Supporting Local Theatre

With all the distractions around, there are too many excuses to not see live theatre. We give you the reasons you should.

(September 2021 edit) There are finally signs of optimism around central Indiana, including with local companies and on local stages. This includes the return of IndyFringe and Bard Fest, as well as announcements of upcoming seasons. There are still health concerns (we encourage getting vaccinated if you can) and as situations change, we’ll strive to keep up. In the meantime, see the schedule page and scroll down for the latest reviews. 

We’ve got our masks when necessary, are washing our hands, and will carefully continue to cover the central Indiana stage scene as we have on this site for over five years.

Thanks for reading and following!

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On THIS PAGE is the linked list of reviews from the 2021 IndyFringe Festival. (No Fringe fest in 2020) See THIS PAGE for reviews from the 2019 IndyFringe. (We didn’t see everything, but did get in most of the shows.) On THIS PAGE is the shows we saw at the 2018 IndyFringe.

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

See below (scroll down on main page) for the most recent stage reviews.

OnyxFest 2021

This last very busy weekend, aside from various production openings, was opening weekend of the two-week OnyxFest: A Celebration of African American Voices, presented by IndyFringe with performances at the IUPUI Campus Theatre, 420 University Blvd., Indianapolis. We (John and Wendy) were unable to make the shows, but a friend of the site, a member of Indiana Writers Center, gifted us the following review. Opinions are the author’s. Get festival information and tickets at indyfringe.org/onyxfest-2021.

By Celeste Williams

That Day In February,” Janice Morris Neal’s OnyxFest play, directed by Dena Toler, tugs at all of the strings.

One of five productions in “Indy’s first and only theatre festival dedicated to the stories of Black playwrights,” Neal’s play returns 6 p.m. Friday, Oct. 15, at IUPUI Campus Theatre, 420 University Blvd.

The three siblings, portrayed by Ennis Adams, Jr., Katherine Adamou, and Lakshmi Symone Rae, perform an intricate, emotion-laden word-dance on stage, as they navigate relationships laced with trauma of their mother’s love, but grounded in love.

Neal wrote the play with true events at its core. Even if audiences did not know the specific story behind the production, they would recognize parts of themselves, through the nuanced performances led by Adams and enhanced by Adamou and Rae.

The actors’ interplay brings the background story to life. The presence of the liquor bottle on a table subtly hints at the older brother’s internal fight — to separate himself from his father’s act, even as he fears he has inherited some his ways.

The sisters’ presence brings the brother’s insecurities to light. The more insecure he becomes, the more pours and sips. The middle sister’s anxiety is illustrated expertly by Adamou, whose leg jiggles nervously throughout. Rae, as the younger sister, is the picture of young rebellion.

The fact that it is the younger, rebellious sister, who could not have remembered the events at the heart of the story, is the one to bring the narrative to a head, is a brilliant turn. The father is an invisible presence throughout.

There is a last line (no spoilers) that leaves a viewer satisfied and wanting even more.

In interviews, Neal has said that she wanted to convey “the perspective of adult children who did not grow up with their parents.” The play also touches strongly on issues of domestic violence and the resulting traumas.

“They all grapple with different issues and how to reconcile them,” Neal said. “Even things that happen to us as children can affect us as adults.”

It is a good thing that the ending leaves one imagining what comes next. And, “That Day in February” rightfully leaves appreciative audiences wondering what playwright Neal has in store for us next.

We’ll be eagerly waiting for that day.

Thanks again to Williams, and IWC board member Mary Karty, for the assist. The other festival shows are (descriptions provided by OnyxFest):

1200 Miles From Jerome” by Crystal Rhodes, directed by Deborah Asante, 6 p.m. Thursday, Oct. 14

In the 1940’s, during World War II, a mother, her two daughters, a young school teacher and a 14-year-old Japanese-American fugitive from an internment camp are forced to leave the town of Jerome, Arkansas, and flee over 1,200 miles to New York City. The journey is filled with danger, a daunting experience in which “driving while black” could mean the difference between life and death.

