Cirque de la Symphonie Indianapolis Symphony Orchestra

Music and circus acts come together for
Cirque de la Symphonie

The circus came to town.

No, it wasn’t at the Indiana State Fairgrounds or Conseco Fieldhouse. It was at the Hilbert Circle Theatre, a venue typically reserved for orchestral music.

There were no animals and no tightrope walkers but plenty of great music and awe-inspiring performances in Cirque de la Symphonie, a collaboration between the Indianapolis Symphony Orchestra and cirque acts.

Among the acts set to classical tunes were Elena Tsarkova, who contorted her body in a way that would give any gymnast a run for her money — all atop what looked like two connected bar stools. Vladimir Tsarkov, a mime/stagehand, who juggled rings and lighted clubs in two separate acts, and Aloysia Gavre, who did the majority of her act suspended roughly 30 feet above the stage on a hula hoop connected to a rope, garnered their fair share of audience applause. Aerialist Alexander Streltsov soared out over the audience on two curtain-like strips of fabric, giving the impression of a large white — and graceful — bird.

The final act, however, elicited the most “oohs” and “aahs” from the audience and deservedly so. Polish duo Jarek and Darek –– who probably have a combined body fat of 1 percent –– balanced on top of one another and contorted themselves in ways that left my muscles sore just watching them. When one balanced his entire body –– one-handed –– on top of the other’s head, it was truly an amazing scene.

The ISO was flawless as usual, playing songs like “Flight of the Bumblebees” and the theme from Star Wars under the direction of Jack Everly.

Cirque de la Symphonie was a unique and entertaining show, definitely fun for the entire family. It was just the right length, too. I only hope the powers that be at the ISO decide to bring back the show next season, hopefully for more than just three performances.

by Laura Kruty

Dance Kaleidoscope's "America, The Modern"

America, The Modern suffers from
too much form, not enough function

Dance Kaleidoscope’s latest program, America, The Modern, really should be titled Indiana, The Modern, as three local choreographers lend their talents to the hour-and-a-half-long program.

The brilliant world premiere of “Dreams Converging” by Butler University professor of dance Cynthia Pratt lulls the audience into attention with a deafening silence brought on by a lack of music for the first eight minutes of the program. With the house lights still on, the dancers enter the stage from various directions in a slow-motion walk that culminates in the dancers moving in waves as a unit.

Though some members of the audience expressed during the choreographer chat at intermission that Nicholas Owens’ world premiere of “Callused Hands” captured the frantic pace of modern life, others felt it was too random. The superb dancing, and normally dazzling lighting and costuming by Laura Glover and Cheryl Sparks did little to illuminate the piece.

“iconoGlass,” a now-classic signature piece choreographed by artistic director David Hochoy, has a spiritual bent with the impressions of stained glass made through lighting. Like the movements, reminiscent of statues on Thai temples and paintings inside Egyptian tombs, it stands the test of time.

Though the three dances were well-matched in tone and movement, the overwhelming similarities gave the overall program an air of monotony. First-timers — especially those looking for more of a “story” — also might find such a purely contemporary program a frustrating study of the esoteric.

America, The Modern continues through Sunday. Times vary. In recognition of the state of the economy, all adult tickets are priced at $20, a significant savings off the regular $21-$37 ticket price, and Sunday’s matinee is $10 to allow families to attend. Call (317) 635-5252 or log on www.dancekal.org.

by Rebecca R. Bibbs

B.B. King Murat Theatre

B.B. King either should perform
or lay Lucille to rest

A legend in his own time, B.B. King, now 83 years old, has recorded a myriad of songs during his 60 or so years as a blues singer and guitarist. In fact, between 1951 and 1985, he had 74 entries on Billboard Magazine’s Rhythm and Blues charts.

Probably no guitarist has ever had a greater influence on up and coming guitarists than B.B. King has had. Voice of America, a government-funded media center that has transmitted American music around the world since 1942, played King’s songs during the ‘50s and ‘60s, leading to the British music invasion in the United States during the sixties.

