Garfield Shakespeare Company

Scotland comes to Garfield Park

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

By John Lyle Belden

Embracing the weird and macabre atmosphere of October, Garfield Shakespeare Company presents the tragedy of “Macbeth.”

In a convenient coincidence, just last month Southbank staged “Equivocation,” based on events around the 1606 premiere of William Shakespeare’s “Scottish Play,” presented to the Scottish King, James Stuart (James VI of Scotland, James I of England and Ireland). In a way, the present production works as a companion piece to the former.

However, this play stands well on its own, presented in full in its Medieval Highland setting, complete with an emphasis on its supernatural elements. Alongside the title character, his scheming wife, and various nobles, the stars of the show are the Weird Sisters – the Three Witches (played by Sydney Engelstein, Shawntae Buchanan, and Amalia Lynn Howard) with their leader/goddess Hecate (Zella Mae Elm). Their presence is felt throughout, even in scenes where they aren’t specifically referenced. Any of the Three may make herself a supporting character to move events along, including the mysterious “Third Murderer” that Shakespeare wrote into a pivotal scene. As a convenience, and upping the spooky factor, a Witch hexes away any unfortunate fallen character off the stage. Kudos to director Aaron Collins for these touches.

With the “hurly-burly” of a battle done, a rebellious Thane (Scottish noble similar to Earl) captured, and generals Macbeth (Christopher O’Hara) and Banquo (Chad Yadon) victorious, these two encounter the Witches. They greet Macbeth with titles including ones he doesn’t yet hold, then inform Banquo he will father a line of kings (James was believed to be of that lineage). When the first part of their prediction comes true – Macbeth attains the doomed Thane’s title – the further declaration that he will be King of Scotland sets his mind racing.

In celebration of their victory, King Duncan (Hans Cummings) and his sons Malcolm (Mallory Ward) and Donalbain (Dalton McKinney) go to Macbeth’s castle at Inverness. Lady Macbeth (Leah Hodson), informed of the prophesy, strongly encourages her husband to murder the ruler. Once it’s done (with the king’s guards framed and conveniently dispatched), the sons flee, leaving Macbeth with the crown. However, fellow Thane Macduff (Dillon Richter) suspects the truth and slips away, tragically leaving his wife (Miranda Khoury) vulnerable.

As you likely know, things just get more maddening and tragic from here on out.

The cast also includes Cheyenne Henson (as Banquo’s son, Fleance), Derrick Krober, Bill Baker, Jake Hobbs, Cheri Walker, Elizabeth Ann Fasbinder, and Jean Long.

Excellent performances throughout, especially Hodson’s portrayal of Lady Macbeth, working from power-mad to just plain mad. O’Hara ably employs his distinctive voice to fully express the titular character. From the rush of fate to slowly learning its cost, we sense his growing regret and desperation throughout the scenes that follow him literally taking that fate into his own hands.

The Witches prove their essential place in the play, making this a Halloween treat. Their demeanors flex to reveal subtle power in a scene, then shaken off with a wicked giggle as they glide offstage. The performance of the cauldron dance shows respect for the Old Ways embraced by modern practitioners. And Elm being a musician greatly enhances her portrayal of Hecate; her instruments include one that reveals how a certain familiar spooky sound-effect is made.  

You can’t beat the price, as Garfield Shakespeare Company performances are free. Find them Thursday through Saturday evenings, Oct. 9-11 at 7:30 p.m., in the open autumn air of Garfield Park’s MacAllister Amphitheatre, 24325 Conservatory Dr., Indianapolis (enter from either the top or bottom of the hillside). Find information at gscindy.org.

‘Dracula’ stalks Garfield Park

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

By John Lyle Belden

Garfield Shakespeare Company is taking on a couple of classics outside the Bard’s folios, including the 1920’s adaptation of “Dracula,” by Hamilton Deane (who was authorized by the Bram Stoker estate) and John L. Balderston.

