John

Hilarious glimpse into the dark and ditzy side of Hollywood

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By John Lyle Belden

Playwright Neil Labute’s talent for showing how nasty allegedly civilized people can be to each other is on hilarious display in his comedy, “The Money Shot,” at Theatre on the Square through March 4.

It’s a pleasant evening in the Hollywood Hills when two movie stars meet at one’s home to discuss with their significant others the imminent filming of a love scene. Aging action hero Steve (Earl Campbell) is star and executive producer of the movie being made; friend and Oscar-nominated actress Karen (Sarah McGee) is the love interest. Steve is married to 20-something aspiring actress Missy (Lauren Hall) while Karen’s spouse is Bev (Lisa Marie Smith), an assistant editor on other major films.

As they converse, we get to know this foursome: Steve is a callous ass who can be aggressively ignorant, then skillfully switch the subject when corrected. Karen is a sort of Hollywood holier-than-thou devoted to numerous causes and opportunities to brand herself. Missy is a living embodiment of the stereotypical ditz. Bev is well-educated and easily the smartest person in the room, but gets combative the moment something stupid or insensitive is said – therefore spending the entire 90 minutes of this play in an emotional minefield.

After numerous arguments – generating everything from but-gusting hilarity to jaw-dropping did-he-just-say-that moments – the movie stars get to the topic at hand: The director wants their love scene to not just be steamy, but to also contain actual sex acts. The spouses are asked to agree, or at least veto specific bodily maneuvers. This results in the most bizarre list ever made, as well as a high-stakes wrestling match (yes, actual, by-the-rules wrestling).

If this sounds like something that must be seen to be believed, I heartily agree. See it (but don’t bring the kids; there’s no nudity but plenty of blue and descriptive language)!

Campbell does an incredible job of playing an incredible jerk. McGee swings from inspiring to smug to vulnerable with ease. Their Steve and Karen are easily comparable to various real-world stars, adding to the fun of seeing these portrayals.

Hall gives glimpses of Missy not quite being as dumb as she looks, especially at the film’s climax (pun intended) when she truly perceives these characters’ power dynamic. And Smith, aided by a bold hairstyle choice, disappears into her character, delivering an awesome performance that I don’t want to elaborate too much on, lest I accidentally offend and get beaten up by Bev.

Directed by TOTS boss Lori Raffel, this show on the cozy confines of the Second Stage could easily sell out, so call 317-685-8687 or see www.tots.org. TOTS is at 627 Massachusetts Ave. in downtown Indy.

John L. Belden is also Associate Editor and A&E editor of The Eagle (formerly The Word), the Indianapolis-based Midwest LGBTQ news source.

Soured friendship flavors ‘Suite’ farce

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By John Lyle Belden

A Hollywood star-studded 1940s benefit for the war effort is the backdrop of the comedy “Suite Surrender,” on stage through Feb. 26 at Carmel Community Players.

Claudia McFadden (Georgeanna Teipen) headlines the big show at the Palm Beach Royale Hotel, but her former friend and hated rival, Athena Sinclair (Jill O’Malia) is on the bill as well. Fortunately, hotel manager Mr. Dunlap (Sydney Loomis) has them booked in suites on opposite sides of the building. Unfortunately, they both feel entitled to the Presidential Suite, and make themselves at home in its east and west bedrooms.

It is up to Dunlap, Claudia’s assistant Pippet (Thom Johnson) and Athena’s assistant Murphy (Addison D. Ahrendts) to keep the divas from even seeing one another, lest the sparks fly hotter than the fires started by rowdy shore-leave sailors in the downstairs lobby. Caught in the middle are hapless bellhops Otis (Colton Martin) and Francis (Steve Jerk), local socialite and event organizer Mrs. Osgood (Kate Hinman), and nosy journalist Dora Del Rio (Marjorie Worell).

Naturally, this all results in one hilarious farce, with goofy misunderstandings, frantic wild takes and lots of well-timed physical humor. Loomis is a master of manic mannerisms. Johnson’s minion-under-pressure shtick works perfectly. Teipen and O’Malia practically purr in their cattiness. Worell is literally whacked like a tennis ball to great effect. Hinmon hits the right comic notes, but don’t let her sing. Martin and Jerk recall the great pratfalling comics of the era. Ahrendts adds a touch of romance while getting in a few funny moments herself. And the biggest trooper of them all is little dog Sergio as Claudia’s Mr. Boodles.

