John

IndyFringe: El Traje Nuevo Del Emperador

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This is part of the 20th Anniversary Indy Fringe Festival, Aug. 14-24, 2025, in downtown Indianapolis. For information and tickets, see indyfringe.org.

By John Lyle Belden

Now that it has completed its three-day visit to the Vision Loft space at IndyFringe, a few words – in English, please excuse me – about this wonderful piece of Teatro Juvenile:

Presented by Juan Francisco Ramos Aguilar of El Salvador, you are treated to a mask-and-puppet production of the fairy tale fable also known as “The Emperor’s New Clothes.” This story was popularized by Hans Christian Andersen, though its source can be traced back to Spain. Still, its familiarity helps us who don’t speak Spanish as our jester narrator/puppeteer does the show entirely en español, full speed, as though entertaining children in his own country.

That’s right, no English. Not a word. You must pay close attention to the flow and the words that sound familiar, as well as the broad hand gestures and other cues that young listeners rely on as they learn more of their own tongue. For me, this enriched the experience, pulling it out of literary cliché so that I can experience it like its intended audience. I welcomed the chance to stretch my poquito “Sesame Street” understanding of Spanish. The colorful masks, costumes, puppets, and décor further enhance the scene.

Aguilar is the parable-teaching Jester, as well as the Conman seeking oro (gold), as well as the old Prima Ministro who takes El Rey (the King) to see the alleged miracle fabric. At points, His Majesty approaches the audience, asking our opinions. It’s best – no matter what he says or how little you understand – to respond with an emphatic “Si” lest you arouse his royal bluster.

Around the midpoint of the story, the narrator also gives us a quick hand-puppet skit with Punch-and-Judy style characters.

The overall experience was fascinating, and for someone like me an immersive opportunity to follow another language. For those in the audience who could speak Spanish, it was good to have a live performance that appealed directly to them.

Hopefully, this show or something like it can make its way to our city again.

IndyFringe: Beyond Ballet

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This is part of the 20th Anniversary Indy Fringe Festival, Aug. 14-24, 2025, in downtown Indianapolis. For information and tickets, see indyfringe.org.

By John Lyle Belden

You have one chance left to see “Beyond Ballet,” presented by Indianapolis Ballet, at 2 p.m. Saturday, Aug. 23, at The District Theatre. Given the rarity of seeing this professional company for such an affordable price, this is likely sold out. Still, check and see if you’re lucky.

What you will see (or miss) is an extraordinary display of beautiful, disciplined artistry in motion, showcasing the physical strength, stamina and control of the dancers. The style mostly exemplifies traditional ballet, even the woman in the pas de deux with a slow-tango feel works in toe-shoes. In a more modern mode is a piece choreographed by local legend David Hochoy, a trio (pas de trois, I believe is the term) to lyrical guitar and aria.

Further, it seems they brought the entire company to this exhibition. You rarely see the same person in two dances, giving us a sampling of Indianapolis Ballet’s varied and diverse talents. In the final curtain call, they overwhelm the District mainstage.

Information on their upcoming season is at IndianapolisBallet.org.

IndyFringe: The Estate Sale

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This is part of the 20th Anniversary Indy Fringe Festival, Aug. 14-24, 2025, in downtown Indianapolis. For information and tickets, see indyfringe.org.

By John Lyle Belden

When you enter “The Estate Sale,” the one-woman show by Kelly Dee with Stew Jamesson, there are tables set up with various random and old items, which you can peruse before and after Dee’s performance. Name any price for something, and it’s yours – really!

“Why am I doing this?” she says, “I’m clearing out, letting go.” This applies to the clutter acquired by the estate sale company she runs with her mother in Melbourne, Fla., and that which she has no more room for “up here,” she adds, pointing at her head.

We get more than a sales pitch – the kitsch on the tables largely speaks for itself, though a few items she will show off for their novelty, like the political toilet paper or the rather sinful “statue” of Jesus (if they haven’t been sold yet). We also get the story of her life, from Queens, N.Y., to Florida – which she can’t stand, though she keeps finding herself back there. We learn about her parents, maybe not the best at nurturing, but they have a talent for flipping merchandise that may or may not have “fallen off a truck.” This naturally leads to dealing the estates of the many retirees in her city as they pass on.

