David Malloy

Cryptid heroes return to Fringe stage

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By John Lyle Belden

Cryptid Entertainment engages audiences with explorations of what it would be like if fantastic mythical creatures lived among us. Such stories might be closer to the truth than we suspect – there is reliable evidence, for instance, that the being known as Theodore Roosevelt may have at one time actually existed.

In 2022, Cryptid presented its masterwork “Bigfoot Saves America” during that year’s IndyFringe festival. While a success, the company were all in agreement that sequels to plays are a terrible idea, thus inspiring playwright and director Dakota Jones to instead expand the show to a second act, with the solemn mission of, in his words, “a cheap attempt at a laugh.”

Presenting: “Bigfoot Saves the World!”

Tony Schaab returns as the super sasquatch, agent of H.A.I.R. (a Top-Secret government office that assures us it doesn’t exist). Jo Bennett is also back as the evil Mothman, who has kidnapped Mr. Foot’s ex-wife, Dr. Love Interest (reprised by Kyrsten Lyster). Aaron Henze also returns from deep freeze as the lycanthrope-infected President Teddy Roosevelt.

This time around, Kaya Dorsch and Thomas Sebald portray the gay hench-moths as well as Agents in black, joined by the expendable Charlie Rankin.

And, again, this show is sponsored by pharmaceutical miracle and crude plot device Sexadryl (“Sex-A-Drill”).

Since it worked the last time, the first-act plot – bizarre humor and all – is essentially the same as the original Fringe show (for what happens, note its title).

The sequ- I mean Second Act reveals a plot by the Soviet Union (this takes place during the Cold War, after all) which involves Robo-Stalin (Sebald), Agents Hammer and Sickle (Dorsch and his right hand), femme fatale Ras-Poontang (Lyster), a sexy yeti (Rankin), and an even more glorious Mothman.

Will Bigfoot rise to the challenge? According to the title, yes, but he may need an assist from MOLAR OF THE MOLE PEOPLE (Dorsch again – they are so versatile).

Because you can’t have too much talent in such a cheesefest, there are special appearances by Doug Powers and David Molloy, as well as the services of the world’s greatest stagehand, Lillian Eisenbraun. Brilliant costumes are by stage manager Marina Turner.

Once again, these hijinks are funny, silly, and very “Adult Swim,” including “going for the hard ‘R’” with a bit of furry burlesque. It’s self-aware and unabashed, a great time for anyone (teenage and older) who doesn’t take endangering and saving the world with mythical beasts too seriously.

Further, we are assured that there will be absolutely no third chapter (until Dakota is finished writing it).

“Bigfoot Saves the World” Thursday through Sunday, July 25-28, at the IndyFringe Basile Theatre, 719 E. St. Clair, Indianapolis. Get tickets (before they sell out) at indyfringe.org.

Clerical Error brings legendary actress to life

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By John Lyle Belden

Known for their comical works, Kate Duffy and Clerical Error Productions have taken on their most serious project yet: “Call Me Kate: Katherine Hepburn Tells it Like it Is.”

Based on a 1970s television interview Hepburn gave to Dick Cavett, this intimate production, held recently in the cozy confines of The Brick Room comedy club in Noblesville, takes us to a 1973 episode of “The Dick Cavendish Show” at ABC studios in New York. The audience is, of course, the studio audience, in sight of a black-and-white monitor that shows appropriate commercials and the flashing “APPLAUSE” sign. As we settle in, the crew are busy – David Molloy as Arthur the producer, Dennis Forkel at the bulky camera, Stacy Long and Cindye McDaniel on hair and makeup, and studio page Manny Casillas. Cavendish (Blake Mellencamp) arrives, blue interview question cards in hand, and finally, Ms. Hepburn herself (Duffy), fussing about the rug and the arrangement of the furniture, barking orders and receiving reassurance from her assistant Phyllis (Wendy Brown). Within seconds, Arthur is counting down: “Four, three, two…” Cue music and applause.

