Ariel Laukins

Straight dope from the Cryptid crew

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

Before you read any further, please go to IndyFringe.org and get your tickets for Cryptid Entertainment’s production of “Reefer Madness: The Musical,” this and next weekend (May 2-4 and 9-11) at IF Theatre, and quickly, as performances have been selling out.

Did you score some of this good stuff? Awesome. Here’s what you can expect.

It was high time this campy cult hit – based on the “informative” film from 1936 – returned to Indy, years after its 2007 debut at a venue that has since changed its name (coincidence?). The victim of that production, a young Tony Schaab, has recovered from his habit of wearing strange furry suits to lead the Cryptid cast as the valiant Lecturer, warning us all of the dangers of…

MARIJUANA!

With the help of wholesome young actors, he relates the fateful story of The Harper Affair, in which Jimmy Harper (Chris Ritchie) forsakes his girlfriend Mary Lane (Melissa Mellinger) and the innocence of the Five and Dime soda fountain for the sweet temptations inside the Reefer Den run by Jack Stone (Justin Klein) and his stoned lady Mae (Jessica Hawkins). There, college dropout Ralph Wiley (Daniel Draves) can’t wait to hook more teens and seductress Sally (Addi Koehler) adds carnal pleasures to the mix.

Schaab also watches events unfold as friendly soda jerk Mr. Poppy. Other endangered youths are played by Cameron Hicks, Drake Smith, Kelly Hutchings, Kennedy Wilson, Kylie Schweikarth, and Linda Thompson. As it turns out, the pull of the pot is so strong that perhaps not even Jesus himself (Klein) can help. Only death and destruction – and a bizarre chase scene – can be the result.

From time to time, Abby Morris carries informative placards, including one that says, “REEFER MAKES YOU GIGGLE FOR NO GOOD REASON.” Fortunately, with this cast, under the direction of Bradley Allan Lowe, we have many good reasons to laugh. Music is by the two-person orchestra of Billy Scharfenberger and Elliott Smith. The incredible set is by Dakota Lumley.

Within the badly-made moralizing ‘30s film and the book and songs of the 1998 musical by Kevin Murphy and Dan Studney, there is a cautionary tale (exaggerated as it is) that letting yourself get drawn into addictive behavior can lead to a downward spiral of bad consequences. It could also be noted that the issue with destructive habits isn’t the substance – one could get in these kinds of trouble with legal gambling or alcohol, or whatever consumes your time and attention – but how much we understand the true dangers, and that the desire by some to control you won’t necessarily stop with that one “bad” thing.

Or… never mind – just laugh yourself silly at this over-the-top musical adventure with the most dangerous weed since that Little Shop play that was in town last year.

Big thanks to Cryptid artistic director Dakota Jones for bringing “Reefer” back to Indy, and to stage manager Ariel Laukins for helping me get the info for this review.

Wow… Can you imagine what it would be like if The Stuff actually became legal? Like in maybe about half the U.S. states in one form or another, including all the ones that border this one? *[exhales]* Uh-oh.  

Bard Fest ‘Macbeth’ simply bold

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

In what has been announced to be its final season, Indy Bard Fest is going out strong. Appropriate to October, we get the spooky, cursed tragedy of “Macbeth,” directed by Christine Gordon.

On the main stage of the IF Theatre (a recent rebranding of the IndyFringe venue, reflecting a mission beyond its annual festival), there are just a couple of items – a garden fountain, a chair – to suggest a stage “set,” whisked in and out from behind the back curtain as needed. The Weird Sisters’ garb suggests a Goth fantasia as we see with today’s perspective the liberties William Shakespeare took with the story of the Scottish nobleman and king who ruled roughly 1,000 years ago. What mattered to the Bard, and to this production, is purely the play’s themes and atmosphere.

The Witches, presented gleefully by Ariel Laukins, Ryan James Moskalick, and Kat Murphy, set the tone and haunt throughout as the actors fill in various supporting roles. They are later joined by the goddess Hecate – Fire Fly of Indy Drag Theatre with divine voice by Wilhelmena Dreyer – who lurks in the previous scene, adding to the suggestion of her of power in this world.

