Fonseca Halloween ‘spooktacular’ returns

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By John Lyle Belden

Call it another Indy holiday tradition: Fonseca Theatre Company tickles your funny bone (and the rest of your skeleton) with “Boo-La-La! An Indianapolis Spook-tacular 3,” directed by FTC board president Yolanda Valdivia.

A suspiciously normal-looking cast – Jean Arnold, Preston Dildine, Brant Hughes, Charlie Rankin, and Joshua Short – present a variety of creepy yet funny short plays (including one each by Arnold and Dildine) interlaced with popular songs by the likes of Hall & Oats, Oingo Boingo, and The Ramones.

“Cryptid Group Therapy” by Emily Worrell has a Latin flavor, as well as one of West Virginia’s biggest attractions; “Olly Olly Oxen Free” by Jacquelyn Priskorn delves the most into suspense, as the “game” gets serious; “Rent-a-Stiff” by Fred Tacon is absurdist satire with businesses that would kill to gain an edge; Dildine’s “100 Steps” has us feeling for a spirit stuck in a popular “ghost tourism” spot; “Fair is Foul” by Donna Latham has a Wyrd Sister meeting folks even weirder – celebrity makeover hosts; Arnold’s “Zombie Moves” takes various positions on physical fitness prior to an evening of scaring mortals; and “Bloodsuckers Anonymous” by Paige Scott has the old-school Impaler commiserating with some more recent popular vampires.

This gang all have plenty of experience making local audiences laugh, and do so splendidly here. In addition, Short gets to show off some exceptional physicality, including his Michael Jackson-style dance moves. The musical bits feel more integrated this year, with visual treats along with each cast member getting to sing. Kudos to costume designer Jeanne Bowling and props by Rebekah Radloff for giving it all the right look. Mad Brown is stage manager.

The trick to experiencing the fun side of Halloween is to treat yourself to “Boo-La-La!” It runs through Oct. 27 at 2508 W. Michigan St., Indianapolis.

In addition, there will be a “Boo-La-La-Jr!” the afternoon of Oct. 26, featuring sketches written by the young actors involved – tickets for the youth version are pay-what-you-will.

For regular tickets to the main version, visit fonsecatheatre.org.

‘Boots’ a good fit for Civic

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By John Lyle Belden

The musical “Kinky Boots,” now on stage at the Booth Tarkington Civic Theatre, is a story both of its time and for today.

With book by gay Broadway legend Harvey Fierstein and songs by equally legendary Cyndi Lauper (making her the first woman to win a Tony for solo songwriting), the musical is adapted from the 2005 British film “Kinky Boots,” in turn inspired by a true story from the 1990s. Set in that 20-ish year ago era in Northampton, England, a man who has inherited a failing shoe factory seeks to save it by filling a niche market – sturdy but sexy boots for drag queens.

From today’s perspective, this venture looks like a typical business risk of reaching a niche market. In its context, it’s a cultural bombshell. In 1999, we’re getting used to seeing openly gay characters on TV; in 2005, we are still about five years from the repeal of “don’t ask, don’t tell” in the military, with gay marriage settled even later.

But this isn’t an artifact of a less-enlightened time. The plot delves into the world of Drag, a culture now under attack, as is gender fluidity and expression in general. “Kinky Boots” reminds us how much we have changed for the better, and how much we haven’t.

Jacob A. Butler plays Charlie Price, a young man who doesn’t want to spend his life making shoes, yet unsure of what he does want. While seeking a job in London with his fiancé Nicola (Braxton Hiser), he encounters club headliner Lola (Jonathan Studdard), who complains about the flimsy heels they have to wear. Meanwhile, as his father (Fernow McClure) has recently died, Charlie has to shut down the Price & Son factory and lay off employees who are like family to him. When one of the workers, Lauren (Kelsey McDaniel), suggests he look to fill an underserved market, inspiration strikes. With Lauren (who secretly has a crush on him) as his assistant, and Lola brought on as designer, Kinky Boots footwear is born.

