John

Fringe review: The Mall Musical

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By Wendy Carson

For anyone who has ever worked retail or in any service industry, here is something to help you continue your dreary existence: Casey Ross Productions’ “Hell’s Fourth Ring: The Mall Musical,” playing at the Firefighter’s Union Hall. With spot-on stereotypical characters portraying the soul-sucking life of a petty wage-earner, playwright Ross (penning her first musical), with help from rock musician Davey Pelsue, has created a hilarious tribute to this woeful existence.

Hell’s Gate Mall is a dreary place, where the only thing worse than working there is getting “terminated.” Can even love survive?

The story is silly but very, very funny and the songs are quite well crafted. The actors are up for all of the zaniness encompassed in their roles. They include Pelsue, Logan Moore, Heather Ownes, Adam Tran, Kait Burch (who also did the choreography), Taylor Cox, David Molloy, and the voice of Zoe Molloy. The show was directed by Ross’s partner, “Fedora Dave” Matthews.

While I must admit that Casey is a personal friend of mine, setting my expectations high, I was still blown away by the overall quality of the show. While some of the costumes and dialogue are painfully cheesy, it adds to the charm of the entire package.

I did wish that one or two of the performers possessed stronger singing voices, but I’m hoping that Ross will flesh this out into a full-length show and can better fill the roles.

In all, this show is a riotously good time and one of those unexpected gems that the Fringe can provide.

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John Lyle Belden contributed to this review.

Fringe review: The Yellow Wallpaper

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By John Lyle Belden

Based on an 1892 short story, “The Yellow Wallpaper,” presented by Earlham Theatre Department at the Marrott Center, tells of a woman confined for a “rest cure” in an upstairs room with bars on the windows and apparently a hideous pattern on the walls.

Our subject and narrator is presented by three actresses simultaneously, demonstrating her slowly fracturing mind. She starts to see odd, changing patterns in the wallpaper, eventually becoming sure that a woman is trapped within. At the back of the stage is a yellow wall, with subtle markings within its chaotic pattern that has us in the audience sharing in the growing madness.

The woman’s husband and physician, “John,” is a disembodied voice. This makes him seem at first godlike, but reveals him to be more distant and (despite or due to the state of 19th-century medicine) clueless until it is too late.

This haunting early classic of feminist literature, with elements reminiscent of H.P. Lovecraft, clocks in at around 30 minutes, yet is intense enough to be worth your ticket. You could use the extra time to get something to eat before the next show – just, wherever you go, don’t look too closely at the walls.

Fringe review: Velour

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By John Lyle Belden

Vinnie Velour, former Driver to the Stars, tells of his transition to Vinnie Velour, Professional Lounge Singer, in the one-man (and a woman) variety show, “VELOUR,” by Schedule C Productions, at the Marrott Center.

In a performance dedicated to the late great Mel Torme, Velour covers everything from Bryan Adams to Mr. Rogers. And at three points in the narrative, the audience gets to vote on what act he will bring to the stage next – the plate-spinning is very popular, and I personally recommend the sword-swallowing.

This story of love and redemption has just a hint of cheese, but it’s all in good taste. Velour is a true talent.

Fringe review: “Mom?”

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By John Lyle Belden

Before you turn up your non-ruby nose at this “clown show,” do consider that missing this could mean passing up one of the funniest, most entertaining offerings of IndyFringe.

“’Mom?’ A Comedy of Mourners” is presented by Box of Clowns, which is more than a clever name for this trio. As the show opens we are presented with a small table of a stage and a trunk that turns out to contain, within its bottomless void, our three clown siblings. Victoria is kinda smart; Frank is kinda brave; and Mango is… well… unique.

They arrive to honor their deceased mother and scatter her ashes. This may seem a bit morbid for a comedy, but laughter is the perfect medicine for this occasion, and these characters deliver abundantly. Their acrobatic antics have them never leave the platform upon which they stand – except to disappear into and pop out of the box from time to time. Yet with these confines, they even manage a chase scene.

This hilarious hour is definitely a must-see. I’m sure Mom would have approved.

Fringe review: Ca-Ching

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By John Lyle Belden

As you enter the Theatre on the Square main stage for “Ca-Ching: A Modern American Religious Drama” by Nomads Collective, the actors are already on stage bantering. Yes, this is one of those truly “Fringe” shows where things get kind of odd.

