Beautiful genius returns to Indy stage

By John Lyle Belden

A couple of things I learned about Hedy Lamarr: Her first name (derived from Hedwig) is supposed to be pronounced with a long “E” – “heedie.” Also, she was not amused at all by her name being used as a running gag in Mel Brooks’ “Blazing Saddles.”

Actually, the “Hedley” joke was all I knew of her growing up, as her classic films like “Samson and Delilah” weren’t in movie houses at the time. By then, the actress had retreated from Hollywood and the world in general. Later, I found out about her invention – “frequency hopping” technology meant to help the military in World War II that now serves everyone in our WiFi and cell phones. So, I always thought of her as a genius first, then a movie star.

For an earlier generation, she was “The Most Beautiful Woman in the World” (a fitting title hung on her by movie mogul Louis B. Meyer), the sexy Austrian in the controversial film “Ecstasy,” and later numerous leading roles with stars including Clark Gable and Jimmy Stewart, and as Delilah with Victor Mature. It also seemed there were nearly as many marriages as hit films.

So where did I learn the facts at the top of this story? From the lady herself – sorta.

“HEDY! The Life and Inventions of Hedy Lamarr,” the one-woman show written and performed by Heather Massie, returned to Indianapolis recently for a brief engagement at The District Theatre on Mass. Ave. The original under-an-hour production was featured in the 2016 DivaFest and won the audience award at the 2017 IndyFringe. Massie also performed it to widespread acclaim across the U.S., Europe and Africa. Massie has since added more well-researched material to give us the 90-minute performance Indy audiences saw March 18-20.

From Beyond, Ms. Lamarr comes to visit us. She is drawn by our curiosity – not about all the unsavory elements of her biography (though she gives us a bit of those) but about how a part of her came to live in every person’s pocket or purse.

She tells of childhood in Vienna, where her father Emil would interest his “ugly duckling” in the workings of machines and encourage her to think for herself. Of course, doing so resulted in her headstrong insistence in becoming a film actress. After being “tricked” into an infamous movie nude scene, she sticks to stage work, where she is wooed and wed by a rich arms dealer. Her husband’s customers, including Italian and German officials, ignore the beautiful girl in the room as they talk openly about “the torpedo problem,” something she will remember after escaping Austria, just ahead of the Nazi takeover, to Hollywood, with a new name, glamour and fame.

As for glamour, she says all one has to do is “stand still and look stupid.” She definitely does neither as she tells her story.

Massie also channels notables from Hedy’s life including Mayer, Gable, good friend Stewart, and a starstruck G.I. who dances with her in the Hollywood Canteen – all in entertaining fashion.

We get the story of the Secret Communication System, created with composer George Antheil – it uses 88 radio frequencies, a salute to George’s piano – which is awarded a U.S. Patent that she turns over to the U.S. Navy. The military does use the technology – in the 1960s. During World War II, they thought the pretty starlet was better suited to selling War Bonds, which she also did in genius fashion.

This show is gloriously entertaining and inspiring, while presenting a very human woman with her own flaws and setbacks. Even showing this side of Hedy, Massie manages to make endearing. Whether you have never heard of Lamarr, or been a lifetime fan, you will adore “HEDY!”

For more information on the show and upcoming performances, visit www.HeatherMassie.com. In a continuing salute to women in science, Massie is also working on a show on the life of astronaut Sally Ride (the first American woman in space). Given her good relationship with Indianapolis, here’s hoping we will be seeing it soon.

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).

DivaFest: Bittersweet ‘Tomato’

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

In “I Say Tomato, You Say Cheese,” by MaryAnne Mathews, Tom Harrison is superbly charming as Joe Carpenter, an 85-year-old man living alone — aside from the spirit of his recently-passed wife, Annie (Wendy Brown) — as best he can.

Joe’s daughter Sarah (Laura Baltz) is getting concerned, as he tends to forget and lose track of things, and keeps getting into accidents while driving. The doctor (Stefanie Patterson) confirms that his cognitive abilities are indeed on the decline.

It doesn’t help the situation that there are constantly scammers out to take advantage of the elderly. The voice of the “IRS agent” on the phone Joe can deal with, with great humor. But the fast-talking roofing contractor (Joe Maratea) is a different matter.

Mathews’ gentle drama is an interesting look at this serious situation with characters we can relate to, or even feel we’re related to. The title refers to a family story melding the old song with the meal of tomato soup and toasted cheese — like this play, comfort food for the soul.

Remaining performances are 8:15 p.m. Friday and 3:30 p.m. Saturday (April 19-20).

DivaFest: Oh, ‘Dear’

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

In “Dear Mavis,” by Enid Cokinos, there are big changes happening at the Rustbelt Herald-Times.

The newspaper’s chief editor has stepped down, replaced by the owner’s son, “Biz” Underhill (Spencer Elliott). The young man, fresh from college, wants to make changes, taking aim at the paper’s longtime advice columnist, Mavis (Forba Shepherd). He has her team up with young blogger Mique’ (Ashley Elliott) to write a new point-counterpoint column, and daily rather than weekly. This will not turn out well.

Holly Stults is Luella, Underhill’s assistant and Mavis’s dear friend; and David Mosedale is the elder Underhill, who comes in to clean up the inevitable mess.

Shepherd radiates dignity and wisdom as the disciple of Miss Manners who always has the right thing to say, and doesn’t mind using an old typewriter to say it. Spencer Elliott — .also the play’s director — contrasts well as the guy with big ideas but little sense. Ashley Elliott’s turn as a clueless Millennial edges towards caricature but gets to learn a bit towards the end.

Having been a newspaper journalist, seeing the industry’s changes first-hand, I felt at first that Cokinos had written a work of horror. But for those who don’t bleed India ink, this is a fun look at how sometimes the old ways are best, and can still win through.

Remaining performances are 7 p.m. Friday and 7:15 p.m. Saturday (April 19-20).

DivaFest: Truly inspiring

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

In “aMUSEd,” by Megan Ann Jacobs, one of the lesser-known Greek Muses — Sebastian, the Muse of Comedy (Kyle Dorsch) — breaks his own rule against staying too long, remaining with his latest charge, author Anita (Becky Schlomann), until the moment she passes. He promises to finish their last work with a new human, but in his grief, chases off every person who moves in.

Enter Nikki (Kyrsten Lyster), a woman as determined to stay as Sebastian is for her to leave — New York apartments at this price don’t come along every day. The landlord, Tyler (Jerry Beasley), is just grateful someone is staying in his “haunted” flat.

Grant Nagel plays Nikki’s fiance, Ryan, a victim of Sebastian’s pranks, and Ilandia Johnson is Kasey, a local police officer tired of being called to arrest a “trespasser” she cannot see.

Jacob’s sweet story excellently showcases the comic talents of manic Beasley, wonderfully frustrated Lyster, and Dorsch’s acid wit like a young Jack Benny. Schlomann’s presence gives this all the right amount of heart.

Remaining performance is 4:45 p.m. Saturday, April 20.