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IndyFringe: ‘Atlanta Burning, Sherman’s Shadows’

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This show is part of the 14th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 16-26, 2018 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By John Lyle Belden

“I do what I must, rather than what I wish,” laments Gen. William Tecumseh Sherman, a Union commander during the Civil War (in)famous for his scorched-earth March to the Sea in 1864, an effort to shorten the war (which did end the next year) by bringing its horrors to the civilian population of Georgia.

Playwright Lance Sherman Belville, a descendant of the general, presents an insight into the man’s thinking as he relates his plans to a trusted assistant and his general staff shortly before his fiery assault on Atlanta. We learn of his past relationship with Robert E. Lee (a classmate at West Point), his longing for his lost son, and his desire to not repeat what he saw as the greater tragedy of the siege of Vicksburg.

The show’s director, Lynn Lohr, plays the Major who Sherman uses as his sounding board, his “fool” to tell him what is wrong with the plans he is nevertheless determined to execute.

We also have a young Private, portrayed by Connor Buhl — who also plays a Union soldier in reenactments and at Connor Prairie. This, plus being the only player in full period uniform, makes him the most interesting and compelling character. He plays harmonica, and engages the audience without breaking character before the show, leading us in songs of the era.

The playwright plays his great-great uncle, holding and reading from the script that he (as Beville) says he is “still revising.” It’s a curious and brave choice, but he often stumbles over his own words, marring what is otherwise a highly-recommended living history lesson.

If you can ignore the papers in the playwright’s hand, or at least see them as reports or correspondence or maps in Gen. Sherman’s, sit back with some hardtack (provided) and get a new perspective on the story you may only know from a long-ago high school lesson or scene from “Gone With the Wind.” Performances are at the Indyfringe Basile (main) Stage at 719 St. Clair St., near the intersection of Mass Ave. and College.

IndyFringe: ‘The Truth*’

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This show is part of the 14th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 16-26, 2018 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By John Lyle Belden

To tell The Truth: Will the real benevolent dictator please stand up?

The clowns of A Muse Zoo are the kind of red-nose folks who speak, telling their Truth with jesters’ license. One puts on the furrowed brow of a professor, relating the True story of an imaginary land:

You may not know of the country of Kundnanibonbar, as it was just discovered. Four different neighboring tyrants looked over their border with it and each decided to take the land and its resources for his or her own purposes…

But this lecture is often interrupted, as the teacher leaves the room, allowing each ruler in turn to step in and tell us their Truth.

So, whose Truth will prevail: the flower girl, the cheese smuggler, the mole-person, or the boy prince?

(Aside: In an appropriately bizarre coincidence, during the weekend we are presented with this comic allegory of how history is written by the victors, there are reports that the President’s lawyer is declaring that every person has their own Truth, so what is The Truth anyway?)

In the Fringe show, “The Truth*,” aside from all the thinky content, we get very funny and entertaining performances, with all manner of silliness from whimsy to slapstick to melodrama. Note the bees are not real, but there is use of a strobe light. – So, that’s my Truth.

Therefore be careful with your soup, and listen to the turtle on your shoulder when he tells you to see A Muse Zoo at 9 p.m. tonight (Monday, Aug. 20) at the IndyFringe Indy Eleven Theatre, 719 E. St. Clair, just off Mass Ave. and College, in their last show before returning to Oregon.

And that’s The Truth.

Indyfringe: ‘Too Old to be This Young’

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This show is part of the 14th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 16-26, 2018 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By John Lyle Belden

Laura Hedli recounts for us the year she lost her virginity – at age 26.

She hadn’t intended to wait so long. She just wanted the big moment to mean something, and other aspects of her life took up her time. Her writing career, for instance, which with a full-time part-time gig finally made her a ghost writer – to a ghost writer – to her boss. But behold, this job also comes with a hot coworker, and he is very interested in her. Though he seems like a bit of a tool to us listening to Laura’s story, he is just the thing to fix her undamaged virtue.

And the book that she is ghost-ghost writing? It’s on “age management medicine” for middle-aged and older men, especially testosterone therapy. This, naturally, leads to necessary research (including interviews) and writing on sex – you know, that thing she finally got to experience two days ago.

She also notes that the stable of writers she’s in hires young, and that as she approaches 30, she could “age out” of the age management business.

