Theater Review: Beef and Boards: Guys and Dolls

Opening at Beef and Boards Dinner Theatre this weekend in Indianapolis is the classic musical Guys and Dolls. Guys, as in wise guys, Dolls, as in the slang term for women you didn't marry.

The classic musical is fast-paced and centers around a group of guys who like illegal gambling and avoiding the cops. One, Nathan Detroit (Eddie Curry), is hooked on loving, but not marrying, Miss Adelaide (Deb Wims), a showgirl who still believes Detroit can become the husband she wants.
Sky Masterson is portrayed by Timothy Ford who returns to the north-side stage, and was last seen here in Singin' in the Rain  and White Christmas. Masterson's romantic interest, missionary Sarah Brown (Betsy Newton), comes into the mix via a bet with Detroit.

A few of the performers stand out in this performance:
Shaun Rice portraying Nicely-Nicely. Rice keeps it low key in the first half, but in the second half you see what he is really made of ~ vocally and energy-wise. Belting out (with ensemble), Sit down, You're Rockin' the Boat," Rice seems to come into his own rhythm. I would certainly like to see that same over-the-top confidence in the first half as well.

Wims camps it up beautifully as the naive, lovelorn Adelaide, giving a seamless performance as the lovable girl in over her head with Detroit. Her energy (and talent) never waiver, keeping the pace for others to achieve and shining as the brightest female performer.

Daniel Scharbrough shines as Lt. Brannigan ~ although I could see him cast as Big Jule as he towers over everyone and Jule is referred to as being a big, scary guy.

Curry brings his special energy as the nuptials-nervous craps-game arranger. From scampering about to get out of marriage, and getting everyone into an illegal dice game, Curry is obviously enjoying himself and brings us along for the fun.

Mark Goetzinger (always love seeing him on stage around town), makes even a minor role memorable as missionary Arvide Abernathy (the sign of a truly talented actor).

Bottom Line: Whether or not you have seen Guys and Dolls in the past, your best bet is to catch the high-energy production rolling at Beef and Boards.

Images: JulieCurryPhotography.com

Elizabeth J. Musgrave writes two magazine food and wine columns: Destination Dining and White Linen & Corks,and is a travel, features, food and wine writer, travel and food photographer, and performing arts and restaurant critic. Catch her as the Travel & Leisure Adviser on FOX59 Morning News Show. She also is a speaker, consultant and trainer for hospitality, travel and luxury businesses, P.R., and tourism groups, as well as a radio and television guest and host. Follow her on Twitter @GottaGo, LinkedIn and Facebook.

Theater Review: Actors Theatre of Indiana: Sweeney Todd

Sweeney Todd (Don Farrell) and Mrs. Lovett (Judy Fitzgerald)

Actors Theatre of Indiana, Carmel, opened the much-anticipated Sweeney Todd: The Demon Barber of Fleet Street production this weekend.

Familiar to fans of Stephen Sondheim, musicals and Broadway hits; the story became even more well known with the 2007 hit film Sweeney Todd: The Demon Barber of Fleet Street starring Johnny Depp. As good as the movie is, there are some stories which are best to experience via live theater ~ this is one of those shows.

Don Farrell as Sweeney Todd

Don Farrell takes on the title role of Sweeney Todd, in the black comedy with a sensationally sinister performance. Keeping the murderous role from becoming simply a serial killer on the loose, Farrell brings a vulnerable side of his character to light during, "The Barber and His Wife," allowing the audience to witness the happier youthful version of himself prior to losing his wife and daughter to the corrupt local Judge Turpin (Paul Nicely).

John Vessels as Adolfo Pirelli

Accompanying Todd in his razor-sharp removal of loathsome people is Mrs Lovett, played magnificently by Judy Fitzgerald.  Fitzgerald portrays the pie-making enabler with absolute abandon, sharing her contagious delight in the creative solution of her floundering meat pie cafe and Todd's need to slit throats of unworthy folks.

John Vessels is a pure delight as Adolpho Pirelli, the self-proclaimed, "King of Barbers," creating a larger-than-life caricature with his comedic talents. Vessels proves his vocal talent, as well, in the first victim's solo, "The Contest."

Caleb Wertz plays Tobias Ragg, abused waif and assistant to Pirelli then Lovett, with a maturity beyond his years. Craig Underwood takes sleazy to a new level with his portrayal of The Beadle.

The entire cast of this production is seamless and smooth, both in working with each other and portraying their individual characters, with all but the two leads portraying more than one character during the two-act play.

Bottom Line: Sweeney Todd is the best show I have reviewed at Actors Theatre of Indiana and is an absolute must-see for anyone in the Indy-metro area.

Tickets: TheCenterforthePerformingArts.org

Costumes: Katie Cowan Sickmeier

Images: Zach Rosing

Elizabeth J. Musgrave writes two magazine food and wine columns: Destination Dining and White Linen & Corks,and is a travel, features, food and wine writer, travel and food photographer, and performing arts and restaurant critic. Catch her as the Travel & Leisure Adviser on FOX59 Morning News Show. She also is a speaker, consultant and trainer for hospitality, travel and luxury businesses, P.R., and tourism groups, as well as a radio and television guest and host. Follow her on Twitter @GottaGo, LinkedIn and Facebook.

Theater Review: Broadway Across America ~ Indianapolis: Wizard of Oz

Broadway in Indianapolis brings flying monkeys, melting witches and a scary forest to the stage at Clowes Memorial Hall, Butler University. Running through Jan. 17, Wizard of Oz opens to a packed audience.

