Clay Mabbitt

ALT: What happens in Aspen…

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By John Lyle Belden

One of the biggest surprises for me in seeing “Aspen Ideas,” the new dark comedy by Abe Koogler, is that the Aspen Festival of Ideas is a real thing – an annual gathering of the world’s rich, famous, influential, and otherwise successful in Aspen, Col., where they share various ideas of how to make the world a better place.

This play, presented by American Lives Theatre at the Phoenix Theatre Cultural Centre, is not about them.

Also planning to attend Aspen are Rob (Clay Mabbitt) and Anne (Diana O’Halloran). We meet them in New York, where they live, at a party where he hopes to make connections for his money management business. They encounter Jay (Alaine Sims), a woman who seems to be there for people-watching, which intrigues Anne as she herself is not comfortable at this event. They also meet Jay’s partner, Chris (Zach Tabor), who is pleasant but quiet – awkward and eccentric when he does speak (similar to the autism spectrum).

Days later, they all meet at Rob and Anne’s “Dumbo” apartment. Unsuccessfully avoiding this soiree is Rob and Anne’s 16-year-old daughter Sophie (Megan Janning), who, when cajoled into saying something to their guests, speaks frankly of her adolescent angst and resentments.

Rob feels compelled to invite Jay and Chris to join them in Aspen, insisting and offering to pay their way. The scenes that follow are on the plane to Colorado, then locations in and near the resort town.

Delayed by Fringe commitments, we saw this on its second weekend (one more remains), having heard that audience feedback has been mixed. What is the “idea” of what we see on the stage?

Neither the script nor Zack Neiditch’s direction allows these characters to be softened for more laughs. While it’s easy to see, perhaps, one of your friends or relatives in Rob or Anne – generally good persons – they become quite insufferable. Mabbitt and O’Halloran glibly commit to characters who feel like has-beens but are actually never-weres – he a frustrated artist of limited talent, she a dancer whose chorus career was ended by injury. They indulge in a poser lifestyle, not realizing it keeps them mired in their mediocrity.

Sims and Tabor excellently portray mysterious characters about whom we can only guess their true nature, even when their intentions are revealed at the end. Sims keeps Jay friendly while making you feel that something is a bit “off” about her. Tabor gives off a shy, even timid vibe in Chris’s quietude, which becomes effectively misleading.

Janning plays Sophie as a girl sharp enough to sense that she may not know what she wants, but it’s not what she’s got. She loves her parents, but hates what they represent.

“Aspen Ideas” is an amusing and interesting character study with an ongoing air of mystery. We found the ending of this 95-minute (no intermission) play intriguing and understandable in its context. Depending on what you think Jay and Chris may be, feel free to speculate what exactly happens on this summer day in Aspen.

Performances are Thursday through Sunday, Aug. 28-31, at 705 N. Illinois St., downtown Indianapolis. Get tickets at phoenixtheatre.org and information at americanlivestheatre.org.

‘Lockefield’ showing lots of promise

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By John Lyle Belden

We got an early look at a new play, “Lockefield on the Ave,” presented by Black Light Training and Development on March 28-30, 2025, at The District Theatre. The following paragraphs are my response, posted to the PWJW Facebook page to help get the word around during its one-weekend run. Black Light is doing important artistic work with local creatives in contributing to the story of being Black in America, and especially in Indiana.

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This short play by Robert Webster focuses on the Indiana Avenue scene in Indianapolis in the mid-20th century. Percy Davis (Quinton Hayden) has a little bar on the Avenue. It was started by his father Freeman (Gene Tommy Howard) after a moment of good luck, before his fortunes reversed tragically thanks to his former boss – and Klan member – Jack Sucker (Ray Graham). Jack’s bigotry was inherited from his hooded father and Confederate grandfahter, but his son Tom (Clay Mabbitt) doesn’t see things that way and, as an aspiring journalist, goes so far as to attempt to write for the Black-owned Indianapolis Recorder. In what we will realize is a full circle moment, Tom interviews Percy to get an honest perspective on Indianapolis Avenue and the people there.

We get a lot of information on the characters and especially Indy’s Black history, aided by fellow cast members T. J. O’Neil, Sam Hill, and Tamara Taylor. Much of it feels like a sort of staged documentary, but the true story of the Avenue is something we all need to learn or be reminded of, as it has been largely left out of local history.

