Theatre reviews by Ken Klingenmeier w/ Larry Adams, Adam Crowe, Veronique Duprey, Jay Hemphill, Jon Lindley, Carrie Neal, Vickie Cornelius Phipps, Amber Shatto, and Daniel Shock
I had the pleasure of seeing Ship of Dreams last night at Indy Eleven Theatre, in the IndyFringe Theatre. The 2022 Fringe show written by Paige Scott, Jason Adams, and Aaron Stillerman is back for a limited time with a cast of Indy’s funniest comedians. Eight friends attempt to cross an ocean of impossibility to stage James Cameron’s cinematic masterpiece “Titanic.” Paige Scott directs this hilarious and creative nostalgia-induced farce as a production of Working-Class Socialite.
The cast includes Elysia Rohn, Hannah Elizabeth Boswell, Tracy Herring, Shelby Myers, Meg McLane, Brittany Magee, Courtney McClure, and Jason Adams. Everyone brings their game and lights up the stage with minimalist theatre. This parody is described as part clown show and part puppet show with the use of cardboard, a projector, and an embarrassingly low budget.
An iconic scene from “Ship of Dreams”
If you love or even liked the movie “Titanic”, you will definitely pick up on all the funny DiCaprio references. My Heart Will Go On is sung extremely well by the cast as the ship takes its last breath. This production contains flashing lights and adult language. It is recommended for audiences age 13 and up.
There are only three more chances to catch this show, April 19th, 20th at 7:30p and the 21st at 5:00p. Located at 719 E. St. Clair Street downtown Indy. For tickets contact the Box Office at 317-210-4639 or email info@indyfringe.org.
Kevin: “What we need to do is have a big conversation!”
Teresa: “I mean, if you’re a hero, that implies a villain, right?”
A day later, I’m still not quite sure what to think of American Lives Theatre’s most recent offering.
Well, other than it being one of the best acted, best directed and most thought-provoking shows I have ever seen on an Indy area stage or elsewhere, as well as being perhaps the boldest show choice I can possibly imagine in the modern era. There’s that, I guess.
Heroes of the Fourth Turning, the Pulitzer Prize nominated creation of playwright Will Arbery, centers on four young, deeply religious and conservative friends who have returned to their college town in Wyoming for a party honoring the new president of Transfiguration College. The Charlottesville riot lies just one week in the past, while a solar eclipse awaits tantalizingly- or perhaps forebodingly- only two days in the future. As the party dies down and the alcohol begins to flow around the firepit, the friends in various combinations do indeed have a “big conversation” – about politics, of course, but also about religion, friendship, betrayal, empathy, suffering, success and failure, strength and weakness, righteous resolve in the face of a coming war and aimless wandering in the desert of an unfulfilled life.
There are moments of laugh-out-loud humor, but also ominous flashes of a disturbing and building darkness; a foundation of genuine love and camaraderie, but one repeatedly shaken by spasms of jealousy, disappointment and bitter disagreement. There is intelligence, and ignorance, and frailty, and nuance. In short, there is Truth- not necessarily in their views and opinions, but in their humanity.
Daniel McCullough’s set for ALT’s “Heroes of the Fourth Turning”
In a brief conversation after the curtain, ALT’s artistic director, Chris Saunders, told me that he was drawn to Heroes because it fit perfectly with American Lives Theatre’s mission. “It presents a layered and complex portrayal of a voice not often heard coming from the American stage” he offered. “It’s a different view of conservatives than has ever been seen onstage.” These are, of course, profound understatements. As someone with over three decades of involvement with the arts and at least a passing awareness of the current state of the entertainment industry, I must admit I went into the show thinking any message more complimentary than “Well, maybe they’re not all literally Hitler after all” would be nothing short of a theatrical Christmas miracle. What I got, however, was much more than just that.
Instead of a stereotypical bunch of mustache-twirling, melodrama villains or vapid, overtly racist and misogynistic rednecks, Heroes presents a surprisingly fully fleshed-out portrait of thoughtful and intelligent people, with all their glorious failures and flaws, struggling to answer the big questions of their lives- sometimes succeeding brilliantly, sometimes failing miserably. Villains? I don’t think there really are any here. Heroes? Well, I’m still not quite sure what to think about that either.
Tyler Lyons and Taylor Cox in a scene from “Heroes of the Fourth Turning”
What’s certain, however, is the strength of ALT’s production of this show in literally every aspect. The beautifully evocative alley stage, with set design by Daniel McCullough and lighting design by Tim Dick, sets the tone perfectly even before the opening scene. Alley staging is at best a theatrical challenge and at worst a blocking nightmare, but when successfully employed- as it is here- draws the audience into the reality of the characters’ world in a way that is simply not possible with the more traditional end or proscenium staging.
As nicely executed as this is, however, Heroes is truly an actors’ showcase. Playwright Arbery is an absolute maestro when it comes to language, but it takes an extremely skilled cast and director to carry such a heavy script successfully from the page to the stage; in lesser hands, an audience could be forgiven for feeling that this rather wordy piece suffers from the literary equivalent of Amadeus’s “too many notes.”
Fortunately, this talented cast consisting of Taylor Cox, Gigi Jennewein, Tyler Lyons, Devan Mathias and Morgan Morton, under the inspired direction of Andrew Kramer, is more than up to the challenge. The effortless overlapping of dialogue, the pacing, the natural flow of movement of characters about the space, and the seemingly rare ability of these players to act at all times without looking as if they’re acting all add up to a realism that is absolutely essential to the success of this play.
