comedy

Jewish Theatre of Bloomington: Herzog play goes the distance

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By John Lyle Belden

How far would you go for a friend? For someone you love?

The Jewish Theatre of Bloomington presents “4000 Miles,” the 2013 Pulitzer finalist dramatic comedy by Amy Herzog.

Bill Simmons, who directed the Indiana premiere in 2012, is at the helm again. He said that the time that passed between these productions has given him better perspective on the main characters, 21-year-old Leo (Ryan Eller) and his 91-year-old grandmother Vera (Martha Jacobs, who was also in the 2012 Phoenix Theatre production).

Leo arrives unexpectedly around midnight at Vera’s New York apartment. He is excitable with hair-trigger moods, while she is patient and understanding, though a bit bewildered. He brings in his bicycle, having ridden not from his family’s home in St. Paul, Minn., but all the way from Seattle. He does not want his mother to know where he is.

Through 10 emotional scenes we learn what has brought Leo here, and the feelings and issues he must work through. This includes his relationship with Bec (Sofia Salgado), also in New York to attend college. One night, he brings home a young woman he just met, Amanda (Laura Rong), who resembles his adopted sister Lily (Rebecca Von Kirk). He has a lot to deal with, along with a sense that others believe he’s handling it all wrong. Meanwhile, Vera is dealing with her own feelings of things slipping away, including the passing of a dear friend in her “octogenarian club.”

The sharp script, excellent acting, and Simmons’ touch combine to make these strangers feel familiar, like people whose pain we don’t mind sharing. The generation gap and Vera’s feisty attitude generate a good amount of welcome laughs as a little absurdity finds its way into even the most serious situations. Beneath the problems is a genuine sense of feeling and connection, which leads to a hopeful outcome we can all feel as the play concludes.

Travel the much-shorter distance (from Indy) to experience “4000 Miles,” Thursday, Saturday, and Sunday, May 15-17-18, at the Waldron Art Center Rose Firebay, 122 S. Walnut St. (ground floor off 4th Street), Bloomington. Get tickets and info at jewishtheatrebloomington.com.

Mud Creek goes ‘Barefoot’

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By John Lyle Belden

Seeing a comedy by Neil Simon is kind of like treating yourself to a really nice meal. It just feels so good and satisfying. This is certainly true with the highly-quotable silly-even-when-serious fun of “Barefoot in the Park,” presented by Mud Creek Players, directed by Michelle Moore.

In the anything can happen time and place of 1960s New York, newlyweds Paul and Corie Bratter (Matthew Blandford and Piper Williams) move into their first apartment – a fifth-floor walk-up. Corie eagerly awaits a delayed furniture delivery, but the only arrival is the phone company man (Kevin Smith), who feels every step of the five flights (plus stoop). Soon Paul arrives from his job as a lawyer and while his wife giddily accepts their new place, he can’t help but see its many flaws.

Next to ascend the eternal stairs is Corie’s mother, Ethel (Barb Weaver). To see the apartment after it’s furnished, she agrees to return that Friday for dinner.

Paul is also annoyed – while Corie is pleased – to find that their brownstone is full of eccentric tenants, especially their upstairs (attic) neighbor, aging worldly raconteur Victor Velasco (Chris Otterman). Feeling her mom could use some spice in her life, Corie invites him to dinner Friday as well. And that weekend, things get very spicy.

Simon likes to throw together odd couples, and Williams and Blandford portray well their tested love in a comic clash between one who leaps into life and one who prefers to just sit and get some work done. Corie gets almost too manic, yet that overwhelming nature plays into the second-act antics as Paul finds himself literally on the edge. Weaver nicely plays the woman feeling her adventurous years were behind her, finding herself in her wildest one yet. Otterman’s Victor is a gentlemanly force of nature, not so much chewing the scenery as serving it up with the perfect seasoning.

Smith gets to be charming while his AT&T tech catches his breath. In addition, Jackson Hawkins plays the Delivery Man, who not only finally brings furniture at the end of the first scene, but also appears at major scene changes to summon the stage crew – including Alexandra Sarell and stage manager Dallas Ganz – to move things around as needed.

So feast your senses (and “don’t forget to ‘pop’ it!”) at “Barefoot in the Park,” Thursday through Saturday, May 15-17, at Mud Creek Players “Barn,” 9740 E. 86th St., Indianapolis. Get tickets at mudcreekplayers.org.

