historical

Asante shows ‘Glory’ of Attucks team

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By John Lyle Belden

The word “asante” is an expression of gratitude used in much of Africa. Here in central Indiana, we are grateful for Deborah Asante and the Asante Art Institute (expanded from her established art and theatre programs in 2018). This treasured local institution helps guide self-discovery and celebrate the African American experience through creative programs and performances.

With the current climax of high school and college basketball under way downtown, Asante focuses on the program that helped change the game far more than most people realize. The historical drama “A Touch of Glory” by Laura Town, directed by Ms. Asante, tells the story of the Crispus Attucks Tigers, the first all-black team in America to win a public high school state championship, taking the title in 1955 and 1956, a team that featured future hall-of-famer Oscar Robertson. It was also the first state title for an Indianapolis squad. This is well known, yet far from the whole story.

We are guided through this story by the “Angel” spirit of Willie Burnley (played by Joshua Short), whose hoop dreams ended after high school, getting his wings from cancer a few years later. He has not only a story to tell, but also an important role in it. He notes that Robertson was known to get a triple-double – double-digit points, rebounds, and assists – nearly every game.

Willie will tell us about Oscar’s two greatest assists.

At the heart of the story is the Tigers’ coach, Ray Crowe (Reggie McGuire), who worked his way up from school janitor and built a team in a school that didn’t even have a proper gym. His determination, confidence and optimism help to win over reluctant and cautious principal Russell Lane (Ennis Adams Jr), as well as his fiancé/wife of saintly patience Betty (Clarissa Michelle), and the boys who played street ball in “The Dust Bowl” – Burnley, Robertson brothers Bailey (Joshua Bruton) and Oscar (Deontà Stark), future Mr. Basketball Hallie Bryant (Bryce Hawthorne) and future Globetrotter Dill Gardner (A’veon Curry), who played barefoot.

The play also features Matthew Brown as sportswriter Bob Collins, who sees more than good story here; Rick Drumm in supporting roles; and Joe Wagner as a couple of less savory persons.

Most impressive are the Cheerleaders – empressnikia, Shelby Brown, Taylor Todd – fitting naturally as a sort of Greek Chorus as well as aiding the story and its atmosphere.

Short gives Burnley, who mostly rode the bench but didn’t seem to mind, an infectious joyful energy that keeps us engaged. This, and the earnest portrayal of Coach Crowe by McGuire, help elevate the by-the-numbers sports hero story to something that feels important beyond its own time and place. Though we know the end, in looking at the story from an early-50s perspective we feel the tensions, imminent threat, and the deafening silence in place of support from other parts of the city and state.

We get an interesting glimpse into the Robertsons: Bruton’s Bailey is brash and vocal, yet focused while on the court. Stark’s Oscar lets his game do the talking and easily comes across as a future legend. Curry as Gardner gives an interesting perspective on the meaning of success under limited options. Keiston Drake plays another Tiger player, and also provides beautiful vocals during a musical moment.

The choreography by Shawn Cowherd extends beyond the cheer routines as the scenes of basketball action move with easy grace and athletic beauty. Clever and functional set design is by Antonio Burks, with costumes by Latoya Adams. AshLee Burks is assistant director, and Kelli Thomas is stage manager.

The Academy provided support on and behind the stage. Credit where due: Kyler Brown, Lamont Swayze, Kawai Castillo, Adina Sconiers, Ava Floyd, Zeruiah Bailey, and Reygan Rucker, with teaching artists Jasmine Robinson and Reno Moore and performance mentor Kiheem Brown.

“A Touch of Glory” has performances 7:30 p.m. Thursday, Friday and Saturday, as well as 1 p.m. Saturday (April 2-4) at the Athenaeum, 401 E. Michigan St., Indianapolis. For tickets, see athenaeumindy.org. Put on some green and gold if you feel like it, and you might even learn the “Crazy Song.”

GSC mounts ‘Richard III’

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By John Lyle Belden

Garfield Shakespeare Company is an exceptional part of the Indianapolis theatre scene. The not-for-profit volunteer company, residing at beautiful Garfield Park south of downtown, keeps the spirit of classic theatre alive with quality productions and free admission for audiences.

