Author: PWJW_Indy

Civic ‘Anne Frank’ stirs young audience

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By Wendy Carson 

This past Wednesday, I was fortunate enough to be allowed to attend one of the special student showings of “The Diary of Anne Frank,” at the Booth Tarkington Civic Theatre. It was eye-opening for all, to say the least. Overhearing their comments both during and after the show helped drive home how important theatrical productions of Holocaust stories are in our world.

With most of the audience being of roughly the same age as Anne, the tragedy of her life and situation really resonated with the students. While they were aware of World War II as history, seeing the images in context really drove these horrors home. After the performance, most were busy wiping tears from their eyes, even those who had read Anne’s “Diary of a Young Girl” prior to attendance.

The power of the show begins with the spectacular set design of Ryan Koharchik. The multi-level set reflects the spaces these souls were forced to inhabit during their two years in hiding but the grim truth of the situation comes from the high, chain-link fence topped with razor wire that serves at the back wall to the show. This also allows for Michael J. Lasley to project timely background photos to further the message beginning with the initial one of Anne’s photograph and actual pages of writing from her diary. Lasley also has a short moment on stage near the end of the show.

While Wendy Kesselman’s new adaption of the play by Frances Goodrich and Albert Hackett is stirring, nothing would ring true without the amazing skills of the actors here, under the direction of versatile theatre artist Claire Wilcher. Especially since many regular theater goers will know several of them for their numerous comedic roles and will be delighted to see their incredible range highlighted here.

Rebecca Piñero brings the shy stoicism of Anne’s older sister Edith to light, keeping her character from being overlooked and fading into the background.

Kevin Caraher as Mr. Kraler, who keeps the doors to the Franks’ business open and running while ensuring no one else is aware of the eight souls above, shows both the hopefulness and fear of his role.

Mookie Harris as the dentist Mr. Dussel keeps his character cold and very removed from the others he is with, but also hints that this is the character’s way of shielding himself from the devastation of losing more people he cares about.

Jay Hemphill and Carrie Reiberg as Mr. and Mrs. Van Daan bring the elitist pomposity out in their characters, yet still show us the struggles of a couple terrified of the situation they have been put into.

Garrett Rowe, as Peter Van Daan, brings his character’s growth from fear at being thrown into a new situation with unbearable co-inhabitants, delicately budding into happiness and growing romance throughout their time together.

David Wood as Otto Frank keeps the optimistic outlook as the leader of this group of survivors. Brittany Magee’s maternal turn as Edith Frank is perfection indeed. She enacts the struggles and sorrows of a mother fighting to keep control of her family and situation so well you might think she has raised a slew of teenagers herself.

Anyone who has ever witnessed her on stage before obviously knows the spectacular comic whirlwind that is Kelsey VanVoorst. Now we are a party to the depth of her pathos as she portrays Miep Gies, the character most at risk of tragedy for her part in this endeavor. VenVoorst keeps Miep as upbeat as possible as she bravely smuggles in the supplies to keep the group alive during their time in hiding. The strength and resolve that keeps her going are evident as she forces herself to find the happiest news she can find to share with the families.

Finally, we arrive at the cornerstone role of the play, Gemma Rollison as Anne Frank (alternately played by Sydney Pinchouck on Feb. 28 and 24). Known as a brave girl who fought through so much to keep herself optimistic through her lifetime, this side of Anne is presented perfectly, yet Rollinson also brings the girl’s precocious and obnoxious spirit also noted in her writing and memories of her surviving father. Beginning as an oblivious 13-year-old who thinks teasing her companions is the height of joy, Rollinson exquisitely brings out Anne’s changes into a budding young woman by the show’s end.

As this country has recently experienced fear and confinement from a life-threatening disease, it feels like we can identify somewhat with the desperation and anxiety faced here. However, the fatalities of the Coronavirus are nothing in comparison to the horrors of the Holocaust. This grave, terrible reality is precisely why these stories must be told and retold. As the years pass and memories begin to fade, we must ensure that this dark chapter of the past is never forgotten or allowed to recur. The Indianapolis Jewish Community Relations Council is on hand in the lobby to provide information of how to participate in continuing this vital effort.

