play

We love Southbank

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By John Lyle Belden

The power and mystique of the Shakespeare tragedy “Hamlet” are so strong, one can talk about and around the play and not only impart its importance, but also tell a story that stands on its own. This our young protagonist learns in the comedy “I Hate Hamlet,” by Paul Rudnick, presented by Southbank Theatre Company, directed by Eric Bryant.

Set in the early 1990s, television star Andrew Rally (J. Charles Weimer) rebounds from the cancelation of his show by going to New York to play the lead in a Shakespeare in the Park production of “Hamlet.” To be honest, he doesn’t really want to do it, being self-aware that his talent lies more in the small screen than on a big stage.

Still, his girlfriend Deirdre (Michelle Wafford) adores the Bard and might finally give in romantically if Andrew takes the role. His agent, Lillian (Wendy Brown), also sees this as a good decision. On the other hand, we will soon meet his friend Gary (Anthony Nathan), a TV director and smarmy denizen of Hollywood who sees the fading TV star in over his head, getting little to no financial gain from this likely fiasco. Gary arrives with a deal for a style-over-substance show that is assured to make them both rich, if Andrew abandons the Shakespeare gig.

Meanwhile, New York Real Estate broker Felicia (Jean Arnold) has set Andrew up in an eccentrically-decorated apartment that was once home to legendary actor John Barrymore – Drew’s grandfather, and, more importantly, regarded as the greatest Hamlet of his era. Felicia also fancies herself a psychic medium, so she, Andrew, Deirdre, and Lillian (who once knew the actor), attempt to reach out to Barrymore’s spirit.

Unable to resist an opportunity to perform, John (Kevin Caraher) does appear, and won’t leave until Andrew Rally is Hamlet (ghost rules, otherwise he’s stuck).

That’s the plot, but more important is the hilarious journey Andrew takes in getting over his “hate” of Hamlet, feeling compelled to prove to everyone – especially himself – that as an entertainer he is more than just “an anytime snack” (see the show, you’ll get it). Caraher plays Barrymore as a manic mentor, while still carrying echoes of the regrets and alcoholism of his mortal years (the real actor did have an interesting biography). He and Weimer engage in some great physical comedy, especially when the swords come out.

Wafford’s Deirdre could be pictured next to “giddy” in the dictionary, a blend of (literally) virginal innocence and fangirl ebullience. Brown plays her aging German agent as both sensible and wistful, the latter especially when she has her long-awaited second encounter with the spirited stage star. Nathan does broad comedy as naturally as breathing and embodies happy-go-lucky about as heartily as anyone short of an actual cartoon. It’s telling that Gary lives so much in the alternate reality of the West Coast that he easily sees Barrymore without an inkling that the event is supernatural.

A roaring good time in a sly homage to the power of Shakespeare and the character of those who take it on, you’ll love “I Hate Hamlet.” Performances are Thursday through Sunday, Nov. 14-17, at Shelton Auditorium, 1000 W. 42nd St., Indianapolis, on the southwest corner of Butler University campus. For info and tickets, see southbanktheatre.org.

Hyperion haunts local stage with popular British thriller

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By John Lyle Belden

It’s extremely difficult to do horror on stage.

To be more precise, it is very hard to do frightening on stage. Horror in a broader sense abounds in theatres, especially at this time of year. We get literature and social commentary with a bit of chill with Frankenstein, or we indulge in campy jump-scares with horror-comedies and musicals. We even get normalized ghoul-next-door with a show about witches or the Addams Family.

But spookiness that kinda gets to you, or has the easy-to-scare friend in the next seat gasp or nearly jump out of their chair? That’s hard. That’s “The Woman in Black,” presented by Hyperion Players.

Based on the 1983 novel (set early in the 20th century) by Susan Hill, this gothic story was adapted by Stephen Mallatratt into the second longest-running play on London’s West End. It is directed here by local actor and director Liz Carrier.

