comedy

IndyFringe: ‘Cindy/Ella’

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This show is part of the 14th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 16-26, 2018 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By John Lyle Belden

This silly satire answers the question: What would happen if the producers of the “Kardashians” and other “E!” network shows made a traditional fairy tale?

Cindy, who chafes at being married to the Prince of Malibu (with his odd shoe fetish), is fed up with royal life and runs away to (gasp!) The Valley, where she meets a Fairy Godmother minding an adult novelties store, and finally disguises herself as a mai- I mean personal assistant to a wick- I mean drunken woman (think stepmom) and her ug- I man vapid (and pretty tbh) twin daughters. See? Just like the Grimms wrote it.

It all works in its own wild way, complete with breaking “Extra!” style news bulletins by Michael Cleaver. And it benefits from the superb-as-usual acting of Abby Gilster as Cindy, and the phenomenon that is Josiah McCruiston as our godmother Dontrell. Kudos also to Amity Aschilman for her deadpan counterpoint as Dontrell’s best friend/coworker/roommate Kendra.

We also get Melissa Cleaver as Cindy’s PA/friend Deidre, Scott Prill as a steadfast detective, Amanda Bell and Ashley Duprey each in dual roles, and Jason Plake as our Prince with far more substance in his Speedos than his brain.

“Cindy/Ella” is presented by playwright Elizabeth Griffin Speckman at the IndyFringe Basile (main) Theatre, 719 St. Clair St., just off Mass Ave.

IndyFringe: ‘Act VI Scene I (Shakespeare and Zombies)’

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This show is part of the 14th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 16-26, 2018 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By Wendy Carson

From the title, you would expect this to be something like a Shakespearean version of “Shawn of the Dead.” However, nothing could be further from the truth. The play is introduced by The Bard himself (who also returns to narrate the various scene changes) without explanation as to its provenance.

We are presented with two young lovers being secretly married amidst the protestations of their families. When the Priest asks if anyone has reason for the two not to be wed, an armed stranger bursts in and bids them to bar the door as the dead have risen and are attacking the town. The story then follows the next four weeks in the lives of these four characters. Their personal relationships, the fight among their inner demons, and their ultimate fight to survive in this new situation.

While the plot may sound like a zany re-hash of various other books, TV shows and movies, it is played with all of the austerity that one would expect in a play written by Shakespeare. Even though the dialogue is pure Shakespearean English, it translates well to the story and makes the style so much more accessible to a modern audience.

I would highly recommend bring teens and children to see the show to get a taste for the style of plays before they actually dive into the actual works of Shakespeare. Who knows what this sort of project could inspire?

“Act VI, Scene I” is presented by The Lord Chamberlain’s Men at the District Theatre (formerly Theatre on the Square), 627 Mass Ave on the secondary Cabaret Stage.

CCP’s charming ‘Witches’ at Carmel’s CAT

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By John Lyle Belden

We all have that one person we can’t stand – but then circumstances force you to work together. That is the hex put on the ladies in “Kitchen Witches,” the fun comedy that concludes the 2017-18 season for Carmel Community Players.

Dolly (Denise Fort) is wrapping up her cable-access cooking show due to lack of viewership. But when her old culinary rival, Isabel (Gina Atwood), crashes the finale, the ratings go through the roof. So, to stay on the air, the two women must work together – an obvious strain on producer Stephen (Tim Moore), who is also Dolly’s son. Along with slinging the hash (at each other) our “witches” rehash their past with the late Larry Biddle, Dolly’s husband and Isabel’s lover.

Meanwhile, keeping the cameras in focus is Robbi (Sydney Heller), a local punk who signals “one minute to air” with her middle finger.

The result is hilarious, of course, but Caroline Smith’s charming script has a surprising amount of heart, brought out nicely by the cast and director Courtnie Janikowski. Fort and Atwood play their besties-turned-beasties more infused with damaged pride than malicious anger, and Moore effectively portrays the put-upon son trying not to get another nervous ulcer. Even Heller wins our affections, excellently playing Robbi in “Silent Bob” style.

This show is CCP’s debut in the CAT, a performance space located just off the downtown Carmel Arts & Design District at 254 Veterans Way. This will also be home to much of the 2018-19 season as the company seeks a permanent home.

