family

NAATC: A legacy worth fighting for

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By John Lyle Belden

Naptown African American Theatre Collective, Indy’s first Black Equity stage company, continues to bring us stories that are both the Black Experience and our human experience.

The theme for its 2024-25 season is Cementing Our Legacy, which can mean different things to different individuals, even within the same family. “Judy’s Life’s Work” by Loy A. Webb, presented by NAATC at the Phoenix Theatre cultural Centre, is a hard-hitting example of this.

Xavier (Xavier Jones) rose up from hardship to become a boxing champion. Time in prison convinced him of the importance of education, so now he runs his own gym and offers free tutoring for neighborhood kids, which has him on the ropes financially. As luck would have it, his new uptown girlfriend, Camille (Selena Jackson-King) has a way to keep the place solvent and run it as a not-for-profit. He just needs one thing, which he has to get from his sister, Charli (Cara Wilson).

It turns out that this simple story has so many layers. The macguffin of the plot is a notebook belonging to Camille and X’s mother, Judy, who had recently passed away. She was a leading biological researcher who had kept her work to herself, wary of the motives of others – especially Duffy Pharmaceuticals, located in their city.

Word had gotten out that Judy had made a revolutionary breakthrough shortly before her final battle with cancer. Charli had worked closely with her Mom and keeps the notes hidden; X, who is years older, had been given up by his mother for adoption, landing him in a hellish foster system. As he sees it, Duffy can continue the breakthroughs while giving him the funds to keep his community-minded project alive. Win-win, right? As for Camille, we soon see she is motivated by something more than love for a down-and-out former Champ.

The gloves are on, the bell is rung. Who will still stand when this round is done?

Jones is commanding in his role, with all the cocky bluster of a young Will Smith. His feelings run deep, both in affection for his sister and bitter resentment of his mother. He carries himself as one who has been knocked down plenty – in and out of the ring – yet still managed to find a way to stand again. Wilson cleverly plays Charli with a look and manner that seems to scream “adorable little sister” while displaying a sharp intellect in fighting condition for this battle of wills. Jackson-King ably portrays the conflicted heiress caught up in a high-stakes challenge.

How do we define one’s “life’s work” and its value? With little surprises all the way to the end, this examination of one’s legacy keeps us engaged throughout. The director is Philadelphia-based award-winning multidisciplinary artist Angela Bey, who was drawn to Naptown by her love of Webb’s plays and is impressed with what NAATC is doing. “There’s nothing like this in Philly,” she said on opening night.

The opening also featured the Hip-Hop Legacy Cypher, a spoken word battle with poets Manòn Voice and Tony Styxx. Consider us all knocked out by the power of their truths. This isn’t a regular feature, NAATC producing director Lakesha Lorene said, but something like this could come around at their next show opening.

“Judy’s Life’s Work” continues through Nov. 3 at the Phoenix, 705 N. Illinois, downtown Indianapolis. For information, see naatcinc.org; for tickets, go to phoenixtheatre.org.

Belfry details plight of ‘Father of the Bride’

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By John Lyle Belden

Of all the challenges a man may face, this is one of the most daunting. He must have the strength of Spencer Tracy, with the good humor of Steve Martin, to withstand this ordeal with sanity (and, maybe, bank account) intact. Beware, lest one day you, too, become the “Father of the Bride.”

The 1950s family comedy by Caroline Francke, based (as were the Tracy and Martin films) on the novel by Edward Streeter, is presented by The Belfry Theatre in Noblesville, directed by Barcia Miller Alejos.

Stanley Banks (Dave Hoffman) and Ellie (Debbie Underwood) are parents to teen sons Ben (Gideon Roark) and Tommy (Drake Lockwood), as well as 21-year-old Kay (Lizzie Schultz), who announces her intention to marry 23-year-old Buckley Dunstan (Daniel Alejos). Pops does not take this well at first, but Buckley relates how they want a wedding so small and simple, it’s practically an elopement – Stanley and his pocketbook sigh with relief. But realizing this means no formal ceremony, Kay balks, and confesses her true nuptial desires.

There will be a small wedding ceremony – only a few (hundred) people at most.