The play makes some small changes from the novel and sets the story in the ‘20s so that Count Dracula arrives in England overnight by airplane rather than in the hold of a cursed ship. Otherwise, things look eerily familiar.

We open with the events of Stoker’s story already in progress. Mina died in recent weeks of a strange sort of anemia, and now Lucy Seward (Kyarah Love) is weakening from a similar condition. Her father, Dr. Seward (Banjamin Mathis), is perplexed and worried – and further stressed by the rantings of Renfield (Derrick Krober) a troublesome patient in his sanitorium.  Lucy’s fiancé, Joan Harker (Tess Smith), shares Seward’s concern and both have given their blood in transfusions to help sustain her. A new neighbor from eastern Europe, the nobleman Count Dracula (Christopher O’Hara) has also taken an interest.

At Dr. Seward’s request, his friend, the well-travelled scientist Abraham Van Helsing (Aaron Collins) arrives to investigate the cause of Lucy’s malady. We can tell he has an idea of the answer but must ascertain all the facts and ensure that all are ready to accept what he must reveal. Also on hand are the dutiful maid, Miss Wells (Sydney Engelstein), as well as the orderly Butterworth (Jake Hobbs), who has his hands full keeping Renfield in his locked room. Cuthbert, the plush mouse, plays himself.

GSC member Cheri Walker-Owens makes her directorial debut. Cheyenne Henson is stage manager, whose crew includes two – Miranda Khoury and costume designer Ella King – who become thralls of the vampire. Also vital to this production are fight director Chris Burton and especially intimacy director AJ Stannard, considering all the “necking” going on.

The well-paced story acknowledges that the audience already knows what is going on, with the characters steadily figuring it out with only about a scene’s worth of necessary disbelief once Van Helsing reveals the facts. The growing dread as Dracula stays steps ahead of his pursuers is amplified by the genius casting of O’Hara, whose tall frame, cinema-perfect look, suave manner, and mesmerizing baritone voice had us wondering if the Count himself had auditioned.

The gender swap of Joan (for Jon) Harker is barely noticeable as Smith is fierce, her character’s devotion being both shield and weapon against the unnatural foe. For his part, Collins gives an action-hero air to Van Helsing, constantly inspiring the others. Love only plays Lucy passive at first, giving her more range of feeling and a sense of internal struggle as the stakes become clear.

You likely know the story, but it’s something else to see it performed right in front of you, on a fairly small stage level with the seating on three sides. And you can’t beat the price – free! – but contact gscindy.org to reserve your seat. Performances are Thursday, Friday, and Sunday, April 24-25 & 27, at the Garfield Park Arts Center, 432 Conservatory Drive, Indianapolis.

Shakespeare historical drama provides free fun at Garfield Park

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

By John Lyle Belden

The Garfield Shakespeare Company is a wonderful community asset in the near-southside of Indianapolis. Performing in Garfield Park, the company provides an opportunity for actors and crew of all levels of experience to bring on the Bard — and for everyone else to watch it all for free.

Through this weekend at the Garfield Park Arts Center, see them perform “Henry IV, Parts 1 and 2.” These plays, easily fitting into about an hour each with intermission between, lead up to the popular “Henry V,” and detail some of the events of England’s War of the Roses, struggles between dynasties for the British throne.

While the young “Hal,” Prince of Wales (Dillon Richter), makes merry with best bud Edward Poins (Benjamin Mathis), boisterous braggart Sir John Falstaff (Stephen E. Foxworthy) and company, his father, Henry IV (John Mortell) seeks to squash unrest in his kingdom, even while his health is failing.

The Percy family, especially young “Hotspur” (J.D. Bonitz) don’t like how their former ally is now their ruler and raise up a rebellion. After some wild (and very entertaining) antics by the Falstaff gang, the younger Henry is summoned by his father to take seriously his station and join him in battle. This Hal does, leading to a fateful meeting with Hotspur.

