There’s a lot going on with ‘Hir’ at Phoenix Theatre

By John Lyle Belden

Talk about having issues with the “binary” – if one feels overwhelmed while viewing “Hir,” on stage through June 18 at the Phoenix Theatre, it’s because we are slammed with two dramatic themes simultaneously.

First, we are hit with the affects of trauma and abuse: After years of dominating his family and using them as punching bags, Arnold (Brad Griffith) suffered a stroke, making him barely able to talk or even think. We meet him a year later, during which his long-suffering wife, Paige (Jen Johansen), has gone the opposite way in every aspect of life. What was clean is left dirty; what was ordered is in disarray; what was put away is tossed to the floor or stuffed in an odd place. And, once forbidden to work outside the home, she has taken a job with a non-profit. What she makes there doesn’t matter, as paying bills on time was the old life. As for Arnold, he is kept in a medicated stupor and deprived of all dignity.

Into this situation comes their son, Isaac (Ben Schuetz), a discharged Marine who had the duty of picking up combatants’ body parts from the battlefield. Returning from his recent traumatic environment to his old one, all he wants is a world that makes sense.

The second theme – from which comes the play’s title – is that among the family’s changes is that the younger sibling has changed from daughter to son. Max (Ariel Laukins) has taken hormones and insists on being referred to by the pronouns “ze” and “hir” (rather than he/she or her/him). Paige is overjoyed to have something so different and new – “the future!” she declares – that she homeschools Max so that they can learn together.

The aspect of gender roles and identity takes on irony in that while Max is free to be hir-self, part of Arnold’s humiliation is being made to always wear a dress. What’s more, in the mixed-up world of this drama, Max is the most stable and certain person on the stage.

Johansen once again comes through in chewing through a meaty role. Griffith ably compensates for his role’s limited speech with his physicality. Schuetz has Isaac deal with the swirling insanity in a convincing manner, without going over the top. And Laukins makes an excellent debut.

The world of “Hir” is exaggerated and mildly bizarre, providing a lot of laughs, but this is no comedy. Trans playwright Taylor Mac’s script uses the funhouse mirror to magnify these issues, allowing us to confront what is wrong about these people’s lives without distraction by the underlying tragedy – but one way or another, it has to be dealt with.

Find the Phoenix at 749 N. Park Ave. (corner of Park and St. Clair downtown, near Mass. Ave.); call 317-635-7529 or visit http://www.phoenixtheatre.org.

Dig it! Phoenix breaks ground on its new site

By John Lyle Belden

The Phoenix Theatre, a downtown Indy arts institution for more than 30 years, took its next step in relocating to a bigger, better building with its Groundbreaking Ceremony on May 2 at the now-vacant site on north Illinois Street by the Cultural Trail.

Construction will begin soon, with grand opening of the new facility in spring of 2018. In the meantime, the Phoenix continues its full season of performances in its longtime Chatham Arch home, 749 N. Park Ave. (corner of Park and St. Clair, near Mass Ave.).

“This will be the first free-standing theater (not part of a school or other institution) built (downtown) in the last 100 years,” said producing director (and one of Phoenix’s founders) Bryan Fonseca. He added that the multi-million dollar capital campaign, largest in its history, had nearly reached its goal, with plans to continue fundraising for contingency funds and other future needs.

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While breaking new ground, the Phoenix Theatre “broke” its old logo, in the form of a pinata.

With two state-of-the-art stages, meeting areas and full costume and prop shops, the planned building will not only host full year-round Phoenix seasons, but be available to other community theatre and arts groups.

“We want to eradicate the distinction of ‘underserved groups,'” Fonseca said, “and become one community.”

The Groundbreaking drew numerous dignitaries, including Jeff Bennett, Deputy Mayor of Community Development for Indianapolis, who said the new Phoenix building “will transform this neighborhood, and it will transform lives.”

City-County Councilor Vop Osili was pleased with the location, just a block away from Meridian Street.

“This is located literally at the crossroads of commerce and culture,” he said.

Brian Sullivan, managing partner of Shiel Sexton contractors and member of the Indianapolis Cultural Trail Board of Directors, declared it a “happy day” and “a groundbreaking day for a groundbreaking theatre.”

