Dave Ruark

Another go-round with the ‘Girls’ in LAFF parody

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

By John Lyle Belden

Here we go again! The gang at Loud and Fast Funny Shows present “The Golden Girls: The Lost Episodes, Vol. 2,” Friday and Saturday nights through March 21 at the District Theatre.

It’s been nearly a year since LAFF put on the dresses and thanked us for being their friends. Most of the “girls” return: Dave Ruark as Dorothy, Pat Mullen as Blanche, and Jim Banta as Rose, joined by Frankie Bolda as Sophie. 

As with last year’s show, this is a parody originally by David Cerda and David Lipschutz of Hell in a Handbag Productions of Chicago, complete with mature language and immature behavior. And, to get us in the mood, we’re again treated to old sitcom themes and commercials while we wait for the show to begin. 

For an hour, we are treated to two quick episodes with a Golden Girls trivia game show in between, hosted by Christian Condra, complete with audience participation and prizes.

Condra also returns as sexy Jazzercise Jeff — short-shorts and all — and takes a turn as Rose’s blind sister. Joining the cast in multiple roles are Mark Cashwell (including as Dorothy’s date to the Sadie Hawkins Dance), Kayla Lee (playing Sophie’s rival), Tyler Lyons (roles include Dorothy’s ex-husband) and David Mosedale, whose major part is Jessica Fletcher in a “Murder, She Wrote” crossover.

This heartfelt jab at the old TV hits is hilarious as usual, though there seems to be even more sexual innuendo this time around, so it’s best for those old enough to remember the source material. 

Each night has two performances, 7:30 and 9 p.m., at the District, 627 Massachusetts Ave. in downtown Indianapolis. Get info and tickets at http://www.indyfringe.org.

Wacky wizard world, from a different perspective

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

By John Lyle Belden

The goofballs of LAFF (Loud and Fast Funny Shows) are back, and they’ve brought some friends.

In “Puffs,” an Off-Broadway show by Matt Cox, this time the parody target is the “Harry Potter” novels. However, the seven-year epic (presented in 100 minutes) is told from the perspective of what trademarked materials would call House Hufflepuff. It should be noted that the more you know about the Potter books and films, the more you will get all the jokes and references. But for fans, no matter what your House, this fun and touching take on the stories is a must-see.

The LAFF regulars — Matt Mullen, Jim Banta, and Olivia Schaperjohn — are our central trio of students, finding themselves sorted into the Puffs (rather than the Braves, Smarts, or Snakes) only to find that it is apparently a House of losers. The one exception is handsome prefect Cedric (Christian Condra), who is a shining leader up until the climax of Book 4. Afterward, Condra portrays He-whose-name-we-shouldn’t-be-talking-about (never mind the irony), with taped-down nose and hilariously dramatic flair. 

Dave Ruark rejoins the company as our Narrator, keeping this complex plot moving along. 

Various roles are ably filled by Mark Cashwell, who plays a lot of the faculty; Gorgi Parks Fulper, parts include Professor Sprouty, and an evil Puff escaped from Wizard Prison; Chelsea Leis Mullen, notably as charming and cheerful Leanne, as well as the Puffs founder; Tyler Lyons; Maddie Deeke; Kayla Lee; Anthony Nathan; Justina Savage; and Frankie Bolda, whose roles include Harry. 

While this is a very funny parody, what might be surprising is the amount of emotional heft this underdog (under-badger?) story carries, as the group that would be happy to rank third out of the four Houses grows to prove they are just as important as any other aspect of the Wizarding world. Since a lot of Potter fans grow up nerdy outsiders, they feel an affinity for the Puffs; this show allows them to not only laugh at themselves and other odd aspects of the epic, but also to affirm their steadfast gold-and-black badger pride.

Performances of “Puffs” are Fridays through Sundays through Jan. 4 on the main stage at the District Theatre, 627 Massachusetts Ave., managed by IndyFringe. Get info and tickets at www.indyfringe.org.

IndyFringe: The Madwomen’s Late-Nite Cabaret

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

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

From the moment that Lizzie Borden (Cody Ricks) dashes across stage to take her seat at the piano, you know that this show is anything but serious.

We then welcome our beloved hostess Ethel Merman (Dave Ruark hamming it up at his best) straight from her triumphant turn as “Annie”.

Throughout the night we are privy to songs revealing aspects of these historical icons who are more misunderstood than evil.

Shawnte Gaston has a quick turn as Medusa but spends most of the show co-hosting as Eve, the embodiment of maternal energy and possibly the most misrepresented of them all. She belts out her sentiments in both “What’s the Matter With Kids Today” and “Sometimes I Feel Like a Motherless Child.”

Julie Lyn Barber embodies women as diverse as Typhoid Mary, Amelia Earhart, and Mary Stuart but she really stands out as Sybil singing “I Am My Own Best Friend”.

