John

Romantic battle of wits in BCP’s ‘Moon’

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

By John Lyle Belden

Growing into your teen years is tough enough. But for a genius-IQ girl in a dull west Pennsylvania town in the 1980s with a single Mom who is a bit of a free spirit, the prospect of a new man in their life is a bit much to deal with. Fortunately, a lifelong friend is there to help.

In “Moon Over the Brewery,” by Bruce Graham, presented by Buck Creek Players, Amanda is our 13-year-old with this conundrum. Randolph, the (invisible to others) paternal-looking friend with a posh accent and wearing whatever was in the last book she read, has returned to delve into the mystery of the “midnight laugher.” They suspect this is a new bad decision for her mother, Miriam, a woman who stopped art school to become a diner waitress to raise her daughter – but never abandoned art, as she works on paintings of nightscapes as well as sculpture and a beautifully assembled quilt. The latter, Amanda (who minds the checkbook) plans to sell for top dollar.

Suddenly at their doorstep, there is an odd, mildly chubby mail carrier saying he is Warren Zimmerman, Miriam’s new beau. Amanda stands inside with Randolph at her shoulder: let the games begin.

This quirky comedy with quirky characters coalesces into a quirkier romance as our foursome come to understand each other and themselves. Brooke Dennis as Amanda is excellent as a 13-going-on-30 prodigy who at times mothers her mom but is not as mature as she feels she must be. AnnaStacia Nuffer in a brilliant debut as Miriam is a complex artistic soul who just wants everything good for everyone, hoping she could find some for herself. In her prior relationships she’s felt outvoted two-to-one by Amanda and Randolph, whom she regards not as a figment but a bogeyman who must be banished. Grant Bowen comes off a little disturbing and goofy at first as Warren; still, with genuine and easy manner he wins us as one who has eccentricities of his own but also varied life experience, just the right guy to stand toe-to-toe with an invisible man.

Tony Brazelton takes full advantage of a plum comic role; his Randolph is suave, brash, devious, protective, suspicious, sharply witty, and everything else you’d expect from a teenage girl’s id taken the form of a classic cinema leading man. His banter and mind games are highly entertaining, yet he never takes it too far, out of respect for the mistress from whose synapses he sprung, keeping him likable to the audience.

The result is a charming mashup of coming-of-age story and rom-com, with just enough weirdness to hold it together. This fun theatrical experience comes to life with the help of director Mac Bellner and technical director/stage manager R. Brian Noffke. Thanks also to young assistant directors Elsie Rau and Bennett Dilger for their work behind the scenes.

Remaining performances of “Moon Over the Brewery” are Friday through Sunday, Feb. 9-11, at the Buck Creek Playhouse, 11150 Southeastern Ave. (Acton Road exit off I-74), Indianapolis. For tickets and information, go to BuckCreekPlayers.com.

With heart and hymns, a voting-rights hero tells her story

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

By John Lyle Belden

Fannie Lou Hamer was a fairly remarkable woman before she became known to the world outside her Mississippi town. Literate despite a sparse education, the daughter of sharecroppers managed to find a good husband and work as bookkeeper for the plantation. But in 1962, at age 44, she discovered she had the right to vote. And everything changed.

Indiana Repertory Theatre presents “Fannie: The music and life of Fannie Lou Hamer,” by Cheryl L. West. On the IRT mainstage, we meet Hamer (Maiesha McQueen) late in her Civil Rights career, doing what she loves best – baking her “sock-it-to-me” cake and singing the Church music that sustained her throughout her life, through mental and physical abuse, doors slammed in her face, every small triumph and vicious defeat in the struggle to bring the vote to all Americans, especially those with dark skin like her.

She gives us her life story in gentle maternal tones, while never shying away from the dark and tragic moments. Happy to commune with us through the fourth wall, she encourages the audience to sing along with tunes like “This Little Light of Mine” and “I Love Everybody,” and even demands a “Can I get an ‘Amen!’?” Thus, she brings us 21st-century sojourners along on the dusty roads where she braved bigotry and beatings with incredible determination, even taking her message to the 1964 Democratic National Convention in Texas.

Broadway veteran McQueen brings Fannie to life wonderfully, bringing to light a lesser-known civil rights icon, making us feel glad to finally discover her and understand she is one of many workers in the struggle who deserve to be remembered and honored. Though this is presented like a one-woman show, the importance of music to her life is emphasized by the fine upstage backing band of Morgan E. Stevenson, Spencer Bean, and Dorian Phelps.

