play

Chekhov’s fun: Epilogue presents Durang hit

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By John Lyle Belden

Celebrated American playwright Christopher Durang, notable for his comedies, gave us in 2012 an instant classic – “Vanya and Sonia and Masha and Spike” – inspired by the legacy of Anton Chekhov, a Russian writer at the turn of the 20th century known for more serious fare. The play is a mashup of styles, loaded with wit and belly-laughs while delivered in a mode in which everything seems fraught with meaning.

The foursome, plus two, take the stage at Epilogue Players in downtown Indy, directed by Michael and Marie Beason.

On a warm April day in Bucks County, Pa., 50-something siblings Vanya (David Johnson) and Sonia (Alyce Penry) sit with coffee and look out the windows to see if the blue heron is at the pond. They and their sister Masha (Christine Kruze) – a popular film actor – were raised by literature professors, hence their Chekhovian names. Cleaning lady Cassandra (Susan Hill) seems to live out her own legendary name, frequently declaring prophesies. “Beware of Hootie Pie!”

Masha arrives with her current lover, Spike (Logan Laflin), a hot young aspiring actor. He goes out to the pond for a swim (so much for that heron) and returns with Nina (Emily Reese Castro) a young woman from the neighboring farm who is also an adoring fan of Masha (and an aspiring actress, of course).

All six will attend a local costume ball, with their outfits arranged by Masha (or rather her assistant, Hootie Pie). As the setting doesn’t change, we mainly see the consequences the following day. There is also a reading of an unusual play that Vanya has been working on, held at the insistence of Nina – now affectionately calling him Uncle Vanya – who reads as the main character.

Chekhovian delivery actually enhances the play’s comic potential, coupled with absurdities like Cassandra’s voodoo antics, contrasting with Spike being the type of guy who thinks Chekhov only has something to do with Star Trek. Will a gun go off? One of the siblings certainly will, verbally. After all, the fate of the farmhouse and its cherry (sort of) orchard is at stake.

Hill is a hoot as the wacky prophetess pressed into making lunch. Penry is a delight as the overlooked sibling, even in her sad-sack moments (“I haven’t lived,” she moans), which makes it all the more charming when things go her way. Johnson exudes easy calm as Vanya, the peacemaker of the family, at least up to a point.

Kruze portrays Masha’s vanity as her shield against uncertainty and regret. Laflin handsomely embodies a dude who has everything except maturity. On the other hand, Castro plays Nina as an energetic youth with an old soul.

The at-home feeling set is designed by Andy and Mel Burnett, decorated by Susanne Bush. Lola Brewster is stage manager.

It’s not every show where we laugh until we hurt at people who are crying. But it’s this kind of juxtaposition that makes “Vanya and Sonia and Masha and Spike” fascinating company. Performances are Thursday through Sunday, Feb. 12-15, at 1849 N. Alabama St. (corner of 19th and Alabama), Indianapolis. Get tickets at epilogueplayers.com.

‘Almost’ feels just right

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By John Lyle Belden

In troubling times, it is good to take a moment to relax, have a smile or even a laugh, and just look at the Northern Lights.

Welcome to “Almost, Maine,” that quirky township on the edge of the map now reachable through Main Street Productions of Westfield. It seems like every community theatre makes a stop there eventually, and with good reason: In this John Cariani comedy, the series of gentle, funny scenes of love lost and found are refreshing, life-affirming and very entertaining.

For a true community effort, director Kathy Watson selected a full cast for the various characters, with only a couple of actors doubling roles.

Offstage spouses Justin and Anna Spack play a couple who explore just how “close” they can get. Scott Hall is a man who “fixes things” when a camper (Karen Cones) sets up in his yard, and later is a frustrated husband whose wife (Lea Ellingwood) is seeking a shoe – and a sign. It’s “Drink Free If You’re Sad” night at The Moose Paddy, with Aaron Beal, Piper Williams, and Ryley Trottier as the friendly waitress. Beal also spends time with his best bud (Quinn Simonson) comparing “baddest date” stories. Hannah Partridge is an almost-nurse encountering a man (Austin Uebelhor) who almost has that rare condition in which one’s nerves don’t register pain. Amber Roth and Grant Bowen portray a couple who gave so much love to each other – where do you put it all? Jan Borcherding plays Hope, a woman who moved away to find her place in the world, returning to a familiar house with an unfamiliar face (Thom Johnson). Finally, Rosemary Meagher and Mike Sosnowski struggle to see what is right before them, wary of what comes next, or even next-next.

