comedy

Mud Creek brings the chaos of ‘Carnage’

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By John Lyle Belden

When as parents we advocate for our children, ironically, it’s too easy to become childish ourselves.

That’s the serious premise of the Tony-winning comedy “God of Carnage” by Yasmina Reza. And it is serious – at first – before descending into seriously hilarious chaos, presented in the cozy confines of Mud Creek Players, directed by Kelly Keller.

Michael and Veronica Novak (Mason and Andrea Odle) have invited Alan and Annette Raleigh (Gregory Roberts and Amanda McCabe) to their home to calmly resolve the situation involving their 11-year-old sons. Earlier, the Raleighs’ Benjamin struck Henry Novak with a stick, breaking his teeth. The atmosphere is tense but calm as they initially come to an understanding that Veronica has written down. They try to relax with coffee and clafouti, but continued conversation ensures that their fragile peace will break in a major way.

Mix in attorney Alan constantly getting calls on his cell phone, a realistic (warning to the squeamish) episode of nausea, and a full bottle of fine rum, and this little gathering will go totally off the rails.

The Odles nimbly balance affection and resentments like the real-life couple they are. Andrea’s Veronica weaves the line between voice-of-reason and passive-aggressive. Mason’s Michael is a people-pleaser by nature, but can only take so much. Roberts affects the self-important demeanor of a lawyer – Alan represents a troubled pharmaceutical company, adding an interesting side-plot – coupled with smugly brutal honesty. McCabe is outstanding as she instantly communicates shock, as well as hilarious reactions and manic moments of madness.  

Kudos to the volunteers who helped put this show together, including set design and props by Chris Bundy. Kristin Hilger is assistant director and Jalynn Cheatham is stage manager.

Sadly, the tulips don’t fare well, but apparently no hamsters were harmed in the making of this play. (Still, if you happen to find Nibbles, please let Keller know.)

See the hilarious wrath of “God of Carnage” this Friday (8 p.m.) and Saturday (2:30 and 8 p.m.) at the Mud Creek Barn, 9740 E. 86th St., Indianapolis. Get tickets at mudcreekplayers.org.

Don’t tell her it’s ‘About Nothing’

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By Wendy Carson and John Lyle Belden

IndyShakes brings us the World Premiere of Lavina Jadhwani’s clever play, “Ado.” In what would be her last theatrical work before being taken by cancer in September, she sought to “fix” a logical flaw in William Shakespeare’s comedy, “Much Ado About Nothing.” How does a noble woman – named “Hero” no less – just accept trauma and go forth blindly with an absurd plan?

The action in “Ado” takes place during the offstage hours in Hero’s bedchambers after she was accused of infidelity and spurned by her beloved Claudio at what was to be their wedding. She fainted at the altar, leading to news that she has died from a broken heart.

Our play begins as Hero (Senaite Tekle) and her faithful servant Margaret (Kelli Malise) arrive in her room. She fumes not only about the slights to her character and virtue but also the fact that not a single person, even her father, spoke out in support of her.

The truth of how Margaret was tricked into aiding this betrayal is revealed. Then Hero’s cousin Beatrice (LaKesha Lorene) joins them, only to find that she was masterfully manipulated by the other women to fall for Benedick (a soldier whose return with Claudio from war sets off the plot of the greater Shakespeare work). Already known for her sharp tongue, Beatrice doesn’t take this well.

Hero and Beatrice’s beloved Auntie Ursula (Claire Wilcher) also shows up. Being both independent and traditional, she charmingly talks the others through their issues – hoping, despite the anger in the room, for a happy wedding in the morning. Thus, after much drink, an ersatz Bachelorette Party ensues. Decisions are made, including what to break in lieu of their hearts.

As a feminist examination of the way women in every era are treated and controlled, the setting has a current-day feel, complete with bits of today’s music. Modern syntax mixes in Shakepearean words and phrases to aid the timeless feel, making the events relatable without seeming anachronistic. By the time “epitaphs” are spun in a hip-hop style, it just adds to their cathartic fun.

