Julie Wallyn

Cops are up to something (very) funny at Center Stage

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

Lebanon’s Center Stage Community Theatre presents a wild episode of law and disorder with “Unnecessary Farce,” a comedy by Broadway actor Paul Slade Smith, directed by Nicole Amsler.

In a motel at the edge of town, Eric (Hunter Nuzzie), a young police officer needing to prove himself, and partner Billie (Lauren Lotzow), who somehow got a badge despite failing nearly every academy test, are setting up an undercover sting. In the room next door, the new city accountant, Karen (Lisa Anderson) is to meet Mayor Meekly (Ron Pittman) and get him to admit to embezzling millions in public funds. However, while preparing for this, Eric and Karen have developed feelings for one another. To complicate things further, the Mayor has a devoted chief of security, Agent Frank (Matt Anderson), who notices (almost) every detail in the room.  

With hijinks aplenty, mad misunderstandings, and doors to slam, we get a raucous comedy with a smidge of thriller as the workings of the local Scottish mafia – “the Clan, with a ‘C’” – are revealed, bringing on the feared Highland Hitman, a killer known as (dramatic pause) Todd! (Kevin Shadle). Then eventually, the Mayor’s wife, Mary (Julia Wallyn), comes looking for her husband.

Amsler has the good fortune of a great cast for this kind of show. Lotzow has been excellent in various roles over the last two years and definitely has a knack for comedy. Lisa Anderson gets to cleverly upstage her more practiced husband, Matt, both being masters of going with the madness (even if it means losing one’s pants) without being too over-the-top.

While most characters appear to understand the seriousness of the goings-on (no matter how absurd they’re becoming), Pittman effectively plays the Mayor as blithely oblivious, even though he was the one who proposed this suspicious event in the first place. Shadle, a treasure of Central Indiana community theatre, boldly presents another memorable character – bagpipes, thick accent, and all. Wallyn brings her own sort of disarming charm

To our surprise, this is Nuzzi’s first theatre role. His handling of scenes ranging from slapstick to romantic to standoff at gunpoint shows a natural feel for the material and solid comic chops.

As always, credit is due to the all-volunteer crew. Assistant director is Heather McKee and Stage Manager is Ava McKee. Amsler takes on many other tasks, including excellent set design and decoration with Christy Summersett – two connected hotel rooms with eight doors and good sightlines. Amsler also did costumes (including a kilt) with Heather McKee, as well as props.

A hilarious escape from the heat of summer, indulge in “Unnecessary Farce,” Friday through Sunday, through July 26, at 604 Powell Street in Lebanon. Get info and tickets at centerstagecommunitytheatre.com.

‘Mink’ a good fit for Center Stage

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , ,

By John Lyle Belden

“Life is too complicated, that’s why I don’t think about it.”

This line by the lead character is the essence of “The Widow in Mink,” a comedy by Carl L. Williams presented by Center Stage Community Theatre in Lebanon.

It has been two weeks since Margaret Osgood (Julie Wallyn) lost her husband, George, in a bird-watching accident, and she is still adjusting to life alone. She gets visits from her niece Julie (Amy Keitt), whose idle-rich boyfriend Roger (Mike Bauerle) tags along, as well as her late husband’s business partner Charlie (Kevin Shadle). She also joined a social group, the Wandering Widows – Diane (Tanya Haas), Betsy (Veronique Duprey), and Jane (Dottie Ostby) – now that she qualifies for membership.

Charlie arrives from the bank with the contents of George’s safety deposit box, including his will. Margaret soon discovers that she has inherited a lot more than a plethora of bird portraits.