Taylor Cox and Devan Mathias in a scene from “Heroes of the Fourth Turning”
It’s hard to pick favorites in such an exceptional group, but Taylor Cox, as the drunk and lost soul Kevin, and Morgan Morton as Teresa, the fiercely intellectual young blogger, were standouts on this particular night. I had seen Cox several years back in a stunning production of Equus, and based now on my observation of this second emotionally and physically exhausting role, I can confidently advise you to buy a ticket to whatever he’s in from here on out. Morton deftly navigates the emotional extremes from an initially rapid-fire, cold uber-confidence to an almost child-like shock and hurt after a climactic reprimand by her mentor and role model, highlighting her as a theatrical force to be reckoned with.
I can only imagine the flak ALT may have opened itself up to in presenting this work, and I tip my hat to their courage and willingness to suffer the slings and arrows in the pursuit of taking their mission seriously. But let me be clear: “Heroes” is NOT an endorsement of conservatism. It presents a PICTURE of conservatives and conservatism to be sure, but offers few judgements one way or the other. And it is about so much more than just politics.
Morgan Morton in a scene from “Heroes of the Fourth Turning”
After nearly two hours spent mesmerized by this production, I could not begin to tell you on which side of the aisle Arbery leans, and I’m certain I don’t care. As with all good art, audience members will absorb this piece and then interpret it through their own individual lenses, finding its meaning in whatever speaks to them personally- reinforcing some preconceived notions no doubt, but also, and more importantly, challenging others- leaving the theatre, I hope, not quite sure what to think.
“This is the problem,” observes Teresa midway through the play. “No one knows how to debate, we literally can’t hear each other.” If ever there were a more apt summation of the problems in which we find our society today, I haven’t heard it. But American Lives Theatre is having none of it with this production.
“The play is a lovely beast- it asks for mental athleticism from everyone involved. That includes the audience. It demands engagement. It’s a challenge, but a challenge that rewards,” said director Andrew Kramer. “I love it when a play feels smarter than me.” Heroes of the Fourth Turning truly is smarter than me, and this cast and crew live up to every ounce of its intelligence. I suspect I could watch it every night of its run and find something new- about its characters and both their firm beliefs and their sometimes shaky conclusions, about its themes, and about their application to my life. Because after just one viewing, I’m still not sure what to think of it- but think of it I have and will. And in theater sometimes- maybe most of the time- that’s a good thing.
American Lives Theatre’s Heroes of the First Turning runs at Basile Theatre in the IndyFringe Theatre through January 28th. Ticket information can be found at http://www.americanlivestheatre.org .
It may be one of Shakespeare’s most meta speeches, I’m not sure. But when Richard II appeals to his comrades “For God’s sake, let us sit upon the ground and tell sad stories of the death of kings,” is it any wonder if we, as knowing audience members, can hardly decide whether to laugh or gasp in recognition of the dramatic irony. We know how events will unfold: his own end is the story being told.
I won’t try to detail the intricacies of Shakespeare’s plot – the political intrigues, the twists and turns that bring Richard to his fate and propel his cousin Bolingbroke to power. But I can vouch that the production of Richard II mounted for (and, apparently, by) Bardfest, as seen on its opening weekend, is a worthy rendition of this seldom-performed Shakespeare history play, and that’s thanks largely to the deep commitment and spirited performances of its talented cast.
Afton Shepard as King Richard II
Their love for the language is apparent. In Afton Shepard’s portrayal of King Richard, we’re treated to language as revelation of a precariously poised mind. In Rayanna Gibbs’ Bolingbroke, we hear the steady surety of her well-chosen words and feel the steadiness of her climb to power in the process. While both actors superbly conveyed the music of the language in equal measure, they still managed to reveal character through contrast – the brittle king who poeticizes his problems vs. the contender who minces no words and wields them rather like the weapons to which he’s more accustomed. And in some of the production’s finer moments, the two are together onstage, where we delight in the interplay between the two and the verbal manifestations that drive their actions and their respective fates. It’s Richard, of course, who observes in his poetic way that the golden crown he so loves is now “like a deep well” and how he and Bolingbroke are two buckets, one filling and one emptying.
But this is a Shakespeare history play, after all, so there are far more players to keep track of in the political machinations that surround the two main characters. Standouts for me were Damick Lalioff who provided touchingly heartfelt moments as the Duke of York, Nan Macy in some scene-stealing moments as John of Gaunt and the Duchess of York, and Evangiline Bouw, as Aumerle, for her delicate portrayal of the intriguing complexities of loyalty in this bandying-for-power story.
