farce

CCP presents funny whodunit

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

In the whodunit world, things are never as they first appear. “The Musical Comedy Murders of 1940,” by John Bishop, is presented by Carmel Community Players, but in Noblesville, as CCP is still raising funds for a hometown stage.

Also, there’s not a whole lot of music. It’s more about making and staging a musical, with only a couple of choruses sung. And, really, it’s about the murders of 1938, when the show “Manhattan Holiday” flopped in part because the cast mutinied after chorus girls were knocked off one by one by the Stage Door Slasher, who was never caught.

So, now, in late 1940, we are in the home of “angel” investor Elsa Von Grossenknueten (Richelle Lutz), who is gathering fellow persons involved in “Manhattan Holiday” who wish to pitch a new musical, “White House Merry-Go-Round.” She also invited a friend, Michael Kelly (Sam Brown), a very thinly-disguised NYPD Detective. We should also note that the maid, Helsa Wenzel (Tanya Haas), a fellow Bavarian who Elsa brought to America when things got rough in Germany (note the date), was apparently killed by a masked phantom in the opening scene, then comes back unharmed doing her regular duties minutes later. Also – and this is important to both the plot and the comedy – the house is riddled with secret doors and passages, with practically every wall on stage capable of opening or revolving.

Arriving through the snowstorm that will trap them there (naturally) are charming but unfunny comic Eddie McCuen (Jeffrey Haber), stage and screen director Ken De La Maize (Kelly Keller), chorine turned actress Nikki Crandall (Hannah Janowicz), overbearing producer Marjorie Baverstock (Eboni Wallace), Irish tenor Patrick O’Reilly (Robert Fimreite) and bickering songwriting duo Roger Hopewell (Eric Bowman) and Bernice Roth (Amber Roth). Note that by the final curtain, a number of these characters will each turn out to be someone entirely different – this includes, of course, the Stage Door Slasher!

Directed by Elizabeth Ruddell, whose assistant, the mysterious O. Carrier, performs the phantom, this play embraces both mystery and farce. The former is complicated by encroaching shadows of war, and the latter gets wacky even to the point of a “Scooby-Doo” moment among sliding and spinning doors. Standout performances include Haas being full of surprises, Keller stylishly dropping names in his alleged films, Haber showing the talent it takes to be good at being “bad,” and Janowicz playing a true triple-threat – singing, dancing, and firearms.

Four performances remain, Thursday through Sunday, March 2-5, at the Ivy Tech Noblesville Auditorium, 300 N. 17th St. Get info and tickets at CarmelPlayers.org.

Bard Fest: Merrily we ROFL along

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , , , , , ,

This is part of Indy Bard Fest 2022, the annual Indianapolis area Shakespeare Festival. For information and tickets, visit indybardfest.com.

By John Lyle Belden

It is said that Queen Elizabeth I was quite taken with the character of Sir John Falstaff in William Shakespeare’s “Henry IV” (Parts I and II). This merry prankster would end up as much the butt of the joke as the instigator, and helps humanize Prince Hal, the eventual King Henry V. So, legend goes, Her Majesty ordered Shakespeare to whip up a play featuring the bawdy knight in love.

The result, by whatever origin, is “The Merry Wives of Windsor,” now presented at the IndyFringe Theatre, directed by Jeff Bick. The comedy is presented in an over-the-top style that common folk who paid a penny to see a show around the year 1600 would have loved. Sir John (Thomas Sebald), who appears to have a beach ball for a belly, is less interested in “sack” wine and more contemplating what middle-aged women he can get in the sack, so to speak.

This production focuses on two comic plotlines. True to the Bard’s penchant for including a wedding in his comedies, young beauty Anne Page (Sophie Peirce) is being wooed by three men: Slender (Ben Elliot), the doltish son of Justice Swallow (Michael Bick), who in turn is friends with Anne’s dad, Master Page (Tom Smith); the very French doctor Caius (Rian Capshew), who has the approval of Mistress Page (Dana Lesh); and young gentleman Fenton (Connor Phelan), whom Anne comes to prefer despite his having the lightest purse.

