Theatre Unchained’s “Herding Cats”

reviewed by Daniel Shock

Amid the chaos of our morning preparations for a road trip to Chattanooga, our cat decided to make a statement by throwing up in our open suitcase. This incident left us half-amused, half-frustrated, and fully convinced it was a calculated act. This moment coincided with my need to gather my thoughts about the unpredictable charm and occasional mayhem pets bring into our lives for this review of Theatre Unchained’s production of Neil Martin’s Herding Cats. Unlike our little saboteur, the feline characters in Herding Cats may not resort to villainy, but they certainly weave their own unique brand of mischief into their owner’s life.

Herding Cats tells the tale of several cats: Stella (Angela Dill), Buddha (Julien Lyons), and Lupin (Aspen Harnishfeger), along with their animal-loving owner, human Kelly (Jenny Williams). Their easy life is disrupted when Jenny unexpectedly brings home a (gasp!) dog (Hannah Hoffman) named Charlize to foster. As the cats get to know and negotiate territory, they listen in on Kelly’s phone conversations, which reveal problems with her employer. Fearing the loss of the loving home they know, they join forces to try and help Kelly keep her job.

Jenny Williams as Kelly doses her pet Stella, played by Angela Dill

The cast has a great time taking on the personas of their animals. Any pet owner will recognize the behaviors and personality traits displayed here with great comic effect. Angela Dill, as the kitty Stella, is wonderfully funny and has mastered quite an array of cat sounds. Julien Lyons, as Buddha—the Dr. Frasier Crane of cats and Stella’s brother—is hysterical and has some of the very best snooty cat material to work with. Completing the trio, Aspen Harnishfeger plays Lupin, a ‘street cat’ with charm and swagger. All three cats have great moments and keep the audience in stitches. Hannah Hoffman plays the sweet newcomer, Charlize the pit bull, with an earnest joy that makes you want to scratch her ears and ask, “Who’s a good girl?” Pet owner Kelly the human is played by real-life human, Jenny Williams, with natural authenticity, perfectly capturing a young adult navigating the stresses of life and the joy of pet ownership.

Julien Lyons as Buddha and Hannah Hoffman as Charlize

Megan Ann Jacobs, the director, costumer, and sound designer, has put together a funny and charming show. I don’t always mention costumes in my reviews, as some shows depend on them more than others. However, the costumes by Ms. Jacobs wonderfully bring out the personalities of the animals with ears, paws, and tails. My favorite has to be Buddha’s all-white fuzzy outfit that really highlights his snooty prince persona. The set by Kurt Watkins is also fantastic and whimsical, with giant-sized cat towers, beds, and toys.

Aspen Harnishfeger as Lupin deals with Hannah Hoffman as Charlize

Overall, the show is a winner and an audience pleaser for animal lovers of all ages. The one negative aspect of the show is its length. It’s possible that there were some behind-the-scenes issues that caused the show to run long when I saw it on Friday night. It did start a bit late. I took my seat at 7:25 (start time was supposed to be 7:30), and the lights came up at 10:27. I mostly place responsibility for the length on the script. A lot of the first act felt redundant, and a few cuts could tighten it up and move things along at a better pace. The audience didn’t seem to mind the length, loudly laughing, hooting, and hollering through the whole show up until the end. But, you might need to take the run time into account when you are paying for parking on Mass. Ave.

Herding Cats runs at the IndyFringe – Basile Theatre at 719 E. St. Clair St., Indianapolis – Saturday and Sunday, March 23rd at 7:30 pm and 24th at 3:00 pm. And then next weekend, Thursday, March 28th at 7:30, Friday, March 29th at 7:30, and Saturday, March 30th at 7:30. Tickets are available online by clicking HERE https://indyfringe.org/performance/2024-unchained-herding-cats/ or at the door.

• photos by Rob Slaven – Indy Ghost Light Photography

Civic Theatre’s “Driving Miss Daisy”

reviewed by Ken Klingenmeier

Alfred Uhry’s play Driving Miss Daisy started as off-Broadway fare in 1987, winning the 1988 Pulitzer Prize for Drama. It wasn’t long before Hollywood took notice and the Oscar winning film by the same title was produced. Booth Tarkington Civic Theatre’s production opened earlier this past weekend in the black box space at The Studio in the performing arts complex.

The play, set in the years from 1948 to 1973, tells the story of Daisy Werthan – aged 72 at the onset – who, after a bad car crash, is in need of a driver, at least according to her son, Boolie. She won’t hear of it, but for her safety Boolie hires Hoke Coleburn to take her around. Daisy slowly gives in to the idea and convenience of having Hoke’s help and the two grow to be friends over the next 25 years.

