So a year has closed.
And as the lyrics in “The Closing of the Year,” in the 1992 film “Toys,” state: “If I cannot bring you comfort/then at least I bring you hope.” Treat yourself to Indy’s Bill McKinley’s lovely version.
Are you back now?
As I was saying, when one year closes, another one opens. So here’s my high-hopes rundown of theatrical events happening over the first half of 2025. May these experiences bring comfort, joy and thoughtful challenges in the months ahead.
Innovations at IndyFringe/IF Theatre
The recently renamed IF Theatre (formerly IndyFringe) is expanding its offerings beyond the IndyFringe Festival.
For the first time, it will produce its own show, “unknown forces,” at the Factory Arts District, which will feature nearly 100 Indy performers, directors and other theater folks. In this immersive experience, the audience can choose the order of the scenes.
And that’s not all. IF Theatre is partnering with Flanner House to offer the “Flanner Fringe Lab,” a program designed to help artists develop new works. Play readings will happen in February, and 2-3 plays will be selected for further development for the Indy Fringe Festival.
The theater itself will become even more active, hosting Red Curb Comedy shows on the first Saturday of every month and launching a new silent film series with live music in partnership with Forward Motion.
Bold steps for Footlite Musicals
If you write off community theater as frivolous, it’s time to reconsider. Indy’s all-volunteer, nonprofit theater Footlite Musicals is taking big swings. First, with “Next to Normal,” (Jan. 10-19) a powerful musical that tackles mental health issues. Paige Scott, who recently gave us the goofball spoof “Ship of Dreams,” will direct the winner of the 2010 Pulitzer Prize for drama.
This will be followed by “Caroline, or Change” (Feb. 29-March 16), the Tony Kushner-Jeanine Tesori musical about race and class in 1960s Louisiana.
“King James” holds court at Indiana Repertory Theatre (Jan. 14-Feb. 9)
How do you get sports fans to see live theater? Stage plays about jocks. There’s been a wave of such works recently, including “The Wolves” (Butler Theatre, 2018), “Toni Stone” (Indianapolis Black Theatre Company, 2024) and “Lombardi” (Actors Theatre of Indiana, 2021-22).
While those dramas focused on athletes, IRT’s “King James” is about two fans: a bartender with Cleveland Cavaliers tickets to sell and the would-be buyer who wants to see LeBron James in his first season. The play, which runs from Jan. 14-Feb. 9, traces their relationship in parallel to James’ career, including his move to the Miami Heat and back.
“King James” has proven popular around the country after having its premier in a co-production between Steppenwolf Theatre Company in Chicago and Center Theatre Group in Los Angeles.
Playwriting competition launches with Jan. 15 deadline
Indianapolis Black Theater Company, which recently launched at the District Theatre, is demonstrating a commitment to finding and producing new work. Playwrights of all backgrounds are invited to submit original works about the Black American experience to this first-of-its-kind competition in Indy.
A panel will read submissions without the authors’ information, giving a talented newcomer equal footing with a professional playwright. The winner will receive a $7,500 prize and a production slot in the company’s 2025 season. Second prize is $2,500 and an additional $1,500 will be awarded to the favorite Indiana playwright.
Norbert Leo Butz (finally) appears at The Cabaret (Feb. 14-15)
Since The Cabaret opened about a decade and a half ago, I’ve been waiting to see the name of the original Fiyero on the schedule. After “Wicked,” Butz quickly moved on to leading roles in “Dirty Rotten Scoundrels,” “The Last Five Years,” “Catch Me If You Can,” and “Big Fish.”
Others may recognize him as Alan Lomax in the new Bob Dylan biopic “A Complete Unknown” and as Bill Belichick on FX’s “American Sports Story.”
On cabaret stages, Butz has offered some surprising takes on familiar material, including a sincere, slow acoustic “9 to 5” and fusing the country classic “Sixteen Tons” with “Great Big Stuff” of “Dirty Rotten Scoundrels.” I’m expecting great stuff.
The wives of Henry VIII take the stage at Clowes (March 4-9)
Successful musicals are only guaranteed in hindsight. While “Hamilton,” “Cats” and “A Chorus Line,” may seem like box office locks, each could have been an early closing disaster.
“SIX” has proven to be a breakout hit both on Broadway — with more than 1,300 performances and counting — and on tour. But five years ago, an investment might have seemed risky for a minimal set, 80-minute concert show about the wives of English king Henry VIII.
The Clowes Memorial Hall show may be over in less than an hour and a half, but you’re likely to be hearing the empowerment-packed pop songs in your head for a long time.
American Lives Theatre brings “The Humans” (April 24-May 11)
If you think your Thanksgiving meal with family was fraught with drama, then prepare yourself for this one.
The outstanding — if harrowing — film version of Stephen Karam’s Tony Award-winning play, “The Humans,” didn’t exactly light up the box office when it was released in 2021, so this version of a family’s story of repression, secrets, lies and, yes, love, should be fresh and surprising for most. Ball State University’s Eva Patton and Jenni White help lead the cast.
“Titanic: The Musical” docks at The Palladium (June 20-21)
One of the things we lack in the Indianapolis area are musicals with full orchestras. “Moulin Rouge! The Musical,” coming Jan. 14-Jan. 19 to the Murat Theatre at Old National Centre as part of the Broadway in Indianapolis series, has 10 touring musicians.
The music is one of the reasons why “Titanic: The Musical” is so exciting. Actors Theatre of Indiana, the Carmel Symphony Orchestra, and the Indianapolis Arts Chorale are all coming together to provide the gravitas and sonic power to Maury Yeston’s Tony Award-winning musical.
Don’t expect the same characters from the hit film: This is a completely separate effort with a heart of its own. (And, thankfully, no tossing of priceless jewelry into the sea.)
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