John

BCP: Convent winery spilling secrets

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , ,

By John Lyle Belden

I suspect Catholic orders are nowhere near as fun as they are portrayed in stage comedies. Still, welcome to the Sisters of Perpetual Sewing in “Drinking Habits,” the hilarious comedy by Tom Smith on stage at Buck Creek Players, directed by Thom Turner.

Sister Augusta (Marie McNelis) and Sister Philamena (Beth Popplewell) have found that mending the garments of priests and Cardinals doesn’t bring in enough money to keep the convent open, so they let the juice from their grapes ferment and sell the wine in town – secretly, as Mother Superior (Ben Jones) is opposed to alcohol of any kind. Even mentioning it by name is forbidden.

This is far from the only secret. Just before the arrival of a new nun, Sister Mary Catherine (Megan Slocum), there is word of a secret visitor coming from the Vatican. Also, a pair of local reporters, Paul (Noah Lee) and Sally (Lauren Lotzow), are snooping around. Parish priest Father Chenille (Caleb Slocum) gets caught up in the paranoia, and gets the young groundskeeper George (Will Wortman) involved in some subterfuge.

All this makes for non-stop farcical slamming-doors slapstick fun, complete with all manner of clerical disguises.

Jones is divine (easy to accept as Mother since drag queens naturally command attention) and never cracks no matter how wacky things get. McNelis and especially Popplewell are fantastically frantic. Lee handles his ever-shifting role with comic aplomb. Lotzow, as well as her character, has fun with Sally’s steady focus on getting the scoop. Megan Slocum keeps Mary Catherine a mix of nervous and serene which makes her endearing. Caleb Slocum plays the priest as overwhelmed but still good-natured. Wortman keeps George sweet and simple without being dumb, just rolling with events as they happen.

The stage set, designed by Susanne Bush, includes a cutaway view of the Holy Closet, enhancing many comic moments.

For a good time, complete with creative euphemisms for alcohol (Satan’s Mouthwash, anyone?), “Drinking Habits” has just three more performances, Friday through Sunday, Feb. 13-15, at the Buck Creek Playhouse, 11150 Southeastern Ave., Indianapolis (Acton Road exit of I-74). Tickets at buckcreekplayers.com.

Lessons impact more than students in ALT drama

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

Home Economics education was a normal part of growing up female in America for most of the 20th century. Colleges took it a step further with degree programs and entire departments so that ambitious ladies could get socially acceptable careers in fields like foods and nutrition or education, or to just become more knowledgeable housewives.

In “Borrowed Babies,” the drama by Jennifer Blackmer presented by American Lives Theatre, an enterprising professor at an Indiana college creates an innovation within that system.

In 1952, Judy London (Jen Johansen) starts her “Home Management House” where four senior Home Ec majors will reside while taking on practical projects in aspects such as cooking and sewing. For them to better understand infant care, Mrs. London has arranged for an actual one-month-old from the local Children’s Home, who will live with them throughout the semester.

In 1982, the program has been inactive for over a decade and the House, where Mrs. London still has her office, is about to be demolished by the University to make way for new construction. Assisted by distracted student Shelly (Rachel Ivie), they are packing up accumulated paperwork and records when a 30-year-old woman (Lauren Briggeman) arrives, insisting on speaking with the professor. Wendy, they discover, has been here before.

On a singular stage set, designed by Nick Kilgore, we witness both eras. Bridget Haight’s direction, lighting design by Paully Crumpacker, and the skill of the cast – especially Johansen – make the story’s constant flow between these periods natural and easy to follow.

In the ‘50s, we get to know the four students: Vera (Hannah Luciani) is an honor student, eager to please. Louise (Carmia Imani) is ambitious, her eye on both a career and a certain young man, though she is regarded as the group’s worst cook. Betty (Dorian Underwood) is bright and upbeat with dreams of making it in the New York art scene. Bernie (Sarah Powell), daughter of a former “Rosie the Riveter” and an overbearing father, enjoys fixing things – however, she resists helping to care for the baby, as she doesn’t plan to have one of her own.

