Halloween

Poe’s ‘muse’ inspires new play

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By John Lyle Belden

For this year’s Halloween festivities in Irvington, local playwright Breanna Helms took on an intriguing question: What if the “Lenore” in Edgar Allan Poe’s poems was an actual woman? The result is the short play, “The Silent Muse,” presented by 4th Wall Players in late October, directed by Josh Gibson.

Poe published the poem “Lenore” in 1843, and more famously, “The Raven,” in which the dead Lenore is longed for, in 1845. They were carefully crafted literary works allegedly not inspired by any singular person, but that death came easily for many in the 19th century, including many of Edgar’s relatives, and soon his sickly young wife, Virginia.

In this alternate history, Poe as a young struggling writer (played by Jy’lerre Jones) is acquainted with sisters Lenore (Emma Gedig) and Annabelle (Alice Graves the first weekend, Helms during the second), as well as their Mother (Tracy Herring).

Asked his opinion by Annabelle, Edgar romantically likens her to a calm pond that has become a wild sea (a hint towards how she would inspire her own poem). To his surprise, he finds Lenore lurking in a hollow tree that she likes to climb. Calling her a wood nymph, he proceeds to flirt with her in earnest – she being the unmarried sister.  

Soon, however, Mother brings around Guy de Vere (Kyvaille Edge), a proper wealthy suitor for Lenore’s hand. Seeing her place in society as inevitable, she agrees to his proposal.

True to an Edgar Allan Poe story, the marriage is not happy and our ending is tragic. Still, Helms makes this story beautiful and engaging enough for us to believe these events could inspire a masterpiece. There are even a few hints at the poem dropped through the narrative. The script is a neatly-written half-hour, which I feel could be revised to Fringe length (45-50 minutes) with no obvious padding. (This is why I’m keeping to my usual policy of avoiding spoilers).

Performances brought the story to life nicely. Jones shows great energy and potential with his acting journey getting under way; his restless Edgar longs for love and a better life and chafes at being seen as not worthy of the social circle he lives in. Gedig gives us a gem with facets including the “nymph” with her aura of unruly magic; the dutiful daughter and wife; and a soul somehow aware of the shadow of her limited future.

Hopefully, we will see “The Silent Muse” return, and more creative work by Helms in the future.

For now, 4th Wall dives back into the gloom with Emily Bronte’s “Wuthering Heights,” adapted and directed by Alan Keith, opening this weekend and running Nov. 7-16 at Backlot Makerspace and Venue (formerly Stage Door), 5235 Bonna Ave. Indianapolis (in historic Irvington).

Get info and tickets at 4thwallplayers.org.

More laughs than chills in Fonseca Halloween show

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By John Lyle Belden

Proving any time of year is right for a holiday tradition, Fonseca Theatre Company presents “Boo-La-La! 4,” a set of funny and eerie short plays intertwined with appropriate pop hits.

Past Boo-La-La actor Charlie Rankin directs the cast of Ashton Driscoll, Avery Elise, Hannah Luciani, and Gloria Renollet, who show great comedic skill as well as excellent chemistry. Though this is their first time as an ensemble (and FTC debuts for Luciani and Renollet) they interact like a polished comic troupe or cast of [name of popular skit-based TV show here].

This is evident from the opening bit, “One Night Only” by Judson Wright, as an improv group attempts to riff with “props” they happened to find backstage.

In “A Sad Vampire” by Aleah Vassell, Driscoll and Elise are bartender and customer on a quiet Halloween night. The follow-up song, putting a number from a hit musical to new use, adds a twist to the plot.

 Luciani and Renollet follow with “Bloody Mary, Bloody Mary, Bloody Mary” by Piper Murphy. Careful where you read that title, as these girls at a sleepover find out the hard way.

A Civil War reenactment feels too real in “The Ghosts of Chickamauga” by Sharla S. Stevens, as one of the four we see on stage shows us that for some, the battle never ended.

