one-person show

IndyFringe: Going Solo

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This is part of the annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe 2026, held Aug. 13-23 in venues around downtown Massachusetts Ave. Information at indyfringe.org.

By John Lyle Belden with Wendy Carson

Reviews of: “Ambiguous,” by Tiffany Michelle Foster; “Before Breakfast,” by Rachel Kelso; “Father Johnny: I Swear to God,” by John Courtney; “Gollum Girl LIVE,” by Amy Yourd; “The Keeper,” by King Richard; “Maniac,” by Todd Sullivan; “The Perfect Rap Show,” by Cecil Creates; “PsyWrn Simone’s Black Thread: Songs that Nina Taught Me,” by PsyWrn Simone; “Then, Eve,” by Billie Jane; “Starship Napademics,” by Kay Hawthorne. 

An essential element of the Fringe experience is the one-person show. Often, it’s a sort of confessional, telling one’s own story or experience in a way that brings us into their uncomfortable shoes. Sometimes it’s about another person or a topic or idea – like a dressed-up TED talk. Whatever is performed, the performer indulges in a very brave act – regardless of the costume, this person is exposed, standing alone, hoping for our understanding. As Shakespeare wrote, “Gently to hear, kindly to judge.”

Ambiguous

While practically no one-person act involves just one person – there are lights and crew, perhaps a co-writer and/or director – we understand that this is essentially all performer Tiffany Michelle Foster. With the help of friends and fellow artists, she presents video scenes on a stageside screen, setting up a situation she has dealt with throughout her life. It’s easy to say she is a “person of color,” but those who meet her can’t help but be curious of the specifics. Her parents and siblings appear to be Black, while she resembles a Latina. Entering her journey of magical realism to answer the question, “What are you?” – and having accidentally squashed the cricket – she gets a sarcastic cockroach as her guide.

In her first costume, she appears as a perfect live-action version of Dora the Explorer, guided by the singing Map through the Forest of Assumption and along the River of Where Are You REALLY From. The journey will take her through a cartoon interlude in which she appears on stage as Betty Boop, and a horror scene with helpful zombies who guide her to becoming the racially/ethnically fluid “Black or White” era Michael Jackson (she admits this was in part to learn how to moonwalk – which she does well).

Tiffany concludes with a few minutes of standup, in which she answers the big question (ambiguously, of course). She reveals that while by genetic percentage she is one racial identity, by her life experience and the laws of her original home state, she is another. (As she tours with this show and could bring it back to Indy, I’ll leave this for you to find out when you see her.)

The bottom line is that “what” Tiffany Michelle Foster is, is human and funny and entertaining, and a joy to see – whatever label fits at the moment.

Before Breakfast

(Review by Wendy Carson)

Mrs. Rowland (Rachel Kelso) is trapped in a now-loveless marriage. Her husband, once a wealthy heir, is now just a drunken sot. She works her fingers to the bone, but he spends his days drinking and regaling his friends with poetry and stories. Her long-suffering plight is laid out for us while she speaks to her husband, who is hungover in the bedroom.

While they were in love at one point and they both risked the wrath of their families to get married, they are now just going through their paces in a mockery of their union. While nobody could have predicted the conflagration of events that led to their current circumstances, he could at least own up to his responsibility to share the burden of working through them rather than just ignoring them wholesale.

While some may feel her tirade comes of as meaningless nagging, there are moments of sincere sorrow that hearken back to her original feelings for the man. She just wants to know that he still feels anything for her. While her tale is a sad one, in the end, her husband finally does show her a little mercy and gives her the second-best outcome she could hope for.

This classic one-act drama by Eugene O’Neill is dark and sorrowful, but does serve to remind us of how harrowing the past was, as well as the trials and tribulations of adulthood.

Father Johnny: I Swear to God

The subtitle of this standup/storytelling/costume act is more a statement than an interjection, as the good Father, presented by John Courtney, does use some mature language and innuendo – and doesn’t mince words about the un-Christlike nature of those in charge of America. While he has kind things to say about our new U.S.-born Pope, there are some aspects of the Catholic Church he’d like to see improved – a global shortage of priests? Let women be ordained!

He gives us video scenes of odd confessions while changing into old Father O’Saughnessy, a kindly Church Lady, and even J.C. himself. His title character also turns out to be an act – while he attended Catholic seminary, he stopped short of the priesthood, finding the Oath of Obedience to be a step too far.

