Returning to the stage

By John Lyle Belden

Things are starting to look more “normal,” and that includes the central Indiana stage scene. Of course, the pandemic is still around, especially with Covid-19 variants still infecting and killing many. But with improving numbers of the vaccinated and taking common-sense measures by all of us, we can still celebrate our arts.

Alas, even though I’m vaccinated against diseases, I’m still not immune to Gremlins. One such critter has affected the Stage Schedule page on this site. So, until we get it fixed, check out the list below for ongoing and announced shows. In addition, check IndyFringe.org for more events leading up to the festival in mid-august.

See you in the audience; Curtain Up!

***

Last updated: July 25, 2021

Schedules subject to change, especially with changes in public health conditions.

See websites or call for Covid-19 safety policies.

2021

June 24 -Aug. 15

“The Sound of Music,” Beef & Boards Dinner Theatre, 9301 N. Michigan Road; http://www.beefandboards.com

July 23-Aug. 2

“The Best Little Whorehouse in Texas,” Ricks-Weil Theatre Company at H.J. Ricks Centre for the Arts, 122 W. Main St. (US 40), Greenfield; fb.com/RicksWeilTheatreCompany

July 28

“Sleepaway,” Summit Performance Indianapolis at The Park at the Phoenix (Phoenix Theatre Cultural Center), 712 North Illinois St., Indianapolis; (Free tickets) summitperformanceindy.com

July 30-Aug. 7

“Anton in Show Business” (all-female) Betty Rage production at Outback Stage at The District Theatre, 627 Mass. Ave., Indianapolis; IndyDistrictTheatre.org

Aug. 5-7

“Godspell,” Eclipse Summer Stock Stage at The Park at the Phoenix (Phoenix Theatre Cultural Center), 712 North Illinois St., Indianapolis; phoenixtheatre.org

Aug. 6-7

“Tuesdays With Morrie,” Live staged reading by Carmel Community Players at PrimeLife Enrichment, 1078 Third Ave. SW, Carmel; carmelplayers.org/whats-on-stage/tuesdays-with-morrie/

Aug. 6-13

“Crazy For You,” Footlite Musicals, 1847 N. Alabama, Indianapolis; footlite.org

Aug. 6-14

“Alice In Wonderland,” Mud Creek Players (outdoors), 9740 E. 86th St., Indianapolis; mudcreekplayers.org

Aug. 8

Sam C. Jones w/ Hank Ruff, in concert at The Park at the Phoenix (Phoenix Theatre Cultural Center), 712 North Illinois St., Indianapolis; phoenixtheatre.org

Aug. 13-14

“The Silent War,” Live staged reading by Carmel Community Players at PrimeLife Enrichment, 1078 Third Ave. SW, Carmel; carmelplayers.org/whats-on-stage/the-silent-war/

Aug. 13-22

“Hedwig and the Angry Inch,” Zach & Zack productions at The Park at the Phoenix (Phoenix Theatre Cultural Center), 712 North Illinois St., Indianapolis; tickets.zachandzack.com, phoenixtheatre.org

Aug. 19-Oct. 3

“Newsies,” Beef & Boards Dinner Theatre, 9301 N. Michigan Road; http://www.beefandboards.com

Aug. 19-Sept. 5

INDYFRINGE (Indianapolis Theatre Fringe Festival) Mass. Ave. area, Indianapolis; http://www.indyfringe.org

Aug. 20-Sept. 5

“The Two Kids That Blow Sh*t Up,” Fonseca Theatre, 2508 W. Michigan St., Indianapolis; fonsecatheatre.org

Aug. 20-21

“Ripcord,” Live staged reading by Carmel Community Players at PrimeLife Enrichment, 1078 Third Ave. SW, Carmel; carmelplayers.org/whats-on-stage/ripcord-2/

Aug. 26-28

“Under the Big Top,” Gregory Hancock Dance Theatre at The Tarkington, Center for the Performing Arts, downtown Carmel; gregoryhancockdancetheatre.org, thecenterpresents.org

Sept. 10-Oct. 3

“Always, Patsy Cline,” Actors Theatre of Indiana at The Studio Theater, Center for the Performing Arts, downtown Carmel; atistage.org, thecenterpresents.org

Sept. 10-19

“Boeing Boeing,” Carmel Community Players at The Cat, 254 Veterans Way, downtown Carmel;; carmelplayers.org

Sept. 16-26

“Arsenic and Old Lace,” Epilogue Players, 1849 N. Alabama St., Indianapolis (corner of 19th and Alabama); epilogueplayers.com

Sept. 17-Oct. 3

“A Gentleman’s Guide to Love and Murder,” Footlite Musicals, 1847 N. Alabama, Indianapolis; footlite.org

