Putting the ‘Cat’ in Catalyst

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Corbett (Pat Mullen), right, converses with local cats (from left) Orangey (Dane Rogers), Calico (Audrey Stonerock) and Striper (Matt Anderson) in Bennett Ayres’ “Feral Boy,” presented by Catalyst Repertory at Wheeler Arts Community near Indy’s Fountain Square.

By John Lyle Belden*

We’ve likely all seen that internet meme along the lines of “I don’t want to adult today; I want to cat.” Local playwright Bennett Ayres took that idea to its bizarre conclusion in the new drama, “Feral Boy,” presented by Catalyst Repertory on the LongShot Theater stage at Wheeler Arts through May 28.

Corbett (played by Pat Mullen) has graduated college and is expected to take his next step in life. But is it truly his? He excelled in classes, became president of a fraternity, made friends with his bros and had sex with the right girls. Next comes internships and an internet marketing career to make his upper-class parents proud.

But after his roomates (Matt Walls and Donovan Whitney) depart, he starts to see the world through his own eyes – the fish tank in the neighbor’s (Dennis Forkel) window; the cute townie, Betsy (Patty Blanchfield), who works at the nearby convenience store; and especially all the neighborhood’s feral cats.

One night, a feline neighbor, Orangey (Dane Rogers), speaks to him. From then on Corbett draws himself further into their world, meeting gentle Calico (Audrey Stonerock) and their alpha, Striper (Matt Anderson). With the help of Wikipedia’s data on cat behavior, Corbett makes joining their ranks his mission.

The cats are represented by Patrick Weigland’s puppets – elegant slender alley-cat forms with expressive movement provided by their three actors, as well as lurking projected shadows. The portrayals nimbly display their cautious grace and suspicious attitudes expressed in different ways: Rogers’ Orangey blustery and paranoid, Stonerock’s Calico wary but trusting, and Anderson’s Striper cool and controlling.

Mullen excellently guides us through his journey from “imaginary” human to something he sees as more “real.” What appears to others as a man coming apart and abandoning responsibilities, he embraces as a necessary transformation. Blanchfield also shines as the woman caught up in his madness, seeing Corbett as her means of escape – but she can’t follow where he’s going.

The cast also features Sarah Holland Froehlke as Corbett’s mother, and the voices of Jim Tillett, Jolene Moffat and Ayres.

The play itself is an absorbing story, embracing its absurdity – reminiscent of Chuck Palahniuk (“Fight Club”) – without any tongue-in-cheek. Is Corbett delusional? (The cats never speak to anyone else or when he’s around others.) It hardly matters when considering the play’s allegory and questions raised about identity, expectations and how we decide a life’s path. Taken together, director Zach Stonerock and his cast and crew have woven a darkly beautiful drama.

Wheeler Arts Community is located at 1035 Sanders St. in Indy’s Fountain Square neighborhood. For information and tickets, visit uncannycasey.wixsite.com/catalystrepertory or Catalyst Repertory’s Facebook page.

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*Full disclosure: Wendy and I are good friends with Catalyst founder and artistic director Casey Ross, and I helped the production by designing the play program booklet – and making a few copies. But it really IS a good show, just ask Lisa G!

Old lore gets modern makeover in Catalyst’s ‘Slaying the Dragon’

By John Lyle Belden

I got so much more than I expected when I saw “Slaying the Dragon,” and I have high expectations from a play written by Casey Ross.

Ross’ plays are character-driven with great dialogue, flavored with enough of the absurd to make them entertaining without stretching credulity. And with her latest comedy production – presented by her Catalyst Repertory at Theater at the Fort, directed by Carey Shea – Ross enters the realm of fairy tales and conjures a thought-provoking fable.

Mythical kingdoms have reluctantly come into the 21st century, and the castle of King Farenwide (Dan Flahive) is now a condo. His Queen (Nan Macy) is happy as long as she has a place to garden, but Princess Maleena (Abby Gilster) is frustrated that her parents neither embrace New World ways nor accept that she has. To the King’s delight, a Knight has moved nearby – and being the only handy noble, a good prospect for his daughter (she’s not pleased with that prospect). But upon visiting Sir Alexander Meander (Matt Walls), they meet his roommate, Flameson (Tristan Ross), a dragon.

The inevitable conflict of old prejudices (that dragons are beasts worthy of little more than slaying) and outdated loyalties (a knight must obey orders and kill such beasts) with more modern attitudes can’t help but raise comparisons to events in the offstage world. True to the style of Casey Ross (no relation to Tristan, though they are good friends), the issues are handled with great humor and humanity. While it’s easy to make “Shrek” comparisons, the inspiration here seems more like the Disney short “The Reluctant Dragon” and the stage/film/TV classic “The Odd Couple.”

