Adam O. Crowe

FTC: ‘Cake’ a complex confection

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By John Lyle Belden

Though every aspect of a thoroughly-planned wedding seems critical, the most important thing is still the people involved.

That is the approach playwright Bekah Brunstetter brought to “The Cake,” now presented by Fonseca Theatre Company, directed by founding staff member Jordan Flores Schwartz. In this “issue play” tackling recent conflicts of homophobia, religious freedom, and free commerce, while a bakery avoiding making a wedding cake for a same-sex marriage is at the center of the story, it is the people and their very human feelings that we explore.

Della (Jean Arnold) appears to have her life in order. Her shop, Della’s Sweets of Winston, N.C., is doing well and she has been selected for the “Big American Bake Off” television show. She is a stickler for following the directions, whether it be with a generations-old recipe or the centuries-old wisdom of the Bible. We meet her speaking on this to a young freelance writer, Macy (Chandra Lynch), who, while working on her next story, has an ulterior motive. This is revealed when Jen (Kyrsten Lyster) arrives. 

Jen grew up in this neighborhood and is friends with Della. She is also Macy’s fiance. After first insisting on making the wedding cake, before finding out it is for “two brides,” Della suddenly remembers how busy she will be around the wedding date and changes her mind. 

At this point you might expect characters to dig in their heels as they take sides, each individually convinced they’re right, and maybe even go to court. But the consequences are more nuanced. 

Della, who has known and loved Jen since babysitting her years ago, almost immediately feels regret over her decision. While her husband, hard-working plumber Tim (Adam O. Crowe), supports her on it, she finds herself haunted by the voice of the Big American Bake Off host George (Dwuan Watson) questioning her motives and methods. Also, she can’t help but notice the true love between Jen and Macy, a feeling she struggles to find between her and her dutiful but distant spouse.

Meanwhile, a rift forms between our engaged couple. Macy, a New Yorker, sees all she feared from the South coming true, and wants to strike back, or at least give up the fancy nuptials for a simple civil ceremony — elsewhere. Jen, on the other hand, is determined to have her dream wedding. It turns out you can take the lesbian out of North Carolina, but you can’t take North Carolina out of the lesbian.

As with all genuine stories, no matter how serious things get, some of it you just have to laugh at. There are plenty of comic moments in this play, especially when Della tries to rekindle her own jaded romance.

Arnold makes Della surprisingly sympathetic, given the spot events have put her in. Though playing a staunch conservative, Crowe gives Tim enough heart that we can see what she saw in him.

Lynch and Lyster make a good couple, as in their roles their yin and yang of protector and nurturer balance each other out. Still, neither woman is all hard or all soft. Is it enough to save the wedding? (And will there be cake?) You’ll just have to see to find out. 

Performances run through March 22 at FTC’s home, the Basile building at 2508 W. Michigan St., west of downtown Indy. Call 317-653-1519 or visit FonsecaTheatre.org.

IRT opens ‘Angry’

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By John Lyle Belden

It’s a hot summer night, and what will happen in this room will have life and death consequences for someone you’ve never met.

Welcome to “Twelve Angry Men,” the classic American drama by Reginald Rose opening the 2019-2020 season at Indiana Repertory Theatre. Set in 1957, this play is both very much of its time, and timeless. The struggles and society these dozen characters deal with are every bit as real today as they were then.

Our 12-man jury is tasked with deciding the fate of a young man accused of murder. If the verdict is guilty, the death penalty will be applied. The men are all from different backgrounds, working class to rich. Though all white, they have roots in different ethnicities. 

The jury foreman (Seth Andrew Bridges) calls for a preliminary vote. Since the result seemed so obvious during the trial, all vote “Guilty” — except for one (Chris Amos). Why? He doesn’t want a rush to judgement, he says, and besides, he has some questions.

For the next hour-plus (the play is a single movie-length act) we hear the details of the case, presenting the murder mystery in nearly enough detail to give the audience a vote. 

The men arguing are all sharply acted, under the direction of James Still, giving dimension to their archetypes: Scott Greenwell as mousey, yet wanting to see justice done; Craig Spidle as one easily convinced of the evil “kids these days” can do; Henry Woronicz as a rich broker who wants to see the facts as plain and ordered as the newspaper he reads; Demetrios Troy as a man with more in common with the defendant than he’d like to admit; Casey Hoekstra as a laborer whose work ethic informs his judgement; Michael Stewart Allen as a loud Yankees fan (he wants the deliberations done in time to go to a game) who sounds more certain than he actually is; Mark Goetzinger as an older gentleman struggling to bring perspective to the proceedings; Robert Jerardi as a bigot determined to see “one of them” condemned; Patrick Clear as an immigrant excited to exercise his new citizenship; Charles Goad as an ad man who can’t help playing both sides; Bridges’ foreman, whose skills as a high school coach come into play; and Amos’ holdout, the conscience of the play and principal driver of the “reasonable doubt” that can turn the verdict around. Adam O. Crowe plays the Guard stationed outside the jury room door. 

