Fonseca returns with reflection of our ongoing racial struggle

By John Lyle Belden

Current and recent events compelled Fonseca Theatre Company to stage “Hype Man: A Break Beat Play” as its first production while live theatre starts to return to central Indiana. But more telling of the persistent seriousness of its issues is that this drama by Idris Goodwin was written over two years ago.

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From left, Aaron “Gritty” Grinter, Grant Byrne, and Paige Neely in the Fonseca Theatre Company production of “Hype Man: A Break Beat Play”

In a large, racially diverse, American city, in a time not long before 2020, up-and-coming white rapper Pinnacle and his Black hype man Verb wait on the creator of their beats, Peep One, to arrive at the studio so they can rehearse for their appearance on the Tonight Show. She enters, telling them she was delayed by traffic around a police chase. Minutes later, social media alerts give the full story: An unarmed black teen was killed, shot 18 times by cops while attempting to surrender.

The show must go on, as Pinnacle is focused on his national TV debut and upcoming tour, but as his hip-hop hit, “The Boy Shine,” gets its ovation, Verb makes a gesture for racial justice that throws their lives into chaos.

Local recording artist Grant Byrne plays Pinnacle, “born between a rock and a Glock,” blind to the fact that despite the disrespect he gets from uptown whites, his fair skin gives him a veil of privilege – and as a member of the hip-hop community, responsibility. Byrne manages to keep him likable, but driven and too focused on his “brand,” needing to learn to get out of his own ego and his fear of getting bogged down by serious issues like injustice. Still, his stage style is tight, as, with a wry smile, he spins Goodwin’s rhymes like they’re his own.

Local entertainer and the show’s music director Aaron “Gritty” Grinter is Verb, Pinnacle’s childhood best friend and long-time collaborator. The most complex character, his TV moment was to be a personal comeback, after past (unspecified) incidents had him in court-ordered therapy. The young man’s shooting affects him deeply, “I was that kid so many times!” Grinter is well-suited to the role, a natural motivator channeling the fire awakened within the Hype Man.

Indy native Paige Neely is Peep One, who tries to walk the middle path between the others’ bold personalities. Having been adopted by an apparently middle-class family (likely white), she doesn’t deny her blackness but identifies mostly as a woman in hip-hop, which is struggle enough. She understands Pinnacle’s fixation on the business of showbiz, but knows what Verb wants to accomplish is even more vital. Neely makes her more three-dimensional than the script seems to suggest, ably going from referee to friend, to a girl with her own mind and dreams, as the story demands.

This play is the directing debut of Daniel A. Martin, who is experienced with more comic fare, but as (among other things) an improv artist, does well with a trio in a very collaborative, sharing environment. The drama feels as real as the latest TV and online news, and though the death described is fictional, it has occurred in one form or another numerous times (including here in Indianapolis). The play doesn’t exploit, make light of, or preach on the issues, but helps to continue our local and national conversation.

In consideration of the ever-present health issues, FTC producing directors Bryan Fonseca and Jordan Flores Schwartz, and company staff, are taking the Covid-19 threat seriously. The stage (excellently designed by Daniel Uhde) is outdoors, behind the Basile Building, 2508 W. Michigan St., with plenty of parking at the adjacent park. There is appropriately-spaced seating, hand sanitizer handy, and all (except for actors while acting) are required to wear face masks (this was policy before the Mayor made it mandatory countywide). Local artist Kathryn Rodenbach made and donated some nice cloth masks, which can be picked up for a donation of whatever you want to give.

“Hype Man” runs through July 26. Get details and tickets at fonsecatheatre.org. To delve deeper into the issues of the play, Fonseca added this page as well.

FTC: ‘Cake’ a complex confection

By John Lyle Belden

Though every aspect of a thoroughly-planned wedding seems critical, the most important thing is still the people involved.

That is the approach playwright Bekah Brunstetter brought to “The Cake,” now presented by Fonseca Theatre Company, directed by founding staff member Jordan Flores Schwartz. In this “issue play” tackling recent conflicts of homophobia, religious freedom, and free commerce, while a bakery avoiding making a wedding cake for a same-sex marriage is at the center of the story, it is the people and their very human feelings that we explore.