As the hijinks work their way to the inevitable happy ending, watch for the twist, with its bit of wry commentary on show business.

Find CCP at 14299 Clay Terrace Boulevard, north of downtown Carmel. Call 317-815-9387 or visit carmelplayers.org.

John L. Belden is also Associate Editor and A&E editor of The Eagle (formerly The Word), the Indianapolis-based Midwest LGBTQ news source, which has a brief version of this and other theatre reviews.

Catalyst’s ‘Tooth’ gives us much to chew on

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By John Lyle Belden

When you enter the Grove Haus theater to experience “Tooth of Crime,” presented by Catalyst Repertory, you enter another world.

It’s a dystopian potential America of the 2080s, a Mad-Max atmosphere in which the battles aren’t over oil but fame – and your place on the rock ‘n’ roll charts. Those on top find themselves “marked,” with life and death consequences.

Hoss (Davey Pelsue) is an aging Marker at the top of The Game. He respects the Code, as well as the country and blues musicians that inform his down-and-dirty rock style. He doesn’t test the wrath of the Keepers, but is not too happy that other performers are bending the rules, especially Gypsies who don’t abide by the Code at all.

Vexed and paranoid, Hoss fires his stargazer, Mirra (Ryan Powell), for advising him to be cautious. A Deejay, Rudio Ran (Jay Hemphill), reassures him he’s still on top, but he suspects it’s flattery. His manager and girlfriend, Becky Lou (Sarah Hoffman) is worried, and the drugs Doc (Nan Macy) give him make him even more unmanageable. Then, right-hand man Chaser (Zach Stonerock) informs Hoss that a rival has marked him, and a Gypsy by the name of Crow (Adam Tran) is on his way to do battle. Chaser finds an impartial Ref (David Molloy) to adjudicate.

The culture of this play has its own dialect – though after a while you can “suss” it out – and the duel is mainly psychic, through words spoken and sung. Though they brandish guns and knives, Hoss and Crow strive to break each other’s mind and soul before fatally attacking the body.

For the audience, this requires paying close attention as much as possible, but not getting too concerned that you can’t tell exactly what’s said or even going on. This drama with music was written by Sam Shepard in 1972 and rewritten in 1997, which helps explain its vibe being somewhere between “Easy Rider” and “Hedwig and the Angry Inch,” filtered through Greek tragedy.

This show isn’t for everyone, but if you go with it, you can witness a stylish indictment of the corrosive nature of celebrity, and experience the passion that Pelsue and his castmates put into their performance. Hoss practically sweats every word and lyric he utters. Crow is like a preening bird, but with a dangerous edge even when knocked off-balance.

An on-stage band provides excellent accompaniment to the show’s proceedings. The music was provided by Shepard, with additions by T Bone Burnett in the 1990s, and director Casey Ross found a more recent hit to finish the play.

Performances are Fridays through Sundays through Feb. 26 at 1001 Hosbrook St., near Fountain Square. Get info and tickets at uncannycasey.wix.com/catalystrepertory.

John L. Belden is also Associate Editor and A&E editor of The Eagle (formerly The Word), the Indianapolis-based Midwest LGBTQ news source.

Civic presents fabulous farce

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By John Lyle Belden

A man is shot. A woman is missing. Reputations and political careers are on the line. A doctor is called. The police are on their way.

Believe it or not, that is the setting for a hilarious comedy: Neil Simon’s “Rumors,” presented by the Booth Tarkington Civic Theatre through Feb. 18 at The Center for the Performing Arts in downtown Carmel.

Ken and Chris Gorman (Kim Ruse and Clay Mabbitt) are first to arrive at the anniversary party of their friend Charlie, the Deputy Mayor of New York. But the servants are gone, leaving uncooked food in the kitchen, Charlie’s wife is missing and their host has a hole in his earlobe from trying to shoot himself. Ken, as the man’s attorney, is trying desperately to keep the potential scandal under wraps, which isn’t easy when other friends arrive: Leonard and Claire Ganz (Parrish Williams and Carrie Schlatter), Ernie and Cookie Cusack (Trevor Fanning and Marni Lemmons), and finally Glenn Cooper (Steve Kruze) with his own political ambitions to consider, as well as neurotic wife Cassie (Christine Kruze, yes they’re married in real life, too).