Directed by Dawn Monique Williams, who was selected by Jadhwani, our cast add relatable depth to the archetypes the Bard assigned to them. Tekle presents Hero’s depth of feeling as strength rather than weakness, finding herself awakened from the fairy tale her life had been. Malise’s Margaret is sassy and unapologetically sexy, aware of her place in society while only feeling shame in her hurting a woman she loves.

Lorene takes Beatrice’s attitude and makes it less a shrew (as the source play implies) and more a fox. She will love Benedick on her own terms; now we can see exactly what those are. Wilcher gives her own sense of fun to a character given limited weight in the original work, but here taking on the role of catalyst, with the wisdom earned by her own life experience.

As the saying goes, the show must go on and that will be for your next viewing of “Much Ado…,” now with a perspective on the considerations behind the play’s happy-ending nuptials.

But even if this is all you see, it is well worth joining this little party with its own great comic moments, especially in their reactions to Claudio’s offstage attempt at repentance. In all, it is nice to see someone peek into the inner thoughts of these characters to reveal the drama not shown in Shakespeare’s script.

Attend “Ado,” playing through March 3 in the black box Basile stage of the Phoenix Theatre Cultural Centre, 705 N. Illinois St. in downtown Indianapolis. Get tickets at phoenixtheatre.org and information at indyshakes.com.

BCP: Convent winery spilling secrets

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By John Lyle Belden

I suspect Catholic orders are nowhere near as fun as they are portrayed in stage comedies. Still, welcome to the Sisters of Perpetual Sewing in “Drinking Habits,” the hilarious comedy by Tom Smith on stage at Buck Creek Players, directed by Thom Turner.

Sister Augusta (Marie McNelis) and Sister Philamena (Beth Popplewell) have found that mending the garments of priests and Cardinals doesn’t bring in enough money to keep the convent open, so they let the juice from their grapes ferment and sell the wine in town – secretly, as Mother Superior (Ben Jones) is opposed to alcohol of any kind. Even mentioning it by name is forbidden.

This is far from the only secret. Just before the arrival of a new nun, Sister Mary Catherine (Megan Slocum), there is word of a secret visitor coming from the Vatican. Also, a pair of local reporters, Paul (Noah Lee) and Sally (Lauren Lotzow), are snooping around. Parish priest Father Chenille (Caleb Slocum) gets caught up in the paranoia, and gets the young groundskeeper George (Will Wortman) involved in some subterfuge.

All this makes for non-stop farcical slamming-doors slapstick fun, complete with all manner of clerical disguises.

Jones is divine (easy to accept as Mother since drag queens naturally command attention) and never cracks no matter how wacky things get. McNelis and especially Popplewell are fantastically frantic. Lee handles his ever-shifting role with comic aplomb. Lotzow, as well as her character, has fun with Sally’s steady focus on getting the scoop. Megan Slocum keeps Mary Catherine a mix of nervous and serene which makes her endearing. Caleb Slocum plays the priest as overwhelmed but still good-natured. Wortman keeps George sweet and simple without being dumb, just rolling with events as they happen.

The stage set, designed by Susanne Bush, includes a cutaway view of the Holy Closet, enhancing many comic moments.

For a good time, complete with creative euphemisms for alcohol (Satan’s Mouthwash, anyone?), “Drinking Habits” has just three more performances, Friday through Sunday, Feb. 13-15, at the Buck Creek Playhouse, 11150 Southeastern Ave., Indianapolis (Acton Road exit of I-74). Tickets at buckcreekplayers.com.

GHDT’s ‘crowning’ achievement

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By Wendy Carson

Gregory Glade Hancock constantly brings new and innovative dance experiences to the stage, and his latest, “The Pageant,” is certainly a triumph.

In The Florence performance space at The Academy of Gregory Hancock Dance Theatre, we look both onstage and backstage at “The Extravagantly Glorious, Unquestionably Magnificent, Universally Celebrated, and Incomparably Prestigious Grand Supreme Ultimate International Beauty, Poise, Charm, Talent, and Grace Showcase Spectacular of the Millenia: A Dazzling Quest for the Crown of Eternal Radiance and Timeless Elegance, where beauty meets purpose and confidence shines brighter than any Crown” contest.

