Matt Anderson

Local writers keeping TOTS busy

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By John Lyle Belden

For one more weekend, Theatre on the Square has a sort of double-feature going on: two distinct plays (each requiring its own ticket) by local playwrights, each exploring personal change in different ways: “Puppet Man,” by Andy Black; and “Clutter,” by Lou Harry.

“Puppet Man” is about a prison inmate with serious issues who finds solace by participating in the institution’s puppet shows held for visiting children. Pretty Boy (Taylor Cox) can’t get his guilty mind to shut up, so he dulls the sound with drugs, making his situation worse. When he finds out about the puppet program, his dealer Word (Carey Shea) makes him join in a plot to use the volunteer instructor’s privileges to sneak contraband into the prison. That compassionate visitor, Doc (Miki Mathioudakis), lets Pretty Boy into the program despite suspicions by her and the other inmate puppeteers, especially Sidewinder (Josh Ramsey). Fabulous Fantasia (Josiah McCruiston) and the mysterious Dayton (Matt Anderson), who only speaks through his puppets, help him to craft “Pretty Girl,” the puppet star of the next show. Then Pretty Boy discovers that the voice he now hears in his head is hers.

Though I am not personally familiar with the culture of life behind bars, Black’s story feels real enough, with desperate men making desperate choices while others calmly plot to take advantage of them, a place where the smallest things we take for granted outside have enormous value. While each character is a broadly-drawn type, they don’t come off as cliché. Cox handles being the central character with skill – a tall order, given McCruiston and Anderson’s ability to steal their scenes. Pretty Boy is a complex personality, and his mental issues provide the underlying drama – is this show more like “Avenue Q,” in which the puppets teach us all life lessons, or “Hand to God,” in which the puppets channel dark impulses? Kinda both, actually, punctuated with dark humor. I encourage you to see for yourself what I mean.

“Clutter, or, The Moving Walkway will Soon be Coming to an End” is three scenes depicting the changes in four people’s lives over six years. First we meet Bobby (Ben Fraley) and Eddy (Nick Barnes), two best friends struggling to keep their business afloat. Eddy is the more scattered of the two, which only adds to Bobby’s tension. Aside from planning a networking party, they discuss their romantic prospects with an offstage coworker. We meet that woman, Barb (Anna Lee), in the second scene, three years later, talking about the frustrations of life with her best friend, Bev (Kelsey Van Voorst). Eventually, Barb sees a man she used to work with offstage, and decides to take her chances with him. Move on to the third scene, again three years later, involving all four characters at the home two of them share.

The theme seems to center on inevitable endings and the struggle to improve and change one’s path. One character appears to have turned his life around with “Mission” – a self-help method that helps him focus his life, but doesn’t automatically solve his problems. All seem to be seeking something new, yet something that remains stable, at the same time. Note a “shoe is on the other foot” metaphor with which woman wears the red shoes. The show has dynamite dialogue and sharp humor, thanks to Harry, but subtle pacing that – along with being a one-act – gives the sense that it is part of a larger story, feeling incomplete by itself.

There is a slight over-run on stage times – “Clutter” on the second stage follows “Puppet Man” on the main stage – but if you spring for both shows, it’s possible they could hold the curtain for the second. Or, as they are independent stories, you can simply see one or the other. Remaining performances are Friday through Sunday, Jan. 20-22, at TOTS, 627 Massachusetts Ave.; call 317-685-8687 or see tots.org.

John L. Belden is also Associate Editor and A&E editor of The Eagle (formerly The Word), the Indianapolis-based Midwest LGBTQ news source.

Three great plays at Bardfest

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NOTE: As the Word/Eagle is in flux with the renaming and corresponding change in official website, John is putting his reviews here — for now.

By John Lyle Belden

Bardfest had a great opening weekend, and has two more – Oct. 20-23 and 27-30 – at the little Carmel Theatre Company stage, 15 First Ave NE in Carmel’s downtown Arts District (former home to Carmel Community Players).

It was noted in the curtain speech of one show I attended that Indianapolis is about the only major metropolitan area without a Shakespeare Festival. Fortunately, Willie’s plays do reach the boards a few times a year in individual productions around Indy, including a free summer production in White River State Park. But having three shows by the Immortal Bard – only one of which you would likely name off the top of your head if asked to list his plays – is a wonderfully unique experience.

‘KING LEAR’

I confess to missing the First Folio production of “King Lear.” Fortunately, I was familiar with the play and I trust First Folio Productions to pull this classic off more than competently. The title character is played by David Mosedale, and the role of her eldest daughter Cordelia (and a turn as the Fool) by Ann Marie Elloitt, two of the best speakers of iambic pentameter I’ve seen in central Indiana. Sarah Froehlke and Beth Clark as Lear’s devious other daughters are no slouches, either, and excellence is reflected throughout the cast and crew list, including the incredible Tristan Ross.

