By John Lyle Belden
Whatever we find engulfed in destruction – be it a relationship, family, organization, government, nation, or even the world – there is always the question that arises: How did it get this far? Now, in the mirror of hindsight, we see the signs missed, so many of them obvious. And you are positive that if so confronted, you would act better. Right?
Mud Creek Players presents, “The Arsonists,” a translation by satirist Alistair Beaton of the 1950s dark absurdist comedy by Swiss writer Max Frisch, directed by Connor Phelan.
Mr. Biedermann (Collin Moore), a good, honest man who made his modest fortune selling useless hair tonic, is indignant at the news in the paper that somehow various nice houses in the town keep burning down, their owners realizing too late it was the strangers – serial arsonists – who had asked for a place to sleep. “They should all hang,” he says of the firebugs, noting he would never be so easily taken in. His wife Babette (Judy McGroarty) bids him be calm, as this affects her nerves, too. Sharply professional maid Anna (Brittany Michelle Davis) says there is a man at the door.
Thinking it’s about his heretofore faithful employee, Knechtling, whom he had let go, he orders her to send him off. But, she says, it is a stranger. This is different, he realizes, not a matter of business but of manners – a stranger at the door can’t be sent away offended.
Enter Joe Schmitz (Nathan Terhune), a burly man who earnestly states he is a former wrestler from the circus (that burned down) he worked at after a hard life as an orphan. He just needs a little time inside, out of the rain. And a drink would be nice. And maybe some cheese…
Reassuring Biedermann that, of course, he’s not an arsonist – why even suspect such a thing? – Joe sleeps in the attic. A day later, they are joined by Billy Eisenring (Eric Dixon), Joe’s friend and past head waiter at the local restaurant (that burned down). Surely there’s room for him as well, and a few items…
Somebody should see where this is going; fortunately, we have the Chorus, a/k/a the local Fire Brigade. The Superintendent, our Chorus Leader (Katie Brownlee) leads the warning call, between cigarettes (apt in 1953, but adding irony today). The Firefighters – Christopher Moore, Cyrena Knight, Kelly Keller, Ameetha Widdershins, and Malcolm Marshall – join in the cries of woe.
Widdershins cameos as Mrs. Knechtling, and Marshall also plays the “very far-sighted” Doctor of Philosophy, giving his observations of the goings-on.
Given its style and ever-weighty content, this play gives a lot for audiences to take in. But it is well worth the effort, making us laugh and think in equal measure. The cast perfectly play it with nary a wink towards the audience at the growing absurdity that requires no fantasy elements and hardly any sleight of hand. Terhune and Dixon’s “houseguests” give a master class in manipulation and preying on one’s good will. Moore makes Biedermann’s slide into delusion tragically believable.
This occurs in a beautifully detailed set by Michelle Moore, who, with Chris Bundy, arranged set decoration and props. Alaina Moore was assistant director. Stage managers are Cathy Ewbank and Kathy Jacobs.
Frisch at first presented this story as a radio play, the Swiss audience believing it to be a warning against Communism. His perspective was wider, having visited Germany in the 1930s and seeing how his Jewish girlfriend was treated. Decades later, we are invited to consider its metaphors in greater scale.
Anybody got a light?
Performances of “The Arsonists” are Aug. 18-20 and 25-26 at Mud Creek Players, 9740 E. 86th St., Indianapolis. The 2:30 p.m. Sunday performance (Aug. 20) includes a talkback, “Burning Questions,” after the show. For information and tickets, visit mudcreekplayers.org.
Plays with John & Wendy 