James Kenjorski

Viva Carmel Players, where love is King

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By Wendy Carson

Director Nicole Amsler and Carmel Community Players approach the Holiday season by giving audiences the gift of joy with their hilariously quirky offering, “Four Weddings and an Elvis,” by Nancy Frick.

Centering around Sandy (Veronique Duprey) and her Las Vegas wedding chapel, we are privy to four incredibly diverse sets of nuptials. Sandy herself is on Marriage No. 4 to the same man, Ken, who is never seen but is always present.

Beginning with Bev (Audrey Duprey) and Stan (Mark Livingston), who have flown out from the East Coast to marry each other as vengeance against their exes – who also plan to marry each other. They chose to have their wedding live-streamed to the exes and with Ken, Sandy’s usual minister, being passed out drunk, opt to use a nearby chapel’s minister, John (Joshua Payne-Elliot).

Sandy then hires Lou (David Dessauer) to be the new minister, but his age keeps her questioning if he can really pass for Elvis. They are to officiate the low key, high publicity, marriage of fading stars Vanessa Wells (Amanda Falcone) and Bryce Cannon (James Kenjorski) – both desperate to get their careers back on track. Sadly, the press and paparazzi decline their invitations.

We then meet Marvin (Jacob Bradford) and Fiona (Kelly Melcho), an extremely unlikely pair. He, an expert in everything regarding the Post Office, will wed her, an ex-con with a wild and colorful past. Their bliss is briefly interrupted by the arrival of her past boyfriend, Fist (Gregory Roberts), who broke out of prison to get his girl back. Hilarity – and a police standoff – ensues.

About a year later, we return to the chapel for the final wedding. It seems Sandy is ready to take the plunge for a fifth time, and all the previous characters return to celebrate with her.

Veronique Duprey maintains her charm throughout with the air of a Sin City sister who has seen it all, while the others indulge in all manner of silliness. However, these hopeful romantics indulge in these events without cynicism – each character, in their own way, wants love.

Amsler is assisted by Grant Bowen; Samantha Kelly is stage manager.

Will Sandy make it down the aisle? Will we finally meet Ken? How are the others’ relationships working out? And finally, who is the uncredited “Elvis”?

These questions and many more are answered by attending “4 Weddings and an Elvis,” Thursday through Sunday, Nov. 20-23, at The Cat, 254 Veterans Way in downtown Carmel. For tickets and info, see carmelplayers.org.

At Epilogue, ‘Business’ is good

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By John Lyle Belden

Economic conditions are uncertain, but aren’t they always? In 1982, with the Reagan era getting under way, various stresses threaten “A Little Family Business” in the comic drama by Jay Presson Allen (adapted from a French farce by Pierre Barillet and Jean Pierre Gredy) at Epilogue Players, directed by Elizabeth Ruddell.

Ben Ridley (David Beck), president of the Cobbs Carpet Sweeper company is facing competition from inexpensive Japanese electric sweepers, as well as worker unrest. His disappointing son Scott (Mac Wright) plays the flute for a living; daughter Connie (Hazel Bolt) bugs him about his diet like a health nut, but her Republican heart is in the right place; faithful secretary Nadine (Samantha Kelly) is still doable, though he has younger ladies on his mind; and it turns out he forgot his wife’s –heiress Lillian [nee Cobb](Tanya Haas) – birthday. On top of all this, hated former employee and Democratic candidate for Governor Salvatore Farrantino (James Kenjorski) is in town. Still, railing like a slightly updated Archie Bunker, Ben is not about to back down to anyone – until his weak heart intervenes.

Forced to take a leave of absence, the boss is left with little choice but to leave his wife – who had been mostly idle except for catalogue-fueled shopping sprees (and secret donations to progressive causes) – in charge of the company. But after Lillian gets past telling the factory employee grievance committee (H. Dupiton, Katherine Novick, Dale W. Smith, and Mike Harold) she’s “just a woman,” it dawns on her that that is enough. And she has ideas.

Set at a time when women in charge were becoming more common (like Margaret Thatcher in Britain) though still rare, this show offers a light-hearted dose of empowerment with some interesting family dynamics. This includes the distress inadvertently triggered by Scott’s choice of fiancé, as Ben, Sal, and Lillian come to terms with the circumstances of past affairs.

