New ‘Oak Island’ musical a treasure

By John Lyle Belden

At last, “Oak Island: A New Musical” by Marian University alums Joe Barsanti (music) and Brandi Underwood (book and director) has its world premiere on the Basile stage at the Indyfringe Theatre. The show’s music was introduced in concert during the 2021 IndyFringe Festival, and this is its first full staging, produced by American Lives Theatre.

Oak Island is an actual place, located near Halifax, Nova Scotia, Canada. It has been the subject of stories and legends since at least the 1700s, as well as a recent nine-episode reality TV series. Like many islands from the Maritimes to the Caribbean, it is rumored to be the location of buried treasure (a top candidate for whose is pirate Capt. Kidd; more fanciful legends cite the Knights Templar, among others). For generations, repeated expeditions found old coins and mysterious objects. But time and again, when it seems a definitive answer is within reach, seawater floods in and the shaft collapses. Professional treasure hunters make plans to solve the mystery (and beat the “curse”) to this day.

But this musical is not about the treasure hunt; it focuses on the hunters, and one family in particular.

Frank (John B. Hayes) let this obsession take over his entire life, sharing the search with his son Will (Joseph Massingale) while his wife Grace (Carrie Neal) and other son Drake (Zach Hoover) stayed behind in the States. But now the father has died, leaving his sons to consider their legacy.

Andrew Horras and Tommy McConnell play Will and Drake, respectively, as young boys in flashback and memory, competing with the lure of distant gold for their father’s affection. In one of the best scenes, “Nothing You and I Can’t Do,” we see the adult brothers remember an impromptu backyard treasure hunt their father prepared for them, as their younger selves race about following the clues. Each came away with a different perspective on and lessons from the event, reflected in the bitter friction between them now.

Wendy noted that another song, “Miles Between Us,” sounds like something you’d hear on the radio.

Other roles are played by Maggie Lengerich, Jack Lockrem, Kerrington Shorter, and Dan Flahive, who portrays friendly Oak Islander Paul as well as rival treasure hunter Eugene, who offers to buy Frank’s claim from the sons.

The musical shows a lot of promise, with the creators always open to feedback. It manages to dwell on loss without becoming too maudlin, and creates an interesting conflict not only with two sons having very different experiences with their father – the more estranged struggling with the lost opportunity to reconcile – but also with the siren song of obsession. Is there an obligation to make their father’s sacrifices worthwhile? Does the next generation carry on the search, knowing what it could cost?

Massingale and Hoover, who sang their roles in the Fringe concert, comfortably embody the siblings, even with their roiling mix of emotions that include equal parts love and resentment. Hayes gives us a no-nonsense father (ironic when considering the eccentricity of his mission) while Neal’s Grace lives up to the name, understanding and accommodating to a fault. All four personalities are quick to point out selfishness in the others, while blind to their own.

We have an excellent opportunity with this show to be able to say you saw it before it potentially goes on to bigger stages. Performances run through Sunday at 719 E. St. Clair, off Mass Ave. in downtown Indianapolis. For information and tickets, visit or

Shakespeare fun and foolishness set to music

By John Lyle Belden

It’s hardly a new idea to base a musical on a Shakespeare play (a recent Oscar-winning remake of an Oscar-winning film comes to mind). New York based songwriter Shaina Taub, with Kwame Kwei-Armah, adapted the Bard’s comedy “Twelfth Night” for its musical debut in Central Park in 2018.

Southbank Theatre Company brings that version to the IndyFringe Theatre (outdoors preferably, but on the Basile stage in bad weather) through May 8. 

If the story doesn’t easily spring to mind, note it is where we get the quote, “If music be the food of love, play on.” The play checks many of the boxes for a Shakespeare comedy: disguises, mistaken identities, siblings separated, wild wooing, nobles who will not marry, and ending up with a wedding anyway.

What makes this musical version exciting and interesting is that Taub’s songs do more than just put a tune behind Shakespeare’s words. They illuminate the themes of this old story, making it fresh and relatable. This makes the show the perfect companion to a traditional production of the play.

For instance, our central character Viola (Michelle Wofford), a woman recently arrived in mythical Illyria (vicinity of today’s Albania) finds it safer to disguise herself as a man, opening up surprising opportunities. In the song “Viola’s Soliloquy,” she sings of “the Devil’s blessing” that simply wearing trousers gives her.  

Viola, taking the name Cesario, finds her/himself between Duke Orsinio (Dave Pelsue), his employer, and the Countess Olivia (Natalie Fischer), who keeps spurning Orsinio’s advances, but has found herself smitten with Cesario. However, the Viola within the disguise pines for Orsinio, who only sees in her a dutiful young man.

Still, this wouldn’t be a Shakespeare comedy without the silly subplots. There is much opportunity for merriment in the Countess’s court, with sack-sotted Sir Toby Belch (Mark Cashwell), worst-at-wooing Sir Andrew (Kim Egan), mischievous Maria (Brittney Michelle Davis) and Fabian (Jordan Paul Wolf), who all seek to take pompous Molvolio (Hannah Boswell) down a peg or two.

Then there is the arrival of Viola’s lost-at-sea twin brother Sebastian (Matthew Blandford), accompanied by his rescuer Antonio (Z Cosby), who braves arrest to be by the man he secretly loves. Other roles are played by Brant Hughes, Ron Perkins and Yolanda Valdivia, who is also on hand as Officiant for the inevitable marriages. 

All this is accompanied by a live band, and the wit and wisdom of accordion-wielding jester Feste (Paige Scott).

