Matt Anderson

IndyFringe: Something funny going on

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This is part of the annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe 2026, held Aug. 13-23 in venues around downtown Massachusetts Ave. Information at indyfringe.org.

By John Lyle Belden with Wendy Carson

Reviews of: “All You Can Eat,” by American Lives Theatre; “Boy Meets Musical,” by Matt Day; “Breakneck Midsummer Night’s Dream,” by Timothy Mooney Repertory Co.; “The Matt Kraft Comedy Hour,” by Matt Kraft (and friends); “The Phantom of Diopra, IL,” by Diopra Arts Theatre; “Scouts’ Honor,” by Defiance Comedy; “Unalived & Lowkey Forgotten,” by Betty Rage.  

At IndyFringe, the sure-fire ticket sellers are the shows that make us laugh – sometimes at things we can’t believe we’re finding funny. From Shakespeare to new works, IndyFringe 2026 had quite the selection. Speaking of which:

All You Can Eat

American Lives Theatre gets into the act again with a one-act by Christopher Wittman, directed by Jacob David Lang, set in the first decade of the 2000s at a restaurant of a buffet pizza chain near a shopping mall on Black Friday.

Jaded workers Michelle and Luke (Evangeline Bouw and Dakota Reed), with upbeat young Crissy (Cara Wilson) – who just scored a new iPod Nano – are preparing for what will likely be a hellish shift, made worse by the idealistic new guy, Brandon (Henry Mumaw) being late. Manager Jerri (Zarah Shejule) puts on a brave face, has a sign made saying “No Black Friday Deals” (the buffet is already five bucks), and prepares for the worst (i.e. the customers).

This workplace comedy is an entertaining look at the pains of working fast food, seeking purpose in such employment, the ordeal of a trial-by-fire first day on the job, and the odd but genuine camaraderie these crew members share. Adding to this flavor, while Luke is out on an errand, Reed returns as various interesting and often frustrating customers, including the dreaded “Buffet Killer.”

It’s also a bit of nostalgia (the iPod Nano was introduced 20 years ago) to back when Black Friday and shopping malls were more of a thing, as well as the pizzeria we’ll call “DiDi’s.”  

This ALT production was a world premiere for Hoosier playwright Wittman. We could definitely go back for another slice.

Boy Meets Musical

(Review by Wendy Carson)

Note that you do not have to be familiar with the source material to enjoy this show, but you will miss out on a few of the inside jokes.

We begin with Jess (Elizabeth Enderle) watching TV when the announcement of a freak storm is approaching the area. She turns on her favorite show, “Boy Meets World” to watch.

It’s the start of Corey’s (Edgar Tisdale) senior year. He and the gang, Topanga (Kathleen Cicero) and Shawn (Sean Stroup) are looking forward to no longer having to deal with his big brother, Eric (Ryan Powell) and hopefully avoiding interactions with bullies Joey the Rat (Chase Cornelius) & Frankie the Enforcer (Josh Gregory). However, it seems that there is no escaping Mr. Feeney (Preston Dildine).

Suddenly, there is a strange flash of lightning and our main characters, as well as a few other sitcom stars (Morgan Roof and Zachary Adkins), are transported to the current time and place. They enlist Jess’s help to find out what happened and get them back to where they belong.

Presented by Player 2 Productions, with book, music, and lyrics by Matt Day, this show is a madcap look at our past, present and future as well as a hilarious send-up of all the typical TGIF tropes many grew up with.

Breakneck Midsummer Night’s Dream

The irony of Tim Mooney’s “Breakneck” Shakespeare shows is that while these hours-long plays each get reduced to just under an hour (per Fringe festival requirements), for the audience the Bard’s work gets surprisingly expanded. We come to understand more about the plays than what is given by the staging and dialogue. With historical epics, it’s like an entertaining college lecture.

Mooney, like the play’s trickster, throws a curve in the formula with his “Breakneck Midsummer Night’s Dream.” Most noticeably the Tim Mooney Repertory Theatre is not just himself solo, but joined by a cast of Fringe all-stars from across the U.S. This includes local actor Matt Anderson, with Chris Bruzzini, Schmoo Cutlip, Maggie Killian, and Beth Byrd-Lonski as Puck.

We get a bit of commentary, spread among the company. However, the play largely speaks for itself. As is done when “Midsummer” is tightly cast, actors reappear as parts of the three character subsets: the noble Athenians, the Faerie court, and the humble Mechanicals rehearsing a play for the first group, while trespassing on the second. The result is bright, funny and entertaining. It’s edited not only to fit time, but also to enhance clarity so that even a first-timer to this comedy gets the full effect.

