Welcome to Almost, Maine, a town that’s so far north, it’s almost not in the United States — it’s almost in Canada. And it almost doesn’t exist because its residents never got around to getting organized. So it’s just … Almost. One cold, clear Friday night in the middle of winter, while the northern lights hover in the sky above, Almost’s residents find themselves falling in and out of love in the strangest ways. Knees are bruised. Hearts are broken. Love is lost, found, and confounded. And life for the people of Almost, Maine, will never be the same. Almost, Maine: It’s love. But not quite.
Feb. 14, 7:30 p.m. Pay What You Want Night. Feb. 15-March 2, Fridays-Saturdays at 8 p.m. plus Sunday, Feb. 24 at 2:30 p.m.
Frederick Knott’s thriller is the story of Susy Hendrix, a recently blinded housewife who unwittingly possesses a doll filled with illicit drugs. Harry Roat, a brutal and sophisticated criminal, coerces two small-time thugs into helping him con Susy into giving up the doll. A battle of wits ensues as Susy and the young girl upstairs launch a counterplot against the thieves. The drama plays on the themes of darkness and light as Susy navigates through her sightless world, and the crooks signal each other with light through the Venetian blinds. Note: Many dates are sold out already. Make reservations ASAP.
Feb. 14-24, Thursdays-Saturdays at 7:30 p.m. and Sundays at 2:30 p.m.
Indiana Repertory Theatre: Elephant and Piggie’s We Are in a Play!
For the IRT’s fifth year of its Exploring Stages program, the theater will produce its first-ever musical in this youth-serving series based on the book by award-winning children’s illustrator and author Mo Willems. The show is for children ages 3-8 years old and their families. This daytime production features storytime seating where children and adults can sit on the floor, in addition to chair options along the back or side of the theater. There will be pre- and post-show activities for an experience totaling 75 minutes.
From the moment his tall, red-and-white-striped hat appears around the door, Sally and her brother know that The Cat in the Hat is the funniest, most mischievous cat that they have ever met. With the trickiest of tricks and the craziest of ideas, he turns a rainy afternoon into an amazing adventure!
Feb. 15-March 2, Fridays at 10 a.m. and Saturdays at 10 a.m., 1 p.m., and 3:30 p.m.
The event will feature Tony Kanaan, Chris Ballard, Tom Griswold, and more. The evening includes a silent auction and live entertainment on the IRT’s OneAmerica Mainstage, along with food and drink.
IRT’s Celebrity Radio Show is a truly one-of-a-kind event that focuses on what the theater does best: producing a grand and exciting evening of live entertainment. The event features a handcrafted script presented as a 1940s radio program with live sound effects, audience participation, and community VIPs dressed in costumes. This year’s theme is The Bridges of Marion County: Detour Ahead! Tickets include complimentary valet parking, drinks, and hors d’oeuvres. Proceeds from the night will go toward helping the IRT put world-class theater on its stages.
Friday, Feb. 15. Reception begins at 6:30 p.m. with show starting at 8 p.m.
As reclusive as Boo Radley is, To Kill a Mockingbird is as ubiquitous, being a favorite among theater-goers and school groups alike. Civic Theatre’s rendition is the quintessential live production, with all the heart that goes into Harper Lee’s classic story.
The adult Jean Louise (Michelle Wafford) narrates the story about her father Atticus’s (Steve Kruze) trial defense of a black man, Tom Robinson (Antoine Demmings), back when she was a little girl called Scout (Bridget Bingham) in 1935. She, her brother Jem (Dalyn Stewart), and out-of-town friend Dill (Ben Boyce) had been especially speculating on the hermit Boo Radley (Colby Rison) since his brother Nathan (also played by Rison) had returned to take care of him, and Scout had been finding small gifts in the knot of a tree that separated their property.
That summer, Scout and Jem, and by extension Dill, learn a lot about the nature of people — the unseen things that make people more than a one-dimensional caricature — and what it means to do the right thing.
The large cast does a lovely job of bringing the townspeople of Maycomb, Alabama, to life. The children are charming, and Kruze effectively conveys both the fortitude and weariness of a man besieged by honor.
Emily Rogge Tzucker directs a show that brings the life-changing events home for the audience. The show is both shrewd and sympathetic as it reveals the best and worst of humanity.
Through Feb. 23, Thursdays-Saturdays at 7 p.m. (except the last Saturday at 5 p.m.) and Sundays at 2 p.m.
Those star-spangled monstrosities that are part of his persona’s costume are also the on-and-off switch for Billy the Video Game Player of the Century versus Billy the normal if nerdy 53-year-old husband, father, and restaurant owner. At Thursday night’s final dress rehearsal of Arcadefire! The Redemption of Billy Mitchell, I think the tie loosened up some, but I don’t think it ever really left that phantom-noose-like position around his neck. After the show, a few people retired to Tappers Arcade Bar. Even though my companion and I arrived at least 30 minutes before Billy and set up camp next to the Donkey Kong machine, the 6-and-a-half-foot Billy managed to elude me and bee-lined to the game cabinet.
While not on par with Just Jared celebs, Billy still has a, granted small, retinue to keep track of things like Twitch feeds and costuming, not to mention appearances and such. His right-hand man Neil Hernandez dresses up as Mario. It’s adorable. And not long after Billy got going on the pixelated apeman at Tappers, there was Neil with the camera to capture each of Billy’s moves. I think I got in the way of that. Sorry not sorry. As I said at the time, it’s a game. It seems to me that it’s not a lot of fun anymore.
But that’s the job of being Billy Mitchell, Video Game Player of the Century.
Billy is affable regardless of his reputation for being kind of an asshole. The first time I met him was at the Sunday afternoon 2018 IndyFringe Festival weekend premiere of Casey Ross’s Arcadefire! At the time, I didn’t know what a Billy Mitchell was. All I knew was that the show was written by Casey, which put it on my to-see list, and that it was a musical about video games. As I moved forward in the queue to enter the theater, I saw a giant man with long dark hair wearing a white suit and an American flag tie who was standing at the entrance greeting the audience. I didn’t think too much of this anomaly. It was the Fringe, after all. Crazy shit happens. When it was my turn to enter, Billy shook my hand and he and his fellow greeter (Walter Day) said some flattering things to me, and then I was on my way. As I was leaving, Billy took my hand again and paid me another compliment. And that was that.
So I thought.
And I had STILL not put two and two together because I am, occasionally, an idiot.
As I sat in the Firefighters Union Hall lobby waiting for my next show, I Googled Billy Mitchell to verify if this was a real person. And that’s when I discovered that the flirtatious snowdrift was, in fact, the real Billy Mitchell. And here he came again, even taller now that I was seated. (I’m just shy of 5-foot-2.) My first response: “Are you really Billy Mitchell?” So he pulled out his driver’s license to verify that yes, he was in fact the real Billy Mitchell. We chatted for a few minutes, a conversation in which he admitted to being an unapologetic flirt, and later he came back over to give me a few of the trading cards that Day had designed for the event that was to take place later that night at Tappers.
All this struck me as funny. So I had to text one of my best friends who happens to have enough knowledge about 1980s pop culture that he could rival the Recordkeeper in Ready Player One. (This happens to be the same person who accompanied me to the show Thursday, my fellow journalist and best friend of 20-odd years, Paul Pogue.)
Me: Do you know who Billy Mitchell of Donkey Kong fame is? I think he was [censored].
Paul: I think you broke my husband.
Yeah, that was from his wife, another best friend of mine, Katrina, responding because Paul was on the floor laughing, with tears running down his face.
Billy is more than happy, eager even to talk to you — he is very fan-centric — so long as you focus on positivity … and you aren’t a journalist. Billy is notorious for his hatred of journalists because he doesn’t think there are any real ones left. Which is funny since 1) I am a journalist, and 2) he did an interview with these guys this week. Sure, they aren’t Variety, but still. However, on Thursday, Billy and I kept up running conversations before the show and afterward at Tappers, before everyone was booted for the night. He was fun to talk to, as was Neil and some of Billy’s other friends who had come out in support of the show. I got some interesting insights, and I had fun. I should have been recording.
I think Billy’s reticence towards journalists stems from his perfectionism. It’s the old mantra, if you’re going to do something, do it right. Go big or go home. I think that attitude is what led him to competitive video game playing in the first place. Who knew that he’d still be chasing those ghosts —both pixelated and metaphorical — 30-odd years later?
This isn’t the first show that is based on Billy. When Casey began working on the it, there were four others in existence, including a musical, Fistful of Quarters, based on the documentary of the same name. This is also the docu-drama that her now-boyfriend attempted to stump her with, and it was her initial inspiration for the show. She and her boyfriend are both documentary buffs, and he was trying to find one she hadn’t seen. Well, she had seen it, but that was OK. She was looking for material to craft a new show for the 2018 Fringe, and it fit. After that, she became “Billy’s Indiana stalker.”
Then again, this isn’t Billy’s first brush with actors slash directors since he was in movies such as King of Kong: Fistful of Quarters and Chasing Ghosts: Beyond the Arcade. Here, Casey has taken the basic premise of events surrounding the accusations that Billy cheated to achieve his record-breaking scores and turned it into a campy musical. Does Billy see himself up there on stage? No, he says. Not the comedy.
But the comedy is what the audience comes for — if you aren’t just coming to see Billy himself (back for the show’s second premiere) during opening weekend and partaking in the video game extravaganzas that are planned.
This production is an extended version of the short Fringe Festival offering. It’s the 1980s — the heyday for cabinet video games. Billy Mitchell (Luke McConnell, original) is the King of Kong, holding the world record for the highest score in Donkey Kong. His self-described “nemesis,” Steve Wiebe (Anthony Nathan, original), is obsessed with beating Billy. Fast forward a few decades. Steve remains obsessed, and his long-suffering wife (Kayla Lee, original) is on the edge. Brian (Andy Sturm), who always came in second to Billy’s scores, informs him that he is being accused of cheating and stripped of his titles. To redeem his gaming reputation, Billy holds a Kong Off and brings in his old gaming referee, Walter (Craig Kemp). Devilry is planned, loyalties are weighed, and priorities are amended.
Unfortunately, the new version feels less cohesive than the original even with expanded storylines and exposition. I love the glimpses we get of Billy’s first meeting with Brian and his early interactions with Walter, but these relationships aren’t further explored. Nor is his transition from pinball to cabinet gaming or the source of his determination. The relationship between Billy and Brian becomes nebulous.
The dynamic I love best is the Wiebes. They have the choicest dialogue, and Nathan is such a fruitcake in the face of Lee’s deadpan delivery.
Ultimately, this show is neither fish nor fowl. The music numbers to acting ratio barely makes it a musical, and so much camp in the face of a very serious McConnell makes us wonder why Nathan is so seriously disturbed, like when he gets his Smeagol on with a quarter. Add to that an intense, emotionally sincere monologue from Sturm in the second half, and the over-the-top elements lose their charm.
What musical numbers are left don’t hold any power. Sadly, a few people in the cast can’t sing, and the choreography still needs a lot of work, as do some scenes, both from a director’s and a writer’s point of view. For example, the scene in Billy’s restaurant feels almost superfluous, and what is the purpose of the dance “Do the Donkey Kong”? And there really, really needs to be a screen for the projections.
Am I saying don’t see the show? No. I am critiquing a work in progress. Plus, there are so many exciting elements to this event. Not only are you witnessing the evolution of a show, but you can also meet the man it is based on. Plus, the event’s venue is the badass 666 historic Irvington Lodge, and the show’s producers have partnered with the new Level Up Gaming Lounge on the first floor for events. The Level Up is a story in itself. It’s a neat little business inside an under-used Irvington building, and it deserves our support after the crazy bullying they received right before opening.
And, at the show, there’s HOT SAUCE.
Through Feb. 17, Fridays-Saturdays at 7:30 p.m. and Sundays at 2:30 p.m.
$20. This ticket allows you into ONLY the production Arcadefire! This ticket does not include access to extra events and meet & greets.
Tickets for Play-Play POPcade Passes are $35. These weekend passes allow you full access to the Level Up Gaming Lounge events and after-parties, as well as your entry for any desired tournaments and meet & greets. Team Scorechasers creator Sid Seattle will moderate fast-paced tournaments, while legendary gamers play and stream … for a good cause!
Billy Mitchell, the 1982 Donkey Kong world-record holder and Video Game Player of the Century, had it all until a 2007 cult-classic documentary brought the public gamer back into the public eye. Years after the explosive premiere of King of Kong: Fist Full of Quarters, Billy faces a new challenge — the worst accusation a competitive gamer can face: They’re saying he cheated. When his scores are removed from the record boards and the “MAMEing” begins, it’s up to video gaming’s most polarizing figure to start dodging some barrels. Arcadefire! [The Redemption of Billy Mitchell] is a musical theater and gaming experience unlike any kill screen you’ve witnessed.
Level Up, along with Team Scorechasers and Videogamepalooza bring Play-Play POPcade (that’s an Arcadefire! Pop-Up Arcade) experience to Irvington at Level Up Lounge before and after every performance. Gaming contests, celebrity appearances, drinks, food, and the hot sauce will be flowing! The King of Kong, Bil l Mitchell will return (with friends!) to Indy for opening weekend only!
Feb. 8-17, Fridays-Saturdays at 7:30 p.m. and Sundays at 2:30 p.m.
$20. This ticket allows you into ONLY the production Arcadefire! This ticket does not include access to extra events and meet & greets.
Tickets for Play-Play POPcade Passes are $35. These weekend passes allow you full access to the Level Up Gaming Lounge events and after-parties, as well as your entry for any desired tournaments and meet & greets. Team Scorechasers creator Sid Seattle will moderate fast-paced tournaments, while legendary gamers play and stream … for a good cause! (Find out more about supported charities through the website link below).
Scout, a young girl in a quiet Southern town, is about to experience dramatic events that will affect the rest of her life. She and her brother, Jem, are being raised by their widowed father, Atticus, and by a strong-minded housekeeper, Calpurnia. Wide-eyed Scout is fascinated with the sensitively revealed people of her small town, but, from the start, there’s a rumble of thunder just under the calm surface of the life there.
Feb. 8-23, Thursdays-Saturdays at 7 p.m. (except the last Saturday at 5 p.m.) and Sundays at 2 p.m.
Welcome back to 1959 and Rydell High. Greaser Danny and new girl Sandy try to relive the romance of their “Summer Nights” as the rest of the gang sings and dances its way through songs like “Greased Lightnin” and “We Go Together” in this rollicking musical!
Storytelling Arts of Indiana: “Come Sit on My Front Porch” featuring Josh Goforth
Goforth was just a boy when he played the fiddle in the 2000 feature film Songcatcher. The movie, starring Aidan Quinn and Emmy Rossum, among other big names, is about a musicologist who stumbled upon the Scots-Irish ballads of Appalachia, beautiful and unadulterated, handed down through generations of families secluded by the mountains. The musicologist wants to share this “discovery” with the world but is met with resistance from musicians and singers who want to preserve their proud heritage. These are Josh Goforth’s people. You’ll hear their stories and songs at his show.
And don’t forget about the Indy Story Slam next Tuesday, 7 p.m. at IndyFringe with its theme of “The Agony & Ecstasy of Love.” Whether you’re feeling amorous or alone this Valentine’s, there’s a story for you.
The Alley Theatre: Picnic
This Pulitzer Prize-winning play takes place on Labor Day Weekend in the joint backyards of two middle-aged widows. Flo Owens lives in one house with her two maturing daughters, Madge and Millie, and a boarder. Helen Potts lives with her elderly and invalid mother. Into this female atmosphere comes a young man whose animal vitality seriously upsets the entire group.
Ruthless: The Musical camps up film noir and spoofs Broadway musicals in an homage to the little homicidal brat in the 1950s film/play/novel The Bad Seed, here known as the 8-year-old wanna-be drama queen Tina Denmark. Tina will just KILL to get the lead in the school play.
Judy Fitzgerald plays Judy Denmark, a dim, stereotypical 1950s housewife who loves her solitary role in life: being “Tina’s mother.” While Fitzgerald is amusing as the clueless mother figure, she gets much more interesting as her past catches up to her and Judy’s buried personality takes over.
The true onstage diva is John Vessels as Sylvia St. Croix, talent agent. Vessels gets the best parts, owning the stage in heels and turbans, acting superior and fabulous, and he belts out many of the best musical numbers. While not onstage as often, Cynthia Collins is equally over the top and pounding those vocals as washed-up actress-turned-school-teacher Miss Thorn.
Critiquing kids always leaves me feeling mean spirited — much like theater critic Lita Encore, played by Suzanne Stark with flamboyance and a careless ego. But there’s no avoiding it here since fourth-grader Nya Skye Beck tackles Tina in in all her curly blond, darkly saccharine self. While Beck certainly gets the camp like any good Girl Scout should, vocally I feel she is inconsistent — a sharp here, a flat there. She does tap prettily though.
Laura Sportiello starts as Tina’s nemesis in Act 1, but she gets to strut her stuff in the second half as Judy’s personal assistant. Finally, there’s a guest cameo for each weekend, so check out ATI’s website to see who will storm the door at each performance.
Overall, the show has its moments, but I wasn’t doing the proverbial rolling in the aisles. However, the guy sitting next to me was. Blame the drink (or my lack thereof)? Or am I just being too Lita?
After the Fair is a little musical based on the Thomas Hardy short story On the Western Circuit. (If you don’t know the name, Hardy’s most well-known work is Tess of the d’Urbervilles, written in 1891.) I’m not a big Hardy fan, even if I was an English major, but After the Fair is sweet and funny if not fast-paced.
Anna (Tara Sorg) is an illiterate maid in the Harnham household. Both she and the lady of the house, Edith (Lori Ecker), feel smothered in their sequestered, humdrum lives, and so Edith, hoping to live vicariously through Anna, allows Anna to go to the fair. Anna meets a man there, playboy Charles (Zachary Hoover), and after a tryst with him the next day, finds herself pregnant and Charles 100 miles away. Before discovering she is pregnant, Anna and Charles had been writing to each other, but since Anna is illiterate, Edith had been the one writing the letters for her. Through these letters, Edith begins to remember what is missing from her life … and her marriage: passion. Charles thinks he has finally fallen in love, and Edith certainly has, but what of Anna and the baby, not to mention the deceit of the letters’ author?
Vocally, I have to say that I felt I caught Ecker and Hoover on a somewhat off day this past Sunday afternoon. (I was having an off day too.) While certainly good, neither rose to the level I have heard from them before. Character-wise, however, they were spot on. Hoover only has to switch on that panty-poofing smile to make you believe he could get a Victorian lass out of her drawers. Ecker takes Edith on a subtle transformation as she reclaims her youth.
Alongside Ecker and Hoover, Sorg holds her own as the dim Anna, as does Scott S. Semester as the narcoleptic Arthur Harnham. A nice touch was the onstage orchestra, something you don’t see at BCP often.
Directed by D. Scott Robinson with musical director Jill Stewart and period costumes by Cathy Cutshall and set by John Walker, After the Fair is a pleasant diversion, but it’s not something that will stick with you much past the final bow.
Through Feb. 10, Fridays-Saturdays at 8 p.m. and Sundays at 2:30 p.m.
$20; $18 for children, students, and senior citizens. Use coupon code LETTER online to get $2 off each seat.
Most people are familiar with the story of Anne Frank’s diary, so since the audience already knows how it ends, the challenge for a stage (or film) version becomes the presentation. It’s an opportunity to take some liberties with Anne’s fellow inhabitants of the Annex and make them feel more like real people instead of auxiliary placeholders in Anne’s diary. Of course, the diary itself serves several literary purposes. Not only does it give a first-person account of Jews in hiding during the Holocaust, but it’s also a coming-of-age story of a typical teenage girl. Anne used much of her time—and there was two years’ worth of it—in the Annex writing down her thoughts both for posterity (she hoped to have it published someday) and as practice to become a journalist. Her desire to become a writer created a richer diary than most young girls’ are.
So the playwrights add detail, the director and actors give characters more depth, and the crew creates the atmosphere—all with poetic license. Such as, the real Annex was three levels, which is not conducive to viewing on a stage’s set.
This version of The Diary of Anne Frank is the 1955 Tony Award-winning adaptation by Frances Goodrich and Albert Hackett. After the unedited version of Anne’s diary was released after her father, Otto’s, death in 1989, Wendy Kesselman adapted this adaptation in 1996 to include some of the previously censored material. In the unedited version of the diary, Anne is a little more catty, a little more graphic, but Kesselman uses these elements sparingly. She includes that, as a normal teenager would, Anne starts to become sexually aware and that Anne often viciously disliked her mother.
Directed by the IRT’s artistic director, Janet Allen, the stage becomes full of relatable people. Miranda Troutt starts 13-year-old Anne off as flighty and slightly annoying, occasionally sweet — the definition of a 13-year-old with ADD. But after two years, Troutt lets Anne mellow out a little. The combination of isolation and natural maturation affect Anne’s personality but don’t squash it. Even after 25 months, Anne remains a ray of sun in a crypt-like environment.
Idiosyncratic details such as Mrs. Van Daan’s (Constance Macy) attachment to her chamber pot, the deadpan way Mr. Dussel (Rob Johansen) states cats give him “ass-ma,” or Mr. Van Daan’s (Robert Neal) crippling shame at being caught snatching food make this production both funny and horrific. By the time the Annex is discovered, you genuinely care about the eight people living there, not just Anne.
Yao Chen’s smart costumes aptly capture the times, and Bill Clarke’s scenic design, with lighting design by Andrew D. Smith, reflects the claustrophobic conditions the two-families-plus-one (and a cat) lived in.
The small world of the Annex on stage is just as rich as Anne’s diary.
Jan. 25-Feb. 24, times and dates vary
Tickets start at $25
Many programs will be presented in conjunction with the show.
Fonseca Theatre Company: The Ballad of Klook and Vinette
Soulful music and compelling choreography combined with witty and poetic storytelling makes this a mesmerizing theater experience. Tender, funny, and incredibly moving, this contemporary new love story will grab you from the inside out. Klook is a drifter who’s tired of drifting. Vinette is on the run, but she doesn’t know what’s chasing her. Together they make a tentative stab at love … until the past catches up to the future and smacks it in the face.
Jan. 25-Feb. 17, Fridays at 8 p.m., Saturdays at 5 p.m. and 8 p.m., and Sundays at 2 p.m.
$25; $20 for students; $15 for Near West residents.
There will be post-show discussions following the Sunday matinees on Jan. 27 and Feb. 10. The panel on Jan. 27 will feature Dan Wakefield and Phyllis Boyd from Groundwork Indy. Dan will be sharing his experiences covering the Emmett Till murder trial and unpack the enduring relevance of this pivotal case. The panel on Feb. 10 will feature guests from the Greater Indianapolis Progress Committee, the Indiana Prison Writers Workshop, and PACE Indy, who will help further explore issues in today’s criminal justice system.
This is an encore run back by popular demand. The show blends the hard edge of rock and roll and punk with the drama of musical theater and features the music of Queen and Green Day. The show received rave reviews across sold-out performances during IndyFringe this past summer.
Jan. 25-27, Friday and Saturday at 7:30 p.m.; Sunday at 6 p.m. Plus, an additional 9:30 p.m. performance on Saturday is a Sun King Brewery sing-along show with free beer for ticket buyers.
The show is an Indianapolis premiere. What happens when a married Victorian British woman writes letters for her illiterate maid and falls in love with the man to whom she is writing? A romantic, literate musicalization of Thomas Hardy’s short story On the Western Circuit, this award-winning four-character musical has played Off-Broadway, London, and various cities throughout the USA.
Jan. 25-Feb. 10, Fridays-Saturdays at 8 p.m. and Sundays at with 2:30 p.m.
$20; $18 for children, students, and senior citizens
Ruthless is based on the 1956 thriller The Bad Seed. It is an aggressively outrageous musical hit that garnered rave reviews during its long Off-Broadway run. Eight-year-old Tina Denmark knows she was born to play Pippi Longstocking and she will do anything to win the part in her school play. Anything includes murdering the leading lady! This spoof has enough plot twists and multiple identities to fill several old movies … the fun comes from the sheer brazenness!
Jan. 25-Feb. 17, Wednesdays-Saturdays at 7:30 p.m. and Sundays at 2 p.m.
$20-$45; all tickets $25 on Wednesdays
The Studio Theater at the Carmel Performing Arts Center
Indiana Repertory Theatre: The Diary of Anne Frank
This stage play is by Frances Goodrich and Albert Hackett and adapted by Wendy Kesselman. In a world turned upside down by the Holocaust, Anne Frank held on to her faith in humanity. This story of resilience, optimism, and a young girl’s extraordinary spirit that transcends time and offers hope to today’s world.
Jan. 25-Feb. 24, times and dates vary
Tickets start at $25
Many programs will be presented in conjunction with the show. One notable event is the Community Night honoring The Diary of Anne Frank and International Holocaust Remembrance Day. Special Community Night programming will take place around the Jan. 27, 6 p.m. performance and feature special pricing. There will be a post-show candle lighting ceremony that will feature representatives from a variety of marginalized Indianapolis communities, as well as readings from Anne Frank’s writing. IRT’s Community Night encourages patrons to pay what they choose to enjoy a night of top-quality and thought-provoking live theater. Community Night suggested ticket pricing starts at $10. Patrons who wish to purchase tickets for Community Night can do so by calling the Ticket Office at 317-635-5252.
School of Rock is a New York Times Critics’ Pick. Based on the hit film, this hilarious new musical follows Dewey Finn, a wannabe rock star posing as a substitute teacher who turns a class of straight-A students into a guitar-shredding, bass-slapping, mind-blowing rock band. This high-octane smash features 14 new songs from Andrew Lloyd Webber, all the original songs from the movie, and musical theater’s first-ever kids rock band playing their instruments live on stage.
I’m always impressed by one-person shows because of the stamina required of the actor, but also, from the audience’s perspective, the entire performance lays on their shoulders. No pressure, eh? (Of course, anyone who’s ever looked at a program knows that a production is much, much more than just its actors. But they are the focus, regardless.)
In the Phoenix Theatre’s Apples in Winter, Miriam (Jan Lucas) is making an apple pie for her son’s last meal before his sentence of death by lethal injection. Her double entendre isn’t lost in this situation: If you follow the rules, you end up with a good, or at least decent, pie. While Lucas bakes a real pie from scratch, start to finish, we are told stories of her son’s life and her own doting parenting. However, the scourge of drug addiction isn’t examined, and her son’s addiction is only vaguely addressed. Hell, we don’t even know exactly why he is on death row until far into the show. There’s some downtime while we just watch her work or stand contemplatively, and as the play progresses, empathy becomes tedium.
But Lucas sincerely conveys the emotional upheaval of a devoted mother whose unconditional love remains fully intact. Lucas and director Jolene Mentink Moffatt are both longtime presences in the Indianapolis theater community. Both work to make Miriam as interesting as possible, but the confessional setup pulls us in only to let us slowly fade back out.
By the way, you can buy a raffle ticket before the show to win the pie.
The Indiana Repertory Theatre’s Every Brilliant Thing features a character simply labeled The Man (Marcus Truschinski) and how he responds to his mother’s multiple suicide attempts, the first of which happens when he is 7. In response to this initial attempt, Marcus begins a list of things that make life “brilliant,” like ice cream and water fights, and later in life, falling in love and the prospect of dressing up as a Mexican wrestler.
The list grows, but it doesn’t save his mother — nor does it save him from falling into depression in his adult years. Because the fact is that for those who suffer from major depressive disorder — not just the occasional blues or a hard period in life, such as a divorce — things that make life worth living just … don’t. While the list is a sweet gesture from a 7-year-old and a fun game for college kids, in the end, it falls short of effective. A heavy-duty dose of an SSRI would be more suitable.
Regardless of the dark genesis of the story, the script’s redeeming quality is that it’s more funny than funereal. Even the reenactment of putting his beloved dog to sleep is more silly than it is weepy sentimentality.
Beware audience participation, some innocuous, such as shouting out one of the items on the list, some more involved, such as portraying Marcus’s girlfriend. One audience member gets to stick their hand in their sock to make a puppet. And because I am the definition of a shrinking violent, I was terrified when I found myself seated on the stage with four others. But Truschinski is encouraging and good-natured toward his drafted actors.
In fact, Truschinski himself (directed by Tim Ocel) is what makes the show recommendable. I already knew Truschinski was a comedian given his antics in The Mystery of Irma Vep: A Penny Dreadfulwith Rob Johansen at the IRT in 2016. Here he reminds me of Matt Smith as the 11th Doctor, not just in a passing resemblance but also in his excitable and playful mannerisms. His character has personality to work with, and little quirks are written in, such as his penchant for vinyl records.
In the program, artistic director Janet Allan likens the show to storytelling, and she couldn’t have put it better. The intimacy of the setting, interaction with the audience, and Truschinski’s delivery make this crazy train worth the ride.
Through Feb. 10
$21-$78. Use promo code FRIEND10 and save $10 off each ticket
The new Be Out Loud Theater (BOLT) premiered with the obscure Tennessee Williams play and Tell Sad Stories of the Death of Queens. And I mean really obscure. Google it. There ain’t much there. According to BOLT, the play (written in 1955) was never staged during Williams’s lifetime due to its themes of homosexuality and transgenderism.
This is a play that deserved to come out of the closet. The storyline is heart wrenching, but it is infused with humor, which the cast runs with merrily. Candy (Lance Gray) (a “queen”) is still hurting over the end of her longtime relationship. Her ex-husband walked out on her for a younger man, and Candy’s self-worth has plummeted. She is desperate for attention, so she brings home a broke, straight, drunken sailor, Karl (Chris Saunders), and basically offers to be his sugar mamma as long as he stays with her — no other strings attached.
Gray makes Candy both lovely and pitiful — like a wilted Southern belle. Candy is no steel magnolia; Gray carries Candy’s vulnerability like a red V emblazoned on her crinoline-lined frocks. Gray’s characterization captures the inflection and delivery needed to emphasize much of the script’s both humor and distress.
Saunders’s Karl is just … an ass, an oaf. Saunders makes it clear just how little Candy thinks of herself if this is the man she chose to bring home.
A loveable gay couple live upstairs. Gossipy and flamboyant, Joe Barsanti and Christian Condra are often comic relief and occasional commentary.