Omigod you guys(?) – Indy Drag goes to law school

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By John Lyle Belden

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

Many of us are familiar with the 2001 film “Legally Blonde,” and perhaps with the 2007 stage musical, however for Indy Drag Theatre, it was a parody tribute to this fun comedy in 2022 that got the company rolling. Now, this clever melding of both movie and Broadway – acted, danced and neatly lip-synched by local Drag Queens and Kings – has returned to The District Theatre.

Also notable as an actor in conventional musicals, Parker Taylor makes a stunning transformation into Honey Bunn, who plays our blonde heroine, Elle Woods. To win back the love of her ex-boyfriend Warner (played by Cadence), she leaves UCLA to enter Harvard Law School. Needless to say, it won’t be easy for her but very funny and entertaining for us. In Boston, Elle gets help from teaching assistant Emmett (Eli Rose) and local beautician Paulette (Sydnie Blair), but no help from Vivienne (Kalinda), who is with Warner now.

Elle finally gets to prove herself as part of a team of interns for Professor Callahan (Kristen N. Peterson), who is defending a famous fitness expert Brooke Wyndham (Vera Vanderwoude St. Clair) charged with murder.

The cast includes Axel Brozie as classmate Enid, and AJ Thoma, Kitt St. Clair, and B.B. Rosè as Elle’s Delta Nu sisters Margot, Serena, and Pilar, who appear as her literal Greek Chorus. Sean Seager is dog-gone cute as anthropomorphic pooch Bruiser, as well as hot UPS man Kyle.

A tip of the wig also to Ilana a la Mode, Madison Avenue, Kami Kamora, RoDick Heffley, Josè Dos Santos, Ellen Vander Missen, DeLuLu De Vant, Justin Sheedy, Sophie Sweany, Tiffany Rae, and CiCi Pasion.

Directed by IDT co-founders Blair St. Clair and April Rosè (who choreographed), stage manager is Natalie Port-Ma’am, with costumes by Alish Forner, makeup by St. Pussifer, wigs by Hair By Blair and sturdy sets by Josh Vander Missen.

While the Queens usually get the attention in these shows, it takes all kinds to make the magic work, and I must note the stellar King performance by Peterson as conniving, cruel creep Callahan.

With its energy, flair, and embrace of all things pink and shiny, this musical meshes perfectly with the Drag Theatre format, providing a wonderful experience all around. Get “Legally Blonde(r)” this Thursday through Sunday, May 15-18, at the District Theatre, 627 Massachusetts Ave., Indianapolis. Get tickets at indydistricttheatre.org.

Fringe alert: Get real weird with a real scientist

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By John Lyle Belden

Some scientific studies sound too bizarre or silly but do have real-world applications. Other times, you hear “according to this study,” yet on a closer look you have to say, “Really?!”

Dr. Rob Pyatt, PhD., tackles both kinds of actual research in his lectures. A self-proclaimed “stand-up scientist” (we’d say this is backwards: he’s fact-based first, with a wild sense of humor), he has hosted a popular real-world Weird Science program (no relation to the film or song) at sci-fi conventions and other events for 20-plus years, plus other STEM education programs and initiatives in several states. An Indiana University graduate with Masters from Purdue and Doctorate from Ohio State, he has also worked at the University of South Dakota, Sioux Falls; and Kean University, Union, N.J.

Aside from serious credentials, Rob is seriously entertaining, whether elaborating on a rather deviant duck, the importance of what bathroom stall you use is to facility planning, or discussing anything Godzilla. He lets audiences know how the science is made, often involving us in quirky surveys which can be mined for data, both accurate and misleading.

Our research shows that he loves Indianapolis.

He will appear live at his regular haunt, InConJunction Sci-Fi Convention, July 4-6, with his Weird Science on the evening of Saturday, July 5, at the Wyndham Indianapolis Airport, 2544 Executive Drive. He presents real, published case studies, research, and incidents explored for – if not useful information – at least, a lot of laughs. And be ready to do an offbeat questionnaire – past surveys include the above restroom preference, or if you can tell a “pit bull” from other breeds by sight (harder than you think!). Part of a big nerd-tastic experience on Indy’s west side, get info (including Saturday-only tickets, if you prefer) at inconjunction.org.

