Stylish mayhem dominates Shadowbox take on graphic novel

Kai (JT Walker III, left) prepares to do battle with Kabuki (Amy Lay) in a scene from Circle of Blood. (Shadowbox Live photo)

By Richard Ades

If you want to enjoy Circle of Blood, be sure to read the printed synopsis beforehand. That will make it easier to navigate your way around its bizarre vision of Japan in the year 2057. It also will help you figure out an elaborate back story that’s explained only in occasional flashbacks and snatches of dialogue.

The good news is that the lack of explanation means director Julie Klein and her cast and crew are free to focus on the production’s true mission: entertaining us with scenes of menace and stylized mayhem cleverly combined with images from the graphic novel on which the tale is based.

The story, borrowed from David Mack’s Kabuki, centers on the young assassin of the same name (Amy Lay). Though she was raised by a now-broken man called the General (Tom Cardinal), her actual father is Kai (JT Walker III), a crime lord whose long-ago attack left her mother blind and impregnated. As if that weren’t bad enough, Kai returned years later, after Kabuki’s mother died giving birth to her, and disfigured his adolescent daughter on her mother’s grave.

The action begins several years after that, when Kabuki is a young woman pondering what to get Kai for Father’s Day. Just kidding! She’s now a hitwoman working for the Noh, a government body attempting to prevent criminal gangs from taking over the country. She’s also the star of a TV newscast that offers cryptic warnings to evildoers.

All that changes when Kai returns to Japan and begins threatening the order the Noh has worked so hard to establish.

Shadowbox Live’s last foray into Japanese-inspired storytelling was 2015’s The Tenshu, an elaborate production marred by a scattershot story and a leaden pace (though I’ve been told the tempo was speeded up in later performances). While not quite as elaborate, Circle of Blood is far more watchable thanks to Jimmy Mak’s spare script and a brisk pace that wraps things up in less than 90 minutes. The show is not exactly deep and it’s hardly uplifting—the body count rivals that of Shakespeare’s bloodiest tragedies—but it efficiently moves us along from one set piece to the next.

All of the characters are deftly portrayed, from Lay’s methodically lethal Kabuki to Cardinal’s morose General, Walker’s evil Kai and a raft of eccentric henchmen. But the biggest attraction is the nifty interplay between the live action and images from the graphic novel, which are displayed on five large video screens. An additional boon is the accompanying music, composed and performed by Matt Hahn, Stev Guyer, Kevin Patrick Sweeney and Brandon Smith. Occasional vocals are beautifully supplied by Summit J. Starr.

Circle of Blood may favor style over substance, but the style is something to behold.

Circle of Blood runs through Nov. 5 at Shadowbox Live, 503 S. Front St., Columbus. Show times are 2 and 7 p.m. Sunday and 7:30 p.m. most Wednesdays-Thursdays (beginning Oct. 11). Running time: about 1 hour, 25 minutes (including intermission). Tickets are $25, $20 students/seniors/military. 614-416-7625 or shadowboxlive.org.

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Shadowbox finds horrific humor in zombies, political correctness

Stephanie Shull (left) and Julie Klein perform Divas Do Hard Rock in Shadowbox Live’s The Rocking Dead. (Photos by Buzz Crisafulli)

By Richard Ades

Halloween is the season devoted to the scary side of life. So it’s appropriate that Shadowbox Live’s Halloween-season show, The Rocking Dead, has a skit devoted to one of the scarier developments of modern life.

Killer Correctness shows what happens when two cops (Jimmy Mak and Guillermo Jemmott) try to solve a string of murders whose only witness (Katy Psenicka) lives her life according to politically correct principles. The upshot is that she would rather let a killer go free than answer the most basic questions about race, gender, height and so forth, explaining that she doesn’t want to make assumptions based on mere physical appearance.

At its best, political correctness means simply treating everyone with respect. At its worst, it’s the fear that someone, somewhere, somehow will be offended if you don’t constantly monitor and censure everything you and the rest of society say or do. Killer Correctness hilariously faces this debilitating illness head on.

Not quite as funny but even more politically minded is President Frank, featuring an Igor-like press secretary (John Boyd) who struggles to explain a monstrous commander-in-chief (Billy DePetro) who’s determined to build a “border moat” and seems to enjoy throwing women in the lake. Shadowbox seldom delves into national politics, but let’s face it: The current occupant of the White House is an irresistible target.