Can something with this big a cast be considered a one-woman-show? As in a great screen bio-pic or stage reenactment, Duffy completely disappears into Hepburn, bringing the Hollywood legend to energetic life. The time frame, between her 1960s performances with Spencer Tracy (“Guess Who’s Coming to Dinner”) and Peter O’Toole (“The Lion in Winter”) and her upcoming notable roles with John Wayne (“Rooster Cogburn”) and Henry Fonda (“On Golden Pond,” winning her fourth Oscar), has Kate at the pinnacle of her power and fame. Mature and candid about her age, she reflects on her varied career, both the hits and the flops, and the many fellow legends she worked with – as well as a few choice words for a director or two she felt deserving of obscurity.

It is clear that Duffy has thoroughly researched the actress, in voice and manner picking up her unique style with confidence, while sharply “remembering” various studio stories and her feelings towards others, especially long-time co-star Tracy. As a further test, all audience members are asked before the show to write a question for “Kate” to answer in the last segment of the program. She answers several, completely in character. (Just don’t ask about films or TV she hasn’t done yet!)

For his part, Mellencamp plays Cavendish as a little starstruck and rather flustered, barely in control of his own show (which Kate has no problem pointing out). It adds to the humor, and the sense that especially in those times, guys can barely handle the presence of a strong woman just being herself.

Clerical Error Productions will next present “Mother Ireland: Women Who Shaped a Nation” in May, before working up a fresh farce for IndyFringe in August. Still, I hope we haven’t heard the last of “Kate” and given this successful premiere, you could one day get to question a “living” legend.

IndyFringe: Game of Crows — Winter’s Coming, Father Ned!

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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

The wacky gang from Perpendicular island is back again with a new adventure and some new cast members as well. There is also a Bingo card on the back of your program that can win you a prize after the show.

We start with tales of the dreaded Bog Walker and a discovery of treasures possibly left by Leif Erikson. Soon visitors arrive with some exciting news, the field being the Priory has been chosen for filming the dramatic final battle of Winterbeard on the massively popular show, “Game of Crows.”

The zaniness escalates from there as everyone on the island gets into the spirit and the homages emerge faster than the puffin eggs from Father Flannagan (David Whicker) — he was apparently a prime nesting spot during the “Great Puffin Migration”. Pop culture references from all over fly fast and furiously throughout.

David Molloy steps up to the new role of Father Ned Tully wholeheartedly and plays it very well. Blake Mellencamp’s turn as the dim-witted Father Dermott McDermott brings all the silliness necessary to highlight the character. While Kyrsten Lyster and Jim Lucas do an excellent job of portraying the wily grifters, Bridget Robertson & Hugh O’Toole. As is tradition in their shows, local rap artist Nate Burner as Squashy Nate, acts as our guide through this farcical tale.

Kate Duffy Sim is delightful as the dotty housekeeper, Mrs. O’Boyle, who cheerfully serves up the puffin eggs in everything possible. However, it is her version of the smugly condescending version of Olenna Tyrell that is worth the ticket price alone.

So sit back and enjoy some laughs as well as a nice cup of puffin tea with Clerical Error Productions. Remaining performances are Friday and Saturday (Aug. 23-24) at The Oasis (Shriners’ entrance of the Murat, on the north side), 502 N. New Jersey St.

DivaFest: An odd Irish ‘three men and a baby’

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This is part of the 2019 Diva Fest, presented by IndyFringe at 719 E. St. Clair St., Indianapolis, through April 21. All shows are by women playwrights, presented as one-hour one-acts at a Fringe price. For information and tickets, see www.indyfringe.org.

By John Lyle Belden

Kate Duffy Sim once again blesses us with a brilliant parody of the British sitcom, “Father Ted,” which relates the quirky lives of priests living on a remote island off the Irish coast.

