JB Scoble

Mud Creek drama worth the ‘Wait’

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By John Lyle Belden

One thing that tends to be tricky in live theatre is suspense. This is why the thriller “Wait Until Dark” by Frederick Knott is a popular choice for community companies, like the present production at Mud Creek Players, directed by Andrea Odle.

A pair of ex-cons are searching for a particular priceless doll – valuable not for its porcelain face or music box, but for also containing a highly valuable stash of uncut heroin. The woman bringing it into the country passed it to an unsuspecting photographer, Sam (Zachary Thompson), and her accomplices Mike (JB Scoble) and Carlino (Trever Brown) are in his lower-level apartment searching for it. However, the person who called them to be there is Mr. Roat (Kelly Keller), who has smoothly taken charge of the entire caper.

Sam’s wife Susy (Lexi Odle-Stollings) comes home and our criminals note that she is blind, so they can easily evade her. She hears something, and notices furniture has been moved, but blames it on Gloria (Evelyn Odom), the bratty girl who lives upstairs and often comes down to do errands for her.

Preferring finesse to violence (for now), while Sam is away on a bogus assignment, Mike pretends to be his old Marines buddy to talk Susy into divulging the location of the doll. Carlino plays a detective, and Roat adds two roles to the ruse, as the tension builds and their patience wanes. This is set in 1963, so a phone booth just down the block is a vital plot element. As Susy’s necessary attention to details starts to clue her in on what’s happening, how will she get out of this situation? Note the play’s title.

The cast also includes Sidney Blake and Thomas Burek.

Odle’s own attention to detail aids the atmosphere, taking advantage of the fact that the Mud Creek Barn isn’t a large venue, aiding our trapped feeling with lower than usual lighting. Jennifer Poynter is assistant director, and Amy Buell is stage manager.

Odle-Stollings delivers an excellent performance of a woman familiar with fear as she had been blinded only a couple of years before, still, knowing she must rely on her own strength and wits – every day to get around, and on this night as a matter of life and death. She received help from the Indiana School for the Blind and Visually Impaired to effectively and respectfully portray an unsighted person.

The fact that Keller is such a nice guy offstage helps make his turn as ruthless Roat all the more disturbing. His villainy is enhanced by his own sense for detail and preparation. Scoble and Brown add a bit of humor to the mix, but we come to see the hardened criminals they play take this all very seriously.

Odom, already quite active as a Mud Creek volunteer, is also a natural on stage, playing the kid who, despite her attitude, truly wants to help – if that involves breaking things, all the better!

Suspense builds to the final scene. See what happens when the lights go out in “Wait Until Dark,” performances Thursday through Saturday at 9740 E. 86th St., Indianapolis. Get tickets at mudcreekplayers.org.

Andersen’s own duckling-to-swan story in new musical

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By John Lyle Belden

The life of Danish author Hans Christian Andersen was quite extraordinary, resembling a novel – or perhaps, a fairy tale.

Indy Bard Fest presents “Andersen: A Fairy Tale Life,” a new musical written and directed by June McCarty Clair (with music by Derek Hakes and lyrics by John C. Clair), based on the true events of the tale-spinner’s life.

We first follow Andersen as a boy (played by Preston Blair) in the small town (at the time) of Odense on Denmark’s island of Funen – far enough from Copenhagen for it to be considered boring but close enough for royalty to visit for a quiet vacation. Raised on literature by his father (before he died) and folk tales by his illiterate mother (Lisa Anderson), the lad would sing and recite for coins on the street.

Having a good voice and endless ambition, as a teen (Grant Craig) he makes his way to Copenhagen hoping to be a performer as well as a writer. Nearly penniless, he finds his way to Jonas Collin (Mac Williams), who takes him in, and with famous voice teacher Siboni (Thom Brown), scientist H.C. Orsted (Duane Leatherman), and, reluctantly, Jonas’s son Edvard (J.B. Scoble) undergo a grand experiment to see if a low-born person with potential can bloom into a celebrated genius. Struggling at first, Andersen is sent to study under cruel schoolmaster Simon Meisling (Matthew Socey) to improve his grammar. Instead, he writes a poem which somehow makes its way into print.

