Bryan Fonseca

Fonseca returns with reflection of our ongoing racial struggle

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

Current and recent events compelled Fonseca Theatre Company to stage “Hype Man: A Break Beat Play” as its first production while live theatre starts to return to central Indiana. But more telling of the persistent seriousness of its issues is that this drama by Idris Goodwin was written over two years ago.

Image
From left, Aaron “Gritty” Grinter, Grant Byrne, and Paige Neely in the Fonseca Theatre Company production of “Hype Man: A Break Beat Play”

In a large, racially diverse, American city, in a time not long before 2020, up-and-coming white rapper Pinnacle and his Black hype man Verb wait on the creator of their beats, Peep One, to arrive at the studio so they can rehearse for their appearance on the Tonight Show. She enters, telling them she was delayed by traffic around a police chase. Minutes later, social media alerts give the full story: An unarmed black teen was killed, shot 18 times by cops while attempting to surrender.

The show must go on, as Pinnacle is focused on his national TV debut and upcoming tour, but as his hip-hop hit, “The Boy Shine,” gets its ovation, Verb makes a gesture for racial justice that throws their lives into chaos.

Local recording artist Grant Byrne plays Pinnacle, “born between a rock and a Glock,” blind to the fact that despite the disrespect he gets from uptown whites, his fair skin gives him a veil of privilege – and as a member of the hip-hop community, responsibility. Byrne manages to keep him likable, but driven and too focused on his “brand,” needing to learn to get out of his own ego and his fear of getting bogged down by serious issues like injustice. Still, his stage style is tight, as, with a wry smile, he spins Goodwin’s rhymes like they’re his own.

Local entertainer and the show’s music director Aaron “Gritty” Grinter is Verb, Pinnacle’s childhood best friend and long-time collaborator. The most complex character, his TV moment was to be a personal comeback, after past (unspecified) incidents had him in court-ordered therapy. The young man’s shooting affects him deeply, “I was that kid so many times!” Grinter is well-suited to the role, a natural motivator channeling the fire awakened within the Hype Man.

Indy native Paige Neely is Peep One, who tries to walk the middle path between the others’ bold personalities. Having been adopted by an apparently middle-class family (likely white), she doesn’t deny her blackness but identifies mostly as a woman in hip-hop, which is struggle enough. She understands Pinnacle’s fixation on the business of showbiz, but knows what Verb wants to accomplish is even more vital. Neely makes her more three-dimensional than the script seems to suggest, ably going from referee to friend, to a girl with her own mind and dreams, as the story demands.

This play is the directing debut of Daniel A. Martin, who is experienced with more comic fare, but as (among other things) an improv artist, does well with a trio in a very collaborative, sharing environment. The drama feels as real as the latest TV and online news, and though the death described is fictional, it has occurred in one form or another numerous times (including here in Indianapolis). The play doesn’t exploit, make light of, or preach on the issues, but helps to continue our local and national conversation.

In consideration of the ever-present health issues, FTC producing directors Bryan Fonseca and Jordan Flores Schwartz, and company staff, are taking the Covid-19 threat seriously. The stage (excellently designed by Daniel Uhde) is outdoors, behind the Basile Building, 2508 W. Michigan St., with plenty of parking at the adjacent park. There is appropriately-spaced seating, hand sanitizer handy, and all (except for actors while acting) are required to wear face masks (this was policy before the Mayor made it mandatory countywide). Local artist Kathryn Rodenbach made and donated some nice cloth masks, which can be picked up for a donation of whatever you want to give.

“Hype Man” runs through July 26. Get details and tickets at fonsecatheatre.org. To delve deeper into the issues of the play, Fonseca added this page as well.

Changes around us come into focus on Fonseca stage

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

Gentrification is a word and concept that gets brought up a lot — how it’s bad, how it has benefits, how it is inevitable. Indianapolis has seen aspects of it in play in neighborhoods such as Broad Ripple, Mass Ave./Chatham Arch, Irvington, and Fountain Square.

This phenomenon is at the heart of “Salt Pepper Ketchup,” a drama by Josh Wilder now on stage at Fonseca Theatre Company in Indy’s near-westside — an area starting to see the effects of redevelopment.