This time, in “Who’s Minding the Snapper,” Father Ned and company are visited by a very pregnant American woman. The baby quickly arrives, but the mother disappears — can Ned, dimwitted Father Dermott and drunken Father Finn successfully care for the little “snapper”?

Presented by Clerical Error Productions and directed by David Malloy, the surreal atmosphere and comic potential are enhanced by “cross-gender casting,” as the program put it. Sim ably plays Ned, while Bridget Schlebecker is a hoot as Finn. Kyrsten Lyster is outstanding as Dermott, displaying deft skill at the hard task of playing a “stupid” character so cleverly. Manny Casillas charms as the housekeeper Mrs. O’Boyle, while Anthony Logan Nathan is something to behold as brash, devious Mrs. McShane, who tends the home of a rival priest.

Case Jacobus is the “girl in trouble,” while actual rapper Nate Burner plays her rap-star boyfriend. “N8” also performs the opening theme, and spun some rhymes at curtain call to introduce the cast.

Hilarious with the right amount of heart, you’ll need to do penance if you miss this one. Performances are 8:30 p.m. Saturday and 5:30 p.m. Sunday (April 20-21).

Catalyst raises ‘Hell’ again

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By John Lyle Belden

*What if the term “soul-sucking job” could be taken literally?

* What if the dying American institution of the shopping mall resorted to desperate measures to keep itself alive?

* What if a couple of highly talented but potty-mouthed theatre people decided to make a twisted comedy musical about this?

Welcome to “Hell’s 4th Ring: The Mall Musical,” presented by Catalyst Repertory at the IndyFringe building through Feb. 25.

This is not our first visit to Hell’s Gate Mall. A 50-minute version premiered as part of the 2015 Fringe Festival. A lot of people loved it; Wendy even noted (in her review) that the show should be expanded into a full-length musical. Now at last, creators Casey Ross and Davey Pelsue bring us a full two-act version, expanded but not padded-out.

According to Dante, the Fourth Ring of Hell is occupied by sinners damned by greed. So, what better place to erect a temple to consumerism? Whether this Twilight Zone-ish place is in this world or the next is never clear, but this is the place to pick up some great bargains, and where job security takes on new meaning. Just obey the rules: No running; No leaning on the railing; and, No intimate “mingling” between employees.

Brian (Christian Condra), who is this close to selling the massaging chair, wants desperately to mingle with Sofie (Afton Shepard), who refolds clothes far more than she sells them. She believes she is only there for the summer, but Brian knows better; she will soon be full-time, forever. Meanwhile, Eric (Pelsue) doesn’t care as much for working at his Goth-accessories shop as he does trying to hook up with bodacious curvaceous Chelsea (Hannah Elizabeth Boswell). Then there’s Lee (Pat Mullen), who used to work at a computer game store but now offers bourbon chicken samples in the food court. The mall’s denizens also include a trio of Mall Rats (Jim Banta, Donovan Whitney and Sara Gable) who follow/idolize Eric and never seem to buy anything over a dollar. And then there’s Bart (David Molloy) the security guy, a cross between Doctor Strangelove and the Terminator.

Though Ross directs, the musical shows its flexibility in that the only actors from the Fringe version are Pelsue, Molloy, and Zoe Molloy as the mall’s public address voice. Yet the cast seems right at home, giving this tragic farce their all. Condra handsomely perseveres like Brad from “Rocky Horror.” Shepard smiles through the confusion like a Disney princess trapped in the wrong movie. Pelsue is the perfect mix of charm and attitude, while looking like the opening act for Spinal Tap. And as she did in Bardfest’s “Taming of the Shrew,” Boswell’s moxie and vocal skill blew. me. away. As for Mullen, let’s just say he wields a mean sample tray. The cast also includes Preston Dildine as the ghost of “terminated” coworker Dylan.