Sept. 18-Oct. 3

“1980 (Or, Why I’m Voting for John Anderson),” Storefront Theatre of Indianapolis, 717 Broad Ripple Ave., Indianapolis; storefrontindy.com

TBA

“King Liz,” Fonseca Theatre, 2508 W. Michigan St., Indianapolis; fonsecatheatre.org

Oct. 6-31

“The Book Club Play,” Indiana Repertory Theatre, 140 W. Washington St., Indianapolis; irtlive.com

Oct. 7-17

“Dracula,” Main Street Players at Westfield Playhouse, 220 N. Union St., Westfield; westfieldplayhouse.org

Oct. 7-31

“Alabaster,” Phoenix Theatre, 712 North Illinois St., Indianapolis; phoenixtheatre.org

Oct. 7-Nov. 21

“Phantom,” Beef & Boards Dinner Theatre, 9301 N. Michigan Road; http://www.beefandboards.com

Oct. 8-23

“The Color Purple: The Musical,” Booth Tarkington Civic Theatre, Center for the Performing Arts, downtown Carmel; http://www.civictheatre.org, thecenterpresents.org.

Oct. 8-17

“Who’s Afraid of Virginia Woolf,” Bard Fest production at The Cat, 254 Veterans Way, downtown Carmel; http://www.indybardfest.com

Oct. 9-10

“Legend of Sleepy Hollow,” Buck Creek Players (outdoors), 11150 Southeastern Ave., Indianapolis (Acton Road exit off I-74); buckcreekplayers.com

Oct. 22-31

INDY BARD FEST (Shakespeare Festival): “Measure for Measure” at IndyFringe (downtown Indy), “Antony and Cleopatra” and “Love’s Labors Lost” at the Cat (Carmel), “Macbeth” at Theater at the Fort (Lawrence); http://www.indybardfest.com

Oct. 28-30

“There’s No Place Like Home,” Gregory Hancock Dance Theatre at The Tarkington, Center for the Performing Arts, downtown Carmel; gregoryhancockdancetheatre.org, thecenterpresents.org

Oct. 29-Nov. 21

“Lombardi,” Actors Theatre of Indiana at The Studio Theater, Center for the Performing Arts, downtown Carmel; atistage.org, thecenterpresents.org

Nov. 5-14

“Rosie the Riveter,” Buck Creek Players, 11150 Southeastern Ave., Indianapolis (Acton Road exit off I-74); buckcreekplayers.com

“Elizabeth Rex,” Indy Bard Fest at Theater at the Fort, 8920 Otis Ave. (Lawrence); http://www.indybardfest.com.

Nov. 19-Dec. 12

“Holiday Inn,” Footlite Musicals, 1847 N. Alabama, Indianapolis; footlite.org

Nov. 26- Dec. 18

“A Charlie Brown Christmas,” Booth Tarkington Civic Theatre, Center for the Performing Arts, downtown Carmel; http://www.civictheatre.org, thecenterpresents.org

Nov. 26-Dec. 26

“A Christmas Carol,” Indiana Repertory Theatre, 140 W. Washington St., Indianapolis; irtlive.com

Nov. 27-Dec. 19

“Bakersfield Mist,” Phoenix Theatre, 712 North Illinois St., Indianapolis; phoenixtheatre.org

Dec. 2-12

“The Christmas Express,” Epilogue Players, 1849 N. Alabama St., Indianapolis (corner of 19th and Alabama); epilogueplayers.com

Dec. 3-4

“The Nutcracker,” Gregory Hancock Dance Theatre at Pike Performing Arts Center, Indianapolis; gregoryhancockdancetheatre.org, thecenterpresents.org

Dec. 3-5

“Holiday Shorts,” Carmel Community Players at The Cat, 254 Veterans Way, downtown Carmel;; carmelplayers.org

Dec. 3-24

“Elf: The Musical,” Booth Tarkington Civic Theatre, Center for the Performing Arts, downtown Carmel; http://www.civictheatre.org, thecenterpresents.org

Dec. 9-19

Irving Berlin’s “White Christmas,” Main Street Players at Westfield Playhouse, 220 N. Union St., Westfield; westfieldplayhouse.org

Dec. 10-19

“It’s a Wonderful Life: A Live Radio Play,” Buck Creek Players, 11150 Southeastern Ave., Indianapolis (Acton Road exit off I-74); buckcreekplayers.com

2022

Jan. 26-Feb. 20

“Fahrenheit 451,” Indiana Repertory Theatre, 140 W. Washington St., Indianapolis; irtlive.com

Jan. 28-Feb. 20

“The Big Bang: The Musical,” Actors Theatre of Indiana at The Studio Theater, Center for the Performing Arts, downtown Carmel; atistage.org, thecenterpresents.org

“Love Bird,” Phoenix Theatre, 712 North Illinois St., Indianapolis; phoenixtheatre.org

