The more performance art I experience, the more I realize how personal that experience is.  I love that it is personal.  I love that it is ephemeral, too.  It is impossible to sustain or even to reproduce exactly, because it is live.  The only way to truly experience a live theatre piece is to be present for it, open to it.

If you are a regular reader of Indy Theatre Habit, you know that I took a long step back in 2011.  I needed a break for a number of reasons.  One was that I was having an existential, “what am I doing here?!?” kind of crisis.  I still haven’t found satisfying answers to the many layers in that question, but I am making good progress.  And in the meantime, I have found that I miss writing publicly about my experiences at the theatres.  Maybe it’s an ego thing.  Maybe there’s more to it than that.  But in any case, I miss it.

So…I have decided to blog about theatre again in 2012, but this time doing it more…personally?  More authentically?  Anyway, more mindfully and selectively, and just see where it takes me.  As I say, I’m still figuring this out as I go along.

But first, a look back at 2011:

I experienced 91 live performance art shows in 2011.  I missed that many and more just around my home in the Indianapolis, Indiana area, so I really shouldn’t use the words “most” or “best” or whatever in this post.  Still, 91 is 91.  Here are a few end-of-the-year thoughts:

The Best Shows Artistically from 2011

Looking back over all of the shows I saw in 2011, there happen to be six shows that stand out to me now for their artistic quality.  In each of these shows, the many elements – script, acting, directing, set design, costumes, sound, lights, and more – came together in an exceptionally satisfying way.  I’m sorry I can’t list every person that contributed to making each of these shows a special treat but I appreciate them all. The six shows, in the order I saw them, are:

• “I Hate Hamlet” – written by Paul Rudnick; directed by Lori Raffel for the Carmel Community Players. (I saw this one twice.)
• “Avenue Q: The Musical” – music and lyrics by Robert Lopez and Jeff Marx; directed by Bryan Fonseca for the Phoenix Theatre. (I saw this one twice, too, and am delighted that the Phoenix is bringing it back for a second run in 2012.)
• “The Drowsy Chaperone” – book by Bob Martin and music and lyrics by Lisa Lambert and Greg Morrison; directed for the Booth Tarkington Civic Theatre by Ron Morgan at the new Center for the Performing Arts.
• “Lost: a Memoir” – written by Cathy Ostlere and Dennis Garnhum; directed for the Indiana Repertory Theatre’s “Going Solo” series.  It starred Constance Macy.
• “Night of the Living Dead,” adapted by R. Brian Noffke from the George A. Romero cult-classic film, directed by R. Brian Noffke for Acting Up Productions, presented at the Indy Fringe Theatre. (I saw this one twice.)
• “The Student” a short play written by Matt Hoverman; directed by Bryan Fonseca and presented as part of the Phoenix Theatre’s “Our Goose Is Cooked: A Very Phoenix Xmas 6.”  It starred Scot Greenwell and Charles Goad.

The Most Personally Powerful Shows in 2011

Looking back over all of the shows I saw in 2011, there also happen to be four shows that resonated with me on very personal levels, beyond the artistry and content of the shows themselves, if that makes sense. I mean, I admired the artistry in them, but I treasure my experiences of them because each one caused a strong healing or teaching or something else extra within me.  I’m not going to take a lot of space to try to explain what I mean here because it’s personal.  I’ll just list the four shows in the order I saw them and add a brief comment:

• “Paul Strickland: Any Title That Works” written and performed by comedian Paul Strickland at the Indy Fringe Festival.  This autobiographical one-man show included letters to his future self, which intrigued me and got me thinking about my own future self and what I might say to her. But also, I was at a point in my life right then when I desperately needed to meet an honorable man in order to remember they exist.  This show did that for me.
• “Beer Can Raft,” written by Lou Harry, directed by Karen Irwin for the Indy Fringe Festival.  This piece consisted of four related vignettes that on one level spoke to me joyfully and mischievously about the capriciousness of life in general but which on another level made me realize what an idiot I had been about a few things in my own life.  The wake-up call made me cry, but I appreciated getting it.
• “I Love to Eat,” written and directed by James Still for the Indiana Repertory Theatre’s “Going Solo” series, starring Robert Neal.  I hated that the IRT had hired a slim actor and put him in a fat suit to portray TV cooking show host James Beard.  Were there no fat actors skilled enough, deserving enough, to play this juicy role?  Seriously? You couldn’t have paid me to watch an actor in a fat suit.  On the other hand…it was a play written and directed by James Still. I love James Still’s work. Love won over hate, but just barely, and I dragged myself kicking and fuming to see this show.  I even experimented with being “skinny and mean” (James Beard’s expression) or rather, cold and closed off as an audience member, and for a while during the show this made me feel powerful.  But then…James Still’s words broke me open.  I can’t explain it any better than that.  And then I just didn’t care any more about who has the right to carry what baggage.  Robert Neal did a great job of bringing James’ words to life, and I left the theatre feeling wracked, but also as if I had spent the afternoon with two complex, fully human people: James Beard and myself. It wasn’t all sweetness and light, but it was good.
•  “The Student” a short play written by Matt Hoverman; directed by Bryan Fonseca and presented as part of the Phoenix Theatre’s “Our Goose Is Cooked: A Very Phoenix Xmas 6,” which was a collection of short plays, songs, etc.  “The Student” starred Scot Greenwell and Charles Goad.  Right after I saw the Phoenix’ Xmas show, I wrote in the comments on Lou Harry’s Arts & Entertainment blog on IBJ.com that “My favorite piece was called ‘The Teacher’…” (I had the title wrong) “…I was surprised to find myself weeping during it.  I guess it just pushed (in a good way) a lot of my buttons related to storytelling, writing, and teaching.”  But later I came to realize that I loved it even more because it was about the complexity and poignancy of self-acceptance. This little two-hander is on both of my “best of 2011” lists.

The Other

I also treasure the one or two theatre experiences that were almost a complete waste of my time in 2011.  I don’t want more than three of those per year and I am not interested in naming them publicly but when I go to a show and there comes a moment in which I think, “Hey, I am actually pretty bored here! I wish I had not chosen this show today over all the other possibilities!” it makes the moments at other shows in which I suddenly hug myself and think, “Oh, I am so glad I’m here!” all the more satisfying. 

In other words, experiencing a bad show now and then makes the sweet risk of theatre-going all the sweeter when I find myself at a great show.   It makes the pay-off for risk-taking all the more gratifying.

Thank you, everyone that helped to make my theatre-going adventures in 2011 so very sweet and rich.

Hope Baugh – Indy Theatre Habit

(Photo above was taken by me with my trusty iPhone.  I bid highest for this snowpeople basket in the Phoenix Theatre’s holiday auction a few years ago so now it is mine.)

