Storefront Theatre’s “INFINITY” at IndyFringe Theatre/Indy Eleven

Leave a comment



reviewed by Vickie Cornelius Phipps

I had the privilege of seeing the U.S. premiere production of INFINITY on opening night for Storefront Theatre of Indianapolis, performed at Indy Fringe Theatre/Indy Eleven. INFINITY is the first production of their inaugural season – written by Canadian playwright, Hannah Moscovitch, with original music by Njo Kong Kie, and directed by Storefront founder and Artistic Director, Ronan Marra.

How does a new Theory of Time change everything we know about ourselves?  In this case, it’s the relationship between three brilliant minds. Carmen (Melanie Keller) is a musician, violinist and composer, Elliot (Ryan Ruckman) is a theoretical physicist, and as the result of the laws of chemistry, they fall in love, resulting in an unplanned pregnancy and a neglected marriage. Sarah Jean (Andrea Heiden), a mathematic scholar and the couple’s daughter, addresses the audience about her string of unsatisfying sexual experiences. Thought provoking and emotionally moving, for me the play is about the messiness of life choices and the pursuit of obtaining love and acceptance through passion and perfection. It is the mixture of philosophy, physics, and music. It is a revelation about love, sex, and math.

Infinity 17-017

Melanie Keller (Carmen) and Ryan Ruckman (Elliot) in a scene from Storefront Theatre’s “INFINITY”.

Visually, set designer Ivana Vukomanovic gives us straight lines for a simple set resembling strings of instruments flowing down from the ceiling like rays of light. From the perspective of the audience, these stringed paths appear to intersect with each other suggesting conflict that the characters themselves may not perceive, but they keep moving forward. Live violinist (Allison Kelley) plays masterfully during scene changes and delivers the characters’ emotions to our senses in an extremely effective way. Well executed – the actors, the direction, and a great script communicate brilliantly what we all struggle with: What is real? Are we attracted to the people who help us confront unresolved issues? Does this mean there’s a fine line between love and hate? This play stimulates nothing if not self-reflection.

Infinity 17-036

Allison Kepley (Violinist) and Andrea Heiden (Sarah Jean) in a scene from Storefront Theatre’s “INFINITY”.

I especially enjoyed Andrea Heiden in her portrayal of Sarah Jean evolving from the frustrated 8-year-old, having to grow up too fast into the sexually obsessed adult who cannot possibly believe the love she receives is real. A special nod to Ryan Ruckman, who explains scientific theories which roll off his tongue as if he really understood them. And Melanie Keller, who made me scream inside “Yes you can do it alone, girl!”

I think Storefront has found a niche within the Indianapolis theatre community. The production of fine new works by female, minority, and foreign playwrights – in an intimate setting  – is just what this city needs.

INFINITY continues through Oct 15th. For more information, go to the Storefront web site – .

  • – Photos by Tom McGrath





Eye surgery follow up #2

1 Comment

Ken clay eyepatch

Some of my readers may recall that I had an eye operation in 2013 to take care of a serious condition that had occured in my left eye – an ocular melanoma had developed from a “freckle” on my retina, which my optometrist had noticed during an eye exam.

Recently, a theatre acquaintance contacted me to see how I had been effected long-term by the circumstance, as she had just gone through the procedure with the same doctor I had used. I directed her to my original post about the operation, at this link: as well as my one year follow up: .

She said these links helped her a great deal to understand what I have been going through, but she still had questions, since I had not touched on the matter in the blog since writing about it in 2014. Lots has happened since then.

The original piece I wrote on 2013 is viewed by one or more people nearly every day. (As of today it has been read over 1500 times and last month saw the most reads EVER with 86 views). Someone Googles “ocular melanoma” and finds the listing for the entry. So in order to promote better understanding about what to expect with this surgery, I thought I would do another update.

It took about two years from the time of the surgery for my left eye to be what I would call “useless”. That is to say, I could not use it to distinguish much else but light. There was a small area at the top of my periphery where I could make out how many fingers a person held up, but that did not constitute functionality. This loss was not a surprise, as Dr. Minturn, my surgeon, had said that that was what I could expect to have happen.

In truth, the doctor had administered several injections in my eye during 6 or 7 of my quad-annual visits to delay rapid sight-loss and he seemed pleased with the results.

About injections into an eye: this is not nearly as awful as you might expect. The eye surface is deadened and the shot itself results in the tiniest pinch. It is worse to think about than it is to endure.

