In what has been announced to be its final season, Indy Bard Fest is going out strong. Appropriate to October, we get the spooky, cursed tragedy of “Macbeth,” directed by Christine Gordon.
On the main stage of the IF Theatre (a recent rebranding of the IndyFringe venue, reflecting a mission beyond its annual festival), there are just a couple of items – a garden fountain, a chair – to suggest a stage “set,” whisked in and out from behind the back curtain as needed. The Weird Sisters’ garb suggests a Goth fantasia as we see with today’s perspective the liberties William Shakespeare took with the story of the Scottish nobleman and king who ruled roughly 1,000 years ago. What mattered to the Bard, and to this production, is purely the play’s themes and atmosphere.
The Witches, presented gleefully by Ariel Laukins, Ryan James Moskalick, and Kat Murphy, set the tone and haunt throughout as the actors fill in various supporting roles. They are later joined by the goddess Hecate – Fire Fly of Indy Drag Theatre with divine voice by Wilhelmena Dreyer – who lurks in the previous scene, adding to the suggestion of her of power in this world.
Doug Powers is commanding as the title character, with Laura Gellin as even more ambitious Lady Macbeth. A cursory reading of the play would have you think these two seem to accelerate from “zero to murder” rather quickly; Powers and Gellin’s performances hint at a long-simmering desire to possess so much more than they already have. When a prediction of his rise comes true, it sparks the flame of ambition that will consume them both.
The cast also includes Guy Grubbs as doomed King Duncan, with Katie Endres as his son Malcolm. Tanner Bruson is Macbeth’s ill-fated companion Banquo, and Abby Morris plays his son Fleance, and others. Jason Creighton lends his strong voice and physique effectively to Macduff, Macbeth’s nemesis.
This simple presentation hones the focus down to the dangers of unfettered ambition, the consequences of rash acts (and how they compound as one follows another), and a cautionary lesson that there’s more than one way to read the signs before us.
Remaining performances of “Macbeth” are Friday through Sunday, Oct. 18-20, at 719 E. St. Clair, Indianapolis. Get tickets at indyfringe.org.
Cryptid Entertainment engages audiences with explorations of what it would be like if fantastic mythical creatures lived among us. Such stories might be closer to the truth than we suspect – there is reliable evidence, for instance, that the being known as Theodore Roosevelt may have at one time actually existed.
In 2022, Cryptid presented its masterwork “Bigfoot Saves America” during that year’s IndyFringe festival. While a success, the company were all in agreement that sequels to plays are a terrible idea, thus inspiring playwright and director Dakota Jones to instead expand the show to a second act, with the solemn mission of, in his words, “a cheap attempt at a laugh.”
Presenting: “Bigfoot Saves the World!”
Tony Schaab returns as the super sasquatch, agent of H.A.I.R. (a Top-Secret government office that assures us it doesn’t exist). Jo Bennett is also back as the evil Mothman, who has kidnapped Mr. Foot’s ex-wife, Dr. Love Interest (reprised by Kyrsten Lyster). Aaron Henze also returns from deep freeze as the lycanthrope-infected President Teddy Roosevelt.
This time around, Kaya Dorsch and Thomas Sebald portray the gay hench-moths as well as Agents in black, joined by the expendable Charlie Rankin.
And, again, this show is sponsored by pharmaceutical miracle and crude plot device Sexadryl (“Sex-A-Drill”).
Since it worked the last time, the first-act plot – bizarre humor and all – is essentially the same as the original Fringe show (for what happens, note its title).
The sequ- I mean Second Act reveals a plot by the Soviet Union (this takes place during the Cold War, after all) which involves Robo-Stalin (Sebald), Agents Hammer and Sickle (Dorsch and his right hand), femme fatale Ras-Poontang (Lyster), a sexy yeti (Rankin), and an even more glorious Mothman.
Will Bigfoot rise to the challenge? According to the title, yes, but he may need an assist from MOLAR OF THE MOLE PEOPLE (Dorsch again – they are so versatile).
Because you can’t have too much talent in such a cheesefest, there are special appearances by Doug Powers and David Molloy, as well as the services of the world’s greatest stagehand, Lillian Eisenbraun. Brilliant costumes are by stage manager Marina Turner.
Once again, these hijinks are funny, silly, and very “Adult Swim,” including “going for the hard ‘R’” with a bit of furry burlesque. It’s self-aware and unabashed, a great time for anyone (teenage and older) who doesn’t take endangering and saving the world with mythical beasts too seriously.
Further, we are assured that there will be absolutely no third chapter (until Dakota is finished writing it).
“Bigfoot Saves the World” Thursday through Sunday, July 25-28, at the IndyFringe Basile Theatre, 719 E. St. Clair, Indianapolis. Get tickets (before they sell out) at indyfringe.org.
Never a company to shy away from dark material, Catalyst Repertory presents “M,” a new play based on an old movie, written and directed by Tristan Ross. The original, by legendary German film pioneer Fritz Lang in 1931, was a predecessor to the genre of film noir. Being Lang’s first picture with sound, he innovated with it in ways that still inspire today’s filmmakers.
Ross captures the feeling of entrapment in a black-and-white world with the audience on three sides of the black-box Everwise Stage (formerly Indy Eleven) surrounded by heavy dark curtains. Entering and exiting this space feels like a labyrinth. Actors’ costumes are in blacks, greys and browns, with among a spare few props bright red balloons for effective contrast.
Voices literally surround us with some lines delivered by obscured actors behind the curtains or prerecorded. Little girls are puppets (provided by Beverly Roche) with vague innocent faces, ethereally voiced offstage by Kristin Watson Heintz. Technical director Arden Tiede and lighting designer Tim Dick assist with the noir effects, including fog and image projections, with graphic assistance by Catalyst founder Casey Ross.
As in the original story, by Lang with Thea von Harbou, there is a serial killer, known as “the Midnight Man,” attacking young girls. Ten have been brutally murdered when Mrs. Beckmann (Maria Meschi) discovers her Elsie is missing. Among the last to encounter the child alive was a friendly blind man (Craig Kemp) who we discover is a homeless former lawyer who manages through barter to get balloons to sell to neighborhood children. Police Chief Lohman (James Mannan) and Detective Grodin (Kirk Fields) find an unseeing “witness” only the beginning of their frustrations, as practically no clues are found and suspect leads go nowhere.
Meanwhile, the criminal community has grown frustrated with massively increased police activity and a fearful population cutting deeply into their “business.” Plus, even hardened criminals have no patience with child murder. Thus, one of their leaders, Breaker (Tristan Ross) leads an underworld search for the Midnight Man, with the help of thief Frank (Jeff Stratfer) and club/brothel owner Sharp (Austin Hookfin), with the Balloon Vendor working the “invisible” street people.