I met Maggie Harry at the world premiere of one of Lou’s plays, “Midwestern Hemisphere” in 2008 and got to chat with her again at a board game marathon at their house one winter.  We all shared a table for the dinner theatre production of “Forbidden Broadway” by Actors’ Theatre of Indiana in 2009. 

Best of all, I got to enjoy Maggie’s performance in the ensemble for the Indianapolis Civic Theatre’s production of “Carousel” in 2010.  I am sorry that that is the only show of hers that I saw.

I wish I had better words to express my condolences.  My heart goes out to Lou and the rest of his family.  

Here is a link to information that Lou shared about services this Thursday:

 http://obits.arncremation.com/obit.php?id=58 

Hope Baugh – Indy Theatre Habit

(Last updated 1-30-12)

It’s that time again: time to set up my Directory of Shows Seen for the year.  By a quick count, I saw 91 live theatre shows in 2011, 120 in 2010, 134 in 2009, and 144 in 2008.  I guess I’m “slowing down,” although I prefer to think of it as becoming more selective about honoring my passion, or at least leading a more balanced life.

Anyway, as in previous years, I will add to this Directory every time I see a show, and I will enjoy looking back over it at the end of the year and in years to come.  If you are curious about what I’ve been seeing, feel free to check back here any time.

There are two parts: 1) shows organized alphabetically by performance company and 2) shows in the chronological order in which I saw them, like a diary or log.

I will also try to keep labeling the companies as either “professional” (all of the company’s artists and staff are paid for their work), “all volunteer” (none of the company’s artists or staff are paid), or “hybrid” (the company has a mixture of paid artists/staff and volunteers.)  However, as I’m sure you know, “professional” does not necessarily mean high quality and “all volunteer” does not necessarily mean disappointing quality.  Also, in the Indianapolis area, there are very, very few theatres that pay their artists a living wage, so in some ways these labels are meaningless.

If I write about a show, I will link to the post here, too.

Shows I’ve seen in 2012 in order by performance company:

Acting Up Productions professional; Greenfield (but many performances are in Indianapolis)

• “Two Rooms”

The Children’s Museum of Indianapolis – Lilly Theater professional; Indianapolis

• “Dorothy and the Wizard in Oz”

Epilogue Players all volunteer – member Encore Association; Indianapolis

• “Remember Your Hit Parade”

Phoenix Theatre professional; Indianapolis

• “Current Economic Conditions” – twice!

Theatre on the Square hybrid; Indianapolis

• “Debbie Does Dallas”

Shows I’ve seen in 2012 in chronological order:

Saturday, January 7 – “Dorothy and the Wizard in Oz” – Lilly Theatre at the Children’s Museum of Indianapolis – Directed by Ty Stover.

Sunday, January 8 – “Remember Your Hit Parade” – Epilogue Players – Original script and concept by Susan Page Freeman.  Directed by William Andrews with musical direction by Jen Bolejack.

Sunday, January 15 – “Two Rooms” – Acting Up Productions at Theatre on the Square – Written by Lee Blessing, directed by R. Brian Noffke.

Saturday, January 21 – “Current Economic Conditions” at the Phoenix Theatre – Written by Don Zolidis, directed by Bryan Fonseca.

Sunday, January 28 – “Current Economic Conditions” at the Phoenix Theatre a second time.

Sunday, January 28 – “Debbie Does Dallas” at Theatre on the Square – Book by Susan L. Schwartz, music composed by Andrew Sherman with additional music and lyrics by Tom Kitt and Jonathan Callicut, directed by Andrew Ranck with musical direction by Roger Smith.

‘See you at the theatres!

Hope Baugh – www.IndyTheatreHabit.com

(Photo above taken with my trusty iPhone of a box of yummy, hand-crafted truffles from the Best Chocolate in Town on Massachusetts Avenue in downtown Indianpolis.)

Dear readers,

For a number of reasons that I am not going to discuss, I am not going to blog any more for a while.  I may come back to it later.

I would like to thank everyone that has read and responded to Indy Theatre Habit over the past three and a half years.  I hope you will continue to make a habit of going to see live theatre.

I’ll see you there!

Hope Baugh – www.IndyTheatreHabit.com

(The above photo of a resting amaryllis bulb was taken by Lori L. Stalteri.)

P.S. – If you’re curious about what I’ve been seeing, I am maintaining my Directory of 2011 Shows.  Last updated 12/29/11.   And although I have a love-hate relationship with Twitter, for now I am also tweeting about almost every show I see:  www.twitter.com/IndyTheatre.

On Saturday night a friend and I drove to the new Studio Theater to see the Actors Theatre of Indiana production of “Chicago the Musical.” 

The Studio Theater is part of the Center for the Performing Arts in Carmel, Indiana.  Carmel is just north of Indianapolis.  Actors Theatre of Indiana (ATI) is the Center’s resident professional theatre company.

The book for “Chicago the Musical” was written by Fred Ebb and Bob Fosse.  The music is by John Kander, with lyrics by Fred Ebb.  Judy Fitzgerald directed ATI’s production.

I loved the intimacy of this production!  I recognized many of the performers from other professional shows in larger venues around town over the years.  It was a treat to be able to see and hear these beloved performers doing their thing up close in a cozy space and in a show that highlights their singing and dancing talents.

What the Show is About

“Chicago the Musical” is about a couple of female murderers – Roxie Hart and Velma Kelly – in the 1920s that used an unscrupulous lawyer – Billy Flynn – to help them milk the media’s fascination with them in order to be acquitted.

It is also about the fickleness of glamour and fame in general, the slipperiness of Chicago itself at that time, and the fact that almost nothing anywhere, any time, is completely what it seems at first glance.

Artistic Considerations

Because this is a musical, most of the storytelling happens through song and dance rather than spoken dialogue, although there is some of that, too.

As I mentioned earlier, it is a treat to be able to hear good professional singers and watch good professional dancers up close.  My seat was only one row down from the back of the theatre, but the house is so small and the rows of chairs so steeply raked that I could easily see everyone’s faces.  The show is polished in terms of set, sound, lights, costumes (especially costumes!), etc. but the theatrical magic – the “razzle dazzle” as Billy Flynn would say – comes from the performers themselves more than anything else.   They are the ones doing those impressive flips and lifts.  They are the ones belting those long notes. 

And if something unexpected happens – say, one dancer’s microphone cord catches on another’s button or something – we are right there with them as they gracefully untangle and dance on with a smile.  There is something uniquely appealing about being able to experience the humanity and aliveness of a professional quality show up close.

In a production this intimate, which is even more intimate than the Broadway Across America touring production of “Chicago the Musical” that I saw in 2009, there can be a lot of fun interplay between the cast and the piano player, too, especially since the 5-piece orchestra is right on stage with the cast and the piano serves as a set piece for people to sit and even dance on sometimes while they sing.  Music director Brent Marty plays the piano, sings back-up, interacts with the cast, conducts the instrumentalists behind him while facing forward to the audience, and serves as a separate character in the story at one point.  Whew!  And he does it all smoothly and admirably.

