Month: October 2026

Toast a new century with builders of that future

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By John Lyle Belden

Those of us over 30 have memories of Y2K – not just the possibility of computers failing but more the promise that the new century (and millennium) would bring after decades of advances in science and culture. Computer bug aside, this was likely the feeling 100 years earlier, in anticipation of the year 1900. (I would refer to it as Y-MCM but that reminds me of an unrelated song – still, the surreal nature of that thought is appropriate here.)

The play “Building Jerusalem,” by Michael Redhill, presented by Catalyst Repertory at IF Theatre, directed by Tristan Ross, focuses on that liminal space between eras, imagining a meeting of very different minds for a challenging evening of conversation and party games.

It is the evening of Dec. 31, 1899, in The Grange, home of renowned and controversial academic and writer Goldwin Smith in Toronto, Canada. Smith has not arrived yet, but his niece, Alice (Anna Himes) is on hand to welcome the guests: Dr. Augusta Stowe-Gullen (Alaine Sims), a physician and supporter of women’s suffrage; Adelaide Hoodless (Maria Meschi), director of a Domestic Science institute and advocate for milk pasteurization; Karl Pearson (Ross), a very opinionated Darwinist scientist; and the Rev. Silas Rand (Brant Hughes), a missionary to the Micmac tribe of Nova Scotia.

As midnight and the new century swiftly approach, a snowstorm outside prevents Smith from arriving and anyone from leaving. Let the games begin.

Aside from the mind games such a plot generates – or perhaps as part of them – the girl directs these otherwise rational adults in a series of party diversions common to the era. While “Charades” or “Follow the Leader” may be familiar to us, they also indulge in children’s competitions like “Donkey Do,” “Wee Wifey,” and “Zulu.” Being gentlemen and ladies, they play in earnest and accept the “forfeits” prescribed by Alice when necessary, including a very amusing penalty of “Kiss your own shadow.”

The cast bring out the full dimension of these historical figures, staying polite as possible as society conditioned them, yet each standing firm when their area of knowledge is challenged. Ross makes Pearson almost insufferable at times, but in a manner that reflects the attitudes of his time and the conclusions of his studies, not sinister intent. Sims’s Stowe-Gullen, as a turn of that century’s feminist, confronts a different perspective of womanhood in Meschi’s Hoodless, as they each present their shared desire for better and healthier lives. Hughes as Rand, a man usually confident in his Christian stands, finds himself in uncomfortable company, at first losing at the games before getting in a few verbal points himself.

As for Alice, Himes gives us a devilishly childish young lady of uncertain age and hidden wisdom. Adding to the air of mystery (in an era known for Houdini and Spiritualist trickery) is that at several points she performs simple stage illusions as a matter of course – done quite well, in fact.

As this is a difficult show to describe, please believe me that this is an excellent production, eerily perfect for October and perfect for 2026. Mystery, history, idealism, and ideas of “necessary” cruelty combine for a New Years Eve party you’ll never forget.

“Building Jerusalem” has performances Friday through Sunday through Oct. 25 in the Blackbox at IF, 719 E. St. Clair St., Indianapolis. Get tickets at indyfringe.org.

Civic’s ‘Pill’ a strong dose

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By John Lyle Belden

What appears to be just a pop “jukebox musical” turns out to be one of the most important theater works in central Indiana this year.

The Booth Tarkington Civic Theatre presents Alanis Morissette’s “Jagged Little Pill: The Musical,” directed by Civic’s Executive Artistic Director, Michael J. Lasley. The show features all 12 songs on Morisette’s 1995 album – a breakthrough both in international stardom and psychologically as she bared raw emotions in her break from dance-pop (influencing the outspoken and genre-bending women vocalists and singer-songwriters who followed).  The lyrics are all hers, with music co-written by Glen Ballard. The musical also includes eight songs from her other albums, a repurposing of her “Uninvited” (originally on a film soundtrack), and two new songs for this production.

Perfectly matching Morrisette’s style, the book of the musical is by author and screenwriter Diablo Cody. The meshing of lyrics to a coherent plot is not only the most successful since “Mama Mia,” but also delivers impactful messages in a powerful work that stands in a very sum-greater-than-parts way. The uncompromising nature of both Morrisette and Cody comes through in that while this should be necessary viewing for all high schoolers, the language and content keep this strictly PG-13 at least. The circumstances and emotional heft of some scenes even shook adults in the audience.

The story of the musical centers on the Healy family of suburban Connecticut. Mary Jane (Abigail Okerson) stays at home, recovering from a car accident, while husband Steve (Rex Wolfley) works extra hours in Manhattan to keep them afloat. Son Nick (Cole Hurt), a high school senior, has just been accepted to Harvard, while younger adopted sister Frankie (Desirae Brown) deals with being a Black girl in likely the most White circumstances in America. Fortunately, she has a girlfriend, Jo (Kelsey McDaniel), who couldn’t be more out but whose mother insists being gay is a “phase.”