With tight direction by Eric Washington, this play is like a rough-cut diamond. There is a lot of potential for Webster and Black Light to polish and form with more drama and perhaps a two-act structure to bring together its elements – including plot points like the Davis pocketwatch, publishing the story, and the Sucker family dynamic – into a priceless gem of theatre. What we have so far is like a healthy first course of soul food, making us hungry for more.

Note that to be authentic, the N-word and opinions that thankfully are not so common now are freely expressed, in their proper context. Take comfort that this show ends with a moment of unity.

A big shout-out to Black Light interim artistic director TJ Rowley for giving me and Wendy a sneak-peek at this precious jewel, with our hope of continued success for the company.

Hear and feel the ‘Voices of the Avenue’

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By John Lyle Belden

From Emancipation in the 1860s to well into the 20th century, Black populations brought together by community and herded by racist policies gathered in neighborhoods across America that managed – despite contrary forces – to flourish, at least for a time. In Indianapolis, that legacy is Indiana Avenue.

That street, and its jazz-infused culture, is celebrated at the District Theatre on Massachusetts Ave. in the world premiere musical, “Voices of the Avenue,” a stunning, inspiring story by new playwright Brandi L. Metzger.

Set at an actual popular Indiana Ave. nightspot, the Sunset Terrace, this is the story of sisters Constance (Jodi Holmes), a writer for the Indianapolis Recorder (still a voice for Black issues today), and Pearl (Komoca Rowley), a singer and regular at the Sunset. On the night of club owner Denver’s (Jay Fuqua) 50th birthday celebration, Connie arrives hoping to persuade Pearl to join her in leaving for New York to seek bigger opportunities. The joint is jumping, thanks in part to performer Burnin’ Bernie (Keiston Drake). Also present is a mysterious white man, calling himself Apollo (Clay Mabbitt), who keeps writing something in his notebook.

This is also a story of a time and a place at a cultural and historical crossroads few on the Avenue saw coming. As Denver reminisces, despite troubles through the 1920s and ‘30s, the Black communities rallied and “Indy’s Harlem” persevered. But it is 1945; soon, thousands of men – mostly white – will be returning from the War and the age of “redevelopment” and suburban boom will begin. This Apollo represents succinctly. An advance scout and embodiment of the coming change, he presents himself as an amateur hypnotist who can freeze the moment to let us in our own era beyond the fourth wall know what forces are at play and the justifications they will use to act.

The brighter side of the Avenue, full of life and brave joy, is personified by the music of the outstanding on-stage ensemble, led by Matt “BigBeatz” Franklin at the keyboard, with jazz pianist Carl Hines, Jef Payne on trumpet, and Byron L.A. Hobbs on drums. Stephen Martin Drain and Nakia B. White tend the bar and provide backup vocals. Club patrons are played by Heather Strain, Teresa Francis and DaJuan Thrasher.

This production is in the able hands of veteran director Nikki Miles, assisted by Angela Leonard. Justin M. Lewis provides cool choreography appropriate to the times, and even gets Mabbitt to cut a rug.

The songs are all original, by Metzger in collaboration with Franklin and the actors who perform them. They perfectly capture and move the plot, and a rousing salute to “The Sunset” is fun to sing along to – which we’re encouraged to do at the end.

Holmes and Rowley give great performances with voices sharp whether in song or snapping at each other as siblings do. We can feel their relational struggles as well as the growing shadow of the bigger story they are in. Fuqua plays Denver as all charm and blind optimism, perhaps not an angel, but a vital part of the Avenue. Drake gives Bernie the driven attitude of the talented up-and-comer not wanting to consider there might not be a place to get to.

The only disappointment is that this intense experience clocks in at just under an hour. Still, a lot of story and history is packed in. It never feels rushed, like great jazz; I just wasn’t ready for it to end. It’s one thing to learn by reading, lecture, or even documentary, about the spirit of Indiana Avenue, but “Voices of the Avenue” gets you to truly feel it.

This work was brought about by Black Light Training and Development, a grantee of the Andrew W. Mellon Foundation. Metzger is a recent graduate of its playwriting course. Find more information at the program’s Facebook page.

Remaining performances of “Voices” are today (as we post this) and tomorrow, Saturday and Sunday, June 1-2, at the District Theatre, 627 Mass. Ave., Indianapolis. Get tickets at indydistrictthteatre.org.