Starting its 20th Anniversary Season, GSC presents the tragic history of William Shakespeare’s “Richard III.” Based on one of England’s less-liked monarchs, we see how this proud, ambitious, and unscrupulous Duke murders his way to the Crown, then famously ends up losing his horse.

Mallory Ward directs a cast of varying experience, all dedicated to honoring the Bard’s work. Derrick Krober eagerly plays the title role, from the start charming nearly everyone while noting with a grin to us watching that he intends to be “the villain.”

In various roles, the other players include Rayanna Bibbs (her proud Lady Margaret never fooled by Richard); Spencer Dorian Crane (compelling in vastly different ways as sad Lady Anne, a reluctant assassin, and sassy Catesby); Hans Cummings (his Clarence almost talking his way out of dying); Omar El Jordi; Sydney Engelstein; Susan Gaertner; Guy Grubbs (playing both a King and a Mayor); Joni Metcalf Kemp; Miranda Khoury (as Queen Elizabeth, with a sharply delivered speech late in the play); Fred Margison; Tess Smith (parts include the heroic Earl of Richmond); and Chad Yadon (in the pivotal role of Buckingham). Also, the multi-talented Zella Mae Elm plays prince and princess roles as well as performing traditional and original songs – one with Shakespeare’s lyrics – playing the mandolin in lieu of a lute.

Performances are 7:30 p.m. Thursday, Friday, and Saturday (March 26-28) at the Garfield Park Arts Center, 2432 Conservatory Drive. While admission is free, as seating in this indoor venue is limited, reservations are recommended at gscindy.org.

Tragic depth in half-full bathtubs

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By John Lyle Belden

Fascination with unusual murder has been a pop culture staple for centuries, especially if such stories are true. Through the last century or so, the arts have explored the minds of monstrous killers, as well as the clever persons deducing who did the deed. Now, stories will often focus on those unable to speak for themselves.

In “The Drowning Girls,” at Main Street Productions in Westfield, we hear them loud and clear.

Based on events in England, this unique drama by Canadians Daniela Vlaskalic, Beth Graham, and Charlie Tomlinson, directed here by Molly Bellner, features just three clawfoot bathtubs on the stage, actually containing water. From these emerge the three known murder victims of George Joseph Smith. They speak to each other – and to us – relating how they were each taken in by the lifelong thief, swindler and bigamist, and how he was finally brought to justice for their killings in 1915.

Bessie Mundy (Jo Bennett) went with husband “Henry Williams” to a seaside resort; Alice Burnham Smith (Monya Wolf) was in a Blackpool boardinghouse with husband “George Rose Smith;” Margaret Elizabeth Lloyd (Sarah Eberhardt) resided with husband “John Lloyd” in Highgate, London. All three died of “misadventure” – perhaps a seizure? – in the bath. The women’s savings, and life insurance, naturally went to the husband.

As the three actors examine and reenact the events, they take on other roles as needed, including taking turns as smooth-talking Mr. Smith(Williams/Lloyd). Society and expectations on women play a part, but also the manipulation familiar to stories of psychopathy, abuse, and controlling behavior.

The pacing and style of the material is familiar to those who enjoy true-crime documentaries and podcasts, which aids the sense that this is nonfiction. Having reviewed the steps that led to their watery demise, Bessie, Alice and Margaret then perform as the various people who finally brought Smith to the gallows – including the attentive Burnham parents, their suspicions deepened by strange coincidence, as well as detectives who broke new ground in forensics and investigation.

Bennett, Wolf, and Eberhardt, each outstanding, don’t put on period English accents as their plight is timeless, as likely to happen in 1914 or 2014 (or ’26). They fully take their characters’ opportunity to express their frustration and give their example as warning, complete with charming moments and gallows humor, yet never straying from the circumstances of their fate.

The simple set (complete with waterproofing, we surmise) is by Ed Trout. Beautiful white gowns by costumer Cathie Morgan help complete the scene. Stage manager is Marissa Hassie, with backstage assistant Baylor Bates.