This first act not only gives us an interesting biography but also provides a showcase for the talents of Blair and Craig, who get their own songs and fully realized scenes – not just used as younger faces to get to the man we know. With Craig’s charm and vocal chops, he easily portrays the star potential of the confident young Dane.

The second act brings on Andersen as a young adult, in which Matt Anderson channels his charisma into a man who came across as gangly, awkward, and eccentric, yet somehow enchanting. In these years success came easily, but happiness and a sense of belonging elude him. People love his stories, but what about the man?

This play includes references to a number of Andersen’s tales, with one even acted out by children. The songs serve the plot well – such as “Another Door,” as young Christian deals with rejection as he pursues his destiny. The second-act song “Fairy Tale Life” has showstopper potential.

Other notable performances include Rachelle Woolston as Mette the Fortune Teller, Sara Tewes as a famous ballerina, Erika Koepfer as Louise Collin, Nan Macy in brash-woman roles as usual, and Greta Shambarger as the one kindly person who doesn’t slam the door in Andersen’s face. They are joined by Beth Gibson, Derek Hakes, Emelyn Woolston, Owen Flint, Andy Burnett, Mel Burnett, Lucy Isles (Little Match Girl), Jacob Meneghini (Ugly Duckling), and Thom Johnson (Mayor of Odense).    

“Andersen: A Fairy Tale Life” is an entertaining examination of a true rags to riches story, a testament to overcoming one’s disadvantages with persistence. We get glimpses into both the author’s humor and his melancholy that informed his often-tragic writings. Ever feeling the outsider, he still lived a full and, eventually, celebrated life. The story doesn’t delve into current scholars’ controversial speculation of his sexuality, yet does portray the loneliness we know he felt.

Remaining performances are Friday through Sunday at Shelton Auditorium, 1000 W. 42nd St., Indianapolis (southwest corner of Butler University campus). For information, see indybardfest.com, or find tickets here.

Sit, stay, see ‘Sylvia’

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By Wendy Carson

The Village Theater, a newly minted company based in Noblesville, leaps onto the local stage scene with their delightful production of the comedy “Sylvia,” by A.R. Gurney, in Carmel.

Greg (Mason Odle) is having a midlife crisis. He’s fed up with his job, he’s missing his now-grown kids, and he’s unhappy living in the city. Into his life bounds a perky, devoted young female who is the answer to all his woes. Kate (Andrea Odle), his wife, who is flourishing as an empty-nester, puts her foot down and refuses to allow her to live with them, at first. She reluctantly allows Sylvia (Amber Shatto) to move in on a temporary basis.

Should I mention that Sylvia is a dog?

Thus, we have an endearing story in which we are privy to all of Sylvia’s thoughts and actions and the conversations she holds with our main couple, when each human is alone. Add to the mix JB Scoble, portraying the various supporting characters: Tom, the fellow owner at the dog park who reads books and analyzes Greg and Sylvia’s relationship; Phyllis, one of Kate’s snooty friends who shares her horror at the changes she must endure as no longer the only female in the house; and Leslie, Kate’s therapist, who tries to council Greg but ends up sharing Kate’s disdain for the usurper.

Director Larry Adams excels at keeping the show about their relationships while allowing the joy and laughter inherent to shine through. Offstage spouses Mason and Andrea Odle address their characters’ needs and desires as a couple, as well as their conflict regarding Sylvia. Scoble shows off his range with his three characters but is a sheer audience delight in his turn as the pearl-clutching Phyllis.

Shatto’s energy and exuberance throughout all the various phases of her character is spectacular. Anyone who’s had a dog or been around them for any period will recognize all of her projected behaviors and hopefully gain insight into what these creatures may have been communicating to us all along.