She tells of how she always had the “urge to go” somewhere, anywhere. Her life’s baggage, literal and mental, she notes, still stays on her like a backpack. The head-stuff you will get free with your ticket; everything else, make an offer.

Fascinating and funny with the opportunity to get your own odd souvenir, the show has closed its three-show run at The District Theatre. However, Dee said she plans on pulling her sale wagon around Indy Fringe through its closing weekend before moving on to another city.

CCP: A bitterly arousing ‘American’ story

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By John Lyle Belden

One of the cruelest linguistic tricks of the last 10 years is how the meaning of “woke” has been thoroughly obscured from its use by African Americans notably at least since the start of Black Lives Matter in 2013 and increased to a crescendo with the racial events of 2020.

This loose definition (coming from Black communities rather that formal institutions) is mainly the awareness – gained from living in an environment, or by exposure to that environment – of the hard truths of social, judicial, and political conflict around ethnicity and especially race, particularly the Black experience taking into account over four centuries of American culture. Being or becoming “woke” should not be trivial, as it addresses issues and events that continue to alter and destroy people’s lives. (Any expansion of meaning – to Latinx or LGBTQ, for instance – should be to broaden the tent, not tear it down.)

It is in this brutally honest reckoning that one should consider the characters portrayed in “American Son,” the 2018 drama by Miami attorney and acclaimed playwright Christopher Demos-Brown, presented by Carmel Community Players through Aug. 17, directed by Bradley Allan Lowe.

Though the word is never used in the play, how “woke” are each of the adults we see?

The mother, Kendra (Zarah Shejule), a Black college professor, would certainly think she is. She senses the worst when contacted at 3 a.m. by Miami-Dade Police, only told “there has been an incident” with her 18-year-old son Jamal’s car. Waiting for nearly an hour in the MDPD waiting room where the play is set – while told nearly nothing – doesn’t help.

Young white Officer Larkin (Joshua Matasovsky) comes off as the opposite, though at first trying clumsily to bridge the gap. At first he plays the know-nothing rookie, stalling for time until the AM Public Affairs Officer arrives. When Jamal’s father, Scott (Earl Campbell), a white FBI agent, enters, Larkin sees the badge and divulges far more information – to him, mistakenly believing he is the officer they are waiting on.

In Kendra and Scott’s conversation, ranging from scathing to bittersweet due to the circumstances of their separation, we learn that Jamal was raised with all the best conditions their parents’ social and monetary privileges could arrange, including an exclusive prep school and an upcoming place at West Point military academy. However, in recent weeks he has questioned his own sense of identity, leading to his angrily venturing out alone the evening before in the nearly-new car given to him by his father.

Social media enters the fray in a bystander video Scott receives of that vehicle with three young black men in a police stop.

Frustrated tempers reach their fever pitch during the arrival of PAO Lt. Stokes (Brian G. Ball). Bringing calm at this point is nearly impossible – Stokes being Black leads to a certain slur that you know will eventually be said – but information is divulged, piece by piece, none of it getting any better.

The factors of this incident get ever more complex – how a Black child is raised; a provocative bumper sticker; privilege and its lack; someone (not Jamal) with an outstanding warrant; marijuana (still illegal in this time and place); involvement of the Gang Intelligence Unit (just referred to casually as “GIU” by the officers); when Black wears “Blue;” the disturbing sounds on the video.

Solid, deeply felt performances by all four cast members never let us off the hook. Lowe provides not only directorial guidance but also designs both sound and an uncomfortably accurate set. This being a single 90-minute act aids the necessary tension.

Also, in this drama the road to hell is paved not with intentions but assumptions made by everyone involved, both within this room and in “the incident” that brought us here. These portrayals will (and should) inspire a lot of conversations after the show and for some time onward. The story is fiction, however the background of the playwright, as well as what we’ve all seen in the news, indicate it is based on the true experiences of many who have had long sleepless nights.

As we awaken each day to a nation where, in practice, skin tone becomes “probable cause” for law enforcement, “American Son” retains its importance as a mirror to our attitudes and public policies. Performances are Thursday through Sunday, Aug. 14-17, at The Switch Theatre, Ji-Eun Lee Music Academy, 10029 E. 126th St., Fishers. Get info and tickets at carmelplayers.org.

