comedy

Westfield takes on beloved comedy

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By John Lyle Belden

As it’s been said, classics are classic for a reason. From time to time, community theatres bring out the hilarious antics of the eccentric extended Sycamore family in Moss Hart and George S. Kaufman’s comedy, “You Can’t Take It With You.” This week, the invitation is extended by Main Street Productions of Westfield.

Sweet twenty-year-old Alice Sycamore (Hannah Partridge) is in love with her boss, Anthony Kirby (Aaron Budde), a young executive thanks to his chief executive father (David Dessauer). Tony and Alice want to get married, but she’s afraid the Kirbys couldn’t deal with her family – father Paul Sycamore (James Semmelroth Darnell) makes fireworks in the basement with the help of Mr. DePinna (Eric Bowman), who came to deliver ice years ago and never left; mother Penny Sycamore (Carrie Reiberg) writes melodramatic unfinished plays on a typewriter that just showed up on their doorstep; sister Essie (Cara Olson) makes candy “Love Dreams” daily but really wants to dance (though she’s awful at it), while her husband Ed Carmichael (Noah Shepard) plays the xylophone and obsessively prints cards, menus, and papers with whatever sounds interesting to him; finally, grandfather Martin Vanderhof (John Welch) does whatever he likes because he walked away from his downtown office decades ago and never looked back.

Their maid Rheba (Sophie Liese) is a so-so cook but very understanding and fits right in this household, along with her Irish boyfriend Donald (Austin Uebelhor), who helps when he can, as long as it doesn’t jeopardize his “relief” payments. Russian expat Boris Kolenkhov (Louis Cavallari) tries in vain to teach Essie ballet; this being 1938, he still remembers his homeland before the Soviets and knows exiled nobility including The Grand Duchess Olga Katrina (Miki Mathioudakis). We also meet inebriated actress Gay Wellington (Susan Hill), who isn’t related or a resident, yet adds to the chaos in her own way.

There are also appearances by Tony’s father and mother (Renee Whiten Lopez), as well as Tom Smith as nosy government agents, along with Aaron Ploof and Emma Fox.

For those unfamiliar, yes, it’s a lot. But there is subtle method to this madness in a funny fable about love, acceptance, and truly living out the pursuit of happiness.

Under director Nicole Amsler, everyone gets their moments to shine. Darnell plays Paul as single-minded, trusting the others to do what’s needed, yet amiable when not downstairs. Bowman gives DePinna a sense of joy that reveals a man who would much rather play with fire than work with ice. Reiberg’s Penny is the kind of unassuming person whom whatever she is doing at the moment is right thing, and you can’t help but agree. Shepard and Olson as Ed and Essie seem to not be the sharpest knives in the block, yet come across as charmingly naïve, never stupid. Cavallari brings big energy to his role, making Kolenkhov feel like just one of the family.

Partridge nimbly plays Alice’s struggle to maintain normalcy while still loving her family. Budde, for his part, gives Tony a growing admiration for the freedom that the household represents.

As the patriarch, Welch lends a subtle gravitas to Grandpa. He has his quirks – like keeping snakes – but is as down-to-earth a character one could find. When he says grace in his unique way during the mealtime scenes, you can’t help but feel welcome at his table.

Be their guest this Thursday through Sunday, June 6-9, at the Basile Westfield Playhouse, 220 N. Union St. Get tickets at westfieldplayhouse.org.

Glimpses of comics’ lives in ‘Purple Lounge’

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By John Lyle Belden

In case there is any confusion, note that “Live at the Purple Lounge” has nothing to do with Prince. Another clarification: “Green Room” is just the traditional name for the place performers can relax before and after going on stage; it can be any color.

This said, welcome to the Purple Lounge comedy club, presented by Betty Rage Productions at the IndyFringe Basile Theatre. Seating includes cozy little tables, where crew member/bouncer, Chelsea (Kelsey VanVoorst), the New Comic, greets us. She doesn’t enforce a drink minimum but advises there are plenty of adult and alcohol-free beverages available for purchase at the back of the room.

