Mud Creek Players

‘Moon’ shines on Mud Creek

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By John Lyle Belden

As a certain song says, show business is wonderful, even when it’s awful for those engaged in it. In Ken Ludwig’s “Moon Over Buffalo,” now on stage at Mud Creek Players, fading Broadway stars George and Charlotte Hay are upstate and up the creek, struggling to keep a repertory theatre alive during the 1950s dawn of television, after washing out of B movies and failing to get a prestige picture (“The Twilight of the Scarlet Pimpernel,” directed by Frank Capra) in Hollywood.  

Backstage of the Buffalo venue, we meet the Hays’ daughter Rosalind (Chrizann Taylor), who had given up the stage and is back in town only to introduce her fiancé, Howard (Jeff Haber), a TV weatherman. George and Charlotte (Sean Berne and Zoe O’Haillin-Berne) make an entrance as only they can. Rosalind’s ex-boyfriend and past scene partner Paul (Malcolm Marshall) is also on hand. Also, the Hays’ attorney Richard (Craig Kemp) is in town, hoping to woo Charlotte away from the madness, especially considering that the cute ingénue Eileen (Anabella Lazaridez) has been impregnated by George. Meanwhile, Charlotte’s feisty elderly mother Ethel (Jean Adams) turns her hearing aid on only when she feels like it, and if she has to mend the trousers one more time…

True to his comic style, Ludwig gives us a sort of slamming-doors sitcom (a Broadway hit in 1995) with plenty of belly-laugh moments. This comes complete with mistaken identity as tongue-tied Howard is mistaken for Capra, who is believed to be in the audience, looking to recast “Pimpernel.” We also get the mash-up no one asked for as both “Cyrano de Bergerac” and Noel Coward’s “Private Lives” hilariously take the stage.

The flashes of I-love-you-but-I-want-to-kill-you between George and Charlotte feel real, as the Bernes are married offstage as well. Whether enraged, distraught, or otherwise always performing, they chew the scenery with a knife and fork. Taylor gives us Roz as a voice of reason, yet feeling conflicted especially when Paul is in the room. As for Marshall, and for his part, Kemp, they are each in their own way hopeless romantics. For one, at least, the bold optimism may pay off. Haber is our bewildered everyman caught in middle of so many situations this forecaster never saw coming. Lazaridez kinda gives the ditz vibes one would expect from her blonde character, but they are more reflective of stress and hormones’ effect on the mind than hindered intellect. Adams heroically stays the eye of this hurricane, adding her own stoic yet comic flavor to the proceedings.

Directors Kelly Keller and Dani Lopez-Roque wrangle the wildness well, with the help of a trio of supporting characters/set changers who can’t help hamming it up a bit themselves, keeping the farcical mood flowing from scene to scene.

Two more fun weekends remain (through May 4) before this “Moon” sets on the Mud Creek Barn, 9740 E. 86th St., Indianapolis. Get info and tickets at mudcreekplayers.org.  

‘Crew’ remembers forgotten Civil Rights heroes

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By John Lyle Belden

“Cadillac Crews are not fictional. They really happened. But we don’t know the many names of the women who, on them, helped to integrate the American south.” – Playwright Tori Sampson in an interview on www.newpaltz.edu.

Black women in the 1960s faced a battle on two fronts. They endured the struggle for racial equality alongside Black men, who at times placed them in a strictly background role, mostly unheard and largely unknown.

In the play, “Cadillac Crew,” by Tori Sampson, presented by Mud Creek Players, this becomes a hard lesson for Rachel Christopher (Shakisha Mahogany), leader in a Virginia civil rights activists’ office. She has arranged for movement pioneer Rosa Parks to speak at an upcoming conference. However, her day starts with friction from office assistant Abby (Shanae Denise), who feels she should have more duties, considering her pre-law degree. Rachel notes that even with her Masters, all she has done is administrative work, but that should soon change. Dee (Gabrielle Patterson) arrives already under stress, dealing with her daughter starting class at a mostly-White school under a new Integration plan. Finally, there is Sarah (Rachel Kelso), whose Whiteness raises quiet suspicion with Abby and Dee, despite her eagerness to help and Rachel’s willingness to vouch for her.

