Matthew Socey

Southbank ‘Crucible’: It’s not the witches we should fear

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By John Lyle Belden

In times of turmoil, people turn to faith either for hope or, too often, to look for monsters. Such was 1692 in Massachusetts Colony, when the blending of the Puritan church and state led to tragic hysteria. Such also was the 1950s, when the Red Scare inspired playwright Arthur Miller to look back to America’s genuine witch hunt to give us “The Crucible.”

In 2025, with political chaos and crisis churning daily, Southbank Theatre mounts a production of Miller’s play with an incredibly talented and dedicated cast. The period script with a more contemporary look bridges these eras, emphasizing this story’s relevance.   

Mostly true to the historical events, the play begins with girls engaged in a mesmerizing, mysterious dance. The Rev. Parris (Doug Powers) happens upon them, and in the shock of being caught in such forbidden activity – the dancing alone being punishable – his young daughter Betty (Ellie Richart) falls unconscious. Parris is furious, not just at what appeared to be a secret rite with some participants possibly naked, but more that his slave Tituba (Kayla Bush) was leading it and his niece and ward Abigail Williams (Hannah Embree) was involved.

Word quickly spreads around the village of Salem, including rumors of witchcraft. Occult expert Rev. John Hale (J. Charles Weimer) is called in to bring calm, but instead he sees signs of the Devil at work. When pressed for an explanation, Tituba fears for her life and tells the men what they want to hear. Arrests, interrogation, trials – and finally, executions – will follow.

Farmer John Proctor (Brian G. Hartz) tries to stay uninterested; however, he had recently had an affair with Abigail, who feels she should take the place of his wife Elizabeth (Morgan Morton) and lists her as an accomplice in her “confession” to witchcraft (giving names being a necessary step to avoid hanging). Also, the Proctors’ servant Mary Warren (Liz Carrier) has been attending and testifying at the court hearings.

We also meet Thomas and Ann Putnam (Darin Richart and Afton Shepard), wealthy landowners with both financial (property of witches is seized and sold) and spiritual (most of their children died in infancy) interest in goings-on. Francis Nurse (James Mannan) finds his wife, the midwife Rebecca (Adrienne Reiswerg) accused. Giles Corey (David Mosedale) likewise sees his innocent inquiry about his own wife jeopardizing their lives. The “bewitched” girls include Susanna Walcott (Mariah Rae Pearson) and the Putnams’ servant Mercy Lewis (Lauren Lotzow).

Director Eric Bryant plays Deputy Governor Thomas Danforth, the lead magistrate, assisted by Judge Hathorne (Paige Scott), with Ezekial Cheever (Matthew Socey) as clerk of the court. Deputy John Willard (Ian Hauer) finds himself having to arrest his friends and neighbors.

When what is and isn’t Christian – or demonic – are matters of law, they must be defined for the sake of enforcement. Modern concerns in the rise of Christian nationalism are echoed in the Puritan inquiries of this drama. The dynamics of power and privilege, or its lack, propel the plot in a situation that ironically becomes devoid of both magick and the mercy of Christ.

Hartz and Morton give powerful performances as the Proctors, finding the courage for their final ordeal. Embree sharply portrays a manipulative girl driven by youthful fantasy, tinged by a genuine fear for her life. Powers gives us the well-meaning local minister, frustrated by what he saw as a lack of respect, now compounded by events going further out of his control.

Bush and Carrier each show the horrors of being powerless with choices that condemn you no matter what you do. Reiswerg appropriately presents a person resolute in her convictions. Unfortunately, so do Bryant and Scott as uncompromising judges. Weimer gives the most complex performance, as a man who finds evil not in an entity but in unbudging egos, leading him to forego his own.

“The Crucible” tests its characters, as well as our own attitudes, a necessary exam for our own time.

Performances resume Wednesday and Thursday (Oct. 29-30), then Saturday and Sunday (Nov. 1-2) at Sheldon Auditorium, 1000 W. 42nd St., Indianapolis (southwest corner of Butler University campus). Get info and tickets at southbanktheatre.org.

CCP: On tonight’s episode of ‘I Loathe Darcy…’

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By John Lyle Belden

The Jane Austen novel “Pride and Prejudice” has become so familiar to those who have enjoyed it on page and screen that someone once inserted zombies into the story. What we’ll get here, though, is much more alive. Carmel Community Players presents a recent adaptation by Kate Hamill that plays into the expectations of our romcom and sitcom-fueled culture.