Julie Dixon plays Mrs. Rose McGuinness, a social worker with the Children’s Home.

Blackmer, a Professor of Theatre at Ball State University in Muncie, based this play on a past program of “practice houses” there. Having this grounded in a real mid-century experiment, done with the best intentions but a more ends-justify-means standard of ethics typical at the time, makes this drama even more fascinating. It also gives a glimpse into the lives of women college students who must reconcile unlimited potential with limited opportunities.

In addition, this production gives us the pleasure of seeing two of Indy’s best actors, Johansen and Briggeman, go toe-to-toe in a battle of wills. Those playing students also get moments to shine, especially Powell in her deeply conflicted role.

Class is in session, with lessons that ask hard but important questions. “Borrowed Babies” runs through Feb. 22 at the Phoenix Theatre Cultural Centre, 705 N. Illinois St. in downtown Indianapolis. For tickets, go to phoenixtheatre.org.

Chekhov’s fun: Epilogue presents Durang hit

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

Celebrated American playwright Christopher Durang, notable for his comedies, gave us in 2012 an instant classic – “Vanya and Sonia and Masha and Spike” – inspired by the legacy of Anton Chekhov, a Russian writer at the turn of the 20th century known for more serious fare. The play is a mashup of styles, loaded with wit and belly-laughs while delivered in a mode in which everything seems fraught with meaning.

The foursome, plus two, take the stage at Epilogue Players in downtown Indy, directed by Michael and Marie Beason.

On a warm April day in Bucks County, Pa., 50-something siblings Vanya (David Johnson) and Sonia (Alyce Penry) sit with coffee and look out the windows to see if the blue heron is at the pond. They and their sister Masha (Christine Kruze) – a popular film actor – were raised by literature professors, hence their Chekhovian names. Cleaning lady Cassandra (Susan Hill) seems to live out her own legendary name, frequently declaring prophesies. “Beware of Hootie Pie!”

Masha arrives with her current lover, Spike (Logan Laflin), a hot young aspiring actor. He goes out to the pond for a swim (so much for that heron) and returns with Nina (Emily Reese Castro) a young woman from the neighboring farm who is also an adoring fan of Masha (and an aspiring actress, of course).

All six will attend a local costume ball, with their outfits arranged by Masha (or rather her assistant, Hootie Pie). As the setting doesn’t change, we mainly see the consequences the following day. There is also a reading of an unusual play that Vanya has been working on, held at the insistence of Nina – now affectionately calling him Uncle Vanya – who reads as the main character.

Chekhovian delivery actually enhances the play’s comic potential, coupled with absurdities like Cassandra’s voodoo antics, contrasting with Spike being the type of guy who thinks Chekhov only has something to do with Star Trek. Will a gun go off? One of the siblings certainly will, verbally. After all, the fate of the farmhouse and its cherry (sort of) orchard is at stake.

Hill is a hoot as the wacky prophetess pressed into making lunch. Penry is a delight as the overlooked sibling, even in her sad-sack moments (“I haven’t lived,” she moans), which makes it all the more charming when things go her way. Johnson exudes easy calm as Vanya, the peacemaker of the family, at least up to a point.

Kruze portrays Masha’s vanity as her shield against uncertainty and regret. Laflin handsomely embodies a dude who has everything except maturity. On the other hand, Castro plays Nina as an energetic youth with an old soul.

The at-home feeling set is designed by Andy and Mel Burnett, decorated by Susanne Bush. Lola Brewster is stage manager.

It’s not every show where we laugh until we hurt at people who are crying. But it’s this kind of juxtaposition that makes “Vanya and Sonia and Masha and Spike” fascinating company. Performances are Thursday through Sunday, Feb. 12-15, at 1849 N. Alabama St. (corner of 19th and Alabama), Indianapolis. Get tickets at epilogueplayers.com.

‘Almost’ feels just right

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

In troubling times, it is good to take a moment to relax, have a smile or even a laugh, and just look at the Northern Lights.

