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Fringe hosts North Pole comedy mystery

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By Wendy Carson

Defiance Comedy is known for its zany musical spoofs and original content. This year this local comic crew brings us a delightful new treat for the holidays, “Claus Out,” a hilarious parody of the “Knives Out” film franchise.

Twenty years ago, Rudolph was murdered. While Prancer was initially charged, a lack of concrete evidence released him. Amid the chaos, Santa Claus disbanded his reindeer team.

Now, each reindeer has been mysteriously invited back to the scene of the crime, where Santa plans to reveal the truth behind this tragedy. Unfortunately, he is murdered just prior to the revelation. Now there is a bigger case to be solved.

While you may think you know those involved, their true personalities and motives are much cloudier. Take Dasher (Austin Hookfin), dripping with jealousy at the usurping of his leadership role of the team; Dancer (Charlie Rankin) whose affair with a bad-boy reindeer threatens her goody-goody image; Prancer (Joseph David Massingale), the initial suspect whose two days in lock-up left a lasting impression; Vixen (Paige Scott), the sultry seductress with an eye towards wearing the Big Hat; Comet (Shelby Myers), who thinks this is all because Merry is in retrograde and perhaps the right crystal/tea combination will fix everything; Cupid (Preston Dildine), whom everyone loathes, but he used his hiatus from the team to become an internet mogul; and Donder (Kelsey VanVoorst) and Blitzen (Ben Rockey) who are unabashedly German party animals though perhaps a bit slow on the uptake.

Add into the mix, Elfie (Robin Kildall), who is just trying to keep the Christmas Spirit alive while going full fan-girl on the famous Detective Benoit Bellz (Jason Adams), who was also mysteriously invited in order to solve the crime.

Writer/Director Matt Kramer digs deep into his bag of treats to give us a bounty of laughs, gags and moments of pure comic delight. The amazingly talented cast brings his works and lyrics to life perfectly, not to mention their mastery of Emily Bohannon’s choreography.

Who killed the most famous reindeer? And their boss? As the cast sings in “Intermission Song,” you may think you know, but you’re probably wrong. Find out at the IndyFringe Theatre, 719 E. St. Clair St., Indianapolis, Dec. 8-10 and 14-16. For tickets, go to indyfringe.org.

Buck Creek ‘Miracle’ relives holiday memories

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By John Lyle Belden

When we were children, it was easy to think of our parents as capable of anything, maybe even magic, especially during the holidays. This is the theme of “Dad’s Christmas Miracle” by Pat Cook, this season’s production by Buck Creek Players.

Connor Murphy (Tony Brazelton) is an adult now but has fairly vivid memories of at least one long-ago Christmas. As he tells the story, the ghost of his teacher Miss McLaughlin (Marie McNelis), pops up to keep him accurate and on-topic.

Young Conner (Spencer Bland) wishes for a real motorized go-cart at a time when his father (Matthew Bush) struggles to afford gifts at all. His pesky older brother Frank (Wes Olin) has made his wish clear, dropping leaden hints, but sister Jessica (Brooke Dennis) is testing the power of faith by only asking for her Christmas gift in silent prayer, refusing to even tell her best friend Madelyn (Josie Joyner). Not even Mother (Megan Slocum), with her maternal psychic powers, can trick out a clue.

Meanwhile, Connor is working on his part in the Christmas pageant with best pals Neil (Jacob Bush), who is super smart, and Tater (Spencer Pipkin), who isn’t.

And then there’s neighbor Harriet (Sarah Latimer) bringing over her (in)famous fruitcake.

While this fits the genre of nostalgia stories (like the ones on TV with angels or BB-guns) this play has its own charms and twists, and plenty of funny moments. There’s mischief at the movies, the “honesty test,” and even a momentary Greek Chorus. Naturally, there’s also a thing that happens in the second act that jeopardizes the holidays, but true to the title, Dad will somehow pull off the Best Christmas Ever. You have to watch to see how it cleverly comes about.

Directed by Sam Brown, everyone comes off as charming in their own way, making for perfect family entertainment.

Behold “Dad’s Christmas Miracle” Fridays through Sundays through Dec. 17 at 11150 Southeastern Ave., Indianapolis (Acton Road exit off I-74). Get info and tickets at BuckCreekPlayers.com.

‘Carol’ gets farcical in Westfield

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By John Lyle Belden

We know that a lot of the folks who read our reviews have some experience with community theatre – whether on stage, backstage, or patience-tested family member. For you, “Inspecting Carol” by Daniel Sullivan, presented by Main Street Productions in Westfield, may feel familiar.

