Grant Bowen

Viva Carmel Players, where love is King

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By Wendy Carson

Director Nicole Amsler and Carmel Community Players approach the Holiday season by giving audiences the gift of joy with their hilariously quirky offering, “Four Weddings and an Elvis,” by Nancy Frick.

Centering around Sandy (Veronique Duprey) and her Las Vegas wedding chapel, we are privy to four incredibly diverse sets of nuptials. Sandy herself is on Marriage No. 4 to the same man, Ken, who is never seen but is always present.

Beginning with Bev (Audrey Duprey) and Stan (Mark Livingston), who have flown out from the East Coast to marry each other as vengeance against their exes – who also plan to marry each other. They chose to have their wedding live-streamed to the exes and with Ken, Sandy’s usual minister, being passed out drunk, opt to use a nearby chapel’s minister, John (Joshua Payne-Elliot).

Sandy then hires Lou (David Dessauer) to be the new minister, but his age keeps her questioning if he can really pass for Elvis. They are to officiate the low key, high publicity, marriage of fading stars Vanessa Wells (Amanda Falcone) and Bryce Cannon (James Kenjorski) – both desperate to get their careers back on track. Sadly, the press and paparazzi decline their invitations.

We then meet Marvin (Jacob Bradford) and Fiona (Kelly Melcho), an extremely unlikely pair. He, an expert in everything regarding the Post Office, will wed her, an ex-con with a wild and colorful past. Their bliss is briefly interrupted by the arrival of her past boyfriend, Fist (Gregory Roberts), who broke out of prison to get his girl back. Hilarity – and a police standoff – ensues.

About a year later, we return to the chapel for the final wedding. It seems Sandy is ready to take the plunge for a fifth time, and all the previous characters return to celebrate with her.

Veronique Duprey maintains her charm throughout with the air of a Sin City sister who has seen it all, while the others indulge in all manner of silliness. However, these hopeful romantics indulge in these events without cynicism – each character, in their own way, wants love.

Amsler is assisted by Grant Bowen; Samantha Kelly is stage manager.

Will Sandy make it down the aisle? Will we finally meet Ken? How are the others’ relationships working out? And finally, who is the uncredited “Elvis”?

These questions and many more are answered by attending “4 Weddings and an Elvis,” Thursday through Sunday, Nov. 20-23, at The Cat, 254 Veterans Way in downtown Carmel. For tickets and info, see carmelplayers.org.

Epilogue comedy brings new meaning to ‘juke joint’

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By Wendy Carson 

Epilogue Players whisks us away to a senior living center in Upstate New York for the Indiana premiere of Paul Stroili’s rollicking tale, “A Jukebox for the Algonquin.” It is billed as “a serious comedy about sex, drugs, and rocking chairs” yet not a single rocking chair is to be had in the show.

The entire show takes place in The Algonquin Room, one of the many meeting spaces available to the residents. Being such a large place, they split into three main tribes: Indies – those in Independent Living; Asses – in Assisted Living; and Longhorns –in Long-term care, here until the end.

Dennis (Duane Mercier) holds court in the room in much the way that Dorthy Parker ran her round table in the hotel the room is named for. His regulars consist of Johnny (Onis Dean), who has a wicked sense of humor and longs for a jukebox to fill the room with real music and Annie (Wendy Brown) a spitfire who would be quite dangerous if she wasn’t mostly blind. Occasional visits from Tyler (Grant Bowen), the orderly who tries, not too well, to hide his shadier side from everyone; and Josefina (Yolanda Valdivia), the woman in charge of everything, add some bits of spice to daily life.

However, the arrival of two new people brings about all the laughs and drama that anyone could hope for. We first meet Chuck (Albert E. Lahiman III), also known as “Dust Mop Guy.” Despite his quiet demeanor, he has more than enough emotional baggage to fill all the meeting rooms. Then comes Peg (Mary DeBoer), a new Indy who becomes the member of the table they never knew was missing.