The live orchestra itself sounds steamy-jazzy and wonderful.  In addition to Brent on piano, the orchestra includes Jay Emrich on bass, Steve Stickler on woodwinds, Scott Whitford on brass, and Greg Wolff on percussion. 

Now about the story and characters:

Don’t go to this show expecting the characters to be like in the movie… 

Well, actually, Bradley Reynolds, the man that plays the lawyer, Billy Flynn, did remind me a little of Richard Gere, who played him in the movie.  They both have that panther-like quality to their handsomeness.  However, Bradley gives his portrayal a layer of trustworthy Mr. Rodgers (from the children’s TV show), too, which makes Billy Flynn’s essentially UNtrustworthy nature all the more creepy.

So for the most part, don’t go to this show expecting the characters to be exactly like in the movie.  They are all drawn with more subtlety here, which takes some getting used to but which is ultimately refreshing and satisfying, and better suited to the intimate venue.

Cynthia Collins and Holly Stults each bring a relatable poignancy to their portrayals of Roxie Hart and Velma Kelly, respectively.  You can imagine each of the characters asking herself, “How in the world did I get here?”  The differences in personality and life experience between the two women seem not all that large after all, which means that maybe they are not all that different from us, either.  Which is deliciously unsettling.

Paul Hansen is freshly heartbreaking as Roxie’s “invisible” husband, Amos. 

Kenny Shepard is hilarious as ALL of the members of the jury.

I did not recognize John Vessels at all as the refined and ladylike reporter, Mary Sunshine, until I got home and looked at my program.  I have seen and enjoyed his comedic portrayals several times at the Beef and Boards Dinner Theatre.  He is a funny surprise in this show, too.

Nor did I recognize Dwandra Nickole, whose dramatic work I had loved in the Phoenix Theatre’s production of “In the Next Room or The Vibrator Play” until I read my program, but I loved getting to hear her sing in this show as prison Matron “Mama” Morton.

The ensemble of dancer-singers is consistently strong and sexy.  It is captained by Carol Worcel (Murderess Liz) and also includes:  Vickie Klosky (Murderess Mona), Kristen Noonan (Murderess Hunyak), Jennifer R. Shoup (Murderess June), Sally Scharbrough (Murderess Annie), Tim Hunt (Fred Casley and other roles), Sean Seager (various roles), and Kenny Shepard (various roles.)

The choreography was adapted by Michael Worcel after Bob Fosse and Ann Reinking, with assistance from Carol Worcel.

In addition to the people I have already mentioned, the production staff includes James W. Carringer as stage manager/production manager; Duane McDevitt as scenic designer, Marti Meeker as lighting designer, Don Drennen as sound designer, and Brian Horton as costume designer.  For the most part, the design components are deceptively simple in order to let the performers’ talents shine.  However, the brick-walled set, the prison door lighting, and other subtle elements help to make this an artistically rich piece of theatre art.  The sexy costumes, created mostly from a black-grey-white palette but with lots of sparkle, are gorgeous.

I also have to say that the feather fan dance in this production of “Chicago the Musical” is adorable.  I may carve time to see this show again next weekend just because of that.

Audience and Appeal Factors

This is a show for adults that like intimate, live theatre with lots of experienced, professional singing and dancing.

I wouldn’t bring children to this show because even though it is beautiful and funny, it is also about murder, adultery, the death penalty, and other mature themes.  The sounds of the gun shots are produced by the percussionist, and the appearance of blood is produced by red scarves, but the costumes are very sexy and there are spoken references to sex.  It doesn’t matter if your kids can “take it” or not.  Get a babysitter so that the other adults in the theatre can relax and enjoy the show.

This is a different but, I think, satisfying new perspective on the show for adults that loved the movie or loved seeing a big Broadway production of it first.

If you have never seen any version of “Chicago” I bet you will recognize and enjoy the “All That Jazz” song.

This is also a fun show to start with if you have not yet seen a show in the new Studio Theater.  I was lucky enough to be in the audience for the very first show there – a concert by country music singer-songwriter Joanna Smith in March – but I did not have time to write much about it then.  The Studio Theater is a “black box” whose comfy seats and sturdy risers can be reconfigured into any one of four arrangements:  theatre in the round (seats on all sides of the stage), traverse (seats on two opposing sides of the stage), thrust (seats curved around the front and a little of the sides of the stage), and proscenium (seats only in front of the stage.)  For “Chicago,” the seats are arranged in the thrust configuration, so you may ask for a seat assignment either directly in front or a little off to either side of the stage area.

I have enjoyed two “tuning concerts” in the Palladium and I look forward to the opening of the large Booth Tarkington Theatre later this year, but I think the Studio Theater will be my favorite of all of the performance spaces in the Center for the Performing Arts.  I love being close to the artistic action.

One other FYI:  This show includes a lot of atmospheric “haze” produced from either a smoke machine or a fog machine as a special effect.  This always gives me a headache but I also think it looks cool.

Box Office, etc.

ATI’s production of “Chicago the Musical” continues Wednesdays-Sundays through May 22, 2011 at the Studio Theater in the Center for the Performing Arts in Carmel, Indiana, just north of Indianapolis.  For more information and to buy tickets, please call 317-843-3800 or visit www.thecenterfortheperformingarts.org.  For more information about Actors Theatre of Indiana, please visit www.actorstheatreofindiana.org.

There is free parking at the back of the Studio Theater’s building.  Turn in and park in the garage as if you were going to the Palladium, but instead of walking back outside across the yard to the Palladium, just step off the parking garage elevator on the first floor and walk inside to your right.

I forgot to check, but I think you can buy beer, wine, and soft drinks at a bar in the lobby during intermission.

Season Announcement

I did remember to pick up a flyer with the new ATI season on it.  When director Judy Fitzgerald gave the curtain talk before the show, she said that Actors Theatre of Indiana was proud to announce their seventh season.  Here are the musicals they are doing for 2011-2012 at the Studio Theater:

• “Cole,” a revue based on the life of Cole Porter, devised by Benny Green and Alan Strachan – September 9-25, 2011.
• “Forbidden Broadway” – October 28-November 20, 2011.  I loved this parody show when ATI did it at the Oak Hill Mansion in 2009.  Judy said this 2011 version will include a significant amount of new material, including spoofs from “Wicked.”
• “Godspell,” based on the Gospel According to Matthew with a score by Stephen Schwartz – February 10-26, 2011.
• “I Love You, You’re Perfect, Now Change,” book and lyrics by Joe DiPietro, music by Jimmy Roberts – April 27-May 20, 2011

ATI is also doing “Frog and Toad” again at the Pike Performing Arts Center on December 16, 17, and 18, 2011.  I cheered when I read that.  I love ATI’s production of this family favorite that is based on the endearing stories of Arnold Lobel.  I first saw it in 2008.