After seeing the reactions of the young people in the audience, I urge you to get as many of them to this show as you can (as well as yourselves). While the subject matter is rather intense and is probably not suitable for all ages, anyone 13 and up really needs to see what life could have been like for themselves if they had been born during this time. Performances run through Feb. 25 (public showtimes at 7 p.m. Thursdays through Saturdays, 2 p.m. Sundays) at the Tarkington theatre in the Center for the Performing Arts in downtown Carmel. Get info and tickets at civictheatre.org or thecenterpresents.org.

Unflinching, uncompromising ‘Road Trip’

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By Wendy Carson

As you can guess by the title, “Abortion Road Trip,” Fonseca Theater Company’s latest offering deals with one of the most polarizing subjects of the last fifty-plus years. Rachel Lynett’s script delves into the reasons and reasoning behind the choice to have, or not have, an abortion. Nothing is sugar-coated here, which is why it is important for women especially to see and hear this story. I’m not saying it will change your opinion, but it will open some eyes as to what access to this single procedure actually means for the female gender.

Set in 2016, just after Texas made abortion access illegal, sisters Minnie (Leona Jones) and Lexa (Viviana Quinones) hire a cab to take them from their home in Houston to the nearest clinic in Albuquerque, N.M. (nearly 885 miles, according to Google). Lexa’s aversion to flying, she says, is the reason behind this strange mode of travel.

While on the road, Lexa, Minnie and their Driver (Carrie Ann Schlatter) talk through the incidents and choices that have brought them all together in this “adventure.” While Lexa is unwavering in her decision to have the abortion, her manic questioning and need for them all to “get heavy” hints at her anxiety over her entire situation.

These vignettes are acted out with the help of Megan Ann Jacobs, who portrays both Taylor (Driver’s wife) and Quinn (Lexa’s best friend and Minnie’s girlfriend), and Paige Scott as the sisters’ loving Mom. I would like to note that for anyone who thinks the stories are absurdist propaganda, I have either experienced or been a party to every one of these scenarios. They are far from uncommon or false.

The sets and props are sparse but road trips and memories need little to be portrayed, making the minimalist approach of Bernie Killian (scenic design) and Rebekah Radloff (props) a fitting lack of distraction. Mad Brown’s costuming skills are highlighted in the change of wigs and clothing to differentiate Quinn from Taylor.

Under the delicate guidance of director Abby Scharbrough, the cast brings this story together beautifully, leavened with dark yet appropriate humor. Jones shows Minnie’s courage and determination in finding her own way without ever feeling diminished in spirit. Quinones shows Lexa as a female who is realizing that she’s no longer a carefree child and now must make adult decisions and deal with their ramifications to everyone else in her life. Schlatter also balances her own character’s change from impartial non-observer to somewhat-willing participant by baring her own scars but holding back enough detail to keep their origins her own.             

Jacobs manages to craft her “accessory” characters into real beings. She shows Taylor’s journey through betrayal and tragedy, ending in a loving hopefulness for the future. Meanwhile, she gives Quinn a kindly sweetness that manages to belie her personal beliefs until they reach their ultimate conclusion.

Perhaps the most effective and stunning turn is Scott as Mom. She brings the love, understanding and warmth that we have all craved from our own mothers but they could never quite equal to the unconditional love and support shown here.

Whatever means of transportation you personally choose, use it to get you to the Fonseca Theater and watch this curious road trip unfold, through Feb. 26 at 2508 W. Michigan St., Indianapolis. Get tickets at FonsecaTheatre.org. (Note: The regular Saturday performance time is now 4 p.m., allowing audiences the evening free for other activities – maybe another play!)

Epilogue brings monster tale to life with radio magic

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By John Lyle Belden

When dealing with a familiar favorite story, the best part is in how it’s told.