With all the action of the classic comedy, but condensed down to a manageable hour and a half, this romp is an excellent showcase for the talented cast. Scott is simply amazing, whether giving chiding counsel, a beautiful ballad, or some handy narration to the audience. Speaking of fools, Boswell is a riot in an arc that goes from bombastic to pathetic, but always fun. Cashwell employs his improv skills and comic chops to great effect. Pelsue has long cornered the market on cool-guy-who-can-sing, so is totally in his element. Fischer has the sweet/feisty mix down perfectly. And Wafford is endearing with an inner strength befitting the character. Everyone else? Awesome, awesome, awesome – directed by Max McCreary with musical direction by Ginger Stoltz.

Performances are Thursday through Saturday evenings, and Sunday afternoon, at IndyFringe, 719 E. St. Clair, Indianapolis. Get information at and tickets at

Beautiful genius returns to Indy stage

By John Lyle Belden

A couple of things I learned about Hedy Lamarr: Her first name (derived from Hedwig) is supposed to be pronounced with a long “E” – “heedie.” Also, she was not amused at all by her name being used as a running gag in Mel Brooks’ “Blazing Saddles.”

Actually, the “Hedley” joke was all I knew of her growing up, as her classic films like “Samson and Delilah” weren’t in movie houses at the time. By then, the actress had retreated from Hollywood and the world in general. Later, I found out about her invention – “frequency hopping” technology meant to help the military in World War II that now serves everyone in our WiFi and cell phones. So, I always thought of her as a genius first, then a movie star.

For an earlier generation, she was “The Most Beautiful Woman in the World” (a fitting title hung on her by movie mogul Louis B. Meyer), the sexy Austrian in the controversial film “Ecstasy,” and later numerous leading roles with stars including Clark Gable and Jimmy Stewart, and as Delilah with Victor Mature. It also seemed there were nearly as many marriages as hit films.

So where did I learn the facts at the top of this story? From the lady herself – sorta.

“HEDY! The Life and Inventions of Hedy Lamarr,” the one-woman show written and performed by Heather Massie, returned to Indianapolis recently for a brief engagement at The District Theatre on Mass. Ave. The original under-an-hour production was featured in the 2016 DivaFest and won the audience award at the 2017 IndyFringe. Massie also performed it to widespread acclaim across the U.S., Europe and Africa. Massie has since added more well-researched material to give us the 90-minute performance Indy audiences saw March 18-20.

From Beyond, Ms. Lamarr comes to visit us. She is drawn by our curiosity – not about all the unsavory elements of her biography (though she gives us a bit of those) but about how a part of her came to live in every person’s pocket or purse.

She tells of childhood in Vienna, where her father Emil would interest his “ugly duckling” in the workings of machines and encourage her to think for herself. Of course, doing so resulted in her headstrong insistence in becoming a film actress. After being “tricked” into an infamous movie nude scene, she sticks to stage work, where she is wooed and wed by a rich arms dealer. Her husband’s customers, including Italian and German officials, ignore the beautiful girl in the room as they talk openly about “the torpedo problem,” something she will remember after escaping Austria, just ahead of the Nazi takeover, to Hollywood, with a new name, glamour and fame.

As for glamour, she says all one has to do is “stand still and look stupid.” She definitely does neither as she tells her story.

Massie also channels notables from Hedy’s life including Mayer, Gable, good friend Stewart, and a starstruck G.I. who dances with her in the Hollywood Canteen – all in entertaining fashion.

We get the story of the Secret Communication System, created with composer George Antheil – it uses 88 radio frequencies, a salute to George’s piano – which is awarded a U.S. Patent that she turns over to the U.S. Navy. The military does use the technology – in the 1960s. During World War II, they thought the pretty starlet was better suited to selling War Bonds, which she also did in genius fashion.

This show is gloriously entertaining and inspiring, while presenting a very human woman with her own flaws and setbacks. Even showing this side of Hedy, Massie manages to make endearing. Whether you have never heard of Lamarr, or been a lifetime fan, you will adore “HEDY!”

For more information on the show and upcoming performances, visit In a continuing salute to women in science, Massie is also working on a show on the life of astronaut Sally Ride (the first American woman in space). Given her good relationship with Indianapolis, here’s hoping we will be seeing it soon.

Catalyst tells troubling tales with ‘Pillowman’

By John Lyle Belden

I’ll admit some bias up front: Wendy and I are good friends with Casey Ross, and longtime supporters of her plays and work as founder of Catalyst Repertory. Wendy is also a big fan of Martin McDonagh’s very dark comedy, “The Pillowman.”

Still, I hope you believe us when we say that Catalyst’s Ross-directed production of “Pillowman” at the IndyFringe Theatre is perfectly cast and brilliantly executed (pardon the apt turn of phrase).

For those unfamiliar with the play, the setup misleads you. In a fictional dictatorship, the State Police arrest and detain a writer of stories for children. At first, it appears that this is a political persecution, a free expression issue. But though the officers do routinely violate citizens’ civil rights, it turns out they have a good reason for interrogating Katurian Katurian (Taylor Cox) and his mentally handicapped brother Michal (Dane Rogers) – brutal child murders that resemble the plots of Katurian’s stories.

Dave Pelsue is lead detective Tupolski, with Matthew Walls as Detective Ariel, who plays “bad cop” (complete with custom-built torture device). Given the heinous nature of the crimes, they feel quite justified in their tactics. Katurian, well aware of this, tries in vain to assert his innocence. When he finally spends time with Michal, he finds the situation even more bleak than he had feared.

