historical

Dance Kaleidoscope presents fresh spin on Irving ‘Legend’

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By John Lyle Belden

When a prestigious professional dance company takes on a familiar story, the results are as amazing as they are accessible to a broad audience.

In the spirit of the season, Dance Kaleidoscope presents “The Legend of Sleepy Hollow,” adapted, choreographed, and directed by Joshua L. Peugh. The short story by Washington Irving, set in the years following the Revolutionary War in rural New York, has been deepened from its usual brief telling into a 75-minute program in contemporary and balletic styles. The narrative and atmosphere can get a bit frightening, so this is recommended for ages 13 and up.

Historically, the area around Tarrytown (including Sleepy Hollow) was a frequent battleground between American Continentals and the British Redcoats, joined by Hessian mercenaries, leaving many on all sides dead (including locals of varying allegiance and descendants of the original Dutch settlers). There was even a report of a Hessian officer being decapitated by a cannonball, only identified by his uniform as the head was never found.

This background is a vital part of Peugh’s production. We are frequently visited by various denizens of the spirit world, as well as the restless dead. The dancers in these roles appear in masks, often gauzy to make their faces even more haunting.

Company member Zay puts his slender body to work as the central character, Ichabod Crane. Being sensitive and superstitious, he quickly starts seeing things upon his arrival in town. Ever the academic, he banishes the dark visions with a wave of his book, but they won’t stay away long. He gains the patronage of well-to-do farmer Balt Von Tassel (Nathan Rommel) in setting up his position as schoolmaster, hoping to also gain the hand of his daughter Katrina (Julie Russel) for both her beauty and eventual inheritance (not so much a matter of greed as of honest opportunism). Katrina is flattered but not committed. She and Ichabod share an intimate dance and written love letters, but publicly she still spends time partnered with burly Brom Bones (Ryan Galloway).

Just as Crane is not all hero, Bones is not a pure villain. His jealousy over this interloper manifests more in pranks than assaults, made easy by Ichabod’s growing visions. As the days pass in what seems like a normal routine, the ghosts – including of a man Ichabod saw die in a fight that got out of hand – draw ever closer.  

At last comes the harvest festival, where Brom – dancing with a pumpkin – delivers a frightening tale. The rest of the story, you may already be familiar with. Just be sure to hold on to your hat (and what it rests on).

Our spirits of soldiers and villagers are joined by flying witches, a Woman in White (Savannah Rolfe) and even The Great He-Goat (Rommel). Filling the various roles, as well as living residents, are George Brous, Natalie Campbell, Ryan Jaffe, Gavin Kimmel, Marie Kuhns, Briah Napier, Morgan Ranney, Sarah Tylor, and Manuel Valdes. The famous climactic chase features Kimmel as The Horseman with Jaffe puppeting the frighteningly beautiful horse (designed by Nicholas Peugh).

The movement is exquisite, telling an easy-to-follow narrative while blending with the production’s overall haunted look. Historic McGowan Hall, practically across the street from the Benjamin Harrison house on North Delaware, is spooky from the moment you step inside. This continues onto the spare stage by scenic designer William Boles, with cornstalks standing sentry at the back that eventually move inward like the marching forest of Shakespeare fame. To display pride in the new nation, a giant 13-star Old Glory briefly spreads above. And as spirits can pass through walls, don’t assume there’s a “fourth wall” here. Incredible costuming was designed by Elizabeth Bourgeois. Evocative music was composed by Brandon Carson.

So – no “Trick” – here’s a “Treat:” The premiere of Joshua Peugh’s “The Legend of Sleepy Hollow” continues into a second weekend! Performances are Friday through Sunday, Oct. 9-11, at 1305 N. Delaware St. Get tickets at www.dancekal.org.

A perfectly chilling part of the Indy Spooky Season (with plans to return next October), this “Sleepy Hollow” may itself become legendary.

IndyFringe: Going Solo

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This is part of the annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe 2026, held Aug. 13-23 in venues around downtown Massachusetts Ave. Information at indyfringe.org.

By John Lyle Belden with Wendy Carson

Reviews of: “Ambiguous,” by Tiffany Michelle Foster; “Before Breakfast,” by Rachel Kelso; “Father Johnny: I Swear to God,” by John Courtney; “Gollum Girl LIVE,” by Amy Yourd; “The Keeper,” by King Richard; “Maniac,” by Todd Sullivan; “The Perfect Rap Show,” by Cecil Creates; “PsyWrn Simone’s Black Thread: Songs that Nina Taught Me,” by PsyWrn Simone; “Then, Eve,” by Billie Jane; “Starship Napademics,” by Kay Hawthorne. 

An essential element of the Fringe experience is the one-person show. Often, it’s a sort of confessional, telling one’s own story or experience in a way that brings us into their uncomfortable shoes. Sometimes it’s about another person or a topic or idea – like a dressed-up TED talk. Whatever is performed, the performer indulges in a very brave act – regardless of the costume, this person is exposed, standing alone, hoping for our understanding. As Shakespeare wrote, “Gently to hear, kindly to judge.”

Ambiguous

While practically no one-person act involves just one person – there are lights and crew, perhaps a co-writer and/or director – we understand that this is essentially all performer Tiffany Michelle Foster. With the help of friends and fellow artists, she presents video scenes on a stageside screen, setting up a situation she has dealt with throughout her life. It’s easy to say she is a “person of color,” but those who meet her can’t help but be curious of the specifics. Her parents and siblings appear to be Black, while she resembles a Latina. Entering her journey of magical realism to answer the question, “What are you?” – and having accidentally squashed the cricket – she gets a sarcastic cockroach as her guide.

In her first costume, she appears as a perfect live-action version of Dora the Explorer, guided by the singing Map through the Forest of Assumption and along the River of Where Are You REALLY From. The journey will take her through a cartoon interlude in which she appears on stage as Betty Boop, and a horror scene with helpful zombies who guide her to becoming the racially/ethnically fluid “Black or White” era Michael Jackson (she admits this was in part to learn how to moonwalk – which she does well).