Della (Jean Arnold) appears to have her life in order. Her shop, Della’s Sweets of Winston, N.C., is doing well and she has been selected for the “Big American Bake Off” television show. She is a stickler for following the directions, whether it be with a generations-old recipe or the centuries-old wisdom of the Bible. We meet her speaking on this to a young freelance writer, Macy (Chandra Lynch), who, while working on her next story, has an ulterior motive. This is revealed when Jen (Kyrsten Lyster) arrives. 

Jen grew up in this neighborhood and is friends with Della. She is also Macy’s fiance. After first insisting on making the wedding cake, before finding out it is for “two brides,” Della suddenly remembers how busy she will be around the wedding date and changes her mind. 

At this point you might expect characters to dig in their heels as they take sides, each individually convinced they’re right, and maybe even go to court. But the consequences are more nuanced. 

Della, who has known and loved Jen since babysitting her years ago, almost immediately feels regret over her decision. While her husband, hard-working plumber Tim (Adam O. Crowe), supports her on it, she finds herself haunted by the voice of the Big American Bake Off host George (Dwuan Watson) questioning her motives and methods. Also, she can’t help but notice the true love between Jen and Macy, a feeling she struggles to find between her and her dutiful but distant spouse.

Meanwhile, a rift forms between our engaged couple. Macy, a New Yorker, sees all she feared from the South coming true, and wants to strike back, or at least give up the fancy nuptials for a simple civil ceremony — elsewhere. Jen, on the other hand, is determined to have her dream wedding. It turns out you can take the lesbian out of North Carolina, but you can’t take North Carolina out of the lesbian.

As with all genuine stories, no matter how serious things get, some of it you just have to laugh at. There are plenty of comic moments in this play, especially when Della tries to rekindle her own jaded romance.

Arnold makes Della surprisingly sympathetic, given the spot events have put her in. Though playing a staunch conservative, Crowe gives Tim enough heart that we can see what she saw in him.

Lynch and Lyster make a good couple, as in their roles their yin and yang of protector and nurturer balance each other out. Still, neither woman is all hard or all soft. Is it enough to save the wedding? (And will there be cake?) You’ll just have to see to find out. 

Performances run through March 22 at FTC’s home, the Basile building at 2508 W. Michigan St., west of downtown Indy. Call 317-653-1519 or visit FonsecaTheatre.org.

Changes around us come into focus on Fonseca stage

By John Lyle Belden

Gentrification is a word and concept that gets brought up a lot — how it’s bad, how it has benefits, how it is inevitable. Indianapolis has seen aspects of it in play in neighborhoods such as Broad Ripple, Mass Ave./Chatham Arch, Irvington, and Fountain Square.

This phenomenon is at the heart of “Salt Pepper Ketchup,” a drama by Josh Wilder now on stage at Fonseca Theatre Company in Indy’s near-westside — an area starting to see the effects of redevelopment.

The play is inspired by the recent real-world transformation of Point Breeze community in Philadelphia’s infamous South Side. “Salt, Pepper, Ketchup” is how longtime local residents, mostly African-American, order the popular fried chicken wings at Superstar Chinese Restaurant, and owners John and Linda Wu (Ian Cruz and Tracy Herring) are happy to fill the orders as they save up for their American Dream. They had just been granted citizenship, and with improving credit, hope to buy their building.

But changes are already under way. New apartments sprang up, occupied by young white people seeking affordable rent. There is a coffee shop, and at the center of it all, the Co-Op grocery. 

Paul (Robert Negron), a leader at the Co-Op, is trying to sign up new members among the locals. John Wu, reflecting the worries of his regulars, suspects some sort of scam. Paul’s heavy-handed and tone-deaf manner isn’t helping. Still, Linda sees hope for life beyond their “Chinese joint.” Tommy (Chinyelu Mwaafrika) and Raheem (Aaron “Gritty” Grinter) see the Co-Op as a threat, a danger to the ‘hood they grew up in, and they are prepared to take drastic action. CeCe (Chandra Lynch) is trying to see all sides of this, as she works at a daycare and wants the area to get better. She even likes the idea of the Co-Op, until she discovers that a single apple costs $2.50.

We also meet the enigmatic Boodah (Dwuan Watson Jr.) who is street-smart, emphasis on both. A little older and wiser than Tommy and Raheem, he avoids conflict and criminal solutions, but when he senses injustice, he takes action.

Finally, Megan (Lexy Weixel) is a perky Co-Op worker who finds herself thrust into an unfamiliar world, struggling to make the best of it.