The cast of Bard Fest’s “Richard II”
You may be noticing that I haven’t yet made an issue of the gender swap of this particular production, as presented by its all-female cast. That’s because I found it to be a non-issue. Or rather, I should say, if there was anything notable about it, the all-female cast simply reinforced that these struggles of power, political allegiance, loyalty, and the like are not the sole domain of men but of human beings. The fact that director, Glenn Dobbs, chose to set the production in a women’s prison was an interesting novelty. And fitting enough, given the state of tension and bellicosity that dominates the play. But as a directorial choice, I wondered if it was one made to somehow justify having only women onstage. If so, I’m not sure I needed it. The play works with women in these roles (pronoun predicaments notwithstanding). But at the same time, that’s not to say I minded the nontraditional setting. The director made clear in his notes that this was an experiment. And I’m all for that. As an experiment, it was engaging, it was appropriate for the piece, and it presented us with some creative prop choices – cigarette packs hurled down as flung gauntlets, toothbrush shivs for rapiers…
Unrest in the women’s prison that is the setting for “Richard II”
If I had a quibble to make about the staging, though, it was with the stage combat. I know it’s a challenge for a fight choreographer in live theatre to walk the fine line of verisimilitude – allowing us to believe blows are landing while also being reassured that actors are not being injured. But some of the initial punches in the fights I witnessed were so cautiously thrown, so wide of the mark, I had a hard time suspending my disbelief – or even realizing it was a fight that was breaking out, as opposed to, say, an embrace. It may seem like a small detail, but sometimes, a hit must at least seem to be a palpable hit.
But overall, the fights were otherwise well-executed and reinforced the conflicts essential to the story. And this telling of this story was still a hit with me in the end.
Richard II continues through October 30th at the Indy 11 Theatre at the IndyFringe building, 719 E St Clair St, Indianapolis, IN. For ticket information, go to https://www.indybardfest.com/richard-ii-at-indy-11.
Nobleville’s Improbable Fiction Theatre Company offers a delightful presentation of William Shakespeare’s 1602 play The Merry Wives of Windsor at the Indy Fringe Basile Theatre. Jeff Bick directs the comedy, which is sometimes called “the original situation comedy”. And for good reason.
Shakespeare’s enduring character Falstaff, filled with ardor and a longing for wealth, writes identical love letters to two women he “admires” – and who happen to be the wives of his wealthy acquaintances, Masters Ford and Page. When the women meet and tell each other about their letters, a plan is devised to show the old letch they aren’t happy with his intentions. Comedy ensues – filled with misunderstandings, plots gone wrong, and other mayhems. Hello “I Love Lucy”!
from left: Kelly BeDell as Mistress Ford and Dana Lesh as Mistress Page
Thomas Sebald takes the Falstaff role with great skill. He has provided the man with a good array of oversized characteristics which flesh out the character with continuously humorous results. Joining him as the ladies wronged are Dana Lesh as Mistress Page and Kelly BeDell as Mistress Ford. This trio provides much of the fun – Ms. Lesh and Ms. BeDell are especially good as enthusiastic plotters of revenge.
John Johnson is a standout as Master Ford, so too Angela Dill as Mistress Quickly. Johnson is multi-layered in his rendering of the jealous husband, excelling in his several scenes with Falstaff. Ms. Dill provides the skillful energies necessary to make her role dynamic and fun. Others of note in the large cast come from Shakespeare’s ancillary love story in the piece: Sophie Peirce as the Page’s sweet daughter – Anne, Ben Elliott as her unsure suitor – Slender, and Connor Phelan as her selected spouse – Fenton. All three only appear in a few scenes now and again but are none the less very solid in their portrayals.
Thomas Sebald as Sir Falstaff encounters Angela Dill as Mistress Quickly
The Elizabethan costumes are finely done by Sara Musick and her crew, the simple set design is adequate for the many locales of the scenes, and Mr. Bick’s direction, assisted by Becca Bartley, moved the action along in as comprehensible a way as a Shakespeare play can be offered.
Some problems were evident to me however. First of all, a full out AC unit froze the audience for the first act. That was corrected for the most part in the second act but made for a sure discomfort. Secondly, my old complaint of diction and highly excited vocal levels raised its head here. Shakespeare is so difficult to hear correctly and to understand fully, I feel extra efforts must be made by a cast to provide the best of diction and vocalizations in order to promote good communication, particularly with any accented roles. Certainly not all the actors were guilty of this shortcoming – but enough lines and speeches went by without my clearly understanding them, that I believe it was a significant issue. The solution lies with the directing staff – can you understand your actors if you are not reading along in the script during rehearsals? The venue itself is no friend to proper acoustics and is also a part of this problem.
Kelly BeDell and John Johnson as Mistress and Master Ford
Bottomline: This cast and crew bring forth a rich, colorful and humorous rendering of one of my favorite Shakespeare plays. It is full of marvelous portrayals with sections of hilarity and is certainly a worthwhile entertainment.
Lear’s Shadow by Brian Elerding is First Folio Productions’ second offering for Indy’s Bard Fest (along with Henry IV Part 1) which opened this weekend for its regional debut. Mrs K and I went to a sadly under attended performance this afternoon and I came away with a good deal of appreciation and some questions as well.
Elerding’s play is a study of a calamity’s aftermath. As the play opens we meet Jackie (a tumultuous Nan Macy), who comes upon the scene, which is set in a theatre rehearsal space, a little confused and disoriented. She appears to have a black eye, and a sore neck which bothers her to the point that she must sit, then lie down. Stephen (Tom Weingartner) enters, talking on his phone, while looking for Jackie. They know each other, being part of the same theatre company. What follows is a bit of Jackie’s confused state mixed with a lot of concern on Stephen’s part. He tries to have Jackie return home, but she will not. She wonders where everyone is – why are they late for rehearsal? – where is Janine (her daughter)? When this all becomes too much for Stephen to handle, he finds he must do something to distract Jackie until her other daughter Rachel (Morgan Morton) arrives. He hits on the idea of having a discussion about a play – King Lear. This interests Jackie a great deal, getting her to focus more, and off we go – dissecting Shakespeare’s tragic play, scene by scene, while only concentrating on the main plot line which concerns King Lear’s fall into madness.
