comedy

Epilogue opens entertaining ‘Present’

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By John Lyle Belden

When it comes to the demands and frustrations of celebrity, with problems often of one’s own making and fueled by ego, the setting could be any era and major city – such as 1930s London. There, in the main room of a legendary actor’s luxury flat, we find Noël Coward’s “Present Laughter,” presented by Epilogue Players, directed by Catherine Mobley.

The title comes from Shakespeare, which isn’t significant to the plot but is the kind of indulgence that the main character – inspired by Coward himself – would appreciate.

Forty year-old West End star Garry Essendine (played by Brandon Wentz) has been quite busy. While preparing for a theatre tour of Africa, he extends assistance to young fans like Daphne Stillington (Breanna Helms) who has “lost her latchkey” and needs to spend the night at her place. You’d be surprised how often this happens. She emerges conveniently from the spare room – in his pajamas – to request breakfast from unfazed butler Fred (Jim Gryga) and the Swedish Spiritualist chain-smoking housekeeper Miss Erickson (Katherine LaTour).

We meet Garry’s inner circle, starting with long-suffering secretary Monica (Danielle Blair) and wife Liz (Veronique Duprey) who is happier living separately and keeping their relationship strictly business. There is also his manager, Morris (Gregory Roberts), and his producer, Hugo (David Shaul), whose hot wife Joanna (Shaun Ancelet) seems to have ambitions of her own.

A careless “sure, I’ll look at your play” has resulted in the appearance of obsessed, aspiring playwright Roland Maule (Ryan Moskalick). In addition, Lady Saltburn (Cathie Morgan) will arrive for what turns out to be a very eventful appointment.

These characters combine for a wild series of events that actually has someone asking, “Am I in a French farce?” Whatever you want to call it, this play presents us with a lot of opportunities to laugh.

Wentz makes Garry a rather likeable rogue who, while resisting middle age, shows some self-awareness of the consequences of a lifestyle he can’t help enjoying while also taking his vocation and status seriously. With a knowing smile, Duprey maintains Liz in the calm eye of whatever storm is whirling around, understanding her husband better than anyone. Likewise, Blair makes Monica a little jaded while cleverly keeping her boss in line. Helms and Moskalick keep things hilariously lively, each being persistently problematic in their own way. Ancelet makes Joanna devilishly appealing.

Effective set design by Andy Burnett and Melody Burnett makes the most of the intimate Epilogue stage. Mobley is assisted by Laura Duvall-Whitson; Jenny Braun is stage manager.

One weekend remains of “Present Laughter,” Thursday through Sunday, June 25-28, at 1849 N. Alabama St. (corner of 19th and Alabama), Indianapolis. Reserve tickets at epilogueplayers.com.

For Wilde fans, Wilde’s ‘Fan’

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By John Lyle Belden

If you are not familiar with the Oscar Wilde comedy “Lady Windermere’s Fan,” you still might know popular nuggets of Wilde’s wit that are contained within the play – lines such as:

  • “I can resist everything, except temptation.”
  • “We are all in the gutter, but some of us are looking at the stars.”
  • “In this world there are only two tragedies. One is not getting what one wants, and the other is getting it.”

Of course, there is far more to its substance than cool quotes.

4th Wall Players gives us this drawing-room comedy of manners with its piercing satire of Victorian London society, directed by Josh Gibson. While many zingers still land, and the cast share their enjoyment of its narrative, the story’s oddities are not quite as wild (pardon the expression) as in Wilde’s later classic, “The Importance of Being Earnest.” This absurdity here is derived from casual injustice.

Gibson invites us to see this examination of rumor and reputation through our perspective as social media addicts, constantly told what friends and strangers are and aren’t doing. After scrolling through a thousand posts and videos about shame, scandal, and misogyny, we look up at the stage to see the problem didn’t start with the i-Phone – it’s always been there, in society, inside us.

