Michelle Wafford

Rock solid ‘Amadeus’

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By Wendy Carson

Catalyst Repertory presents “Amadeus,” the Tony-winning drama by Peter Shaffer that imagines a deadly rivalry between composers Antonio Salieri and Wolfgang Amadeus Mozart.

For anyone who has seen the epic film version of this story (also by Shaffer), the thought of staging it on the small black-box stage of the IF Theater seems like utter madness. However, for director Casey Ross, it was just one more hurdle to overcome. Since the script details memories from the “deathbed confession” of Salieri to destroy Mozart, the need of lavish sets and huge orchestras is secondary to the plotting and intrigue of the story. Ross utilizes a more stripped-down set with gorgeous costumes and minimal props, which forces the actors to display an amazingly high level of skill, with the entire cast was more than up to the task.

The set, designed by Arden Foster Tiede, is like a flight of stairs that also suggests a balcony, an upstairs room or a throne chamber, positioned so as to require a new seating arrangement for this venue. As Ross also demonstrated with her unique staging of “Streetcar” in 2023, using vertical space in this manner profoundly opens up the small stage area, while maintaining its intimacy.

This simplicity helped me focus more on the actual dialogue and caused me to notice things that I had never considered in previous iterations. For instance, the show is titled “Amadeus” because that translates to “love of God,” which is the basis of the story. Although Salieri is convinced he made a bargain with God, these sorts of things fall more into the Devil’s milieu. Plus, since he believes that Mozart has been chosen by God, the desire to destroy such a vessel would just be a devilish delight as well.

For anyone familiar with Tristan Ross (no relation to Casey), and how he dominates every role, it was impressive to witness his ability to fade into the background when necessary and allow others to hold the spotlight as required. However, he also embodies the desperation and rage that his turn as Salieri requires.

As for the titular character of Mozart, Ian McCabe brings the role to life in a delightful manner. Being a child prodigy, it is highly likely that Mozart himself fell somewhere on the Autism spectrum and McCabe hints at this through his candor and confusion of others’ abilities. McCabe shows us a person who never really had a childhood, ironically never fully growing up, and who only desired to earn his father’s love – while easily manipulated into making choices that would prevent him from doing so.

While the story does revolve around the composers, the rest of the cast shines even in the smallest of roles. Michelle Wafford shows that regardless of her character’s commonplace background, Mozart’s wife Constanze Weber was a shrewd businesswoman who was ruthlessly in love with and devoted to her husband’s well being. The spectacularly angelic voice of Shelbi Berry Kamohara as Katerina Cavalieri shines throughout and perfectly compliments the power of Mozart’s music. Reno Moore and Jack Paganelli as Salieri’s spies in Vienna elevate what is normally thought to be lesser roles into vital moments throughout the narrative. Likewise, Yolanda Valdivia as the Cook and Brant Hughes as the Valet prove that one does not require speaking lines to bring forth a solid performance. However, nobody embodies this idea more than Alaine Sims as Teresa Salieri. With her heart-shaped lipstick and a flick of her eyes, she exudes volumes of dialogue unheard but greatly understood.

We also get solid performances from those in the court of Emperor Joseph II (David Mosedale), Mozart’s biggest – and in this company, nearly only – fan. Doug Powers as Rosenberg and Craig Kemp as Von Strack have little patience for the impish young man, while J. Charles Weimer as Von Swieten comes to regret bringing him into Masonic membership.

More allegory than history, the power of this production is tangible in its performance – so incredible that, like the Emperor, all we can say is a bewildered “There it is!”

Performances are Friday through Sunday, through May 17, at the IF, 719 E. St. Clair, Indianapolis. Info at catalystrepertory.org; tickets at indyfringe.org.

Asaykwee and friends present the story behind the Carol

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By John Lyle Belden

When you think about it, there is only one ghost featured in Charles Dickens’s “A Christmas Carol.” That would be the tortured soul of Jacob Marley; other beings present as “spirits” not of a particular person but a vague experience – Christmas Past, Present, and Future, as well as the consequences of poverty.

Local creative Ben Asaykwee apparently did think about it and expanded on these concepts to create a new holiday musical, “Wonders,” which has its world premiere at The District Theater in downtown Indy.

To bring his ideas to life, he once again casts his December show in “Q-munity” style, finding a place in cast or chorus for all 46 new and veteran actors who applied, including about a dozen children. Under Asaykwee’s direction, they harmonize into a large stage family, welcoming us into the story they tell.

A couple of other things to note:

* It is essential you have some familiarity with the original Dickens story, as this is a sort of companion piece to that narrative, presenting the perspective of the ethereal beings who undertake the mission of redeeming Mr. Ebenezer Scrooge. In this story, the quest is necessary not only for his wellbeing, but also for mankind’s.

* As for the old miser, Scrooge himself makes only one brief, uncredited appearance. To set things in motion for a very eventful Christmas Eve, we meet various supporting characters from the book, including Fezziwig (Bastian Ciucci Russell or Calvin Meschi); Bob and Mary Cratchit (Noah Lee and Elizabeth Gee), Scrooge’s sister (Lillie Oblon) and his former sweetheart (Michelle Wofford); and, stranded in “The Pale,” the shade of Marley (Kevin Caraher).

