Year: 2025

More laughs than chills in Fonseca Halloween show

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By John Lyle Belden

Proving any time of year is right for a holiday tradition, Fonseca Theatre Company presents “Boo-La-La! 4,” a set of funny and eerie short plays intertwined with appropriate pop hits.

Past Boo-La-La actor Charlie Rankin directs the cast of Ashton Driscoll, Avery Elise, Hannah Luciani, and Gloria Renollet, who show great comedic skill as well as excellent chemistry. Though this is their first time as an ensemble (and FTC debuts for Luciani and Renollet) they interact like a polished comic troupe or cast of [name of popular skit-based TV show here].

This is evident from the opening bit, “One Night Only” by Judson Wright, as an improv group attempts to riff with “props” they happened to find backstage.

In “A Sad Vampire” by Aleah Vassell, Driscoll and Elise are bartender and customer on a quiet Halloween night. The follow-up song, putting a number from a hit musical to new use, adds a twist to the plot.

 Luciani and Renollet follow with “Bloody Mary, Bloody Mary, Bloody Mary” by Piper Murphy. Careful where you read that title, as these girls at a sleepover find out the hard way.

A Civil War reenactment feels too real in “The Ghosts of Chickamauga” by Sharla S. Stevens, as one of the four we see on stage shows us that for some, the battle never ended.

It’s not one of these shows without a piece by local playwright Mark Harvey Levine. His “The Pumpkin Priest” brings us back to the funny pages with characters from one of his popular Christmas plays, this time with “sincerity.”

“Dragnet” by Christopher Wittman features Driscoll, Elise, and the return of an upcycled puppet from last summer’s “Mami Wata” as an avenging spirit.

 A carnival haunted house seems like an odd place to propose, but in “Hauntingly Ever After” by Marcia Eppich-Harris it does feel right, as a zombie tries not to literally fall apart before getting the question out.

Not too scary, not too risque, and plenty entertaining, “Boo-La-La! 4” is highly recommended for your spooky-season activities. Performances are Friday evenings, Saturday and Sunday afternoons, through Nov. 2, at 2508 W. Michigan St., Indianapolis.

Get info and tickets at fonsecatheatre.org.

Enter the haunted trap of ‘Veronica’s Room’

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By John Lyle Belden

Eclipse Productions* of Bloomington adds to the October chill with its production of “Veronica’s Room.”

The 1973 play is by Ira Levin, author of “Rosemary’s Baby” and “The Stepford Wives,” which should alert you to the caliber of psychological thriller we are dealing with. To set that mood, the audience walks in through the stage area of the Rose Firebay Theater in the Waldron Arts Center and are seated in the titular room throughout the play. Try to ignore the phantoms.

Soon arriving are Susan (Mandy Scamacca) and Larry (Michael Allen), a young couple invited by John (Ronnie Johnstone) and Maureen (Becky Stapf), caretakers of this old house. The Girl is asked to help comfort the home’s aging resident by pretending to be her long-dead sister, Veronica. They note that Cissie, who is dying, has mentally slipped back to 1935 and needs reassurance that her sister has forgiven her for past events.

Reluctant at first, Susan agrees to take on the role, including changing into Veronica’s clothes. After The Woman briefs her on details including the younger brother Conrad and their physician, Dr. Simpson, she is left alone to prepare for the next scene.

She is not ready for what happens next.

I dare not spoil anything further, as the plot twists around shifting identities and altered reality – like a story by Phillip K. Dick in the style of Shirley Jackson. Director Kate Weber leans into this sense of fractured perspective with touches including the unspeaking hooded guides at the show’s beginning, wall cut-aways allowing us to see into the hall outside the room, and the spooky soundscape – designed by Joshua Lane – with constant low moans and creaks. Terrible past events haunt this space; as we come to understand them, note that this is for mature audiences (content includes various forms of abuse, as well as gaslighting and murder).

Performances explore the complexity of the characters’ identities while the flexible nature of stagecraft in presenting any time and place gives us little certainty. Is Susan pretending to be Veronica, or did Veronica dream up Susan? Scamacca effectively personifies the struggle. Our printed program is of no help – she is listed as “The Girl.”

