comedy

Based on a True Story

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By John Lyle Belden 

There is funny, “ha-ha;” there is funny, “strange and/or wrong” – and there is a bold combination of these, “Funny, Like an Abortion,” a dangerously dark comic drama by Rachel Bublitz at IF Theatre, home of IndyFringe.

A co-production of Theatre Unchained with American Lives Theatre, this intense movie-length one-act is directed by TU’s Megan Ann Jacobs and ALT founder Chris Saunders. 

Set in the near future, Monroe (Alicia Ana Hernandez-Roulet) is setting up a surprise party for her bestie, Jade (Rachel Kelso), at least that’s what appears on her social app accounts and is known by her household smart device, Butler (voice of Thomas Sebald). However, once she feels free of any eavesdropping, Monroe springs the real surprise – it’s an “abortion party!” To Jade’s astonishment, the numerous gift bags each hold or represent a means of ending Monroe’s unwanted pregnancy. Legal and therefore safe abortion is a thing of the past, so they must choose the least-bad option to be executed that night, before anyone else can catch on.

In this portrayal of how elements of “Nineteen Eighty-Four” and “The Handmaid’s Tale” could easily come about in today’s high-tech culture, the mood is lightened by laugh-not-to-cry dark humor and moments of game-show presentation, juggling, and a tap-dance break. Hernandez-Roulet and Kelso take on this challenge earnestly as relatable and entertaining characters. Monroe stays upbeat, even manic, to keep ahead of a creeping despair, as Jade feels her way through being both a true friend and an accomplice to a serious felony.

They are also Alicia and Rachel, two actors breaching the Fourth Wall to remind us that while all the methods given in the play are actual abortion tactics (some going back centuries), they are all dangerous and not to be attempted by anyone.

While Bublitz wrote this prior to the Dobbs v Jackson decision that ended the protections of Roe v Wade, the play does anticipate it happening and we do get from the cast a rundown of the various restrictions put in place across America since the Supreme Court’s 2022 ruling. With the results of recent elections, including the likely enacting of Project 2025 measures in the coming year, something like the events portrayed could soon come to pass.

Enlightening and alarming in what it portends, this show is recommended for those who understand to bring friends who need to know – which, to be honest, is all of us.

“Funny, Like an Abortion” has two more weekends, Nov. 15-17 and 21-23 in the Blackbox (formerly Indy Eleven) stage at IF, 719 E. St. Clair St., Indianapolis. Get info and tickets at theatreunchained.org or indyfringe.org.

We love Southbank

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By John Lyle Belden

The power and mystique of the Shakespeare tragedy “Hamlet” are so strong, one can talk about and around the play and not only impart its importance, but also tell a story that stands on its own. This our young protagonist learns in the comedy “I Hate Hamlet,” by Paul Rudnick, presented by Southbank Theatre Company, directed by Eric Bryant.

Set in the early 1990s, television star Andrew Rally (J. Charles Weimer) rebounds from the cancelation of his show by going to New York to play the lead in a Shakespeare in the Park production of “Hamlet.” To be honest, he doesn’t really want to do it, being self-aware that his talent lies more in the small screen than on a big stage.

Still, his girlfriend Deirdre (Michelle Wafford) adores the Bard and might finally give in romantically if Andrew takes the role. His agent, Lillian (Wendy Brown), also sees this as a good decision. On the other hand, we will soon meet his friend Gary (Anthony Nathan), a TV director and smarmy denizen of Hollywood who sees the fading TV star in over his head, getting little to no financial gain from this likely fiasco. Gary arrives with a deal for a style-over-substance show that is assured to make them both rich, if Andrew abandons the Shakespeare gig.

Meanwhile, New York Real Estate broker Felicia (Jean Arnold) has set Andrew up in an eccentrically-decorated apartment that was once home to legendary actor John Barrymore – Drew’s grandfather, and, more importantly, regarded as the greatest Hamlet of his era. Felicia also fancies herself a psychic medium, so she, Andrew, Deirdre, and Lillian (who once knew the actor), attempt to reach out to Barrymore’s spirit.

Unable to resist an opportunity to perform, John (Kevin Caraher) does appear, and won’t leave until Andrew Rally is Hamlet (ghost rules, otherwise he’s stuck).

