Indiana Ten Minute Play Festival

By John Lyle Belden

In our restricted world, there are not a lot of opportunities for live entertainment. Fortunately, IndyFringe has managed a nice setup in its “pocket park” next to the theatre building, where an audience can sit at tables spaced about six feet apart. The actors use the garage-style opening of the Indy Eleven stage to set up their play space. (See indyfringe.org for upcoming shows at this unique venue.)

Last weekend, that little space held a big variety of entertainment as Fringe presented the Indiana Ten Minute Play Festival. The seven brief comic dramas had a surprising degree of depth and content, even at their silliest, thanks to sharp writing and excellent acting from a fun group of players.

We started with “Hurry Up, It’s Almost Bedtime” by Janice Neal, directed by Anthony Nathan with Emerging Artists Theatre. David Malloy is Frank, who is likely dead, which spells trouble for fellow senior-home residents Rose (Linda Grant), Lucille (Wendy Brown) and Betty (Joy Shurn). Nurse Brittany (Stephanie Anderson) hasn’t caught on, yet. The fast-approaching bedtime of the title gives them an idea to ensure that Frank’s body is found in his bed. While the idea of this play sounds macabre, the Golden-Girls-style repartee among the ladies makes this a nice dark comedy.

“Aloha Apocalypse,” by Marcia Eppich-Harris – directed by Megan Ann Jacobs with Rapture Theatre – is based on an actual event not that long ago when an “incoming missile” alert was sounded in Hawaii. Sophie (Laura Baltz) and Ed (David Malloy) are a mainlander couple on vacation who discover they may only have minutes to live. What to do? After a comically-arranged farewell video to their children, there’s the agonizing wait for The End. Feeling his conscience bother him, Ed makes a confession of infidelity. That doesn’t help them, but it makes things even funnier for us. Fate has the last laugh, of course, when it’s announced that the crisis is a false alarm. Baltz and Malloy have great chemistry, even when the reactions are unstable. A newscaster voice is provided by Thomas Sebald.

“Don’t Toy With Me” by Andrew Black, directed by Casey Ross of Catalyst Repertory Theatre, brings the focus not only down to 10 minutes long but also to 10 inches high, as Thomas Sebald plays a GI Joe action figure that has arrived at the Malibu Beach House occupied by Beach Glam Ken (Grant Nagel). At the moment, they don’t hear the godlike voices of their child masters, so they can be themselves. They remark on how so much of their world is “out of order,” like the canteen or juice bottle they feel compelled to “drink” even if no liquid comes out. Eventually the mistress of the dreamhouse, Malibu Barbie (Kyrsten Lyster), arrives. And even if she can be temporarily distracted by a fashion faux pas, her power over Ken is too strong for the men’s relationship to last. The sharp script and this talented trio make this the most hilarious bit of the evening. And it helps that the actors have their “articulated” movements down, especially Sebald.

“Are You Busy Tonight” – by Russell Ridgeway, directed by Anthony Nathan – is what Mother (Wendy Brown) asks son Kevin (Nathan) in this funny roller coaster of a phone conversation. At first Kevin is annoyed at his mom wanting to invite her to an evening at the theatre, but after suggesting that she ask if someone else is free, he becomes even more exasperated to find out he – her son – was the 28th person she thought to ask! And that included a couple of friends who had died. Nathan is at his best acting flustered, and Brown is a force of nature, so they mint comedy gold here.

Heritage Christian High School Theatre Department presents a teen rite of passage with “Promposal!” by Josie Gingrich, directed by Spencer Elliott. Sam (Bradley Bundrant) likes Anna (Cate Searcy) but over time she has become distant. So, what better way to win her over than by asking her to the Senior Prom, in an extravagant gesture reminiscent of the ’80s movies she likes to watch. Our scene begins as Anna exits the Cafeteria thoroughly embarrassed, and Sam follows, desperate to find out how his perfect plan went so wrong. This sweet and authentic look at high school life, loaded with unforced humor, feels pitch-perfect. Bundrant and Searcy nimbly portray how two such different personalities – he impulsive and loud, she quiet and wanting to be invisible – can eventually feel meant for each other.

Mark Harvey Levine is great at making these short-form plays – Phoenix Theatre patrons may remember some years back he presented a series of them there in “Cabfare for the Common Man.” In this festival, Levine brings us “Ordained,” directed by Megan Ann Jacobs. Sharon (Kyrsten Lister) is manic, unabashed, double-espresso perky, and just recently ordained as a minister by the SacredChurchOfAngelicMinistry.com. Now, at this airport waiting lounge, she has found Abby (Case Jacobus), who is single, and Gary (Grant Nagel), who is also single. Let’s get them married! The resulting scene is wildly hilarious, even as what seems to be an encounter with a well-meaning lunatic starts to have the odd feel of destiny. Jacobus and Nagel play it well, taking the oddness in stride, and Lister is in her element.

What better way to finish an evening of unusual stories than with “Sock Puppet Fetish Noir,” by Kelly McBurnette-Andronicos, directed by Casey Ross, who also stars (stepping in for Missy Rump, who couldn’t make it for health reasons). Jane (Ross) pays a visit to an unusual detective, Inspector Darryl, a puppet sock who will only talk to her sock placed on her hand. It seems some “friends” have gone missing, last seen going into the laundry with their partners. But it turns out that Melvin (David Malloy), the man at the other end of Darryl’s arm, has been keeping secrets in that jar on the desk. So, yes, it’s very weird – quite funny – and with up-for-anything actors like Ross and Malloy, it somehow works.

This was a one-weekend event, so hopefully one or more of these scenes will pop up again somewhere. The festival was an excellent exhibition of local talent and creativity, part of the great and varied Indy theatre scene that we look forward to seeing more of as current events allow.

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

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’

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

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

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

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

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.