A sweet, funny, heartfelt salute to man’s best friend, “Sylvia” is at – ironically – the Cat, 254 Veterans way, downtown Carmel, for three more shows, Friday through Sunday, April 19-21. Get tickets at thecat.biz.

Laughs and love at The Cat

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By John Lyle Belden

There’s something funny going on at The Cat in downtown Carmel: the fun musical “I Love You, You’re Perfect, Now Change.”

The show, written by Joe DiPietro and Jimmy Roberts, is a series of musical skits reflecting love from first meeting to long after the wedding. Christian Condra, JB Scoble, Sara Castillo Dandurand, and Abby Okerson perform in various couplings throughout. Being no strangers to silliness, Condra and Scoble direct.

In keeping with his on-stage appearances, we get Condra in his underwear in record time. Nobody gets stripped beyond their skivvies, but there is some mature content, so consider this for teens and up.

Dating is a pain, marriage is a pain, family are a pain – so why are we laughing? This foursome gladly suffer for our pleasure, complete with swirling props and physical gags as well as the hilarious punchlines.

Music is nicely provided onstage by Gisele Dollinger and Evan Wang.

For your post-Valentine entertainment, you’ll love “I Love You, You’re Perfect, Now Change,” Thursday through Sunday, Feb. 15-18 at The Cat, 254 Veterans Way, Carmel. Get info and tickets at thecat.biz.

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.

‘August’ in June in Westfield

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By John Lyle Belden

It may be cliché, but the phrase “putting the ‘fun’ in dysfunctional” completely fits the Tony and Pulitzer winning tragicomedy “August: Osage County” by Tracy Letts, now on stage for another weekend at the Basile Westfield Playhouse, presented by Main Street Productions, directed by Brent Wooldridge.

Set in in 2007 in rural Oklahoma, where the hills near Tulsa meet the plains, we open with retired poet and professor Beverly Weston (Rob Lawson) hiring Johnna (Bella King) to help care for the house and his wife Violet (Sally Carter), who struggles with mental issues, cancer, and drug addiction. Being not related to anyone else in the play, the young Cheyenne woman will be about the only truly sane and sensible character in the cast.

Soon, Beverly disappears and family members come out of the woodwork (or at least fly in from other states). Strain, secrets, and substance use all take their toll in scenes both hilarious and disturbing – often simultaneously.

Carter gives a tour de force performance, swinging from one extreme to another, to moments of cool rationality, throughout. In turn, Violet’s daughters have their own issues with which they don’t deal well: Barbara (Molly Bellner) divorcing husband Bill (Jeff Peabody) and at wits end with teen daughter Jean (Megan Janning); Ivy (Monya Wolf) chafing to get out from under her mother’s thumb while keeping a devastating secret; and Karen (Caity Withers), who is set to marry Steve (JB Scoble), a guy so sketchy he could only be from Florida. Meanwhile, Violet’s sister Mattie Fay (Julie Dutcher) spreads bitterness that only her saintly patient husband Charlie (Jim LaMonte) can tolerate, saving her sharpest barbs for “loser” adult son Little Charles (Jonathan Rogers). Also on hand is Sheriff Deon Gilbeau (Mike Bauerle), who was Barbara’s prom date in high school. Each of these actors get several moments to shine.

Set design by Ron Roessler gives us a full house to hold all the action, while allowing easy movement, visibility and acoustics (attic scenes were as audible as on stage). Susan Yeaw is stage manager.

Hearts and dishes will break in this skewed portrait of Americana. Performances are Thursday through Sunday, June 15-18, at 230 N. Union St., Westfield. Get info and tickets at westfieldplayhouse.org.  

