Chicago Murder, exploitation and the insatiable desire for fame come to the Murat Theatre

Sexy.

It’s the best word to describe Chicago –– its singing, dancing, music and, perhaps most obvious, costumes.

The show opens with Velma Kelly (Terra C. MacLeod), who we learn has murdered her husband and sister after finding them in bed together, and the show’s famous song “All That Jazz.”

In the meantime, we learn of Roxie Hart (Bianca Marroquin), who has murdered her lover, Fred Casely. Roxie’s husband, Amos (Tom Riis Farrell), gladly takes the blame for the murder. But the truth comes out, and Roxie’s arrested and taken to the women’s block of the Cook County Jail.

In “Cell Block Tango,” we meet Roxie’s fellow inmates and learn why they’re incarcerated. Let’s just say you wouldn’t want to cross these ladies –– no gum popping tolerated here.

We also meet the exploitative Matron “Mama” Morton, played with plenty of sass by Carol Woods. With her help, Velma became the top story in the newspapers. Mama also is helping Velma plan her return to vaudeville –– all for a price, of course.

Velma’s not happy that Roxie’s stealing her thunder –– and her lawyer, the slick-talking, impeccable suit-wearing Billy Flynn (Tom Wopat), who takes on these cases only to steal his share of the limelight.

Thanks to Billy, Roxie becomes the talk of the town, the darling of the press. Soon, though, a new scandal erupts, and Roxie’s pushed aside. Roxie decides that being pregnant is the best way to reclaim her rightful spot in the spotlight.

Amos is thrilled he’s going to be a father. He seems to be the only one who doesn’t realize it’s a farce.

Roxie’s growing ego and confidence are taken down a few notches when she learns fellow inmate Hunyak is hanged for her crime. Billy still promises an acquittal –– which Roxie gets –– but before the verdict is read, the attention of the press turns to the latest and greatest sensational crime.

The trial over, Flynn takes off, and Roxie confesses to Amos that there is no baby. Amos leaves Roxie, who is once again down and out before teaming up with Velma for a new act.

The choreography, the obviously talented actors and actresses, the sequined costumes –– it all made for one super sexy, toe-tapping and entertaining show.
In a way, it reminded me of today’s celebrities and how they’ll do, say or wear just about anything to get their faces plastered on tabloid covers.

And just when you think you’ve heard the last of them, they cook up another crazy idea to get one more shot at publicity. Then the next big thing comes along, and they’re forgotten about once again.

When you think about it, Velma and Roxie aren’t much different from Britney and Lindsey.

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by Laura Kruty

My Way Actors Theatre of Indiana pays tribute to Frank Sinatra

In a packed theater at the Carmel Community Playhouse, Don Farrell opened My Way with vocal talents that were as smooth as Sinatra. One by one, the members of Actors Theatre of Indiana strolled out onto the 1950’s lounge-type set and introduced themselves through the stylings of Sinatra.

My Way was packed with more than 50 Sinatra songs and tidbits about the musical genius himself. Classics like “New York, New York,” “Strangers in the Night,” “Luck Be a Lady” and “Fly Me to the Moon” poured into the audience’s hearts and transported the audience straight to the stage.

As much as I would like to swoon over this musical, there were a few glitches with opening night. One of the microphones was off for the entire first half and the set lights were half off.

But the show must go on –– and it certainly did. The talent of Actors Theatre of Indiana was so bright they practically turned the lights on themselves. Cindy Collins is a comical genius who used everything from her voice to her toes to act and sing. Her comedic timing was impeccable.

The music itself was built with medleys of Frank’s songs, as well as originals of many of the classics and themes. The bridge that built the songs together was strong and well done. One of the themes was “take a tour of Sinatra’s world,” which was built of songs taking the audience through “I Love Paris” and everyone’s favorite “New York, New York.” Practically every audience member was tapping their feet, singing along or at least bobbing their heads.

“I Get a Kick Out of You” truly highlighted Judy Fitzgerald. She sung passionately every note with her voice that was built for Broadway. A three-piece band backed the group and actively participated in the performance by not only keeping a perfect swing tempo but also by saying a few lines. The percussionist, Greg Wolff, played with absolute facility and was featured in a great solo in “The Lady is a Tramp.”

