This is part of IndyFringe 2021, Aug. 19-Sept. 5 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.
By Wendy Carson
To The Rescue Theater and Monroe County Civic Theater have combined their efforts to bring this charming tale to the Fringe.
Lawrence (Jason Lopez) is a tiger-striped tabby who is the protector of his territory, prowling regularly to keep out danger. Tabitha (Robin Lea Pyle) is a rambunctious kitten who doesn’t understand why her desire to climb the fence makes her a “Bad Kitty”.
Enter a Persian interloper, Pixel (Roy Sillings), who quotes feline-inspired Shakespearean variants expressing his desire to become part of their home.
Because the show is meant to be light and whimsical, it is an excellent choice for families and small children. Note as well that all moneys received from the performances here go to a local Indianapolis feline charity, Cats Haven.
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.
*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!