Bard Fest

Indy Bard Fest’s Band of Sisters

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By John Lyle Belden

During World War II, Fort Benjamin Harrison had America’s largest Reception Center for soldiers joining the Allied effort. Meanwhile, the civilians in Lawrence, Ind., adapted to life in wartime. Things were going to be different, but it helps to have something familiar.

This sets the scene for Indy Bard Fest’s production of “Into the Breeches!” by George Brant, at, appropriately, Theater at the Fort through Sunday. 

The Shakespeare-focused Oberon Theater has gone dark as the male actors and crew have gone off to fight, but Maggie Dalton (Madeline Dulabaum) honors her husband’s wish to keep the stage alive by producing the Henriad (Shakespeare’s Henry IV and V plays) with a small cast of women – a thing no one would even imagine trying before 1942. But these are highly unusual times, and Maggie has convinced the Oberon’s legendary Celeste Fielding (Susan Hill) to take a lead role. Still, board chairman Ellsworth Snow (Kelly Keller) isn’t on board until his wife, Winnifred (Tracy Herring), expresses interest in taking a part. 

With the help of stage manager Stuart (Kaya Dorsch) and costumer Ida (Anja Willis), Maggie auditions and casts servicemen’s wives June (Michelle Wafford), who is heavily involved in homefront resource drives, and Grace (Dani Gibbs), who sees this as a way not to dwell on the dangers her husband must be facing.

“We happy few”? Not entirely. For diva Celeste, it’s Prince Hal or nothing; and the company risks it all by the necessity of casting Ida, who is Black, and Stuart coming out of the closet to take the female roles. Mr. Snow is again concerned, to say the least.

This is a wonderful production, with bright optimism tempered by the shadows of war, an excellent snapshot of life on the Homefront, with its own distinct stresses. Performances are heroic, starting with Dulabaum’s portrayal of how stage director is such a varied rank – from the leadership of a field officer to the cunning of that enlisted hand who always comes up with just what the company needs. 

Hill makes Celeste both adorable and unbearable, impossible and essential – her method for helping fellow actors “man up” is a comic high point. Wafford is a “Do your part!” poster at full volume, but also unwavering in her love of the stage. Gibbs is a stellar talent playing one realizing her own potential, and the strength necessary to endure a lack of news from the front. 

Willis gives insight on facing inequality at home in a land fighting for freedom overseas. Dorsch gives us Stuart’s personal dedication and bravery in what was a dangerous time on all fronts. Herring is a delight, especially as Winnifred discovers her inner Falstaff. As for Keller as the frustrated husband, how he has Ellsworth come around is too adorable to spoil here. 

A big salute to director Max Andrew McCreary for putting this together, including stage design, with the help of Natalie Fischer and stage manager Case Jacobus.

For information on this and future Bard Fest productions, visit indybardfest.com.

Bard Fest: Merrily we ROFL along

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This is part of Indy Bard Fest 2022, the annual Indianapolis area Shakespeare Festival. For information and tickets, visit indybardfest.com.

By John Lyle Belden

It is said that Queen Elizabeth I was quite taken with the character of Sir John Falstaff in William Shakespeare’s “Henry IV” (Parts I and II). This merry prankster would end up as much the butt of the joke as the instigator, and helps humanize Prince Hal, the eventual King Henry V. So, legend goes, Her Majesty ordered Shakespeare to whip up a play featuring the bawdy knight in love.

The result, by whatever origin, is “The Merry Wives of Windsor,” now presented at the IndyFringe Theatre, directed by Jeff Bick. The comedy is presented in an over-the-top style that common folk who paid a penny to see a show around the year 1600 would have loved. Sir John (Thomas Sebald), who appears to have a beach ball for a belly, is less interested in “sack” wine and more contemplating what middle-aged women he can get in the sack, so to speak.

This production focuses on two comic plotlines. True to the Bard’s penchant for including a wedding in his comedies, young beauty Anne Page (Sophie Peirce) is being wooed by three men: Slender (Ben Elliot), the doltish son of Justice Swallow (Michael Bick), who in turn is friends with Anne’s dad, Master Page (Tom Smith); the very French doctor Caius (Rian Capshew), who has the approval of Mistress Page (Dana Lesh); and young gentleman Fenton (Connor Phelan), whom Anne comes to prefer despite his having the lightest purse.

