For productions of a certain feline-themed musical, actors often engage in “cat school” to convincingly move, speak – act – like Felis catus. So, even Broadway’s elite understand that no matter how much we anthropomorphize our housepets, they still have a unique, fascinating way of engaging with the world, and us.
This is key to the charm of “Herding Cats,” a new comedy by Neil Martin presented in its world premiere by Theatre Unchained, directed by Megan Ann Jacobs. Jacobs also provides costumes, while set designer Kurt Watkins provides appropriately-sized cat toys and furniture, but it is the talented cast who bring this domestic menagerie to life.
Stella (Angela Dill) is a brown and white Domestic Shorthair, energetic but “girly.” She has mastered the booty-shake pounce, and Dill’s feline vocalizations are uncanny.
Her fluffy white brother, Buddha (Julien Lyons), is highly intelligent and posh as only a proper cat can be. His manner, like a cat-version of the Brain combined with Liberace (if he fancied hot female Persians), helps us accept that our companion animals understand far more of our world than we realize. Lyons sells it with ease.
Lupin (Aspen Harnishfeger) is a male orange/black tiger-striped “street cat” who is quite content with the indoor life, fairly smart but prone to malaprops. Harnishfeger plays it smoothly with alley-cat savior fare.
The cats live in a Los Angeles-area apartment with their stressed-out human, Kelly (Jenny Williams), who works in show business. Bad news: Kelly is having serious issues with a toxic coworker. Good news: She plans to foster an additional rescue cat. Worrisome news: The new housemate is actually a dog!
Enter the adorabe, friendly pitbull terrier Charlize (Hannah Hoffman). In contrast to the close-to-the-fur attitude of cat portrayals, Hoffman is wide-eyed and engaging, embracing her inner puppy. True to her species, she feels big feelings, and snaps instantly from snarls to apology, or worry to unbound optimism.
Though Charlize is good with cats, and Buddha and Lupin give her a chance, Stella will have none of this – she has a history with canines, which ties into treasured memories of their deceased patriarch Benjy.
Cat-dog drama and Stella’s waning appetite spur Kelly into action to help them, but soon the pets realize that she needs their help more. Do they dare engage – “the nuclear option”?!
This show is fun and funny throughout. Once you’ve gotten into their eccentric world of the first act, you can fully accept the utter weirdness that unfolds in the second, inspired by their master’s teenage crush. You’ve accepted the talking cats and dog – just go with it. It all pays off in a most charming and heartwarming manner.
Come out and see (wo)man’s best friends save the day. “Herding Cats” has performances Thursday through Saturday, March 28-30, at the IndyFringe Theatre, 719 E. St. Clair St., Indianapolis. Get info and tickets at indyfringe.org or theatreunchained.org.
Sometimes, it’s nice to have the entertainment equivalent of comfort food.
Booth Tarkington Civic Theatre presents “Driving Miss Daisy,” the Pulitzer-winning play by Alfred Uhry, directed by Civic executive artistic director Michael J. Lasley. It’s a familiar story, thanks to both it being a heartwarming hit that’s easy to stage with three actors, and its adaptation into an Oscar-winning movie.
It also has the familiar feeling from being based on Uhry’s own relatives and including events that occurred in Atlanta in the 1950s and 1960s. The plot’s not complicated: Seventy-two year old Daisy (Ellen Kingston) has crashed her new automobile, and her son Boolie (David Wood) insists she no longer be allowed to drive. She stubbornly refuses to hire a driver, so he does – Hoke (Antoine Demmings), a middle-aged man of varied driving experience. What follows is the growing friendship between the old Jewish woman set in her ways and her Black driver with unflagging good nature and saintlike patience.
What makes this worth your ticket are the performances. Wood keeps Boolie genuine in his love for his mother and respect for Hoke, and his voice maintains a nice Georgia lilt that enhances his moments on the stage. Kingston embodies Daisy with persistent toughness that never goes bitter, like a beloved grandma.
As for Demmings, his Hoke presents the big smile and easy manner that keeps him in good stead with White folks of that place and time, yet it’s genuine pleasure, not a stereotypical “Uncle” put-on. Still, he is his own capable man, and quick to gently say so if he feels it necessary.
The story flows easily, thanks in part to the scenic and lighting designs of Ryan Koharchik. Jay Hemphill is assistant director, and Nicole Cooper is stage manager.
The ride is not always smooth, but the journey is sentimental, with an interesting view. Come along at the Studio Theater at the Center for the Performing Arts in downtown Carmel, through March 30. Get info and tickets at civictheatre.org or thecenterpresents.org.
Inspired by television shows and networks devoted to the culinary arts, many of us would love the opportunity for a unique dining experience. It could be said to be careful what you ask for, but for a pair of “Blackademics,” one doesn’t start to understand the nature of what they have gotten into until after that first tiny bite.
Ann (AshLee Baskin), professor at the local liberal arts University, is grateful for a nearly-impossible reservation to this unique café. She wants to celebrate her gaining tenure with her friend Rachelle (Chandra Lynch) who also teaches African-American literature, but at the State college. Curiously, the room is bare. Their server, Georgia (Caroline Sanchez), tells them they are the only guests, and the courses will come soon – but first, a single morsel from a “medley of seeds.”
It takes some time for even a single table to arrive. As the evening progresses, it turns out that Ann and Rachelle must compete for literally everything – a chair, a small plate of food, a utensil – in contests that relate to their careers, academic savvy, and cultural awareness.
“Blackademics,” a dark comedy by Idris Goodwin presented by Fonseca Theatre Company, directed by Ansley Valentine, draws us into an absurdist work – echoes of Samuel Beckett with a dash of “Get Out,” flavored with today’s civil rights struggles. While great progress was made over the last century, many frustrating details remain unresolved, including the disparity in numbers, especially of Black Women, in policy positions of universities.
Questions, such as if Ann can actually affect change from her tenured position, or how Rachelle deals with being “not ethnic enough” for the current academic trends, get a gourmet reduction to a mélange of metaphor. Will defending Black History Month literally get you a place at the table? The competition doesn’t end until the meal is over; who will be worthy of the main course?
Sanchez is delightful with just a touch of sinister as our witty waitress, keeping the audience and our two ladies guessing until her nature finally gets the best of her. Baskin and Lynch ably embody the stress of doing what they see as both labor and calling. Even their assumed sisterhood is challenged – are they only friends because they’re Black?
The Twilight-Zonish goings-on help make the big issues easier to chew, and after this intense 80-minute play, you can discuss the topics later, maybe over dinner.
