Devan Mathias

Summer Stock’s ‘Chill’ a hot ticket

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By John Lyle Belden

Talk about an upgrade – Summer Stock Stage presents a Mainstage young artist production of the Broadway hit “Be More Chill.”

Based on a story genre that dates back to tales of Faust in the 1500s, through to modern musicals like “Damn Yankees” and “Little Shop of Horrors,” filtered through the world of teen movies since the 1980s and contemporary youth culture, this musical by Joe Iconis with book by Joe Tracz, based on the 2004 novel by Ned Vizzini, centers on a “Loser Geek Whatever” high schooler named Jeremy (Gabriel Vernon Nunag) whose father (Drew Kempin) is too depressed to wear pants, his crush Christine (Aubrie-Mei Rubel) doesn’t notice him, and his best friend Michael (Alex Pharo) doesn’t mind also being a dork, because he knows they will eventually be “cool in college.”

But Jeremy won’t wait that long. Even risking further unpopularity by signing up for the school play (the Shakespeare-ish “Midsummer Night-Mare with Zombies” adapted by eager drama teacher Mr. Reyes [Luke Aguilar]) doesn’t help because Christine has friend-zoned him – a combination of her ADD and the attention paid by handsome extracurricular-activity hopper Jake (Kendrell Stiff).

In an odd encounter, the school bully Rich (Maddux Morrison) confesses he is mean because he was instructed to be by his Super Quantum Unit Intel Processor, or Squip, which is a black-market Japanese nano-computer in pill form. Once taken with regular Mountain Dew, its circuitry migrates to the brain and gives your personality – and popularity – a total makeover.

At the local shopping mall, Jeremy finds the dealer and buys, then takes, his own Squip (Piper Murphy), which appears only in his field of vision, looking something like a “Tron” version of Timothee Chalamet with greenish hair. This program immediately takes charge of his shopping decisions and when the popular girls show up, has him acknowledge the “beta,” Brooke (Jilayne Kistner), instead of the alpha, Chloe (Jayla Shedeed), to help set up his ascendance in high school society. As for Michael, the Squip employs an optic-nerve blocker so that the BFF is literally out of sight, out of mind.

The cast also includes Isabella Agresta, and Jenna Rolan as the school gossip. Devan Mathias directs, with music direction by Cameron Tragesser and impressive choreography by Darian Wilson.

The set design by Chyna Mayer includes several screens which at times show video linked from smartphones the actors are holding at the time, giving such moments an authentic feel. Costumes by Tony Sirk include the anime-style green Squip cybersuits as well as the odd outfits used in the school play.

Nunag’s performance is excellent, and Rubel’s adorable, while this musical gives the supporting roles plenty of moments to shine, making Kempin’s Mr. Heere and Kistner’s Brooke characters to feel for, as well as lending Morrison’s bad-boy Rich a more nuanced persona. Then there’s the fact that the big hit song is sung by the neglected best friend – as Pharo nails his rendition of “Michael in the Bathroom.”

Murphy, as the Squip, perfects the Terminator stare and affect with cooly-efficient movement. Her aura of subtle menace compels obedience.

While a fun musical centered on teen angst, this tale of the wish to exchange one’s self for a promised “upgrade” harkens back to ancient roots while becoming only more relevant in the current spread of A.I.

After all, we each now hold a compact supercomputer just inches from our brains every day.

You, too, can “Be More Chill” by avoiding the August heat and seeing this production tonight (as I post this) and Sunday, Aug. 9-10, and Thursday through Sunday, Aug. 14-17, at Schrott Center for the Arts, 610 W. 46th St., Indianapolis (Butler University, next to Clowes Hall). Get info at summerstockstage.com and tickets at butlerartscenter.org.

ATI employs legendary workplace comedy

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By John Lyle Belden

The corporate glass ceiling has a few more openings these days, but women still relate to the frustration of the 1980 movie, “9 to 5,” which made lifelong friends of its stars Jane Fonda, Lily Tomlin, and Dolly Parton, who wrote and performed its iconic theme.