Another genre-inspiring aspect of this story is that the audience sees the perpetrator early on, one of the early plots about a killer’s descending madness and the other characters’ struggle to find and stop him. Normal-looking John Beckert (J. Charles Weimer) is locked in a cycle of obsession and predation. He acts quickly once a random potential victim is sighted, this being both a sign of dangerous impulsivity and part of what makes him impossible to predict.
However, eventually good detective work, and a vital clue realized by the balloon man, lead cops and crooks each to close in on Beckert. Which will get to him first, and what will “justice” be when they do?
The story is appropriately taut, tense and not as predictable as you would think, even as events feel inevitable. The acting is outstanding. Meschi, a mother herself, compellingly communicates the horror and desperation of Beckmann’s grief and need for answers and resolution. Kemp easily portrays his blindness without any broad gestures, his eyes looking nowhere as he “sees” with his hearing and speaks with clear voice to ensure understanding. Fields seems to toy with stereotype, at first an ineffective cop but proving his worth as Grodin realizes the right details to give his attention. Mannan gives us the Chief who is both police and bureaucrat, under frustrating pressure on both sides. Our underworld trio effectively play close to type – Stratfer’s Frank jittery nervous, Hookfin’s Sharp ever suave, and Ross’s Breaker deeply intimidating. (In the movie, the latter’s character is a safecracker, here he seems to be an enforcer; either way, his leather gloves are apropos.)
For his part, Weimer gives us an emotionally driven performance that gives insight into Beckert’s disordered mind and personal horror. This “monster” is given neither justification nor supernatural menace; as is noted during the search, he is “a man, like one of us.”
Consider the title to stand for Midnight Man, or “Murderer” as Lang did, or even the Roman numeral as the killer states “there will be a thousand more” if he is not caught. Regardless, find Catalyst’s “M,” with performances through July 7 at the IndyFringe Theatre, 719 E. St. Clair St., Indianapolis. Get tickets at indyfringe.org.
How does one describe the ongoing process by which a stage production comes to be? It’s a bit crude to say “how the sausage is made,” as that is just too messy an image to place on creating art. On the other hand, saying its “how the magic is made” – aside from likely being trademarked by Disney – glosses over just how productively messy the journey can be. Writers like myself (and Wendy) use these terms to impress on the reader and likely patron that this work is not finished, but still worth a look which lends an insight into the labor of love (emphasis on both) plays, musicals, et al, truly are.
So, I’ll just say that IndyFringe’s annual Div(X)Fest (formerly Diva Fest) is our witness to the base materials our creators spin into theatre gold. (I think that works.) This year’s edition, again celebrating the talents of women (as well as trans and non-binary folx), features readings of three new works. One day remains, Sunday, June 9, starting at 2:30 p.m. in the IndyFringe theatre, 719 E. St. Clair St., downtown Indianapolis. Tickets are pay-what-you-can. Info at indyfringe.org.
Reviewing in reverse order of presentation, these plays are:
“The Sleepover,” I mention first because it is the closest to completion, planning its world premiere at the 2024 IndyFringe Festival in August. It is a unique collaboration begun earlier this year among five women who also perform in this “coming of age dramedy.”
Christine Gordon (as Alexis), Emily Worrel (Rowan), Natalie Fischer (Jessica), Samantha Hines (Chloe), and Wilhelmena Dreyer (Sydney) are 14-ish girls gathering for their annual (for all but Rowan, who is new to town) end of school year sleepover at Alexis’ house. There is a sense of transition, mainly signaled by moving on to high school in the fall, which has the hostess especially meticulous in her planning.
There is tension among them practically from the start, especially after Sydney finally arrives and they engage in their traditional game of Truth of Dare, “Kessler Road Rules.” Along the way we find hidden secrets, insights into true feelings, and hints of the presence of a monster they thought they had only made up – all magnified through the everything’s-extreme perspective of adolescence.
As others noted at one performance, although all five women contributed to the creation and writing of this play – from exploratory conversations and exchanging basic ideas to fleshing out characters. their relationships, and what they say and do – the pieces have melded together in what feels like a single narrative voice. They admit it did feel a bit like they were school friends who shared a deep bond in this process.
This should generate a lot of buzz going into this year’s Fringe, and we can’t wait to see how their creepy cryptid actually comes to life.
“The Silent Supper” by Kaitlynn McShea is a work of subtle horror in which an older woman sits by a ruined table, struggling to remember what happened before “the fire came.” In this reading, directed by Christine Gordon, Wendy Brown portrays the woman, exhausted by nightmares as every sweet memory “never goes right,” as well as the growing buzz of insects. Each remembrance is enacted by a foursome of local actors (I don’t have names at the moment; may fill in if I get them later) who give us some insight into their lives – presuming the one remembering is a reliable narrator. This short work does well in building suspense, reminiscent of Stephen King at his best. It gives Brown a good role to work with, portraying a troubled soul who pulls on our empathy.
“On the Rag Dolls” by Allison Fradkin starts the day’s entertainment, directed by Mira Cassidy, as a trio of young women (again, names unavailable) play three edge-of-puberty besties on their own “Casual Friday” sleepover. However, this scene is a satirical comedy with entendres and puns coming at you with the pace of a hit sitcom, expressed by girls who barely, if at all, get the subtexts (still, you know tweens talk like that). The trio are apparently all in the same hardcore Evangelical Protestant community, though only one goes to the Christian Academy rather than public school, so talk of the future is of boys they will marry and the children they will have (though sex is gross), as well as if their just-started periods are “the curse” or a blessing. – “Men-ses the day!” one girl resolves. – This work in progress is hilarious and shows lots of potential; after-show talkbacks allow us to give Fradkin ideas on where to take this story (as with McShea above).
We extend a big thanks to IndyFringe for hosting this event and their continued engagement in the development of local talent and new works.
In case there is any confusion, note that “Live at the Purple Lounge” has nothing to do with Prince. Another clarification: “Green Room” is just the traditional name for the place performers can relax before and after going on stage; it can be any color.
This said, welcome to the Purple Lounge comedy club, presented by Betty Rage Productions at the IndyFringe Basile Theatre. Seating includes cozy little tables, where crew member/bouncer, Chelsea (Kelsey VanVoorst), the New Comic, greets us. She doesn’t enforce a drink minimum but advises there are plenty of adult and alcohol-free beverages available for purchase at the back of the room.
However, what we see before us is not the classic stand-up stage backed with faux brick, but the backstage Green Room, tended by club manager Bethany (Meg McLane). Over the course of a few nights, we hear the last bits of a comic’s set, then see what happens in this room after.