Not all the workers are on board at first, especially “manly man” Don (Peter Scharbrough). Charlie also has difficulty with Nicola, who wants to sell the factory to convert the building into condos. His hopes rest on the new boots being a hit at a designer footwear show in Milan in just a few weeks – leaving him short on both time and budget.

The large cast includes Tommy McConnell and Ryan Thomas as Charlie and Lola as young boys, and Joshua Hyde as Lola’s father. Our queen is backed by a cloud of Angels, played fabulously by drag performers April Rosè, Justin Sheedy, Blair St. Clair, Vera Vanderwoude St. Clair, Parker Taylor, and Jason Wendt.

Studdard is incredible, bringing both power and vulnerability to the role of Lola. Butler plays Charlie like one on a crash course through the school of hard knocks, needing to learn fast for the sake of others besides himself. Among the lessons are that reliance on others goes both ways, as well as that drag is life, not just a lifestyle.

Scharborough is also notable, Don being a man who has sense literally knocked into him. McDaniel is both sweet and funny as Lauren, making her every-woman character one to root for.

This production is directed by Suzanne Fleenor, who hopes the show will raise both our spirits and our desire to stand for equal rights for all. Brent Marty is musical director; Deena Fogle is stage manager. Choreography is by Kasey Walker.

Fun, funny, and most of all, inspiring, “Kinky Boots” is about a lot more than shoes. Performances run through Oct. 19 at The Tarkington in The Center for the Performing Arts in downtown Carmel. For info and tickets, visit civictheatre.org or thecenterpresents.org.

CCP shows its strength

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By John Lyle Belden

The title of the play, “Steel Magnolias,” written by Robert Harling based on events in his life, refers to the fact that – as one character remarks – men are expected to be pillars of strength, yet women are like hardy flowers of even stronger mettle.

Carmel Community Players presents a mostly-female production of this Off- and on Broadway hit (also made into a beloved film in 1988), directed by Elizabeth Ruddell.

The action takes place in Chinquapin Parish, northwest Louisiana, but we hear all about it at Truvy’s Beauty Shop. We open on an eventful day: Truvy (Casey Clouser) has just hired young Annelle (Phoebe Aldridge) as assistant beautician, then Shelby (Emily Haus), daughter of M’Lynn (Tanya Haas), one of the shop’s regulars, arrives to prepare for her wedding that day. Clairee (Susan Boilek Smith), the town’s former first lady, arrives from the dedication of the local football field to her late husband. Local curmudgeon Oiser (Gabrielle Patterson) storms in, this time upset at M’Lynn’s husband – who has also annoyed the whole neighborhood with his efforts to scare birds away from the backyard wedding site.

Time advances through more scenes, giving us insight into both the changes in these women’s lives and how their bonds stay strong and true. There is plenty of good humor, with numerous funny lines and zingers like a sitcom, but flowing naturally like true friends talk. There is also a cloud of misfortune that will eventually overtake them, testing their steel. Even if you know this or have seen it before, this cast keeps the feelings raw and real.

Haus presents Shelby in all her stubborn, upbeat, brave glory. Haas epitomizes the hard strength of the title, making it all the more impactful when she reaches her limit. Aldridge charms, taking us on the curious complex arc of sweet Annelle’s many changes, inevitably for the better. Smith gives us someone who knows she’s a VIP but would rather have fun with it than lord it over anyone. Her fierce loyalty to lifelong best friend Oiser says a lot about her character. Speaking of whom, Patterson gives us a force of nature like a Louisiana hurricane, yet always true to the ladies in this circle.

If you haven’t, we highly recommend you also see the movie with its all-star cast, including Dolly Parton as Truvy. Clouser is a living tribute with her accent and blonde wig, while making the character her own. We never forget this is her house, after all.

Other salutes to the film include a Dolly portrait on the wall (her hits play while we wait for the play to start) and Annelle’s cat-eye glasses like Darryl Hannah wore in the role.

Haas is also producer. Other “Magnolias” involved include stage manager Samantha Kelly, lights by Karissa Henschen (with Doug Vann), and sound by Lori Raffel. “Honorary Magnolia” Jason Creighton provides the good-ol’-boy voice on the radio.

