The Booth Tarkington Civic Theatre gave a bold presentation of the play, "Amadeus"." Amadeus" is thought to be a fictional account of the relationship between composers, Salieri and Mozart. Mozart was Salieri's rival. The resentment of Salieri to Mozart's musical talent turned into an intense hatred of Mozart's genius. Peter Shaffer's play is overly long, but the Civic's production did not seem so. In a conversation with the director, Robert Sorbera, he jokingly referred to the play as a" three hour Salieri monologue".
John Michael Goodson was superb as Salieri. Talking to the audience for much of the show is a difficult task.
At times he started his monologues too high and loud. Thus he had no place to go. Goodson carried the show wonderfully. As Mozart, Jeremy Allen Brimm, gave an energetic and delightful performance. Adam O. Crowe was authoritative as Count Orsini- Rosenberg. Alan Whaley was royal and funny as the emperor. Mikayla Anne Reed was a fiery, Constanze, Mozart's wife. Members of this talented cast had to speak many languages, but did it with ease.
The technical side to this ambitious production was very difficult. The set and lighting design by Ryan Koharchik was excellent. The costuming by Jean Engstrom was lavish. Robert Sorbera expertly blended the technical with the acting to make a very successful result.
Saturday, November 5, 2011
Monday, October 17, 2011
FROM SCREEN TO STAGE
The Frank Capra film classic, "It's a Wonderful Life", has been wonderfully adapted for the stage by the multi-talented Douglas E. Stark. While magnificently directing his creation he also stars in it in a very important role, that of the miserly Mr. Potter. Even though Stark's script is a technical monstrosity Stark's inspired direction includes well known tunes with choreography by Deb Wims. The very long exposition is covered quickly and smoothly. With the numerous scene changes the lighting plot must look like gibberish. Solving the huge technical obstacles Stark's wizardly prevails, making a complicated story into an extremely entertaining piece. His difficulties did not stop as a casting problem arose when an actor became ill. This did not prevent the production from being an entertaining creation.
The glue holding the show together was Sean Patrick Hopkins as George Bailey, the character who decides life is not worth it. The splendid Eddie Curry as Clarence, the angel Second Class trying to earn his wings, naturally saves George from non- existence at the end of the show which makes for a very happy ending. With Doug Stark as Mr. Potter the very talented and huge cast includes the humorous Jeff Stockberger who easily convinced me he was a drunk. Betsy DiLellio gave a good performance as George's wife, Mary.
This stage production of "Its A Wonderful Life" is spectacular. It runs through November 20th.
The glue holding the show together was Sean Patrick Hopkins as George Bailey, the character who decides life is not worth it. The splendid Eddie Curry as Clarence, the angel Second Class trying to earn his wings, naturally saves George from non- existence at the end of the show which makes for a very happy ending. With Doug Stark as Mr. Potter the very talented and huge cast includes the humorous Jeff Stockberger who easily convinced me he was a drunk. Betsy DiLellio gave a good performance as George's wife, Mary.
This stage production of "Its A Wonderful Life" is spectacular. It runs through November 20th.
Saturday, September 17, 2011
THE DROWSY CHAPERONE
First of all, "The Drowsy Chaperone" is NOT a tribute to old time musicals, but a masterful spoof of the 1920's musical shows with such preposterous plots. Through the character of Man in a Chair "The Drowsy Chaperone" is explored for its truisms and fallacies. When he puts the recording of "The Drowsy Chaperone"on his phonograph the stage goes back in time and comes alive. For example, when a Chinese production number is just thrown into the show just for good measure, The Man relates it is wrong, Asian is not for the occasion. And then there is a song about a monkey which just seems thrown in, but its clever lyrics make it palatable.
The role of Mrs. Tottendale was originated on Broadway by Georgia Engel well known for her role on the Mary Tyler Moore Show on TV. When Engel left the show she was replaced by other former television stars of the 60's and 70's Cindy Williams and hoosier Jo Anne Worley.
