Lexy Weixel

Changes around us come into focus on Fonseca stage

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By John Lyle Belden

Gentrification is a word and concept that gets brought up a lot — how it’s bad, how it has benefits, how it is inevitable. Indianapolis has seen aspects of it in play in neighborhoods such as Broad Ripple, Mass Ave./Chatham Arch, Irvington, and Fountain Square.

This phenomenon is at the heart of “Salt Pepper Ketchup,” a drama by Josh Wilder now on stage at Fonseca Theatre Company in Indy’s near-westside — an area starting to see the effects of redevelopment.

The play is inspired by the recent real-world transformation of Point Breeze community in Philadelphia’s infamous South Side. “Salt, Pepper, Ketchup” is how longtime local residents, mostly African-American, order the popular fried chicken wings at Superstar Chinese Restaurant, and owners John and Linda Wu (Ian Cruz and Tracy Herring) are happy to fill the orders as they save up for their American Dream. They had just been granted citizenship, and with improving credit, hope to buy their building.

But changes are already under way. New apartments sprang up, occupied by young white people seeking affordable rent. There is a coffee shop, and at the center of it all, the Co-Op grocery. 

Paul (Robert Negron), a leader at the Co-Op, is trying to sign up new members among the locals. John Wu, reflecting the worries of his regulars, suspects some sort of scam. Paul’s heavy-handed and tone-deaf manner isn’t helping. Still, Linda sees hope for life beyond their “Chinese joint.” Tommy (Chinyelu Mwaafrika) and Raheem (Aaron “Gritty” Grinter) see the Co-Op as a threat, a danger to the ‘hood they grew up in, and they are prepared to take drastic action. CeCe (Chandra Lynch) is trying to see all sides of this, as she works at a daycare and wants the area to get better. She even likes the idea of the Co-Op, until she discovers that a single apple costs $2.50.

We also meet the enigmatic Boodah (Dwuan Watson Jr.) who is street-smart, emphasis on both. A little older and wiser than Tommy and Raheem, he avoids conflict and criminal solutions, but when he senses injustice, he takes action.

Finally, Megan (Lexy Weixel) is a perky Co-Op worker who finds herself thrust into an unfamiliar world, struggling to make the best of it.

Seeing the events play out, I couldn’t help but feel a bit ashamed for being white. Paul is such an overbearing caricature, reeking of privilege even as he remarks on it dismissively, that it is easy to understand the backlash that overwhelms him midway through the show. Eventually he takes a more corporate attitude — or was that behind his facade all along? While this can be difficult to watch from my seat, and generating nods of agreement from minorities around me, this portrayed example of how not to gentrify can help start the conversation of how best to positively deal with the changes coming to our own streets. It helps that this important drama brings out the best in all its players.

The play is directed by Tom Evans, with a set designed by Daniel Uhde including a clever way of changing between acts. Founder Bryan Fonseca designed the lighting and Tim Brickley the soundscape, which includes hip-hop by Gritty from his upcoming EP.

As an epilogue, the play program includes a recent article on the real Point Breeze, providing more food for thought. 

“Salt Pepper Ketchup” is served up through Feb. 2 at the FTC Basile Building, 2508 W. Michigan Street. Get info and tickets at fonsecatheatre.org.

Messages go out about the struggle within

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By John Lyle Belden

“I don’t know what’s worse, trying to kill yourself or living with the fact that you tried to kill yourself.”

This lament sums up the situation for Claire, the young woman at the center of “Letters Sent,” the new drama by local writer Janice Hibbard in its world premiere with Fat Turtle Theatre Company at the Indy Eleven Theatre.

Not every suicide comes with a note, but Claire (Lexy Weixel) wrote nine. She composed and sent them as snail-mail letters — bypassing the Internet for greater privacy — then went to her apartment bathroom and opened up her wrist. However, her mother, Florence (Kathryn Comer Paton), happened to discover her before it was too late.

The play begins with Claire cocooned in a bed in the attic of her mother’s house, just days after her discharge from the hospital. Adjusting to being not-dead is rough. We come to meet the people closest to her, including boyfriend/pseudo-brother (it’s complicated) Jack (Joe Barsanti), best friends Emma (Becky Lee Meacham) and Jane (Victoria Kortz), and her father, Robert (Doug Powers), who had moved to Florida after the divorce. Our story is set in Michigan, for a reason that soon becomes evident.

Claire’s mental progress is tracked through sessions with her therapist (Wendy Brown). Here we find that the letters were sent not only to the five people we meet, but also to four people Claire considered enemies — a final middle-finger to them on her way out, she says.

There does indeed seem to be progress, but the way isn’t easy, and when secrets held by those closest to Claire are uncovered, everything could come undone.