In “Frankenstein: The Radio Play,” presented by Epilogue Players, Mary Shelley’s classic novel is presented as a radio drama produced in 1940s London – an escape from the horrors of the real world. Adapted by Philip Grecian from his stage play, based on Shelley’s 1818 book, the production gives us a theatre of the mind experience while providing a glimpse into how the audio magic is made.

The immersive experience goes a step further by not renaming the actors as British counterparts, and by including radio ads promoting every advertiser in the program. This may be the best promotion English Ivy’s restaurant and bar (in today’s Indianapolis, just down the street) has ever gotten.

Craig Kemp (actually from the U.K., by the way) voices the titular figure, Victor Frankenstein – whom any literature buff will note is the true “monster” of the novel – in fine fashion, from the soothing doctor in love to the ecstatic “it’s ALIVE!” during the creature’s “birth.” Other actors provide major and minor parts (the broadcast audience can’t see them, so switching is a manner of inflection, which they easily do). Principally, Alex Bast is the doctor’s friend and assistant, Henry Clerval; Dale W. Smith is their peer, Professor Waldman; Caity Withers, the studio announcer and producer, is Baroness Frankenstein; Phoebe Aldridge is young Catherine Frankenstein; Melody Simms is Catherine’s governess, Justine Moritz; Bella King is Victor’s cousin and fiancé, Elizabeth Frankenstein; Grant Bowen is Arctic explorer Capt. Robert Walton, as well as the blind man, Delacey; and Jason Creighton is The Creature (usually referred to by epithets, by himself as Adam/Lucifer, but never as his “father’s” name), giving an appropriately powerful rendition of the misunderstood beast.

Also deserving of star billing are foley artists Amanda Greene, Roger E. Dutcher, Karen Markle, and Zach Thompson, who undertake complex effects with as close as the era allowed to surround-sound. Seeing the various gadgets used only adds to the fun while their acoustical accuracy doesn’t break their spell. Daniel Watson directs and composed some of the music, performed by Bethany Watson on piano.

Glancing over the novel’s plot summary as well as various films from James Whale to Kenneth Branagh and variations including breakfast cereal and Abbot & Costello, I probably should make some notes of the story here. This play does start and end on Cpt. Walton’s ship approaching the North Pole. Henry sounds quite handsome, with no hunchback noted, and is a fellow scientist, not a servant. Also, a critical plot point, the brain supplied to the creature is that of a genius Victor admires (not “Abbie Normal”), which becomes evident at the Adam’s clarity after his initial mental fog, making his reasoned impulses for revenge more menacing. Finally, there is no postmodern wink or sight-gags among the English cast; this show is played for chills, not laughs.

Performances run through Feb. 26. Space is limited at the little theatre on Hedback Corner, 1849 N. Alabama St., and tickets are selling fast. Get yours at EpiloguePlayers.com.   

Fogg vs. Fix in frantic farce at The Fort

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By John Lyle Belden

While 19th century author Jules Verne indulged in some of the first popular works of what came to be known as science-fiction, one of his most popular novels dealt with a bit of science fact: in the 1800s it was possible to travel around the entire Planet Earth in under three months.

However, Belfry Theatre has only two hours to show how it was done, so thanks to dramatic license, a talented small cast, and a table full of radio-era sound effects – employing a comic adaptation by Mark Brown – we go “Around the World in 80 Days” at Theater at the Fort in Lawrence.

French adventurer and stickler for details Passepartout (Bryan Ball Cavajal) seeks to take it easy as a manservant for the most predictably boring gentleman in London, Mr. Phileas Fogg (Brad Staggs). However, on his first day on the job, Fogg rushes home and says to pack a carpetbag at once and hands Passepartout a big roll of British banknotes. It turns out our master has taken up a wager against the men at his posh club to travel around the world in 80 days – or less! – taking advantage of modern steamships and a newly-completed railway in India.