Entertaining and emotional, find some Southern charm up north in Carmel. “Steel Magnolias” plays Thursday through Sunday, Oct. 10-13, at The Cat, 254 Veterans Way. Get info and tickets at carmelplayers.org or thecat.biz.

BCP ‘Vultures’ provides haunted hilarity

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By John Lyle Belden

Take one part Agatha Christie, one part “Clue,” and a dash of gay romance, and you get something unique, entertaining, and intriguing: “The Vultures” at Buck Creek Players.

In this 2018 comedy by Mark A. Ridge, directed by Andrew Souders, we spend a dark and stormy night at remote Westmount Manor, where the last remaining relatives of eccentric millionaire Simon West gather to hear the reading of his will, on the 20th anniversary of his death.

The only resident for the last two decades has been cryptic caretaker Talbot (Tiffany Wilson). The attorney, Mr. Cosby (Derek Sumpter), conducts the reading attended by Harrison Blythe (Tony Brazelton), Mary Roberts (Nancy Laudeman), Ashley Hopewood (Cairo Morado), Charles Willard (Scott A. Fleshood), Paul Jones (Jericho Franke), and Hunter West (Zach Bucher). Things get interesting even while these distant relatives gather as Harrison is a famous underwear model, and Ashley is a total ditz. The banter includes a lot of verbal barbs which only get sharper as it turns out only one of them will inherit the West fortune.

The plot thickens further when Rhinehart (Rich Laudeman) arrives from nearby Hillcrest Asylum to alert them that a murderous psychopath has escaped. Someone is not going to live through the night.

Dennis Karr completes the cast as physician Dr. Avery, who lives nearby.

With restless spirits, a missing priceless pocket watch, secret passages, and a shadowy figure, we get a puzzling whodunit as well as laugh-out-loud comedy. In addition, there’s the rekindling of past affections between Hunter and Paul, upping the ante when heroics are called for.

There are excellent performances all around, with Morado doing Generation Z no favors with her charming yet delightfully airheaded turn. Wilson’s never-break dour deadpan delivery is perfect, presenting herself like the sister of Addams Family’s Lurch. Brazelton is brave in his own way, fortunately having worked out enough to display his costuming (or lack thereof).

More creepy than scary, haunted but hilarious, this is an easy outing for your spooky season. However, it’s only available for one more weekend, through Sunday at the Buck Creek Playhouse, 11150 Southeastern Ave., Indianapolis (Acton Road exit off I-74). Get info and tickets at buckcreekplayers.com.

Westfield hosts ‘Ripcord’s rowdy rivalry

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By John Lyle Belden

For something different for October, a show in which it is one of the characters who is supposed to be frightened – for the audience, it’s all laughs. Main Street Productions of Westfield presents “Ripcord,” by David Lindsay-Abaire.

If the playwright sounds familiar, it is because he is known for hits including the deep drama “Rabbit Hole,” and the wild hilarity of the stage musical of “Shrek.” He shows a bit of both sides in this comedy. Director Andrea Odle lets the natural odd-couple humor shine through rather than let this devolve into farce, with just the right amount of slapstick.

Abby (Miki Mathioudakis), the acerbic resident of an assisted-living retirement home, doesn’t like having a roommate – especially her latest, upbeat talkative Marilyn (Tina Nehrling). When resident aide Scotty (Marshall) fails to arrange a room reassignment, the women come up with their own solution. In their wager, if unflappable Marilyn loses her cool and gets angry, she must move out; if unmovable Abby becomes afraid, she must let Marilyn stay and get the bed next to the window.

This includes a scene at a haunted house where aspiring actor Scotty is one of the performers. We also meet Marilyn’s daughter and son-in-law Colleen (Claire Slaven) and Derek (Scott Prill), who help run her skydiving business.

Cameron Ponce plays Marilyn’s son Benjamin; and he, Slaven, and Prill fill in other roles.

Mathioudakis and Nehrling have wonderful, volatile chemistry. Their characters can both dish it out and take it in their prank war, while revealing sufficient depth to engage us in the question of whether it’s possible to take their antics too far.