Johnny’s quest to raise money for the jukebox hits a snag and all looks lost, until Peg’s efforts to identify the plants her hippie predecessor left behind brings about a lucrative herbal solution to their financial woes. Still, it’s only 2003 and such things are still illegal.

The whole show is exquisitely cast, and co-directors Therese Burns and Amanda Greene keep things rolling along even during the few moments when life steps in and kicks the players. This is a tender, sweet, and very funny look at aging with dignity.

So, pull up a chair at the round table and see whether the gang gets to dance to the living music of actual records – or continue to suffer the sad collection of 17 CDs (three of which are copies of Frampton Comes Alive).

Ticket sales have been brisk, and there is just one week of shows left, Thursday through Sunday, Sept. 18-21, at 1849 N. Alabama St. (corner of 19th and Alabama), downtown Indianapolis. Get info and tickets at epilogueplayers.com.

BCP comedy one for the books

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By John Lyle Belden

In “The Book Club Play,” a small group who meet regularly to discuss the literature they have all read adds an element of “Big Brother,” a new member or two, and before long the gathering becomes what one describes as “‘Lord of the Flies’ with wine.”

In this comedy by Karen Zacarias, presented by Buck Creek Players, Ana (Amanda McCabe) hosts the club at her home with close friend Will (Jericho Frank), a fellow literary snob, and husband Rob (Jeff Haber), who is there for the snacks. There is also Will’s friend Jen (Alyssa Lay); joining the club helped her recover from a downward spiral. Ana has brought in her new coworker at the newspaper where they work, Lily (Nia Hughes), who can’t help but notice she’s the only non-white person in the room.

Another source of tension: Ana – and the others, in signed releases – agreed to having a camera installed in the living room, recording everything during Book Club evenings. The footage goes to a famous Danish documentarian working on a film about the American phenomenon of these get-togethers. “Act natural,” Ana insists.

After lively discussions on “Moby Dick” and “The Age of Innocence” – the latter book affecting Rob deeply after he actually reads it – Lily shakes things up by selecting “Twilight.” This leads to the unexpected addition of Alex (Grant Bowen), a professor of literature seeking to understand the appeal – and unexpected merit – of popular fiction.

Between club meetings, we get brief scenes of various people apparently interviewed for the documentary, entertainingly portrayed by Connie Salvini-Thompson. (Note: One involves the smoking of an herbal cigarette near the front of the stage.)

It could be said that reading can change your life – but these readers aren’t prepared for what’s coming. This is especially true of Ana, the kind of person who feels things need to be perfect, as she sees it, and thrives on being in control. McCabe wonderfully portrays these borderline narcissistic tendencies, letting the comedy flow naturally from the contrast between her expectations and how things turn out. She seethes, but swallows her rage as she tries in vain not to look neurotic for the camera.

For the others, surprises start to alter their perspectives. A meeting on “The DaVinci Code” brings out secrets not on the pages. Then, an attempted discussion of a “Tarzan” book goes completely wild.

In the last chapters they read together, all is revealed.

In their performances, the cast show how the usual motivations for these clubs, equal parts fellowship and meaningful conversations with the book as a catalyst, get warped by the fact that there is an unblinking “audience.” Hughes’ Lily doesn’t mean to be provocative, yet stating the obvious seems to brush against unwritten rules. Contrast this with Bowen’s Alex, who, as an academic, welcomes and encourages debate.  Frank’s Will constantly flips between confident and unsure – and if he trips your gaydar, we all see it, too (well, not everyone). Lay as Jen gently finds necessary growth of character throughout. As for Rob, Haber’s portrayal of this go-along/get-along personality shows him finding he has lost track of what he really wants and needs.

Meanwhile, Salvini-Thompson’s character work adds wonderful comic touches – starting in full Capote mode, then a stiff Secret Service agent, down-home Wal-Mart associate, prison “dealer,” and a feisty retired librarian (with the final punchline at the end of the curtain call).