Directed by Samantha Kelly, the essence of the story, set in genteel 19th-century England, is intact: the relatively poor Bennet family worry that their four daughters will not be able to marry above their station, pinning their hopes on a few local bachelors with wealth or potential.

Let’s meet our bachelorettes: Beautiful Jane (Caitlin Karas), the eldest, would love to marry wealthy Charles Bingley (Grayson Wieneke), who is interested but reluctant to pop the question. Lizzie (Katie Endres) is smart, headstrong and declares she “shall never marry.” Quirky Mary (Elizabeth Enderle) everyone considers disturbingly homely (apparently even Death won’t touch her, only giving her gaunt features and a persistent cough). Spritely Grace (Lydia Miller), the youngest, is hyper and impulsive. Also on hand is equally destitute friend Charlotte Lucas (Desiree Black), who seems to kindly accept her role as a wallflower.

Mrs. Bennet (Amanda Falcone) is frantic, to say the least, constantly extolling the virtues of her marriageable daughters to anyone who’ll listen. Meanwhile, Mr. Bennet (Matthew Socey) just wants to be left alone to read his newspaper or otherwise let things play out as they will.

At social events we meet Mr. Bingley’s posh sister Caroline (Amalia Howard), as well as the nervous Fitzwilliam Darcy (Alec Cole), who has a legendarily awkward meet-cute with Lizzie. We also encounter George Wickham (Drake Smith), ambitious but “only a Lieutenant” in the Royal Army; rich but rather creepy cousin Mr. Collins (Grant Bowen); and the fiercely upper-class Lady Catherine de Bourgh (Elizabeth Ruddell).

In Hamill’s snappy script, what we get is a sort of cross between “Fiddler on the Roof” (sans music) and “Taming of the Shrew” as though presented by the Hallmark Channel – and it works delightfully. Farcical elements entertain: Falcone’s over-the-top performance making it understandable that neighbors start to avoid her; Bowen leering in such a way that we feel Lizzie’s dread at possibly marrying Collins; the various comical jump-scares around Mary, so much that I started to feel bad for her (or at least Enderle).

It all melds well with the romantic drama aspects, such as Lizzie’s grudgingly growing appreciation of Mr. Darcy, and Lydia discovering that to leap before one looks can bring on consequences. Endres and Cole acquit themselves well as more true-to-book versions of the characters.

Nicely paced while funny and charming, indulge in “Pride and Prejudice” Thursday through Sunday (two performances Saturday) at The Cat, 254 Veterans Way, Carmel. Get tickets at carmelplayers.org or thecat.biz.

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.

Bard Fest: Easy comedy you’ll ‘Like’

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By Wendy Carson

Bard Fest presents William Shakespeare’s “As You Like It,” hosted by Mud Creek Players.

Since this is a Shakespearean comedy, you know there will be characters in disguise, various twisting plot lines, and much confusion. Strangely, there are no twins; what we do have is one of the easiest storylines of all his comedies.

Director Ron Richards staged this show in the beautifully rustic atmosphere of the Mud Creek Barn. With several actors playing more than one character, his having an upstage curtain open or close to signal the beginning and ending of each scene greatly assists the audience in following the story.

The plot is rather simple: Duke Frederick has usurped his older brother, Duke Senior (both played by Kevin Caraher) and cast him into hiding. Orlando (Sam Smith) has been ousted by his violent older brother, Oliver (Connor Phelan) and seeks safety with the banished Duke in the Forest of Arden. Rosalind (Evangeline Bouw), who fell madly in love with Orlando at first sight, is then – being the daughter of Duke Senior – likewise banished from the kingdom. Her devoted cousin Celia (Dani Gibbs) insists on going with her. Due to the dangers of traveling alone, Rosalind dresses as a man, Ganymede, and Celia becomes “his” poor companion Aliena, accompanied by the faithful fool Touchstone (Ryan Shelton). Paths cross, courtship and confusion abound, all ending, naturally (for Shakespeare), in a mass wedding.

