Year: 2017

NoExit ‘1984’ – experience the love of Big Brother

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By John Lyle Belden

It was a bright cold day in November, and the clocks had struck nineteen 30 minutes ago. The back door to a facility commandeered by the Party and Ministry of Truth opened, and we were allowed to enter.

After Agents determined our country of origin and loyalty to the Party, we were detained with other participants until 20:00, when the Ministry provided a goodthink show of a man discovering his love for Big Brother. This is all it is and ever was.

I would never be unfaithful to the Party and tell you that this was a clever and insightful production of “1984” – adapted from the George Orwell novel by Matthew Dunster, produced by NoExit Performance (with co-conspirators including AnC Movies, Cat Head Press and iMOCA) and directed by Ryan Mullins – as that would be “fake news.”

But if I were to say such a thing, I would point out that Ryan Ruckman gives an excellent performance as Winston Smith, the conflicted everyman who tires of his duties for the Ministry, constantly “correcting” history and sending obsolete information down the Memory Hole so that it never happened. He wears his depression and ennui like an extra layer of clothing, feeling the weight of the Telescreen eyes upon him. NoExit mainstay Georgeanna Smith Wade wins his heart and ours as secret rebel Julia, who inspires Winston to defy the Party – simultaneously the smartest and stupidest thing he would ever do.

The Party orders that I denounce Dave Ruark for his commanding portrayal of the mysterious O’Brien, Adam Crowe for his deceptively warm turn as Charrington, and Tristan Ross for his appropriately milquetoast presentation of Smith’s co-worker Parsons (extra rations go to Zac Schneider and Elsie McNulty as the Party-faithful children, though Shannon Samson as Mrs. Parsons is still under suspicion). If Syme had not become an unperson, I’d praise Phil Criswell’s double-plus-good performance. I also hallucinated sharp work from Taylor Cox and Ann Marie Elliott in supporting roles.

Where NoExit – I mean the Ministry – most excels is in the way this drama is presented. It is totally immersive: You stand in or right outside the room where each scene occurs; and the actors frequently move from one area to the next, forcing all to turn and/or follow. Ministry agents help guide the audience. There is no climbing stairs, and limited seating is provided at every scene. Compare the amount of movement necessary to an easy tour of a museum gallery with about a half-dozen display areas in three large rooms. Appropriate set design (by Andrew Darr), with occasional video images (by AnC) and haunting sound (by Rob Funkhouser) enveloping the rooms, provide a perfectly tense atmosphere throughout. Big Brother’s red glowing eye is everywhere, watching us all.

I advise all to take time out from news of whatever war we have always been fighting, and observe this double-plus-good entertainment appropriate for whatever year this happens to be. Performances through Nov. 18 at Ministry Headquarters, 1336 E. Washington St., Indianapolis. For information and tickets, visit www.noexitperformance.org.

OMGWTFBBQ — Phoenix cooks up another masterpiece

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By John Lyle Belden

If you’ve ever joked about being the “white sheep” of the family, then “Barbecue,” the comedy presented through Nov. 19 at the Phoenix Theatre, will stir up some memories.

Family members gather at a park for what looks like a cookout, but is actually an intervention for the sister affectionately known as “Zippity Boom.” But, you know the Bible saying that one shouldn’t try to take the speck out of another’s eye before removing the stick out of their own? With this bunch, there’s lumber everywhere.

This play is about more than addiction and the comedy inherent in family dysfunction. It also delves into the fickle issue of honesty vs. “truth,” as well as a critique of today’s pop culture. Most importantly, as director Bryan Fonseca says in a note tucked into the program: “We present a play about race in America where none of the characters are racist.”

Chelsey Stauffer is fabulous as Zippity Boom, a force to be reckoned with. Likewise, LaKesha Lorene shines as the kind of driven diva you might be familiar with if you watch “Extra!” or “Entertainment Tonight.” As for the rest, Dena Toler is in top form, and we also get excellent work from Joanna Bennett, Jeffery Martin, Brianna Milan, Abdul-Khaliq Murtadha, Angela Plank, Beverly Roche and Jenni White.