When a live version of a film classic is attempted, it is perfectly natural to feel trepidation. Will it have the original score? What will be chopped out and what will be updated to the point of destroying that which made the show popular in the first place?

Relax. They nailed the song list, characters (minus the Lullaby League), and even have a rainbow or two.

In fact, this is in my Top 10 favorites Broadway Across America productions I have reviewed since 2007. The classic, beloved film is given the respect due it, with a couple extra bonus items inserted for updating purposes.Dorothy Gale, the little girl caught up in a tornado, is performed oh-so-believably by Sarak Lasko. From her vocal talent with the deal breaker song, "Over the Rainbow," to her sweetness with her new travel pals, you just fall for her. (Prepare to get misty-eyed when she bids farewell to those friends.)

Playing the wise-cracking, adorable Scarecrow is Jay McGill. The man of straw, in this modern version, is less about trying to prove his intellect and more like Dory from Pixar's "Finding Nemo" ~ adorable and ditzy.

Morgan Reynolds gets everyone's attention as the Tin Man, the minute he opens his mouth to sing his character's song of woe, "If I Only had a Heart."

A surprise insertion is after intermission when the witch is melted and the enslaved Winkies show their happiness with a killer dance sequence. A great addition to an otherwise quick scene, showing why remakes can be good.

Shani Hadjian cackles as good as Margaret Hamilton as the Wicked Witch of the West. She also brings out her girly side when she sings one of five new tunes, "Red Shoes Blues.

Certainly this production feels as if has been given a "Wicked" once over, in regards to one-liners and asides to the audience. This only serves to enrich the show bringing to a modern end, staving off any chance at a verbatim stale remake of the MGM classic.

Bottom Line: Broadway Across Indianapolis' Wizard of Oz brushes up the film classic endearing it to a whole new generation.

Images: Provided by BroadwayAcrossAmerica.com

Tickets can be found at BroadwayAcrossAmerica.com

 Elizabeth J. Musgrave writes two magazine food and wine columns: Destination Dining and White Linen & Corks,and is a travel, features, food and wine writer, travel and food photographer, and performing arts and restaurant critic. Catch her as the Travel & Leisure Adviser on FOX59 Morning News Show. She also is a speaker, consultant and trainer for hospitality, travel and luxury businesses, P.R., and tourism groups, as well as a radio and television guest and host. Follow her on Twitter @GottaGo, LinkedIn and Facebook.

Theater Review: Beef and Boards: The Addams Family

The Addams Family, opened this past weekend at Beef and Boards Dinner Theatre, Indianapolis. Centering around daughter Wednesday (Samantha Russell) becoming secretly engaged to Lucas Beineke (Blake Spellacy), the Beineke family are to have dinner with television's favorite creepy family.

It is no surprise seats were full for the show's opening weekend, not only for the show's popularity but also for the cast, which includes numerous Indy favorite actors.
John Vessels and Sarah Hund keep the hilarity high as Mal and Alice Beineke the uptight and disconnected parents of Lucas. Hund and Vessels play off each other with barbed comments and connect with believable sweetness.

Eddie Curry completely rocks the role of Gomez Addams, a man willing to do anything for the love of his life, Morticia (Erin Cohenour). Curry's (Gomez') passion bubbles to the top, creating an energy on stage the audience can feel.
Although Cohenour's Morticia is technically correct with mannerisms, she lacks the inner sensuality necessary for the matriarch's position. Curry brings out her best, however, and creates a sizzling pace.

Amanda Butterbaugh is priceless as Grandma; her antics keep the audience laughing hysterically. Uncle Fester is portrayed gloriously by Shaun Rice, a veteran to this role, creating a flawless performance without making it stale (through repetition).

Bottom Line: This is easily in the Top 10 Beef and Boards' productions of all time ~ do not miss it.

Elizabeth J. Musgrave writes two magazine food and wine columns: Destination Dining and White Linen & Corks,and is a travel, features, food and wine writer, travel and food photographer, and performing arts and restaurant critic. Catch her as the Travel & Leisure Adviser on FOX59 Morning News Show. She also is a speaker, consultant and trainer for hospitality, travel and luxury businesses, P.R., and tourism groups, as well as a radio and television guest and host. Follow her on Twitter @GottaGo, LinkedIn and Facebook.

Rocky Horror Picture Show Goes LIVE at The Athenaeum

Get ready to do the Time Warp again ~

If you are familiar, or even if you have never seen, The Rocky Horror Picture Show, chances are you have heard of it. It's one of those classic cult films your mother wouldn't let you go see as a teenager. Then you got old enough to sneak a showing of the movie at a midnight showing somewhere.

Coming to Indianapolis is the live stage version, produced by Zach Rosing Productions. Hitting the stage once before (in 2012 at Footlite Musicals), this go 'round will be performed at The Athenaeum, which will hold the bigger audience it will surely require.

Although the typical props audience members bring to the screen version ~ toast, rice, newspapers, umbrellas etc. ~ will not be allowed due to respect for the historic building's interior, costumes are enthusiastically encouraged. The late shows (10:30 p.m.) will be designated for the rowdier crowds who enjoy calling out at appropriate intervals and reciting the lines with performers.

I don't know about you, but I would think the rowdy version sounds like the most fun although the earlier show may allow you to actually catch the plot if you are not familiar.

