Month: September 2025

New play presents a fateful correspondence

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By John Lyle Belden

There is much to be said for the magic of the theatre, the blurring of space, distance, and communication between characters and to our silent witness, all on the limited confines right in front of us. Thus, our minds easily suspend disbelief, forego the logic that requires more physical and temporal structure expected in cinema or even a novel, all to give us the essence and substance of the story. Put simply, I believe “Wad,” by Keiko Green, could only work on the stage – and the current world premiere production by American Lives Theatre and The New Harmony Project works brilliantly.

Nyce – pronounced “Neese” – (Mollie Murk) is a Ft. Lauderdale teen fascinated with the macabre who finds a program to mail letters to prison inmates on Florida’s Death Row. She selects Jim (Eric Reiberg) and writes to him noting that she has not read about his case beyond being convicted for “double first-degree murder,” that she would rather find out about it from him, from his perspective.  His execution date is five months away.

The black-box confines of the Basile stage in the Phoenix Theatre Cultural Centre are evenly divided between Nyce’s bedroom and Jim’s cell (set design by Matt Mott). Under the direction of Emily Moler, we see Nyce and Jim communicate across the hundred-plus mile distance via balled-up letters thrown across the center line like paper-wads in a classroom (hence the title). What in reality takes days become flowing conversations, complete with mutual-fantasy interactions across the center line. They enact a history lesson, a meet-cute, and even a puppet show. In addition, they each find themselves revealed as lies are discovered and evasions become useless as time grows ever shorter.

Murk nicely embodies the girl at the cusp of adulthood, naively thinking hard truths will come easy. While she is at a turning point at the start of life’s potential, Reiberg gives us a man facing down his end. He is at first indifferent, but finding a non-judgemental friend gives him a cruel dose of hope. Aided by what we learn about his fate through their correspondence, the conclusion is felt more than seen.

While obviously a drama, there is a fair amount of dark comedy, especially in their early interactions – a blend of adolescent sarcasm and genuine gallows humor. Watch closely for deeper elements, such as both characters being Libras – a hint at the scales of Justice, and the fragile sense of balance throughout the narrative.

In all, “Wad” is a fascinating, thought-provoking, and affecting look at two distinct characters, revealing the humanity they share with each other – and us. Performances run through Sept. 28 at 705 N. Illinois St., downtown Indianapolis. Get info and tickets at phoenixtheatre.org.

‘Mockingbird’ has its say in Carmel

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By John Lyle Belden

Nineteen-thirty-five was 90 years ago, approaching a century, and aspects of our culture then still linger with us today. That’s why “To Kill a Mockingbird,” the novel by Harper Lee (inspired by her childhood), is still important.

Its stage play, dramatized by Christopher Sergel, is on the stage of The Cat in Carmel, produced by Carmel Community Players, directed by Andrea Odle. It’s notable that we don’t have to help promote this as opening night was sold out and ticket sales are brisk for the rest of the run, through Sunday, Sept. 21, including both a matinee and evening performance on the 20th. We know why this story is important; read on for a refresher and to meet those bringing it to life.

Jean Louise Finch (Ashley Sherman) is our narrator and guide to the events of that fateful year in Maycomb, Alabama, memorable for her as a little girl known as “Scout” (Rylee Odle), her slightly older brother Jeremy “Jem” Finch (Drake Smith) and their friend Dill (Jackson Odle-Stollings).  

Scout and Jem’s father is Atticus Finch (Kent Phillips), a middle-aged lawyer who doesn’t appear to do much more than occupy an office all day – embarrassingly sedate to his active children. But they come to learn the man is so much more, with growing respect and pride, when Judge Taylor (David Dessauer) assigns Atticus the defense of Tom Robinson (Jurrell Spencer), a Black man accused of attacking and raping Mayella (Samantha Lewis), a white teen and daughter of unsavory character Bob Ewell (Mark Jackson), who made the accusation.

Sheriff Heck Tate (Mike Sosnowski) is a good friend of Atticus and maintains a neutral if not covertly empathetic attitude towards the accused. We see the same from kindly neighbor Miss Maude Atkinson (Mary Garner). Others are quick to condemn – the N-word is said quite a bit, though sadly appropriate to the setting. This includes town busybody Miss Stephanie Crawford (Jeanne Lewis); poor farmer Mr. Cunningham (Dwayne Lewis) – the irony of him being a past client of Atticus will come into play; and especially the bitter old neighbor Mrs. Dubose (Jean Adams), which will lead to an important life lesson for Jem.