Rory (Brooke Neubaum) closes with laments about her dating life, then comes into the room to find her mother Victoria (Jean Arnold) – a successful sex-positive writer – waiting with a rather stress-inducing surprise.
Sydney (Tracy Herring) slays in her set, then comes backstage to husband John (Chad Pirowski) with news that she can book a West Coast tour – a small miracle for a lesser-known 50-year-old comic. He doesn’t quite share her happiness.
Lena (Anna Himes), on the other hand, bombs – and it’s not the first time. Sure enough, old friend Travis (Dave Pelsue) is there to remind her that it’s been a year now. There’s a way to get herself funny again, he promises.
Anna (Rachel Kelso) makes her set about how sadly vanilla her girlfriend is. Meanwhile, in the Green Room, said partner Logan (Laurel Clark) is on her phone with customer service about a defective sex toy.
Abbie (Jenni White), one of the club regulars, is a hit again. Backstage with Bethany, a long-time friend, she is forced to confide an issue that not even her “husband Bill” can help with.
Being a stand-up comic is a funny life – both “funny ha-ha” and funny/unusual – and we get plenty of both in these scenes. The unique lifestyle and stresses of the job are explored in various ways, as well as the toll they can take on those who love them. Some of the biggest laughs, such as the moments with Rory and Victoria, or Anna and Logan, come with their share of tears. In this backstage sanctuary you’re as likely to find a metaphorical punch in the gut as a gut-busting punchline.
Performances are top-notch, especially McLane, who we usually see in absurd comedy shows, getting to exercise her dramatic range to great effect. Himes and White also hit us directly in the feels in their scenes.
Directed by Betty Rage founder Callie Burk-Hartz, “Live at the Purple Lounge” has just four more performances, 7:30 p.m. Thursday and Friday, 3 p.m. and 7:30 p.m. Saturday (May 23-25), at 719 E. St. Clair, Indianapolis. Get info at bettyrageproductions.com and tickets at indyfringe.org.
December of 1997 saw the release of a film that at the time of its premiere was heralded as possibly the most expensive, overwrought flop ever to come out of Hollywood. But to everyone’s shock, it somehow failed to fail, breaking box office records, taking in billions of dollars, and winning numerous awards.
This sure-fire bomb didn’t sink despite its numerous production issues and cost-overruns, bladder-testing length, whining earworm of a featured song, exploitation of over a thousand deaths to deliver an improbable romantic plot, and even the presence of Billy Zane. It is suspected the movie was buoyed by past and eventual Oscar winners Leonardo DiCaprio, Kate Winslet, and the incomparable Kathy Bates, but I believe a lack of talking dolphins is to blame.
Fortunately, local hero Paige Scott and her Working Class Socialite company have risen from the depths of the Indianapolis comedy/improv scene to finally present James Carmeron’s “Titanic” as the absurd farce it was meant to be. Revised and expanded from its 2023 IndyFringe Festival premiere, “Ship of Dreams” sails (and sinks) again!
Courtney McClure and Elysia Rohn portray old and young Rose, Hannah Boswell is Jack, Shelby Myers is Ismay, Meg McLane is Billy, Tracy Herring is Kathy, Ariel Laukins is the First Mate, and Brittany Magee is Rose’s Mom, the Iceberg, and in an Award-Worthy Performance, the ship’s Propeller. Jason Adams gives us The Captain and all the visual effects you will ever need (where’s his Oscar?).
You’ll laugh; you’ll cr-, I mean laugh some more; you’ll not give a cuss about the room-on-the-door meme because there is just too much other weird and silly stuff going on to care. Still, in its near-faithful (though mercifully 90 minute) ultra-low-budget recreation of the major beats of the film (plus swipes at Leo’s other roles and such) Scott and friends slip in a bit of a tribute to what made this wreck of a movie such a magical event a little over 25 years ago.
Warm up the Model T (clean the backseat first) and head over to the IndyFringe Indy Eleven Theatre at 719 E. St. Clair St., Indianapolis for performances Thursday through Sunday, April 18-21. Get tickets at indyfringe.org.
For productions of a certain feline-themed musical, actors often engage in “cat school” to convincingly move, speak – act – like Felis catus. So, even Broadway’s elite understand that no matter how much we anthropomorphize our housepets, they still have a unique, fascinating way of engaging with the world, and us.
This is key to the charm of “Herding Cats,” a new comedy by Neil Martin presented in its world premiere by Theatre Unchained, directed by Megan Ann Jacobs. Jacobs also provides costumes, while set designer Kurt Watkins provides appropriately-sized cat toys and furniture, but it is the talented cast who bring this domestic menagerie to life.
Stella (Angela Dill) is a brown and white Domestic Shorthair, energetic but “girly.” She has mastered the booty-shake pounce, and Dill’s feline vocalizations are uncanny.
Her fluffy white brother, Buddha (Julien Lyons), is highly intelligent and posh as only a proper cat can be. His manner, like a cat-version of the Brain combined with Liberace (if he fancied hot female Persians), helps us accept that our companion animals understand far more of our world than we realize. Lyons sells it with ease.
Lupin (Aspen Harnishfeger) is a male orange/black tiger-striped “street cat” who is quite content with the indoor life, fairly smart but prone to malaprops. Harnishfeger plays it smoothly with alley-cat savior fare.
The cats live in a Los Angeles-area apartment with their stressed-out human, Kelly (Jenny Williams), who works in show business. Bad news: Kelly is having serious issues with a toxic coworker. Good news: She plans to foster an additional rescue cat. Worrisome news: The new housemate is actually a dog!
Enter the adorabe, friendly pitbull terrier Charlize (Hannah Hoffman). In contrast to the close-to-the-fur attitude of cat portrayals, Hoffman is wide-eyed and engaging, embracing her inner puppy. True to her species, she feels big feelings, and snaps instantly from snarls to apology, or worry to unbound optimism.
Though Charlize is good with cats, and Buddha and Lupin give her a chance, Stella will have none of this – she has a history with canines, which ties into treasured memories of their deceased patriarch Benjy.
Cat-dog drama and Stella’s waning appetite spur Kelly into action to help them, but soon the pets realize that she needs their help more. Do they dare engage – “the nuclear option”?!
This show is fun and funny throughout. Once you’ve gotten into their eccentric world of the first act, you can fully accept the utter weirdness that unfolds in the second, inspired by their master’s teenage crush. You’ve accepted the talking cats and dog – just go with it. It all pays off in a most charming and heartwarming manner.