It’s all well-crafted by Josh Rooks in his directing debut, adding to past onstage experience in bringing the funny. He is assisted by producer and fellow BCP mainstay Ben Jones.

“The Book Club Play” is uproariously funny, and it might even give you a fresh perspective on books and reading – note its pitfalls if you wish to start a club of your own! Performances are Friday through Sunday, June 13-15 at the Buck Creek Playhouse, 11150 Southeastern Ave. (Acton Road exit off I-74), Indianapolis. Get tickets at buckcreekplayers.com.

Epilogue’s ‘Mr. Green’ a memorable visit

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By John Belden

Being unaware of Epilogue Players’ “Visiting Mr. Green,” the self-described “comedy/drama” by Jeff Baron about a weekly appointment at the home of an 80-something single man, I wasn’t sure what to expect.

Well, this ain’t “Tuesdays with Morrie” – for one thing, our young adult Ross Gardner (Grant Bowen) arrives on Thursdays at the home of Mr. Green (Tom Bartley). This visitation isn’t sentimental, it’s court-ordered. Ross nearly ran over the old man with his car, and accepted fault and the judge’s unconventional version of community service.

To say Mr. Green is a curmudgeon would be putting it lightly. He’s very set in his ways, accustomed to being alone, and it’s hard to tell whether his mind is slipping or he wears distraction like a mask to hide his loneliness at the passing of his wife Yetta – “59 years, never an argument!” – months ago. He is a devout Jew, while Ross hasn’t done much with his faith since his bar mitzvah.

Bartley manages to portray this effectively without the distraction of aging makeup, brusque in his speech and manners, accompanied by slow but purposeful movement. He’s likable, but some of his attitudes challenge us – hard to brush off as just relics of another time or culture.

Ross tries hard to be accommodating. Bowen portrays him as frustrated, a people-pleaser at heart yet unable to find his own peace. We can tell he’s a good person caught in an awkward situation, something to which we can easily relate.

Over time, as one would expect, the two build a rapport of sorts, however a couple of personal revelations – one involving each of them – threaten to destroy their budding friendship. These visits become a compelling mix of gentle laughs and harsh words. As they both serve this unusual months-long sentence, they must find what – aside from Kosher soup – will be enough to heal their damaged souls.

The show is smartly directed by Mac Bellner with encouragement from Baron, whose recently completed second revision of his 1997 script is produced here.

This charming reflection on family, aging, and personal connections has performances Thursday through Sunday, April 10-13, at Epilogue, 1849 N. Alabama St., Indianapolis. Get tickets at epilogueplayers.com.

CCP: On tonight’s episode of ‘I Loathe Darcy…’

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By John Lyle Belden

The Jane Austen novel “Pride and Prejudice” has become so familiar to those who have enjoyed it on page and screen that someone once inserted zombies into the story. What we’ll get here, though, is much more alive. Carmel Community Players presents a recent adaptation by Kate Hamill that plays into the expectations of our romcom and sitcom-fueled culture.

Directed by Samantha Kelly, the essence of the story, set in genteel 19th-century England, is intact: the relatively poor Bennet family worry that their four daughters will not be able to marry above their station, pinning their hopes on a few local bachelors with wealth or potential.

Let’s meet our bachelorettes: Beautiful Jane (Caitlin Karas), the eldest, would love to marry wealthy Charles Bingley (Grayson Wieneke), who is interested but reluctant to pop the question. Lizzie (Katie Endres) is smart, headstrong and declares she “shall never marry.” Quirky Mary (Elizabeth Enderle) everyone considers disturbingly homely (apparently even Death won’t touch her, only giving her gaunt features and a persistent cough). Spritely Grace (Lydia Miller), the youngest, is hyper and impulsive. Also on hand is equally destitute friend Charlotte Lucas (Desiree Black), who seems to kindly accept her role as a wallflower.