No guitarist can play like King, and I, too, have been amazed since I was a teenager with the skill and grace he exudes as a musical performer. So I was thrilled to see him perform at the Murat Theatre.

The opening act was Marie Gabrielle, a singer/guitarist, who provided a tasteful beginning for King.

After a brief intermission, King’s eight-piece band played two opening instrumentals. He walked out on stage wearing a brightly colored jacket over his formal attire and performed “Let the Good Times Roll.”

Suddenly, he started reminiscing about his pas,t which consisted of humorous advice. While he talked, the band played some 12-bar blues riffs in the background. Occasionally, King sang a few phrases and played those piercing blues notes, but the music stopped after his first song.

Two hours later, he launched into his 1970 smash hit “The Thrill Is Gone” for a minute. That was it — one minute. It was a shame, because King still has that powerful, gritty voice and can still translate his feelings to that guitar. I still love the man and his music, but the concert was disappointing.

by Kim Hurst

West Side Story Indianapolis Civic Theatre

West Side Story stays true to its 1950s roots

It has to be tough to pull off a performance of a musical as beloved as West Side Story, but the Indianapolis Civic Theatre stepped up to the challenge — and delivered an ovation-worthy performance.

Yes, the cast had the audience standing at the end, enthusiastically applauding.

Standout performances were delivered by Patrick Clements and Angela Nichols Manlove, who played the title characters of Tony and Maria. Both had incredibly strong voices, with Angela’s vocals nearing perfection.

Angela was especially endearing as Maria, convincingly portraying the innocence of a newcomer untouched by the racism prevalent in 1950s America. The chemistry between and Patrick also seemed authentic.

However, Nathalie Cruz delivered such a fiery rendition of Anita, she practically stole the show with her passionate performance.

Director Robert J. Sorbera stayed true to the feel of the production, which first appeared on Broadway in 1957 as a loose interpretation of William Shakespeare’s Romeo and Juliet. The Civic’s production won’t disappoint those who were first enchanted by the originals — either on Broadway or in the film featuring Natalie Wood, Richard Beymer and Rita Moreno.

The choreography, based on that created by Jerome Robbins, stayed true to form as did the performances of familiar songs like “Maria,” “America,” “Tonight,” “I Feel Pretty,” “One Hand, One Heart” and “Cool.”

Perhaps one downside to attending a theatrical performance of a classic like West Side Story is that you often hear audience members singing along – which can be a bit distracting to the overall experience. This performance was no exception. At times, you could hear numerous voices in the audience belting out the more familiar tunes like “I Feel Pretty.” I’m sure it must have been hard for them to resist the urge.

As with Romeo and Juliet and the original performance of West Side Story, this performance ultimately brought to clarity the ongoing issues of racism — and the belief that love should transcend it all.


West Side Story continues through March 29.
Shows begin 7 p.m. Thursday, 8p.m. Friday and Saturday and 2 p.m. Sunday.
Tickets are $25 Thursday and $32 all other times.
Call (317) 923-4597 or log on www.civictheatre.org.


by Shari Scales Finnell

Lisa LampanelliMurat Theatre

Lisa Lampanelli proves to be an
equal-opportunity insult comic

Suitably referred to as the “Queen of Mean,” comedian Lisa Lampanelli succeeded in shocking her Indianapolis audience. But she also generated uproarious laughter throughout the one-time performance by Comedy Central.

For 90 minutes, Grammy-nominated Lampanelli seemed to hold nothing back as she delivered jaw-droppingly crude jokes in the near-full Murat Theatre.

The 47-year-old New Yorker threw insults at every race, creed, color and, in her words, “sexual abomination,” making fun of stereotypes. To say her jokes were “off-color” would be putting it rather mildly.

She even made fun of herself at one point saying, “Lisa’s so easy a caveman could do her,” making reference to the past GEICO insurance advertising campaign.

