play

Waves of laughter at Cryptid’s ‘Beach Party’

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By John Lyle Belden

Let’s take a beachin’ trip back to 1962, as weirdly envisioned in 1987, then done for film in 2000 with actors you may know but the same dude doing the script, for further irreverent treatment by Indy’s Cryptid Entertainment today in “Psycho Beach Party,” directed by Kevin Holladay.

Did you know that Oscar-winning actress Sally Field famously played both beach-chick Gidget and, in a different film, the multiple-personality sufferer Sybil? Not sure why I brought that up…

Anyway, the Off-Broadway hit by Charles Busch sends up the ‘60s Beach films with inspiration from Hitchcock-style horror. Note to the triggered, especially as it is Mental Health Awareness Month, but this also hearkens back to not-that-long-ago when being a total whacko was fair game for comedy. This doesn’t so much mock Dissociative Identity Disorder (which is real, but rare, and caused by deep trauma) so much as the way such conditions were exaggerated for dramatic and comic effect.

In our mythical Malibu, The Great Kanaka (Thomas Sebald) rules the waves, accompanied by college dropout – Psych, of course – Starcat (Suraj Choudhary). Chicklet (Ellie Graves) a girl with small boobs and big dreams, provided she can stay free of her overbearing mother (Andrea Haskett), wants to learn to surf, even if it is a man’s world. Bikini hottie Marvel Ann (Hannah Embree) has her eyes on one of those men, and Chicklet’s bestie Berdine (Ezri Braid-Grizell) has her mind occupied by the great (non-surfing) philosophers. Other surfer dudes are Provoloney (Case Jacobus), Yo-yo (Katie Endres), and Nicky (Kelly Haas).

An incognito movie star, Bettina Barnes (Jessica Hawkins), shows up hoping to get away from the world of schlock films. Meanwhile, Kanaka accidentally discovers that sometimes Chicklet really isn’t herself – and alter ego Ann Bowman (!) kinda turns him on.

Also, there have been bizarre shaving attacks.

Considering that Busch played Chicklet in the original New York production, don’t be surprised that things here get a bit gender-fluid and queer. It just adds to the fun.

The cast all ride the waves of absurdity for all they’re worth. Graves shows entertaining range and talent, so that she could also move on to more dramatic roles (y’know, like Sally Field did). Sebald looks like Indy’s version of Jason Mamoa with all the same fun energy and cool charisma. Choudhary (who was cool with me saying he looks like if Jesus were drawn correctly) charms as well. Embree is cutely committed to her high-class persona. Hawkins has no problem hanging with these characters, taking to being rightly feted like a queen with her court.

What is the secret of Chicklet’s troubled past? Will Provoloney and Yo-Yo admit their feelings? Can I get an invite to the Luau? (The answer to the last one is no, but they did give me a beach ball.)

See the Cryptids without the time restraints of a Fringe show, Thursday through Sunday (two shows on Saturday), May 16-19, at Fonseca Theatre, 2805 W. Michigan St., Indianapolis. Find Cryptid Entertainment on Facebook for info and tickets or try this link.

Gritty ‘Streetcar’ an immersive ride

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By John Lyle Belden

A relative newcomer to the Hoosier theatre scene, Eclipse Productions of Bloomington (no relation to the student company in Indy) presents its take on Tennessee Williams’s “A Streetcar Named Desire.” One of the founders, Konnor Graber, told us Eclipse’s shows “are going darker, grittier, and authentic.” This stage classic turned out to be the perfect vehicle, steered by director Kate Weber (another founder, along with Ashley Prather and Jeremy J. Weber).

Perhaps coincidentally running during Mental Health Awareness Month, the production focuses on the growing madness of Miss Blanche DuBois, an aging Southern Belle who lost both her family and their former plantation, Belle Reve, in Mississippi, and goes to her only living relative, sister Stella Kowalski, in a cozy working-class apartment in New Orleans’ French Quarter.