Tiffany concludes with a few minutes of standup, in which she answers the big question (ambiguously, of course). She reveals that while by genetic percentage she is one racial identity, by her life experience and the laws of her original home state, she is another. (As she tours with this show and could bring it back to Indy, I’ll leave this for you to find out when you see her.)

The bottom line is that “what” Tiffany Michelle Foster is, is human and funny and entertaining, and a joy to see – whatever label fits at the moment.

Before Breakfast

(Review by Wendy Carson)

Mrs. Rowland (Rachel Kelso) is trapped in a now-loveless marriage. Her husband, once a wealthy heir, is now just a drunken sot. She works her fingers to the bone, but he spends his days drinking and regaling his friends with poetry and stories. Her long-suffering plight is laid out for us while she speaks to her husband, who is hungover in the bedroom.

While they were in love at one point and they both risked the wrath of their families to get married, they are now just going through their paces in a mockery of their union. While nobody could have predicted the conflagration of events that led to their current circumstances, he could at least own up to his responsibility to share the burden of working through them rather than just ignoring them wholesale.

While some may feel her tirade comes of as meaningless nagging, there are moments of sincere sorrow that hearken back to her original feelings for the man. She just wants to know that he still feels anything for her. While her tale is a sad one, in the end, her husband finally does show her a little mercy and gives her the second-best outcome she could hope for.

This classic one-act drama by Eugene O’Neill is dark and sorrowful, but does serve to remind us of how harrowing the past was, as well as the trials and tribulations of adulthood.

Father Johnny: I Swear to God

The subtitle of this standup/storytelling/costume act is more a statement than an interjection, as the good Father, presented by John Courtney, does use some mature language and innuendo – and doesn’t mince words about the un-Christlike nature of those in charge of America. While he has kind things to say about our new U.S.-born Pope, there are some aspects of the Catholic Church he’d like to see improved – a global shortage of priests? Let women be ordained!

He gives us video scenes of odd confessions while changing into old Father O’Saughnessy, a kindly Church Lady, and even J.C. himself. His title character also turns out to be an act – while he attended Catholic seminary, he stopped short of the priesthood, finding the Oath of Obedience to be a step too far.

Bearing in mind that standup is always tricky to judge, Courtney’s show is quirky and clever while still feeling rough at points, something a pro like him will no doubt work on. Ever forgiving of the audience, for each line that doesn’t land, he could glibly take up the next to induce some chuckles.

Father Johnny’s blending of the sacred and profane could inspire a few conservative viewers to “arise and walk,” but I think the trinity of Saints Lenny Bruce, George Carlin, and Bill Hicks would bless it.

Gollum Girl LIVE

(Review by Wendy Carson, as posted to Facebook)

Amy Yourd has embarked upon her own personal quest to educate the world on the glorious wonders of the many worlds of J.R.R. Tolkien, the film trilogies of such by Peter Jackson, as well as her love of the true hero of the stories, Gollum.

Growing up different from others, she has always identified with Gollum’s oddities (more of her school mates know her by the nickname of Gollum Girl than her given name). However, she has lived with the nagging fear that at any minute she, like Gollum, would be thrown out of regular society and forced to live in solitude.

Still, she endeavors to find like-minded individuals who might understand her and accept her no matter how odd she seems. Come and witness her story. Find her afterwards and share your own. See her truth and get to know this amazing person who you will surely find some kinship with.

The Keeper

(Review by Wendy Carson)

Come and meet the newest demigod in the modern pantheon, The Keeper (The Keeper of Names being his full title). It is his duty to collect and remember not only the name, but the life story of every person lynched or otherwise killed in a racist act.

Even though he’s been at the job for a mere 10 years, the work is already taking its toll. He knows this is a supreme honor but is frustrated that his own name is lost to himself as well as history. The oath he swore upon taking the role states, “I forget myself, so that I may remember you.”

Witness his story, say their names, forget not that the struggle continues.

Maniac

(Review by Wendy Carson)

Todd Sullivan gives us a unique and interesting take on the motivations and inner workings of a murderer. We are witnessing the trials of a killer and will determine his verdict before the shows end. The first trial is that of Temerity, the second is Veracity, and the third is Rectitude. The trials are quaint and often silly, but they do give us a glimpse of the workings of the accused’s mind.

I must warn those who plan to attend this show that total audience participation will occur. No matter what, at some point you will interact and become part of the narrative. However, the performance I attended, no one seemed to mind even the smallest hint of participation.

Blending actual history, storytelling, clowning, and a bit of magic effects, this show is a rare delight. One that makes you think yet mindlessly enjoy the whimsey of it all. It’s truly a show that could only have been created for a Fringe audience.

The Perfect Rap Show

(Review by Wendy Carson, as posted to Facebook)

Approximately one year ago Cecil wakes up with a groundbreaking idea: “I should quit my job!”

This, added to a seemingly too-good-to-be-true AI assistant, leads him to the vision of taking his music to the next level by live streaming the perfect rap show.

We are here to witness the inception and ultimate performance of this journey as he hones his desires, finds his voice, polishes his marketing and tries to stay true to himself and the music he creates. This is an innovative and enjoyable look inside the creative process for those unfamiliar with it as well as a raw and vulnerable take on the honest struggles of today’s artists.

While some of the language may challenge viewers, I advise you to look past the words and admire the works. This is a must-see for anyone interested in pursuing a music career or just trying to make it online in their own niche.

PsyWrn Simone’s Black Thread: Songs that Nina Taught Me

First premiered during the Indy Black Solo Festival at the end of January, PsyWrn (pronounced “siren,” like one who entices with her singing and can rock your world) weaves her personal story with that of the legendary Nina Simone. Accompanied by Matthew Dupree on an African drum, PsyWrn presents “an appreciation, honoring her spirit,” seeing Nina (the High Priestess of Soul, 1933-2003) as having embodied “the artist as activist.”

In other words, she wasn’t always “Feeling Good.” In fact, Nina is quoted as saying, “first you get depressed, then you get mad.”  

The set includes audio and visual tributes to Nina Simone, including an LED 3-D rendering. PsyWrn also brings her to life in song, from Civil Rights anthems to the uplifting “To Be Young, Gifted and Black.” The Black Thread of the title weaves through those who struggled in decades past and continues in those taking up the call to end injustice today. In delivering this inspiring tribute, today’s Ms. Simone also shows herself capable of being legendary.