Fly Blackbird Fly/Voices We Can’t Unhear” written and directed by Latrice Young (Distinctly Unique), 8 p.m. Thursday, Oct. 14, and 6 p.m. Saturday, Oct. 16

A choreopoem recounting traumatic experiences of several Black women. Each woman is at her breaking point and desperately wants to escape the cages they’re in, but this can only happen if they’re willing to relax, relate, and release.

Ranson Place” by Jameel Amir Martin, directed by Shandrea Funnye, 8 p.m. Friday, Oct. 15

Two unlikely companions holding on to a precious thing, reluctant to leave a special place, must contend with forces that would spur their belated departure.

This Bitter Cup” written and directed by Charla Booth, 8 p.m. Saturday, Oct. 16

A Black family in the rural south in the 1950’s struggle to find balance in their lives. A son who wants an education to rise above the limitations of the Old South, and a daughter whose dreams are thwarted by being Black and a woman and loved by the wrong man, in a complicated entanglement that leaves us wondering if this family can find peace.

Bard Fest cast brave Albee classic

By Wendy Carson

Let me begin by saying the old adage is true: Nothing good happens after 2 a.m.

This is the precise hour in which our tale begins. George (Tony Armstrong) and Martha (Nan Macy) have arrived home from one of her father’s numerous parties just in time to continue the “festivities” by initiating the new professor into the way of life at their provincial college. Since Martha’s father is the President (and ersatz owner) of this establishment, Nick (Matthew Walls) and his wife Honey (Afton Shepard) feel compelled to attend.

What begins as two couples sharing cocktails quickly escalates into a verbal brawl in which no one is safe. At first, Nick and Honey gape in shock as the barbs fly back and forth. but as time passes and alcohol is consumed, their own skeletons explode out of the closet for all to see.

Edward Albee’s classic play, “Who’s Afraid of Virginia Woolf?” shows the author’s mastery of language and its power. Martha’s tongue is a lethal weapon, which no man, save perhaps George, can survive. However, George can hold his own in this melee.

Watching Martha and George go at each other is akin to seeing different beasts battle for dominance, the saddest thing is that they honestly do love each other, in their own way. Macy is a black belt at this sort of verbal karate, complete with Martha’s sharp tools of wit and psychological warfare. Armstrong presents George as the weathered stone taking on wave after wave of abuse, but with the eerie calm of one who has little left to lose, and one more devastating ace to play.

Walls brings his own cockiness, in which Nick manages for two of the drama’s three acts to feel that he will come out of this skirmish unscathed, and perhaps ready to exploit what he’s heard. But too late he finds he’s way too Kansas for these Ivy League-level head games. Shepard manages a lot with her character, an easy foil for Albee’s humor who, with the help of lots of brandy, devolves from a waif lost in the playground to a girl lost in the woods.

For those unfamiliar with the play, or the Oscar-winning Elizabeth Taylor film, note this production, directed by Matthew Socey, is a wild ride, an emotional roller coaster with no brakes, so engaging you may not notice it runs three hours. No story told or alluded to is without importance (except one bit in the first scene, more on that later) and only at the end do we get a full view of the field of play. However, while the show is very intense, it can be amusing to notice how often various couples in the audience knowingly look at each other after some of the exchanges.

Oh, and to save you a minute or two of Googling during the first intermission, the answer to Martha’s question is, “Beyond the Forest.”

Presented by Indy Bard Fest as part of its Prestige Project of great stage plays not written by Mr. Shakespeare, performances continue Thursday through Sunday, Oct. 14-17, at The Cat theatre 254 Veterans Way in downtown Carmel (note there are some construction street closures, but it’s possible to reach the building). Get info and tickets at indybardfest.com.

Scars and healing in ‘Alabaster’

By John Lyle Belden

“I’m not polite company,” says June, the lone survivor of a tornado that ripped through her family’s farm a few years ago. She was left with countless scars, many of which are on her body. 

