Phoenix Theatre

Rwandan genocide haunts its survivors

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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.

Phoenix provides much-needed Xmas relief

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By Wendy Carson

2016 has been one of the most trying years for many people. Between political intrigues, celebrity deaths, the economy, family, and various other issues, we really need something to bring us out of this funk — and The Phoenix Theatre’s holiday show, “A Very Phoenix Xmas 11: I’m Dreaming of an Intersectionally Thoughtful, Multicultural Winter Holiday,” is just that. In the show’s 11th incarnation, we are provided with some escapism, harsh truths, many laughs, and thoughts to help us refocus on the positive still left in the world.

I was struck initially by the desolate stage presented. Garbage cans, steel beams, old tire, and fencing are among the mishmash of items that create most of the set pieces for the various vignettes.

The theme of the show seems to be Holiday Traditions throughout the world. Your host shares tales of some, and then some are presented for you to enjoy. Just remember, this is The Phoenix, and not everything here is as sweet as a candy cane.

The skits include a traditional song about a missing rabbit and a memorable Christmas dinner; an anxious traveler possibly encountering an angel of sorts; a surprising look behind the scenes at a popular Disney attraction; a variety of puppetry styles; winter solstice at Stonehenge; and a ’40s swinger version of a holiday classic, just to name a few.

The most stand-out piece of the show, though, was the immensely touching, “Homs for the Holidays” which shows you that peace, love, and the Christmas spirit can be found in the most surprising places, no matter where or with whom you are celebrating.

This year’s offering has no real audience participation but you are invited to sing along a time or two and yell out a few “Mad Libs” style suggestions. The show is also a lot more family-friendly this year (still not for all ages, but not risqué or as bawdy as past ones).

I really felt uplifted and filled with the holiday spirit afterwards. So, round up family and friends and head out for a nutty yet spicy take on this time of the year, playing through  Dec. 23 at 749 N. Park Ave. (corner of Park and St. Clair just off Mass Ave.), Indianapolis. Call 317-635-7529 or go to phoenixtheatre.org.

Finding secrets among the clutter

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NOTE: As the Word/Eagle is in flux with the renaming and corresponding change in official website, John is putting his reviews here — for now.

By John Lyle Belden

The Phoenix Theatre in downtown Indy presents a new approach to the haunted house story with “Static” by Phoenix playwright-in-residence Tom Horan.

The setting is a cluttered home laden with a collection of collections, gathered over time and rendering the space forever a place belonging to the past. Time and space blend with past scenes of aging couple Walter and Millie (Rich Rand and Jolene Mentink Moffatt) and present scenes of young couple Emma and Owen (Chelsey Stauffer and Ben Schuetz) occurring in the same space and, occasionally, at the same time.

Walter was a compulsive collector, constantly bringing things home for Millie, who used to appreciate them, but she became haunted – frightened mute and locked in a pattern of searching by a loss no object can make up for. Walter also collected sounds, putting them on dozens of cassette tapes. He eventually also started collecting thoughts, including his worries for Millie and concerns that he might have recorded ghosts.

Emma compulsively bought this old house in her home town, planning to renovate and resell it. But she finds the old tape recorder and cassettes, and, listening to them, realizes this is the home from a tragic local legend. She is amused by Walter’s collection of noises around the house, until she hears his worried entries and realizes she must know the whole story – but one of the tapes is missing.

Rand tugs our heartstrings as a man whose creed is, “I can fix it,” but struggles with things he can’t seem to make right. Moffatt displays a different aspect of her immense talent. In contrast to recent brash and funny roles, she excellently delivers a sad, disturbed soul. She almost never speaks, yet communicates volumes. Stauffer believably portrays the transition from simple enjoyment of a project to unshakable obsession, while Schuetz wrestles with growing impatience with the woman he loves. Eliot Simmons completes the cast as a younger version of Emma, in a scene that hints at deeper connections.

The play is more suspense than horror, with supernatural elements – lights flickering and locks rattling, etc. – but the full nature of the haunting stays elusive. I don’t want to elaborate for fear of spoiling the plot’s surprises, but while it’s appropriate that some aspects of the mystery stay with you long after viewing the show, the resolution of this story felt incomplete. Still, Horan’s drama is an interesting examination of loss and to what degree we own our possessions or they own us.