While Lady Margaret Windermere (Lizzie Schultz) prepares the celebration of her 21st birthday, she is visited by the Duchess of Berwick (Rebecca Brelage), who informs her that her husband has been seen frequently going to the home of Mrs. Erlynne, a woman of low reputation. The Duchess, who sees infidelity as natural to men, advises her to take her husband abroad to set his intentions right.

Margaret becomes distraught, having experienced nothing but devotion from her husband in their two years of marriage – they even have a baby boy. She then finds evidence of the relationship and confronts Lord Windermere (Jy’Ierre Jones) about it. In turn, he objects to her snooping, states that there is nothing improper, and even insists on having Mrs. Erlynne (Adriana Menefee) invited to the Birthday Ball.

We see the event open with Lord and Lady Windermere welcoming their guests. The Duchess brings her daughter Lady Agatha Carlisle (Kristen Paarlberg), who catches the eye of Australian Mr. Hopper (Joshua Roberts). The Duchess’s jovial brother Lord Augustus Lorton (Nelani Huntington) wouldn’t miss this social occasion. Also arriving are socialites Mr. Dumby (Nathaniel Taff), Mr. Cecil Graham (Amanda Horcher), Lady Plymdale (Isabel Moore), Lady Jedburgh (Amanda Amos), and the handsome and witty Lord Darlington (Omar El Jordi) who, knowing the rumors, sees an opportunity to woo Lady Windermere, whom he has always fancied. Lastly, Mrs. Erlynne arrives, chatting up the various men in attendance, who seem charmed by her – especially Lord Lorton.

The presence of the “other woman” drives Margaret to drastic action, which in turn spurs her alleged rival to take measures of her own. The events of this night, of which the hand-embroidered fan carried by Lady Windermere becomes an issue, could affect the rest of their lives.

To complete the cast, Fred Margison and Tyler Gibson play attentive servants Parker and Robert.

Schultz is wonderful in a role that allows a bit of melodrama yet has a real sense of inner turmoil. Jones handles a different complexity well – his Lord Windermere bound by social norms to keep so much within him and to only see things as those mores allow. Menefee brilliantly manages her role as a cypher not only to keep us from the spoilers, but also to maintain the social highwire act that means the difference between security and destitution, potentially life and death for a single woman in the 1890s.

Supporting roles maintain both the humor and the social strictures that drive the plot. El Jordi’s Lord Darlington makes the most of being Wilde’s proxy in the play, clever lines and all. Paarlberg manages to work within her character’s limits, communicating so much with an eye roll. The gentlemen present familiar Victorian archetypes, from Huntington’s roguish Lorton to Horcher’s posh Graham.

Stephan Taylor is assistant director, and Kelli Gibson is stage manager. Exquisite costumes by Katherine Gibson and Zoe Renee help set the scene. “Lady Windermere’s Fan” has performances Friday through Sunday, June 19-21 (if you see this shortly after it posts, there is also one Sunday afternoon, June 14) at Backlot Makerspace and Venue at 5635 Bonna Ave., Indianapolis, in historic Irvington. Get tickets at 4thwallplayers.org.

Join Belfry for novelist’s life-changing homecoming

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By John Lyle Belden

We often find wit and wisdom in tragic moments, and in “Joined at the Head,” playwright Catherine Butterfield looked into an event in her own life for inspiration.

In the current production, presented by The Belfry Theatre at The Cat in Carmel, directed by Larry Adams, a 30-something writer’s return to her old hometown finds her connecting with an old flame, but with an interesting twist.

Maggie Mulroney (Kat Krebs) has finally written a bestseller, a novel about a father-daughter relationship she says is inspired by hers with her own father, who died from cancer years ago. Her bookstore tour brings her to Newbridge, Mass., where she grew up. While there, Jim Burroughs (Kelly Keller), her steady boyfriend in high school, calls to invite her to his house to catch up, and to meet his wife.

