District Theatre

IBTC’s ‘Museum’ has much to show us

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By John Lyle Belden

Don’t be confused; “The Colored Museum” is not a static exhibit, but a theatrical work, a series of scenes that move with the rhythm of continuing centuries-old struggle.

Most surprising is that the show could be considered a museum piece itself: This play by George C. Wolfe hit Broadway in 1986. Forty years ago, yet it still feels so current, so “woke,” so “Black Lives Matter” – and as relevant as ever. It works as a companion piece to last year’s equally irreverent production of “Ain’t No Mo’” by the Indianapolis Black Theater Company. This year’s IBTC production of “Museum” is directed by local cultural icon Deborah Asante, leading an outstanding cast of local Black talent.

Performers include Empressnikia, Empress Marlena, Clarissa Michelle, PsyWrn Simone, Alicia “The UnCuT Diamond” Sims, John Singleton, Edward Strickling Jr., Tre’Vaughn, and young Anya C. Carlton as “The Future,” with audio contributions by Reno Moore and Rick Drumm, and on-stage percussion by Komoyaka King.

From the beginning, as the flight attendant of Celebrity Slaveship advises us that “shackles must be worn at all times,” we are in for one hell of a ride. Wolfe’s satire through the play’s 11 scenes is both sharp and hilarious. Examinations of Black life and culture employ sufficient absurdity to confront the surreal experience of being African American. We encounter archetypes including a Mammy, a disturbed soldier, a gay “Snap Queen,” and a singer who found fame and respect in France but must face what she left behind. Nothing is sacred, including the too-perfect models of Ebony magazine, and the award-bait Black roles in “The Last Mama-on-the-Couch Play.”

The look is completed with a neat set design by Antonio Burks that suggests an exhibit hall, complete with a turntable to display the next piece in the collection. Burks also contributed designs in the excellent projected visual elements.

Stunning both as comedy and thought-provoking theatre, “The Colored Museum” opens for four more performances, Thursday through Sunday, July 9-11, at The District Theatre, 627 Massachusetts Ave., downtown Indianapolis. Get tickets at indydistricttheatre.org.

Father and gay son face horrors of Holocaust

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By John Lyle Belden

I hope that this finds you shortly after I post it – so you can see – or this is shared before the next production – so you can anticipate – the important intimate drama of “A Pink Triangle” by Kirby Taylor.

The title refers to the patch worn by LGBTQ prisoners in Nazi concentration camps. Holocaust histories typically mention the yellow Star of David worn by Jews while tending to note in passing others tortured and killed included Roma, Communists, other political prisoners, and homosexuals. While the effort to eradicate Jewish people cannot be understated, the Pink Triangles were held in lowest regard in the camps, their harsh treatment including horrific medical experiments.

In fact, there was a macabre rainbow of color patches for various prisoner classes, a reflection of the regime’s ruthless organization of cruelty.

Coincidentally, “A Pink Triangle” has a three-fold theme. The first, its setting, is the historical hell of wartime Auschwitz, portrayed in the gaunt, nervous, hungry actors in filthy, ill-fitting striped clothing we see before us. Second is the paranoid horror of their existence and the realization among us watching that so much of the context sounds like something familiar, even relevant to current events. Third, and most important, is that this is a tragic and poignant father-son moment.

Lars (Jim Melton) can barely walk, let alone be capable of literally back-breaking labor in the stone quarry, so he gets the ironic relief of working at his own pace literally shoveling excrement while awaiting a more horrific assignment to Block 10, where experiments are conducted. His pink patch has made him a pariah; even his father momentarily shows revulsion when he sees it.

Hans (Dave Ruark) works beside Lars, the guards apparently unaware they are related. His patch is green, indicating a criminal (possibly for his family’s black-market dealings; we find from their conversation that his wife remains free to secretly help their neighbors with food and essentials). In him we see what in hindsight we refer to the “Good German” who got along and even supported the Nazis until he, like the others he was willing to condemn, was seen as unfit. He has memories of the disastrous end of the first World War and accepted the propaganda of whom to blame for hardship. Now feeling no allegiance to Hitler, he keeps secret the fact that he plays trumpet even though that would grant him easier duty in a prison or military band.

