play

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.

4th Wall takes on Hugo classic

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By John Lyle Belden

The great irony of “The Grotesque of Notre Dame,” a new drama by Josh Gibson presented by 4th Wall Players, is that the story looks unfamiliar because – contrary to various filmed and staged versions – the plot more closely follows the 1831 Victor Hugo novel, “Notre-Dame de Paris.”

We still get our Hunchback, but while Quasimodo (Sarah Kinsey) is a major character, the story centers on the beautiful Roma dancer Esmeralda (Shannon Clancy). Gibson steps in as, naturally, the poet and playwright Pierre Gringiore, who follows the woman to have her be his muse – but through an odd set of circumstances she becomes his “wife.” Meanwhile, she falls for Captain Phoebus (Dustin Jones), who saves her from abduction by Quasimodo and Pierrat Torterue (Ben Elliott) on the orders of Archdeacon Dom Claude Frollo (Lot Turner), who is obsessed with her.

By this point, we have also met Fleur De Lys (Emma Howard), the noblewoman engaged to Phoebus, and her mysterious cousin Columbe (Katherine Novick). Among the street people are the mentally damaged Mother Gudule (Katherine Gibson) as well as a band of thieves (Isabel Moore, Tyler Gibson, and Kelli Gibson) under the command of Jehan (Omar Jurdi), the drunken King of the Court of Miracles, as well as Don Frollo’s brother. Accompanying Esmerelda is her clever goat, Djali (puppeted and portrayed by Taylor Shelton).

Aside from the torturous intrigues with Esmeralda, this adaptation dwells on the aspect that unlike the misunderstandings in Hugo’s story, the aspects of magic and sorcery are more real. This includes the dark spells in Frollo’s chambers, the character of Columbe (brought in from Gibson’s other plays), and the true nature of Djali. Principal plot points, such as Esmerelda being condemned, Quasimodo invoking “Sanctuary!” and the tragic ending, are still true to the book.

Clancy gives us a kind, charming girl worthy of pursuit. Turner contrasts that light with his constant air of darkness. Jurdi plays an unflappable scoundrel, feeling that between his beggar army and his high-placed sibling, he is untouchable. Jones gives us a figure who appears noble yet shows himself more fickle with easily-bruised pride. Shelton does very well with the complexities of her character, horns and all.

Kinsey gives a compelling performance as the Hunchback, complete with employing sign language as the nearly-deaf character. The actor having lost her voice on opening weekend had her mouthing her lines with pre-recorded voiceover; this somehow added to the portrayal, reflecting the fact that an actual person in this state would be nearly impossible to comprehend – yet for the audience’s sake, we do.

The play is directed by Spike Morin-Wilson, assisted by stage manager Kelli Gibson. While the title seems to be an effort to differentiate this from other versions of “Notre-Dame,” it does leave open the question: what truly was the “Grotesque” here? I’m thinking it’s not the poor soul ringing the bells.

Performances conclude this weekend, Sept. 27-29, at Arts for Lawrence’s Theater at the Fort, 8920 Otis Ave. Get tickets at artsforlawrence.org, information at 4thwallplayers.org.

Mud Creek casts a comic spell

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By John Lyle Belden

As the spooky season closes in on us, we have a fresh production of the witchy stage comedy “Bell, Book and Candle,” by John Van Druten at Mud Creek Players, directed by Dani Lopez-Roque.

Gillian (Heather Jones), a powerful witch living in 1960s New York, is taking a fancy to mortal Shep Henderson (Jamie Kenjorski), a book publisher who lives upstairs. However, upstairs from him is Gillian’s silly Aunt Queenie (Stacy Embry) who has been misbehaving. During a rather eventful Christmas Eve, the witches and Gillian’s stylish warlock brother Nicky (Stephen Greiner) set up a magickal night for Shep, and even summon Sidney Redlich (Lou Cavallari), the non-witch author and witchcraft “expert.”

As any spellcaster will tell you, if you put a lot of energy out there – especially in matters of love –there will be serious circumstances. This charming rom-com even has a subtle nod to a certain sitcom that this play helped inspire.

As typical of shows of the era, all characters have nice outfits, thirst for cocktails, and something clever to say. Jones’ performance gives the perspective of a selfish personality slowly discovering the pain and potential good of empathy. Embry’s Auntie is naturally charming, while Greiner feels too fabulous to change. Kenjorski, though playing the “victim” here, has Shep realize perhaps his choices weren’t entirely his own before he encountered his witchy neighbors. Cavallari is both comic foil and a cautionary lesson on the difference between what we think we understand and what we actually do.