Come out and see (wo)man’s best friends save the day. “Herding Cats” has performances Thursday through Saturday, March 28-30, at the IndyFringe Theatre, 719 E. St. Clair St., Indianapolis. Get info and tickets at indyfringe.org or theatreunchained.org.
Write what you know. That’s the universal advice to writers, and some, like novelist Stephen King, turn the muse inward and pen stories about those who pen stories. As a longtime friend (though not as long as some) of playwright Casey Ross, I have seen her blinking cursor return – between indulgences in the silly or geeky – to the shadows of memory and the recrafting of friends made and lost into characters who are new, yet familiar.
She may even agree that the King reference is apt, as he and she both know that it is within the mind where true monsters lie. Bringing those beasties out into the light seemed to be one of the goals of the “Gallery” trilogy she introduced at IndyFringe almost two decades ago. From the start, she presented flawed people with flawed relationships in a way that reminds us that those aspects are baked into the hardware of humanity, not something to be blithely resolved in the third act.
With her most personal work, she lays bare the struggles of a playwright striving to understand their own art in “Bat in the Wind,” which has returned to the IndyFringe Theatre, this time on the more intimate Indy Eleven stage. Last August’s premiere during the 2023 IndyFringe Festival featured a script that was carefully trimmed down to Fringe-show length (under an hour). The updated Catalyst Repertory production, directed by Zachariah Stonerock and clocking in at about an hour and a half (no intermission), is restored, not padded out. Nothing feels extra, and motivations and conversations even gain clarity.
Matt Craft returns as Taylor, a 26-year-old writer who has found himself single, near broke, and suddenly without electricity. This on top of the fact that the prose that should be a brilliant play about the human condition just sits there lifeless on his laptop screen. But before he can attempt to remedy that, he must go next door to his duplex neighbor, Randy (Dane Rogers), a slovenly older man who appears to care about nothing but sustaining his alcoholism. The first thing he says at any conversation is a slurred, “You’re not mad at me, are you?” – in case there was something bad he said or did during a blackout.
The play is subtitled, “A Recent Study on Depression and Addiction,” which at first glance is a reference to poor Randy. However, it’s easy to sniff out your own kind, and in his more lucid moments, he reminds Taylor (and us) that our frustrated wordsmith is an addict as well – and he’s got it bad.
Like a drunk bargaining with his demons, Taylor thinks he has a way of getting his literary high with no danger of personal pain. To write about what he knows, creative folk, he makes the characters in his play photographers, not writers. (This puzzles Randy, but in this writer’s opinion it’s a tactic of distance, the creator always on the safe side of the camera, apart from any action or drama. I note this parenthetically in case Casey tells me I got it wrong.)
Taylor prides himself on being a keen observer, using parts of those he watches to bring truth to his fictional scenes. Randy calls him on treating people like musical instruments, “not everyone likes to be played!” This humbling moment passes, though, and Taylor makes a fragile promise to his “interesting” neighbor. But like a bottle or needle, the muse calls.
All this, in what is technically a dark comedy. Ross’s penchant for dialogue that feels natural yet has every phrase weighted with meaning also generates a surprising number of laughs. Rogers’ no-nonsense deadpan delivery helps immensely, with the real-life absurdity of dealing with someone who’s blotto without comic buffoonery. Randal Leach may be a drunk, but he must be respected.
Craft finds himself the butt of laughter just as often. His constant striving wins our sympathy, despite the fact that he’s morose and manic (the pot and occasional hits of coke don’t help) like someone perpetually treading water, unaware and in fear of how deep in he is. His months-long experience with the role fits him like a second skin.
I must note that, as those with low means tend to indulge in affordable vices, there is a large amount of smoking of lit stage cigarettes in this show. The language – true to Ms. Ross’s style – is as salty as ever.
Also, the ending feels like it lends itself to an unrevealed epilogue, or even a third act. Consider that part being after the lights go up and you are left sitting with your thoughts. Perhaps it’s when you return to see Catalyst’s remounting of “Gallery” this summer. Maybe it’s when you finally sit down to write your next masterpiece, the blinking cursor beckoning like an old habit.
“Bat in the Wind (Or a Recent Study on Depression & Addiction)” has performances March 8-10 and 15-17 at 719 E. St. Clair, Indianapolis. Get tickets at indyfringe.org, more info at catalystrepertory.org or the company Facebook page.
Last year held plenty of changes, and their timing isn’t always what you’d prefer. For instance, had to move out of our rental home and into our very own house at the same time as the Indianapolis Theatre Fringe Festival a/k/a IndyFringe 2023, in August through early September.
With no real time to sit down with WordPress, and the world of quick-post media in flux (emphasis on “X”), we decided to write short reviews to post to Facebook (where we are also /PlaysWithJohnAndWendy). Those pieces are reproduced below.
Posted early September 2023: As many of you know, John & I have bought a house and are moving into it. Therefore, the reviews below compromise our entire Fringe experience for this year.
We did our best to see as many shows as possible and only missed out on a few. Please understand and forgive us if your show was not one we saw. We did our best, but our personal lives had to overtake our reviewing duties this year.
Thanks everyone for an amazing Fringe this year and we look forward to seeing you again next year. Break legs and much love! – Wendy
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LISTED IN ALPHABETICAL ORDER
Titles: 3 Magic Wishes – Alice’s Wonderful Afternoon – Angel on Eros – A Bat in the Wind – Because, You’re Worth It – The Betsy Show – Between Trains – Beyond Ballet – Bread Crumbs – Breakneck Romeo & Juliet – A Curious Woman – Currents – The Curve – The DECAGON Project – Designated Debaters – The Dice Player – Dragons & Dungeons – An Evening with Matt Soverns – Flavor Fight – How the Grinch Solved Racism – I, Trump – Inner State Stories – The Jester of All Maladies – Let Me Say This About That – Momsplaining – Monica Cantrel: Journey Home – A Monster Calls – The Most Massive Woman Wins – Mush – Nerdgasm – No Better News – On Earth as it is in Hell – Plastic Potato: A Bottoms Up Mystery – Reject – Rhythm & Groove: Songs of the 60s and 70s – Shy: The Musical – Super Mario Is Dead – That’s Hot – Three 2 One – Twenty Years: A Comedy of Manners – Twisted Terrors – U Sing 2 – Voyages & Journeys – Zoe Rose Spills Her Guts
Writers: JB – John Lyle Belden; WC – Wendy Carson
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“3 MAGIC WISHES” with Jordan Rooks
Experience a delightful journey of storytelling and magic as our host finds a magic lamp and wishes to put on the best magic show in the Fringe.