All this makes what could have been a mildly interesting workplace anecdote into an engaging hour of storytelling, with Laura slipping into a couple of characters including her boss, a randy Swedish man, and her beau, the man she calls “Broken.” It makes for a unique perspective on aging and how we confront and defy it. Come listen and see how well she expresses herself under her own name, as we explore whether a year of one’s life is worth reaching a significant personal milestone – and six words in a book’s Acknowledgements.

Laura relates her story one more time for us, 6 p.m. Monday, Aug. 20, at the IndyFringe Indy Eleven Theatre, 719 E. St. Clair, just off Mass Ave. and College.

IndyFringe: ‘Betsy Carmichael’s BINGO Palace’

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This show is part of the 14th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 16-26, 2018 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By John Lyle Belden

Heavens to Betsy! Talk about a limited engagement, the Bingo Palace has only one more day in Indianapolis — today, Sunday, Aug. 19, at the Parish Hall also known as the IndyFringe Indy Eleven theatre.

For the lucky souls who see this in time, here’s what you can expect: A lovely lady (some call her a drag, but she’s plenty upbeat to me) who hosts an event of actual Bingo games with actual prizes, as well as fun interludes including a couple of audience members making their own good-luck charms. As her ex-brother-in-law calls out the numbers, she adds the traditional Bingo Hall call-and-responses, in which we must all join in. Just remember, it’s not “G 54, Where are You,” but G (Studio) 54, the Ellen-style dance break. And on other numbers ending in 4, watch out for “candy store”!

Interactive theatre is rarely this fun; it would be a shame to miss it.

(Here’s the review of her 2017 appearance.)

 

IndyFringe: ‘Arcade Fire! The Redemption of Billy Mitchell’

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This show is part of the 14th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 16-26, 2018 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By John Lyle Belden

(*With bonus hot sauce review!)

To be clear, this is not about Arcade Fire, the band, but about redemption, and a proud man who doesn’t want to be known just for awesome hot sauce (see below) but also for being the King of Kong, able to best any game in the arcade.

Quirky playwright and Fringe regular Casey Ross got the idea not long ago to take the story of Billy Mitchell, whose record high score on Donkey Kong was unquestioned until a popular documentary alleged that he somehow cheated, and make it into a musical. This brought out Billy himself — not to stop her, but to give his hearty trademark thumbs-up. If you come to the show today (Sunday, Aug. 19), he will be there in the audience and available for your admiration after.

The musical, written by Ross with clever rousing songs by Christopher McNeely, is based on true events and people, including the frustrated middle-school teacher who challenged Mitchell’s record. Our Billy is selling his sauce at his pizza joint in Florida, when he discovers that the Internet is dissing him. He fights fire with fire by going on a podcast and challenging his detractors to a Kong-Off. Who will smash through the barrels and climb to the top, and who will fall?

A cast of fine local actors bring the story to life, including Luke McConnell as Mitchell (an excellent likeness), Anthony Nathan as rival Steve Wiebe, Jim Banta as Donkey Kong’s “Number Two” Brian Kuh, Ryan Powell as arcade referee Walter Day, and Kayla Lee as Steve’s longsuffering wife Nicole. As to their singing and dancing — well, did I mention they are fine actors? Still the moves they bust just add to the fun as we all take so seriously what is literally a two-bit hobby (at least before games cost more than a quarter to play).

Full disclosure: We’re very good friends with Ross, but when you experience “ArcadeFire!” presented by her Catalyst Repertory at the Firehouse union hall, third floor, you’ll want to be her pals, too.

*Among the Billy Mitchell swag is his signature hot sauce (which he will sign if you ask). Wendy and I tried it on some roast beef, and it is excellent, with rich flavors reminiscent of Cholula, but with a little more kick. It has sweet with the heat, so is fine for moderate spice users — though it might disappoint those who want something that sets their heads on fire (what’s up with you people?!). Later at the beer tent I saw some Fringers shaking a little into their beer, and they said it was good that way. To each their own.

IndyFringe: ‘Cindy/Ella’

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This show is part of the 14th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 16-26, 2018 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By John Lyle Belden

This silly satire answers the question: What would happen if the producers of the “Kardashians” and other “E!” network shows made a traditional fairy tale?

Cindy, who chafes at being married to the Prince of Malibu (with his odd shoe fetish), is fed up with royal life and runs away to (gasp!) The Valley, where she meets a Fairy Godmother minding an adult novelties store, and finally disguises herself as a mai- I mean personal assistant to a wick- I mean drunken woman (think stepmom) and her ug- I man vapid (and pretty tbh) twin daughters. See? Just like the Grimms wrote it.