This fun, bewitching show opens Mud Creek’s 75th Anniversary Season, celebrating the company’s past hits – “Bell, Book and Candle” was staged here in 1953, not long after its Broadway debut. This production runs through Saturday, Sept. 28, at the MCP Barn, 9740 E. 86th St., Indianapolis (Castleton/Geist area). Get tickets at mudcreekplayers.org.

Hyperion passes Inspection

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By John Lyle Belden

Hyperion Players just presented “An Inspector Calls,” a thriller and modern-day morality play by J.B. Priestley, for one weekend at the Switch Theatre in Fishers.

We open in 1912, during a dinner at the posh home of industrialist Arthur Birling (Christopher Vojtko), celebrating the engagement of daughter Sheila (Megan Fridenmaker) to Gerald Croft (Vincent Pratt), son of Birling’s business rival. Also present are Arthur’s perfectly upstanding wife Sybil (Jennifer J. Kaufmann) and their drunken disappointment of a son Eric (Logan Browning). The evening is interrupted by a visitor, police Inspector Goole (Josh Elicker), who informs them a young woman had just died by her own hand, then interrogates each of these characters to reveal their individual roles in the woman’s demise. It appears only the dutiful maid Edna (Lea Ellingwood) is spared.

From this simple plot, a complex web of secrets and shameful behavior is revealed. The cast all act appropriately pretentious and aghast at every turn. Though set in England, no one forces a fake British accent, which helps keep the performances natural, but still spoken with proper airs so that this could be envisioned as a family of Gilded Age Americans – discussions of impending knighthood, pounds and shillings, etc., aside.

Director Nicole Amsler added the innovation of numerous shadow puppets to illustrate the story of the deceased, set in the background at various scenes throughout the play. The tactic is effective, adding to the overall narrative like flashes of memory in a well-made film. The shadows also add to the noir atmosphere and feel appropriate to a pre-cinema culture. In this way, the late Eva Smith – a/k/a Daisy Renton, a/k/a the false Mrs. Birling – becomes a major part of the drama without us ever actually seeing her face. The 200 shadow puppets were crafted and controlled by Delaney Amsler, assisted by Ellingwood; Lesie Blackwell was stage manager.

Votko has Arthur epitomize the Englishman striving to ever be the ideal gentleman – in his words, “a hard-headed, practical businessman.” He constantly needs to be in charge, so is perpetually perturbed as Goole doesn’t play along. Kaufmann ensures Sybil is never shaken from her elitist perch, though she is severely tested. Browning plays Eric as the man-child struggling to rise but only finding his parents’ disappointment. It is Croft, given the proper stiff upper lip and grinning noble bearing by Pratt, who appears to be the son Arthur hoped for. So, it is left to Fridenmaker to give us a Sheila with a conscience, despite having been rude and spoiled as befitted her upbringing. She gets an opportunity for personal growth, which can make her the audience proxy – aside from what you see in yourselves in the other, less likable roles.   

As our Inspector, Elicker presents an eccentric archetype that would come to life later in the century thanks to writers like Agatha Christie and is practically stereotypical by the lifetimes of us in the audience. In the proper home of a “former Lord Mayor of Brumley,” this mainly serves to keep the occupants nicely off-balance, adding to the humor of a clash of social mores. As there are themes of oppression by the uncaring towards lower classes, Goole gets a bit preachy, but his words have an effect. After he departs, the play’s stunning end scene reveals a very telling test of human nature.

If you’ll pardon a spoiler (maybe you’ll forget this by the time another company stages the play), after the curtain, we are left with the question: Who exactly was The Inspector? Between us, my partner Wendy has her suspicions (something you’d find in the details).

This production gives us another example of how Hyperion Players is bringing us intriguing and thought-provoking, yet quirky and entertaining shows, worth the jaunt for Indy folks to eastern Hamilton County. Their next scheduled productions, “The Woman in Black,” opening Oct. 24, and “The 39 Steps,” opening next March 20, will also be at The Switch in Fishers. Find details at hyperionplayers.com.

ALT, Phoenix present meaningful production

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By John Lyle Belden

For us Americans, we are asked from the time we first learn about it in school what we think about the United States Constitution, but, honestly, what do we know about it? What does it do, has it done – has it not done?

American Lives Theatre and Stage Door Productions present “What the Constitution Means to Me” by Heidi Schreck on the main stage of the Phoenix Theatre Cultural Centre in downtown Indianapolis. This play is a unique blend of (mostly) one-woman storytelling and memoir, compelling lecture, and on-stage debate with elements of improv and audience response.