The play’s structure hooks you in with hilarity, then takes a curious twist that becomes clear in Act 2 (so no leaving at intermission!). By the end, the full depth of the satire is revealed in entertaining fashion. Theatre-in-the-round staging helps draw the audience in, and ensures there is no bad seat (though sitting on the side by the entrance ensures the best view of the Epilogue scene). Bernie Killian’s set design is a perfect recreation of a park shelter, providing a realistic environment for the absurdity that ensues.

Like all Phoenix shows, this play – by celebrated writer Robert O’Hara – is thought-provoking, but it’s also side-splittingly funny. Even if, to some degree, we’re laughing at ourselves.

The Phoenix is at 749 N. Park Ave. (corner of Park and St. Clair) in downtown Indy. For info and tickets call 317-635-7529 or visit www.phoenixtheatre.org.

The war for Scotland’s crown has two distinct factions; this is their story — BONG BONG! (Bardfest review)

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By John Lyle Belden

The action is already under way, with gunfire, sirens, heavily-armed soldiers. When the hurly-burly is done, the winning officer meets three strange women who greet him with titles he doesn’t have and aren’t likely to get. But when he meets the leader, one of those unlikely titles is granted to him – could he be fated for more? It doesn’t help that the boss named someone else his chief lieutenant. That puts two people between our man and the top of the power structure; but his persuasive and sexy wife has ideas on how to fix the situation – though there will be blood. Lots of blood.

This action movie playing out live at Bard Fest is Shakespeare’s “MacBeth.” It’s tightly scripted (about 90 minutes in one act) by First Folio Productions director Carey Shea, and set in an urban battle zone, more Syria than Scotland, with characters from your favorite cop shows (“Law and Order: Inverness” perhaps?).

The story is familiar – death, more witches, death, “out damned spot,” death – and the Bard’s tragedies get the use-guns-for-swords treatment from time to time, but this production also has what Indy’s theatre scene truly needs: more Nan Macy.

Macy, along with Janice Hibbard and Leah Hodson play the Wyrd Sisters, who seem to pop up everywhere. Or are we just looking through the eyes of MacBeth (Adam Tran), seeing reassurance that his dark deeds to gain the crown are inevitable and right? Or maybe it’s just a clever, efficient use of talented actors.

Devan Mathias is a hot, nasty Lady MacBeth, Ryan Ruckman a noble doomed king Duncan, and Chelsea Anderson and Nathan Thomas are both worthy of their badges as good-cops Macduff and Malcolm. Craig Kemp as Columbo-esque detective Ross strives to put the clues together. Justin Klein as tragic Banquo is our most sympathetic character – next to Jilayne Kistner as his hard-luck daughter Fleance.

The end result is engaging and entertaining. One can just take it at face value – wild action as an ambitious couple slay their way to the top, then face the consequences – or as a high-caliber examination of the lust for power and the dangers of unaddressed and untreated mental illness, never mind when it’s suffered by people in positions of authority.

Don’t be concerned by the legendary curse (that’s for the cast and crew to contend with), the Indy Eleven stage at the IndyFringe theater, 719 E. St. Clair, still stands. Remaining performances are tonight and Sunday (Oct. 28-29).

For information, see www.indyfringe.org.

Bardfest: The wild woman vs. the wacky womanizer — with music

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By Wendy Carson

The biggest complaint I have heard from people, regarding Shakespeare’s plays, is trouble following the plot due to the antiquated language. In her Bardfest production of “Taming of the Shrew,” Catalyst Repertory founder and play director/adapter Casey Ross has tackled this issue with the periodic inclusion of pop songs to assist the viewer in comprehending the message of the narrative. Being that the story is fairly well known, this style just makes a fun show even more enjoyable.