“Static” plays through Nov. 20 at the Phoenix, 749 N. Park Ave. Call 317-635-7529 or visit phoenixtheatre.org.

John L. Belden is Associate Editor at The Eagle (formerly The Word), the central-Indiana based Midwest LGBTQ news source.

How an orphan became a legend

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NOTE: As the Word/Eagle is in flux with the renaming and corresponding change in official website, John is putting his reviews here — for now.

By John Lyle Belden

The Phoenix Theatre in downtown Indy starts its season with the local premiere of Tony-winning play “Peter and the Starcatcher” – based on the book by humorist Dave Barry and Ridley Pearson – a prequel to the popular adventures of Peter Pan. The production is not a musical, though a few strains of song figure into the plot, and while maintaining panto-esque silliness, is not a roll-in-the-aisles comedy. Consider it a fantasy that refuses to “grow up.”

Fortunately, the Phoenix has a couple of regulars seemingly blessed with eternal youth: Nathan Robbins as the Boy without a name – at first – and Phebe Taylor as Molly, the girl who turns out to be the other half of the play’s title. They are easily the most complex characters, with the Boy’s justifiable distrust of adults and whimsical wish to always remain a child, and Molly’s intellect, desire for adventure and devotion to her noble eccentric father, Lord Aster, played by Paul Nicely. They also stand out as all other characters are mostly caricatures.

Being broadly drawn is just fine for our villain Black Stache (known by a more familiar name eventually), played with grinning gusto by Eric J. Olson. Other notable performances include Dan Scharbrough’s faithful and scene-stealing Smee; John Vessels Jr. as the “beautiful” Mrs. Bumbrake; Michael Hosp as simple and smitten Alf; Tyler Ostrander as Prentiss, the young “leader” no one follows; and Ian Cruz in multiple roles, including an unusual island native chieftan.

It felt to me at times the show tried too hard to be funny, especially with modern references sprinkled in which felt dissonant with the 19th-century setting, but overall the show is sure-fire entertainment, sure to make your heart and imagination soar.

The play runs through Oct. 23 at 749 N. Park Ave. For info and tickets, call 317-635-7529 or see phoenixtheatre.org.

John L. Belden is Associate Editor at The Eagle (formerly The Word), the central-Indiana based Midwest LGBTQ news source.

IndyFringe: An Alien of Extraordinary Ability

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By Wendy Carson

This is one of the most interesting takes on a magic show I’ve seen in a while. Simon Coronel not only shows you a simple trick, he shows you how it is done. However, this is immediately followed up by a similar illusion that is vastly more complex to help further amaze you at his level of skill.

His interactions with various audience members (yes, there is audience participation, but he does practice “consensual magic”) is a delight and even when you know what is going to happen or how the trick is done, his deft use of misdirection will always surprise you.

This is a great evening of magic for the whole family that will keep you laughing no matter whether you are seeking the truth or reveling in the wonder of it all.

Performances are Friday and Saturday, Aug. 26-27, on the Phoenix Theatre underground stage. Info and tickets at indyfringefestival.com.

IndyFringe: The Rhythm Chronicles

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By Wendy Carson

The Rhythm Chronicles strives to give the viewer a history lesson on the evolution of tap dancing in America. However, much of this is done through the use of a pre-recorded “conversation” between two disembodied voices. Not only is this device sluggish and often condescending, it greatly detracts from the dancing itself, which is the whole point of the show. Also, it doesn’t help that the voices speak over a dark empty stage, further making the show feel disjointed.

That said, let’s talk about the dancing. From the opening Irish step-dancer and African tribal performer, the dance numbers highlighted are wonderful. The skill, athleticism as well as the style are all excellent and the dancers are all a joy to watch. Each number builds upon the previous, leading up to a grand finale that is worth the whole ticket price alone.

Hopefully, Circle City Tap Company will find a way to rework this show with a better narrative tool so it can be the fully realized gem that the show should be.

And a note for hoofers of any skill: all in the audience are invited down to the stage at the end to join in the Shim-Sham Shimmy.

Performances are Friday, Saturday and Sunday, Aug. 26-28, on the Phoenix Theatre main stage. Info and tickets at indyfringefestival.com.