However, what we see before us is not the classic stand-up stage backed with faux brick, but the backstage Green Room, tended by club manager Bethany (Meg McLane). Over the course of a few nights, we hear the last bits of a comic’s set, then see what happens in this room after.

Rory (Brooke Neubaum) closes with laments about her dating life, then comes into the room to find her mother Victoria (Jean Arnold) – a successful sex-positive writer – waiting with a rather stress-inducing surprise.

Sydney (Tracy Herring) slays in her set, then comes backstage to husband John (Chad Pirowski) with news that she can book a West Coast tour – a small miracle for a lesser-known 50-year-old comic. He doesn’t quite share her happiness.

Lena (Anna Himes), on the other hand, bombs – and it’s not the first time. Sure enough, old friend Travis (Dave Pelsue) is there to remind her that it’s been a year now. There’s a way to get herself funny again, he promises.

Anna (Rachel Kelso) makes her set about how sadly vanilla her girlfriend is. Meanwhile, in the Green Room, said partner Logan (Laurel Clark) is on her phone with customer service about a defective sex toy.

Abbie (Jenni White), one of the club regulars, is a hit again. Backstage with Bethany, a long-time friend, she is forced to confide an issue that not even her “husband Bill” can help with.

Being a stand-up comic is a funny life – both “funny ha-ha” and funny/unusual – and we get plenty of both in these scenes. The unique lifestyle and stresses of the job are explored in various ways, as well as the toll they can take on those who love them. Some of the biggest laughs, such as the moments with Rory and Victoria, or Anna and Logan, come with their share of tears. In this backstage sanctuary you’re as likely to find a metaphorical punch in the gut as a gut-busting punchline.

Performances are top-notch, especially McLane, who we usually see in absurd comedy shows, getting to exercise her dramatic range to great effect. Himes and White also hit us directly in the feels in their scenes.

Directed by Betty Rage founder Callie Burk-Hartz, “Live at the Purple Lounge” has just four more performances, 7:30 p.m. Thursday and Friday, 3 p.m. and 7:30 p.m. Saturday (May 23-25), at 719 E. St. Clair, Indianapolis. Get info at bettyrageproductions.com and tickets at indyfringe.org.

Waves of laughter at Cryptid’s ‘Beach Party’

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By John Lyle Belden

Let’s take a beachin’ trip back to 1962, as weirdly envisioned in 1987, then done for film in 2000 with actors you may know but the same dude doing the script, for further irreverent treatment by Indy’s Cryptid Entertainment today in “Psycho Beach Party,” directed by Kevin Holladay.

Did you know that Oscar-winning actress Sally Field famously played both beach-chick Gidget and, in a different film, the multiple-personality sufferer Sybil? Not sure why I brought that up…

Anyway, the Off-Broadway hit by Charles Busch sends up the ‘60s Beach films with inspiration from Hitchcock-style horror. Note to the triggered, especially as it is Mental Health Awareness Month, but this also hearkens back to not-that-long-ago when being a total whacko was fair game for comedy. This doesn’t so much mock Dissociative Identity Disorder (which is real, but rare, and caused by deep trauma) so much as the way such conditions were exaggerated for dramatic and comic effect.

In our mythical Malibu, The Great Kanaka (Thomas Sebald) rules the waves, accompanied by college dropout – Psych, of course – Starcat (Suraj Choudhary). Chicklet (Ellie Graves) a girl with small boobs and big dreams, provided she can stay free of her overbearing mother (Andrea Haskett), wants to learn to surf, even if it is a man’s world. Bikini hottie Marvel Ann (Hannah Embree) has her eyes on one of those men, and Chicklet’s bestie Berdine (Ezri Braid-Grizell) has her mind occupied by the great (non-surfing) philosophers. Other surfer dudes are Provoloney (Case Jacobus), Yo-yo (Katie Endres), and Nicky (Kelly Haas).

