Stage Write

Posts

White City Murder

There are a few Indy performers whose name alone is enough to get me to their show. Ben Asaykwee and Claire Wilcher are two of those actors. They’ve come together for “White City Murder”, an original musical Asaykwee created about the serial killer H.H. Holmes, who made his mark at the Chicago’s World Fair in 1893. To carry off a successful two-person musical conveying a massive amount of historical content, you need the most charismatic performers. I can’t imagine the show without Wilcher and Asaykwee. They swing from playful and campy to melancholy and disturbing in the span of a single song. They share props, trade accents, and use a simple red glove to play dozens of characters without ever making things confusing. The outrageous nature of the show keeps things moving at a brisk pace and it never lags. Most numbers use an audio looping machine to provide harmonies and backdrops. That, along with a piano built into a cabinet on the stage, is all they need to provide music in the

The Wizard of Oz

A trip on the yellow brick road is not a rare occurrence in local theater, but some productions just hit it out of the park. The current one at Beef & Boards Dinner Theatre managed to find the perfect cast, include a wonderfully fresh and diverse group, including Bessie D. Smith as the delightfully devious Wicked Witch of the West. Grace Atherholt gives off serious Judy vibes as the lovely Dorothy. She’s perfect for the role. Her three sidekicks are gentle, kind, and wonderfully encouraging as she embarks on her perilous journey. Joey Boos is particularly sweet as her knock-kneed scarecrow. The costumes are excellent. From a plethora of munchkins to sassy crows, elegant apple trees to a witch in leather pants, I loved every detail. I also thought the transition from sepia to color on stage was beautifully done, with great attention to detail all the way down to Dorothy‘s gingham dress. The supporting cast is large and does a wonderful job. Hannah Boswell stands out as a complete

The King and I

Thirty years ago, I saw my very first professional musical. I was just a kid, and I was in awe of the performance at Beef & Boards Dinner Theatre. That very same show, The King and I, is on stage now and the magic is still there. It may be tinged with nostalgia for me, but the talent on stage is undeniable. I appreciate that the director and theatre acknowledge how complicated the story is. Though it’s a beloved musical, it’s sometimes accused of falling into the “white savior complex” territory. It’s written by two white men in America and inspired by a single woman’s highly-contested account of her time in the country. But director Brian Jose, who is of Filipino descent, prides himself on understanding that complex balance. He focuses on the story of an unexpected friendship and the joy that can come from “Getting to Know You”. He also cast performers from Thailand, Hong Kong, South Korea, Japan, and the Philippines. All but two of the diverse cast members are making their Beef &

Hadestown

It’s rare to find a musical that can truly make the old feel new. So many productions feel like a simple spin on something that’s been done before. Hadestown, on stage now with Broadway Across America (BAA), is one of those uncommon gems. Perhaps that’s why it takes a minute to adjust to the show's distinct blend of jazz and ballads. From a train station above to the industrial prison below, the dramatic story is a retelling of a Greek myth familiar to many. The set has a New Orleans vibe with a balcony and a live band on the stage. The musicians give a club feel to the show like you’ve stumbled into a hidden spot in the French Quarter. The set doesn’t constantly change like some BAA shows but it’s beautifully done with some dramatic lighting moments, and it makes great use of the turntable on the stage. Our narrator and guide through the tale is Hermes (Will Mann). He has a beautiful voice and a playful sense of humor. The three Fates are dressed like 1920s flappers and come

The Minutes

Welcome to Big Cherry where the dedicated city council members are ready and waiting to plan the annual heritage festival. The American Lives Theatre production of Tracy Letts’ one-act play “The Minutes” is on stage now at the Phoenix Theatre Cultural Centre. The show has a slow start as the meeting we’re watching is almost too realistic. It hits close to home if you’ve ever attended small-town meetings with petty conflicts and private grievances. It took me back to my years as a daily reporter covering the board of zoning appeals, and town councils. Robert’s Rules of Order go out the window when blood begins to boil. When Charles Goad (Mr. Carp) appears the plot kicks into high gear. His role looms large in the story even before he arrives. As the catalyst for the action, he’s perfect, both passionate and sincere. Up until that point, it feels a bit like an awkward waiting game as Mr. Peel (Josh Ramsey) sits on the sidelines desperate for answers. Ramsey plays Peel with an

To Kill a Mockingbird

For more than 60 years, the tale of Atticus and Scout has captivated the world. As a novel, a film, and then as a play, audiences have loved the complex story of a father trying to do what’s right as his raises his young children. This Broadway Across America production features Aaron Sorkin’s adaptation of the book. Sorkin chooses to begin with the end in his script, which works perfectly because so many people already know the story. There’s no worry about spoiling the ending. It’s a verbose production, though I would expect nothing less from him. In this adaptation there’s much more emphasis on the trial than the coming-of-age story. There are more conversations between Atticus and the other adults, Tom, Cal, the judge, and Bob Ewell. In the novel, it’s Scout story, and we see the plot unfold through her eyes. This iteration of the play is much more focused on Atticus. It’s like seeing a behind the scenes glimpse into the original Mockingbird. The story is the same but you’re