comedy

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.

Center Stage ‘Outsider’ shows silly side of politics

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By John Lyle Belden

At times, the difficult part of satirizing today’s political scene is coming up with something nuttier than what is actually happening. Or, in the case of “The Outsider,” the hilarious comedy by Paul Slade Smith, one could premiere a play in 2015 that in some ways appears to come true in the nine years since.

Center Stage Community Theatre in Lebanon now presents “The Outsider,” directed by Matt McKee with Sabrina Lang. The play is set in an American governor’s office – which state is not said directly, but there is an Indiana flag in the corner. Also, party affiliations are never mentioned as absurdity is non-partisan.

With the popular but corrupt Gov. Larry Clarke (and his whole staff) having resigned due to a sex scandal, the top job has fallen to Lieutenant Governor Ned Newley (Matt Spurlock), who, though highly intelligent and an efficient policy wonk, is totally tongue-tied in public and has botched his swearing-in. Note this takes place “today,” with viral videos on YouTube and other sites.

Chief of Staff (and until this day, Newley’s entire staff) Dave Riley (Neil Acton) is beside himself with worry over his boss’s future. His first hire is friend and expert pollster Paige Caldwell (Veronique Duprey), who manages to bring in nationally renowned political advisor Arthur Vance (Larry Adams). Riley also requested a temp to handle administrative duties, resulting in the appearance of Louise “Lulu” Peakes (Kat Krebs), who boasts experience at dozens of firms because she never lasts a day at any of them due to comical cluelessness.

Vance feels inspired by the Newley video showing the new governor apparently unfit for office. “Unqualified is the new qualified,” says this expert on what the voters want. The fact that Gov. Newley is not stupid only complicates things as Vance sets up a TV interview with local reporter Rachel Parsons (Lauren Lotzow), who arrives with surly cameraman A.C. Petersen (Tom Smith). This attempt to keep the Governor dumbed-down takes a bizarre turn when Lulu stumbles into the office, giving Vance a look at what could be the perfect American political candidate.

Whether you think this is other-worldly absurd or an exaggerated look at current events, the play is non-stop funny, like an SNL opening skit in which all the zingers hit. Acton as Riley plays the neurotic nice guy so well Jimmy Stewart would ask for pointers. Duprey has a natural charm that works perfectly here. Adams brings on contagious energy like a 21st-century political P.T. Barnum with the right sets of cards to get anyone saying what the public (or at least a focus group) wants to hear. Lotzow ably embodies a journalist annoyed with what “the media” have become, yet she must go along to keep a job. Smith, who can make a lot of a little role, does quite a bit with the guy who just wants to stay overlooked while he does his necessary thing.

 Spurlock gives in Newley a perfect rendition of a man who was in a dream job (quietly writing good policy that the one who likes being the public face took credit for) suddenly in way over his head with nearly every neurotic trigger tripped. Still, his honesty and sense of duty towards a government he doesn’t see as bad, or a means to power for its own sake, bring him courage to do what’s right.

As Lulu, Krebs is both a charmer and talented at the deceptively difficult job of consistently playing the ditz in a manner that is so entertaining while we nearly hurt ourselves laughing. Her timing and physicality, as well as Acton’s during the fateful TV spot, elevate the hilarity even more.

Like all good satire, there is a point here, but nothing heavy-handed or preachy. If you see any real-world versions of the attitudes or archetypes presented, just keep them in mind come November.

Whether you can use some topical humor or think politics is no laughing matter, just relax and enjoy “The Outsider,” through Oct. 13 at Center Stage, 604 Powell St., Lebanon. Get info and tickets at centerstagecommunitytheatre.com.

IRT does A-OK with the B-E-E

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By John Lyle Belden

Funny how so much of your life seems to hinge on what happens in your middle-school years. Funny enough, in fact, that it’s good to laugh – with, not at – the struggles of the kids caught up in “The 25th Annual Putnam County Spelling Bee” at Indiana Repertory Theatre.