Actually, we meet Blanche (Dania Leova) before the play officially starts, as the lobby has transformed to the vistors’ parlor of a Louisiana mental hospital, not long after the unfortunate woman’s committal in 1947. She is quiet and literally restrained in her chair, while a nurse (Connie Shakalis) reads poems by Poe to keep her calm. We are entertained by a visiting singer (Jen Wells, who is also stage manager) accompanied by Noel Patrick Koontz on guitar.

The theatre doors open, and Blanche is wheeled in before we are allowed to enter and take our seats. Wells follows, her voice lilting “Dream a Little Dream” as she climbs through the audience. For a moment, Blanche is at the corner of the stage, perhaps wondering, how did it all come to this? A quick blackout, and we all proceed to find out.

Leova is exquisite as Blanche, charm laid on as thick as the region’s humidity. She has us believing her despite ourselves, never relenting as the center of attention, though we see her trustworthiness slowly erode. Graber is powerful as Stella’s husband, Stanley. Little effort is made to make the man likable, though he has a personal magnetism that keeps his friends and wife loyal. His is another study in untreated mental issues, a lifetime of class resentment and being called “pollack,” capped by service in World War II, leaving him with a constant undercurrent of rage, only abated when transformed into lustful attention to Stella (Shayna Survil), who is addicted to him like a drug. He practically snarls his lines, at or edging on a shout; every object he handles gets slammed somewhere; and sensing a fellow façade, he sees through Blanche from the start and never lets her forget it. Survil, for her part, is endearing as she struggles to stay the voice of reason, the mediator between her unstable housemates. Alas, she also has what would now be classed a trauma bond with her often abusive husband.

Shakalis and Benjamin Loudermilk are charming in their own way as neighbor/landlords Eunice and Steve Hubbell, in their stormy but loving relationship. Playing Stanley and Steve’s bowling and poker buddies are Koontz as Pablo and Jeremy Weber as Mitch, a single man living with his ailing mother, who takes a fancy to Blanche – a relationship she proceeds to toy with and exploit. Weber ably portrays both Mitch’s infatuation and his solid sense of honor.

The performance is accentuated by the growing intervention of Blanche’s intrusive mental static, music, and other noise provided by sound designer Joshua Lane. Kate Weber credits the combined efforts of her direction, Lane’s soundscape and lighting by Allie Mattox for the overall effect. We all become witness to Blanche’s ever-worsening state, snapped by a rash act that, with her at last speaking truth, no one believes – or wants to.

Bearing in mind appropriate trigger warnings, come aboard the “Streetcar” this Thursday through Sunday, May 16-19, at the Ted Jones Playhouse, 107 W. 9th St., Bloomington. Get info and tickets at eclipseproductionscompany.com.

IndyShakes: ‘Caesar’ as seen by CNN or C-SPAN

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By John Lyle Belden

Julius Caesar. If you didn’t sleep through World History or Western Civ in high school or college, you are familiar with his name and his brief reign over the Roman Empire. Thanks mainly to the tragic play by William Shakespeare, his fate is forever part of popular culture – especially in mid-March, when the man becomes a meme on your smartphone.

What if those early 21st century devices were available in the 1st century BC? In the common practice of adapting the Bard to different eras, Indy Shakes and Zach & Zack present Shakespeare’s “Julius Caesar” in a tech-savvy Rome complete with 24-hour social media and news cycle. In the big black box of the Basile stage of the Phoenix Theatre Cultural Centre, we get a multimedia blitz of projected talking heads, Tweets on X, and smartphone video streams, with our players front and center enacting the familiar story with the freshness of breaking news. Diverse casting of race and gender, along with modern dress with hints of official robes, help make ancient times feel like today.

Quick refresher: The death of fellow leader Pompey left Caesar (Andy Ahrens) the sole Consul over the Roman Republic. This worries the Senate, who easily surmise that the man will overtake them as a tyrannical dictator. In Shakespeare’s telling, Cassius (Scot Greenwell), who was close to Caesar and feels him both too ambitious and too weak (the stigma of his epilepsy) persuades Brutus (Jen Johansen), another beloved of Caesar, to join a conspiracy to assassinate their Emperor. Despite signs and warnings, Caesar enters the Senate on March 15 and is slaughtered by his countrymen. Antony (Kelly Mills) plays along with the killers, but when given a chance to address Caesar’s funeral, stirs the people of Rome to action.