Jada Moon is stern but compassionate Calpurnia, the Finch cook and maternal figure to the children. Austin Uebelhor is Nathan Radley of the house next door, with the big tree with the knot-hole; he cares for his mysterious brother, “Boo,” who never comes out. Sidney Blake is the Rev. Sykes of the local Black church, minister to Tom Robinson and his wife, Helen (Trinity Pruitt). Jim Jamriska plays Mr. Gilmer, the county Prosecutor, smugly confident in his case. Thomas Amick’s roles include Tom’s boss and the Clerk of the court.

Scout, through whose eyes and memories we see this, is one who matures in her sense of fairness from scrappy to a more gentle understanding, which we see in the performances of Sherman and Rylee Odle. At moments they are even in unison, reflecting the child/woman dichotomy of the character in the book. Rylee’s Scout shows flashes of intuition and a (at one point literally) disarming sense of kindness, while Sherman shows how she hasn’t fundamentally changed not only in her continuing quest to understand 1935, but also her still wearing overalls instead of a dress in 1960 (excellent costuming throughout by Karen Cones).

Children being played by young adults doesn’t prove distracting as all three commit to naively childish personae, including Smith’s impulsive Jem and Odle-Stolling’s eccentric imaginative Dill. (The latter character is based on Lee’s childhood friend, Truman Capote.) Andrea Odle said that casting them, including her daughter Rylee, made it easier to have the characters repeat racially offensive terms, as well as better understand the play’s context.

Phillips brings a nuanced and complex approach to Atticus, his every word and action well considered, his courtroom manner dense with gravitas. Sosnowski brings a complimentary sense of companionship as Tate, while ever aware of his role in events as a guardian of safety and order. Spencer makes the most of his time at trial to make Tom’s case to the jury and to us.

Even the more broadly-drawn characters are solid. Moon incorporates mothering into Calpurnia’s role, avoiding caricature so that even in Jean Louise’s remarks on her disciplining the children, she is remembered fondly. Blake as the Reverend is an appropriate pillar of strength. Jamriska’s Gilmer is slick, grinning as he works a system that practically guaranteed him a win. Jackson’s violently dangerous Bob Ewell is scarily effective, while Samantha Lewis achingly plays a girl trapped by multiple factors including abuse, social stigma, isolation, and the limits of an uneducated mind. Adams, fierce and unrelenting, gives us little to like so we only have Atticus to trust in reasons for his compassion. Uebelhor shows mastery over his brief appearances, especially at the play’s climax.

Odle-Stollings is assistant director, and Amy Buel is stage manager. Simple yet effective sets were designed and built by the Odle family.

Performances are at The Cat, 254 Veterans Way in the heart of downtown Carmel. In the time you’ve read this review, more tickets were sold. See if any are left at carmelplayers.org.

New dinner theatre celebrates Broadway

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By John Lyle Belden

This year there is a new place for dinner and a show, in an old, familiar building. The Murat Shrine Club (north side of the historic building that now houses the Old National Center) hosts Downtown Dinner & Theatre. We got to experience it for the current production of “Broadway Off Broadway.”

After the opportunity to dine like a Potentate at a small buffet, patrons were ushered upstairs to the intimate cabaret stage for a musical revue.

The theme, of course, is various songs of Broadway hits, performed by a very talented troupe: Alicia Barnes, Alexis Koshenina, Jennifer Simms, Parker Taylor, and Rex Wolfley. Company artistic director Simms directed the show and Wolfley wrote its “book,” so to speak, with input from the others.

The narrative structure is built on our cast finding themselves in a “classroom” with magical properties, instructed by the disembodied voice of a spirit of musical theatre, “BOB,” by Ty Stover of StageQuest Theatrical Services. This impish entity helps to bring out the self-confidence, vocal and otherwise, in each of our singers.

All the while, we are treated to exceptional renditions of around 20 showtunes. Some of them you might expect – from Sondheim, Andew Lloyd Weber, Rogers and Hammerstein, etc. – plus some wonderful surprises. (There were whispers of, “What was that one from?”) Look for something from “Chess,” “Wicked,” “In the Heights,” “Spring Awakening, “Dear Evan Hansen,” and even this year’s Tony winner, “Maybe Happy Ending.”

Performances are sharp throughout, infused with good humor – especially as they act manipulated by BOB invisibly positioning them for numbers and dance breaks. Taylor, quickly becoming one of Indy’s biggest stage talents, is particularly good at this. While all are well-cast vocally (and their strengths were taken into account in song selection), Koshenina exhibits show-stopping power and range.

