Fonseca returns with reflection of our ongoing racial struggle

By John Lyle Belden

Current and recent events compelled Fonseca Theatre Company to stage “Hype Man: A Break Beat Play” as its first production while live theatre starts to return to central Indiana. But more telling of the persistent seriousness of its issues is that this drama by Idris Goodwin was written over two years ago.

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From left, Aaron “Gritty” Grinter, Grant Byrne, and Paige Neely in the Fonseca Theatre Company production of “Hype Man: A Break Beat Play”

In a large, racially diverse, American city, in a time not long before 2020, up-and-coming white rapper Pinnacle and his Black hype man Verb wait on the creator of their beats, Peep One, to arrive at the studio so they can rehearse for their appearance on the Tonight Show. She enters, telling them she was delayed by traffic around a police chase. Minutes later, social media alerts give the full story: An unarmed black teen was killed, shot 18 times by cops while attempting to surrender.

The show must go on, as Pinnacle is focused on his national TV debut and upcoming tour, but as his hip-hop hit, “The Boy Shine,” gets its ovation, Verb makes a gesture for racial justice that throws their lives into chaos.

Local recording artist Grant Byrne plays Pinnacle, “born between a rock and a Glock,” blind to the fact that despite the disrespect he gets from uptown whites, his fair skin gives him a veil of privilege – and as a member of the hip-hop community, responsibility. Byrne manages to keep him likable, but driven and too focused on his “brand,” needing to learn to get out of his own ego and his fear of getting bogged down by serious issues like injustice. Still, his stage style is tight, as, with a wry smile, he spins Goodwin’s rhymes like they’re his own.

Local entertainer and the show’s music director Aaron “Gritty” Grinter is Verb, Pinnacle’s childhood best friend and long-time collaborator. The most complex character, his TV moment was to be a personal comeback, after past (unspecified) incidents had him in court-ordered therapy. The young man’s shooting affects him deeply, “I was that kid so many times!” Grinter is well-suited to the role, a natural motivator channeling the fire awakened within the Hype Man.

Indy native Paige Neely is Peep One, who tries to walk the middle path between the others’ bold personalities. Having been adopted by an apparently middle-class family (likely white), she doesn’t deny her blackness but identifies mostly as a woman in hip-hop, which is struggle enough. She understands Pinnacle’s fixation on the business of showbiz, but knows what Verb wants to accomplish is even more vital. Neely makes her more three-dimensional than the script seems to suggest, ably going from referee to friend, to a girl with her own mind and dreams, as the story demands.

This play is the directing debut of Daniel A. Martin, who is experienced with more comic fare, but as (among other things) an improv artist, does well with a trio in a very collaborative, sharing environment. The drama feels as real as the latest TV and online news, and though the death described is fictional, it has occurred in one form or another numerous times (including here in Indianapolis). The play doesn’t exploit, make light of, or preach on the issues, but helps to continue our local and national conversation.

In consideration of the ever-present health issues, FTC producing directors Bryan Fonseca and Jordan Flores Schwartz, and company staff, are taking the Covid-19 threat seriously. The stage (excellently designed by Daniel Uhde) is outdoors, behind the Basile Building, 2508 W. Michigan St., with plenty of parking at the adjacent park. There is appropriately-spaced seating, hand sanitizer handy, and all (except for actors while acting) are required to wear face masks (this was policy before the Mayor made it mandatory countywide). Local artist Kathryn Rodenbach made and donated some nice cloth masks, which can be picked up for a donation of whatever you want to give.

“Hype Man” runs through July 26. Get details and tickets at fonsecatheatre.org. To delve deeper into the issues of the play, Fonseca added this page as well.

FTC: ‘Cake’ a complex confection

By John Lyle Belden

Though every aspect of a thoroughly-planned wedding seems critical, the most important thing is still the people involved.

That is the approach playwright Bekah Brunstetter brought to “The Cake,” now presented by Fonseca Theatre Company, directed by founding staff member Jordan Flores Schwartz. In this “issue play” tackling recent conflicts of homophobia, religious freedom, and free commerce, while a bakery avoiding making a wedding cake for a same-sex marriage is at the center of the story, it is the people and their very human feelings that we explore.

Della (Jean Arnold) appears to have her life in order. Her shop, Della’s Sweets of Winston, N.C., is doing well and she has been selected for the “Big American Bake Off” television show. She is a stickler for following the directions, whether it be with a generations-old recipe or the centuries-old wisdom of the Bible. We meet her speaking on this to a young freelance writer, Macy (Chandra Lynch), who, while working on her next story, has an ulterior motive. This is revealed when Jen (Kyrsten Lyster) arrives. 

Jen grew up in this neighborhood and is friends with Della. She is also Macy’s fiance. After first insisting on making the wedding cake, before finding out it is for “two brides,” Della suddenly remembers how busy she will be around the wedding date and changes her mind. 

At this point you might expect characters to dig in their heels as they take sides, each individually convinced they’re right, and maybe even go to court. But the consequences are more nuanced. 

Della, who has known and loved Jen since babysitting her years ago, almost immediately feels regret over her decision. While her husband, hard-working plumber Tim (Adam O. Crowe), supports her on it, she finds herself haunted by the voice of the Big American Bake Off host George (Dwuan Watson) questioning her motives and methods. Also, she can’t help but notice the true love between Jen and Macy, a feeling she struggles to find between her and her dutiful but distant spouse.

Meanwhile, a rift forms between our engaged couple. Macy, a New Yorker, sees all she feared from the South coming true, and wants to strike back, or at least give up the fancy nuptials for a simple civil ceremony — elsewhere. Jen, on the other hand, is determined to have her dream wedding. It turns out you can take the lesbian out of North Carolina, but you can’t take North Carolina out of the lesbian.

As with all genuine stories, no matter how serious things get, some of it you just have to laugh at. There are plenty of comic moments in this play, especially when Della tries to rekindle her own jaded romance.

Arnold makes Della surprisingly sympathetic, given the spot events have put her in. Though playing a staunch conservative, Crowe gives Tim enough heart that we can see what she saw in him.

Lynch and Lyster make a good couple, as in their roles their yin and yang of protector and nurturer balance each other out. Still, neither woman is all hard or all soft. Is it enough to save the wedding? (And will there be cake?) You’ll just have to see to find out. 

Performances run through March 22 at FTC’s home, the Basile building at 2508 W. Michigan St., west of downtown Indy. Call 317-653-1519 or visit FonsecaTheatre.org.