For those of you who don’t know the plot: Younger sister Bianca can’t marry until older sister Katherine does. Katherine has no intention to marry anyone. Their father is wealthy and offers a large dowry to whomever can take Katherine off his hands. Cash-strapped playboy Petruchio takes the challenge and not only ends up changing Katherine’s ways, but they both fall in love in the process. There’s also the sub-plot of various suitors trying to secure Bianca’s love.

The setting of this interpretation is a Vegas-style resort casino in the 1970s, with the daughters being cocktail waitresses, their father the owner, and Petruchio a traveling singer looking for a place to earn some money before his debt collectors catch up with him.

Hannah Elizabeth Boswell as the fiery Katherine (or Kate) is a sassy bundle of empowerment, while Davey Pelsue’s Petruchio boldly becomes every bit the hilariously lusty womanizer that the character suggests.

Abby Gilster’s delicate take on Bianca shows the character’s sly knowledge of her situation that is often overlooked in many productions. Bradford Reilly and Robert Webster Jr. as her two suitors (Lucentio and Hortensio), in disguise as tutors, bring a delightful comic desperation in their attempts to secure time with their desired.

Audrey Stonerock adds to the fun as the hottest “Widow” in the club, and Donovan Whitney is at his scene-stealing best as Tranio, a servant pretending to be the rich man while his master plays a humble tutor (see above). The proud – and relieved, when Kate is wed – papa is a charming Godfather-light performance by Tony Armstrong.

All in all, this is a rollickingly great production of a hilarious show. One note though, as we have mentioned previously, this show is not for all ages. Consider it PG-13 at least, though worldly kids might learn a new appreciation for Shakespeare if they see it. Also, bring a few dollars to tip your waitresses and maybe tuck into the clothes of some of the performers.

Performances are Friday, Saturday and Sunday (Oct. 27-29) at the IndyFringe Theatre, 719 E. St. Clair. Find more information at www.indyfringe.org.

Bardfest: ‘Cymbeline’ so much more than a princess-in-peril story

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By Wendy Carson

I confess that I was entirely unaware of the story of “Cymbeline” prior to Indy Bardfest. Even though the script has been trimmed greatly, the three-hour running time and complexity of plot is daunting. However, Garfield Shakespeare Company director Anthony Johnson’s decision to place the setting in Civil War-era America helps the audience identify with the motivations behind many of the characters and the plight of their “kingdom.”

Fortunately, Guy Grubbs and Manny Casillas are perfectly engaging in the opening scene, providing the exposition needed to follow the story.

The plot revolves around Cymbeline (John Mortell), a “King” trying to keep the world on track with his ideals, and his daughter, Imogen (Elisabeth Speckman), who secretly married Posthumous (Chris Burton) against her father’s wishes. Cymbeline therefore banishes Posthumous and keeps Imogen a prisoner until he can find her a more suitable husband. Meanwhile, Imogen’s stepmother (Ashley Chase Elliott), only referred to as “Queen,” wants her arrogant son Cloten (Jarrett Yates) to be Imogen’s groom, cementing her power – especially once she dispatches Imogen & Cymbeline.

Posthumous meets a boisterous rake, Iachamo (Jake Peacock), who wagers he can bed the hero’s virtuous bride. But finding Posthumous correct in his assertions of Imogen’s devotion, Iachamo sneaks into the sleeping girl’s bedroom and uses what he finds to win the bet. This throws Posthumous into a state of such sadness that he sends word for his loyal servant, Pisanio (Sabrina Duprey), to kill Imogen.

Having been close to the princess, Pisanio refuses to obey the order and persuades Imogen to escape, disguised as a boy. But Cloten takes her disappearance personally and sets out to take her back. Then we meet local backwoods people, led by Morgan (Matt Anderson) – yes, they become important to the plot as well.

Another complication is that the Republic, represented by Caius Lucius (Abigail Johnson) wants its tribute from this little West-Virginia-esque kingdom so that Cymbeline can keep his throne. But the power-hungry Queen would rather have war.

