Katherine Novick

CrazyLake presents wacky western whodunit

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

By John Lyle Belden

Our goofy Greenfield friends at CrazyLake Acting Company tackle the multi-genre mess of “Murder at the O.K. Corral” by Blair Graeme, who was apparently inspired to simultaneously write a farce, a Western, a tribute to television’s golden era, and a mystery that honestly keeps you guessing throughout.

Set in those mid-20th-century years when all three of your TV channels featured legendary cowboys, gunslingers, and lawmen in white hats, we are on the remote desert location of “Days of the O.K. Corral.” Famed German director Hermet Von Kibbel (Jesse Vetters) has been hired to apply his eccentric style to Episode 57: “Curse of the Rattler.”

The show stars Hoyt Hite (Luke Agee) as Marshal Bat Bannister, with Stoop Nasley (Corey Yeaman) as his sidekick Ordinary Jones, Arlene Saknusen (Taylor Shelton) as schoolmarm Miss Fripp, Betty Bannon (Alex Paddock) as saloon girl Miss Pretty, and Fred (Matt Little) as Fred, the bartender. This episode features Leslie Syntax (Chris Vehorn) as gun-toting Wild Belle Oakley; Sheila Voo (Katherine Novick) as Gloria, daughter of the Rattler’s first victim; and Duncan Cadwallader (Trever Brown) as Chief Adobe, a stereotypical (typical in context) Indian.

Von Kibbel’s wild ways are frustrating for the cast and practically abusive to his assistant and script boy Wendell Alapeno (Peyton Rader). For camera man Bosco Laine, (Ethan Stearns), it’s just another job. It quickly becomes apparent that Hoyt was hired for his dashing good looks – and that’s about it. While he comically breaks character, and what few lines he remembers aren’t always his, the other actors are not exactly A-list either. Between takes, we get in their own accents their regrets in being stuck on a sweaty soundstage rather than on Broadway – or practically anywhere else.

Things go from bad to weird when the Rattler, a vengeful Native spirit, emerges from their story to actually kill someone. Who really did it? And who could be next? While each person has their suspicions and (like everyone in showbiz) secrets, Duncan – very aware how offensive his Adobe character is – frets that he’s obviously next to die.

I won’t say here who the victim(s) is/are, because not everyone stays “dead,” which further complicates the plot. Revelations of other names (which might belong to anyone here) add to the mystery. For instance, the actors all have the same agent, the mysterious Cookie LaJar, whom none have actually met.

The play is directed by Alex Agee and Christine Schefer, answering the question of what if Agatha Christie wrote a Carol Burnett skit on the set of “Gunsmoke.” The set here, with some clever features, was designed by Dan Riddle. Andy Sparks is stage manager.

Vetters shows his talent for an unapologetically over-the-top character in Von Kibbel, while Luke Agee gives us a likeable doofus as Hoyt. Rader looks a bit like a young Weird Al, complete with manic personality, as Wendell. Novick plays a character suspiciously in flux, from girlish to sneaky, while Shelton’s Arlene has quirks of her own – including aspiring to be in a musical, and frequently flirting with Fred. Performances all around are noteworthy, as everyone eagerly contributes to the mayhem, bringing on big laughs and head-scratching twists.

To visit the Old West, go east: “Murder at the O.K. Corral” opens Friday, running July 11-12 and 18-20 at the H.J. Ricks Centre for the Arts, 122 W. Main St. (US 40), Greenfield. Get tickets at crazylakeacting.com or Hometown Comics in Greenfield.

4th Wall takes on Hugo classic

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

By John Lyle Belden

The great irony of “The Grotesque of Notre Dame,” a new drama by Josh Gibson presented by 4th Wall Players, is that the story looks unfamiliar because – contrary to various filmed and staged versions – the plot more closely follows the 1831 Victor Hugo novel, “Notre-Dame de Paris.”

We still get our Hunchback, but while Quasimodo (Sarah Kinsey) is a major character, the story centers on the beautiful Roma dancer Esmeralda (Shannon Clancy). Gibson steps in as, naturally, the poet and playwright Pierre Gringiore, who follows the woman to have her be his muse – but through an odd set of circumstances she becomes his “wife.” Meanwhile, she falls for Captain Phoebus (Dustin Jones), who saves her from abduction by Quasimodo and Pierrat Torterue (Ben Elliott) on the orders of Archdeacon Dom Claude Frollo (Lot Turner), who is obsessed with her.

By this point, we have also met Fleur De Lys (Emma Howard), the noblewoman engaged to Phoebus, and her mysterious cousin Columbe (Katherine Novick). Among the street people are the mentally damaged Mother Gudule (Katherine Gibson) as well as a band of thieves (Isabel Moore, Tyler Gibson, and Kelli Gibson) under the command of Jehan (Omar Jurdi), the drunken King of the Court of Miracles, as well as Don Frollo’s brother. Accompanying Esmerelda is her clever goat, Djali (puppeted and portrayed by Taylor Shelton).

