Brittany Magee

Civic ‘Anne Frank’ stirs young audience

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By Wendy Carson 

This past Wednesday, I was fortunate enough to be allowed to attend one of the special student showings of “The Diary of Anne Frank,” at the Booth Tarkington Civic Theatre. It was eye-opening for all, to say the least. Overhearing their comments both during and after the show helped drive home how important theatrical productions of Holocaust stories are in our world.

With most of the audience being of roughly the same age as Anne, the tragedy of her life and situation really resonated with the students. While they were aware of World War II as history, seeing the images in context really drove these horrors home. After the performance, most were busy wiping tears from their eyes, even those who had read Anne’s “Diary of a Young Girl” prior to attendance.

The power of the show begins with the spectacular set design of Ryan Koharchik. The multi-level set reflects the spaces these souls were forced to inhabit during their two years in hiding but the grim truth of the situation comes from the high, chain-link fence topped with razor wire that serves at the back wall to the show. This also allows for Michael J. Lasley to project timely background photos to further the message beginning with the initial one of Anne’s photograph and actual pages of writing from her diary. Lasley also has a short moment on stage near the end of the show.

While Wendy Kesselman’s new adaption of the play by Frances Goodrich and Albert Hackett is stirring, nothing would ring true without the amazing skills of the actors here, under the direction of versatile theatre artist Claire Wilcher. Especially since many regular theater goers will know several of them for their numerous comedic roles and will be delighted to see their incredible range highlighted here.

Rebecca Piñero brings the shy stoicism of Anne’s older sister Edith to light, keeping her character from being overlooked and fading into the background.

Kevin Caraher as Mr. Kraler, who keeps the doors to the Franks’ business open and running while ensuring no one else is aware of the eight souls above, shows both the hopefulness and fear of his role.

Mookie Harris as the dentist Mr. Dussel keeps his character cold and very removed from the others he is with, but also hints that this is the character’s way of shielding himself from the devastation of losing more people he cares about.

Jay Hemphill and Carrie Reiberg as Mr. and Mrs. Van Daan bring the elitist pomposity out in their characters, yet still show us the struggles of a couple terrified of the situation they have been put into.

Garrett Rowe, as Peter Van Daan, brings his character’s growth from fear at being thrown into a new situation with unbearable co-inhabitants, delicately budding into happiness and growing romance throughout their time together.

David Wood as Otto Frank keeps the optimistic outlook as the leader of this group of survivors. Brittany Magee’s maternal turn as Edith Frank is perfection indeed. She enacts the struggles and sorrows of a mother fighting to keep control of her family and situation so well you might think she has raised a slew of teenagers herself.

Anyone who has ever witnessed her on stage before obviously knows the spectacular comic whirlwind that is Kelsey VanVoorst. Now we are a party to the depth of her pathos as she portrays Miep Gies, the character most at risk of tragedy for her part in this endeavor. VenVoorst keeps Miep as upbeat as possible as she bravely smuggles in the supplies to keep the group alive during their time in hiding. The strength and resolve that keeps her going are evident as she forces herself to find the happiest news she can find to share with the families.

Finally, we arrive at the cornerstone role of the play, Gemma Rollison as Anne Frank (alternately played by Sydney Pinchouck on Feb. 28 and 24). Known as a brave girl who fought through so much to keep herself optimistic through her lifetime, this side of Anne is presented perfectly, yet Rollinson also brings the girl’s precocious and obnoxious spirit also noted in her writing and memories of her surviving father. Beginning as an oblivious 13-year-old who thinks teasing her companions is the height of joy, Rollinson exquisitely brings out Anne’s changes into a budding young woman by the show’s end.

As this country has recently experienced fear and confinement from a life-threatening disease, it feels like we can identify somewhat with the desperation and anxiety faced here. However, the fatalities of the Coronavirus are nothing in comparison to the horrors of the Holocaust. This grave, terrible reality is precisely why these stories must be told and retold. As the years pass and memories begin to fade, we must ensure that this dark chapter of the past is never forgotten or allowed to recur. The Indianapolis Jewish Community Relations Council is on hand in the lobby to provide information of how to participate in continuing this vital effort.

After seeing the reactions of the young people in the audience, I urge you to get as many of them to this show as you can (as well as yourselves). While the subject matter is rather intense and is probably not suitable for all ages, anyone 13 and up really needs to see what life could have been like for themselves if they had been born during this time. Performances run through Feb. 25 (public showtimes at 7 p.m. Thursdays through Saturdays, 2 p.m. Sundays) at the Tarkington theatre in the Center for the Performing Arts in downtown Carmel. Get info and tickets at civictheatre.org or thecenterpresents.org.

