Ben Jones

Bewitching comedy at Buck Creek

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By John Lyle Belden

If you had the power to acquire anything you desired, when you get it, is it truly yours? Now, change that to “any-one.”

Buck Creek Players puts a little spooky in Spring with their production of the classic comedy, “Bell Book and Candle,” by John Van Druten. If the story of genuine spellcasting witches living among us looks familiar, the 1950 play (and the 1958 film version) was part of the inspiration for the hit TV sitcom “Bewitched.”

On Christmas Eve in 1950s New York, Gillian Holroyd (Anna Spack), the more powerful and practical of her witchy clan, notices a tenant of her building, Shep Henderson (Josh Rooks), is quite handsome. Upon finding out from silly Aunt Queenie (Nancy Laudeman) that Shep will soon be engaged to a woman Gillian has hated since they were schoolmates, she decides powerful magic to ensnare him will be worth the risk. But first, Gillian’s equally carefree brother Nicky (Ben Jones) and Queenie are there to exchange gifts. His to them are copies of non-witch Sidney Redlitch’s latest book “Magic in Mexico,” so the witches and warlock can mock it. But knowing Shep, a publisher, wants to work with Redlitch (Jeremy Teipen), they use the photo on the book jacket to cast a summoning spell.

With a little help from feline familiar Pyewacket, the magic is set into motion, and love, or something like it, is in the air. Calling off his engagement, Shep seems contented in Gillian’s arms, and he’s poised to work with Redlitch on his book about witches in the Big Apple. However, as anyone familiar (pardon the pun) with witchlore in any medium (sorry, can’t help it) knows that when significant energy goes out, who knows how it will come back.

Suddenly, Shep is confused, overwhelmed, and proposing marriage. Also, it turns out Nicky is helping Redlitch in exchange for drawing illustrations, and that Nicky and Queenie have taken him around the NYC magickal community. For Gillian, who takes her spellwork seriously, and had only wanted Shep for a good time, this could spell – I mean, lead to – disaster! And on top of it all, she’s starting to develop strange new feelings; this could cost her far more than she ever anticipated.

Directed by Mel DeVito, the rom-com that helped bring us Samantha, Sabrina, and arguably the “Charmed” sisters, is truly a bewitching delight.

Rooks, stepping into the shoes of the likes of Rex Harrison and Jimmy Stewart, gives us another example of the likable everyman character he is gaining mastery of. His constantly conflicted soul is plain for all to see, feeling put-upon by outside forces while never entirely yielding his inner strength. Spack is commanding without being bossy, clearly the woman in charge, even when things start to go sideways. Queenie, who only recently embraced her powers, is played by Laudeman as both the “cool aunt” and a little girl enjoying her new toys – which makes her both fun and, in Gillian’s mind, in need of restraint. Jones (who admits to using Paul Lynde as a touchstone) presents Nicky as practically giddy at any chance to wield some powers. A practiced warlock, he only lets Gillian limit him to a degree. Teipen, our other “mortal” in the cast, goes from drunkenly taking it all as a gag (he was summoned from a Christmas party) to soberly seeing he’s in over his depth in genuine occult activity.

Pyewacket is a clever rather life-like animatronic, moving and mewing precisely on cue. Without seeing a special credit for the kitty, I’ll note that props are by DeVito and Suzi Brown. Costumes, an eclectic mix of conservative, wild, and glamorous, as needed, are by Tiffany Wilson. Rich Laudeman is stage manager.

Fun and enchanting, see “Bell, Book and Candle” this Friday through Sunday, April 5-7 at Buck Creek Playhouse, 11150 Southeast Ave. (Acton Road Exit off I-74), Indianapolis, or the Witches might not bring back the Sun after they blot it out on the 8th. Tickets at buckcreekplayers.com.

Sweet ‘Sordid’ comedy at BCP

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By John Lyle Belden

The 1990s were a quaint time, weren’t they? Of course, it wasn’t so nice if you were a “ho-mo-sex-y’all” in Texas – or if your good Christian mother’s love affair gets discovered in the worst possible way.