Likewise, Allen is “The Young Man,” a little standoffish and hard to fathom from the start. Johnstone, “The Man,” masterfully drops clues that only add up in the end. Stapf, “The Woman,” gives a powerhouse performance that stuns with every disturbing twist.

For our Indianapolis readers, this play is well worth the drive down to Bloomington. Eclipse’s immersive approach to theatre really pays off. Remaining performances of “Veronica’s Room” are Oct. 24-26 at 122 S. Walnut St. Get info and tickets at eclipseproductionscompany.com.

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(*No relation to the “Eclipse” professional theatre program of Summer Stock Stage in Indianapolis.)  

Athenaeum, NoExit present mysterious ‘Gathering’

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By John Lyle Belden

The Athenaeum in downtown Indianapolis has long been reputed to house restless spirits.

At “The Gathering,” step inside and find yourself in 1919, right after the first World War, during a pandemic known as the Spanish Flu, and at the dawn of Prohibition. Also on people’s minds and hearts were the practice and promise of Spiritualism, a faith path leading many to seek communication with the dead.

This theatrical experience is presented by NoExit Performance, resuming the local company’s practice of site-specific productions.

Famed medium Madame Josephine (Callie Burk-Hartz) has returned to Indianapolis, her hometown, to give her final public séances at the former Deutche Haus. We in the audience are that public. While waiting for her show to begin, we happen to witness some interesting goings-on.

William (Bill Wilkinson), a former skeptic turned Prognosticator, shows us one of his mentalist tricks. Max (Jaddy Ciucci), a Metaphysician, arrives with a curious electric device she wishes to show Mme. Josephine. This sparks the curiosity of Edith (Kallen Ruston), a local reporter.  

Meanwhile, young widow Lorraine (Georgeanna Smith Wade) seeks a private audience with the medium, which the show’s producer Victor (Lukas Felix Schooler) says is not possible without a substantial additional fee. The distraught woman persists, as she needs to contact the spirit of her recently-lost daughter – providing it doesn’t also arouse the shade of her late husband.

We also encounter Nellie (Beverly Roche), a “scientific” Palmist, as well as a fellow Spectator (Audrey Stonerock) about whom we learn something we weren’t meant to know.

The audience moves through this production as the scenes play out in several rooms. This also takes us up backstage stairs not usually open to the public (those with mobility issues are taken to the similarly decorated elevator).

Some moments involve movement to evoke the hidden turmoil of these characters, with all their secret feelings and motivations. The first was surprising, but they shouldn’t be for those familiar with NoExit, juxtaposed with the more realistic portrayals of dialogue.

We join the séance itself on the historic stage of the Athenaeum. A rare view of its workings aids the feeling of being in a world on the haunted edge of comfortable reality.

Performances are first-rate, skillfully maintaining the atmosphere so that suspense is imperceptible until the foreboding mood is all around us like an ethereal fog. Smith Wade draws on our empathy while hinting at the darkness that follows her. Schooler keeps Victor equal parts protective and manipulative, never allowing us to trust even as we feel compelled to follow. Burk-Hartz perfectly presents tired and troubled Madame Josephine, up to now a polished professional, yet sensing in this night something too real for mere entertainment.

The subplot building with Ciucci and Ruston’s characters is pleasantly intriguing, as well as the presence of Wilkinson and Roche’s practitioners of occult arts who, though wise to the tricks, are still drawn into the growing sense of mystery.

My one criticism, which could be seen as a compliment – being left wanting to see more. It felt like another scene or two could have deepened the narrative, giving more context and purpose for all the characters, aside from one person’s grave secret mostly revealed at the evening’s climax.

Still, there is plenty here to see and feel. And some things are necessarily left in shadow for us to ponder, just as it should be for this chilling experience.

Performances start in the lobby of the Athenaeum, 401 E. Michigan St., at 7 and 8:30 p.m. Thursday, Friday and Saturday, Oct. 23-25. For information and tickets, visit AthenaeumIndy.org. Get NoExit info on their Facebook page.

Cryptid ‘Evil Dead’ a big mess – just how we like it

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By John Lyle Belden

Why am I even writing this?

