine to cast their own spell on the audience. I was enchanted.


Erica Hanrahan-Ball as Aldonsa in a scene from Beef and Boards’ “Man of La Mancha”

Beef & Boards theatrical offerings are usually on the lighter side. Man of La Mancha is a departure, insofar as it incorporates some of Cervantes’ tale’s darker turns. I found it a refreshing change of pace and thoroughly enjoyed seeing this rich and layered show in such a beautiful and professional production. I must also mention that the show is beautifully staged and designed as well. Michael Layton’s set and Ryan Koharchik’s lighting transformed the theater’s intimate space at every turn. I’m always pleased to see an often overlooked classic get a strong production, and Beef & Boards delivers with Man of La Mancha. Make room in your busy Fall schedule to catch this stirring show.

Beef & Boards Dinner Theatre is located at 9301 Michigan Road on Indy’s Northwest side. Tickets may be purchased by calling (317) 872-9664. Man of La Mancha performs Tuesdays through Sundays through November 18th.

  • – Photos by Julie Curry

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