A good time was had by all at the packed opening night. Though, if I must nitpick, while I do understand the constraints of volunteer community theatre, this production could tighten up its scene transitions, or at least play a little music while we sit in the dark.

But overall, consider me charmed by these “Witches.” Call 317-815-9387 or visit www.carmelplayers.org.

Goofy ‘Goon Show’ showcases young talent

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By John Lyle Belden

When it comes to kids on stage, it’s easy to allow for a bit of silliness. Mud Creek Players’ ACT youth program makes full use of that license to hilarious effect with the comedy mystery “Murder at the Goon Show.”

In this farce by Douglas Winters, a very worried producer-emcee, Greg, keeps an old theater alive by hosting “The Goon Show,” a televised odd-talent revue that’s like “The Gong Show,” but without the gong or celebrity judges, and with more suspicious activity. When yet another threatening message appears in a jelly doughnut, he fears he won’t survive the night – but it’s the mentalist who should have seen it coming…

Justin Hoffer’s fun performance as Greg reminded me of Kermit in the old “Muppet Show,” constantly put upon and stressed out to organize a madcap bunch of weirdos, with even the staff not being much help. He gets some reassurance from assistant Sandra (Sarah Semon), assistance from stagehand Pop (Noah Taylor) and attitude from the shady props master Flossie (Jackie Davis). To round up the talent, he relies on agent Alf (Cameron Davis, his slapstick prowess aided by rubbery limbs).

And what talent! (Or should I say, “what talent?”) Actually, it takes a special effort to be good at being “bad,” and these young actors show they have the chutzpah to pull it off. Rylee Odle manages to be ironically awesome in two roles – the awful warm-up comic, and a comically bad dancer. We also get charming Julia Heddon making noises in a birdcage; earnest Ross Gandy trying – just trying – to put his body through a tennis racquet; Jayme Ganz as an actually-good puppeteer, just too mouthy to be a ventriloquist; Alison Quigley as a mime with a lot to say; and the regrettable “talent” of Chris Sullivan as the Amazing Ingesto. Then there’s the confident and mysterious Zorina (Jenna Rigdon), who claims to hypnotize via binoculars.

To lend some sanity to the proceedings, we also get Jackson Stollings as a police detective (y’know, to solve the murder), and Erin Keller as a psychological therapist.

All these and many more crowd the stage, yet young first-time director Carynton Howard manages to make it all flow, with many laugh-out-loud moments including a sly nod to a Broadway favorite.

One more weekend (through Sunday, July 29) for the “Goon Show” at the Mud Creek Barn, 9740 E. 86th St., between the Castleton area and Geist Reservoir. Call 317-290-5343 or visit mudcreekplayers.org.

Permit yourself to enjoy ‘Forbidden Broadway’

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By John Lyle Belden

That beloved but misnamed (not actually on a “Square”) spot on Mass Ave. has returned to life with a wonderful send-up of the world of Broadway musicals.

Actors Theatre of Indiana presents “Forbidden Broadway’s Greatest Hits” all this month at the District Theatre (former home of Theatre on the Square), its first production under new name and management. ATI regulars Cynthia Collins, Don Farrell, Judy Fitzgerald and Logan Moore, with Brent Marty at the piano, give us the parodies made famous in the off-Broadway show that has been savaging its on-stage neighbors since 1982 – no one is safe, from Bob Fosse to “Les Mis” to Spongebob.

It’s impressive what gets made fun of – lay-offs of the cast of “Beauty and the Beast,” the rotating stage of “Les Miserables,” those massive headpieces in “Lion King.” Wendy loves that one of her pet peeves, actors reliant on visible microphones, gets skewered by a big-singing stage legend.

Speaking of legendary actors, they get parodied as well, including some girl named Carol and this guy named Mandy.

The result is so very funny. The more you know about the source material, the more hilarious it all is, but this show had everyone laughing.

And these five people playing it all are practically legend-level themselves – they should beware, lest someone down the street at IndyFringe makes fun of them!

Performances through July 29 at the District, 627 Massachusetts Ave., downtown Indianapolis. (ATI then returns to its home in Carmel to start its 2018-19 season, which concludes with more Forbidden Broadway next summer.) For info and tickets, see atistage.org.