The play is inspired by the recent real-world transformation of Point Breeze community in Philadelphia’s infamous South Side. “Salt, Pepper, Ketchup” is how longtime local residents, mostly African-American, order the popular fried chicken wings at Superstar Chinese Restaurant, and owners John and Linda Wu (Ian Cruz and Tracy Herring) are happy to fill the orders as they save up for their American Dream. They had just been granted citizenship, and with improving credit, hope to buy their building.

But changes are already under way. New apartments sprang up, occupied by young white people seeking affordable rent. There is a coffee shop, and at the center of it all, the Co-Op grocery. 

Paul (Robert Negron), a leader at the Co-Op, is trying to sign up new members among the locals. John Wu, reflecting the worries of his regulars, suspects some sort of scam. Paul’s heavy-handed and tone-deaf manner isn’t helping. Still, Linda sees hope for life beyond their “Chinese joint.” Tommy (Chinyelu Mwaafrika) and Raheem (Aaron “Gritty” Grinter) see the Co-Op as a threat, a danger to the ‘hood they grew up in, and they are prepared to take drastic action. CeCe (Chandra Lynch) is trying to see all sides of this, as she works at a daycare and wants the area to get better. She even likes the idea of the Co-Op, until she discovers that a single apple costs $2.50.

We also meet the enigmatic Boodah (Dwuan Watson Jr.) who is street-smart, emphasis on both. A little older and wiser than Tommy and Raheem, he avoids conflict and criminal solutions, but when he senses injustice, he takes action.

Finally, Megan (Lexy Weixel) is a perky Co-Op worker who finds herself thrust into an unfamiliar world, struggling to make the best of it.

Seeing the events play out, I couldn’t help but feel a bit ashamed for being white. Paul is such an overbearing caricature, reeking of privilege even as he remarks on it dismissively, that it is easy to understand the backlash that overwhelms him midway through the show. Eventually he takes a more corporate attitude — or was that behind his facade all along? While this can be difficult to watch from my seat, and generating nods of agreement from minorities around me, this portrayed example of how not to gentrify can help start the conversation of how best to positively deal with the changes coming to our own streets. It helps that this important drama brings out the best in all its players.

The play is directed by Tom Evans, with a set designed by Daniel Uhde including a clever way of changing between acts. Founder Bryan Fonseca designed the lighting and Tim Brickley the soundscape, which includes hip-hop by Gritty from his upcoming EP.

As an epilogue, the play program includes a recent article on the real Point Breeze, providing more food for thought. 

“Salt Pepper Ketchup” is served up through Feb. 2 at the FTC Basile Building, 2508 W. Michigan Street. Get info and tickets at fonsecatheatre.org.

A little ‘Chrystmas’ magic

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

Bryan Fonseca returns to his tradition of the holiday show he had nurtured for a dozen years, with Fonseca Theatre Company’s “A Very Bryan Chrystmas: How the Grinch Culturally Appropriated Christmas.”

(That original series is also continued at the Phoenix Theatre, but think of them not so much as competitors as companion pieces — each with its own nice yet mildly naughty take on the winter holidays.)

Bryan’s cast of Jean Arnold, Paul Collier Hansen, Jonathan Stombaugh, Phebe Taylor, and Dorian Wilson, with the help of Tim Brickley (music director) and Mariel Greenlee (choreographer), bring us 12 scenes of music, comedy and dance. The works of five local playwrights are featured: Eric Pfeffinger and Mark Harvey-Levine’s modern takes on the Nativity; John P. Gallo’s hilariously macabre holiday tradition; Kenyon Brown’s tale of new Grinch mischief; and Cassandra Rose’s bittersweet scene of family dysfunction. Music includes songs by Tish Hinojosa, Pete Townshend, and Tim Minchin, as well as a mix by DJ QueVee.

For those who remember, Fonseca brings back the ultimate Jewish Mother with Harvey Levine’s “Oye Vey Maria,” but most of the bits are new, such as Brown’s “Mistletopriation,” which acts out the show’s title statement, with Hansen as the Christmas-hating terrorist. And Taylor shows her knack for playing practically any age, especially in her sweet performance of Hinojosa’s “Arbolito.” 