On a rehearsal stage with a scattering of set pieces, we meet David Johnson and Nicholas Gibbs as Arthur Kipps, solicitor, and Actor, a trained thespian. Disturbed by memories raised during a traditional British Christmas telling of ghost stories, the former has written his story out and asks the latter to help him in presenting it to close family and friends. During the course of this play, both will be Actors and, depending on the scene, either will be Kipps. It’s not hard to follow, though – this isn’t the scary aspect.

From our vantage as the shadows of this empty hall, we see the tale unfold of young Kipps being called from foggy London to the foggy village of Crythin Gifford to attend to the estate of recently deceased Mrs. Drablow, especially her Eel Marsh House manor among the marshlands by the North Sea. Things start out eerie enough, including encounters with certain townsfolk, but get worse with sightings of the titular Woman, mysterious noises, and a growing number of disturbances.

The acting, both overall and play-within-the-play, is excellent. Johnson nimbly switches from one character to another in tone, accent, and expressions. Gibbs shows practiced confidence in engaging the Kipps script and an earnest manner in portraying the junior solicitor. With their aid, Carrier arranges the proper dark atmosphere for this story, making vital the contributions of sound designer Zach Catlin, Adam Fike for the lighting, and hair and makeup artist Bella Lazarides. With all the fog, shadow and sound effects, we can imagine we see the horses, the friendly dog, and even…

Please note the cast list is just two persons.

Spend some time in the dark with an unsettled – and a trifle unsettling – spirit; experience the mystery of “The Woman in Black,” performances Thursday (yes, Halloween!), Friday and Saturday at The Switch Theatre in Ji-Eun Lee Music Academy, 10029 126th St., Fishers. Get info and tickets at HyperionPlayers.com.

NAATC: A legacy worth fighting for

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By John Lyle Belden

Naptown African American Theatre Collective, Indy’s first Black Equity stage company, continues to bring us stories that are both the Black Experience and our human experience.

The theme for its 2024-25 season is Cementing Our Legacy, which can mean different things to different individuals, even within the same family. “Judy’s Life’s Work” by Loy A. Webb, presented by NAATC at the Phoenix Theatre cultural Centre, is a hard-hitting example of this.

Xavier (Xavier Jones) rose up from hardship to become a boxing champion. Time in prison convinced him of the importance of education, so now he runs his own gym and offers free tutoring for neighborhood kids, which has him on the ropes financially. As luck would have it, his new uptown girlfriend, Camille (Selena Jackson-King) has a way to keep the place solvent and run it as a not-for-profit. He just needs one thing, which he has to get from his sister, Charli (Cara Wilson).

It turns out that this simple story has so many layers. The macguffin of the plot is a notebook belonging to Camille and X’s mother, Judy, who had recently passed away. She was a leading biological researcher who had kept her work to herself, wary of the motives of others – especially Duffy Pharmaceuticals, located in their city.

Word had gotten out that Judy had made a revolutionary breakthrough shortly before her final battle with cancer. Charli had worked closely with her Mom and keeps the notes hidden; X, who is years older, had been given up by his mother for adoption, landing him in a hellish foster system. As he sees it, Duffy can continue the breakthroughs while giving him the funds to keep his community-minded project alive. Win-win, right? As for Camille, we soon see she is motivated by something more than love for a down-and-out former Champ.

The gloves are on, the bell is rung. Who will still stand when this round is done?

Jones is commanding in his role, with all the cocky bluster of a young Will Smith. His feelings run deep, both in affection for his sister and bitter resentment of his mother. He carries himself as one who has been knocked down plenty – in and out of the ring – yet still managed to find a way to stand again. Wilson cleverly plays Charli with a look and manner that seems to scream “adorable little sister” while displaying a sharp intellect in fighting condition for this battle of wills. Jackson-King ably portrays the conflicted heiress caught up in a high-stakes challenge.