Henry D. Godinez directs, assisted by Ashlee “Psywrn Simone” Baskin (also understudy for Fannie). The narrative is enhanced by projections designed by Mike Tutaj.

Share in the joys and tears of the person who popularized the phrase, “I’m sick and tired of being sick and tired.” Performances of “Fannie” run through Feb. 4 at the IRT, 140 W. Washington St., downtown Indianapolis. Get info and tickets at irtlive.com.

MD Writer delivers a good series of short plays

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

By John Lyle Belden

It takes a sharp mind to become a doctor, especially a cardiologist. For Dr. Louis Janeira, add sharp wit and storytelling skill and you’ve got the prescription for a promising side gig as a writer.

As L. Jan Eira, the MD Writer, he presents “Cut Short: A series of 10-minute plays,” under the direction of Aaron Henze, at The Cat in downtown Carmel.

The talented cast of Craig Kemp, Barbara LeMay, Ian Marshall-Fisher, Greta Shambarger, and Afton Shepard take on a series of shorts that play out like the Twilight Zone or Outer Limits with a touch of gentle humor – though not all end happily.

The opening scene, “If everyone on earth dies, I can’t graduate,” sets the tone that things aren’t always as they seem, and the odd will be commonplace. I had previously seen the “Party Shoppe,” a sharp piece of science fiction that was the best part of a longer work presented at IndyFringe. Even when you can tell what’s going on, like going “Home” with Mr. H, the story still grips you with its simple drama. Naturally, the medical profession makes a couple of appearances, including one bit that takes “physician, heal thyself” in an interesting and fun direction.

Entertaining, intriguing, and well performed, this series showcases local talent in splendid fashion. Remaining performances are 7 p.m. Friday and Saturday, 3 p.m. Sunday, at The Cat, 254 Veterans Way (just south of Main Street in the Carmel Arts and Design District). Get info and tickets at theMDwriter.com or thecat.biz.

ALT: Damaged souls in Inge’s dark drama

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

By John Lyle Belden

The title, “Natural Affection,” despite being part of a spoken line, is ironic.

A lesser-known yet highly regarded drama by William Inge (its brief 1962-63 Broadway run suffered from poor publicity), it is a story of people struggling with life and relationships in upper middle-class Chicago apartments. The overall atmosphere is Tennessee Williams, without the humidity.

In the current American Lives Theatre production, single mother Sue (Carrie Anne Schlatter, or Christine Zavakos on select dates) is expecting a Christmas visit from her troubled teen son Donnie (Zach Hoover), allowed temporary release from the “work farm” to which he had been sentenced for an assault years earlier. Sue’s life had been hard, but she has found success as a buyer for a downtown department store, which irks her live-in boyfriend Bernie (Alex Oberheide), a struggling Cadillac salesman.

Next door are friends, of a sort, Vince (Ronn Johnstone), a mostly-functioning alcoholic with both high income and debts, and his wife Claire (Diana O’Halloran), who married for money and is now unsure what she wants – aside from Bernie, again.

Other roles are filled by Wendy Brown, Tim Leonard, Garrett Rowe (including a scene as Donnie’s fellow parolee), and Haley Glickman (most notably in the play’s climax).

This dark drama with, at best, a grim humor provides hearty material for the actors. The undercurrent of dysfunction soon becomes apparent between Sue and Bernie. Schlatter ably expresses the woman constantly pushing against her own insecurities, never quite sure she’s made it. Despite her workplace success, she still feels the need for a marriage to make her truly happy; which with her going on 40 in the 1960s, brings feelings of desperation. Oberheide, for his part, wears his neediness like the tailored suit he wears to work the car lot, coming across like the smarmy guy who’s about to talk you into all the options. It burns him that his girlfriend makes far more than he does, which he gives as the reason for not marrying her. On top of this, Bernie has an abusive temper, but more bipolar than controlling, bringing Sue along on the ride.

As noted above, the “natural” way you’d assume a Midwest family holiday to go is absent here, especially with the neighbors, as Vince tries to salve insecurities about both his financial worth and his sexuality with a wild swinger lifestyle. Johnstone is excellent at playing someone so perpetually pickled you could almost smell it on him without delving into comic drunk stereotype. We hear moments of lucidity between the slurred lines, a kaleidoscope of shifting emotions, and when he’s truly had one too many, it’s more pathetic than funny. O’Halloran portrays the debutante who never matured beyond high school, in desperate need of affections she can only see as transactional; Claire wants better for herself, without a clue about where to start.