The other source of drama and mirth is, of course, Falstaff. He covets not one man’s wife, but two, and sends his squire Robin (Lyndsi Wood) with identical letters to Mistress Page and Mistress Ford (Kelly BeDell). The women being best friends, this attempted courtship will backfire in spectacular fashion. Master Page has no doubt his headstrong wife can take care of herself, but Master Ford (John Johnson) is more wary, and goes to Falstaff disguised as fellow lothario “Brook” to get in on the plot.

“Hilarity ensues” is putting it mildly. Much boisterous laughter was had throughout the audience. Adding to the fun in supporting roles are Angela Dill as busily devious servant Mistress Quickly and Ryan Shelton as thick-tongued Welsh vicar Sir Hugh Evans. Other servants are portrayed by Colby Rison, Nelani Huntington, Carolyn Jones and Patrick Lines.

Sebald ably plays the buffoon under the delusion of dignity. Lesh and Bedell are the stars here, with Lucy-and-Ethel chemistry as they gain the upper hand on all the men. Johnson is goofy fun, letting himself be the second-biggest fool on the stage.

And the antics of the Falstaff plot eventually work to resolve the romantic storyline. Shakespeare’s clever like that.

For an evening of silly fun – which includes, just in time for Halloween, a spooky Faerie encounter – meet the Merry Wives this Friday through Sunday, Oct. 28-30, at 719 E. St. Clair St., Indianapolis.

Orange is the new Bard

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This is part of Indy Bard Fest 2022, the annual Indianapolis area Shakespeare Festival. For information and tickets, visit indybardfest.com.

By John Lyle Belden

Welcome to a secure common room at a local women’s prison. The ladies of D Block present for the visitors (us) the fruits of their fine arts program, a staging of William Shakespeare’s “Richard II,” adapted by the company with director Glenn Dobbs.

For those like me who sometimes struggle to keep all the Histories straight, Richard II (1377-1399) rules England over 150 years after the fall of King John – who was brother to Richard I (Lionheart), among the first Plantagenet Kings, and the unfortunate subject of another Bard Fest offering this year. Richard will end his reign childless (no obvious heir) as the Plantagenets fracture into the Houses of Lancaster and York in the Wars of the Roses. Also, like John, he is not regarded well by history and lore, considered a tyrant especially as he was a big believer in a king’s absolute power by Divine Right.

As presented by these orange-clad thespians, we easily accept that the mostly-male characters will all have feminine voices. This cast of local actors (not real felons, but play along) get to engage in two levels of character work. Aside from portraying the machinations of the 14th Century English Court, they are also women forged in difficult circumstance, feeling a familiarity to this treacherous culture. At any moment, your blood could be on the floor. To emphasize a challenge, a pack of premium smokes cast down is your gauntlet. Which boss inmate you follow can be a matter of life or death, and that crown – whether metal or bandana – is never fully secure.

Outstanding talents take the lead: Afton Shepard as Richard and Rayanna Bibbs as cousin/rival/successor Bolingbroke; with Damick Lalioff as the Duke of York, Evangeline Bouw as Richard’s faithful noble Aumerle, Savannah Scarborough as Bolingbroke’s right hand Northumberland, Nan Macy as John of Gaunt and the Duchess of York, and Sofy Vida as the banished Mowbray and secretive Bishop of Carlisle. Great contributions as well by Missy Rump, Genna Sever, Gracie Streib, Rachel Kelso, Jamie Devine, Gillian Bennett, Gillian Lintz, and a special shout-out to young Ellie Richart as Richard at coronation.

Shepard gives the kind of strong performance we’ve come to expect from her, showing all the various infamous aspects of the King, delivered with an instability that flows from the madness of power to the wilder madness of being without it. Bibbs gives a commanding performance like someone who somehow knows he will be the title character of the next two plays in the series. Bouw gives us a tragic character we can feel for, a young Duke sure he is on the right side – until he isn’t – then all too desperate to redeem himself. Lalioff smartly plays York as shrewd and decisive (things Richard is not), enabling him to ride the changing tides. Macy is again a marvel in her paternal and maternal roles.