Compared to other Breakneck works, though, for those of us familiar with the material there is little additional value. It’s like a nice Reader’s Digest Condensed Shakespeare play. I feel there are aspects that could use some context – like why Athens (perhaps for Greek-inspired magic folk?); what would contemporary (1600s) audiences have understood that we don’t; and what’s the deal with “Pyramus & Thisbe” anyway?

Find the wide array of Mooney’s entertainments, from Shakespeare to famous speeches to his original tragicomedy, “Man Cave,” at timmooneyrep.com.

The Matt Kraft Comedy Hour

Local actor Matt Kraft is brilliant in dramatic roles, which could help explain his sharply wicked sense of humor. He has crafted it into an absurd weapon of mass hilarity in “The Matt Kraft Comedy Hour,” his follow-up to past Fringe entries, “Doctors of Sketch Comedy” and comic fantasia “Somebody That I Used to Know.”

Joined by co-conspirator TJ O’Neil, with Anna Himes, Audrey Stonerock , Morgan Morton, and Zachariah Stonerock, Kraft crafts scenes that are both bizarre and side-splitting. He manages to make televised golf commentary less boring, promote devotion to reading a best-seller, give a candy bar gravitas, send up pretentiously precise restaurant menus (“this is why I don’t come to Carmel”), and inquire why Mr. Jones isn’t teaching his class – all in the worst and most (find more synonyms for funny) way!

To top it off, there is what looks like a sort of long-form improv gone hilariously mad: the Oscar-worthy “Scorsese’s Pride & Prejudice.” (Rated R, of course.)

We’re big on hyperbole and talking stuff up here at PWJW, but everyone we talked to – including fellow Fringe funny-man Jason Adams, who said he wants to produce a full-length “SP&P” – agreed in comparing this to renowned professional comedy sketch shows like Kids in the Hall, Mr. Show, Tim & Eric, The State, and In Living Color. Looking locally, I found the situation set-ups much like the short plays of Mark Harvey Levine, but with a lot more adult language.

Matt Kraft must do more of this. He simply must. Please encourage him.

The Phantom of Diopra, IL

Full disclosure: Wendy and I consider Andrew Lloyd Webber’s “The Phantom of the Opera” to be the most overrated musical ever. However, whether you agree or are a rabid fan of “The Music of the Night,” you would love “The Phantom of Diopra, IL: A Parody.”

Presented by Jordan McQuiston with Elizabeth Enderle, Jackson Lee, Abby White, Anna Meyer, Kelsie Uselman, Chris Enderle, and Aleesia McQuiston, they bring the horror story from an old French novel to a small-town opera house in Illinois. Everyone seems clueless as to how to stop a mysterious masked man’s reign of terror – or clueless, full stop, except for our diva whom the Phantom covets.

We find the limits of love, obsesson, Stockholm syndrome, and the use of copyright works in a parody. For instance, did you know you can sing the alphabet to the ALW score? Also, what happens when you don’t have the budget for the “Masquerade” scene. And it’s not just all for laughs, there is some seriously good singing in this show, as well.

Looking over McQuiston’s body of work, we note he is big on making these serious shows funnier while still entertaining. Add Diopra, IL, to that map.

Scouts’ Honor

(Review by Wendy Carson)

Defiance Comedy has raided the cookies jar and given us a sweet look into the ins and outs of scouting and cookies sales with a healthy sprinkling of courtroom drama added in.

New scout in town Lacy (Hannah Embree) is on trial for various offenses but insists she is not guilty of any of them. As each of her troop members is called to the stand, we see the various situations that have brought them to this point.

Previous Troop Leader, Mindy (Amy Reader) tells of how she brought stories of all the fancy rewards her previous troop regularly had, which led to her being stripped of her title and Lacy taking it. Veronica (Samantha J. Lewis) tells of the horrible Saturday they had to spend in Mr. Gary’s – you can call him Glen (Clay Mabbitt) – sales seminar. Nestor Clamslammer (Amy Reader), of the Irvington Clamslammers, tells of how he was threatened and kidnapped by Lacy and Debbie (John Kern) for non-payment of his cookie debt. Janice (Kelsey VanVoorst) would just rather be hugging everyone. Meanwhile, Troop Mom (Devan O’Malia Mathais) is so fiercely driven by her money-hungry ways, that her intentions are more suspect than Lacy’s.

Add to this craziness Emily Bohannon as the vindictive Prosecutor, John Kern as the inept Defense Attorney, Clay Mabbitt as the very loud Bailiff and Rob Johnansen as Judge Honeysuckle, who must somehow oversee this craziness, and you have the perfect recipe for a hilarious Fringe Show.