For those unfamiliar, “Lear” is about a British king who decides to give his kingdom to his three daughters. When the eldest refuses to flatter him, he misunderstands her actions as an insult and banishes her. She ends up in France, and leads an invasion to save her father’s kingdom from the machinations of her sisters. Mix in more madness and intrigue, and end it all tragically, and you have an excellent evening of drama. Which I didn’t have to see, but I highly recommend you do if you can.

‘TWELFTH NIGHT’

I did get a look at Shakespeare’s comedy “Twelfth Night.” It runs down the Bard comedy checklist: Shipwreck? Check. Siblings in distress? Check. Thinly made, but still effective, disguises? Check. Misunderstandings? Check. Wild wooing, leading to unlikely marriage? Check and check!

Perhaps understanding this, Garfield Shakespeare Company and directors Chris Burton and Sam Brandys made this a highly entertaining production by blending conventional pop songs into the narrative – one in particular, you’d swear was written for the play – as well as having instrumentation performed live on stage, especially by Feste, the minstrel Fool, played with perfect charm by Ashley Chase Elliott.

Twin siblings Viola and Sebastian (fraternal, yet perceived by other characters as identical in appearance, performed by Abby Gilster and Spencer Elliott) have washed up on different shores of Illyria after their shipwreck, each presuming the other drowned. Viola disguises herself as a boy and goes to work for the local Duke Orsino (Benjamin Mathis), a single man pursuing the one woman who doesn’t want him, Lady Olivia (Audrey Stonerock). Orsino sends his new servant to deliver his messages of love, but Olivia instead falls for Viola-in-disguise – compounding the “boy”s confusion as s/he is smitten with Orsino. Meanwhile, Olivia’s brother, the drunken Sir Toby Belch (Jay Brubaker) and his dim-witted companion Sir Andrew Aguecheek (Monica Verdouw) are carousing with Feste, an apparently freelance Fool working in both the Duke and Lady’s households. They and Olivia’s servant Maria (Kate Ghormley), play a cruel but hilarious prank on the prideful fellow court member Malvolio (Anthony Johnson), which only adds to the wild goings on – made even wilder when Sebastian makes his way to Olivia’s house.

Confused yet? It’s a Shakespeare comedy; a lot of various characters doing silly things to one another is part of the standard formula. Just relax, let the major groupings and who-loves-who sort themselves out, and just enjoy the ensuing mayhem. And nobody dies – that’s his other plays.

I must heap high praise not only upon every cast name listed above, but also Burton, who takes on various character roles on top of his other duties – he was even fixing the lights before the show.

‘CORIOLANUS’

As for “Coriolanus,” regarding the odd name, if we must get to the bottom (sorry!) of the story it is simply an unfortunate (for modern audiences, though Shakespeare did enjoy a bawdy pun) honorific bestowed on the main character, Caius Marcius (Taylor Cox) to celebrate his victory in battle at Corioli, where pre-Empire Rome defeated the rival Volscians, led by Tullus Aufidious (Ryan Ruckman).

Back in Rome, Marcius is not quiet about his elitist attitude, which doesn’t sit well with the commoners who already blame him (falsely) for a grain shortage. Fortunately, his smooth-talking friend Menenius (Matt Anderson) calms things down, but two Tribunes, Brutus and Velutus (Matt Walls and Paige Scott) observe this and stir up the citizens to oppose Coriolanus’s inevitable ascension to Consul.

Marcius himself doesn’t want the office, but his ambitious domineering mother Volumnia (Nan Macy) insists he take power, while his wife Virgilia (Abby Gilster) agrees, hoping it will keep the lifelong soldier home. But despite his friends and family insisting he stay calm, Marcius verbally explodes, giving the Tribunes the excuse to banish him.

In the second act, the exiled Coriolanus turns to his blood enemy Aufidious, who sets him in charge of the Volscian invasion of Rome. Being the era’s greatest general, Marcius practically brings troops to the gates of the capitol. Desperate to save Rome and win back his friend, Menenius tries to reason with Coriolanus. Finally, his mother, wife and son make their desperate plea. I’m not giving any further spoilers, but it all doesn’t end well.

Cox, who is proving himself to be one of the best actors in Indy, is excellent as his frustratingly complex character. You may not like this Caius Marcius Coriolanus, but you have to respect him. Davey Pelsue applies his matching talent as fellow Roman officer Titus Lartius, a dutiful soldier of inevitably conflicting loyalties. Macy’s is the top performance, a force of nature like a mother wolf who wants to be pack Alpha. You might not want her for a Mom, but you want her on your side. Anderson imbues his glib character with genuine feeling, fearful yet hopeful that his smooth tongue can cure any roughness he encounters. As for Walls and Scott, their villainous portrayal has them practically twirling old-time movie mustaches.