It is from this play we get the line, “let us… tell sad stories of the death of kings,” and what a story we are delivered here! Three performances remain, Friday through Sunday, Oct. 28-30, in the Indy Eleven Theatre at the IndyFringe building, 719 E. St. Clair, Indianapolis.  

Bard Fest: Women give men a (very) hard time in ‘Lysistrata’

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This is part of Indy Bard Fest 2022, the annual Indianapolis area Shakespeare Festival. For information and tickets, visit indybardfest.com.

By Wendy Carson

With the Indy Bard Fest production of “Lysistrata,” Holly Hathaway-Thompson has done an amazing job of updating Aristophanes’ story of women’s empowerment. She not only made the storyline more accessible to a modern audience, but also shows the true meaning behind its purpose: Women have the power to change everything if they just stand together in their resolve.

The story begins in the not-too-distant future with a young girl (Missy Waaland) approaching her grandmother (Miki Mathioudakis) for more information about the election of 2022. Grandmother is horrified to learn that only a sentence or two about this time exists online and one of those is on bleach vaccines. She then begins the story, “There was this woman …”

We are transported to an alternate reality of Greece in which Lysistrata (Carrie Reiberg) has called together all of the women of the various tribes to set about her plans for P-E-A-C-E (the spelling of this word is vital throughout). Though many of the representatives have disputes among themselves, they all agree that they are sick and tired of their men being away at war all the time. Lysistrata puts forth her simple plan: They will all withhold any romantic or sexual favors until the men agree to give them a Peace.

Surprisingly for some, this is almost as difficult for the women to uphold as it is for the men to endure. Therefore, the women take over the capital for themselves alone until their demands have been met. The men do not take kindly to this tactic and try everything to persuade the women from their resolve. However, even the most bull-headed of them men finally give in to their basest needs and agree that they will meet the demands of peace, healthcare, education, living wages, etc. This brings about the blissfully benevolent future of our Grandmother and Grandchild – a future where men do not control women’s bodies or destinies.

With the source material being a comedy, Hathaway-Thompson has given the cast some truly hilarious lines throughout. Her amazing cast manage to squeeze every possible drop of laughter from each one.

Reiburg brings a slyness to Lysistrata you don’t always see in this role. This was a woman who literally brought a nation to peace with a very simple plan. Mathioudakis is brilliant in her dual roles as Grandmother and Colonice (Lysistrata’s closest ally), bringing the wisdom and experience of both characters. Waaland’s turn as the Grandchild and Ismenia allows us to see the counterpoint naivete of her youth.

Tracy Nakigozi portrays Andromeda as a wary but proud woman who puts aside personal conflicts for the good of the whole. Lucy Fields as Lampito is a comic delight as she bemoans the travails of this lack of intimacy upon herself as well as the men. Scott Fleshood (Xander), shows another side of this longing as the lone representative of those who also love men even though being born with a Y chromosome. Samantha Kelly (Medora) and Nikki Lynch (Cassandra) both do a great job of helping to keep the men in their place.

Jessica Crum Hawkins (Myrrhine) plays one half of a married couple that, despite their love and desire for each other, are still at odds on the matter. Matthew Socey (her  husband, Cinesias) brings comic timing to a new level as he is continually and painfully denied the fulfillment of his desires.

Also at loggerheads are the Leader of the Women (MaryAnne Mathews), Leader of the Men (Robert Webster), and the Magistrate (Eric Bryant) each of them chewing up the scenery as if it were their final meal.

Speaking of the men, being that the story surrounds the baseness of themselves, they are mainly comic relief. However, each brilliantly shows their ability to handle these barbs – especially Jurrell Spencer as the Herald who has apparently “cut a hole in the box.”

I was saddened to discover that most of the audience had never head of the story, but proud of their reception to it afterwards. I do adore this play. It has an important message and it needs to be heard throughout our country and the world.

You have your chance this Friday through Sunday, Oct. 14-16, at The Cat theatre, 254 Veterans Way in downtown Carmel.

Bard Fest: Humor and History with ‘King John’

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This is part of Indy Bard Fest 2022, the annual Indianapolis area Shakespeare Festival. For information and tickets, visit indybardfest.com.

