Naptown Buzz

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Sara Rieger

Theater Review: The Woman in Black at Booth Tarkington Civic Theatre

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The Woman in Black, based on a novel by Susan Hill and adapted for the stage by Stephen Mallatratt, was a rather underwhelming experience at the Booth Tarkington Civic Theatre in Carmel.  I’m still trying to trace the root of my issues with the play and in my opinion, its lack of thrills.  Maybe I’m desensitized from watching haunting movies from Japan and torture epics from the good ol’ U. S. of A.

The Woman in Black certainly deals with violent death and the agony of mortality in a much subtler way.  Don’t get me wrong; subtlety is very important.  However, there just wasn’t enough action to keep me and some parts of the audience entertained.  I heard more than one snore, especially throughout the first act, which features little more than dramatic recitations and drawn-out exposition.

On the other hand, I marveled at the skillful lighting and unique sets.  There was a marked minimalism in the show, which chooses light and shadow over props.  That proved sustenance enough to get me to the next act.  Throughout The Woman in Black, a persistent thread of tension pulled me along; I wanted to know the story behind that damn woman.

The second act features the majority of the action and felt significantly creepier.  I should note that both (the play features a cast of two) actors performed very well.  Each played more than one character and gave their all to every role.  Overall, the second act engaged me much more than the first.

While I didn’t experience as many chills as I expected, in retrospect I can appreciate the muted format of The Woman in Black.  Was I particularly titillated during my appreciation?  No.  But I enjoyed myself and would recommend the play to those who like a minimalistic ghost story.

The Woman in Black concludes with three performances this week:

  • Thursday, November 8 at 7pm
  • Friday, November 9 at 7pm
  • Saturday, November 10 at 5pm

Photo Credit: Zach Rosing

“From Dark Pages” at Morris-Butler House

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A stone pathway lit with lanterns leads me to the side entrance of the Morris-Butler House, setting a spooky scene for the performance of “From Dark Pages.”  The progressive play, written specifically for the house, takes the audience on a journey through the hallways, parlors and studies on a search for Jack the Ripper.  Sir Arthur Conan Doyle and his character Sherlock Holmes, along with a faithful butler named Morris, usher the small audience through the rooms and warn us of the ever-present danger.

The play works as a series of vignettes featuring an all-star Victorian cast, including Edgar Allen Poe and Dr. Jekyll/Mr. Hyde.  If you’re familiar with the various stories, like “The Telltale Heart” and The Turn of the Screw, the scenes lose some of their magic and unpredictability.  However, Sir Arthur continually entertains us with his sense of humor and mischief.  There isn’t a great deal of tension in the story and  the mystery develops without many surprises.

“From Dark Pages” is certainly fun, yet walks a strange line demographically.  The subject matter of the play is rather adult, considering Jack the Ripper dismembered prostitutes; “From Dark Pages” doesn’t skimp on the graphic details.  The ending especially struck me as too mature for the group of children that were present.  However, there was no harm done and none of the parents seemed particularly perturbed.  I feel that the whole experience may have been more effective if it had been written specifically for adults OR children.

I encourage anyone interested to check out “From Dark Pages” for themselves.  The show will run October 18th to the 20th and the 25th to the 27th, with shows at 7:30, 8:30 and 9:30pm.

Indy Jazz Fest 2012: Opti Park Sunday, Sept. 16th

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The last day of the Indy Jazz Fest, a smooth jazz tribute to Chuck Workman, took place at Opti Park near Broad Ripple, with music starting at 3:30pm.  Some people sat in lawn chairs in the large park, enjoying cold beers and pizza from the vendors set up on the perimeter.  Others sprawled out on blankets, drifting away with the smooth jazz that emerged from the stage.

First up was Brian Simpson featuring Maysa, who regaled the crowd with stories of lost and complicated love, then translating the tales into silky jazz tunes.  The audience bobbed their heads with the steady beat and commiserated with her.

Gerald Albright followed, who was smooth jazz personified; he favored, in his opinion, a more “old school” approach.  Moreover, the skilled jazz saxophonist produced astounding solos.  Also, he played many songs from the 80’s and even some interesting covers.  Soon the audience was singing and laughing along with Albright.  A woman beside me remarked: “Mmm, so smooth.”

The mellow concert finished with Brian Culbertson, a crowd favorite as well as a great performer.  Soon, the sun set on the park and the Indy Jazz Fest came to an end.  As someone who recently moved to Indianapolis, I am impressed by this city’s love and appreciation of jazz.  The two days of the series that I attended were professional, smoothly run and a lot of fun.  I feel lucky to live in a place that recognizes the importance of music.

Indy Jazz Fest 2012: West Coast Cool

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I’m originally from the east coast and always considered myself a bit out of touch with the west coast.  However, Cheryl Bentyne of The Manhattan Transfer and L.A. songwriter Mark Winkler brought me a little closer to that “West Coast Cool” with their performance for the Indy Jazz Fest at the Cabaret at the Columbia Club.  Although the room was rather warm, the show was 100% cool; Bentyne and Winkler had an undeniable chemistry which transported the audience to the smoke-filled, dimly lit eras of Anita O’Day and Chet Baker.

Winkler called the Indy Jazz Fest a “swingin’ thing” and proceeded to give a short history of the west coast jazz scene.  He and Bentyne, with tireless effervescence and charisma – even sex appeal – covered several jazz standards, including a fun mash-up of “Route 66” and “Alright, Okay, You Win.”  Their singing was always smooth, clean and enthusiastic and their performance infused with the cheeky humor that defines a cabaret.  They also brought picture cards of the famous jazz performers they referenced.

