Supporting Local Theatre

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With all the distractions around, there are too many excuses to not see live theatre.

We give you the reasons you should.

Welcome to PWJW, with information on live drama, comedy, musicals, dance, etc. in and around Indianapolis, Indiana. As in any modest-sized metropolis, there is a surprising amount of activity and talent on numerous stages, from amateur to Equity, from old favorites to avant-garde, with performers and audiences of all ages. If you are seeing this on the Main page, scroll down for the latest reviews. We will also strive to keep the calendar page updated. Thanks for looking in on us!

Click on Pods With John And Wendy in the Menu for our Podcast! (On Hold at the moment, we plan to resume soon)

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On THIS PAGE is the linked list of reviews from the 2022 IndyFringe Festival. 

The 2021 IndyFringe on THIS PAGE.  (No Fringe fest in 2020.)  The 2019 IndyFringe on THIS PAGE.  The 2018 IndyFringe on THIS PAGE. We didn’t see everything, but did get in most of the shows.

Looking back, we don’t have an index page for IndyFringe 2016 or 2017, but HERE is one we did for 2015.

If you place “Bard Fest” or “OnyxFest” in the Search, you can see our coverage of those shows as well.

Music inspires theatrical festival at the District

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By John Lyle Belden

Indianapolis Black Theatre Company presents soulful musical inspiration with the 2026 Indy Black Solo Fest, under way (Jan. 29-Feb. 1) as I write and post this, at the District Theater on Indy’s Mass Ave.

There are six one-hour acts, each written and performed by one person backed by offstage musicians, each with two shows. We saw two on Thursday – the rest we will see on Sunday – so for now, we’ll give a review to give worthy praise and give the flavor of the overall festival.

“Marvin 4 Error” by Reno Moore

Looking into the life and music of the legendary Marvin Gaye Jr., Moore found parallels in his own journey. While not enjoying the same success (yet), he sees similar missteps and notes “the margin for error is too thin.”

His spoken biography of Gaye mixed with confessional memoir is punctuated by some of Marvin’s biggest hits. He admits he doesn’t sing the same (“I don’t think Marvin would want me to”) but does so with passion, conviction, and an invitation for us to clap and sing along. Thus we are entertained, enlightened, and a bit challenged. Reflecting on the song “If This World Were Mine,” he asks: What world would we create?

Note his second performance is 4:15 p.m. today (Jan. 31) as this posts.

“Daring to Dream” by Komoca

Komoca – and Charlaine, the star she portrays – take inspiration from Aretha Franklin. Set around the 1980s, when people wrote actual letters, Charlaine reads fan mail from a girl with big aspirations (and a thick Carolina accent), prompting her to remember her own struggle, and how listening to the music of the Queen of Soul helped her to “find hidden blessings in the storms.”

The engaging reminiscence comes with a half-dozen of Franklin’s hits, delivered with a powerhouse voice that reaches out and grabs you, demanding to be heard. Komoka likely also rocked the house in her second performance Friday night. Watch for her in future productions around the Midwest.

Saturday, Jan. 31, and Sunday, Feb. 1, performances are of:

  • “Black Thread: Songs That Nina Taught Me” by PsyWrn Simone
  • “Songs in the Key of Grenadine!” by Daren J. Fleming as Miss Grenadine Ross
  • “Death of a Church Boy” by Jay Fuqua
  • “Facing It Face to Face with Dollface” by Teresa Reynolds

Big thanks to creative director Josiah Ray McCruiston for coordinating this excellent festival. Kudos also to music director Tarrance Dennie, stage manager Crystal Usher, and to local playwright Andrew Black for his instruction and assistance.

Get tickets at indydistricttheatre.org.

Situation of sensitivities tests couple in TOTC premiere

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By John Lyle Belden

How do you strive to do better in a rude and judgmental world without falling into snap judgements, and even, ironically, coming off rude? This conundrum comes with a dose of deeper issues in the dark comedy, “St. Sebastian.”