Make your reservation for “Blackademics,” Thursdays and Fridays at 7 p.m., 4 p.m. Saturdays, and 2 p.m. Sundays, through March 31 at 2508 W. Michigan St., Indianapolis. Info and tickets at FonsecaTheatre.org.
Welcome to Grand Horizons Independent Living Community, conveniently located about an hour’s drive from Philadelphia, Pa., or Washington, D.C. In nice apartments with neighbors close at hand a retired couple like Bill and Nancy French, married 50 years, are free to do whatever they want.
Nancy: “I want a divorce.”
Bill: “Okay”
Welcome to “Grand Horizons,” the Broadway comic drama by Bess Wohl presented in its Indiana premiere by The Hyperion Players, directed by Nicole Amsler.
Bill (Chris Otterman) and Nancy (Wendy Brown) prepare for their split as if it were just another household chore, but their sons and daughter-in-law are, to put it mildly, freaking out. Brian (Matt Hartzburg), a high school theatre teacher, is beside himself, wondering if there’s some mystery illness or dementia at play. Older brother Ben (Todd Isaac), a lawyer, is stumped at the illogic of it all, while his very pregnant wife Jess (Morgan Marie French), a couples counselor, tries to employ her skillset to no avail.
There are some deep issues here, including the central couple’s affections outside their marriage – Nancy for now-deceased old flame, Hal, and Bill for new girlfriend, Carla (Cathie Morgan). There is exploration of the nature and meaning of love: Did the Frenches lose it, or ever really have it? And how has it affected their sons, who are each hopeless people-pleasers – Ben with his checkbook, and Brian with his desire to cast every kid in his class whether the roles exist or not.
Brian’s loneliness and confusion comes through in a scene where he brings home a potential one-night stand, Tommy (Austin Uebelhor), who quickly alerts him that neediness is not a turn-on.
As for Ben, he is coming to grips with the actual dysfunction in his upbringing, suddenly afraid of what it could mean as he starts a family of his own. This stress also pushes Jess to the limit.
This examination of relationships and how we feel and communicate blends moments of heartfelt memory and longing with hilarious family-sitcom punchlines. Since older-person roles are usually supporting, it was nice to see Brown and Otterman really shine as the leads. Hartzburg and Isaac portray well two men who haven’t quite emerged from their boyhood insecurities, while Morgan French shows the spark of motherhood that comes with being on the verge of bringing another life into the world, while wondering if she is the only true grownup in the room.
Caroline Frawley assistant directs, and Elianah Atwell is stage manager.
Learn how marriage is like a boa constrictor, that “the defining feature of being an adult is not doing what you want,” and to be careful with the U-Haul. Remaining performances of “Grand Horizons” are Friday through Sunday, March 22-24, at Arts For Lawrence’s Theater at the Fort, 8920 Otis Ave. Get info and tickets at hyperionplayers.com or artsforlawrence.org.
Decades after its local premiere at the old Phoenix Theatre, August Wilson’s “Ma Rainey’s Black Bottom” returns on the Phoenix Theatre Cultural Center main stage, presented by Naptown African American Theatre Collective, directed by Edan Evans.
The one play of Wilson’s “Century Cycle” not taking place in Pittsburgh, the setting is a Chicago recording studio in 1927, where the “Mother of the Blues” is set to record some hits before heading back South. Note that while the events are the playwright’s conjecture, inspired by an old recording, Gertrude “Ma” Rainey (1886-1939) was very real and larger than life.
First to arrive to check the set-up are the studio manager Sturtevant (Patrick Vaughn) and Rainey’s manager Irvin (Scot Greenwell). Soon the musicians arrive: pianist Toledo (Bryan Ball), Cutler (Ben Rose) with his trombone, Slow Drag (John Singleton) with his stand-up bass, and young trumpet player Levee (Xavier Jones), who has ambitions of starting his own band eventually. While they wait for Ma, we get to know them as they rehearse. They’re no-nonsense and used to doing it “Ma’s way,” except for Levee, who even has his own arrangement of the title song.
Finally, Rainey (Alicia Sims) does arrive, accompanied by her nervous nephew Sylvester (Jy’ierre Jones), companion Dussie Mae (Selena Jackson), and a policeman (Doug Powers) whom Irvin has to pacify to ensure the recording session continues. Little else will go smoothly this day, while it is made plain that while this is Sturtevant’s studio, Ma Rainey is in charge.
Much of this play focuses on the men in the band, which was wise of Wilson as keeping such a force of nature as Ma at center stage throughout would have essentially made this a one-woman show. If there is a fiercer adjective than “fierce,” that’s what describes Sims’s performance. By this point a veteran performer and recording artist, Ma knows her worth, is hair-trigger aware of disrespect (especially by white folks), and thus absolutely no one to trifle with. Her sense of Roaring Twenties sexual liberation is unabashed, from her fondling of Dussie Mae to turning the Black Bottom (a dance that at the time rivaled the Charleston in popularity) into a double entendre.
Those playing the band smoothly embody individual quirks. Ball has Toledo wax philosophical in a conversational manner that still gives him the last word. Rose, in his cool Cab Calloway haircut as Cutler, plays it loose, going along to get along, but draws the line when you mock his faith. Singleton also takes it easy as fun-loving Slow Drag (the name gets explained). Xavier Jones plays Levee in all his complexity: brash and bold, yet naive; quick to smile or to anger; boyish looks on a man who has, we discover, dealt with unspeakable pain.
Also notable is Jy’ierre Jones’s portrayal of Sylvester, pushing through nerves and a stutter to give Ma what she needs in one of her most celebrated recordings.
Vaughn’s Sturtevant comes across as a subtle villain, all business and white privilege without overt bad intentions. Though no doubt dealing with “colored” clientele harshly or indifferently has a racial element, his successors throughout recording history will shortchange musicians of all backgrounds. As for our beleaguered white manager Irvin, Greenwell plays him not spineless, but flexible, constantly working the thin line that sets the talent and the money men worlds apart.
Splendid split stage design is by Fei with scenic design by Cole Wilgus and Ky Brooke. Kayla Hill is stage manager.
Witness this speculative look at a great moment in American music history. “Ma Rainey’s Black Bottom” runs through March 24 at the Phoenix Theatre Cultural Center, 705 N. Illinois St., downtown Indianapolis. Tickets at phoenixtheatre.org, or naatcinc.org.
“Take a deep breath of life and consider how it should be lived.”
These words spoken by Miguel de Cervantes as his creation Don Quixote in the musical “Man of La Mancha” help sum up the method behind the madness of the deluded knight at the center of the story – and is perhaps his most lucid advice.
