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Center Stage: #PrideAndPrejudice gets upgrade

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By Wendy Carson      

With all the various Holiday shows on stages right now, Center Stage Community Theater brings us an alternative with a rollicking interpretation of a Jane Austen classic, “Pride @ Prejudice,” by Daniel Elihu Kramer. The show presents a more internet-savvy version of the story including clickbait asides, historical tidbits, and even merchandise for sale. It felt something akin to a Fringe Festival production.

The cast consists of five actors, all portraying various characters in the novel, except for Trinity Pruitt in the single role of main character Elizabeth Bennet, while Adrian Blackwell plays the snide Mr. Darcy and the sleezy Mr. Collins – though there are a few times that a cardboard standee also portrays Mr. Darcy. Given the plethora of characters remaining for Kat Krebs, Todd Isaac, and Tanya Haas, director Matt McKee opts to elevate stage manager Ava McKee to also portray various servant roles and show scene changes.

The story remains unchanged but with frantic pacing and rapid narration, bring about some background commentary that might change your feelings towards some of the characters. The script also incorporates letters from Jane Austen herself to further flesh out the times and situations. Therefore, the show is a very good primer for those unfamiliar with the novel. However, Austen purists made find the irreverence to be off-putting.

Overall, the show is a delight, and the entire cast is fantastic. Highlight performances, for me, were Krebs as Lady Catherine, Blackwell as Mr. Collins, Isaac as Mr. Bingley and Mr. Gardiner, Tanya Haas as Miss de Bourgh, and, of course, Pruitt as Elizabeth.

So, if you’re looking for something different yet still enjoyable this season, head over to Lebanon and catch this top-notch offering.

Performances are Friday through Sunday, Dec. 12-14 and 19-21, at 604 W. Powell St., Lebanon. Get information and tickets at centerstagecommunitytheatre.com.

IRT’s unique and traditional ‘Carol’

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By John Lyle Belden

After a recent performance, the cast of “A Christmas Carol” at the Indiana Repertory Theatre was asked, what percentage of their script was the words of original author Charles Dickens?

While it’s difficult to get a precise number, IRT regular Rob Johansen – who returns to again play Ebenezer Scrooge – is certain it is over 90 percent. The rest came from the hands of past artistic director Tom Haas, he said, “a great writer.” A copy of the Dickens novella, which Haas filled with margin notes and line markings as he adapted it in the 1980s, was recently rediscovered and is on public display at the theatre.

To this process, add director Cara Hinh, who finds a fresh approach with emphasis on scenes that are not always played. I sensed, especially in the first half of the show, a little more humor; however, the spooky and tragic aspects get their moments as well. The familiar story is intact, but note the details. “Know them better,” as it were.

The style of this Indy holiday tradition is the same: A full cast, playing various characters, narrate as they perform their roles, working on a spare stage covered in drifts of “snow” with a few necessary props and setpieces, such as the old metal frame that serves as the office of Scrooge & Marley. Hinh’s staging again makes liberal use of the trap doors, with the elevator-style entrance in the center presenting the Cratchit table. Others are used to great effect, especially in the Ghost of Marley’s visit, and in the final tombstone reveal.

Apparently, according to a post-show discussion, the concept of the production is that an old theatre has lost its roof, leading to the snowy nearly-bare abandoned stage, upon which Spirits of Theatre and/or the Holiday walk the boards to tell once again this Victorian classic. This is reflected in the audience seeing, in shadow, the actual back wall of the old Indiana Theatre, with its nearly forgotten pillars.  

Hernàn Angulo makes a splendid IRT debut as poor Bob Cratchit. We also welcome stage and screen actor Cleo Berry as a Ghost of Christmas Present who is both boisterous and no-nonsense. Natasia Reinhardt returns as Christmas Past, really working the Jack-Frost costume by Linda Pisano. Ryan Artzberger reprises Marley’s Ghost, as well as ol’ Fezziwig. Kenneth La’Ron Hamilton is again Nephew Fred and Young Scrooge – the former irrepressibly cheerful, the latter with his goodwill steadily eroding. Other ensemble members are Jennifer Johansen, Alyssa Naka Silver, Kayla Carter, Kerah Jackson or Vivian Morton as Betsy Cratchit, and Sofia Perlaza or Cate Thomas as Tiny Tim (we saw Jackson and Perlaza).