Throughout, this show is a little irreverent and a lot of fun. Performances run through Dec. 22 at the new Basile Theatre, 2508 W. Michigan. Get info and tickets at fonsecatheatre.org.

Restless dead haunt Fonseca Theatre drama

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , ,

By Wendy Carson

Inspired by the recent trend of ghost investigations, a new drama, “The Brothers Paranormal,” appears on the new stage of Fonseca Theatre Company.

Delia is haunted. She is convinced that her new apartment is haunted by a Thai ghost. For the past six months she has heard whooshes, floorboard creaks, footsteps, and has now seen apparitions of a creepy young girl. While her loving husband, Felix, has not shared in any of this phenomena, he supports her decision to blow all of their savings to hire the titular service to find proof of this and hopefully restore their lives, still coming together after losing their New Orleans home to Katrina and relocating to the Midwest.

Max is haunted. The son of Thai immigrants, he and his older brother, Visarut, are just barely scraping by. Delia’s request is the first job they have attained. Max has had to leave college, his West Coast home, friends and girlfriend behind to help Visarut care for their schizophrenic mother, Tasanee. Max also worries about Visarut’s drinking problem, made worse by what their mother did.

Felix is haunted. He works as a paramedic and thought his job would be constantly saving lives. However, he feels the truth is that more often than not, he is just trying to keep them alive for a little bit longer. The ones that die under his care weigh heavy on his soul.

Can the brothers find proof of Delia’s ghost, or is her own family history of schizophrenia to blame for these manifestations? What is real? What is an illusion? Why do some cultures celebrate death and others fear it? These are among the questions posed by Prince Gomolvilas’s engrossing script.

Sean Qui is excellent as Max, running the gamut of feelings, especially towards his family. Ian Cruz is a steady presence as Visarut. Diane Tsao is charming as mother Tesanee.

Dena Toler is also in fine form as Delia, her performance putting her fright into the audience. Ansley Valentine, as Felix, delivers as a man slowly realizing he can only evade the truth for so long.

And a shuddering salute to Kim Egan as the spectre. Director (and company namesake) Bryan Fonseca uses her and the cleverly designed set to accomplish a rare feat – to make a horror stage play truly frightening. There were moments audience members were practically jumping out of their seats.

There is more to this play than the scares, of course. It fulfills the FTC objective of showing and making us consider different cultural and ethnic perspectives. But it also makes one hell of a Halloween-season experience. Performances run through Nov. 10 at FTC’s newly-remodeled Basile Building, 2508 W. Michigan St. in Indy’s near-Westside. Get info and tickets at fonsecatheatre.org.

Fonseca Theatre’s journey through America with ‘Miss You Like Hell’

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , ,

By Wendy Carson

In the style of an organization willing to challenge conventions, Fonseca Theatre Company stages it’s latest offering, “Miss You Like Hell,” in a garage-warehouse. The sets surround the audience and a trail divides it into four sections, which are mostly filled with rolling and swiveling chairs to help viewers follow the action.

This musical by Quiara Alegria Hudes, with music and lyrics by Erin McKeown, is the spiritual and physical journey of a mother and daughter as they travel across the United States. While on the surface this sounds like a cliche plot, there are a lot of story elements twisting and turning so that you are never quite sure exactly how you feel about the main characters at any time.

Beatriz (Sarah Zimmerman) says she has come to reconnect with her teenage daughter, Olivia (Sharmaine Ruth), who she has not seen in years. She seems genuinely worried about Olivia’s mental state after finding a blog post threatening suicide, but Beatriz has her own needs and agenda as well. Zimmerman does a skillful job meting out her character’s motivations in a way that makes you understand that no matter how many mistakes she has made, she is still a parent and ultimately loves her child, even if her actions don’t always seem that way.

Very reluctant at first, Olivia eventually embraces this adventure with her mom and discovers more about her family history, including the background of major events in her life. Ruth deftly swerves from belligerent brat to scared child to young adult seamlessly. Her performance shows the truth of what growing up means to a person as well as what it takes out of a child.

The rest of the cast compose a Greek chorus as well as their individual roles.

