DivaFest: An odd Irish ‘three men and a baby’

This is part of the 2019 Diva Fest, presented by IndyFringe at 719 E. St. Clair St., Indianapolis, through April 21. All shows are by women playwrights, presented as one-hour one-acts at a Fringe price. For information and tickets, see www.indyfringe.org.

By John Lyle Belden

Kate Duffy Sim once again blesses us with a brilliant parody of the British sitcom, “Father Ted,” which relates the quirky lives of priests living on a remote island off the Irish coast.

This time, in “Who’s Minding the Snapper,” Father Ned and company are visited by a very pregnant American woman. The baby quickly arrives, but the mother disappears — can Ned, dimwitted Father Dermott and drunken Father Finn successfully care for the little “snapper”?

Presented by Clerical Error Productions and directed by David Malloy, the surreal atmosphere and comic potential are enhanced by “cross-gender casting,” as the program put it. Sim ably plays Ned, while Bridget Schlebecker is a hoot as Finn. Kyrsten Lyster is outstanding as Dermott, displaying deft skill at the hard task of playing a “stupid” character so cleverly. Manny Casillas charms as the housekeeper Mrs. O’Boyle, while Anthony Logan Nathan is something to behold as brash, devious Mrs. McShane, who tends the home of a rival priest.

Case Jacobus is the “girl in trouble,” while actual rapper Nate Burner plays her rap-star boyfriend. “N8” also performs the opening theme, and spun some rhymes at curtain call to introduce the cast.

Hilarious with the right amount of heart, you’ll need to do penance if you miss this one. Performances are 8:30 p.m. Saturday and 5:30 p.m. Sunday (April 20-21).

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DivaFest: Bittersweet ‘Tomato’

This is part of the 2019 Diva Fest, presented by IndyFringe at 719 E. St. Clair St., Indianapolis, through April 21. All shows are by women playwrights, presented as one-hour one-acts at a Fringe price. For information and tickets, see www.indyfringe.org.

By John Lyle Belden

In “I Say Tomato, You Say Cheese,” by MaryAnne Mathews, Tom Harrison is superbly charming as Joe Carpenter, an 85-year-old man living alone — aside from the spirit of his recently-passed wife, Annie (Wendy Brown) — as best he can.

Joe’s daughter Sarah (Laura Baltz) is getting concerned, as he tends to forget and lose track of things, and keeps getting into accidents while driving. The doctor (Stefanie Patterson) confirms that his cognitive abilities are indeed on the decline.

It doesn’t help the situation that there are constantly scammers out to take advantage of the elderly. The voice of the “IRS agent” on the phone Joe can deal with, with great humor. But the fast-talking roofing contractor (Joe Maratea) is a different matter.

Mathews’ gentle drama is an interesting look at this serious situation with characters we can relate to, or even feel we’re related to. The title refers to a family story melding the old song with the meal of tomato soup and toasted cheese — like this play, comfort food for the soul.

Remaining performances are 8:15 p.m. Friday and 3:30 p.m. Saturday (April 19-20).

DivaFest: Oh, ‘Dear’

This is part of the 2019 Diva Fest, presented by IndyFringe at 719 E. St. Clair St., Indianapolis, through April 21. All shows are by women playwrights, presented as one-hour one-acts at a Fringe price. For information and tickets, see www.indyfringe.org.

By John Lyle Belden

In “Dear Mavis,” by Enid Cokinos, there are big changes happening at the Rustbelt Herald-Times.

The newspaper’s chief editor has stepped down, replaced by the owner’s son, “Biz” Underhill (Spencer Elliott). The young man, fresh from college, wants to make changes, taking aim at the paper’s longtime advice columnist, Mavis (Forba Shepherd). He has her team up with young blogger Mique’ (Ashley Elliott) to write a new point-counterpoint column, and daily rather than weekly. This will not turn out well.

Holly Stults is Luella, Underhill’s assistant and Mavis’s dear friend; and David Mosedale is the elder Underhill, who comes in to clean up the inevitable mess.

Shepherd radiates dignity and wisdom as the disciple of Miss Manners who always has the right thing to say, and doesn’t mind using an old typewriter to say it. Spencer Elliott — .also the play’s director — contrasts well as the guy with big ideas but little sense. Ashley Elliott’s turn as a clueless Millennial edges towards caricature but gets to learn a bit towards the end.

Having been a newspaper journalist, seeing the industry’s changes first-hand, I felt at first that Cokinos had written a work of horror. But for those who don’t bleed India ink, this is a fun look at how sometimes the old ways are best, and can still win through.