Whether as a returning tradition or for the first time experiencing this exceptional rendition of a holiday favorite, see Charles Dickens’ “A Christmas Carol” through Dec. 24 at the IRT, 140 W. Washington St., in the heart of downtown Indianapolis. Get tickets and info at irtlive.com.

Issues of love and money vex ‘The Heiress’

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By Wendy Carson

Epilogue Players brings us an intriguing look at upper class life in 1850 New York with “The Heiress” by Ruth Goetz & Augustus Goetz.

Dr. Austine Sloper (Stan Gilliam) raised young daughter Catherine (Emily Reese Castro) well and it is time she should pursue a marital situation. While not unattractive, Catherine is socially awkward and is constantly reminded of her inferiority to her father’s sainted memory of her mother. She feels she has nothing to offer – except for her inheritance of $10,000 per year from her mother, with an additional $20,000 annually after her father passes (a sizable fortune in that era). Her widowed Aunt Lavinia Penniman (Cathie Morgan) is on hand to assist in helping Catherine gain confidence in herself.

During a dinner to celebrate the engagement of her cousin Marian Almond (Christian Taylor) to Arthur Townsend (Lawrence Wunderlich), she is introduced to his cousin, Morris Townsend (Brett Edwards). Thus begins a whirlwind courtship between the two and a pledge to marry. However, the doctor regards Morris to be nothing more than a fortune hunter seeking to take advantage of his daughter’s naivety. Desperate, Catherine plans to elope, even if it means losing her father’s inheritance.

As events play out, this comic melodrama takes interesting and unexpected turns. Overall, the show is an interesting look at the social strata of the pre-war North, and the cast all do an excellent job bringing their characters to life. I was very impressed by Breanna Helms’s turn as Maria, the Slopers’ maid, who was constantly able to say volumes about any situation with a single look.

The cast also includes Susan Yeaw as Marian’s mother (and Dr. Sloper’s sister), Elizabeth Almond; and Sarah Marone-Sowers as Morris’s sister, Mrs. Montgomery. The play is directed by Kathleen Clarke Horrigan with Jay Stanley, stage managed by Patti Boyle.

In Castro’s performance we get an intriguing profile of a misunderstood soul who eventually comes to understand herself. Edwards gives us the appearance of a very noble and flattering suitor – at first. The line between true devotion and selfish desire seems thin indeed. Gilham gives a sharp performance of a gentleman of the era, frank in his opinions but not without feeling. Morgan’s Lavinia isn’t shy about injecting her own notions of romance into the situation.

“The Heiress” has four more performances, Thursday through Sunday, Nov. 20-23, at 1849 N. Alabama St. (corner of 19th and Alabama), downtown Indianapolis. Reserve tickets at epilogueplayers.com.

Viva Carmel Players, where love is King

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By Wendy Carson

Director Nicole Amsler and Carmel Community Players approach the Holiday season by giving audiences the gift of joy with their hilariously quirky offering, “Four Weddings and an Elvis,” by Nancy Frick.

Centering around Sandy (Veronique Duprey) and her Las Vegas wedding chapel, we are privy to four incredibly diverse sets of nuptials. Sandy herself is on Marriage No. 4 to the same man, Ken, who is never seen but is always present.

Beginning with Bev (Audrey Duprey) and Stan (Mark Livingston), who have flown out from the East Coast to marry each other as vengeance against their exes – who also plan to marry each other. They chose to have their wedding live-streamed to the exes and with Ken, Sandy’s usual minister, being passed out drunk, opt to use a nearby chapel’s minister, John (Joshua Payne-Elliot).

Sandy then hires Lou (David Dessauer) to be the new minister, but his age keeps her questioning if he can really pass for Elvis. They are to officiate the low key, high publicity, marriage of fading stars Vanessa Wells (Amanda Falcone) and Bryce Cannon (James Kenjorski) – both desperate to get their careers back on track. Sadly, the press and paparazzi decline their invitations.

