Indianapolis Museum of Art

China shares the opulence of its treasures
through IMA’s “Power and Glory” exhibit

by Dan Kraner

Power and Glory: Court Arts of China's Ming Dynasty is more than just “Ming Bling,” as the edgy billboards sprinkled across town imply. It is the first major exhibition to focus on the full range of Ming Dynasty (1368-1644) court arts, including more than 200 treasures from China’s greatest museums — many never before seen outside that country. The exhibition includes paintings; gold and jade; textiles; jewelry; architectural and funereal objects; carvings and lacquer pieces; porcelains; and enamel and metal work.

Possibly the origin of “bling” — and definitely not the sort one is accustomed to seeing on the streets of Indianapolis — this groundbreaking exhibition was organized by the Asian Art Museum of San Francisco in association with the Palace Museum, Beijing; the Nanjing Municipal Museum; and the Shanghai Museum.

I was immediately struck by the opulence of color, the finite attention to detail and the exacting order of each piece. Keeping the full perspective of China’s oppression through history, especially among women, will give the viewer a more well-rounded appreciation of each artifact.

I stood, mesmerized (I needed magnifying glasses) for minutes, at the intricate hand stitching on the silk garments on display. The attention to detail, and craft is immaculate. For anyone who is an accomplished seamstress — or simply managed a “C” on the required sewing project in eighth grade home economics — this detail is a marvel.

Power and Glory: Court Arts of China's Ming Dynasty continues through January 11in the Clowes Gallery of the Wood Pavilion. General admission is free; however, tickets to Power and Glory: Court Arts of China's Ming Dynasty are $12 adults; $10 senior citizens; and $7 college students with a valid student ID. Log on https://tickets.imamuseum.org/default.asp.

The Curious Case of Benjamin Button

Brad Pitt presents a bit of a distraction in
The Curious Case of Benjamin Button

by Shari Scales Finnell

The Curious Case of Benjamin Button presented a plot that could have come across as so curious it would amount to nothing more than a sideshow. The movie follows the life of a man, played by Brad Pitt, who is born with the appearance and medical conditions of an 80-year-old man. His life progresses in reverse: By the time he actually reaches the end of his life, he has the appearance of a newborn.

However, under the direction of David Fincher, the movie proves to be a charming tale that rolls along in an easy-going enjoyable pace.

Even with the extraordinary amount of makeup and special effects it took to transform Brad Pitt into a wizened old/young man — including a balding head, wrinkles and age spots — the character Benjamin Button somehow came across as believable. It was easy to get caught up into this charming tale — that is, until Pitt progressed to the point where he started to look like, well, Brad Pitt.

It proved to be a distraction. A major distraction.

Whereas the actor showed the expected awkwardness of someone who moves through life in the complete opposite direction as everyone else — a freak of nature, he loses those endearing characteristics when he reaches his 30s. How else can I put it other than he suddenly has the swagger and charm of the incredibly good-looking movie star Brad Pitt?

Thanks to the character’s sudden wealth (I won’t spoil the plot for you), he also ups the sex appeal by wearing designer duds, baring his chest and appearing in a few steamy scenes with Cate Blanchett. Suddenly, you find yourself temporarily suspending belief in the character Benjamin Button and reminiscing about Brad Pitt’s role in Thelma and Louise.

All in all, this distraction is a minor hiccup in a movie that otherwise was flawless in its appeal about the human condition of life.

Lindsay Eichelman

I’m on vacation (and hopefully maintaining my healthy habits)!

I wish you and yours a very wonderful holiday. All the best to you in 2009!

Madame Walker Theatre

‘A Soulful Christmas 2008’ warmed up

by Joni Clark

On a bitter cold winter night, the Madame Walker Theatre was the hottest place Indianapolis as Lalah Hathaway and saxophonist Gerald Albright joined Will Downing to present “A Soulful Christmas 2008.”

The show opened with Lalah Hathaway, the daughter of Grammy-winning R & B vocalist Donny Hathaway, who despite the freezing temperatures outside, was barefoot! Her laid-back, easy attire was in total sync with the easy, sultry smooth groove of the songs “For Always” and “That was then” from her new CD Self Portrait. Hathaway her vocalists Toni and Jason performed “Summertime” from Porgy and Bess in a way that should serve as a lodestar for anyone attempting to a non-operatic rendition of that piece. Lalah brought the heat, but Gerald Albright took the room to a full boil!

