drama

Summit: Tests of research methods and ethics get personal

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By John Lyle Belden

No matter how good your scientific method is, there will always be one flaw – the all-too-human scientist. But, perhaps, a person’s humanity can be what redeems the research.

In “Queen,” by Madhuri Shekar, presented by Summit Performance Indianapolis, mathematical genius Sanam (Isha Narayanan) and lifelong bee expert Ariel (Chynna Fry), PhD candidates at University of California Santa Cruz, have been working on the issue of honeybee Colony Collapse Disorder for years. Finally, in the 20-teens, during the peak of international concern for pollinator loss, they have what they believe are sufficient study results to publish.

This has their professor, Phil (Ryan Artzberger), overjoyed as the paper will be published as a cover story in the magazine Nature and their peers are giving him an award and an opportunity to address a conference where he and the women will present how Monsanto pesticides are to blame – there is even a bill on the issue being proposed in Congress.

Meanwhile, for Sanam, whose life is her work and verse visa, her traditional Indian parents have set up yet another blind date with an eligible bachelor whose “grandfather played golf with her grandfather.” To keep familial peace and get a free meal, she goes. Enter Arvind (Nayan Patadia), a supremely self-confident Republican-sounding Wall Street trader, whom Sanam detects is a fellow statistics nerd. Bothered by a last-minute problem with the data in the bee studies, she invites him to her office to “check the figures,” which he does, assuming at first that it was a euphemism.

Like the syndrome being researched, the “bad” data can cause this work with so much at stake – individually and potentially for the whole world – to completely collapse. What happened? What and where is the flaw? Can it be fixed, and if not, can it be “fixed” for the presentation?

The plot buzzes with complexity: issues of ethics, standards of research and good science, the politics of Washington and academia, the fight-fire-with-fire temptation to oppose questionable studies with results skewed your way, the bothersome danger of statistical fallacies, clashes of personal ego, and discovering that as a worker bee, wielding the stinger is self-destruction.

Narayanan holds her own as the proud advocate for statistically accurate science, no matter what it says, devoted to mathematical models practically only she can see. Yet deep within is the need for connection to a bigger hive, allowing the creeping possibility of compromise.

Fry gives us heroically minded Ariel as a woman on a personal crusade, a single mom and first from her beekeeping family to graduate college, with a chance to literally make a difference in the world. She is driven both by the nobility of the quest and fear for her daughter’s future.

Artzberger, adept at both the hero and the heel, gives us an excellent counter to the women’s points of view. Phil is both practical and ambitious, arguing that perhaps a single statistical variance shouldn’t jeopardize the entire project and all they will soon reap. The initial numbers were sound, the Nature article already peer-reviewed. The presentation is a day away, and the show must go on, right?

Patadia charmingly plays the wild card – aptly introduced as one who exercises his math-brain with lucrative games of Texas Hold‘em – who brings out the fact that while numbers don’t lie, humans do, even to themselves. His last play, however, is dealt only to Sanam: go all-in, or fold?

This drama fits Summit’s creed, “by women, about women, for everyone,” with today’s often subtle anti-feminist issues. Men taking credit for women’s research is nothing new, but even with female names on the article, Phil calls the shots. Sanam feels the stress of both ethnic tradition and being an exemplar for women in STEM. Ariel is well aware her motherhood is seen as a weakness as well as a strength. Arvind wants an “aggressive woman” who “knows what she wants” while wanting to be her lone source of support. It’s not just the bees who feel endangered.

Summit artistic manager Kelsey Leigh Miller directs and Becky Roeber is stage manager, with a clever functional set designed by MeJah Balams.

As we publish this, “Queen” opens at the Phoenix Theatre Cultural Centre, 705 N. Illinois St., downtown Indianapolis, and runs through Feb. 25. For tickets and information, go to phoenixtheatre.org or summitperformanceindy.com.

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Regarding the ongoing issue of Colony Collapse Disorder, this is the EPA page on the topic.