In between the dance breaks, we get the stories of various characters affected by today’s economic struggles: a minimum-wage worker fixated on and frustrated by how little he makes for his constant labor; a couple faced with the choice of a leaky roof or no home at all, but the man has a talent he doesn’t realize could save them; Father Jobs, an idealistic innovator dismayed at how his world-changing inventions aren’t necessarily changing things for the better; an artist who discovers Jobs’ latest device, but she finds it easier to cash in than create; and Big Spender, who seems to embody the evils of capitalism in a single man. The big guy will get you ahead in life, but you might have to debase yourself.

The presentation is unusual – maybe not for everyone – but give it a chance. In the hours afterward, as I considered what I had seen, the message and meanings started coming through. And as another Fringer told me, if the show makes you think, isn’t that what this festival is about?

Review: When the world becomes Springfield

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Bart Simpson of the 22nd century (portrayed by Ryan O'Shea) in
Bart Simpson of the 22nd century (portrayed by Ryan O’Shea) in “Mr. Burns: A Post-Electric Play” at Indy’s Phoenix Theatre. — Phoenix Theatre photo

By John Lyle Belden

Throughout mankind’s history, we have been storytellers. Imagine how it will be for us, saturated in pop culture as we are, if the “stories” of television and movies suddenly stop.

In the near future, civilization has collapsed. There are rumors of plagues, radiation zones and endless fires. Survivors keep lists of loved ones and ask each stranger they meet about them. But, above all, the most important thing that must be known is: What was it that Sideshow Bob said to Bart Simpson in that “Cape Fear”-inspired episode?

Welcome to the brave new world of “Mr. Burns, a Post-Electric Play,” on stage through Sunday at the Phoenix Theatre in downtown Indianapolis.

In a dark forest shortly after an unnamed apocalypse, a band of survivors, played by Eryn Bowser, Paeton Chavis, Paul Collier Hansen, Jen Johansen and Eric J. Olson keep their minds occupied by recounting a favorite “Simpsons” episode. A new stranger, played by Rob Johansen, suddenly joins them. Suspicions fade as he remembers the scenes and dialogue that the others forgot. A bond forms.

Years later, Ryan O’Shea joins the group as they are one of many bands of actors roaming the land, keeping culture alive via stories of fabled Springfield. Human creativity mixes into this scene, adding and modifying lines of the scripts. In the second act, we jump ahead a couple of generations to see what this new storytelling tradition has evolved into.

The play, by Anne Washburn, is an entertaining commentary on our media-addicted culture. It’s interesting to see how humanity comes to value something so inspired by and a parody of other works while discarding and forgetting those things that came before, the things that gave the animated comedies their substance. Then, to see what today’s reruns become after so many hands have meddled in their portrayal makes one wonder what Shakespeare would think of all the liberties taken with his works today.

This professional cast handles this work expertly, from the fear, confusion and search for connection in the first act to the avant-garde absurdity of the bizarre “Mr. Burns” episode in the second. You do not even need to be familiar with “The Simpsons” (or “Cape Fear” or Gilbert and Sullivan) to follow and enjoy this play, especially considering the end product is likely unlike anything in Simpsons-creator Matt Groening’s wildest dreams.

Find the Phoenix at 749 Park Ave. (corner of Park and St. Clair near Mass. Ave.) in downtown Indy. Call 317-635-7529 or see www.phoenixtheatre.org.

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Also published in the Aug. 6 edition of the Greenfield Daily Reporter.

Games: Promises to keep

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By John Lyle Belden

It’s the day after GenCon. I’m sitting in my living room surrounded by about 25 new games. We only paid for a few of them, and a couple at wholesale or discount. At least two of these are ones you literally cannot buy yet – they will launch or Kickstart in month or two.

Such is the life of a game reviewer.

Yes, Wendy and I will keep up the theatre side of things, too. Next week is IndyFringe and we plan on going all-out on that. Maybe finally get the podcast online? We’ll definitely shoot some short videos, at least.

But some nice folks with shoestring budgets trusted us with their playthings. So we will play. Watch in the coming weeks between now and Christmas for our impressions of these new diversions. We did some demos at the convention, and this batch looks like a lot of fun. And if you see us around town, we might ask you to play, too.

And to game companies checking out this site, wondering, “Are John and Wendy legit?” Yes, we are. I’m not writing for a paper serving a few thousand souls any more (well, occasionally), but I’ve got a forum here with unlimited viewer potential, where I don’t have an editor limiting me to a small space on a weekly A&E page. So, especially when you see your product here, help spread the word. We’ll keep playing.

Review: Hitchcock, hilarity and ice cream

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By John Lyle Belden

The downside to classic old films is, well, that they’re old. There’s a good chance you’ve already seen them, maybe more than once, or at least have heard about them so much that you know their plots, including the “spoilers.” This is especially problematic for mystery thrillers, which rely on you getting surprised by that twist near the end.

