comedy

Drag ‘Sweeney’ so good it’s a crime

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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.)

As we find today’s politicians embracing Victorian-style social mores, Indy Drag Theatre takes its own swipe at the 19th century with its Parody Musical production of “Sweeney Todd,” the penny dreadful-inspired Tony winner by Stephen Sondheim (book by Hugh Wheeler).

As in past Drag Parodies, this company employs appropriate yet over-the-top looks and attitude, while lip-synching to a blended audio track of Broadway and Hollywood (the 2007 Tim Burton film).

In wonderful form are performers Beelzebabe as the titular Demon Barber of Fleet Street; Heather Bea as Mrs. Lovett whose “worst pies in London” suddenly get a lot better; Madison Avenue as aptly melodramatic lost daughter Johanna; Johnee Crash as conniving enforcer Beadle Bamford; Natalie Port-Ma’am as faux-Italian huckster Adolfo Pirelli; Senator Gale Lagations as Tobias Ragg, the boy true to whoever feeds him; and Ilana a la Mode as the mad Beggar Woman. Also featured are Kelsey McDaniel as self-righteous and evil Judge Turpin and Parker Taylor (who could actually sing his parts and was even in a regular production of this musical) as noble lovestruck hero Anthony Hope. The ensemble includes Samoria Mie (who is also the Bird Seller), Abbey Lay, Freddie Fatale, Alicia Brooke, and Kristen N. Peterson (who also cameos as bedlam-keeper Jonas Fogg).

The plot is unchanged: Todd returns to London with a hunger for revenge, and in the process sets up his deadly barber shop to practice with his ultra-sharp razors until the he gets the Judge in his chair. Those dispatched in the process provide the necessary ingredient for partner Lovett’s pies. Meanwhile, Anthony has found Todd’s daughter Johanna locked away (by the Judge, of course) and conspires to free her. There’s also a lot of singing, you get the gist.

While this tale of “man devouring man” has always been served up with a dollop of social commentary, it’s never been done quite like this. Under the direction of Max McCreary, assisted by Kalinda, one point emphasized is that while murder, cannibalism, kidnapping, etc., are just fodder for musical comedy, the “crime” that has us all concerned now in 2025 is the legislative attacks on Drag. Audio cut-ins include the text and debate on anti-drag bills proposed in states nationwide. (The one in Indiana recently failed in committee, but language from “dead bills” can appear in other measures.) Posters on the walls point up how retrograde such attitudes are, connecting the Victorian drama to current events, making the unlikely choice of “Sweeney Todd” for this production strangely perfect.

Messaging aside, the show is spectacular and thoroughly entertaining, with boundless energy and sassy humor.  Kudos to choreographer April Rose, as well as to Alish Forner for costumes, Ciara Myst for makeup, and wigs by Hair By Blair.

If you are wondering about the Barber Chair, typically the silent star of the show – no drag queen is going to let herself be upstaged by furniture. The chair is plain, but the deaths are fabulous with flowing blood-ribbons. There is a nice barber seat in the VIP room, in case you want to upgrade your ticket.

For satire that cuts deep, make your appointment with “Sweeney Todd: A Drag Parody Musical,” Thursday at 7 p.m., Friday and Saturday at 8 p.m., and Saturday and Sunday at 2 p.m. at The District Theatre, 627 Massachusetts Ave., downtown Indianapolis. Get tickets at indydistricttheatre.org.

BCP comedy toasts strong women

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By John Lyle Belden

For some women of a certain age, change is about more than just their inner biology. It can mean the end of a marriage – by death or divorce – or even loss of employment. In such events, one could use a drink!

Enter “The Savannah Sippin’ Society,” a comedy by celebrated writers Jesse Jones, Nicholas Hope, and Jamie Wooten presented by Buck Creek Players, directed by Mel DeVito.

