Miki Mathioudakis

Summit shows the ‘Different’ could be any of us

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , ,

By John Lyle Belden and Wendy Carson

Summit Performance Indianapolis does more than produce great plays. As a community outreach, it presents “This is Different,” an original one-act play, followed by open panel discussion, on living with and looking past the stigma of substance use disorder (SUD).

Quoting Summit: “It is the ninth Community Conversation One-Act produced by Summit and developed in collaboration with Dr. Sally Wasmuth… at the IU Indianapolis School of Health and Human Services… created from local interviews, conducted by Dr. Wasmuth.”

One performance remains, 7 p.m. tonight (June 28) on the main stage of the Phoenix Theatre Cultural Centre, 705 N. Illinois St., downtown Indianapolis. As the production is made possible in part by the City of Indianapolis and the Opioid Settlement Funds through the Indy Arts Council, all tickets are free, but reservations are needed at phoenixtheatre.org.

Told mainly through compelling monologues, the first-person stories collected by Wasmuth were crafted by playwrights Lauren Briggeman, the director and a Summit founder with long experience in drama; and Kelsey Johnson Lyons, who approached the script from her experience as a poet. Briggemen noted that choreographer Mariel Greenlee, formerly a company member with Dance Kaleidoscope, took the initiative in recommending movement used to underscore the performances. Simple yet effective lighting and sound are by Laura Glover and Olivia Lawson; Nico Meisner is stage manager.

The spirit of collaboration is reflected by the cast, each a major local talent: Tracy Herring, Miki Mathioudadkis, Morgan Morton, and Tracy Nakagozi. The source, script, and earnest delivery combine to thoroughly humanize the addicts in recovery that they represent. While additiction is expensive and devastating, they warn, most of all it is “sneaky.” It’s a party – until it’s not. Without excuses or complaint, the women who speak through these four relate their circumstances, their losses, what they salvage, and the human desire to belong, whether among others or just alone in your own yellow house.

You likely know or may even have been someone like these anonymous real souls. Especially if you don’t, it is imperative to understand them. The discussion after the one-hour performance gives plenty of room for exploring what this means to you, and all of us.

The title, “This is Different,” turns out to have a double meaning. It is what that voice within says when it dawns that instead of using a substance, the roles are reversed; then it’s the realization when after all your attempts to get “clean,” you finally see real recovery.

Big thanks to Dove Recovery House for its participation in this production, and to the continued community work of Summit Performance Indianapolis.

Southbank: It truly is all relative

PWJW_Indy Reviews, Stage , , , , , , , , , , , , ,

By John Lyle Belden

Very few people can know what it is like to be Albert Einstein – arguably, one – but did he understand, or care, what it is like to be the rest of us?

In “Relativity,” a drama by Mark St. Germain presented by Southbank Theatre Company, in December 1949 Einstein (Anthony Johnson) receives a visit from a young reporter, Margaret (Morgan Morton), at his home on the Princeton University campus. His housekeeper/secretary Ms. Dukas (Miki Mathioudakis) doesn’t approve, but the lauded genius welcomes another opportunity to talk about himself and his contributions to physics.

However, since his decades of research, discovery, and scholarly work had been written about numerous times already, Margaret maneuvers the interview to other topics, such as Einstein’s two marriages, and his children. What’s there to say, Einstein says, reciting the publicly known facts.

But she has also interviewed Albert’s son – now things get serious.

In this imagined incident, employing Einstein’s own quotations and writing, one of the greatest intellects of the last century is probed to explore the nature of relationships, family, and what is important. We confront the burden of genius: what it owes the world, and what we owe to it.

Director Ronn Johnston said what we see on the stage is so much more than what one would read from the script. He worked with our highly-talented trio to bring life and dimension to these characters – two we don’t know and one we can only presume to – to give a more genuine, relatable conversation between one leading with the heart and another from his unique brain.

This comes at a time when Einstein, who felt he had brought order to our understanding of the universe, explored the new frontier of quantum theory, reconciling the unpredictable with his predictable cosmos. But where in this universe does a child fit in?

Johnson nicely embodies the walking contradiction of the serious intellect with the wild hair, relaxed suit and quotable sense of humor. Incomprehensibly complex equations calm him, while discussion of close relations brings on a darker countenance and mood. Morton seems to combine the aspects of a strong woman and questioning child into a single irresistible interrogator.  Mathioudakis portrays a tireless defender feeling she may be the only one to truly understand the man, including his flaws.