During the course of the narrative, we also see recitations of the macabre tales, acted by Rachel Snyder and David Rosenfield as the cruel Mother and Father, Eleanor Turner as the young Boy, and Lane Snyder as the little Girl. McDonagh’s stories within the story have the bizarre air of popular fiction by writers like Roald Dahl, but the playwright has said his inspiration goes further back, to the dark, original versions of Grimm’s Fairy Tales and the traditional stories of his Irish childhood. Such fables were meant to teach children lessons, but Katurian seems to enjoy the maimings and torture of his writings a bit much – perhaps owing to his own dysfunctional childhood, revealed in his lone “autobiographical” story, “The Writer and the Writer’s Brother.”

Ross also incorporates shadow puppetry in the telling of his stories, and a lifesize plush version of the title character. The Pillowman is Katurian’s attempt to make sense of the senseless things that happen to children, including himself and Michal, while incorporating a fatalistic outlook. 

Performances are exceptional. Pelsue has the tough-SOB archetype down, and gives us a perfect calm-but-simmering veteran cop. Walls plays a man who has a human layer under the professional inquisitor, but makes you earn getting a glimpse of it. Cox doesn’t look like the kind of person who can survive such an interrogation, but he finds some fight within him. 

As for Rogers’s Michal, he keeps it “simple” without being an insensitive caricature. Comparisons with Lennie of “Of Mice and Men” are unavoidable – and purely by coincidence, there is a production of Steinbeck’s story now on stage in Westfield. But while the classic big man felt absolutely no malice, Michal’s damaged past allows for dark vengeance, and pain is just part of a child’s story.

“There are no heroes,” Ross told me. All four men enter the story broken, and not all will leave alive. As for the stories, 400 manuscripts sitting in document boxes, it is their fate that is the main question. Will they survive? Should they? 

Performances continue Feb. 18-20 at the IndyFringe Basile Theatre, 719 E. St. Clair, Indianapolis, and streaming Feb. 25-27 on Broadway on Demand. For info and tickets, visit or

OnyxFest 2021

This last very busy weekend, aside from various production openings, was opening weekend of the two-week OnyxFest: A Celebration of African American Voices, presented by IndyFringe with performances at the IUPUI Campus Theatre, 420 University Blvd., Indianapolis. We (John and Wendy) were unable to make the shows, but a friend of the site, a member of Indiana Writers Center, gifted us the following review. Opinions are the author’s. Get festival information and tickets at

By Celeste Williams

That Day In February,” Janice Morris Neal’s OnyxFest play, directed by Dena Toler, tugs at all of the strings.

One of five productions in “Indy’s first and only theatre festival dedicated to the stories of Black playwrights,” Neal’s play returns 6 p.m. Friday, Oct. 15, at IUPUI Campus Theatre, 420 University Blvd.

The three siblings, portrayed by Ennis Adams, Jr., Katherine Adamou, and Lakshmi Symone Rae, perform an intricate, emotion-laden word-dance on stage, as they navigate relationships laced with trauma of their mother’s love, but grounded in love.

Neal wrote the play with true events at its core. Even if audiences did not know the specific story behind the production, they would recognize parts of themselves, through the nuanced performances led by Adams and enhanced by Adamou and Rae.

The actors’ interplay brings the background story to life. The presence of the liquor bottle on a table subtly hints at the older brother’s internal fight — to separate himself from his father’s act, even as he fears he has inherited some his ways.

The sisters’ presence brings the brother’s insecurities to light. The more insecure he becomes, the more pours and sips. The middle sister’s anxiety is illustrated expertly by Adamou, whose leg jiggles nervously throughout. Rae, as the younger sister, is the picture of young rebellion.

The fact that it is the younger, rebellious sister, who could not have remembered the events at the heart of the story, is the one to bring the narrative to a head, is a brilliant turn. The father is an invisible presence throughout.

There is a last line (no spoilers) that leaves a viewer satisfied and wanting even more.

In interviews, Neal has said that she wanted to convey “the perspective of adult children who did not grow up with their parents.” The play also touches strongly on issues of domestic violence and the resulting traumas.

“They all grapple with different issues and how to reconcile them,” Neal said. “Even things that happen to us as children can affect us as adults.”

It is a good thing that the ending leaves one imagining what comes next. And, “That Day in February” rightfully leaves appreciative audiences wondering what playwright Neal has in store for us next.

We’ll be eagerly waiting for that day.

Thanks again to Williams, and IWC board member Mary Karty, for the assist. The other festival shows are (descriptions provided by OnyxFest):

1200 Miles From Jerome” by Crystal Rhodes, directed by Deborah Asante, 6 p.m. Thursday, Oct. 14

In the 1940’s, during World War II, a mother, her two daughters, a young school teacher and a 14-year-old Japanese-American fugitive from an internment camp are forced to leave the town of Jerome, Arkansas, and flee over 1,200 miles to New York City. The journey is filled with danger, a daunting experience in which “driving while black” could mean the difference between life and death.

Fly Blackbird Fly/Voices We Can’t Unhear” written and directed by Latrice Young (Distinctly Unique), 8 p.m. Thursday, Oct. 14, and 6 p.m. Saturday, Oct. 16

A choreopoem recounting traumatic experiences of several Black women. Each woman is at her breaking point and desperately wants to escape the cages they’re in, but this can only happen if they’re willing to relax, relate, and release.