We then meet Marvin (Jacob Bradford) and Fiona (Kelly Melcho), an extremely unlikely pair. He, an expert in everything regarding the Post Office, will wed her, an ex-con with a wild and colorful past. Their bliss is briefly interrupted by the arrival of her past boyfriend, Fist (Gregory Roberts), who broke out of prison to get his girl back. Hilarity – and a police standoff – ensues.

About a year later, we return to the chapel for the final wedding. It seems Sandy is ready to take the plunge for a fifth time, and all the previous characters return to celebrate with her.

Veronique Duprey maintains her charm throughout with the air of a Sin City sister who has seen it all, while the others indulge in all manner of silliness. However, these hopeful romantics indulge in these events without cynicism – each character, in their own way, wants love.

Amsler is assisted by Grant Bowen; Samantha Kelly is stage manager.

Will Sandy make it down the aisle? Will we finally meet Ken? How are the others’ relationships working out? And finally, who is the uncredited “Elvis”?

These questions and many more are answered by attending “4 Weddings and an Elvis,” Thursday through Sunday, Nov. 20-23, at The Cat, 254 Veterans Way in downtown Carmel. For tickets and info, see carmelplayers.org.

Solid ‘Salesman’ in Westfield

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By John Lyle Belden

Nearly everyone has heard of Arthur Miller’s “Death of a Salesman.” If for nothing more, it’s known that this Pulitzer-winning drama is regarded as one of the greatest plays in the English language, with its titular lead Willy Loman ranking with Shakespeare’s Hamlet as a role that defines a great actor. However, I confess I had not seen this play until the current production by Main Street Productions in Westfield.

Directed by Kelly Keller, this staging more than lives up to the work’s reputation. Though it takes a full three hours, its pace and substance fill every minute with meaning. To quote Miller’s script, “Attention must be paid.”

Aaron Moon plays Loman, a traveling salesman who lives in Brooklyn while working the entire New England region. More than 30 years on this circuit has affected him, yet he remains upbeat, smiling big and talking bigger as always. But now there is sadness in his eyes while he speaks triumphantly, mostly of past events – increasingly to people only he can see.

This worries his wife, Linda (Susan Hill), who is also growing frustrated with adult sons Happy (Broden Irwin), who shows no signs of settling down from his playboy lifestyle, and Biff (Connor Phelan) who, while doing all manner of jobs in several different states, has not settled into a productive career path.

The scenes blend this present and Willy’s vivid reminiscing of the past, when his sons were teens, eager to please their old man. The memories especially stick around the time that Biff played in a high school championship football game with college scouts in attendance. These moments include the boys’ schoolmate Bernard (Mike Sosnowski) and his father Charley (Jim Gryga), who remain the Lomans’ friends in the later times.

Willy also remembers his brother, Ben (Tom Smith), who “walked into the jungle, and… walked out rich.”

The cast also includes Jonathan Rogers as Stanley, the waiter at the Chop House, Erin Keller and Desiree Black as two ladies who Happy and Biff meet there, Tanner Brunson as the son of the man who first hired Willy (and is now in charge), and Kristin Hilger as “The Woman.”

This parable from the late 1940s still resonates today with our current hustle and grind culture, coupled with an uncertain job market, as well as anxieties ranging from the personal to society in general. For those who struggle, “fake it till you make it” can only go so far, especially when one can no longer tell the illusion of success from the real thing. Compounding these issues, the play also features themes of mental illness and suicide. The title is not a metaphor.

Moon delivers an award-worthy turn as Willy Loman, a mensch you feel for and fear for as we witness his frustrations, optimistic delusions, and decline. Hill is also stunning as his wife, desperate to bring some sense of stability back to a family that had always been on shifting ground. Irwin’s Happy, in living his own way, is more like his father than he thinks. Phelan is exceptional as conflicted Biff, expressing the strain between expectations that diminish him and a life of freedom that would apparently disappoint those he loves. Smith’s dignified calm speaks volumes.

