Matt Anderson

Serving up Shakespeare’s slasher

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By Wendy Carson

Indy Bard Fest presents “Titus Andronicus” by William Shakespeare.

First of all, let’s address a few things about the source material. This is not a typical Shakespearean tragedy. It is violent, gritty, and rather mean-spirited overall. However, it is also very realistic in its depiction of the wages of war, the brutality spawned from revenge and the immense savagery of “civilized” society.

Bard Fest states that this is not for children, the warning making the subject matter seem like it leans towards an “R” rating when indeed it is much closer to a “PG” or “PG-13” at the strongest. A few murders do occur onstage, with “blood” spray, but the most heinous of the crimes occurs offstage and is only talked about, with its aftereffects being seen in fascinating detail. Since the stage blood seems more akin to Kool-Aid, none of it feels as gruesome as it could be. In fact, a young gentleman at our performance had no qualms about any of the violence, he was more alarmed at becoming a valet to the Queen at one point.

So, parental discretion is advised but do not let that keep you from exposing kids to this rarely-done show. Who knows, it might make them want to check out more of the Bard’s catalogue.

Although I usually try to summarize the stories here somewhat, it’s really nothing more than a lesson in what “an eye for an eye and a tooth for a tooth” justice is like. As you enter the Indy Eleven theater, notice that on the back wall of the audience, there is a chart with Titus’s family listed. As the play progresses, more and more of those names get scratched off until only three are left. Also, enjoy the beginning tableau of the family at the table. This is the only time you will see such happiness and normalcy in the production. Oh, and the rightward section of the audience is the “Splatter Zone.”

Director Matt Anderson does an exceptional job keeping the show enjoyable despite its dark subject matter, at times leaning into its gory nature. In fact, the final scene is more fun than frightening.

Dan Flahive brings Andronicus to life as the world-weary soldier who, upon winning victory over the Goths, refuses the Roman people’s will to rule them and would much prefer to rest in the company of his remaining children.

James Kenjorski brings aspiring emperor Saturninus’s blind madness to the forefront by failing to see how his choices and demands will doom the rest of the characters. They start by seeing his family and kinsmen as enemies and taking the captured queen of the Goths as his bride.

Holly Hathaway Thompson gives a perfect rendition of that queen, Tamora, a proud woman whose vengeance is greater than any man’s and lifestyle would put a modern “Real Housewife” to shame.

Nicholas Johnson plays Aaron, a Moor who aids the Goths, as the devil incarnate, a man whose every action is to inflict evil upon the world.

David Marlowe keeps Bassanus, Saturninius’s brother, an endearing soul to whom fate deals a mortal blow.

Haley Glickman plays Titus’s daughter Lavinia, a young woman in love who becomes a pawn in this massive power play. Even though she suffers the worst degradations of any character, she balances her desire for revenge against the reality of its outcome. Whether eloquent or mute, Glickman’s expressiveness shines through.

Craig Kemp brings Marcus, Titus’s brother and a Roman Tribune, a solid solemnity that while not being a target himself, must witness and endure the tragic events of everyone else.

Tamora’s sons, Eli Robinson as Chiron and J.B. Scoble as Demetrius, give Aaron’s character a run for his money as far as dastardly deeds go. However, they do not escape justice and end up as “just desserts” for their mother.

Ben Elliott is appropriately noble as Titus’s eldest son, Lucius, tasked with helping bring justice to these events. Also notable is young Sam Lee as his son (Titus’s grandson), Young Lucius. 

A crowd-pleaser for the rowdies in Shakespeare’s day, which even includes in this production a scene practically straight out of Wrestlemania, it won’t cost you an arm or a leg (maybe a hand?) to see “Titus Andronicus” in its remaining weekend, Friday through Sunday, Oct. 27-29, at the Indy Eleven in the IndyFringe Theatre, 719 E. St. Clair St., Indianapolis. Get tickets at indybardfest.com or indyfringe.org.

‘Angels’ in Indianapolis

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By John Lyle Belden

Indianapolis Bard Fest brings us one of the most important theatre events of the year with its full production of Tony Kushner’s Pulitzer-winning “Angels in America,” presenting both Part 1 (“Millennium Approaches”) and  Part 2 (“Perestroika”). 