An incognito movie star, Bettina Barnes (Jessica Hawkins), shows up hoping to get away from the world of schlock films. Meanwhile, Kanaka accidentally discovers that sometimes Chicklet really isn’t herself – and alter ego Ann Bowman (!) kinda turns him on.

Also, there have been bizarre shaving attacks.

Considering that Busch played Chicklet in the original New York production, don’t be surprised that things here get a bit gender-fluid and queer. It just adds to the fun.

The cast all ride the waves of absurdity for all they’re worth. Graves shows entertaining range and talent, so that she could also move on to more dramatic roles (y’know, like Sally Field did). Sebald looks like Indy’s version of Jason Mamoa with all the same fun energy and cool charisma. Choudhary (who was cool with me saying he looks like if Jesus were drawn correctly) charms as well. Embree is cutely committed to her high-class persona. Hawkins has no problem hanging with these characters, taking to being rightly feted like a queen with her court.

What is the secret of Chicklet’s troubled past? Will Provoloney and Yo-Yo admit their feelings? Can I get an invite to the Luau? (The answer to the last one is no, but they did give me a beach ball.)

See the Cryptids without the time restraints of a Fringe show, Thursday through Sunday (two shows on Saturday), May 16-19, at Fonseca Theatre, 2805 W. Michigan St., Indianapolis. Find Cryptid Entertainment on Facebook for info and tickets or try this link.

CCP sets intriguing ‘Dinner Party’

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By Wendy Carson

Most of us are familiar with Neil Simon plays and know what to expect from them. However, “The Dinner Party,” presented by Carmel Community Players, is different. Written in his later years, the script was originally intended to be farcical but as he fleshed out the characters, a more serious storyline emerged. That’s not to say you won’t laugh – his wit still shines through in the dialogue – but expect to be moved to serious conversation/contemplation afterwards.

The setup is simple: Six people are invited to a dinner party at a fancy restaurant by the lawyer who handled their divorces. However, no one knows who else has been invited, the host is a no-show, and the staggered arrivals of the guests just ups the confusion.

SEMI-SPOILER ALERT! The six people are actually the two halves of three different formerly married couples. This is where the serious dialogue, peppered with biting humor, comes in.

And now, to our guests.

We begin with Claude Pichon (Grant Bowen), a sort of everyman with a deep love of literature. Albert Donay (Bradley Allan Lowe) a curious, mousey type that has little knowledge of interpersonal niceties. Andre Bouville (Jason Creighton) a pompous jerk who flaunts his wealth and popularity amongst women. Mariette Levieux (Becky Larson) an elegant lady author whom Albert takes a shine to, is Claude’s ex and known to Andre as well. Yvonne Souchet (Alaine Sims) a flighty woman who entices Claude, can’t make up her mind whether to stay or go, and is Albert’s ex. Finally, we have Gabrielle Bouville (Amalia Howard) a sensuous woman of mystery and manipulation.

The result of these machinations is an hour and a half of deep delving into relationships, love, passion, fear, confusion, and possibilities.

Co-Directors Matt Trgovac and Tonya Rave bring out sterling performances in each cast member. Bowen as Claude mostly plays it cool as viewer proxy. Lowe gives an interesting character study, odd but not absurd. Creighton has Andre seethe with air of a power broker who can’t bear not being in control. Larson plays Mariette mostly level-headed, but the edges are fraying. Sims lets Yvonne’s issues plainly show, as in this off-kilter setting her erratic behavior seems fitting. In Howard’s performance you can practically see steam rising off Gabrielle, shifting from seductive to pouty to dominatrix calm in a heartbeat.

Set in Paris, we hear these French characters in plain English with no distracting accents. But the setting does lend some tension, contrasting old-world mores with the permissive atmosphere of the city’s reputation.

Performances of “The Dinner Party” run Thursday through Sunday, May 2-5, at The Cat, 254 Veterans Way, downtown Carmel. See thecat.biz or carmelplayers.org for info and tickets.

‘Gold’en opportunity for kids as audience guides the adventure

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By Wendy Carson

Constellation Stage and Screen of Bloomington presents the very child-friendly family production, “Alex Gold: Stuck on Repeat,” by Sarah Ziegler Blair and Kellen Blair, directed by Jack McCarthy.