Mrs. Bennet (Amanda Falcone) is frantic, to say the least, constantly extolling the virtues of her marriageable daughters to anyone who’ll listen. Meanwhile, Mr. Bennet (Matthew Socey) just wants to be left alone to read his newspaper or otherwise let things play out as they will.

At social events we meet Mr. Bingley’s posh sister Caroline (Amalia Howard), as well as the nervous Fitzwilliam Darcy (Alec Cole), who has a legendarily awkward meet-cute with Lizzie. We also encounter George Wickham (Drake Smith), ambitious but “only a Lieutenant” in the Royal Army; rich but rather creepy cousin Mr. Collins (Grant Bowen); and the fiercely upper-class Lady Catherine de Bourgh (Elizabeth Ruddell).

In Hamill’s snappy script, what we get is a sort of cross between “Fiddler on the Roof” (sans music) and “Taming of the Shrew” as though presented by the Hallmark Channel – and it works delightfully. Farcical elements entertain: Falcone’s over-the-top performance making it understandable that neighbors start to avoid her; Bowen leering in such a way that we feel Lizzie’s dread at possibly marrying Collins; the various comical jump-scares around Mary, so much that I started to feel bad for her (or at least Enderle).

It all melds well with the romantic drama aspects, such as Lizzie’s grudgingly growing appreciation of Mr. Darcy, and Lydia discovering that to leap before one looks can bring on consequences. Endres and Cole acquit themselves well as more true-to-book versions of the characters.

Nicely paced while funny and charming, indulge in “Pride and Prejudice” Thursday through Sunday (two performances Saturday) at The Cat, 254 Veterans Way, Carmel. Get tickets at carmelplayers.org or thecat.biz.

CCP: ‘Starcatcher’ a fun origin story

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By John Lyle Belden

Once upon a time, there was a boy who never wanted to grow up, so he didn’t.

How he managed that feat is the tale of “Peter and the Starcatcher,” an all-ages story presented by Carmel Community Players. Adapted for Broadway in 2011 by Rick Elice from the book by humorist Dave Barry and Ridley Pearson, this piece of English Story Theatre now occupies the intimate space of The Cat, directed by Lori Raffel.

During the reign of Queen Victoria (God save her!), two ships depart from London for a faraway tropic kingdom. One has Lord Aster (Grant Bowen), the other has his young daughter Molly (Hannah Janowicz) under the watchful eye of Mrs. Bumbrake (Tanya Haas). Also, aboard one of these is a trunk containing a dangerously wonderful substance.

Molly is aboard the Neverland, captained by crafty crusty Bill Slank (Dan Flahive) who also keeps three captive orphans – bossy Prentiss (Olivia Carrier), hungry Ted (Quinn Yeater) and a Boy too poor for a name (Mason Yeater). Meanwhile the Wasp, under Captain Scott (Chris Vojtko), is taken over by the pirate Smee (Samantha Kelly) for their boss, the infamous Black Stache (Austin Uebelhor). The buccaneers are aware there is a priceless treasure, and that Aster holds its key.

Brian Thibodeau plays Slank’s first mate, Alf, with other characters by Adrian Blackwell, Desiree Black, and Mackey Brose.

The play’s simple staging and air of whimsy propel a wild adventure that includes storms, mermaids, restless island natives, and a large hungry crocodile. Along the way, the Boy gains a name, and a purpose. Little touches like Bumbrake’s alliterations and Stache’s anachronisms keep things interesting as we see the elements come together, laying the foundation of the familiar legend of Peter Pan.

The Yeater brothers are always a treat to see onstage. Quinn’s Ted is a likable goof, while Mason displays both comic and leading-man talent, which combined make him believable as the primary title character without having to actually fly. Janowicz nicely embodies the know-it-all teen girl who speaks Doolittle-esqe languages and works magical devices with scientific precision. Carrier carries on well as the boy who’s more bluster than bravery.

