Indiana Ten Minute Play Festival

By John Lyle Belden

In our restricted world, there are not a lot of opportunities for live entertainment. Fortunately, IndyFringe has managed a nice setup in its “pocket park” next to the theatre building, where an audience can sit at tables spaced about six feet apart. The actors use the garage-style opening of the Indy Eleven stage to set up their play space. (See indyfringe.org for upcoming shows at this unique venue.)

Last weekend, that little space held a big variety of entertainment as Fringe presented the Indiana Ten Minute Play Festival. The seven brief comic dramas had a surprising degree of depth and content, even at their silliest, thanks to sharp writing and excellent acting from a fun group of players.

We started with “Hurry Up, It’s Almost Bedtime” by Janice Neal, directed by Anthony Nathan with Emerging Artists Theatre. David Malloy is Frank, who is likely dead, which spells trouble for fellow senior-home residents Rose (Linda Grant), Lucille (Wendy Brown) and Betty (Joy Shurn). Nurse Brittany (Stephanie Anderson) hasn’t caught on, yet. The fast-approaching bedtime of the title gives them an idea to ensure that Frank’s body is found in his bed. While the idea of this play sounds macabre, the Golden-Girls-style repartee among the ladies makes this a nice dark comedy.

“Aloha Apocalypse,” by Marcia Eppich-Harris – directed by Megan Ann Jacobs with Rapture Theatre – is based on an actual event not that long ago when an “incoming missile” alert was sounded in Hawaii. Sophie (Laura Baltz) and Ed (David Malloy) are a mainlander couple on vacation who discover they may only have minutes to live. What to do? After a comically-arranged farewell video to their children, there’s the agonizing wait for The End. Feeling his conscience bother him, Ed makes a confession of infidelity. That doesn’t help them, but it makes things even funnier for us. Fate has the last laugh, of course, when it’s announced that the crisis is a false alarm. Baltz and Malloy have great chemistry, even when the reactions are unstable. A newscaster voice is provided by Thomas Sebald.

“Don’t Toy With Me” by Andrew Black, directed by Casey Ross of Catalyst Repertory Theatre, brings the focus not only down to 10 minutes long but also to 10 inches high, as Thomas Sebald plays a GI Joe action figure that has arrived at the Malibu Beach House occupied by Beach Glam Ken (Grant Nagel). At the moment, they don’t hear the godlike voices of their child masters, so they can be themselves. They remark on how so much of their world is “out of order,” like the canteen or juice bottle they feel compelled to “drink” even if no liquid comes out. Eventually the mistress of the dreamhouse, Malibu Barbie (Kyrsten Lyster), arrives. And even if she can be temporarily distracted by a fashion faux pas, her power over Ken is too strong for the men’s relationship to last. The sharp script and this talented trio make this the most hilarious bit of the evening. And it helps that the actors have their “articulated” movements down, especially Sebald.

“Are You Busy Tonight” – by Russell Ridgeway, directed by Anthony Nathan – is what Mother (Wendy Brown) asks son Kevin (Nathan) in this funny roller coaster of a phone conversation. At first Kevin is annoyed at his mom wanting to invite her to an evening at the theatre, but after suggesting that she ask if someone else is free, he becomes even more exasperated to find out he – her son – was the 28th person she thought to ask! And that included a couple of friends who had died. Nathan is at his best acting flustered, and Brown is a force of nature, so they mint comedy gold here.

Heritage Christian High School Theatre Department presents a teen rite of passage with “Promposal!” by Josie Gingrich, directed by Spencer Elliott. Sam (Bradley Bundrant) likes Anna (Cate Searcy) but over time she has become distant. So, what better way to win her over than by asking her to the Senior Prom, in an extravagant gesture reminiscent of the ’80s movies she likes to watch. Our scene begins as Anna exits the Cafeteria thoroughly embarrassed, and Sam follows, desperate to find out how his perfect plan went so wrong. This sweet and authentic look at high school life, loaded with unforced humor, feels pitch-perfect. Bundrant and Searcy nimbly portray how two such different personalities – he impulsive and loud, she quiet and wanting to be invisible – can eventually feel meant for each other.