Unalived & Lowkey Forgotten

When Betty Rage Productions goes for laughs, it’s always one heck of a show. For this one, put “Arsenic and Old Lace,” “Grey Gardens,” “Ghost Hunters” shows, and the famous Joan Crawford/Bette Davis rivalry all in a blender, and cover it with an almost-popular podcast.

What we get is “Unalived & Lowkey Forgotten,” the name of a young woman’s pod about people who were once famous but are now merely dead. She has come across the Folly Theatre, where old frenemies Margo and Dottie died in a fire during their run of “Arsenic: The Musical” years ago. They still hang around, of course, keeping the orphan handyman who lives there (the only one who can see them) busy. With the help of some puppets and the magic words “I remember it like it was yesterday,” we learn the whole sad (yet funny) tragic story.

You can tell Callie Burk-Hartz and friends had fun with this one. We get a goofy multiple murder mystery, ghost story, and tale of personal and professional redemption, all served with some (memories of) L.S. Ayres Tea Room chicken velvet soup.

This ranks as Callie’s second-biggest accomplishment of the month – the first being Festival Director of the whole darn Fringe.

Born that way? Belfry goes ‘Bad’

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By John Lyle Belden

For more than 70 years, “The Bad Seed” has been one of the most chilling dramas ever held on stage. The 1954 play by Maxwell Anderson, adapted from the novel by William March (prior to the 1956 film), tackles thorny issues of mental health, psychiatry, nature vs. nurture, juvenile development and psyche, trauma and responses to it, parenting, suicide, being blind to one’s assumptions, free will, and more.

All laid bare by a dispute over a school penmanship medal.

The Belfry Theatre production at The Cat in Carmel doesn’t shy away from any of this. Directed by Matt McKee, the story unfolds in a manner that even if you know everything that is going to happen, you can’t help but be drawn into the growing suspense.

Sixth-grader Olivia Cook plays central character Rhoda Penmark, the practically “perfect” daughter of Col. Kenneth and Cristine Penmark (Matt Spurlock and Lisa Anderson). If the name or her charming face in blonde braids look familiar, it may be that last year, she had the lead in “Ruthless,” the musical parody of “Bad Seed” (and “All About Eve”). This time, the singing and campy elements of the previous role cast aside, she proves to be as cold as a Terminator. Cook perfectly embodies the empathy deficit, narcissistic calm with moments of fury, imperfect attempts to be enough of a “nice” girl to get anything she wants, and unhindered calculations to remove obstacles.

Even now, in the era of True Crime programs and podcasts, it’s hard to see this in a cute tween girl; adults in the Eisenhower era didn’t stand a chance.

Lisa Anderson, as increasingly anxiety-ridden Christine, gives us a reminder that she is as capable of award-worthy performance as her husband Matt (who provides a radio voiceover). What starts with a constant vague sense of unease, accompanied by disturbing dreams, grows into ever darker suspicions as each dread becomes confirmed.

Daughter of criminologist turned radio star Richard Bravo (Jamie Kenjorski, who we’ll meet later), Christine takes advantage of her husband being away on assignment to The Pentagon to pick the brain of current criminologist and author Reginald Tasker (Nate Mecija). Joining them for lunch are her landlady and upstairs neighbor Monica (Desireè Black), accompanied by Emory (Thom Johnson), Monica’s brother.

Monica, whom Black plays with blythe confidence, has undergone Freudian therapy and feels herself an expert on the matter, swiftly diagnosing everyone. Tasker, ignoring her amateur prattle, relates advances in studying psychopaths, finding their conditions as much or more a product of birth than upbringing.

Meanwhile, at the school picnic, Claude Daigle – the boy who won the medal Rhoda not only covets but felt entitled to – mysteriously drowns. While others react as you’d expect, Rhoda comes home and calmly puts on her skates to enjoy her free afternoon. The only one to openly suspect her mood and motives is handyman Leroy (Aaron Beal), who has come to terms with his own neurodivergence and senses a fellow traveler in the girl. Though it is plain, even to a first-time viewer, that this apparently simple-minded man is not the principal villain, Beal’s edgy performance helps keep questions open to his motives.

The question of what really happened comes to consume Christine, especially after she is visited by Rhoda’s teacher Miss Fern (Samantha Kelly). We also meet Claude’s parents, Dwight (Tom Riddle) acting like a turtle wanting desperately to retreat into his shell, and Hortense (Becca Bartley), who has submerged her grief and need for answers in alcohol. The Daigles being working-class, feeling socially inferior, factors into the mother’s slurred rants – which Bartley delivers with perfect pathos – adding to the tragedy of their situation.

