gentrification

Situation of sensitivities tests couple in TOTC premiere

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By John Lyle Belden

How do you strive to do better in a rude and judgmental world without falling into snap judgements, and even, ironically, coming off rude? This conundrum comes with a dose of deeper issues in the dark comedy, “St. Sebastian.”

This Indianapolis premiere is the first full production by That Other Theatre Company, directed by company founder Jay Hemphill. The play by nationally known locally-based playwright Andrew Kramer grapples with bittersweet humor a collision of left-of-center issues including gentrification, race, and LGBTQ, as well as personal trust and faith.

Gay couple Ben (Eric Olson) and Gideon (Joe Wagner) have moved into a house with plans to fix it up and “flip” it. Ben, a former priest who works full-time on the renovation, feels glad to have gotten this foreclosure for a low price at auction. However, Gideon, a younger man who works as a DEI sensitivity trainer, discovers to his dismay that their home is in Robbins, Ill., one of the most notable historically Black towns in America. And Ben and Gideon are white.

Ben encounters a local youth, Rueben (Jy’Ierre Jones), checking out his new neighbors. Finding no ill will either way, Ben soon pays Rueben to do some yard work and odd jobs. Gideon’s extreme reactions reflect current sensibilities while betraying feelings he is reluctant to acknowledge.

The narrative plays out in a series of fairly short scenes, giving snapshots of the plot’s progression. Some elements are given without resolution, such as the padlock on the closet, and the broken window. Does the neighborhood dog (unseen) signify something, or is he just a friendly stray? Perhaps these are reminders that in real life, not everything we encounter has some higher meaning.

Much of the focus is on the love between Ben and Gideon, with honest passion and tested like that of any couple (gay, straight or otherwise). Learning the origin of their relationship could make you uncomfortable, yet Olson and Wagner make their feelings genuine. Their individual perspectives surprise them, with bitter disagreement over what were common goals. Wagner makes Gideon’s overthinking nature a source of both humor and tension.

Jones gives us an interesting, complex character. He is a teen who likes to paint action figures, a neighbor whose presence hints at a past connection to this house. He is curious and a bit insightful, but still a kid.

The title refers to an early Catholic saint, usually pictured as a young man tied to a tree and pierced with arrows, having the honor (or misfortune) to be martyred twice. Noting St. Sebastian’s more recent embrace by the LGBTQ community, Gideon keeps a small statue as a prized possession.

While you may not learn “How Not to Be a Gentrifier,” you might glean an insight into human nature under modern pressures. A show that’s sure to spark some conversations, “St. Sebastian” runs through Feb. 8 on the Basile main stage of the IF Theatre, 719 E. St. Clair St., Indianapolis. Get tickets at indyfringe.org.

The ‘flip’ side of the American ‘Dream’

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By John Lyle Belden

Some lucky people find themselves in a rather American dilemma: Is it better to hold on to a legacy, or to cash out? This situation is at the heart of the new comedy, “Dream Hou$e,” by Ellana Pipes, playing at Fonseca Theatre Company.

Latinx sisters Patricia (Yolanda Valdivia) and Julia (Lexes Rubio) have this good fortune, inheriting the family’s beautiful mission-style home, hand-built over a century ago, from their mother who recently passed. Wanting to get the most out of their property, Patricia contacted the real estate reality TV show, “Flip It & List It!” Suddenly, the host Tessa (Jean Arnold) appears with her crew (Brant Hughes, Chris Creech and Mad Brown) to record every step of the house’s transformation.

At first reluctant, the sisters are stunned into compliance with the amount the home could sell for. But things take a turn when, as renovations begin, the walls begin to bleed.

This is not the only bit of magic around, as the sisters (as siblings do) can suspend time for a moment when they really need to discuss something. Otherwise, we tackle some real-world issues of neighborhood transformation/gentrification, the struggle to preserve culture, and how does one best move on when dealing with unavoidable change?

Arnold is a wild joy to behold as the ever-upbeat TV host. She’s savvy in the ways of media and real estate, lacing her persistent charm with an all-business demeanor. However she’s never mean, even taking a liking to the young women; her candid honesty helps keep her from coming off as the villain.

Valdivia and Rubio shine in their own ways. They each approach the situation differently, and have issues to resolve with the house, and each other. Still, their portrayal shows the tested patience of a family bond, with the easy give-and-take of a comedy duo.

Director Jordan Flores Schwartz says it is in Pipes’s script that the community in the play is called “Highville,” so it is either by fate or coincidence it is staged in the Near-West Indy area of Haughville. Given ongoing events in the surrounding city, this does seem apt.

With equal parts hilarity and heart, “reality” and the surreal, this “Dream Hou$e” is well worth a look. Performances run through April 16 at 2508 W. Michigan St., Indianapolis. Tickets and info at FonsecaTheatre.org.

Changes around us come into focus on Fonseca stage

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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.