Bard Fest presents heavy ‘Hedda’

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By John Lyle Belden

Trigger warning: Suicide.

Now that I’ve given that necessary note, I can delve into why – if you feel up to it – you should see the Indy Bard Fest production of Henrik Ibsen’s “Hedda Gabler,” adapted by Jon Robin Baitz, directed by Chris Saunders at Arts for Lawrence’s Theater at the Fort.

For those, like me, who may have read Ibsen’s “A Doll’s House” in school but are not aware of this work, another example of his bold realistic look at society in late 19th century Norway, Gabler is a headstrong woman whose beauty attracts men while her icy demeanor keeps them at bay: the original “mean girl.” The daughter of an army General, she is also accustomed to a certain standard of living.

The play opens with Hedda (Morgan Morton) returning from her long honeymoon after marrying the academic George Tesman (Joe Wagner), an uber-nerd who spent most of those months in tedious research. It becomes evident that she has married him mostly for his potential status once his scholarly works are published, and takes his puppy-like devotion as her due. She enjoys being rude to George’s aunt Julia (Susan Hill) and indifferent to the servant Berta (Carrie Reiberg) in this big house that George can barely afford.

The Tesmans aren’t the only ones back in town. Eilert Lovborg (Matt Kraft), who had been a hopeless alcoholic as well as Hedda’s old flame, has turned up sober with a popular book that rivals the one George is still working on. Aided by Thea (Anna Himes), whom Hedda used to bully in their school days, he also composed an even better follow-up – the only manuscript copy of which is in his bag. However, a boys’ night out with George and the unscrupulous Judge Brack (Clay Mabbitt) sets in motion events with tragic consequences, aided by Hedda’s machinations.

Though the play predates Freud’s works, it shows Ibsen’s keen perception of various neurotic types – which our cast ably take on. Kraft’s Lovborg is the restless genius bohemian; Wagner’s detail-obsessed yet socially oblivious George appears to be on the autistic spectrum; Himes’ Thea is desperate to rise above her fears, and at the very least redirect her people-pleasing impulses to someone more appreciative than the distant husband she left to be with Eilert; Mabbitt’s Brack is the classic sleazy womanizer and party hound with a position he can use over others.

But most fascinating, of course, is our title character. Hedda’s narcissistic aspects are obvious, but she also has a unique perspective on life, honor, and the way things should be that lead her to an even more untenable position. Morton has all her stone glances and manic moments down perfectly, keeping her fascinating enough to not let us be completely put off by her brusque demeanor.

This brilliant examination of a fateful 48 hours in the lives of people filled with pride and potential has one more weekend, Friday through Sunday, Nov. 10-12, at Theater at the Fort, 8920 Otis Ave., Lawrence. Get info at indybardfest.com, tickets at artsforlawrence.org.

Entertaining ride on ‘Orient Express’

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By John Lyle Belden

There are two kinds of people who watch a production – film or stage – of the Agatha Christie mystery “Murder on the Orient Express.”

First, there are those who have never seen how it ends. If you encounter such a patron at the Booth Tarkington Civic Theatre production of the play, running through March 25, DO NOT TELL THEM WHODUNIT. Being one of the most famous and creative reveals in the genre, it’s best to be savored as it happens.

Then, there are the fans of stage, screen, or the original text, who know the answer and just enjoy the widely varied and wildly interesting cast of characters, all falling under the scrutiny of Christie’s eccentric Belgian detective, Hercule Poirot.

Penned by Ken Ludwig (at the request of the Christie estate), this “Murder on the Orient Express” more than satisfies both groups. The blizzard of clues – too many, in fact, Poirot notes – will keep newcomers guessing, and Ludwig’s comic touch ensures at least as many laughs as thrills.

Eric Reiberg is pitch-perfect as Poirot in, a credit to him and director John Michael Goodson, a fairly laid-back portrayal of the character. Rather than have an exaggerated look and personality, even his famous curled mustache is understated, letting the various suspects on board the train do the clowning. Still, his bearing, accent, and little quirks are true to character and exert the proper gravitas (in this story, the detective is already world famous).

To set up the play, we get some disturbing audio, as well as Poirot addressing the audience that what we see is a flashback to one of his most complex and troubling cases. With this, we open in Istanbul, Turkey, in 1934. Needing a quick ride across Europe, the detective travels the famed Orient Express, bound for Calais, France, as the honored guest of the director of the rail line, Monsieur Bouc (Rex Wolfley).  