Southbank Theatre Company and its founder, director Marcia Eppich-Harris, present the man, the madness, and the dangerous times in which this celebrated satirical novel came forth in their current production of the Broadway classic. Written in the 1960s by Dale Wasserman with music by Mitch Leigh and lyrics by Albert Marre, the story is loosely adapted from Cervantes’s 1605 book, portraying the author working through select scenes and characters in the more sweeping novel.
In the late 1500s, the dreaded Spanish Inquisition has arrested Cervantes (Paul Hansen), along with his servant (Anthony Nathan), not for a certain book he has yet to finish, or for being an actor or playwright, but because in his temporary employ as a tax collector, he tried to foreclose on a church. This lands him in our principal setting, a spacious communal dungeon in which the other prisoners mill about, seeking to cure their boredom. Their Governor (Scott Hall) declares the newcomer should stand trial for charges of the criminals’ choosing.
Cervantes seizes the opportunity – both to buy time and see how his stories are received by others – and “defends” himself by putting on our main story, the play within the play. Pasting on gray whiskers, he declares himself Don Quixote, with his servant now the farmer-turned-squire Sancho Panza. Other prisoners join in as various characters as needed.
If you know nothing else of this tale of an aging minor nobleman who reads one too many medieval romances and thinks himself the last defender of Chivalry, you have probably heard about the windmill. It’s actually a small part of the story, and Quixote’s charge against the four-armed “giant” happens quite soon in the musical. This is how we theatre folk get you, casual fan: come for the windmill tilting, stay for the meaningful stuff.
The plot really gets rolling when Quixote and Sancho arrive at an inn, which our knight sees as a castle (naturally). The Innkeeper (Hall) humors them, and we meet the other guests, a gang of muleteers led by Pedro (Kevin Caraher) who harass Aldonza (Jessica Hawkins), the wench serving up drinks, and maybe something more if the price is right. Quixote sees the woman, envisioning a high-born lady whom he declares to be “Dulcinea.”
Meanwhile in La Mancha, Quixote’s niece Antonia (Ashton Driscoll) and housekeeper (Yolanda Valdiva) enlist the help of a priest (Jericho Franke) and Dr. Carrasco (Rachel Serago) to find the man and bring him back to his senses.
The cast also includes Kendall Maxwell, Scott Stockton, Amalia Howard, Susannah Briscoe, Aaron Henze, Andrea Haskett, and Will Harris, who also plays guitar in coordination with the backstage orchestra, led by Seth Young.
A notable aspect of Cervantes’s satire is the comedy of good intentions gone awry, usually with others hurt while our oblivious old man goes blithely onward. This especially hurts Aldonza, who ironically becomes the one who most gets the point of this pointless adventure in the end. Thus, the musical asks a lot of Hawkins, and she is more than up to the challenge. She is compelling and commanding as a woman coming to terms with the possibility that her horrid past and present don’t define her future.
Veteran actor Hansen captures that perfect mix of maturity and whimsy to tackle his double-role. In both modes, he exudes confidence that stays a step ahead of the fear of a darker reality. Nathan, who must have been a court jester in a past life, is totally in his comic wheelhouse here. Serago, who as a prisoner is Cervantes’s “prosecutor” at trial, keeps one guessing if maybe the good Doctor is getting a kick out of tormenting Quixote in his efforts to save him.
There is much to unpack thematically, especially the simultaneous folly of and need for striving for a higher ethos. Perhaps this is why its most famous song, “The Impossible Dream,” resonates so much for so many. Hear it in context and see the “Man of La Mancha” at remaining performances Thursday through Sunday, March 14-17. at Shelton Auditorium, 1000 W. 42nd St., Indianapolis (edge of Butler University). For tickets and information, go to southbanktheatre.org.
Write what you know. That’s the universal advice to writers, and some, like novelist Stephen King, turn the muse inward and pen stories about those who pen stories. As a longtime friend (though not as long as some) of playwright Casey Ross, I have seen her blinking cursor return – between indulgences in the silly or geeky – to the shadows of memory and the recrafting of friends made and lost into characters who are new, yet familiar.
She may even agree that the King reference is apt, as he and she both know that it is within the mind where true monsters lie. Bringing those beasties out into the light seemed to be one of the goals of the “Gallery” trilogy she introduced at IndyFringe almost two decades ago. From the start, she presented flawed people with flawed relationships in a way that reminds us that those aspects are baked into the hardware of humanity, not something to be blithely resolved in the third act.
With her most personal work, she lays bare the struggles of a playwright striving to understand their own art in “Bat in the Wind,” which has returned to the IndyFringe Theatre, this time on the more intimate Indy Eleven stage. Last August’s premiere during the 2023 IndyFringe Festival featured a script that was carefully trimmed down to Fringe-show length (under an hour). The updated Catalyst Repertory production, directed by Zachariah Stonerock and clocking in at about an hour and a half (no intermission), is restored, not padded out. Nothing feels extra, and motivations and conversations even gain clarity.
Matt Craft returns as Taylor, a 26-year-old writer who has found himself single, near broke, and suddenly without electricity. This on top of the fact that the prose that should be a brilliant play about the human condition just sits there lifeless on his laptop screen. But before he can attempt to remedy that, he must go next door to his duplex neighbor, Randy (Dane Rogers), a slovenly older man who appears to care about nothing but sustaining his alcoholism. The first thing he says at any conversation is a slurred, “You’re not mad at me, are you?” – in case there was something bad he said or did during a blackout.
The play is subtitled, “A Recent Study on Depression and Addiction,” which at first glance is a reference to poor Randy. However, it’s easy to sniff out your own kind, and in his more lucid moments, he reminds Taylor (and us) that our frustrated wordsmith is an addict as well – and he’s got it bad.
Like a drunk bargaining with his demons, Taylor thinks he has a way of getting his literary high with no danger of personal pain. To write about what he knows, creative folk, he makes the characters in his play photographers, not writers. (This puzzles Randy, but in this writer’s opinion it’s a tactic of distance, the creator always on the safe side of the camera, apart from any action or drama. I note this parenthetically in case Casey tells me I got it wrong.)
Taylor prides himself on being a keen observer, using parts of those he watches to bring truth to his fictional scenes. Randy calls him on treating people like musical instruments, “not everyone likes to be played!” This humbling moment passes, though, and Taylor makes a fragile promise to his “interesting” neighbor. But like a bottle or needle, the muse calls.
All this, in what is technically a dark comedy. Ross’s penchant for dialogue that feels natural yet has every phrase weighted with meaning also generates a surprising number of laughs. Rogers’ no-nonsense deadpan delivery helps immensely, with the real-life absurdity of dealing with someone who’s blotto without comic buffoonery. Randal Leach may be a drunk, but he must be respected.