Though this is thoroughly researched, including visits to Europe – Taylor admits she had only heard of Pink Triangle victims a couple of years ago – she emphasizes this is primarily a story of a father and his son making contact, seeking some sort of understanding in what could be the last time they see each other. As a result, she has scripted an incredibly natural hour-plus conversation. Its rough flow is not primarily to communicate to us (which cleverly it does) but rather as two people who share both an intimate bond and immense pain, each felt caused by the other. Issues unresolved and unresolvable are verbally danced around yet must be confronted: Why Clara is still free; feelings about older son/brother Freddie, who served and died for the Fatherland; who betrayed Lars to the Gestapo. Helping stitch these frayed threads of discourse are odd familial touchstones, like past meals, or an ugly yellow couch.

In her directing debut, Holocaust historian Amy Grove of the CANDLES Center in Terre Haute (founded by survivor Eva Kor) keeps the story firmly grounded in its living hell. Death literally stalks these men, and all others held there, which we hear in the bursts of nearby gunfire that occasionally punctuate the scene. It’s also in the eyes of those before us. Melton, who also masterfully applied hollowing makeup, gives Lars the darting expression of a trapped rodent. His moments of feigned bravado and apathy, spiced with black humor. are his sole defense against madness, as fatal resignation battles for hope in his battered psyche.  In Hans’ expression, there is a secretly defiant watchfulness that manifests its hope in constantly looking for ways to work any system he’s in. Apparently, even if he does not survive this – his frequent cough making this more of a possibility – it will literally be on his own terms.  

Though these are fictional characters, they represent real people. Thousands were sent to concentration and death camps under an anti-gay law that predated the Nazi regime but had been strengthened and strictly enforced. The current production of “A Pink Triangle” at The District Theatre includes an exhibition of prints from Pink Triangle Portraits, a project by artist Bryan Sharland to document in paintings every queer victim of the Holocaust of which there is an available photo (including more recent pictures of survivors).

A necessary and overdue examination of a dark chapter of LGBTQ history – and human history – remaining Indianapolis performances of “A Pink Triangle” are 7:30 p.m. today (as we post this) and 4 p.m. Sunday (June 27-28) on the intimate Brian Payne Theatre (second stage) at the District Theatre, 627 Massachusetts Ave. Get tickets at IndyDistrictTheatre.org.

Distant conflict hits home in ‘Escalation Time’

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By John Lyle Belden

How you feel about October 7, 2023, will affect how you respond to “Escalation Time,” an intimate drama at The District Theatre, written by and starring Francesca Root-Dodson with Reuben Barsky and Ray Graham, directed by Molly Shayna Cohen.

East-coast liberal academics Zev (Barsky), a History professor approaching tenure, and Kate (Root-Dodson), an adjunct professor, are married and seem happy – though her wanting to have a child appears to be causing some tension. Then, on that October day, they witness the Hamas attacks in Isreal, just outside Gaza, on their televisions. As the world changes, so does theirs.

From a Jewish family, though non-practicing, Zev is moved by the horrors of the initial attack and hostage-taking. In the days to come, he embraces his heritage with others at the university as they deal with growing antisemitism.  

Kate, who is Russian and whose godfather, Classics professor Jim (Graham), was once part of the Weather Underground, feels for the citizens of Gaza who are caught in the ongoing conflict. She spends evenings with a student protest group, and the rest of her time glued to the videos of death and destruction on her smartphone.

However, this play is about more than global politics or the value of different peoples’ lives. These events strike at the faultlines that were already present, and easy to ignore, in Kate and Zev’s relationship. She is profoundly affected, and likely in need of mental health counseling – something he firmly doesn’t believe in. For his part, what had seemed just a contrarian streak shifts into more conservative attitudes he had ignored or kept hidden all along.

New Yorkers Root-Dodson and Barsky present their roles with well-practiced ease, allowing us to sense the love between their characters, as well as the pain of its fracturing. Local actor Graham, his character wizened and with a “terrorist” past, brings a unique perspective. Being three persons in America yet without strict allegiance to it helps us see their feelings on events half a world away more clearly.

The stage set is the couple’s living room, appropriately littered with multiple stacks of books. Thousands of words surrounding them, yet solutions remain elusive and communication a battle.