Mortell does an excellent job of showing the king’s desperation as everything spins out of his control, while Elliott encompasses every Disney villain at their evil plotting best. Speaking of evil, Peacock’s Iachamo is perfectly slimy.

Speckman’s take on Imogene seems slightly stilted at first, but she deftly weaves experience and pure gumption into the role by the end. Burton as noble Posthumous is sheer passion and fire, no matter what mood he is in.

Duprey looks natural in Pisanio’s boots, an excellent supporting player. Anderson, for his part, barely reins in his charisma, channeling it to hint at how important he (a soldier in exile) and his two wards (secretly royal children, played smartly by Elysia Rohn and Tyler Marx) are to the story. Emily Bohn mixes well in dual roles as the bartender/host in Postumous’s exile and as the Queen’s slyly heroic court physician.

Shakespeare based this complex play – having elements of both the Tragedies and the Comedies – on the legend of an ancient king. While it’s not easy for us, in 2017 Indiana, to imagine life in Roman Britain (or to remember that England was even part of the Empire), we can easily conjure up the world of the 1860s, thanks to things such as “Gone With the Wind.” In fact, the play’s Queen comes across as a sort of unscrupulous Scarlett O’Hara. In an environment with the unspoken subtext of people as property, Imogene’s struggle for personal freedom takes on more importance.

Bardfest typically takes on a less-produced play, and once again polishes up a gem worth discovering. Remaining performances are Saturday and Sunday, Oct. 28-29, at the IndyFringe building, 719 E. St. Clair. For more information, visit www.indyfringe.org.

Bardfest: And now for something completely different

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By John Lyle Belden

Yes, the title here is stolen from Monty Python, which has nothing to do with the third annual BardFest, now in Indianapolis – in the IndyFringe building – after a couple of years in Carmel. However, we are dealing with things that are British and unusual.

Shakespeare’s plays – aside from being public domain – tell such good stories that they lend themselves to numerous times and places. Thus the Bard’s three plays in this year’s festival get reinvented in interesting ways.

Thus BardFest 2017 presents:

* “Cymbeline,” presented by Garfield Shakespeare Company, a play with elements of both the Comedies and the Tragedies. Originally based on the legend of a British king during the Roman Empire, this version is in a parallel world right after the American Civil War – as though West Virginia had declared itself a separate kingdom, and the Republic was cool with it, as long as the taxes are paid. Adapted and directed by Anthony Johnson, it stars John Mortell as the title king, Ashley Chase Elliott as his Queen, Elisabeth Speckman as our heroine, Cymbeline’s daughter Imogen, and Chris Burton as heroic Posthumous (yes, his actual name in the play).

* “MacBeth,” presented by First Folio Productions, the familiar cursed tragedy adapted to a tense 90 minutes by director Carey Shea. Medieval Scotland is transformed into a modern urban wasteland, where King Duncan (Ryan Ruckman) keeps order like a local sheriff or police chief. He awards a title to faithful MacBeth (Adam Tran), who had just had that promotion prophesied to him by a trio of weird women (Nan Macy, Janice Hibbard and Leah Hodson) – didn’t they also say he would become king? Lady MacBeth (Devan Mathias) is just happy her husband is finally in line with her murderous plans to seize the crown. However, Duncan’s lieutenants Macduff (Chelsea Anderson) and Malcolm (Nathan Thomas) quickly become suspicious of the ambitious couple when the king is killed.

* “The Taming of the Shrew,” presented by Catalyst Repertory, freely adapted by Catalyst founder Casey Ross. The famous Shakespeare comedy finds its misogyny mutated into a sassy, outrageous sort of musical, using modern pop songs to help tell the story – this is not “Kiss Me Kate.” At a late-20th-century tropical resort, bawdy innuendoes fly as lusty lounge singer Petruchio (Davey Pelsue) seeks to tame curvy, catty Katherina (Hannah Elizabeth Boswell). Meanwhile, noble Lucentio (Bradford Reilly) slyly wins the heart of Kate’s younger sister Bianca (Abby Gilster). Will boss Baptista (Tony Armstrong) see his daughters married off in birth order? Did you ever think a rockin’ anthem by The Darkness could be made into a heartfelt ballad?

