Author: PWJW_Indy

IndyFringe: Orgasmo Adulto Escapes From The Zoo

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This show is part of the 15th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 15-25, 2019 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By Wendy Carson

Despite the show’s bizarre title, and being produced by locally-renowned troupe, No Exit — purveyors of edgy material and unique productions — this show is delightfully accessible to the average audience. The inclusion of a Sign Language interpreter ensures no one will be unable to experience this spectacle.

The actors involved, however, are costumed more like characters from a Doctor Seuss book but that is just to emphasize the absurdity intended by the source material.

We are directed to peruse our “Menu” and are served up a two- or three-course meal of monologues and sketches that changes for each performance. The offerings are shortened works by renowned European playwright Dario Fo and partner Franca Rame. These are portrayals of situations that, although exaggerated, still present political systems, social context, and somewhat ordinary situations that the audience can easily identify with.

In “A Woman Alone” we meet a harried wife (Carrie Bennett) who has a lot on her plate. Between a creepy and demanding brother-in-law, her baby, an abusive husband, perverted intrusions and a persistent young lover she is just trying to keep up with everyone’s demands for her time while staying somewhat sane.

“Waking Up” shows us a portrait of a woman (Andriana Zermeno) who is at her wits end coordinating her work, baby (A.M. Elliott), and husband. Her struggle to remember where she left her key offers great insight in discovering how she has become the mess we are presented with.

The final story, “Monologue of a Whore in a Lunatic Asylum” is presented almost entirely without words but relays the trials and tribulations of women whose voices were rarely heard anyway. Anastasia N. Greenberg gives a stunning performance in the title role while Elliott and Bennett embody the cold indifference of the Doctors responsible for her “care”. Zermeno makes a tiny cameo as an escaped patient witnessing the end of this tragic tale.

Again, I urge you to not be put off by the irreverent title or cartoonish look of the show. Remember, satire is meant to be exaggerated and missing these important scenes from our history is the way to realize how far women have come and how much further we have yet to go.

Performances are today through Saturday (Aug. 17-24) at The Oasis at the Murat Shrine (go in the Shriner entrance on the north side of the building, 502 N. New Jersey).

IndyFringe: Pretty Face – An American Dream

PWJW_Indy IndyFringe, Reviews, Stage , , , , , , , ,

This show is part of the 15th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 15-25, 2019 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By Wendy Carson

You know this is going to be a wry, political show when you first see the open suitcase onstage with a sticker blacked out to now say, “Make ME Great Again”.

Amanda Huotari begins the show by emulating a chicken who begins to orgasmically hatch an egg but then swiftly switches to her Miss America persona that will woo the audience and then tell us the fateful tale of one Miss Tiffany Trump.

You know her, right? Ivanka’s sister; Trump’s “love child” with Marla Maples; the one child who most people can’t name; and is not currently in the White House constantly making the news for following Dad’s directives.

Her story, while mostly forgotten by the public (often due to Daddy’s other outrageousness) is shown here to remind you of Trump’s true colors towards one of his brood that he felt was not up to his standards.

Peppered with actual quotes and vignettes from the past, we are privy to the real workings of Trump’s mind and shown that his current disregard for the country was already telegraphed in his treatment of Tiffany and her mother. Remember, he actually said that when he ran for President, “He didn’t want to win, he just wanted to make money.”

Is there a way to re-embrace the American Dream? Is it possible to eschew the current atmosphere of tyranny and become more civilized and cooperative in our efforts both personal and political? Can we once again be truly free?

As you only have two more opportunities — 9 p.m. today and 4:30 p.m. tomorrow (Aug. 17-18) at the Indy Eleven (719 E. St. Clair) — I suggest you make it a priority to find out.

IndyFringe: Vixen DeVille Revealed

PWJW_Indy IndyFringe, Reviews, Stage , , , , , , , , , , ,

This show is part of the 15th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 15-25, 2019 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By John Lyle Belden

A burlesque show like no other, if you can at all make it, you must see “Vixen DeVille Revealed” in one of its two performances this weekend – 3 p.m. today and 6 p.m. Sunday (Aug. 17-18) at the Indy Eleven theater (719 E. St. Clair). Yes, I put the pitch at the top, in case you are reading this with only a few minutes before showtime. It’s that important.

Mind though, this Londoner does use extremely salty language, and we might get down to the pasties at the show’s climax, but otherwise this is an exciting, entertaining, hilarious and inspiring teens-and-up show.