‘See you at the theatres!

Hope Baugh

(photo above by Julie Curry)

On Saturday afternoon I drove to downtown Indianapolis to see the Indiana Repertory Theatre’s production of “The 39 Steps.”  It was adapted by Patrick Barlow from the novel by John Buchanon, from the movie of Alfred Hitchcock licensed by IV Global Entertainment Limited, and from an original concept by Nobby Dimon and Simon Corble.  Peter Amster directed it for the IRT, where Janet Allen is the artistic director and Steven Stolen is the managing director.

I now know that the stage show was nominated for the 2008 Tony Award, and I now know that one of mystery master Alfred Hitchcock’s most famous noir films is “The 39 Steps,” but I didn’t know anything about either of these two facts going in to the IRT on Saturday.

And it didn’t matter.  This show is very accessible and so much fun!  It is a suspenseful, funny treat for stage fans and film fans alike, not to mention mystery fans.

What the Show Is About

On one level, it is the story of Richard Hannay, an Englishman in 1935 London.  He goes out to refresh himself with a “mindless” night at the theatre and finds himself thrown into dangerous matters of national security.   His sense of honor demands that he go to Scotland to find and protect the secret of “the 39 steps,” even though he doesn’t know what it means.  Along the way he gets involved with several beautiful women and dozens of other people, all with agendas of their own.

On another level, the show is about loving and respecting both film and stage.  This show makes fun of the unique characteristics of both art forms, while also celebrating them.  It says, “We are proud of the many things that stage art can do that film can not, but we also know that myriad deliberate and subtle choices go into making a good film, too, and we enjoy analyzing them and acting out the techniques.”  When the show mimics the perspectives of film, it is funny because they are unexpected on stage, but it is never mean-spirited.

Sometimes the show says, “Could a film actor make you believe all of this activity in the moment night after night?  Film making is for wussies!” but it also acknowledges its own limitations as a live stage show and makes fun of itself – for example, when there are more characters on stage at once than there are actors available to play them.

On yet another level, the show is about loving and respecting the work of film maker Alfred Hitchcock in particular.  I really only know about his work by reputation, but even I recognized the titles of his movies and laughed when they came up as lines in conversation during the show.  I bet there are even more references to his style and content that a true Alfred Hitchcock fan would recognize and relish.

Artistic Considerations

There are only four actors.  Only four!  Even though I knew intellectually that three of them were playing multiple roles, I still was startled when only four actors came out to bow at the end.

Matthew Brumlow is the earnest yet dashing hero, Richard Hannay.  He is hilarious and lovable simply because…well, forgive my stereotyping, but it is simply because he is so very English.

It is also because Matthew uses his full range of physicality – from splayed instant slumber to the lift of one eyebrow over a modest smirk – very specifically and purposefully, yet seemingly effortlessly.  The other three actors do, too.  And their timing is exquisite.

Sarah Nealis changes accents and attitudes at least twice but is always some sort of beautiful, sexy woman that just happens to be, quite awkwardly and/or temptingly, in Richard Hannay’s path. 

Rob Johansen is “Clown 1” and Tom Aulino is “Clown 2.”   They never appear in clown costume (that I recall) but they appear as just about everything else.  I think they are called clowns because their many fast character changes require the precise balance and the exuberant energy of a circus act.  They change convincingly, seamlessly, back and forth between characters – sometimes with only a few words for each!   Oh, my, they are fun to watch.

The design elements enhance the humor, the suspense, and the film vs. stage teasing in several delicious ways.  The set (designed by Linda Buchanan) seems pretty bare at first glance, but it is framed with the rich, red velvet curtain and downstage sconces that I imagine were part of every theatre in the 1930s.  Theatre trunks and other odds-n-ends are plenty to suggest richer, more complete sets – especially when accompanied by Michael Lincoln’s witty lighting design – but then one of them opens to reveal something unexpectedly detailed, for another laugh. 

Both Michael’s lighting (he was assisted by Molly Tiede) and Victoria DeIorio’s sound design make the audience participants in the story in unexpectedly funny ways.  Victoria’s compositions and sound design also include a satisfyingly rich array of aural textures; if her sounds were fabrics, they would range from satin to tweed.

Many of the costume pieces (designed very cleverly by Tracy Dorman, with wigs by Mary Schilling-Martin and additional wigs by Heather Fleming) serve as props for the actors to play with as much as they serve as descriptions of the characters that wear them.  I loved one of the women’s weather-vane pigtails, for example.

Nathan Garrison is the (I imagine) of necessity very wide-awake stage manager.  Richard J. Roberts was the dramaturg – an especially fun job for this play, I bet.  I wonder if he got to watch all of Hitchcock’s movies as part of his research?  That’s what I would like to do next!

Audience and Appeal Factors

If you love entertaining theatre that is both smart and funny, cerebral and physical…

If you love the films of Alfred Hitchcock…

If you love to feel proud and delighted by what stage performers and designers can do…

If you love a good story filled with both laugh-out loud humor and yelp-producing suspense…

If you loved the polished playfulness of the IRT’s production of “Around the World in 80 Days” last year…

If you loved the polished inventiveness of the IRT’s production of “Our Town” (also directed by Peter Amster) in 2007…

Well, then, this is the show for you.

As for your kids…well, let’s see.  “The 39 Steps” is a bit darker than “Around the World in 80 Days.”  There are some scary moments and a death or two.  There are also some oblique references to sex and several sexy-funny moments.  On the other hand, “The 39 Steps” is also less purely reflective than “Our Town.” If your kids don’t get all of the historical and artistic references in “The 39 Steps,” they can still easily enjoy the physical humor if they have a little patience at the very beginning while Richard Hannay is setting up the story.

So…I wouldn’t suggest this show for little kids or even all kids in elementary school, but it would probably be okay for most people in middle school or older.

I would recommend it without hesitation to just about any group of adults, whether they know each other well or not, and whether they know much about Alfred Hitchcock or not.

Box Office

“The 39 Steps” continues on the Indiana Repertory Theatre’s main stage with a good variety of performance times through Saturday, May 14, 2011.  For tickets and more information, please call the IRT ticket office (317)635-5252 or visit www.irtlive.com.

‘See you at the theatres!

Hope Baugh – www.IndyTheatreHabit.com

P.S. – Follow me (@IndyTheatre) and/or the topic #indystage on Twitter.com.  I never tweet during a show (and I beg you not to take your phone out during a show either, for any reason, because light is as distracting as noise!) but I often tweet first impressions during intermission or immediately after a show.