In its award-winning Off-Broadway run, Schreck recalled how she earned her college tuition as a teen winning prizes at speaking contests on the Constitution held by the American Legion. The narrative comes to more recent times with personal stories and taking notice of how the Supreme Court has upheld – or possibly failed – America’s foundational document.

In the current local staging, highly talented stage veterans Claire Wilcher portrays Schreck while Ben Tebbe is on hand as Heidi’s friend Danny Wolohan, who assists by portraying a Legionnaire contest moderator whom Schreck recalls fondly. In the second act, Jada Radford, a local performer who also participates in Speech and Debate as a student at Marian University, comes out as herself to take a side against Schreck/Wilcher on a constitutional issue chosen at random. Audience members are free to submit topics, as well as questions for the performers, which will be used at the next performance.

Wilcher’s manner is so natural and earnest that any line between her and Schreck vanishes. We readily absorb her recollections, as well as facts and history that may not be common knowledge but affect us all. We delve deeply into the vital Fourteenth Amendment, as well as the cryptic Ninth Amendment, and their role in recent decisions, as well as cases before the courts today.

While there is a fair amount of humor, disturbing truths cannot be avoided. Director K.T. Peterson admits in a program note that “this play is upsetting,” but sees that as a good thing. Difficult topics include domestic abuse, abortion, and civil rights, especially for women. Wilcher-as-Schreck doesn’t get angry, yet pulls no punches in her delivery, a from-the-heart pleading from both women in unison.

Tebbe is supportive and good natured, playing it aptly more as an ally than a co-star. Radford is simultaneously brash and charming. She nimbly blends her stage and forensic skills, even winning the debate in the performance we attended.

So, if anyone tells you something is not in the Constitution, tell them, “Penumbra.”

Want to know why? Find out “What the Constitution Means to Me” in performances through Sept. 22 at the Phoenix, 705 N. Illinois St. Audience members also each get their own copies of the Constitution to take home. Get tickets at phoenixtheatre.org and information at americanlivestheatre.org.

Witness a special day for ‘Five Women’

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By John Lyle Belden

Eclipse Productions of Bloomington (no relation to the student program in Indianapolis) is establishing itself by immersive productions with mature themes. This time, despite the trigger warnings, we have a comedy.

“Five Women Wearing the Same Dress” reveals the quirky genius of Alan Ball, predating his award-winning screenwriting in “American Beauty” and television’s “Six Feet Under” and “True Blood.” Directed by Jeremy J. Weber and Konnor Graber – who show solidarity by attending in matching floor-length gowns – they have us enter through a “closet” to witness the goings-on in the bedroom of Meredith Marlowe (Jen Wells), whose oh-so-perfect sister just got married.

The title refers to the fact that Meredith is one of five bridesmaids in the lavish ceremony at the Marlowes’ Knoxville, Tenn., home in the early 1990s, wearing identical lavender dresses (complete with matching hats and torturous high heels) that they despise. The quintet all find refuge in this room: Cousin Frances (Jada Buehler) is uncomfortably open about being “a Christian” though at her first appearance she quickly breaks the Commandment on coveting, as well as nearly the one about stealing. Trisha (Shayna Survil) had formerly been the bride’s “bad influence” friend, and now that her obligation is done, hopes to find someone for mindless sex. Georgeanne (Kate Weber) is a full bottle of champaign into a respite from her own lousy marriage, wishing a past lover would notice her instead of some other woman in a backless dress. Finally, Mindy (Vera Wagler), the good-natured lesbian sister of the groom, just wants to be away from all the judgmental looks from family and wedding guests.

A clever aspect of this play is that at least three characters become well known to us despite never appearing on stage – the bride Tracy (who all agree is beautiful and successful), groom Scott McClure (whom all the women pity), and the eternal bad-boy Tommy Valentine (former fiancé of Tracy who has hit on or slept with all five other women). As we learn more about past relationships, we see the lasting effects of past trauma that draw shadows over the expected joys of this day.