Craft finds himself the butt of laughter just as often. His constant striving wins our sympathy, despite the fact that he’s morose and manic (the pot and occasional hits of coke don’t help) like someone perpetually treading water, unaware and in fear of how deep in he is. His months-long experience with the role fits him like a second skin.
I must note that, as those with low means tend to indulge in affordable vices, there is a large amount of smoking of lit stage cigarettes in this show. The language – true to Ms. Ross’s style – is as salty as ever.
Also, the ending feels like it lends itself to an unrevealed epilogue, or even a third act. Consider that part being after the lights go up and you are left sitting with your thoughts. Perhaps it’s when you return to see Catalyst’s remounting of “Gallery” this summer. Maybe it’s when you finally sit down to write your next masterpiece, the blinking cursor beckoning like an old habit.
“Bat in the Wind (Or a Recent Study on Depression & Addiction)” has performances March 8-10 and 15-17 at 719 E. St. Clair, Indianapolis. Get tickets at indyfringe.org, more info at catalystrepertory.org or the company Facebook page.
Carmel Community Players brings us its production of the heartwarming and bittersweet musical, “Violet,” which is becoming familiar through its Off-Broadway and Broadway runs as well as fairly recent local productions.
As creators Jeanine Tesori and Brian Crawley (based on a story by Doris Betts) intended, we are advised that the disfiguring scar on the title character’s face is not visible on the actor, Sarah Marone-Sowers, so that we may choose to see it with our minds’ eye, or opt to see the beauty within. For Violet, it is a curse she carries into adulthood from a years-ago accident with her father and a wayward axe head. At last, in 1964, she has saved enough to take a Greyhound bus from the hills of North Carolina all the way through Tennessee and Arkansas to Tulsa, Oklahoma, where a television preacher works miracles. She reached her hand to the black-and-white screen, but the Lord’s healing somehow did not reach her. Now she believes she will get her new face, direct from the source.
On her travels, she meets a friendly, well-meaning grandmother (Christine Sanserino) and two soldiers, Flick (Onis Dean), a black Sergeant, and Monty (Dominic Piedmonte) a white Corporal. As they ride, she also remembers the past, in flashbacks with Young Violet (Kenzi Stewart) and Dad (Darrin Gowan). Her budding friendship with the G.I.’s is tested in an overnight stay in Memphis, Tenn., leading to an awkward parting in Fort Smith, Ark. (the soldiers to the nearby military post). Next stop: Tulsa and an eye-opening encounter with a very busy Preacher (Scott A. Fleshood).
The cast also includes Jay Becker, Damaris Burgin, Chloe Vann, and Lawrence Wunderlich in various roles, the men (and Fleshood) taking turns as bus driver. Burgin is notable as keeper of a Memphis boarding house and the televangelist’s choir leader. Vann also sings well in the choir and at a Music Hall. Wunderlich is the Preacher’s assistant. Becker plays a rude fry cook.
Marone-Sowers shines as a woman desperately applying blind faith to deep wounds (physical and mental), as does Dean, portraying one who also knew the lifelong pain of others’ judgement, yet found his strength. The high level of talent in Gowan and high school freshman Stewart elevates their characters as more than dramatic device. These strong spirits boldy show their story, following Violet to their necessary encounter on a cathedral stage. Kathleen Horrigan directs.
Especially for anyone who can’t see their own beauty, take a good look at “Violet,” Thursday through Sunday, March 7-9, at the Switch Theatre, located in Ji-Eun Lee Music Academy, 10029 E. 126th St., Suite D, Fishers. Get tickets and info at carmelplayers.org.
After more than five years since its last appearance in the city*, “Bright Star” returns to Indy at Footlite Musicals. The musical by legendary entertainer Steve Martin and singer/songwriter Edie Brickell was born of their bluegrass collaborations, as well as a true backwoods legend. Known for the absurd (as well as his banjo), Martin is also a big fan of feel-good musicals (look up “Pennies from Heaven”), so it is not surprising this piece resembling an Americana opera was a Broadway hit.
In rural North Carolina, Billy Cane (Bobby Haley) returns from World War II to find his father (Phil Criswell) waiting, but his mother has passed away. An aspiring writer, he takes his stories to the town bookstore where owner Margo (Alyssa Linville) edits them for submission. Being sweet on Billy (which everyone but the boy can see), she does it for free and encourages him. Thus boosted, Billy decides to take his writing in person to the prestigious Asheville Southern Journal. There, once past the automatic rejection of staffers Daryl (Bryan Padgett) and Lucy (Kennedy Wilson), editor Alice Murphy (Aprille Goodman) – seeing something strangely special about the boy – agrees to give the stories a look.
From here the scenes switch back and forth from 1945 to the 1920s as we get Alice’s backstory, her relationship with her strict Bible-thumping parents (Shari Jacobs and Dan Miller) and the young man she with whom she fell in love, Billy Ray Dobbs (Luke Bockelman), son of wealthy businessman and town Mayor Josiah Dobbs (Dick Davis). When the romance starts to bear fruit, Alice is sent to give birth in a remote cabin to avoid scandal to either family. One night, the Mayor arrives and literally takes matters into his own hands.
Director Isaac Becker-Chamberlin admits to a lifelong love of folk and bluegrass music, and shepherds this ode to Appalachia well. His husband Conner Becker-Chamberlin, who was in the cast of the 2018 Phoenix Theatre production, choreographed charming, era-appropriate movement that even has the set pieces gracefully moving on and off stage. Jeremy Crouch is stage manager.
Ensemble/chorus roles are executed smoothly by Bailey Rae Harmon, Derek Savick-Hesser, Logan Laflin, Olivia Mozzi, Emily Theurer, and Alexander Bast, whose parts include Max, the smitten lad with no chance with Margo. A splendid bluegrass and strings orchestra, conducted by percussionist Kristin Cutler, completes the atmosphere and scene, with a couple of players working in solos.
While the story winds to a fairly predictable – or, rather, inevitable? – end, the performances are strong. In addition, the vocal talents are outstanding, especially Linville, Bockelman, and Goodman, our leading lady. Having experience as a professional singer, Aprille said she moved to Indy in recent years, surprised to find her home just a few blocks from Footlite’s Hedback Theatre. Happy with her “day job,” she’s pleased to lend her talents to local community stages. Consider us all blessed.
These folks have “quite a good story to tell.” Performances of “Bright Star” run through March 17 at 1847 N. Alabama St., Indianapolis. Get tickets and info at footlite.org.