The bold blonde made no secret of her preferred type of man and also gave a plug for her soon-to-be released book, “Chocolate, Please,” adding that the title “may not mean what you think.”

Lampanelli proved she wasn’t the only one with a twisted mind.

“Some of my jokes get moans,” she told the crowd, “but Indy – you guys are [BLEEP]ing insane.”

Even amid wisecracks about people with disabilities, what seemed to draw the greatest criticism was her jab at the new Indianapolis International Airport. Nobody should take offense, though; the airport bit was nothing new … just a way to get a rise out of the audience.

Though Lampanelli certainly was entertaining, some people sat quietly through portions of her performance. Whether or not any of them were so offended that they left would be difficult to determine because so many people came and went during the performance. What ever happened to good manners? Oh, that’s right — Lisa Lampanelli threw them out the window.

by Cynthia Baxter

Belcea String QuartetIndiana Historical Society

Belcea String Quartet takes
listeners into times gone past

The beautifully perfect tones of The Belcea String Quartet took the entire concert hall at the Indiana Historical Society back to a period where wigs were worn and waltzes were danced.

The concert opened with a String Quartet in F sharp minor, Op. 50 No. 4, which Haydn composed as a throwback to Mozart, after Mozart composed a series of quartets using Haydn as his influence. The viola, usually the butt of orchestra jokes, actually proved its worth by passionately ringing out through concert hall.

During the allegro spirituoso the quartet was so perfectly in synch that it was difficult to see them as separate instruments. The cello stuck out during the andante section and deeply resonated within the concert hall, and when paired with the other instruments was like fine a fine wine paired with perfect cheese. However, the second violinist blended almost too well, allowing the first violinist to completely overshadow her melancholy tone.

When the Menuetto began it was evident Haydn utilized Mozart’s classic Classical Era signature with each bow stoke staccatoed and in tandem. The string quartet communicated well, and spoke to one another with their expressive eyes in addition to their instruments.

Prokofiev, who was notoriously unconventional, created symphonic tones from pulling what would seem like random notes and wound them together which resulted in dissonant harmony. At one point Prokofiev’s String Quartet No. 2 in F major, Opus 92 sounded like foghorns, but knowing it was written in 1941 produced a different possible sound element. Perhaps Prokofiev created clashing strong chords to resemble air raid sirens, He was evacuated from Russia — along with other Russian leaders — after Hitler’s Blitzkrieg, which is German for “lightning round.”

During the Adagio, the cello was very “Fiddler on the Roof.” Prokofiev then passed along these Jewish themes to the other instruments throughout the entire movement. The loving melody sang strongly by the first violinist and then was transferred to the viola, then the cello, leaving the second violin out all together. Prokofiev composed the Allegro in complete disarray, almost sounding like a group of Junior High students who just received their instruments. However, Prokofiev quickly gained face by pulling the sounds together through a strict rhythm, one that the Belcea Quartet played in tandem violently. Once again, the folklore melody is hearted out by the first violinist and quickly appears once again by the other members of the quartet.

Schubert’s “Death and the Maiden” String Quartet No. 14 in D minor begins with a Prokofiev style entrance – but with harmony. The Belcea Quartet quickly takes off with deep sounds of passion. When hearing this piece, you can’t help but realize that Franz Schubert was one of the first Romantic composers. The violin practically beckons the audience closer with every bow stroke.

During the Andante con moto the string’s bows practically wept across the strings. Immense sadness filled this work of Schubert’s, partially because it was an extension of himself. At the time of the composition of “Death and the Maiden” it is important to note that Schubert had contracted syphilis and when written in 1824 did not know how much longer he would live. He died in 1828. Through the entire piece the Belcea Quartet played Schubert’s pain and made it palpable for the audience. By the end of the piece, you couldn’t help but to leap to your feet and applaud the Belcea String Quartet, and Schubert who lived long enough to complete such a beautifully romantic masterpiece.

by Tory Flynn

Murat TheatreCraig Ferguson

Comedian Craig Ferguson makes
familiar subjects seem fresh

Scottish-born comedian Craig Ferguson delighted the audience at the Egyptian Room of the Murat Theater. Fans of the "Late, Late Show"
host were out in force to give him a fervent welcome.