P.P. S. – Both photos above were taken by Roger Mastroianni.  Roll your mouse over each to see the actors’ names.

On Friday, April 1, 2011 I drove to the Historic Irvington Lodge on the near east side of Indianapolis to see the world premiere of Q Artistry’s “Bunny Spectacular.”  It was directed by Ben Asaykwee, with segments directed by Maria Meschi.  Ryan Powell and Carrie Morgan were the assistant directors.

If you are a regular reader of Indy Theatre Habit, you know that I almost never have time to write about shows for children.  However, I made time for this show because a) I love Q Artistry’s work in general and b) a giant bunny came to visit me with free tickets to opening night.

“Bunny Spectacular” is definitely a treat of a show for families with little kids, but this solo adult had a great time, too.

What the Show Is About

“Bunny Spectacular” is an hour-long extravaganza of bunny-related songs, jokes, and stories, all performed by a variety of kinds of bunny puppets on a huge vertical stage with multiple openings.  The stories come from around the world and include humorous story-songs such as “Little Bunny Foo-Foo,” literary tales such as “The Tale of Peter Rabbit,” by Beatrix Potter, and folk tales such as a Native American story about “How Rabbit Lost His Long Tail” and a “Brer Rabbit” folk tale.

Interspersed with the stories and songs are groan-and-laugh puns, one-liners, and joke stories.  There is a whole monologue of bunny lounge act schtick by the snarky MC puppet near the beginning.

The climax of the show is a special brief appearance of The Easter Bunny.

Artistic Considerations

I wrote on Lou Harry’s weekly “You Review It Monday” blog the Monday after I saw the show that this is “a hilarious combination of the old ‘Laugh-In’ comedy show and the best of public library story time.”  I stand by that comment but I want to add that this is a fully-staged live theatre piece, too.  The center of the carrot-bedecked stage is swathed with sparkly fabric curtains that raise and lower to accommodate the needs of the stories and the performers.  The two side portions of the stage have multiple little windows for the cast (all bunny puppets) to pop (or should I say “hop”) in and out of.  Sometimes there is a delightful blur of activity all over the place.  Other times a spotlight helps the audience focus its attention on the correct place on the stage.  Recorded music enhances the live singing (sometimes sung in multiple-part harmony), storytelling, and puppetry.  The human cast includes a mixture of professional and avocational performance artists.

After director Ben Asaykwee gives the curtain talk, we don’t see any human beings again until the very end, when both humans and puppets take their bows.  Most of the puppets are plush hand puppets, converted stuffed animals, or converted socks, but there is also a story done with large cardboard shadow puppets that are as big as the people behind them, and another that is done with stick puppets with moving parts.  The hand puppets, especially, are all very life-like and believable in terms of their expressions, gestures, voices, and individual personalities, but all of the puppets are manipulated to good effect by their human handlers.

The overall pacing of the show is tight and good.  The little kids sitting around me were entranced, even the boy who seemed at first if he would never stop wailing. (I think his dad let him walk around in back for a while. That helped, too.)

The humor in the show manages to be both adult and family friendly.  Oh, my, I had such a good time at this show!

The hour speeds by.  At the performance I attended, no one wanted to leave at the end.  I don’t mean that they lingered in the lobby.  I mean that they stayed seated for several minutes, as if waiting for more to happen.  I think this was partly due to the fact the show had been so much fun, and partly due to the fact that the Easter Bunny did not come out and interact with the children one-on-one.  However, my program says:

 “Q Artistry is hosting a special visit with good ole EB for everyone in the community from 12-2pm on Saturday, April 16^th and Saturday, April 23^rd.  Members of the community are encouraged to take part in this ‘first come, first served’ event.  No photographer will be present, but participants are welcome to bring their own cameras to take pictures.”

So maybe Q Artistry just decided it would make too late of a night for families to try to have the Easter Bunny come out and mingle after the show.

My program doesn’t mention a charge for these special visits with EB.  IT does say that these special photo opportunities will take place at the Historic Irvington Lodge – the same place as the show.  (According to the Q Artistry website, the “Bunny Spectacular” show costs $5 for kids ages 12 and under, $7 for everyone else.)

There were some problems with the sound equipment at first on the night that I went, but they seemed to work themselves out fairly quickly.  There was really only one disappointment for me with this show:  the librarian and story lover in me can’t help wishing that the stories and their sources had been listed in the program.  But, as I say, I had a wonderful time anyway, and it was a source of pleasure to be able to recognize so many of the stories on my own.

Who Did What

In addition to the directors and assistant directors, here is the crew as listed in my program:

• Brandi Gilbert = Light Technician
• Will McCarty = Sound, Graphic Design
• Kaitlin O’Leary = Spotlight Operator
• Lisa Marie Smith = Box Office Guru
• Jason Moon = House Captain
• Puppet Creators = Ben Asaykwee, Anne O’Leary, Meagan Moon, and Maria Meschi
• Set Construction = Ben Lamey, Robyn Lamey, Will McCarty and Ben Asaykwee
• Superstar Volunteers = Marilyn McCarty, Stella Hanley, Meagan Moon and Robyn Lamey

The cast includes:

• Ben Asaykwee
• Robin Bradford
• Maddie Deeken
• Janice Hibbard
• Robyn Lamey
• Sara Lukaszewski
• Gabrielle McAree
• Maria Meschi
• Meagan Moon
• Carrie Morgan
• Maureen O’Leary
• Ryan Powell

Audience and Appeal Factors

This show will appeal to anyone of any age (okay, age 3 and older) that enjoys cute puppets, good stories, energetic live singing, and mischievous yet ultimately family-friendly humor.

And bunnies, of course.

Box Office

Q Artistry’s “Bunny Spectacular” runs Friday nights, Saturday afternoons, and Saturday nights through April 23, 2011 (two more weekends) at the Historic Irvington Lodge.  For more information and to order tickets, please visit www.qartistry.org.

By the way, I asked Ben and Maria where most people park.  I have become a fan of the Legend Restaurant that is right across the street and down a little bit past the bus stop from the Irvington Lodge, and I can often find one open parking spot on the curb near there.  I have what my sister calls “good parking karma.”  However, I wondered about other options.

Maria told me, “There is a fair amount of street parking behind the Lodge.  We also park in the paved lots behind the building, but not the gravel lot.”

Ben said, “Parking is mostly ‘find it where you can find it’ in Irvington.  But there always seems to be plenty of street parking in the neighborhoods around and yes, if you eat at the Legend before you can simply park there and walk over ”

I walked over for a late supper after the show.  That works, too.