Though it only took a few inches of water to kill them, “The Drowning Girls” go deep. Performances are Thursday through Sunday, March 26-29, at the Basile Westfield Playhouse, 220 N. Union St. (Downtown construction slows traffic, but the site is accessible.) Get tickets from Main Street Productions at westfieldplayhouse.org.

Local ‘Greatest Star’ in Footlite ‘Funny Girl’

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By Wendy Carson

The musical “Funny Girl” and Barbra Streisand are so connected in most people’s minds that it’s honestly hard to picture anyone else in the part. After all, Fanny Brice was a force of nature. She grew up as an ordinary girl with an amazing voice and acting ability. Though constantly reminded that she was no great beauty (we wish to differ – Google her photos), her ambition and talent kept her going and made her a star.

Considering that the title role is onstage most of the show’s duration and carries the majority of the musical numbers (including two of Barbra’s biggest hits), this role is also a star-maker.

The performance of Kennedy Wilson (who sort of resembles the real Brice) in Footlite Musicals’ current production proves that she is an equivocal force to be reckoned with. She brings out the sweet, bitter, and triumphant feelings of each word she utters. I am honestly so glad to have witnessed her tour-de-force in this role.

Director Kevin Bell really struck gold casting Wilson, as well as the rest of the cast in this spectacular production. Looking and sounding sharp are Drew Hedges as steady friend Eddie, Graham Brinklow as Fanny’s first producer, Tom Keeney, Andrew Ranck as the immortal Flo Ziegfeld, and Aaron Mann as Nicky Armstein, the hard-luck gambler who won Fanny’s heart. Back home on Henry Street, Miki Mathioudakis is Mama Brice, with Adrienne Reiswerg as “auntie” Mrs. Strakosh.

Bell also choreographs, with Katie Van Den Heuvel; Yolanda Valdivia is assistant director; Jeremy Kaylor conducts the orchestra. Sets are by Bell and Jerry Beasley, costumes by Etta Biloon.

The musical, by Jule Styne and Bob Merrill with book by Isobel Lennart, is based on Brice’s rise to fame as “The Greatest Star” and her quest to be as successful at love as she was on stage. Whether this is familiar to you or new, this production is enjoyable as well as inspiring, Wilson’s Brice a portrait of unflagging persistent optimism. No “rain on [her] parade” for sure.

Hey theatre patron, here she is! “Funny Girl” has two weekends, running through March 22 at the Hedback Theater, 1847 N. Alabama St. in downtown Indianapolis. Tickets and info at footlite.org.

Indy Drag’s crowning achievement

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By John Lyle Belden

“Divorced. Beheaded. Died. Divorced. Beheaded. Survived.” Divas – Bedazzled – Live!

If there was ever a Broadway show perfect for Indy Drag Theatre parody treatment, it’s “Six.” Now the concert musical gets IDT’s royal treatment as its debut production in the Phoenix Theatre Cultural Centre.

The original musical by Toby Marlow and Lucy Moss (a smash in the UK as well as New York) is a fabulous fantasia in which the six wives of England’s King Henry VIII arrive from the afterlife as pop stars. In a sing-off, the one who had the worst time with the legendary monarch gets named the girl group’s leader.

No strangers to corsets, we have six queens* playing the Queen: Natasha Kennedy is Catherine of Aragon, whom Henry started an entire church denomination to dump. CiCi Pasiòn is Anne Boleyn, who found out the hard way she was not allowed to fool around like the randy Royal. Madison Avenue is Jane Seymour, who would give Henry a son if it was the last thing she’d do – and it was. Brentlee Bich is Anna of Cleves, the German whose portrait was apparently the Renaissance version of Glamour Shots. Kiki Crimi is Katherine Howard, who even in this venue can’t catch a break, after a life of abusive treatment before losing her head. Natalie PortMa’am is Cathine Parr, who put up with the gout-ridden old King through his final days. (Tip of the crown to Kelsey McDaniel, our lady in waiting serving as Swing.)