Seeing the events play out, I couldn’t help but feel a bit ashamed for being white. Paul is such an overbearing caricature, reeking of privilege even as he remarks on it dismissively, that it is easy to understand the backlash that overwhelms him midway through the show. Eventually he takes a more corporate attitude — or was that behind his facade all along? While this can be difficult to watch from my seat, and generating nods of agreement from minorities around me, this portrayed example of how not to gentrify can help start the conversation of how best to positively deal with the changes coming to our own streets. It helps that this important drama brings out the best in all its players.

The play is directed by Tom Evans, with a set designed by Daniel Uhde including a clever way of changing between acts. Founder Bryan Fonseca designed the lighting and Tim Brickley the soundscape, which includes hip-hop by Gritty from his upcoming EP.

As an epilogue, the play program includes a recent article on the real Point Breeze, providing more food for thought. 

“Salt Pepper Ketchup” is served up through Feb. 2 at the FTC Basile Building, 2508 W. Michigan Street. Get info and tickets at fonsecatheatre.org.

ALT: Intense drama includes talkback after every show

By John Lyle Belden

American Lives Theatre, the latest new company to the Indianapolis stage scene, makes a bold and provocative debut with its production of Pulitzer finalist “Gloria” by Branden Jacobs-Jenkins.

In the offices of a New York-based magazine, aspiring writers, stuck as assistants to faceless editors, snipe at each other as they lament their lack of opportunity, discuss their exit strategies, and seek to take advantage of the breaking story of a celebrity death. Dean (Joe Barsanti) is facing his 30th birthday with the vain hope that his memoir on his struggles in a dying industry will make all this worth it. Ali (Morgan Morton) is very go-along-get-along, which infuriates super-ambitious Kendra (Kim Egan). It’s the last day for intern Miles (Joshua Short), who is questioning his career path, now that he has seen the beast from the inside. The general commotion in this room infuriates Lorin (Tom Weingartner), trying to keep up with the demands of being chief fact-checker down the hall. Meanwhile, Gloria (Bridget Haight) — generally quiet and kinda weird, but a constant presence for the past 15 years — keeps dropping by, appearing anxious. Could this have something to do with the housewarming she hosted the night before, to which only Dean showed up?

This is about all I dare reveal of the plot. Director (and ALT founder) Chris Saunders notes that the content of this play includes a “trigger warning” due to a very specific trauma at the heart of the story. But I won’t spill, as the shock is an essential part of the drama. 

Fortunately, there is plenty of satirical and workplace humor, even as the characters become haunted by their circumstances. Haight also plays Nan, an editor with her own perspective that receives attention. Most of the cast also have additional roles, notably Short as a rather in-charge Starbucks barista. All have talents well up to their task.

“Gloria” is not so much about what happens, but rather how we deal with it. As each person comes to terms with their role and reactions, it becomes a question, as Saunders asks in the post-show discussion, “who owns the rights to trauma?”

Yes, there’s a talk-back — after every performance. Saunders hosts, and the actors may also get involved. Given what happens in the play, this can be a very important part of the overall experience.

Performances are Friday, Saturday (Jan. 17-18) and the next Friday through Sunday (Jan. 24-26) at the IndyFringe Theatre, 719 E. St. Clair. Get info and tickets at americanlivestheatre.org or indyfringe.org.

IndyFringe: Class Dismissed, Figuring Out What the Hell We’re Going to Do With Our Lives

This show is part of the 15th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 15-25, 2019 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By Wendy Carson

Your Senior year of High School, we’ve all been there and remember what it was like for us. However, the current Millennium presents a whole new mountain of concerns over planning for the future. Aside from the stress of just getting into college, there’s the concern about the crippling debt paying for it, if you are not lucky enough to find or receive a scholarship. Plus, is not actually attending college a guarantee that you will fail?

This is the quandary ensconcing the players in this energetic production from the Sugar Creek Players Youth Troupe (from Crawfordsville).

We are sped through the senior cycle with a look at some of the wacky clubs you can join to improve your application, SATs, Various classes, as well as Prom and Graduation. Since the ultimate answer of what to do is unique to us all, the characters here are boiled down to basic stereotypes.

Austin Coon dominates the cast in his role as he “Crazy Teacher” demanding that everyone MUST get into college or you are doomed to work a “McJob” the rest of your life.

Liberty Owens portrays the “Juul Kid” (those are the e-cigarettes that the kids are vaping with these days) as stealthy, cynical, and appalled that people actually pee in the Juul room (even though it’s actually the bathroom). She is certain that she can become a successful online personality and that will get her through life.