Our host, Ernesto Francois O’Reilly (Thomas Mason) controls the flow of the events while Judges, Jaxie Blaze (Kira Coapstick), Katarina Nowak (Zoe Maish), and Tomasz Lewandwoski (David Elser) oversee the competition.

The Contestants all feature little personality quirks to help you keep track of who’s who. Arabella Avante (Vivien Mickels) is a bit overconfident in her physicality; Harper Lyn Beavers (Josie Moody) is a typical Southern Belle who is only here to win, not place; Brielle Brickson (Nathalie Boyle) is so soft-spoken you can barely hear a word she utters; Fran (Audrey Springer) is so succinct, she doesn’t even use a last name; Zariah Leclair (Olivia Payton) is a pageant pro who knows the ins and outs of winning; Juliana Papadopolou (Abigail Lessaris) seems self-confident but hides her insecurities well; and Savannah Sway (Sophie Jones), who seems to be madly in love with the host.

The program includes excellent dancing, of course. Each contestant expresses her feelings in movement, Mr. O’Reilly gets in a few numbers, and even a couple of judges cut a rug.

However, true to the theme, the women also present other talents including singing, lip-synch, a musical instrument, botany(?!), and a rare opportunity to hear these performers speak. Performances range from charming, comical, uplifting, graceful, to a little scary at one point.

Note that, according to Hancock, the “winner” is not pre-decided. Likewise, the questions in the Interview portion of the contest are different in every show, and the contestants won’t know what they are until they’re asked. “So, every performance is different,” he said.

Speaking as one who has worked backstage in the Miss America system for close to a decade, Hancock is spot-on with the insights and humor as well as the inner workings of these sorts of contests. I am always excited to see what he and his talented troupes have to offer and this show is definitely one not to be missed.

Performances are Saturdays and Sundays, Feb. 14-15 and 21-22, at GHDT, 329 Gradle Drive, Carmel. Get info and tickets at gregoryhancockdancetheatre.org.

Chekhov’s fun: Epilogue presents Durang hit

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By John Lyle Belden

Celebrated American playwright Christopher Durang, notable for his comedies, gave us in 2012 an instant classic – “Vanya and Sonia and Masha and Spike” – inspired by the legacy of Anton Chekhov, a Russian writer at the turn of the 20th century known for more serious fare. The play is a mashup of styles, loaded with wit and belly-laughs while delivered in a mode in which everything seems fraught with meaning.

The foursome, plus two, take the stage at Epilogue Players in downtown Indy, directed by Michael and Marie Beason.

On a warm April day in Bucks County, Pa., 50-something siblings Vanya (David Johnson) and Sonia (Alyce Penry) sit with coffee and look out the windows to see if the blue heron is at the pond. They and their sister Masha (Christine Kruze) – a popular film actor – were raised by literature professors, hence their Chekhovian names. Cleaning lady Cassandra (Susan Hill) seems to live out her own legendary name, frequently declaring prophesies. “Beware of Hootie Pie!”

Masha arrives with her current lover, Spike (Logan Laflin), a hot young aspiring actor. He goes out to the pond for a swim (so much for that heron) and returns with Nina (Emily Reese Castro) a young woman from the neighboring farm who is also an adoring fan of Masha (and an aspiring actress, of course).

All six will attend a local costume ball, with their outfits arranged by Masha (or rather her assistant, Hootie Pie). As the setting doesn’t change, we mainly see the consequences the following day. There is also a reading of an unusual play that Vanya has been working on, held at the insistence of Nina – now affectionately calling him Uncle Vanya – who reads as the main character.

Chekhovian delivery actually enhances the play’s comic potential, coupled with absurdities like Cassandra’s voodoo antics, contrasting with Spike being the type of guy who thinks Chekhov only has something to do with Star Trek. Will a gun go off? One of the siblings certainly will, verbally. After all, the fate of the farmhouse and its cherry (sort of) orchard is at stake.

Hill is a hoot as the wacky prophetess pressed into making lunch. Penry is a delight as the overlooked sibling, even in her sad-sack moments (“I haven’t lived,” she moans), which makes it all the more charming when things go her way. Johnson exudes easy calm as Vanya, the peacemaker of the family, at least up to a point.

Kruze portrays Masha’s vanity as her shield against uncertainty and regret. Laflin handsomely embodies a dude who has everything except maturity. On the other hand, Castro plays Nina as an energetic youth with an old soul.