The rest of the skits seldom reach this level of level of originality, and some are rehashes of bits from earlier shows. Taken altogether, though, they add up to an enjoyable evening. They include:

World War Spazoids: Kirby (Jimmy Mak) warns his familiar group of nerdy friends that some of their classmates are turning into zombies.

Divas Do Hard Rock: Reprising a well-worn but clever bit, a pair of divas (Julie Klein and Stephanie Shull) put an operatic spin on hits by Ozzy Osbourne, AC/DC and the like.

Hellchild: A harried teacher (Klein) struggles to convince a doting mom (Psenicka) that her son (DePetro) is possessed.

Important Stuff News: A pair of juvenile journalists (Mak and Michelle Daniels) anchor a newscast that looks at Halloween from a kid’s viewpoint.

Who’s Your Daddy?: A Maury Povich-like TV host (Boyd) talks to a woman (Psenicka) who believes her daughter was fathered by a werewolf (Brandon Anderson).

Hang in There: In perhaps the weakest skit, an incipient zombie attack sets off a generational conflict between an office worker (Mak) and a millennial intern (Boyd).

Billy DePetro sings Psycho Killer by Talking Heads.

If the comedic bits include both hills and valleys, the musical portions of the show exist on a consistently high plateau. Setting the proper tone from the outset, Ashley Pearce sings Single File’s Zombies Ate My Neighbors while a group of vigilantes erect a barricade to fight off an expected attack. A little later, DePetro does a lively David Byrne tribute with Talking Heads’ Psycho Killer.

If I had to pick my favorite vocalization of the night, it would have to be band member Brent Lambert’s gruff-voiced interpretation of Soundgarden’s Black Hole Sun, augmented with a tasty riff from fellow guitarist Aaron Joseph. But it would be a close call, given the classy vocal work from Brandon Anderson (Bullet With Butterfly Wings), Noelle Anderson (Born Under a Bad Sign), Klein (Ghost in My Machine) and others.

Additional cover songs that deserve mention: Concrete Blonde’s Bloodletting, sung by Eryn Reynolds in a way that manages to be both creepy and sexy; and Muse’s Psycho, sung by Jemmott. The latter number seems to go on forever, but it’s so much fun that even non-headbangers won’t mind at all.

The Rocking Dead continues through Nov. 11 at Shadowbox Live, 503 S. Front St., Columbus. Show times are 7:30 p.m. Fridays and 7:30 and 10:30 p.m. Saturdays. Running time: 1 hour, 50 minutes (including intermission). Tickets are $20-$40. A one-hour “Nightcap” version will be presented at 10:30 p.m. select Fridays; tickets are $20-$25. 614-416-7625 or www.shadowboxlive.org.

Ridiculous plot is only an excuse to sing ’80s rock tunes

Drew (John Boyd), Lonny (Guillermo Jemmott) and Dennis Dupree (Brandon Anderson) hold forth in Shadowbox Live’s Rock of Ages (Photos by Tommy Feisel)

By Richard Ades

Jukebox musicals are a pretty silly invention, and Rock of Ages is sillier than most. Faced with the task of building a plot around popular rock tunes from the 1980s, book writer Chris D’Arienzo came up with a doozy:

A father-and-son team of German developers (Tom Cardinal and Billy DePetro) want to bulldoze Hollywood’s Sunset Strip and evict the rock fans who live and work there. Why? Presumably, to make money with a redevelopment scheme, but we all know the real reason is to give the cast an excuse to sing Starship’s We Built This City (on rock ’n’ roll) and a host of other ’80s classics.

Franz (Billy DePetro, left) watches as his father, Hertz (Tom Cardinal), persuades the mayor (Nikkii Davis) to back a plan to bulldoze Sunset Strip.

The plot is so ridiculous that the musical doesn’t even pretend to be anything but what it is: a musical. In the first few minutes, narrator and “sound god” Lonny (Guillermo Jemmott) admits he’s adding a romance to the proceedings simply because musicals have to have a romance.

We then meet would-be rock star Drew (John Boyd), who quickly falls in love with would-be movie star Sherrie (Amy Lay), just arrived from Kansas. Following the usual pattern, their relationship undergoes a series of hiccups and misunderstandings that keeps them apart until—well, until a host of other ’80s songs have been sung and danced to.

When I first saw Rock of Ages in 2010, I was able to embrace its silliness thanks to the touring show’s sweetly sincere portrayal of Drew and to outrageous costume designs that were like an oversexed version of what folks really wore during the Reagan decade. Shadowbox’s production, directed by Julie Klein, is only slightly more restrained on the style side, and Boyd is appealingly sincere as Drew. He also sings very well.