Comfortably crazy clan at CrazyLake

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By John Lyle Belden and Wendy Carson

Given the chaotic nature of world events and the pressures we face in our individual lives, it is a perfect time for the old-fashioned eccentric wisdom of the classic stage comedy “You Can’t Take It With You,” presented by CrazyLake Acting Company in Greenfield.

Every family has its peculiar quirks but the Sycamores seem to be overachievers. Mom Penny used to paint, but now writes never-finished plays, primarily because a typewriter was delivered to their house by mistake. Daughter Essie dances around the house and makes candy even though she has talent for only one of these; she’s married to Ed, an avid printmaker and xylophonist who came for dinner eight years ago and just stayed. Dad Paul makes fireworks in the basement with the help of Mr. DePinna (the iceman who also just stayed). Grandpa, Martin Vanderhof, oversees this crazy bunch (as well as a few other colorful characters) making sure that everyone is happy.

Penny and Paul’s other daughter, Alice, an executive secretary at a high-powered Wall Street firm, is in love with the boss’s son, Tony Kirby Jr., who finds everyone charming. But his overly straight-laced parents are a different story.

Add to this some harassment from the IRS over unpaid income taxes, as well as corn flakes, snakes, explosions, a revealing party game, Russian aristocracy and live kittens on stage (yes, really!) and you get the spectacle that earned a Pulitzer Prize and inspired a Best Picture film in the 1930s, and has had audiences laughing since.

To get everyone in the mood, CrazyLake has a trio of “Andrews Sisters” serenade you at the Ricks Centre doors. On stage we get excellent performances all around, including Chris VeHorn as charming Penny, looking like the template for all sitcom moms that followed; Trever Brown as unflappable Mr. Vanderhof, whose only standard for life is to do what makes one happy; Amy Studebaker showing comic grace in a physically challenging role; Caitlyn Mabbitt and Evan Myers as our lovebirds Alice and Tony; Frances Hull as unfazed cook and maid Rheba; and Brent Oliver as appropriately uptight Mr. Kirby.

If the plot looks familiar, a form of it resurfaced in the recent “Addams Family” stage show (and perhaps echoes in the drama “Guess Who’s Coming To Dinner”), but this is the original. And director Chris Shaefer, who is used to working with silly shows (as boss of KidsPlay Inc.) gets the most out of this high-energy local volunteer cast.

It’s not that far a drive, and Greenfield has a nice downtown for those who show up early. Remaining performances of “You Can’t Take It With You” are this Friday through Sunday, June 29-July 1, at the H. J. Ricks Centre for the Arts, 122 W. Main St. (U.S. 40). Tickets are $10 each online at www.crazylake.org, on site before the show, or in advance at Hometown Comics and Games, 1506 N. State St. (SR 9), also in Greenfield.

CCP: Artist ‘dying’ to get popular in Twain farce

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By John Lyle Belden

Mark Twain’s almost-forgotten farce, “Is He Dead?” has come alive in Fishers, thanks to Carmel Community Players.

Twain, the celebrated American author and humorist, wrote the play while traveling Europe and had planned on staging it in 1898, but those performances never happened. The script was rediscovered in 2002 and, adapted by noted playwright David Ives, finally reached Broadway in 2007.

Now it’s here.

A fictional version of actual master painter Jean-Francois Millet (played by Jaime Johnson) struggles to get noticed or even sell a single painting from his shabby home in Barbizon, France. His international circle of disciples, Chicago (Matt Hartzburg), Dutchy (Adam Powell) and O’Shaughnessy (Kelly Keller) recognize his genius, as do landladies Bathide (Lucinda Ryan) and Caron (Susan Hill), who don’t mind getting art for rent payments. But moneylender Bastien Andre (Larry Adams) wants real Francs in payment for debts owed, and threatens to foreclose not only on Millet’s studio, but also Monsieur Leroux (Keven Shadle), whose daughter he desires. However, Marie (Morgan Morton) is repulsed by Andre and is in love with Millet. Meanwhile, her sister Cecile (Monya Wolf) has her eye on Chicago.