Two pieces of bad news arrive – the male leadership’s decision to demote Parks’ appearance from a keynote address to perhaps a luncheon, and a report out of Florida of a burned-out Cadillac with the bodies of two women voting rights workers. No names are given, but Abby knew them.

Striving to rise above not only the pervasive Jim Crow racism but also what we now call “erasure,” Rachel volunteers her office as the next Cadillac Crew. Such teams are similar to the Freedom Riders of volunteer college students who traveled into the Deep South to organize and register voters (sometimes with tragic results), but in this case more low-key, driving the back roads to speak to churches and women’s groups to encourage the causes of integration, voting rights and other freedoms.

Seeing the lack of writing on the wall, Rachel is determined not to be forgotten, insisting that she and the others keep diaries of their ramblings through the South. Her lofty speeches seem to be well received, and things are going well, provided the crew can make it over the dusty road to Jackson, Mississippi…

Directed by Dani Lopez-Roque, this play is a powerful reminder of the many mostly-unknown people who worked for the cause of freedom, and how the pressures of that struggle led to a lot of tension and disagreement within the ranks. This isn’t four girls on a road trip; it is four women constantly questioning if any of this is worth it. All four actors are as dedicated as the women they portray, embracing the complexity that even within a settled goal like equality, there are many-sided arguments of how to get there.

The play ends with a final scene in 2024, which seems a little odd, but helps put the preceding events in perspective as a young podcaster strives to un-erase what has been hidden.

The Mud Creek Barn helps set the scene before the play with signage as you enter regarding the strictures of Jim Crow. The program is in the style of newspaper from 1963. And be sure you line up at the “right” window when getting your ticket or popcorn.

Performances of “Cadillac Crew” are Feb. 16-18 and 23-24 at 9740 E. 86th St., Indianapolis. For tickets and info, go to mudcreekplayers.org.

Mud Creek filled with holiday ‘Spirit’

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By Wendy Carson

Christmas is the time of the year we all gather with family and/or friends and celebrate the joy of the season. However, not all of us have loved ones with which to celebrate.

In Mud Creek Players’ “The Spirit of Christmas: A Holiday Cabaret,” such is the plight of Mabel (Anne Phelan), who is spending Christmas Eve cleaning the local theater where she volunteers. While struggling not to feel sorry for herself, a mysterious voice reminds her that while she may not have actual souls to be around, her rich supply of Christmas memories are what she should focus on.

The rest of the cast (Audrey Beaverson, Lauren Bogart, Nicole Bridgens, Stephen DiCarlo, Emily Keenan, Sophie Liese, Dani Lopez-Roque, Karen Naber, Noah Nordman, and Tara Weed) embody those memories and help guide Mabel through them to renew her Christmas Spirit. Even director Chris Bundy steps in a time or two.

Through a mix of traditional and newer songs, with a lesser-heard one or two, they remind Mabel, and us, of the delights of childhood and the meaning of Christmas. They even have a hilarious take on “The 12 Days of Christmas” that will have you seeing that song in a very different way.

Bundy and the Mud Creek crew have changed up the seating arrangements, giving the “Barn” a true cabaret set-up with audience members seated at tables throughout the venue. Tables are provided with a delicious snack mix and Holiday Punch for all as well as a trio of desserts and other drink choices served by the performers at intermission, all at no extra charge.

Remaining performances, Friday through Sunday, Dec. 8-10, are sold out, according to MudCreekPlayers.org. Go to the Contact page on the site, or email info@mudcreekplayers.org to ask about possible openings due to cancellations or additional seating.

Bard Fest: Easy comedy you’ll ‘Like’

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By Wendy Carson

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

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

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

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

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

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

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

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

Mud Creek springs delightful ‘Mousetrap’

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By Wendy Carson

Agatha Christie’s “The Mousetrap” is the longest running play in the world. It opened in 1952 and ran continuously in London until a 14-month absence due to COVID, but is back thrilling audiences every night once again.

