comedy

IndyFringe: Cowboy Meg’s Saturday Morning Roundup

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This is part of the annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe 2026, held Aug. 13-23 in venues around downtown Massachusetts Ave. Information at indyfringe.org.

By Wendy Carson

Come on out, Little Buckaroos, and join a live taping of “Cowboy Meg’s Saturday Morning Roundup”. Meet the regular cast members: Morning Grind (Paige Vanzo), Postmaster Malone (Kevin McLane), and Bessie the Cow (Kielynn Tally or Kelsey VanVoorst), as well as some new visitors including Mr. Undertaker (Vanzo).

Although it seems that Cowboy Meg (Meg McLane) may have lost a step and a few things seem awry, the Stage Manager (Jamie Rich) is always there to help get things back on track or play a commercial to keep us entertained. All in all, this is a rip-roaring good time for all, and an excellent showcase for local actor and improv comic Meg.

So, when you get the chance, round up all of your own little buckaroos and give this show a big “Yee Haw!”

IndyFringe: I Came Out (Not Ahead)

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This is part of the annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe 2026, held Aug. 13-23 in venues around downtown Massachusetts Ave. Information at indyfringe.org.

By Wendy Carson

Jeff McKinney is no stranger to the IndyFringe stages, but he seems to have hit his stride with “I Came Out (Not Ahead): The Wheels of Misfortune,” in which good friend Kristi Zobel interviews his about his long, crazy – but fun – road to his current success..

Or, as he puts it, his “rags to paper towels and slightly better toilet paper” story.

We meet Uncle Pooder, Aunt Fizz and the others who shaped his childhood. Learn about the 4 D’s (dinner, drinks, drugs, and dicks) as well as the fact that he has earned a PhD and was a teacher for more than 20 years. There are so many stories he has to draw upon, and they will all keep you entertained.

McKinney’s Jeff Kidding Me Comedy presents shows from time to time at The District Theatre, and provides leadership and communications expertise through his talents. See jeffkiddingmecomedy.com.

School is such a Drag in parody musical

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By John Lyle Belden

Twenty years later, it can by forgiven to forget what an outright phenomenon the 2006 Disney Channel movie “High School Musical” was. Featuring a clever script by Peter Barsocchini and the rising talents of Zac Efron, Vanessa Hudgens, and Ashley Tisdale, this teenage tale of defying expectations soared far above typical Disney Channel fare, winning Emmys, Teen Choice Awards, and devoted fans, leading to sequels and more.

Indy Drag Theatre, phenomenal in its own way, apparently gave it a look and said, “b!tch, let’s do this!”

To keep the litigious Mouse at bay, IDT fiercely presents “Night School Musical: A Drag Parody” at the Phoenix Theatre Cultural Centre, directed by Natalie Port Ma’am and Madison Avenue with choreography by Meadowlark Lane.* This cast of drag queens and kings lip-synch the original musical – playing it more-or-less straight, so to speak – with some fabulous enhancements including surprise song additions and “Glee” references to keep it all in campy parody mode.

Dragnar Johnson portrays Troy, the star of the Wildcat basketball team and son of its coach (played by Maurice Mantini), who happens to sing well and considers trying out for the Winter Musicale to get with cutie Gabriella (A.J. Thoma), who aspires to be more than a math-nerd. Having rivals for the lead roles does not sit well with Broadway-obsessed Sharpay (April Rose) and her brother Ryan (Ted Strange); fortunately, theatre teacher Ms. Darbus (Norah Borealis) is on their side.

Schoolmates are portrayed by Sydnie Blair, King Kairi, Lollypop Lyx, Iliana a la Mode, Taron Closeoff, Eli Rose, Rodick, Long Schlong Johnson, Canila C, Caroline Rogers, Jakkie Lupia, Gayle Thyme, and Manatea.

The look and style of drag add just enough magical realism to get us into this fantasy of high school life, where championships on the line are as high-stakes as it gets, and cliques and assumed roles can be overcome by song-and-dance numbers. Earnest professional performances by all rekindle the magic that makes this such an enduring hit.