We give this “class” high marks. You can attend Friday through Sunday, Sept. 12-14, Friday the 19th, or matinee or evening Saturday the 20th, at 510 N. New Jersey St., downtown Indianapolis. Get info and tickets at downtowndt.com.

Musical blast from the past by ATI

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By John Lyle Belden

Every era has both its triumphs and struggles; they were also years which those who grew up in tend to remember fondly. For some of us – and many of our parents – that was the 1960s, a time of big changes, big hair, and a lot of great music.

“Beehive: The 60’s Musical” presented by Actors Theatre of Indiana, gives us more than 30 hits from the decade, with emphasis on songs sung by women – from “It’s My Party” to “Me and Bobby McGee.”

Our guides through this time of feminine revolution are six outstanding singers: Rachel Dudt, Riley Francis, Michaela McGarel, Kayla Perry, Kria Rangel, and Abigail Storm, who also acts as host. They are backed by a live band, led by Greg Wolff. The show is directed and choreographed by Carol Worcel.

There are a couple of scenes with direct impersonations of the original singers – done very well – but mostly the emphasis is on heartfelt renditions that sound like we remember coming from our transistor radios. On occasion there may be some audience involvement, such as providing names for “The Name Game,” and throughout we are encouraged to clap and even sing along.

In all, this is just a fun evening of music that still entertains and inspires, even decades later. For the Boomers who remember, or those of other generations who love swinging to the oldies, there are two more weeks of “Beehive,” Wednesday through Sunday, Sept. 10-14 and 17-21, at The Studio Theater of the Allied Solutions Center for The Performing Arts in downtown Carmel. Get info and tickets at atistage.org or thecenterpresents.org.

Wild Wilde comedy at Buck Creek

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By Earnest Bunbury John Lyle Belden

Buck Creek Players takes on a classic comedy tackling issues of identity within a strict society, “The Importance of Being Earnest,” which playwright Oscar Wilde cheekily called “A Trivial Comedy for Serious People.”

The subtext was hardly trivial for Wilde, with this well-received 1895 play coming out shortly before his infamous legal spat that had him imprisoned for homosexuality (a crime in Victorian Britain). For BCP, director Mel DeVito sought to enhance the comedy’s queerness with cross-gender casting.

Amanda McCabe said that when she auditioned, she had no idea she would become Jack “Earnest” Worthing. “I believe Wilde would have loved this,” she said after a performance. DeVito agrees, adding, “I just wanted to see Ben (Jones) in a dress” – which he is as haughty mistress of manners Lady Augusta Bracknell. Judy Lombardo plays both the servant parts, one as male and one female. Paige Scott, whose past roles include a trans character in “Hedwig,” portrays a rather distinguished clergyman, Dr. Chausable.

We open at the home of Algernon Moncrieff (Aaron Beal), where Earnest (McCabe) has come to woo his cousin, Gwendolen Fairfax (Brittany Magee). Our suitor wins her heart, but not her hand as Aunt Augusta, a/k/a Lady Bracknell (Jones), forbids their union, considering the young man’s rakish reputation and apparent low birth.

Mr. Worthing has two more complications: Gwendolen insists she will only marry a man named “Earnest,” and Algernon has found the proof that is not his name. As for the latter, cynically jovial Algernon finds it amusing that his friend also enjoys “Bunburying” – named for his habit of avoiding responsibilities by going to visit his non-existent “invalid friend” named Bunbury. Worthing says his double life lets him be serious “Jack” around his ward, the beautiful young heiress Cecily Cardew (Kielynn Tally), and “Earnest,” Jack’s younger more fun-loving brother, elsewhere.

The plot twists and thickens when Algernon goes to call on Cicely, introducing himself to governess Miss Prism (Tracy Herring) as Earnest. This thrills the girl, who always wanted to marry a man by that name.

As Lady Bracknell says later, coincidences are very unseemly. Wilde’s pen seemed not to care.

The casting and sharply delivered performances bring out all the fun and make the satire relatable, including obliviousness to hypocrisy, vice as virtue, and women’s thoughts in diary form being a sort of official record of social life. McCabe embodies Jack/Earnest with dashing charm and Chaplain-esque nimbleness. Magee and Tally both play wily and smart, especially when the young women have the upper hand over their “Earnests.” Beal plays Algernon as a smooth cad, yet ever likable.

Jones commands the stage, perfectly blending a stern Victorian matron and a no-nonsense drag persona. Lombardo speaks volumes with an eye roll. Herring gets moments to shine when her small role becomes more integral to the denouement. Scott is subtly wonderful, even while Chausible is perplexed but willing to re-christen adult men.