The era’s technology makes the journey possible, and Fogg’s mathematical mind helps him get ahead of schedule. However, Scotland Yard Detective Fix (Austin Uebelhor) suspects the money our hero hands out freely was stolen by a mysterious Gentleman Bandit. If the warrant arrives at a stop in the global British Empire at the same time as “Inspectimafix” and Fogg, arrest and detainment could mean losing the very expensive bet – even if our traveler is innocent. Fortunately, Fix is no fox, and the globetrotting chase takes some interesting turns.

The story is acted and narrated by a cast that also includes Sarah Eberhardt as practically every officer, sea-captain and official in the Empire; Uebelhor in other costumed personae; Eric Dixon in various parts as well as noises at the Foley table; and Barb Weaver, who also plays Auoda, the doomed widow rescued in India by Fogg and Passepartout. Directed by Eric Matters, this production is loaded with wit and sight-gags, paced so you’ve experienced quite an adventure by the time our party returns to London.

The antics of Cavajal, especially when sparring with Uebelhor, are a delight. Everhardt’s versatility and comic timing are impeccable. Staggs keeps Fogg as stiff as his stovepipe hat, while allowing enough humanity to keep him likable, especially in Weaver’s charming presence.

There are actually only three days left on this fun journey, with four performances: Friday and Saturday evenings, Saturday and Sunday afternoons, Feb. 17-19. Catch the action at 8920 Otis Ave., Lawrence. Get info and tickets at TheBelfryTheatre.com or ArtsForLawrence.org.

GHDT reflects recent changes in ‘New World’

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By Wendy Carson

Gregory Hancock Dance Theatre’s first offering of the new year showcases the newly renovated Florence performance space. Named in memory of founder/director/choreographer Gregory Glade Hancock’s beloved mother, the intimate space is ideal for the audience to more vividly experience the efforts of all involved. “New World Dances” is an appropriately powerful choice to christen the space.

The show highlights dances created during the recent pandemic years, previously presented as “Dances for a New World” on stage and online, highlighting the emotional rollercoaster experienced by everyone during that time. Except for one notable exception, the dancers are not touching each other, enhancing the sense of isolation they each felt (and reflecting the fact each had to work alone during quarantine). Hancock noted that this collection of dance works is not his typical visual storytelling. While there is some discernable narrative, the emphasis is more on expressing the emotions felt as the entire planet entered today’s “new” world.

 From the very start, you’re aware this is going to be an experience that you won’t soon forget, with movement open to numerous interpretations. I highlight just a few pieces here along with what they conveyed to me (your results may vary).

The opening number, Isolation, has each dancer wearing a rubber “Plague Doctor” mask (think giant crow head with goggles) and performing the same choreography in staggered succession. The angst and desperation I felt made me think of the various locations worldwide dealing with the unknowns of the Corona virus. They all came to the same conclusion but each in their own time.

Also highlighting this era: Casualties hearkens to the riots and civil unrest throughout our country; Denial shows those who never took any of this seriously until it came into their own lives; and Media has individual dancers weighed down by huge tangles of video tape, engaging our search for truth through the lies flooding in from everywhere.

There are four solo dances in the show. One is performed by the lone male in the group, Thomas Mason, while the others are performed by one of a pair in that slot. Who each is and the dance they perform will depend on the date you attend. 

The first of these, performed by Abigail Lessaris during our show (Josie Moody alternates) seemed to convey our search for normalcy in our new situations while keeping yourself optimistic. Chloe Holzman (Hannah Brown alternates) gave us a celebration of our new skills learned and paths taken during this time (think all that sourdough bread we made). Camden Lancaster gives us the final solo (Olivia Payton alternates) in which her bubbly joy seems to reflect the hope for a return to normalcy with the rise of vaccines and lessening of cases and restrictions.

The final two numbers, You Can’t Stop Love and A New World show not only the fear and awkwardness of our return to “normalcy”, but also our resolve, determination, and strength to conquer all future problems whether we be physically together or separate.

The “G2” student dancers – Zoe Hacker, Allie Hanning, Audrey Holloway, Audrey Springer, Rebecca Zigmond – also display their talents in two superb numbers.