The performances reveal the unexpected chemistry among these very different individuals brought together by a rather unfortunate uniform. Buehler’s sanctimonious Frances can be a bit much, but her naïve charm keeps her likable. Survil has Trisha wear “jaded” like a badge of honor, or as armor over sensitive scars. Weber plays Georgeanne as someone who has lived a lot in her three decades, mostly for others, but hasn’t given up on youthful exploits just yet. Wagler’s Mindy is the most optimistic and (the irony is noted) girly of the group, though she has her own resentment to work through. Wells’ Meredith embodies her dichotomy as the host (it’s her room, and her joint they pass around) while still feeling stuck as a little sister – being younger than Tracy, Trisha, and Georgeanne, and held back by a traumatic adolescent event. Their interactions build naturally with their shared experience in a pre-smartphone world where all that matters is the sisterhood in the room, contrasted with the formal chaos downstairs and outside the window.

We also get a visit from Mindy’s handsome cousin, Tripp Davenport, played by Jo Moran with the same exuberant charisma they put into the Constellation production of “Alex Gold” earlier this year. Tripp does present a noble challenge for one of our ladies, but we suspect Ball wrote him in for his rather mundane usefulness in the final scene.

Performances run through Sunday, Sept. 8, at the Waldron Firebay Theatre (an intimate black-box stage on the first floor of Waldron Arts Center) 122 S. Walnut St., Bloomington. Get tickets at EclipseProductionsCompany.com.

Venture into Narnia with Westfield kids

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By John Lyle Belden

During World War II, many English children were sent to friends’ or relatives’ homes in the countryside, away from cities where German bombs and rockets fell.

You can’t get much further away than Narnia.

This is the situation of the four siblings in “The Lion, the Witch, and the Wardrobe,” a stage adaptation by Joseph Robinette, based on the beloved story by C.S. Lewis (a novel in his Chronicles of Narnia series). It is presented in Westfield as the summer youth production of Main Street Productions through this weekend.

In the country house where the Pevensie children are staying, the youngest, Lucy (Morgan Rusbasan) finds the Wardrobe in the Spare Room, and discovers in it a doorway to a vast, cold forest. There she encounters a faun, Tumnus (Makenzie Walter), who makes the fateful decision to warn her of the White Witch who keeps Narnia in winter – but without Christmas – and to send her to the lamp post that leads back to the Wardrobe portal. When easily-bored brother Edmund (Camren Davis) follows Lucy into the fantasy wood, he meets the Witch (Maile Alpizar) who says she’s the Queen of Narnia and promises him all the Turkish delight he can eat if Edmund brings his siblings to her.

When all four Pevensies cross over, including Peter (Harrison Gabinski Coon) and Susan (Annalisa Schuth), they learn from Mr. and Mrs. Beaver (Chaya Elicker and Nora Gapinski Coon) about the Witch’s treachery, the return of the true king Aslan the lion (Kaelyn Harvey), and a prophecy that these human children (“Sons of Adam, daughters of Eve”) are meant to fulfil. Meanwhile, the Witch dispatches the leader of her secret police, the wolf Fenris Ulf (Layne Thompson) to find the children and slay any being that stands in his way.

This cast of more than two dozen eager children and teens also includes Naomi Mattysse as the mysterious White Stag, Zack Harvey as a Centaur, Cersei Davis as a Unicorn, and John Engle as Father Christmas, who brings the perfect gifts for the Pevensies’ quest.

Directed by Brandi Davis, the fantasy characters are mainly distinguished by head makeup, not encumbered by furs or fake hooves. Full-body costuming is largely reserved for the lead arch-rivals, Alpizar’s Witch in a stunning white gown and Harvey’s Aslan in a dignified lion-hued suit.

Actors often get a kick out of playing the villain, and Alpizar and Thompson take to their roles with gusto. When the Witch/Queen is upset, you’ll know. At the other end of the scale, Harvey gives the Lion all the gravitas she can muster – appropriate as Lewis, a devout Christian, wrote Aslan as a sort of avatar of Jesus Christ.

You have four more chances to visit this vision of Narnia, 7:30 p.m. Thursday through Saturday and 2:30 p.m. Sunday (July 25-28) at Basile Westfield Playhouse, 220 N. Union St. (leave early to get around downtown construction). Get tickets at westfieldplayhouse.org.

History’s flow through Black communities explored in ‘Riverside’

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By John Lyle Belden

The Indianapolis Shakespeare Company, a/k/a Indy Shakes, understands you don’t have to look across the Atlantic for a compelling timeless story. In fact, their current world premiere, “Riverside” by M.L. Roberts, takes place in part on the very ground where it is being performed.

Executive Artistic Director Ryan Arzberger said Roberts underwent extensive research and numerous interviews with people who have lived in the area for decades in the African-American communities in and around Indianapolis, then created a chronicle of a family whose legacy runs through both Indiana and Black history, a well-informed historical fiction and relatable human epic.