Then, Eve

(Review by Wendy Carson)

Billie Jane gives us a novel retelling of the Genesis story that resonates with our current times:

While their main job of naming all the animals seemed wonderful at first, their sheer numbers (there are over 4,000 different beetles alone), eventually made it drudgery. She wants more and can’t understand why her companion is so satisfied with so little.

There is also a lot of confusion within the task at hand. Why are the females of the species so ugly? Why did that bird sit on that white rock? Was the baby bird trapped inside the white rock? Do the rabbits have to constantly do THAT. Should we be doing that? Why did God put a tree here that we aren’t allowed to have anything to do with?

After a while, her companion deserts her so she becomes best friends with Caterpillar. This leads to another batch of questions as her buddy goes about his metamorphosis. She feels that she needs to transform herself but doesn’t know how. She tries talking to God but to no avail. She sets off to visit Lillith but that only makes her feel worse about her situation. Why does paradise feel so much like a prison?

Since she is miserable, she might as well end it all, so she steels herself and goes to the forbidden tree. Picking a fruit, but not yet eating it, she returns to see Butterfly destroyed by a flash of lightning. This seals her fate and she eats of the fruit, gaining the Knowledge of Good and Evil as well as the reality of her true self.

Jane weaves the story line so brilliantly that you are almost blindsided by the novel twist at the end of it all. This was truly a remarkable and thought-provoking look at an age-old tale.

Starship Napademics

Kay Hawthorne has her home in Indianapolis, roots in Africa, and her eyes on the stars. She invites us along on an Afrofuturism journey, embodying two personas. Nessa the stewardess informs us that all within this little theatre are about to embark – be ready for a change of gravity.

Once on our way, we meet her principal self, Napademics, with stories of discovering other worlds through books of science fact and science fiction by Black authors; the music of Sun Ra, Parliament-Funkadelic, and OutKast; and songs of her own she sings for us. The set is hand-made low-tech with high-tech aspirations, like the child who dreams of the Mothership on her way to applying for NASA.

She takes us by Sun Ra’s home of Saturn, and Napademics’ own planet, Mercury, in word and song. She notes that the mostly white scientific community seems to fear Dark Matter, but she doesn’t, adding “you miss so much that you see Black as empty.” However, we have nothing to fear as Nessa will welcome us back to Indy, safe and sound – and a little more funky.

Footlite lands fantastic production of ‘Pippin’

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By John Lyle Belden

Things across the world are rough now, but Footlite Musicals is partying like it’s Seven-hundred Ninety-Nine with its spectacular production of “Pippin,” the Tony-winning classic by Stephen Schwartz and Roger O. Hirson with contributions from Bob Fosse.

To explore the timeless human pursuit of “glory and meaning,” a troupe of performers presents a story very loosely based on the oldest son of Charlemagne (medieval ruler of much of Europe, a/k/a The Holy Roman Empire). Not letting history get in the way, the Leading Player (Anya Andrews) declares that the prince is not a hunchback (like the real Pepin). Our handsome Pippin (Parker Taylor) instead bears an affliction of the spirit, always feeling empty and unfulfilled.

Charlemagne (Edward Trout) is not really concerned, expecting that his likely heir will safely pursue intellectual things while he and his brawny son Lewis (Jack Sullivan) go to war. Pippin insists on going along – the first of many searches for his “Corner of the Sky.”

Meanwhile, Lewis’s mother Fastrada (Shari Jacobs) plots to get his son on the throne.

We also have an entertaining encounter with Pippin’s exiled grandmother Berthe (Miki Mathioudakis). Eventually, we also meet kindly widow Catherine (Nicolette Màntica) with her son Theo (Oliver Barszcz).

And canine actor Shadow Vest is “not a duck.”

The musical’s scenes are further brought to life by the ensemble of Leon Benbow-Blomberg, Dustin Branum, Nate Copeland, Skye Fuller, Xaviera Kuissi, Kylie McGuffey, Kerrigan McSweeney, Jed Otterson, Gwendolyn Pickett, and Louie Rivelli – all doing their Fosse-est.

Directed by Claire Slaven with Jerry Beasley and Zac Speer, this show is fascinating from start to finish. We get mesmerizing performances by Andrews and Taylor, the former as befits a circus ringleader and the latter as the fresh-faced searcher with charming naivete. Trout gives us a no-nonsense ruler and rather understanding father. Jacobs is appropriately devious. Sullivan makes an oddly charming meathead. Mathioudakis makes the most of her prestige role. Màntica comes in as a beautiful voice of reason – much to the Leading Player’s chagrin – making Catherine’s love feel genuine.

Choreography is by Thomas Mason, with McSweeney and Taylor, preserving the Fosse style while bringing a unique vision for this production. For instance, when Pippin is exploring carnal pleasures, the ensemble remains mostly clothed with maneuvers as graceful as they are sensuous, resulting in “sex” that’s almost G-rated.

Vocal director is Ben Rose, the orchestra is conducted by Jeremy Kaylor, and stage manager is Melissa Yurechko, assisted by Cagney Gladden. Lyndsey and Laura Vest wrangle the props, as well as perky Shadow.

The cast and crew have plenty more “Magic to Do” with performances Thursday through Sunday through Oct. 4 at 1847 N. Alabama St., Indianapolis. Tickets, which are selling fast, are available at footlite.org.

Mother’s devotion touches the world

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By John Lyle Belden

There’s something unique and fascinating about the cliché Jewish Mother. When encountered in performance it guarantees entertainment for the combination of simple values and cultural complexity. When you meet this personality in the real world, especially displaying a familiar mélange of honest concern and resolved acceptance, you find yourself wanting this woman for your second Mom.

In 1970s New York, countless LGBT youth found this maternal comfort in Jeanne Manford, and in her humble and loving way, she changed the world.

Phoenix Theatre Cultural Center presents the world premiere of “Everybody’s Favorite Mothers” by James Still, directed by Zack Neiditch.

