play

At Center Stage, mature folks don’t always act that way

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By John Lyle Belden

Things don’t feel as perfect when you are past sixty.

“Mornings at Seven,” the title of a popular comedy by Indiana-born writer Paul Osborn, is a line from the Robert Browning poem that famously says, “God’s in his heaven – all’s right with the world,” reflecting a moment of perfection.

Presented by Center Stage Community Theatre of Lebanon, directed by Jan Jamison, the play presents the story of four sisters of a certain age still living in the same neighborhood (three of them sharing a back yard) in the 1920s.

In the home on stage left (audience right), Cora (Cathie Morgan) lives with husband Thor Swanson (Sydney S. Loomis) and never-married sister Arry Gibbs (Elizabeth Young-Collins), who was invited to stay with them 40 years ago, and circumstances just never changed.

On the other side of the stage is the home of Ida Bolton (Beth Popplewell), husband Carl (Scott Stockton) and son Homer (Ryan Moskalick). Up the street somewhere backstage is the home of oldest sister Esther (Molly Kraus) and her husband David Crampton (Rick Sharp), a retired college professor with a very low opinion of his wife’s family.

The opening scene conversations show these folks making a lot out of what little goes on in their lives, setting a tone of gentle eccentricity. This gets even odder with the arrival of Homer with his girlfriend of the last 12 years (the last five engaged), Myrtle Brown (Amy Keitt). He is 40, she 39, and there is even a house in town prepared for them, yet there seems to be no hurry for marriage and Homer moving out of his old room.

This atmosphere of general silliness contains some very serious issues. Esther makes a surprise visit in defiance of her controlling husband’s insistence she never see them. Meanwhile Carl has severe depressive “spells” in which he questions his whole life’s purpose. David arrives and haughtily declares his wife can no longer live on the main floor of their house. But with his background in philosophy, David takes interest in Carl’s laments and starts to mentor him – while exploiting his home-improvement skills to make his “crystal fortress” into a duplex.

As this goes on, Thor finds himself caught between Cora’s desire to have a future only with him and Arry’s fear of growing older alone. This hints at a deeper secret, which the other sisters feel they have figured out.

By the next morning, we wonder, will all be right with their world again?

This juxtaposition of issues that feel modern with the quaint atmosphere of early 20th century Americana makes for a narrative both charming and intriguing. Jamison relished the opportunity to give seven of the nine roles to older actors, who show themselves quite lively and capable of the ironic immaturity called for in a good comedy. Each presents their long-set quirks in entertaining fashion, even the “younger” roles. Moskalick’s Homer is practically a caricature of a “mama’s boy” (we’d see him as a bit on the spectrum nowadays), while Keitt’s Myrtle maintains impeccable manners and finishing-school charm while working to bring about her long-deferred nuptials. Throughout we see that age doesn’t alleviate fears, just reshapes them.

Performances of “Morning’s at Seven” are the evenings of Fridays and Saturdays, afternoons of Sundays, through Oct. 4 at 604 Powell St. in Lebanon. Get info and tickets at centerstagecommunitytheatre.com.

IndyFringe: Something funny going on

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This is part of the annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe 2026, held Aug. 13-23 in venues around downtown Massachusetts Ave. Information at indyfringe.org.

By John Lyle Belden with Wendy Carson

Reviews of: “All You Can Eat,” by American Lives Theatre; “Boy Meets Musical,” by Matt Day; “Breakneck Midsummer Night’s Dream,” by Timothy Mooney Repertory Co.; “The Matt Kraft Comedy Hour,” by Matt Kraft (and friends); “The Phantom of Diopra, IL,” by Diopra Arts Theatre; “Scouts’ Honor,” by Defiance Comedy; “Unalived & Lowkey Forgotten,” by Betty Rage.  

At IndyFringe, the sure-fire ticket sellers are the shows that make us laugh – sometimes at things we can’t believe we’re finding funny. From Shakespeare to new works, IndyFringe 2026 had quite the selection. Speaking of which:

All You Can Eat

American Lives Theatre gets into the act again with a one-act by Christopher Wittman, directed by Jacob David Lang, set in the first decade of the 2000s at a restaurant of a buffet pizza chain near a shopping mall on Black Friday.

Jaded workers Michelle and Luke (Evangeline Bouw and Dakota Reed), with upbeat young Crissy (Cara Wilson) – who just scored a new iPod Nano – are preparing for what will likely be a hellish shift, made worse by the idealistic new guy, Brandon (Henry Mumaw) being late. Manager Jerri (Zarah Shejule) puts on a brave face, has a sign made saying “No Black Friday Deals” (the buffet is already five bucks), and prepares for the worst (i.e. the customers).

