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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).

IndyFringe: Teeny Tiny Tempest

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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

Consummate local favorites Paige Scott and Jason Adams once again bring their talents together for this delightful retelling of Shakespeare’s “The Tempest.” Using simplistic props and traditional storytelling methods, they mine both the humor and the utter whimsy of their source material.

Never have I been more entertained, by the story or its presentation. This show highlights every nuance and skill of both actors while keeping the audience so engaged you dare not blink lest you miss a second. This is truly the best show the two have ever attempted and fully deserves the huge crowds it keeps drawing.

Luckily, there are still three performances left in which to experience the exquisite pleasure of the duo and their abilities. Presented in the Barnes & Thornburg Blackbox Theatre at IF (719 E. St. Clair), see them at 8 p.m. Wednesday, Aug. 19, and 2 p.m. Saturday and Sunday, Aug. 22-23, appropriate for ages 13 and up. Miss them at your own peril.

Neighbors take offense while building a fence in CCP comedy

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By John Lyle Belden

It’s said that “good fences make good neighbors,” but that depends on where the fence is.

At least that’s the case with “Native Gardens,” the comedy by Karen Zacarias presented by Carmel Community Players at The Cat, directed by Lori Raffel. Set nowadays in a nice Washington D.C. neighborhood, near-retired couple Frank and Virginia Butley welcome young couple Pablo and Tania Del Valle, who buy the home next door.

Frank (Larry Adams), who worked for the General Services Administration and does consulting from home, takes pride in the yard and flowerbed he has crafted with great care for years, hoping to finally rise above Second Place in the local gardening competition.

Virginia (Vickie Cornelius Phipps) is a strong-willed woman from a Polish-American family, now a top engineer with a major defense contractor. She doesn’t hesitate to speak her mind.

Pablo (Oscar Otero Ortiz), who was disowned by his wealthy family in Chile for marrying a poor “United Statsian,” worked his way through law school and has been accepted to a major D.C. firm. He hopes to make partner.

Tania (Yolanda Valdivia), from New Mexico – her family was there when it was just “Mexico” – is about to complete her doctorate in Social Work as well as her obvious pregnancy. Her plans for the Del Valles’ back yard are a bit different from what’s on Frank’s side: keep the big oak tree, no pesticides, and all plants native to the area.

One thing both couples can agree on is that the chain-link fence between them must go!

Replacing this barrier with a nice wooden fence must happen quickly, as Pablo impulsively invited his fellow attorneys – including a named senior partner – to his backyard for a barbecue the next weekend. However, when work begins, a routine property survey leads to a bizarre “border war.” How neighborly!

What could start out as a bit of a fish-out-of-water situation soon becomes a meditation on precisely whose “water” this is. Being near the nation’s Capital, there are political overtones – the Butleys are right-of-center, more Bush-era Republicans than the current strain; while the Del Valles are more left-of-center (New Mexico is demographically Democratic) and Tania considers herself Latinx. This informs their actions regarding what each one feels entitled to, as they work within their differing paradigms to be good people.

Our four actors deliver great examples of being bitter without becoming unlikable, as each flashes from friendly to comically enraged at a moment’s notice. As words are said (including a swear in Spanish), acorns are thrown, and legal action threatened, there seems to be little actual malice.

Katherine Floyd, Jacob Slager, and stage manager Susan Yeaw work efficiently as “Mr. Mow It All” yard services, doing the fence removal, survey, contract work and scene changes.

Kudos to Joyce Pendleton for her set decoration of the beautiful flower gardens and realistic tree.

“Native Gardens” is like a fun sitcom with lots of subtext about differing views of land and our relationships to it and each other. It points not to a position of right or wrong, but rather – however we individually see things – to being good neighbors.

Performances run through Aug. 16 at The Cat, 254 Veterans Way in the heart of downtown Carmel. See carmelplayers.org or thecat.biz.

Eclipse: Circumstances shake certainty

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By John Lyle Belden

Reminding us that current controversies have deep roots, Eclipse Productions of Bloomington presents the drama “Doubt: A Parable” by John Patrick Shanley, directed by Kate Weber.

Set in the 1960s, Catholic school principal Sister Aloysius (Ellen Snyder) hears a sermon by popular young pastor Father Flynn (Michael Allen) that increases her suspicions of serious and too-familiar misdeeds. A private conversation with 8th-grade teacher Sister James (Morgan McMillan) deepens her concern, and now the younger nun is also noticing things.

Like a silent jury, we hear the Sisters mull over evidence of… what? They hardly dare to consider that which, if not investigated, would be betraying the students’ trust and innocence. We also get glimpses of the priest; what we see unsettles rather than resolves. Inevitable confrontation delivers no clarity, especially as the principal’s own beliefs and biases are brought into the discussion.

Important but unseen is a young black student at the center of the issue. His mother (Minka Wiltz) arrives to fiercely deliver her perspective, deepening both the stakes and context.

Issues of race relations, “Vatican II” reforms, and Church structure and bureaucracy factor here. To a degree, they echo today while members of all denominations, both past and present, still wrestle with accusations, speculation, and evidence of crimes – destroying lives and shaking congregations.

Allen gives Flynn charming charisma, making him both believable and highly suspicious, depending on your own perspective. Snyder’s Aloysius is the kind of (literally) old-school nun parents respect and children fear – and she likes it that way. McMillan’s James reflects the newer attitudes, leading with compassion, though it’s possible she’s too credulous.

In a more secular setting, you could find yourself on an actual jury, sorting through the circumstantial evidence. This play is notable for its conversation-starting, thought-provoking nature. We highly recommend this exercise in judgement, Eclipse’s arena to wrestle with “Doubt.”

