IndyFringe

IndyFringe: When Jesus Divorced Me

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This is part of IndyFringe 2022, Aug. 18-Sept. 4 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By John Lyle Belden

Laura Irene Young has had an unusual relationship with Jesus.

I’m not referring to Our Lord and Savior – she says that will be the topic of another show. She actually married a man who portrayed Christ in an Orlando Christian theme park; ironically, he forsook her for the woman playing Mary Magdalene.

Laura relates her story in “When Jesus Divorced Me,” which she makes a musical with the help of her ukulele.

With ambitions of Broadway, Laura got into a professional summer-stock company, where she met Pharoah – rather, a guy playing the role in “Joseph and the Amazing Technicolor Dreamcoat.” As she put it, “Did you like someone so much, you wanted to vomit?” She managed to keep her stomach but lost her heart. After the summer, they had a long-distance relationship that got much closer, and eventually, to Florida.

I’ll leave the rest for you to find out, as she tells it much better than I ever could. Despite his presence in the title, we don’t learn as much about unnamed ersatz-Jesus as we do about this interesting woman and her interesting life, told with engaging candor. Find out how “God’s plan” involved a lot of crying, that new hobbies aren’t always good, and how she knows he still has their wedding presents.

Presented by Magic Feather Productions, this lovely one-woman show is only during the opening weekend of IndyFringe, with performances 3:30 p.m. Saturday, Aug. 20 (today, as I post this), and 1:45 p.m. Sunday, Aug. 21, in the Athenaeum.

IndyFringe: ShMILF Life

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This is part of IndyFringe 2022, Aug. 18-Sept. 4 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By Wendy Carson

“ShMILF Life” is the true story of Ms. Penny Sterling of Rochester, N.Y., and her journey of becoming a trans woman late in life.

She begins in a coffee shop writing on her computer. This is how she spends much of her time as her desk at home has itself transitioned to a makeup table and her cat insists on sitting on her keyboard whenever it is visible. Today, however, she is here awaiting a date.

We are now privy to her story of realizing, at the age of 54, that she was no longer happy living as a man and allowed her to exist as her true self. Some of her friends and family are confused about this, but she valiantly tries to make them understand.

My favorite example is when her male friend points to a lovely woman and says, “When I look at her, I want to have sex with her.” Penny at first echoes the idea, but then realizes that it’s not really true. She then launches into a long, detailed criticism of the woman’s fashion choices, both positive and negative.

She goes online to try dating and gets many short responses, sometimes accompanied by smiley faces, hearts and produce (think eggplants and peaches).

She is very open about the highs and lows of her explorations of being a totally new person. The scariness of putting yourself out in public whether at a bar, online or just in general. Beginning her transition at such and advanced age means that she missed a lot of the learning and growing encompassed in being a woman, still she is persevering.

Her talent as a storyteller and comedian helped keep the evening light and hopeful. I am honestly hoping that the sparseness of her audience was only due to being the late slot on a Thursday evening. She deserves a larger group to speak to, and her voice should indeed be heard.

Do yourself a favor and give this show a shot. Just two performances remain, noon Saturday and 5 p.m. Sunday, Aug. 20-21, on the cabaret stage of the District Theatre, 627 Mass. Ave.

IndyFringe: QAnon The Musical!

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This is part of IndyFringe 2022, Aug. 18-Sept. 4 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By Wendy Carson

Congratulations!  You have scored a ticket to the taping of the hottest children’s show, “The Truth Team.” After learning about the ozone layer last week and how fast we will all cook in the sun without it, we are excitedly turning to this week’s topic, QAnon.

Stage manager Kate (Jaddy Ciucci) wrangles everyone together and the show is off and running. The Truth Team (you can trust them) consists of Joe (Joe Cameron), Brendan (Brendan Hawkins), Ryan (Ryan Richards), and their lovable Rhino Eugene (Noah Cameron).

After we sing about our feelings, we begin breaking down the world that is QAnon and the mysterious “Q” that is behind it all.

Q is described as like The Wizard of Oz, but with less credibility. He puts the Myth in Mythological, then removes the Logical. We also learn the three vital components to all QAnon Conspiracy Theories: (1) a Celebrity; (2) a Class “C” felony (those hit the sweet spot and aren’t too severe to not be believable); and, of course, (3) say anything about Antifa. The more insane the conspiracy, the better.

We also have a brief interlude by their science man to teach us about electricity, but we are then reminded that QAnon does not believe in science. Q says that only Pedophiles listen to science.

We also have insights into the personal stores of the cast during the multitude of two-minute breaks. The most entertaining of these are the ones dealing with finger-guns. The sheer hilarity of these sections alone is worth seeing the show.

