Gregory Roberts

After more than 2,000 years, a religious figure returns

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By John Lyle Belden

If you wonder about religion and the unusual things people believe, it’s not far down the Internet rabbit hole to the origins of numerous sects of the 1800’s (Mormons, Christian Science, Adventists, etc.). No matter how you think about them, they now feel mainstream. You see a building on a street and hardly give it a thought because (1) it’s not your particular thing, and (2) they seem quiet and nice, even if a bit weird. It has occurred to me that, in a few more decades, even controversial groups like Scientology will be just another part of the religious landscape.

What’s this have to do with a theatre review?

Stagewright Theatrical Company debuts with “Applewhite,” a new sci-fi drama written and directed by Alan Keith. If you don’t recognize the name in the title, that goes towards my point in the first paragraph.

It is approximately the year 4385. Circumstances have largely driven mankind underground. Technology has changed little, owing in part to an emphasis on specialization so that all roles are filled to ensure human survival.

As science and reason don’t provide much hope, old-time religions fill the void. Arthur (Derrek Krobar) discovered and revived the teachings of 20th century minister Marshall Applewhite and his Heaven’s Gate church. Even unaware of the sect’s dark history, many naturally deride it as a cult. Others, however, are drawn to its promise of higher forms of humanity. This includes gentle horticulturalist Josephine (Delilah Harris), married couple Richard (Robert Hollen) and Evelyn (Michelle Lawson), and new member Avery (Heather Drury) who takes to the faith with zeal. Josephine’s friends Stella (Justice Keith), an information specialist, and Harold (Nathanial Taff), a police inspector, are concerned, but it all seems harmless.

Suddenly a stranger appears among them. Thomas Nichols (Gregory Roberts) claims to be an original member of Heavan’s Gate from the 1990s. Stella is concerned, as his fingerprints are not in the system; Harold is naturally suspicious; and Arthur suddenly sees his authority challenged – though charismatic Thomas claims he is above such squabbles. He declares himself a humble prophet, announcing the return of the Hale-Bopp Comet.

History is about to repeat.

Hollen also portrays the colony Magistrate, Eugene Wallace, Esq.; and Alan Keith steps in briefly as an Information Chief. Bubba Fontaine provides the voice of Applewhite at the show’s climax.

For those who don’t remember the tragic events of 1997, know that this story involves characters taking their own lives (39, including Applewhite, perished in the original cult’s mass suicide).

Aside from the topics of religious psychological control, this is a good examination of the nature of belief, and how we carry the urge for higher knowledge into the future, along with our need for order. The costumes and props by Justice Keith give the production a sort of “Buck Rogers” retro-future aesthetic that works nicely here. (No one knows what things will be like in the year 4000 anyway.)

Performances are good all around in a cast with varying amounts of experience. Drury, for instance, is in her first stage role and quite convincing as her all-in character. Krobar may look familiar from his appearances with Garfield Shakespeare. Roberts admits to learning the craft while in the Indiana correctional system, his dedication and discipline shows here.

A strong start for a new company, Stagewright presents “Applewhite” Friday through Sunday, Nov. 13-15, at The Backlot Theatre, 5635 Bonna Ave. in the heart of Indy’s historic Irvington community. Find Stagewright online at their Facebook page.

Epilogue opens entertaining ‘Present’

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By John Lyle Belden

When it comes to the demands and frustrations of celebrity, with problems often of one’s own making and fueled by ego, the setting could be any era and major city – such as 1930s London. There, in the main room of a legendary actor’s luxury flat, we find Noël Coward’s “Present Laughter,” presented by Epilogue Players, directed by Catherine Mobley.

The title comes from Shakespeare, which isn’t significant to the plot but is the kind of indulgence that the main character – inspired by Coward himself – would appreciate.

Forty year-old West End star Garry Essendine (played by Brandon Wentz) has been quite busy. While preparing for a theatre tour of Africa, he extends assistance to young fans like Daphne Stillington (Breanna Helms) who has “lost her latchkey” and needs to spend the night at her place. You’d be surprised how often this happens. She emerges conveniently from the spare room – in his pajamas – to request breakfast from unfazed butler Fred (Jim Gryga) and the Swedish Spiritualist chain-smoking housekeeper Miss Erickson (Katherine LaTour).