Houston-inspired musical at Footlite

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By Wendy Carson         

 I’ll begin by noting that neither John nor myself have seen the movie, “The Bodyguard,” which is the source for the musical of the same name, now on stage at Footlite. That said, this review will focus solely on the merits of the stage show, and not be complicated by comparisons that film fans will make. I was told that there were a few changes made for the story flow, but those are for others to examine and recount.

The overall plot is basic: Obsessed fan threatens pop star and experienced bodyguard is hired to protect her. Add to this a few ambition issues and romantic subplots, and the whole thing could easily boil down to a cheesy “Hallmark Movie” – yet somehow it all works together quite well. I found myself actually charmed by the spectacle.

No matter your personal opinion of Whitney Houston, she had a fierce voice. With the majority of the songs presented being what might be considered personal anthems, the show’s success or failure heavily lands on the actress/singer playing her role. Fortunately, Angela Nichols-Manlove fills those shoes almost effortlessly. She fully brings out the headstrong sassiness of Houston’s character Rachel while still showing her vulnerable side.

RC Thorne gives the titular character the firm determination of the profession but manages to highlight the fear that drives him in this endeavor. He brings believable life to the hard-boiled exterior with a soft heart archetype.

JB Scoble as The Stalker was appropriately creepy. I was quite impressed with the choreography of his interactions with various characters during the scenes he shared. However, I never felt as though the script tried to adequately explain his motivation and backstory. This weakness of the source material aside, Scoble and director Bradley Allan Lowe made our mystery man appropriately menacing.

Young Cairo Graves as Rachel’s precocious son, Fletcher, is the breakout star of the show. His talent at not stealing every scene he is a part of (which he could quite easily do) was as impressive as his scope of abilities. He is a true triple-threat who we could see delighting us for many years to come.

Melissa Urquhart is also sharp as Rachel’s sister, Nicki, around whom much of the plot twists. Additionally, she provides a powerful voice on a couple of numbers.

At our performance, Lowe ably stepped in for a supporting actor Shalmon Radford, who fell ill. (Hopefully, Radford will return this weekend.) The cast also includes Sam Hill, Robert Dooley, Carolyn Lynch, and Miranda Nehrig. Backing singers and dancers were Anya Andrews, Damaris Burgin, Kaylee Johnson Bradley, Kendell Crenshaw, Azia Ellis-Singleton (Nicki understudy), Suzana Marmolejo (Rachel U/S), DeSean McLucas, Jada Radford, and Ryley Trottier.

Whether you are a fan of the movie, or of Whitney, or just want to see something different and upbeat, this is a show that will bring you laughs, possibly tears, and make you sing along in joy.

For “All the Man That I Need” (and other hits), see “The Bodyguard,” by Alexander Dinelaris (based on a screenplay by Lawrence Kasdan), playing through March 19 at Footlite Musicals, 1847 N. Alabama St., Indianapolis. Get tickets and info at Footlite.org.

Cat ‘CAT’ show is so very ‘Addams’

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By John Lyle Belden

The Cat, a nice little stage in downtown Carmel, includes in its programs the Carmel Apprentice Theatre, in which local stage veterans work with new and less-experienced performers to bring forth a wonderful experience for actors and audiences alike. Appropriately opening on Halloween weekend, CAT presents “The Addams Family: A New Musical,” by Andrew Lippa with Marshall Brickman and Rick Elice.

Based on the famous Charles Addams characters, which went from New Yorker cartoons in the 1940s and ‘50s to television and movies (and even a Hanna-Barbera “Scooby-Doo”-style cartoon in the 1970s, as we see during the pre-show entertainment), the 2010 Broadway musical showcases the family’s unconventional and gently macabre lifestyle while engaging with a wacky comedy premise: Now-adult daughter Wednesday wants to marry a young man from a “normal” Ohio family.  

