IndyFringe

IndyFringe: Up All the Nights

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This was part of the 20th Anniversary Indy Fringe Theatre Festival in August 2025. Review originally posted on our Facebook page.

By Wendy Carson

Clerical Error Productions takes a small step away from their traditional comic wackiness to present a more serious offering that is still filled with absurd situation and humor.

Lucas Waterfill (Christy) is one of the state’s brightest comics and is absolutely brilliant staring in this play revolving around one memorable night of zany antics.

Beginning with Christy & his friends Jason (Nick Roberts) and Zora (Zhandi Kabunga) at a high-schooler’s party, we discover that Jason was robbed by some very strange individuals. One wearing rollerblades and carrying and umbrella, the other wearing an eyepatch. He is now intent on getting a gun for protection.

Since the party is lame, the group hops on a bus to take Christy home, but the bus breaks down and they all go their separate ways. As he’s rolling home (literally, he has Cerebral Palsy and is in a wheelchair), Christy ducks into a local bar and scams a lot of free drinks off of a strange couple but ends up stuck with the check when they leave in a huff.

Finally heading towards home, Christy is set upon by the same thieves who robbed Jason. Given that he has little of value on him, they settle for stealing his phone.

Things then get even stranger from here on.

I found the show to be an insightful look at a slice of life that the average person rarely gets to see. The characters were unusual, to say the least, but their stories and motivations all rang true. It’s nice to see some new points of view reflected at the Fringe.

IndyFringe: Out With It

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This was part of the 20th Anniversary Indy Fringe Theatre Festival in August 2025. Review originally posted on our Facebook page.

By Wendy Carson

A few months ago, I was complaining to my cohort, John, that we have had a dearth of Clowning shows at the Fringe these past few years and I am delighted to say that this year made up for it greatly. The first one on my list to see was this delightful gem.

Embracing the “Found Objects” technique of puppetry, the show centers on a variety of collapsible fabric boxes and some red ribbon scraps to give us a hilarious trip into the absurd.

The show begins as you enter with our performer sweeping up scraps of red fabric and ribbons and putting them in the box center stage. Once she is done, she throws them into the entryway and puts the box behind the curtains. Then the mayhem begins.

Boxes of varying size keep appearing onstage and she keeps trying to gather them together and move them offstage. Once it looks like she will accomplish this feat, more red ribbon appears from various places to keep her from ever getting anything organized.

While this seems like a simplistic show, the various techniques used as well as some of the props, at one point the ribbon coalesces into a creature with a noticeable face, are wonderful. Plus, the performer is so skilled in her physicality, she makes the most intricate movements seem like nothing at all.

Created and performed by Rough House Puppet Arts Co-Artistic Director, Claire Saxe, with original music by Lia Kohl, and Movement Direction by Chihjou Cheng. Since the group is based in Chicago, it would be worth checking out their schedule and making an easy road trip to see one of their shows.

Being that they were one of the hottest tickets of the first weekend of Fringe, I hope that they may see fit to make an occasional foray back to Indy with some of their other shows.

IndyFringe: Fae – An Original Story of Unusual Belly Dance

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This was part of the 20th Anniversary Indy Fringe Theatre Festival in August 2025. Review originally posted on our Facebook page.

By Wendy Carson

The Painted Knees arrived at Fringe this year with a spectacular dance extravaganza for all ages. Directed by Liz Wray and Lisa Warner, the show presented belly dancing in a narrative art form closer to how it originally began.

The show opens with a dance that highlights all the performers before the story begins. This gives you a nice look at the cast as well as setting us up for the tale we shall witness.

The story unfolds in much the same way as a ballet would, with no speaking and only dancing to drive the narrative. However, the troupe not only gives you background story in the program, it also cleverly breaks the show down into its various scenes with titles to keep you from getting lost.

The show overall was a sheer delight to behold. The dancing was spectacular, and the costumes/makeup effects were amazing.

I must say, as a past student of belly dancing, it is lovely to see the variety of body shapes present in the cast. Belly Dancing was created for a more ample body size and that was reflected well here.

This show was one of the most unique offerings at this year’s Fringe. I hope that The Painted Knees will continue to bring their skills and artistry to the Fringe stage for many years to come. I certainly look forward to seeing them again.

IndyFringe: Operation!

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This is part of the 20th Anniversary Indy Fringe Festival, Aug. 14-24, 2025, in downtown Indianapolis. For information and tickets, see indyfringe.org.