Part 2 deals with the aftermath of the Percys’ rebellion, leading to a “peace” meeting between its leaders and the king’s younger son, Prince John of Lancaster (Eirene Brubaker). The kingdom secure, the crown can pass to young Henry. But is he truly “king” material?

Director Chris Burton has created an excellent environment to experience this rich chapter of history. The audience sits at tables of the “Boar’s Head Tavern,” complete with complimentary platters of fruit and cheese and non-alcoholic beverages. (Friday and Saturday performances also feature sales of Garfield Brewery products.) When a scene happens to take place in the Boar’s Head of the play,  a character might sit by you for a moment, or an argument break out by your table. Simple sets give us Falstaff’s table; Royal chambers; a war camp; or even two environs at once, where similar conversations take place. History comes alive with moments of stark emotion and rowdy humor.

Key roles feature brilliant acting, especially Morrell’s dying king and Foxworthy’s absolutely perfect Falstaff. Burton even has a twist on the Shakespearean habit of casting boys for female parts, by having teen girl Brubaker play the boy Prince John (who was in his early teens when these events took place). Also solid performances from Brant Hughes, Mike Harold, June Greyson, Mallory Ward, Amber Bradley, Ashley Chase Elliott, Elizabeth Fasbinder, Jim Mellowitz, Joshua Minnich, Andrew K. Olin, and Jay Brubaker as one tough Scotsman.

This production is a follow-up to last year’s “Richard II.” Does this mean we can see “Henry V” next spring? Richter told me he is up for it, so we can hope.

Performances of “Henry IV” are 7:30 p.m. Thursday through Saturday, March 28-30. Their next production will be an outdoor staging of “As You Like It” in August. Find information at Facebook.com/garfieldshakespearecompany.

Bardfest: ‘Cymbeline’ so much more than a princess-in-peril story

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

By Wendy Carson

I confess that I was entirely unaware of the story of “Cymbeline” prior to Indy Bardfest. Even though the script has been trimmed greatly, the three-hour running time and complexity of plot is daunting. However, Garfield Shakespeare Company director Anthony Johnson’s decision to place the setting in Civil War-era America helps the audience identify with the motivations behind many of the characters and the plight of their “kingdom.”

Fortunately, Guy Grubbs and Manny Casillas are perfectly engaging in the opening scene, providing the exposition needed to follow the story.

The plot revolves around Cymbeline (John Mortell), a “King” trying to keep the world on track with his ideals, and his daughter, Imogen (Elisabeth Speckman), who secretly married Posthumous (Chris Burton) against her father’s wishes. Cymbeline therefore banishes Posthumous and keeps Imogen a prisoner until he can find her a more suitable husband. Meanwhile, Imogen’s stepmother (Ashley Chase Elliott), only referred to as “Queen,” wants her arrogant son Cloten (Jarrett Yates) to be Imogen’s groom, cementing her power – especially once she dispatches Imogen & Cymbeline.

Posthumous meets a boisterous rake, Iachamo (Jake Peacock), who wagers he can bed the hero’s virtuous bride. But finding Posthumous correct in his assertions of Imogen’s devotion, Iachamo sneaks into the sleeping girl’s bedroom and uses what he finds to win the bet. This throws Posthumous into a state of such sadness that he sends word for his loyal servant, Pisanio (Sabrina Duprey), to kill Imogen.

Having been close to the princess, Pisanio refuses to obey the order and persuades Imogen to escape, disguised as a boy. But Cloten takes her disappearance personally and sets out to take her back. Then we meet local backwoods people, led by Morgan (Matt Anderson) – yes, they become important to the plot as well.

Another complication is that the Republic, represented by Caius Lucius (Abigail Johnson) wants its tribute from this little West-Virginia-esque kingdom so that Cymbeline can keep his throne. But the power-hungry Queen would rather have war.

Mortell does an excellent job of showing the king’s desperation as everything spins out of his control, while Elliott encompasses every Disney villain at their evil plotting best. Speaking of evil, Peacock’s Iachamo is perfectly slimy.

