Colby Rison

Bard Fest: Merrily we ROFL along

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , , , , , ,

This is part of Indy Bard Fest 2022, the annual Indianapolis area Shakespeare Festival. For information and tickets, visit indybardfest.com.

By John Lyle Belden

It is said that Queen Elizabeth I was quite taken with the character of Sir John Falstaff in William Shakespeare’s “Henry IV” (Parts I and II). This merry prankster would end up as much the butt of the joke as the instigator, and helps humanize Prince Hal, the eventual King Henry V. So, legend goes, Her Majesty ordered Shakespeare to whip up a play featuring the bawdy knight in love.

The result, by whatever origin, is “The Merry Wives of Windsor,” now presented at the IndyFringe Theatre, directed by Jeff Bick. The comedy is presented in an over-the-top style that common folk who paid a penny to see a show around the year 1600 would have loved. Sir John (Thomas Sebald), who appears to have a beach ball for a belly, is less interested in “sack” wine and more contemplating what middle-aged women he can get in the sack, so to speak.

This production focuses on two comic plotlines. True to the Bard’s penchant for including a wedding in his comedies, young beauty Anne Page (Sophie Peirce) is being wooed by three men: Slender (Ben Elliot), the doltish son of Justice Swallow (Michael Bick), who in turn is friends with Anne’s dad, Master Page (Tom Smith); the very French doctor Caius (Rian Capshew), who has the approval of Mistress Page (Dana Lesh); and young gentleman Fenton (Connor Phelan), whom Anne comes to prefer despite his having the lightest purse.

The other source of drama and mirth is, of course, Falstaff. He covets not one man’s wife, but two, and sends his squire Robin (Lyndsi Wood) with identical letters to Mistress Page and Mistress Ford (Kelly BeDell). The women being best friends, this attempted courtship will backfire in spectacular fashion. Master Page has no doubt his headstrong wife can take care of herself, but Master Ford (John Johnson) is more wary, and goes to Falstaff disguised as fellow lothario “Brook” to get in on the plot.

“Hilarity ensues” is putting it mildly. Much boisterous laughter was had throughout the audience. Adding to the fun in supporting roles are Angela Dill as busily devious servant Mistress Quickly and Ryan Shelton as thick-tongued Welsh vicar Sir Hugh Evans. Other servants are portrayed by Colby Rison, Nelani Huntington, Carolyn Jones and Patrick Lines.

Sebald ably plays the buffoon under the delusion of dignity. Lesh and Bedell are the stars here, with Lucy-and-Ethel chemistry as they gain the upper hand on all the men. Johnson is goofy fun, letting himself be the second-biggest fool on the stage.

And the antics of the Falstaff plot eventually work to resolve the romantic storyline. Shakespeare’s clever like that.

For an evening of silly fun – which includes, just in time for Halloween, a spooky Faerie encounter – meet the Merry Wives this Friday through Sunday, Oct. 28-30, at 719 E. St. Clair St., Indianapolis.

Civic adds suspense with ‘Wait Until Dark’

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

“Wait Until Dark,” the suspense stage drama by Frederick Knott, relies on a belief many consider a myth, or exaggerated at best: That the blind have heightened senses to compensate for lack of sight. In the play’s adaptation by Jeffrey Hatcher, presented this month by the Booth Tarkington Civic Theatre, this becomes true for Susan as she is constantly trained, both by herself and near-bullying by her husband, to be hyper-aware of her surroundings, so as to become more self-sufficient.

Rather than consider this a superhero adventure like a Daredevil comic or Netflix episode, the theme here (and lesson, if you want to draw one) is attention to detail. For Susan (played by Carly Masterson) the importance eventually becomes life-and-death, but in everyday terms it helps her avoid a stubbed toe on the furniture and to keep track of what switches are on and off. Such attention to detail is vital to our villain, Roat (Jay Hemphill), as well. He always wears gloves, has a thought-out plan, and is quick to adapt when a doll of unusual value reaches the wrong destination. Let the game of wits begin.

In Greenwich Village in 1944 (set earlier than previous stage/film versions), Carlino (Parrish Williams), a dirty ex-cop who still carries his badge, takes a quick look around a basement apartment. He is joined by Roat, who discuss the fact that their female partner had the doll on a train and hid it in the bag of the man who lives in the apartment. But when she went to get it back from him (with an innocent-sounding story), she said they couldn’t find it. Roat finds this unacceptable, as evidenced by the woman’s body hanging in the closet. But before these two can carry the corpse out, the man’s blind wife, Susan, comes home. During the intense minutes before she leaves again, the men stay perfectly still. She senses them, but assumes it is Gloria (Mary Kate Tanselle), the girl who lives upstairs whom she hires to help around the apartment, playing another nasty prank.