McKee’s daughters make big contributions to this production. Ava serves as assistant director, stage manager, and has a moment onstage as a Messenger. Her sister Kayla, who also works the light and sound boards at Center Stage in Lebanon, does so here with growing professionalism (light and sound designed by Bill Miller). Costumes, including some interesting mother/daughter combinations, are by Taylor Moss. Susanne Bush made the most of the Cat stage to design the roomy Penmark living room. Jennifer Poynter wrangled the props (where did she get the medal?). Makeup and hair by Victoria Garcia.

“The Bad Seed” takes root for one more weekend, Friday through Sunday, Sept. 11-13, at 254 Veterans Way in downtown Carmel. (Despite ongoing construction, accessing this street is fairly easy.) Get info and tickets at thebelfrytheatre.com or thecat.biz.

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

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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.

Civic mounts sturdy ‘Roof’

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By John Lyle Belden

The classic musical, “Fiddler on the Roof,” presented by Booth Tarkington Civic Theatre, is long familiar to theatregoers, while also important today.

Over a century after its setting (as well as 60-plus years after its Broadway debut, and 55 since the movie), we still find “Tradition!” giving way to a changing world. Current events have included an increase in attacks on Jewish people. Also, we can see examples in many cultures of people living with the fear of oppression and being forced to find new places to reside, even after years in what had felt like home.

This production, directed by Executive Artistic Director Michael J. Lasley, is a splendid experience, whether this your first time seeing it live, or it’s an old favorite.  

Tobin Strader, no stranger to the role, plays Tevye the Milkman, the central character and narrator (speaking to us when he’s not commiserating with G_d). Among his worries are finding good husbands for his five daughters – Tzeitel (Gretta Hambrook), Hodel (Mackenzie Foulks), Chava (Sadie Cohen or Lily Carlstedt), Shprintze (Evelyn Giesting), and Bielke (Greta Schaefer). Yente, the Matchmaker (Adrienne Reiswerg) stands by ready to help, but fate (and the girls) have other plans.

Melissa Cohen delivers a strong and faithful Golde, Tevy’s wife. For suitors, shy tailor Motel (Jacob Schilling) already has Tzeitel’s heart; idealist student Perchik (Austin Stodghill) wins over quick-witted Hodel; and kind-hearted Russian Fyedka (Dylan Aquaviva) bonds with Chava over their love of books.

Other notable characters in this large ensemble include Dennis Wimer as Lazar Wolf, the Butcher; Brandon Barkley as Mordcha, the Innkeeper; David Maxwell as the old Rabbi; and Matt Anderson as the local Russian Constable with guarded empathy for these people he has come to respect.

In impressive moments, we have Michael Krauter as the Russian who hits that long high note in “To Life;” Jennifer Hasty as the ghost of Fruma-Sarah; and Kennedy Whisner dancing as young “Chavaleh” in Tevye’s memory.

One of the best aspects of this production is that the Fiddler (Alex Avila-Hernandez) actually plays his instrument, and very well, frequently appearing as a living metaphor.

Brent E. Marty is music director, Sydnie Blair is stage manager, and Kasey Walker Lewellyn is choreographer – Is it me, or does the “bottle dance” at the wedding get more intricate every time I see one of these productions?

The village of Anatevka awaits your visit, that is, until the last carts roll out on May 9. Performances are Thursdays through Sundays at The Tarkington theatre in the Allied Solutions Center for the Performing Arts in downtown Carmel. Get tickets at civictheatre.org or thecenterpresents.org.

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P.S. An interesting note, unrelated to this production: There is now an actual Anatevka in Ukraine, near Kiev. It is, as Wikipedia states, “a refugee settlement that provides food, housing, education, and medical support for refugees” from the 2014 and 2022 Russian invasions. Established by local Jewish leaders, it is named after the shtetl in “Fiddler on the Roof.”

Civic’s bold ‘Letter’ centers strong heroine

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By Wendy Carson

I have been writing a lot about strong women these days, and Hester Prynne is undoubtably one of the strongest examples of such in American literature.

She first entered my consciousness when I was seven, watching a silent film version of Nathaniel Hawthorne’s novel, “The Scarlet Letter.” While she is vastly flawed, her courage and resolve make her an icon of female empowerment and a character to be further explored. With Kate Hamill’s imaginative script, we are presented with a new look at Hester and her situations in the current production by Booth Tarkington Civic Theatre.