Such a venture brings with it high expectations, which Bard Fest and director Glenn Dobbs more than meet. This play cycle also makes demands of its audience: two sessions of three acts (with two intermissions) each. However, it helps to consider each hour-long act as part of a six-episode drama series you would normally “binge” at home, but get the full experience with cast and audience at the beautiful Schrott Center for the Arts (Butler campus, just east of Clowes).

This story of a plague, the AIDS epidemic, is set in an era that seemed a little unreal, the 1980s – an actor in the White House, a sense of things both beginning and ending with the almost mythical Year 2000 on the horizon. But for a gay man, suddenly, seeing next year or even tomorrow is an issue. Thus, the deep drama gets punctuated by bits of welcome levity and meaningful absurdity. By the time the actual angel from Heaven appears, it seems all too appropriate.

We focus on a number of personalities whose paths criss-cross in New York. Prior Walter (Jay Hemphill) finds he may have to give up more than his drag act as symptoms including fatigue and sores that won’t heal signal that he has the dreaded disease – a fact his lover, Louis Ironson (Matt Anderson), can’t deal with. 

In another apartment, married Mormon couple Joe and Harper Pitt (Joe Wagner and Miranda Nehrig) have their own issues, namely his secret life and her unsettled mind. Joe has just been offered a position in Washington D.C. at the recommendation of the most powerful attorney in the Big Apple, Roy Cohn (Chris Saunders). Roy doesn’t let little things like the law and ethics stand in the way of what he sees is right; he’s also “not a homosexual” who has sex with men, and “doesn’t have AIDS,” demanding his doctor write liver cancer on his chart. Still, no amount of money and influence can keep him off the hospital AIDS ward, where he is tended to and tolerated by gay nurse – and Prior and Louis’ dear friend – Belize (Allen Sledge). 

Eventually, a drunken phone call will inspire Joe’s mother, Hannah (Nan Macy), to leave Utah for New York, and Prior will start to hear the sounds of great feathered wings and the voice of the Messenger (Afton Shepard).

Among other roles by these actors, Macy appears as the ghost of Ethel Rosenburg, who Roy was proud to send to her execution; Sledge is Mr. Lies, a rather entertaining side-effect of valium; and Shepard is a kind but professional nurse practitioner.

Also, we have shadows – Lucy Fields, Scott Fleshood, Jeff Goltz, Kelly Keller, and Eli Robinson – who appear, looking like ninjas, to move set pieces and more importantly to animate Shepard’s angel and her majestic wings. This effect is especially impressive in the second play, as Prior finds himself in a situation that is both life-and-death, and something beyond. The wings, designed and built by Goltz, are practically a character themselves.

This entire cast that Dobbs has assembled and guided are brilliant actors who give their all to this modern classic. I could go on and on about Hemphill fully embodying his role; Anderson finding a way to squeeze nobility out of weakness; Macy getting to unleash force-of-nature moments; Sledge proudly giving us characters persevering even as patience is tested; Wagner as one working through the confusion of not knowing one’s own self and distressed at what he finds; Nehrig portraying mental illness in a way that’s amusing without mocking or caricature; Saunders as the bad guy still managing to ride out on top; and Shepard as something beautifully other-worldly. 

For anyone good with putting in the time and seeing R-rated content, this production absolutely must be seen. Aside from quality performances, it is a reminder of what cruel indifference to LGBTQ people did in another era, and that compassion and humane politics matter, always.

The performance schedule going forward from this posting is:

  • Friday, June 9, Part 1: Millennium Approaches
  • Saturday, June 10, Part 2: Perestroika
  • Sunday, June 11, Part 2: Perestroika 
  • Friday, June 16, Part 1: Millennium Approaches
  • Saturday, June 17, Part 2: Perestroika
  • Sunday, June 25, Both parts

For more information, and tickets, visit indybardfest.com.

‘Carol’ gets musical comedy treatment

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By John Lyle Belden

“Marley was dead to begin with…” truly is a downer opening, but things can only go up from there, especially when Charles Dickens gets the once-over by local theatrical genius Ben Asaykwee, who wrote and directed the musical “A Christmas Carol Comedy,” playing through this weekend at the District Theatre.

Asaykwee has another show (“ProZack” at the Phoenix) so entrusts a cast of young and old, veterans and newcomers, led by the versatile Matt Anderson as Ebenezer Scrooge (and the assistant director).