By the third year, the loss of sight had furthered but it had little change in my everyday vision – the biggest loss being my peripheral vision on my left side. I still drive, with the help of “blind-spot” aiding mirrors. The biggest problem that occurs is that when walking in a crowd, I will sometimes bump into people, if I do not remember to scan left as I move along. No one has been injured in these mishaps, but a lot of apologies have occurred.

I had given some thought to wearing an eye patch and getting a contact lens for my right eye, but Dr. Minturn shot that down pointing out how glasses afforded some valuable shielding for my one good eye. I chose to go with his recommendation.

If anything, I can enjoy my monocular sight better now that my left eye has lost all sharp imaging. (What I do see with that bad eye now, I liken to looking up at the overcast sky and noting the glow of the sunlight and of the sun itself. That cloudy and indistinct presence of light matches what I see.) Before the loss, I had had trouble reading or watching television because my bad eye had added its blurry image to the mix of signals that my brain was trying to comprehend. Much of the time my brain could filter that blurry stuff out, but if my eyes got tired, it would be less choosey and add the blur in. I would try to overcome that distraction by covering that eye or winking out the fuzzy image. Sometimes it worked, sometimes not. Now if my left eye adds data to my vision, all it adds is a fogginess.

Presently, I have learned to accommodate the loss of one side of vision without much trouble. I barely think about it. I still see Dr. Minturn every 6 months, and I have to get annual x-rays and scans to ensure that cancer cells have not spread to other organs, particularly my liver. But for the most part, being “half-blind” causes little distress and no discomfort.

If you have had this procedure or condition, I suggest you follow your doctor’s orders and proceed through the steps of loss and recovery with his or her guidance.

“The Curious Incident of the Dog in the Night-Time” at IRT

Leave a comment

banner art

reviewed by Larry Adams

Does that mean I can do anything?”

  • Christopher, The Curious Incident of the Dog in the Night-Time

Shortly before his untimely death some years ago, famed local pediatric neurologist Dr. Brad Hale stopped me in the hall of our office and handed me a thin, red book. “The Curious Incident of the Dog in the Night-time” the title proclaimed, complemented on the cover by a simple silhouette of a dead poodle. The present sat on my desk for some weeks amidst piles of papers and journals, but for some reason refused to go away on its own. I could not imagine why such an odd little book had caught the attention of one of the smartest, funniest men I had ever known, and so, if for no other reason than that, I finally opened the cover and turned to the first chapter:


I was hooked from the start, and thus began my long love affair with this strange, first-person account of an unusual adolescent’s quest to “do detecting” and venture into a frightening and confusing world, a book I in turn have recommended to as many as I can. Any attempt to turn it into a play, I felt certain, could not possibly do it justice.

That wasn’t just a play. That was an experience!”

(Overheard from a patron leaving the theater)

The Indiana Repertory Theatre has started its 46th season with an authentic feat of theater: the Tony Award-winning Curious Incident is a star vehicle for the leading man to be sure, yet it is also a true “ensemble” piece- one that stretches the meaning of the word to its limits to include the music, the set, the props and even the choreography of the play, each interacting with the other to enhance the themes and emotions at work. It is indeed “an experience,” and one not to be missed in its four-weekend run in downtown Indy.

The Curious Incident of the Dog in the Night-Time follows the struggle of Christopher Francis Boone, age “15 years and 3 months and 2 days,” as he attempts to solve the murder of a neighborhood dog. The dog, a black poodle named Wellington, is nearly- but not quite- a McGuffin in the story, as the audience slowly learns that there is so much more to this tale- the depths of loss, the limits of relationships, the cruel and arbitrary unfairness of life, and the drive for independence and accomplishment. If all that seems a bit heavy for a weekend entertainment, fear not: the Dog in the Night-Time boasts numerous surprisingly large and refreshing doses of humor to help the audience catch its breath- humor that is, with one notable exception, neither forced nor out of place in this emotionally exhausting show.

