Indianapolis Men’s Chorus – Courtesy of Shotwell Photography. Used with permission.
Signifying its upward trajectory as a respected mainstream performing arts organization made up of primarily LGTBQIA2S+ members, the inclusive Indianapolis Men’s Chorus, which performed with the likes of Andrea Bocelli, Josh Groban, and the Indianapolis Symphony Orchestra within the past year, lived up to its growing reputation with its IndyFringe Theatre Festival entry of “The Royal Tea.” I attended the event, held at the Athenaeum, on Saturday. Promoted as “A piping hot production featuring music inspired by Queens, Kings, and the true musical royalty we all know and love,” the IMC show lived up to its hype, and then some.
Indianapolis Men’s Chorus – Courtesy of Shotwell Photography. Used with permission.
Led by artistic director, Greg Sanders, who says his students at Center Grove High School keep him on trend, the electrifying revue once again reflected a heightened aesthetic honed in his role as vocal director alongside his mentor Jack Everly, conductor of the ISO Pops series.
The 18-member IMC ensemble of high energy singers was accompanied by a seasoned sounding band, consisting of Sanders on keyboards; Andrew Howard, percussion; Joel Tucker and Matt Hyslop on guitar; and bassists Connor Allen and Conner Green. Playing to a nearly full house, the company performed an entertaining program that included a mixed repertoire of everything from Prince to Duke Ellington to Queen, all of which was delivered with gender bending stylish flair and tongue-in-cheek humor.
The highlights during the lighting speed paced 55-minute program was a medley of “Somebody to Love/Don’t Stop Me Now,” “Sir Duke/ Think,” and “Beautiful Megamix” a medley which included “So Far Away,” “Will You Still Love Me,” “Locomotion,” and “I Feel the Earth.”
Standing out was a Prince medley that consisted of “When Doves Cry,” “Raspberry Beret,” and “Kiss,” which was performed by Matthew Creek, Jerico Hughes, Johnnie Hughes, Edric Mitchell, Joseph Perkins, Jr, and Jared Yoder.
Closing the show was an over-the-top, celebratory finale titled “Drag Race Finale” which included “Kings & Queens,” “Supermodel,” “Cover Girl,” “Sissy That Walk,” and “Can I Get an Amen.”
Kudos galore to choreographer Jared Norman who created most of the dance numbers, which were astounding for their vibrant intricacy and near flawless execution by the performers.
Contributing to the show’s first-rate production values were sound and lighting designer Miles Hall. Since no printed programs were made available, whoever served as costume coordinator did an outstanding job dressing the singers in eye-popping clothes.
Considering that Sanders regularly works with top notch talent through his association with the ISO, it is no wonder that his IMC triple threats looked and sounded like the Broadway performers I have seen in countless musicals I have witnessed over my many years of reviewing.
Under the continuing leadership of Sanders, who is now joined by accomplished non-profit expert, Stephen McCoy, the IMC’s first executive director, the chorus of which I was a six-year member is celebrating its 35th season next year. And I, for one, cannot wait to experience what’s to come.
Remaining IMC IndyFringe shows take place Saturday, Sept. 5:15 p.m. and Sunday, Sept. 3, 7 p.m. Tickets are available at indyfringe.org. For information about the IMC’s 2023-2024 season, visit indianapolismenschorus.org.
