Akili Ni Mali

‘Four Women’ face horrors with song

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By John Lyle Belden

Oh, “To be Young, Gifted, and Black” – then to have it all be suddenly taken away.

This was the fate of four girls at the 16th Street Baptist Church in Birmingham, Alabama, when it was bombed by members of the KKK on Sept. 15, 1963. Among the thousands who were compelled by this incident to take action for Civil Rights was the outspoken Black singer and songwriter Nina Simone.

In “Nina Simone: Four Women,” the play by Christina Ham on the mainstage of the Indiana Repertory Theatre, we see the entertainer at her piano on Sept. 16, struggling to channel her rage into a new song – “an anthem,” she insists – to focus the feelings of all who hear it.

In dark imaginings presented in the exceptional stage design by Regina Garcia, Simone (Akili Mi Mali) is just a few steps from the ruined church floor, with charred pews askew and scattered remnants of toys, before the church’s lone surviving stained-glass window. And she is not there alone. Sarah (Jamecia Bennett), a middle-aged woman in housekeeper’s dress and apron, examines the scene. She recognizes Simone and encourages her to sing a hymn rather than an angry tune with objectionable words. Nicely-dressed Sephronia (Ariel Williams) also appears, ratcheting up the tension even more as she, being lighter-skinned, faces disdain from darker-hued folks – though, as she points out, all the Whites outside see is “another Negro.” Eventually, we meet the fourth woman, Sweet Thing (Precious Omigie), a sex worker holding proud to what dignity she can muster.

Director Austene Van said this encounter with the scene and these three archetypes of Black women of the era help Simone to process this change in her life and career, from singer of popular tunes to an activist with her own emotionally charged songs. With some humor, music including many hits from Simone’s repertoire, and frank discussions, we see the struggle from those who had to live it – and arguably still do.

The “fifth” woman is music director Morgan E. Stevenson who accompanies on Simone’s piano as needed.

Ni Mali beautifully brings Simone to life, in looks, bearing and voice. The others get to sing as well; Bennett’s bold rendition of “His Eye is On the Sparrow” had inspired reactions from the opening night audience.

As Simone herself might point out, this is about more than her. The girls who died that Sunday are ever in the characters’ minds – unlike the newspapers of the day, they say the victims’ names. The song that emerges from this event, “Mississippi Goddam,” widens the focus from a single city to the entire American South and includes the murder of Medgar Evers that year.

“Nina Simone: Four Women” runs through March 2 at the IRT, 140 W. Washington St. in the heart of downtown Indianapolis. Get info and tickets at irtlive.com.

Quirky Christmas at a Montana bar in new comedy

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By John Lyle Belden

It seems the wooded lands on the northern edge of the United States host some eccentric goings-on. A number of films, TV shows, and plays have celebrated this, and now we can add “Snow Fever: A Karaoke Christmas,” a holiday comedy by Robert Caisley presented as part of a National New Play Network Rolling World Premiere at the Phoenix Theatre Cultural Centre.

To paraphrase one of its characters, weird stuff happens at Christmas, especially in Montana.

The Phoenix black-box stage has been converted into a bar, the Wet Whistle, which features a drink special that audience members can purchase before the show. It used to belong to Laverna (Jolene Mentink Moffatt) – then known as Taverna Laverna – but now is the property of her son, Brendan (Grant Niezgodski), who runs it with Kenny (Austin Hookfin), an odd young man with “no backstory” and little impulse control.

Local college student Lucy (Sarah Powell) arrives to interview for a job to discover she not only has it but also has arrived late on her first day. Laverna says that can be forgiven (she lives upstairs and acts like she still runs the joint, complete with her free hand with the booze). Kenny comes in with another young woman seeking work, Greta (Akili Ni Mali), a professional Karaoke DJ whom he injured with a frozen snowball to get her attention.

Preparations are under way for the bar’s Christmas Eve party, despite the growing snowstorm outside. The only band Brendan can book is a pair of banjo-playing twins, and he absolutely refuses to have anything as upbeat as the karaoke machine (which Greta is already setting up) in his somber dive bar. Also, Kenny has stolen a tree from the farm of the one man whose name no one is to say – “F. U.” (Brian Tyrell) – thanks in part to what happened at last year’s party.

Also, I should mention, there is Duke. No one knows what Duke is, but he is there.

So, if like me you saw the title “A Karaoke Christmas” and thought this might turn out to be a fluffy holiday music revue, we must remind ourselves: This is the Phoenix F-ing Theatre. Director John Michael Goodson sees this play as a quirky rom-com, but without the Hallmark schmaltz. There is singing in the show, mainly popular karaoke hits. But as love and nostalgia are as much a part of the holidays as the common Christmas trappings, a little “I Will Survive” works just as well as Jingle Bells.