Energy and matter, or the people who matter – explore “Relativity” Thursday through Sunday at Shelton Auditorium, 1000 W. 42nd Street, Indianapolis (Butler University campus).  Get info and tickets at southbanktheatre.org.

Westfield hosts ‘Ripcord’s rowdy rivalry

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , ,

By John Lyle Belden

For something different for October, a show in which it is one of the characters who is supposed to be frightened – for the audience, it’s all laughs. Main Street Productions of Westfield presents “Ripcord,” by David Lindsay-Abaire.

If the playwright sounds familiar, it is because he is known for hits including the deep drama “Rabbit Hole,” and the wild hilarity of the stage musical of “Shrek.” He shows a bit of both sides in this comedy. Director Andrea Odle lets the natural odd-couple humor shine through rather than let this devolve into farce, with just the right amount of slapstick.

Abby (Miki Mathioudakis), the acerbic resident of an assisted-living retirement home, doesn’t like having a roommate – especially her latest, upbeat talkative Marilyn (Tina Nehrling). When resident aide Scotty (Marshall) fails to arrange a room reassignment, the women come up with their own solution. In their wager, if unflappable Marilyn loses her cool and gets angry, she must move out; if unmovable Abby becomes afraid, she must let Marilyn stay and get the bed next to the window.

This includes a scene at a haunted house where aspiring actor Scotty is one of the performers. We also meet Marilyn’s daughter and son-in-law Colleen (Claire Slaven) and Derek (Scott Prill), who help run her skydiving business.

Cameron Ponce plays Marilyn’s son Benjamin; and he, Slaven, and Prill fill in other roles.

Mathioudakis and Nehrling have wonderful, volatile chemistry. Their characters can both dish it out and take it in their prank war, while revealing sufficient depth to engage us in the question of whether it’s possible to take their antics too far.

Marshall plays Scotty as a friend caught in the middle like a babysitter at a high-stakes pillow fight. He has limited authority, but unlimited concern. Prill and Slaven give Derek and Colleen a spirit of fun natural to a family raised on adventure.  

This production lets the fun “rip” four more times, Thursday through Sunday, Oct. 10-13, at Basile Westfield Playhouse, 220 N. Union St. Get info and tickets at westfieldplayhouse.org.

Westfield takes on beloved comedy

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

As it’s been said, classics are classic for a reason. From time to time, community theatres bring out the hilarious antics of the eccentric extended Sycamore family in Moss Hart and George S. Kaufman’s comedy, “You Can’t Take It With You.” This week, the invitation is extended by Main Street Productions of Westfield.

Sweet twenty-year-old Alice Sycamore (Hannah Partridge) is in love with her boss, Anthony Kirby (Aaron Budde), a young executive thanks to his chief executive father (David Dessauer). Tony and Alice want to get married, but she’s afraid the Kirbys couldn’t deal with her family – father Paul Sycamore (James Semmelroth Darnell) makes fireworks in the basement with the help of Mr. DePinna (Eric Bowman), who came to deliver ice years ago and never left; mother Penny Sycamore (Carrie Reiberg) writes melodramatic unfinished plays on a typewriter that just showed up on their doorstep; sister Essie (Cara Olson) makes candy “Love Dreams” daily but really wants to dance (though she’s awful at it), while her husband Ed Carmichael (Noah Shepard) plays the xylophone and obsessively prints cards, menus, and papers with whatever sounds interesting to him; finally, grandfather Martin Vanderhof (John Welch) does whatever he likes because he walked away from his downtown office decades ago and never looked back.

Their maid Rheba (Sophie Liese) is a so-so cook but very understanding and fits right in this household, along with her Irish boyfriend Donald (Austin Uebelhor), who helps when he can, as long as it doesn’t jeopardize his “relief” payments. Russian expat Boris Kolenkhov (Louis Cavallari) tries in vain to teach Essie ballet; this being 1938, he still remembers his homeland before the Soviets and knows exiled nobility including The Grand Duchess Olga Katrina (Miki Mathioudakis). We also meet inebriated actress Gay Wellington (Susan Hill), who isn’t related or a resident, yet adds to the chaos in her own way.

There are also appearances by Tony’s father and mother (Renee Whiten Lopez), as well as Tom Smith as nosy government agents, along with Aaron Ploof and Emma Fox.

For those unfamiliar, yes, it’s a lot. But there is subtle method to this madness in a funny fable about love, acceptance, and truly living out the pursuit of happiness.