“Thought provoking” is an understatement for this engaging piece of theatre. “Escalation Time” has performances Thursday, Friday and twice Saturday, May 21-23, at The District Theatre, 627 Massachusetts Ave., Indianapolis. Get tickets at indydistricttheatre.org.

IBTC: True incident inspires Morisseau drama

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By John Lyle Belden

“Southern trees bear strange fruit / Blood on the leaves and blood at the root…”

These lyrics, written by a white activist and made famous by legendary Black singer Billie Holiday, lend a theme to a drama by acclaimed playwright Dominique Morisseau, “Blood at the Root,” presented by Indianapolis Black Theater Company at The District Theatre, directed by Daniel A. Martin.

The plot is heavily based on the 2006 “Jena 6” controversy in which six Black high school students were tried as adults after arrests for beating a White student. The altercation was part of a series of events that suggested racial tensions were a factor. Morisseau’s play is set at Cedar High in a fictional Louisiana town standing in for Jena, a city of around 3,000 located in the Mississippi River Delta region north of Baton Rouge.

Raelynn (Kelly Kel) wants to do something bold for her senior year. With the encouragement of her best friend Asha (Morgan Damato), she decides to run for class president, which if successful would make her the first Black student in the office. She also decides to go sit under Old Devoted, a huge old oak tree where the “cliques” (“White” is unsaid but understood) hang out. Two other students join her.  

At the student newspaper, reporter Toria (Samantha Resnick) is constantly in trouble for seeking controversial topics – adding her opinions in the process – in her zeal to become a “real journalist.” Justin (Matt Ball), the student editor, sees her as talented but her work as unusable, risking the school ending the program.

Raelynn’s brother, Deondre (Marcus Elliott), is a star running back on the football team and a college prospect. The quarterback is Collin (Parker Taylor), a recent transfer student who is White – and gay, a secret that proves difficult to keep.

The next morning, three rope nooses hang from the oak tree. Black students are upset, but the school insists that it is no more than a tasteless prank. Days later, in the high school cafeteria, Collin is beaten by six of his Black teammates, including Deondre. Arrests follow.

The cast also includes Clarissa Michelle, Jay Fuqua, and Evangeline Bouw.

The mighty tree, designed and built by The Sapphire Theatre Company, dominates the back of the stage, a reminder that the emotions and dark legacy of the Civil Rights era were not left behind in the 20th century. Students coming of age in the 21st now have to reckon with this, finding that what once seemed like normal teenage trouble can take on serious consequences, especially in the Deep South. Reflecting today’s culture that is surrounded by music, the play includes moments of song and movement reflecting a scene’s actions and feelings. It avoids classification as a musical, though, so that nothing shown seems light or trivial.

Every character is boldly presented, and each will have their say. Kel’s Raelynn and Elliott’s Deondre present familiar archetypes, a young Black woman and man seeing possibility in their future while dealing with opposing tensions brought about by just being themselves. In Deondre’s case, what would be no more than a blemish in another student’s record becoming his entire future denied by the decision of an unjust system. Demato’s Asha, a girl with White skin and Black relationships, and Ball’s Justin, a Black student bullied by peers for reading and good grades, express their frustrations at social expectations and rules around “blackness.” An idealist from a politically liberal family, Resnick’s Toria is learning the hard way to carefully deal with the facts, and her tact. Parker’s Collin shows how the (also valid) struggles of queerness further complicate existing tensions.

We get outstanding performances all around. Especially of note is the way the actors handle the rural Louisiana accent and way of speaking – akin to both Cajun and Deep South syntax and cadence – flowing naturally, clear and easy to follow.

Presented with the energy and humor of youth, as well as the raw emotion of hard-hitting news, we find that bitterness still comes from a society with “Blood at the Root.” Performances are Thursday through Sunday, April 23-26, at The District, 627 Massachusetts Ave., Indianapolis. Get tickets at indydistricttheatre.org.

Music inspires theatrical festival at the District

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By John Lyle Belden

Indianapolis Black Theatre Company presents soulful musical inspiration with the 2026 Indy Black Solo Fest, under way (Jan. 29-Feb. 1) as I write and post this, at the District Theater on Indy’s Mass Ave.

There are six one-hour acts, each written and performed by one person backed by offstage musicians, each with two shows. We saw two on Thursday – the rest we will see on Sunday – so for now, we’ll give a review to give worthy praise and give the flavor of the overall festival.