* And for purists… well, as close as you could get was a manic production of the comedy, “The Complete Works of William Shakespeare, Abridged,” presented by the Improbable Fiction Theatre Company during the festival’s first weekend. The Reduced Shakespeare hit by Adam Long, Daniel Singer and Jess Winfield was taken on by local thespians Ron Richards, Ryan T. Shelton and Adam Workman, under the direction of Christy Clinton with occasional necessary assistance from stage manager Tamara Rulon.

Remaining performances are on both IndyFringe stages at 719 E. St. Clair, Thursday through Sunday (Oct. 26-29). “Cymbeline” is the more family-friendly (though its length could test the patience of younger patrons), while “MacBeth” is very violent and “Shrew” is very not-for-kids. For information and tickets, visit www.indyfringe.org/bard-fest.

Wendy and I will try to get more in-depth reviews of the individual shows up tomorrow, and will link back to here.

‘Cabaret Poe’ returns with new site, fresh look and familiar chills

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By John L. Belden and Wendy Carson

Quoth Wendy:

You always know that Halloween is approaching when Q Artistry launches its annual production of “Cabaret Poe.” This is not to disparage the show in any way – even after almost 10 years of shows, the audiences are still enthralled by it. In fact, a patron behind me was proudly seeing the show for the sixth time and still loved it just as much as the first.

This year’s show does mark another change of venue, this time in a small alcove on the fourth floor of Circle Centre Mall (in the heart of downtown Indy). Upon first entering the space, it seems very cramped and awkward. However, the company has turned this on its ear with inventive staging.

No longer do cast members leave the stage when not actively performing; instead they seat themselves throughout the crowd and become part of the audience, observing the spectacle themselves. By utilizing the whole space as their stage, and with the addition of projection screens, they assure that there is not a bad seat in the house.

I was also quite impressed by the unique lighting effects utilized by designer Brent Wunderlich. From innovatively turning their black and grey hues to purples, to bathing the audience in a rainbow of colors during “Masque of the Red Death.”

Quoth John:

Oops, sorry Ben!  — Show creator Ben Asaykwee likes keeping it a surprise which of Edgar Allan Poe’s stories and poems he has adapted for the evening’s Cabaret, and in which order. But it won’t give too much away to say that some pieces can be expected to appear, like the one about a heart that tells tales, or the quest for a rare cask of Spanish wine, or a certain obnoxious black bird…

Asaykwee presents it all with his catchy inventive songs, infused with dark humor, such as “Buried Alive,” “Dark (The Pit and the Pendulum),” and the recurring title theme. He also stars as one of three performer/narrators, the smugly sour Zoilus. His accomplices are two women, Morella and Berenice. On opening night, they were played by Julie Lyn Barber, a Cabaret Poe player since its first year, and Georgeanna Smith Wade, a first-timer in this revue, but no stranger to the strange as a major player in the NoExit troupe. Some performances feature Q Artistry veterans Renae Stone and Jaddy Ciucci in the ladies’ roles. In addition, a ghostly dancing shadow is perfectly silently executed by Rebekah Taylor – she even gets a solo scene.

The lighting effects, projections, and shadow puppetry are new for this year, fitting seamlessly into the narratives and reducing the need for physical props. But then, the players do have us, the audience, to play with.

Quoth Wendy:

With the changes made, this was my favorite version of the show. “Cabaret” implies an intimacy different from other kinds of productions, and this presented it more effectively that in past shows.

Concludeth John:

So, it’s both old and new, familiar and surprising – like a 21st-century musical based on a nineteenth century writer. Performances run through Oct. 29. Get info and tickets at qartistry.org.

We’ve got a hot lead on a play at the Fringe

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By John Lyle Belden

New local company Fat Turtle Theatre makes a bold debut with its production of “Glengarry Glen Ross,” the Pulitzer-winning drama by David Mamet, directed by company co-founder Aaron Cleveland.

