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Intimate look at classic ‘Murder’

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By John Lyle Belden

As the legend goes, the axle of a railroad car evolved from an old Roman chariot, so as for generations we moved from city to city on narrow but comfortable boxes, things still might feel a little close.

Especially when there’s a dead body in the next car.

When Carmel Community Players found themselves staging the traditionally large production of “Murder on the Orient Express” in the intimate confines of The Cat, director Lori Raffel opted not to re-invent the on-stage railroad. “Why not?” she mused, understanding that theatre-goers know how the magic works. Indeed, seeing cast members and stage managers Samantha Kelly and Chloe Vann transform the sleeper cars to the lounge car (which doubles as a fine Istanbul restaurant) in half-light doesn’t hurt the show one bit, perhaps even aiding the flow as we don’t just stare at a curtain between scenes.

And, as noted, you are never far from the action, especially in the Cat’s up-front love seats (first-come for patrons). This way you never miss a clue, or a punchline in this Ken Ludwig script approved by the Agatha Christie estate.

Please, if you know the solution to this mystery, don’t tell! But if you don’t, relax, it was a difficult case for Christie’s famed Belgian detective Hercule Poirot (Larry Adams), and the resolution has surprised and delighted whodunit fans for decades. Again, if you do know – shh! – and enjoy how it plays out with the wit of Ludwig in Christie’s world, presented by this talented local cast.

In 1934, Monsieur Bouc (Earl Campbell) is rightly proud to be in charge of the famed Orient Express (an actual legendary line that ran the length of Europe) and to host Poirot on an unusually crowded journey to France. However, while a snowstorm halts the train in the mountains of Yugoslavia (around Croatia today), the very shady Samuel Ratchett (Tim Latimer) is found dead in his cabin.

Until the snow clears and police arrive from Zagreb, it is up to Poirot to solve this expansive closed-door mystery. Whodunit? Considering it is revealed that Ratchett was a man who literally got away with murder, there is motive, and plenty of suspects. Was it the English woman and Scottish soldier (Olivia Carrier and Jeffrey Stratford) who have been quite secretive? Or the wealthy Russian Princess in exile (Cathie Morgan) or her Swedish missionary nurse (Nicole Sherlock)? Or the loud new-money American (Vickie Phipps)? Or the former nurse turned Hungarian Countess (Vivana Quiñones Fabre)? Or yet, Ratchett’s personal secretary (Hector MacQueen)? Conductor Michel (Mohamed Armin) has his own puzzle as others claim to see a mysterious someone in a jacket just like his.

Performances are solid all around, especially Adams’ command of the proceedings as the famed Belgian. Phipps has a ball as the stereotypical obnoxious American. It is impressive how this all-volunteer community cast commit to and hold on to their various spoken accents, especially Stratford’s thick brogue. Remaining departures for “Murder on the Orient Express” are Thursday through Sunday at The Cat, 254 Veterans Way, downtown Carmel. For info and tickets, visit carmelplayers.org.

Phoenix shines with ‘Bright Star’

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By John Lyle Belden

A show like the musical “Bright Star” brings with it a lot of expectations.

It is co-written by the legendary Steve Martin (with singer-songwriter Edie Brickell), a connoisseur of the absurd, even as a playwright (see “Picasso at the Lapin Agile,” “The Underpants”). But if one recalls the spirit of his film “Pennies From Heaven,” Martin also loves the innocence of a feel-good musical. And “Bright Star” delivers with its upbeat attitude (the title is also the third musical number) and just an edge of drama – sort of an “Oklahoma” set in the Carolinas. Wendy compares the feel to “Oh Brother, Where Art Thou.”

We are alerted to the fact that this is based – loosely – on a true story. But, I would advise one not to read the story of the Iron Mountain Baby, printed in the program, until after you see the show, as it makes the plot more predictable than it already is. Besides, the true events happened in earlier decades, and in Missouri. “Bright Star” is a fictional tale (with the luxury of replying to “oh, that couldn’t have happened” with “it actually did, once”) taking place in Hayes Creek, Asheville, Zebulon and Raleigh, N.C.

In addition, there’s the burden of living up to being a Broadway hit. Considering it’s the Phoenix Theatre launching the local premiere, and the standing ovation by the packed audience at Thursday’s preview, this expectation has been well met.