Welcome to the steamy world of “Sordid Lives,” the classic comedy by Del Shores, presented by Buck Creek Players.

Ty (Kyler Casbon) has a lot to say to his therapist. Despite being a working actor in New York, he’s still in the process of coming out as gay, and feels he has to “butch up” to survive a return to his Texas hometown for his grandmother’s funeral.

The deceased, Peggy Ingram, passed in an accident during a tryst with a married man, G.W. Nethercott (Josh Rooks), who is left wracked with guilt – over the death, but not the adultery. Peggy’s sister, Sissy (Elizabeth Ruddell) is trying to hold it together and make the arrangements between nicotine cravings. G.W.’s wife Noleta (Lea Ellingwood) is furious, but not at Peggy.

Peggy’s daughters, Latrelle (Cathy Cutshall) and Lavonda (Letitia Clemons) are adults, but not very mature. Latrelle, who is Ty’s mother, deals with situations through denial, Lavonda copes with liquor and sarcasm. At the neighborhood bar, G.W. commiserates with local good ol’ boys the Owens brothers, Odell (Jeremy Tuterow) and Wardell (Logan Laflin).

Meanwhile, Peggy’s son, Brother Boy (Thomas Turner), languishes in the mental hospital where he was placed years ago for being gay and dressing up as country legends like Kitty Wells. Today he is a living tribute to Tammy Wynette, much to the chagrin of Dr. Eve Bollinger (Renee Lopez), who really, really, wants to “cure” him so she can get rich off her resulting book deal.

With all these elements in place, it’s truly going to be one wild, hilarious episode of Lone Star lunacy.

There are wonderful performances all around, including Cutshall’s battles with harsh reality, Rooks’ blubbering repentance, Laflin’s wild change of heart, and Lopez’s over-the-top misguided doctor. And Turner cannot be praised enough for his wonderful turn, ladylike enough to want to help his “recovery” but savvy enough to know when it’s time for a country girl to stand for herself.

This delight is directed by Ben Jones, who opts for a recorded Bitsy, the local country singer whose songs set up the scenes. Nothing feels “missing,” though, fitting Jones’ goal of a simple, easy to relate to vision of family love and acceptance. Mary Miller is stage manager.

One weekend remains of “Sordid Lives,” with performances Friday through Sunday, Aug. 11-13 at 11150 Southeastern Ave. (Acton Road exit off I-74), Indianapolis. Get info and tickets at buckcreekplayers.com.

‘Trailer Park Musical’ a hit at BCP

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By John Lyle Belden

It’s been some years since Indianapolis theatre-goers got to look in on Armadillo Acres, Florida’s most wacky mobile home community, but “The Great American Trailer Park Musical” has returned, presented by Buck Creek Players.

In this fun bit of redneck revelry, manager Betty (Claire Slaven) keeps the lights on, Lin (Georgeanna Teipen) puts on even more lights in a strategy to keep her death-row husband alive, and Pickles (Claire Gray) is fairly sure this time she’s actually pregnant. Meanwhile agoraphobic Jeannie (Amelia Tryon) is gathering the courage to leave her trailer for the first time in decades so she can join husband Norbert (Jeremy Teipen) on an Anniversary date to see the Ice Capades.

Storms blow into Florida all the time; our present force of nature is Pippi (Emily Gaddy), an exotic dancer hoping she escaped from unbalanced boyfriend Duke (Josh Rooks) – who should arrive by Act Two.

Directed by Ben Jones, the silliness is tempered with a bit of heartache – and a moment of gunplay – but it all works out like a comedy musical should. Tryon and Gaddy, especially, give fabulous performances. Gray manages the sort of genius that plays “box of hair” dumb while still charming. And Rooks isn’t usually the intimidating sort, but adds just a hint of psycho to pull off our marker-fume-addled bad boy.

Hats off (but not too long, for sunburn) to set designer Matt Gray for the on-stage trailers (including Jeannie and Norbert’s cutaway) and stage manager Suzi Brown.