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*After this was initially posted, saying five-plus years since the musical’s last local appearance, it was pointed out to us that there was a staging in nearby Greenwood, Ind., last year, so we altered the lead sentence for accuracy.
Last year held plenty of changes, and their timing isn’t always what you’d prefer. For instance, had to move out of our rental home and into our very own house at the same time as the Indianapolis Theatre Fringe Festival a/k/a IndyFringe 2023, in August through early September.
With no real time to sit down with WordPress, and the world of quick-post media in flux (emphasis on “X”), we decided to write short reviews to post to Facebook (where we are also /PlaysWithJohnAndWendy). Those pieces are reproduced below.
Posted early September 2023: As many of you know, John & I have bought a house and are moving into it. Therefore, the reviews below compromise our entire Fringe experience for this year.
We did our best to see as many shows as possible and only missed out on a few. Please understand and forgive us if your show was not one we saw. We did our best, but our personal lives had to overtake our reviewing duties this year.
Thanks everyone for an amazing Fringe this year and we look forward to seeing you again next year. Break legs and much love! – Wendy
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LISTED IN ALPHABETICAL ORDER
Titles: 3 Magic Wishes – Alice’s Wonderful Afternoon – Angel on Eros – A Bat in the Wind – Because, You’re Worth It – The Betsy Show – Between Trains – Beyond Ballet – Bread Crumbs – Breakneck Romeo & Juliet – A Curious Woman – Currents – The Curve – The DECAGON Project – Designated Debaters – The Dice Player – Dragons & Dungeons – An Evening with Matt Soverns – Flavor Fight – How the Grinch Solved Racism – I, Trump – Inner State Stories – The Jester of All Maladies – Let Me Say This About That – Momsplaining – Monica Cantrel: Journey Home – A Monster Calls – The Most Massive Woman Wins – Mush – Nerdgasm – No Better News – On Earth as it is in Hell – Plastic Potato: A Bottoms Up Mystery – Reject – Rhythm & Groove: Songs of the 60s and 70s – Shy: The Musical – Super Mario Is Dead – That’s Hot – Three 2 One – Twenty Years: A Comedy of Manners – Twisted Terrors – U Sing 2 – Voyages & Journeys – Zoe Rose Spills Her Guts
Writers: JB – John Lyle Belden; WC – Wendy Carson
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“3 MAGIC WISHES” with Jordan Rooks
Experience a delightful journey of storytelling and magic as our host finds a magic lamp and wishes to put on the best magic show in the Fringe.
Rooks does an excellent job of finding new takes on tricks you’ve probably seen before and also a few that are unique. His tricks do not fail to amaze both old and young alike. The overall theme holds true, especially at the end when he must make his third and final wish, and the question of what people do or should wish for is considered.
The show is a fun time to share with the whole family and will keep you talking about it for a while afterwards. – WC
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“Alice’s Wonderful Afternoon”
This is a splendidly fresh re-telling of a curious (and ever “curiouser”) girl’s adventures in Wonderland, presented by the students of University High School of Indiana. Alice’s afternoon companions, including her sister, narrate the story as our heroine follows a nervous White Rabbit, deals with size issues, meets more talking animals and playing cards, attends a mad tea party and a high-stakes croquet game, encounters a nicely puppeted Jabberwock, and goes nowhere with a pair of poetic twins. The genuinely youthful voices and free-form use of stage space aid the surreal atmosphere and make the familiar narrative engaging. Accompanying music is more familiar to today’s kids, with the effective use of instrumental passages by artists such as Linkin Park, The Offspring, and Garbage, and providing a “Beastie” beat to some well-known verse. Our talented young actors deliver with spirited energy, keeping the story easy to follow through all its odd turns. A wonderful experience for all ages, spend some time with “Alice” at the Athenaeum Indy on the last days of IndyFringe 2023. – JB
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“Angel on Eros”
Angel is an artist whose inspiration has dried up. He decides to change things up and get a job. Matt runs a struggling restaurant where Angel ends up as a waiter. They strike up a fast friendship much to the chagrin of the chef who is also Matt’s demanding wife.
This is a story of inspiration, desire, and narcissism but mostly friendship. Male friendship can be confusing especially when being gay & straight is involved.
Bright, daring, sexy and enjoyable. Not for the younger crowd but a treat for the grown ups. – WC
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“A Bat in the Wind”
Casey Ross seems to alternate her Fringe performances between the downright silly (last year’s Tortillo offering) and deeper more meditative studies of artists (her Portraits series). This year she digs deep and gives us a gritty look at an aspiring young writer and his connection to his pathetic, alcoholic neighbor.
We witness a tragic dance in which each takes the lead at some point and our writer realizes that one small step is all it takes to make you plummet into the depths of despair. The characters are only loosely based on real people, so it’s even more sad that no one here escapes unharmed.
This is a truly powerful hour of theater that will keep you thinking for a long time after. – WC
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“Because, You’re Worth It”
This is definitely a quintessential Fringe show.
You find yourself a shopper at The Fairyland Mall where you will witness three unique and dazzling takes on the classic tales of Narcissis, Cinderella, and The Emperor’s New Clothes.
While the latter two utilize modern and classic dance techniques to tell their stories, the costumes and choreography bring a captivating look and feel that is honestly so beautiful it’s impossible to explain.
The first tale is given to us by Daisy, our helpful makeup counter guide. While her attempt to give an audience member a makeover starts snarky and then takes a supremely surreal turn, she is a sheer delight to behold.
My only regret was that the final five minutes of the show, in which all the performers interacted together to close their shopping day, was in constant strobe light and I was unable to watch.
Still, this was an amazing show that has skyrocketed to my top five of shows this Fringe.
– WC
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“The Betsy Show”
Elizabeth Young-Collins returns with a more autobiographical story, told with colorful scarves and delightful bits of song. Feeling like her life is one big performance, she comes to terms with the character she was meant to be. Learn how her family was featured in a national magazine and why she truly loves Paris – but not the champagne. So fascinating, the hour was over before I realized it. Feel free to get swept away at The District Theatre during IndyFringe . – JB
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“Between Trains”
The Indiana Drama Club brings us this sweeping metaphor of the journey of a soul through the trials and tribulations they will face in the future.
It is described as a play with music which is very apt. The songs that occur throughout, are sometimes a reflection of what’s happening and sometimes just to continue the mood.
Performed with two cast divisions gives the young cast members more opportunities to be in the spotlight.
One note: Friends and family of the large cast are causing sellout crowds. Buy early if you plan to attend. – WC
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“Beyond Ballet”
If you appreciate the dance arts at all, you must see “Beyond Ballet” by Indianapolis Ballet. As part of IndyFringe it is the most affordable way to see this professional company. And it’s more than just standing on your toes to orchestral music, the exceptional control necessary for Ballet allows for marvelous modern numbers as well. Featuring the artistry in motion and choreography of William W. Robinson as part of a talented company of around a dozen dancers. They’re “Too Darn Hot!”