Excellent set design of the Loman home is by Jay Ganz. The lighting, designed by Stephen DiCarlo and operated by Scott Hall, neatly helps emphasize shifts of time and perspective. Tanya Keller is stage manager.

Remaining performances of “Death of a Salesman” are Thursday through Sunday, Nov. 20-23, at the Basile Westfield Playhouse, 220 N. Union St. Get tickets at westfieldplayhouse.org.

Reckoning ‘The Price’ in Bloomington

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By John Lyle Belden

Playwright Arthur Miller is having a moment in Indiana this year. We recently had a production of “The Crucible” in Indy, and the show about the “Salesman” is opening in Westfield (watch for our take on that next week).

Meanwhile, the Jewish Theatre of Bloomington presents one of Miller’s lesser-produced plays, “The Price,” an emotionally gripping drama inspired in part by his own family.

How do you catalog a life, or even one that might have been? In 1968, Victor Franz (Jonathan Golembiecki), an NYPD Sargeant turning 50 and considering retirement – which would thrill his wife, Esther (Abby Lee) – is faced with needing to move or sell his late father’s belongings. The man had died years earlier, but these things were kept in an attic of a building about to be condemned. The items mostly date back to when the family lost their fortune in the 1929 Wall Street crash, left there largely ignored while the Franzes struggled through the Great Depression.

Victor and Esther are meeting with an appraiser, Gregory Solomon (Ken Farrell), to discuss a price to take the entire lot. There is some concern that Victor’s estranged brother Walter (Stephen Hunt), a very successful doctor and researcher, will show up to demand his half of the estate, but calls to him have gone unanswered. Naturally, he will be making an appearance midway through the play.

It’s that simple, and that complex.

“It’s impossible to know what’s important,” Victor says. While Solomon insists they concentrate on actual value over sentiment, it is difficult to price these decades-old artifacts – a harp, a gramophone, a fencing foil, a shiny evening gown or even the hardwood dresser it hangs in. Still, that which most needs to be settled is not financial. Walter’s success has come at its own dear price, and Victor is calling the debt.

One critique when this premiered on Broadway was that there was too much talking, but this drama has a lot to say. In the skilled hands of this cast, directed by Dale McFadden, we are fully engaged in this conversation, sparking with sibling tension while leavened with a bit of dry Jewish humor.

Golembiecki delivers an excellent performance of a man nearly paralyzed by uncertainty. His own life is at a decision point while dealing with the consequences of past changes. Coupled with the reintroduction of his brother, he is reminded of what could have been a different and perhaps better life. Instead he chose a life of service to others, and especially his father – was he a fool to do so?

Lee presents a woman growing impatient with her husband’s reluctance, desiring that things will finally break their way. Still underneath her tension is a fierce devotion, and love.

Hunt’s Walter keeps us off balance regarding the expectations we are given of his character. He appears to struggle with a recently found need to develop a sense of empathy, to reconcile his great success with one who sacrificed. His assertive ego only lets him change so much, if it is genuine at all.

Farrell is solid, giving perspective and humorous relief while floating lightly above Jews-and-money stereotypes. He demands respect while seeking not to offend so that in the end, everyone gets a deal they can walk away from.

A vital part of this production is the attic set, neatly surrounded by put-away furnishings and reminders of the past, brilliantly arranged by set designer Bobby Ayala Perez with prop masters Danielle Bruce and Nicole Bruce. Through this, the spirits of the Franz parents seem to haunt the surroundings.

While the laughter is mostly on a nearly-forgotten novelty record, there is a kind of enjoyment from seeing such a notable drama so well performed. Remaining performances are Saturday and Sunday, Nov. 15-16, in Rose Firebay in The Waldron Arts Center, 122 S. Walnut St., Bloomington.

Get info and tickets at jewishtheatrebloomington.com.

OnyxFest: Love in Unjust Times

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By John Lyle Belden and Wendy Carson

The annual OnyxFest, a showcase of works by new and emerging African American playwrights, returned recently to the IF Theatre in downtown Indianapolis.