How do we define one’s “life’s work” and its value? With little surprises all the way to the end, this examination of one’s legacy keeps us engaged throughout. The director is Philadelphia-based award-winning multidisciplinary artist Angela Bey, who was drawn to Naptown by her love of Webb’s plays and is impressed with what NAATC is doing. “There’s nothing like this in Philly,” she said on opening night.

The opening also featured the Hip-Hop Legacy Cypher, a spoken word battle with poets Manòn Voice and Tony Styxx. Consider us all knocked out by the power of their truths. This isn’t a regular feature, NAATC producing director Lakesha Lorene said, but something like this could come around at their next show opening.

“Judy’s Life’s Work” continues through Nov. 3 at the Phoenix, 705 N. Illinois, downtown Indianapolis. For information, see naatcinc.org; for tickets, go to phoenixtheatre.org.

Andersen’s own duckling-to-swan story in new musical

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By John Lyle Belden

The life of Danish author Hans Christian Andersen was quite extraordinary, resembling a novel – or perhaps, a fairy tale.

Indy Bard Fest presents “Andersen: A Fairy Tale Life,” a new musical written and directed by June McCarty Clair (with music by Derek Hakes and lyrics by John C. Clair), based on the true events of the tale-spinner’s life.

We first follow Andersen as a boy (played by Preston Blair) in the small town (at the time) of Odense on Denmark’s island of Funen – far enough from Copenhagen for it to be considered boring but close enough for royalty to visit for a quiet vacation. Raised on literature by his father (before he died) and folk tales by his illiterate mother (Lisa Anderson), the lad would sing and recite for coins on the street.

Having a good voice and endless ambition, as a teen (Grant Craig) he makes his way to Copenhagen hoping to be a performer as well as a writer. Nearly penniless, he finds his way to Jonas Collin (Mac Williams), who takes him in, and with famous voice teacher Siboni (Thom Brown), scientist H.C. Orsted (Duane Leatherman), and, reluctantly, Jonas’s son Edvard (J.B. Scoble) undergo a grand experiment to see if a low-born person with potential can bloom into a celebrated genius. Struggling at first, Andersen is sent to study under cruel schoolmaster Simon Meisling (Matthew Socey) to improve his grammar. Instead, he writes a poem which somehow makes its way into print.

This first act not only gives us an interesting biography but also provides a showcase for the talents of Blair and Craig, who get their own songs and fully realized scenes – not just used as younger faces to get to the man we know. With Craig’s charm and vocal chops, he easily portrays the star potential of the confident young Dane.

The second act brings on Andersen as a young adult, in which Matt Anderson channels his charisma into a man who came across as gangly, awkward, and eccentric, yet somehow enchanting. In these years success came easily, but happiness and a sense of belonging elude him. People love his stories, but what about the man?

This play includes references to a number of Andersen’s tales, with one even acted out by children. The songs serve the plot well – such as “Another Door,” as young Christian deals with rejection as he pursues his destiny. The second-act song “Fairy Tale Life” has showstopper potential.

Other notable performances include Rachelle Woolston as Mette the Fortune Teller, Sara Tewes as a famous ballerina, Erika Koepfer as Louise Collin, Nan Macy in brash-woman roles as usual, and Greta Shambarger as the one kindly person who doesn’t slam the door in Andersen’s face. They are joined by Beth Gibson, Derek Hakes, Emelyn Woolston, Owen Flint, Andy Burnett, Mel Burnett, Lucy Isles (Little Match Girl), Jacob Meneghini (Ugly Duckling), and Thom Johnson (Mayor of Odense).    

“Andersen: A Fairy Tale Life” is an entertaining examination of a true rags to riches story, a testament to overcoming one’s disadvantages with persistence. We get glimpses into both the author’s humor and his melancholy that informed his often-tragic writings. Ever feeling the outsider, he still lived a full and, eventually, celebrated life. The story doesn’t delve into current scholars’ controversial speculation of his sexuality, yet does portray the loneliness we know he felt.