Feb. 4-13

“Good People,” Buck Creek Players, 11150 Southeastern Ave., Indianapolis (Acton Road exit off I-74); buckcreekplayers.com

Feb. 4-19

“The Diary of Anne Frank,” Booth Tarkington Civic Theatre, Center for the Performing Arts, downtown Carmel; http://www.civictheatre.org, thecenterpresents.org

Feb. 7-27

“Calendar Girls,” Epilogue Players, 1849 N. Alabama St., Indianapolis (corner of 19th and Alabama); epilogueplayers.com

Feb. 10-20

“Of Mice and Men,” Main Street Players at Westfield Playhouse, 220 N. Union St., Westfield; westfieldplayhouse.org

Feb. 12-27

“The Black Dahlia,” Gregory Hancock Dance Theatre at The Academy of GHDT, Carmel; gregoryhancockdancetheatre.org

Feb. 25-March 6

“The Curious Incident of the Dog in the Nighttime,” Carmel Community Players at The Cat, 254 Veterans Way, downtown Carmel;; carmelplayers.org

March 11-26

“Wait Until Dark,” Booth Tarkington Civic Theatre, Center for the Performing Arts, downtown Carmel; http://www.civictheatre.org, thecenterpresents.org.

March 17- April 10

“The Magnolia Ballet,” Phoenix Theatre, 712 North Illinois St., Indianapolis; phoenixtheatre.org

March 23-April 10

(TBA), Indiana Repertory Theatre, 140 W. Washington St., Indianapolis; irtlive.com

March 31-April 10

“Flaming Idiots,” Main Street Players at Westfield Playhouse, 220 N. Union St., Westfield; westfieldplayhouse.org

April 1-10

“Fly Babies,” Buck Creek Players, 11150 Southeastern Ave., Indianapolis (Acton Road exit off I-74); buckcreekplayers.com

April 7-9

“Exodus,” Gregory Hancock Dance Theatre at The Tarkington, Center for the Performing Arts, downtown Carmel; gregoryhancockdancetheatre.org, thecenterpresents.org

April 20-May 15

“The Paper Dreams of Harry Chin,” Indiana Repertory Theatre, 140 W. Washington St., Indianapolis; irtlive.com

April 21-May 1

“Becky’s New Car,” Epilogue Players, 1849 N. Alabama St., Indianapolis (corner of 19th and Alabama); epilogueplayers.com

April 22-May 8

“The Fantasticks,” Carmel Community Players at The Cat, 254 Veterans Way, downtown Carmel; carmelplayers.org

April 27-May 22

“Working: The Musical,” Actors Theatre of Indiana at The Studio Theater, Center for the Performing Arts, downtown Carmel; atistage.org, thecenterpresents.org

April 28-May 22

“No AIDS, No Maids, or, Stories I Can’t F*ckin’ Hear No More,” Phoenix Theatre, 712 North Illinois St., Indianapolis; phoenixtheatre.org

April 29-May 14

“Matilda: The Musical,” Booth Tarkington Civic Theatre, Center for the Performing Arts, downtown Carmel; http://www.civictheatre.org, thecenterpresents.org

May 10-June 5

“Steel Magnolias,” Indiana Repertory Theatre, 140 W. Washington St., Indianapolis; irtlive.com

June 2-12

“Rumors,” Main Street Players at Westfield Playhouse, 220 N. Union St., Westfield;; westfieldplayhouse.org

June 3-19

“Little Women: The Broadway Musical,” Buck Creek Players (outdoors), 11150 Southeastern Ave., Indianapolis (Acton Road exit off I-74); buckcreekplayers.com0

June 9-11

“Antony and Cleopatra,” Gregory Hancock Dance Theatre at The Tarkington, Center for the Performing Arts, downtown Carmel; gregoryhancockdancetheatre.org, thecenterpresents.org

June 10-19

“A Medley of Murders,” Carmel Community Players at The Cat, 254 Veterans Way, downtown Carmel; carmelplayers.org

June 16-26

“Now and Then,” Epilogue Players, 1849 N. Alabama St., Indianapolis (corner of 19th and Alabama); epilogueplayers.com

Aug. 12-21

“Shipwrecked! An Entertainment,” Carmel Community Players at The Cat, 254 Veterans Way, downtown Carmel; carmelplayers.org

Mother and daughter go the distance in ’26 Miles’

By John Lyle Belden

Olivia is a precocious teenager living in the 1980s, when every car has a cassette player and, since the Internet is not a big thing yet, she expresses herself in a hand-made paper ‘zine. She is also a child of divorce, and of two worlds – her father a white carpenter, her mother a Cuban immigrant.