Mark Harvey Levine is great at making these short-form plays – Phoenix Theatre patrons may remember some years back he presented a series of them there in “Cabfare for the Common Man.” In this festival, Levine brings us “Ordained,” directed by Megan Ann Jacobs. Sharon (Kyrsten Lister) is manic, unabashed, double-espresso perky, and just recently ordained as a minister by the SacredChurchOfAngelicMinistry.com. Now, at this airport waiting lounge, she has found Abby (Case Jacobus), who is single, and Gary (Grant Nagel), who is also single. Let’s get them married! The resulting scene is wildly hilarious, even as what seems to be an encounter with a well-meaning lunatic starts to have the odd feel of destiny. Jacobus and Nagel play it well, taking the oddness in stride, and Lister is in her element.

What better way to finish an evening of unusual stories than with “Sock Puppet Fetish Noir,” by Kelly McBurnette-Andronicos, directed by Casey Ross, who also stars (stepping in for Missy Rump, who couldn’t make it for health reasons). Jane (Ross) pays a visit to an unusual detective, Inspector Darryl, a puppet sock who will only talk to her sock placed on her hand. It seems some “friends” have gone missing, last seen going into the laundry with their partners. But it turns out that Melvin (David Malloy), the man at the other end of Darryl’s arm, has been keeping secrets in that jar on the desk. So, yes, it’s very weird – quite funny – and with up-for-anything actors like Ross and Malloy, it somehow works.

This was a one-weekend event, so hopefully one or more of these scenes will pop up again somewhere. The festival was an excellent exhibition of local talent and creativity, part of the great and varied Indy theatre scene that we look forward to seeing more of as current events allow.

Bard Fest presents a ‘First’

By John Lyle Belden

As local theatre struggles to get on stage, the organization Indy Bard Fest (with the help of companies that have presented the annual Shakespeare festival under its banner) is adapting to the times. Its first production is a free outdoor staging of the Bard-inspired “Shakespeare’s Long Lost First Play (Abridged)” by Reed Martin and Austin Tichenor (of the infamous Reduced Shakespeare Company).

Bard Fest director Glenn Dobbs has persuaded the trio of Matt Hartzburg, J.B. Scoble, and Kelsey Van Voorst — no strangers to Shakespeare, parody, on-the-spot improv, or even the abridging of Wlm. Shkspr. — to put on silly clothes and risk their lives and dignity at a “Pestilent Pocket Park” in front of a bunch of masked strangers at strategically scattered tables.

It seems that some trivial historical bones were not all that were recently found in a Leicester, England, parking lot; there was also an entirely too long and overwrought script by an aspiring young playwright from Stratford-Upon-Avon. It turned out to be much ado over nothing, a winter’s tale for another era, a massive comedy of errors, but measure for measure a potentially great first draft if broken up into thirty-odd comedies, tragedies and histories.

However, Van Voorst (whom I did “mark down as an Ass” in a past review) claims she has gotten the whole monstrosity edited down to a watchable two acts, and Hartzburg and Scoble, having nothing better to do in quarantine, are playing along.

Imagine if the Complete Works of William Shakespeare were tossed into a blender (metaphorically, paper ruins the blades, trust me) and an improv company was ordered to perform it as soon as possible, with whatever was laying around the prop room (or purchased from the local dollar store, judging by at least one price tag we saw hanging). Yes, it’s Just. That. Fun. Perhaps it’s the incredible talent involved; maybe it’s the incredible flexibility of the material of a serious playwright who loved bawdy jokes; and maybe it’s also the fact that under the law, parody is fair game even if you are poking at Disney. Yes, we all know “Lion King” = “Hamlet”, but did Uncle Walt’s company steal other ideas, and characters like Ariel and Iago, from the Immortal Bard?

There’s even an overarching plot to this mess, involving two famed magical beings (from different Shakespeare plays) who don’t get along, and carry out their feud by scrambling characters and plots from various plays into, eventually, a single setting — kinda like “Into the Woods” (does Sondheim know about this?). 

Alas, poor playgoer, I’m committing this to the ether after the opening weekend performances of July 31-Aug. 2 at the IndyFringe Pocket Park are done. But hark! There are more stagings planned for Aug. 7-8 at The Cat performance space in downtown Carmel; Aug. 21 and 23 in Indy’s Garfield Park; Aug. 28-30 in Noblesville; and more locations in September. See indybardfest.com for details. Oh, and mark that admission to all performances is free! (Sack and other accommodations may cost; donations are always welcome.) 