Also, a new show, “Grad School Sucks,” featuring Rob Pyatt, will premiere at the 20th Annual IndyFringe Festival, in which, he declares, “Comedy meets science in this show exploring strange scientific studies.” The festival runs Aug. 14-24 on and around Mass Avenue in downtown Indianapolis. See IndyFringe.org in the coming weeks for details on specific showtimes and venues.

In the meantime, you can also find him hosting the “Weird Science with Rob Pyatt” group on Facebook.

Footlite gets ‘Kinky’ in the best way

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By John Lyle Belden

With among its many lessons that you should be willing to pull together to try something wild with great potential, the all-volunteer cast and crew of Footlite Musicals present the fun and funny hit, “Kinky Boots.”

With book by Broadway legend Harvey Fierstein and songs by equally iconic Cyndi Lauper (making her the first woman to win a Tony for solo songwriting), the 2013 Broadway musical is adapted from the 2005 British film of the same name, in turn inspired by a true story from the 1990s. Set in that 20-ish year ago era in Northampton, England, a man who has inherited a failing shoe factory seeks to save it by filling an unmet need – sturdy but sexy boots for drag queens.

Charlie Price (Alexander Bast) had planned to move to London and take a lucrative marketing job alongside his fiancé Nicola (Nicole Sherlock) but is called back home when his father (Ted Jacobs) passes away. The shoes are well-made, but in a highly competitive market, nobody seems to want them. While seeking to strike a deal with a family friend (Derek Savick-Hesser) Charlie encounters Lola (Kevin Bell), the drag queen star of her own show. He notices her stilettos won’t hold up a man’s body and, after Price & Sons employee Lauren (Mara Fowler) – who secretly has a crush on him – suggests he find “an underserved niche market” to stay in business, gets the idea to make what will be known as Kinky Boots.

Reactions are mixed at the factory, though most buy in as the alternative is unemployment. Factory manager George (Ryan Bridges) is eager and creates a steel-reinforced heel. Foreman Don (Drew Kempin) considers himself a “man’s man” and openly mocks Lola, who is brought on board as designer. In three weeks, there will be a major fashion show in Milan that will make or break the enterprise, as well as the people involved.

We also meet, in the opening number, Charlie and Simon (who will become Lola) as boys, played by Sam Houghland and Ryan Thomas, respectively, as well as Simon’s disapproving father (Jerry Davis).  The cast includes Shari Jacobs, Awbrey Brosseit, Jessica Hackenberg, Logan Laflin, Louis Soria, Ruby Waliser, Jennifer Zotz, and Tom Zotz, who also cameos as Richard, Nicola’s boss.

Lola is backed by her cloud of fabulous Angels, performed by drag artists Conner Becker-Chamberlin, a/k/a Darcy Sparks; Leon Benbow-Blomberg / Miss Dominixxx; Caleb Francis / Penny Loafers; Cameron Grant / Anita Richard; Shawn Hunt / Artemis Da Goddess; Dalen Jordan / Donleigh Delights; Paige Penry / Bella DeBall; and Kenan Tinnin / Body Miss Morphia.

Joyfully directed by Jerry Beasley, we get a (much-needed these days) uplifting story of grit and acceptance. The characters are fairly complex – not just the obvious multitudes in Lola, brought out in glorious voice and expression by Bell. Bast gives us a Charlie who is well-meaning, sometimes off-base, yet easy to root for. Kempin’s Don is mostly bluster, a bloke who literally gets sense knocked into him. Sherlock plays Nicola as one who feels certain of her direction, coming to learn that Charlie doesn’t see success her way. Fowler makes her regular young woman Lauren, who goes from slinging shoes on a factory floor to being “executized” to help make the new line,   appropriately adorable.

Among the volunteers putting this spectacle together are set designers Ted Jacobs and Mary Lich, choreographer Thomas Mason, vocal director Ben Rose, and stage manager Melissa Yurechko. Costumer for the queens is Angel Olivera, assisted by Katie Van Den Heuvel and Michael Morrow. Jeremy Kaylor leads the orchestra.

EDITED TO ADD: Beasley messaged me this – “I would like to add that Claire Olvey Slaven also costumed The Angels as well as assistant directed, and Ben Jones created their hair and makeup look! The Price & Son workers costumes were designed by Edith Burton-Bandy.”