This Indianapolis premiere is the first full production by That Other Theatre Company, directed by company founder Jay Hemphill. The play by nationally known locally-based playwright Andrew Kramer grapples with bittersweet humor a collision of left-of-center issues including gentrification, race, and LGBTQ, as well as personal trust and faith.

Gay couple Ben (Eric Olson) and Gideon (Joe Wagner) have moved into a house with plans to fix it up and “flip” it. Ben, a former priest who works full-time on the renovation, feels glad to have gotten this foreclosure for a low price at auction. However, Gideon, a younger man who works as a DEI sensitivity trainer, discovers to his dismay that their home is in Robbins, Ill., one of the most notable historically Black towns in America. And Ben and Gideon are white.

Ben encounters a local youth, Rueben (Jy’Ierre Jones), checking out his new neighbors. Finding no ill will either way, Ben soon pays Rueben to do some yard work and odd jobs. Gideon’s extreme reactions reflect current sensibilities while betraying feelings he is reluctant to acknowledge.

The narrative plays out in a series of fairly short scenes, giving snapshots of the plot’s progression. Some elements are given without resolution, such as the padlock on the closet, and the broken window. Does the neighborhood dog (unseen) signify something, or is he just a friendly stray? Perhaps these are reminders that in real life, not everything we encounter has some higher meaning.

Much of the focus is on the love between Ben and Gideon, with honest passion and tested like that of any couple (gay, straight or otherwise). Learning the origin of their relationship could make you uncomfortable, yet Olson and Wagner make their feelings genuine. Their individual perspectives surprise them, with bitter disagreement over what were common goals. Wagner makes Gideon’s overthinking nature a source of both humor and tension.

Jones gives us an interesting, complex character. He is a teen who likes to paint action figures, a neighbor whose presence hints at a past connection to this house. He is curious and a bit insightful, but still a kid.

The title refers to an early Catholic saint, usually pictured as a young man tied to a tree and pierced with arrows, having the honor (or misfortune) to be martyred twice. Noting St. Sebastian’s more recent embrace by the LGBTQ community, Gideon keeps a small statue as a prized possession.

While you may not learn “How Not to Be a Gentrifier,” you might glean an insight into human nature under modern pressures. A show that’s sure to spark some conversations, “St. Sebastian” runs through Feb. 8 on the Basile main stage of the IF Theatre, 719 E. St. Clair St., Indianapolis. Get tickets at indyfringe.org.

More than a ‘Bit’ funny

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By John Lyle Belden

Wendy and I finally saw the little comedy variety show that Betty Rage Productions, produced by Callie Burk-Hartz, has put on from time to time for a while now: “Lady Bits.”

Innuendo in the title aside, the focus is on “bits” as in comedy scenes, sketches, improv, songs, stand-up – whatever gets you laughing. Hopefully, shows like this can put to rest the absurd old myth that women aren’t funny, especially with the many highly talented female performers just in central Indiana.

Burk-Hartz said she has around 40 women she has featured in various Lady Bits shows. For the January lineup, she had a dozen, including first appearances by Emily Wray, Katherine Young, and Alex Stark. Paige Scott accompanied on piano.

Each show is different. This one featured a fair amount of improv (some under the leadership of Meg McClane), stand-up sets by “Auntie” Shannon Samson and Gwen Sunkel, and a sharp and funny satire of an eager youth minister performed by Kelsey Van Voorst. To help set up an improv musical, Frankie Bolda told about her “first time” – driving her father’s Jeep.  

Callie has something as good or even better planned for the next Lady Bits in March. With the amount of gathered talent, their eager collaboration and sense of sisterhood, you can count on a fun and wildly entertaining evening at any of these shows.

Lady Bits performances are at the IF Theatre, 719 E. St. Clair, just off Mass Ave. in downtown Indianapolis (tickets at indyfringe.org). Betty Rage has a variety of productions in the works, including Noel Coward’s “Blithe Spirit,” March 5-8 at the Indianapolis Scottish Rite, and an upcoming “Femme Fest” of short plays at the IF. Get info at bettyrageproductions.com.