This has brought a renowned photographer to rural Alabama — famous for celebrity portraits, Alice has taken on a project to feature the scars on various brave women, showing their defiant beauty. But then, she has deep wounds of her own.

Also on the farm is Weezy, a common goat gifted with insight she shares verbally with June, and compassion for her mother Bib, an old nanny-goat without long to live.

This is “Alabaster,” by Audrey Cefaly, the long-awaited drama that re-opens the Russell main stage of the Phoenix Theatre, 705 N. Illinois St. in downtown Indy. Originally part of the 2019-20 season, the play is directed by Jolene Mentink Moffat, with brilliant performances by Maria Argentina Souza (June), Lauren Briggeman (Alice), Joanne Kehoe (Weezy), and Jan Lucas (Bib).

There are many themes at play here — loss, mourning, pain, recovery, holding on, letting go, and facing what comes next. There is also a constant stream of gentle humor, as one would expect when the narrator is a talking goat. Cefaly says in her program note that Weezy is “an instrument of the Divine.” I like to think of it as, “What if Jiminy Cricket were a goat?” Regardless, Kehoe takes on the role with a determined smile, giving the animal’s natural traits a sage quality.

It’s become routine in these reviews to dwell on how completely and comfortably Briggeman embodies her every role, and this is no exception. However, Souza matches her in a skillful portrayal of a character with spiky walls, a soft interior, and a mood that turns on a dime. June, who spends her days painting artworks on broken barn wood, is a soul both standing in the eye of her storm and still caught in its vortex; taking her outside these two states is Weezy’s wish, and becomes Alice’s mission — but is it a directive from her worried brain or her healing heart? 

Though Bib only speaks “goat,” Lucas can still communicate so much with a single look, as her character bides her time until her catalyst moment.

To stay a step ahead of pop-culture trivia experts in the audience, there are references to a certain popular book-based movie — which this play is kinda like, but kinda not — but only the goat truly goes meta (in a scene that even involves yoga). 

Perhaps we can all use a barnyard animal to talk to. Performances of “Alabaster” run through Oct. 31, see www.phoenixtheatre.org for info and tickets.

IRT: Join the ‘Club’

By Wendy Carson

Book clubs are meant to be a gathering place where friends, both new and old, can commune together over literature – but are they, really? Many devolve into socially-acceptable drinking parties in which wine and gossip are far more important than some silly book.

Ana (Andrea San Miguel) is determined to have her Book Club – begun prior to Oprah’s, she notes – to be the gold standard to which all others should be measured. In fact, her group has been selected by a notable Dutch documentary director to be the subject of his newest work, captured by an all-seeing-eye camera installed in their living room.

This is “The Book Club Play,” by Karen Zacarias, directed by Benjamin Hanna and playing on the main stage at the Indiana Repertory Theatre, its first production before live audiences in over a year.

Ana’s group is comprised of her best friend, club co-creator Will (Will Mobley); faithful gal-pal Jen (Emily Berman); oh-so-perfect husband Rob (Sean Davis); and new (black) co-worker Lily (Cassia Thompson).

Will and Ana are literary elitists who insist that even though book choices rotate, they MUST be considered classic literature. Jen is doing her best to just get each book read (and find her keys), while Rob is only here because it’s at his house and he likes the snacks.

Lily appears to be the only member who is actually participating and gaining something from the group. Therefore, it’s no surprise that she disrupts the dynamic by not only choosing a recently popular novel as her selection, but also by inviting her neighbor Alex (Adam Poss) to the group.

Each of our actors also play short cameos of other people interviewed in the documetary.

Davis is spectacular as the jock husband who gains amazing insight into his being when he actually reads one of the books they choose. Berman plays Jen’s socially awkward bestie perfectly, embodying the comic timing of the role. Mobley does an excellent job of keeping the neurosis of his character in check with the desperate need for validation to bring out the empathy within. San Miguel brings Ana to life as controlling and haughty, while keeping her vulnerable. Thompson’s subtle turn at Lily keeps her part of the action without overtly betraying her role as instigator of the drama that unfolds. Poss is brilliant as the agent provocateur, questioning the club’s motives, choices, and inherent prejudices (both literary and social).