The at-home feeling set is designed by Andy and Mel Burnett, decorated by Susanne Bush. Lola Brewster is stage manager.

It’s not every show where we laugh until we hurt at people who are crying. But it’s this kind of juxtaposition that makes “Vanya and Sonia and Masha and Spike” fascinating company. Performances are Thursday through Sunday, Feb. 12-15, at 1849 N. Alabama St. (corner of 19th and Alabama), Indianapolis. Get tickets at epilogueplayers.com.

‘Almost’ feels just right

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By John Lyle Belden

In troubling times, it is good to take a moment to relax, have a smile or even a laugh, and just look at the Northern Lights.

Welcome to “Almost, Maine,” that quirky township on the edge of the map now reachable through Main Street Productions of Westfield. It seems like every community theatre makes a stop there eventually, and with good reason: In this John Cariani comedy, the series of gentle, funny scenes of love lost and found are refreshing, life-affirming and very entertaining.

For a true community effort, director Kathy Watson selected a full cast for the various characters, with only a couple of actors doubling roles.

Offstage spouses Justin and Anna Spack play a couple who explore just how “close” they can get. Scott Hall is a man who “fixes things” when a camper (Karen Cones) sets up in his yard, and later is a frustrated husband whose wife (Lea Ellingwood) is seeking a shoe – and a sign. It’s “Drink Free If You’re Sad” night at The Moose Paddy, with Aaron Beal, Piper Williams, and Ryley Trottier as the friendly waitress. Beal also spends time with his best bud (Quinn Simonson) comparing “baddest date” stories. Hannah Partridge is an almost-nurse encountering a man (Austin Uebelhor) who almost has that rare condition in which one’s nerves don’t register pain. Amber Roth and Grant Bowen portray a couple who gave so much love to each other – where do you put it all? Jan Borcherding plays Hope, a woman who moved away to find her place in the world, returning to a familiar house with an unfamiliar face (Thom Johnson). Finally, Rosemary Meagher and Mike Sosnowski struggle to see what is right before them, wary of what comes next, or even next-next.

Jeezum-crow! That is a lot going on for such a small (almost) town.

Watson brings out the charming best in a troupe of varying stage experience. Considering the playhouse is in what used to be a small town, the atmosphere is almost perfect. Stage sets and those colorful lights are designed by Kristina Lawyer and producer Bill Miller, whose many jobs included assisting Watson and designing the projected captions over the stage. Jeremy Crouch is stage manager.

Theatrical comfort food to warm a cold month, “Almost, Maine” is open to visitors through Sunday, Feb. 15 (including Valentine’s Day!) at the Westfield Basile Playhouse, 220 N. Union St. Note that there is still ongoing downtown construction, but the way to the theater is clear. Get info and tickets at westfieldplayhouse.org.

ATI gets ‘Lucky’ with unusual comic musical

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By Wendy Carson

Actors Theatre of Indiana presents the musical comedy, “Lucky Stiff,” with book and lyrics by Lynn Ahrens and music by Steven Flaherty.

I dare say that at least 90 percent of our readers may never have heard of this stage musical. Probably fewer have seen the heavily panned 2015 film. That is for good reason, it does not possess a strong book which could use some major revisions. However, the songs are decent and although the premise is over-the-top and problematic (think “Weekend at Bernie’s” meets “Dirty Rotten Scoundrels”), a very talented cast can make this flawed stone shine like a diamond. Luckily, director Lysa Fox has compiled an exemplary ensemble who manage to eagerly bring forth all the zany humor the script offers.

The opening number lets us onto the fact that somebody has been murdered. We then meet our hero, Harry (Jacob A. Butler), a lonely schlub working at a London shoe store, yearning for adventure. Then, a telegram arrives at his boarding house alerting him that his Uncle Anthony in the U.S. has died and being the only heir, he must go claim the inheritance.