From the rockin’ tunes to the odd plot, the show balances suspense and romance with a healthy dose of silly for an entertaining experience. The mature content is mainly multiple F-bombs and some rude gestures in the choreography, so this show is for teens and up (eventually, this will only be for adults, as we’d have to explain to kids what a mall was).

Find Hell’s Gate at the IndyFringe Basile Theatre, 719 East St. Clair St. (just east of the College/Mass Ave./St. Clair intersection). Get tickets at www.indyfringe.org and info from Catalyst’s website or Facebook.

KCT ‘Slingbacks’ about more than perils of being gay in high school

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By John Lyle Belden

I had the good fortune to not only see the new comedy, “Another Man’s Slingbacks,” presented by Khaos Company Theatre through June 24, but also to see it with playwright Andrew Black.

In this play – set in fictional Lincoln High School, Anderson County, U.S.A. – the very masculine star quarterback Killer Kerrigan (Donovan Whitney) leads fellow jocks Romeo (David Alfonzo) and Meatwad (Josh Weaver) as they hit on the girls, Barbra (Sabrina Lang) and Lana (Gorgi Parks Fulper); pick on the New Kid, Devon (Kyle Dorsch); and torture gay classmate Ricky Malone (Andre Guimaraes).

Fed up with the abuse, Ricky wishes that Killer could be made to feel what it’s like to be homosexual. This brings the attention of a Fairy Godmother (David Malloy), complete with fabulous wings, glitter and a smoker’s voice, who presents Ricky a lengthy contract for a Standard Transformation Spell. Disregarding all the small print, the desperate boy signs.

Suddenly, Killer understands fashion and Broadway, and feels aroused by his teammates. Will he still be Big Man on Campus?

Gay playwright Black, who had been working on this play since 2010 (some references were updated to set it in this year), didn’t settle for just indulging in queer stereotypes. The resulting story explores the fact that to come of age, all teens need to “come out” of the expectations and roles set for them by the social constraints of high school.

“What could a straight person learn?” from being gay, Black said he asked himself. “When you discover you are attracted to your own gender, you have to rewrite the rules for yourself. You have to make strong choices.”

Killer is forced to adapt to a new mindset, but he’s not the only person who needs to change and grow, as Ricky finds when simply wishing revenge on his tormentor doesn’t make his own life better.

Whitney bravely takes on all aspects of Killer’s character. Lang is also excellent, as Barbra tries to adjust to Killer’s changes making him more attractive, yet more distant. Weaver as “the Meat Man” turns his simpleton into a scene-stealer. Molloy solidly commits to his no-nonsense magical persona, yet it is Dorsch who looks natural in high heels. Guimaraes, having just graduated high school in real life, is familiar with its uncertainties. Alfonzo ably embodies a go-along-to-get-along character. Fulper surprises with her devious role. And kudos to James Mannan for playing various grown-ups.

Direction was provided by KCT artistic director Kaylee Spivey Good, in one of her last jobs before going overseas later this summer to earn her Masters in theatre.

There are two more performances scheduled, 7 p.m. Friday and Saturday, at KCT’s new stage 1775 N. Sherman Drive on Indy’s east side. Get info and tickets at www.kctindy.com.

Catalyst’s ‘Tooth’ gives us much to chew on

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By John Lyle Belden

When you enter the Grove Haus theater to experience “Tooth of Crime,” presented by Catalyst Repertory, you enter another world.

It’s a dystopian potential America of the 2080s, a Mad-Max atmosphere in which the battles aren’t over oil but fame – and your place on the rock ‘n’ roll charts. Those on top find themselves “marked,” with life and death consequences.

Hoss (Davey Pelsue) is an aging Marker at the top of The Game. He respects the Code, as well as the country and blues musicians that inform his down-and-dirty rock style. He doesn’t test the wrath of the Keepers, but is not too happy that other performers are bending the rules, especially Gypsies who don’t abide by the Code at all.