Bearing in mind that standup is always tricky to judge, Courtney’s show is quirky and clever while still feeling rough at points, something a pro like him will no doubt work on. Ever forgiving of the audience, for each line that doesn’t land, he could glibly take up the next to induce some chuckles.

Father Johnny’s blending of the sacred and profane could inspire a few conservative viewers to “arise and walk,” but I think the trinity of Saints Lenny Bruce, George Carlin, and Bill Hicks would bless it.

Gollum Girl LIVE

(Review by Wendy Carson, as posted to Facebook)

Amy Yourd has embarked upon her own personal quest to educate the world on the glorious wonders of the many worlds of J.R.R. Tolkien, the film trilogies of such by Peter Jackson, as well as her love of the true hero of the stories, Gollum.

Growing up different from others, she has always identified with Gollum’s oddities (more of her school mates know her by the nickname of Gollum Girl than her given name). However, she has lived with the nagging fear that at any minute she, like Gollum, would be thrown out of regular society and forced to live in solitude.

Still, she endeavors to find like-minded individuals who might understand her and accept her no matter how odd she seems. Come and witness her story. Find her afterwards and share your own. See her truth and get to know this amazing person who you will surely find some kinship with.

The Keeper

(Review by Wendy Carson)

Come and meet the newest demigod in the modern pantheon, The Keeper (The Keeper of Names being his full title). It is his duty to collect and remember not only the name, but the life story of every person lynched or otherwise killed in a racist act.

Even though he’s been at the job for a mere 10 years, the work is already taking its toll. He knows this is a supreme honor but is frustrated that his own name is lost to himself as well as history. The oath he swore upon taking the role states, “I forget myself, so that I may remember you.”

Witness his story, say their names, forget not that the struggle continues.

Maniac

(Review by Wendy Carson)

Todd Sullivan gives us a unique and interesting take on the motivations and inner workings of a murderer. We are witnessing the trials of a killer and will determine his verdict before the shows end. The first trial is that of Temerity, the second is Veracity, and the third is Rectitude. The trials are quaint and often silly, but they do give us a glimpse of the workings of the accused’s mind.

I must warn those who plan to attend this show that total audience participation will occur. No matter what, at some point you will interact and become part of the narrative. However, the performance I attended, no one seemed to mind even the smallest hint of participation.

Blending actual history, storytelling, clowning, and a bit of magic effects, this show is a rare delight. One that makes you think yet mindlessly enjoy the whimsey of it all. It’s truly a show that could only have been created for a Fringe audience.

The Perfect Rap Show

(Review by Wendy Carson, as posted to Facebook)

Approximately one year ago Cecil wakes up with a groundbreaking idea: “I should quit my job!”

This, added to a seemingly too-good-to-be-true AI assistant, leads him to the vision of taking his music to the next level by live streaming the perfect rap show.

We are here to witness the inception and ultimate performance of this journey as he hones his desires, finds his voice, polishes his marketing and tries to stay true to himself and the music he creates. This is an innovative and enjoyable look inside the creative process for those unfamiliar with it as well as a raw and vulnerable take on the honest struggles of today’s artists.

While some of the language may challenge viewers, I advise you to look past the words and admire the works. This is a must-see for anyone interested in pursuing a music career or just trying to make it online in their own niche.

PsyWrn Simone’s Black Thread: Songs that Nina Taught Me

First premiered during the Indy Black Solo Festival at the end of January, PsyWrn (pronounced “siren,” like one who entices with her singing and can rock your world) weaves her personal story with that of the legendary Nina Simone. Accompanied by Matthew Dupree on an African drum, PsyWrn presents “an appreciation, honoring her spirit,” seeing Nina (the High Priestess of Soul, 1933-2003) as having embodied “the artist as activist.”

In other words, she wasn’t always “Feeling Good.” In fact, Nina is quoted as saying, “first you get depressed, then you get mad.”  

The set includes audio and visual tributes to Nina Simone, including an LED 3-D rendering. PsyWrn also brings her to life in song, from Civil Rights anthems to the uplifting “To Be Young, Gifted and Black.” The Black Thread of the title weaves through those who struggled in decades past and continues in those taking up the call to end injustice today. In delivering this inspiring tribute, today’s Ms. Simone also shows herself capable of being legendary.