Albright is a legend among musicians, recording since 1988. In fact, he performed the title cut from his debut album Bermuda Nights. The sensational saxophone style of Albright brought the house to its feet when he played a medley of “My, my, my,” “Misty” and “Stop on by.” Albright’s selections spanned the breadth of his musical career. He performed “Never Can Say Good-bye” with the third entertainer for the evening, Will Downing.

Will Downing took the house to a slow simmer with his performance of a series of love songs from his latest CD, After Tonight. Downing has a vocal style reminiscent of Isaac Hayes, Barry White, Luther Vandross and Lou Rawls rolled into one. Downing played to the ladies singing “After tonight” and “Lover’s Medley.”

If “A Soulful Christmas 2008” is any indication of what is to come in the new year, you may want to keep an eye on the Madame CJ Walker Theatre and their program schedule for 2009. Check out their Web site, http://www.walkertheatre.com

Tags: Madame Walker Theatre, Lalah Hathaway, Will Downing, Gerald Albright, Donny Hathaway

Clowes Memorial Hall

Handel's "Messiah" brings the audience to
its feet for performance and ovations

Review by Dubbie Buckler

Bravo and long overdue! George Frideric Handel’s Messiah, a composition that epitomizes the meaning of the season, was performed by the Indianapolis Symphony Orchestra to a standing room only crowd. Eric Stark, artistic director for the Indianapolis Symphonic Choir, conducted the ISO in its first performance of the classic in more than 20 years. Clowes Hall provided the perfect acoustical venue.

Soprano Ellen Hargis delivered effortless solos. Mezzo-soprano Julia Bentley rolled her “r’s” perfectly, Tenor Alan Bennett and Baritone Samuel Hepler delivered punctuated solos with engaging emotion.

Eric Stark conducted an unusual staccato rendition of “Surely He Hath Born Our Griefs,” usually performed in a mournful manner more in keeping with the message of sacrifice. And the rendition of “All We Like Sheep Have Gone Astray” was a bit too jovial for the message of the Gospel’s rejection. Aside from those two unusual interpretations, the production was beautifully presented on par with London Symphony recordings.

The audience reverently honored tradition, rising to its feet as the triumphant “Hallelujah Chorus” rang out. Messiah premiered in Dublin’s Music Hall before a royal audience in 1742. The accepted practice of the audience standing for Hallelujah Chorus is attributed to King George II, who rose to his feet at this point in the performance, purportedly because he was so moved by the performance and because the Hallelujah chorus clearly places Christ as the King of Kings. In standing, King George II accepted that he, too, was subject to Lord of Lords. Protocol demanded that whenever the monarch stood, so did everyone in his or her presence. Thus, the entire audience also stood, initiating a tradition that has lasted more than two centuries with the glorious sounds of Handel's Messiah bringing audiences to their feet. This production beautifully showcased the choir, orchestra and soloists, garnering three standing ovations.

"Hallelujah!" indeed! May this be the beginning of a tradition with the ISO.

Tags: Clowes Memorial Hall, Handel’s Messiah, Indianapolis Symphony Orchestra, Indianapolis Symphonic Choir

The Important Stuff

Lindsay Eichelman
Public Relations Manager

It’s the time of year for holiday celebrations and inevitably most of these fun and festive events somehow seem to center around one thing- FOOD. Sad but true. Some of my most favorite holiday events and traditions center around food- the holiday party and pitch-in for work, completing my holiday baking of a wide assortment of cookies and other treats, my mom’s Christmas Eve open house complete with an awesome spread of great hors d’oeurves and my best friend’s favorite holiday punch, breakfast casserole on Christmas morning…the list could go on and on and on…

If you’ll remember my goal for Thanksgiving was simply to maintain through the holiday and that is my goal again in the coming weeks. I do not want to forego all of the fun festive treats but I also don’t want to sabotage all the hard work I’ve been doing. In addition, I have a bridesmaid dress to wear on New Years Eve! But most importantly, with all of the festive treats it’s easy to lose sight of what the holidays are really about- being with family and friends and all of the people we love. So this year, instead of worrying about my favorite peanut butter cookies or that awesome holiday punch- I’m going to focus all of my energy on enjoying the really important stuff- all of the people I have in my life who I love so dearly. Thanks to all of my wonderful family and friends for standing by me through this last year and helping to make me the person I am today! I don’t know what I would do without you all. You truly are the “important stuff” in my world.