This workplace comedy is an entertaining look at the pains of working fast food, seeking purpose in such employment, the ordeal of a trial-by-fire first day on the job, and the odd but genuine camaraderie these crew members share. Adding to this flavor, while Luke is out on an errand, Reed returns as various interesting and often frustrating customers, including the dreaded “Buffet Killer.”

It’s also a bit of nostalgia (the iPod Nano was introduced 20 years ago) to back when Black Friday and shopping malls were more of a thing, as well as the pizzeria we’ll call “DiDi’s.”  

This ALT production was a world premiere for Hoosier playwright Wittman. We could definitely go back for another slice.

Boy Meets Musical

(Review by Wendy Carson)

Note that you do not have to be familiar with the source material to enjoy this show, but you will miss out on a few of the inside jokes.

We begin with Jess (Elizabeth Enderle) watching TV when the announcement of a freak storm is approaching the area. She turns on her favorite show, “Boy Meets World” to watch.

It’s the start of Corey’s (Edgar Tisdale) senior year. He and the gang, Topanga (Kathleen Cicero) and Shawn (Sean Stroup) are looking forward to no longer having to deal with his big brother, Eric (Ryan Powell) and hopefully avoiding interactions with bullies Joey the Rat (Chase Cornelius) & Frankie the Enforcer (Josh Gregory). However, it seems that there is no escaping Mr. Feeney (Preston Dildine).

Suddenly, there is a strange flash of lightning and our main characters, as well as a few other sitcom stars (Morgan Roof and Zachary Adkins), are transported to the current time and place. They enlist Jess’s help to find out what happened and get them back to where they belong.

Presented by Player 2 Productions, with book, music, and lyrics by Matt Day, this show is a madcap look at our past, present and future as well as a hilarious send-up of all the typical TGIF tropes many grew up with.

Breakneck Midsummer Night’s Dream

The irony of Tim Mooney’s “Breakneck” Shakespeare shows is that while these hours-long plays each get reduced to just under an hour (per Fringe festival requirements), for the audience the Bard’s work gets surprisingly expanded. We come to understand more about the plays than what is given by the staging and dialogue. With historical epics, it’s like an entertaining college lecture.

Mooney, like the play’s trickster, throws a curve in the formula with his “Breakneck Midsummer Night’s Dream.” Most noticeably the Tim Mooney Repertory Theatre is not just himself solo, but joined by a cast of Fringe all-stars from across the U.S. This includes local actor Matt Anderson, with Chris Bruzzini, Schmoo Cutlip, Maggie Killian, and Beth Byrd-Lonski as Puck.

We get a bit of commentary, spread among the company. However, the play largely speaks for itself. As is done when “Midsummer” is tightly cast, actors reappear as parts of the three character subsets: the noble Athenians, the Faerie court, and the humble Mechanicals rehearsing a play for the first group, while trespassing on the second. The result is bright, funny and entertaining. It’s edited not only to fit time, but also to enhance clarity so that even a first-timer to this comedy gets the full effect.

Compared to other Breakneck works, though, for those of us familiar with the material there is little additional value. It’s like a nice Reader’s Digest Condensed Shakespeare play. I feel there are aspects that could use some context – like why Athens (perhaps for Greek-inspired magic folk?); what would contemporary (1600s) audiences have understood that we don’t; and what’s the deal with “Pyramus & Thisbe” anyway?

Find the wide array of Mooney’s entertainments, from Shakespeare to famous speeches to his original tragicomedy, “Man Cave,” at timmooneyrep.com.

The Matt Kraft Comedy Hour

Local actor Matt Kraft is brilliant in dramatic roles, which could help explain his sharply wicked sense of humor. He has crafted it into an absurd weapon of mass hilarity in “The Matt Kraft Comedy Hour,” his follow-up to past Fringe entries, “Doctors of Sketch Comedy” and comic fantasia “Somebody That I Used to Know.”

Joined by co-conspirator TJ O’Neil, with Anna Himes, Audrey Stonerock , Morgan Morton, and Zachariah Stonerock, Kraft crafts scenes that are both bizarre and side-splitting. He manages to make televised golf commentary less boring, promote devotion to reading a best-seller, give a candy bar gravitas, send up pretentiously precise restaurant menus (“this is why I don’t come to Carmel”), and inquire why Mr. Jones isn’t teaching his class – all in the worst and most (find more synonyms for funny) way!