A talented and dedicated ensemble play all the parts, from the eternal River that predates the red, then white and black, people who settled here, up to the cusp of present generations in the 1960s. They are Olamide Asanpaola, Kayla Carter, Terra Chaney, Holiday, Malik James, Akili Ni Mali, Ed Gonzalez Moreno, and Milicent Wright, with Jamaal McCray, Josiah McCruiston, and Clarissa Todd as swings. Rudi Goblen directs.

In 1821, there is a settlement of free African-Americans on the White River, led by church Pastor Simon (Moreno) and Sister Sarah Johnson (Carter), who is knowledgeable of the law and whom in the nearby new city of Indianapolis will uphold it. One day, Jacob (James) happens upon the town; he is technically “free” but his white “Massa” who brought him up from Mississippi to work a new farm near Lafayette has him under an unreasonable contract of servitude. After a dramatic standoff, Jacob gains his physical freedom, but it takes time, and Sarah’s gentle patience, to break the chains in his mind and spirit.

The Johnson family that starts on the River follows it down into the heart of Indianapolis, where we find them on legendary Indiana Avenue in the 1920s. Times seem good, but peace is fragile and short-lived, as are some of the neighborhood residents.

As turbulent times follow, Johnsons move upriver to the growing community of Riverside, home of today’s park (and Taggart Memorial Amphitheatre, where this play is presented). In 1962, there is a popular amusement park there, posted Whites Only. Grudgingly accustomed to the culture of segregation, local Blacks take advantage of the singular “Colored Frolic Day” at the park – except for the Johnson children, who at least attempt a protest.

Peppered with humor, music, spirit, and hope, while never afraid to confront the darkness, “Riverside” presents an endearing portrait of a family, a people, and their well-earned place in this American city we call home. The performers help us not just see but feel how the rivers of water and time have brought us to where we are today.

“Riverside” is presented 8 p.m. Thursday through Saturday, July 25-27, at 2441 N. White River Parkway, Indianapolis. Performances at this beautiful outdoor venue are free, with paid VIP seating available. Either way, reserve a ticket to help with headcount for this not-for-profit organization. For more information, visit IndyShakes.com.

FTC presents genuinely haunting tale

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By John Lyle Belden

And now, a dark comedy in which characters are often plunged into darkness.

“A Skeptic and a Bruja,” the play by Rosa Fernandez presented by Fonseca Theatre Company, is also the title of a paranormal podcast by three women of color: Jess (Arëe Lyn) is the Bruja (Spanish for “witch,” that in this case references a particular spiritual practice); Sam (Cara Wilson) is the skeptic, compulsively seeking a logical explanation for anything that happens; and Remy (Yolanda Valdivia) handles all the tech, making audio and video recordings of the other two as well as setting up a/v equipment to detect and record anything weird.

They have come to investigate an old house being converted into a bed-and-breakfast by professional chef Pricilla (Chandra Lynch). Before the podcasters arrive, we already hear the thumps and see a door open itself. But, of course, all is quiet when the investigators arrive. Sam openly wonders if this will be worth their time, while Jess sees it as at worst a free stay at a quaint B&B with gourmet meals. They are fascinated by the upstairs room full of creepy dolls, though.

Soon enough, the entities in the house make themselves known, taking advantage of the fears and regrets each of the women were already afraid to confront, especially for Remy, who just recently lost her mother.

Directed by FTC Producing Director Jordan Flores Schwartz, the play effectively grows tension from laughs to chills as circumstances grow more serious. Well-executed startling effects are employed, including sounds, visuals, and falling objects, aided by the work of light and sound designer Ben Dobler.

Our foursome play these scenes with zero camp. Lynch has Pricilla already inclined to think she’s haunted by her partner who died of cancer a year earlier. Wilson expresses Sam dealing with her mask of rationality rapidly fraying. Lyn gives Jess the centered calm of a woman who has seen ghostly entities her entire life, only growing concerned when her guardian spirit makes an abrupt exit. Valdivia takes on the complexity of Remy’s being the target of the house’s unseen residents, coupled with reconciling the fraught relationship she had with her Mom.

You could look at this as a cool telling of a ghost tale somewhere between “Scooby-doo” and “The Conjuring” films, or, as an unconventional story of women finding their inner strength to deal with the regular-world grief that haunts them (and eventually, all of us). I think it’s both. Regardless, this haunted house is worth a visit.

“A Skeptic and a Brujah” plays through July 28 at 2508 W. Michigan St., Indianapolis. For info and tickets, visit fonsecatheatre.org.