BOLT premiered with a profound play and an arresting production of it. The new company, initiated by longtime thespian Michael Swinford (who also directed the show), was created as an outlet for LGBTQ plays. Swinford summarizes it as “Remember. Honor. Celebrate.” Remembering the past and honoring those who fought the battles that pushed the community to its current status. But it also reminds us that there is still work to be done to insure that progress continues.
Jan. 4-20, Fridays-Saturdays at 8 p.m. and Sundays at 2:30 p.m. Opening night reception Jan. 4. Talkbacks on consecutive Fridays.
$25; $20 seniors; $5 discount at door for Indy Pride members with proof of membership.
BOLT (Be Out Loud Theatre): and Tell Sad Stories of the Death of Queens by Tennessee Williams
Williams’ play, written in 1955, was ahead of its time. Transgender, aging, homophobia, and survival are all themes in this poetic, at times, brutal play. The script was not produced in Williams’ lifetime, due to his blatant treatment of a subject matter that was not spoken of in the decades before now. Candy Delaney is a successful New Orleans interior decorator and also a drag queen approaching “her” 35th birthday. On the rebound from a 17-year relationship, Candy has picked up a rough sailor, Karl, on whom she lavishes money. On the day of the dreaded birthday, Karl walks out and it’s left to the two queens who live upstairs, Alvin and Jerry, to comfort Candy.
Jan. 4-20, Fridays-Saturdays at 8 p.m. and Sundays at 2:30 p.m. Opening night reception Jan. 4. Talkbacks on consecutive Fridays.
$25; $20 seniors; $5 discount at door for Indy Pride members with proof of membership.
A bold new play based on works by the prolific Russian playwright, poet, and author Anton Chekhov. The ensemble is made up of Butler University Theatre students and alumni, many of whom also studied at the prestigious Moscow Art Theatre School, where Anton Chekhov famously served as playwright in residence. Through years of previous projects, this ensemble has developed a unique technique of theater-making, blending Stanislavski’s psychological realism with the newly translated breakthrough theories of Mikhail Butkevich. Now, the company aims to innovate and break ground on new forms of theater-making and presentation.
(Ed. note: One of my all-time favorite Fringe experiences!)Back by popular demand, Shakespeare’s Romeo & Juliet … just over an hour … under the influence! More Shakespeare! More drinking! Almost 30% new cast! Brought to you by the not-at-all-serious drunkards of ETC featuring the tipsy talents of Frankie Bolda, Bradford Reilly, Paige Scott, Evan Wallace, Kelsey Van Voorst, Ryan Ruckman, and Marcy Dodson.
Christmas Through the Ages: The Hysterically Historical Holiday Musical
The show is a fun-filled family journey through the history of the holiday season and all of its music and traditions. Julie Lyn Barber, playwright, and producer, stars alongside Dave Ruark and Sage Murrell in this fast-paced collection of humorous and endearing stories and music ranging from early chants to medieval, Renaissance, baroque, classical, romantic, Victorian, and contemporary. A warm and light-hearted show for the whole family!
Hi everyone! I didn’t find any openings for this weekend, but I wanted to let you know I’m still here. 🙂 For now, my sister and I are mostly looking at paperwork and what to do with Daddy’s things, so life is back to as normal as it can be after a parent’s death. I’ll keep you updated as theater events start to pick back up.
First there was sickness, then I was out of town for Thanksgiving and that Sunday, when I was going to see the IRT’s A Christmas Carol, my car’s battery bit the dust hard. Now, I’ve had to cancel the four shows I had lined up to see this weekend. My father is expected to pass away within the next 48 hours or so, and I am leaving to go to Ohio to see him before he goes.
I love you all, and I love the theater community, but I love my dad more, so this will be the third weekend with no reviews from me.
There are a ton of openings this weekend, so I will try to get a roundup on here either tomorrow or Thursday. If you want, you can check out my evolving calendar here.
Phoenix Theatre: A Very Phoenix Xmas 13: Merry Superstitions
Phoenix’s annual anything-but-traditional holiday show is the sketch comedy/cabaret/variety hour you never knew you needed. It’s a little slice of yule log with a big dollop of sass, and this year, it’s turning lucky number 13.
Nov. 23-Dec. 23, Fridays-Saturdays at 8 p.m., Thursdays at 7 p.m., and Sundays at 2 p.m.
Actors Theatre of Indiana is offering a special Black Friday price for any ticket to any performance of It’s A Wonderful Life (A Live Radio Play) at the Studio Theater in Carmel’s Center for the Performing Arts. Purchase tickets at special rate of $25 any time between 8 a.m. and 8 p.m. Friday, Nov. 23 with code BEDFORDFALLSFRIDAY. This deal is good for all sales — online, by phone or in person. atistage.org.
Actors Theatre of Indiana: It’s A Wonderful Life (Live Radio Play)
This beloved Frank Capra American holiday classic film comes to life as a captivating live 1940s radio broadcast. With the help of an ensemble that bring dozens of familiar characters to the stage, the story of idealistic George Bailey unfolds as he considers ending his life one fateful Christmas Eve. It will take the help of a lovable angel, Clarence, to show George what life would be like if he wasn’t born and then guide him to a change of heart and understanding the true spirit of Christmas. Remember: “Every time a bell rings, an angel get its wings.”
Magic Thread Cabaret: Melissa Schott: The Key of Me
Indianapolis native and current New York City-based singer-actor-dancer Melissa Schott presents a cabaret show in which she is accompanied by her pianist and music director Scott Harris. Singing a blend of pop, Broadway, and folk, in addition to tunes from the Great American Songbook, Melissa will share stories about her life and career during a captivating show that will also include some surprises.
NoExit/Indianapolis Movement Arts Collective: OPEN Indy
The first OPEN Indy features this year’s resident artist, Gerry Trentham, an internationally known director/performer based in Toronto and artistic director of lbs/sq” performance. The OPEN Indy culminating performance will include Trentham’s Yellow Scale, a 40-minute solo from his full-length work Four Mad Humours, which earned him a Toronto Dora award for performance. Local dance theater artist Lani Weissbach, director of artist residencies and embodied learning at IMAC, will present The Truth About Mr. Duffy, performed by Lukas Schooler of NoExit Performance and Tanner Hronek, previously with Dance Kaleidoscope. The performance will also feature the premiere of COMMUTE, which will be created by Gerry during his residency and performed by members of the Indianapolis community.
Stark Naked is a two-woman play in which the artist Margaret Stark and graduate student Carrie Cohen explore the choices women make in their lives and the consequences of those choices. Carol Weiss, the playwright, has been writing about artists and the arts for more than 30 years. She was a columnist and feature writer for the statewide arts magazine Arts Indiana and has co-authored three books.
In a Gotham-like city, a terrible water shortage, caused by a 20-year drought, has led to a government-enforced ban on private toilets. The citizens must use public amenities, regulated by a single malevolent company that profits by charging admission for one of humanity’s most basic needs. Amid the people, a hero decides that he’s had enough and plans a revolution to lead them all to freedom! Hilariously funny and touchingly honest, Urinetown is a musical satire of the legal system, capitalism, social irresponsibility, populism, bureaucracy, corporate mismanagement, municipal politics, and musical theater itself!
Florence Foster Jenkins was the laughing stock of the New York socialites. The true-life figure sincerely thought herself a highly gifted singer when in fact she couldn’t carry a note in a hermetically sealed container. Her friends indulged her, attending her recitals for the comedic entertainment, though Florence thought they were genuine in their support. She hired an accompanist, Cosme McMoon, who took the job because, as a struggling young musician, he needed rent money, though he was appalled by her voice. Her performances took on a cult-like following, with audience members shoving handkerchiefs in their mouths to muffle their laughter or even fleeing the hall because they were just going to lose it. Slowly, her performances got out of hand, with the audience growing and growing until the duo found themselves performing at Carnegie Hall in 1944.
Souvenir is ridiculously hilarious. This under-publicized show needs attention because not only is it a riot, but it’s also so well-done.
Of course, the play isn’t strictly biographical, as the conversations between Florence and Cosme can’t be recreated, and there is some conjecture about whether or not she really knew how bad she was. But, poetic license.
The story is told to us by Cosme, who is now working at a supper club. In between his flashbacks to his time with Florence, John D. Phillips gives us snippets of a few ditties, such as “One for My Baby” and “Crazy Rhythm,” a nice counterpoint to Florence’s unspeakable noises.
Lori Ecker is the flamboyant and melodramatic Florence. I don’t know how Ecker mangles her beautiful voice into Florence’s caterwauling, but at the end, we get to see what Ecker is really capable of in a moving “Ava Maria.” Ecker is endearing, even childlike in her comical enthusiasm, confidence in her talent, and flighty personality. At one point, she practically (and gleefully) assaults the audience with maracas and flowers. The Carnegie experience comes complete with equally absurd outfits by costume designer Susan Sanderock.
Phillips as Cosme is the picture of a pianist in pain, even frightened at times by the sounds emitted by Florence, but he slides in sly comments without Florence’s notice, which, with a bottle of wine, seem to help him though their rehearsals. The over-the-top looks on his face are just as outrageous as Florence herself.
The play explores friendship, loyalty, passion for the arts, and musical interpretation. The (NOT romantic but almost familial) relationship that evolves between Florence and Cosme over their 12 years of working together is deeply touching and a testament to the power of friendship. Camilla Upchurch has directed a hit that deserves to be supported. Go see it! You will love it!
Through Nov. 25, Fridays-Saturdays at 8 p.m. and Sundays at 3 p.m.
Tennessee Williams is one of the best-known American playwrights, having penned the smashing successes The Glass Menagerie, A Streetcar Named Desire, and Cat on a Hot Tin Roof. However, in the 1960s and ’70s, his work took a downward turn, as did his personal life. Drugs and alcohol severely affected the quality of his work, so those plays became unpopular and obscure. 1965’s The Mutilated is one of those plays, and while I find no fault with NoExit’s production, I am not going to defend the script. (However, the use of some really nasty rose incense at the end had my best friend on the edge of a full-blown asthma attack and left me with a headache from hell.)
Ryan Mullins directs fallen-out friends Gigi Jennewein as the self-conscious, pent-up Trinket and Beverly Roche as the shoplifting, washed-up prostitute Celeste. Roche is particularly interesting in her portrayal of a woman on the rock bottom, willing to eat Vanilla Wafers from a box containing a dead cockroach, and Roche and Jennewein play well off each other.
The supporting cast includes Zachariah Stonerock, Matthew Walls, Doug Powers, Mark Cashwell, Dan Flahive, Abby Gilster, and Elysia Rohn, all of whom help add interest, including very nicely done a cappella breaks (musical composition by Ben Asaykwee).
Mullins uses the space’s balcony to great effect, and Kipp Normand’s set and prop design includes some intriguing pieces. I love the hats that costume designers Kat Robinson and Traci Snider put on the ladies.
If you are up for a challenge, NoExit’s presentation is quality. But don’t expect anything close to the genius of The Glass Menagerie.
Nov. 9-18, Thursdays-Saturdays at 8 p.m. and Sundays at 7 p.m.
A mixture of comedy and commentary, Hooded, or Being Black for Dummies by Tearrance Arvelle Chisholm is about two black boys portrayed with the kind of broad stereotypical characteristics that would comfortably land them in The Breakfast Club. The title alone makes you want to laugh, but then you feel guilty immediately, knowing in this uber-PC world you shouldn’t laugh. And that intentionally placed tension is a hallmark of the show, immediately marked by the “laugh light.” A brutish police officer (Warren Jackson) instructs us, among other things, to laugh when the light comes on, but we soon learn that it lights up at inappropriate comments that are progressively less funny and more jaw-droppingly shocking.
Tru (Joshua Short) and Marquis (Chinyelu Mwaafrika) meet in jail. Tru was picked up for “loitering,” and Marquis is in for trespassing. He and his friends were in a cemetery taking photos of them “Trayvoning,” a social media thing where kids mimic the dead posture of Trayvon Martin, including a bottle of Arizona tea, Skittles, and a hoodie. While both black, they are polar opposites. Marquis attends an exclusive, all-white prep school and his adoptive parents are white. He is bookish and almost effeminate in his sunny attitude and mannerisms. Tru is more street-smart, living in a lower-class inner-city area with his single mother.
Marquis’s lawyer mother (Mara Lefler) shows up to collect Marquis and immediately demands that Tru be released as well. She takes Tru home with them, thinking how exciting it is that Marquis has his first cultural (i.e., black) friend. His mother spins scenarios in her mind, giving Tru an increasingly more depressing background, to the point where Marquis says Tru better watch out for a “hostile adoption” due to his mother’s well-meaning but misplaced fervor to give Tru a better upbringing. Fawning over her son and in extension Tru, as she is too excited to see Marquis form a friendship with another black boy.
Tru decides that Marquis is too white, and he writes a manual for Marquis on how to be black. Some of the advice is amusing, such as ending each statement with “bitch” so the other person will take you seriously, but it also addresses race-based social issues, such as how much harder it is to be black than white in many situations. When the manual lands in the hands of Marquis’s friend Hunter (Patrick Mullen), the transformation is at first ridiculous but then tragic, as we reflect on the often insurmountable stresses that are placed on black people.
Short gives Tru an ease and confidence that translates into both authority and entertainment. Though he is set up to be just a template, Short creates a much richer character in his manifestation of Tru through line delivery and body language. The sarcastic and coy Tru is accessible and approachable no matter your race. Mwaafrika’s milquetoast Marquis has no defining characteristics because Marquis has never tried to be his own person. He is an outsider in both races. Through either his innately submissive personality or his subconscious reacting to his all-white environment, he has never developed himself as an individual, merely reflecting the thoughts and attitudes of those around him. Is this nature versus nurture? Mwaafrika must take Marquis through this delicate revelation, but alas, the play ends before Marquis has the chance to make much progress. In the meantime, Mwaafrika gives us an endearing if somewhat clueless teen that you kind of feel sorry for in his awkwardness and naiveté.
Lefler as Marquis’s mom is an overbearing caricature of maternal instinct gone haywire, but she also gets to hang with the cool girls at school as the ditzy Prairie, along with Ivy Moody, the bitchy Meadow, and Dani Morey, the sweet Clementine. James Banta as school chum Fielder is so much more hilarious as Dionysus.
Directed by Ben Rose, the play elicits strong emotional reactions, from unbridled laughter to insuppressible exclamations of “ohhhhh” from the audience. Packaging hard truths in a piece that is truly entertaining is a hard match, but Hooded, or Being Black for Dummies does it. Highly recommended.
Nov. 9-Dec. 2, Fridays at 8 p.m., Saturdays at 5 and 8 p.m., and Sundays at 2 p.m.
$25; $20 for students; $15 for Near Westside residents
Souvenir is a fantasia on the life of Florence Foster Jenkins, a wealthy socialite and a real-life historical figure, told through the eyes of her accompanist Cosme McMoon. Jenkins is completely tone deaf but convinced she is a great soprano. The audience enters Florence’s world completely, finding there the beauty she’d heard in her head all along. In 1932, she met mediocre pianist Cosme McMoon, and the two teamed up in the hope of achieving success. Over the next dozen years, their bizarre partnership yielded hilariously off-key recitals that became the talk of New York, earned them cultish fame. The play culminates in a sold-out performance at Carnegie Hall in 1944, where the audience “turns on her in gales of derisive guffaws.” The play’s title comes from Jenkins insisting on recording “Queen of the Night” (Mozart), saying that when her voice is not as strong, the recording will make “a lovely souvenir.”
This is presented by the same cast, crew, production team that brought you Souvenir at Footlite Musicals and IndyFringe Festival 2012 and last month at Myers Dinner Theater.
Nov. 9-25, Fridays-Saturdays at 8 p.m. and Sundays at 3 p.m.
Fonseca Theatre Company: Hooded, or Being Black for Dummies
A timely examination of growing up black in America by rising-star African-American playwright Tearrance Arvelle Chisholm. Marquis, a book-smart prep-schooler from the suburbs, meets Tru, a street-savvy Baltimorean, in a holding cell. Tru thinks Marquis has lost his “blackness” and decides to write a manual: Being Black for Dummies.
Nov. 9-Dec. 2, Fridays at 8 p.m., Saturdays at 5 and 8 p.m., and Sundays at 2 p.m.
$25; $20 for students; $15 for Near Westside residents
It’s Christmas Eve in New Orleans, and two friends must navigate their usual territory of con men, cops, and the cruelty of fellow humans. In the company of fellow misfits and outcasts, Trinket Dugan and Celeste Griffin attempt to repair a friendship torn apart by unhealthy codependency and a string of hurt feelings. The popcorn is strung on the tree, the carolers are singing, and the booze is flowing. But will their friendship survive the ravages they inflict on each other? According to directed by Ryan Mullins, “The Mutilated beautifully embraces a variety of socials outcasts and questions whether or not they deserve the same happiness and redemption we associate both with the holidays and in our closest relationships. I love the idea that all of us are mutilated in some way. And while mutilation is a word that has a negative connotation, I would argue that no matter if it’s something physical or emotional, it’s something that makes you just as strong as it does vulnerable. And that’s a really fragile balance.”
Nov. 9-18, Thursdays-Saturdays at 8 p.m. and Sundays at 7 p.m.
Stage To Screen Studios Cabaret Series: The Best of Broadway
The Best of Broadway is a celebration of music from the Great White Way and features some of the most memorable songs, dances, and magical moments from your favorite Broadway shows, including A Chorus Line, Chicago, Gypsy, Evita, Cabaret, Grease, and many more.
Nov. 9-18, Fridays at 7:30 p.m., Saturdays at 2:30 and 7:30 p.m., and Sundays at 2:30 p.m.
A once in a lifetime opportunity to see the Fishers Police and the Fishers Firefighters perform an historical reenactment! On Saturday, Nov. 19, 1881, in the town of Fishers (then known as Fishers Station), a rowdy, cantankerous character by the name of Hampton “Hamp” West (he was also a grave robber) started a ruckus that culminated in a notorious battle. Commotion and mayhem ensued until it snowballed into an explosion of violence that left one person dead and 32 injured, and it caused the destruction of two buildings. So infamous was the occurrence that it made national headlines and put Fishers on the map.
Nov. 10, 3 p.m.
$12 online / $15 at the door
Historic Ambassador House
Homemade chili, provided by the Fishers Firefighters, will be available for purchase. A variety of local vendors will be on site with beverages available for purchase.
All proceeds will go to The Historic Ambassador House, The Fishers Police Foundation, and The Fishers Fire Foundation.
The Slam theme is Immigration. These up-to-five-minute personal stories must be true, told in the first person, and based on the theme. The theme is broad and may be interpreted many ways. (No props nor reading from the page.) The slam judges are picked from the audience along with a time keeper and score keeper, so if you don’t want to tell, you can still participate. Host Celestine Bloomfield will pick names of those who want to tell from a hat at the top of the show. The first-place winner will open for Donald Davis on Saturday, Dec. 1; second and third place winners will receive complimentary tickets to an upcoming storytelling performance and IndyFringe performance.
Matlack is a veterinarian turned academic whose hobby is creating and telling stories. Thanks to the Frank Basile Emerging Stories fellowship funded by generous arts patrons Frank and Katrina Basile, Matlack developed The Stories in Our Stones about his life-long obsession with the fossils from Indiana limestone. Matlack grew up near the Whitewater Formation in Richmond, Indiana, which is world famous for its fossils. It was one of the first natural exposures from the Ordovician period to be discovered and studied in this country. This geological period and system is 450 million years old! Matack is quick to point out he’s not a paleontologist, so there will be just enough science to understand the historical importance of the Whitewater Formation in paleontology, but mostly, his story is a nostalgic one about childhood obsessions, growing up in Indiana, and the great teachers he had along the way.
Saturday, Nov. 3, 7 p.m.
$15; $20 at the door
Eugene & Marilyn Glick Indiana History Center
Spirit & Place Festival: Sally Perkins presents “A Dance of Wisdom Tales and Tunes”
The festival theme this year is “Intersection,” allowing you to explore unique and even radical collaborative opportunities. Perkins will weave tales from various faiths and cultures with music specifically chosen for each one. It promises to be a multi-sensory experience.
The evening will include musical entertainment, drinks, hors d’oeuvres, a group dance lesson, a silent auction, and more, all in the beautiful setting of McGowan Hall, a historic building a few blocks away from the theater.
Epilogue Players, a community theater, has been serving Indianapolis audiences for over 40 years. Its current home, 1849 N. Alabama St. in the historic Herron-Morton Place neighborhood, is in need of repairs and improvements to maintain the comfort and safety of the actors and audience members, who share in the experience of five productions each year. All of the actors, crew and board of directors are unpaid volunteers.
All proceeds will go to fund the materials needed for these upgrades and repairs. On the list of items needed are improvements to the exterior of the facility, installation of ADA restroom for audience and cast and crew, upgrades to the auditorium lighting system, and more. Funds will be raised through admission to the event and through a silent auction of items donated by various companies and individuals.
The Improbable Fiction Theatre Company: Comedy of Errors
The Comedy of Errors is a fast-paced farce involving mistaken identities, backhanded business, and even more mistaken identities. Shakespeare’s shortest play is full of laughter, clever lines, and outrageous characters.
Nov. 2-10, Fridays-Saturdays at 8 and Sunday, Nov. 11 at 2 p.m.
Khaos Theatre Company: Emerging Artists Theatre New Play Festival
Along with a local artists’ bazaar, Khaos will have two performances of its annual New Play Festival (formally Dionysia New Play Festival), a collection of excerpts from international and local playwrights voted on by you, the audience. The winner will be produced in full in Khaos’s next season. The evening will culminate in the only performance of Yellow Heat, a new play by Allan Bates.
IndyFringe: The Inaugural Indiana High School Festival
This weekend you can see eight high schools from across Indiana compete for $1,000 in cash awards in a brand new performance opportunity for high school theater artists. All schools will share 50% of the box office.
Merrillville High School: Drift
Among the shadows of the bright lights of New York City’s theater district, nine homeless people search for hope and meaning. They’re not movers and shakers; they just get moved and shaken. In a world that’s been turned upside down, they find poetry and pain, with no pity and no shame. Nov. 2, 6 p.m.; Nov. 3, 3 p.m.; Nov, 4, 2 p.m.
Lawrence Central High School: Interrupting Vanessa
Vanessa lives with her mother, who is too busy to listen to her, so she spends a lot of time in her room. There is one treasure she keeps there: her father. Vanessa’s father died last year, but she is unable to let him go and imagined him back to life. Vanessa gets carried away with her imagination by telling her father elaborate stories. Then Mom does the unthinkable: she invites Timmy Fibbins over. No one at school talks to Timmy! Her imaginary father reminds her that no one talks to her either. Once Timmy arrives, things aren’t so bad. Nov. 3, 2:30 p.m.; Nov. 3, 9 p.m.; Nov. 4, 3:30 p.m.
Shortridge High School: The Complete Works of William Shakespeare, Abridged [revised]
To celebrate the 20th anniversary of the Reduced Shakespeare Company’s classic farce, two of its original writer/performers (Daniel Singer and Jess Winfield) thoroughly revised the show to bring it up to date for 21st century audiences, incorporating some of the funniest material from the numerous amateur and professional productions that have been performed throughout the world. The cultural touchstone that is The Complete Works of William Shakespeare, Abridged was born when three inspired, charismatic comics, having honed their pass-the-hat act at Renaissance fairs, premiered their preposterous masterwork at the Edinburgh Festival Fringe in 1987. It quickly became a worldwide phenomenon, earning the title of London’s longest-running comedy after a decade at the Criterion Theatre. The Complete Works of William Shakespeare, Abridged is one of the world’s most frequently produced plays and has been translated into several dozen languages. Featured are all 37 of Shakespeare’s plays, meant to be performed in 45 minutes, by three actors. Fast paced, witty, and physical, it’s full of laughter for Shakespeare lovers and haters alike. Nov. 2, 6 p.m.; Nov. 3, 1 p.m.; Nov. 3, 7:30 p.m.;
Castle Hill High School: These Shining Lives
These Shining Lives focuses on the story of Catherine Donohue and some of her female co-workers, known as the Radium Girls, who were lied to by their employers about the health effects of the radium they were using to paint watches in the 1920s and 1930s. Their case helped change laws that would help keep future employees safe from dangers and health issues they would face in the workplace. Nov. 3, 1 p.m.; Nov. 3, 7:30 p.m.
Roncalli High School: Steel Magnolias
Truvy Jones runs a successful beauty shop in Chinquapin, Louisiana, where all the ladies in the neighborhood have a standing Saturday appointment. Shelby’s engagement is the talk of the town, but the joy and excitement of her wedding quickly turns to concern as she faces a risky pregnancy and a myriad of health challenges. Eventually, when Shelby dies from complications related to her diabetes, M’Lynn, her mother, has to deal with life’s most difficult challenge: the loss of one’s child. As the women of Chinquapin make their way over life’s many hurdles together, they find comfort (and a fair amount of verbal ribbing) in one another. Nov. 2, 7:30 p.m.; Nov. 3, 4:30 p.m.; Nov. 4, 12:30 p.m.
Carmel High School: Failure: A Love Story
By the end of 1928, all three Fail sisters will be dead — expiring in reverse order, youngest to oldest, from blunt object to the head, disappearance, and finally consumption. Tuneful songs, and a whimsical chorus follow the story of Nelly, Jenny June, and Gerty as they live out their lives above the family clock repair shop near the Chicago River, before their time unexpectedly runs out. A magical, musical fable where, in the end, the power of love is far greater than any individual’s successes or failures. Nov. 2, 9 p.m.; Nov. 3, 6 p.m.; Nov. 4, 3:30 p.m.
University High School: Alice Through the Rabbit Hole
Alice goes on a steampunk, grunge rock journey through the eyes of five children. Lewis Carroll’s classic novel brought to life in a new era. Nov. 2, 9 p.m.; Nov. 3, 6 p.m.; Nov. 4, 2 p.m.
Westfield High School: The Actor’s Nightmare
This play was inspired by the well known dream that many people in professional and amateur theater have, that they go must perform in a play that they have inexplicably never been to rehearsals for and for which they know neither the lines or the plot. So in this play, George is an accountant who wanders onto an empty stage, not certain where he is or how he got there. The stage manager informs him he’s the understudy and must go on in a few minutes. George doesn’t know his name, doesn’t think he’s an actor (“I think I’m an accountant”), and has no idea what play he’s supposed to do. Nov. 2, 7:30 p.m.; Nov. 3, 4:30 p.m.; Nov. 4, 2 p.m.
$10 or buy a Fiver Pass at the door and see five shows for $30
The District Theater: Coping with Autumn staged reading
Witness the first-ever staged reading of Indy playwright Megan Ann Jacobs’s new play. It unravels the inner workings of the human psyche and challenges the resilience of the human spirit when dealing with anxiety, depression, and abuse. Support the development of this new play and offer feedback through the talkback to immediately follow the reading.
Nov. 6, 8 p.m.
Free; beverages and light snacks will be available to purchase at the theater
Indiana Repertory Theatre: A Super Secret New Play staged reading
Join The New Harmony Project and Indiana Repertory Theatre for a first look at a new play by James Still. Take a glimpse inside the development process and hear this play before it comes to a stage near you! Following his incredibly successful 20th season as IRT’s playwright-in-residence, Still returns to Indianapolis to workshop a script that he began at The New Harmony Project’s 2018 spring conference. This is an incredibly unique opportunity to hear a play in progress and participate in the development of his work. Featuring Jerry Richardson, Jenny McKnight, Jan Lucas, Robert Neal, and Emily Bohn.
Nov. 2, 7:30 p.m.
Free. There will be a brief reception following the reading with a cash bar available.
If you are going to Rocky Horror, if nothing else, do the fucking “Time Warp” for god’s sake. I hope like hell that Zach & Zack’s official opening weekend was raucous because the Thursday night preview audience was so limp I was pining for Viagra confetti poppers. This is not a passive show!
That night was tragic for me because Zach & Zack (producer Zach Rosing and director Zack Neiditch) put on a rocking, uninhibited, flamboyant staging of the cult classic. But just watching the show isn’t the whole experience. Since no audience props are allowed, the callback audience participation (and Time Warping) is crucial. I highly suggest Zach/k insert a plant into the audience for that reason.
Dave Ruark gets his distinctive “sweet transvestite” on as the corseted, pansexual Frank N Furter. This is the best vocal work I have heard from him in a long time, and he wraps his mouth around those syllables and spits them back out with a smirk.
Adam Tran’s Brad is a soupy mix of dweebery and discombobulation, like a nerd in the corner at a 1950s prom wearing high waters. But by the floorshow, Brad’s well into this “folk dancing.” His fiancée, Janet, played by Andrea Heiden, does her Stepford whine until trou starts dropping and she can’t get touch-a touched enough. She still seems innocent somehow even when she is climbing Rocky (eye candy Joe Doyel) like a monkey.
Davey Pelsue’s Riff-Raff is a show within himself. He takes what is usually portrayed as an unwashed undertaker and makes him sexy-grungy and quirky-funny. Anna Lee as Magenta and Alexandria Warfiel as Columbia also get their own looks but play out their characters more to book, with satiating results, as does Josiah McCruiston as Eddie (and Dr. Scott) with his “Hot Patootie.” Adam Crowe is very serious onscreen as the Narrator with no neck.
The ensemble drips with various incarnations of sexuality in its eclectic costuming (Ashley Kiefer and Andrea Bear) and choreography (Mariel Greenlee). Other super heroes feasting on the show include scenic designer Andrew Darr, lighting designer Michael Moffatt, sound designer Mathew Ford Cunningham, makeup/wig designer Andrew Elliot, and many others. Read the program.
And you gotta love Brent Marty (music director). Hot Patootie, bless my soul! I really love that rock ’n’ roll!
Thursday, Nov. 1 at 7:30 p.m.; Friday, Nov. 2 at 9:30 p.m.; and Saturday, Nov. 3 at 7:30 and 10:30 p.m.