With costumes also designed by Hancock, the dances are a visual spectacle of color and movement. Hancock’s style does reflect his love of Southern Asia, but other influences emerge, with the finale more resembling classic ballet.

We are happy to add that, unlike the one-weekend dates at the Tarkington, this show continues for two more, through Feb. 26. The Florence is contained within the Academy of Gregory Hancock Dance Theatre, 329 Gradle Drive, Carmel. Get information and tickets at GregoryHancockDanceTheatre.org.

BCP toasts friendship in ‘Bridesmaid’ comedy

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By John Lyle Belden

As entertainments like “Designing Women” and “Steel Magnolias” prove, you get four Southern women of a certain age together as best friends, and all manner of hijinks will ensue. Over time, this tends to involve marriage as besties take their turns as “Always a Bridesmaid,” the comedy by Jessie Jones, Nicholas Hope and Jamie Wooten, presented by Buck Creek Players.

Kari (Kirsten Cutshall) has grown up in the shadow of such ladies, as she takes a moment during her own wedding reception to remark on the nuptial adventures of her mother, Libby Ruth (Cyrena Knight), and lifelong pals Monette (Melissa Sandullo), Charlie (Lea Ellingwood) and Deedra (Shelley Spate).

When the foursome found themselves without dates at their high school senior Prom, they pledged to be there for one another’s eventual weddings. The ceremonies all happen at lovely Laurelton Oaks, near Richmond, Va., managed by shrewd Sedalia (Nancy Laudeman).

Could third time be the charm for vain Monette? Is Charlie, who would rather work her garden in jeans than stand around in a dress, jinxed? Will Deedra, a respected judge in D.C., find a man who truly respects her at home? And who gave Kari champagne? This could be more than super-organized hopeless romantic Libby Ruth can take.

As you’d expect, this show has a lot of heart, as well as gut-busting hilarity as weddings go awry in various ways. This involves all four of our friends, as well as Sedalia, who “hasn’t lost a bride yet” and eagerly takes on extreme measures to maintain her record. Playing a character of the same generation as the others, Laudeman’s portrayal fits right in.

Each of the foursome has a distinct personality, which Knight, Sandullo, Ellingwood, and Spate manage to keep above caricature. Directed by Mel DeVito and Nickie Cornett, they keep the farcical moments coming with excellent timing, and give us characters of such dimension that we even get an excellent sense of the men in their lives.

Cutshall is charming, and comedically sharp even as Kari’s senses dull. We must also compliment costume designer Donna Jacobi, especially with the “theme wedding” dresses and the “ghosts of bridesmaids past” scene.

You are cordially invited to “Always a Bridesmaid,” with tickets selling fast for performances Friday through Sunday, Feb. 17-19, at Buck Creek Playhouse, 11150 Southeastern Ave. (Acton Road exit off I-74), Indianapolis. Info and tickets at BuckCreekPlayers.com.

Westfield presents classic drama with current feel

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By John Lyle Belden

“Night Must Fall,” a classic thriller by Emlyn Williams, who also starred in its original 1935 London production, haunts the stage of Main Street Productions in Westfield, directed by Ian Hauer.

In an English countryside estate, bitter Mrs. Bramson (Julie Wallyn) rules from her wheelchair, tolerated by sassy housekeeper Mrs. Terence (Ashley Engstrom) and timid maid Dora (Cassie Knowling), and with a hint of familial obligation by niece Olivia (Rachel Kelso), whom she uses, with unearned distrust, as a personal secretary. When we meet them, Bramson is attended to by visiting Nurse Libby (Lizzie Schultz) while milquetoast family friend Hubert (Matt Hartzburg) tries in vain to woo Olivia.

When the matron seeks to sack Dora for tardiness, the girl confesses to be pregnant. Morally outraged, Bramson nonetheless keeps the maid on the condition that the man who will be the father present himself and commit to marriage. Enter “Babyface” Dan (Adam Phillips) whose lilting peasant voice seems to carry a hypnotic note, quickly winning over the usually suspicious woman.