A basic synopsis is two young adults, Brad and Janet, are the "Squares" lost and seeking shelter during a storm on a dark, dark night (naturally). They stumble around until they find the ultimate spoof-type castle, old and creepy. They meet the owner, Dr. Frank N. Furter, a transvestite scientist and Rocky, his "perfect" creation, along with other zany characters.

Among the cast are two names that jump out due to admiring their work in other productions I have reviewed over the years.

Danny Kingston is one of those actors. You know the kind. You never know which character he will morph into next: Evil, clueless, emotionally messed ... the list goes on and on. Never have I reviewed a performance in which Kingston was included that the show didn't receive high marks. Quite the chameleon, Kingston loses himself in each role making him a Destination Actor. Watch for him as a Phantom and Transylvanian in this show. For past reviews of Kingston click here. All I can say is if someone of Kingston's calibre is in the ensemble... imagine the talent of the major role's actors.

Another person of note in the cast is Erin Cohenour as Magenta. You'll remember my posting about Cohenour when I came upon her belting out several songs at my favorite haunt Chef Joseph's one late night (after reviewing a theater performance I often drop in for live music and one of Sara Yager's fab martinis). While I was chatting with a few others at the bar, she took the mic and reminded me so much of one of my favorites ~ the Empress of Soul ~ Gladys Knight, that I shushed everyone around me to enjoy her talent. Her onstage talents are also well documented, as in Mafia Daughter (M.J. Feruzza).

The film can be seen often, and is worth watching. My thoughts, however, are how often does a person get to see it live on stage in Indianapolis? During Halloween season. That makes this a must-see. So go. Watch. Enjoy. You can thank me later ~ 

Thursday - October 23 - 7:30
Friday - October 24 - 7:30 & 10:30

Thursday - October 30 - 7:30

Friday - October 31 - 7:30 & 10:30

Saturday - November 1 - 7:30 & 10:30

Tickets

$20 for the first weekend (10/23-10/24)

$25 for the second weekend (10/30-11/1)

Call (800) 838-3006 or visit RockyHorrorIndy.bpt.me

Cast and Crew

Leads

Magenta: Erin Cohenour

Brad: Brandon Alstott

Janet: Betsy Norton

Riff Raff: Damon Clevenger

Columbia: Nathalie Cruz

Frank 'N' Furter: Scott Keith

Rocky: Logan Moore

Eddie/Dr. Scott: Paige Scott

Narrator: Dave Ruark

Phantoms and Transylvanians 

Matthew Altman

Danielle Carnagua

Kristin Cutler

Nick Heskett

Danny J. Kingston
Samuel McKanney

Megan Medley

Miranda Nehrig

Elizabeth J. Musgrave writes two magazine food and wine columns: Destination Dining and White Linen & Corks,and is a travel, features, food and wine writer, travel and food photographer, and performing arts and restaurant critic. Catch her as the Travel & Leisure Adviser on FOX59 Morning News Show. She also is a speaker, consultant and trainer for hospitality, travel and luxury businesses, P.R., and tourism groups, as well as a radio and television guest and host. Follow her on Twitter @GottaGo, LinkedIn and Facebook.

Theater Review: Beef and Boards: Fiddler on the Roof

Stark as Tevye

Beef and Boards Dinner Theatre, Indianapolis, brings dancing, music and anti-semitism to the stage for its autumn offering. Fiddler on the Roof, celebrating its 50th anniversary, covers the timeless topic of an ever-changing world. The loosening of strict cultural mores and the resistance of the older generation while the youth embrace the change is set amid the rising hatred of Jews in pre-revolutionary Russia.

Tevye (Douglas E. Stark),  is father of five daughters and faced with helping his Jewish community keep peace with the Russian constable (Ken Klingenmeier). During this uneasy time frame, he is also attempting to make his three daughters of marrying age happy as they break tradition and select their own spouses. This decision leaves Matchmaker Yente (Licia Watson) displeased, along with Tevye's wife and mother of the girls Golde (Lynne Perkins).

You'll remember Stark delightfully playing M. Thenardier in B&B's rendition of Les Miserables. If you are a stickler for accents and dialects being correct and consistent, then it will bother you that Stark played the Jewish Russian villager with zero accent. This was even more noticeable when interacting with Golde, Yente, his daughters and Lazar Wolfe, portrayed by one of my Destination Actors Mark Goetzinger, who all handled the necessary accent even while singing.

Wolfe (Goetzinger) and Tevye (Stark) making deal for daughter.

Wolfe and Tevye are marvelous together while drinking and bartering over the bride-to-be. The dancing is performed well, particularly considering the small stage ~ it is always a pleasure to see how marvelously creative the sets (Michael Layton) and choreography (Kenny Shepard) are in that regard.

Watson as Yente

Overall, this is a popular show in Indy and this cast is balanced and enjoyable as they are obviously having fun with the treasured story. The first several shows are at a near sell-out status and I would expect the remaining shows (through Nov. 23) to be full as well. The fun dancing, familiar songs and enthusiasm of the entire cast is contagious for the audience with many laugh-out-loud moments and singing and clapping along with the songs.

Vocal highlights are "Sunrise, Sunset," with several solos about the growing up of children, and "Do You Love Me," a duet by Golde and Tevye about their lives together.

Bottom Line: Beef and Boards' Fiddler on the Roof provides an enjoyable evening with plenty of dancing, classic songs and matchmaker hijinks.