At the Soapbox Playhouse, director Zorah (Tanya Haas) and stage manager M.J. (Jennifer Poynter) are having difficulties with rehearsals for the annual production of Dickens’ “A Christmas Carol.” Much of the cast have done it year after year, but that’s not much help, especially since their Scrooge, Larry (Scott Prill), likes to go off script. Also, Luther (Tyler Acquaviva), their Tim, isn’t so “tiny,” putting a strain on Phil (Trever Brown) as Cratchit. Dorothy (Cathie Morgan), who has various roles and a real British accent, is hobbling on a broken foot. Sidney (Brad Burns) is ready to play Marley, providing he gets the chains under control. Newcomer Walter (Malcolm Marshall), who plays the ghosts, is uneasy with being the lone “diversity” casting. At least Bart (Gregory Vander Wyden) is capable of handling both some character lines and moving the set pieces.

Then there’s Wayne (Jeff Haber), a stranger who just showed up, claiming to be a traveling actor seeking stages where he can audition. But he’s not in the union and seems oblivious to things a thespian should know.

Business manager Kevin (Jim Gryga) suspects the visitor could be an undercover inspector sent by the National Endowment for the Arts, which has suspended the company’s grant pending a review.

Directed by Kelly Keller, who has a knack for bringing out the funny, this farce reels from one silly situation to the next, likely cathartically familiar to anyone who has dealt with production mishaps, last-minute changes, dropped lines, and looming budget shortfalls. Debbie Underwood completes the cast. Elianah Atwell is assistant director, with Tanya Keller as stage manager.

Hilariously brilliant performances all around, including Haas keeping Zorah’s Lithuanian blood at a low boil, Prill with Larry’s “updated” script, Haber as well-meaning Wayne, and especially Poynter as the cat-herding jill-of-all-trades pushed to her limit. And if a bad dress rehearsal foretells a great performance, this company could have the best “Carol” ever, once they recover.

See what I mean at “Inspecting Carol,” Thursday through Sunday, Dec. 7-10, at Basile Westfield Playhouse, 220 N. Union St., Westfield. For info and tickets, see westfieldplayhouse.org.

Belfry serves up hilarious ‘Dinner’

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By John Lyle Belden

It’s that time of year, when many of us have been, or had to put up with, houseguests.

In a small Ohio city in early December 1939, Sheridan Whiteside – famed writer, lecturer, radio personality, and the toast of any town – visited the home of factory owner Ernest Stanley. It was to be only for dinner, but a slip on a patch of ice left the injured celebrity guest recovering at the Stanley home for the rest of the month.

This fictional incident is the basis for “The Man Who Came To Dinner,” a comedy that Moss Hart and George S. Kaufman based on numerous showbiz personalities whom they knew. This play comes to life in Noblesville courtesy of The Belfry Theatre, directed by Eric Matters.

Two weeks into his convalescence, Whiteside (Robert C. Boston Jr.) decides to take charge of the Stanleys’ living room for his business needs, threatening to increase the amount of his pending lawsuit against Mr. and Mrs. Stanley (Tom Smith and Kim O’Mara) if they don’t yield. As for the hosts, he is more than fed up while she is still a bit starstruck. Ernest’s sister Harriet Stanley (Janet Borcherding) regards their guest with a strange fascination.

While “Sherri” Whiteside is an absolute pill to the elder Stanleys, as well as Dr. Bradley (Gene Burnett) and nurse Miss Preen (Chloe Vann), he is friendly to the nearly-grown Stanley children June (Anabella Lazarides) and Richard (Jericho Franke), as well as the butler John (Aaron Budde) and talented cook Sarah (Grace McKinnies). Faithful secretary Maggie Cutler (Amanda Falcone) seems immune to his verbal jabs and handles work details which mainly involve frequent contact with numerous celebrities. Aside from the characters written to appear in the play, an avalanche of real names from the era are dropped throughout the show.

Local newspaper reporter Bert Jefferson (Eric Dixon) matches Whiteside in a verbal joust, earning respect and an interview, and entry to Maggie’s heart. As it turns out, Jefferson is also a promising playwright.

The plot then largely turns on Whiteside’s efforts to keep the local journalist from taking his secretary, involving various showbiz people who come by the house including ambitious actress Lorraine Sheldon (Hannah Partridge), suave acclaimed actor Beverly Carlton (Drake Walker Smith), and Marx Brother-inspired comic Banjo (Daniel Dale Clymer).  Some actors take more than one role; Melissa Reid rounds out the cast. A few children (unlisted in the program) make a cameo.

Add to all the human foibles the presence of a “Roach City” in the living room, an octopus in the basement, and penguins in the library, and you have the fun makings for a classic comedy, a rather unique take on the Christmas season.

