MaryAnne Mathews

‘Wit’ in Westfield: Facing a ‘very tough’ end

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By John Lyle Belden

In ‘Wit,’ the Pulitzer-winning drama by Margaret Edson, presented by Main Street Productions in Westfield, it’s not a big spoiler to say that our central character, Vivian Bearing, Ph.D, dies at the end of aggressive stage-four ovarian cancer.

Vivian (Beverly Roche) confides as much when she enters the stage as her own narrator. Feeling the play’s run-time, she condenses the necessary flashbacks and eight months of experimental chemotherapy into having less than two hours to live. In her friendly engagement with us across the fourth wall, it feels initially like a one-woman play that happens to have several supporting actors – however, we also gain a sense of their own feelings on their endless struggle against the forces of death.

Dr. Bearing is not a medical doctor, but a renowned professor of literature, weaving her career-long study of the works of 16th century English poet John Donne (sonnets include “Death be not Proud”) into the narrative of her final days, grasping for the wit she saw in his approach to life and mortality. We see a pivotal moment of her as a college student of Donne expert E.M. Ashford (Susan Hill), engaging her attention to detail that would make Vivian notorious as a teacher herself.

“You have cancer,” Harvey Kelekian, M.D., (Mark Kamish) says frankly – which she appreciates. Being advanced stage four (there is no “stage five”), he sets up what turns out to be a brutal course of chemotherapy, telling Vivian he needs her “to be very tough.” She agrees and, somehow, will see it all through, bringing us all along.

We meet medical staff with contrasting approaches to her treatment: Dr. Kelekian’s research fellow, Dr. Jason Posner (Connor Phelan), who seems more interested in the cancerous cells than the woman they inhabit, and Nurse Susie Monahan (Becca Bartley) whose humanity and empathy become increasingly valuable as they work through the coming ordeal. 

Other roles are played smartly by Eric Bowman, Leah Hoover, MaryAnne Mathews, and Teresa Otis Skelton.

The play is directed with compassionate detail by Eric Bryant and Becky Schlomann. Bryant said he had proposed directing the play to MSP, then felt grateful when circumstances allowed him to add a co-director for a woman’s perspective. Their easy cooperation is reflected throughout the ensemble, who were encouraged in preparation to reflect on their own experiences with loved ones dying and/or working through cancer.

The background work included assistance from dramaturg Brooke Conti, Ph.D., of Cleveland, for her expertise on Donne; clinical consultant Glenn Dobbs, who aside from his involvement in local theatre is a retired OB/GYN; and intimacy director Lola LaVacious, considering the very personal and invasive nature of the disease and treatment.

“People always talk to us about the production (after a performance),” Schlomann said, but with this show, they “bring up their own stories, they find a personal connection.”

As Vivian, Roche makes that sense of kinship feel natural, as both a fascinating lecturer and an engaging guide. Her disease has cracked the professor’s cynical shell, allowing us to see the soul – with its stubborn wit – within.

Hill, whose professor has a more tempered approach to the Poet, gives us a wise mentor who bookends Vivian’s journey with a touching penultimate scene. Bartley’s Susie kindly and heroically reminds us that there is more to good medicine than doctorate-level knowledge.

Phelan’s Dr. Posner seems at times aloof, practically on the neurodivergent spectrum, but maintains his own complexity with his devotion to research and fascination with the “immortal” nature of cancer cells. Perhaps there is also a discomfort with mortality that informs his clinical distance from his very mortal patient.

This play, even with its own sense of wit among the serious goings-on, can be challenging to watch – especially if you have had any experience with the events portrayed – but it is well worth the effort to experience.

Speaking of which, it won’t be easy to reach the Westfield Basile Playhouse, 220 N. Union St., due to highway construction downtown. We found our way by driving the streets that lead to Westfield High School, then turning south on Union. Consult a maps app for alternate routes.

Performances of “Wit” are Thursday through Sunday, June 5-8. Get tickets at westfieldplayhouse.org.