The story, which Fonda brought to film after hearing the plight of admins in the ‘70s, got new life as a Broadway musical by Patricia Resnick with more songs by Parton in 2009. And now, Actors Theatre of Indiana have put it to work at the Studio Theatre in Carmel through May 11.

Set mainly in the offices of mythical Consolidated Industries in 1979, and keeping the plot beats of the original film, Judy Bernley (Devan Mathias [Fonda’s role]) is enduring her first day at work – ever, thanks to being dumped by her philandering husband. She is put under the tutelage of supervisor Violet Newstead (Judy Fitzgerald [Tomlin]), who is still considered “just a secretary” despite seniority over many of the men, including “sexist, egotistical, lying, hypocritical bigot” company VP Franklin Hart (J. Stuart Mill). The tyrannical Mr. Hart is served by personal assistant Roz Keith (Cynthia Collins), an obsessively devoted toady who spies on the others for him, and secretary Doralee Rhodes (Abigail Storm [Dolly]), who constantly deflects but puts up with his blatantly sexist shenanigans while getting no respect from others due to her “backwoods Barbie” accent and looks, but mostly from the rumor she’s banging the boss.  

To set the scene, Ms. Parton herself appears on a screen to introduce the show and its principal trio. The opening number is a breakdown of the theme song, energetically propelling us into their “way to make a living.”

We also meet Grace Villegas, Jaddy Ciucci, and choreographer Carol Worcel as secretaries Maria, Kathy, and Margaret (the “old lush”). Deb Wims is Hart’s oblivious wife Missy, and plays a member of the secretarial pool. Tim Hunt is accountant Joe, who is sweet on Violet. Kenny Shepard portrays Dick (appropriately), Judy’s ex, while Fletcher Hooten is Josh, Violet’s teenage son; Shepard and Hooten also appear as members of the company’s all-male executives, along with Peter Scharbrough as rising star Bob. Scharbrough later cameos as the Chairman of the Board. Jacob A. Butler plays Dwayne, Doralee’s sweet and supportive husband.

The plot brings Judy, Violet, and Doralee together in their mutual hatred of Hart, and after a then-illicit evening with a rather strong dose of pot during which they relate – and we see gloriously performed – their revenge fantasies, they inadvertently find themselves actually acting them out. So, at intermission, Hart is chained away in his own home by the women, who next must figure out how to keep the company running with him gone (the easy part) while working out the means to keep their own freedom (hilarity ensues).

Mathias and Fitzgerald make familiar roles their own while Storm adds her go-getter spark to the lady in the big blonde hair and support bra. Mill takes his tyrant up a comedic notch from the film, aided by his hilariously cheesy company photograph (props design by Casey Clouser). Collins nails the role of Roz. Hunt is sweet as smitten Joe, who helps save the day but gives credit where due.

Indy area stage legend Suzanne Fleenor directs. Stage managers are Duane McDevitt, assisted by Kayla Richardson. Guy Clark’s costume design evokes the era without edging into loud fashion. Jay Ganz designed a clever and functional modular set that allowed for smooth desktop transitions.

The fairly daring-for-its-time show that set the standard for modern workplace comedy is a still-relatable joy and gentle reminder to value everyone who has to punch in at 9 (or, from my experience, 8) to 5. Performances are at the Studio Theatre in the Allied Solutions Center for the Performing Arts in downtown Carmel. Info and tickets at atistage.org and thecenterpresents.org.

For Frosty Die-Hards who Actually Love Wonderful Xmas Stories

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By John Lyle Belden

As we proceed into December, it’s time we put aside our worries over politics and international strife to consider truly important questions, such as:

  • Is “Die Hard” a Christmas movie – I mean, it absolutely is, right?
  • Does “Prancer” still count?
  • And, can we get ever get enough Jimmy Stewart?

