one-person show

IndyFringe: The Estate Sale

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This is part of the 20th Anniversary Indy Fringe Festival, Aug. 14-24, 2025, in downtown Indianapolis. For information and tickets, see indyfringe.org.

By John Lyle Belden

When you enter “The Estate Sale,” the one-woman show by Kelly Dee with Stew Jamesson, there are tables set up with various random and old items, which you can peruse before and after Dee’s performance. Name any price for something, and it’s yours – really!

“Why am I doing this?” she says, “I’m clearing out, letting go.” This applies to the clutter acquired by the estate sale company she runs with her mother in Melbourne, Fla., and that which she has no more room for “up here,” she adds, pointing at her head.

We get more than a sales pitch – the kitsch on the tables largely speaks for itself, though a few items she will show off for their novelty, like the political toilet paper or the rather sinful “statue” of Jesus (if they haven’t been sold yet). We also get the story of her life, from Queens, N.Y., to Florida – which she can’t stand, though she keeps finding herself back there. We learn about her parents, maybe not the best at nurturing, but they have a talent for flipping merchandise that may or may not have “fallen off a truck.” This naturally leads to dealing the estates of the many retirees in her city as they pass on.

She tells of how she always had the “urge to go” somewhere, anywhere. Her life’s baggage, literal and mental, she notes, still stays on her like a backpack. The head-stuff you will get free with your ticket; everything else, make an offer.

Fascinating and funny with the opportunity to get your own odd souvenir, the show has closed its three-show run at The District Theatre. However, Dee said she plans on pulling her sale wagon around Indy Fringe through its closing weekend before moving on to another city.

‘Everybody’s Girl’ on Epilogue stage

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By John Lyle Belden

Going up Alabama Street to see Madison Avenue sounds confusing – especially if you know the layout of Indianapolis – but actually, it’s the direction to a fabulous show.

Magic Thread Cabaret (Klein and Alvarez Productions) presents drag artist Jim Melton as Ms. Madison Avenue in “Maddie: Everybody’s Girl” for two weekends at Epilogue Players theatre.

We attended and enjoyed her performance of this revue at the White Rabbit in Fountain Square in March. Portraying the hour before she takes the stage, we visit Maddie preparing with accompanist Dustin Klein (every dressing room has a piano, right?) and occasionally fussed over by Tina Brannum Mahern as Mimi the maid. Make no mistake, though, this is all about Maddie and “the mostly true story of my colorful life.”

We learn she is the hottest thing to come out of Bull’s Butt, Idaho, as she relates her struggles with show biz, life, and her inner diva, interspersed with showtunes and standards including the full (with intro) version of “Somewhere Over the Rainbow.” She is a bit vulnerable, quite funny, and all heart (but not “Roxy Hart,” she substitutes “Madison Avenue” in that lyric).  

Admitting to her stumbles and that at 26, “I’m still learning,” she also notes, “I’m the greatest star, but no one knows it” (from “Funny Girl”). This production is a step in the right direction.

Funny and fabulous, showing she can carry a tune and hold an audience, experience the glow of Madison Avenue, “Everybody’s Girl,” June 27-29 and July 5-6 at 1849 N. Alabama St. (corner of 19th and Alabama), Indianapolis. Get tickets at kleinandalvarez.com.

Fringe alert: Get real weird with a real scientist

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By John Lyle Belden

Some scientific studies sound too bizarre or silly but do have real-world applications. Other times, you hear “according to this study,” yet on a closer look you have to say, “Really?!”

Dr. Rob Pyatt, PhD., tackles both kinds of actual research in his lectures. A self-proclaimed “stand-up scientist” (we’d say this is backwards: he’s fact-based first, with a wild sense of humor), he has hosted a popular real-world Weird Science program (no relation to the film or song) at sci-fi conventions and other events for 20-plus years, plus other STEM education programs and initiatives in several states. An Indiana University graduate with Masters from Purdue and Doctorate from Ohio State, he has also worked at the University of South Dakota, Sioux Falls; and Kean University, Union, N.J.

Aside from serious credentials, Rob is seriously entertaining, whether elaborating on a rather deviant duck, the importance of what bathroom stall you use is to facility planning, or discussing anything Godzilla. He lets audiences know how the science is made, often involving us in quirky surveys which can be mined for data, both accurate and misleading.

Our research shows that he loves Indianapolis.

He will appear live at his regular haunt, InConJunction Sci-Fi Convention, July 4-6, with his Weird Science on the evening of Saturday, July 5, at the Wyndham Indianapolis Airport, 2544 Executive Drive. He presents real, published case studies, research, and incidents explored for – if not useful information – at least, a lot of laughs. And be ready to do an offbeat questionnaire – past surveys include the above restroom preference, or if you can tell a “pit bull” from other breeds by sight (harder than you think!). Part of a big nerd-tastic experience on Indy’s west side, get info (including Saturday-only tickets, if you prefer) at inconjunction.org.