Oh, right. They let us in for free. Got thoroughly doused with wet, cold, red, gelatin-fortified fake blood – right in the face, torso, and thoroughly in the crotch – at no charge.

However, if you are reading this, wishing to enjoy the same macabre shower, and you don’t have a ticket to Cryptid Entertainment’s production of “Evil Dead: The Musical,” well, you are pretty much out of luck. Every seat in the IF Theatre’s Basile main stage is covered in gore sold out, every show, except – possibly – the added final performance at midnight on Halloween.

Let me reassure you, though, if you are bothered by wild horror-based humor, R-rated hijinks, nasty words, near-nudity, horny trees, and FUN, then you have (metaphorically) dodged the bullet (and for-real a lot of wet ickiness). Dakota Jones and company can provide you more wholesome entertainment next month.

Since you are likely to miss it, I could frankly write anything here: that Chris Ritchie as Ash truly commits to the role by actually cutting off his hand every night (they sew it back on; these people are professionals!) or that Kylie Schweikarth intensely studied the Mike Rowe “crawlspace” commercials to perfect her lurking in the basement, or that Payton Ullman keeps an exorcist on speed-dial, or that Jess Hackenberg is so method that she took three and a half semesters of the Lost Enochian language to better evoke the Necronomicon, or that Suraj Choudhary managed to memorize the line “stupid b*tch” in Guiness World Record Time (look it up), or even that Tony Schaab’s passionate portrayal of the Moose was so moving the audience could not stay in their seats. And Jonathan Young’s Jake was indeed reliable, we just can’t publicly say at what.

Oh, but you do have a ticket and was just wondering what to expect? If I told you it was awful, would you give up your seats, because I’ve got these friends, and…

All, right, I’ll admit it. It was awesome.

Like “The Rocky Horror Show,” it’s a fully immersive theatre experience – but instead of the audience messing with the actors, the cast and crew mess with you! And it does get messy, reaching well into the seating. Don’t wear anything too delicate. The musical takes on the plots of “Evil Dead” and “Evil Dead 2: Dead by Dawn” with lots of nods to “Army of Darkness,” featuring Ritchie at his most Bruce Campbell-est and the others all camping it up, including songs and a zombie dance number. Unfamiliar with the films? It’s not a hard plot to follow.

And that Moose – give him the Tony!  

Find out more at indyfringe.org or the Cryptid Entertainment page on Facebook.

Pen-pal pandemonium at Buck Creek Players

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By John Lyle Belden

Buck Creek Players lifts our spirits with a fun production of the classic rom-com musical, “She Loves Me.”

This 1960s Broadway hit by Joe Masteroff, with music by Jerry Bock and lyrics by Sheldon Harnick, is based on the 1937 play “Parfumerie” by Miklos Laszlo, which also inspired the 1998 movie “You’ve Got Mail.” Directed for BCP by Drew Bryson, its setting in 1930s Budapest, Hungary, feels like any European or American major city in a gentler time.

Maraczek’s perfume shop prides itself on its service, including a warm greeting, swift attention to returns and complaints, and even singing you out the door with your purchase. The staff includes neurotic family man Sipos (Phil Criswell), suave ladies’ man Kodaly (Troy Bridges), hopeless romantic Ilona (Miranda Boyle [nèe Nehrig]), eager delivery boy Arpad (Colton Woods), and introverted assistant manager Georg Nowack (Bobby Haley).

On a summer day, owner Mr. Maraczek (Darrin Gowan) brings to the shop a selection of musical cigarette boxes, which Georg fears will never sell. The boss declares they will, and bets him that one will be sold within the hour. Moments later, a young woman, Amalia Balash (Jenna MacNulty), nervously asks for a job at the shop. After being told there are no openings, she quickly talks a customer into purchasing a music box, convincing her it’s for holding sweets.

Amalia is hired; Georg is annoyed. While they bitterly bicker through the coming months, neither knows that they are anonymously writing romantic letters to each other through a lonely-hearts club. The “Dear Friends” of their correspondence plan a first-time in-person rendezvous in December. Looks like they are in for a holiday surprise!