Phoenix Theatre

Wacky On Thin Ice revives the variety shows of the 60s and 70s

by Andrew D. Smith

The many patrons who packed into the Phoenix Theatre for On Thin Ice: A Very Phoenix Xmas 3 were treated to a wacky, irreverent and thoroughly entertaining Christmas program. Reminiscent of the classic variety shows of the 60s and 70s, the superbly talented ensemble cast attacked the sacred cows of Christmas with abandon and glee. The sell-out crowd watching this brilliant performance was active in this vaudevillian romp.

Bryan Fonseca deftly directed Andy Rabensteine, Phillip Armstrong, Michael Shelton, Jenni Gregory, Sara Rieman and Gayle Steigerwald through skits and songs, ranging from traditional Christmas songs to deliciously wicked interpretations of the nativity scene, A Christmas Carol, and Rudolph the Red-nosed Reindeer. The musical talents and dancing skills exhibited by the ensemble case were truly delightful and the acting was consistent and completely believable.

The stage work and lighting were complimentary to the skits and the usage of video made this experience a multimedia extravaganza. One skit required a member of the audience to assist the talented actors and helped to immerse the crowd further into the spirit of the performance. Bryan Fonseca exercised a delicate touch of lights, music and sparsely efficient props to develop the twisted tales of this humorous look at Christmas.

On Thin Ice will appeal to mature discerning theater fans. Many of the stories take a twisted, humorous, uncensored viewpoint, and the humor is appropriate for adults. This show evokes memories of Carol Burnett, The Smother’s Brothers and Saturday Night Live.

On Thin Ice will entertain and titillate skit comedy aficionados 7 p.m. Thursday and 8 p.m. Friday. Tickets are $15 Thursday and $25 Friday, $15 ages 25 and younger. Call (317) 635-7529 or log on www.phoenixtheatre.com

Civic Theatre

What a wonderful Wizard of Oz!

By Michelle Thompson

When my daughter was little, my parents bought her the cutest tiny pair of sparkly ruby red slippers. At a young age, she — like most all of us — fell in love with the movie The Wizard of Oz.

These days my 9-year old wouldn’t be caught dead in ruby red slippers, but she was thrilled to learn that she and two of her friends would be going to see Civic Theatre’s live production of The Wizard of Oz following Brunch with Dorothy at the Civic Theatre.

At the brunch, the girls got their picture taken with Dorothy, were personally handed a huge lollipop from a cute little Lollipop Guild character, received a poster signed by the entire cast and got a really cool T-shirt that they all just had to go change into.

Then it was time for the show. Wow, what a spectacular production it was! We all LOVED it. Every time I looked over at the girls, their eyes were glued to the stage. If you’re a parent, you know that says a lot...especially since it was two hours and 15 minutes long.

For starters, the casting was brilliant. Dorothy looked and sounded just like the Dorothy we all know and love from the classic movie version. The scarecrow, the tin man and the lion were delightfully lovable — not to mention hilarious! — characters. The wicked witch had that perfect creepy laugh. The Munchkins, played by kids, were sensational. And cute little Toto looked like an ol’ pro on stage.

The sound, the music, the special effects, the props, the costumes, the singing, the dancing — it was all so fantastic and seemed so very professional. It was impressive.

There may be “no place like but home,” but for a real treat this holiday season, bundle up the kids and take them off to see the wonderful Wizard of Oz at the Civic Theatre through January 4. Times vary. Tickets are $34. Call (317) 923-4597 or log on www.civictheatre.org.

Actors Theatre of Indiana

A Year With Frog and Toad passes all too quickly

by Rebecca R. Bibbs
photos by Julie Curry

A Year With Frog and Toad is a great reprieve from the hustle and bustle of the holidays. Simple enough for the little ones, it’s also engaging for the adults.

Based on the beloved children’s classic written by Arnold Lobel, this delightful musical follows a year in the life of this amphibious odd couple. Toad does interpretive dance to coax the seeds in his garden to grow, Frog takes a little time for himself to bathe on an island in the middle of a lake and the pair sled down a hill. Each event is a little test of their friendship.

Bradley Reynolds as the energetic and adventuresome Frog, and Don Farrell as the more cautious, high-strung Toad elicit squeals of laughter from the many children in the audience. The showstoppers, however, are Kyra Jeanne Kenyon’s taunting turtle singing “Frog looks funny in a bathing suit,” and Tim Hunt’s nerdish snail bursting into song about how he’s coming out of his shell after he takes nearly a year to deliver a letter to Toad from Frog.