Jeezum-crow! That is a lot going on for such a small (almost) town.

Watson brings out the charming best in a troupe of varying stage experience. Considering the playhouse is in what used to be a small town, the atmosphere is almost perfect. Stage sets and those colorful lights are designed by Kristina Lawyer and producer Bill Miller, whose many jobs included assisting Watson and designing the projected captions over the stage. Jeremy Crouch is stage manager.

Theatrical comfort food to warm a cold month, “Almost, Maine” is open to visitors through Sunday, Feb. 15 (including Valentine’s Day!) at the Westfield Basile Playhouse, 220 N. Union St. Note that there is still ongoing downtown construction, but the way to the theater is clear. Get info and tickets at westfieldplayhouse.org.

IRT: Seeking kin and kinship in Wilson’s ‘Joe Turner’

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By John Lyle Belden

“Joe Turner’s Come and Gone” is a blues song with a terrible history. It is also the title of an August Wilson drama now on stage at the Indiana Repertory Theatre.

This is part of Wilson’s famous “American Century Cycle” of ten plays reflecting the African-American experience – nearly all set in Pittsburgh – each in a different decade of the 20th Century. Director Timothy Douglas is particularly qualified to bring “Joe Turner” to life in Indy, having worked with Wilson decades ago at Yale Repertory Theatre, as well as directing nearly all the cycle over the years, including “Jitney” and “Gem of the Ocean” at IRT.

It is 1911 in the boarding house of Seth Holly (Keith Randolph) and his wife Bertha (Stephanie Berry). Black, yet free their entire lives, they rent rooms to many who come up from the South seeking opportunity and some sort of genuine freedom. Emancipation was at least 46 years earlier, so we mainly meet members of its first generation, dealing with a world failing to keep its hard-won promises to them.

Bynum (DeShawn Harold Mitchell) carries the once-hidden tradition of the “root-man” with his herbal remedies and charms, as well as the power of “binding” through the song he received during an encounter with The Shiny Man. Though Seth is proudly pragmatic, he maintains a surprisingly high tolerance for Bynum’s “heebee-jeebee.”

Jeremy (Jacques Jean-Mary) is a young man with more confidence than sense. A day laborer on highway construction, he’s proficient at the guitar and at flirting with women. He works his charms on young, beautiful Mattie (Kaitlyn Boyer), who initially sought Bynum’s help with her broken heart.

The mysterious and constantly agitated Herald Loomis (Shane Taylor) arrives with young daughter Zonia (Kerah Lily Jackson). With an aggressively desperate attitude, he seeks his wife and Zonia’s mother. Despite his concerns, Seth rents them a room but keeps to himself that the women Harold seeks may be past resident Martha Pentecost (Lilian A. Oben).

Discreet and ladylike Molly (Dane Figueroa Edidi) also takes a room for a while.

Seth makes extra money with his skill at making pots, pans, and other objects from sheet metal. His main customer is the peddler Rutherford Selig (Peter Bisgaier), a White man with a reputation as a “people finder.” Selig’s grandfather and father hunted slaves, but he keeps a good rapport with the Black community, helping those scattered by the post-war diaspora to find one another.

While playing outside, Zonia meets and spends time innocently with neighbor boy Reuben (Christian Makai Lucas).

Revealing the genius of Wilson, the skill of Douglas, and the talent of the cast, while there is not much action, there is a whole lot going on. Smith is mostly bluster with just enough edge as Seth. It should be noted that true to his time, Mr. Holly does use the “N” word quite a bit. It shows a delineation in his mind between Blacks like himself with at least a small amount of property and standing, and the poor and often uneducated individuals he notices in increasing numbers. Still, he is reasonable and in this house his word is law, with subtle deference to his wife.

With maternal wisdom and delicious biscuits, Berry as Bertha manages to keep a civil and even cheerful atmosphere even as a palpable tension grows among the house’s residents. We witness in Boyer’s portrayal of Mattie a steady emergence from naiveté. Jean-Mary gives us a somewhat likeable Jeremy, who seems to insist on growing up the hard way. With Bynum, Mitchell gives what could be seen as an un-serious character (analogous to a hippie in later decades) surprising depth and gravitas. He is a keeper of ancient wisdom that somehow survived the slavery era.