Excuses for what is going on get more bizarre as events unfold, but eventually all are informed. But then, the police (Joanne Kehoe and Joe Aiello) arrive. What story to tell them?

This American farce in the Moliere mold has gag after well-written wacky gag, excellently played by a cast well-suited and experienced in stage comedies, directed by Charles Goad, no stranger to delivering a punchline himself. Ruse and Schlatter have such chemistry that when one woman delivers a zinger, just a glance between them sets off even more laughter. Mabbitt and Williams also sell the jokes with their knack for physical shtick, especially when Ken is deafened by the second gunshot, and when Leonard has to pretend to be Charlie – and convincingly explain what’s been going on the whole time.

This show is a welcome escape from today’s constant stresses (political and otherwise). Call 317-843-3800 or visit civictheatre.org. Tickets also available at thecenterpresents.org.

John L. Belden is also Associate Editor and A&E editor of The Eagle (formerly The Word), the Indianapolis-based Midwest LGBTQ news source.

Boy overcomes inner blindness in IRT’s ‘The Cay’

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By John Lyle Belden

It is interesting when a theatre, for its show during Black History Month, stages a production that gets us to think about race in a bigger context than the typical American struggle of black/white. Such is the case with “The Cay,” on the upperstage of the Indiana Repertory Theatre through Feb. 26.

Adapted from the Theodore Taylor novel by Gayle Cornelison, and directed by Richard J. Roberts, the two-person drama is told from the perspective of a white boy, Phillip (Dalyn Stewart), who has the adventure of a lifetime. It is 1942, and living in the Caribbean, he sees World War II as an exciting novelty. As the island of Curacao is home to a Royal Dutch Shell oil refinery, German U-boats lurk nearby. This fact goes from fascinating to frightening when one sinks the ship taking Phillip home to America.

The boy is pulled onto a makeshift raft by an old black man, Timothy (David Alan Anderson). Being from the Virgin Islands, he knows how to survive on the open sea, and later, upon the small island (the “Cay” of the title) where the raft is carried by the tides.

But their survival is complicated by two factors: Phillip being blind to his own white privilege and spoiled state, and being literally blinded by a head injury. Even without physical sight, he “sees” Timothy as “Black” as a cultural state of being, something fundamentally different than himself. Over time, Phillip’s inner vision is corrected as the old man teaches him lessons in self-reliance he will need in the coming tests.

Anderson is brilliant as always in his role, and Stewart is a revelation as he more than keeps up with his costar. A lot is put on his shoulders, being narrator as well as one of a two-person cast, and Stewart handles it with Tom-Sawyeresque charisma. (Or Huck Finn, if you wish, given the obvious plot comparisons.)

The other “star” of this production is Stew, the cook’s cat on Phillip and Timothy’s ill-fated ship, which ended up on the raft with them and as a companion on the island. Rather than wrangle a real housecat (with its own diva demands), scenic designer Eric Barker molded some common kitchen items into a metal cat which the actors move around as needed – sound designer and composer Matthew Tibbs provides violin-string “meows” when appropriate.

After the opening night performance, Roberts and Barker said the cat design inspired them to make other aspects of the set, including the towering palm trees and the fish the characters catch, constructed of the metal flotsam and jetsam of life that wash up on distant shores. The result is a strangely beautiful stage and unifying visual theme that fits the story perfectly.

Find the IRT downtown at 140 W. Washington St.; call 317-635-5252 or visit www.irtlive.com.

John L. Belden is also Associate Editor and A&E editor of The Eagle (formerly The Word), the Indianapolis-based Midwest LGBTQ news source.

ATI hosts one wild wedding

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By John Lyle Belden

“It Shoulda Been You” is a freewheeling comedy musical in a single movie-length act, presented by Actors Theatre of Indiana through Feb. 12 at The Studio Theater in The Center for the Performing Arts in downtown Carmel.