As a counter to current controversies, we get a reminder that for its community Drag is not just a lifestyle, but an essential part of life. Let the spirit of “Kinky Boots” raise you up, and remember: “You can change the world, when you change your mind.”

Performances are Thursdays through Sundays through May 18 at Footlite Musicals, 1847 N. Alabama St., Indianapolis. Get tickets (which have been selling fast) at footlite.org.

ATI employs legendary workplace comedy

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By John Lyle Belden

The corporate glass ceiling has a few more openings these days, but women still relate to the frustration of the 1980 movie, “9 to 5,” which made lifelong friends of its stars Jane Fonda, Lily Tomlin, and Dolly Parton, who wrote and performed its iconic theme.

The story, which Fonda brought to film after hearing the plight of admins in the ‘70s, got new life as a Broadway musical by Patricia Resnick with more songs by Parton in 2009. And now, Actors Theatre of Indiana have put it to work at the Studio Theatre in Carmel through May 11.

Set mainly in the offices of mythical Consolidated Industries in 1979, and keeping the plot beats of the original film, Judy Bernley (Devan Mathias [Fonda’s role]) is enduring her first day at work – ever, thanks to being dumped by her philandering husband. She is put under the tutelage of supervisor Violet Newstead (Judy Fitzgerald [Tomlin]), who is still considered “just a secretary” despite seniority over many of the men, including “sexist, egotistical, lying, hypocritical bigot” company VP Franklin Hart (J. Stuart Mill). The tyrannical Mr. Hart is served by personal assistant Roz Keith (Cynthia Collins), an obsessively devoted toady who spies on the others for him, and secretary Doralee Rhodes (Abigail Storm [Dolly]), who constantly deflects but puts up with his blatantly sexist shenanigans while getting no respect from others due to her “backwoods Barbie” accent and looks, but mostly from the rumor she’s banging the boss.  

To set the scene, Ms. Parton herself appears on a screen to introduce the show and its principal trio. The opening number is a breakdown of the theme song, energetically propelling us into their “way to make a living.”

We also meet Grace Villegas, Jaddy Ciucci, and choreographer Carol Worcel as secretaries Maria, Kathy, and Margaret (the “old lush”). Deb Wims is Hart’s oblivious wife Missy, and plays a member of the secretarial pool. Tim Hunt is accountant Joe, who is sweet on Violet. Kenny Shepard portrays Dick (appropriately), Judy’s ex, while Fletcher Hooten is Josh, Violet’s teenage son; Shepard and Hooten also appear as members of the company’s all-male executives, along with Peter Scharbrough as rising star Bob. Scharbrough later cameos as the Chairman of the Board. Jacob A. Butler plays Dwayne, Doralee’s sweet and supportive husband.

The plot brings Judy, Violet, and Doralee together in their mutual hatred of Hart, and after a then-illicit evening with a rather strong dose of pot during which they relate – and we see gloriously performed – their revenge fantasies, they inadvertently find themselves actually acting them out. So, at intermission, Hart is chained away in his own home by the women, who next must figure out how to keep the company running with him gone (the easy part) while working out the means to keep their own freedom (hilarity ensues).

Mathias and Fitzgerald make familiar roles their own while Storm adds her go-getter spark to the lady in the big blonde hair and support bra. Mill takes his tyrant up a comedic notch from the film, aided by his hilariously cheesy company photograph (props design by Casey Clouser). Collins nails the role of Roz. Hunt is sweet as smitten Joe, who helps save the day but gives credit where due.

Indy area stage legend Suzanne Fleenor directs. Stage managers are Duane McDevitt, assisted by Kayla Richardson. Guy Clark’s costume design evokes the era without edging into loud fashion. Jay Ganz designed a clever and functional modular set that allowed for smooth desktop transitions.

The fairly daring-for-its-time show that set the standard for modern workplace comedy is a still-relatable joy and gentle reminder to value everyone who has to punch in at 9 (or, from my experience, 8) to 5. Performances are at the Studio Theatre in the Allied Solutions Center for the Performing Arts in downtown Carmel. Info and tickets at atistage.org and thecenterpresents.org.

Straight dope from the Cryptid crew

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By John Lyle Belden

Before you read any further, please go to IndyFringe.org and get your tickets for Cryptid Entertainment’s production of “Reefer Madness: The Musical,” this and next weekend (May 2-4 and 9-11) at IF Theatre, and quickly, as performances have been selling out.