Soon, Scotland Yard Inspector Belsize (Ian A. Montgomery) visits, inquiring regarding the disappearance of a woman last seen at a local nightspot Dan had been known to frequent. This clinches Olivia’s already growing suspicions, but while she makes her own investigation of their handsome new houseguest, could she be slipping under his spell as well?

This drama also features Brad Staggs in an ominously foreshadowing voiceover.

Under Hauer’s direction, Williams’ script feels ahead of its time as a tense character study of sociopathy – “What’s behind his eyes?” Olivia marvels. Our 2023 audience, having seen true-crime shows, perhaps read such books and heard the podcasts, can only watch as the blind side of human nature fails to foresee what unfolds. These things couldn’t happen decades ago in beautiful genteel Essex, England – until they do.

Wallyn manages to keep Mrs. Bramson equal parts harsh and human. She is not a dupe so much as failing to realize she is being played like an instrument by a virtuoso of persuasion, which in its own way helps us to feel for her, despite her edges.

Kelso is given a lot to work with in two acts, managing to keep pace with Olivia’s odd trajectory. Engstrom adds to the humor factor with Terence’s gaelic-accented commentary, a very what-you-gonna-do-fire-me attitude that Bramson somehow respects. Knowling’s Dora is a bit of a leaf-on-the-wind character, who craves not being the center of attention and is visibly relieved when talk of marrying Dan seems to cease.

Montgomery makes the most of his few scenes as the Inspector, exuding authority while wielding it with tact. Meanwhile, Hartzburg keeps his softy Hubert fairly likable, a character sadly out of his depth who should find love in a much nicer play.

If only posh folk understood the warning of ironic nicknames like “Babyface.” Phillips eases into a character that grifts as easily as breathing. His Dan blurs the line between kind and suspicious behavior so well, he toys with the tension both on stage and among the audience right up to the end.

“Night Must Fall” four more times, Thursday through Sunday, Feb. 16-19, at the Basile Westfield Playhouse, 220 N. Union St. Get tickets and info at WestfieldPlayhouse.org.

Memory of a ‘Wild’ time at Phoenix Theatre

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By John Lyle Belden

I find it interesting that in “Wild Horses,” by Allison Gregory, on stage at the Phoenix Theatre, the main character of the one-woman play is 13 in the 1970s, around when I turned that age.

The story would feel familiar to anyone – recollections of a teenage year when it felt big things were happening and everything was changing – but there is a distinct feel in those days of kids among the first to identify as Generation X, more recent than the halcyon era of the 1950s or ‘60s, but before the decades when technology overtook our daily lives.

The girl we meet is unnamed (though one friend calls her “Frenchie,” likely a reference to the recently-released “Grease” movie) so we see things happen through her eyes. She lives in a countryside southern California suburb with a troubled mother, very strict father, and a 14-year-old sister she calls “the Favorite” whom she resents as much as she loves. Her best friends are accident-prone Skinny Linnie and budding delinquent Zabby, a tomboy with older brothers, Donno (whom our narrator is crushing on) and the eldest, who is aptly called “Mean Dean.”

When you hit your teens, a popular song on the radio is your anthem; for a typically horse-crazy girl, that’s doubly so with America’s “Horse With No Name.” The story opens with her trying to win an unusual radio contest in which entrants are asked to give the poor animal a name. We find out about the Favorite’s dangerous liaison, Mom’s condition – and her little secret – and the adventures our girl gets into with her besties. A badly-planned trip to rob a liquor store turns into an ill-advised venture through the fields of Morningstar Farms, a local horse ranch. A discovery made there in the dark is part of a summer she will never forget.

Directed by Lori Wolter Hudson, “Wild Horses” is performed by two different women: artistic director Constance Macy on some dates, and Jen Johansen on others. Macy, who we saw, notes in the program that the two have quite similar styles, which we agree makes for what we can assure will be an excellent theatre experience. However, the fact that this is a passion project for her does show through in her performance. We see both the woman remembering, and the girl living these events, in the way she presents this unique yet relatable coming-of-age story.