The story skips along through the weeks that follow, featuring important preparations including sorting the invitations with the help of Stanley’s secretary (Dana Lesh), and negotiating the reception arrangements with the caterers (scene-stealing Rob Lawson and posh Jericho Franke). Meanwhile the maid Delilah (Kim Schourten O’Mara) tries not to cry at the thought of the ceremony, or to throttle the furniture mover (Robert Fimreite) who is messing up her house during set-up. Ben’s girlfriend Peggy (Grace McKinnies) is just hoping to catch the bouquet. The cast also features Beth Popplewell as the bride’s dressmaker.

Through it all Hoffman has our titular character stoically grin and bear each little crisis and unexpected expense, never fully flustered, at least on the outside. Buckley, on the other hand, isn’t taking it very well, but Alejos manages to play nervous, naïve, and fearful in a way that doesn’t make him a total jerk – we can still see what Kay sees in him. Schultz takes her character on all the twists and turns of this emotional ride with impressive fortitude, and on the big day, stunning beauty. Lockwood is also impressive as the boy caught up in all these grown-up goings-on, striving not to mess up too much.

The whole production of this classic feel-good comedy embraces the wedding theme, with usher Cavan Doyle dressed as a Groomsman to seat audience members, and some era-appropriate love songs nicely sung by Addie McMillan before the show. There are even little cakes for sale in concessions.

(Edit to add:) Kudos to costumer Gail Sanders and the company for the gorgeous bridal dress; the veil was from director Barcia Alejos’s own wedding.

Conveniently staged at a church, Noblesville First United Methodist, 2051 Monument St., “Father of the Bride” has performances Thursday through Sunday, May 2-5. Get info and tickets at thebelfrytheatre.com.

‘Grand’ look at love and relationships

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By John Lyle Belden

Welcome to Grand Horizons Independent Living Community, conveniently located about an hour’s drive from Philadelphia, Pa., or Washington, D.C. In nice apartments with neighbors close at hand a retired couple like Bill and Nancy French, married 50 years, are free to do whatever they want.

Nancy: “I want a divorce.”

Bill: “Okay”

Welcome to “Grand Horizons,” the Broadway comic drama by Bess Wohl presented in its Indiana premiere by The Hyperion Players, directed by Nicole Amsler.

Bill (Chris Otterman) and Nancy (Wendy Brown) prepare for their split as if it were just another household chore, but their sons and daughter-in-law are, to put it mildly, freaking out. Brian (Matt Hartzburg), a high school theatre teacher, is beside himself, wondering if there’s some mystery illness or dementia at play. Older brother Ben (Todd Isaac), a lawyer, is stumped at the illogic of it all, while his very pregnant wife Jess (Morgan Marie French), a couples counselor, tries to employ her skillset to no avail.

There are some deep issues here, including the central couple’s affections outside their marriage – Nancy for now-deceased old flame, Hal, and Bill for new girlfriend, Carla (Cathie Morgan). There is exploration of the nature and meaning of love: Did the Frenches lose it, or ever really have it? And how has it affected their sons, who are each hopeless people-pleasers – Ben with his checkbook, and Brian with his desire to cast every kid in his class whether the roles exist or not.

Brian’s loneliness and confusion comes through in a scene where he brings home a potential one-night stand, Tommy (Austin Uebelhor), who quickly alerts him that neediness is not a turn-on.

As for Ben, he is coming to grips with the actual dysfunction in his upbringing, suddenly afraid of what it could mean as he starts a family of his own. This stress also pushes Jess to the limit.

This examination of relationships and how we feel and communicate blends moments of heartfelt memory and longing with hilarious family-sitcom punchlines. Since older-person roles are usually supporting, it was nice to see Brown and Otterman really shine as the leads. Hartzburg and Isaac portray well two men who haven’t quite emerged from their boyhood insecurities, while Morgan French shows the spark of motherhood that comes with being on the verge of bringing another life into the world, while wondering if she is the only true grownup in the room.

Caroline Frawley assistant directs, and Elianah Atwell is stage manager.

Learn how marriage is like a boa constrictor, that “the defining feature of being an adult is not doing what you want,” and to be careful with the U-Haul. Remaining performances of “Grand Horizons” are Friday through Sunday, March 22-24, at Arts For Lawrence’s Theater at the Fort, 8920 Otis Ave. Get info and tickets at hyperionplayers.com or artsforlawrence.org.

‘Lost’ in Simon’s wartime family drama

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By John Lyle Belden

You see a dozen shows by Neil Simon, you think you’d know what to expect – the farce of Rumors; or goofy relationships of The Odd Couple; or sweet (and a bit bitter) memories of Brighton Beach; or hilarious razor wit of Goodbye Girl.