Summer Stock’s ‘Chill’ a hot ticket

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By John Lyle Belden

Talk about an upgrade – Summer Stock Stage presents a Mainstage young artist production of the Broadway hit “Be More Chill.”

Based on a story genre that dates back to tales of Faust in the 1500s, through to modern musicals like “Damn Yankees” and “Little Shop of Horrors,” filtered through the world of teen movies since the 1980s and contemporary youth culture, this musical by Joe Iconis with book by Joe Tracz, based on the 2004 novel by Ned Vizzini, centers on a “Loser Geek Whatever” high schooler named Jeremy (Gabriel Vernon Nunag) whose father (Drew Kempin) is too depressed to wear pants, his crush Christine (Aubrie-Mei Rubel) doesn’t notice him, and his best friend Michael (Alex Pharo) doesn’t mind also being a dork, because he knows they will eventually be “cool in college.”

But Jeremy won’t wait that long. Even risking further unpopularity by signing up for the school play (the Shakespeare-ish “Midsummer Night-Mare with Zombies” adapted by eager drama teacher Mr. Reyes [Luke Aguilar]) doesn’t help because Christine has friend-zoned him – a combination of her ADD and the attention paid by handsome extracurricular-activity hopper Jake (Kendrell Stiff).

In an odd encounter, the school bully Rich (Maddux Morrison) confesses he is mean because he was instructed to be by his Super Quantum Unit Intel Processor, or Squip, which is a black-market Japanese nano-computer in pill form. Once taken with regular Mountain Dew, its circuitry migrates to the brain and gives your personality – and popularity – a total makeover.

At the local shopping mall, Jeremy finds the dealer and buys, then takes, his own Squip (Piper Murphy), which appears only in his field of vision, looking something like a “Tron” version of Timothee Chalamet with greenish hair. This program immediately takes charge of his shopping decisions and when the popular girls show up, has him acknowledge the “beta,” Brooke (Jilayne Kistner), instead of the alpha, Chloe (Jayla Shedeed), to help set up his ascendance in high school society. As for Michael, the Squip employs an optic-nerve blocker so that the BFF is literally out of sight, out of mind.

The cast also includes Isabella Agresta, and Jenna Rolan as the school gossip. Devan Mathias directs, with music direction by Cameron Tragesser and impressive choreography by Darian Wilson.

The set design by Chyna Mayer includes several screens which at times show video linked from smartphones the actors are holding at the time, giving such moments an authentic feel. Costumes by Tony Sirk include the anime-style green Squip cybersuits as well as the odd outfits used in the school play.

Nunag’s performance is excellent, and Rubel’s adorable, while this musical gives the supporting roles plenty of moments to shine, making Kempin’s Mr. Heere and Kistner’s Brooke characters to feel for, as well as lending Morrison’s bad-boy Rich a more nuanced persona. Then there’s the fact that the big hit song is sung by the neglected best friend – as Pharo nails his rendition of “Michael in the Bathroom.”

Murphy, as the Squip, perfects the Terminator stare and affect with cooly-efficient movement. Her aura of subtle menace compels obedience.

While a fun musical centered on teen angst, this tale of the wish to exchange one’s self for a promised “upgrade” harkens back to ancient roots while becoming only more relevant in the current spread of A.I.

After all, we each now hold a compact supercomputer just inches from our brains every day.

You, too, can “Be More Chill” by avoiding the August heat and seeing this production tonight (as I post this) and Sunday, Aug. 9-10, and Thursday through Sunday, Aug. 14-17, at Schrott Center for the Arts, 610 W. 46th St., Indianapolis (Butler University, next to Clowes Hall). Get info at summerstockstage.com and tickets at butlerartscenter.org.

They-dunit! Indy Drag gets a ‘Clue’

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By John Lyle Belden

“Lip-synch for your life” takes on fresh meaning as Indy Drag Theatre brings us the camp cult classic featuring Tim Curry (no, not that one!) – “Clue” – the whodunit film that cast big Hollywood stars to make up for the fact that it’s based on a board game.