Supporting in roles including shop customers, as well as discreet diners at a cozy café, are Zach Bucher, Drew Hedges, Elizabeth Huston, Sheila Raghavendran, Josh Rooks, Derek Savick-Hesser, Lizzie Schultz, and Lauren Bowers Werne.

Like a well-run parfumerie, this is an excellent ensemble performance. Each of the shop workers, including Gowan’s Maraczek, get moments to shine. We even get a personal-growth arc with Ilona, which Boyle brings out beautifully. On the other hand, Bridges keeps Kodaly cool but difficult to like, his bad-boy persona more than a facade. Criswell keeps Sipos’s nobility hidden, but it’s not hard to detect. High-schooler Woods maintains Arpad’s boyish charm as he matures before our eyes.

Haley shines as his Georg sorts out what he wants, struggling with confidence as events turn out nothing like he expected. As Amalia, MacNulty is simply brilliant – beautiful and powerful in voice and personality. We can’t wait to see how these two finally get together, though, as always with such stories it won’t be easy.

Content is no worse than PG, though there is an instance of self-harm.

Kelsey McDaniel is assistant director. Meg Benedict leads the 12-piece orchestra. Andy Riggs is vocal director. Choreography is by Justin Sheedy. Kayla Richardson is stage manager, assisted by Olivia Lawson.

With lots of laughs and sweet as vanilla ice cream, fall in love with “She Loves Me,” performances Friday through Sunday, Oct. 17-19, at Buck Creek Playhouse, 11150 Southeastern  Ave. (Acton Road exit off I-74), Indianapolis. Get info and tickets at buckcreekplayers.com.

Ankh gets ‘Reckless’ in a good way

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By John Lyle Belden

Indianapolis sees constant production of theatre arts by groups tied not to a place as much to ideas and creative vision. This includes – among others – No Exit, Catalyst Repertory, Q Artistry, Summit Performance, NAATC, Southbank Theatre Company, Theatre Unchained, American Lives Theatre, 4th Wall, Clerical Error Productions, Betty Rage, Cryptid Entertainment, and Defiance Comedy.

Ankh Productions deserves to be in that conversation.

Having moved on from the sadly now-closed Storefront Theatre, their neon elephant shines for the moment in the Bates-Hendricks neighborhood south of downtown Indy with Ankh’s production of “Non-Traditional Reckless Relations,” a collection of short plays by Jamaal McCray, at Lincoln Lane Coffee Co.

McCray is joined by Ankh co-founder Chandra Lynch, Zachariah Stonerock, and Anna Himes in pieces that explore with raw emotion, wild humor, and entertaining absurdity, how we relate to one another through unusual stress.

It’s too simplistic to compare this to known properties like Marx Brothers, Monty Python, SNL, or In Living Color, yet the same root is under the surface, back to the smiling Greek masks and tall tales around ancient fires. McCray says the title refers to his efforts not to slip into “traditions of mediocrity,” to take stagecraft and “strip(ed) it down to its raw essence.” As Lynch puts it in a Facebook post, “Just the art; pure, alive, unfiltered.”

High artistic goals, indeed. In “NTRR,” we see them making the climb.

This show was written by McCray as the third in a trilogy that started with “Love You Reckless,” last seen in April 2022. (He is still working on Part Two, he said.)

The foursome start with a piece heavy with avant-garde metaphor – confronting directionality, personal preferences, political groupthink, light, and more – which grabs our attention, elicits laughter while provoking thought, and gets us ready to expect practically anything.

This is followed by the next playlet, where Stonerock reads a breakup letter while using the toilet.

Yes, things get a bit crude, with R-rated language at points, but no nudity or sim-sex, so it’s okay for teens and up.

The bare-bones aesthetic, in part from low-budget necessity, concentrates our attention on the actors while employing a few simple props. A chain wrench finds an amazing array of uses.

The humor is never far from far deeper context. Exploring raw emotion and toxicity in relationships gets somehow easier when you’re battling a giant pigeon or stuck on a small boat in shallow water. When you need to fix something, at some point you’re not really talking about the thing before you that you’re repairing.

McCray, Lynch, Stonerock, and Himes all give excellent performances and interact well throughout, showing commitment to the concept and vision.