Taylor makes the most of a role that tends to get award nominations. He wears his struggles like Herald Loomis’s ever-present heavy coat and black hat. Eventually, we will come to find the source of the man’s pain, wrapped in the chains of a certain tragic song.

Jackson and Lucas are impressive as well – especially in handling a down-front and center scene that includes a monologue for Reuben. (Alternate young actors are Amor Coleman and Joshua Klaman.)

Also notable is the excellent stage design by Tony Cisek, open and dynamic yet giving the impression of these people’s place in the unadorned foundational structure of the Steel City.  

A perfect outing for Black History Month, “Joe Turner’s Come and Gone” runs through Feb. 22 at the IRT, 140 W. Washington St. in the heart of downtown Indianapolis. Get info and tickets at irtlive.com.

Situation of sensitivities tests couple in TOTC premiere

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By John Lyle Belden

How do you strive to do better in a rude and judgmental world without falling into snap judgements, and even, ironically, coming off rude? This conundrum comes with a dose of deeper issues in the dark comedy, “St. Sebastian.”

This Indianapolis premiere is the first full production by That Other Theatre Company, directed by company founder Jay Hemphill. The play by nationally known locally-based playwright Andrew Kramer grapples with bittersweet humor a collision of left-of-center issues including gentrification, race, and LGBTQ, as well as personal trust and faith.

Gay couple Ben (Eric Olson) and Gideon (Joe Wagner) have moved into a house with plans to fix it up and “flip” it. Ben, a former priest who works full-time on the renovation, feels glad to have gotten this foreclosure for a low price at auction. However, Gideon, a younger man who works as a DEI sensitivity trainer, discovers to his dismay that their home is in Robbins, Ill., one of the most notable historically Black towns in America. And Ben and Gideon are white.

Ben encounters a local youth, Rueben (Jy’Ierre Jones), checking out his new neighbors. Finding no ill will either way, Ben soon pays Rueben to do some yard work and odd jobs. Gideon’s extreme reactions reflect current sensibilities while betraying feelings he is reluctant to acknowledge.

The narrative plays out in a series of fairly short scenes, giving snapshots of the plot’s progression. Some elements are given without resolution, such as the padlock on the closet, and the broken window. Does the neighborhood dog (unseen) signify something, or is he just a friendly stray? Perhaps these are reminders that in real life, not everything we encounter has some higher meaning.

Much of the focus is on the love between Ben and Gideon, with honest passion and tested like that of any couple (gay, straight or otherwise). Learning the origin of their relationship could make you uncomfortable, yet Olson and Wagner make their feelings genuine. Their individual perspectives surprise them, with bitter disagreement over what were common goals. Wagner makes Gideon’s overthinking nature a source of both humor and tension.

Jones gives us an interesting, complex character. He is a teen who likes to paint action figures, a neighbor whose presence hints at a past connection to this house. He is curious and a bit insightful, but still a kid.

The title refers to an early Catholic saint, usually pictured as a young man tied to a tree and pierced with arrows, having the honor (or misfortune) to be martyred twice. Noting St. Sebastian’s more recent embrace by the LGBTQ community, Gideon keeps a small statue as a prized possession.

While you may not learn “How Not to Be a Gentrifier,” you might glean an insight into human nature under modern pressures. A show that’s sure to spark some conversations, “St. Sebastian” runs through Feb. 8 on the Basile main stage of the IF Theatre, 719 E. St. Clair St., Indianapolis. Get tickets at indyfringe.org.

Center Stage: #PrideAndPrejudice gets upgrade

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By Wendy Carson      

With all the various Holiday shows on stages right now, Center Stage Community Theater brings us an alternative with a rollicking interpretation of a Jane Austen classic, “Pride @ Prejudice,” by Daniel Elihu Kramer. The show presents a more internet-savvy version of the story including clickbait asides, historical tidbits, and even merchandise for sale. It felt something akin to a Fringe Festival production.

The cast consists of five actors, all portraying various characters in the novel, except for Trinity Pruitt in the single role of main character Elizabeth Bennet, while Adrian Blackwell plays the snide Mr. Darcy and the sleezy Mr. Collins – though there are a few times that a cardboard standee also portrays Mr. Darcy. Given the plethora of characters remaining for Kat Krebs, Todd Isaac, and Tanya Haas, director Matt McKee opts to elevate stage manager Ava McKee to also portray various servant roles and show scene changes.