Most of the action takes place in the woods (more pastoral than enchanted). Orlando, pining for Rosalind, posts love poems to trees, or just carves them in the bark when paper isn’t handy. This amuses Ganymede, who offers to coach the young noble in more effective wooing. Gracious Duke Frederick is attended by fellow exiles Amiens (Glenn Dobbs) and melancholy Jacques (Daniel Shock), who delivers the famous “All the world’s a stage” speech. The native herders include Corin (Matthew Socey), full of bawdy innuendo; Silvius (Kay Beischel), a shepherd boy in love; and proud Phoebe (Kelsey Van Voorst), the object of Silvius’s affections who instead has the hots for Ganymede. Some players present other characters, but it is all easy to follow.

For theatre aficionados, note that Richards has set this play up in the style of Commedia dell’arte (a Renaissance style of farce popularized in Italy).  See the cast list on the Bard Fest webpage for the character archetypes.

From top to bottom, this troupe – most with quite a bit of Shakespeare in their CVs – deliver flawlessly. Appropriately, exceptional work is done by Smith, with his earnest easy stage presence, and Bouw, whose energetic style perfectly fits the impulsive Rosalind and her thin disguise. Shelton, wearing motley throughout his roles, is clever enough to amuse no matter what he has on.

You will like “As You Like It,” playing through Sunday, Oct. 15, at 9740 E. 86th St., Indianapolis. See indybardfest.com for info and tickets.

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.

What a ‘Dream’!

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By John Lyle Belden

There is a land of centuries-old mysteries, equal parts pagan celebration and reverent tradition working in unique harmony, where in shadowy woods the very air is sodden with magick – Louisiana.

It is in the bayou town of Athens that we find the familiar yet always fresh William Shakespeare rom-com “A Midsummer Night’s Dream,” presented by Bard Fest with Arts for Lawrence in the park amphitheater behind Theater at the Fort, a production called “Shakespeare at the Fort.”

As appropriate to a free public “in the park” Shakespeare play, this “Dream,” directed by Matthew Socey, is highly entertaining regardless of if you’ve practically memorized it, or you slept through high school Lit and have only heard the title in conversation. Wendy said to me afterward that this is not only one of the best “Midsummers” she has seen, but easiest version to follow.

For those who need it, here’s the silly and overall simple plot (Cajun version): The most respected man in the Parish, Duke Theseus (Jo Bennett) and his lovely amazon, Hippolyta (Afton Shepard) are to be married, but they are first asked to settle the engagement of Demetrius (Matthew Walls) to Hermia (Maggie Lengerich) at the insistence of her mama Egeus (Sarah Froehlke) because Hermia wants to marry Lysandra (Kristie Shuh). Fair Helena (Evangeline Bouw) wishes to wed Demetrius, who is repulsed by her playing so easy-to-get. The Duke puts it all off to the wedding celebration day, and everyone agrees to disagree.

Most of the action occurs out in the spooky forest outside town.

Is that a Tulane track star at home for summer break that we see? Naw, it’s Robin Goodfellow (Diane Tsao)! One of the bayou faerie folk, that trickster Puck only answers to the local voodoo king, Oberon (Bennett), who is having some words with his queen Titania (Shepard) over the custody of a little Indian girl becoming their half-fae Changeling (Beatrice Hartz). To aid in childcare are Titania’s faeries Cobweb (Jamie Devine), Moth (Samantha Kelly), and Mustardseed (Monica Hartz).

Then, trompin’ around these woods are common folk of the Mechanical trades who wish to put on a play for the Duke’s wedding, rehearsing in secret. Exceedingly patient director Petra Quill (Chynna Fry) is staging the old favorite “Pyramus and Thisbee” starring Flute (Justina Savage) as Thisbee, Starveling (Emily Hauer) as Moonshine, Snout (Beverly Roche) as Wall, Snug (Froehlke) as a Gator, and the colorful Bottom (Kelsey VanVoorst) as Pyramus. But then, stuff happens.

A lot of stuff happens – go see the play!

The vicinity of New Orleans is a perfect setting, and not just to try out some passable Southern accents. The environment is embraced in the music used, costuming, and just the otherworldly air of the whole show. More people have watched “True Blood” and other bayou-set stories than have visited Greece, so engaging the audience is easy. The change in what kind of beast chases Thisbee works perfectly and adds to the comedy. (Fear the Chomp!) It all contributes to a flavorful comic gumbo that goes down easy.