Then, Eve

(Review by Wendy Carson)

Billie Jane gives us a novel retelling of the Genesis story that resonates with our current times:

While their main job of naming all the animals seemed wonderful at first, their sheer numbers (there are over 4,000 different beetles alone), eventually made it drudgery. She wants more and can’t understand why her companion is so satisfied with so little.

There is also a lot of confusion within the task at hand. Why are the females of the species so ugly? Why did that bird sit on that white rock? Was the baby bird trapped inside the white rock? Do the rabbits have to constantly do THAT. Should we be doing that? Why did God put a tree here that we aren’t allowed to have anything to do with?

After a while, her companion deserts her so she becomes best friends with Caterpillar. This leads to another batch of questions as her buddy goes about his metamorphosis. She feels that she needs to transform herself but doesn’t know how. She tries talking to God but to no avail. She sets off to visit Lillith but that only makes her feel worse about her situation. Why does paradise feel so much like a prison?

Since she is miserable, she might as well end it all, so she steels herself and goes to the forbidden tree. Picking a fruit, but not yet eating it, she returns to see Butterfly destroyed by a flash of lightning. This seals her fate and she eats of the fruit, gaining the Knowledge of Good and Evil as well as the reality of her true self.

Jane weaves the story line so brilliantly that you are almost blindsided by the novel twist at the end of it all. This was truly a remarkable and thought-provoking look at an age-old tale.

Starship Napademics

Kay Hawthorne has her home in Indianapolis, roots in Africa, and her eyes on the stars. She invites us along on an Afrofuturism journey, embodying two personas. Nessa the stewardess informs us that all within this little theatre are about to embark – be ready for a change of gravity.

Once on our way, we meet her principal self, Napademics, with stories of discovering other worlds through books of science fact and science fiction by Black authors; the music of Sun Ra, Parliament-Funkadelic, and OutKast; and songs of her own she sings for us. The set is hand-made low-tech with high-tech aspirations, like the child who dreams of the Mothership on her way to applying for NASA.

She takes us by Sun Ra’s home of Saturn, and Napademics’ own planet, Mercury, in word and song. She notes that the mostly white scientific community seems to fear Dark Matter, but she doesn’t, adding “you miss so much that you see Black as empty.” However, we have nothing to fear as Nessa will welcome us back to Indy, safe and sound – and a little more funky.

IndyFringe: Timey Wimey Stuff

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This is part of the annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe 2026, held Aug. 13-23 in venues around downtown Massachusetts Ave. Information at indyfringe.org.

By Wendy Carson

After four years, Victoria Montalbano returns to Indy with another Sci-Fi-based story of her life. This time she turns to the Doctor Who universe, specifically with the character of River Song as her avatar. NOTE: While knowledge of the source material is helpful, it is not required to follow the story.

“Timey Wimey Stuff: The Mid Life Crisis of a Time Travelling Space Archeologist” centers mostly around the mind-numbing drudgery she endures to support her ambitions for a successful acting career. This gives her the chance to daydream of a more adventurous life among the stars, chasing The Doctor. We see how her choices have led her to her current and past states of being as well as the possibilities that might have been, had her circumstances changed even minutely. She constantly strives to be the best person she can and overcome the small, dark voice of pettiness that is ever present in the background.

Always a supreme storytelling talent, this offering even includes an original song. Here’s hoping an opportunity will once again arise for you to catch this exciting, rollicking adventure in storytelling.

IndyFringe: Bats! Our Maligned Friends

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This is part of the annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe 2026, held Aug. 13-23 in venues around downtown Massachusetts Ave. Information at indyfringe.org.

By Wendy Carson

In this show, Carrie Hawks endeavors to show us the link between bats, Trans people, and Autism. A prestigious graduate of the University of YouTube (they don’t have Majors, rather they are “Rabbit Holes”), she set upon this path while doing research for her upcoming animated presentation, “Vamp Snail,” which hopefully they will bring back to us at a future Fringe Event.

While most of the data presented is about the vampire bat species specifically, there is so much to learn. We find out the formal definition of a bat, which is not nearly as old as you might think. We see the similarities/dangers and spread of both “White Nose Syndrome” and “White Supremacy Syndrome” throughout our country. Hawks proposes that the rise of climate change may be attributed to the rise of transgenders due to their extreme hotness.

We hope that Hawks will revisit our area in the future, because they are a genuinely engaging talent that deserves repeat experiences.