Did you score some of this good stuff? Awesome. Here’s what you can expect.

It was high time this campy cult hit – based on the “informative” film from 1936 – returned to Indy, years after its 2007 debut at a venue that has since changed its name (coincidence?). The victim of that production, a young Tony Schaab, has recovered from his habit of wearing strange furry suits to lead the Cryptid cast as the valiant Lecturer, warning us all of the dangers of…

MARIJUANA!

With the help of wholesome young actors, he relates the fateful story of The Harper Affair, in which Jimmy Harper (Chris Ritchie) forsakes his girlfriend Mary Lane (Melissa Mellinger) and the innocence of the Five and Dime soda fountain for the sweet temptations inside the Reefer Den run by Jack Stone (Justin Klein) and his stoned lady Mae (Jessica Hawkins). There, college dropout Ralph Wiley (Daniel Draves) can’t wait to hook more teens and seductress Sally (Addi Koehler) adds carnal pleasures to the mix.

Schaab also watches events unfold as friendly soda jerk Mr. Poppy. Other endangered youths are played by Cameron Hicks, Drake Smith, Kelly Hutchings, Kennedy Wilson, Kylie Schweikarth, and Linda Thompson. As it turns out, the pull of the pot is so strong that perhaps not even Jesus himself (Klein) can help. Only death and destruction – and a bizarre chase scene – can be the result.

From time to time, Abby Morris carries informative placards, including one that says, “REEFER MAKES YOU GIGGLE FOR NO GOOD REASON.” Fortunately, with this cast, under the direction of Bradley Allan Lowe, we have many good reasons to laugh. Music is by the two-person orchestra of Billy Scharfenberger and Elliott Smith. The incredible set is by Dakota Lumley.

Within the badly-made moralizing ‘30s film and the book and songs of the 1998 musical by Kevin Murphy and Dan Studney, there is a cautionary tale (exaggerated as it is) that letting yourself get drawn into addictive behavior can lead to a downward spiral of bad consequences. It could also be noted that the issue with destructive habits isn’t the substance – one could get in these kinds of trouble with legal gambling or alcohol, or whatever consumes your time and attention – but how much we understand the true dangers, and that the desire by some to control you won’t necessarily stop with that one “bad” thing.

Or… never mind – just laugh yourself silly at this over-the-top musical adventure with the most dangerous weed since that Little Shop play that was in town last year.

Big thanks to Cryptid artistic director Dakota Jones for bringing “Reefer” back to Indy, and to stage manager Ariel Laukins for helping me get the info for this review.

Wow… Can you imagine what it would be like if The Stuff actually became legal? Like in maybe about half the U.S. states in one form or another, including all the ones that border this one? *[exhales]* Uh-oh.  

‘Omigosh,’ these kids are good

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By John Lyle Belden

When you see a comedy performed by kids, for kids, about a kids’ summer camp, you expect something, well, campy. With KidsPlay Inc.’s “Camp Omigosh,” by Wade Bradford, directed by Amy Studabaker, you get that and more, an experience one could say is out of this world.

KidsPlay (for those unfamiliar) is the Greenfield-based non-profit theatre program open to children in grades 3 to 8 (any school or homeschooled) who make up the entirety of the cast – learning stagecraft for free – while volunteer family and community members help in all aspects of the show.

The weirdness starts on the bus to camp, as Connor (Asher Ortman), who is also our Narrator, tries to make friends by swindling them. Tasha (Nora Smith) is not impressed, but somehow finds herself holding his hand in the long, dark tunnel to the campground.

Camp Omigosh itself, on the banks of Lake Whattheheck, turns out to be a dump. New owner Miss Warren (Molly Wallace) sets the activity schedule around the kids fixing the place up, which excites carpentry and engineering enthusiast Parker (Oliver Lederman). To assist, there are some deaf-mute girls from Sweden (Gigi Gunn, Callahan Horan, Kyndall Watkins) led by Ulah (Ellie Stearns).

Staff include Ms. Greenblatt (Kayte Reasoner) who combines her love of arts and crafts with being Camp Nurse; Coach Dunbom (Bella Latdrik), who views playing dodgeball as a life skill; Mr. Hobbes (Bennie Vaughn), who lives to dance; and the Starbucks-addicted bus driver, Ms. Finkle (Aria Studebaker).