And finally, we have a place where the Elizabethan habit of English people always saying “adieu” makes sense.

The stage would be a bit small for most serious productions, but the intimate nature of it and the surrounding lawn allows for an immersive and interactive experience. Entrances and exits are literally from and to anywhere, fairies dance with kids in the audience, and in an ingenious move, the nobles viewing the Mechanicals’ play are seated in the exact center of the audience. Rather than divide our attention at one end of the stage, they are out of the corners of our eyes, allowing us to enjoy the unintentional hilarity of the play-within-the-play on the stage, while they comment and quip like posh robots from Mystery Science Theater 3000.

The cross-gender casting, which has become more common across all stages in recent years, feels more natural here, and non-hetero feelings add to the stress of our four mortal lovers. In a great mockery of Shakespeare-era plays having boys play women, Savage shines as (pardon if I’m wrong on personal gender) a female actor playing a man who resents having to play a woman. Fry’s Petra aside, the other Mechanicals portray rough men in a gentle art (adding to comic potential).

The double-casting of Oberon/Theseus and Titania/Hippolyta is good as it always is in bringing a unity to the overall play, but largely stopping there avoids audience confusion. (Since we never see them in the same room, perhaps they are secretly the same entities? Voodoo works in mysterious ways.)

The whole cast, top to Bottom, are exceptional – which is praise I often heap on every one of these actors individually in practically everything they do. And to that I’ll add Guy Grubbs as Theseus’ servant Philostrate, whose every entry is a punchline.

The above aside, I’ll toss my text roses at the wonderful surprise that is 7-year-old Beatrice Hartz. Anyone who saw the advance photos of Shepard holding the Changeling as just promotional can be forgiven (if I can be) for thinking her just a dancing prop in the play. With the assurance of her mother in the cast (and her father and a best friend in the front row opening night), she flits her way into and out of her every scene and cue like a pro. Her confidence radiates, and feeds into her character as the fellow fae play along. In this world, she will be become a power to rival her sitters, so it adds meaning as she literally calls their dances at one point, and when she places her hand before a character in a “halt” gesture (which is obeyed) we almost feel the invisible door close. She even gets to speak a line.

Classic with a twist? A drug-induced fever-dream by Tennessee Williams? However you think of it, the price is right – free, but please “buy” $0 tickets online for headcount. While the content is family friendly and the site is easy to reach, do note a few things. The weather is Louisiana-like with high heat and humidity, so shading, sunscreen, and hydration are advised as the play starts before sundown. A couple of food trucks are nearby, and picnics are OK. Bring your own lawn chairs, or sit on a blanket. And in these intimate confines the company goes old-school with no microphones on actors. Fortunately, most lines seem to be uttered in an excited state, but a little audience noise discipline, extending to the nearby swings, would be appreciated.

Performances are just this one weekend: 7:30 p.m. Friday, July 22; Saturday, July 23; and Sunday, July 24; at the small park behind Theater at the Fort, 8920 Otis Ave., Lawrence (far north end of Indy’s Post Road). Tickets and info at indybardfest.com and artsforlawrence.org.

Bard Fest play catches the conscience of the Queen

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By John Lyle Belden

One interesting thing I find in TV talk shows is the stories of celebrities who meet other celebrities, not as coworkers or equals, but as mutual fans, starstruck at each other. Imagine if the most powerful woman in the world were to meet an actor whose performance she found to be exceptional. It happened, and William Shakespeare was there to see it.

“Elizabeth Rex” is perhaps the greatest play Shakespeare could not have made, as the title character could easily have had his head removed to decorate the Tower of London. So it was left to acclaimed playwright Timothy Findley in 2000 to speculate and dramatize what happened on a fateful night in 1601 following a command performance – by Her Majesty, Queen Elizabeth I – of the Bard’s “Much Ado About Nothing.” 

You don’t have to know anything about that comedy to enjoy the Bard Fest adaptation of “Elizabeth Rex,” just know that in Shakespeare’s day, all women’s roles were played by male actors, and the rest of this drama’s set-up you can get from context. The setting is a barn at the estate where the play’s after-party (for aristocrats, not lowly actors) is being held, with everyone being stuck indoors as a curfew was declared by the Queen to maintain the peace before the Ash Wednesday execution at dawn of Robert, Earl of Essex – believed to be Elizabeth’s lover, but convicted of treason. 