Boston excellently portrays Whiteside much like a wily housecat, presenting charming softness or sharp claws (or both) to any person he wishes, with engaging wit that makes his personal celebrity and connections believable. Falcone presents a savvy sweetness that is endearing and worthy of respect. Dixon convincingly plays intelligent with unflappable Midwest charm. Partridge is a force of nature as a B-list actor feeling entitled to A-plus accommodations.

This wild and entertaining farce with sly insight into the rich and famous of the mid-20th century has another weekend, Thursday, Nov. 30, through Sunday, Dec. 3, at Noblesville United Methodist Church, 2051 Monument St. (enter on the west side of the building), Noblesville. For info and tickets, visit thebelfrytheatre.com.

Southbank ‘Lion’ a medieval family feud

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By John Lyle Belden

If contentious family members join you for the holidays, just be glad there’s not the inheritance of a European empire on the line.

In “The Lion in Winter,” by James Goldman, King Henry II of England – and a whole lot more – is spending Christmas in his castle at Chinon, in one of his French lands (the King of France only controlled a fraction of what is in its borders today). His mistress is a sister of the French King, who is also invited; two of his three sons present had not long before led a rebellion against him (during which another son, the heir Young Henry, died) with the third son, his favorite, a whiny spoiled brat; meanwhile, estranged wife Eleanor of Aquitaine (perhaps the era’s most powerful and influential woman) has been let out of her dungeon for the holiday.

Southbank Theatre Company presents this classic drama with catty comic overtones, directed by Becky Schlomann. A stellar local cast take the stage: Doug Powers presents the stubborn confidence of Henry, ever showing the clever, calculating mind that helped win and keep an empire, but his willingness to use love and relationships as weapons has cost him any family unity. Miranda Nehrig as young Alais shares his bed but, she fears, not his heart, as she realizes her place in the nobility is imperiled the longer she stays unmarried – and eventually to whom she is wed, she has no control.

The three sons couldn’t be more different: Richard (Thomas Sebald) is all about war and fighting, and truly a man’s man. Geoffrey (Jo Bennett) is highly intelligent, charming, and conniving – which means no one is trusting him with the crown.  Then there’s John (Garrett Rowe), a teenager, but really, the baby of the family.

Jean Arnold is a complete fox – beautiful and sly – as Eleanor. With expression and bearing that hints she’s always a chess move or two ahead, she easily matches Henry in their battle of wits.

Kaya Dorsch is impressive as Philip II of France. The young king recently succeeded his father, whom he saw as being too easily taken in by Henry’s shrewd negotiations. Though the underdog in both real power and statecraft, he’s learning quickly.

Aside from the gifts wrapped in pretty boxes, what everyone wants for this Christmas is resolution to issues such as control of various parts of the Angevin Empire, including who will inherit the crown from Henry. Basically, Eleanor backs Richard (which is what had gotten her under castle arrest) while the King favors John. Throughout the play schemes and maneuvers abound, with clever arguments and retorts the weapon of choice.

Those who know history, or Robin Hood legends, know who will eventually prevail as King in a few years. However, we – and others in the audience – couldn’t help but reference Disney’s “Robin Hood” for the portrayal here of Prince John. Rowe’s tantrums are so epically immature we expected him to pop his thumb in his mouth like the film’s animated lion.

If you were unaware of this show, but the plotline seems familiar, note it is also the basis for the television series “Empire” (Cookie Lyon = Eleanor). If you are missing that drama, you will find a similar sassy spirit here.

Performances of “Lion in Winter” are Thursday through Sunday, Nov. 16-19, at Shelton Auditorium, 1000 W. 42nd St., in the southwest corner of the Butler University campus. Get info and tickets at southbanktheatre.org.

Monument comic drama addresses heavy topics

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By John Lyle Belden

After many delays, Monument Theatre Company finally brings “Elephant,” by Lewis Morrow, to the stage.

The workplace comedy tackles serious topics as a diverse team of employees anticipate a visit from the new CEO. They work in an unspecified occupation that involves customer service and measurable performance, both of which are important numbers to continued employment and advancement.

King of both metrics is Marcus (Kass Dowell), a proud Black man who feels a little stung by being passed over for promotion to the team supervisor. Mayra (Yolanda Valdivia), a Latina who likes to give opinions but not make waves, says she understands his complaint but that Clarissa, the white woman who got the job, was more involved with teammates. Rae (Rayanna Bibbs), a Black woman, doesn’t seem too perturbed unless it’s said there’s no racial tension involved. White guy Paulie (Brant Hughes) is late as usual, cracking wise to cover any discomfort.