Curious and nervous, she goes. His wife, coincidentally named Maggy (Dana Lesh), was a cheerleader in the next-younger class and a straight-arrow personality, so not in the social circle of misbehaving Jim and Maggie. Now, she is in a loving marriage to Jim – and struggling with advanced cancer. Though an understandably awkward meeting at first (one of many humorous moments), they find they share some personality traits as well as homonym names.

As Butterfield’s proxy, Maggie also acts as narrator, frequently stepping up to the fourth wall to elaborate on the scenes. To keep her story straight, Maggy occasionally – to Maggie’s chagrin – steps up and ensures the narrative stays on track.

In various roles are the ensemble of Lexi Gray (including a charming Bed & Breakfast proprietor), Sammie Maier (including an appearance as Maggie’s mother), Sydney Heller (including a hospital nurse), Ben Lagow (including Raymond Terwilliger of PBS station WGBH’s “Best of Boston”), Ethan Pierce, and Zach Buzan.

The story goes to numerous settings, so the simple scenic design by Scott Post (decoration by Claudia Macrae) relies on the flow of the actors and lighting by Eric Matters to nimbly help us see them in whatever places our imagination fills in, aided by a clever single panel at the center of the back of the stage.

At Adams’ urging, the three leads delve into the serious complexity of their relatable characters. We’ve seen Keller in so many modes; this shows him at his most vulnerable as the devoted husband taking on Herculean tasks as best he can. Krebs’s Maggie finds herself as the novelist who apparently writes about others to avoid taking a deeper look at herself. Something about the encounter with her namesake starts her on a journey she is afraid to admit she’s taking. Lesh, who we’ve usually seen in a supporting role or in the director’s chair, really shows her command of the stage here. Given Maggy’s struggle, and the saintly good nature with which she confronts it, if this were Broadway she’d be up for a Tony.

While there is gentle dark humor to be had in this story, the plotline of advancing disease might be a challenge for some viewers, depending on one’s own experience. This is a story not only of one woman’s bravery, but of two other people engaging their own. As in other plays in this tragicomic sort of genre, cancer may take a person’s last breath, but it does not get the last word.

Performances of “Joined at the Head” are 8 p.m. Friday, 2 p.m. Saturday and Sunday (May 22-24) at The Cat, 254 Veterans Way, near the downtown Carmel Art & Design district. For info and tickets, go to thebelfrytheatre.com or thecat.biz.

Strange ‘Dream’ reflects coming reality

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By John Lyle Belden

I remember when The Year 2000 was used to reference the future. Now it’s history.

In movies and literature – ever since the play that gave us the word “robot” – we imagined living side by side with technology. Now it autonomously delivers our packages. We hold conversations with computers.

From this world of tomorrow swiftly becoming today comes “Your Name Means Dream,” by Josè Rivera, presented by Jewish Theatre Bloomington.

Aislin (Diane Kondrat) lives alone in New York’s East Village. Every conversation with her adult son results in an argument, so her grandkids no longer visit. Out of concern for her advancing age, declining health, and the fact she washes down her prescriptions with Jack Daniels, he has sent her a state-of-the-art assistant, Stacy (Valerie C. Kilmer), which looks like a young woman but is a synthetic robot body with an AI brain.

“I am beautiful and creepy.”

After a wild (for them) and funny (for us) start, Aislin gradually comes to accept the presence of this talking “toaster” that says it wants to help her live a fuller life, soon seeing “it” as “her.” Taking on those improvements, especially losing the bottle of Jack, is another matter.  

Under the careful direction of Martha Jacobs, both actors take characters that we would have issues with and make them strangely charming.

During a talkback afterward Kondrat said, smiling, that this may be the most F-bombs she’s ever had to utter in a single script. While consistently profane, Aislin is not always angry. She does express frustration at her life, her son, the loss of her husband years ago, and herself, as well as her faux-human companion. However, moments of introspection slip through, as well as compassion at the prospect of actual loss. Those who are familiar with the addicted can see the contradictions of personality here. While her internal circuitry is biological, she is also subject to “glitching” in her own way.