The other “bad guy” of the piece, Ruckman’s Aufidious, stays true to his character and principles, and carries a confident air throughout. Were the audience made of Volscians, he would be the easy hero. This adds to the many gray areas this play works in – not all virtuous win, not all villainous are punished, few are completely noble or evil – which might explain why it so rarely produced.

Unafraid, director Casey Ross gives this story a chance to show us all its complexities. The era portrayed is unspecified, the costumes mildly punk without being distracting, leaving us only with these characters and the drama that plays out among them. Occasional music is modern, but works with the timeless narrative. If you are a fan of great theatre, seeing this “Coriolanus” should be a priority.

For information and tickets to Bardfest, see http://uncannycasey.wixsite.com/bardfestindy.

John L. Belden is Associate Editor at The Eagle (formerly The Word), the central-Indiana based Midwest LGBTQ news source.

Review: Great Dane on the Westside

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By John Lyle Belden

Regarded as one of the greatest dramas of all time, if not the greatest, “The Tragedy of Hamlet, Prince of Denmark,” by William Shakespeare, has seen numerous stagings, including the occasional production in central Indiana.

The trick is to make a portrayal of the old familiar story something new, yet still true to the Bard. First Folio Productions and Wayne Township Community Theatre manage that quite deftly with their “Hamlet,” which has one weekend left (Friday through Sunday) at the WTCT home stage, the Ben Davis High School auditorium on Indy’s west side.

The story stays the same – Prince Hamlet is visited by the ghost of his father, the King, whose brother, now married to the Queen, murdered him. Hamlet then devises plans to test his uncle’s conscience, then to take his revenge, all while acting like a lunatic. People die; Hamlet cheats death on a cruise to England, then comes home to talk to a skull; then everyone dies except Hamlet’s buddy, Horatio. (If this doesn’t sound familiar to you, then by all means, go see the show!)

The twists employed by First Folio are to set the play in a steampunk circa-1900 version of Denmark, and to edit this very long drama down to two one-hour acts. (Rosencranz and Guildenstern never appear, and are not even named when it’s revealed they will die.) The latter is well executed, and aside from the omission just noted, hardly noticeable. As for the fine skirts and Edwardian suits with goggled hats and other Jules Verne chic, it is all tastefully done, creating an alternative world that is somehow timeless. As in all alternative-setting Shakespeare plays, the original language is left intact.

But the play’s the thing, as someone once said. And this play is a very good thing, with a great cast. Carey Shea holds our attention, charms, and exhibits his full range as Hamlet. Devan Mathias pulls our heartstrings as tragic Ophelia. Matt Anderson is masterful as crafty King Claudius. Erika Barker portrays well the conflicted soul of Queen Gertrude. And Chris Burton steals scenes in dual roles as the “lead player” of the play-within-the-play and the busy Gravedigger.

Director Glenn L. Dobbs (kudos to him) asked me to also note there are some funny moments (and there are) in this otherwise tragic work. It is overall a truly entertaining production, to be sure.

For more information and tickets, click on “Hamlet Show Information” at www.firstfolioproductions.org.

(This was also posted at The Word [later The Eagle], Indy’s LGBTQ newspaper)

 

Review: Corny cornchip mystery by CRP

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By John Lyle Belden

Years ago, I worked on a production line of a manufacturer of tortilla products. Though not too bad if you don’t mind smelling like a corn chip after work, the shifts were as long and monotonous as you’d imagine. And I guess that for those working in the executive offices, things were about as dull.

Until they’re not.

Casey Ross’ “Tortillo” imagines such a scenario, in which a corporate drone at a corn chip company could use some excitement in his life – and with a mysterious phone call, he gets it in spades.

Dave (Robert Webster Jr.) could care less about the new ranch flavor of Tortillo stacked chips (like if Pringles made Doritos) but would rather pine for hot co-worker Juniper (Lisa Marie Smith). Steve (Matt Anderson) is all to eager to help Dave score, giving him an excuse to offload all his work on shy but faithful intern Patrick (Davey Pelsue). But during an evening of watching Steve’s 15 seconds of fame on TV, he and Dave get a call from a malevolent voice, telling them to “mind your own masa.”

Naturally, they freak out over the vague threat, but not enough to do anything. The next day, after overeager employee-of-the-month Ted (Tristan Ross) drops off a sample of the new-flavored chips, they make a discovery that will make you think twice before popping open your next can of Tortillos.

What ensues is a bizarre mystery of corruption and revenge with odd and shady characters – and just who is that “John” guy (Brian Kennedy) anyway? He looks familiar – all flavored with dark hilarity like only Casey Ross’ pen can deliver.

Under the expert direction of Tristan Ross (no relation to Casey) this madness flows excellently through two acts. This was originally a 50-minute Fringe show, and hits the same plot beats, but the two Rosses have ensured that it doesn’t feel “padded out.”

The fun and snacks end Sunday at the IndyFringe building’s Indy Eleven stage. See IndyFringe.org or the Casey Ross Productions website or Facebook page for details and tickets.