The opening act, comedian and "Late, Late Show" writer Randy Kagan, performed a short and funny set, but the crowd was eager for the headliner.

Ferguson did not disappoint, his trademark warmth, wit and audience rapport, making even the most familiar comedy subjects seem fresh.

Regular late-night viewers recognized his favorite topics: Sean Connery (de
rigueur for a Glaswegian comic), his role as as Mr. Wick on "The Drew Carey Show," rehab and insane celebrities. The core of his routine revolved
around his lifelong fascination with America, culminating in American
citizenship in 2008. After recounting his impoverished childhood in
Scotland, Ferguson expressed his astonishment upon seeing Indianapolis'
imposing Scottish Rite Cathedral: "THAT'S where all the money went!"

Ferguson's set was replete with off-color jokes and expletives, but this was
tempered by his genial style and enthusiasm — and his wonderful Scots
accent. Folks in the Murat's audience seeing him for the first time may have
discovered a great reason to stay up too late each weeknight.

by Alan Inkenbrandt

Phoenix TheatreMauritius

The suspenseful Mauritius is
the best show of the season

Mauritius is the best performance offered at the Phoenix Theatre this year. The sparse crowd in the cabaret-like atmosphere of the theater’s lower level was thoroughly entertained and entranced by the brilliant story surrounding the fate of a lovingly collected stamp album, containing two particularly rare and valuable stamps.

Superbly written by Theresa Rebeck, stunningly produced by the talented Brian Fonseca and deftly directed by Dale McFadden, the family tragedy and sinister hijinks of the deep and mysterious Mauritius unfolds suspensefully.

Mauritius, is a story of family despair, greed and ultimate betrayal. The cast, led by the extremely talented Alison Moody, playing the sad and desperate Jackie, brings the convincing story to life.

Michael Shelton returns from his role as Nicky in The Seafarer to convincingly portray Philip, the sly and much maligned stamp collector. Rock Mers brings the evil, conniving and dangerous Sterling to life with subtle nuance and over the top physical presence.

Jamison Kay Garrison plays the stuffy, boarding school inheritance princess to spoiled and self absorbed indulgent excellence. Shane Chuvalas plays Dennis, a slick, well spoken, quick-witted con man who lives life on the edge and always looking for the quick score.

Mauritius continues through April 4. Show times vary. Tickets are $15-$25. Call (317) 635-7529 or log on www.phoenixtheatre.org.

Indiana Repertory TheatreThe Ladies Man

Mistaken identities permeate
French farce The Ladies Man

Ever tell a little white lie in order not to hurt someone, only to see that lie snowball and snowball until it’s a full-blown whiteout?

If so, you’ll definitely be able to relate to Indiana Repertory Theatre’s The Ladies Man.

The lie originates with Dr. Hercule Molineaux, who is married to a woman, Yvonne, probably at least 20 years his junior. Yvonne suspects Hercule of cheating based on the fact that he didn’t come home one night, instead spending the night on a park bench in the rain. Come to find out, Dr. Molineaux paid a visit to Moulin Rouge that night to see a woman Yvonne dubs a “vile trollop.”

To appease Yvonne, Dr. Molineaux tells her he spent the night caring for a patient with a rare disease. The patient, he says, will not make it. We hear a knock on the door, and it’s the patient with the rare and “deadly” disease.


That’s a microcosm of the entire production. Lies and actions are misinterpreted, identities are mistaken, and the lives of everyone involved –– including Yvonne’s mother, the “vile trollop” and her husband, Dr. Molineaux’s patient and the Molineauxs’ wait staff –– are intertwined in ways that unfold throughout.

