“Annie” at Beef and Boards Dinner Theatre

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reviewed by Ken Klingenmeier

I have to admit, I have seen Annie more than a few times. The perennial favorite musical, which opened this week on the Beef and Boards stage, seems to be a regularly scheduled item at theatres and, in its movie form, on television. It is a wonderful show, in itself – always uplifting, with a familiar “sing-along-in-your-head” type score. I like it, but…I’ve seen it, ya know?

So…what a pleasant surprise to see that Eddie Curry has directed this current local version to be a refreshing and sparkling edition of the show, with first class talent in every role, and a fine doggy performer to boot!

Mr. Curry, accompanied by Ron Morgan as choreographer, has let out the stops and coaxed big performances from even the smallest members of the cast. Some performers do approach cartoonish renderings of their characters – but hey, the show is based on a comic strip – so it all works!

Claire Kauffman takes the role of Annie. The experienced young actress (this is her third time performing in Annie, her second time in the title role) has a marvelous stage presence, and her strong, clear voice pays dividends as the orphan girl hoping to find her parents. Her comfort on stage shows as she handles all the comic and musical aspects with aplomb.

Annie and Daddy Warbucks

Ty Stover (Daddy Warbucks) and Claire Kauffman (Annie) star in Beef and Boards’ production of “Annie”

Joining Miss Kauffman is local favorite Ty Stover as Daddy Warbucks. This stage veteran is a marvel to watch, and to hear. His confident Warbucks is a reflection of the man himself – and is likely the best I have seen, personally.

Other standouts include Jeff Stockberger as an outrageous Rooster, Deb Wims as his conniving cohort, Lily St. Regis, and Kelly Teal Goyette, hilarious as the troubled Miss Hannigan. John Vessels is delightful as he brings his typical extra something to Warbucks’ butler, Drake; and Bobbi Bates is perfect as Warbucks’ secretary, Grace.

Easy Street

Kelly Teal Goyette (Miss Hannigan), Jeff Stockberger (Rooster) and Deb Wims (Lily St. Regis) in a scene from Beef and Boards’ production of “Annie”

One of the highlights of any production of Annie  is the group of young girls who play the orphans. Curry’s corp of Bridget Bingham, Sadie Cohen, Macy Franklin, Kynden Luster, Sylvie Templet, Anna Wagner and Aliva Rose Williams fill the stage with wonderfully lively dance and song, and some sharp comedy as well. They open the show with a bang and are a joy to watch every time they have a scene.

Never Fully Dressed

The orphan girls sing “You’re Never Fully Dressed Without a Smile” in a scene from Beef and Boards’ production of “Annie”

Kristy Templet (who is the proud mama of orphan Sylvie) expertly leads the B&B orchestra through the familiar score, Jill Kelly Howe’s costume designs are a colorful and bright perfection, and Michael Layton’s scenic design makes exacting use of the B&B facilities.

Chef Odell Ward has tipped the buffet menu toward a kid friendly selection for this B&B family production, and as usual, everyone on the B&B staff does all they can to make a visit to Beef and Boards a real pleasure.

Bottomline: This likely is not the last time I will see a production of Annie, but Mrs K and I agree, this will always be among the best. The strong cast carries the day and Curry’s direction makes for a truly fun show for all family members – we brought a 7 year old along and she was enthralled.

Annie continues at Beef and Boards Dinner Theatre through July 15th. 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



Dance Kaleidoscope presents Martha Graham’s “Appalachian Spring” at IRT

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reviewed by Ken Klingenmeier

Beautiful. Emotional. Fulfilling. Triumphant. Just some of the words that aptly describe the opening night performance of Martha Graham’s Appalachian Spring as offered by Dance Kaleidoscope and staged by David Hochoy and Miki Orihara. This classic piece, presented on the IRT Main Stage, was composed by Aaron Copeland for Ms. Graham to choreograph, and premiered in October 1944 –  commissioned by the Elizabeth Sprague Coolidge Foundation in the Library of Congress. It has grown to be known the world over as a defining element of American dance culture and artistry – projecting not only the innovative American form, but also an American pioneer experience.