IndyFringe: ‘Leaking’

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By Wendy Carson

This is part of the annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe 2026, held Aug. 13-23 in venues on and around downtown Massachusetts Ave. Ticketing and other information at indyfringe.org.

With “Leaking: THE WOLVES ARE EVERYWHERE,” Vianna Isbister brings us a portion of her master’s thesis as we witness her exemplary talent at storytelling.

Weaving together a familiar fairy tale and highlights of her own life, she presents us with a beautiful story full of unexpected twists and turns and a glimpse of the “wolves” ever present in our own lives. While we know the base story of Little Red, we are reminded that temptation, naivete, and sexuality are the true dangers warned of by straying from the path and talking to strangers.

Isbister is a brilliant storytelling talent and gives us a tale that is raw, profound, and vulnerable. Yet her style is easygoing, approachable, and humorous. I must say that I did not see the final twists coming, which on its own is a remarkable feat.

Sadly, Monday, August 17th (today, as this posts) is her final performance, 6:30 p.m. on the Cabaret stage of The District Theatre. I really hope she continues her storytelling work and returns as her amazing talents would be an excellent cornerstone to IndyFringe’s future.

The District calls on ‘Genêt’

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By John Lyle Belden

Indianapolis native Janet Flanner was a unique personality, one of the most famous Hoosiers you likely have not heard of. This was likely in part because her writing focused on those around her as she faithfully avoided writing in the first person.

The spotlight gets overdue placement upon this literary icon in the world premiere of “They Call Me Genêt” by D. Paul Thomas, performed by Jen Johansen at The District Theatre. Writing her “Letters from Paris” for the newly established New Yorker magazine from 1925 to 1975, she received her nom de plume from New Yorker editor and co-founder Harold Ross, who mistakenly assumed it was a French variant of “Janet” (the word actually refers to a broom plant with yellow flowers, or a cat-like animal native to Europe and Africa).

We meet Flanner at the end of her time as an ex-pat in Paris, preparing to depart for New York, where she would live with her long-time lover, publisher Natalia Danesi Murray. She packs while struggling to write her final “Letter” for the magazine, and reflects on her various life experiences and the famous (and infamous) people she knew along the way.

Johansen delivers a flawless performance as the woman who would apparently mock the self-indulgent nature of a one-woman show. Aided by an appropriate wig (design by Andrew Elliot), she bears a close resemblance to photos of Flanner, who was fully aware of her plain features, remarking here that she has “the face of an old Pope.” Director Chris Saunders gives us not just a fascinating first-person biography, but also, as he notes, a thoughtful meditation on where the observer fits in among the celebrities she observes.

Among the historical figures she encountered, Flanner wrote about Hitler during his rise to power (a bitter I-told-you-so years later for those who dismissed her prescient profile) and had more pleasant relationships with luminaries including Hemingway, Picasso, and Gertrude Stein. Past notables of art and letters, she remarked, included “the most interesting Paris-ites.”

As for her personal life, Janet is unapologetic while employing her gift of creative language to apply appropriate euphemisms, such as her preference for “the sorority side.” There is a little trepidation at rejoining American society, returning to the post-Vietnam/Watergate country she sees churning towards a sort of “self-betrayal.”

The look and atmosphere are completed with costumes by Guy Clark, set by Josh Morrow, and props sourced by Jan White – including a charming compact typewriter. Rick Northam is stage manager, and Georgeanna Smith Wade is the understudy.

A bit of a wildcat, a shining golden flower, and ever intriguing – get to know Ms. Flanner in “They Call Me Genêt” in performances Thursday through Sunday, July 23-26, at 627 Massachusetts Ave., Indianapolis, presented in partnership with Indy Pride.

There will also be a benefit event, A Parisian Dinner and Garden Party, following the 4 p.m. Saturday performance. For details and tickets to all shows, see indydistricttheatre.org.

Grand Griot invites you to meet his ‘Folks’

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By John Lyle Belden

To engage in the theatrical journey that is “Folks,” written and performed by Josiah Ray McCruiston, we must understand a single word: Griot.

It comes to us through the linguistic filter of colonialism, indicating a way of life going back centuries in western and central Africa. The role of the griot in society is a rich gumbo of responsibility and privilege, like what you might call a bard, minstrel, mediator, officiant, historian, shaman – and above all, storyteller.

