John

Fringe review: Interrupting the Sermon

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By John Lyle Belden

“Interrupting the Sermon,” presented by First Hand Theatrical at Musician’s Union Hall, commemorates the late Wayne C. Olson, a minister who had congregations in New York state and Indianapolis, portrayed by his son Kevin Olson as well as John Kohan and Perry Hunt.

The show combines poetry, true stories and a sermon, all written by the elder Olson. The message, “My Bible: Then and Now,” is set up with “interruptions” of recollections from his life or verses of his poems. He tells of being awed by a dying girl’s enthusiasm for her faith, and appalled by the treatment others give an AIDS patient who seeks his help. And he relates how his dealings with others always have lessons for him, especially in how he relates to the scriptures on which, as a minister, he is expected to be an expert.

“Sometimes there is more grace and forgiveness outside the church than within it,” Olson muses, as he grapples with what that means in the bigger picture of his sacred mission.

This celebration of life and faith inspires and challenges us – as a good sermon should. Yet it’s not too “preachy” – no fire-and-brimstone or altar call. Kevin Olson does his father proud, and Kohan and Hunt smoothly stitch the show together into a satisfying whole.

Fringe review: The Secret Book of Jesus

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By John Lyle Belden

The apocryphal gospels that didn’t make the cut for the canonical Bible can still intrigue and enlighten, as Maximum Verbosity’s “The Secret Book of Jesus” at the IndyFringe Indy Eleven Theatre shows.

Phillip Low presents, without comment, readings from little-known sources including the Protoevangalium of James, Infancy Gospel of Thomas, History of Joseph the Carpenter, Gospel of Nicodemus, Gospel of Peter, Apocryphon of James, Gospel of Judas and The Questions of Bartholomew, as well as Robert de Boron’s Joseph d’Arimathea (which ties into a certain British legend).

Low’s delivery is crisp and entertaining, and contains no judgment of the texts. With virgin birth and Christ’s miracles accepted as truth, why balk at the infant Jesus confronting a dragon? Especially intriguing is the story of little boy Jesus learning the consequences of losing his temper.

For anyone who is interested in these ancient works, whether you regard them as heresy or just intriguing tales, this is definitely a show to include on your Fringe schedule.

Fringe review: Cocooned in Kazan

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By John Lyle Belden

Inspired by Ukrainian author and satirist Nikolai Gogol, British troupe Royal Kung Foolery presents “Cocooned in Kazan,” playing in the Marrott Center, the story of a ladies’ man in 19th-century Russia who finds he must settle down and marry to inherit his parents’ estate. But this requires going to his little home town of Kazan, where all the women know him, and not fondly. So Konstantin instead pines for newly-arrived Katya, while his maid, Tatiana, has her eyes on him.

This results in a lot of comic situations and creative physical humor, helped along by occasional anachronism and several fourth-wall moments. Yet as manic and goofy as things get – even when a character walks offstage to share a drink with an audience member – the story never falls apart.

This is easily one of the most entertaining shows of the fringe, and a great example of how wonderful it is to draw in such international acts.

Fringe review: Growing Up All Over Myself

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By John Lyle Belden

I encourage everyone to make a point of seeing comic Mat Alanso-Martin’s stand-up show, “Growing Up All Over Myself,” at ComedySportz, not only because he is good, but because his gently building and rolling style of humor works best with the energy of a big audience.

We didn’t have that big a crowd during the afternoon show I saw, but he made the best of it, extolling the virtues of being loose and comfy in your own skin and declaring that he is “pro-dildo” but doesn’t like vibrators – note the content gets into the range of mild “R” or TVMA.

The creator of past Fringe show “Trailer Park American” has some great observations about growing older and other aspects of life, so gather some friends and see for yourself.

Fringe review: Dancing in the Mist

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By Wendy Carson

When a parent suffers from dementia, the struggle to assist and deal with them can be overwhelming to the family, especially if her only son is the one the task falls to.

In “Dancing in the Mist” by Marcel Nunis, presented by RibbitRePublic at the Musicians Union Hall, Kurt Fitzpatrick plays Mike, who catalogs the challenges faced in becoming the primary caretaker for his mother, Gillie, played by Xan Scott. There are lies that must be told, bargains that must be struck, songs to be sung, various characters to be played and a wealth of sorrow for the both of them. Still, he does what he can to make the best of it for both parties involved.

Since she so often slips into memories of the past, he gets a surprising and tender glimpse into the woman she one was. He finds out much more of her history than he bargained for, including references to the mysterious “Max.” We also get glimpses into Mike’s highly-stressed mind.

Meanwhile, Scott artistically portrays a woman struggling to live with her malady and hold onto every piece of her past and sanity that she can.

This is an expertly crafted drama with gentle humor that can help serve as a guide and warning of how to behave if or when you are faced with this challenge yourself.

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John Lyle Belden contributed to this review.

Fringe review: The Best of Indy Magic Monthly

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By John Lyle Belden and Wendy Carson

For those who have never seen one of the enjoyable offerings that comprise the Indy Magic Monthly shows, “The Best of Indy Magic Monthly” on Theatre on the Square’s second stage will offer you a taste of what you are missing and should make you a regular patron in the future.

IndyFringe regular and IMM founder and host Taylor Martin presents a different lineup of magicians from near and far each show, including illusionists who have toured internationally, played Vegas and The Magic Castle, and appeared on television shows such as “Penn & Teller’s ‘Fool Us.’”

Martin emcees as one of his magical personae, then four other magicians dazzle us with tricks including elaborate props, mentalism and close-up magic. Monday’s show included comedy (making a Triscuit “disappear”) and the exotic (a Hong Kong magician who employed Chinese masks as well as marvelous tricks). But don’t expect to see that lineup again – the remaining performances promise acts just as good, but unique to that particular hour.

There are a lot of laughs and wonder for everyone in the family. Even if you think you know how the tricks are done, seeing them played out in the eyes of a child will make it all seem new and wondrous again. And the variety not only keeps the show fresh, but will make you want to see more than one of them to have a better experience.

For those who can’t make it to this during the Fringe, Indy Magic Monthly showcases some of the best performers locally and around the world the first Tuesday of each month at Theatre on the Square.

Fringe review: Laughing Sober

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By John Lyle Belden and Wendy Carson

Rick Garrett tells us the story of the traumas of his child- and adulthood that drove him to the numbing effects of alcohol for solace in his stand-up/monologue, “Laughing Sober,” at ComedySportz.

Garrett relates his restrictive religious upbringing – “We were Amish with lightbulbs” – and how for him love was predicated on rules he couldn’t master and expectations that didn’t fulfill him.

While his tales are honest and raw, the delicate humor surrounding them prevents the subject matter from getting too somber. Garrett is an excellent storyteller as well as comic, so even when he’s not zinging the punchlines – which he often does – he still holds our attention and earns our sympathy.

This show reminds us that we are all damaged people in some way, and that the only true healing powers in the world are laughter and love, both of which you will feel before the final applause break.

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.