Hoover’s Donnie is a Freudian scholar’s dream, the hurt boy in the body of a dangerous man, never sure how to connect with a mother he has only seen infrequently through his tragic life. His scars are both visible and deep, as we discover a character like a revolver with a single chamber loaded. Tension builds from one trigger moment to the next, to the last.

Directed by ALT artistic director Chris Sanders (one of his passion projects), assisted by Tim Leonard with Marta Hamilton as stage manager, this gripping study of human affections, however you define them, runs through Jan. 21 at the IndyFringe Theatre, 719 E. St. Clair, Indianapolis. Get tickets at indyfringe.org and info at americanlivestheatre.org.

‘Matilda’ musical Constellation’s holiday offering

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

By John Lyle Belden

In this season where all children are striving to make the Nice List, Constellation Stage and Screen of Bloomington presents one gifted little girl who is “a little bit naughty.”

In “Roald Dahl’s Matilda: The Musical,” with songs by the equally devious Tim Minchin and book by Dennis Kelly, while every English child is told by Mum and Dad they are a miracle, Matilda Wormwood’s mother says her birth was the worst day of her life and father dismisses her as an awful excuse for a boy – they were already content with son Michael, who is blissfully immune to books and stories, or thinking.

Things only get worse from there, as Matilda starts school under sadistic headmistress Miss Trunchbull. Fortunately, she finds friends among schoolmates and allies including librarian Mrs. Phelps, who adores the girl’s stories, and teacher Miss Honey, who strives to rise above her deep insecurities to help her.

Realizing that the story she’s in is quite tragic, Matilda strives to change it, with the help of some hilariously juvenile pranks and her rather exceptional mind. For the many children of all ages in the sold-out audience, the musical is wildly entertaining and inspiring, peppered with catchy tunes including “Naughty,” “Telly,” “Revolting Children,” and “When I Grow Up.”

Indy audiences may recognize Jaddy Ciucci as self-centered ballroom champion Mrs. Wormwood. Others in the adult cast include Jake Stibbe as Mr. Wormwood, an ethics-challenged used car dealer; Jaden Holtschlag as dance partner Rudolpho; Amy Jo Jackson as Miss Trunchbull, a former Olympic hammer thrower more interested in punishment than instruction; Catherine O’Connor as Mrs. Phelps; and Emily Davis, winning our hearts (and Matilda’s) as Miss Honey.

The story Matilda spins for the librarian is portrayed in shadow puppets and appearances by Yul Carrion as the Escapologist and Laura Rong as the Acrobat.

Among the youth actors there are two casts split among the various performances through Dec. 31. We saw Team Rebellion with Noey Kroethe as Matilda, Lila Parker as Michael, Piper Reynolds as brave Bruce, Lyra Dimick as “best friend” Lavender, Alma Sela as Alice, Chloe Duggan as Amanda, Mary Clarie Shaw as Hortensia, Theresa Baird as Tommy, Lydia Levesque as Eric, and Stella Jay Durfee as Nigel, who gets a crash course on the meaning of “narcolepsy.”

Half the performances feature Team Revolting: Miriam Spillman (Matilda), Cooper Tucker (Michael), Reid Walz (Bruce), Sophia Linville (Lavender), Madeleine Cartledge (Alice), Hailey Houghton (Amanda), Lily Ensmenger (Hortensia), Jasmine Nolting (Tommy), Lucy Pell (Eric), and Viv Taylor (Nigel).

Kate Galvin directs, with musical director Brandon Magid, choreographer Lauren Haughton Gillis, and stage manager Lori Garraghty. No newts were harmed in the making of this show.

Tickets have been selling fast for “Matilda: The Musical,” performed in the Buskirk-Chumley Theater, 114 E. Kirkwood, Bloomington. Get info and tickets at seeconstellation.org.  

Musical send-up of Scrooge story returns

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

By John Lyle Belden

Ben Asaykwee’s “Christmas Carol Comedy” at the District Theatre has joined the ranks of downtown Indy’s cherished holiday traditions. Yes, we’re all surprised (I imagine Asaykwee is), but I’m not actually as he is really talented and the show is really funny.