Williams once referred to the character of Margaret as “sweetly oblivious;” Wallyn plays her as smarter than she lets on, with enough eccentricity that we laugh more at her situation than at her. Keitt’s sweet Julie, being an investigative reporter, is suspicious enough for the both of them. She has feelings for Roger, but there’s something keeping her from accepting his frustratingly frequent marriage proposals. Bauerle keeps his character easy-going throughout, with a sense that there is more to him than he dares to reveal. Shadle gives Charlie an aw-shucks demeanor that appears to appeal to Margaret – as well as Diane. The trio of Haas, Duprey, and Ostby have fun chemistry akin to the “Golden Girls.”

Jan Jamison directs, as well as designing the set and costumes.

This charming, delightful play shows that getting older doesn’t mean life gets any less interesting – quite the contrary. Sometimes all you need are good friends, and a nice mink coat.  

“The Widow in Mink” runs Friday through Sunday, though Oct. 12, at 604 Powell St., Lebanon. Get info and tickets at centerstagecommunitytheatre.com.

Westfield presents classic drama with current feel

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

“Night Must Fall,” a classic thriller by Emlyn Williams, who also starred in its original 1935 London production, haunts the stage of Main Street Productions in Westfield, directed by Ian Hauer.

In an English countryside estate, bitter Mrs. Bramson (Julie Wallyn) rules from her wheelchair, tolerated by sassy housekeeper Mrs. Terence (Ashley Engstrom) and timid maid Dora (Cassie Knowling), and with a hint of familial obligation by niece Olivia (Rachel Kelso), whom she uses, with unearned distrust, as a personal secretary. When we meet them, Bramson is attended to by visiting Nurse Libby (Lizzie Schultz) while milquetoast family friend Hubert (Matt Hartzburg) tries in vain to woo Olivia.

When the matron seeks to sack Dora for tardiness, the girl confesses to be pregnant. Morally outraged, Bramson nonetheless keeps the maid on the condition that the man who will be the father present himself and commit to marriage. Enter “Babyface” Dan (Adam Phillips) whose lilting peasant voice seems to carry a hypnotic note, quickly winning over the usually suspicious woman.

Soon, Scotland Yard Inspector Belsize (Ian A. Montgomery) visits, inquiring regarding the disappearance of a woman last seen at a local nightspot Dan had been known to frequent. This clinches Olivia’s already growing suspicions, but while she makes her own investigation of their handsome new houseguest, could she be slipping under his spell as well?

This drama also features Brad Staggs in an ominously foreshadowing voiceover.

Under Hauer’s direction, Williams’ script feels ahead of its time as a tense character study of sociopathy – “What’s behind his eyes?” Olivia marvels. Our 2023 audience, having seen true-crime shows, perhaps read such books and heard the podcasts, can only watch as the blind side of human nature fails to foresee what unfolds. These things couldn’t happen decades ago in beautiful genteel Essex, England – until they do.

Wallyn manages to keep Mrs. Bramson equal parts harsh and human. She is not a dupe so much as failing to realize she is being played like an instrument by a virtuoso of persuasion, which in its own way helps us to feel for her, despite her edges.

Kelso is given a lot to work with in two acts, managing to keep pace with Olivia’s odd trajectory. Engstrom adds to the humor factor with Terence’s gaelic-accented commentary, a very what-you-gonna-do-fire-me attitude that Bramson somehow respects. Knowling’s Dora is a bit of a leaf-on-the-wind character, who craves not being the center of attention and is visibly relieved when talk of marrying Dan seems to cease.

Montgomery makes the most of his few scenes as the Inspector, exuding authority while wielding it with tact. Meanwhile, Hartzburg keeps his softy Hubert fairly likable, a character sadly out of his depth who should find love in a much nicer play.

If only posh folk understood the warning of ironic nicknames like “Babyface.” Phillips eases into a character that grifts as easily as breathing. His Dan blurs the line between kind and suspicious behavior so well, he toys with the tension both on stage and among the audience right up to the end.

“Night Must Fall” four more times, Thursday through Sunday, Feb. 16-19, at the Basile Westfield Playhouse, 220 N. Union St. Get tickets and info at WestfieldPlayhouse.org.