As in the book, in 1640s Massachusetts we meet Prynne enduring punishment for a child born out of wedlock. She refuses to name the father and is therefore ordered by Puritan authorities to wear a red “A” (for Adultery) on her chest for the rest of her life.

Directed by Emily Rogge Tzucker, the biggest difference with this staging is the use of a life-sized puppet portraying Hester’s daughter, Pearl. Designed and built by Evangeline Bouw, and voiced and operated by Emily Bohannon, the character takes on a far more ephemeral role. The lone child in a world of strange rules, she highlights the hellion nature of children who provoke and tease others for their own amusement.

Brittany Magee brings forth not only Prynne’s self-sufficiency, but also her unwavering pride and devotion to her precious Pearl. Renee Whiten Lopez as Goody Hibbins channels some of the hysteria of the time by falsely accusing Prynne of witchcraft to justify her own personal shortcomings and try to rectify the unjustness of it all.

Doug Powers’ interpretation of Governor Hibbins keeps him sympathetic in trying to uphold the law in this wild, new land yet not satisfied by doing so. Matt Anderson excellently shows the inner turmoil of Reverend Dimmesdale, the unnamed yet horribly guilty father of Pearl. Daniel Wilke brings a malevolent force to bear as Roger Chillingworth, who carries the darkest secret amongst the group.

While the show’s staging is extremely simple, with limited cast and efficient set and lighting design by Ryan Koharchik, it helps keep the focus on the actors and their stories. The costuming by Adrienne Conces perfectly accents the various needs of narrative in many unexpected ways.

I was greatly impressed by this amazing interpretation of a story for the ages and would have been more than happy to have had it be my introduction to this powerful woman and her story.

Meet Hester and Pearl, and see their world at The Studio Theater of the Allied Solutions Center for the Performing Arts in downtown Carmel through March 28. Get tickets at civictheatre.org or thecenterpresents.org.

Asaykwee and friends present the story behind the Carol

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By John Lyle Belden

When you think about it, there is only one ghost featured in Charles Dickens’s “A Christmas Carol.” That would be the tortured soul of Jacob Marley; other beings present as “spirits” not of a particular person but a vague experience – Christmas Past, Present, and Future, as well as the consequences of poverty.

Local creative Ben Asaykwee apparently did think about it and expanded on these concepts to create a new holiday musical, “Wonders,” which has its world premiere at The District Theater in downtown Indy.

To bring his ideas to life, he once again casts his December show in “Q-munity” style, finding a place in cast or chorus for all 46 new and veteran actors who applied, including about a dozen children. Under Asaykwee’s direction, they harmonize into a large stage family, welcoming us into the story they tell.

A couple of other things to note:

* It is essential you have some familiarity with the original Dickens story, as this is a sort of companion piece to that narrative, presenting the perspective of the ethereal beings who undertake the mission of redeeming Mr. Ebenezer Scrooge. In this story, the quest is necessary not only for his wellbeing, but also for mankind’s.

* As for the old miser, Scrooge himself makes only one brief, uncredited appearance. To set things in motion for a very eventful Christmas Eve, we meet various supporting characters from the book, including Fezziwig (Bastian Ciucci Russell or Calvin Meschi); Bob and Mary Cratchit (Noah Lee and Elizabeth Gee), Scrooge’s sister (Lillie Oblon) and his former sweetheart (Michelle Wofford); and, stranded in “The Pale,” the shade of Marley (Kevin Caraher).

* This may be Asaykwee’s most ambitious high-concept work that we have seen. Set largely in the realm of the spirits of humanity – a place they for their own reasons call the Basket – we are outside of conventional earthly dimensions and “time appears differently here.” Though the production has the feel of experimental theatre, once we get a handle on the concepts in the opening scenes it all mostly works, and it helps that to the audience, the spirits are very friendly guides – even ones we associate with more negative aspects of life.

Within this Basket we find a pantheon of spirits that include Truth (Asaykwee), Hope (Sarah Zimmerman), Joy (Noah Winston), Pleasure (Tiffanie Holifield), Honor (Maria Meschi), Ambition (Jaddy Ciucci), Curiosity (Shelbi Berry Kamohara), Fear (Matt Anderson), Memory (Hannah Elizabeth Boswell), Avarice (Kallen Ruston), Creativity (Zach Himes), and Innocence (Megan Arrington), who does much of the narration. They maintain the balance of light and darkness for mortals they refer to as “Turtles,” seeing humans as slow and simple.

In this mythos, these entities consider themselves strands in a “braid” that binds human order. However, two aspects – Apathy and Despair – became lost and formed The Knot, a state of pervasive darkness. The others carry wonder as a tangible energy supply helping keep it at bay; still, The Knot is strengthening. Yet down in Dickensian London, a man with the most dark of souls could help turn the tide if he is made, somehow, to see the light. To get results, the mission must focus on the most optimistic day of the year – Christmas.