Driving Miss Daisy drips with Southern affects, from the language, the accents, and the surroundings (ah, the Piggly Wiggly market!) to the built-in culture of prejudices from that time. It brings these timely intolerances to light as it examines the biases faced by the Werthans, as Jews, and by Hoke, as a Black American. They all must be mindful of what they are forced to face – whether it be damage to Boolie’s professional status if he attends a Martin Luther King speech or Hoke’s irritations with some of his treatment as Daisy’s chauffeur. Themes of intolerance are balanced by hopeful themes of understanding and acceptance.

Ellen Kingston as Daisy Werthan and Antoine Demmings as Hoke Coleburn

Director Michael Lasley has put together a shining production with a laudable cast. Ellen Kingston is perfect as the sometimes sweet, sometimes cantankerous Daisy, moving slowly but still filled with Southern grace. Daisy’s son Boolie is offered in a marvelous rendition by David Wood, who was also so impressive as Otto Frank in last year’s Diary of Anne Frank at Civic. His spot on attitude and accent light up the character, making him someone many of us can truly empathize with.

Ellen Kingston as Daisy Werthan and David Woods as her son, Boolie

Hoke is brought to life by Antoine Demmings, who has certainly come a long way as an actor since his debut at Civic in 2017. Demmings makes Hoke an original and his own, differing a good deal from Morgan Freeman’s iconic interpretation (Freeman created the role off Broadway and did the film version). Though I had some problems hearing and understanding Demmings dialogue through his Southern-Black accent, it didn’t detract from his portrayal.

The tidy setting of three distinct areas (designed by Ryan Koharchik) fit exactly right in the Studio’s black box space and Adrienne Conces’ costumes are ideal for the times and place. Set changes are well choreographed and mostly on the quick side.

The set by Ryan Koharchik

I only have one misgiving about the choices in two scenes. In my opinion, there is much poignancy in the development of Daisy and Hoke’s relationship. Two moments especially beg to be emotional and moving – certainly when Daisy declares her feeling of friendship with Hoke, and in the final scene when he helps Daisy have bites of her holiday pie. Both those moments came off as flat in my senses of their sweet importance. A touch, a look, a moment of connection somehow would have sold the feelings a bit deeper, I believe.

Bottomline: Whatever the show lacks in poignancy is more than made up for in its solid performances and story-telling. This is a very good, 80 minute entertainment.

Driving Miss Daisy continues at The Studio theatre through March 30th. Tickets are available by calling the box office at 317.843.3800 or by going online to http://www.Civictheatre.org

• – photos provided by Booth Tarkington Civic Theatre

Fonseca Theatre Company’s “Blackademics”

reviewed by Daniel Shock

I had exactly two black professors when I attended Indiana University in the early 1990s. Both women. Both had high expectations for their students and would not accept less than your best. Both taught lessons that have stayed with me ever since I sat in their classrooms. One taught me about African musical influences on music in the Americas. The other taught about how cultural differences affect the approach speech therapists take when designing therapy. She also changed how I introduced myself, from Danny to Daniel, just by how she said my name.

Both professors were on my mind as I sat at the Fonseca Theatre and watched Blackademics by Idris Goodwin. The play tells the tale of two black women, Ann (AshLee Baskin) and Rachelle (Chandra Lynch), who are professors at two different institutions—one at a prestigious liberal arts college and the other at a state university. The two friends are meeting for a meal at a mysterious café with no tables or seating. The café aims to provide an experience you can’t get at other places. When the white waitress, Georgia (Caroline Sanchez), is questioned about why she didn’t bring a fork with the salad, her response is, “Applebee’s has forks.”

As the decidedly weird experience progresses, Ann and Rachelle catch each other up on the events of their lives, and we learn that while things are going well for Ann, things have turned out differently for Rachelle. We see two different perspectives on the challenges black women in higher education face. All through this heart-wrenching conversation between friends, the increasingly off-putting experience turns into a trial that pits the two women against each other as they compete for a seat—and food—at the table. The vibe of this play reminded me of the recent horror films “Get Out” and “Us” by Jordan Peele. Like those excellent films, this play places the audience in the point of view of the black protagonists.