Paul Collier Hansen and Patrick Goss delightfully provide some much needed comic relief as Mo and Higgins, two best friends from Arkansas on a meaningful journey of their own. Ian Cruz is in rare form as Manuel, a possible love interest and convenient rescuer. Bridgette Ludlow charms us as Olivia’s most active blog respondent, as well as the strong dose of reality that she needs to grow. Paige Scott plays up her fierce side playing the various officers of the law that are encountered throughout the trip. Yolanda Valdivia is solid as Beatriz’s attorney, taking on her difficult immigration case. Dan Scharbrough gives his curmudgeonly best as a South Dakota bureaucrat and a Wyoming hotel manager. Some scenes are punctuated with a dancing ancestor, portrayed with bold grace by Camile Ferrera. Company founder Bryan Fonseca directs. Tim Brickley leads an excellent on-stage band.

The story begins in Philadelphia, our cradle of freedom, and ends in southern California, where part of the “wall” we hear so much about now stands. This examination of the American dream dwells on questions of heritage, culture, justice and rights. But above all, it is about family, the one we are born to, and the fellow travelers who become just as important to us.

This road trip is worth the journey, playing through July 28 at Kinney Group, 2425 W. Michigan St., Indianapolis (just a block from Fonseca Theatre’s new home, now under construction). Enter at the back doors. The venue gets rather warm in the summer weather, so dress light. Find info and tickets at FonsecaTheatre.org.

Doomed ‘Lady Day’ lives again in Indy dive

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

It’s 1959, the last year of singer Billie Holiday’s life, and she is in a city she’d rather not visit, Philadelphia, at a place she loves to be. It’s “Lady Day at Emerson’s Bar & Grill,” a Fonseca Theatre Company production hosted by the Linebacker Lounge, just a couple of doors down from Fonseca’s previous venue at Indy Convergence.

The cozy confines of the Linebacker stand in nicely for Emerson’s. It is a bar (but no grill, though there are delicious Mexican sandwiches next door that you are allowed to bring in) so entrance is restricted to ages 21 and up. Drink service is available before the show and a brief intermission, cash only (there is an ATM on site). But mostly, the place lends atmosphere, a small triumph of “site-specific” theatre.

As for the Lady herself, Monica Cantrell slips comfortably into a role she has played before. Holiday’s distinctive voice and vocal style can be difficult to emulate, especially without sounding like a parody, but Cantrell takes it on with apparent ease — singing soulful jazz ballads and purring stories that are a blend of reminiscing and confessional. Billie tells of idolizing Bessie Smith, honoring her with a rendition of “Gimme a Pigfoot;” life on the road, especially touring the Jim Crow South; and of how she wrote her biggest hit, “God Bless the Child,” for her mother, known as The Duchess.

She tells of men she loved and speaks frankly of her heroin addiction, advising patrons to watch out for “white men in white socks,” the probation officers who monitor her movements after her release from a year in prison. Her mind is not entirely her own, but she’ll pick up a snippet of song — “What a little moonlight can do,” she smiles — to get her thoughts on track.

“Singin’ is livin’ to me,” she says. But as she slowly breaks down, it becomes heartbreakingly apparent she doesn’t have much of either left in her.

Music is provided by Tim Brickley, and Jon Stombaugh as Holiday’s accompanist Jimmy Powers. Little Zoe Lee makes an adorable cameo as the singer’s canine companion, Pepe. And I’m pretty sure I heard Bryan Fonseca himself as the voice of Mr. Emerson.

Directed by FTC co-artistic director Dena Toler, “Lady Day” is a beautiful biography of a troubled woman in troubled times. It speaks volumes about addiction and our racial history without preaching. Just listen to that voice, the likes of which we may never hear again, a woman who “got her own,” on the verge of losing it all.

Performances run through April 7. Find the Linebacker, a sweet little spot that boasts Indy’s second-oldest liquor license, at 2631 W. Michigan St. Due to its small size, this show sells out easily, so find info and tickets at www.fonsecatheatre.org.

Fonseca presents a new song of old pain

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , ,

By John Lyle Belden

Director Bryan Fonseca plays “The Ballad of Klook and Vinette” — a musical by Che Walker, Anoushka Lucas and Omar Lyefook — with Dwuan Watson and Lekesha Lorene as his very talented instruments, accompanied by music director Tim Brickley on bass and the chiming electric piano of Jon Strombaugh.