Performances at the Athenaeum Indy up in the Basile. – JB
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“Bread Crumbs”
Richie Whitehead is a master of taking familiar material and mining every last drop of humor out of it. This is the story of the ocean’s wrath against a lighthouse keeper. While that may sound deep and serious, the biggest hurdle will be preventing yourself from injury through laughter.
Whether portraying the capricious ocean, a grizzled Lightkeeper, or even the titular character, his unique take on these characters is a delight to behold.
This is a treat for all ages that shouldn’t be missed. With his recent relocation to the Chicago area, I hope we will have more opportunities to witness his talent in the future. – WC
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“Breakneck ‘Romeo and Juliet’”
Timothy Mooney Repertory Theatre brings us his latest offering “while he’s still able to pull off playing a 13-year old girl.”
Emphasizing the cosmic imagery throughout the script as well as the fact the show only covers a five-day period, the show brings a few new insights to the story you thought you were so knowledgeable of.
While it is a wonderful introduction to Shakespeare for younger viewers, Mooney finds a humorous freshness to the tale which will appeal to all attendees. – WC
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“A Curious Woman”
Part storytelling, part self-encouragement and entirely enjoyable. Debra Clark has lived a very interesting life and we are privy to a few highlights showcasing many highs and lows of the rocky road to her successfully fulfilling her greatest desire.
While her stories will help nourish your soul, each seat contains a tasty snack to help nourish your body. – WC
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“Currents”
Relatively new local dance company Relevations (yes, spellchecker, that’s right) has an impressive set of numbers in “Currents” in Athenaeum Indy at IndyFringe
Power with flow and resistance, elements of ballet and hip-hop, music includes Drake and Foo Fighters. Stunning solos and excellent ensembles. Check em out. – JB
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“The Curve”
This review of “The Curve” is brought to you by Facebook, apparently the lesser evil. The show isn’t about that, but it does have “commercials” like this, as well as snarky puppets. But it’s not about them, either.
It’s about “The Curve”, the arc of the spine essential for a Chinese acrobat (think Gymnastics with showbiz flair). Teacher tells Genie Cartier hers isn’t good enough. But she can’t accept that, can she?
It’s about the arc of a life –- a chair, calluses, firespinning, Halloween with Scientologists, the stories told by X-rays, an MFA in poetry, and good advice from a clown.
This masterful memoir with movement charms and fascinates with her narrative, dance and acrobatic moves. From the clever “opening titles” to the end when she reclaims her body, this is a can’t-miss show (ignore what the shark puppet says).
Only two performances of “The Curve” left, this evening and tomorrow afternoon (Aug. 19-20) in the Athenaeum Indy auditorium (first floor) as part of IndyFringe. – JB
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“The DECAGON Project”
The 46 Minutes Collective brings us a totally unique hour of theater that is eternally changing. Stories, dialogue, movement and some level of audience participation (only if you wish to participate) combine to give us intimate insight into various interpersonal relationships as well as our own psyches.
This is another example of what a Fringe show should be. – WC
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“Designated Debaters”
Who knew an ultimate battle between superheroes would center on arguing the merits of socks and underwear? “Designated Debaters” are unafraid to confront such vital issues in an elaborate improv style drinking game.
The Friday battle of Batman vs. Superman, moderated by Wonder Woman, is done, but you can still see the pop culture icon showdowns of horror legends hosted by the Mistress of the Night on Saturday, and Broadway leading men with a grown-up Orphan Annie on Sunday. The District Theatre cabaret will fill up fast, so get tickets quick and prepare for nonstop laughs as practically any topic is confronted in the silliest way. – JB
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“The Dice Player”
This show defines exactly what the Fringe Festival is here for. It brings a new and unique voice to audiences that might not ordinarily get the chance to experience it.
Raja El Majzoub tells the story of a soul that survived through sheer chance, a roll of fate’s dice, perhaps? It is a powerful and intimate experience that is beautiful yet harrowing to behold.
Do not miss this show; you will surely regret it. – WC
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“Dragons and Dungeons: A Party’s Parody”
The most important thing I can say about this show is that if you don’t get a ticket now, you’re going to miss it. The two remaining shows have less than a dozen tickets left and you will greatly regret missing this hilarious offering.
The show gives us a tale of a few characters adventuring through Center Earth on a heroic quest. The audience fills out some suggestion slips prior to the show to help flesh out their background.
Audience members are also called upon during the show to roll the dice which decides the fate of that activity.
Even if you have little to no knowledge of the game being parodied, you will enjoy the zany characters and the wild story. But be warned, not only is the story’s outcome in your hands, so too is your destiny. Get one of those remaining tickets now or lose our forever. – WC
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“An Evening with Matt Soverns”
While he got his start at a Broad Ripple club, Matt Soverns has been touring the country and some of the globe homing his performance and piano skills. While he has spent much of his time playing covers, in this show he gives us a taste of his own original work.
I thoroughly enjoyed the concert and found his style reminiscent of the style of early Billy Joel, Elvis Costello, and a bit of Jerry Lee Lewis with his more boogie-woogie touches. He even borrows a riff from The Roots, creating a song on the spot about an audience member.
Just a note, if you absolutely can’t catch his show, he does have a great merch display in the lobby so you could pick up a CD or two and find out what you missed. – WC
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“Flavor Fight”
Has actor/improvisor Mark Cashwell finally topped himself, or is that just caramel sauce and whipped cream? His “Flavor Fight” richly parodies various cooking shows such as one would find on a Network of Food. Cashwell stars as Gavin “Gay” Ferrari, connoisseur of sloppy food from questionable locations, joined by Paige Scott as deep-South deep-fried butter-obsessed Cathy Bean, as well as one or two other characters portrayed by local funny people Mark talked into doing this.
Two “chefs” are summoned from the audience to compete in various games, earning ingredients for the final challenge. Yes, the edible and inedible components will be odd, silly, and not likely meant to end up on the same recipe card – but that’s what makes this whole mess fun. Also, the nonstop improv and escalating weirdness.
Just know that in the end, there will be something cooked. And everyone may get a chance to taste it afterwards (if you dare, though the winning dish at the episode I attended was pretty good). – JB
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“How the Grinch Solved Racism”
What begins as a thesis presentation of Capitalism throughout the Jim Carrey movie version of “The Grinch” quickly devolves into a farcical journey on Consumerism, Racism, Climate Change, Nixon, and Chinese Exclusion, just to name a few.