It’s not one of these shows without a piece by local playwright Mark Harvey Levine. His “The Pumpkin Priest” brings us back to the funny pages with characters from one of his popular Christmas plays, this time with “sincerity.”

“Dragnet” by Christopher Wittman features Driscoll, Elise, and the return of an upcycled puppet from last summer’s “Mami Wata” as an avenging spirit.

 A carnival haunted house seems like an odd place to propose, but in “Hauntingly Ever After” by Marcia Eppich-Harris it does feel right, as a zombie tries not to literally fall apart before getting the question out.

Not too scary, not too risque, and plenty entertaining, “Boo-La-La! 4” is highly recommended for your spooky-season activities. Performances are Friday evenings, Saturday and Sunday afternoons, through Nov. 2, at 2508 W. Michigan St., Indianapolis.

Get info and tickets at fonsecatheatre.org.

Scotland comes to Garfield Park

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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.

Fonseca Halloween ‘spooktacular’ returns

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By John Lyle Belden

Call it another Indy holiday tradition: Fonseca Theatre Company tickles your funny bone (and the rest of your skeleton) with “Boo-La-La! An Indianapolis Spook-tacular 3,” directed by FTC board president Yolanda Valdivia.

A suspiciously normal-looking cast – Jean Arnold, Preston Dildine, Brant Hughes, Charlie Rankin, and Joshua Short – present a variety of creepy yet funny short plays (including one each by Arnold and Dildine) interlaced with popular songs by the likes of Hall & Oats, Oingo Boingo, and The Ramones.

“Cryptid Group Therapy” by Emily Worrell has a Latin flavor, as well as one of West Virginia’s biggest attractions; “Olly Olly Oxen Free” by Jacquelyn Priskorn delves the most into suspense, as the “game” gets serious; “Rent-a-Stiff” by Fred Tacon is absurdist satire with businesses that would kill to gain an edge; Dildine’s “100 Steps” has us feeling for a spirit stuck in a popular “ghost tourism” spot; “Fair is Foul” by Donna Latham has a Wyrd Sister meeting folks even weirder – celebrity makeover hosts; Arnold’s “Zombie Moves” takes various positions on physical fitness prior to an evening of scaring mortals; and “Bloodsuckers Anonymous” by Paige Scott has the old-school Impaler commiserating with some more recent popular vampires.

This gang all have plenty of experience making local audiences laugh, and do so splendidly here. In addition, Short gets to show off some exceptional physicality, including his Michael Jackson-style dance moves. The musical bits feel more integrated this year, with visual treats along with each cast member getting to sing. Kudos to costume designer Jeanne Bowling and props by Rebekah Radloff for giving it all the right look. Mad Brown is stage manager.

The trick to experiencing the fun side of Halloween is to treat yourself to “Boo-La-La!” It runs through Oct. 27 at 2508 W. Michigan St., Indianapolis.

In addition, there will be a “Boo-La-La-Jr!” the afternoon of Oct. 26, featuring sketches written by the young actors involved – tickets for the youth version are pay-what-you-will.

For regular tickets to the main version, visit fonsecatheatre.org.

FTC ‘Spook-tacular’ returns

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By John Lyle Belden

In the spirit of a local theatre tradition that satirizes and celebrates the December holidays, Fonseca Theatre Company gives the Spooky Season its due with “Boo-la-la!”

Directed by FTC producing director Jordan Flores Schwartz, we get a dozen funny skits and songs dealing with Halloween and various horror personalities, performed with gusto by Bryan Ball, Ashton Driscoll, Charlie Rankin, and Lara Romero. Script contributions are by Jean Arnold, Michael Donohue, Christine Kruze, Paige Scott, Emily Worrell, and it just wouldn’t be one of these shows without a piece by Mark Harvey Levine, who has a bit of fun with the long-deceased Bard of Avon.

Do black cats feel lucky? How does an old frightener compete with new haunted attractions at the other end of the hollow? What’s the adoption fee for a werewolf? And what material would Mary Shelley bring to open mic night? These and other life and death questions get answered, or at least hilariously mocked in this fun production for all ages – a 10-ish boy was at our performance, and we heard him remark to his folks afterward how much he enjoyed it.  

