Alan Keith

After more than 2,000 years, a religious figure returns

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By John Lyle Belden

If you wonder about religion and the unusual things people believe, it’s not far down the Internet rabbit hole to the origins of numerous sects of the 1800’s (Mormons, Christian Science, Adventists, etc.). No matter how you think about them, they now feel mainstream. You see a building on a street and hardly give it a thought because (1) it’s not your particular thing, and (2) they seem quiet and nice, even if a bit weird. It has occurred to me that, in a few more decades, even controversial groups like Scientology will be just another part of the religious landscape.

What’s this have to do with a theatre review?

Stagewright Theatrical Company debuts with “Applewhite,” a new sci-fi drama written and directed by Alan Keith. If you don’t recognize the name in the title, that goes towards my point in the first paragraph.

It is approximately the year 4385. Circumstances have largely driven mankind underground. Technology has changed little, owing in part to an emphasis on specialization so that all roles are filled to ensure human survival.

As science and reason don’t provide much hope, old-time religions fill the void. Arthur (Derrek Krobar) discovered and revived the teachings of 20th century minister Marshall Applewhite and his Heaven’s Gate church. Even unaware of the sect’s dark history, many naturally deride it as a cult. Others, however, are drawn to its promise of higher forms of humanity. This includes gentle horticulturalist Josephine (Delilah Harris), married couple Richard (Robert Hollen) and Evelyn (Michelle Lawson), and new member Avery (Heather Drury) who takes to the faith with zeal. Josephine’s friends Stella (Justice Keith), an information specialist, and Harold (Nathanial Taff), a police inspector, are concerned, but it all seems harmless.

Suddenly a stranger appears among them. Thomas Nichols (Gregory Roberts) claims to be an original member of Heavan’s Gate from the 1990s. Stella is concerned, as his fingerprints are not in the system; Harold is naturally suspicious; and Arthur suddenly sees his authority challenged – though charismatic Thomas claims he is above such squabbles. He declares himself a humble prophet, announcing the return of the Hale-Bopp Comet.

History is about to repeat.

Hollen also portrays the colony Magistrate, Eugene Wallace, Esq.; and Alan Keith steps in briefly as an Information Chief. Bubba Fontaine provides the voice of Applewhite at the show’s climax.

For those who don’t remember the tragic events of 1997, know that this story involves characters taking their own lives (39, including Applewhite, perished in the original cult’s mass suicide).

Aside from the topics of religious psychological control, this is a good examination of the nature of belief, and how we carry the urge for higher knowledge into the future, along with our need for order. The costumes and props by Justice Keith give the production a sort of “Buck Rogers” retro-future aesthetic that works nicely here. (No one knows what things will be like in the year 4000 anyway.)

Performances are good all around in a cast with varying amounts of experience. Drury, for instance, is in her first stage role and quite convincing as her all-in character. Krobar may look familiar from his appearances with Garfield Shakespeare. Roberts admits to learning the craft while in the Indiana correctional system, his dedication and discipline shows here.

A strong start for a new company, Stagewright presents “Applewhite” Friday through Sunday, Nov. 13-15, at The Backlot Theatre, 5635 Bonna Ave. in the heart of Indy’s historic Irvington community. Find Stagewright online at their Facebook page.

4th Wall: The depths of ‘Heights’

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By John Lyle Belden

November’s chill extends the desolate feeling of the Halloween season, a perfect time to indulge in the haunting story of “Wuthering Heights,” presented by 4th Wall Players in Irvington.

Founding member Alan Keith has adapted Emily Brontë’s gothic novel by taking a keen scalpel to the complex story of life and death on the Yorkshire moors of northern England in the late 1700s. His focus is on the dysfunctional, tragic relationship between Catherine Earnshaw and the orphan Heathcliff, with sufficient other adult characters to tell the story.

Katie Endres plays housekeeper Nelly Dean, whose role as narrator in the novel is reflected in her being a mainstay throughout the play, witness to all while unable to affect the course of events. Her compassion helps us to care for the damaged souls she serves.

We open with a series of scenes to establish the upbringing of siblings Catherine (Sarah Powell) and Hindley (Albert F. Lahrman III), along with Heathcliff (Alec Cole), whom Mr. Earnshaw (Stephen Taylor) found in Liverpool and raises with his children. From the start Catherine and Heathcliff become devoted to one another, enraging Hindley, who, upon returning from university to take over Wuthering Heights after their father’s death, banishes Heathcliff to the servant’s quarters. Hindley and his wife Francine (Isabel Moore) are continually abusive, which – on top of a boyhood humiliation at the hands of Hindley and neighbor Edgar Linton (Luke Proctor) – fuels Heathcliff’s simmering desire for revenge.

