comedy

IndyFringe: Class, Grass and Ass

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By Wendy Carson

It is clear from the onset that Debra Mullins aspires to be Bette Midler. This crazy tribute to the style and sassiness of “The Divine Miss M” is her attempt to do so. From her back-up group, The Debutants (think Indy’s version of Midler’s “Harlettes”) to her choice of songs, she does her best to invoke the diva.

While some of her attempts do fall a bit flat, the show is still entertaining. The comedy bits are great, the costuming and choreography work well, but she seems to miss some steps here and there.

For instance, the Who song, “Squeezebox” was written as “Momma’s got a Squeezebox” to help hammer home the double entendre. Her change of the lyrics to “Daddy’s got a Squeezebox” removes the main thing that makes this number so naughty.

Still, the show is a very good cabaret review that showcases several talents from around town that are rarely seen on these stages. So, get the girls together, grab a glass of wine, sit back and have a good time.

Performances at the Theatre on the Square main stage Friday, Saturday and Sunday, Aug. 26-28. Get info and tickets at indyfringefestival.com.

IndyFringe: Little Butchie Sings

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By Wendy Carson

The show begins with a stunning spoken-word poem about the prejudices faced throughout life; race, religion, sexuality, etc. It then launches into an autobiographical Cabaret retrospective of James Solomon Benn, aka “Little Butchie”.

We see his early beginnings as a precocious, bratty singer in his dad’s church. His family suspects his effete tendencies even at a young age, yet still pressure him to worship a beautiful, blond, European Jesus with buns of steel.

The songs he chooses for his story are mostly familiar pop songs and show tunes but presented in delightfully original interpretations. For example, the aforementioned Jesus is accepted as his lord to “I Will Follow Him,” and the number “Happy Talk,” from South Pacific, is sung as an Etta James scat song.

For a delightful evening of laughs, love, self-acceptance, song, and general sassiness, look no further than spending it with the Divalicious Little Butchie.

Performances at the Indyfringe Basile Theatre, Saturday and Sunday, Aug. 27-28. Info and tickets at indyfringefestival.com.

 

IndyFringe: Harrison!

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By Wendy Carson

Hip-hop musicals are all the rage currently. However, acquiring tickets to them is nearly impossible. Currently, you have the chance to see a hilarious improv version of one dripping in Hoosier history.

When you get your ticket you are given a slip of paper prompting you to list a book, musical, TV show, movie, or fairy tale. These suggestions are put in a hat and one is given to each actor prior to the show. They use these as touchstones for their individual characters’ dialogue and motivations during the show. As an example, the actor portraying William Henry Harrison – the general-turned-President of the title – was given “Cinderella” and his “Bobbity Boo-ing” of others during the show was very inflammatory.

Expect dance battles, rap battles, and some twisted historical events intertwining to some epic beats. While the show is ever-changing and never too serious, the final song echoes a strong truth that should be noted: “History forgets, but Death remembers!”

Performances are Saturday and Sunday afternoons, Aug. 27 and 28 at the Indyfringe Basile Theatre. Get info and tickets at indyfringefestival.com.

 

IndyFringe: Hair-Raising Hypnotist

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By Wendy Carson

Sadly, this show does not involve any witchcraft or voodoo. What it does have is a very talented hypnotist, Ray Adams, creating a hilarious hour of silliness for everyone involved.

While many people are afraid to be hypnotized, others find it refreshing. Your mind becomes very relaxed and allows you really break out of your shell. You will not do anything you don’t want to, but you will find yourself really, really wanting to do the things you are told during the show.

Ideally, this show best with a large audience and around 6 to 8 participants. However, the show I made it to barely had that many attendees; and yet it not only worked, our lone “hypnotee” was probably one of the best subjects I’ve ever seen. Fortunately, these attendance numbers are not typical and the remaining shows will be more like the opening night when the theater was packed.

Whether you’ve never seen a hypnosis show, or are an avid watcher of them, make sure you get out to catch this one while you can. It’s an enjoyable time for everyone involved.

Performances at IndyFringe Basile Theatre, Aug. 26 and 27. Get info and tickets at indyfringefestival.com.