“Today, it has never been more important for our community to hear from our artists,” he added.

Fervent supporter, donor and Phoenix board member Frank Basile, who proudly noted he had seen practically every one of the theatre’s productions over the years, declared, “We’ve really just begun.”

Local actors and Phoenix founding artists Deb Sargent-Shaver and Gayle Steigerwald praised Fonseca for his leadership and thanked all who contributed to the building campaign.

“We are so grateful that our legacy, and our tribe, will continue in this new building,” Steigerwald said.

Among the many past and present actors and crew members in attendance was Charles Goad, who was featured in the very first Phoenix show in 1983, as well as the present production of “The Open Hand.”

The traditional chrome-shovel ceremony featured Fonseca, Bennett, Sullivan and other dignitaries, but in true theatre community fashion, the shovels were handed over to any actors, crew, friends or supporters who wanted a photo opportunity. Several thespians eagerly turned spades of dirt, as if to speed the process of bringing in a new stage for their work.

To conclude the festivities, the Phoenix had its old bird-from-the-flames logo symbolically “destroyed” with an appropriately-decorated pinata, full of candies wrapped in the new logo, and prizes supplied by sponsors — including tickets to upcoming Phoenix shows. Several in attendance took got swings in before the party favor shattered to cheers all around.

For information on present and future shows, as well as the new location and Capital Campaign, go to www.phoenixtheatre.org.KIMG0575

The generosity ‘The Open Hand’ and its consequences on Phoenix stage

By John Lyle Belden

While most of us like to think of ourselves as generous people, we forget how deeply ingrained our capitalist culture is in our psyches. We give to get. When we receive, there is a price, even if it’s “free.”

The notion of something-for-something, and making sure two parties are “even” need not apply just to events that are deep or life-changing. What do you do when someone gives something to you, truly expecting absolutely nothing in return?

This is question drives the plot of “The Open Hand,” a play by Robert Caisley at the Phoenix Theatre through May 14.

Allison (Leah Brenner) seriously wants no presents, or even acknowledgment, of her upcoming birthday. We are unsure of her vocation, as may be she, admitting, “I majored in indecision.” But her fiance Jack (Jay Hemphill) is a talented chef and aspiring restaurateur. Her friends Todd (Jeremy Fisher) and Freya (Julie Mauro) are at crucial points in their careers – he is a car salesman who hates his job and she is a wine expert about to potentially win a highly-lucrative position. All four are full of potential, but their hopes for a lucky break are overshadowed by fear that they haven’t earned it.

One day, after Allison is accidentally left at a restaurant with the check and no money, a curiously friendly man, David Nathan Bright (Charles Goad), steps in and pays the bill. As it had started to rain, he also gives her his umbrella, then exits.

Allison is so stunned by this generosity that she can’t bring herself to tell Jack about it, until later, giving the impression that she had done something wrong. When she, by chance, comes across David again, she offers to do something to repay him, but he sees no need. She finally invites him to a gathering that is “coincidentally” on her birthday. But when he arrives, his generosity becomes even more casually extravagant. This does not sit well with anyone.

This drama, with lots of comic elements, has surprising depth as we see each character’s relationship with giving, receiving and obligation (real or imagined), including hints into David’s mysterious backstory. It is also an interesting look at the different perspectives between the haves and the have-nots – or in this case, the wish-to-haves.

Goad is in his element, bringing gentle gravitas to a character that is all subtlety. Brenner, too, embodies the complexity of her role. Fisher, Hemphill and Mauro all ably portray explosive personalities with fuses of varying shortness.

Whether it is better to give than receive, this play suggests it might also be easier. The Phoenix is at 749 N. Park Ave. (corner of Park and St. Clair) in downtown Indianapolis. Call 317-635-7529 or visit http://www.phoenixtheatre.org.

Phoenix’s ‘Sex’ about changing more than one’s clothes

By John Lyle Belden

A play with a title like “Sex With Strangers” can’t help but set up questions and expectations about what you are about to see. Then, when you peek at the program, and it stars just two people?

Prepare to be pleasantly surprised.

Angela Plank is Olivia, a struggling writer who has resigned herself to a career teaching. But a friend lets her use a remote cabin where she can work on her new novel in peace. Enter Brandon Alstott as Ethan, another writer in search of direction, who also knows the owner of the cabin.