Under director Nicole Amsler, everyone gets their moments to shine. Darnell plays Paul as single-minded, trusting the others to do what’s needed, yet amiable when not downstairs. Bowman gives DePinna a sense of joy that reveals a man who would much rather play with fire than work with ice. Reiberg’s Penny is the kind of unassuming person whom whatever she is doing at the moment is right thing, and you can’t help but agree. Shepard and Olson as Ed and Essie seem to not be the sharpest knives in the block, yet come across as charmingly naïve, never stupid. Cavallari brings big energy to his role, making Kolenkhov feel like just one of the family.

Partridge nimbly plays Alice’s struggle to maintain normalcy while still loving her family. Budde, for his part, gives Tony a growing admiration for the freedom that the household represents.

As the patriarch, Welch lends a subtle gravitas to Grandpa. He has his quirks – like keeping snakes – but is as down-to-earth a character one could find. When he says grace in his unique way during the mealtime scenes, you can’t help but feel welcome at his table.

Be their guest this Thursday through Sunday, June 6-9, at the Basile Westfield Playhouse, 220 N. Union St. Get tickets at westfieldplayhouse.org.

Musical send-up of Scrooge story returns

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

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.

ALT: The long laborious birth of a vital test

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , ,

By Wendy Carson

The Home Pregnancy Test – it is so ingrained in our lives now that you can even buy one at Dollar Tree. However, it was not so long ago that it was created. Prior to this, women had to go to the doctor and not only convince him to test her but also wait about two months for the result.

American Lives Theater launches the world premiere of the play “Predictor,” by Jennifer Blackmer. It tells the story of Meg Crane, the woman who not only saw the flaws in the current system but also persevered to develop the first-ever home pregnancy test.

As is the case with so much of women’s medicine and discoveries, Crane’s name is mostly lost to history. Blackmer delves into the intense, sexist struggles of one woman who knows what she wants and fights the misogynist barriers thrown up against her every effort.

Brittany Magee embodies Crane as a sweet, yet determined woman who is in no way going to allow her voice to not be heard. She sees that the test, previously confined to laboratories, is actually very easy and develops a simple, convenient package for it out of a plastic paper clip holder. All the men she must deal with constantly rebuff this design – declaring she has no idea what women want.

While the rest of the cast play multiple roles and are referred to in the program book as Chorus # 1-6, each is excellent and does embody at least one prime role within the story which I will use to summarize their efforts.

Christine Zavakos plays Meg’s roommate Jodie, an artist and free spirit constantly encouraging Meg to stand up for herself and fight.

Jen Johansen flows between Meg’s mother and coworker. She portrays the lack of knowledge the generations before her were given regarding their own bodies as well as the fears of this newer generation’s need to change things.

Miki Mathoiudakis superbly brings Meg’s grandmother to life with her even more primitive knowledge of sexual behaviors and morality.

Zack Neiditch not only brings us a charming game show host but also the head of the company Meg works for who at first has no time for silly lady things.

Drew Vidal embodies the most toxic example of male ego in the show. He gives us an advertising executive who sees Meg as nothing more than a secretary who knows nothing about business or how to “play the game” and torpedoes her every attempt to prove herself.

Clay Mabbitt gives us the snarky superiority of the lab tech who insists only a (male) lab tech could possibly check the test results (because looking in a mirror for a circle in the bottom of a test tube is a difficult job). This is balanced by his portrayal of a more insightful executive in the company’s marketing department.

This show is Bridget Haight’s directorial debut, and she has done a great job of bringing us the story of a woman’s perseverance in the 1970s world of business (like a more-sexist “Mad Men”). The story is a vital piece of women’s history that was destined to be lost as Crane was only given a patent on her test design. The actual test itself was sold to another company, which sat on the rights to it for ten years before it finally made it to the market, the corporation taking full credit for introducing this important tool for women’s health.

Performances run through May 28 at the Phoenix Theatre Cultural Centre, 705 N. Illinois St., downtown Indianapolis. Get tickets at phoenixtheatre.org, or americanlivestheatre.org.

Note that this weekend, the real Meg Crane will be in attendance. She will be part of a pre-show program 6:30 p.m. Saturday, May 13, as well as “Mom, Mimosas and Meg” for Mother’s Day, May 14, available for questions after the performance.