My only complaint is The Ladies Man is, at times, tiring to follow. I felt myself inwardly groaning at times, especially in the second act, because I knew with each new lie told or action misinterpreted, the story would get only more complicated. There are also a lot of slamming doors in The Ladies Man, so I wouldn’t recommend going with a headache.

Despite that, it’s a fun look at what can happen when even the best-intended white lie spirals out of control.

The Ladies Man continues through March 22. Tickets are $29-$49 for adults and $19 for students and kids 18 and younger. (I would recommend the show only for mature adolescents because it contains a few sex-related double entendres.) Call (317) 635-5252 or log on www.irtlive.com.

by Laura Kruty

Clowes Memorial HallSTOMP’s eclectic performance

High energy characterizes STOMP’s eclectic performance

To say that STOMP performers brought everything but the kitchen sink to their performance at Clowes Hall would be an outright lie.

They did bring the kitchen sink. As a matter of fact, the cast brought four of them, along with the usual suspects that have helped bring STOMP international acclaim: an array of brooms, Zippo lighters, plastic grocery bags, garbage cans, newspapers and just about any other piece of trash they could get their hands on.

The eight cast members, set against a gritty urban backdrop, put on a series of high-energy performances that had the audience roaring approval at each conclusion.

A few newer routines were thrown into the mix for this year’s tour. One included paint cans that required some extraordinary timing and juggling skills, while another was a stylized war dance, of sorts, with the performers clashing one another with long poles.

Though the music, of course, took center stage, the next best element definitely were the theatrics thrown in for comic relief.
Each character has a distinct personality, but two did more to steal the show. One was a comical actor who constantly was dissed throughout the performance, while another appeared on the brink of insanity. This one had the audience doubled over in laughter in one performance as he constantly agitated one of his cohorts with crazy antics — from making weird noises to folding up a newspaper to imitate various animals.

That number had the crowd laughing so hard, snickers still could be heard long after the cast had moved on to the next set. One female audience member — who apparently was sitting in a balcony seat based on how loudly her voice carried — couldn’t stop her laughing fit, virtually interrupting the more subdued performance that followed.

Overall, STOMP more than lived up to all the acclaim it has generated for nearly two decades.
It’s a whole lot of noise — from the little boxes of chalk and Zippo lighters to those cast iron kitchen sinks — you definitely don’t want to miss.

by Shari Scales Finnell

Pike Performing Arts Center - BodyVox

Body Vox is whimsical, athletic,
beautiful, and powerful

The lights slowly brighten to illuminate a single, solitary man. Poised, muscles taut, the music explodes and the man furiously matches the pounding rhythm with movements beautifully choreographed to match the intensity of the rhythm.

Welcome to the wonderful world of BodyVox, presented by the Pike Performing Arts Center.
BodyVox’s multimedia program is almost defies description. Dance, gymnastics, acting and superb music combine to entertain even the most jaded, cynical doubting fan of contemporary dance and interpretation. Enhance the brilliant sets and costuming, Body Vox delivers a frenetic burst of skill and dance for the complete two hours of performance.

Surprisingly, subtle humor and innuendo is woven throughout the spectacular routines. In fact, my girlfriend commented to me that she felt that BodyVox was funnier than some of the recent comedians we recently have viewed. Physical humor and satire were deftly displayed by graceful body movements, facial expressions and the slightest shifts of light and music.

The talented and exciting dance company — surprisingly made up by twice as many men as women — included Matt Hope, Lane Hunter, Heather Jackson, and Indiana native Eric Skinner expertly choreographed and led by artistic directors Jamey Hampton and Ashley Roland. The stylish and innovative stage sets designed by Lyndsay Hogland contributed greatly to the ambiance and subtle nuances displayed by the extremely talented performers. Additionally, the multimedia films directed by Mitchell Rose provided humorous interludes between live dance sets and showcased the acting talents and emotive dance skills of the ensemble cast.

by Andrew D. Smith