By John Lyle Belden

The Ray Bradbury Center at Indiana University – Indianapolis continues to improve the literary profile of the city with its recently completed fifth program of Festival451Indy. The focus was on Bradbury’s story collection, “The Illustrated Man,” in which 18 science-fiction stories are related by the titular character. His various tattoos each appear to move on its own as it relates a tale to the viewer.

We managed to see two performances inspired by this work at venues on Indy’s Massachusetts Ave.

“Plasma/Prayers & Machines” was an avant garde movement and sound performance by Angel Poveda Yanez, held on Sept 26 at IF Theatre. This piece was inspired by the Bradbury story “The Veldt,” one of “Illustrated Man’s” most popular entries. Yanez adapted the concept – two children, addicted to the technology that raised them, choosing the machine over their parents – to wonder what their lives and sense of self would be when their electronic world runs out of power.

The movement expresses curiosity, a sense of play, terror, and searching. This is performed to an atmospheric sound design by Sophie Barker, incorporating electronic sounds, a looper, and a theremin to great effect. In the post-performance audience discussion, it was revealed that Yanez and Barker had only met a few weeks earlier and had composed and designed this collaborative work in less than a month, making this its world premiere.  

Wendy and I, as well as other audience members, found that if you are open to this experience, its narrative seems to reveal itself and what seems at first just weird and bizarre congeals into an interesting whole. Having a bit of exposition afterward did aid our appreciation of the piece. My main suggestion would be some hints at the context prior to future performances.

“The Autumn Country” was a more approachable stage experience, presented the weekend of Oct. 9-11 at The District Theatre. This collaboration involved local performer and playwright Ben Asaykwee, Emmy-winning actor Bill Oberst Jr., and Bradbury Center director Jason Aukerman, who made his acting debut as The Illustrated Man himself.

In a blending of various Bradbury works, Will and Jim – boys from “Something Wicked This Way Comes” – are adults making their way home to Green Town when they encounter the Illustrated Man, who has introduced himself with “The Worm Ouroboros,” a powerful poem written by Aukerman (inspired by Bradbury). Triggered by the “illustrations,” they take turns delivering monologues based on “Remembrance,” “The Rocket Man,” “Pillar of Fire,” The Exiles,” “The City,” “The Lake,” and, of course, “Something Wicked.”

In a past production, Oberst gave a full-length performance of “Pillar,” which informed the intensity he gave here in a shorter passage. Asaykwee gave “Exiles” his humorous touch as we “meet” various masters of fiction in what becomes a tragic story. Overall, the play had various Easter eggs for Bradbury fans to find. After the performance, it was noted that “Rocket Man” was indeed an inspiration for the Elton John hit.

The collaborations in both stage works helped engender an inclusive atmosphere within the festival. This spirit should hopefully inspire more creatives to contribute to the Bradbury Center’s legacy of speculative art and storytelling.

Visit theraybradburycenter.org for information on the Center and future programs – including the return of the 451 Festival at the start of the next Autumn.