In the past, a Griot would preserve the history of a village or be advisor to a King. (Consider the role of Rafiki in “The Lion King.”) Reflecting his company’s name, Grand Griot Productions, McCruiston appears as a New World version of this calling. The African Diaspora in the U.S. is his village, through which he travels along a spiritual Underground Railroad.

This storyteller carries the wisdom of more than a century, so he has many tales to tell. “Stories are like cooking,” he says, and he’s struggling to get the recipe right. If the telling is acceptable to the spirits of old – the Griots who have gone before – then sacred aspects are unlocked, completing a crest that will open the gate so “we may be free in the soul.”

We hear the subjects of old stories told in new ways, interwoven with familiar songs. The legendary John Henry is celebrated not for how he died, but how he lived, working “against systems.” There is the hunter who was lost, then found by his children. There is a perspective of Brer Rabbit you’ll never hear from Disney. We meet High John, who challenged the Devil. We hear about the world’s most powerful creature – of which there is likely at least one just a few feet from you now. We learn that with the help of the Griot, captive souls remember how to fly.

Fascinating, enlightening, and rich with meaning, these “Folks” tales are a wonder-full experience for all, no matter how many generations you are removed from the continent where humanity started. McCruiston presents it all in the relatable manner of a one-person show, with deep respect for the storytellers’ art and an uncompromising view of history.

Created as part of the Flanner Fringe Lab, in partnership with IF Theatre and the Flanner House Arts Stage Academy, performances of “Folks” are Friday through Sunday, June 26-28, at the Basile Theatre at IF, 719 E. St. Clair, downtown Indianapolis. Get tickets at indyfringe.org.

All the Rage

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By John Lyle Belden and Wendy Carson

It’s been a busy month or so for Betty Rage Productions and its founder, Callie Burk-Hartz. The independent company, dedicated to, in its words, “telling interesting stories, creating original comedy, and making sure there is always a bad-ass role for a woman,” has managed all three quite well.

In the first weekend of March, Betty Rage presented an excellent production of the Noel Coward comedy, “Blithe Spirit,” with a cast for whom acting comes as natural as breathing, including Burk-Hartz herself. This was done in cooperation with the Indianapolis Scottish Rite, which provided more than a venue.

“They have been so supportive,” Burk-Hartz said. The relationship started a few years ago, when she found herself seeking a location for her next play. Having relatives in Masonic organizations, she called the Scottish Rite, which happily provided a beautiful theater, technical help, and even props.

Later in March, Betty Rage presented another one-of-a-kind revue of “Lady Bits” at IF Theatre. Drawing from a variety of local women performers, they bring all manner of comedy “bits” including sketches, improv, and standup. The talent is exceptional and the result is wonderful. (See our review of the January show.) “Lady Bits” returns on June 12-13.

The month ended at the IF with Betty Rage hosting FemmeFest, presenting four original one-hour stage productions written and acted by women. As a development venue for these shows, they often felt raw, but with great potential. You may see one or all of these as polished gems in the future:

“BS Conversations” – The Uncut Diamond Alicia Sims presented a one-woman show, or “Monodrama,” performing about a dozen distinct characters who find themselves on a broken-down bus. As they await repairs, surprising connections are made and discovered among these personalities. The result is funny and engaging, and audience members were impressed with her nimble character work.

“Female Troubles” – A sort of cabaret revue by Elle Tyler, directed by Ana Hammersly, in which five women gather to express their blues. Performers are Maria Meschi, Abby Morris, Skye Walker, Anna Zimmerman, and Tyler on piano. They all helped collaborate on their original songs, presented with energy and humor. And honesty – we found ourselves thinking “that was like if you had said, ‘describe Maria in a song’” after her number. The overall feel is reminiscent of the popular “Menopause: The Musical,” but relating more to one’s 20s and 30s, including experiencing motherhood.

“Out of Yard Signs” – This dark comedy by Jacqueline Lidberg Larabee, directed by Ebony Chappel, is a peek behind the scenes of a political campaign in a major city. Headquarters for Major Brooks is reeling after her competitor, Henson, lands an endorsement from a minor celebrity. However, her powerful campaign manager feels that she can overcome this situation, without resorting to one-upping each other with B-list celebrities. Add to this a perky and very motivated intern who also has to deal with a delusional “supporter” who only wants a yard sign to get her husband off her back, and you have a recipe for hilarity and a nice educational lesson on the current political discourse. Hopefully, this show will turn up again with a little more added (we really want to see the results of the impending press conference) as it is a smartly written look at women and race in the current political climate. Performers were Gabrielle Patterson, Andrea “Sapphyre” White, Ezri Braid-Grizzell, and Erin Moore.