Aside from taking creative license as a Drag Parody, the production is expanded to include an on-stage “band” – The Crown Jewels – play-synching their instruments: Dallas Fort Worth as Sir Pluck-A-Lot on bass, Jared Matthew as Keys McQueen on keyboards, Faith Camire as the Earl of Beats on drums, and the fabulous Freddie Fatale as Duke Strummer on guitar. They add a couple of extra songs, including a big number featuring puppet versions of the Six women.

This spectacular is directed by April Rosè, who also choreographed, assisted by Canila Carpenter. Costumes are by Caitlin Davey, with makeup by Celeste Al’Dreams and wigs by Gayle Thyme. Stage set is by Miss Kay-Otic, with props by Tricera Tits. Stage manager is Brian Kitta. Lighting is by Paully Crumpacker, with sound by Cadence.

The show is supremely entertaining with just enough real history to make you want to go look it up. This is coupled with the ever-present issue of women – even at the highest office – being tied to the fortunes of men, disregarded on their own merits. Each Queen presents her frustration while also showing her strength. Catherine confronts rejection; Anne consoles herself with her post-mortal fame; Jane tempers pride of motherhood with regret. Anna of Cleves’s section especially satirizes modern beauty standards with her swipe-left/swipe-right number, and demonstrates that unconventional beauty is still beautiful, worthy to be “Queen of the Castle.”

High artistic standards coupled with individual passions coming together in unselfish collaboration continue a local entertainment phenomenon. The house is a little bigger, but will still get filled.

Performances of “Six: A Drag Parody Musical” continue through Sunday, March 15, on the Livia & Steve Russell main stage at 705 N. Illinois St. in downtown Indianapolis. Get tickets at phoenixtheatre.org, and info at indydragtheatre.org.  

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*(Note: Out of respect for the art form and its performers, they are identified by their Drag names as given in the show program.)

Lessons impact more than students in ALT drama

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By John Lyle Belden

Home Economics education was a normal part of growing up female in America for most of the 20th century. Colleges took it a step further with degree programs and entire departments so that ambitious ladies could get socially acceptable careers in fields like foods and nutrition or education, or to just become more knowledgeable housewives.

In “Borrowed Babies,” the drama by Jennifer Blackmer presented by American Lives Theatre, an enterprising professor at an Indiana college creates an innovation within that system.

In 1952, Judy London (Jen Johansen) starts her “Home Management House” where four senior Home Ec majors will reside while taking on practical projects in aspects such as cooking and sewing. For them to better understand infant care, Mrs. London has arranged for an actual one-month-old from the local Children’s Home, who will live with them throughout the semester.

In 1982, the program has been inactive for over a decade and the House, where Mrs. London still has her office, is about to be demolished by the University to make way for new construction. Assisted by distracted student Shelly (Rachel Ivie), they are packing up accumulated paperwork and records when a 30-year-old woman (Lauren Briggeman) arrives, insisting on speaking with the professor. Wendy, they discover, has been here before.

On a singular stage set, designed by Nick Kilgore, we witness both eras. Bridget Haight’s direction, lighting design by Paully Crumpacker, and the skill of the cast – especially Johansen – make the story’s constant flow between these periods natural and easy to follow.

In the ‘50s, we get to know the four students: Vera (Hannah Luciani) is an honor student, eager to please. Louise (Carmia Imani) is ambitious, her eye on both a career and a certain young man, though she is regarded as the group’s worst cook. Betty (Dorian Underwood) is bright and upbeat with dreams of making it in the New York art scene. Bernie (Sarah Powell), daughter of a former “Rosie the Riveter” and an overbearing father, enjoys fixing things – however, she resists helping to care for the baby, as she doesn’t plan to have one of her own.

Julie Dixon plays Mrs. Rose McGuinness, a social worker with the Children’s Home.

Blackmer, a Professor of Theatre at Ball State University in Muncie, based this play on a past program of “practice houses” there. Having this grounded in a real mid-century experiment, done with the best intentions but a more ends-justify-means standard of ethics typical at the time, makes this drama even more fascinating. It also gives a glimpse into the lives of women college students who must reconcile unlimited potential with limited opportunities.