Welcome to “Almost, Maine,” that quirky township on the edge of the map now reachable through Main Street Productions of Westfield. It seems like every community theatre makes a stop there eventually, and with good reason: In this John Cariani comedy, the series of gentle, funny scenes of love lost and found are refreshing, life-affirming and very entertaining.

For a true community effort, director Kathy Watson selected a full cast for the various characters, with only a couple of actors doubling roles.

Offstage spouses Justin and Anna Spack play a couple who explore just how “close” they can get. Scott Hall is a man who “fixes things” when a camper (Karen Cones) sets up in his yard, and later is a frustrated husband whose wife (Lea Ellingwood) is seeking a shoe – and a sign. It’s “Drink Free If You’re Sad” night at The Moose Paddy, with Aaron Beal, Piper Williams, and Ryley Trottier as the friendly waitress. Beal also spends time with his best bud (Quinn Simonson) comparing “baddest date” stories. Hannah Partridge is an almost-nurse encountering a man (Austin Uebelhor) who almost has that rare condition in which one’s nerves don’t register pain. Amber Roth and Grant Bowen portray a couple who gave so much love to each other – where do you put it all? Jan Borcherding plays Hope, a woman who moved away to find her place in the world, returning to a familiar house with an unfamiliar face (Thom Johnson). Finally, Rosemary Meagher and Mike Sosnowski struggle to see what is right before them, wary of what comes next, or even next-next.

Jeezum-crow! That is a lot going on for such a small (almost) town.

Watson brings out the charming best in a troupe of varying stage experience. Considering the playhouse is in what used to be a small town, the atmosphere is almost perfect. Stage sets and those colorful lights are designed by Kristina Lawyer and producer Bill Miller, whose many jobs included assisting Watson and designing the projected captions over the stage. Jeremy Crouch is stage manager.

Theatrical comfort food to warm a cold month, “Almost, Maine” is open to visitors through Sunday, Feb. 15 (including Valentine’s Day!) at the Westfield Basile Playhouse, 220 N. Union St. Note that there is still ongoing downtown construction, but the way to the theater is clear. Get info and tickets at westfieldplayhouse.org.

IRT: Seeking kin and kinship in Wilson’s ‘Joe Turner’

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

“Joe Turner’s Come and Gone” is a blues song with a terrible history. It is also the title of an August Wilson drama now on stage at the Indiana Repertory Theatre.

This is part of Wilson’s famous “American Century Cycle” of ten plays reflecting the African-American experience – nearly all set in Pittsburgh – each in a different decade of the 20th Century. Director Timothy Douglas is particularly qualified to bring “Joe Turner” to life in Indy, having worked with Wilson decades ago at Yale Repertory Theatre, as well as directing nearly all the cycle over the years, including “Jitney” and “Gem of the Ocean” at IRT.

It is 1911 in the boarding house of Seth Holly (Keith Randolph) and his wife Bertha (Stephanie Berry). Black, yet free their entire lives, they rent rooms to many who come up from the South seeking opportunity and some sort of genuine freedom. Emancipation was at least 46 years earlier, so we mainly meet members of its first generation, dealing with a world failing to keep its hard-won promises to them.

Bynum (DeShawn Harold Mitchell) carries the once-hidden tradition of the “root-man” with his herbal remedies and charms, as well as the power of “binding” through the song he received during an encounter with The Shiny Man. Though Seth is proudly pragmatic, he maintains a surprisingly high tolerance for Bynum’s “heebee-jeebee.”

Jeremy (Jacques Jean-Mary) is a young man with more confidence than sense. A day laborer on highway construction, he’s proficient at the guitar and at flirting with women. He works his charms on young, beautiful Mattie (Kaitlyn Boyer), who initially sought Bynum’s help with her broken heart.

The mysterious and constantly agitated Herald Loomis (Shane Taylor) arrives with young daughter Zonia (Kerah Lily Jackson). With an aggressively desperate attitude, he seeks his wife and Zonia’s mother. Despite his concerns, Seth rents them a room but keeps to himself that the women Harold seeks may be past resident Martha Pentecost (Lilian A. Oben).