The setting is a wedding held at a hotel, with all its comic potential – especially when the bride and groom come from different backgrounds. Rebecca Steinberg (Laura Sportiello) is from a middle-class Jewish family, while her fiancé Brian Howard (Michael Ferraro) is from well-to-do WASPs. Tasked with not letting this blessed occasion become a disaster is Rebecca’s unmarried older sister Jenny (Karaline Feller), who fortunately has the help of magically fabulous wedding planner Albert (John Vessels).

Bring on the inevitable clash of personalities between Rebecca’s parents, Murray (Matthew Reeder) and Judy (Judy Fitzgerald), and Brian’s parents George and Georgette (Bill Book and Cynthia Collins); and mix in Maid of Honor Annie (Teneh B.C. Karimu) and Best Man Greg (Jeff Pierpoint) – who are more a part of the upcoming marriage than anyone suspects – Rebecca’s ex-boyfriend Marty (Nic Eastlund), and the assorted roles played by Paul Hansen and Holly Stults, and you have a volatile combination that results in hilarity with a welcome happy ending for all.

The songs are snappy, adding to the punchlines and helping the story along. The cast is excellent in voice and comic form. Vessels puts his scene-stealing skills to excellent use, and you can’t help but feel for Sportiello’s Jenny from the moment she opens the show through to when she utters its last line.

Having this play in the intimate confines of the Studio Theater adds to the close familial atmosphere, and even facilitates one actor’s entrance. To get everyone in the mood, there is a Guestbook as you enter the theater, and ushers let you know as you are seated whether you are on the bride or groom’s side. A necessary salute, then, to director Bill Jenkins and the crew for a fun production, including an elegantly simple, yet simply elegant set by P. Bernard Killian.

And by the way, I’m leaving out a surprising plot twist – see it for yourself!

For information and tickets, call 317-843-3800 or visit atistage.org.

John L. Belden is also Associate Editor and A&E editor of The Eagle (formerly The Word), the Indianapolis-based Midwest LGBTQ news source.

New Phoenix play cuts to the bone

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By John Lyle Belden

A simmering stock of ethnic tensions and personal demons, seasoned by today’s political attitudes, steams on the surface of a downtown Manhattan restaurant kitchen. But add an ingredient of the dark side of recent history, and everything could boil over.

That is the recipe for “How To Use A Knife,” the new drama by Will Snider, produced as part of a National New Play Network Rolling World Premiere under the direction of Bryan Fonseca at the Phoenix Theatre in downtown Indianapolis.

Michael (Rob Johansen) is a total euphemism-for-anal-sphincter, but he is true to his friends, especially George (Ryan Artzberger), whose addictions helped destroy his career as a world-class chef. But Michael has a restaurant in New York’s Financial District, and hires George to take charge of its kitchen.

Fortunately, the food preparation already goes smoothly, thanks to a pair of Guatemalan cooks (which Michael blithely calls “Mexicans”), Carlos (Carlos Medina Maldonado) and Miguel (Wheeler Castaneda*). Jack (Tommy Lewey), the “runner” who takes the dishes out to customers, is marginally competent, and dreams of being a writer without having penned a single word. Steve (Ansley Valentine), an African immigrant, quietly mans the dishwashing station.

Of course, things start to change. George berates Jack at first, but then mentors him. We discover Steve speaks English quite well, and he meets with George after hours to learn how to cook. Steve reveals to the chef that he is Rwandan, but his involvement in the 1994 genocide was to help stop it. But soon, an Immigration officer (Chelsea Anderson) visits the restaurant with a disturbing revelation.

While an intense, thought-provoking drama, the show is leavened with workplace humor, especially in interactions with the Guatemalans. Miguel is the type of person who deflects stress with humor, and despite the fact that he speaks almost entirely in Spanish, Castaneda’s expressions and delivery help bring on much-needed levity. Carlos easily weaves from joker to deadpan serious, revealing surprising complexity in a supporting character.

Artzberger and Valentine, being at the center of the story, deliver exceptional performances. Each character embodies deep contradictions: George is barely-contained chaos with a noble, potentially heroic, soul; while Steve has mastered a form of inner peace and is able to share that gift, despite his horrific history. Each has dealt with their past in their own way; they find themselves tested, with consequences that go far beyond themselves.

Don’t be surprised if – as with Phoenix’s previous show, “Dogs of Rwanda” – after seeing this you find yourself thinking more about the pain of people in faraway lands, maybe even Googling what happened, and realizing how that comes home to connect to us as fellow members of the human family. For this reason, it might be good to see “How To Use A Knife” at the Sunday, Jan. 29 performance, which is followed by a talkback discussion with the cast and crew.