On a day she feels especially troubled – can’t reach her father, gets indifference from stepmother, and is constantly throwing up – Olivia calls the Mom she hasn’t talked to in years. Within an hour, Beatriz is there to pick her daughter up, but rather than drive to her home in nearby Philadelphia, she impulsively drives west. And keeps going.

This sets up the adventure of “26 Miles,” the coming-of-age drama now on stage at Fonseca Theatre Company. It was written by Quiara Alegria Hudes, co-writer of “In the Heights” (with Lin-Manuel Miranda) and Pulitzer winner for “Water by the Spoonful.” Hudes also adapted this play into the musical, “Miss You Like Hell,” which was presented by Fonseca just a couple of summers ago.

Whereas “Miss You…” tackles the issues of immigration and personal identity, in “26 Miles,” the focus is more on Olivia, a high school sophomore played endearingly by college sophomore Lily Weidenbach. She perfectly channels teen angst, without coming off whiny, and the naive optimism of youth. While barely realizing it, this one who embodies the “melting pot” puts herself on a very American visionquest, headed to the historic frontier in search of the embodiment of wild native spirit. But how and where will she belong when she returns to Pennsylvania?

Beatriz, played with maternal gusto by Lara Romero, is not as imperiled as her character in the musical, and, while impatient with others, a calm mentor to Olivia, awakening her to her full heritage.

Doug Powers has many roles, especially Olivia’s father, Aaron, a former free spirit who now obsesses over wood finishes and the perfect material for shingles. He’s a devoted, loving father, but struggles with being a Dad. Also in various characters is Ian Cruz, mainly as Beatriz’s beau in Philly, and a tamale seller the women meet on the highway (he played a similar role in the Fonseca production of “Miss You…” as well).

Directed by Fonseca Producing Director Jordan Flores Schwartz, the play makes use of the in-the-round set-up of the stage in the lot behind the Basile building at 2508 W. Michigan (west of downtown Indianapolis). Live performances, with distancing and other measures, run through June 27. Get tickets and info at fonsecatheatre.org.

Even when history is changed, have we?

By John Lyle Belden

From time to time, we all consider what the world would be like if certain historical events didn’t happen – or if others did. These kinds of thought experiments take on a particular point of view in “Apologies to Lorraine Hansberry (You too, August Wilson),” by Rachel Lynett, presented live in the space behind Fonseca Theatre, directed by Jamaal McCray.

“This exists in the mind of every person of color,” says Lynett through a cast member. Welcome to Bronx Bay, an all-Black state created after the just-completed Second Civil War. We who are White, Latinx, etc., are granted a brief stay to see how the story before us plays out.

Alice (Chandra Lynch) is a struggling restauranteur – the problem being that since she is a quarter Asian, she’s attempting a “Korean fusion” eatery. Her husband Lorenzo (Chinyelu Mwaafrika) is supportive, though privately believes tofu has no place in gumbo. Their close friend Jules (Latrice Young) has a new partner, Yael (Aniqua Sha’Cole), recently approved to live in Bronx Bay. We also meet their freind Izaak (Josiah McCruiston).

Everyone on the stage looks like they belong there, but a stunning revelation threatens friendships, relationships and the tranquility of this new utopia. “People died to make these rules,” Alice reminds the others. But does that make what is happening right?

In the second act, we find ourselves in another imagining of Bronx Bay, a place for families like couples Alice and Jules, and Lorenzo and Izaak. So, how does Yael fit in?

The thesis statement of this absurd drama is literally written on the set pieces: “Blackness Iz Not A Monolith.” The “apologies” of the title allude to the tendency to see a playwright’s telling of a Black experience as “the” Black experience. The five persons we see before us are actually speaking Lynett’s words; so, being Black is the perspective of a young queer African-Latinx woman from California who lives in Arkansas?

To the credit of the writer, as well as McCray and the cast, rather than being confusing – even when going totally meta – this darkly comic journey is entertaining and thought-provoking. There’s even an alternative-history game show.

Scenic Designer Bernie Killian provides an interesting stage for an immersive “in the round” experience. Seating is properly spaced around the stage, however, there is no tent or awning so sunscreen and/or hats are recommended, especially during afternoon performances.

One weekend remains of this World Premiere production, May 28-30, at Fonseca Theatre, 2508 W. Michigan, west of downtown Indianapolis. Tickets and information at fonsecatheatre.org.

Hard lessons continue at Fonseca Theatre

By John Lyle Belden

The setting of the play “Hooded, or Being Black for Dummies,” by acclaimed playwright Tearrance Arvelle Chisholm, is “Today.” Says so right there in the program. So this examination of our understanding of race in early 21st Century America is taking place in 2020. Just add masks on all the characters – sadly, no need to change any of the story.

Fonseca Theatre Company brings back this drama from its first season (I wrote about it then, too), again directed by Ben Rose, in the wake of the real-world drama of this tumultuous summer. Rose noted that actor preparation took on a more serious tone this time, and he was grateful to also have Chinyelu Mwaafrika and Joshua Short return to star.