Director Ansley Valentine has assembled a riveting cast of three women. AshLee Baskin as Ann is vibrant and real. You feel her excitement at the good news she has to share with her friend. Equally good is Chandra Lynch as Rachelle. Her Rachelle is tired of having to prove herself constantly and frustrated with the battles she has had to fight. As Georgia, the waitress, Caroline Sanchez is pleasant and confident as she tries to reassure her customers that they are really in for something special. Her descent into the disturbing is well-played. The cast is uniformly good in both the funny and heavy moments.

Technically, the play is simple and well-executed. The set by Bernard Killian is sharp. The lights designed by Ben Dobler are bright, and the sound (also designed by Ben Dobler) is clear. The entire production is to be congratulated.

I am a straight white man. My experience of this play will be different from other demographics. I strongly recommend this show for people who like something different with strong performances. There are conversations I would like to have with the cast and director. What do they think about the fact that the play was written by a man? That their director is a man? Mostly, I would like to reconnect with my professors and ask them about their experiences in higher education.

Blackedemics, produced by The Fonseca Theatre Company and performed at the Fonseca Theatre at 2508 W Michigan St, Indianapolis, IN 46222. Performances run March 15, 2024 — March 31, 2024 * Thursdays at 7pm * Fridays at 7pm * Saturdays at 4pm * Sundays at 2pm

Visit https://fonsecatheatre.org/ to obtain tickets to the show.

Southbank Theatre Company’s “Man of La Mancha”

reviewed by Carrie Neal

There’s something irresistible about a quest. As theatergoers, we love to see characters go on emotional journeys, so when there’s an actual physical journey as well, so much the better. Man of La Mancha takes this concept to the next level, though, and has the protagonist go on both an emotional and physical journey inside his mind. For those unfamiliar with the story, Cervantes is imprisoned during the Spanish Inquisition and takes his fellow prisoners on an imaginary journey to help everyone forget their circumstances. This story-within-a-story has held an almost universal appeal since the musical’s inception in 1965.

Director Marcia Eppich-Harris is one such individual for whom Man of La Mancha holds special meaning. She saw the show in the Shelton Auditorium as a teenager and was inspired to pursue a life in the arts. In a delightful full-circle moment, her theatre company is able to present what was a watershed production in her life on the very same stage.

And what a stage it is! Before we delve into the meat of the show itself, props simply must be given to the beautiful renovation of the Shelton Auditorium. In addition to lovely new carpeting, the previous agonizingly uncomfortable seating has been reupholstered, and it looks and feels like a dream.

The show gets off to a promising start with a lively, well-played overture led by conductor and music director Seth Young. An impressive four-member horn section plays some truly stirring melodies, and the percussion is notably excellent (I was particularly taken with the castanets).

Man of La Mancha is carried by its three leads, and Eppich-Harris has done a fine job with casting here. Anthony Nathan is a delightful Sancho, jaunty and with just the right kind of piercing tenor voice for the role. He’s a perfect foil for the tragic optimism of Don Quixote. As Aldonza/Dulcinea, Jessica Hawkins is fiery and passionate, with a substantial mezzo voice that’s very well-suited for the role. She’s a perfect fit for this multi-faceted character that’s a dream role for so many.

Anthony Nathan as Sancho and Paul Hansen as Don Quixote in a scene from “Man of La Mancha”

But the show really belongs to Paul Hansen as Cervantes/Don Quixote. He has the challenging task of creating more than one character, and each of his characters is distinct, truthful, and completely believable. His gorgeous, crystalline singing voice draws us in and holds us captive all evening.

Unfortunately, the strength of the three leads is not matched by the ensemble that supports them. This problem is threefold: first and maybe most significantly, the ensemble just isn’t large enough. Perhaps on a stage smaller than the Shelton, an ensemble of thirteen would be adequate, but they’re swallowed up here. Secondly, there aren’t enough male-presenting actors in the ensemble. This is a real problem during The Abduction, a scene which is supposed to be terrifying but instead falls flat despite the noble efforts of Hawkins as Aldonza. Thirdly, the vocals are lacking. There were several times when the end of a number had obvious wrong notes that were jarring to the ear.

Jessica Hawkins as Aldonza/Dulcinea

Despite these limitations, there are some strong actors who stand out in the ensemble (most ensemble members play supporting roles as well). Ashton Driscoll and Yolanda Valdivia are spot-on as Antonia and The Housekeeper in “I’m Only Thinking of Him,” and Amalia Howard is striking in her small role as Maria.

Though this production has its strengths and weaknesses, it’s a rarely-done passion project that’s definitely worth seeing. Man of La Mancha runs at the Shelton Auditorium on Butler’s campus through March 17th. Tickets may be purchased online at southbanktheatre.org, but due to hefty Ticketmaster fees it is recommended they be purchased at the door.