Explore these vital issues with folks who clearly have issues – in “A Very Phoenix Xmas: It’s a Wonderful Die Hard Life Story Actually,” directed and curated by Claire Wilcher. It’s like the beloved performer and intimacy expert worked on an in-depth project on holiday television and cinema, but she took one of those Siberian Santa mushrooms (see the show for context).

Our up-for-anything cast of Matthew Altman, Paige Neely, Devan Mathias, Zachariah Stonerock, and Kelsey Van Voorst take on a series of skits by Wilcher, Jeff Clawson, Steve Moulds, Zack Neiditch, KT Peterson, Mookie Harris, Steven Korbar, Bennett Ayres, and the return of Mark Harvey Levine’s “A Requiem for Shermy,” one of the best tributes to the Peanuts Christmas Special. In video bits between scenes, Wilcher joins in on some classic holiday movie moments.

This show gets a little spooky at times, a lot funny throughout, and just one degree from Kevin Bacon. We’ve seen Mathias and Van Voorst deliver the silly before, and they are at the top of their game here, as well as charming Neely and ever-fabulous Altman; meanwhile Stonerock excels at Pythonesque straight-man delivery, as well as the task of doing likely the most imitated-for-laughs voice in Hollywood history.

Looks like the Phoenix Theatre Cultural Centre’s holiday tradition is here to stay (through Dec. 22) and in good hands. It’s on the mainstage at 705 N. Illinois St., downtown Indianapolis; get tickets at phoenixtheatre.org.

SSS Eclipse ‘Lizzie’ a riotous spectacle

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By John Lyle Belden

The Summer Stock Stage Eclipse program (professional, with collegiate performers) presents “Lizzie,” the new musical by Alan Stevens Hewitt and Steven Cheslik-deMeyer, book by Tim Maner, based on the Lizzie Borden legend, presented internationally since its introduction in 2010.

To clarify “musical,” this show is a Riot Grrl-style Punk Rock Opera – modify expectations accordingly and hold on for the ride.* To ask why it’s in this mode is to miss the cultural mystique of Miss Borden. She was already an outsider – unmarried at 30, still living with her controlling father and detested stepmother – when the gruesome events of August 1892 occurred in Fall River, Mass.

“Lizzie Borden took an ax, gave her mother forty whacks; when she saw what she had done, gave her father forty-one!”

Being rich from their penny-pinching parents, Lizzie and sister Emma hired the best possible representation, and with an all-male jury actually working in their favor, got her acquitted at trial. However, historians and even her fandom are fairly certain she did the deed. Still, this is not just a play about getting away with murder.

The story is presented nearly all in song by four women: Lizzie (Erin Lambertson), older sister Emma Borden (Cora Kendall), neighbor and close friend Alice Russell (Mai Caslowitz), and the Bordens’ maid Bridget “Maggie” Sullivan (Samantha Ringor). Backing them – literally, seen through the slats of the set by Abigail Wagner that suggests both a simple home and cozy barn – are the band of Ginger Stoltz (keyboard and conductor), Ainsley Paton Stoltz (bass), Kirstin Cutler (drums), Joy Caroline Mills (guitar), Sally McSpadden (guitar and keyboard), and Taylor White (cello and percussion). Direction is by local actor and teaching artist Devan Mathias with musical direction by Ben Rose (who coincidentally has worked at the actual Lizzie Borden House, now a B&B).

Act 1 brings into focus the conditions the Borden sisters were likely living in, and potential motives for what is to come. The tensions weigh on Lizzie and Emma, while a longing grows in Alice; meanwhile, with a dollar from the girls in hand, Maggie is quick to go downtown for the afternoon so she can say she didn’t see a thing someone might be doing.

In Act 2, there is quite a mess – one song is titled, “What the F*** Now, Lizzie?!” – and loosely period costumes give way for something more turn of the Millenium (all designed by Allison Jones) as events take a more modern procedural, crime-of-the-century feel. The number in which Lizzie and Emma make their Kardashian-esque public plea is priceless.