To set the irreverent tone, we have a batch of young urchins (Quincy Carman, Ellie Cooper, Zara Heck, Ethan Lee, Sam Lee, Judah Livingston, Esmond Livingston, and Calvin Meschi) providing narration and appearing as needed. Others play various roles, notably Jared Lee at Bob Cratchit, Emerson Black as Jacob Marley, Amanda Hummer as Christmas Past, Tiff Bridges as Christmas Present, Shelbi Barry as Christmas Future, and Maria Meschi as ol’ Fezziwig. In addition, we have the talents of Lisa Anderson, Jenni Carman, Reilly Crouse, Jessica Dickson, Austin Helm, Emily Jorgenson, Anna Lee, Noah Lee, Adriana Menefee, Kallen Ruston, Michelle Wafford, and Charlotte Wagner.

Drop all expectations of a faithful rendition of the holiday classic (we all know it already) and revel in the silliness as this gang has a ball bringing more joy to the season. The revelation of Tiny Tim must be seen to be believed. There are also song-and-dance numbers, as Dickens no doubt never intended – watch out for flying cast members.

Our evening’s viewing at the District (627 Massachusetts Ave., Indianapolis) was a sell-out; it will likely happen again. See indydistricttheatre.org.

Bard Fest: Humor and History with ‘King John’

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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 John Lyle Belden

When most of us last saw or even thought of King John of England, he was still a Prince, frustrated with the antics of Robin Hood.

However, while Robin is legendary, there was a real John. Those taxes the Merry Men resented were a literal king’s ransom to rescue King Richard the Lionheart, his Crusading brother, and once John did ascend to the crown himself, his big achievement was getting badgered by the nobility to sign the Magna Carta. It didn’t help his reputation that he lost most of England’s lands in modern France, and that with historians he is overshadowed by one of the most awesome women of Medieval Europe, his mother, Eleanor of Aquitaine.

Can even William Shakespeare rehabilitate the image of this man? His “The Life and Death of King John” reads more like a complex cautionary tale with its twists of fate, as well as digs at the expense of France and the Catholic Church to keep Elizabethan audiences happy.

Now it is in the gentle hands of local director Doug Powers, who brings the Indy Bard Fest production of “King John” to The Shelton Auditorium at Butler University. His handling of the text brings out the humor in this history play, borne of the constant shifts between belligerence and brokered peace. The flow of the plot goes like: We’re at war! Now we’re not! We’re at war again! We’re… where were we…? There’s a dry, almost Pythonesque feel to some of the scenes, eliciting several chuckles from the audience.

Excellent casting helps: Zachary Stonerock gives John a sense of purpose, edged with frustration and notoriously quick temper. He strives to be a good ruler, while his mouth writes checks his army can’t cash. Gari Williams gives Queen Eleanor the regal bearing she held to her last days, her counsel helping keep John on task. Kevin Caraher portrays Philip of France as a monarch weary of war, but not relenting until his son Louis the Dauphin (Cael Savidge) and Duke Arthur (Max Gallagher), who has a claim to England’s throne, get their due. Star turns in supporting roles include Sabrina Duprey, who finds herself little more than a pawn in this game as Princess Blanche of Spain; Tony Armstrong as Hubert, a faithful servant with an impossible choice; and the brilliant Matt Anderson, first as a citizen of a besieged city who offers a crucial compromise, and later as Cardinal Pandulph, who acts with the Pope’s authority to excommunicate King John.

The top performances here are by Georgeanna Smith Wade in two fiery mother roles – most notably railing at all the politicking and half-measures keeping young Arthur from the throne – and by Taylor Cox as Philip “The Bastard” Faulconbridge, illegitimate son of John’s brother Richard, named a Knight in the King’s forces. Cox exudes a brash confidence that seems unearned at first, growing throughout as his role makes him both provocateur and chorus, giving many a sly aside or clever commentary to us watching.

Once again, Bard Fest has served up a Shakespeare work we don’t often see and makes it entertain and even enlightening when compared to the fickle nature of modern statecraft. Remaining performances are Friday through Sunday, Oct. 14-16 at the Shelton, 1000 W. 42nd Street, on the grounds Butler shares with Christian Theological Seminary.

IndyFringe: Tortillo 3, Sombrero’s Revenge

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This is part of IndyFringe 2022, Aug. 18-Sept. 4 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By Wendy Carson

Casey Ross has brought back another chapter in the never-ending saga of the Tortillo Corporation and its unfortunate predicament of having cocaine mixed into the seasoning mix for their chips, again. Again.