Being the IRT, you can expect and experience a highly professional production, including the nicely constructed Gym setting (in a fictional “Putnam County, USA,” though the program notes there is such a county in Indiana, to the west of Indy) with a lively scoreboard that lights up to cleverly illustrate and comment on the goings-on below. A sharp cast of local and visiting actors give us characters we can all relate with or knew in our school days.

We meet Rona Lisa Peretti (Michelle Lauto), our upbeat emcee and past champion; assistant principal Doug Panch (Ryan Artzberger), who calls out the words and promises to behave this time; and Mitch Mahoney (R.J. Griffith), who is “comfort counselor” as part of his court-ordered community service.

The contestants are: Chip Tolentino (Matheus Barbee), noble Boy Scout and last year’s winner; Logaine Schwartzandgrubenniere (Devin Mathias), a budding activist with two very involved dads; Leaf Coneybear (Dominique Lawson), a homeschooled free spirit unsure of his own worth; William Barfeè (Brett Mutter), armed with confident bluster and his “magic foot;” Marcy Park (Ayana Strutz) an overachiever (six languages!) who was spelling champ at her previous school; Olive Ostrovsky (Ariana D. Burks), a shy girl with distant parents, her best friend is the Dictionary; and some spellers chosen from the audience (don’t worry, you have to apply to be selected).

This musical, by Rebecca Feldman with Rachel Sheinkin (book) and William Finn (music and lyrics), directed and choreographed for IRT by Patdro Harris, is lively, funny, and heartfelt. We get both the present challenge for these youths, the stress of the bee expressed in the song “Pandemonium,” as well as a look into their inner lives, as each gets at least a song of their own. Castmates step in to portray family members as needed. The humor comes from their situations, as well as great one-liners such as an interesting “fact” given about each contestant – including the selected audience members – and the replies to “please use the word in a sentence.”

The elements of improv keep the show fresh and unpredictable (these actors are up to the challenge), and even yielded some of the biggest laughs on opening night. If you are familiar with the show, you know who wins the contest – but the finalists’ performance lends sufficient tension to make the ending work. It is also uplifting to see most who don’t hoist the trophy each find victory in their own way.

It’s hard singling out individual performances, as this was such a great ensemble. Artzberger is such an IRT mainstay that it’s easy to overlook just how naturally he puts on every character he’s called on to play. Lauto isn’t local, but as Peretti has a natural chemistry as though she truly was this county’s top realtor and past spelling champ. Griffith gives the right balance of “street” and sweet called for in Mitch’s situation.

Mathias is familiar to local audiences, though not necessarily her earnest lisping inner child as Logaine. Lawson demonstrates wonderful versatility by leaving behind his turn as Seymour from “Little Shop” a few months ago to give us the charmingly naïve, yet brave, Leaf – reflecting many of us in the audience when blurting “is that even a word?” when given something obscure to spell – as well as an important moment as one of Logaine’s dads. Barbee also has some great moments (including one Chip would rather forget) and a good pitching arm with the snack tray. When done right, you just want to give Olive a big reassuring hug – and I think Burks had us all that smitten. Barfee is so many things – obnoxious, aggrieved, confident to a fault, needing to succeed to feel worthy, wanting to be appreciated, and on the edge of unsure – Mutter nails them all. As Marcy, Strutz was perfectly cast as she is not only wonderful in the role, but also capable of the dance and gymnastics that make her solo number really pop.

Kudos also to scenic design (mentioned above) by Britton Mauk, and music director Joshua Burniece. In the lobby balcony, there is a display that includes how costume designer Linda Pisano reflected the characters’ personalities in their outfits.

This show is at the IRT for just a short spell, through Oct. 13, at 140 W. Washington St. in the heart of Downtown Indianapolis. See irtlive.com for information and tickets.

Mud Creek casts a comic spell

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By John Lyle Belden

As the spooky season closes in on us, we have a fresh production of the witchy stage comedy “Bell, Book and Candle,” by John Van Druten at Mud Creek Players, directed by Dani Lopez-Roque.