Director Vera Vanderwoude St. Clair* admitted being concerned at first in staging IDT’s first non-musical. But the cast and crew of this production slay! An ingenious set design by Miss Kay-Ottic lets us into all the various rooms from the game board and movie. Makeup design by Ciara Myst gives everyone a unified Agatha-Christie-nightmare look befitting both the drag mystique and gothic atmosphere. The killer costumes are by Anthony Sirk, with wigs by Hair By Blair. Choreography is by April Rosè.

Like all IDT parodies, the source material – mainly the 1985 film by Jonathan Lynn and John Landis – provides the audio and sound effects, with some surprise samples from other media thrown in for fun. The voices may sound familiar, like Martin Mull’s bluster or Madeline Kahn’s famously improvised “flames” monologue, but they take on new life neatly mimed by Indy-area performers.

Joe Wagner makes a brilliant IDT debut as Wadsworth, making the surly and sassy butler his own. The frantic “reenactments” toward the end(s) are hilariously fascinating. Fresh off her successful tour of different parts of Indianapolis, Madison Avenue charms as the maid, Yvette. Natalie Port-Ma’am is saucy as the Cook.

Our guests/suspects are Maria Fruit as Miss Scarlet, Brentlee Bich as Mrs. Peacock, St. Pussifer as Mrs. White, Maurice Mantini as Colonel Mustard, Freddie Fatale as Professor Plum, and Johnee Crash as Mr. Green – allegedly the only homosexual on the stage (go figure!). Finally, Dottie B. Minerva drops in and drops dead as Mr. Boddy.  We also encounter a mysterious motorist (Gayle Thyme), cop (Calyko Magick-Waffle), and singing telegram (Nicole Sherlock). And watch out for the aggressive “dog.”

The show follows the movie (a bizarre mystery set in the 1950s), of course, but there are plenty of over-the-top antics to enhance the lines you might know by heart. And yes, we do get all three solutions.

Performances of “Clue: A Drag Parody” are Thursday through Sunday, Aug. 7-10, at the District Theatre, 627 Massachusetts Ave., Indianapolis. Info and tickets at indydragtheatre.org.

*(Note: Out of respect for the art form and its performers, they are identified by their Drag names as given in the show program.)

‘Rabbit Hole’ a careful exploration of painful subject

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By John Lyle Belden

Eclipse Productions of Bloomington* presents the Pulitzer-winning drama, “Rabbit Hole,” by David Lindsay-Abare, which is a challenge to watch – not because it’s done badly, but because it is done so well.

Real-world married couple Kate Weber and Jeremy J. Weber play Becca and Howie Corbett, in whose suburban New York home the play is set. Months earlier, their four-year-old son Danny was struck and killed by a car when the boy chased his dog into the street. Becca is still dealing not only with the pain of grief but also with the constant presence of Danny’s clothes and possessions. Howie maintains a strong front, but privately watches VCR tapes from Danny’s last months before the accident, and sees even taking clothes to Goodwill as “erasing” their son. The couple had gone to a support group for parents who lost children, but Becca found their sentiments infuriating, so Howie goes alone.

We also meet Izzy (Trick Blanchfield), Becca’s sister whose irresponsible lifestyle is changing thanks to a surprise pregnancy by her musician boyfriend. Nat (Beth Fort), mother of the two women, is also present, cocktail in hand. Her attempts at comfort and relating to loss bring up her own unresolved pain over son Arthur, Becca and Izzy’s older brother, who died of suicide.

In addition, there is Jason Willett (Sam Durnil), the teenager who was at the wheel of the vehicle that hit Danny, dealing with his own feelings of responsibility.

The five visible characters are surrounded by an orbit of others whose presence are felt, including Arthur; Izzy’s boyfriend and his now-ex (an encounter with whom Izzy relates in the first scene); the ever-barking dog; and the long-time friends with children who haven’t called since the funeral.

The star at the center, of course, is Danny. Every conversation carries the weight of his absence. As Howie watches the tape, family moments are heard and seen in a projection that bathes the set with the happy boy’s presence.

Flashes of humor help make the moments of raw emotion bearable and relatable. Each person has their well-intentioned mis-steps on their way forward through the weeks that follow.