Rooks does an excellent job of finding new takes on tricks you’ve probably seen before and also a few that are unique. His tricks do not fail to amaze both old and young alike. The overall theme holds true, especially at the end when he must make his third and final wish, and the question of what people do or should wish for is considered.
The show is a fun time to share with the whole family and will keep you talking about it for a while afterwards. – WC
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“Alice’s Wonderful Afternoon”
This is a splendidly fresh re-telling of a curious (and ever “curiouser”) girl’s adventures in Wonderland, presented by the students of University High School of Indiana. Alice’s afternoon companions, including her sister, narrate the story as our heroine follows a nervous White Rabbit, deals with size issues, meets more talking animals and playing cards, attends a mad tea party and a high-stakes croquet game, encounters a nicely puppeted Jabberwock, and goes nowhere with a pair of poetic twins. The genuinely youthful voices and free-form use of stage space aid the surreal atmosphere and make the familiar narrative engaging. Accompanying music is more familiar to today’s kids, with the effective use of instrumental passages by artists such as Linkin Park, The Offspring, and Garbage, and providing a “Beastie” beat to some well-known verse. Our talented young actors deliver with spirited energy, keeping the story easy to follow through all its odd turns. A wonderful experience for all ages, spend some time with “Alice” at the Athenaeum Indy on the last days of IndyFringe 2023. – JB
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“Angel on Eros”
Angel is an artist whose inspiration has dried up. He decides to change things up and get a job. Matt runs a struggling restaurant where Angel ends up as a waiter. They strike up a fast friendship much to the chagrin of the chef who is also Matt’s demanding wife.
This is a story of inspiration, desire, and narcissism but mostly friendship. Male friendship can be confusing especially when being gay & straight is involved.
Bright, daring, sexy and enjoyable. Not for the younger crowd but a treat for the grown ups. – WC
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“A Bat in the Wind”
Casey Ross seems to alternate her Fringe performances between the downright silly (last year’s Tortillo offering) and deeper more meditative studies of artists (her Portraits series). This year she digs deep and gives us a gritty look at an aspiring young writer and his connection to his pathetic, alcoholic neighbor.
We witness a tragic dance in which each takes the lead at some point and our writer realizes that one small step is all it takes to make you plummet into the depths of despair. The characters are only loosely based on real people, so it’s even more sad that no one here escapes unharmed.
This is a truly powerful hour of theater that will keep you thinking for a long time after. – WC
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“Because, You’re Worth It”
This is definitely a quintessential Fringe show.
You find yourself a shopper at The Fairyland Mall where you will witness three unique and dazzling takes on the classic tales of Narcissis, Cinderella, and The Emperor’s New Clothes.
While the latter two utilize modern and classic dance techniques to tell their stories, the costumes and choreography bring a captivating look and feel that is honestly so beautiful it’s impossible to explain.
The first tale is given to us by Daisy, our helpful makeup counter guide. While her attempt to give an audience member a makeover starts snarky and then takes a supremely surreal turn, she is a sheer delight to behold.
My only regret was that the final five minutes of the show, in which all the performers interacted together to close their shopping day, was in constant strobe light and I was unable to watch.
Still, this was an amazing show that has skyrocketed to my top five of shows this Fringe.
– WC
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“The Betsy Show”
Elizabeth Young-Collins returns with a more autobiographical story, told with colorful scarves and delightful bits of song. Feeling like her life is one big performance, she comes to terms with the character she was meant to be. Learn how her family was featured in a national magazine and why she truly loves Paris – but not the champagne. So fascinating, the hour was over before I realized it. Feel free to get swept away at The District Theatre during IndyFringe . – JB
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“Between Trains”
The Indiana Drama Club brings us this sweeping metaphor of the journey of a soul through the trials and tribulations they will face in the future.
It is described as a play with music which is very apt. The songs that occur throughout, are sometimes a reflection of what’s happening and sometimes just to continue the mood.
Performed with two cast divisions gives the young cast members more opportunities to be in the spotlight.
One note: Friends and family of the large cast are causing sellout crowds. Buy early if you plan to attend. – WC
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“Beyond Ballet”
If you appreciate the dance arts at all, you must see “Beyond Ballet” by Indianapolis Ballet. As part of IndyFringe it is the most affordable way to see this professional company. And it’s more than just standing on your toes to orchestral music, the exceptional control necessary for Ballet allows for marvelous modern numbers as well. Featuring the artistry in motion and choreography of William W. Robinson as part of a talented company of around a dozen dancers. They’re “Too Darn Hot!”
Performances at the Athenaeum Indy up in the Basile. – JB
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“Bread Crumbs”
Richie Whitehead is a master of taking familiar material and mining every last drop of humor out of it. This is the story of the ocean’s wrath against a lighthouse keeper. While that may sound deep and serious, the biggest hurdle will be preventing yourself from injury through laughter.
Whether portraying the capricious ocean, a grizzled Lightkeeper, or even the titular character, his unique take on these characters is a delight to behold.
This is a treat for all ages that shouldn’t be missed. With his recent relocation to the Chicago area, I hope we will have more opportunities to witness his talent in the future. – WC
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“Breakneck ‘Romeo and Juliet’”
Timothy Mooney Repertory Theatre brings us his latest offering “while he’s still able to pull off playing a 13-year old girl.”
Emphasizing the cosmic imagery throughout the script as well as the fact the show only covers a five-day period, the show brings a few new insights to the story you thought you were so knowledgeable of.
While it is a wonderful introduction to Shakespeare for younger viewers, Mooney finds a humorous freshness to the tale which will appeal to all attendees. – WC
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“A Curious Woman”
Part storytelling, part self-encouragement and entirely enjoyable. Debra Clark has lived a very interesting life and we are privy to a few highlights showcasing many highs and lows of the rocky road to her successfully fulfilling her greatest desire.
While her stories will help nourish your soul, each seat contains a tasty snack to help nourish your body. – WC
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“Currents”
Relatively new local dance company Relevations (yes, spellchecker, that’s right) has an impressive set of numbers in “Currents” in Athenaeum Indy at IndyFringe
Power with flow and resistance, elements of ballet and hip-hop, music includes Drake and Foo Fighters. Stunning solos and excellent ensembles. Check em out. – JB
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“The Curve”
This review of “The Curve” is brought to you by Facebook, apparently the lesser evil. The show isn’t about that, but it does have “commercials” like this, as well as snarky puppets. But it’s not about them, either.
It’s about “The Curve”, the arc of the spine essential for a Chinese acrobat (think Gymnastics with showbiz flair). Teacher tells Genie Cartier hers isn’t good enough. But she can’t accept that, can she?
It’s about the arc of a life –- a chair, calluses, firespinning, Halloween with Scientologists, the stories told by X-rays, an MFA in poetry, and good advice from a clown.