I mean, look at the nice stuff we said about it last year.

As so much about the world today is silly and dumb, this musical parody of Dickens’ classic fits right into this season’s offerings. While Ben is over at the Phoenix, assistant director Hannah Boswell takes care of things, as well as roles including a talkative Christmas Future. This being a “Q-munity” production (started by Asaykwee’s Q Artistry company), there are numerous performers at all levels of experience, whose having fun at this easily translates to the sold-out audiences.

Matt Anderson is back as Scrooge, Shelbi Berry as Christmas Past, Tiffanie Bridges as Christmas Present (and, well… you’ll see), Maria Meschi as Marley, Emerson Black as Fezziwig, and Michelle Wafford as Mrs. Cratchit, with Jeff Stratford as Bob Cratchit, Tristan Montgomery as Fred, Miki Mathioudakis as Mrs. Fezziwig, and an ensemble of characters and Victorian Urchins played by Adrienne Anderson, Alex Kao, Anahit Aleksanyan, Anna Lee, Arin Anderson, Ben Curry, Beth Gibson, Calvin Meschi, Cari Gallagher, Charlotte Wagner, Derwin Lester, Elsie Huldeen, Emily Persic, Finley Eyers, Fiona Eyers, Jessica Dickson, Kallen Ruston, Katie Eaker, Kelly Haas, Kendall Crenshaw, Lillian Hall, Lisa Anderson, Luna Capehart, Mandy Holzhausen, Michael Persic, Noah Lee, Patrick Clemens, Sam Lee, Sophia Capehart, and Spencer Hahn.

You have seven chances (at the time of this posting) to see this charming, fun, silly, entertaining, and now traditional yuletide treat, but tickets are selling fast, playing Thursday through Sunday, Dec. 14-17 and 21-23. Get them at indydistricttheatre.org.

Spend a holiday with this “Nice Family”

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

By John Lyle Belden

We extend our sincere thanks to Richelle Lutz for bringing us up the road to Center Stage Community Theatre in Lebanon for the holiday treat she directs and has a role in, “A Nice Family Christmas,” by Phil Olson.

While a sequel of sorts to Olson’s “Nice Family Gathering,” it takes place a few years later and there’s no need to have seen the antics of the earlier play to get into the dysfunction of the Lundeen family of Minneapolis. Being Minnesota Lutherans, they aren’t big on expressions of affection, and post-Covid avoidance of hugging or other contact come naturally to everyone.

Mom Helen (Melinda McGinnis) was hoping for, as the title says, a nice holiday, but that gets difficult with the arrival of her mother, saucy Grandma Clara (Lutz), from her retirement village of Sun City, Fla., where she’s run out of old men to hook up with. Middle child Carl (Frankie Gross), a journalist, arrives with an ulterior motive – his editor at the paper wants a “family Christmas” story from him. Younger sibling Stacy (Meredith Mitchell) arrives next, but without her girlfriend/fiancé, who is at her parents’ home, planning to come out to them. Grandma is still adjusting to Stacy’s sexuality (“In my day, we didn’t have gays…”). Mom’s eldest and favorite, Michael (Aaron Moon), arrives and it is soon revealed that he and his wife, Jill (Jada Cannelle), have separated – but she appears anyway, wildly hormonally emotional from their efforts to conceive a child. Another surprise is Uncle Bob (Richard Steinberg), who shows up with a big smile and a half empty whiskey bottle (“You can’t spell BYOB without BOB!”).

In an effort to rein in all the chaos, Mom proposes a game: A grand prize will go to the one who best fulfills the two rules – 1. Be good. 2. Do something unselfish for another. This will prove to be a harder contest to win than you’d think.

Issues abound with this bunch, from relationship troubles to expensive Star Trek plates, to hidden medical diagnoses, to the fate of Mr. Peepers, the gerbil. And, as always, this family’s difficulty in saying “The ‘L’ Word.” (The one that rhymes with “dove.”) While the content, especially when Grandma waxes nostalgic about randy adventures, can get a bit mature, this clan are masters of profanity-free euphemisms – “Oh, for priced cakes!” – so consider this a PG-13 show.

Punch lines come frequent and fast with hilarious familial barbs in all directions, though you can tell they all truly care for each other. The cast maintain great family chemistry that has me glad Encore has an ensemble award.  