To top it off, there is what looks like a sort of long-form improv gone hilariously mad: the Oscar-worthy “Scorsese’s Pride & Prejudice.” (Rated R, of course.)

We’re big on hyperbole and talking stuff up here at PWJW, but everyone we talked to – including fellow Fringe funny-man Jason Adams, who said he wants to produce a full-length “SP&P” – agreed in comparing this to renowned professional comedy sketch shows like Kids in the Hall, Mr. Show, Tim & Eric, The State, and In Living Color. Looking locally, I found the situation set-ups much like the short plays of Mark Harvey Levine, but with a lot more adult language.

Matt Kraft must do more of this. He simply must. Please encourage him.

The Phantom of Diopra, IL

Full disclosure: Wendy and I consider Andrew Lloyd Webber’s “The Phantom of the Opera” to be the most overrated musical ever. However, whether you agree or are a rabid fan of “The Music of the Night,” you would love “The Phantom of Diopra, IL: A Parody.”

Presented by Jordan McQuiston with Elizabeth Enderle, Jackson Lee, Abby White, Anna Meyer, Kelsie Uselman, Chris Enderle, and Aleesia McQuiston, they bring the horror story from an old French novel to a small-town opera house in Illinois. Everyone seems clueless as to how to stop a mysterious masked man’s reign of terror – or clueless, full stop, except for our diva whom the Phantom covets.

We find the limits of love, obsesson, Stockholm syndrome, and the use of copyright works in a parody. For instance, did you know you can sing the alphabet to the ALW score? Also, what happens when you don’t have the budget for the “Masquerade” scene. And it’s not just all for laughs, there is some seriously good singing in this show, as well.

Looking over McQuiston’s body of work, we note he is big on making these serious shows funnier while still entertaining. Add Diopra, IL, to that map.

Scouts’ Honor

(Review by Wendy Carson)

Defiance Comedy has raided the cookies jar and given us a sweet look into the ins and outs of scouting and cookies sales with a healthy sprinkling of courtroom drama added in.

New scout in town Lacy (Hannah Embree) is on trial for various offenses but insists she is not guilty of any of them. As each of her troop members is called to the stand, we see the various situations that have brought them to this point.

Previous Troop Leader, Mindy (Amy Reader) tells of how she brought stories of all the fancy rewards her previous troop regularly had, which led to her being stripped of her title and Lacy taking it. Veronica (Samantha J. Lewis) tells of the horrible Saturday they had to spend in Mr. Gary’s – you can call him Glen (Clay Mabbitt) – sales seminar. Nestor Clamslammer (Amy Reader), of the Irvington Clamslammers, tells of how he was threatened and kidnapped by Lacy and Debbie (John Kern) for non-payment of his cookie debt. Janice (Kelsey VanVoorst) would just rather be hugging everyone. Meanwhile, Troop Mom (Devan O’Malia Mathais) is so fiercely driven by her money-hungry ways, that her intentions are more suspect than Lacy’s.

Add to this craziness Emily Bohannon as the vindictive Prosecutor, John Kern as the inept Defense Attorney, Clay Mabbitt as the very loud Bailiff and Rob Johnansen as Judge Honeysuckle, who must somehow oversee this craziness, and you have the perfect recipe for a hilarious Fringe Show.

Unalived & Lowkey Forgotten

When Betty Rage Productions goes for laughs, it’s always one heck of a show. For this one, put “Arsenic and Old Lace,” “Grey Gardens,” “Ghost Hunters” shows, and the famous Joan Crawford/Bette Davis rivalry all in a blender, and cover it with an almost-popular podcast.

What we get is “Unalived & Lowkey Forgotten,” the name of a young woman’s pod about people who were once famous but are now merely dead. She has come across the Folly Theatre, where old frenemies Margo and Dottie died in a fire during their run of “Arsenic: The Musical” years ago. They still hang around, of course, keeping the orphan handyman who lives there (the only one who can see them) busy. With the help of some puppets and the magic words “I remember it like it was yesterday,” we learn the whole sad (yet funny) tragic story.

You can tell Callie Burk-Hartz and friends had fun with this one. We get a goofy multiple murder mystery, ghost story, and tale of personal and professional redemption, all served with some (memories of) L.S. Ayres Tea Room chicken velvet soup.

This ranks as Callie’s second-biggest accomplishment of the month – the first being Festival Director of the whole darn Fringe.

Breathless pace of ‘Lungs’ at District

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By John Lyle Belden

“That’s what drama is: watching a character make a decision.”