The story remains unchanged but with frantic pacing and rapid narration, bring about some background commentary that might change your feelings towards some of the characters. The script also incorporates letters from Jane Austen herself to further flesh out the times and situations. Therefore, the show is a very good primer for those unfamiliar with the novel. However, Austen purists made find the irreverence to be off-putting.

Overall, the show is a delight, and the entire cast is fantastic. Highlight performances, for me, were Krebs as Lady Catherine, Blackwell as Mr. Collins, Isaac as Mr. Bingley and Mr. Gardiner, Tanya Haas as Miss de Bourgh, and, of course, Pruitt as Elizabeth.

So, if you’re looking for something different yet still enjoyable this season, head over to Lebanon and catch this top-notch offering.

Performances are Friday through Sunday, Dec. 12-14 and 19-21, at 604 W. Powell St., Lebanon. Get information and tickets at centerstagecommunitytheatre.com.

IRT’s unique and traditional ‘Carol’

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By John Lyle Belden

After a recent performance, the cast of “A Christmas Carol” at the Indiana Repertory Theatre was asked, what percentage of their script was the words of original author Charles Dickens?

While it’s difficult to get a precise number, IRT regular Rob Johansen – who returns to again play Ebenezer Scrooge – is certain it is over 90 percent. The rest came from the hands of past artistic director Tom Haas, he said, “a great writer.” A copy of the Dickens novella, which Haas filled with margin notes and line markings as he adapted it in the 1980s, was recently rediscovered and is on public display at the theatre.

To this process, add director Cara Hinh, who finds a fresh approach with emphasis on scenes that are not always played. I sensed, especially in the first half of the show, a little more humor; however, the spooky and tragic aspects get their moments as well. The familiar story is intact, but note the details. “Know them better,” as it were.

The style of this Indy holiday tradition is the same: A full cast, playing various characters, narrate as they perform their roles, working on a spare stage covered in drifts of “snow” with a few necessary props and setpieces, such as the old metal frame that serves as the office of Scrooge & Marley. Hinh’s staging again makes liberal use of the trap doors, with the elevator-style entrance in the center presenting the Cratchit table. Others are used to great effect, especially in the Ghost of Marley’s visit, and in the final tombstone reveal.

Apparently, according to a post-show discussion, the concept of the production is that an old theatre has lost its roof, leading to the snowy nearly-bare abandoned stage, upon which Spirits of Theatre and/or the Holiday walk the boards to tell once again this Victorian classic. This is reflected in the audience seeing, in shadow, the actual back wall of the old Indiana Theatre, with its nearly forgotten pillars.  

Hernàn Angulo makes a splendid IRT debut as poor Bob Cratchit. We also welcome stage and screen actor Cleo Berry as a Ghost of Christmas Present who is both boisterous and no-nonsense. Natasia Reinhardt returns as Christmas Past, really working the Jack-Frost costume by Linda Pisano. Ryan Artzberger reprises Marley’s Ghost, as well as ol’ Fezziwig. Kenneth La’Ron Hamilton is again Nephew Fred and Young Scrooge – the former irrepressibly cheerful, the latter with his goodwill steadily eroding. Other ensemble members are Jennifer Johansen, Alyssa Naka Silver, Kayla Carter, Kerah Jackson or Vivian Morton as Betsy Cratchit, and Sofia Perlaza or Cate Thomas as Tiny Tim (we saw Jackson and Perlaza).

Whether as a returning tradition or for the first time experiencing this exceptional rendition of a holiday favorite, see Charles Dickens’ “A Christmas Carol” through Dec. 24 at the IRT, 140 W. Washington St., in the heart of downtown Indianapolis. Get tickets and info at irtlive.com.

Issues of love and money vex ‘The Heiress’

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By Wendy Carson

Epilogue Players brings us an intriguing look at upper class life in 1850 New York with “The Heiress” by Ruth Goetz & Augustus Goetz.

Dr. Austine Sloper (Stan Gilliam) raised young daughter Catherine (Emily Reese Castro) well and it is time she should pursue a marital situation. While not unattractive, Catherine is socially awkward and is constantly reminded of her inferiority to her father’s sainted memory of her mother. She feels she has nothing to offer – except for her inheritance of $10,000 per year from her mother, with an additional $20,000 annually after her father passes (a sizable fortune in that era). Her widowed Aunt Lavinia Penniman (Cathie Morgan) is on hand to assist in helping Catherine gain confidence in herself.