Give yourself the gift of laughter and see A Year With Frog and Toad, playing 7:30 p.m. Friday and Saturday and 2 p.m. Saturday and Sunday at Pike Performing Arts. Tickets are $32 adults, $27 seniors ages 60 and older, $19 students and $12 ages 12 and younger. Call (317) 216-5455 or log on www.pikepac.org.

Buck Creek Players

A Christmas Carol: Scrooge and Marley presents another point of view

by Alan L. Inkenbrandt

The Buck Creek Players’ presentation of Dickens’ A Christmas Carol breathes some new life into this old Christmas chestnut while remaining faithful to its source. Subtitled Scrooge and Marley, playwright Israel Horovitz’s adaptation brings the miser Scrooge’s long-dead partner Jacob Marley to the center of the story as narrator.

Marley, played by Michael M. Jones, guides the audience through the familiar tale, which follows the transformation of Ebenezer Scrooge, played by Ken Ganza, from Christmas-hating misanthrope to altruist. The play is punctuated throughout with lovely Christmas carols performed by cast members.

Ganza and Jones are wonderful as the title characters. Jones’ Marley calls forth the right amount of pathos and otherworldly dread in his spirited — pardon the pun — performance. Ganza’s Scrooge is delightfully crotchety, yet remains believable after his Yuletide conversion.

Kudos also go to director Ken Kern and the Buck Creek Players’ crew for the creative sets, costumes and lighting, which help evoke Victorian London. If you’re looking for family fun that summons up pleasant ghosts of Christmases past, go see A Christmas Carol: Scrooge and Marley.

A Christmas Carol: Scrooge and Marley continues 8 p.m. Friday and Saturday and 2:30 p.m. Saturday and Sunday. Tickets are $14 for adults, $12 for students and seniors ages 62 and older. Call (317) 862-2270 or log on www.buckcreekplayers.com.

Clowes Memorial Hall

Jim Brickman and musical guests
take Christmas into a New Age

by Kim Hurst

Bandleader Duke Ellington wrote the song, “It Don’t Mean a Thing, (If It Ain’t Got That Swing).” When listening to music, I’ve used this phrase to describe music that doesn’t have much rhythm and lacks a good, solid melody. New age is one such example of music that doesn’t move me. Having been raised on jazz, rhythm & blues and rock and roll during my youth, I do like my music to have a good solid beat and a good melody.

Having spent 38 years in radio broadcasting, I’ve received many CDs from record companies to add to my collection, including four Jim Brickman CDs. I had never listened to them until a few hours before the Brickman’s 13th Annual Holiday Tour at Clowes Memorial Hall. Wanting to keep an open mind, I listened to his albums and started wondering if I could handle the concert.

Brickman is a classically trained pianist from Cleveland who has recorded 19 new age albums. An accomplished songwriter as well, his songs feature his piano playing with occasional singers and other musicians accompanying him.

Introduced by Orly Knutson, Brickman walked out to center stage and sat down at a grand piano. The only other items on the stage were floor speaker monitors and a small stand with musical chimes. Brickman sat down and played “When It Snows” from his Escape album. A violinist, a female singer and a male singer joined him onstage for this song. When the song ended, he introduced Tracy Silverman, Anne Cochran, and Mark Masri from Toronto as the other members in the band.

Next, Brickman entered into a medley of familiar holiday songs before settling into his originals, “Thanksgiving” and “Waterfall.” Tracy Silverman came out on stage and did a riveting performance of “We Three Kings” and clowned around with musical references to the songs of Led Zeppelin, Deep Purple and other classic rock groups, never missing a beat.

Cochran, a Cleveland native as well, and Brickman launched into one of his big hits, “The Gift.” Besides accompanying her on the piano, he sang a duet with her on this song. She continued to sing on “Wishing Well.”

Brickman played an introduction to one of his originals with Masri singing. A very powerful tenor, the audience was in awe of his penetrating voice. This song was followed by another Brickman original, “Christmas Is” with Masri providing the vocal again.

Prior to intermission, Brickman soloed on “The First Noel” and on “Heroes’ Dream” and finished the set with the others playing “Peace (Where the Heart Is)”. The latter songs he wrote and performed for the summer Olympics in Beijing.

