Backlot Makerspace and Venue

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.

For Wilde fans, Wilde’s ‘Fan’

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By John Lyle Belden

If you are not familiar with the Oscar Wilde comedy “Lady Windermere’s Fan,” you still might know popular nuggets of Wilde’s wit that are contained within the play – lines such as:

  • “I can resist everything, except temptation.”
  • “We are all in the gutter, but some of us are looking at the stars.”
  • “In this world there are only two tragedies. One is not getting what one wants, and the other is getting it.”

Of course, there is far more to its substance than cool quotes.

4th Wall Players gives us this drawing-room comedy of manners with its piercing satire of Victorian London society, directed by Josh Gibson. While many zingers still land, and the cast share their enjoyment of its narrative, the story’s oddities are not quite as wild (pardon the expression) as in Wilde’s later classic, “The Importance of Being Earnest.” This absurdity here is derived from casual injustice.

Gibson invites us to see this examination of rumor and reputation through our perspective as social media addicts, constantly told what friends and strangers are and aren’t doing. After scrolling through a thousand posts and videos about shame, scandal, and misogyny, we look up at the stage to see the problem didn’t start with the i-Phone – it’s always been there, in society, inside us.

While Lady Margaret Windermere (Lizzie Schultz) prepares the celebration of her 21st birthday, she is visited by the Duchess of Berwick (Rebecca Brelage), who informs her that her husband has been seen frequently going to the home of Mrs. Erlynne, a woman of low reputation. The Duchess, who sees infidelity as natural to men, advises her to take her husband abroad to set his intentions right.

Margaret becomes distraught, having experienced nothing but devotion from her husband in their two years of marriage – they even have a baby boy. She then finds evidence of the relationship and confronts Lord Windermere (Jy’Ierre Jones) about it. In turn, he objects to her snooping, states that there is nothing improper, and even insists on having Mrs. Erlynne (Adriana Menefee) invited to the Birthday Ball.

We see the event open with Lord and Lady Windermere welcoming their guests. The Duchess brings her daughter Lady Agatha Carlisle (Kristen Paarlberg), who catches the eye of Australian Mr. Hopper (Joshua Roberts). The Duchess’s jovial brother Lord Augustus Lorton (Nelani Huntington) wouldn’t miss this social occasion. Also arriving are socialites Mr. Dumby (Nathaniel Taff), Mr. Cecil Graham (Amanda Horcher), Lady Plymdale (Isabel Moore), Lady Jedburgh (Amanda Amos), and the handsome and witty Lord Darlington (Omar El Jordi) who, knowing the rumors, sees an opportunity to woo Lady Windermere, whom he has always fancied. Lastly, Mrs. Erlynne arrives, chatting up the various men in attendance, who seem charmed by her – especially Lord Lorton.

The presence of the “other woman” drives Margaret to drastic action, which in turn spurs her alleged rival to take measures of her own. The events of this night, of which the hand-embroidered fan carried by Lady Windermere becomes an issue, could affect the rest of their lives.

To complete the cast, Fred Margison and Tyler Gibson play attentive servants Parker and Robert.

Schultz is wonderful in a role that allows a bit of melodrama yet has a real sense of inner turmoil. Jones handles a different complexity well – his Lord Windermere bound by social norms to keep so much within him and to only see things as those mores allow. Menefee brilliantly manages her role as a cypher not only to keep us from the spoilers, but also to maintain the social highwire act that means the difference between security and destitution, potentially life and death for a single woman in the 1890s.

Supporting roles maintain both the humor and the social strictures that drive the plot. El Jordi’s Lord Darlington makes the most of being Wilde’s proxy in the play, clever lines and all. Paarlberg manages to work within her character’s limits, communicating so much with an eye roll. The gentlemen present familiar Victorian archetypes, from Huntington’s roguish Lorton to Horcher’s posh Graham.

Stephan Taylor is assistant director, and Kelli Gibson is stage manager. Exquisite costumes by Katherine Gibson and Zoe Renee help set the scene. “Lady Windermere’s Fan” has performances Friday through Sunday, June 19-21 (if you see this shortly after it posts, there is also one Sunday afternoon, June 14) at Backlot Makerspace and Venue at 5635 Bonna Ave., Indianapolis, in historic Irvington. Get tickets at 4thwallplayers.org.

Poe’s ‘muse’ inspires new play

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By John Lyle Belden

For this year’s Halloween festivities in Irvington, local playwright Breanna Helms took on an intriguing question: What if the “Lenore” in Edgar Allan Poe’s poems was an actual woman? The result is the short play, “The Silent Muse,” presented by 4th Wall Players in late October, directed by Josh Gibson.

Poe published the poem “Lenore” in 1843, and more famously, “The Raven,” in which the dead Lenore is longed for, in 1845. They were carefully crafted literary works allegedly not inspired by any singular person, but that death came easily for many in the 19th century, including many of Edgar’s relatives, and soon his sickly young wife, Virginia.

In this alternate history, Poe as a young struggling writer (played by Jy’Ierre Jones) is acquainted with sisters Lenore (Emma Gedig) and Annabelle (Alice Graves the first weekend, Helms during the second), as well as their Mother (Tracy Herring).

Asked his opinion by Annabelle, Edgar romantically likens her to a calm pond that has become a wild sea (a hint towards how she would inspire her own poem). To his surprise, he finds Lenore lurking in a hollow tree that she likes to climb. Calling her a wood nymph, he proceeds to flirt with her in earnest – she being the unmarried sister.  

Soon, however, Mother brings around Guy de Vere (Kyvaille Edge), a proper wealthy suitor for Lenore’s hand. Seeing her place in society as inevitable, she agrees to his proposal.

True to an Edgar Allan Poe story, the marriage is not happy and our ending is tragic. Still, Helms makes this story beautiful and engaging enough for us to believe these events could inspire a masterpiece. There are even a few hints at the poem dropped through the narrative. The script is a neatly-written half-hour, which I feel could be revised to Fringe length (45-50 minutes) with no obvious padding. (This is why I’m keeping to my usual policy of avoiding spoilers).

Performances brought the story to life nicely. Jones shows great energy and potential with his acting journey getting under way; his restless Edgar longs for love and a better life and chafes at being seen as not worthy of the social circle he lives in. Gedig gives us a gem with facets including the “nymph” with her aura of unruly magic; the dutiful daughter and wife; and a soul somehow aware of the shadow of her limited future.

Hopefully, we will see “The Silent Muse” return, and more creative work by Helms in the future.

For now, 4th Wall dives back into the gloom with Emily Bronte’s “Wuthering Heights,” adapted and directed by Alan Keith, opening this weekend and running Nov. 7-16 at Backlot Makerspace and Venue (formerly Stage Door), 5235 Bonna Ave. Indianapolis (in historic Irvington).

Get info and tickets at 4thwallplayers.org.