Claire Wilcher
Latest News on Claire Wilcher:
WHAT THE CONSTITUTION MEANS TO ME Opens American Lives Theatre's Fifth Season (Aug 26, 2024)
Review: WHITE CITY MURDER at Phoenix Theatre (Jul 25, 2024)
WHITE CITY MURDER Comes to Phoenix Theatre (Jul 9, 2024)
WHAT THE CONSTITUTION MEANS TO ME Opens American Lives Theatre's Fifth Season (Aug 26, 2024)
Review: WHITE CITY MURDER at Phoenix Theatre (Jul 25, 2024)
WHITE CITY MURDER Comes to Phoenix Theatre (Jul 9, 2024)
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WHAT THE CONSTITUTION MEANS TO ME Opens American Lives Theatre's Fifth Season
American Lives Theatre has announced the opening of 'What the Constitution Means to Me,' a Pulitzer Finalist and Tony nominee by Heidi Schreck.
American Lives Theatre has announced the opening of 'What the Constitution Means to Me,' a Pulitzer Finalist and Tony nominee by Heidi Schreck.
Review: WHITE CITY MURDER at Phoenix Theatre
There are a few Indy performers whose name alone is enough to get me to their show. Ben Asaykwee and Claire Wilcher are two of those actors. They’ve come together for “White City Murder”, an original musical Asaykwee created about the serial killer H.H. Holmes, who made his mark at the Chicago’s World Fair in 1893.
There are a few Indy performers whose name alone is enough to get me to their show. Ben Asaykwee and Claire Wilcher are two of those actors. They’ve come together for “White City Murder”, an original musical Asaykwee created about the serial killer H.H. Holmes, who made his mark at the Chicago’s World Fair in 1893.
WHITE CITY MURDER Comes to Phoenix Theatre
The Phoenix Theatre has announced the return of 'White City Murder,' an original musical by acclaimed artist Ben Asaykwee. This intense and funny production will run from July 19 to August 4, 2024.
The Phoenix Theatre has announced the return of 'White City Murder,' an original musical by acclaimed artist Ben Asaykwee. This intense and funny production will run from July 19 to August 4, 2024.
Last Chance to Vote for the BWW Indianapolis Awards; Voting Ends 12/31
It's the final week left to vote for the 2023 BroadwayWorld Indianapolis Awards! Voting ends on 12/31 at midnight. Don't miss out on making sure that your favorite theatres, stars, and shows get the recognition they deserve!
It's the final week left to vote for the 2023 BroadwayWorld Indianapolis Awards! Voting ends on 12/31 at midnight. Don't miss out on making sure that your favorite theatres, stars, and shows get the recognition they deserve!
2 Weeks to Vote for the BWW Indianapolis Awards; TICK, TICK... BOOM!, TJ LOVES SALLY 4 EVER, Phoenix Theatre & More Lead!
There's just two weeks left to vote and we have the latest standings as of Monday, December 18th for the 2023 BroadwayWorld Indianapolis Awards! Don't miss out on making sure that your favorite theatres, stars, and shows get the recognition they deserve!
There's just two weeks left to vote and we have the latest standings as of Monday, December 18th for the 2023 BroadwayWorld Indianapolis Awards! Don't miss out on making sure that your favorite theatres, stars, and shows get the recognition they deserve!
BroadwayWorld Indianapolis Awards; TICK, TICK... BOOM!, TJ LOVES SALLY 4 EVER, Phoenix Theatre & More Lead!
It's the final 3 weeks and we have the latest standings as of Monday, December 11th for the 2023 BroadwayWorld Indianapolis Awards! Don't miss out on making sure that your favorite theatres, stars, and shows get the recognition they deserve!
It's the final 3 weeks and we have the latest standings as of Monday, December 11th for the 2023 BroadwayWorld Indianapolis Awards! Don't miss out on making sure that your favorite theatres, stars, and shows get the recognition they deserve!
BroadwayWorld Indianapolis Awards December 5th Standings; TICK, TICK... BOOM! Leads Best Musical!
It's December, and the first standings of the month have been announced as of Tuesday, December 5th for the 2023 BroadwayWorld Indianapolis Awards! Don't miss out on making sure that your favorite theatres, stars, and shows get the recognition they deserve!
It's December, and the first standings of the month have been announced as of Tuesday, December 5th for the 2023 BroadwayWorld Indianapolis Awards! Don't miss out on making sure that your favorite theatres, stars, and shows get the recognition they deserve!