Bumbling journalist Greg is fan-boying. He’s interviewing one of his idols, horror monster moviemaker Ephraim Knight. It’s almost reminiscent of a scene in the movie Gods and Monsters, without the weird striptease. And instead of the 1950s, it’s 1978 — Halloween has just been released and the movie Rocky Horror is getting its heyday. Greg is writing an “all-Knight” issue for the magazine Popular Monsters (a nod to the movie-monster magazines that were prolific at the time). However, the magazine is in dire straits. Its owner is on his deathbed, and his daughter, Elsa, has no intention of keeping the magazine alive.
Actually, the show shares some of the topics touched on in Gods and Monsters, specifically the philosophy of the horror-movie-making industry, the evolution of the genre, and the fates of those left behind as they are supplanted by the next generation.
But then Lou Harry’s play, which is directed by Zachariah Stonerock, adds a plot twist concerning paternity. The addition is jarring in that there is no lead-in — the revelation seems pulled from the ass — and from there the story just loses its interest. There’s a metaphor there, but it’s lost in the lack of subtle. Instead of letting the audience ruminate on its deeper meaning, we are barraged by family drama.
Tom Weingartner as Greg is endearingly geeky. Jamie McNulty could have been an impressive presence in his approach to the characterization of Knight if he hadn’t fumbled so many lines on Friday night. Miranda Nehrig is fine as the emotionally maxed-out Elsa, and she is a cute drunk. Alexandria Miles plays Shawna, a brusque, abrupt, and annoying character that helps inject motivation for dialogue.
Before the show, my friend and I had a ball looking at Stonerock’s set, a hodgepodge of memorabilia reminiscent of an I Spy game.
There is some good stuff here, but IMHO, I think the script for Popular Monsters still needs some tweaking.
Through Nov. 4, Thursdays-Saturdays at 8 p.m. and Sundays at 5 p.m.; Saturday, Nov. 3 at 5 p.m. only
Zach & Zack is, IMHO, producing some of the best stuff on Indy stages, and what could possibly be more fun than doing the Time Warp down memory lane? For me, Rocky embodies all that was the most unfettered in my high school and college years. Do it again or take a Rocky Virgin and laugh your ass off at them. I highly recommend the audience participation because the show just isn’t as interesting without it. (But WTF, no props? No toast? No squirt guns? No cards? I guess I can understand the no bologna and no lighters, but damn.)
Squeaky-clean couple Brad and Janet find themselves stranded on a dark and stormy night. A flat tire brings them to the home of the fabulous and mysterious Dr. Frank N Furter. Too bad for them, they’ve arrived on a very special night! Soon, Brad and Janet will meet Frank’s newest “creation,” battle with temptation, and experience the craziest evening of their lives.
Plan to yell callbacks during the show? You’ll prefer the late-night performances. (But they won’t stop you at the early shows!) No props will be allowed into the theater (but costumes are highly encouraged).
Cast highlights include Dave Ruark as Frank N Furter; Adam Tran as Brad; Adam Crowe as the Narrator; and music director Brent Marty on the keyboard.
Friday, Oct. 26 at 8 p.m.; Saturday, Oct. 27 at 7:30 and 10:30 p.m.; Thursday, Nov. 1 at 7:30 p.m.; Friday, Nov. 2 at 9:30 p.m.; and Saturday, Nov. 3 at 7:30 and 10:30 p.m.
Opening night party at Metro Nightclub after the show to meet the cast and production team
London, 1888. The city is on edge. Women are being murdered in the street. With a flick of his pen, one man creates the most infamous murderer in history: Jack the Ripper. Frederick Best, a freelance journalist working for The Star newspaper in London in 1888, is haunted by his actions, some years after his employment. Best is trapped in a personal Purgatory of guilt, reliving his involvement with the news coverage of the Jack the Ripper murders in Whitechapel in an unchanging, cyclical fashion. With the help of Her — a mercurial ferryman of sorts for Best’s addled mind — Best tries desperately to change his past, only to be driven mad by the attempt. The full cast of characters in Best’s memories serve as constants in an otherwise unstable, unforgiving, and deconstructed world.
By local journalist and arts enthusiast Lou Harry.
Halloween is hitting movie theaters. The VCR is about to change how we watch films. An old-school horror movie magazine is going under. A once-famous screen actor is doing incontinence commercials. And on a dark and stormy-ish night, four very different people are about to learn what they really fear. The Popular Monsters are coming to Irvington.
Through Nov. 4, Thursdays-Saturdays at 8 p.m. and Sundays at 5 p.m.; Saturday, Nov. 3 at 5 p.m. only
NoExit Performance and Indianapolis Movement Arts: A Little Party Never Hurt Nobody!
CollectiveIndianapolis Movement Arts Collective and NoExit Performance are throwing a a wild party featuring work by local visual artists, live performances of all varieties, and lots of ol’ timey booze! Enjoy your giggle water in the meticulously restored prohibition era bar or under the stars in the beautiful beer garden. Fringe and feathers are highly encouraged, and remember, it’s a fundraiser, so bring your moolah! All proceeds will go to support OPEN Indy, a new program that brings top-notch interdisciplinary teachers and artists to our community for master classes and performances each year.
A powerful cast coupled with a controversial play makes for an evening of thoughtful and hard questions.
Pipeline is about Omari, a black student attending a private, mostly white school. His mother and father wanted him to have his best chance at a good life, so they bypassed the public high school where Omari’s mother teaches. However, Omari has had trouble at his school, and his “third strike” happens when he slams a teacher into a wall — and it’s surreptitiously videotaped by a student. Now Omari not only faces expulsion but also could face charges.
The story is about Omari as the stand-in for the African American males who are driven into the school-to-prison “pipeline,” but it’s also about the US school system and its inability to effectively teach our children while also providing them a safe environment.
Cole Taylor plays the troubled Omari. Omari is conflicted because he knows what he did was wrong and he doesn’t want to hurt his mother, but he admits that he has a rage inside that he can’t suppress. Taylor communicates both sides of Omari, creating the whole teenager that has so much at stake. And while Omari’s physical assault of the teacher can’t really be justified, Taylor’s portrayal allows us to sympathize with the struggling boy. Jasmine, Omari’s girlfriend at school, played by Renika Williams, is his sounding board, but even she, as what she calls a “token” poor black girl at their prestigious school, can’t handle Omari’s mood swings anymore.
Aime Donna Kellyn as Omari’s mother, Nya, is losing her own battle with her rage. She has no idea what to do next as she sees her son’s future potentially being destroyed. Kellyn boils on stage — a barely contained geyser of emotions and helplessness. Omari’s semi-estranged overbearing father, Xavier, played by Andre Garner, offers no realistic help and only exacerbates Nya’s already overstressed state.
Constance Macy as Nya’s white colleague Laurie rails against the unrealistic expectations laid upon the staff. Macy is dynamic in that her performance is so vitriolic you can’t help but be cowed by her rants. Toussaint JeanLouis as Dun, a school security guard, is an example of those expectations. He is genial and upbeat, but though he is diligent, he makes little more than minimum wage at a demanding and dangerous job.
Visually, the staging takes on stark and then haunting presentations through the work of scenic designer Junghyun Georgia Lee and lighting designer Xavier Pierce. The ubiquitous fluorescent lighting of classrooms gives way to the projected words from “We Real Cool” by poet Gwendolyn Brooks — words that echo in the minds of Omari and Nya.
Directed by Raelle Myrick-Hodges, Pipeline asks questions that are relevant to everyone — white or black, parent or not. The repercussions of these kids’ experiences will affect the entirety of society. No one has solutions, but they are imperative. Pipeline helps get the dialogue going.
When you book tickets for a show with a post-show discussion, use the code CICF for a $10 discount.
Friday, Oct. 26 following the 7:30 p.m. performance
Alicia Collins, community collaborations director at the Central Indiana Community Foundation, will facilitate a discussion with community leader panelists to relate the themes highlighted in Pipeline to Indianapolis.
Saturday, Oct. 27 following the 5 p.m. performance
Brian Payne, president and CEO of the Central Indiana Community Foundation, will facilitate a discussion with community leader panelists to relate the themes highlighted in Pipeline to Indianapolis.
Friday, Nov. 2 following the 7:30 p.m. performance
Tamara Winfrey-Harris, vice president of marketing & communications at the Central Indiana Community Foundation, will facilitate a discussion with community leader panelists to relate the themes highlighted in Pipeline to Indianapolis.
Saturday, Nov. 3 following the 5 p.m. performance
Pamela Ross, vice president of opportunity, equity, and inclusion at the Central Indiana Community Foundation, will facilitate a discussion with Jacob Allen, co-founder and CEO of pilotED Schools, and Dr. David Hampton, pastor of Light of the World Christian Church and deputy mayor of neighborhood engagement for the City of Indianapolis. They will focus on the effects and disparaging outcomes of African American males driven into the school-to-prison pipeline.
Nya’s son, Omari, is tormented with rage and in trouble at school. A fractured family navigates a broken system as a mother fights for her son’s future in a world divided by race, class, and money. Compassion and eloquence galvanize this gritty new work by one of America’s most sought-after playwrights, Dominique Morisseau. Note that Pipeline is a modern drama that contains strong language throughout and some adult situations.
Produced by Connie Oates, this is a celebration of women through dance, poetry, and music portrayed through the work of Maya Angelou and Mari Evans. Emerging Indianapolis poets include Mijiza Soyini and the voices of Staci McCrackin and Sharon Rimmer.
From the Emmy-winning writers behind the hit television series Friends comes Rapunzel, a familiar tale with a fantastic new spin. Forced to live alone in a tower, Rapunzel’s 16th birthday has come, meaning that she’ll be able to see the outside world for the first time. Before Rapunzel finds her prince and her inevitable “happily ever after,” she will have to face the wrath of the witch and a few other hilarious obstacles first!
Oct. 20-Nov. 17, Fridays at 10 a.m.; Saturdays at 10 a.m., 1 p.m., and 3:30 p.m.
$16.50 (includes juice and snack)
Performances are one hour long with no intermission
Hoosiers love their hometown heroes, and one of the best and most beloved is Cole Porter. With good reason. His infections tunes helped shape the sound of an era. Hence why his musicals continue to attract theaters and audiences some 80 years later. Songs from Anything Goes such as “I Get a Kick Out of You,” “You’re the Top,” “It’s De-Lovely,” “Let’s Misbehave,” and “Blow, Gabriel, Blow” are ageless.
Civic Theatre’s production captures that signature Porter spirit, anchored by the indomitable Susie Harloff as Reno Sweeney. There are many good reasons to see Civic’s show, but Harloff is the top. Her stage presence and pro vocals are everything you would expect from the confident Sweeney.
Kari Baker is lovely as Hope Harcourt, though Juddson Updike is hit and miss as love interest Billy Crocker. Of course, Anything Goes is really more comedy than love story, and Matt Bays as the effusively effeminate Lord Evelyn Oakleigh and Parrish Williams as the goofy gangster Moonface Martin provide in spades. Natalie Cruz is a firecracker as Erma.
Anything Goes wouldn’t be complete without the tap number to the titular song, and again, Civic doesn’t disappoint.
Everything comes together here — direction (Michael Lasley), choreography (Anne Beck), lighting (Ryan Koharchik), and music (Brent Marty) — to make this a delightful and de-lovely staging of a classic musical.
Through Oct. 27, Thursdays-Saturdays at 7 p.m. and Sundays at 2 p.m.
Storytelling Arts of Indiana: Ghost Stories at Crown Hill
The Halloween season has arrived!
Spooky stories will be told by Deborah Asante, Celestine Bloomfield, Doyne Carson, Lisa Champelli, David Matlack, Sally Perkins, and Bob Sander. Get ready for an evening of chilling tales told in one of Indianapolis’s most somber settings when Crown Hill Cemetery opens its gates for this annual celebration. Indiana storytellers take the stage among the tombstones, all sharing their eerie best and turning up the fright factor as the night goes on.
Bring blankets and lawn chairs before darkness falls and prepare to be entertained. Pack a picnic or check out one of the food trucks that will be on site. Beer and wine may be purchased as well. Please use the entrance at 34th Street and Boulevard Place; the north gate will not be open.
Saturday, Oct. 13. Gates open at 6:30 p.m. and stories begin at 7:30 p.m.
Crown Hill Cemetery
Children under 10 are free; students (ages 10-17) are $10 in advance and $15 at the gate; adults (18+) are $20 in advance and $25 at the gate. Family rate (all those living under one roof) is $50 in advance and $55 at the gate. Parking is free.
RIP Reception: Start the festivities in style with complimentary music by the Unholy Trio, beverages from Sun King Brewery and Mass Ave Wine, and snacks provided by the Food Guys Catering Company. Meet and mingle with the storytellers and other patrons at Crown Hill’s Waiting Station, built in 1885 as the gatekeeper’s residence. Play Halloween trivia and bid to take home a decorated pumpkin for the season. This event takes place from 5-7 p.m. Tickets are $40, which includes admission to Ghost Stories at Crown Hill.
Civic Theatre in partnership with Great American Songbook Foundation: Anything Goes
Music, dance, laughs, and the age-old tale of boy meets girl — no musical puts it on stage better than Anything Goes! A hilarious shipboard romp, wrapped around one of Cole Porter’s most magical scores that is delightful, delicious, and de-lovely.
Catch “Putting It Together: Anything Goes” presented by Yvonne Shaheen Friday, Oct. 12, 5:30 p.m. What does it cost to put on a show? Come to opening night of Anything Goes at Civic and find out for yourself! Experience what it actually takes to put on a production at Civic Theatre, from costumes and sets to the transformation from actor to character, printed programs, live stage manager calls, and more. See Anything Goes through the eyes of the actors and crew during this special evening. The ticket cost of Anything Goes on opening night includes the cost of “Putting it Together” ($25-$100).
Oct. 12-27, Thursdays-Saturdays at 7 p.m. and Sundays at 2 p.m.
Indiana’s Got Talent starts off the Stage To Screen Studios’ 2018/19 Cabaret Series. This is a variety show featuring a few of Indiana’s most talented artists, and it’s not only entertaining, but it will leave audiences inspired. Stage To Screen Studios’ Cabaret Series is proud to clearly demonstrate that the Hoosier state has some pretty amazing entertainers and is thrilled to give them a stage!
Oct. 12-21, Fridays-Saturdays at 7:30 p.m. and Sundays at 2:30 p.m.
This five-time Tony Award-winning musical is based on the Miguel de Cervantes 17th century novel Don Quixote. Set in a dungeon during the Spanish Inquisition, this musical play-within-a-play harkens back to a time of chivalry, adventure, romance, and a noble knight in a poignant and passionate quest for the impossible dream. It also confronts the vague line between sanity and lunacy, asking, “When life itself seems lunatic, who knows where madness lies?”
Election years always cause a hubbub in the nation’s capital, and this year’s election appears to be a real barn-burner. With all the noise and confusion being bandied about by the living residents of the District of Columbia, the unliving are fleeing like rats leaving a sinking ship! And where are they all headed? To the Presidential Site! Come meet the apparitions of haunted D.C. as they take residence in the Harrison home. Guests will travel from room to room enjoying performances throughout the National Historic Landmark home of President Benjamin Harrison, including up and down two flights of narrow stairs (elevator assistance is available). Guests will view shorter vignettes standing and longer scenes seated.
The performances are approximately 70 minutes long and are recommend for children age 10 and up due to the darkness of the home, length of the performance, and subject matter.
Want a spooktacular event your friends and family will talk about in the after life? Purchase a Room Buyout and bring up to 15 of your best ghouls and gals for a private performance unlike any other!
Combine Edgar Allan Poe with Tim Burton and Edward Gorey, add a heaping scoop of self-aware, eccentric humor, and hit puree.
You now have Cabaret Poe: The Musical.
Sing: “It’s dark. It’s very, very dark …”
This is the 10th iteration of Ben Asaykwee’s comical take on some of Poe’s best-known works. However, this was my first time seeing it, so I came into the show with no preconceived notions, except knowing that my fellow critics raved about it. I came out of the show thinking this is one of the most bizarre, blatantly and unapologetically irreverent abuses of an author’s words since Disney desecrated Victor Hugo’s The Hunchback of Notre Dame — and given my penchant for the bizarre and irreverent, that is the highest compliment I can dole out. You have won my black heart.
If you like weird, you. must. see. this.
(Please note that I do not, however, have any love for the talking gargoyles, goat, and happy ending in that vapid Disney cartoon.)
Asaykwee plays fast and loose with the stories, as I believe Poe never said someone had “the wit of an artichoke” or that a body was being exhumed so her lover could once more “run [his] hands through her nappy red wig.” The macabre is set to often upbeat music. Then there’s the shadow dancer (Rebekah Taylor) with Freddie Kruger-like hands. Poe’s melodrama is spoofed. Even blips are smoothly handled with improv-ish humor. (Oops, I forgot to grab my umbrella while I interred you. Throw that to me through the wall.)
Even the opening announcements are forebodingly funny, such as the threat to kill you if you don’t turn off your cell phone.
Asaykwee and Taylor are constants but the actresses portraying the two female characters trade off nights (Renae Stone, Georgeanna Smith Wade, Julie Lyn Barber, and Jaddy Ciucci), so the show you see could be slightly different from the one I saw Thursday night. All of the actors wear garb designed by Kat Robinson that looks like Victorian-goth shabby chic. I don’t know if Smith Wade’s costume was meant to have a tag marked “9” on the back, but even if it didn’t, it made me smirk, thinking of the animated, steampunk-ish movie 9. Asaykwee’s hair defies gravity.
Michael Lamirand’s gothic scenic design — reminiscent of the arches found at the entrance to cemeteries — sets the mood, and Zac Hunter’s lighting fleshes (or de-fleshes it, as the case may be) out the otherwise sparse stage.
Good stuff here for people like me who unashamedly have twisted minds and a warped sense of humor.
Through Nov. 4, Thursdays-Saturdays at 7:30 p.m. and Sundays at 2:30 p.m.
Years after Sherlock Holmes went missing and he was presumed dead, John Watson gets a call from the supervisor of an insane asylum located on a remote Scottish island. He has three patients who each claim to be the Sherlock Holmes. Dr. Evans asks Watson to come to the asylum and determine if one of these men is, in fact, the real deal.
Murder, machinations, mistaken identities … all the good elements of a Sherlock Holmes story, but this one was penned by Jeffrey Hatcher.
The IRT opened its 2018-2019 season with a masterful production. Directed by Risa Brainin, Watson and Holmes is an imposing kickoff for the season.
Everyone is the cast does a stellar job of creating intriguing characters, effectively pulling you into their world. And as should be expected for such a play, each cast member carries an aura of mystery about him or her.
Dr. Evans presents Watson with the three Sherlock candidates (Michael Brusasco, Nathan Hosner, and Rob Johansen), and each has a very different, very distinct personality.
As amicable as Dr. Evans seems, Henry Woronicz subtly injects an unsettling feeling in his demeanor and interactions with Watson, a telltale sign of things to come. Torrey Hanson gives us a somewhat pompous and blustery Watson, though his mannerisms speak of efficiency and intellect. Jennifer Johansen as the asylum’s matron has a stink-eye that is visceral yet amusing — as long as you aren’t on the receiving end. Even the orderly (Ryan Artzberger) gives off a creepy vibe with his disciple stick.
Robert Mark Morgan’s brilliant stage design consists of clean, layered curves — fitting for a story that reveals layers upon layers as it unfolds — and mimics the operation of the renovated lighthouse in which the asylum resides. The modern angles seamlessly complement the Victorian characters. Michael Klaers’ lush lighting design washes over the stage and gives the set even more depth.
This is most certainly a show that is worth its ticket price, but it has a relatively short run, so be sure to book before you miss it.
This is the 10th year for this wildly macabre and murderous musical! Classic horror, insanity, and comedy come together in this three-person, dark celebration of Edgar Allan Poe’s most famous works in a full-scale, “Broadway-style” musical, blending original music and reimagined storytelling.Some of the pieces re-imagined for the musical are The Fall of the House of Usher, The Pit and the Pendulum, The Masque of Red Death, The Black Cat, Annabelle Lee, and, of course The Raven.
Nine local artists created a coloring book to celebrate the 10th run of Cabaret Poe and are for sale at all performances.
This performance is selling out FAST. If you want tickets, get them now.
Oct. 4-Nov. 4, Thursdays-Saturdays at 7:30 p.m. and Sundays at 2:30 p.m.
You really can’t beat a gnome-like grandma with Tourette’s. I say this so that you won’t skip over this show and wave it off as just another family comedy. Gnome. Grandma. Tourette’s.
Thirty-seven postcards over eight years are only about four a year. When your only son is wandering Europe listlessly, that small amount of communication could wreak havoc on a mother. Especially one that’s already a little … off.
This makes it especially awkward when Avery (Dave Hoffman) brings his fiancée Gillian (Letitia Clemons) home to meet his family. His mother Evelyn (Marie McNelis) is aflutter with her anticipation. Avery had prepped Gillian on his “eccentric” family, but neither of them was ready for the incredulity that awaited them, beginning with a house that is sinking, a full-sized moose, his mother’s perpetual confusion,” and Aunt Ester’s (Tracy Brunner) geriatric phone sex “cottage industry.”
Hoffman’s progressively shocked expressions and reactions are priceless. You can almost hear, “Oh. My. God,” from his eyes alone. McNelis as his spacy mother is a convincing resident of the ether, a foil for Brunner’s unshakable ability to just roll with the bizarre, maintaining a matter-of-fact attitude and a straight face no matter what is happening around her.
And oh, there is bizarre.
That would be Avery’s grandmother, who has been living in “a little room off the kitchen” while Evelyn thought she was dead and even (she thought) attended her funeral. Wendy Brown is hysterical as the almost feral Nana, who has devolved into a stooped old woman in red feather slippers and a stunted vocabulary — much of which consists of curse words that she hurdles at Gillian.
Clemons as Gillian bravely tries to keep it together in the face of this amusement park fun house, including being chastised as the maid due to Evelyn’s Dory-like memory. Gillian even acquiesces to Avery’s dad, Stanford (Mike Harold), taking her out for midnight putting with glow-in-the-dark balls. But Gillian inevitably reaches a (deserved — or, given the outcome, maybe not) breaking point.
Of the strange household, Stanford’s eccentricity is the most normal. Harold is congenial and upbeat, probably the most innocuous of the family.
The story and its production, directed by Jan Jamison (who also designed the slightly tilted set), is lots of fun and well-done. Take the drive way out on Southeastern for this one.
Saturday and Sunday, Oct. 5-6 at 8 p.m. and Sunday, Oct. 7 at 2:30 p.m.
$18 adults; $16 children, students, and senior citizens (62+)
Brigadoon is a magical tale of a Scottish village that only appears every 100 years, leaving its residents safe in the 1700s when, for them, only one day has passed. Due to a poorly navigated hike, present-day travelers Jeff (Ethan Mathias) and Tommy (Charlie Metzger) are lost in the Highlands and happen to stumble upon Brigadoon.
This is a relatively well-known story, and for good reason. It’s funny and sweet, and it contains many enchanting musical numbers. Footlite captures the otherworld feel of the musical, and the cast’s impressive talent fills the stage. Each cast member holds his or her own, creating a well-put-together production.
Mathias and Metzger complement each other, with Mathias’s unapologetic pessimism and Metzger’s indecisiveness. When Tommy meets the charming Fiona (Sydney Norwalk), you can see that Tommy has found the meaning he has been searching for in his life.
Norwalk’s sassy “Waitin’ for my Dearie” is soon overridden by her flirtatious duet with Metzger, “Heather on the Hill.” Donald Marter as Charlie gives a foot-stomping performance of “I’ll Go Home with Bonnie Jean,” and Kristen Tschiniak brings out Meg’s sauciness in “The Love of My Life.”
The prettily executed choreography by Linda Rees is accentuated by the women’s lovely twirling skirts designed by Karen Frye Knotts. A special nod to the exceptional choreography in “Sword Dance and Reel.” Set designer Bill Phelan imagined an area of isolated but lush landscape for the village.
Occasionally, the mikes need to be turned down, and the ensemble’s vocals are overridden by the leads or the orchestra in a few numbers. But these are minor quibbles for what is a lively and engaging show.
Director Paula Phelan and vocal director Damon Clevenger have created an experience that takes you along on their mystical journey.
Through Oct. 14, Thursdays-Saturdays at 7:30 p.m. and Sundays at 2:30 p.m.
First Folio Productions puts a small twist into their production that interprets a few lines, a few interactions in a completely different way. It’s not an unheard of approach, but it’s the first time I’ve seen it utilized.
This isn’t a spoiler alert because it’s revealed early: Antonio (Ryan Ruckman) and Bassanio (Zach Taylor) are lovers. This, for example, makes the last line of the play, spoken by Bassanio’s wife Portia, an “oh shit” moment: “Let us go in and charge us there upon inter’gatories, and we will answer all things faithfully.” This is accompanied by A Look from Portia.
I love it when people fuck with Shakespeare.
The women’s costuming by Danielle Buckel is prettily done in a 1940s style, but otherwise, the production is straightforward (sorry, I just can’t get around the word “straight”), and the company doesn’t shirk the anti-Semitism, so, just a heads up on that.
If you need a synopsis, here are the bare bones: Bassanio needs money, so Antonio co-signs a loan from Shylock. Bassanio wants to marry Portia, but her suitors must choose the right chest that contains her as the prize, like in a Cracker Jack box. Antonio’s investments go bottom up, and Shylock wants his payment in manflesh. Portia saves the day dressed in men’s clothes.
Shakespeare really liked crossdressing.
The whole cast does an admirable job of capturing the cadence and expression of Shakespeare’s language, making this an accessible production that novice or adept alike will enjoy thanks to Doug Powers’ direction and the actors’ commitment.
Emily Bohn as Portia is a classy, smart spitfire, the most colorful character besides Ryan Reddick as Shylock, who practically spits through his part. Ruckman mostly maintains a stoic persona — even as Shylock confronts him with a giant knife to get the infamous “pound of flesh” — until that “oh shit” moment. He fears for Bassanio under Portia’s wrath more than his own impromptu heart surgery. In contrast, Taylor is softer, more emotional.
Dwuan Watson Jr. as the prince of Morocco and Ben Mathis as the prince of Arragon provide entertaining reactions to their opportunities to open the chests, and Mathis is also just funny, period, as Gratiano, as is Pat Mullen as Launcelot.
This is another good one to catch as Bard Fest continues into next weekend.
(Side note: I often feel bad about not mentioning many of the crew — the people behind the scenes that help make the magic happen. But as is the case with many jobs, their best performances are the ones that you don’t notice … where lighting and sound blend seamlessly into the show. It’s easy to get distracted by, say, an erratic spotlight and call someone out on it, but when everything goes right, we sometimes forget to consciously admire the work of these invaluable people. So to ALL production crewmembers of any show on any stage, you rock.)
The best part of this staging of Romeo and Juliet is the fight choreography, so thank you fight choreographer Sarah Tam (who also plays Benvolio) for keeping my eyes from glazing over.
But the most important thing that I want to say about Catalyst Repertory’s production: slow. down. Under director Zachariah Stonerock, some of the actors speak so fast that I felt I was watching Romeo and Juliet on fast forward. This leaves little room for the actors to emote properly. Kin to this is enunciation, especially at that speed. I’ve seen at least a dozen incarnations of this play, but sometimes I still had a hard time keeping up with the dialogue. However, even at this furious pace, the show clocks in at almost exactly two hours to the minute, with no intermission. That’s grueling for both the actors and the audience. I can’t help but think that one of the 90-minute abridged versions may have been a better choice, allowing more engaging character portrayals and a more streamlined production overall.
While Mercurtio (Kelsey VanVoorst) gets to go crazy, everyone else is relatively tame in his or her deliveries and interactions with other characters. Physicality gives the audience important insight into what is being said (and more importantly, what is being implied). Too often, the actors are merely speaking while just looking at each other.
The black-and-white, modern costuming and non-period music doesn’t live up to the initial promise of an edgy version of a play that is already over-produced.
Many people find the antiquated language of Shakespeare hard to grasp, but The Carmel Theatre Company’s cast, under the direction of Laura Kuhn, does a marvelous job of delivering the lines in such a way that we can easily track the story. CTC plays Shakespeare straight, but their copious use of body language translates the words, helping us grasp even the subtlest jibes or phrases, such as gestures that illustrate sexual innuendos, making the play more enjoyable and humorous. Many people don’t even realize just how funny and even raunchy Shakespeare’s comedies can be when done right.
Much Ado about Nothing is one of Shakespeare’s most famous comedies, but if you need a synopsis, it can be boiled down to two sets of lovers combatting different obstacles. Claudio (Jeffrey Bird) rejects his bride Hero (Elysia Rohn) because she has been framed to look less than virtuous. Benedick (Steve Kruze) and Beatrice (Christine Kruze) see each other as archnemeses, but a plan is made by their friends to get the two together.
The best at bringing his character to life is Steve Kruze as Benedick. He is flippant, theatrical, and oh so expressive. He works well against the sharp-tonged Beatrice played by Christine Kruze (who also happens to be his wife in real life). Both have appeared on many stages around the Indianapolis area, so you may recognize them.
Costuming is inspired by the time period, and Jake Peacock’s set design is utilitarian, but it moves around more than the actors do, which, really, is unnecessary.
The cast is huge, so I won’t go into each and every actor’s performance, but as you have probably already deduced, this is a Bard Fest show well worth bookmarking.
There’s nothing quite like crooning by four dead guys.
The Plaids are a (fictional) group from the 1950s whose short career was cut even shorter by a car crash with a bus full of parochial high school girls. The students survived; the group didn’t. Now, the stars have aligned and they have their ticket out of limbo: In order to complete their unfinished business, they have the chance to perform the concert they never got to in life.
Darren Gowan as Sparky, Syd Loomis as Jinx, Rich Phipps as Frankie, and Howard Baetzhold as Smudge joke and harmonize their way through some of the best-loved hits from that era. Their goofy banter, distinct personalities, and on-stage bumbling are endearing.
Some of the highlights include The Ed Sullivan Show in three minutes and eleven seconds, “Crazy ’Bout Ya Baby” with giant toilet plungers, and a Jamaican mix complete with straw hats and party lights. Each of them gets to showcase his particular vocal talents, and they don’t disappoint. Baetzhold’s “Shangri-La / Rags to Riches” had me particularly impressed with his rich bass. The overall enthusiasm and vocal talent on stage can’t be denied.