The other source of drama and mirth is, of course, Falstaff. He covets not one man’s wife, but two, and sends his squire Robin (Lyndsi Wood) with identical letters to Mistress Page and Mistress Ford (Kelly BeDell). The women being best friends, this attempted courtship will backfire in spectacular fashion. Master Page has no doubt his headstrong wife can take care of herself, but Master Ford (John Johnson) is more wary, and goes to Falstaff disguised as fellow lothario “Brook” to get in on the plot.

“Hilarity ensues” is putting it mildly. Much boisterous laughter was had throughout the audience. Adding to the fun in supporting roles are Angela Dill as busily devious servant Mistress Quickly and Ryan Shelton as thick-tongued Welsh vicar Sir Hugh Evans. Other servants are portrayed by Colby Rison, Nelani Huntington, Carolyn Jones and Patrick Lines.

Sebald ably plays the buffoon under the delusion of dignity. Lesh and Bedell are the stars here, with Lucy-and-Ethel chemistry as they gain the upper hand on all the men. Johnson is goofy fun, letting himself be the second-biggest fool on the stage.

And the antics of the Falstaff plot eventually work to resolve the romantic storyline. Shakespeare’s clever like that.

For an evening of silly fun – which includes, just in time for Halloween, a spooky Faerie encounter – meet the Merry Wives this Friday through Sunday, Oct. 28-30, at 719 E. St. Clair St., Indianapolis.

A toast to Belfry’s convent comedy

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , ,

By John Lyle Belden

It seems nuns are an easy target for entertaining and eccentric characters who also have the noblest of intentions. We get another fun take on this trope in “Drinking Habits” by Tom Smith, presented by The Belfry Theatre in Noblesville.

The Sisters of Perpetual Sewing are a small but important order in the Catholic Church. If the Pope pops a button, the garment gets sent to the little convent somewhere in the U.S.A. to get fixed right up. But the sacred stitches don’t raise quite enough funds to keep the lights on, so Sisters Augusta and Philamena (Jennifer Poynter and Cathie Morgan) have let the grape juice ferment and are selling the wine in town. This is kept secret from Mother Superior (Barb Weaver), who is so anti-alcohol, she won’t even allow the words for such beverages to be said aloud.

Thus we get some interesting euphemisms: Devil’s Delight, Satan’s Mouthwash, Lucifer’s Libations, etc.

Fortunately, the secretive Sisters have always-helpful second-generation groundskeeper George (Bryan Gallet) to help.

But local newshounds Sally (Sarah Powell) and Paul (Jeff Haber) have gotten a tip about the secret vineyard and are infiltrating the convent to investigate. It happens that the Order is expecting the arrival of a new member, so Sally becomes Sister Mary Mary, while Paul becomes Father Paul, her brother. Then the actual nun, Sister Mary Catherine (Sarah Eberhardt), arrives, and things start to get confusing. Add to the mix the neighboring priest and amateur magician Father Chenille (Chris Taylor) and word that the Vatican has sent spies to ensure all its facilities are worth keeping open, and confusion, mistaken identities, multi-layered lies, and other farcical elements rule the day.

Aside from quick entrances and exits from multiple doors, the cast also mines comedy gold from the Order’s ritual of keeping silent at random points during the day. (Apparently, wild gesturing and miming is not a sin.) The goofy goings-on crescendo to a wild ending of revelations (and matrimony!) that would make Shakespeare’s head spin.

Direction is by Belfry board president Nancy Lafferty.

