Dale W. Smith

At Epilogue, ‘Business’ is good

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

Economic conditions are uncertain, but aren’t they always? In 1982, with the Reagan era getting under way, various stresses threaten “A Little Family Business” in the comic drama by Jay Presson Allen (adapted from a French farce by Pierre Barillet and Jean Pierre Gredy) at Epilogue Players, directed by Elizabeth Ruddell.

Ben Ridley (David Beck), president of the Cobbs Carpet Sweeper company is facing competition from inexpensive Japanese electric sweepers, as well as worker unrest. His disappointing son Scott (Mac Wright) plays the flute for a living; daughter Connie (Hazel Bolt) bugs him about his diet like a health nut, but her Republican heart is in the right place; faithful secretary Nadine (Samantha Kelly) is still doable, though he has younger ladies on his mind; and it turns out he forgot his wife’s –heiress Lillian [nee Cobb](Tanya Haas) – birthday. On top of all this, hated former employee and Democratic candidate for Governor Salvatore Farrantino (James Kenjorski) is in town. Still, railing like a slightly updated Archie Bunker, Ben is not about to back down to anyone – until his weak heart intervenes.

Forced to take a leave of absence, the boss is left with little choice but to leave his wife – who had been mostly idle except for catalogue-fueled shopping sprees (and secret donations to progressive causes) – in charge of the company. But after Lillian gets past telling the factory employee grievance committee (H. Dupiton, Katherine Novick, Dale W. Smith, and Mike Harold) she’s “just a woman,” it dawns on her that that is enough. And she has ideas.

Set at a time when women in charge were becoming more common (like Margaret Thatcher in Britain) though still rare, this show offers a light-hearted dose of empowerment with some interesting family dynamics. This includes the distress inadvertently triggered by Scott’s choice of fiancé, as Ben, Sal, and Lillian come to terms with the circumstances of past affairs.

Haas is charming and even when Lillian’s unsure, keeps her whip-smart. Beck makes the randy bigot Ben somehow likable, no doubt aided by the fact his wife never really gives up on him. Bolt boldly plays a feminine Alex P. Keaton – if this were more of a drama, we would no doubt be exploring some daddy issues. Wright plays Scott as one accustomed to his father’s disappointment, which gives him a subtle wisdom as he goes-along gets-along so he can do his own thing. Kenjorski presents a big smile, big handshake, savvy politician with some actual heart for the common man (and uncommon folk like the Ridleys – especially Lillian). Kelly puts the “professional” in professional assistant as Nadine, heroic for putting up with Ben, and making herself invaluable to Lillian.

Kelly also serves as stage manager, and Wright is assistant director. The elegant yet functional set was designed by Ruddell and Ed Mobley

Invest a little time and ticket fare in “A Little Family Business,” Thursday through Sunday, April 18-21, at 1849 N. Alabama St. (corner of 19th and Alabama), downtown Indianapolis. Get tickets and info at epilogueplayers.com.

Epilogue brings monster tale to life with radio magic

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

When dealing with a familiar favorite story, the best part is in how it’s told.

In “Frankenstein: The Radio Play,” presented by Epilogue Players, Mary Shelley’s classic novel is presented as a radio drama produced in 1940s London – an escape from the horrors of the real world. Adapted by Philip Grecian from his stage play, based on Shelley’s 1818 book, the production gives us a theatre of the mind experience while providing a glimpse into how the audio magic is made.

The immersive experience goes a step further by not renaming the actors as British counterparts, and by including radio ads promoting every advertiser in the program. This may be the best promotion English Ivy’s restaurant and bar (in today’s Indianapolis, just down the street) has ever gotten.

Craig Kemp (actually from the U.K., by the way) voices the titular figure, Victor Frankenstein – whom any literature buff will note is the true “monster” of the novel – in fine fashion, from the soothing doctor in love to the ecstatic “it’s ALIVE!” during the creature’s “birth.” Other actors provide major and minor parts (the broadcast audience can’t see them, so switching is a manner of inflection, which they easily do). Principally, Alex Bast is the doctor’s friend and assistant, Henry Clerval; Dale W. Smith is their peer, Professor Waldman; Caity Withers, the studio announcer and producer, is Baroness Frankenstein; Phoebe Aldridge is young Catherine Frankenstein; Melody Simms is Catherine’s governess, Justine Moritz; Bella King is Victor’s cousin and fiancé, Elizabeth Frankenstein; Grant Bowen is Arctic explorer Capt. Robert Walton, as well as the blind man, Delacey; and Jason Creighton is The Creature (usually referred to by epithets, by himself as Adam/Lucifer, but never as his “father’s” name), giving an appropriately powerful rendition of the misunderstood beast.

Also deserving of star billing are foley artists Amanda Greene, Roger E. Dutcher, Karen Markle, and Zach Thompson, who undertake complex effects with as close as the era allowed to surround-sound. Seeing the various gadgets used only adds to the fun while their acoustical accuracy doesn’t break their spell. Daniel Watson directs and composed some of the music, performed by Bethany Watson on piano.

Glancing over the novel’s plot summary as well as various films from James Whale to Kenneth Branagh and variations including breakfast cereal and Abbot & Costello, I probably should make some notes of the story here. This play does start and end on Cpt. Walton’s ship approaching the North Pole. Henry sounds quite handsome, with no hunchback noted, and is a fellow scientist, not a servant. Also, a critical plot point, the brain supplied to the creature is that of a genius Victor admires (not “Abbie Normal”), which becomes evident at the Adam’s clarity after his initial mental fog, making his reasoned impulses for revenge more menacing. Finally, there is no postmodern wink or sight-gags among the English cast; this show is played for chills, not laughs.

Performances run through Feb. 26. Space is limited at the little theatre on Hedback Corner, 1849 N. Alabama St., and tickets are selling fast. Get yours at EpiloguePlayers.com.