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IndyFringe: A Life of Sorrow — The Life and Times of Carter Stanley

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This show is part of the 15th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 15-25, 2019 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By John Lyle Belden

In 1966, a man looks back on his life and career playing “hillbilly music.” He is Carter Stanley of the legendary Stanley Brothers, who, along with performers such as Bill Monroe, brought Bluegrass out of Appalachia and into our radios and concert halls.

Historian and fellow Virginian Gary Reid presents this one-man show he has developed over the last 10 years. He strums the guitar and sings some “high lonesome” verses, but this is storytelling, not a concert. Still, what stories he has to tell! We hear of Carter and Ralph Stanley’s upbringing, the father who left — twice — and the bizarre way they got their home up on Smith Ridge in the Clinch Mountains. Then, after Carter’s service in World War II, comes the music career, starting with a home-town radio show. He goes from getting into trouble for copying one of Monroe’s songs to eventually playing in his band. Along the way, we hear about characters like Suicide Jones, Fiddlin’ Powers and Pee Wee Lambert.

“I have an independent streak about me!” he declares, but notes “the music was always first.” While he didn’t stray far from the Gospel, he would still enjoy a jar of Dewey’s Finest moonshine on occasion.

Reid’s gentle manner draws you in and keeps you. Like the music, this isn’t anything loud or fancy, but it comes out just right. For anyone with an interest in the roots of “roots” music, “A Life of Sorrow” is highly recommended. When anyone asks me what I liked in the Fringe this year, this show comes first to mind.

Last performances are Friday and Saturday, Aug. 23-24, at the Firefighter’s Hall, 748 Massachusetts Ave. Reid can also be seen around the festival area, playing guitar or selling CDs of classic Bluegrass. Tell him howdy for us.

 

IndyFringe: Vixen DeVille Revealed

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This show is part of the 15th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 15-25, 2019 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By John Lyle Belden

A burlesque show like no other, if you can at all make it, you must see “Vixen DeVille Revealed” in one of its two performances this weekend – 3 p.m. today and 6 p.m. Sunday (Aug. 17-18) at the Indy Eleven theater (719 E. St. Clair). Yes, I put the pitch at the top, in case you are reading this with only a few minutes before showtime. It’s that important.

Mind though, this Londoner does use extremely salty language, and we might get down to the pasties at the show’s climax, but otherwise this is an exciting, entertaining, hilarious and inspiring teens-and-up show.

We get right to business with Ms. DeVille, star of stage, horror flicks, and TV’s “Masters of Illusion,” with a game of “Is There Enough Broken Glass on Stage?” She not only performs glass-walking (with a little bit of striptease) but as an entertainer who enjoys teaching, she will instruct an audience member to walk on the shards as well (only needing to remove shoes and socks).

She goes through various routines as she describes how she became a burlesque entertainer despite being unable to sing or dance, and self-conscious about stripping. She also explains how she is not a magician, but she needed to work up a sword-box illusion so that she had an excuse to buy the sword that goes with the “beacon of shame” corset. During costume changes, we are treated to video footage and recorded interview snippets that add a lot to the show, and don’t feel like filler.

As we learn more, we get glimpses of Cat LaCohie, the former shy nine-year-old who always wonders if she’s good enough. This side especially shows when an accident nearly destroys her arm, and her confidence. Her vulnerability in telling the story transforms this show from great to brilliant. There has been an acrobatic hoop hanging over the stage this whole time – it has changed from just part of her act to a triumphant ascendance.

Kudos, by the way, to her faithful Kitty, as well her sword-box accomplice.

The only downside is that the show runs long, even with having to cut out the fire-eating segment due to venue safety rules – so it might be rushed or spill over in remaining performances. But do stay to the end.

IndyFringe: The Reluctant Mind Reader

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This show is part of the 15th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 15-25, 2019 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By John Lyle Belden

Brendon Ware was cursed with the ability to read minds. Because he enjoys lying, we have to just take his word for it; nevertheless he will make sure we all suffer for it – laughing the whole time.