For those unfamiliar with “Lost in Yonkers,” Simon’s 1990 Pulitzer-winning play presented by Main Street Productions in Westfield, note that many of his comedies’ hallmarks are present, but with a dark edge that is too real to completely laugh away. With the sharp rap of Grandma’s cane, wisecracks cease. The exaggerated aspects of characters come not in caricature but from coping with lifelong trauma.

In 1942 (America’s first full year in World War II) Eddie Kurnitz (Matt McKee) has to settle debts from his wife’s fatal battle with cancer, so takes a traveling job gathering scrap metal for the War effort. Thus he leaves his sons, 15 “and a half” Jay (Drake Lockwood) and 13 “and a half” Arty (Finley Eyers) with his mother in Yonkers (just outside New York City). Grandma Kurnitz (Lisa Warner Lowe), who escaped from Germany years ago to raise Eddie and his siblings in as strict and unsentimental a manner as possible to prepare them for what she sees as an unrelentless cruel world, is unpleased with his plan, but tolerates it at the request of Bella (Becca Bartley), her daughter whose ever-diverting mind stays in a childlike state.

Grandma owns and runs the candy store on the first floor of their building, which ironically becomes hell for the boys who find themselves penalized for every morsel that goes missing, whether it was their doing or not.

Meanwhile, Eddie’s brother Louie (Thom Johnson) shows up, with a wary eye out the window. He’s a bag man for shady characters who now want what he’s secreted in the bag. Gangsters being cool to teen boys, as well as the desire for cash to get his father out of debt and back home, Jay and Arty try to win his favor.

We also meet Aunt Gert (Maggie Meier), who has an unintentionally comical respiratory issue, when Bella gathers the family for what could be a momentous announcement if she can string the thoughts together.

Dark comedy derives a lot of chuckles from situational humor, and Simon serves that well here, but we are more drawn in by the layered drama of a family whose dysfunction runs deep, apt for one of the most stressful eras for any American. There is a method to the matriarch’s cruelty, and grudging admission of benefit, but it’s still difficult to justify. The damage is plain in every one of Grandma’s offspring, but especially Bella, as Bartley gives a brilliantly endearing and heartbreaking performance. Lowe, for her part, delivers both the cold exterior and fire within that keeps Grandma both feared and respected, with fleeting moments of wry German humor that keep us all off-balance. With Uncle Louie, Johnson maintains an air of Cagney-cool with just a touch of paranoia in knowing his gangland adventure ain’t a movie. Lockwood and Eyers keep the youths as smart-alecky and immature as you’d expect, but, as kids do, learning to adapt to their situation.

Jen Otterman directs, with assistance from stage manager Monya Wolf. The comfy but no-frills living-room set is by Ian Marshall-Fisher.

Get “Lost in Yonkers” this Thursday through Sunday, Feb. 14-18, at Basile Wesfield Playhouse, 220 N. Union St., Westfield. For an extra treat, concessions include versions of “Kurnitz Kandies” with proceeds benefiting MSP’s scholarship program. Get tickets and information at WestfieldPlayhouse.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.

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.

Laughter and tears in Belfry’s ‘Crimes’

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By John Lyle Belden

The Pulitzer Prize-winning comic drama “Crimes of the Heart” by Beth Henley takes on a special resonance in these times of heightened awareness of mental health issues and violence against women.

The Belfry Theatre presents this play, directed by Jen Otterman, at the Theater at the Fort in Lawrence in all its dysfunctional glory. Taking place in a roughly 24-hour period in a small Mississippi town in 1974, we meet the Magrath sisters: Lenny (Brooke Hackman) is turning 30 but feels ancient; Meg (Sarah Eberhardt) apparently put her Hollywood singing career on hold to rush home; and Babe (Becca Bartley) is getting bailed out after shooting her abusive rich attorney and State Senator husband in the gut. Cousin Chick (Ka’Lena Cuevas) thinks she’s helping, but is mostly a judgmental pill.

Also on hand are family friend Doc Porter (Tanner Brunson), who isn’t actually a doctor (why will be revealed), and young lawyer Barnette Lloyd (Mickey Masterson) who takes up Babe’s case because he has a “personal vendetta” against her husband.