At the end of World War II, Billy Cane (Ian Laudano) comes home from the Army to find his Daddy (Joey Collins) and childhood best friend Margo (Betsy Norton) waiting for him, but his mother passed on. Billy aspires to be a writer, and gives his essays to Margo, who runs the local bookstore, to edit for submission to magazines. He decides to take his best works and deliver them by hand to the Asheville Southern Journal – a fool’s errand, as copy editor Daryl (John Vessels) is a strict gatekeeper. But senior editor Alice Murphy (Molly Garner) sees something in this young man, and agrees to read his work.

We then get a look at Murphy’s past, and from there the story flows back and forth between the 1920s and ’40s, but Martin and Brickell’s plot – and director Suzanne Fleenor – don’t let things get confusing. Speaking of flow, the choreography, nicely done by Carol Worcel, seems to extend even to inanimate objects as furniture and setpieces on subtle casters seem to dance in and out of scenes as needed.

As a teen, Alice falls in love with Jimmy Ray Dobbs (Patrick Clements), son of Zebulon’s no-nonsense Mayor (Charles Goad). She is seen as the “black sheep” of her family, headed by her Bible-toting father (Paul Tavianini) and mother (Maryjayne Waddell), so it isn’t surprising when she gets in trouble. Jimmy Ray wants to do right by her, but the Mayor wants no scandal and takes matters literally into his own hands.

In Billy’s era, he has been accepted as a writer for the Journal, but struggles to find his voice – while also dealing with advances by Daryl’s assistant, Lucy (Ashley Dillard). Meanwhile, back in Hayes Creek, Margo wonders if a new dress will be enough to wake Billy up to her growing feelings for him.

All the plotlines come together in ways you see coming but are still satisfying. This is aided by some first-rate performances – Laudano as the happy optimist, Garner giving Alice deep wells of strength, Clements with his powerful voice and effortless manner, Collins radiating wisdom through his aw-shucks hillbilly facade, Norton as charming as ever as Margo, the antics of Dillard and Vessels that lend comedy relief without getting too silly, Tavianini’s firm hand reaching toward the light, and Goad’s grasping hand committing to the role of villain. Ensemble members also get their moments, including Kenny Shepard as the Mayor’s assistant, and Conner Chamberlin as Max – the lonely guy who has no shot with Margo, but can’t help trying.

An excellent band of strings and bluegrass instruments, led by Brent Marty at the piano, occupies the back of the stage like a natural part of the environment.

I’ve heard from the Phoenix, 705 N. Illinois St., that the show’s run – through Oct. 7 – is selling out fast. Call 317-635-7529 or visit phoenixtheatre.org.

Catalyst’s ‘Tooth’ gives us much to chew on

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By John Lyle Belden

When you enter the Grove Haus theater to experience “Tooth of Crime,” presented by Catalyst Repertory, you enter another world.

It’s a dystopian potential America of the 2080s, a Mad-Max atmosphere in which the battles aren’t over oil but fame – and your place on the rock ‘n’ roll charts. Those on top find themselves “marked,” with life and death consequences.

Hoss (Davey Pelsue) is an aging Marker at the top of The Game. He respects the Code, as well as the country and blues musicians that inform his down-and-dirty rock style. He doesn’t test the wrath of the Keepers, but is not too happy that other performers are bending the rules, especially Gypsies who don’t abide by the Code at all.

Vexed and paranoid, Hoss fires his stargazer, Mirra (Ryan Powell), for advising him to be cautious. A Deejay, Rudio Ran (Jay Hemphill), reassures him he’s still on top, but he suspects it’s flattery. His manager and girlfriend, Becky Lou (Sarah Hoffman) is worried, and the drugs Doc (Nan Macy) give him make him even more unmanageable. Then, right-hand man Chaser (Zach Stonerock) informs Hoss that a rival has marked him, and a Gypsy by the name of Crow (Adam Tran) is on his way to do battle. Chaser finds an impartial Ref (David Molloy) to adjudicate.

The culture of this play has its own dialect – though after a while you can “suss” it out – and the duel is mainly psychic, through words spoken and sung. Though they brandish guns and knives, Hoss and Crow strive to break each other’s mind and soul before fatally attacking the body.

For the audience, this requires paying close attention as much as possible, but not getting too concerned that you can’t tell exactly what’s said or even going on. This drama with music was written by Sam Shepard in 1972 and rewritten in 1997, which helps explain its vibe being somewhere between “Easy Rider” and “Hedwig and the Angry Inch,” filtered through Greek tragedy.

