Mac Wright

At Epilogue, ‘Business’ is good

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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.

Cat, CCP stage farcical salute to struggling actors

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By Wendy Carson      

Is the thought of seeing one more Christmas-themed production making you want to spew your eggnog? If so, you need to drive over to The Cat in Carmel and catch a performance of Carmel Community Players production of “Moon Over Buffalo.”

The 1995 comedy by Ken Ludwig is notable not just for its slamming-door farcical elements but as the vehicle in which Carol Burnett returned to Broadway. Needless to say, there are plot twists and laughs aplenty.

In the summer of 1953, George Hay (Jason Creighton) and wife Caroline (Tonya Rave) have washed out on the Broadway stage as well as in Hollywood and tour the country in reparatory, alternating between productions of “Cyrano de Bergerac” and “Private Lives.” They are currently stuck in Buffalo, N.Y.

Still stinging over the loss of lead roles in the upcoming Frank Capra-directed Scarlet Pimpernel film, they are resigned to make the best of things. Having Caroline’s mostly deaf mother, Ethel (Wendy Brown), along as their costumer and all-around extra doesn’t improve their lot.

In a fortuitous turn of events their daughter, Rosalind (Natalie Piggush), has returned to introduce them to her new fiancé, Howard (Mac Wright). However, she never seems to get the opportunity, and his being tongue-tied doesn’t help. Add to the mix Richard (Brian Sprayue), the Hays’ lawyer who is madly in love with Caroline and trying to sweep her away from her husband; Eileen (Nicole Sherlock), the ingénue who is pregnant from a brief dalliance with George; and finally, Paul (Grant Bowen), Rosalind’s ex, who is still madly in love with her.

Secret loves, mistaken identities, a generous amount of alcohol, and the possibility of being cast in Capra’s film after all make for a rollicking night of craziness. It’s also good for those who like a peek at backstage life and the quirks of showbiz people, flavored with the evergreen lament that live theatre is dying (shakes fist at television).

Directed by Elizabeth Ruddell, the entire cast is spectacular; their tireless embracing of every comic element will keep you laughing so much that you can forget that “Marley was dead” or any other holiday frippery.

Performances are Thursday through Sunday, Dec. 14-17, at The Cat, 254 Veterans Way, downtown Carmel (in the Arts and Design district, a distance away from the Kristkindlmarkt). Get tickets and info at carmelplayers.org.