During a year of challenges, a man-eating plant is discovered in Greenfield

By John Lyle Belden

With this year’s shutdown, what’s a student thespian from Greenfield-Central or other area schools to do? A few have found their way to Skid Row, now set up on the stage of Greenfield’s Ricks Centre in the Ricks-Weil Theatre Company production of “Little Shop of Horrors.”

Though it’s held outside the restrictions of Indianapolis/Marion County, the R-W crew are taking measures for the audience’s health and safety, including closing every other row of seating, and no concessions.

Directed by Indy actor Dan Scharbrough, with musical direction by Kathy Borgmann, choreography by Jennifer Darr, and costumes by producer Beth Ray-Scott, the familiar musical follows the story of an old Roger Corman film – via book and songs by Howard Ashman and Alan Menken – in which an ordinary guy finds an extraordinary plant with a macabre appetite.

Seymour (Steven Allen) can’t find the brightly-colored flytrap in any of his reference books, so he names it after his sweet co-worker Audrey (Ciara Huckeby) and presents it to his flower-shop boss Mushnik (Corey Yeaman). It’s a hit, but it’s wilting. Clumsy Seymour’s minor injury near the flower clues him in to what the plant really wants – blood! But he’s not the only one sporting bandages; Audrey is getting the worst of her “semi-sadist” boyfriend, local dentist Orin Scrivello (Cael Savage).

The cast also includes A.J. Springman as Patrick Martin of World Botanical Enterprises, Marie Hall as a Homeless Woman, and a full Greek chorus of “Ronettes:” Carolyn Bolton, Saige Chandler, Frances Hull, Ali Kern, Juliana McGuire, Leah Olin, and Vicki Kortz, who also voices Audrey II.

Befitting a comic musical, the “Horrors” are more fun than scary, even with characters getting eaten. Allen and Huckeby are well cast, with appealing looks and good voices. Our Audrey manages the skid-row accent without sounding too cartoony. Savage plays the grade-A jerk with just enough tongue in cheek. Having more than three Ronettes works in this production, with different ones at times coming on and off stage singularly or in twos or threes – like on a busy street. While there is plenty of youthful energy, the actors range from high school and college to… out of school a while.

As for the “star,” Kortz giving what is often cast as a deep-voiced monster a fierce feminine tone makes her Audrey II appropriately threatening (I’d say something here about the “mean green Mother,” but that song’s not in the stage version).

For anyone who has only seen the 1986 Frank Oz movie, note that aside from different songs (some familiar hits, like “Suddenly Seymour,” are still there) it has a different ending, closer to the original 1960 film.

Another note: In the second (and final) weekend, July 24-26, former G-C drama teacher Ted Jacobs will play the Dentist, while Savage plays Mr. Martin.

And yes, there will be a giant man-eating plant on the stage (in puppet form). Audrey II puppeteers include Allen (small) and Olin (big).

The H.J. Ricks Centre for the Arts is at 122 W. Main St. (US 40) in downtown Greenfield. Tickets are $13, $10 for students, at www.seatyourself.biz. See Ricks-Weil Theatre Company on Facebook for more information.

Set sail for something fun and unusual

By John Lyle Belden

How does one describe “Jollyship the Whiz-Bang”?

If it were on TV, it would be on Adult Swim, or maybe on Comedy Central or IFC late-night, between films. It’s a silly puppet show, but aimed more at college students than kids. Or for those who consider “Avenue Q” too mainstream.

Intrigued? Then come aboard, mateys. Nearly everyone in the cast handles or voices the puppets of the crew. Dave Pelsue is animated enough to just be Skeevy (that’s his name, not just an adjective) himself. Same with Paige Scott as gunner Von Heiselstein, though she slips in a couple of voices for others’ puppets. They are led by Captain Gregory Clamp, who rides the arm and takes the voice of Ryan Ruckman. Molly North and Frankie Bolda also help hold up the felted cast, while Aaron Stillerman adds voices. North also voices the pesky Seagull, while Bolda gives personality to a Crab, a/k/a Jumping Jack McGallahad, the Deckhand Man.