That’s the plot, but more important is the hilarious journey Andrew takes in getting over his “hate” of Hamlet, feeling compelled to prove to everyone – especially himself – that as an entertainer he is more than just “an anytime snack” (see the show, you’ll get it). Caraher plays Barrymore as a manic mentor, while still carrying echoes of the regrets and alcoholism of his mortal years (the real actor did have an interesting biography). He and Weimer engage in some great physical comedy, especially when the swords come out.

Wafford’s Deirdre could be pictured next to “giddy” in the dictionary, a blend of (literally) virginal innocence and fangirl ebullience. Brown plays her aging German agent as both sensible and wistful, the latter especially when she has her long-awaited second encounter with the spirited stage star. Nathan does broad comedy as naturally as breathing and embodies happy-go-lucky about as heartily as anyone short of an actual cartoon. It’s telling that Gary lives so much in the alternate reality of the West Coast that he easily sees Barrymore without an inkling that the event is supernatural.

A roaring good time in a sly homage to the power of Shakespeare and the character of those who take it on, you’ll love “I Hate Hamlet.” Performances are Thursday through Sunday, Nov. 14-17, at Shelton Auditorium, 1000 W. 42nd St., Indianapolis, on the southwest corner of Butler University campus. For info and tickets, see southbanktheatre.org.

Bard Fest finale: Nothing ‘Tame’ about it

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By John Lyle Belden

Before hanging up the Elizabethan-era pantaloons, Indy Bard Fest wraps its final season with the notoriously in-your-face comedy, William Shakespeare’s “The Taming of the Shrew.”

Director Dana Lesh of Improbable Fiction Theatre Company gives the Bard full voice in this production, leaving in some scenes that other adaptations might cut, giving the intertwined plots a more complex yet complete feel. She also has our cast lean in on the fact that, apart from its bizarre romance and characters’ abuses, this is a comedy! Broad slapstick and sharp comic timing abound throughout, with a troupe that holds nothing back.

Angie Dill is a human hurricane as Katherine, our title character. Meanwhile Thomas Sebald, with that rare knack to play a handsome romantic lead like a wolverine on double-espressos, is the perfect wild-eyed match for her as persistent suitor Petruchio. The post-intermission psychological torture is worthy of discussion after the show, whether it ends in total domination or perhaps a means to channel cruel personalities without getting into a murder plot like many other Shakespeare plays. Dill adds to the mystery by not being entirely mean, and showing Kate keeping her wits about her, even when at their end.

The added complexity gives us a full picture of the main alternate storyline, the wooing of younger sister Bianca (Tailynn Downing). This has its own twists involving rival suitors: clever Lucentio (Andrew Daniels), dowry-minded Hortensio (Josh Gibson), and elderly Gremio (Ryan Shelton). For further complication, as Lucentio dons a disguise, he has his servant Tranio (Ben Elliot) pretend to be him. Also, they find a stranger (Thomas Smith) to pretend to be Lucentio’s father Vincentio (Jeff Bick), who will, of course, also show up. All this happens in the house of Baptista (Daniel Shock), who just wants his daughters to be wed and happy.

Contributing to this hilarious mess are Damik Lalioff as Petruchio’s longsuffering manservant, as well as Nalani Huntington, Cathie Morgan, and Kellyn Merrell, in various roles.

Concluding a Shakespeare festival with a comedy that ends not with a wedding, but a scolding? Consider it Bard Fest’s mic drop. Enjoy the madness while you can; performances are Friday through Sunday at the Mud Creek Players “Barn,” 9740 E. 86th Street, Indianapolis. Get tickets and info at indybardfest.com.

We thank producer Glenn L. Dobbs for having us along on this final ride.

ATI presents romantic pen-pal predicament

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By John Lyle Belden

Easing us out of the Spooky Season and into the Holidays, Actors Theatre of Indiana presents the classic musical, “She Loves Me.”

With book by Joe Masteroff, music by Jerry Bock, and lyrics by Sheldon Harnick (who would next write “Fiddler on the Roof”), this “Holiday Love Story,” based on a 1937 play by Miklos Laszlo, so perfectly fits the template of the modern rom-com, it even inspired one – the 1998 film “You’ve Got Mail.”

In 1930s Budapest, Maraczek’s Parfumerie opens with a sales staff that includes anxious yet jaded family man Sipos (John Vessels), hopeless romantic Ilona (Nathalie Cruz), suave ladies’ man Kodaly (Eric Olson), shy yet competent Georg (Jacob Butler), eager delivery and stock boy Arpad (Ben Friessen), and Mr. Maraczek (Darrin Murrell) himself. Business is brisk this summer day, but there is uncertainty that the new musical cigarette boxes will sell. The boss bets Georg its price that at least one box will – then Amalia (Sophie Jones), a headstrong woman seeking a job at the shop, persuades a customer to gladly buy.