After the break, the Juilliard-educated violinist, Silverman, dazzled the audience with a performance of “White Christmas.” The singers came out and performed another medley of traditional holiday songs, including “Santa Claus Is Coming to Town,” “Jingle Bells,” “Holy Night” and “Do You Hear What I Hear?”

Brickman played another original, “Santa Fell in Love,” and some songs from the “Charlie Brown Christmas.”

Cochran stopped the music to answer questions from the concertgoers who had written them on note cards during intermission. After several humorous answers, the foursome launched into another medley of holiday tunes and finished the show with “I’m Coming Home for Christmas.”

Overall, I was impressed with the professional performances, the intricate computer generated lighting system and the superb sound system. I just wished they had played a few more traditional holiday songs in their entireties. For just a piano and a violin backing two singers, Brickman filled the auditorium with a full sound, and I left Clowes with a better appreciation for what Brickman is trying to accomplish. I understand why he calls himself the “Romantic Pianist.”

Tags: Clowes Memorial Hall, Jim Brickman, Tracy Silverman, Anne Cochran, Mark Masri

Disney on Ice

A host of favorite characters bring
100 years of animated magic to the ice

by Joni Clark

Indianapolis will officially has become one of the “happiest places on earth”! That’s because for four days, Disney on Ice: 100 Years of Magic reside at Conseco Fieldhouse in downtown Indy.

The show truly is magic as only Disney can perform it. A century of joy and delight floats across the ice as characters from Pinocchio, Snow White, Aladdin, Beauty and the Beast, Finding Nemo and other movie favorites dance and sing their way into hearts of the audience. Goofy, Donald Duck, along with the infamous Mickey and Minnie Mouse lead a band of skaters and the entire audience in a rousing rendition of the theme song from the Mickey Mouse Club. The highlight of this portion of the show is a re-enactment of the story of the Mulan movie.

Jiminy Cricket sings “When You Wish Upon a Star” as a host of the most ethereal fairies imaginable cast a spell of wistful enchantment over the crowd. The beauty and grace of that moment brings a hush over room that lasts until Jiminy introduces Edna E. Mode of The Incredibles and silence gave way to shouts and whoops of recognition and anticipation. It’s as if Edna steps right off the movie screen, directly onto the ice. Edna, in turn, brings out the Incredibles — who, even without the benefit of animation, maintain their superhero personas. Their performance is high energy exhilarating!

Just when it feels the show reaches its peak, Rafiki appears, sending the crowd into another round of shouting applause. The beloved character from The Lion King yields the ice to Timon and Pumba, who of course sing “Hakuna Matata,” which segues into a rendition of “Can You Feel the Love Tonight0?”

There is no way for this review to share all of the magic offered by the cast of Disney on Ice, just as there is no way to truly capture 100 years of sheer animated genius in a few fleeting hours. The best way to fully understand this experience is to go see it for your self. You only have to be a kid at heart to love the wonderful, magical world of Disney.

Disney on Ice continues through Sunday at Conseco Fieldhouse. Show times vary. Tickets are @12-$65. Call (317) 917-2500 or log on www.consecofieldhouse.com.

Indiana Repertory Theatre Upper Stage

This Wonderful Life is a must-see one-man wonder

by Dubbie Buckler

WOW! If you love the holiday movie classic “It’s A Wonderful Life” you must see the marvelous stage performance of “This Wonderful Life” at the Indiana Repertory Theatre Upper Stage. You’ll laugh and cry during this captivating one-man show.
National theater, TV, and film actor Jerry Richardson drew two standing ovation curtain calls for his superb performance, telling and re-enacting the classic story with special lighting effects on a stage with minimal props.

The 90-minute show moves quickly, starting out with Richardson whipping through the entire story in 75 seconds. Following the subsequent laughter, Richardson moves to a slightly slower gear and re-tells the classic, narrating and playing all the main characters but mostly George Bailey — complete with impressive Jimmy Stewart voice and stature.

Richardson invites the audience along for a special show that is both funny and poignant. Its message is timely as we face the Potters of life today and cheer for the Clarences earning their wings. The seating surrounds the stage on three sides, adds a special warmth and closeness to the captivating performance.

A lamp post, swinging gate, newel post, and creatively used suitcase are the only props needed because Richardson delivers a brilliant audience-engaging performance that makes 90 minutes fly and Bedford Falls real.