Randa (Georgeanna Teipen) was a top architect at her firm, but when passed over for promotion to partner, she totally lost her temper and her job. Seeking new experiences, she tries hot yoga – a mistake, but sharing in her misery she meets Dot (Beth Popplewell), still adjusting to life after her husband’s passing, and Marlafaye (Nancy Laudeman) who wouldn’t mind her ex being deceased as well. Without realizing it, Randa invites them to her nearby home for a “happy hour,” then decides it might be worth a try. On their first afternoon on Randa’s veranda (they even say that), Dot has also invited aesthetician Jinx (Gloria Bray), who aspires to be a life coach – and this trio seem perfect for her first clients.

What follows are various adventures that we mostly hear about. Since this isn’t a movie with multiple sets, supporting cast, and stunt performers, these four take turns narrating the events they go through in search of a more fulfilling life, interspersed with scenes on the veranda. Aside from a fateful surprise party, there are cocktail breaks during which they discuss their progress, or lack thereof. This formula works thanks to clever, funny dialogue and the talents of the cast. When not hitting each other with the punchlines, they grow an authentic feeling of friendship that we can’t help but sense. With the Georgia accents, this feels like “Steel Magnolias,” but with more drinking and less sadness.

No real booze is served at the Buck Creek Playhouse, but you can still enjoy your time with the “Savannah Sippin’ Society” in their remaining performances, Friday through Sunday, Feb. 14-16, at 11150 Southeastern Ave. (Acton Road exit off I-74), Indianapolis. Get tickets at buckcreekplayers.com.

‘…Now Change’ has changed!

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By Wendy Carson

Mud Creek Players brings us the delightful relationship-based musical comedy, “I Love You, You’re Perfect, Now Change.” However, after casting the production with scripts from a previous version, director Kevin Bell discovered that the “perfect” script had itself changed, thanks to updates by the creators, Joe DiPietro and Jimmy Roberts.

Therefore, if you’ve seen a past version of this show, get ready for a few new twists and takes on some of its classic skits.

This production’s expanded cast keeps the laughter rolling throughout, deftly moving from one scene to the next. Highlights include: Alex Bast’s sweet desire to be more of a ‘Stud” while Kennedy Wilson yearns to be more of a “Babe”; Lauren Werne’s poignant dating video; Kristin Hilger & Logan Laflin sharing a movie date; and Jeremy Crouch and Derek Sumpter just being “Guys”. It’s impossible to pick just one scene to highlight the talents of Onis Dean, Yolanda Valdivia, and Nicole Crabtree, as each remembered role is just as fantastic as the next. I also loved the inclusion of stagehand Meriah Reynolds as an extra included in parts of the show.

If this isn’t familiar, know that the musical is a very funny and at times touching tribute to relationships, from dating to marriage and family to finding yourself single and seeking again.

So, head out this Valentine’s weekend (Feb. 14-15) for a lot of love and laughs at Mud Creek, 9740 E. 86th St., Indianapolis. Get tickets at mudcreekplayers.org.

Exploring stories with Westfield’s ‘Geezers’

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By John Lyle Belden

As we age, the mind still spinning in a body that’s not doing as well, we develop our eccentricities. In other words, we become “Geezers.” That’s the name of the heartwarming comedy by Tommy Lee Johnston, now on stage with Main Street Productions in Westfield, directed by Lori Raffel.

Gina (Brenna Whitaker) has her hands full with the residents of Maple Leaf Retirement Community. Ray (Duane Leatherman) naps all day in the comfy chair with his favorite pillow but doesn’t miss any conversation around him. Likewise, Emily (Wendy Brown) seems a tad out of it, watching TV for the commercials whose jingles she sings along with, yet she pops into lucidity at random yet appropriate times. Neil (Chris Otterman) is both a curmudgeon and a prankster. Then there’s Kate (Jen Otterman), a former actor whose constant flirting went too far with a now-fired orderly.