Images: JulieCurryPhotography.com

Elizabeth J. Musgrave writes two magazine food and wine columns: Destination Dining and White Linen & Corks,and is a travel, features, food and wine writer, travel and food photographer, and performing arts and restaurant critic for GottaGo.us and BroadwayWorld.com. Catch her as the Travel & Leisure Adviser on FOX59 Morning News Show. Follow her on Twitter @GottaGo, LinkedIn and Facebook.

Theater Review: Beef and Boards Dinner Theatre: Mary Poppins

Okay, okay, this one is asked often.... how do I review something I have seen before? Easily. Particularly if it is from a different theater group. I love to see different versions of the same story, whether on stage or the big screen. For example, there have been numerous versions and facets told of the maritime disaster of Titanic in 1912. They are each good in their own way.

Logan Sejas, Doug King, Buddy Reeder

But a classic fictional work like the 1934 P.L. Travers' Mary Poppins?

Yes. It's still interesting to discover different takes on the familiar tale. For example, Disney's famous version with animated penguins in 1964. Everyone's favorite, I am certain. Naturally there are no animated sections in the stage production, now on stage at Beef and Boards Dinner Theatre, Indianapolis. With the 50th anniversary of the film on DVD and the release of Saving Mr. Banks, starring Tom Hanks and Emma Thompson, all eyes are skyward for the flying nanny and many theaters are introducing a new group of people to the live version. I reviewed the Broadway Across America production when it came to Indy. (read review here)

Cara Statham Serber

Buddy Reeder takes the quiet approach to his role of Bert, the chimney sweep and artist who befriends the children and takes a holiday with Mary Poppins, portrayed by Cara Statham Serber. Serber serves up the role of the nanny best during "Practically Perfect" and "Feed the Birds."

Don't underestimate Reeder's less comical style than Van Dyke's Stretch-Armstrong version of the man who keeps the story moving along. Reeder's strength lies in his high-energy dance steps, laid-back facial expressions and cat-like entrances and exits, drawing the audience into his character. "Step in Time" brings down the house with applause for good reason.

Chelsea Leis

Logan Sejas surprises as the young Michael Banks especially when discovering it is his first foray onto the northside stage. His confidence and ability to hit every cue bely his lack of experience and give reason to believe he will grow admirably in his acting career.

Eddie Curry

Also in the spotlight is Chelsea Leis as the Bird Woman. This song is significant as the turning point in the world of the Banks' children and patriarch. Leis' "Feed the Birds" was both haunting and sweet.

Kelly Teal Goyette

Stepping into the role of Mr. Banks is Eddie Curry, an audience ~ and critic ~ favorite. Typically set into "good guy" roles such as a minister or loveable sidekick, Curry gives a different view of his talent. The uber strict and uptight banker believes life should be about discipline and order and Curry's rendition of "A Man has Dreams" reminds us that Curry's vocal talents are often overshadowed by his comedic work.

Laughter was heard throughout the production, but with Curry taking the dramatic role, the comedic baton was picked up by Kelly Teal Goyette as Mrs. Brill, the Banks' cook. Taking the exasperation of the chaos around her, Goyette turns it into multiple opportunities for a hammed-up quip in an absolutely delightful performance.

Special note: Most shows can be seen throughout the run with more-or-less the same level of performance. There will be some changes and tweaking, but nothing worth a second visit. I firmly believe as good as this show is now, it will be spectacular by the end of the run and worth a second attendance. The main characters, I believe, will come into their duets more smoothly, the young Mr. Sejas will learn to speak louder and the dance of the chimney sweeps will be adorned with higher kicks and an even more jovial attitude as confidence is earned and the performers and dancers become more comfortable with each other. But, a word of caution, plan on getting tickets early as there are several sold-out performances already and additional shows are currently being added as word of the quality of the show gets around town.

Bottom Line: The solid cast turns Beef and Boards' Mary Poppins into a high-kicking, colorful must-see for families and theater lovers of all ages which will only get even better with time.

Elizabeth J. Musgrave writes the food and wine magazine columns, Destination Dining and White Linen, is a luxury, travel, food, wine and spirits magazine writer and photographer, and performing arts and restaurant critic for Gotta Go. Catch her as Indy’s Travel & Leisure Adviser on FOX59 Morning News Show. Read her also on GottaGo.us and FoodDigital.com. Find her on Twitter @GottaGo, LinkedIn and Facebook.

Review: Wicked 2013 Indianapolis

The old sayings, "You've got to see it to believe it," and "You either get 'IT'or you don't," are certainly sayings that could be (and probably are) applied to WICKED.

With its 10th anniversary this year, and nine current productions performing around the globe, I must say I was completely floored (meaning I, of all people, was momentarily speechless) during intermission. A gentleman sitting in front of me struck up a conversation and nonchalantly stated he had bought the ticket on a whim while in town for business ~ with no clue what the show was about. He had no idea it was in reference to Wizard of Oz and had no anticipation. He was simply ready to enjoy a live theater production and that was what caught his eye online.

Wow.

The winner of more than 50 major awards including the Grammy Award and three Tony Awards, was unknown to this gentleman. Naturally, I reflected back to my first time of seeing it in Chicago, and the subsequent reviews of "Wicked" I have written ~ each one a totally different experience and finding different aspects most notable.