Poynter and Morgan are wonderful in a study of opposites – quick-thinking, fast-talking Augusta, and nervous Philamena, who literally can’t tell a lie. Gallet is handed a challenge in keeping George easy-going and kind without coming across as too simple-minded – he’s the average-sharpness knife in the drawer. Powell and Haber ably portray two people in a situation way over their heads, while also working through unresolved feelings. Weaver has Mother Superior cool and in control, but isn’t too sharply stern, and manages to be out of the loop of what’s going on without looking foolish. Taylor makes Chenille charming in a way that gives the Father “dad” vibes. Eberhardt is so much fun to watch as situations, and Mary Catherine’s growing guilt, put her continually on-edge.

This show is very funny and well worth the drive up to Noblesville, playing through Sunday, July 3, at Ivy Tech Auditorium, 300 N. 17th, St. Get information and tickets at thebelfrytheatre.com.

And, just a thought for a future season: Smith also wrote a “Drinking Habits 2.”

Wild ‘Rumors’ in Westfield

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

There’s a reason why Neil Simon’s classic farce, “Rumors,” is a community theatre staple. It’s an intricate yet easy to follow comedy that allows local actors used to one others’ rhythm to pull out all the stops and set an appreciative audience practically rolling in the aisles with laughter.

Main Street Productions in Westfield stepped up to the challenge, and under the direction of Jen Otterman, succeeded wildly. Otterman notes that the theme undergirding the wacky plot is friendship – especially the kind that freaks out at the thought of a BFF getting a soiled reputation. We get this sense immediately when dear friends Ken and Chris Gorman (Robert Webster Jr. and Laura Givens) arrive at the home of their best friend Charlie (who happens to be Deputy Mayor of New York) for his anniversary party to find him upstairs, injured, and his wife Myra missing. And did they hear a gunshot?

Before getting any answers, more friends arrive: Accountant Lenny Ganz and his wife Claire (Josh Elicker and Monya Wolf); then Ernie the analyst and Cookie the TV cooking-show host (Jason Vernier and Kelsey VanVoorst); and finally, Glenn and Cassie Cooper (Jan Hauer and Sara Castillo Dandurand), he’s running for State Senate and she’s running him ragged with her crystal obsession and constant suspicions of his infidelity.

Before it’s all done, there will be numerous well-meaning falsehoods, a literally deafening second gunshot, DIY meal and cocktails, and further damage to Lenny’s BMW. So, when Officers Welch and Pudney (Nathaniel Taff and Nicole Amsler) come around asking questions, what do these paranoid partygoers say?

Again, this is all very, very funny. Comic goddess VanVoorst is in her element, as well as Webster, a versatile talent who has become a familiar face on the Westfield stage. The rest of the cast stay right on the pace, delivering one zinger or sight-gag after another. Givens and Wolf have Lucy-and-Ethyl chemistry and timing. Elicker puts the “suffer” in longsuffering but keeps it all light. Vernier is a hoot as the expert on human behavior who barely has a clue. Hauer displays the desperation to come out of this with his dignity and campaign intact. Dandurand brings flaky fun without going over the top. Even Taff gets to shine, as the cop with little tolerance for foolishness finding himself in Fool Central.

Rumor has it you will have a great time at performances Thursday through Sunday, June 9-12, at the Basile Westfield Playhouse, 220 N. Union St. Get info and tickets at WestfieldPlayhouse.org.

Wacky ‘Idiots’ in Westfield

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

“Flaming Idiots” is not Shakespeare, but the Bard does get a shout-out. This farce by Tom Rooney, presented by Main Street Productions in Westfield through Sunday (April 10) is the kind of laugh-out-loud escapist fare that comes in handy in ever-troubled times. 