They are backed by Sandy Baetzhold (who also directs) on piano and percussionist Richard Leap. The choreography sometimes stumbles (some intentionally as a gag — the guys have been dead for decades), but it’s a minor quibble given the plaid-tastic fun being had.
Through Oct. 7, Fridays-Saturdays at 7:30 p.m. and Sundays at 2:30 p.m.
Most people are familiar with the name “Dr. Ruth,” immediately connecting her to her famous media appearances and series of books (and even a board game). What most people aren’t aware of is the arduous path the diminutive, spunky woman had to take to eventually become the famous sociologist-turned-sex therapist. Just some of these events include being part of the Kindertransport at the age of 10 during WWII, being a rebel spy, and working toward her degrees as a single mother.
While Becoming Dr. Ruth includes her expertise and commentary in the field of sexology, with her matter-of-fact style that makes her advice so humorous, most of the play is her first-person account of her history: how she lived it, anecdotes, and observations. And it’s simply fascinating.
The audience are visitors to her home. It’s 1997, and her third husband, Fred, died three months ago. After 35 years in her apartment in Manhattan, she has decided to move. As she packs, she tells us about her experiences and obstacles—in between phone calls from movers and various family members. She’s chatty and affable, but you also get glimpses of her pain from some ordeals, such as losing her family to a concentration camp.
In this one-woman show directed by Ed Mobley, Diann Ryan is a powerhouse buzzing with life. She never lets her energy level drop, maintaining Dr. Ruth’s perpetual motion and personality. She pulls the audience in, thoroughly creating the suspension of disbelief—you feel as if you are in the room with this plucky woman. I can only image Ryan bolting down Red Bulls during intermission.
Set designer Ron Roessler’s apartment is a cluttered mess, as Dr. Ruth admits she is a packrat. The window in her living room doubles as a screen for photos and graphics that illustrate her stories. The scenes of Jews during WWII are haunting, but we also see her joy in her grandchildren and her accomplishments.
This makes for both a history lesson/biography and a funny and moving show that has you leaving the theater inspired by Dr. Ruth’s durability and gift of positivity.
Through Sept. 30, Thursdays-Saturdays at 7:30 p.m. and Sundays at 2 p.m.
$15; $13 for seniors 65 and older; $12 for Epilogue members
The Phoenix Theatre opened its 2018–2019 season with a musical that takes the hoedown to a new level but also tells a story full of both sorrow and hope. And there’s a lot of light-heartedness in between.
Molly Garner as Alice Murphy opens with a rousing number that says this is her story — a tale that is full of the material she later tells an aspiring writer that a good piece needs: one of loving, losing, and living. The musical, written and composed by Steve Martin and Edie Brickell, is set in North Carolina, primarily during the mid-1940s but with flashbacks to Alice’s life in 1923.
It’s 1946, and Billy Cane (Ian Laudano) has returned home after serving in World War II. He reunites with his father (Joey Collins) and his childhood friend Margo (Betsy Norton). Billy has always wanted to be a writer, and Margo has consistently encouraged him, even while he was overseas. So Billy decides to move from their rural community and goes to the city to submit his work to a prestigious magazine. There, he meets Alice, the force behind the magazine, and her assistants, Daryl (John Vessels) and Lucy (Ashley Dillard).
Garner dominates the show with a striking performance, moving between country bumpkin with dreams of college to sophisticated executive with an intimidating reputation. But Laudano is the bright star with the richest voice and a sweet disposition, with Patrick Clements as Jimmy Ray, Alice’s beau during her time in the country, as a close second. Rae and Garner perform a gorgeous duet in Act 2.
We don’t see Charles Goad in the role of villain often, but he convincingly makes Mayor Josiah Dobbs, Jimmy Ray’s father, a cold-hearted bastard. Vessels is a riot as the effeminate Daryl. Dismissive arrogance to drunken happy dance, his scenes are always entertaining.
The actors are directed by Suzanne Fleenor and backed by an impressive nine-piece orchestra (nine!) under the musical direction of Brent Marty.
The choreography sometimes gets a little crowded, and occasionally the band overwhelms the vocals, but I’m still giving the show a full endorsement. While I am partial to musicals in general, the Phoenix’s production inspired me enough to get the Broadway soundtrack.
Through Oct. 7, Thursdays at 7 p.m., Fridays-Saturdays at 8 p.m., and Sundays at 2 p.m.
A sweet and homespun folk musical about family ties and the search for identity, flashing forwards and backwards over two decades. Written by Steve Martin (yes, that Steve Martin) and folk-rock musician Edie Brickell.
Sept. 21-Oct. 7, Thursdays at 7 p.m., Fridays-Saturdays at 8 p.m., and Sundays at 2 p.m.
Everyone knows Dr. Ruth Westheimer from her career as a pioneering radio and television sex therapist. Few, however, know the incredible journey that preceded it. From fleeing the Nazis in the Kindertransport and joining the Haganah in Jerusalem as a scout and sniper, to her struggles to succeed as a single mother coming to America, Becoming Dr. Ruth is filled with the humor, honesty, and life-affirming spirit of Karola Ruth Siegel, the girl who became “Dr. Ruth,” America’s most famous sex therapist.
Sept. 20-30, Thursdays-Saturdays at 7:30 p.m. and Sundays at 2 p.m.
$15; $13 For seniors 65 and older; $12 for Epilogue members (Opening Thursday performance is pay-what-you-want donation.)
Singing in close harmony, squabbling earnestly over the smallest intonations, and executing their charmingly outlandish choreography with over-zealous precision, the “Plaids” are a guaranteed smash, with a program of beloved songs and delightful patter that keeps audiences rolling in the aisles when they’re not humming along to some of the great nostalgic pop hits of the 1950s.
Sept. 21-Oct. 7, Fridays-Saturdays at 7:30 p.m. and Sundays at 2:30 p.m.
This Sunday’s 2 p.m. performance has the popular Sun King Brewing Company talk back immediately following. Free beer for those of age and who attend. Call 317-843-3800 for tickets. The show runs through Sept. 30. For more info: http://atistage.org/.
White Rabbit Cabaret: Lloyd & Harvey’s Wowie Zowie Show
This wild, weird, and wacky variety show features judged performances from some of Indianapolis’s finest and not-so-fine musicians, comedians, dancers, jugglers, hummers, wild animals, and just about anything else that loosely qualifies as talent that will leave you either scratching your head or yelling, “Wowie Zowie!”
Storytelling Arts of Indiana: Saving the World: Oh, That Way Madness Lies
Vicki Juditz is an actress, comedian, writer, and spoken-word artist. “I take experiences from my life and craft them into monologues that hopefully shed light on universal truths,” Juditz said during the social media platform ESME (Empowering Solo Moms Everywhere). The story includes heartbreaking details of the circumstances that led to her becoming a single mother.
Crane Hammond, a famous mystery writer, just wants some quiet time in the New England countryside. She rents a house up the hill from her friend Lillian, and everything seems lovely. Until a Narnia-like closet keeps producing dead bodies.
Exit the Body contains all the aspects of a classic farce, scene-chomping characters, mistaken identities, close-call entrances and exits, a missing treasure, madcap chases, and even a Scooby-Doo-like ending.
Barcia Miller Alejos directs this romp with a cast that’s enthusiastic and having infectious fun. Crane, played by Linda Eberharter, takes the growing intrigues around her with alacrity—when she’s not fainting. Her friend Lillian, Judy McGroarty, is a rascal, being a polygamist and pranking her friend by placing the first “dead” body in the closet. The housekeeper Jenny (Savannah Jay), the real estate agent Helen (Ann Ellerbrook), and sheriff/taxi driver/man of all trades Vernon (Kevin Shadle) provide the over-the-top silliness.
But the best is Crane’s assistant, Kate, played by Barb Weaver. Her consistent, deadpan snark is excellent.
While the production may not be absolutely perfect, the experience is nonetheless enjoyable. Mud Creek makes you feel like family, and their production teams and actors practically are in their combined love of and commitment to live theater. This quaint little company puts the “community” in “community theater.”
Sept. 14-28, Fridays-Saturdays at 8 p.m. and Sunday, Sept. 23, 2:30 p.m.
The new Fonseca Theatre’s inaugural show is a political gut-punch. Robert Schenkkan’s Building the Wall portrays a potential future under the Trump Administration where radical measures are taken to eliminate the “threat” of illegal immigrants. The gruesome potential is laid out with no spin-doctor to soften the blow.
Set in a prison visiting room, the play is an intense conversation between Rick, a former prison supervisor—the one now wearing the orange jumpsuit—and a college professor, Gloria, who wants to pick his mind for answers about the events that led to his incarceration, giving Rick the opportunity to tell the world his side of the story.
Rick is defensive, fierce, and a Trump supporter. Gloria is appalled by him and self-righteous in her own liberal viewpoints. They volley accusations about Trump vs. Obama, but no one wins any of these numbers games.
Clay Mabbitt’s Rick is torn apart. We get (too much) information on Rick’s past, but the integral parts of the dialogue show us how he was snowballed into a situation similar to those who ran the Nazi death camps. Mabbitt knows Rick is inherently aware of his culpability in the events, but he also has Rick firmly in the self-justified position of “just following orders.” Mabbitt’s agitation reflects both Rick’s anger and the weight of his guilt.
Milicent Wright as Gloria takes her character from certainty to incredulity to horror as she takes in Rick’s story. She comes into the room expecting one thing and instead is left reeling when faced with unfiltered realties. But in the play, Gloria’s character is really used as a sounding board for Rick’s cathartic admissions.
The series of events leading up to the immigrant camps is easy to believe—too easy to believe. It is a future that feels too chillingly possible.
The show drags some, but this isn’t necessarily director Bryan Fonseca or the actors’ faults. There is a lot of lead-up that bogs the show down, even with its short 90-minute run time.
This is Fonseca’s fourth time as a founding member of a theater. This and the next production will be held at their temporary spot at Indy Convergence, but the theater company has just closed on a permanent location, which will hopefully be open by their third show.
Through Oct. 7, Fridays at 8 p.m., Saturdays at 5 and 8 p.m., and Sundays at 2 p.m.
Written on the eve of the 2016 election, the stunning play by Pulitzer Prize and Tony Award–winning dramatist Robert Schenkkan has created a nationwide sensation. Building the Wall lays out the potential repercussions of Donald Trump’s anti-immigration campaign rhetoric. After that policy resulted in the mass roundup of millions of undocumented individuals, the former warden for one facility is now behind bars awaiting sentencing for the horrific injustices that happened under his watch. In a riveting interview with a historian who has come seeking the truth, he reveals how the unthinkable became the inevitable. Playwright Robert Schenkkan had this to say about Building the Wall: “In this play I have imagined a not so distant time to come in which President Trump’s rhetoric has found its full expression. While the current political crisis is extraordinary, it is not new. The question, of course, is not so much what the authorities will do but how we, the citizens, will respond.”
Sept. 14-Oct. 7, Fridays at 8 p.m., Saturdays at 5 and 8 p.m., and Sundays at 2 p.m.
Comin’ at ya with more songs, a bigger stage, a full bar, and all the swashbuckling pirate-puppet melt-your-face-off rock and roll you can take on a Monday or Thursday night! Jollyship the Whiz-Bang is a pirate-puppet-rock odyssey about a drunken captain, a treacherous sea, and a potential mutiny while in search of Party Island.
As seen on A&E’s Mindfreak and Penn & Teller: Fool Us, experience close-up, stand-up, mentalism, and stage magic. An extraordinary evening of magical entertainment featuring many of Jeff McBride’s famous performance pieces and amazing new wonders.
Friday, Sept. 14, 7 p.m.
$35; seniors $25; students $15; kids $15 (under 12 must be accompanied by adult)
Master class Saturday, Sept. 15 at 1 p.m.; $150, three-hour workshop
A mystery writer rents a New England house that is the rendezvous point for some jewel thieves. The focal point of the set is the closet, which opens into a living room and a library. A body found in the closet promptly disappears only to be succeeded by another. The hunt for the jewels reaches a climax at 2 a.m. when four couples unknown to each other turn up to search. Not since the days of Mack Sennett has there been such a hilarious series of entrances and exits.
Sept. 14-28, Fridays-Saturdays at 8 p.m. and Sunday, Sept. 23, 2:30 p.m.
America loved the swinging sounds of female close-harmony groups even before The Andrews Sisters hit the airwaves with “Bei Mir Bist du Schön” in 1937. But audiences will hear those great vintage songs with fresh ears when America’s Sweethearts takes the stage in their vibrant, time-honored show. These New York City-based ladies have performed across the USA at iconic spaces honoring our veterans (the Intrepid Air & Space Museum, the WASP Museum), as well as large theaters and intimate cabaret venues, getting crowds tapping their feet to hits like “Boogie Woogie Bugle Boy” as they celebrate history through their crystal-clear harmonies and colorful costumes. With selections from the Great American Songbook, classic Broadway, 1950s pop tunes, and jazz, America’s Sweethearts charms audiences of all ages while navigating their way through a variety of trios, duets, and solo features … all with a slice of old-fashioned fun!
“Saving the World” is the theme. You’ll have up to five minutes to tell a true, first-person, personal story based on your narrow or broad interpretation of the theme. You just can’t use props or read from the page. Host Celestine Bloomfield will choose 10 performers out of a hat at the top of the show. The slam judges are picked from the audience, along with a timekeeper and scorekeeper, so if you don’t want to share, you can still be part of the show. If you win Indy Story Slam, you get to open for Moth GrandSLAM winner Vicki Juditz’s show. Second and third place will receive free tickets to an upcoming storytelling event and IndyFringe show.
Bring your best Lindy hop moves for Agape’s true Big Band WWII-era Swing Dance! Dress in your best WWII-era costume to enter the costume contest! Concessions will be available. Proceeds go towards Agape’s Indy Bard Fest production of Shakespeare’s A Midsummer Night’s Dream. Tickets at the door.
Saturday, Sept. 8 at 6:30-10 p.m.
Our Lady of the Greenwood Catholic Church, Greenwood
On the early morning of Dec. 20, 2017, a fire broke out in the Community Room at the Broadway United Methodist Church (which houses StageWorthy Productions and all of its supplies, props, etc). The room and all of its contents were destroyed.
StageWorthy has been told by the reconstruction reps that they should not look to produce anything in the space for the entire calendar year of 2018. They are seeking financial help for the sure-to-be larger rental rates they may experience from an interim facility (and going forward after the renovation), adjusted production costs for the future, as well as for the replacement of the most basic of production supplies.
Please consider making a donation so they can get back on their feet and continue into their second decade of presenting quality, award-winning theater for dedicated patrons and newfound friends alike.
Founded in 2007, StageWorthy Productions’ mission is to bring a quality, alternative level of entertainment to people from all walks of life. StageWorthy Productions strives to embrace and expand the creativity of our diverse community by encouraging its involvement in all aspects of theater. They are dedicated to exploring new ideas by presenting productions and activities that are fresh, inspired, challenging, affordable, and entertaining. Their seasons have been a mix of comedies and dramas, touching on such topics as Alzheimer’s, gender relations, economic class differences, unconditional love, courage, family dysfunction, bullying, death, gay/straight relations, race, and also just straight out silly farce. StageWorthy’s first two shows at the BUMC were rewarded with five Encore Awards for excellence in Indianapolis theater, with The Sum of Us earning top honors as Best Production of a Drama. StageWorthy is a not-for-profit, all-volunteer community theater group and a proud member of the Encore Association.
If I had posted yesterday (like I should have), you wouldn’t have missed the first opportunity to see this new play by local Lou Harry. But I didn’t so, mea culpa. Here is what Lou has to say about the show: “About two years ago, I read the galley of a novel in an afternoon and simultaneously fell in love with it and burned to turn it into a play. Well, that has happened and Butler Theatre will be opening its 2018-2019 season with a staged reading of We Are Still Tornadoes, which I adapted from the novel by Michael Kun and Susan Mullen. I hope you can be there. Admission is free and open to the public. The play, produced staged reading-style, tells of Scott and Cath, best friends who grew up across the street from each other and stay in touch via letters — it’s 1982! — when Cath goes off to college and Scott stays home to work in his father’s store. It’s the very human story of two people navigating their shifting friendship and their transitions into adulthood, with all the laughs and tears that go along with it. Both novelists are expected to attend this first-time presentation and will participate in a post-show discussion.”
Aug. 30, 7 p.m.
Eidson-Duckwall Recital Hall
Beef and Boards: Seven Brides For Seven Brothers
A rollicking adventure that shows it takes a bride to turn seven unshaven, unkempt brothers into manly gentlemen … and to turn desire into romance.
Harvey, a Pulitzer Prize-winning comedy by Mary Chase, is the story of a perfect gentleman, Elwood P. Dowd, and his best friend, Harvey — a pooka, who is a six-foot-tall, invisible rabbit. When Elwood begins introducing Harvey around town, his embarrassed sister, Veta Louise, and her daughter, Myrtle Mae, determine to commit Elwood to a sanitarium. A mistake is made, however, and Veta is committed rather than Elwood! Eventually, the mistake is realized, and a frantic search begins for Elwood and the invisible pooka, which ends with Elwood appearing, voluntarily, at the sanitarium. In the end, however, Veta realizes that she loves her brother and his invisible best friend just as they are and doesn’t want either of them to change.
As far as I can tell, it’s still all Fringe this weekend. There are new Fringe shows opening, though, so be sure to check out http://www.indyfringe.org/ for details.
There are over 70 shows offered at Fringe. I only got to see 15 — I wish I had been able to see more, but every free moment I had last weekend I devoted to Fringe shows. So, of those I saw, I thought I would pick my favorites (that are still playing this weekend).
No. 1: Jollyship Whiz-Bang
If you like weird and crass and inexplicable humor with puppets and music, this is it for you.
Imagine an amalgamation of Avenue Q, Jake and the Never Land Pirates, and Pirates of the Caribbean. Except a lot dirtier. And with more of a random plotline. And a floating chalice of blood. And a treacherous talking crab wearing a derby. And if Jake were a closet homosexual in love with Cubby. And witches are men with no vagina.
If you found any of that offensive, turn back now.
If you found any of that funny, then let me make this clear, as I am saying it now instead of at the end: Go. See. This. Show. This is what Fringe is all about for me: stumbling upon the so brilliantly deranged it almost defies description. The show immediately spoke to my sick sense of humor.
Whimsical meets idiosyncratic in a singular spectacle that is described as “a pirate-puppet-rock odyssey” created by Nick Jones and Raja Azar. Cocaine-fueled Captain Clamp (Ryan Ruckman) outstrips the worst of Jack Sparrow while pushing his crew relentlessly toward the fabled Party Island. Ruckman chews up the scenery (I love that phrase, so piss off) and spits it out. Skeevy (Dave Pulsue) is his determined if ignored voice of reason, a loyal yet frustrated first mate. (I can’t help this … I have a KID. I know the damned SONGS. And Pulsue plays the GUITAR. Bones from JNLP — but not an imbecile … and hella cooler … and hot.)
Paige Scott goads the crew toward mutiny while sporting Viking horns on her derby, spreading her own ubiquitous humor, and Leah Brenner controls the creepy crab that insinuates itself into the crew by killing, laying eggs in, and eating the parrot that was meant as a peace offering for the captain.
So much great fuckery here.
The entire cast deserves mention because they add so much to the show, so here are those I haven’t noted: Aaron Stillerman, Kallen Ruston, Chris Brown, and Dan T. Directed and produced by Callie Burk-Hartz.
Wednesday, Aug. 22, 9 p.m.; Thursday, Aug. 23, 6 p.m.; Friday, Aug. 24, 7:30 p.m.; Sunday, Aug. 26, 7:30 p.m.
I love storytelling, so this show immediately made it into my list of must-sees. I’m glad it did because Loren Niemi and Laura Packer can twist a tale that makes you shiver, sigh, or even sad, and sometimes all at the same time.
Each session is different, so the stories I heard could be different from what you get. One constant is that each session includes a storytelling improv. Suggestions are taken from the crowd, and one of the tellers will spin a yarn on the spot.
The night I attended, Loren regaled us with a story about his time in the Boy Scouts. This was not the modern Scouting we know today; his Scout days were probably 50-odd years ago. His pack master’s creed? “It’s good for boys to suffer; it makes them men.” But what started out as scary stories told in the dark during a secluded camping trip ended in a sobering experience.
Laura told a story she found when doing some research into Indianapolis. (Both are from Minnesota.) Bypassing the most well-known stories from Indy — the House of Blue Lights, Hannah House, etc. — she told a tale I had never heard about a thieving milkmaid in Crown Hill Cemetery in the 1940s. She also told us about her first-person experiences while living in two haunted houses.
I thoroughly enjoyed this presentation and recommended this show. But if you don’t make it, I highly suggest checking out Indianapolis’s own Storytelling Arts of Indiana, which has a full season of storytellers from across the nation.
Produced by Niemi and Packer Productions
Tuesday, Aug. 21, 6 p.m.; Wednesday, Aug. 22, 7:30 p.m.; Saturday, Aug. 25, 3 p.m.
While mental health and sexual assault are both worthy topics of discussion, the script for Hers Is the Head of the Wolf is sketchy and unorganized, with no character development, and the audience is left wondering just what the story was about. We are given little initial information about main character Elise’s situation, and it remains that way for much too long. What has caused Elise (Raven Newbolt) to be in a state of constant fear? What does Danny (Riley Leonard) have to do with it? Why is her therapist, Dr. Hamilton (Michael Tingley), so forthcoming and accommodating? Does Elise suffer from PTSD, schizophrenia, or both? Slowly feeding the audience tiny morsels of information over time is an often-used playwright’s convention to keep us engaged, but there isn’t enough substance here to use that tactic. We are left frustrated and hungry.
The actors aren’t given much to work with. Elise and Hamilton are one-note characters, and Danny gets two: concern and anger. The conclusion is just as bewildering. One moment Danny is on the phone, and the next, he’s on the ground. When did he even get inside her home?
I’m sorry to say it, but there are too many other good shows playing at Fringe to give this one a recommendation.
Produced by Monument Theatre Company
Monday, Aug. 20, 7:30 p.m.; Tuesday, Aug. 21, 9 p.m.; Wednesday, Aug. 22, 6 p.m.; Saturday, Aug. 25, 1:30 p.m.; Sunday, Aug. 26, 6 p.m.
It’s the 1980s — the heyday for cabinet video games. Billy Mitchell (Luke McConnell) is the King of Kong, holding the world record for the highest score in Donkey Kong. His self-described “nemesis,” Steve Wiebe (Anthony Nathan), is obsessed with beating Billy. Fast forward a few decades. Steve remains obsessed, and his long-suffering wife (Kayla Lee) is on the edge. While Billy still holds the record for the highest Donkey Kong score, he has moved on with his life, opening a chain of hot-sauce-centric restaurants. But then Brian (Jim Banta), who always came in second to Billy’s scores and now appears to be something of a personal assistant, informs him that he is being accused of cheating and stripped of his titles. To redeem his gaming reputation, Billy decides to hold a Kong Off and brings in his old gaming referee, Walter (Ryan Powell). Devilry is planned, loyalties are weighed, and priorities are amended.
The show is cheesy as hell, but it’s supposed to be. After all, what wasn’t cheesy in the ’80s? And to sharpen that cheese flavor, the show is a musical.
Casey Ross wrote the play’s book, inspired (with liberties … lots of liberties) by the true story of Billy Mitchell, and Christopher McNeely created the original music. What the cast lacks in vocal talent they more than make up for with how seriously they take the silliness. Intentional overacting and ridiculous dance moves are executed with perfectly straight faces (after all, Billy is obsessed with perfection in all things). The plot gets really nuts as Steve becomes more and more intent on exacting his personal revenge.
Nostalgia and quirky entertainment coalesce into an over-the-top musical with its own kind of record scores — no barrels needed.
(Technical note: I do recommend eliminating or moving the screen that hangs to the right of the audience. Those of us on that side can’t see anything that is going on. I’d also love to see Steve initially drinking Jolt and then progressing to Red Bull.)
Produced by Catalyst Repertory Theatre
Monday, Aug. 20, 6 p.m.; Friday, Aug. 24, 10:30 p.m.; Saturday, Aug. 25, 7:30 p.m.
Addendum: At some point, I will post about my encounter with Billy Mitchell at the Sunday performance, but right now, getting the rest of my Fringe reviews up takes precedence. I’ve been told it’s a funny story simply because I went into the show having no idea whatsoever who Billy Mitchell is or that I was meeting him at the theater’s entrance. This caused much hilarity for one of my nerd friends.
Allyn (Ronn Johnston) is, quite literally, out on a ledge. His therapist, Mattie (Veronica Wylie), finds him there and pleads with him to come back inside, but instead, he ends up coercing her out onto that ledge with him.
Allyn has narcissistic personality disorder, which causes exaggerated feelings of self-importance. This is very closely related to hero syndrome, in which people think they are actual heroes and put themselves in dangerous situations because they believe they can survive them. As Allyn says, “Heroes don’t stay where it’s safe.” Mattie is a PhD candidate whose dissertation is on the pathology of heroism, most likely why she is Allyn’s therapist since his treatment could add to her research.
In the end, the ledge is a metaphor for vulnerability — facing the things that scare us or have scarred us and taking chances in life. And Allyn and Mattie discover that we become our own heroes.
Johnston is immediately sympathetic as a mental health patient who is trying to cope with his manic stream of thoughts. He oscillates; is he a real hero or not? Are heroes even real at all? This mental struggle makes him twitchy, agitated. Allyn works through this with an impromptu therapy session on the ledge with Mattie that includes discussions of heroes ranging from comic book characters to Jesus.
Mattie slowly moves from the role of therapist to a similarly vulnerable person searching for her own answers as to what makes a hero. Wylie lets this transition happen incrementally so that in the end, Mattie’s personal stories and confessions are realistic experiences.
But while the show is insightful, I felt that it dragged, as if it was too long. I kept anticipating the resolution only for the story to take another turn. By the time it did end, I was more than ready for it to wrap up.
Produced by Wisdom Tooth Theatre Project
Monday, Aug. 20, 9 p.m.; Friday, Aug. 24, 10:30 p.m.; Saturday, Aug. 25, 1:30 p.m.; Sunday, Aug. 26, 7:30 p.m.
Another Fringe concert offering, this tour de force gives their target audience just what they want: show tunes performed with presence and panache.
Shelbi Berry, Rayanna Bibbs, and Virginia Vasquez infuse their songs with passion and vocal dedication — and even sometimes with humor. From their opening, “The Schuyler Sisters” from Hamilton, you are pulled farther in with each note, each number, all the way to the end.
The show combines the well-known (“Defying Gravity”) with lesser-known selections (“Gimmie Gimmie”) for an eclectic showcase of musical soundtracks. The tenor of each song is taken into account and performed accordingly, from the powerfully emoted “And I’m Telling You I’m Not Going” from Dreamgirls by Bibbs to the playful “What Is this Feeling” from Wicked by Berry and Vasquez. The show closes with a beautiful melding of the trio’s voices in “Climb Every Mountain” from The Sound of Music. And each song is pitch-perfect — as is the sound system (kudos to the tech team for pulling that off, especially with the inclusion of live musicians).
Other standouts are Berry on “Don’t Rain on My Parade” from Funny Girl; “Can’t Help Lovin’ Dat Man” from Showboat and “Daddy’s Son” from Ragtime by Bibbs; “No One Is Alone” from Into the Woods and “Gimmie Gimmie” from Thoroughly Modern Millie by Vasquez; and the duet “In His Eyes” from Jekyll and Hyde by Berry and Vasquez.
Austin Schlenz gets some giggles as the placard changer. He struts on stage in a gold outfit reminiscent of Rocky in The Rocky Horror Picture Show. (Strangely, that is the second time I have referenced Rocky Horror in a Fringe review this year …)
This is the second concert I have seen at Fringe (the other being Queen Day) that has blown me away with the talent on stage. Proof positive that the Indianapolis area has some top-quality singers in our midst.
Yup, this is another one you must see.
“The Schuyler Sisters” from Hamilton
“Don’t Rain on My Parade” from Funny Girl
“Someone to Watch Over Me” from Oh, Kay!
“Anything Goes” from Anything Goes
“Can’t Help Lovin’ Dat Man” from Showboat
“At the Ballet” from A Chorus Line
“I Have Dreamed” from The King and I
“No One Is Alone” from Into the Woods
“Daddy’s Son” from Ragtime
“Gimmie Gimmie” from Thoroughly Modern Millie
“In His Eyes” from Jekyll and Hyde
“What Is this Feeling” and “Defying Gravity” from Wicked
“And I’m Telling You I’m Not Going” from Dreamgirls
“Climb Every Mountain” from The Sound of Music
Produced by Magic Thread Cabaret
Check out their “The Schuyler Sisters” from Hamilton:
The one-woman show performed by Qurrat Ann Kadwani is intense and eye-opening — and riveting.
Twenty years in the future, rape has been eradicated — or so everyone thought. One night, the story’s narrator sees a woman enter the hospital across the street. She is compelled to follow her and discovers that this woman has come to the ER because she has been raped. Kadwani’s narrator relates the event in a rapid-fire delivery that emphasizes the urgency of the topic.
Over the next 50 minutes, Kadwani takes on eight characters — narrator, reporter, prosecutor, day trader, psychologist, politician, school kid, and professor. Each has a unique viewpoint of rape culture and some expose alarming facts or attitudes that drive home how vital education and awareness of the topic are and how it reaches into societal aspects no one thinks about it affecting.
The show also touches on how women are still seen as “less than” — the word “rape” could apply to many actions that are set against women, even in an idyllic world that is supposedly rape-free.
Kadwani creates distinct characters, showcasing her quick-change versatility. The heavy subject matter is counterweighted by its top-notch presentation and fascinating content. This is another IndyFringe show that should not be missed.
I never thought “interactive Bingo” could be so much fun, but Betsy Carmichael’s BINGO Palace is a high-camp trip. Reverence for the art that is Bingo, lots of stand-up comedy, and actual Bingo games (with prizes!) come together for a show that even the most introverted (such as myself) can enjoy (even if I am glad that I wasn’t one of the audience members brought on stage for Bingo balls arts-and-crafts or the Bingo wedding).