Variety of celebrations in GHDT ‘Winterfest’

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By Wendy Carson

Gregory Hancock Dance Theatre gives us a shimmering delight with its presentation of “Winterfest,” paying tribute to pretty much every December holiday/celebration in existence.

This inclusiveness, combined with Gregory Glade Hancock’s style of choreography make this show a standout and must-see for anyone who enjoys dance of any kind. Plus, this year’s show highlights a new opportunity being offered by the GHDT Studio.

To “Welcome Winter,” we begin with three of the dancers showing off their ballet prowess in toe shoes, then move to a couple’s romantic encounters, and finally six dancers flitting about conjuring literally visions of sugarplums dancing in our heads. And that was just the first of the ten pieces being offered.

Primary male dancer Thomas Mason, who choreographs most of the sections of the program, highlights the younger student dancers in “St. Nicholas Day.” Their energy and grace brought a joyous warmth to the performance.

Hancock’s costuming sense hits a crescendo with the next two numbers: “Kwanzaa” has the dancers in black outfits with red and green stripes, highlighting the colors of the festival, while each has an individual emblem on the top representing one of the holiday’s seven principles. A simple white dress with an indigo ombre skirt represents the rebirth of light after the longest night of the year to celebrate the “Winter Solstice,” or Yule.

“Diwali” finds the younger dancers back and allows each one a short solo to highlight their individual abilities.

To expound on the opportunity I mentioned above, Guest dancers Zoe Maish and David Elser present a lively ballroom version of “Man with the Bag” to show off their skills and allow you to see what potentially waits for anyone signing up for Ballroom Dance lessons that they will soon be offering.

Mason’s choreography of “Saint Lucia Day” showed the somber spiritual grace and beauty that is also a solid part of the holiday celebrations.

Dancer and frequent GHDT program cover model Olivia Payton shows off her choreographic chops with “Las Posadas,” which celebrates Joseph and Mary’s journey to the stable in Bethlehem. These dances offer a flirty style and allows each primary dancer a chance to individually shine.

Hancock choses to highlight both the solemn history behind “Hanukkah” and the joy and humor of those of the Jewish faith.

The evening concludes with “Christmas,” choreographed by Mason, and allows for a few of the very youngest pupils to show off what they’ve learned as well as bring smiles to one and all. The whole troupe gets to shine throughout.

Dancers include Mason, Payton, Abigail Lessaris, Sophie Jones, Vivien Mickels, Josie Moody, Audrey Springer, and Nathalie Boyle, as well as students Eva Abanunova, Arden Brothers, Valerie Bussell, Magnolia Donaghey, Fiadh Flynn, Luna Garelli, Lera Griffis, Vivien Maresh, Hazel Moore, Morgann Rice, Isabella Webb, and Anya Willis.

After the show, there is a complimentary hot chocolate bar to help you keep the joyful moments going.

The entire night was spectacular and really gets you energized for – as well as remembering the meanings of –the Winter Holidays.

The best part is that this was not just a one-weekend production! See it for yourself Friday, Saturday, or Sunday, Dec. 12-14, at The Florence at The Academy of Gregory Hancock Dance Theatre, 329 Gradle Drive, Carmel. Get tickets at gregoryhancockdancetheatre.org.

Center Stage: #PrideAndPrejudice gets upgrade

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By Wendy Carson      

With all the various Holiday shows on stages right now, Center Stage Community Theater brings us an alternative with a rollicking interpretation of a Jane Austen classic, “Pride @ Prejudice,” by Daniel Elihu Kramer. The show presents a more internet-savvy version of the story including clickbait asides, historical tidbits, and even merchandise for sale. It felt something akin to a Fringe Festival production.