Haas is charming and even when Lillian’s unsure, keeps her whip-smart. Beck makes the randy bigot Ben somehow likable, no doubt aided by the fact his wife never really gives up on him. Bolt boldly plays a feminine Alex P. Keaton – if this were more of a drama, we would no doubt be exploring some daddy issues. Wright plays Scott as one accustomed to his father’s disappointment, which gives him a subtle wisdom as he goes-along gets-along so he can do his own thing. Kenjorski presents a big smile, big handshake, savvy politician with some actual heart for the common man (and uncommon folk like the Ridleys – especially Lillian). Kelly puts the “professional” in professional assistant as Nadine, heroic for putting up with Ben, and making herself invaluable to Lillian.

Kelly also serves as stage manager, and Wright is assistant director. The elegant yet functional set was designed by Ruddell and Ed Mobley

Invest a little time and ticket fare in “A Little Family Business,” Thursday through Sunday, April 18-21, at 1849 N. Alabama St. (corner of 19th and Alabama), downtown Indianapolis. Get tickets and info at epilogueplayers.com.

Serving up Shakespeare’s slasher

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By Wendy Carson

Indy Bard Fest presents “Titus Andronicus” by William Shakespeare.

First of all, let’s address a few things about the source material. This is not a typical Shakespearean tragedy. It is violent, gritty, and rather mean-spirited overall. However, it is also very realistic in its depiction of the wages of war, the brutality spawned from revenge and the immense savagery of “civilized” society.

Bard Fest states that this is not for children, the warning making the subject matter seem like it leans towards an “R” rating when indeed it is much closer to a “PG” or “PG-13” at the strongest. A few murders do occur onstage, with “blood” spray, but the most heinous of the crimes occurs offstage and is only talked about, with its aftereffects being seen in fascinating detail. Since the stage blood seems more akin to Kool-Aid, none of it feels as gruesome as it could be. In fact, a young gentleman at our performance had no qualms about any of the violence, he was more alarmed at becoming a valet to the Queen at one point.

So, parental discretion is advised but do not let that keep you from exposing kids to this rarely-done show. Who knows, it might make them want to check out more of the Bard’s catalogue.

Although I usually try to summarize the stories here somewhat, it’s really nothing more than a lesson in what “an eye for an eye and a tooth for a tooth” justice is like. As you enter the Indy Eleven theater, notice that on the back wall of the audience, there is a chart with Titus’s family listed. As the play progresses, more and more of those names get scratched off until only three are left. Also, enjoy the beginning tableau of the family at the table. This is the only time you will see such happiness and normalcy in the production. Oh, and the rightward section of the audience is the “Splatter Zone.”

Director Matt Anderson does an exceptional job keeping the show enjoyable despite its dark subject matter, at times leaning into its gory nature. In fact, the final scene is more fun than frightening.

Dan Flahive brings Andronicus to life as the world-weary soldier who, upon winning victory over the Goths, refuses the Roman people’s will to rule them and would much prefer to rest in the company of his remaining children.

James Kenjorski brings aspiring emperor Saturninus’s blind madness to the forefront by failing to see how his choices and demands will doom the rest of the characters. They start by seeing his family and kinsmen as enemies and taking the captured queen of the Goths as his bride.

Holly Hathaway Thompson gives a perfect rendition of that queen, Tamora, a proud woman whose vengeance is greater than any man’s and lifestyle would put a modern “Real Housewife” to shame.

Nicholas Johnson plays Aaron, a Moor who aids the Goths, as the devil incarnate, a man whose every action is to inflict evil upon the world.

David Marlowe keeps Bassanus, Saturninius’s brother, an endearing soul to whom fate deals a mortal blow.

Haley Glickman plays Titus’s daughter Lavinia, a young woman in love who becomes a pawn in this massive power play. Even though she suffers the worst degradations of any character, she balances her desire for revenge against the reality of its outcome. Whether eloquent or mute, Glickman’s expressiveness shines through.

Craig Kemp brings Marcus, Titus’s brother and a Roman Tribune, a solid solemnity that while not being a target himself, must witness and endure the tragic events of everyone else.

Tamora’s sons, Eli Robinson as Chiron and J.B. Scoble as Demetrius, give Aaron’s character a run for his money as far as dastardly deeds go. However, they do not escape justice and end up as “just desserts” for their mother.

Ben Elliott is appropriately noble as Titus’s eldest son, Lucius, tasked with helping bring justice to these events. Also notable is young Sam Lee as his son (Titus’s grandson), Young Lucius. 

A crowd-pleaser for the rowdies in Shakespeare’s day, which even includes in this production a scene practically straight out of Wrestlemania, it won’t cost you an arm or a leg (maybe a hand?) to see “Titus Andronicus” in its remaining weekend, Friday through Sunday, Oct. 27-29, at the Indy Eleven in the IndyFringe Theatre, 719 E. St. Clair St., Indianapolis. Get tickets at indybardfest.com or indyfringe.org.