Georgeanna Smith Wade gives us a hilarious look into the mindset of Procne (most people know her as Medea) but it is her sultry version of Mata Hari performing “Bang, Bang” that really shines.

Add to this Jaddy Ciucci (although on the performance I saw this role was played by Devan Mathias), portraying not only Joan of Arc, Philomela, and Ann Boleyn, but a “Physical Embodiment of a Controlled Substance” (Mary Jane) and pleadingly insisting “I’d Be Good For You”

Needless to say, these women (and characters) deserve to be seen and heard and who knows when you will get another chance to do so. Presented by Main Street Artists, remaining performances are 9 p.m. Saturday and 1:30 Sunday at the IndyFringe Theatre, 719 E. St. Clair.

‘The Golden Girls,’ like you’ve never seen them before

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

By John Lyle Belden

The Loud and Fast Funny gang is at it again, presenting mature ladies with “mature” content in “The Golden Girls: The Lost Episodes.”

This mostly-drag parody of the old hit TV show was originally written by David Cerda and developed by Hell in a Handbag Productions of Chicago. LAFF are local actors, presenting this hour-long treat at the cabaret second stage of The District Theatre, managed by IndyFringe.

The mood is set as the audience enters to the sounds of classic television show themes from the 1970s and ‘80s, interspersed with the audio of commercials from the era (remember L’eggs panty hose?), as well as network jingles from NBC, the original TV home of the Girls.

Then, it’s the strains of “Thank You For Being a Friend,” and we meet our small-screen friends: Rose (Jim Banta), Blanche (Pat Mullen), Dorothy (Dave Ruark) and Sophia (Olivia Schaperjohn). They launch into two half-hour episodes, with words and innuendo that the network censors would certainly not allow, joined by Christian Condra as a handsome doctor in the first part, and Jazzercise Jeff in the second. There is no nudity, just a couple of edgy costume choices — but still, don’t take the kids.

While a touch raunchy — like some grandmas get when young’uns aren’t around — the plots are also funny and entertaining, much like if the Girls were a show on HBO. In the first, silly Rose deals with an episode of restless-leg syndrome as she prepares for a big dance contest. In the second, the hot aerobics instructor has a thing for Blanche — and Sophia? — while Dorothy makes an attempt to show her “nice” side.

Between the episodes, a swingin’ Condra comes out to host a game show in which two audience members get a shot at a genuine Golden Girls-themed prize.

A fun Fringe-length show at a Fringe ticket price, performances are Fridays and Saturdays, two shows each night, through April 27. Get info and tickets at indyfringe.org

LAFF Shows also staged the recent production of “Hold On To Your Butts,” and will present another Recent Cutbacks-produced show, “Fly, You Fools” — a parody shot-by-shot re-creation of “Lord of the Rings: Fellowship of the Ring” (in one hour) — May 3-25. Get to know the troupe at facebook.com/LAFFshows.

Zach&Zack ‘Rocky Horror’ at Athenaeum – ’nuff said

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

By John Lyle Belden

I could probably skip the synopsis on this one – Anybody here know how to Madison?

“The Rocky Horror Show” (note the omission of “Picture,” this is the live stage version) has returned to Indianapolis like a Halloween tradition, gracing the haunted stage of the Athenaeum,

Presented by Zach&Zack – produced by Zach Rosing, directed by Zack Neiditch – the play greatly resembles the movie scenes and songs, with a few differences (no dinner scene, for instance). The opening theme is a brilliant tribute to the film, complete with cast credits. But the actors here have made these characters their own: for instance, Dave Ruark plays sassy “Sweet Transvestite” Frank N. Furter, not an impression of Tim Curry in the role.

Adam Tran and Andrea Heiden are fun as Brad and Janet – the pair of squares thrust into a night of “absolute pleasure,” and Joe Doyel has stage presence to match his pecs and flex as muscular Rocky (the Creature). But the scenes are not stolen but outright owned by Davey Pelsue as Riff-Raff, combining his considerable acting chops with his rock-star charisma. Also wonderful are Anna Lee as Magenta, Alexandria Warfiel as Columbia, and Josiah McCruiston as Eddie and Dr. Scott.

But is it fair that while Adam Crowe is excellent as the no-neck Narrator, his scenes are pre-recorded so that he can actually see this great show from the audience, while the rest of the cast can’t? And where did his neck go? I blame aliens.

Kudos also to Erin Becker for her “big mouth.”

Perhaps I’m not taking this review seriously enough, but then consider what I’m supposed to be critiquing here. For crying out loud, the best lines are typically shouted by the audience! (And yes, you can do that – just no props allowed, by theater policy.) The bottom line is that this is not just a “play” or even your typical musical, it is an experience. And with this competent crew, you are assured a very good time. (Like a – everybody now – “Science fiction, double feature…”)

Of course, tickets are selling fast. Remaining performances are Thursday through Saturday, Nov. 1-3 at the “A,” 401 E. Michigan in downtown Indy. Get info at ZachAndZack.com (or their Facebook page) and tickets here.