Asaykwee presents tragic story of “Triangle”

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By John Lyle Belden

On Saturday, March 25, 1911, just minutes before the workday was to end, a fire broke out in the Triangle Shirtwaist Factory on the upper floors of a Greenwich Village building in New York. In minutes it would bring about the deaths of 146 people, and afterward, an outcry for better working conditions for all laborers.

That death toll was 123 women and girls (as young as 14) and 23 men. They all had names; they had lives. In “Triangle,” a stunning drama by Ben Asaykwee presented at the Phoenix Theatre Cultural Center, we hear their names; we see their faces; we get a glimpse of those lives.

This is one of Asaykwee’s projects in which stage veterans mentor young actors. With this production the approach was more collaborative than one-on-one, assistant director Kallen Ruston said, building the kind of close contact and camaraderie that the garment workers they play would have felt. Thus, we have Shelbi Berry Kamohara, Maddie Deeken, Shawnté Gaston, MaryAnne Mathews, David Mosedale, Jennifer Simms, and Georgeanna Smith Wade aside teens Toni Jazvic, Gennesis Galdamez, Sophia Huerta, Paula Hopkins, Zoe Lowe, Juliet Malherbe, and Novalee Simms. In all, an excellent ensemble performance.

The play starts with a warm March day being even more unbearable with hundreds of people and machines in such close quarters. While their hands are in constant motion, their minds are occupied with familiar workplace chatter. There’s a breeze at the window. There’s talk of unions. The last strike made things better, and it didn’t. One of the girls is engaged! Someone is hurt by a needle! How much will the pay be this week? Someone needs to put water in those fire buckets…

The second act is Saturday afternoon. It’s even hotter, and that’s before someone on the eighth floor notices smoke. In 1911, locked doors and flimsy fire escapes were common, and the fire truck ladder only reaches to the sixth floor…

Only a couple of the people represented on stage will survive the ordeal. Asaykwee’s insightful script gives us a feel for what all must have felt – a cry from Beyond that later generations must heed. We hear their names; we see their story. And with it, we also get a parable of American greed, with what can happen if the only concern is the bottom line, and those in charge ignoring what might not happen because it hasn’t, until it does.

The narrative also includes glimpses of reformers, suffragettes, and other signs of the era’s restlessness. But as a practical matter, if you didn’t do that job for what little you get, you don’t eat; so there they were, at their machines when hell literally broke loose.

The staging hints at the claustrophobic work floor with the smaller Phoenix stage covered in chairs, the audience close at hand on all four sides of the “black box” room. Ruston said the costuming reflects a timeless look, with period skirts but more recent-looking colored ribbons in girls’ hair, allowing us to see ourselves or the women in our lives in them.

Performances of “Triangle” continue June 22-25 (Thursday the 22nd is sold out) at 705 N. Illinois St. For tickets and info, see phoenixtheatre.org.

DivaFest: Play honors Depression-era ‘Book Women’

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By Wendy Carson

Between 1935 and 1943, The Pack Horse Library Project employed around 200 women to deliver books and other reading material to the around 100,000 residents of the Appalachian Mountains in rural Kentucky. These “Book Women” faced numerous dangers and hardships in their rounds but were spurred on by the delight of bringing books to people who might never have read or seen one before. Local actress and author J. E. Hibbard imagines a portrait of four of these women as well as their mule, Nellie, as they prepare for a visit from First Lady, Eleanor Roosevelt, in “Ballad of the Book Women.”

Four actresses each play one of the Book Women, as well as other roles to flesh out the story. They also sing songs that help give the flavor of the play’s time and location. Not only do these ladies have to deal with weather, thieves, and the sheer ruggedness of the terrain, they also frequently come up against those who are not only illiterate but also wary of what they see as the evils of reading and writing.

MaryAnne Matthews plays Edna, the feisty elder of the group, but shines as the character of Hal, a crusty loner who secretly looks forward to the visits for food, friendship, and stories that are read to him.