This show is filled with zany characters that blow your mind like the Mutt and Jeff cooks who are really gangsters. And just like in those old musicals plots there are many mistaken identities and outlandish decisions. The title of the show comes from one of its characters, a chaperone for a bride to be. She also happens to drink a lot which puts her job to protect the bride in extreme jeopardy. Obviously she fails, because her drinking makes her blotto and drowsy.
Now for the production credits. The complicated goings on are held together with the magical glue provided by the Man in the Chair, who also narrates and talks to the audience. This role is superbly played by Paul Hansen. The gangsters are nuttily played by Vincent Accetturo and Craig Underwood. Kitty is played by Karen Frye whose role surprisingly resembles that of Lina Lamont in "Singin' in the Rain". Nathanael Welch excellently plays Robert Martin, the handsome conceited groom. His tap dancing routine with Anthony Snitker as the best man is wonderful. Mrs Tottendale played by Vickie Cornelius Phipps, Janet Van DeGraaf played by Julia Bonnett, and the title role played by Nathalie Cruz all added to the hilarity. Nathalie's husband Ian Cruz plays the over romantic Aldolpho. There are so many in this talented huge cast that deserve mentioning but the audience's favorite supporting actor of the night I was there was Mark Fishback who played the butler with the unusual name Underling.
The show was directed and marvelously choreographed by Ron Morgan who hit the difficult stylization of the 1920 musical right on the head. The elaborate costumes were created by Jean Engstrom. The brilliant lighting design was by Ryan Koharchik. This exciting production has so many entertainment values that crew credits are also difficult to mention. It would be like mentioning the whole program of cast and crew. So many contributed to the thorough enjoyment of the evening.
"The Drowsy Chaperone" will be at the Tarkington Theatre at the Center For The Performing Arts in Carmel through September 24th.
The role of Mrs. Tottendale was originated on Broadway by Georgia Engel well known for her role on the Mary Tyler Moore Show on TV. When Engel left the show she was replaced by other former television stars of the 60's and 70's Cindy Williams and hoosier Jo Anne Worley.
This show is filled with zany characters that blow your mind like the Mutt and Jeff cooks who are really gangsters. And just like in those old musicals plots there are many mistaken identities and outlandish decisions. The title of the show comes from one of its characters, a chaperone for a bride to be. She also happens to drink a lot which puts her job to protect the bride in extreme jeopardy. Obviously she fails, because her drinking makes her blotto and drowsy.
Now for the production credits. The complicated goings on are held together with the magical glue provided by the Man in the Chair, who also narrates and talks to the audience. This role is superbly played by Paul Hansen. The gangsters are nuttily played by Vincent Accetturo and Craig Underwood. Kitty is played by Karen Frye whose role surprisingly resembles that of Lina Lamont in "Singin' in the Rain". Nathanael Welch excellently plays Robert Martin, the handsome conceited groom. His tap dancing routine with Anthony Snitker as the best man is wonderful. Mrs Tottendale played by Vickie Cornelius Phipps, Janet Van DeGraaf played by Julia Bonnett, and the title role played by Nathalie Cruz all added to the hilarity. Nathalie's husband Ian Cruz plays the over romantic Aldolpho. There are so many in this talented huge cast that deserve mentioning but the audience's favorite supporting actor of the night I was there was Mark Fishback who played the butler with the unusual name Underling.
The show was directed and marvelously choreographed by Ron Morgan who hit the difficult stylization of the 1920 musical right on the head. The elaborate costumes were created by Jean Engstrom. The brilliant lighting design was by Ryan Koharchik. This exciting production has so many entertainment values that crew credits are also difficult to mention. It would be like mentioning the whole program of cast and crew. So many contributed to the thorough enjoyment of the evening.
"The Drowsy Chaperone" will be at the Tarkington Theatre at the Center For The Performing Arts in Carmel through September 24th.
Thursday, September 8, 2011
SINGIN' IN THE RAIN
The Beef & Boards Dinner Theatre has a great show on its stage. This is one of the best productions of "Singin' in the Rain" I have seen, and I have seen quite a bunch. The credit has to go to the talented cast and crew.
Starting with the magnificent direction by Eddie Curry and the spectacular choreography by Ron Morgan there is not a dull moment on stage. Jill Kelly is responsible for the elegant costuming. This is really a fun show.
