Jason Creighton

CCP: Living in an idealized past not easy

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By John Lyle Belden

“Home, I’m Darling,” by British playwright and screenwriter Laura Wade, is not often seen outside the UK, where it’s set. However, the central character is captured by the nostalgia of the 1950s as envisioned by popular American television and movies, despite her having been born in England in 1980. 

Carmel Community Players presents a unique production of this Olivier Award-winning comedy at The Cat, directed by Nicole Ansler.

Judy (Lori Ann Gerdisch) and Johnny (Kevin Smith) appear to have the perfect happy marriage – if this were a black-and-white sitcom. Puttering around the kitchen in a pretty dress with pearls and a frilly apron, Judy seems happy to cook and clean at a home in which nearly all appliances and furniture date to the 1950s while Johnny, smartly dressed including a hat, goes to work as a real estate agent. The one concession to 21st century living is a laptop for ordering more vintage stuff online. She only listens to old records and watches old films on a disc player wired into a modified old telly, and has embraced the lifestyle to the extent that she rarely swears and finds herself surprised that Johnny’s boss Alex (Brynn Lee) is a woman.

Judy’s best friend Fran (Amalia Howard) is impressed at how clean the home is and notes her husband Marcus (Mike Sosnowski) wouldn’t mind her living a similar life – though she likes her job. On the other hand, Judy’s mother Sylvia (Barbara Babbitt), a diehard feminist, is quick to point out how uncomfortable she is with the whole situation.

This production includes a clever addition: To help intensify the surreal atmosphere – and give the cast more time for costume changes –there are various 50s-60s style TV commercials between scenes, presented with “Mad Men” charm by Tanya Haas and Mark Livingston, with Jason Creighton voicing the announcer. Products include yellow margarine, smooth-smoking cigarettes, and whitening toothpaste for those pesky yellow stains. Written by Amsler after receiving permission from Wade, these bits are among the highlights of the show. Haas even gets to perform an ad jingle.

This retro paradise quickly shows its flaws as money gets tight with Johnny not likely to get the promotion they were counting on. While Fran tries recipes and household hints from one of Judy’s old books, Marcus is caught in a situation that, in these days, gets more serious attention.

“Nostalgia used to be considered a mental disease” is said, and there seem to be deeper issues at play. This is especially true of Judy, whom Gerdisch plays with iron stubbornness tinged with fear. As we learn about her unusual childhood, her attachment to an idealized world becomes clear, edging on cautionary tale.

Meanwhile Johnny is finding himself disconnected from life, stuck more in an acted role than a voluntary lifestyle. Smith, who can’t help looking a bit like Don Draper, shows his manly strength in a rather un-50s manner, with a hope that he can still reach his time-warped wife.  

Howard charms with her supportive personality, though that trait gets sorely tested. While others play at living in the past, Sosnowski’s character Marcus is more of a throwback. Babbitt plays Sylvia as a loving and concerned mother who could grab a sign to join a march. Lee’s Alex is our anchor to the current era – modern suit, cell phone handy – not judging while focused on practical matters.

The choice was made by Amsler, to the relief of the cast, to not attempt British accents. With numerous idioms and references to English cities, there was no attempt to adapt the script to the U.S. (this story is good for practically any English-speaking culture, and has been staged in Australia). I feel this approach works, as it makes the play more relatable, and attempting the accents (especially considering regional dialects) could end up being distracting or even come off farcical, diluting the serious subtext of this already oddball comedy. Besides, the culture Judy is emulating is mostly American anyway.

Assistant directors are Laura Gellin, who is also intimacy coordinator, and Lauren Lotzow, who is also stage manager. The all-volunteer company did an excellent job of rounding up the various era-appropriate props and set pieces (helpers include Tom Smith, Susanne Bush, Charlie Hanover, and Dave Muse). Costume design is by Judy McGroarty.

A fun show with thought-provoking dark edges, “Home, I’m Darling,” has performances 7:30 p.m. Thursday (at a discount price) and Friday, 2:30 p.m. Saturday and Sunday at The Cat, 254 Veterans Way in downtown Carmel. For tickets, see carmelplayers.org or thecat.biz.

Bard Fest ‘Macbeth’ simply bold

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By John Lyle Belden

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.

CCP shows its strength

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By John Lyle Belden

The title of the play, “Steel Magnolias,” written by Robert Harling based on events in his life, refers to the fact that – as one character remarks – men are expected to be pillars of strength, yet women are like hardy flowers of even stronger mettle.

Carmel Community Players presents a mostly-female production of this Off- and on Broadway hit (also made into a beloved film in 1988), directed by Elizabeth Ruddell.