The DK dancers are led by Caitlin Negron as The Bride, in her farewell performances with the company after a ten year stint. Ms. Negron is lovely and expressive as the young woman – catching qualities of joy and uncertainty, resolve and anticipation. Her Husbandman is performed by Timothy June, who brings a strong confidence to his role. Together, they skillfully portray a range of emotions that fit the storyline of a new couple in the Spring of their lives, striking out together, facing all the joys and uncertainties of frontier life and marriage.

Mariel Greenlee-Timothy June-Caitlin Negron

(from left) Mariel Greenlee, Timothy June and Caitlin Negron in a scene from Martha Graham’s “Appalachian Spring”

Mariel Greenlee adds her finely crafted portrayal of The Pioneering Women – a guiding figure for the bride, solemn and wise; while Stuart Coleman (who alternates with Brandon Comer in the role) gives forth a stirring performance as The Revivalist, a rigid man of God.

Completing the cast are Emily Dyson, Marie Kuhns, Aleksa Lukasiewicz, and Misty Thompson as The Followers – four young ladies whose reverence and enthusiasms are brightly offered by this quartet.

Stuart Coleman-Mariel Greenlee

(from left) Stuart Coleman and Mariel Greenlee in a scene from Martha Graham’s “Appalachian Spring”

Martha Graham’s choreography is unmatched in its portrayals and understanding of the human course. It is remarkable to witness this authentic recreation, augmented by the original set design of Isamu Noguchi and the costume designs by Ms. Graham. We are fortunate, as audience members, to have Mr. Hochoy’s insights on the piece – gathered as he worked beside the great choreographer in her later years. It gives us a chance to see the work as it was meant to be done – it is an unforgettable event, by any account.

Supporting the Graham piece is a first act of varied modern works. Two solo dances – Ave Maria and Losing My Mind, as choreographed by Mr. Hochoy, are expertly presented by dancers Stuart Coleman and Mariel Greenlee, respectively. These offerings – the first, sublime, and the other edgily tormented, lead the way to choreographer Stephanie Martinez’ Taking Watch, an ultra-modern piece performed as much to sounds as to music. It contains a surprising section without any supporting sound – with Timothy June and Caitlin Negron as the main dancers – that is extremely well done.

Jillian Godwin-Taking Watch

Jillian Godwin performs the opening section of Stephanie Martinez’ “Taking Watch”

Finally, the entire troupe gathers all their energy (and leaves it all on the stage) for a rousing rendition of the famous Benny Goodman number – Sing Sing Sing. With choreography by André Megerdichian, this is as lively a number as the company has ever done, evoking the wild dance style of the Goodman era. It’s no surprise that this energy draining performance comes right before intermission!

Every time I have the privilege of seeing the Dance Kaleidoscope company in performance, I am struck by the immensely talented people involved in this troupe. That includes not only the dancers and choreographers, but the lighting designer (Laura E. Glover) and costumers (Cheryl Sparks and Guy Clark) as well. Indianapolis is so very blessed to have this group in its fold and as they enter their 47th year, I can only hope that more and more people who enjoy dance and the arts will be become involved as DK audience members. If you go once, you will want to return again and again.

Appalachian Spring only runs thru Sunday June 3rd, so you will need to get your tickets rather quickly. You can get performance and ticket information by going to http://dancekal.org/features/concerts/appalachian-spring to or by calling the IRT Ticket Office at 317.635.5252.

  • – Photos by Crowe’s Eye Photography

“Hairspray” at Booth Tarkington Civic Theatre

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reviewed by Vickie Cornelius Phipps

Booth Tarkington Civic Theatre has a hit for the entire family!

Hairspray, an original American musical, opened on Broadway in 2002. The stage production by Marc Shaiman, Mark O’Donnell, Thomas Meehan, and Scott Wittman was based on the 1988 film by John Walters. Hairspray is set in 1962 Baltimore (“Good Morning Baltimore”) where 60’s dance music is the rage and segregation is firmly embedded in the culture.

The unlikely heroine is Tracy, a quirky and pleasantly plump teen who yearns to dance on the local teenage hit television program. Tracy’s dream comes true when she wins a spot on “The Corny Collins Show.” With her overwhelming positivity and a strong sense of self, she becomes an overnight success and attracts the eye of the most popular guy on the show, Link Larkin. The antagonist and mother-daughter duo, teen queen Amber and the show’s racist producer Velma Von Tussle will not be dethroned. Tracy joins with her friends to fight institutional racism on the small screen and advocates for the show to be fully integrated.


