NoExit’s ‘Birds’ flock to Central State

By John Lyle Belden

We’re a long way from Bodega Bay. Members of NoExit Performance have speculated what happened in the years after the events of Alfred Hitchcock’s “The Birds,” and crafted a theatre experience that tells a story from the animals’ point of view.

The bird uprising came at a time of nuclear conflict, leaving avians and humans alike struggling to scratch out a living in the resulting wasteland. Rapid evolution has given the birds speech, and the ability to think tactically and plan, but this leaves them struggling to hold on to their instincts. 

The Midwest flock has gathered at the former grounds of Central State in Indianapolis, where we, the audience, are the few humans allowed to witness their proceedings. The birds don’t trust us, and herd us (as we would them) from scene to scene in this unusual drama.

All are worried about their prospects for survival. Food is in short supply, eggshells are dangerously thin, and though there have been gains in the war against the humans, they come at a cost. Hadrian (Ronn Johnston) reluctantly carries the role of leader, as fellow raptors Antinious is dead and Ikarus (Dave Pelsue) is missing, assumed to be a traitor. His advisor Grebe (Becky Lee Meacham) tries to bouy his confidence, while fellow Council member Krone (Callie Burk-Hartz) has drastic plans of her own. 

Meanwhile, young Ave (Gaby Padilla) is the only one to whom the spirit bird Horus (a large shadow-puppet, likely a gull as it refers to the first attackers from the film) will speak. Inquisitive and empathetic, she is told she is the key to the future of all birdkind. This worries her sister Poly (Stephanie Wilson).

Also notable are worrisome Moa (Tracy Herring), presumptuous Asha (Audrey Stonerock) and war-party leader Apollo (Tristan Montgomery). Other members of the flock are played by Nicole Kelter, Katie Carter, Owen Harp, Jenny Allan, Ashley Youmell, Kimmie Icenogle, Katherine Boyles Ogawa, and Lesli Butler. Horus is presented by Tracy Herring, Wilson, Stonerock and Pelsue.

The story, written and directed by Ryan Mullins, has the feel of great Greek and Shakespearean dramas. But its presentation is restrained from full anthropomorphization. Just as cast members of the musical “Cats” have to go to “cat school,” so have the NoExit players apparently gone to “Bird School” — their movements are constantly birdlike, squawks and other bird cries are mixed in their speech, when idle they peck and scratch at their surroundings, and each player stays true to a particular species in its actions. They never break character, even during intermission. 

Makeup and loose costuming, designed by Kat Robinson, Traci Snider and Asha Patel, which involve fabric strips rather than feathers, aid their motion and suggest their form, letting the characters within hold our attention rather than be distracted by artificial beaks or other obvious bird-features.

Even more effective than their look is their sound, as the actors effectively emulate the fluttering, flapping noise that was so unnerving in the movie.

The play is set mostly outdoors, with the occasional real bird observing from the rooftops. Audience members are advised to bring lawn chairs — much of the play takes place in one area — but a limited number are available on site.

“The Birds” have a lot to teach us, and some hard lessons to learn. Performances run through Oct. 13 at the Power House on the grounds of Central State Village off West Washington Street. For information and tickets, visit noexitperformance.org

Fat Turtle @ the Fort: Go see ‘Joan’

By John Lyle Belden

Something precious has been stuck in a house for a long time.

Joan Wright was once an “author, traveler and businesswoman,” but in the three years since her husband died she has just been Joanie, a lonely woman spending her days in a bathrobe, knitting and watching the world out her back window.

But changes are coming. Her adult daughters are planning to move halfway across the country, and suddenly an old friend is in her living room, inviting her to a gathering of “the old gang” to celebrate her upcoming birthday. It’s exciting, and a bit frightening, but does it feel right?

This is the essence of the new drama, “Go Be Joan,” by Nathaniel Adams, a premiere by Fat Turtle Theatre at Theater at the Fort.

Kathy Bauchle plays Joan as a strong woman throughout – sometimes channeling that strength into her stubborn insistence on “not being a burden” by getting into nice clothes and out of the house to be among others.

Her girls each have their own issues, especially with the changes that life cast their way. Elder daughter Katherine (Afton Shepard) wears her constant nervous smile like a shield as she tries to maintain control of every situation she’s in. Her little sister Lindsie (Audrey Stonerock) has been taking care of Joan the past few years and really, really, wants their mother to move to St. Louis with them. Shepard and Stonerock swing from comaraderie to conflict and back like real siblings, as the deeper layers of the plot are revealed.

Katherine’s daughter Cara (Natalie Marchal) adds another generation to the mix, with her own quirks and concerns. She seems a bit two-dimensional and cliché at first, a selfish child preoccupied with the digital world in her smartphone, until Joan’s insistence on communicating yields to us a nice insight into Cara and her post-Millennial perspective. In return, we see the girl help her grandmother into the 21st century – which in the context of Joan’s shutting herself off from the world in recent years takes on special relevance.

Dan Flahive is neighbor and old friend John Patty, who delivers the invitation – and a mysterious wrapped gift – to Joan. He, too, lost a spouse years ago, so has a special insight into their situation. Flahive’s knack for playing a best friend you feel you’ve known and loved all your life is in full effect here. He plays it coy enough to balance the chemistry between his and Bauchle’s character deftly between platonic/agape friend and possible love-interest.

Fat Turtle artistic director Brandi Underwood directs.

This is a good start for a promising play, and an excellent opportunity for local audiences to support local art. The characters and their story touch our hearts with gentle humor and an insightful look at how we grieve and learn to go on living.

Oh, and my opening statement above refers to more than just the title character.

Performances of “Go Be Joan” run through July 28 at 8920 Otis Ave., on the grounds of Fort Benjamin Harrison in Lawrence. Get information and tickets at www.fatturtletheatre.com.