Other roles include Morgan Morton as Brutus’s spouse Portia, as well as Cinna the Poet; Carlos Medina Maldonado as Cinna the conspirator and others; Chandra Lynch, Daniel Martin and Immanuel Umoren as conspirators Decius Brutus, Trebonius, and Casca; Kelli Thomas as Brutus’s servant Lucius; Tiffany Gilliam as Caesar’s wife, Calpurnia; and Jacob Barnes as the Soothsayer, and later Octavius Caesar (who will eventually become Emperor Augustus).

From top to bottom, the cast have solid resumes and consistently display their dramatic talents throughout. It is in this adaptation, though, that Johansen’s Brutus stands out, doggedly facing both inner and outer conflict, reluctantly justifying extreme acts, then standing up to the consequences. Ahrens plays Caesar as having noble intentions but too driven to see how his larger-than-life personality could inspire his doom. In today’s U.S. Senate, Greenwell’s Cassius would be that devious deal-maker who would go to any length to advance his agenda, a Ted Cruz with knives. Mills’s Antony manages to come off as the rare honest politician, rising to the occasion like our memory of JFK, or Obama at his inauguration. Zack Neiditch is director, with sound and video design by Zach Rosing. Excellent costumes are by Tony Sirk with Caitlin Davey.

Still, the whole of this production is greater than the sum of its well-executed parts, going beyond just putting old speech in a new setting. In a time when tragic events, including wars, unrest, and celebrities performing to ever-present cameras are constantly on our television, computer and phone screens, this makes historical events feel even more “real” than any attempt to tell the story in its own time.

Two weekends remain of “Julius Caesar,” through May 19, at 705 N. Illinois St., downtown Indianapolis. Get information and tickets at indyshakes.com or phoenixtheatre.org.

CCP sets intriguing ‘Dinner Party’

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By Wendy Carson

Most of us are familiar with Neil Simon plays and know what to expect from them. However, “The Dinner Party,” presented by Carmel Community Players, is different. Written in his later years, the script was originally intended to be farcical but as he fleshed out the characters, a more serious storyline emerged. That’s not to say you won’t laugh – his wit still shines through in the dialogue – but expect to be moved to serious conversation/contemplation afterwards.

The setup is simple: Six people are invited to a dinner party at a fancy restaurant by the lawyer who handled their divorces. However, no one knows who else has been invited, the host is a no-show, and the staggered arrivals of the guests just ups the confusion.

SEMI-SPOILER ALERT! The six people are actually the two halves of three different formerly married couples. This is where the serious dialogue, peppered with biting humor, comes in.

And now, to our guests.

We begin with Claude Pichon (Grant Bowen), a sort of everyman with a deep love of literature. Albert Donay (Bradley Allan Lowe) a curious, mousey type that has little knowledge of interpersonal niceties. Andre Bouville (Jason Creighton) a pompous jerk who flaunts his wealth and popularity amongst women. Mariette Levieux (Becky Larson) an elegant lady author whom Albert takes a shine to, is Claude’s ex and known to Andre as well. Yvonne Souchet (Alaine Sims) a flighty woman who entices Claude, can’t make up her mind whether to stay or go, and is Albert’s ex. Finally, we have Gabrielle Bouville (Amalia Howard) a sensuous woman of mystery and manipulation.

The result of these machinations is an hour and a half of deep delving into relationships, love, passion, fear, confusion, and possibilities.

Co-Directors Matt Trgovac and Tonya Rave bring out sterling performances in each cast member. Bowen as Claude mostly plays it cool as viewer proxy. Lowe gives an interesting character study, odd but not absurd. Creighton has Andre seethe with air of a power broker who can’t bear not being in control. Larson plays Mariette mostly level-headed, but the edges are fraying. Sims lets Yvonne’s issues plainly show, as in this off-kilter setting her erratic behavior seems fitting. In Howard’s performance you can practically see steam rising off Gabrielle, shifting from seductive to pouty to dominatrix calm in a heartbeat.