Rich girl Kimberly (Abby Marler) thought she was going to an elite performing arts camp and is furious. The others all seem happy enough to be there, though, especially BFF’s Tessa and Vanessa (Josie McConnell and Essie Ortman), who seem to share both a brain and a passion for animals.

And what’s a summer camp without a ghost story? There have been sightings of a mysterious figure (Caroline Goldstein) – could it be the spirit long missing (and presumed dead) Billie Wilson? Why are campers’ personal objects floating away into the woods? Also, aren’t the Silent Swedes just a bit too creepy? Things just get spookier and weirder until our kids find themselves in a more complex and dangerous situation than any of them (or frankly, us in the audience) ever expected.

The cast also include – in various roles such as campers, aliens, and robots –  Audra Speicher, Vivian Goldstein, Tanner Pipkin, Trinity Bricker, Lilliana Grzelak, Sawyer Froman, Piper Grzelak, Elliott Holmes, Sydney Daniels, Quinn Felver, Harrison Studabaker, and Jack Joyner as the “First Contact Alien.”

Several also perform in the traditional KidsPlay opening dance number – a clever take on a “camp” classic – along with Evalynn Connelly, Tegan Keller, and Piper Orr.

The production is funny, entertaining, and a nice showcase of young talent. We are always impressed with even the younger actors who already show stage presence and range, like fourth-grader Lederman, or fifth-grader Marler in taking her arc from spoiled brat to feisty heroine (who, in a comic high-point, defeats… herself!).

The polish of experience starts to show with principal players such as Asher Ortman, Smith, the duo of Stearns and Essie Ortman, and those playing adults like Wallace, Latdrik, Aria Studebaker, Reasoner, Vaughn, and Joyner. The “Swedes” display quality clown/mime work, and we even get some puppetry with Daniels, Felver, and Harrison Studabaker.

This being the Spring Show, these are the final KidsPlay performances for the program “graduates,” eighth-graders who move on to high school stages and possible Young Artist opportunities in area theatres. This year, there are just Bella Latdrik and Jack Joyner. You know when you notice a young girl or boy on stage stealing scenes? That was these two in past KidsPlay productions. Here’s wishing them the best going forward.

Head out to “Camp Omigosh!” Performances are Friday through Sunday, May 2-4, at the H.J. Ricks Centre for the Arts, 122 W. Main St. (US 40) in downtown Greenfield. Get very affordable tickets at crazylakeacting.com or the box office.

Play presents unstable nuclear family

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By John Lyle Belden

When we see photos taken on the surface of the planet Mars, they are desolate, empty, and yet beautiful – in part because we still want to believe in the advanced civilizations that authors including Ray Bradbury and Robert Heinlein placed there. We observe the truth but see the myth.

In “Martian Gothic,” by popular and prolific American playwright Don Nigro, Sonia Pretorius looks at a nuclear power plant and, she tells us, sees grand Martian cathedrals.

The play is presented at IF Theatre by Clerical Error Productions, expanding beyond its reputation for farces by bringing us a more complex sort of comedy – laughter-invoking funny at times, while also “funny” like things are not quite right. Local actor and director Jon Lindley, noting an interest in this play for some time, directs, assisted by stage manager Stacy Long.

Set in the 1980s – apparently at a point between when the Three Mile Island incident increased demand for public relations campaigns by nuclear energy interests, and the Chernobyl disaster, which essentially stopped all interest in building new plants – Sonia (Laura Gellin) is the perfect spokeswoman for the local nuclear energy company. She has a genius intellect, knowledge of the systems, beauty with an engaging personality, and is the daughter of famed nuclear engineer Dr. John Pretorius (Brad Staggs). As a girl she loved science fiction, but as a teen her energies were devoted to caring for younger sister Janie (Sarah Powell) after their mother died.

Sonia has a few problems: Janie is an environmental activist, protesting at the plant; the power company official Sonia reports to, Nofsinger (Blake Mellencamp), is a sexist jerk (and wannabe adulterer); and there are disturbing reports written by the on-site Nuclear Regulatory Commission inspector, R. Hooey. Turns out the “R” stands for Ruth (Alaine Sims), who sits hidden away in the basement writing honest reports that no one reads because the NRC automatically approves anything management wants.

