Beef and Boards: Always...Patsy Cline

When a star passes away it matters to more than just friends and family; fans feel a loss also. You grow accustomed to hearing their voice, seeing their face on small and large screens and magazine covers. What happens when you are not just a fan, but also a friend?

Always...Patsy Cline answers that question. On stage now at Beef and Boards, Indianapolis, the based-on-a-true-story production is told from the viewpoint of a chance encounter between a loyal fan and the legendary country singer.

Born September 8, 1932 as Virginia Patterson Hensley, the down-to-earth personality of Cline is well-documented and is the basis for the friendship she builds with Louise Seger. The women become instant pals when Cline performs at a honky tonk club in Houston, Texas in 1961.

Directed by, and starring, Christine Mild as the Country Music Hall of Fame inductee, the backup band of talented musicians includes, Michael Clark, Jayson Elliott, Sarah Hund, Marc Imboden, Tim Kelly and Terry Woods.

Channeling the persona, looks and voice of "The Cline" as she was known to refer to herself, Mild brought the audience to its feet more than once. With more than two dozen songs throughout the show, it was a combination of a behind-the-scenes look at the friendship blended with stage reenactments of various shows on which she performed during her short career, including Arthur Godfrey Talent Scouts and Grand Ole Opry.

Quite often a single song, or two, is singled out as the best of the performance. In Always...Patsy Cline, it can't be done. Walkin' After Midnight, She's Got You, I Fall to Pieces...the list goes on and on, including Cline's signature song Crazy. Mild performs each hit flawlessly, her bold, smoky voice conjuring the beloved singer's ghost.

Erin Parker portrays Louise Seger, the lovable country girl who was Cline's friend and biggest fan. Narrating the entire show, Seger scoops the audience up and plunks them down next to her at the kitchen table, or at the bar table next to some beer bottles, and opens up about her lovely friend who just happens to be world-renowned, but likes cooking bacon and eggs just like the rest of us country folk.

Sassy, loud, bossy and loyal, all the qualities one hopes for in a friend, Seger is heartbroken when she hears on the radio the news of Cline's death.

Prior to the plane crash which took her life at 30 years, Cline had had two separate car wrecks, the second almost claiming her life. The country-pop crossover crooner was noted by several people as predicting she would not live much longer. On March 5, 1963, while returning to Tennessee from performing a charity concert benefiting the widow and family of a deceased disc jockey, the plane carrying Cline, among others, crashed leaving no survivors.

The show is not told in a depressing tone, however. The spunky attitude which enabled Cline to become the highest paid female country star and chart-topper was demonstrated by Seger who keeps the audience laughing, clapping along and stomping their imaginary cowboy boots.

Bottom Line: If you are a fan of the Queen of Country, Always...Patsy Cline is a must-see; if you aren't, well...you will be after seeing this show.

Elizabeth J. Musgrave is a syndicated columnist, theater critic, and travel writer. You can now follow Elizabeth on facebook or Twitter and catch her Saturday mornings on 93 WIBC's Saturday Morning News Show, giving a quick Gotta Go list of things to do in the Indy area, including restaurants, events, theater and films. For comments and questions e-mail her at Elizabeth@gottago.us.

*Photos courtesy of Julie Curry Photography

This post was originally published under "Gotta Go" in the West Side Community News in Indianapolis, and the West Indianapolis Community News.

Broadway Across America: Legally Blonde The Musical

Broadway Across America's Legally Blonde The Musical was an audience favorite in Indy this week with the familiar storyline from the non-musical movie starring Reese Witherspoon of the same title.

With a few tweaks and editing this version is primarily the same, all the main points are left untouched. Elle Woods (Becky Gulsvig) sorority girl decides to attend Harvard Law School ("What...like it's hard?") to win back her beau Warner (Jeff McClean) who dumps her because he "needs a Jackie, and Elle, honey, you're a Marilyn." Ouch.

Natalie Joy Johnson portrays Paulette with all the gusto and enthusiasm required for Woods' East Coast friend, and all the balance required to jump and dance in four-inch heels. Her voice rang loud and clear and her version of the salon employee was a joy to watch.

D.B. Bonds turns in the top male vocals as Emmett Forrest, the man trying to win Elle's heart. Bonds' best moments were the tender scene and duet, Legally Blonde, with Gulsvig in Callahan's (Michael Rupert) office, including his proclamation of love. Above his obvious physical charms, Bonds delivers a believable character as a man who wants to become a lawyer to help people.

Turning in top female vocals is Megan Lewis as Warner's new Jackie-style girlfriend, Vivienne Kensington, which she demonstrated particularly well in Legally Blonde Remix.

What came through foremost were the supporting characters and ensemble casts. The Greek Chorus, UPS delivery man, sorority girls and courtroom members created an energy which brought the fun factor to a whole new level.

Bottom Line: Legally Blonde The Musical is a high energy, fun-packed good time perfect for a girls' night out; don't forget the pink champagne.

Elizabeth J. Musgrave is a syndicated columnist, theater critic, and travel writer. For comments and questions send an e-mail to her at Elizabeth@gottago.us or follow her on facebook.