Agape: We come to praise ‘Caesar’

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By Wendy Carson      

As I began writing this review, I realized that it has been over 40 years since I actually read and studied William Shakespeare’s “Julius Caesar” in High School and even then, we were more focused on Caesar’s murder (spoiler) and the political ramifications of said action that the actual text of the play. Luckily, Agape Theater Company has staged not only an excellent version of the show but the printed program also contains a detailed study guide.

As you watch the story unfold you realize that while Caesar (Doug Rollison) is in the title, he is not actually the main character. His loyal friend Marcus Brutus (Christopher O’Hara), he of the famed line “Et tu, Brute?” shares that distinction with the menacingly paranoid Caius Cassius (Jake Hobbs).

Director Darby Kear gives us a vision into the underlying – and underhanded – scheming and political moves that take place behind the scenes. As you read the notes on the history of Roman politics you see terrifying parallels with our current political system.

As a whole, the cast are quite compelling and even with doubling or tripling of parts, make the action easy to follow. Such is the standard we have come to expect from this company.

That said, I would like to shine a spotlight on a newcomer to the troupe (and Indiana), Christopher O’Hara. His sonorous voice and solid stage presence makes him a welcome addition to the production. Just his performance and the glorious study guide of the program are easily worth the price of your ticket.

Friends, Hoosiers, everyone: lend them your ears (and eyes); remaining performances are Friday through Sunday, Feb. 9-11, at the IndyFringe Theatre, 719 E. St. Clair St., Indianapolis. For tickets, go to IndyFringe.org.

ALT: Big issues in small-town meeting

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By Wendy Carson

Small town politics is much more important than it appears. As we see in “The Minutes,” by Tracy Letts, a lot can happen in a single meeting, and missing it could change your whole standing within the community itself.

Such is the plight of Mr. Peel (Josh Ramsey), who missed last week’s City Council meeting to attend to his dying mom. He knows something major occurred from overhearing the others talk but only discovers it resulted in the removal of Mr. Carp (Charles Goad) from the council.

His queries to Mayor Superba (Stephen Roger Kitts II) and clerk Ms. Johnson (Susannah Quinn) get him nowhere. However, Mr. Hanratty (Scot Greenwell) is willing to help him shed a little light on the matter in return for support towards his proposal.

The council is filled with a plethora of quirky characters. Mr. Blake (Ian Cruz) is a paranoid schemer who is overly confident of the success of his bill regardless of its practicality. Mr. Breeding (Raymond Kester) is “The Weathervane” of the town but has no desire to make waves of his own. Ms. Innes (Suzanne Fleenor) has some good points to make but buries them inside a tangle of poetry and nonsense that annoys even the most even-tempered in the room. Mr. Oldfield (Len Mozzi), who served on the council the longest, has a tendency to ramble and forget things. Mr. Assalone (Tristan Ross) is “The Junkyard Dog” of the group and made even more imposing by his brother being Town Sheriff. Finally, Ms. Metz (Paige Scott), while physically present, pops so many pills that we have no idea where her mind actually is.

With the Big Cherry Heritage Festival rapidly approaching and its planning the most important thing that the Council actually does, Mr. Peel finds the unexplained absence of last week’s minutes – as well as where Mr. Carp is – to be of far greater import.

Directed by Chris Saunders for American Lives Theatre, this comic drama shows Letts’ ability to connect with and in a relatable manner reflect the personalities of small-town America. While there is much hilarity within these scenes, there is an equal amount of reality as to the inner workings of city government.

The talent level of the cast is spectacular and under Saunders’ steady hand, none of them overshadow each other and perform as a well-oiled machine.

So, who is the real hero of The Battle of Mackie Creek? What is more important, truth or the status quo? Why is the town named Big Cherry? These questions and much, much more will be answered (mostly) at the Phoenix Theatre Cultural Centre, 705 N. Illinois St., Indianapolis, through Feb. 11. For tickets and information, visit phoenixtheatre.org or americanlivestheatre.org.