Throughout the various songs and scenes, we are reminded that life is hard, choices must be made, and we are all vulnerable, yet strong. The story culminates with Eugene breaking the sacred rule of mascots and giving an impassioned soliloquy about the fact that saying crazy stuff is part of what created our country, but we shouldn’t let that stoke our hatred.

Presented by Un5gettable, “QAnon: The Musical” is a delight for all ages (they keep the language clean). The cast supremely embody the sweet charm of children’s show hosts without ever being condescending to their audience.

Bring the whole family out and catch this show. Word is getting around, and I expect sell-outs for most if not all of their remaining performances, Aug. 20, 27 and 28, Sept 1 and 3, on the IndyFringe Basile stage, 719 E. St. Clair.

IndyFringe: Spontaneous Tales of Science-Fiction

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This is part of IndyFringe 2022, Aug. 18-Sept. 4 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By John Lyle Belden

Stroopwafel Improv are a group that does silly strange things that make you go “ha ha” and “wha?” and “did they just say…” and more “ha ha.” And it is different at every performance.

This time around, there is an attempted theme – science fiction. However, weirdness knows no limits of time and space, so we get physical humor, odd relationships, and odder jobs, but probably on a future Earth. To aid their quest, aside from the regular audience suggestions (feel free to make it challenging) they have a performer from another Fringe show as a special guest. This person won’t be roped into an embarrassing game, but asked to give a possibly embarrassing monologue, from which ideas will be culled for the next series of comedy bits.

And be warned, even an odd throwaway reference in the opening improv game could become a bizarre recurring bit, as these folks take to it like a dog with a bone, gnawing at it in callbacks until all the humor marrow is extracted. (That sounded so weird, I won’t be shocked if it ends up in a sketch – my apologies.)

They are freewheeling with the entendres and occasional naughty word, so this is for teens and up, but do look them up, and see how truly weird and funny the future can be. Performances are Aug. 21, 26 and 27, and Sept. 3-4, in the Athenaeum.

IndyFringe: The Reluctant Mind Reader

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This is part of IndyFringe 2022, Aug. 18-Sept. 4 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By John Lyle Belden

Magician and mentalist Brendon Ware has just two performances left of The Reluctant Mind Reader before jetting off to his next gig in sunny Spain (he doesn’t seem too reluctant about this, though).

While you can, see him probe the minds, and pockets, of various audience members. This Indy Magic favorite also has a twist on the old “slamming the hand down on empty cups” routine in which he risks literally getting egg on his face.

I feel no need to hard-sell this show. You – and likely he – already know you are going to see this, Saturday noon and Sunday evening, Aug. 20-21, at the Athenaeum.

IndyFringe: Trapped!

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This is part of IndyFringe 2022, Aug. 18-Sept. 4 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By John Lyle Belden

A handsome, sharp-dressed successful man casually relates an old saying, “A jealous man can’t work; a scared man can’t gamble,” little realizing how that relates to his whole world coming apart.

In “Trapped!” by Greg Stalworth, Cincinnati-based performers Curtis Drake Shepard and Jacqueline Johnson-Wilkinson portray a couple, Richard and Michelle, who have it all, including a 15-year marriage. But the high-stakes stress of running his Fortune 500 company grows suspicion in Richard’s mind. Michelle, who he had regarded as the “battery” that powered his life, is now his “trophy,” a precious possession that others certainly covet, an object that he can control.

For her part, Michelle notices the changes, but tells herself he’ll change back. By the time the abuse becomes unbearable, she can barely manage an escape. Shame and her husband isolating her from her peers keep her from reaching out to them, and she falls among society’s disposable rejects.

This unrelenting drama may have triggers for those with similar trauma as depicted and described here. This is hard to watch, in a good way. Shepard bares his character’s ego, letting us see all the ugly a man can become, and the sorrow it finally brings him. Johnson-Wilkinson breaks our hearts, showing us the folly of both Michelle’s denial and our feelings of “why doesn’t she just…” The production aims to be a wake-up call to men and women who see themselves in their shoes, as well as awareness to those who might know them.

Could so much misfortune visit one woman? Shepard says Stalworth wrote this short play in response to a death in his own family. Domestic violence prevention advocates will tell you that part or all of what happens to Michelle has been and is happening to somebody, somewhere, today.

As Michelle says, “Don’t cry for me, cry out because of me.”

Also, just as importantly, can such a man be redeemed? Watch “Trapped!” – performances Aug. 20, 27 and 28, in the Athenaeum – and judge for yourself.

IndyFringe 2022

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Here is the list of our reviews for the 2022 IndyFringe, the Indianapolis Theatre Fringe Festival, Aug. 18-Sept. 4, at six venues — two each at the IndyFringe building on St. Clair; District Theatre on Mass. Ave.; and the Athenaeum, where Massachusetts Ave. meets New Jersey and Michigan streets.

