Bardfest: The wild woman vs. the wacky womanizer — with music

By Wendy Carson

The biggest complaint I have heard from people, regarding Shakespeare’s plays, is trouble following the plot due to the antiquated language. In her Bardfest production of “Taming of the Shrew,” Catalyst Repertory founder and play director/adapter Casey Ross has tackled this issue with the periodic inclusion of pop songs to assist the viewer in comprehending the message of the narrative. Being that the story is fairly well known, this style just makes a fun show even more enjoyable.

For those of you who don’t know the plot: Younger sister Bianca can’t marry until older sister Katherine does. Katherine has no intention to marry anyone. Their father is wealthy and offers a large dowry to whomever can take Katherine off his hands. Cash-strapped playboy Petruchio takes the challenge and not only ends up changing Katherine’s ways, but they both fall in love in the process. There’s also the sub-plot of various suitors trying to secure Bianca’s love.

The setting of this interpretation is a Vegas-style resort casino in the 1970s, with the daughters being cocktail waitresses, their father the owner, and Petruchio a traveling singer looking for a place to earn some money before his debt collectors catch up with him.

Hannah Elizabeth Boswell as the fiery Katherine (or Kate) is a sassy bundle of empowerment, while Davey Pelsue’s Petruchio boldly becomes every bit the hilariously lusty womanizer that the character suggests.

Abby Gilster’s delicate take on Bianca shows the character’s sly knowledge of her situation that is often overlooked in many productions. Bradford Reilly and Robert Webster Jr. as her two suitors (Lucentio and Hortensio), in disguise as tutors, bring a delightful comic desperation in their attempts to secure time with their desired.

Audrey Stonerock adds to the fun as the hottest “Widow” in the club, and Donovan Whitney is at his scene-stealing best as Tranio, a servant pretending to be the rich man while his master plays a humble tutor (see above). The proud – and relieved, when Kate is wed – papa is a charming Godfather-light performance by Tony Armstrong.

All in all, this is a rollickingly great production of a hilarious show. One note though, as we have mentioned previously, this show is not for all ages. Consider it PG-13 at least, though worldly kids might learn a new appreciation for Shakespeare if they see it. Also, bring a few dollars to tip your waitresses and maybe tuck into the clothes of some of the performers.

Performances are Friday, Saturday and Sunday (Oct. 27-29) at the IndyFringe Theatre, 719 E. St. Clair. Find more information at www.indyfringe.org.

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Bardfest: And now for something completely different

By John Lyle Belden

Yes, the title here is stolen from Monty Python, which has nothing to do with the third annual BardFest, now in Indianapolis – in the IndyFringe building – after a couple of years in Carmel. However, we are dealing with things that are British and unusual.

Shakespeare’s plays – aside from being public domain – tell such good stories that they lend themselves to numerous times and places. Thus the Bard’s three plays in this year’s festival get reinvented in interesting ways.

Thus BardFest 2017 presents:

* “Cymbeline,” presented by Garfield Shakespeare Company, a play with elements of both the Comedies and the Tragedies. Originally based on the legend of a British king during the Roman Empire, this version is in a parallel world right after the American Civil War – as though West Virginia had declared itself a separate kingdom, and the Republic was cool with it, as long as the taxes are paid. Adapted and directed by Anthony Johnson, it stars John Mortell as the title king, Ashley Chase Elliott as his Queen, Elisabeth Speckman as our heroine, Cymbeline’s daughter Imogen, and Chris Burton as heroic Posthumous (yes, his actual name in the play).

* “MacBeth,” presented by First Folio Productions, the familiar cursed tragedy adapted to a tense 90 minutes by director Carey Shea. Medieval Scotland is transformed into a modern urban wasteland, where King Duncan (Ryan Ruckman) keeps order like a local sheriff or police chief. He awards a title to faithful MacBeth (Adam Tran), who had just had that promotion prophesied to him by a trio of weird women (Nan Macy, Janice Hibbard and Leah Hodson) – didn’t they also say he would become king? Lady MacBeth (Devan Mathias) is just happy her husband is finally in line with her murderous plans to seize the crown. However, Duncan’s lieutenants Macduff (Chelsea Anderson) and Malcolm (Nathan Thomas) quickly become suspicious of the ambitious couple when the king is killed.

* “The Taming of the Shrew,” presented by Catalyst Repertory, freely adapted by Catalyst founder Casey Ross. The famous Shakespeare comedy finds its misogyny mutated into a sassy, outrageous sort of musical, using modern pop songs to help tell the story – this is not “Kiss Me Kate.” At a late-20th-century tropical resort, bawdy innuendoes fly as lusty lounge singer Petruchio (Davey Pelsue) seeks to tame curvy, catty Katherina (Hannah Elizabeth Boswell). Meanwhile, noble Lucentio (Bradford Reilly) slyly wins the heart of Kate’s younger sister Bianca (Abby Gilster). Will boss Baptista (Tony Armstrong) see his daughters married off in birth order? Did you ever think a rockin’ anthem by The Darkness could be made into a heartfelt ballad?

* And for purists… well, as close as you could get was a manic production of the comedy, “The Complete Works of William Shakespeare, Abridged,” presented by the Improbable Fiction Theatre Company during the festival’s first weekend. The Reduced Shakespeare hit by Adam Long, Daniel Singer and Jess Winfield was taken on by local thespians Ron Richards, Ryan T. Shelton and Adam Workman, under the direction of Christy Clinton with occasional necessary assistance from stage manager Tamara Rulon.