Rowe Neal

Christopher (Mickey Rowe) with his father Ed (Robert Neal) in a scene from IRT’s “The Curious Incident of the Dog in the Night-Time”

Leading the cast as Christopher, “a mathematician with behavioral problems” (his condition is purposefully neither named nor fully delineated in either the book or the play) is Seattle-based actor, Mickey Rowe, “the first American actor with autism” to take on the role. I must admit, IRT’s rather blatant and frequent parading of his condition in their promotional pieces initially made this casting seem more a self-congratulatory gimmick than an artistic choice, but Mr. Rowe quickly and easily sweeps such impressions aside. In what could have been an unsympathetic and emotionally one-note role (think Dustin Hoffman in Rainman – and, yes, I know he won an Academy Award, but really now), Rowe’s portrayal of Christopher almost immediately has the audience eating out of his hand, simultaneously rooting for him, put off by him, admiring him and pitying him as he struggles to conquer a world he cannot truly comprehend. Through voice and manner, the 28-year-old Mr. Rowe pulls off a surprisingly convincing 15-year-old on stage (though I must admit that he appeared just as young in a brief conversation I had with him after the show- maybe everybody just looks young to me these days), while his attention to the details of physicality- the lack of eye contact and his frequent finger fidgeting- signal both the character’s discomfort and his disability to the audience. Mr. Rowe’s evident experience in choreography and his nearly acrobatic skills are used heavily here, though with somewhat uneven results. While his graceful contortions contribute greatly to the mood and tone of an extended sequence in which he imagines being weightless as an astronaut, at other times they seem rather pointlessly added into the action, as if during rehearsals the director said, “Hey, this guy can do circus moves! Let’s throw some more in!” This at times has the unfortunate effect of distracting from what is otherwise a mesmerizing and nearly flawless performance.

Parks Rowe Macy

Robert Shears (Eric Parks), Christopher (Mickey Rowe) and Christopher s mother Judy (Constance Macy) in a scene from IRT’s “The Curious Incident of the Dog in the Night-Time”

Other standouts in the ensemble are Christopher’s father and mother, played by Robert Neal and Constance Macy respectively. These two absolutely shine in their portrayal of the pain of broken relationships and unrequited parental love. There is nothing in this play more heartbreaking than watching Neal’s Mr. Booth desperately try to touch fingertips with a son who will not be hugged, and there is no scene more emotionally charged than Macy’s Judy wrenchingly attempting to explain her abandonment to a child who is all the while trying to shield himself from her feelings.

Though the remainder of the cast masterfully weaves a tapestry of interesting and effectual supporting characters, the one somewhat disappointing thread is Elizabeth Ledo’s portrayal of Christopher’s teacher Siobhan. The perhaps somewhat overly dramatic and personable style Ms. Ledo injects into the character of Siobhan admittedly serves as a nice contrast to Christopher during their scenes together, but seems terribly ill-suited for her mystifyingly frequent role as the play’s narrator; her expressive and enthusiastic recitations of Christopher’s writings unfortunately serve only to diminish the sense of his emotional disconnect and isolation, attributes that are among the most important themes of the book.

Rowe Daly

Christopher (Mickey Rowe) confronts Mrs. Alexander (Margaret Daly) in a scene from IRT’s “The Curious Incident of the Dog in the Night-Time”

It seems a cliché anymore to claim “character” status for sets, lighting, visual effects and music in a review, but in this case the approbation is well-deserved. Designers Russell Metheny, Michael Klaers, Todd Mack Reischman and Katherine Freer, along with the original music of Michelle DiBucci, have created a setting in which scenes flow seamlessly from one to the next, as well as an all-encompassing, almost surreal environment which pulls the audience into the story as it attempts to transcend the written word. In what are typically somewhat thankless jobs in any theater production, these talented individuals deserve a bow at curtain call as much as the fine actors gracing the stage.

No production is perfect, however, and, despite my raves, this one does have its flaws. Playwright Simon Stephens admirably follows the book closely until the opening of the second act, when, from out of nowhere, he derails the story with a “play-within-a-play” gimmick for no apparent purpose other than a few, “winking-at-the-audience” laughs. In a production that tries so hard to bring the audience into the reality of the characters’ world, I cannot for the life of me understand why he would chose to dispel that illusion.

Though the staging of Christopher’s odyssey to London is magnificent (whoever envisioned and then executed the masks for the faceless throngs Christopher encounters is a bloody genius), the second act tends to drag at times, primarily from a lack of the first act’s extended emotional set pieces (though an absolutely ponderously long, nonverbal scene in which one character downs four beers in succession while another listens to static on a radio certainly doesn’t help either).