Marshall plays Scotty as a friend caught in the middle like a babysitter at a high-stakes pillow fight. He has limited authority, but unlimited concern. Prill and Slaven give Derek and Colleen a spirit of fun natural to a family raised on adventure.  

This production lets the fun “rip” four more times, Thursday through Sunday, Oct. 10-13, at Basile Westfield Playhouse, 220 N. Union St. Get info and tickets at westfieldplayhouse.org.

Center Stage ‘Outsider’ shows silly side of politics

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By John Lyle Belden

At times, the difficult part of satirizing today’s political scene is coming up with something nuttier than what is actually happening. Or, in the case of “The Outsider,” the hilarious comedy by Paul Slade Smith, one could premiere a play in 2015 that in some ways appears to come true in the nine years since.

Center Stage Community Theatre in Lebanon now presents “The Outsider,” directed by Matt McKee with Sabrina Lang. The play is set in an American governor’s office – which state is not said directly, but there is an Indiana flag in the corner. Also, party affiliations are never mentioned as absurdity is non-partisan.

With the popular but corrupt Gov. Larry Clarke (and his whole staff) having resigned due to a sex scandal, the top job has fallen to Lieutenant Governor Ned Newley (Matt Spurlock), who, though highly intelligent and an efficient policy wonk, is totally tongue-tied in public and has botched his swearing-in. Note this takes place “today,” with viral videos on YouTube and other sites.

Chief of Staff (and until this day, Newley’s entire staff) Dave Riley (Neil Acton) is beside himself with worry over his boss’s future. His first hire is friend and expert pollster Paige Caldwell (Veronique Duprey), who manages to bring in nationally renowned political advisor Arthur Vance (Larry Adams). Riley also requested a temp to handle administrative duties, resulting in the appearance of Louise “Lulu” Peakes (Kat Krebs), who boasts experience at dozens of firms because she never lasts a day at any of them due to comical cluelessness.

Vance feels inspired by the Newley video showing the new governor apparently unfit for office. “Unqualified is the new qualified,” says this expert on what the voters want. The fact that Gov. Newley is not stupid only complicates things as Vance sets up a TV interview with local reporter Rachel Parsons (Lauren Lotzow), who arrives with surly cameraman A.C. Petersen (Tom Smith). This attempt to keep the Governor dumbed-down takes a bizarre turn when Lulu stumbles into the office, giving Vance a look at what could be the perfect American political candidate.

Whether you think this is other-worldly absurd or an exaggerated look at current events, the play is non-stop funny, like an SNL opening skit in which all the zingers hit. Acton as Riley plays the neurotic nice guy so well Jimmy Stewart would ask for pointers. Duprey has a natural charm that works perfectly here. Adams brings on contagious energy like a 21st-century political P.T. Barnum with the right sets of cards to get anyone saying what the public (or at least a focus group) wants to hear. Lotzow ably embodies a journalist annoyed with what “the media” have become, yet she must go along to keep a job. Smith, who can make a lot of a little role, does quite a bit with the guy who just wants to stay overlooked while he does his necessary thing.

 Spurlock gives in Newley a perfect rendition of a man who was in a dream job (quietly writing good policy that the one who likes being the public face took credit for) suddenly in way over his head with nearly every neurotic trigger tripped. Still, his honesty and sense of duty towards a government he doesn’t see as bad, or a means to power for its own sake, bring him courage to do what’s right.

As Lulu, Krebs is both a charmer and talented at the deceptively difficult job of consistently playing the ditz in a manner that is so entertaining while we nearly hurt ourselves laughing. Her timing and physicality, as well as Acton’s during the fateful TV spot, elevate the hilarity even more.

Like all good satire, there is a point here, but nothing heavy-handed or preachy. If you see any real-world versions of the attitudes or archetypes presented, just keep them in mind come November.

Whether you can use some topical humor or think politics is no laughing matter, just relax and enjoy “The Outsider,” through Oct. 13 at Center Stage, 604 Powell St., Lebanon. Get info and tickets at centerstagecommunitytheatre.com.

