comedy

Fringe review: Home Grown Original

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By John Lyle Belden

Let us simplify your expectations. Ironically, “Home Grown Originals,” at the IndyFringe Basile Theatre, stretches the concept of a “Fringe show” by not being edgy or avant garde or having some odd agenda. It’s straightforward: a group of eight friends playing some really good Hoosier-made music.

Alex “Tunesmith” Murphy recently wrote a bunch of songs, then recorded them with his ensemble, the Band O’Leers. Now he presents these rockabilly-country-blues tunes on the IndyFringe Basile stage, featuring vocals by Murphy, Tim Spradlin and Lori Ecker.

It’s an entertaining crowd-pleasing set, featuring oughta-be-hits like “Kiss Me Like You Mean it,” “Future Ex-Wife” (feel free to sing along on the chorus) and “You’re only Human if you Try.” If guitars and a corny joke or two are your bag, head on over and give them a listen.

The CD of the songs is also available, featuring vocals by local legend Karen Irwin.

Fringe review: Auditioning for Swan Lake

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By John Lyle Belden

In “Auditioning for Swan Lake” at the IndyFringe Indy Eleven Theatre, storyteller Lou Ann Homan starts us off with an Estonian fairy tale, which alone is nearly worth the price of admission, and helps set the theme of this story of stories about dance.

Homan always wanted to be a dancer, but she grew up Baptist. When an AARP bulletin says that the three ways to preserve memory as you age are learning a new language (took that in high school), learn an instrument (piano, got that covered) and learn to dance (oops!), she seeks to express her inner ballerina. She finds an adult class, and after a few months has the desire to try out for a local production of “Swan Lake.” Where lack of raw talent or actual ability might fail her, she’s sure to persevere with her knack for telling stories – right?

No matter what her ballet judges thought, Homan wins us over with her true tales of how she “almost danced” on skates, how a Saturday night dance helped save her son’s life, and how sometimes what you need isn’t in the flash cards. If you’re in the mood for stories spun with heart and humor, this is definitely a show to check out. Wearing a tutu is optional, but she’ll have hers on.

Review: “Silence!” raw but raucous

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By Wendy Carson

What can you say about a farcical musical based on “Silence of the Lambs” other than: Be prepared to be shocked and surprised.

In “Silence! The Musical,” now at the Phoenix Theatre, from the opening, in which the “Sheep” begin telling Clarice’s backstory, you know that the author of this production had his tongue planted firmly in his cheek.

While the plot of the story remains mostly intact, there are a few changes to mainstream the narrative in favor of song breaks. The aforementioned Sheep portray not only a Greek chorus but also slip into and out of the guises of various supporting characters in the play.

The songs and dialogue in general are not only outlandish but somewhat offensive. The fact that the biggest production number of the show is based on an obscene line should be a warning. However, the cast is thoroughly game for it all and their level of commitment makes it all bearable.

Chelsey Stauffer, as Clarice Starling, highlights the character’s overwhelming drive to prove herself to the FBI and avenge her father, as well as her gentle naivete of what she has to deal with to accomplish this. Of course, her exaggerated accent just adds to the whimsy of her character.

Paul David Nicely showcases his broad range of talent as Dr. Hannibal Lecter. Singing, dancing and threateningly looming over everything, he pulls out all the stops in embracing the character.

Scot Greenwell is sublime in the role of the deranged serial killer, Buffalo Bill, whom the FBI is desperately trying to hunt down and stop. He fully embraces the campiness of the character in every way possible.

While the irreverence of the production has the potential to be a hot mess, under the skillful hands of director Bryan Fonseca and choreographer Kenny Shepard, it transcends into delightful silliness.

Again, I warn you that due to the content and language, this is a show that should be enjoyed by a mature and not-easily-offended audience. However, if you’re up for some laughs and a wonderfully satirical take on the film, get your tickets now. Call 317-635-7529 or see phoenixtheatre.org.

Fringe review: The Wizer of Odd

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By John Lyle Belden

“The Wizer of Odd,” performed by Gift of Gab productions at Firefighters’ Union Hall, is an interesting modern take on the classic movie (based on the works of L. Frank Baum). Set in the modern day, our young woman is aware of the Oz story, but not that she’s living it. She doesn’t listen to the wisdom of her “scarecrow” friend, tramples the heart of the “Tinman” she encounters and misunderstands the courage of the “lion” who tries to help her. When she finally finds Oz, he does not provide the happy ending she is looking for.

The best aspect of this fable is that, instead of song-and-dance breaks, we get well-crafted hip-hop poetry, very well delivered by a talented local cast. Hopefully this show will return as one of the performances the IndyFringe stages host throughout the year.

Fringe Review: Fruit Flies Like a Banana

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By Wendy Carson

Whether you are familiar with or new to the antics of The Fourth Wall, you would be delighted with the trio’s latest foray into speedy musical education, “Fruit Flies Like a Banana: Alphabetical Disorder,” which played at Theatre on the Square.