By John Lyle Belden

When most of us last saw or even thought of King John of England, he was still a Prince, frustrated with the antics of Robin Hood.

However, while Robin is legendary, there was a real John. Those taxes the Merry Men resented were a literal king’s ransom to rescue King Richard the Lionheart, his Crusading brother, and once John did ascend to the crown himself, his big achievement was getting badgered by the nobility to sign the Magna Carta. It didn’t help his reputation that he lost most of England’s lands in modern France, and that with historians he is overshadowed by one of the most awesome women of Medieval Europe, his mother, Eleanor of Aquitaine.

Can even William Shakespeare rehabilitate the image of this man? His “The Life and Death of King John” reads more like a complex cautionary tale with its twists of fate, as well as digs at the expense of France and the Catholic Church to keep Elizabethan audiences happy.

Now it is in the gentle hands of local director Doug Powers, who brings the Indy Bard Fest production of “King John” to The Shelton Auditorium at Butler University. His handling of the text brings out the humor in this history play, borne of the constant shifts between belligerence and brokered peace. The flow of the plot goes like: We’re at war! Now we’re not! We’re at war again! We’re… where were we…? There’s a dry, almost Pythonesque feel to some of the scenes, eliciting several chuckles from the audience.

Excellent casting helps: Zachary Stonerock gives John a sense of purpose, edged with frustration and notoriously quick temper. He strives to be a good ruler, while his mouth writes checks his army can’t cash. Gari Williams gives Queen Eleanor the regal bearing she held to her last days, her counsel helping keep John on task. Kevin Caraher portrays Philip of France as a monarch weary of war, but not relenting until his son Louis the Dauphin (Cael Savidge) and Duke Arthur (Max Gallagher), who has a claim to England’s throne, get their due. Star turns in supporting roles include Sabrina Duprey, who finds herself little more than a pawn in this game as Princess Blanche of Spain; Tony Armstrong as Hubert, a faithful servant with an impossible choice; and the brilliant Matt Anderson, first as a citizen of a besieged city who offers a crucial compromise, and later as Cardinal Pandulph, who acts with the Pope’s authority to excommunicate King John.

The top performances here are by Georgeanna Smith Wade in two fiery mother roles – most notably railing at all the politicking and half-measures keeping young Arthur from the throne – and by Taylor Cox as Philip “The Bastard” Faulconbridge, illegitimate son of John’s brother Richard, named a Knight in the King’s forces. Cox exudes a brash confidence that seems unearned at first, growing throughout as his role makes him both provocateur and chorus, giving many a sly aside or clever commentary to us watching.

Once again, Bard Fest has served up a Shakespeare work we don’t often see and makes it entertain and even enlightening when compared to the fickle nature of modern statecraft. Remaining performances are Friday through Sunday, Oct. 14-16 at the Shelton, 1000 W. 42nd Street, on the grounds Butler shares with Christian Theological Seminary.

What a ‘Dream’!

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By John Lyle Belden

There is a land of centuries-old mysteries, equal parts pagan celebration and reverent tradition working in unique harmony, where in shadowy woods the very air is sodden with magick – Louisiana.

It is in the bayou town of Athens that we find the familiar yet always fresh William Shakespeare rom-com “A Midsummer Night’s Dream,” presented by Bard Fest with Arts for Lawrence in the park amphitheater behind Theater at the Fort, a production called “Shakespeare at the Fort.”

As appropriate to a free public “in the park” Shakespeare play, this “Dream,” directed by Matthew Socey, is highly entertaining regardless of if you’ve practically memorized it, or you slept through high school Lit and have only heard the title in conversation. Wendy said to me afterward that this is not only one of the best “Midsummers” she has seen, but easiest version to follow.

For those who need it, here’s the silly and overall simple plot (Cajun version): The most respected man in the Parish, Duke Theseus (Jo Bennett) and his lovely amazon, Hippolyta (Afton Shepard) are to be married, but they are first asked to settle the engagement of Demetrius (Matthew Walls) to Hermia (Maggie Lengerich) at the insistence of her mama Egeus (Sarah Froehlke) because Hermia wants to marry Lysandra (Kristie Shuh). Fair Helena (Evangeline Bouw) wishes to wed Demetrius, who is repulsed by her playing so easy-to-get. The Duke puts it all off to the wedding celebration day, and everyone agrees to disagree.