Set in Paris, we hear these French characters in plain English with no distracting accents. But the setting does lend some tension, contrasting old-world mores with the permissive atmosphere of the city’s reputation.

Performances of “The Dinner Party” run Thursday through Sunday, May 2-5, at The Cat, 254 Veterans Way, downtown Carmel. See thecat.biz or carmelplayers.org for info and tickets.

‘Gold’en opportunity for kids as audience guides the adventure

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By Wendy Carson

Constellation Stage and Screen of Bloomington presents the very child-friendly family production, “Alex Gold: Stuck on Repeat,” by Sarah Ziegler Blair and Kellen Blair, directed by Jack McCarthy.

Alex (Jo Moran) has a very active and often distracting imagination. In fact, it caused him to fail the sixth grade so he must repeat the year. When he tries to tell his best friend Morgan (Carolyn Stouder) the news, he chickens out and tells her he’s going to study in France next year. What could possibly go wrong?

Luckily, Alex has a large team of brain cells (the audience) to assist him in dealing with his situation. We provide some guidance throughout the show by way of words given pre-show (much akin to Mad Libs) and polls throughout. Depending on the outcome of these prompts, the story line is transformed.

While his second trip through sixth grade starts well, a chance encounter with Morgan leads him to pose as Luc, the French exchange student taking Alex’s place. His schemes for success are even further hampered by his overly adoring wannabe bestie Thad Mazinsky (Tucker Ransom). Add to this the presence of Mr. McCurdle (Paul Daily), the Middle School principal, who loathes “wackiness” but has his own secret indulgences. It’s easy to see that Alex really needs all our help to make it through the year.

Rounding out the cast are Kenny Hertling and Sophia Hoffman who portray various students and characters, as well as representing the changes in seasons by throwing leaves, snowflakes, flowers, and at one point “money” throughout the audience.

While the show is funny and silly, it also teaches children about parts of speech (those words provided earlier were nouns, verbs and adjectives); how to carry oneself in times of struggle; the importance of truthfulness; and the difference between being friendly and actually being a friend. Judging by the response of all the kids in our audience this interactive experience, inspired in part by games like “Minecraft,” is perfect for grades K-5.

Performances, at Waldron Auditorium, 122 S. Walnut St. in downtown Bloomington, are 6:30 p.m. Friday, 1 p.m. Saturday and Sunday (May 3-5); 6:30 p.m. Friday, 1 and 4 p.m. Saturday and Sunday (May 10-12).

The very last performance, 4 p.m. Sunday, May 12, will be Sensory Friendly, accommodating those on the autism spectrum or with similar conditions. It will feature lower sound, lights on with no strobe or flashing, more room in the seats and the freedom for patrons to talk and move as needed. Resource materials are available, and tickets for this particular show are Pay-What-You-Will (minimum $5).

For details and tickets, contact Constellation at 812-336-9300 or visit seeconstellation.org.

Belfry details plight of ‘Father of the Bride’

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By John Lyle Belden

Of all the challenges a man may face, this is one of the most daunting. He must have the strength of Spencer Tracy, with the good humor of Steve Martin, to withstand this ordeal with sanity (and, maybe, bank account) intact. Beware, lest one day you, too, become the “Father of the Bride.”

The 1950s family comedy by Caroline Francke, based (as were the Tracy and Martin films) on the novel by Edward Streeter, is presented by The Belfry Theatre in Noblesville, directed by Barcia Miller Alejos.

Stanley Banks (Dave Hoffman) and Ellie (Debbie Underwood) are parents to teen sons Ben (Gideon Roark) and Tommy (Drake Lockwood), as well as 21-year-old Kay (Lizzie Schultz), who announces her intention to marry 23-year-old Buckley Dunstan (Daniel Alejos). Pops does not take this well at first, but Buckley relates how they want a wedding so small and simple, it’s practically an elopement – Stanley and his pocketbook sigh with relief. But realizing this means no formal ceremony, Kay balks, and confesses her true nuptial desires.

There will be a small wedding ceremony – only a few (hundred) people at most.