Kilmer delivers an outstanding performance, never breaking character though as Stacy “learns” her movement becomes more fluid and she even picks up some of Aislin’s colorful language. With her perfect memory, we get a lot of callback references that work with the story. To be purely robotic, though not a trained dancer, Kilmer credits an acting class in which she was encouraged to practice isolating individual parts of her body, creating the notion that under-skin servos rather than smooth muscles control her movement. In preparing, she said she paid close to herself and considered how to remove the human element from each action or expression. This precision also shows in full-body character work as she mimics both the movement and voice of Aislin’s son when they communicate through Stacy’s phone app.

While there are some hilarious interactions, there is the underlying stress natural to a situation in which an AI-controlled machine that can bench-press hundreds of pounds and has no soul (the AOS [“Approximation of Soul”] upgrade comes in her next model, she says) is alone with a person with fragile body and mind. Aside from malfunction, there is a risk of hacking by the Skinjobs anti-robot organization.

Post-show discussion brought out various reactions to this engaging and thought-provoking play. While they address serious aspects of technology providing personal assistance for the elderly and differently abled, a process well under way in the off-stage world, there was also genuine affection for the comic interaction between the curmudgeon and the android. Some comments declared this a sort of 21st-century “Odd Couple.”

I personally saw the deeper questions posed by films such as “Blade Runner,” questions of identity and self, both among humans and those programed to emulate them. This was reflected in Stacy’s relating a sort of muscle-memory of a previous, very different, “life.” The policy of her maker, the tech corporation Singularity, is to completely eliminate its imprinted identity after use so that the unit can be refitted for whatever service the next customer wants. “I will not outlive you.”

Though Aislin is Irish-Croation and Catholic, and Stacy allegedly soulless, the board of Jewish Theatre of Bloomington felt this is an important work to bring to the public due to its examination of identity and humanity. As the human character puts it, “I contain multitudes, bitch!”

We are grateful for the opportunity to experience this.

Remaining performances are Saturday and Sunday, May 16-17, at the Waldron Rose Firebay theater, 122 S. Walnut St., Bloomington. They are technically sold out, but tickets might become available. Information at jewishtheatrebloomington.com.

OTP ‘Earnest’ more fun than a Bunbury

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By John Lyle Belden

We have seen local performer Alec Cole on stage since he was a boy (as part of KidsPlay Inc. in Greenfield). Since then, the young man has appeared in area community theatre as an actor and even got to assistant-direct “HadesTown” at Footlite Musicals.

Naturally, the next step was to direct a production himself, and Our Town Players of Franklin agreed to let him helm the popular (and royalty-free) Oscar Wilde comedy, “The Importance of Being Earnest,” which just completed an early-May run.

Judging by the results we saw, we give his debut high marks. It included splendid performances by Theodore Rash as Jack (and “Earnest”) Worthing; Jon Books-Poole as Algernon (call me “Earnest”) Moncrief; Kylie Heagy as Gwendolen Fairfax and Rayne Fort as Cecily Cardew, who both “simply must marry an Earnest;” Jerry Maguire as Lady Bracknell, who sternly forbids the wedding; Beth Popplewell as Miss Prism, Cecily’s governess; Tim Latimer as The Rev. Dr. Chasuble, who enjoys long walks (with Prism);  and James Marietta as the stoic butler (Merriman or Lane, depending on residence).

In a savage satire on Victorian British society that still elicits laughter, the plot centers on the hazards of performing a Bunbury – Algernon’s term for a made-up excuse to avoid a dreaded family or social obligation by needing to be somewhere else (in his case, an invalid friend, Mr. Bunbury, living in the countryside). To disassociate the morally upstanding and roguish sides of his personality, Mr. Worthing is “Earnest in town, and Jack in the country.”  Like any romantic comedy, the pursuit of and overcoming obstacles to the eventual happy-ending marriage propel events.

Maguire, in a wonderfully frumpy yet elegant dress by Sasha Haywood, is wicked fun as the upper-crust lady who won’t let niece Gwendolen marry a man who apparently started life abandoned in a handbag, no matter what his name is.