MD Writer delivers a good series of short plays

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By John Lyle Belden

It takes a sharp mind to become a doctor, especially a cardiologist. For Dr. Louis Janeira, add sharp wit and storytelling skill and you’ve got the prescription for a promising side gig as a writer.

As L. Jan Eira, the MD Writer, he presents “Cut Short: A series of 10-minute plays,” under the direction of Aaron Henze, at The Cat in downtown Carmel.

The talented cast of Craig Kemp, Barbara LeMay, Ian Marshall-Fisher, Greta Shambarger, and Afton Shepard take on a series of shorts that play out like the Twilight Zone or Outer Limits with a touch of gentle humor – though not all end happily.

The opening scene, “If everyone on earth dies, I can’t graduate,” sets the tone that things aren’t always as they seem, and the odd will be commonplace. I had previously seen the “Party Shoppe,” a sharp piece of science fiction that was the best part of a longer work presented at IndyFringe. Even when you can tell what’s going on, like going “Home” with Mr. H, the story still grips you with its simple drama. Naturally, the medical profession makes a couple of appearances, including one bit that takes “physician, heal thyself” in an interesting and fun direction.

Entertaining, intriguing, and well performed, this series showcases local talent in splendid fashion. Remaining performances are 7 p.m. Friday and Saturday, 3 p.m. Sunday, at The Cat, 254 Veterans Way (just south of Main Street in the Carmel Arts and Design District). Get info and tickets at theMDwriter.com or thecat.biz.

ALT: Damaged souls in Inge’s dark drama

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By John Lyle Belden

The title, “Natural Affection,” despite being part of a spoken line, is ironic.

A lesser-known yet highly regarded drama by William Inge (its brief 1962-63 Broadway run suffered from poor publicity), it is a story of people struggling with life and relationships in upper middle-class Chicago apartments. The overall atmosphere is Tennessee Williams, without the humidity.

In the current American Lives Theatre production, single mother Sue (Carrie Anne Schlatter, or Christine Zavakos on select dates) is expecting a Christmas visit from her troubled teen son Donnie (Zach Hoover), allowed temporary release from the “work farm” to which he had been sentenced for an assault years earlier. Sue’s life had been hard, but she has found success as a buyer for a downtown department store, which irks her live-in boyfriend Bernie (Alex Oberheide), a struggling Cadillac salesman.

Next door are friends, of a sort, Vince (Ronn Johnstone), a mostly-functioning alcoholic with both high income and debts, and his wife Claire (Diana O’Halloran), who married for money and is now unsure what she wants – aside from Bernie, again.

Other roles are filled by Wendy Brown, Tim Leonard, Garrett Rowe (including a scene as Donnie’s fellow parolee), and Haley Glickman (most notably in the play’s climax).

This dark drama with, at best, a grim humor provides hearty material for the actors. The undercurrent of dysfunction soon becomes apparent between Sue and Bernie. Schlatter ably expresses the woman constantly pushing against her own insecurities, never quite sure she’s made it. Despite her workplace success, she still feels the need for a marriage to make her truly happy; which with her going on 40 in the 1960s, brings feelings of desperation. Oberheide, for his part, wears his neediness like the tailored suit he wears to work the car lot, coming across like the smarmy guy who’s about to talk you into all the options. It burns him that his girlfriend makes far more than he does, which he gives as the reason for not marrying her. On top of this, Bernie has an abusive temper, but more bipolar than controlling, bringing Sue along on the ride.

As noted above, the “natural” way you’d assume a Midwest family holiday to go is absent here, especially with the neighbors, as Vince tries to salve insecurities about both his financial worth and his sexuality with a wild swinger lifestyle. Johnstone is excellent at playing someone so perpetually pickled you could almost smell it on him without delving into comic drunk stereotype. We hear moments of lucidity between the slurred lines, a kaleidoscope of shifting emotions, and when he’s truly had one too many, it’s more pathetic than funny. O’Halloran portrays the debutante who never matured beyond high school, in desperate need of affections she can only see as transactional; Claire wants better for herself, without a clue about where to start.