The story skips along through the weeks that follow, featuring important preparations including sorting the invitations with the help of Stanley’s secretary (Dana Lesh), and negotiating the reception arrangements with the caterers (scene-stealing Rob Lawson and posh Jericho Franke). Meanwhile the maid Delilah (Kim Schourten O’Mara) tries not to cry at the thought of the ceremony, or to throttle the furniture mover (Robert Fimreite) who is messing up her house during set-up. Ben’s girlfriend Peggy (Grace McKinnies) is just hoping to catch the bouquet. The cast also features Beth Popplewell as the bride’s dressmaker.

Through it all Hoffman has our titular character stoically grin and bear each little crisis and unexpected expense, never fully flustered, at least on the outside. Buckley, on the other hand, isn’t taking it very well, but Alejos manages to play nervous, naïve, and fearful in a way that doesn’t make him a total jerk – we can still see what Kay sees in him. Schultz takes her character on all the twists and turns of this emotional ride with impressive fortitude, and on the big day, stunning beauty. Lockwood is also impressive as the boy caught up in all these grown-up goings-on, striving not to mess up too much.

The whole production of this classic feel-good comedy embraces the wedding theme, with usher Cavan Doyle dressed as a Groomsman to seat audience members, and some era-appropriate love songs nicely sung by Addie McMillan before the show. There are even little cakes for sale in concessions.

(Edit to add:) Kudos to costumer Gail Sanders and the company for the gorgeous bridal dress; the veil was from director Barcia Alejos’s own wedding.

Conveniently staged at a church, Noblesville First United Methodist, 2051 Monument St., “Father of the Bride” has performances Thursday through Sunday, May 2-5. Get info and tickets at thebelfrytheatre.com.

‘Moon’ shines on Mud Creek

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By John Lyle Belden

As a certain song says, show business is wonderful, even when it’s awful for those engaged in it. In Ken Ludwig’s “Moon Over Buffalo,” now on stage at Mud Creek Players, fading Broadway stars George and Charlotte Hay are upstate and up the creek, struggling to keep a repertory theatre alive during the 1950s dawn of television, after washing out of B movies and failing to get a prestige picture (“The Twilight of the Scarlet Pimpernel,” directed by Frank Capra) in Hollywood.  

Backstage of the Buffalo venue, we meet the Hays’ daughter Rosalind (Chrizann Taylor), who had given up the stage and is back in town only to introduce her fiancé, Howard (Jeff Haber), a TV weatherman. George and Charlotte (Sean Berne and Zoe O’Haillin-Berne) make an entrance as only they can. Rosalind’s ex-boyfriend and past scene partner Paul (Malcolm Marshall) is also on hand. Also, the Hays’ attorney Richard (Craig Kemp) is in town, hoping to woo Charlotte away from the madness, especially considering that the cute ingénue Eileen (Anabella Lazaridez) has been impregnated by George. Meanwhile, Charlotte’s feisty elderly mother Ethel (Jean Adams) turns her hearing aid on only when she feels like it, and if she has to mend the trousers one more time…

True to his comic style, Ludwig gives us a sort of slamming-doors sitcom (a Broadway hit in 1995) with plenty of belly-laugh moments. This comes complete with mistaken identity as tongue-tied Howard is mistaken for Capra, who is believed to be in the audience, looking to recast “Pimpernel.” We also get the mash-up no one asked for as both “Cyrano de Bergerac” and Noel Coward’s “Private Lives” hilariously take the stage.

The flashes of I-love-you-but-I-want-to-kill-you between George and Charlotte feel real, as the Bernes are married offstage as well. Whether enraged, distraught, or otherwise always performing, they chew the scenery with a knife and fork. Taylor gives us Roz as a voice of reason, yet feeling conflicted especially when Paul is in the room. As for Marshall, and for his part, Kemp, they are each in their own way hopeless romantics. For one, at least, the bold optimism may pay off. Haber is our bewildered everyman caught in middle of so many situations this forecaster never saw coming. Lazaridez kinda gives the ditz vibes one would expect from her blonde character, but they are more reflective of stress and hormones’ effect on the mind than hindered intellect. Adams heroically stays the eye of this hurricane, adding her own stoic yet comic flavor to the proceedings.