Discreet and ladylike Molly (Dane Figueroa Edidi) also takes a room for a while.

Seth makes extra money with his skill at making pots, pans, and other objects from sheet metal. His main customer is the peddler Rutherford Selig (Peter Bisgaier), a White man with a reputation as a “people finder.” Selig’s grandfather and father hunted slaves, but he keeps a good rapport with the Black community, helping those scattered by the post-war diaspora to find one another.

While playing outside, Zonia meets and spends time innocently with neighbor boy Reuben (Christian Makai Lucas).

Revealing the genius of Wilson, the skill of Douglas, and the talent of the cast, while there is not much action, there is a whole lot going on. Smith is mostly bluster with just enough edge as Seth. It should be noted that true to his time, Mr. Holly does use the “N” word quite a bit. It shows a delineation in his mind between Blacks like himself with at least a small amount of property and standing, and the poor and often uneducated individuals he notices in increasing numbers. Still, he is reasonable and in this house his word is law, with subtle deference to his wife.

With maternal wisdom and delicious biscuits, Berry as Bertha manages to keep a civil and even cheerful atmosphere even as a palpable tension grows among the house’s residents. We witness in Boyer’s portrayal of Mattie a steady emergence from naiveté. Jean-Mary gives us a somewhat likeable Jeremy, who seems to insist on growing up the hard way. With Bynum, Mitchell gives what could be seen as an un-serious character (analogous to a hippie in later decades) surprising depth and gravitas. He is a keeper of ancient wisdom that somehow survived the slavery era.

Taylor makes the most of a role that tends to get award nominations. He wears his struggles like Herald Loomis’s ever-present heavy coat and black hat. Eventually, we will come to find the source of the man’s pain, wrapped in the chains of a certain tragic song.

Jackson and Lucas are impressive as well – especially in handling a down-front and center scene that includes a monologue for Reuben. (Alternate young actors are Amor Coleman and Joshua Klaman.)

Also notable is the excellent stage design by Tony Cisek, open and dynamic yet giving the impression of these people’s place in the unadorned foundational structure of the Steel City.  

A perfect outing for Black History Month, “Joe Turner’s Come and Gone” runs through Feb. 22 at the IRT, 140 W. Washington St. in the heart of downtown Indianapolis. Get info and tickets at irtlive.com.

Music inspires theatrical festival at the District

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

Indianapolis Black Theatre Company presents soulful musical inspiration with the 2026 Indy Black Solo Fest, under way (Jan. 29-Feb. 1) as I write and post this, at the District Theater on Indy’s Mass Ave.

There are six one-hour acts, each written and performed by one person backed by offstage musicians, each with two shows. We saw two on Thursday – the rest we will see on Sunday – so for now, we’ll give a review to give worthy praise and give the flavor of the overall festival.

“Marvin 4 Error” by Reno Moore

Looking into the life and music of the legendary Marvin Gaye Jr., Moore found parallels in his own journey. While not enjoying the same success (yet), he sees similar missteps and notes “the margin for error is too thin.”

His spoken biography of Gaye mixed with confessional memoir is punctuated by some of Marvin’s biggest hits. He admits he doesn’t sing the same (“I don’t think Marvin would want me to”) but does so with passion, conviction, and an invitation for us to clap and sing along. Thus we are entertained, enlightened, and a bit challenged. Reflecting on the song “If This World Were Mine,” he asks: What world would we create?

Note his second performance is 4:15 p.m. today (Jan. 31) as this posts.

“Daring to Dream” by Komoca

Komoca – and Charlaine, the star she portrays – take inspiration from Aretha Franklin. Set around the 1980s, when people wrote actual letters, Charlaine reads fan mail from a girl with big aspirations (and a thick Carolina accent), prompting her to remember her own struggle, and how listening to the music of the Queen of Soul helped her to “find hidden blessings in the storms.”