The action takes place in Chinquapin Parish, northwest Louisiana, but we hear all about it at Truvy’s Beauty Shop. We open on an eventful day: Truvy (Casey Clouser) has just hired young Annelle (Phoebe Aldridge) as assistant beautician, then Shelby (Emily Haus), daughter of M’Lynn (Tanya Haas), one of the shop’s regulars, arrives to prepare for her wedding that day. Clairee (Susan Boilek Smith), the town’s former first lady, arrives from the dedication of the local football field to her late husband. Local curmudgeon Oiser (Gabrielle Patterson) storms in, this time upset at M’Lynn’s husband – who has also annoyed the whole neighborhood with his efforts to scare birds away from the backyard wedding site.

Time advances through more scenes, giving us insight into both the changes in these women’s lives and how their bonds stay strong and true. There is plenty of good humor, with numerous funny lines and zingers like a sitcom, but flowing naturally like true friends talk. There is also a cloud of misfortune that will eventually overtake them, testing their steel. Even if you know this or have seen it before, this cast keeps the feelings raw and real.

Haus presents Shelby in all her stubborn, upbeat, brave glory. Haas epitomizes the hard strength of the title, making it all the more impactful when she reaches her limit. Aldridge charms, taking us on the curious complex arc of sweet Annelle’s many changes, inevitably for the better. Smith gives us someone who knows she’s a VIP but would rather have fun with it than lord it over anyone. Her fierce loyalty to lifelong best friend Oiser says a lot about her character. Speaking of whom, Patterson gives us a force of nature like a Louisiana hurricane, yet always true to the ladies in this circle.

If you haven’t, we highly recommend you also see the movie with its all-star cast, including Dolly Parton as Truvy. Clouser is a living tribute with her accent and blonde wig, while making the character her own. We never forget this is her house, after all.

Other salutes to the film include a Dolly portrait on the wall (her hits play while we wait for the play to start) and Annelle’s cat-eye glasses like Darryl Hannah wore in the role.

Haas is also producer. Other “Magnolias” involved include stage manager Samantha Kelly, lights by Karissa Henschen (with Doug Vann), and sound by Lori Raffel. “Honorary Magnolia” Jason Creighton provides the good-ol’-boy voice on the radio.

Entertaining and emotional, find some Southern charm up north in Carmel. “Steel Magnolias” plays Thursday through Sunday, Oct. 10-13, at The Cat, 254 Veterans Way. Get info and tickets at carmelplayers.org or thecat.biz.

CCP sets intriguing ‘Dinner Party’

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By Wendy Carson

Most of us are familiar with Neil Simon plays and know what to expect from them. However, “The Dinner Party,” presented by Carmel Community Players, is different. Written in his later years, the script was originally intended to be farcical but as he fleshed out the characters, a more serious storyline emerged. That’s not to say you won’t laugh – his wit still shines through in the dialogue – but expect to be moved to serious conversation/contemplation afterwards.

The setup is simple: Six people are invited to a dinner party at a fancy restaurant by the lawyer who handled their divorces. However, no one knows who else has been invited, the host is a no-show, and the staggered arrivals of the guests just ups the confusion.

SEMI-SPOILER ALERT! The six people are actually the two halves of three different formerly married couples. This is where the serious dialogue, peppered with biting humor, comes in.

And now, to our guests.

We begin with Claude Pichon (Grant Bowen), a sort of everyman with a deep love of literature. Albert Donay (Bradley Allan Lowe) a curious, mousey type that has little knowledge of interpersonal niceties. Andre Bouville (Jason Creighton) a pompous jerk who flaunts his wealth and popularity amongst women. Mariette Levieux (Becky Larson) an elegant lady author whom Albert takes a shine to, is Claude’s ex and known to Andre as well. Yvonne Souchet (Alaine Sims) a flighty woman who entices Claude, can’t make up her mind whether to stay or go, and is Albert’s ex. Finally, we have Gabrielle Bouville (Amalia Howard) a sensuous woman of mystery and manipulation.

The result of these machinations is an hour and a half of deep delving into relationships, love, passion, fear, confusion, and possibilities.

Co-Directors Matt Trgovac and Tonya Rave bring out sterling performances in each cast member. Bowen as Claude mostly plays it cool as viewer proxy. Lowe gives an interesting character study, odd but not absurd. Creighton has Andre seethe with air of a power broker who can’t bear not being in control. Larson plays Mariette mostly level-headed, but the edges are fraying. Sims lets Yvonne’s issues plainly show, as in this off-kilter setting her erratic behavior seems fitting. In Howard’s performance you can practically see steam rising off Gabrielle, shifting from seductive to pouty to dominatrix calm in a heartbeat.

Set in Paris, we hear these French characters in plain English with no distracting accents. But the setting does lend some tension, contrasting old-world mores with the permissive atmosphere of the city’s reputation.

Performances of “The Dinner Party” run Thursday through Sunday, May 2-5, at The Cat, 254 Veterans Way, downtown Carmel. See thecat.biz or carmelplayers.org for info and tickets.

Cat, CCP stage farcical salute to struggling actors

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By Wendy Carson      

Is the thought of seeing one more Christmas-themed production making you want to spew your eggnog? If so, you need to drive over to The Cat in Carmel and catch a performance of Carmel Community Players production of “Moon Over Buffalo.”