One weekend remains, Friday through Sunday, Dec. 15-17, at 604 Powell St., Lebanon. Get info and tickets at centerstagecommunitytheatre.com.

GHDT does ‘Nutcracker’ their own way

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

By John Lyle Belden

Likely one of the most produced entertainments this time of year (aside from a play with someone named Scrooge) is some version of “The Nutcracker.” Let us suggest you check out Gregory Hancock Dance Theatre’s unique vision of the classic E.T.A. Hoffmann children’s story, performing this weekend in downtown Carmel.

Choreographed by Gregory Glade Hancock with Dawn Deahl and Shari Washington Rhone, this dance program is a showcase for all ages of students at the Academy of GHDT. The contemporary feel is enhanced by a largely Tchaikovsky-free score, instead featuring music by the likes of David Arkenstone, David Byrne, Danny Elfman, and Hans Zimmer. The arrangements work, and still serve the story.

Another difference is the casting of a boy, “Klarence,” performed by Vincent Kitchen in select performances. Others have the more traditional Klara, danced by his twin sister, Violet Kitchen. We attended a performance with Vincent, who is outstanding, already showing the poise and presence of dancers much older.

Featured dancers also include Audrey Holloway, Hillary Riley, and Audrey Springer, who appear as the Sugar Plum Fairy, Nutcracker, and a soloist in the international dances. Megan Webb appears as Drosselmeyer, Evangeline Meadows is the Mouse Queen, and Zoe Hacker is the Snow Fairy.

Other dancers include Claire Bagato, Annabelle Breeden, Arden Brothers, Fiadh Flynn, Lera Griffis, Amelia Joest, Aailyah Johnson, Stella Kitchen, Jocelyn Larry, Jo’Nia Larry, Jovair Larry, Josephine Meadows, Hazel Moore, Ellington Thacker, Isabella Webb, Molly Webb, and Tara Williams.

Presented with Hancock’s flair for visual storytelling, this familiar yet unique production is at the GHDT performance space, The Florence, at 329 Gradle Drive, Carmel, Thursday through Sunday, Dec. 7-10. (Parking spaces will be kept open for patrons – the Carmel Christkindlmarkt is nearby.) For information and tickets, visit gregoryhancockdancetheatre.org.  

Buck Creek ‘Miracle’ relives holiday memories

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

By John Lyle Belden

When we were children, it was easy to think of our parents as capable of anything, maybe even magic, especially during the holidays. This is the theme of “Dad’s Christmas Miracle” by Pat Cook, this season’s production by Buck Creek Players.

Connor Murphy (Tony Brazelton) is an adult now but has fairly vivid memories of at least one long-ago Christmas. As he tells the story, the ghost of his teacher Miss McLaughlin (Marie McNelis), pops up to keep him accurate and on-topic.

Young Conner (Spencer Bland) wishes for a real motorized go-cart at a time when his father (Matthew Bush) struggles to afford gifts at all. His pesky older brother Frank (Wes Olin) has made his wish clear, dropping leaden hints, but sister Jessica (Brooke Dennis) is testing the power of faith by only asking for her Christmas gift in silent prayer, refusing to even tell her best friend Madelyn (Josie Joyner). Not even Mother (Megan Slocum), with her maternal psychic powers, can trick out a clue.

Meanwhile, Connor is working on his part in the Christmas pageant with best pals Neil (Jacob Bush), who is super smart, and Tater (Spencer Pipkin), who isn’t.

And then there’s neighbor Harriet (Sarah Latimer) bringing over her (in)famous fruitcake.

While this fits the genre of nostalgia stories (like the ones on TV with angels or BB-guns) this play has its own charms and twists, and plenty of funny moments. There’s mischief at the movies, the “honesty test,” and even a momentary Greek Chorus. Naturally, there’s also a thing that happens in the second act that jeopardizes the holidays, but true to the title, Dad will somehow pull off the Best Christmas Ever. You have to watch to see how it cleverly comes about.

Directed by Sam Brown, everyone comes off as charming in their own way, making for perfect family entertainment.

Behold “Dad’s Christmas Miracle” Fridays through Sundays through Dec. 17 at 11150 Southeastern Ave., Indianapolis (Acton Road exit off I-74). Get info and tickets at BuckCreekPlayers.com.

‘Carol’ gets farcical in Westfield

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

By John Lyle Belden

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

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

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

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

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

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

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