This quote by playwright Duncan MacMillan, from a 2016 interview, fits the style of his first celebrated play, “Lungs,” presented by new company ZED: Teatro at The District Theatre this weekend (Sept. 11-13).

MacMillan, known for his “Every Brilliant Thing,” engages different personal anxieties with this two-person drama which debuted in 2011. It asks, in entertainingly verbose fashion: When one is conscientious of all that is wrong with the world in the early 21st century, is it right to bring another life into the mix?

In the play’s typically minimalist staging, directed by Holly Hathaway Thompson, we witness a Man (Nathan Erdel) and a Woman (Linsey Babrick-Christie) in a very animated conversation. He, a musician, had suggested to her, a PhD student, that they could have a child together. Their shopping day at Ikea is completely ruined.

There follows a lot of “thinking out loud” in emotionally laden conversations and personal reflections. Being citizens of our globally connected era, concerns go beyond themselves to what’s happening with environment and the effects of corporate and political corruption. (MacMillan wisely sensed it would only get worse leading up to today.) There’s only so much one can do, and they are good people – “Are we good people?” – so, would a baby be condemned to future misery, or become the one who helps fix it?

This is more than a single discussion or argument. Time marches through a number of scenes, which follow one swiftly after another much as they will one day in hindsight. The back and forth between them feels natural – nothing resolved, yet ever moving forward as things must. Some humor grows organically from this, especially in “I didn’t mean to say that, well, yes I did…” moments. While there are disappointments, there is no malice.

Babrick-Christie and Erdel nimbly take on what must be an exhausting acting exercise. Moments come on hard and fast, heavy with hope and uncertainty, yet with an undercurrent of love – even when they aren’t acknowledging it. And with this very vulnerable human portrayal, we come to feel they are people we know, or want to.

As this posts, there are performances tonight and tomorrow afternoon in the intimate District Cabaret, 627 Massachusetts Ave., downtown Indianapolis. Get tickets at indydistricttheatre.org. Find ZED at zedteatro.org.

Mother’s devotion touches the world

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By John Lyle Belden

There’s something unique and fascinating about the cliché Jewish Mother. When encountered in performance it guarantees entertainment for the combination of simple values and cultural complexity. When you meet this personality in the real world, especially displaying a familiar mélange of honest concern and resolved acceptance, you find yourself wanting this woman for your second Mom.

In 1970s New York, countless LGBT youth found this maternal comfort in Jeanne Manford, and in her humble and loving way, she changed the world.

Phoenix Theatre Cultural Center presents the world premiere of “Everybody’s Favorite Mothers” by James Still, directed by Zack Neiditch.

When Jeanne’s son Morty (Jack Ducat) came out to her (Constance Macy), she accepted him without question. Her husband Jules (John St. Angelo) took more time to come around, he admits, but was fully accepting when he saw the violence that confronted a gay man just being himself.

Having been outspoken with a strong sense of justice since boyhood, Morty was an avid activist, working with close friends Mike (Matthew David Consell) and Leena (Alicia Barnes). As they planned to join a Gay Rights march on the anniversary of the Stonewall uprising (which had happened just a couple of years before), Morty asked his mother to walk with him. Feeling challenged at her initial hesitation, Jeanne firmly says she’ll be there.

For someone who prefers to live her own life, “I’m not a joiner,” Mrs. Manford is more conflicted than she realizes. The night before the march (which she likes to think of as a “parade”), she finds herself visited in her dreams by icons of motherhood. Maria Von Trapp from “The Sound of Music” (Zarah Shejule) appears in drag-inspired finery to reassure Jeanne and get her mind ready for the coming big day. She introduces two mothers from the past – the Virgin Mary (Barnes) and Mrs. Cratchit (St. Angelo) – and one from the future, Marge Simpson (Conwell), all eager to share encouragement.

The next day’s march sets Jeanne on a path of activism, Jules by his side, that leads to the founding of what is now PFLAG. Her firm sense that family members should support one another fueled her drive to help resolve estrangement between queer kids and their families, and give support to other parents.    

Still – the former playwright in residence at Indiana Repertory Theatre, now living on the West Coast – said he had great difficulty writing this important story of a little-known hero. While researching he found a relevant speech by President Barack Obama and realized that to include this event from 2008 in a story from 1972, he had to be very flexible with the element of time. Thus, to help focus on the central relationship of Morty and Jeanne, they take charge of their story to “rewind” and “forward-wind” to help them, and us watching, better understand what happened. This adds context and drama to a struggle that included trauma that proves difficult to get past.

Shejule also makes an appearance as the principal of the school where Jeanne teaches, having the impossible task of persuading her to reduce her activism.