The cast consists of five actors, all portraying various characters in the novel, except for Trinity Pruitt in the single role of main character Elizabeth Bennet, while Adrian Blackwell plays the snide Mr. Darcy and the sleezy Mr. Collins – though there are a few times that a cardboard standee also portrays Mr. Darcy. Given the plethora of characters remaining for Kat Krebs, Todd Isaac, and Tanya Haas, director Matt McKee opts to elevate stage manager Ava McKee to also portray various servant roles and show scene changes.

The story remains unchanged but with frantic pacing and rapid narration, bring about some background commentary that might change your feelings towards some of the characters. The script also incorporates letters from Jane Austen herself to further flesh out the times and situations. Therefore, the show is a very good primer for those unfamiliar with the novel. However, Austen purists made find the irreverence to be off-putting.

Overall, the show is a delight, and the entire cast is fantastic. Highlight performances, for me, were Krebs as Lady Catherine, Blackwell as Mr. Collins, Isaac as Mr. Bingley and Mr. Gardiner, Tanya Haas as Miss de Bourgh, and, of course, Pruitt as Elizabeth.

So, if you’re looking for something different yet still enjoyable this season, head over to Lebanon and catch this top-notch offering.

Performances are Friday through Sunday, Dec. 12-14 and 19-21, at 604 W. Powell St., Lebanon. Get information and tickets at centerstagecommunitytheatre.com.

Asaykwee and friends present the story behind the Carol

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By John Lyle Belden

When you think about it, there is only one ghost featured in Charles Dickens’s “A Christmas Carol.” That would be the tortured soul of Jacob Marley; other beings present as “spirits” not of a particular person but a vague experience – Christmas Past, Present, and Future, as well as the consequences of poverty.

Local creative Ben Asaykwee apparently did think about it and expanded on these concepts to create a new holiday musical, “Wonders,” which has its world premiere at The District Theater in downtown Indy.

To bring his ideas to life, he once again casts his December show in “Q-munity” style, finding a place in cast or chorus for all 46 new and veteran actors who applied, including about a dozen children. Under Asaykwee’s direction, they harmonize into a large stage family, welcoming us into the story they tell.

A couple of other things to note:

* It is essential you have some familiarity with the original Dickens story, as this is a sort of companion piece to that narrative, presenting the perspective of the ethereal beings who undertake the mission of redeeming Mr. Ebenezer Scrooge. In this story, the quest is necessary not only for his wellbeing, but also for mankind’s.

* As for the old miser, Scrooge himself makes only one brief, uncredited appearance. To set things in motion for a very eventful Christmas Eve, we meet various supporting characters from the book, including Fezziwig (Bastian Ciucci Russell or Calvin Meschi); Bob and Mary Cratchit (Noah Lee and Elizabeth Gee), Scrooge’s sister (Lillie Oblon) and his former sweetheart (Michelle Wofford); and, stranded in “The Pale,” the shade of Marley (Kevin Caraher).

* This may be Asaykwee’s most ambitious high-concept work that we have seen. Set largely in the realm of the spirits of humanity – a place they for their own reasons call the Basket – we are outside of conventional earthly dimensions and “time appears differently here.” Though the production has the feel of experimental theatre, once we get a handle on the concepts in the opening scenes it all mostly works, and it helps that to the audience, the spirits are very friendly guides – even ones we associate with more negative aspects of life.

Within this Basket we find a pantheon of spirits that include Truth (Asaykwee), Hope (Sarah Zimmerman), Joy (Noah Winston), Pleasure (Tiffanie Holifield), Honor (Maria Meschi), Ambition (Jaddy Ciucci), Curiosity (Shelbi Berry Kamohara), Fear (Matt Anderson), Memory (Hannah Elizabeth Boswell), Avarice (Kallen Ruston), Creativity (Zach Himes), and Innocence (Megan Arrington), who does much of the narration. They maintain the balance of light and darkness for mortals they refer to as “Turtles,” seeing humans as slow and simple.