Making their community theatre debuts, Fort and Heagy each charm as the Earnest-smitten maidens. Whether at odds, or declaring each other “sisters,” they acquit their roles excellently.

We also give scene-stealing kudos to Marietta, who serves with a flourish, and can give almost wordless sarcasm with a glance.  

Cole said his approach to the verbose play was to accentuate Wilde’s words with appropriate movement, keeping the show fun and farcical. Assisted by stage manager Jennifer Feutz, he also credits help from father Dennis Cole (KidsPlay dad and CrazyLake performer); makeup artist and companion, Gemma Rollison; as well as her mother (and Agape staff) Tracey Rollison in finding props.

We confess this was my and Wendy’s first time to Our Town, which uses an excellent venue, AAC Auditorium, in one of Franklin’s city parks. Find out about upcoming productions at otpfranklin.org.

Elementary, ‘Ms. Holmes’ (a study in Summit)

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By John Lyle Belden

A new game is afoot! Summit Performance presents “Ms. Holmes & Ms. Watson, Apt. 2B,” by Kate Hamill, at the Phoenix Theatre Cultural Centre.

Those who regularly read these reviews might now be saying, “Wait a minute! Didn’t we just have a female Sherlock Holmes Play a few weeks ago?” In an odd coincidence, there was the Christopher Walsh comedy “Miss Holmes” in April at Mud Creek. However, while that version was set in Victorian London, “Ms. Holmes…” takes place in 2021 – still in London with a flat on Baker Street – and Dr. Joan Watson is now an American.

Watson (Kelsey VanVoorst) has found herself in London, looking for a place to stay for a while, relax, maybe get some writing done. Fate has other plans, as this affordable downtown rental means sharing an apartment with a hyperactive, eccentric young woman named “Sherlock” (Frankie Jo Bolda). If you are familiar with the local theatre scene – especially improv, parody shows, and farcical and Shakespeare comedies – these actors’ names should alert you to the madness that will ensue.

Playing someone who is famously neurodivergent with a 200+ IQ, Bolda also lets Holmes’ id run rampant in a manner that goes beyond recent portrayals (Cumberbatch, Downey Jr., et al) such that it resembles the manic style of “Doctor Who.” Her clothing (boldly designed by Devan O’Malia Mathias) reflects this as well – layered for foggy London, colorful as a panto player. Still, she is no clown. While expressions and actions seem random, her mind and focus are sharp. While others notice her, she notices everything.  

VanVoorst also plays into her strengths as the straight character the comic partner bounces off of. Watson has always been the reader/viewer proxy in these stories, and she gets as frustrated and overwhelmed as we would be, but in a much funnier manner. Few can manage the barely-able-to-speak sputter of a character on the edge like her, and Watson gets plenty of these moments. As the plot unfolds, we find her naturally drawn in towards believable acceptance of this classic odd-couple relationship.

In the roles of Everyone Else: Andrea Heiden nimbly wears many distinctive faces as kindly, understanding Mrs. Hudson, untrustworthy beauty Irene Adler, and others. Clay Mabbit can play likable and slyly evil in equal measure, appearing as Inspector Lestrade, billionaire Elliott Monk, and others, including the introductory narrator.

Holmes fans will readily recognize the first case the women take on, from “A Study in Scarlet” by Sir Arthur Conan Doyle (his first Sherlock Holmes novel, which also brings the literary Holmes and Watson together). Sufficient liberties were taken with the story to give this a fresh look for the 21st-century version of the detectives. Speaking of the era, there are references to the Covid lockdown, as well as current technology – which Holmes avoids, complaining it makes people intellectually lazy (she has a point, to be honest). She insists on using her mind and magnifying glass, leaving the “Googles” to others.

Other canon aspects of the characters are preserved. Watson has PTSD, while Holmes takes bong hits to calm her ever-spinning brain. Also, where there’s a super-sleuth, there lurks someone in the shadows who could be her equal.