We get right to business with Ms. DeVille, star of stage, horror flicks, and TV’s “Masters of Illusion,” with a game of “Is There Enough Broken Glass on Stage?” She not only performs glass-walking (with a little bit of striptease) but as an entertainer who enjoys teaching, she will instruct an audience member to walk on the shards as well (only needing to remove shoes and socks).

She goes through various routines as she describes how she became a burlesque entertainer despite being unable to sing or dance, and self-conscious about stripping. She also explains how she is not a magician, but she needed to work up a sword-box illusion so that she had an excuse to buy the sword that goes with the “beacon of shame” corset. During costume changes, we are treated to video footage and recorded interview snippets that add a lot to the show, and don’t feel like filler.

As we learn more, we get glimpses of Cat LaCohie, the former shy nine-year-old who always wonders if she’s good enough. This side especially shows when an accident nearly destroys her arm, and her confidence. Her vulnerability in telling the story transforms this show from great to brilliant. There has been an acrobatic hoop hanging over the stage this whole time – it has changed from just part of her act to a triumphant ascendance.

Kudos, by the way, to her faithful Kitty, as well her sword-box accomplice.

The only downside is that the show runs long, even with having to cut out the fire-eating segment due to venue safety rules – so it might be rushed or spill over in remaining performances. But do stay to the end.

IndyFringe: The Reluctant Mind Reader

PWJW_Indy IndyFringe, Reviews, Stage , , , , , , , , ,

This show is part of the 15th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 15-25, 2019 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By John Lyle Belden

Brendon Ware was cursed with the ability to read minds. Because he enjoys lying, we have to just take his word for it; nevertheless he will make sure we all suffer for it – laughing the whole time.

“I’m a de-motivational speaker,” he says, as he tests a relationship, shows how he cheats at reading, tells you what was in your pocket, and even makes you feel bad for winning money. And despite his best efforts to use his powers for evil, it will thoroughly entertain you.

As I’ve hinted, there is plenty of audience participation, but it won’t hurt (trust me).

I know what you’re thinking: “I should see this.” Well, you only have two more shots during this Fringe: 6 p.m. today and 9 p.m. tomorrow (Aug. 17-18) at the Indy Eleven (719 E. St. Clair).

IndyFringe: What They Said About Love

PWJW_Indy IndyFringe, Reviews, Stage , , , , , , ,

This show is part of the 15th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 15-25, 2019 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By Wendy Carson

Actor Steven Budd gives us a look into his personal journey of self-discovery regarding his ability to understand love and relationships.

We start with a trip to Oaxaca, Mexico, for his 50th birthday. He is set up on a blind date with the woman of his dreams and they proceed to fall madly in love with each other. Could she be “The One”?

After he reluctantly returns home they spend a month on Skype learning more about each other. Finally, it is time for her to visit him, but she is persistent about her desire for him to give her a ring to wear once she gets there. Are they moving too fast? Is he ready for this step? Needless to say, he is overwhelmed by it all. He loves her, but doesn’t know if he can adjust to her idiosyncrasies.

Interspersed within this narrative are clips of various couples he has recorded relating their own stories of finding their mates. These anecdotes are touching, gritty, and sometimes just a bit zany, but they offer endless insight into all the work and love that goes into making a relationship.

Can he overcome his Neurosis and make it all work? Does he know how or even have the capability to be in a commitment? Find out for yourself before Steve and the show are gone: performances are 7:30 tonight and 1:30 p.m. tomorrow (Aug. 17-18) at the Indy Eleven theater (719 E. St. Clair).

IndyFringe: Nharcolepsy

PWJW_Indy IndyFringe, Reviews, Stage , , , , , , ,

This show is part of the 15th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 15-25, 2019 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By Wendy Carson

Harrington & Kauffman, the creators of 2017’s smash hit, “Cabaret Terrarium” are back and funnier than ever. This easily became my favorite show of the Fringe so far — and I knew it was going to be a very interesting evening as we were instructed to take handfuls of balls from the large box on our way in.

Belgian cabaret singer Gustave and his ever faithful assistant Nhar have eschewed their previous jobs in order to pursue a childish dream. Gustave’s Grandmother told him stories of the Yeti and he promised her to search for the elusive creature. Their strange, sad journey is detailed in story, song, and dance. We learn of the Fish Rod Bucket Toss, The Symphony of the Seal Horn and of course, the Mystical Dance of the Yeti.

Since the trek has stranded them at the North Pole and they are out of food & supplies, this will be their final performance. How are they here in Indy? How are we, the audience, able to see them? Will they actually find the Yeti? What exactly are the balls for?

These questions and more will be answered, but since the show only has two performances left — 1:30 p.m. today and 7:30 p.m. Sunday (Aug. 17-18) — you will need to act fast in order to make sure you don’t miss the experience. Who knows, you may even win a free Belgian beer.

