parody

‘Ship of Dreams’ surfaces again

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By John Lyle Belden

December of 1997 saw the release of a film that at the time of its premiere was heralded as possibly the most expensive, overwrought flop ever to come out of Hollywood. But to everyone’s shock, it somehow failed to fail, breaking box office records, taking in billions of dollars, and winning numerous awards.

This sure-fire bomb didn’t sink despite its numerous production issues and cost-overruns, bladder-testing length, whining earworm of a featured song, exploitation of over a thousand deaths to deliver an improbable romantic plot, and even the presence of Billy Zane. It is suspected the movie was buoyed by past and eventual Oscar winners Leonardo DiCaprio, Kate Winslet, and the incomparable Kathy Bates, but I believe a lack of talking dolphins is to blame.

Fortunately, local hero Paige Scott and her Working Class Socialite company have risen from the depths of the Indianapolis comedy/improv scene to finally present James Carmeron’s “Titanic” as the absurd farce it was meant to be. Revised and expanded from its 2023 IndyFringe Festival premiere, “Ship of Dreams” sails (and sinks) again!

Courtney McClure and Elysia Rohn portray old and young Rose, Hannah Boswell is Jack, Shelby Myers is Ismay, Meg McLane is Billy, Tracy Herring is Kathy, Ariel Laukins is the First Mate, and Brittany Magee is Rose’s Mom, the Iceberg, and in an Award-Worthy Performance, the ship’s Propeller. Jason Adams gives us The Captain and all the visual effects you will ever need (where’s his Oscar?).

You’ll laugh; you’ll cr-, I mean laugh some more; you’ll not give a cuss about the room-on-the-door meme because there is just too much other weird and silly stuff going on to care. Still, in its near-faithful (though mercifully 90 minute) ultra-low-budget recreation of the major beats of the film (plus swipes at Leo’s other roles and such) Scott and friends slip in a bit of a tribute to what made this wreck of a movie such a magical event a little over 25 years ago.

Warm up the Model T (clean the backseat first) and head over to the IndyFringe Indy Eleven Theatre at 719 E. St. Clair St., Indianapolis for performances Thursday through Sunday, April 18-21. Get tickets at indyfringe.org.

Fabulous flora in drag ‘Little Shop’

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By John Lyle Belden

To borrow from an unrelated comedy gang who put male bodies in dresses: Now for something completely different.

Indy Drag Theatre was in full bloom at the District Theatre with its production of “Little Shop of (W)Horrors:  A Drag Parody Musical.” The fairly new local company took on a mostly straight (ha-ha) presentation of the movie-turned-Broadway-turned-movie, but done by drag queens, kings, and other genderfluid royalty. In the true spirit of the Drag art form, emphasizing spectacle and visual parody and satire – in the most *fabulous* manner possible – our performers expertly lip-synch the lines and songs from Broadway and film audio, but what you see on the stage is even more entertaining than most renditions of the classic boy/girl/man-eating-plant story.

With no scenes drastically altered, this serves to inform or remind those unfamiliar with the source work. However, if you know what happens, it becomes awesome on another level. Shoddy-sheik staging and costumes match both the story and the tongue-in-cheek mood. Dance numbers both advance the story and “work it” a la a Ru-Paul revue. In the best melding of the already-goofy musical and this milieu, our star houseplant, Audrey II, transforms from the standard hand-puppet to the toxic fabulousness of Ciara Myst.*

Other principal cast members include Parker Taylor as Seymour Krelborn, the Skid Row orphan who discovers the plant; Pancha La Flor as Audrey, the sweet girl at the flower shop Seymour is sweet on and the sadistic Dentist (Beelzebabe) beats on; Eli Rose as florist Mr. Mushnik; and our hot chorus of backups Ava Morningstar (as Crystal), April Rosè (Chiffon), and Devin Hill (Ronette).

Also on stage are Axel Rosie, Drucilla Demora, Blue Lightning, and understudies Jared Matthew, Zariah, and Kalinda Morningstar.

Taylor, who has been brilliant in recent regular stage productions, puts their talent to excellent use – one who would be great a century ago mouthing and emoting a silent film. La Flor is not the beanpole actress you usually get for Audrey, kind of like if Broadway had tapped a young Jennifer Coolidge, but she makes it all work (in both senses of the word) wonderfully. As for Ms. Myst, the ability to strut the whole stage makes this fierce flytrap more dangerous than in any other medium.