Most people know, or can easily guess, the outcome of this drama. What is important, and makes this engrossingly entertaining, is how they get there. The knife, the steps, the glasses, all the clues and what they suggest, making for an intense 100 minutes. And the title is apt: these men get plenty angry — including at each other.

The stage set, designed by Junghyun Georgia Lee, is a masterwork, including a washroom to the side that can be made to be seen through screens when needed, as some juror discussions take place privately. The custom-made long wooden jurors’ table sits upon a turntable that slowly moves at times to aid our perspective of the deliberations. And at moments an actor might step away from the churning motion to demonstrate his seeking clarity. 

While the idea seemed gimmicky, the turning table is not constant, and thus works to great effect. Still notes this aspect of the stage was discussed early on in the production. “You mostly just have 12 men sitting around a table,” he said. “We needed something dynamic.”

The deliberations continue through Sept. 29 at the IRT, 140 W. Washington St. in downtown Indy, by Circle Centre. Info and tickets at http://www.irtlive.com.

ATI earns its wings with ‘Wonderful’ radio play

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By John Lyle Belden

The bottom line with this show is fairly simple: If you like the film “It’s a Wonderful Life” — or are open to, if you haven’t seen it — you will enjoy the live Radio Play. It is popping up around central Indiana, but I saw the Actors Theatre of Indiana production, playing at the Studio Theater in the Center for the Performing Arts in downtown Carmel (by the Kristkindlemarkt).

Done in the style of radio dramas performed in the 1940s (when the movie takes place and was released), an upbeat ensemble, accompanied by a sound-effects artist, provide all the sounds of a “playhouse of the air” so that families gathered around the radio sets in their homes can fill in all the details in their minds. Thus, if you close your eyes you still get the full story, almost like watching the classic Frank Capra film. With eyes open, you can see the performers mug and gesture their way through the show, giving those who braved the weather to see it in person a little extra — not to mention seeing all the tricks employed to make every noise from footsteps to stormy winds.

The script is true to the film’s story: Clarence the Angel (Second Class) is dispatched to help George Bailey, a man who spent his whole life helping others and desperately needs help himself. We get the backstory on George’s “wonderful life” so when he wishes he “had never been born” we can see how different things would be without him. In the end, we see the difference one person can truly make — Merry Christmas, Bedford Falls!

ATI’s founding trio of Cynthia Collins, Don Farrell (voicing Clarence and other characters) and Judy Fitzgerald (who plays Mary, George’s wife) are joined by Adam Crowe (narrator, villainous Mr. Potter, etc.), Paul Tavianini (George), and Luca Arive, Sadie Cohen, Lincoln Everitt and Annabelle Pfeiffer in children’s roles, to perform the story. Fox59 TV personality Sherman Burdette literally provides the bells and whistles, working all the sound effects like a pro.

For a fresh, festive take on a holiday classic, performances of “It’s A Wonderful Life: A Live Radio Play” run through Dec. 23. For information and tickets visit atistage.org or thecenterpresents.org.

Zach&Zack ‘Rocky Horror’ at Athenaeum – ’nuff said

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By John Lyle Belden

I could probably skip the synopsis on this one – Anybody here know how to Madison?

“The Rocky Horror Show” (note the omission of “Picture,” this is the live stage version) has returned to Indianapolis like a Halloween tradition, gracing the haunted stage of the Athenaeum,

Presented by Zach&Zack – produced by Zach Rosing, directed by Zack Neiditch – the play greatly resembles the movie scenes and songs, with a few differences (no dinner scene, for instance). The opening theme is a brilliant tribute to the film, complete with cast credits. But the actors here have made these characters their own: for instance, Dave Ruark plays sassy “Sweet Transvestite” Frank N. Furter, not an impression of Tim Curry in the role.

Adam Tran and Andrea Heiden are fun as Brad and Janet – the pair of squares thrust into a night of “absolute pleasure,” and Joe Doyel has stage presence to match his pecs and flex as muscular Rocky (the Creature). But the scenes are not stolen but outright owned by Davey Pelsue as Riff-Raff, combining his considerable acting chops with his rock-star charisma. Also wonderful are Anna Lee as Magenta, Alexandria Warfiel as Columbia, and Josiah McCruiston as Eddie and Dr. Scott.

But is it fair that while Adam Crowe is excellent as the no-neck Narrator, his scenes are pre-recorded so that he can actually see this great show from the audience, while the rest of the cast can’t? And where did his neck go? I blame aliens.

Kudos also to Erin Becker for her “big mouth.”

Perhaps I’m not taking this review seriously enough, but then consider what I’m supposed to be critiquing here. For crying out loud, the best lines are typically shouted by the audience! (And yes, you can do that – just no props allowed, by theater policy.) The bottom line is that this is not just a “play” or even your typical musical, it is an experience. And with this competent crew, you are assured a very good time. (Like a – everybody now – “Science fiction, double feature…”)

Of course, tickets are selling fast. Remaining performances are Thursday through Saturday, Nov. 1-3 at the “A,” 401 E. Michigan in downtown Indy. Get info at ZachAndZack.com (or their Facebook page) and tickets here.