The Webers’ natural chemistry helps inform the longing between their characters struggling with potential estrangement. Each presents a soul nearing the breaking point; she as she cries out, he as he holds everything in. Blanchfield, ever reliable in a free-spirit role, transmutes smoothly as she becomes the voice of reason. Fort stirs our sympathies with her complex character, dealing with the loss of both son and grandson as best she can. Durnil handles well a teen given a burden way beyond his maturity to shoulder. Still, Jason’s brave naïve gesture becomes an unlikely turning point.

The play is directed by Konnor Graber, whose approach draws us in with compelling performances, the projected video, and the use of songs during low-light scene transitions that reflect the mood and plot. Lighting is by Allie Mattox, sound by Joshua Lane, set design by technical director Shayna Survil, with Alec Guerra as stage manager.

This drama is worth the effort to see as it eases us through this couple’s process, engaging us with a reminder that life can and must continue, even as those who departed linger in spirit.

Performances are Friday through Sunday, Aug. 8-10 at The Constellation Playhouse, 107 W. 9th St., Bloomington. For tickets and info, see eclipseproductionscompany.com.

*(No relation to the “Eclipse” Indy young artist program.)  

Indy Shakes’ ‘Errors’ succeeds

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By John Lyle Belden

If one is to genuinely have fun with a work by William Shakespeare, it’s hard to go wrong with “The Comedy of Errors.”

This early work by the Bard is chock full of the kind of confusions that are universal hallmarks of comedy to this day. Therefore – and “wherefore” – Indy Shakes adapted it for their summer outdoor production at Taggart Memorial Amphitheatre in Riverside Park, directed by Rob and Jen Johansen, serious actors who are no strangers to getting goofy on stage.

Taking it perhaps a step further than even crowd-pleaser Shakespeare (who was known to hire clowns), the play also includes members of (and “games” by) Act a Foo Improv Crew, featuring Daniel A. Martin.

The setting is Daytona Beach in 1984. Because reasons to start the plot, interlopers from Venice Beach are not allowed on pain of death. Caught by the police (Martin), Egeon, Merchant of Venice (Zack Neiditch), must either give up 1,000 coins or his head. In a bid for mercy, he tells the ruling Duke (Joshua Owens) his story:

He and his wife had identical twin boys, meanwhile an impoverished woman had such twins of her own, which they took on as companions and servants to their own sons. Later, during a sea voyage, a Tempest split the boat, leaving each parent alone with one each of the pairs of boys. In the process of his long search for his wife, Egeon lost track of his son Antipholous (Andrew Martin) and servant Dromio (Hannah Boswell) in Boca Raton, and thought they may be in Daytona. 

You see where this is going. Conveniently also in Daytona Beach are an Antipholus (Carlos Medina Maldonado) and manservant Dromio (Kelsey VanVoorst). Our young master has a household complete with wife Adriana (Alicia Sims), her sister Luciana (Kelli Thomas), and kitchen maid Luce (Cynthia Collins), who is sweet on Daytona’s Dromio. And remember, thanks to the magic of wearing the same outfit (just go with it), the Antipholuses and Dromios look exactly alike.

It doesn’t take long for this play to live up to its title, with hilarious criss-cross encounters between characters and intrigues that involve others including Ennis Adams as an impatient merchant and Scot Greenwell as Angelo the goldsmith. The gags also take advantage of improvised moments, 80’s and Florida references, and Shakespearean in-jokes like crying “Wherefore art thou, Dromio?!”

Finally, after a botched exorcism and Scooby-Doo-esque chase scenes, sanity is restored by order of the Duke with the aid of a local Abbess (Lynne Perkins).

While this comedy does involve a fairly simple plot for Shakespeare (fine by me, to be honest), I couldn’t help but notice a greater emphasis in the poetic dialogue, of its rhythm and rhyme. Indy Shakes artistic director Ryan Artzberger says this is indicative of Shakespeare exploring the use of verse in his early works, employing rhyming couplets to deliver the punchlines – alongside his famous puns and inuendo.

Performances are first-rate throughout the cast. Martin makes a major contribution with his minor role. I’ve seen Maldonado excel wherever he’s cast – from serious stuff to kids’ shows – and he naturally knocks it out of the park here. Edges of drama here and there, such as Greenwell’s nervousness with Angelo on the hook for a lot of money (a gold chain being on the neck of the wrong Antipholus) or Sims and Thomas as sisters feeling they are being played for fools, enhance the comic stakes for greater hilarity. Boswell and VanVoorst thrive in the absurdity.