Directors Kelly Keller and Dani Lopez-Roque wrangle the wildness well, with the help of a trio of supporting characters/set changers who can’t help hamming it up a bit themselves, keeping the farcical mood flowing from scene to scene.

Two more fun weekends remain (through May 4) before this “Moon” sets on the Mud Creek Barn, 9740 E. 86th St., Indianapolis. Get info and tickets at mudcreekplayers.org.  

Kidsplay ‘Doctor’ delivers two shots to the funny bone

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By John Lyle Belden

Is there a doctor in the house? Several, actually, but they’re not even in high school yet. KidsPlay Inc. presents “The Doctor is In,” a pair of hilarious one-acts dealing with the sillier side of medicine.

Greenfield-based KidsPlay is a non-profit theatre opportunity for kids in third through eighth grade at no charge to them. Founder Christine Schaefer and director Amy Studabaker maintain a high performance standard so you don’t have to be related to a child to appreciate the show – besides, siblings and parents are often busy as crew, concessions, etc.

The show opens, per tradition, with a tap routine to a big band hit (with a twist) by Trinity Bricker, Evalynn Connelly, Chloe Elkins, Abby Marler, Josie McConnell, Nora Smith, Aria Studabaker, and Kyndall Watkins, choreographed by Frances Hull.

In Act I, “Understanding Your Pet with Dr. Marla Brett,” by Andrew Frodahl, Abby Kaucher plays the title doc like she’s the Taylor Swift of Veterinary Science, complete with best-selling book. She arrives at the clinic of starstruck Dr. Linkester (Chloe Elkins) and overworked, under-coffeed Vet Tech Dalaney (Kyndall Watkins), to test a new treatment on their patients – or to be precise, the animals’ owners. The pills give insight into what’s up with their critters, but, naturally there are side effects.

The pet people include a Senator (Anthony Stunda) and his aide (Molly Wallace), a chicken farmer (Elliott Holmes), a totally tubular turtle dude (Asher Ortman), a very sore beekeeper (Abby Marler) and an exterminator (Spencer Pipkin) who wants to get into the minds of his adversary. Other roles are by Bricker, Smith, Ellie Stearns, Audra Speicher, and Everett Sumpter. Finally, Federal Agents, played by Oliver Lederman and Tanner Pipkin, crash the party looking like miniature Blues Brothers. So much fun to be had here, especially with Stunda embracing his wild side, and Watkins shines as the only character acting relatively professional in the entire office.

Act II combines three fear factors into a single farce, “Attack of the Clown Dentist Zombies,” by Scott Haan (who was pleased after seeing a dress rehearsal). Dr. Todd Hanover (Charles Wallace) wants local dentists to find a way to keep their patients at ease, but first, let’s all have some of these mysteriously glowing cookies that Mrs. Hoffenbridle (Josie McConnell) made.

Steadfast in their refusal of baked goods, cynical throughout, and heroes by default are Dr. Hanover’s children, Xander and Susan (Reid Connors and Aria Studabaker), showing great stage presence even while dodging the zombified dentists and their victims: Essie Ortman, Sawyer Froman, Elliott Holmes, Kayte Reasoner, Asher Ortman, Ellie Raney, Everett Sumpter, Ellie Stearns, and Jack Joyner. Looks like it could be up to the town eccentric, Crazy Amy (Bella Ladrik), to save the day.

As is the case with the spring KidsPlay show, the eighth-grade performers “graduate” as they move on to high school and area Young Artist productions. This year’s group are Chloe Elkins, Abby Kaucher, Anthony Stunda, and Charles Wallace. They are off to a great start for whatever stage they aspire to.

Being an all-volunteer organization, KidsPlay keeps tickets at just five dollars each to see “The Doctor is In,” Friday through Sunday (April 19-21) only at the H.J. Ricks Centre for the Arts, 122 W. Main St. (US 40) in downtown Greenfield. Presale tickets available at Hometown Comics & Games, 1040 N. State St., also in Greenfield.  