This show isn’t for everyone, but if you go with it, you can witness a stylish indictment of the corrosive nature of celebrity, and experience the passion that Pelsue and his castmates put into their performance. Hoss practically sweats every word and lyric he utters. Crow is like a preening bird, but with a dangerous edge even when knocked off-balance.

An on-stage band provides excellent accompaniment to the show’s proceedings. The music was provided by Shepard, with additions by T Bone Burnett in the 1990s, and director Casey Ross found a more recent hit to finish the play.

Performances are Fridays through Sundays through Feb. 26 at 1001 Hosbrook St., near Fountain Square. Get info and tickets at uncannycasey.wix.com/catalystrepertory.

John L. Belden is also Associate Editor and A&E editor of The Eagle (formerly The Word), the Indianapolis-based Midwest LGBTQ news source.

ATI hosts one wild wedding

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By John Lyle Belden

“It Shoulda Been You” is a freewheeling comedy musical in a single movie-length act, presented by Actors Theatre of Indiana through Feb. 12 at The Studio Theater in The Center for the Performing Arts in downtown Carmel.

The setting is a wedding held at a hotel, with all its comic potential – especially when the bride and groom come from different backgrounds. Rebecca Steinberg (Laura Sportiello) is from a middle-class Jewish family, while her fiancé Brian Howard (Michael Ferraro) is from well-to-do WASPs. Tasked with not letting this blessed occasion become a disaster is Rebecca’s unmarried older sister Jenny (Karaline Feller), who fortunately has the help of magically fabulous wedding planner Albert (John Vessels).

Bring on the inevitable clash of personalities between Rebecca’s parents, Murray (Matthew Reeder) and Judy (Judy Fitzgerald), and Brian’s parents George and Georgette (Bill Book and Cynthia Collins); and mix in Maid of Honor Annie (Teneh B.C. Karimu) and Best Man Greg (Jeff Pierpoint) – who are more a part of the upcoming marriage than anyone suspects – Rebecca’s ex-boyfriend Marty (Nic Eastlund), and the assorted roles played by Paul Hansen and Holly Stults, and you have a volatile combination that results in hilarity with a welcome happy ending for all.

The songs are snappy, adding to the punchlines and helping the story along. The cast is excellent in voice and comic form. Vessels puts his scene-stealing skills to excellent use, and you can’t help but feel for Sportiello’s Jenny from the moment she opens the show through to when she utters its last line.

Having this play in the intimate confines of the Studio Theater adds to the close familial atmosphere, and even facilitates one actor’s entrance. To get everyone in the mood, there is a Guestbook as you enter the theater, and ushers let you know as you are seated whether you are on the bride or groom’s side. A necessary salute, then, to director Bill Jenkins and the crew for a fun production, including an elegantly simple, yet simply elegant set by P. Bernard Killian.

And by the way, I’m leaving out a surprising plot twist – see it for yourself!

For information and tickets, call 317-843-3800 or visit atistage.org.

John L. Belden is also Associate Editor and A&E editor of The Eagle (formerly The Word), the Indianapolis-based Midwest LGBTQ news source.

New Phoenix play cuts to the bone

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By John Lyle Belden

A simmering stock of ethnic tensions and personal demons, seasoned by today’s political attitudes, steams on the surface of a downtown Manhattan restaurant kitchen. But add an ingredient of the dark side of recent history, and everything could boil over.

That is the recipe for “How To Use A Knife,” the new drama by Will Snider, produced as part of a National New Play Network Rolling World Premiere under the direction of Bryan Fonseca at the Phoenix Theatre in downtown Indianapolis.

Michael (Rob Johansen) is a total euphemism-for-anal-sphincter, but he is true to his friends, especially George (Ryan Artzberger), whose addictions helped destroy his career as a world-class chef. But Michael has a restaurant in New York’s Financial District, and hires George to take charge of its kitchen.

Fortunately, the food preparation already goes smoothly, thanks to a pair of Guatemalan cooks (which Michael blithely calls “Mexicans”), Carlos (Carlos Medina Maldonado) and Miguel (Wheeler Castaneda*). Jack (Tommy Lewey), the “runner” who takes the dishes out to customers, is marginally competent, and dreams of being a writer without having penned a single word. Steve (Ansley Valentine), an African immigrant, quietly mans the dishwashing station.