Most of the action occurs out in the spooky forest outside town.

Is that a Tulane track star at home for summer break that we see? Naw, it’s Robin Goodfellow (Diane Tsao)! One of the bayou faerie folk, that trickster Puck only answers to the local voodoo king, Oberon (Bennett), who is having some words with his queen Titania (Shepard) over the custody of a little Indian girl becoming their half-fae Changeling (Beatrice Hartz). To aid in childcare are Titania’s faeries Cobweb (Jamie Devine), Moth (Samantha Kelly), and Mustardseed (Monica Hartz).

Then, trompin’ around these woods are common folk of the Mechanical trades who wish to put on a play for the Duke’s wedding, rehearsing in secret. Exceedingly patient director Petra Quill (Chynna Fry) is staging the old favorite “Pyramus and Thisbee” starring Flute (Justina Savage) as Thisbee, Starveling (Emily Hauer) as Moonshine, Snout (Beverly Roche) as Wall, Snug (Froehlke) as a Gator, and the colorful Bottom (Kelsey VanVoorst) as Pyramus. But then, stuff happens.

A lot of stuff happens – go see the play!

The vicinity of New Orleans is a perfect setting, and not just to try out some passable Southern accents. The environment is embraced in the music used, costuming, and just the otherworldly air of the whole show. More people have watched “True Blood” and other bayou-set stories than have visited Greece, so engaging the audience is easy. The change in what kind of beast chases Thisbee works perfectly and adds to the comedy. (Fear the Chomp!) It all contributes to a flavorful comic gumbo that goes down easy.

And finally, we have a place where the Elizabethan habit of English people always saying “adieu” makes sense.

The stage would be a bit small for most serious productions, but the intimate nature of it and the surrounding lawn allows for an immersive and interactive experience. Entrances and exits are literally from and to anywhere, fairies dance with kids in the audience, and in an ingenious move, the nobles viewing the Mechanicals’ play are seated in the exact center of the audience. Rather than divide our attention at one end of the stage, they are out of the corners of our eyes, allowing us to enjoy the unintentional hilarity of the play-within-the-play on the stage, while they comment and quip like posh robots from Mystery Science Theater 3000.

The cross-gender casting, which has become more common across all stages in recent years, feels more natural here, and non-hetero feelings add to the stress of our four mortal lovers. In a great mockery of Shakespeare-era plays having boys play women, Savage shines as (pardon if I’m wrong on personal gender) a female actor playing a man who resents having to play a woman. Fry’s Petra aside, the other Mechanicals portray rough men in a gentle art (adding to comic potential).

The double-casting of Oberon/Theseus and Titania/Hippolyta is good as it always is in bringing a unity to the overall play, but largely stopping there avoids audience confusion. (Since we never see them in the same room, perhaps they are secretly the same entities? Voodoo works in mysterious ways.)

The whole cast, top to Bottom, are exceptional – which is praise I often heap on every one of these actors individually in practically everything they do. And to that I’ll add Guy Grubbs as Theseus’ servant Philostrate, whose every entry is a punchline.

The above aside, I’ll toss my text roses at the wonderful surprise that is 7-year-old Beatrice Hartz. Anyone who saw the advance photos of Shepard holding the Changeling as just promotional can be forgiven (if I can be) for thinking her just a dancing prop in the play. With the assurance of her mother in the cast (and her father and a best friend in the front row opening night), she flits her way into and out of her every scene and cue like a pro. Her confidence radiates, and feeds into her character as the fellow fae play along. In this world, she will be become a power to rival her sitters, so it adds meaning as she literally calls their dances at one point, and when she places her hand before a character in a “halt” gesture (which is obeyed) we almost feel the invisible door close. She even gets to speak a line.

Classic with a twist? A drug-induced fever-dream by Tennessee Williams? However you think of it, the price is right – free, but please “buy” $0 tickets online for headcount. While the content is family friendly and the site is easy to reach, do note a few things. The weather is Louisiana-like with high heat and humidity, so shading, sunscreen, and hydration are advised as the play starts before sundown. A couple of food trucks are nearby, and picnics are OK. Bring your own lawn chairs, or sit on a blanket. And in these intimate confines the company goes old-school with no microphones on actors. Fortunately, most lines seem to be uttered in an excited state, but a little audience noise discipline, extending to the nearby swings, would be appreciated.

