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Westfield comedy ‘greets’ holiday anxiety in unusual way

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By John Lyle Belden

We tend to recall the past as somehow an easier time, but each era has its own anxieties. Many of us remember the 1990s, still it’s easy to forget how the feeling of imminent change at the end of a millennium carried a lot of uncertainty, even before the Y2K panic.

In the holiday comedy, “Greetings!” by Tom Dudzick, presented by Main Street Players of Westfield, they don’t have today’s terms like “autism spectrum” to describe the personal struggles of Mickey Gorski. The words “mentally handicapped” are briefly mentioned, then not said again as it is better to think of the young man as just a happy member of the family whom his parents cherish, accepting any little word he adds to his limited vocabulary as a divine gift.

Mickey (Dylan Acquaviva), with doting mom Emily (Barb Weaver) and sullen but loving dad Phil (James LaMonte), are preparing their Pittsburgh home for a Christmas Eve visit by big brother Andy (Nathaniel Taff), flying in from New York with his girlfriend Randi (Megan Fridenmaker). A couple of things seem to feel off from the start, including frequent issues with the house’s electrical wiring and Emily’s insistence that she recently heard Mickey say – for the first time ever – the word “greetings,” a feat she seems unable to make him repeat.

The stress of caring for this son has become routine, however, the arrival of Andy gives former minor-league pitcher Phil emotional curveballs he can barely handle. The good news is that Andy and Randi are engaged; the distressing part is that she is an atheist Jew and he has reconsidered aspects of the family’s Catholic faith.

As the inevitable argument ensues, Mickey calmly stands up straight and declares, “Greetings!”

And then, he says even more.

Directed by Jeremy Tuterow, this charming and funny family drama gives a meaning-of-Christmas lesson that blends aspects of “All in the Family” and “The Twilight Zone” with how the Shepherds at the Nativity must have felt.

LaMonte gives us in Phil a solid sitcom-esque Dad who lives with unresolved issues and regrets, as well as resistance to anything more that he feels he can’t understand. Weaver’s Emily greets it all with attempts at understanding and unconditional love, though she can be overwhelmed. Taff plays Andy as caught between his wanting to be there for the brother he loves and wanting to run from what he sees as inevitable parental disapproval. Fridenmaker gives Randi a demeanor in which you can almost see her psychological armor, already forged by friction with observant Jewish parents before being brought here to deal with potential new family. She, like the others, will find her own test of faith – or lack thereof.

Acquaviva is simply outstanding as Mickey. He emulates the tics and eccentricities of his autistic character with respect for the condition and smoothly transitions to other aspects of the role with precision delivery that makes its whole fantastic nature work within the world of the play. A high school freshman with already a few other notable roles on his CV, he has us looking forward to where his talents will take him next.

One weekend of performances remain, Thursday through Sunday, Dec. 12-15, before “Greetings!” becomes goodbye. Find it at Basile Westfield Playhouse, 220 N. Union St.; find tickets at westfieldplayhouse.org.

IRT’s ‘Carol’ familiar and fresh

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By John Lyle Belden

On the evening I write this, yesterday I saw a wonderful matinee performance of Charles Dickens’ “A Christmas Carol” at Indiana Repertory Theatre.

Earlier today, during a haircut, I told the barber about yesterday’s show. She fondly remembered seeing it years ago as a little girl. After telling her of all the unique features of the IRT production, she said she would look into seeing it this year with some friends. If you, too, haven’t seen it in a while (or at all) perhaps we can persuade you to consider this Indianapolis holiday tradition as well.

Don’t misunderstand; in being a little different, this play is not a parody, or a twist on the story like the movie, “Scrooged.” The Dickens book was adapted decades ago by past IRT artistic director Tom Haas and has been presented annually since the mid-1990s. Its style allows various actors to slip into alternate roles throughout the narrative, which they tell as well as perform, maintaining both the classic language and a good story flow. Only one actor stays the same throughout – as Ebenezer Scrooge – in the well-practiced grasping hands of Rob Johansen. He has played the old miser for a few years now, since switching with Ryan Artzberger, who mainly portrays Jacob Marley’s ghost (“Marley was dead” is vital to the plot, you know) and poor, good-natured Bob Cratchit.