Throughout it all, these ladies rock their hearts out. There are also touching, tender moments, including a song between Lizzie and Alice that recurs in each act, giving two meanings to “Will you lie?” Overall, a bravura performance.

This show brings more of a different perspective to the Borden case and legend than giving any new facts. Events portrayed in any medium are always conjecture and subject to artistic license. Perhaps a good friend “coming to call” could mean more in 1890s New England. Still, the major points follow the story as told elsewhere. This version is very feminist-focused, so one can forgive the downplaying of other problematic aspects such as suspicions cast on local immigrants. On this stage, it’s the grrls’ turn to tell the story – the closest you get to a male presence is Daddy’s body under a sheet.

Four performances remain for “Lizzie,” Thursday through Sunday, Aug. 8-11, at the Phoenix Theatre Cultural Centre, 705 N. Illinois St., Indianapolis. See phoenixtheatre.org for tickets or get info at summerstockstage.com.

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(*“Lizzie” could be compared stylistically to the musical “Six,” but the latter was developed in the U.K. more recently.)

Dearly beloved, gather for ‘The Wedding Singer’

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By John Lyle Belden

Being a Generation X’er, I get mixed feelings about 1980s nostalgia, but some things catch the kitschy spirit of the decade just right, like the Tony-nominated musical, “The Wedding Singer,” based on the 1998 Adam Sandler film.

Presented by the 21st-century actors of Eclipse, the professional-level program of Summer Stock Stage, “Wedding Singer” is on the main stage of the Phoenix Theatre Cultural Centre through June 16, directed by Kate Galvin.

In 1985 New Jersey, singer-songwriter Robbie Hart (Alex Pharo) is having modest success leading an in-demand wedding band, Simply Wed, with best friends Sammy (Micah Phillips) on bass and George (Matthew David Conwell) on keytar. Robbie is also looking forward to his own wedding, to Linda (Kha’Lea Wainwright), but things don’t go to plan. Meanwhile, Julia Sullivan (Leela Rothenberg), who with her cousin Holly (Dori Salumurovic) are waitresses at the wedding venue, is getting engaged to rich Wall Street boyfriend Glen Guglia (Jack Ducat). Julia has Robbie promise to sing at her wedding – which he eventually will, but not in the way anyone expected.

The plot hits all the expected beats of a typical rom-com, from the meet-cute all the way through to the “go out and get her!” What’s important is how the story goes from here to there, and all the charming, mildly dramatic, and laugh-out-loud moments along the way.

Pharo takes on this journey well, making Robbie a hero to root for, funny and charming without any of Sandler’s mannerisms so the character stands on its own. Rothenberg makes Julia both noble and sweet, the kind of woman worth going great lengths for. She and Salumurovic have a natural chemistry as well, like they grew up as almost-sisters. Phillips, looking like a mad scientist combined Hall and Oates, and Conwell, a sort of Boy George homage, also make memorable likable characters. Wainwright and Ducat give their roles each a flavor of vanity that befits the era – Glen’s especially, as a “greed is good” trader overflowing with hubris.  

Local stage veteran Devan Mathias steals scenes in roles including Robbie’s grandmother Rosie and Julia’s mother Angie. The supporting ensemble get a lot of time on stage – weddings, a bar mitzvah, at the mall, etc. – so get a lot of moments as well, featuring Isabella Agresta, Kayla Mariah Fifer, Fletcher Hooten, Byron Ledford, Hillary McGuire, and Maddux Morrison (who rocks Fake Billy Idol).

The musical, with book by Chad Beguelin and Tim Herlihy (from Herlihy’s screenplay), music by Matthew Sklar and lyrics by Beguelin, avoids the endless headaches of song rights by providing originals with the familiar feel of ‘80s hits, from the catchy “It’s Your Wedding Day” to the charm of “Come Out of the Dumpster.”

