Pain of decades-old loss lingers in McNally play

By John Lyle Belden

We are often reminded to “Never Forget” a devastating event or era, but those who went through it often can’t stop remembering. Every day, any little thing can bring up a memory of someone who was lost.

“Mothers and Sons” by Terrance McNally, presented by Main Street Productions in Westfield, has a cast of four actors, but there are five characters. Not present but very much felt is Andre, who died 20 years earlier during the AIDS epidemic. We are in the New York apartment, with a view of Central Park as lights come on during the longest night of the year, of Cal (Austin Uebelhor), who had been Andre’s partner and caregiver in his final days. To his mild surprise, he is visited by Andre’s mother, Katherine (Elizabeth Ruddell). Recently widowed, she arrived from Dallas (where Andre grew up) with plans to fly to Europe. Cal shares his home with husband Will (Nicholas Heskett) and their young son, Bud (Tyler Acquaviva).

We come to learn a lot about Cal, Will, Katherine, and Andre. Will chafes at the thought of competing with a ghost. Katherine still harbors resentments and denial – “Andre wasn’t gay when he went to New York.” Cal tries to keep the pain of the past in perspective even as it rises up to overwhelm him again.

“Who’s Andre?” Little Bud is chock full of questions, lots of questions.

This heartfelt play is a comedy, with lots of chuckles throughout, but there is pain that must be dealt with. Grief has no time limit or expiration; before the evening is done, so that Bud and his family can trim the Christmas tree, each adult will have their say.

Ruddell makes Katherine hard to love, but easy to understand. Heskett presents as a superficial millennial, but he emerges Will’s own sense of maturity. Acquaviva delivers the right level of charm. Uebelhor is superb as the man who has had to be a rock for so long, the cracks are undeniable.

Jim LaMonte directs, happy to present this play that he hopes “will broaden [people’s] definition of family.” For those of us who remember the 1980s and ‘90s, this show is also a loving tribute to the struggles so many endured – those who became names on a quilt, and those left behind to stitch them on.

Remaining performances are Thursday through Sunday, Nov. 17-20, at Basile Westfield Playhouse, 220 N. Union St. Get info and tickets at WestfieldPlayhouse.org.

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.