Even when they’re not singing, the words flow like poetry, like Langston Hughes or Gil Scott-Heron as soul diva. This verse is proclaimed by Klook (Watson), who has in a life long-lived by street standards played beyond the third strike and fears “I am unlikely to live another day,” and much younger old-soul Vinette (Lorene) who sees “a man dragging disaster around by the tail” and loves him anyway.

She has a past herself — “Taking a mask off can burn if you do it too fast,” she warns — and a desire to write stories. But “we don’t tell stories; stories, they tell us,” Klook sings. Past mistakes and injustices confound the desire to change for the better, then collide with the taint of white privilege and male entitlement, making this a tragic ballad. But there are notes of hope here.

There is mature language, and mature sentiments. Just as they make love by blending the senses, this is a song to see, a dance to hear. Experience it with Fonseca Theatre Company at Indy Convergence, 2611 W. Michigan Ave., through Feb. 17. Get info and tickets at fonsecatheatre.org.

 

Fonseca’s debut drama shows what we are capable of building

PWJW_Indy Reviews, Stage , , , , , , , , , , , ,

By Wendy Carson*

I honestly don’t know what is more horrifying about Robert Shenkkan’s play, “Building the Wall,” the details of atrocities committed or the sheer fact that I can see all of it happening in the real world, pretty much the exact way it does in the script.

The story revolves around a college professor conducting an interview with a reluctant prison inmate. Throughout their dialogue, you discover why Rick has been incarcerated – and his truth of the situation that led him here.

Clay Mabbitt does an amazing job at weaving Rick’s story without forcing a biased slant on the situation. This is a man who sees himself as inherently good but also acknowledges he allowed much of the inhumane treatment to continue, climaxing with their inevitable final solution to the situation.

Millicent Wright as the academic, Gloria, deftly leads him through his tale. Since his lawyer prevented him from defending himself or even speaking at his trial, she wants to help him get his story out in his own words so that he can finally be heard.

Again, the story presented here is fictional, but it contains so many references to actual historical events and situations that it feels just a bit too real. In fact, we found it hard to believe it was written in 2016, and not this year.

This is the first play for the newly-founded Fonseca Theatre Company, established by a group of central Indiana artistic people led by the company’s namesake – and this play’s director – Bryan Fonseca. Like his past work establishing the Phoenix Theatre, this is the first of a planned season (and seasons to come) of thought-provoking, important theatre on West Michigan Street.

Aside from helping create an enduring arts scene in the near-westside of Indy, FTC’s mission is to embrace and celebrate diversity in all its diverse forms. As one can guess from the present-day setting and the play’s title, its inspiration comes from the President’s promise, and the continued heated debate, regarding immigration and immigrants. What does a play with a black woman and a white man have to do with this? In “Building the Wall,” it is not Latinx people who have to justify what they’re doing or explain how they got where they are.

In the end, this is everybody’s problem.

Performances are Fridays through Sundays, through Oct. 7, at FTC’s temporary home, Indy Convergence, 2611 W. Michigan. See www.fonsecatheatre.org for details and tickets.

(*John Lyle Belden also contributed to this review.)

Phoenix blesses us with ‘Rosewater’

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

The Phoenix Theatre, at its new home at 705 N. Illinois St. in downtown Indy, is off to a great start with the musical of “God Bless You, Mr. Rosewater” – by Howard Ashman and Alan Menken (one of their first collaborations) from the novel by Indiana’s own Kurt Vonnegut – playing through June 3.

The title refers to Eliot Rosewater, son of a millionaire U.S. Senator, who manages the family foundation which gives money to practically everyone who asks. But being generous is not enough to soothe his conscience, bothered by his actions in World War II that resulted in the death of German volunteer firemen. So he disappears from his New York office and pops up at volunteer firehouses across America, seeking his purpose until he finds it – at the family home in Rosewater County, Indiana.

Aside from the significance of telling an Indiana story by a Hoosier author, performing a satire about greed in today’s political climate, and having a show with science-fiction elements (the Phoenix’s very first show years ago, “Warp,” was sci-fi themed), it is notable that this musical is playing during May, Mental Health Awareness Month.