Speckman’s take on Imogene seems slightly stilted at first, but she deftly weaves experience and pure gumption into the role by the end. Burton as noble Posthumous is sheer passion and fire, no matter what mood he is in.

Duprey looks natural in Pisanio’s boots, an excellent supporting player. Anderson, for his part, barely reins in his charisma, channeling it to hint at how important he (a soldier in exile) and his two wards (secretly royal children, played smartly by Elysia Rohn and Tyler Marx) are to the story. Emily Bohn mixes well in dual roles as the bartender/host in Postumous’s exile and as the Queen’s slyly heroic court physician.

Shakespeare based this complex play – having elements of both the Tragedies and the Comedies – on the legend of an ancient king. While it’s not easy for us, in 2017 Indiana, to imagine life in Roman Britain (or to remember that England was even part of the Empire), we can easily conjure up the world of the 1860s, thanks to things such as “Gone With the Wind.” In fact, the play’s Queen comes across as a sort of unscrupulous Scarlett O’Hara. In an environment with the unspoken subtext of people as property, Imogene’s struggle for personal freedom takes on more importance.

Bardfest typically takes on a less-produced play, and once again polishes up a gem worth discovering. Remaining performances are Saturday and Sunday, Oct. 28-29, at the IndyFringe building, 719 E. St. Clair. For more information, visit www.indyfringe.org.

Bardfest: And now for something completely different

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

By John Lyle Belden

Yes, the title here is stolen from Monty Python, which has nothing to do with the third annual BardFest, now in Indianapolis – in the IndyFringe building – after a couple of years in Carmel. However, we are dealing with things that are British and unusual.

Shakespeare’s plays – aside from being public domain – tell such good stories that they lend themselves to numerous times and places. Thus the Bard’s three plays in this year’s festival get reinvented in interesting ways.

Thus BardFest 2017 presents:

* “Cymbeline,” presented by Garfield Shakespeare Company, a play with elements of both the Comedies and the Tragedies. Originally based on the legend of a British king during the Roman Empire, this version is in a parallel world right after the American Civil War – as though West Virginia had declared itself a separate kingdom, and the Republic was cool with it, as long as the taxes are paid. Adapted and directed by Anthony Johnson, it stars John Mortell as the title king, Ashley Chase Elliott as his Queen, Elisabeth Speckman as our heroine, Cymbeline’s daughter Imogen, and Chris Burton as heroic Posthumous (yes, his actual name in the play).

* “MacBeth,” presented by First Folio Productions, the familiar cursed tragedy adapted to a tense 90 minutes by director Carey Shea. Medieval Scotland is transformed into a modern urban wasteland, where King Duncan (Ryan Ruckman) keeps order like a local sheriff or police chief. He awards a title to faithful MacBeth (Adam Tran), who had just had that promotion prophesied to him by a trio of weird women (Nan Macy, Janice Hibbard and Leah Hodson) – didn’t they also say he would become king? Lady MacBeth (Devan Mathias) is just happy her husband is finally in line with her murderous plans to seize the crown. However, Duncan’s lieutenants Macduff (Chelsea Anderson) and Malcolm (Nathan Thomas) quickly become suspicious of the ambitious couple when the king is killed.

* “The Taming of the Shrew,” presented by Catalyst Repertory, freely adapted by Catalyst founder Casey Ross. The famous Shakespeare comedy finds its misogyny mutated into a sassy, outrageous sort of musical, using modern pop songs to help tell the story – this is not “Kiss Me Kate.” At a late-20th-century tropical resort, bawdy innuendoes fly as lusty lounge singer Petruchio (Davey Pelsue) seeks to tame curvy, catty Katherina (Hannah Elizabeth Boswell). Meanwhile, noble Lucentio (Bradford Reilly) slyly wins the heart of Kate’s younger sister Bianca (Abby Gilster). Will boss Baptista (Tony Armstrong) see his daughters married off in birth order? Did you ever think a rockin’ anthem by The Darkness could be made into a heartfelt ballad?