Performances are just this one weekend: 7:30 p.m. Friday, July 22; Saturday, July 23; and Sunday, July 24; at the small park behind Theater at the Fort, 8920 Otis Ave., Lawrence (far north end of Indy’s Post Road). Tickets and info at indybardfest.com and artsforlawrence.org.

Bard Fest play catches the conscience of the Queen

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By John Lyle Belden

One interesting thing I find in TV talk shows is the stories of celebrities who meet other celebrities, not as coworkers or equals, but as mutual fans, starstruck at each other. Imagine if the most powerful woman in the world were to meet an actor whose performance she found to be exceptional. It happened, and William Shakespeare was there to see it.

“Elizabeth Rex” is perhaps the greatest play Shakespeare could not have made, as the title character could easily have had his head removed to decorate the Tower of London. So it was left to acclaimed playwright Timothy Findley in 2000 to speculate and dramatize what happened on a fateful night in 1601 following a command performance – by Her Majesty, Queen Elizabeth I – of the Bard’s “Much Ado About Nothing.” 

You don’t have to know anything about that comedy to enjoy the Bard Fest adaptation of “Elizabeth Rex,” just know that in Shakespeare’s day, all women’s roles were played by male actors, and the rest of this drama’s set-up you can get from context. The setting is a barn at the estate where the play’s after-party (for aristocrats, not lowly actors) is being held, with everyone being stuck indoors as a curfew was declared by the Queen to maintain the peace before the Ash Wednesday execution at dawn of Robert, Earl of Essex – believed to be Elizabeth’s lover, but convicted of treason. 

The Lord Chamberlain’s Men grumble about their surroundings as they remove their makeup and tap a keg of warm ale, but the mood totally changes when their Royal visitor arrives. She is regal, the others reverent, but eventually all relax. “I shall require distraction,” Elizabeth declares.

The Queen (Holly Hathaway Thompson) is quite impressed with the men who played female leads, especially Ned Lowenscroft (Jay C. Hemphill), the play’s Beatrice, and Harry Pearle (Scott Fleshood), who played Hero. She even remembers when Percy Gower (Alan Cloe) would show some leg in his skirts in years past (the old actor loves to reminisce, a recurring comic point). To Jack Edmond (Matthew Walls) who played Benedick (who verbally sparred with/wooed Beatrice in “Much Ado”), Elizabeth shows disdain, perhaps conflating the actor with the role, resenting his being Irish, or both. She also isn’t thrilled with big-mouthed Luddy (Matthew Socey) who she sees as little more than a living version of Falstaff (a great Bard Fest in-joke for those who have seen Socey in that role). Also on hand is Matt Welles (Anthony Logan), who is handy with a guitar; nearly blind seamstress Tardy (Susan Yeaw), always losing her glasses to comic effect; and a bear, which Lowenscroft had rescued.

Quite literally above it all, at his desk in the loft, is Shakespeare (Eric Bryant), working on his next play, “Antony and Cleopatra.” He feels at a loss for what words to put in legendary rulers’ mouths, so makes notes of things the Queen says. This proves problematic when she insists on seeing the script.

Attending Her Majesty are Lady Mary Stanley (Nikki Lynch) and Lord Robert Cecil (Abdul Hakim Shabazz). An attentive soldier enforcing the curfew (Andy Burnett) also appears, as well as, briefly, Countess Henslow (Afton Shepard) to plead in vain for the condemned’s life.

Much of this drama comes down to the interplay between Elizabeth and Lowenscroft, who, because he is dying, exercises a bit of license with the Queen. For her part, resolved to spend the night on the level of her subjects in the barn, she accepts being chided and contradicted – even touched – as the gay actor teaches the monarch, ever required to show a manly demeanor, to get in touch with her woman within. Thus, even in a very talented cast, Hemphill and Thompson stand out with extraordinary performances. 

Glenn L. Dobbs, a Bard Fest producer, directs from a script he adapted with Barbara Willis Sweete and Kate Miles. 