With the arrival of Christmas break, Nick is invited by fellow members of the school swim team to a party (unsupervised, of course) at a classmate’s house. Frankie also goes, invited by new classmate Phoenix (Jacob Schilling), who admired her poetry; they quickly leave, neither liking all the noise and alcohol. Bella (Bridget Dean), who takes on an up-for-anything attitude to fit in, is last seen with popular and well-connected Andrew (Keaton McDorman).

Meanwhile, Mary Jane has been feeling herself drifting apart from her husband, as well as in constant pain as her meds aren’t working anymore. The pharmacy won’t fill another prescription, so she found pills elsewhere, while promising herself that she’ll start cutting her dose.

The next day, news of Bella’s sexual assault – cruelly spread by photos on social media – rocks the school and affects the Healy family in various ways. Everyone’s façade of perfection is shattering.

Like in life, this show has a number of lighter moments as well, aided by the more upbeat songs. The issue of irony in “Ironic” is thoroughly dealt with in a way that lets us know all involved understand how ironically unironic the song is, and that perhaps we should all just lighten up about it. “Head Over Feet” gets an appropriately charming moment as well. Still, this pill is indeed jagged, and the cast are fortunately all capable of the trademark Alanis “wail,” put to great use by McDaniel in “You Oughta Know” and Oakerson in an unforgettable performance of “Uninvited.”

The ensemble of Chloe Boelter, Ashley Chisler, Drew Hedges, Courtney Krauter, Halle Massingale, Joseph Massingale, DaSean McLucas, Larkyn Muth, Aiden Powell, Jade Radford, Matthew Sumpter, and Mary Kate Tanselle fill various roles, and frequently appear on stage as chorus. Aided by Kasey Walker Lewellyn’s excellent choreography, such scenes amplify the impact of the songs without being visually crowded. The ensemble work really shines in the appropriately disturbing new song, “Predator.”

Music director is Brent Marty, with orchestra managed by Al French. Sydnie Blair is stage manager, assisted by Chrysa Conley.

Lasley noted that, of course, no one had any idea when this musical was scheduled that the topic of public shame of and accountability for sexual assault would become as timely as it has in recent weeks. Still, understanding that it has always been an ongoing concern, he said from the first rehearsals onward he took extra measures for all cast members to feel the stage is a safe space. Actors who spoke after the performance expressed gratitude for this. Intimacy director Emily Rogge Tzucker, who has worked regularly with Civic, helped ensure that the performers would stay professional and not take on the trauma of their characters.

The sense of safety extends to the audience as well. Civic coordinated with Prevail, a local organization that supports victims of crime and abuse, to have one of their staff in the lobby during every performance of “Jagged Little Pill.” Audience members are free to leave during the show if they feel upset or overwhelmed and will have someone to talk to.

Performances are Friday through Sunday, Oct. 9-11, and Friday and Saturday, Oct. 16-17, in the Tarkington at the Allied Solutions Center for the Performing Arts in downtown Carmel. Get info and tickets at civictheatre.org or thecenterpresents.org.

Dance Kaleidoscope presents fresh spin on Irving ‘Legend’

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By John Lyle Belden

When a prestigious professional dance company takes on a familiar story, the results are as amazing as they are accessible to a broad audience.

In the spirit of the season, Dance Kaleidoscope presents “The Legend of Sleepy Hollow,” adapted, choreographed, and directed by Joshua L. Peugh. The short story by Washington Irving, set in the years following the Revolutionary War in rural New York, has been deepened from its usual brief telling into a 75-minute program in contemporary and balletic styles. The narrative and atmosphere can get a bit frightening, so this is recommended for ages 13 and up.

Historically, the area around Tarrytown (including Sleepy Hollow) was a frequent battleground between American Continentals and the British Redcoats, joined by Hessian mercenaries, leaving many on all sides dead (including locals of varying allegiance and descendants of the original Dutch settlers). There was even a report of a Hessian officer being decapitated by a cannonball, only identified by his uniform as the head was never found.

This background is a vital part of Peugh’s production. We are frequently visited by various denizens of the spirit world, as well as the restless dead. The dancers in these roles appear in masks, often gauzy to make their faces even more haunting.

Company member Zay puts his slender body to work as the central character, Ichabod Crane. Being sensitive and superstitious, he quickly starts seeing things upon his arrival in town. Ever the academic, he banishes the dark visions with a wave of his book, but they won’t stay away long. He gains the patronage of well-to-do farmer Balt Von Tassel (Nathan Rommel) in setting up his position as schoolmaster, hoping to also gain the hand of his daughter Katrina (Julie Russel) for both her beauty and eventual inheritance (not so much a matter of greed as of honest opportunism). Katrina is flattered but not committed. She and Ichabod share an intimate dance and written love letters, but publicly she still spends time partnered with burly Brom Bones (Ryan Galloway).