By John Lyle Belden

This has nothing to do with the board game, though we do get a bit Medieval with a body lying on his back. The self-described “silly girls” of Disgusting Brothers Company created and perform this comedy set in the medical school of the University of Bolognia in 1303, where many had surgery done – some patients even surviving their procedures.

Also, that was a very eventful year for Pope Boniface VIII. Just saying.

Professor Alderotti (Elyse Rohn) and assistant Mondino (Elysia Justice) prepare for the day’s medical procedures, including surgery on a mysterious guest. Cardinal Francesco (Connor Buhl) arrives in full arrogance to announce the patient is his uncle, His Holiness Pope Boniface VIII (Vicci Simich). Months earlier, the Papal dispute with King Philip IV of France had led to Boniface being abducted and held briefly by the French, and he wasn’t doing too well. The 70-something year old Pontiff appears, shaking and mentally out of sorts, which his doctors have attributed to “melancholy.” Francesco insists that Alderotti perform a surgery to remove this condition; the Doctor and Mondino state it can’t be done; Francesco’s Vatican authority, and his dagger, say otherwise – prepare for surgery!

This show is a hilarious trove of historical humor. The set-up scene between Rohn and Justice already had us nearly rolling. The presence of the addled Pope, wonderfully portrayed by Simich, contrasted by the impatient menace of Buhl’s Francesco, only adds to fun. Elements of that era such as pomp and ceremony, and surgeons required to operate without looking upon His Holy body, also factor in the funny. Even pieces of flatbread become punchlines. Based loosely on actual history, this fantastic farce was written by Justice and director Hania Moktadir.

Performances in the IF Theatre Basile Stage continue Friday, Saturday, and Sunday, Aug. 22-24.

IndyFringe: Grad School Sucks!

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This is part of the 20th Anniversary Indy Fringe Festival, Aug. 14-24, 2025, in downtown Indianapolis. For information and tickets, see indyfringe.org.

By John Lyle Belden

Fact may sometimes be stranger than fiction, but can it be made more funny? This is the experiment Dr. Rob Pyatt, PhD, conducted three times in the Vision Loft venue during the 2025 Indy Fringe Festival.

In his show, “Grad School Sucks!” the master of Weird Science told, with projected illustrations, about various real scientific studies and experiments. During the performance I attended, he told of research on rhinotillexomania (nose-picking) in adolescents; a Japanese experiment in improving rest by laying where the cat sleeps; an actual 1948 Idaho Fish & Game program of “Transplanting Beavers by Airplane and Parachute” (one critter was named “Geronimo”); and the eternal question of how often and why one washes their denim jeans.

After each mini-lecture, the stage was given to three improvisors – Bill Hale, Tim Harrison, and Kayla Tennessen – all from ComedySportz, with two also working in scientific fields. The made-on-the-spot skits (they had not been told about the topics beforehand) would lead to judging by the audience of who would pass this course in comedy.  

The trio proved to be very inventive and consistently funny, even when getting outrageous or spun off something Dr. Pyatt said that seemed off-topic. This made for a doubly entertaining hour between the weird things our lecturer found, and the goofy things the comics did with the information.

Being a Purdue alum and friend to many in central Indiana (including John and Wendy), Rob comes back to Indy from his home in New Jersey at least once a year, so hopefully another round of experiments will be arranged.

IndyFringe: El Traje Nuevo Del Emperador

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This is part of the 20th Anniversary Indy Fringe Festival, Aug. 14-24, 2025, in downtown Indianapolis. For information and tickets, see indyfringe.org.

By John Lyle Belden

Now that it has completed its three-day visit to the Vision Loft space at IndyFringe, a few words – in English, please excuse me – about this wonderful piece of Teatro Juvenile:

Presented by Juan Francisco Ramos Aguilar of El Salvador, you are treated to a mask-and-puppet production of the fairy tale fable also known as “The Emperor’s New Clothes.” This story was popularized by Hans Christian Andersen, though its source can be traced back to Spain. Still, its familiarity helps us who don’t speak Spanish as our jester narrator/puppeteer does the show entirely en español, full speed, as though entertaining children in his own country.

That’s right, no English. Not a word. You must pay close attention to the flow and the words that sound familiar, as well as the broad hand gestures and other cues that young listeners rely on as they learn more of their own tongue. For me, this enriched the experience, pulling it out of literary cliché so that I can experience it like its intended audience. I welcomed the chance to stretch my poquito “Sesame Street” understanding of Spanish. The colorful masks, costumes, puppets, and décor further enhance the scene.