Produced by Africana Repertory Theatre of IU Indianapolis (ARTI), there will be another weekend of performances, Friday through Sunday, Nov. 14-16, at Basile Theatre of Herron School of Art & Design, 735 W. New York, St., Indianapolis.

For the first time, the festival has a theme, “Love in Unjust Times.”

It is also dedicated to the life and legacy of the late Vernon A. Williams, including a revival of his timeless script, “Sonnets for my Sistahs,” directed by Charla Booth, joined in performance by Jalen Anderson, Mutulu Ekundayo, Michelle Mimms-Duchan, Megan Simonton, and Deont’a Stark. As the title suggests, this is a series of poetry and monologues expressing various aspects of love, relationship, and man- and womanhood.

The other four are new works:

“ANTINIKA” written and directed by McKenya Dilworth-Smith – This work in progress shows amazing potential. Inspired by current political events, though existing in a parallel America with its own complexities and scandals, Antinika (Courtney Nicole) finds she must stand up to her father, President Keon (Jay Fuqua), to restore the honor of her slain brother. The cast includes Marlinda Tyson Haymon, Tiffany Dilworth-Upshaw, Wilbert Dowd, Savvion Carter, and Marlon C. Mack, Sr., as “Dr. T,” the president’s fixer. This play has eloquent soliloquies on family and politics, clever flag-based costuming, and a level of intrigue worthy of ShondaLand television dramas.

“The Hands of Banneker” a “Timepiece” by Malique Guinn, directed by Edward Strickling, Jr. who performs as the spirit of Benjamin Banneker, the free African-American man known for helping survey the borders of the District of Columbia. This theatrical journey through his life focuses on his scholarly pursuits, including building a functioning wooden clock from scratch by scaling up the dimensions of a pocket watch. With softly poetic delivery, he speaks of “the anatomy of time,” as well as “the anatomy of love” for Lydia (Taylor Franklin). The cast includes Bill Myer and Destineè Fitzpatrick as Benjamin’s parents, and Anthony Winfrey.

“Momma, I Just Want Love” by Brittany Cherelle, directed by Heather Strain, is an emotional examination of the lives and longings of two women. Angel (Cherelle) has a mother (Keisha Tompkins) who is godly, while CeCe (Tiana Edmond) has a mother (Dwuna Henton) who is surly and abusive. Angel is doing well at life, but terribly in relationships, such as the latest bad date (Eric Washington). CeCe has a supportive husband (Joshua Bruton), but living with constant maternal disapproval is becoming too much to bear. Faith and mental wellbeing are both pushed to the edge.

“The Sassy Seniors of Ryder Manor” written and directed by Ebony Chappel is sort of a Black “Golden Girls” with a mission, as headstrong Ginnie (Tracey Middlebrooks Wynn) leads Kelly (Dr. Cie Johnson), Jackie (Marlene Johnson), and Catherine (Andrea “Sapphyre” White) in a quest to replace the closed youth recreation center for her grandson Dante (Jonathan Amir Murray). Karen Thomas joins the cast as the local Councilwoman this weekend; Chappel played the role in the first performances [Note: This is a correction from the originally published casting]. This little play is funny and uplifting, a perfect counter to the more serious content of the other works.

Each of these productions is a gem on its own, however seeing as many as possible is recommended, especially to encourage more amazing new works.

For more information and tickets, visit indyfringe.org or ARTIpresents.org.

4th Wall: The depths of ‘Heights’

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By John Lyle Belden

November’s chill extends the desolate feeling of the Halloween season, a perfect time to indulge in the haunting story of “Wuthering Heights,” presented by 4th Wall Players in Irvington.

Founding member Alan Keith has adapted Emily Brontë’s gothic novel by taking a keen scalpel to the complex story of life and death on the Yorkshire moors of northern England in the late 1700s. His focus is on the dysfunctional, tragic relationship between Catherine Earnshaw and the orphan Heathcliff, with sufficient other adult characters to tell the story.