NoExit ‘1984’ – experience the love of Big Brother

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

By John Lyle Belden

It was a bright cold day in November, and the clocks had struck nineteen 30 minutes ago. The back door to a facility commandeered by the Party and Ministry of Truth opened, and we were allowed to enter.

After Agents determined our country of origin and loyalty to the Party, we were detained with other participants until 20:00, when the Ministry provided a goodthink show of a man discovering his love for Big Brother. This is all it is and ever was.

I would never be unfaithful to the Party and tell you that this was a clever and insightful production of “1984” – adapted from the George Orwell novel by Matthew Dunster, produced by NoExit Performance (with co-conspirators including AnC Movies, Cat Head Press and iMOCA) and directed by Ryan Mullins – as that would be “fake news.”

But if I were to say such a thing, I would point out that Ryan Ruckman gives an excellent performance as Winston Smith, the conflicted everyman who tires of his duties for the Ministry, constantly “correcting” history and sending obsolete information down the Memory Hole so that it never happened. He wears his depression and ennui like an extra layer of clothing, feeling the weight of the Telescreen eyes upon him. NoExit mainstay Georgeanna Smith Wade wins his heart and ours as secret rebel Julia, who inspires Winston to defy the Party – simultaneously the smartest and stupidest thing he would ever do.

The Party orders that I denounce Dave Ruark for his commanding portrayal of the mysterious O’Brien, Adam Crowe for his deceptively warm turn as Charrington, and Tristan Ross for his appropriately milquetoast presentation of Smith’s co-worker Parsons (extra rations go to Zac Schneider and Elsie McNulty as the Party-faithful children, though Shannon Samson as Mrs. Parsons is still under suspicion). If Syme had not become an unperson, I’d praise Phil Criswell’s double-plus-good performance. I also hallucinated sharp work from Taylor Cox and Ann Marie Elliott in supporting roles.

Where NoExit – I mean the Ministry – most excels is in the way this drama is presented. It is totally immersive: You stand in or right outside the room where each scene occurs; and the actors frequently move from one area to the next, forcing all to turn and/or follow. Ministry agents help guide the audience. There is no climbing stairs, and limited seating is provided at every scene. Compare the amount of movement necessary to an easy tour of a museum gallery with about a half-dozen display areas in three large rooms. Appropriate set design (by Andrew Darr), with occasional video images (by AnC) and haunting sound (by Rob Funkhouser) enveloping the rooms, provide a perfectly tense atmosphere throughout. Big Brother’s red glowing eye is everywhere, watching us all.

I advise all to take time out from news of whatever war we have always been fighting, and observe this double-plus-good entertainment appropriate for whatever year this happens to be. Performances through Nov. 18 at Ministry Headquarters, 1336 E. Washington St., Indianapolis. For information and tickets, visit www.noexitperformance.org.

IndyFringe: ‘Canvas’

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

By John Lyle Belden

Standard disclaimer: I’ve known Casey Ross for years and love everything she does. So I can’t help but recommend this show, with a small caveat (see below).

“Canvas” is the third chapter of Ross’s trilogy that began with “Gallery” and continued with “Portraits” – both past Fringe shows. If you haven’t seen them, this play is still easy to follow, and a quick synopsis of the first two is in the program.

The story again focuses on two artists, best friends Jackson (Davey Pelsue) and Frank (Dave Ruark). In the past, free-spirit Jackson leaned on solid academic Frank, but now their situation is reversed as Jackson, a successful painter, cares for Frank, who has partial amnesia after an “accidental” drug overdose.

Once again, they struggle to define their relationship as each deeply loves the other, but the fact that one is straight and the other gay further complicates their feelings and actions. Their friends try to help, but have been burned by dysfunctional relationships with these two and can only do so much.

There is dark humor, raw emotion, and – my one caution – a frank examination of suicide. No easy answers are given, though this play does draw the trilogy to a conclusion.

Between Ross’s knack for sharp dialogue and a solid job by the actors, this play has earned its place as one of the hottest tickets at the Fringe. Get them if you can for performances Saturday and Sunday, Aug. 25-26 ,at Theatre on the Square’s second stage.

Festival info: www.indyfringe.org.

At TOTS: A story of street-lights people who don’t stop believin’

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

By John Lyle Belden

The rock hits of the 1980s form the tapestry of “Rock of Ages,” the Broadway musical in its first local production at Theatre on the Square.

Sarah Hoffman plays Sherrie, a small-town girl, livin’ in a lonely world; Davey Pelsue is Drew (a/k/a aspiring rocker Wolfgang von Cult), a city boy, born and raised in South Detroit – you know how the song goes.