Weixel inhabits Claire perfectly, swinging from charming to childish to morose to wracked with guilt, constantly struggling with the messages from others as well as from within her head. Though the character, like the actor, is in her early 20s, Claire being at this life crossroads has regressed her into a sort of frustrated teenager. Still, she is relatable, someone you want to reach out to.

Paton, as a Mom who must maintain control as chaos terrifies her, is both Claire’s savior and a well-meaning obstacle to her recovery. Powers is the cool Dad, perhaps because he understands Claire’s struggle more than she knows. Barsanti’s Jack is a hot mess in his own way, and Kortz and Meacham are friends dealing with the desire to be supportive, but either too confident (Emma) or unsure (Jane) of exactly how.

The topics of mental illness and suicide seem to pop up quite often lately, even on stage. Just a couple of months ago, we had “Every Brilliant Thing” at the Indiana Repertory Theatre. One important lesson we get from both that play and this is that what we think will help won’t necessarily work — but given a chance, a spark from within can be what saves us. Will Claire find hers?

Directed by Fat Turtle artistic director Brandi Underwood, performances of “Letters Sent” run through March 24 at the Indy Eleven, a stage in the IndyFringe building, 719 E. St. Clair. For tickets and info, visit fatturtletheatre.com or indyfringe.org.

Bard Fest: ‘Merchant’ an entertaining comedy with troubling themes

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This Show is part of Bard Fest, central Indiana’s annual Shakespeare festival. Info and tickets at www.bardfestindy.com.

By Wendy Carson

One of the things I love about Bardfest is that at least one production is more obscure or rarely produced. This year’s offering is “The Merchant of Venice,” presented by First Folio Productions, adapted and directed by Doug Powers.

The play is actually a romantic comedy, but has tragic overtones. It sports an easy-to-follow plotline and is immensely entertaining. Therefore, you may wonder why is it not done more often. I can only guess it is due to the overwhelming Antisemitism rife in the story’s main plot. So let’s address that matter: I believe it exists, not just to justify the character’s level of vengeance, but also because in the overwhelmingly Catholic nation, the Jews were a minority. This opens a dialogue regarding the mistrust, denigration and oppression of minorities. Especially in our turbulent modern times.

That all being said, let’s now get to the actual play.

The crux of the story is that Bassanio desires to woo the lovely Portia, a wealthy heiress. Since he has foolishly squandered his own fortunes, he turns to his beloved friend, Antonio, to loan him the money needed (which will be easily repaid by his new wife’s money). With Antonio’s funds tied up in his own business ventures, they must seek the aid of a local Jewish moneylender, Shylock. Having been slandered and ill-treated my Antonio for years, Shylock is loath to help him, but agrees to the loan provided he is delivered a pound of flesh upon default. Since the gentlemen know that there is no way this would occur, they agree.

Portia’s father passed away, but had devised a method to aid her in the choosing of the correct bridegroom. Three coffers are given, one each of gold, silver and lead, each with a warning regarding the contents – only one granting permission to marry. After other suitors fail, Bassanio chooses correctly.

Meanwhile, Antonio’s ships have all wrecked leaving him unable to repay the debt. Add to this that one of his friends, Lorenzo, not only eloped with Shylock’s only daughter, Jessica, but also converted her to Christianity, and the overwhelmed Shylock resolves to exact his revenge by literally collecting the promised pound of flesh. Bassanio offers to save his friend by paying twice the amount of the debt, but for Shylock, this is not about money, it is about his honor.

A trial commences and Shylock is granted his pound of flesh. However, the visiting lawyer – Portia in disguise – announces that upon taking his due, he not only must take the exact amount (no more, no less) but must also not spill a drop of blood in its collection. What will Shylock do?

Emily Bohn as Portia and Amanda Boldt as her maid, Nerissa, aptly bring forward the cunning that women are scarcely afforded in many of the Bard’s productions. Ryan Ruckman (Antonio) and Zach Taylor (Bassanio) portray not only the determination of each character but their intensely loving friendship. Ryan Reddick beautifully embodies the emotional sorrow and vengeance that drive Shylock to his end.

While John Mortell plays three characters throughout the show, his endearingly comic turn as Portia’s somewhat dimwitted servant, Balthasar, is truly a delight to behold. Bringing much-needed levity to a show that can be fraught with darkness.

The cast also includes Jim Banta, Aaron Cleveland, Ben Mathis, Pat Mullen, Rachel Snyder, Dwuan Watson Jr. and Lexy Weixel – all excellent.

Powers places the play in an Italy resembling the 1930s, as his Director’s Note explains, a time when rampant antisemitism has swept Europe, but its tragic endgame was yet to be revealed.

Remaining performances are 8 p.m. Friday and Saturday, 1:30 p.m. Sunday, Oct. 5-7, at the Indyfringe Indy Eleven Theatre, 719 E. St. Clair, just east of the College and Mass Ave. intersection.