Nina Stilabower (center) as Tracy Turnblad in a scene from Civic Theatre’s production of “Hairspray”.

All ages can appreciate and enjoy this colorful musical with plenty of laughter and love, while learning to embrace who we are. Tracy Turnblad, played by Nina Stilabower, pulls off the big hair and big dreams with a voice to match. Nina is bright and energetic as she teaches us all to look past the color of one’s skin, and fight for equal rights. Tracy’s mother, Edna Turnblad is authentically played by Evan Wallace with sensitivity and sass. Edna, herself held back by her own self-doubt, is comforted by husband Wilbur, (J. Stuart Mill), (“Timeless to Me”) winning everyone’s heart. Justin Klein appears as Corny Collins, TV Emcee of the teen dance show, crooning beautifully in his array of colorful suits. Link Larkin, (Zachary Hoover), the heart throb of the show learns that authenticity triumphs over the limelight.


From left: the Turnblad family – Nina Stilabower as Tracy, J. Stuart Mill as her father, Wilbur, and Evan Wallace as her mother, Edna, in Civic Theatre’s production of “Hairspray”

I must give 4 stars to Jenny Reber who plays Penny Pingleton. Not only did she steal some scenes with her portrayal of the nerdy, clumsy side kick to Tracy, but she didn’t overdo it, finding just the right balance. Velma Von Tussle played by Mikayla Koharchik, who proves once again she can sing anything, and Amber Von Tussle (Emily Hollowell), with comedic selfishness, are the villains you love to hate. Both these ladies give strong performances. Joyce Licorish gives us Motormouth Maybelle, mother of Seaweed and Little Inez, and the host of Negro Day who takes us to church with (“I Know Where I’ve Been”) — Amazing! Micheal Hassell as Seaweed J. Stubbs is adorable and charms us with his dance routines. Little Inez played by Renee Carter is equally talented. High points go to B.J. Bovin playing four different parts particularly well and Jennifer Sutton as the Gym Teacher and Matron.


Evan Wallace as Edna Turnblad takes center stage in a scene from Civic Theatre’s production of “Hairspray”.

This lively and talented cast of characters, directed by Michael J. Lasley, keeps this story rolling and musically rocking from the beginning to the finale. Anne Beck’s choreography, visually exciting and fast paced, takes us straight back to the sixties. The musical direction by Brent E. Marty keeps our toes tapping. The bright and colorful costumes, fitting with the era, are designed by Adrienne Conces. Anyone who remembers big hair, upsweeps, bouffant and beehives, will love these, designed by Hair & Make-up Designer, Andrew Elliot. The set pieces by Scenic Designer, David Rockwell, are innovative and creative and keep the pace of the show moving. Lighting Designer, Ryan Koharchik, sets the mood and matches the excitement.

Presented at the Center for the Performing Arts  in the Tarkington in Carmel, Civic Theatre’s production of “Hairspray” runs now through May 12. For tickets call 317-843-3800 or visit civictheatre.org. Tickets can also be purchased at thecenterfortheperformingarts.org.

* – Photos by Zach Rosing

“Noises Off” at Indiana Repertory Theatre

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reviewed by Adam Crowe

In a previous review, I have written about the excitement of seeing new or rarely performed plays and musicals. Yet, there is something to be said about the joys of getting to see a new production of an old favorite. I had the distinct pleasure to attend Opening Night at Indiana Repertory Theatre for their production of Michael Frayn’s Noises Off. A play within a play, Noises Off is a comedic love letter (with a bit of jaundiced eye) to the theatre and especially to the art of the Farce.


From left: Ryan Artzberger, Rob Riley and Robert Neal in a scene from IRT’s production of “Noises Off”.

Slamming doors and misunderstandings abound, as is required in this genre. In this case, it is a farce about the staging of a farce, and therein lies its genius. At the outset, audiences are treated to a rehearsal of a (pretty bad) British farce titled “Nothing On”, as it prepares to go on a long road tour across England. Archetype characters abound: the aging actress, her latest romantic partner, the talentless bimbo who is trysting with the sleazy director, who is the object of the affections of an overlooked assistant stage manager, who is the object of the affection of the over-worked stage manager. Along for the ride is a notoriously drunken actor who may or may not make it onto the stage. Both on and off “stage”, these characters serve their farcical roles while never becoming anything less than delightful.