Credit where due: Costume design is by Maria Fruit; makeup design by Calyko Magick-Waffle; wig design by Oriana Peron with Mackenna Mullins as wig tech; set design by Miss Kay-Ottic with props by Alish Forner; lighting design by Pauly Crumpacker; and stage manager is Brian Kitta, with stage crew Tricera Tits and production manager Mason Veselsky. Superlatives all.

Want to get in on the act? Before the show there is a VIP raffle to win a moment on the stage during one of the scenes.

This is in the main stage of the Phoenix, 705 N. Illinois St., downtown Indianapolis, but all those seats will likely fill fast, Friday through Sunday evenings and Saturday and Sunday matinees, Aug. 28-30. Get tickets at phoenixtheatre.org and info at indydragtheatre.org.

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*(Note: Out of respect for the art form and its performers, they are identified by their Drag names as given in the show program.)

IndyFringe: LOLCow

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This is part of the annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe 2026, held Aug. 13-23 in venues around downtown Massachusetts Ave. Ticketing and other information at indyfringe.org.

By Wendy Carson

Casey Ross is not only a long-time Fringe creator, but she is also known for her brilliant ability to portray dialogue as a true conversational art form. However, since her personal tastes sometimes run only somewhat adjacent to the mainstream, she is not as well known as she deserves to be.

“LOLCow,” her latest offering, is a brilliant diatribe on Influencer Culture, the power of the internet, the price of fame, and trust in today’s world. Sadly, I feel most of her audience will not see this. Those who take the play at face value could miss the delicate nuances of the script.

While on the surface it is the story of two somewhat awful people abusing themselves and each other for their own purposes, it shows how the 24/7 news cycle and internet culture have led to the monetization and prevalence of the worst of society for the enjoyment of others. (The title references the urge to “milk” a meme for more online fame.)

I will admit that this show is not for everyone, but I request you do consider watching it, bringing an open mind and an inquisitive eye to try to catch the real message underneath the “spectacle.”

Presented by Catalyst Repertory, performances are 12:30 p.m. Saturday and 8 p.m. Sunday, Aug. 22-23, in the Basile Theatre at IF (719 E. St. Clair).

IndyFringe: Teeny Tiny Tempest

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This is part of the annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe 2026, held Aug. 13-23 in venues around downtown Massachusetts Ave. Ticketing and other information at indyfringe.org.

By Wendy Carson

Consummate local favorites Paige Scott and Jason Adams once again bring their talents together for this delightful retelling of Shakespeare’s “The Tempest.” Using simplistic props and traditional storytelling methods, they mine both the humor and the utter whimsy of their source material.

Never have I been more entertained, by the story or its presentation. This show highlights every nuance and skill of both actors while keeping the audience so engaged you dare not blink lest you miss a second. This is truly the best show the two have ever attempted and fully deserves the huge crowds it keeps drawing.

Luckily, there are still three performances left in which to experience the exquisite pleasure of the duo and their abilities. Presented in the Barnes & Thornburg Blackbox Theatre at IF (719 E. St. Clair), see them at 8 p.m. Wednesday, Aug. 19, and 2 p.m. Saturday and Sunday, Aug. 22-23, appropriate for ages 13 and up. Miss them at your own peril.

Neighbors take offense while building a fence in CCP comedy

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By John Lyle Belden

It’s said that “good fences make good neighbors,” but that depends on where the fence is.

At least that’s the case with “Native Gardens,” the comedy by Karen Zacarias presented by Carmel Community Players at The Cat, directed by Lori Raffel. Set nowadays in a nice Washington D.C. neighborhood, near-retired couple Frank and Virginia Butley welcome young couple Pablo and Tania Del Valle, who buy the home next door.

Frank (Larry Adams), who worked for the General Services Administration and does consulting from home, takes pride in the yard and flowerbed he has crafted with great care for years, hoping to finally rise above Second Place in the local gardening competition.

Virginia (Vickie Cornelius Phipps) is a strong-willed woman from a Polish-American family, now a top engineer with a major defense contractor. She doesn’t hesitate to speak her mind.

Pablo (Oscar Otero Ortiz), who was disowned by his wealthy family in Chile for marrying a poor “United Statsian,” worked his way through law school and has been accepted to a major D.C. firm. He hopes to make partner.