At my first experience, I was blown away ~ as almost everyone is. The second, I noticed the nods to the book, film and characters. At my third, I noticed, and wrote about, the symbolism transportation played ~ in this review (REVIEW: WICKED 2010).

After seeing any show several times, the viewer naturally compares the actors and have those they feel most closely fit the bill, the ones they believe most talented, etc.

This production stars Jennifer DiNoia as Elphaba and Hayley Podschun as Glinda. If you are a fan of Kristin Chenoweth and, frankly, who isn't? ~ then, you will absolutely adore Podschun. She practically radiates on stage during "Popular," drawing ecstatic applause from the engaged audience.

Naturally, DiNoia's rendition of the power ballad won thunderous applause. It is definitely one of DiNoia's finer moments in the performance. Her other being the duet, "What is this Feeling?" with Podschun as the two opposing witches realize how much they loathe each other.

The main issue with anyone stepping into the sparkly shoes of Glinda or the work boots of Elphaba in the musical loosely based on Gregory Maguire's novel, is they are attempting to fill seriously talented footsteps. Even those who have not (gasp) seen the musical, have more than likely heard of the Broadway originators of the roles ~ Kristin Chenoweth and Idina Menzel (read review of her solo performance here).

And therein lies the problem. Can anyone ever make the role truly their own, while compared to the greats at every turn?

Probably not.
At least not for another 10 years.

It would be equivalent to performing a role so well the audience forgets Judy Garland (The Wizard of Oz), Michael Crawford (Phantom of the Opera), or Johnny Depp (Pirates of the Caribbean). Whether a stage or screen production, some performers become the standard for all others after them. A tough act.

With that said, it's like being in the top 10 percent of your graduating class. No, you aren't No. 1 or 2, but you're still in the top percentile. Nothing to be upset over.

Bottom Line: Whether this is your first, or 15th time, Wicked is a must-see anytime it is in town.

Performance Schedule
There is no performance on Thanksgiving Day,Thursday, November 28.

November 13-17: Wednesday & Thursday evenings at 7:30 pm, Thursday matinee at 2:00 pm, Friday and Saturday evenings at 8:00 pm, Saturday matinee at 2:00 pm, Sunday matinee at 1:00 pm and Sunday evening at 6:30 pm; November 19-24: Tuesday –Thursday evenings at 7:30 pm, Friday and Saturday evenings at 8:00 pm, Saturday matinee at 2:00 pm, Sunday matinee at 1:00 pm and Sunday evening at 6:30 pm; November 26 – December 1: Monday – Wednesday evenings at 7:30 pm, Friday at 2:00 pm and 8:00 pm, Saturday at 2:00 pm and 8:00 pm, and Sunday matinee at 1:00 pm.

Click here for information on $25 ticket lottery for Wicked in Indianapolis.

Images: provided by BroadwayAcrossAmerica.com; Joan Marcus

Elizabeth J. Musgrave is a syndicated fine-living, travel, food, wine and spirits columnist, freelance writer and photographer, and performing arts and restaurant critic for Gotta Go. Read Infused, her spirits, wine & beer lifestyle column, at www.GottaGo.us and www.FoodDigital.com and catch her as Indy’s Personal Lifestyle Adviser on Indy Style, WISH8 (CBS). Gotta Go is published on www.Gottago.us, www.BroadwayWorld.com, and in print. Follow her on Twitter @GottaGo, LinkedIn and Facebook.

Movie Review: Les Miserables Perfection in its Imperfections

With an epic tale carrying a built-in audience- (and critic-) base of 60+ million, Les Miserables is an epic-size gamble. A gamble that has obviously paid off already according to the dollar followers. Is it Oscar-caliber? Certainly director Tom Hooper (The King's Speech) has got the chatterboxes going...

And the actors?

So often, particularly in movies with fun-to-love-or-hate side characters, there is a runaway, steal-the-film actor or actors. Case in point: Inglorious Basterds (See review here) when a supporting role's actor took the audience's adoration (and Oscar) away from the golden boy of Hollywood. No surprise runaway in this film. The casting, with the exception of Russell Crowe, is chosen well.

Who to watch for award wins? Anne Hathaway, Hugh Jackman and Helena Bonham-Carter, along with Hooper and the picture itself, and the costume and set crews. Perhaps Sacha Baron Cohen, but I would be surprised if Crowe carries off a trophy for this one. Throughout the musical number, of which is the majority of Javert's onscreen time, Crowe seems uncomfortable with singing.

Hooper's non glitzy style has served him well in what could have been an over-polished caricature of the Victor Hugo work. When the 1862 book came out, there was a definite look at the gritty underbelly of the French culture. To have prettied it up for the film would have been morally wrong.

Hooper maximizes the grime and suffering to bring the viewer into the horrific happenstance of Jean Valjean (Jackman) a prisoner for stealing bread to feed his family. Upon serving the 19 years in a prison no one would ever want to behold, Valjean turns his life around, becoming a changed man (along with a changed name) creating a successful life. Unfortunately, he breaks parole in doing so and now is ever watchful for the by-the-book guard-turned Inspector Javert (Crowe)

Jackman's stage background prepares him well for this musical, showcasing his talents of live performances blending well with his movie background. Seamless and believable, we suffer along with Valjean as he trembles in the cold, fears of recapture and feels remorse for his part in the downfall of Fantine (Hathaway).