The show’s staying power is the strength of its story as well as the characters involved. Christie is known for wickedly cutting dialogue, and this script does not disappoint. Mud Creek Players now gives us the opportunity to get caught up in this “trap” here in Indiana.

The story seems somewhat simple at first – the classic whodunit. In the early 1950s, Mollie (Audrey West) and her husband Giles Ralston (Nicholas Gibbs) decide to turn their newly inherited Monkswell Manor in the English countryside into a lodging house. After a foreboding story of a murder is heard on the radio, the guests begin to appear, each more quirky than the one before.

Christopher Wren (Gideon Roark) is a hyper imp who claims to be an architect (named after the original Wren, famed church designer of the Baroque era). Snooty elitist Mrs. Boyle (Jennifer Poynter) is aptly described as a “perfectly horrible woman.” Major Metcalf (Jason Roll) frequently retreats offstage, and has all that he needs in his little bag. Also arriving is Miss Casewell (Zoe O’Haillin) with her macho attitude and unplacable accent.

There is also the unexpected guest, Italian-accented Mr. Paravicini (Jim Gryga) whose car may or may not have broken down in the snow. Oh yeah, there’s also a huge blizzard trapping everyone inside the house. Finally, Detective Sergeant Trotter (Mike Sosnowski) eventually arrives on skis to question everyone about the aforementioned murder.

When the first body drops in Monkswell, paranoia ramps up as it seems that everyone had the opportunity and motive to kill. A vital clue hints that another will soon die as well.

Director Kelly Keller has taken immense pleasure and care in preparing this exquisite mixture of laughs and chills. The cast aids with steady accents and lovely performances. West and Gibbs make a nice couple, but we see them acting a little secretive at first, and is Giles being suspicious or just showing his British stiff upper lip? Roark has Wren wear his dysfunction on his sleeve – which makes him both suspect and too scattered to have pulled off an elaborate crime. Poynter (a much nicer person offstage) seems to relish being perfectly dissatisfied with absolutely everything. Roll plays the Major as someone unusually curious about everything, but with an easy smile and cheerio attitude. O’Haillin may as well have “I have secrets” tattooed on Casewell’s forehead, and while not unfriendly is frequently on edge and chainsmoking (fake stage cigarettes). Gryga has the most entertaining role, as Paravicini is definitely up to something, and is charmingly up front about how untrustworthy he is, but murder? Sosnowski gives us an engaging “let’s go over this again” style detective, constantly reminding himself – and us in the audience – of the clues.

Genuine Brit Craig Kemp supplies the voice of the radio announcer, quite the honor for those who know “Mousetrap” lore.

Another aspect of this classic is Christie’s brilliant misdirection and final twist. Not only is it satisfying to discover the first time, audiences return with this knowledge to better appreciate the acting and character development. In fact, Mud Creek is offering a $5 discount on a subsequent ticket to the show. However, once you know, longstanding tradition (and Christie’s hatred of spoilers) demands you not tell a soul.

Performances run Thursday through Sunday through May 6 at the Mud Creek Barn, 9740 E. 86th St., Indianapolis. Info and tickets at MudCreekPlayers.org.

Mud Creek has its hands on something special

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By John Lyle Belden

“American Dream, Japanese car.”

That line from “Hands on a Hardbody” sums up the theme of this musical, which had a brief Broadway run, but is more suited to the Heartland. Local hands have crafted it for Mud Creek Players through Sept. 24.

Based on a 1990s documentary about an actual contest, in this musical by Doug Wright with songs by Amanda Green and Trey Anastasio, a Nissan dealer in the small east-Texas city of Longview selects 10 contestants to stand with at least one hand touching a Hardbody pickup, with the last one who loses contact with the vehicle winning it. Dealer Mike Ferris (Joe Aiello) has ordered extra inventory to sell to onlookers, which annoys his assistant Cindy Barnes (Kathy Borgmann), but she’s hoping for the best. The event is covered live by radio station KYKX, announced by deejay Frank Nugent (Jeremy Crouch).

