comedy

Hyperion hosts good zombie play

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By John Lyle Belden

Local performer Brad Staggs said he took it as a challenge when several years ago his wife said, “There’s no such thing as a good play about zombies.” While the silver screen has stories of these undead of varying quality, and television the acclaimed “Walking Dead” (based on a brilliant comic book), this actually was in the realm of possibility.

In “I Love My Zombie,” which Staggs wrote, directed, and took a role in on June 6-9 at Theater at the Fort in Lawrence, he manages not only an entertaining zombie-centered comic drama, but also a tribute to the golden age of television and thinly-disguised tribute to the bold character of the legendary Lucille Ball.

In the Hyperion Players production, Becky Schlomann plays this parallel-America’s TV star June Burns, who, like Ball in our world, runs the production company that makes the number-one 1950s sitcom, “I Love My Wife,” starring her and her husband, Jimmy Teague (Ron May), who happens to be a zombie.

In the last days of World War II, the Nazis released an experimental gas as they retreated, which the Allied soldiers and civilian aid workers did not feel the effects of for a few years. In varying states of decay, yet fully active, the turned zombies, recognizable by sickly colored skin, were designated Stage One, like Jimmy, physically and mentally intact; Stage Two, like comic Sy Greenblaum (Jerry Robbins), losing body parts that can be simply reattached to regain function; Stage Three, largely mute and slow of mind but physically strong; and Stage Four, the kind you really don’t want to meet.

Carl Cooper (Robert Fimreite), another Stage One, is president of the Zombie Actors Union, which looks out for performers like Jimmy, as well as the Stage Three stagehands (Lauren Lotzow and Natalie George). June and Jimmy’s human costar Madeline Blonstein (Veronique Duprey) has grown weary of working with the undead; she commiserates with production assistant Michael Eastman (Brynn Lee), who is influenced by the letters published in the paper attributed to the mysterious “Mr. Kaplan,” who calls all zombies a dangerous menace that should be removed from regular human society.

Meanwhile, Gary (David Muller), the Director of “I Love My Wife,” apparently lives in his production booth and we only hear his voice.

This story is narrated to us by LAPD Detective Sam Cutty (Staggs), who tells it during a 1972 police seminar, with the help of his groovy young niece Tammy (Sydney Adams). Cutty was there in 1952 when he was called in to investigate a murder involving the aforementioned characters, leading to a bigger and more sinister plot.

I won’t spoil this, because hopefully this play will return at a later date. Staggs crafted an interesting mystery with lots of fun comic elements, featuring creatures who are not necessarily the bad guys, and not nearly as “mindless” as the attitudes of certain humans. The moral codes of the 1950s add to the atmosphere of discrimination as America deals with another easily misunderstood minority. June takes a stand as a voice for decency, rallying our sympathies as well as her castmates.

Sydney Jackson was assistant director. Beth Fike designed the sets. Ash Dykstra did the un-lifelike makeup.

From our perspective, we say “mission accomplished” for Staggs – a good zombie play with good zombies. This also shows Hyperion further establishing itself as another quality local theatre company. It starts its next season in September with “An Inspector Calls” by J.B. Priestley, directed by Nicole Amsler. See HyperionPlayers.com for details.

Constellation musical tests couple’s commitment

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By John Lyle Belden

The opening song for “The Break,” a new rock musical presented by Constellation Stage and Screen of Bloomington, declares “this is not a love story.” But while it’s not a typical rom-com plot, this is a humorous story about love, tested in rather extreme fashion.

Samantha (Alex Keiper) and Charlie (Louis Pardo) have known each other since they started college. They have only dated – and had sex with – each other, and for years have lived together. They were perfectly fine with this.

One day, they realize that perhaps they should take the natural next step: marriage. It also dawns on them that neither has personal experience to truly know that each is the best partner for the other – no basis of comparison. They decide to take a “break” of 30 days for a “sexual walkabout,” separately sampling one-night stands with strangers to get the lay of the land (so to speak) before reuniting to finally commit to each other. There are a few ground rules, including shared custody of Rodrigo the iguana, but otherwise they are free to explore.