Susan’s husband Sam (Colby Rison) ironically makes a living with his keen eyes, as a photographer. Serving with the Marines in the War in Italy, what he saw through his camera broke him mentally. While in the hospital, he met Susan (recovering from the accident that blinded her) who suggested he recover by taking pictures of babies and brides – which is now his living.

Roat and Carlino book fake appointments to take Sam a distance away, while they work to con Susan out of the location of the doll. Complicating events is a surprise visit by Mike (Lukas Robinson), who says he’s an old Marine buddy of Sam’s. He stays around, sharing Susan’s growing suspicion of the other men’s actions. Suspense builds towards the famous climax in which Susan’s handicap becomes her biggest asset, while Gloria, who came on the scene a total brat, gets her shot at being the heroine.

Even if you’ve seen any version of the show, or know where the doll is (or why it’s special), this production, directed by Emily Rogge Tzucker, will still have you on edge. Masterson gives us a woman who, while vulnerable, is strong and resourceful, and easy to root for. Rison’s Sam comes across a bit mean, but truly loves his wife. Williams is usually reliable for comic relief, and arguably there’s a couple of moments here, but he never loses his sinister edge. Hemphill just oozes evil and the overconfidence that is Roat’s one weakness. Robinson, in his theatrical debut, works his charming character like a pro. Tanselle, as the tween coping with parental strife at home and menial work for her neighbor, plays a nice character arc from irksome to trusted partner. Note that on coming Sunday matinees, Gloria will be played by Izzy Ellis.

An old thriller that still thrills, “Wait Until Dark” plays through March 26 in the intimate confines of the Studio Theater at the Center for the Performing Arts in downtown Carmel. For info and tickets, see civictheatre.org or thecenterpresents.org.

Bard Fest: ‘Love’s Labour’s Lost’ a noble find

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

Did William Shakespeare invent the sitcom?

In a wacky set-up worthy of a TV yuk-fest, or even an old Abbot and Costello romp, a group of proud manly-men determine they are so serious to improve their minds that they pledge to ignore the urges of other, more primal, body parts for three whole years. But within minutes, they are visited by beautiful women – one for each of them – and, suddenly, “What oath?! I don’t remember promising anything!”

That, loosely, is the plot of “Love’s Labour’s Lost,” one of the Bard’s early comedies, but a play he took great pains to craft, as it was performed for Queen Elizabeth herself. Thus we deal in the realms of nobility and courtly love. The master of our men is the King of Navarre (little kingdom between Spain and France) and his three nobles were named after popular figures of the era. The visiting party is led by the Princess of France, to discuss a deal for the lands of Aquitaine (a highly valued southern French region), but once she learns of the men’s allegedly binding oath, she puts up with being camped outside the Navarre court with her ladies as an opportunity to indulge in some fun. To please its sophisticated audience, the dialogue is woven with all manner of clever and complex speech – even when topics get a bit bawdy.

To further spice the plot, visiting Spanish noble Armado (not bound by a chaste oath) fancies the love of commoner Jaquenetta. This story crosses streams with the main one when simpleton Costard switches a love letter to her with one intended for a lady of the Princess’s company.

So much going on, and fortunately Bard Fest provides plenty of talent to pull it off. Aaron Jones is noble, in charge, and a little lonely as our King, tutor to Chris Bell as Longaville, Colby Rison as Dumaine, and Matt Hartzburg as Berowne, who resists taking the oath, but reluctantly signs. John Mortell is wonderfully blustery as smitten Armado, attended faithfully by page boy Mote (a sly yet exceptional performance by Justina Savage). Gorgi Parks Fulper charms as Jaquenetta. JB Scoble is scene-stealing Costard, playing the goof to the hilt. Connor Phelan is Dull – that’s the constable’s name and the man’s personality, which Phelan hilariously commits to. We also have Dan Flahive as schoolmaster Holofernes and Thom Johnson as Sir Nathanial, who organize an entertainment for the royal visitors.