Don sang “A Summer Wind,” which could warm even the coldest of winter winds. The entire group’s acting went beyond emulating emotions through words. The audience could feel the passion and sentiment of every note sung.

During the second half, all the microphones were on, and suddenly a new talent was discovered –– Jon Lambert. As Jon and Don sang “Can I Steal a Little Love,” the audience was in stitches. This song was definitely a highlight of the evening.

Actors Theatre brought a refreshing theatrical performance to Carmel, one that was packed full of heartfelt songs that made the audience want to get on the stage and join.

“My Way” not only transports you to the “good ’ol days” but it takes you straight to Broadway. It’s a feel-good musical that leaves you wanting more, and the good news is that you can have it. Sinatra may be gone, but you certainly heard his voice live at the Carmel Playhouse.

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by Tory Flynn

Inside Peek "The September Issue" gives behind-the-scenes look at Vogue Movie Review

To me, Vogue magazine has never been must-read material.

For many, it’s fashion’s bible, chockfull of extravagant clothing and profiles on heiresses living an equally extravagant lifestyle that many of us can only dream of.

That being said, as an employee at a magazine who’s interested in fashion, I jumped at the chance to see The September Issue, a documentary by R.J. Cutler that gives a behind-the-scenes look at what went into creating the 5-pound September 2007 issue of Vogue, the largest consumer magazine ever published at 840 pages.

It also shines light on Anna Wintour, Vogue’s editor-in-chief, who’s earned the nickname “Nuclear Wintour” for her notoriously icy and standoffish personality.

I loved getting a sneak peek at how such an influential and wide-reaching publication like Vogue creates its content. I loved seeing the photo shoots in progress and all the work and money that goes into them –– all for a mere eight pages of content.

I also enjoyed seeing how Vogue employees interact with Wintour, pitching ideas and clothing suggestions almost cautiously. It’s clear, however, that Wintour has the final say in the magazine’s content when we see her axing an entire fashion spread, one that likely cost thousands and thousands of dollars to produce.

The only one to really challenge Wintour is former model Grace Coddington, Vogue’s creative director, who styles many of the magazine’s photo shoots and really becomes the film’s second star. I ended up really liking Grace; she seemed to have fun with her job and not take it as seriously as the fashion industry takes itself.

Another part I loved: One of The September Issue’s cameramen ends up in a fashion spread. But the industry is all about weight, and that’s none more clear when Wintour suggests he hit the gym to slim down his slight potbelly.

In the end, Wintour comes off as a soft-spoken, decisive businesswoman who’s really nothing like The Devil Wears Prada’s Miranda Priestly, widely rumored to be based on Wintour. I would have liked to see more of Wintour’s personal life, however, more than the brief scenes where she asks her daughter, Bee Shaffer’s, opinion on the issue.

One other note: Wintour is famous just as much for her hair as she is her job. “The Bob” is truly mesmerizing. I couldn’t help but fixate on it in several scenes.

The film will appeal to many, although those that love fashion and/or Vogue probably will enjoy it the most. The film, rated PG-13, is now playing exclusively at Keystone Art Cinema at The Fashion Mall.

Log on www.fandango.com for showtimes.

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by Laura Kruty

Portrait of America ISO’s opening night gala hopefully a promise of what’s to come Concert Review

The Indianapolis Symphony Orchestra launched its 80th concert season with such success that I can only hope the rest of the season is as promising. The extravagantly attired guests stood up and sang as the full orchestra played “The Star-Spangled Banner,” which was a beautiful pairing to the closing, another American classic, “Hoe Down” from Rodeo by Aaron Copland.

It was difficult to avoid the feast for the eyes with a full orchestra holding its shiny brass and varnished wood instruments. The bows danced across the strings in unison during Samuel Barber’s “Overture to The School for Scandal.” The song’s motive was passed around and highlighted both the string and winds section. Part of it seemed to even mimic a waterfall with eccentric trills that were so ornate it was as if one was actually listening to lace.