NoExit ‘1984’ – experience the love of Big Brother

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By John Lyle Belden

It was a bright cold day in November, and the clocks had struck nineteen 30 minutes ago. The back door to a facility commandeered by the Party and Ministry of Truth opened, and we were allowed to enter.

After Agents determined our country of origin and loyalty to the Party, we were detained with other participants until 20:00, when the Ministry provided a goodthink show of a man discovering his love for Big Brother. This is all it is and ever was.

I would never be unfaithful to the Party and tell you that this was a clever and insightful production of “1984” – adapted from the George Orwell novel by Matthew Dunster, produced by NoExit Performance (with co-conspirators including AnC Movies, Cat Head Press and iMOCA) and directed by Ryan Mullins – as that would be “fake news.”

But if I were to say such a thing, I would point out that Ryan Ruckman gives an excellent performance as Winston Smith, the conflicted everyman who tires of his duties for the Ministry, constantly “correcting” history and sending obsolete information down the Memory Hole so that it never happened. He wears his depression and ennui like an extra layer of clothing, feeling the weight of the Telescreen eyes upon him. NoExit mainstay Georgeanna Smith Wade wins his heart and ours as secret rebel Julia, who inspires Winston to defy the Party – simultaneously the smartest and stupidest thing he would ever do.

The Party orders that I denounce Dave Ruark for his commanding portrayal of the mysterious O’Brien, Adam Crowe for his deceptively warm turn as Charrington, and Tristan Ross for his appropriately milquetoast presentation of Smith’s co-worker Parsons (extra rations go to Zac Schneider and Elsie McNulty as the Party-faithful children, though Shannon Samson as Mrs. Parsons is still under suspicion). If Syme had not become an unperson, I’d praise Phil Criswell’s double-plus-good performance. I also hallucinated sharp work from Taylor Cox and Ann Marie Elliott in supporting roles.

Where NoExit – I mean the Ministry – most excels is in the way this drama is presented. It is totally immersive: You stand in or right outside the room where each scene occurs; and the actors frequently move from one area to the next, forcing all to turn and/or follow. Ministry agents help guide the audience. There is no climbing stairs, and limited seating is provided at every scene. Compare the amount of movement necessary to an easy tour of a museum gallery with about a half-dozen display areas in three large rooms. Appropriate set design (by Andrew Darr), with occasional video images (by AnC) and haunting sound (by Rob Funkhouser) enveloping the rooms, provide a perfectly tense atmosphere throughout. Big Brother’s red glowing eye is everywhere, watching us all.

I advise all to take time out from news of whatever war we have always been fighting, and observe this double-plus-good entertainment appropriate for whatever year this happens to be. Performances through Nov. 18 at Ministry Headquarters, 1336 E. Washington St., Indianapolis. For information and tickets, visit www.noexitperformance.org.

It’s ‘only’ a hit

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NOTE: As the Word/Eagle is in flux with the renaming and corresponding change in official website, John is putting his reviews here — for now.

By John Lyle Belden

Rarely has a play dared me so strongly to write a bad review of it.

“It’s Only a Play,” by legendary playwright and librettist Terrance McNally, is on the main stage at Theatre on the Square through Oct. 1, opening the 2016-17 season. In this comedy, a nervous playwright, Peter Austin (played by Dave Ruark) nervously awaits the reviews after opening night of his Broadway play.

All action takes place in a guest room at the home of the play’s rich producer Julia Budder (Afton Shepard), where Austin’s best friend, TV star James Wicker (Adam O. Crowe) tries to relax, glad that he turned down the lead role in the play – though he won’t tell Austin; scandal-plagued lead actress Virginia Noyes (Kathy Pataluch) and acclaimed “genius” director Frank Finger (Thomas Cardwell) each go to get away from the party crowd downstairs; reviled theatre critic Ira Drew (Jeff Maess) seeks someone to take on the play he secretly wrote; and coat-check boy and aspiring actor Gus (Jacob Swain) comes in to deposit coats and accoutrements worn by various celebrities.

The play is loaded with Broadway references and swipes at critics, and teases us with a cliffhanger at intermission. At the end, things get almost groaningly meta. Need I mention that the first version of this play closed during previews (according to Wikipedia)?

Yet, here, it all works.

Yes, even critics can take a joke – and I and another scribe in attendance could even think of someone who the play’s zingers better fit. The discussion of stage legends like Patty Lupone is mixed with more-recognizable celebrities like Lady Gaga, so references to the party downstairs never go flat. “Hamilton” even gets name-checked (and coat-checked).

And the mixture of dysfunctional characters we are presented with – Budder keeps butchering popular quotes, Noyes wears a court-ordered ankle bracelet, and Finger’s insecurity over his incredible success manifests as compulsive kleptomania – are very funny and well-presented by actors far more talented than the poor hacks they portray.

So, who cares if McNally didn’t get a(nother) Tony for this – for TOTS, this romp is “only” a winner.

Find the stage at 627 Massachusetts Ave. in downtown Indianapolis. Call 317-685-8687 or see www.tots.org.

John L. Belden is Associate Editor at The Eagle (formerly The Word), the central-Indiana based Midwest LGBTQ news source.