Phil Criswell

NoExit ‘1984’ – experience the love of Big Brother

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By John Lyle Belden

It was a bright cold day in November, and the clocks had struck nineteen 30 minutes ago. The back door to a facility commandeered by the Party and Ministry of Truth opened, and we were allowed to enter.

After Agents determined our country of origin and loyalty to the Party, we were detained with other participants until 20:00, when the Ministry provided a goodthink show of a man discovering his love for Big Brother. This is all it is and ever was.

I would never be unfaithful to the Party and tell you that this was a clever and insightful production of “1984” – adapted from the George Orwell novel by Matthew Dunster, produced by NoExit Performance (with co-conspirators including AnC Movies, Cat Head Press and iMOCA) and directed by Ryan Mullins – as that would be “fake news.”

But if I were to say such a thing, I would point out that Ryan Ruckman gives an excellent performance as Winston Smith, the conflicted everyman who tires of his duties for the Ministry, constantly “correcting” history and sending obsolete information down the Memory Hole so that it never happened. He wears his depression and ennui like an extra layer of clothing, feeling the weight of the Telescreen eyes upon him. NoExit mainstay Georgeanna Smith Wade wins his heart and ours as secret rebel Julia, who inspires Winston to defy the Party – simultaneously the smartest and stupidest thing he would ever do.

The Party orders that I denounce Dave Ruark for his commanding portrayal of the mysterious O’Brien, Adam Crowe for his deceptively warm turn as Charrington, and Tristan Ross for his appropriately milquetoast presentation of Smith’s co-worker Parsons (extra rations go to Zac Schneider and Elsie McNulty as the Party-faithful children, though Shannon Samson as Mrs. Parsons is still under suspicion). If Syme had not become an unperson, I’d praise Phil Criswell’s double-plus-good performance. I also hallucinated sharp work from Taylor Cox and Ann Marie Elliott in supporting roles.

Where NoExit – I mean the Ministry – most excels is in the way this drama is presented. It is totally immersive: You stand in or right outside the room where each scene occurs; and the actors frequently move from one area to the next, forcing all to turn and/or follow. Ministry agents help guide the audience. There is no climbing stairs, and limited seating is provided at every scene. Compare the amount of movement necessary to an easy tour of a museum gallery with about a half-dozen display areas in three large rooms. Appropriate set design (by Andrew Darr), with occasional video images (by AnC) and haunting sound (by Rob Funkhouser) enveloping the rooms, provide a perfectly tense atmosphere throughout. Big Brother’s red glowing eye is everywhere, watching us all.

I advise all to take time out from news of whatever war we have always been fighting, and observe this double-plus-good entertainment appropriate for whatever year this happens to be. Performances through Nov. 18 at Ministry Headquarters, 1336 E. Washington St., Indianapolis. For information and tickets, visit www.noexitperformance.org.

Big fun at ‘Little Shop’

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By John Lyle Belden

The horror movie-turned-musical “Little Shop of Horrors” has set up at Indy’s Footlite Musicals through the end of the month. And for its many fans, that’s all I need to say.

For the unfamiliar, it is the story of nerdy flower-shop worker Seymour, who discovers an unusual plant that makes the shop prosper and him famous. The one downside: the plant feeds on human blood. Then there’s sweet Audrey, who Seymour is sweet on and even names the plant after, but she has an abusive sadistic boyfriend – as the song goes, “He sure looks like plant food to me!”

Phil Criswell handles the many shades of Seymour, from coward to reluctant hero. Michael Davis is good as well, as shopkeeper Mr. Mushnik. John Kern more than earns his keep by not only playing the sadistic dentist boyfriend, but practically every other supporting character.

Emily Schaab is an excellent Audrey – while she doesn’t have the voice of Ellen Greene (who sang the role on Broadway and in the film) she doesn’t make the mistake of trying to sound like her, making this role her own.

Audrey II is ably handled by puppeteer Theo Vanore with the unmistakable voice of Tristan Ross.

And it’s all backed by a wonderful chorus – both in the doo-wop and Greek sense – of Rayanna Bibbs, Rachel Bibbs, Iloni Cospy, Adrienne Dixon and Bianca Cureton. Hopefully at least one of these women will reappear in Footlite’s production of “Dreamgirls” in May.

While it may be cliché to say this is a fun show, it’s hard to think of a better adjective. The pacing is smooth and the songs dare you to sing along (actually, there is one moment of audience participation). Note that if you have only seen the 1986 Frank Oz film, there are some different songs and a different ending.

Find Footlite at 1847 N. Alabama St.; call 317-926-6630 or visit www.footlite.org.

John L. Belden is also Associate Editor and A&E editor of The Eagle (formerly The Word), the Indianapolis-based Midwest LGBTQ news source.

Avenue Q: A great place to visit again

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By John Lyle Belden

It’s always amazing, while attending a performance of “Avenue Q,” to see the reactions of those who haven’t seen it before when a Muppet-style puppet drops the F-bomb in one of the first songs (“It Sucks to Be Me”). When I see the, “Did I just hear that?” I’m thinking, “You ain’t heard nothing yet.”

After all, this is the musical that brought us, “Everyone’s a Little Bit Racist” and “The Internet is for Porn.”

Yes, when Fabric-Americans and other diverse people have outgrown Sesame Street, they move uptown, all the way up the alphabet to Avenue Q. This show captures the style of Childrens Television Workshop shows, but is definitely NOT for children. Still, it’s worth it to plug the ears of your Inner Child and go. The show is full of laughs and heart, even with the mature edges, as you get to know and love people just trying to make something of their lives, like all of us.

But what if you have been to this street before? For those who enjoy singing along with “Porn! Porn! Porn!” and look forward to the sight-gag in the hospital scene, you will have a lot of fun with the Footlite Musicals production, running through Sunday at the Hedback Theatre, 1847 N. Alabama St. in downtown Indy.

It’s hard to pick a stand-out performance in this cast, as all are at the top of their game, including Phil Criswell as puppet-seeking-purpose Princeton, Emily Schaab as beautiful Kate Monster, Graham Brinklow and Damon Clevenger as odd couple Nicky and Rod, Chris Meek as struggling comic Brian, Nathalie Cruz as tell-it-like-it-is therapist Christmas Eve, and Ryan England as pervy Trekkie Monster. The biggest pleasant surprise is building super Gary Coleman played by Ervin Gainer, who actually looks like the late child actor. In addition, throw in excellent support from Leigh Alexovich and Dejuan Jackson as boxes, Bears and left hands, as well as Zarah Miller as the legendary Lucy T. Slut.

Another note to newcomers: There is a song about giving to charity, during which the “hat” is passed around the audience – though actors could usually use the money (and cast and crew at Footlite are volunteers), all funds will go towards a genuine charity announced at that point in the show.

Go to www.footlite.org or call 317-926-6630 for ticket reservations.

(This review also posted on The Word.)