Direction is by Summit founder Lauren Briggeman, who manages to keep the madcap happenings under control while bringing out the entertaining best in the cast. Fight, movement, and intimacy director Jaddy Ciucci is a big help with all the physical comedy and other action throughout. Erin Robson-Smith is stage manager.

Even if you don’t know or care about Sherlock Holmes, this production works as a wildly hilarious British buddy comedy with murderous intent. Even the furniture is funny (rarely has an innocent recliner gotten so many laughs).

Come see “Ms. Holmes & Ms. Watson” through May 24 in the Basile Black Box stage at 705 N. Illinois St., downtown Indianapolis. Get tickets at phoenixtheatre.org.

Comedy and Cole do double-duty at Footlite

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By John Lyle Belden

Footlite Musicals gives us a two-for-one courtesy of the Cole Porter musical, “Kiss Me Kate,” with book by Sam and Bella Spewack, and some guy named Shakespeare.

In this show you get a backstage romance set during a Baltimore heat wave, as well as the premiere of “Taming of the Shrew: The Musical.” Fortunately for Footlite director Paula Phelan, they are essentially the same story.

Fred Graham (Aaron Mann) has written, produced, directed, and now stars in “Shrew” opposite, appropriately, his ex-wife Lilli Vanessi (Jessica Hawkins). She plays the title character, fair Katherine, while Fred is Petruchio, the daring gentleman out to woo her.

The musical within this musical also features Lois Lane (Paige Penry), who offstage has been seeing Fred, and who on stage plays the pretty younger sister Bianca. She is in turn wooed by Lucentio, played by Bill Calhoun (Jack Sullivan), who shares Lois’s affections as well as her general lack of scruples, demonstrated by the fact he ran up a big gambling debt and placed Fred’s name on the IOU. This brings on the intrusion of two faux-sophisticated mob toughs (Mitchell Hammersley and Ryan Bridges), arriving to collect.

For those who don’t know or remember the story, “Brush Up Your Shakespeare” and note that things get “Too Darn Hot” as “Another Op’nin, Another Show” doesn’t go “Wunderbar” for Fred and Lilli. It’s enough to make her declare “I Hate Men,” while they strive not to fall “So in Love.” If you are reading this thinking, “Why Can’t You Behave,” dear reader, understand that I’m “Always True to you in My Fashion.” In addition, aside from the Porter hits and big dance numbers, this is also a rollicking comedy with misunderstandings and other farcical elements throughout. This especially includes scene-stealing bits by Bridges and Hammersley.

The big cast includes about 30 additional players, including featured singers Kelly Berryman (“Another Op’nin’…”) and Michael Sherman (“Too Darn Hot”); featured musician Jeremy Kaylor; the practically unflappable Dan Flahive as Harry, who plays Kate and Bianca’s father Baptista; Jeremy Crouch as stressed Stage Manager Ralph; the ever-charming Duane Leatherman as Pops the Doorman; and Kevin Caraher as Mr. Harrison from Washington (Lilli’s fiancé).

With the parallel plots, we not only get a fun mid-20th-century musical, but also a reasonable condensation of the Shakespeare comedy, all complete with a happy ending.

Phelan is assisted by Jerry Beasley and Lauren Werne, with stage manager Melissa Yurechko. Lisa Reynolds is vocal director. Choreography is by Erica Wilkinson, and the orchestra is conducted by Aaron Burkhart.

“Kiss Me Kate” has performances Thursday through Sunday through May 17 at the Hedback Theater, 1847 N. Alabama, Indianapolis. Get info and tickets at footlite.org.  

Fonseca: Diner serves up potential for redemption

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By John Lyle Belden

Regarding the comic drama “Clyde’s” by Lynn Nottage, presented by Fonseca Theatre, a famous 19th-century French quote used by the original Japanese “Iron Chef” series comes to mind: “Tell me what you eat, and I will tell you what you are.”

Or, as the serene chef of this roadside diner puts it, “What’s your favorite sandwich?”