Into this milieu, enter Jack (Adrian Blackwell), a twenty-something who had spent most of his life caring for his deaf mother, a former worker at Maple Leaf, and with her passed on, is given the chance to take her job assisting Gina. He has his own issues, with his circumstances having given him or enhanced traits that resemble the high-functioning end of the autism spectrum – especially communication issues and anxiety. His way of managing his world is to write. He is good, though has trouble coming up with original ideas. At Kate and Neil’s urging, Jack, reluctantly at first, takes on a project of writing stories from the residents’ lives.

We also meet Jenny (Debbie Underwood), who comes to visit Emily but fears she has missed her chance to make their long-overdue reconnection.

Jack takes in the stories by listening and visualizing them – thus we see younger versions of Kate (Alyssa Lay) who almost got a part in one of the worst B-movies of all time (and still regrets it); Neil (David Shaul), an Air Force logistics specialist, meaning he didn’t fly but had to drive through the hell of Vietnam; and Ray (Mike Sosnowski), who was faced with a heart-rending choice.

“The funny thing about the truth,” the elder Ray says, “it holds a high standard.”

We eventually get everyone’s stories, including Gina’s, and why she cries at the end of every shift. Whitaker gives a solid performance as a caretaker with a firm yet soft touch, seeing the residents practically as family – a balm for her own issues that she reveals to Jack. For his part, Blackwell handles his tricky, complex part well, ensuring that we laugh along with, not at, his difficulties.

When folks of a certain age feel free to say practically anything – and do – that generates plenty of laughs, and these “Geezers” don’t hold back. In a play that touches on a wide range of emotions, there is more than sufficient comedy relief.

Still, I must add a “trigger warning” for elements of self-harm, gun violence, and suicide.

Visiting hours are almost up. “Geezers” has four more performances, Thursday through Sunday, Feb. 13-16, at Basile Westfield Playhouse, 220 N. Union St. Get info and tickets at westfieldplayhouse.org.

Musical mystery madness at ATI

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By John Lyle Belden

Actors Theatre of Indiana presents “Whodunit: The Musical” by Ed Dixon, a musical theatre comedy treatment of an early-20th century murder mystery in a style something like a Carol Burnett Show sketch.

As long as you keep this in mind and adjust expectations accordingly, you should have some fun with this felonious farce, loosely inspired by the classic (serious) mystery novel, “The Circular Staircase” by Mary Roberts Rinehart. Some liberties were taken with plot and characters, giving the show twists of its own – even the program book can’t be completely trusted.

In 1931, spooky happenings at remote Sunnyside Cottage have scared off the entire staff except for head butler Thomas (John Vessels Jr.), just in time for the arrival of vacation renter Carrie (Judy Fitzgerald) who arrives with her personal maid Liddy (Cynthia Collins). Soon they are joined by Carrie’s niece Sally (Logan Hill), who has brought a friend from school – a man! Call him Jack (Jacob A. Butler). Things eventually go from awkward to scary when, after the lights go out and are restored, the portrait of Sunnyside’s deceased owner, Mr. Armstrong, is found destroyed and a crowbar – and an expensive cufflink – are discovered on the stairs. Thomas suggests calling the police in the morning, but that becomes sooner when, after all had gone to bed, a dead body is discovered in the middle of the floor.

This rather loose stiff is Reggie Armstrong, the owner’s estranged son – who had also been romantically stalking Sally and framed Jack for embezzlement at his work. Detective Jarvis (Eric Olson) arrives, trusty magnifying glass in hand, to search for clues. It turns out that nearly everyone had an issue with Reggie, and everyone has a gun. Before this mystery is solved, there will be another body, the fortune-telling cards of Zara the groundskeeper, and several song and dance numbers including, “It’s Harder to Move a Body,” and “A Dark and Stormy Night.”

Eventually, though, a Mysterious Stranger will appear to reveal all.