* This may be Asaykwee’s most ambitious high-concept work that we have seen. Set largely in the realm of the spirits of humanity – a place they for their own reasons call the Basket – we are outside of conventional earthly dimensions and “time appears differently here.” Though the production has the feel of experimental theatre, once we get a handle on the concepts in the opening scenes it all mostly works, and it helps that to the audience, the spirits are very friendly guides – even ones we associate with more negative aspects of life.

Within this Basket we find a pantheon of spirits that include Truth (Asaykwee), Hope (Sarah Zimmerman), Joy (Noah Winston), Pleasure (Tiffanie Holifield), Honor (Maria Meschi), Ambition (Jaddy Ciucci), Curiosity (Shelbi Berry Kamohara), Fear (Matt Anderson), Memory (Hannah Elizabeth Boswell), Avarice (Kallen Ruston), Creativity (Zach Himes), and Innocence (Megan Arrington), who does much of the narration. They maintain the balance of light and darkness for mortals they refer to as “Turtles,” seeing humans as slow and simple.

In this mythos, these entities consider themselves strands in a “braid” that binds human order. However, two aspects – Apathy and Despair – became lost and formed The Knot, a state of pervasive darkness. The others carry wonder as a tangible energy supply helping keep it at bay; still, The Knot is strengthening. Yet down in Dickensian London, a man with the most dark of souls could help turn the tide if he is made, somehow, to see the light. To get results, the mission must focus on the most optimistic day of the year – Christmas.

This complex production manages a sort of holiday miracle in that the strands of plot around the events and characters of “Carol,” interlaced with the immortals’ own struggles, stay cohesive and easy to follow. Asaykwee infuses it all – script and original songs – with his entertaining style, a sort of fun yet daring and mischievous sense of humor reminiscent of legends like Danny Kaye or Gene Wilder. Aside from Dickens, we can see stylistic influences of “Inside Out,” “Neverending Story,” and practically any movie where an angelic being tries to directly influence mortals (“…Wonderful Life”? “Xanadu”?).

Boswell assists with direction, and Ruston is assisted as stage manager by Sofie Frank. The wonderfully colorful and eclectic costumes for the pantheon are a group effort by the cast along with Kristin Boyd, Allison Jones, Kat Robinson, Traci Snider, Asha Patel, Robyn Lamey, and Ben Lamey.

The mortal “Turtles” are distinguished by simple black outfits, yet shine in their own way. Aside from Caraher, Lee, Gee, and Wafford, they are portrayed by Emerson Black, Ava Button, Carrie Cooper, Jenson Dasbach, Jessica Dickenson, Trèvon D. Foote, Carl Gallagher, Beth Gibson, Spencer Hahn, Lillian Hall, Zara Heck, Mandy Holzhausen, Anna Lee, Ethan Lee, Ashley Marshall, and Morgan Patrick-Roof. Filling in as Cratchit kids, urchins, and small but potent Spirits are Bastian Ciucci Russell, Cosette Clemens, Patrick Clemens, Lyra Dickson, Elsie Huldeen, Amaryllis Lebow, Xylah-Rose Lebow, Zinnia Joy Lebow, Sam Lee, Calvin Meschi, Aaliyah Oblon, Lillie Oblon, and Amelie Pellerin.

Performances are sharp throughout the cast, and roles such as Hope, Curiosity, Innocence, Memory, Joy, Pleasure, and Fear really show off the depth of the players’ talents.

But what of Past, Present, and Yet-to-Come? Join the journey by “candle-shine” and watch to see how they are revealed. Performances of “Wonders” run through Dec. 21 at The District Theatre, 627 Massachusetts Ave., Indianapolis. Get tickets at IndyDistrictTheatre.org or call 317-522-8099.

Betty Rage lets us in on a secret

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By John Lyle Belden

Betty Rage Productions presents the longest-running stage play, Agatha Christie’s “The Mousetrap,” in cooperation with The Scottish Rite Valley of Indianapolis, at Indianapolis Scottish Rite Cathedral, directed by the company’s original “Betty,” Callie Burk-Hartz.

The quirky whodunit opened in London in 1952, around when the play is set, and has been performed perpetually since (except for a break for Covid). For the second time in recent memory, this fun mystery plays in Indianapolis, with the hope that all who see it keep to the long-standing tradition to reveal to no one its secrets, including who “dun” it.

As the radio gives a bulletin about a brazen murder in London, near Paddington, Mollie and Giles Ralston (Hannah Embree and Charles Weimer) arrive to prepare Monkswell Manor for its guests. Married just a year, they have just acquired the old home located 30 miles outside the city and have just opened it as a rooming house. She seems wistful and hopeful, while he is stoic and matter-of-fact, still they share a subtle affection.