Heading the cast as a perfect Don Lockwood is Timothy Ford. He is truly a triple threat performer. He can act, sing and dance superbly. The night I saw the show, during the "Singin' in the Rain" number he slipped on the wet stage and went down with a resounding thud and splash. Immediately he ad libbed "I'm alright", finished the complete routine and the rest of the show without a hitch. A remarkable feat.
Reliable Douglas Holmes reveals his remarkable comedic timing and posturing as Roscoe Dexter, the film director. Jeff Stockberger amusingly plays the pompous Simpson, the studio boss. And Doug King surprises all with the best portrayal I have ever seen him do, that of Cosmo Brown, the flamboyant dancer, singer, actor, piano player.
Sara Brophy compliments Tim Ford with a wonderful portrayal of Kathy Seldin. Sarah Hund is the mad cap so called actress with the screeching voice, the villainous Lina Lamont. Sally Scharbrough is adorable as Zelda, the snitch, and Kenny Shepard impresses as the diction teacher in the hilarious number, "Moses".
What steals the show is the spectacular execution by the dancing performers. Ron Morgan's choreography is imaginative. The extremely talented supporting cast contributes immensely to the exciting production.
The stage version of "Singin' in the Rain" is based upon the MGM film, with choreography by Gene Kelly and Stanley Donen. The screenplay was written by that wonderful team of Betty Comden and Adolph Green. The familiar songs were by Nacio Herb Brown and Arthur Freed.
The"Singin' the Rain" production on the Beef and Boards Stage is a long show that you do not want to end.
Starting with the magnificent direction by Eddie Curry and the spectacular choreography by Ron Morgan there is not a dull moment on stage. Jill Kelly is responsible for the elegant costuming. This is really a fun show.
Heading the cast as a perfect Don Lockwood is Timothy Ford. He is truly a triple threat performer. He can act, sing and dance superbly. The night I saw the show, during the "Singin' in the Rain" number he slipped on the wet stage and went down with a resounding thud and splash. Immediately he ad libbed "I'm alright", finished the complete routine and the rest of the show without a hitch. A remarkable feat.
Reliable Douglas Holmes reveals his remarkable comedic timing and posturing as Roscoe Dexter, the film director. Jeff Stockberger amusingly plays the pompous Simpson, the studio boss. And Doug King surprises all with the best portrayal I have ever seen him do, that of Cosmo Brown, the flamboyant dancer, singer, actor, piano player.
Sara Brophy compliments Tim Ford with a wonderful portrayal of Kathy Seldin. Sarah Hund is the mad cap so called actress with the screeching voice, the villainous Lina Lamont. Sally Scharbrough is adorable as Zelda, the snitch, and Kenny Shepard impresses as the diction teacher in the hilarious number, "Moses".
What steals the show is the spectacular execution by the dancing performers. Ron Morgan's choreography is imaginative. The extremely talented supporting cast contributes immensely to the exciting production.
The stage version of "Singin' in the Rain" is based upon the MGM film, with choreography by Gene Kelly and Stanley Donen. The screenplay was written by that wonderful team of Betty Comden and Adolph Green. The familiar songs were by Nacio Herb Brown and Arthur Freed.
The"Singin' the Rain" production on the Beef and Boards Stage is a long show that you do not want to end.
Saturday, August 27, 2011
THE TARKINGTON TOUR
This summer I had a most thrilling experience. I was treated to a grand tour of the Tarkington Theatre complex, which is the new home for the Civic Theatre at the Center For the Performing Arts in Carmel, Indiana. The Tarkington and the Studio Theatre are in a separate building from the Palladium. My distinguished guide was none other than Mr. Robert Sorbera, the artistic director of the Civic. He took me and my wife all through the complex, a maze of offices, conference rooms, rehearsal halls, costume storage, educational facilities, and so much more. On the way we met some of his friendly hard working staff.