Drew (John Boyd) falls in love with Sherrie (Amy Lay) because, well, someone has to fall in love or it wouldn’t be a musical.

Most of the other cast members are equally in tune, musically and otherwise. Besides those already mentioned, they include Brandon Anderson as club owner Dennis Dupree, Jamie Barrow as sleazy rock star Stacee Jaxx, Ashley Pearce as protest leader Regina, Eryn Reynolds as talent agent Ja’Keith, Nikki Davis as the corrupt mayor and Noelle Anderson (alternating with Stacie Boord) as gentlemen’s club owner Justice.

Speaking of the gentlemen’s club, Lay’s Sherrie is amusingly inept when she takes a job there and tries her hand at pole dancing. Overall, though, I wish she came across as less of a shallow hick, which makes it even harder than it otherwise would be to care about whether she and Drew hook up.

To pick another nit, I wish DePetro’s Franz were a bit less, um, swishy. I realize the portrayal is meant to set up a joke about effeminate German mannerisms (presumably the kind Craig Ferguson used to spoof to excess on The Late Late Show), but DePetro overshoots the mark. (German mark? Get it? Never mind.)

Back to the good stuff: Accompanied by a boisterous five-piece band, the cast rocks out on vintage classics like Any Way You Want It, Don’t Stop Believin’, The Final Countdown, Hit Me With Your Best Shot, Just Like Paradise and many others. Even though the plot is reasonably entertaining, especially during Act 2, cover songs like these are the real reason for buying a ticket.

In a jukebox musical, that’s as it should be.

Rock of Ages continues through Aug. 27 at Shadowbox Live, 503 S. Front St., Columbus. Show times: 2 and 7 p.m. select Sundays. Running time: 2 hours, 20 minutes (including intermission). Tickets: $20-$25. 614-416-7625 or shadowboxlive.org.

Hilariously nasty women return in tribute to guilt, embarrassment

Maureen (Julie Klein, left) and Buffy (Katy Psenicka) intake alcohol and output insults in a sketch from Shadowbox Live’s Guilty Pleasures. (Photos by Buzz Crisafulli)

By Richard Ades

Guilty Pleasures, Shadowbox Live’s latest theme show, allows me to enjoy one of my own: insult comedy. It’s the reason I look forward to every return visit by Maureen and Buffy, the soused and acid-tongued society matrons played by Julie Klein and Katy Psenicka.

The two pals are as mean-spirited as ever in their latest escapade, The Fundraising Ball, which has them attending a political function and surreptitiously throwing barbed comments at their fellow guests. Example: Noticing a passing woman’s extensive surgical enhancement, one muses, “If those tits get any higher, they’d be shoulders.”

Both characters are as memorable as their one-liners, but for different reasons: Psenicka’s Buffy for her cackling laugh and Klein’s Maureen for the palpable air of gloom that surrounds her and helps to explain her addiction to wine and all-around nastiness.

Though the theme show lives up to its name at times like this, it could just as easily be called Embarrassing Situations. The first skit, Dream Catcher, sets the tone when Harold (Jimmy Mak) brings girlfriend Louise (Leah Haviland) back to his place and reluctantly introduces her to Aquaman and other fantastical beings who’ve taken up residence there. Louise, who majored in dream interpretation at Antioch University, quickly recognizes them as symbols of Harold’s scarred psyche. The skit is as funny as it is clever.

Other embarrassment-riddled skits (listed in descending order of effectiveness):

Bad Siri: Jim (Mak) is chagrined when the titular virtual assistant picks an inopportune moment to reveal his love of sappy movies and his unexpressed desire for a female acquaintance.

Browser History: Friends Gina and Keri (Klein and Psenicka) find evidence that Gina’s roommate (Tom Cardinal) has a creepy fixation on a certain fictional pony. You’ll see the punchline galloping toward you from a mile away.

Guilty Pleasures: The show’s final skit has a roomful of people admitting their secret vices, most of which are too mild to be really embarrassing, much less funny.

Jimmy Mak and Amy Lay in the sketch Loving Life

Additional skits include the TV spoof Perspectives, which is amusing thanks to David Whitehouse’s robust impersonation of Dr. Phil. Maybe it’s a matter of taste, but I got fewer laughs out of either the vaudeville routine Houdini Escapes Death or the vaudeville-like Loving Life, though the latter does have a nifty punchline.