“Marvin 4 Error” by Reno Moore

Looking into the life and music of the legendary Marvin Gaye Jr., Moore found parallels in his own journey. While not enjoying the same success (yet), he sees similar missteps and notes “the margin for error is too thin.”

His spoken biography of Gaye mixed with confessional memoir is punctuated by some of Marvin’s biggest hits. He admits he doesn’t sing the same (“I don’t think Marvin would want me to”) but does so with passion, conviction, and an invitation for us to clap and sing along. Thus we are entertained, enlightened, and a bit challenged. Reflecting on the song “If This World Were Mine,” he asks: What world would we create?

Note his second performance is 4:15 p.m. today (Jan. 31) as this posts.

“Daring to Dream” by Komoca

Komoca – and Charlaine, the star she portrays – take inspiration from Aretha Franklin. Set around the 1980s, when people wrote actual letters, Charlaine reads fan mail from a girl with big aspirations (and a thick Carolina accent), prompting her to remember her own struggle, and how listening to the music of the Queen of Soul helped her to “find hidden blessings in the storms.”

The engaging reminiscence comes with a half-dozen of Franklin’s hits, delivered with a powerhouse voice that reaches out and grabs you, demanding to be heard. Komoka likely also rocked the house in her second performance Friday night. Watch for her in future productions around the Midwest.

Saturday, Jan. 31, and Sunday, Feb. 1, performances are of:

  • “Black Thread: Songs That Nina Taught Me” by PsyWrn Simone
  • “Songs in the Key of Grenadine!” by Daren J. Fleming as Miss Grenadine Ross
  • “Death of a Church Boy” by Jay Fuqua
  • “Facing It Face to Face with Dollface” by Teresa Reynolds

Big thanks to creative director Josiah Ray McCruiston for coordinating this excellent festival. Kudos also to music director Tarrance Dennie, stage manager Crystal Usher, and to local playwright Andrew Black for his instruction and assistance.

Get tickets at indydistricttheatre.org.

Asaykwee and friends present the story behind the Carol

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By John Lyle Belden

When you think about it, there is only one ghost featured in Charles Dickens’s “A Christmas Carol.” That would be the tortured soul of Jacob Marley; other beings present as “spirits” not of a particular person but a vague experience – Christmas Past, Present, and Future, as well as the consequences of poverty.

Local creative Ben Asaykwee apparently did think about it and expanded on these concepts to create a new holiday musical, “Wonders,” which has its world premiere at The District Theater in downtown Indy.

To bring his ideas to life, he once again casts his December show in “Q-munity” style, finding a place in cast or chorus for all 46 new and veteran actors who applied, including about a dozen children. Under Asaykwee’s direction, they harmonize into a large stage family, welcoming us into the story they tell.

A couple of other things to note:

* It is essential you have some familiarity with the original Dickens story, as this is a sort of companion piece to that narrative, presenting the perspective of the ethereal beings who undertake the mission of redeeming Mr. Ebenezer Scrooge. In this story, the quest is necessary not only for his wellbeing, but also for mankind’s.

* As for the old miser, Scrooge himself makes only one brief, uncredited appearance. To set things in motion for a very eventful Christmas Eve, we meet various supporting characters from the book, including Fezziwig (Bastian Ciucci Russell or Calvin Meschi); Bob and Mary Cratchit (Noah Lee and Elizabeth Gee), Scrooge’s sister (Lillie Oblon) and his former sweetheart (Michelle Wofford); and, stranded in “The Pale,” the shade of Marley (Kevin Caraher).

* This may be Asaykwee’s most ambitious high-concept work that we have seen. Set largely in the realm of the spirits of humanity – a place they for their own reasons call the Basket – we are outside of conventional earthly dimensions and “time appears differently here.” Though the production has the feel of experimental theatre, once we get a handle on the concepts in the opening scenes it all mostly works, and it helps that to the audience, the spirits are very friendly guides – even ones we associate with more negative aspects of life.