Clarissa (Becky Larson) sweeps in, chipper as ever, and soon talks about the team’s presentation for the CEO, which she has composed. This is, in reference to the play’s title, the “Elephant in the room” that must be addressed. It turns out a different animal’s representation is involved, and the entire team explodes in their reaction – especially Marcus, who has to leave the room to control his rage.

Directed by Dowell, this play hits on many topics of unacknowledged privilege and racial offense, as well as sexism and toxic workplace secrets. As it turns out, the room has a whole herd of pachyderms to unpack.  

Verbal barbs are slung among all the members of the group, reminiscent of ensemble squabbles like “…Virginia Woolf,” with each giving as good as they get. It’s an exhilarating exercise for the actors, I’d guess, and fascinating to watch with this talented team. There are many intriguing points made and debated – worthy of thought long after the curtain call – and the play also includes two strategically placed personal flashbacks to give insight into stands the characters take.

Thomas Burak makes an appearance as a police officer, bringing a climax that’s far too relevant to events of recent years.

“Elephant” has three more performances, Friday through Sunday, Nov. 17-19, on the Indy Eleven stage at the IndyFringe Theatre, 719 E. St. Clair St., Indianapolis. Get tickets at indyfringe.org. Get info at fb.com/MonumentTheatre.

KidsPlay gets the “facts” on legendary tale

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By John Lyle Belden

When your happily ever after isn’t going so well, or otherwise you’re at your cottage during the day, you tune into what’s happening on the Fairy Tale Network. And in the spirit of those non-magical folk who obsess over celebrity and true crime stories, you get the eyewitness accounts of Real Talk with Fairy Tale Legends.

This is the set of “The Snow White Variety Show,” by Brian Taylore, presented by KidsPlay Inc., the Greenfield-based program for young performers in grades 3-8. Directed by founder Christine Schaefer and Amy Studabaker, with choreography by Frances Hull and stage-managed by Blair Connelly and Ethan Stearns, once again we get a fairly polished and professional production, giving us a glimpse of real budding talent mixed in with youthful exuberance, giving a show that you don’t have to be related to one of the cast to enjoy.

Our Announcer (Anthony Stunda) introduces “Real Talk…”, hosted by Heidi Perbole (Ellie Stearns), who is eager to get the Grimm truth about Snow White. Seven dwarves are on hand to tell what really happened – not the seven you’ve heard of, we get Wordy (Nora Smith), Rowdy (Reid Connors), Nerdy (Charles Wallace), Weepy (Aria Studabaker), Creepy (Everett Sumpter), Howdy (Alexandria Ellis), and Bob (Asher Ortman). As is routine with “true crime” TV, all the scenes are presented on stage by reenactors, giving us characters including Snow’s parents (Kayte Reasoner and Ben Erwin), the Evil Queen (Chloe Elkins), The Huntsman (Jack Joyner), the Magic Mirror (Audra Speicher), and Snow White herself (Reese Weitekamp). As each dwarf relates a part of the story, in his or her own quirky way, the “actors” perform it in the same manner – Wordy’s bits are verbose, for instance, while Howdy’s has a cowboy flavor.

Even mythical folk have to pay the bills, so the broadcast is peppered with commercials for things like the Big Bad Wolf’s (Carter Pipkin) house-flipping business, Rumpelstiltskin’s (Nora Jeter) gold investments, or Cinder-sella (Kyndall Watkins) offering you a great price on a new or used carriage (deals end at midnight). KidsPlay has posters by these “advertisers” for auction in the theater lobby.

This enchanted set also has appearances by Tanner Pipkin, Elliott Holms, Molly Wallace, Amelia Melby, Sawyer Erwin, Addalyn Torres, Abilene Kaucher, Spencer Pipkin, Essie Ortman, and Josie McConnell, in various roles.

A funny and charming fresh take on a familiar story, with twists you may not expect, performances are this weekend only, Nov. 10-12 at H.J. Ricks Centre for the Arts, 122 W. Main St. (US 40) in downtown Greenfield. Tickets are still only $5 each. See info and pictures by searching “KidsPlay” on Facebook.

OnyxFest: Babe

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OnyxFest is Indy’s first and only theater festival dedicated to the stories of Black playwrights. These one-act celebrations of Black life and culture are presented by IndyFringe and the Africana Repertory Theatre of IUPUI. After an initial weekend at the IndyFringe Theatre, upcoming performances are Friday through Sunday, Nov. 10-12, at historic Crispus Attucks High School, in the Auditorium at 1140 Dr. Martin Luther King Jr. Street, Indianapolis. For information and tickets, visit OnyxFest.com.