So, even if you are not planning your lover’s murder, or negotiating with the trash collector, you’ll still find plenty to relate to, and even enjoy, in these “Non-Traditional Reckless Relations.” Performances are Friday through Sunday at 516 Lincoln Street (corner of Lincoln and East Street), Indianapolis. (Note that coffee service will have closed earlier in the afternoon.)

For information and tickets, visit ankhproductions.org.

Civic: Fun time at a ‘Rotten’ show

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By John Lyle Belden

Farce, parody, and satire collide hilariously with history in the hit musical “Something Rotten!” now staged by the Booth Tarkington Civic Theatre.

What even director Michael J. Lasley concedes is a “dumb” show is done smartly not by mocking William Shakespeare (though it’s not totally kind to him) so much as the cult of personality around him – which did start, to some degree, in his own time. In the process, the modern stage musical also gets skewered with gags comparable to the barbs in “Forbidden Broadway.”

During the English Renaissance (there’s a song about it), brothers Nick (Daniel Wilke) and Nigel Bottom (Jacob Schilling) struggle to get their next play completed when they are upstaged – again – by Shakespeare (Michael Krauter). They are so broke that Nick’s wife Bea (Addi Koehler), over his objections, goes out to find work herself.

Needing a surefire hit but desperate for an idea, Nick visits a soothsayer, Nostradamus (Parrish Williams). Being the nephew of the famous prophetic writer, he gets accurate but cloudy visions. This is how Nick Bottom comes to invent the “musical,” or at least tries to.

Nigel, a talented poet as well as playwright, meanwhile finds himself courting Portia (Ellen Vander Missen) the poetry-obsessed daughter of local Puritan leader Brother Jeremiah (David Maxwell), who vociferously objects.

With the help of the seer’s questionable skills, and secret funding by Jewish moneylender Shylock (Daniel Draves), the Bottoms seek to beat the Bard at producing what they are foretold will be his greatest work – “Omlette!”

Josh Vander Missen plays the company’s former patron, as well as a magistrate. A minstrel (Austin Stodghill) leads the remaining ensemble of Julia Ammons, Amanda Boldt, David Brock, Cam Hicks, Braxton Hiser, Karen Hurt, Emily Lantz, Melissa Ritchie, Nicole Sherlock, Michael Sherman, Louis Soria, Caitlin Stacy, Landon Storm, Blake Valentine, and Eric VanVeelen.

Wilke and Schilling play the brothers as well-meaning souls, with Nick defined by his stubbornness and Nigel by his naïve charm. Krauter’s Shakespeare goes from preening rock star to devilishly conniving as he seeks to steal what was supposed to be his own play. Standout performances by the leading ladies as well: Ellen Vander Missen’s headstrong Portia charms, while Koehler steals scenes as a woman with great strength of heart as well as muscle. Maxwell manages to make his Puritan bluster both menacing and highly amusing. A familiar face to Civic patrons, Williams has fun embracing his strange, silly role (he knew I’d write this).

Lasley directs with choreography and additional staging by Anne Beck, musical direction by Brent E. Marty (orchestra led by Al French), and stage managed by Matthew Keller. The musical was written by Karey Kirkpatrick and Wayne Kirkpatrick with John O’ Farrell.

For those who enjoy musicals, or “Hate Shakespeare,” or don’t mind seeing some hams sing about “Eggs,” go experience “Something Rotten!” Performances run through Oct. 18 at the Tarkington in the Allied Solutions Center for the Performing Arts in downtown Carmel. Get info and tickets at civictheatre.org.

Scotland comes to Garfield Park

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By John Lyle Belden

Embracing the weird and macabre atmosphere of October, Garfield Shakespeare Company presents the tragedy of “Macbeth.”

In a convenient coincidence, just last month Southbank staged “Equivocation,” based on events around the 1606 premiere of William Shakespeare’s “Scottish Play,” presented to the Scottish King, James Stuart (James VI of Scotland, James I of England and Ireland). In a way, the present production works as a companion piece to the former.