Ranson Place” by Jameel Amir Martin, directed by Shandrea Funnye, 8 p.m. Friday, Oct. 15

Two unlikely companions holding on to a precious thing, reluctant to leave a special place, must contend with forces that would spur their belated departure.

This Bitter Cup” written and directed by Charla Booth, 8 p.m. Saturday, Oct. 16

A Black family in the rural south in the 1950’s struggle to find balance in their lives. A son who wants an education to rise above the limitations of the Old South, and a daughter whose dreams are thwarted by being Black and a woman and loved by the wrong man, in a complicated entanglement that leaves us wondering if this family can find peace.

Don’t ‘fiddle’ and miss this one

By John Lyle Belden

“Seneca and the Soul of Nero” is a new play by Southbank Theatre Company artistic director Marcia Eppich-Harris, but stands well in style and content with other great historical tragedies. I sense it could have been written at any time between now and the 900s, when the myth that Emperor Nero “fiddled while Rome burned” became popular. 

The premiere Southbank production of the play, at the IndyFringe Basile stage through Oct. 2, resembles a Bardfest event in its excellent handling by director Doug Powers and a cast that includes David Mosedale as Stoic philosopher Seneca and Evren Wilder Elliott as teenage “Princeps” Nero. 

Despite the abundance of written material in the First Century, much of it surviving to today, the true history of Nero is anything but clear, with contemporary accounts often written by those who didn’t like the young tyrant and centuries passing to add myth and legend to his story. The fiddle didn’t even exist at the time, but it was possible to draw a bow across a lyre, an instrument that Nero did enjoy playing — and he embraced music and theatre at a time when its practitioners were in lower regard than prostitutes (never mind an alleged god-king). Just as we don’t mind the words that Shakespeare put into the ancients’ mouths, Eppich-Harris is perfectly entitled to her well-researched dramatic license, especially as she captured the spirit of the era and its abundant lessons for today’s social and political climate. 

Seneca was Nero’s tutor when he ascended to the throne, and the boy, feeling immediately in over his head, smartly kept the philosopher on as principal advisor and speechwriter, as well as trusted military leader Afranius Burrus (David Molloy) to head his guard. Also on the scene were his ever-hovering mother Agrippina (Rachel Snyder), naive half-brother Britannicus (Brant Hughes), and dutiful but suspicious stepsister/wife Octavia (Bra’Jae’ Allen) whom he would ignore in favor of the beautiful and ambitious Sabina (Trick Blanchfield). At Seneca’s side were faithful wife Pompeia Paulina (Jenni White) and his nephew, the famous poet Lucan (Noah Winston).

Elliott brilliantly brings us along on the emperor’s journey, as he grows older and more at ease with power, but no more mature. At first troubled by signing off on the deaths of the justly condemned, Nero comes to find a quick murder is an easy solution to an immediate problem — but then more issues pop up in its place. Each death takes a little more of his soul, power-madness devolving to madness, reducing him until nearly no one is left, and the knife is in his hand.

Mosedale stands ever solid, defending his young charge as long as he can while defending himself against the hypocrisy of living large yet espousing Stoic principles. In the end, he must choose between Nero and Rome. White’s Pompeia leads the greater example, steadfast to her husband but never wavering on their moral stand. 

Snyder embodies the complex Agrippina without slipping into villainous caricature, perhaps even engendering some sympathy as the evil she sows grows out of her control. Molloy exemplifies the “good soldier” completely, bearing his orders until his sense of justice can do no more.

An exceptional look at history and the dynamics and hazards of unfettered power, “Seneca and the Soul of Nero” is worthy to stand among the Classics. We encourage all who can to see it, and to those reading this in the future to consider bringing to your own stages.

Find information at and tickets at Note that COVID-19 vaccination and masking are required of all audience members. Home viewing via “on-demand” streaming available Oct. 15-Nov. 14 (see Southbank site for details).

IndyFringe 2021

The Indianapolis Theatre Fringe Festival — now just called IndyFringe — returns after a year’s hiatus (y’all know why). Aside from reducing the overall number of performance sites, there are two main changes this year: First, performances are Thursday through Sunday for three weekends, extending the festival and eliminating the performers’ frustration of near-empty houses on weekdays. Second, the emphasis is mainly on local and regional acts — something the festival had been trending towards over the last several years, but now essential with travel uncertainties.

Wendy and John are taking their “Iron Fringe” approach, seeing as many of the shows as possible. This post hosts the links to the reviews. Now that ticket prices have crept up to $20 each (performers still get 80%) we feel it’s even more important to help you decide what fits your tastes, or might be worth taking that hour to see.

One show we won’t make it to, but can highly recommend, is Lear’s Shadow by Indy Bard Fest (IndyFringe Theatre), a revival of a performance from the 2019 Shakespeare festival. The play by Brian Elerding has a modern woman using the Bard’s mad king to make sense of her situation. Nan Macy “is incredible, both as (the lead) and as (Lear), as we come to learn the parallels between the two — picking favorites, pushing away a loved one, psychological trauma, and the need to rage against something that can’t be controlled.” (She may have different co-stars in this year’s production.)

We can also recommend Acts of Gratitude by Dance Kaleidoscope (Athenaeum). OK, we haven’t seen this one, but for those familiar with the world-class work of David Hochoy’s renowned company, all I have to say is: Here is nearly an hour of Dance Kal for only 20 dollars! We were lucky enough to see the DK 2018 show, but honestly, sell-outs are the rule.