Chelsea Mullen portrays Mandy, who is always making scrapbooks to prevent any piece of reading material from going to waste. Her sweetly delightful turn as one of the few school teachers reminds us of the dire need in the area, rejoicing that her class finally received two books from which to learn, while having sticks in the dirt as the only method for students to practice their writing.

Maria Meschi gives up not only Flossie, the leader of the group, but also spectacularly brings Eleanor Roosevelt to life as she tours the country bringing attention to the efforts.

Tracy Nakigozi is a sheer delight to behold as spunky young Rose. Aside from this endearing character, she is the puppet master of Nellie, which she brings to life in many charming ways. I honestly could have watched an entire show made up of her adventures with the mule.

As timely as this production is – with various books under attack today, especially in rural areas – I am greatly saddened by the sparse ticket sales. The talents involved deserve crowds with only a handful of tickets left, not barely enough audience members to outnumber them. Please, go see this delightful show.

Directed by Lucy Fields and presented by Theatre Unchained and IndyFringe for DivaFest 2023, “Ballad of the Book Women” runs Thursday through Saturday, May 4-6, 8 p.m., at IndyFringe Basile Theatre, 719 E. St. Clair St., Indianapolis (just off Mass Ave.). For info and tickets, see indyfringe.org.

DivaFest also presents activities around the Book Women story: Enjoy a “Scrapbooking Extravaganza” crafting hour at 7 p.m. before Thursday’s performance; attend a Post-Show Discussion after Friday’s performance with Cat Cardwell of IndyReads joining cast and crew to discuss expanding adult literacy. Details at the Fringe DivaFest page.

Bard Fest: Women give men a (very) hard time in ‘Lysistrata’

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This is part of Indy Bard Fest 2022, the annual Indianapolis area Shakespeare Festival. For information and tickets, visit indybardfest.com.

By Wendy Carson

With the Indy Bard Fest production of “Lysistrata,” Holly Hathaway-Thompson has done an amazing job of updating Aristophanes’ story of women’s empowerment. She not only made the storyline more accessible to a modern audience, but also shows the true meaning behind its purpose: Women have the power to change everything if they just stand together in their resolve.

The story begins in the not-too-distant future with a young girl (Missy Waaland) approaching her grandmother (Miki Mathioudakis) for more information about the election of 2022. Grandmother is horrified to learn that only a sentence or two about this time exists online and one of those is on bleach vaccines. She then begins the story, “There was this woman …”

We are transported to an alternate reality of Greece in which Lysistrata (Carrie Reiberg) has called together all of the women of the various tribes to set about her plans for P-E-A-C-E (the spelling of this word is vital throughout). Though many of the representatives have disputes among themselves, they all agree that they are sick and tired of their men being away at war all the time. Lysistrata puts forth her simple plan: They will all withhold any romantic or sexual favors until the men agree to give them a Peace.

Surprisingly for some, this is almost as difficult for the women to uphold as it is for the men to endure. Therefore, the women take over the capital for themselves alone until their demands have been met. The men do not take kindly to this tactic and try everything to persuade the women from their resolve. However, even the most bull-headed of them men finally give in to their basest needs and agree that they will meet the demands of peace, healthcare, education, living wages, etc. This brings about the blissfully benevolent future of our Grandmother and Grandchild – a future where men do not control women’s bodies or destinies.

With the source material being a comedy, Hathaway-Thompson has given the cast some truly hilarious lines throughout. Her amazing cast manage to squeeze every possible drop of laughter from each one.

Reiburg brings a slyness to Lysistrata you don’t always see in this role. This was a woman who literally brought a nation to peace with a very simple plan. Mathioudakis is brilliant in her dual roles as Grandmother and Colonice (Lysistrata’s closest ally), bringing the wisdom and experience of both characters. Waaland’s turn as the Grandchild and Ismenia allows us to see the counterpoint naivete of her youth.

Tracy Nakigozi portrays Andromeda as a wary but proud woman who puts aside personal conflicts for the good of the whole. Lucy Fields as Lampito is a comic delight as she bemoans the travails of this lack of intimacy upon herself as well as the men. Scott Fleshood (Xander), shows another side of this longing as the lone representative of those who also love men even though being born with a Y chromosome. Samantha Kelly (Medora) and Nikki Lynch (Cassandra) both do a great job of helping to keep the men in their place.