Direction is by Krystie Roberts, with choreography by April Rosè, IDT’s co-founder (with creative director Blair St. Clair).

If you are a teen (with cool parents) or older and hip to any of this at all, it is a must that you support this marvelous meld of “holla”- worthy entertainment (and yes, whooping it up is encouraged, but slip your dollar bills into their Venmo). Remaining performances are Thursday through Sunday, Feb.  22-25, at the District Theatre, 627 Massachusetts Ave., Indianapolis. Get tickets (including VIP) and info at indydistrictthe.org or indydragtheatre.com.

*

[*In keeping with the culture and respecting personal boundaries, if the Drag name is all we are given for a performer (which is as unique and individual as what’s on their driver’s license anyway), that’s all we publish.]

Musical send-up of Scrooge story returns

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By John Lyle Belden

Ben Asaykwee’s “Christmas Carol Comedy” at the District Theatre has joined the ranks of downtown Indy’s cherished holiday traditions. Yes, we’re all surprised (I imagine Asaykwee is), but I’m not actually as he is really talented and the show is really funny.

I mean, look at the nice stuff we said about it last year.

As so much about the world today is silly and dumb, this musical parody of Dickens’ classic fits right into this season’s offerings. While Ben is over at the Phoenix, assistant director Hannah Boswell takes care of things, as well as roles including a talkative Christmas Future. This being a “Q-munity” production (started by Asaykwee’s Q Artistry company), there are numerous performers at all levels of experience, whose having fun at this easily translates to the sold-out audiences.

Matt Anderson is back as Scrooge, Shelbi Berry as Christmas Past, Tiffanie Bridges as Christmas Present (and, well… you’ll see), Maria Meschi as Marley, Emerson Black as Fezziwig, and Michelle Wafford as Mrs. Cratchit, with Jeff Stratford as Bob Cratchit, Tristan Montgomery as Fred, Miki Mathioudakis as Mrs. Fezziwig, and an ensemble of characters and Victorian Urchins played by Adrienne Anderson, Alex Kao, Anahit Aleksanyan, Anna Lee, Arin Anderson, Ben Curry, Beth Gibson, Calvin Meschi, Cari Gallagher, Charlotte Wagner, Derwin Lester, Elsie Huldeen, Emily Persic, Finley Eyers, Fiona Eyers, Jessica Dickson, Kallen Ruston, Katie Eaker, Kelly Haas, Kendall Crenshaw, Lillian Hall, Lisa Anderson, Luna Capehart, Mandy Holzhausen, Michael Persic, Noah Lee, Patrick Clemens, Sam Lee, Sophia Capehart, and Spencer Hahn.

You have seven chances (at the time of this posting) to see this charming, fun, silly, entertaining, and now traditional yuletide treat, but tickets are selling fast, playing Thursday through Sunday, Dec. 14-17 and 21-23. Get them at indydistricttheatre.org.

Fringe hosts North Pole comedy mystery

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By Wendy Carson

Defiance Comedy is known for its zany musical spoofs and original content. This year this local comic crew brings us a delightful new treat for the holidays, “Claus Out,” a hilarious parody of the “Knives Out” film franchise.

Twenty years ago, Rudolph was murdered. While Prancer was initially charged, a lack of concrete evidence released him. Amid the chaos, Santa Claus disbanded his reindeer team.

Now, each reindeer has been mysteriously invited back to the scene of the crime, where Santa plans to reveal the truth behind this tragedy. Unfortunately, he is murdered just prior to the revelation. Now there is a bigger case to be solved.

While you may think you know those involved, their true personalities and motives are much cloudier. Take Dasher (Austin Hookfin), dripping with jealousy at the usurping of his leadership role of the team; Dancer (Charlie Rankin) whose affair with a bad-boy reindeer threatens her goody-goody image; Prancer (Joseph David Massingale), the initial suspect whose two days in lock-up left a lasting impression; Vixen (Paige Scott), the sultry seductress with an eye towards wearing the Big Hat; Comet (Shelby Myers), who thinks this is all because Merry is in retrograde and perhaps the right crystal/tea combination will fix everything; Cupid (Preston Dildine), whom everyone loathes, but he used his hiatus from the team to become an internet mogul; and Donder (Kelsey VanVoorst) and Blitzen (Ben Rockey) who are unabashedly German party animals though perhaps a bit slow on the uptake.