Jackie (Nan Macy) discusses King Lear with Stephen (Tom Weingartner) in a scene from “Lear’s Shadow”.
The performances in the piece, which is directed by Bard Fest founder Glenn Dobbs, are amazing. Nan Macy shows Jackie’s full menu of emotions with heightened skills. She plays Lear’s part to prodigious effect, often thundering through the lines. She plays Jackie’s interior dismay with all the correct clicks of confusion, conflict and a dash of dementia. Ms. Macy is a larger than life talent (I had the pleasure of directing her as the wearyingly wary older nun in Doubt a number of years ago). She delivers a knock-out portrayal of her troubled yet brilliant thespian.
Tom Weingartner has his own choice moments. As Stephen, he is obviously concerned about his friend’s state, and willing to stand by her, aiding Jackie through the hour until her daughter arrives. The two characters spar, react, and share interesting thoughts about Lear. Much of Stephen’s time is used by setting up scenarios for Jackie, to feel grounded by something she is expert at – Shakespearean drama, and here Weingartner adds a strong balance to Ms. Macy.
Jackie (Nan Macy) and her daughter Rachel (Morgan Morton) share a difficult moment in “Lear’s Shadow”
The plot twists slightly when Rachel arrives. Morgan Morton makes the most of her time onstage with an emotional delivery of the worried daughter. I will not share the complication that has arisen, but there are some very tender moments near the end of this play.
I absolutely loved and admired what the actors brought to the table here.
The script itself, unfortunately, was another thing altogether for me.
Note: I am not what anyone would call a Shakespearean expert. I have been involved in more than a few productions of the Bard’s work, and I have enjoyed them. I have enjoyed seeing many productions of his plays. However, I cannot say I would enjoy picking up a Complete Works of Shakespeare and trying to lose myself in the stuff. Granted, he was a genuine genius; his works have endured through time. But, there is much of it which I do not connect with. But heck, there is much modern theatre I do not connect with.
What I found in Lear’s Shadow was a very thin emotional plot, serving as a vehicle for a withering (for me) discussion of King Lear. Luckily, I have seen the play and knew what the characters were talking about, to a degree. (The person who comes to see this contemporary production will be at a huge disadvantage if he has no knowledge of King Lear.) I can only speak for myself (and Mrs K, I suppose) when I say the script was a disconnect for us; more a symposium for The Advanced Study of Shakespeare’s King Lear, than an entertainment. I may have missed a lot here, but I just do not see the connection between the story’s conflict and the delving into the details of King Lear through the actors’ discussion and “rehearsal” of the play. It is my loss, I am sure. I wish it were otherwise.
Bottomline: Brush up on your King Lear and come see these outstanding performances. This trio of actors create some very tangible characters. I just wish I had a better handle on the playwright’s objective here.
You will find this production at Indy Fringe theatre in the blackbox Indy Eleven venue. You can order tickets online at http://www.indybardfest.com.
“There is nothing either good or
bad but thinking makes it so.”
Hamlet
Years ago I attended a lecture by Kurt Vonnegut in which he presented a graphical analysis of why classic theater (i.e. Shakespeare) was beautiful and timeless, whereas modern theater (i.e. episodic television) was not. As you might imagine, the acerbic Vonnegut’s tongue was planted firmly in cheek as he literally “graphed” Magnum P.I. and then Shakespeare on the chalkboard at the front of the auditorium, but the point still seemed valid: certainty vs ambiguity. Modern television, or at least that of the 80’s, presented the viewer with a definitively good situation, which was then disrupted by a problem, which was then resolved by the end of the hour- up, then down, then up again on the graph. With Shakespeare, Vonnegut argued, it was never quite clear what was good or what was bad, a straight line across the graph, sending the audience out of the Globe Theater in London with things to endlessly ponder, argue and discuss. Like today’s movie phenomenon Joker, in which a disturbed loner’s murders become a blank slate for an angry mob to interpret as a social movement (in a film so cryptic that, ironically enough, seemingly everyone on the internet feels compelled to suffuse it with their own meaning too), the genius of Shakespeare is in its habit of leaving the audience with questions rather than answers. Great art, whether it be Joker, the Mona Lisa with her enigmatic smile, or even a blank white canvas with some slightly ochre-ish lines (for all you Yasmina Reza fans out there), is as much about the viewer as the artist.