They work at the Bourbon Room, an LA bar and club owned by Dennis Dupree (Dave Ruark) with Lonny (John Kern), our Narrator – they want nothing but a good time, and it don’t get better than this.

But foreign developer Hertz Kleinaman (Bryan D. Padgett) and son Franz (Zach Ramsey) have plans to tear down the Sunset Strip. When City Planner Regina Kuntz (Andrea Heiden) objects, the Mayor (Josiah McCruiston) fires her, so she leads the resistance, reminding all that they built this city on rock and roll.

Facing the final countdown, the Bourbon Room has one last show, headlined with newly-solo rock god Stacee Jaxx (Thomas Cardwell) and featuring Wolfgang’s debut. In all that’s happening, Drew loses Sherrie, and it will take more than words to win her back. And yes, “Oh, Sherrie” is also in the show (but not the title song, as they couldn’t get rights to Def Leppard’s hits).

This exceptional, energetic cast includes Paige Scott as “Mama” Justice, owner of the nearby Venus Gentleman’s Club; Jonathan Krouse as Joey Primo, Jaxx’s replacement in Anvil; a dancing chorus including Jessica Hawkins, Jordan Fox, Tessa Gibbons, Katherine Jones, Janice Hibbard and Jessica Hughes; and Hannah Boswell as the wonderfully anonymous Waitress No. 1. Director Ty Stover let Boswell expand her role to help smooth scene changes, she said, and she has become an audience favorite.

Not everyone is radio-perfect in reproducing the old FM-band tunes, but this isn’t meant to be a revue. Some lyrics and verses are altered by context, and some songs nicely mashed-up, to serve the musical’s story. The performers front-and-center, however, are stellar – especially Hoffman, as well as Pelsue, who delivers as though this musical was written for him.

The show is incredibly fun, whether you remember the decade of big hair and big attitudes, or only know the 30-year-old songs (yes, that old) from the Classic Rock station. The onstage bar actually offers retro sodas and beer before each act, and cast members occasionally cross the fourth wall to sit with you.

Got too much time on your hands? You have no excuse not to see this. Here they go again at TOTS, 627 Massachusetts Ave., through April 1. Call 317-685-8687 or visit www.tots.org.

John L. Belden is also Associate Editor and A&E editor of The Eagle (formerly The Word), the Indianapolis-based Midwest LGBTQ news source.

It’s ‘only’ a hit

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

NOTE: As the Word/Eagle is in flux with the renaming and corresponding change in official website, John is putting his reviews here — for now.

By John Lyle Belden

Rarely has a play dared me so strongly to write a bad review of it.

“It’s Only a Play,” by legendary playwright and librettist Terrance McNally, is on the main stage at Theatre on the Square through Oct. 1, opening the 2016-17 season. In this comedy, a nervous playwright, Peter Austin (played by Dave Ruark) nervously awaits the reviews after opening night of his Broadway play.

All action takes place in a guest room at the home of the play’s rich producer Julia Budder (Afton Shepard), where Austin’s best friend, TV star James Wicker (Adam O. Crowe) tries to relax, glad that he turned down the lead role in the play – though he won’t tell Austin; scandal-plagued lead actress Virginia Noyes (Kathy Pataluch) and acclaimed “genius” director Frank Finger (Thomas Cardwell) each go to get away from the party crowd downstairs; reviled theatre critic Ira Drew (Jeff Maess) seeks someone to take on the play he secretly wrote; and coat-check boy and aspiring actor Gus (Jacob Swain) comes in to deposit coats and accoutrements worn by various celebrities.

The play is loaded with Broadway references and swipes at critics, and teases us with a cliffhanger at intermission. At the end, things get almost groaningly meta. Need I mention that the first version of this play closed during previews (according to Wikipedia)?

Yet, here, it all works.

Yes, even critics can take a joke – and I and another scribe in attendance could even think of someone who the play’s zingers better fit. The discussion of stage legends like Patty Lupone is mixed with more-recognizable celebrities like Lady Gaga, so references to the party downstairs never go flat. “Hamilton” even gets name-checked (and coat-checked).

And the mixture of dysfunctional characters we are presented with – Budder keeps butchering popular quotes, Noyes wears a court-ordered ankle bracelet, and Finger’s insecurity over his incredible success manifests as compulsive kleptomania – are very funny and well-presented by actors far more talented than the poor hacks they portray.

So, who cares if McNally didn’t get a(nother) Tony for this – for TOTS, this romp is “only” a winner.

Find the stage at 627 Massachusetts Ave. in downtown Indianapolis. Call 317-685-8687 or see www.tots.org.

John L. Belden is Associate Editor at The Eagle (formerly The Word), the central-Indiana based Midwest LGBTQ news source.