Gilster is great as the sane center of the swirling silliness. Flahive is fun, and makes riding a mobility chair look as noble as an actual royal steed. Macy tackles yet another maternal role with soothing ease (and a fantastic hat). And Josh Weaver adds to the laugh factor as obliviously mellow Page Jon, the castle servant.

It’s easy to see which is the “Felix” and which is the “Oscar” with Walls and Tristan Ross. Meander makes his best effort at being noble in tarnished armor, while Flameson is an excellent housekeeper and cook (who can light the stove by breathing on it). The actors’ performances are totally up to snuff, especially in Tristan’s talent for not going over-the-top with a fantasy character, aided by excellent makeup effects.

This is definitely a new work that is worthy of seeking out – and a little seeking might be in order. Theater at the Fort is located on the grounds of former Fort Benjamin Harrison (technically in Lawrence) at 8920 Otis Ave.

Performances are 8 p.m. Thursday through Saturday and 5 p.m. Sunday, March 16-19. Get info at uncannycasey.wix.com/catalystrepertory or follow Catalyst Repertory on Facebook; get tickets here.

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

Catalyst’s ‘Tooth’ gives us much to chew on

By John Lyle Belden

When you enter the Grove Haus theater to experience “Tooth of Crime,” presented by Catalyst Repertory, you enter another world.

It’s a dystopian potential America of the 2080s, a Mad-Max atmosphere in which the battles aren’t over oil but fame – and your place on the rock ‘n’ roll charts. Those on top find themselves “marked,” with life and death consequences.

Hoss (Davey Pelsue) is an aging Marker at the top of The Game. He respects the Code, as well as the country and blues musicians that inform his down-and-dirty rock style. He doesn’t test the wrath of the Keepers, but is not too happy that other performers are bending the rules, especially Gypsies who don’t abide by the Code at all.

Vexed and paranoid, Hoss fires his stargazer, Mirra (Ryan Powell), for advising him to be cautious. A Deejay, Rudio Ran (Jay Hemphill), reassures him he’s still on top, but he suspects it’s flattery. His manager and girlfriend, Becky Lou (Sarah Hoffman) is worried, and the drugs Doc (Nan Macy) give him make him even more unmanageable. Then, right-hand man Chaser (Zach Stonerock) informs Hoss that a rival has marked him, and a Gypsy by the name of Crow (Adam Tran) is on his way to do battle. Chaser finds an impartial Ref (David Molloy) to adjudicate.

The culture of this play has its own dialect – though after a while you can “suss” it out – and the duel is mainly psychic, through words spoken and sung. Though they brandish guns and knives, Hoss and Crow strive to break each other’s mind and soul before fatally attacking the body.

For the audience, this requires paying close attention as much as possible, but not getting too concerned that you can’t tell exactly what’s said or even going on. This drama with music was written by Sam Shepard in 1972 and rewritten in 1997, which helps explain its vibe being somewhere between “Easy Rider” and “Hedwig and the Angry Inch,” filtered through Greek tragedy.

This show isn’t for everyone, but if you go with it, you can witness a stylish indictment of the corrosive nature of celebrity, and experience the passion that Pelsue and his castmates put into their performance. Hoss practically sweats every word and lyric he utters. Crow is like a preening bird, but with a dangerous edge even when knocked off-balance.

An on-stage band provides excellent accompaniment to the show’s proceedings. The music was provided by Shepard, with additions by T Bone Burnett in the 1990s, and director Casey Ross found a more recent hit to finish the play.

Performances are Fridays through Sundays through Feb. 26 at 1001 Hosbrook St., near Fountain Square. Get info and tickets at uncannycasey.wix.com/catalystrepertory.

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

Three great plays at Bardfest

NOTE: As the Word/Eagle is in flux with the renaming and corresponding change in official website, John is putting his reviews here — for now.

By John Lyle Belden

Bardfest had a great opening weekend, and has two more – Oct. 20-23 and 27-30 – at the little Carmel Theatre Company stage, 15 First Ave NE in Carmel’s downtown Arts District (former home to Carmel Community Players).

It was noted in the curtain speech of one show I attended that Indianapolis is about the only major metropolitan area without a Shakespeare Festival. Fortunately, Willie’s plays do reach the boards a few times a year in individual productions around Indy, including a free summer production in White River State Park. But having three shows by the Immortal Bard – only one of which you would likely name off the top of your head if asked to list his plays – is a wonderfully unique experience.