And the cast are literally a band of pirates: Pelsue and Stillerman on guitars, Scott on keys, Jason Adams on bass, and Don T. on drums (“We have a drummer?”). Everyone sings.

There is a plot, of sorts, as the crew goes on its years-long voyage to find Party Island. Captain Clamp is convinced it exists, but the others are getting less sure. Clamp drinks to forget losing Tom, the cabin boy, and we soon find out why. As the Captain goes through his personal voyage of self-discovery – complete with an attempt at reformation – we see Jumping Jack’s attempt to be a real “man” and his own tragic story arc.

But this is also silly and funny and full of raucous songs – with sex-talk and dirty language, so, again, no kids! Seriously, one of the Captain’s punchlines is, “F##k ye!”

This odd theatrical offering, written by Nick Jones, was a Fringe Festival hit, and now, with direction and puppets supplied by Callie Burk-Hartz, it is playing Thursday nights in March at the Storefront Theatre, 717 Broad Ripple Ave. Not restricted by Fringe rules, it plays out the full script, with two acts and intermission.

This show is a lot of fun, not just for us in the audience but all involved. I could tell the cast were enjoying themselves, as they let their own personalities flavor their roles. The Captain felt like a very Ruckman kind of blustery slacker-authority character. Skeevy is Pelsue the friendly rock star. Von Heiselstein is so Scott, with attitude that’s little bitter, but that’s just to set you up for the punchline. And leave it to Bolda and her mastery of comic oddness to make a crustacean a sympathetic character. Kudos also to North for handling so many characters and Stillerman for juggling the voices while playing the music.

At the performance we attended, especially with some actor friends in the audience, it felt like some creative pals just having a good time. (Wait. Was Party Island in us the whole time?)

Set sail for the Ripple and see for yourself. Get info and tickets at storefrontindy.com.

One note regarding the venue: Storefront Theatre is actually in the basement level. The storefront entrance has a stairwell leading down. Those with access issues need to alert the staff (there is an elevator, at the former location of Crackers Comedy Club).

Another go-round with the ‘Girls’ in LAFF parody

By John Lyle Belden

Here we go again! The gang at Loud and Fast Funny Shows present “The Golden Girls: The Lost Episodes, Vol. 2,” Friday and Saturday nights through March 21 at the District Theatre.

It’s been nearly a year since LAFF put on the dresses and thanked us for being their friends. Most of the “girls” return: Dave Ruark as Dorothy, Pat Mullen as Blanche, and Jim Banta as Rose, joined by Frankie Bolda as Sophie. 

As with last year’s show, this is a parody originally by David Cerda and David Lipschutz of Hell in a Handbag Productions of Chicago, complete with mature language and immature behavior. And, to get us in the mood, we’re again treated to old sitcom themes and commercials while we wait for the show to begin. 

For an hour, we are treated to two quick episodes with a Golden Girls trivia game show in between, hosted by Christian Condra, complete with audience participation and prizes.

Condra also returns as sexy Jazzercise Jeff — short-shorts and all — and takes a turn as Rose’s blind sister. Joining the cast in multiple roles are Mark Cashwell (including as Dorothy’s date to the Sadie Hawkins Dance), Kayla Lee (playing Sophie’s rival), Tyler Lyons (roles include Dorothy’s ex-husband) and David Mosedale, whose major part is Jessica Fletcher in a “Murder, She Wrote” crossover.

This heartfelt jab at the old TV hits is hilarious as usual, though there seems to be even more sexual innuendo this time around, so it’s best for those old enough to remember the source material. 

Each night has two performances, 7:30 and 9 p.m., at the District, 627 Massachusetts Ave. in downtown Indianapolis. Get info and tickets at http://www.indyfringe.org.

CCP serves up wacky ‘Tenor’

By John Lyle Belden

A Broadway hit that has become a community theatre favorite, Ken Ludwig’s “Lend Me A Tenor” is back on stage courtesy of Carmel Community Players.