To keep them entertaining, the trick with such well-worn stories is how they’re told. Case in point: Patrick Barlow’s manic re-imagining of master of suspense Alfred Hitchcock’s classic, “The 39 Steps.” This London and Broadway hit is now playing on the stage of Carmel Community Players in the Clay Terrace shopping center.

The dramatic elements of Hitchcock’s movie are still there: In 1930s London, a man attending a performance by “Mr. Memory” meets a mysterious woman who insists she go home with him, then reveals she is being followed. During the night, the woman is murdered and the man is on the run, trying to clear his name. All he knows is that secrets are about to be taken out of the country, and that the espionage involves a master spy with part of his finger missing and something called “The 39 Steps.”

So, that’s the plot, but even if you know all the answers, it’s still worth both your time and your dime (actually a bit more) to see Barlow’s version, brought to life by central Indiana actors Jay Hemphill, Libbi Lumpkin, Neal Eggeson and Craig Kemp, under the direction of Lori Raffel.

The delivery of the story’s scenes rely more on slapstick than suspense, combined with wink-to-the-audience use of stagecraft, where chairs become cars; trunks become trains; curtains and windowshades just hang in midair where needed; and a supporting actor inhabiting two roles slyly converses with himself.

Eggeson and Kemp are identified in the program only as “Clown 1” and “Clown 2,” nimbly taking on all the roles of people encountered by our hero, Richard Hannay, played dashingly by Hemphill. Both Clowns bring the funny as they propel the plot forward, including Eggeson’s gender-bending turn as a Scottish inkeeper’s wife, Kemp’s entertaining portrayal of Mr. Memory and the goofy chemistry between them as the thugs in pursuit of our hero.

Hemphill plays a Hannay who is at times blusteringly confused as to what is going on, and at other moments a little self-aware that he’s the hero of the play, balancing this dance with our expectations and the fourth wall perfectly.

Lumpkin – a fierce balance of beauty, brains and bravery – fills the pumps of both the murder victim and the woman Hannay ends up handcuffed to during one of his escapes. Even at her most irritating and irritated at the other cast members, she never loses her charm with us.

Aside from our foursome, credit must also be given to stage manager Mark Peed, whose necessary interventions add to the magic rather than distract. And watch for references to other Hitchcock classics hidden in the story.

Another fine feature at CCP is the availability of ice cream at the concessions during these hot summer weekends. “Alfred Hitchcock’s The 39 Steps” plays through Sunday at 14299 Clay Terrace Blvd., Suite 140, Carmel. Call 317-815-9387 or visit carmelplayers.org.

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Review also in July 30 edition of the Greenfield Daily Reporter.

Games: The apple doesn’t fall far from the, um, Apple

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Consider this
Consider this “Cards FOR Humanity,” the game that launched a whole genre of party games. — Manufacturer image

By John Lyle Belden

In the last couple of years, people have gotten caught up in the outrageousness of a simple card game. Folks who wouldn’t otherwise bother with bringing out a game box at a party, who left card games like rummy or Uno behind with their childhood, found themselves eager to be both amused and shocked by Cards Against Humanity.

The concept is easy to grasp. Players all draw from a deck of cards that each have a person, place or thing named on it. One player, who is the “judge” for that round, draws and reveals a single card from a deck of cards printed with phrases with fill-in-the-blanks. The other players each give the judge a card (face down) that might fit the topic card. The judge then decides which player gave the best or most amusing answer, and the next round is played with a new judge. As the title “Cards Against Humanity” suggests, many cards, which include sexual and scatological references, are as disturbing as they are funny.

But it might surprise some CAH fans that this style of party game is hardly a new concept, best exemplified by the 1999 hit Apples to Apples. Easy to find in stores, with thousands of cards in its licensed variations – and more safe to play with kids – the game has players playing their Red Apple cards, with nouns, to match Green Apple cards, with adjectives. Of course, with devious enough players, Apples to Apples games can also push the boundaries of political correctness. For instance, you could play “Adolph Hitler” on “Visionary” – accurate, though no one cared for his visions. Our favorite winning combo in a game I played was “Helen Keller” for “Touchy-Feely.”