First-time director Elaine Miller managed to get the best out of this cast of varied experience, including former apprentice turned stage regular JB Scoble as Gomez Addams, writer and dancer (who gets to show off her tango) Audrey Larkin as Morticia, Carmel High senior Jayda Glynn as a picture-perfect Wednesday, Ball State grad Elaine Endris as mischievous masochist brother Pugsley, crew-turned-cast member Jake Williams as charming Uncle Fester, Jeff Hamilton as feisty Grandmama, and classically-trained Evan Wang as the butler, Lurch. (Thing was played by “R.C.”, and Cousin Itt was absent, likely at a hair appointment.) The more conventional Beinecke family are played by Tim West as lovestruck Lucas, Chelsie Christian as his mom and compulsive poet Alice, and Greg Gibbs as buttoned-down dad Mal.

When one is an Addams, you’re in the family forever, so the ghostly Ancestors are on hand as well. They are portrayed by Erin Coffman, Ashley Mash, Diana Pratt, Vivian Schnelker, Mark Gasper, and the stage debut of Sarah Gasper, a natural charmer who after attending dozens of performances of “Addams Family” finally gets to live her dream.

What this show might lack in professional polish is more than made up for in the fun everyone has in bringing this story to life. Given the gusto with which the titular family treat any endeavor, any rough edges actually add to the overall experience. Scoble’s performance stands toe-to-toe (sword-to-sword?) with the likes of John Astin or Raul Julia, and Larkin is dead(ly) sexy. Everyone has standout moments, especially Christian in her “full disclosure” outburst.

While oddness is the rule in this world, one aspect of the musical that, to me, seemed distracting was Fester’s wooing of the Moon (yes, that big rock in the sky). Williams manages to pull off the illogical longing, further aided by Mash portraying the heavenly body, dancing in shimmering gray with matching mask. Miller’s choice in this, rather than using a light or glowing ball, sweetens the scene and makes it more relatable – we see the lover that Fester sees.

Performances of this spooky, “ooky,” fun and funny show run Thursdays through Sundays through Nov. 13 at The Cat, 254 Veterans Way, next to Carmel’s Main Street arts and cultural district. For information and tickets, go to thecat.biz.

CCP with ‘Fantastick’ musical

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By John Lyle Belden

It might be late April, wild weather and all, but at The Cat in downtown Carmel, it’s a special kind of September, as Carmel Community Players bids you to follow “The Fantasticks.”

Written by Tom Jones (the American songwriter, not the Welsh singer) and Harvey Schmidt, the musical is noteworthy for its world-record Off-Broadway run (1960-2002, plus later revivals, tours, etc.) as well as its charming contrast of simple staging and story with deep universal themes. It also has a hit song, “Try to Remember,” which gets under way right near the beginning.

This light-hearted fable presents The Boy, Matt (Theodore Curtis) and The Girl, Luisa (Brook-Glen Gober), who grow up neighbors, but with a wall between them. It seems Hucklebee, The Boy’s Father (Kevin Shadle), and Bellomy, The Girl’s Father (Kevin Caraher), are feuding – probably something about gardening – and forbid the youths to meet. So, naturally, they rendezvous in secret and fall in love.

All this is presented and explained by The Narrator (JB Scoble), who also appears as the suave bandit El Gallo. Making the scene complete is The Mute (Hannah Janowicz), who provides and spirits away props and curtains, and embodies the Wall when needed.

But it’s revealed to us that the fathers only pretend to feud! To complete the scenario and ensure the Happy Ending, they arrange for The Girl to be in peril so that The Boy can rescue her, and the two families can rejoice and unite. To achieve the faux abduction, the men hire El Gallo, who gets help from Henry, The Old Actor (Duane Leatherman), and his apprentice, Mortimer, The Man Who Dies (Thom Johnson). Their plan seems to execute perfectly, so everyone is happy now – right?

This was a dream job for director Rich Phipps, who saw “The Fantasticks” during its original New York run. He opts for the less-problematic “abduction” script that avoids the original’s use of the term “rape” in its literary sense to lessen discomfort and confusion. Still the style, with its commedia dell’arte influences, manages to communicate the story’s dark and serious aspects even while peppered with elements of absurdity.