For the unfamiliar, this hilarious farce takes place in the mid-20th century, set entirely in a Cleveland hotel room. The local opera company has secured a performance by world-renowned tenor “Il Stupendo” Tito Morelli (JD Walls). Mr. Saunders (Thomas Smith), the show’s producer, knows of the singer’s appetites for booze and women, and warns his young assistant, Max (Tyler Marx) to keep a close eye on him. Tito arrives with wife Maria (Sonja Distefano), who is furious about everything, especially Tito. Add to this the visits by Saunders’ daughter Maggie (Caity Withers), who loves Max but adores Tito; ambitious soprano Diana (Rachelle Woolston), who will do anything to get a career boost from the tenor; local socialite Julia (Sally Carter) who wants nothing more than to be seen with Morelli in public; and a singing bellhop (Joe Wagner), insisting on giving an impromptu audition. It’s important to note that Max is a talented aspiring singer, as well. Also, we lose track of the number of sleeping pills Tito takes for his afternoon nap.

The result is two full acts of slamming doors, sharply-executed physical comedy, and all the misunderstandings you can stand — along with some nice moments of operatic singing. Under the direction of Susan Rardin, this bunch take to their roles with gusto, each pitch perfect from Smith’s paternal surliness, to Withers’ charm, Woolston’s seductiveness, Distefano’s fire, Wagner’s cheekiness, Carter’s posh attitude and Walls’ resignation as he finds himself on the wildest ride in Ohio outside King’s Island. Marx as our everyman at the heart of an ever-deepening situation wins us over with his nervous aplomb as Max somehow makes it through it all. Also, as the featured opera is “Pagliacci” (the tragic clown), the tendency of white face makeup to come off on others adds its own comic element.

This “stupendo” production has one more weekend, playing through March 8 at The Cat performance venue, 254 Veterans Way (near the downtown arts district), in Carmel. Call 317-815-9387 or visit www.CarmelPlayers.org.

 

Bizarre courtship for ‘Sara’ at Epilogue

By John Lyle Belden

“Getting Sara Married” plays out like a rom-com by way of the Twilight Zone, but if you roll with the absurdity, it’s a lot of fun.

In this comedy by Sam Bobrick, directed by Veronique Duprey at Epilogue Players, Sara (Monya Wolf) is a busy New York defense attorney and, as the title hints, single. She enjoys her solitary lifestyle and has no interest in marriage whatsoever.

Thus her Aunt Martha (Molly Kraus) takes it upon herself to engage in some unusual matchmaking. She has Brandon (Vince Pratt), the handsome professional she has selected for Sara, bonked on the head by “jack of all trades” Noogie (Brian Nichols) and delivered, unconscious, to Sara’s apartment. Need we mention Martha might not be entirely sane?

Shocked, Sara scrambles to prevent needing a defense lawyer herself. Brandon awakes, and after an amusing bout of amnesia, sorts out who he is, but not why he’s in a strange woman’s home — which he is impressed with, by the way. He grabs a quick bite before leaving, but is taken down by a just-remembered food allergy.

How is Brandon going to explain all this to his fiance, Heather (Rachel Kelso)?

Set just before smartphones took over the world, we only see Martha at the stage edge, on the other end of her landline — sometimes getting work from her favorite chiropractor (Alex Dantin) — presented charmingly by Kraus with unflagging confidence. 

Wolf ably takes us along on Sara’s emotional roller-coaster. Pratt plays a bit of a confused goof, but not dumb, so we can see the qualities that got Brandon chosen for this odd adventure. Nichols as eager-to-please Noogie is a likable mook, and I’m not just saying that so I don’t have to keep looking over my shoulder. Kelso has an interesting arc with Heather, a woman who — though initially infuriated — comes to understand the situation. Dantin seems to enjoy being the strong, silent type.

Hilarious with an odd charm, the show has four more performances, Thursday through Sunday, Feb. 20-23, at Hedback Corner, 1849 N. Alabama St. near downtown Indianapolis. Call 317-926-3139 or visit www.epilogueplayers.com.

Gregory Hancock gives fairy tales a fun twist

By John Lyle Belden

An issue I sometimes have with dance is that I find it hard to follow exactly what is going on, what the dancers are trying to portray — there is no such problem with “Once Upon a Time,” by Gregory Hancock Dance Theatre.

The subject matter is as familiar as childhood — popular fairy tales. But Gregory Glade Hancock and his dancers have put their own spin (and leap, and…) on the stories to freshen the narrative. Like in the musical “Into the Woods,” they all seem to occupy the same fanciful space, including an Enchanted Forest, in which the dancers got to work their own choreography.