The play runs through Feb. 12 at 749 N. Park Ave. (corner of Park and St. Clair near Mass Ave. downtown); call 317-635-7529 or visit www.phoenixtheatre.org.

The Phoenix is also accepting donations of unopened spices at the box office, which will be given to the Second Helpings anti-hunger organization, during the run of the play.

John L. Belden is also Associate Editor and A&E editor of The Eagle (formerly The Word), the Indianapolis-based Midwest LGBTQ news source.

*EDIT: Person playing this role was misidentified in earlier version of this story.

An important ‘Dinner’ date at IRT

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By John Lyle Belden

The Indiana Repertory Theatre presents a beautiful production of the comic drama “Guess Who’s Coming to Dinner,” by Todd Kreidler, based on the 1967 film’s screenplay by William Rose. And by “beautiful,” I also mean the set looks like a home you’d want to move into, with its free-standing fireplace, warm colors and comfortable yet stylish furniture. But the cast are not upstaged by these props; the actors deliver brilliant performances as IRT audiences have come to expect.

Annie Munch plays Joanna Drayton, the idealistic and optimistic daughter of a politically liberal newspaper publisher and his wife (Craig Spidle and Brigitt Markusfeld). She comes home unexpectedly, bringing her fiancé, accomplished physician Dr. John Prentice (Chike Johnson). But the bigger surprise, especially as it’s 1967 America, is that while the Draytons are white, Prentice is black.

This visit tests the beliefs, ethics, friendships and family ties of all. Mr. Drayton, writer of civil rights editorials, finds himself torn between hypocrisy and honest concern for his daughter.  The black maid Matilda (Lynda Gravatt) is suspicious of this well-dressed, well-spoken man, as she has seen too many con men who look like him. Mrs. Drayton is concerned not only about her feelings, but also those of her society-conscious friend Hilary (Constance Macy). Family friend Monsignor Ryan (Mark Goetzinger), practically a gushing fan of Dr. Prentice, provides welcome optimism. And then, there’s the less than happy reaction of Prentice’s parents (Cleavant Derricks and Nora Cole).

As I noted, all performances are excellent, drawing you into their world, which doesn’t seem quite so out-of-date with this era’s continuing arguments about race and equality. No man can fill the film’s star Sidney Poitier’s shoes, so regard Johnson as his own charming interpretation of the young doctor finding an unlikely second chance at love, and enjoy.

The humor inherent in this play puts fresh meaning to the term “situation comedy.” The side-splitting moments appear among the heart-testing ones, as we get both in great measure. The discussions, debates and arguments inspire thought as well as laughter — and at the performance I saw, some spontaneous applause.

I couldn’t help but think that this play could also work with a more updated look, and Joanna bringing home instead the woman she has fallen in love with. But no matter how it’s staged, this story – this test of how we truly feel when issues literally come to our doorstep – is important to see and experience. The play runs through Feb. 4 at the IRT, 140 W. Washington St., next to Circle Centre; call 317-635-5252 or visit www.irtlive.com.

John L. Belden is also Associate Editor and A&E editor of The Eagle (formerly The Word), the Indianapolis-based Midwest LGBTQ news source.

Big fun at ‘Little Shop’

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By John Lyle Belden

The horror movie-turned-musical “Little Shop of Horrors” has set up at Indy’s Footlite Musicals through the end of the month. And for its many fans, that’s all I need to say.

For the unfamiliar, it is the story of nerdy flower-shop worker Seymour, who discovers an unusual plant that makes the shop prosper and him famous. The one downside: the plant feeds on human blood. Then there’s sweet Audrey, who Seymour is sweet on and even names the plant after, but she has an abusive sadistic boyfriend – as the song goes, “He sure looks like plant food to me!”

Phil Criswell handles the many shades of Seymour, from coward to reluctant hero. Michael Davis is good as well, as shopkeeper Mr. Mushnik. John Kern more than earns his keep by not only playing the sadistic dentist boyfriend, but practically every other supporting character.