Galvin is aided by music director Jerico Hughes, choreographer Phillip Crawshaw and stage manager Rebecca Roeber. Embarrassingly accurate fashion and look by Wendy Meaden (costumes) and Andrew Elliot (wigs, hair, and makeup).

Highly entertaining with a story of love lost and found “Right in Front of Your Eyes,” find “The Wedding Singer” tickets at phoenixtheatre.org.

No mystery why you should see ‘Clue’ at IRT

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By Wendy Carson 

With all the recent variants (I find the Simpsons version very amusing) as well as a modern upgrade of the original, I think it’s safe to say most of us have played the game of “Clue” at least once. Add to this the widespread interest in murder mysteries (real and fictional) and that the board game is the subject of a film with a large cult following, and you have the perfect recipe for a hilariously good night of theater.

Adapted to the stage by Sandy Rustin, based on the movie script by Jonathan Lynn, the delightfully kooky script has been taken up by Indiana Repertory Theatre director Benjamin Hanna and brought together a dream team of local and regional talents to elevate “Clue” to previously unknown comical heights. Though the plot and characters echo Lynn’s screenplay, there are numerous brilliant additions (apparently the house was built by the Parker Brothers) to keep you laughing anew. Even the game board shows up at one point, as a handy map to the labyrinthine mansion.

Scenic designer Czerton Lim pulls out all the creative stops in giving us a set with multiple slamming doors, secret passageways, moving walls, and tributes to the game and movie (yes, that is Tim Curry as Mr. Boddy in the painting).

John Taylor Philips brings out all of Wadsworth’s condescending arrogance in his turn as the butler and ersatz host of the evening’s events. Andrea San Miguel brings all of the maid Yvette’s cheeky mischief and charm. Henry Woronicz plays up Colonel Mustard’s dotage, yet keeps him somewhat austere. Emjoy Gavino subtly shows Mrs. White’s predatory instincts while still keeping her endearing. Beethovan Oden’s turn as Professor Plum highlights the character’s belief that he is the smartest man in any room. Emily Berman’s version of Miss Scarlet is even more sultry and sassy than expected. IRT favorite Ryan Artzberger easily adapts to each of his three roles, even with mortal wounds.

Eric Sharp takes full advantage of his character’s expansion in this script and brings a delightful bumbling nerdiness to Mr. Green. Claire Wilcher adds another level of comic genius to her spectacular performance as the seemingly prim Mrs. Peacock. Not to be outdone, Devan Mathias plays three different roles with such gusto that two of them have to be killed to keep her from stealing the show.

Whether you have seen the movie, played the game or just want to see a show that will have you laughing almost non-stop, get a “Clue,” playing through May 20 on the IRT mainstage, 140 W. Washington St., downtown Indianapolis. NOTE: Dressing up as any of the characters (old or new), also adds another level of enjoyment to the experience. (I was one of many “Peacocks” on opening night.)

Get info and tickets at irtlive.com.

ALT: Voices on the right take their ‘Turn’

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By John Lyle Belden

What if you were in an echo chamber, and the voice coming back questioned you? Or said something else entirely?

Welcome to the edge of a small town in the west-central part of Wyoming, home of cowboys and a Catholic college. It’s Trump country – especially in August 2017, with conservatives still grateful they narrowly avoided a Hillary Clinton presidency and perhaps realizing that buffoonery was about all they would get from the President they elected.

In the Pulitzer-nominated drama “Heroes of the Fourth Turning,” by Will Arbery, presented by American Lives Theatre, you will find no “liberals,” yet these four young men and women gathering seven years after graduation from the college, celebrating their mentor becoming its president, aren’t entirely of the same mind.