Summit: Much revealed in women’s sacred space

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , ,

By John Lyle Belden

On a mountain in France, what appears to have been a Medieval monastery has been repurposed as a unique women’s retreat in “The Convent,” a play by Jessica Dickey given a full production by Summit Performance Indianapolis following a successful staged reading last summer, directed by Summit founder Lauren Briggeman.

Mother Abbess (Jolene Mentink Moffatt), founder and leader of the facility, had been a regular American wife and mother who gave up her ordinary life to seek God. Unsatisfied with religion organized in His name, she instead dedicated The Convent to Her spirit. Upon arrival, each seeker gives up modern clothing and conveniences (including the smartphone). She receives simple clothes, is expected to do the chores of centuries past, and must study to identify with her “Nomen,*” a historic female Christian Mystic.

British heiress Cora Dimlin (Carrie Ann Schlatter), assigned Catherine of Siena, has done many such retreats, and acts as The Convent’s number two. She arrived first, as did her friend Bertie (Chynna Fry), a naïve survivor of an isolated cult, assigned St. Clare of Assisi. Jill (Maria Argentina Souza) arrives next; she is at a crossroads in career and marriage, and assigned Teresa of Avila. Wilma (Miki Mathioudakis) is a nun who finds herself unable to pray; she is assigned St. Hildegard. Tina (Shawnte P. Gaston) is trying to change from seeking pleasure to seeking purpose; she gets Juliana of Norwich. Running in late, to past participants’ dismay, is brash bratty Patti (Dekyi Ronge), still holding her Nomen card for Mechtilde von Hackeborn that she received in a previous session.

Feel free to Google the Saints (none are fictional), however, we do get to learn a bit about them during the play.

As these women undergo their journey of self-discovery, they undertake various exercises (including physical). At mealtime prayer they express, “I want…,” starting with trivial things that pop into their heads, adding items until a true deep desire comes forth.

While each has to come to terms with what feelings and needs brought them to this place, the main struggle is between Mother Abbess and Patti, for reasons that soon become clear. Though their connection is easy to guess, Moffatt and Ronge excellently portray their fraught relationship. Fry gives us a charming girl who finds more than her spirit awakening, while Schlatter embodies the English ideal of stiff-upper-lip control, at least for as long as Dimlin holds out. Gaston does a good balance of portraying a woman acting like a “tourist” yet still open to the retreat’s purpose. Mathioudakis plays another strong character; she allows Wilma to shift paradigm without abandoning the person she vowed to be. Souza gives us Jill’s inner chaos that didn’t stop with a change in scenery.

No real sacrilege here, but still for mature audiences, “The Convent” is a fascinating and thought-provoking examination of the continuing struggle and need for women to define themselves in the worlds they live in. There are a number of laughs, a tear or two, and a few unexpected sacred visions.

Feel free to say, “I want” tickets – performances run through April 9 on the Basile Stage of the Phoenix Theatre Cultural Centre, 705 N. Illinois St., downtown Indianapolis. Info and tickets at PhoenixTheatre.org.

(*Ancient word for “name,” or perhaps reference to “gnomon,” the indicating part of a sundial.)   

Bard Fest: Women give men a (very) hard time in ‘Lysistrata’

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , ,

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.

IndyFringe: Women’s Work

PWJW_Indy IndyFringe, Reviews, Stage , , , , , , , , , , , , , , , , , , , , ,

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

By Wendy Carson

One may think it odd that the first person on stage at this female-centric show, “Women’s Work,” is a man (Dave Pelsue), but his musical presence helps to mark the flow of the story as well as punctuate the ever-present position of men always existing even in the shadows of a woman’s life.

We are then introduced to a young girl (Pearl Parker) giving a report on what she wants to be when she grows up. Using data from “The Employments of Women: A Cyclopaedia of Women’s Work” by Virginia Penny, as well as interviews from woman she knows, her tale is acted out by an octet of women playing two sides of each of the four career paths we are shown.

The younger counterparts begin each story reflecting the sparse number of opportunities available to women in previous generations. Other actors present the characters’ more mature perspectives.

We begin with Betty, who has chosen to become a teacher. Kallen Ruston portrays her bemoaning how everyone she knows is constantly trying to marry her off, regardless of her own preferences – she has dozens of children each day, so is not lacking for the pangs of motherhood. While standing up for her principles and refusing sexual advances from coworkers cause her to change schools, Beverly Roche keeps her optimistic, continuing Betty’s efforts to show each of her students their true potential.