The actual Bingo games take second seat to Betsy’s Bingo commentary, storytelling, and and sexual innuendo — balls are a big deal, of course — with backup from her ex-brother-in-law Chip.
But the interactive part is when the audience gets to join in. During Bingo play, certain letter-number combinations require actions or phrases — think Rocky Horror but with Bingo and flying candy instead of rice.
It’s a shame that you only have one more chance to see Betsy before she flits off to Bingo halls unknown, so do your best to squeeze in some ball time before they’re gone.
Two high schoolers sit side by side outside the principal’s office awaiting their fates for skipping school. One, Lisa, has no parents and a lonely hymen. The other, Angel, aka Crystal Queer, has a dad so far up his ass that his mustache started to tickle his ass. Of course, they become fast friends.
Both are known for their dumpster diving outside of the church because cool stuff can often be scavenged there. Lisa, especially, likes sifting through the trash to find objects that she can use in her art projects. As much as she hates high school, she desperately wants to go to art school — not “solve for X.” It’s at this dumpster that Lisa meets Puddin Tane, a creepy priest who smokes pot and wears sunglasses all the time.
The acting is somewhat clumsy, and the storyline isn’t focused. (Is this about being an outcast or a dysfunctional family — neither is fully explored.) This one still needs some work.
Produced by Theatre Sleuth of Indianapolis.
Monday, Aug. 20, 6 p.m.; Friday, Aug. 24, 9 p.m.; Saturday, Aug. 25, 4:30 p.m.; Sunday, Aug. 26, 1:30 p.m.
Any member past or present of the SCA or fan of LARPing will sympathize with the characters in Paper Swords. Named for the homemade armaments ubiquitous in such groups, the play depicts two factions within a single kingdom being forced to fight over their land, cleaving the kingdom after the battle.
The drama, the rivalries, the friendships, and the politics of these self-contained worlds all play parts, especially when a group has an organized hierarchy over a long period of time.
If you have never been a part of or known someone who was a part of this scene, you might not “get” the people who immerse themselves into these fantasy worlds. Their alter egos are just as real and vital to them as their mundane lives — often the fantasy can even bleed into the reality in their personal interactions. And often they take themselves very, even too, seriously.
Paper Swords ups the ante by putting all this conflict into a musical setting — and a surprisingly good one. Donovan Whitney plays Avery, knight of Ferndrake, who falls for Elena, knight of Silvemore (Alicia Hamaker), both part of the kingdom of Eleren. Avery initially approaches Elena’s courtship by what he calls “wooing with 1500s lingo” before they finally settle on laser tag. The relationship is going well until the imminent battle is upon them.
Within Ferndrake is another tentative, awkward relationship that is building between Liz (Jordan Brown) and Will (Clarke Remmers) that makes for more comic relief than conflict.
With Sarah Tam as the Silvemore knight Bren, the main players in the show exhibit some solid singing and acting, and they are backed by a band behind the curtain. The show is just as sweet as it is entertaining, funny, and worth a spot on your Fringe stops.
Written by Matt Day and Kelsey Tharp.
Tuesday, Aug. 21, 7:30 p.m.; Wednesday, Aug. 22, 6 p.m.; Saturday, Aug. 25, 10:30 p.m.; Sunday, Aug. 26, 4:30 p.m.
The Globe is an all-female Shakespeare company. Out of the blue, its founder, Bella (Fawzia Istrabadi) is fired, soon to be replaced by a man coming in from out of state, James. Coincidentally, that night she has a Tinder date with Jackie (Spencer North), who happens to be a friend of James and is helping him get settled into his new apartment.
While she does back down from the assassin idea, with the advice from said assassin (Ky Doyle), she is still intent on dislodging James from his new position while not telling Jackie that James is her replacement. She’s also trying to avoid the subject with her friend and stage manager, Mel (Lucy Fitzgerald).
The script has real potential, and the actresses performing it show talent. The concept is great, but the show feels truncated, short even for a Fringe setting, but that gives it plenty of space to be workshopped and refined into what can become a funny and thoughtful piece of theater.
The show is presented by the Earlham College Fringe Company, and the aforementioned actresses are joined on stage by Briana Miller and Grace Nickeson as members of the theater company.
Saturday, Aug 18, 4:30 p.m.; Sunday Aug. 19, 1:30 p.m.; Wednesday Aug. 22, 7:30 p.m.; Saturday Aug 25, 7:30 p.m.; Sunday, Aug. 26, 6 p.m.
It’s not a “theater” production in the sense that it’s not a play. It’s actually a concert performed by members of the Indianapolis Men’s Chorus, an homage to the band Queen and other music that falls into a similar genre. I was fan-struck by the opening number, “We Will Rock You,” and they had my heart when Hedwig took the stage.
These guys put on a full-energy, sexy, goofy performance even at the 10:30 p.m. show. And that powerful presentation remained consistent throughout.
The singers showcase some voices that leave you in awe of their talent, and the choreography — a mishmash of headbanging, grunge-y style movements, and song-synced steps — adds more strength and even some humor to the numbers. Hedwig’s costuming is perfect, and the cameo by Marie Antoinette is hysterical. They also perform with a backing band, which gives the show more substance than if they had merely been singing with prerecorded music.
Just fantastic stuff going on here.
Sure, there are some tech issues, but really, with the quick turnover of stages for different productions, you have to give them some leeway. Lots of sound equipment, mikes, amps, etc.
This is another not-to-be-missed opportunity.
Song list (hope I didn’t mess this up because I was too taken in by the show to keep consistent notes):
“We Will Rock You”: Queen
“American Idiot”: Green Day
“Somebody to Love”: Queen
“Don’t Stop Me Now”: Queen
“Basket Case”: Green Day
“Origin of Love” from Hedwig and the Angry Inch
“Fat Bottom Girls”: Queen
“Gethsemane” from Jesus Christ Superstar
“What You Own” from Rent
“Boulevard of Broken Dreams”: Green Day
“Wig in a Box” from Hedwig and the Angry Inch
“Killer Queen”: Queen
“Another One Bites the Dust”: Queen
“21 Guns”: Green Day
“Jesus of Suburbia”: Green Day
“Bohemian Rhapsody”: Queen
“We Are the Champions”: Queen
Saturday, Aug 18, 7:30 p.m.; Sunday, Aug. 19, 9 p.m.; Tuesday, Aug. 21, 7:30 p.m.; Saturday, Aug. 25, 9 p.m.; Sunday, Aug. 26, 1:30 p.m.
While The Pope Walks into a Bar was inspired by the TV show Father Ted, I assure you that you don’t have to have seen the TV series to appreciate this howlingly funny production.
Perpendicular Island is a remote Irish isle that boasts 75 residents. It’s also the location of a Viagra factory, which spews its own special kind of fumy pollution. Take a whiff to get you stiff. The island also houses the Perpendicular Island Parochial House, a sort of exile in the wastelands for wayward priests. Father Ned (Jeff Kirkwood) gambled away funds that were meant for much-needed repairs to a convent — yet he is the most responsible and level-headed member of the household. Father Dermott (Blake Mellencamp) is a sweet man but seriously touched in the head. Father Finn (David Molloy) is downright feral. He communicates mostly in grunts and drinks his whiskey from a Hello Kitty water bottle. His favorite pastime seems to be looking at women in bikinis, whether in magazines or on his ViewMaster, followed by a close second of running around in his knickers … or nothing at all.
When Bishop Brannigan (Jim Lucas) arrives to oversee an impending visit from the pope, things start to get even more interesting.
The housekeeper, Mrs. O’Boyle (Kate Duffy Sim), is described by the bishop as coming from the sixth ring of hell, but as the show progresses, she moves down another ring — and her mind deteriorates along with her into buckets of crazy. While her cooking skills are questionable, she does play a mean bodhran.
Clerical Error Productions gives us a full storyline and characters bursting with personality. Even some backstory slips in to flesh them out. The entire cast is fully invested, with Molloy and Duffy Sim getting the most outrageous.
This is a must-see. Prepare yourself for priest-on-leash, playing “pocket rosary,” ecclesiastical rapping (Nate Burner), a bobbing journalist (Kyrsten Lyster), and lots of fecking fun.
Sunday, Aug. 19, 7:30 p.m.; Tuesday Aug. 21, 9 p.m.; Thursday, Aug. 23, 7:30 p.m.; Saturday, Aug 25, 4:30 p.m.; Sunday, Aug 26, 1:30 p.m.
Note: Apologies. WordPress decided to publish the very rough first draft of this review instead of the complete one I (thought) posted last night. Hence the double posting. Sadly, this one isn’t as detailed as the original complete review, due to time constraints.
Garret Mathews (Carmel, Indiana) took a subject most people find insane — snake handling — and crafted a funny and thoughtful piece of theater from it.
Mathews has seen this phenomenon first-hand, having written a column about it (and many other subjects) for Evansville’s Courier & Press before his retirement from the journalism world. His main character in the play, Cindy, is based on one of his interviews.
Snake handling is a rare subculture within the Pentecostal church and is most often found in rural areas in the South. The practice stems from a verse in Mark 16: “They will pick up snakes with their hands; and when they drink deadly poison, it will not hurt them at all; they will place their hands on sick people, and they will get well.”
You have to admit: tempting deadly snakes and drinking poison certainly take faith.
They Shall Take Up Serpents is set in Jolo, West Virginia, outside the Church of the Lord Jesus. Cindy (Hannah Jo Black), a new congregant, is a young woman deprived of power — her domineering father (Thom Johnson) bleeds her dry, saying she owes him for his financial investment in her. His demeaning verbal abuse over the years has turned her inside out, siphoning off all her perceived worth. But for the past eight weeks, Cindy has made the two-hour drive to Jolo to attend the services of a snake-handling church. Now, she is on the cusp of stepping up and taking her turn with the rattlers and, in effect, taking back her personal power.
Black plays the painfully introverted Cindy with a demure voice and restless hands. Cindy continuously tries to bury herself farther into her sweater, almost subconsciously trying to hide herself or protect herself from the world. In contrast to Cindy’s character, Maryanne Mathews plays the lively if eccentric one-eyed Velma, a life-long member and matriarch of the church. Velma’s character is bizarrely entertaining. If the show had scenery, I would say Mathews chews on it. Velma is country through and through, and she exudes the love for life and faith that is sorely lacking in Cindy’s world. Velma’s fun-loving, unfiltered, and infectious nature is what helps Cindy finally decide to take that step and come into her own.
The two are intruded upon by a bumbling young journalist, Ran (Kyle James Dorsch). Dorsch is a cute and gawky Ran, and Velma gets to poke some fun at him, eliciting a smile and eventually a laugh from Cindy. But his sudden and passionate concern for Cindy’s potential future is too abrupt, making that scenario unrealistic.
Overall, Garret Mathews manages to show us the growth of Cindy from withering wallflower to blooming self-confidence within 50 minutes. That is certainly an impressive feat.
Saturday, Aug. 18, 9 p.m.; Sunday, Aug. 19, 4:30 p.m.; Monday, Aug. 20, 7:30 p.m.; Friday, Aug. 24, 6 p.m.; Saturday, Aug. 25, 1:30 p.m.
So, if Shakespeare hooked up with the writers of Dawn of the Dead …
“The Lord Chamberlain’s Men” tell the tale of a zombie apocalypse with all the Shakespearean trappings (such as a gooey, lovestruck couple, narration, and soliloquies) and tongue-tripping language.
And clogging … and condoms … and a soused, lustful priest … and shotguns … and boxed wine … and a Swashio to get them all through this alive.
While the show certainly has its moments of hilarity, it can also get a little dark, like when Swashio tells his tale of having to shoot his zombified mother. But it also has long stretches where it’s not funny, or dark, or much of anything — just filler dialogue.
More zombie conflict, please.
But the acting is laudable — Swashio by far my favorite — and the anticipation of what crazy might come next helps gets you through those slow parts.
Do keep an ear out for cameos of some of Shakespeare’s most famous lines or references.
So, the Indy Fringe Festival will dominate the theater scene for the next two weeks. There are 78 shows spread over eight stages, so I’m not going to list them here. Go check out the schedule. I am planning to attend at least 13 of these — more if time and stamina permit. I’m a one-woman writing machine, so bear with me.
There are, however, a couple alternatives to Fringe.
Garfield Shakespeare Company: The Three Musketeers
Footlite Musicals Young Artists: The Pirates of Penzance
A fresh take on one of Gilbert and Sullivan’s most popular comic operas, this show is a hilarious farce of sentimental pirates, bumbling policemen, dim-witted young lovers, and an eccentric Major-General.
Aug. 17-26, Thursdays-Saturdays at 7:30 p.m. and Sundays at 2:30 p.m.
$25; $15 for youth 17 and younger; discount days Thursday evening and opening weekend Sunday matinee: $10
If you are not a mom, you probably won’t fully appreciate the humor, grief, and even anger that are part of the first few months post-childbirth. If you are a mom, you might want to occasionally yell out, “Amen, sister!” during Cry It Out—a compulsion I had to quash several times.
Cry It Out, directed by Chelsey Stauffer, explores many of the raw and real facts and feelings of being a first-time mom that override the What to Expect series. You can read about bladder leakage, postpartum, breastmilk-soaked bras, depression, and sleep issues, usually in clinical terms, but the reality of them are much, much messier. Until you have experienced momhood firsthand, you have no idea what’s coming.
When a move is added to the life-rocking experience of bringing a little slave driver into your world, things get even more complicated.
Which is how Jesse meets her fellow new mom and neighbor Lena. When a readymade support group of family and fellow parents isn’t waiting for you at home, the feeling of isolation can be crippling. Which is what prompts Jesse to practical pole vault over a grocery store aisle to ask Lena to meet her for coffee during naptime. Once they find a spot in Jesse’s backyard where both their baby monitors can reach, they have their own first tentative playdate while sitting on a tiny outdoor playset.
Lauren Briggeman (Jessie) and Sally Scharbrough (Lena) are very different people from very different backgrounds. Briggeman’s character, a lawyer and Manhattan transplant, is more reserved while Scharbrough, whose character’s credit score is 0, is completely uninhibited. But for their friendship, this is irrelevant. They become fast friends because nothing makes people bond like mommy yoga pants and 20 minutes of sleep per night. But while their motherhood escapades unite them, their socioeconomic statuses force them to make hard choices about going back to work after maternity leave.
I wish Lena had been my best friend postpartum. Scharbrough is hysterical and full of life—just what Jesse needs even if she seems befuddled by Lena’s behavior at times. Jesse’s little happy dances make you remember the exhilaration over small miracles, like a long nap, taking a shower, or wearing actual jeans. Each woman, in her own way, eloquently conveys the grit of stumbling through motherhood.
The women’s daily coffee klatch is crashed by a father from the super-rich neighborhood on the hill who is concerned about his wife’s disconnect from their new daughter. Michael Hosp plays Mitchell, a concerned, befuddled dad who needs someone to turn to for help. His wife Adrienne, played by Andrea Heiden, explodes with the kind of anger that can come with an uprooted lifestyle. The wealthy aren’t immune to their own challenges when it comes to parenthood.
This is a great show for a mom date. Leave the kids with Dad and commiserate with a fellow mom. You’ll feel better—and not so alone.
Through Aug. 26, Thursdays-Saturdays at 7:30 p.m. and Sundays at 2:30 p.m.
The drought is devastating for the Curry family—the lack of both rain and marriageable prospects for Lizzie, the only girl in the family. There is little the Currys can do about the rain, so H.C. and his oldest son Noah focus their efforts on finding a husband for Lizzie, who is headed for spinsterhood because she is considered “plain” (e.g., unattractive) and she eschews the ridiculous art of flirting. The family’s dying cattle is a parallel to their receding hopes that they will find a husband for Lizzie.
But this is a romantic comedy—so we don’t get bogged down by their expectations of women. This attitude toward Lizzie may seem antiquated, but the story is set in a rural area out West during the Depression era. For us, given the decades of changing views of women, their concern for Lizzie is both off-putting and heartwarming—a paradox born of their concern for her future combined with the mindset of the time. The menfolk think they are doing the right thing.
Enter the so-called “rainmaker.” For $100, he promises to bring the rain. He may be full of bull, but he does bring hope to Lizzie, giving her the confidence she needs to embrace her potential for the life she dreamed of but always thought was out of reach. He heals her insecurities. This makes the rainmaker a hero in a way.
Tim Latimer (H.C., the father), Matt Spurlock (Noah), Joe Wagner (Jim, the other sibling), and Jenni White (Lizzie) create a completely believable family dynamic. They don’t just deliver their lines—they mean them. This is some of the best acting I have seen on Buck Creek’s stage.
Spurlock is intense. He projects Noah’s unyielding rationality and fierce protectiveness of his family. He’s intimidating. His words to Lizzie are often harsh, and Spurlock doesn’t soften them, but it’s because he needs Lizzie to face reality—he believes false hope will leave her heartbroken again and again. Spurlock never backs down when showing us Noah’s personality or his disdain of hair-brained ideas. But he also leaves us with no question that he loves his family.
Noah runs most of the family as well as the farm, and H.C. is willing to let his second in command take charge until Noah takes it too far. Latimer’s H.C. is laid-back, open-minded, and observant, but he is also still the patriarch. When it counts, Latimer overrides decisions with a firm hand or gets in Noah’s face without backing down. Latimer crafts a complex personality and gives us a father figure that is fun and supports his children with a loving hand that only a father can provide. He’s Dad with that capital D.
White’s Lizzie is strong but vulnerable at the same time—neither overrides the other completely—and White consistently expresses this dichotomy through her speech and body language. Confident words are belied by her nervous movements. Lizzie knows she is not the best candidate for a good match, but she won’t change who she is just to catch a husband. White manages these qualities simultaneously, creating a character you can’t help but admire and sympathize with.
Jimmy is the warm-hearted, happy-go-lucky counterpart for Noah—if a little dim. He loves his sister but doesn’t have the gumption to really take on his brother. Wagner’s fun-loving, sweet, and gullible character offers much of the comic relief, and Wager play it up wholeheartedly. You can’t help but smile when he’s on stage.
And of course, there’s Bill Starbuck, aka the rainmaker. Steve Jerk is just enough crazy and radiates the confidence of any good con man. But he surprises us with a serious side. He takes exception with Lizzie’s treatment by her family, and Jerk lets us know it. His disapproving looks and clipped comments ingratiate him to the audience and to Lizzie. Jerk’s gentle touch and encouragement for Lizzie make us forgive his cons.
Corey Yeaman as Deputy File, an insecure potential beau for Lizzie, and John Joyner as Sheriff Thomas round out the cast.
John Walker’s set design includes beautiful umbrella lights suspended from the ceiling, and his detailed farmhouse takes us firmly into the Currys’ environment.
Tim Spradlin directs, and he brings together a powerful piece of theater. An enticing story combines with a stellar cast to make this show an exciting opening for Buck Creek’s season.
Aug. 3-12, Fridays-Saturdays at 8 p.m. and Sundays at 2:30 p.m.
$18; $16 for children and students; $16 for senior citizens
Motherhood is terrifying. Through a burgeoning friendship in a Long Island suburb, two women seek to redefine their lives as “mother” with poignant moments of doubt sprinkled in the mix. This heartwarming story explores the times of quiet between the general chaos of raising a child that reveal the sheer comedy of motherhood balanced with the unrelenting truth of a life forever changed.
Aug. 2-26, Thursdays-Saturdays at 7:30 p.m. and Sundays at 2:30 p.m.
Before the official opening night, a single Thursday preview ticket is $25; regular ticket prices are $33-$37
Coriolanus is an intriguing political thriller for times past, present, and future. Set in Ancient Rome and written in the early 1600s, the play has readily reflected the contemporary political climate of each of its professional productions. And it will do so once again for Indianapolis audiences. Shakespeare’s unerring instinct to tap into what matters to us, what we value, and what we are willing to fight for shines brightly in Coriolanus. But Shakespeare does not take sides — he asks us to decide which causes call our name and who and what we want our leaders to be.
Pack a picnic or enjoy food and drinks for sale in the park. Come early for the pre-show band Dog Mamas!, food trucks, Sun King, and Vino Winemobile beginning at 6 p.m. Bring a blanket or chairs for the show. The best parking is at the zoo ($15 nonmembers). Once you are parked at the zoo, look for the Shakespeare signs between the Butterfly Building and the zoo. Walk up through these building (also handicapped accessible) and you will arrive at the free shuttle stop. Take the shuttle or walk across the Washington Street pedestrian bridge and you will arrive at White River State Park.
During a time of a paralyzing drought in the West, we discover a girl whose father and two brothers are worried as much about her potential future as an old maid as they are about their dying cattle. The brothers try every possible scheme to marry her off, without success. Nor is there any sign of relief from the dry heat, but suddenly, from out of nowhere, appears a sweet-talking man with quite the sales pitch. Claiming to be a “rainmaker,” the man promises to bring rain for $100. Meanwhile, the rainmaker also turns his magic on the girl and persuades her that she has a very real beauty of her own. She believes it, just as her father believes the fellow can actually bring rain. Rain does come … and so does love.
Aug. 3-12, Fridays-Saturdays at 8 p.m. and Sundays at 2:30 p.m.
$18; $16 for children and students; $16 for senior citizens
Have you ever wondered what it takes to create a cabaret? Local artists will be answering that question (and more) in the all-new Cabaret Incubator Series, starting with Indy’s own Brent Marty and Claire Wilcher. These local divas are bringing their big voices and even bigger personalities to The Cabaret. They’ve joined forces to serve up hot, local vocal delicacies with personal favorites, retro hits, and their favorite pastime — matching wits! Learn more about their creative process in a post-show Q&A!
Godspell was the first major musical theater offering from three-time Grammy and Academy Award winner Stephen Schwartz (Wicked, Pippin, Children of Eden), and it took the world by storm, led by the international hit “Day by Day.” A small group of people help Jesus Christ tell different parables by using a wide variety of games, storytelling techniques, and a hefty dose of comic timing. An eclectic blend of songs, ranging in style from pop to vaudeville, is employed as the story of Jesus’ life dances across the stage. Dissolving hauntingly into the Last Supper and the Crucifixion, Jesus’ messages of kindness, tolerance and love come vibrantly to life.
Aug. 4 at 7:30 p.m.; Aug. 5. at 2:30 p.m.; Aug. 9 at 7:30 p.m.; Aug. 10 at 7:30 p.m.; Aug. 11 at 7:30 p.m.; Aug. 12 at 2:30 p.m.
$15 ($20 at the door); senior/student/military pre-sale $12 ($15 at the door)
The Cat’s interns Tristan Zavaleta, Blake Miller, Emma Rund, and Audrey Larkin present their own night of one acts.
Check, Pleaseby Jonathan Rand: Dating can be hard. Especially when your date happens to be a raging kleptomaniac, or your grandmother’s bridge partner, or a mime. Check, Please follows a series of blind dinner dates that couldn’t get any worse — until they do. Could there possibly be a light at the end of the tunnel?
Personal Libraryby Emma Rund: Have you ever wanted to live inside a book? Megan does. In fact, she never leaves her house, living vicariously through books and speaking only to her best friend, Claire. When her concerned ex-boyfriend shows up at the door, he unearths a trauma that will force Megan to navigate that frightening place between reality and fantasy.
When the song “Lilly’s Eyes” began, I found myself holding my breath. Fair or not, this was the song that was going to have a disproportionate amount of influence over my reaction to the show. It was unavoidable. This is the song that made me see Mandy Patinkin as more than just Inigo Montoya. It is the most haunting song in The Secret Garden’s often eerie, eidolic soundtrack. I was already impressed by Weston LeCrone, but this duet with Davon Graham was crucial to me.
By the time it was finished, breath released, I was misty eyed and ready to jump to my feet in a spontaneous standing ovation. Every tone of devastating heartache, every note of loss and longing that makes this song so emotionally fundamental to The Secret Garden was beautifully, eloquently expressed.
I want to say thank you to LeCrone and Graham for giving me the chance to experience this—a song that has affected me every time I have heard it—in a live setting again. And for doing it so very, very well.
Producer/director Emily Ristine Holloway must hold some of her own magic because for the second time this summer, I have been impressed by a young-adult Summer Stock Stage production that could hold its own against many adults’ local theater productions. As I said in my review of SSS’s Urinetown, I usually don’t cover young-adult shows because I believe these programs are learning opportunities for the kids involved—not something that should be held to particular expectations or standards. But SSS is becoming my exception.
Again, the stage is packed with teenagers from many schools in the area, and this time around, they are joined by younger kids from the elementary-age Summer Stock Academy. This put up to 45 bodies on stage, making for rich and powerful ensemble numbers, proven early on in “The House Upon the Hill.”
Amelia Wray brings to life the petulant 10-year-old Mary Lenox who slowly begins to open up to the world—and the people—around her again, and she has a pretty voice. But LeCrone, as Archibald Craven, Mary’s uncle, is the one who consistently, unobtrusively draws your interest. He does not demand it. This would not be part of his character, the reclusive hunchback. His hold on you is subtle until you find yourself captivated and anticipating his every scene. LeCrone is a recent graduate of Zionsville Community High School, and in the fall, he is headed for Elon University to work toward a BFA in musical theater. If he is this good now, he will be Broadway bound after four years of university training. His vocals and emotive acting abilities—a true subversive performance—are already superlative. Sally Root, as Archibald’s late wife Lilly, and LeCrone deliver an especially poignant “How Could I Ever Know,” which is unsurprising in that Root has a gorgeous, ethereal voice as well.
Bright spots in Mary’s dreary world are her jovial, optimistic chambermaid Martha, played by Cynthia Kauffman, and Martha’s brother Dickon, played by Keith Smith Jr. Smith and Wray come together for the sweet, whimsical song “Wick,” and Smith has a good solo turn in “Winter’s on the Wing.” Kauffman lightens the dire mood of Mary’s arrival to Misselthwaite Manor with her playful rendition of “A Fine White Horse,” and then she gets to shift to the more somber but still hopeful “Hold On” in Act 2. Versatility and another exemplary voice on display.
While I focus primarily on the music in a musical—because it seems natural, after all—it does occur to me that in addition to the previously mentioned performance by LeCrone, I should include that there is a great deal of just, well, straight forward acting happening on stage, creating believable, sympathetic characters, and this is what really pulls you into the story itself.
This was a good choice for the SSS students, as it also gave them a chance to tinker with accents. And like Urinetown, the show is visually striking, this time through costuming by Aaron Wardwell and choreography by Cherri Jaffee and Brandon Comer.
Another production that SSS can add to their growing list of smashing successes.
Through July 28 at 7 p.m. and July 28-29 at 2 p.m.
Acco, Israel, one of the oldest continuously inhabited cities in the world, will play host to Red Couch, a performance that debuted at IndyFringe in 2011. Indianapolis-based performer and choreographer Tommy Lewey will bring this production—in which he stars alongside Morgan Skiles—to the Acco Fringe Festival in September.
Read more of NUVO arts editor Dan Grossman’s story about Red Couchhere.
The benefit is to help the artists with expenses related to the show.
Set in the Manhattan of Damon Runyon’s short stories, Guys & Dolls is considered by many to be the perfect musical comedy. Gambler Nathan Detroit tries to find the cash to set up the biggest craps game in town while the authorities breathe down his neck. Meanwhile, his girlfriend and nightclub performer, Adelaide, laments that they’ve been engaged for 14 years. Nathan turns to fellow gambler Sky Masterson for the dough, and Sky ends up chasing the straight-laced missionary, Sarah Brown, as a result.
This enchanting classic of children’s literature is reimagined in brilliant musical style. A young orphan girl returns to Yorkshire to live with her embittered, reclusive uncle and discovers a magic garden with haunting melodies and spirits to guide her through her new life. The Tony Award-winning musical is a compelling tale of forgiveness and renewal suitable for all ages.
More than 30 talented high school students from 20 public, private, and charter schools in Central Indiana will perform a fully-staged and orchestrated production. Summer Stock Stage is an intensive, pre-professional program designed to equip students for collegiate and professional theater programs. Its mission is to enrich the community through theater by inspiring young people to learn, connect and perform. The SSS staff mentors and collaborates with student artists in two major musical productions each summer, while Park Tudor School generously donates use of its facilities.
July 25-28 at 7 p.m. and July 28-29 at 2 p.m.
$14 for the Wednesday preview performance and $18 for all other shows
At one point in The Soundless Awe, an actor portraying Mochitsura Hashimoto, captain of the Japanese submarine that torpedoed the USS Indianapolis, reverently holds a small potted bush while circling the stage, often presenting it in such a way as if it were Simba from The Lion King.
It pains me to say this, given the unfathomable tragedy of the USS Indianapolis and the deteriorating mental health that mercilessly dogged its captain, Charles McVay III, leading him to take his own life, but this show falls into the top five of the most pretentious pieces of theater I have ever seen in my almost two decades of theater-going.
I was intrigued by what the show promised: “The Soundless Awe is a horrific and heart-breaking imagining of McVay’s final nightmare before he pulls the trigger [killing himself].” I expected insight into McVay’s life and mindset post-Indianapolis. Instead, the play is bogged down by too many ostentatious metaphors and disjointed scenes. It can’t even compare to the stunned silence that rips through one’s soul during the three-and-a-half-minute speech in Jaws—even if that monologue is inaccurate.
There is material with so much potential that could have been mined for the play—all of it true. One of the most controversial aspects of the Indianapolis’ demise is McVay’s court martial, in which he was found guilty—a subject many laypeople know little if nothing about. This injustice (which was reversed posthumously), his barrage of letters from family members of dead servicemen, and overwhelming survivor’s guilt all led to his suicide. While we get snippets of the court martial trial in which McVay was charged with negligence, examples of the letters from family members of the deceased, and scenes from the servicemen in the water, none of this leaves enough of an impression—or even gives enough information—to make the show particularly compelling. Surprisingly, his court martial is only treated on the surface level, and as for his eventual exoneration, it is merely a footnote. I was so distracted by that little bush that I can’t even tell you if Hashimoto’s support of McVay, both during and after his trial, was even mentioned.
As for McVay, the only dynamic scene written for him that truly brings out his humanity is the complicated familial interaction between him and his father, including an explanation of the toy sailor he carried with him.
Leaving most of the emotionally riveting parts of the show the handful of period photos and video footage from the era.
