Wit at Theatre Within

The Theatre Within in Fountain Square presents Wit for one more weekend only. This heavy drama by Margaret Edson, shares one literary professor's lonesome struggle through cancer as she navigates a careless medical system. A thoughtful play with humor throughout, director Ruth Hawkins elicits interesting performances from her cast. With a script, and a main character, that are ever aware of there own dramatic devices, Theatre Within's production finds a strong balance between the wit and the sentiment of Wit.

Susan Pieples as Vivian Bearing, the cancer ridden lover of John Donne poetry, carries the show through direct address monologues that gently walk a line between snide know-it-all and sympathetic victim. Though I didn't like the character very much, Pieples manages to evoke an emotional response from her audience due simply to her sickly circumstances. Left alone in the world through a series of self-alienating life choices, the character comes to illuminate the importance of human interaction through her lack thereof.

Making the jump from behind the scenes to onstage, Rod Issac takes on the roll of the monotone Dr. Kelekian, whose strangle-hold over his fellow Jason Posner (Thom Turner) makes for a comedic exploration of the shortfalls of the medical world. Paired with RN Susie Monahan (Eryn Bowser), the difference between nurses and doctors when it comes to actual care in the most literal sense of the term, provides interesting food for thought. Hawkins plays up the hamster wheel of a hospital cleverly through blank faced doctors moving with Tetris like precision.

Though I was disappointed by emotionally manipulative musical choices throughout, which show both a lack of faith in the actors' ability to act and the audience's ability to receive, I split hairs. The show retains a sense of cohesiveness throughout, meditating on the end stages of life without becoming too heavy handed. Overall, a wild success for Theatre Within and a worthwhile Indianapolis theatre production. Catch it for one more weekend: September 24 and 25 at 8:00 pm.

For more details visit the Theatre Within's website.

Camelot at Beef and Boards

Beef and Boards Dinner Theatre presents Camelot through October 10. This Broadway musical, which premiered in 1960, shares the legend of King Arthur (Doug Stark), Queen Guenevere (Krista Severeid) and Sir Lancelot (Tony Lawson). An epic love triangle, Beef and Boards' production features gallantry, sword fights and knights dancing. . . what could be better? With strong contributions from both Severied and her real life husband Lawson as two-thirds of the love-triangle, the production shimmers with forbidden love and catchy tunes. And though Stark sing-speaks most of the beloved songs, his contribution as the chivalrous and kindly king is simply heartbreaking.

In the role of a life time, Doug Stark captures King Arthur's temperament nearly perfectly. Making the transition from the dull Wort to the noble King, Stark is lovable in this lead role. When paired with Severeid as Guenevere, the two create a realistically charming relationship. And Severeid's voice simply soars in her vocal solos. Tony Lawson's ego-centric Lancelot, complete with a snooty yet sexy French accent, delicately navigates the waters between total ass and miracle maker. The three lead hit every relational nuance they can, without brow beating. Underplayed emotions align with medieval mores. As their age-old love triangle builds, its is impossible to keep from intertwining your own emotional response with the difficult situation at hand.

As usual, Jeff Stockberger is spot-on as comedic relief in the role of King Pellinore. Snorting and barking his way through scenes, with some help from a gigantic four-legged friend, he steals practically every scene he is in. A delight to watch, Stockberger pulls double duty as Merlyn in the first scene of the play, effortlessly grasping the aged wisdom of the famed wizard. As Mordred, Danny Kingston is an evil scream. A good six inches shorter than most other players on stage, he establishes himself quickly in the second act as the ruthless heir with a larger than life presentation. The ensemble shines vocally, particularly in the climatic song of the play "Guenevere."

Director Eddie Curry creates a magical homage to the legend of Camelot on stage now at Beef and Boards Dinner Theatre. For lovers of grand musicals, this Indianapolis theatre production is one to catch.

Annie at Indianapolis Civic Theatre

Nina Samaan as Annie at Indianapolis Civic Theatre

I took my sister, Maggie, to see Annie at the Indianapolis Civic Theatre last weekend. On opening night we took our seats for this Indianapolis theatre production, settling in to enjoy Maggie's favorite musical ever. Something about the whimsical little orphan, whose optimism is the only thing she has in abundance, seems to touch a chord with children upon first sight. And in fact, on our way out that evening, a little girl, no more than six, twirled in the lobby singing "Tomorrow, tomorrow, I love ya tomorrow." It was as if we were hearing the song for the first time and imagining our rags to riches dreams once again through her.

The story hasn't changed at all since it first premiered in 1976. But the idea of clinging to hope in the midst of depression, economic or otherwise, is as fresh as ever. Never had the song "We'd Like to Thank You Herbert Hoover" rang so resonantly with me before. I found myself wondering why no one had yet parodied the tune replacing Herbie with Georgie. Yet as we suffer through the worst economic recession since the 1930s, the important lesson the little orphan has to teach is the real point.

Civic Theatre's production of Annie offers a highly polished design concept, allowing the cast to travel to the many locations called for in the show. Despite a few costuming hiccups, namely a hat that shadowed the face of the Rising Star in "N.Y.C.," each member of the cast was picture perfect. Famous for his lighting and scenic design throughout the city, director Ryan Koharchik played to his visual strengths to create a truly beautiful production.

The cast pushed themselves to the comic limit, doing justice to their cartoon origins in the Sunday funnies. As the devilish Rooster, Paul Hansen elevated those around him, even helping to flesh out his sister Mrs. Hannigan's (Carrie Neal) character. Singing from Daddy Warbucks (Dan Scharbrough) and Annie (Nina Samaan) fell flat. Yet I couldn't get enough of the songbird voice of Mikayla Reed in the role of Grace Farrell. But the most impressive sound, by far, came from the ensemble who sent shivers down my spine on more than one occasion.

For a healthy dose of adorable orphans, particularly Annie Cushman as Molly, check out Annie at the Indianapolis Civic Theatre. Read the NUVO review, written by yours truly here.