Presenting “Tortillo 3: Sombrero’s Revenge,” by Ross’s Catalyst Repertory. Even though this is the third installment of the series, you do not have to have seen the previous ones to understand or enjoy it. In fact, highlights of the first two shows are shown prior to beginning of the performance. The cast has an opening number discussing the past events as well.

We begin with put-up Patrick (Dave Pelsue) dealing with imbecilic customer complaints as well as disappointment in the company overlooking his accomplishments.

While Dave (Robert Webster, Jr.) is trying to keep things in the company on an even keel, his decision to bring back the sexist pig, Steve (Matt Anderson) to head up their pretzel division has caused much distress throughout the company even with his wife (Lisa Marie Smith) and their baby Chip. After a heated board meeting, Patrick quits to pursue his dreams.

While Steve and his idiot nephew, Mitchell (Ryan Powell) – Patrick’s cellmate during chapter 2 – are doing research, it’s discovered that the chips are doped yet again, leaving Patrick as the prime suspect.

Will we find out who was behind this nefarious plot? Will Sombrero actually return? Who exactly is the lovely Madeline (Trick Blanchfield) and why does she seem to know so much about Patrick’s past? Also, why is Ted (Tristan Ross, no relation) even here – didn’t we kill him already? That’s not THE John Entwistle (Brian Kennedy) as our Janitor/Narrator, is it?

These burning questions and many more will be answered (whether you want them to or not) in this crazy show. Watch, laugh, enjoy, and be ready in case this gang cooks up another sequel.

Note Casey likes writing the F-word, otherwise it’s OK for teens and up, with performances Saturday night and Sunday afternoon, Aug. 27-28; and Thursday night and Saturday afternoon, Sept. 1 and 3; at the IndyFringe Theatre, 719 E. St. Clair.

‘Birds’-inspired ‘Fowl’ far more funny than frightening

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By Wendy Carson

Ben Asaykwee, the force behind Q Artistry and creator of the perennial favorite “Cabaret Poe,” has tapped his deep comical well to bring us the hilarious musical delight that is “The Fowl.” In this sharp parody of Alfred Hitchcock’s classic, “The Birds,” we are transported to 1960s Bodega Bay, California, where several mysterious bird attacks occur. 

We are reminded that the secondary romantic plot is better suited to a film on the Hallmark channel, though necessary to facilitate the events in which the attacks take place. While the show’s costumes and “wigs” give everything the look of a cartoon, they are quite ingenious and perfectly reflect the quirkiness of the show. The special effects are crude but reinforce the irreverence of the production. 

Though the look is reminiscent of what one would expect from an elementary school show, the cast and crew are genuine in their love of what they are doing and passion to make you laugh. It is also an excellent mentoring opportunity, as local stage veterans work side by side with young actors. 

This show is presented in two acts. The first retells the movie, pulling no punches at some of its more ludicrous portions.

The second act revolves around the stories of the birds themselves (from their point of view) and supposition as to why these attacks were necessary. While I personally take umbrage at the constant disparaging comments regarding the tardiness of the penguins, the birds do make some very valid points.

Asaykwee, as director/choreographer, had cast members each learn more than one set of roles, not only to help gain experience, but also in case a Covid-positive test sidelined any performers. You’ll see at least a different order in the lineup from one show to the next. Therefore this is a true ensemble effort. That flock includes: Matt Anderson, Shelbi Berry, Quincy Carman, Jaddy Ciucci, Ellie Cooper, Finley Eyers, Fiona Eyers, Janice Hibbard, Tiffanie Holifield, Noah Lee, Maria Meschi, Pat Mullen, Himiko Ogawa, Inori Ogawa, Wren Thomas, Diane Tsao, and Noah Winston. 

At our performance, we saw Berry doing her best Tippi Hendren, a scene-stealing turn by Finley Eyers as an over-eager Seagull, and a beautiful interpretive Ostrich dance by Holifield.

With all the current stress in the world and each of our lives, it is good to be able to go out and have a really good laugh. This show will afford you a whole flock of opportunities to do just that. So go out and catch “The Fowl” – Thursday through Sunday (March 3-6) at The District Theatre, 627 Massachusetts Ave., Indianapolis – before the opportunity flies past.