IndyFringe: C-

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By Wendy Carson

Your college years, they were fun — weren’t they?

You had a good time and the worries of the day-to-day working world were but a distant glimmer on the horizon. But now graduation is over 20 years behind you. What have you done with your life and what do you wish that you had been taught back then to better prepare you for your future?

This is the story of one man’s quest to reconnect with some of his frat brothers in order to discern the answers to those questions. Among those Eric Jaffe finds are his redneck buddy who went to college because his parents wouldn’t support his dream of being a “Rock God,” the disgraced athlete who let his scholarship slip through his fingers, and “The Sponge” who was always smoking pot but never bought any of it.

The stories are compelling and their messages are strong. In fact, I would hope that parents would try to bring out their high school-aged kids to see this and maybe learn some of the pitfalls that college offers.

However, the narrative was not at all linear, and this caused the individual characters’ storylines to be impossible to follow. With a little polish, this could be an amazing show that could be a useful teaching tool for college-bound students.

Even so, the message is important enough to make this show worth a look.

Performances are at the Theatre on the Square second stage Aug. 25 and 27. Info and tickets at indyfringefestival.com.

IndyFringe: The Immaculate Big Bang

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By Wendy Carson

An irreverent night of comedy covering science, religion, relationships, philosophy and family, “The Immaculate Big Bang” by comedian Bill Santiago feels like what an episode of “The Big Bang Theory” would be like if it was written by George Carlin. The laughs are pretty constant, but some of the material might even make you pause to think or research one or two of the topics covered.

The material as a whole is not actually offensive, but some of it might not be to everyone’s taste. Basically, if you think the idea of telling Jesus a “Yo’ Mamma’s So Holy…” joke is in poor taste, then this show might not be for you. Otherwise, get out and see this show. Who knows, you might actually learn a thing or two from it.

Performances are at ComedySportz Aug. 25, 27 and 28. Get info and tickets at indyfringefestival.com.

Review: Not your kids’ puppet show

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By John Lyle Belden

In “Hand to God,” the outrageous comedy on stage at Indy’s Phoenix Theatre through July 17, it takes a possibly-possessed hand puppet to show the inner demons in all of us.

Just be warned: Though this play is set at a church, and involves youths working on a puppet show, it is most definitely NOT for children. For content, language and sex, this is very much an “R” rated event, and not for easily-offended churchgoers.

Jason (Nathan Robbins) and his mother Margery (Angela R. Plank) work through their grief at losing his father/her husband by putting on a puppet show at church at the suggestion of Pastor Greg (Paul Nicely), who has the hots for the new widow. The other kids in the puppet ministry, Timothy (Adam Tran) and Jessica (Jaddy Ciucci), are barely cooperative. But things really get out of hand (pardon the pun) when Jason’s puppet Tyrone starts speaking out. In expletive-loaded bursts, he says what others are only thinking, and then some. Jason sees the danger, but it’s too late, as after Tyrone is supposedly destroyed he comes back – with teeth.

Possibly coincidentally, these characters start acting way out of their comfort zone – including acts that would in the real world end in arrest. One can then wonder, to what extent do we think “the devil made them do it,” or was it just hidden desires suddenly given license? It’s telling that Jessica’s desperate ploy to get past Jason’s cloth alter-ego to reach the real boy she cares for involves one of the most shocking yet funny scenes of the play.

For wild can’t-believe-I’m-laughing-at-this hilarity and thought-provoking drama, this show is highly recommended. But even more amazing is the ability Robbins – a confessed puppetry novice – shows in displaying two completely separate characters, making Tyrone in voice and manner seem like a whole other person, despite being at the end of the arm of the helpless, scared boy coincidentally moving his lips.

This is likely not the first review of this play you’ve seen; the run started in June. But let me add to the chorus of satisfied audiences saying – if you’re not too easily offended – you really should see “Hand to God” at the Phoenix, 749 N. Park Ave. (corner of Park and St. Clair just north of Mass. Ave.). Call 317-635-7529 or see www.phoenixtheatre.org.