It all works in its own wild way, complete with breaking “Extra!” style news bulletins by Michael Cleaver. And it benefits from the superb-as-usual acting of Abby Gilster as Cindy, and the phenomenon that is Josiah McCruiston as our godmother Dontrell. Kudos also to Amity Aschilman for her deadpan counterpoint as Dontrell’s best friend/coworker/roommate Kendra.

We also get Melissa Cleaver as Cindy’s PA/friend Deidre, Scott Prill as a steadfast detective, Amanda Bell and Ashley Duprey each in dual roles, and Jason Plake as our Prince with far more substance in his Speedos than his brain.

“Cindy/Ella” is presented by playwright Elizabeth Griffin Speckman at the IndyFringe Basile (main) Theatre, 719 St. Clair St., just off Mass Ave.

IndyFringe: ‘Inter(Actions)’

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This show is part of the 14th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 16-26, 2018 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By John Lyle Belden

I’ve heard it famously said that in traditional dances, every movement tells a story. To be honest, that should be true of every good dance performance. For a brilliant example I bring you the young women, and one man, of Crossroads Dance Indy.

As I’ve stated elsewhere, modern and interpretive dance isn’t my thing, so if I found this series of movement pieces engaging, I think anyone can.

It’s not just step-to-the-narrative ballet — though there is a bit of classical ballet, beautifully done — but something more like “feeling” a story rather than hearing it.

The opening piece, “Black Rock Canyon,” to the music of Fleet Foxes, Arcade Fire and Interpol (a minute of this was presented at the Wednesday Fringe preview event) was designed (by Lauren Curry of Indianapolis Movement Arts Collective) to portray life in a religious cult. But the movement themes — women struggling in unison together towards and away from the dark singular presence, who moves among them, judging them, forbidding a budding relationship — could be seen as so much more. I could picture the woman in black as Fate or Death, working among the frantic common folk in their daily struggles, reaching out inevitably to one…

The show’s highlights (for me) included an absolutely beautiful routine to “Female” by Keith Urban, choreography by guest artist Nicole Dean; and an awesome interpretation of the Beatles’ “Eleanor Rigby” — bless you, Ashley Youmell, for making “Ellie” the eternal optimist.

I have to note as well the uncompromising skill of these local dancers — unison where there should be unison, flow into flow, “random” movement that’s anything but. I’m sure a dance professional could nitpick the heck out of their performance, but I’m not a dance person, and maybe you’re not a dance person, so that doesn’t matter. Just know that some of the best storytelling at this year’s Fringe is done without saying a word.

Crossroads Dance’s “Inter(Actions)” is performed at the District Theatre (formerly Theatre on the Square) mainstage, 627 Mass Ave.

CCP’s charming ‘Witches’ at Carmel’s CAT

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By John Lyle Belden

We all have that one person we can’t stand – but then circumstances force you to work together. That is the hex put on the ladies in “Kitchen Witches,” the fun comedy that concludes the 2017-18 season for Carmel Community Players.

Dolly (Denise Fort) is wrapping up her cable-access cooking show due to lack of viewership. But when her old culinary rival, Isabel (Gina Atwood), crashes the finale, the ratings go through the roof. So, to stay on the air, the two women must work together – an obvious strain on producer Stephen (Tim Moore), who is also Dolly’s son. Along with slinging the hash (at each other) our “witches” rehash their past with the late Larry Biddle, Dolly’s husband and Isabel’s lover.

Meanwhile, keeping the cameras in focus is Robbi (Sydney Heller), a local punk who signals “one minute to air” with her middle finger.

The result is hilarious, of course, but Caroline Smith’s charming script has a surprising amount of heart, brought out nicely by the cast and director Courtnie Janikowski. Fort and Atwood play their besties-turned-beasties more infused with damaged pride than malicious anger, and Moore effectively portrays the put-upon son trying not to get another nervous ulcer. Even Heller wins our affections, excellently playing Robbi in “Silent Bob” style.

This show is CCP’s debut in the CAT, a performance space located just off the downtown Carmel Arts & Design District at 254 Veterans Way. This will also be home to much of the 2018-19 season as the company seeks a permanent home.

A good time was had by all at the packed opening night. Though, if I must nitpick, while I do understand the constraints of volunteer community theatre, this production could tighten up its scene transitions, or at least play a little music while we sit in the dark.

But overall, consider me charmed by these “Witches.” Call 317-815-9387 or visit www.carmelplayers.org.