* And for purists… well, as close as you could get was a manic production of the comedy, “The Complete Works of William Shakespeare, Abridged,” presented by the Improbable Fiction Theatre Company during the festival’s first weekend. The Reduced Shakespeare hit by Adam Long, Daniel Singer and Jess Winfield was taken on by local thespians Ron Richards, Ryan T. Shelton and Adam Workman, under the direction of Christy Clinton with occasional necessary assistance from stage manager Tamara Rulon.

Remaining performances are on both IndyFringe stages at 719 E. St. Clair, Thursday through Sunday (Oct. 26-29). “Cymbeline” is the more family-friendly (though its length could test the patience of younger patrons), while “MacBeth” is very violent and “Shrew” is very not-for-kids. For information and tickets, visit www.indyfringe.org/bard-fest.

Wendy and I will try to get more in-depth reviews of the individual shows up tomorrow, and will link back to here.

Three great plays at Bardfest

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

NOTE: As the Word/Eagle is in flux with the renaming and corresponding change in official website, John is putting his reviews here — for now.

By John Lyle Belden

Bardfest had a great opening weekend, and has two more – Oct. 20-23 and 27-30 – at the little Carmel Theatre Company stage, 15 First Ave NE in Carmel’s downtown Arts District (former home to Carmel Community Players).

It was noted in the curtain speech of one show I attended that Indianapolis is about the only major metropolitan area without a Shakespeare Festival. Fortunately, Willie’s plays do reach the boards a few times a year in individual productions around Indy, including a free summer production in White River State Park. But having three shows by the Immortal Bard – only one of which you would likely name off the top of your head if asked to list his plays – is a wonderfully unique experience.

‘KING LEAR’

I confess to missing the First Folio production of “King Lear.” Fortunately, I was familiar with the play and I trust First Folio Productions to pull this classic off more than competently. The title character is played by David Mosedale, and the role of her eldest daughter Cordelia (and a turn as the Fool) by Ann Marie Elloitt, two of the best speakers of iambic pentameter I’ve seen in central Indiana. Sarah Froehlke and Beth Clark as Lear’s devious other daughters are no slouches, either, and excellence is reflected throughout the cast and crew list, including the incredible Tristan Ross.

For those unfamiliar, “Lear” is about a British king who decides to give his kingdom to his three daughters. When the eldest refuses to flatter him, he misunderstands her actions as an insult and banishes her. She ends up in France, and leads an invasion to save her father’s kingdom from the machinations of her sisters. Mix in more madness and intrigue, and end it all tragically, and you have an excellent evening of drama. Which I didn’t have to see, but I highly recommend you do if you can.

‘TWELFTH NIGHT’

I did get a look at Shakespeare’s comedy “Twelfth Night.” It runs down the Bard comedy checklist: Shipwreck? Check. Siblings in distress? Check. Thinly made, but still effective, disguises? Check. Misunderstandings? Check. Wild wooing, leading to unlikely marriage? Check and check!

Perhaps understanding this, Garfield Shakespeare Company and directors Chris Burton and Sam Brandys made this a highly entertaining production by blending conventional pop songs into the narrative – one in particular, you’d swear was written for the play – as well as having instrumentation performed live on stage, especially by Feste, the minstrel Fool, played with perfect charm by Ashley Chase Elliott.

Twin siblings Viola and Sebastian (fraternal, yet perceived by other characters as identical in appearance, performed by Abby Gilster and Spencer Elliott) have washed up on different shores of Illyria after their shipwreck, each presuming the other drowned. Viola disguises herself as a boy and goes to work for the local Duke Orsino (Benjamin Mathis), a single man pursuing the one woman who doesn’t want him, Lady Olivia (Audrey Stonerock). Orsino sends his new servant to deliver his messages of love, but Olivia instead falls for Viola-in-disguise – compounding the “boy”s confusion as s/he is smitten with Orsino. Meanwhile, Olivia’s brother, the drunken Sir Toby Belch (Jay Brubaker) and his dim-witted companion Sir Andrew Aguecheek (Monica Verdouw) are carousing with Feste, an apparently freelance Fool working in both the Duke and Lady’s households. They and Olivia’s servant Maria (Kate Ghormley), play a cruel but hilarious prank on the prideful fellow court member Malvolio (Anthony Johnson), which only adds to the wild goings on – made even wilder when Sebastian makes his way to Olivia’s house.