For those unfamiliar, the play is about real estate salesmen in a high-pressure Chicago office in the early 1980s. For those who have seen the 1992 film, note that Blake (a/k/a “F— You,” played by Alec Baldwin) was a part written for the movie, and does not appear in the play. One can presume, prior to the opening scene, that Blake already made his famous speech that the bosses have declared a sales contest with a Cadillac as first prize, and third place means you’re fired. The best sales leads are going to the best salesmen, and office manager Williamson (played here by Ryan Reddick) is in charge of doling them out.

The play opens with Williamson being berated and cajoled by past top-seller Shelly “the Machine” Levene (Doug Powers), who feels he deserves the top Glengarry leads. We next meet frustrated fellow salesmen Dave Moss (Luke McConnell) and George Aaronow (Jeff Maess), who consider more drastic measures to get ahead. Finally, we see top seller Richard Roma (Tristan Ross), working up to a sale with his latest mark, timid James Lingk (Rex Riddle).

The second act begins with the office having suffered a burglary, investigated by Detective Baylen (Jason Page). As the whole ensemble flows in and out of the room, the drama intensifies and we learn a lot more than who wins the new car.

Speaking of hot leads, these roles are among the most coveted among male actors when this play revives on Broadway, and Fat Turtle has found a worthy cast for the Indy boards. Powers gives his all in the most high-profile role, taking Shelly to every emotional extreme while staying believable and relatable.

Ross makes good use of his talent for Shakespearean patter to deliver Roma’s pseudo-philosophical soliloquies that he uses to lull prospective buyers into being receptive to his pitch. We can easily buy that this is the best man at selling patches of dirt to insecure souls with money.

Maess embodies the not-getting-any-younger quiet desperation of Aaronow, while McConnell expresses the more desperate and impulsive urge to get ahead at any cost.

Riddle does mouse-y well, and we can’t help but feel for him. Page’s performance just gets stronger as his character gets increasingly frustrated with the room full of patience-testing egos. Reddick’s Williamson is just an unapologetic a-hole, well played without compromise, and we have to respect him for that.

There’s a chuckle to be had here and there, and the marvelous absurdity of what grown men are willing to say to each other under stress – or just to keep a sucker in the sale. And, of course, be prepared for lots of salty language. This is drama at its best, a half-dozen men sweating out what could be one of the best or, more likely, worst days of their miserable lives. You owe it to yourself to close the sale on some tickets for this show before it closes on Oct. 15.

Performances are at the IndyFringe Theatre, 719 E. St. Clair St., just east of the College, Mass Ave., St. Clair intersection. Visit www.IndyFringe.org for tickets.

BCP presents serious drama

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By John Lyle Belden

Wendy remembers a video rental place (remember those?) where the clerks kept putting the 1987 Streisand movie “Nuts” on the comedy shelves, and it definitely did not belong there.

While the courtroom drama, the original stage version of which is at Buck Creek Players, does have its moments of legal wit, and a defendant who deflects with “inappropriate humor,” this play is dead serious.

In a courtroom on the grounds of New York’s Bellevue Hospital in the winter of 1979, a hearing will determine if Claudia (played by Jenni White) is competent to stand trial for manslaughter. Her mother and stepfather (Miki Mathioudakis and Tim Latimer) are naturally concerned. Judge Murdoch (Ed Mobley) and prosecutor MacMillan (Dave Hoffman) are prepared for a fairly routine proceeding, with Dr. Roesnthal (Graham Brinklow) declaring the defendant unfit, and the state signing off on it. Officer Harry (Tracy Jones) is just biding time until the next smoke break.

But Claudia doesn’t believe she is “nuts,” and works with attorney Lewinsky (Michael Swinford), whose apparently disorganized manner makes him look out of his depth – until he starts asking some surprisingly probing questions.

