"(That's Why) the Nominee Will Be Trump": an adaptation of a famous Rodgers & Hart song to explain how the GOP got into its present fix

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Copacetic to the end: Cohen-Rutkowski Project opens JK stage to a pair of guests

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Rich Cohen: saxophonic mass and energy from a former physics teacher "Copacetic" is one of those faux-fancy words that entered the language about the start of the Jazz Age (1919). Like jazz itself, its origin is unknown (says the dictionary), and its meaning ("very satisfactory") can also apply to countless jazz performances by adept practitioners of the music.  It was thus quite fitting that a piece of that title concluded a long Sunday night set by the Cohen-Rutkowski Project at the Jazz Kitchen. Like all of this band's book, it was composed by Chris Rutkowski, the pianist who co-leads the band with saxophonist Rich Cohen. And the peppy finale also got a little extra heat as one guest star (tenor saxophonist Rob Dixon) was joined by another (trombonist Freddie Mendoza) to make for a formidable front line. Opening with an infectious riff and settling into a Crescent City groove, "Copacetic" featured ripe solos by the two guests. It provided roomy acc...
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Neighbors and strangers: Catalyst Repertory puts 'Streetcar' in our faces

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Scents and sensibility: Stanley and Blanche confronting over perfume. Entering Indy Fringe's Basile Theatre between now and March 19 for a performance of "A Streetcar Named Desire" suggests that an experience much more intense and concentrated than you might have expected is about to be yours.  The compact space of a room with a capacity of 100 is dominated by a two-story set, with seating on three sides of the playing area. Tennessee Williams' prize-winning drama from more than seven decades ago is an unusual choice for Catalyst Repertory, an organization proclaiming its devotion to new work. When a production is this imaginative, however, and takes advantage of new modes of presentation, the departure has a way of underlining the company's mission. Like most enduring theater, "Streetcar" hits upon aspects of social and personal relationships that cannot be confined to an era. New Orleans right after World War II, even when the story is as cunningly r...
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Actors Theatre Indiana romps through a farce — unusually, without a founder in the cast

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"Don't you love farce?" runs a memorable rhetorical question in Stephen Sondheim's "Send In the Clowns." There's lots to watch on the screen for characters in "Unnecessary Farce." Desiree's bitter song points to the conditions that underlie farce: Misunderstandings, false assumptions, confused or deceptive identities, upsets, personal disasters. None of that is any fun when you're  living it. If relatively minor, the conditions of farce may seem risible shortly after the dust has settled. If more serious, they will be permanently unsettling. As a literary or dramatic genre, however, most people do indeed love farce. But, frankly, the whole bag may seem unnecessary —  and not just as part of the pun in the last line of Paul Slade Smith's "Unnecessary Farce."  Actors Theatre Indiana opened the show Wednesday night in the Studio Theater at the Center for the Performing Arts . The premise is a police sting operatio...
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