With book by Betsy Kelso and songs by David Nehls, “The Great American Trailer Park Musical” has one more weekend left at 11150 Southeastern Ave. (Acton Road exit off I-74). As of this posting, Friday is sold out, but there are two performances Saturday, June 17, and a matinee Sunday, June 18. Go to buckcreekplayers.com for details.

And while you’re there, consider giving to the fundraising drive for improvements to the playhouse entry. Your donation “buys” a little pink flamingo with your name that gets added to the campaign display.

Classic Britcom ‘Served’ up hilariously

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By John Lyle Belden

The hit 1970s British sitcom “Are You Being Served?” returns to Buck Creek Players (last seen in 2005) with the marginally competent staff of London’s Grace Brothers department store at your service.

On the fine clothing floor, Mr. Rumbold (Lindy Meyer) and Captain Peacock (Tim Latimer) supervise young Mr. Lucas (Hayden Walker), less-young Mr. Grainger (Tom Smith), and dandy Mr. Humphries (Ben Jones) on the men’s side, with lovely Miss Brahms (Anna Ely) and colorful Mrs. Slocombe (Sharon Winderlich) on the women’s side.

This is not an ordinary day at Grace Brothers, as it prepares to renovate for a storewide celebration of the European Common Market. This crew’s part will be a celebration of German culture and products – little-regarded and cheeky maintenance man Mr. Mash (Patrick Murphy) has found authentic costumes for their presentation. Meanwhile, the company nurse (Ben Poppelwell) is on hand to deliver injections for their travel on a company holiday.

The second act finds our sales staff in sunny Spain, at a resort run by Don Bernardo (Ron Pittman), assisted by Conchita (Maria Manalang). It turns out these are less than ideal accommodations, but after a rather restless night, what more could go wrong?

The cast also includes Nickie Cornett as a Spanish revolutionary, Dennis Karr at his scene-chewing best as passionate rebel leader Cesar (Karr and Cornett also play customers in the first act), and David Shetterly as “Young” Mr. Grace himself.

Written by series creators Jeremy Lloyd and David Croft, these stories make full use of the show’s trademark slapstick and double-entendres. Matt Spurlock, in his directing debut, gets splendid timing and execution of all the characters’ quirks and foibles. – For the fans, yes, we do get to hear about Slocombe’s pussy(cat). – The production’s look comes together nicely with sets by John Walker and costumes by Sue Kuenhold.

Funny, silly, a bit nostalgic, and a little naughty, “Are You Being Served?” has one weekend remaining, April 7-10, with tickets selling fast. Get info and tickets at buckcreekplayers.com.

BCP drama examines historical mystery

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By John Lyle Belden

On Aug. 4, 1892, somebody murdered Abby and Andrew Borden in Fall River, Mass. This is historical fact, as well as the arrest and trial of Andrew’s daughter, Lizzie, for the killings. The last 130 years have seen the growth of legends, myths, and a nursery rhyme around the incident, the kind of true-crime story familiar to those who remember the sensationalized double-murder trial of a former football star in the 1990s.

Buck Creek Players takes a whack at the lore with “Lizzie Borden of Fall River” by Tim Kelly, directed by Ben Jones.

The first act sets up the infamous events. Lizzie (Renee Whiten Lopez) is smart and headstrong, as well as kind to those she loves, even her strict and stingy father, Andrew (Tim Latimer). She shows no love or affection to stepmother Abby (Sarah Latimer), whom she is sure married her father for his wealth and controls his decisions. Lizzie and sister Emma (Rachel Bush) are very close, sharing to a degree an impatience with their father and distrust of the stepmother. Their live-in maid Bridget (Amelia Tryon) is adored by the girls, but has problems with the parents, who blame her and not the days-old mutton for recent stomach ailments.

Other characters who factor into the coming events include handyman Mr. Sousa (Josh Rooks) from whom Andrew withholds part of his pay because “you might spend it foolishly;” Aunt Vinnie Morris (Cyrena Knight), who wishes to claim a New Hampshire property promised by her sister (the girls’ mother) as her dying wish, but which Andrew refuses as there is no binding contract; neighbor Mrs. Churchill (Lea Ellingwood), who is outraged that Lizzie took the church’s Sunday School superintendent position she felt entitled to; church minister Rev. Jubb (Matt Trgovac), who is very fond of Lizzie; and the girls’ friend Alice (Cass Knowling).