Moffatt revels in her role as mama-bear/queen bee/cougar – the whole menagerie. Laverna can be a bit much, but with a big heart and best intentions. Niezgodski makes a great Phoenix debut, his pragmatic and at times bitter character weathering the chaos. Mali plays Greta as charmingly independent, a roaming soul who takes what life gives her, strange as it may be. Powell also plays Lucy as a roll-with-it sort of character, with more the attitude of someone familiar with the local ways. As for Hookfin, what may seem like just another take on the goof he plays so well in local comedies turns out to have surprising depth; what Kenny appears to lack in intellect he more than makes up for in intuition, as well as irresistible charm.  

Kudos to the cozy set design by Shane Cinal and props by Kristin Renee Boyd.

For a heartwarming holiday play with no heavy message, just good times with a few old pop hits thrown in, come in out of the cold for “Snow Fever,” performances through Dec. 22 at 705 N. Illinois St., downtown Indianapolis. Get info and tickets at phoenxtheatre.org.

History’s flow through Black communities explored in ‘Riverside’

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By John Lyle Belden

The Indianapolis Shakespeare Company, a/k/a Indy Shakes, understands you don’t have to look across the Atlantic for a compelling timeless story. In fact, their current world premiere, “Riverside” by M.L. Roberts, takes place in part on the very ground where it is being performed.

Executive Artistic Director Ryan Arzberger said Roberts underwent extensive research and numerous interviews with people who have lived in the area for decades in the African-American communities in and around Indianapolis, then created a chronicle of a family whose legacy runs through both Indiana and Black history, a well-informed historical fiction and relatable human epic.

A talented and dedicated ensemble play all the parts, from the eternal River that predates the red, then white and black, people who settled here, up to the cusp of present generations in the 1960s. They are Olamide Asanpaola, Kayla Carter, Terra Chaney, Holiday, Malik James, Akili Ni Mali, Ed Gonzalez Moreno, and Milicent Wright, with Jamaal McCray, Josiah McCruiston, and Clarissa Todd as swings. Rudi Goblen directs.

In 1821, there is a settlement of free African-Americans on the White River, led by church Pastor Simon (Moreno) and Sister Sarah Johnson (Carter), who is knowledgeable of the law and whom in the nearby new city of Indianapolis will uphold it. One day, Jacob (James) happens upon the town; he is technically “free” but his white “Massa” who brought him up from Mississippi to work a new farm near Lafayette has him under an unreasonable contract of servitude. After a dramatic standoff, Jacob gains his physical freedom, but it takes time, and Sarah’s gentle patience, to break the chains in his mind and spirit.

The Johnson family that starts on the River follows it down into the heart of Indianapolis, where we find them on legendary Indiana Avenue in the 1920s. Times seem good, but peace is fragile and short-lived, as are some of the neighborhood residents.

As turbulent times follow, Johnsons move upriver to the growing community of Riverside, home of today’s park (and Taggart Memorial Amphitheatre, where this play is presented). In 1962, there is a popular amusement park there, posted Whites Only. Grudgingly accustomed to the culture of segregation, local Blacks take advantage of the singular “Colored Frolic Day” at the park – except for the Johnson children, who at least attempt a protest.

Peppered with humor, music, spirit, and hope, while never afraid to confront the darkness, “Riverside” presents an endearing portrait of a family, a people, and their well-earned place in this American city we call home. The performers help us not just see but feel how the rivers of water and time have brought us to where we are today.

“Riverside” is presented 8 p.m. Thursday through Saturday, July 25-27, at 2441 N. White River Parkway, Indianapolis. Performances at this beautiful outdoor venue are free, with paid VIP seating available. Either way, reserve a ticket to help with headcount for this not-for-profit organization. For more information, visit IndyShakes.com.

The beats of a different Shakespeare

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King Richard III (top) literally holds the throne as “Ricky 3” comes out of Intermission.

By John Lyle Belden

It’s a theme as old as theatre: An ambitious ruler steps on so many people on his way up, that those who aren’t killed make sure he has nothing on the way down, not even a horse. As William Shakespeare wrote such a history of England’s King Richard III, the Tudor lineage that violently dethroned him was in charge. So, no gray area with this character; our central figure not only acts as a villain but gleefully describes himself as one. As for everyone else? Lessons on power, complacency and misplaced trust abound, making this – like much of the Bard’s catalogue – a feature on stages again and again.

Now, we meet the ruthless monarch in “Ricky 3: A Hip Hop Shakespeare Richard III,” presented outdoors by Indianapolis Shakespeare Company, which evolved from the former Heartland Actors Repertory Theatre that held annual Shakespeare in the Park productions.

“IndyShakes” Artistic Director Ryan Artzberger (a familiar face from numerous productions around Indy, including the IRT’s annual “Christmas Carol”) drew from his appreciation of the rhythms of both Shakespeare and Hip-Hop in working with local creatives including Nigel Long, Geechie, and director Mikael Burke, as the long drama was carefully trimmed, then the text’s beats and rhymes matched to carefully curated DJ grooves.