Remaining performances are Friday through Sunday at Shelton Auditorium, 1000 W. 42nd St., Indianapolis (southwest corner of Butler University campus). For information, see indybardfest.com, or find tickets here.

Roaring ‘20s murder mystery at historic Harrison home

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By John Lyle Belden

Candlelight Theatre at the Benjamin Harrison Presidential Site presents “Mobsters, Molls, & Murder,” an interactive mystery in which actors play the suspects and you guess who did the deed.

The home of America’s 23rd President stands in for the 1920s Chicago home and speakeasy of gangster Mickey Scapone, who has been found dead. A knife is discovered, but a gunshot was heard, and there’s also a half-eaten chocolate and some mysterious powder.

The play’s audience are divided into three groups, who are taken to various rooms to meet characters including Tony, Mickey’s lieutenant; Rosie, Mickey’s moll; Robin, the accountant; Bunny, the beautiful dancer; Harvey, the barman; and Senator Sly Schuster and his fiancé, Candy. After hearing their stories, we can ask the suspects for more details, as well as about the nearby clues (the private detective who wants this solved before the real police show up has marked 12 items throughout the house). We are each given a notebook and pencil to write down our findings and suspicions.

At the end, each group confers to give its guess of who killed Mickey, how, and why. I appreciated this cooperative approach, as I’m not personally good at guessing whodunits. The suspects are also all gathered at this point, so we can even ask additional questions.

Wendy and I enjoyed this theatrical adventure, even though our group didn’t get the right answer – we should have listened to the 13-year-old participant who fixated on the right clue (and gave us a well-deserved “told you so”). Everyone liked seeing the historic rooms with their antique furnishings and art, and a couple even dressed up for the occasion (Gatsby-style attire is suggested, but not required).

The cast includes Steve Viehweg as the detective and Candlelight Theatre creative director Donna Wing as Rosie. (We don’t have a full list and will add other names when we do.) As actors “lie” for a living, can what any of them say be trusted? Still, they give good in-character reactions to our inquiries.

One thing we must note is that moving around the building involves climbing up and down stairs from the basement to first, second, and attic levels. There is an elevator available, and staff are happy to assist those who need it. Also, the performance scheduled for 2 p.m. Sunday, Oct. 27, is “stationary” with participants staying in one room while the suspects come to them.

For a fun mix of history, intrigue and a sort of live-action game of “Clue,” investigate this production at the Harrison home, 1230 N. Delaware St., in downtown Indianapolis. Performances are Friday and Saturday, Oct. 18-19 and Saturday-Sunday, Oct. 26-27, with limited tickets, so go to bhpsite.org to get yours.

Bard Fest ‘Macbeth’ simply bold

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By John Lyle Belden

In what has been announced to be its final season, Indy Bard Fest is going out strong. Appropriate to October, we get the spooky, cursed tragedy of “Macbeth,” directed by Christine Gordon.

On the main stage of the IF Theatre (a recent rebranding of the IndyFringe venue, reflecting a mission beyond its annual festival), there are just a couple of items – a garden fountain, a chair – to suggest a stage “set,” whisked in and out from behind the back curtain as needed. The Weird Sisters’ garb suggests a Goth fantasia as we see with today’s perspective the liberties William Shakespeare took with the story of the Scottish nobleman and king who ruled roughly 1,000 years ago. What mattered to the Bard, and to this production, is purely the play’s themes and atmosphere.

The Witches, presented gleefully by Ariel Laukins, Ryan James Moskalick, and Kat Murphy, set the tone and haunt throughout as the actors fill in various supporting roles. They are later joined by the goddess Hecate – Fire Fly of Indy Drag Theatre with divine voice by Wilhelmena Dreyer – who lurks in the previous scene, adding to the suggestion of her of power in this world.