Benny (Onis Dean) has won this contest before, but his wife left him in that prize truck. He is full of plans and strategies to win again. Aging and injured former oil-rig worker J.D. (Chris Otterman) sees this as the chance for something to go right, as wife Virginia (Beth Ray-Scott) resents his stubborn insistence at competing yet stands by with refreshments and cool towels. Ronald (Noah Nordman) is between jobs and sees opportunities with a new truck, providing there’s no rain and he keeps his blood sugar up. Norma (Anya Andrews) sees the Lord’s Will in winning the contest, buoyed by “prayer warriors” at her church and Gospel music on her Walkman. Jacinta (Natalie Coronado Hammerle) hopes to sell the truck after winning so she can finish her veterinary degree. Janis (Jennifer J. Kaufmann) has six kids and little else, aside from a devoted cheerleader of a husband, Don (Collin Moore). Chris (Nicholas Gibbs), out of the Marines long enough to have grown his hair, doesn’t say much. Greg (Matthew Blandford) is a young, out-of-work dreamer. Equally fresh-faced Kelli (Nicole Crabtree) has a job but could use a better vehicle. Heather (Carolyn Lynch) acts like just being a hot blonde is enough to make her win – and unbeknownst to others, she may be right.

Also on hand are judge and timekeeper Lilly (Kirsten Cutshall), event medic Dr. Stokes (Sophie Peirce), and Service Dept. mechanics Miki (Lauren Bogart), A.J. (Ahnn Christopher) and Jerry (Peyton Rader). The on-stage band are Ben Craighead, Craig Kemp, Katie Ryan, Jill Stewart, and leader Linda Parr.

The true star, of course, is “Ruby,” the body of a 1997 Nissan pickup. Director Michelle Moore said Mud Creek volunteers fixed up the impressive prop so that it looks brand new, complete with shining red paint job, working tailgate and doors, bed one can climb into, seats, and functional headlights and horn.*

This kind of situation lends itself to a lot of humor, like Kaufmann’s charming take on the straight-talking redneck mama, and a bit of intrigue (what exactly is Mike up to?). It also examines the extreme edge of American competitive spirit. For those familiar with it, this show is like a less-tragic version of the dance-marathon classic “They Shoot Horses, Don’t They?” complete with the mental and physical consequences of forced exhaustion. As Stokes notes, staying awake for what will be 90-plus hours is a tactic used in other countries to torture prisoners. Benny understands this, exploiting the fraying tempers and confidence of fellow competitors – giving Dean a lot to work with in his complex character. We also get an insight into past stresses, such as Chris’s experiences in the first Gulf War, and the frustration of ethnic assumptions, as Jacinta bristles at having to point out she was “Born in Laredo.”

Characters to root for include Norma, as Andrews has us feeling her pain when the Spirit is weak, as well as Greg and Kelli, with their growing feelings and a fateful decision that changes their lives.  

So, who ends up with the truck? That’s kinda beside the point (and a huge spoiler) but this tale does come with a satisfying ending, as well as the what-happens-next lines by each of the main cast during the last songs.  

With the friendly confines of the Mud Creek “Barn,” its excellent stage set (cleverly designed by Moore), and Dani Gibbs choreography that even has the truck “dancing” to the stage edge, there is an immersive element to “Hands on a Hardbody” that makes this as much an experience as a play, complete with a final song with chorus we are invited to join in on.  

Our shortcut to the Lone Star State is 9740 E. 86th St., Indianapolis. For tickets and information, visit MudCreekPlayers.org.

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(*Moore said the pickup prop – which has no engine to weigh it down or leak on stage, a reinforced hood an actor can climb on, and sets of casters it rests on for easy movement – will be available after this run to a company that wants to mount a production of this musical. Contact her via the website for details.)   

Hilarious new creation at Mud Creek

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By John Lyle Belden

In the classic comedy style of something simple going wildly out of control, “In the Beginning…” — a new play at Mud Creek Players — God creates the Heavens and the Earth, and immediately regrets it.

