‘Big Day’ for little guy at Phoenix

By John Lyle Belden

Phoenix Theatre’s holiday tradition continues with “Winston’s Big Day: A Very Phoenix Xmas 14.”

(Note the originator of the series, Bryan Fonseca, also has a holiday variety show at the new Fonseca Theatre Company, but think of them not so much as competitors as companion pieces — each with its own nice yet mildly naughty take on the winter holidays.)

The Phoenix production works on a theme developed by director Chelsea Anderson over the course of the year. It’s Christmas Eve, and elf Winston (Dave Pelsue) — who had been planning to leave the North Pole to pursue a music career, with Rudolph (Ramon Hutchins) as his manager — is tapped to be co-pilot of the Sleigh. But Santa is missing! That means it’s up to the reluctant elf and his bright-nosed companion to make the deliveries and save Christmas. 

During the night, Winston looks in on several scenes, performed by the cast of Nathalie Cruz, Andrea Heiden, Jan Lucas, Pearl Scott, John Vessels, and Justin Sears-Watson. Scenes and songs are by a diverse lot including Anderson, Pelsue, Paige Scott, J. Julian Christopher, Jen Blackmer, Riti Sachdeva, Zach Neiditch, and Phoenix playwright-in-residence Tom Horan.

There is an abundance of wonderful performances, including Lucas and Heiden as ghosts of Charles Dickens; Vessels at his manic best; and dancer Sears-Watson’s smooth moves, as well as showing his singing and acting chops. 

Perhaps one of the best scenes, showing off all the talents on hand, is Blackmer’s “The Twelve Theatrical Genres of the Totally Non-Denominational, Absolutely Inclusive Holidays…” This gentle jab at both political correctness and community theatre, when its reach goes way beyond its grasp, results in a hilarious holiday scene so “inclusive” it hardly appeals to anyone: The Misguided Mechanicals present something like, “Stella and the Zombie Cats of Thebes” (that’s my best-guess title for it; you’re welcome, Chelsea). 

And, of course, there’s Pelsue and Hutchens, doing a great job of tying this whole silly and sweet mess together, as they struggle to rush through their duties, hoping to make their stage time at Fa-La-La-La-La-Palooza. 

Also impressive is Zac Hunter’s stage design, including a turntable with pop-up-book effects, and frequent clever use of the trapdoors.

Yet another holiday tradition to add to your schedule, performances run through Dec. 22 at the Phoenix Theatre, 705 N. Illinois, downtown Indy. Call 317-635-7529 or visit phoenixtheatre.org.

Summit: Feel the love of ‘Mary Jane’

By John Lyle Belden

“Mary Jane,” as the name of both central character and the play presented by Summit Performance Indianapolis, refers not to a quasi-legal substance but to an American everywoman – dealing with one of the worst nightmares a mother could face.

In the drama by acclaimed playwright Amy Herzog (staged Off-Broadway in 2017), Mary Jane – played with bold optimism by Bridget Haight – is the primary caretaker for Alex, a nearly three-year-old boy with cerebral palsy and other conditions likely caused by a brain-bleed during premature birth.

Presented on the intimate confines of the Basile Stage at the Phoenix Theatre, the play is presented without intermission (as intended) but its scenes present the narrative in two acts: In the first, we are in Mary Jane’s apartment, which includes various medical equipment (much of it unseen behind Alex’s door) and a visiting nurse (Nathalie Cruz). In the second, we are in a hospital which becomes for Mary Jane a sort of home – her son still being cared for just off-stage.

The “third act” is the audience’s ride home, reflecting on what they have seen, heard and felt. Yes, it’s that kind of play. Expect no easy answers, or an ending that brings triumph or catharsis. This is a reflection of real struggles, how we find the strength to confront them, and the search for understanding among others in a similar situation, as well as through faith.

Cruz plays a doctor in the latter half; others in the cast take on dual roles as well. Mara Lisabeth Malloy twice plays a mother with a special-needs child – first a new mom receiving an avalanche of advice from Mary Jane on how to cope; later a Jewish mother of seven who, having faith and family for support, takes the mentor role. Kelsey Johnson is a young woman wanting to help but out of her depth, first as a visitor, charmed by the little boy then overwhelmed by the reality of the situation; later as a musical therapist shaken into not becoming yet another part of Mary Jane’s problems. Jan Lucas bookends the story, at first as a helpful apartment Super, and later as a serenely savvy Buddhist nun.

The play is directed by Summit founding artistic director Lauren Briggeman, who – like Herzog – has some understanding of being a caregiver. It’s easy to see the devotion she and all involved had in giving their production genuine heart – including many moments of appropriately uplifting or soothing humor. Haight plays Mary Jane with great strength, even in passing moments when the facade cracks. Castmates all exhibit empathy so convincingly it seems there truly is a sickly toddler residing on the corner of the set.

If you go to theatre for “the feels,” or are open to, I encourage you to visit “Mary Jane,” with performances through Aug. 18 at the Phoenix, 705 N. Illinois in downtown Indianapolis. Call 317-635-7529 or visit www.summitperformanceindy.com.