IRT does A-OK with the B-E-E

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By John Lyle Belden

Funny how so much of your life seems to hinge on what happens in your middle-school years. Funny enough, in fact, that it’s good to laugh – with, not at – the struggles of the kids caught up in “The 25th Annual Putnam County Spelling Bee” at Indiana Repertory Theatre.

Being the IRT, you can expect and experience a highly professional production, including the nicely constructed Gym setting (in a fictional “Putnam County, USA,” though the program notes there is such a county in Indiana, to the west of Indy) with a lively scoreboard that lights up to cleverly illustrate and comment on the goings-on below. A sharp cast of local and visiting actors give us characters we can all relate with or knew in our school days.

We meet Rona Lisa Peretti (Michelle Lauto), our upbeat emcee and past champion; assistant principal Doug Panch (Ryan Artzberger), who calls out the words and promises to behave this time; and Mitch Mahoney (R.J. Griffith), who is “comfort counselor” as part of his court-ordered community service.

The contestants are: Chip Tolentino (Matheus Barbee), noble Boy Scout and last year’s winner; Logaine Schwartzandgrubenniere (Devin Mathias), a budding activist with two very involved dads; Leaf Coneybear (Dominique Lawson), a homeschooled free spirit unsure of his own worth; William Barfeè (Brett Mutter), armed with confident bluster and his “magic foot;” Marcy Park (Ayana Strutz) an overachiever (six languages!) who was spelling champ at her previous school; Olive Ostrovsky (Ariana D. Burks), a shy girl with distant parents, her best friend is the Dictionary; and some spellers chosen from the audience (don’t worry, you have to apply to be selected).

This musical, by Rebecca Feldman with Rachel Sheinkin (book) and William Finn (music and lyrics), directed and choreographed for IRT by Patdro Harris, is lively, funny, and heartfelt. We get both the present challenge for these youths, the stress of the bee expressed in the song “Pandemonium,” as well as a look into their inner lives, as each gets at least a song of their own. Castmates step in to portray family members as needed. The humor comes from their situations, as well as great one-liners such as an interesting “fact” given about each contestant – including the selected audience members – and the replies to “please use the word in a sentence.”

The elements of improv keep the show fresh and unpredictable (these actors are up to the challenge), and even yielded some of the biggest laughs on opening night. If you are familiar with the show, you know who wins the contest – but the finalists’ performance lends sufficient tension to make the ending work. It is also uplifting to see most who don’t hoist the trophy each find victory in their own way.

It’s hard singling out individual performances, as this was such a great ensemble. Artzberger is such an IRT mainstay that it’s easy to overlook just how naturally he puts on every character he’s called on to play. Lauto isn’t local, but as Peretti has a natural chemistry as though she truly was this county’s top realtor and past spelling champ. Griffith gives the right balance of “street” and sweet called for in Mitch’s situation.

Mathias is familiar to local audiences, though not necessarily her earnest lisping inner child as Logaine. Lawson demonstrates wonderful versatility by leaving behind his turn as Seymour from “Little Shop” a few months ago to give us the charmingly naïve, yet brave, Leaf – reflecting many of us in the audience when blurting “is that even a word?” when given something obscure to spell – as well as an important moment as one of Logaine’s dads. Barbee also has some great moments (including one Chip would rather forget) and a good pitching arm with the snack tray. When done right, you just want to give Olive a big reassuring hug – and I think Burks had us all that smitten. Barfee is so many things – obnoxious, aggrieved, confident to a fault, needing to succeed to feel worthy, wanting to be appreciated, and on the edge of unsure – Mutter nails them all. As Marcy, Strutz was perfectly cast as she is not only wonderful in the role, but also capable of the dance and gymnastics that make her solo number really pop.

Kudos also to scenic design (mentioned above) by Britton Mauk, and music director Joshua Burniece. In the lobby balcony, there is a display that includes how costume designer Linda Pisano reflected the characters’ personalities in their outfits.

This show is at the IRT for just a short spell, through Oct. 13, at 140 W. Washington St. in the heart of Downtown Indianapolis. See irtlive.com for information and tickets.

