Simon comedy gets ‘radio’ treatment

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

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.

NoExit: Spend a holiday with some damaged people

By John Lyle Belden

If you never thought you’d see No Exit, the local company known for unusual and avant garde performances, and Tennessee Williams, notable for brilliant standard dramas, in the same sentence, have I got a surprise for you.

“The Mutilated,” originally written and staged as a one-act in 1965, is one of Williams’ later, more artistically adventurous plays. Though an initial failure, a New York revival with John Waters acolyte Mink Stole in a lead role five years ago earned praise. So yes, Tennessee, it is a No Exit play. And with the company’s Drosselmeyer taking the holidays off (he had a cabaret in July), this counts as their “Christmas” show.

Most of the cast also act as chorus — not just in the “Greek” sense, but more literally as holiday carolers. The focus is on our leads, Celeste Delacroix Griffin (Beverly Roche) and Trinket Dugan (Gigi Jennewein).

On Christmas Eve, 1938, Celeste has been released from the House of Detention where she had been held for shoplifting — one of her many, many vices. She makes her way back to the Silver Dollar Hotel in New Orleans’ French Quarter where Trinket lives fairly comfortably, but alone, off the proceeds of a single oil well. The two had been each other’s only friend, but a fight prior to Celeste’s arrest has left Trinket too wounded to forgive.

But Trinket also carries a deeper scar, “mutilated” by the loss of a breast both physically and mentally, in perpetual shame and paranoia of the stigma from anyone finding out. Sadly, Celeste exploits this in her selfish, immature efforts to keep Trinket in her life. Thus the night is mostly a battle of wills between the women. Celeste leaves clues to Trinket’s secrets and calls her by her former, less colorful name. Meanwhile, desperate for company, Trinket takes home a sailor (Matthew Walls) so drunk he wavers between dull confusion and violent agitation. All the while, hotel manager Bernie (Zachariah Stonerock) sits by, eyes on his comic book, exasperated like he’s seen these scenes play out between the women many times before.

Roche and Jennewein give award-worthy performances: Celeste prowls the two-level stage like a predator, while Trinket works her corner like a wounded deer. In fact, all the cast are superb, including Walls, Stonerock, Mark Cashwell, Dan Flahive, Abby Gilster, Elysia Rohn and Doug Powers.

While costumes and sets are standard for a Depression-era drama, there are a number of artsy, edgy touches, including the arresting manner in which the “carols” are sung (words by Williams, music adapted by Ben Asaykwee), and the way so much is left unsaid, including the full story of Trinket’s “mutilation.” Then there is the bewildering ending — a “miracle” is promised, and seems to be delivered, but it is up to you after the lights go up to work out what it all means.

As other commenters on the play have noted, the characters here are all “mutilated” in some way: physically, mentally, spiritually. We see the pains of addiction, whether it be to wine or a person. Yet like any holiday show, even in Tennessee Williams’ New Orleans, anything is possible on Christmas day.

No Exit has located “The Mutilated” in the Carriage House of the Indianapolis Propylaeum, 1410 N. Delaware downtown (a couple of blocks north of the President Benjamin Harrison home). Performances are through Sunday; see noexitperformance.org for information and tickets.

Indy companies expertly flesh out Richard III’s twisted skeleton

By John Lyle Belden

In 2012 came the stunning news of a human skeleton discovered under a parking lot in Leicester, England. It was the twisted body of what history and legend regard as a twisted soul, King Richard III. This setting opens the Catalyst Repertory/First Folio production of William Shakespeare’s play about the infamous monarch at the IndyFringe Theatre.

In what would be the last years of England’s Wars of the Roses between contesting royal families, King Edward IV is sick and dying. Richard, the Duke of Gloucester, is reviled for his crippled body, which brings on his sour attitude. The clever Duke decides if he can’t look like a hero to gain the crown, he’ll be the villain. But between him and the throne are George, Duke of Clarence; nobles faithful to Edward’s wife, Queen Elizabeth; and the child heir, Edward, Prince of Wales.

Some people are going to have to die.

Matt Anderson completely transforms into Richard, with the help of costume artist Linda Schornhorst (whose excellent work adorns the whole cast). This, coupled with Anderson’s complete control of his body and expressions, keeps him the focus of every scene. He leers towards the audience, proudly revealing to us his schemes. He lurks like a menacing vulture as his plans unfold. He contorts himself into whatever ingratiating pose will fool those around him as he continues grasping to take, then desperately hold power.

Carey Shea anchors the play as doomed Clarence, heroic Richmond and the archaeologist who bridges the gap between history and today. Jay Hemphill is charming as the Duke of Buckingham, Richard’s cousin and co-conspirator until he becomes cursed with a conscience.

Also notable are the women of the play, Allison Clark Reddick as Elizabeth; Christina Howard as Lady Anne, Richard’s unwilling bride (and a few scenes as Lord Grey); Nan Macy as the Duchess of York, Richard’s disappointed mother; and Casey Ross as Queen Margaret, widow of a previous monarch and bitter prophet.

The children – Dalyn Stewart as Prince Edward and Lex Lumpkin as his cousin, the Duke of York – are both sharp.

And kudos to Doug Powers, Matthew Socey, Ryan Reddick, Kevin Caraher, Matthew Walls, Mark Cashwell and John Mortell in various roles. Thanks to Glenn L. Dobbs’ direction and the play being adapted to two hours, in two acts, by Dobbs, Ross and Ben Power, it’s not hard to follow the sprawling cast of characters. (Richard has many of them killed, anyway.)

Plays like this are always apropos in an era of political turmoil, and performances this good are worth seeing at any time.

“Richard III” runs through July 9 at the IndyFringe Basile stage, 719 E. St. Clair (by the intersection of St. Clair, College and Massachusetts Ave.). See indyfringe.org for info and tickets.