IndyFringe 2015 Wrap-Up

We had a great time at this year’s IndyFringe. Though we didn’t see all the shows, we saw quite a few, so, here in one place are the links to all our reviews, for anyone wanting to look one up:

4.48 Psychosis” by Savage at Last

4Square” by AV Productions

Acting My Age” by Matt Holt

The Adventures of Les Kurkendaal” by Les Kurkendaal

Auditioning for Swan Lake” by Lou Ann Homan

The Best of Indy Magic Monthly” by Magic Taylor’d for You (Taylor Martin)

Breakneck Hamlet” by Tim Mooney

Bromance” by Farewell Tour Productions

Cabaret of Puppetry” by Peewinkle Studios

Ca-Ching” by Nomads Collective

Camp Summer Camp” by Defiance Comedy

Cocooned in Kazan” by Royal Kung Foolery

The Comedy Magic of Oscar Munoz” by Oscar Munoz

Dancing in the Mist” by RibbetRepublic

Drosselmeyer’s Magical Bedtime Story” by No Exit Performance

The Eulogy” by Michael Burgos

Fruit Flies Like a Banana” by Fourth Wall

Ghost Story” by Peter-John Byrnes

Growing Up All Over Myself” by Mat Alanso-Martin

Hannibal: LIAR!” by Chris Hannibal

Hell’s Fourth Ring: The Mall Musical” by Casey Ross Productions

Home Grown Originals” by Band O’ Leers

An Indian Comedian: How Not To Fit In” by Krish Mohan

I’m Not Gay” by Submatter Press

Interrupting the Sermon” by First Hand Theatrical

The Invisible Man” by What’s in a Name? Company

Jason Adams is a God Damn Mind Reader” by Jason Adams

Kill the Column” by MamaProductions

Laughing Sober” by Rick Garrett

A Little Business at the BIG TOP” by David Gaines

Men’s Room” by MayDay Productions

Mom?” by Box of Clowns

Mr. Boniface, the Wise” by KT Peterson

My Sister Diane” by Jim May

Not My Baby!” by Dreadmelon Productions

The Not So Secret Origin of Captain Ambivalent” by Captain Ambivalent

ODDyssey” by Blair Godshall

Orange is the New Black Keys” by ComedySportz Indianapolis

Sarge” by Clifton Performance Theatre

The Secret Book of Jesus” by Maximum Verbosity

Shakespeare’s Ear” by Early Music in Motion

The Shout” by In the Mix

The Sibling Staircase” by Sally Perkins

Speedthru” by Eclectic Pond

Threads” by Tonya Jone Miller

Tipped and Tipsy” by Jill Vice

Top Shelf: Our Last American Tour – Again” by Betty Rage

The Traveling Tap Dance Super Show” by TapMan Productions with Circle City Tap Company

Ulysses Grant: A Fluxkit Opera” by Stephen Rush

Up Yours, Indianapolis” by The Fleece Academy

VELOUR” by Schedule C Productions

Whisper in My Good Ear” by Vintage Players

Who Run The World: A Madwomen’s Cabaret” by Main Street Artists

The Wizer of Odd” by Gift of Gab

Working Titles” by Jeremy Schaefer

The Yellow Wallpaper” by Earlham Theatre Department

Fringe review: Threads

By John Lyle Belden

Tonya Jone Miller presents “Threads,” the story of her mother, Donna Jean Miller, whose life took her from Indiana to Vietnam in the 1960s and ’70s.

Donna married a sailor, which meant traveling, including to Hawaii, where she studied at the University to become a teacher in the Far East. While her marriage collapsed, she found love with a fellow student, a Vietnamese man. This leads to a teaching job in Saigon in 1968.

While the war raged elsewhere, the effects were often felt in the South Vietnamese capital. She deals with teaching while shells crash outside the building, and helping care for orphans who have little hope of survival. Years after her return to the States, with the fall of Saigon imminent, she goes back to make a desperate attempt to go help her boyfriend’s family, in spite of being nine months pregnant (with Tonya).