However, this play stands well on its own, presented in full in its Medieval Highland setting, complete with an emphasis on its supernatural elements. Alongside the title character, his scheming wife, and various nobles, the stars of the show are the Weird Sisters – the Three Witches (played by Sydney Engelstein, Shawntae Buchanan, and Amalia Lynn Howard) with their leader/goddess Hecate (Zella Mae Elm). Their presence is felt throughout, even in scenes where they aren’t specifically referenced. Any of the Three may make herself a supporting character to move events along, including the mysterious “Third Murderer” that Shakespeare wrote into a pivotal scene. As a convenience, and upping the spooky factor, a Witch hexes away any unfortunate fallen character off the stage. Kudos to director Aaron Collins for these touches.

With the “hurly-burly” of a battle done, a rebellious Thane (Scottish noble similar to Earl) captured, and generals Macbeth (Christopher O’Hara) and Banquo (Chad Yadon) victorious, these two encounter the Witches. They greet Macbeth with titles including ones he doesn’t yet hold, then inform Banquo he will father a line of kings (James was believed to be of that lineage). When the first part of their prediction comes true – Macbeth attains the doomed Thane’s title – the further declaration that he will be King of Scotland sets his mind racing.

In celebration of their victory, King Duncan (Hans Cummings) and his sons Malcolm (Mallory Ward) and Donalbain (Dalton McKinney) go to Macbeth’s castle at Inverness. Lady Macbeth (Leah Hodson), informed of the prophesy, strongly encourages her husband to murder the ruler. Once it’s done (with the king’s guards framed and conveniently dispatched), the sons flee, leaving Macbeth with the crown. However, fellow Thane Macduff (Dillon Richter) suspects the truth and slips away, tragically leaving his wife (Miranda Khoury) vulnerable.

As you likely know, things just get more maddening and tragic from here on out.

The cast also includes Cheyenne Henson (as Banquo’s son, Fleance), Derrick Krober, Bill Baker, Jake Hobbs, Cheri Walker, Elizabeth Ann Fasbinder, and Jean Long.

Excellent performances throughout, especially Hodson’s portrayal of Lady Macbeth, working from power-mad to just plain mad. O’Hara ably employs his distinctive voice to fully express the titular character. From the rush of fate to slowly learning its cost, we sense his growing regret and desperation throughout the scenes that follow him literally taking that fate into his own hands.

The Witches prove their essential place in the play, making this a Halloween treat. Their demeanors flex to reveal subtle power in a scene, then shaken off with a wicked giggle as they glide offstage. The performance of the cauldron dance shows respect for the Old Ways embraced by modern practitioners. And Elm being a musician greatly enhances her portrayal of Hecate; her instruments include one that reveals how a certain familiar spooky sound-effect is made.  

You can’t beat the price, as Garfield Shakespeare Company performances are free. Find them Thursday through Saturday evenings, Oct. 9-11 at 7:30 p.m., in the open autumn air of Garfield Park’s MacAllister Amphitheatre, 24325 Conservatory Dr., Indianapolis (enter from either the top or bottom of the hillside). Find information at gscindy.org.

‘Mink’ a good fit for Center Stage

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By John Lyle Belden

“Life is too complicated, that’s why I don’t think about it.”

This line by the lead character is the essence of “The Widow in Mink,” a comedy by Carl L. Williams presented by Center Stage Community Theatre in Lebanon.

It has been two weeks since Margaret Osgood (Julie Wallyn) lost her husband, George, in a bird-watching accident, and she is still adjusting to life alone. She gets visits from her niece Julie (Amy Keitt), whose idle-rich boyfriend Roger (Mike Bauerle) tags along, as well as her late husband’s business partner Charlie (Kevin Shadle). She also joined a social group, the Wandering Widows – Diane (Tanya Haas), Betsy (Veronique Duprey), and Jane (Dottie Ostby) – now that she qualifies for membership.

Charlie arrives from the bank with the contents of George’s safety deposit box, including his will. Margaret soon discovers that she has inherited a lot more than a plethora of bird portraits.