Sonia is also our narrator, with a frankness that belies her public niceness. “Thank you for being ignorant,” she says. Her intellectual smugness extends to treating her sister like an imbecile, not just because of Janie’s dyslexia, but mostly for her refusing to see the wonderful benefits of their father’s work. Gellin and Powell give us a heartbreakingly genuine performance of siblings whose love is constantly obscured by differences that have them arguing any time they are together – constantly both desiring and refusing to understand each other’s point of view.

Staggs gives us a man of conscience finding himself forced to reconsider his life’s work. Dr. Pretorius’s priority becomes connection with his daughters, and to understand the truth – whatever form it takes – with the help of his growing relationship with Ruth. Sims displays sharp wit in her straight-shooter character.

Mellencamp makes Nofsinger an irredeemable ass, weasel, or any manner of unpleasant metaphorical animal. Still, his “the facts are what we say they are” expedient manager is not much of an exaggeration from what’s found in corporations, government, or especially where they intersect.

At a time with new designs for nuclear plants being floated, trust in government and corporate interests as shaky as ever, and our continuing to understand how uncertain is the literal ground under our feet, this play is an important thought-provoking parable for today. Nigro’s words, in Lindley’s hands, intwine themes of family and power with fragile nuclear bonds.

Mars remains too distant for us; however, the wisdom of its mythical race is still attainable, provided we can handle what we grok. “Martian Gothic” has performances Thursday through Sunday, April 24-27 at The Blackbox at IF Theatre, 719 E. St. Clair, downtown Indianapolis. Get tickets at indyfringe.org.

‘Wrong’ goes right at the IRT

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By John Lyle Belden

One of the great ironic tricks of theatre is that it takes true professionals to portray clumsy amateurs in a way that delivers side-splitting comedy. This we get from Indiana Repertory Theatre with “The Play That Goes Wrong.”

This was a U.K. and Broadway hit by Henry Lewis, Henry Shields, and Jonathan Sayer, who apparently spend their time in London making other stage genres and classic stories “go wrong.” The script invokes the spirit of Murphy’s Law, in that practically every prop will break or fail and every conceivable mistake can and will be made – combined with a determined “the show must go on” attitude.

This appears to be the Indianapolis premiere, though there were productions last year in Bloomington and Carmel (we reviewed those as well, in case this looks familiar).

To ensure that everything goes perfectly catastrophic, the IRT Margot Lacy Eccles Artistic Director, Benjamin Hanna, directs. The cast includes a couple of the players from last autumn’s “Spelling Bee,” Brent Mutter and Dominque Lawson, and two local masters of physical comedy, Rob Johansen and Claire Wilcher.

The play takes place in England at the Cornley Drama Society’s opening night of “The Murder at Haversham Manor.” The whodunit’s director (Eric Sharp), who also plays the detective, is grateful to finally get a production under way with a full cast, once the technical director Trevor (Ryan Hallahan) and stage manager Annie (China Brickey) are set. The mystery starts from opening curtain with the victim Charles (Johansen) lying on a chaise at center stage. Entering, despite a stuck door, are his best friend Thomas (Mutter), his brother Cecil (Lawson), fiancé Florence (Sarah Coakley Price), and the butler Perkins (Wilcher). Was this murder? Detective Carter arrives to determine it was, and everyone is a suspect.

Of course, this Agatha Christie-style story is constantly upstaged by things falling and failing all over the place, nothing where it’s supposed to be, and cleaning fluid in place of the stage-whiskey. Add to this some superb bad acting, such as Lawson’s comically broad gestures resembling bad attempts at sign language, or Wilcher’s need to have key words written on her hand – and always mispronounced.

Things get even more bizarre when Florence is accidentally knocked out and Annie, script in hand, must immediately take her place, going about as well as you’d expect. Eventually, Price and Brickey are two concussed, dueling Florences fighting for the spotlight.

Throughout, this is a masterpiece of mayhem. The non-stop hilarity surpasses even favorite farces like “Noises Off,” with chaos comparable to Monty Python or The Marx Brothers at their manic best.

Credit goes to Christopher and Justin Swader for the hilariously hazardous stage design.

“The Play That Goes Wrong” runs through May 11 on the mainstage at IRT, 140 W. Washington St., in the heart of downtown Indianapolis. Get info and tickets at irtlive.com.