John and Wendy like to “Iron Fringe,” seeing as many of the numerous shows as possible, taking up nearly every time slot, likely the most comprehensive coverage in local media. While seeing every act may not be possible, we did not purposely avoid seeing anyone. Ones we have seen before got lower priority, and past reviews can be found elsewhere on the site.

(This list will grow throughout the festival, with links added as reviews are posted)

90 Lies an Hour — Paul Strickland

A Magic Show with Jordan Rooks — Jordan Rooks

Amaze & Amuse — Trino

A Social Media Experience — Ballet INitiative

The Ballad of Blade Stallion — Defiance Comedy

The Barn Identity — Erika MacDonald

Beyond Ballet — Indianapolis Ballet

Bigfoot Saves America — Cryptid Entertainment

Breakneck Comedy of Errors — Tim Mooney Repertory Company

Dadbod — Brad Hinshaw

Doghouse Moon — Matt McDonald

Exes and Embryos — Mandee McKelvey

Experi-Mental — Steven Nicholas

Fire in the Meth Lab — Jon Bennett

Fly Blackbird Fly / Voices We Can’t Unhear — Dunique and OnyxFest

Fret Knot — Madeline Wilson and Lizzie Kaneicki

Glad Libs with Your Hostess: Jan Shirley Ann — Janai Downs

Gloria Mundi — Nomad Theater Company

Gray Pride — Norman Lasiter

Hope: A Theatrical Dance — Gerry Shannon

How Do You Read Me? — Howard Lieberman and Loren Niemi (2 Lorens Productions)

IndyProv Presents: Our Favorite Fringe Artists — IndyProv

In The Company of Women — Crossroads Dance Indy

I Think We Are Supposed to Be ‘Coming of Age’ By Now — LCcreations

Jewel Box Revue 2022 — Klein & Alvarez’ Magic Thread Cabaret

Leland Loves Bigfoot — Stewart Huff

Love OverDose — React

meSSeS — Janoah Bailin

The Miraculous Journey of Edward Tulane — Carmel High School

Mr. Yunioshi — J. Elijah Cho (review from January 2022 appearance)

My Grandmother’s Eyepatch — Julia VanderVeen

Oh Look, It’s Magic! — Jordan Allen

Panel Show — Mark Cashwell

Peter / Wendy — Indiana Drama Club

Play by Play — Tiny Little Plays by Mark Harvey Levine

The Princess Strikes Back — Victoria Montalbano

QAnon: The Musical — Un5gettable

The Real Black Swan — Les Kurkendaal-Barrett

The Reluctant Mind Reader — Brendon Ware

Ron Popp is a Responsible Adult — Ron Popp

Sadec 1965: A Love Story — Flora Le

Scars — Lissa Sears

The Session — Taylor Martin’s Indy Magic

Ship of Dreams — Party Island

ShMILF Life — Penny Sterling

Sing Down the Moon: Appalachian Wonder Tales — Agape Children’s Theatre

Spontaneous Tales of Science-Fiction — Stroopwafel Improv

Sweet Dreams, Pillowman — American Lives Theatre

Too Much Light Makes the Baby Go Blind — UIndy Theatre Company

Tortillo 3: Sombrero’s Revenge — Catalyst Repertory

Trapped! — Curtis Drake Shepard and Jacqueline Johnson-Wilkinson

Type Cast — Steve Freeto

When Jesus Divorced Me — Laura Irene Young (Magic Feather Productions)

Women’s Work — Betty Rage Productions

OnyxFest 2021

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This last very busy weekend, aside from various production openings, was opening weekend of the two-week OnyxFest: A Celebration of African American Voices, presented by IndyFringe with performances at the IUPUI Campus Theatre, 420 University Blvd., Indianapolis. We (John and Wendy) were unable to make the shows, but a friend of the site, a member of Indiana Writers Center, gifted us the following review. Opinions are the author’s. Get festival information and tickets at indyfringe.org/onyxfest-2021.

By Celeste Williams

“That Day In February,” Janice Morris Neal’s OnyxFest play, directed by Dena Toler, tugs at all of the strings.

One of five productions in “Indy’s first and only theatre festival dedicated to the stories of Black playwrights,” Neal’s play returns 6 p.m. Friday, Oct. 15, at IUPUI Campus Theatre, 420 University Blvd.

The three siblings, portrayed by Ennis Adams, Jr., Katherine Adamou, and Lakshmi Symone Rae, perform an intricate, emotion-laden word-dance on stage, as they navigate relationships laced with trauma of their mother’s love, but grounded in love.

Neal wrote the play with true events at its core. Even if audiences did not know the specific story behind the production, they would recognize parts of themselves, through the nuanced performances led by Adams and enhanced by Adamou and Rae.