Desperate for a way to quickly raise thousands of Francs, our artists get an idea after a clueless English art buyer (Dave Bolander in one of a number of hilarious roles) states that genius is only rewarded after the artist has died. Chicago then talks Millet into “contracting an illness” so horrible as to guarantee publicity of his impending “death.” Meanwhile, Millet appears in a dress as his twin sister, the Widow Tillou, to inherit the inevitable riches.

This being a comedy, of course, things don’t go entirely as planned.

Twain’s wry humor is woven throughout this satirical farce, and little moments of 19th-century style silliness work in the overall context. Johnson plays Millet as a down-on-his-luck everyman who just wants what’s due him, playing it straight against the comic antics of his students – and his scenes in drag are “Some Like it Hot” hilarious. Chicago, our lone American character, appears to be Twain’s surrogate in the story, a fast-talking charming schemer in the mold of Tom Sawyer, and Hartzburg turns on the charm in the role. Powell is like a caricature of a caricature, but is so likable it works. Wolf gets in some great moments with the old girl-disguised-as-man gag. And Johnson is delectably “boo-hiss!” worthy as our top-hatted melodrama villain, complete with twirled mustache.

Direction is by Mark Tumey, who said he came to love the play while portraying Andre in a production in Arizona.

The show’s social commentary on art and fame resonates a bit today, but mostly this is just a fun evening with the work of one of America’s greatest writers. As CCP is still seeking a full-time home, performances for this play are at Ji-Eun Lee Music Academy, 10029 E. 126th St., Suite D, in Fishers, through June 24. Call 317-815-9387 or visit carmelplayers.org.

Old theater tradition done afresh under Indy’s sky

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By John Lyle Belden

Something interesting is happening on Indy’s westside. A commedia dell’arte troupe, wandering from the Renaissance to modern day, has found its truck broken down on the campus of Marian University. So, in order to raise the funds to continue their journey home, A Company of Wayward Saints will perform for us – after all, a rich Duke may be in the audience!

In this instance, life is imitating art, as local actor Adam Tran and friends have been conducting a GoFundMe online campaign (still ongoing) to finance this production of “A Company of Wayward Saints,” the 1963 play by George Herman.

Tran leads the troupe as Harlequin. The others also play character archetypes: the boastful Capitano (Davey Pelsue), wisecracking know-it-all Dottore (Ronn Johnston), the unfortunate Pantalone (Zach Stonerock), misunderstood youth Scapino (Josh Maldonado), the beautiful Columbine (Kelsey Leigh Miller), grasping Ruffiana (Miranda Nehrig), and the Lovers, Isabella (Nina DeWitt) and Aurelia (Andrea Heiden).

To perform what they call commedia la improvviso, they need a prompt from the audience. Harlequin reveals the mysterious Duke has asked for “The History of Man.” A tall order. “I will play God,” the Captain bellows, and the play is on. But as members of the company lament, “As actors, temperament is our original sin,” and dissension builds in the ranks.

This performance is a wonderfully unique experience, though you should bring lawn chairs to sit by the busted flatbed truck that is the stage. The actors give their all for the art, as though they don’t worry about getting paid (or is this like hustling for tips?). Johnston can land a cheesy punchline in the first act, and bring surprising tenderness to an unexpectedly dramatic scene with the Lovers in the second. Maldonado displays tumbling skill along with his acting chops, and shares a charming and touching scene with Nehrig. Miller nicely turns the Odysseus legend on its ear, and has a fun look at love and marriage with Stonerock. Tran shows his depth with the final scene – a scene of finality – opposite Pelsue.

Performances are this Friday through Sunday, May 18-20, by the Amphitheater at Marian University, 3200 Cold Spring Road. Get info at Facebook: https://www.facebook.com/acompanyofwaywardsaintsindy/.

Get on board ‘Priscilla’ with Footlite Musicals

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By John Lyle Belden

To my gay friends reading this, I have just two words to say about “Priscilla, Queen of the Desert: The Musical” (based on the film “The Adventures of Priscilla…”), at Footlite Musicals through May 20:

FABULOUS! GO!

Need more details? OK. This spectacle is the journey of three Sydney, Australia, drag queens: Tick a/k/a Mitzi (Michael Howard), who wants to connect with the son he barely knows; Bernadette (John Phillips), a widow and aging diva needing to find her next chapter; and Adam a/k/a Felicia (Chris Jones), an impetuous lass in search of fun and adventure.