Isabella de Assis-Wilson’s turn as the “Poor Kid” highlights the desperation felt by those who don’t have the means to shoulder the expenses of college and are overwhelmed by the scarceness of financial aid to help.

Sara Adams shines as the incredibly vapidly self-centered “Rich Kid” who just buys her way out of any and all situations. She even has a butler to feel emotion for her.

However, it is Cameron Tyo as the “Middle Kid” who truly catches out attention. He just wants to go to cooking school and then open a bakery after High School. While his dream is discouraged at every turn, he starts selling his cookies around school and makes enough to convince his detractors that his dream is a valid choice.

The final members of our cast, Terran McCarty & Evan Baldwin as “Keynote Speaker” and “Freshman” do a good job but are barely seen on stage.

So come out and support these youngsters in their quest for answers, and encourage them that their efforts here are worthwhile. Remaining performances are 9 p.m. Thursday, 1:30 p.m. Saturday and 3 p.m. Sunday (Aug. 22-25) at ComedySportz, 721 Massachusetts Ave.

IndyFringe: Pretty Face – An American Dream

This show is part of the 15th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 15-25, 2019 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By Wendy Carson

You know this is going to be a wry, political show when you first see the open suitcase onstage with a sticker blacked out to now say, “Make ME Great Again”.

Amanda Huotari begins the show by emulating a chicken who begins to orgasmically hatch an egg but then swiftly switches to her Miss America persona that will woo the audience and then tell us the fateful tale of one Miss Tiffany Trump.

You know her, right? Ivanka’s sister; Trump’s “love child” with Marla Maples; the one child who most people can’t name; and is not currently in the White House constantly making the news for following Dad’s directives.

Her story, while mostly forgotten by the public (often due to Daddy’s other outrageousness) is shown here to remind you of Trump’s true colors towards one of his brood that he felt was not up to his standards.

Peppered with actual quotes and vignettes from the past, we are privy to the real workings of Trump’s mind and shown that his current disregard for the country was already telegraphed in his treatment of Tiffany and her mother. Remember, he actually said that when he ran for President, “He didn’t want to win, he just wanted to make money.”

Is there a way to re-embrace the American Dream? Is it possible to eschew the current atmosphere of tyranny and become more civilized and cooperative in our efforts both personal and political? Can we once again be truly free?

As you only have two more opportunities — 9 p.m. today and 4:30 p.m. tomorrow (Aug. 17-18) at the Indy Eleven (719 E. St. Clair) — I suggest you make it a priority to find out.

Fonseca Theatre’s journey through America with ‘Miss You Like Hell’

By Wendy Carson

In the style of an organization willing to challenge conventions, Fonseca Theatre Company stages it’s latest offering, “Miss You Like Hell,” in a garage-warehouse. The sets surround the audience and a trail divides it into four sections, which are mostly filled with rolling and swiveling chairs to help viewers follow the action.

This musical by Quiara Alegria Hudes, with music and lyrics by Erin McKeown, is the spiritual and physical journey of a mother and daughter as they travel across the United States. While on the surface this sounds like a cliche plot, there are a lot of story elements twisting and turning so that you are never quite sure exactly how you feel about the main characters at any time.

Beatriz (Sarah Zimmerman) says she has come to reconnect with her teenage daughter, Olivia (Sharmaine Ruth), who she has not seen in years. She seems genuinely worried about Olivia’s mental state after finding a blog post threatening suicide, but Beatriz has her own needs and agenda as well. Zimmerman does a skillful job meting out her character’s motivations in a way that makes you understand that no matter how many mistakes she has made, she is still a parent and ultimately loves her child, even if her actions don’t always seem that way.

Very reluctant at first, Olivia eventually embraces this adventure with her mom and discovers more about her family history, including the background of major events in her life. Ruth deftly swerves from belligerent brat to scared child to young adult seamlessly. Her performance shows the truth of what growing up means to a person as well as what it takes out of a child.

The rest of the cast compose a Greek chorus as well as their individual roles.