Published as “Ethan Strange,” the young man got his start with a blog called “Sex With Strangers,” which cataloged his escapades – some true, some exaggerated – in a year of freely indulging his lusts. This led to two racy books and a movie deal, but he feels the need to do something more literary.

The theme of this 2014 drama by Laura Eason is change: Can a casual misogynist change his stripes? And is it possible to get a second chance at your dream career? Ethan can’t help but employ his well-practiced seduction on Olivia, who can’t help but respond. He makes her face her fears, and in turn she finds things turning out better for her than she dreamed. But does she, in turn, owe him for this – and what is the price?

The surprising depths of this two-act duet inspired some intense discussion as Wendy and I talked afterward about how we would approach this review. We saw thematic elements of “The Shape of Things” and even “Pygmalion,” but this does tell its own story, while making the publishing business somewhat interesting (like when it’s a subplot in a Stephen King novel).

Plank and Alstott have great chemistry, and connect well with us, so that we feel for Olivia’s struggles and are even a little disappointed in Ethan in those moments he comes off a bit creepy.

While the characters do get intimate, that happens offstage – it’s more of a “PG-13”or light “R” story about sex, and so much more. Playing through April 9 at the Phoenix Theatre, 749 N. Park Ave. in downtown Indy. Call 317-635-2381 or visit phoenixtheatre.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.

‘The Lord’ commands center stage in divine comedy at Phoenix Theatre

By John Lyle Belden

Scot Greenwell – the talented and popular gay Hoosier character actor and star of plays including “Santaland Diaries” and “Buyer and Cellar” – has not been himself lately.

In fact, it appears that the spirit of The Lord Almighty, in his “mysterious ways,” has taken over Greenwell’s body to bring audiences His divine message in “An Act of God,” through March 12 at the Phoenix Theatre in downtown Indy.

And God must have a sense of humor, as He has angels Michael and Gabriel take the forms of local actors Joshua Coomer and Michael Hosp, respectively. Michael is intermediary with the audience members, finding and relaying their questions, while Gabriel takes care of handling holy scripture, which includes the Lord’s new and updated Ten Commandments.

Those commands include a couple of old classics, plus some directives that just might surprise you. As He works his way through the list, He recalls the events of the Bible from His perspective, including his dealings with son Jesus Christ and the boy’s crazy idea of going to earth to die for humankind. He reveals that since we were made in His image, and we humans have deep issues, imagine how deep His go?

Needless to say, this show is thought provoking, while fortunately very laugh-provoking, thanks to its original Broadway inspiration through the pen of Emmy-winning Daily Show/Colbert Report writer David Javerbaum. God-as-Greenwell reflects back to us common beliefs on issues such as Creation and Old Testament justice in such a way that one feels challenged, no matter what you believe, letting us decide whether the divine tongue was in cheek. For instance, He relates that the universe is truly only thousands of years old and He faked the dinosaurs, but on the other hand, in the beginning the first people were actually Adam and Steve.

In all, this single 90-minute Act is highly entertaining, and even leaves you with an uplifting message at the end. To get your opportunity to be in this show’s divine presence, call 317-635-2381 or see www.phoenixtheatre.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.

New Phoenix play cuts to the bone

By John Lyle Belden

A simmering stock of ethnic tensions and personal demons, seasoned by today’s political attitudes, steams on the surface of a downtown Manhattan restaurant kitchen. But add an ingredient of the dark side of recent history, and everything could boil over.

That is the recipe for “How To Use A Knife,” the new drama by Will Snider, produced as part of a National New Play Network Rolling World Premiere under the direction of Bryan Fonseca at the Phoenix Theatre in downtown Indianapolis.

Michael (Rob Johansen) is a total euphemism-for-anal-sphincter, but he is true to his friends, especially George (Ryan Artzberger), whose addictions helped destroy his career as a world-class chef. But Michael has a restaurant in New York’s Financial District, and hires George to take charge of its kitchen.