Also, a new show, “Grad School Sucks,” featuring Rob Pyatt, will premiere at the 20th Annual IndyFringe Festival, in which, he declares, “Comedy meets science in this show exploring strange scientific studies.” The festival runs Aug. 14-24 on and around Mass Avenue in downtown Indianapolis. See IndyFringe.org in the coming weeks for details on specific showtimes and venues.

In the meantime, you can also find him hosting the “Weird Science with Rob Pyatt” group on Facebook.

Where there’s a ‘Will,’ there’s a ‘Play’

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By John Lyle Belden

Indy Shakes, The Indianapolis Shakespeare Company, presents a performer who seems to conjure the spirit of William Shakespeare himself in a way you’ve never seen the Bard before.

“Gender Play, or, What You Will,” is a mostly one-person show by non-binary actor Will Wilhelm, written by Wilhelm with Erin Murray, and directed by Emily Tarquin. The current production is in the black-box Basile Theatre in the Phoenix Theatre Cultural Centre.

As we enter, we are asked to get into the spirit of the evening by picking up a Tarot card (yours to keep) and put on a bit of the various pieces of costuming made available to all (return those after). The seating is extremely casual, with comfy chairs around the stage. Wilhelm and his assistants Emily Root, Beks Roen and DJ Senaite Tekle mingle with us a bit before the show, encouraging the costuming and perhaps giving you a little scroll to read aloud at a point during the show.

It quickly becomes obvious that these proceedings are very queer – in all senses of the word!

Wilhelm tells us his personal story of struggling as a “trans, non-binary, genderqueer” actor in a theatre world that, though supportive, still wants to “type” people to roles.  He adores Shakespeare’s work – and that they share a first name – so one night he somehow manages to contact the long-dead playwright, who was, it turns out, “totes queer.”  

This is not an unheard-of assertion. Speculations of his sexuality (possibly bi) and the events of his life outside of Stratford and when not on stage in London are plentiful due to little documentation outside of comments by critics, and (of course) Shakespeare’s published works. Channeling the Bard, Will/Will tells of his relationship with Henry Wriothesley, Third Earl of Southampton, a rather pretty young man judging by his portrait. Shakespeare did publicly dedicate a couple of romantic poems to him, and it is thought the Earl was secretly the subject of a number of sonnets.

Consider that in the plays there are a number of strong women, gender-fluidity in character disguises is common, and all female roles were played by men – giving us moments in which a man plays a woman who is pretending to be a man while still appearing obviously female to the audience. Taking this thought further, Wilhelm asks, “Could we train our brains to be gender imaginative?”

To this end, he recites passages and examines characters from a number of plays – including “Midsummer Night’s Dream,” “Macbeth,” “King Lear,” “Hamlet,” and the Chorus Prologue of “Henry V” – yielding fresh perspective from familiar material. In Juliet (of “Romeo &…”) he sees by his perspective of living in a world that gives a person little choice in how they can live and be true to themself how she, and many trans youth, meet her tragic end.

This frank discussion comes wrapped in a fabulous amount of fun, including a Tarot reading, a bit of magic, and an all-audience dance party with bubbles!  The result is like a wild combination of an unforgettable house party, an old-time séance, and a fascinating college lecture by your favorite professor. It’s an event with gay overtones that feels “gay” in the archaic joyful sense.

Aside from extra-dimensional forces, local entertainer Taylor Martin advised on the show’s magic. The comfy yet energizing stage set is by Caitlin Ayer. Shout-out also to Winter Olamina for Will’s perfect costuming.

We try not to overuse “must-see,” but if this seems interesting at all, please get to “Gender Play,” Thursday through Sunday, through April 27. For tickets, go to phoenixtheatre.org; get information at indyshakes.com.

IBTC presents: Kurkendaal gets ‘Real’

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By Wendy Carson

This is one of four scheduled shows in the Black Solos Fest presented by Indianapolis Black Theatre Company, a program of The District Theatre. Performance information and tickets at indydistricttheatre.org.

This weekend, Les Kurkendaal brings an expanded version of his much-lauded work, “The Real Black Swann: Confessions of America’s First Drag Queen.” Since I was not able to see the previous stagings, I was excited to get a chance to see this more fleshed-out production and it did not disappoint.

Ever the engaging storyteller, Kurkendaal brings us an endearing tale to delight and educate us on our past and potential future. Told through reminiscences of a fever-dream he experienced during a biopsy on his leg (benign, he reassures us), he gives us the history of William Dorsey Swann, the first documented black drag queen and political activist. He also forces himself to revisit traumatic instances of prejudice he experienced in his life. As his coping method has been to shut himself up in a protective “Glinda Bubble,” Swann’s spirit makes him realize that he can no longer continue to do this.