White masterfully portrays the easily underestimated Claudia, as she plays into her opponents’ assumptions until the moment she can turn the tables. Still, she’s hardly in control. Her parents represent past pain that she never reconciled, and her stepfather being put on the stand rips those wounds back open.

Mathioudakis and Latimer tackle difficult roles professionally, she a chameleon whose colors shift from cool to hot as events unfold, he the type of person you at first mistrust because he’s rich, but then find he’s far worse than anyone suspects.

Hoffman plays it competent but stiff, while Swinford as the legal wild card is like a lithe, crafty fox. Mobley is great at crusty characters, and is in charge here. Brinklow is a study in confident arrogance. Jones is subtly reassuring, an unlikely friend. Completing the cast, Adrienne Reiswerg ably plays the court recorder, who, at the play’s close, gets in the last word.

The portrayal of mental healthcare in the late 70s seems so long ago, it’s easy to forget that only a few decades have passed, and much of the stigma – of mental illness, of sex work, and of women’s issues – still remains. And it’s further shocking how the nature of the childhood abuse Claudia suffered becomes almost a footnote in this case. There would be more attention paid today, but, honestly, how much?

Yes, “Nuts” is not a comedy, but it’s kinda funny how its issues are still resonant today.

One weekend of performances remain, Friday through Sunday, Oct. 6-8, at Buck Creek Playhouse, 11150 Southeast Ave. (Acton Road exit off I-74). Call 317-862-2270 or visit www.BuckCreekPlayers.com.

Satisfy your ‘Curious’ity at IRT

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By Wendy Carson

Christopher John Francis Boone is 15, a mathematical genius but he finds all social and physical interactions to be terrifying. This is because Christopher is autistic. He lives alone with his father, who told Christopher that his mother died of a heart attack two years ago.

His great love of animals causes him to go out one night to visit the neighbor’s poodle, Wellington, only to find it murdered. Since he’s found kneeling with the dog, he is initially accused of its death. When the policeman tries to calm him down, the touch causes Christopher to lash out and be arrested. The misunderstanding is cleared up, but he is left with a warning on his permanent record.

Discovering that others think the murder of a dog is too irrelevant to be investigated, Christopher decides, against his father’s strong wishes, to do so himself. This results in him having to talk to his neighbors, who to him are strangers, but he is determined to overcome his fears and solve this mystery.

While he does eventually find out the murderer’s identity, the journey to that information has him discover a huge family secret and embark on a journey that tests his resolve and the very limits of his abilities, challenging his autistic limitations.

“The Curious Incident of the Dog in the Night-Time,” opening the 2017-18 season at Indiana Repertory Theatre, is based on Mark Haddon’s critically-acclaimed 2003 novel of the same name. It won the 2015 Tony for Best Play. However, due to the novel being written in first-person and the production of it needing to have the various characters fleshed out and enacted, many technical alterations were made to bring the tale to the stage.

Shiobhan (played by Elizabeth Ledo), one of Christopher’s teachers, reads much of his inner dialogue from a notebook. He has written the story there in hopes of turning it into a book once it has concluded.

Much of the cast morphs from one character to another while also voicing the self-doubts and thoughts of Christopher. The medium of stage allows for non-linear and abstract elements required to tell the story, and even briefly goes “meta” with the cast discussing the play as themselves with Christopher.

This production includes IRT’s landmark casting of Mickey Rowe as Christopher, making him the first American actor with autism in the role. Familiar faces Robert Neal and Constance Macy portray his father and mother.

The entire cast, which also includes David Alan Anderson, Margaret Daly, Mehry Eslaminia, Eric Parks, Gail Rastorfer and Landon G. Woodson, do an impeccable job, true to the standards of an IRT performance.

Thought-provoking and surprisingly relatable, this drama brings you on an unusual journey through a unique mind, as well as through the English countryside and heart of London. And when you go, be sure to stay after the curtain call for a unique, and highly entertaining, mathematical encore.

No dogs were actually harmed in the making of this play, which runs through Oct. 14. Find the IRT at 140 W. Washington St. downtown or online at irtlive.com.