“The Shared Stage” – Presented by Robin Kildall with Karin Stratton, Brandi Metzger, Anna Himes, Kait Burch, and Rachelle Martin, this is a series of six 10-minute plays that all entertained well and we hope some of them might be expanded to become a fringe-length offering.

  1. “American Gurl” – Arden, formerly Olivia, brings his fiancé Hannah home for Thanksgiving. While there, Hannah is going to finally get to see the oft-talked about collection of American Girl Dolls Arden grew up with. However, she is unaware that the dolls actually come to life and interact with people, until they suddenly mistake her for their owner. This makes for some delightful whimsy and interesting backstory.
  2. “Railing it Uptown” – Two women, one in black and one in white, are taking the subway home from a day’s excursion in the city. Their interactions are absurdist at times and quaint at others but show that you can never know what a stranger has to offer.
  3. “Still Life, In Zombies” – A retired zombie hunter is pursuing some of her hobbies when a zombie ends up at her door. It’s not one from the labs her daughter runs, so she locks it in the closet for later. After her best friend and another zombie show up, things get a little more complicated. Still, it looks like at least one of her ideas may actually bring about a possible solution to the situation.
  4. “There Once Were Two Clouds in the Sky” – Two clouds, on roller chairs, interact with each other during their short but interesting lifespan. It’s a sweet take on the fleetingness of a lifetime and one’s purpose in the universe.
  5. “Chicken Shoot” – A girl and her stepsister find the remains of the government complex where their father worked. They try to somehow connect with their always distant father, who was more obsessed with his life’s most important project (The Chicken Shoot). While the actual project was both vastly important and truly absurd, it was a part of their lives, however tangentially, and must be acknowledged as must their roles, however secondary, in his life.
  6. “Carole’s, Cuts, and Dyes” – It’s just before Christmas at Carole’s Salon and everyone has some secrets to share. Between the idea of who has known a murderer, Christmas sex, and the true meaning of Christmas, we are taken on a whirlwind of laughs and food for thought that will keep you reminiscing for a while.

For information on what the Bettys are up to, see bettyrageproductions.com.

Music inspires theatrical festival at the District

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By John Lyle Belden

Indianapolis Black Theatre Company presents soulful musical inspiration with the 2026 Indy Black Solo Fest, under way (Jan. 29-Feb. 1) as I write and post this, at the District Theater on Indy’s Mass Ave.

There are six one-hour acts, each written and performed by one person backed by offstage musicians, each with two shows. We saw two on Thursday – the rest we will see on Sunday – so for now, we’ll give a review to give worthy praise and give the flavor of the overall festival.

“Marvin 4 Error” by Reno Moore

Looking into the life and music of the legendary Marvin Gaye Jr., Moore found parallels in his own journey. While not enjoying the same success (yet), he sees similar missteps and notes “the margin for error is too thin.”

His spoken biography of Gaye mixed with confessional memoir is punctuated by some of Marvin’s biggest hits. He admits he doesn’t sing the same (“I don’t think Marvin would want me to”) but does so with passion, conviction, and an invitation for us to clap and sing along. Thus we are entertained, enlightened, and a bit challenged. Reflecting on the song “If This World Were Mine,” he asks: What world would we create?

Note his second performance is 4:15 p.m. today (Jan. 31) as this posts.

“Daring to Dream” by Komoca

Komoca – and Charlaine, the star she portrays – take inspiration from Aretha Franklin. Set around the 1980s, when people wrote actual letters, Charlaine reads fan mail from a girl with big aspirations (and a thick Carolina accent), prompting her to remember her own struggle, and how listening to the music of the Queen of Soul helped her to “find hidden blessings in the storms.”

The engaging reminiscence comes with a half-dozen of Franklin’s hits, delivered with a powerhouse voice that reaches out and grabs you, demanding to be heard. Komoka likely also rocked the house in her second performance Friday night. Watch for her in future productions around the Midwest.