Add into the mix, Elfie (Robin Kildall), who is just trying to keep the Christmas Spirit alive while going full fan-girl on the famous Detective Benoit Bellz (Jason Adams), who was also mysteriously invited in order to solve the crime.

Writer/Director Matt Kramer digs deep into his bag of treats to give us a bounty of laughs, gags and moments of pure comic delight. The amazingly talented cast brings his works and lyrics to life perfectly, not to mention their mastery of Emily Bohannon’s choreography.

Who killed the most famous reindeer? And their boss? As the cast sings in “Intermission Song,” you may think you know, but you’re probably wrong. Find out at the IndyFringe Theatre, 719 E. St. Clair St., Indianapolis, Dec. 8-10 and 14-16. For tickets, go to indyfringe.org.

‘Carol’ gets musical comedy treatment

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By John Lyle Belden

“Marley was dead to begin with…” truly is a downer opening, but things can only go up from there, especially when Charles Dickens gets the once-over by local theatrical genius Ben Asaykwee, who wrote and directed the musical “A Christmas Carol Comedy,” playing through this weekend at the District Theatre.

Asaykwee has another show (“ProZack” at the Phoenix) so entrusts a cast of young and old, veterans and newcomers, led by the versatile Matt Anderson as Ebenezer Scrooge (and the assistant director).

To set the irreverent tone, we have a batch of young urchins (Quincy Carman, Ellie Cooper, Zara Heck, Ethan Lee, Sam Lee, Judah Livingston, Esmond Livingston, and Calvin Meschi) providing narration and appearing as needed. Others play various roles, notably Jared Lee at Bob Cratchit, Emerson Black as Jacob Marley, Amanda Hummer as Christmas Past, Tiff Bridges as Christmas Present, Shelbi Barry as Christmas Future, and Maria Meschi as ol’ Fezziwig. In addition, we have the talents of Lisa Anderson, Jenni Carman, Reilly Crouse, Jessica Dickson, Austin Helm, Emily Jorgenson, Anna Lee, Noah Lee, Adriana Menefee, Kallen Ruston, Michelle Wafford, and Charlotte Wagner.

Drop all expectations of a faithful rendition of the holiday classic (we all know it already) and revel in the silliness as this gang has a ball bringing more joy to the season. The revelation of Tiny Tim must be seen to be believed. There are also song-and-dance numbers, as Dickens no doubt never intended – watch out for flying cast members.

Our evening’s viewing at the District (627 Massachusetts Ave., Indianapolis) was a sell-out; it will likely happen again. See indydistricttheatre.org.

Executive dysfunction in holiday parody

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By John Lyle Belden

As we settled in for a long winter’s viewing of “The North Wing,” an original Christmas musical presented by Defiance Comedy at the IndyFringe theatre, Molly North, assistant to the show’s writer and director, Matt Kramer, said this is like if “The West Wing” creator Aaron Sorkin had (presumably under the influence of something) decided to write about the Santa Claus Workshop at the North Pole, and add music.

Well… there is a “walk-and-talk” scene, so we’ll go with that.

Since Burl Ives is dead and Josh Gad costs too much, we have the lovely Paige Scott as our narrator, Jeff the Snowman, ironically with a warmer heart than her other role, Mrs. Claus. The former is charming, literally disarming, and proud to be “a waste of resources.” The latter seems to take pleasure in being naughty – which could be a problem in this setting.

Clay Mabbitt is Thomas the Human (not the one shipped off to New York, that’s another musical), the leading assistant to retiring Head Elf, Mr. Hinkle-Twinkle (Ben Rockey, one of a number of Elfin roles) who apparently learned to speak English by watching “It’s a Wonderful Life.” After another Christmas Eve in which holiday spirit is down, the old man steps down and, before Thomas can be promoted, Mrs. Claus announces an outside hire: Janet (Meg McLane) the human former executive of a Toy Corporation, who has lots of ideas for improving things at The North Wing.

Imminent changes with only 364 Days Until Christmas have elf executive assistant Beatrice (Shelby Myers), Phil the Elf (Austin Hookfin), and random Elves (Rockey and Robin Kildall) very worried. It doesn’t help that Judy Sparkles of North Pole News (Kelsey VanVoorst) reports that disaster is inevitable. It’s enough to drive one to drink – with libations served by Blumpkin the reindeer bartender (VanVoorst in antlers and red nose).