A king’s journey, from fun with Falstaff to hostilities with Hotspur

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

By John Lyle Belden

While I can heartily recommend any of this year’s Bard Fest shows, the one that has the most elements of Shakespeare’s storytelling is the oft-overlooked “Henry IV, Part 1,” presented by First Folio and directed by Glenn L. Dobbs. It combines comedy, drama, adventure, and a bit of actual British history in a rather entertaining package.

It is a story of the misspent youth of “Bonny Prince Hal” (Matthew Walls), the man who would eventually become the legendary King Henry V, as well as the struggle by his father, Henry IV (Abdul Hakim-Shabazz), to maintain a united kingdom.

Hal has his fun with best friend Ned Poins (John Mortell) as they jest with famed drunkard Sir John Falstaff (Matthew Socey) and his minions, cowardly Bardolf (Jonathen Scoble) and berserker Peto (Missy Rump). From these scenes we get a lot of laughs, and are treated to some of the Bard’s more colorfully-written insults.

Meanwhile, the King has to deal with a plot led by Henry Percy (Matt Anderson), known as Hotspur for his fiery temper, aided by relatives Worcester (Sara Castillo Dandurand) and Mortimer (Eric Mannweiler), the Scottish Earl of Douglas (Andy Burnett), and Welsh rebel Glendower (David Mosedale). On Henry’s side stand Sir Walter Blunt (Eli Robinson), Lord Westmoreland (Brian Kennedy), and eventually Hal, the Prince of Wales himself, having sworn off his prior foolishness.

The decisive battle that ensues gives the narrative a sense of completion, especially in Hal’s arc from boy to man, but leaves sufficient details to be resolved in the more serious “Henry IV, Part 2.” Still, this play easily stands alone.

Our cast inhabit the roles naturally — perhaps Socey is just an alias for Falstaff? Hakim-Shabazz is appropriately noble, Walls slips easily into Hal’s many modes, and Anderson can play a villain like no other. Also notable are Afton Shepard as Percy’s bitter wife (as well as a sweet “working girl” at the tavern), and Michelle Wafford as a Welsh lady betrothed to a man she loves but whose language she can’t understand, and especially as the in-charge Hostess of the Boar’s Head Tavern.

Remaining performances are 8 p.m. Thursday, 8 p.m. Saturday (with talkback afterward) and 1 p.m. Sunday at the District Theatre, 627 Massachusetts Ave.

IndyFringe: Fairy Godmother & Associates

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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 Wendy Carson

Things are looking very bleak for Fairy Godmother & Associates. They have no clients, her magic is misbehaving, and the Wolf (Big Bad, her landlord) is literally at her door demanding that if she doesn’t pay him the past due rent by midnight, she’s out on the street. Even her Associate, Sebastian the mouse, doesn’t have any ideas.

Luckily, her past client, Red (as in Riding Hood) brings her into the 21st century by setting up an online ad for her matchmaking services. In no time, a wealthy new client, Prince Charming, hires her. He is desperate to find a beautiful woman who dropped her mirror and needs her to become his bride by midnight or he may lose his crown.

While she tries to get him to understand that the search could take time, he will have none of it. He wants her and he doesn’t have time to wait — he is British, after all.

Red helps her place and ad on Facebook and while she is overwhelmed by the magnitude of responses, she does find the mirror’s owner, Ella. A meeting that evening is arranged and everything is going to work out perfectly.

But before you can say “Bibbity Bobbity Boo-Hoo” everything goes awry. Will the Prince find his bride? Will the Fairy Godmother get her money in time? Will everyone live happily ever after?

You will have to catch the show to find out. Just remember this: “Never screw with the Woman holding the Magic Wand!”

Lisa K. Anderson delights as the ever optimistic Fairy Godmother. Her spunky demeanor keeps the show light as a feather.

Kyle Kellam does an amazing job at bring the big and bad to his over the top portrayal of the wolf as a sleazy manipulator who is always on the hunt to fill either his belly or his bed.

The versatile Matt Anderson gets a chance to over-emote to the extreme as the vapidly self-centered Prince Charming.

Sabrina Duprey shows some range with her varied portrayals of Ella and her Evil Stepsisters.

The cast is rounded out by Carl Cooper who pulls double duty as the imposing voice of Ella’s enchanted mirror and the ever faithful associate, Sebastian the mouse (Squeak, Squeak, Squeak).