Just as a blizzard intensifies to confine everyone to the manor (naturally, this is a Christie story after all) we meet hyper and talkative aspiring architect Christopher Wren (named after the famous one, played by Matt Hartzburg); the “perfectly horrible” and never pleased Mrs. Boyle (Gigi Jennewein); easy-going retired soldier Major Metcalf (Mookie Harris); Miss Casewell (Michelle Wafford) whose trousers and attitude mark her as her own woman, brooding and secretive; and finally the expressive and wildly Italian-accented Mr. Paravacini (Lukas Schooler) who not only tells you up-front that you can’t trust a thing he says, he seems to delight in it. The latter is a surprise arrival, having (allegedly) stuck his car in a snowbank, forcing him to walk to this, the nearest house.

Speaking of surprises, local policeman Sergeant Trotter (Aaron Stillerman) suddenly arrives on skis to investigate how Monkswell and its occupants are apparently related to the murder mentioned above. “Three Blind Mice” is the theme of the goings-on, and when body number two is found, the plot intensifies in a quest for the identities of both the killer and the endangered third “mouse.”

Performances are excellent with steady accents. Each acts suspiciously in their own way, keeping fellow characters and the audience guessing. Hartzburg and especially Schooler have a blast with their hilarious over-the-top characters, as others on stage remark on their eccentricities to reassure us that neither is too intense for what the setting and story allow.

Liz Carrier is assistant director and Jamie Rich stage manager. The Scottish Rite provides, aside from the beautiful J. Robert Wortman Auditorium, a stage crew as well as set and props. This includes behind the stage’s central windows a scenic backdrop that dates back to the Cathedral’s first presentations in 1929 (which explains why it is kept as-is and not “snow” covered).

The play only has a single-weekend run, with remaining performances Saturday and Sunday, March 8-9, at 650 N. Meridian, downtown Indianapolis (big castle-like building, you can’t miss it). Promise not to tell, and come see who gets caught in “The Mousetrap.” Get tickets at bettyrageproductions.com.

We love Southbank

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By John Lyle Belden

The power and mystique of the Shakespeare tragedy “Hamlet” are so strong, one can talk about and around the play and not only impart its importance, but also tell a story that stands on its own. This our young protagonist learns in the comedy “I Hate Hamlet,” by Paul Rudnick, presented by Southbank Theatre Company, directed by Eric Bryant.

Set in the early 1990s, television star Andrew Rally (J. Charles Weimer) rebounds from the cancelation of his show by going to New York to play the lead in a Shakespeare in the Park production of “Hamlet.” To be honest, he doesn’t really want to do it, being self-aware that his talent lies more in the small screen than on a big stage.

Still, his girlfriend Deirdre (Michelle Wafford) adores the Bard and might finally give in romantically if Andrew takes the role. His agent, Lillian (Wendy Brown), also sees this as a good decision. On the other hand, we will soon meet his friend Gary (Anthony Nathan), a TV director and smarmy denizen of Hollywood who sees the fading TV star in over his head, getting little to no financial gain from this likely fiasco. Gary arrives with a deal for a style-over-substance show that is assured to make them both rich, if Andrew abandons the Shakespeare gig.

Meanwhile, New York Real Estate broker Felicia (Jean Arnold) has set Andrew up in an eccentrically-decorated apartment that was once home to legendary actor John Barrymore – Drew’s grandfather, and, more importantly, regarded as the greatest Hamlet of his era. Felicia also fancies herself a psychic medium, so she, Andrew, Deirdre, and Lillian (who once knew the actor), attempt to reach out to Barrymore’s spirit.

Unable to resist an opportunity to perform, John (Kevin Caraher) does appear, and won’t leave until Andrew Rally is Hamlet (ghost rules, otherwise he’s stuck).

That’s the plot, but more important is the hilarious journey Andrew takes in getting over his “hate” of Hamlet, feeling compelled to prove to everyone – especially himself – that as an entertainer he is more than just “an anytime snack” (see the show, you’ll get it). Caraher plays Barrymore as a manic mentor, while still carrying echoes of the regrets and alcoholism of his mortal years (the real actor did have an interesting biography). He and Weimer engage in some great physical comedy, especially when the swords come out.

Wafford’s Deirdre could be pictured next to “giddy” in the dictionary, a blend of (literally) virginal innocence and fangirl ebullience. Brown plays her aging German agent as both sensible and wistful, the latter especially when she has her long-awaited second encounter with the spirited stage star. Nathan does broad comedy as naturally as breathing and embodies happy-go-lucky about as heartily as anyone short of an actual cartoon. It’s telling that Gary lives so much in the alternate reality of the West Coast that he easily sees Barrymore without an inkling that the event is supernatural.

A roaring good time in a sly homage to the power of Shakespeare and the character of those who take it on, you’ll love “I Hate Hamlet.” Performances are Thursday through Sunday, Nov. 14-17, at Shelton Auditorium, 1000 W. 42nd St., Indianapolis, on the southwest corner of Butler University campus. For info and tickets, see southbanktheatre.org.

4th Wall brings us ‘Fire’

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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

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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’

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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

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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.

Indy Bard Fest’s Band of Sisters

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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

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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 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.