• – photos by Ghost Light Photography (Rob Slaven)

Carmel Community Players’ “Violet, the Musical” at Switch Theatre

reviewed by Veronique Duprey

I had the pleasure of attending opening night of Violet, the Musical at the Switch Theater in Fishers, presented by Carmel Community Players. This gentle musical reminded me of Spitfire Grill in its focus on the story, and in tone, musical style, and absence of big dance numbers (or dance numbers at all, unless you count the hand-raising from the high-praisin’ gospel choir as dancing).

Inspired by the short story The Ugliest Pilgrim by Doris Betts, the award-winning Violet takes us on the journey of Violet, who was accidentally disfigured by an axe in her youth and now (in 1964) travels across the South in hopes of being healed and made beautiful by a TV evangelist.  On the way, she meets a pair of soldiers and manages to heal from deeper, hidden scars. It is a story of yearning, of faith (perhaps misplaced), of redemption, and of seeing others more than skin-deep.

Violet (Sarah Marone-Sowers) and her younger self (Kenzi Stewart) in a scene from CCP’s “Violet”

The almost black-box set is enhanced by projections and the smart use of minimal set pieces, and works well to move us from one location to another. Kudos to the production staff, too numerous to mention, for well-designed and well-executed time-appropriate costumes and hair, props, and sound and lighting.

from left: Violet (Sarah Marone-Sowers) meets Monty (Dominic Piedmonte ) and his buddy Flick (Onis Dean) on the bus trip

Music by Jeanine Toseri ranges from American folk to gospel, with a little Memphis blues. Sarah Marone-Sowers truly shines in the title role, with rich vocals and a wide range of emotions. Notwithstanding a little vocal fatigue on opening night, Onis Dean is excellent as the African-American soldier, Flick, who also longs to be seen past his appearance, and his duets with Marone-Sowers are delightful. Dominic Piedmonte as the self-assured Monty provides the third point of the love triangle in a well-balanced performance. Other performers of note include Darrin Gowan as Father and Kenzi Stewart as Young Violet in touching flashbacks and intertwined visions, Scott A. Fleshwood as a spot-on Joel Olsteen-type character, and Christine Sanserino who makes the most out of her stage time.

I personally love gospel choirs and thoroughly enjoyed those numbers, even as I was aware we were supposed to think they were disingenuous. As a woman of faith, I was glad that the musical managed to poke fun at flashy televangelism without disparaging faith entirely. Miracles do come in a myriad of ways, and the healing we may be blessed with is often not the one we thought we needed.

Darrin Gowan as Father in a scene from CCP’s “Violet”

Bottomline: No doubt guided by able direction by Kathleen Clarke Horrigan, the actors manage to tell this story – which has difficult elements of racism, casual sex, and resentment – with some humor and moving authenticity, plus soaring voices to transport us through the journey. Highly recommended!

Violet, the Musical runs through March 10 at the Switch Theatre in Fishers; see www.carmelplayers.org for times and tickets. Be aware that it runs without intermission, for about an hour and 45 minutes; visit the restroom and concession stand before curtain.

• – photos by Ghost Light Photography (Rob Slaven)

Betty Rage Productions’ “The Bad Seed”

reviewed by Jay Hemphill

“You give me those shoes!” Never since the Wicked Witch of the West has anyone wanted a pair of shoes more than Rhoda Penmark.

Tonight, a friend and I ventured into the hallowed halls of the Scottish Rite Cathedral to watch the final dress rehearsal of Betty Rage’s latest production, The Bad Seed. Directed by Callie Burk-Hartz with assistance by Gigi Jennewein, with an adaptation by James Capps, the cast includes Greta Shambarger, Lukas Schooler, Christine Zavakos, Shannon Samson, Austin Hookfin, Alyce Penny, Tristan Ross, Jenni White, and Ronn Johnstone.

The Bad Seed is a play based on a novel, which later became a movie. Maxwell Anderson’s 1954 play was adapted from William March’s 1954 novel, and John Lee Mahin wrote the screenplay for the 1956 film. A melodramatic psychological thriller, The Bad Seed has long been a campy cult classic, inspiring multiple interpretations: a 1986 made for TV movie, a Lifetime movie starring Rob Lowe, and my personal favorite, the 1993 thriller The Good Son featuring child actors Macaulay Culkin and Elijah Wood.