Williams once referred to the character of Margaret as “sweetly oblivious;” Wallyn plays her as smarter than she lets on, with enough eccentricity that we laugh more at her situation than at her. Keitt’s sweet Julie, being an investigative reporter, is suspicious enough for the both of them. She has feelings for Roger, but there’s something keeping her from accepting his frustratingly frequent marriage proposals. Bauerle keeps his character easy-going throughout, with a sense that there is more to him than he dares to reveal. Shadle gives Charlie an aw-shucks demeanor that appears to appeal to Margaret – as well as Diane. The trio of Haas, Duprey, and Ostby have fun chemistry akin to the “Golden Girls.”

Jan Jamison directs, as well as designing the set and costumes.

This charming, delightful play shows that getting older doesn’t mean life gets any less interesting – quite the contrary. Sometimes all you need are good friends, and a nice mink coat.  

“The Widow in Mink” runs Friday through Sunday, though Oct. 12, at 604 Powell St., Lebanon. Get info and tickets at centerstagecommunitytheatre.com.

‘Absolute pleasure’ in Westfield

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By John Lyle Belden

“The Rocky Horror Show” is the kind of stage performance that defies conventional theatre reviews.

Its cheesy-bad plot and pretensions as an allegedly cautionary tale are taken seriously by absolutely no one in the cast or audience, not even its satirical aspects as a spoof/homage to mid-20th century schlock horror or “this could happen to you” films directed at teens. This is by design. Created by Richard O’Brien and – with the help of producer-director Jim Sharman and the star charisma of Tim Curry – a hit in London (then elsewhere) since 1973, this is not just a tribute to all its movie and music influences, but a completely immersive bizarre entertainment experience.

Main Street Productions of Westfield brings “Rocky Horror” to glorious life to open the spooky season, evenings of Oct. 1-4. Note this means those involved in or attending other local shows can see it on Wednesday. The Saturday, Oct. 4, performance is scheduled for midnight, ending the run in a perfectly demented atmosphere. Also note that this is indeed the stage musical, not the film “Picture Show,” and this is an actual cast – no shadowcast – however, any and all call-backs are welcome and encouraged. Authorized audience props are available for sale – no waterguns – and the show program is on newsprint for use as the newspaper. Finally, because things a bit obscene are portrayed and a lot obscene are shouted, it is recommended for ages 18 and up; viewer discretion advised.

You likely already know what’s happening. If not, just accept the lipstick “V” (for “virgin”) on your face, try to relax and be ready for anything – you’ll survive.

Bradley Allen Lowe is outstanding as the ambisextrous* Dr. Frank N. Furter. This is his world; we’re just dancing in it. DaSean McLucas bravely embodies his creation, Rocky. Kelby Herwehe-Schounce and Dezaray Dagey give incredible performances as Brad and Janet, the two squares caught in the middle of the madness (kudos to them for putting up with shouts of “a**hole/slut” every performance). Logan Laflin throws himself totally into “handyman” Riff Raff. Talje Wiersma compliments perfectly as his twisted sister Magenta, and Alyna Hope Whitis shines as energetic assistant Columbia. The Phantoms are phantastic: Gwen Burke (also Trixie, who sings the theme), Jake Carrico (who doubles as Eddie), Jonathan Ramey (also Dr. Everett V. Scott), Kiara Hollaway, Samantha Kelly, Abby Morris, and Diego Rafael Samaniego. The Narrator, Broden Irwin, apparently does have a neck – but feel free to mock him for not having one, just to see how he reacts.

Bringing this all together are directors James H. Williams and Brandon Schultz, with musical director Ben Rose. Choreography is by Bryttnei Whitehurst (though instructions for the “Time Warp” were already provided – it’s just a jump to the left…).

For those who only know the movie, some scenes are different. Brad gets a song, and while some stage versions don’t have the lines “everybody’s lucky” and “a toast;” both have been worked back in (O’Brien has tinkered with the script over the years due to the film’s popularity). We do recommend buying the props (money supports the theatre) as the “toast” you get is a nice souvenir.  Becky the Bakester has also made appropriately decorated cookies for the concessions stand.  

If this is your kind of show at all, its worth the trip up to Westfield (note the downtown construction detours), at 220 N. Union St. See westfieldplayhouse.org for tickets.

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(*This was an apt description of the character [played by Curry] in a Guardian review of the original production; I couldn’t resist using it here.)