Fortunately, the food preparation already goes smoothly, thanks to a pair of Guatemalan cooks (which Michael blithely calls “Mexicans”), Carlos (Carlos Medina Maldonado) and Miguel (Wheeler Castaneda*). Jack (Tommy Lewey), the “runner” who takes the dishes out to customers, is marginally competent, and dreams of being a writer without having penned a single word. Steve (Ansley Valentine), an African immigrant, quietly mans the dishwashing station.

Of course, things start to change. George berates Jack at first, but then mentors him. We discover Steve speaks English quite well, and he meets with George after hours to learn how to cook. Steve reveals to the chef that he is Rwandan, but his involvement in the 1994 genocide was to help stop it. But soon, an Immigration officer (Chelsea Anderson) visits the restaurant with a disturbing revelation.

While an intense, thought-provoking drama, the show is leavened with workplace humor, especially in interactions with the Guatemalans. Miguel is the type of person who deflects stress with humor, and despite the fact that he speaks almost entirely in Spanish, Castaneda’s expressions and delivery help bring on much-needed levity. Carlos easily weaves from joker to deadpan serious, revealing surprising complexity in a supporting character.

Artzberger and Valentine, being at the center of the story, deliver exceptional performances. Each character embodies deep contradictions: George is barely-contained chaos with a noble, potentially heroic, soul; while Steve has mastered a form of inner peace and is able to share that gift, despite his horrific history. Each has dealt with their past in their own way; they find themselves tested, with consequences that go far beyond themselves.

Don’t be surprised if – as with Phoenix’s previous show, “Dogs of Rwanda” – after seeing this you find yourself thinking more about the pain of people in faraway lands, maybe even Googling what happened, and realizing how that comes home to connect to us as fellow members of the human family. For this reason, it might be good to see “How To Use A Knife” at the Sunday, Jan. 29 performance, which is followed by a talkback discussion with the cast and crew.

The play runs through Feb. 12 at 749 N. Park Ave. (corner of Park and St. Clair near Mass Ave. downtown); call 317-635-7529 or visit www.phoenixtheatre.org.

The Phoenix is also accepting donations of unopened spices at the box office, which will be given to the Second Helpings anti-hunger organization, during the run of the play.

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

*EDIT: Person playing this role was misidentified in earlier version of this story.

Rwandan genocide haunts its survivors

By John Lyle Belden

There can be no forgiveness without confession, and confession not only gives others the opportunity to forgive, but also allows one to forgive himself. This theme is explored powerfully in “Dogs of Rwanda,” a new one-person drama by Sean Christopher Lewis at the Phoenix Theatre in downtown Indy.

David stands before us, telling us of a rite of confession used in Africa in which the whole village must hear a person’s sin. He informs us we are now his village.

In his teens, David eagerly followed a girl all the way to Africa on a mission trip. They were on the border of Rwanda in April 1994, when one tribe turned on another and tried to wipe it out – every man, woman and child – a hundred-day genocide that killed at least a million people. David and the girl found themselves caught up in it, while aiding a young Rwandan named God’s Blessing. Back home in Ohio, David worked through the traumatic events he had witnessed by writing journals, which many years later he turned into a book.

God’s Blessing saw the book, and sent David a note, saying it did not contain the whole truth.

Resisting the idea that he had to return to Rwanda, David seeks out a forgiveness rite in Hawaii, but it only makes his situation worse. So he goes back to Africa.

“Around here nothing stays dead very long,” he is told as he accompanies God’s Blessing on what David refers to as a “tourism of atrocity,” arriving at a place neither of them want to go, but both need to revisit.

Rob Johansen gives voice to David – and through him, God’s Blessing – in a powerful story inspired by the actual events of 1994 and their impact on the people who survived them. Johansen disappears into the characters, helping us to feel the suffering of their souls and their need for understanding and absolution.

As it gives a perspective on world events even those who saw the news in the ‘90s didn’t know, this play can raise many questions. After every performance (8 p.m. Friday and Saturday, 2 and 5 p.m. Sunday) there is a talkback discussion with Johansen and director Bryan Fonseca, open to questions and comments from the audience.

The Rwandan genocide is also a theme in the Phoenix’s next play, “How to Use a Knife,” also starring Johansen, opening Jan. 19.

The Phoenix is at 749 N. Park Ave. (corner of Park and St. Clair, near Mass Ave.); call 317-635-7529 or visit phoenixtheatre.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.