*Photos by Joan Marcus

--This post was originally published under "Gotta Go" in the West Side Community News in Indianapolis and the West Indianapolis Community News.

IRT: Around the World in 80 Days

Around the World in 80 Days opens at IRT, Indianapolis, this week capturing the imagination of the audience, sweeping them along for the Jules Vernes journey.

Mark Brown’s adaptation, set in 1862, applies a minimalist approach with the cast of five actors taking on dozens of roles, on a set of moving sections and little else. Rather than detracting from the storyline, the constant role-switching enhances the audience’s enjoyment, as if we were in a secret theatre watching a play being rehearsed before it hits the big time. However, this one has already made it big, with years’ worth of stages, movies, awards and adaptations.

When Phileas Fogg (Jeff Cummings) accepts a wager from his English chums to circumnavigate around the globe in 80 days, he takes along new French manservant, Passepartout (La Shawn Banks). Cummings gives Fogg the exact mathematical-minded attitude created in the original work.

Audience favorite Passepartout is played superbly by Banks in his IRT debut; the cheeky enthusiasm he brings to the role is enjoyed by the audience. The delight of the character is enhanced when paired with gruff Detective Fix (John Lister). The twosome's interactions give cause for several laugh-out-loud moments while Fix attempts to detain Fogg's journey.

Bottom Line: Around the World in 80 Days is a sweet journey full of adventure, misadventure and romance, perfect for the entire family.

Elizabeth J. Musgrave is a syndicated columnist, theater critic and travel writer. For comments and questions send an e-mail to her at Elizabeth@gottago.us or follow her on facebook.

--This post was originally published under "Gotta Go" in West Side Community News and West Indianapolis Community News.

*Photos by Julie Curry Photography

The Cabaret at The Columbia Club: Lauren Cregor

Chestnut-tressed triple-threat Lauren Cregor blew in breezily from New York to land, ever so sweetly, onstage at The Cabaret at The Columbia Club Friday evening. The singer-songwriter, pianist and composer returned home for a heartwarming engagement in the glow of her family and friends' admiration and love.

Starting the show with the sassy, smart Let's Not Be Friends, Cregor scooped up the members of the audience and kept them in the pocket over her heart the entire evening.

Second selection The Lover was a stop-and-start whimsical number giving a glimpse into the creative brilliance that is Lauren Cregor.

Playing Indianapolis was a reunion for Cregor, graduate of Cathedral High School and Indiana University. Surrounded by friends, family, including her grandmother, the feisty, Italian-infused songbird opened her warmth to the crowd, winning their attention, applause and loyalty.

Marina, written about, and sung to her 92-year-old grandmother, sitting at the table next to this critic, stopped time in the Columbia Club.

One of those goose bump, surreal moments which come along all too rarely. Not one glass clinked, no silver dropped, as we all watched and listened with rapt attention to every syllable and chord rejoicing the love for her cherished grandmother.
From the first words, I'm going home...to the last, I'll always stay...Cregor enveloped us and took us on a journey of innocence and lullabies…a magic carpet ride of deep-rooted respect, love and happiness. We didn't want to land...and we didn't.

The well-deserved standing ovation didn't end the warm feelings among the audience members. Lingering in the Crystal Terrace afterward to meet the lovely singer, well-wishers spoke of her great talent and great love of life.

Shannon Forsell, The Cabaret director, and powerful singer in her own right, joined the Indiana native onstage more than once, re-enforcing that her own talent can be enjoyed solo or as a trio.

Third of the trio was local talent Dave Ruark. Known most-notably for his comedic brilliance at Comedysportz, Ruark also wows audiences at the American Cabaret Theatre, The Civic Theatre and The Phoenix Theatre as a dramatic actor and singer.

Bottom Line: Lauren Cregor makes time stand still with her lyrics, powerful vocals and sincere warmth which originates from somewhere deep within her soul and familial roots.

If you have a performance or event you would like reviewed, e-mail me at Elizabeth@gottago.us. Me, I’ll be right here, enjoying one last flute of champagne…what’s cabaret without the bubbly?

This post was originally published under "Gotta Go" in the West Side Community News in Indianapolis, and the West Indianapolis Community News.

*All photos courtesy of Mark A. Lee, Great Exposure
www.greatexposure.net

Broadway Across America: A Chorus Line

Broadway Across America's A Chorus Line, played at Clowes Memorial Hall, proves the strong storyline which is as relevant today as it did at its inception in 1975. When dancers arrive to a 'cattle call' for a Broadway show, they are asked to reveal more of themselves than dance moves. Several stories are brought forth during the day-long process.

Selina Verastigui played the role of Diana, turning in the sobering solo Nothing, the tale of a young girl mis-treated by an uncaring teacher in performing arts school.

Derek Hanson portrayed superbly the role of Zach, the show's director, a Type-A personality with an internal struggle when Cassie, played by Rebecca Riker, the woman who broke his heart, turns up for tryouts. Zack's need to know why Cassie left him and his need for her to remain the star he had created is intertwined with his need to punish her for the pain he ensued when she shattered his dreams.

Other story lines include the fun solo, I Can Do That, by Andy Mills in his portrayal as Mike upon learning he preferred dance class over sports.