And so it is with Hamlet, one of two productions opening the 2019 Indy Bard Fest this past Thursday night. Perhaps Shakespeare’s most famous and endlessly analyzed play, the story of the melancholy prince begins with a ghost and a demand for revenge- both of which are somewhat problematic concepts for the presumably Catholic Hamlet- winds its way through plots and counterplots, decisiveness and indecision, and ends in murder. Lots and lots of murder. What was the point- or rather points- of it all? Was Hamlet sane or mad? Is vengeance noble or tragic? Is life fleeting and ephemeral, or grand and eternal? These questions and more have fueled the careers of four centuries worth of theater critics, and now, via the vision and able direction of Doug Powers, will keep Indy Bard Fest audiences thinking far longer than their drives home.
from left – King Claudius (Eric Bryant), Hamlet (Brian G. Hartz) and Queen Gertrude (Jean Arnold) in a scene from Carmel Theatre Company’s “Hamlet”
First, let me get my gripes out of the
way, because this is how theater critics earn their pay and get
famous:
For one, the setting is, well…
“stark,” would be one way of putting it. “Uninspired” might
be another. Black box theater can be a particularly effective draw on
the imagination, and undoubtedly is a must to some degree when
turning over shows as quickly as Bard Fest requires, but the interior
of the Fringe Theater on St. Clair Street is a bit too bland to pull
this off with complete success. A little bit of window dressing would
have helped immensely with setting the mood.
Volume, too, was sometimes a problem,
even from the typically booming Prince Hamlet- particularly during
softer moments of dialogue played against sparse but oddly
superfluous pre-recorded bits of old-time radio and military-ish
something-or-other. Shakespeare can easily enough begin to sound like
word-salad to the modern ear without losing half the lines to a
soundtrack.
Finally (in a gripe that admittedly
sits squarely in the eye of this beholder), the play is served up
with the fairly modern theatrical conceit of a contemporary setting,
full of guards with semi-automatic weapons and courtiers in suits and
ties. As someone who believes in proper context as the key to the
interpretation of any writing, I must admit at the outset that I am
not a fan of this technique, though I know it’s all the rage.
Shakespeare was a product of a particular time, a particular place
and a particular society; to tear his words from their milieu and
stuff them into the semi-present can serve only to distract and
misdirect from the bard’s original thoughts and themes. In the
past, there was at least some novelty to this approach, but now it
just seems tired, repetitive, and too clever by half.
Nowhere is this
time-shift more jarring and out of place than during the second-act
burial of (Spoiler Alert!) Ophelia, during which the two gravediggers
are presented as black-clad, sunglasses-and-beret-attired 60’s beat
poets- an anachronism within an anachronism- playing the whole scene
seemingly purely for laughs. I get it that these are archetypal
Shakespearean fools, and thus inherently somewhat comical, but there
really is some meat on the bones of their dialogue and it gets lost
here in the giggles. When the melancholy Prince Hamlet then
uncharacteristically joins in the yucks- playing what should be a
thoughtful speech on mortality practically as a burlesque- and the
First Gravedigger/Beat Poet starts thumping two skulls like bongos,
the production comes dangerously close to turning Shakespeare’s
masterpiece into a Saturday Night Live parody of itself. This
is surprising, as elsewhere in the evening, the humor Shakespeare
himself crafted into his script is played flawlessly and to the
desired effect; it’s unclear to me why the director felt the bard
needed some over the top comedy help in this particular scene. It
clearly generated plenty of laughs from the audience, but sadly
detracted from the overall effect of the play.
On to the good (and there is a LOT of
good):
First off, the direction. My personal
beefs with Armani-wearing medieval kings and Bongo Gravediggers
aside, Mr. Powers has molded a cast filled with wonderful
characterizations held together by honest, powerful relationships,
and he has birthed a production that (contrary to popular stereotypes
of Shakespeare) is positively crackling with energy from its eerie
start on the ramparts of the Danish castle to its bloody, climactic
finish. When you rise from your seat after a three-hour performance
on a work night disappointed only by the fact that there isn’t more
to see, you know the director has nailed it.
“To be or not to be…” – Brian G. Hartz takes the title role in Carmel Theatre Company’s production of “Hamlet”
Second: the actors. Shakespeare is
tough to perform. I haven’t attempted it since doing a skit at the
front of Mrs. Pursell’s fifth grade classroom (I played Hamlet,
coincidentally enough, in a portrayal I’m sure Central Elementary
School still heralds as “A Triumph of the Prepubescent Performing
Arts”). Every single one of this cast has brought their A game to
this production, investing each line of dialogue with meaning and
thoughtfully integrating their part or parts into the whole.
Standouts in the supporting cast on this particular night were Tony
Armstrong in multiple roles (but most particularly for his powerful
rendition of a soliloquy about the death of King Priam and Queen
Hecuba in the Trojan War) and Rachel Snyder, who, even in the fairly
small role of the courtier Osric, nearly wordlessly delivers some of
the play’s most appropriately laugh-out-loud moments.
Hamlet (Brian G. Hartz) contemplates his actions against King Claudius (Eric Bryant) in a scene from Carmel Theatre Company’s “Hamlet”
Of course, Hamlet belongs to its namesake, and I truly cannot imagine a more dynamic yet nuanced performance- amateur or professional- than the virtual acting clinic put on by Brian G. Hartz Thursday night. I have seen Mr. Hartz once before, in an outstanding performance as Dr. Martin Dysart in Equus, but his portrayal of the tragic prince sets a new bar for excellence in Indianapolis theater. He completely inhabits the character and soars through the wild range of emotions and intensities the character requires. His performance by itself is well worth the time spent and price of admission. If any Indy-area actors want to see how it’s all supposed to be done, this is the place and he’s the guy.
Finally: Shakespeare. Need I say more?
Well, yeah, actually I do. Because, like a lot of people, I don’t
really like Shakespeare. It’s old. It’s wordy. It’s difficult
to follow in the theater and impossible to read on the page. It takes
work, and I’m lazy.
But maybe it’s worth the work.