“I’m a de-motivational speaker,” he says, as he tests a relationship, shows how he cheats at reading, tells you what was in your pocket, and even makes you feel bad for winning money. And despite his best efforts to use his powers for evil, it will thoroughly entertain you.

As I’ve hinted, there is plenty of audience participation, but it won’t hurt (trust me).

I know what you’re thinking: “I should see this.” Well, you only have two more shots during this Fringe: 6 p.m. today and 9 p.m. tomorrow (Aug. 17-18) at the Indy Eleven (719 E. St. Clair).

IndyFringe: Iron In Your Future

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This show is part of the 15th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 15-25, 2019 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By John Lyle Belden

If you think a person would be crazy to swim in the Hudson River at New York City, then Mindy Pfeffer is really off the deep end as she goes from triathlon enthusiast to the dreaded Iron Man. As an actor and playwright, she also gets to share the experience with you in this one-woman show.

We dive right in from the beginning, as she describes her first jump into the cold waters of the Hudson and relates the journey that brought her there. A confessed “Adult Onset Athlete,” to further test herself, she signs up for the Iron Man, a swimming/biking/running event with much longer distances (the run is a full marathon). Aided by the acid wit of her Russian coach – and a LOT of training – she makes it to the beautiful but daunting Lake Placid event.

Of course, there are bumps along the way. Pfeffer tells how she is felled by the Scottish Play curse, later an injury in which she has to wear “Betty boot,” and then there’s what happens the day before her Iron Man…

Pfeffer is a masterful storyteller, acting the swim strokes from the back of her chair, miming the bicycling, and otherwise holding our attention. She helps us feel the pain of the setbacks, and the joy of every little triumph. Viktor might even crack a smile at her portrayal of his sense of humor.

For those who suffer from being an AOA, wish they could get started, or just like to cheer them on, this is a great workout in humor and inspiration. Performances are 4:30 p.m. today and 6 p.m. tomorrow (Aug. 17-18) on the Indy Eleven stage of the IndyFringe building, 719 E. St. Clair.

Footlite brings on teen hit

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By John Lyle Belden

“Bring it On: The Musical,” based on the popular movie, is about more than cheerleading and the fun of being in a dance crew. Aside from being about friendship, acceptance, honesty, dedication and keeping everything in perspective, it is an immersive look at teenage life.

A Young Artists Production of Footlite Musicals, the entire cast are teens playing high school students. There are no onstage adult roles, placing the audience solidly in the kids’ world, where what they feel, experience and want is all that matters. For Campbell (Sierra Shelton), that means a lifetime of dedication towards one goal: to lead her cheer team to a championship at Nationals. 

But fate — or perhaps something more — has disrupted her plans, and Campbell goes from cheer Captain at posh Truman High to one of the new seniors at Jackson High, a gritty school that had disbanded its cheerleading program. What Jackson does have, though, is a dedicated Dance Crew, led by Danielle (Sophia Araceli Hughes). Could this be Campbell’s ticket back to her “one perfect moment?” 

At this point,  one could predict all the teen-movie plot beats, and likely understanding this, writer Jeff Whitty (“Avenue Q”) and songwriters Tom Kitt, Amanda Green and Lin-Manuel Miranda toy with those expectations. The show is somewhat by-the-numbers to keep it comfortably entertaining, with enough tweaks to keep us engaged and help turn some tropes on their ear. One can recognize Miranda’s driving rap-patter in some numbers, but it works and adds to the contemporary feel with his present fame.

Shelton and Hughes are each solid in their leadership roles, great in voice, step and charisma. However, our hero is Erin Vaughn as Bridget, who goes from cheer-wannabe who has to settle for the mascot costume at Truman to becoming fully accepted into her class and Crew at Jackson — becoming a hottie without a cliche “makeover.” 

Supporting roles are well-played, despite less depth in their scripting. Addison Bartley as Eva is the most complex of these, cheerfully chewing scenery as the girl-next-door who isn’t as nice as she first seems (yes she goes to expremes, but didn’t we all as sophomores?). 

Fellow Truman squad members include Katherine Felli as Skylar, who frankly enjoys playing the blonde stereotype to the hilt; Bailey Harmon as her minion, Kylar; and Maxwell Catlow as he-man with a gooey center Steven.