Within this Basket we find a pantheon of spirits that include Truth (Asaykwee), Hope (Sarah Zimmerman), Joy (Noah Winston), Pleasure (Tiffanie Holifield), Honor (Maria Meschi), Ambition (Jaddy Ciucci), Curiosity (Shelbi Berry Kamohara), Fear (Matt Anderson), Memory (Hannah Elizabeth Boswell), Avarice (Kallen Ruston), Creativity (Zach Himes), and Innocence (Megan Arrington), who does much of the narration. They maintain the balance of light and darkness for mortals they refer to as “Turtles,” seeing humans as slow and simple.

In this mythos, these entities consider themselves strands in a “braid” that binds human order. However, two aspects – Apathy and Despair – became lost and formed The Knot, a state of pervasive darkness. The others carry wonder as a tangible energy supply helping keep it at bay; still, The Knot is strengthening. Yet down in Dickensian London, a man with the most dark of souls could help turn the tide if he is made, somehow, to see the light. To get results, the mission must focus on the most optimistic day of the year – Christmas.

This complex production manages a sort of holiday miracle in that the strands of plot around the events and characters of “Carol,” interlaced with the immortals’ own struggles, stay cohesive and easy to follow. Asaykwee infuses it all – script and original songs – with his entertaining style, a sort of fun yet daring and mischievous sense of humor reminiscent of legends like Danny Kaye or Gene Wilder. Aside from Dickens, we can see stylistic influences of “Inside Out,” “Neverending Story,” and practically any movie where an angelic being tries to directly influence mortals (“…Wonderful Life”? “Xanadu”?).

Boswell assists with direction, and Ruston is assisted as stage manager by Sofie Frank. The wonderfully colorful and eclectic costumes for the pantheon are a group effort by the cast along with Kristin Boyd, Allison Jones, Kat Robinson, Traci Snider, Asha Patel, Robyn Lamey, and Ben Lamey.

The mortal “Turtles” are distinguished by simple black outfits, yet shine in their own way. Aside from Caraher, Lee, Gee, and Wafford, they are portrayed by Emerson Black, Ava Button, Carrie Cooper, Jenson Dasbach, Jessica Dickenson, Trèvon D. Foote, Carl Gallagher, Beth Gibson, Spencer Hahn, Lillian Hall, Zara Heck, Mandy Holzhausen, Anna Lee, Ethan Lee, Ashley Marshall, and Morgan Patrick-Roof. Filling in as Cratchit kids, urchins, and small but potent Spirits are Bastian Ciucci Russell, Cosette Clemens, Patrick Clemens, Lyra Dickson, Elsie Huldeen, Amaryllis Lebow, Xylah-Rose Lebow, Zinnia Joy Lebow, Sam Lee, Calvin Meschi, Aaliyah Oblon, Lillie Oblon, and Amelie Pellerin.

Performances are sharp throughout the cast, and roles such as Hope, Curiosity, Innocence, Memory, Joy, Pleasure, and Fear really show off the depth of the players’ talents.

But what of Past, Present, and Yet-to-Come? Join the journey by “candle-shine” and watch to see how they are revealed. Performances of “Wonders” run through Dec. 21 at The District Theatre, 627 Massachusetts Ave., Indianapolis. Get tickets at IndyDistrictTheatre.org or call 317-522-8099.

Chill with another cool Indy Drag parody

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By John Lyle Belden

Do you want to see a gay man? / Though it’s more than being gay. /

The musical that you adore / Has become something more / In an Indy Drag way! /

So now they’re doing “Frozen” / And they made it hot! /

This could make you a big Drag fan, / And a Drag King plays the snowman.

–

Indy Drag Theatre wraps up its fabulous 2025 season with “Frozen: A Drag Parody Musical” at The District Theatre.

Somehow, a fairy-tale story seems even more magical done in the style of Drag, with its exaggerated makeup, wigs, and outfits, and every actor accustomed to being a completely different person than one might see offstage. As this show is mostly lip-synched to audio of the movie and stage versions of the Disney tale, with appropriate costumes, this is a production for all ages (provided “drag queen story hour” doesn’t upset you).

This tale of royal siblings Elsa and Anna features* Lollypop Lyx and B.B. Rosè as their younger selves, with Natalie Port-Ma’am as Queen Elsa and Meadowlark Lane as Princess Anna.