Footlite hosts incredible ‘Cabaret’

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By John Lyle Belden

Theatre so often holds up a mirror to the current mood, so we find ourselves with a new production of the Tony and Oscar-winning sensation, John Kander and Fred Ebb’s musical “Cabaret” at Footlite Musicals, directed by Isaac Becker-Chamberlin.

In 1930s Berlin, many deal with the growing social and political tensions with hedonistic pursuits. Welcome – “wilkommen” – to the Kit Kat Club, where a living cypher of an Emcee (Lucy Fields) has a story to show you. “Leave your troubles outside!” These characters will have plenty of their own.

American writer Cliff Bradshaw (Derek Savick-Hesser) encounters a friendly local, Ernst Ludwig (Bobby Haley) who sends him to a friendly boarding house run by Fraulein Schneider (Marie Beason) and to the very friendly Kit Kat, where he encounters English singer Sally Bowles (Addison Koehler). We also meet Fraulein Kost (Emily Gaddy), a young woman seemingly “related” to half the German navy; as well as older gentleman Herr Schultz (Len Mozzi), who runs a fruit stand and is sweet on Schneider.

The club’s “Beautiful!” dancers are played by Tajeyon Bohannon (Victor), Logan Laflin (Hans), Halle Massingale (Frenchie), Amy Matters (Fritzie), Nicole Sherlock (Rosie), Louis Soria (Bobby), Nate Taillon (Herman), Linda Thomson (Texas), Katie Van Den Heuvel (LuLu), and Kennedy Wilson (Helga).

The familiar story plays out of people in a city distracting itself from the oncoming madness, finding everyday pursuits – love, family, marriage, and making a little money – all becoming tainted by this atmosphere. The songs advance the plot as well as entertain, from fun numbers like “Don’t Tell Mama” and “Two Ladies” to the defiant melancholy of the title song.

You’ve seen it before, perhaps, but not like this. Diverse casting, including plus-sizes, makes this Berlin dive look a bit more authentic, but still loaded with talent.

Koehler is amazing, playing Sally as a gritty survivor, always one step ahead of any sense of failure, thus never wanting the party to stop. Beason and Mozzi are so adorable, you really do want to see Schneider and Schultz together. Haley keeps Ernst so darn likable – until he’s not. Savick-Hesser is a charming audience proxy, our emissary to this very foreign world. His Cliff is an interesting soul, sorting out his feelings for men, and Sally, while both savoring Europe and missing Pennsylvania.

Key to the unique nature of this “Cabaret” is Fields’ outstanding performance as the Emcee. Being a trans woman allows her to present a perplexingly androgynous character. Essential to the role is the notion that this person is in charge, ever crafting expectations and pulling the strings on the narrative you are meant to see. Absolute control over their look and presentation, coupled with the clown jester’s license to confront you with dark truth while wearing a big smile, as well as being a near-constant presence, helps Fields emphasize that what they show you is important. In the end, after all, it’s life and death.

Choreography is by Conner Becker-Chamberlain and Emily Theurer. Wild and appropriate costumes designed by Marina Turner. Stage manager is Jeremy Crouch. And the “Beautiful!” orchestra is led by Kristin Cutler.

Come to the “Cabaret” through Oct. 6 at Hedback Theater, 1847 N. Alabama, downtown Indianapolis. Get tickets and info at footlite.org.

4th Wall takes on Hugo classic

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By John Lyle Belden

The great irony of “The Grotesque of Notre Dame,” a new drama by Josh Gibson presented by 4th Wall Players, is that the story looks unfamiliar because – contrary to various filmed and staged versions – the plot more closely follows the 1831 Victor Hugo novel, “Notre-Dame de Paris.”

We still get our Hunchback, but while Quasimodo (Sarah Kinsey) is a major character, the story centers on the beautiful Roma dancer Esmeralda (Shannon Clancy). Gibson steps in as, naturally, the poet and playwright Pierre Gringiore, who follows the woman to have her be his muse – but through an odd set of circumstances she becomes his “wife.” Meanwhile, she falls for Captain Phoebus (Dustin Jones), who saves her from abduction by Quasimodo and Pierrat Torterue (Ben Elliott) on the orders of Archdeacon Dom Claude Frollo (Lot Turner), who is obsessed with her.