The cast features many kinds of fools: 

  • Phil (Ethan Romba) is really good at jumping into things and not thinking them through, while convinced he has a fool-proof plan. So he accepts a local mobster’s offer to take over a failing restaurant, though Phil knows next to nothing about the business (which is apparently more than enough, in his mind). 
  • Phil’s partner Carl (Austin Uebelhor) is the kind of general dunce who is randomly curious about everything and understands nothing. His one stroke of genius is creating the eatery’s signature cocktail, the Flaming Idiot (“One drink makes you silly,” he explains.) 
  • Local police Officer Task (Jeffrey Haber) has an IQ somewhere between that of his horse and his last donut (so, of course he’s studying to become Detective) but at least he’s friendly and helpful.
  • Eugene (Austin Hookfin) is a waiter and aspiring ACTOR! who is really invested in his method and eager for his chance to shine.
  • Ernesto Santiago (Chris Taylor), a busboy from the barrios of Norway(?), seems to have some sense about him, as well as a mysterious briefcase, though he does lose his cool when anyone mentions “laundry.”
  • Bernadette (Wendy Brown) is the most sensible of the bunch, and the best vegetarian chef in town, but also completely deaf from a recent accident. (Will this be exploited for comic misunderstandings? Note the word “farce” above.)
  • Jayne Fryman (Ashley Engstrom) seems to do everything for the hometown newspaper – advertising, food critic, crime beat – which, having been a small-paper writer myself, I find the most believable character. However, she is plagued with a “wardrobe malfunction” that is the cause of a lot of cheeky laughs.
  • The play’s plot includes the idea to fake a mob murder to give Phil’s Restaurant the buzz of noteriety; enter Louie (Eric Bowman), the past-his-prime hitman who needs a diagram to make sure he goes through the correct door.
  • Aside from Bernadette, the smartest character by far is a random Body that, when shaved, somehow resembles a famous stage producer. He gives a truly moving performance (in a wheeled office chair).

Actually, it takes a lot of smarts to make an “idiotic” performance funny, and this crew delivers a MENSA-level effort under the genius direction of Brian Nichols. And for an all-ages show, you end up seeing a lot of underwear!

It’s all in good fun, at the Basile Westfield Playhouse, 220 N. Union St. Get information and tickets at WestfieldPlayhouse.org.

Civic steps up with Hitchcock comedy

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

One of Alfred Hitchcock’s most acclaimed films is also one of his earliest successes. “The 39 Steps,” a 1935 spy thriller set in Britain, not only reflected the tensions of inevitable war with Germany, but also set the style and elements of most of his classic movies that followed. They include the innocent man on the run; settings in famous landmarks; the icy, beautiful blonde…

However, when you see “The 39 Steps” as presented by the Booth Tarkington Civic Theatre, you might think of another famous filmmaker – notably Mel Brooks’ “High Anxiety,” in which the comic genius thoroughly spoofed Hitchcock’s work. Yes, this thriller is a comedy! Adapted from the film (and the 1915 novel by John Buchan) by Patrick Barlow, from a concept by Simon Corble and Nobby Dimon, the noir farce involves just four frantic actors and (like “Anxiety”) a few references to other Hitch classics.

Matt Kraft has just one role, but it’s a doozy. His Richard Hannay gets thrown into all manner of unlikely situations, including being set up for murder. To clear his name, he must rush from London to Scotland and back. Along his story, he encounters Haley Glickman as a doomed spy, a starved-for-excitement Scottish wife, and most importantly the woman who is determined to have him arrested, until she realizes the cops aren’t real. All other roles are played by Eric Reiberg and John Walls, in the program as Man #1 and Man #2, though the roles are also referred to as the Clowns. This latter label definitely works, as they slip into various characters and caricatures exhibiting Monty Python-level hilarity. For their part(s), Kraft and Glickman manage an excellent mix of slapstick and leading-couple chemistry.

Sharp direction is provided by John Michael Goodson (if he did a Hitchcock-style cameo, I missed it). Clever stage design by Ryan Koharchik has set elements all on rollers, so scene changes match the manic pace of the show.

No need to go all the way to the Highlands for this adventure, just as far north as Carmel, on the Tarkington stage at the Center for the Performing Arts through Feb. 19. For info and tickets, go to civictheatre.org or thecenterpresents.org.

CCP serves up wacky ‘Tenor’

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

A Broadway hit that has become a community theatre favorite, Ken Ludwig’s “Lend Me A Tenor” is back on stage courtesy of Carmel Community Players.