Tania (Yolanda Valdivia), from New Mexico – her family was there when it was just “Mexico” – is about to complete her doctorate in Social Work as well as her obvious pregnancy. Her plans for the Del Valles’ back yard are a bit different from what’s on Frank’s side: keep the big oak tree, no pesticides, and all plants native to the area.

One thing both couples can agree on is that the chain-link fence between them must go!

Replacing this barrier with a nice wooden fence must happen quickly, as Pablo impulsively invited his fellow attorneys – including a named senior partner – to his backyard for a barbecue the next weekend. However, when work begins, a routine property survey leads to a bizarre “border war.” How neighborly!

What could start out as a bit of a fish-out-of-water situation soon becomes a meditation on precisely whose “water” this is. Being near the nation’s Capital, there are political overtones – the Butleys are right-of-center, more Bush-era Republicans than the current strain; while the Del Valles are more left-of-center (New Mexico is demographically Democratic) and Tania considers herself Latinx. This informs their actions regarding what each one feels entitled to, as they work within their differing paradigms to be good people.

Our four actors deliver great examples of being bitter without becoming unlikable, as each flashes from friendly to comically enraged at a moment’s notice. As words are said (including a swear in Spanish), acorns are thrown, and legal action threatened, there seems to be little actual malice.

Katherine Floyd, Jacob Slager, and stage manager Susan Yeaw work efficiently as “Mr. Mow It All” yard services, doing the fence removal, survey, contract work and scene changes.

Kudos to Joyce Pendleton for her set decoration of the beautiful flower gardens and realistic tree.

“Native Gardens” is like a fun sitcom with lots of subtext about differing views of land and our relationships to it and each other. It points not to a position of right or wrong, but rather – however we individually see things – to being good neighbors.

Performances run through Aug. 16 at The Cat, 254 Veterans Way in the heart of downtown Carmel. See carmelplayers.org or thecat.biz.

Death Valley daze at Mud Creek

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By John Lyle Belden

If you think it’s been hot around here, then try spending some time in the Old West town of Death Valley, California. Better yet, head over to the Mud Creek Players Barn and think you’ve gone dizzy from the heat watching “The Ratcatchers Daughter.”

Actually, it’s not meant to make sense, just be a family-friendly fun old-time comic melodrama by Tim Kelly, directed by Collin Moore. True to the venue’s name, there are haybales for those seating front and center, which means the popcorn everyone is encouraged to throw (meant for the villain but it rained down constantly when we went) may get in your hair.

The stagecoach doesn’t run this way anymore, but the town still maintains its orphanage, run by Auntie Hush (Alli Lamb), (in)famous for serving her Hush Mush. Walking over from Reno are Sweet Lotta Bliss (Tanya Keller), seeking love; Whiplash Snivel (Craig Kemp), who wants to close the orphanage and open a casino (Near Reno? Unthinkable!); and Lady Pilfer (Rachel Smith), following the money. Death Valley Nell (Addie Taylor), the Sheriff, is suspicious.

Fur salesman Jack Sunshine (Kelly Keller) seeks to reconcile with Lotta, and to stay sober. Fortunately, there are Temperance ladies Livinia Lagoon (Becky Chilcote), Eunice (Sydney Heller) and Mildred (Adriana Rosebrough) on hand. Unfortunately, Whiplash has a bottle and a devious plan.

There are also Cuspidor (Tim Jamriska) the prospector; Feathertop (Jackson Hawkins), local speaker of frontier gibberish; Hermanita (Alaina Moore), a Latina nun with a guitar she can barely play; and orphans played by Ellisyn Bundy, Fred Margison, Judy McGroarty, Hagan McMillan, Evelyn Odom, Eve Sheward, and Henry Sheward.

Feel free to laugh, cheer, and boo the bad guy, and you’ll have a wonderful time. The barn does have air conditioning, but if the atmosphere still seems stifling, there are cold drinks at concessions – and popcorn, so much popcorn…

“The *Ratcatcher’s Daughter” has one more weekend, with performances Thursday through Saturday evenings, plus a Saturday matinee (July 30-Aug. 1) at 9740 E. 86th St., Indianapolis. Get tickets at mudcreekplayers.org.

(*No rats were harmed, unless they got into Auntie Hush’s Mush.)

What a ‘Ride’!