This complex production manages a sort of holiday miracle in that the strands of plot around the events and characters of “Carol,” interlaced with the immortals’ own struggles, stay cohesive and easy to follow. Asaykwee infuses it all – script and original songs – with his entertaining style, a sort of fun yet daring and mischievous sense of humor reminiscent of legends like Danny Kaye or Gene Wilder. Aside from Dickens, we can see stylistic influences of “Inside Out,” “Neverending Story,” and practically any movie where an angelic being tries to directly influence mortals (“…Wonderful Life”? “Xanadu”?).

Boswell assists with direction, and Ruston is assisted as stage manager by Sofie Frank. The wonderfully colorful and eclectic costumes for the pantheon are a group effort by the cast along with Kristin Boyd, Allison Jones, Kat Robinson, Traci Snider, Asha Patel, Robyn Lamey, and Ben Lamey.

The mortal “Turtles” are distinguished by simple black outfits, yet shine in their own way. Aside from Caraher, Lee, Gee, and Wafford, they are portrayed by Emerson Black, Ava Button, Carrie Cooper, Jenson Dasbach, Jessica Dickenson, Trèvon D. Foote, Carl Gallagher, Beth Gibson, Spencer Hahn, Lillian Hall, Zara Heck, Mandy Holzhausen, Anna Lee, Ethan Lee, Ashley Marshall, and Morgan Patrick-Roof. Filling in as Cratchit kids, urchins, and small but potent Spirits are Bastian Ciucci Russell, Cosette Clemens, Patrick Clemens, Lyra Dickson, Elsie Huldeen, Amaryllis Lebow, Xylah-Rose Lebow, Zinnia Joy Lebow, Sam Lee, Calvin Meschi, Aaliyah Oblon, Lillie Oblon, and Amelie Pellerin.

Performances are sharp throughout the cast, and roles such as Hope, Curiosity, Innocence, Memory, Joy, Pleasure, and Fear really show off the depth of the players’ talents.

But what of Past, Present, and Yet-to-Come? Join the journey by “candle-shine” and watch to see how they are revealed. Performances of “Wonders” run through Dec. 21 at The District Theatre, 627 Massachusetts Ave., Indianapolis. Get tickets at IndyDistrictTheatre.org or call 317-522-8099.

Civic gets ‘Curious’ with story of mystery and maths

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By John Lyle Belden

One nice thing about the Booth Tarkington Civic Theatre production of “The Curious Incident of the Dog in the Night-Time” (by Simon Stephens, based on the Mark Haddon novel) is that instead of a realistic looking dead dog in the middle of the stage, there is a chalk-outline style silhouette – with the garden fork stuck in it. Can’t avoid that detail as the dog, Wellington, is indeed dead.

But this play isn’t really about the dog.

The canine crime, however, is what starts Christopher Boone, a teenager in Swindon, England, who is definitely on the autism spectrum but specific diagnoses are not mentioned and irrelevant as long you understand he’s just different, to start writing his very detailed “book” on this curious incident, to aid in his investigation of the apparent murder.

So, what we see are the events of Christopher’s (Ozzy Heath) writing, also being the play that his teacher Siobhan (Jean Childers Arnold) encourages to make of it with the help of community actors (Lisa K. Anderson, Matt Anderson, Lukas Robinson, Rex Wolfley, Kennedy Morgan and Carrie Andrews Reiberg). It does appear that Christopher’s father Ed (Eric Reiberg) and mother Judy (Afton Shepard) play themselves, but that might just be us sharing his memories. Everything will add up, though, as Christopher is exceptionally good at “maths,” as the British call them.

The first act involves the quirky pursuit of justice for Wellington, which leads to a rather upsetting discovery. In the second, resolving a new mystery means taking on the most horrific challenge of Christopher’s life – the London Underground subways.

Jay Hemphill directs this production that helps deliver Christopher’s unique perspective through image projections and the other players acting as various characters, barriers, and at several moments, choreographed chaos. The neurodivergent think in straight lines and simple facts, but the world around us is mazes and metaphors.

Lebanon high schooler Heath does an excellent job of expressing that perspective, complete with a respectfully accurate presentation of the boy’s tics and quirks. Showing this person so honestly helps us to empathize and cheer him on.