Gillian (Heather Jones), a powerful witch living in 1960s New York, is taking a fancy to mortal Shep Henderson (Jamie Kenjorski), a book publisher who lives upstairs. However, upstairs from him is Gillian’s silly Aunt Queenie (Stacy Embry) who has been misbehaving. During a rather eventful Christmas Eve, the witches and Gillian’s stylish warlock brother Nicky (Stephen Greiner) set up a magickal night for Shep, and even summon Sidney Redlich (Lou Cavallari), the non-witch author and witchcraft “expert.”

As any spellcaster will tell you, if you put a lot of energy out there – especially in matters of love –there will be serious circumstances. This charming rom-com even has a subtle nod to a certain sitcom that this play helped inspire.

As typical of shows of the era, all characters have nice outfits, thirst for cocktails, and something clever to say. Jones’ performance gives the perspective of a selfish personality slowly discovering the pain and potential good of empathy. Embry’s Auntie is naturally charming, while Greiner feels too fabulous to change. Kenjorski, though playing the “victim” here, has Shep realize perhaps his choices weren’t entirely his own before he encountered his witchy neighbors. Cavallari is both comic foil and a cautionary lesson on the difference between what we think we understand and what we actually do.

This fun, bewitching show opens Mud Creek’s 75th Anniversary Season, celebrating the company’s past hits – “Bell, Book and Candle” was staged here in 1953, not long after its Broadway debut. This production runs through Saturday, Sept. 28, at the MCP Barn, 9740 E. 86th St., Indianapolis (Castleton/Geist area). Get tickets at mudcreekplayers.org.

Witness a special day for ‘Five Women’

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By John Lyle Belden

Eclipse Productions of Bloomington (no relation to the student program in Indianapolis) is establishing itself by immersive productions with mature themes. This time, despite the trigger warnings, we have a comedy.

“Five Women Wearing the Same Dress” reveals the quirky genius of Alan Ball, predating his award-winning screenwriting in “American Beauty” and television’s “Six Feet Under” and “True Blood.” Directed by Jeremy J. Weber and Konnor Graber – who show solidarity by attending in matching floor-length gowns – they have us enter through a “closet” to witness the goings-on in the bedroom of Meredith Marlowe (Jen Wells), whose oh-so-perfect sister just got married.

The title refers to the fact that Meredith is one of five bridesmaids in the lavish ceremony at the Marlowes’ Knoxville, Tenn., home in the early 1990s, wearing identical lavender dresses (complete with matching hats and torturous high heels) that they despise. The quintet all find refuge in this room: Cousin Frances (Jada Buehler) is uncomfortably open about being “a Christian” though at her first appearance she quickly breaks the Commandment on coveting, as well as nearly the one about stealing. Trisha (Shayna Survil) had formerly been the bride’s “bad influence” friend, and now that her obligation is done, hopes to find someone for mindless sex. Georgeanne (Kate Weber) is a full bottle of champaign into a respite from her own lousy marriage, wishing a past lover would notice her instead of some other woman in a backless dress. Finally, Mindy (Vera Wagler), the good-natured lesbian sister of the groom, just wants to be away from all the judgmental looks from family and wedding guests.

A clever aspect of this play is that at least three characters become well known to us despite never appearing on stage – the bride Tracy (who all agree is beautiful and successful), groom Scott McClure (whom all the women pity), and the eternal bad-boy Tommy Valentine (former fiancé of Tracy who has hit on or slept with all five other women). As we learn more about past relationships, we see the lasting effects of past trauma that draw shadows over the expected joys of this day.

The performances reveal the unexpected chemistry among these very different individuals brought together by a rather unfortunate uniform. Buehler’s sanctimonious Frances can be a bit much, but her naïve charm keeps her likable. Survil has Trisha wear “jaded” like a badge of honor, or as armor over sensitive scars. Weber plays Georgeanne as someone who has lived a lot in her three decades, mostly for others, but hasn’t given up on youthful exploits just yet. Wagler’s Mindy is the most optimistic and (the irony is noted) girly of the group, though she has her own resentment to work through. Wells’ Meredith embodies her dichotomy as the host (it’s her room, and her joint they pass around) while still feeling stuck as a little sister – being younger than Tracy, Trisha, and Georgeanne, and held back by a traumatic adolescent event. Their interactions build naturally with their shared experience in a pre-smartphone world where all that matters is the sisterhood in the room, contrasted with the formal chaos downstairs and outside the window.