For a fun old “trivial comedy” as you’ve never seen it before, “The Importance of Being Earnest” has one more weekend, Friday through Sunday, Sept. 12-14, at the Buck Creek Playhouse, 11150 Southeastern Ave., Indianapolis (Acton Road exit off I-74). Get tickets and info at buckcreekplayers.com.

Phoenix launches unflinching look at ‘Rocket Men’

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By John Lyle Belden

During 20th century developments in rocketry, its uses in warfare, and eventually in space exploration, there were contentious discussions regarding solid and liquid explosive fuels. Little is said, however, about how much blood it took.

Phoenix Theatre presents the National New Play Network Rolling World Premiere of “The Rocket Men,” by Crystal Skillman, directed by Chris Saunders.

Dodging the look of a dry documentary or acted out history lecture, Skillman’s drama uses an all-woman cast to portray the men, German scientists and engineers who avoided likely prosecution for working with the Nazi regime in World War II by bringing their expertise to the United States military. A credit to both the talented actors’ dedication and the costuming skill of Anthony James Sirk, their transformation is easy to accept, visually and in their performances (frustration with lesser minds and overbearing bureaucracy – and the thrill of invention – knows no gender).

Wernher von Braun (Constance Macy) is the star – and face – of the program. He is handsome and charismatic; Macy plays him rather enjoying his celebrity, humble-bragging how various meetings with the Pentagon, the press, and notables from President Eisenhower to Walt Disney, keep him from his actual work. He had also been a principal developer of the V-2 rocket which terrorized London during the War. Von Braun’s lifetime dream was to aim his rockets more skyward, into space. With American help, he planned to get mankind in orbit, then onward – to Mars!

We open our narrative with the arrival of Heinz-Hermann Koelle (Jaddy Ciucci), not an ex-member of the V-2 program but a German aviator in the War. He was at this moment a scientist with Martian ambitions of his own, invited by von Braun to join his team at Redstone Arsenal in Huntsville, Alabama. In the spirit of rookie hazing, the others call the young man a “janitor” at first, drawing mirth from Koelle’s reactions, but eventually warming to him.

Helmut Hoelzer (Jolene Mentink Moffatt) is the most easy-going, while Arthur Rudolph (Jennifer Johansen) is more stern, all business. William A. Mrazek (Milicent Wright) splits the difference attitude-wise, and is very particular about the arrangement of his work table. We will also meet Sol Weissman (Charlie Rankin), an American Army veteran and engineer who works on developing the team’s designs, and meets privately with Koelle. 

Always on hand to facilitate the scenes for the men and provide narration for us is a “Friend” (Karla “Bibi” Heredia).

There is dynamic pacing, events marching towards the future through the “history book” we know and things we may not. Still, Koelle – our outsider on the inside – is frequently reminded about the past. People like von Braun designed the wartime rockets, but others built them. Is there more to the story, something that must be reckoned with before moving forward? Ciucci achingly portrays his struggle as he faces these questions for us, fearing the answers while feeling they should become known.

The stage design by Robert M. Koharchik matches the narrative flow with tables and chairs on casters rolling in and out as needed. The lone stable piece is von Braun’s sturdy wooden desk, where he sets aside his celebrity to devote himself to the work – a future he must achieve while the past is forever set aside.

The progress from Army to NASA, “Orbiter” languishing in testing before Explorer is sent into orbit after the shock of Sputnik, “Project Horizon” to the Red Planet shelved as President Kennedy announces our plans for the Moon, then the team pushing the Apollo missions through the Johnson and Nixon administrations, play out in entertaining fashion, seen through the reactions of those who were there from the start.

There is also the book that no one will read. However, its message will eventually reach us, revealing why this story must be cast as it was.

This production also benefits from image projections by Katie Phelan Mayfield and the dramaturgy of Timothy W. Scholl. How much of what we see here is conjecture or dramatic license? A lot less than you should be comfortable with.

A history lesson you won’t soon forget, brilliantly performed, “The Rocket Men” has performances through Sept. 21 at the Phoenix Theatre Cultural Centre, 705 N. Illinois St., Indianapolis. Get tickets and info at phoenixtheatre.org.

IndyFringe: Ain’t But a Few of Us Left

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This was part of the 20th Anniversary Indy Fringe Theatre Festival in August 2025. Review originally posted on our Facebook page.

By Wendy Carson

After we enter the theater, we are all welcomed aboard the train, the conductor can tell we all have our baggage with us, and it looks like someone’s is about to get unpacked very soon.