Healthy dose of love and laughter in Lawrence

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By John Lyle Belden

Could love be considered a disorder? Think about it: The irrational behavior, the mood swings, the heart racing, the feeling in the pit of your stomach – nothing about being in love seems healthy!

Consider our case study of several infected individuals in and around the SuperCenter shopping experience in the comedy “Love/Sick,” by John Cariani, presented by Theatre Unchained at Theater at the Fort in Lawrence, directed by Kaya Dorsch.

The highly talented cast of Lucy Fields, Aaron Henze, Kyrsten Lyster, Brittany Magee, and Joe Wagner bring these afflicted souls to life as various characters in nine scenes in this charming hour-plus one-act.

The performance bar is set high by the first scene, in which – due to their disorder – Fields and Wagner have to deliver their exact same lines, with the same energy, at the exact same time. Add in a bit of intimate physical comedy, and they succeed to hilarious effect.

Fields then takes on the role of delivering a most awkward message to Lyster. We also have, among other bits, Henze discovering how literal “deadly boredom” can be, and Magee on a search to “find herself” that many of us can relate to.

The result is a mix of laughter and heartache that any physician would agree are a sure sign of a love outbreak, and for us in the audience the feelings are contagious.

Dorsch took a lot of TLC in growing this specimen, and if it leads to a pandemic of uncertain joy – know there’s no cure.

Remaining performances are Thursday through Saturday, Jan. 19-21, at 8920 Otis Ave. Get info at TheatreUnchained.org and tickets at ArtsForLawrence.org.

IndyFringe: Ship of Dreams

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This is part of IndyFringe 2022, Aug. 18-Sept. 4 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By Wendy Carson

First of all, I must warn you that this show is one of the hottest selling tickets at this year’s IndyFringe and every performance has and will sell out. Get your tickets immediately, or regret missing the greatest parody of an Oscar-winning tragic film in existence.

Even before the show begins, our captain, Jason Adams, is inviting the crowd to draw some artworks for the overhead projector used during the show

All of the movie’s major plot elements are covered here, including only referring to one character by the name of the actor portraying him. The show features extremely pun-filled dialogue, visuals on the projector, and simple cardboard props used so well they raise the level of each scene where they appear.

The spectacle reaches epic proportions encompassing karaoke, kazoo ballet, a singing iceberg, and the spectacular dance number showing the dramatic ending to the ship.

Paige Scott and her amazingly talented Party Island troupe of performers (Elysia Rohn, Courtney McClure Murray, Aaron Stillerman, Taylor Daine, Chad Woodward, and Brittany Magee) are each spectacular in all their numerous roles. Adams’ work on the overhead projector is just icing on this deliciously witty cake.

The 7:15 p.m. Friday performance is sold out, so act quickly to get on board 1:45 p.m. Sunday, Sept. 4, on the Indy Eleven stage at the IndyFringe Theatre.

Traumatic issues taken seriously in new drama

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By John Lyle Belden

Over time, I have gotten to know persons who shared their struggles with Dissociative Identity Disorder, which pop culture gave the misleading label of “multiple personalities.” This mental health condition is complex and usually borne of deep personal trauma. 

Therefore, the Trigger Warnings for “Coping with Autumn,” the new drama written and directed by Megan Ann Jacobs for Theatre Unchained, presented by Arts for Lawrence, should be taken seriously.

Autumn (Kyrsten Lyster) is under observation after her arrest for killing her boyfriend. She decides that if you are going to watch, she will give you a show, telling you the story of how she arrived in this unfurnished cell.

During her narration, we meet the occupants of her mind: Dee (Maresa Eileen Kelly), the eternal child who won’t tell her what happened when alone with her father, appears shortly before her mother (Rachel A. Snyder) divorces and moves them from Wisconsin to Indiana. Joy (Ethany Reeder Michaud), the impulsive, takes over when potential new high school friends invite her to a party, then ensures Autumn has a “good time.” When regrets set in, Vera (Roci Contreras), the confrontational, appears to make sure those classmates never bother her again.

Like many misfits, Autumn feels more at home at a distant college. There, she is befriended by Kasey (Brittany Magee). They bond over poetry and spend a lot of time together, until Kasey invites Autumn to a “small” get-together. Naturally, it’s another wild crowd, and then the bag of drugs comes out.

Before her “friends” emerge, Autumn exits, and meets Steven (Thomas Sebald). He seems so nice, and perfect. He pampers her, gives her fancy meals and nice gifts. Then he starts making demands. Is this what love is like? Must be, she thinks, and does everything she can to please him – until she can’t. Kasey has been shut out, and Steven has charmed Mom. Who can help her? I’ll give you three guesses.