As has been noted, this at times intense drama is peppered with some great laugh-out-loud moments. It also gives a sense of what an important time this was in Elizabeth’s reign. The hour chimes periodically, bringing our players closer to the dawn, when our fantasia ends and true history resumes.

Remaining dates are Friday through Sunday, Nov. 12-14, at Theater at the Fort, 8920 Otis Ave., in Lawrence. Get info and tickets at www.indybardfest.com and www.artsforlawrence.org. 

Bard Fest: Tragic Egyptian queen still fascinating

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By John Lyle Belden

Indy Bard Fest presents the Improbable Fiction Theatre Company production of “Antony and Cleopatra” – which, though I know that’s the way Shakespeare titled it, should give the doomed last Queen of Egypt first billing.

Already an incredible talent, Afton Shepard throws herself fully into her title role, portraying Cleopatra’s “infinite variety” of moods and mental states. But under her demeanor, ranging from stormy to sultry, burns a fierce intelligence. All this and more Mark Antony, well-portrayed by Darin Richart, sees, and dedicates himself to as they rule the Eastern third of the Roman Empire. But confict with fellow triumvir Caesar (the eventual Augustus, played by Thomas Sebald) is inevetable.

This production, directed by Ryan T. Shelton, pares down the cast and puts the focus more squarely on Cleopatra. Having ruled since she was a teen – and still showing fits of immaturity – she is also well traveled and educated. She knows a woman’s typical place in this world (much like ours, in a way) and is not afraid to use seductive charms to camoflauge her true wisdom.

Many characters are placed on the weary shoulders of Craig Kemp, who enters as the Soothsayer and appears as various messengers and soldiers as the story demands. The excellent cast includes Bobbi Bye as Caesar’s advisor Agrippa, Dana Lesh and Barb Weaver as Cleopatra’s servants Charmian and Iras, Duane Leatherman as third triumvir Lepidus, Jamie Devine as Caesar’s sister Octavia, Becca Bartley as Cleopatra’s guard Alexas, and Jet Terry as Antony’s faithful soldier Scarus. Kevin Caraher gets a meaty role in Enorbarbus, steadfast for Antony up to the point that he sees history turning and fearing himself on the wrong side, “when valor preys on reason.”

Gender-blind casting is nothing new in today’s theatre, but I liked that Caesar’s soldier Dolabella, played by Evangeline Bouw, seems to lend an element of feminine empathy in being the last Roman to guard Cleopatra at the end.

Scholars debate the fine points of even the original historical sources, but this powerful play gives a good sense of the era and the essence of the larger than life persons in it. We feel we have met Cleopatra and Antony, and it’s an honor.

Performances are Thursday, Saturday and Sunday (Oct. 28, 30, 31) at The Cat Theater, 254 Veterans Way in downtown Carmel. Get info and tickets at indybardfest.com.

Bard Fest: ‘Love’s Labour’s Lost’ a noble find

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By John Lyle Belden

Did William Shakespeare invent the sitcom?

In a wacky set-up worthy of a TV yuk-fest, or even an old Abbot and Costello romp, a group of proud manly-men determine they are so serious to improve their minds that they pledge to ignore the urges of other, more primal, body parts for three whole years. But within minutes, they are visited by beautiful women – one for each of them – and, suddenly, “What oath?! I don’t remember promising anything!”

That, loosely, is the plot of “Love’s Labour’s Lost,” one of the Bard’s early comedies, but a play he took great pains to craft, as it was performed for Queen Elizabeth herself. Thus we deal in the realms of nobility and courtly love. The master of our men is the King of Navarre (little kingdom between Spain and France) and his three nobles were named after popular figures of the era. The visiting party is led by the Princess of France, to discuss a deal for the lands of Aquitaine (a highly valued southern French region), but once she learns of the men’s allegedly binding oath, she puts up with being camped outside the Navarre court with her ladies as an opportunity to indulge in some fun. To please its sophisticated audience, the dialogue is woven with all manner of clever and complex speech – even when topics get a bit bawdy.

To further spice the plot, visiting Spanish noble Armado (not bound by a chaste oath) fancies the love of commoner Jaquenetta. This story crosses streams with the main one when simpleton Costard switches a love letter to her with one intended for a lady of the Princess’s company.