The ensemble in a scene from IRT’s “The Curious Incident of the Dog in the Night-Time”

If the playwright has accomplished one great thing in steering this book to the stage, though (and, in fact, he has accomplished many), it is in the final moments. In the last three lines of his play, Stephens has tacked on a powerful coda which quite frankly tops the book- by adding a question mark to what has frequently been interpreted (erroneously, I think) as a “happy ending.” Unfortunately, after the curtain, a bizarrely energetic, interactive, slap-happy and fanciful staging of the book’s Appendix (which, in the book, consists merely of Christopher’s characteristically dry answer to a particular math problem, illustrating his continued disconnect from personal relationships), pointlessly blunts the emotional impact of these final lines. But if one can erase from one’s mind this final lapse in theatrical judgment, the message remains clear: Christopher’s story is not over. This will not be his last Curious Incident. Life, unlike this mystery, is not so easily solved.

Despite a marvelous cast, a powerful story and an inspired staging, there is one facet of the book which the play simply cannot match. Written in the first person, the book forces the reader to see the world through Christopher’s eyes, experience the world and relationships as Christopher experiences them. This is a place that, watching Christopher as a third person presence on the stage, the theater goer simply cannot reach. So yes, run to your library or Amazon or your Kindle and read this unique, gem of a book that I have treasured for over a decade. But do not pass up this opportunity to see IRT’s production of The Curious Incident of the Dog in the Night-Time. It’s not just a play. It truly is an experience.

The Curious Incident of the Dog in the Night-Time will continue its run at Indiana Repertory Theatre through October 14. For specific information on dates, show times, and ticket orders, visit IRT’s website at

  • Banner artwork by Kyle Ragsdale
  • Photos by Zach Rosing



“La Cage aux Folles” at Actors Theatre of Indiana

Leave a comment


reviewed by Adam Crowe

The 2017-2018 Season kicks off at Actors Theatre of Indiana (ATI) with the brilliant La Cage Aux Folles. This Tony Award winner was written by the great Jerry Herman, (Hello Dolly and Mame) with a book by Harvey Fierstein, and is based on a French farce by Jean Poiret. Many will be most familiar with the story through the American film version, The Birdcage, starring Robin Williams and Nathan Lane. Familiarity with the movie is neither required nor a hindrance to enjoying this Farce. ATI’s production transports you to the South of France and tells its story with gusto and sass, and reflects the remarkable artistry of director Larry Raben (a Carmel native) and his accomplished choreographer, Carol Worcel.

Bill Book as Georges, Judy Fitzgerald as Jacqueline and Don Farrell as Albin

From left: Bill Book as Georges, Judy Fitzgerald as Jacqueline, and Don Farrell as Albin in ATI’s “La Cage aux Folles”.

When this story first appeared in film, it felt edgy and subversive. I wondered if it would hold up, given the march of social progress over the past thirty years. No worries! “La Cage” holds up beautifully. In fact, the very traditional structure and conflicts of the story are even more accessible. The age old premise of young love complicated by parental interference is tweaked by a boy with two gay parents and a girl with a politically ambitious father. Jean-Michel (a sweet Sean Haynes) may have two “Dads”, but the rest of the obstacles faced on the way to marry his love (a wonderful Devan Mathias) are easily recognizable.

Michael Humphrey, Greg Grimes, Tim Hunt, Kenny Shepard and Don Farrell - photo credit - Zach Rosing

From left: Michael Humphrey, Greg Grimes, Kenny Shepard, and Tim Hunt are Les Cagelles with Don Farrell as Zaza in ATI’s a Cage aux Folles”

Bill Book and Don Farrell play Georges and Albin, the young groom’s parents. They are, in turns, hilarious and heartbreaking, and both of their performances are terrific. Still, Hermann has made sure that the show belongs to Farrell’s Albin, and he is the Star of this vehicle. Whether he is flirting with the Club’s clientele as Zaza or blubbering as Albin, Farrell is simply perfection. To anyone who saw him play Sweeny Todd or the Baker in Into the Woods, this comes as no surprise. Farrell is a joy to watch.

Sean Haynes as Jean-Michel and Devan Mathias as Anne - photo credit - Zach Rosing

Sean Haynes as Jean-Michel and Devan Mathias as Anne in ATI’s “La Cage aux Folles”

Superb support is provided by the rest of the cast, many of whom play multiple roles, including Ken Klingenmeier and Maryjane Waddell who play café owners and later appear as a self-righteous politician and his less rigid wife. John Vessels is, as always, delightful in a number of roles, and ATI co-founder Judy Fitzgerald is delicious as gal pal Jacqueline. In what is likely to be his last Indiana stage performance for a while, Daniel Klingler is a riot as George and Albin’s butler/maid/sight gag. Klingler moves his career to NYC soon, and his performance gives him a terrific and hilarious send-off. As Les Cagelle’s, Tim Hunt, Kenny Shepard, Greg Grimes and Michael Humphrey bring dazzle to the cabaret at the center of the story. They will leave you wanting more!