Our spirited Ghosts of Christmas Past and Present are entertainingly presented by Natasia Reinhardt and Sean Blake, respectively. Kenneth L’Ron Hamilton is impressive as both Nephew Fred and Young Scrooge. Talented tykes Henry Kirk or Juniper O’Meara (depending on performance) touch our hearts as Tiny Tim and Child Scrooge. The ensemble also include Kayla Carter, Weezie Chavers, Jennifer Johansen, Sami Ma, and Belle Renee Moore.

Veteran director Cara Hinh makes her IRT debut helming this production. Little changes in staging are noticeable, including clever use of the trapdoors and elevators. This especially adds to the tension of Marley’s visit. But while there are spooky moments, there is far more good-natured humor running through much of the play. The cast visibly enjoy sharing this story with you.

A continued tip of the Victorian top hat to set designer Russell Metheny, whose contributions and annual tweaks are subtle but interesting on a nearly-bare stage covered to overflowing with drifts of the IRT’s artificial snow.  Kudos also to lighting designers Michael Lincoln, Bentley Heydt and Molly Tiede for their atmospheric contributions. Costumes, including a beautifully fresh look for Christmas Past, are by Linda Pisano.

Unique yet familiar, treat yourself to the tradition of IRT’s “A Christmas Carol,” playing through Christmas Eve on the mainstage at 140 W. Washington St., in the bustling heart of downtown Indianapolis. Info and tickets at irtlive.com.

A strong look at fragile relationships

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By John Lyle Belden

Eclipse Productions of Bloomington (no relation to the summer program in Indy) is filling the theatre niche of bold, provocative productions that Indianapolis has with companies such as Theatre Unchained or American Lives Theatre. This approach comes into sharp focus with their present staging of “Closer,” by Patrick Marber.

The drama premiered in London in 1997, the U.S. in 1999, and adapted into a film in 2004, and all versions are notable for their frank, unflinching look at intimate relationships – psychological and physical – among two men and two women who find one another in an unusual tangle of coincidence and dark serendipity. “Everyone loves a big lie,” one of them says, alluding to a major theme of the play.

Though it has nothing to do with this story (and isn’t played), if you couldn’t sit through the Nine Inch Nails hit of the same name (the “I wanna f**k you like an animal” song), don’t bother seeing this. But if you’re open to it, director Kate Weber has created what she calls “a piece of elevated theater masked in a raw and bold human emotion.”

“I never look where I’m going,” says Alice (Shayna Survil), her only excuse for stepping into traffic in front of Dan (Konnor Graber) where she is struck by a vehicle. In the emergency room, their relationship begins. A doctor (Jeremy J. Weber) notices the question-mark shaped scar on Alice’s leg – an injury she refuses to elaborate on, except to say it was from the wreck that killed her parents.

Dan, an obituary writer for a local newspaper, then writes a novel using Alice as inspiration. But upon meeting Anna (Patricia Maureen Francis), the professional photographer taking his book’s headshot, he becomes smitten with her. The pieces of our romantic quadrilateral fall into place in bizarre fashion when Dan draws the doctor, Larry, into his own twisted meet-cute with Anna.

Thus goes a sort of dramatic dance among the foursome, involving manipulation and betrayal as well as striving for authentic relationships and, perhaps, love. While we get very mature content and language, there is stunningly no nudity – even in a cleverly-executed yet erotic strip-club dance – as the focus is on the ravaging of feelings and souls more than their bodies. It all builds to final moments of reckoning, in which the devastating truth of the “crying girl” is revealed at last.

We don’t get a hero or villain here, just people drawn by very human impulses to do well-meaning or hurtful things. This is especially so with Graber’s Dan, a man in his mid-thirties who reveals an immature, needy personality. At times we want to like him, others to hate him. Survil maintains Alice as a sexy cypher, a hothouse flower in her late teens (at the beginning) just wanting to be kept, an American of unknown origin making her own way in London – as inscrutable as the question of her scar. Weber maintains Larry as close to “normal” as we get in this setting, with his own quirks and while fairly dignified, wouldn’t turn down a good shag if it comes his way. Francis (a/k/a Trick Blanchfield to Indy audiences) cultivates Anna’s own complexity, complete with a fortress of feeling at which both men tear at the walls. Her darkest moment is one of the most raw we have seen on stage this year.

Get “Closer” with performances Thursday through Sunday, Nov. 21-24, at Waldron Firebay Theatre (first floor of the Waldron Arts Center), 122 S. Walnut, Bloomington. Get tickets at eclipseproductioncompany.com.

Drag Theatre lets its ‘Freak Flag Fly’

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By John Lyle Belden

(Note: Out of respect for the art form and its performers, they are identified by their Drag names as given in the show program.)