Hoover’s Donnie is a Freudian scholar’s dream, the hurt boy in the body of a dangerous man, never sure how to connect with a mother he has only seen infrequently through his tragic life. His scars are both visible and deep, as we discover a character like a revolver with a single chamber loaded. Tension builds from one trigger moment to the next, to the last.

Directed by ALT artistic director Chris Sanders (one of his passion projects), assisted by Tim Leonard with Marta Hamilton as stage manager, this gripping study of human affections, however you define them, runs through Jan. 21 at the IndyFringe Theatre, 719 E. St. Clair, Indianapolis. Get tickets at indyfringe.org and info at americanlivestheatre.org.

Southbank ‘Lion’ a medieval family feud

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By John Lyle Belden

If contentious family members join you for the holidays, just be glad there’s not the inheritance of a European empire on the line.

In “The Lion in Winter,” by James Goldman, King Henry II of England – and a whole lot more – is spending Christmas in his castle at Chinon, in one of his French lands (the King of France only controlled a fraction of what is in its borders today). His mistress is a sister of the French King, who is also invited; two of his three sons present had not long before led a rebellion against him (during which another son, the heir Young Henry, died) with the third son, his favorite, a whiny spoiled brat; meanwhile, estranged wife Eleanor of Aquitaine (perhaps the era’s most powerful and influential woman) has been let out of her dungeon for the holiday.

Southbank Theatre Company presents this classic drama with catty comic overtones, directed by Becky Schlomann. A stellar local cast take the stage: Doug Powers presents the stubborn confidence of Henry, ever showing the clever, calculating mind that helped win and keep an empire, but his willingness to use love and relationships as weapons has cost him any family unity. Miranda Nehrig as young Alais shares his bed but, she fears, not his heart, as she realizes her place in the nobility is imperiled the longer she stays unmarried – and eventually to whom she is wed, she has no control.

The three sons couldn’t be more different: Richard (Thomas Sebald) is all about war and fighting, and truly a man’s man. Geoffrey (Jo Bennett) is highly intelligent, charming, and conniving – which means no one is trusting him with the crown.  Then there’s John (Garrett Rowe), a teenager, but really, the baby of the family.

Jean Arnold is a complete fox – beautiful and sly – as Eleanor. With expression and bearing that hints she’s always a chess move or two ahead, she easily matches Henry in their battle of wits.

Kaya Dorsch is impressive as Philip II of France. The young king recently succeeded his father, whom he saw as being too easily taken in by Henry’s shrewd negotiations. Though the underdog in both real power and statecraft, he’s learning quickly.

Aside from the gifts wrapped in pretty boxes, what everyone wants for this Christmas is resolution to issues such as control of various parts of the Angevin Empire, including who will inherit the crown from Henry. Basically, Eleanor backs Richard (which is what had gotten her under castle arrest) while the King favors John. Throughout the play schemes and maneuvers abound, with clever arguments and retorts the weapon of choice.

Those who know history, or Robin Hood legends, know who will eventually prevail as King in a few years. However, we – and others in the audience – couldn’t help but reference Disney’s “Robin Hood” for the portrayal here of Prince John. Rowe’s tantrums are so epically immature we expected him to pop his thumb in his mouth like the film’s animated lion.

If you were unaware of this show, but the plotline seems familiar, note it is also the basis for the television series “Empire” (Cookie Lyon = Eleanor). If you are missing that drama, you will find a similar sassy spirit here.

Performances of “Lion in Winter” are Thursday through Sunday, Nov. 16-19, at Shelton Auditorium, 1000 W. 42nd St., in the southwest corner of the Butler University campus. Get info and tickets at southbanktheatre.org.

Monument comic drama addresses heavy topics

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By John Lyle Belden

After many delays, Monument Theatre Company finally brings “Elephant,” by Lewis Morrow, to the stage.