Confused yet? It’s a Shakespeare comedy; a lot of various characters doing silly things to one another is part of the standard formula. Just relax, let the major groupings and who-loves-who sort themselves out, and just enjoy the ensuing mayhem. And nobody dies – that’s his other plays.

I must heap high praise not only upon every cast name listed above, but also Burton, who takes on various character roles on top of his other duties – he was even fixing the lights before the show.

‘CORIOLANUS’

As for “Coriolanus,” regarding the odd name, if we must get to the bottom (sorry!) of the story it is simply an unfortunate (for modern audiences, though Shakespeare did enjoy a bawdy pun) honorific bestowed on the main character, Caius Marcius (Taylor Cox) to celebrate his victory in battle at Corioli, where pre-Empire Rome defeated the rival Volscians, led by Tullus Aufidious (Ryan Ruckman).

Back in Rome, Marcius is not quiet about his elitist attitude, which doesn’t sit well with the commoners who already blame him (falsely) for a grain shortage. Fortunately, his smooth-talking friend Menenius (Matt Anderson) calms things down, but two Tribunes, Brutus and Velutus (Matt Walls and Paige Scott) observe this and stir up the citizens to oppose Coriolanus’s inevitable ascension to Consul.

Marcius himself doesn’t want the office, but his ambitious domineering mother Volumnia (Nan Macy) insists he take power, while his wife Virgilia (Abby Gilster) agrees, hoping it will keep the lifelong soldier home. But despite his friends and family insisting he stay calm, Marcius verbally explodes, giving the Tribunes the excuse to banish him.

In the second act, the exiled Coriolanus turns to his blood enemy Aufidious, who sets him in charge of the Volscian invasion of Rome. Being the era’s greatest general, Marcius practically brings troops to the gates of the capitol. Desperate to save Rome and win back his friend, Menenius tries to reason with Coriolanus. Finally, his mother, wife and son make their desperate plea. I’m not giving any further spoilers, but it all doesn’t end well.

Cox, who is proving himself to be one of the best actors in Indy, is excellent as his frustratingly complex character. You may not like this Caius Marcius Coriolanus, but you have to respect him. Davey Pelsue applies his matching talent as fellow Roman officer Titus Lartius, a dutiful soldier of inevitably conflicting loyalties. Macy’s is the top performance, a force of nature like a mother wolf who wants to be pack Alpha. You might not want her for a Mom, but you want her on your side. Anderson imbues his glib character with genuine feeling, fearful yet hopeful that his smooth tongue can cure any roughness he encounters. As for Walls and Scott, their villainous portrayal has them practically twirling old-time movie mustaches.

The other “bad guy” of the piece, Ruckman’s Aufidious, stays true to his character and principles, and carries a confident air throughout. Were the audience made of Volscians, he would be the easy hero. This adds to the many gray areas this play works in – not all virtuous win, not all villainous are punished, few are completely noble or evil – which might explain why it so rarely produced.

Unafraid, director Casey Ross gives this story a chance to show us all its complexities. The era portrayed is unspecified, the costumes mildly punk without being distracting, leaving us only with these characters and the drama that plays out among them. Occasional music is modern, but works with the timeless narrative. If you are a fan of great theatre, seeing this “Coriolanus” should be a priority.

For information and tickets to Bardfest, see http://uncannycasey.wixsite.com/bardfestindy.

John L. Belden is Associate Editor at The Eagle (formerly The Word), the central-Indiana based Midwest LGBTQ news source.