Remaining performances are on both IndyFringe stages at 719 E. St. Clair, Thursday through Sunday (Oct. 26-29). “Cymbeline” is the more family-friendly (though its length could test the patience of younger patrons), while “MacBeth” is very violent and “Shrew” is very not-for-kids. For information and tickets, visit www.indyfringe.org/bard-fest.

Wendy and I will try to get more in-depth reviews of the individual shows up tomorrow, and will link back to here.

What’s so funny about peace, love and misunderstanding?

By John Lyle Belden

Anton Chekhov called his 1895 play, “The Seagull,” a “comedy in four acts” – which makes one wonder about Russians’ sense of humor.

But the play, adapted and directed by Casey Ross and presented by her Catalyst Repertory company – shaved down to two acts (one-two / intermission / three-four) – does have some light moments. Good drama always has its share of humor, and its “comic” elements are further reflected in an almost Shakespearean level of unrequited love among the characters.

The setting is a peaceful rural Russian estate, with its nice house belonging to aging civil servant Pyotr Sorin (Dennis Forkel) and a lake, near which his nephew Konstantin Treplev (Taylor Cox) presents a play he has written, starring his girlfriend, local girl Nina (Ann Marie Elliott).

Treplev sees himself in the shadow of his famous actress mother, Irina Arkadina (Nan Macy), and her popular friends. “I have no discernible talent,” he laments. But to prove himself, he is determined to write a “new form” of theatre, simultaneously rebelling against and surpassing the great Arkadina. Before an audience of locals, family and his mother’s guest, famous writer Boris Trigorn (Thomas Cardwell), the premiere flounders thanks to Treplev’s abstract symbolism – inspiring heckling from Arkadina – and Nina’s amateurish acting.

Later Trigorn flatters Nina, encouraging her dream of becoming a professional actor, and winning her away from Treplev. Meanwhile, beautiful-in-black Masha (Emily Bohn) is in love with Treplev, while poor schoolmaster Medivenko (Bradford Reilly) is in love with Masha. Paulina (Kyrsten Lyster) is in an affair with Yevgeny Dorn (Craig Kemp), a kindly doctor with a song in his heart, but she is married to very unromantic estate caretaker Ilya Shamrayeff (Anthony Nathan).

While good acting is essential to any play, the presentation of these characters is all Chekhov has given us – no wild action or deep mystery. Fortunately, Ross knows some very talented actors.

Cox is great at playing the tortured soul, and he has plenty to work with here. A hundred-twenty years later, even in Russia, Treplev would have medication and perhaps a therapist to aid his issues. In this world, he must wade through on his own with little help from his mother – she brushes off his suicide attempt as a silly phase, afraid to leave the limelight world that is the only place she feels happy. Macy turns on the charm, while showing the depth of her character’s shallowness.

Elliott is brilliant as usual, mastering not only all the subtle facets of Nina, but managing to act “bad” in an entertaining way. Cardwell reveals a man wrestling with the life his genius has given him – “I have no rest from myself” – but still subject to base desires. In one of the play’s most famous scenes, he presents the idea of “destroying” the young woman, saying it directly to her. But blinded by her pursuit of fame, Nina allows it to happen, not realizing until it is too late what she has become.

And a shout out to Nathan for nearly stealing scenes with Shamreyeff’s socially clumsy moments, and for making the death of the title bird more funny than it should be.

So: When you get what you’ve been chasing after – or what you settled for – is it worth it? That would be the thematic question at work here, and while the answers aren’t definitive, they do feel honest to the harsh world we live in, wherever we are in time or on the globe. And when the circumstances permit, we can get in a laugh or two.

“The Seagull” has performances Sept. 15-17 and 22-24 at the Grove Haus, 1001 Hosbrook St., near Fountain Square. For info and tickets, visit Facebook.com/CatalystRepertory or the company’s website.

IndyFringe: ‘Canvas’

By John Lyle Belden

Standard disclaimer: I’ve known Casey Ross for years and love everything she does. So I can’t help but recommend this show, with a small caveat (see below).

“Canvas” is the third chapter of Ross’s trilogy that began with “Gallery” and continued with “Portraits” – both past Fringe shows. If you haven’t seen them, this play is still easy to follow, and a quick synopsis of the first two is in the program.

The story again focuses on two artists, best friends Jackson (Davey Pelsue) and Frank (Dave Ruark). In the past, free-spirit Jackson leaned on solid academic Frank, but now their situation is reversed as Jackson, a successful painter, cares for Frank, who has partial amnesia after an “accidental” drug overdose.

Once again, they struggle to define their relationship as each deeply loves the other, but the fact that one is straight and the other gay further complicates their feelings and actions. Their friends try to help, but have been burned by dysfunctional relationships with these two and can only do so much.

There is dark humor, raw emotion, and – my one caution – a frank examination of suicide. No easy answers are given, though this play does draw the trilogy to a conclusion.

Between Ross’s knack for sharp dialogue and a solid job by the actors, this play has earned its place as one of the hottest tickets at the Fringe. Get them if you can for performances Saturday and Sunday, Aug. 25-26 ,at Theatre on the Square’s second stage.

Festival info: www.indyfringe.org.

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.