The story doesn’t deviate from the familiar plot: After a childhood accident, Elsa isolates herself with efforts to control her icy weather-based powers. At her coronation, she gets upset at Anna for impulsively becoming engaged to Prince Hans of the Southern Isles (Taron Closeoff) and without meaning to, brings eternal winter to Arendelle. With Elsa hiding away in in the mountains of the Norway-esque kingdom, Anna seeks to reach her with the help of a helpful ice-seller, Kristoff (Jared Matthew), and his faithful reindeer Sven (Norah Borealis).

Popular local entertainer Maurice Mantini works his magic as the enchanted snowman, Olaf; he also plays the girls’ father, King Agnarr, with Gayle Thyme as Queen Iduna. The cast also features Cadence as Oaken, the “hygge” proprietor of the general store and sauna; Rodick as a rather nimble Duke of Weselton; Desiree ‘Denzel’ Bouvier and Ramon Flowers (aka Pricilla Vaggina) as Pabbie and Bulda of the Nordic “Hidden Folk;” as well as Canila Carpenter, Loralei Diamond, Faith Camire, and Cheri Walker-Owens.

For the performance we attended, Matthew had a prior commitment, so understudy Eli Rose nicely filled in as Kristoff.

The show was directed by Dottie B. Minerva and choreographer April Rosè. Sydnie Blair is stage manager. Imaginative sets were designed by Josh Morrow & Tony, with props by Ailish Forner. Giving the fabulous looks are Maria Fruit with costumes, Celeste Al’Dreams with makeup, and wigs by Oriana Peròn.

The company’s diva-level standards of performance are again maintained. Everyone gives their all, from Natalie’s triumph as the Ice Queen to Norah’s endearing deer. This not only showcases the visual spectacle of Drag culture, but also the compelling gestures and emoting that enraptured cinema fans in the silent-movie era.

Also, it’s so much fun.

Performances of this funky “Frozen” are Thursday through Sundy, Nov. 20-23, at The District Theatre, 627 Massachusetts Ave., Indianapolis. Get tickets at indydragtheatre.org.

–

*(Note: Out of respect for the art form and its performers, they are identified by their Drag names as given in the show program.)

IndyFringe: Beyond Ballet

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This is part of the 20th Anniversary Indy Fringe Festival, Aug. 14-24, 2025, in downtown Indianapolis. For information and tickets, see indyfringe.org.

By John Lyle Belden

You have one chance left to see “Beyond Ballet,” presented by Indianapolis Ballet, at 2 p.m. Saturday, Aug. 23, at The District Theatre. Given the rarity of seeing this professional company for such an affordable price, this is likely sold out. Still, check and see if you’re lucky.

What you will see (or miss) is an extraordinary display of beautiful, disciplined artistry in motion, showcasing the physical strength, stamina and control of the dancers. The style mostly exemplifies traditional ballet, even the woman in the pas de deux with a slow-tango feel works in toe-shoes. In a more modern mode is a piece choreographed by local legend David Hochoy, a trio (pas de trois, I believe is the term) to lyrical guitar and aria.

Further, it seems they brought the entire company to this exhibition. You rarely see the same person in two dances, giving us a sampling of Indianapolis Ballet’s varied and diverse talents. In the final curtain call, they overwhelm the District mainstage.

Information on their upcoming season is at IndianapolisBallet.org.

They-dunit! Indy Drag gets a ‘Clue’

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By John Lyle Belden

“Lip-synch for your life” takes on fresh meaning as Indy Drag Theatre brings us the camp cult classic featuring Tim Curry (no, not that one!) – “Clue” – the whodunit film that cast big Hollywood stars to make up for the fact that it’s based on a board game.

Director Vera Vanderwoude St. Clair* admitted being concerned at first in staging IDT’s first non-musical. But the cast and crew of this production slay! An ingenious set design by Miss Kay-Ottic lets us into all the various rooms from the game board and movie. Makeup design by Ciara Myst gives everyone a unified Agatha-Christie-nightmare look befitting both the drag mystique and gothic atmosphere. The killer costumes are by Anthony Sirk, with wigs by Hair By Blair. Choreography is by April Rosè.

Like all IDT parodies, the source material – mainly the 1985 film by Jonathan Lynn and John Landis – provides the audio and sound effects, with some surprise samples from other media thrown in for fun. The voices may sound familiar, like Martin Mull’s bluster or Madeline Kahn’s famously improvised “flames” monologue, but they take on new life neatly mimed by Indy-area performers.