Of course, things start to change. George berates Jack at first, but then mentors him. We discover Steve speaks English quite well, and he meets with George after hours to learn how to cook. Steve reveals to the chef that he is Rwandan, but his involvement in the 1994 genocide was to help stop it. But soon, an Immigration officer (Chelsea Anderson) visits the restaurant with a disturbing revelation.

While an intense, thought-provoking drama, the show is leavened with workplace humor, especially in interactions with the Guatemalans. Miguel is the type of person who deflects stress with humor, and despite the fact that he speaks almost entirely in Spanish, Castaneda’s expressions and delivery help bring on much-needed levity. Carlos easily weaves from joker to deadpan serious, revealing surprising complexity in a supporting character.

Artzberger and Valentine, being at the center of the story, deliver exceptional performances. Each character embodies deep contradictions: George is barely-contained chaos with a noble, potentially heroic, soul; while Steve has mastered a form of inner peace and is able to share that gift, despite his horrific history. Each has dealt with their past in their own way; they find themselves tested, with consequences that go far beyond themselves.

Don’t be surprised if – as with Phoenix’s previous show, “Dogs of Rwanda” – after seeing this you find yourself thinking more about the pain of people in faraway lands, maybe even Googling what happened, and realizing how that comes home to connect to us as fellow members of the human family. For this reason, it might be good to see “How To Use A Knife” at the Sunday, Jan. 29 performance, which is followed by a talkback discussion with the cast and crew.

The play runs through Feb. 12 at 749 N. Park Ave. (corner of Park and St. Clair near Mass Ave. downtown); call 317-635-7529 or visit www.phoenixtheatre.org.

The Phoenix is also accepting donations of unopened spices at the box office, which will be given to the Second Helpings anti-hunger organization, during the run of the play.

John L. Belden is also Associate Editor and A&E editor of The Eagle (formerly The Word), the Indianapolis-based Midwest LGBTQ news source.

*EDIT: Person playing this role was misidentified in earlier version of this story.

Getting through the holidays with TOTS

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By John Lyle Belden

While most people are familiar with the “Nice” offering by Theatre on the Square, a live stage version of “A Christmas Story,” the show on the smaller second stage, “A Christmas Survival Guide” – tagged “Naughty” – is a little more obscure. So that’s what we’ll discuss here.

As for the naughtiness, it’s mainly for some language and Grinchy-Scroogey attitude as a jaded quintet – Gabby Niehaus, Shauna Smith, Anna Lee, Josiah McCruistion and Eric Brockett – their piano accompanist, Levi Burke, and stage manager, Nikki Sayer (her actual position, not just a role) deal with going through yet another holly-jolly season, whether they like it or not.

Still, a show is a show, and when the spotlight is on one of this ensemble, he or she shines, whether it’s Niehaus cooing “Santa Baby,” Smith crooning the “New Years Eve Blues,” Lee abducting “Baby, It’s Cold Outside,” Burke tickling the ivories in a solo, or McCruistion frankly singing anything.

It helps that the cast are given copies of the book, “A Christmas Survival Guide,” from which we hear excerpts in the recorded voice of TOTS staffer and local uber-talent Claire Wilcher.

The best bit in this revue of songs and comedy features Lee as a lonely woman dealing with two rather needy and misunderstood roommates, portrayed hilariously by Brockett and McCruistion.

One note to shy audience members: Sitting down front could get you pulled onstage when the gang find themselves a reindeer short.

For something a little different (for teens and older) with a ring of the familiar, in a cozy intimate setting, this show makes a nice change of pace from your typical holiday fare. Performances of this and “Christmas Story” run through Dec. 23 at TOTS, 627 Massachusetts Ave.; call 317-685-8687 or see www.tots.org.

Sharing a sweet treat with family

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NOTE: Usually we do reviews of plays we’ve seen and games we’ve played, but everyone’s gotta eat — and when an award-winning Indiana confectioner appealed to our sweet tooth, we had to bite. Enjoy:

By Wendy Carson

Last month, 240 Sweet of Columbus, Ind., sent me a special treat box of marshmallows & hot chocolate to try out and review. I took it along with me down to our Thanksgiving visit to the family so that they could help us try it out and here is the result:

First of all, the hot chocolate mix is aptly named “Decadent Drinking Chocolate” and we all agreed that this was undoubtedly the most delicious hot chocolate any of us had ever tasted. It was rich and had a perfect balance of flavors which made it an excellent conductor for the marshmallows. Since the mix is blended with real milk and heated on the stovetop, that is likely part of the reason it is so delicious.