At first, the Almighty (Nicole Crabtree) tries to put the Big Bang back into its bottle, or at least mop up it all up with black holes, but alas, once matter and energy exist, they can’t be destroyed. She may as well see what’s happening on the little blue thing, where a bunch of living things are crawling, swimming, flying and running around everywhere. There, she tries to customize a creature that stands upright, with less fur and a big brain — another mistake.

In this silly possibility of how everything came to be, we meet God’s top angels — Michael (Kate Carpenter), Gabriel (Eric Dixon), Lucifer (Connor Phelan), as well as the Voice of God (Craig Kemp) — and Biblical characters including Adam (Kelly Keller), Eve (Tanya Keller), Noah (Fred Margison) and Moses (Alaina Moore). 

Unless you are really devoted to a literal interpretation of Scripture, you should find all this a lot of hilarious fun. If we are made in the Lord’s image, wouldn’t it make sense that — just like when we invent and accomplish things — our Heavenly Parent is also just making it up as they go along?

Crabtree plays that unprepared Mother/Father with the right touch of exasperation and growing love for the critters she brought into being, however unintended. Dixon and Carpenter keep things lively with his urge to “smite” and her love of writing up new Commandments. Phelan’s Lucifer, naturally, is the smartest angel in the room, suave and brash, but eventually resigned to having to deal with all the extra souls that turned sour. Kemp reassures us that, as we all suspected, the commanding voice of the Almighty has a British accent. The humans all have their humanish quirks, especially Eve, who apparently overdoses on the Tree of Knowledge. And young actors Hadley Skinner and Ben Odom get a charmingly amusing moment in featured roles.

The Mud Creek Barn goes high-tech with this premiere production, with visual effects by Stephen DiCarlo that perfectly help the story along. Jay Ganz directs.Crew member Collin Moore wrote the script, and it shows a fair amount of polish for a new play.

Truly, something wonderful has been created. Performances are Friday through Sunday (Feb. 7-9) and Feb. 14-15 at 9740 E. 86th St. (Castleton/Geist area), Indianapolis. Call 317-290-5343 or visit mudcreekplayers.org.

 

‘Hosanna’ to the Mud Creek ‘Superstar’

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By John Lyle Belden

“Jesus Christ Superstar,” Andrew Lloyd Webber and Tim Rice’s rock opera passion play, opened, appropriately, on Good Friday at Mud Creek Players.

The production, directed by Michelle Moore, embraced its setting within the cozy confines of the MCP “barn,” with rough-wood sets and a punk aesthetic, backed by a five-piece rock band. Cast members filled the aisles at times, lending a feeling more immersive than crowded. The costumes appeared to be raided from “Hair” or “American Idiot,” but still worked in the overall look, making our two male leads better stand out — the disciple Judas (Michael Lipphardt) all business in a leather jacket, and Jesus (Onis Dean) dressed casual like a man who, naturally, would fit in anywhere.

For those unfamiliar with this telling of the last week of Christ’s life, these are the main two perspectives — Judas fearing what could happen, and Jesus frustrated that only he can see what must happen — followed by the points of view of Mary Magdalene (Pearl Scott), a woman in love with the man as much as what he stands for; and Caiaphas (Lot Turner), the High Priest who sees a threat not only to his own personal power, but also to the safety of Jews in occupied Roman Palestine.

Dean and Lipphardt sing their hearts out — and I worry for their throats. Scott is pure sweetness. Turner just oozes corruption, ably accompanied by Kata Ewigleben as Annas. We also get good vocals from Eli Robinson as Simon the Zealot and Austin Stodghill as the Apostle Peter. Jeremy Crouch is regal as Pilate, and Rick Barber absolutely fabulous as King Herod.

“Don’t get me wrong, now,” I won’t say this production is flawless, but taken as a whole, in the spirit of this time of year, it is an incredible experience and celebration of a foundational event of Christianity.

Performances run through May 4. Mud Creek Players is at 9740 E. 86th St. in northeast Indianapolis, near Geist. Call 317-290-5343 or visit mudcreekplayers.com.