This masterful memoir with movement charms and fascinates with her narrative, dance and acrobatic moves. From the clever “opening titles” to the end when she reclaims her body, this is a can’t-miss show (ignore what the shark puppet says).
Only two performances of “The Curve” left, this evening and tomorrow afternoon (Aug. 19-20) in the Athenaeum Indy auditorium (first floor) as part of IndyFringe. – JB
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“The DECAGON Project”
The 46 Minutes Collective brings us a totally unique hour of theater that is eternally changing. Stories, dialogue, movement and some level of audience participation (only if you wish to participate) combine to give us intimate insight into various interpersonal relationships as well as our own psyches.
This is another example of what a Fringe show should be. – WC
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“Designated Debaters”
Who knew an ultimate battle between superheroes would center on arguing the merits of socks and underwear? “Designated Debaters” are unafraid to confront such vital issues in an elaborate improv style drinking game.
The Friday battle of Batman vs. Superman, moderated by Wonder Woman, is done, but you can still see the pop culture icon showdowns of horror legends hosted by the Mistress of the Night on Saturday, and Broadway leading men with a grown-up Orphan Annie on Sunday. The District Theatre cabaret will fill up fast, so get tickets quick and prepare for nonstop laughs as practically any topic is confronted in the silliest way. – JB
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“The Dice Player”
This show defines exactly what the Fringe Festival is here for. It brings a new and unique voice to audiences that might not ordinarily get the chance to experience it.
Raja El Majzoub tells the story of a soul that survived through sheer chance, a roll of fate’s dice, perhaps? It is a powerful and intimate experience that is beautiful yet harrowing to behold.
Do not miss this show; you will surely regret it. – WC
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“Dragons and Dungeons: A Party’s Parody”
The most important thing I can say about this show is that if you don’t get a ticket now, you’re going to miss it. The two remaining shows have less than a dozen tickets left and you will greatly regret missing this hilarious offering.
The show gives us a tale of a few characters adventuring through Center Earth on a heroic quest. The audience fills out some suggestion slips prior to the show to help flesh out their background.
Audience members are also called upon during the show to roll the dice which decides the fate of that activity.
Even if you have little to no knowledge of the game being parodied, you will enjoy the zany characters and the wild story. But be warned, not only is the story’s outcome in your hands, so too is your destiny. Get one of those remaining tickets now or lose our forever. – WC
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“An Evening with Matt Soverns”
While he got his start at a Broad Ripple club, Matt Soverns has been touring the country and some of the globe homing his performance and piano skills. While he has spent much of his time playing covers, in this show he gives us a taste of his own original work.
I thoroughly enjoyed the concert and found his style reminiscent of the style of early Billy Joel, Elvis Costello, and a bit of Jerry Lee Lewis with his more boogie-woogie touches. He even borrows a riff from The Roots, creating a song on the spot about an audience member.
Just a note, if you absolutely can’t catch his show, he does have a great merch display in the lobby so you could pick up a CD or two and find out what you missed. – WC
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“Flavor Fight”
Has actor/improvisor Mark Cashwell finally topped himself, or is that just caramel sauce and whipped cream? His “Flavor Fight” richly parodies various cooking shows such as one would find on a Network of Food. Cashwell stars as Gavin “Gay” Ferrari, connoisseur of sloppy food from questionable locations, joined by Paige Scott as deep-South deep-fried butter-obsessed Cathy Bean, as well as one or two other characters portrayed by local funny people Mark talked into doing this.
Two “chefs” are summoned from the audience to compete in various games, earning ingredients for the final challenge. Yes, the edible and inedible components will be odd, silly, and not likely meant to end up on the same recipe card – but that’s what makes this whole mess fun. Also, the nonstop improv and escalating weirdness.
Just know that in the end, there will be something cooked. And everyone may get a chance to taste it afterwards (if you dare, though the winning dish at the episode I attended was pretty good). – JB
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“How the Grinch Solved Racism”
What begins as a thesis presentation of Capitalism throughout the Jim Carrey movie version of “The Grinch” quickly devolves into a farcical journey on Consumerism, Racism, Climate Change, Nixon, and Chinese Exclusion, just to name a few.
Bouncing from silly to starkly serious, the audience is in for a very strange ride in which not only can anything happen, they may accidentally even learn something.
It’s not for kids, but definitely for those with a more eclectic sense of humor. – WC
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“I, Trump”
The end of our recent President’s command of the headlines will happen eventually. “I, Trump” at the Athenaeum Indy, part of IndyFringe, gives one way it could happen. As funny and satirical as it is, the show looks practically prophetic compared to the events of the last several years. – JB
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“Inner State Stories”
The rise of the Interstate system connected America, while bypassing much of it. Here are “Inner State” stories about a mother’s love, maps marked with red pencil, memories of roadside attractions, and a journey to see those disappearing places accompanied by the spirit of one who would have enjoyed them. Presented by Errol McClendon, it’s a show that’s as easy and interesting as a good spiced rum cocktail. Also, if you have a road-trip roadside attraction story, he would love to hear it! – JB
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“The Jester of All Maladies”
After a last-minute cancellation at last year’s Fringe, Kurt Fitzpatrick brings us the tale of his bout with cancer. While the subject matter is serious and frightening, Fitzpatrick’s storytelling abilities keep the journey upbeat and hopeful. In fact, he manages to find humor throughout the entire story.
After an initial diagnosis in December of 2019, an initial treatment regime, and a diagnosis of remission, he finds the disease returns with a vengeance and must endure even more desperate measures to combat it. But this summer he celebrated two years of remission, on the way to many more.
Again, it’s very weird to tell you that you will laugh uncontrollably at someone’s cancer story, I must tell you that this is indeed true. With only two shows remaining, I strongly encourage you to make a concerted effort to fit it into your schedule. You won’t regret it. – WC
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“Let Me Say This About That”
Let me say this about “Let Me Say This About That,” it is one of the funniest improv–based shows we have ever seen. Heather (Meyer), Danna (Sheridan), and their producer Amber (a/k/a Raffi Jarvis) present episodes from the Imaginary Podcast Network. These women easily riff off of each other and whatever the audience throws at them, at times so smooth you’d think it was scripted and rehearsed. Our performance started with a general interest ‘cast that became a hilarious stream–of–conscience series of what should have been non–sequitur that somehow still linked. After a couple of instantly–composed ads, our second podcast was “live” with questions from the audience (feel free to get clever, they can handle it). After another improv ad break, things got truly surreal, yet it all fit so well in the evening’s “theme” it ended on a callback.