‘See you at the theatres…

Hope Baugh – www.IndyTheatreHabit.com

P.S. – Follow me (@IndyTheatre) and/or the topic #indystage on Twitter.com.  I never tweet during a show (and I beg you not to take your phone out during a show either, for any reason, because light is as distracting as noise!) but I often tweet first impressions during intermission or immediately after a show.

(Photos and video for this post provided by Ben Asaykwee and used with permission.)

Last Sunday evening I drove to the northwest side of Indianapolis to see “Annie Get Your Gun” at the Beef and Boards Dinner Theatre.  The music and lyrics for this 1948 Broadway musical were written by Irving Berlin.  The book was written by Herbert and Dorothy Fields. It was directed for Beef and Boards by Doug Stark. (Douglas E. Stark)

It is a beautiful, beautiful production and it piqued my interest in Annie Oakley.

What the Show Is About

The story is very loosely based on some people that actually lived in the Midwestern United States in the late 1800s.  There really was a Wild West Show and it really did star a never-misses riflewoman named Annie Oakley.  Her husband really was named Frank Butler and he was also a sharpshooter.  According to pbs.org and other sources, he became smitten with Annie on the day that she first beat him in a shooting contest.  He courted her until she finally agreed to marry him.  They performed together for a while, but he eventually stepped back and became her business and publicity manager.  “He occupied much less of the limelight than his celebrated wife, but Butler didn’t seem to mind; he understood that her success helped both of them.”   They were happily married for more than 50 years.

THAT is my idea of a love story.

In the musical, Frank is a guy that thinks he wants “a doll that I can carry.”  He loves Annie but he is threatened by Annie’s skill and fame.  Annie falls in love with him the minute she looks into his eyes for the first time.  To “get him,” she has to pretend to be less talented than he is. When she lets him beat her in a shooting contest, he asks her to marry him, and they supposedly live happily ever after.

I can’t help wondering, though, if the Annie in the musical will have to continue to give up parts of herself in order to maintain the illusion.  It wouldn’t be worth it to me.

Artistic Considerations

Fortunately, however, Frank and Annie’s musical marriage is, ultimately, not mine to worry about.  I am free to tell you about the many aspects of the show that I enjoyed.  These include the songs, the singing, the costumes, and the set.

I bet you will recognize many of the songs from this show, or at least “There’s No Business Like Show Business.”  What theatre lover hasn’t sung that catchy pep talk/anthem in a talent show or during a tech week at one time or another?  And it’s originally from THIS show!

I recognized “Anything You Can Do” and “Doin’ What Comes Natur’lly,” too.

Other songs were completely new to me.  My new favorite song of all time, or at least a new addition to my top 100, is the inspirational “I Got the Sun in the Morning.”  I am going to learn all the words and sing this snappy song to myself when I want a reminder of how to have an attitude of gratitude.

The singing of all of the songs in this production is completely lovely, a real pleasure.  Especially satisfying are the songs sung by the two leads, Curt Dale Clark and Tiana Checchia.

Kurt Dale Clark is the charismatic Frank Butler, a self-proclaimed “Bad, Bad Man.”   I always swoon when Curt is on stage but in this show as Frank he is…well, let’s just say that I came home with some rich fodder for my fantasy life.  (I know I implied above that the musical Frank is a jerk, but I don’t have to marry, or even live with, the men I incorporate into my fantasy life.  This Frank looks GREAT in his suits and I’m a pushover in my fantasy life for a man that sings well.)

Tiana Checchia is completely likable as the irrepressible and rough-hewn Annie Oakley.  Annie takes good care of her three young siblings, she works hard in the Wild West show, she works hard at learning to read, and since Frank says he “needs” a woman that is all “pink and white,” she works hard on becoming that, too.  Along with showing us Annie’s strong, cheerful work ethic, Tiana gives Annie a naïvely joyful quality that is very appealing.

And did I mention how great she sounds?

When Annie and Frank sing about falling in love – “They Say It’s Wonderful” – the two actors perfectly capture and convey that wonderful feeling.

The rest of the ensemble is strong, too, across the board.  Annie’s three younger siblings, played by Brielle Boynton, Molly Oates, and Ellie Oates, are adorable.

The costumes – especially the men’s suits and the women’s long, bustled dresses and parasols – are a treat to look at.  They were designed by Jill Kelly.

The set, designed and lit by Michael Layton, includes a fun, thematic floor and some nifty smoke.

Who Did What

In addition to the two leads and the children, the show also stars:

J.R. Stuart as Charlie Davenport, the well-meaning manager of the Wild West show. 

Jeff Stockberger as the larger-than-life Buffalo Bill. 

Jack Milo as Sitting Bull, Annie’s adoptive father. 

Katie (aka Katherine) Proctor as Dolly Tate, Frank’s snippy assistant. 

The following graceful dancer-singers actually play multiple roles but they are listed in my press kit’s Fact Sheet as:

Steve Calzaretta as Pawnee Bill. 

Adam Shaff as Wild Horse. 

Jonathan Jensen as Mac. 

Bobbi Bates as Mrs. Iron Tail.

Erin Cohenour as Mrs. Yellowfoot.

Deb Wims as Silly Sister.

**********

Besides the director and the costumer, the crack-shot design team includes:

Doug King, choreographer.

Kristy Templet, musical director.

Daniel Hesselbrock, sound designer.

Bill Mollencupp, technical director.

Ed Stockman, stage manager.

Eddie Curry and Jeff Stockberger, assistant stage managers.

**********

In the orchestra up in its loft:

Conductor Kristy Templet is on keyboard.

Terry Woods is on keyboard, too.

Neil Broeker is on woodwinds.

Tim Kelly (any relation to the costumer designer, I wonder?) is on percussion.

David Coleson is on trumpet.

**********

As always, admission includes Chef Odell Ward’s comfort food dinner buffet.  My server this time was Billie.  Her attention to me was thoughtful but not smothering: just right.

Audience and Appeal Factors

The song in which Annie is adopted by Sitting Bull – “I’m an Indian Too” – made me uncomfortable because while it is semi-respectful of the fact that there is no such thing as a generic Indian tribe, it also has Annie making fun of individual Native names.  “Chief Dropping Pants?” Please.  However, Tiana makes it clear that Annie is touched and proud AND nervous to have been invited to the ceremony, so maybe those lyrics are supposed to convey those mixed emotions in the same way that anyone can make a not-funny joke when they’re nervous.

Also, there are several times in this show when guns are pointed into the audience.  When my friend Dave taught me how to shoot a pistol years ago, his first rule of gun safety was to never, ever point a gun at someone unless you intend to kill them, even if you think the gun isn’t loaded.  So, every time a gun was “fired” into the audience in this show it pulled me out of the story.  I think the shots are just recordings, actually, not even blanks, but the guns were realistic enough overall to make me nervous.

Anyway, I mention these two things here in the suggested audience portion of the review just as something else to consider when you’re thinking about which friends to invite along.