Alex (Jo Moran) has a very active and often distracting imagination. In fact, it caused him to fail the sixth grade so he must repeat the year. When he tries to tell his best friend Morgan (Carolyn Stouder) the news, he chickens out and tells her he’s going to study in France next year. What could possibly go wrong?

Luckily, Alex has a large team of brain cells (the audience) to assist him in dealing with his situation. We provide some guidance throughout the show by way of words given pre-show (much akin to Mad Libs) and polls throughout. Depending on the outcome of these prompts, the story line is transformed.

While his second trip through sixth grade starts well, a chance encounter with Morgan leads him to pose as Luc, the French exchange student taking Alex’s place. His schemes for success are even further hampered by his overly adoring wannabe bestie Thad Mazinsky (Tucker Ransom). Add to this the presence of Mr. McCurdle (Paul Daily), the Middle School principal, who loathes “wackiness” but has his own secret indulgences. It’s easy to see that Alex really needs all our help to make it through the year.

Rounding out the cast are Kenny Hertling and Sophia Hoffman who portray various students and characters, as well as representing the changes in seasons by throwing leaves, snowflakes, flowers, and at one point “money” throughout the audience.

While the show is funny and silly, it also teaches children about parts of speech (those words provided earlier were nouns, verbs and adjectives); how to carry oneself in times of struggle; the importance of truthfulness; and the difference between being friendly and actually being a friend. Judging by the response of all the kids in our audience this interactive experience, inspired in part by games like “Minecraft,” is perfect for grades K-5.

Performances, at Waldron Auditorium, 122 S. Walnut St. in downtown Bloomington, are 6:30 p.m. Friday, 1 p.m. Saturday and Sunday (May 3-5); 6:30 p.m. Friday, 1 and 4 p.m. Saturday and Sunday (May 10-12).

The very last performance, 4 p.m. Sunday, May 12, will be Sensory Friendly, accommodating those on the autism spectrum or with similar conditions. It will feature lower sound, lights on with no strobe or flashing, more room in the seats and the freedom for patrons to talk and move as needed. Resource materials are available, and tickets for this particular show are Pay-What-You-Will (minimum $5).

For details and tickets, contact Constellation at 812-336-9300 or visit seeconstellation.org.

Belfry details plight of ‘Father of the Bride’

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By John Lyle Belden

Of all the challenges a man may face, this is one of the most daunting. He must have the strength of Spencer Tracy, with the good humor of Steve Martin, to withstand this ordeal with sanity (and, maybe, bank account) intact. Beware, lest one day you, too, become the “Father of the Bride.”

The 1950s family comedy by Caroline Francke, based (as were the Tracy and Martin films) on the novel by Edward Streeter, is presented by The Belfry Theatre in Noblesville, directed by Barcia Miller Alejos.

Stanley Banks (Dave Hoffman) and Ellie (Debbie Underwood) are parents to teen sons Ben (Gideon Roark) and Tommy (Drake Lockwood), as well as 21-year-old Kay (Lizzie Schultz), who announces her intention to marry 23-year-old Buckley Dunstan (Daniel Alejos). Pops does not take this well at first, but Buckley relates how they want a wedding so small and simple, it’s practically an elopement – Stanley and his pocketbook sigh with relief. But realizing this means no formal ceremony, Kay balks, and confesses her true nuptial desires.

There will be a small wedding ceremony – only a few (hundred) people at most.

The story skips along through the weeks that follow, featuring important preparations including sorting the invitations with the help of Stanley’s secretary (Dana Lesh), and negotiating the reception arrangements with the caterers (scene-stealing Rob Lawson and posh Jericho Franke). Meanwhile the maid Delilah (Kim Schourten O’Mara) tries not to cry at the thought of the ceremony, or to throttle the furniture mover (Robert Fimreite) who is messing up her house during set-up. Ben’s girlfriend Peggy (Grace McKinnies) is just hoping to catch the bouquet. The cast also features Beth Popplewell as the bride’s dressmaker.