Because it’s also important. It’s thoughtful. It’s surprisingly
witty. It’s ambiguous. It’s a straight line across Kurt
Vonnegut’s chalkboard and into your head. It’s practically
timeless. And it’s at Indy Bard Fest right now.
Go see Carmel Theatre Company’s Hamlet at Indy Bard Fest. I may not be a big fan of Shakespeare, but if it were all done this well, maybe I could be. You can find tickets and schedules at indybardfest.com .
First Folio Productions and Catalyst Repertory have combined forces to present the epic drama Richard III at the IndyFringe Basile Theatre.
Shakespeare’s tragic play offers up one of his most intriguing characters in Gloucester/Richard, the physically flawed, and notoriously hateful villain, who murdered all who stood between him and the throne of England. Skillfully adapted by Ben Power, Casey Ross and director Glenn Dobbs – the production begins with the 2012 discovery of Richard’s remains in a Leicester, England parking lot. This scene melds into Gloucester’s opening monologue, “Now is the winter of our discontent…” and we are off.
What follows is a compelling account of the King Richard III saga, augmented by Linda Schornhorst’s lush costume designs, a rich soundtrack designed by Brian G. Hartz, and fight choreography by Scott Russell, all on the simple set designed by Fred Margison and Andy Burnett.
Matt Anderson as Richard in First Folio and Catalyst Repertory’s production of “Richard III”.
Matt Anderson is thoroughly masterful as Richard. He truly becomes the fated scoundrel in what is a very physical and methodical portrayal. Anderson leaves no doubt that this is a damaged man, his extreme awkwardness only amplifying his focused desire to achieve the throne. Richard’s words drip with desire and hatefulness, and his body reveals the pain of his being. The supporting cast has a great advantage by being able to react to the seething performance Anderson renders.
Carey Shea plays the dual roles of Richard’s brother Clarence and his opponent Richmond. Both are offered with confident, spot-on depictions. Allison Clark Reddick gives a stirring performance as the widow of Richard’s brother – Queen Elizabeth. Her sorrow at the tragedies in her character’s life is immense yet varied enough to be compelling and genuine. Matthew Socey is effective as the weakened husband of the queen, King Edward IV; Christina Howard is sad and lovely as the stricken Lady Anne; and Nan Macy projects her role as Richard’s mother, Duchess of York, with great authority.
Matt Anderson (Richard), Allison Clark Reddick (Elizabeth), and Nan Macy (Duchess of York) in First Folio and Catalyst Repertory’s production of “Richard III” .
The various assignments given Jay Hemphill (Buckingham), Casey Ross (Queen Margaret), Doug Powers (Rivers/Sir Urswisk), Kevin Caraher (Hastings), and Ryan Reddick (Stanley), plus John Mortell, Mark Cashwell and Mike Varick (each in various roles) are all well met. Also, Dalyn Stewart and Lex Lumpkin both do themselves honor with their portrayals of Richard’s young nephews, Prince Edward and Duke of York.
Kevin Caraher (Lord Hastings), Matthew Socey (King Edward IV), and Allison Clark Reddick (Queen Elizabeth) in First Folio and Catalyst Repertory’s production of “Richard III” .
This is a strong presentation, filled with well-developed performances. Most everything that has been pieced together for the production emphatically meets the goal of conveying this complicated story to the minds of the audience in an understandable and potent way.
My only negative comment for this impressive show is that the background sound track, while well-chosen and effective in its result, was at times too intense in volume, keeping me from fully understanding the players. I think this could easily be corrected – as I believe the most important part of theatre is the actors’ conveyance to an audience.
Bottomline: Shakespeare fans, and indeed anyone who loves good theatre, will want to attend this high level Richard III. Director Glenn Dobbs has gained an impressive reputation with his well-researched, high quality productions of the bard’s works. This one is not to be missed.
Richard III continues weekends at the IndyFringe Basile Theatre near Mass Ave through July 9th. You can get information about the shows, and purchase tickets, by going to http://www.indyfringe.org/theatre-show/richard-111 .
Calder, the Musical, which opened as a full-length musical production last night (after wowing IndyFringe crowds last summer in a one hour version), is a grand testament to the talents and ingenuity of two local artists – Tom Alvarez, who wrote the book and the lyrics, and Dustin Klein, who wrote the music. Having fallen upon the story of mobile originator Alexander Calder in a children’s book about 2 years ago, the friends decided to work together and write an original story and score. The fruition of their endeavor, as witnessed in the packed house world premiere, is a colorful and well-tuned entertainment.
“Calder, the Musical” co-creators Dustin Klein and Tom Alvarez on opening night!
This original score is brim-full with emotional and spirited songs and compositions, including three standouts. The inspirational “A Path to Follow” encases Calder’s realization of where to head in his artistic life, while the especially romantic “Prize in the Sky” surrounds Calder and his soon-to-be wife Louisa with a passionate aura. I also thought the wonderful music written for “The Mobile Ballet”, which duplicates the many multi-colored parts of Calder’s early pieces, was delightfully noteworthy. Oh, and I could also add the lively and fun “Dance With Me” to this list. And while I am on the musical aspects of the show, let me just mention what a talented pianist Mr. Klein is proven to be. As the show’s rather small band consists of Klein’s piano, and a drum set (worked by Scottie May), with occasional input by an accordionist (Giselle Trujillo) – it falls to the piano to lead the way, and composer Klein provides a profoundly skillful turn at the keyboard.