Aguilar is the parable-teaching Jester, as well as the Conman seeking oro (gold), as well as the old Prima Ministro who takes El Rey (the King) to see the alleged miracle fabric. At points, His Majesty approaches the audience, asking our opinions. It’s best – no matter what he says or how little you understand – to respond with an emphatic “Si” lest you arouse his royal bluster.

Around the midpoint of the story, the narrator also gives us a quick hand-puppet skit with Punch-and-Judy style characters.

The overall experience was fascinating, and for someone like me an immersive opportunity to follow another language. For those in the audience who could speak Spanish, it was good to have a live performance that appealed directly to them.

Hopefully, this show or something like it can make its way to our city again.

IndyFringe: Beyond Ballet

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This is part of the 20th Anniversary Indy Fringe Festival, Aug. 14-24, 2025, in downtown Indianapolis. For information and tickets, see indyfringe.org.

By John Lyle Belden

You have one chance left to see “Beyond Ballet,” presented by Indianapolis Ballet, at 2 p.m. Saturday, Aug. 23, at The District Theatre. Given the rarity of seeing this professional company for such an affordable price, this is likely sold out. Still, check and see if you’re lucky.

What you will see (or miss) is an extraordinary display of beautiful, disciplined artistry in motion, showcasing the physical strength, stamina and control of the dancers. The style mostly exemplifies traditional ballet, even the woman in the pas de deux with a slow-tango feel works in toe-shoes. In a more modern mode is a piece choreographed by local legend David Hochoy, a trio (pas de trois, I believe is the term) to lyrical guitar and aria.

Further, it seems they brought the entire company to this exhibition. You rarely see the same person in two dances, giving us a sampling of Indianapolis Ballet’s varied and diverse talents. In the final curtain call, they overwhelm the District mainstage.

Information on their upcoming season is at IndianapolisBallet.org.

IndyFringe: The Estate Sale

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This is part of the 20th Anniversary Indy Fringe Festival, Aug. 14-24, 2025, in downtown Indianapolis. For information and tickets, see indyfringe.org.

By John Lyle Belden

When you enter “The Estate Sale,” the one-woman show by Kelly Dee with Stew Jamesson, there are tables set up with various random and old items, which you can peruse before and after Dee’s performance. Name any price for something, and it’s yours – really!

“Why am I doing this?” she says, “I’m clearing out, letting go.” This applies to the clutter acquired by the estate sale company she runs with her mother in Melbourne, Fla., and that which she has no more room for “up here,” she adds, pointing at her head.

We get more than a sales pitch – the kitsch on the tables largely speaks for itself, though a few items she will show off for their novelty, like the political toilet paper or the rather sinful “statue” of Jesus (if they haven’t been sold yet). We also get the story of her life, from Queens, N.Y., to Florida – which she can’t stand, though she keeps finding herself back there. We learn about her parents, maybe not the best at nurturing, but they have a talent for flipping merchandise that may or may not have “fallen off a truck.” This naturally leads to dealing the estates of the many retirees in her city as they pass on.

She tells of how she always had the “urge to go” somewhere, anywhere. Her life’s baggage, literal and mental, she notes, still stays on her like a backpack. The head-stuff you will get free with your ticket; everything else, make an offer.

Fascinating and funny with the opportunity to get your own odd souvenir, the show has closed its three-show run at The District Theatre. However, Dee said she plans on pulling her sale wagon around Indy Fringe through its closing weekend before moving on to another city.

Fringe alert: Get real weird with a real scientist

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By John Lyle Belden

Some scientific studies sound too bizarre or silly but do have real-world applications. Other times, you hear “according to this study,” yet on a closer look you have to say, “Really?!”

Dr. Rob Pyatt, PhD., tackles both kinds of actual research in his lectures. A self-proclaimed “stand-up scientist” (we’d say this is backwards: he’s fact-based first, with a wild sense of humor), he has hosted a popular real-world Weird Science program (no relation to the film or song) at sci-fi conventions and other events for 20-plus years, plus other STEM education programs and initiatives in several states. An Indiana University graduate with Masters from Purdue and Doctorate from Ohio State, he has also worked at the University of South Dakota, Sioux Falls; and Kean University, Union, N.J.