The engaging reminiscence comes with a half-dozen of Franklin’s hits, delivered with a powerhouse voice that reaches out and grabs you, demanding to be heard. Komoka likely also rocked the house in her second performance Friday night. Watch for her in future productions around the Midwest.

Saturday, Jan. 31, and Sunday, Feb. 1, performances are of:

  • “Black Thread: Songs That Nina Taught Me” by PsyWrn Simone
  • “Songs in the Key of Grenadine!” by Daren J. Fleming as Miss Grenadine Ross
  • “Death of a Church Boy” by Jay Fuqua
  • “Facing It Face to Face with Dollface” by Teresa Reynolds

Big thanks to creative director Josiah Ray McCruiston for coordinating this excellent festival. Kudos also to music director Tarrance Dennie, stage manager Crystal Usher, and to local playwright Andrew Black for his instruction and assistance.

Get tickets at indydistricttheatre.org.

Situation of sensitivities tests couple in TOTC premiere

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , ,

By John Lyle Belden

How do you strive to do better in a rude and judgmental world without falling into snap judgements, and even, ironically, coming off rude? This conundrum comes with a dose of deeper issues in the dark comedy, “St. Sebastian.”

This Indianapolis premiere is the first full production by That Other Theatre Company, directed by company founder Jay Hemphill. The play by nationally known locally-based playwright Andrew Kramer grapples with bittersweet humor a collision of left-of-center issues including gentrification, race, and LGBTQ, as well as personal trust and faith.

Gay couple Ben (Eric Olson) and Gideon (Joe Wagner) have moved into a house with plans to fix it up and “flip” it. Ben, a former priest who works full-time on the renovation, feels glad to have gotten this foreclosure for a low price at auction. However, Gideon, a younger man who works as a DEI sensitivity trainer, discovers to his dismay that their home is in Robbins, Ill., one of the most notable historically Black towns in America. And Ben and Gideon are white.

Ben encounters a local youth, Rueben (Jy’Ierre Jones), checking out his new neighbors. Finding no ill will either way, Ben soon pays Rueben to do some yard work and odd jobs. Gideon’s extreme reactions reflect current sensibilities while betraying feelings he is reluctant to acknowledge.

The narrative plays out in a series of fairly short scenes, giving snapshots of the plot’s progression. Some elements are given without resolution, such as the padlock on the closet, and the broken window. Does the neighborhood dog (unseen) signify something, or is he just a friendly stray? Perhaps these are reminders that in real life, not everything we encounter has some higher meaning.

Much of the focus is on the love between Ben and Gideon, with honest passion and tested like that of any couple (gay, straight or otherwise). Learning the origin of their relationship could make you uncomfortable, yet Olson and Wagner make their feelings genuine. Their individual perspectives surprise them, with bitter disagreement over what were common goals. Wagner makes Gideon’s overthinking nature a source of both humor and tension.

Jones gives us an interesting, complex character. He is a teen who likes to paint action figures, a neighbor whose presence hints at a past connection to this house. He is curious and a bit insightful, but still a kid.

The title refers to an early Catholic saint, usually pictured as a young man tied to a tree and pierced with arrows, having the honor (or misfortune) to be martyred twice. Noting St. Sebastian’s more recent embrace by the LGBTQ community, Gideon keeps a small statue as a prized possession.

While you may not learn “How Not to Be a Gentrifier,” you might glean an insight into human nature under modern pressures. A show that’s sure to spark some conversations, “St. Sebastian” runs through Feb. 8 on the Basile main stage of the IF Theatre, 719 E. St. Clair St., Indianapolis. Get tickets at indyfringe.org.

More than a ‘Bit’ funny

PWJW_Indy Advance, Reviews, Stage , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

Wendy and I finally saw the little comedy variety show that Betty Rage Productions, produced by Callie Burk-Hartz, has put on from time to time for a while now: “Lady Bits.”

Innuendo in the title aside, the focus is on “bits” as in comedy scenes, sketches, improv, songs, stand-up – whatever gets you laughing. Hopefully, shows like this can put to rest the absurd old myth that women aren’t funny, especially with the many highly talented female performers just in central Indiana.