The Bad Seed takes place in a small southern town. From the mention of Tallahassee and references to offshore oil rigs, my mind placed the town in the Florida panhandle. Regardless of the location, the story plays out in the apartment of Colonel Kenneth and Christine Penmark (played by Lukas Schooler and Christine Zavakos) who live there with their daughter, Rhoda Penmark (played by Greta Shambarger).

from left: Christine Zavakos as Mrs. Penmark, Lukas Schooler as Col. Penmark, and GReta Shambarger as Rhoda

With her carefully braided hair and her pristine patent leather shoes, Rhoda is the very picture of innocence and obedience. However, her mother worries there may be something hiding underneath Rhoda’s charming, over-achieving façade. Her worries are amplified when Claude, one of Rhoda’s classmates, mysteriously drowns during a school picnic. Coincidentally, or not, Claude just so happens to be the winner of the school’s gold medal for penmanship, an award coveted by Rhoda.

The cast of The Bad Seed tries to walk a tightrope between camp and drama. While I personally would have loved to see the actors embrace more of the campiness, that did not overshadow the work presented by this ensemble.

Rhoda (Greta Shambarger) listens to her mother Christine (Christine Zavakos) in a scene from “The Bad Seed”

Christine Zavakos shines as Mrs. Penmark spinning out of control, careening toward her tragic end. She breathes new life into the stale horror trope of the unhinged mother. Shannon Samson is a joy to watch as the Penmark’s neighbor/landlady Monica Breedlove. The script gives Breedlove the lion’s share of hilarious one liners, and Samson serves them up.

Austin Hookfin is a scene-stealer as Leroy Jessup, the self-proclaimed “smart and mean” maintenance man. While not seen as the sharpest tool in the shed by the other characters, Leroy is clever enough to see Rhoda for who she really is. Jenni White is comedically tragic as Ester Daigle, the mother of Rhoda’s drowned classmate. White is only on stage twice, but she uses that time wisely, weaving a pattern of humor, heartache, and anger.

Greta Shambarger’s portrayal of serial sociopath Rhonda Penmark made me hate her…IN THE BEST WAY. Her saccharine sweet façade made my teeth hurt, while her cold angry stare gave me “you won’t like me when I’m angry” vibes. Greta’s version of Rhoda is definitely related to The Shining twins.

from left: Tristan Ross as Reginald Tasker, Shannon Samson as Monica Breedlove, and Christine Zavakos as Christine Penmark in a scene from “The Bad Seed”

The show does need to address some issues with lighting, sound, and scene changes. That said, the show’s designers: Callie Burk-Hartz with assistance from Tracy Herring (costumes and props), Christian McKinny (scenic design), Ronn Johnstone (lighting design), and Tristan Ross (sound design), have created a world that showcases the script and the actors. Burk-Hartz’s costumes come to life on McKinny’s vintage set, both of which are bathed in Johnstone’s simple but effective lighting. His use of a single window gobo makes for beautiful transitions and highlights the play’s more powerful moments. Ross contributes to the play’s creepiness with a film noir-esque soundscape.

Local theater supporters should definitely see this show. If not for the plot twists and hilarious one-liners, then to support the mission of Betty Rage Productions: to grow the Indy art community by tell interesting stories about bad ass women.

The Bad Seed runs this weekend only, February 29^th – March 3^rd. Tickets are $20 and can be purchased online at http://www.bettyrageproductions.com .

Note: This was my first time seeing a show in the J. Robert Wortman Auditorium. It was also my first time inside the Scottish Rite Cathedral. All I can say is WOW! What a stunning venue. Opening in 1929, the theatre is Cathedral Gothic, with a 5000-pipe organ, 1,100 red velvet seats, and rich dark Russian curly oak wall panels with Gothic embellishments. This is an ideal location for an eerie thriller. (P.S. Someone should really direct a production of Frankenstein in this space.)

• – photos provided by Betty Rage Productions

IRT’s “The Folks at Home”

reviewed by Ken Klingenmeier

Indiana Repertory Theatre presents R. Eric Thomas’ The Folks at Home, a sit-com patterned comedy recalling any number of favorite TV series from our pasts. Director Reggie D. White unwraps the script with a fine cast of players, depicting a good ol’ fashioned 70s/80s style situation comedy.