As befits the show’s theme, the musical numbers include Haviland’s sexy rendition of the All-American Rejects’ Dirty Little Secret. Starting things off on the right foot, Stephanie Shull expertly sings and raps her way through Mercy, while Nikki Fagin ends things on an unrepentant note with Pink’s So What.

In between are a slew of highlights. They include the novelty number Coin-Operated Boy, the joyful Hollywood Nights and the entertaining Canned Heat, sung by Ashley Pearce, Klein and Lay, respectively.

Guilty Pleasures continues through June 3 at Shadowbox Live, 503 S. Front St., Columbus. Show times are 7:30 and 9:30 p.m. Fridays and Saturdays. Running time: 1 hours, 55 minutes (including intermission). Tickets are $20-$40. 614-416-7625 or shadowboxlive.org.

Timely revue pays homage to groundbreaking artists

Leah Haviland, Nick Wilson, Noelle Grandison, Nikki Davis and Guillermo Jemmott (from left) in Evolutionaries: The Stories and Music of David Bowie and Prince, opening this week at Shadowbox Live (Photo by Buzz Crisafulli)
Leah Haviland, Nick Wilson, Noelle Grandison, Nikki Davis and Guillermo Jemmott (from left) in Evolutionaries: The Stories and Music of David Bowie and Prince (Photo by Buzz Crisafulli)

By Richard Ades

Shadowbox Live has created a new art form of sorts with its musical tribute shows. Past efforts and the musicians they celebrated include Mad Dog and Englishman (Joe Cocker), Which One’s Pink? (Pink Floyd) and Bigger Than Jesus (the Beatles).

The current Evolutionaries differs from its predecessors by celebrating two artists, Prince and David Bowie, both of whom were lost prematurely in 2016. Otherwise, it follows the established pattern by offering great music accompanied by dancing, vintage video footage and enlightening tidbits of information.

With two groundbreaking careers to cover, Evolutionaries could well have run much longer than its two hours and 15 minutes. One way that director Julie Klein and head writer Jimmy Mak keep it to a comfortable length is by limiting the biographical material to short statements delivered by narrator Michelle Daniels. Through these we learn, for instance, that Prince suffered from epileptic fits as a child and that young Bowie dreamed of becoming the British Elvis.

More generally, Daniels points out that Prince and Bowie shared a fluid attitude toward gender and sexuality. In Bowie’s case, his whole identity seemed to be in a continual state of flux, as reflected by Ziggy Stardust and other alter egos who emerged onstage over the years.

Another way the show avoids overstaying its welcome is by restricting itself to the songs that are considered indispensable. No doubt some fans will complain that this or that favorite was left out, but those that were included add up to an entertaining synopsis of two revolutionary careers. Among the many highlights:

When Doves Cry (Prince), sung by Stacie Boord and featuring one of several screaming guitar solos by Matthew Hahn.

Changes (Bowie), featuring honey-sweet vocals by Boord and one of several glorious saxophone solos delivered at alternate performances by Jonathan Weisbrot and Kevin O’Neill.

Ziggy Stardust (Bowie), sung by Gabriel Guyer in the guise of the strutting interplanetary traveler.

Electric Chair (Prince), with lead vocals by Noelle Grandison, a funky guitar solo by Brent Lambert and a wild finish.

Let’s Go Crazy (Prince), a gospel-style number sung by Boord and featuring orgasmic “organ” riffs pounded out by keyboardist Kevin Patrick Sweeney.

Dance moves choreographed by Katy Psenicka provide the perfect visual accompaniment to many numbers. During Bowie’s Let’s Dance, Nikki Davis and Nick Wilson sample vintage dance styles ranging from the Charleston to disco. Later, a blindfolded Guyer sings Bowie’s Lazarus while wandering through a group of graceful but equally blindfolded dancers.

In the funniest number, four preening “models” (Davis, Wilson, Guillermo Jemmott and Eryn Reynolds) vie for our approval while Guyer sings Bowie’s Fame.

Video images edited by David Whitehouse also play a prominent role. The most somber sequence assaults us with scenes from wars, riots and other acts of violence while Boord sings Prince’s Sign o’ the Times.

Timely and informative, Evolutionaries is a heartfelt gift to Bowie and Prince fans, and an opportunity for everybody else to appreciate what we’ve lost.