For the unfamiliar, this hilarious farce takes place in the mid-20th century, set entirely in a Cleveland hotel room. The local opera company has secured a performance by world-renowned tenor “Il Stupendo” Tito Morelli (JD Walls). Mr. Saunders (Thomas Smith), the show’s producer, knows of the singer’s appetites for booze and women, and warns his young assistant, Max (Tyler Marx) to keep a close eye on him. Tito arrives with wife Maria (Sonja Distefano), who is furious about everything, especially Tito. Add to this the visits by Saunders’ daughter Maggie (Caity Withers), who loves Max but adores Tito; ambitious soprano Diana (Rachelle Woolston), who will do anything to get a career boost from the tenor; local socialite Julia (Sally Carter) who wants nothing more than to be seen with Morelli in public; and a singing bellhop (Joe Wagner), insisting on giving an impromptu audition. It’s important to note that Max is a talented aspiring singer, as well. Also, we lose track of the number of sleeping pills Tito takes for his afternoon nap.

The result is two full acts of slamming doors, sharply-executed physical comedy, and all the misunderstandings you can stand — along with some nice moments of operatic singing. Under the direction of Susan Rardin, this bunch take to their roles with gusto, each pitch perfect from Smith’s paternal surliness, to Withers’ charm, Woolston’s seductiveness, Distefano’s fire, Wagner’s cheekiness, Carter’s posh attitude and Walls’ resignation as he finds himself on the wildest ride in Ohio outside King’s Island. Marx as our everyman at the heart of an ever-deepening situation wins us over with his nervous aplomb as Max somehow makes it through it all. Also, as the featured opera is “Pagliacci” (the tragic clown), the tendency of white face makeup to come off on others adds its own comic element.

This “stupendo” production has one more weekend, playing through March 8 at The Cat performance venue, 254 Veterans Way (near the downtown arts district), in Carmel. Call 317-815-9387 or visit www.CarmelPlayers.org.

 

Silly Santa shenanigans in Greenfield

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

You don’t have to have children to get a little silly around Christmas. In fact, allegedly normal adults can find themselves in the goofiest situations, especially when you throw in a couple of Santa suits and some festive pajamas.

This is the scene in “Sorry, Wrong Chimney,” a farce by Jack Sharkey and Leo W. Sears presented by CrazyLake Acting Company in Greenfield. Set in a more innocent time — around the 1980s — recently-married Samantha (Alexandra Kern) wants to share a romantic first Christmas with husband David (Luke Agee), but he is always working late. She confides her frustration to neighbor and best friend Natalie (Stephani McDole), who assures her there’s nothing to worry about. But then she overhears something between Natalie and David — could they be having a fling? Sam calls Natalie’s husband, Bill (Corey Yeaman), for advice; he had been napping, so comes over in his pajamas and robe — this will prove problematic.

But the trouble really begins when Bill, a psychiatrist, is talked into using his skill as a hypnotist. But instead of mesmerizing David to reinforce his love of Sam, his charm snares the Santa Claus Burglar! The bad Santa (Trever Brown) actually believes he is Kris Kringle, which his loving fiance Sheila (Chris Vehorn) has learned to live with. 

Oh, and there is also an inquisitive police officer (Coy Hutcherson). What else could go wrong?

The result is one very funny holiday diversion, complete with slapstick, slamming doors, goofy chase scenes, misplaced mesmerism and a little dirty dancing. Directed by Christine Schaefer, this talented cast elevate an okay script with a lot of great physical humor and total dedication to the absurdity in each scene.

Granted, I’ve got a soft spot for Greenfield since I used to work there, but trust me, it is again worth the drive to see “Sorry, Wrong Chimney,” Friday and Saturday, Dec. 13-14, and Dec. 20-22, at the H.J. Ricks Centre for the Arts, 122 W. Main St. (US 40) downtown. Get info and tickets at crazylakeacting.com.  