This year they attempt to make it through the alphabet with the help of random letters thrown at them from the audience. Each letter corresponds with a comedy-music bit, which the performers – being virtuoso musicians as well as masters of physical comedy – perform. With the ever-present countdown clock looming over them, they effortlessly move from piece to piece almost instantaneously.

Not only are the numbers cleverly arranged and choreographed, each one is curated to educate the listener on the history of not only the composer, style and instruments used but how and why they have chosen the material.

Their antics are a joy to behold and they make music education into a game that can be enjoyed by old and young alike.

Fringe review: Hannibal: “LIAR!”

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By Wendy Carson

“Hannibal: ‘LIAR!’” at the IndyFringe Indy Eleven Theatre was the most “grown-up” magic show of the Fringe, so the fact that there were some younger children in attendance causing him to partially censor himself actually made it much funnier, in my opinion.

His tricks are presented as a story of his childhood and the delight that he experienced whenever his grandfather would entertain him with even the simplest of illusions. While there are a few points in which the audience participates, the amazement delivered is abundant. Especially when one of the other Fringe performers reacted to some impressive card predictions with, “He’s the Devil!”

If you get a chance to see Chris Hannibal, AKA #CardMonkey, do. It’s a charming hour of fun and tricks that will make you glad that you came.

Fringe review: The Adventures of Les Kurkendaal

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By Wendy Carson

Many of you may remember Les Kurkendaal from his past IndyFringe performances. His storytelling abilities are well known on the Fringe circuit, and in this year’s presentation, which played at the IndyFringe Indy Eleven Theatre, he admirably upped his game.

It seems that his boyfriend, Mike, has made the list of “Top 100 People from Bakersfield” due to co-producing the film, “Thank You for Smoking,” but has also decided that Les should accompany him to his 20-year class reunion.

While Les is hesitant, not only due to their being gay, but also as he wonders how Mike’s classmates will react to his being black as well. Mike reassures him that he had a single black classmate, George, and that nobody will really notice.

Les’ jealousy at seeing Mike living out his own dreams of success is a struggle, but he does make the best of it. There are plenty of laughs here, many coming from the fact that everyone in attendance thinks he is the aforementioned George.

This show is definitely the best one that Kurkendaal has brought to IndyFringe. I was delightfully impressed by how his charm and skill have developed and greatly look forward to his next visit.

Fringe review: 4Square

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Fringe review: 4Square

By Wendy Carson

In “4Square,” by AV Productions of Ohio, which played at Musicians Union Hall, we have four short stories of Karma and it’s repercussions on one’s life.

First, there is a mother and son reminiscing about the highlights of their past while he dreads the inevitability that is next chapter of his life.

The second, and shortest piece, has a woman facing fears of her future while internally being reassured that everything will work out for the best.

The third story surrounds a trio of girlfriends. One is very recently divorced and miserable, the second is happily married but feels she is in a rut and the third is wild, free and living life to the fullest. We find out that their lives are even more intertwined than they initially seemed and their friendship may not survive this.

The final story, and weakest one presented, involves two bored office workers trying to liven up their life in any way that they can think of.

I will say that when watching this show, the stories felt week and humdrum. However, when reflecting back on it the next day, they were much more enjoyable. In fact, the more time that passes from your viewing, the more these stories resonate and entertain.

Fringe review: Kill the Column

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By John Lyle Belden

Written by former Evansville (Ind.) Courier & Press columnist Garrett Mathews, “Kill the Column,” presented by mamaproductions on the Theatre on the Square second stage, presents aging veteran columnist Grinder, played by Mark Atchison, who has just been demoted to beat reporter, as the paper will no longer run his column.

In fact, in a reflection of the state of many newspapers today, Grinder isn’t the only person seeing his job picture change. Numerous other staffers have lost their jobs altogether, and from the inside it looks like the paper itself is doomed. One of the few remaining newsroom denizens is Marilou (MaryAnn Mathews), a society writer resigned to adjusting with the changes and enjoying her work while she has it. She even refuses to take the bait when grumpy Grinder gets more surly than usual with her.

After Marilu exits, Mathews returns minutes later as a much different character – one able to help Grinder escape his grind. But the decision will come at a cost, and not just to him.

This twist drives the subject of the decline of newspapering to the background, as the plot is revealed to be more about family, love and what is truly important. So you don’t have to be an ink-stained jaded journalist like me to appreciate this little comic drama with a surprising amount of heart.

By the way, Garret Mathews told me that some of the odd things that Grinder relates happened in his career are based on actual events that happened to Mathews or his journalistic peers. It’s an interesting life, trust me.

Fringe review: Acting My Age

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By John Lyle Belden

In “Acting My Age” at ComedySportz, stand-up comedian Matt Holt reflects on how age is as much an attitude as a number.

Holt relates that others always want him to act “older,” unless his parents want him to lie to get children’s admission. He admits that his apparent immaturity has given him problems in relationships. And then there’s the issue of whether to man up and go to Birmingham again.

Holt makes you laugh a lot and think a little, as he reveals the secret isn’t what age you act, it’s how you act at whatever age you assume. There is mature language, but you can decide for yourself the maturity of the speaker.