In addition, this production gives us the pleasure of seeing two of Indy’s best actors, Johansen and Briggeman, go toe-to-toe in a battle of wills. Those playing students also get moments to shine, especially Powell in her deeply conflicted role.

Class is in session, with lessons that ask hard but important questions. “Borrowed Babies” runs through Feb. 22 at the Phoenix Theatre Cultural Centre, 705 N. Illinois St. in downtown Indianapolis. For tickets, go to phoenixtheatre.org.

Phoenix in its Xmas era

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By John Lyle Belden

That Holiday Tradition that’s an alternative to Nutcrackers or Tiny Tim or other Christmassy cliches – except perhaps to mock them – has returned to the Phoenix Theatre Cultural Centre.

“A Very Phoenix Xmas XVII: Sleigh, Queen, Sleigh!” takes the stage with its various funny and nicely naughty short plays. This time these all-original skits all have common creators – written by director Zack Neiditch with songs by Paige Scott. They are brought to life by Suraj Choudhary, Samantha Lewis, Craig Underwood, Cara Wilson, and Christine Zavakos, who also each give a disturbingly charming (or charmingly disturbing) “Christmas memory” in videos by Zach Rosing.

The various pieces are presented in historical order from past to present, starting with a breaking TV news report from Roman Palestine. A more historically accurate approach is taken in a hilarious look at Christmas in Renaissance-era England. As for the Victorian era, Marley’s still dead. In the 20th century, things really get strange. With more recent decades, be sure to “like and subscribe.”

Note this isn’t all-ages. Mature content includes f-bombs and middle fingers, but no outright blasphemy. Think of it as SNL with HBO standards.

The ensemble work very well together, with most of them interacting in nearly every scene. Neiditch’s knack for comedy and Scott’s for a catchy tune give them plenty to work with.

If this kind of humor fits your stocking, you’ll find it very entertaining with familiar themes taken on like nobody else.  

“A Very Phoenix Xmas” runs through Dec. 21 at 705 N. Illinois St., downtown Indianapolis. Get info and tickets at phoenixtheatre.org.

‘Strange Things Happening’ at IRT

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By John Lyle Belden

I first encountered Sister Rosetta Tharpe the way I’m sure a lot of people these days have – on the Internet.

Several years ago, among the must-see viral videos, there was black and white footage of a black woman dressed for church, but playing a Gibson electric guitar with wild rocking riffs, in the 1940s. Her musicianship and dedication to bringing life to gospel music and spirit to pop left an incredible legacy. While it can be said that without Sister Rosetta, there may not have been a Tina Turner or Beyoncè, that can also be extended to Eric Clapton, Keith Richards, Jimi Hendrix, Meat Loaf, and Prince – to name but a few. While she had no children of her own, she provided the mitochondrial DNA of Rock ‘n’ Roll.

Now you can see her on the Janet Allen Stage in the upper floors of the Indiana Repertory Theatre, in “Marie and Rosetta.”

Directed by Christina Angeles, who admitted she had to do some “intense Googling” to get to know Tharpe’s music and life story, we find where “This Train” of life has led Rosetta (Cherish Love). In a funeral home in Mississippi, undisturbed and with a handy piano, this will be her rehearsal space before heading to whatever barn or warehouse local Black folks feel safe to gather in to hear her perform. Her meal will be whatever the local church provides. As for her bed, “I’m kind of a casket girl, myself,” she jokes.

Fortunately, her bus driver is white, a big asset in the Jim Crow South.

With her is her new co-star, Marie Knight (Jaela Cheeks-Lomax). Marie had been a backup singer for gospel superstar Mahalia Jackson but upon seeing her talent, Rosetta immediately signed her for her own tour. As the rehearsal gets under way, Marie comes to understand that this isn’t a back-up gig. Sister Rosetta considers them equals, not just as God’s children, but as musicians and singers, with Marie’s piano proficiency complementing Rosetta’s guitar, and their voices sharing in duets, call-and-response and harmony. With affection and often-tested patience, Rosetta gets Marie to loosen up and accept that God doesn’t mind humor, or even a spirited boogie-woogie beat.