Now, on to the marshmallows. We were given two different flavors to try: Sugar Cookie and Bourbon Brown Sugar. Each flavor was tasted on its own and in the hot chocolate.

The Bourbon Brown Sugar was yummy but had a distinctive bourbon flavor, so it was only enjoyed by the adults in the group. Those that were non-drinkers of alcoholic beverages were not keen on them due to the bourbon flavor. However, the rest of us thought they were delicious. They blended with the cocoa very well and were amazing when lightly toasted to bring out the full caramelized flavor of the sugar & alcohol. The verdict: A must for anyone who is known to imbibe, but a definite pass for those who abstain.

The Sugar Cookie flavor was tried by everyone and almost unanimously enjoyed. The children loved the taste and were pleasantly surprised yet delighted by the crunch of the cookie bits in each one. One adult, however, felt the crunchy bits gave the marshmallow a gritty texture. These marshmallows were a perfect addition to the hot chocolate. The flavors blended together to enrich each other without either overpowering. Since everyone tried these, we weren’t able to save any back for toasting – but I have sampled one before so I do know it has a very good taste, and again, the cookie bits are an unexpected delight.

We also need to note that one of our tasters doesn’t like marshmallows or sugar cookies and his opinion was that they were “very interesting.” He was surprised that he actually liked them and felt he would be open to having them again.

Our one complaint was that the marshmallow bags were not reseal-able. Since it is unlikely that all of the marshmallows will be consumed in one sitting, some sort of closure to ensure freshness would be recommended.

Overall, we were greatly delighted by the treat box and feel that it would be a worthy splurge (it lists for $35) for the holiday season.  You can purchase this item (or one like it) from their website www.240sweet.com; or at one of the many handicraft and arts fairs around the Indy area, like Yelp’s Totally Bazaar (6:30 p.m. this Thursday at the Indianapolis Central Library, see here for details).

Our Fringe Schedule

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Last night’s preview round-up of IndyFringe shows was bittersweet as there are only so many time slots in the opening weekend for us to go and see the shows (our press passes only work through Sunday), will be missing out on so many amazing offerings that we both really wanted to see.

Here’s the list of shows we plan to review:
THURSDAY
6:00PM: Auditioning for Swan Lake… (John); Not My Baby! (Wendy)
7:30PM: My Sister Diane: A Story of Hope, Humor and Hospice (J.); Mr. Boniface, the Wise (W.)
9:00PM: Home Grown Original (J.); Tipped & Tipsy (W.)
FRIDAY
6:00PM: Mom? A Comedy of Mourners (J.); Bromance (W.)
7:30PM: VELOUR (J.); Orange is the New Black Keys (W.)
9:00PM: Ca-ching (J.); Men’s Room (W.)
10:30PM The Yellow Wallpaper (J.); 4.48 Psychosis (W.)
SATURDAY
1:30PM: Growing Up All Over Myself (J.); The Invisible Man (W.)
3:00PM: Cocooned in Kazan (J.); My Wildlife – Owl By Myself (W.)
4:30PM: The Secret Book of Jesus (J.); A Little Business at the Big Top (W.)
6:00PM: Interrupting the Sermon (J.); Ulysses Grant: a Fluxkit Opera (W.)
7:30PM: Shakespeare’s Ear (J.); Top Shelf … Our Last American Tour Again (W.)
9:00PM: Holy Ficus (J.); Working Titles (W.)
10:30PM: I’m Not Gay (J.); Ghost Story (W.)
SUNDAY
1:30PM: Whisper into My Good Ear (J.); The Shout (W.)
3:00PM: Camp Summer Camp (J.); Up Yours, Indianapolis (W.)
4:30PM: Who Run The World: A Madwomen’s Cabaret (J.); Drosselmeyer’s Magical Bedtime Story (W.)
6:00PM: Acting My Age (J.); ODDyssey (W.)
7:30PM: SARGE (J.); Not So Secret Origin of Captain Ambivilant (W.)
9:00PM: Kill the Column (J.); The Eulogy (W.)