In the gay community, “fairy” stings as a pejorative, but Indy Drag Theatre celebrates Fairy Tales in style with its production of “Shrek” at the District Theatre. This parody/homage melds the Oscar-winning 2001 film with the Tony-winning 2008 musical (incorporating more elements of the 1990 children’s book) with bits of sassy attitude (RuPaul’s voice does pop in) appropriate to the milieu.

With all audio lip-synched the story is unchanged, so what sells the show are the non-stop visuals – costumes and props by Ailish Forner, makeup by Ciara Myst, wigs from Hair by Blair, with choreography by Kitt St. Clair, and directed by Maddie Deeken with Beelzebabe – and comic yet compelling performances by Miss Kay-Ottic as Shrek, DeLulu Devant as Donkey, and Luna Magick as Lord Farquaad. Princess Fiona is nicely portrayed by Kalinda, with Cici Pasion and Madison Avenue as her younger versions, and Axel Rosie as “love’s true form.” Natalie PortMan puts the drag in Dragon with her performance as the fire-breathing beauty. Our Shrek and Fiona have chemistry (and not just gastric), while Donkey and Farquaad are each major scene-stealers.

Also notable is Alicia Brooke as Pinocchio and Robin Hood. Various other creatures are embodied effectively by Eli Rose, Johnnee Crash, Brentlee Bich, Norah Borealis, Milo Xpat Tayshuns, Rodick Heffley, Freddie Fatale, Senator Gale Lagations, Ava Morningstar, Aqua Marie, and Gorge Bush.

While fun and familiar, this production is also a loud and proud celebration of our differences, and how together we can find in that freakiness a common bond.

Good news: This time we have the review up in time for you to see the show! Seats sell fast, so get tickets at indydistricttheatre.org for performances 7 p.m. Thursday, 8 p.m. Friday and Saturday, 2 p.m. Saturday and Sunday, Nov. 21-24 at 627 Massachusetts Ave., Indianapolis.

Based on a True Story

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By John Lyle Belden 

There is funny, “ha-ha;” there is funny, “strange and/or wrong” – and there is a bold combination of these, “Funny, Like an Abortion,” a dangerously dark comic drama by Rachel Bublitz at IF Theatre, home of IndyFringe.

A co-production of Theatre Unchained with American Lives Theatre, this intense movie-length one-act is directed by TU’s Megan Ann Jacobs and ALT founder Chris Saunders. 

Set in the near future, Monroe (Alicia Ana Hernandez-Roulet) is setting up a surprise party for her bestie, Jade (Rachel Kelso), at least that’s what appears on her social app accounts and is known by her household smart device, Butler (voice of Thomas Sebald). However, once she feels free of any eavesdropping, Monroe springs the real surprise – it’s an “abortion party!” To Jade’s astonishment, the numerous gift bags each hold or represent a means of ending Monroe’s unwanted pregnancy. Legal and therefore safe abortion is a thing of the past, so they must choose the least-bad option to be executed that night, before anyone else can catch on.

In this portrayal of how elements of “Nineteen Eighty-Four” and “The Handmaid’s Tale” could easily come about in today’s high-tech culture, the mood is lightened by laugh-not-to-cry dark humor and moments of game-show presentation, juggling, and a tap-dance break. Hernandez-Roulet and Kelso take on this challenge earnestly as relatable and entertaining characters. Monroe stays upbeat, even manic, to keep ahead of a creeping despair, as Jade feels her way through being both a true friend and an accomplice to a serious felony.

They are also Alicia and Rachel, two actors breaching the Fourth Wall to remind us that while all the methods given in the play are actual abortion tactics (some going back centuries), they are all dangerous and not to be attempted by anyone.

While Bublitz wrote this prior to the Dobbs v Jackson decision that ended the protections of Roe v Wade, the play does anticipate it happening and we do get from the cast a rundown of the various restrictions put in place across America since the Supreme Court’s 2022 ruling. With the results of recent elections, including the likely enacting of Project 2025 measures in the coming year, something like the events portrayed could soon come to pass.

Enlightening and alarming in what it portends, this show is recommended for those who understand to bring friends who need to know – which, to be honest, is all of us.

“Funny, Like an Abortion” has two more weekends, Nov. 15-17 and 21-23 in the Blackbox (formerly Indy Eleven) stage at IF, 719 E. St. Clair St., Indianapolis. Get info and tickets at theatreunchained.org or indyfringe.org.

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.