The Lord Chamberlain’s Men grumble about their surroundings as they remove their makeup and tap a keg of warm ale, but the mood totally changes when their Royal visitor arrives. She is regal, the others reverent, but eventually all relax. “I shall require distraction,” Elizabeth declares.

The Queen (Holly Hathaway Thompson) is quite impressed with the men who played female leads, especially Ned Lowenscroft (Jay C. Hemphill), the play’s Beatrice, and Harry Pearle (Scott Fleshood), who played Hero. She even remembers when Percy Gower (Alan Cloe) would show some leg in his skirts in years past (the old actor loves to reminisce, a recurring comic point). To Jack Edmond (Matthew Walls) who played Benedick (who verbally sparred with/wooed Beatrice in “Much Ado”), Elizabeth shows disdain, perhaps conflating the actor with the role, resenting his being Irish, or both. She also isn’t thrilled with big-mouthed Luddy (Matthew Socey) who she sees as little more than a living version of Falstaff (a great Bard Fest in-joke for those who have seen Socey in that role). Also on hand is Matt Welles (Anthony Logan), who is handy with a guitar; nearly blind seamstress Tardy (Susan Yeaw), always losing her glasses to comic effect; and a bear, which Lowenscroft had rescued.

Quite literally above it all, at his desk in the loft, is Shakespeare (Eric Bryant), working on his next play, “Antony and Cleopatra.” He feels at a loss for what words to put in legendary rulers’ mouths, so makes notes of things the Queen says. This proves problematic when she insists on seeing the script.

Attending Her Majesty are Lady Mary Stanley (Nikki Lynch) and Lord Robert Cecil (Abdul Hakim Shabazz). An attentive soldier enforcing the curfew (Andy Burnett) also appears, as well as, briefly, Countess Henslow (Afton Shepard) to plead in vain for the condemned’s life.

Much of this drama comes down to the interplay between Elizabeth and Lowenscroft, who, because he is dying, exercises a bit of license with the Queen. For her part, resolved to spend the night on the level of her subjects in the barn, she accepts being chided and contradicted – even touched – as the gay actor teaches the monarch, ever required to show a manly demeanor, to get in touch with her woman within. Thus, even in a very talented cast, Hemphill and Thompson stand out with extraordinary performances. 

Glenn L. Dobbs, a Bard Fest producer, directs from a script he adapted with Barbara Willis Sweete and Kate Miles. 

As has been noted, this at times intense drama is peppered with some great laugh-out-loud moments. It also gives a sense of what an important time this was in Elizabeth’s reign. The hour chimes periodically, bringing our players closer to the dawn, when our fantasia ends and true history resumes.

Remaining dates are Friday through Sunday, Nov. 12-14, at Theater at the Fort, 8920 Otis Ave., in Lawrence. Get info and tickets at www.indybardfest.com and www.artsforlawrence.org. 

Bard Fest cast brave Albee classic

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By Wendy Carson

Let me begin by saying the old adage is true: Nothing good happens after 2 a.m.

This is the precise hour in which our tale begins. George (Tony Armstrong) and Martha (Nan Macy) have arrived home from one of her father’s numerous parties just in time to continue the “festivities” by initiating the new professor into the way of life at their provincial college. Since Martha’s father is the President (and ersatz owner) of this establishment, Nick (Matthew Walls) and his wife Honey (Afton Shepard) feel compelled to attend.

What begins as two couples sharing cocktails quickly escalates into a verbal brawl in which no one is safe. At first, Nick and Honey gape in shock as the barbs fly back and forth. but as time passes and alcohol is consumed, their own skeletons explode out of the closet for all to see.

Edward Albee’s classic play, “Who’s Afraid of Virginia Woolf?” shows the author’s mastery of language and its power. Martha’s tongue is a lethal weapon, which no man, save perhaps George, can survive. However, George can hold his own in this melee.

Watching Martha and George go at each other is akin to seeing different beasts battle for dominance, the saddest thing is that they honestly do love each other, in their own way. Macy is a black belt at this sort of verbal karate, complete with Martha’s sharp tools of wit and psychological warfare. Armstrong presents George as the weathered stone taking on wave after wave of abuse, but with the eerie calm of one who has little left to lose, and one more devastating ace to play.