Fortunately, the dire deed is done with sound-effects, the only blood being on Lizzie’s hands after she discovers her father’s body.

The second act, appropriate for an audience raised on Law & Order reruns, focuses on the arrest and trial. Patrolman Harrington (Jason Roll) at first has to protect against the mob and onlookers around the Borden home, but then has to slap the cuffs on Lizzie when the Marshall (Dustin Miller) comes to arrest her. On her side are Boston attorney Ms. Jennings (Melissa Sandullo) and New York Sun reporter Amy Robsart (Nora Burkhart). At one point Sousa’s wife Carlotta (Breanna Helms) appears, concerned that her husband is a potential suspect.

Though it does present its own theory of what happened, don’t expect this drama to be the conclusive last word. Lizzie Borden’s guilt or innocence is still a matter of debate, and Kelly took some license with characters and events.

Presented as an entertaining history-based whodunit, the play works with a bit of melodrama and almost comic foreshadowing. In what I suspect is a mixture of the script, Jones’ guidance, and Sarah Latimer’s stony delivery, Abby is so thoroughly despicable, we all want to take a turn with the hatchet. Tim Latimer’s performance shows Andrew to be more a product of his times and frugal upbringing, but not entirely without heart. Tryon’s Sullivan is sweet and likable, even when the discovery of poison adds her to the suspect list. Rooks manages to perfectly balance Sousa’s principled stance and his hot-headedness. Knight gives Aunt Vinnie charming sweetness that gives way to injured desperation. Ellingwood delivers a mix of nosy and nasty that helps make Churchill an unreliable witness. Bush masterfully works Emma’s interesting arc that draws her slowly from the periphery to the center of the plot.

Lopez gives us a fully realized, relatable character in Lizzie, with charisma somewhere between Susan B. Anthony and Mary Poppins, but always with that dark edge, a shadow that still follows over a century later.

So, who did it? Who saw what and when? What of the poison, or the destroyed dress? You have one more weekend to find out, Friday through Sunday, Aug. 12-14 at Buck Creek Playhouse, 11150 Southeastern Ave. (Acton Road exit off I-74), Indianapolis. Get information and tickets at buckcreekplayers.com.

BCP goes big with ‘Little Women’

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By John Lyle Belden

Most of us, either by choice or school assignment, have read Louisa May Alcott’s 19th century novel “Little Women,” based on the lives of Alcott and her sisters. The book has also had several film adaptations, television airings, and – for our purposes here – inspired a 2005 Broadway musical with book by Allan Knee, music by Jason Howland, and lyrics by Mindi Dickstein. Thus adapted, the story is both familiar and new, and on stage at Buck Creek Players, directed by Cathy Cutshall, through this weekend.

The author is reimagined as Jo March, aspiring world-famous writer. Miranda Nehrig, who offstage is the answer to “what if Jo had become a lawyer,” boldly takes on the role with great presence, acting, and vocals. The show gives this central role a lot, and Nehrig shoulders it like a pro.

Alcott gave her literary siblings distinct, diverse personalities, to which our cast give full dimension: Jennifer Kaufmann smartly gives us Meg, the nurturing natural governess with sufficient charm to catch the eye of Mr. Brooks (Matthew Blandford), tutor to the boy next door, Laurie (Austin Stodghill). Jacoba White is sweet as shy Beth, happiest when alone at the piano, and capable of softening the heart of stern neighbor Mr. Lawrence (Brian Noffke). Hannah Partridge successfully accepts the challenge of making beautiful but bratty sister Amy likable, even as she matures into a social butterfly under ultra-prim-and-proper Aunt March (Jessica Bartley).

The ”little women” thrive under the care of mother Marmee March, with Heather Catlow ably portraying the bond that holds this family together with unending affection.

As for the men: Stodghill shines as the boy who becomes an honorary “brother,” yet finds himself yearning to be more. Blandford keeps Brooks appropriately upbeat. Veteran actor Noffke makes his turn look effortless. And Ben Jones is rock solid as Jo’s mentor, Professor Bhaer, even when the edges crumble as he considers his true feelings.