In this mythos, these entities consider themselves strands in a “braid” that binds human order. However, two aspects – Apathy and Despair – became lost and formed The Knot, a state of pervasive darkness. The others carry wonder as a tangible energy supply helping keep it at bay; still, The Knot is strengthening. Yet down in Dickensian London, a man with the most dark of souls could help turn the tide if he is made, somehow, to see the light. To get results, the mission must focus on the most optimistic day of the year – Christmas.

This complex production manages a sort of holiday miracle in that the strands of plot around the events and characters of “Carol,” interlaced with the immortals’ own struggles, stay cohesive and easy to follow. Asaykwee infuses it all – script and original songs – with his entertaining style, a sort of fun yet daring and mischievous sense of humor reminiscent of legends like Danny Kaye or Gene Wilder. Aside from Dickens, we can see stylistic influences of “Inside Out,” “Neverending Story,” and practically any movie where an angelic being tries to directly influence mortals (“…Wonderful Life”? “Xanadu”?).

Boswell assists with direction, and Ruston is assisted as stage manager by Sofie Frank. The wonderfully colorful and eclectic costumes for the pantheon are a group effort by the cast along with Kristin Boyd, Allison Jones, Kat Robinson, Traci Snider, Asha Patel, Robyn Lamey, and Ben Lamey.

The mortal “Turtles” are distinguished by simple black outfits, yet shine in their own way. Aside from Caraher, Lee, Gee, and Wafford, they are portrayed by Emerson Black, Ava Button, Carrie Cooper, Jenson Dasbach, Jessica Dickenson, Trèvon D. Foote, Carl Gallagher, Beth Gibson, Spencer Hahn, Lillian Hall, Zara Heck, Mandy Holzhausen, Anna Lee, Ethan Lee, Ashley Marshall, and Morgan Patrick-Roof. Filling in as Cratchit kids, urchins, and small but potent Spirits are Bastian Ciucci Russell, Cosette Clemens, Patrick Clemens, Lyra Dickson, Elsie Huldeen, Amaryllis Lebow, Xylah-Rose Lebow, Zinnia Joy Lebow, Sam Lee, Calvin Meschi, Aaliyah Oblon, Lillie Oblon, and Amelie Pellerin.

Performances are sharp throughout the cast, and roles such as Hope, Curiosity, Innocence, Memory, Joy, Pleasure, and Fear really show off the depth of the players’ talents.

But what of Past, Present, and Yet-to-Come? Join the journey by “candle-shine” and watch to see how they are revealed. Performances of “Wonders” run through Dec. 21 at The District Theatre, 627 Massachusetts Ave., Indianapolis. Get tickets at IndyDistrictTheatre.org or call 317-522-8099.

Phoenix in its Xmas era

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By John Lyle Belden

That Holiday Tradition that’s an alternative to Nutcrackers or Tiny Tim or other Christmassy cliches – except perhaps to mock them – has returned to the Phoenix Theatre Cultural Centre.

“A Very Phoenix Xmas XVII: Sleigh, Queen, Sleigh!” takes the stage with its various funny and nicely naughty short plays. This time these all-original skits all have common creators – written by director Zack Neiditch with songs by Paige Scott. They are brought to life by Suraj Choudhary, Samantha Lewis, Craig Underwood, Cara Wilson, and Christine Zavakos, who also each give a disturbingly charming (or charmingly disturbing) “Christmas memory” in videos by Zach Rosing.

The various pieces are presented in historical order from past to present, starting with a breaking TV news report from Roman Palestine. A more historically accurate approach is taken in a hilarious look at Christmas in Renaissance-era England. As for the Victorian era, Marley’s still dead. In the 20th century, things really get strange. With more recent decades, be sure to “like and subscribe.”

Note this isn’t all-ages. Mature content includes f-bombs and middle fingers, but no outright blasphemy. Think of it as SNL with HBO standards.

The ensemble work very well together, with most of them interacting in nearly every scene. Neiditch’s knack for comedy and Scott’s for a catchy tune give them plenty to work with.

If this kind of humor fits your stocking, you’ll find it very entertaining with familiar themes taken on like nobody else.  