Abraham Lincoln: Hoosier Hero by Danny Russel

Act a Foo Improv Crew

A Dry Rose’ by Missy Koonce

Being Black by OnyxFest

The Betsy-Patsy Show by Elizabeth Young-Collins

Beyond Ballet by Indianapolis Ballet

Big Gay Debutante Ball by Meg Anderson

The Breakfast Clue by Defiance Comedy

Cabaret Latino: Songs of the Americas by Magic Thread Cabaret

Chasing Temples by Betsy Murphy

Classical Collaborations by Crossroads Dance Indy

Climate Follies by Jim Poyser

Copyright/Safe by Catalyst Repertory

DadBod by Brad Hinshaw

Deadpan Jan: My Life is not a Sex Party, or is it? by Jan Gudaitis

Downtown Magic! With Jordan Rooks

Driving Kenneth and Betsy Ross by Garret Mathews

Grace and Nick – Have You Been Drinking? by Grace Bahler and Nick Polk

Honk Squawk Love by Paige Scott

How I Got My Warts Prayed Off by Mandee McKelvey

Jordan Allen’s Magic Party

Joyous Faggotry by Ron Popp

Narnia by Agape Youth Theater

Oak Island in Concert by American Lives Theatre

The Old Man and the Old Moon by Carmel High School

Pixel the Cat Does Shakespeare by To The Rescue Theater

Radium Girls by CYT Indy

Rocket in Your Pocket! Father Ned in Space, the Musical by Clerical Error Productions

Second Annual Tap Cabernet by Circle City Tap

Shakespeare’s Histories: Ten Epic Plays at a Breakneck Pace by Tim Mooney

Shopping Network! by Betty Rage Productions

Simon Ferocious: Improvised Music Legend by Stroopwafel Improv

Small Gods/Big Problems by Mary Karty

Stewart Huff: Do Jokes Still Work?

Too Much Light Makes The Baby Go Blind by UIndy Theatre

Transitory State by Theatre Unchained

We’ve Come a Long Way, Ladies! by Of Thee I Sing

Wife Material by Toni Smith

Win, Lose or Die! by ComedySportz Indianapolis

Returning to the stage

By John Lyle Belden

Things are starting to look more “normal,” and that includes the central Indiana stage scene. Of course, the pandemic is still around, especially with Covid-19 variants still infecting and killing many. But with improving numbers of the vaccinated and taking common-sense measures by all of us, we can still celebrate our arts.

Alas, even though I’m vaccinated against diseases, I’m still not immune to Gremlins. One such critter has affected the Stage Schedule page on this site. So, until we get it fixed, check out the list below for ongoing and announced shows. In addition, check for more events leading up to the festival in mid-august.

See you in the audience; Curtain Up!


Last updated: July 25, 2021

Schedules subject to change, especially with changes in public health conditions.

See websites or call for Covid-19 safety policies.


June 24 -Aug. 15

“The Sound of Music,” Beef & Boards Dinner Theatre, 9301 N. Michigan Road;

July 23-Aug. 2

“The Best Little Whorehouse in Texas,” Ricks-Weil Theatre Company at H.J. Ricks Centre for the Arts, 122 W. Main St. (US 40), Greenfield;

July 28

“Sleepaway,” Summit Performance Indianapolis at The Park at the Phoenix (Phoenix Theatre Cultural Center), 712 North Illinois St., Indianapolis; (Free tickets)

July 30-Aug. 7

“Anton in Show Business” (all-female) Betty Rage production at Outback Stage at The District Theatre, 627 Mass. Ave., Indianapolis;

Aug. 5-7

“Godspell,” Eclipse Summer Stock Stage at The Park at the Phoenix (Phoenix Theatre Cultural Center), 712 North Illinois St., Indianapolis;

Aug. 6-7

“Tuesdays With Morrie,” Live staged reading by Carmel Community Players at PrimeLife Enrichment, 1078 Third Ave. SW, Carmel;

Aug. 6-13

“Crazy For You,” Footlite Musicals, 1847 N. Alabama, Indianapolis;

Aug. 6-14

“Alice In Wonderland,” Mud Creek Players (outdoors), 9740 E. 86th St., Indianapolis;

Aug. 8

Sam C. Jones w/ Hank Ruff, in concert at The Park at the Phoenix (Phoenix Theatre Cultural Center), 712 North Illinois St., Indianapolis;

Aug. 13-14

“The Silent War,” Live staged reading by Carmel Community Players at PrimeLife Enrichment, 1078 Third Ave. SW, Carmel;

Aug. 13-22

“Hedwig and the Angry Inch,” Zach & Zack productions at The Park at the Phoenix (Phoenix Theatre Cultural Center), 712 North Illinois St., Indianapolis;,

Aug. 19-Oct. 3

“Newsies,” Beef & Boards Dinner Theatre, 9301 N. Michigan Road;

Aug. 19-Sept. 5

INDYFRINGE (Indianapolis Theatre Fringe Festival) Mass. Ave. area, Indianapolis;

Aug. 20-Sept. 5

“The Two Kids That Blow Sh*t Up,” Fonseca Theatre, 2508 W. Michigan St., Indianapolis;

Aug. 20-21

“Ripcord,” Live staged reading by Carmel Community Players at PrimeLife Enrichment, 1078 Third Ave. SW, Carmel;

Aug. 26-28

“Under the Big Top,” Gregory Hancock Dance Theatre at The Tarkington, Center for the Performing Arts, downtown Carmel;,

Sept. 10-Oct. 3

“Always, Patsy Cline,” Actors Theatre of Indiana at The Studio Theater, Center for the Performing Arts, downtown Carmel;,