Tick’s very understanding wife, Marion (Carolyn Lynch), needs an act for her casino in Alice Springs (located in the center of the Australian continent, far from coastal Sydney) and his traveling there would fulfill Tick’s promise to visit his boy, Benji (Rocco Meo). Bernadette provides the showbiz know-how, and Adam provides the transportation – a fabulous RV that is the Priscilla of the title. While the wildlife ignore our trio, the treacherous part of the journey is the human denizens as they travel through Australia’s equivalent of Kentucky (Broken Hill, Woop Woop) and West Virginia (Coober Pedy). Along the way, they do meet one helpful soul, Bob (Dan Flahive), who ends up along for the ride.

Howard presents Tick with charm, charisma and rugged good looks reminiscent of Hugh Jackman. Phillips exudes authority appropriate to one who is, at turns, a regal and maternal personality. Jones goes from carefree to careless and back with aplomb, like the younger sibling you just want to slap sometimes, but love anyway. And Flahive is sweet in his portrayal of what was my favorite character in the film.

Also notable are Sarah Marone as Bob’s mail-order bride Cynthia, of the infamous “ping pong scene,” and Dennis Jones as Sydney diva Miss Understanding.

The story is embellished with more than 20 pop and disco hits from the 1970s and ’80s, including “It’s Raining Men,” “Go West,” “I Will Survive,” and “True Colors.” For those who can’t resist singing along, a special matinee this Saturday (May 12 at 2:30 p.m.) will let you do just that, complete with lyric sheets.

Another spectacular feature of this show is the costumes – the genuine Tony and Oscar-winning outfits sent to Indy from Broadway. The headdresses must be seen to be believed, as well as the visual effect of the big “gumby” pants.

All this, for a story with a little pain, a lot of heart, and a sense of fun as big as the Outback. Footlite is at 1847 N. Alabama St. in downtown Indy. Call 317-926-6630 or visit www.footlite.org.

IRT puts on ‘Noises Off’

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By John Lyle Belden

We know how the workplace can be the site of ridiculous interpersonal drama, so imagine how it can get when you have a group of temperamental artistic folks in the same space for hours on end – you get something like “Noises Off,” the Michael Frayn farce on stage through May 20 at the Indiana Repertory Theatre.

On a January day in a forgettable English town, the cast of the comedy “Nothing On” – which explores the humor inherent in multiple platters of sardines – are rehearsing less than 24 hours before the play opens, with director Lloyd Dallas (IRT mainstay Ryan Artzberger) at his wits’ end. Dotty (Hollis Resnik) struggles with where to place the sardines, while Frederick (Robert Neal) struggles with his character’s motivation. Brooke (Ashley Dillard) only seems to have room in her brain for her lines, while Garry (Jerry Richardson) and Belinda (Heidi Kettenring) scramble to be in the right spots for them to make sense. It’s hoped that aging thespian Selsdon (Bob Riley) will be sober and on time, so stage manager Tim (Will Allan) is on standby as understudy. Meanwhile, assistant stage manager Poppy (Mehry Eslaminia) jumps to Dallas’s every demand.

The eventful run-through of the first act gives us an idea of what’s supposed to happen on stage. Next, midway through the tour of “Nothing On,” we see what’s happening backstage. Nerves and relationships are frayed as Brooke threatens to walk out, Selsdon keeps finding the whiskey, and Dallas ends up in a very prickly situation. Finally, the third act brings us to the memorable final performance of the tour, during which some improvisation becomes necessary.

The genius of this play is the perfectly timed “bad” timing, everything going “wrong” in just the right way. As is the standard at IRT, this cast has it down, making slamming doors and slipping on sardines an art and moving props such as a bottle, an axe or a cactus like a ballet. Praise must also go to scenic designer Bill Clarke for the two perfectly arranged coordinated sets, as well as director David Bradley for containing the chaos for a thoroughly entertaining show.

Find the IRT at 140 W. Washington St., near Circle Centre in downtown Indianapolis. Find info and tickets at irtlive.com or call 317-635-5252.