“A Very Phoenix Xmas” runs through Dec. 21 at 705 N. Illinois St., downtown Indianapolis. Get info and tickets at phoenixtheatre.org.

IRT’s unique and traditional ‘Carol’

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By John Lyle Belden

After a recent performance, the cast of “A Christmas Carol” at the Indiana Repertory Theatre was asked, what percentage of their script was the words of original author Charles Dickens?

While it’s difficult to get a precise number, IRT regular Rob Johansen – who returns to again play Ebenezer Scrooge – is certain it is over 90 percent. The rest came from the hands of past artistic director Tom Haas, he said, “a great writer.” A copy of the Dickens novella, which Haas filled with margin notes and line markings as he adapted it in the 1980s, was recently rediscovered and is on public display at the theatre.

To this process, add director Cara Hinh, who finds a fresh approach with emphasis on scenes that are not always played. I sensed, especially in the first half of the show, a little more humor; however, the spooky and tragic aspects get their moments as well. The familiar story is intact, but note the details. “Know them better,” as it were.

The style of this Indy holiday tradition is the same: A full cast, playing various characters, narrate as they perform their roles, working on a spare stage covered in drifts of “snow” with a few necessary props and setpieces, such as the old metal frame that serves as the office of Scrooge & Marley. Hinh’s staging again makes liberal use of the trap doors, with the elevator-style entrance in the center presenting the Cratchit table. Others are used to great effect, especially in the Ghost of Marley’s visit, and in the final tombstone reveal.

Apparently, according to a post-show discussion, the concept of the production is that an old theatre has lost its roof, leading to the snowy nearly-bare abandoned stage, upon which Spirits of Theatre and/or the Holiday walk the boards to tell once again this Victorian classic. This is reflected in the audience seeing, in shadow, the actual back wall of the old Indiana Theatre, with its nearly forgotten pillars.  

Hernàn Angulo makes a splendid IRT debut as poor Bob Cratchit. We also welcome stage and screen actor Cleo Berry as a Ghost of Christmas Present who is both boisterous and no-nonsense. Natasia Reinhardt returns as Christmas Past, really working the Jack-Frost costume by Linda Pisano. Ryan Artzberger reprises Marley’s Ghost, as well as ol’ Fezziwig. Kenneth La’Ron Hamilton is again Nephew Fred and Young Scrooge – the former irrepressibly cheerful, the latter with his goodwill steadily eroding. Other ensemble members are Jennifer Johansen, Alyssa Naka Silver, Kayla Carter, Kerah Jackson or Vivian Morton as Betsy Cratchit, and Sofia Perlaza or Cate Thomas as Tiny Tim (we saw Jackson and Perlaza).

Whether as a returning tradition or for the first time experiencing this exceptional rendition of a holiday favorite, see Charles Dickens’ “A Christmas Carol” through Dec. 24 at the IRT, 140 W. Washington St., in the heart of downtown Indianapolis. Get tickets and info at irtlive.com.

No place like Mud Creek ‘4’ the holidays

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By John Lyle Belden

For those who don’t know, “X” is, aside from part of the English alphabet, the Greek letter “Chi,” which is traditionally used as a shorthand for “Christ,” thus making “Xmas” an acceptable abbreviation for the holiday. In American vernacular, of course, using that spelling usually indicates a less-serious take than any formal religious celebration.

Behold “4 X’mas,” a collection of five works (four short plays and a monologue) by George Cameron Grant, presented by Mud Creek Players through the first weekend of December.

Grant is a popular playwright and “hope peddler” (according to his website) notable for his one-acts. In fact, one of the pieces in the current production – about a set of tree ornaments in their cardboard box – may be familiar to those who saw it in a past edition of the “Phoenix Xmas” show.  

Directed by Andrea Odle, the cast of Rina Baker, Mary Garner, Mason Odle, Oscar Otero, Jennifer Poynter, and Jurrell Spencer charm their way through various holiday-themed happenings.