Marquis (Mwaafrika), a suburban teen from posh (mythical) Achievement Heights, outside Baltimore, has gotten caught up in the latest online challenge and is in a police holding cell for trespassing. His cellmate, Tru (Short), fits the conventional African-American stereotype, and is amazed that Marquis doesn’t. Eventually, Marquis’ adoptive limousine-liberal mom Deb (Megan Ann Jacobs) arrives to spring them from the clutches of Officer Borzoi (Keegan Jones). Tru then gets to experience Marquis’s world, with his nice home and all-white classmates at Achievement Preparatory Academy: jocks Hunter (Joseph Mervis) and Fielder (Maverick Schmidt), and top girls’ clique led by Meadow (Vicki Turner) with Prairie (Jacobs) and Clementine (Sarah Ault).

Seeing Marquis as “too White,” Tru fills a notebook with “Being Black for Dummies” in the hope of connecting him with his racial heritage. But the book falls into the wrong hands, with tragic results.

Meanwhile, Marquis dreams of visits by ancient gods – fair-skinned Dionysus (Schmidt), who wants him to take the easy life; and dark-skinned Apollo (Jones), who whispers to him a dark secret.

This show is spiced with a surprising amount of humor, and the production does include a “laugh light” to let you know when it’s safe to react without being racist. However, there are a lot of hard questions and uncomfortable discussions. Also, the characters make an embarrassing number of assumptions, including the fateful conclusions drawn by school Headmaster Burns (Mervis) that sound a lot like your “I’m not a racist, but…” friend when telling you the “truth” about a Black victim of a shooting. Thus does this fictional story connect solidly with our real world; Chisholm’s characters are each simultaneously flesh-and-blood and living metaphor. You know this person; you’ve met this person; you’ve seen this person on the news; you are this person.

The cast do a great job of communicating all this to us through their cloth masks, and with the intimate (yet with seating properly distanced) stage in the backyard of the FTC building, we even hear clearly when the mic-packs sputter. This was an important and enlightening drama already, and today it feels more vital to make the effort to experience. Fonseca staff even have nice masks available for a donation.

All performances are 8 p.m., continuing Saturday, Sunday (Aug. 22-23), and Thursday through Sunday, Aug. 27-30, at 2508 W. Michigan, Indianapolis. Details and tickets at fonsecatheatre.org.

Fonseca returns with reflection of our ongoing racial struggle

By John Lyle Belden

Current and recent events compelled Fonseca Theatre Company to stage “Hype Man: A Break Beat Play” as its first production while live theatre starts to return to central Indiana. But more telling of the persistent seriousness of its issues is that this drama by Idris Goodwin was written over two years ago.

Image
From left, Aaron “Gritty” Grinter, Grant Byrne, and Paige Neely in the Fonseca Theatre Company production of “Hype Man: A Break Beat Play”

In a large, racially diverse, American city, in a time not long before 2020, up-and-coming white rapper Pinnacle and his Black hype man Verb wait on the creator of their beats, Peep One, to arrive at the studio so they can rehearse for their appearance on the Tonight Show. She enters, telling them she was delayed by traffic around a police chase. Minutes later, social media alerts give the full story: An unarmed black teen was killed, shot 18 times by cops while attempting to surrender.

The show must go on, as Pinnacle is focused on his national TV debut and upcoming tour, but as his hip-hop hit, “The Boy Shine,” gets its ovation, Verb makes a gesture for racial justice that throws their lives into chaos.

Local recording artist Grant Byrne plays Pinnacle, “born between a rock and a Glock,” blind to the fact that despite the disrespect he gets from uptown whites, his fair skin gives him a veil of privilege – and as a member of the hip-hop community, responsibility. Byrne manages to keep him likable, but driven and too focused on his “brand,” needing to learn to get out of his own ego and his fear of getting bogged down by serious issues like injustice. Still, his stage style is tight, as, with a wry smile, he spins Goodwin’s rhymes like they’re his own.

Local entertainer and the show’s music director Aaron “Gritty” Grinter is Verb, Pinnacle’s childhood best friend and long-time collaborator. The most complex character, his TV moment was to be a personal comeback, after past (unspecified) incidents had him in court-ordered therapy. The young man’s shooting affects him deeply, “I was that kid so many times!” Grinter is well-suited to the role, a natural motivator channeling the fire awakened within the Hype Man.

Indy native Paige Neely is Peep One, who tries to walk the middle path between the others’ bold personalities. Having been adopted by an apparently middle-class family (likely white), she doesn’t deny her blackness but identifies mostly as a woman in hip-hop, which is struggle enough. She understands Pinnacle’s fixation on the business of showbiz, but knows what Verb wants to accomplish is even more vital. Neely makes her more three-dimensional than the script seems to suggest, ably going from referee to friend, to a girl with her own mind and dreams, as the story demands.