(This was also posted at The Word [later The Eagle], Indy’s LGBTQ newspaper)

It’s Shakespeare, but it’s fun – really!

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By John Lyle Belden

Fans of William Shakespeare need only be told that Indy’s Eclectic Pond Theatre Company has staged “A Midsummer Night’s Dream” with one weekend remaining at the IndyFringe Basile Theatre, 719 E. St. Clair in downtown Indianapolis.

Those less familiar with the Bard, casual fans, or those who think of him in the context of dramas like “Hamlet,” might also find this production a surprising treat.

In the modern tradition of putting the old plays in new settings, the “Athens” of ETC’s “Dream” is located in the world of a 1960s teen beach movie. The fairy folk have Polynesian-inspired garb, while our human characters are in hip threads for a California summer.

Though Shakespeare comedies typically overwhelm the viewer with their multitudes of characters, this play keeps the groupings simple, and, under the direction of Zach Neiditch, easy to follow.

Athenian nobles Theseus (Jay Hemphill) and Hippolyta (Carrie Fedor) are soon to marry. It will also be the wedding of young Hermia (Betsy Norton), but she wishes to wed Lysander (Ethan Mathias) rather than Demetrius (Matt Walls), to whom she has been promised. Hermia’s bestie Helena (Andrea Heiden) wants Demetrius, who isn’t interested. Lysander and Hermia head into the forest during the night, seeking to elope. Helena tells Demetrius, and they follow.

Meanwhile, a group of local artisans – the “mechanicals” – are in the same forest, secretly rehearsing a play they hope to present at the wedding. They are led by Quince (Marcy Thornsberry) who has a hard time containing the boisterous ego of her star, Bottom (Tristan Ross).

And also meanwhile, fairy royalty Oberon and Titania (Hemphill and Fedor) have a disagreement. She storms off, and he decides to have some mischief at her expense – which impish Puck (Sarah Hoffman) is all to eager to provide. Oh, and while she’s at it, she could also make a couple of the mortals wandering the woods fall in love as well.

What follows, of course, are transformations and confusion for the characters, but – despite the Elizabethan language – an easily understandable and hilarious twisting path towards the inevitable happy endings. The production even concludes with the Mechanicals’ play within the play, wherein Ross over-acts to wonderful effect.

As usual, we end with Puck’s apology, but it is hardly needed. This “Dream” is a joy for everyone from the energetic cast to the audience surrounding the IndyFringe stage. Get info at www.eclecticpond.org and tickets at www.indyfringe.org.

(This was also posted at The Word [later The Eagle], Indy’s LGBTQ newspaper)

Review: Quirky ‘Crumble’ holds up

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By John Lyle Belden

Theatre on the Square presents the tragic comedy – or comic tragedy – “Crumble (lay me down Justin Timberlake),” through June 18.

This is one of those stories with characters so quirky, in so many ways, that they somehow feel like someone you know. Even, in this case, entities that are not even technically alive.

In this play, we meet a house (Clay Mabbitt) that used to be considered a mansion, but has been falling into disrepair. He feels so lonely at the neglect by and indifference of his human occupants that he might have to kill them in hopes of getting better people to move in. The residents are neurotic mother Clara (Carrie Ann Schlatter) and hyper daughter Janice (Paeton Chavis). The husband/father Gary (Joshua C. Ramsay), dead for about a year at Christmas, is a shadowy ghost.

Ramsay is also the vision of Justin Timberlake that comes alive from the poster on Janice’s bedroom wall to advise and confess his love to her before flying away. As she sings macabre songs and deconstructs a doll, Janice works on her holiday surprise.

Meanwhile, Clara tries to keep her sanity while making four-star gourmet meals like she prepares at work for herself and her daughter. She speaks in poetry, and her only friends are her crazy-cat-lady sister, Barbara (Amy Hayes), and a phantom celebrity of her own.

The presentation as a single 80-minute act helps builds tension towards something frightening and dangerous, but with moments of surprising dark humor on the way. The five veteran actors are each excellent in their own way. Chavis convincingly plays a disturbed tween struggling to understand what has happened, while convinced that some part of it is her fault and only she can make it right. Schlatter easily carries us along on her mental roller coaster, so desperate to connect with her daughter that she buys all seven unusual items on Janice’s gift wish list. Hayes is endearing as the ever-helpful sis who stays willfully blind to her own issues. Ramsey turns on the charm, adding humor and emotional depth to his moments as helpful hallucinations.