‘KING LEAR’

I confess to missing the First Folio production of “King Lear.” Fortunately, I was familiar with the play and I trust First Folio Productions to pull this classic off more than competently. The title character is played by David Mosedale, and the role of her eldest daughter Cordelia (and a turn as the Fool) by Ann Marie Elloitt, two of the best speakers of iambic pentameter I’ve seen in central Indiana. Sarah Froehlke and Beth Clark as Lear’s devious other daughters are no slouches, either, and excellence is reflected throughout the cast and crew list, including the incredible Tristan Ross.

For those unfamiliar, “Lear” is about a British king who decides to give his kingdom to his three daughters. When the eldest refuses to flatter him, he misunderstands her actions as an insult and banishes her. She ends up in France, and leads an invasion to save her father’s kingdom from the machinations of her sisters. Mix in more madness and intrigue, and end it all tragically, and you have an excellent evening of drama. Which I didn’t have to see, but I highly recommend you do if you can.

‘TWELFTH NIGHT’

I did get a look at Shakespeare’s comedy “Twelfth Night.” It runs down the Bard comedy checklist: Shipwreck? Check. Siblings in distress? Check. Thinly made, but still effective, disguises? Check. Misunderstandings? Check. Wild wooing, leading to unlikely marriage? Check and check!

Perhaps understanding this, Garfield Shakespeare Company and directors Chris Burton and Sam Brandys made this a highly entertaining production by blending conventional pop songs into the narrative – one in particular, you’d swear was written for the play – as well as having instrumentation performed live on stage, especially by Feste, the minstrel Fool, played with perfect charm by Ashley Chase Elliott.

Twin siblings Viola and Sebastian (fraternal, yet perceived by other characters as identical in appearance, performed by Abby Gilster and Spencer Elliott) have washed up on different shores of Illyria after their shipwreck, each presuming the other drowned. Viola disguises herself as a boy and goes to work for the local Duke Orsino (Benjamin Mathis), a single man pursuing the one woman who doesn’t want him, Lady Olivia (Audrey Stonerock). Orsino sends his new servant to deliver his messages of love, but Olivia instead falls for Viola-in-disguise – compounding the “boy”s confusion as s/he is smitten with Orsino. Meanwhile, Olivia’s brother, the drunken Sir Toby Belch (Jay Brubaker) and his dim-witted companion Sir Andrew Aguecheek (Monica Verdouw) are carousing with Feste, an apparently freelance Fool working in both the Duke and Lady’s households. They and Olivia’s servant Maria (Kate Ghormley), play a cruel but hilarious prank on the prideful fellow court member Malvolio (Anthony Johnson), which only adds to the wild goings on – made even wilder when Sebastian makes his way to Olivia’s house.

Confused yet? It’s a Shakespeare comedy; a lot of various characters doing silly things to one another is part of the standard formula. Just relax, let the major groupings and who-loves-who sort themselves out, and just enjoy the ensuing mayhem. And nobody dies – that’s his other plays.

I must heap high praise not only upon every cast name listed above, but also Burton, who takes on various character roles on top of his other duties – he was even fixing the lights before the show.

‘CORIOLANUS’

As for “Coriolanus,” regarding the odd name, if we must get to the bottom (sorry!) of the story it is simply an unfortunate (for modern audiences, though Shakespeare did enjoy a bawdy pun) honorific bestowed on the main character, Caius Marcius (Taylor Cox) to celebrate his victory in battle at Corioli, where pre-Empire Rome defeated the rival Volscians, led by Tullus Aufidious (Ryan Ruckman).

Back in Rome, Marcius is not quiet about his elitist attitude, which doesn’t sit well with the commoners who already blame him (falsely) for a grain shortage. Fortunately, his smooth-talking friend Menenius (Matt Anderson) calms things down, but two Tribunes, Brutus and Velutus (Matt Walls and Paige Scott) observe this and stir up the citizens to oppose Coriolanus’s inevitable ascension to Consul.

Marcius himself doesn’t want the office, but his ambitious domineering mother Volumnia (Nan Macy) insists he take power, while his wife Virgilia (Abby Gilster) agrees, hoping it will keep the lifelong soldier home. But despite his friends and family insisting he stay calm, Marcius verbally explodes, giving the Tribunes the excuse to banish him.

In the second act, the exiled Coriolanus turns to his blood enemy Aufidious, who sets him in charge of the Volscian invasion of Rome. Being the era’s greatest general, Marcius practically brings troops to the gates of the capitol. Desperate to save Rome and win back his friend, Menenius tries to reason with Coriolanus. Finally, his mother, wife and son make their desperate plea. I’m not giving any further spoilers, but it all doesn’t end well.