This play is the directing debut of Daniel A. Martin, who is experienced with more comic fare, but as (among other things) an improv artist, does well with a trio in a very collaborative, sharing environment. The drama feels as real as the latest TV and online news, and though the death described is fictional, it has occurred in one form or another numerous times (including here in Indianapolis). The play doesn’t exploit, make light of, or preach on the issues, but helps to continue our local and national conversation.

In consideration of the ever-present health issues, FTC producing directors Bryan Fonseca and Jordan Flores Schwartz, and company staff, are taking the Covid-19 threat seriously. The stage (excellently designed by Daniel Uhde) is outdoors, behind the Basile Building, 2508 W. Michigan St., with plenty of parking at the adjacent park. There is appropriately-spaced seating, hand sanitizer handy, and all (except for actors while acting) are required to wear face masks (this was policy before the Mayor made it mandatory countywide). Local artist Kathryn Rodenbach made and donated some nice cloth masks, which can be picked up for a donation of whatever you want to give.

“Hype Man” runs through July 26. Get details and tickets at fonsecatheatre.org. To delve deeper into the issues of the play, Fonseca added this page as well.

FTC: ‘Cake’ a complex confection

By John Lyle Belden

Though every aspect of a thoroughly-planned wedding seems critical, the most important thing is still the people involved.

That is the approach playwright Bekah Brunstetter brought to “The Cake,” now presented by Fonseca Theatre Company, directed by founding staff member Jordan Flores Schwartz. In this “issue play” tackling recent conflicts of homophobia, religious freedom, and free commerce, while a bakery avoiding making a wedding cake for a same-sex marriage is at the center of the story, it is the people and their very human feelings that we explore.

Della (Jean Arnold) appears to have her life in order. Her shop, Della’s Sweets of Winston, N.C., is doing well and she has been selected for the “Big American Bake Off” television show. She is a stickler for following the directions, whether it be with a generations-old recipe or the centuries-old wisdom of the Bible. We meet her speaking on this to a young freelance writer, Macy (Chandra Lynch), who, while working on her next story, has an ulterior motive. This is revealed when Jen (Kyrsten Lyster) arrives. 

Jen grew up in this neighborhood and is friends with Della. She is also Macy’s fiance. After first insisting on making the wedding cake, before finding out it is for “two brides,” Della suddenly remembers how busy she will be around the wedding date and changes her mind. 

At this point you might expect characters to dig in their heels as they take sides, each individually convinced they’re right, and maybe even go to court. But the consequences are more nuanced. 

Della, who has known and loved Jen since babysitting her years ago, almost immediately feels regret over her decision. While her husband, hard-working plumber Tim (Adam O. Crowe), supports her on it, she finds herself haunted by the voice of the Big American Bake Off host George (Dwuan Watson) questioning her motives and methods. Also, she can’t help but notice the true love between Jen and Macy, a feeling she struggles to find between her and her dutiful but distant spouse.

Meanwhile, a rift forms between our engaged couple. Macy, a New Yorker, sees all she feared from the South coming true, and wants to strike back, or at least give up the fancy nuptials for a simple civil ceremony — elsewhere. Jen, on the other hand, is determined to have her dream wedding. It turns out you can take the lesbian out of North Carolina, but you can’t take North Carolina out of the lesbian.

As with all genuine stories, no matter how serious things get, some of it you just have to laugh at. There are plenty of comic moments in this play, especially when Della tries to rekindle her own jaded romance.

Arnold makes Della surprisingly sympathetic, given the spot events have put her in. Though playing a staunch conservative, Crowe gives Tim enough heart that we can see what she saw in him.

Lynch and Lyster make a good couple, as in their roles their yin and yang of protector and nurturer balance each other out. Still, neither woman is all hard or all soft. Is it enough to save the wedding? (And will there be cake?) You’ll just have to see to find out. 

Performances run through March 22 at FTC’s home, the Basile building at 2508 W. Michigan St., west of downtown Indy. Call 317-653-1519 or visit FonsecaTheatre.org.

Changes around us come into focus on Fonseca stage

By John Lyle Belden

Gentrification is a word and concept that gets brought up a lot — how it’s bad, how it has benefits, how it is inevitable. Indianapolis has seen aspects of it in play in neighborhoods such as Broad Ripple, Mass Ave./Chatham Arch, Irvington, and Fountain Square.

This phenomenon is at the heart of “Salt Pepper Ketchup,” a drama by Josh Wilder now on stage at Fonseca Theatre Company in Indy’s near-westside — an area starting to see the effects of redevelopment.