Joe Wagner makes a brilliant IDT debut as Wadsworth, making the surly and sassy butler his own. The frantic “reenactments” toward the end(s) are hilariously fascinating. Fresh off her successful tour of different parts of Indianapolis, Madison Avenue charms as the maid, Yvette. Natalie Port-Ma’am is saucy as the Cook.

Our guests/suspects are Maria Fruit as Miss Scarlet, Brentlee Bich as Mrs. Peacock, St. Pussifer as Mrs. White, Maurice Mantini as Colonel Mustard, Freddie Fatale as Professor Plum, and Johnee Crash as Mr. Green – allegedly the only homosexual on the stage (go figure!). Finally, Dottie B. Minerva drops in and drops dead as Mr. Boddy.  We also encounter a mysterious motorist (Gayle Thyme), cop (Calyko Magick-Waffle), and singing telegram (Nicole Sherlock). And watch out for the aggressive “dog.”

The show follows the movie (a bizarre mystery set in the 1950s), of course, but there are plenty of over-the-top antics to enhance the lines you might know by heart. And yes, we do get all three solutions.

Performances of “Clue: A Drag Parody” are Thursday through Sunday, Aug. 7-10, at the District Theatre, 627 Massachusetts Ave., Indianapolis. Info and tickets at indydragtheatre.org.

*(Note: Out of respect for the art form and its performers, they are identified by their Drag names as given in the show program.)

A hard look at America as its victims depart

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By John Lyle Belden

“Ain’t No Mo’” is likely the most funny yet challenging piece of theatre you will see this year.

Written by Jordan E. Cooper, who led performances on Broadway, and now presented by Indianapolis Black Theater Company at the District Theatre, directed by Jamaal McCray, this satire feels like what would happen if the TV show “In Living Color” came back today with total freedom to say what its African American writers really think.

The central player is Peaches (Daren J. Fleming) a drag queen airline agent for the last flight out in a project to relocate all Blacks in the United States back to Africa – the diaspora in reverse, departing from gate 1619.

However, first we get a rousing “funeral” scene which leans into the now-tattered myth that somehow all racism in America stopped with the 2008 election of Barack Obama. This introduces the company, who take on various roles and are referred to in the program as Passengers: Chandra, Clarissa Todd, Cara Wilson, Avery Elise, and Reno Moore, who in this scene plays the exuberant minister declaring that the word/concept of “‘N!&&a’ is our slave!” After what turns out to be an inoculation of spirited repetition of the word in this bit, you’ll hear it a lot throughout the show.     

This is an intense tour-de-force for all involved, with each actor taking their moments to shine.

Chandra keeps the pathos in a darkly comic scene at a not-really-hidden abortion clinic as with the only options for a Black child being prison or early violent death, terminating pregnancy is a mercy – even if one must wait in a line of millions to get it. Still, if only her murdered husband (Moore) saw it that way…

Todd delivers as one of the women (“B!tch, we all hoes!”) in a recording of “Real Baby Mamas of the Southside.” While they all delight in their gold-digger lifestyle, she takes up more of the attention, especially when she is called out for “living my truth” in a scene that simultaneously skewers reality TV, Black stereotype, cultural appropriation, and playing the victim.

In the most hilarious scene (and most reminiscent of an “ILC” skit), Wilson is an unstoppable delight as the essence of “Black” returning literally from her chains to an absurdly bougie family who insist they replaced their skin tone with “green.”

Elise gives a vicious tug to our heartstrings as a hardened prisoner about to be released so she can take that flight to Africa. Something she had with her when incarcerated is missing.

Between scenes, and at final boarding, we get moments with Peaches with her no-nonsense attitude and compassion that does get tested at times.

The production is supplemented with complementing and contrasting visuals provided by CèAira Waymon, as well as audio breaks of recorded lectures noting how Black culture has been turned in against itself to the delight of White supremacists. 

If something about this show does not bother you, you aren’t paying attention. And yet, you really should see this, at least to help understand if not ease the viral contagion of racial politics that permeates the current atmosphere. (As I write this, there is another news bulletin about attacks on DEI programs.)

“Ain’t No Mo’” has performances through July 6 at the District Theatre, 627 Massachusetts Ave., Indianapolis. Get tickets at indydistricttheatre.org.