Just as Crane is not all hero, Bones is not a pure villain. His jealousy over this interloper manifests more in pranks than assaults, made easy by Ichabod’s growing visions. As the days pass in what seems like a normal routine, the ghosts – including of a man Ichabod saw die in a fight that got out of hand – draw ever closer.  

At last comes the harvest festival, where Brom – dancing with a pumpkin – delivers a frightening tale. The rest of the story, you may already be familiar with. Just be sure to hold on to your hat (and what it rests on).

Our spirits of soldiers and villagers are joined by flying witches, a Woman in White (Savannah Rolfe) and even The Great He-Goat (Rommel). Filling the various roles, as well as living residents, are George Brous, Natalie Campbell, Ryan Jaffe, Gavin Kimmel, Marie Kuhns, Briah Napier, Morgan Ranney, Sarah Tylor, and Manuel Valdes. The famous climactic chase features Kimmel as The Horseman with Jaffe puppeting the frighteningly beautiful horse (designed by Nicholas Peugh).

The movement is exquisite, telling an easy-to-follow narrative while blending with the production’s overall haunted look. Historic McGowan Hall, practically across the street from the Benjamin Harrison house on North Delaware, is spooky from the moment you step inside. This continues onto the spare stage by scenic designer William Boles, with cornstalks standing sentry at the back that eventually move inward like the marching forest of Shakespeare fame. To display pride in the new nation, a giant 13-star Old Glory briefly spreads above. And as spirits can pass through walls, don’t assume there’s a “fourth wall” here. Incredible costuming was designed by Elizabeth Bourgeois. Evocative music was composed by Brandon Carson.

So – no “Trick” – here’s a “Treat:” The premiere of Joshua Peugh’s “The Legend of Sleepy Hollow” continues into a second weekend! Performances are Friday through Sunday, Oct. 9-11, at 1305 N. Delaware St. Get tickets at www.dancekal.org.

A perfectly chilling part of the Indy Spooky Season (with plans to return next October), this “Sleepy Hollow” may itself become legendary.

IRT presents riddle of ‘Da Vinci Code’

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By John Lyle Belden

It’s been more than 20 years since the world was fascinated by the best-selling novel “The Da Vinci Code” by Dan Brown, which stirred controversy and was adapted into a Tom Hanks movie.

Adapted for the stage by Rachel Wagstaff and Duncan Abel, this thriller involving centuries-old secret organizations in and around the Catholic Church is at the Indiana Repertory Theatre, directed by Benjamin Hanna.

The story begins with a murder at the Louvre museum in Paris. Visiting professor and famed symbologist Robert Landon (Nate Cheeseman) is summoned to help decipher the crime scene – and because the message slain curator Saunière (Ryan Artzberger) left behind referenced Landon by name. Police officers Bezu Fache (Sean Blake) and Collet (Devan O’Malia Mathias) are obviously suspicious; meanwhile police cryptographer Sophie (Meghan Kreidler) takes Landon aside to tell him she is Saunière’s granddaughter and this situation is more fraught than he realizes. Soon, after finding more clues in the museum’s works by Leonardo da Vinci (including the Mona Lisa), Landon and Sophie are on the run, eventually seeking da Vinci expert Sir Leigh Teabing (Steve Routman). The killer, Silas (Sam Pearson), a fanatical monk in the order Opus Dei, is pursuing them as well.

The cast also includes Jen Johansen, Derdriu Ring, and Eric Sharp as Teabing’s assistant, Rèmy.

The object of this deadly quest is to find the Holy Grail. As everything in this story has more than one meaning, we learn that the “chalice” is not a cup, but a woman.

Hanna’s direction keeps the suspense taut and performances are first-rate. Cheeseman presents an excellent guide to the mysteries Landon uncovers. Kreidler’s Sophie is right there with him, a partnership of minds more than hearts, with no distracting romance. Routman presents a deceptively charming old adventurer. Pearson gives Silas absolute devotion to his cause, making his ritual self-inflicted pain an indication that he holds no qualms about hurting anyone else.

As for the story, it follows the book fairly well. As a Grail hunt, I felt this falls somewhere between Indiana Jones and Monty Python. While the twists have varying levels of predictability, overall, this high-stakes race across France and Britain is a fun ride. Bear in mind that aside from the characters and story, much of the underlying lore is also fiction (“Or is it?” some would ask).

The look of this production adds to the intensity of the action on the stage. The open scenic design by Christopher and Justin Swader is inspired by the Louvre’s glass pyramids (added to the museum in the1980s) with the triangles hinting at ancient secrets, or as angled lines a suggestion of a situation off-kilter. Lights (designed by Bentley Heydt) play into the mystery – for instance, illuminating the “Rose Line” that is part of the search. Still and video projections by Katherine Freer also contribute, as the IRT continues to make excellent use of the technology.

Follow the clues as puzzles are pondered and secrets sought on the way to breaking “The DaVinci Code.” Performances run through Oct. 19 at 140 W. Washington St. in the heart of downtown Indianapolis. Tickets and info at irtlive.com.