The workplace comedy tackles serious topics as a diverse team of employees anticipate a visit from the new CEO. They work in an unspecified occupation that involves customer service and measurable performance, both of which are important numbers to continued employment and advancement.

King of both metrics is Marcus (Kass Dowell), a proud Black man who feels a little stung by being passed over for promotion to the team supervisor. Mayra (Yolanda Valdivia), a Latina who likes to give opinions but not make waves, says she understands his complaint but that Clarissa, the white woman who got the job, was more involved with teammates. Rae (Rayanna Bibbs), a Black woman, doesn’t seem too perturbed unless it’s said there’s no racial tension involved. White guy Paulie (Brant Hughes) is late as usual, cracking wise to cover any discomfort.

Clarissa (Becky Larson) sweeps in, chipper as ever, and soon talks about the team’s presentation for the CEO, which she has composed. This is, in reference to the play’s title, the “Elephant in the room” that must be addressed. It turns out a different animal’s representation is involved, and the entire team explodes in their reaction – especially Marcus, who has to leave the room to control his rage.

Directed by Dowell, this play hits on many topics of unacknowledged privilege and racial offense, as well as sexism and toxic workplace secrets. As it turns out, the room has a whole herd of pachyderms to unpack.  

Verbal barbs are slung among all the members of the group, reminiscent of ensemble squabbles like “…Virginia Woolf,” with each giving as good as they get. It’s an exhilarating exercise for the actors, I’d guess, and fascinating to watch with this talented team. There are many intriguing points made and debated – worthy of thought long after the curtain call – and the play also includes two strategically placed personal flashbacks to give insight into stands the characters take.

Thomas Burak makes an appearance as a police officer, bringing a climax that’s far too relevant to events of recent years.

“Elephant” has three more performances, Friday through Sunday, Nov. 17-19, on the Indy Eleven stage at the IndyFringe Theatre, 719 E. St. Clair St., Indianapolis. Get tickets at indyfringe.org. Get info at fb.com/MonumentTheatre.

OnyxFest: Tigone

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OnyxFest is Indy’s first and only theater festival dedicated to the stories of Black playwrights. These one-act celebrations of Black life and culture are presented by IndyFringe and the Africana Repertory Theatre of IUPUI. After an initial weekend at the IndyFringe Theatre, upcoming performances are Friday through Sunday, Nov. 10-12, at historic Crispus Attucks High School, in the Auditorium at 1140 Dr. Martin Luther King Jr. Street, Indianapolis. For information and tickets, visit OnyxFest.com.

By John Lyle Belden

As one might guess, the name of the title character of “Tigone,” by Levi Frazier Jr., is a reference to the mythical princess in Sophocles’ play “Antigone” (part of a trilogy with “Oedipus Rex”). That character met a tragic end while trying to act justly. In Frazier’s play, Tigonie (Michelle E. Mitchell) also seeks justice.

On a pleasant day in Memphis, a local church Bishop (Lawrence Blackwell) is relaxing on a park bench when an attractive young woman walks by with two coffees. One of them is just the way he likes it, but the significance of the coincidence doesn’t dawn on him until they are well into their conversation.

As their discussion continues and intensifies, we learn more about her, and more about him. They share a connection, and it is so much more troublesome than you would guess.

Mitchell and Blackwell (who also directs) keep the tension taut and the portrayals believable, riveting us to the bitter end.  

How much can one leave in the past? What can be forgiven? And even if one repents, what about accountability? The exploration into these questions builds to a conclusion that would have impressed the old Greek playwright.

OnyxFest: Right Behind You

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OnyxFest is Indy’s first and only theater festival dedicated to the stories of Black playwrights. These one-act celebrations of Black life and culture are presented by IndyFringe and the Africana Repertory Theatre of IUPUI. After an initial weekend at the IndyFringe Theatre, upcoming performances are Friday through Sunday, Nov. 10-12, at historic Crispus Attucks High School, in the Auditorium at 1140 Dr. Martin Luther King Jr. Street, Indianapolis. For information and tickets, visit OnyxFest.com.