Mud Creek: Where ‘Almost’ seems exactly right

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By Wendy Carson

On the heels of their hilarious Christmas show, (“Inlaws, Outlaws, and Other People Who Should Be Shot”) Mud Creek Players give us another sweet laugh-fest with their latest production, “Almost Maine.”

The title comes from the “not-quite” town in extreme northern Maine, small in population, but overflowing with quirkiness.

There are two people who are either close together or vastly far apart; a woman whose defenses keep her from seeing what’s right in front of her; a misspelling possibly leading to love; the answer to a question asked a very long time ago. Plus, you have two people literally falling in love, the other shoe literally dropping, a couple literally returning their love for each other, a man who literally feels no pain, and an actual broken heart.

All this happens on a cold, wintry Friday night. Those of us of a certain age will feel like we are watching a romantic update of “Northern Exposure,” with all the whimsy on display under the Northern Lights.

This series of scenes is brought to life by Matt Harzburg, Kyrsten Lyster, Lexi Odle, Mason Odle, Jennifer Poynter and Jackson Stollings in multiple roles, directed by Andrea Odle with Amanda Armstrong. They all embrace the charm, wonder and weirdness of the stories, aptly acting as though these odd northwoods happenings occur every day. Thus they make the accompanying feelings seem natural – and somehow relatable to us, watching from a “barn” in the woods near Geist.

While this is a perfect show to bring a date, singles and families will find it just as enchanting. Also, each lady in attendance was given a long-stemmed rose. So brave the cold, and warm up to the sweet charm of “Almost, Maine.”

Performances run through March 2 at 9740 E. 86th St.; call 317290-5343 or visit www.mudcreekplayers.com.

Mud Creek hosts hilarious holiday hostage hijinks

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By John Lyle Belden

Christmas should not be this funny, should it?

From the beginning scene, Mud Creek Players’ “In-Laws, Outlaws, and Other People (That Should Be Shot)” starts firing off the zingers, as holiday host Thomas Douglas (Ronan Marra) and teen daughter Beth (Audrey Duprey) discuss frankly the odd behavior of the relatives who will gather for their traditional Christmas Eve dinner.

There will be redneck Bud (Tom Riddle), his wife Bunny (Jennifer Poynter), a Jersey girl with no sense of personal space, and their super-achiever daughter Tracy (Alaina Moore); as well as elderly New Yorkers Aunt Rose (Kerry Mitchell) and Uncle Leo (Robert C. Boston Jr.) who never stop talking — either to bicker at each other or to name-drop and reminisce from days gone by. Tom’s wife Janet (Margie Worrell) is also expected, but her business flight from Vermont is late.

The Douglas home is caught in an unexpected snowstorm, but that doesn’t stop neighbor and local busybody Mrs. Draper (Veronique Duprey) from coming over to complain that Tom hasn’t turned on his holiday lights. Soon, they have bigger problems — unexpected guests Tony (Brock Francis) and Vinny (Connor Phelan), a pair of robbers hiding from police patrols. At gunpoint, Tony insists that everyone have a normal evening meal, but he soon finds that “normal” has no place in this house.

The home becomes more crowded with hostages as neighbor kid Paul (who is sweet on Beth) shows up, followed later by his sister Emily (Rylee Odle), then their mother (Jennifer Kaufmann). The robbers try to contain the situation by putting men and women in separate rooms, but that only spreads out the madness. Also, good-natured Vinny seems to be succumbing to a sort of reverse Stockholm Syndrome.

Add Aniqua ShaCole’ as the inevitable visiting police officer, and you have a situation ripe with comedy.  Yes, being a Christmas play, the Steve Franco script does include a bit of heart — and maybe a happy ending — but I also found a lot of moments of laughing until I nearly passed out. Francis, Phelan and Moore especially get to stretch their comic muscles, as this whole ensemble shines in an uproarious good time. You may even see a little of your own relatives in this bunch, or at least have something to compare to when holidays at home get extreme.

Find this farce at the Mud Creek Players Barn, 9740 E. 86th St. (between Castleton and Geist), through Dec. 15. Call 317-290-5343 or visit mudcreekplayers.org.