By this point, we have also met Fleur De Lys (Emma Howard), the noblewoman engaged to Phoebus, and her mysterious cousin Columbe (Katherine Novick). Among the street people are the mentally damaged Mother Gudule (Katherine Gibson) as well as a band of thieves (Isabel Moore, Tyler Gibson, and Kelli Gibson) under the command of Jehan (Omar Jurdi), the drunken King of the Court of Miracles, as well as Don Frollo’s brother. Accompanying Esmerelda is her clever goat, Djali (puppeted and portrayed by Taylor Shelton).

Aside from the torturous intrigues with Esmeralda, this adaptation dwells on the aspect that unlike the misunderstandings in Hugo’s story, the aspects of magic and sorcery are more real. This includes the dark spells in Frollo’s chambers, the character of Columbe (brought in from Gibson’s other plays), and the true nature of Djali. Principal plot points, such as Esmerelda being condemned, Quasimodo invoking “Sanctuary!” and the tragic ending, are still true to the book.

Clancy gives us a kind, charming girl worthy of pursuit. Turner contrasts that light with his constant air of darkness. Jurdi plays an unflappable scoundrel, feeling that between his beggar army and his high-placed sibling, he is untouchable. Jones gives us a figure who appears noble yet shows himself more fickle with easily-bruised pride. Shelton does very well with the complexities of her character, horns and all.

Kinsey gives a compelling performance as the Hunchback, complete with employing sign language as the nearly-deaf character. The actor having lost her voice on opening weekend had her mouthing her lines with pre-recorded voiceover; this somehow added to the portrayal, reflecting the fact that an actual person in this state would be nearly impossible to comprehend – yet for the audience’s sake, we do.

The play is directed by Spike Morin-Wilson, assisted by stage manager Kelli Gibson. While the title seems to be an effort to differentiate this from other versions of “Notre-Dame,” it does leave open the question: what truly was the “Grotesque” here? I’m thinking it’s not the poor soul ringing the bells.

Performances conclude this weekend, Sept. 27-29, at Arts for Lawrence’s Theater at the Fort, 8920 Otis Ave. Get tickets at artsforlawrence.org, information at 4thwallplayers.org.

Mud Creek casts a comic spell

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By John Lyle Belden

As the spooky season closes in on us, we have a fresh production of the witchy stage comedy “Bell, Book and Candle,” by John Van Druten at Mud Creek Players, directed by Dani Lopez-Roque.

Gillian (Heather Jones), a powerful witch living in 1960s New York, is taking a fancy to mortal Shep Henderson (Jamie Kenjorski), a book publisher who lives upstairs. However, upstairs from him is Gillian’s silly Aunt Queenie (Stacy Embry) who has been misbehaving. During a rather eventful Christmas Eve, the witches and Gillian’s stylish warlock brother Nicky (Stephen Greiner) set up a magickal night for Shep, and even summon Sidney Redlich (Lou Cavallari), the non-witch author and witchcraft “expert.”

As any spellcaster will tell you, if you put a lot of energy out there – especially in matters of love –there will be serious circumstances. This charming rom-com even has a subtle nod to a certain sitcom that this play helped inspire.

As typical of shows of the era, all characters have nice outfits, thirst for cocktails, and something clever to say. Jones’ performance gives the perspective of a selfish personality slowly discovering the pain and potential good of empathy. Embry’s Auntie is naturally charming, while Greiner feels too fabulous to change. Kenjorski, though playing the “victim” here, has Shep realize perhaps his choices weren’t entirely his own before he encountered his witchy neighbors. Cavallari is both comic foil and a cautionary lesson on the difference between what we think we understand and what we actually do.

This fun, bewitching show opens Mud Creek’s 75th Anniversary Season, celebrating the company’s past hits – “Bell, Book and Candle” was staged here in 1953, not long after its Broadway debut. This production runs through Saturday, Sept. 28, at the MCP Barn, 9740 E. 86th St., Indianapolis (Castleton/Geist area). Get tickets at mudcreekplayers.org.