While I do recommend this play for its sharp script and excellent performances, I must acknowledge there should be a “Trigger Warning” as there is frank discussion of suicide and attempted acts of self-harm. In fact, if one were to observe this as an armchair psychologist, you could see a lot of disorders on display, especially the effects of narcissistic abuse by the sisters’ grandfather (offstage, but very much a character in this story).

And yet, this is also a comedy. The dark humor pops up in little bits here and there, such as Lenny’s “birthday cookie,” and bubbles over in gut-busting moments including one that involves a broom and another that is triggered by the phrase, “you’re too late.” For anyone who relates to tragic circumstances, it’s easy to see how “we shouldn’t laugh at this” only triggers another round of guffaws through cast and audience alike.

Hackman naturally portrays Lenny as a character you just want to put your arm around, maybe to gently shake some sense into. Eberhardt as Meg presents us with a fallen honky-tonk angel who surprises you with her depth of spirit, but who can’t help being that girl in need of rescue. As Babe, Bartley plays a woman who is 24 going on 15, her life decided for her in a way she never wanted, desperate for a way out. Brunson comes across as a strong good ole boy, but more than Doc’s injured leg hasn’t healed properly. Masterson presents Lloyd as the kind of perfect gentleman that makes one suspicious. Finally, as Chick, Cuevas is great as the kind of person who means well, but, well, bless her heart…

Complex and compelling, “Crimes of the Heart” runs through Sunday, May 7, at 8920 Otis Ave., Indianapolis. Info and tickets at thebelfrytheatre.com or artsforlawrence.org.

Epilogue: Secrets of neighborhood ‘Miracle’ revealed

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By John Lyle Belden

As posted in the program, playwright Tom Dudzick was inspired by an actual shrine to the Blessed Virgin Mary erected in his childhood Buffalo, N.Y., neighborhood by a barber who said She had appeared to him in his shop. Thinking, “there’s a story here,” Dudzick made up the Nowak family of his comedy, “Miracle on South Division Street,” on stage Thursday through Sunday at Epilogue Players.

In the year 2000, Ruth (Shannon Clancy), an aspiring actress and writer, calls a family meeting. Garbage-truck driving brother Jimmy (Grant Bowen) is on hand, and mother Clara (Letitia Clemons) arrives to critique Ruth’s method of preparing lunch. Soon, sister Beverly (Jeanna Little) joins them, persuaded to put off bowling practice (big tournament tonight!) to find out what is going on.  

These Nowaks, Polish Catholics of varying piety, are caretakers of the famous statue, revered in the neighborhood but ignored by the Vatican. Ruth has both good and potentially bad news: rather than pen her in-progress novel, she will write a play about the shrine, for which a producer has already approached her; however, the story of the statue will be quite different from the one Clara has had them tell their entire lives.

Family mayhem ensues. But as revelations crash like waves upon the family – “like if the Hardy Boys were Catholic!” Jimmy declares – a bigger story comes into focus, bringing fresh meaning to the “Blessed Mother.”

The characters occupy two ends of a spectrum, with Clara embodying a traditional mother type that Clemons imbues with a loving spirit, and simple-pleasures Beverly an upper-Midwest archetype. Meanwhile Ruth has Big Apple ambitions and one foot in the closet, while Jimmy is courting danger by seeing a woman outside the faith. Bowen balances a man/boy character who doesn’t want to make waves yet feels the need to make his own way. Clancy ably handles the burden of being the fulcrum on which the plot balances, a sister and daughter resigned to being the truth-teller, though she feels it could cost her the trust and love of her family.

Directed by Ed Mobley, this very funny heart-filled family drama is a reminder that miracles do happen – often in ways we don’t expect.

Performances, through April 30, are at Epilogue’s corner stage at 1849 N. Alabama St., Indianapolis. Info and tickets at epilogueplayers.com.

Unique ‘Holiday’ story seeks to heal family

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By Wendy Carson

As bright and sparkly as they appear to be, for a large number of us the Holidays ramp up our depression and sorrow. Such is the situation with the Abrams clan in “A (Happy) Holiday,” presented by Theatre Unchained.

Grandmother Bunny (Wendy Brown), mother Busy (Jenni White) and daughter Leigh (Wilhelmena Dreyer) are not only dealing with the death of son-in-law/husband/father Owen (Bradley Lowe), but also their lack of connection with each other. Into this mess enters the gloriously anthropomorphized chemical compound, Sarah Tonin (Ariel Laukins) along with the ever-perky duo of Elf 1 (Anja Willis) and Elf 2 (Thomas Sebald) to deliver a present to make their Christmakkah (being a blended family, they have a blended holiday) complete.