Walls brings his own cockiness, in which Nick manages for two of the drama’s three acts to feel that he will come out of this skirmish unscathed, and perhaps ready to exploit what he’s heard. But too late he finds he’s way too Kansas for these Ivy League-level head games. Shepard manages a lot with her character, an easy foil for Albee’s humor who, with the help of lots of brandy, devolves from a waif lost in the playground to a girl lost in the woods.

For those unfamiliar with the play, or the Oscar-winning Elizabeth Taylor film, note this production, directed by Matthew Socey, is a wild ride, an emotional roller coaster with no brakes, so engaging you may not notice it runs three hours. No story told or alluded to is without importance (except one bit in the first scene, more on that later) and only at the end do we get a full view of the field of play. However, while the show is very intense, it can be amusing to notice how often various couples in the audience knowingly look at each other after some of the exchanges.

Oh, and to save you a minute or two of Googling during the first intermission, the answer to Martha’s question is, “Beyond the Forest.”

Presented by Indy Bard Fest as part of its Prestige Project of great stage plays not written by Mr. Shakespeare, performances continue Thursday through Sunday, Oct. 14-17, at The Cat theatre 254 Veterans Way in downtown Carmel (note there are some construction street closures, but it’s possible to reach the building). Get info and tickets at indybardfest.com.

Simon comedy gets ‘radio’ treatment

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By John Lyle Belden

It’s been a wild year, with social unrest, a wild presidential election, war in Vietnam — yes, it’s 1968. To bring back the flavor of the good ol’ days, “station WCAT” in Carmel is hosting a live radio play of the Neil Simon hit, “Plaza Suite.”

This is the situation presented by Indy Bardfest, which is taking a break from Shakespeare fare to explore more recent celebrated playwrights. The necessity of personal distance for those on the stage, as well as in the audience, in the wacky year of 2020 make the radio drama an excellent format for presenting a character- and dialogue-driven play such as this.

Director Matthew Socey has given the cast of Tony Armstrong, Nan Macy, Afton Shepard, and Matthew Walls, assisted by Tony Johnson as host and sound-effects guy, plenty of opportunities for visual antics to accompany the “theatre of the mind” atmosphere. On-stage social distancing is achieved as each stands apart at their own microphone, even during moments like the creatively unorthodox kissing scenes.

Simon’s ‘68 Broadway smash is three acts, each its own story, all taking place at 3 p.m. on different days in Room 719 of the Plaza Hotel in New York City. In the first, an exercise in emotionally-charged dark humor, Karen (Macy) has booked the suite as a surprise anniversary gift in hopes of recharging her lackluster marriage to Sam (Armstrong). But she finds she may be too late, and maybe even in the wrong room. Walls appears as members of hotel staff, and Shepard as Sam’s beautiful secretary.

In the second act, successful young Hollywood producer Jesse Kiplinger (Walls) arranges to meet with his high-school sweetheart, Muriel (Shepard), a working-class New Jersey housewife. He longs for the simplicity of the past, while she is fascinated by his life among the stars. Much humor is derived from the cumulative effect of vodka stingers vs. the delicate dance of seduction. Their exchange is a fun examination of the people we pretend to be, even to ourselves, as Jesse works out how to keep their metaphorical masks in place long enough to get Muriel’s actual dress off.

The third act, arguably the best and most popular, has stressed out parents Roy (Armstrong) and Norma (Macy) struggling to coax daughter Mimsey (Shepard) to unlock the bathroom door so she can make her way downstairs to her wedding. Roy is already fuming at how expensive the ceremony and reception have become, while Norma is a nervous wreck. Slapstick abounds, even with the limited movement in this format. 

This production is wonderfully cast, as all have great range and the ability to convincingly go from serious to silly as the situation demands. Johnson gets surprisingly involved in the action, such as being a sympathetic fourth wall to a character’s asides, adding to the charm of this unusual show. 

Bardfest has one weekend left in the “Plaza Suite,” Friday through Sunday, Oct. 9-11, at The Cat theatre in downtown Carmel. Visit indybardfest.com for info (or see them on Facebook) and thecattheatre.com for tickets.

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.