In general, I would say that this is a completely family friendly show.  I wouldn’t bring preschoolers to it but I could see bringing a family with school-aged children and older.  Although I don’t want my goddaughter growing up to think she has to cut herself down in order to “get” a man to marry her, I would love for her to know about Annie Oakley’s skill, determination, optimism, and loyalty.  This show introduces all of that.

This show will also appeal to people that love visually and aurally beautiful musical theatre.

Box Office

“Annie Get Your Gun” continues at Beef and Boards Dinner Theatre through May 8, 2011.  Show times include some weekday evenings and matinees.  For more information please visit www.beefandboards.com.  To purchase tickets, please call the Box Office at 317-872-9664.

‘See you at the theatres!

Hope Baugh – www.IndyTheatreHabit.com

P.S. – Follow me (@IndyTheatre) and/or the topic #indystage on Twitter.com.  I never tweet during a show (and I beg you not to take your phone out during a show either, for any reason, because light is as distracting as noise!) but I often tweet first impressions during intermission or immediately after a show.

Last Sunday afternoon I drove to the Carmel Community Playhouse in the Claypool Terrace shopping area of Carmel, Indiana (just north of Indianapolis) to see the Carmel Community Players’ production of “I Hate Hamlet.”  This comedy was written by Paul Rudnick.  It was directed for CCP by Lori Raffel and produced by Risa Krauter.

It was so good!  I leapt to my feet to applaud even before the house lights came up for the curtain call.  I drove to my next appointment with a wet but smiling face, feeling grateful for every person that answers the call to be a stage actor.

The following Thursday I went back to see the show a second time and enjoyed it tremendously again.  I wish it ran for three weekends instead of just two.  (I also wish I had a photo from the show to share with you, but never mind.)(Update 4/10/11 – Lori Raffel emailed me the above rehearsal photo.  Thanks, Lori!)

Tonight and tomorrow afternoon are your last chances to see this funny and exceptionally well directed all-volunteer production. 

What the Show Is About

A relatively famous TV actor, Andrew Rally, has come from Los Angeles to New York to try to revive his career and his artistic energy.  However, he has mixed emotions about the opportunity that has brought him here: a chance to play the title role in Shakespeare’s “Hamlet” in an outdoor theatre.

His real estate agent finds him an apartment that used to belong to the famous stage and screen actor John Barrymore.   Andrew balks even further when he sees how ornately decorated the apartment is.  “This is not me,” he says.  Not this apartment, and not this role.

But his realtor and his girlfriend, who is also an actor, both urge him to stay.  They even hold an impromptu séance to try to contact Barrymore’s ghost, with no luck.

After they leave, however, John Barrymore does appear.   He is determined to help Andrew answer his true calling as an actor and as a person, whether Andrew wants his help or not.  John stands firm even when Andrew’s TV agent, Gary, tells him about an obscenely lucrative new TV deal.  Andrew learns about passion, humility, and more.  In the process of teaching Andrew, John finds growth and peace for himself, too.

This is a play about the importance of “facing the dragon” in work and love, even when you’re not sure that you will survive. 

It is also a play that acknowledges in a funny way the reasons some people resist going to see live theatre and maybe always will.  But it also acknowledges the reasons why the rest of us – artists and/or audience – will never give it up.

Artistic Considerations

Both the leads and the supporting characters – as written and as acted in this production – are strong and fully-fleshed (yes, even the ghost.)  This is definitely a comedy, and therefore it is silly and fun, but there are also many delightful little layers of deeper meaning in the script that have been teased out just right by the director and her ensemble of actors.  I think I am going to tape “Are you an artist or a lunchbox?” and “Yes, I went back to Hollywood, but first I played Hamlet – have you?” over my desk to remind me of them.

The brotherly dramatic-comedic energy between Earl Campbell, who plays the lost yet likable Andrew Rally, aka the reluctant Hamlet, and Eric Bryant, who plays the womanizing (but never beastly) and more experienced John Barrymore, aka the established Hamlet, is a treat to be around, especially when they are verbally sparring.  Their rapier duel, choreographed by Eric, who is an experienced fight choreographer as well as actor, is also fun and exciting to watch.   Both men tap into, and convey, their characters’ emotions and humor in deeply satisfying ways.

Sarah McGee gives Andrew’s ingénue girlfriend, Deirdre McDavey, a ditsy and demure – but not stupid – charm.  Laura Lanman Givens is a hoot as the feisty-sexy, pseudo-psychic realtor, Felicia Dantine.  And Shawn Evans is a comedic avalanche as the fratboy-esque TV agent, Gary Peter Lefkowitz.

But I have to say that my favorite supporting character is Andrew’s no-nonsense, German-American theatre agent, Lillian Troy, played by Ginny Burt.  Lillian is aging and she is ill, but she once had a fling with the great John Barrymore and no one can take that away from her.  I was enthralled by the fact that with only a few lines and scenes, Ginny manages to show us the full range of Lillian’s personality and life experience.  There is one breathtaking scene in particular in which Lillian’s current harshness and frailty fall away for the moment and she is sublimely ageless and beautiful.  The healing in that scene makes me swoon again whenever I think of it.

My program lists Brian G. Hartz as dialect coach.  Ginny’s German-American accent, in particular, is consistent and sounds authentic to me.

Who Did What Well on the Design Team

R. Brian Noffke is the stage manager and lighting designer.  The lighting design includes some nice, soft spots that enhance the effectiveness of the more serious monologues.

Director Lori Raffel designed the sound, which includes some witty little musical enhancements to some of the more melodramatic scenes. 

Patricia Schiro-Long designed everyone’s just-right costumes.  The Shakespearean costumes, especially, are stunning.

The set was designed by Kurt Krauter and Lori Raffel, and decorated by Risa Krauter and Lori Raffel.   The props were provided by “cast and crew.”  There is a lovely suit of armor, and some nice touches in the form of several gilded accessories, the ghost of some “B” monogrammed wallpaper, the exact globe-shaped liquor holder that is referred to by one of the characters, a glowing fireplace, a painting of Eric Bryant as John Barrymore, and a rich, almost throne-like chair that was/is his favorite. 

My only quibble with this whole show is that another chair – the one in front of the sofa in Act Two – is so tall that depending on where you sit it either blocks the audience from seeing the actors that are sitting and talking on the window seat (if you sit house left) or it blocks the audience from seeing Andrew and Deirdre in their clench at the foot of the stairs (if you sit in the front row, house right.)  It is not a huge chair but the audience sits slightly below the stage and the floor is level, not raked, so it doesn’t take much.

But as I say, this is just a quibble and I only mention it because it is the only thing that was less than satisfying about this show.  If you do find your view blocked, don’t worry, it will only be the one time and it won’t last very long. 