Sept. 10-19

“Boeing Boeing,” Carmel Community Players at The Cat, 254 Veterans Way, downtown Carmel;;

Sept. 16-26

“Arsenic and Old Lace,” Epilogue Players, 1849 N. Alabama St., Indianapolis (corner of 19th and Alabama);

Sept. 17-Oct. 3

“A Gentleman’s Guide to Love and Murder,” Footlite Musicals, 1847 N. Alabama, Indianapolis;

Sept. 18-Oct. 3

“1980 (Or, Why I’m Voting for John Anderson),” Storefront Theatre of Indianapolis, 717 Broad Ripple Ave., Indianapolis;


“King Liz,” Fonseca Theatre, 2508 W. Michigan St., Indianapolis;

Oct. 6-31

“The Book Club Play,” Indiana Repertory Theatre, 140 W. Washington St., Indianapolis;

Oct. 7-17

“Dracula,” Main Street Players at Westfield Playhouse, 220 N. Union St., Westfield;

Oct. 7-31

“Alabaster,” Phoenix Theatre, 712 North Illinois St., Indianapolis;

Oct. 7-Nov. 21

“Phantom,” Beef & Boards Dinner Theatre, 9301 N. Michigan Road;

Oct. 8-23

“The Color Purple: The Musical,” Booth Tarkington Civic Theatre, Center for the Performing Arts, downtown Carmel;,

Oct. 8-17

“Who’s Afraid of Virginia Woolf,” Bard Fest production at The Cat, 254 Veterans Way, downtown Carmel;

Oct. 9-10

“Legend of Sleepy Hollow,” Buck Creek Players (outdoors), 11150 Southeastern Ave., Indianapolis (Acton Road exit off I-74);

Oct. 22-31

INDY BARD FEST (Shakespeare Festival): “Measure for Measure” at IndyFringe (downtown Indy), “Antony and Cleopatra” and “Love’s Labors Lost” at the Cat (Carmel), “Macbeth” at Theater at the Fort (Lawrence);

Oct. 28-30

“There’s No Place Like Home,” Gregory Hancock Dance Theatre at The Tarkington, Center for the Performing Arts, downtown Carmel;,

Oct. 29-Nov. 21

“Lombardi,” Actors Theatre of Indiana at The Studio Theater, Center for the Performing Arts, downtown Carmel;,

Nov. 5-14

“Rosie the Riveter,” Buck Creek Players, 11150 Southeastern Ave., Indianapolis (Acton Road exit off I-74);

“Elizabeth Rex,” Indy Bard Fest at Theater at the Fort, 8920 Otis Ave. (Lawrence);

Nov. 19-Dec. 12

“Holiday Inn,” Footlite Musicals, 1847 N. Alabama, Indianapolis;

Nov. 26- Dec. 18

“A Charlie Brown Christmas,” Booth Tarkington Civic Theatre, Center for the Performing Arts, downtown Carmel;,

Nov. 26-Dec. 26

“A Christmas Carol,” Indiana Repertory Theatre, 140 W. Washington St., Indianapolis;

Nov. 27-Dec. 19

“Bakersfield Mist,” Phoenix Theatre, 712 North Illinois St., Indianapolis;

Dec. 2-12

“The Christmas Express,” Epilogue Players, 1849 N. Alabama St., Indianapolis (corner of 19th and Alabama);

Dec. 3-4

“The Nutcracker,” Gregory Hancock Dance Theatre at Pike Performing Arts Center, Indianapolis;,

Dec. 3-5

“Holiday Shorts,” Carmel Community Players at The Cat, 254 Veterans Way, downtown Carmel;;

Dec. 3-24

“Elf: The Musical,” Booth Tarkington Civic Theatre, Center for the Performing Arts, downtown Carmel;,

Dec. 9-19

Irving Berlin’s “White Christmas,” Main Street Players at Westfield Playhouse, 220 N. Union St., Westfield;

Dec. 10-19

“It’s a Wonderful Life: A Live Radio Play,” Buck Creek Players, 11150 Southeastern Ave., Indianapolis (Acton Road exit off I-74);


Jan. 26-Feb. 20

“Fahrenheit 451,” Indiana Repertory Theatre, 140 W. Washington St., Indianapolis;

Jan. 28-Feb. 20

“The Big Bang: The Musical,” Actors Theatre of Indiana at The Studio Theater, Center for the Performing Arts, downtown Carmel;,

“Love Bird,” Phoenix Theatre, 712 North Illinois St., Indianapolis;

Feb. 4-13

“Good People,” Buck Creek Players, 11150 Southeastern Ave., Indianapolis (Acton Road exit off I-74);

Feb. 4-19

“The Diary of Anne Frank,” Booth Tarkington Civic Theatre, Center for the Performing Arts, downtown Carmel;,

Feb. 7-27

“Calendar Girls,” Epilogue Players, 1849 N. Alabama St., Indianapolis (corner of 19th and Alabama);

Feb. 10-20

“Of Mice and Men,” Main Street Players at Westfield Playhouse, 220 N. Union St., Westfield;

Feb. 12-27

“The Black Dahlia,” Gregory Hancock Dance Theatre at The Academy of GHDT, Carmel;

Feb. 25-March 6

“The Curious Incident of the Dog in the Nighttime,” Carmel Community Players at The Cat, 254 Veterans Way, downtown Carmel;;

March 11-26

“Wait Until Dark,” Booth Tarkington Civic Theatre, Center for the Performing Arts, downtown Carmel;,