As befits a story inspired by real-world political intrigue, this all gets really silly, really fast. And there are songs. And dancing (choreography by Emily Bohannon). And romance. And, of course, the traditional plots to destroy/save Christmas.

To rescue the holiday, there is a quest for the next must-have toy, which brings – at 164 days to Christmas – the arrival of Binky the Toy Tester (Kildall). Will the thingamajig pass muster? Will it matter?

This cast works together smoothly, and I was particularly impressed with Myers’ performance. The more dramatically inclined Mabbitt makes a great straight man to set up fellow goofballs. Scott’s ability to switch between clown and villain is fun to watch.

As we’ve come to expect from Defiance, this show is full of gut-splitting hilarity and features a number of improv veterans, so expect anything. Also as usual, there’s a bit of ribald innuendo, but aside from the “Naughty” edition 7:30 p.m. Friday and Saturday, there is a “Nice” more all-ages version at 3 p.m. Sunday (Dec. 9-11).

See their style of wacky comedy that sells out Fringe festival shows, now in two full acts, at IndyFringe Basile Theatre, 719 E. St. Clair St., Indianapolis. Get tickets at indyfringe.org.

IndyFringe: Ship of Dreams

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

By Wendy Carson

First of all, I must warn you that this show is one of the hottest selling tickets at this year’s IndyFringe and every performance has and will sell out. Get your tickets immediately, or regret missing the greatest parody of an Oscar-winning tragic film in existence.

Even before the show begins, our captain, Jason Adams, is inviting the crowd to draw some artworks for the overhead projector used during the show

All of the movie’s major plot elements are covered here, including only referring to one character by the name of the actor portraying him. The show features extremely pun-filled dialogue, visuals on the projector, and simple cardboard props used so well they raise the level of each scene where they appear.

The spectacle reaches epic proportions encompassing karaoke, kazoo ballet, a singing iceberg, and the spectacular dance number showing the dramatic ending to the ship.

Paige Scott and her amazingly talented Party Island troupe of performers (Elysia Rohn, Courtney McClure Murray, Aaron Stillerman, Taylor Daine, Chad Woodward, and Brittany Magee) are each spectacular in all their numerous roles. Adams’ work on the overhead projector is just icing on this deliciously witty cake.

The 7:15 p.m. Friday performance is sold out, so act quickly to get on board 1:45 p.m. Sunday, Sept. 4, on the Indy Eleven stage at the IndyFringe Theatre.

‘Birds’-inspired ‘Fowl’ far more funny than frightening

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By Wendy Carson

Ben Asaykwee, the force behind Q Artistry and creator of the perennial favorite “Cabaret Poe,” has tapped his deep comical well to bring us the hilarious musical delight that is “The Fowl.” In this sharp parody of Alfred Hitchcock’s classic, “The Birds,” we are transported to 1960s Bodega Bay, California, where several mysterious bird attacks occur. 

We are reminded that the secondary romantic plot is better suited to a film on the Hallmark channel, though necessary to facilitate the events in which the attacks take place. While the show’s costumes and “wigs” give everything the look of a cartoon, they are quite ingenious and perfectly reflect the quirkiness of the show. The special effects are crude but reinforce the irreverence of the production. 

Though the look is reminiscent of what one would expect from an elementary school show, the cast and crew are genuine in their love of what they are doing and passion to make you laugh. It is also an excellent mentoring opportunity, as local stage veterans work side by side with young actors. 

This show is presented in two acts. The first retells the movie, pulling no punches at some of its more ludicrous portions.

The second act revolves around the stories of the birds themselves (from their point of view) and supposition as to why these attacks were necessary. While I personally take umbrage at the constant disparaging comments regarding the tardiness of the penguins, the birds do make some very valid points.

Asaykwee, as director/choreographer, had cast members each learn more than one set of roles, not only to help gain experience, but also in case a Covid-positive test sidelined any performers. You’ll see at least a different order in the lineup from one show to the next. Therefore this is a true ensemble effort. That flock includes: Matt Anderson, Shelbi Berry, Quincy Carman, Jaddy Ciucci, Ellie Cooper, Finley Eyers, Fiona Eyers, Janice Hibbard, Tiffanie Holifield, Noah Lee, Maria Meschi, Pat Mullen, Himiko Ogawa, Inori Ogawa, Wren Thomas, Diane Tsao, and Noah Winston. 

At our performance, we saw Berry doing her best Tippi Hendren, a scene-stealing turn by Finley Eyers as an over-eager Seagull, and a beautiful interpretive Ostrich dance by Holifield.