This play’s clever presentation goes beyond Still’s words and Neiditch’s direction. Sound and video projections by Ben Dobler include actual news footage. The simple set with seating on two sides is by Rob Koharchik with lighting by Michael Moffatt. Anthony James Sirk did the costumes, which include fantastic plastic wigs and outfits for the dream sequence. Props, including Maria’s cute pet goat, are by Kristin Renee Boyd. Stage manager is Emily Root, assisted by Morgan Grabczak.

Ducat presents all the fed-up stress and sense of personal peril in Morty’s struggle to end discrimination. Conwell plays Mike more glib but with his own sense of worry – he also does a perfect Marge voice. Barnes, who said she reflected on her own journey to inform the role, plays Leena as eager and empathetic while dealing with the unfortunate rift among some activist gays and lesbians. Shejule’s turn as Maria is a delight. St. Angelo presents Jules as steadfastly supportive, as his fragile health allowed.

Macy – also the Phoenix Theatre Christel DeHaan Artistic Director – seems effortlessly amazing as Jeanne, working through her infrequent uncertainties while never diminishing her sense of doing what is right.

An unflinching look at the fight for gay rights featuring a mother’s uncompromising care, “Everybody’s Favorite Mothers” delivers an important chapter in American LGBTQ+ history, and a reminder that this story still continues.

Performances run through Sept. 20 at 705 N. Illinois St., downtown Indianapolis. Get info and tickets at phoenixtheatre.org.

For information on PFLAG, see pflag.org.

Born that way? Belfry goes ‘Bad’

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By John Lyle Belden

For more than 70 years, “The Bad Seed” has been one of the most chilling dramas ever held on stage. The 1954 play by Maxwell Anderson, adapted from the novel by William March (prior to the 1956 film), tackles thorny issues of mental health, psychiatry, nature vs. nurture, juvenile development and psyche, trauma and responses to it, parenting, suicide, being blind to one’s assumptions, free will, and more.

All laid bare by a dispute over a school penmanship medal.

The Belfry Theatre production at The Cat in Carmel doesn’t shy away from any of this. Directed by Matt McKee, the story unfolds in a manner that even if you know everything that is going to happen, you can’t help but be drawn into the growing suspense.

Sixth-grader Olivia Cook plays central character Rhoda Penmark, the practically “perfect” daughter of Col. Kenneth and Cristine Penmark (Matt Spurlock and Lisa Anderson). If the name or her charming face in blonde braids look familiar, it may be that last year, she had the lead in “Ruthless,” the musical parody of “Bad Seed” (and “All About Eve”). This time, the singing and campy elements of the previous role cast aside, she proves to be as cold as a Terminator. Cook perfectly embodies the empathy deficit, narcissistic calm with moments of fury, imperfect attempts to be enough of a “nice” girl to get anything she wants, and unhindered calculations to remove obstacles.

Even now, in the era of True Crime programs and podcasts, it’s hard to see this in a cute tween girl; adults in the Eisenhower era didn’t stand a chance.

Lisa Anderson, as increasingly anxiety-ridden Christine, gives us a reminder that she is as capable of award-worthy performance as her husband Matt (who provides a radio voiceover). What starts with a constant vague sense of unease, accompanied by disturbing dreams, grows into ever darker suspicions as each dread becomes confirmed.

Daughter of criminologist turned radio star Richard Bravo (Jamie Kenjorski, who we’ll meet later), Christine takes advantage of her husband being away on assignment to The Pentagon to pick the brain of current criminologist and author Reginald Tasker (Nate Mecija). Joining them for lunch are her landlady and upstairs neighbor Monica (Desireè Black), accompanied by Emory (Thom Johnson), Monica’s brother.

Monica, whom Black plays with blythe confidence, has undergone Freudian therapy and feels herself an expert on the matter, swiftly diagnosing everyone. Tasker, ignoring her amateur prattle, relates advances in studying psychopaths, finding their conditions as much or more a product of birth than upbringing.

Meanwhile, at the school picnic, Claude Daigle – the boy who won the medal Rhoda not only covets but felt entitled to – mysteriously drowns. While others react as you’d expect, Rhoda comes home and calmly puts on her skates to enjoy her free afternoon. The only one to openly suspect her mood and motives is handyman Leroy (Aaron Beal), who has come to terms with his own neurodivergence and senses a fellow traveler in the girl. Though it is plain, even to a first-time viewer, that this apparently simple-minded man is not the principal villain, Beal’s edgy performance helps keep questions open to his motives.