The 1995 comedy by Ken Ludwig is notable not just for its slamming-door farcical elements but as the vehicle in which Carol Burnett returned to Broadway. Needless to say, there are plot twists and laughs aplenty.

In the summer of 1953, George Hay (Jason Creighton) and wife Caroline (Tonya Rave) have washed out on the Broadway stage as well as in Hollywood and tour the country in reparatory, alternating between productions of “Cyrano de Bergerac” and “Private Lives.” They are currently stuck in Buffalo, N.Y.

Still stinging over the loss of lead roles in the upcoming Frank Capra-directed Scarlet Pimpernel film, they are resigned to make the best of things. Having Caroline’s mostly deaf mother, Ethel (Wendy Brown), along as their costumer and all-around extra doesn’t improve their lot.

In a fortuitous turn of events their daughter, Rosalind (Natalie Piggush), has returned to introduce them to her new fiancé, Howard (Mac Wright). However, she never seems to get the opportunity, and his being tongue-tied doesn’t help. Add to the mix Richard (Brian Sprayue), the Hays’ lawyer who is madly in love with Caroline and trying to sweep her away from her husband; Eileen (Nicole Sherlock), the ingénue who is pregnant from a brief dalliance with George; and finally, Paul (Grant Bowen), Rosalind’s ex, who is still madly in love with her.

Secret loves, mistaken identities, a generous amount of alcohol, and the possibility of being cast in Capra’s film after all make for a rollicking night of craziness. It’s also good for those who like a peek at backstage life and the quirks of showbiz people, flavored with the evergreen lament that live theatre is dying (shakes fist at television).

Directed by Elizabeth Ruddell, the entire cast is spectacular; their tireless embracing of every comic element will keep you laughing so much that you can forget that “Marley was dead” or any other holiday frippery.

Performances are Thursday through Sunday, Dec. 14-17, at The Cat, 254 Veterans Way, downtown Carmel (in the Arts and Design district, a distance away from the Kristkindlmarkt). Get tickets and info at carmelplayers.org.

Epilogue brings monster tale to life with radio magic

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By John Lyle Belden

When dealing with a familiar favorite story, the best part is in how it’s told.

In “Frankenstein: The Radio Play,” presented by Epilogue Players, Mary Shelley’s classic novel is presented as a radio drama produced in 1940s London – an escape from the horrors of the real world. Adapted by Philip Grecian from his stage play, based on Shelley’s 1818 book, the production gives us a theatre of the mind experience while providing a glimpse into how the audio magic is made.

The immersive experience goes a step further by not renaming the actors as British counterparts, and by including radio ads promoting every advertiser in the program. This may be the best promotion English Ivy’s restaurant and bar (in today’s Indianapolis, just down the street) has ever gotten.

Craig Kemp (actually from the U.K., by the way) voices the titular figure, Victor Frankenstein – whom any literature buff will note is the true “monster” of the novel – in fine fashion, from the soothing doctor in love to the ecstatic “it’s ALIVE!” during the creature’s “birth.” Other actors provide major and minor parts (the broadcast audience can’t see them, so switching is a manner of inflection, which they easily do). Principally, Alex Bast is the doctor’s friend and assistant, Henry Clerval; Dale W. Smith is their peer, Professor Waldman; Caity Withers, the studio announcer and producer, is Baroness Frankenstein; Phoebe Aldridge is young Catherine Frankenstein; Melody Simms is Catherine’s governess, Justine Moritz; Bella King is Victor’s cousin and fiancé, Elizabeth Frankenstein; Grant Bowen is Arctic explorer Capt. Robert Walton, as well as the blind man, Delacey; and Jason Creighton is The Creature (usually referred to by epithets, by himself as Adam/Lucifer, but never as his “father’s” name), giving an appropriately powerful rendition of the misunderstood beast.

Also deserving of star billing are foley artists Amanda Greene, Roger E. Dutcher, Karen Markle, and Zach Thompson, who undertake complex effects with as close as the era allowed to surround-sound. Seeing the various gadgets used only adds to the fun while their acoustical accuracy doesn’t break their spell. Daniel Watson directs and composed some of the music, performed by Bethany Watson on piano.

Glancing over the novel’s plot summary as well as various films from James Whale to Kenneth Branagh and variations including breakfast cereal and Abbot & Costello, I probably should make some notes of the story here. This play does start and end on Cpt. Walton’s ship approaching the North Pole. Henry sounds quite handsome, with no hunchback noted, and is a fellow scientist, not a servant. Also, a critical plot point, the brain supplied to the creature is that of a genius Victor admires (not “Abbie Normal”), which becomes evident at the Adam’s clarity after his initial mental fog, making his reasoned impulses for revenge more menacing. Finally, there is no postmodern wink or sight-gags among the English cast; this show is played for chills, not laughs.

Performances run through Feb. 26. Space is limited at the little theatre on Hedback Corner, 1849 N. Alabama St., and tickets are selling fast. Get yours at EpiloguePlayers.com.