Burk-Hartz said she has around 40 women she has featured in various Lady Bits shows. For the January lineup, she had a dozen, including first appearances by Emily Wray, Katherine Young, and Alex Stark. Paige Scott accompanied on piano.

Each show is different. This one featured a fair amount of improv (some under the leadership of Meg McClane), stand-up sets by “Auntie” Shannon Samson and Gwen Sunkel, and a sharp and funny satire of an eager youth minister performed by Kelsey Van Voorst. To help set up an improv musical, Frankie Bolda told about her “first time” – driving her father’s Jeep.  

Callie has something as good or even better planned for the next Lady Bits in March. With the amount of gathered talent, their eager collaboration and sense of sisterhood, you can count on a fun and wildly entertaining evening at any of these shows.

Lady Bits performances are at the IF Theatre, 719 E. St. Clair, just off Mass Ave. in downtown Indianapolis (tickets at indyfringe.org). Betty Rage has a variety of productions in the works, including Noel Coward’s “Blithe Spirit,” March 5-8 at the Indianapolis Scottish Rite, and an upcoming “Femme Fest” of short plays at the IF. Get info at bettyrageproductions.com.

Asaykwee and friends present the story behind the Carol

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

When you think about it, there is only one ghost featured in Charles Dickens’s “A Christmas Carol.” That would be the tortured soul of Jacob Marley; other beings present as “spirits” not of a particular person but a vague experience – Christmas Past, Present, and Future, as well as the consequences of poverty.

Local creative Ben Asaykwee apparently did think about it and expanded on these concepts to create a new holiday musical, “Wonders,” which has its world premiere at The District Theater in downtown Indy.

To bring his ideas to life, he once again casts his December show in “Q-munity” style, finding a place in cast or chorus for all 46 new and veteran actors who applied, including about a dozen children. Under Asaykwee’s direction, they harmonize into a large stage family, welcoming us into the story they tell.

A couple of other things to note:

* It is essential you have some familiarity with the original Dickens story, as this is a sort of companion piece to that narrative, presenting the perspective of the ethereal beings who undertake the mission of redeeming Mr. Ebenezer Scrooge. In this story, the quest is necessary not only for his wellbeing, but also for mankind’s.

* As for the old miser, Scrooge himself makes only one brief, uncredited appearance. To set things in motion for a very eventful Christmas Eve, we meet various supporting characters from the book, including Fezziwig (Bastian Ciucci Russell or Calvin Meschi); Bob and Mary Cratchit (Noah Lee and Elizabeth Gee), Scrooge’s sister (Lillie Oblon) and his former sweetheart (Michelle Wofford); and, stranded in “The Pale,” the shade of Marley (Kevin Caraher).

* This may be Asaykwee’s most ambitious high-concept work that we have seen. Set largely in the realm of the spirits of humanity – a place they for their own reasons call the Basket – we are outside of conventional earthly dimensions and “time appears differently here.” Though the production has the feel of experimental theatre, once we get a handle on the concepts in the opening scenes it all mostly works, and it helps that to the audience, the spirits are very friendly guides – even ones we associate with more negative aspects of life.

Within this Basket we find a pantheon of spirits that include Truth (Asaykwee), Hope (Sarah Zimmerman), Joy (Noah Winston), Pleasure (Tiffanie Holifield), Honor (Maria Meschi), Ambition (Jaddy Ciucci), Curiosity (Shelbi Berry Kamohara), Fear (Matt Anderson), Memory (Hannah Elizabeth Boswell), Avarice (Kallen Ruston), Creativity (Zach Himes), and Innocence (Megan Arrington), who does much of the narration. They maintain the balance of light and darkness for mortals they refer to as “Turtles,” seeing humans as slow and simple.

In this mythos, these entities consider themselves strands in a “braid” that binds human order. However, two aspects – Apathy and Despair – became lost and formed The Knot, a state of pervasive darkness. The others carry wonder as a tangible energy supply helping keep it at bay; still, The Knot is strengthening. Yet down in Dickensian London, a man with the most dark of souls could help turn the tide if he is made, somehow, to see the light. To get results, the mission must focus on the most optimistic day of the year – Christmas.