Arnold’s Siobhan is that favorite teacher we either fondly remember or wish we had. She obviously understands working with students like Christopher and making him feel respected and, in this curious context, normal. Contrast this almost too good to be true character (perhaps because seen through the boy’s eyes) with his parents, neither of whom would be named Britian’s Mom or Dad of the Year.

Reiberg and Shepard each play their roles with a brutal honesty in which they see where they slipped up, finding themselves needing and willing to do the work to restore the most important and fragile thing in Christopher’s world – trust.

This story has lots of humor and persistence and compassion in a demonstration that seeing things through a different way of thinking can lead to amazing insights. And in the end, you will cheer the answer to an A-Levels maths problem!

Christopher doesn’t mind tight spaces, so we see “The Curious Incident” in The Studio Theater at the Center for the Performing Arts in downtown Carmel, through March 29. Get tickets at civictheatre.org or thecenterpresents.org.

Ben Asaykwee saves Christmas!

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By John Lyle Belden

OK, so I exaggerate a bit. Still, local creative treasure Ben Asaykwee does bless us with two holiday shows this month.

His “Christmas Carol Comedy” returns, a parody of the Dickens classic that even Asaykwee calls “the dumbest thing you’ll see on stage.” It’s a perfect chance to stop taking the world seriously for a couple of hours, relax, and laugh at the absurdity.

Remember how silly it was last year, having Matt Anderson as Scrooge and Tiffanie Bridges as Tiny Tim? Well, this year they switched roles. As usual there is a huge cast, with every child who auditioned included as an “urchin” and one of the many, many Cratchit children. The approach of having experienced actors and novices work side-by-side works great in this low-stakes environment. It even bridges generations; for instance, Jaddy Ciucci and Maria Meschi, long-time collaborators with Asaykwee, get to perform with their young sons.

Hannah Boswell gets rowdy as Ghost of Christmas Past, Noah Lee and Mariana Haig are Mr. and Mrs. Cratchit, Kelly Haas is Nephew Fred, Kendrell Stiff is the Dodger, and Spencer Hahn is Kermit the coincidentally-named frog. Also appearing are Lisa Anderson, Luna Capehart, Sophia Capehart, Patrick Clemens, Carrie Cooper, Ben Curry, Jensen Dasbach, Lyra Dickson, Jessica Dickson, Ansel Dilger, Aliyah Distelrath, Lillie Distelrath, Cari Gallagher, Beth Gibson, Lillian Hall, Zara Heck, Elsie Huldeen, Adriel Kyrie, Anna Lee, Ethan Lee, Jared Lee, Samuel Lee, Calvin Meschi, Bastian Russell, Benjamin Thomas, Fynlee Thomas, Charlotte Wagner, and Noah Winston. Boswell also assists Asaykwee with direction.

And it’s also a musical, so we get some clever Ben Asaykwee songs like the gloriously superfluous “We Fly,” and the wit of “You Can’t Take it With You,” which has a style reminiscent of his Cabaret Poe.

But mostly – as it is even sung in one chorus – “this is dumb!” Hilariously, cheekily entertainingly, dumb, and a must-add to your holiday traditions. Performances run through Dec. 22 at The District Theatre, 627 Massachusetts Ave. in downtown Indy.

Also at the District, on Dec. 14, 15, 18, 21, 22, and 23, Asaykwee hosts his Happy JingleSprinkleTimez Cabaret. Another all-ages show, Ben presents a program of songs, stories, poetry and charming video vignettes. The opening performance had a technical glitch that made its moment even funnier;  a couple of surprises are likely whenever you attend, as Asaykwee works the spontaneous magic of live theater.  

And, if the connection to the North Pole is good, we also get a visit with ProZack the Sad Elf.

So, to sum up: Marley’s still dead, Ben Asaykwee performs live, and it would be smart to experience the dumbness. Get tickets at indydistricttheatre.org.

Andersen’s own duckling-to-swan story in new musical

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By John Lyle Belden

The life of Danish author Hans Christian Andersen was quite extraordinary, resembling a novel – or perhaps, a fairy tale.

Indy Bard Fest presents “Andersen: A Fairy Tale Life,” a new musical written and directed by June McCarty Clair (with music by Derek Hakes and lyrics by John C. Clair), based on the true events of the tale-spinner’s life.

We first follow Andersen as a boy (played by Preston Blair) in the small town (at the time) of Odense on Denmark’s island of Funen – far enough from Copenhagen for it to be considered boring but close enough for royalty to visit for a quiet vacation. Raised on literature by his father (before he died) and folk tales by his illiterate mother (Lisa Anderson), the lad would sing and recite for coins on the street.