Opening with the most cleverly appropriate curtain speech (kudos to Jeremy Weber’s solemn delivery), performances continue Friday through Sunday, July 30-Aug. 2, at the Waldron Firebay (first floor of Waldron Arts) 122 S. Walnut St., Bloomington. Get info and tickets at eclipseproductionscompany.com.

Death Valley daze at Mud Creek

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By John Lyle Belden

If you think it’s been hot around here, then try spending some time in the Old West town of Death Valley, California. Better yet, head over to the Mud Creek Players Barn and think you’ve gone dizzy from the heat watching “The Ratcatchers Daughter.”

Actually, it’s not meant to make sense, just be a family-friendly fun old-time comic melodrama by Tim Kelly, directed by Collin Moore. True to the venue’s name, there are haybales for those seating front and center, which means the popcorn everyone is encouraged to throw (meant for the villain but it rained down constantly when we went) may get in your hair.

The stagecoach doesn’t run this way anymore, but the town still maintains its orphanage, run by Auntie Hush (Alli Lamb), (in)famous for serving her Hush Mush. Walking over from Reno are Sweet Lotta Bliss (Tanya Keller), seeking love; Whiplash Snivel (Craig Kemp), who wants to close the orphanage and open a casino (Near Reno? Unthinkable!); and Lady Pilfer (Rachel Smith), following the money. Death Valley Nell (Addie Taylor), the Sheriff, is suspicious.

Fur salesman Jack Sunshine (Kelly Keller) seeks to reconcile with Lotta, and to stay sober. Fortunately, there are Temperance ladies Livinia Lagoon (Becky Chilcote), Eunice (Sydney Heller) and Mildred (Adriana Rosebrough) on hand. Unfortunately, Whiplash has a bottle and a devious plan.

There are also Cuspidor (Tim Jamriska) the prospector; Feathertop (Jackson Hawkins), local speaker of frontier gibberish; Hermanita (Alaina Moore), a Latina nun with a guitar she can barely play; and orphans played by Ellisyn Bundy, Fred Margison, Judy McGroarty, Hagan McMillan, Evelyn Odom, Eve Sheward, and Henry Sheward.

Feel free to laugh, cheer, and boo the bad guy, and you’ll have a wonderful time. The barn does have air conditioning, but if the atmosphere still seems stifling, there are cold drinks at concessions – and popcorn, so much popcorn…

“The *Ratcatcher’s Daughter” has one more weekend, with performances Thursday through Saturday evenings, plus a Saturday matinee (July 30-Aug. 1) at 9740 E. 86th St., Indianapolis. Get tickets at mudcreekplayers.org.

(*No rats were harmed, unless they got into Auntie Hush’s Mush.)

Enjoy the betrayal and madness with Indy Shakes

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By John Lyle Belden

“King Lear” stands apart from William Shakespeare’s other tragedies with its proto-feminist overtones and for having multiple villains – working against as much as with each other. Though typically presented, like many of the Bard’s plays, in medieval or Renaissance costumes and props, the monarch on whom it is based, “Leir,” ruled pre-Roman Britain around the 8th century B.C. (No problem for companies who dress Shakespeare works in any style or period they wish.) Also, relevant to current cultural concerns, the plot has an emphasis on mental health.

This and more are presented in the Indianapolis Shakespeare Company production of “King Lear” in their free summer outdoor show at Taggart Memorial Amphitheatre in Indy’s Riverside Park.

The regal Ryan Artzberger takes on the title role with gusto, making all wonder about Lear’s wits from the beginning as he attempts to go into retirement, first dividing his kingdom among his three daughters, portioned according to how they flatter him. Famously, he misunderstands the words of equally greedy Goneril (Anna Takayo) and Regan (Liz Carrier) as love, and the humble honesty of Cordelia (Alexandria Miles) as a sort of betrayal. The latter girl is then banished (to wed the King of France), as is loyal Kent (Milicent Wright) for questioning his judgement. (Wright, playing Kent as a female advisor, takes on a male disguise to stay near Lear – playing the “man” as originally written.)

Daniel A. Martin is Goneril’s more honorable husband, the Duke of Albany, while Ryan Ruckman plays Regan’s co-conspirator husband, the Duke of Cornwall. Kelsey VanVoorst, who briefly appears as the French king, mainly plays Lear’s clever Fool.

Meanwhile, the Duke of Gloucester (Charles Goad) is persuaded by illegitimate son Edmond (Jamaal McCray) that rightful heir Edgar (John Reynolds) is plotting against him. Drew King completes the cast as characters Burgandy and Oswald.

Under Zack Neiditch’s direction, this highly talented cast present an entertaining and easy to follow tragic story, complete with plots and betrayals among the ambitious, and mental health crises among the others. Goad and Artzberger effectively take their characters to the edge (one literally). Reynolds is outstanding as he has Edgar, to stay alive, take on the guise of a mad beggar, “Poor Tom,” who will encounter in turn the king and his father in their disturbed states. By contrast, Van Voorst is totally in her element in what seems the most wacky role being the most wise character on the stage. Takayo, Carrier, Ruckman, and McCray each seethe with deviousness; making it inevitable they could turn on one another.  

Note for those unfamiliar: Don’t get too worried about the rumble of thunder at this outdoor venue, as it’s only the famous storm scene that starts the second act.

Pardon the expression, but you’d be crazy to miss this, yet another top-notch Indy Shakes production – especially as tickets are free. Remaining performances are Thursday through Saturday, July 30-Aug. 1, and available streaming online on Friday, July 31. Get details at indyshakes.com.