So much going on, and fortunately Bard Fest provides plenty of talent to pull it off. Aaron Jones is noble, in charge, and a little lonely as our King, tutor to Chris Bell as Longaville, Colby Rison as Dumaine, and Matt Hartzburg as Berowne, who resists taking the oath, but reluctantly signs. John Mortell is wonderfully blustery as smitten Armado, attended faithfully by page boy Mote (a sly yet exceptional performance by Justina Savage). Gorgi Parks Fulper charms as Jaquenetta. JB Scoble is scene-stealing Costard, playing the goof to the hilt. Connor Phelan is Dull – that’s the constable’s name and the man’s personality, which Phelan hilariously commits to. We also have Dan Flahive as schoolmaster Holofernes and Thom Johnson as Sir Nathanial, who organize an entertainment for the royal visitors.

Attending the Princess (Jennifer Kaufmann) are Maria (Brittany Davis), who is sweet on Longaville; Katherine (Abigail Simmon), who thinks Dumaine is kinda cute; and Rosaline (Rachel Kelso), who has her eye on Berowne. Kaufmann maintains royal bearing throughout, but with Kelso, in her exchanges with Hartzburg, we see an early version of Shakespeare’s trope of the smart-alec man verbally sparring with the clever woman, sparks of which kindle romance. Director John Johnson takes a hands-on approach by taking the role of the ladies’ escort, Lord Boyet.

In all, this is a fun entertainment full of clever wit and colorful characters, with little in the way of big lessons other than the Princess learning that the time for fun inevitably ends, and our gentlemen exchanging an oath made lightly for a more serious pledge. Being a less-familiar play, I’ll spoil this no further.

Performances are Friday through Sunday, Oct. 29-31, at The Cat Theater, 254 Veterans Way in downtown Carmel. Get info and tickets at indybardfest.com.

Bard Fest: Scott edit does ‘Measure for Measure’ justice

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By John Lyle Belden

“Measure for Measure” is classified by Shakespeare scholars as one of the Bard’s “problem plays,” fitting not quite into the comedies (though using many of the familiar devices) yet not quite a tragedy, as it doesn’t end with someone dying on stage. In adapting the drama for Bard Fest, director Paige Scott lets us know the true “problem” is injustice and misogyny.

In a mythically modern Venice, the Duke (David Mosedale) notes that many laws, especially dealing with vices, have gone unenforced for years. In a bizarre experiment, he charges pious Angelo (Zachariah Stonerock) with taking charge of the Duchy and its ordinances while away on a journey. However, he doubles back, and disguised as a priest, observes how justice is meted out. 

Things get serious quickly, as Claudio (Bradford Riley) is arrested for fornication with now-pregnant Juliette (Brittany Magee) and Angelo coldly sentences the man to death. But when the condemned man’s sister, novice nun Isabella (Morgan Morton) goes to plead for his life, Angelo agrees to do so only in exchange for the woman’s virginity. Appalled, but desperate, Isabella finds herself torn between bad options. Fortunately, a kindly priest offers a solution.

We also have a sense of Angelo’s character in the way he treats his loyal assistant Escalus (Miranda Nehrig), who takes her bruises against the glass ceiling with grin-and-bear-it frustration. 

Magee also plays sex-worker Mistress Overdone, as well as Angelo’s nearly-forgotten fiance Marianna. Further good performances from Aaron Henze as Lucio – a good friend to Claudio, but a flair for exaggeration is his undoing – and Daryl Hollonquest Jr. as Pompey, a “bawd” barely a step ahead of dogged constable Elbow (Tracy Herring).

Stonerock plays his calculating villany chillingly straight, his contemporary suit and tie reminding us that not much has changed in the last 400 years with men in charge. Morton bristles as a woman in a conflict she should never have to endure, finding her Churchly authority useless, cheapened to a powerful man’s fetish. 

There is humor and an imperfect happy ending, but Scott’s skillful edit leaves us appropriately unsettled, focused on three women bravely looking for their fair “measure.” 

This stunning, conversation-starting production has performances Friday through Sunday, Oct. 29-31, at IndyFringe Basile Theatre, 719 E. St. Clair, Indianapolis. Info and tickets at indybardfest.com.