At the lawyer’s office, he swears to uphold his uncle’s wishes in order to receive six million dollars. He then receives a tape player with instructions, a small stipend, and the taxidermized body of his uncle (Sam Arce), which he must take (along with a mysterious heart-shaped box) on a week’s vacation to Monte Carlo. Should he not fulfil the itinerary, the money will go to The Universal Dog Home of Brooklyn. Given his current situation – including the annoyance of aggressive mutts outside his home – he will do anything to prevent those dogs from getting their paws on that money.

From here on we meet a revolving cast of characters including Annabel (Logan Hill), a bookish all-American young woman determined to get the money for the Dog Home; Rita (Diana O’Halloran), Anthony’s vain and legally blind lover who embezzled the six million dollars in question from her own husband, converted it to diamonds, and, before he could run away with Anthony instead shot him in a fit of jealousy; Vinnie (Brett Mutter), Rita’s optometrist brother who must come along because she told her husband that he stole the diamonds; and Luigi (Thomas J. Cannon), a very nosy local on the Riviera who is determined to accompany Harry and his uncle throughout their adventures.

John Vessels Jr., Josh Maldonado, Nathalie Cruz, and Hannah Boswell round out the cast playing all the other oddball characters needed. However, these four are so skillful and versatile, they are truly the grit that makes the production shine.

Cruz’s turn as Dominique, a sassy chanteuse, brings out all her sultry talent and singing chops. Boswell gets her chance to shine as Harry’s nosy landlady intercepting the life-altering telegram as well as starring in a hilarious nightmare. Maldonado brings to life a bevy of hilarious goofy characters. As for Vessels, I am convinced this man could read a phone book and have you in stitches; his turn as the Monte Carlo emcee is a sheer delight.

Arce, as the titular “Stiff,” shows incredible skill in being absolutely still and unresponsive with all the mayhem going on around him. However, he does also get a dance break.

Musical direction is by Brandon Vos, choreography by Carol Worcel, and interesting stage design – colorful, with plenty of doors to slam – by Jay Ganz.

So, turn off the news, ignore the weather, and hop a ride along to sunny, funny, Monte Carlo to just escape reality and have a good laugh. “Lucky Stiff” runs through Feb. 15 (yes, the show has a romantic subplot, making this a potential Valentine’s date) at The Studio Theater in the Allied Solutions Center for the Performing Arts in downtown Carmel. Get tickets at atistage.org or thecenterpresents.org.

Situation of sensitivities tests couple in TOTC premiere

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By John Lyle Belden

How do you strive to do better in a rude and judgmental world without falling into snap judgements, and even, ironically, coming off rude? This conundrum comes with a dose of deeper issues in the dark comedy, “St. Sebastian.”

This Indianapolis premiere is the first full production by That Other Theatre Company, directed by company founder Jay Hemphill. The play by nationally known locally-based playwright Andrew Kramer grapples with bittersweet humor a collision of left-of-center issues including gentrification, race, and LGBTQ, as well as personal trust and faith.

Gay couple Ben (Eric Olson) and Gideon (Joe Wagner) have moved into a house with plans to fix it up and “flip” it. Ben, a former priest who works full-time on the renovation, feels glad to have gotten this foreclosure for a low price at auction. However, Gideon, a younger man who works as a DEI sensitivity trainer, discovers to his dismay that their home is in Robbins, Ill., one of the most notable historically Black towns in America. And Ben and Gideon are white.

Ben encounters a local youth, Rueben (Jy’Ierre Jones), checking out his new neighbors. Finding no ill will either way, Ben soon pays Rueben to do some yard work and odd jobs. Gideon’s extreme reactions reflect current sensibilities while betraying feelings he is reluctant to acknowledge.

The narrative plays out in a series of fairly short scenes, giving snapshots of the plot’s progression. Some elements are given without resolution, such as the padlock on the closet, and the broken window. Does the neighborhood dog (unseen) signify something, or is he just a friendly stray? Perhaps these are reminders that in real life, not everything we encounter has some higher meaning.

Much of the focus is on the love between Ben and Gideon, with honest passion and tested like that of any couple (gay, straight or otherwise). Learning the origin of their relationship could make you uncomfortable, yet Olson and Wagner make their feelings genuine. Their individual perspectives surprise them, with bitter disagreement over what were common goals. Wagner makes Gideon’s overthinking nature a source of both humor and tension.