Red Riding Hood (Hannah Brown) starts the stories by making her delivery. It seems Grandma appreciates the goodies so much, she just wants to dance with Red, though she does look suspiciously furry. As it turns out, the Wolf (Olivia Payton) while big, isn’t so bad — despite harassing pigs — and mostly just wants to get belly-rubs from the Princesses. 

Narcoleptic Beauty (Chloe Holzman) — turns out it wasn’t just a cursed spinning-wheel — turns in the show’s best performance, especially when constantly dancing in and out of consciousness with the Handsome Prince (Thomas Mason). She puts in moments of gracefully collapsing throughout the show, to great comic effect. As for his Highness, being the only man in the company, he has to be everybody’s Prince, which does result in a chase scene or two. But the one he loves is himself, exemplified with his solo number with a hand-mirror — what a “selfie” was 500 years ago.

In other stories coming to life: 

  • Cinderella (Camden Lancaster) sweeps through, dreaming of future happiness, but the glass that is most important to her is in the spectacles on her face, not the shoes on her feet. The Fairy Godmother (Hannah Winkler) gives her frames worthy of Elton John. But Cindy’s desire to look good is greater than her myopia, with appropriately funny results.
  • Little Bo Peep (Josie Moody) has given up on sheep and herds the Three Little Pigs (Payton*, Winkler, and Jillian Hogan). 

(*Not only ironic — playing Pig and Wolf — but I could have sworn all three Pigs were with the Wolf when he huffed and puffed them. Talk about talent.)

  • Rapunzel (Zoe Maish) has the strongest weave in the kingdom, which others can’t resist messing with. 
  • Snow White (Anna Williamson) shakes off the apple’s effect and, with the Prince otherwise occupied, looks for love elsewhere. Seven young students don cap and beard as the Seven Dwarves (Annabelle Breeden, Ashton Curry, Violet Kitchen, Vincent Kitchen, Josephine Meadows, Isabella Webb, and Elli Thacker) — one of which also opens the show by playing the Boy in pajamas with the storybook of these twisted tales.
  • Pinocchio (Morgan Beane) is the Trickster character of the show. Having not learned his lessons yet, he gets his long nose into all manner of mischief throughout the evening.
  • As for the Witch (Abigail Lessaris), the apple isn’t the only curse that’s failing. Her powers have fizzled, and she dances desperately to rekindle them — but be careful what you wish for.

We are also enchanted by some fairies (Zoe Hacker, Alyssa Henderson, Evangeline Meadows, Megan Webb). The supporting cast (who also act as ushers) include Stephanie Blaufuss, Allie Hanning, Audrey Holloway, Molly Kinkade, Stella Kitchen, Sophia Rice, Taylor Smith, Audrey Springer, Ava Thomas, and Rebecca Zigmond. 

This is the Hancock company’s annual cabaret fundraiser, fitting nicely into the big black-box studio of the Academy of GHDT (329 Gradle Drive, Carmel, near the Center for the Performing Arts). The students don’t pressure you too much to give, though there is a clever “grow Rapunzel’s hair” board to track giving. There is also a free treat at every seat.

The talent and athleticism are amazing to watch, with graceful and easy-to-follow storytelling through movement. This show gives a chuckle to all ages, is an easy inspiration to youth — and reminds the casual viewer that there is more to dance than “The Nutcracker.”

It’s also very popular. The final performances Saturday and Sunday are sold out, but Friday, Feb. 21, has been added. Get tickets at ghdtonceuponatime.eventbrite.com. Get company information at www.gregoryhancockdancetheatre.org.

 

Civic: ‘Nothing’ actually a big deal

By John Lyle Belden

For the first time in its long history, the Booth Tarkington Civic Theatre takes on Shakespeare with the comedy, “Much Ado About Nothing.”

Directed and adapted to one movie-length act by Emily Rogge Tzucker, the story — traditionally set in medieval Italy — takes place in 1945 as our soldiers come home from the War to an Italian villa in the Hollywood hills. As is usually the case, the character names and Shakespearean dialogue are largely untouched. 

