Jim Gryga

Solid ‘Salesman’ in Westfield

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By John Lyle Belden

Nearly everyone has heard of Arthur Miller’s “Death of a Salesman.” If for nothing more, it’s known that this Pulitzer-winning drama is regarded as one of the greatest plays in the English language, with its titular lead Willy Loman ranking with Shakespeare’s Hamlet as a role that defines a great actor. However, I confess I had not seen this play until the current production by Main Street Productions in Westfield.

Directed by Kelly Keller, this staging more than lives up to the work’s reputation. Though it takes a full three hours, its pace and substance fill every minute with meaning. To quote Miller’s script, “Attention must be paid.”

Aaron Moon plays Loman, a traveling salesman who lives in Brooklyn while working the entire New England region. More than 30 years on this circuit has affected him, yet he remains upbeat, smiling big and talking bigger as always. But now there is sadness in his eyes while he speaks triumphantly, mostly of past events – increasingly to people only he can see.

This worries his wife, Linda (Susan Hill), who is also growing frustrated with adult sons Happy (Broden Irwin), who shows no signs of settling down from his playboy lifestyle, and Biff (Connor Phelan) who, while doing all manner of jobs in several different states, has not settled into a productive career path.

The scenes blend this present and Willy’s vivid reminiscing of the past, when his sons were teens, eager to please their old man. The memories especially stick around the time that Biff played in a high school championship football game with college scouts in attendance. These moments include the boys’ schoolmate Bernard (Mike Sosnowski) and his father Charley (Jim Gryga), who remain the Lomans’ friends in the later times.

Willy also remembers his brother, Ben (Tom Smith), who “walked into the jungle, and… walked out rich.”

The cast also includes Jonathan Rogers as Stanley, the waiter at the Chop House, Erin Keller and Desiree Black as two ladies who Happy and Biff meet there, Tanner Brunson as the son of the man who first hired Willy (and is now in charge), and Kristin Hilger as “The Woman.”

This parable from the late 1940s still resonates today with our current hustle and grind culture, coupled with an uncertain job market, as well as anxieties ranging from the personal to society in general. For those who struggle, “fake it till you make it” can only go so far, especially when one can no longer tell the illusion of success from the real thing. Compounding these issues, the play also features themes of mental illness and suicide. The title is not a metaphor.

Moon delivers an award-worthy turn as Willy Loman, a mensch you feel for and fear for as we witness his frustrations, optimistic delusions, and decline. Hill is also stunning as his wife, desperate to bring some sense of stability back to a family that had always been on shifting ground. Irwin’s Happy, in living his own way, is more like his father than he thinks. Phelan is exceptional as conflicted Biff, expressing the strain between expectations that diminish him and a life of freedom that would apparently disappoint those he loves. Smith’s dignified calm speaks volumes.

Excellent set design of the Loman home is by Jay Ganz. The lighting, designed by Stephen DiCarlo and operated by Scott Hall, neatly helps emphasize shifts of time and perspective. Tanya Keller is stage manager.

Remaining performances of “Death of a Salesman” are Thursday through Sunday, Nov. 20-23, at the Basile Westfield Playhouse, 220 N. Union St. Get tickets at westfieldplayhouse.org.

‘Carol’ gets farcical in Westfield

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By John Lyle Belden

We know that a lot of the folks who read our reviews have some experience with community theatre – whether on stage, backstage, or patience-tested family member. For you, “Inspecting Carol” by Daniel Sullivan, presented by Main Street Productions in Westfield, may feel familiar.

At the Soapbox Playhouse, director Zorah (Tanya Haas) and stage manager M.J. (Jennifer Poynter) are having difficulties with rehearsals for the annual production of Dickens’ “A Christmas Carol.” Much of the cast have done it year after year, but that’s not much help, especially since their Scrooge, Larry (Scott Prill), likes to go off script. Also, Luther (Tyler Acquaviva), their Tim, isn’t so “tiny,” putting a strain on Phil (Trever Brown) as Cratchit. Dorothy (Cathie Morgan), who has various roles and a real British accent, is hobbling on a broken foot. Sidney (Brad Burns) is ready to play Marley, providing he gets the chains under control. Newcomer Walter (Malcolm Marshall), who plays the ghosts, is uneasy with being the lone “diversity” casting. At least Bart (Gregory Vander Wyden) is capable of handling both some character lines and moving the set pieces.

Then there’s Wayne (Jeff Haber), a stranger who just showed up, claiming to be a traveling actor seeking stages where he can audition. But he’s not in the union and seems oblivious to things a thespian should know.