Fantine's illegitimate, secret child, Cosette, (Amanda Seyfried), is disclosed forcing the penniless and homeless mother to live in the gutters of French society. Selling her hair, teeth and body for money to pay for her daughter's caretakers, Hathaway's remarkable, "I Dreamed a Dream" brought down the house, and brought out the tissues. The closeup of Fantine's face as she weeps her way through the song shares her inner loss of innocence and tortured soul.

When Valjean reaches her deathbed, Fantine dies knowing he will find Cosette, and raise the child as his own, away from the prostitution and degrading circumstances which caused her own early death.

Apart from his labored singing, Crowe is perfect as the unrelenting tracker, Javert's full fury and wrath creating sparks (and spittle) during his musical numbers. Crowe's acting ability is brought to a new level matching against Jackman.
One of the best decisions by Hooper ~ which brings this entire piece of work to the very core of the audience ~ is to have the actors sing live rather than lip sync and dub in later. The performers are much more believable with their voices taxed by the cold, emotions of the moment and the missing safety net, proving reality cannot be faked.

I cannot fathom anyone who could have lightened the mood more than Bonham-Carter with Cohen for the caretakers' scenes. She and Cohen as the scruffy, immoral innkeepers, Thenardiers, bring the audience to tears with laughter, as much as Fantine's meltdown brought the audience to tears with pity.
"Master of the House" is a raucous, filthy good time which describes the couple as the worthless lot they truly are with a tongue-in-cheek romp of a tune.

Between the close ups, the live singing, the plot and the quality of performers used, Hooper has proven once again that there is more than one way to win an Oscar.

Bottom Line: The imperfections are exactly what makes Tom Hooper's "Les Miserables" absolutely perfect.

Images provided by image.net

Elizabeth J. Musgrave is a syndicated fine-living, travel columnist, freelance writer and photographer, and performing arts and restaurant critic for Gotta Go. Read Infused, her spirits, wine & beer lifestyle column, at GottaGo.us and FoodDigital.com and catch her as Indy’s Entertainment Adviser on 93 WIBC. Gotta Go is published on www.Gottago.us, www.BroadwayWorld.com, an in print. Follow her on Twitter @GottaGo, LinkedIn and Facebook.

Theater Review: Beef and Boards Dinner Theatre: Chicago the Musical

Chicago the musical, one of theater's favorites, returns to the stage in Indianapolis at Beef and Boards Dinner Theatre.
Deb Wims portrays Roxie Hart, the dreamer willing to do anything (including murder) to reach star status. Wims' energy and sassy attitude push her normally lovely dance and vocal talents to an even higher level. Breaking away from the usual good-girl roles, Wims' vampish-yet-naive approach to Roxie clawing her way to the top is pure gold as shown in "Roxie."

From the moment Curt Dale Clark glides into view, he takes center stage as that charming, albeit conniving, attorney Billy Flynn. There is something deliciously sly and altogether captivating about Clark's version of the superficial and silky smooth lawyer who wins all of his court cases with a smile, bribes and his powers of persuasion with the media. And of course, a little.. make that a lot... of "Razzle Dazzle," one of Clark's best numbers of the night as a duet with Wims.

Showing off his skills of puppetry persuasion with the press, court of law members and clients, Clark, Wims and company bring down the house with  "We Both Reached for the Gun."

Marisa Rivera brings a slightly softer side to the role of double-murderer Velma Kelly showcasing her vocals and dance skills best in "All That Jazz" and end-of show duet with Wims, "Nowadays."

Alene Robertson as Matron "Mama" Morton draws laughs while Eddie Curry draws empathy from the audience as sap-husband Amos Hart.

Sally Scharbrough, as Liz, lights the stage, sizzling in Chicago once again. Last seen in Actor's Theatre of Indiana's version last season, (review here) Scharbrough stands out again in B&B's production.

You either grow weary of Chicago seemingly every season on some stage in the city or you rush to see the latest take on the Bob Fosse-classic satire of the seedy side of the jazz and post-prohibition era in the Windy City. Either way, this Marc Robin directed ~ Buddy Reeder choreographed combo is one you will add to that glad-I-saw list.

Bottom Line: I will keep this succinct: "Chicago...the Musical" is, by far, one of my all-time favorite Beef and Boards' productions in the six + seasons I have reviewed.

Images: JulieCurryPhotography.com

Elizabeth J. Musgrave is a syndicated fine-living, travel columnist, freelance writer, and performing arts and restaurant critic for Gotta Go. Read her new column, Infused, at GottaGo.us and FoodandDrinkDigital.com and catch her as Indy’s Entertainment Adviser on 93 WIBC. Gotta Go is published on Gottago.us, BroadwayWorld.com, in magazines and several Indianapolis area newspapers. Follow her on Twitter @GottaGo, LinkedIn and Facebook.

Movie Review: Mirror Mirror

The tale of Snow White (Lily Collins) and her evil stepmother is well known, with numerous versions of the good vs evil story throughout movie history. Mirror Mirror takes the viewpoint from the narcissistic Queen (Julia Roberts) who slips through the mirror to talk with an alter ego for reassurance she is still the most beautiful in the land.

This movie is one of those you walk out of the theater thinking, "It coulda, shoulda, woulda been so much better if..."
Not that it was bad, mind you, it just didn't quite reach its potential. Neither funny nor scary enough to make you think, "I have to see this again," or "OMG, I cannot believe how fabulously funny/scary it was." It is, as so many films do nowadays, trying to be all things in all categories and that method so rarely works it could be considered an urban legend.