At the fabulous estate of Leonato (Tom Beeler), Don Pedro (Joshua Ramsey) returns with his troops, including Claudio (Nicholas Gibbs), who has fallen for Leonato’s daughter, Hero (Carly Masterson); Benedick (John Kern), who enjoys verbally sparring with Leonato’s shrewish niece, Beatrice (Sara Castillo Dandurand); and Pedro’s surly brother, Don John (Darby Kear), who would rather stir up trouble than celebrate. Events include characters conniving to get Benedick and Beatrice to hook up, as well as the “fatal” wedding ceremony of Claudio and Hero. John’s wicked plot is uncovered by the goofy yet zealous constable Dogberry (Kelsey VanVoorst) and true to the Bard, we’ll get a very happy ending.

The cast also includes Jim Mellowitz as Antonio, Leonato’s brother; Sabrina Duprey and Leah Hodson as Hero’s best friends Margaret and Ursula; Max McCreary and Elisabeth Speckman as Borachio and Conrade, Don John’s devious but careless accomplices; Bill Buchanan and Matt Hartzburg as the Friar and the Sexton; Joe Steiner as Verges, Dogberry’s right-hand man; and Jonathan Doram as Balthazar, the soldier who performs Shakespeare’s song “Sigh No More” (music by Brent Marty), as well as one of Dogberry’s Watchmen, with Buchanan. To complete this list, Hartzburg, Julie Ammons and Stephanie Johnson play house servants.

The convoluted story is easy to follow and the actors do an excellent job of bringing it to life, complete with perfectly overdone comic moments. Master comic VanVoorst is in her element. Kern crisply delivers Benedick’s constant — and eventually contradictory — musings. The look provided by set and lighting designer Ryan Koharchik — with mood-setting skies and interesting circular motifs — and costume designer Adrienne Conces provides the perfect atmosphere for the mischief and merriment, while reflecting the height of the era’s style.

Don’t “let it be marked down that you are an ass” (as Dogberry would say) for missing the opportunity to enjoy Civic’s midwinter romp, through Feb. 22 at the Tarkington stage in the Center for the Performing Arts in downtown Carmel. Call 317-843-3800, or visit civictheatre.org or thecenterpresents.org.

‘Old Broads’ up to new tricks at Buck Creek

By John Lyle Belden

Something’s not right at Magnolia Place senior assisted living facility.

Imogene (Gari Williams) is having “episodes” with memory lapses; Maude (Wendy Brown) has stopped bathing and obsessively plans her own funeral; and best friends Beatrice (Jan White) and Eaddy Mae (Cathie Morgan) need to get to the bottom of why, soon, so they’ll be on time for their planned cruise vacation.

Meet “Four Old Broads,” the comedy by Leslie Kimbell at Buck Creek Players. 

Feisty Beatrice and churchy Eaddy Mae suspect the problem is the hostile new facility director, Nurse Pat (Lauren Johnson), who is keeping all the residents’ medicine and doling it out to them. Since this started, a lot of folks have crossed over to the “dark side” ward with swiftly declining conditions. The ladies are offered help from aging Elvis impersonator Sam (David Mears), who still feels like a hunka-hunka burnin’ love.  At least new nurse Ruby Sue (Ruth Shirley) seems nice, if she can get her nose out of that trashy romance book.

A comedy, mystery, and maybe sly commentary on how we treat our elders, this show is full of laughs and surprises, directed by Tracy Friddle.

White as Beatrice is a force of nature, sporting a wild attitude with clothes to match. Morgan as Eaddy Mae is more a force of nurture, sweet and sensible, with frequent prayer breaks — acting as Beatrice’s conscience as well as her own. Williams as Imogene gets the most complex role, entertaining even when in an apparent coma. Brown’s Maude exasperates all on stage, especially with her attachment to her TV “stories,” further adding to the laugh factor. Mears as Sam seems like a bit much at first, but wins his way into our hearts, as well as one of the ladies. Shirley as Ruby Sue does a lot with what deceptively looks like a little role, and Johnson’s Pat is appropriately despicable. 

“I’m not trying to get into anyone’s personal business,” as Eaddy would say, but I’d advise getting up to stretch and take a break during intermission, as the play does run long. When the mystery is solved, there is still a scene to tie up other loose ends.

One weekend remains with the “Four Old Broads,” Friday through Sunday, Feb. 7-9, at the Buck Creek Playhouse, 11150 Southeastern Ave. (Acton Road exit off I-74); call 317-862-2270 or visit www.buckcreekplayers.com.