When Jeanne’s son Morty (Jack Ducat) came out to her (Constance Macy), she accepted him without question. Her husband Jules (John St. Angelo) took more time to come around, he admits, but was fully accepting when he saw the violence that confronted a gay man just being himself.

Having been outspoken with a strong sense of justice since boyhood, Morty was an avid activist, working with close friends Mike (Matthew David Consell) and Leena (Alicia Barnes). As they planned to join a Gay Rights march on the anniversary of the Stonewall uprising (which had happened just a couple of years before), Morty asked his mother to walk with him. Feeling challenged at her initial hesitation, Jeanne firmly says she’ll be there.

For someone who prefers to live her own life, “I’m not a joiner,” Mrs. Manford is more conflicted than she realizes. The night before the march (which she likes to think of as a “parade”), she finds herself visited in her dreams by icons of motherhood. Maria Von Trapp from “The Sound of Music” (Zarah Shejule) appears in drag-inspired finery to reassure Jeanne and get her mind ready for the coming big day. She introduces two mothers from the past – the Virgin Mary (Barnes) and Mrs. Cratchit (St. Angelo) – and one from the future, Marge Simpson (Conwell), all eager to share encouragement.

The next day’s march sets Jeanne on a path of activism, Jules by his side, that leads to the founding of what is now PFLAG. Her firm sense that family members should support one another fueled her drive to help resolve estrangement between queer kids and their families, and give support to other parents.    

Still – the former playwright in residence at Indiana Repertory Theatre, now living on the West Coast – said he had great difficulty writing this important story of a little-known hero. While researching he found a relevant speech by President Barack Obama and realized that to include this event from 2008 in a story from 1972, he had to be very flexible with the element of time. Thus, to help focus on the central relationship of Morty and Jeanne, they take charge of their story to “rewind” and “forward-wind” to help them, and us watching, better understand what happened. This adds context and drama to a struggle that included trauma that proves difficult to get past.

Shejule also makes an appearance as the principal of the school where Jeanne teaches, having the impossible task of persuading her to reduce her activism.

This play’s clever presentation goes beyond Still’s words and Neiditch’s direction. Sound and video projections by Ben Dobler include actual news footage. The simple set with seating on two sides is by Rob Koharchik with lighting by Michael Moffatt. Anthony James Sirk did the costumes, which include fantastic plastic wigs and outfits for the dream sequence. Props, including Maria’s cute pet goat, are by Kristin Renee Boyd. Stage manager is Emily Root, assisted by Morgan Grabczak.

Ducat presents all the fed-up stress and sense of personal peril in Morty’s struggle to end discrimination. Conwell plays Mike more glib but with his own sense of worry – he also does a perfect Marge voice. Barnes, who said she reflected on her own journey to inform the role, plays Leena as eager and empathetic while dealing with the unfortunate rift among some activist gays and lesbians. Shejule’s turn as Maria is a delight. St. Angelo presents Jules as steadfastly supportive, as his fragile health allowed.

Macy – also the Phoenix Theatre Christel DeHaan Artistic Director – seems effortlessly amazing as Jeanne, working through her infrequent uncertainties while never diminishing her sense of doing what is right.

An unflinching look at the fight for gay rights featuring a mother’s uncompromising care, “Everybody’s Favorite Mothers” delivers an important chapter in American LGBTQ+ history, and a reminder that this story still continues.

Performances run through Sept. 20 at 705 N. Illinois St., downtown Indianapolis. Get info and tickets at phoenixtheatre.org.

For information on PFLAG, see pflag.org.

IndyFringe: The Kids Are Alright

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This is part of the annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe 2026, held Aug. 13-23 in venues around downtown Massachusetts Ave. Information at indyfringe.org.

By John Lyle Belden

Reviews of: “Cicada,” by Carmel High School; “JACKED: A Beanstalk Remix,” by KIPP Legacy High School; “Queens,” by University High School of Indiana; “Whatever Happened to Gold D. Locks?” by Sondra E. Hayes Productions.

Fringe festivals are excellent opportunities to develop skills as well as stories, which makes them perfect for high school and youth programs. As with all forms and genres represented in Fringe, the quality and appeal of each performance differs, and with those whom we know up front are learning their craft, we grant more understanding. I have found that once you give that degree of grace, you find a good story, the noble intentions, individual bravery, and even those young persons with the spark and drive to shine on future stages.

Cicada

(Review by Wendy Carson)

Carmel High School brings us another heartfelt offering with this Southern Gothic steamer. Lily (Lexie Palmer) lives alone with her son, Ace (Jack McNalley). However, they are surrounded by the ghosts of those who have also lived there. We meet Lily’s big sister (Jenna Kraus) who died as a child; Granny Duvall (Hadley Wilkinson), who had actually raised her; and Aunt Sister (Lucy Frey) who came to live with her after Lanora passed on.

We also meet their neighbor, Lanora (Lilyanne Nottingham), who is haunted by memories of her husband (Ron Feinberg) and his struggles for the perfect lawn. Ace wonders about his absent father (Ron Feinberg) and conjures his own memories of him.

Maaike Mora is present as the specter who plays the piano and Maisan Hasan is the voice of the preacher Granny Duvall idolized.

Jerry Dye directs this sweeping tale of loss, memories, and hauntings of one kind or another.

JACKED: A Beanstalk Remix

Established in 2019, KIPP Legacy High School has developed a full array of extracurricular activities, including theatre. For the second year, the students present a show at IndyFringe, giving valuable experience not just in performance, but also in mounting a show in a professional environment. This year’s offering shows growing comfort with their expectations.

With rhymes recited in hip-hop style, we meet Jack – the one with the old cow. Mother tells him to sell her, because she will produce no more milk. However, he considers the animal a pet or even a friend, and when Minka Mysterio comes by with some magic beans and a promise that the cow won’t see a butcher, the famous deal is struck. You can guess what happens next: angry Mom throws away beans; they sprout anyway, making the skyward beanstalk; Jack climbs, discovers a Giant, a talking Harp, and a Goose that lays golden eggs; he opts to steal the bird; the Giant follows him down the stalk – a fatal mistake.