This must-see wonderful theatrical adaptation of the beloved Frank Capra movie classic — number 11 on the American Film Institute’s Top 100 — was the brain child of Mark Setlock and written by Steve Murray.

The show runs at the IRT Upper Stage through January. Times vary. Tickets are $34-$39 for adults; $19 for students and children. Call (317) 635-5252 or log on www.irtlive.com.

Indiana Repertory Theatre Mainstage

The IRT tackles Dickens’ holiday classic

by Laura Kruty

Don’t expect any flashy production values or elaborate props in Indiana Repertory Theatre’s interpretation of the Charles Dickens classic A Christmas Carol –– just talented actors performing in a holiday standard.

The story of Ebenezer Scrooge and the three ghosts of Christmas past, present and future is well known. Scrooge, isolated in his own wealthy world, pooh-poohs Christmas and all its cheerfulness, “bah-humbugging” all who wish him a “Merry Christmas.”

Alone on Christmas Eve, Scrooge settles in bed, only to be interrupted by the ghost of Jacob Marley, Scrooge’s former business partner. Marley’s ghost informs Scrooge that three ghosts will visit him during the night.

One by one, as each ghost visits Scrooge and shows him transgressions of Scrooge’s past, we see Ebenezer’s icy interior begin to thaw. Clearly spooked by seeing what will be his fate if he continues his ways, Scrooge becomes a changed man. Finally, on Christmas Day, he joins the townspeople in celebration –– and even buys the biggest turkey in town.

What’s unique about IRT’s production is that the characters share the narration duties, with practically each line spoken by a different character. We see the story through their eyes, the eyes of the townspeople and family members, each of whom have been affected by Scrooge’s, well, Scrooge-ness. Also unique is that each actor and actress plays several characters — some playing three or even four.

Though the Ghost of Christmas Future –– a frightening figure wearing a silver skeleton mask –– might scare younger kids, A Christmas Carol is a tale about the true meaning of Christmas from which the whole family can learn.

A Christmas Carol continues through Dec. 28. Times vary. Tickets are $29-$64. Call (317) 635-5252 or log on www.irtlive.com.

Madame Walker

Crooner Michael Bolton takes on Sinatra to the delight of female fans

BYLINE: by Joni Clark

Serious fans braved freezing temperatures in order to spend a few hours in the presence of Michael Bolton at the Madame C.J. Walker Theatre.

Those in attendance had a stellar time rocking and singing — and screaming — along to tunes from Bolton’s musical repertoire. From his Bolton Swings Sinatra, Michel offered up “New York, New York;” “Fly Me to the Moon;” and “For Once in My Life.” The band received resounding applause for playing “They Can’t Take That Away From Me.”

Speaking of the band, Bolton’s back-up singers come with more than looks and vocal chords. All three ladies also play instruments. During “Sign Your Name Across My Heart,” they sang back up. But on several songs, they stopped singing and were transformed into the horns section for the band. All three women played at least one instrument; however, the lady blowing the saxophone was also a flutist.

Bolton’s relaxed presence on stage, combined with the size and layout of the Walker Theatre auditorium, allowed for adoring banter between the artist and the audience. Bolton allowed — and responded playfully — to the shouting out of sentiments like “I love you Michael” and song requests without disrupting the flow of the concert.

Highlights of the evening were “Soul Provider,” which was an overwhelming crowd pleaser and the saxophone solo performed during “You Don’t Know Me.” Bolton received a thunderous standing ovation for “Nessun Dorma” a song he dedicates to the late tenor Luciano Pavarotti.

Footlite Musicals

Bye, Bye Birdie harkens back to the early days of rock ‘n’ roll

by Alan L. Inkenbrandt

If you’re looking for a little relief from all the holiday shows, you just might find it in Footlite Musicals’ singing, dancing and hip-shakin' comedy Bye, Bye Birdie. The all-volunteer cast and crew, led by director Bill Hale, brings a bit of Broadway magic to Indy and transports the audience to the dawn of the rock 'n' roll era.

"Bye, Bye Birdie" was inspired by Elvis Presley's 1960 draft into the Army. Presley's fictional counterpart, singing sensation Conrad Birdie, played by David Michael Cress, faces a similar dilemma. His induction puts legions of teenybopper girls into a tizzy and throws his nebbishy manager, Albert Peterson, played by Christopher Noffke, into a panic. Birdie’s exasperated secretary and sometime-girlfriend Rose, played by Shari Raper, offers him a brilliant P.R. solution: make the departure a media event by having him plant one last kiss on a lucky fan-club member, played by Virginia Warner, live on the Ed Sullivan Show. Naturally, the plan goes rather less smoothly than expected.

