4th Wall brings us ‘Fire’

By John Lyle Belden

What can we say? Wendy and I made it to 4th Wall Players’ production of the comedy musical “Firebringer” on the one night when an unforeseen issue in the cast caused the performance to be cancelled just a few scenes in. It went on as scheduled the next day, but we had other commitments.

Still, I can give you our glowing impression of what we did see, and by all indications the overall show is a lot of fun.

Developed in 2016 by the YouTube-famous parody and comedy musical company Starkid Productions (and financed by a Kickstarter!), “Firebringer” fits the bare-bones sensibilities of 4th Wall, one of the newer independent companies on the Indy stage scene, presented in the cozy confines of Stage Door Theatre in Irvington.

Back in the days of cave-people, Jemilla the Peacemaker (Michelle Wafford) takes charge of the tribe, succeeding elder Molag (Tracy Fouts), who also acts as narrator to us “privileged f**ks” in the future (while antics are childish, the language gets mature). Maintaining peace won’t be easy, while shaman Ducker (Peyron Rader) shouts dire prophesies from their god, the All-Powerful Duck, and Tiblyn (Taylor Shelton) tires from constantly raising her hands to hold up the sky. To quote their cousin, Chorn (Alexandra Paddock), “Chorn!” Then, to advance the plot and give this play a title, Jemilla’s rival, Zazzalil (Breanna Helms) finds and brings back some of that glowing, burning stuff at the end of the stick.

The tribe also includes Silvia Seidle, Aidan Morris, Emily Spencer, Ryan Powell, Zach Moore, Elena McKinney, Tyler Gibson, Miranda DeHaai, Sarah Kinney (who also designed the puppets), and 4th Wall Executive Director Josh Gibson in the immortal role of Smelly Balls. Katherine Gibson directs, with vocal director Joel Johnston and choreographer Kelly McKinney.

Feedback we’ve seen from those who have experienced the entire musical has been positive, and we did get to see the popular no-work work-song. If we get lucky, we’ll get a shot at seeing this again; you have opportunities this weekend, April 19-21, at 5635 Bonna Ave., Indianapolis. Get tickets at https://ko-fi.com/4thwallplayers/shop.

Musical send-up of Scrooge story returns

By John Lyle Belden

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

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

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

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

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

Southbank: Levine show something to ‘See’

By John Lyle Belden

About the best way to describe the short plays of Mark Harvey Levine is like The Twilight Zone with a funny bone. To present the collection titled “Didn’t See That Coming,” Southbank Theatre Company has as director Anthony Nathan, who has acted and staged quite a few offbeat shows in recent years.

In these eight quick comedies, united by a theme of “Surprise” (also the title of one of the plays), we also get a talented sextet of Angela Dill, Paul Hansen, Terra McFarland, Alex Oberheide, Ryan Powell, and Michelle Wafford, in various roles.

The plots are a combination of Levine classics and new works. Dill and Hansen wake up to find their life is “Scripted.” Powell is a psychic of limited range but still able to sense a breakup with Wafford in “Surprise.” McFarland gets an unusual birthday present: Oberheide’s character in “The Rental.” In the most complex and unusual piece, Powell finds himself in “Plato’s Cave” with Hansen and Wafford. Oberheide and McFarland are a couple needing to let go of childish things in “Defiant Man,” featuring Hansen and Powell in their own Toy Story. Wafford can never get away from her parents, even when she’s away from her parents, in “The Folks,” with Oberheide as her date. Powell has his own night out planned but needs a sober appraisal from McFarland in “The Kiss.” Finally, an ongoing apocalypse is no excuse for letting the accounting department go slack, so Dill is sizing up Hansen in “The Interview.”

I’ve seen practically everyone here get their silly on in the past, so was not surprised to see them put their all into this, delivering absurdities with the appropriate confusion, bewilderment or calm acceptance each moment requires.

Nifty set design by Aric C. Harris gives us a versatile turntable stage, powered in part by stage manager Aaron Henze. As much of the humor is derived from close relationships, we recognize Lola Lovacious for her intimacy direction.

What you should see coming is an exceptional collection of hilarious and clever scenes. Performances are Thursday through Sunday at the Fonseca Theatre, 2508 W. Michigan St., Indianapolis. Get tickets and info at southbanktheatre.org.

‘Carol’ gets musical comedy treatment

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.

Indy Bard Fest’s Band of Sisters

By John Lyle Belden

During World War II, Fort Benjamin Harrison had America’s largest Reception Center for soldiers joining the Allied effort. Meanwhile, the civilians in Lawrence, Ind., adapted to life in wartime. Things were going to be different, but it helps to have something familiar.

This sets the scene for Indy Bard Fest’s production of “Into the Breeches!” by George Brant, at, appropriately, Theater at the Fort through Sunday. 