Psychological well-being is at the heart of the Rosewater story, from Eliot’s serious case of post-traumatic stress disorder, to the Senator insisting that no son of his would be “nuts,” to the plot hanging on our hero being insane because he actually considers those “beneath” him to be worthy of dignity – even equals. This latter disorder is too much for his wife to bear, driving her mad to the other extreme: only able to function among the very rich. Even Eliot’s well-meaning signs, saying, “DON’T KILL YOURSELF; CALL THE ROSEWATER FOUNDATION,” point to the need to encourage people to seek necessary help.

Patrick Goss wins our heart as Eliot, surrounded by a top-notch cast that includes Emily Ristine as his wife, Sylvia, and Phoenix founding member Charles Goad as Sen. Rosewater. Isaac Wellhauen is nicely conniving as financial advisor Norman Mushari, who finds a way to divert the Rosewater millions to long-ignored members of the family (for a hefty fee, of course). Suzanne Fleenor, another Phoenix founder and “Warp” veteran, plays Eliot’s psychiatrist. Other parts are also taken by familiar faces: Jean Childers Arnold, Scot Greenwell, Rob Johansen, Devan Mathias, Josiah McCruiston, Deb Sargent, Peter Scharbrough, Diane Boehm Tsao, and Mark Goetzinger as McCallister, the family banker.

Little bits of sci-fi poke in from time to time in true Vonnegut fashion, as the show is also a tribute to the greatest SF writer who never lived, Kilgore Trout. Like the best of the misunderstood genre, the otherworldy perspective allows us to get a fresh perspective on our very human behavior (and gives the props and costumes folks something to have fun with).

The songs and script show the spark of the genius that gave us “Little Shop of Horrors” and those Disney classics. The look and performances are well worthy of the beautiful new space, another triumph for director Bryan Fonseca.

The new theatre has plenty of room, and plenty of free parking, so go check it out. Info and tickets at www.phoenixtheatre.org or call 317-635-7529.

Phoenix drama where steel of resolve reaches its breaking point

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , ,

By John Lyle Belden

“Sweat,” the Pulitzer-winning drama making its Indy premiere at the Phoenix Theatre, is a riveting mystery wrapped in a stark examination of recent events.

Set in a Pennsylvania Rust-Belt town, we first meet Jason (Nathan Robbins) and Chris (Ramon Hutchens) as they talk to their probation officer (Josiah McCruiston). The former best friends are released from prison in 2008, having served time for what they did eight years earlier. Neither has come to terms with their act; Jason literally wears the shame on his face.

Much of the rest of the play takes place in the year 2000, in a bar near a local factory where generations of men and women have worked good Union jobs. But the changing times, aided by economic factors such as NAFTA and the decline of labor unions, have cast an air of uncertainty over the town. One plant, where Chris’s father Brucie (Dwuan Watson) worked, shut out its workers and may never reopen. But his mother, Cynthia (Dena Toler), is doing fine at her workplace, where she and her friends Jessie (Angela Plank) and Jason’s mom, Tracey (Diane Kondrat), even consider going for a recently-opened management position.

Bartender Stan (Rob Johansen) used to work at the factory, but thanks to an on-the-job injury he settles for just selling his old friends drinks. He is helped by good-hearted Oscar (Ian Cruz), who patiently puts up with the patrons assuming he’s Mexican (his family’s Columbian) and that he’s an immigrant (he was born in the town, like everyone else).

As for individual performances, director Bryan Fonseca has once again brought out the best in a very solid ensemble, familiar to Phoenix audiences.

As we see the social and economic darkness descend upon these characters, and we get to know their feelings and fears as we watch the inevitable from our perspective of over a decade later, one haunting truth lingers in the background: Something very bad is going to happen to one of them. We never really know until the moment it happens, and at that point, we truly feel the dark side of 21st-century America.

For a look at the hot human aspects of cold economic realities, experience “Sweat,” through March 4 at 749 N. Park Ave. (the last mainstage show at this address before the Phoenix’s big move). Call 317-635-7529 or visit www.phoenixtheatre.org.