Emily Schaab is an excellent Audrey – while she doesn’t have the voice of Ellen Greene (who sang the role on Broadway and in the film) she doesn’t make the mistake of trying to sound like her, making this role her own.

Audrey II is ably handled by puppeteer Theo Vanore with the unmistakable voice of Tristan Ross.

And it’s all backed by a wonderful chorus – both in the doo-wop and Greek sense – of Rayanna Bibbs, Rachel Bibbs, Iloni Cospy, Adrienne Dixon and Bianca Cureton. Hopefully at least one of these women will reappear in Footlite’s production of “Dreamgirls” in May.

While it may be cliché to say this is a fun show, it’s hard to think of a better adjective. The pacing is smooth and the songs dare you to sing along (actually, there is one moment of audience participation). Note that if you have only seen the 1986 Frank Oz film, there are some different songs and a different ending.

Find Footlite at 1847 N. Alabama St.; call 317-926-6630 or visit www.footlite.org.

John L. Belden is also Associate Editor and A&E editor of The Eagle (formerly The Word), the Indianapolis-based Midwest LGBTQ news source.

Classroom drama gets excellent portrayal by student actors

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By John Lyle Belden

ATTENTION: Your assignment is to see and applaud some very talented youth.

CYT director Laura Baltz told us that her all-kid cast of “Up the Down Staircase,” playing this weekend at Theater at the Fort, were unsure about how us grownups would judge their efforts, especially as it’s a first-time foray into drama rather than comic musicals. But, simply put, John & Wendy were blown away.

The play – based on the 1960s novel – takes place in an inner-city New York high school where a young first-time teacher is confronted by a run-down building, bureaucratically stifled staff and apathetic students. Even if you haven’t read the book or seen the film or a stage version (or “To Sir With Love” or frankly any inspiring-teacher film), you know the story. But it’s how the teacher gets through the red tape and reaches the kids that’s important, and it doesn’t seem so cliché when the students are actually played by school-age kids (middle-schoolers in high school are easier to accept than Hollywood’s 20-something screen “teens”).

The adult roles are played by elder members of the CYT troupe, and come off as believably mature. I thought I could guess which actors are 18, but Baltz informed me that actually, none of them are.

Abagail Johnson is appropriately inspiring as new teacher Sylvia Barrett. She seems comfortable in her own skin with an optimistic confidence that shines through her character, even when overwhelmed, making you believe in and root for the “Teach” at the center of the story. Sabrina Duprey convincingly plays at least a decade older than her 16 years as Beatrice, Sylvia’s fellow teacher and mentor.

Sam Surrette couples his excellent performance with a cocky swagger as teacher and frustrated author Paul Barringer, who feels he’s too good for the job he’s stuck in until his efforts to stay emotionally distant from his students backfire almost tragically.

Maria Saam ably plays Ellen, a friend who provides outside perspective for Sylvia (and the audience) through their correspondence.

And Joshua Minnich manages the difficult job of injecting humanity into administrative assistant J.J. McHabe, the personification of much of what Sylvia is up against.

The rest of the cast do very well as faculty and students – keeping events flowing and lines delivered sharply (even when the scene calls for them to talk over one another). Jackson Bell and Makayla Cripe handle the dramatic load of portraying students who are troubled, each in a distinctly different way.

As the original story was told in letters, memos and written notes, the play cleverly provides them as loose conversations or popping in through hidden doors in the wall (like the old TV show “Laugh-In”). Ellen’s home, miles away, enters and exits the stage edge by clever lighting. All elements are executed smoothly.

I should note that CYT stands for Christian Youth Theater. It is easy to assume that such a group might feel compelled to insert Bible verses or otherwise “Jesus-up” the show, but there’s no preaching here. The play carries a theme of Christian compassion that speaks for itself.

And the teachers’ plight might look a little too familiar, even 50 years after the story was written.

As for the concerns mentioned earlier, these young thespians needn’t worry. They are doing solid work in an American classic. My advice to them is to keep working on the stage as long as you feel inspired to, and take the play’s notion of reach-exceeding-grasp to heart. It might not always work (still, you did your best, right?) but this time it definitely did.

Just one weekend of performances (weather permitting) Friday through Sunday, Jan. 13-15 at 8920 Otis Ave. on the former Fort Benjamin Harrison grounds, just off the north end of Post Road. Info at www.cytindy.org.