Throughout this performance, we see Rosetta with her flat-top and electric guitars and Marie at the keyboard treating us to a dozen hits including “Rock Me,” “Tall Skinny Papa,” and “Strange Things Happening Every Day.” As these women get to know each other, we get their stories as well, gently educating us on a life it feels like we should have already known.

Love embodies Sister Rosetta with a sense of genuine Christian love coupled with the strength of a woman who knows herself well and sees where she believes The Lord wants her to go. Cheeks-Lomax gives us a Marie who is endearing but still unsure of herself, having been consigned to a backup role prior to this moment. We see her emerging into the star she will become (both in this tour and as a solo gospel performer in coming years).  This is one of those shows that when I look back on it, I have to remind myself these are actors, speaking from a script by George Brant.

Though Sister Rosetta Tharpe now resides in Heaven, it seems I have encountered her spirit again. See and hear “Marie and Rosetta” through Nov. 23 at the IRT, 140 W. Washington St. in the heart of downtown Indianapolis. Get info and tickets at irtlive.com.

Macabre musical brings ‘Ripper’ to the stage

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By John Lyle Belden

“Funny, it takes a murder for anyone to notice we passed this way.”

This lament is sung by the women mostly known from their tragic fates in “Jack the Ripper: The Whitechapel Musical,” by Steven Bergman and Christopher DiGrazia, presented by Carmel Apprentice Theatre, directed by Jake Williams.

This version of the well-told blend of history and legend stands apart for several reasons. It is mostly sung-through like an operetta, and Jack himself (played by Leo Milletary) frequently takes center stage. Who – among the dozens of suspects proposed by investigators, historians, and countless enthusiasts – is he? The musical gives an interesting theory (new to us), which I’ll leave for you to discover.

The story follows the people whom we do know, including the five most-known Ripper victims: Mary Ann “Polly” Nichols (Kate Knoll), Annie Chapman (Hannah Smith), Elizabeth Stride (Ella Owens), Catherine Eddowes (Cassie Scalzi), and Mary Jane Kelly (Reagan Nagel). Investigating the murders are Inspector Frederick Abberline (Mac Williams), assisted by Dr. Rees Ralph Llewellyn (Duane Leatherman), with Cameron Kaufman as the policeman on duty. A pesky chorus of Gentlemen of the Press (C. Leroy Delph, Tim West, and Kat Moore) are determined to print the facts, even if they have to make them up. Marissa Hassie plays the barmaid at The Ten Bells, a tavern where the doomed women all knew one another.

It is 1888 in foggy, filthy London and Jack is writing “The Story of the Century” in poor women’s blood. After the first falls, a “Merry Maid” presumes she won’t be so foolish – and her body is found next.  Knowing they should be cautious, the next two still can’t help being defiant and fatalistic. Meanwhile, Mary Kelly – the youngest and most mysterious (her life history still confounds Ripperologists) – knows more than she lets on.

The CAT (performing at The Cat, naturally) is a program that welcomes all levels of experience. Milletary, a local musician, makes an impressive theatrical debut. Williams, a familiar face in local community theatre, ably expresses the frustration known to dog Abberline during and long after the Whitechapel murders, with a measure of empathy. The women are equal measure charming and feisty; this especially comes out in their songs, such as “Stride’s Song (Life is Short),” with its take on the “and then there were none” nursery rhyme. In contrast to the fear felt by the ladies, the Gentlemen of the Press are practically giddy with excitement as “The Weekly London Murders” continue to sell papers.

Williams is also music director, with choreography by Maureen Hiner-Akins, and Kellyn Johnson is stage manager.

Performances resume Halloween weekend, Friday through Sunday (Oct. 31-Nov. 2) at The Cat, 254 Veterans Way, just south of Carmel’s Main Street Arts & Design District. Get tickets at thecat.biz.