Bouncing from silly to starkly serious, the audience is in for a very strange ride in which not only can anything happen, they may accidentally even learn something.
It’s not for kids, but definitely for those with a more eclectic sense of humor. – WC
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“I, Trump”
The end of our recent President’s command of the headlines will happen eventually. “I, Trump” at the Athenaeum Indy, part of IndyFringe, gives one way it could happen. As funny and satirical as it is, the show looks practically prophetic compared to the events of the last several years. – JB
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“Inner State Stories”
The rise of the Interstate system connected America, while bypassing much of it. Here are “Inner State” stories about a mother’s love, maps marked with red pencil, memories of roadside attractions, and a journey to see those disappearing places accompanied by the spirit of one who would have enjoyed them. Presented by Errol McClendon, it’s a show that’s as easy and interesting as a good spiced rum cocktail. Also, if you have a road-trip roadside attraction story, he would love to hear it! – JB
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“The Jester of All Maladies”
After a last-minute cancellation at last year’s Fringe, Kurt Fitzpatrick brings us the tale of his bout with cancer. While the subject matter is serious and frightening, Fitzpatrick’s storytelling abilities keep the journey upbeat and hopeful. In fact, he manages to find humor throughout the entire story.
After an initial diagnosis in December of 2019, an initial treatment regime, and a diagnosis of remission, he finds the disease returns with a vengeance and must endure even more desperate measures to combat it. But this summer he celebrated two years of remission, on the way to many more.
Again, it’s very weird to tell you that you will laugh uncontrollably at someone’s cancer story, I must tell you that this is indeed true. With only two shows remaining, I strongly encourage you to make a concerted effort to fit it into your schedule. You won’t regret it. – WC
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“Let Me Say This About That”
Let me say this about “Let Me Say This About That,” it is one of the funniest improv–based shows we have ever seen. Heather (Meyer), Danna (Sheridan), and their producer Amber (a/k/a Raffi Jarvis) present episodes from the Imaginary Podcast Network. These women easily riff off of each other and whatever the audience throws at them, at times so smooth you’d think it was scripted and rehearsed. Our performance started with a general interest ‘cast that became a hilarious stream–of–conscience series of what should have been non–sequitur that somehow still linked. After a couple of instantly–composed ads, our second podcast was “live” with questions from the audience (feel free to get clever, they can handle it). After another improv ad break, things got truly surreal, yet it all fit so well in the evening’s “theme” it ended on a callback.
Even if you’ve never heard or heard of a podcast (think NPR, but with the hosts on good drugs), this is one of the more fun hours of IndyFringe. – JB
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“Momsplaining”
In “Momsplaining,” two major local talents – actors, directors, producers – employ those skills to address another important role they share: Motherhood. Myths are busted as bodies are ruined to perpetuate the species. Informative and hilarious, with much empathetic laughter from the women in the audience. Callie Burk, Georgeanna Smith Wade, and (I would suspect) your Mom think you ought to see this, at The District Theatre cabaret stage, part of IndyFringe. – JB
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Monica Cantrell: “Journey Home”
The exceptional Monica Cantrell graces us with her beautiful soulful voice in her “Journey Home”, singing a program that includes standards, songs by Sondheim, cuts fron “The Wiz” and even a hit by Sting. Accompanied brilliantly by Kathy Ryan on piano, Cantrell commanded a full audience and likely will again so get tickets now, at The District Theatre as part of IndyFringe . – JB
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“A Monster Calls”
With “A Monster Calls,” Carmel High School brings another stellar production to this year’s Fringe Festival.
Connor is a troubled young man. He is experiencing nightmares, being bullied at school, and his mother is fighting cancer. The demonic tree that terrorizes his dreams promises to return each night and tell him a story, and on the fourth night he must admit the truth of what he truly fears.
The stories are haunting tales in which no one is truly good or evil, but a mixture of both. He is never sure if anyone actually gets what they deserve in each. They also vaguely echo situations within his life, and keys to dealing with them.
When his time for a story occurs, his heart breaks with his personal truth but it leads to a better understanding of himself and how to proceed.
This beautiful show can be a bit intense for younger viewers, but a recommended grim fairy tale for all others. – WC
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“The Most Massive Woman Wins”
First of all, this show has a plethora of content warnings, and for good reason. Frankly, being overweight increases the likelihood of depression, self–harm, drug use as well as a myriad of other debilitating conditions.
Speaking as someone who personally identified with and experienced almost all of the stories here, this show is raw and brutally honest. That said, it feels liberating to hear these stories in a public venue. I know that some of the content is hard to hear, and I imagine it was quite difficult for the cast to share, but every word here is somebody’s truth.
Overweight people are still grossly discriminated against and it is considered socially acceptable to do so. These women bravely bare their souls during the show and deserve our attention, respect and adulation for it. – WC
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“Mush”
Literally a sobering tale, “Mush” is an intense 30–minute one–act about a young man and his father reaching the breaking point in their relationship with alcohol, and each other. Voices and thoughts and denial and bargaining leave the mind the texture of gruel, susceptible to the ravenous Jabberwock behind the bottle. Can an imperfect father’s love prevail?
Performed on the Cabaret stage at The District Theatre during IndyFringe . – JB
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“Nerdgasm (2023 edition)”
Wonder(ful) Women at Angel Burlesque “Nerdgasm” to open IndyFringe. For mature folks with immature senses of humor, lots of naughty fun! – JB
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“No Better News”
The good news about “No Better News” is that there are more opportunities to give this one–woman show the big audience it deserves. Gael Schaefer uses her recent battle with cancer as a catalyst for entertaining stories about her entertainer life. Find out how an introverted actor made her way from a park that inspired Walt Disney to performing on Disney’s Big Red Boat to her present life in New York and the theatre life that sustains her. Inspiring and engaging, hear the “News” in the first floor auditorium at the Athenaeum Indy as part of IndyFringe . – JB
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“On Earth as it is in Hell”
The modern concept of Christian Hell doesn’t go as far back as what you think, though its roots are deep. Andrew Spink takes us on one heck of an underworld journey where little girls are gremlins, ancient Greeks are toddlers, and we find what we should truly fear. Balancing researched material with an easy manner and personal touch, he enlightens this dark subject. – JB
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“Plastic Potato: A Bottoms Up Murder Mystery”
Before going into the Athenaeum Indy Basile (upstairs) theatre to see “Plastic Potato: A Bottoms Up Murder Mystery,” it is advised that you bring in a beverage as we are asked to drink every time an adult beverage is mentioned. I recommend it be non–alcoholic as the booze and beer references are all over the place, including most of the character names.