Latest Standings Announced For The 2023 BroadwayWorld Indianapolis Awards; TJ LOVES SALLY 4 EVER Leads Best Play!
Happy Holidays! The latest wave of standings have been announced as of Monday, November 27th for the 2023 BroadwayWorld Indianapolis Awards! Don't miss out on making sure that your favorite theatres, stars, and shows get the recognition they deserve!
Happy Holidays! The latest wave of standings have been announced as of Monday, November 27th for the 2023 BroadwayWorld Indianapolis Awards! Don't miss out on making sure that your favorite theatres, stars, and shows get the recognition they deserve!
A VERY PHOENIX XMAS to Return to The Phoenix Theatre This Holiday Season
Get ready for a hilarious holiday season with the return of A Very Phoenix Xmas: The Return of A Very Phoenix Xmas. Join The Phoenix Theatre for a side-splitting sketch show and musical from November 25 to December 23, 2023.
Get ready for a hilarious holiday season with the return of A Very Phoenix Xmas: The Return of A Very Phoenix Xmas. Join The Phoenix Theatre for a side-splitting sketch show and musical from November 25 to December 23, 2023.
Review: CLUE at Syracuse Stage
Syracuse Stage closes its 2022-23 season with the madcap farce, Clue. Based on the iconic 1950’s board game of the same name, Clue spoofs whodunit mysteries, film noir, 1950’s pop culture and gothic horror films. The play is adapted for stage from the 1985 film that was a critical flop but has since become a cult classic. Set during McCarthy’s House Un-American Activities Committee hearings, a time fraught with suspicion and accusation, the mansion owned by Mr. Boddy becomes the gathering point for six invited guests. These guests we find out are all guarded about their pasts, are all being blackmailed and are referred to by aliases that correspond to the famous characters in the board game. Each guest is then gifted one of the six murder weapons. In all, there are six potential murderers, six weapons and nine rooms in the mansion, 324 possibilities for who, what and where; as Shakespeare and Sherlock Holmes agree, now “the game is afoot.” The gothic mansion, the dark and stormy night, the suspenseful reality of the play merge with Parker Brothers’ (now Hasbro’s) rule book and the characters become mashups of villains and game pieces. They punctuate the endings of scenes with comic confusion, mad scrambling and a kind of frantic skipping, like game pieces moving on a board after a dice roll. Scenic designer, Czerton Lim, creates the perfect 3-D version of the original board game. Upon entering the theatre, the audience sees a classic gothic foyer, complete with crystal chandelier, mahogany woodwork, marble stairs and a tiled floor fashioned to replicate the spaces on a game board. As the play progresses, the set becomes a character in itself as it transforms into the rooms of the mansion required by both the game and the play. His design is beautiful and functional. It not only provides a setting but also helps establish the humor and tempo of the play. It always surprises and delights. Likewise, original music by Michael Holland and sound design by Todd Mack create a comically suspenseful mood and punctuate the zany exploits on stage. Along with lighting design by Jared Gooding, the cliché of a dark and stormy night permeates the atmosphere and heightens the tension and anxiety of this mock thriller. The production is at its best when the actors are highly choreographed and in tune with the music, sound and light cues. In fact, the funniest moment in the play is prompted by a single gunshot. Director Benjamin Hanna establishes a fast pace from the very beginning of the play. It is so fast and furious that neither the audience nor the actors are allowed to get their bearings. The characters in Clue are obvious stereotypes but the portrayals all share the same frenetic quality without ever establishing basic, underlying traits and motivations. Characterization, for the most part, has been sacrificed to blatant silliness and camp. (There is nothing in the script that requires the beginning to move at such a pace.) Once the first murder occurs and the stakes are raised the speed can and should pickup through the end. For example, Plum is a stereotypical Professor, haughty and cerebral but cursed with an inflated libido. Beethovan Oden has a nice general feel for the character and indicates his personality traits, but he isn’t able to develop those qualities from the onset of the play. If he had, then as the pace became more frantic the audience could have enjoyed watching him first struggle then ultimately fail to keep his composure. Clearly many of the actors are talented. John Taylor Phillips as Wadsworth has a natural presence on stage as well as crisp comic timing but never fully embodies the stereotypical reserved, unflappable and ultimately arrogant butler. Emily Berman as Miss Scarlet is also clean and precise. Miss