By VERONIQUE DUPREY
A Seat on the Aisle
I had the pleasure of attending opening night of Violet, the Musical at the Switch Theater in Fishers, presented by Carmel Community Players. This gentle musical reminded me of Spitfire Grill in its focus on the story, and in tone, musical style, and absence of big dance numbers (or dance numbers at all, unless you count the hand-raising from the high-praisin’ gospel choir as dancing).
Inspired by the short story The Ugliest Pilgrim by Doris Betts, the award-winning Violet takes us on the journey of Violet, who was accidentally disfigured by an axe in her youth and now (in 1964) travels across the South in hopes of being healed and made beautiful by a TV evangelist. On the way, she meets a pair of soldiers and manages to heal from deeper, hidden scars. It is a story of yearning, of faith (perhaps misplaced), of redemption, and of seeing others more than skin-deep.
The almost black-box set is enhanced by projections and the smart use of minimal set pieces and works well to move us from one location to another. Kudos to the production staff, too numerous to mention, for well-designed and well-executed time-appropriate costumes and hair, props, and sound and lighting.
(From left) Violet (Sarah Marone-Sowers) meets Monty (Dominic Piedmonte) and his buddy Flick (Onis Dean) on the bus trip. (Photo provided by Rob Slaven / IndyGhostLight.com)
Music by Jeanine Toseri ranges from American folk to gospel, with a little Memphis blues. Sarah Marone-Sowers truly shines in the title role, with rich vocals and a wide range of emotions. Notwithstanding a little vocal fatigue on opening night, Onis Dean is excellent as the African American soldier Flick, who also longs to be seen past his appearance, and his duets with Marone-Sowers are delightful. Dominic Piedmonte as the self-assured Monty provides the third point of the love triangle in a well-balanced performance.
Other performers of note include Darrin Gowan as Father and Kenzi Stewart as Young Violet in touching flashbacks and intertwined visions, Scott A. Fleshwood as a spot-on Joel Olsteen-type character, and Christine Sanserino who makes the most out of her stage time.
I personally love gospel choirs and thoroughly enjoyed those numbers, even as I was aware we were supposed to think they were disingenuous. As a woman of faith, I was glad that the musical managed to poke fun at flashy televangelism without disparaging faith entirely. Miracles do come in a myriad of ways, and the healing we may be blessed with is often not the one we thought we needed.
Bottom line: No doubt guided by able direction by Kathleen Clarke Horrigan, the actors manage to tell this story – which has difficult elements of racism, casual sex, and resentment – with some humor and moving authenticity, plus soaring voices to transport us through the journey. Highly recommended!
Violet, the Musical runs through March 10 at the Switch Theatre in Fishers; see CarmelPlayers.org for times and tickets. Be aware that it runs without intermission, for about an hour and 45 minutes; visit the restroom and concession stand before curtain.
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