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By John Lyle Belden

For those in search of the next “Rocky Horror” phenomenon, or who feel that the stakes in “Spelling Bee” weren’t high enough, we invite you to “Ride the Cyclone”!

First developed in Canada in 2008 by Jacob Richmond and Brooke Maxwell, then appearing Off-Broadway the next year, “Ride the Cyclone: The Musical” has more recently taken on cult status with a large Tik-Tok community of fan art, theories, and costumes. The Phoenix Theatre now gives this experience a whirl, directed by K.T. Peterson.

In a storage building for a traveling carnival, a ghostly lament is heard, and the Amazing Karnak (Ben Asaykwee) awakens. Not a boast, he says, just the name on the side of his box. Unknown carny magic allows him to read the future, but only of one’s time and manner of death. This being too much of a downer, he’s been adjusted to be more cryptic. As he knows his own demise is imminent, he uses his remaining power to find those he couldn’t properly warn. Six teens, members of a school choir from Uranium City in far north Saskatchewan, died when The Cyclone roller coaster went off its rails. Their spirits are summoned to give one of them the opportunity to resume the life they had lost.

Enter overachiever Ocean (Mia Stewart); sassy only-gay-in-town Noel (Parker Taylor); surly adoptee from Ukraine, Mischa (Seth Jacobsen); comics-obsessed dreamer Ricky (Noah Lee), who had been struck mute from an earlier trauma; and plain and shy Constance (Marachey Fowler), most notable for being Ocean’s best friend and whose catchphrase is a very Canadian “So-rry!”

They are soon joined by Jane Doe (Olivia Broadwater), who had not been identified after the accident as no one could find her head. She replaces it with one from a doll. Having no identity of her own, she looks, acts, and speaks like an animated toy.

They each sing their case for going back through the light (like “Cats,” but more relatable) in a show that is at turns funny, moving, and surreal.

Asaykwee brings a bit of magic to all his roles. Here he gives wide expression to his wooden face, taking charge of the entire stage though he never leaves his box. He also shares this space with some of the best young talent we have seen around Indy.

Taylor once again makes us love a quirky character, even if his life’s dream is to die elsewhere. His Noel is comfortable in his queerness, while frustrated at missing the opportunity to be where he better fits in.

In fact, they all wanted to escape life in their dying former mining town (in our present day, home to under 100 residents). Perhaps it is more frustrating for Ocean, who Stewart plays as a controlling Alpha whose youth shows in her lack of tact. Or for Constance, who feared becoming resigned to living her whole life in Uranium (which, sadly, happened). Fowler takes on her pain of being overlooked and taken advantage of, converting it to inner strength.  

Ricky surprises them all, having regained his voice, and he has a lot to say. Ironically upbeat, Lee shares his sad origin and the cool sci-fi fantasy synthesized from his unconventional upbringing, complete with sexy catgirls.

Mischa is a little older than the others but was mostly denied a regular childhood. Jacobson handles his angst well. Feeling culturally mixed-up, he channels his feelings into hip-hop rhymes, and longs for the girl who liked him on YouTube.

Broadwater shows immense talent in working within the limits of her character in both movement and personality, taking her from creepy to heartbreaking with apparent ease.

Note the production is for teens and up, complete with a few F-bombs and a giant rat (Kristin Wentz). Appropriately cluttered yet versatile stage design is by David B. Vogel, complimented by lighting design by Michael Moffatt and sound and video projections by Ben Dobler.

Like the best carnival rides, The Cyclone is fun, wild, exhilarating, and affecting – and makes me want to get in line for another ticket.

Get yours at the Phoenix Theatre Cultural Centre, where “Ride the Cyclone: The Musical” runs through Aug. 2 at 705 N. Illinois St., downtown Indianapolis. See phoenixtheatre.org.

Cops are up to something (very) funny at Center Stage

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By John Lyle Belden

Lebanon’s Center Stage Community Theatre presents a wild episode of law and disorder with “Unnecessary Farce,” a comedy by Broadway actor Paul Slade Smith, directed by Nicole Amsler.