The tunes in Birdie — such as "Put On A Happy Face" — are recognizable, even to this who’ never seen the 1963 film version or a stage production of it before. The energetic cast was funny, particularly in Birdie's rockin' "Honestly Sincere" number. Vicki Lynch, however, nearly stole the show as Mama Mae, Albert's overbearing mother.

Another highlight of the evening is the wonderful organ music that greets the audience before the show begins. Footlite Musicals warms up its audience before nearly every performance with a mini-concert played on its Wurlitzer theater pipe organ. During the holidays, the audience is treated to a selection of Christmas songs — alone worth the price of admission.

Indianapolis Symphony Orchestra

Yuletide celebration gets the audience into the Christmas mood

by Laura Kruty

Before the start of the Duke Energy Yuletide Celebration, an announcement informs guests that any Scrooges or Grinches can be left at the coat check.

Regardless their level of holiday spirit, I would defy anyone to sit through the show and not get a warm-and-fuzzy, I-love-the-holidays feeling.

Singer, pianist and composer Ann Hampton Callaway, who lends her incredible vocal talents to nearly every song performed, hosts Yuletide Celebration and is really the star of the show. Joining the Tony Award-nominated performer are special guests Daniel Okulitch, a bass baritone opera singer, and sax ensemble Capitol Quartet, which lends a jazzy sound to the songs it accompanies.

Yuletide Celebration features a mix of holiday classics, songs the kids will love and arrangements by the Indianapolis Symphony Orchestra. Tap-dancing Santas, reindeer marionettes, Santa’s elves and Broadway singers get in on the act as well.

Even the audience gets a chance to participate when Callaway asks for words and phrases that define “Christmas in Indianapolis,” which she then uses to compose a song, sitting at a white piano, right on stage.

Yuletide Celebration is perfect entertainment for kids of all ages. The young will love to see Santa come down the aisle, carrying a red sack full of goodies, and the young at heart will love Callaway and Okulitch’s amazing vocals in “O Holy Night,” “Joy to the World,” “The First Noel” and “Have Yourself a Merry Little Christmas.”

Bonus: You’ll be hard pressed to find a more beautifully decorated building for the holidays than the Hilbert Circle Theatre. The two-story Christmas tree in the lobby is truly a sight to be seen.

Yuletide Celebration runs through Dec. 23. Times vary. Tickets are $32-$64 for adults, $17-$48 for children. Call (317) 639-4300 or log on www.indianapolissymphony.org.

American Cabaret Theatre

Delightful Country Christmas Cabaret show
packs heart, rock and soul

by Dubbie Buckler

A Country Christmas Cabaret ­is toe tappin’ delightful! Contrary to what the name might conjure up in your mind, it’s not a production of twangy country western music. Rather it’s a fast-paced medley of music we all recognize —from traditional Christmas carols to contemporary American Country hits by artists we know, such as Shania Twain, Tim McGraw, Faith Hill, Glen Campbell and Kenny Rogers.

A cast of knockout local talent delivers a warm and wonderful evening of nonstop entertainment of 49 wonderful song routines done in two acts. Peggy Chambers, Diane Tsao Boehm, Whitney Thetford, Claire Wilcher, Karlton Turner, Dave Ruark and Tobin Strander deliver captivating performances. They include everything from solos to rousing ensembles, including “Mary Did You Know,” “Rockin’ Around the Christmas Tree” and “Grandma Got Run Over By A Reindeer.” Pendleton Heights High School freshman Russell Eldridge adds a extraordinary clogging performance a la River Dance.

Country Christmas Cabaret†is a fun musical created by Artistic Director Bob Harbin and Musical Director John Austin Butsch. Hardin is a Speedway native who’s back home after a long stint leading national television casting and talent development, including the last 12 years with Fox network. Butsch, considered by some one of the top 100 living composers, is an internationally accomplished pianist who further lends his talent to the production leading the band and playing the keyboard.

About the only thing wanting is a bigger finale of carols since the intimate setting of the American Cabaret Theater, in the Athenaeum building, is a cozy venue with table seating ideal for some real cabaret-style audience involvement.

Even with the Lion King going on catty corner at the Murat, there was plenty of free on street parking within a couple of blocks, plus several nearby lots were charging $5 to $10 event parking.