By Wendy Carson

Even though it was just three years ago, the early weeks of the COVID-19 pandemic are becoming fuzzier in our memories. Playwright D.L. Patrick returns us there with a look at family dynamics that ring true no matter the source.

The family Matriarch (Faye Holmes) lies in her hospital bed wondering where her daughter is, the one who, as the ambulance took her away, promised to be “Right Behind You.” Days pass, and as she slips into a coma, her consciousness gets up to look around. Family eventually visit, offering frustrated apologies for the delay, but their stays are brief due to Covid protocols. However, it is more than the virus keeping one daughter away.

In conversations and flashbacks, we see how each family member deals with both this crisis and past issues. Performed by the ensemble of Beverly Harney, LaToya Jay, Kaitlynn Nailon, Alicia Sims, and Tamara Taylor, we see the issues of multigenerational living and how caring for one another can be as much a burden as a joy – yet it all gets thrown into perspective when it’s possible Mom may never wake up.

Director Megan Simonton does an excellent job of keeping the personalities of these proud women from overshadowing each other while also keeping the interpersonal family dynamics exceedingly true-to-life.

Go see “Right Behind You,” then consider visiting Grandma – maybe bring a jigsaw puzzle.

Bard Fest presents heavy ‘Hedda’

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By John Lyle Belden

Trigger warning: Suicide.

Now that I’ve given that necessary note, I can delve into why – if you feel up to it – you should see the Indy Bard Fest production of Henrik Ibsen’s “Hedda Gabler,” adapted by Jon Robin Baitz, directed by Chris Saunders at Arts for Lawrence’s Theater at the Fort.

For those, like me, who may have read Ibsen’s “A Doll’s House” in school but are not aware of this work, another example of his bold realistic look at society in late 19th century Norway, Gabler is a headstrong woman whose beauty attracts men while her icy demeanor keeps them at bay: the original “mean girl.” The daughter of an army General, she is also accustomed to a certain standard of living.

The play opens with Hedda (Morgan Morton) returning from her long honeymoon after marrying the academic George Tesman (Joe Wagner), an uber-nerd who spent most of those months in tedious research. It becomes evident that she has married him mostly for his potential status once his scholarly works are published, and takes his puppy-like devotion as her due. She enjoys being rude to George’s aunt Julia (Susan Hill) and indifferent to the servant Berta (Carrie Reiberg) in this big house that George can barely afford.

The Tesmans aren’t the only ones back in town. Eilert Lovborg (Matt Kraft), who had been a hopeless alcoholic as well as Hedda’s old flame, has turned up sober with a popular book that rivals the one George is still working on. Aided by Thea (Anna Himes), whom Hedda used to bully in their school days, he also composed an even better follow-up – the only manuscript copy of which is in his bag. However, a boys’ night out with George and the unscrupulous Judge Brack (Clay Mabbitt) sets in motion events with tragic consequences, aided by Hedda’s machinations.

Though the play predates Freud’s works, it shows Ibsen’s keen perception of various neurotic types – which our cast ably take on. Kraft’s Lovborg is the restless genius bohemian; Wagner’s detail-obsessed yet socially oblivious George appears to be on the autistic spectrum; Himes’ Thea is desperate to rise above her fears, and at the very least redirect her people-pleasing impulses to someone more appreciative than the distant husband she left to be with Eilert; Mabbitt’s Brack is the classic sleazy womanizer and party hound with a position he can use over others.

But most fascinating, of course, is our title character. Hedda’s narcissistic aspects are obvious, but she also has a unique perspective on life, honor, and the way things should be that lead her to an even more untenable position. Morton has all her stone glances and manic moments down perfectly, keeping her fascinating enough to not let us be completely put off by her brusque demeanor.

This brilliant examination of a fateful 48 hours in the lives of people filled with pride and potential has one more weekend, Friday through Sunday, Nov. 10-12, at Theater at the Fort, 8920 Otis Ave., Lawrence. Get info at indybardfest.com, tickets at artsforlawrence.org.