Various men and women board, including a very cocky yet nervous American businessman, Samuel Ratchett (Lee Russell), who tries to hire Poirot to find out who sent him threatening letters. Offended by his rudeness, the detective refuses. But when, with the train halted by a snowdrift in what was then Yugoslavia, Ratchett lies dead of multiple stab wounds, Hercule Poirot finds himself on the case.

Aside from ever-patient conductor Michel (Ronald May) we have our suspects – in fun performances by Evangeline Bouw, Luke Faser, Lauren Frank, Susan Hill, Alexis Koshenina, Sherra Lasley, and Clay Mabbitt – who all have alibis. And what might the motive be? As Poirot peels back the layers of the mystery and discovers hidden identities, he can only come to one conclusion. Or, perhaps, two.

A script like this allows for going a little over the top, and Lasley is a hoot as our brash American who married into riches and belts into song. Bouw is sweetly memorable as a countess who happened to go to medical school. Hill is commanding as the Russian princess; Koshenina is retreating as a shy missionary. Mabbitt and Frank slyly arouse our suspicions even before their characters board – but we actually see where they are at the apparent time of the murder.

I’ll say no more. You need to see this for yourself, but tickets for this wild ride are selling fast.

The Orient Express was an actual rail line, but, alas, its last departure was in 2009. Next best thing is to see this version. Performances are in the appropriately intimate confines of The Studio Theater at the Center for the Performing Arts in downtown Carmel. For information and tickets, go to civictheatre.org or thecenterpresents.org.

Executive dysfunction in holiday parody

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By John Lyle Belden

As we settled in for a long winter’s viewing of “The North Wing,” an original Christmas musical presented by Defiance Comedy at the IndyFringe theatre, Molly North, assistant to the show’s writer and director, Matt Kramer, said this is like if “The West Wing” creator Aaron Sorkin had (presumably under the influence of something) decided to write about the Santa Claus Workshop at the North Pole, and add music.

Well… there is a “walk-and-talk” scene, so we’ll go with that.

Since Burl Ives is dead and Josh Gad costs too much, we have the lovely Paige Scott as our narrator, Jeff the Snowman, ironically with a warmer heart than her other role, Mrs. Claus. The former is charming, literally disarming, and proud to be “a waste of resources.” The latter seems to take pleasure in being naughty – which could be a problem in this setting.

Clay Mabbitt is Thomas the Human (not the one shipped off to New York, that’s another musical), the leading assistant to retiring Head Elf, Mr. Hinkle-Twinkle (Ben Rockey, one of a number of Elfin roles) who apparently learned to speak English by watching “It’s a Wonderful Life.” After another Christmas Eve in which holiday spirit is down, the old man steps down and, before Thomas can be promoted, Mrs. Claus announces an outside hire: Janet (Meg McLane) the human former executive of a Toy Corporation, who has lots of ideas for improving things at The North Wing.

Imminent changes with only 364 Days Until Christmas have elf executive assistant Beatrice (Shelby Myers), Phil the Elf (Austin Hookfin), and random Elves (Rockey and Robin Kildall) very worried. It doesn’t help that Judy Sparkles of North Pole News (Kelsey VanVoorst) reports that disaster is inevitable. It’s enough to drive one to drink – with libations served by Blumpkin the reindeer bartender (VanVoorst in antlers and red nose).

As befits a story inspired by real-world political intrigue, this all gets really silly, really fast. And there are songs. And dancing (choreography by Emily Bohannon). And romance. And, of course, the traditional plots to destroy/save Christmas.

To rescue the holiday, there is a quest for the next must-have toy, which brings – at 164 days to Christmas – the arrival of Binky the Toy Tester (Kildall). Will the thingamajig pass muster? Will it matter?

This cast works together smoothly, and I was particularly impressed with Myers’ performance. The more dramatically inclined Mabbitt makes a great straight man to set up fellow goofballs. Scott’s ability to switch between clown and villain is fun to watch.

As we’ve come to expect from Defiance, this show is full of gut-splitting hilarity and features a number of improv veterans, so expect anything. Also as usual, there’s a bit of ribald innuendo, but aside from the “Naughty” edition 7:30 p.m. Friday and Saturday, there is a “Nice” more all-ages version at 3 p.m. Sunday (Dec. 9-11).