Remaining performances are 7 p.m. Friday and 7:15 p.m. Saturday (April 19-20).

DivaFest: Truly inspiring

This is part of the 2019 Diva Fest, presented by IndyFringe at 719 E. St. Clair St., Indianapolis, through April 21. All shows are by women playwrights, presented as one-hour one-acts at a Fringe price. For information and tickets, see www.indyfringe.org.

By John Lyle Belden

In “aMUSEd,” by Megan Ann Jacobs, one of the lesser-known Greek Muses — Sebastian, the Muse of Comedy (Kyle Dorsch) — breaks his own rule against staying too long, remaining with his latest charge, author Anita (Becky Schlomann), until the moment she passes. He promises to finish their last work with a new human, but in his grief, chases off every person who moves in.

Enter Nikki (Kyrsten Lyster), a woman as determined to stay as Sebastian is for her to leave — New York apartments at this price don’t come along every day. The landlord, Tyler (Jerry Beasley), is just grateful someone is staying in his “haunted” flat.

Grant Nagel plays Nikki’s fiance, Ryan, a victim of Sebastian’s pranks, and Ilandia Johnson is Kasey, a local police officer tired of being called to arrest a “trespasser” she cannot see.

Jacob’s sweet story excellently showcases the comic talents of manic Beasley, wonderfully frustrated Lyster, and Dorsch’s acid wit like a young Jack Benny. Schlomann’s presence gives this all the right amount of heart.

Remaining performance is 4:45 p.m. Saturday, April 20.

It’s no myth: KidsPlay an excellent display of young talent

By John Lyle Belden

KidsPlay Inc. provides an excellent opportunity for aspiring performers, grades 3 to 8, to acquire and hone their skills. And that talent is put to great use in their spring production, “Fairy Tale Confidential.”

The play is presented as an expose of various stories we see or read (or pretend we’ve read, as the narrator points out) as we grow up. Eight scenes tackle Grimm tales, the works of Charles Dickens and Robert Louis Stevenson, the legends of certain guys in green tights, and even what happens after a boy gets the deed to a famous chocolate factory.

KidsPlay director Christine Schaefer always sets high standards, bringing out the best from her young actors, but this show — with its sharp gags and smooth blend of timeless charm and today’s attitude — is one of their best productions I’ve seen in more of a decade of watching this company work.

One bittersweet aspect of the spring show is that it is the last for eighth-grade members, who can move on to high school productions and beyond (several actors around central Indiana are KidsPlay “graduates”). There are 11 in this production, nearly all with speaking roles: Olivia Alldredge, as a friendly witch with a candy house; Elise Denger, a Wendy on a mission; David Hull, as the King of Everything; Trey Smith, as Dr. Jekyll’s Assistant; Ian Veldes, as “King of Comedy” Dickens; Ethan Stearns, as Stevenson; Ben Thompson, as Peter Pan; Owen Sickels, as narrator Warren Peace; Heaven Keesling, who is in the nifty opening dance number; Wesley Olin, as candymaker “Billy Bonkers;” and Max Everhart, as Hansel.

Other notables in this vast cast include Joseph Shininger as Rumplestiltskin and Bella Turner as the girl who is awful at names; Cialey Michalisko in an impressive debut as the secret to Dickens’ success; Olivia Greer as Sleeping Beauty and Josie Joyner as Cinderella, who could use a nap; Brayden Diehl as newly-minted sweets tycoon Charles and Corbin Elliott a hoot as his Grandpa; Ashley Pipkin as a sassy Gretel; Matthew Hentz as Dr. Jekyll and his hilarious alter ego; Jaxon Brittsan and Madison Raisor as Robin Hood and his sister, Roxie; Zora Coe as temperamental Tinkerbell; and third graders Anthony Stunda and Carter Pipkin off to a good start as Darling brothers John and Michael.

It’s worth the drive out to Greenfield — playing at the Ricks Centre for the Arts, 122 W. Main St. (US 40), 7 p.m. Friday and Saturday, 2 p.m. Sunday (April 12-14) — especially at only $5 a ticket. Advance tickets are available at Hometown Comics, 1040 N. State St. (SR 9), Greenfield.

 

Challenges of modern farm life in Still’s ‘Amber Waves’ at IRT

By John Lyle Belden

The story of the Olson family of rural Indiana is like that of many farmers across America, which is part of what makes “Amber Waves” by James Still such an important play.