Cox, who is proving himself to be one of the best actors in Indy, is excellent as his frustratingly complex character. You may not like this Caius Marcius Coriolanus, but you have to respect him. Davey Pelsue applies his matching talent as fellow Roman officer Titus Lartius, a dutiful soldier of inevitably conflicting loyalties. Macy’s is the top performance, a force of nature like a mother wolf who wants to be pack Alpha. You might not want her for a Mom, but you want her on your side. Anderson imbues his glib character with genuine feeling, fearful yet hopeful that his smooth tongue can cure any roughness he encounters. As for Walls and Scott, their villainous portrayal has them practically twirling old-time movie moustaches.

The other “bad guy” of the piece, Ruckman’s Aufidious, stays true to his character and principles, and carries a confident air throughout. Were the audience made of Volscians, he would be the easy hero. This adds to the many gray areas this play works in – not all virtuous win, not all villainous are punished, few are completely noble or evil – which might explain why it so rarely produced.

Unafraid, director Casey Ross gives this story a chance to show us all its complexities. The era portrayed is unspecified, the costumes mildly punk without being distracting, leaving us only with these characters and the drama that plays out among them. Occasional music is modern, but works with the timeless narrative. If you are a fan of great theatre, seeing this “Coriolanus” should be a priority.

For information and tickets to Bardfest, see http://uncannycasey.wixsite.com/bardfestindy.

John L. Belden is Associate Editor at The Eagle (formerly The Word), the central-Indiana based Midwest LGBTQ news source.

Review: Ecce ‘Equus’

By John Lyle Belden

The Peter Shaffer play “Equus” is famous for not only its dark subject matter (intertwining themes of bestiality and religion, horse mutilations, etc.) but also for its nudity.

But in the Casey Ross production playing through July 24 at the Grove Haus, though there is a scene with characters fully naked, more striking are the souls laid bare in this drama. Never going beyond loosening his tie, Dr. Dysart (Brian G. Hartz) finds his profession of psychiatry, his personal relationships, and his very life raw and exposed to the audience as well as the probings of his own mind. Frank Strang (Doug Powers), father to disturbed teen Alan (Taylor Cox), tightly bound in vested suit and his own convictions, finds himself exposed and convicted in his son’s eyes. Alan’s mother Dora (Ericka Barker) finds her faith shaken and her own facade sliding away. And young Jill (Sarah McGrath), fascinated by the sight of bare skin, exposes herself to Alan completely, never suspecting the devastation that would follow.

As for Cox, who has admitted to struggling with his role as a boy who comes to deify horses, confusing religious and sexual ecstacy, his dedication to conveying Alan’s pain to the audience – which are seated around the central stage area, the front row inches from the action – has paid off immensely. You can’t help but feel empathy for the plight of Alan, the people in contact with him, and even the steeds he adores, then hurts when his passioned delusion turns violent. Hartz provides a brilliant counterpoint with his compassionate yet driven Dysart.

Excellent support is provided by other members of the cast: Allison Clark Reddick as magistrate Hester Solomon, Tony Armstrong as stablemaster Dalton, Nan Macy as the Nurse, and the horses played by Bowie Foote, Christopher Bell, Beth Clark and Johnny Mullens as Nugget, Alan’s favorite. Ross, who directs with the assistance of David Mosedale, provides an excellent minimalist stage design, and kudos to Davey Pelsue for composing the haunting original score.

Shaffer wrote the play after being inspired by a brief news story of a 17-year-old blinding six horses with a sharpened tool. With this fact, he spun a fictional drama that strikes at the truth of faith and devotion, and our definitions of sanity and normalcy. I couldn’t help but notice that when Alan has nightmares of his equestrian gods judging him, he cries out “Eck!” which is revealed to be the obvious, “Equus,” the word for his godhead and savior. Still, it echoes to me of “Ecce Homo” – “Behold the Man,” Latin for the words of Pilate presenting a broken Jesus to the public.

In “Equus,” we are presented with a broken boy, exposing the cracks in everyone around him until all are shattered. It is truly something to behold.

Find the Grove Haus at 1001 Hosbrook St., near Fountain Square just southeast of downtown Indy. Find info and tickets at http://uncannycasey.wix.com/caseyrossproductions or the Casey Ross Productions Facebook page.

Also posted at The Word.

Review: ‘Lobby Channel’ something to see

CRP Lobby Channel

By John Lyle Belden

Casey Ross Productions’ latest show is a perfect conversation starter for this age in which humanity has never been so connected, yet individuals still find themselves so lonely.