The Shakespeare-focused Oberon Theater has gone dark as the male actors and crew have gone off to fight, but Maggie Dalton (Madeline Dulabaum) honors her husband’s wish to keep the stage alive by producing the Henriad (Shakespeare’s Henry IV and V plays) with a small cast of women – a thing no one would even imagine trying before 1942. But these are highly unusual times, and Maggie has convinced the Oberon’s legendary Celeste Fielding (Susan Hill) to take a lead role. Still, board chairman Ellsworth Snow (Kelly Keller) isn’t on board until his wife, Winnifred (Tracy Herring), expresses interest in taking a part. 

With the help of stage manager Stuart (Kaya Dorsch) and costumer Ida (Anja Willis), Maggie auditions and casts servicemen’s wives June (Michelle Wafford), who is heavily involved in homefront resource drives, and Grace (Dani Gibbs), who sees this as a way not to dwell on the dangers her husband must be facing.

“We happy few”? Not entirely. For diva Celeste, it’s Prince Hal or nothing; and the company risks it all by the necessity of casting Ida, who is Black, and Stuart coming out of the closet to take the female roles. Mr. Snow is again concerned, to say the least.

This is a wonderful production, with bright optimism tempered by the shadows of war, an excellent snapshot of life on the Homefront, with its own distinct stresses. Performances are heroic, starting with Dulabaum’s portrayal of how stage director is such a varied rank – from the leadership of a field officer to the cunning of that enlisted hand who always comes up with just what the company needs. 

Hill makes Celeste both adorable and unbearable, impossible and essential – her method for helping fellow actors “man up” is a comic high point. Wafford is a “Do your part!” poster at full volume, but also unwavering in her love of the stage. Gibbs is a stellar talent playing one realizing her own potential, and the strength necessary to endure a lack of news from the front. 

Willis gives insight on facing inequality at home in a land fighting for freedom overseas. Dorsch gives us Stuart’s personal dedication and bravery in what was a dangerous time on all fronts. Herring is a delight, especially as Winnifred discovers her inner Falstaff. As for Keller as the frustrated husband, how he has Ellsworth come around is too adorable to spoil here. 

A big salute to director Max Andrew McCreary for putting this together, including stage design, with the help of Natalie Fischer and stage manager Case Jacobus.

For information on this and future Bard Fest productions, visit indybardfest.com.

IndyFringe: Play by Play

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

By John Lyle Belden

Clerical Error Productions presents “Play by Play: Tiny Little Plays by Mark Harvey Levine,” directed by Jon Lindley, and written, of course, by Levine, a master of creating humorous and heartfelt little stories that take just a few minutes. Perhaps some remember his “Cabfare for the Common Man” or his contributions to Phoenix Theatre “Xmas” shows; if you do, it’s more of that.

The framing device, as the topics are all over the place, is a parody of network sports announcers, played by Bryan Ball and Adam Crowe, who introduce the series, deliver a Halftime assessment, and announce the Two-Minute Warning near the end. To announce each little play is the Referee (David Molloy), complete with whistle and arm signals not sanctioned by the NFL, which perturbs the on-stage Director (Kate Duffy).

The plays are acted superbly by Ball, Crowe, Tracy Herring, T.J. O’Neil, Talor Poore, and Michelle Wafford. There are grown-up children’s games, the politics of fish, restaurant scenes, questions of reality, encounters with deities, and – a running theme in this year’s IndyFringe, it seems – a cryptid.

Every year, once people learn I’ve seen and am reviewing a whole bunch of Fringe shows, I’m asked what is good to recommend. This one’s at the top of the list, with something for every sense of humor and not too challenging on the feels (though one bit comes close).

There are numerous opportunities, as well. “Play By Play” is at the District Theatre 5:30 p.m. Thursday, Aug. 25; 5:15 p.m. Saturday, Aug. 27; 9 p.m. Thursday, Sept. 1; and 3:30 p.m. Sunday, Sept. 4.

Coach forced to grapple with past in new drama

By Wendy Carson

Is it possible to redeem a bully and show him the devastating impact he had on others? This question is at the heart of Bennett Ayres’ new play, “Lanista,” brought to you by Catalyst Repertory, directed by Zachariah Stonerock.

First of all, I would like to say that I adore this show. I have not instantly fallen in love with a script like this since I first saw the Phoenix’s production of “The Pillowman.” I honestly can’t help but tell you that you MUST see this show. It is touching, infuriating, yet also cathartic to behold. 

The title of the piece comes from the ancient Roman term meaning a trainer of gladiators. This is how Coach Bill Harrison (Mark Goetzinger) sees himself. He is a molder of high school wrestling champions, a legend throughout the state for his impressive record. However, one of his past students, Joel Beemer (Jamaal McCray) has become his elder-care provider, and is taking the opportunity to show this man just how much he damaged the psyches of his athletes. 