We also get a visit from Mindy’s handsome cousin, Tripp Davenport, played by Jo Moran with the same exuberant charisma they put into the Constellation production of “Alex Gold” earlier this year. Tripp does present a noble challenge for one of our ladies, but we suspect Ball wrote him in for his rather mundane usefulness in the final scene.

Performances run through Sunday, Sept. 8, at the Waldron Firebay Theatre (an intimate black-box stage on the first floor of Waldron Arts Center) 122 S. Walnut St., Bloomington. Get tickets at EclipseProductionsCompany.com.

‘Carrie’ even more mind-bending in Drag

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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.)

Surviving high school is such a drag, right?!

So, it stands to reason that Indy Drag Theatre would take on the hottest Prom ever shown on stage or screen in “Carrie: A Drag Parody Musical.” The drag-world embrace of outsiders and making what could be considered trashy fabulous while leaning into its campiness help make this show the perfect medium for genderfluid expression.

As director Ciara Myst pointed out on opening night, the original Stephen King novel boldly took on topics such as abuse and bullying. In addition, the musical itself had a rocky path from being one of Broadway’s biggest flops in 1988 to a cult classic with a notable revival (after some necessary rewrites by creators Lawrence D. Cohen, Dean Pitchford and Michael Gore) in 2012. The Indy Drag Theatre performs flawless lip-synch to audio from both a stage musical performance and the hit 1976 Brian de Palma film. Dottie B. Minerva is assistant director; costumes are by Kalinda, with makeup by Ms. Myst, and wigs from Hair By Blair. Choreography is by April Rosè.

Our fabulous cast ironically plays it straight in reproducing the stage experience, imbuing the scenes with appropriate drama and suspense. St. Pussifer shines as misunderstood, mistreated Carrie White, with Vera Vanderwoude St. Clair chillingly playing her strict and insanely devout mother Margaret. AJ Thoma is solid as good-natured Sue Snell, while Eli Rose is the noble Tommy Ross. Brentlee Bich is furiously bitchy as vengeance-minded Chris (the girl behind the infamous blood-bucket prank). Skarlett Rose also does well as tragic gym teacher Miss Gardner.

Other performers include Cadence, Axel Rosie, Ce Ce Santos, Abigail Brown, Desiree Bouvier, Jose Dos Santos, William Moser, Jack Offerman, and Elle Rulon.

If you are a fan of drag, the original book or film, or high-heeled spectacles like “Rocky Horror,” you simply must see this edition of “Carrie” – when it finally makes its way back to Indy’s District Theater. Due to its proximity to the Fringe festival, there was only one scheduled weekend of performances. When an unspecified emergency forced a cancellation on Sunday, it was announced that Indy Drag Theatre would try to bring the show back at a later date.

In the meantime, make plans for their next scheduled show, “Shrek,” Nov. 15-24. Get details at indydragtheatre.com.

Cryptid heroes return to Fringe stage

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By John Lyle Belden

Cryptid Entertainment engages audiences with explorations of what it would be like if fantastic mythical creatures lived among us. Such stories might be closer to the truth than we suspect – there is reliable evidence, for instance, that the being known as Theodore Roosevelt may have at one time actually existed.

In 2022, Cryptid presented its masterwork “Bigfoot Saves America” during that year’s IndyFringe festival. While a success, the company were all in agreement that sequels to plays are a terrible idea, thus inspiring playwright and director Dakota Jones to instead expand the show to a second act, with the solemn mission of, in his words, “a cheap attempt at a laugh.”

Presenting: “Bigfoot Saves the World!”

Tony Schaab returns as the super sasquatch, agent of H.A.I.R. (a Top-Secret government office that assures us it doesn’t exist). Jo Bennett is also back as the evil Mothman, who has kidnapped Mr. Foot’s ex-wife, Dr. Love Interest (reprised by Kyrsten Lyster). Aaron Henze also returns from deep freeze as the lycanthrope-infected President Teddy Roosevelt.