Jessica Crum Hawkins (Myrrhine) plays one half of a married couple that, despite their love and desire for each other, are still at odds on the matter. Matthew Socey (her  husband, Cinesias) brings comic timing to a new level as he is continually and painfully denied the fulfillment of his desires.

Also at loggerheads are the Leader of the Women (MaryAnne Mathews), Leader of the Men (Robert Webster), and the Magistrate (Eric Bryant) each of them chewing up the scenery as if it were their final meal.

Speaking of the men, being that the story surrounds the baseness of themselves, they are mainly comic relief. However, each brilliantly shows their ability to handle these barbs – especially Jurrell Spencer as the Herald who has apparently “cut a hole in the box.”

I was saddened to discover that most of the audience had never head of the story, but proud of their reception to it afterwards. I do adore this play. It has an important message and it needs to be heard throughout our country and the world.

You have your chance this Friday through Sunday, Oct. 14-16, at The Cat theatre, 254 Veterans Way in downtown Carmel.

IndyFringe: Is Your Brain Still Cooking?

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This show is part of the 15th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 15-25, 2019 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By John Lyle Belden

How much do you remember from your “good old days”? As people grow older, being able to retain memory is vital — and now it can win valuable prizes!

In this game show, presented by a local channel that has given up on appealing to the younger demographics, a going-nowhere actor (played by Jim Banta) is host to the titular contest, which features contestants Edmund (Dan Flahive), a retiree who keeps conversational topics on Post-it notes attached to his jacket; and Ruby Flo (Case Jacobus), a silver sinner whose hobby is being a blue-hair in blue films. She makes the most of her character’s license to say outrageous things, providing some of the biggest laughs of the show, ever frustrating the show’s producer (MaryAnne Mathews).

This is the latest by frequent IndyFringe contributor and retired Evansville journalist Garret Mathews. It is not one of his stronger scripts — at times things felt in disarray, testing Banta’s improv skills. Flahive being a talented and patient soul helps keep things anchored in his own way. Thus, this comedy is a fine example of Fringe’s function to test new material and aid the development process. Weaknesses are more than compensated by the air of nostalgia, as our contestants reach back through time and memory to tell of past places visited, things done and people loved. 

Don’t expect Tony material, but feel free to laugh, and remember — and consider for yourself: “Is Your Brain Still Cooking?” Performances are 3 p.m. Saturday and Sunday at the District Theatre Cabaret (formerly TOTS), 627 Massachusetts Ave.

DivaFest: Bittersweet ‘Tomato’

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This is part of the 2019 Diva Fest, presented by IndyFringe at 719 E. St. Clair St., Indianapolis, through April 21. All shows are by women playwrights, presented as one-hour one-acts at a Fringe price. For information and tickets, see www.indyfringe.org.

By John Lyle Belden

In “I Say Tomato, You Say Cheese,” by MaryAnne Mathews, Tom Harrison is superbly charming as Joe Carpenter, an 85-year-old man living alone — aside from the spirit of his recently-passed wife, Annie (Wendy Brown) — as best he can.

Joe’s daughter Sarah (Laura Baltz) is getting concerned, as he tends to forget and lose track of things, and keeps getting into accidents while driving. The doctor (Stefanie Patterson) confirms that his cognitive abilities are indeed on the decline.

It doesn’t help the situation that there are constantly scammers out to take advantage of the elderly. The voice of the “IRS agent” on the phone Joe can deal with, with great humor. But the fast-talking roofing contractor (Joe Maratea) is a different matter.

Mathews’ gentle drama is an interesting look at this serious situation with characters we can relate to, or even feel we’re related to. The title refers to a family story melding the old song with the meal of tomato soup and toasted cheese — like this play, comfort food for the soul.

Remaining performances are 8:15 p.m. Friday and 3:30 p.m. Saturday (April 19-20).