The Jackson students feel a bit more real, including Nathan Brown as Randall, the school DJ; Devin McDuffy and Devon Cummings as Cameron and his best bud Twig, who has the hots for Bridget; and Jaelynn Keating and Evan Vaughan as Nautica and La Cienega, Danielle’s sassy crewmates. The show broke ground with the first transgender high school character on Broadway, and most refreshingly La Cienega is completely accepted in the Jackson High culture, with only one fleeting reference in the dialogue; Vaughan plays it all with attitude, but naturally.

This fun show was packed with cheer and dance fans on Sunday, and the momentum could carry over to its second (and final) weekend, Thursday through Sunday, Aug. 15-18, at 1847 N. Alabama St. Get info and tickets at www.footlite.org.

Making Oceania Great Again

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By John Lyle Belden

Citizens: Do not look away! You are witnessing a rare insight into Room 101 of the Ministry of Love, where thought-criminal Winston Smith will offer his confession and confront his insanity, his failure to love Big Brother.

This is “1984.” (Your official Ministry of Truth calendar should reflect this.) The plus-good Citizens of Monument Theatre Company are providing you this opportunity, where they expose the troubling writings of George Orwell, as adapted by Michael Gene Sullivan, directed for MTC by David Ian Lee.

Smith, who also purports to be an actor named Nathan Thomas, has written his crimes in a diary which is read and re-enacted by Party Members Riley Leonard, Raven Newbolt, Kim Egan and Deont’a Stark. Thomas naturally embodies a complex patchwork of emotions — broken, yet quietly defiant. Leonard presents the pre-arrest Smith burdened by ennui and desperate for a world that makes sense to him. Newbolt plays Julia, the woman Smith risks all for, so effectively her cohorts start to question her loyalty to the Party. Egan, on the other hand, is a true believer, eager for this trial to move on to condemnation and execution. Stark nicely takes on roles including Party officer O’Brien, who eventually shows up himself, in the body of Michael R. Tingley. Karen Sternberg provides the voice of alerts of victories by Oceania forces and other vital news.

This method of presenting Smith’s criminal activity provides an intense experience in the intimate confines of Indy Convergence. The context is made contemporary by the use of hand-held telescreens (smartphones) and the autocratic atmosphere does feel familiar in the world outside. Perhaps the most chilling aspect is the confidence of Tingley’s O’Brien, aware that his role is not player in this game, but the dealer – and the House always wins.

This Citizen rates this drama as double-plus good.

To avoid potential arrest by the Thought Police, it is advisable to make your way to 2611 W. Michigan St. for the remaining weekend. Information and tickets at www.monumenttheatrecompany.com.

Summit: Feel the love of ‘Mary Jane’

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By John Lyle Belden

“Mary Jane,” as the name of both central character and the play presented by Summit Performance Indianapolis, refers not to a quasi-legal substance but to an American everywoman – dealing with one of the worst nightmares a mother could face.

In the drama by acclaimed playwright Amy Herzog (staged Off-Broadway in 2017), Mary Jane – played with bold optimism by Bridget Haight – is the primary caretaker for Alex, a nearly three-year-old boy with cerebral palsy and other conditions likely caused by a brain-bleed during premature birth.

Presented on the intimate confines of the Basile Stage at the Phoenix Theatre, the play is presented without intermission (as intended) but its scenes present the narrative in two acts: In the first, we are in Mary Jane’s apartment, which includes various medical equipment (much of it unseen behind Alex’s door) and a visiting nurse (Nathalie Cruz). In the second, we are in a hospital which becomes for Mary Jane a sort of home – her son still being cared for just off-stage.

The “third act” is the audience’s ride home, reflecting on what they have seen, heard and felt. Yes, it’s that kind of play. Expect no easy answers, or an ending that brings triumph or catharsis. This is a reflection of real struggles, how we find the strength to confront them, and the search for understanding among others in a similar situation, as well as through faith.