Evolutionaries: The Stories and Music of Prince and David Bowie continues through May 25 at Shadowbox Live, 503 S. Front St., Columbus. Show times are 7:30 p.m. select Wednesdays and Thursdays. Running time: 2 hours, 15 minutes (including intermission). Tickets: $25, $20 students/seniors/military. 614-416-7625 or shadowboxlive.org.

Holiday show enhanced by ASL interpretation

By Richard Ades

Stephanie Shull, Julie Klein and Stacie Boord (from left) return as the Santa Babies in Holiday Hoopla, opening Thursday at Shadowbox Live (Shadowbox Live photo)
Stephanie Shull, Julie Klein and Stacie Boord (from left) return as the Santa Babies in Holiday Hoopla. (Shadowbox Live photo)

I lucked out. When I finally had time to catch Holiday Hoopla 2016, I arrived on a night when talented Columbus State students were offering American Sign Language interpretation.

It was beautiful effort. Not content to have a single interpreter gesticulate from the side of the stage, Shadowbox Live and Columbus State had worked out something far more elaborate. During the sketches, nearly every character was represented by a separate interpreter who took on that person’s personality while signing his or her lines. During the songs, interpreters swayed gracefully with the music while signing lyrics that even hearing patrons sometimes had trouble picking out.

If you want to see what Hoopla is like with sign interpretation, the service will be offered again at 7:30 Wednesday, Dec. 14. (Hearing-impaired patrons receive a $10 discount.)

Obviously, sign interpretation is most valuable for those who rely on it to understand the action, but I enjoyed it as a variation on a show that has been sticking to the same format for most of the past quarter century. Even without the interpretation, though, this Hoopla has much to recommend it.

Yes, most of the songs have been repeated annually for years, but they’ve become such an integral part of this local tradition that leaving them out would be unthinkable. A jazzy Merry Christmas Baby (sung by Stacie Boord), a bleak Hounds of Winter (sung by Leah Haviland), a forlorn The Old Man (sung by Stev Guyer): All are as gorgeous as they are indispensable.

Most important of all are the rousing instrumental Christmas in Sarajevo and the gospel-like Children Go Where I Send Thee. My only comment on the latter is that this year’s version could be even bigger, with still more singers added as it builds to its soul-stirring finale.

A TV host (Guillermo Jemmott, left) is shocked to hear a guest (Jimmy Mak) expound on why he believes Santa is an alien. (Shadowbox Live photo)
A TV host (Guillermo Jemmott, left) is shocked to hear a guest (Jimmy Mak) expound on why he believes Santa is an alien. (Shadowbox Live photo)

Among the skits, there are the expected duds and near-duds. One of them is the first, Your Own Personal Santa, in which a neighborhood meeting turns into a gripe session on parents’ odd Christmas traditions. Better is the following skit, Ancient Aliens, in which an eccentrically coifed Jimmy Mak shares his theory that Santa Claus is capable of superhuman feats because he actually hails from another planet.

In general, the sketches get better as the show goes on, particularly after intermission.

The Firstest Christmas, in which elementary-school kids present a musical depiction of the holiday’s roots, improves on a familiar Shadowbox theme by adding a satirical edge. Because they’re students at a Montessori school that refuses to rein in children’s creativity, teacher Mrs. Boddington (Katy Psenicka) is helpless to object when the kids stray from biblical accuracy. For instance, they have Mary (Haviland) arrive at the stable riding a certain red-nosed reindeer rather than a donkey. And, oh yes, the stable is located, not in Bethlehem, but at the North Pole.

More satire is invoked in Xmas Do Not Play List, about a radio disc jockey (David Whitehouse) who’s ordered to stop playing a slew of familiar Christmas tunes for fear they’ll offend viewers with precariously thin skins.

A series of short skits is built around a fictitious line of Hallmark “Honesty” cards that replace generic greetings with messages tailored to very specific—and very unpleasant—situations. Like the show as a whole, these get better as they go along.

As always, the Santa Babies (Julie Klein, Stephanie Shull and Boord) finish things off with their kitschy lounge act. Highlights include a seasonally adjusted and beautifully harmonized version of Boogie Woogie Bugle Boy, a dry-land synchronized swimming routine and the It’s Raining Men finale.

Then there’s the inevitable moment when they drag a male customer onstage in a suggestive routine that’s been repeated with nary a variation for the last 25 years. Watching this has long since become a tedious ordeal for me, but everyone else at the performance I attended seemed to be busting a gut.

One more tradition we can expect to return in Holiday Hoopla 2017.