Katie Endres plays housekeeper Nelly Dean, whose role as narrator in the novel is reflected in her being a mainstay throughout the play, witness to all while unable to affect the course of events. Her compassion helps us to care for the damaged souls she serves.

We open with a series of scenes to establish the upbringing of siblings Catherine (Sarah Powell) and Hindley (Albert F. Lahrman III), along with Heathcliff (Alec Cole), whom Mr. Earnshaw (Stephen Taylor) found in Liverpool and raises with his children. From the start Catherine and Heathcliff become devoted to one another, enraging Hindley, who, upon returning from university to take over Wuthering Heights after their father’s death, banishes Heathcliff to the servant’s quarters. Hindley and his wife Francine (Isabel Moore) are continually abusive, which – on top of a boyhood humiliation at the hands of Hindley and neighbor Edgar Linton (Luke Proctor) – fuels Heathcliff’s simmering desire for revenge.

As for Catherine, she is to become Edgar’s bride. Overhearing her telling Nelly she must accept the proposal, Heathcliff sees this as betrayal and leaves. He returns, three years later, as a gentleman – but his intentions are not gentle as he seduces and marries Edgar’s sister Isabella (Ellie Hooven).   

Emotions and unresolved angst are heavy as the mist upon the moors, where ghosts will walk when this story is done.  Note this drama also contains violence, abuse, and suicide.

The cast portray a whole catalogue of psychological issues. Cole gives a poignant portrayal of a person so focused on vengeance he cannot accept the successes of his life, instead sacrificing them as tools towards his dark vision of justice. His blend of wronged hero and conspiring villain evokes both pity and fear. As for perpetually immature Catherine, Powell gives us the girl who wants both the adventure of Heathcliff and reliability of Edgar, without fully committing to either. Playing with others’ emotions wears on her own, critically endangering her health.

Hooven is exceptional as a woman caught in the middle of these dark doings, bearing up as best she can, her only redemption being in survival.

As for men who could have been so much better people, Lahrman gives us a Hindley so used to having to demand respect, he squanders his inherited moral high ground with his anger and addictive vices.  Meanwhile, Proctor’s Edgar is the man who would be rather dashing and happy in an Austen novel – alas, this is Brontë, and here his airs come off as spineless, doomed to find only misery.

An excellent edit of a classic story, “Wuthering Heights” has three more performances, Friday through Sunday, Nov. 14-16, at The Backlot Theatre (formerly Stage Door), 5635 Bonna Ave., Indianapolis. Information and tickets at 4thwallplayers.org.

‘Strange Things Happening’ at IRT

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By John Lyle Belden

I first encountered Sister Rosetta Tharpe the way I’m sure a lot of people these days have – on the Internet.

Several years ago, among the must-see viral videos, there was black and white footage of a black woman dressed for church, but playing a Gibson electric guitar with wild rocking riffs, in the 1940s. Her musicianship and dedication to bringing life to gospel music and spirit to pop left an incredible legacy. While it can be said that without Sister Rosetta, there may not have been a Tina Turner or Beyoncè, that can also be extended to Eric Clapton, Keith Richards, Jimi Hendrix, Meat Loaf, and Prince – to name but a few. While she had no children of her own, she provided the mitochondrial DNA of Rock ‘n’ Roll.

Now you can see her on the Janet Allen Stage in the upper floors of the Indiana Repertory Theatre, in “Marie and Rosetta.”

Directed by Christina Angeles, who admitted she had to do some “intense Googling” to get to know Tharpe’s music and life story, we find where “This Train” of life has led Rosetta (Cherish Love). In a funeral home in Mississippi, undisturbed and with a handy piano, this will be her rehearsal space before heading to whatever barn or warehouse local Black folks feel safe to gather in to hear her perform. Her meal will be whatever the local church provides. As for her bed, “I’m kind of a casket girl, myself,” she jokes.

Fortunately, her bus driver is white, a big asset in the Jim Crow South.