Cruz plays a doctor in the latter half; others in the cast take on dual roles as well. Mara Lisabeth Malloy twice plays a mother with a special-needs child – first a new mom receiving an avalanche of advice from Mary Jane on how to cope; later a Jewish mother of seven who, having faith and family for support, takes the mentor role. Kelsey Johnson is a young woman wanting to help but out of her depth, first as a visitor, charmed by the little boy then overwhelmed by the reality of the situation; later as a musical therapist shaken into not becoming yet another part of Mary Jane’s problems. Jan Lucas bookends the story, at first as a helpful apartment Super, and later as a serenely savvy Buddhist nun.

The play is directed by Summit founding artistic director Lauren Briggeman, who – like Herzog – has some understanding of being a caregiver. It’s easy to see the devotion she and all involved had in giving their production genuine heart – including many moments of appropriately uplifting or soothing humor. Haight plays Mary Jane with great strength, even in passing moments when the facade cracks. Castmates all exhibit empathy so convincingly it seems there truly is a sickly toddler residing on the corner of the set.

If you go to theatre for “the feels,” or are open to, I encourage you to visit “Mary Jane,” with performances through Aug. 18 at the Phoenix, 705 N. Illinois in downtown Indianapolis. Call 317-635-7529 or visit www.summitperformanceindy.com.

CCP: Trial drama revisits USS Indianapolis tragedy

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By John Lyle Belden

The story of the USS Indianapolis, a World War II heavy cruiser sunk by a Japanese submarine after delivering essential parts of the first atomic bomb, is well known to Hoosiers. But less known is the fact that the ship’s captain, Charles McVay III, was court-martialed afterward – the only U.S. commander to ever face charges for losing a vessel in wartime.

This is portrayed in the drama “The Failure to Zig-Zag,” presented by Carmel Community Players. The title is also one of the charges against McVay – a violation of the practice of constantly changing course in good weather to avoid being targeted. The play by John B. Ferzacca (which premiered at Indiana Repertory Theatre in 1981) examines the trial, as well as the events that led up to it. It combines courtroom drama with flashbacks to the ship and the survivors’ ordeal, lending elements of horror.

Director Susan Rardin brings this powerful story back to central Indiana with a cast of varying experience, including military veterans, but all dedicated to bringing an important part of history to life. They even got to perform scenes for the annual USS Indianapolis survivors’ reunion.

Tim Latimer portrays McVay with constant unshakable dignity, mingled with disbelief that the Navy to which he had devoted his entire life would so crudely abuse him. Powerful performances run through the entire cast, including Kevin Caraher as Cpt. James Harcourt, the defense counsel; Ron May as Cpt. Dwight Effis, the prosecutor; Robert Fimreite as Rear Adm. David Wall, tasked with keeping the Navy’s reputation spotless; Jeremy Teipen as Lewis Greene, a reporter and grieving father; Brad Staggs as Lt. Cmdr. Alan Brett, the USS Indianapolis Executive Officer; and especially Ron Gotanco as Commander Mochitsura Hashimoto (another unprecedented element of the trial was testimony by the enemy). Other roles, including ship’s crew, were played by Kirk Donlan, Drew Hunter, Hank Kratky, Tyler Marx, Nolan Karwoski, Rich Phipps, Pavel Polochanin, Jeremy Ried, Austin Uebelhor and Joe Wagner.

Wendy and I had an opportunity to read the script over a year ago, and this is one of the plays we had most anticipated. It’s hard to describe the impact of seeing this unfold in front of and around you, all based on actual events, tragedy compounded by travesty – but with the spirit of a survivor throughout.

The term “must-see” gets thrown around a lot (even by us) but this play definitely qualifies. Performances are Thursday through Sunday, July 25-28, at the Cat, 254 Veterans Way in downtown Carmel. Tickets are selling fast (Thursday is already sold out) at www.carmelplayers.org.

Fat Turtle @ the Fort: Go see ‘Joan’

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By John Lyle Belden

Something precious has been stuck in a house for a long time.

Joan Wright was once an “author, traveler and businesswoman,” but in the three years since her husband died she has just been Joanie, a lonely woman spending her days in a bathrobe, knitting and watching the world out her back window.

But changes are coming. Her adult daughters are planning to move halfway across the country, and suddenly an old friend is in her living room, inviting her to a gathering of “the old gang” to celebrate her upcoming birthday. It’s exciting, and a bit frightening, but does it feel right?