A fan of adventure tales and melodrama, Jo works on a story of derring-do that she hopes to sell. Its action comes alive with the help of Nathaniel Bouman as dashing Rodrigo. Other ensemble players are Kirsten Cutshall, Brandon Ping and Connie Salvini Thompson.

The plot hits the high points of the novel – comic and tragic, romantic and triumphant – so this show is a treat both for those familiar with it, or who only now discover this American classic.

Performances run through June 19 at the Buck Creek Playhouse, 11150 Southeastern Ave. (Acton Road exit off I-74). Get information and tickets at buckcreekplayers.com.

BCP: Life’s changes not always a laughing matter

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By John Lyle Belden

The title “Making God Laugh,” for the comic drama now on stage at Buck Creek Players, refers to the old joke about giving the Almighty a giggle by telling Him your plans.

And this good Catholic family’s matriarch, Ruthie (Gloria Bray), definitely has plans. With postal-worker husband Bill (Tom Riddle) at her side, she wants to see: son Rick (Matt Spurlock) succeed at something, any scheme at all, other than high school football MVP; son Tom (Ben Jones) become a priest, maybe Monsignor (maybe the Vatican?); and daughter Maddie (Jenni White) to get being an actor out of her system so she can settle down with a nice young man.

The scenes are set at various holidays: Thanksgiving 1980, Christmas 1990, New Years Eve 2000, and an unusual and emotional “Easter” in 2010. We see the evolution of these characters, and what remains unchanging. From the life-changing choices made by Maddie and Tom, to Ruthie staying ever set in her ways and expectations, at the core of this family story is love. There is also the struggle for acceptance, both of others and of self, giving the plot surprising depth.

This cast wear their roles like the comfortable clothes one wears around kin. Bray is a rock; Jones gives one of his best performances; and White excels as a person that she admits felt a bit autobiographical. Cathy Cutshall directs.

For those of us who lived through the eras, the references to each decade bring a knowing smile. (There is also a mention of the game Catholic Jeopardy — which apparently does exist, as a box of it is under the coffee table.) At the end of each scene, there is a family photo, leading to a full album in the end.

You don’t have to be Catholic to appreciate this family’s struggles – we all know a Ruthie we’re related to. And God isn’t the only one laughing. Performances run through Sunday, April 7, at Buck Creek Playhouse, 11150 Southeastern Ave. (Acton Road exit off I-74). Call 317-862-2270 or visit www.buckcreekplayers.com.

P.S.: As an example of the fact that anything can happen in live theatre, during a scene change on opening night there was a spontaneous audience sing-along. The BCP crew were both surprised and amused.

BCP hosts the original version of ‘Dolly’

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By John Lyle Belden

Buck Creek Players presents, “The Matchmaker,” the Thornton Wilder farce that inspired the hit musical, “Hello Dolly” – and it’s easy to see how, as there were several moments in this non-musical comedy that I found myself thinking, “a song would go nice here.”

Set in the 1880s, this satire of society and attitudes of the era has a Yonkers, N.Y., merchant, Horace Vandegelder (C. Leroy Delph), hiring matchmaker Dolly Levi (Gloria Bray) to find him a wife, while denying his daughter Ermengarde (Sami Burr) permission to marry her true love, artist Ambrose Kemper (Manny Casillas). Meanwhile, Horace’s top clerk, Cornelius Hackl (Ben Jones) and his bumbling assistant Barnaby (Evan Vernon), fed up with a lack of respect at their jobs, decide to spend a day in nearby New York City – where, of course, everyone else will end up. The adventure begins at the hat shop of Irene Malloy (Brigette McCleary-Short), who Horace had sought to woo, but Dolly has someone else in mind for the rich man’s bride.

Bray holds the center well as the title character, never holding back on the clever charm and wit. McCleary-Short is also impressive in a character who would feel right at home among the independent women of today’s New York. Otherwise, Wilder apparently had trouble writing for the women, as Ermengarde has few lines, and Irene’s shy assistant Minnie Fay (Katie Thompson) practically none – though she makes up for it with effective physical comedy.