From left: Heidi Kettenring, Hollis Resnik, Jerry Richardson and Robert Neal in a scene from IRT’s production of “Noises Off”.

I should confess that I find Frayn’s play to be just about the perfect farce. In three Acts, audiences are treated to scenes from one rehearsal and two performances of the deliciously awful “Nothing On” – and just about everything that could go wrong does. Frayn is a brilliant playwright and his play Copenhagen is an incredible drama. That makes it so much more impressive to me that he also wrote such a ridiculous, fall-down comedy like Noises Off.

IRT’s cast is, not surprisingly, exactly right. Local talents Ryan Artzberger, Ashley Dillard, and Robert Neal are joined by Hollis Resnik, Jerry Richardson, Mehry Eslaminia, Heide Kettenring, Will Allan, and Rob Riley. All were hilarious and gave exacting and inspired performances. Special mention goes to Heide Kettenring, whose third act was the definition of perfection.


From left: Hollis Resnik, Ryan Artzberger and Jerry Richardson in a scene from IRT’s production of “Noises Off”.

In a play where precision is called for in nearly every aspect, the technical staff is especially important. Their work here is fantastic. Bill Clarke gets top honors for a set that must do some serious performing of its own. Michael Lincoln’s lighting, Todd Reischman’s sound and Michael Jackson’s lighting do exactly what they must – work perfectly while appearing to be shabby and somewhat failing. In addition, Rachel Anne Healy has created beautifully appropriate costumes for the “Nothing On” cast.

If you’ve never seen Noises Off, get those tickets ASAP. If you have seen it, you already know why I love it and I’ll bet you already have your tickets. IRT’s production, brought to hilarious life by this particular cast and crew, will be splitting sides until May 20th. “Nothing On”, only as seen in Noises Off, is a farce for the ages!! Indiana Repertory Theatre is located at 140 West Washington Street. Tickets may be purchased by visiting the website at http://www.irtlive.com or by calling (317) 635-5252.

  • Banner artwork by Kyle Ragsdale
  • Photos by Zach Rosing

“The Mystery of Edwin Drood” at Actors Theatre of Indiana

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reviewed by Adam Crowe

If you examine the shows that make up the seasons at many Indy area professional and community theaters, you will usually see some duplications. and you will certainly recognize many, if not most, of the shows being performed. That is why it is always such welcome news when a theater presents something new or rarely done. And I was very excited when Actors Theatre of Indiana (ATI) announced that the penultimate production for their current season would be the rarely seen The Mystery of Edwin Drood. This Tony Award winner, written by pop composer Rupert Holmes, is based on an unfinished story by Charles Dickens. It is the “unfinished” nature of the story that propels the narrative of the musical and marked a Broadway First. The Mystery of Edwin Drood was the first Broadway musical to feature multiple endings. The audience is tasked to select the villain at the pinnacle of each performance. It is a device since used by other shows, but was first made famous by “Drood.

ATI’s production – directed and choreographed by D.J. Salisbury – transports the audience to an old-fashioned British Music Hall, where performers are introduced and their roles announced. In this Musical within a Musical, the audience collects clues as the story is told, and at the appropriate moment, casts their ballots for the character they believe committed the “crime”. Salisbury’s direction is clear and clean, briskly moving the story along. His accompanying choreography is delightful.


Clockwise from center: Cynthia Collins, Judy Fitzgerald, Eric Olson, Tom Lancaster, and Harli Cooper perform in ATI’s production of “The Mystery of Edwin Drood”.

For this ingenious production, ATI has assembled an extraordinary cast, starting with co-founders Cynthia Collins and Judy Fitzgerald. These two powerhouses are joined by the familiar faces (and voices) of Paul Collier Hansen, Eric Olson, John Vessels, Darrin Murrell, Karaline Feller, and Logan Moore. T.J. Lancaster, Harli Cooper, and Jaddy Ciucci all make their ATI debuts. The large cast shares the stage beautifully and works together so well that you’d swear that they had been performing together for years. Zigzagging between their roles as “actors” in the Music Hall and their assigned Dickensian characters, the cast is enormously appealing, each having a chance to shine. Holmes has created alternate musical endings for the show, depending on the audience’s decisions, and I found myself marveling at a cast that had to be prepared to switch between multiple endings with very little lead time. This cast, I am happy to say, seems more than up to the task. Individually and as an ensemble, they are first rate!