Ken Klingenmeier as M. Dindon and MaryJayne Waddell as Mme. Dindon - photo credit - Zach Rosing

Ken Klingenmeier as Deputy Dindon and MaryJayne Waddell as Mme. Dindon in ATI’s “La Cage aux Folles”

On the technical side, Bernie Killian’s set, Zach Rosing’s sound, Aaron Bowersox’s lighting, and Stephen Hollenbeck’s costumes are all first rate. The musical direction of Levi Burke is right on point, and Daniel Klinger’s does double-duty as designer of some beautiful hair and make-up. Finally, as I have come to expect, the ATI orchestra was just perfect.

ATI Cage1

Daniel Klingler as Jacob (photo left) and Kenny Shepard (left) as Hanna with John Vessels as Francis in ATI’s “La Cage aux Folles”

La Cage Aux Folles only runs until October 1st, so move quickly to get your tickets. I expect that the sell-out on Opening Night is a harbinger of things to come!

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 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 all performances for students and seniors. 

  • – photos by Zach Rosing




“West Side Story” at Beef and Boards Dinner Theatre

Leave a comment


reviewed by Ken Klingenmeier

Beef and Boards’ production of West Side Story, which opened this week, is for me another of those very familiar shows for which I have long held an honest love and appreciation. Brought into the musical theatre world in 1957 with a book by Arthur Laurents, music by Leonard Bernstein, and lyrics by a young Stephen Sondheim, the show had so much energetic and romantic appeal that even as a youth, I fell in love with the stylized score, the perfect, heart-rending words and the emotional storyline. It was an undeniable masterpiece and remains so after 60 years.

What director Eddie Curry and choreographer Ron Morgan have brought to B&B’s stage is a faithful yet updated rendition of the classic. This dance rich production pays due homage to Jerome Robbins’ original movements, which were so new to the theatre world in the late 50’s, but here Mr. Morgan opens his own bag of tricks and brings a surprising and imaginative new vision to the work. Mr. Curry innovates with his employment of a reduced cast and a confined setting, still developing engaging relationships and filling the stage with every necessary action, whether it be rumpus or romance.


Maria (Courtney Cheatham) and Tony (Glenn DeVar) imagine a place “Somewhere” where they are free to love in Beef & Boards’ production of “West Side Story”.

All the performances are true. Led by Courtney Cheatham’s Maria and Glenn DeVar as Tony, the talented cast tells this sometimes painful story with impressive abilities. Ms. Cheatham is blessed with an angel’s sweet voice and an innocent countenenace, perfect for the coming of age Maria. DeVar brings a likeable boyishness to his role, finding new range in the part with his fervent approach to Tony’s changing life.

A Young Lady of America

Maria (Courtney Cheatham), left, is excited for the dance she is about to attend with Anita (Marisa Rivera) and her brother Bernardo (Dan Higgins), in Beef & Boards’ production of “West Side Story”.

Marisa Rivera is a sultry Anita, showing strong dance skills and vocal abilities; Dan Higgins is commanding as Maria’s protective brother Bernardo; and Ben Cullen was impressive with his honest performance as Riff, the Jets de facto leader.


The Jets, led by Riff (Ben Cullen), center, learn to play it “Cool” in Beef & Boards’ production of “West Side Story”.

The dance corps, comprised of Jets, Sharks, and their girls carry out their assignments with aplomb, raising the roof in the many dance numbers and songs they are party to.

Lew Hackleman, Peter Scharbrough and Doug King round out the cast with effective portrayals of Doc, Krupke and Lt. Shranke, respectively.

Doc Im in love

Tony (Glenn DeVar) reassures Doc (Lew Hackleman) that everything will be ok for him and Maria in Beef & Boards’ production of “West Side Story”.

Though much of the show is ensemble in nature, the 5 leads are due ovations for their thoughtful and emotion driven turns onstage. Under director Curry’s deft hand, every familiar song is a joy to experience again, and every well remembered turn of events in the storytelling is offered with truth and depth.

I would be remiss to leave out the contributions of the wonderful orchestra lead by Terry Woods, which delivers the heart of the show through their fine rendering of the complex score. From the first familiar pulses, to the emotive final notes, Mr. Woods and his players give noteworthy performances.

Likewise, Jill Kelly Howe’s costumes give the various characters texture and placement in the world of the street.