March 17- April 10

“The Magnolia Ballet,” Phoenix Theatre, 712 North Illinois St., Indianapolis;

March 23-April 10

(TBA), Indiana Repertory Theatre, 140 W. Washington St., Indianapolis;

March 31-April 10

“Flaming Idiots,” Main Street Players at Westfield Playhouse, 220 N. Union St., Westfield;

April 1-10

“Fly Babies,” Buck Creek Players, 11150 Southeastern Ave., Indianapolis (Acton Road exit off I-74);

April 7-9

“Exodus,” Gregory Hancock Dance Theatre at The Tarkington, Center for the Performing Arts, downtown Carmel;,

April 20-May 15

“The Paper Dreams of Harry Chin,” Indiana Repertory Theatre, 140 W. Washington St., Indianapolis;

April 21-May 1

“Becky’s New Car,” Epilogue Players, 1849 N. Alabama St., Indianapolis (corner of 19th and Alabama);

April 22-May 8

“The Fantasticks,” Carmel Community Players at The Cat, 254 Veterans Way, downtown Carmel;

April 27-May 22

“Working: The Musical,” Actors Theatre of Indiana at The Studio Theater, Center for the Performing Arts, downtown Carmel;,

April 28-May 22

“No AIDS, No Maids, or, Stories I Can’t F*ckin’ Hear No More,” Phoenix Theatre, 712 North Illinois St., Indianapolis;

April 29-May 14

“Matilda: The Musical,” Booth Tarkington Civic Theatre, Center for the Performing Arts, downtown Carmel;,

May 10-June 5

“Steel Magnolias,” Indiana Repertory Theatre, 140 W. Washington St., Indianapolis;

June 2-12

“Rumors,” Main Street Players at Westfield Playhouse, 220 N. Union St., Westfield;;

June 3-19

“Little Women: The Broadway Musical,” Buck Creek Players (outdoors), 11150 Southeastern Ave., Indianapolis (Acton Road exit off I-74); buckcreekplayers.com0

June 9-11

“Antony and Cleopatra,” Gregory Hancock Dance Theatre at The Tarkington, Center for the Performing Arts, downtown Carmel;,

June 10-19

“A Medley of Murders,” Carmel Community Players at The Cat, 254 Veterans Way, downtown Carmel;

June 16-26

“Now and Then,” Epilogue Players, 1849 N. Alabama St., Indianapolis (corner of 19th and Alabama);

Aug. 12-21

“Shipwrecked! An Entertainment,” Carmel Community Players at The Cat, 254 Veterans Way, downtown Carmel;

Indiana Ten Minute Play Festival

By John Lyle Belden

In our restricted world, there are not a lot of opportunities for live entertainment. Fortunately, IndyFringe has managed a nice setup in its “pocket park” next to the theatre building, where an audience can sit at tables spaced about six feet apart. The actors use the garage-style opening of the Indy Eleven stage to set up their play space. (See for upcoming shows at this unique venue.)

Last weekend, that little space held a big variety of entertainment as Fringe presented the Indiana Ten Minute Play Festival. The seven brief comic dramas had a surprising degree of depth and content, even at their silliest, thanks to sharp writing and excellent acting from a fun group of players.

We started with “Hurry Up, It’s Almost Bedtime” by Janice Neal, directed by Anthony Nathan with Emerging Artists Theatre. David Molloy is Frank, who is likely dead, which spells trouble for fellow senior-home residents Rose (Linda Grant), Lucille (Wendy Brown) and Betty (Joy Shurn). Nurse Brittany (Stephanie Anderson) hasn’t caught on, yet. The fast-approaching bedtime of the title gives them an idea to ensure that Frank’s body is found in his bed. While the idea of this play sounds macabre, the Golden-Girls-style repartee among the ladies makes this a nice dark comedy.

“Aloha Apocalypse,” by Marcia Eppich-Harris – directed by Megan Ann Jacobs with Rapture Theatre – is based on an actual event not that long ago when an “incoming missile” alert was sounded in Hawaii. Sophie (Laura Baltz) and Ed (David Molloy) are a mainlander couple on vacation who discover they may only have minutes to live. What to do? After a comically-arranged farewell video to their children, there’s the agonizing wait for The End. Feeling his conscience bother him, Ed makes a confession of infidelity. That doesn’t help them, but it makes things even funnier for us. Fate has the last laugh, of course, when it’s announced that the crisis is a false alarm. Baltz and Malloy have great chemistry, even when the reactions are unstable. A newscaster voice is provided by Thomas Sebald.

“Don’t Toy With Me” by Andrew Black, directed by Casey Ross of Catalyst Repertory Theatre, brings the focus not only down to 10 minutes long but also to 10 inches high, as Thomas Sebald plays a GI Joe action figure that has arrived at the Malibu Beach House occupied by Beach Glam Ken (Grant Nagel). At the moment, they don’t hear the godlike voices of their child masters, so they can be themselves. They remark on how so much of their world is “out of order,” like the canteen or juice bottle they feel compelled to “drink” even if no liquid comes out. Eventually the mistress of the dreamhouse, Malibu Barbie (Kyrsten Lyster), arrives. And even if she can be temporarily distracted by a fashion faux pas, her power over Ken is too strong for the men’s relationship to last. The sharp script and this talented trio make this the most hilarious bit of the evening. And it helps that the actors have their “articulated” movements down, especially Sebald.