Scarlet is a stereotypical Madame but the actress is not allowed to explore the cynism and sexuality of the character who should have a slower, more voluptuous pace than some of the others. Henry Woronicz’s Colonel Mustard vacillates appropriately between being doddering and demanding. He sketches out an interesting frame for his character but again seems to fall prey to the tempo of this runaway train. Claire Wilcher makes a strong acting choice to play Mrs. Peacock with the nervous energy of a bird. Her comedy is broad and eccentric while still grounded in reality. Even when she is in the background of the action, she is always in the moment. When given focus, she commands the stage and rate of action. As a result, her portrayal is very funny and very satisfying to watch. Her least successful moments occur when directed to do something out of character simply for a laugh. Less successfully, Eric Sharp’s Mr. Green and Emjoy Gavino’s Mrs. White just seem lost in the silliness and frenetic mayhem. As lovers of farce and broad comedy, we were disappointed that more care wasn’t taken to create an underlying believability before descending into comic chaos. A stock character when presented by an actor still needs to have specificity. Silliness can be funny, comic bits enjoyable and a fast pace exciting, but they need to be balanced and well executed. By the end of the production, it felt like all 324 murder possibilities were explored, but few realities remained. If you are looking for an evening of fast-paced silliness, screwball comedy and sight gags this production satisfies. As a farce poking fun at human frailty and foibles, Benjamin Hanna’s Clue misses the mark. Clue runs through Sunday, June 25th. Tickets can be purchased by visiting SyracuseStage.org or by calling (315) 443-3275 or by visiting the box office at 820 East Genesee Street. did our critic think of CLUE at Syracuse Stage?
Syracuse Stage closes its 2022-23 season with the madcap farce, Clue. Based on the iconic 1950’s board game of the same name, Clue spoofs whodunit mysteries, film noir, 1950’s pop culture and gothic horror films. The play is adapted for stage from the 1985 film that was a critical flop but has since become a cult classic. Set during McCarthy’s House Un-American Activities Committee hearings, a time fraught with suspicion and accusation, the mansion owned by Mr. Boddy becomes the gathering point for six invited guests. These guests we find out are all guarded about their pasts, are all being blackmailed and are referred to by aliases that correspond to the famous characters in the board game. Each guest is then gifted one of the six murder weapons. In all, there are six potential murderers, six weapons and nine rooms in the mansion, 324 possibilities for who, what and where; as Shakespeare and Sherlock Holmes agree, now “the game is afoot.” The gothic mansion, the dark and stormy night, the suspenseful reality of the play merge with Parker Brothers’ (now Hasbro’s) rule book and the characters become mashups of villains and game pieces. They punctuate the endings of scenes with comic confusion, mad scrambling and a kind of frantic skipping, like game pieces moving on a board after a dice roll. Scenic designer, Czerton Lim, creates the perfect 3-D version of the original board game. Upon entering the theatre, the audience sees a classic gothic foyer, complete with crystal chandelier, mahogany woodwork, marble stairs and a tiled floor fashioned to replicate the spaces on a game board. As the play progresses, the set becomes a character in itself as it transforms into the rooms of the mansion required by both the game and the play. His design is beautiful and functional. It not only provides a setting but also helps establish the humor and tempo of the play. It always surprises and delights. Likewise, original music by Michael Holland and sound design by Todd Mack create a comically suspenseful mood and punctuate the zany exploits on stage. Along with lighting design by Jared Gooding, the cliché of a dark and stormy night permeates the atmosphere and heightens the tension and anxiety of this mock thriller. The production is at its best when the actors are highly choreographed and in tune with the music, sound and light cues. In fact, the funniest moment in the play is prompted by a single gunshot. Director Benjamin Hanna establishes a fast pace from the very beginning of the play. It is so fast and furious that neither the audience nor the actors are allowed to get their bearings. The characters in Clue are obvious stereotypes but the portrayals all share the same frenetic quality without ever establishing basic, underlying traits and motivations. Characterization, for the most part, has been sacrificed to blatant silliness and camp. (There is nothing in the script that requires the beginning to move at such a pace.) Once the first murder occurs and the stakes are raised the speed can