“Boo-La-La! An Indianapolis Spook-tacular 2” runs through October 29 at 2508 W. Michigan St., Indianapolis. Get info and tickets at fonsecatheatre.org.

‘Cabaret Poe’ right at home on yet another stage

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By John Lyle Belden

For those who know of “Cabaret Poe,” the musical exploration of Edgar Allan Poe’s stories and poems by Ben Asaykwee and presented by his Q Artistry productions, know that it has returned for its 10th year with its premiere with the Phoenix Theatre on its black-box Basile stage — complete with a couple of tweaks to adapt to its space and keep it fresh.

For those who have not yet seen it, this is a perfect opportunity to experience what is becoming a local fall tradition. It started a decade ago in haunted Irvington, and has since moved to Mass. Ave. and even Circle Centre Mall. Now, in partnership with the Phoenix, it and other Q Artistry works have a new home.

Asaykwee is Zolius, the gaunt acerbic leader of his little band, including fair ladies Morella and Berenice, and a mysterious Shadow that haunts the proceedings. He also has a small four-piece orchestra to provide music and much of the atmosphere. Our women are dual-cast; depending on the performance, you may see original performers Renae Stone as Morella and Julie Lyn Barber as Berenice, or Georgeanna Smith Wade and Jaddy Ciucci respectively.

They prefer you experience the suspense of not knowing what comes next, so there is no set published program, and I won’t spoil that here. Just know that many favorites will be recited and acted out, including “The Tell-tale Heart,” “The Cask of Amontillado” and, of course, “The Raven.”

Rebekah Taylor slinks her way around the stage as the silent Shadow, and even gets to interpret one piece in a featured dance.

There are a few moments of audience interaction, so it truly is a little different at each performance. Changes to the set include lights embedded in the crypt-stage, used to good effect. Asaykwee’s style and his contributions to Poe’s words add clever dark humor, making for a thoroughly entertaining evening. There are no major scares, just a spooky atmosphere, and TV-PG language so this show is good for tweens and older.

Tickets have been selling briskly, so act fast. The show runs through Nov. 4 at the Phoenix Theatre, 705 N. Illinois St. Call 317-635-7529 or visit phoenixtheatre.org.

‘Cabaret Poe’ returns with new site, fresh look and familiar chills

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By John L. Belden and Wendy Carson

Quoth Wendy:

You always know that Halloween is approaching when Q Artistry launches its annual production of “Cabaret Poe.” This is not to disparage the show in any way – even after almost 10 years of shows, the audiences are still enthralled by it. In fact, a patron behind me was proudly seeing the show for the sixth time and still loved it just as much as the first.

This year’s show does mark another change of venue, this time in a small alcove on the fourth floor of Circle Centre Mall (in the heart of downtown Indy). Upon first entering the space, it seems very cramped and awkward. However, the company has turned this on its ear with inventive staging.

No longer do cast members leave the stage when not actively performing; instead they seat themselves throughout the crowd and become part of the audience, observing the spectacle themselves. By utilizing the whole space as their stage, and with the addition of projection screens, they assure that there is not a bad seat in the house.

I was also quite impressed by the unique lighting effects utilized by designer Brent Wunderlich. From innovatively turning their black and grey hues to purples, to bathing the audience in a rainbow of colors during “Masque of the Red Death.”