The question of what really happened comes to consume Christine, especially after she is visited by Rhoda’s teacher Miss Fern (Samantha Kelly). We also meet Claude’s parents, Dwight (Tom Riddle) acting like a turtle wanting desperately to retreat into his shell, and Hortense (Becca Bartley), who has submerged her grief and need for answers in alcohol. The Daigles being working-class, feeling socially inferior, factors into the mother’s slurred rants – which Bartley delivers with perfect pathos – adding to the tragedy of their situation.

McKee’s daughters make big contributions to this production. Ava serves as assistant director, stage manager, and has a moment onstage as a Messenger. Her sister Kayla, who also works the light and sound boards at Center Stage in Lebanon, does so here with growing professionalism (light and sound designed by Bill Miller). Costumes, including some interesting mother/daughter combinations, are by Taylor Moss. Susanne Bush made the most of the Cat stage to design the roomy Penmark living room. Jennifer Poynter wrangled the props (where did she get the medal?). Makeup and hair by Victoria Garcia.

“The Bad Seed” takes root for one more weekend, Friday through Sunday, Sept. 11-13, at 254 Veterans Way in downtown Carmel. (Despite ongoing construction, accessing this street is fairly easy.) Get info and tickets at thebelfrytheatre.com or thecat.biz.

IndyFringe: The Kids Are Alright

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This is part of the annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe 2026, held Aug. 13-23 in venues around downtown Massachusetts Ave. Information at indyfringe.org.

By John Lyle Belden

Reviews of: “Cicada,” by Carmel High School; “JACKED: A Beanstalk Remix,” by KIPP Legacy High School; “Queens,” by University High School of Indiana; “Whatever Happened to Gold D. Locks?” by Sondra E. Hayes Productions.

Fringe festivals are excellent opportunities to develop skills as well as stories, which makes them perfect for high school and youth programs. As with all forms and genres represented in Fringe, the quality and appeal of each performance differs, and with those whom we know up front are learning their craft, we grant more understanding. I have found that once you give that degree of grace, you find a good story, the noble intentions, individual bravery, and even those young persons with the spark and drive to shine on future stages.

Cicada

(Review by Wendy Carson)

Carmel High School brings us another heartfelt offering with this Southern Gothic steamer. Lily (Lexie Palmer) lives alone with her son, Ace (Jack McNalley). However, they are surrounded by the ghosts of those who have also lived there. We meet Lily’s big sister (Jenna Kraus) who died as a child; Granny Duvall (Hadley Wilkinson), who had actually raised her; and Aunt Sister (Lucy Frey) who came to live with her after Lanora passed on.

We also meet their neighbor, Lanora (Lilyanne Nottingham), who is haunted by memories of her husband (Ron Feinberg) and his struggles for the perfect lawn. Ace wonders about his absent father (Ron Feinberg) and conjures his own memories of him.

Maaike Mora is present as the specter who plays the piano and Maisan Hasan is the voice of the preacher Granny Duvall idolized.

Jerry Dye directs this sweeping tale of loss, memories, and hauntings of one kind or another.

JACKED: A Beanstalk Remix

Established in 2019, KIPP Legacy High School has developed a full array of extracurricular activities, including theatre. For the second year, the students present a show at IndyFringe, giving valuable experience not just in performance, but also in mounting a show in a professional environment. This year’s offering shows growing comfort with their expectations.

With rhymes recited in hip-hop style, we meet Jack – the one with the old cow. Mother tells him to sell her, because she will produce no more milk. However, he considers the animal a pet or even a friend, and when Minka Mysterio comes by with some magic beans and a promise that the cow won’t see a butcher, the famous deal is struck. You can guess what happens next: angry Mom throws away beans; they sprout anyway, making the skyward beanstalk; Jack climbs, discovers a Giant, a talking Harp, and a Goose that lays golden eggs; he opts to steal the bird; the Giant follows him down the stalk – a fatal mistake.

That would be the whole fairy tale, except the show isn’t halfway over.

There is far more allegory here than you, or Jack, expect. We deal with damage from a falling giant; the village being off the gold standard; a more troublesome use for the eggs; as well as the inevitable, upset, Mrs. Giant.

The students work this complex story with upbeat aplomb, making the most of each role. The goose, with a look of frustration and fatigue, gets a lot of amusing expression from her single-word “dialogue.” Minka’s mischief and Jack’s earnestness each shine.

Overall production improvement shows, giving us hope that the school will appear at Fringe for years to come.