The atmosphere is ominous: Could it be that the infamous Charlottesville riot was just days ago? Or that this land where the Plains meets the Rockies will soon be in the totality of a solar eclipse? Or is it something about the deer that Justin (Tyler Lyons) shot, or that unnatural noise in his shed? His guests – Teresa (Morgan Morton), who lives in Brooklyn, N.Y., and admires then-White House advisor Steve Bannon; Kevin (Taylor Cox), an apparent alcoholic working for a Catholic publisher in Oklahoma; and Emily (Devan Mathias), who lives with chronic pain and in the shadow of her mother, Dr. Gina Presson (Gigi Jennewein), whom they have gathered to honor – start to have what Kevin likes to call “big conversations.”

Teresa is fascinated by the controversial 1997 book, “The Fourth Turning,” by social scientists William Strauss and Neil Howe, and treats it like prophesy, asserting the “Turning,” a time of upheaval, is upon them. She calls it an imminent “war,” and Justin, a Marine veteran, agrees, seeing the conflict not as spiritual, cultural or rhetorical, but armed revolution. Emily, who battles mental and physical torment with an exceptionally upbeat outlook – “pain and grace,” she calls it – doesn’t want to hear any of it. Kevin, feeling uncertain about everything, wants to delve further. To change the topic, Justin tells of a children’s-book story he is working on, “The Grateful Acre,” about the stoic optimism of a plot of land.

Eventually Gina arrives, and when prodded for her thoughts, adds her perspective to the party.

In the words of Arbery, with the guidance of director Andrew Kramer, we get excellent insight on what people on the political right are thinking and why. Any notes from the other side of the spectrum come from experiences with others, as bits of devil’s advocacy, or in warnings from Teresa that “this is what they say about us.” The militant and reactionary perspectives dash against the rocks of Gina’s intellectual conservatism (think Bannon vs. George Will), but even her logic frays at the edges.

Morton and Lyons are solid as characters who stick to their guns (one figuratively, the other literally). Jennewein’s stalwart academic reminds me now much I miss the relatively measured stance of the late Bill Buckley Jr.

Mathias nimbly gives us a necessarily complex character, too often finding herself in the middle of things with no real control. Emily also has a life experience that impacts her conservative Catholic beliefs, a thing that won’t reconcile easily.

“It’s hard to be the ‘Holy Fool,’” Kevin says, but Cox gives us a master class in embodying the archetype. Like the Fool who stood by King Lear in a storm, his Kevin is all over the place both in dialogue and movement, ever probing for the veritas his vino won’t provide. Ridicule, insult or pity him – as others do – but his jagged queries are worthy of answers.

This play was written and first staged in 2019, yet instead of feeling dated its contents become more profound in the light of what would happen in America over the next three years. One can argue if the Pandemic is the Fourth Turning, or if events have damaged the presumptions of Strauss and Howe’s work, but what’s portrayed are what people did (and do) think and feel.

Regardless of your place on the political spectrum, this is a worthy challenge to experience, leavened with a few situational laughs and a curious bit of supernatural edge. Remaining performances are 7:30 p.m. Friday and Saturday, Jan. 27-28, at the Basile IndyFringe Theatre, 719 E. St. Clair St., Indianapolis. Get info and tickets at AmericanLivesTheatre.org or IndyFringe.org.

A ‘Sense’ of optimism at IRT

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By John Lyle Belden

It’s intriguing to see how a classic work of literature is interpreted in adapting to the stage. If, upon hearing that Jane Austen’s “Sense and Sensibility” is now playing at Indiana Repertory Theatre, you think you only recently saw it, you’d be mistaken. The IRT version, adapted by Jessica Swale, is not the play that was performed at the Civic Theatre in 2018.

The differences go beyond the name on the program. While a major theme of “Sense and Sensibility” is, in all cases, the lack of power women had in English society and law, the Kate Hamill script used by Civic emphasizes the insidious nature of gossip as both social control and cheap entertainment. Though Swale’s take has a definite nod to the wagging tongues, there is an overall lighter touch to the story. Aside from its characters’ struggles, the novel’s situations are rife with bits of humor. And in that the earlier production could be considered a “rom-com,” IRT’s show is more of a sitcom.