Through it all Hoffman has our titular character stoically grin and bear each little crisis and unexpected expense, never fully flustered, at least on the outside. Buckley, on the other hand, isn’t taking it very well, but Alejos manages to play nervous, naïve, and fearful in a way that doesn’t make him a total jerk – we can still see what Kay sees in him. Schultz takes her character on all the twists and turns of this emotional ride with impressive fortitude, and on the big day, stunning beauty. Lockwood is also impressive as the boy caught up in all these grown-up goings-on, striving not to mess up too much.

The whole production of this classic feel-good comedy embraces the wedding theme, with usher Cavan Doyle dressed as a Groomsman to seat audience members, and some era-appropriate love songs nicely sung by Addie McMillan before the show. There are even little cakes for sale in concessions.

(Edit to add:) Kudos to costumer Gail Sanders and the company for the gorgeous bridal dress; the veil was from director Barcia Alejos’s own wedding.

Conveniently staged at a church, Noblesville First United Methodist, 2051 Monument St., “Father of the Bride” has performances Thursday through Sunday, May 2-5. Get info and tickets at thebelfrytheatre.com.

ATI: ‘Forbidden’ bits both fresh and familiar

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By John Lyle Belden

What Weird Al is to popular music, “Forbidden Broadway” is to popular musicals.

Created by Gerard Alessandrini more than 40 years ago, this Off-Broadway parody revue has been frequently updated and presented worldwide, including a couple of times by Actors Theatre of Indiana, which is performing it again in Carmel through May 12.

Since TV producer Dick Wolf seems to have poached every between-gigs Broadway actor to be on his shows, it seems appropriate that this edition of “Forbidden” opens with “Broadway SVU” (BUM BUM!). As for the rest of the musical skits, skewering various musicals while backhandedly saluting the folks who make them (both creators and talent), I’ll respect the tradition of letting the audience be surprised. There will be some new material, as well as some returning laughs – after all, part of the joke of “Les Mis” is that it never ever truly goes away!

ATI co-founder Cynthia Collins joins the return of accompanist extraordinaire Brent Marty at the piano as well as three new faces to explore this forbidden world: Kieran Danaan, William Kimmel, and Christine Zavakos.

Kimmel, who is also director and choreographer, admitted it was tricky to guide his own performance, as well as helping set up the right set of send-ups from the show’s vast catalogue.

“We had to choose the best for our voices, and for the costumes, the best look-alikes,” he said after opening night. “Most importantly, we had to make sure the order was right, for who is performing a song while the others were changing backstage for the next one.”   

The result is a hilariously dizzying array of Wicked ice queens, naughty puppets, an aging Annie, a boy named Crutchie, and the true spirit of “tradition!” But it’s not all raspberries – watch for a heartfelt nod to shows that you won’t likely see revived, as well as a tribute to a Broadway genius recently departed.

Dare to explore – once more if you’ve seen it before – “Forbidden Broadway” at the Studio Theatre in the Centre for the Performing Arts in downtown Carmel. Get info and tickets at atistage.org or thecenterpresents.org.

‘Little Shop’ on IRT’s big stage

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By John Lyle Belden

The Indiana Repertory Theatre likes to have fun with its spring season closer, so, considering we just experienced “a total eclipse of the sun,” it is apropos that the IRT indulges in the popular musical, “Little Shop of Horrors.”

Originally a low-budget 1960 Roger Corman horror flick, “Little Shop” became an Off-Broadway hit with book and lyrics by Howard Ashman and music by Alan Menken in 1982 (before they went on to Disney) and returned to the big screen, directed by Frank Oz, in 1986. Odds are, you know the story: Clumsy Seymour and bubbly but abused Audrey work for Mushnik’s Skid Row Florist where the young man reveals he has found a strange and unusual plant. With its macabre diet, Audrey II has a hunger that grows and grows, just like its fame and the plant itself, until its horrible plot is revealed!