Scoble is in his element as El Gallo. You can tell Kevins Shadle and Caraher are having fun with this show, as are Leatherman as the master who has forgotten more Shakespeare than you’ll ever know, and Johnson, as clever a fool as one could ask for. Curtis is a young artist showing a lot of potential, and Gober is ever charming. Janowicz displays natural mime skills, enhancing the scenes without stealing them.

A fun and entertaining musical with a moral for all ages, performances run through May 8 at The Cat, 254 Veterans Way, Carmel. Get information and tickets at CarmelPlayers.org.

Bard Fest: ‘Love’s Labour’s Lost’ a noble find

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By John Lyle Belden

Did William Shakespeare invent the sitcom?

In a wacky set-up worthy of a TV yuk-fest, or even an old Abbot and Costello romp, a group of proud manly-men determine they are so serious to improve their minds that they pledge to ignore the urges of other, more primal, body parts for three whole years. But within minutes, they are visited by beautiful women – one for each of them – and, suddenly, “What oath?! I don’t remember promising anything!”

That, loosely, is the plot of “Love’s Labour’s Lost,” one of the Bard’s early comedies, but a play he took great pains to craft, as it was performed for Queen Elizabeth herself. Thus we deal in the realms of nobility and courtly love. The master of our men is the King of Navarre (little kingdom between Spain and France) and his three nobles were named after popular figures of the era. The visiting party is led by the Princess of France, to discuss a deal for the lands of Aquitaine (a highly valued southern French region), but once she learns of the men’s allegedly binding oath, she puts up with being camped outside the Navarre court with her ladies as an opportunity to indulge in some fun. To please its sophisticated audience, the dialogue is woven with all manner of clever and complex speech – even when topics get a bit bawdy.

To further spice the plot, visiting Spanish noble Armado (not bound by a chaste oath) fancies the love of commoner Jaquenetta. This story crosses streams with the main one when simpleton Costard switches a love letter to her with one intended for a lady of the Princess’s company.

So much going on, and fortunately Bard Fest provides plenty of talent to pull it off. Aaron Jones is noble, in charge, and a little lonely as our King, tutor to Chris Bell as Longaville, Colby Rison as Dumaine, and Matt Hartzburg as Berowne, who resists taking the oath, but reluctantly signs. John Mortell is wonderfully blustery as smitten Armado, attended faithfully by page boy Mote (a sly yet exceptional performance by Justina Savage). Gorgi Parks Fulper charms as Jaquenetta. JB Scoble is scene-stealing Costard, playing the goof to the hilt. Connor Phelan is Dull – that’s the constable’s name and the man’s personality, which Phelan hilariously commits to. We also have Dan Flahive as schoolmaster Holofernes and Thom Johnson as Sir Nathanial, who organize an entertainment for the royal visitors.

Attending the Princess (Jennifer Kaufmann) are Maria (Brittany Davis), who is sweet on Longaville; Katherine (Abigail Simmon), who thinks Dumaine is kinda cute; and Rosaline (Rachel Kelso), who has her eye on Berowne. Kaufmann maintains royal bearing throughout, but with Kelso, in her exchanges with Hartzburg, we see an early version of Shakespeare’s trope of the smart-alec man verbally sparring with the clever woman, sparks of which kindle romance. Director John Johnson takes a hands-on approach by taking the role of the ladies’ escort, Lord Boyet.

In all, this is a fun entertainment full of clever wit and colorful characters, with little in the way of big lessons other than the Princess learning that the time for fun inevitably ends, and our gentlemen exchanging an oath made lightly for a more serious pledge. Being a less-familiar play, I’ll spoil this no further.

Performances are Friday through Sunday, Oct. 29-31, at The Cat Theater, 254 Veterans Way in downtown Carmel. Get info and tickets at indybardfest.com.