Aside from brilliant comedy, with moments of slapstick, this production is impressive for the simple yet elegant living room set coming alive between scenes with the words of various books projected on the walls, the work of scenic designer Junghyun Georgia Lee.

While a quote from the show describes it as “Lord of the Flies with Wine and Dip,” I think it’s better described as “A coed version of The Talk that you’d actually want to watch.” Oh, and please don’t exit the theater quickly as there is one final joke at the end of the credits.

Performances run through Oct. 31 at the IRT, 140 W. Washington in downtown Indianapolis. Get info and tickets at irtlive.com.

Catch the spirit of Civic’s ‘Color Purple’

By John Lyle Belden

The Booth Tarkington Civic Theatre is helping bring live audiences back in a big way with the Tony-winning musical “The Color Purple.”

For those unfamiliar with the acclaimed Alice Walker novel, or the Oscar-nominated Stephen Spielberg film (starring Whoopi Goldberg), this complex and dark coming-of-age story is difficult to justly describe. From a book by Marsha Norman with music and lyrics by Brenda Russell, Allee Willis and Stephen Bray – directed for the Civic by Michael J. Lasley with musical direction by Teneh B.C. Karimu – “The Color Purple” is challenging and disturbing, yet uplifting and life-affirming. This is one of those musicals where it’s best to just go and see for yourself the pain and triumph, and have the soulful voices wash over you. Whether or not God is in this place, or even with our heroine Celie, his Spirit has no doubt taken notice.

A lot happens in the story, so the musical keeps the characters, their motivations and actions mostly sung-through, up front with some handy chairs the only necessary props. Early 20th-century rural Georgia is more evoked than shown. The chorus starts out singing to the Lord, while Celie (Bridgette Michelle Ludlow) essentially asks if the Creator has forsaken her. Life with her abusive father (Bradley Alan Lowe) is so bad, that marriage to whip-toting Mister (Troy T. Thomas) is marginally better.

Though descended from slaves, Mister considers every person on his land his property, even his children. He frequently reminds Celie she is “ugly” and berates young son Harpo (Brenton Anderson) for being kind-hearted. At least Celie’s sister Nettie (Kendra Randle) manages to escape, promising to write to her from wherever she goes – but Mister intercepts the letters, letting Celie think she is alone in the world.

A strong-woman example comes into Celie’s life in Harpo’s bride Sofia (Rachel Bibbs), who will herself find the limits of standing up to authority in that era. We also meet the magnetic Shug Avery (Ashlee Baskin), the singer who is Mister’s one weakness, and who shakes things up even more than expected by befriending Celie. The large cast also features Miata McMichael as sweet Squeak, and Rayanna Bibbs, Tiffany Gilliam and Alexandria Warfield as the Church Ladies – this culture’s equivilant of a Greek Chorus.

Performances are solid, including Ludlow’s perseverance, Baskin’s complexity, Anderson’s charm, Rachel Bibbs’s full-throated attitude, and Thomas’s complete character arc.

Though bad times come frequently, there are genuine moments of joy and laughter, music in the juke-joint, colorful fabrics, and without spoiling, I’ll note that a measure of justice is meted out.

See – and feel – “The Color Purple” through Oct. 23 at the Tarkington theater in the Center for the Performing Arts in downtown Carmel. Get info and tickets at civictheatre.org or thecenterpresents.org.

Don’t ‘fiddle’ and miss this one

By John Lyle Belden

“Seneca and the Soul of Nero” is a new play by Southbank Theatre Company artistic director Marcia Eppich-Harris, but stands well in style and content with other great historical tragedies. I sense it could have been written at any time between now and the 900s, when the myth that Emperor Nero “fiddled while Rome burned” became popular. 