If you are unfamiliar with this, by all means see it; if you’ve only seen the movie, note there are a couple of different songs and a more tragic, yet still entertaining, ending. There are also a few stylistic touches we haven’t seen in previous stage productions.

Directed by IRT Margot Lacy Eccles Artistic Director Benjamin Hanna, this show gets first-class treatment with scenic design by Czerton Lim, costumes by Izumi Inaba, and plant puppets by Matthew McAvene Creations, manipulated by Rob Johansen, as well as a backstage band, conducted by Andrew Bougoin or Teneh B.C. Karimu (depending on performance).

We get the doo-wop harmonies of the chorus of Tiffany Theona Taylor, Jessy Jackson and Raquelle Viteri; Dominique Lawson as appropriately miquetoast yet vocally strong Seymour; Lucy Maria Godinez as charmingly naïve Audrey; and IRT regular Ryan Artzberger as that mensch Mushnik. Kyle Patrick nimbly rolls from role to role including bums, the “semi-sadist” dentist Orin, and various customers and press who can’t get enough of that mysterious plant. Speaking of which, when “It talks!” that’s the voice of Allen Sledge.

For those who seek more meaning in the madness, check out program materials which point out this show’s connection to traditional tales like “Faust,” which does help explain its enduring popularity, aside – of course – from the giant trash-talking man-eating plant on stage.

What more can we say? A show like this tends to sell itself, but you have to make that call or click to get the tickets. Performances run through May 19 on the mainstage at 140 W. Washington in the heart of downtown Indianapolis. See irtlive.com.

‘Moon’ shines on Mud Creek

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By John Lyle Belden

As a certain song says, show business is wonderful, even when it’s awful for those engaged in it. In Ken Ludwig’s “Moon Over Buffalo,” now on stage at Mud Creek Players, fading Broadway stars George and Charlotte Hay are upstate and up the creek, struggling to keep a repertory theatre alive during the 1950s dawn of television, after washing out of B movies and failing to get a prestige picture (“The Twilight of the Scarlet Pimpernel,” directed by Frank Capra) in Hollywood.  

Backstage of the Buffalo venue, we meet the Hays’ daughter Rosalind (Chrizann Taylor), who had given up the stage and is back in town only to introduce her fiancé, Howard (Jeff Haber), a TV weatherman. George and Charlotte (Sean Berne and Zoe O’Haillin-Berne) make an entrance as only they can. Rosalind’s ex-boyfriend and past scene partner Paul (Malcolm Marshall) is also on hand. Also, the Hays’ attorney Richard (Craig Kemp) is in town, hoping to woo Charlotte away from the madness, especially considering that the cute ingénue Eileen (Anabella Lazaridez) has been impregnated by George. Meanwhile, Charlotte’s feisty elderly mother Ethel (Jean Adams) turns her hearing aid on only when she feels like it, and if she has to mend the trousers one more time…

True to his comic style, Ludwig gives us a sort of slamming-doors sitcom (a Broadway hit in 1995) with plenty of belly-laugh moments. This comes complete with mistaken identity as tongue-tied Howard is mistaken for Capra, who is believed to be in the audience, looking to recast “Pimpernel.” We also get the mash-up no one asked for as both “Cyrano de Bergerac” and Noel Coward’s “Private Lives” hilariously take the stage.

The flashes of I-love-you-but-I-want-to-kill-you between George and Charlotte feel real, as the Bernes are married offstage as well. Whether enraged, distraught, or otherwise always performing, they chew the scenery with a knife and fork. Taylor gives us Roz as a voice of reason, yet feeling conflicted especially when Paul is in the room. As for Marshall, and for his part, Kemp, they are each in their own way hopeless romantics. For one, at least, the bold optimism may pay off. Haber is our bewildered everyman caught in middle of so many situations this forecaster never saw coming. Lazaridez kinda gives the ditz vibes one would expect from her blonde character, but they are more reflective of stress and hormones’ effect on the mind than hindered intellect. Adams heroically stays the eye of this hurricane, adding her own stoic yet comic flavor to the proceedings.