One NOTE: Once you discover the purpose for the balls, make sure to ration them somewhat so they last the whole show.

IndyFringe: Iron In Your Future

PWJW_Indy IndyFringe, Reviews, Stage , , , , ,

This show is part of the 15th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 15-25, 2019 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By John Lyle Belden

If you think a person would be crazy to swim in the Hudson River at New York City, then Mindy Pfeffer is really off the deep end as she goes from triathlon enthusiast to the dreaded Iron Man. As an actor and playwright, she also gets to share the experience with you in this one-woman show.

We dive right in from the beginning, as she describes her first jump into the cold waters of the Hudson and relates the journey that brought her there. A confessed “Adult Onset Athlete,” to further test herself, she signs up for the Iron Man, a swimming/biking/running event with much longer distances (the run is a full marathon). Aided by the acid wit of her Russian coach – and a LOT of training – she makes it to the beautiful but daunting Lake Placid event.

Of course, there are bumps along the way. Pfeffer tells how she is felled by the Scottish Play curse, later an injury in which she has to wear “Betty boot,” and then there’s what happens the day before her Iron Man…

Pfeffer is a masterful storyteller, acting the swim strokes from the back of her chair, miming the bicycling, and otherwise holding our attention. She helps us feel the pain of the setbacks, and the joy of every little triumph. Viktor might even crack a smile at her portrayal of his sense of humor.

For those who suffer from being an AOA, wish they could get started, or just like to cheer them on, this is a great workout in humor and inspiration. Performances are 4:30 p.m. today and 6 p.m. tomorrow (Aug. 17-18) on the Indy Eleven stage of the IndyFringe building, 719 E. St. Clair.

Footlite brings on teen hit

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By John Lyle Belden

“Bring it On: The Musical,” based on the popular movie, is about more than cheerleading and the fun of being in a dance crew. Aside from being about friendship, acceptance, honesty, dedication and keeping everything in perspective, it is an immersive look at teenage life.

A Young Artists Production of Footlite Musicals, the entire cast are teens playing high school students. There are no onstage adult roles, placing the audience solidly in the kids’ world, where what they feel, experience and want is all that matters. For Campbell (Sierra Shelton), that means a lifetime of dedication towards one goal: to lead her cheer team to a championship at Nationals. 

But fate — or perhaps something more — has disrupted her plans, and Campbell goes from cheer Captain at posh Truman High to one of the new seniors at Jackson High, a gritty school that had disbanded its cheerleading program. What Jackson does have, though, is a dedicated Dance Crew, led by Danielle (Sophia Araceli Hughes). Could this be Campbell’s ticket back to her “one perfect moment?” 

At this point,  one could predict all the teen-movie plot beats, and likely understanding this, writer Jeff Whitty (“Avenue Q”) and songwriters Tom Kitt, Amanda Green and Lin-Manuel Miranda toy with those expectations. The show is somewhat by-the-numbers to keep it comfortably entertaining, with enough tweaks to keep us engaged and help turn some tropes on their ear. One can recognize Miranda’s driving rap-patter in some numbers, but it works and adds to the contemporary feel with his present fame.

Shelton and Hughes are each solid in their leadership roles, great in voice, step and charisma. However, our hero is Erin Vaughn as Bridget, who goes from cheer-wannabe who has to settle for the mascot costume at Truman to becoming fully accepted into her class and Crew at Jackson — becoming a hottie without a cliche “makeover.” 

Supporting roles are well-played, despite less depth in their scripting. Addison Bartley as Eva is the most complex of these, cheerfully chewing scenery as the girl-next-door who isn’t as nice as she first seems (yes she goes to expremes, but didn’t we all as sophomores?). 

Fellow Truman squad members include Katherine Felli as Skylar, who frankly enjoys playing the blonde stereotype to the hilt; Bailey Harmon as her minion, Kylar; and Maxwell Catlow as he-man with a gooey center Steven.

The Jackson students feel a bit more real, including Nathan Brown as Randall, the school DJ; Devin McDuffy and Devon Cummings as Cameron and his best bud Twig, who has the hots for Bridget; and Jaelynn Keating and Evan Vaughan as Nautica and La Cienega, Danielle’s sassy crewmates. The show broke ground with the first transgender high school character on Broadway, and most refreshingly La Cienega is completely accepted in the Jackson High culture, with only one fleeting reference in the dialogue; Vaughan plays it all with attitude, but naturally.