With her costing him money, then taking a job alongside her at the store, Georg and Amalia bicker. They can’t stand each other. However, each has also privately written lonely-hearts letters to an anonymous lover – of course, unknowingly, each other. As the calendar turns to December, the “dear friends” decide to meet in person, at a café notorious for romantic rendezvous. What could go wrong?

Butler and Jones are nicely cast as the sweet and sassy secret (to each other) lovers, whose angry sparks generated at work hide a flame growing in spite of itself. Vessels gives dignified charm to his Hungarian everyman that contributes to the comedy without stealing scenes. Likewise Cruz, who in her Act II solo makes being barely literate sound like an adventure. Friesen, whose character has the same last name as the original playwright, makes an interesting catalyst to several scenes while cheerfully playing the maturing lad making his way in the world. Olson gives us a bad boy in both the playful and eventually literal sense, breaking hearts and making scenes with panache. It was good to see Murrell, a steady hand both on stage and off (as ATI’s Associate Artistic Director), as the good-natured but firm – and troubled – boss.

Customers adding little touches of fun in the shop, and appearing in other roles, are Elizabeth Akers, Cynthia Collins, Terrance Lambert, Josh Maldonado, Carrie Neal, and Brett Mutter, who has a wonderful turn as the café head waiter.

Note that it’s not all fun and romance, as subplots include infidelity and a moment of self-harm. But true to romantic stories throughout the ages, all will be well in the end.

The show is directed by Richard J. Roberts, who is also resident dramaturg at Indiana Repertory Theatre. Thus, he found this story interesting as a look into the relatively carefree atmosphere of Eastern European cities in the years before World War II and the strife that followed. Unlike the air of denial that permeates “Cabaret,” this reflects more of a genuine joy that – especially from our perspective – is worth celebrating though (or because) it can prove fleeting.

Choreography is by Carol Worcel, with music and vocal direction by Nathan Perry, and Jessica Greenhoe is stage manager.

For those who enjoy watching the journey from meet-cute to “I do,” or need an idea for your next romantic date, may I suggest “She Loves Me,” performances through Nov. 17 in The Studio Theater at The Center for the Performing Arts in downtown Carmel. Get info and tickets at atistage.org or thecenterpresents.org.

Little extras make Z&Z ‘Rocky’ an ‘absolute pleasure’

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By John Lyle Belden

It’s been a few years since we looked in on the Zach & Zack (“Zachk”) production of “The Rocky Horror Show” (not the movie, the original Richard O’Brien stage play) and “Brad, I’m so glad” I returned for this year’s edition.

If you are reading this, odds are you know the story – a super-campy musical tribute to the spooky “science-fiction double-feature” of decades past. If you don’t… well, “virgins,” this isn’t just a play, it’s an experience. Just roll with the weirdness and shout along when prompted.

That’s one of the cool things about this production: The audience prompts are flashed above the stage. It keeps everyone mostly in unison, though it standardizes the shouts and we are asked not to add more if we know additional lines (I said quite a few, normal-voiced, at my table, surprised by how many I remembered).

Producer Zach Rosing and director Zack Neiditch have assembled an excellent cast of joyous freaks. In charge of this menagerie is the incomparable Tim Hunt as Dr. Frank N. Furter, the “Sweet Transvestite” and our host as “a-hole” square Brad (Suraj Choudhary) and naïve “slut” Janet (Logan Hill) arrive at his castle looking for a phone but instead finding a mad experiment – bringing life (itself!) to the muscular Creature, Rocky (Johnnie Ray Hughes). Overseeing this mayhem are Matt Branic as Riff-Raff, Elizabeth Gee as Magenta, and Matthew Altman as a marvelous trans Columbia (it completely works, especially when the costume malfunctions).

Steven Ryan Crays appears as unfortunate Eddie and returns as the noble Dr. Scott. The funky phantom ensemble are Alexa Abbott, Megan Arrington, Kelvin Burzon, Brittany Michelle Davis, Danny Kingston, and Kendrell Stiff.