This time around, Kaya Dorsch and Thomas Sebald portray the gay hench-moths as well as Agents in black, joined by the expendable Charlie Rankin.

And, again, this show is sponsored by pharmaceutical miracle and crude plot device Sexadryl (“Sex-A-Drill”).

Since it worked the last time, the first-act plot – bizarre humor and all – is essentially the same as the original Fringe show (for what happens, note its title).

The sequ- I mean Second Act reveals a plot by the Soviet Union (this takes place during the Cold War, after all) which involves Robo-Stalin (Sebald), Agents Hammer and Sickle (Dorsch and his right hand), femme fatale Ras-Poontang (Lyster), a sexy yeti (Rankin), and an even more glorious Mothman.

Will Bigfoot rise to the challenge? According to the title, yes, but he may need an assist from MOLAR OF THE MOLE PEOPLE (Dorsch again – they are so versatile).

Because you can’t have too much talent in such a cheesefest, there are special appearances by Doug Powers and David Molloy, as well as the services of the world’s greatest stagehand, Lillian Eisenbraun. Brilliant costumes are by stage manager Marina Turner.

Once again, these hijinks are funny, silly, and very “Adult Swim,” including “going for the hard ‘R’” with a bit of furry burlesque. It’s self-aware and unabashed, a great time for anyone (teenage and older) who doesn’t take endangering and saving the world with mythical beasts too seriously.

Further, we are assured that there will be absolutely no third chapter (until Dakota is finished writing it).

“Bigfoot Saves the World” Thursday through Sunday, July 25-28, at the IndyFringe Basile Theatre, 719 E. St. Clair, Indianapolis. Get tickets (before they sell out) at indyfringe.org.

FTC presents genuinely haunting tale

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By John Lyle Belden

And now, a dark comedy in which characters are often plunged into darkness.

“A Skeptic and a Bruja,” the play by Rosa Fernandez presented by Fonseca Theatre Company, is also the title of a paranormal podcast by three women of color: Jess (Arëe Lyn) is the Bruja (Spanish for “witch,” that in this case references a particular spiritual practice); Sam (Cara Wilson) is the skeptic, compulsively seeking a logical explanation for anything that happens; and Remy (Yolanda Valdivia) handles all the tech, making audio and video recordings of the other two as well as setting up a/v equipment to detect and record anything weird.

They have come to investigate an old house being converted into a bed-and-breakfast by professional chef Pricilla (Chandra Lynch). Before the podcasters arrive, we already hear the thumps and see a door open itself. But, of course, all is quiet when the investigators arrive. Sam openly wonders if this will be worth their time, while Jess sees it as at worst a free stay at a quaint B&B with gourmet meals. They are fascinated by the upstairs room full of creepy dolls, though.

Soon enough, the entities in the house make themselves known, taking advantage of the fears and regrets each of the women were already afraid to confront, especially for Remy, who just recently lost her mother.

Directed by FTC Producing Director Jordan Flores Schwartz, the play effectively grows tension from laughs to chills as circumstances grow more serious. Well-executed startling effects are employed, including sounds, visuals, and falling objects, aided by the work of light and sound designer Ben Dobler.

Our foursome play these scenes with zero camp. Lynch has Pricilla already inclined to think she’s haunted by her partner who died of cancer a year earlier. Wilson expresses Sam dealing with her mask of rationality rapidly fraying. Lyn gives Jess the centered calm of a woman who has seen ghostly entities her entire life, only growing concerned when her guardian spirit makes an abrupt exit. Valdivia takes on the complexity of Remy’s being the target of the house’s unseen residents, coupled with reconciling the fraught relationship she had with her Mom.

You could look at this as a cool telling of a ghost tale somewhere between “Scooby-doo” and “The Conjuring” films, or, as an unconventional story of women finding their inner strength to deal with the regular-world grief that haunts them (and eventually, all of us). I think it’s both. Regardless, this haunted house is worth a visit.

“A Skeptic and a Brujah” plays through July 28 at 2508 W. Michigan St., Indianapolis. For info and tickets, visit fonsecatheatre.org.