Kelly has an odd charm as almost-smart Smee, while Uebelhor is entertaining as the villain wannabe who struggles to be feared until a sudden injury clarifies his place in this legend. Additional humor is wrung from the growing relationship between Bumbrake and Alf. Blackwell is impressive as a chef-turned-cannibal.

Take some time out from being a grown-up to experience the childish charms of “Peter and the Starcatcher,” performances Thursday through Sunday, Nov. 21-24, at 254 Veterans Way in downtown Carmel (by the Arts & Design district). For info and tickets, see carmelplayers.org or thecat.biz.

CCP sets intriguing ‘Dinner Party’

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By Wendy Carson

Most of us are familiar with Neil Simon plays and know what to expect from them. However, “The Dinner Party,” presented by Carmel Community Players, is different. Written in his later years, the script was originally intended to be farcical but as he fleshed out the characters, a more serious storyline emerged. That’s not to say you won’t laugh – his wit still shines through in the dialogue – but expect to be moved to serious conversation/contemplation afterwards.

The setup is simple: Six people are invited to a dinner party at a fancy restaurant by the lawyer who handled their divorces. However, no one knows who else has been invited, the host is a no-show, and the staggered arrivals of the guests just ups the confusion.

SEMI-SPOILER ALERT! The six people are actually the two halves of three different formerly married couples. This is where the serious dialogue, peppered with biting humor, comes in.

And now, to our guests.

We begin with Claude Pichon (Grant Bowen), a sort of everyman with a deep love of literature. Albert Donay (Bradley Allan Lowe) a curious, mousey type that has little knowledge of interpersonal niceties. Andre Bouville (Jason Creighton) a pompous jerk who flaunts his wealth and popularity amongst women. Mariette Levieux (Becky Larson) an elegant lady author whom Albert takes a shine to, is Claude’s ex and known to Andre as well. Yvonne Souchet (Alaine Sims) a flighty woman who entices Claude, can’t make up her mind whether to stay or go, and is Albert’s ex. Finally, we have Gabrielle Bouville (Amalia Howard) a sensuous woman of mystery and manipulation.

The result of these machinations is an hour and a half of deep delving into relationships, love, passion, fear, confusion, and possibilities.

Co-Directors Matt Trgovac and Tonya Rave bring out sterling performances in each cast member. Bowen as Claude mostly plays it cool as viewer proxy. Lowe gives an interesting character study, odd but not absurd. Creighton has Andre seethe with air of a power broker who can’t bear not being in control. Larson plays Mariette mostly level-headed, but the edges are fraying. Sims lets Yvonne’s issues plainly show, as in this off-kilter setting her erratic behavior seems fitting. In Howard’s performance you can practically see steam rising off Gabrielle, shifting from seductive to pouty to dominatrix calm in a heartbeat.

Set in Paris, we hear these French characters in plain English with no distracting accents. But the setting does lend some tension, contrasting old-world mores with the permissive atmosphere of the city’s reputation.

Performances of “The Dinner Party” run Thursday through Sunday, May 2-5, at The Cat, 254 Veterans Way, downtown Carmel. See thecat.biz or carmelplayers.org for info and tickets.

Romantic battle of wits in BCP’s ‘Moon’

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By John Lyle Belden

Growing into your teen years is tough enough. But for a genius-IQ girl in a dull west Pennsylvania town in the 1980s with a single Mom who is a bit of a free spirit, the prospect of a new man in their life is a bit much to deal with. Fortunately, a lifelong friend is there to help.