Most impressive to me was the interludes with our dramatic Narrator, Craig Kemp. While initially shown on the nearby screen in the expected stuffy study, his performance literally goes all over the place. You never know where he and his faithful videographer will appear next as he expresses in solemn tones the goings-on and how imperiled our (sorta) innocent couple truly are. This aspect of the show adds to an already immersive experience, raising the entertainment value, especially for us jaded “Rocky” veterans.

A Halloween treat for mature audiences with immature tastes, “The Rocky Horror Show” runs through Nov. 2 at the Athenaeum Theatre (due to its historic nature, no bringing “props” allowed), 401 E. Michigan in downtown Indy (corner of Michigan, New Jersey, and Mass Ave). For tickets, go to rockyhorrorindy.com.

Fonseca Halloween ‘spooktacular’ returns

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By John Lyle Belden

Call it another Indy holiday tradition: Fonseca Theatre Company tickles your funny bone (and the rest of your skeleton) with “Boo-La-La! An Indianapolis Spook-tacular 3,” directed by FTC board president Yolanda Valdivia.

A suspiciously normal-looking cast – Jean Arnold, Preston Dildine, Brant Hughes, Charlie Rankin, and Joshua Short – present a variety of creepy yet funny short plays (including one each by Arnold and Dildine) interlaced with popular songs by the likes of Hall & Oats, Oingo Boingo, and The Ramones.

“Cryptid Group Therapy” by Emily Worrell has a Latin flavor, as well as one of West Virginia’s biggest attractions; “Olly Olly Oxen Free” by Jacquelyn Priskorn delves the most into suspense, as the “game” gets serious; “Rent-a-Stiff” by Fred Tacon is absurdist satire with businesses that would kill to gain an edge; Dildine’s “100 Steps” has us feeling for a spirit stuck in a popular “ghost tourism” spot; “Fair is Foul” by Donna Latham has a Wyrd Sister meeting folks even weirder – celebrity makeover hosts; Arnold’s “Zombie Moves” takes various positions on physical fitness prior to an evening of scaring mortals; and “Bloodsuckers Anonymous” by Paige Scott has the old-school Impaler commiserating with some more recent popular vampires.

This gang all have plenty of experience making local audiences laugh, and do so splendidly here. In addition, Short gets to show off some exceptional physicality, including his Michael Jackson-style dance moves. The musical bits feel more integrated this year, with visual treats along with each cast member getting to sing. Kudos to costume designer Jeanne Bowling and props by Rebekah Radloff for giving it all the right look. Mad Brown is stage manager.

The trick to experiencing the fun side of Halloween is to treat yourself to “Boo-La-La!” It runs through Oct. 27 at 2508 W. Michigan St., Indianapolis.

In addition, there will be a “Boo-La-La-Jr!” the afternoon of Oct. 26, featuring sketches written by the young actors involved – tickets for the youth version are pay-what-you-will.

For regular tickets to the main version, visit fonsecatheatre.org.

‘Boots’ a good fit for Civic

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By John Lyle Belden

The musical “Kinky Boots,” now on stage at the Booth Tarkington Civic Theatre, is a story both of its time and for today.

With book by gay Broadway legend Harvey Fierstein and songs by equally legendary Cyndi Lauper (making her the first woman to win a Tony for solo songwriting), the musical is adapted from the 2005 British film “Kinky Boots,” 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 a niche market – sturdy but sexy boots for drag queens.

From today’s perspective, this venture looks like a typical business risk of reaching a niche market. In its context, it’s a cultural bombshell. In 1999, we’re getting used to seeing openly gay characters on TV; in 2005, we are still about five years from the repeal of “don’t ask, don’t tell” in the military, with gay marriage settled even later.

But this isn’t an artifact of a less-enlightened time. The plot delves into the world of Drag, a culture now under attack, as is gender fluidity and expression in general. “Kinky Boots” reminds us how much we have changed for the better, and how much we haven’t.

Jacob A. Butler plays Charlie Price, a young man who doesn’t want to spend his life making shoes, yet unsure of what he does want. While seeking a job in London with his fiancé Nicola (Braxton Hiser), he encounters club headliner Lola (Jonathan Studdard), who complains about the flimsy heels they have to wear. Meanwhile, as his father (Fernow McClure) has recently died, Charlie has to shut down the Price & Son factory and lay off employees who are like family to him. When one of the workers, Lauren (Kelsey McDaniel), suggests he look to fill an underserved market, inspiration strikes. With Lauren (who secretly has a crush on him) as his assistant, and Lola brought on as designer, Kinky Boots footwear is born.