Pardon my burying the lead here, but admission to this outdoor spectacle is free! Indy Shakes does need patrons to register their tickets for their headcount, and for a price, VIP tables are available. Remaining performances are Thursday through Saturday evenings, July 31-Aug. 2. For information and to register, visit indyshakes.com.

Strange and silly spycraft in MCP ‘Best Laid Plans’

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By John Lyle Belden

It can be frustrating, while relaxing in Jamaica working on your next book, when the plots of your spy novels start coming true.

This is the essence of the espionage-themed farce “The Best Laid Plans” by Fred Carmichael, presented by Mud Creek Players, directed by Collin Moore.

Ada Westbrook (Molly Kraus) had tired of writing children’s books and, realizing that spy stories were like fairy tales with guns and sex, drew from her late husband’s work with the U.S. State Department to become “America’s Ian Fleming,” with titles such as “The Seductive Spy.” Her editor and personal assistant Francis Daniels (Lexi Gray) is just glad to no longer proofread stories about silly animals, looking forward to her working vacation with Ada in their beachside island home.

A rather nosy neighbor, Phoebe (Rosemary Meagher) appears, claiming to know one of Ada’s friends, gaining an invitation to come over later for cocktails. Also invited is one of Ada’s husband’s former colleagues Hubert (Ronan Marra), whose son Guy (Matthew Ball) is dating her granddaughter Gail (Lane Fiorini) – they are on their way as well.

Meanwhile, a rather pushy man (Kevin Smith) comes in claiming to work for The Government, saying due to her State Department ties, Ada has been chosen as an intermediary to receive The Plans in an exchange that prevents Them from stealing these threats to national security. She is only given the Swiss bank book to be exchanged, as well as a flowery password exchange, before this Mr. Dike (pronounced “deek”) slips out to his boat, which promptly blows up.

From here, things get complicated, strange – and hilarious.

A very eager Russian-sounding agent, Goralsky (Lark Green), arrives with the right password but apparently dies before completing the exchange.

Then, Phoebe and her husband Vincent (Rob Kent) arrive and – you remember that TV show “The Americans”? These two didn’t do as well in Russian infiltrator school. Also, there’s another agent, Michael (Connor Phelan), who is apparently quickly dispatched.

And Hubert keeps talking to his shoe.

On top of this, Gail and Guy make their own macabre discovery, and deal with it as best they can (badly).

From all this we get constantly-moving bodies that often won’t stay dead, secret identities, repeated failure to find the titular Plans, clever Ada being underestimated, and Francis just needing another drink. For stage buffs, with the use of a window-seat as a hiding place, there are even a couple of references to “Arsenic and Old Lace.”

Kraus thrives playing Ada as the center of attention, while Gray is so cool as the PA who has nearly seen it all, I wondered if Lexi was the secret spymaster. Fiorini and Ball work Gail and Guy’s misunderstandings of the plot into the mix for maximum effect. The others are a nifty mash-up of 007, Get Smart, and Boris & Natasha archetypes working well in this variant of the “slamming door” farce.

For funny with a bit of firepower – and cleverly hidden secrets – “The Best Laid Plans” plays tonight and Sunday (as this posts), July 26-27, as well as July 31-Aug. 2 at the Mud Creek Barn, 9740 E. 86th St., Indianapolis. Get tickets at mudcreekplayers.org.

Nifty ‘nautical nonsense’ by Summer Stock Stage

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By John Lyle Belden

The very concept of “SpongeBob SquarePants” – conflating a living sea sponge with the rectangular kind from your kitchen – alerts you that none of this should be taken seriously (that, and its countless anthropomorphic absurdities).

But you likely know this, as the Nickelodeon animated series created by Stephen Hillenberg and voiced by comedian Tom Kenny has been entertaining children and childish adults for decades. Unsurprisingly, it also spawned a stage musical, now presented by the teen performer program of Summer Stock Stage at Schrott Center for the Arts on the Butler University campus, directed and choreographed by Jerico and Jonnie Hughes.