The actual 500 seat Tarkington Theatre is just a small but wonderful part of the huge complex. One aspect I thoroughly liked was the seat availability for the handicapped. The theatre itself is state of the art equipped and well designed. The schedule of presentations is really ambitious. On September 9th "The Drowsy Chaperone" will open the season. I have heard wonderful things about this musical. It is being directed by the talented Ron Morgan. The next show is the spectacular "Amadeus" directed by Robert J. Sorbera which opens October 28th. I must mention how gracious and polite Mr. Sorbera was as a tour guide. I was greatly impressed by this new home for the Civic Theatre. This theatre will be a welcome addition to the local arts scene.
The actual 500 seat Tarkington Theatre is just a small but wonderful part of the huge complex. One aspect I thoroughly liked was the seat availability for the handicapped. The theatre itself is state of the art equipped and well designed. The schedule of presentations is really ambitious. On September 9th "The Drowsy Chaperone" will open the season. I have heard wonderful things about this musical. It is being directed by the talented Ron Morgan. The next show is the spectacular "Amadeus" directed by Robert J. Sorbera which opens October 28th. I must mention how gracious and polite Mr. Sorbera was as a tour guide. I was greatly impressed by this new home for the Civic Theatre. This theatre will be a welcome addition to the local arts scene.
Monday, May 16, 2011
CINDERELLA GETS HER FELLA
From the opening number ,"The Prince is Giving a Ball", at Beef & Boards' "Cinderella" it was simple to determine that this show was not one of Rogers and Hammerstein's best. However through the waving of their magic wands Director Eddie Curry and Choreographer Ron Morgan kept the dull spots to a minimum. The magic on stage was quite remarkable. Holding this show together was the exceptional performance of Lindsay Sutton in the title role. This diminutive bundle of talent was sensational.
Playing the role of the King was Mark Fishback. Equally regal was Laura Lockwood as the Queen. Completing the family was Aaron Young as Prince Charming. Karen Pappas impressed as the Fairy Godmother.
The alluring attraction were the ugly stepsisters portrayed by two men, Jeff Stockberger and Doug King. It is hard to imagine two uglier performers on stage. Jeff acted as if he was auditioning for the lead role in the film, "Attack of the 50 Foot Woman". Doug was auditioning for his understudy in the film and succeeded. Lynne Perkins was really mean as the Stepmother. It was easy to realize where the ugly stepsisters got their manners. Kids in the audience really enjoyed the antics of the stepsisters, and all the magical transformations provided by Curry and Morgan. The kids who saw the show will surely recommend it to all their friends.
The intriguing set design was by Michael Layton and looked terrific because it was lit by Ryan Koharchik. Some of the costumes were done by Peggy Kellner and provided by Music Theatre of Wichita and supervised by Jill Kelly. Jill Kelly outdid herself with costumes for the two stepsisters. Obviously she had to have lots of material.
Coming up at Beef & Boards is "Church Basement Ladies 2" and the entertainment delight, "Singing In The Rain".
Playing the role of the King was Mark Fishback. Equally regal was Laura Lockwood as the Queen. Completing the family was Aaron Young as Prince Charming. Karen Pappas impressed as the Fairy Godmother.
The alluring attraction were the ugly stepsisters portrayed by two men, Jeff Stockberger and Doug King. It is hard to imagine two uglier performers on stage. Jeff acted as if he was auditioning for the lead role in the film, "Attack of the 50 Foot Woman". Doug was auditioning for his understudy in the film and succeeded. Lynne Perkins was really mean as the Stepmother. It was easy to realize where the ugly stepsisters got their manners. Kids in the audience really enjoyed the antics of the stepsisters, and all the magical transformations provided by Curry and Morgan. The kids who saw the show will surely recommend it to all their friends.
The intriguing set design was by Michael Layton and looked terrific because it was lit by Ryan Koharchik. Some of the costumes were done by Peggy Kellner and provided by Music Theatre of Wichita and supervised by Jill Kelly. Jill Kelly outdid herself with costumes for the two stepsisters. Obviously she had to have lots of material.
Coming up at Beef & Boards is "Church Basement Ladies 2" and the entertainment delight, "Singing In The Rain".
Friday, May 13, 2011
LA TRAVIATA NOT TRIVIAL
For the umpteenth time I saw the opera "La Traviata". This Indianapolis production at Clowes Hall lives up to the others I have seen. It is wonderful that the Indianapolis Opera never disappoints.