As for presentation, watch your step, as a shallow pool of water is set in the center of the stage, which the actors get to roll around and splash in.
When allowed, most of the acting is quite good. The show opens with Jason Narvy, alone, sitting in a chair aimlessly watching Lawrence Welk. The raw emotion and haunted expression draw you in immediately. He remains in the spotlight long enough that it begins to make you uncomfortable—a smart device. However, as the show progresses, the other actors are often subjected to affectation through director Brian Fruits. Movements, such as slow, high steps, are used … why? Are they meant to add gravity? The story is grave enough already; this is unnecessary. It is particularly painful in The Gray Woman (Katie Zisson), a character used for multipurpose symbology as well as a lounge singer—and she also gets to be a weird shark.
And oh God, what is up with the voice modulation?
This show was brought to IndyFringe from Chicago as part of the USS Indianapolis Survivors Reunion happening this weekend, and I believe when I was there Friday night, the vast majority—if not entire—audience was made up of reunion attendees. As we were leaving, I heard some audience members say a genuine “thank you” and I heard one “amazing.” But I just can’t.
Continues though Sunday, but sold out except July 20, 12:30 p.m. show
$10 general admission; 50 percent of ticket sales and donations will go directly to the USS Indianapolis Survivors Organization
Author’s note: I am the wife of a Navy veteran. However, he was lucky enough not to serve in wartime (and he did serve before our relationship). So this is not me being callous. Just the opposite. Thinking that something similar to this could have happened to him if the circumstances of his service had been different freaks me the fuck out. Thankfully, the worst thing that happened during his enlistment was that he hit a whale while “driving” the submarine. Needless to say, this is something that my friends and I have mined for many, many jokes at his expense.
Saltbox Theatre Collective and U.S.S. Indianapolis Survivors Organization:
In the Soundless Awe
July 30, 1945. The U.S.S. Indianapolis is hit by two Japanese torpedoes, killing three-hundred sailors in the initial blast and leaving nine-hundred men to drift helplessly in the Pacific Ocean. 321 survivors are discovered almost five days later drifting aimlessly in the South Pacific. Twenty-two years later, Charles Butler McVay III, the wrongly court-martialed and disgraced Captain of the U.S.S. Indianapolis, puts a gun to his head after many years of night terrors where specters, human and otherwise, call to him from below. In the Soundless Awe is a horrific and heart-breaking imagining of McVay’s final nightmare before he pulls the trigger.
Thursday July 19, 7:30 p.m.; Friday July 20, 12:30 p.m.; Friday July 20, 7:30 p.m.; Saturday, July 21, 1:30 p.m.; Sunday, July 22, 12 p.m.
$10 general admission; 50 percent of ticket sales and donations will go directly to the USS Indianapolis Survivors Organization, as Saltbox Theatre Collective views the remounting of this play as a service to those that served and the city of Indianapolis.
William Shakespeare’s final masterpiece, The Tempest, is a comedy, a drama, and a fantasy all rolled into one. This is the 26th season for Noblesville Shakespeare in the Park, presented by the Noblesville Cultural Arts Commission.
Jack and Charley have a problem. As their college careers wind down (at Oxford, no less), they have found the girls of their dreams. The problem, you ask? In 24 hours those girls leave on an extended trip, and if they don’t act now they may lose their chance with them forever! Polite society dictates they cannot be alone with the girls, but how else is a guy to propose? A welcome solution is found when Charley’s wealthy aunt is to visit him, and Charley and Jack seize the opportunity to invite the girls to a lunch in her honor. Trouble starts once his aunt cables she has been detained, and the boys, desperate and out of ideas, press their friend and amateur actor, Fanny Babbs, to portray Charley’s aunt. Hilarity ensues as the men and women of the tale misplace their affections, rekindle love affairs, and find themselves in some outrageous positions in the quest to find—and secure—true love. In the vein of classic films Some Like It Hot and Tootsie, Brandon Thomas’s English farce, Charley’s Aunt, is sure to thrill audiences today as it did in 1892, when it historically broke records with an original London run of almost 1,500 performances.
July 20-29, Fridays-Saturdays at 7:30 p.m. and Sundays at 2:30 p.m.
Filled with iconic music and based on a true story, it relives one of the most remarkable nights in music history. Million Dollar Quartet is set on Dec. 4, 1956, when an extraordinary twist of fate brought Johnny Cash, Jerry Lee Lewis, Carl Perkins and Elvis Presley together for what would be one of the greatest jam sessions ever. The four legends gathered at the Sun Records recording studio in Memphis, Tenn., where they’d launched their careers. Word soon leaked out of an impromptu jam session. A newspaper man who was there wrote, “This quartet could sell a million.” Soon, they were dubbed the “Million Dollar Quartet.” This was their only performance, a cultural flashpoint that caught rock ‘n’ roll at the moment of creation. That legendary December night reveals an irresistible tale of broken promises, secrets, betrayal and celebrations that is both poignant and funny. The incredible score includes: “Blue Suede Shoes,” “Fever,” “Walk the Line,” “Sixteen Tons,” “Who Do You Love?,” “Great Balls of Fire,” “Folsom Prison Blues,” “Whole Lotta Shakin’ Goin’ On,” “Hound Dog,” and more.
Theatre for Christ: Godspell (2012 Broadway Revival Production)
This immensely successful rock opera needs little introduction, but when it was first produced on Broadway in 1971, it broke new ground in its stage treatment of the historical Jesus Christ. Based on the Gospel according to St. Matthew, it deals with the last days of Jesus and includes dramatized versions of several well-known parables.
Friday, July 20, 7 p.m.; Saturday, July 21 at 2 and 7 p.m.; Sunday, July 22, 2 p.m.
July 12 ATI Industry Night. Are you an actor or artisan? Show your Equity card or a show program with your name and get a discounted ticket.
July 19 Favorite Broadway Star Night. Come dressed as your favorite Broadway star and enter your name for a drawing for two tickets to opening weekend of Comedy of Tenors in September.
July 29 SunKing Sing-along Night. After the show, ATI will host a five-song sing-along with lyrics and beer.
TONIGHT: Word Fringe Day Kingmakers Game for Good
Celebrate World Fringe Day at a giveback night at Kingmakers, IndyFringe’s neighbor down the road, for a night of game playing, refreshments, and giving back. In honor of World Fringe Day, a veteran Fringe performer will host the fun. All you have to do is enjoy a drink (or two) and a game with friends, and 18 percent of proceeds come back to IndyFringe. Plus, Kingmakers is giving out free Game on Us cards to be used during your next visit.
Wednesday, July 11 from 5-8 p.m.
$5 entry fee for the evening; Kingmakers does not accept cash
Friday, July 13, dress as your favorite fairytale character to be entered to win a framed print of a painting inspired by Into the Woods by cast member Rylie Gendron. Then meet your favorite Into the Woods characters following the show.
Sometimes, there is brilliance—an idea that is truly groundbreaking, pushing and challenging fellow artists to the next level. Let’s use Les Miserables as an example. When it premiered, it was considered a musical masterpiece. Now, 30-odd years later, if I ever have to sit through another production of Les Mis, I am going to throw myself on that barricade in the hope that a stray kitchen chair takes me out. As declared in another over-produced piece of music (part of a current Broadway production—because originality is dead), Let it go.
For those of us who can’t take another rendition of that lazy Susan musical, as well as other musicals that have descended into the tedious (or just WTF, ahem, SpongeBob), there is Forbidden Broadway.
The inaugural production at the District Theatre, formerly Theatre on the Square, is a (literally) nose-snubbing show presented by Actors Theatre of Indiana. The cachinnating-worthy performance parodies and bullies musical theater in ways that go beyond irreverent and into territory that some mainstream musical-lovers would find blasphemous. And it’s divine.
Granted, this means that a working knowledge of musical theater history and present trends is a necessity to cachinnate at—or even “get”—this show. Various popular show tunes have been re-lyriced to indulge in how hokey and/or hackney their sources really are.
Since its inception in 1982, Forbidden Broadway has continued to evolve. As new musicals/actors/producers hit the stage, many ripe with potential parody material, they have been incorporated into the show. Hence, we have the unbelievably hilarious Lion King with a demented Rafiki and neck-braced actors forced into costumes the Inquisition would have envied. There are some classics in there too, rehashes that won’t die, making the “saucy Fosse” number hysterical in its truth.
Director Billy Kimmel is the mad Hatter to this insanity. With the fab-u-lous Brent Marty on piano, Don Farrell, Logan Moore, Cynthia Collins, and Judy Fitzgerald outdo themselves in their sheer glee of the devastatingly ludicrous. Special goof awards do need to go out to Farrell and Moore for the foolishness that so often falls to them. Donning those Mamma Mia costumes is a tame example, but they take to them like cats to chlorinated swim trunks. Farrell also belts out some awesome notes, and Moore was born for this kind of show (see my review of Edwin Drood, which contains many of the same descriptors I use here).
And Terry Woods’ costuming is absolutely brilliant. These are not merely costumes—they are a fifth actor, as essential as the cast wearing them. Some are infected with details a keen eye will appreciate. And while props are sparse, the itty-bitty baby chandelier for the Phantom is adorable.
This is an excellent opening for the District Theatre. A standing ovation to ATI for making it so.
Through July 29; dates and times vary
$30 general admission / $25 seniors (65 and over) / $20 students
In this long-running Off-Broadway hit musical revue, Forbidden Broadway pokes, teases, and lampoons anything Broadway has to offer — but always with love. This canon of witty and oftentimes brilliant parodies is a time capsule of American theater. Journey through more than 20 Broadway shows and spend the evening with Carol Channing, Julie Andrews, Ethel Merman, not to mention the casts of The Lion King, Wicked, Mamma Mia, Hairspray, and so many more in this entertaining tribute to some of Broadway’s greatest shows and stars!
July 5-29; dates and times vary
$30 general admission / $25 seniors (65 and over) / $20 students
July 5 opening night VIP party for all ticket holders
July 12 ATI Industry Night. Are you an actor or artisan? Show your Equity card or a show program with your name and get a discounted ticket.
July 19 Favorite Broadway Star Night. Come dressed as your favorite Broadway star and enter your name for a drawing for two tickets to opening weekend of Comedy of Tenors in September.
July 29 SunKing Sing-along Night. After the show, ATI will host a five-song sing-along with lyrics and beer.
Magic Thread Cabaret:
Katy Gentry Is Judy Garland LIVE!
Katy Gentry, who grew up in Crawfordsville and now lives in Fishers, is bringing Judy Garland to life as she recreates performances by the legendary superstar. Gentry first stepped into Judy Garland’s shoes when she originated the role in the Actors Theatre of Indiana premiere of Beyond the Rainbow in 2007, joining ATI’s reprisal of the show in 2017 to play 38-year-old Judy Garland in her iconic 1961 Carnegie Hall performance.
Friday, July 6-Saturday, July 7 at 7:30 p.m.; Sunday, July 8 at 4:00 p.m.
Carter’s summer is off to a rough start. Her friends’ pets keep going missing and her grades slipped during the last semester. Her friends are worried about their pets, and her mom is angry about her grades. No one seems to have time for her except her grandma. So how hard can running away be? The woods aren’t that scary. In this devised piece, the ensemble and a board of creators examine what we fear and how we can overcome it.
July 6 at 7 p.m. and 10 p.m.; July 7 at 7 p.m.; July 8 at 2 p.m.
London cab driver John Smith has two wives, two lives, and a very precise schedule for juggling them both, with one wife at home in Streatham and another at home in Wimbledon. Trouble brews when Smith is mugged and ends up in hospital, where both of his addresses surface, causing both the Streatham and Wimbledon police to investigate. Having upset his schedule, Smith becomes hopelessly entangled in his attempts to explain himself to his wives and two suspicious police officers, with help from his lazy layabout neighbour upstairs in Wimbledon.
July 6-22, Fridays and Saturdays at 7:30 p.m. and Sundays at 2 p.m.
$15; $13 seniors 65 and older; $12 For Epilogue members
Usually, I avoid reviewing young-adult productions because the focus of these programs is the kids’ experience of theater, not necessarily putting on a production-perfect show. It’s supposed to be fun and educational. However, I love Urinetown: The Musical; it’s hysterical. But more important, I was recently so impressed by Eclipse, the young-professional arm of Summer Stock Stage, that I made an exception.
An exception that proved to not just raise the bar for all theaters in Indianapolis but that will require some of them to pole-vault over the bar.
SSS’s production was gorgeous, almost flawless in its execution. Granted, the “kids” (roughly 13 to 19) have longtime theater veterans supporting them, but the best director can’t pull off a show this good without having the raw talent to work with.
And raw talent was abundant.
Eva Scherrer as Pennywise was outstanding. Chase Infiniti as Hope Cladwell and Nicholas Dunlap-Loomis as Officer Lockstock were also exceptional, both vocally and in characterization. Very close seconds were Jack Ducat as Caldwell Cladwell and Natalie Schilling as Little Sally—both of whom created the silly caricatures of their characters while maintaining quality vocals. Cameron Brown as Bobby Strong took some time to warm up but nailed “Run Freedom Run.” Minor characters Chinyelu Mwaafrika and Sally Root, backed by the Rebel Ensemble, delivered a major punch with “Snuff that Girl.”
Which is actually a good segue into how amazing the choreography was. Mariel Greenlee (The Martha Graham Center for Dance, et al.), Lily Wessel (12 SSS and Eclipse shows), and Brandon Comer (a longtime member of Dance Kaleidoscope) created it, but the huge cast performed it like pros. Seriously. I think my jaw dropped a few times at just how good they were.
More mentors with serious credentials: Emily Ristine Holloway, a founder and artistic director of SSS, produced and directed, with Charles Goad as assistant director. Chuck Goad, people. If you follow Indianapolis theater, your eyes should pop just as mine did when I read the program. And the art director? Kyle Ragsdale. He’s not just a staple of the local visual arts community, but you may know his work from the posters for the Indiana Repertory Theatre, which he has painted for the last two seasons.
And the lighting! Michael Moffatt’s (Phoenix, Zach and Zack, et al.) lighting was dynamic and complemented Kristopher Steege’s set design.
All this and a live band!
I’m leaving people out, I know, but I’m running out of synonyms for “fantastic.”
Sadly, this show closed July 1, but SSS’s next production, The Secret Garden, is coming up July 25-29.
This production represented students from 34 different schools. Here are the ones I mentioned (though Dunlap-Loomis’s is not noted).
Eva Scherrer: North Central High School senior
Chase Infiniti: recent grad of North Central High School
Jack Ducat: Carmel High School sophomore
Natalie Schilling: North Central High School sophomore
Cameron Brown: recent grad of Franklin Central High School
Chinyelu Mwaafrika: recent grad of Shortridge High School
Summit Performance Indianapolis, a new women-based theatrical group, introduced themselves to us with a (have to say it) stellar staging of Silent Sky. The choice is apropos. The play by Lauren Gunderson is based on a little-known female astronomer, Henrietta Leavitt, who fought for equal recognition for her work while she also balked against social convention, single-mindedly immersing herself in a career at a time when most women were relegated to being wives and mothers.
Henrietta takes a post at the Harvard Observatory in the early 1900s, traveling from her home and family in Wisconsin, but when she arrives, she is surprised to find that she isn’t allowed access to its telescope, which for her is an awe-inspiring object she yearns to wield. Instead, she is placed with two other women in what the astronomy department calls “Pickering’s harem,” Edward Charles Pickering being a renowned Harvard astronomer. The women are referred to as “computers,” in that their only job is to “compute” data that has been collected by the men. Her own ideas are rebuffed and even discouraged, so Henrietta uses her off time to explore her own theories, ultimately making a breakthrough that changes the astronomic perception of the universe and later influences Hubble’s Law. She did receive some recognition for her work, but if she had been male, her discoveries would have been lauded as genius.
Henrietta isn’t the only member of the team who made a mark on the scientific world. Annie Cannon created the Harvard Classification Scheme, though most of the credit was taken by Pickering, and she remains with her fellow computers regardless. Women’s advances weren’t given as much credit as they should have, and they were often downplayed by men, who took their research and built on it.
Sadly, society hasn’t advanced as much as it should have since this time period. In 2016, The New York Times reported, “Women’s median annual earnings stubbornly remain about 20 percent below men’s. Why is progress stalling? It may come down to this troubling reality, new research suggests: Work done by women simply isn’t valued as highly.”
This is further illustrated in Mr. Shaw, Pickering’s apprentice, who oversees the women’s work. He and Henrietta immediately clash during their first meeting. As a man, he sees himself as her superior, not her colleague, though they hold equal academic degrees, and Henrietta calls him out on his subconscious misogyny. Shaw isn’t even particularly divested in his work, whereas Henrietta is passionate—a word she has to illustrate for Mr. Shaw.
Rounding out the “harem” is Williamina Fleming, Pickering’s former housekeeper whom he brought on because the “boys” tended to take the work and then move on to apply it to their own projects. The chipper Williamina gets away with more lip because she has been around the longest, but she always makes her unapologetic statements funny even when they are the bald-faced truth.
Henrietta is too focused on the stars to take much notice of the life that is happening around her. Above everything, her priority is the stars until her father’s stroke pulls her back home, at which point she continues to work remotely. While her sister Margaret and Henrietta see heaven vs. the heavens, Margaret isn’t a complete foil for Henrietta, as she harbors and delicately feeds her own passion for music.
With Lori Wolter Hudson directing, the cast and crew for Silent Sky come with impressive credentials all around, and their talent is on full display. Carrie Ann Schlatter captures Henrietta’s hard-headed dedication and her wonder in an energetic, sympathetic, and likable performance. Schlatter gives Henrietta a fully developed personality. Her character pushes on, growing with each new obstacle she encounters. She is always in motion, a parallel to her perpetually working mind.
Henrietta’s co-workers, Annie and Williamina, bookend her personality. Molly Garner as Annie is the perfect depiction of a straight-laced, aloof, somewhat intimidating woman who knows her place in the hierarchy. Watching her slough off that stone face and evolve into a suffragist keeps time for the audience and allows Garner to take her character in a different direction, with often-amusing results. Williamina is a constant, an anchor in Henrietta’s and Annie’s lives, and Gigi Jennewein provides the support and levity needed during Henrietta’s challenges and Annie’s new interests. Her whimsical Scottish persona is delightful.
Schlatter, Garner, and Jennewein develop a tactile bond among the three women that is beautiful to witness. Their dialogue and interactions combine wit and resilience for a truly entertaining and touching trio.
Adam Tran was recently seen as Elvis in Actors Theatre of Indiana’s Million Dollar Quartet, and his performance here is a testament to his versatility. Mr. Shaw’s air of authority deteriorates under Henrietta’s influence, finally settling on an adorable flutter as his attraction to her increases.
Devan Mathias as Margaret is a sweet and supportive sister to Henrietta, even in their goading, teasing sibling repartee. Though Margaret chose a domestic life, Mathias gives Margaret strength and perseverance, but she also allows vulnerability. Their sisterly bond never breaks through time or distance.
Lighting by Laura Glover plays an important part in the show, and her designs are ethereal, taking audiences into the cosmos. Abigail Copeland’s scenic design and props are smartly done, which is a must in a black-box stage. The set is a mix of the utilitarian practical with bits of shine to reflect the story’s subject. The silver adornments look like shooting stars. Especially impressive is a cunning table that transforms into several variations. And Brittany Kugler’s period costume designs are lovely.
This is an exceptional premiere for Summit. More, please.
June 28-July 22, Thursdays-Saturdays at 7:30 p.m. and Sundays at 2:30 p.m.
Proud American (????) Wolfgang Drosselmeyer pulls out all the stops for a Christmas in July celebration of Lady Liberty, Old Glory, and Uncle Sam. Join his cohort of special guests for a night of performances, games, and celebrating all that makes America the world’s butthole favorite nation.
Henrietta Swan Leavitt (July 4, 1868–Dec. 12, 1921) was an American astronomer whose work received little recognition in her lifetime. Leavitt is the subject of Lauren Gunderson’s play “Silent Sky,” the inaugural production for Summit Performance Indianapolis.
June 28-July 22, Thursdays-Saturdays at 7:30 p.m. and Sundays at 2:30 p.m.
The Tony Award-winning Urinetown is a sidesplitting send-up of greed, love, revolution, and musical theater in a time when water is worth its weight in gold. In a dystopian city, a terrible water shortage has led to a government-enforced ban on private toilets. The citizens must use public amenities controlled by a malevolent company — until a hero decides to plan a revolution.
Summer Stock Stage features more than 40 talented students ages 13 to 19 from 20 public, private, and charter schools in Central Indiana who will perform a fully-staged and orchestrated production. Urinetown is co-directed by and Charles Goad and artistic director Emily Ristine Holloway, with musical direction by Michael Raunick and choreography by Brandon Comer, Mariel Greenlee, and Lily Wessel.
June 28-July 1, Thursday-Saturday at 7 p.m. Sunday at 2 p.m.
Park Tudor School’s Ayres Auditorium
$14 for the Thursday preview performance and $18 for all other shows
Personal note from Lisa: Not only is Urinetown freaking hilarious with a great soundtrack, but SSS is the supporting arm of Eclipse, which recently produced an amazing staging of Dogfight. This young-adult production is more than likely worth checking out.
Footlite Young Adults Production: Into the Woods
Featuring Indiana performers aged 18-25, check out this popular Sondheim musical — an epic fairytale about wishes, family, and the choices we make. The story follows a Baker and his wife, who wish to have a child; Cinderella, who wishes to attend the King’s Festival; and Jack, who wishes his cow would give milk. When the Baker and his wife learn that they cannot have a child because of a Witch’s curse, the two set off on a journey to break the curse. Everyone’s wish is granted, but the consequences of their actions return to haunt them later with disastrous results.
June 29-July 15, Thursdays-Saturdays at 7:30 p.m. and Sundays at 2:30 p.m.
$15-$25; The first Sunday performance and all Thursday evening performances are $10.
Under the guidance of Brent Marty (music/vocal director), Emily Rogge Tzucker (director), and Anne Beck (staging), high school students from across Central Indiana will present a showcase of scenes, dance, solo, trios, and small group numbers for an evening full of fun, cabaret-style entertainment!
When does fear become aggression? Self-defense becomes an attack? Heroics become vigilantism? When does drawing blood become an addiction?
Prowess explores all of these concepts and more through an intense staging by Storefront Theatre of Indianapolis, which has just announced that it will be moving into a permanent space in the former Crackers Comedy Club in Broad Ripple.
While its situations and subjects seem grim, it isn’t emotionally exhausting because it gives the audience breaks to relax, to take a breath, most often at the expense of the sole white character, Andy. You can’t help but laugh when he duct-tapes a tank of wasp spray to his back and charges into battle with squirt nozzles. The show has a little Kick-Ass feel to it.
Mark, played by Jamaal McCray, advertises self-defense classes on Craigslist. Zora, played by Paeton Chavis, takes a chance on that ad. She has Mark come to her office after hours and enthusiastically begins training. But Zora’s motivations aren’t just self-defense. She wants retribution. But Mark won’t train her to fight offensively. He is still experiencing personal healing, and the classes are a sort of penance for past transgressions. But when Andy, played by Zachariah Stonerock, stumbles upon Mark and Zora mid-class, he insists on joining the sessions. Once Andy tells them his own story, Mark relents and begins teaching them how to actually fight. Safety in their Chicago neighborhood is elusive, and both Andy and Zora’s lives have been crippled in some way. They want their power back.
Near the office, a graffiti artist, Jax, played by Donovan Whitney, memorializes each killing that has occurred in the neighborhood, but he keeps his head down and away from potential trouble. His chosen outlet is his spray can. He thinks he is a realist. “What’s your color?” he asks Mark so that he can have the right can on hand when Mark is inevitably murdered. Watch for those colors.
Chavis is a little ball of perpetual motion, a direct contrast to the focused demeanor of McCray. McCray’s character is like a guru, trying to guide his relentless students, but you can tell his character is holding something in—something dark he is trying to run away from just as much as Zora and Andy are trying to face their demons. It informs his reluctance to fight. Stonerock plays Andy as a loveable goofball—there is just no better way to describe him. Whitney’s character feigns indifference, but Whitney gives him more depth than that in his body and facial language. Each character is a survivor and distinctly reacts to that in his or her own way.
Director Ronan Marra’s cast and crew grasp the grit of Chicago and transfer it to the small stage. Much of the play hinges on violence, and fight director Rob Johansen does a remarkable job of making those hits realistic.
Storefront Theatre is still a new company, having only staged one other production. After seeing Prowess, I’m challenging them for an equally impressive follow-up.
June 21–July 1, Thursdays and Sundays at 7 p.m. and Fridays and Saturdays at 8 p.m.
Drosselmeyer’s All American Freedom Festival Cabaret presented by NoExit
Proud American (????) Wolfgang Drosselmeyer pulls out all the stops for a Christmas in July celebration of Lady Liberty, Old Glory, and Uncle Sam. Join his cohort of special guests for a night of performances, games, and celebrating all that makes America the world’s butthole favorite nation.
Drag History presented in partnership with IndyPride
They served looks. They served drama. They served fierceness. Strut down memory lane to discover how drag queens have werk’d it in Indianapolis for more than six decades. This is an evening of conversation, storytelling, performances, and fabulous signature drinks as you look at the history of Indianapolis’s drag scene and its evolution to today. Cash bar with signature drinks available for sale.
In order to understand the Phoenix Theatre’s current production, Indecent, a little must be said about The God of Vengeance, a Yiddish drama by Sholem Asch, because Indecent is a play about a play set as a play.
The God of Vengeance was unlike anything of its time—it was groundbreaking in its subject and presentation. However, it didn’t incite any protest during its plentiful performances in Europe, but then, it made its way to the U.S. via Broadway in 1923, at which point—surprise, surprise, welcome to the hypocritical U.S.—the cast and producer were arrested for obscenity because the play depicts a lesbian relationship and a single kiss between two women.
Martha Jacobs directs a beautifully staged show, with lush lighting (Jeffery Martin) and elegant movement (Esther Widlanski). As with the other two shows that have been staged at the new Phoenix Theatre Cultural Centre, the cast contains many Phoenix-familiar faces (as is Jacobs): Jolene Moffatt, John Goodson, Mark Goetzinger, and Bill Simmons (also the new artistic director). Joining them onstage are Abby Lee, Courtney Spivak, and Nick Jenkins. The cast portrays a troupe of actors telling the story of The God of Vengeance, from its inception all the way to the 1950s.
Portions of the show are spoken in Yiddish with projected translations, or if the actors are supposed to be speaking in Yiddish but are speaking in English (for the audience’s sake), it is noted on the screen. This keeps the experience of reading subtitles limited, which can get tiresome after a while. But the inclusion of Yiddish and Jewish cultural references give authenticity to the production. I do wish that some information, perhaps in the program, would have explained a few of these traditions, such as why Lemml refuses to cross the threshold into Asch’s home or why it is abhorrent to throw the Torah on the ground.
Overall, the presentation of the show is lovely, with a real rain shower for the infamous kiss-in-the-rain scene, and the actors give fine performances. An especially well-staged, intense scene with the company huddled in an internment camp is breathtaking.
Through July 8, Thursdays at 7 p.m.; Fridays-Saturdays at 8 p.m.; Sundays at 2 p.m.
And now, the following will have me run out of town on a rail … and has nothing to do with the Phoenix’s production values in staging Indecent.
I try not to do this too often, but I need to get this out of my head because it was too distracting to me when trying to write this. (Part of the reason why this review is coming out so late.) I’m going to talk about the script and structure of the play.
Paula Vogel’s Indecent may be about a controversial play, but the lead-up to the actual events that marked it as something of note is unnecessarily long, making its pace painfully slow, and it makes the story somewhat dull. By the time the lawsuit happens, I wasn’t invested in the characters enough to feel sympathetic—until that internment scene, which I attribute to the vision of the Phoenix’s cast and crew.
However, I am in the minority with this opinion, as Indecent was nominated for the Tony Award for Best Play in 2017.
Of course, SpongeBob the Musical was nominated for Best Musical this year, sooooooo …
This is the second of the three shows the Phoenix has produced at its new facility, and only one, The Pill, has been the kind of edgy show I have come to associate with the Phoenix.
I find it confusing that two rather tame shows, God Bless You, Mr. Rosewater and Indecent, were chosen to christen the new Cultural Centre’s mainstage. Not edgy. I expected the Phoenix to come out strong, to make a statement with its opening shows, to prove it’s still the theater that will take a chance on unusual, unknown, and controversial works that you won’t see anywhere else in Indy.
Sure, Indecent is having its Indiana premiere, but meh.
While acknowledging the deeper themes behind Rosewater and Indecent uncovers social commentary—and as a critic, that is part of my job, I know—as a casual audience member, that’s a lot of work in an ambiguous and sometimes confusing play. This is why I like having a companion at shows. A layman’s opinion. And hers backed up what I just wrote. So, I know I am not totally alone.
After all that, I now fear being banned from the Phoenix.
I intentionally did not read any of my peers’ reviews before writing this, and I have no doubt that some if not all contradict what I have written. If you go to my homepage, you will find links to their websites (scroll to the bottom). So, if I have pissed you off, click on those links and feel vindicated that I have no idea what I am saying. I expect hate mail, too, so, go ahead. It won’t be the first time, and probably not the last. Years and years (and years and years, since I started writing about theater circa 1998 or so) ago, Bryan Fonseca himself wrote me one. So you will be in good company.
Summer in Chicago: Temperatures flare, shootings spike, and the city is stuck in status quo. Enter a mixed bag of underdogs ready to save whatever’s left of the day. Completely powerless but sky-high on passion, they join forces. But as broken bones multiply and alliances splinter, the team is forced to draw the line between well-meaning heroism and vigilante justice. This is the second production of Storefront’s inaugural season. Storefront Theatre of Indianapolis is a new nonprofit, professional theater company based in downtown Indy that is focused on producing new plays by underrepresented playwrights. Storefront stages productions in the style of Chicago storefront theaters: small and intimate settings and shows that are raw and underscored by emotional truth.