Doug Powers is commanding as the title character, with Laura Gellin as even more ambitious Lady Macbeth. A cursory reading of the play would have you think these two seem to accelerate from “zero to murder” rather quickly; Powers and Gellin’s performances hint at a long-simmering desire to possess so much more than they already have. When a prediction of his rise comes true, it sparks the flame of ambition that will consume them both.

The cast also includes Guy Grubbs as doomed King Duncan, with Katie Endres as his son Malcolm. Tanner Bruson is Macbeth’s ill-fated companion Banquo, and Abby Morris plays his son Fleance, and others. Jason Creighton lends his strong voice and physique effectively to Macduff, Macbeth’s nemesis.

This simple presentation hones the focus down to the dangers of unfettered ambition, the consequences of rash acts (and how they compound as one follows another), and a cautionary lesson that there’s more than one way to read the signs before us.

Remaining performances of “Macbeth” are Friday through Sunday, Oct. 18-20, at 719 E. St. Clair, Indianapolis. Get tickets at indyfringe.org.

CCP shows its strength

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By John Lyle Belden

The title of the play, “Steel Magnolias,” written by Robert Harling based on events in his life, refers to the fact that – as one character remarks – men are expected to be pillars of strength, yet women are like hardy flowers of even stronger mettle.

Carmel Community Players presents a mostly-female production of this Off- and on Broadway hit (also made into a beloved film in 1988), directed by Elizabeth Ruddell.

The action takes place in Chinquapin Parish, northwest Louisiana, but we hear all about it at Truvy’s Beauty Shop. We open on an eventful day: Truvy (Casey Clouser) has just hired young Annelle (Phoebe Aldridge) as assistant beautician, then Shelby (Emily Haus), daughter of M’Lynn (Tanya Haas), one of the shop’s regulars, arrives to prepare for her wedding that day. Clairee (Susan Boilek Smith), the town’s former first lady, arrives from the dedication of the local football field to her late husband. Local curmudgeon Oiser (Gabrielle Patterson) storms in, this time upset at M’Lynn’s husband – who has also annoyed the whole neighborhood with his efforts to scare birds away from the backyard wedding site.

Time advances through more scenes, giving us insight into both the changes in these women’s lives and how their bonds stay strong and true. There is plenty of good humor, with numerous funny lines and zingers like a sitcom, but flowing naturally like true friends talk. There is also a cloud of misfortune that will eventually overtake them, testing their steel. Even if you know this or have seen it before, this cast keeps the feelings raw and real.

Haus presents Shelby in all her stubborn, upbeat, brave glory. Haas epitomizes the hard strength of the title, making it all the more impactful when she reaches her limit. Aldridge charms, taking us on the curious complex arc of sweet Annelle’s many changes, inevitably for the better. Smith gives us someone who knows she’s a VIP but would rather have fun with it than lord it over anyone. Her fierce loyalty to lifelong best friend Oiser says a lot about her character. Speaking of whom, Patterson gives us a force of nature like a Louisiana hurricane, yet always true to the ladies in this circle.

If you haven’t, we highly recommend you also see the movie with its all-star cast, including Dolly Parton as Truvy. Clouser is a living tribute with her accent and blonde wig, while making the character her own. We never forget this is her house, after all.

Other salutes to the film include a Dolly portrait on the wall (her hits play while we wait for the play to start) and Annelle’s cat-eye glasses like Darryl Hannah wore in the role.

Haas is also producer. Other “Magnolias” involved include stage manager Samantha Kelly, lights by Karissa Henschen (with Doug Vann), and sound by Lori Raffel. “Honorary Magnolia” Jason Creighton provides the good-ol’-boy voice on the radio.

Entertaining and emotional, find some Southern charm up north in Carmel. “Steel Magnolias” plays Thursday through Sunday, Oct. 10-13, at The Cat, 254 Veterans Way. Get info and tickets at carmelplayers.org or thecat.biz.