The ever charming and effervescent Josiah Ray McCruiston joins the ranks of comic masters like Peter Sellers and Eddie Murphy by playing absolutely every on–stage character except for Mitchell Hedges as IMPD Detective Bob, who grows ever frustrated at this compounding murder mystery. Poor Jimmy Beam has died in front of the theater, and it was not an accident! Now Reo Nite and her family of curious and suspicious characters must be questioned.
Can you guess whodunit? The audience will be asked – fortunately, more untimely deaths will narrow the suspect pool. And if it helps, the titular potatoes will make an appearance. – JB
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“Reject”
Anthony Myers is a relative newcomer to the Fringe circuit, but has nearly a lifetime of experience to bring to his show, “Reject.” He looks back to his birth and adoption in Terre Haute, Ind., and the family who accepted him – some perhaps reluctantly. Now that he’s in his 60s, he confronts society’s rejection of the old.
With the practiced skill of the teacher, standup, and storyteller he has been, Myers gives charming perspective on his world, and ours. He reassures us that regardless of your being young or old, the operative word is “be.” Accept the opportunity to join him in the Athenaeum Indy first–floor auditorium, part of IndyFringe. – JB
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“Rhythm & Groove: Songs of the 60s and 70s”
A truly groovy good time with Circle City Tap Company with “Rhythm & Groove: Songs of the 60s and 70s”. They dance to the music of artists including The Supremes and Earth Wind & Fire, go on the “Dock of the Bay,” to the “Car Wash” and out to the “Copacabana.” Also see what they do with the unique drum rhythm of “Come Together.”
As always, they end with the audience invited to join the Shim–Sham, so bring your happy feet (and shoes if possible). – JB
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“Shy: The Musical”
“Shy” is the story of two people who share the same bus commute.
After taking notice of each other, we are witness to their varying thoughts about whether or not they should take a chance on getting to know the other perhaps romantically.
While their imaginations often skew to the extremes, they are nevertheless enjoyable to watch.
A treat for anyone who has considered or is considering taking a chance on a potential relationship. – WC
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“Super Mario is Dead”
Josh Brown and Matt Day bring us a wacky tale of what could happen within the Mushroom Kingdom should Super Mario finally run out of lives.
When Luigi refuses to take over, things shuffle along as best they can. However, a new menace arises and Luigi reluctantly agrees to join the crew in their quest.
All of the usual suspects are involved or referenced here. Zany songs and jokes abound. A must for any fan of the games. Also you can play a game betting how long the mustaches will remain attached to the various actors. – WC
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“That’s Hot”
This is the story of two world–renowned vulcanologists shooting a documentary about the impending eruption of Mount Priapus, or is it?
The fiery Helena is running hot while her driven husband/partner Rudiger is too cool to be distracted by her advances. What is behind his reluctance, and what will or could his future hold?
Join his strange journey as he navigates his way through time (the audience) and sees several different variations of his life thanks to the strange, red–robed cabaret singer.
A delightfully enjoyable trip that will surely leave you feeling warm inside. – WC
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“Three 2 One”
Mary Karty gives us the story of one woman’s quest to bounce back from her recently failed relationship.
Her psyche breaks down into three basic components, Heart, Body, and Mind. These three try to work together (or more often, assert dominance) in order to try to navigate dating possibilities.
The zany situations may seem a bit over the top at times but they honestly all rang true to me. We should all encourage more men to see it as a primer to how a woman’s mind really works. – WC
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“Twenty Years: A Comedy of Manners”
Ever had a dry vintage that turned out delicious? I’m not talking about wine, I’m referring to the wit of “Twenty Years: A Comedy of Manners” at The District Theatre as part of IndyFringe. Thomas Smith and Craig Kemp are at the top of their game as a wealthy English gentleman in 1880 and his lawyer (and apparently only friend). It occurs to the master of the estate that he’d best find the bastard offspring he had long disregarded so that there will be someone to inherit. With a satirical air, and hilarity more akin to Wilde than Python, the search proceeds to a nice resolution, with Kellyn Merrell, Sean Wood, and Ben Elliott appearing as potential heirs. One of the treats awaiting Fringe–goers in this third and final weekend of this year’s festival. – JB
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“Twisted Terrors”
Mike Speller serves up a three–course meal of delightful twists on traditional literature.
Our Appetizer consists of a sly turn of a Pie classic as we look at a dieter’s struggle with his appetite in “The Cravin’.”
The Main course is a very inventive take on Homer’s “Odyssey.” complete with Food Trucks, Rachel Ray, and living gingerbread men. The story itself is hilarious but the greater your knowledge of the source material, the more delightful it becomes.
We finish up with a Dessert Tray of quick takes on a few familiar tales including the five new commandments added as a result of Mary Shelley’s work.
Family friendly but sadly only here for one week. Don’t miss it. – WC
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“U Sing 2”
Kevin Kelso likes to write clever little songs, and to sing them. In his offering for this year’s IndyFringe , “U Sing 2”, he encourages – insists, actually – that the audience join him in song. The sing–along bits are fairly easy, and Kevin makes it fun.
Though listed as “all–ages” the content gets a bit PG, but nothing obnoxious (you might not bring a small child, but perhaps your mother). Discover a new Birthday song, a potential theme to a popular podcast, and help Kevin achieve his “Sweet Caroline” moment – or something similar, he says every show is a little different. Join the fun at The District Theatre cabaret stage. – JB
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“Voyages & Journeys”
Well worth coming aboard for “Voyages & Journeys” with Seda Negra / Black Silk dance, directed by Iris Rosa Santiago. With a singular theme, the dancers are nearly constantly present, as well as the suitcases which symbolize our being ever on the journey, old world to new. Beautiful and easy to comprehend movement telling our important shared story. Watch for this next weekend at the Athenaeum Indy , part of IndyFringe. – JB
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“Zoe Rose Spills Her Guts”
This show is a delightful character study of a few quirky characters.
The first is a thoroughly woke and enlightened frat bro who parties hard but thoughtfully. Since he always wakes up with no memory of the night before, he faithfully writes in his journal before passing out. Also, he can’t miss his sunrise yoga (his mantra is “bro”).
The second is a young British tap dancer who is heartbroken over being fired by her married boss whom she has been having an affair with. Her obsessive stalking leads to more trouble but an outlet for some great poems.
We are then treated to a clown who performs some really great gags (with the help of the audience).
Finally, we hear from Zoe herself as she shares excerpts from her childhood diary.
This is a charming show that will keep you laughing and reflecting for a while afterwards. – WC
Plays with John & Wendy 