Aside from the torturous intrigues with Esmeralda, this adaptation dwells on the aspect that unlike the misunderstandings in Hugo’s story, the aspects of magic and sorcery are more real. This includes the dark spells in Frollo’s chambers, the character of Columbe (brought in from Gibson’s other plays), and the true nature of Djali. Principal plot points, such as Esmerelda being condemned, Quasimodo invoking “Sanctuary!” and the tragic ending, are still true to the book.

Clancy gives us a kind, charming girl worthy of pursuit. Turner contrasts that light with his constant air of darkness. Jurdi plays an unflappable scoundrel, feeling that between his beggar army and his high-placed sibling, he is untouchable. Jones gives us a figure who appears noble yet shows himself more fickle with easily-bruised pride. Shelton does very well with the complexities of her character, horns and all.

Kinsey gives a compelling performance as the Hunchback, complete with employing sign language as the nearly-deaf character. The actor having lost her voice on opening weekend had her mouthing her lines with pre-recorded voiceover; this somehow added to the portrayal, reflecting the fact that an actual person in this state would be nearly impossible to comprehend – yet for the audience’s sake, we do.

The play is directed by Spike Morin-Wilson, assisted by stage manager Kelli Gibson. While the title seems to be an effort to differentiate this from other versions of “Notre-Dame,” it does leave open the question: what truly was the “Grotesque” here? I’m thinking it’s not the poor soul ringing the bells.

Performances conclude this weekend, Sept. 27-29, at Arts for Lawrence’s Theater at the Fort, 8920 Otis Ave. Get tickets at artsforlawrence.org, information at 4thwallplayers.org.

At Epilogue, ‘Business’ is good

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

By John Lyle Belden

Economic conditions are uncertain, but aren’t they always? In 1982, with the Reagan era getting under way, various stresses threaten “A Little Family Business” in the comic drama by Jay Presson Allen (adapted from a French farce by Pierre Barillet and Jean Pierre Gredy) at Epilogue Players, directed by Elizabeth Ruddell.

Ben Ridley (David Beck), president of the Cobbs Carpet Sweeper company is facing competition from inexpensive Japanese electric sweepers, as well as worker unrest. His disappointing son Scott (Mac Wright) plays the flute for a living; daughter Connie (Hazel Bolt) bugs him about his diet like a health nut, but her Republican heart is in the right place; faithful secretary Nadine (Samantha Kelly) is still doable, though he has younger ladies on his mind; and it turns out he forgot his wife’s –heiress Lillian [nee Cobb](Tanya Haas) – birthday. On top of all this, hated former employee and Democratic candidate for Governor Salvatore Farrantino (James Kenjorski) is in town. Still, railing like a slightly updated Archie Bunker, Ben is not about to back down to anyone – until his weak heart intervenes.

Forced to take a leave of absence, the boss is left with little choice but to leave his wife – who had been mostly idle except for catalogue-fueled shopping sprees (and secret donations to progressive causes) – in charge of the company. But after Lillian gets past telling the factory employee grievance committee (H. Dupiton, Katherine Novick, Dale W. Smith, and Mike Harold) she’s “just a woman,” it dawns on her that that is enough. And she has ideas.

Set at a time when women in charge were becoming more common (like Margaret Thatcher in Britain) though still rare, this show offers a light-hearted dose of empowerment with some interesting family dynamics. This includes the distress inadvertently triggered by Scott’s choice of fiancé, as Ben, Sal, and Lillian come to terms with the circumstances of past affairs.

Haas is charming and even when Lillian’s unsure, keeps her whip-smart. Beck makes the randy bigot Ben somehow likable, no doubt aided by the fact his wife never really gives up on him. Bolt boldly plays a feminine Alex P. Keaton – if this were more of a drama, we would no doubt be exploring some daddy issues. Wright plays Scott as one accustomed to his father’s disappointment, which gives him a subtle wisdom as he goes-along gets-along so he can do his own thing. Kenjorski presents a big smile, big handshake, savvy politician with some actual heart for the common man (and uncommon folk like the Ridleys – especially Lillian). Kelly puts the “professional” in professional assistant as Nadine, heroic for putting up with Ben, and making herself invaluable to Lillian.

Kelly also serves as stage manager, and Wright is assistant director. The elegant yet functional set was designed by Ruddell and Ed Mobley

Invest a little time and ticket fare in “A Little Family Business,” Thursday through Sunday, April 18-21, at 1849 N. Alabama St. (corner of 19th and Alabama), downtown Indianapolis. Get tickets and info at epilogueplayers.com.