Civic goes Wilde

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

If you think Victorian English manners and society were stuffy and insufferable, imagine how it was for someone living through it. Fortunately, Oscar Wilde had his rapier wit to help him skewer those pretensions in his masterpiece farce, “The Importance of Being Earnest,” which the Booth Tarkington Civic Theatre presents in the cozy confines of the Studio Theater through April 6.

In 1890s London, among polite folks for whom ignorance is a virtue and honesty a vice, John (Ethan Mathias) and Algernon (Bradford Reilly) have been undertaking some “Bunburying” – that’s not code for something obscene; it’s just the simple practice of being one person in town, and another in the country. John is in love with Gwendolen (Carrie Schlatter), while Algernon has fallen in love with John’s ward, Cecily (Sabrina Duprey). But both ladies insist on marrying a man named Earnest. So both our heroes oblige, and hilarious confusion follows.

Gwendolen’s aunt, Lady Bracknell (Vickie Cornelius Phipps), is very particular about who the girl marries. Meanwhile, Cecily’s governess Miss Prism (Miki Mathioudakis) is trying to get the attention of the Reverend Chasuble (Craig Kemp), but she is also hiding an important secret.

The incomparable Matt Anderson completes the ensemble as the butler at each house. Performances are top-notch, and even the scene changes are entertaining — executed by the actors under Anderson’s watchful eye.

When the world is full of absurdity, nonsense starts to make its own sort of sense. That was Wilde’s world then, and some could argue that reflects our world now. So, enjoy this Earnest effort at classic comedy.

The Studio Theater is at the Center for the Performing Arts in downtown Carmel. For tickets and information, call 317-843-3800 or visit civictheatre.org.

Mud Creek presents a little mystery with a lot of laughs

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , ,

By John Lyle Belden

It’s a real treat to see stage veterans cut loose on a good American farce, such as the faces familiar to audiences at Mud Creek Players generating laughter with “Exit the Body.”

In the early 1960s – when telephones were not only still connected to the wall, in rural areas you still had to talk to the local operator – popular mystery writer Crane Hammond (played by Linda Eberharter) is spending a few weeks in the New England countryside to relax and work on her next novel, dragging reluctant secretary Kate (Barb Weaver) along. The cottage, just down the road from best friend Lillian (Judy McGroarty) and arranged by local real estate agent Helen (Ann Ellerbrook), has secrets of its own – including the possibility of hidden stolen diamonds! It appears that the housekeeper, Jenny (Savannah Jay), is in cahoots with local thug Randolph (Eric Matters) to recover those jewels, wherever they are.

Meanwhile, Lillian introduces her new husband, Lyle (Tim Long), but because of trouble with the old husband, she tells people that he is actually Crane’s husband, Richard (Joe Forestal – he’ll show up eventually). For local flavor, we have handyman/taxi driver/sheriff Vernon (Kevin Shadle). And for the titular Body, we have Phillip Smith (Tom Riddle), who could be anybody.

The hilarious slamming-door antics are helped along by a closet at the center of the set (designed by Jay Ganz) that opens into both the living room and the backstage library. The script and cast make full use of its comic and spooky (the body was there, now it’s gone!) possibilities. Though a mystery, this show delivers more laughs than chills, much like a Scooby-Doo episode for grown-ups.

Ellerbrook has Crane dealing with being in the plot rather than writing it, with McGroarty’s Lillian welcoming the diversion and Weaver’s Kate chewing the scenery with biting sarcasm. Long has Lyle just taking it all in stride. Generating the most laughs are Shadle – with a style reminiscent of a Carol Burnett cast member, keeping his character at the edge of absurdity – and Jay, whose airhead Jenny manages to charm while squeezing all the corn out of a Southern accent.

“Exit the Body” runs through Sept. 29 at the Mud Creek Players “Barn” at 9740 E. 86th St. (between Castleton area and Geist Reservoir). Call 317-290-5343 or visit www.mudcreekplayers.org.