The enterprising dark souls who came up with CAH (which can also now stand for Crabs Adjust Humidity, a renegade version of the game now making the rounds) were not alone in using the Apples template to set up their game. It’s illegal to copy directly, which means you have to get inventive:

  • “Crappy Birthday” declares the rotating judge to be the birthday boy or girl, and the single set of cards are potential bad presents, of which the receiver must pick the worst. Since one person’s get-that-away-from-me is another’s I-want-that-now, the game now has a “Happy Birthday” variant.
  • “Snake Oil” has the judge drawing a card that is his or her persona – a cheerleader, undertaker, or Santa Claus, for example – and the others use their cards to come up with innovations they need to sell. The anonymity factor is taken out, but if a group are good enough friends, hopefully one won’t be too guilty of playing favorites.
  • “The Big Bang Theory Party Game” includes quotes and odd things said on the hit sitcom, played out in Apples to Apples style. No actual knowledge of the show is necessary; this is not a trivia game. The game mechanics add a “Bazinga!” card that changes the goal card that everyone played their cards to match, and also adds scoring chips that allow the second-, third- and fourth-best answers to also get points, rather than just choosing only one winner each round.

These are just a few of the variations. Note that none of the three above or CAH (either version) are by the same company that produces Apples to Apples. Personally, I’d recommend getting the big “apple crate” version of the original game to get yourself and your friends hooked. Then, try the others. If your tastes and friends are like “R”-rated movies, go for CAH. Perhaps pick up the Big Bang version, and use its scoring chips to make Apples more interesting.

Only one warning: These games get so addictive, your party guests might lose all track of time until every card in the box is exhausted. You better get extra snacks.

Review: Where there’s “Smoke,” there’s a mighty fine show

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The cast of Beef & Boards Dinner Theatre's
The cast of Beef & Boards Dinner Theatre’s “Smoke on the Mountain: Homecoming,” running through Aug. 16. — Beef & Boards photo

By John Lyle Belden

For regular patrons of Beef & Boards Dinner Theatre in northwest Indianapolis, just saying, “There’s a ‘Smoke on the Mountain’ show!” is enough to get many scrambling to contact the box office.

The popular original off-Broadway show centers on a gospel-singing family putting on a “sing” at a rural North Carolina church in the 1930s. Aside from seeing the interpersonal drama among the Sanders clan and sharing a few laughs, the audience is treated to a series of old-time hymns and gospel tunes, with the cast playing an array of instruments.

The sequel, “Sanders Family Christmas,” has the family returning to Mount Pleasant Baptist Church for a holiday sing in 1941, the last show before the Sanders’ son goes off to war.

The present production, “Smoke on the Mountain: Homecoming,” takes place in late 1945, with the war over and young Dennis (Will Boyajian) back with the family, following through on his service as a chaplain and a lifelong call to take the pulpit as the Mount Pleasant minister.

The departing pastor, the Rev. Mervin Oglethorpe (John Vessels), responded to a request to open a church in Texas and will leave the next day, taking his very pregnant wife, June (Sarah Hund), the Sanderses’ elder daughter. Burl and Vera Sanders (Bob Payne and Pam Pendleton) still have daughter Denise (Christina Rose Rahn), Dennis’ fraternal twin, now married with twins of her own, as well as Burl’s troubled brother, Stanley Sanders (Brian Gunter).

They are hosting one more sing before the Oglethorpes depart, but it becomes apparent that there are still a few issues to work out.

It helps that most of the cast is the same as past B&B “Smoke on the Mountain” productions, especially Vessels as the emotional and hyperactive Brother Mervin and Hund at her comic best as simple June, who provides the family band’s percussion, sometimes in hilariously inventive ways, and signs rather than sings — though some of her gestures might confuse any deaf audience members who happen by the church.

Boyajian and Rahn make their B&B debuts but manage to fit right in as though they had always played the Sanders twins, especially when circumstances force them to re-enact a song from when Dennis and Denise were very young.

It’s not all comedy; be prepared for some very serious moments of testimony and a lot of talk about Jesus. But this is what comes naturally in a musical with a song list that looks like one from a small-town Sunday school.

In fact, especially when Dennis or Stanley recall their darkest hours, it’s easy to forget that these are fictional characters. But the spirit (or Spirit, if you believe that way) of the play stays true to the memories of those of us who ever attended a little church in the backwoods -– or a hometown congregation anywhere.

One hopes that playwright Connie Ray would eventually see fit to have the Sanderses go see June and Mervin for a Texas-sized gospel sing, but for now we can enjoy witnessing the “Homecoming” daily except Mondays through Aug. 16 at 9301 N. Michigan Road, near the Pyramids. Call 317-872-9664 or see beefandboards.com.

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Review also appears in the July 23 edition of the Greenfield Daily Reporter.