A scene from ATI’s production of “The Mystery of Edwin Drood”.

Designer Bernie Killian has once again produced a remarkable set, functional and evocative. Aaron Bowersox’s lighting is equally moody and elegant. Costumes by Stephen Hollenbeck are sumptuous and the musical direction of Keith Potts is delightful – his orchestra is terrific.

Even if it were a musical that was performed frequently, ATI’s production would be worth your time. Given its rather rare nature, and the superior treatment by ATI, The Mystery of Edwin Drood is a must see.

Actors Theatre of Indiana is located in The Studio Theatre at the Center for The Performing Arts in Carmel. Tickets may be purchased by visiting the website at atistage.org or by calling (317) 843-3800. Shows are Wednesday through Saturday at 7:30 pm and Sundays at 2:00 PM. Tickets are $45.00, with discounts on Wednesdays and for students and seniors. 

“Singin’ in the Rain” at Beef and Boards Dinner Theatre

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reviewed by Ken Klingenmeier

Beef and Boards continues their ambitious 2018 season with a return of their 2011 smash, Singin’ in the Rain. Director Eddie Curry and choreographer Ron Morgan once again join forces, and B&B favorites Timothy Ford and Sarah Hund reprise their roles from the ’11 production as Don Lockwood and Lina Lamont.

Joining Ford and Ms. Hund are Buddy Reeder, who was last seen at B&B in Mary Poppins and CATS and who here plays Don Lockwood’s sidekick, Cosmo Brown; along with Kimberly Doreen Burns, who made her Beef & Boards debut last season as Eliza Doolittle in My Fair Lady, and who plays Lockwood’s love interest, Hollywood newcomer, Kathy Selden.

Good Morning

Buddy Reeder (Cosmo Brown), Kimberley Doreen Burns (Kathy Selden), and Timothy Ford (Don Lockwood) presnt the “Good Morning” number from B&B’s production of “Singin’ in the Rain”.

The famous original film version of Singin’ in the Rain, starring Gene Kelly, Donald O’Connor, and Debby Reynolds, premiered in 1952. It was re-imagined as a theatrical production, presented in London in 1983 and brought to the US, directed and choreographed by Twyla Tharp, in 1985. Notably, the 2006 stage version of the show which I saw here was my very first visit to Beef and Boards, so it has a special place in my heart and memory.

Director Curry’s choice to keep the tone of the storytelling style very mid-fifties and rather close to the original film version is spot-on. Aided by Jill Kelly Howe’s marvelous array of costumes, we are transported to a more carefree era of silent film productions. The style is dated, to be sure, but works wonderfully well here. Michael Layton’s fine and effective set design completes the picture.

I had my lawyers go over my contract

Eddie Curry (Roscoe Dexter), Sarah Hund (Lina Lamont), and Douglas E. Stark (R.F. Simpson) ina a scene from B&B’s production of “Singin’ in the Rain”.

Ford and Ms. Burns make a lovely stage couple – their duets are sharp and lively. Ms. Burns impresses with her immense talents. She is a genuine triple-threat for the stage – with high proficiency in her acting, dance and vocals. Her song “You Are My Lucky Star” is a standout in the show. Ford makes his stage work look easy, and has true leading man qualities. We last saw him here in B&B’s Into the Woods, and The Drowsy Chaperone, and he more than matches those fine efforts, especially in his very wet and iconic “Singin’ in the Rain” number, which closes the first act and is presented on a well designed, self draining, rain-on-the-stage set piece.

Buddy Reeder takes on the Donald O’Connor role from the film with an appropriately energetic approach. His “Make ’em Laugh” is a strong mimic of the movie original and his impressive dance skills are a spotlighted treat. As always, Sarah Hund is delightful in her comedy role as not-ready-for-the-talkies Lina Lamont. Over the years, we have seen Ms. Hund do every type of stage role, and whether she is dramatic or comedic, she invariably finds just the right levels to provide an outstanding performance. When she finally gets her chance to solo with Lamont’s witty lament “What’s Wrong With Me?”, she makes every note and every nuanced move count for comedy.