BCP ‘Vultures’ provides haunted hilarity

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By John Lyle Belden

Take one part Agatha Christie, one part “Clue,” and a dash of gay romance, and you get something unique, entertaining, and intriguing: “The Vultures” at Buck Creek Players.

In this 2018 comedy by Mark A. Ridge, directed by Andrew Souders, we spend a dark and stormy night at remote Westmount Manor, where the last remaining relatives of eccentric millionaire Simon West gather to hear the reading of his will, on the 20th anniversary of his death.

The only resident for the last two decades has been cryptic caretaker Talbot (Tiffany Wilson). The attorney, Mr. Cosby (Derek Sumpter), conducts the reading attended by Harrison Blythe (Tony Brazelton), Mary Roberts (Nancy Laudeman), Ashley Hopewood (Cairo Morado), Charles Willard (Scott A. Fleshood), Paul Jones (Jericho Franke), and Hunter West (Zach Bucher). Things get interesting even while these distant relatives gather as Harrison is a famous underwear model, and Ashley is a total ditz. The banter includes a lot of verbal barbs which only get sharper as it turns out only one of them will inherit the West fortune.

The plot thickens further when Rhinehart (Rich Laudeman) arrives from nearby Hillcrest Asylum to alert them that a murderous psychopath has escaped. Someone is not going to live through the night.

Dennis Karr completes the cast as physician Dr. Avery, who lives nearby.

With restless spirits, a missing priceless pocket watch, secret passages, and a shadowy figure, we get a puzzling whodunit as well as laugh-out-loud comedy. In addition, there’s the rekindling of past affections between Hunter and Paul, upping the ante when heroics are called for.

There are excellent performances all around, with Morado doing Generation Z no favors with her charming yet delightfully airheaded turn. Wilson’s never-break dour deadpan delivery is perfect, presenting herself like the sister of Addams Family’s Lurch. Brazelton is brave in his own way, fortunately having worked out enough to display his costuming (or lack thereof).

More creepy than scary, haunted but hilarious, this is an easy outing for your spooky season. However, it’s only available for one more weekend, through Sunday at the Buck Creek Playhouse, 11150 Southeastern Ave., Indianapolis (Acton Road exit off I-74). Get info and tickets at buckcreekplayers.com.

Westfield hosts ‘Ripcord’s rowdy rivalry

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By John Lyle Belden

For something different for October, a show in which it is one of the characters who is supposed to be frightened – for the audience, it’s all laughs. Main Street Productions of Westfield presents “Ripcord,” by David Lindsay-Abaire.

If the playwright sounds familiar, it is because he is known for hits including the deep drama “Rabbit Hole,” and the wild hilarity of the stage musical of “Shrek.” He shows a bit of both sides in this comedy. Director Andrea Odle lets the natural odd-couple humor shine through rather than let this devolve into farce, with just the right amount of slapstick.

Abby (Miki Mathioudakis), the acerbic resident of an assisted-living retirement home, doesn’t like having a roommate – especially her latest, upbeat talkative Marilyn (Tina Nehrling). When resident aide Scotty (Marshall) fails to arrange a room reassignment, the women come up with their own solution. In their wager, if unflappable Marilyn loses her cool and gets angry, she must move out; if unmovable Abby becomes afraid, she must let Marilyn stay and get the bed next to the window.

This includes a scene at a haunted house where aspiring actor Scotty is one of the performers. We also meet Marilyn’s daughter and son-in-law Colleen (Claire Slaven) and Derek (Scott Prill), who help run her skydiving business.

Cameron Ponce plays Marilyn’s son Benjamin; and he, Slaven, and Prill fill in other roles.

Mathioudakis and Nehrling have wonderful, volatile chemistry. Their characters can both dish it out and take it in their prank war, while revealing sufficient depth to engage us in the question of whether it’s possible to take their antics too far.

Marshall plays Scotty as a friend caught in the middle like a babysitter at a high-stakes pillow fight. He has limited authority, but unlimited concern. Prill and Slaven give Derek and Colleen a spirit of fun natural to a family raised on adventure.  