Kurkendaal has been reworking and refining this show for the past few years, touring it internationally, and I feel that he has truly found his voice in it. The message – that nothing in the world is going to change until we all wake up and join together to support one another, and do whatever we can to fight those who try to oppress and oppose our brethren – is not new, but it’s vital to remember in our current political climate.

Our review of his performance of “Real Black Swann” during the 2022 IndyFringe festival is here. The narrative is largely unchanged, and it is an excellent look at the life of a man born into slavery, yet entering the turn of the 20th century on his own terms – and in a dress. It also reminds us that the gay underground in American cities goes a lot further back than most folks suspect.

As we post this, there is still a performance at 3 p.m. Sunday, Jan. 26, on the main stage of The District Theatre, 627 Mass. Ave., Indianapolis.

IBTC: A dark path, even for ‘royalty’

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By Wendy Carson

This is one of four scheduled shows in the Black Solos Fest presented by Indianapolis Black Theatre Company, a program of The District Theatre. Performance information and tickets at indydistricttheatre.org.

“We came from Pyramids, to Plantations, to Projects, to Penitentiaries.” This is the journey of the African people that writer/performer Tasha Jones presents to us in her performance, “Daughter of the King.”

The story begins with herself, at seven, learning that family is more than genetics. Her stepfather, known to everyone as “The King,” brings her to the door of her recently-paroled biological father (known in prison as “The Gorilla”). The stepfather tells him that she refuses to listen to anything he says, “because he’s not her REAL father.” Her biological father’s words impart to her his wisdom and understanding of what parenting truly means: “He knows the size of your shoes, and I know how much I have to pay to you each week.” Thus begins her new life as the daughter of The King.

After hearing his stories of the past, and encouraged to research her own history as well as that of her race, she sees the sorrowful path her people have been forced upon. Using poetry as a framework for storytelling, she gives us glimpses into the lives of various characters, both real and imagined, to highlight her narrative.

While there is beauty and grace within each tale, the gritty darkness is always present. We see the justification in refusal to seek medical treatment, the paths of addiction, and the ramifications of societal views of gender and race. We also bear witness to the degradation of lynchings not only through a short list of some of the known names, but with paintings and photographs as well.

As horrific as all of this is, I must mention that the frank discussion of rape and incest, which proves to be from an actual experience, is the most haunting portion of the show. Consider this your trigger warning.

Even with the weight of the subject matter, the show is a true delight to behold. Jones is a consummate entertainer and brings her characters to life deftly.  Director Dr. Leondra Radford has worked to keep the narrative as smooth as possible so that we can concentrate on what really matters. Komoyaka King’s accompanying drumbeats add to the style and sensation of the journey.

Also, the show is timed with a short period at the end for questions and comments, which I feel is quite perceptive given the storyline.

As this posts, there is little time to catch this on the main stage of the District Theatre, 327 Mass. Ave., Indianapolis. However, there are two performances on Sunday, Jan. 26.

IBTC: Feeling trauma and hope through the ‘Bloodline’

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By John Lyle Belden

This is one of four scheduled shows in the Black Solos Fest presented by Indianapolis Black Theatre Company, a program of The District Theatre. Performance information and tickets at indydistricttheatre.org.

My silly mind wants call this “We’ll always have Paris” as this is the name of three generations of men sharing the name of this one-person drama’s creator, Paris Crayton III, but the content is a bit too intense for that – though I suspect Grandpa Paris would grin and salute with his ever-present cocktail at the joke.

This is “Bloodline,” a semi-autobiographical examination of the lives of Paris senior, a glib but proud man who leaves the toil of sharecropping in Mississippi for meaningful labor and starting a family in Missouri; Paris junior, who finds love, hard work and good intentions may not be enough to save a marriage, but might give opportunities to his son; and Paris III, whose life takes him from St. Louis to Chicago, Orlando, Atlanta, and New York – but nearly always in the closet.

With only the aid of a bit of effective sound design, a hat, and a highball glass, Crayton presents distinct characters and smoothy flows from persona to persona, with feelings from charming to determined, to despair, to rage. Others invisible around him are made real by his gestures and conversations we follow as his half of the words reveal all.

The weaving narratives give insight into staying positive in the face of blatant bigotry, of being skilled with one’s hands but unable to heal the heart, of growing up wanting to do right but being made to believe your true self is wrong. It is thus both a personal story and widely relatable to living as Black and being gay in America.