Queens

Though the subject matter is the same, this is not “Six.” University High School of Indiana in Carmel presents the story of the wives of England’s King Henry VIII, drawing on historical material, including songs, rhymes and dances of the era, as well as more appropriate costumes.

Henry Tudor is chained to a throne in Purgatory, attended by a Jester, his tormenter. Also on hand are the spirits of all six of his wives to relate the stories of their lives and treatment by their monarch until he truly repents. To relate the events, the women dance or gather through various functions, reflecting the news, speculation, and rumor of Royal society. There is also a Young Henry who each encounters, marries, and deals with his rough temper and selfish pride.

Besides a well-told history narrative, there are lessons for us today, especially in the hazards of obsession. This is most expressed in Henry’s consuming desire for a son to succeed him. When at last one is born, after which his second wife dies, it is declared, “Her life for a boy!” Chained Henry responds, “My soul, for a boy.”

The presentation and choreography are excellent, as well as the various portrayals. The true-to-the-era personalities even included one maiden who enjoyed watching executions.

There were only two performances at the 2026 Fringe, so hopefully this proved a good opportunity for bigger investment in a future festival.

Whatever Happened to Gold D. Locks?

This new take on an old fairy tale was truly a family affair. Written and directed by Sondra E. Hayes, “…Gold D. Locks” is cast with at least three families of parents and their children. Kids get a lot of action and speaking lines, especially young B.B. Bear, whose chair was broken and porridge eaten; the Raccoon crime-watch captain who saw it happen, and the title character, a presumptuous Human who is caught and put on trial in the Woods court.

Before the show starts, every member of the audience is urged to put on a provided animal mask, so that we may observe the trial as the jury. No votes are taken, but we are encouraged, with prompts projected on the back screen, to respond (with animal noises) to the events on the stage.

In their own costumes and masks, we see the court of an Eagle judge with an Owl defense attorney, Badger prosecutor (there is at least one accusation of “badgering the witness”), and Fox sheriff and court officer, with his Kit appearing as the Bailiff to hold the Book of Virtuous Stories for swearing in. (“My Mother told me never to swear!” Gold responds.)

With its added subplots of environment and conservation, as well as admonitions not to judge one another unjustly, this was an excellent all-ages show and perfect for younger children. There were many giggles, from young and old, when the Turtle jury foremen slow-but-steadily made their way up to the stage to leisurely deliver the verdict.

Black Light shines light on Indy history, culture, again

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By John Lyle Belden

Here’s a homework project we can all learn from.

Black Light Training & Development, a program of The District Theatre, presents “The Griot,” a new dramatic work in progress by Celeste Williams, directed by Ronni Watts with Kelly Kel. For the participants, this is an opportunity to develop skills as writers, actors and directors; for the audience, this is also a window into Indianapolis Black history, with a focus on The Indianapolis Recorder.

Founded in the 1890s, The Recorder has been a vital part of what was then and through the 20th century referred to as the “Negro press,” newspapers that served communities of color across the United States, bringing to light the people, stories, and issues mostly ignored by the mainstream (read: white) media. As one line in the play states, to know what was really going on, “this newspaper, and the grapevine, was it!”

To get misbehaving high school students Rosa (Kenyla Bell) and Malcolm (Tyrell) to take history seriously, their teacher gives them a week to make a presentation about the Recorder – something they barely know or care about.

Malcolm remembers it’s something his grandmother “Moms” (Kea Biven-Williams) reads all the time. Noting his interest, she tells how it covered the career of the great Oscar Robinson and his history-making high school title. While her breaking into the Crispus Attucks High “Crazy Song” is a fun audience sing-along, it overwhelms the boy with its hokey-pokey old-fashioned style and he retires to his bed. Meanwhile, in her home and bed, Rosa nods off while Googling the history of The Recorder.  

This is where the spirit world intervenes. Jeli (Destiny Basnight), the essence of The Griot (a traditional African storyteller and history-keeper) brings together the dreamscapes of both youths to meet her and the spirit of George Pheldon Stewart (Terrance Marquis), co-founder of the Recorder.  D’Andrea Brown arrives as “N. Diana Avenue” to enlighten the kids on local history and “Cora S. Pondent” to relate the Recorder’s role in it. Dom Moon appears as the mistress of “Monster Meetings” that brought notable African Americans to speak at the Senate Ave. YMCA, as well as a soldier who wrote to Black papers during World War II to propose the Victory sign become a “Double V” for victory both in the War and on the homefront for civil rights.