See their style of wacky comedy that sells out Fringe festival shows, now in two full acts, at IndyFringe Basile Theatre, 719 E. St. Clair St., Indianapolis. Get tickets at indyfringe.org.

IndyFringe: The Ballad of Blade Stallion

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This is part of IndyFringe 2022, Aug. 18-Sept. 4 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By Wendy Carson

Matt Kramer and the troupe at Defiance Comedy have brought us another kooky laugh-fest for our enjoyment. From the opening scene of “The Ballad of Blade Stallion” – in which yoga balls are bounced upon to simulate spaceships – you know to expect a silly great time.

Having been hired to retrieve the only copy of some very important secret plans (Who doesn’t make a copy?) as well as a kidnapped girl, Astria (Emily Bohannon), Blade Stallion (*sting* “Blade Stallion!”) sets off to get his paycheck.

Stallion (Zack Joyce) was not aware of the choreography included in his theme song, but manages to make it through that obstacle, only to find that he must also babysit two young children once he gets to his ship.

Cobalt (John Kern) and Skye (Rachelle Martin) are not only familiar with his legend, they feel he might even be “Space Jesus.” As much as Stallion hates telling stories, he manages to control the kids somewhat by telling them his backstory.

We learn he was raised by witches, as well as the origins of his Space Nemesis, The Dandelorian (Clay Mabbitt). This chapter also introduces us to his fellow Space Pirate Academy graduates: cyborg Ann Droid (Meg McLane), with whom he shares a sordid love; and Bando (Kelsey VanVoorst), an anthropomorphic feline who may or may not have his best interests at heart.

Add to this a lot of crazy songs, improbable plot twists, the entire cast milking every bit of humor out of the entire script, and some bizarre characters thrown in, and you have another typically hilarious Defiance show.

Witness the marvel that is “The Ballad of Blade Stallion (Blade Stallion!)” at the District Theatre, 5:30 p.m. Thursday and 8:45 p.m. Saturday, Sept. 1 and 3.

ALT: ‘Living’ not easy in award-winning drama

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By John Lyle Belden

This is a story about entrapment. It is people trapped by situations, accidents, choices – even their own bodies. What you pay to deal with that is the “Cost of Living,” a play by Martyna Majok presented by American Lives Theatre at the Fonseca Theatre.

Eddie (Clay Mabbitt) seems to be stuck in the Twilight Zone. To deal with loss, the former trucker leaves texts at an old number that has mysteriously texted him back. And now, the trap has snapped on you in the audience. This isn’t the main plot point, and as we get into the next scene, we’re not even sure where what we just saw fits. Hold on, though, it’s worth working our way back out.

John (Preston Dildine) has a mind that’s making him rich, and a body with cerebral palsy that requires him to hire someone to bathe it. In a manner like pelting with stones, he questions Jess (Teneh Karimu) to see if she is of the mettle to do the undignified job. Also, he finds it intriguing that she is Ivy-educated, yet works all night waitressing at bars. 

Ani (Olivia Mozzi) really doesn’t want to deal with Eddie right now. She’s managing well enough since the accident that shattered her spine, and would rather have someone other than her ex taking care of her. But he, babbling attempts at kindness and bouncing like a hyper puppy, really wants to help. 

This Indianapolis premiere of the 2018 Pulitzer-winning drama is directed and stage-managed by ALT founder and Artistic Director Chris Saunders, who made a point of casting people with disabilities in the two chair-bound roles (their actual conditions are different than what is portrayed). Don’t look for heroic uplift from them; they portray genuine people trying to live as best they can – like those of us without wheels. This helps give the actors meat to work with, lending dimension to John and Ani that contrasts with the binds that able-bodied Eddie (mental) and Jess (economic) find themselves struggling against. 

The chemistry between Dildine and Karimu is compelling. Mozzi takes someone who is a bitter pill and makes us love her. And Mabbitt has the chops to keep a character that means well but overtalks in that likable lane between pathetic and comic caricature. 

Where will these characters be when the “bill” comes due? “Cost of Living” runs through April 30 at Fonseca Theatre, 2508 W. Michigan St., Indianapolis. Get information and tickets at AmericanLivesTheatre.org.

Civic: Here we go again!