IndyFringe: Haul & Oatz

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By Wendy Carson

Let me start by saying this, there is nothing serious to see here. No deep message, no political agenda, nothing to reflect on. “Haul & Oatz: Time-Traveling Detectives” is just sheer fun and silliness for its own sake: A reflection on the tragic clothes, music and tropes that defined the ’80s music scene, as well as a terrific send-up of ’40s detective movies.

That said, if you are looking for a lot of laughs, this is the show for you. From the opening number (“The Exposition Song” done in the B-52s style) the show lets you know that nothing is safe nor taken seriously. The double entrees fly fast and freely as do the song lyrics (example: the police officer keeps saying, “Don’t stand so close to me”).

As I said after I first saw it, this is a strong contender for the funniest show of this year’s fringe. Miss out on it at your own peril.

Performances are Friday and Sunday, Aug. 26 and 28, on the Phoenix Theatre main stage. Info and tickets at indyfringefestival.com.

IndyFringe: Journey from Johannesburg

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By Wendy Carson

For a white child growing up in South Africa, the word Apartheid was never spoken about. Even so, it was ever present. While the privilege of his race afforded him much that others lacked, Toby Tobias still felt a deep love and connection to his homeland and only begrudgingly left it rather than serve the mandatory two-year term in the army enforcing its hateful policies.

Being the son of a Polish Jew, Tobias migrated to Jerusalem. During his time there, his life was again, idyllic. Even though tensions were rising among the Muslims and Jews, it was never evident in the daily life most of the country. He fell in love with the country as well as his future wife and felt he had found his homeland paradise. However, the Arab uprising of 1987 changed the country forever and he was forced to once again leave the land he loved, and this time move to America.

His life here has been challenging on many levels, but still satisfying. He still struggles to promote racial harmony and coherence as a society in order that we may all live together in peace.

His story is punctuated by hauntingly beautiful songs he has written to help convey his message. These pieces not only echo the political messages of singers such as Sting, Bob Dylan and Paul Simon, his voice sounds so much like them you will feel that you are actually listening the them perform.

So, if “Graceland” is among your favorite albums, do not miss this poignant tribute to love, understanding, and true harmony amongst all peoples.

Also, CDs of his music will be available for sale after the show.

Performances are 7:30 p.m. Friday and Sunday, Aug. 26 and 28, in the Phoenix Theatre underground stage. Info and tickets at indyfringefestival.com.

IndyFringe: Prodigal Hoosier

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By Wendy Carson

“Prodigal Hoosier” is a time-traveling trip told mainly through song.

We begin with a tender look back at Kevin Kelso’s music teacher and the lessons learned, far beyond just piano skills. The show then moves from tributes to famous mathematicians, his loving wife, his obsession with goals and plans to a “Fight Song” for the mythical Farmers Insurance University.

Kelso’s musical skills showcased are quite impressive. The song for his father, “You can take the boy out of Brown County, but you can’t take Brown County out of the boy” is a tender delight. Although my personal favorite number was his musical version of Shelley’s poem “Ozymandias,” simply because I love the source material.

Also, if you’re lucky, he might come out and do an encore song. Truly a delightful evening of joy and music for young and old alike.

Performances are 6 p.m. Saturday and Sunday, Aug. 27-28, on the Phoenix Theatre underground stage. Info and tickets at indyfringefestival.com.

IndyFringe: A Darkly Humorous Evening with Stephen Vincent Giles

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By Wendy Carson

I know we’ve all heard “The Raven,” and it’s hard to imagine anyone in Indiana not being familiar with “Little Orphant Annie” or the poems of Edward Gorey. However, most people have never really seen them fully enacted in the masterful was that Stephen Vincent Giles presents.

He skillfully interprets these works as well as many others, into a night of slightly spooky fun. Much like the ghost tales spun around a campfire, Giles keeps the lighting low and lulls you into a sense of wonderful whimsy just before shocking you with a scare. Utilizing minimal costumes and props he cleverly portrays the tellers of many of these tales in a wonderfully enigmatic light.

While none of the material presented is inappropriate for children, younger or more sensitive souls might be wary. Still, if aren’t afraid of the dark, have someone’s hand to hold when you get nervous, and like your humor on the darker side, this show is definitely for you.

Last performance is 3 p.m. Saturday, Aug. 27, at the Phoenix underground. Info and tickets at indyfringefestival.com.