Paul Collier Hansen and Patrick Goss delightfully provide some much needed comic relief as Mo and Higgins, two best friends from Arkansas on a meaningful journey of their own. Ian Cruz is in rare form as Manuel, a possible love interest and convenient rescuer. Bridgette Ludlow charms us as Olivia’s most active blog respondent, as well as the strong dose of reality that she needs to grow. Paige Scott plays up her fierce side playing the various officers of the law that are encountered throughout the trip. Yolanda Valdivia is solid as Beatriz’s attorney, taking on her difficult immigration case. Dan Scharbrough gives his curmudgeonly best as a South Dakota bureaucrat and a Wyoming hotel manager. Some scenes are punctuated with a dancing ancestor, portrayed with bold grace by Camile Ferrera. Company founder Bryan Fonseca directs. Tim Brickley leads an excellent on-stage band.

The story begins in Philadelphia, our cradle of freedom, and ends in southern California, where part of the “wall” we hear so much about now stands. This examination of the American dream dwells on questions of heritage, culture, justice and rights. But above all, it is about family, the one we are born to, and the fellow travelers who become just as important to us.

This road trip is worth the journey, playing through July 28 at Kinney Group, 2425 W. Michigan St., Indianapolis (just a block from Fonseca Theatre’s new home, now under construction). Enter at the back doors. The venue gets rather warm in the summer weather, so dress light. Find info and tickets at FonsecaTheatre.org.

Phoenix: Thinking of ‘The Children’

By John Lyle Belden

“The Children,” the title of a recent Broadway drama by Lucy Kirkwood, now at the Phoenix Theatre, doesn’t seem to tell us much. There are no youngsters on the stage — in fact, the trio we meet are all in their 60s. But this play understands that when we are grown, if we’re not thinking of our children and what we would do for them, we often indulge in that child still within each of us.

On the English coast, at a time that could be now, we are in the aftermath of a disaster much like the one that occurred several years ago in Japan: the triple-shock of earthquake, tidal wave and a crippled nuclear power plant.

Hazel and Robin (Donna Steele and Charles Goad) were among the scientists who engineered the reactor, now they live on the very edge of the irradiated zone. They are visited by past friend and colleague (as well Robin’s lover) Rose (Diane Kondrat). Old memories and issues are brought up, leading to moments of friction. But even more devastating is the issue of what happens next.

Directed by Phoenix artistic director Bill Simmons, this veteran cast give excellent, layered performances. In Hazel, Steele presents a fastidious character who prides herself on her maturity, while staying young as possible through healthy eating and yoga. Goad’s Robin seems fondly attached to the farm he is having to give up, but his daily trips to the barn have a darker purpose. Kondrat, once again a woman of many facets, gives us a Rose who has come a long way from her impulsive youth to a woman who has faced her mortality and must finally think outside herself. Their interactions throughout the play crackle with energy that rivals the broken facility on their horizon.

The larger questions surrounding nuclear energy and the environment stay in the background, as the issues at play here are more personal — dealing with reconciling out pasts, facing our ends, considering the next generation, and what we all must do to make our actions and lives meaningful. Sometimes it takes a disaster to make us truly think of The Children, and to force us to finally grow up.

Performances run through May 19 on the smaller Basile stage of the Phoenix, 705 N. Illinois St. in downtown Indy. Call 317-635-7529 or visit phoenixtheatre.org.

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One last note (this did come up with an audience member at the preview performance): Though she is in the promotional photo, actor Jolene Mentink Moffatt does not appear in the play. The publicity picture was taken long before casting decisions were made, and aside from being not quite old enough for the roles, she was busy with her recent run on the Phoenix’s “Hotel Nepenthe.”

Challenges of modern farm life in Still’s ‘Amber Waves’ at IRT

By John Lyle Belden

The story of the Olson family of rural Indiana is like that of many farmers across America, which is part of what makes “Amber Waves” by James Still such an important play.

Mr. Still, the playwright-in-residence at the Indiana Repertory Theatre, where this drama plays on the upperstage through April 28, took inspiration from his own upbringing on a Kansas farm, which his family has since lost.

The Olsons face the very real danger of losing what generations of kin had built, even as they witness an old friend’s farm, and its family’s possessions, going up for auction. Mike (Torsten Hillhouse), the only one of the “Olson boys” to stay on the farm, tries to only think of what chores and repairs must be done in the coming days, to keep the faith that it will be enough, and to search the skies for long-overdue rain.

Mike’s wife, Penny (Mary Bacon), is totally devoted both to her husband and their vocation. She largely succeeds in staying positive, even as unpaid bills pile up, but teenage son Scott (William Brosnahan) and 12-year-old daughter Deb (Jordan Pecar) become increasingly aware that something’s wrong.