Malcolm and Rosa are shaken from their apathy by discovering the rich history in their own city, learning of success stories, like that of Madam C.J. Walker; events like the visit by Martin Luther King Jr., five years before his “Dream” speech; and the horrors of lynchings across Indiana, murdering “young people like us.” In the process, Rosa confronts questions about her own future, while Malcolm feels he must deal with his own troubled past. Appearing at ease on the stage, Bell and Tyrell show their own talent and potential.

The adults acquit themselves well, too. Basnight’s delivery balances charm and culture to stay above caricature. Biven-Williams is endearing as the grandmother. And Marquis entertainingly brings to life the rather dashing photos of Mr. Stewart, presenting a classy no-nonsense newspaperman.

As in past Black Light productions, we get deeper insight into Indiana’s past as well as an opportunity for future cultural icons.

Overall, the 90-minute play gives a good first public showing with great potential. See what we mean and encourage its development by seeing it 7 p.m. tonight (as this posts) or 4 p.m. Sunday, Aug. 30, in the District Blackbox, 627 Massachusetts Ave., Indianapolis. For tickets and information, see indydistricttheatre.org.

Find Black Light Training & Development on Facebook. The Indianapolis Recorder is available in newsprint, online, and provides a weekly email newsletter.

IndyFringe: A Distant Sound of Thunder

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This is part of the annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe 2026, held Aug. 13-23 in venues around downtown Massachusetts Ave. Information at indyfringe.org.

By Wendy Carson

In August 2025, a record heat wave causes a huge blackout in New York City. In hopes of finding some sort of relief, the locals throw an ersatz block party. When past resident Hector (Ian Cruz) shows up asking a few too many questions, things really get heated.

While recent retiree Bill (Steve Kruse) is delighted to see his old neighbor and catch up on recent changes, Mary (Karin Stratton) doesn’t trust him at all. It seems that numerous people, all of foreign descent, have been mysteriously disappearing from the building, and throughout the city. Since Hector is giving varied stories as to how his arm was broken and is overly interested in their new Trans neighbor, Enchante (Lucy Fields), perhaps Mary may be right.

Producer and author Eric Bryant gives us a true potboiler full of deception, paranoia, intrigue and humanity. Under the direction of Carrie Ann Schlatter, the cast deftly presents these captivating characters leaving the audience to decide for themselves the truth of each person’s story.

Performances were held on The District Theatre mainstage.

IndyFringe: Cowboy Meg’s Saturday Morning Roundup

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This is part of the annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe 2026, held Aug. 13-23 in venues around downtown Massachusetts Ave. Information at indyfringe.org.

By Wendy Carson

Come on out, Little Buckaroos, and join a live taping of “Cowboy Meg’s Saturday Morning Roundup”. Meet the regular cast members: Morning Grind (Paige Vanzo), Postmaster Malone (Kevin McLane), and Bessie the Cow (Kielynn Tally or Kelsey VanVoorst), as well as some new visitors including Mr. Undertaker (Vanzo).

Although it seems that Cowboy Meg (Meg McLane) may have lost a step and a few things seem awry, the Stage Manager (Jamie Rich) is always there to help get things back on track or play a commercial to keep us entertained. All in all, this is a rip-roaring good time for all, and an excellent showcase for local actor and improv comic Meg.

So, when you get the chance, round up all of your own little buckaroos and give this show a big “Yee Haw!”

IndyFringe: LOLCow

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This is part of the annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe 2026, held Aug. 13-23 in venues around downtown Massachusetts Ave. Ticketing and other information at indyfringe.org.

By Wendy Carson

Casey Ross is not only a long-time Fringe creator, but she is also known for her brilliant ability to portray dialogue as a true conversational art form. However, since her personal tastes sometimes run only somewhat adjacent to the mainstream, she is not as well known as she deserves to be.

“LOLCow,” her latest offering, is a brilliant diatribe on Influencer Culture, the power of the internet, the price of fame, and trust in today’s world. Sadly, I feel most of her audience will not see this. Those who take the play at face value could miss the delicate nuances of the script.

While on the surface it is the story of two somewhat awful people abusing themselves and each other for their own purposes, it shows how the 24/7 news cycle and internet culture have led to the monetization and prevalence of the worst of society for the enjoyment of others. (The title references the urge to “milk” a meme for more online fame.)

I will admit that this show is not for everyone, but I request you do consider watching it, bringing an open mind and an inquisitive eye to try to catch the real message underneath the “spectacle.”

Presented by Catalyst Repertory, performances are 12:30 p.m. Saturday and 8 p.m. Sunday, Aug. 22-23, in the Basile Theatre at IF (719 E. St. Clair).