Phoenix: Try this ‘reality’ programming

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By John Lyle Belden

“Cry It Out,” the drama finishing the Phoenix Theatre’s eventful 2017-18 season, impacts you with just how real it feels.

As I’m sure playwright Molly Smith Metzler and this show’s director, Chelsey Stauffer, are aware, this is an effective “issue” play in that the focus is more on the people going through the issue than the thing itself. In this case, it’s what’s considered a universal experience – becoming parents to your first child, focusing on doing so in today’s world, and the psychological toll we are only beginning to understand.

Metzler has found the perfect setting: a Long Island neighborhood where Jessie (Lauren Briggeman), an upper-middle class professional, lives right across her back yard from Lena (Sally Scharbrough), who is struggling working-class, while on a cliff just hundreds of feet away are the very rich, of whom we meet Mitchell (Michael Hosp) and Adrienne (Andrea Heiden).

Feeling alone in her new-mommy experience, Jessie reaches out to Lena, who is grateful to have a likely friend so close at hand. In their perfectly crafted and acted conversations, we see the psychological walls they hit when their social and financial differences are made clear, followed by the earnest efforts to bridge their gap – for the sake of their own sanity as well as the benefit of their babies – forming a bond that seems so natural, like that friend you just “click” with.

Seeing this from his lofty view, Mitchell decides to ask them if his wife can join them for one of their “coffee meetings” – in one of the most uncomfortably comedic scenes I’ve seen lately. But when Adrienne arrives, she is not happy to be there. Clearly, these people have issues.

The sense of reality goes beyond the fact that it’s easy to forget Briggeman and Scharbrough are not actually moms with sleeping babies just offstage. This drama plays with your expectations in a clever way, by taking your “oh, I know how this is going to go” we’ve been conditioned to by TV, films and wishful thinking, and bringing a twist that is just like what happens to people you actually know. Being largely told from Jessie’s perspective, the story also confronts her and us with our assumptions. And in the process, we get some situational laughs – like real life.

This is one of those plays (thanks again, Phoenix!) that I can’t say you’ll “enjoy” in the fun sense, more like the fact that you’ll savor first-class acting and come away with some great food for thought. Come hungry.

“Cry It Out” plays through Aug. 26 in the “black box” Basile stage – seating surrounds most of the stage area – at the Phoenix’s new permanent home, 705 N. Illinois St. Note showtimes are a half-hour different than the mainstage. Call 317-635-7529 or visit phoenixtheatre.org.

Civic youth stake a sure bet

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By John Lyle Belden

If you didn’t know the ages of the actors in Booth Tarkington Civic Theatre’s production of the classic Frank Loesser musical, “Guys and Dolls,” you would be hard-pressed to guess. Yes, this is the summer show by the Civic’s Young Artist Program for ages 14-18, but those strong voices, dancing chops and overall talent on display compare with any professional tour you’re likely to see.

They bring afresh the story first presented to their great-grandparents’ generation in 1950: Nathan Detroit (Hayden Elefante) needs a place to host his infamous floating craps game, but NYPD Lt. Brannigan (Daniel Miller) is watching all his usual haunts. So, to finance a likely location, Detroit makes a can’t-miss bet with high-roller Sky Masterson (Nathan Nouri) – that he can’t sweep away stoic Salvation Army Sgt. Sarah Brown (Katelyn Soards) on a dinner date to Cuba. Meanwhile, Detroit’s got a doll of his own to worry about; his long-time fiance, showgirl Adelaide (Katherine Patterson), is increasingly allergic to not being married.

Nouri and Soards’ voices soar operatically as they win our hearts. Meanwhile, Elefante is very entertaining and Patterson gives an award-worthy performance. And then there’s Detroit’s right-hand man Nicely-Nicely Johnson, played oh so nicely by Mahesh Gupta. Kudos also to Emily Chrzanoski as Sister Abernathy and Luke Vreeman as Chicago gangster Big Jule.

This musical is directed and choreographed by Anne Beck, who gives these teens quite a workout. The clever dance-filled opening number, setting the stage of the mean streets of New York, is practically a show in itself.

This has been one of my favorite musicals, with hits like “Fugue for Tinhorns (‘I got the horse right here…’)” and “Sit Down, You’re Rockin’ the Boat” – Wendy likes “Adelaide’s Lament” and “Luck Be a Lady” – and this production did not disappoint. But it’s only for one weekend, with performances through Sunday, July 29, at the Tarkington theatre in the Center for the Performing Arts in downtown Carmel. See civictheatre.org for details and tickets.