By KELLYN MERRELL
A Seat on the Aisle
Last weekend, I had the pleasure of watching a stage adaptation of School of Rock as performed by Epsilon Theatrical Company at Broadway United Methodist Church in Indianapolis. For those unfamiliar, this character-driven comedy was released as a film in 2003 and later adapted for the stage in 2015 by musical theatre’s own Andrew Lloyd Webber.
The plot centers around struggling rockstar Dewey Finn (Caleb Wilson), whose “rock and roll spirit” is repeatedly challenged by the demands of adult life. Wilson had an incredible stage presence, and he made me root for lovable doofus Dewey Finn in a way I truly didn’t expect to. After being kicked out of his band, the comically evil “No Vacancy,” Dewey returns home, where he lives with his friend Ned (Darin Richart) and Ned’s girlfriend, Patty (Afton Shepard). Shepard was a powerhouse, embodying her character fully at every turn.
When the couple demands he cough up some rent, Dewey grows desperate enough to falsely assume Ned’s identity as a substitute teacher. This leads to silly shenanigans as he meets the students and faculty at a high-strung preparatory academy for young kids. The school is under careful supervision by Principal Rosalie Mullins (Allison Williamson), who Dewey attempts to deceive as he insists that there’s music inside her as well. Williamson’s performance was stunning in several ways. With a beautiful soprano range and emotional turmoil that permeated the space, I would probably be able to watch her sing for hours (and I’m a tough crowd).
Dewey soon realizes that these buttoned-up kids are musically gifted, and immediately decides they need to learn about rock. Every single kid in this production is talented. Though I won’t list them all (for the sake of brevity), I hope every kid on that stage knows how impressive it is to immerse yourself in a character when you’re not the one speaking, or to sing something so poignant about the way adults forget to listen to their kids when caught up in a desire to see them flourish. The younger half of this cast undoubtedly stole the show.
Caleb Wilson and Dewey Finn. (Photo by Rob Slaven / IndyGhostLight.com)
The kids learn free-spiritedness and new instruments as they train to help Dewey win the Battle of the Bands for some extra cash, though the kids expect this “school project” to help them succeed later in life. Epsilon blew me away by using a live orchestra alongside the children playing rock onstage. Every kid was playing their own instrument, which was cool enough, but it was incredible to know that every note played and heard was touched by someone live and in the room.
Dewey recruits Zack Mooneyham (Luke C. Wilson) to play guitar, Katie Travis on bass (Tess Eggeson), Freddie Hamilton on drums (Colm Tripple), and Lawrence Turner on keys (Thomas Kim). Wilson came alive in his first guitar solo, and gave me chills playing his piece in “Stick It to the Man.” Eggeson was equally wonderful, and watching her play bass was such a treat. Tripple’s performance was silly and authentic. Kim was wonderfully sincere when needed, and undeniably talented on keys. Dewey also recruits Summer Hathaway (Ellie Richart) to be band manager, and Richart was clearly built for the stage. She was funny, serious, conniving, and always giving 110 percent of her energy. Bravo.
Artistic Director Jayson Elliot brought this show to life in a glamorous way, no doubt with help from Technical Director Mike Cowper. The strobe lights and expansive color palette helped immerse the audience, making the musical a rock show as much as it is a performance. The kids were singing, dancing, and playing all at once thanks to Music Director Tim Reed. Ricky Lile accomplished the daunting task of blending an onstage band, actor mics, and a live orchestra to produce a clear and level sound quality. Set design (by Scott Gibbons, Emily Hailer, and Amy Tripple) was simple yet effective. I was delighted by the quick scene changes, and all the details that helped invite us into the characters’ space. Costumes by Wardrobe Director Lawana Penrod were also just right, giving each character space to transform as they evolve.
I will say the feedback and audio issues during the show’s opening scenes made it difficult to evaluate the onstage chemistry. It seems either the actors were uncomfortable ignoring these technical difficulties, or they simply needed time to “warm up” throughout the show. I’m inclined not to nitpick the opening 10 minutes, since the musical only improved as the night went on. That being said, I’d love to see the adults open the show with as much depth and intensity as they end it with.
Personally, I disliked the choice to put Cast Bios behind a QR code, especially when a third of the program is advertisements. Not every kid will continue to pursue theatrical feats, and it’s important for their family to have optional memorabilia to cherish from this experience. This show is kid-centric and artist forward, and it’s disappointing that the program didn’t embrace that more thoroughly. A page dedicated to Andrew Lloyd Webber is a neat addition, but shouldn’t be more important to include than space for your cast and crew to say their piece.
I do however applaud the decision to make earplugs freely available to the audience. It’s beautiful to acknowledge that even the rowdiest spaces should recognize people with sensory sensitivities.
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