That would be the whole fairy tale, except the show isn’t halfway over.

There is far more allegory here than you, or Jack, expect. We deal with damage from a falling giant; the village being off the gold standard; a more troublesome use for the eggs; as well as the inevitable, upset, Mrs. Giant.

The students work this complex story with upbeat aplomb, making the most of each role. The goose, with a look of frustration and fatigue, gets a lot of amusing expression from her single-word “dialogue.” Minka’s mischief and Jack’s earnestness each shine.

Overall production improvement shows, giving us hope that the school will appear at Fringe for years to come.

Queens

Though the subject matter is the same, this is not “Six.” University High School of Indiana in Carmel presents the story of the wives of England’s King Henry VIII, drawing on historical material, including songs, rhymes and dances of the era, as well as more appropriate costumes.

Henry Tudor is chained to a throne in Purgatory, attended by a Jester, his tormenter. Also on hand are the spirits of all six of his wives to relate the stories of their lives and treatment by their monarch until he truly repents. To relate the events, the women dance or gather through various functions, reflecting the news, speculation, and rumor of Royal society. There is also a Young Henry who each encounters, marries, and deals with his rough temper and selfish pride.

Besides a well-told history narrative, there are lessons for us today, especially in the hazards of obsession. This is most expressed in Henry’s consuming desire for a son to succeed him. When at last one is born, after which his second wife dies, it is declared, “Her life for a boy!” Chained Henry responds, “My soul, for a boy.”

The presentation and choreography are excellent, as well as the various portrayals. The true-to-the-era personalities even included one maiden who enjoyed watching executions.

There were only two performances at the 2026 Fringe, so hopefully this proved a good opportunity for bigger investment in a future festival.

Whatever Happened to Gold D. Locks?

This new take on an old fairy tale was truly a family affair. Written and directed by Sondra E. Hayes, “…Gold D. Locks” is cast with at least three families of parents and their children. Kids get a lot of action and speaking lines, especially young B.B. Bear, whose chair was broken and porridge eaten; the Raccoon crime-watch captain who saw it happen, and the title character, a presumptuous Human who is caught and put on trial in the Woods court.

Before the show starts, every member of the audience is urged to put on a provided animal mask, so that we may observe the trial as the jury. No votes are taken, but we are encouraged, with prompts projected on the back screen, to respond (with animal noises) to the events on the stage.

In their own costumes and masks, we see the court of an Eagle judge with an Owl defense attorney, Badger prosecutor (there is at least one accusation of “badgering the witness”), and Fox sheriff and court officer, with his Kit appearing as the Bailiff to hold the Book of Virtuous Stories for swearing in. (“My Mother told me never to swear!” Gold responds.)

With its added subplots of environment and conservation, as well as admonitions not to judge one another unjustly, this was an excellent all-ages show and perfect for younger children. There were many giggles, from young and old, when the Turtle jury foremen slow-but-steadily made their way up to the stage to leisurely deliver the verdict.

Black Light shines light on Indy history, culture, again

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By John Lyle Belden

Here’s a homework project we can all learn from.

Black Light Training & Development, a program of The District Theatre, presents “The Griot,” a new dramatic work in progress by Celeste Williams, directed by Ronni Watts with Kelly Kel. For the participants, this is an opportunity to develop skills as writers, actors and directors; for the audience, this is also a window into Indianapolis Black history, with a focus on The Indianapolis Recorder.

Founded in the 1890s, The Recorder has been a vital part of what was then and through the 20th century referred to as the “Negro press,” newspapers that served communities of color across the United States, bringing to light the people, stories, and issues mostly ignored by the mainstream (read: white) media. As one line in the play states, to know what was really going on, “this newspaper, and the grapevine, was it!”

To get misbehaving high school students Rosa (Kenyla Bell) and Malcolm (Tyrell) to take history seriously, their teacher gives them a week to make a presentation about the Recorder – something they barely know or care about.

Malcolm remembers it’s something his grandmother “Moms” (Kea Biven-Williams) reads all the time. Noting his interest, she tells how it covered the career of the great Oscar Robinson and his history-making high school title. While her breaking into the Crispus Attucks High “Crazy Song” is a fun audience sing-along, it overwhelms the boy with its hokey-pokey old-fashioned style and he retires to his bed. Meanwhile, in her home and bed, Rosa nods off while Googling the history of The Recorder.  

This is where the spirit world intervenes. Jeli (Destiny Basnight), the essence of The Griot (a traditional African storyteller and history-keeper) brings together the dreamscapes of both youths to meet her and the spirit of George Pheldon Stewart (Terrance Marquis), co-founder of the Recorder.  D’Andrea Brown arrives as “N. Diana Avenue” to enlighten the kids on local history and “Cora S. Pondent” to relate the Recorder’s role in it. Dom Moon appears as the mistress of “Monster Meetings” that brought notable African Americans to speak at the Senate Ave. YMCA, as well as a soldier who wrote to Black papers during World War II to propose the Victory sign become a “Double V” for victory both in the War and on the homefront for civil rights.

Malcolm and Rosa are shaken from their apathy by discovering the rich history in their own city, learning of success stories, like that of Madam C.J. Walker; events like the visit by Martin Luther King Jr., five years before his “Dream” speech; and the horrors of lynchings across Indiana, murdering “young people like us.” In the process, Rosa confronts questions about her own future, while Malcolm feels he must deal with his own troubled past. Appearing at ease on the stage, Bell and Tyrell show their own talent and potential.

The adults acquit themselves well, too. Basnight’s delivery balances charm and culture to stay above caricature. Biven-Williams is endearing as the grandmother. And Marquis entertainingly brings to life the rather dashing photos of Mr. Stewart, presenting a classy no-nonsense newspaperman.

As in past Black Light productions, we get deeper insight into Indiana’s past as well as an opportunity for future cultural icons.

Overall, the 90-minute play gives a good first public showing with great potential. See what we mean and encourage its development by seeing it 7 p.m. tonight (as this posts) or 4 p.m. Sunday, Aug. 30, in the District Blackbox, 627 Massachusetts Ave., Indianapolis. For tickets and information, see indydistricttheatre.org.