But can the quality silliness of the half-hour toon be sustained for two full acts of live theatre? To quote the familiar TV opening sequence: “Aye, Aye, Captain!”

However, Patchy the Pirate (Lucas Heiden) isn’t really needed for this show, despite how much he tries to get involved. With the traditional voiceover of a faux Cousteau, and the help of a just slightly off-stage foley artist (Ethan Cantrell), we meet our principal players: SpongeBob (Jaivean Wilson), Patrick (Taylor Smith), Squidward (Michael Washington), Sandy (Ariyana Johnson), Mr. Krabs (Simon Allen), his daughter Pearl (Madison Fleener), and Krabs’ devious rival Plankton (Lewis Claxon), accompanied by devoted AI partner Karen (Gracie Navarro).

The denizens of Bikini Bottom are played by Paige Murray (Mayor), Claire Kashman (Mrs. Puff), Ehren Knerr (Johnny the Bartender), Graham Bodkin (Perch Perkins), Eli Neal (Old Man Jenkins), Dexter Smith (Larry the Lobster), and Elijah Britt, Evan Cohen, Elowyn Dunn, Nayima Hall, Justice Harris, Eleanor Hendrickson, Seraphim Holmes, Shaleigh Hreskowsky, Henry Kirk, Jyone Kneeland, Isiah Littell, Collin McCune, Robert Newton, Quinn Potter, Vaben Sanders, Olivia Steele, and Keliyah Vincent.

Our tropical undersea village is shaken – literally – by the news that nearby volcano Mt. Humungous is about to erupt. Sandy – a genius inventor, as one would expect from a squirrel capable of living under the ocean – wants to tinker a way to stop the disaster. Plankton, on the other hand, persuades everyone that evacuation is the best option (which he will exploit in his newest evil scheme). Either way, they have until sundown of the next day, emphasized by a countdown clock projected above the stage, before their homes are destroyed.

What follows include a Krabs cash-grab; a benefit concert with The Electric Skates (Little, Steele, and Dexter Smith), with Squidward trying to work in his “Tentacle Spectacle;” Patrick receiving the cult-like devotion of a school of sardines; a Pirate musical number; SpongeBob’s climb to deliver Sandy’s Eruptor Interrupter; and general paranoia and mayhem, with boisterous gloating by Plankton.

This comes with plot-advancing pop songs by various artists including Jonathan Coulton, David Bowie with Brian Eno, Plain White T’s, T.I., Panic! At the Disco, Alex Ebert, Cyndi Lauper with Rob Hyman, Yolanda Adams, The Flaming Lips, Sara Bareilles, Steven Tyler and Joe Perry; Lady Antebellum, John Legend, They Might Be Giants, and Kenny with Andy Paley, as well as the SpongeBob Theme Song by Hillenburg, Derek Drymon, Mark Harrison and Blaise Smith.

One practically magical aspect of this production, which speaks to the talents of the cast, is that they so perfectly embody the spirit of their familiar characters, they “look” the part with just a few visual cues in hair and wardrobe, avoiding distracting and cumbersome outer costumes. Wilson practically glows with SpongeBob’s perpetual boyish optimism, Johnson with Sandy’s pragmatic can-do attitude. Taylor Smith’s Patrick nimbly employs voice and expression to capture the essence of his low-brains/high-loyalty personality. Likewise, Allen is spot-on in nailing the craven capitalist Krabs. With Fleener’s portrayal of Pearl, we see the show’s emphasis on her being a mildly spoiled teenage girl more than being a young whale. Washington expertly portrays Squidward in double-legged trousers with natural ease, including a dance with tentacle taps.

This approach to costuming especially works for Plankton; Claxon sometimes puppets his near-microscopic self, and his flashy green outfit with a (coincidental?) resemblance to Marvel’s Loki helps hint at his cooly sinister intent.

The overall style, from the musical’s book by Kyle Jarrow to the Hughes’s approach and cast and crew’s all-in energy give us a kids show that embraces that part in all of us that wants a fun time and adventure with characters who feel like friends.

This production “The SpongeBob Musical” only has the one weekend: If you see this right after we post, perhaps you can make it to the Saturday or Sunday (July 26-27) performances at Schrott, 610 W. 46th St., Indianapolis (next to Clowes). Info and tickets at summerstockstage.com.