This enjoyable Christmas music special is a great buy thanks to the generous underwriting by Drs. Neil and Louis Levine, along with WIBC’s Investing Sense money show and its generous host Denny Smith. Tickets are only $20, with Sunday matinees a best buy at $15.

The show continues through December 21with shows at 7:30 p.m. on Thursdays, Fridays, and Saturdays, and 3 p.m. matinees on Sundays. The show is already has one night sold out, so be sure to check on ticket availability by calling 317-631-0334 or log on www.actindy.org.

Beef and Boards

A talented cast serves Christmas cheer with dinner

Review by Joni Clark

December 24 may belong to Santa, but at Beef and Boards through Dec. 31, the nights belongs to Mrs. Claus and the talented cast and crew of A Beef and Boards Christmas!




Beef and Boards - Holiday Shows


From the moment the curtain goes up, the air is filled with music yuletide joy. The repertoire provides something for every musical palate. For the old-school audience, Shannon Forsell performs “White Christmas” with Hollywood style and grace and Gerald Atkins brings down the house doing soulful justice to Charles Brown’s “Please Come Home for Christmas.” For those who favor a country twang to their holidays, the cast presents a Country Christmas reminiscent of the television program Hee Haw, complete with Mrs. Claus dressed up as Minnie Pearl — right down to the price tag dangling from her little ol’ hat.

The audience leaves the country and heads for city lights as the company dances to “Let it Ring, Swing Snow” with a special appearance by Frosty the Snowman. Again, Mrs. Claus gets in on the act, appearing in a beautiful evening gown as she croons her way through “Man with a Bag.”

Act II begins with a song that has ushered in the holiday season for many children, “Christmastime is Here” led by Shannon Forsell and Kenny Shepard. This is a time for the young and the young at heart as the cast pays tribute to The Nutcracker. There were soldiers, The Nutcracker, Mouse King and Sally Mitchell makes an enchanting Sugar Plum Fairy. The act concludes with songs reminding the audience of the true meaning of Christmas. Again Atkins takes the audience in hand as he sings “Oh Holy Night” with a fervor and passion that led some members of the audience to shout “Amen!”

This is the 16th year for a Beef and Boards Christmas, and even if you attended shows in past seasons, there are new additions to this year’s production that make it a must see again this year.

One final note, you may have noticed that this review failed to mention the true identity of Mrs. Claus. That is because it is not listed in the program. However, if you get a chance, ask Gwendolyn Jones about Mrs. Claus’ “secret identity.” Rumor has it she knows who really is under all that snow-white hair and the jolly, captivating charm of Mrs. Saint Nick.

The program continues through Dec.31. Show times vary. Tickets range from $33 to $55. Call (317) 872-9664 or log on www.beefandboards.com.

Theatre on the Square

Everything that can go wrong does in,

Christmas Belles.

Review by Rebecca R. Bibbs

There’s no shortage of holiday programming this season. But an irreverent, comedic gem takes place at Theatre on the Square, tucked between the restaurants and shops of Massachusetts Avenue.

Christmas Belles, is the hilarious story of the Futrelle Sisters — Honey Rae, Frankie and Twink — on the eve of the big Christmas production, also known as Bethlahem-a-palooza, at the Tabernacle of the Lambs in Fayro, Texas. Honey Rae, the director of the nearly ill-fated program is plagued by hot flashes; Frankie crankily awaits the birth of her second set of twins; and the bitter Twink is on furlough from the local jail after setting afire the NASCAR collectibles of the man who jilted her.

Their troubles, however, are only the beginning as Frankie’s husband Dub passes a kidney stone, Frankie lets the cat out of the bag on a family secret and the cast of the Christmas program drops out one by one when they suffer food poisoning at a band boosters pancake supper.

This show has a great cast with great timing for the running stream of wisecracking one-liners even with an audience sitting practically in its lap.

Warning: This is an adult show with some fairly risquÈ moments. If it were a movie, it would be rated at least PG-13.

Also, this is a tiny theater that couldn’t seat more than 50, so be sure to arrive early.

A great break from the Scrooges and Nutcrackers, Christmas Belles continues through Dec. 20. Show times vary. Tickets are $25 adults, $20 seniors and students. Call (317) 685-8687 or log on www.tot.org.

And as Miss Geneva would say: “Feliz navidad to y’all and yours.”