This musical, by Michael Kooman and Christopher Dimond, indulges in mature topics and language, but keeps things light with no graphic simulated intercourse. The scenes more reflect their experiences and feelings before and after the sex. There are plenty of questionable potential hookups, but some go quite well – one song declares “That felt f***ing good!”

Under the direction of Scott Weinstein, Keiper and Pardo turn in excellent performances. As Sam and Charlie, they convincingly show ease with each other, a depth of feeling that includes mutual empathy and genuine hurt when the rules are bent. Being the only actors on stage, each smoothly morphs into the various men and women our explorers encounter. Keiper is even the voice of Rodrigo, who also gets a song.

Overall, the show is a funny, entertaining reflection of our swipe-right/left dating landscape and the apprehension we all experience when the ring and ceremony make “til death do us part” feel too real.

Speaking of which, the last scene does involve a wedding (which is even hinted at in the beginning). How these two come to know that next step is the right one, though, is a heartfelt journey worth joining them on. Performances run through June 23 at Waldron Auditorium, 122 S. Walnut St. in downtown Bloomington. Get info and tickets at seeconstellation.org.

Diving into Div(X)Fest

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By John Lyle Belden

How does one describe the ongoing process by which a stage production comes to be? It’s a bit crude to say “how the sausage is made,” as that is just too messy an image to place on creating art. On the other hand, saying its “how the magic is made” – aside from likely being trademarked by Disney – glosses over just how productively messy the journey can be. Writers like myself (and Wendy) use these terms to impress on the reader and likely patron that this work is not finished, but still worth a look which lends an insight into the labor of love (emphasis on both) plays, musicals, et al, truly are.

So, I’ll just say that IndyFringe’s annual Div(X)Fest (formerly Diva Fest) is our witness to the base materials our creators spin into theatre gold. (I think that works.) This year’s edition, again celebrating the talents of women (as well as trans and non-binary folx), features readings of three new works. One day remains, Sunday, June 9, starting at 2:30 p.m. in the IndyFringe theatre, 719 E. St. Clair St., downtown Indianapolis. Tickets are pay-what-you-can. Info at indyfringe.org.

Reviewing in reverse order of presentation, these plays are:

“The Sleepover,” I mention first because it is the closest to completion, planning its world premiere at the 2024 IndyFringe Festival in August. It is a unique collaboration begun earlier this year among five women who also perform in this “coming of age dramedy.”

Christine Gordon (as Alexis), Emily Worrel (Rowan), Natalie Fischer (Jessica), Samantha Hines (Chloe), and Wilhelmena Dreyer (Sydney) are 14-ish girls gathering for their annual (for all but Rowan, who is new to town) end of school year sleepover at Alexis’ house. There is a sense of transition, mainly signaled by moving on to high school in the fall, which has the hostess especially meticulous in her planning.

There is tension among them practically from the start, especially after Sydney finally arrives and they engage in their traditional game of Truth of Dare, “Kessler Road Rules.” Along the way we find hidden secrets, insights into true feelings, and hints of the presence of a monster they thought they had only made up – all magnified through the everything’s-extreme perspective of adolescence.

As others noted at one performance, although all five women contributed to the creation and writing of this play – from exploratory conversations and exchanging basic ideas to fleshing out characters. their relationships, and what they say and do – the pieces have melded together in what feels like a single narrative voice. They admit it did feel a bit like they were school friends who shared a deep bond in this process.

This should generate a lot of buzz going into this year’s Fringe, and we can’t wait to see how their creepy cryptid actually comes to life.

“The Silent Supper” by Kaitlynn McShea is a work of subtle horror in which an older woman sits by a ruined table, struggling to remember what happened before “the fire came.” In this reading, directed by Christine Gordon, Wendy Brown portrays the woman, exhausted by nightmares as every sweet memory “never goes right,” as well as the growing buzz of insects. Each remembrance is enacted by a foursome of local actors (I don’t have names at the moment; may fill in if I get them later) who give us some insight into their lives – presuming the one remembering is a reliable narrator. This short work does well in building suspense, reminiscent of Stephen King at his best. It gives Brown a good role to work with, portraying a troubled soul who pulls on our empathy.