With all the current stress in the world and each of our lives, it is good to be able to go out and have a really good laugh. This show will afford you a whole flock of opportunities to do just that. So go out and catch “The Fowl” – Thursday through Sunday (March 3-6) at The District Theatre, 627 Massachusetts Ave., Indianapolis – before the opportunity flies past.

IndyFringe: The Breakfast Clue

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This is part of IndyFringe 2021, Aug. 19-Sept. 5 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By Wendy Carson

Defiance Comedy brings us annother hilarious Fringe show. Blending the movies “The Breakfast Club” and “Clue” with about a half a dozen song parodies, they give us a delightful sendup of ’80s comedies.

It turns out that all of the charcters are in detention because they were being blackmailed. Someone is going to die, and they group must solve the mystey before they end up in detention forever,

Shelby Myers delights as Allison P. Cock, the weird and kind of sexy basket case. Emily Schaab sparkles as Claire Scarlett, the Princess doing whatever it takes to keep herself on top, Pat Mullen seems perfectly cast as the nerdy Anthony Michael Mustard. John Kern brings an endearing fragility to his character of Jock Estevez. While Clay Mabbitt’s portrayal of John Jacob JingleHeimerPlum falls a bit flat at first, it does perk up very near the end. And of course, who could forget the enimetable Rob Johansen as the zany principal trying to keep this group in line.

Come to the show to find out who was killed and why. Just remember, there’s no crying over skimmed milk. Performances at the District Theatre.

Bard Fest presents a ‘First’

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By John Lyle Belden

As local theatre struggles to get on stage, the organization Indy Bard Fest (with the help of companies that have presented the annual Shakespeare festival under its banner) is adapting to the times. Its first production is a free outdoor staging of the Bard-inspired “Shakespeare’s Long Lost First Play (Abridged)” by Reed Martin and Austin Tichenor (of the infamous Reduced Shakespeare Company).

Bard Fest director Glenn Dobbs has persuaded the trio of Matt Hartzburg, J.B. Scoble, and Kelsey Van Voorst — no strangers to Shakespeare, parody, on-the-spot improv, or even the abridging of Wlm. Shkspr. — to put on silly clothes and risk their lives and dignity at a “Pestilent Pocket Park” in front of a bunch of masked strangers at strategically scattered tables.

It seems that some trivial historical bones were not all that were recently found in a Leicester, England, parking lot; there was also an entirely too long and overwrought script by an aspiring young playwright from Stratford-Upon-Avon. It turned out to be much ado over nothing, a winter’s tale for another era, a massive comedy of errors, but measure for measure a potentially great first draft if broken up into thirty-odd comedies, tragedies and histories.

However, Van Voorst (whom I did “mark down as an Ass” in a past review) claims she has gotten the whole monstrosity edited down to a watchable two acts, and Hartzburg and Scoble, having nothing better to do in quarantine, are playing along.

Imagine if the Complete Works of William Shakespeare were tossed into a blender (metaphorically, paper ruins the blades, trust me) and an improv company was ordered to perform it as soon as possible, with whatever was laying around the prop room (or purchased from the local dollar store, judging by at least one price tag we saw hanging). Yes, it’s Just. That. Fun. Perhaps it’s the incredible talent involved; maybe it’s the incredible flexibility of the material of a serious playwright who loved bawdy jokes; and maybe it’s also the fact that under the law, parody is fair game even if you are poking at Disney. Yes, we all know “Lion King” = “Hamlet”, but did Uncle Walt’s company steal other ideas, and characters like Ariel and Iago, from the Immortal Bard?

There’s even an overarching plot to this mess, involving two famed magical beings (from different Shakespeare plays) who don’t get along, and carry out their feud by scrambling characters and plots from various plays into, eventually, a single setting — kinda like “Into the Woods” (does Sondheim know about this?). 

Alas, poor playgoer, I’m committing this to the ether after the opening weekend performances of July 31-Aug. 2 at the IndyFringe Pocket Park are done. But hark! There are more stagings planned for Aug. 7-8 at The Cat performance space in downtown Carmel; Aug. 21 and 23 in Indy’s Garfield Park; Aug. 28-30 in Noblesville; and more locations in September. See indybardfest.com for details. Oh, and mark that admission to all performances is free! (Sack and other accommodations may cost; donations are always welcome.)