In “Moon Over the Brewery,” by Bruce Graham, presented by Buck Creek Players, Amanda is our 13-year-old with this conundrum. Randolph, the (invisible to others) paternal-looking friend with a posh accent and wearing whatever was in the last book she read, has returned to delve into the mystery of the “midnight laugher.” They suspect this is a new bad decision for her mother, Miriam, a woman who stopped art school to become a diner waitress to raise her daughter – but never abandoned art, as she works on paintings of nightscapes as well as sculpture and a beautifully assembled quilt. The latter, Amanda (who minds the checkbook) plans to sell for top dollar.

Suddenly at their doorstep, there is an odd, mildly chubby mail carrier saying he is Warren Zimmerman, Miriam’s new beau. Amanda stands inside with Randolph at her shoulder: let the games begin.

This quirky comedy with quirky characters coalesces into a quirkier romance as our foursome come to understand each other and themselves. Brooke Dennis as Amanda is excellent as a 13-going-on-30 prodigy who at times mothers her mom but is not as mature as she feels she must be. AnnaStacia Nuffer in a brilliant debut as Miriam is a complex artistic soul who just wants everything good for everyone, hoping she could find some for herself. In her prior relationships she’s felt outvoted two-to-one by Amanda and Randolph, whom she regards not as a figment but a bogeyman who must be banished. Grant Bowen comes off a little disturbing and goofy at first as Warren; still, with genuine and easy manner he wins us as one who has eccentricities of his own but also varied life experience, just the right guy to stand toe-to-toe with an invisible man.

Tony Brazelton takes full advantage of a plum comic role; his Randolph is suave, brash, devious, protective, suspicious, sharply witty, and everything else you’d expect from a teenage girl’s id taken the form of a classic cinema leading man. His banter and mind games are highly entertaining, yet he never takes it too far, out of respect for the mistress from whose synapses he sprung, keeping him likable to the audience.

The result is a charming mashup of coming-of-age story and rom-com, with just enough weirdness to hold it together. This fun theatrical experience comes to life with the help of director Mac Bellner and technical director/stage manager R. Brian Noffke. Thanks also to young assistant directors Elsie Rau and Bennett Dilger for their work behind the scenes.

Remaining performances of “Moon Over the Brewery” are Friday through Sunday, Feb. 9-11, at the Buck Creek Playhouse, 11150 Southeastern Ave. (Acton Road exit off I-74), Indianapolis. For tickets and information, go to BuckCreekPlayers.com.

Cat, CCP stage farcical salute to struggling actors

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By Wendy Carson      

Is the thought of seeing one more Christmas-themed production making you want to spew your eggnog? If so, you need to drive over to The Cat in Carmel and catch a performance of Carmel Community Players production of “Moon Over Buffalo.”

The 1995 comedy by Ken Ludwig is notable not just for its slamming-door farcical elements but as the vehicle in which Carol Burnett returned to Broadway. Needless to say, there are plot twists and laughs aplenty.

In the summer of 1953, George Hay (Jason Creighton) and wife Caroline (Tonya Rave) have washed out on the Broadway stage as well as in Hollywood and tour the country in reparatory, alternating between productions of “Cyrano de Bergerac” and “Private Lives.” They are currently stuck in Buffalo, N.Y.

Still stinging over the loss of lead roles in the upcoming Frank Capra-directed Scarlet Pimpernel film, they are resigned to make the best of things. Having Caroline’s mostly deaf mother, Ethel (Wendy Brown), along as their costumer and all-around extra doesn’t improve their lot.

In a fortuitous turn of events their daughter, Rosalind (Natalie Piggush), has returned to introduce them to her new fiancé, Howard (Mac Wright). However, she never seems to get the opportunity, and his being tongue-tied doesn’t help. Add to the mix Richard (Brian Sprayue), the Hays’ lawyer who is madly in love with Caroline and trying to sweep her away from her husband; Eileen (Nicole Sherlock), the ingénue who is pregnant from a brief dalliance with George; and finally, Paul (Grant Bowen), Rosalind’s ex, who is still madly in love with her.