The story is a bit more modernly faceted than any from that era – a mixed gay couple, Roger (Keith Illidge) and Brandon (Garrett Young), are struggling to keep up their mortgage payments since Roger lost his job at a realty agency. Brandon believes the solution is to sell the house, but Roger strongly disagrees. About this time, Roger’s parents Vernon and Pamela (Sean Blake and Olivia D. Dawson) have lost their home for a variety of reasons and come to live with their son and his partner. Next, Brandon’s mom Maureen (Tracy Michelle Arnold) has disagreements with her landlord and must seek an alternative living situation, which means that she too moves into the crowded home. And thus, this homage to sit-coms is duly set in motion.

from left: Keith Illidge as Roger and Garrett Young as Brandon

Plenty of laughs are generated, plenty of conflicts occur (it seems each character has some level of disagreement with every other character), and the TV format even includes some rather short scenes with plenty of spaces for commercial messages, though this part of TV is thankfully not included.

Claire Wilcher completes the cast with two appearances – first as the couples’ bizarre maid Alice, and next, in a superior comic appearance which generates the most laughs, as Brandon’s pregnant sister Brittany.

Garrett Young as Brandon in a scene with Claire Wilcher as Brittany

Scenic designer Linda Buchanan, costume designer Yao Chen, light designer Jared Gooding and sound designer Sharath Patel all contribute to the show’s success.

The one problem I had with the show is a rather uncommon professional ranks flaw – soft voices and some garbled speech. An odd occurrence right at the beginning of the show happened when an audience member actually shouted out “Can’t hear you!”. Kinda rude but also true. We couldn’t. I hope the projection and diction improve here.

from left: Olivia D. Dawson as Pamela, Tracy Michelle Arnold as Maureen, Garrett Young as Brandon, and Sean Blake as Vernon

Bottomline: This is enjoyable and worthwhile entertainment – an engaging story told by a troupe of actors who built nifty characterizations, all wrapped up with a tidy bow with a satisfying conclusion.

The Folks at Home runs through March 16^th. Ticket information is available at http://www.irtlive.com or by calling 317-635-5252.

• – photos by Zach Rosing
• – artwork by Tasha Beckwith

Clerical Error Productions’ “Call Me Kate: Katharine Hepburn Tells It Like it Is”

reviewed by Daniel Shock

I parked my car and made my way down the sidewalk, then turned north up an alley. There, I found a well-lit door on the side of a building that led me into a small theatre known as ‘The Brick Room’. Alone for this show, I couldn’t convince my 13-year-old son to join me to see a recreation of a 1970’s era talk show exploring the life and career of a golden age movie star. I understand. When I said the name ‘Katharine Hepburn’ to him…he had no idea who that was. I didn’t even bother to say the name ‘Dick Cavett’. As I found my seat at the back of the theatre, it occurs to me that in the fractured landscape of twenty-first century entertainment where movies are losing their place at the top of the popularity mountain to youtube, tiktok instagram and others – there may never again be a movie star like Katharine Hepburn.

Call Me Kate: Katharine Hepburn Tells It Like It Is is a theatrical homage to the iconic actress Katharine Hepburn, inspired by her 1973 interview with Dick Cavett. The play, penned and performed by Kate Duffy as Hepburn, captures the legend’s wit and wisdom during a recreated live TV broadcast. It includes a second act with a Q&A session, inviting audience interaction. Directed by Jon Lindley, the cast features Blake Mellencamp as Dick Cavendish and several others in supporting roles.

Kate Duffy as Katharine Hepburn and Blake Mellencamp as Dick Cavendish

From the minute you step through that alley door, the show begins. You are greeted as an arriving audience member to see a broadcast of ‘The Dick Cavendish Show’. Manny Casillas as Manny, the studio page, hands out pencils and paper for you to write down any questions you may have for Ms. Hepburn. After you take your seat, the TV studio personel start to filter in, the host, here named ‘Dick Cavendish’ and played with charm by Blake Mellencamp greets the audience and welcomes you to New York City. The TV director (David Molloy) and camera operator (Dennis Forkel) confer on technical setups. When Ms. Hepburn arrives with her good friend Phyllis (Wendy Brown) there is a flurry of activity as everyone gets ready for the show.

Kate Duffy as Katharine Hepburn

When the broadcast starts, we are treated to an evening with Katharine Hepburn. Kate Duffy pulls off quite a feat as she settles into the chair and responds to the scripted questions as the aging but still vital film star. It didn’t take long for me to forget that I was watching a performance and imagine that I was really watching Ms Hepburn. She gets the voice, the attitude and the humor just right. When the second act comes and she is given the audience questions (even one from me about the African Queen – my favorite Hepburn movie) she ad libs the responses in character without missing a beat.