Holiday Hoopla continues through Dec. 30 at Shadowbox Live, 503 S. Front St., Columbus. Show times are 7:30 p.m. select Mondays-Thursdays, 7:30 and 10:30 p.m. select Fridays-Saturdays. Running time: 2 hours (including intermission). Tickets are $25-$40. 614-416-7625 or shadowboxlive.org.

Ear pod plays starring role in ‘Best of Shadowbox 2016’

Amy Lay holds forth in Ex’s and Oh’s, one of the cover songs featured in Best of Shadowbox 2016 (photo by Jeffery Crisafulli)
Amy Lay holds forth in Ex’s and Oh’s, one of the cover songs featured in Best of Shadowbox 2016 (photo by Jeffery Crisafulli)

By Richard Ades

When I head to Indiana for my high school reunion in a few weeks, I can only hope it will be half as much fun as another reunion of sorts I attended recently: the annual Best of Shadowbox show.

Just as reunions give you the chance to get reacquainted with old friends, Best of Shadowbox gives you the chance to get reacquainted with skits you’ve seen over the past year. In most cases, it’s a pleasure to see them again, especially since the writers and cast members often find ways to improve them in reaction to audience response.

One skit that didn’t need much improving is The Ear Pod, featuring Tom Cardinal as a husband who hates to miss a big football game to attend a counseling session with his wife (Julie Klein). Trying to have it both ways, he secretly listens to the game via an ear pod while his wife vents about all that’s wrong with their relationship. The misunderstandings multiply hilariously as Cardinal’s enthusiastic reactions to the game are misinterpreted by his angry spouse and the diplomatic counselor (Michelle Daniels).

At least a couple of skits seem more entertaining this time around.

Sexy Nurse imagines what would happen if hospital employees really dressed the way they do in our pornographic fantasies. It centers on a patient (Robbie Nance) who’s excited when his nurse (Amy Lay) shows up in a barely there uniform. It’s still not a laugh riot, but it’s good, raunchy fun.

Also slightly improved—though it was pretty funny to begin with—is Job App. It’s about what happens when a job applicant (Nance) has a social-media history that contradicts everything he says about himself. Klein is admirably restrained as the dubious interviewer, allowing the momentum to build toward the show’s strongest punchline.

Romeo (Robbie Nance) and Juliet (Amy Lay) discover they share singular tastes in 50 Shades of Romeo (photo by Jeffery Crisafulli)
Romeo (Robbie Nance) and Juliet (Amy Lay) discover they share singular tastes in 50 Shades of Romeo (photo by Jeffery Crisafulli)

On the other hand, 50 Shades of Romeo seems less amusing on second viewing. Merging Shakespeare’s Romeo and Juliet with E.L. James’s kinky best-seller is a clever idea, but much of the humor consists of adding “-eth” to sundry words (including F-bombs) to make them sound Elizabethan. As if to make up for the labored jokes, Lay slaps on an extra layer of ditsiness as the S&M-prone Juliet, but it doesn’t help.

Among the skits I missed the first time around, the funniest is Happy Haunting, in which two fey ghosts (Jimmy Mak and Brandon Anderson) try to protect their unaware roommate (Leah Haviland) from her boorish date (Nance). The weakest is Camping Without a Net, in which a group of millennials are terrified to learn they’ve lost their Internet connection. The skit itself seems lost, generating more than one “huh?” moment as it meanders toward an unsatisfying ending.

But there’s nothing unsatisfying about the show’s musical numbers, which mix great singing with great musicianship on the part of the house band. The highlights (and their lead singers) include Life in the Fast Lane (Klein), Walk on the Ocean (Cardinal) and Sexual Healing (Noelle Grandison and Guillermo Jemmott).

Even more fun is the number that ends Act 1, Elle King’s Ex’s and Oh’s, sung by a deliciously attired Lay, Haviland, Ashley Pearce, Chyna Cheaney and Katy Psenicka. And most fun of all is the final song, Meat Loaf’s Paradise by the Dashboard Light, featuring a back-and-forth duet by Klein and Lukas Tomasacci. Amusing interplay among the backup singers is an added bonus in a number that I wouldn’t mind getting reacquainted with a few more times.

Best of Shadowbox 2016 continues through Sept. 3 at Shadowbox Live, 503 S. Front St., Columbus. Show times are 7:30 and 10:30 p.m. Friday-Saturday (no 10:30 performances July 22 or 29). Running time: 2 hours (including intermission). Tickets are $20-$40. 614-416-7625 or shadowboxlive.org.