Find Black Light Training & Development on Facebook. The Indianapolis Recorder is available in newsprint, online, and provides a weekly email newsletter.

IndyFringe: ‘They will come out and dance again’

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By John Lyle Belden

This is part of the annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe 2026, held Aug. 13-23 in venues around downtown Massachusetts Ave. Ticketing and other information at indyfringe.org.

Reviews of: “First and Last Breath,” by Seda Negra/Black Silk, “Mārgam – The Path in Bharatanātyam,” by Team Laya; “On the Edge of Now,” by Pulse Dance Theatre; “Perfect Ten!” by Crossroads Dance Indy; “Ready Yet?” by Theo Renee; “SOUL: Reimagined” by Kenyetta Dance Company.

The above quote was not said on stage, but by a little girl in the audience behind me, said with naïve and wishful confidence at the end of the show. Her father then gently explained to the enraptured young fan that the dancers would not return, at least in that hour. The previous day, I saw a different child standing by her chair, eyes fixed up on the stage, gently swaying like she was part of the action before her. In a way, she was.

Such inspiration, for all ages, is part of what makes dance and movement so important to the IndyFringe festival. Perhaps you, too, can get swept up in these performances (or if their dates have passed, watch for your next opportunity).

EDIT: I have added a review of the first show, the others were previously published before the festival ended.

First and Last Breath

“The wind will bring collective healing… for the wind is the first breath.” In this production by Seda Negra/Black Silk, incorporating contemporary and traditional dance forms, we explore cycles of life with the spirit Oya — an orisha originally from Nigeria now honored throughout the African diaspora. On the stage of the Athenaeum Basile Theatre, the dancers present a flowing, energetic, almost continuous program. Starting with two, then joined by the company, they move like guiding winds, fall, awake, take on shimmering forms in light flowing robes. They confront and are blessed by Oya in her buffalo form, “preparing for battle.” They embody struggle, and the need to leave old patterns behind. Finally, they embrace the Last Breath to a refrain of “Take me, Oya.” Incredibly beautiful with an exceptional sense of unity, the company’s appearance in the second weekend of IndyFringe was worth the wait.

Mārgam – The Path in Bharatanātyam

The title refers to a particular form of traditional dance from India.  Presented with traditional music and costumes by Team Laya of Columbus, Ind., the three women dancers share with us one of the great Hindu stories, the life of Rama, who was considered the ideal man and an incarnation of Vishnu.

After a traditional invocation, we are shown that before Rama was man or legend, he was a child. A dancer gracefully portrays his caring mother, guiding, chiding and embracing her young son, her precise movements perfectly miming these activities. The three next portray other events in his epic, including his unjust exile, the loyalty of his brother Lakshmana and wife Sita, and his battles to finally gain his rightful crown.

The dancers show great physical control, grace, precision and endurance. Their ankle bells add to the rhythm, much like tap shoes in Western dance. Even if you don’t know the story, the sense of deep, ancient culture is readily felt.

To share in this experience, there is one scheduled performance, 12:30 p.m. Saturday, Aug. 22, on the intimate Cabaret stage at The District Theatre, 627 Mass. Ave. Note that seating is limited so, like the first performance on Aug. 15, a sellout is likely.

On the Edge of Now

The “pulse” of Pulse Dance Theatre is apparently an elevated heartbeat, as the works in “On the Edge of Now” plumb emotional depths. The opening piece, “Hypervigilance,” choreographed by Amanda Hoover, portrays the trapped feeling of past traumas, presented by the grasping hands of company members, seeking to restrict one’s life.

The other dances are choreographed by PDT artistic director Amanda Browning, including parts of “Through the Pulse of Memory” (solo by Morgan Johnson), “Frequencies” (Magdalynn Derloshon and Izaak Vilbrum), and “Elegy for Thoughts Unspoken” (company). In “Suite Bru,” the ensemble deliver in movement a perfect reflection of two of Dave Brubeck’s most famous jazz numbers.

An excellent hour of contemporary dance, one performance remains at 12:30 p.m. Saturday (Aug. 22) in the Basile Theatre upstairs of the Athenaeum (401 E. Michigan Ave.).

Perfect Ten!

Crossroads Dance Indy celebrates a decade of performances with a program of 10 selections to fascinate and amuse us.

With choreography by Brittany Gaither, Nicole Mikesell, Sammi Kindler, Meghan McGill, Kathie Porras, Clarice Nolan, Dani Conti, and Gabby Padilla, the company approaches the concept of “ten” from all manner of angles, set to music ranging from Blondie to Brubeck (consider “Take Five” in 10/8 rhythm) to Rodgers & Hammerstein. There’s a humorous piece on the declining value of a dime, and even a look back at being ten years old. It concludes with a clever look back at their favorite past dances.

As for the common slang definition of the title, “Perfect Ten,” the brave and beautiful ladies (and gentleman) of this troupe remind us that it’s not just that anybody can dance, but that any body can dance, and that’s more than fine with us.

Seek “perfection” at the Athenaeum Basile Theatre (401 E. Michigan) Saturday evening and Sunday afternoon, Aug. 22-23.  

Ready Yet?

Theo Renee was inspired by hearing of a dance classmate being named an “Emerging Choreographer.” The concept of what it is like to emerge, bridging the gap between being a student and a professional, brought about the project, “Ready Yet?” involving Renee and several other performers from Michigan college programs.

 This is only their second production (the first was in Ypsilanti, Mich., in January) so the show is still raw and evolving, but the pieces (seven dances and a monologue) don’t appear unfinished. They display great individual skill and control, while tapping into various emotional states. There are the two dancers whose movements are as if statues did stretching exercises, never losing their graceful presentation. Emotional strain at one point is punctuated with music suddenly stopping and starting, the dancers responding accordingly.

The most interesting and complex number starts with two dancers in a balletic style with bits of humor. Their costumes each have a fringe (appropriate!) of ribbons along the hem of skirt of shorts. As others come on stage to join the dance, dressed likewise, there is frequent trading of ribbons among them – like kids with friendship bracelets. Eventually, each will come forward with a clipped phrase, these non sequiturs building into a more profound whole.