Visually impressive, the Calder story features a cast of 14, many playing multiple roles, decked out in a large variety of colorful costumes designed by Cheryl Harmon and Nancy Fansler, in scenes impressively illuminated by Laura Hildreth’s delightful illustrations as rendered in Ben Dobler’s impressive projections.
A scene in “Calder, the Musical” is illuminated by the talents of Laura Hildreth (Illustrator) and Ben Dobler (Projections).
Christa Runion plays Thalia the Muse, who is our guide and storyteller for the show. Her spunky approach to the part aptly provides much of the humor in the production. Logan Moore handles the title role with authority. His fine baritone voice is a pleasure to hear and his expressiveness in his interpretations both musical and emotional hit the mark. As Louisa, his wife, Katie Schuman varies well between a sweet softness and a frustrated strain. Moore and Ms. Schuman share the “Prize in the Sky” duet which, again, I feel was unquestionably a highlight of the show.
The spectacular circus scene from “Calder, the Musical” at IndyFringe Theatre. (Costumes by Nancy Fansler)
The busy supporting cast members play their many parts with energy and focus. Danielle Carnagua is lovely as Calder’s artist mother while Jake McDuffee firmly provides the father role, though often in rather a too quiet voice. Among the featured dancers in Mariel Greenlee’s solid choreography, Matt Rohrer leads the way along with Ms. Carnagua. Among the smaller roles, Gabby Niehaus (who happens to be my dear niece) nails the comic facets of her cameo as Zelda Fitzgerald, Tianna Williams is remarkable as expatriate entertainer Josephine Baker, and youngsters Ian Gamble and Piper Murphy are a delight as the young “Sandy” Calder and his sister, Peggy. The stage is often filled with the supporting cast members, to the point where I think a larger staged venue might be the next logical step for any future productions of the show.
Bottom line: There was a magical feeling in the room as we gathered to watch this very original undertaking. It succeeded on most levels and is unquestionably a fine entertainment to put on your calendar. But Calder is a big musical, I think, and I would really love to see it produced at a full staged venue with all the accoutrements therein – room for a fuller orchestra, with miked voices, and expanded choreography and settings. I feel Mssrs. Alvarez and Klein’s big idea deserves big treatment.
Calder, the Musical continues at IndyFringe Theatre through February 12th. For ticket information go to http://www.indyfringe.org/node/106 or call the theatre at 317-522-8099.
Footnote: Something was missing in the pre-show curtain speech which I know will be managed in the future. Obviously, people need to be reminded to silence or turn off their phones. No less than 6 (and possibly more) ringtones were heard during both acts of this show, just in my area. It was quite disturbing and as the number grew, very perplexing. (At one point an audience member’s phone hit the floor with a clatter as it fell off of their lap!) As we know, the public’s addiction to their so called “smart” phones has reached baffling levels, but these faulty occasions are still considered as more than slight gaffs in the world of theatre. Broadway shows have been stopped for less!
It’s finally January and we are just days away from a theatrical world premiere here in Indianapolis! On Friday January 27th, IndyFringe Basile Theatre will be the site of the much anticipated opening night for Calder, The Musical. Written and directed by Dustin Klein and Tom Alvarez, and presented by Marianne Glick and Mike Woods, this portrait of American artist Alexander Calder had a preview at the IndyFringe Festival last summer and had the honor of being the #1 Best Selling Show for 2016 IndyFringe.
The preview has since been expanded into a full length offering featuring Logan Moore in the role of Calder. You may have seen the 2014 Butler grad when he appeared in the Calder preview or in ATI’s productions of The Fantasticks, as El Gallo, and The 39 Steps as Richard Hannay.
Others in the cast include: “Christa Fleming-Runion as The Muse, Kate Schuman as Louisa Calder, Ian Gamble and Teddy Rayhill alternating as young Alexander Calder, Jordan Pecar and Piper Murphy alternating as Peggy Calder, Jake McDuffee as Stirling Calder/Piet Mondrian, Danielle Carnagua as Nanette Calder. The ensemble includes Leslie Gaudreau as Gertrude Stein, Gabby Thurman Niehaus as Zelda Fitzgerald , Tiana Williams as Josephine Baker, and Jenna McGregor Jarvis, Mark Whetstone and Matt Rohrer in various supporting roles.” ¹
The show “traces the life of Calder and brings his art to life on stage through a theatrical experience of drama, music, dance, and visual art. Narrated by an unlikely muse, the show chronicles his beginnings as a young boy through nearly eighty years of artistic creation. The story opens in 1976 at the Whitney Museum of American Art in New York City at the opening of Calder’s Universe, a major retrospective of his career and is followed by flashbacks to major turning points in Calder’s life. The evolution of his whimsical creations beginning in his childhood workshop, to the streets of Paris, to his movable wire circus of the 1920s and 30s, new loves and paths to follow on ship journeys, hardships as a struggling artist and creation of his mobiles and stabiles and more—are all explored. Amid the dark influences, ongoing conflicts and times of the 20th century, audiences will be transported to Calder’s imaginative world where art has the ability to bridge ideas of peace, hope, and harmony.” ¹ This show marks Klein and Alvarez’ first musical theatre collaboration.