  • Baker and Spencer get caught up in each other after an “Office Party,” but what will happen when Richard (Otero) comes home?
  • Redemption comes to Hell’s Kitchen in “Santa’s Clara” as a teen on her own (Garner) encounters a shabby Santa Claus (Mason Odle) who knows her too well.
  • In “The First Noel,” a homeless woman (Baker) tells of her life full of “zingers” and how she can’t return to her childhood home, unless it’s for Chinese take-out.
  • As noted, there are some holiday “Balls” (Baker, Garner, Odle, Otero, Poynter) waking up early from their storage space to find how fragile their existence truly is.
  • Finally, “Santa Comes to the King David” brings together – at the middle of the Brooklyn Bridge – a helpful woman (Garner) and a man (Odle) whose holiday tradition has been to play Santa Claus at the Hannukah Bush in a home for Jewish seniors. This includes a sweet appearance by Poynter as his Jewish “aunt.”

Their performances in these little plays deliver a sense of whimsy and romance with hilarity and heart. Some innuendo gets a bit PG, but otherwise this is a great holiday show for everyone.

Andrea Odle is assisted by Lexi Odle-Stollings, with Kathy Jacobs as stage manager. Costumes are by Judy McGroarty with props by Jessica Raine.

Take some time “4 X’mas,” Friday through Sunday, Nov. 28-30 and Thursday through Saturday, Dec. 4-6 at the Mud Creek Players Barn, 9740 E. 86th St., Indianapolis. Get info and tickets at mudcreekplayers.org.

Issues of love and money vex ‘The Heiress’

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By Wendy Carson

Epilogue Players brings us an intriguing look at upper class life in 1850 New York with “The Heiress” by Ruth Goetz & Augustus Goetz.

Dr. Austine Sloper (Stan Gilliam) raised young daughter Catherine (Emily Reese Castro) well and it is time she should pursue a marital situation. While not unattractive, Catherine is socially awkward and is constantly reminded of her inferiority to her father’s sainted memory of her mother. She feels she has nothing to offer – except for her inheritance of $10,000 per year from her mother, with an additional $20,000 annually after her father passes (a sizable fortune in that era). Her widowed Aunt Lavinia Penniman (Cathie Morgan) is on hand to assist in helping Catherine gain confidence in herself.

During a dinner to celebrate the engagement of her cousin Marian Almond (Christian Taylor) to Arthur Townsend (Lawrence Wunderlich), she is introduced to his cousin, Morris Townsend (Brett Edwards). Thus begins a whirlwind courtship between the two and a pledge to marry. However, the doctor regards Morris to be nothing more than a fortune hunter seeking to take advantage of his daughter’s naivety. Desperate, Catherine plans to elope, even if it means losing her father’s inheritance.

As events play out, this comic melodrama takes interesting and unexpected turns. Overall, the show is an interesting look at the social strata of the pre-war North, and the cast all do an excellent job bringing their characters to life. I was very impressed by Breanna Helms’s turn as Maria, the Slopers’ maid, who was constantly able to say volumes about any situation with a single look.

The cast also includes Susan Yeaw as Marian’s mother (and Dr. Sloper’s sister), Elizabeth Almond; and Sarah Marone-Sowers as Morris’s sister, Mrs. Montgomery. The play is directed by Kathleen Clarke Horrigan with Jay Stanley, stage managed by Patti Boyle.

In Castro’s performance we get an intriguing profile of a misunderstood soul who eventually comes to understand herself. Edwards gives us the appearance of a very noble and flattering suitor – at first. The line between true devotion and selfish desire seems thin indeed. Gilham gives a sharp performance of a gentleman of the era, frank in his opinions but not without feeling. Morgan’s Lavinia isn’t shy about injecting her own notions of romance into the situation.

“The Heiress” has four more performances, Thursday through Sunday, Nov. 20-23, at 1849 N. Alabama St. (corner of 19th and Alabama), downtown Indianapolis. Reserve tickets at epilogueplayers.com.