Southbank ‘Crucible’: It’s not the witches we should fear

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By John Lyle Belden

In times of turmoil, people turn to faith either for hope or, too often, to look for monsters. Such was 1692 in Massachusetts Colony, when the blending of the Puritan church and state led to tragic hysteria. Such also was the 1950s, when the Red Scare inspired playwright Arthur Miller to look back to America’s genuine witch hunt to give us “The Crucible.”

In 2025, with political chaos and crisis churning daily, Southbank Theatre mounts a production of Miller’s play with an incredibly talented and dedicated cast. The period script with a more contemporary look bridges these eras, emphasizing this story’s relevance.   

Mostly true to the historical events, the play begins with girls engaged in a mesmerizing, mysterious dance. The Rev. Parris (Doug Powers) happens upon them, and in the shock of being caught in such forbidden activity – the dancing alone being punishable – his young daughter Betty (Ellie Richart) falls unconscious. Parris is furious, not just at what appeared to be a secret rite with some participants possibly naked, but more that his slave Tituba (Kayla Bush) was leading it and his niece and ward Abigail Williams (Hannah Embree) was involved.

Word quickly spreads around the village of Salem, including rumors of witchcraft. Occult expert Rev. John Hale (J. Charles Weimer) is called in to bring calm, but instead he sees signs of the Devil at work. When pressed for an explanation, Tituba fears for her life and tells the men what they want to hear. Arrests, interrogation, trials – and finally, executions – will follow.

Farmer John Proctor (Brian G. Hartz) tries to stay uninterested; however, he had recently had an affair with Abigail, who feels she should take the place of his wife Elizabeth (Morgan Morton) and lists her as an accomplice in her “confession” to witchcraft (giving names being a necessary step to avoid hanging). Also, the Proctors’ servant Mary Warren (Liz Carrier) has been attending and testifying at the court hearings.

We also meet Thomas and Ann Putnam (Darin Richart and Afton Shepard), wealthy landowners with both financial (property of witches is seized and sold) and spiritual (most of their children died in infancy) interest in goings-on. Francis Nurse (James Mannan) finds his wife, the midwife Rebecca (Adrienne Reiswerg) accused. Giles Corey (David Mosedale) likewise sees his innocent inquiry about his own wife jeopardizing their lives. The “bewitched” girls include Susanna Walcott (Mariah Rae Pearson) and the Putnams’ servant Mercy Lewis (Lauren Lotzow).

Director Eric Bryant plays Deputy Governor Thomas Danforth, the lead magistrate, assisted by Judge Hathorne (Paige Scott), with Ezekial Cheever (Matthew Socey) as clerk of the court. Deputy John Willard (Ian Hauer) finds himself having to arrest his friends and neighbors.

When what is and isn’t Christian – or demonic – are matters of law, they must be defined for the sake of enforcement. Modern concerns in the rise of Christian nationalism are echoed in the Puritan inquiries of this drama. The dynamics of power and privilege, or its lack, propel the plot in a situation that ironically becomes devoid of both magick and the mercy of Christ.

Hartz and Morton give powerful performances as the Proctors, finding the courage for their final ordeal. Embree sharply portrays a manipulative girl driven by youthful fantasy, tinged by a genuine fear for her life. Powers gives us the well-meaning local minister, frustrated by what he saw as a lack of respect, now compounded by events going further out of his control.

Bush and Carrier each show the horrors of being powerless with choices that condemn you no matter what you do. Reiswerg appropriately presents a person resolute in her convictions. Unfortunately, so do Bryant and Scott as uncompromising judges. Weimer gives the most complex performance, as a man who finds evil not in an entity but in unbudging egos, leading him to forego his own.

“The Crucible” tests its characters, as well as our own attitudes, a necessary exam for our own time.

Performances resume Wednesday and Thursday (Oct. 29-30), then Saturday and Sunday (Nov. 1-2) at Sheldon Auditorium, 1000 W. 42nd St., Indianapolis (southwest corner of Butler University campus). Get info and tickets at southbanktheatre.org.