Clyde (Chandra Lynch) is proprietor of the restaurant, of which we only see the kitchen. An ex-offender who doesn’t mind being offensive, she hires felon parolees who find themselves with nowhere else to go. Her demeanor is cruel, even abusive, with a belief that those convicted are forever unredeemable losers that would put Javert of “Les Misérables” to shame.

The zen-like sandwich master Montrellous (Jamaal McCray) raises the crafting of ingredients between slices of bread to art bordering on philosophy. While exacting in his process, he takes pleasure in the simple fact that truckers come from miles around just to have one of his delicious creations. His co-workers come to embrace his approach, desiring to make their own perfect sandwich that “tastes like the truth.”

Clyde, of course, scoffs at this but doesn’t mind the business their unique menu brings in.

Also working the kitchen are Rafael (Ian Cruz) with a robbery conviction and a 12-Step sobriety chip; Tish (Shandrea Funnye) who was busted for drugs while caring for a daughter with medical issues; and Jason (Dave Pelsue) who has a temper, an assault conviction, and Aryan tattoos (which, him being the only White person present, doesn’t go over well with the others).

Director Josiah Ray McCruiston infuses this production with his devotion to good storytelling. We see in every character the distinct fears of the formerly incarcerated, their anxiety over the mistrust and misuse by those they know in the outside world, dealing with the sense that such treatment is deserved, striving to somehow make their lives – if not better – at least worth carrying on. Trust must be rebuilt; anger must be discarded; the act of making something nourishing can be nourishing itself.  

Fortunately, while there are cutlery and dishes, the food itself is mimed. This not only aids the ephemeral nature of its making (and it’ll never look better than it does in our imagination) but also this busy kitchen would generate a lot of food waste over several performances, and the smell would just make us all in the audience hungry. Kudos to Bernie Killian for the set design of this convincingly clean and cozy diner kitchen, complete with order-up window at the back. Paully Crumpacker’s lighting and Ben Dobler’s sound are also commendable.

As I’ve indicated, this is about so much more than making a great sandwich, but it also gets you thinking: What’s your favorite?

Bon Appetit. Performances are Fridays at 7 p.m., Saturdays at 4 p.m., and Sundays at 2 p.m., through May 17, at 2508 W. Washington St., Indianapolis. Get info and tickets at fonsecatheatre.org.

In this comedy, she really slays them

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By John Lyle Belden

As I once heard a comedian say, at some point with a mass murderer’s body count, you’re not sure whether to be appalled, or impressed.

Southbank Theatre Company presents “Hell’s Belle,” billed as “A True Crime Dark Comedy About Indiana’s First Serial Killer,” by Amalia Howard, directed by Becky Schlomann. Local actor Howard’s script was the winner of Southbank’s playwriting contest to determine this season’s closing show.

Based on the true story of Belle Gunness, a Norwegian-born widow who lived on a farm by the northern Indiana town of LaPorte from 1901 to 1908, we get a light-hearted look at a heavy topic. Howard portrays Belle’s sister, Nellie Larson, who narrates the story, speaking through time to today’s audiences, as well as other roles as needed. Ryan Moskalick and Jim Cherry play various men, many of whom do not live long. One exception is Moskalick as the farmhand Ray Lamphere, who survives Belle only to be tried as an accomplice.

As the star of the show, we have Lisa Marie Smith as Belle. She is plain but not ugly, and quite a find for lonely sons of Norway seeking the comfort of the cooking they grew up with. Her kitchen talents were indeed notable, if you don’t mind the strychnine.

Smith gives her enough cleverness and charisma to keep her activities unsuspected, coupled with her unresolved issues around men and the children she desperately wants but can’t keep alive. She also feels the financial pressure that hits hard on single women of the era. Not that this excuses numerous instances of insurance fraud, but then, a girl gets accustomed to a certain standard of living.

While not downplaying the seriousness of the crimes, we get a rather humorous look at these events, especially the circus atmosphere that attends the eventual discovery of her many, many victims.