The premiere Southbank production of the play, at the IndyFringe Basile stage through Oct. 2, resembles a Bardfest event in its excellent handling by director Doug Powers and a cast that includes David Mosedale as Stoic philosopher Seneca and Evren Wilder Elliott as teenage “Princeps” Nero. 

Despite the abundance of written material in the First Century, much of it surviving to today, the true history of Nero is anything but clear, with contemporary accounts often written by those who didn’t like the young tyrant and centuries passing to add myth and legend to his story. The fiddle didn’t even exist at the time, but it was possible to draw a bow across a lyre, an instrument that Nero did enjoy playing — and he embraced music and theatre at a time when its practitioners were in lower regard than prostitutes (never mind an alleged god-king). Just as we don’t mind the words that Shakespeare put into the ancients’ mouths, Eppich-Harris is perfectly entitled to her well-researched dramatic license, especially as she captured the spirit of the era and its abundant lessons for today’s social and political climate. 

Seneca was Nero’s tutor when he ascended to the throne, and the boy, feeling immediately in over his head, smartly kept the philosopher on as principal advisor and speechwriter, as well as trusted military leader Afranius Burrus (David Molloy) to head his guard. Also on the scene were his ever-hovering mother Agrippina (Rachel Snyder), naive half-brother Britannicus (Brant Hughes), and dutiful but suspicious stepsister/wife Octavia (Bra’Jae’ Allen) whom he would ignore in favor of the beautiful and ambitious Sabina (Trick Blanchfield). At Seneca’s side were faithful wife Pompeia Paulina (Jenni White) and his nephew, the famous poet Lucan (Noah Winston).

Elliott brilliantly brings us along on the emperor’s journey, as he grows older and more at ease with power, but no more mature. At first troubled by signing off on the deaths of the justly condemned, Nero comes to find a quick murder is an easy solution to an immediate problem — but then more issues pop up in its place. Each death takes a little more of his soul, power-madness devolving to madness, reducing him until nearly no one is left, and the knife is in his hand.

Mosedale stands ever solid, defending his young charge as long as he can while defending himself against the hypocrisy of living large yet espousing Stoic principles. In the end, he must choose between Nero and Rome. White’s Pompeia leads the greater example, steadfast to her husband but never wavering on their moral stand. 

Snyder embodies the complex Agrippina without slipping into villainous caricature, perhaps even engendering some sympathy as the evil she sows grows out of her control. Molloy exemplifies the “good soldier” completely, bearing his orders until his sense of justice can do no more.

An exceptional look at history and the dynamics and hazards of unfettered power, “Seneca and the Soul of Nero” is worthy to stand among the Classics. We encourage all who can to see it, and to those reading this in the future to consider bringing to your own stages.

Find information at southbanktheatre.org and tickets at indyfringe.org. Note that COVID-19 vaccination and masking are required of all audience members. Home viewing via “on-demand” streaming available Oct. 15-Nov. 14 (see Southbank site for details).

Comedy classic comes to Epilogue

By Wendy Carson

Epilogue Players presents the popular comedy, “Arsenic and Old Lace,” by Joseph Kesselring, directed by Brent Wooldridge.

If you have not seen the amazing 1944 Frank Capra film of this show, starring Cary Grant, we are doing our level best to keep as many plot spoilers out of this review as we can. Also, find it and watch it now! It is a true classic and you will be better for seeing it. However, don’t you dare let that deter you from seeing this delightful version of the darkly hilarious show.

Our story is set in 1941 Brooklyn at the home of Abby (Serita Borgeas) and Martha (Hazel Gillaspy) Brewster, two darling older women who think of nothing more than bringing joy to all of those around them in any way possible. They share their home with their dear nephew Teddy (Scott Prill) who is convinced he is Teddy Roosevelt.

While their nephew Mortimer (Jaime Johnson) is a big-time theater reviewer living in downtown New York, he frequently visits his Aunts because he is dating Elaine Harper (Caity Withers), the daughter of their neighbor Reverend Dr. Harper (Ron Pittman).