Directors Kelly Keller and Dani Lopez-Roque wrangle the wildness well, with the help of a trio of supporting characters/set changers who can’t help hamming it up a bit themselves, keeping the farcical mood flowing from scene to scene.

Two more fun weekends remain (through May 4) before this “Moon” sets on the Mud Creek Barn, 9740 E. 86th St., Indianapolis. Get info and tickets at mudcreekplayers.org.  

Kidsplay ‘Doctor’ delivers two shots to the funny bone

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By John Lyle Belden

Is there a doctor in the house? Several, actually, but they’re not even in high school yet. KidsPlay Inc. presents “The Doctor is In,” a pair of hilarious one-acts dealing with the sillier side of medicine.

Greenfield-based KidsPlay is a non-profit theatre opportunity for kids in third through eighth grade at no charge to them. Founder Christine Schaefer and director Amy Studabaker maintain a high performance standard so you don’t have to be related to a child to appreciate the show – besides, siblings and parents are often busy as crew, concessions, etc.

The show opens, per tradition, with a tap routine to a big band hit (with a twist) by Trinity Bricker, Evalynn Connelly, Chloe Elkins, Abby Marler, Josie McConnell, Nora Smith, Aria Studabaker, and Kyndall Watkins, choreographed by Frances Hull.

In Act I, “Understanding Your Pet with Dr. Marla Brett,” by Andrew Frodahl, Abby Kaucher plays the title doc like she’s the Taylor Swift of Veterinary Science, complete with best-selling book. She arrives at the clinic of starstruck Dr. Linkester (Chloe Elkins) and overworked, under-coffeed Vet Tech Dalaney (Kyndall Watkins), to test a new treatment on their patients – or to be precise, the animals’ owners. The pills give insight into what’s up with their critters, but, naturally there are side effects.

The pet people include a Senator (Anthony Stunda) and his aide (Molly Wallace), a chicken farmer (Elliott Holmes), a totally tubular turtle dude (Asher Ortman), a very sore beekeeper (Abby Marler) and an exterminator (Spencer Pipkin) who wants to get into the minds of his adversary. Other roles are by Bricker, Smith, Ellie Stearns, Audra Speicher, and Everett Sumpter. Finally, Federal Agents, played by Oliver Lederman and Tanner Pipkin, crash the party looking like miniature Blues Brothers. So much fun to be had here, especially with Stunda embracing his wild side, and Watkins shines as the only character acting relatively professional in the entire office.

Act II combines three fear factors into a single farce, “Attack of the Clown Dentist Zombies,” by Scott Haan (who was pleased after seeing a dress rehearsal). Dr. Todd Hanover (Charles Wallace) wants local dentists to find a way to keep their patients at ease, but first, let’s all have some of these mysteriously glowing cookies that Mrs. Hoffenbridle (Josie McConnell) made.

Steadfast in their refusal of baked goods, cynical throughout, and heroes by default are Dr. Hanover’s children, Xander and Susan (Reid Connors and Aria Studabaker), showing great stage presence even while dodging the zombified dentists and their victims: Essie Ortman, Sawyer Froman, Elliott Holmes, Kayte Reasoner, Asher Ortman, Ellie Raney, Everett Sumpter, Ellie Stearns, and Jack Joyner. Looks like it could be up to the town eccentric, Crazy Amy (Bella Ladrik), to save the day.

As is the case with the spring KidsPlay show, the eighth-grade performers “graduate” as they move on to high school and area Young Artist productions. This year’s group are Chloe Elkins, Abby Kaucher, Anthony Stunda, and Charles Wallace. They are off to a great start for whatever stage they aspire to.

Being an all-volunteer organization, KidsPlay keeps tickets at just five dollars each to see “The Doctor is In,” Friday through Sunday (April 19-21) only at the H.J. Ricks Centre for the Arts, 122 W. Main St. (US 40) in downtown Greenfield. Presale tickets available at Hometown Comics & Games, 1040 N. State St., also in Greenfield.