Miller tells of the threads, figurative and literal, that bind people and lives together, and how we affect one another. We get a fascinating look into a war-torn city, and through Donna’s brother, a glimpse of how war changes those who fight it. The story is non-linear, but easy to follow, as we trace the threads of time back and forth across two decades. Every tale is well told, fascinating and revelatory. We feel through Miller the love for her mother and what she went through and gratitude for the little events that led up to her own creation.

“Threads” unspools at the IndyFringe Basile Theatre.

Fringe review: Who Run the World: A Madwomen’s Cabaret

By John Lyle Belden

In “Who Run the World: A Madwomen’s Cabaret,” by Darrin Murrell, presented by Main Street Artists at the IndyFringe Basile Theatre, Julie Lyn Barber plays all the roles (except for Murrell as Lizzy Borden, our accompanist) including a certain woman running for President next year on the Democrat ticket.

As the candidate prepares to accept her nomination, other famous and infamous female leaders from history appear to her to give encouragement and advice in song. For example, Cleopatra croons “Cry me a (Nile) River” and Queen Elizabeth I sings “Like a Virgin.” The visitors come from all over time and the globe, from Chinese empress Wu Zetian to British prime minister Margaret Thatcher.

The performances are wonderful and witty, but the show is problematic in that a bright strobe light sits center stage and flashes straight at the audience during every character transition, which happens at least a dozen times. Also, I found the voice-over introducing each character before she appears sounding distorted and hard to hear.

Aside from the flaws, this cabaret is an interesting and entertaining musical history lesson.

Fringe review: Shakespeare’s Ear

By John Lyle Belden

Early Music in Motion presents “Shakespeare’s Ear” by William Ayot, featuring an ensemble playing Renaissance period instruments and The Fourth Wall’s C. Neil Parsons as “Will,” on the main stage at Theatre on the Square.

Our young Bard tells of his life as we are presented with some of the music that inspired and entertained him. He explains how someone so low-born as he could gain such sophistication that he could write plays about history and the lives of kings. He relates his loves, losses and triumphs, and joins the musicians for an occasional dance.

Parsons is engaging as young Shakespeare, with storytelling style that flows as easily as his virtuoso music on other stages. And the show gives us an excellent insight into the man and his era.

The musicians are excellent as well, providing both atmosphere and a visual lesson of what the “orchestra” was like in years past.

Fringe review: The Secret Book of Jesus

By John Lyle Belden

The apocryphal gospels that didn’t make the cut for the canonical Bible can still intrigue and enlighten, as Maximum Verbosity’s “The Secret Book of Jesus” at the IndyFringe Indy Eleven Theatre shows.

Phillip Low presents, without comment, readings from little-known sources including the Protoevangalium of James, Infancy Gospel of Thomas, History of Joseph the Carpenter, Gospel of Nicodemus, Gospel of Peter, Apocryphon of James, Gospel of Judas and The Questions of Bartholomew, as well as Robert de Boron’s Joseph d’Arimathea (which ties into a certain British legend).

Low’s delivery is crisp and entertaining, and contains no judgment of the texts. With virgin birth and Christ’s miracles accepted as truth, why balk at the infant Jesus confronting a dragon? Especially intriguing is the story of little boy Jesus learning the consequences of losing his temper.

For anyone who is interested in these ancient works, whether you regard them as heresy or just intriguing tales, this is definitely a show to include on your Fringe schedule.

Fringe review: Ulysses Grant

By Wendy Carson

In “Ulysses Grant: A Fluxkit Opera,” by Stephen Rush at Theatre on the Square, fact and fiction regarding the titular character are thrown into a blender along with a rewriting of lyrics set to authentic Civil war songs to provide this interestingly comical version of history.

Members of the audience are recruited to fight for both armies and, while only sparingly called upon to participate, have a great time doing so. I strongly suggest you accept your place in the battle as it will increase your enjoyment of this show.

Not as stuffy as either an opera or a history lesson can be, this is a fun show for all ages and a good opportunity to expose younger ones to a new musical form.