Comparisons to “Hamilton” are unavoidable, but this is not a musical. The flow and beat emphasize the poetry, as well as the nuances of the plot, making the show relatively easy to follow, despite most actors playing various roles. Artzberger notes this is not an “adaptation;” he took care that nearly every line is Shakespeare’s. It is not completely rapped-through, which I found intriguing. Still, I feel that, as a first venture into this melding, it leans more towards respecting the arts going into it than indulging what could be seen as a gimmick.

The classic beauty of the spacious Taggart Memorial Amphitheatre in Riverside Park is juxtaposed by a simple but effective stage design by Sydney Lynn Thomas: a simple metal frame holds the Throne on high, surrounded by black cases that would hold its pieces at breakdown, hinting at the here-today/gone-tomorrow nature of the royals’ reigns. This puts the visual focus on subtle (except moments when it isn’t) and effective lighting by Laura Glover, and the exquisite costumes by Tonie Smith, effectively blending the styles of Africa, Shakespeare-era England, and today’s Urban culture.

I don’t know who Shawnte P. Gaston tapped into to portray Richard, but I don’t want to be that person’s enemy. Imagine the worst anyone lied to your face, manipulated you, had you believing things aren’t as they are, used you for favors and discarded you – all with a big smile – and add the willingness to pay people to poke swords into you. It’s the positive empowered Black woman corrupted in the most tragic manner, and Gaston relishes the ride the whole way. Note that she seems to be this 21st-century female archetype portraying the 15th-century male Duke of Gloucester. The “deformity” of Richard is an allusion to the way a current woman of color may feel disrespected, discarded and ignored.

The rest of the company – LaKesha Lorene, Akili Ni Mali, Chinyelu Mwaafrika, Eric D. Saunders, Kerrington Shorter, Manon Voice, Milicent Wright, and young Quintin Gildon Jr. as the ghost of a murdered prince – acquit themselves very well in various roles. Wright’s powerful speeches as mad ex-queen Margaret sparked spontaneous applause.  

This unique cultural experience is worth your time and the effort to find it at 2441 N. White River Parkway E. Drive, Indianapolis (or north on East Riverside from 16th Street east of the White River, turn left at the park), and no cost at all to attend, though all are required to set up free tickets at indyshakes.com. See the site for details. Performances are Thursday through Saturday, July 28-30, at 8 p.m.

Summit’s ‘Crew’ a bold workplace drama

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By John Lyle Belden

You see the signs, and not just the unusual ones on the bulletin board. Management holds a lot of private meetings; rules start tightening up; workers leave and are not replaced; rumors circulate. The writing is on the wall, perhaps literally when notices go up: people are going to lose their jobs, and perhaps the entire workplace will soon close. 

What had been unthinkable in times of booming industry and union strength has become too common now. I went through a similar situation, perhaps you have, too. And in a recent era, this was the fate of Detroit auto workers in Dominique Morrisseau’s “Skeleton Crew,” the drama presented by Summit Performance at the Phoenix Theatre.

Faye (Dwandra Nickole Lampkin) is within months of 30 years at the plant. She is also: a proud UAW rep; a feisty cancer survivor who can’t – won’t – give up smoking; stubborn protector of her crew, especially Shanita (Akili Ni Mali) and Dez (Kerrington Shorter); practically a mother to the foreman, Reggie (Daniel A. Martin); wise and philosophical, always with something to say; eager to take your money in cards, but not always successful; and a multi-skilled worker who never seems to leave the factory. The fact that she is gay is honestly her least significant trait. 

Shanita is the best on the production line, proud of following her father and helping build something others will be proud to own. She doesn’t even let pregnancy slow her down. As for Dez, he’s got big plans, nice shoes and a gun in his bag. He talks smooth and means well, but the fire within him isn’t always under control. He and Reggie don’t get along, as they seem to assume the worst of each other. Then again, Reggie is right that Dez has been gambling on the premises. 

And as word swirls around that the plant is doomed, someone is quietly stealing from the plant – taking their severance one metal part at a time.

Needless to say, there is a lot of drama and tension as the uncertainty builds. But Morisseau has sprinkled in a healthy dose of workplace humor, and a bit of feeling among the members of this workplace family. It doesn’t take much digging nowadays for these skilled actors to bring the emotions – from concern to frustration – to the surface. Lampkin is a rock. Mali radiates confidence. Shorter gives substance to the angry-young-(black)man archetype. And Martin, known to many for his comic skills, again shows his true range.

Director Melissa Mowry strikes the right balance in the look and feel of the play. The stage (designed by Mejah Balams) is a plant break room, a temporary respite from the noise and stress just outside the back-wall door. Opaque windows show images of industry, and at transitional points in the story, silhouettes of cast members moving rhythmically – men as machines – choreographed by Mowry with the actors. It’s a brilliant visual element that sticks with you.

Powerful drama with strong performances, “Skeleton Crew” has two weekends remaining, through March 13 at the Phoenix, 705 N. Illinois St. For tickets, visit phoenixtheatre.org or go to summitperformanceindy.com.