Vexed and paranoid, Hoss fires his stargazer, Mirra (Ryan Powell), for advising him to be cautious. A Deejay, Rudio Ran (Jay Hemphill), reassures him he’s still on top, but he suspects it’s flattery. His manager and girlfriend, Becky Lou (Sarah Hoffman) is worried, and the drugs Doc (Nan Macy) give him make him even more unmanageable. Then, right-hand man Chaser (Zach Stonerock) informs Hoss that a rival has marked him, and a Gypsy by the name of Crow (Adam Tran) is on his way to do battle. Chaser finds an impartial Ref (David Molloy) to adjudicate.

The culture of this play has its own dialect – though after a while you can “suss” it out – and the duel is mainly psychic, through words spoken and sung. Though they brandish guns and knives, Hoss and Crow strive to break each other’s mind and soul before fatally attacking the body.

For the audience, this requires paying close attention as much as possible, but not getting too concerned that you can’t tell exactly what’s said or even going on. This drama with music was written by Sam Shepard in 1972 and rewritten in 1997, which helps explain its vibe being somewhere between “Easy Rider” and “Hedwig and the Angry Inch,” filtered through Greek tragedy.

This show isn’t for everyone, but if you go with it, you can witness a stylish indictment of the corrosive nature of celebrity, and experience the passion that Pelsue and his castmates put into their performance. Hoss practically sweats every word and lyric he utters. Crow is like a preening bird, but with a dangerous edge even when knocked off-balance.

An on-stage band provides excellent accompaniment to the show’s proceedings. The music was provided by Shepard, with additions by T Bone Burnett in the 1990s, and director Casey Ross found a more recent hit to finish the play.

Performances are Fridays through Sundays through Feb. 26 at 1001 Hosbrook St., near Fountain Square. Get info and tickets at uncannycasey.wix.com/catalystrepertory.

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

The Farce is strong with this one

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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

Today’s political climate has much that is ripe for ridicule, especially Indiana’s present chief executive, who could become America’s Number Two. And if the thought of Gov. Pence as “number two” has you giggling, have I got a theatrical experience for you.

Khaos Company Theatre presents its second play in the “Pence Wars” series, “Mike Pence Strikes Back,” a Star Wars-themed parody in which Indiana Emperor Pence finds himself losing the election for governor of the Hoosier Planet – every ultraconservative ploy to gain favor with the masses seems to backfire. But an unexpected shot at being Vice President of the Galaxy changes everything.

You don’t have to have seen the first play, August’s “Attack of the Homos,” to get into the flow of this one. The story is presented as a play by director Kaylee Spivey Good, with additional scenes by Robert Broemel and Ed Ramthun, and interludes of poetry by Cher Guevara (a/k/a Eagle contributor Walter Beck).

David Malloy is entertaining as Pence, giving the state’s Dark Lord a dastardly cartoon villain voice and posture. Guevara is impressive as Donald Trump – especially as the actor looks nothing like him – but with big hair, big suit and big, boorish attitude, he pulls it off. The supporting cast of Michael Maloney, Lauren McDaniel, Bridget Isakson (who plays Tolkein’s elf Arwen, because, why not?), Heather Bartram, Chloe Farhar, and even Good for a scene, all make multiple contributions to this farce.

The trick to enjoying the show is to keep your expectations as low as your opinion of Trump and Pence, and just go with whatever is happening. Pence Wars has the style and humor of SNL or MadTV with the special effects of a kid’s birthday party. Yet while situations get a tad immature, the content is not for children.

While the scenes are played for laughs, the recited verse is serious and thought-provoking, reminding us that this is the future of our state and country we’re joking about here.

There are just two more dates for this chapter, 7 p.m. Friday and Saturday – note that Friday is pay-what-you-can admission – and the trilogy’s conclusion, “Election 2016, A New Hope,” is scheduled for Oct. 7,8, 14 and 15. For information and tickets, see www.kctindy.com.

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