Even if you’ve never heard or heard of a podcast (think NPR, but with the hosts on good drugs), this is one of the more fun hours of IndyFringe. – JB
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“Momsplaining”
In “Momsplaining,” two major local talents – actors, directors, producers – employ those skills to address another important role they share: Motherhood. Myths are busted as bodies are ruined to perpetuate the species. Informative and hilarious, with much empathetic laughter from the women in the audience. Callie Burk, Georgeanna Smith Wade, and (I would suspect) your Mom think you ought to see this, at The District Theatre cabaret stage, part of IndyFringe. – JB
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Monica Cantrell: “Journey Home”
The exceptional Monica Cantrell graces us with her beautiful soulful voice in her “Journey Home”, singing a program that includes standards, songs by Sondheim, cuts fron “The Wiz” and even a hit by Sting. Accompanied brilliantly by Kathy Ryan on piano, Cantrell commanded a full audience and likely will again so get tickets now, at The District Theatre as part of IndyFringe . – JB
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“A Monster Calls”
With “A Monster Calls,” Carmel High School brings another stellar production to this year’s Fringe Festival.
Connor is a troubled young man. He is experiencing nightmares, being bullied at school, and his mother is fighting cancer. The demonic tree that terrorizes his dreams promises to return each night and tell him a story, and on the fourth night he must admit the truth of what he truly fears.
The stories are haunting tales in which no one is truly good or evil, but a mixture of both. He is never sure if anyone actually gets what they deserve in each. They also vaguely echo situations within his life, and keys to dealing with them.
When his time for a story occurs, his heart breaks with his personal truth but it leads to a better understanding of himself and how to proceed.
This beautiful show can be a bit intense for younger viewers, but a recommended grim fairy tale for all others. – WC
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“The Most Massive Woman Wins”
First of all, this show has a plethora of content warnings, and for good reason. Frankly, being overweight increases the likelihood of depression, self–harm, drug use as well as a myriad of other debilitating conditions.
Speaking as someone who personally identified with and experienced almost all of the stories here, this show is raw and brutally honest. That said, it feels liberating to hear these stories in a public venue. I know that some of the content is hard to hear, and I imagine it was quite difficult for the cast to share, but every word here is somebody’s truth.
Overweight people are still grossly discriminated against and it is considered socially acceptable to do so. These women bravely bare their souls during the show and deserve our attention, respect and adulation for it. – WC
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“Mush”
Literally a sobering tale, “Mush” is an intense 30–minute one–act about a young man and his father reaching the breaking point in their relationship with alcohol, and each other. Voices and thoughts and denial and bargaining leave the mind the texture of gruel, susceptible to the ravenous Jabberwock behind the bottle. Can an imperfect father’s love prevail?
Performed on the Cabaret stage at The District Theatre during IndyFringe . – JB
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“Nerdgasm (2023 edition)”
Wonder(ful) Women at Angel Burlesque “Nerdgasm” to open IndyFringe. For mature folks with immature senses of humor, lots of naughty fun! – JB
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“No Better News”
The good news about “No Better News” is that there are more opportunities to give this one–woman show the big audience it deserves. Gael Schaefer uses her recent battle with cancer as a catalyst for entertaining stories about her entertainer life. Find out how an introverted actor made her way from a park that inspired Walt Disney to performing on Disney’s Big Red Boat to her present life in New York and the theatre life that sustains her. Inspiring and engaging, hear the “News” in the first floor auditorium at the Athenaeum Indy as part of IndyFringe . – JB
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“On Earth as it is in Hell”
The modern concept of Christian Hell doesn’t go as far back as what you think, though its roots are deep. Andrew Spink takes us on one heck of an underworld journey where little girls are gremlins, ancient Greeks are toddlers, and we find what we should truly fear. Balancing researched material with an easy manner and personal touch, he enlightens this dark subject. – JB
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“Plastic Potato: A Bottoms Up Murder Mystery”
Before going into the Athenaeum Indy Basile (upstairs) theatre to see “Plastic Potato: A Bottoms Up Murder Mystery,” it is advised that you bring in a beverage as we are asked to drink every time an adult beverage is mentioned. I recommend it be non–alcoholic as the booze and beer references are all over the place, including most of the character names.
The ever charming and effervescent Josiah Ray McCruiston joins the ranks of comic masters like Peter Sellers and Eddie Murphy by playing absolutely every on–stage character except for Mitchell Hedges as IMPD Detective Bob, who grows ever frustrated at this compounding murder mystery. Poor Jimmy Beam has died in front of the theater, and it was not an accident! Now Reo Nite and her family of curious and suspicious characters must be questioned.
Can you guess whodunit? The audience will be asked – fortunately, more untimely deaths will narrow the suspect pool. And if it helps, the titular potatoes will make an appearance. – JB
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“Reject”
Anthony Myers is a relative newcomer to the Fringe circuit, but has nearly a lifetime of experience to bring to his show, “Reject.” He looks back to his birth and adoption in Terre Haute, Ind., and the family who accepted him – some perhaps reluctantly. Now that he’s in his 60s, he confronts society’s rejection of the old.
With the practiced skill of the teacher, standup, and storyteller he has been, Myers gives charming perspective on his world, and ours. He reassures us that regardless of your being young or old, the operative word is “be.” Accept the opportunity to join him in the Athenaeum Indy first–floor auditorium, part of IndyFringe. – JB
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“Rhythm & Groove: Songs of the 60s and 70s”
A truly groovy good time with Circle City Tap Company with “Rhythm & Groove: Songs of the 60s and 70s”. They dance to the music of artists including The Supremes and Earth Wind & Fire, go on the “Dock of the Bay,” to the “Car Wash” and out to the “Copacabana.” Also see what they do with the unique drum rhythm of “Come Together.”
As always, they end with the audience invited to join the Shim–Sham, so bring your happy feet (and shoes if possible). – JB
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“Shy: The Musical”
“Shy” is the story of two people who share the same bus commute.
After taking notice of each other, we are witness to their varying thoughts about whether or not they should take a chance on getting to know the other perhaps romantically.
While their imaginations often skew to the extremes, they are nevertheless enjoyable to watch.
A treat for anyone who has considered or is considering taking a chance on a potential relationship. – WC
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“Super Mario is Dead”
Josh Brown and Matt Day bring us a wacky tale of what could happen within the Mushroom Kingdom should Super Mario finally run out of lives.
When Luigi refuses to take over, things shuffle along as best they can. However, a new menace arises and Luigi reluctantly agrees to join the crew in their quest.