The technical aspects of the show were all well done, the set looked like a good approximation of a 70’s era talk show. Kate Duffy’s costume looked just like what the real Hepburn wore on the Dick Cavett show (I checked YouTube). There were commercial breaks, which you got to see on a vintage TV in black and white on the side of the set.

If I have one complaint it’s that the seating in the venue is all on one level making it difficult when you’re sitting in the back to see the faces of actors over the heads of your fellow audience members. I chose to sit in the back because I’m tall, and I still had to spend a bit of the show leaning over to see around others. A tiered seating arrangement or a slightly elevated stage could alleviate visibility issues, ensuring an immersive experience for all attendees.

The best compliment that I can pay to Clerical Error Productions first play of 2024, Call Me Kate: Katharine Hepburn Tells It Like It Is, is that it filled me with the urge to seek out the rest of Ms. Hepburn’s catalog of films. Maybe I’ll show my son ‘The African Queen’ tonight.

The show is produced by Clerical Error Productions and performed at ‘The Brick Room’ at 942 Maple Ave, Noblesville, Indiana.

Remaining Performances are Saturday, February 24 at 7:30 pm and Sunday, February 25 at 2:20 pm. Tickets can be purchased online at https://www.eventbrite.com/e/call-me-kate-katharine-hepburn-tells-it-like-it-is-tickets-808253266277.

• – photos by Rob Slaven – Ghost Light Photography

“Foolish Fish Girls and the Pearl” at Epilogue Players

reviewed by Ken Klingenmeier

My research of Epilogue Players’ Foolish Fishgirls and the Pearl began at a standing start. I am not at all familiar with the script, the playwright – one Barbara Pease Weber, nor any mermaid lore in general. Searching the play’s title, I surprisingly found a long list of entries advertising, reviewing, touting, discussing and encouraging attendance to this very whimsical fantasy at theatres around the country.

Director Kelly Keller has a penchant for finding hidden scripts – those not very often produced – though I must say FF&tP gets a good bit of production. For this particular endeavor, Keller has collected a cast packed with veteran actors, many with Encore and/or Mitty awards to their names. The result is quite remarkable.

from left: Sisters Oceana (Barb Weaver) and Coral (Susan Hill) contemplate their shaky future – photo by Duane Mercier

Susan Hill and Barb Weaver are well paired as two mermaids out of water, Coral and Oceana – sisters who 30 years ago had found sailors to love, thus becoming land-based before losing their treasures to the lying scoundrels. (Part of mermaid lore, we learn, is that they all have treasures which they share if they fall in love with a man.) Now they are stuck on dry land running a failing bed and breakfast on the New Jersey shoreline.

Local curmudgeon Floyd, sharply played by Larry Adams, is both a friend and an irritant, especially for Coral, who loves to do verbal battle with him. A third mermaid, Marina, appears to have been far luckier in her choice of mates and now holds the mortgage on the B&B. Tracy Herring does a terrific job conveying the snootiness of this “nose-in-the-air” former sea-sprite. Eventually Marina’s catch also proves to be a stinker and she too is left flat broke.

from left: Nathan (Vincent Pratt) and Floyd (Larry Adams) discuss mermaid sightings – photo by Duane Mercier

When Nathan (Vincent Pratt), a Coast Guard Lieutenant, has a car accident on a bridge and is rescued by a romantic young mermaid named Pearl (Erin Keller) – the erstwhile fishgirls try to convince the lovestruck Pearl to forego the opportunity to convert to having legs. Mayor/Sheriff/Justice of the Peace/Dogcatcher Sheila (a very emotive Sarah Froehlke) comes into the mix as the plot becomes more colorful and deeper.

Foolish Fishgirls and the Pearl is a complicated story. A longish exposition first hides the fact that Coral and Oceana are mermaids, then reveals that they are and details what memories and folklore we need to know in order for the story to take hold. Next comes the accident, a snow storm, a plot twist and a longish denouement that is both very touching and very silly all at once. It’s a different and difficult script and as the tale unfurls, the terrific storytelling talents of the cast become more and more important.

Mayor/Sheriff/Justice of the Peace/Dogcatcher Sheila (Sarah Froehlke – center) relates her story to Coral (Susan Hill – left) and Oceana (Barb Weaver – right) – photo by Indy Ghost Light

Bottomline: Foolish Fishgirls and the Pearl is a fun and fluffy fantasy, well-cast and well-directed, with plenty of laughs, a complex plot, and a satisfying ending. And it’s always fun for Mrs K and I to see friends having such a good time playing onstage.