and should pickup through the end. For example, Plum is a stereotypical Professor, haughty and cerebral but cursed with an inflated libido. Beethovan Oden has a nice general feel for the character and indicates his personality traits, but he isn’t able to develop those qualities from the onset of the play. If he had, then as the pace became more frantic the audience could have enjoyed watching him first struggle then ultimately fail to keep his composure. Clearly many of the actors are talented. John Taylor Phillips as Wadsworth has a natural presence on stage as well as crisp comic timing but never fully embodies the stereotypical reserved, unflappable and ultimately arrogant butler. Emily Berman as Miss Scarlet is also clean and precise. Miss Scarlet is a stereotypical Madame but the actress is not allowed to explore the cynism and sexuality of the character who should have a slower, more voluptuous pace than some of the others. Henry Woronicz’s Colonel Mustard vacillates appropriately between being doddering and demanding. He sketches out an interesting frame for his character but again seems to fall prey to the tempo of this runaway train. Claire Wilcher makes a strong acting choice to play Mrs. Peacock with the nervous energy of a bird. Her comedy is broad and eccentric while still grounded in reality. Even when she is in the background of the action, she is always in the moment. When given focus, she commands the stage and rate of action. As a result, her portrayal is very funny and very satisfying to watch. Her least successful moments occur when directed to do something out of character simply for a laugh. Less successfully, Eric Sharp’s Mr. Green and Emjoy Gavino’s Mrs. White just seem lost in the silliness and frenetic mayhem. As lovers of farce and broad comedy, we were disappointed that more care wasn’t taken to create an underlying believability before descending into comic chaos. A stock character when presented by an actor still needs to have specificity. Silliness can be funny, comic bits enjoyable and a fast pace exciting, but they need to be balanced and well executed. By the end of the production, it felt like all 324 murder possibilities were explored, but few realities remained. If you are looking for an evening of fast-paced silliness, screwball comedy and sight gags this production satisfies. As a farce poking fun at human frailty and foibles, Benjamin Hanna’s Clue misses the mark. Clue runs through Sunday, June 25th. Tickets can be purchased by visiting SyracuseStage.org or by calling (315) 443-3275 or by visiting the box office at 820 East Genesee Street. did our critic think of CLUE at Syracuse Stage?
Phoenix Theatre Cultural Centre Reveals 2023/2024 Lineup
The Phoenix Theatre Cultural Centre has unveiled its highly anticipated 2023/2024 season, marking the 40th anniversary of the downtown Indianapolis theatre. With a lineup of exceptional plays and productions from our Cultural Centre Collectives, this season promises to charm audiences and showcase the Cultural Centre's commitment to excellence in the performing arts.
The Phoenix Theatre Cultural Centre has unveiled its highly anticipated 2023/2024 season, marking the 40th anniversary of the downtown Indianapolis theatre. With a lineup of exceptional plays and productions from our Cultural Centre Collectives, this season promises to charm audiences and showcase the Cultural Centre's commitment to excellence in the performing arts.
Iconic Board Game CLUE Closes Syracuse Stage Season
Syracuse Stage closes its 2022/2023 season with a production that celebrates the pure joy and simple fun of live theatre, the fan favorite and ultimate whodunnit, CLUE. The production runs June 7 to 25 in the Archbold Theatre at Syracuse Stage, 820 E. Genesee St., Syracuse.
Syracuse Stage closes its 2022/2023 season with a production that celebrates the pure joy and simple fun of live theatre, the fan favorite and ultimate whodunnit, CLUE. The production runs June 7 to 25 in the Archbold Theatre at Syracuse Stage, 820 E. Genesee St., Syracuse.
Review: THE DIARY OF ANNE FRANK Captures Charm and Tragedy at Booth Tarkington Civic Theatre
What did our critic think of THE DIARY OF ANNE FRANK at Booth Tarkington Civic Theatre? The story of Anne Frank has been immortalized in her own words for decades. Her writings range from the amusing to the dramatic to the tragic, but in their essence, they capture something so fleeting: a girl struggling to become a woman in unspeakable circumstances. Her firsthand account of hiding from Nazis shows us a different side of history, one that can't be summed up in a chapter in a textbook. The Booth Tarkington Civic Theatre has brought her story to life on stage in THE DIARY OF ANNE FRANK, a play by Frances Goodrich and Albert Hackett newly adapted by Wendy Kesselman, and their retelling brings out new sides to Anne's story and pushes you to see this time period from new viewpoints.