Jones truly shines, making his supporting role feel like a lead, his excellent comic timing and delivery aided by the slapstick skills of Vernon, as they play well off of McCleary-Short and Thompson’s characters.

I must also commend stage first-timer Nickie Cornett for her charming moments as the Cook for Flora Van Huyson (Kassy Cayer, a study in melodrama), Ermengarde’s aunt, at whose home the farcical situations reach their climax.

The play includes the device of various characters, notably Dolly, speaking directly to the audience. It’s hard to say whether that, or a lot of the humor, has aged well. (There was, however, a bit of unexpected amusement by younger audience members, associating Ermengarde’s name with the “Ehrmagerd” internet meme.) The show also features clever stage design by Dan Denniston, with setpieces for a number of locales easily moved in and out of the scene.

One weekend remains of “The Matchmaker” at Buck Creek Playhouse, 11150 Southeastern Ave. (Acton Road Exit off I-74); call 317-862-2270 or visit www.BuckCreekPlayers.com.

Korean War comedy at BCP

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By John Lyle Belden

Though we might be familiar with the 1970s film or long-running television series, the stage play of “M*A*S*H” – and particularly the Buck Creek Players production, on stage through April 9 – stands apart.

Written by Tim Kelly and based on the original Richard Hooker novel, this live version features the 4077th Mobile Army Surgical Hospital in Korea during the 1950-53 war, as well as some familiar characters, but don’t expect a reprise of the TV show.

Like the book and movie, the plot is mainly a series of scenes. The main story arcs concern the arrival and service of irreverent but excellent combat surgeons Captains Hawkeye Pierce (Ryan Powell) and Duke Forrest (Kurt F. Clemenz), as well as the fate of Korean youth Ho-Jon (Achiradeth “Boss” Teerasataporn). We also meet neurotic commander Col. Blake (Gregory Brinkers); incompetent stick-in-the-mud Maj. Burns (Ben Jones); Hawkeye and Duke’s fellow mischief-makers Captains Trapper John (Gergory Dunn), Ugly Black (Dave Hoffman) and suicidal dentist Walt Waldowski (George Chimples); new chief nurse Maj. “Hot Lips” Houlihan (Sue Kuehnhold) and the strong but easy-going nursing staff Lieutenants Fury (Abby White), Kimble (Michelle Papandria) and Phillips (Jennifer Berk); the cook always cooking up get-rich schemes, Sgt. Devine (Jamison Allen); and the supernaturally perceptive Cpl. Radar O’Reilly (Jim Banta).

Among the more fun scenes are those that involve getting Burns out of the unit for good; snapping Walt from a deep funk by staging his “death” and resurrection; and the arrival of three stranded female USO performers (Miranda Garrett, Rachel Riley and Kristen Baker).

Teerasataporn, a Thai exchange student, makes a great stage debut as Ho-Jon, the houseboy (and Hawkeye’s hijinks co-conspirator) in the officers’ tent known as “The Swamp.” After being drafted away by the South Korean Army, he is by dubious luck returned to the 4077th as a casualty. Then M.A.S.H. personnel, led by Hawkeye, raise money to help send Ho-Jon to the States to attend medical school.

Other performances are sharp as well; Powell relishes his role as mischief-maker.

Some aspects of the show are problematic: Given both the era portrayed and when the stories were written (and possibly few Asians available for audition) the native women are little more than giggling extras, uncomfortably close to stereotype. Also, it was an odd choice to have Jones also play neurosurgeon and football star “Spearchucker” Jones, typically cast (questionable name and all) with an African-American.

Nonetheless, this ambitious production nicely captures the spirit of the filmed versions, while giving us a fresh angle on the “Four Oh Double-Natural.” Find BCP at 11150 Southeastern Ave. (Acton Road exit off I-74); call 317-862-2270 or visit buckcreekplayers.com.

John L. Belden is also Associate Editor and A&E editor of The Eagle (formerly The Word), the Indianapolis-based Midwest LGBTQ news source.