Allison Clark Reddick

Indy companies expertly flesh out Richard III’s twisted skeleton

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By John Lyle Belden

In 2012 came the stunning news of a human skeleton discovered under a parking lot in Leicester, England. It was the twisted body of what history and legend regard as a twisted soul, King Richard III. This setting opens the Catalyst Repertory/First Folio production of William Shakespeare’s play about the infamous monarch at the IndyFringe Theatre.

In what would be the last years of England’s Wars of the Roses between contesting royal families, King Edward IV is sick and dying. Richard, the Duke of Gloucester, is reviled for his crippled body, which brings on his sour attitude. The clever Duke decides if he can’t look like a hero to gain the crown, he’ll be the villain. But between him and the throne are George, Duke of Clarence; nobles faithful to Edward’s wife, Queen Elizabeth; and the child heir, Edward, Prince of Wales.

Some people are going to have to die.

Matt Anderson completely transforms into Richard, with the help of costume artist Linda Schornhorst (whose excellent work adorns the whole cast). This, coupled with Anderson’s complete control of his body and expressions, keeps him the focus of every scene. He leers towards the audience, proudly revealing to us his schemes. He lurks like a menacing vulture as his plans unfold. He contorts himself into whatever ingratiating pose will fool those around him as he continues grasping to take, then desperately hold power.

Carey Shea anchors the play as doomed Clarence, heroic Richmond and the archaeologist who bridges the gap between history and today. Jay Hemphill is charming as the Duke of Buckingham, Richard’s cousin and co-conspirator until he becomes cursed with a conscience.

Also notable are the women of the play, Allison Clark Reddick as Elizabeth; Christina Howard as Lady Anne, Richard’s unwilling bride (and a few scenes as Lord Grey); Nan Macy as the Duchess of York, Richard’s disappointed mother; and Casey Ross as Queen Margaret, widow of a previous monarch and bitter prophet.

The children – Dalyn Stewart as Prince Edward and Lex Lumpkin as his cousin, the Duke of York – are both sharp.

And kudos to Doug Powers, Matthew Socey, Ryan Reddick, Kevin Caraher, Matthew Walls, Mark Cashwell and John Mortell in various roles. Thanks to Glenn L. Dobbs’ direction and the play being adapted to two hours, in two acts, by Dobbs, Ross and Ben Power, it’s not hard to follow the sprawling cast of characters. (Richard has many of them killed, anyway.)

Plays like this are always apropos in an era of political turmoil, and performances this good are worth seeing at any time.

“Richard III” runs through July 9 at the IndyFringe Basile stage, 719 E. St. Clair (by the intersection of St. Clair, College and Massachusetts Ave.). See indyfringe.org for info and tickets.

Review: Ecce ‘Equus’

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By John Lyle Belden

The Peter Shaffer play “Equus” is famous for not only its dark subject matter (intertwining themes of bestiality and religion, horse mutilations, etc.) but also for its nudity.

But in the Casey Ross production playing through July 24 at the Grove Haus, though there is a scene with characters fully naked, more striking are the souls laid bare in this drama. Never going beyond loosening his tie, Dr. Dysart (Brian G. Hartz) finds his profession of psychiatry, his personal relationships, and his very life raw and exposed to the audience as well as the probings of his own mind. Frank Strang (Doug Powers), father to disturbed teen Alan (Taylor Cox), tightly bound in vested suit and his own convictions, finds himself exposed and convicted in his son’s eyes. Alan’s mother Dora (Ericka Barker) finds her faith shaken and her own facade sliding away. And young Jill (Sarah McGrath), fascinated by the sight of bare skin, exposes herself to Alan completely, never suspecting the devastation that would follow.

As for Cox, who has admitted to struggling with his role as a boy who comes to deify horses, confusing religious and sexual ecstacy, his dedication to conveying Alan’s pain to the audience – which are seated around the central stage area, the front row inches from the action – has paid off immensely. You can’t help but feel empathy for the plight of Alan, the people in contact with him, and even the steeds he adores, then hurts when his passioned delusion turns violent. Hartz provides a brilliant counterpoint with his compassionate yet driven Dysart.

Excellent support is provided by other members of the cast: Allison Clark Reddick as magistrate Hester Solomon, Tony Armstrong as stablemaster Dalton, Nan Macy as the Nurse, and the horses played by Bowie Foote, Christopher Bell, Beth Clark and Johnny Mullens as Nugget, Alan’s favorite. Ross, who directs with the assistance of David Mosedale, provides an excellent minimalist stage design, and kudos to Davey Pelsue for composing the haunting original score.

Shaffer wrote the play after being inspired by a brief news story of a 17-year-old blinding six horses with a sharpened tool. With this fact, he spun a fictional drama that strikes at the truth of faith and devotion, and our definitions of sanity and normalcy. I couldn’t help but notice that when Alan has nightmares of his equestrian gods judging him, he cries out “Eck!” which is revealed to be the obvious, “Equus,” the word for his godhead and savior. Still, it echoes to me of “Ecce Homo” – “Behold the Man,” Latin for the words of Pilate presenting a broken Jesus to the public.

In “Equus,” we are presented with a broken boy, exposing the cracks in everyone around him until all are shattered. It is truly something to behold.

Find the Grove Haus at 1001 Hosbrook St., near Fountain Square just southeast of downtown Indy. Find info and tickets at http://uncannycasey.wix.com/caseyrossproductions or the Casey Ross Productions Facebook page.

(This was also posted at The Word [later The Eagle], Indy’s LGBTQ newspaper)