And aided by the clever script by Sheila Callaghan and direction by Rob Johansen, Mabbitt makes the house a fully-realized character, perhaps the most “real” person in this drama.

Overall, this is the kind of story that only works as a stage play, and an example of why an active theatre scene like Indianapolis enjoys is so important. There are mature topics, and Janice expresses herself very colorfully, so this show is for teens and older.

Find TOTS at 627 Massachusetts Ave. Get info and tickets at www.tots.org or 317-685-8687.

(This was also posted at The Word [later The Eagle], Indy’s LGBTQ newspaper)

A merry time with Bard’s ‘Wives’

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By John Lyle Belden

I’ve found that a play is much more entertaining if the actors involved seem to be enjoying themselves, especially with a comedy. And I get the impression that the players in Wisdom Tooth Theatre Project’s production of William Shakespeare’s “The Merry Wives of Windsor” are having a blast.

Centering on the popular character of bawdy, naughty Sir John Falstaff, this is one of the easier Shakespeare comedy plots to follow. Though we start with the typical multitude of characters thrown at us in the opening scenes, the groupings and motivations are fairly easy to sort out.

Falstaff (Adam Crowe) sets his wandering eye on two noble women, played by Amy Hayes and Claire Wilcher, the wives, respectively, of Ford (Rob Johansen) and Page (Josh Ramsey). The ladies, already annoyed by being wooed by the fat drunkard, discover they have been sent the exact same love letter and conspire their revenge. Meanwhile, Ford, learning of Falstaff’s advances, disguises himself as lecherous “Brook,” who approaches Falstaff and offers to pay him to have Mistress Ford after he’s done with her.

And in the other main plot, which will lead to the traditional wedding at the end, Page’s daughter Anne (Chelsea Anderson) is asked to choose between crass French Dr. Caius (Gari Williams) and shy Slender (Kelsey VanVoorst) – she wants neither, choosing Fenton (Benjamin Schuetz), who her parents do not like.

Another key character is Mistress Quickly (Carrie Schlatter), who acts as a fixer in these situations for anyone willing to pay her cash. Michael Hosp plays a Welsh parson, Sir Hugh, and other supporting characters are played by Frankie Bolda as Rugby, Zach Joyce as Shallow and Adam Tran as Pistol.

In an interesting casting twist, the character of Simple, who more than lives up to the name as he is sent in various directions on multiple errands, is played by one of the other actors not involved in the moment’s particular scene, and never the same one twice. Wisdom Tooth and director Bill Simmons also made a gentle parody of the Shakespearean tradition of boys playing female roles by having some male roles played by women (perhaps a nod to British slapstick “panto” tradition?).

The setting has been transported from Olde England to mid-twentieth-century America – around 1954, when the song “Hernando’s Hideaway” was a hit – at The Windsor Hotel & Resort in a mythical Miami or Palm Beach with a Thames River nearby. The art-deco look and ’50s summer wear add to the light atmosphere of the play.

The Elizabethan language, however, is kept intact. But with spirited delivery, including occasional abuse of the fourth wall, this cast brings out the belly-laughs from the audience and play off each other so animatedly that the best word for this experience is simply “fun.”

The play is often criticized for its relative simplicity, but it has its own depth – and how much profundity does one need in a farce? Presented to us in our sitcom-fueled culture, this show comes off like a classic “I Love Lucy.” Hayes and Wilcher definitely give Mistresses Ford and Page a Lucy-and-Ethel chemistry. And like those ladies, they manage to stay one step ahead of the bumbling men to wind up on top.

Performances are May 20-22 and 27-28 at the IndyFringe Theatre, 719 E. St. Clair St., downtown Indianapolis. For info and tickets see indyfringe.org or wisdomtooththeatreproject.org.

(This was also posted at The Word [later The Eagle], Indy’s LGBTQ newspaper)