Business manager Kevin (Jim Gryga) suspects the visitor could be an undercover inspector sent by the National Endowment for the Arts, which has suspended the company’s grant pending a review.

Directed by Kelly Keller, who has a knack for bringing out the funny, this farce reels from one silly situation to the next, likely cathartically familiar to anyone who has dealt with production mishaps, last-minute changes, dropped lines, and looming budget shortfalls. Debbie Underwood completes the cast. Elianah Atwell is assistant director, with Tanya Keller as stage manager.

Hilariously brilliant performances all around, including Haas keeping Zorah’s Lithuanian blood at a low boil, Prill with Larry’s “updated” script, Haber as well-meaning Wayne, and especially Poynter as the cat-herding jill-of-all-trades pushed to her limit. And if a bad dress rehearsal foretells a great performance, this company could have the best “Carol” ever, once they recover.

See what I mean at “Inspecting Carol,” Thursday through Sunday, Dec. 7-10, at Basile Westfield Playhouse, 220 N. Union St., Westfield. For info and tickets, see westfieldplayhouse.org.

Mud Creek springs delightful ‘Mousetrap’

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By Wendy Carson

Agatha Christie’s “The Mousetrap” is the longest running play in the world. It opened in 1952 and ran continuously in London until a 14-month absence due to COVID, but is back thrilling audiences every night once again.

The show’s staying power is the strength of its story as well as the characters involved. Christie is known for wickedly cutting dialogue, and this script does not disappoint. Mud Creek Players now gives us the opportunity to get caught up in this “trap” here in Indiana.

The story seems somewhat simple at first – the classic whodunit. In the early 1950s, Mollie (Audrey West) and her husband Giles Ralston (Nicholas Gibbs) decide to turn their newly inherited Monkswell Manor in the English countryside into a lodging house. After a foreboding story of a murder is heard on the radio, the guests begin to appear, each more quirky than the one before.

Christopher Wren (Gideon Roark) is a hyper imp who claims to be an architect (named after the original Wren, famed church designer of the Baroque era). Snooty elitist Mrs. Boyle (Jennifer Poynter) is aptly described as a “perfectly horrible woman.” Major Metcalf (Jason Roll) frequently retreats offstage, and has all that he needs in his little bag. Also arriving is Miss Casewell (Zoe O’Haillin) with her macho attitude and unplacable accent.

There is also the unexpected guest, Italian-accented Mr. Paravicini (Jim Gryga) whose car may or may not have broken down in the snow. Oh yeah, there’s also a huge blizzard trapping everyone inside the house. Finally, Detective Sergeant Trotter (Mike Sosnowski) eventually arrives on skis to question everyone about the aforementioned murder.

When the first body drops in Monkswell, paranoia ramps up as it seems that everyone had the opportunity and motive to kill. A vital clue hints that another will soon die as well.

Director Kelly Keller has taken immense pleasure and care in preparing this exquisite mixture of laughs and chills. The cast aids with steady accents and lovely performances. West and Gibbs make a nice couple, but we see them acting a little secretive at first, and is Giles being suspicious or just showing his British stiff upper lip? Roark has Wren wear his dysfunction on his sleeve – which makes him both suspect and too scattered to have pulled off an elaborate crime. Poynter (a much nicer person offstage) seems to relish being perfectly dissatisfied with absolutely everything. Roll plays the Major as someone unusually curious about everything, but with an easy smile and cheerio attitude. O’Haillin may as well have “I have secrets” tattooed on Casewell’s forehead, and while not unfriendly is frequently on edge and chainsmoking (fake stage cigarettes). Gryga has the most entertaining role, as Paravicini is definitely up to something, and is charmingly up front about how untrustworthy he is, but murder? Sosnowski gives us an engaging “let’s go over this again” style detective, constantly reminding himself – and us in the audience – of the clues.

Genuine Brit Craig Kemp supplies the voice of the radio announcer, quite the honor for those who know “Mousetrap” lore.

Another aspect of this classic is Christie’s brilliant misdirection and final twist. Not only is it satisfying to discover the first time, audiences return with this knowledge to better appreciate the acting and character development. In fact, Mud Creek is offering a $5 discount on a subsequent ticket to the show. However, once you know, longstanding tradition (and Christie’s hatred of spoilers) demands you not tell a soul.

Performances run Thursday through Sunday through May 6 at the Mud Creek Barn, 9740 E. 86th St., Indianapolis. Info and tickets at MudCreekPlayers.org.