Since Teddy’s affinity for blowing his bugle at all hours is a bother to their other neighbors, there are regular visitations by an assortment of policemen throughout the show. This presence makes for great tension when their villainous third nephew, Jonathan (Daniel Scott Watson) shows up with his hesitant partner Dr. Einstein (Mike Harold).

And apparently there are bodies, lots of them. Mortimer is faced with a dilemma, with the best resolution being Happydale Sanitarium. With lots of farcical ins and outs, misunderstandings and plot twists, and a fair amount of physical humor, we find entertaining insanity running through this fun production, “It practically gallops!”

The remaining dates are today (Thursday) through Sunday, Sept. 23-26, at 1849 N. Alabama St. (on the corner). Get info and tickets at epilogueplayers.com.

Story of doomed campaign a winner for Storefront

By Wendy Carson and John Lyle Belden

Storefront Theatre of Indianapolis presents its first live production in exactly two years, the comic drama “1980 (Or, why I’m voting for John Anderson),” by Patricia Cotter, directed by Ronan Marra.

As you would surmise from the title, the year is 1980 and Kathleen (Carly Wagers) is a wide-eyed innocent come to make a difference, and earn some college credit, by working for John Anderson’s presidential campaign in Boston. At 19, she has led a sheltered life and is about to have her preconceptions – about life, politics, even herself – shattered.

Brenda (Bridget Haight), the campaign office manager (when she’s not tending bar next door), tries to teach her to face her fears and follow her passions but actually shows her how messy a blue-collar worker’s life can get when one tries to do just that.

Will (Jamaal McCray), who recently arrived from the campaign’s Chicago office, makes her aware of the racism inherent even in a city historically known as the cradle of liberty. His experiences echo incidents that we are currently facing. He also gives Kathleen a glimpse into office politics, not just the kind that involves elections.

Robin (Chelsea Anderson), however, is like the professor emeritus of the group, a blue-blood who has not only worked on past campaigns, but also knows various politicians from social events. Her jaded world outlook, psychological manipulation (masking her own mental issues), and pure ambitious nature are a force beyond anything Kathleen has ever experienced.

Also part of this play are two faces only seen on a TV that was crappy by that era’s standards. One is John B. Anderson (you need to include the middle initial when Googling, or the unrelated country music star comes up first), a moderate Republican from Illinois serving in the U.S. House of Representatives. He was highly intelligent, capable, and popular among fellow lawmakers, but in the 1980 Presidential primaries was quickly overshadowed by eventual nominee (and President) Ronald Reagan – the other face we see on the screen. Anderson managed the near-impossible feat of running as an Independent, getting on the ballot in every state. Still, even in badly-tinted color, Reagan’s charisma shined through to the voters.

Musing on Anderson’s long-shot chances, Brenda says, “If he can win, what’s that say about the rest of us?” In rock-solid performances, all four of our characters confront questions of what it means to “win,” and what is worth the risk. Also, reflecting what’s sometimes called politics’ “silly season,” this show is leavened with plenty of laugh-out-loud humor.

We know how the story turns out for the men on the TV debate stage (even Anderson, who passed away in 2017 after a long career in politics and public service). But this play focuses on the ones, like us, watching it all unfold, doing our small part – how does our “campaign” turn out? That’s what’s important, no matter what year it is.

Storefront Theatre is at 717 Broad Ripple Ave., Indianapolis. Performances of “1980” run though Oct. 3. Get info and tickets at storefrontindy.com.

Hilarious ‘Gentleman’s Guide’ at Footlite

By John Lyle Belden

As Monty Navarro discovers he is related to the noble D’ysquith family, we become fully aware of two things: first, that him having eight people between himself and the wealth and position of being an Earl means we have the idea behind at least half of the title, “A Gentleman’s Guide to Love and Murder;” and secondly, that we are in for quite the old English style farce with its skewering of Edwardian-era class structure and manners, as well as other kinds of violence happening to numerous D’ysquiths, all played by the same game actor.

