District drama explores daunting ‘Place’

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

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.