Aside from serious credentials, Rob is seriously entertaining, whether elaborating on a rather deviant duck, the importance of what bathroom stall you use is to facility planning, or discussing anything Godzilla. He lets audiences know how the science is made, often involving us in quirky surveys which can be mined for data, both accurate and misleading.

Our research shows that he loves Indianapolis.

He will appear live at his regular haunt, InConJunction Sci-Fi Convention, July 4-6, with his Weird Science on the evening of Saturday, July 5, at the Wyndham Indianapolis Airport, 2544 Executive Drive. He presents real, published case studies, research, and incidents explored for – if not useful information – at least, a lot of laughs. And be ready to do an offbeat questionnaire – past surveys include the above restroom preference, or if you can tell a “pit bull” from other breeds by sight (harder than you think!). Part of a big nerd-tastic experience on Indy’s west side, get info (including Saturday-only tickets, if you prefer) at inconjunction.org.

Also, a new show, “Grad School Sucks,” featuring Rob Pyatt, will premiere at the 20th Annual IndyFringe Festival, in which, he declares, “Comedy meets science in this show exploring strange scientific studies.” The festival runs Aug. 14-24 on and around Mass Avenue in downtown Indianapolis. See IndyFringe.org in the coming weeks for details on specific showtimes and venues.

In the meantime, you can also find him hosting the “Weird Science with Rob Pyatt” group on Facebook.

Defiance pulls off hilarious Christmas criminal caper

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By John Lyle Belden

In crime, a well-executed theft requires such skill and finesse to be an art. In “The Heist Before Christmas,” the musical farce by Matt Kramer and Defiance Comedy, the art of larceny quickly devolves from Leonardo da Vinci to Looney Tunes.

An artist in all things theatre, Jay Hemphill performs the role of Nick Demarco, third-generation Master Toy Thief who, with hardened criminal Roxy (Shelby Myers) and her goofy younger brother Bobby (Joseph David Massingale) make a “Christmas Jail Break” (also a song – silly numbers like this, choreographed by Emily Bohannon, run through the plot). Once out, they head to Whitakers Toy Box, an independent store that promises a million dollars’ worth of inventory in its Christmas Eve Extravaganza.

Craig Whitaker (Joe Wagner) doesn’t really have a million bucks worth of toys. He has some Legos, plushes, and a lot of debt to settle, having inherited the shop a year earlier from his father. His frustrated clerks Sarah (Robin Kildall) wants to escape to grad school and Devon (Ramon Hutchins) is preoccupied with his band and finding it a new drummer. Practically the only other thing open is an equally customer-free coffee shop, from which barista Lily (Julia Ammons) comes to drop caffeine-loaded hints that she really, really likes Devon.

Our trio of bandits arrive to commit the meticulously well-planned-out robbery that Nick calls “The Silent Night Swipe,” his masterpiece. Craig is just happy to have someone in the store.

Then, a Karen (Carrie Andrews Reiberg) named Karen, who gets a song called “Karen,” and is a total, you know… comes in through the door Bobby forgot to lock to return an item she bought at a different store but it’s not open and this one is, and can she talk to the manager?

Carlos Medina Maldonado plays all the other roles, except for the Robot outside twirling the sign. A master thespian, we have seen Maldonado deliver as various characters in different companies at the Phoenix Theatre (old and new) and the Indiana Repertory Theatre. With Defiance, he shows his deft character range and (continuing the art metaphor) is the Picasso of the poop joke.

This wacky romp also includes an all-important nutcracker, odd plot twists, improbable romance, awkward ghosts, an ‘80s song as a plot device, and a somewhat happy ending – all the things you want from a Holiday Special by people who typically do stupid stuff for Fringe shows.

Kramer has the knack for writing and directing a “bad” (in his words) story that comes out good, with the help of people with who don’t mind “that just happened” fourth-wall bruising improv-style hijinks. Massingale, who once wowed us in the serious musical “Bonnie and Clyde,” shows great comic flair as a much less threatening bandit. Wagner, who leads an improv troupe of his own, excels at “yes-and”-ing the boss who stays optimistic and primed for success, no matter what, anchoring the spiraling misadventures throughout this somehow coherent narrative. We always knew Hutchins could belt a tune; he can now add twerking for laughs to the resume.

Well-played wishes to stage manager Molly North. Ben Rockey likes seeing his name in these reviews.

Just a few opportunities left to witness “The Heist Before Christmas,” including tonight as I post this, at the IF Theatre, home of IndyFringe, 719 E. St. Clair St., Indianapolis. Tickets at indyfringe.org.