Mr. Still, the playwright-in-residence at the Indiana Repertory Theatre, where this drama plays on the upperstage through April 28, took inspiration from his own upbringing on a Kansas farm, which his family has since lost.

The Olsons face the very real danger of losing what generations of kin had built, even as they witness an old friend’s farm, and its family’s possessions, going up for auction. Mike (Torsten Hillhouse), the only one of the “Olson boys” to stay on the farm, tries to only think of what chores and repairs must be done in the coming days, to keep the faith that it will be enough, and to search the skies for long-overdue rain.

Mike’s wife, Penny (Mary Bacon), is totally devoted both to her husband and their vocation. She largely succeeds in staying positive, even as unpaid bills pile up, but teenage son Scott (William Brosnahan) and 12-year-old daughter Deb (Jordan Pecar) become increasingly aware that something’s wrong.

Much of the story involves Deb’s point of view. She works for elderly neighbor Johnny Apple (Charles Dumas), who always seems to find more odd jobs for her to do, giving her a few more much-needed dollars. Her situation also strains her relationship with best friend, Julie (Riley Iaria), from a more wealthy family. Meanwhile, life goes on, with the County Fair, school activities, the Homecoming game — normal aspects of country living.

The atmosphere is made complete with music and songs by Tim Grimm and Jason Wilber, performed onstage by Grimm and Rachel Eddy.

First performed in 2000, the play has been updated, including tech references, but the core story is as current now as it was then. There is even a mention of recent tariffs affecting crop prices. It tugs at the heartstrings in a genuine manner, as we see a family experience what feels like a lifetime in a single year.

Directed by Lisa Rothe, the performances feel natural, like these actors truly are family, or that Hillhouse really stepped off a tractor before coming onstage. Bacon is outstanding as a mother finding the multiple roles of a farm wife almost overwhelming, but persevering through willpower and love.

The simple wooden stage set and old latch-handle refrigerator at the back suggest a timeless, well-worn comfortable setting (kudos to scenic designer Narelle Sissons). Lighting designer Mary Louise Geiger makes clever use of glass-jar lighting. Grimm grounds this production with his music, singing and connection to the original production; Eddy provides a perfect compliment, an Appalachian virtuoso of various string instruments, and a beautiful voice.

The IRT is located at 140 W. Washington St. in downtown Indy, near Circle Centre. Call 317-635-5252 or visit irtlive.com.

‘The Golden Girls,’ like you’ve never seen them before

By John Lyle Belden

The Loud and Fast Funny gang is at it again, presenting mature ladies with “mature” content in “The Golden Girls: The Lost Episodes.”

This mostly-drag parody of the old hit TV show was originally written by David Cerda and developed by Hell in a Handbasket Productions of Chicago. LAFF are local actors, presenting this hour-long treat at the cabaret second stage of The District Theatre, managed by IndyFringe.

The mood is set as the audience enters to the sounds of classic television show themes from the 1970s and ‘80s, interspersed with the audio of commercials from the era (remember L’eggs panty hose?), as well as network jingles from NBC, the original TV home of the Girls.

Then, it’s the strains of “Thank You For Being a Friend,” and we meet our small-screen friends: Rose (Jim Banta), Blanche (Pat Mullen), Dorothy (Dave Ruark) and Sophia (Olivia Schaperjohn). They launch into two half-hour episodes, with words and innuendo that the network censors would certainly not allow, joined by Christian Condra as a handsome doctor in the first part, and Jazzercise Jeff in the second. There is no nudity, just a couple of edgy costume choices — but still, don’t take the kids.

While a touch raunchy — like some grandmas get when young’uns aren’t around — the plots are also funny and entertaining, much like if the Girls were a show on HBO. In the first, silly Rose deals with an episode of restless-leg syndrome as she prepares for a big dance contest. In the second, the hot aerobics instructor has a thing for Blanche — and Sophia? — while Dorothy makes an attempt to show her “nice” side.

Between the episodes, a swingin’ Condra comes out to host a game show in which two audience members get a shot at a genuine Golden Girls-themed prize.

A fun Fringe-length show at a Fringe ticket price, performances are Fridays and Saturdays, two shows each night, through April 27. Get info and tickets at indyfringe.org

LAFF Shows also staged the recent production of “Hold On To Your Butts,” and will present another Recent Cutbacks-produced show, “Fly, You Fools” — a parody shot-by-shot re-creation of “Lord of the Rings: Fellowship of the Ring” (in one hour) — May 3-25. Get to know the troupe at facebook.com/LAFFshows.