This production lets the fun “rip” four more times, Thursday through Sunday, Oct. 10-13, at Basile Westfield Playhouse, 220 N. Union St. Get info and tickets at westfieldplayhouse.org.

Center Stage ‘Outsider’ shows silly side of politics

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By John Lyle Belden

At times, the difficult part of satirizing today’s political scene is coming up with something nuttier than what is actually happening. Or, in the case of “The Outsider,” the hilarious comedy by Paul Slade Smith, one could premiere a play in 2015 that in some ways appears to come true in the nine years since.

Center Stage Community Theatre in Lebanon now presents “The Outsider,” directed by Matt McKee with Sabrina Lang. The play is set in an American governor’s office – which state is not said directly, but there is an Indiana flag in the corner. Also, party affiliations are never mentioned as absurdity is non-partisan.

With the popular but corrupt Gov. Larry Clarke (and his whole staff) having resigned due to a sex scandal, the top job has fallen to Lieutenant Governor Ned Newley (Matt Spurlock), who, though highly intelligent and an efficient policy wonk, is totally tongue-tied in public and has botched his swearing-in. Note this takes place “today,” with viral videos on YouTube and other sites.

Chief of Staff (and until this day, Newley’s entire staff) Dave Riley (Neil Acton) is beside himself with worry over his boss’s future. His first hire is friend and expert pollster Paige Caldwell (Veronique Duprey), who manages to bring in nationally renowned political advisor Arthur Vance (Larry Adams). Riley also requested a temp to handle administrative duties, resulting in the appearance of Louise “Lulu” Peakes (Kat Krebs), who boasts experience at dozens of firms because she never lasts a day at any of them due to comical cluelessness.

Vance feels inspired by the Newley video showing the new governor apparently unfit for office. “Unqualified is the new qualified,” says this expert on what the voters want. The fact that Gov. Newley is not stupid only complicates things as Vance sets up a TV interview with local reporter Rachel Parsons (Lauren Lotzow), who arrives with surly cameraman A.C. Petersen (Tom Smith). This attempt to keep the Governor dumbed-down takes a bizarre turn when Lulu stumbles into the office, giving Vance a look at what could be the perfect American political candidate.

Whether you think this is other-worldly absurd or an exaggerated look at current events, the play is non-stop funny, like an SNL opening skit in which all the zingers hit. Acton as Riley plays the neurotic nice guy so well Jimmy Stewart would ask for pointers. Duprey has a natural charm that works perfectly here. Adams brings on contagious energy like a 21st-century political P.T. Barnum with the right sets of cards to get anyone saying what the public (or at least a focus group) wants to hear. Lotzow ably embodies a journalist annoyed with what “the media” have become, yet she must go along to keep a job. Smith, who can make a lot of a little role, does quite a bit with the guy who just wants to stay overlooked while he does his necessary thing.

 Spurlock gives in Newley a perfect rendition of a man who was in a dream job (quietly writing good policy that the one who likes being the public face took credit for) suddenly in way over his head with nearly every neurotic trigger tripped. Still, his honesty and sense of duty towards a government he doesn’t see as bad, or a means to power for its own sake, bring him courage to do what’s right.

As Lulu, Krebs is both a charmer and talented at the deceptively difficult job of consistently playing the ditz in a manner that is so entertaining while we nearly hurt ourselves laughing. Her timing and physicality, as well as Acton’s during the fateful TV spot, elevate the hilarity even more.

Like all good satire, there is a point here, but nothing heavy-handed or preachy. If you see any real-world versions of the attitudes or archetypes presented, just keep them in mind come November.

Whether you can use some topical humor or think politics is no laughing matter, just relax and enjoy “The Outsider,” through Oct. 13 at Center Stage, 604 Powell St., Lebanon. Get info and tickets at centerstagecommunitytheatre.com.