After her husband’s death, Mrs. Dashwood (Elizabeth Laidlaw) and her daughters Elinor (Helen Joo Lee), Marianne (Cereyna Jade Bougouneau), and Margaret (Claire Kashman) find themselves kicked out of their home. The girls’ half-brother John Dashwood (Ron E. Rains) inherits the property, and his spiteful elitist wife Fanny (Devan Mathias) wants it all to herself. The displaced Dashwoods move to a cottage near the sea, under the eye of cousin Sir John Middleton (Rains) and his busybody mother-in-law Mrs. Jennings (Priscilla Lindsay).

While prospects for young English women around the year 1800 with hardly any dowry aren’t good, our heroines have the fortune to attract suitors including Fanny’s kind brother, Edward Ferrars (Casey Hoekstra); local gentleman Colonel Brandon (La Shawn Banks); and the dashing John Willoughby (Nate Santana). They are vying for the hand of Elinor or Marianne – young Margaret, a budding “naturalist,” is too occupied with her collection of invertebrates and sea creatures.

But then, Jennings’ cousin Lucy Steele (Caroline Chu) confides to Elinor her secret engagement to one of the men.

Some actors play more than one part, such as Hoekstra’s entertaining moments as Edward’s goofy brother. Also notable is that Mathias – ironically a nice person offstage – manages to play four distinct characters, none of which you want to spend more than a few seconds with, often to hilarious effect.

The play also features ethnically blind casting, which in these days of “Bridgerton” on TV and online debates over the color of a mermaid don’t seem too odd. Besides, no one on stage is an 18th-century English person in real life. These actors were picked for exceptional talent and stage presence, and none feel out of place. In fact, the most surreal of this company is how Santana looks like he just stepped out of the cover illustration of a Harlequin romance novel.

And we must note that it is wonderful to see Pricilla Lindsay again; a past IRT mainstay, she has been working at her alma mater, the University of Michigan. Her joyous presence as ever-optimistic Mrs. Jennings is like a reflection of Lindsay herself.

Directed by Peter Amster (who also directed “Pride and Prejudice” at IRT years ago), this classic story of romantic misadventure has its serious moments, but despite the threat of tragedy, love and laughter shine through – something we can hope for in our day as well.

Performances run through October 9 at the IRT, 140 W. Washington St. in downtown Indianapolis. For information and tickets, visit irtlive.com.

This review knows it’s a review

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By John Lyle Belden

Meta (noun): Of a creative work, referring to itself, or to the conventions of the genre; self referential.

Why am I even doing this? I mean, the play, “Anton in Show Business,” even includes its own review. Just pay attention late in the second act; it’s right there. Nothing I need to add.

If you are in the Indianapolis theatre community, you’ve likely already heard about it, produced by the resurrected Betty Rage Productions and directed by its founder, Callie Burk-Hartz. We all know and love Callie, and she is on her game here. She even put it at the same address as her last Betty show, 627 Massachusetts Ave. – TOTS back then, now the District Theatre – “Outback” on the nice alley stage.

The 2000 play by Jane Martin takes its inspiration from Anton Chekhov’s “The Three Sisters,” written 100 years earlier. With more than a dozen roles played by seven women, the plot involves an effort to stage a version of the Russian’s downer drama that is, as one character puts it, “funny, funny, funny, funny, FUNNY, tragic.”

And if you are in the theatre community, you will love this. The cynical backstage dealings, egos, virtue-signaling, politics, etc., make this one of the best send-ups of regional and community theatre culture since “Waiting for Guffman.” If you aren’t on the “inside,” well, you liked “Guffman,” right? And did I mention this is FUNNY?