The actors’ interplay brings the background story to life. The presence of the liquor bottle on a table subtly hints at the older brother’s internal fight — to separate himself from his father’s act, even as he fears he has inherited some his ways.

The sisters’ presence brings the brother’s insecurities to light. The more insecure he becomes, the more pours and sips. The middle sister’s anxiety is illustrated expertly by Adamou, whose leg jiggles nervously throughout. Rae, as the younger sister, is the picture of young rebellion.

The fact that it is the younger, rebellious sister, who could not have remembered the events at the heart of the story, is the one to bring the narrative to a head, is a brilliant turn. The father is an invisible presence throughout.

There is a last line (no spoilers) that leaves a viewer satisfied and wanting even more.

In interviews, Neal has said that she wanted to convey “the perspective of adult children who did not grow up with their parents.” The play also touches strongly on issues of domestic violence and the resulting traumas.

“They all grapple with different issues and how to reconcile them,” Neal said. “Even things that happen to us as children can affect us as adults.”

It is a good thing that the ending leaves one imagining what comes next. And, “That Day in February” rightfully leaves appreciative audiences wondering what playwright Neal has in store for us next.

We’ll be eagerly waiting for that day.

—

Thanks again to Williams, and IWC board member Mary Karty, for the assist. The other festival shows are (descriptions provided by OnyxFest):

“1200 Miles From Jerome” by Crystal Rhodes, directed by Deborah Asante, 6 p.m. Thursday, Oct. 14

In the 1940’s, during World War II, a mother, her two daughters, a young school teacher and a 14-year-old Japanese-American fugitive from an internment camp are forced to leave the town of Jerome, Arkansas, and flee over 1,200 miles to New York City. The journey is filled with danger, a daunting experience in which “driving while black” could mean the difference between life and death.

“Fly Blackbird Fly/Voices We Can’t Unhear” written and directed by Latrice Young (Distinctly Unique), 8 p.m. Thursday, Oct. 14, and 6 p.m. Saturday, Oct. 16

A choreopoem recounting traumatic experiences of several Black women. Each woman is at her breaking point and desperately wants to escape the cages they’re in, but this can only happen if they’re willing to relax, relate, and release.

“Ranson Place” by Jameel Amir Martin, directed by Shandrea Funnye, 8 p.m. Friday, Oct. 15

Two unlikely companions holding on to a precious thing, reluctant to leave a special place, must contend with forces that would spur their belated departure.

“This Bitter Cup” written and directed by Charla Booth, 8 p.m. Saturday, Oct. 16

A Black family in the rural south in the 1950’s struggle to find balance in their lives. A son who wants an education to rise above the limitations of the Old South, and a daughter whose dreams are thwarted by being Black and a woman and loved by the wrong man, in a complicated entanglement that leaves us wondering if this family can find peace.

IndyFringe: Classical Collaborations

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This is part of IndyFringe 2021, Aug. 19-Sept. 5 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By Wendy Carson

Dance is an interesting art form. While anyone can see it and enjoy its beauty, not everyone can understand the intent or its meaning. Crossroads Dance Indy takes note of this conundrum by placing explanations of their choreographic meanings in their program to assist in the enjoyment of the various numbers.

Two dances, “The Thing with Feathers” and “Forever is Now,” are based upon poems by Emily Dickenson. They are beautifully performed, showing the hopefulness of the former and random but vital interactive influences of the latter (which is different with each performance).

Highlights also include “Mountain Train Jam,” a country hoedown with tap shoes, and “Perspective,” in which the dancers beautifully interpret the spoken word, written and performed by Hanna Verdin.

So, whether you’re an aficionado or a novice of the art form, come out and see this show, at the Basile Auditorium at the Athenaeum. Who knows — you, too, may find yourself becoming a dance fan.

IndyFringe: Jordan Allen’s Magic Party

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This is part of IndyFringe 2021, Aug. 19-Sept. 5 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By John Lyle Belden

Magician Jordan Allen loves to throw a party, though the colored stage lights did have him wondering if Aliens were crashing it. But there’s nothing extra-terrestrial here, just good old traditional magic.

Fans of magic will recognize nearly all the tricks, with scarves, books, bags and ropes. Challenged by the “other Jordan” working the Fringe, he even brought back one of the ropes to do a quick escape. Audience members get brought up to join the act, including children – this is an all-ages family show.

From the classic cups-and-balls to a simple napkin, he works his illusions right before your eyes, including doing part of the show at a table by the front-row seats. And despite its cliché nature, he might do a card trick, or two, or three.

For a taste of this fun show, you may see Allen doing pop-up tricks around the Fringe, but be sure to also join his Party, at the Murat Oasis.