Audience and Appeal Factors

“I Hate Hamlet” is a “must see” for theatre junkies, but it has appeal for a broader audience as well because we all, I think, struggle with the questions of “What is important to me?” and “What am I supposed to do with my life?”

I saw another production of this show back in 2008.  I couldn’t write about it then because I was judging it for the Encore Association of community theatres.  (It was presented by the Our Town Players in Franklin, Indiana.)  Carmel’s production is more deliciously “adult” than I remembered.  There is no nudity, explicit sex, gore, death, or profanity so I don’t think that it would offend or embarrass anyone in an all-adult group of theatre-goers.  However, there are a couple of well-filled, subtly sparkling codpieces that are tastefully but unmistakably displayed and one is referred to – okay, grabbed - in a frank and funny way.  Also, the characters flirt a lot and talk earnestly quite a bit about whether or not to have sex.  So, I would not recommend this for families with young children at all, and families with older children or young teens might feel embarrassed to see it together.

“I Hate Hamlet” is a contemporary story with a fairly contemporary setting (although the characters check a stack of printed newspapers for their reviews the morning after opening night) but I bet that fans of traditional Shakespearean theatre will appreciate this piece, too, simply because the playwright actually loves, rather than hates, “Hamlet.”

Box Office

There is a performance of the Carmel Community Players’ “I Hate Hamlet” tonight at 8pm and tomorrow afternoon (Sunday, April 10, 2011.)  For more information and to make a reservation, please visit www.carmelplayers.org or call the box office at 317-815-9387.

‘See you at the theatres!

Hope Baugh – www.IndyTheatreHabit.com

P.S. – Follow me (@IndyTheatre) and/or the topic #indystage on Twitter.com.  I never tweet during a show (and I beg you not to take your phone out during a show either, for any reason, because light is as distracting as noise!) but I often tweet first impressions during intermission or immediately after a show.

http://www2.indystar.com/cgi-bin/obituaries/index.php?action=show&id=127822

It includes the following information (at the end) about a memorial service:

A Memorial Celebration will be held on Wednesday, May 4, from 6 to 8 p.m., at the Athenaeum Theatre, 401 E. Michigan St. Burial services will be private.

John’s sister, Kristin, emailed me to add that calling is from 6 – 8pm with a service/program from 7 – 7:30pm.

Update 4/19/11 – Unfortunately, I have a work conflict that night that I can neither reschedule nor delegate, so I will not be able to attend the celebration of John’s life.  However, I will be there in spirit, wishing John and his family and friends all comfort and peace.

*****************

(Original April 9, 2011 post below, with an update on April 13, 2011)

I am very sad to report that beloved music director John Austin Busch was killed in his home in the beautiful old Woodruff Place neighborhood on the near east side of Indianapolis on Thursday night. 

According to several mainstream media reports (see links, below), someone called the police because their neighbor’s door had been open a long time.  The investigating officers found a body.  Most of the reports do not name John but there were many shocked and grieving references to him on Facebook and Twitter last night and this morning.

I called today (Saturday) and left a message asking for more information from Sgt. Paul Thompson.  He is one of the media relations officers for the Indianapolis Police Department.  If he calls me back, I will update this post.  However, if he has to choose between finding time to call me back and working on the investigation itself, I hope he chooses the investigation!

I also talked with local theatre photographer Zach Rosing by phone.  He said that he could confirm that it was John’s body that had been found because he had spoken with John’s long-time creative partner, Bob Harbin.   Zach added that people had sung an impromptu tribute to John at the monthly “Noise!” open microphone piano cabaret at the White Rabbit last night.

So…the main reason I am posting is to say how very sorry I am for John’s family and friends, and for myself and the rest of the Indianapolis theatre community, for this loss.

I didn’t know John personally but I enjoyed the many shows that he music-directed for the former American Cabaret Theatre and the more recently-formed BobDirex company at the Athenaeum in downtown Indianapolis.  I wrote about three of John’s ACT shows here on Indy Theatre Habit:  “The Wiz,” “Swing,” and “Victor Victoria.”  I wrote about his ”The Music of Motown: Let’s Get It On” on Indiana Auditions.  And I believe he music directed the hilarious ”A Funny Thing Happened on The Way to the Forum” last summer for BobDirex, too.  I didn’t blog about that show because I was on sabbatical.

The Indianapolis theatre community will not be the same without John Austin Butsch.

When I find an obituary and/or learn more about a memorial service for John I will update this post. 

(Update 4/13/11:  I still have not heard or read any specifics about a memorial service yet.  However, Lou Harry wrote a tribute to John in his A&E blog for the Indianapolis Business Journal and several people have left memorial comments.  Here is a direct link:

http://www.ibj.com/lou-harrys-ae/2011/04/11/in-memory-of-john-austin-butsch/PARAMS/post/26481

Zach Rosing also started a memorial thread on IndianaAuditions.com.   Here is a direct link:

http://www.indianaauditions.com/forum/showthread.php?12791-John-Austin-Butsch

Several people have also left memorial comments on John’s Facebook wall.  Here is a direct link to that:

http://www.facebook.com/home.php#!/john.austin.butsch?sk=wall 

Sergeant Thompson from the Indianapolis Police did return my call, for which I am grateful.  They released John’s name and the name of the man they suspect of killing him.  I am continuing to follow the reports in the mainstream media but I do not plan to continue posting links to each article here.    I will, however, post any information I receive about a memorial service.

Again, I wish to convey my deepest sympathy to all of John’s family and friends.)

Hope Baugh – www.IndyTheatreHabit.com

Here are the links to some mainstream media reports posted today, in random order:

“Police Discover Body in Woodruff Place” – Indy Star – April 8, 2011 – http://www.indystar.com/apps/pbcs.dll/article?AID=2011104080362

“IMPD Investigating Homicide On Near East Side,” by Alex Brown – April 8, 2011 – WIBC 93.1 - http://www.wibc.com/news/Story.aspx?ID=1398970

“Woodruff Place Neighbors Shocked By Homicide,” by Ann Keil – April 8, 2011 – Fox59 – http://www.fox59.com/news/wxin-homicide-woodruff-place-neighbors-shocked-by-homicide-20110408,0,334302.story 

“Police: Body Found in East Side Home” – April 7, updated April 8, 2011 – Channel 6 News – http://www.theindychannel.com/news/27472647/detail.html

“Police Investigating East Side Death as Homicide” - WTHR Channel 13 – April 8, 2011 – http://www.wthr.com/story/14406965/police-investigate-apparent-homicide

“Woodruff Place Neighborhood On Edge As Homicide Investigation Continues” – WISH TV Channel 8 - April 8, 2011 – http://www.wishtv.com/dpp/news/crime/woodruff-neighborhood-on-edge-as-homicide-investigation-continues