Devan Mathias plays TV star Holly Seabe (cast as Masha, I’ll note for Chekhov fans) as that actress you hate-watch but with slightly more talent and maybe a hint of humanity. Meg Ellioy McLane is struggling stage veteran Casey Mulgraw (Olga) trying to stay positive despite her lack of a big break, and that lump she just detected… Sarah Zimmerman is impossibly-sweet and eager Lisabette Cartwright (Irina), an elementary teacher in her first professional role, bringing her back to her native Texas, “Pardon me, Jesus.”

Comic chameleon Kelsey Van Voorst gets a workout here in roles including Actors Express of San Antonio Producing Director (and idealistic Chekhov fan) Kate, and country star-turned-actor Ben Shipwright (Lt. Col. Vershinin). She shows her drama chops by handling the comic beats without getting silly. Tracy Herring gives us her wild take on not one, but two different eccentric directors. Jamillah Gonzalez has her run of the stage as the obligatory Stage Manager/Narrator, as well as a prospective play director and the morally bankrupt Corporate Sponsor. And then there is Audrey Stonerock as Joby, who is literally the audience proxy – but she means well, and we like Audrey, who is nice both in and out of character.

All this, in a play about putting on a play, and how we observe that play, so that it knows it’s a play about players in a play putting on a play, and how the players get played. Play on!

Yes, this show is just as sharp, insightful and funny as it says it is. They even slipped in a couple of updated cultural references. Performances run through August 8; get tickets at indydistricttheatre.org.

For young audiences, IRT presents the power of positive playacting

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By Wendy Carson

Our new friends, Devan (Mathias), Isaiah (Moore), and Frankie (Bolda) have decided to put on a play for us.

Devan has drawn a picture of a train and wants to deliver it to her other friends who live a long way away on the other side of the big, big hill. So it is decided that Devan will be a train engine, Isaiah wants to be everything but finally settles on being a doggie passenger on the train, and Frankie will help out by making all the proper sounds throughout.

This is “The Little Choo-Choo That Thinks She Can,” the return engagement of a play for very young patrons at the Indiana Repertory Theatre, a familiar story made new by IRT playwright-in-residence James Still.

Once the train is all loaded up with passengers, Devan begins the trip up the big, big hill. However, the hill is just too big for her to make it over. She tries to enlist the assistance of various other engines but they all can’t, or won’t, help her out. 

She keeps trying, and each attempt gets her a little farther up the big, big hill — but quite not over it. We, her friends in the audience, offer encouragement to assist her in believing she has the ability to actually make it up the big, big hill by herself.

Will she make it? Will her special delivery get through to her friends? What sound does a giraffe make? These questions and others will be answered in terms that preschoolers, special-needs kids, and even the grown-ups who brought them will understand..

This show is a wonderful introduction to live theater shows for young children. It never talks down to them and encourages them to have fun, be themselves and maybe even learn a thing or two.

The room is divided into three seating areas. Each actor takes one section and gets to know their new friends (the individual kids in the audience) prior to the show. We are all asked to participate in the show, but only to our levels of comfort. 

This was especially evident in the performance I attended, one of their “Sensory Friendly Performances:” The lights are kept brighter; there are fidget spinners, headphones, and other toys available to use during the show; and it is acceptable to leave and return as the need requires. There is also a guide for parents to assist with knowing when loud or potentially off-putting things will occur. This allows all attendees to enjoy the show as much as possible. In fact, I hardly would have known it was not a regular performance if they had not brought it up beforehand.

The play was a delight for myself and my companions, especially the precocious little 4-year old for whom this was her first live show. She liked meeting Isaiah, both as an actor with skin like hers, as well as the purple puppy. She told me and her mother she can’t wait to see a play again.

This IRT Exploring Stages production (targeted to ages 3-8) is directed by Benjamin Hanna. Performances are held in the “cabaret” space, which isn’t too big and allows for easy interaction, through March 1. Tickets start at just $8 for a child to sit on the floor near the action, $17 for an adult to join them. The IRT is at 140 W. Washington in downtown Indianapolis, close to Circle Centre. For more information, call 317-635-5252 or visit irtlive.com.