In Paula Vogel’s stunning new work, a troupe of actors recreate the controversy leading up to and following the fateful Broadway debut of Sholem Asch’s God of Vengeance. From ashes, they rise to answer the question: “When! When will be the right time?” This blazing new work, hot from Broadway, features Indianapolis legend Martha Jacobs at the helm directing, and all the bells and whistles the fancy new building can provide. “It’s searing; it’s captivating; it’s not to be missed.”
June 14-July 8, Thursdays at 7 p.m.; Fridays-Saturdays at 8 p.m.; Sundays at 2 p.m.
Preview performance June 14: Catch the show before opening night for just $25!
Producer Party June 15: After the performance on Friday of opening weekend, the Phoenix will host a Producer Party with food and Sun King beer.
Don’t forget about the 23rd Annual Brew Ha Ha, Indy’s original craft beer festival, June 16, benefiting the Phoenix Theatre. This legendary block party is on the 700 block of North Park Avenue between Massachusetts Avenue and East St. Clair Street in the Mass Ave Arts & Theatre District. Enjoy unlimited beer samples from dozens of the best local craft breweries, live music from local bands, and food from some of your favorite local restaurants. General admission entrance begins at 3 p.m. with early access entrance (limited tickets) at 2 p.m., which allows for shorter lines and more time to take advantage of those unlimited samples! $20-$60.
Indiana Theatre Company in conjunction with Nickel Plate Players: Critical Recall
Do the brilliant minds of our time come from some other dimension; some other time; some other place? And are they all somehow unknowingly connected? From the writer of the IndyFringe sell-out hit The Gift, acclaimed playwright and author Dr. L. Jan Eira, re-imagines the life of an accomplished heart surgeon and takes audiences on a mind-bending journey in this theatrical “sci-fi” psychological thriller. It’s Groundhog Day meets No Exit.
June 15-24, Fridays and Saturdays at 7:30 p.m. and Sundays at 2:30 p.m.
Asante Children’s Theatre: Who’s You Daddy? A Hip Hopera
Performed by members of the ACT Academy together with seasoned adult actors. Bobby, a young rapper on the edge of stardom, finds out he is about to be a father and panics. His decision lies at the end of a musical journey that includes the voices of African ancestors, enslaved ancestors, and children who are not yet born. Due to the language content, this show is rated PG-13.
Get your yoga on and sweat for a good cause: helping to bring immersive, site-specific, and sometimes really weird theater to Indy! The class is a 60 minute Original Hot Yoga class, perfect for beginners and experienced yogis. While participants are encouraged to bring their own yoga mat, towel, and water, the Hot Room also has mats and towels to rent and bottled water available for purchase. They love beginners, so if you’ve ever been curious about The Hot Room, now is the time to check it out!
In 1898, Mark Twain was depressed. He used playwriting as therapy, and the result was Is He Dead? After a failed attempt at getting it on stage, the script languished in the UC Berkley archives until it was unearthed in 2002. David Ives adapted the play, cutting it down to more manageable theatrical perimeters, and it hit Broadway in 2007.
Twain fictionalizes Jean-Francois Millet, an actual French Realism painter, 1814-1875, to spoof post-mortem celebrity. Millet, played by Jaime Johnson, is dirt poor because no one will buy his paintings. His work isn’t worth anything because he isn’t dead. So his students, Matt Hartzburg as “Chicago,” Adam Powell as “Dutchy,” and Kelly Keller as O’Shaughnessy, devise a plan: Millet will fake his death and they will all get rich. But in order for Millet to actually be able to enjoy his posthumous wealth—and avoid the arch villain, moneylender Bastien Andre (Larry Adams)—he needs a new identity. To avert suspicion as much as possible, he is coerced into donning drag and becoming Daisy Tillou, his widowed twin sister. Farce ensues.
Witnesses to the zany con are Millet’s landladies, Lucinda Ryan and Susan Hill, a sympathetic duo willing to accept paintings as rent. Keven Shadle as Papa Leroux is also indebted to Andre, who wants Leroux’s daughter and Millet’s lady love, Marie, played by Morgan Morton, as payment. Her huffy sister, Cecile, played by Monya Wolf, has her eye on Chicago, and she gets nosey when he and Tillou seem a little too close. Rounding out the cast is Dave Bolander in various roles that help accent the silly.
The cast chomps up the scenery, embracing their characters enthusiastically. Johnson hits all the comedic expectations of man-in-a-dress with aplomb, and Adams well-milks his moustache-twirling, boo-hiss, melodramatic character. With Hartzburg as their mastermind, Powell and Keller are free to gleefully play up their characters’ over-the-top stereotypes, including Keller’s accented “Well, you can go to hell” interjections and Powell’s bluster and obsessive love of Limburger cheese. The cast gives us fine performances all around. Cathie Morgan provides eclectic costumes; the ladies’ frocks are especially fetching—including the intentionally ridiculous ones for Tillou. Mike Mellott’s sets—from a poor man’s flat and then a post-financial-windfall posh residence—are impressively realistic.
Mark Tumey directs this circus, a show that he performed in previously and was eager to bring to Indy.
Is He Dead? certainly isn’t what would be considered a Twain classic, but it does its job as a laughable little distraction.
Through June 24, Fridays and Saturdays at 7:30 p.m., Sundays at 2:30 p.m.
$16; $14 for seniors (62+) and students
Studio 37 inside Ji-Eun Lee Music Academy, 10029 E. 126th St., Fishers
Let’s just say that Rent doesn’t seem to have aged well.
It will maintain its status in the musical history books because when it debuted, it initiated rock opera in a time infested with Andrew Lloyd Webber. It intimately explored the lives of people snared in the AIDS epidemic. Many of its Broadway cast members became performance gods (Idina Menzel, Anthony Rapp, Adam Pascal, Taye Diggs). And the tale of its creator, Jonathan Larson, who died of an aortic dissection immediately preceding its first Off-Broadway preview, is a tragic parallel with Angel’s death—both so young with so much unfulfilled potential.
But over the last 20 years, its original audience has grown up. For us, it is a piece of nostalgia. But after the advent of hundreds of shows since then, the storyline has become a commonality (though still tragic in Angel’s death), and its music is less interesting and lacks tonal variety. And for the next generation, this particular production is a lackluster introduction to what could be considered a classic.
While the cast is capable, there are no superstars here, and most are still paying their dues in a professional capacity. Javon King as Angel does have a great voice and captures your attention and your heart in his colorful characterization and sweet persona, but the rest are pale imitations of others whom I have seen in many (many) other stagings. They are just not that impressive, and their characters’ relationships suffer for it. Logan Farine as Roger is a particular disappointment in his twitchy performance. But one ensemble member (sadly, uncredited) does hit a particularly beautiful note during a “Seasons of Love” reminiscent of the emotion embodied in the original version.
Marlies Yearby’s choreography is unimaginative and repetitive, and Evan Ensign’s direction is monotonous in that everyone moves and emotes in too-similar ways. A relatively insignificant quibble is that Mimi would have a minimal amount of moonlight in her hair with costumer Angela Wendt’s choice to not wig Deri’ Andra Tuckers’s close-cropped style, though many pieces of costuming are homages to one or another Rent production from over the years. (Going with Maureen’s embroidered, flared jeans for “Over the Moon,” IMHO, could have better been replaced with the original skinny pants that more often appear for this number.)
And at one point Tuesday night, the spotlight hit Mark square in the torso before quickly and shakily adjusting to include his face.
But why in the world is the sound so muddy? Clowes is a quality concert hall, yet the lyrics were often hard to catch even for me—someone who knows every word of every song.
Fingers crossed for the upcoming tour of The Lion King coming to the Murat in September.
In this play written by Mark Twain and adapted by David Ives, Jean-Francois Millet, a young painter of genius, is in love with Marie Leroux but in debt to a villainous picture-dealer, Bastien Andre. Andre forecloses on Millet and threatens debtor’s prison unless Marie marries him. Millet realizes that the only way he can pay his debts and keep Marie from marrying Andre is to die, as it is only dead painters who achieve fame and fortune. Millet fakes his death and prospers, all while passing himself off as his own sister. Now a rich “widow,” he must find a way to get out of a dress, return to life, and marry Marie.
June 8-24, Fridays and Saturdays at 7:30 p.m., Sundays at 2:30 p.m.
$16; $14 for seniors (62+) and students
Studio 37 inside Ji-Eun Lee Music Academy, 10029 E. 126th St., Fishers
This is a devised piece of theater that explores the smothering — or perhaps amusing — expectations placed upon all of us: expectations that we have for ourselves, expectations others have for us, and expectations placed on us by society. Emma Rund, Cooper Pell, Gwyneth Clare, and Layke Fowler in collaboration with director Kelsey Price have devised a summation of pieces that will bring you laughter, empowerment, and a damn good time. Please note that this show does contain heavy language and mature themes and may not be suitable for all audiences.
The District Theatre Open House during Pride Parade
Theatre on teh Square is now the District Theatre. Walk through this new-and-improved space and grab a refreshment.
June 9, 8 a.m.-1 p.m.
627 Mass Ave.
Footlite Musicals: Awards Night
The annual end of season celebration. A cocktail hour and dessert bar are followed by a preview of the upcoming 2018/2019 season and awards for the 2017/2018 season. Bring cash to vote for your favorite show of the past season to receive the Fan Favorite Award. Dress is cocktail attire.
Million Dollar Quartet is the story of an epic studio recording/jam session with the rock/country legends Elvis Presley, Jerry Lee Lewis, Johnny Cash, and Carl Perkins at Sun Records. The studio was on the cusp of change. Sam Phillips was about to find out that Cash was moving to Columbia Records, Elvis wanted to come back to Sun, and Jerry Lee was still relatively unknown. Perkins was in the studio to make a new record, hoping to reignite his career, accompanied by newcomer Lewis. On this one auspicious night in 1956, the four superstars spontaneously came together—the only time—for one of the most amazing sessions in music history.
The show combines the most famous and some lesser-known music from these four performers with a little bit of background, a little bit of banter, and a whole lot of rockin’. The context and glimpses into each personality are nice segues into what we really all come to see (or hear, as the case may be): the music.
And the cast doesn’t disappoint. Brandon Alstott as Cash, Sean Riley as Perkins, Gavin Rohrer as Lewis, and Adam Tran as Presley nail the mannerisms, personalities, look, and sound of their characters. They recreate these immortal names. If you open your ears and let your eyes slightly unfocus, you can believe you are there in the studio with the real lineup. And not only are their vocals spot-on, but they also play their own instruments. Think about it—lines, songs, blocking, direction, characterization, and performing the score. That’s an impressive load. An impressive heavy load. And they’ve got it. Grok it. On every single song.
Backing them are Kroy Presley on the upright bass and Nathan Shew on percussion to fill out the sound. Betsy Norton as Presley’s girlfriend Dyanne gets to take the mike too in a sultry “Fever” and rousing “I Hear You Knockin.’”
But the brightest star has to go to Gavin Rohrer as the buckets-of-crazy Jerry Lee. He is all over that piano in quintessential Jerry Lee fashion and captures the manic Jerry Lee vibe. He is a hoot.
Don Farrell as Phillips, the star maker, gives us much of the narrative insight. His night is emotionally turbulent as he gleefully sees the talent in his performers as he catches them on tape, but he is faced with choices and obstacles that leave him uncertain about the future.
While the show is set in a recording studio, Marciel Irene Green’s lighting design transports you to a concert stage when the songs really kick up a notch. Music director Taylor Gray keeps the sound real, and costumer Donna Jacobi provides iconic outfits. Director/choreographer DJ Salisbury brings it all together for a concert performance that will get you out of your seat and movin’ to the music.
It’s worth including the song list because you’re going to love it.
“Blue Suede Shoes”: company
“Real Wild Child”: Jerry Lee Lewis
“Matchbox”: Carl Perkins
“Who Do You Love?”: Carl Perkins and Jerry Lee Lewis
“Folsom Prison Blues”: Johnny Cash
“Memories Are Made of This”: Elvis Presley and company
“That’s All Right”: Elvis Presley
“Brown Eyed Handsome Man”: Jerry Lee Lewis and Carl Perkins
“Down by the Riverside”: company
“Sixteen Tons”: Johnny Cash
“My Babe”: Carl Perkins and Johnny Cash
“Long Tall Sally”: Elvis Presley
“Peace in the Valley”: company
“I Walk the Line”: Johnny Cash
“I Hear You Knocking”: Dyanne
“Party”: Carl Perkins and company
“Great Balls of Fire”: Jerry Lee Lewis
“Down by the Riverside (Reprise)”: company
“Hound Dog”: Elvis Presley
“Ghost Riders in the Sky”: Johnny Cash
“See You Later Alligator”: Carl Perkins and company
“Whole Lotta Shakin’ Goin’ On”: Jerry Lee Lewis and company
June 1-17, Wednesdays-Saturdays at 7:30 p.m. and Sundays at 2 p.m.
I don’t know how Eclipse passed under my radar last year when they produced Spring Awakening, but Friday night, I was floored by their current production of the musical Dogfight.
Eclipse, now in its second year, is the young-professional arm of the youth-centric Summer Stock Stage, and it exclusively features alumni of SSS, providing paid opportunities for college and post-college artists. SSS has been providing theater experiences for teenagers for 15 years, and judging by the talent I witnessed from Eclipse, SSS is a damned good program.
Dogfight opens in 1967, with Eddie Birdlace, a U.S. Marine who has just returned from Vietnam, riding a Greyhound bus home. A fellow passenger asks him about his tattoo of three bees. Flashback to 1963. A trio of friends refers to themselves as the three B’s. They are fresh-faced, exuberant Marines about to ship out for Vietnam: Patrick Dinnsen as Birdlace, Joey Mervis as Boland, and John Collins as Bernstein. They are so young, so naïve—they have no idea what they are about to endure overseas. To celebrate their last night before being deployed, they, along with some fellow jarheads, decide to have a “dogfight.” This is a game where each participant adds his bet to the pool and then sets out to find the ugliest girl he can and bring her to the party as his “date.” The lounge singer is in on the gamble, and during a predetermined dance, he rates each girl. Whoever gets the highest score wins and walks away with the pot, the girl usually none the wiser. However, Birdlace’s “dog” throws him for a loop—he actually starts to respect and even like her.
The show is performed in IndyFringe’s Basile Theatre, which is a pretty sparse space to begin with, and the simple set for Dogfight is two sets of stairs leading up to a second level, with the live band underneath. But I quickly discovered that the lack of color or copious props was completely irrelevant. The male leads, along with the backing ensemble and dynamic band, immediately knock you out of your bobby socks with their intensity, exceptional voices, unwavering energy, and immersive characters. Equally stunning is female lead Leela Rothenberg as Rose, Birdlace’s “dog,” a thoughtful but inexperienced girl whose inner strength captures Birdlace’s attention.
Seriously, everything about this production is awesome. Thinking that the cast potentially had somewhat limited performance experience, I set my expectations accordingly, but they blew away that unwarranted preconceived notion immediately. The show’s execution is top quality, and every single performer completely engages with his or her character. Just two ensemble examples of note are, at the party, Courtney Krauter as Ruth Two Bears (a fellow “dog”) and Aaron Huey as the lounge singer—both of whom are hysterical, with Krauter’s articulate WTF facial expression and Huey throwing himself into the singer’s flamboyant persona.
Emily Ristine Holloway is a founding member and artistic director of SSS, and she produced and directed Dogfight. Forget the traditional bouquet of roses; she deserves the whole flower shop—as do the cast and crew of the show.
Through June 17, Thursdays at 7 p.m., Fridays-Saturdays at 8 p.m., and Sundays at 2 p.m.
Indianapolis Shakespeare Company presents the Traveling Troupe, the new community outreach arm of Indy Shakes that is an extension of the professional company. It will present a one-hour performance of Shakespeare’s Macbeth in multiple venues throughout the month of June 2018. Thanks to the support of the Indianapolis Parks Foundation and Indy Parks, Indy Shakes is excited to provide programming within Indy Parks to bring free, high-quality Shakespeare productions to several parks across the city. Please bring your own lawn chairs or blankets for the outdoor performances. Go to www.indyshakes.com for more info.
June 1, 6:30 p.m. Garfield Arts Center
June 5, 7:00 p.m. Perry Park
June 6, 11-noon at Central Library
June 11, 1:00 p.m. Brookside Park
June 12, 6:30 p.m. Martin Luther King
June 14, 2:00 p.m. Tarkington Park
June 15, 7:00 p.m. Broad Ripple
June 16, 1:00 p.m. Garfield Arts Center
June 19, 6:30 p.m. Eagle Creek
June 21, TBD Watkins Park
June 21, 7:00 p.m. Holliday Park
June 30, 11:00 AM Martin Luther King Park
June 30, 1:00 p.m. Frederick Douglass
June 30, 3:00 p.m. Tarkington Park
Buck Creek Players: Dogfight
The hauntingly beautiful musical Dogfight takes audiences on a romantic and heartbreaking theatrical journey. It’s November 21, 1963. On the eve of their deployment to a small but growing conflict in Southeast Asia, three young Marines set out for one final boys’ night of debauchery, partying, and maybe a little trouble. But, when Corporal Eddie Birdlace meets Rose, an awkward and idealistic waitress whom he enlists to win a cruel bet with his fellow recruits, she rewrites the rules of the game and teaches him the power of love and compassion. From the Oscar-winning lyricists of the film La La Land, composers of the film The Greatest Showman, and the creators of Broadway’s current Tony Award-winning best musical, Dear Evan Hansen, comes the 2012 Off-Broadway musical based on the 1991 film starring River Phoenix and Lili Taylor.
June 1-17, Fridays and Saturdays at 8 p.m. and Sunday at 2:30 p.m.
This Tony Award-winning musical takes place on Dec. 4, 1956, when an extraordinary twist of fate brought Johnny Cash, Jerry Lee Lewis, Carl Perkins, and Elvis Presley together at Sun Records in Memphis for what would be one of the greatest jam sessions ever.
June 1-17, Wednesdays-Saturdays at 7:30 p.m. and Sundays at 2 p.m.
Join Actors Theatre of Indiana and the Million Dollar Quartet for an evening of wine and music. June 5, 2018 6-9 pm at Peace Water Winery in Carmel. Appetizers provided by Donatello’s. $25 Donation to enjoy an evening of fun and fabulous music.
Little orphan Annie charms everyone’s hearts despite a next-to-nothing start in 1930s New York City. Songs include “Tomorrow,” “Hard Knock Life,” and “Maybe.” Rated G, but children under age 3 cannot be admitted to this show.
May 31-July 15; dates and times vary. Check the website for a full schedule.
$44-$66. Discount of $10 off per ticket available to children ages 3-15.
This is the second edition of the show in which several 10-minute plays are written, rehearsed, and then performed for you all within 24 hours. Some of Indianapolis’ best talents push themselves to new heights.
If you would like to write, act, or direct, e-mail Bob at firstname.lastname@example.org. Actors: Take a picture of yourself in a costume of your choosing with a prop of your choosing. Those pictures will be given to the writers for inspiration.
June 2; actors rehearsal from 8 a.m. to 7 p.m. Show at 8 p.m.
It turns out that The Pill, the second production to open at the new Phoenix Theatre Cultural Centre, provides what I had been anticipating for the theater’s premiere. While Rosewater was fine, The Pill is everything I have come to associate with the Phoenix over the years: edgy, controversial, smart, unapologetic, funny, and, especially in this case, emotionally violent. It’s psychologically visceral; its characters are real; its subject matter messy. And it’s orgasmic in its ability to blindside and entertain at the same time.
Playwright-in-residence Tom Horan has captured the tumultuous personal interactions of the people who were most relevant in the advent of the birth control pill. His characters are intense but with an amusing dynamic. Primary among them is Margaret Sanger, who was also the driving force behind Planned Parenthood. Her friend, Katherine McCormick, was also a birth control advocate, so much so that she smuggled diaphragms into the U.S. from Europe by sewing them into her clothes. She ended up financing the pill’s progress. Dr. Pincus worked out the biological logistics, but because of his medical practice’s spotty reputation, Dr. John Rock, a Catholic OBGYN, was also brought in to lend the project legitimacy. Sanger hooks Pincus with the idea of acclaim, but both men are drawn in by the science. Finally, Sadie Sachs is an everywoman representing the nameless, countless women who suffered and even died due to bigoted laws and anti-women morals that kept effective birth control unobtainable.
The show is set in the smaller Basile Theatre, a flexible black-box space. For this production, the audience is seated on all four sides, surrounding the small space the actors populate. Like Rosewater, several of Indy’s most well-known actors are cast.
The story begins with a cackling Constance Macy riding a rolling wingback chair pushed by Jan Lucas. Sanger, played by Macy, is now in her 80s. While having done so much for women’s rights already, she admits to McCormick, played by Lucas, that if she could have accomplished anything more, it would have been a form of birth control that was inexpensive, easy to use, and accessible to any woman who wanted it. She says her accomplishments are like teaching starving people about nutrition but giving them nothing to eat. McCormick convinces Sanger to seek out Dr. Pincus, who is known for his unconventional thinking.
Horan’s dialogue is snappy, and director Bill Simmons gets it snappily delivered. Macy and Lucas bring the unapologetic aspect to the stage in their characters’ brash personalities—Macy’s more so than Lucas’ because McCormick has maintained a more level head, whereas Sanger is still a bulldozer. Their fuck-you attitudes are almost anomalous given the time period. It was the 1950s, and even after WWII, most of society still saw women as wives and broodmares first, people second. Sanger spent most of her life defying that pigeonholing and championing change, and Macy gives her that steel spine and intimidating demeanor that made Sanger so effective. But neither woman will back down when she knows what she wants. Macy and Lucas show us tough women who did what needed to be done.
Arianne Villareal portrays Dr. Pincus, a brilliant squirrel-like man burdened by the attention span of a goldfish for anything non-academic. Her character is perpetual motion of mind and body, but he’s also funny in the way an eccentric can be somewhat infuriating to others. Villareal gives Pincus manic characteristics and a fascination for the science behind the project.
Johansen as Dr. Rock, whom Sanger claims smells of “incense and shame,” carries herself with the confidence of a man who thinks himself superior both intellectually and morally—and a dapper man at that—but she allows him to become intellectually and, eventually, emotionally invested too, though Rock often just doesn’t know what to make of Sanger.
Horan wrote imperfect characters that communicate the stress and humanity inherent in the project. It was a brutal struggle. The team was working on something that was illegal in 30 states at the time, but it was also vital not only to women’s health but to families and society as a whole. Sanger falls further into alcoholism; Pincus uses questionable testing methods. Rock admits to performing a hysterectomy on a woman who begged to escape further childbearing. This imperfection mirrors the imperfect pill itself with its potential side effects, most notably blood clots, which are still listed as a possibility today. But the need for the easy-to-use, unobtrusive contraceptive trumped everything that stood in their way.
Entwined into this story is Sadie, played by Jenni White. In her letters to Sanger, she first speaks of her admiration for the pioneer, and she is cheerful and optimistic in her outlook for the future. Sadie, 17, has just married her high school sweetheart, and she plans to go to nursing school as Sanger did. But several months later, a letter informs Sanger that Sadie is pregnant. Sadie tries to maintain her optimism, saying she’ll just put off nursing school for a year. But as Sadie faces pregnancy after pregnancy, she devolves into hopelessness, even anger at Sanger’s ineffectiveness to save her. After 11 children by the age of 40, Sadie’s body and mind are wrecked. When she asked for family planning advice from her doctor, he told her to sleep on the roof to avoid her husband’s advances.
Sadie is the manifestation of Sanger’s desperation—and the desperation of so many women who were (and are) enslaved by a single ambiguous biblical verse. White is Sanger’s feelings of responsibility and failure toward these women—each woman she was too late to save, each woman whose dreams and bodies were crushed by the weight of too many unplanned pregnancies. Women who used poison and taken coat hangers to their wombs in their desperation; women who died because their bodies finally just wore out.
See this. It’s amazing. Yes, it’s challenging, but the most important parts of life—and the best theater productions—always are.
Through June 10, Thursdays–Saturdays at 7:30 p.m.; Sundays at 2:30 p.m.
Playwright-in-residence Tom Horan has penned a new work about a little invention that changed history. In this compelling, fast-moving play, women prove that they’re no longer “practically invisible” and that “womanhood no longer means the same thing as motherhood” as five female actors embody the seven characters — two of whom are men — central to the creation of the birth control pill. Bill Simmons directs the show in the brand-new Basile Theatre. Featuring outstanding local actors Jen Johansen, Constance Macy, Jan Lucas-Grimm, Jenni White, and Arianne Villareal, expect to leave the theater feeling empowered.
Preview performance May 17: Catch the show before opening night for just $25!
Opening night Producer Party Friday, May 18: After the performance, the Phoenix will provide food and Sun King beer.
May 17-June 10, Thursdays-Saturdays at 7:30 p.m.; Sundays at 2:30 p.m.
The Genesis Theatre Company: O Zion — A Musical Tribute to Women in the Bible
In what has become the “Year of the Woman” and in conjunction with the “Me Too” movement, the Genesis Theatre Company will perform their moving production of O Zion — A Musical Tribute to Women in the Bible, which is an original stage play presentation that features nine women who tell the unique and inspiring stories of 24 women from the Bible through musical numbers ranging from gospel, to jazz, to R&B.
Written and Directed by Sherri Brown-Webster, this musical is based off the biblical accounts of various women, including Eve’s “somewhere in the beginning” to a sultry Delilah’s “it was necessarily so” to a wicked Jezebel’s “I shall kill them all,” to Tamar’s “he touched me.”
O Zion – A Musical Tribute to Women in the Bible is family friendly, and while the show’s title is quick to draw mostly women of all ethnicities, everyone in attendance will be able to relate to the overall content of the show.
Friday, May 18, 7:30 p.m.; Saturday, May 19, 2 p.m. and 7:30 p.m.; Sunday, May 20, 4 p.m.
In a nutshell: Crazy rich man abandons wife to fight fires and throw money at poor people. And sings about it. As do other cast members.
The Phoenix Theatre brought together a combination of beloved Phoenix veterans and new faces for its inaugural production in its new location, starting with producing director Bryan Fonseca as the director for God Bless You, Mr. Rosewater, a musical based on a book by Kurt Vonnegut.
Dance-like movements with office furniture open the show, and then it moves into a strong opening number, “The Rosewater Foundation,” from the ensemble.
Patrick Goss as Eliot Rosewater, the above-mentioned eccentric, carries Eliot’s buckets of crazy in an endearing manner, capturing Eliot’s naiveté even in his occasionally questionable self-centered behavior. Emily Ristine as his long-suffering wife, Sylvia, endures prettily until the building mental strain reaches its breaking point and Sylvia has a breakdown while cowering under a table amidst a shower of Cheese Nips.
The most striking scene in the show involves these two talking on the phone, miles between them physically and metaphorically. Eliot has learned that Sylvia is seeking a divorce. As they sing their hesitant words to each other, Goss and Ristine slowly move around each other, and by the end of the song, they are entangled in each other’s phone cords. It’s a remarkably touching visual that communicates their snarled lives, both individually and as a couple.
Charles Goad as Sen. Rosewater is a commanding presence. Isaac Wellhauen, as the financial advisor Norman Mushari, a comical melodramatic villain, is an artist with the single-eyebrow raise. I didn’t even know such a pronounced gesture was possible.
Rob Johansen has an especially impressive performance of “Rosewater Foundation (2nd Reprise).” Scot Greenwell and Jean Childers Arnold as Fred and Caroline Rosewater do “The Rhode Island Tango” with help from Wellhauen in another exceptional scene.
Suzanne Fleenor, Devan Mathias, Josiah McCruiston, Deb Sargent, Peter Scharbrough, Diane Boehm Tsao, and Mark Goetzinger round out the cast with solid backup characters.
The Phoenix’s stage virtually drips with talent in something akin to an all-star cast.
But I will state this: The show, as in the songs and script, is … well, like I said, weird. Normally I like weird. No, I LOVE weird. Absurd, dark, bizarre, challenging. Bring it on. I am also a manic fan of sci-fi and fantasy. I am not, though, a fan of Vonnegut. (Gasp! Blasphemy! Burn her!) While I have not read this particular book (I have, though, read others), I still can’t help but feel something was lost in the adaptation—as if it were watered down to a thin broth.
So, if you go, there are several possible outcomes. Like me, you might exit the theater with the thought “What the hell did I just see?” Or you may love it, hate it, be enraged by the treatment of the book’s material, or dote on how well it translated to the stage. This one is really up in the air. So you’ll just have to take your chances.
Through June 3, Thursdays at 7 p.m.; Fridays-Saturdays at 8 p.m.; Sundays at 2 p.m.
Phoenix Theatre: Kurt Vonnegut’sGod Bless You, Mr. Rosewater
This is the first production to open in the Phoenix’s new building! Kurt Vonnegut’s legendary Indiana voice rings out clearly in this cheeky, blazing satire of corruption and goodwill. As his alter-ego Kilgore Trout puts it: “Now we know that giving respect to people who don’t deserve it is possible, too. Since practically nobody is very respectable any more, it has to be one of the most important experiments of modern times!” Musical comedy meets Kurt Vonnegut satire meets the brand-new Russell stage. Expect laughter, witticism, and that new theater smell.
May 10-June 3, Thursdays at 7 p.m.; Fridays-Saturdays at 8 p.m.; Sundays at 2 p.m.
This play combines the thrill of a murder mystery with the hilarity of a raucous comedy. Presented by the same team that created the highly successful The Butler Did It, this sequel furthers the hysterical antics. The mystery writers are brought together once again by Miss Maple for a fun-filled weekend party, each impersonating the detective characters they write, including the gumshoe, sophisticated New York couple (à la Nick and Nora), soft-spoken crime-solving priest, Asian “quotemaster,” and cowboy investigator, with the addition of a novelist who writes supernatural fiction.
The hostess has prepared exciting events to challenge the writers during the party, but one occurs that she didn’t count on — an actual murder! The writers scramble to solve “whodunit” before they become the next victim. But actual detectives they are not, so they blunder through this real-life investigation with comical results.
May 11-19, Fridays and Saturdays at 8 p.m.; May 13 at 2 p.m.
Bonnie Bitch: Presented by Steve Daly Productions, America’s first and only comedy female impersonator hypnotist returns to Indianapolis. Direct from Planet Hollywood in Las Vegas, Bonnie Bitch swings her mesmerizing watch in this HER-larious evening of hypnotic fun. Come see the show or BE the show, as audience members become outrageous characters that will have everyone rolling with laughter.