This fun show was packed with cheer and dance fans on Sunday, and the momentum could carry over to its second (and final) weekend, Thursday through Sunday, Aug. 15-18, at 1847 N. Alabama St. Get info and tickets at www.footlite.org.

Making Oceania Great Again

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By John Lyle Belden

Citizens: Do not look away! You are witnessing a rare insight into Room 101 of the Ministry of Love, where thought-criminal Winston Smith will offer his confession and confront his insanity, his failure to love Big Brother.

This is “1984.” (Your official Ministry of Truth calendar should reflect this.) The plus-good Citizens of Monument Theatre Company are providing you this opportunity, where they expose the troubling writings of George Orwell, as adapted by Michael Gene Sullivan, directed for MTC by David Ian Lee.

Smith, who also purports to be an actor named Nathan Thomas, has written his crimes in a diary which is read and re-enacted by Party Members Riley Leonard, Raven Newbolt, Kim Egan and Deont’a Stark. Thomas naturally embodies a complex patchwork of emotions — broken, yet quietly defiant. Leonard presents the pre-arrest Smith burdened by ennui and desperate for a world that makes sense to him. Newbolt plays Julia, the woman Smith risks all for, so effectively her cohorts start to question her loyalty to the Party. Egan, on the other hand, is a true believer, eager for this trial to move on to condemnation and execution. Stark nicely takes on roles including Party officer O’Brien, who eventually shows up himself, in the body of Michael R. Tingley. Karen Sternberg provides the voice of alerts of victories by Oceania forces and other vital news.

This method of presenting Smith’s criminal activity provides an intense experience in the intimate confines of Indy Convergence. The context is made contemporary by the use of hand-held telescreens (smartphones) and the autocratic atmosphere does feel familiar in the world outside. Perhaps the most chilling aspect is the confidence of Tingley’s O’Brien, aware that his role is not player in this game, but the dealer – and the House always wins.

This Citizen rates this drama as double-plus good.

To avoid potential arrest by the Thought Police, it is advisable to make your way to 2611 W. Michigan St. for the remaining weekend. Information and tickets at www.monumenttheatrecompany.com.

Summit: Feel the love of ‘Mary Jane’

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By John Lyle Belden

“Mary Jane,” as the name of both central character and the play presented by Summit Performance Indianapolis, refers not to a quasi-legal substance but to an American everywoman – dealing with one of the worst nightmares a mother could face.

In the drama by acclaimed playwright Amy Herzog (staged Off-Broadway in 2017), Mary Jane – played with bold optimism by Bridget Haight – is the primary caretaker for Alex, a nearly three-year-old boy with cerebral palsy and other conditions likely caused by a brain-bleed during premature birth.

Presented on the intimate confines of the Basile Stage at the Phoenix Theatre, the play is presented without intermission (as intended) but its scenes present the narrative in two acts: In the first, we are in Mary Jane’s apartment, which includes various medical equipment (much of it unseen behind Alex’s door) and a visiting nurse (Nathalie Cruz). In the second, we are in a hospital which becomes for Mary Jane a sort of home – her son still being cared for just off-stage.

The “third act” is the audience’s ride home, reflecting on what they have seen, heard and felt. Yes, it’s that kind of play. Expect no easy answers, or an ending that brings triumph or catharsis. This is a reflection of real struggles, how we find the strength to confront them, and the search for understanding among others in a similar situation, as well as through faith.

Cruz plays a doctor in the latter half; others in the cast take on dual roles as well. Mara Lisabeth Malloy twice plays a mother with a special-needs child – first a new mom receiving an avalanche of advice from Mary Jane on how to cope; later a Jewish mother of seven who, having faith and family for support, takes the mentor role. Kelsey Johnson is a young woman wanting to help but out of her depth, first as a visitor, charmed by the little boy then overwhelmed by the reality of the situation; later as a musical therapist shaken into not becoming yet another part of Mary Jane’s problems. Jan Lucas bookends the story, at first as a helpful apartment Super, and later as a serenely savvy Buddhist nun.

The play is directed by Summit founding artistic director Lauren Briggeman, who – like Herzog – has some understanding of being a caregiver. It’s easy to see the devotion she and all involved had in giving their production genuine heart – including many moments of appropriately uplifting or soothing humor. Haight plays Mary Jane with great strength, even in passing moments when the facade cracks. Castmates all exhibit empathy so convincingly it seems there truly is a sickly toddler residing on the corner of the set.

If you go to theatre for “the feels,” or are open to, I encourage you to visit “Mary Jane,” with performances through Aug. 18 at the Phoenix, 705 N. Illinois in downtown Indianapolis. Call 317-635-7529 or visit www.summitperformanceindy.com.