The last piece presents despair, hiding from the calls of others while agonizing whether this is all worth it. Finally, the answer comes.

There are two more performances, Saturday and Sunday (Aug. 22-23) at the Athenaeum Basile Theatre (401 E. Michigan). If you see Theo around the festival, you could receive a free “Ready Yet” friendship bracelet.

SOUL: Reimagined

Kenyetta Dance Company delivers an unflinching examination of history some people don’t want told, a lesson written through movement, in terror and sweat. Starting with literal roots in Africa, we see people taken, broken, transported, sold and used as property. The medium of dance helps us see and practically feel the horrors, the longing, and the eventual elation. Though all was taken from them, their souls persisted, sustained by old and constant rhythms.

This is presented as a single program, with each dance flowing into the next, aided by projected visuals, light narration, and music including traditional African, spirituals, and folk blues. Of the latter, the slave auction song “Bid ‘em in” haunts us with its upbeat tone and casual dehumanization, juxtaposed with movement portraying the cruel scene. At various points, the dancers’ skill and precision startlingly depict wrists, arms, bodies, being pulled and dragged by unseen chains, expressions reminding us that not so long ago they were very real.

This may be the best dance production of the Fringe. Performances are 11 a.m. Saturday and 5 p.m. Sunday (Aug. 22-23) at the Athenaeum Basile Theatre (401 E. Michigan).

The District calls on ‘Genêt’

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

Indianapolis native Janet Flanner was a unique personality, one of the most famous Hoosiers you likely have not heard of. This was likely in part because her writing focused on those around her as she faithfully avoided writing in the first person.

The spotlight gets overdue placement upon this literary icon in the world premiere of “They Call Me Genêt” by D. Paul Thomas, performed by Jen Johansen at The District Theatre. Writing her “Letters from Paris” for the newly established New Yorker magazine from 1925 to 1975, she received her nom de plume from New Yorker editor and co-founder Harold Ross, who mistakenly assumed it was a French variant of “Janet” (the word actually refers to a broom plant with yellow flowers, or a cat-like animal native to Europe and Africa).

We meet Flanner at the end of her time as an ex-pat in Paris, preparing to depart for New York, where she would live with her long-time lover, publisher Natalia Danesi Murray. She packs while struggling to write her final “Letter” for the magazine, and reflects on her various life experiences and the famous (and infamous) people she knew along the way.

Johansen delivers a flawless performance as the woman who would apparently mock the self-indulgent nature of a one-woman show. Aided by an appropriate wig (design by Andrew Elliot), she bears a close resemblance to photos of Flanner, who was fully aware of her plain features, remarking here that she has “the face of an old Pope.” Director Chris Saunders gives us not just a fascinating first-person biography, but also, as he notes, a thoughtful meditation on where the observer fits in among the celebrities she observes.

Among the historical figures she encountered, Flanner wrote about Hitler during his rise to power (a bitter I-told-you-so years later for those who dismissed her prescient profile) and had more pleasant relationships with luminaries including Hemingway, Picasso, and Gertrude Stein. Past notables of art and letters, she remarked, included “the most interesting Paris-ites.”

As for her personal life, Janet is unapologetic while employing her gift of creative language to apply appropriate euphemisms, such as her preference for “the sorority side.” There is a little trepidation at rejoining American society, returning to the post-Vietnam/Watergate country she sees churning towards a sort of “self-betrayal.”

The look and atmosphere are completed with costumes by Guy Clark, set by Josh Morrow, and props sourced by Jan White – including a charming compact typewriter. Rick Northam is stage manager, and Georgeanna Smith Wade is the understudy.

A bit of a wildcat, a shining golden flower, and ever intriguing – get to know Ms. Flanner in “They Call Me Genêt” in performances Thursday through Sunday, July 23-26, at 627 Massachusetts Ave., Indianapolis, presented in partnership with Indy Pride.

There will also be a benefit event, A Parisian Dinner and Garden Party, following the 4 p.m. Saturday performance. For details and tickets to all shows, see indydistricttheatre.org.

Father and gay son face horrors of Holocaust

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

I hope that this finds you shortly after I post it – so you can see – or this is shared before the next production – so you can anticipate – the important intimate drama of “A Pink Triangle” by Kirby Taylor.

The title refers to the patch worn by LGBTQ prisoners in Nazi concentration camps. Holocaust histories typically mention the yellow Star of David worn by Jews while tending to note in passing others tortured and killed included Roma, Communists, other political prisoners, and homosexuals. While the effort to eradicate Jewish people cannot be understated, the Pink Triangles were held in lowest regard in the camps, their harsh treatment including horrific medical experiments.

In fact, there was a macabre rainbow of color patches for various prisoner classes, a reflection of the regime’s ruthless organization of cruelty.

Coincidentally, “A Pink Triangle” has a three-fold theme. The first, its setting, is the historical hell of wartime Auschwitz, portrayed in the gaunt, nervous, hungry actors in filthy, ill-fitting striped clothing we see before us. Second is the paranoid horror of their existence and the realization among us watching that so much of the context sounds like something familiar, even relevant to current events. Third, and most important, is that this is a tragic and poignant father-son moment.

Lars (Jim Melton) can barely walk, let alone be capable of literally back-breaking labor in the stone quarry, so he gets the ironic relief of working at his own pace literally shoveling excrement while awaiting a more horrific assignment to Block 10, where experiments are conducted. His pink patch has made him a pariah; even his father momentarily shows revulsion when he sees it.

Hans (Dave Ruark) works beside Lars, the guards apparently unaware they are related. His patch is green, indicating a criminal (possibly for his family’s black-market dealings; we find from their conversation that his wife remains free to secretly help their neighbors with food and essentials). In him we see what in hindsight we refer to the “Good German” who got along and even supported the Nazis until he, like the others he was willing to condemn, was seen as unfit. He has memories of the disastrous end of the first World War and accepted the propaganda of whom to blame for hardship. Now feeling no allegiance to Hitler, he keeps secret the fact that he plays trumpet even though that would grant him easier duty in a prison or military band.