All of the usual suspects are involved or referenced here. Zany songs and jokes abound. A must for any fan of the games. Also you can play a game betting how long the mustaches will remain attached to the various actors. – WC
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“That’s Hot”
This is the story of two world–renowned vulcanologists shooting a documentary about the impending eruption of Mount Priapus, or is it?
The fiery Helena is running hot while her driven husband/partner Rudiger is too cool to be distracted by her advances. What is behind his reluctance, and what will or could his future hold?
Join his strange journey as he navigates his way through time (the audience) and sees several different variations of his life thanks to the strange, red–robed cabaret singer.
A delightfully enjoyable trip that will surely leave you feeling warm inside. – WC
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“Three 2 One”
Mary Karty gives us the story of one woman’s quest to bounce back from her recently failed relationship.
Her psyche breaks down into three basic components, Heart, Body, and Mind. These three try to work together (or more often, assert dominance) in order to try to navigate dating possibilities.
The zany situations may seem a bit over the top at times but they honestly all rang true to me. We should all encourage more men to see it as a primer to how a woman’s mind really works. – WC
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“Twenty Years: A Comedy of Manners”
Ever had a dry vintage that turned out delicious? I’m not talking about wine, I’m referring to the wit of “Twenty Years: A Comedy of Manners” at The District Theatre as part of IndyFringe. Thomas Smith and Craig Kemp are at the top of their game as a wealthy English gentleman in 1880 and his lawyer (and apparently only friend). It occurs to the master of the estate that he’d best find the bastard offspring he had long disregarded so that there will be someone to inherit. With a satirical air, and hilarity more akin to Wilde than Python, the search proceeds to a nice resolution, with Kellyn Merrell, Sean Wood, and Ben Elliott appearing as potential heirs. One of the treats awaiting Fringe–goers in this third and final weekend of this year’s festival. – JB
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“Twisted Terrors”
Mike Speller serves up a three–course meal of delightful twists on traditional literature.
Our Appetizer consists of a sly turn of a Pie classic as we look at a dieter’s struggle with his appetite in “The Cravin’.”
The Main course is a very inventive take on Homer’s “Odyssey.” complete with Food Trucks, Rachel Ray, and living gingerbread men. The story itself is hilarious but the greater your knowledge of the source material, the more delightful it becomes.
We finish up with a Dessert Tray of quick takes on a few familiar tales including the five new commandments added as a result of Mary Shelley’s work.
Family friendly but sadly only here for one week. Don’t miss it. – WC
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“U Sing 2”
Kevin Kelso likes to write clever little songs, and to sing them. In his offering for this year’s IndyFringe , “U Sing 2”, he encourages – insists, actually – that the audience join him in song. The sing–along bits are fairly easy, and Kevin makes it fun.
Though listed as “all–ages” the content gets a bit PG, but nothing obnoxious (you might not bring a small child, but perhaps your mother). Discover a new Birthday song, a potential theme to a popular podcast, and help Kevin achieve his “Sweet Caroline” moment – or something similar, he says every show is a little different. Join the fun at The District Theatre cabaret stage. – JB
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“Voyages & Journeys”
Well worth coming aboard for “Voyages & Journeys” with Seda Negra / Black Silk dance, directed by Iris Rosa Santiago. With a singular theme, the dancers are nearly constantly present, as well as the suitcases which symbolize our being ever on the journey, old world to new. Beautiful and easy to comprehend movement telling our important shared story. Watch for this next weekend at the Athenaeum Indy , part of IndyFringe. – JB
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“Zoe Rose Spills Her Guts”
This show is a delightful character study of a few quirky characters.
The first is a thoroughly woke and enlightened frat bro who parties hard but thoughtfully. Since he always wakes up with no memory of the night before, he faithfully writes in his journal before passing out. Also, he can’t miss his sunrise yoga (his mantra is “bro”).
The second is a young British tap dancer who is heartbroken over being fired by her married boss whom she has been having an affair with. Her obsessive stalking leads to more trouble but an outlet for some great poems.
We are then treated to a clown who performs some really great gags (with the help of the audience).
Finally, we hear from Zoe herself as she shares excerpts from her childhood diary.
This is a charming show that will keep you laughing and reflecting for a while afterwards. – WC
At the same time as the modern magic show evolved throughout the 19th and 20th centuries, a movement arose involving communication with the deceased, known as Spiritualism. Turns out, the two had a lot in common.
Lexington, Ky., magician John Shore presents “The Talking Dead: Experiences from the Victorian Séance,” a one-hour exploration of the history and methods of Spiritualist mediums. After a successful debut at The Mary Todd Lincoln House in Lexington, and some revisions, this carefully-researched performance had a one night only showing recently at the IndyFringe Basile Theatre in Indianapolis, produced by Taylor Martin.
Shore decries the tense horror atmosphere of seances as portrayed by Hollywood, noting that especially from the 1840s to the 1920s, they had an overall relaxed atmosphere, an evening’s entertainment for middle and upper classes. Seating is mainly on stage, with some especially close to a pair of small tables, recreating the necessary intimate feel. Light is sometimes by a single candle.
We learn about historical figures including the Fox Sisters, who started the craze with rapping at walls and tables; D.D. Home, whose spirit power made furniture move; Dr. Henry Slade, who advanced from yes-or-no knocks or guesses at cards to mysterious messages on schoolhouse slates; and Margery the Medium, whose feats defied explanation throughout her career. We also hear about notables such as Sir Arthur Conan Doyle, who believed absolutely everything presented to him, and legendary magician/escapologist Harry Houdini, who absolutely did not.
Shore delivers more than a lecture. The table moves and the cards reveal, while mysterious raps surround us, a simple bell rings itself, and a tambourine clatters – revealing that our séance has its own unseen spirit guide present. (We even get “her” name.)
This splendid presentation gives us illusions in which the knowledgeable might suspect solutions, but with an air of mystery that keeps that part of you that wants to believe tuned in. As Spiritualism evolved into a bona fide religion, Shore notes that the mystery of faith plays an important role in the experience.
“Exposing it (as Houdini and his contemporaries did) really became beside the point,” Shore said after the show. As it was said in that era, neither for the skeptic nor the believer would anything fully change their minds.
As in a true séance of yesteryear, there is a fair amount of audience involvement. In fact, all who attend are asked to each write down a question for the spirits. A number of these will be selected – and answered.
Martin, a longtime Fringe veteran and master of the Indy Magic performance series, is working with Shore to bring “The Talking Dead” to this summer’s IndyFringe Festival. We are hoping they make it onto the schedule, as this enlightening and entertaining show will likely be a big hit. However, as much of the audience in the recent performance were members and friends of the local magic community, it will be interesting to see how more mundane folks handle the mysterious goings-on.
Plays with John & Wendy 