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By John Lyle Belden

It’s hard to imagine anyone not knowing about the musical “Mamma Mia!” Between the popular film (which recently launched a sequel) and the various touring productions through the years since it premiered on Broadway in 2001, practically everyone with an interest in this show has seen it. And it stands as one of those theatre experiences people eagerly go to again and again, perhaps bringing along children or hold-outs unfamiliar with its goings-on.

Since rights recently became available for local productions, it is naturally popping up — now “Mamma Mia!” is at the Booth Tarkington Civic Theatre, Center for the Performing Arts in downtown Carmel, through Oct. 19.

Directed and choreographed by Anne Beck, this edition of the musical — featuring an engaging romantic comedy plot, and twenty-two hits by 70s-80s superstars ABBA — takes advantage of its large stage and generously-sized volunteer cast to really go big on the singing and dancing, while simultaneously embracing the show’s use of simple sets, employing a couple of small set pieces and a rotating center stage that is put to effective use. 

Thanks to Meryl Streep and Pierce Brosnan’s efforts on the big screen, the karaoke nature of the musical doesn’t require perfect singers, still Civic didn’t skimp on the talent. Becky Larson stars as Sophie Sheridan, a girl who invites three men to her wedding, knowing only that one of them is her father. Her mother, Donna, is portrayed wonderfully by Kara Snyder, while her best friends and “Dynamos” are fun roles for Civic favorites Laura Lockwood as cougarish Tanya and Marni Lemmons as free-spirit Rosie. Our three possible papas are sharply played by Clay Mabbitt as Sam the architect, Ethan Mathias as “Headbanger” Harry the banker, and Parrish Williams as Bill the travel writer. Joseph David Massingale is more than a handsome face as the prospective groom, Sky.

Also great are Cameron Hicks and Nate Schlabach as Sky’s buds, Pepper and Eddie; Jessica Linxwiler and Julia Ammons as maids-of-honor Ali and Lisa; and supporting ensemble Matthew Altman, Tanner Brunson, Sydney Chaney, Tyler Hartman Derry, David Johnson, Jonathan Katter, Emily Lantz, Dani Morey, Miles Morey, Kipp Morgan, Jacquelyn Rae, Emily Schaab, Caitlin Stacy, and Tiffany Whisner.

Taken as a whole, this show is so much fun. There are moments fraught with possible heartbreak (and sad songs), but it all ends well, of course. We all have our favorite scenes — such as the frog-dance of “Lay All Your Love on Me,” or Tanya strutting her stuff in “Does Your Mother Know” — and there’s always the “Megamix” at the end with the outrageous costume reveal and bonus track (“Waterloo”). 

Civic is “having the time of their lives;” it would be a shame to miss the party. Get tickets and information at 317-843-3800, civictheatre.org or thecenterpresents.org.

IndyFringe: Vinny the Pooh

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This show is part of the 15th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 15-25, 2019 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By Wendy Carson

While waiting for the show to begin, you are serenaded by lounge singer Richard Cheese — and if you know who that is, then you have a good idea of what you are in for with this show.

Apparently, after Christa MaBobbin left the 50 Hectare Forest to marry Toad and take a wild ride in neighboring Frogswallow, things changed. Now these beloved characters have been forced into a life of crime in order to remain a “family.”

Steve Kruze gives Vinny the hopefulness and love of honey that you might remember but he also brings a little street-smarts to the role as well. Kelsey VanVoorst as Sniglet gives us a new interpretation of the original’s worried indecisiveness.

Clay Mabbitt is hilarious as Eyesore, with his gloomy outlook and eyepatch(es). Joshua C. Ramsey channels all of the pompousness of Jowl, speaking in Latin throughout.

Carrie Ann Schlatter’s portrayal of Franga (and puppet child Shmoo) brings all of the fierceness that wild kangaroos are known for.

Rounding out the “Family” is John Kern as Stagger. His energy levels are amazing as he bounds through each scene bringing out the self-centered side of his character.

Morgan Morton, as MaBobbin, deftly maneuvers her character from innocent victim to devious plotter without batting an eyelash.

So come out and see how the corruption and intrigue work out. Just know that in this story, while there are snacks, there will also be blood.

An Approxima Productions joint, remaining performances are Friday and Saturday (Aug. 23-24) at the IndyFringe theatre, 719 E. St. Clair.