Sit, stay, see ‘Sylvia’

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By Wendy Carson

The Village Theater, a newly minted company based in Noblesville, leaps onto the local stage scene with their delightful production of the comedy “Sylvia,” by A.R. Gurney, in Carmel.

Greg (Mason Odle) is having a midlife crisis. He’s fed up with his job, he’s missing his now-grown kids, and he’s unhappy living in the city. Into his life bounds a perky, devoted young female who is the answer to all his woes. Kate (Andrea Odle), his wife, who is flourishing as an empty-nester, puts her foot down and refuses to allow her to live with them, at first. She reluctantly allows Sylvia (Amber Shatto) to move in on a temporary basis.

Should I mention that Sylvia is a dog?

Thus, we have an endearing story in which we are privy to all of Sylvia’s thoughts and actions and the conversations she holds with our main couple, when each human is alone. Add to the mix JB Scoble, portraying the various supporting characters: Tom, the fellow owner at the dog park who reads books and analyzes Greg and Sylvia’s relationship; Phyllis, one of Kate’s snooty friends who shares her horror at the changes she must endure as no longer the only female in the house; and Leslie, Kate’s therapist, who tries to council Greg but ends up sharing Kate’s disdain for the usurper.

Director Larry Adams excels at keeping the show about their relationships while allowing the joy and laughter inherent to shine through. Offstage spouses Mason and Andrea Odle address their characters’ needs and desires as a couple, as well as their conflict regarding Sylvia. Scoble shows off his range with his three characters but is a sheer audience delight in his turn as the pearl-clutching Phyllis.

Shatto’s energy and exuberance throughout all the various phases of her character is spectacular. Anyone who’s had a dog or been around them for any period will recognize all of her projected behaviors and hopefully gain insight into what these creatures may have been communicating to us all along.

A sweet, funny, heartfelt salute to man’s best friend, “Sylvia” is at – ironically – the Cat, 254 Veterans way, downtown Carmel, for three more shows, Friday through Sunday, April 19-21. Get tickets at thecat.biz.

ALT presents interesting ‘Case’

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By John Lyle Belden

The title is “A Case for the Existence of God,” but this is not an academic lecture. Playwright Samuel D. Hunter, who also wrote the drama “The Whale” and adapted its screenplay, seeks the Divine in unusual yet beautiful places, like Idaho.

In the American Lives Theatre production of “Case,” Eric Reiberg and Eric Thompson play Ryan and Keith, two Twin Falls residents with little in common, except for a specific melancholy.

Keith is a mortgage broker, and Ryan desperately wants to acquire acreage that used to belong to his grandparents. They met at a daycare, each dropping off a daughter to which he has tenuous claim. Most of the play takes place in an office cubicle where Ryan’s iffy credit tests Keith’s talents and patience in securing a loan. In a series of smash-cut scenes over the course of the 90-minute play, we see their relationship develop. They understand little of each other at first, yet simultaneously something deeper. From this we get awkward humor, sparks as issues arise, some unintended bonding, and perhaps a path to the title proposition.

Each actor effectively presents his character’s individual quirks and struggle. Ryan dreams and wants, but has trouble with action and follow-through, often hinting at an undiagnosed mental issue that invisibly disables him. Reiberg plays him with wide-eyed earnestness, the kind of guy you want to root for despite obvious risk.

Keith carries the understandable shoulder-chip of the “queer black boy” who grew up in small-town Idaho, but strives to toe the line, doing the right thing in a job where the numbers always add up, following the rules to fulfil his dream of a family – despite the capricious whims of real life. Thompson plays him with dogged optimism, though it seems no good deed goes unpunished.

Directed by Andrew Kramer, the play presents an interesting and engaging portrait of unlikely friendship, with struggles that challenge and evolve the idea of what it is to be a man in today’s America.

However, does it prove the Case? That is up to the viewer. Performances are Fridays through Sundays through April 28 at the Phoenix Theatre Cultural Center, 705 N. Illinois St., downtown Indianapolis. Get tickets at phoenixtheatre.org, information at americanlivestheatre.org.