Having a good voice and endless ambition, as a teen (Grant Craig) he makes his way to Copenhagen hoping to be a performer as well as a writer. Nearly penniless, he finds his way to Jonas Collin (Mac Williams), who takes him in, and with famous voice teacher Siboni (Thom Brown), scientist H.C. Orsted (Duane Leatherman), and, reluctantly, Jonas’s son Edvard (J.B. Scoble) undergo a grand experiment to see if a low-born person with potential can bloom into a celebrated genius. Struggling at first, Andersen is sent to study under cruel schoolmaster Simon Meisling (Matthew Socey) to improve his grammar. Instead, he writes a poem which somehow makes its way into print.

This first act not only gives us an interesting biography but also provides a showcase for the talents of Blair and Craig, who get their own songs and fully realized scenes – not just used as younger faces to get to the man we know. With Craig’s charm and vocal chops, he easily portrays the star potential of the confident young Dane.

The second act brings on Andersen as a young adult, in which Matt Anderson channels his charisma into a man who came across as gangly, awkward, and eccentric, yet somehow enchanting. In these years success came easily, but happiness and a sense of belonging elude him. People love his stories, but what about the man?

This play includes references to a number of Andersen’s tales, with one even acted out by children. The songs serve the plot well – such as “Another Door,” as young Christian deals with rejection as he pursues his destiny. The second-act song “Fairy Tale Life” has showstopper potential.

Other notable performances include Rachelle Woolston as Mette the Fortune Teller, Sara Tewes as a famous ballerina, Erika Koepfer as Louise Collin, Nan Macy in brash-woman roles as usual, and Greta Shambarger as the one kindly person who doesn’t slam the door in Andersen’s face. They are joined by Beth Gibson, Derek Hakes, Emelyn Woolston, Owen Flint, Andy Burnett, Mel Burnett, Lucy Isles (Little Match Girl), Jacob Meneghini (Ugly Duckling), and Thom Johnson (Mayor of Odense).    

“Andersen: A Fairy Tale Life” is an entertaining examination of a true rags to riches story, a testament to overcoming one’s disadvantages with persistence. We get glimpses into both the author’s humor and his melancholy that informed his often-tragic writings. Ever feeling the outsider, he still lived a full and, eventually, celebrated life. The story doesn’t delve into current scholars’ controversial speculation of his sexuality, yet does portray the loneliness we know he felt.

Remaining performances are Friday through Sunday at Shelton Auditorium, 1000 W. 42nd St., Indianapolis (southwest corner of Butler University campus). For information, see indybardfest.com, or find tickets here.

Musical send-up of Scrooge story returns

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By John Lyle Belden

Ben Asaykwee’s “Christmas Carol Comedy” at the District Theatre has joined the ranks of downtown Indy’s cherished holiday traditions. Yes, we’re all surprised (I imagine Asaykwee is), but I’m not actually as he is really talented and the show is really funny.

I mean, look at the nice stuff we said about it last year.

As so much about the world today is silly and dumb, this musical parody of Dickens’ classic fits right into this season’s offerings. While Ben is over at the Phoenix, assistant director Hannah Boswell takes care of things, as well as roles including a talkative Christmas Future. This being a “Q-munity” production (started by Asaykwee’s Q Artistry company), there are numerous performers at all levels of experience, whose having fun at this easily translates to the sold-out audiences.

Matt Anderson is back as Scrooge, Shelbi Berry as Christmas Past, Tiffanie Bridges as Christmas Present (and, well… you’ll see), Maria Meschi as Marley, Emerson Black as Fezziwig, and Michelle Wafford as Mrs. Cratchit, with Jeff Stratford as Bob Cratchit, Tristan Montgomery as Fred, Miki Mathioudakis as Mrs. Fezziwig, and an ensemble of characters and Victorian Urchins played by Adrienne Anderson, Alex Kao, Anahit Aleksanyan, Anna Lee, Arin Anderson, Ben Curry, Beth Gibson, Calvin Meschi, Cari Gallagher, Charlotte Wagner, Derwin Lester, Elsie Huldeen, Emily Persic, Finley Eyers, Fiona Eyers, Jessica Dickson, Kallen Ruston, Katie Eaker, Kelly Haas, Kendall Crenshaw, Lillian Hall, Lisa Anderson, Luna Capehart, Mandy Holzhausen, Michael Persic, Noah Lee, Patrick Clemens, Sam Lee, Sophia Capehart, and Spencer Hahn.

You have seven chances (at the time of this posting) to see this charming, fun, silly, entertaining, and now traditional yuletide treat, but tickets are selling fast, playing Thursday through Sunday, Dec. 14-17 and 21-23. Get them at indydistricttheatre.org.