Thus, it brings us to the story of Faith. We see her eulogizing her mother, who quoted fortune cookies like they were scripture or poetry, and was a beloved teacher to so many in the neighborhood yet felt like a total stranger to her own daughter.

We pause the story for a quick stop as some passengers disembark, they are warned, “Truth is waiting for you on that platform out there. You can’t leave it behind”

We rejoin Faith at her college professor’s office as she is denied an extension to submit her final project. She now has 5 days to submit or lose her scholarship and all hope of graduating. With the project being, “Where do you come from?” and her deceased mother being her only family, she is bereft of ideas.

The conductor, however, knows that Faith has it in her to succeed in the assignment and directs her to her stop.

We must all disembark now, our time here’s at an end and the train’s got a myriad of souls left to heal.

I really enjoyed the creativity of the show. It made me reminiscent of “HadesTown” in its setting. While we never fully resolved her story, I felt like we, and hopefully Faith herself, were shown that she already has all the information she needs to fulfil her project, she just has to relax and remember.

This show was also a Flanner House Stage Academy production.

IndyFringe: Man Cave

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This was part of the 20th Anniversary Indy Fringe Theatre Festival in August 2025. Review originally posted on our Facebook page.

By Wendy Carson

Timothy Mooney steps away from his traditional Shakespearean romps to bring us an entirely new and original production and it is quite inspiring.

We open with Tim, being possibly the last human live on earth, broadcasting out of his bunker, just south of the arctic circle.

His beloved Rosie was meant to be with him here, but the climate breakdown occurred so quickly, she never got the chance to try and catch up to him.

With the temperatures outside holding tight at around 120 – 130 degrees Fahrenheit, we are only a mile or so south of the arctic circle remember, the earth is entirely uninhabitable. Yet somehow, his AOL email account is still operational, so Tim waxes on for anyone listing about how we got into this situation and what other civilizations should consider not doing to prevent themselves from it as well.

While this is a work of fiction, the science behind his data is real and frightening. Hopefully, the message will be able to move those in the audience who are unaware of many of these machinations and wake them to the facts of our planet’s mortality.

Tim signs off his broadcast with the earth date of August 15, 3035. Hoping once again that someone has heard him and will send him an email to let him know he’s not alone.

IndyFringe: Dragons and Dungeons – Squid Game

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This was part of the 20th Anniversary Indy Fringe Theatre Festival in August 2025. Review originally posted on our Facebook page.

By Wendy Carson

Theater Unchained once again brings us a new chapter in their beloved tales of a group of adventurers headquartered out of The Folded Ass Tavern.

It’s their young dragon, Rapture’s “Gotcha Day” and everyone’s gathered to celebrate.

For newer patrons, we have some quick backstory and reintroduction of our gang, by the tavern’s owner. They include his brother, Tink, the Artificer; Fig, the Druid; Seren the Paladin; and Crabitha, the Wizard who’s somehow grown a second mustache.

After a minor mishap, Rapture is magically taken aways and we find that Crabitha is actually the evil Collector, and they must play their twisted “Squid Games” to get Rapture back.

The audience assists our troupe by rolling a giant die but some other members were granted the ability to modify or negate their efforts. Good luck to all.

The characters, challenges, and situations are fun for all but be warned, not everything always ends well. We made some very good rolls at first and though our team won the games, not everyone survived.

I really enjoyed the puppetry throughout plus the fact that the cast & crew were all having as much fun throughout as the audience. The whole hour feels more like a party than a show.

IndyFringe: Cubicle Confessions

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This was part of the 20th Anniversary Indy Fringe Theatre Festival in August 2025. Review originally posted on our Facebook page.

By Wendy Carson

Bad bosses, we’ve all had them, some of us have been them, and Jeff Kidding Me Comedy (Jeff McKinney) brings us together to share some of our horror stories.

Interspersed with our tales, we get to witness some upcoming local comics and their takes on corporate culture as well.

The first being Chance Webb, a decent salesman with an inherently “punchable face.” Reminding us that, in sales, the better salesmen get promoted, however, the same qualities that make you a great salesman, also make you a terrible boss.

We then meet the amazing Queen Quaymo. She possesses a lot of skills, mainly from being fired from a lot of jobs but she also shines a light on Amazon and makes us recognize it’s corporate structure for one her ancestors fled from.

Just remember, your life is just another episode of God’s hit Netflix series. So when things become too much for you, mug for the camera.

Being one of the few stand-up shows on the schedule, I can highly recommend this one for a good laugh as well as the ability to make you feel better about your own work situation.