This Broadway hit by Robert L. Freedman and Steven Lutvak, on stage at Footlite Musicals, stars handsome devil Troy Bridges as Monty. He is our narrator (this play is his confession) and exudes enough charm to somehow seem the story’s hero – especially considering how boorish and slimy that Daniel Draves portrays each D’ysquith whom our aspiring gentleman has to dispatch.

As for the “love,” Ellen Vander Missen plays Sibella, with whom Monty is smitten, with an interesting mix of sweet and shallow. A girl can’t marry below her station, after all, but who she loves is her business. However, during his ascent, Monty encounters D’ysquith cousin Phoebe (not directly in the succession line, thank goodness) who is a very good girl, and good to marry. Sydney Norwalk plays this role with the right degree of grace – a bit naive, but never the fool.

Our other notable role is the mysterious Miss Shingle, ably portrayed by Claire Slaven. Other parts (aside from nearly half the cast in Draves’s award-worthy effort) are filled by Heather Hansen, Leigh Query, Kelsey McDaniel, Matthew Blandford, Josh Vander Missen, and Footlite favorite Jerry Beasley.

Director Kayvon Emtiaz conducts this macabre mix of music and mayhem as effectively as Jill Stewart leads the orchestra. Each comic beat hits to hilarious effect, making for a surprisingly upbeat dark comedy complete with jaunty tunes like, “I’ve Decided to Marry You,” and “Why Are All the D’ysquiths Dying?”

Avoid all the death and mayhem of the real world at the entertaining mayhem of “A Gentleman’s Guide to Love and Murder,” running through Oct. 3 at 1847 N. Alabama in downtown Indy. Get tickets and info at footlite.org.

Star encounter opens ATI return to the stage

By John Lyle Belden

Think of your favorite singer. Imagine that person – someone whose voice spellbound you, someone you could listen to every day for the rest of your life – came to your town. Then, you found yourself talking one-on-one with that person like you’d been friends all your life. And then after joining her on stage, she came home with you for a few hours.

Impossible? For divorced working mom Louise Segar of Houston, Texas, it actually happened.

Quite a character on her own, Louise discovered country music legend Patsy Cline during the singer’s appearances on Arthur Godfrey’s morning television show in the 1950s. She quickly became Patsy’s biggest fan in Houston, constantly pestering the local country radio DJ to spin Cline’s records. When, in 1961, the star was to play a local honky-tonk, Louise made sure to arrive early. Patsy did as well, sent to travel alone by her apathetic record label. Segar’s pushy personality would come to Cline’s rescue, ensuring fair treatment by the venue’s staff and giving her a place to relax (Louise’s kitchen) after the show. She even got Patsy an impromptu interview with the radio station.

This is remembered and relived in the popular Off-Broadway musical, “Always, Patsy Cline,” by Ted Swindley, which opens the 2021-22 season for Actors Theatre of Indiana. ATI co-founders Judy Fitzgerald and Cynthia Collins portray Patsy and Louise, respetively, the former with sweetness and latter with lots of sass.

They are accompanied by an excellent on-stage ensemble of “Bobs,” musicians Nathan Perry, Matt Day, Michael Clark, Greg Gegogeine, Kathy Schilling, and Greg Wolff. The audience also gets involved a bit.

The show is directed by Bill Jenkins, with musical direction by Terry Woods, featuring a wide range of 50s-60s hits including Cline’s chart-toppers (“I Fall to Pieces,” “Crazy,” “Walkin’ After Midnight”).

Third ATI co-founder and artistic director Don Farrell announced on opening night, “Intermission is over!” This fun and sentimental production marks a strong return to regular live theatre. Performances of “Always…” run through Oct. 3 at The Studio Theater in the Center for the Performing Arts in downtown Carmel. Get tickets and info at atistage.org or thecenterpresents.org.