Composer Dustin Klein (right) and lyricist Tom Alvarez
Dustin Klein composed the music for the show. He has worked as an actor, musical director and producer, and currently serves as the chairman of the Department of the Arts at The Orchard School in Indianapolis, where for the last 15 years he has been the choir director and drama teacher.
Tom Alvarez provided the lyrics for the show. He is familiar to many for his regular appearances on IndyStyle on Wish TV – Channel 8. Alvarez has over 40 years experience as a free-lance journalist covering productions of theatre, dance and music. He produced the Emmy-winning documentary James Dean And Me, which aired nationally on the TLC network.
Performance dates and times are: Friday Jan 27, 7:30 p.m., Saturday Jan 28, 7:30 p.m., Sunday Jan 29th, 2 p.m., Friday Feb 3, 7:30 p.m., Saturday Feb 4, 7:30 p.m., Sunday Feb 4, 2 p.m. Friday Feb 10, 7:45 p.m., Saturday Feb 11, 7:30 p.m., and Sunday Feb 12, 2 p.m.
Tickets are priced at: $20 for adults, $15 for seniors/students and $12 for children under age 12.
IndyFringe Theatre is located at 719 E St Clair Street, Indianapolis in the Mass Ave District.
You can go online to buy tickets at Calder tickets . For other ticket information, call 317-522-8099
Mrs. K and I are so looking forward to seeing this original production by our friends, Dustin and Tom. I know they have worked very hard on the show and when I last talked with them about it – they both gave me the feeling they have put together something very special.
Last night, Mrs. K and I traveled to the Indyfringe Basile Theatre (which has been much transformed since our last visit in 2011) for Wisdom Tooth Theatre Project’s season ending production of The Merry Wives of Windsor, directed by Bill Simmons. We were met there by a very satisfying and well-constructed performance of what is often considered one of Shakespeare’s weaker comedies.
The tale deals mainly with Sir John Falstaff’s need for quick monies and quicker romances. His faux pas of writing duplicate letters to his two targets for said benefits, with the added factor of the targets being very good friends, sets the ball rolling through a rousing story of lively revenge plots, comical jealousies, and mischievous misunderstandings.
Sir John Falstaff (Adam O. Crowe, left) encounters jealous husband Ford, (Rob Johansen) “disguised” as Brook in a scene from “The Merry Wives of Windsor”.
Simmons writes in the program’s Director’s Notes that this was his first try at directing Shakespeare, or in fact – any classic text, and that he faced the challenge by deciding on a feminist angle, which was indeed on the mark. His precision in guiding his actors’ intentions, and the variety of characterizations allowed, ultimately led this cast to a wonderful understanding of their roles and the ways in which they would personify them. Simmon’s placement of the action at the 1950’s Windsor Hotel & Resort also gave the latitude necessary for a set of ’50s sensibilities and styles, which worked very well.
Mistress Ford (Amy Hayes, left) and Mistress Page (Claire Wilcher) devise a plan of revenge against the lecherous Flastaff in “The Merry Wives of Windsor”
The cast is led by: Adam O. Crowe – magnificently lecherous and opportunistic as the fat knight, Sir John Falstaff; Amy Hayes and Claire Wilcher – scheming and hilariously giddy as gal-pals Mistress Ford and Mistress Page; and Rob Johansen – a tour de force as the jealous husband Ford (and as his disguise wearing alter-ego, Brook). Overall, this was a most evenly talented group – with memorably devised depictions by Carrie Schlatter as sultry “concierge” Mistress Quickly; Chelsea Anderson as the hula-hooping ingénue, Anne Page; Michael Hosp, as a shorts and collar-wearing clergyman, Sir Hugh; and Josh Ramsey, whose sporty, nifty Page all but swished through his swank actions. In an ironic twist of Shakespearean practice, several woman played men’s roles, with aplomb. Gari Williams was remarkable as an aggressive Dr. Caius; Frankie Bolda took the role of the doctor’s much put-upon servant, Rugby; and Kelsey VanVoorst wooed the young Anne Page as the indefatigable Slender. Rounding out the well-suited cast was Zack Joyce, as Shallow; Benjamin Schuetz, as Anne Page’s persistent suitor, Fenton; and Adam Tran as Falstaff’s somewhat devious servant, Pistol.
Some of the unfettered action in “The Merry Wives of Windsor” as the cast breaks into a song, and Page (Josh Ramsey, left) dances with Pistol (Adam Tran)
The action was played on Sara White’s inventive set design, while costume designer Peachy Kean Costuming provided just the right period-look for what sometimes seemed like a 50’s sit-com.
From left: Dr. Caius (Gari Williams) is urged away by Shallow (Zack Joyce) as Rugby (Frankie Bolda) looks on in “The Merry Wives of Windsor”
Fenton (Benjamin Schuetz, left) courts young teen Anne Page (Chelsea Anderson) in “The Merry Wives of Windsor”
Bottom-line: It seemed like all the right decisions were made regarding style, casting, designing, direction and feel resulting in a highly enjoyable evening of priceless laughs and depictions. The sit-com relevance is strong in this one, and it works like a charm. Go see it – you will be glad you did.
The Merry Wives of Windsor continues at the Indyfringe Basile Theatre weekends through May 28th. Call 317-522-8099 or go to http://www.wisdomtooththeatreproject.org for ticket and schedule information.
A Seat on the Aisle 