Bottomline: I am too often underwhelmed when I attend a show I know so well and love so greatly, but as I sat in the darkness at the end of this production, wiping the moisture from my eyes, I knew this cast had fulfilled my wish for this show to be something special.

West Side Story continues at Beef and Boards Dinner Theatre through October 1st. Show times and reservations can be viewed at or you may call the box office at  317-872-9664.

* – Photos by Julie Curry



“Ring of Fire” at Beef & Boards Dinner Theatre

Leave a comment


reviewed by Ken Klingenmeier

Beef and Boards Dinner Theatre continues their 2017 season with the Johnny Cash tribute show Ring of Fire. Directed by Curt Wollen, with choreography by Wendy Short-Hays, this highly entertaining and perfectly cast production showcases over 30 of the songs that made The Man in Black one of America’s most beloved performers. Presented as a sectionalized rolling history of Cash, illuminated by music selections from his and others’ catalogues – we become acquainted with his life and times. For want of a term, I would call the show a “biological revue”.

I've Been Everywhere

The entire cast joins in on “I’ve Been Everywhere” during B&B’s production of “Ring of Fire”.

The musical selections move from earnest, to slick, to high-stepping, onto uplifting as we progress through the story of what began as a hard life in Arkansas, moved through the days of hits and kicks, then turned upward to more reverent ideals. Each number is compelling in it’s presentation, whether it be rousing or poignant. This works well to array the varying audience reactions from foot-tapping bliss to choked back emotion.

The wonderfully organized production benefits from the unique cast which has been assembled for it, most of whom make their B&B debuts. The requirements to be in the cast must have been: 1) have recording contract quality vocal talent, 2) be able to play a multitude of stringed instruments, plus a few others, 3) have the exceptional ability to show that you are having so much fun onstage, that we all want you to never stop. This generously talented ensemble of players includes B&B newcomers Melody Allegra Berger, Tim Drake, Allison Kelly, Jeremy Sevelovitz, Travis Smith and Zack Steele. Brian Gunter returns for a third B&B show. Jill Kelly Howe is also a B&B veteran and indeed is also the resident costumer for the theatre.

Flushed From the Bathroom of Your Heart

Jill Kelly Howe as Minnie Pearl for “Flushed From the Bathroom of Your Heart” with Brian Gunter on bass and Jeremy Sevelovitz on ukulele during B&B’s production of “Ring of Fire”.

This ensemble of eight talented singing musicians works amazingly well together, especially when blending their voices in close harmony. In fact, their stage presence and easy delivery throughout may have you thinking that they have all been touring this show together for 10 months or more. But that is not the case – they have somehow acquired a remarkable cohesion, which makes the program ever more enjoyable.

Ring of Fire

Allison Kelly joins Travis Smith for a rendition of the title tune in B&B’s production of “Ring of Fire”.

Some highlights in the show include Ms. Howe’s haunting ballad “Far Side Banks of Jordan” and her comical turn with “Flushed From the Bathroom of Your Heart” (a lá Minnie Pearl); Mr. Drake’s stirring rendition of “Ragged Old Flag”; the ensemble’s lively “Daddy Sang Bass”; and flashy piano and guitar work by Mssrs. Smith and Sevelovitz, respectively. Ms. Berger is an extraordinary fiddle player – and she “burns” her instrument on her featured appearance in the Act Two opening number; Ms. Kelly is tremendous in her renditions as June Carter in “Ring of Fire” and “Jackson”, as well as her soulful solo “All Over Again”; Brian Gunter exhibits his rare musical abilities in countless numbers; and Mr. Steele displays a variety of talents throughout, while he is especially noteworthy in the encore piece, “A Boy Named Sue”.

Oh Come Angel Band

The entire cast blends their voices for “Come Angel Band” in B&B’s production of “Ring of Fire”.

Bottomline: It’s hard to be a critic when there is nothing whatsoever to criticize. This show is fresh, lively entertainment (with a PG rating due to some lyrics about drugs and crimes). Honestly, I think it just may be as fine a show, in terms of musical performance, as I have ever seen at this venue.

Ring of Fire continues at Beef and Boards Dinner Theatre through August 13. Show times and reservations can be viewed at or call the box office at  317-872-9664.

  • – Photos by Julie Curry

“Richard III” at IndyFringe Basile Theatre

Leave a comment



reviewed by Ken Klingenmeier

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 .

  • – photos by Gary Nelson


Older Entries Newer Entries