“On the Rag Dolls” by Allison Fradkin starts the day’s entertainment, directed by Mira Cassidy, as a trio of young women (again, names unavailable) play three edge-of-puberty besties on their own “Casual Friday” sleepover. However, this scene is a satirical comedy with entendres and puns coming at you with the pace of a hit sitcom, expressed by girls who barely, if at all, get the subtexts (still, you know tweens talk like that). The trio are apparently all in the same hardcore Evangelical Protestant community, though only one goes to the Christian Academy rather than public school, so talk of the future is of boys they will marry and the children they will have (though sex is gross), as well as if their just-started periods are “the curse” or a blessing. – “Men-ses the day!” one girl resolves. – This work in progress is hilarious and shows lots of potential; after-show talkbacks allow us to give Fradkin ideas on where to take this story (as with McShea above).

We extend a big thanks to IndyFringe for hosting this event and their continued engagement in the development of local talent and new works.

Dearly beloved, gather for ‘The Wedding Singer’

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By John Lyle Belden

Being a Generation X’er, I get mixed feelings about 1980s nostalgia, but some things catch the kitschy spirit of the decade just right, like the Tony-nominated musical, “The Wedding Singer,” based on the 1998 Adam Sandler film.

Presented by the 21st-century actors of Eclipse, the professional-level program of Summer Stock Stage, “Wedding Singer” is on the main stage of the Phoenix Theatre Cultural Centre through June 16, directed by Kate Galvin.

In 1985 New Jersey, singer-songwriter Robbie Hart (Alex Pharo) is having modest success leading an in-demand wedding band, Simply Wed, with best friends Sammy (Micah Phillips) on bass and George (Matthew David Conwell) on keytar. Robbie is also looking forward to his own wedding, to Linda (Kha’Lea Wainwright), but things don’t go to plan. Meanwhile, Julia Sullivan (Leela Rothenberg), who with her cousin Holly (Dori Salumurovic) are waitresses at the wedding venue, is getting engaged to rich Wall Street boyfriend Glen Guglia (Jack Ducat). Julia has Robbie promise to sing at her wedding – which he eventually will, but not in the way anyone expected.

The plot hits all the expected beats of a typical rom-com, from the meet-cute all the way through to the “go out and get her!” What’s important is how the story goes from here to there, and all the charming, mildly dramatic, and laugh-out-loud moments along the way.

Pharo takes on this journey well, making Robbie a hero to root for, funny and charming without any of Sandler’s mannerisms so the character stands on its own. Rothenberg makes Julia both noble and sweet, the kind of woman worth going great lengths for. She and Salumurovic have a natural chemistry as well, like they grew up as almost-sisters. Phillips, looking like a mad scientist combined Hall and Oates, and Conwell, a sort of Boy George homage, also make memorable likable characters. Wainwright and Ducat give their roles each a flavor of vanity that befits the era – Glen’s especially, as a “greed is good” trader overflowing with hubris.  

Local stage veteran Devan Mathias steals scenes in roles including Robbie’s grandmother Rosie and Julia’s mother Angie. The supporting ensemble get a lot of time on stage – weddings, a bar mitzvah, at the mall, etc. – so get a lot of moments as well, featuring Isabella Agresta, Kayla Mariah Fifer, Fletcher Hooten, Byron Ledford, Hillary McGuire, and Maddux Morrison (who rocks Fake Billy Idol).

The musical, with book by Chad Beguelin and Tim Herlihy (from Herlihy’s screenplay), music by Matthew Sklar and lyrics by Beguelin, avoids the endless headaches of song rights by providing originals with the familiar feel of ‘80s hits, from the catchy “It’s Your Wedding Day” to the charm of “Come Out of the Dumpster.”

Galvin is aided by music director Jerico Hughes, choreographer Phillip Crawshaw and stage manager Rebecca Roeber. Embarrassingly accurate fashion and look by Wendy Meaden (costumes) and Andrew Elliot (wigs, hair, and makeup).

Highly entertaining with a story of love lost and found “Right in Front of Your Eyes,” find “The Wedding Singer” tickets at phoenixtheatre.org.

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.