By Wendy Carson

Delores Thornton brings us the story of her mother’s life and arduous journey from Georgia to Indiana in search of a better life and freedom from the racial oppression of the South.

We first meet Babe (Leondra Radford) at the forming of a new mental health support group in the year 2000. The therapist, Dr. Davis (Chris Sears), has assembled clients who all have different issues, but have personalities that complement each other.

They include a young alcoholic wrestling with moving on with her life (Kim McMurray); a former drug addict who still gambles (Gene Howard); and Babe, of course, who has been experiencing migraines and nightmares. Thornton plays an older woman who suffers from anxiety, especially when driving.

On her own with Dr. Davis, Babe participates in several sessions of hypnosis – despite the warnings from the voices of her friends and family, neatly channeled by the spirit of her old friend Octavia (Dr. Cheryl Talley-Black, who also provides some beautiful spiritual songs that cover the scene changes).

As the show progresses – with memories from 1989, through the decades, back as far as 1922 – we are given glimpses of the traumas Babe experienced and insight into how her brain coped with this knowledge for all of these years.

Director Trease Sears does a great job of keeping each character true to their story as well as having the unenviable task of directing the author of the work itself. The play is a searing indictment of the mental toll Jim Crow and the Civil Rights struggle took on so many. Thornton hopes that this will also encourage a more open attitude among Black communities to seek help when needed.

OnyxFest: Tigone

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OnyxFest is Indy’s first and only theater festival dedicated to the stories of Black playwrights. These one-act celebrations of Black life and culture are presented by IndyFringe and the Africana Repertory Theatre of IUPUI. After an initial weekend at the IndyFringe Theatre, upcoming performances are Friday through Sunday, Nov. 10-12, at historic Crispus Attucks High School, in the Auditorium at 1140 Dr. Martin Luther King Jr. Street, Indianapolis. For information and tickets, visit OnyxFest.com.

By John Lyle Belden

As one might guess, the name of the title character of “Tigone,” by Levi Frazier Jr., is a reference to the mythical princess in Sophocles’ play “Antigone” (part of a trilogy with “Oedipus Rex”). That character met a tragic end while trying to act justly. In Frazier’s play, Tigonie (Michelle E. Mitchell) also seeks justice.

On a pleasant day in Memphis, a local church Bishop (Lawrence Blackwell) is relaxing on a park bench when an attractive young woman walks by with two coffees. One of them is just the way he likes it, but the significance of the coincidence doesn’t dawn on him until they are well into their conversation.

As their discussion continues and intensifies, we learn more about her, and more about him. They share a connection, and it is so much more troublesome than you would guess.

Mitchell and Blackwell (who also directs) keep the tension taut and the portrayals believable, riveting us to the bitter end.  

How much can one leave in the past? What can be forgiven? And even if one repents, what about accountability? The exploration into these questions builds to a conclusion that would have impressed the old Greek playwright.

OnyxFest: Right Behind You

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OnyxFest is Indy’s first and only theater festival dedicated to the stories of Black playwrights. These one-act celebrations of Black life and culture are presented by IndyFringe and the Africana Repertory Theatre of IUPUI. After an initial weekend at the IndyFringe Theatre, upcoming performances are Friday through Sunday, Nov. 10-12, at historic Crispus Attucks High School, in the Auditorium at 1140 Dr. Martin Luther King Jr. Street, Indianapolis. For information and tickets, visit OnyxFest.com.

By Wendy Carson

Even though it was just three years ago, the early weeks of the COVID-19 pandemic are becoming fuzzier in our memories. Playwright D.L. Patrick returns us there with a look at family dynamics that ring true no matter the source.

The family Matriarch (Faye Holmes) lies in her hospital bed wondering where her daughter is, the one who, as the ambulance took her away, promised to be “Right Behind You.” Days pass, and as she slips into a coma, her consciousness gets up to look around. Family eventually visit, offering frustrated apologies for the delay, but their stays are brief due to Covid protocols. However, it is more than the virus keeping one daughter away.

In conversations and flashbacks, we see how each family member deals with both this crisis and past issues. Performed by the ensemble of Beverly Harney, LaToya Jay, Kaitlynn Nailon, Alicia Sims, and Tamara Taylor, we see the issues of multigenerational living and how caring for one another can be as much a burden as a joy – yet it all gets thrown into perspective when it’s possible Mom may never wake up.

Director Megan Simonton does an excellent job of keeping the personalities of these proud women from overshadowing each other while also keeping the interpersonal family dynamics exceedingly true-to-life.

Go see “Right Behind You,” then consider visiting Grandma – maybe bring a jigsaw puzzle.