The campy capers are made entertaining by an excellent cast. Fitzgerald takes all the absurdity in stride, including the over-the-top British accent of fellow ATI co-founder Collins. Butler shows interesting versatility; Olson masters the melodrama; and Hill’s performance includes some award-worthy overacting. Vessels, like his character, is master of this madhouse. Julie Lyn Barber is director, with choreography by Carol Worcel, and musical and vocal direction by Brandon Vos.

Discover “Whodunit” through Feb. 16 at The Studio Theater at the Center for the Performing Arts in downtown Carmel. For tickets and info, visit atistage.org or thecenterpresents.org.

Fans of ‘King James’ seek their own success

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By John Lyle Belden

No matter how emotionally aware men get, how comfortable with our feelings, it’s always easiest to bond over things like sports. And when it’s at some of the biggest moments for your city’s team, that can help make what could be a lasting friendship.

That’s a too-simple summation of “King James,” a two-man buddy comedy by Rajiv Joseph on the Janet Allen (upper) Stage at Indiana Repertory Theatre. The setting is Cleveland; the era runs from 2004, as northeast Ohio-native Lebron James shows great promise with the Cavaliers, to 2016, when that promise is fulfilled.

But for us that man is just an image on an unseen screen. Our focus is on two lifelong Cavaliers fans: Matt (Quinn M. Johnson), a man who grew up seated by his father at nearly every home game; and Shawn (Enoch King), who could only follow on radio and TV, promising his adult self to be in the arena when the long-elusive NBA title finally came. In James’ rookie season, the two are at a crossroads. Matt’s father can no longer attend the games and he – a struggling entrepreneur – needs money, so he puts their Cavs season tickets up for sale. Shawn is eager to buy, having made some money selling his writing, but not for what Matt’s asking. In the course of negotiations, the two end up striking a deal that becomes a friendship.

However, 2010 comes, and with it “The Decision,” an ESPN program during which James announces he’s “taking his talents” to Miami. Needless to say, Matt and Shawn don’t take this well, but the star player isn’t the only one with an important life and career decision.

We also look in on these men in 2014, when James returns to Cleveland, and finally when the Cavaliers win it all. The deep jump-shot arc of a story runs from Matt’s struggling wine bar to his family’s upholstery and knick-knack shop, as his and Shawn’s fortunes rise and fall.

“That’s what’s wrong with America,” Matt declares at anything he doesn’t like. But his is a very American story of seeking to prosper in a Midwest city full of opportunity and uncertainty. Johnson plays him with a cocky confident façade, a fairly noble person beneath, and a lot of nervous energy in between. King, in a style reminiscent of a young Cedric the Entertainer, makes Shawn good humored and easygoing while maintaining a quiet integrity.

Jamil Jude, notable for work across the country, is director. Czerton Lim created an imaginative set with much of it changing between the first and second acts. Miriam Hyfler is stage manager.

Another star of the show is Armand, the taxidermy armadillo, on loan from Chicago’s Steppenwolf Theatre where he was in the play’s 2022 world premiere.

Not just a play about basketball, “King James” is about fans whose ability to love a game gives them a means to feel for each other. Performances run through Feb. 9 at 140 W. Washington St., downtown Indianapolis. Tickets and info at irtlive.com.

Defiance pulls off hilarious Christmas criminal caper

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By John Lyle Belden

In crime, a well-executed theft requires such skill and finesse to be an art. In “The Heist Before Christmas,” the musical farce by Matt Kramer and Defiance Comedy, the art of larceny quickly devolves from Leonardo da Vinci to Looney Tunes.

An artist in all things theatre, Jay Hemphill performs the role of Nick Demarco, third-generation Master Toy Thief who, with hardened criminal Roxy (Shelby Myers) and her goofy younger brother Bobby (Joseph David Massingale) make a “Christmas Jail Break” (also a song – silly numbers like this, choreographed by Emily Bohannon, run through the plot). Once out, they head to Whitakers Toy Box, an independent store that promises a million dollars’ worth of inventory in its Christmas Eve Extravaganza.