We meet Garry’s inner circle, starting with long-suffering secretary Monica (Danielle Blair) and wife Liz (Veronique Duprey) who is happier living separately and keeping their relationship strictly business. There is also his manager, Morris (Gregory Roberts), and his producer, Hugo (David Shaul), whose hot wife Joanna (Shaun Ancelet) seems to have ambitions of her own.

A careless “sure, I’ll look at your play” has resulted in the appearance of obsessed, aspiring playwright Roland Maule (Ryan Moskalick). In addition, Lady Saltburn (Cathie Morgan) will arrive for what turns out to be a very eventful appointment.

These characters combine for a wild series of events that actually has someone asking, “Am I in a French farce?” Whatever you want to call it, this play presents us with a lot of opportunities to laugh.

Wentz makes Garry a rather likeable rogue who, while resisting middle age, shows some self-awareness of the consequences of a lifestyle he can’t help enjoying while also taking his vocation and status seriously. With a knowing smile, Duprey maintains Liz in the calm eye of whatever storm is whirling around, understanding her husband better than anyone. Likewise, Blair makes Monica a little jaded while cleverly keeping her boss in line. Helms and Moskalick keep things hilariously lively, each being persistently problematic in their own way. Ancelet makes Joanna devilishly appealing.

Effective set design by Andy Burnett and Melody Burnett makes the most of the intimate Epilogue stage. Mobley is assisted by Laura Duvall-Whitson; Jenny Braun is stage manager.

One weekend remains of “Present Laughter,” Thursday through Sunday, June 25-28, at 1849 N. Alabama St. (corner of 19th and Alabama), Indianapolis. Reserve tickets at epilogueplayers.com.

Mud Creek brings the chaos of ‘Carnage’

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By John Lyle Belden

When as parents we advocate for our children, ironically, it’s too easy to become childish ourselves.

That’s the serious premise of the Tony-winning comedy “God of Carnage” by Yasmina Reza. And it is serious – at first – before descending into seriously hilarious chaos, presented in the cozy confines of Mud Creek Players, directed by Kelly Keller.

Michael and Veronica Novak (Mason and Andrea Odle) have invited Alan and Annette Raleigh (Gregory Roberts and Amanda McCabe) to their home to calmly resolve the situation involving their 11-year-old sons. Earlier, the Raleighs’ Benjamin struck Henry Novak with a stick, breaking his teeth. The atmosphere is tense but calm as they initially come to an understanding that Veronica has written down. They try to relax with coffee and clafouti, but continued conversation ensures that their fragile peace will break in a major way.

Mix in attorney Alan constantly getting calls on his cell phone, a realistic (warning to the squeamish) episode of nausea, and a full bottle of fine rum, and this little gathering will go totally off the rails.

The Odles nimbly balance affection and resentments like the real-life couple they are. Andrea’s Veronica weaves the line between voice-of-reason and passive-aggressive. Mason’s Michael is a people-pleaser by nature, but can only take so much. Roberts affects the self-important demeanor of a lawyer – Alan represents a troubled pharmaceutical company, adding an interesting side-plot – coupled with smugly brutal honesty. McCabe is outstanding as she instantly communicates shock, as well as hilarious reactions and manic moments of madness.  

Kudos to the volunteers who helped put this show together, including set design and props by Chris Bundy. Kristin Hilger is assistant director and Jalynn Cheatham is stage manager.

Sadly, the tulips don’t fare well, but apparently no hamsters were harmed in the making of this play. (Still, if you happen to find Nibbles, please let Keller know.)

See the hilarious wrath of “God of Carnage” this Friday (8 p.m.) and Saturday (2:30 and 8 p.m.) at the Mud Creek Barn, 9740 E. 86th St., Indianapolis. Get tickets at mudcreekplayers.org.

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.