Many ideas of how it could have been tweaked to bring it up that extra notch cannot help but flutter through your brain while discussing it afterward with fellow film friends. The utmost topic after Mirror Mirror for me was if Roberts was truly the best choice for the villainous Queen. What makes the Pretty Woman star so irresistible, and a fan favorite again and again, is actually what plays against her in this almost fabulous flick.
Her.
Her personality.
Her adorable factor.
Her twinkling eyes full of mirth and joy which cannot be restrained.

And that proves to be the core of what the movie lacks:

Evil.
Pure, unadulterated, heinous, reprehensible, cold-hearted, contemptible evil in its purest form. Only one name (within the correct age range) could be conjured as pulling off this role with the necessary skill, the talent of one so evil they could kill a young virginal, naive, sweet innocent. Only one.

Angelina Jolie.

No one else could flick a wrist and create death, throw a glance to destroy an entire kingdom or sneer in such a way to create fear in all who come into contact with her, while simultaneously flirting with a prince, worrying about wrinkles and checking her beautiful costumes in the mirror.

The other roles were portrayed fine, but also restrained in their performance, with the exception of the seven dwarfs who were allowed to go all out.
Nathan Lane has so much comedic talent and, yet, it seemed as if he was instructed to not go over-the-top. A mistake as he could have brought the fun factor up several notches.

Bottom Line: Mirror Mirror is a lighthearted film suitable for families, girls night and kid-friendly evenings.

Mirror Mirror
PG 13; 106 mins
Director: Tarsem Singh
Cast: Julia Roberts, Lily Collins, Nathan Lane, Armie Hammer, Lily Tomlin, Mare Winningham, Michael Lerner, Sean Bean

Elizabeth J. Musgrave is a syndicated columnist, travel writer, performing arts and restaurant critic. Catch her as Indy’s Entertainment Adviser on 93 WIBC, and follow her on Twitter @GottaGo and Facebook. Gotta Go is published on www.BroadwayWorld.com and in M magazine and the following newspapers: South Sider Voice, Indiana Weekender, New Palestine Reporter, Pendleton Times Reporter and Fortville-McCordsville Reporter.

Theater Review: Broadway Across America Fiddler on the Roof

It’s good to revisit a classic every once in awhile. A meandering stroll along the path of nostalgia…

It’s good for the soul. It gives a little perspective. Broadway Across America’s “Fiddler on the Roof” provides that opportunity.

On stage in the Murat Theatre at Old National Centre, March 6 – 11, the tale takes us to a village being thrust into a future of unknowns. Starring John Preece as main character Tevye, the show wraps around a family with five daughters, all of whom are at, or near, marrying age.

Comedic touches, along with a tremendous voice, keep this story of being uprooted by war and hatred from becoming too dark. It does bring into focus how the unwillingness to accept differences results in destruction of families, villages and countries.

Preece’s soothing vocals were strong throughout his performance as the patriarch of the family. His confidence on stage may come from the 1,780 performances of portraying the Jewish dairy farmer and currently in his 10th tour in the program. The shots at gruffness were belied by vulnerable undercurrents and love for his daughters.
Attempts to point to just one song showcasing his talent more than any other is futile, but audience, and personal, favorites would include “To Life” and “Sunrise, Sunset” with wife, Golde.

Playing matriarch Golde is Gerri Weagraff giving as much spunk and feistiness as she was getting….and then some. Her sparring matches with Tevye, and Yente the Matchmaker, played admirably by Pamela D. Chanora, are pure enjoyment.

Vocals, acting and dancing stayed at a high range with the Bottle Dance by the entire company the preeminent scene of the evening.
The most satisfying factor of the performance is the fabulous energy and strong talent of the entire cast. It truly is the highest level of showmanship seen this entire season from BAA.

Bottom Line: Broadway Across America’s Fiddler on the Roof gives a great opportunity to revisit or share the classic with a whole new generation.

For tickets, schedule and information, visit OldNationalCentre.com

Photo credit: Carol Rosegg

Elizabeth J. Musgrave is a syndicated columnist, travel writer, performing arts and restaurant critic. Catch her as Indy’s Arts & Entertainment Adviser on 93 WIBC, and follow her on Twitter @GottaGo, LinkedIn and Facebook. Gotta Go is published in M magazine and the following newspapers: South Sider Voice, Indiana Weekender, New Palestine Reporter, Pendleton Times Reporter and Fortville-McCordsville Reporter.

Theater Review: Mystery Cafe of Indianapolis: Ho Ho Homicide

Robert Kingery and Melissa Gutierrez    Image/IzzyEvans

Evidence suggests that Murder Mystery dinners gained popularity in the 1980s as a culmination of Hollywood's '40s mystery movies, radio Whodunnits in the '40s and '50s, theaters-in-the-round and dinner theaters which were predominant in the '60s and '70s. As is with most things, what once was old is new again, and this is true with audience-participation performances.

The Mystery Cafe, originating in '88 in Canton MA., is the original, and longest running, mystery theater company in the nation.

Mystery Café of Indianapolis was founded in ’92. The currently running performance, “Ho Ho Homicide” is performed at Milano Inn, 231 S. College St., Indianapolis. Alternate locations are available for various performances.