The crowd-pleasing, Dance: Ten; Looks: Three, was offered by the delightful Kristen Martin as the plastic-surgery-needing Val. Martin so thoroughly enjoyed her role, her enthusiasm was contagious.

Bottom Line: A Chorus Line continues to share with the non-dancer why dancers need to dance over everything else and gives a glimpse into the struggles and passion of performing artists.
If you have an event or performance you would like reviewed, send an e-mail to elizabeth@gottago.us.

--This post was originally published under "Gotta Go" in the West Side Community News in Indianapolis, and the West Indianapolis Community News.

*Photo Credit: Photos by Paul Kolnick

Daphne Willis

Being asked to review musical talent is always a pleasure. Alas, I do not have enough column space to write about all the CDs sent me. However, coming to The Rathskeller April 29 is a new musical obsession of mine I would like you to get to know.
If a miracle had occurred and a love child was created by Joni Mitchell, a sober Janis Joplin and fellow-Chicagoan Rikki Lee Jones, her name would be Daphne Willis.
Willis has released What to Say through Vanguard Records. Producing a folksy/ bluesy/Caribbean sound, I was surprised to find this was Willis’ debut album. The singer-songwriter has a laid-back smooth sound which lends itself to either great background music or listen-to-and-discuss music, depending on the track chosen and the mood you’re in at the moment.
The listener is tricked into believing they are hearing a world-weary older singer when in truth Willis is a fresh-faced twenty-something with a positive, enthusiastic approach to life. Perhaps Willis is an old spirit in a college student’s physical form; however, she delivers the veteran-style goods especially with Everybody Else, Love and Hate and slowed-down Pulled Tight.
I sat down with Willis while she was performing in town recently and was impressed by her professionalism and quality of live sound.
Plucked from anonymity in an unusual way, Willis’ talent was discovered by Welk Music Group president Kevin Welk during a flight as he listened to American Airlines’ piped-in music. This proved to be a lucky break for her and us.

Bottom Line: You’re best bet is to catch this remarkable talent right away so you can keep track of her almost certain journey to becoming a household name.

If you have an event or performance you would like reviewed, send an e-mail to Elizabeth@gottago.us. Me, I will right here, wondering whatever happened to Rikki Lee Jones…

*Photo credits: Laura Crosta

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This post was originally published under "Gotta Go" in the West Side Community News in Indianapolis, and the West Indianapolis Community News.

The Phoenix Theatre: Yankee Tavern

The difference between art and entertainment, according to my former professor of theater appreciation, is that art broadens your thinking, entertainment merely amuses you. Others have likened it to the difference between healthy and junk foods.

I believe both are correct and would like to state that sometimes a spoonful of sugar truly does help the medicine go down. Mine comes in the form of Jessica's Magic Cookie Bars at The Phoenix Theatre's snack bar. Purchasing a couple of her baked goods is an absolute must for every one attending a performance at Indy's off-Broadway theater. Hey, we all support the arts however we are able, and the proceeds benefit the theater.

Yankee Tavern, another Stephen Dietz play, opened at Phoenix, 749 N. Park Avenue. You will remember my fondness for IRT's version of Dietz' Becky's New Car. This piece is set in a NYC tavern near Ground Zero, post 9/11.

Bar regular Ray, who is depressed and lives in the abandoned upstairs, is portrayed by Stephen Hunt, and is the over-the-top-everything-is-a-conspiracy personality. The tavern’s owner is graduate-student Adam, played by Shane Chuvalas.
Chuvalis comes into his own strengths in this play, giving a solid performance as the guy who has secrets of his own, as well as demons to deal with concerning his father's death.
Hunt turns in a superior performance as the emotional conspiracy zealot. The interpersonal exchanges between Chuvalas and Hunt are, by far, the best quality in this show, with these two actors keeping the flow of the show zipping along. Dietz' speedy dialogues are part of his gift and finding actors able to keep up the pace is a big plus.

A bothersome point is when Ray, who up to this point believes all conspiracy theories, doesn't believe Palmer, played by Doug Johnson, when he offers a hard-to-believe theory. It’s a little out of character and rather noticeable, at least to me.

The extra story lines, Adam's father, the wedding plans, and a couple of others, tends to misdirect the focus and muddies up what could have been an exciting ride. The thrill and momentum is lost a little when an affair is brought into the mix and ghosts of the tavern are discussed.

However, the ins and outs are less important than the final message in this work. It brought up excellent points and caused one to reconsider a few others.

Bottom Line: Yankee Tavern should be seen so as to create a need for answers in each of us and to reopen questions we asked ourselves on 9/11 and immediately afterward, but left unanswered and forgotten.

Looking ahead: I will be attending the 17th Annual Stutz Artists Open House Friday and Saturday, 1060 N. Capitol Avenue.

If you have an event, performance or restaurant you would like reviewed, please send an e-mail to elizabeth@gottago.us. Me, I'll be right here, thinking about my favorite conspiracies.

*All photos are courtesy of Julie Curry Photography
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This post was originally published under "Gotta Go" in the West Side Community News in Indianapolis, and the West Indianapolis Community News.