What did our critic think of THE DIARY OF ANNE FRANK at Booth Tarkington Civic Theatre? The story of Anne Frank has been immortalized in her own words for decades. Her writings range from the amusing to the dramatic to the tragic, but in their essence, they capture something so fleeting: a girl struggling to become a woman in unspeakable circumstances. Her firsthand account of hiding from Nazis shows us a different side of history, one that can't be summed up in a chapter in a textbook. The Booth Tarkington Civic Theatre has brought her story to life on stage in THE DIARY OF ANNE FRANK, a play by Frances Goodrich and Albert Hackett newly adapted by Wendy Kesselman, and their retelling brings out new sides to Anne's story and pushes you to see this time period from new viewpoints.
Michigan State University Theatre Department Launches First-Ever Actor Warm-Up Podcast
In conjunction with Digital Learning Day on February 25, the Michigan State University Department of Theatre MFA Acting cohort will launch a six-season podcast, entitled “The Moment Before: An Actor’s Warm-Up Podcast.'
In conjunction with Digital Learning Day on February 25, the Michigan State University Department of Theatre MFA Acting cohort will launch a six-season podcast, entitled “The Moment Before: An Actor’s Warm-Up Podcast.'
Celebrate Women's History Month with GAL PAL COMEDY FEST
Gal Pal Comedy Fest is returning to Indianapolis for it's...wait for it...7th year.
Gal Pal Comedy Fest is returning to Indianapolis for it's...wait for it...7th year.
New Jack The Ripper Musical LIGHT & SHADOW to be Presented in Indianapolis
No witnesses. No evidence. All that remains are the chilling photographs of the victims. How do you root out a killer?
No witnesses. No evidence. All that remains are the chilling photographs of the victims. How do you root out a killer?
New Jack The Ripper Musical LIGHT & SHADOW to be Presented in Indianapolis
No witnesses. No evidence. All that remains are the chilling photographs of the victims. How do you root out a killer?
No witnesses. No evidence. All that remains are the chilling photographs of the victims. How do you root out a killer?
Rachel York, Judy Kaye & More Star in Indianapolis Symphony's ANYTHING GOES Concert This Weekend
Since its highly successful Broadway debut 80 years ago, Anything Goes has been revived multiple times and now receives a world premiere symphonic version with Principal Pops Conductor Jack Everly, the Indianapolis Symphony Orchestra (ISO) and an all-star Broadway cast, tonight, May 9 and Saturday, May 10, as part of the ISO's Printing Partners Pops Series at the Hilbert Circle Theatre.
Since its highly successful Broadway debut 80 years ago, Anything Goes has been revived multiple times and now receives a world premiere symphonic version with Principal Pops Conductor Jack Everly, the Indianapolis Symphony Orchestra (ISO) and an all-star Broadway cast, tonight, May 9 and Saturday, May 10, as part of the ISO's Printing Partners Pops Series at the Hilbert Circle Theatre.
Basile One-Minute Play Festival Set for Phoenix Theatre This Weekend
The One-Minute Play Festival (#1MPF) and Pheonix Theatre announce The Basile One-Minute Play Festival, running for three performances only: tonight, March 22, at 8:00 pm, Sunday, March 23, at 5:00 pm and Monday, March 24, 2014 at 7:00 pm.
The One-Minute Play Festival (#1MPF) and Pheonix Theatre announce The Basile One-Minute Play Festival, running for three performances only: tonight, March 22, at 8:00 pm, Sunday, March 23, at 5:00 pm and Monday, March 24, 2014 at 7:00 pm.
Rachel York, Gary Beach, Judy Kaye, Max von Essen & More to Star in Indianapolis Symphony Orchestra's ANYTHING GOES Concert, 5/9-10
Since its highly successful Broadway debut 80 years ago, Anything Goes has been revived multiple times and now receives a world premiere symphonic version with Principal Pops Conductor Jack Everly, the Indianapolis Symphony Orchestra (ISO) and an all-star Broadway cast, Friday, May 9 and Saturday, May 10, as part of the ISO's Printing Partners Pops Series at the Hilbert Circle Theatre.
Since its highly successful Broadway debut 80 years ago, Anything Goes has been revived multiple times and now receives a world premiere symphonic version with Principal Pops Conductor Jack Everly, the Indianapolis Symphony Orchestra (ISO) and an all-star Broadway cast, Friday, May 9 and Saturday, May 10, as part of the ISO's Printing Partners Pops Series at the Hilbert Circle Theatre.
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