“Are You Busy Tonight” – by Russell Ridgeway, directed by Anthony Nathan – is what Mother (Wendy Brown) asks son Kevin (Nathan) in this funny roller coaster of a phone conversation. At first Kevin is annoyed at his mom wanting to invite her to an evening at the theatre, but after suggesting that she ask if someone else is free, he becomes even more exasperated to find out he – her son – was the 28th person she thought to ask! And that included a couple of friends who had died. Nathan is at his best acting flustered, and Brown is a force of nature, so they mint comedy gold here.

Heritage Christian High School Theatre Department presents a teen rite of passage with “Promposal!” by Josie Gingrich, directed by Spencer Elliott. Sam (Bradley Bundrant) likes Anna (Cate Searcy) but over time she has become distant. So, what better way to win her over than by asking her to the Senior Prom, in an extravagant gesture reminiscent of the ’80s movies she likes to watch. Our scene begins as Anna exits the Cafeteria thoroughly embarrassed, and Sam follows, desperate to find out how his perfect plan went so wrong. This sweet and authentic look at high school life, loaded with unforced humor, feels pitch-perfect. Bundrant and Searcy nimbly portray how two such different personalities – he impulsive and loud, she quiet and wanting to be invisible – can eventually feel meant for each other.

Mark Harvey Levine is great at making these short-form plays – Phoenix Theatre patrons may remember some years back he presented a series of them there in “Cabfare for the Common Man.” In this festival, Levine brings us “Ordained,” directed by Megan Ann Jacobs. Sharon (Kyrsten Lister) is manic, unabashed, double-espresso perky, and just recently ordained as a minister by the Now, at this airport waiting lounge, she has found Abby (Case Jacobus), who is single, and Gary (Grant Nagel), who is also single. Let’s get them married! The resulting scene is wildly hilarious, even as what seems to be an encounter with a well-meaning lunatic starts to have the odd feel of destiny. Jacobus and Nagel play it well, taking the oddness in stride, and Lister is in her element.

What better way to finish an evening of unusual stories than with “Sock Puppet Fetish Noir,” by Kelly McBurnette-Andronicos, directed by Casey Ross, who also stars (stepping in for Missy Rump, who couldn’t make it for health reasons). Jane (Ross) pays a visit to an unusual detective, Inspector Darryl, a puppet sock who will only talk to her sock placed on her hand. It seems some “friends” have gone missing, last seen going into the laundry with their partners. But it turns out that Melvin (David Molloy), the man at the other end of Darryl’s arm, has been keeping secrets in that jar on the desk. So, yes, it’s very weird – quite funny – and with up-for-anything actors like Ross and Malloy, it somehow works.

This was a one-weekend event, so hopefully one or more of these scenes will pop up again somewhere. The festival was an excellent exhibition of local talent and creativity, part of the great and varied Indy theatre scene that we look forward to seeing more of as current events allow.

Bard Fest presents a ‘First’

By John Lyle Belden

As local theatre struggles to get on stage, the organization Indy Bard Fest (with the help of companies that have presented the annual Shakespeare festival under its banner) is adapting to the times. Its first production is a free outdoor staging of the Bard-inspired “Shakespeare’s Long Lost First Play (Abridged)” by Reed Martin and Austin Tichenor (of the infamous Reduced Shakespeare Company).

Bard Fest director Glenn Dobbs has persuaded the trio of Matt Hartzburg, J.B. Scoble, and Kelsey Van Voorst — no strangers to Shakespeare, parody, on-the-spot improv, or even the abridging of Wlm. Shkspr. — to put on silly clothes and risk their lives and dignity at a “Pestilent Pocket Park” in front of a bunch of masked strangers at strategically scattered tables.

It seems that some trivial historical bones were not all that were recently found in a Leicester, England, parking lot; there was also an entirely too long and overwrought script by an aspiring young playwright from Stratford-Upon-Avon. It turned out to be much ado over nothing, a winter’s tale for another era, a massive comedy of errors, but measure for measure a potentially great first draft if broken up into thirty-odd comedies, tragedies and histories.

However, Van Voorst (whom I did “mark down as an Ass” in a past review) claims she has gotten the whole monstrosity edited down to a watchable two acts, and Hartzburg and Scoble, having nothing better to do in quarantine, are playing along.

Imagine if the Complete Works of William Shakespeare were tossed into a blender (metaphorically, paper ruins the blades, trust me) and an improv company was ordered to perform it as soon as possible, with whatever was laying around the prop room (or purchased from the local dollar store, judging by at least one price tag we saw hanging). Yes, it’s Just. That. Fun. Perhaps it’s the incredible talent involved; maybe it’s the incredible flexibility of the material of a serious playwright who loved bawdy jokes; and maybe it’s also the fact that under the law, parody is fair game even if you are poking at Disney. Yes, we all know “Lion King” = “Hamlet”, but did Uncle Walt’s company steal other ideas, and characters like Ariel and Iago, from the Immortal Bard?

There’s even an overarching plot to this mess, involving two famed magical beings (from different Shakespeare plays) who don’t get along, and carry out their feud by scrambling characters and plots from various plays into, eventually, a single setting — kinda like “Into the Woods” (does Sondheim know about this?). 

Alas, poor playgoer, I’m committing this to the ether after the opening weekend performances of July 31-Aug. 2 at the IndyFringe Pocket Park are done. But hark! There are more stagings planned for Aug. 7-8 at The Cat performance space in downtown Carmel; Aug. 21 and 23 in Indy’s Garfield Park; Aug. 28-30 in Noblesville; and more locations in September. See for details. Oh, and mark that admission to all performances is free! (Sack and other accommodations may cost; donations are always welcome.)