Not all the workers are on board at first, especially “manly man” Don (Peter Scharbrough). Charlie also has difficulty with Nicola, who wants to sell the factory to convert the building into condos. His hopes rest on the new boots being a hit at a designer footwear show in Milan in just a few weeks – leaving him short on both time and budget.

The large cast includes Tommy McConnell and Ryan Thomas as Charlie and Lola as young boys, and Joshua Hyde as Lola’s father. Our queen is backed by a cloud of Angels, played fabulously by drag performers April Rosè, Justin Sheedy, Blair St. Clair, Vera Vanderwoude St. Clair, Parker Taylor, and Jason Wendt.

Studdard is incredible, bringing both power and vulnerability to the role of Lola. Butler plays Charlie like one on a crash course through the school of hard knocks, needing to learn fast for the sake of others besides himself. Among the lessons are that reliance on others goes both ways, as well as that drag is life, not just a lifestyle.

Scharborough is also notable, Don being a man who has sense literally knocked into him. McDaniel is both sweet and funny as Lauren, making her every-woman character one to root for.

This production is directed by Suzanne Fleenor, who hopes the show will raise both our spirits and our desire to stand for equal rights for all. Brent Marty is musical director; Deena Fogle is stage manager. Choreography is by Kasey Walker.

Fun, funny, and most of all, inspiring, “Kinky Boots” is about a lot more than shoes. Performances run through Oct. 19 at The Tarkington in The Center for the Performing Arts in downtown Carmel. For info and tickets, visit civictheatre.org or thecenterpresents.org.

CCP shows its strength

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By John Lyle Belden

The title of the play, “Steel Magnolias,” written by Robert Harling based on events in his life, refers to the fact that – as one character remarks – men are expected to be pillars of strength, yet women are like hardy flowers of even stronger mettle.

Carmel Community Players presents a mostly-female production of this Off- and on Broadway hit (also made into a beloved film in 1988), directed by Elizabeth Ruddell.

The action takes place in Chinquapin Parish, northwest Louisiana, but we hear all about it at Truvy’s Beauty Shop. We open on an eventful day: Truvy (Casey Clouser) has just hired young Annelle (Phoebe Aldridge) as assistant beautician, then Shelby (Emily Haus), daughter of M’Lynn (Tanya Haas), one of the shop’s regulars, arrives to prepare for her wedding that day. Clairee (Susan Boilek Smith), the town’s former first lady, arrives from the dedication of the local football field to her late husband. Local curmudgeon Oiser (Gabrielle Patterson) storms in, this time upset at M’Lynn’s husband – who has also annoyed the whole neighborhood with his efforts to scare birds away from the backyard wedding site.

Time advances through more scenes, giving us insight into both the changes in these women’s lives and how their bonds stay strong and true. There is plenty of good humor, with numerous funny lines and zingers like a sitcom, but flowing naturally like true friends talk. There is also a cloud of misfortune that will eventually overtake them, testing their steel. Even if you know this or have seen it before, this cast keeps the feelings raw and real.

Haus presents Shelby in all her stubborn, upbeat, brave glory. Haas epitomizes the hard strength of the title, making it all the more impactful when she reaches her limit. Aldridge charms, taking us on the curious complex arc of sweet Annelle’s many changes, inevitably for the better. Smith gives us someone who knows she’s a VIP but would rather have fun with it than lord it over anyone. Her fierce loyalty to lifelong best friend Oiser says a lot about her character. Speaking of whom, Patterson gives us a force of nature like a Louisiana hurricane, yet always true to the ladies in this circle.

If you haven’t, we highly recommend you also see the movie with its all-star cast, including Dolly Parton as Truvy. Clouser is a living tribute with her accent and blonde wig, while making the character her own. We never forget this is her house, after all.

Other salutes to the film include a Dolly portrait on the wall (her hits play while we wait for the play to start) and Annelle’s cat-eye glasses like Darryl Hannah wore in the role.

Haas is also producer. Other “Magnolias” involved include stage manager Samantha Kelly, lights by Karissa Henschen (with Doug Vann), and sound by Lori Raffel. “Honorary Magnolia” Jason Creighton provides the good-ol’-boy voice on the radio.