Leonard Bernstein, a personal favorite, which also seemed to bring the audience back from the solace of Hoagy Carmichael, demanded the audience’s attention. Bernstein, who utilized every ounce of the full orchestra, created a great expose on different types of themes and music in his “Divertimento for Orchestra.”

Every movement makes you want to leap out of your seat and begin clapping, but really that would be a concert foul.

It seems there are always concertgoers that get confused when they are supposed to clap, and many concertgoers just clap because they heard someone else doing so and think that the appropriate time to clap has arrived … but it hasn’t. So, for those who enjoy music and attend concerts, let me clear up once and for all the “clapping controversy.”

Just because there is a pause in a piece doesn’t mean the composition has actually ended and it is time to clap. Often, composers utilize silence as part of their composition (i.e., John Cage). When reading the program, you will often see a Concerto, or in this concert’s case, a Divertimento headline next to the composer’s name. Underneath the title of the piece, you’ll see a subset of pieces (usually indented). Those subtitles make up the entire piece.

When you clap after the first movement, even though it very well may merit clapping, it is as if you are leaving a baseball game after the first inning, reading the last page of a book after the introductio, or eating a food that has yet to be fully cooked. A movement only represents part of the entire piece. So before you jump to your feet and put your hands together wait to hear the song in its entirety and listen to what the composer has to fully say!

Having gotten that cleared up, the featured pianist, Gabriela Montero, was a breath of fresh air. As she approached the grand Steinway in her leggings and boots, she had an air of youth that is often not seen in concert halls. Her youth breathed life into the piano and took her complete time as she made “Rhapsody in Blue” look as easy as “Chopsticks.”

She then spoke to the audience and improvised “Back Home Indiana” after an audience member fulfilled her request of giving her a short melody. It was apparent that she was highly classically trained and has played quite a bit of Bach in her day, for the entire improvisation seemed to be variations of “Back Home Indiana” in Prelude and Fugue format. The audience leapt to its feet –– and rightfully so.

Having ended the concert with Copland’s “Hoe Down,” the Symphony left the entire audience as if it rediscovered the West. The concert was truly a tribute to America and gave everyone such enthusiasm for this concert season.

Bravo!
(You can clap now.)

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by Tory Flynn

The Shame of Fame — the 2009 version Movie Review

With great anticipation I entered the theater to view the much-hyped 2009 version of the now classic 1980 original Fame. With no preconceived opinions of the film, I took my seat — popcorn and peanut M & Ms in hand.

At the time I was thinking it would be unfair to make any comparisons between the two. After all, dance and music have come so far in the past 30 years. But a feature film about kids in a school of performing arts would have to be incredible.

The first seven minutes of the film did not disappoint. The collage of “improved” dance, music and vocals that came together in the school’s lunchroom was an exciting intro to what should have been an artistic adventure.

Instead, the audience was privy to four great music videos (a special mention goes to the “CarnEvil” scene) strung together with sketchy story lines for far too many characters. Except for Denise and maybe Malik, you don’t really get to know any of them well enough to care — or even see how they truly had transitioned over their four years in school. And there was no fluidity. By the time the aspiring ballet dancer lost all hope, I had forgotten he was in the movie and even his name. That’s pretty bad since Kevin is my brothers’ name.

There also were an inordinate number of scenes where the high school kids found themselves in some very adult situations without any adults present. Sure, we are living in different times, but this was hard to swallow. Apparently, the attempt here was to show how difficult the world can be for those who truly want to make it. Point made... I guess.

A few great actors — Charles Dutton, Kelsey Grammer, Bebe Neuwirth… — as teachers and mentors were thrown in to add some spice to the mix but their roles fell flat. Of course, the story is about the kids but the audience should be given a little more than a cheap Karaoke performance from Megan Mullally to give credence to her as one who could inspire these “wanna be” stars.

The shame of Fame is that there are very talented dancers, singers and actors that just simply were not given the time to shine in a two-hour film. No doubt you will be seeing a lot more of Naturi Naughton who played Denise (I think she’s got a good agent).

But all in all, this was a “wait-for-video” film for me.

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by Michelle E. Latney