The second act features Autumn’s trial and aftermath. New allies include therapist Dr. Weber (Kelly Keller) and pro bono attorney Alex (Joe Wagner), who feels a personal connection to the case. But Sebald returns to the stage as a prosecuting attorney, the resemblance not lost on Autumn. 

Lyster, who has shown so much range in past roles, is amazing here. Magee, who joined the cast late into the production, is incredible in support. Snyder is superb, and by happy accident has a physical resemblance to her “daughter.” Their portrayals of well-meaning but damaged women never slip into cliche and evoke appropriate emotional responses from the audience and each other.

This ain’t “Inside Out.” The two adolescents and child that represent portions of
Autumn’s psyche are neither cartoonish nor comic relief. The dissociation is handled respectfully in smooth transitions with Lyster so that we easily see the four actors as aspects of the same woman. 

Sebald plays Steven so disarmingly kind (when the monster is hidden away), it’s easy to see how men like this character can charm and trap women who find no one believes them when relationships turn abusive. And when he’s a beast, “evil” is an understatement.

Cast and crew took this sensitive topic seriously. During a post-show talk-back, dramaturg Max Andrew McCreary said he shared his mental health research with them, including that according to one source, it is estimated that nearly half of adults have at one time had a sort of dissociative incident, from a moment feeling outside one’s body, all along the spectrum to rare cases of true DID (fictional Autumn’s condition is on the spectrum). All involved took consent into account throughout the entire process, from the first rehearsal. Sebald, who said he had helped workshop Steven/Prosecutor, said this was especially essential for him to feel comfortable in his role. This atmosphere of trust helped make the action in this drama more raw and natural, which some in the audience noted in their comments.

If you have experience with abuse and/or psychological trauma, be careful about seeing this. But for any who can manage, this is highly recommended. Remaining performances are 7:30 p.m. Thursday through Saturday, May 19-21 (post-show talkbacks on Thursday and Saturday) at Theater at the Fort, 8920 Otis Ave., Lawrence (off the north end of Indy’s Post Road). Get info and tickets at TheatreUnchained.org or ArtsForLawrence.org.

District drama explores daunting ‘Place’

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By Wendy Carson

By Wendy Carson

The District Theatre presents “What Is This Place? A Journey of Self in the Aftermath,” in which five souls ask the title question, while knowing on some level exactly where they are.

Welcome to their nightmare – where you, too, will likely go one day.

I first saw a version of this show in August of 2016, at IndyFringe. In the six years since, playwright Jan White has reshaped it into an even greater work of beauty and hope. If you go back to that first review, I didn’t say much about the show because I didn’t want to spoil the mystery for anyone. However, the current version allows more room to meditate on the performance.

The story begins with Darlene (Holly Hathaway) being flung in through a door which she cannot unlock to make her escape. She claims to know the place, because in her past she saw her mother inside it. She protests that she wants to leave, but is afraid of what lies beyond the door.

The other denizens of this place are: Maggie (Miki Mathioudakis), a wealthy widow, distantly connected to Darlene, who has transformed into a sloppy, hot mess; Sophia (Brittany Magee), a perky, meditating, goof who searches for peace she cannot find; Cindy (Bianca Black), who just wants to sleep, but no combination of drugs and alcohol are able to work; and finally, Jake (Chad Pirowski), the apparent caretaker, whose silence makes him appear creepy.

Periodically, each person will go to a space at the side of the stage to view pieces of their memories, which we are privy to by way of a video screen. It does not take us long to realize what this place actually is, but the point here is the characters’ journey to that same discovery. Once they fully acknowledge it, they must then decide whether to leave or stay (each option has its benefits).

As each woman comes to terms with that which landed them there, they must also deal with the fact that some questions never have answers, that perhaps “everything happens for a reason” is nonsense, whether you accept it or not. Eventually, they find the darkness they have in common, and how to wield it as a key to that door that perhaps was never really locked after all.

While this is a story about grief and loss, it also embodies the accomplishment and hope that lies at the end of that road.

Performances are truly remarkable, considering the gut-wrenching dramatic exercise this play puts the cast through, under the direction of Rosana Schutte. We get small bits of relief, in humorous moments with Cindy’s substances, Maggie’s endless Doritos bags, or Sophia’s attempts at serenity with bells and “tapping.” Still, the pain is never far from them, lurking just outside the windows. Our heart goes out to all five, even Jake, who has the darkest truth.

Remaining performances of “What Is This Place?” are Friday and Saturday, April 29-30, with ASL interpretation, at the District, 627 Mass. Ave., Indianapolis. For info and tickets, go to IndyDistrictTheatre.org.

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.