The play is inspired by the recent real-world transformation of Point Breeze community in Philadelphia’s infamous South Side. “Salt, Pepper, Ketchup” is how longtime local residents, mostly African-American, order the popular fried chicken wings at Superstar Chinese Restaurant, and owners John and Linda Wu (Ian Cruz and Tracy Herring) are happy to fill the orders as they save up for their American Dream. They had just been granted citizenship, and with improving credit, hope to buy their building.

But changes are already under way. New apartments sprang up, occupied by young white people seeking affordable rent. There is a coffee shop, and at the center of it all, the Co-Op grocery. 

Paul (Robert Negron), a leader at the Co-Op, is trying to sign up new members among the locals. John Wu, reflecting the worries of his regulars, suspects some sort of scam. Paul’s heavy-handed and tone-deaf manner isn’t helping. Still, Linda sees hope for life beyond their “Chinese joint.” Tommy (Chinyelu Mwaafrika) and Raheem (Aaron “Gritty” Grinter) see the Co-Op as a threat, a danger to the ‘hood they grew up in, and they are prepared to take drastic action. CeCe (Chandra Lynch) is trying to see all sides of this, as she works at a daycare and wants the area to get better. She even likes the idea of the Co-Op, until she discovers that a single apple costs $2.50.

We also meet the enigmatic Boodah (Dwuan Watson Jr.) who is street-smart, emphasis on both. A little older and wiser than Tommy and Raheem, he avoids conflict and criminal solutions, but when he senses injustice, he takes action.

Finally, Megan (Lexy Weixel) is a perky Co-Op worker who finds herself thrust into an unfamiliar world, struggling to make the best of it.

Seeing the events play out, I couldn’t help but feel a bit ashamed for being white. Paul is such an overbearing caricature, reeking of privilege even as he remarks on it dismissively, that it is easy to understand the backlash that overwhelms him midway through the show. Eventually he takes a more corporate attitude — or was that behind his facade all along? While this can be difficult to watch from my seat, and generating nods of agreement from minorities around me, this portrayed example of how not to gentrify can help start the conversation of how best to positively deal with the changes coming to our own streets. It helps that this important drama brings out the best in all its players.

The play is directed by Tom Evans, with a set designed by Daniel Uhde including a clever way of changing between acts. Founder Bryan Fonseca designed the lighting and Tim Brickley the soundscape, which includes hip-hop by Gritty from his upcoming EP.

As an epilogue, the play program includes a recent article on the real Point Breeze, providing more food for thought. 

“Salt Pepper Ketchup” is served up through Feb. 2 at the FTC Basile Building, 2508 W. Michigan Street. Get info and tickets at fonsecatheatre.org.

A little ‘Chrystmas’ magic

By John Lyle Belden

Bryan Fonseca returns to his tradition of the holiday show he had nurtured for a dozen years, with Fonseca Theatre Company’s “A Very Bryan Chrystmas: How the Grinch Culturally Appropriated Christmas.”

(That original series is also continued at the Phoenix Theatre, but think of them not so much as competitors as companion pieces — each with its own nice yet mildly naughty take on the winter holidays.)

Bryan’s cast of Jean Arnold, Paul Collier Hansen, Jonathan Stombaugh, Phebe Taylor, and Dorian Wilson, with the help of Tim Brickley (music director) and Mariel Greenlee (choreographer), bring us 12 scenes of music, comedy and dance. The works of five local playwrights are featured: Eric Pfeffinger and Mark Harvey-Levine’s modern takes on the Nativity; John P. Gallo’s hilariously macabre holiday tradition; Kenyon Brown’s tale of new Grinch mischief; and Cassandra Rose’s bittersweet scene of family dysfunction. Music includes songs by Tish Hinojosa, Pete Townshend, and Tim Minchin, as well as a mix by DJ QueVee.

For those who remember, Fonseca brings back the ultimate Jewish Mother with Harvey Levine’s “Oye Vey Maria,” but most of the bits are new, such as Brown’s “Mistletopriation,” which acts out the show’s title statement, with Hansen as the Christmas-hating terrorist. And Taylor shows her knack for playing practically any age, especially in her sweet performance of Hinojosa’s “Arbolito.” 

Throughout, this show is a little irreverent and a lot of fun. Performances run through Dec. 22 at the new Basile Theatre, 2508 W. Michigan. Get info and tickets at fonsecatheatre.org.

Restless dead haunt Fonseca Theatre drama

By Wendy Carson

Inspired by the recent trend of ghost investigations, a new drama, “The Brothers Paranormal,” appears on the new stage of Fonseca Theatre Company.

Delia is haunted. She is convinced that her new apartment is haunted by a Thai ghost. For the past six months she has heard whooshes, floorboard creaks, footsteps, and has now seen apparitions of a creepy young girl. While her loving husband, Felix, has not shared in any of this phenomena, he supports her decision to blow all of their savings to hire the titular service to find proof of this and hopefully restore their lives, still coming together after losing their New Orleans home to Katrina and relocating to the Midwest.