Secret loves, mistaken identities, a generous amount of alcohol, and the possibility of being cast in Capra’s film after all make for a rollicking night of craziness. It’s also good for those who like a peek at backstage life and the quirks of showbiz people, flavored with the evergreen lament that live theatre is dying (shakes fist at television).

Directed by Elizabeth Ruddell, the entire cast is spectacular; their tireless embracing of every comic element will keep you laughing so much that you can forget that “Marley was dead” or any other holiday frippery.

Performances are Thursday through Sunday, Dec. 14-17, at The Cat, 254 Veterans Way, downtown Carmel (in the Arts and Design district, a distance away from the Kristkindlmarkt). Get tickets and info at carmelplayers.org.

Life gets funnier with age for these ‘Girls’

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By John Lyle Belden

“Life is like Jello,” says Carlene, the “black widow of Eden Falls.” We’re not sure if that’s true, but we did find ourselves shaking a lot – from laughter – at “The Hallelujah Girls,” the Jones Hope Wooten comedy on stage at Epilogue Players, directed by Therese Burns.

Lea Ellingwood plays manicurist Carlene, thrice widowed and giving up on love, while Barbara Lemay is her sister, Crystal, who hasn’t been the same since that tornado, yet is ever joyous with her celebration – complete with baking and invented “carols” – of every calendar holiday. They join Mavis (Elizabeth Popplewell), who doesn’t mind time away from her frustratingly drab husband, and Nita (Tracy Brunner) who escapes with trashy romance novels like her ne’er-do-well son likes to escape his parole officer, to meet up with Sugar Lee (Valerie Nowosielski) at a long-abandoned church. In the wake of a mutual friend passing away without realizing her dreams, Sugar has decided this building will become her new day-spa, and she needs her fellow 50-plus ladies to pitch in.

At first reluctant at this mutual midlife project, the others agree, and Spa-Dee-Dah! becomes the Georgia town’s newest hotspot, complete with sauna. Not everyone is thrilled with this, as social vultu- I mean butterfly Bunny Sutherland (Elizabeth Ruddell) wanted to raze the old church and build a museum to hersel- I mean the town. Her first attempt at sabotage fails; sending Sugar’s ex-fiance Bobby Dwayne (Brad Burns) to take the renovation contract gives the women the most reliable worker in the area. Sugar and Bobby smolder below the surface, but she refuses to forgive him for what happened the day of their high school graduation, tolerating him until the work is done.

Meanwhile, single postal worker Porter (Grant Bowen), having survived a near-death experience, decides to court Carlene. Noticing the women working at the former church, he dubs them “the Hallelujah Girls.”

The play takes place over a year of Fridays, when the Girls routinely gather, highlighted by Crystal’s latest over-the-top costume. There are the ups and downs of starting a small business, Bunny’s endless plotting, and, my, Bobby Dwayne does look good in them shorts, right, Sugar Lee?

Still, through all the laughs and fun, one bad swing of the hammer brings certain disaster. Given the setting, maybe they’ll get a miracle.

Epilogue Players was established as a place for those 50 and older to shine, so this show is a perfect fit, with lively performances by these young-at-heart actors. The wisecracks about aging sound genuine, but with more good humor than despair, striking the funny bone just right. Also, the costume outfits Burns comes up with for Crystal are a treat in themselves. Everyone is sweet-tea refreshing, except for Bunny, whom Ruddell makes just as deliciously evil.

Amanda Greene is assistant director and stage manager. And a hat-tip to props master Diane McGuire for finding the “Why limit Happy to one Hour?” sign that could serve as a theme for the whole project.

With an upbeat theme that it is never too late in life to work on your dreams (including romance), hilarity liberally scattered throughout, and a lesson on the true value of a good peach brandy, this is a fun escape from the local Georgia-like heat, with remaining performances Thursday through Sunday, June 22-25, at 1849 N. Alabama St. (corner of 19th and Alabama), downtown Indianapolis. Tickets and info at epilogueplayers.com.