Winkler’s style was definitely finger-snapping, light and cool jazz; he had an easy and upbeat air.  His stand-out solo songs were “Lemon Twist” and “A Lonely Place,” which he wrote as a theme song for the lesser-known Humphrey Bogart film of the same name.

Cheryl Bentyne captivated the audience with her old-world allure, feckless spirit and silky voice.  The ballads “Talk of the Town” and “All about Ronnie” were heart-wrenching in their sincerity and simplicity.  She treated the audience and Indy Jazz Fest experience with great warmth, often addressing the audience.  Both artists spoke with fans and signed autographs after the show.

Additionally, I’d like to mention Jeremy Allen, the upright bassist for the duo.  His playing was slick and skillful, receiving much praise from both the audience and the performers.

“Cool” was certainly the buzzword of the evening, the atmosphere enhanced by the low red and purple lights, cocktails and intimate setting of the Cabaret at the Columbia Club.

Photo Credit: Photos courtesy of Mark Sheldon / Indy Jazz Fest

Yelawolf comes to Indianapolis on October 23rd

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Hip-hop, like all genres of music, changes almost constantly; the music and lyrics reflect the current social, racial, economic and political climate of America.  Now, Alabama hip-hop artist Yelawolf examines these issues with a snare hit and a microphone, drawing on a past fit for a movie screen.

He was born in a state that rests between Mississippi and Georgia.  Bouncing around between Alabama and Tennessee as a child, Wolf’s upbringing exposed him to the impoverished realities of both White America’s trailer parks and Black America’s ghettos.

The duality would finally define itself on a fateful evening where his mother was playing host to a group of friends who happened to be the roadie crew for rapstars Run DMC. It was that night when Wolf, who was raised on a healthy dosage of southern rock, would hear songs like “My Adidas” and Beastie Boys’ “Paul Revere” for the first time. From that point on, hip-hop became a vehicle for Wolf to express the duality of his existence.

Yelawolf, a Ghet-O-Vision/Shady recording artist, comments on his latest release entitled Radioactive: “I think it’s a perfect word to describe where I’m going,” he says. “It’s the fallout, the aftermath of everything I’ve been through and here’s what’s left. This radioactive material.”

Swimming through a sea of haters, Yelawolf, along with special guests Rittz, Trouble Andrew and DJ Vajra, comes to Indianapolis at 8pm at the Old National Centre on October 23, 2012.  General admission is twenty dollars; tickets are available through Ticketmaster and Live Nation.

From Dark Pages at Morris-Butler House Begins October 18th

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Just in time for Halloween, From Dark Pages, the annual progressive mystery play at Morris-Butler House, combines history and macabre fantasy in a landmark setting. The audience moves from room to room through the three-story 1865 house, tracking Jack the Ripper and meeting characters from both life and Victorian gothic literature while exploring the workings of the criminal mind.

Morris-Butler House is the property of Indiana Landmarks, a not-for-profit organization which works to save historical landmarks and preserve heritage in Indianapolis.

Funny, mysterious, and downright terrifying characters come to life in this unusual theatrical experience. Sherlock Holmes and his creator Sir Arthur Conan Doyle pursue Jack the Ripper every year, but the plot and other characters change.

This year, they encounter Mary Shelley and her ghastly progeny Frankenstein’s monster, Dr. Jekyll and Mr. Hyde, Edgar Allan Poe, and the Governess and her charge from The Turn of the Screw.  Guests will also have an audience with Her Majesty, Queen Victoria and the mysterious medium Mme. Alexandra.

“Viewers enjoy the ‘progressiveness’ of the performance, following the characters through the house and being close to the action,” says Kelly Gascoine, program coordinator at Morris-Butler House.

Beginning October 18th, From Dark Pages occurs Thursdays, Fridays and Saturdays in October, with three performances each night. Tickets cost $15 per person ($10 for members of Indiana Landmarks) and a reservation is required.

For more information, contact Morris-Butler House at 317-636-5409 or 800-450-4534, or send an email to morris-butler@indianalandmarks.org.

She Does Is Magic’s My Height in Heels

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She Does Is Magic’s album, My Height in Heels, released this month on flannelgraphrecords, reminds me of the long drive I took to and from college; it was easy and mild, which is exactly the way I would describe this album.  She Does Is Magic doesn’t offer anything new in the realm of light indie rock-pop, but they won’t offend anyone’s sensibilities either.  Many of their tracks are breezy instrumentals, perhaps perfect complements to the end credits of an independent romantic dramedy.

“The Way” and “Sing with Me” remain the most notable vocal tracks, with Chad Serhal doing his best Brandon Flowers impersonation.  Serhal, Mark Walker on bass and Nathan Dynak on drums in fact create a The Killers/Vampire Weekend mash-up.  However, My Height in Heels lacks the sincerity and power of The Killers and the satire and self-awareness of Vampire Weekend.  “Day at the Lake” will go down as my favorite song on the album, probably because it sounds the most like the latter band.

Despite my issues with the album, it is produced well and the composition of the songs is mostly seamless.  I don’t find any sloppy playing or over-affected vocals, which puts She Does Is Magic above many bands.  Their sound is downright pleasant and definitely harmless, though I’m not sure “harmless” is an adjective a rock-and-roll band wants as a descriptor.

I encourage whoever writes the lyrics in She Does Is Magic to dig a little deeper.  A laid-back sound doesn’t mean you can’t get a little gritty and dark.   “You’ll Miss Me” almost captures the stubborn denial of a man recently dumped, but the sentiment lacks conviction.  My Height in Heels seems somewhat incomplete and awkward throughout, much like the name of the band.

Planning a long summer road trip?  Pick up this album and throw a few tracks on your driving playlist.  On a scale of 1 to 5 fixie bikes, I give She Does Is Magic’s My Height in Heels a 2.5.