How many people did she kill? Did she get away with it all, slipping away with what today would be more than a million dollars? These questions are still debated. The evidence is presented for you to make your own guess as well.

Schlomann is assisted by Rachel Serago; Jenn Byers is stage manager. Simple yet comfy set design is by Scott Hall. Costumes and props are by Karen Cones, with the deadly meat-grinder 3-D printed by Tony Troxell.*

For an entertaining bit of macabre Indiana history, attend “Hell’s Belle,” Thursday through Sunday (April 30-May 3) at Shelton Auditorium, 1000 W. 42nd Street (southwest corner of Butler University), Indianapolis. For info and tickets, go to southbanktheatre.org.

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*(Edit after original posting, thanks to producer Marcia Eppich-Harris for giving us Troxell’s name.)

Sherlock Holmes, as you’ve never seen her before

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By John Lyle Belden

A different, yet familiar, game is afoot at Mud Creek Players with “Miss Holmes,” by Christopher M. Walsh, based on characters by Sir Arthur Conan Doyle, directed by Alaina Moore.

By changing the two lead characters to women – Sherlock Holmes (Kylie Adams) and Dr. Dorothy Watson (Kija Renuka) – other aspects of this Victorian-era story shift a bit as well. Holmes merely has to be her eccentric self to find herself in a mental ward, from which her brother, government agent Mycroft Holmes (Tanner Brunson) has to fetch her. Watson struggled to achieve her medical credentials and can only work at a charity hospital (it is her brother who served in Her Majesty’s Army). The hospital’s director, Dr. Anderson (Jennifer Kaufmann), brings the two together, leading to Holmes and Watson sharing the flat at 221-B Baker St., London.

Holmes’ deductive abilities have been mostly in the service of various women around the city, which brings Lizzie Chapman (Emma Fullen) to visit her about a threatening letter she received. Chapman’s husband Thomas (Brandon Wentz) is an Inspector with Scotland Yard, and known to be quite corrupt, though seemingly untouchable. The noble Inspector Geoffery Lestrade (Aaron Beal) has been keeping an eye on him, though.

Thomas Chapman had been married twice before, both dying under suspicious circumstances. Our detectives visit the mother of wife number two, Mrs. Eudora Featherstone (Jennifer Poynter), who has grown suspicious of everyone. Holmes also investigates the very shady Edwin Greener (Lark Green).

Oscar Otero plays Dr. Stamford, Watson’s suitor, as well as Mrs. Featherstone’s snooty nephew Reginald. Kaufmann also plays Holmes’ fussy housekeeper, Mrs. Hudson. Green appears as a doctor at Bedlam. Fullen also plays other roles.

With an excellent feel for the characters as we’ve come to know them in various media, a bit of sly social commentary, and appropriately cheeky humor, we get what Wendy and I think are one of the best performances of Holmes and Watson (of any gender) we’ve ever seen. Adams presents Sherlock’s quick genius and wit, at times impatient that us lesser brains aren’t keeping up, so well, it was as though Benedict Cumberbatch had coached her. Renuka has Watson prove to be his equal, in character if not in intellect, able to seize some moments herself. The unique bond of friendship they develop feels natural.

Brunson projects a confident air that makes it believable that he is both Sherlock’s brother and the keeper of Her Majesty’s secrets. Wentz is excellent as the villain, as Poynter is as a socialite. The others all acquit themselves admirably in their supporting roles – Green portraying likely the nicest thug you’ll ever meet, and Otero the most accommodating boyfriend.

Wendy adds that the mystery at the heart of the plot was also well presented.

This play felt like a well-made pilot to a series (and I’m happy to find that Walsh did write a sequel), a very entertaining and enjoyable take on the great detective. We highly recommend the services of “Miss Holmes,” performances Friday through Sunday, April 24-26, at the Mud Creek Players Barn, 9740 E. 82nd Street, Indianapolis. Get tickets at mudcreekplayers.org.