Also, some of our friends are comping us into their shows, which will help increase our total, but we’re still going to miss out some we really wish we could see. The following we will see thanks to performer comps:
MONDAY
6:00PM: Hell’s Fourth Ring (The Mall Musical)
7:30PM: Laughing Sober
9:00PM: The Best of Indy Magic Monthly
TUESDAY
6:00PM: (Open)
7:30PM: Dancing in the Mist
9:00PM: (Open)
WEDNESDAY
6:00PM: (Open)
7:30PM: Jason Adams is a God Damn Mind Reader
9:00PM: (Open)
THURSDAY
6:00PM: Breakneck Hamlet
7:30PM: (Open)
9:00PM: (Open)

So, that’s our schedule. There will likely be a few revisions due to sell-outs and other unforeseen issues but this is it for now.

To performers, if you do not see your show listed, we would be more than willing to see it and post a review. You just need to put us on your comp list. We not only love seeing the shows, but more so helping promote the performers.

“Stoops” and suds this weekend

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Gettin' Stoop-id: The cast of Casey Ross Productions'
Gettin’ Stoop-id: The cast of Casey Ross Productions’ “She Stoops to Conquer” — CRP photo

John just got finished updating the Stage Calendar to add the very full season just announced at Theatre on the Square, as well as a few shows presented by Wisdom Tooth. The TOTS season includes “Batboy: The Musical,” Sondheim’s “Passion,” Tony nominee “Skylight,” the return of “Miss Gulch Returns” and “8 Reindeer Monologues” – the latter of which runs at the same time as the stage version of “A Christmas Story” – the intriguing “Porn Stars at Home,” and wraps up next summer with a production of the musical “Rent.”

As for fresh theatre this week, local playwright Casey Ross adapts and stars in the 1700s comedy “She Stoops to Conquer,” opening Friday at Grove Haus, 1001 Hosbrook St., near Fountain Square. Since it’s too hot for powdered wigs, the play is reset in 1980s Florida. Given the level of insanity the state is known for, this should be good.

The city’s oldest beer fest, Brew-Ha-Ha, returns Saturday to the street in front of the Phoenix Theatre (700 block of N. Park Ave.), for which the event is a fundraiser. The price is $30 in advance, $35 on site, but you get as many samples as you can handle from 29 local and area breweries. Hours are 3 to 7 p.m., but if you get the advance VIP ticket for 50 bucks, you can start at 2 p.m. Rather than drink and drive, you could consider sobering up at the Phoenix’s “American Idiot” at 8 (costs its own ticket, get a reservation in case it sells out again).

Thursday night we are checking out the 10@10 Comedy Open Mic at ComedySportz, 721 Mass Ave. Looks like it’s a weekly event until CSz gets tired of it. Aside from its regular all-ages improv comedy “games,” ComedySportz also has mature-audiences long-form improv late on Friday nights – lately they have been skewering the “Wizard of Oz.”

– See you in the audience!

Have the time of your life

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From memecrunch.com
From memecrunch.com

No big openings in local theatre companies this weekend – feel free to see continuing productions at Phoenix, TOTS, Beef & Boards and IndyFringe, as well as what Bobdirex and Eclectic Pond are up to.

Actually, there is one “new” show in town. The touring production of the stage musical version of “Dirty Dancing” is under way through Sunday at Clowes Memorial Hall. Sounds like fun, if you loved the movie, and who doesn’t love that movie?!

For us, this is one of our favorite weekends of the year. Aside from the bigger-than-ever Pride festival, there is the Independent Music and Arts Festival at the Harrison Center for the Arts at the corner of 16th and Delaware streets downtown. The IMAF is all free, and you get to see some great local art, shop among area artisans and crafters, and see and hear several great musical acts.

Meanwhile, just a block away from IMAF is the Talbot Street Art Fair, celebrating its 60th year Saturday and Sunday. Entry is free, with dozens and dozens of booths to check out. Many people complement Wendy on her tie-dye dresses; she gets them at the Talbot Street fair, from Kiss of Color. Please check them out.

Away from downtown, there is also the Indianapolis mayor’s office-hosted Veterans picnic from 10 a.m. to 3 p.m. Saturday at Garfield Park (free food for those who served and their families), and Holy Rosary’s annual Italian Fest Friday and Saturday with lots of generously-portioned food. On Sunday, the 4th Annual Irvington Folk Festival (through June 20) gets started just a few miles east of downtown.

So there you are: Go have some fun!