Attending the Princess (Jennifer Kaufmann) are Maria (Brittany Davis), who is sweet on Longaville; Katherine (Abigail Simmon), who thinks Dumaine is kinda cute; and Rosaline (Rachel Kelso), who has her eye on Berowne. Kaufmann maintains royal bearing throughout, but with Kelso, in her exchanges with Hartzburg, we see an early version of Shakespeare’s trope of the smart-alec man verbally sparring with the clever woman, sparks of which kindle romance. Director John Johnson takes a hands-on approach by taking the role of the ladies’ escort, Lord Boyet.

In all, this is a fun entertainment full of clever wit and colorful characters, with little in the way of big lessons other than the Princess learning that the time for fun inevitably ends, and our gentlemen exchanging an oath made lightly for a more serious pledge. Being a less-familiar play, I’ll spoil this no further.

Performances are Friday through Sunday, Oct. 29-31, at The Cat Theater, 254 Veterans Way in downtown Carmel. Get info and tickets at indybardfest.com.

An American classic comes to life on Civic stage

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

“To Kill A Mockingbird,” the celebrated novel by Harper Lee, is likely a book you are familiar with, perhaps from reading it in school, or by seeing the Gregory Peck film which closely followed Lee’s story.

The Booth Tarkington Civic Theatre presents a live production of “To Kill A Mockingbird,” the play adapted by Christopher Sergel, which is performed annually in Monroeville, Alabama, Lee’s hometown on which the novel’s setting is based. Unlike that production, the local staging doesn’t pick a trial jury from the audience – but attorney Atticus Finch still speaks directly to us.

For the unfamiliar, the story, set in Mayscomb, Ala., in the mid-1930s, is told by Finch’s young daughter, Jean Louise, known as Scout. The play gives us a grown-up Jean Louise (Michelle Wafford), who emerges from the audience to narrate for her younger self (Bridget Bingham), who is trying to make sense of all the things happening around her.

Scout, her brother Jem (Dalyn Stewart) and friend Dill (Ben Boyce) are occupied with what the reclusive neighbor Boo Radley might look like. The only clues are items left in a tree in his yard. But a bigger distraction comes when Atticus (Steve Kruze) is appointed by Judge Taylor (Tom Smith) to defend a black man, Tom Robinson (Antoine Demmings), who has been accused of beating and “having his way” with teenager Myella Ewell (Morgan Morton) by her father, town drunk Bob Ewell (Joe Steiner). The children endure taunts for their father defending a black man, but Atticus counsels them to endure and be confident he is doing the right thing. Scout wonders if she can feel pride in her father at all, until an incident with a mad dog reveals there’s more to the man than she ever suspected. Likewise, Jem wonders why his punishment for his vandalism of bitter, hateful neighbor Mrs. Dubose’s (Holly Stults) garden is to deliver kindness, until he comes to understand the whole situation.

The Robinson trial is a big spectacle, so the children sneak in to see it for themselves (thus allowing us to witness it), finding only room to sit in the “Colored” section with the Rev. Sykes (Brad Thompson). They marvel at how Atticus takes advantage of flaws in the testimony, and the kids are sure this will come out in their (and Robinson’s) favor. What does happen gives life lessons the children will never forget. And the events that follow will result in men killed, Jem injured, and Scout becoming a whole lot wiser.

Other notable characters include Sheriff Heck Tate (Clay Mabbit); the Finches’ cook, Calpurnia (Chandra Lynch); and an appearance by Boo Radley (Colby Rison) himself.

Under the direction of Emily Rogge Tzucker, this important story rises from the page to remind us of how horrible, yet accepted, hatred and injustice can be – then, and even more than 80 years later. Of course, that includes the bigoted context of the South in the 20th century, in which no person would even think of saying “African American” and “black” was mostly just a color you painted. So, be warned, the word “nigger” is used numerous times, by characters with either malice or apathy towards its dehumanizing effects. And if my writing the word out in the previous sentence bothers you too much, you should steel yourself before seeing this play – and go anyway.

Scout’s purpose in this story is to learn to see the world through others’ eyes – a man who would rather do what’s right than what’s popular, a person in unspeakable pain, a person judged purely by his skin tone, even a person who just can’t deal with other people – and thus teach us to do the same. Experience it for yourself at the Tarkington theater at the Center for the Performing Arts in downtown Carmel, through Feb. 23. Information and tickets at civictheatre.org or thecenterpresents.org, or call 317-843-3800.