A Head Gap Production by Enid Cokinos, find this fairy tale at the Fringe building, 719 E. St. Clair with performances Thursday through Saturday (Aug. 22-24).

 

Civic goes Wilde

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By John Lyle Belden

If you think Victorian English manners and society were stuffy and insufferable, imagine how it was for someone living through it. Fortunately, Oscar Wilde had his rapier wit to help him skewer those pretensions in his masterpiece farce, “The Importance of Being Earnest,” which the Booth Tarkington Civic Theatre presents in the cozy confines of the Studio Theater through April 6.

In 1890s London, among polite folks for whom ignorance is a virtue and honesty a vice, John (Ethan Mathias) and Algernon (Bradford Reilly) have been undertaking some “Bunburying” – that’s not code for something obscene; it’s just the simple practice of being one person in town, and another in the country. John is in love with Gwendolen (Carrie Schlatter), while Algernon has fallen in love with John’s ward, Cecily (Sabrina Duprey). But both ladies insist on marrying a man named Earnest. So both our heroes oblige, and hilarious confusion follows.

Gwendolen’s aunt, Lady Bracknell (Vickie Cornelius Phipps), is very particular about who the girl marries. Meanwhile, Cecily’s governess Miss Prism (Miki Mathioudakis) is trying to get the attention of the Reverend Chasuble (Craig Kemp), but she is also hiding an important secret.

The incomparable Matt Anderson completes the ensemble as the butler at each house. Performances are top-notch, and even the scene changes are entertaining — executed by the actors under Anderson’s watchful eye.

When the world is full of absurdity, nonsense starts to make its own sort of sense. That was Wilde’s world then, and some could argue that reflects our world now. So, enjoy this Earnest effort at classic comedy.

The Studio Theater is at the Center for the Performing Arts in downtown Carmel. For tickets and information, call 317-843-3800 or visit civictheatre.org.

Bard Fest: CTC makes ‘Much Ado’ really something

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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 John Lyle Belden

For those who tire of Shakespeare plays being set in all manner of different times and places, good news – Carmel Theatre Company’s production of the comedy “Much Ado About Nothing” retains its original setting of 1600s Italy. But for those who don’t want to see every random character and hear every scripted word (raises hand) this play has undergone some gentle editing, adapted by director Laura Kuhn, sparing us from the sprawl of characters the Bard typically populates his comedies with.

With easy to follow cast and plot, and sharply delivered lines, we get an entertaining romp that often has the feel of a TV sitcom. This establishes itself from the beginning, as returning soldier Benedick (Steve Kruze), whose wit is as sharp as his sword, starts verbal sparring with Beatrice (Christine Kruze), a slightly less cynical version of Kate from “Taming of the Shrew.” They each have such a disdain for love and marriage that – well, you can guess what’s in store for them.

But the big love story is Count Claudio (Jeffrey Bird) who longs to woo the maiden Hero (Elysia Rohn). His BFF Don Pedro (Matt Anderson) arranges the match, but Pedro’s sister Donna Joanna (Amanda Bell) doesn’t like it when people are happy – especially her brother – and sets out to ruin the impending marriage. She nearly succeeds, but this is a comedy.

The actors so far listed deliver brilliantly, as well as Tony Johnson as Hero’s father Leonato, David Whicker as his brother Antonio, Jarrett Yates as Don Pedro’s servant Balthasar, Leah Hodson as Hero’s attendant Margaret, Dustin Miller and Manny Casillas as Donna Joanna’s minions Borachio and Conrade, Daniel Young as Friar Francis, and Jim Mellowitz as the Sexton. As for Jim Maratea as Constable Dogberry, as his partner Verges (Guy Grubbs) would mark it at the appropriate time that he is “an ass,” his gaily executed performance takes his comic foil role to its limits.

Even for one like me who has seen a few “Much Ados” this earnest production delivers, with much laughter and appropriate melodrama. The scenes where one character listens in on others’ conversations are gems of physical comedy. The costumes looked perfect, but the set a bit too solidly built – hopefully they can find a way to smooth the scene changes by the second weekend.

As the play’s title implies, what doesn’t seem that big a deal becomes literally life-and-death situations. We laugh at those old-time attitudes, but one honest look at the Internet shows we’re never immune from the drama.

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