At the root is the original Paris, likely an alcoholic, but a principled stubborn soul who finds true love in an instant and keeps faith he will find it again. The story of his courtship of saintly grandma Ruth, as unlikely as it plays out, was actually true, Crayton says.

Meet three generations of characters with strong yet tested character in a powerful performance on the District Cabaret stage, today (as this is posted) and Sunday, Jan. 25-26.  

ALT, Phoenix present meaningful production

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By John Lyle Belden

For us Americans, we are asked from the time we first learn about it in school what we think about the United States Constitution, but, honestly, what do we know about it? What does it do, has it done – has it not done?

American Lives Theatre and Stage Door Productions present “What the Constitution Means to Me” by Heidi Schreck on the main stage of the Phoenix Theatre Cultural Centre in downtown Indianapolis. This play is a unique blend of (mostly) one-woman storytelling and memoir, compelling lecture, and on-stage debate with elements of improv and audience response.

In its award-winning Off-Broadway run, Schreck recalled how she earned her college tuition as a teen winning prizes at speaking contests on the Constitution held by the American Legion. The narrative comes to more recent times with personal stories and taking notice of how the Supreme Court has upheld – or possibly failed – America’s foundational document.

In the current local staging, highly talented stage veterans Claire Wilcher portrays Schreck while Ben Tebbe is on hand as Heidi’s friend Danny Wolohan, who assists by portraying a Legionnaire contest moderator whom Schreck recalls fondly. In the second act, Jada Radford, a local performer who also participates in Speech and Debate as a student at Marian University, comes out as herself to take a side against Schreck/Wilcher on a constitutional issue chosen at random. Audience members are free to submit topics, as well as questions for the performers, which will be used at the next performance.

Wilcher’s manner is so natural and earnest that any line between her and Schreck vanishes. We readily absorb her recollections, as well as facts and history that may not be common knowledge but affect us all. We delve deeply into the vital Fourteenth Amendment, as well as the cryptic Ninth Amendment, and their role in recent decisions, as well as cases before the courts today.

While there is a fair amount of humor, disturbing truths cannot be avoided. Director K.T. Peterson admits in a program note that “this play is upsetting,” but sees that as a good thing. Difficult topics include domestic abuse, abortion, and civil rights, especially for women. Wilcher-as-Schreck doesn’t get angry, yet pulls no punches in her delivery, a from-the-heart pleading from both women in unison.

Tebbe is supportive and good natured, playing it aptly more as an ally than a co-star. Radford is simultaneously brash and charming. She nimbly blends her stage and forensic skills, even winning the debate in the performance we attended.

So, if anyone tells you something is not in the Constitution, tell them, “Penumbra.”

Want to know why? Find out “What the Constitution Means to Me” in performances through Sept. 22 at the Phoenix, 705 N. Illinois St. Audience members also each get their own copies of the Constitution to take home. Get tickets at phoenixtheatre.org and information at americanlivestheatre.org.

In ‘Frida,’ IRT presents beautiful portrait

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By Wendy Carson

For those whose knowledge of Frida Kahlo is only that she was a Mexican painter with a unibrow, you are missing out on the history of this woman who was in herself a true force of nature, defying all odds to become a legend in her own right.

In “Frida: A Self Portrait,” at Indiana Repertory Theatre, author and performer Vanessa Severo embodies the feisty spirit of Kahlo. Her tale takes us from her sad beginnings to her death inside her home, the legendary Casa Azul.

Contracting polio in childhood, her father forced her to overcome her afflictions and endure the pain in order to become who he believed she should be. This stubbornness kept her going after, at age 18, she was severely injured by a bus. This broke numerous bones in her body, leaving her in agonizing pain for the rest of her life.

Her persistence led her to a mentorship (and eventual marriage) with the renowned artist Diego Rivera. Their tumultuous relationship opened doors for her but brought immense heartache as well. As with many artists, she died relatively unknown in 1954, but her rediscovery in the ‘70s led her to become a feminist icon.

Scenic Designer Jacqueline Penrod and Costume Designer Katherine Davis, aided by Rachael Cady’s clever lighting, provide a unique setting in the IRT’s more intimate upperstage that allows Severo to easily slip from one character or situation to the next, including herself – a young performer told she has a similar spirit, and whose research included going to La Casa Azul herself to find out. Director Joanie Schultz, who has worked with Severo on this at other venues, helps her fully embody each step of this woman’s inspiring (and heartbreaking) journey, as well as her own.

Having learned more about Kahlo in the past few years, I can say that I honestly believe she would be the first to applaud this show. If you feel hesitant, even if you care nothing for the subject, the storytelling style and acting are superb so you should give this masterpiece a chance.

Performances run through April 7 at 140 W. Washington St., downtown Indianapolis. Get information and tickets at irtlive.com.