Craig Whitaker (Joe Wagner) doesn’t really have a million bucks worth of toys. He has some Legos, plushes, and a lot of debt to settle, having inherited the shop a year earlier from his father. His frustrated clerks Sarah (Robin Kildall) wants to escape to grad school and Devon (Ramon Hutchins) is preoccupied with his band and finding it a new drummer. Practically the only other thing open is an equally customer-free coffee shop, from which barista Lily (Julia Ammons) comes to drop caffeine-loaded hints that she really, really likes Devon.

Our trio of bandits arrive to commit the meticulously well-planned-out robbery that Nick calls “The Silent Night Swipe,” his masterpiece. Craig is just happy to have someone in the store.

Then, a Karen (Carrie Andrews Reiberg) named Karen, who gets a song called “Karen,” and is a total, you know… comes in through the door Bobby forgot to lock to return an item she bought at a different store but it’s not open and this one is, and can she talk to the manager?

Carlos Medina Maldonado plays all the other roles, except for the Robot outside twirling the sign. A master thespian, we have seen Maldonado deliver as various characters in different companies at the Phoenix Theatre (old and new) and the Indiana Repertory Theatre. With Defiance, he shows his deft character range and (continuing the art metaphor) is the Picasso of the poop joke.

This wacky romp also includes an all-important nutcracker, odd plot twists, improbable romance, awkward ghosts, an ‘80s song as a plot device, and a somewhat happy ending – all the things you want from a Holiday Special by people who typically do stupid stuff for Fringe shows.

Kramer has the knack for writing and directing a “bad” (in his words) story that comes out good, with the help of people with who don’t mind “that just happened” fourth-wall bruising improv-style hijinks. Massingale, who once wowed us in the serious musical “Bonnie and Clyde,” shows great comic flair as a much less threatening bandit. Wagner, who leads an improv troupe of his own, excels at “yes-and”-ing the boss who stays optimistic and primed for success, no matter what, anchoring the spiraling misadventures throughout this somehow coherent narrative. We always knew Hutchins could belt a tune; he can now add twerking for laughs to the resume.

Well-played wishes to stage manager Molly North. Ben Rockey likes seeing his name in these reviews.

Just a few opportunities left to witness “The Heist Before Christmas,” including tonight as I post this, at the IF Theatre, home of IndyFringe, 719 E. St. Clair St., Indianapolis. Tickets at indyfringe.org.

Ben Asaykwee saves Christmas!

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By John Lyle Belden

OK, so I exaggerate a bit. Still, local creative treasure Ben Asaykwee does bless us with two holiday shows this month.

His “Christmas Carol Comedy” returns, a parody of the Dickens classic that even Asaykwee calls “the dumbest thing you’ll see on stage.” It’s a perfect chance to stop taking the world seriously for a couple of hours, relax, and laugh at the absurdity.

Remember how silly it was last year, having Matt Anderson as Scrooge and Tiffanie Bridges as Tiny Tim? Well, this year they switched roles. As usual there is a huge cast, with every child who auditioned included as an “urchin” and one of the many, many Cratchit children. The approach of having experienced actors and novices work side-by-side works great in this low-stakes environment. It even bridges generations; for instance, Jaddy Ciucci and Maria Meschi, long-time collaborators with Asaykwee, get to perform with their young sons.