Reluctantly the ladies work their way through a giant magical book with 12 chapters of Holiday memories, forcing them to face their past – no matter how good, bad, or ugly. Leigh just wants to move forward and find her true self regardless of what her mom or society demand of her. Busy wants Owen back and will settle for nothing else. Bunny, who just wants everyone to be happy and get along, seems to down a lot of “holiday cheer” to keep her distracted.

This show has numerous parodies of holiday movies and TV shows as well as other pop culture touchstones to keep the laughs coming. However, the story pulls no punches in showing the sadness and sorrow of these women. Each comes to terms with pivotal moments of their past that damaged them, yet taught them to grow and carry on, to be their true selves.

This show is a true ensemble piece, executed with sheer perfection. Each performer being great on their own, together they will move you to tears of sorrow and joy. Speaking of ensemble, this play is a special project of Theatre Unchained, co-written by Karina Cochran, Kaya Dorsch, J.E. Hibbard, and director Max McCreary. They initially set out create a series of distinct holiday scenes, but found they fit together in a single theme, focused on this relatable yet unique family.

As you can tell, this show is not a typical Holiday story. Still, it is moving, touching, endearing, and entirely affirming for all. This should be at the top of your list of shows to see this month, especially since there are only three performances left, this Thursday through Saturday, Dec. 8-10, hosted by Arts for Lawrence at Theater at the Fort, 8920 Otis Ave.

Good for teens and older, grab up those members of your family and come together for an uplifting story – maybe start an important dialogue to help make your own holiday complete. Get tickets at ArtsForLawrence.org.

Phoenix ‘Fudge’ sweet and salty

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By John Lyle Belden

2020 seemed to ruin everything, and in “The Rise and Fall of Holly Fudge” at the Phoenix Theatre, it’s messing with Christmas as well.

Carol (Milicent Wright) lives for the Yuletide, and her holiday Holly Fudge (named after her daughter, as well as its festive décor) has been the Number One Blue Ribbon winner in town for eight years. Friend and neighbor Chris (Emily Ristine), a fitness trainer who now Zumba’s over Zoom, has taken an interest during the year’s shutdown in making confections herself. They look forward to Holly (Terra Mcfarland) coming home from Seattle for the holiday, and learn she is bringing her new love interest, Jordan (Jaddy Ciucci).

This play by Trista Baldwin is not just a new twist on a holiday story, but on the “coming out” play as well, as, while Carol is accepting of Holly choosing to go from a past with boyfriends to living with a woman, it throws the Gen-X mom that rather than tagging herself a lesbian, Holly opts for “queer.” As events progress, the LGBTQ issue becomes trivial as more typical intergenerational strife comes to the fore.

Carol just wishes things could be as they were, for at least one more Christmas – the fact that the noise on the street outside isn’t carolers but Black Lives Matter protesters doesn’t help.

This sophisticated comedy, in a style much like cable shows or situations in “Modern Family,” brings a lot of laughs even as tensions build to the breaking point – which occurs in a fitting, hilariously dramatic (dramatically hilarious?) fashion. Director Daniella Wheelock said this play resonates with her, especially when going from her home in Chicago to relatives in Connecticut. Mcfarland and Ciucci both commented after opening night that it reflected their own memories of holiday homecomings and letting folks know their true selves.

Mcfarland makes an impressive debut in her first professional-level role. She admitted there was some pressure in having not only a lead but also the title character, but noted she learned a lot working with theatrical veterans, especially Wright. On stage, any nerves were channeled through her apprehensive character, a woman finding herself judged against the girl her mother wanted her to be, wanting to be seen for the person she is becoming and respected for her work as a journalist.

Ciucci and Ristine both nimbly play characters who mean well yet happen to say or do the right thing to make it feel wrong for Carol. As for Wright, typically playing the rock of an ensemble, this time she masterfully portrays a soul adrift, working to get her bearings on something familiar in a very unusual time.

Everyone join in: “Fa-la-la-la-la, No Justice, No Peace!” Performances run through Dec. 23 at the Phoenix Theatre Cultural Center, 705 N. Illinois St., downtown Indianapolis. Get info and tickets at phoenixtheatre.org.