May 10-11 at 7:30 p.m.
$20; $15 student/senior
Camp Summer Camp: Defiance Comedy is at it again, this time with a full-length run and even more fun! Love triangles! Rivalries! Campfire songs! Serial killers! Cabins built on ancient burial grounds! The year is 1984, and the camp counselors at Canada’s #3 ranked midsize, regional summer camp are ready to have their yearly entertainment!
May 11-12 and 18-19 at 8 p.m.; May 14 and 20 at 4 p.m.; Friday, May 18 at 8 p.m.; Saturday, May 19 at 8 p.m.
$10 in advance, $15 at the door
Poetry on the Fringe: Mother’s Day Edition: Spend part of your Mother’s Day with IndyFringe! Mom gets in free! Poetry on the Fringe is performance poetry and theater arts in concert with one another. Come experience this unique show. This bi-weekly series includes 20-minute open mic for emerging artists, never-before-seen theatrical productions, and NPS-certified poetry slam competitions.
There are some images that stick with you. For me, it was the hotdog buns. That’s when I was sure that I had seen this show before. Because seeing someone eat hotdog buns for lunch because that’s all they can afford is something that stays with you.
That review, which was produced by a different company, is so old that it doesn’t even exist electronically, but what I find ironic and sad is that I can relate to this story even more now than I did then. I know how accurate the food bank box that Barbara gets is. I’ve been one of those people who work three jobs and still can’t make ends meet. Sometimes I still can’t.
Many people who can afford theater tickets have never personally experienced these situations. That’s why it’s important for them to see it spilled* out for them onstage (or in the round, in this case).
The play Nickel and Dimed is based on the best-selling book by Barbara Ehrenreich, Nickel and Dimed: On (Not) Getting by in America, which was published in 2002. Ehrenreich, who was very comfortable financially by working as a writer, took on an investigative project that would require her to live on minimum wage—that meant rent, food, transportation, clothing … all of it. The play distills her experiences and commentary from the book, but the message rings out: People can’t live this way. No matter how hard they work—and they work very, very, VERY hard—they will never get ahead. It’s simply a matter of numbers. Everything costs more for the poor because they have nothing to start with, so, for example, they end up living in seedy motels—or their car—because they can’t afford a deposit on an apartment.
For NoExit’s production, the audience sits in relatively comfy office-type chairs in the middle of a currently empty office space that is easily imagined to become a cubicle hell. Scene by scene, minimum-wage workers bust their asses off around you.
Barbara, played by Bridget Haight, never really has to feel the full pain of poverty because she starts with a slush fund, and she can bail when she wants to and return to her posh apartment that she shares with her boyfriend. She tries out several different states, starting off each time with no job and no living space of her own. By the time she finishes her project, Barbara has a much clearer view of the working poor’s backs that support the upper-middle-class and upper-class lifestyles.
“Malmart” workers are required to put in unpaid overtime. Their managers are stuck in a similar rut because they are under the thumb of quotas and budgets set by suits that have never walked into a discount store. Or the owners of a cleaning service or restaurant are so intent on making a any profit that they don’t mind pulling it from the life force of their employees. These workers rarely if ever get to sit down. They are subjected to the verbal abuse from customers and sometimes-unsafe working conditions. Waitresses are given crap tips, and their paychecks reflect only a $2+ wage because the government expects them to make up the difference in those tips.
NoExit’s production brings these people to life. Carrie Bennett, Kallen Ruston, Tracy Herring, Latoya Moore, Elysia Rohn, and Ryan Ruckman play multiple roles under the direction of Callie Burke Hartz. The actors embody each person’s different circumstances, heritage, and mindset. Their characterization flexibility is remarkable. The team of actors creates convincing characters who really think getting a raise to $7.35 an hour is a big deal or working in a factory for $9 an hour is a small miracle. Haight builds Barbara’s frustration and helplessness in the face of these revelations as she encounters each new and appalling workplace and story from her co-workers.
At the end, the workers stand on one side of the room and Barbara, back in her Florida apartment where her boyfriend recently bought an $800 couch, stands at the other, the literal space emphasizing the symbolic one. This last scene makes a poignant silent statement. We are not the same, and no matter what, we never really will be. Even a living wage isn’t going to bridge that divide. A living wage is a great place to start, but it will take generations and scores of other governmental changes to truly lessen the gap between the working poor and everyone else.
Hopefully, the message will make people think more about those waitresses, those customer-service people, those wage slaves.
“Work is what you do for others; smoking is what you do for yourself. I don’t know why the anti-smoking crusaders have never grasped the element of defiant self-nurturance that makes the habit so endearing to its victims—as if, in the American workplace, the only thing people have to call their own is the tumors they are nourishing and the spare moments they devote to feeding them.” —Barbara Ehrenreich
Amen to that.
* This is in repsonse to an e-mail I got questioning the choice of “spilled out.”
“Spill” is intentional. Yeah, the typical phrase is “spelled out,” but for a subject like this, I felt spill was more visceral. You can read something on paper and still not get it. I had another paragraph that was really personal and I cut it. Part of it had to do with me being a weekly food banker myself — St. Vincent de Paul off 30th and Gleaners on the west side. Always these two because of all the food banks in town, these are the best ones because you get the best quality and selection. I also know what times and days are best to go. If you hit St V on the wrong day and the wrong time, you can wait upwards of 3 hours to get food.
So, I went with the phrase “spill” because sometimes you will get produce that has gone bad. Sometimes it’s manageable. Oranges that are green outside but still OK if you cut them open. A pineapple where about half can be salvaged. But sometimes, it’s not so great. The worst two times involved potatoes and salad. I got a bag of potatoes one day. When I got home and unloaded I noticed one of my bags was leaking. All that was in the bag were the potatoes. When I emptied the bag, I found that one or two of the potatoes was so rotten it had liquified. It smelled so horrible that I had to throw away the bag (I had put the bag of potatoes into one of my own re-usable shopping bags). And I had to throw away the rest of the potatoes because once that sludge had started spilling out, it contaminated the entire lot of them. A potato can’t really come back from something like that. Not as easy to wash as an orange.
The salad was a similar experience. If they aren’t past-due pre-bagged from grocery stores, then the food bank gets it in bulk. (Places like restaurants or other mass food producers will donate expired produce and other products. This is most often seen at St. V.) So large bags of cut lettuce aren’t unusual. Actually, if St V has a surplus of anything that is really in bad shape, it’s a “freebie.” (Gleaners does this sometimes too.) Once you are checked in, according to household size you get a number of “points” to go “shopping.” Different items are worth different amounts of points. Anyway, one of these bags of salad ended up being a mass of similar sludge. This was a bag I had even spent one of my points on. I put it in the crisper drawer of my fridge. Let’s just say bleach was involved later, as there were small air holes in the packaging.
One of my friends got a watermelon there once. (There are 3 of us who carpool on a regular basis. Maybe the poor run in packs?) It looked fine, but when she cut into it, the entire inside was sludge.
So instead of the issues in the play being “spelled out,” I saw them as being “spilled out.” Again, a far cry from reading about something versus having a bag of rotten potatoes or lettuce spilled out at your feet. The sight, the smell, the feel on your hands of cleaning it up …
I had gone on in the review so much about the subject matter in the play as opposed to giving the majority of the space to the (very well-done) production that I cut all this stuff out before I posted it. Maybe I should have left it. Admitting that I go to food banks is embarrassing. I suppose it shouldn’t be, but the social stigma is there. Akin to the smoking thing. Lots of people get indignant when “poor people” smoke because it’s expensive, but it really is a matter of control. I quit when I was pregnant, but the stress of the situation my family was in (it was pretty dire) drove me back about 3 months after my son was born. I needed that break, that time, and the nicotine really *is* a stress reliever to boot. There is so much that we can’t control that it feels like a small act of defiance to do so. And it *is* a chance to step away and let the rest of the world go on without you for three minutes. It’s a relief, an escape, an oasis. And other people leave you alone while you do it … unless they are other smokers, in which case an immediate comraderie occurs because you are all social outcasts, rebels in this one way.
I feel being a reviewer is a privilege in so many ways. Theaters put their trust in me to evaluate a production. And in the end, who am I, really? I’m just one person. Any critic is, no matter what paper or blog or whatever they are affiliated with, whether it’s wordpress or the New York Times. And it’s not unusual for other critics to disagree with me. So, given my own circumstances, being afforded comped tickets is my own small miracle — like that daydream of $9 an hour the “Malmart” employee talks about. There’s no way I could see shows without those comps. So when someone takes the time to actually read let alone respond to something I wrote, it means a great deal to me.
Sorry about the novelette I’ve written here. 🙂 I think writing all this out was somewhat cathartic for me — to put into words things I have rarely even said out loud, even admitted to myself or tried to ignore.
A song from Avenue Q comes to mind:
What do you do with a BA in English?
What is my life going to be?
Four years of college and plenty of knowledge
Have earned me this useless degree.
I can’t pay the bills yet,
‘Cause I have no skills yet,
The world is a big scary place.
But somehow I can’t shake,
The feeling I might make,
To the human race.
Footlite Musicals spent a small fortune to rent the costumes for Priscilla, Queen of the Desert from the Broadway show, and they are just as fab-u-lous as you would expect from a musical about three drag queens. So visually, Priscilla is a riot of color and outlandish styles.
The bad part is that the ensemble looks hesitant, off-balance, or just terrified in the costumes. My first thought is that it’s fear of destroying something that cost, most likely, more than my house. I would be freaked out too. Or perhaps they just didn’t get the opportunity to wear the costumes enough before opening night to really get a feel for them. After all, 4-foot-high headwear and the like can take some getting used to.
But whatever the cause, it just didn’t look as if the ensemble was having fun. And that’s what the show is really about—it’s an excuse to be campy as hell and sing some reinterpreted classics from the ’70s and ’80s. Arguments can be made that it is a reflection on societal issues such as homophobia, but really. It’s too Mamma Mia.
Set in Australia, the thin plot begins with Michael Howard as Tick/Mitzi, who has never seen his son. His act in Sydney is stale, and after his young son Benji pulls a promise out of Tick to visit, Tick recruits two other performers, Chris Jones as Adam/Felicia, and John Phillips as Bernadette, to accompany him to Alice Springs, where they will put on a show at his wife’s casino. Felicia acquires an RV for the two-week journey that she christens “Priscilla,” which looks like a Gay Pride Mystery Mobile. Beware of stuffed roadkill too.
Howard portrays Tick as a character at odds with himself. His heart is in drag, but he is still skittish about admitting it outside the safety of the theater. When not onstage, he is always dressed in more “normal” clothing. In addition, he has guilt over being an absentee dad. Howard communicates these conflicted feelings well. Somewhat ironically, though, his strongest song is “Always on My Mind,” which he sings with his son, played by Rocco Meo. Although the “MacArthur Park” abandoned cake bit was pretty funny.
Jones is by far the queenest of the queens, overflowing with sass and unapologetic about it. His performance is the most entertaining and animated, and his songs are the best. He also leads a slo-mo effect for “Hot Stuff” that is riveting.
Bernadette, who is transgender, is old school from when performers appreciated the art of lip-synching. Phillips acts as the matron of the trio, a lady in many ways, but she doesn’t back down when a one-liner or a good kick is needed to put someone in his or her place. A burgeoning love interest between her and Bob, a backwoods mechanic played by Dan Flahive, makes for some sweet feels.
While the spotlight wasn’t as schizophrenic as it often is at Footlite, the sound was an issue. Bad mikes or overwhelming orchestration made for lost lyrics.
But I will end this with a positive note: An unexpected moment of pure hilarity from a mullet-ed redneck, Shirley, played by Lauren Johnson, was actually the highlight in laughter for me. Her unabashedly grody state and pelvic gyrations are so obscene they simply have to be seen.
Through May 20, Thursday-Saturdays at 7:30 p.m. and Sundays at 2:30 p.m.
Sign language-interpreted performance: May 12
Sing-Along performance Saturday, May 12 at 2:30 p.m.
Priscilla’s Closet Fashion Show Saturday, May 19 5, p.m. Feast your eyes on a 45-minute fashion show extravaganza showcasing the Tony Award-winning costume designs.
Priscilla Queen of the Desert is a story of three Sydney, Australia, drag artists who boldly “Go West” on a roadtrip to Alice Springs to perform at a casino. The ulterior motive of Tick is to reconnect with his young son. Bernadette needs a distraction from her grief after the death of her lover Trumpet. And Adam wants to blatantly disrespect aboriginal sacred land and climb to the top of Ayers Rock in a frock and sing Kylie Minogue tunes. Along the way they have engine troubles, meet hostile locals, and sing 23 ’70s and ’80s dance tunes such as “I Will Survive,” “It’s Raining Men,” “Girls Just Wanna Have Fun,” and “MacArthur Park.” This production will feature the original Broadway and Academy Award-winning outrageous costumes from New York. *Intended for mature audiences.
May 4-20, Thursday-Saturdays at 7:30 p.m. and Sundays at 2:30 p.m.
Sign language-interpreted performance: May 12.
Sing-Along performance Saturday, May 12 at 2:30 p.m.
Priscilla’s Closet Fashion Show Saturday, May 19 5, p.m. Feast your eyes on a 45-minute fashion show extravaganza showcasing the Tony Award-winning costume designs.
Based on the novel Nickel and Dimed, on (Not) Getting by in America by Barbara Ehrenreich. Ehrenreich’s voyage into the world of the working poor made headlines when her novel about her low-wage service jobs was released in 2001. A bestseller, Nickel and Dimed was adapted in 2002 into a play, and it remains relevant to our current socio-economic landscape. Nickel and Dimed reminds us that the promise of a “good day’s pay for a good day’s work” is, for a large swath of the population, a quaint fantasy. Ehrenreich’s research was conducted in the late 1990s, and perhaps what is most disturbing is how little has changed. Joan Holden’s stage adaptation is a focused comic epic shadowed with tragedy.
May 3-19, Thursdays-Saturdays at 8 p.m.
The Bingo Hall, 3633 E. Raymond St.
Friday, May 4: Talkback. Lynn Duggan, labor studies professor at IU and IUPUI, will be hold a talkback immediately following the May 4 production. Duggan has a background in political economy and is a professor in the Labor Studies Department at Indiana University Bloomington. She is interested in gender and social policy around the world, currently focusing on women in retail and building trades, and on work-family policy in Germany and Ireland.
Industry Night: Half price tickets on May 3 and May 10
The laughs begin when Maggie “chooses” to find out what life holds in addition to “wife and mother.” Stir in a wacky mom, a confused husband, an adult daughter who won’t grow up, two lovable sidekicks, and the hilarity escalates to crazy-funny chaos of epic proportion!
May 4-20, Fridays and Saturdays at 7:30 p.m. and Sundays at 2 p.m.
From page to stage. Emerging playwrights take you on a personal journey through their imagination. The themes are as wide-ranging as the playwrights themselves. IndyFringe and the Indiana Writers Center have put together an emerging playwrights’ showcase featuring ten-minute plays by exciting new playwrights who have been honing their craft at the Indiana Writers Center and presented by your favorite local theater companies.
Friday May 4-5 at 8 p.m. and Sunday, May 6, 2 p.m.
Jabberwocky presented by Storytelling Arts of Indiana: “How Does Your Garden Grow?”
The time has finally come to plant your flower and vegetable gardens. Hear stories from those that are passionate about their gardens. During the open mike portion of the evening, you may choose to share your own 2 to 3 minute gardening story. The evening includes a cash bar, snacks, stories and a chance to make new friends.
May 8. Doors open at 5:30 p.m., the stories begin at 6 p.m.
Save $10 with a limited time offer. Use promo code FARCE1 on your next purchase to see IRT’s season finale Noises Off. Valid on individual tickets priced $35 and higher now through May 14. Other exclusions may apply. irtlive.com.
It’s likely you’ve seen the movie, the musical, the movie-musical, and/or the “live” TV-musical of Hairspray, but Civic Theatre’s production is so much fun you will be glad you went ahead and saw it again.
First, the choreography. I was blown away by the choreography.
Sometimes, in a community theater setting, especially when working with a large ensemble, you are lucky to get a few synchronized steps and call it a success. Here, the choreography isn’t just well-executed, it is dynamic, and more than just high-energy, it is intense. And it is flawless. Anne Beck’s choreographer is challenging, but the cast, over 40 total, owns it. I can only imagine the rehearsals and the sweat. Acknowledgement should also be given to the hard work of the dance captains, Michael Humphrey and Melissa Mellinger, for coaxing out dance moves of such high caliber.
Second, the sets. The shadow effects that are used, the backdrop of colorful lights, the details in the joke shop, the use of scaffolding as layers … Scenic designer David Rockwell and lighting designer Ryan Koharchik crafted an above-par, changeable environment for the story.
And so on to Tracy Turnblad, the high-haired star of the show. Nina Stilabower delivers in a performance that any fan of the soundtrack would find impeccable. And as a character, Stilabower keeps Tracy’s backbone intact. Tracy stays strong in her resistance to bigotry in any form in any situation.
Stilabower and Zachary Hoover, as Link Larkin, complement each other vocally in “It Takes Two,” and Hoover is adorable as the pretty boy who learns to see the bigger picture, so to speak.
So many high-caliber scenes and songs deserve mention, but I am just going to give you my personal faves. One standout for me is “Mama, I’m a Big Girl Now,” with Stilabower, Evan Wallace (Edna), Mikayla Koharchik (Velma), Emily Hollowell (Amber,) Robyne J. Ault (Prudy), and Jenny Reber (Penny). They just mesh so well together, it left me impressed. Joyce Licorish as Motormouth Maybelle performs a rousing “I Know Where I’ve Been.” And Michael Hassell has some sweet moves as Seaweed Stubbs. Two unnamed standouts are the scatting prowess of the Prison Matron and the aerial moves of the photographer in “Welcome to the ’60s.” Wallace and J. Stuart Mill (Wilbur) combine the funny yet sweet in “Timeless to Me.” And Hollowell is the manifestation of a teenage-y temper tantrum as Amber.
The show’s message is still vital, but it is wrapped up within such a lively show that the heavy stuff—the situations of those perceived as “different”—begin to sink in later. Then, you can continue the conversations that started decades ago. Maybe someday, we won’t have to. Until then, you have Hairspray.
Through May 11, Thursdays-Saturdays at 7 p.m.; Sundays at 2 p.m.; final Saturday at 5 p.m.
Side note: There were a couple little kids in front of me at the performance I attended; they looked to be around the age of 8 give or take. I was impressed that they cheered more for the announcement of Newsies as part of Civic’s next season than they did for Shrek and that they not only sat through the performance but also seemed to truly enjoy it. However, I do want to caution parents that if you choose to take your youngsters, be prepared for some funny looks and/or questions, such as explaining the correlation between circumcision and Judaism. Just saying.
I didn’t. His writing always made me go “blah,” and after a few pages, I would toss the book across the room, never to be seen again.
But … The Mystery of Edwin Drood, the final, unfinished novel by Dickens, was adapted into a hilarious musical melodrama, and Actors Theatre of Indiana is staging a sidesplitting production of the choose-your-own-adventure show.
This is the second play-within-a-play production that opened last weekend, but this one most definitely has a different feel to it. For starters, it’s in the small Studio Theater in the Carmel Performing Arts Center, so you are in a more intimate setting. Speaking of intimate, if you are one of the lucky few to have a table in the front row, don’t be surprised if you end up with a “lady of the evening” on your lap at some point. Aisles are fair game for interaction, but lap sitting is limited for obvious logistical reasons.
The story is set in a pub, where the patrons and bar wench perform their sad tale, which, incidentally, isn’t so much about Drood but his fiancé, the lovely Rosa Bud, who is the picture of propriety, and Drood’s uncle, John Jasper, a creepy man who desires Rosa for his own. The point of Drood’s character is to decide who killed him.
The show starts off strong with a company number, and from there just gets funnier and funnier and better and better. This is melodrama at its best weaved with crackerjack songs. Everything is gloriously ludicrous—characters are overplayed to create the most absurd personas possible.
It. Is. Awesome.
Everyone in the cast takes on multiple roles … except Flo, the barmaid, played by Karaline Feller, whose poor character is often left in the sidelines despite her vivacious if lowbrow personality.
Drood (before he is offed) is played by Alice Nutting, who is played by Cynthia Collins. “Alice” is introduced as a famous “male impersonator” and given the role of Drood. Collins’ Drood is a happy if clueless little chap; audience sympathy for Drood runs high when his bloodied coat is discovered and the worst is assumed.
One who is not sympathetic is what should be an intimidating force known as Neville Landless, played by Logan Moore. Moore’s character is just deliciously ridiculous. Neville tries to look aggressive, but his outrageous movements and facial expressions just make him look like a fool. His equally bizarre twin sister Helena, played by Jaddy Ciucci, is fluid where Neville is stiff, gliding around the stage in her Middle Eastern-dance-type garb and looking mysterious. Both are from abroad with accents of “indeterminate origin.”
Another is John Jasper. Eric Olson as Jasper is by turns deranged and slightly less deranged. His pursuit of Rosa Bud, played by Harli Cooper, an innocent little bird in a cage, is so creepy.
This article does not cover the entire character list or cast, but I’m not leaving anyone out just to be kind. Really, everyone is exceptional here, so kudos to director D.J. Salisbury for this wonderfully campy show.
April 27-May 13, Wednesdays through Saturdays at 7:30 p.m. and Sundays at 2 p.m.
Have you ever wondered what is happening backstage during a play? Oftentimes it is all typical show work, such as prop handling, costume changes, etc. But sometimes, things can start to go terribly wrong, as is the case in Noises Off, and if those somethings snowball, they can cause the production to implode.
Guess what happens here.
It’s the final dress rehearsal (or technical rehearsal—there is no agreement) before opening night of Nothing On, a silly little farce. The opening‘s trouble is leading lady Dotty, played by Hollis Resnik. It’s nearing midnight, but Dotty still cannot make it through her scene without flubbing lines or misplacing her plate of sardines. Director Lloyd Dallas, played by Ryan Artzberger, has reached, retreated, and reached his breaking point several times. He barks orders at the poor assistant stage manager Poppy, played by Mehry Eslaminia, a mousy woman who looks terrified each time Lloyd makes demands. His verbal abuse is made even more inexcusable when we find out that he is sleeping with her. But he is also sleeping with Brooke, played by Ashley Dillard, a spacy blonde who can’t seem to fully comprehend what is happening around her. She also seems to lose her contacts as often as Dotty loses her sardines. But Dotty isn’t the only one causing trouble, as issues such as motivation are brought up by other cast members—questions that should have been explored waaay before this moment.
The cast’s peculiarities continue with the persistently and annoyingly optimistic Belinda, played by Heidi Kettenring. Leading man Garry, played by Jerry Richardson, seems to have a unique speech disorder; he cannot complete a sentence, instead ending each one with the phrase “you know,” as if you are supposed to know. He is romantically involved with Dotty, which will make for some good backstage comedy later. Freddie, played by Robert Neal, has his own strange disorder in that the mere insinuation of any kind of violence causes a nosebleed. Selsdon, played by Rob Riley, is supposed to be a seasoned actor, but he’s also a drunk, and when he is actually around, he spends most of his time playing “find the whisky bottle”—which he always inevitably does. Finally, the stage manager Tim, played by Will Allan, is barely conscious from overwork and lack of sleep but finds himself in some very strange predicaments.
With a set of characters this idiosyncratic, mayhem is bound to happen.
While the first act is good for laughs, Acts 2 and 3 are where the farce really takes off. Yes, there are two intermissions, but I am certain the second one is for the actors’ benefit. You’ll understand why. Scenic designer Bill Clarke’s set rotates as if it is on a giant lazy Susan (think the Les Mis barricade), exchanging the front of the stage for backstage. The next two acts are then set during the actual run of the show.
Over the next two acts, the slapstick escalates and Nothing On deteriorates.
One of the most entertaining of the shenanigans involves Gary, who is incensed when he thinks something is going on between Freddie and Dotty. Of course Freddie gets pulled into the middle, one incentive being misunderstood fellatio. Accidental dry humping, a fire ax, dropped trousers, shrinking bouquets, missing sheets, missing sheiks, and so much more over the next two acts lead to the show’s inevitable demise. Richardson, as Gary, especially is subjected to physical humor, climbing and rolling around on the two-level backstage with his shoelaces tied together while he attempts various attacks.
It’s likely the “audience” for the last performance of Nothing On was either very confused or highly amused.
I was highly amused.
The cast, with director David Bradley, has a field day with this play. In their hands, it’s hysterical, horrifying, and fascinating to watch. The cast lets the tension rise until everyone and everything just snaps. It seems as if I’ve used this word a lot lately, but it is too apropos to not use again, and it actually defines the whole play: schadenfreude at its best.
I’m trying my best to get my thoughts about the last three up here as quickly as possible (I already posted Wicked), but how many synonyms can you come up with for “fantastic” before you just sound unbearably repetitive?
I’m hoping for a minimum of one review per day, in the order that I saw them. So bear with me.
Interesting side note: The Mystery of Edwin Drood and Noises Off are both play-within-a-play structures. I just thought that was a funny coincidence.
For many of us, touring productions of big-name shows are the closest we will ever get to Broadway. While I am confident that there is talent here in Indianapolis that could pull off Wicked’s book and songs, the awe-inspiring sets, scenery, lighting, costumes, and special effects are what really make those expensive tickets worth every cent. (Interesting side note: Local musicians are incorporated into the traveling orchestra.)
And this tour of Wicked is no exception.
This is not to say that the quality of this troupe is lacking. The very opposite. And the people onstage are what the audience predominantly focuses on after the cascade of green lights or flying monkeys pass. Mary Kate Morrissey as Elphaba and Ginna Claire Mason as Glinda must have a rapport that runs deeper than just being co-stars. They play off each so well when the girls begin to form their friendship. Thursday night, Morrissey had Mason almost losing her character at one point; Morrissey must have thrown in an improv move during one of their popularity lessons. Over time, both actresses realistically develop their characters, as flighty Glinda matures and is exposed to the darker side of reality and angsty Elphaba’s anger coalesces into the persona of the Wicked Witch that we are familiar with. But of course, Elphaba is never completely wicked, just as Glinda never completely turns on Elphaba. Both actresses give us those clandestine glimpses before tucking them back behind the masks they wear.
Glinda is exceptional in her role, but while Morrissey is equally talented, hand gestures that look forced and so-close-but-not-quite-there notes in both “I’m Not That Girl” and “Defying Gravity” were distracting. However, most audience members wouldn’t even notice these unless they were analyzing details.
Jody Gleb as Madame Morrible and Tom McGowan as the Wizard give their roles the weight the cunning characters deserve. The only other person I’m going to mention—you can read the program—is Jon Robert Hall as Fiyero. (Another interesting side note: He played the beat box Warbler in Glee.) His presence as Fiyero (as written in the musical, not so much the book) is spot-on, as are his vocals. And he’s hot.
Bottom line: The ticket price is worth it. This is an excellent rendition of what will eventually be considered a classic.
Actors Theatre of Indiana: The Mystery of Edwin Drood
ATI’s 13th season closes with the rip-snorting rendition of Rupert Holmes’ The Mystery of Edwin Drood, based on Charles Dickens’ unfinished novel of the same name. In this bombastic rendition of the whodunit Dickens mystery, the audience enters the action and becomes the ultimate detective, deciding who committed the dastardly deed. Multiple endings are determined by audience vote.
April 27-May 13, Wednesdays through Saturdays at 7:30 p.m. and Sundays at 2 p.m.
Ever gone to a play and something went wrong? What happens when everything goes wrong? Rehearsal implosions, backstage shenanigans and onstage disasters have the cast on life support—and the audience in stitches!
Storytelling Arts of Indiana presents Barbara McBride-Smith: Crooked Ways of the Ancient Greek Gods
A bonafide wordsmith, Barbara McBride-Smith, whose wicked wit is underscored by serious research and scholastic excellence, brings a stellar reputation to her interpretation of the Greek myths. With her incurable Texas drawl, Barbara spins the Greek myths as you’ve never heard them before, rending them 99% more fun while retaining 100% of their original insights into the crooked ways of the human heart and the no-less crooked ways of the ancient Greek gods.
In celebration of our 30th year, Bob Sander will kick-off the evening with a story of his choice. He began pursuing a career as a storyteller at the same time that he co-founded Storytelling Arts of Indiana. Bob travels the state for Arts for Learning and is currently teaching an-eight week workshop on storytelling at the Hamilton East Public Library in Noblesville for us.
The 1950s are out, and change is in the air! Hairspray is a family-friendly musical, piled bouffant-high with laughter, romance, and deliriously tuneful songs. It’s 1962 in Baltimore, and the lovable plus-size teen, Tracy Turnblad, has only one desire: to dance on the popular Corny Collins Show. When her dream comes true, Tracy is transformed from social outcast to sudden star. She must use her newfound power to dethrone the reigning Teen Queen, win the affections of heartthrob Link Larkin, and integrate a TV network … all without denting her ‘do!
April 27-May 11, Thursdays-Saturdays at 7 p.m.; Sundays at 2 p.m.; final Saturday at 5 p.m.
The historic Madam Walker Legacy Center and the Langston Hughes Family Museum presents Renaissance: A Harlem Affair, an evening of the arts celebrating the achievements of Indiana artists. Dress in your favorite vintage attire from the 1920s and 1930s and prepare for an unforgettable experience. Dive headfirst into a living art installation featuring interactive 3D projection mapping coupled with talented actors, dancers, musicians, and poets interpreting the long-lasting impact and importance of the Harlem Renaissance.
April 27, 8 p.m.
Tickets are $35; VIP tickets are $75; dinner is $10
It’s time to celebrate the amazing 35-year history of Phoenix Theatre and launch into the spectacular new Cultural Centre with style. A short presentation of memories at the old building precedes a procession down the Cultural Trail to the new facility. Mayor Joe Hogsett and the Indianapolis Chamber of Commerce will perform a ribbon-cutting ceremony. A short presentation in the new building will reveal the company’s hopes and dreams for the new Cultural Centre of Indianapolis.