Much of the story involves Deb’s point of view. She works for elderly neighbor Johnny Apple (Charles Dumas), who always seems to find more odd jobs for her to do, giving her a few more much-needed dollars. Her situation also strains her relationship with best friend, Julie (Riley Iaria), from a more wealthy family. Meanwhile, life goes on, with the County Fair, school activities, the Homecoming game — normal aspects of country living.

The atmosphere is made complete with music and songs by Tim Grimm and Jason Wilber, performed onstage by Grimm and Rachel Eddy.

First performed in 2000, the play has been updated, including tech references, but the core story is as current now as it was then. There is even a mention of recent tariffs affecting crop prices. It tugs at the heartstrings in a genuine manner, as we see a family experience what feels like a lifetime in a single year.

Directed by Lisa Rothe, the performances feel natural, like these actors truly are family, or that Hillhouse really stepped off a tractor before coming onstage. Bacon is outstanding as a mother finding the multiple roles of a farm wife almost overwhelming, but persevering through willpower and love.

The simple wooden stage set and old latch-handle refrigerator at the back suggest a timeless, well-worn comfortable setting (kudos to scenic designer Narelle Sissons). Lighting designer Mary Louise Geiger makes clever use of glass-jar lighting. Grimm grounds this production with his music, singing and connection to the original production; Eddy provides a perfect compliment, an Appalachian virtuoso of various string instruments, and a beautiful voice.

The IRT is located at 140 W. Washington St. in downtown Indy, near Circle Centre. Call 317-635-5252 or visit irtlive.com.

We have a lot to learn

By John Lyle Belden

Understanding being black in America is not something that one “history month” a year can cover. But at least now, we have the textbook. Fonseca Theatre Company presents “Hooded, or Being Black for Dummies” by Tearrance Arvelle Chisholm, directed by Ben Rose.

Marquis seems to be a typical 14-year-old: doing well in school, hanging out with friends, noticing girls. But when his attempt at the latest internet fad lands him in a police station holding cell for trespassing, he finds himself with someone who sees him as anything but normal. Tru, the cellmate,  appears to be what most would picture a black youth to be, and he wonders why Marquis isn’t. Let the lessons begin.

Chinyelu Mwaafrika plays Marquis, bright-faced and naive, and despite his dark skin, a boy so “white” he needs the guidance of a “magical Negro” — the role Joshua Short as Tru takes on with gusto, complete with penning the titular guide. Yet, his character is more human than film trope, always toying with our and the other characters’ expectations. 

The only other African American in the cast is Warren Jackson as police Officer Borzoi; it is left to the audience to decide if he is an Uncle Tom collaborator with the establishment or a committed law officer with a realistic view of misbehaving young men (which you believe, or to what extent a mix of the two, no doubt says more about your own beliefs and biases).

We soon meet Marquis’s adoptive mother, Debra (Mara Lefler), embodying the well-meaning liberal who is blind to her own racial insensitivity. The next day, at private high school Achievement Prep, we meet Marquis’s classmates and best friends, Hunter and Fielder (Patrick Mullen and James Banta), as well as the girls clique of Meadow (Ivy Moody) and her disciples Prairie (Lefler) and Clementine (Dani Morey), who has a crush on Marquis.

All this — plus plenty of jibes at our meme-driven, eyes-on-phones, culture — lead to a lot of hilarious situations. But, as Rose says: It’s all funny, until it’s not. For instance, the opening scenes deal with the hot online trend of “Trayvonning” — a joke frequently repeated until its uncomfortable aspects are smoothed over. But it also has you primed for the gut-punch of the very final scene.

There are lessons for us throughout this production, starting with a slide show that runs while we take our seats in the intimate confines of Indy Convergence. Tru is a fount of wisdom, both in what he says and what he writes. In addition, we get a funny take on the young white man who takes on hip-hop culture too wholeheartedly.

Jackson and Banta also play mythical characters Apollo and Dionysus. The latter calls on Marquis to enjoy the trappings of white privilege, but hooded and African-garbed Apollo whispers a more vital truth to him.

Hearing of the violent death of an unarmed black person makes us wonder how such tragic circumstances could come about. No one should die for a handful of Skittles, yet they do. One of the lessons of “Being Black for Dummies” is that sometimes just putting up your hands is not enough.

What lesson will you take from this powerful play?

Performances run through Dec. 2 at Indy Convergence, 2611 W. Michigan. Get information and tickets at fonsecatheatre.org.