Jones gives us an interesting, complex character. He is a teen who likes to paint action figures, a neighbor whose presence hints at a past connection to this house. He is curious and a bit insightful, but still a kid.

The title refers to an early Catholic saint, usually pictured as a young man tied to a tree and pierced with arrows, having the honor (or misfortune) to be martyred twice. Noting St. Sebastian’s more recent embrace by the LGBTQ community, Gideon keeps a small statue as a prized possession.

While you may not learn “How Not to Be a Gentrifier,” you might glean an insight into human nature under modern pressures. A show that’s sure to spark some conversations, “St. Sebastian” runs through Feb. 8 on the Basile main stage of the IF Theatre, 719 E. St. Clair St., Indianapolis. Get tickets at indyfringe.org.

More than a ‘Bit’ funny

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By John Lyle Belden

Wendy and I finally saw the little comedy variety show that Betty Rage Productions, produced by Callie Burk-Hartz, has put on from time to time for a while now: “Lady Bits.”

Innuendo in the title aside, the focus is on “bits” as in comedy scenes, sketches, improv, songs, stand-up – whatever gets you laughing. Hopefully, shows like this can put to rest the absurd old myth that women aren’t funny, especially with the many highly talented female performers just in central Indiana.

Burk-Hartz said she has around 40 women she has featured in various Lady Bits shows. For the January lineup, she had a dozen, including first appearances by Emily Wray, Katherine Young, and Alex Stark. Paige Scott accompanied on piano.

Each show is different. This one featured a fair amount of improv (some under the leadership of Meg McClane), stand-up sets by “Auntie” Shannon Samson and Gwen Sunkel, and a sharp and funny satire of an eager youth minister performed by Kelsey Van Voorst. To help set up an improv musical, Frankie Bolda told about her “first time” – driving her father’s Jeep.  

Callie has something as good or even better planned for the next Lady Bits in March. With the amount of gathered talent, their eager collaboration and sense of sisterhood, you can count on a fun and wildly entertaining evening at any of these shows.

Lady Bits performances are at the IF Theatre, 719 E. St. Clair, just off Mass Ave. in downtown Indianapolis (tickets at indyfringe.org). Betty Rage has a variety of productions in the works, including Noel Coward’s “Blithe Spirit,” March 5-8 at the Indianapolis Scottish Rite, and an upcoming “Femme Fest” of short plays at the IF. Get info at bettyrageproductions.com.

Center Stage: #PrideAndPrejudice gets upgrade

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By Wendy Carson      

With all the various Holiday shows on stages right now, Center Stage Community Theater brings us an alternative with a rollicking interpretation of a Jane Austen classic, “Pride @ Prejudice,” by Daniel Elihu Kramer. The show presents a more internet-savvy version of the story including clickbait asides, historical tidbits, and even merchandise for sale. It felt something akin to a Fringe Festival production.

The cast consists of five actors, all portraying various characters in the novel, except for Trinity Pruitt in the single role of main character Elizabeth Bennet, while Adrian Blackwell plays the snide Mr. Darcy and the sleezy Mr. Collins – though there are a few times that a cardboard standee also portrays Mr. Darcy. Given the plethora of characters remaining for Kat Krebs, Todd Isaac, and Tanya Haas, director Matt McKee opts to elevate stage manager Ava McKee to also portray various servant roles and show scene changes.

The story remains unchanged but with frantic pacing and rapid narration, bring about some background commentary that might change your feelings towards some of the characters. The script also incorporates letters from Jane Austen herself to further flesh out the times and situations. Therefore, the show is a very good primer for those unfamiliar with the novel. However, Austen purists made find the irreverence to be off-putting.

Overall, the show is a delight, and the entire cast is fantastic. Highlight performances, for me, were Krebs as Lady Catherine, Blackwell as Mr. Collins, Isaac as Mr. Bingley and Mr. Gardiner, Tanya Haas as Miss de Bourgh, and, of course, Pruitt as Elizabeth.

So, if you’re looking for something different yet still enjoyable this season, head over to Lebanon and catch this top-notch offering.

Performances are Friday through Sunday, Dec. 12-14 and 19-21, at 604 W. Powell St., Lebanon. Get information and tickets at centerstagecommunitytheatre.com.