Entertaining and emotional, find some Southern charm up north in Carmel. “Steel Magnolias” plays Thursday through Sunday, Oct. 10-13, at The Cat, 254 Veterans Way. Get info and tickets at carmelplayers.org or thecat.biz.

BCP ‘Vultures’ provides haunted hilarity

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By John Lyle Belden

Take one part Agatha Christie, one part “Clue,” and a dash of gay romance, and you get something unique, entertaining, and intriguing: “The Vultures” at Buck Creek Players.

In this 2018 comedy by Mark A. Ridge, directed by Andrew Souders, we spend a dark and stormy night at remote Westmount Manor, where the last remaining relatives of eccentric millionaire Simon West gather to hear the reading of his will, on the 20th anniversary of his death.

The only resident for the last two decades has been cryptic caretaker Talbot (Tiffany Wilson). The attorney, Mr. Cosby (Derek Sumpter), conducts the reading attended by Harrison Blythe (Tony Brazelton), Mary Roberts (Nancy Laudeman), Ashley Hopewood (Cairo Morado), Charles Willard (Scott A. Fleshood), Paul Jones (Jericho Franke), and Hunter West (Zach Bucher). Things get interesting even while these distant relatives gather as Harrison is a famous underwear model, and Ashley is a total ditz. The banter includes a lot of verbal barbs which only get sharper as it turns out only one of them will inherit the West fortune.

The plot thickens further when Rhinehart (Rich Laudeman) arrives from nearby Hillcrest Asylum to alert them that a murderous psychopath has escaped. Someone is not going to live through the night.

Dennis Karr completes the cast as physician Dr. Avery, who lives nearby.

With restless spirits, a missing priceless pocket watch, secret passages, and a shadowy figure, we get a puzzling whodunit as well as laugh-out-loud comedy. In addition, there’s the rekindling of past affections between Hunter and Paul, upping the ante when heroics are called for.

There are excellent performances all around, with Morado doing Generation Z no favors with her charming yet delightfully airheaded turn. Wilson’s never-break dour deadpan delivery is perfect, presenting herself like the sister of Addams Family’s Lurch. Brazelton is brave in his own way, fortunately having worked out enough to display his costuming (or lack thereof).

More creepy than scary, haunted but hilarious, this is an easy outing for your spooky season. However, it’s only available for one more weekend, through Sunday at the Buck Creek Playhouse, 11150 Southeastern Ave., Indianapolis (Acton Road exit off I-74). Get info and tickets at buckcreekplayers.com.

Westfield hosts ‘Ripcord’s rowdy rivalry

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By John Lyle Belden

For something different for October, a show in which it is one of the characters who is supposed to be frightened – for the audience, it’s all laughs. Main Street Productions of Westfield presents “Ripcord,” by David Lindsay-Abaire.

If the playwright sounds familiar, it is because he is known for hits including the deep drama “Rabbit Hole,” and the wild hilarity of the stage musical of “Shrek.” He shows a bit of both sides in this comedy. Director Andrea Odle lets the natural odd-couple humor shine through rather than let this devolve into farce, with just the right amount of slapstick.

Abby (Miki Mathioudakis), the acerbic resident of an assisted-living retirement home, doesn’t like having a roommate – especially her latest, upbeat talkative Marilyn (Tina Nehrling). When resident aide Scotty (Marshall) fails to arrange a room reassignment, the women come up with their own solution. In their wager, if unflappable Marilyn loses her cool and gets angry, she must move out; if unmovable Abby becomes afraid, she must let Marilyn stay and get the bed next to the window.

This includes a scene at a haunted house where aspiring actor Scotty is one of the performers. We also meet Marilyn’s daughter and son-in-law Colleen (Claire Slaven) and Derek (Scott Prill), who help run her skydiving business.

Cameron Ponce plays Marilyn’s son Benjamin; and he, Slaven, and Prill fill in other roles.

Mathioudakis and Nehrling have wonderful, volatile chemistry. Their characters can both dish it out and take it in their prank war, while revealing sufficient depth to engage us in the question of whether it’s possible to take their antics too far.

Marshall plays Scotty as a friend caught in the middle like a babysitter at a high-stakes pillow fight. He has limited authority, but unlimited concern. Prill and Slaven give Derek and Colleen a spirit of fun natural to a family raised on adventure.  

This production lets the fun “rip” four more times, Thursday through Sunday, Oct. 10-13, at Basile Westfield Playhouse, 220 N. Union St. Get info and tickets at westfieldplayhouse.org.