Hannah Boswell gets rowdy as Ghost of Christmas Past, Noah Lee and Mariana Haig are Mr. and Mrs. Cratchit, Kelly Haas is Nephew Fred, Kendrell Stiff is the Dodger, and Spencer Hahn is Kermit the coincidentally-named frog. Also appearing are Lisa Anderson, Luna Capehart, Sophia Capehart, Patrick Clemens, Carrie Cooper, Ben Curry, Jensen Dasbach, Lyra Dickson, Jessica Dickson, Ansel Dilger, Aliyah Distelrath, Lillie Distelrath, Cari Gallagher, Beth Gibson, Lillian Hall, Zara Heck, Elsie Huldeen, Adriel Kyrie, Anna Lee, Ethan Lee, Jared Lee, Samuel Lee, Calvin Meschi, Bastian Russell, Benjamin Thomas, Fynlee Thomas, Charlotte Wagner, and Noah Winston. Boswell also assists Asaykwee with direction.

And it’s also a musical, so we get some clever Ben Asaykwee songs like the gloriously superfluous “We Fly,” and the wit of “You Can’t Take it With You,” which has a style reminiscent of his Cabaret Poe.

But mostly – as it is even sung in one chorus – “this is dumb!” Hilariously, cheekily entertainingly, dumb, and a must-add to your holiday traditions. Performances run through Dec. 22 at The District Theatre, 627 Massachusetts Ave. in downtown Indy.

Also at the District, on Dec. 14, 15, 18, 21, 22, and 23, Asaykwee hosts his Happy JingleSprinkleTimez Cabaret. Another all-ages show, Ben presents a program of songs, stories, poetry and charming video vignettes. The opening performance had a technical glitch that made its moment even funnier;  a couple of surprises are likely whenever you attend, as Asaykwee works the spontaneous magic of live theater.  

And, if the connection to the North Pole is good, we also get a visit with ProZack the Sad Elf.

So, to sum up: Marley’s still dead, Ben Asaykwee performs live, and it would be smart to experience the dumbness. Get tickets at indydistricttheatre.org.

Quirky Christmas at a Montana bar in new comedy

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By John Lyle Belden

It seems the wooded lands on the northern edge of the United States host some eccentric goings-on. A number of films, TV shows, and plays have celebrated this, and now we can add “Snow Fever: A Karaoke Christmas,” a holiday comedy by Robert Caisley presented as part of a National New Play Network Rolling World Premiere at the Phoenix Theatre Cultural Centre.

To paraphrase one of its characters, weird stuff happens at Christmas, especially in Montana.

The Phoenix black-box stage has been converted into a bar, the Wet Whistle, which features a drink special that audience members can purchase before the show. It used to belong to Laverna (Jolene Mentink Moffatt) – then known as Taverna Laverna – but now is the property of her son, Brendan (Grant Niezgodski), who runs it with Kenny (Austin Hookfin), an odd young man with “no backstory” and little impulse control.

Local college student Lucy (Sarah Powell) arrives to interview for a job to discover she not only has it but also has arrived late on her first day. Laverna says that can be forgiven (she lives upstairs and acts like she still runs the joint, complete with her free hand with the booze). Kenny comes in with another young woman seeking work, Greta (Akili Ni Mali), a professional Karaoke DJ whom he injured with a frozen snowball to get her attention.

Preparations are under way for the bar’s Christmas Eve party, despite the growing snowstorm outside. The only band Brendan can book is a pair of banjo-playing twins, and he absolutely refuses to have anything as upbeat as the karaoke machine (which Greta is already setting up) in his somber dive bar. Also, Kenny has stolen a tree from the farm of the one man whose name no one is to say – “F. U.” (Brian Tyrell) – thanks in part to what happened at last year’s party.

Also, I should mention, there is Duke. No one knows what Duke is, but he is there.

So, if like me you saw the title “A Karaoke Christmas” and thought this might turn out to be a fluffy holiday music revue, we must remind ourselves: This is the Phoenix F-ing Theatre. Director John Michael Goodson sees this play as a quirky rom-com, but without the Hallmark schmaltz. There is singing in the show, mainly popular karaoke hits. But as love and nostalgia are as much a part of the holidays as the common Christmas trappings, a little “I Will Survive” works just as well as Jingle Bells.