This complex production manages a sort of holiday miracle in that the strands of plot around the events and characters of “Carol,” interlaced with the immortals’ own struggles, stay cohesive and easy to follow. Asaykwee infuses it all – script and original songs – with his entertaining style, a sort of fun yet daring and mischievous sense of humor reminiscent of legends like Danny Kaye or Gene Wilder. Aside from Dickens, we can see stylistic influences of “Inside Out,” “Neverending Story,” and practically any movie where an angelic being tries to directly influence mortals (“…Wonderful Life”? “Xanadu”?).

Boswell assists with direction, and Ruston is assisted as stage manager by Sofie Frank. The wonderfully colorful and eclectic costumes for the pantheon are a group effort by the cast along with Kristin Boyd, Allison Jones, Kat Robinson, Traci Snider, Asha Patel, Robyn Lamey, and Ben Lamey.

The mortal “Turtles” are distinguished by simple black outfits, yet shine in their own way. Aside from Caraher, Lee, Gee, and Wafford, they are portrayed by Emerson Black, Ava Button, Carrie Cooper, Jenson Dasbach, Jessica Dickenson, Trèvon D. Foote, Carl Gallagher, Beth Gibson, Spencer Hahn, Lillian Hall, Zara Heck, Mandy Holzhausen, Anna Lee, Ethan Lee, Ashley Marshall, and Morgan Patrick-Roof. Filling in as Cratchit kids, urchins, and small but potent Spirits are Bastian Ciucci Russell, Cosette Clemens, Patrick Clemens, Lyra Dickson, Elsie Huldeen, Amaryllis Lebow, Xylah-Rose Lebow, Zinnia Joy Lebow, Sam Lee, Calvin Meschi, Aaliyah Oblon, Lillie Oblon, and Amelie Pellerin.

Performances are sharp throughout the cast, and roles such as Hope, Curiosity, Innocence, Memory, Joy, Pleasure, and Fear really show off the depth of the players’ talents.

But what of Past, Present, and Yet-to-Come? Join the journey by “candle-shine” and watch to see how they are revealed. Performances of “Wonders” run through Dec. 21 at The District Theatre, 627 Massachusetts Ave., Indianapolis. Get tickets at IndyDistrictTheatre.org or call 317-522-8099.

Phoenix in its Xmas era

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , ,

By John Lyle Belden

That Holiday Tradition that’s an alternative to Nutcrackers or Tiny Tim or other Christmassy cliches – except perhaps to mock them – has returned to the Phoenix Theatre Cultural Centre.

“A Very Phoenix Xmas XVII: Sleigh, Queen, Sleigh!” takes the stage with its various funny and nicely naughty short plays. This time these all-original skits all have common creators – written by director Zack Neiditch with songs by Paige Scott. They are brought to life by Suraj Choudhary, Samantha Lewis, Craig Underwood, Cara Wilson, and Christine Zavakos, who also each give a disturbingly charming (or charmingly disturbing) “Christmas memory” in videos by Zach Rosing.

The various pieces are presented in historical order from past to present, starting with a breaking TV news report from Roman Palestine. A more historically accurate approach is taken in a hilarious look at Christmas in Renaissance-era England. As for the Victorian era, Marley’s still dead. In the 20th century, things really get strange. With more recent decades, be sure to “like and subscribe.”

Note this isn’t all-ages. Mature content includes f-bombs and middle fingers, but no outright blasphemy. Think of it as SNL with HBO standards.

The ensemble work very well together, with most of them interacting in nearly every scene. Neiditch’s knack for comedy and Scott’s for a catchy tune give them plenty to work with.

If this kind of humor fits your stocking, you’ll find it very entertaining with familiar themes taken on like nobody else.  

“A Very Phoenix Xmas” runs through Dec. 21 at 705 N. Illinois St., downtown Indianapolis. Get info and tickets at phoenixtheatre.org.