As we proceed into December, it’s time we put aside our worries over politics and international strife to consider truly important questions, such as:
Is “Die Hard” a Christmas movie – I mean, it absolutely is, right?
Does “Prancer” still count?
And, can we get ever get enough Jimmy Stewart?
Explore these vital issues with folks who clearly have issues – in “A Very Phoenix Xmas: It’s a Wonderful Die Hard Life Story Actually,” directed and curated by Claire Wilcher. It’s like the beloved performer and intimacy expert worked on an in-depth project on holiday television and cinema, but she took one of those Siberian Santa mushrooms (see the show for context).
Our up-for-anything cast of Matthew Altman, Paige Neely, Devan Mathias, Zachariah Stonerock, and Kelsey Van Voorst take on a series of skits by Wilcher, Jeff Clawson, Steve Moulds, Zack Neiditch, KT Peterson, Mookie Harris, Steven Korbar, Bennett Ayres, and the return of Mark Harvey Levine’s “A Requiem for Shermy,” one of the best tributes to the Peanuts Christmas Special. In video bits between scenes, Wilcher joins in on some classic holiday movie moments.
This show gets a little spooky at times, a lot funny throughout, and just one degree from Kevin Bacon. We’ve seen Mathias and Van Voorst deliver the silly before, and they are at the top of their game here, as well as charming Neely and ever-fabulous Altman; meanwhile Stonerock excels at Pythonesque straight-man delivery, as well as the task of doing likely the most imitated-for-laughs voice in Hollywood history.
Looks like the Phoenix Theatre Cultural Centre’s holiday tradition is here to stay (through Dec. 22) and in good hands. It’s on the mainstage at 705 N. Illinois St., downtown Indianapolis; get tickets at phoenixtheatre.org.
Current and recent events compelled Fonseca Theatre Company to stage “Hype Man: A Break Beat Play” as its first production while live theatre starts to return to central Indiana. But more telling of the persistent seriousness of its issues is that this drama by Idris Goodwin was written over two years ago.
From left, Aaron “Gritty” Grinter, Grant Byrne, and Paige Neely in the Fonseca Theatre Company production of “Hype Man: A Break Beat Play”
In a large, racially diverse, American city, in a time not long before 2020, up-and-coming white rapper Pinnacle and his Black hype man Verb wait on the creator of their beats, Peep One, to arrive at the studio so they can rehearse for their appearance on the Tonight Show. She enters, telling them she was delayed by traffic around a police chase. Minutes later, social media alerts give the full story: An unarmed black teen was killed, shot 18 times by cops while attempting to surrender.
The show must go on, as Pinnacle is focused on his national TV debut and upcoming tour, but as his hip-hop hit, “The Boy Shine,” gets its ovation, Verb makes a gesture for racial justice that throws their lives into chaos.
Local recording artist Grant Byrne plays Pinnacle, “born between a rock and a Glock,” blind to the fact that despite the disrespect he gets from uptown whites, his fair skin gives him a veil of privilege – and as a member of the hip-hop community, responsibility. Byrne manages to keep him likable, but driven and too focused on his “brand,” needing to learn to get out of his own ego and his fear of getting bogged down by serious issues like injustice. Still, his stage style is tight, as, with a wry smile, he spins Goodwin’s rhymes like they’re his own.
Local entertainer and the show’s music director Aaron “Gritty” Grinter is Verb, Pinnacle’s childhood best friend and long-time collaborator. The most complex character, his TV moment was to be a personal comeback, after past (unspecified) incidents had him in court-ordered therapy. The young man’s shooting affects him deeply, “I was that kid so many times!” Grinter is well-suited to the role, a natural motivator channeling the fire awakened within the Hype Man.
Indy native Paige Neely is Peep One, who tries to walk the middle path between the others’ bold personalities. Having been adopted by an apparently middle-class family (likely white), she doesn’t deny her blackness but identifies mostly as a woman in hip-hop, which is struggle enough. She understands Pinnacle’s fixation on the business of showbiz, but knows what Verb wants to accomplish is even more vital. Neely makes her more three-dimensional than the script seems to suggest, ably going from referee to friend, to a girl with her own mind and dreams, as the story demands.
This play is the directing debut of Daniel A. Martin, who is experienced with more comic fare, but as (among other things) an improv artist, does well with a trio in a very collaborative, sharing environment. The drama feels as real as the latest TV and online news, and though the death described is fictional, it has occurred in one form or another numerous times (including here in Indianapolis). The play doesn’t exploit, make light of, or preach on the issues, but helps to continue our local and national conversation.
In consideration of the ever-present health issues, FTC producing directors Bryan Fonseca and Jordan Flores Schwartz, and company staff, are taking the Covid-19 threat seriously. The stage (excellently designed by Daniel Uhde) is outdoors, behind the Basile Building, 2508 W. Michigan St., with plenty of parking at the adjacent park. There is appropriately-spaced seating, hand sanitizer handy, and all (except for actors while acting) are required to wear face masks (this was policy before the Mayor made it mandatory countywide). Local artist Kathryn Rodenbach made and donated some nice cloth masks, which can be picked up for a donation of whatever you want to give.
“Hype Man” runs through July 26. Get details and tickets at fonsecatheatre.org. To delve deeper into the issues of the play, Fonseca added this page as well.
Plays with John & Wendy 