In “Lobby Channel,” a new musical written and directed by Ross’s friend (and local actress) Paige Scott, based on a story once told on NPR’s “This American Life,” a pair of morning radio jocks are trading insults as usual when one tells of something extraordinary – his home VCR managed to pull from the cable system a closed-circuit feed from an unfamiliar building somewhere in the city.

With only one view and no sound, Ted (Bradford Reilly) watches an empty hallway for hours, waiting for the brief appearances of a beautiful woman in a pillbox hat. She approaches, alone, often dropping her keys as she reaches her door, and hours later she departs for destinations unknown.

As the story unfolds, the woman in the black dress and hat (Miranda Nehrig) appears, ghost-like, expressing Ted’s wonder at who she could be. His partner Brian (Evan Wallace), unsure what to think of his story, throws another barb at Ted, saying the woman must be a stripper. In response, her next song takes a seductive turn, almost too much for Ted to bear.

Is Ted a sort of stalker? Is this the beginning of an unconventional love story? The play concludes in a logical manner, but still leaves those questions hanging for us to wonder – as good theatre should.

Reilly ably expresses the frustration of someone trapped in an incomplete puzzle, unsure of what to do with the pieces he has been given. Wallace easily portrays the friend who gives you a hard time, but still has your back. And Nehrig’s beauty and voice are a perfect fit for our mystery woman. Scott’s haunting music and lyrics suit the mood perfectly, providing the right tension to hold this simple-yet-complex story together.

It’s one act, clocking in at just under an hour, yet this show packs a lot into its frame. It echoes both a time not long ago when personal privacy was a sacred thing and today with social media like open books that we all show each other. We all get to know perfect strangers, imperfectly. Do you really understand this person, or are you only watching their “Lobby Channel”?

The musical’s performances are Friday through Sunday, through May 22, at the Grove Haus, 1001 Hosbrook Ave. near Indy’s Fountain Square. See uncannycasey.wix.com/caseyrossproductions/ or Casey Ross Productions on Facebook for info and tickets.

Review: Hoosier play brings out actors’ best

By John Lyle Belden

Jim Leonard Jr.’s “The Diviners,” a snapshot of Depression-era Indiana with supernatural overtones, is presented through Sunday by Casey Ross Productions at Carmel Theatre Company (former CCP stage), 15 1st Ave. in downtown Carmel.

The story centers on Buddy Layman (played by Pat Mullen), a youth rendered simple-minded years ago by his near-drowning in the local river, an incident that took his mother’s life. Now a teen, he never bathes and is so afraid of water that he can sense rain hours before anyone even sees clouds, as well as feel it below the ground, allowing him to “divine” locations for wells.

He is cared for by his older sister Jennie Mae (Allyson Womack) and father Ferris (Zach Stonerock), the local engine and bicycle mechanic. Neighboring farmers Basil and Luella Bennett (David Mosedale and Kathryn Comer Paton) see Buddy’s abilities as an asset, as their lives are so tied to the land. In the play’s first scenes, Bennett’s farmhands, Dewey and Melvin (Johnny Mullins and Tyler Gordon) witness Buddy’s “divining” first-hand.

Into this world comes a young drifter, C.C. Showers (Davey Pelsue), looking for work. Ferris hires him, even though the man’s only job experience had been as a preacher, a job he had taken more out of family obligation than spiritual calling, and thus felt no motivation to continue. Showers also takes an interest in Buddy, seeing him more as a troubled person than a human water-detector. In town, they (and we) meet the remaining members of the cast, Bible-thumping shopkeeper Norma Henshaw and her headstrong daughter Darlene (Paige Scott and Heather R. Owens) as well as Goldie Short (Audrey Stauffer Stonerock), who runs the local diner; her bottled soda is about the only liquid Buddy will touch.

Norma’s desire to see the local long-destroyed church rebuilt has her see Showers’ every word and deed as a sign that the man will return to the ministry for their town. His actions to help Buddy with a persistent skin condition become much larger in her eyes, leading to tragic circumstances.

The cast, under the direction of Casey Ross, bring their dramatic A-game. Mullen earns praise for not overselling Buddy’s condition, earnestly delivering the boy’s frustratingly third-person speech and making him feel real. We can see Pelsue’s tattoos peeking out of his shirt sleeves, yet still believe he is a 1930s Kentucky preacher; this is his best performance yet. Mr. Stonerock is convincingly paternal; you can see the zeal gleaming in Scott’s eyes; and Mosedale is rock solid.

To be honest, there are no weak performances at all, which helps keep this play above its potential for cliché or caricature. For comparison, consider the best “Waltons” episode you ever saw, and add water.

For info and tickets, see uncannycasey.wix.com/caseyrossproductions or “caseyrossproductions” on Facebook.

(Also posted at The Word.)