Max is haunted. The son of Thai immigrants, he and his older brother, Visarut, are just barely scraping by. Delia’s request is the first job they have attained. Max has had to leave college, his West Coast home, friends and girlfriend behind to help Visarut care for their schizophrenic mother, Tasanee. Max also worries about Visarut’s drinking problem, made worse by what their mother did.

Felix is haunted. He works as a paramedic and thought his job would be constantly saving lives. However, he feels the truth is that more often than not, he is just trying to keep them alive for a little bit longer. The ones that die under his care weigh heavy on his soul.

Can the brothers find proof of Delia’s ghost, or is her own family history of schizophrenia to blame for these manifestations? What is real? What is an illusion? Why do some cultures celebrate death and others fear it? These are among the questions posed by Prince Gomolvilas’s engrossing script.

Sean Qui is excellent as Max, running the gamut of feelings, especially towards his family. Ian Cruz is a steady presence as Visarut. Diane Tsao is charming as mother Tesanee.

Dena Toler is also in fine form as Delia, her performance putting her fright into the audience. Ansley Valentine, as Felix, delivers as a man slowly realizing he can only evade the truth for so long.

And a shuddering salute to Kim Egan as the spectre. Director (and company namesake) Bryan Fonseca uses her and the cleverly designed set to accomplish a rare feat – to make a horror stage play truly frightening. There were moments audience members were practically jumping out of their seats.

There is more to this play than the scares, of course. It fulfills the FTC objective of showing and making us consider different cultural and ethnic perspectives. But it also makes one hell of a Halloween-season experience. Performances run through Nov. 10 at FTC’s newly-remodeled Basile Building, 2508 W. Michigan St. in Indy’s near-Westside. Get info and tickets at fonsecatheatre.org.

Fonseca Theatre’s journey through America with ‘Miss You Like Hell’

By Wendy Carson

In the style of an organization willing to challenge conventions, Fonseca Theatre Company stages it’s latest offering, “Miss You Like Hell,” in a garage-warehouse. The sets surround the audience and a trail divides it into four sections, which are mostly filled with rolling and swiveling chairs to help viewers follow the action.

This musical by Quiara Alegria Hudes, with music and lyrics by Erin McKeown, is the spiritual and physical journey of a mother and daughter as they travel across the United States. While on the surface this sounds like a cliche plot, there are a lot of story elements twisting and turning so that you are never quite sure exactly how you feel about the main characters at any time.

Beatriz (Sarah Zimmerman) says she has come to reconnect with her teenage daughter, Olivia (Sharmaine Ruth), who she has not seen in years. She seems genuinely worried about Olivia’s mental state after finding a blog post threatening suicide, but Beatriz has her own needs and agenda as well. Zimmerman does a skillful job meting out her character’s motivations in a way that makes you understand that no matter how many mistakes she has made, she is still a parent and ultimately loves her child, even if her actions don’t always seem that way.

Very reluctant at first, Olivia eventually embraces this adventure with her mom and discovers more about her family history, including the background of major events in her life. Ruth deftly swerves from belligerent brat to scared child to young adult seamlessly. Her performance shows the truth of what growing up means to a person as well as what it takes out of a child.

The rest of the cast compose a Greek chorus as well as their individual roles.

Paul Collier Hansen and Patrick Goss delightfully provide some much needed comic relief as Mo and Higgins, two best friends from Arkansas on a meaningful journey of their own. Ian Cruz is in rare form as Manuel, a possible love interest and convenient rescuer. Bridgette Ludlow charms us as Olivia’s most active blog respondent, as well as the strong dose of reality that she needs to grow. Paige Scott plays up her fierce side playing the various officers of the law that are encountered throughout the trip. Yolanda Valdivia is solid as Beatriz’s attorney, taking on her difficult immigration case. Dan Scharbrough gives his curmudgeonly best as a South Dakota bureaucrat and a Wyoming hotel manager. Some scenes are punctuated with a dancing ancestor, portrayed with bold grace by Camile Ferrera. Company founder Bryan Fonseca directs. Tim Brickley leads an excellent on-stage band.

The story begins in Philadelphia, our cradle of freedom, and ends in southern California, where part of the “wall” we hear so much about now stands. This examination of the American dream dwells on questions of heritage, culture, justice and rights. But above all, it is about family, the one we are born to, and the fellow travelers who become just as important to us.

This road trip is worth the journey, playing through July 28 at Kinney Group, 2425 W. Michigan St., Indianapolis (just a block from Fonseca Theatre’s new home, now under construction). Enter at the back doors. The venue gets rather warm in the summer weather, so dress light. Find info and tickets at FonsecaTheatre.org.