Though this is thoroughly researched, including visits to Europe – Taylor admits she had only heard of Pink Triangle victims a couple of years ago – she emphasizes this is primarily a story of a father and his son making contact, seeking some sort of understanding in what could be the last time they see each other. As a result, she has scripted an incredibly natural hour-plus conversation. Its rough flow is not primarily to communicate to us (which cleverly it does) but rather as two people who share both an intimate bond and immense pain, each felt caused by the other. Issues unresolved and unresolvable are verbally danced around yet must be confronted: Why Clara is still free; feelings about older son/brother Freddie, who served and died for the Fatherland; who betrayed Lars to the Gestapo. Helping stitch these frayed threads of discourse are odd familial touchstones, like past meals, or an ugly yellow couch.

In her directing debut, Holocaust historian Amy Grove of the CANDLES Center in Terre Haute (founded by survivor Eva Kor) keeps the story firmly grounded in its living hell. Death literally stalks these men, and all others held there, which we hear in the bursts of nearby gunfire that occasionally punctuate the scene. It’s also in the eyes of those before us. Melton, who also masterfully applied hollowing makeup, gives Lars the darting expression of a trapped rodent. His moments of feigned bravado and apathy, spiced with black humor. are his sole defense against madness, as fatal resignation battles for hope in his battered psyche.  In Hans’ expression, there is a secretly defiant watchfulness that manifests its hope in constantly looking for ways to work any system he’s in. Apparently, even if he does not survive this – his frequent cough making this more of a possibility – it will literally be on his own terms.  

Though these are fictional characters, they represent real people. Thousands were sent to concentration and death camps under an anti-gay law that predated the Nazi regime but had been strengthened and strictly enforced. The current production of “A Pink Triangle” at The District Theatre includes an exhibition of prints from Pink Triangle Portraits, a project by artist Bryan Sharland to document in paintings every queer victim of the Holocaust of which there is an available photo (including more recent pictures of survivors).

A necessary and overdue examination of a dark chapter of LGBTQ history – and human history – remaining Indianapolis performances of “A Pink Triangle” are 7:30 p.m. today (as we post this) and 4 p.m. Sunday (June 27-28) on the intimate Brian Payne Theatre (second stage) at the District Theatre, 627 Massachusetts Ave. Get tickets at IndyDistrictTheatre.org.

The syncopated story of America

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

In the United States’ current social and political climate, approaching a significant celebration of the Fourth of July, it is fitting that Summer Stock Stage presents “Ragtime.” The epic musical by Terrance McNally with songs by Lynn Ahrens and Stephen Flaherty, based on the E.L. Doctorow novel, was a massive hit and Tony winner both in 1998 and the current revival. With a combined cast, crew, and orchestra nearing around 100 – mostly high school and college students – this exceptional production is directed by SSS Artistic Director Emily Ristine Holloway.

Set around 120 years ago, this is an appropriate tribute to America for many reasons.

It is the story of what was then considered an exemplary family. They are introduced by the observant Little Boy (Adam Palumbo), whose Father (Justus Palumbo) became wealthy enough from fireworks and other paraphernalia of patriotism to travel the world, leaving behind Mother (Allie Niethammer), Mother’s Younger Brother (Collin Alber), and Grandfather (Milo Ellis). Mother and Brother become central characters in the narrative, with Niethammer especially showing strength of voice and her role’s character. With clumsy charm, Alber embodies the American restless spirit, always searching for something he’s not sure of, seeking to give his life meaning. While Mother and Brother have transformative dramatic arcs, Father is stuck in an era he too late realizes has gone, naïvely unaware that his beliefs and attitudes are part of the problem.

It is the story of celebrity. The novel and its adaptations mix real historical figures in with the fictional exemplars of various classes. Many names are still familiar, including J.P. Morgan (Graham Bodkin), Henry Ford (Sam Funk), Booker T. Washington (DeMarae Bradley), and Harry Houdini (Max Frank). We also meet the scandalous vaudeville star Evelyn Nesbit (Olivia Steele); the events surrounding the Girl on the Swing described in “Crime of the Centry” are factual. Steele plays her with confident flair while presenting the ego that would outlast her famous beauty. Another notable personality was anarchist agitator Emma Goldman (Lilah Hern), presented with stubborn bravery, persistently and constantly calling out injustice.

It is the story of unending racial struggle. Aside from Mr. Washington’s righteous pontificating, we are presented with the Harlem community that gathers around pianist Coalhouse Walker Jr. (Michael Washington), master of Ragtime music. He had been a carefree traveling musician but realizes his heart belongs to Sarah (Cori Hughey), who he discovers had given birth to his child. However, she had felt abandoned and betrayed by him, leading to desperate actions that result in her taking shelter in Mother’s home. Coalhouse’s story is the central narrative of the musical – from romance, to confrontation with the bigot Willie Conklin (Simon Allen), to tragedy and dire consequences. Hughey and Michael Washington acquit themselves excellently as Sarah and Coalhouse, bringing on heartfelt tears and rapturous applause. Also notable is Asha Smitherman as the soloist in the haunting rendition of “Till We Reach That Day.”

It is a story of immigrants. We see a number of arrivals with little more than the rags on their backs, exemplified by hopeful Latvian refugee Tateh (Luke Aguilar) and his daughter (Gracie Reckamp). He lays bare the whole newcomer experience – the humor, the horrors, and the spark of inventiveness that finally brings him to his part in the American Dream. Even in moments of despair, he perseveres for his little girl, and we can’t help but want him to succeed. To help escape dire circumstances, we get clever minds-eye cameos by fellow immigrant Houdini.  

Family, celebrity, racial tension, immigration issues – this 1906 story echoes like a 2026 campaign, set to music that was new and uniquely American. We highly recommend seeing this if you can; however, performances this Friday through Sunday (June 26-28) at Schrott Center for the Arts are swiftly selling out.

SSS’s next show is a different musical, still set around the same place and time: Disney’s “Newsies,” an entertaining examination of the 1899 New York Newsboys Strike. Performances are July 15-19, also at the Schrott Center, next door to Clowes Hall on the Butler University Campus (610 W. 46th St., Indianapolis). 

Get information and tickets at summerstockstage.com.