In a motel at the edge of town, Eric (Hunter Nuzzie), a young police officer needing to prove himself, and partner Billie (Lauren Lotzow), who somehow got a badge despite failing nearly every academy test, are setting up an undercover sting. In the room next door, the new city accountant, Karen (Lisa Anderson) is to meet Mayor Meekly (Ron Pittman) and get him to admit to embezzling millions in public funds. However, while preparing for this, Eric and Karen have developed feelings for one another. To complicate things further, the Mayor has a devoted chief of security, Agent Frank (Matt Anderson), who notices (almost) every detail in the room.  

With hijinks aplenty, mad misunderstandings, and doors to slam, we get a raucous comedy with a smidge of thriller as the workings of the local Scottish mafia – “the Clan, with a ‘C’” – are revealed, bringing on the feared Highland Hitman, a killer known as (dramatic pause) Todd! (Kevin Shadle). Then eventually, the Mayor’s wife, Mary (Julia Wallyn), comes looking for her husband.

Amsler has the good fortune of a great cast for this kind of show. Lotzow has been excellent in various roles over the last two years and definitely has a knack for comedy. Lisa Anderson gets to cleverly upstage her more practiced husband, Matt, both being masters of going with the madness (even if it means losing one’s pants) without being too over-the-top.

While most characters appear to understand the seriousness of the goings-on (no matter how absurd they’re becoming), Pittman effectively plays the Mayor as blithely oblivious, even though he was the one who proposed this suspicious event in the first place. Shadle, a treasure of Central Indiana community theatre, boldly presents another memorable character – bagpipes, thick accent, and all. Wallyn brings her own sort of disarming charm

To our surprise, this is Nuzzi’s first theatre role. His handling of scenes ranging from slapstick to romantic to standoff at gunpoint shows a natural feel for the material and solid comic chops.

As always, credit is due to the all-volunteer crew. Assistant director is Heather McKee and Stage Manager is Ava McKee. Amsler takes on many other tasks, including excellent set design and decoration with Christy Summersett – two connected hotel rooms with eight doors and good sightlines. Amsler also did costumes (including a kilt) with Heather McKee, as well as props.

A hilarious escape from the heat of summer, indulge in “Unnecessary Farce,” Friday through Sunday, through July 26, at 604 Powell Street in Lebanon. Get info and tickets at centerstagecommunitytheatre.com.

IBTC’s ‘Museum’ has much to show us

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By John Lyle Belden

Don’t be confused; “The Colored Museum” is not a static exhibit, but a theatrical work, a series of scenes that move with the rhythm of continuing centuries-old struggle.

Most surprising is that the show could be considered a museum piece itself: This play by George C. Wolfe hit Broadway in 1986. Forty years ago, yet it still feels so current, so “woke,” so “Black Lives Matter” – and as relevant as ever. It works as a companion piece to last year’s equally irreverent production of “Ain’t No Mo’” by the Indianapolis Black Theater Company. This year’s IBTC production of “Museum” is directed by local cultural icon Deborah Asante, leading an outstanding cast of local Black talent.

Performers include Empressnikia, Empress Marlena, Clarissa Michelle, PsyWrn Simone, Alicia “The UnCuT Diamond” Sims, John Singleton, Edward Strickling Jr., Tre’Vaughn, and young Anya C. Carlton as “The Future,” with audio contributions by Reno Moore and Rick Drumm, and on-stage percussion by Komoyaka King.

From the beginning, as the flight attendant of Celebrity Slaveship advises us that “shackles must be worn at all times,” we are in for one hell of a ride. Wolfe’s satire through the play’s 11 scenes is both sharp and hilarious. Examinations of Black life and culture employ sufficient absurdity to confront the surreal experience of being African American. We encounter archetypes including a Mammy, a disturbed soldier, a gay “Snap Queen,” and a singer who found fame and respect in France but must face what she left behind. Nothing is sacred, including the too-perfect models of Ebony magazine, and the award-bait Black roles in “The Last Mama-on-the-Couch Play.”

The look is completed with a neat set design by Antonio Burks that suggests an exhibit hall, complete with a turntable to display the next piece in the collection. Burks also contributed designs in the excellent projected visual elements.

Stunning both as comedy and thought-provoking theatre, “The Colored Museum” opens for four more performances, Thursday through Sunday, July 9-11, at The District Theatre, 627 Massachusetts Ave., downtown Indianapolis. Get tickets at indydistricttheatre.org.