The play, written by Nita Hardy, is a zany, over the-top spoof of whodunnits. The plot finds southern belle, Miss Charlotte O’Tara, portrayed by Melissa Gutierrez, about to be murdered. When the dirty deed occurs, her relative from Ireland sings they are “Cousins, Identical Cousins” (think The Patty Duke Show's theme song here) Maureen O’Tara, also Gutierrez. Maureen puts on her sleuthing cap and hires Nick Saint, private detective.

Saint, a droll, Humphrey-Bogart caricature, portrayed by Robert Kingery, paces the floor while piecing together clues.

Gutierrez and Kingery whip through several characters each, switching accents, costumes and mannerisms without missing a beat. The duo shines brightest while verbally sparring with each other and both show genuine enjoyment in their roles. While this play is performed well enough to be on stage, the fun is found with the interaction between the characters and the audience.

The meal is served between acts as four courses, giving ample time to jot down clues, discuss possible suspects with other diners (seating is family style) and enjoy the food at a leisurely pace. Dinner consists of soup, salad, entrée choice of four traditional Italian dishes, and dessert of Spumoni ice cream.

Audience participation is cornerstone to the success and enjoyment of the evening (Translation: leave the curmudgeon at home). The more you get into the mood, the more fun it is. I was given the role of the Jamaican psychic "Madam Cleo" and sat near audience characters "Red Butler" and "Blondie Bloomwood" (who was a suspect). Awards are given out to the audience members: one for best actor and one for correctly guessing the murderer. Photo opportunities are available after the show. Ticket price covers the performance, meal (with coffee or tea) and good-natured fun. Adult beverages and gratuity are not included in the price.

Bottom Line: Mystery Cafe's outlandish groaners, over-the-top impersonations and slight innuendos make "Ho Ho Homicide" an absolutely delightful whodunnit and a refreshing alternative for an evening out.

For tickets, schedule and information, visit TheMysteryCafeIndy.com
For menu, hours and location of restaurant, visit MilanoInn.com

Elizabeth J. Musgrave is a syndicated columnist, travel writer, performing arts and restaurant critic. Catch her as Indy’s Entertainment Adviser on 93 WIBC, and follow her on Twitter @GottaGo and Facebook. Gotta Go is published in M magazine and the following newspapers: South Sider Voice, Indiana Weekender, New Palestine Reporter, Pendleton Times Reporter and Fortville-McCordsville Reporter.

The Nutcracker performed by Indianapolis School of Ballet Dec. 16-18

INDIANAPOLIS SCHOOL OF BALLET Presents

The NUTCRACKER

Press Release-Indianapolis School of Ballet will perform its fifth annual production of The Nutcracker Dec. 16-18 at the historic Scottish Rite Cathedral Theater, 650 N. Meridian St., in downtown Indianapolis. The Friday, Dec. 16 performance is at 7:30 pm. There will be two performances on Saturday, Dec. 17; a matinee at 2 pm and 7:30 pm. The Sunday, Dec. 18 performance is at 3 pm. 

Tickets are on sale now for all performance and can be purchased indyballet.org, or by calling 317-955-7525, 10 am - 7 pm, Monday through Friday, or 9 am -2 pm on Saturday.

E.T.A. Hoffman's charming holiday tale, The Nutcracker, is brought to life in a classical ballet presentation by Victoria Lyras, ISB founding artistic director. This interpretation is set in Victorian Indianapolis recreated by master scenic artist and designer C. David Higgins through his 25-foot by 50-foot backdrops, replicas of the Morris-Butler House, an Indiana Landmarks museum house. Exquisite hand-made costumes are by Loukia Finale, former seamstress in Oscar de la Renta’s Manhattan atelier and costumer for the Piraeus Theater in Greece. Barrymore Award-winning designer James Leitner crafts the production’s lighting and design.

Lyras is again combining forces with ballet mistress and master teacher Fiona Fuerstner to set choreography performed by more than 80 dancers including ISB pre-professional students and faculty, with professional guest artists. Ballroom dancers from Indianapolis-based Riolo Dance will portray the adult partygoers in the first scene depicting a holiday gathering as part of an ongoing professional collaboration between Lyras and Marie Riolo Roach. Professional choreography in the ballet includes pieces by Robert Rodham, Fuerstner, Lyras and George Balanchine. 

The Indianapolis School of Ballet has again received permission from the George Balanchine Trust to use Balanchine’s famous Act Two Grand Pas de Deux in this production.  The Trust requires the engagement of approved repetiteurs to stage Mr. Balanchine’s choreography. Ms. Lyras has been honored with staging this work for ISB’s production.

Featured guest artists include Paul Vitali and Chris Lingner. Vitali, formerly of the Pennsylvania Ballet and Feld Ballets/NY, returns as Herr Drosselmeyer, the benevolent maker of magic who gives young Clara her beloved nutcracker. Lingner, a native of Indianapolis who danced in national tours of Movin’ Out and Hairspray, will perform the role of Cavalier and Snow King.

For more information, tickets and schedule of performances, visit indyballet.org or call 317-955-7525.

Photo Credit: Freddie Kelvin
Elizabeth J. Musgrave is a syndicated columnist, travel writer, performing arts and restaurant critic. Catch her as Indy’s Arts & Entertainment Adviser on 93 WIBC, and follow her on Twitter @GottaGO and Facebook. Gotta Go is published in the following newspapers: South Sider Voice, Indiana Weekender, New Palestine Reporter, Pendleton Times Reporter and Fortville-McCordsville Reporter.