As for Catherine, she is to become Edgar’s bride. Overhearing her telling Nelly she must accept the proposal, Heathcliff sees this as betrayal and leaves. He returns, three years later, as a gentleman – but his intentions are not gentle as he seduces and marries Edgar’s sister Isabella (Ellie Hooven).   

Emotions and unresolved angst are heavy as the mist upon the moors, where ghosts will walk when this story is done.  Note this drama also contains violence, abuse, and suicide.

The cast portray a whole catalogue of psychological issues. Cole gives a poignant portrayal of a person so focused on vengeance he cannot accept the successes of his life, instead sacrificing them as tools towards his dark vision of justice. His blend of wronged hero and conspiring villain evokes both pity and fear. As for perpetually immature Catherine, Powell gives us the girl who wants both the adventure of Heathcliff and reliability of Edgar, without fully committing to either. Playing with others’ emotions wears on her own, critically endangering her health.

Hooven is exceptional as a woman caught in the middle of these dark doings, bearing up as best she can, her only redemption being in survival.

As for men who could have been so much better people, Lahrman gives us a Hindley so used to having to demand respect, he squanders his inherited moral high ground with his anger and addictive vices.  Meanwhile, Proctor’s Edgar is the man who would be rather dashing and happy in an Austen novel – alas, this is Brontë, and here his airs come off as spineless, doomed to find only misery.

An excellent edit of a classic story, “Wuthering Heights” has three more performances, Friday through Sunday, Nov. 14-16, at The Backlot Theatre (formerly Stage Door), 5635 Bonna Ave., Indianapolis. Information and tickets at 4thwallplayers.org.

4th Wall presents charms of ‘Tartuffe’

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By John Lyle Belden

With recent seasons seeing a lot of Shakespeare, Greek classics, etc., it is fitting that a work of the celebrated French playwright Moliere makes an appearance on a local stage.

4th Wall Players presents the 1664 comedy “Tartuffe” at the Stage Door Theater in Irvington. In Moliere’s most controversial work, the title character is a blatant hypocrite and swindler, presenting himself as a devout man of God. The comic absurdity – which doesn’t seem so silly when you relate it to more recent public figures – is that those closest to the man are completely taken in by his fraudulent charms.

Household matriarch Madame Pernelle (Sarah Kinsey) is absolutely besotted with the “Holy Man” and sharply chides anyone who expresses an opinion contrary to hers, even if a person hasn’t had a moment to speak it. Her son, Orgon (Daniel Clymer), practically worships Tartuffe (Kelly McKinney), calling him “Brother,” while Orgon’s young wife Elmire (Sabrina Duprey) is more suspicious.  Orgon’s hot-headed son Damis (Alan Keith) can’t stand the man, while fair daughter Mariane (Caroline Frawley) is more concerned with her upcoming marriage to beau Valere (Ryan James Moskalick).  But now, Orgon promises Mariane’s hand to Tartuffe! And that’s not all the old fool pledges.

Meanwhile, household maid Dorine (Alyssa Lay) will not hold her tongue as she sees through the con man from the start and desperately tries to set things right. The cast also includes Omar Jurdi as Elmire’s brother, Cleante; Alex Paddock as Tartuffe’s servant, and later as the Bailiff, M. Loyal; and Justice Nielsen as Mme. Pernelle’s servant Flipote, and later as an Officer of the Court.

The play is directed by 4th Wall co-founder Josh Gibson, whose stated focus is on how devotion, especially to a charismatic person, “can and does rip otherwise happy families apart.” We definitely get a household in turmoil, like a bizarre family sitcom in search of the traditional happy-ending wedding.

We also get a tour de force performance from Lay, whose character speaks frankly from her humble station, enhancing the comic moments while making her a necessary voice of reason amongst the chaos. Also impressive is Duprey in Elmire’s desperate efforts to awaken poor Orgon to his folly, including a hilarious faux seduction of the title character. Speaking of Tartuffe, McKinney comes off appropriately slippery with “humility” lathered on so thick it’s simultaneously easy to see how some would fall for it, while wondering how a rational being ever could.

A fun look at an old story with a bit of current relevance, “Tartuffe” has one more weekend, July 19-21, at 5635 Bonna Ave., Indianapolis. Get info and tickets at 4thwallplayers.org.