Beemer begins by subtly making Harrison’s family think he is becoming more and more senile. He then begins to subject Coach to the rigors of training, as well as verbal abuse, that he inflicted upon his students. When Harrison tells his daughter Kim (Michelle Wafford) about these occurrences, she sees his stories as further proof of dementia, and besides, this is the first caregiver Coach hasn’t run off. At one point, Beemer feels he may have gone too far, but as the teenager Anna (Olivia Mayer) he regularly visits in Juvenile Detention tells him: When you go for a bully, you have to give them all you’ve got. 

Goetzinger is sheer perfection as the stoic Coach who sees nothing wrong with the way he treated his players – he was just doing his job. McCray shows us every bit of his range as the “caregiver” who appears to be carrying out vengeance on the man partially responsible for the mess his life is today, but don’t forget, Beemer also worked as a teacher. Wafford ably portrays the daughter who has more than enough on her plate, glad to let another handle her dad’s situation. Adam Crowe has a charming cameo as a police officer honored to meet the legendary Coach whose students he once wrestled against. Recent Ball State grad Mayer does an excellent job as the enigmatic bad girl who is in juvie for taking part in a car theft, and has no desire to change her ways. 

Will the former wrestler show the Coach that he was not who he thought he was all these years? Will he realize his methods produced champions but destroyed lives? How does Anna fit into all this? See the show to find out; performances of this World Premiere run Thursday through Sunday (July 7-10) at the IndyFringe Theatre, 719 E. St. Clair, Indianapolis. Get tickets at indyfringe.org.

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.

An American classic comes to life on Civic stage

By John Lyle Belden

“To Kill A Mockingbird,” the celebrated novel by Harper Lee, is likely a book you are familiar with, perhaps from reading it in school, or by seeing the Gregory Peck film which closely followed Lee’s story.

The Booth Tarkington Civic Theatre presents a live production of “To Kill A Mockingbird,” the play adapted by Christopher Sergel, which is performed annually in Monroeville, Alabama, Lee’s hometown on which the novel’s setting is based. Unlike that production, the local staging doesn’t pick a trial jury from the audience – but attorney Atticus Finch still speaks directly to us.

For the unfamiliar, the story, set in Mayscomb, Ala., in the mid-1930s, is told by Finch’s young daughter, Jean Louise, known as Scout. The play gives us a grown-up Jean Louise (Michelle Wafford), who emerges from the audience to narrate for her younger self (Bridget Bingham), who is trying to make sense of all the things happening around her.

Scout, her brother Jem (Dalyn Stewart) and friend Dill (Ben Boyce) are occupied with what the reclusive neighbor Boo Radley might look like. The only clues are items left in a tree in his yard. But a bigger distraction comes when Atticus (Steve Kruze) is appointed by Judge Taylor (Tom Smith) to defend a black man, Tom Robinson (Antoine Demmings), who has been accused of beating and “having his way” with teenager Myella Ewell (Morgan Morton) by her father, town drunk Bob Ewell (Joe Steiner). The children endure taunts for their father defending a black man, but Atticus counsels them to endure and be confident he is doing the right thing. Scout wonders if she can feel pride in her father at all, until an incident with a mad dog reveals there’s more to the man than she ever suspected. Likewise, Jem wonders why his punishment for his vandalism of bitter, hateful neighbor Mrs. Dubose’s (Holly Stults) garden is to deliver kindness, until he comes to understand the whole situation.

The Robinson trial is a big spectacle, so the children sneak in to see it for themselves (thus allowing us to witness it), finding only room to sit in the “Colored” section with the Rev. Sykes (Brad Thompson). They marvel at how Atticus takes advantage of flaws in the testimony, and the kids are sure this will come out in their (and Robinson’s) favor. What does happen gives life lessons the children will never forget. And the events that follow will result in men killed, Jem injured, and Scout becoming a whole lot wiser.

Other notable characters include Sheriff Heck Tate (Clay Mabbit); the Finches’ cook, Calpurnia (Chandra Lynch); and an appearance by Boo Radley (Colby Rison) himself.

Under the direction of Emily Rogge Tzucker, this important story rises from the page to remind us of how horrible, yet accepted, hatred and injustice can be – then, and even more than 80 years later. Of course, that includes the bigoted context of the South in the 20th century, in which no person would even think of saying “African American” and “black” was mostly just a color you painted. So, be warned, the word “nigger” is used numerous times, by characters with either malice or apathy towards its dehumanizing effects. And if my writing the word out in the previous sentence bothers you too much, you should steel yourself before seeing this play – and go anyway.

Scout’s purpose in this story is to learn to see the world through others’ eyes – a man who would rather do what’s right than what’s popular, a person in unspeakable pain, a person judged purely by his skin tone, even a person who just can’t deal with other people – and thus teach us to do the same. Experience it for yourself at the Tarkington theater at the Center for the Performing Arts in downtown Carmel, through Feb. 23. Information and tickets at civictheatre.org or thecenterpresents.org, or call 317-843-3800.