With her is her new co-star, Marie Knight (Jaela Cheeks-Lomax). Marie had been a backup singer for gospel superstar Mahalia Jackson but upon seeing her talent, Rosetta immediately signed her for her own tour. As the rehearsal gets under way, Marie comes to understand that this isn’t a back-up gig. Sister Rosetta considers them equals, not just as God’s children, but as musicians and singers, with Marie’s piano proficiency complementing Rosetta’s guitar, and their voices sharing in duets, call-and-response and harmony. With affection and often-tested patience, Rosetta gets Marie to loosen up and accept that God doesn’t mind humor, or even a spirited boogie-woogie beat.

Throughout this performance, we see Rosetta with her flat-top and electric guitars and Marie at the keyboard treating us to a dozen hits including “Rock Me,” “Tall Skinny Papa,” and “Strange Things Happening Every Day.” As these women get to know each other, we get their stories as well, gently educating us on a life it feels like we should have already known.

Love embodies Sister Rosetta with a sense of genuine Christian love coupled with the strength of a woman who knows herself well and sees where she believes The Lord wants her to go. Cheeks-Lomax gives us a Marie who is endearing but still unsure of herself, having been consigned to a backup role prior to this moment. We see her emerging into the star she will become (both in this tour and as a solo gospel performer in coming years).  This is one of those shows that when I look back on it, I have to remind myself these are actors, speaking from a script by George Brant.

Though Sister Rosetta Tharpe now resides in Heaven, it seems I have encountered her spirit again. See and hear “Marie and Rosetta” through Nov. 23 at the IRT, 140 W. Washington St. in the heart of downtown Indianapolis. Get info and tickets at irtlive.com.

Poe’s ‘muse’ inspires new play

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By John Lyle Belden

For this year’s Halloween festivities in Irvington, local playwright Breanna Helms took on an intriguing question: What if the “Lenore” in Edgar Allan Poe’s poems was an actual woman? The result is the short play, “The Silent Muse,” presented by 4th Wall Players in late October, directed by Josh Gibson.

Poe published the poem “Lenore” in 1843, and more famously, “The Raven,” in which the dead Lenore is longed for, in 1845. They were carefully crafted literary works allegedly not inspired by any singular person, but that death came easily for many in the 19th century, including many of Edgar’s relatives, and soon his sickly young wife, Virginia.

In this alternate history, Poe as a young struggling writer (played by Jy’lerre Jones) is acquainted with sisters Lenore (Emma Gedig) and Annabelle (Alice Graves the first weekend, Helms during the second), as well as their Mother (Tracy Herring).

Asked his opinion by Annabelle, Edgar romantically likens her to a calm pond that has become a wild sea (a hint towards how she would inspire her own poem). To his surprise, he finds Lenore lurking in a hollow tree that she likes to climb. Calling her a wood nymph, he proceeds to flirt with her in earnest – she being the unmarried sister.  

Soon, however, Mother brings around Guy de Vere (Kyvaille Edge), a proper wealthy suitor for Lenore’s hand. Seeing her place in society as inevitable, she agrees to his proposal.

True to an Edgar Allan Poe story, the marriage is not happy and our ending is tragic. Still, Helms makes this story beautiful and engaging enough for us to believe these events could inspire a masterpiece. There are even a few hints at the poem dropped through the narrative. The script is a neatly-written half-hour, which I feel could be revised to Fringe length (45-50 minutes) with no obvious padding. (This is why I’m keeping to my usual policy of avoiding spoilers).

Performances brought the story to life nicely. Jones shows great energy and potential with his acting journey getting under way; his restless Edgar longs for love and a better life and chafes at being seen as not worthy of the social circle he lives in. Gedig gives us a gem with facets including the “nymph” with her aura of unruly magic; the dutiful daughter and wife; and a soul somehow aware of the shadow of her limited future.

Hopefully, we will see “The Silent Muse” return, and more creative work by Helms in the future.

For now, 4th Wall dives back into the gloom with Emily Bronte’s “Wuthering Heights,” adapted and directed by Alan Keith, opening this weekend and running Nov. 7-16 at Backlot Makerspace and Venue (formerly Stage Door), 5235 Bonna Ave. Indianapolis (in historic Irvington).

Get info and tickets at 4thwallplayers.org.