This is the essence of the new drama, “Go Be Joan,” by Nathaniel Adams, a premiere by Fat Turtle Theatre at Theater at the Fort.

Kathy Bauchle plays Joan as a strong woman throughout – sometimes channeling that strength into her stubborn insistence on “not being a burden” by getting into nice clothes and out of the house to be among others.

Her girls each have their own issues, especially with the changes that life cast their way. Elder daughter Katherine (Afton Shepard) wears her constant nervous smile like a shield as she tries to maintain control of every situation she’s in. Her little sister Lindsie (Audrey Stonerock) has been taking care of Joan the past few years and really, really, wants their mother to move to St. Louis with them. Shepard and Stonerock swing from comaraderie to conflict and back like real siblings, as the deeper layers of the plot are revealed.

Katherine’s daughter Cara (Natalie Marchal) adds another generation to the mix, with her own quirks and concerns. She seems a bit two-dimensional and cliché at first, a selfish child preoccupied with the digital world in her smartphone, until Joan’s insistence on communicating yields to us a nice insight into Cara and her post-Millennial perspective. In return, we see the girl help her grandmother into the 21st century – which in the context of Joan’s shutting herself off from the world in recent years takes on special relevance.

Dan Flahive is neighbor and old friend John Patty, who delivers the invitation – and a mysterious wrapped gift – to Joan. He, too, lost a spouse years ago, so has a special insight into their situation. Flahive’s knack for playing a best friend you feel you’ve known and loved all your life is in full effect here. He plays it coy enough to balance the chemistry between his and Bauchle’s character deftly between platonic/agape friend and possible love-interest.

Fat Turtle artistic director Brandi Underwood directs.

This is a good start for a promising play, and an excellent opportunity for local audiences to support local art. The characters and their story touch our hearts with gentle humor and an insightful look at how we grieve and learn to go on living.

Oh, and my opening statement above refers to more than just the title character.

Performances of “Go Be Joan” run through July 28 at 8920 Otis Ave., on the grounds of Fort Benjamin Harrison in Lawrence. Get information and tickets at www.fatturtletheatre.com.

‘Mamma Mia!’ gets the local treatment

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By John Lyle Belden

It’s hard to imagine a more fun musical than “Mamma Mia,” with its high-energy blend of a sunny exotic setting, Shakespeare-worthy rom-com plot, and the familiar 70s-80s hits of international supergroup ABBA. At long last, the rights are available to community theatres, and CrazyLake Acting Company of Greenfield has taken it on in marvelous fashion. 

Set on a Greek island resort around the year 2000, young Sophie (Jamie McDowell) prepares for her wedding to boyfriend Sky (her real-world fiance, Austin Fisher) but first, she wants to invite her father, who could be one of three different men. So, she invites them all — and they all show up! This only adds to the stress for Sophie’s mother, Donna (Shari Jacobs), who fortunately has her “Dynamos” — Tanya (Noelle Russell) and Rosie (Amy Studabaker) — to literally back her up. 

The three men, Sam (Patrick McCartney), Bill (Coy Hutcherson), and Harry (Matt Little), don’t know what’s going on — at first. This will not be a typical wedding!

Throw in more than 20 others to play various roles and the chorus, and the whole production is infused with infectious fun — making it hard not to sing along.

The whole cast seems to enjoy it, too, with moments like the frog-dance of “Lay All Your Love On Me;” the three “dads” each offering to give the bride away, inspiring a wild nightmare as McDowell sings “Under Attack;” Russell going full-cougar with “Does Your Mama Know,” and even in more emotional scenes like Jacobs belting “The Winner Takes it All.”

Direction is by Studabaker and Christine Schaefer — no strangers to fun and funny goings-on, with choreography by Studabaker and Elizabeth Orr.

For much less than the last touring production’s ticket, you can experience all this with familiar (and just as talented) performers, Friday through Sunday at the H.J. Ricks Centre for the Arts, 122 W. Main St. (US 40) in downtown Greenfield. Info and tickets at www.CrazyLakeActing.com.