Beautiful Girl

Some of Jill Kelly Howe’s lavish costume designs are on display in the “Beautiful Girl” number from B&B’s production of “Singin’ in the Rain”.

Ample support is provided by a cadre of performers: Susan Boilek Smith is perfect as Hollywood maven, Dora Bailey; AnnaLee Traeger provides Lamont gal-pal Zelda Zanders with a lively persona; Michael Shelton has fun with the Diction Teacher role; Douglas E. Stark is just right as film mogul R.F. Simpson; and Eddie Curry plays film director Roscoe Dexter with inordinate understanding!

Choreographer Ron Morgan’s routines are sparkling and lavish, especially those employing the talents of his entire dance corps. The lead trio of Ms. Burns and Mssrs. Ford and Reeder lay out some exacting and nimble tap numbers, which please the audience no end.

As usual – the awesome buffet and unfettered attention of the B&B wait staff add to the outing’s enjoyment. And the desserts are way too tempting!

Bottomline: Even a major technical glitch (these things happen occasionally in live theatre) couldn’t dampen the enthusiasm this cast received from the audience. The show has plenty of sparkle and smash, plus a nice balance of comedy and romance, and the familiarity of the score is a definite plus.

Singin’ in the Rain continues at Beef and Boards Dinner Theatre through May 26th. 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



DIVOS (The Men) by Dance Kaleidoscope at IRT

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reviewed by Adam Crowe

I must extend enormous gratitude to Ken for allowing me my very first chance to review Dance Kaleidoscope. Their current offering, presented by The National Bank of Indianapolis, is DIVOS (The Men) and will be performed over this weekend at the Indiana Repertory Theatre. It is, quite simply, not to be missed.

My background in Dance is as an uneducated audience member only. My first experience with Dance Kaleidoscope was many years ago as a part of the IMA’s Penrod Festival. My initial feelings of “modern dance intimidation” were entirely unfounded, as DK’s fluency in all manner of choreography and musical forms drew my attention and my admiration. I also came to look forward to DK’s participation in the yearly Indianapolis production of “Spotlight”. This Charity event, now underwritten by Deborah Simon, is a fundraiser for Indianapolis’ Damien Center and brings together dozens of local artists in creating an evening of one-night-only entertainment. DK Founder David Hochoy was one of the people instrumental in creating “Spotlight”, which, BY THE WAY, takes place at Butler University on April 23rd.

Cody Miley-Jillian Godwin-Manuel Varges-RAIN-SM

Cody Miley, Jillian Godwin and Manuel Varges in RAIN-SM

As much as I have enjoyed watching Dance Kaleidoscope perform as a part of these other events, an evening like DIVOS (The Men), centered exclusively on the Company and its talents, raised my admiration to new levels. Choreography credits for DIVOS (The Men) go out to seven of the Company members, along with founder Hochoy and special guest Nicholas A. Owens. The mix of choreographers matches beautifully with the Divos of the title – male musical artists or groups that inspired each of the individual pieces. The DK Company takes such disparate sources as Michael Jackson, Johnny Cash, Queen, Led Zepplin, and George Michael and creates an eclectic and electric array of short pieces, with Hochoy and Owens tackling longer Elton John and Prince pieces respectively in Act Two. The IRT Mainstage felt remarkably intimate and the audience was captivated from the opening curtain.

Brandon Comer-Eltoniana

Brandon Comer in Eltoniana

Critical to the entire production were Laura Glover’s lighting and Michael Lamirand’s sound designs. They were exceptional, and both add to and support each choreographer’s vision. If you’ve never seen Dance Kaleidoscope in person, this production is a terrific introduction. The familiar artists and music offer an easy gateway to some striking dance pieces, both lighthearted and deeply emotional, brought fully to life by cast and crew.

DIVOS (The Men) runs until April 8th, on the Mainstage of the Indiana Repertory Theatre, located at 140 West Washington Street. Tickets may be purchased by visiting the website at DanceKal.org or by calling (317) 635-5252. Tickets will sell quickly for such a short run, so don’t delay.

  • – Photos by Freddie Kelvin


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