Saturday, Jan. 31, and Sunday, Feb. 1, performances are of:

  • “Black Thread: Songs That Nina Taught Me” by PsyWrn Simone
  • “Songs in the Key of Grenadine!” by Daren J. Fleming as Miss Grenadine Ross
  • “Death of a Church Boy” by Jay Fuqua
  • “Facing It Face to Face with Dollface” by Teresa Reynolds

Big thanks to creative director Josiah Ray McCruiston for coordinating this excellent festival. Kudos also to music director Tarrance Dennie, stage manager Crystal Usher, and to local playwright Andrew Black for his instruction and assistance.

Get tickets at indydistricttheatre.org.

IndyFringe: ‘Another Medea’

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By Wendy Carson

This production was part of the 2025 Indy Fringe Festival in August.

If you recognize the name “Medea,” you may know it* from ancient mythology: A spurned woman who kills her children when her husband leaves her to marry another. However, those who read and study her mythos know she is a far more complex and fascinating character. In fact, not all tales have her as the one who kills her children.

Regardless of your familiarity with the story, playwright Aaron Mark has found a unique spin with “Another Medea,” American Lives Theatre’s Fringe production.

Lukas Felix Schooler brings us the story of Marcus Sharp, a brilliant stage actor whom he idolized for years before his arrest and imprisonment.  They correspond for three years, until, though he had long refused to say a word in his defense, Sharp becomes convinced that he can trust this man to bear his tale.

Schooler then embodies Sharp for the rest of the performance, enacting that fateful prison interview.

Sharp’s story centers around Jason, a wealthy oncologist, with whom he enters into a committed relationship. Jason is supportive at first, but when work opportunities away from their West Village penthouse appear, he finds ways to discourage Sharp from accepting them.

A typical narcissist, Jason insists that his love (and money) is all Sharp will need. However, like so many others who put aside their own careers to be devoted to a partner, Sharp becomes hopelessly bored. He develops a close relationship with Jason’s sister, Angelica, which helps him to feel more useful, and gives him an idea for the perfect gift for his darling Jason’s 50th Birthday.

Since Jason adores children but is unable to have any of his own, Sharp will impregnate Angelica, and the children would be as close to actual genetic children that Jason could have. While Jason freaks out at first, he warms up to the idea and the twins, Grace and Lily soon arrive.

Everything is wonderful again, but after a few years, Jason takes Sharp to a play and spies a handsome young star, Paris, and a new “friendship” begins. Also wealthy, Paris better understands Jason. So, of course, he starts to usurp Sharp’s place in the household and family.

Things escalate quickly from there, resulting in Sharp’s current incarceration. Before he ends the visit, he mentions that the tale would make an excellent one-man show.

Not only does it make a great show, but it is also mesmerizing. Schooler is such a remarkable presence. He invites you on a journey and you fully follow him down every twist, turn, and rabbit hole to the conclusion. Schooler’s master class performance was directed by Jacob David Lang, who assures us that we will be safe from the orange-clad felon as we share this experience.

This is such an amazing piece of theater. I was personally moved beyond words at how vividly the prose was woven into a story that I felt I witnessed rather than just watched. If you missed seeing it, you should really petition American Lives Theatre to see about bring back another staging so you too can experience this harrowing saga.

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(*If you were thinking the Tyler Perry comedy character, she is “Madea,” likely named as an allusion to the myth, but with complications of her own.)

IndyFringe: Man Cave

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This was part of the 20th Anniversary Indy Fringe Theatre Festival in August 2025. Review originally posted on our Facebook page.

By Wendy Carson

Timothy Mooney steps away from his traditional Shakespearean romps to bring us an entirely new and original production and it is quite inspiring.

We open with Tim, being possibly the last human live on earth, broadcasting out of his bunker, just south of the arctic circle.

His beloved Rosie was meant to be with him here, but the climate breakdown occurred so quickly, she never got the chance to try and catch up to him.

With the temperatures outside holding tight at around 120 – 130 degrees Fahrenheit, we are only a mile or so south of the arctic circle remember, the earth is entirely uninhabitable. Yet somehow, his AOL email account is still operational, so Tim waxes on for anyone listing about how we got into this situation and what other civilizations should consider not doing to prevent themselves from it as well.

While this is a work of fiction, the science behind his data is real and frightening. Hopefully, the message will be able to move those in the audience who are unaware of many of these machinations and wake them to the facts of our planet’s mortality.

Tim signs off his broadcast with the earth date of August 15, 3035. Hoping once again that someone has heard him and will send him an email to let him know he’s not alone.