Doug Powers is commanding as the title character, with Laura Gellin as even more ambitious Lady Macbeth. A cursory reading of the play would have you think these two seem to accelerate from “zero to murder” rather quickly; Powers and Gellin’s performances hint at a long-simmering desire to possess so much more than they already have. When a prediction of his rise comes true, it sparks the flame of ambition that will consume them both.

The cast also includes Guy Grubbs as doomed King Duncan, with Katie Endres as his son Malcolm. Tanner Bruson is Macbeth’s ill-fated companion Banquo, and Abby Morris plays his son Fleance, and others. Jason Creighton lends his strong voice and physique effectively to Macduff, Macbeth’s nemesis.

This simple presentation hones the focus down to the dangers of unfettered ambition, the consequences of rash acts (and how they compound as one follows another), and a cautionary lesson that there’s more than one way to read the signs before us.

Remaining performances of “Macbeth” are Friday through Sunday, Oct. 18-20, at 719 E. St. Clair, Indianapolis. Get tickets at indyfringe.org.

‘Ship of Dreams’ surfaces again

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

December of 1997 saw the release of a film that at the time of its premiere was heralded as possibly the most expensive, overwrought flop ever to come out of Hollywood. But to everyone’s shock, it somehow failed to fail, breaking box office records, taking in billions of dollars, and winning numerous awards.

This sure-fire bomb didn’t sink despite its numerous production issues and cost-overruns, bladder-testing length, whining earworm of a featured song, exploitation of over a thousand deaths to deliver an improbable romantic plot, and even the presence of Billy Zane. It is suspected the movie was buoyed by past and eventual Oscar winners Leonardo DiCaprio, Kate Winslet, and the incomparable Kathy Bates, but I believe a lack of talking dolphins is to blame.

Fortunately, local hero Paige Scott and her Working Class Socialite company have risen from the depths of the Indianapolis comedy/improv scene to finally present James Carmeron’s “Titanic” as the absurd farce it was meant to be. Revised and expanded from its 2023 IndyFringe Festival premiere, “Ship of Dreams” sails (and sinks) again!

Courtney McClure and Elysia Rohn portray old and young Rose, Hannah Boswell is Jack, Shelby Myers is Ismay, Meg McLane is Billy, Tracy Herring is Kathy, Ariel Laukins is the First Mate, and Brittany Magee is Rose’s Mom, the Iceberg, and in an Award-Worthy Performance, the ship’s Propeller. Jason Adams gives us The Captain and all the visual effects you will ever need (where’s his Oscar?).

You’ll laugh; you’ll cr-, I mean laugh some more; you’ll not give a cuss about the room-on-the-door meme because there is just too much other weird and silly stuff going on to care. Still, in its near-faithful (though mercifully 90 minute) ultra-low-budget recreation of the major beats of the film (plus swipes at Leo’s other roles and such) Scott and friends slip in a bit of a tribute to what made this wreck of a movie such a magical event a little over 25 years ago.

Warm up the Model T (clean the backseat first) and head over to the IndyFringe Indy Eleven Theatre at 719 E. St. Clair St., Indianapolis for performances Thursday through Sunday, April 18-21. Get tickets at indyfringe.org.

Unique ‘Holiday’ story seeks to heal family

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , , ,

By Wendy Carson

As bright and sparkly as they appear to be, for a large number of us the Holidays ramp up our depression and sorrow. Such is the situation with the Abrams clan in “A (Happy) Holiday,” presented by Theatre Unchained.

Grandmother Bunny (Wendy Brown), mother Busy (Jenni White) and daughter Leigh (Wilhelmena Dreyer) are not only dealing with the death of son-in-law/husband/father Owen (Bradley Lowe), but also their lack of connection with each other. Into this mess enters the gloriously anthropomorphized chemical compound, Sarah Tonin (Ariel Laukins) along with the ever-perky duo of Elf 1 (Anja Willis) and Elf 2 (Thomas Sebald) to deliver a present to make their Christmakkah (being a blended family, they have a blended holiday) complete.