Anne (Katie Carter) relates the challenges of becoming a nurse. She is excited about the importance of her job, as well as the overwhelming information she must remember. As time progresses, her knowledge grows to the level that she inherently knows a patient’s needs; however, gossip and backbiting by other nurses and condescending doctors keep her from doing her best. Miki Mathioudakis shows how Anne’s aggravation has grown as even the young residents disregard her advice, with deadly consequences.

Turning to Carol, we find the rare woman who dares enter the traditionally male field of business and make herself a success. Anna Zimmerman shows the balance required as we catch her doing affirmations to help relieve her high stress levels. She must also deal with a husband who feels his job is more important than hers, so she should naturally be able to blow off her opportunities to pick up the kids because he doesn’t have the time. Her sexist boss is just another hurdle she must overcome. Karin Stratton keeps Carol on an even keel, especially when dealing with inept temps who refuse to stick with a job long enough to actually learn it. She muses about the two years she took away from her job to devote to her children and clawing her way back up to where she was before – and beyond.

We end on Diane (Michelle Wafford), who feels that just being a mother is all of the fulfillment that she needs. While she wonders if she really loves her husband (he’s certainly no Prince Charming) because the moment she held her baby was the first time she ever truly felt it. She is expecting her second child, whether her husband is on board with the idea or not. Then, Gigi Jennewein injects the solemn bitterness Diane feels when her husband leaves her for a much younger girl, forcing to go to work at a local screw factory just to make ends meet. She misses spending time with her kids and realizes none of the other mothers she sees have any idea how hard her life is.

Liv Keslin gives an insight to the future of our narrator, and is glad that she has so many more opportunities afforded her, but still wonders what all of this means.

To find out the answer, have your heart warmed and your inspiration lit, see “Women’s Work,” presented by Betty Rage Productions, in its remaining performances 9 p.m. Friday and 1:45 p.m. Sunday, Sept. 2 & 4, at the IndyFringe Theatre.

District drama explores daunting ‘Place’

PWJW_Indy Reviews, Stage , , , , , , , , , , , ,

By Wendy Carson

By Wendy Carson

The District Theatre presents “What Is This Place? A Journey of Self in the Aftermath,” in which five souls ask the title question, while knowing on some level exactly where they are.

Welcome to their nightmare – where you, too, will likely go one day.

I first saw a version of this show in August of 2016, at IndyFringe. In the six years since, playwright Jan White has reshaped it into an even greater work of beauty and hope. If you go back to that first review, I didn’t say much about the show because I didn’t want to spoil the mystery for anyone. However, the current version allows more room to meditate on the performance.

The story begins with Darlene (Holly Hathaway) being flung in through a door which she cannot unlock to make her escape. She claims to know the place, because in her past she saw her mother inside it. She protests that she wants to leave, but is afraid of what lies beyond the door.

The other denizens of this place are: Maggie (Miki Mathioudakis), a wealthy widow, distantly connected to Darlene, who has transformed into a sloppy, hot mess; Sophia (Brittany Magee), a perky, meditating, goof who searches for peace she cannot find; Cindy (Bianca Black), who just wants to sleep, but no combination of drugs and alcohol are able to work; and finally, Jake (Chad Pirowski), the apparent caretaker, whose silence makes him appear creepy.

Periodically, each person will go to a space at the side of the stage to view pieces of their memories, which we are privy to by way of a video screen. It does not take us long to realize what this place actually is, but the point here is the characters’ journey to that same discovery. Once they fully acknowledge it, they must then decide whether to leave or stay (each option has its benefits).

As each woman comes to terms with that which landed them there, they must also deal with the fact that some questions never have answers, that perhaps “everything happens for a reason” is nonsense, whether you accept it or not. Eventually, they find the darkness they have in common, and how to wield it as a key to that door that perhaps was never really locked after all.

While this is a story about grief and loss, it also embodies the accomplishment and hope that lies at the end of that road.

Performances are truly remarkable, considering the gut-wrenching dramatic exercise this play puts the cast through, under the direction of Rosana Schutte. We get small bits of relief, in humorous moments with Cindy’s substances, Maggie’s endless Doritos bags, or Sophia’s attempts at serenity with bells and “tapping.” Still, the pain is never far from them, lurking just outside the windows. Our heart goes out to all five, even Jake, who has the darkest truth.

Remaining performances of “What Is This Place?” are Friday and Saturday, April 29-30, with ASL interpretation, at the District, 627 Mass. Ave., Indianapolis. For info and tickets, go to IndyDistrictTheatre.org.