Moffatt revels in her role as mama-bear/queen bee/cougar – the whole menagerie. Laverna can be a bit much, but with a big heart and best intentions. Niezgodski makes a great Phoenix debut, his pragmatic and at times bitter character weathering the chaos. Mali plays Greta as charmingly independent, a roaming soul who takes what life gives her, strange as it may be. Powell also plays Lucy as a roll-with-it sort of character, with more the attitude of someone familiar with the local ways. As for Hookfin, what may seem like just another take on the goof he plays so well in local comedies turns out to have surprising depth; what Kenny appears to lack in intellect he more than makes up for in intuition, as well as irresistible charm.  

Kudos to the cozy set design by Shane Cinal and props by Kristin Renee Boyd.

For a heartwarming holiday play with no heavy message, just good times with a few old pop hits thrown in, come in out of the cold for “Snow Fever,” performances through Dec. 22 at 705 N. Illinois St., downtown Indianapolis. Get info and tickets at phoenxtheatre.org.

Westfield comedy ‘greets’ holiday anxiety in unusual way

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By John Lyle Belden

We tend to recall the past as somehow an easier time, but each era has its own anxieties. Many of us remember the 1990s, still it’s easy to forget how the feeling of imminent change at the end of a millennium carried a lot of uncertainty, even before the Y2K panic.

In the holiday comedy, “Greetings!” by Tom Dudzick, presented by Main Street Players of Westfield, they don’t have today’s terms like “autism spectrum” to describe the personal struggles of Mickey Gorski. The words “mentally handicapped” are briefly mentioned, then not said again as it is better to think of the young man as just a happy member of the family whom his parents cherish, accepting any little word he adds to his limited vocabulary as a divine gift.

Mickey (Dylan Acquaviva), with doting mom Emily (Barb Weaver) and sullen but loving dad Phil (James LaMonte), are preparing their Pittsburgh home for a Christmas Eve visit by big brother Andy (Nathaniel Taff), flying in from New York with his girlfriend Randi (Megan Fridenmaker). A couple of things seem to feel off from the start, including frequent issues with the house’s electrical wiring and Emily’s insistence that she recently heard Mickey say – for the first time ever – the word “greetings,” a feat she seems unable to make him repeat.

The stress of caring for this son has become routine, however, the arrival of Andy gives former minor-league pitcher Phil emotional curveballs he can barely handle. The good news is that Andy and Randi are engaged; the distressing part is that she is an atheist Jew and he has reconsidered aspects of the family’s Catholic faith.

As the inevitable argument ensues, Mickey calmly stands up straight and declares, “Greetings!”

And then, he says even more.

Directed by Jeremy Tuterow, this charming and funny family drama gives a meaning-of-Christmas lesson that blends aspects of “All in the Family” and “The Twilight Zone” with how the Shepherds at the Nativity must have felt.

LaMonte gives us in Phil a solid sitcom-esque Dad who lives with unresolved issues and regrets, as well as resistance to anything more that he feels he can’t understand. Weaver’s Emily greets it all with attempts at understanding and unconditional love, though she can be overwhelmed. Taff plays Andy as caught between his wanting to be there for the brother he loves and wanting to run from what he sees as inevitable parental disapproval. Fridenmaker gives Randi a demeanor in which you can almost see her psychological armor, already forged by friction with observant Jewish parents before being brought here to deal with potential new family. She, like the others, will find her own test of faith – or lack thereof.

Acquaviva is simply outstanding as Mickey. He emulates the tics and eccentricities of his autistic character with respect for the condition and smoothly transitions to other aspects of the role with precision delivery that makes its whole fantastic nature work within the world of the play. A high school freshman with already a few other notable roles on his CV, he has us looking forward to where his talents will take him next.

One weekend of performances remain, Thursday through Sunday, Dec. 12-15, before “Greetings!” becomes goodbye. Find it at Basile Westfield Playhouse, 220 N. Union St.; find tickets at westfieldplayhouse.org.