To help set the mood, theatre patrons are encouraged to add to a wall of notes reflecting on what ‘70s music we love and how we were in our youth.

Performances run through March 5 at the Phoenix Theatre Cultural Centre, 705 N. Illinois St., Indianapolis. Get tickets and info at phoenixtheatre.org.

Twisty ‘Trap’ in Bloomington

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By John Lyle Belden

A young playwright has possibly written the perfect thriller – could this lead to a perfect crime?

The less you know about the 1978 play “Deathtrap” by Ira Levin, presented by Constellation Stage and Screen in Bloomington, the more vague I should stay in describing it, as it twists and turns like country road switchbacks. This is a sharply written two-act five-person one-room thriller complete with scares and laughs, about a sharply written two-act five-person one-room thriller… Yes, it does get a bit meta, but in a masterful way, fascinating as it is dizzying.

Directed by Chad Rabinovitz, who couldn’t help adding a little appropriate entertainment of his own during the curtain speech, our talented five persons are:

  • Mark Andrew Coffin as aging playwright Sidney Bruhl, who would practically kill for another Broadway hit, and keeps an awful lot of old weapons around his study.
  • Greta Lind as Sidney’s wife, Myra, who doesn’t mind supporting him with her wealth, yet is afraid of what he might do.
  • John Drea as Clifford Anderson, the aspiring writer who has sent perhaps the only copy of his first play, “Deathtrap,” to Sidney for his perusal.
  • Mary Carol Reardon as Helga ten Dorp, likely the world’s most authentic psychic – though the visions do get fuzzy at times.
  • And, Steve Scott as attorney Porter Milgrim, who comes in during the second act for necessary business, and to advance the plot with clever insights.

Coffin and Drea each give us characters who are simultaneously charming and a little suspicious, and good at dark physical comedy. Reardon relishes her work as a wacky medium, while adding suspense as the audience realizes that all her predictions come true – eventually.

In the intimate confines of the Ted Jones Playhouse, the characters can almost sense that audience witnessing them (none were harmed at our performance, and Constellation staff were standing by), adding to the spooky atmosphere provided by designer Seth Howard’s rustic/Medieval set.

For a February chill, step into “Deathtrap,” playing through Feb. 19 at 107 W. 9th St. in downtown Bloomington (formerly home of Bloomington Playwrights Project, now part of Constellation). Get info and tickets at SeeConstellation.org.

Being in ‘Error’ feels just right

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By John Lyle Belden

It’s fascinating to see Clerical Error Productions expand its offerings beyond an annual parody of a popular offbeat British sitcom. Case in point: company Creative Consultant and Vaudeville Coordinator James Benn just brought to the District Theatre cabaret stage, “In the Life: Songs of Gay Harlem.”

Accompanied by longtime local pianist Carl Hines, Benn introduces himself as Dr. Tyrell Leviticus Worthington, our instructor in American History – to be more precise, American Black LGBTQ History.

Moments later he is settled on his seat by the piano, enlightening us about “The Life” (code for LGBTQ culture at the time) in 1920s and ‘30s Harlem neighborhoods of New York. As we quickly discover, many of the jazz, blues and early pop icons are also Gay Icons, some surprisingly out and proud. The names include Fats Waller, Bessie Smith, Alberta Hunter, Clara Smith, Billy Strayhorn, Ethel Waters, and the legendary Ma Rainey. With his warm earnest delivery, and the perfect beat popping out of his fingers, Benn puts the “easy” in speakeasy, entertaining in a way so everyone in the packed room feels his personal touch.

Also, you come away knowing a bit more than you did going in. An evening with these classics could have you itching to find the records yourself – provided you’ve got something that plays 78s.

Keep an eye and ear out for his next show – follow “James Solomon Benn” on Facebook and LinkedIn – and check out ClericalErrorProductions.com for upcoming productions, including the Beckett play “Happy Days” with CEP founder Kate Duffy, Feb. 23-26 at the District Theatre in downtown Indianapolis.