"La Traviata" literally means the fallen woman. The gorgeous music was composed by Giuseppe Verdi. The libretto was written by Francesco Maria Piave. The story is based upon "La Dame aux Camelias" by Alexandre Dumas fils. The moral is that a wayward woman can have a heart of gold. The two creators originally titled the opera, "Violetta", but changed it later.
This production features the Indianapolis Symphony Orchestra with James Caraher expertly conducting the sumptuous music of Verdi. I was particularly enthralled with the familiar music in the first act. Maureen O'Flynn beautifully sang the role of the courtesan, Violetta. Her"Sempre Libera" in the first act greatly impressed me.
Usually this opera is performed in three acts, however IO's version is in four acts with two fifteen minute intermissions. These intermissions do not occur when you expect them. The first one comes after act one, the second after act three. In the three act version acts three and four are combined. The last act happens in Violetta's bedroom where she dies without coughing. It usually is a small set inserted in front of the huge third act scenery. In IO's opera all four sets are enormous, especially the last act with its huge windows. The set designer was Peter Dean Beck. He made it easy for the performers to move. You could tell that director Joachim Schamberger appreciated Beck's creativity. This massive production deserves kudos to the Production Stage Manager Deborah Jo Barrett who had mountains of humanity to keep track of in the first and third acts. Chorus Master John A. Schmid did a wonderful job with his chorus.
Scott Piper portraying Alfredo, Violetta's love interest, did not grab me in the opening act with its famous drinking song. He grew on me as the opera progressed. Richard Paul Fink as Alfredo's father had his moments, but nothing could take the show away from the brilliance of Maureen O'Flynn.
Next season looks promising with Madama Butterfly" in Sept. at Clowes. The next double billing at Basile Center is interesting . "A Water Bird Talk" is a lecture to an Audubon Society gone awry. "Bon Appetit" is in humorous homage to Julia Child. In March is the intriguing , "Opera Goes to the Movies" at Clowes. The 2011-2012 season ends in May with the magical, "Faust".
"La Traviata" literally means the fallen woman. The gorgeous music was composed by Giuseppe Verdi. The libretto was written by Francesco Maria Piave. The story is based upon "La Dame aux Camelias" by Alexandre Dumas fils. The moral is that a wayward woman can have a heart of gold. The two creators originally titled the opera, "Violetta", but changed it later.
This production features the Indianapolis Symphony Orchestra with James Caraher expertly conducting the sumptuous music of Verdi. I was particularly enthralled with the familiar music in the first act. Maureen O'Flynn beautifully sang the role of the courtesan, Violetta. Her"Sempre Libera" in the first act greatly impressed me.
Usually this opera is performed in three acts, however IO's version is in four acts with two fifteen minute intermissions. These intermissions do not occur when you expect them. The first one comes after act one, the second after act three. In the three act version acts three and four are combined. The last act happens in Violetta's bedroom where she dies without coughing. It usually is a small set inserted in front of the huge third act scenery. In IO's opera all four sets are enormous, especially the last act with its huge windows. The set designer was Peter Dean Beck. He made it easy for the performers to move. You could tell that director Joachim Schamberger appreciated Beck's creativity. This massive production deserves kudos to the Production Stage Manager Deborah Jo Barrett who had mountains of humanity to keep track of in the first and third acts. Chorus Master John A. Schmid did a wonderful job with his chorus.
Scott Piper portraying Alfredo, Violetta's love interest, did not grab me in the opening act with its famous drinking song. He grew on me as the opera progressed. Richard Paul Fink as Alfredo's father had his moments, but nothing could take the show away from the brilliance of Maureen O'Flynn.
Next season looks promising with Madama Butterfly" in Sept. at Clowes. The next double billing at Basile Center is interesting . "A Water Bird Talk" is a lecture to an Audubon Society gone awry. "Bon Appetit" is in humorous homage to Julia Child. In March is the intriguing , "Opera Goes to the Movies" at Clowes. The 2011-2012 season ends in May with the magical, "Faust".
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