Reluctantly the ladies work their way through a giant magical book with 12 chapters of Holiday memories, forcing them to face their past – no matter how good, bad, or ugly. Leigh just wants to move forward and find her true self regardless of what her mom or society demand of her. Busy wants Owen back and will settle for nothing else. Bunny, who just wants everyone to be happy and get along, seems to down a lot of “holiday cheer” to keep her distracted.

This show has numerous parodies of holiday movies and TV shows as well as other pop culture touchstones to keep the laughs coming. However, the story pulls no punches in showing the sadness and sorrow of these women. Each comes to terms with pivotal moments of their past that damaged them, yet taught them to grow and carry on, to be their true selves.

This show is a true ensemble piece, executed with sheer perfection. Each performer being great on their own, together they will move you to tears of sorrow and joy. Speaking of ensemble, this play is a special project of Theatre Unchained, co-written by Karina Cochran, Kaya Dorsch, J.E. Hibbard, and director Max McCreary. They initially set out create a series of distinct holiday scenes, but found they fit together in a single theme, focused on this relatable yet unique family.

As you can tell, this show is not a typical Holiday story. Still, it is moving, touching, endearing, and entirely affirming for all. This should be at the top of your list of shows to see this month, especially since there are only three performances left, this Thursday through Saturday, Dec. 8-10, hosted by Arts for Lawrence at Theater at the Fort, 8920 Otis Ave.

Good for teens and older, grab up those members of your family and come together for an uplifting story – maybe start an important dialogue to help make your own holiday complete. Get tickets at ArtsForLawrence.org.

There’s a lot going on with ‘Hir’ at Phoenix Theatre

PWJW_Indy Reviews, Stage , , , , , , , , , , , , ,

By John Lyle Belden

Talk about having issues with the “binary” – if one feels overwhelmed while viewing “Hir,” on stage through June 18 at the Phoenix Theatre, it’s because we are slammed with two dramatic themes simultaneously.

First, we are hit with the affects of trauma and abuse: After years of dominating his family and using them as punching bags, Arnold (Brad Griffith) suffered a stroke, making him barely able to talk or even think. We meet him a year later, during which his long-suffering wife, Paige (Jen Johansen), has gone the opposite way in every aspect of life. What was clean is left dirty; what was ordered is in disarray; what was put away is tossed to the floor or stuffed in an odd place. And, once forbidden to work outside the home, she has taken a job with a non-profit. What she makes there doesn’t matter, as paying bills on time was the old life. As for Arnold, he is kept in a medicated stupor and deprived of all dignity.

Into this situation comes their son, Isaac (Ben Schuetz), a discharged Marine who had the duty of picking up combatants’ body parts from the battlefield. Returning from his recent traumatic environment to his old one, all he wants is a world that makes sense.

The second theme – from which comes the play’s title – is that among the family’s changes is that the younger sibling has changed from daughter to son. Max (Ariel Laukins) has taken hormones and insists on being referred to by the pronouns “ze” and “hir” (rather than he/she or her/him). Paige is overjoyed to have something so different and new – “the future!” she declares – that she homeschools Max so that they can learn together.

The aspect of gender roles and identity takes on irony in that while Max is free to be hir-self, part of Arnold’s humiliation is being made to always wear a dress. What’s more, in the mixed-up world of this drama, Max is the most stable and certain person on the stage.

Johansen once again comes through in chewing through a meaty role. Griffith ably compensates for his role’s limited speech with his physicality. Schuetz has Isaac deal with the swirling insanity in a convincing manner, without going over the top. And Laukins makes an excellent debut.

The world of “Hir” is exaggerated and mildly bizarre, providing a lot of laughs, but this is no comedy. Trans playwright Taylor Mac’s script uses the funhouse mirror to magnify these issues, allowing us to confront what is wrong about these people’s lives without distraction by the underlying tragedy – but one way or another, it has to be dealt with.

Find the Phoenix at 749 N. Park Ave. (corner of Park and St. Clair downtown, near Mass. Ave.); call 317-635-7529 or visit http://www.phoenixtheatre.org.