Quoth John:

Oops, sorry Ben!  — Show creator Ben Asaykwee likes keeping it a surprise which of Edgar Allan Poe’s stories and poems he has adapted for the evening’s Cabaret, and in which order. But it won’t give too much away to say that some pieces can be expected to appear, like the one about a heart that tells tales, or the quest for a rare cask of Spanish wine, or a certain obnoxious black bird…

Asaykwee presents it all with his catchy inventive songs, infused with dark humor, such as “Buried Alive,” “Dark (The Pit and the Pendulum),” and the recurring title theme. He also stars as one of three performer/narrators, the smugly sour Zoilus. His accomplices are two women, Morella and Berenice. On opening night, they were played by Julie Lyn Barber, a Cabaret Poe player since its first year, and Georgeanna Smith Wade, a first-timer in this revue, but no stranger to the strange as a major player in the NoExit troupe. Some performances feature Q Artistry veterans Renae Stone and Jaddy Ciucci in the ladies’ roles. In addition, a ghostly dancing shadow is perfectly silently executed by Rebekah Taylor – she even gets a solo scene.

The lighting effects, projections, and shadow puppetry are new for this year, fitting seamlessly into the narratives and reducing the need for physical props. But then, the players do have us, the audience, to play with.

Quoth Wendy:

With the changes made, this was my favorite version of the show. “Cabaret” implies an intimacy different from other kinds of productions, and this presented it more effectively that in past shows.

Concludeth John:

So, it’s both old and new, familiar and surprising – like a 21st-century musical based on a nineteenth century writer. Performances run through Oct. 29. Get info and tickets at qartistry.org.

Civic’s puttin’ on a hit

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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

For a more-silly-than-spooky Halloween crowd-pleaser, you can’t go wrong with “Young Frankenstein,” presented by the Booth Tarkington Civic Theatre through Nov. 5 at The Center for the Performing Arts in downtown Carmel.

In this Mel Brooks musical, based on the Mel Brooks movie (inspired by the Mary Shelley novel), Frederick Frankenstein (played by Steve Kruze), grandson of the infamous mad doctor – who has changed the pronunciation of his surname in a vain attempt to shake its infamy – must go to his grandfather’s castle in the generically central/eastern European town of Transylvania Heights to settle the estate.

Once there, Frederick meets family servant Igor (Damon Clevenger), who has rounded up a lovely lab assistant, Inga (Devan Mathias). At the castle, they are welcomed by Frau Blucher (Vickie Cornelius Phipps), who was more than a housekeeper to the elder Frankenstein – a case in which a single line from the film became a whole song in the musical.

The temptation to follow in the family business becomes too great, and Frederick makes a Monster (B.J. Bovin) despite the village having passed a law against such practices, inviting the ire of local police Inspector Kemp (Parrish Williams). Add a surprise visit by Frederick’s fiancé Elizabeth (Nathalie Cruz) and a lot of mayhem – and song-and-dance numbers – ensue.

This production goes all-out on the famous “Puttin’ on the Ritz” singing Monster scene, a great credit to the cast and choreographer Anne Nicole Beck. And Williams doubles as the blind Hermit in another famously funny scene.

No one can match the manic genius of Gene Wilder, but Kruze manages to make the title role his own. Cruz and Phipps are natural scene-stealers, and Mathias is a treat. Bovin makes the most of the limited motions of the Monster, and his often-confused expressions add to the comedic effect. But the show doesn’t work without a great Igor (pronounced “Eye-gor”), and Clevenger is pitch-perfect in the role. It’s a credit to the others that he doesn’t steal the whole show.

Brooks’ gags still zing and his Tony-nominated monster of a musical still entertains. Get info and tickets at civictheatre.org.

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

Bard and Poe

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This weekend, get some Shakespeare at Bard Fest in Carmel. The productions include “Timon of Athens” by Casey Ross Productions, comedy “As You Like It” by First Folio and the tragedy of “Othello” by Garfield Shakespeare Company. Get details on the Carmel Theater Company website.

Meanwhile in downtown Indy, Q Artistry‘s “Cabaret Poe” opens at Theatre on the Square on Mass Ave. Since this is the first time for the show away from the usual Irvington digs, there will be a few changes — besides, creator (aside from EAP) Ben Asaykwee likes to keep it fresh. This fall treat runs through Halloween (of course).

We will do our best to keep this site going, but it must be noted that John now has another job, as Associate Editor of The Word. He will also be contributing arts news and reviews to the monthly paper and its website.

Happy October, everyone!