Foolish Fishgirls and the Pearl continues at Epilogue Players’ theatre at 19th and Alabama through February 25th. For more information about dates, times and reservations go to http://www.epilogueplayers.com .

• – photos provided by Epilogue Players

Gregory Hancock Dance Theatre’s “The Wild Wild West

reviewed by Amber Shatto

GHDT accomplishes bringing iconic themes of American Western classics into a contemporary dance presentation complete with cowboys, gunslingers, bandits, and saloon girls for 90 minutes of engaging storytelling in The Wild Wild West. Executive Artistic Director Gregory Hancock, never one to settle for a stale showcase, takes audiences back into the 1800s to experience the lawless frontier through an array of settings and characters with performances from GHDT company dancers and pre-professional students of The Academy of GHDT (G2) in the intimate setting of The Florence Theatre in Carmel.

The Wild Wild West cast of GHDT dancers

Company dancer Thomas Mason opens the production as protagonist Tobias Clayton as he walks onto the floor in the darkness engaging only our sense of sound as his Western boots tap the floor demonstrating to the audience that this is, in fact, a performance of costume and movement authenticity. The first theme of conflict emerges when the Eastwood-with-grace character falls for an Indian princess portrayed by Olivia Payton. Powerful tribal dancing by members of the company led by stoic Indian Chief Chloe Holzman fills the stage before Tobias accepts that he must move on as he finds himself a stranger in a new town.

While GHDT is a company comprised of predominantly women, this production is comprised of predominately male characters. Next we see cowboy-walking townspeople donning lip-covering hair, broad-brimmed hats, and hip-slung weapons sizing up Tobias. The scene evolves into an uproarious saloon setting with dancing by colorful saloon girls. Conflict eventually erupts here, too, as villains emerge. Tobias finds love again as we see Abigail Lessaris as darling Clementine who delivers a seemingly effortlessly sharp performance. The two join in a romantic series of movement.

Tribal dances in The Wild Wild West

As more drama unfolds, a mysterious woman performed by Camden Lancaster is introduced and aids Tobias in his final quest. With a consistent presence throughout the last potion of the show, Ms. Lancaster captivates the audience with her movement in her striking red dress. The story concludes as company members join in a jubilant dance with beautiful lifts and an array of costumes. Also of note, the G2 students make frequent appearances throughout the production as the cavalry who must have been riding Lipizzaner stallions due to their graceful footwork.

In this particular GHDT production, the “theatre” element knocks even harder. Leaning into this classic genre portraying the American Old West, black and white title cards charmingly appear to identity each scene change. The performance presents very similarly to an early-style silent Western due to the inherent qualities of storytelling through movement and expressions. One exception is the highly entertaining hoots, hollers, and heckling, particularly of Ms. Payton who delivers endless laugh-out-loud worthy phrases with melodramatic appeal as her cowboy character.

Some of the characters encountered in GHDT’s The Wild Wild West

The entertaining and familiar music selections in The Wild Wild West range from the classic American Western age through the Spaghetti Western era but also includes traditional American works featuring drums and chanting. Mr. Hancock effectively dresses the artists in detailed costumes in a collection of colors and fabrics from the Earth tones of the cowboys and bandits to the bright sheen of the saloon girls. Lighting choices by Mr. Mason not only set the tone but also serve as a set piece at times. Red lights illustrate moments of conflict and alarm while warm hues bring us to the heat of high noon, but the use of green lights during prairie moments soften the black-box atmosphere and transports the audience from the town to a softer setting where the prairie women take the stage in an emotional segment.

As GHDT Board of Directors President Anindita Sen points out, The Florence allows for a concert where audience members can enjoy hearing dancer footwork and even their breaths at times as they prepare and recover throughout a performance. Witnessing these artistic athletes execute their expressive movement up close provides a special perspective for all to appreciate. This setting also allows for enjoyable audience interaction in The Wild Wild West as audiences feel like bystanders during saloon scenes.

You can experience The Wild Wild West on Saturdays and Sundays through February 25. Performances begin at 5pm and 3pm, respectively, so you can saddle up and head on over to your favorite waterin’ hole afterwards. With the opportunity to see pistols in the dancers’ hands during their graceful turns in a 90-minute package of thrilling storytelling and immensely skillful dancing, pick up your Uncle Bill and other Western film-appreciating loved ones on your way to The Florence and assure them that they’re in for a unique treat!

Tickets can be purchased at http://www.gregoryhancockdancetheatre.org

• – photos provided by Gregory Hancock Dance Theatre