During a dinner to celebrate the engagement of her cousin Marian Almond (Christian Taylor) to Arthur Townsend (Lawrence Wunderlich), she is introduced to his cousin, Morris Townsend (Brett Edwards). Thus begins a whirlwind courtship between the two and a pledge to marry. However, the doctor regards Morris to be nothing more than a fortune hunter seeking to take advantage of his daughter’s naivety. Desperate, Catherine plans to elope, even if it means losing her father’s inheritance.

As events play out, this comic melodrama takes interesting and unexpected turns. Overall, the show is an interesting look at the social strata of the pre-war North, and the cast all do an excellent job bringing their characters to life. I was very impressed by Breanna Helms’s turn as Maria, the Slopers’ maid, who was constantly able to say volumes about any situation with a single look.

The cast also includes Susan Yeaw as Marian’s mother (and Dr. Sloper’s sister), Elizabeth Almond; and Sarah Marone-Sowers as Morris’s sister, Mrs. Montgomery. The play is directed by Kathleen Clarke Horrigan with Jay Stanley, stage managed by Patti Boyle.

In Castro’s performance we get an intriguing profile of a misunderstood soul who eventually comes to understand herself. Edwards gives us the appearance of a very noble and flattering suitor – at first. The line between true devotion and selfish desire seems thin indeed. Gilham gives a sharp performance of a gentleman of the era, frank in his opinions but not without feeling. Morgan’s Lavinia isn’t shy about injecting her own notions of romance into the situation.

“The Heiress” has four more performances, Thursday through Sunday, Nov. 20-23, at 1849 N. Alabama St. (corner of 19th and Alabama), downtown Indianapolis. Reserve tickets at epilogueplayers.com.

Viva Carmel Players, where love is King

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By Wendy Carson

Director Nicole Amsler and Carmel Community Players approach the Holiday season by giving audiences the gift of joy with their hilariously quirky offering, “Four Weddings and an Elvis,” by Nancy Frick.

Centering around Sandy (Veronique Duprey) and her Las Vegas wedding chapel, we are privy to four incredibly diverse sets of nuptials. Sandy herself is on Marriage No. 4 to the same man, Ken, who is never seen but is always present.

Beginning with Bev (Audrey Duprey) and Stan (Mark Livingston), who have flown out from the East Coast to marry each other as vengeance against their exes – who also plan to marry each other. They chose to have their wedding live-streamed to the exes and with Ken, Sandy’s usual minister, being passed out drunk, opt to use a nearby chapel’s minister, John (Joshua Payne-Elliot).

Sandy then hires Lou (David Dessauer) to be the new minister, but his age keeps her questioning if he can really pass for Elvis. They are to officiate the low key, high publicity, marriage of fading stars Vanessa Wells (Amanda Falcone) and Bryce Cannon (James Kenjorski) – both desperate to get their careers back on track. Sadly, the press and paparazzi decline their invitations.

We then meet Marvin (Jacob Bradford) and Fiona (Kelly Melcho), an extremely unlikely pair. He, an expert in everything regarding the Post Office, will wed her, an ex-con with a wild and colorful past. Their bliss is briefly interrupted by the arrival of her past boyfriend, Fist (Gregory Roberts), who broke out of prison to get his girl back. Hilarity – and a police standoff – ensues.

About a year later, we return to the chapel for the final wedding. It seems Sandy is ready to take the plunge for a fifth time, and all the previous characters return to celebrate with her.

Veronique Duprey maintains her charm throughout with the air of a Sin City sister who has seen it all, while the others indulge in all manner of silliness. However, these hopeful romantics indulge in these events without cynicism – each character, in their own way, wants love.

Amsler is assisted by Grant Bowen; Samantha Kelly is stage manager.

Will Sandy make it down the aisle? Will we finally meet Ken? How are the others’ relationships working out? And finally, who is the uncredited “Elvis”?

These questions and many more are answered by attending “4 Weddings and an Elvis,” Thursday through Sunday, Nov. 20-23, at The Cat, 254 Veterans Way in downtown Carmel. For tickets and info, see carmelplayers.org.

Solid ‘Salesman’ in Westfield

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By John Lyle Belden

Nearly everyone has heard of Arthur Miller’s “Death of a Salesman.” If for nothing more, it’s known that this Pulitzer-winning drama is regarded as one of the greatest plays in the English language, with its titular lead Willy Loman ranking with Shakespeare’s Hamlet as a role that defines a great actor. However, I confess I had not seen this play until the current production by Main Street Productions in Westfield.

Directed by Kelly Keller, this staging more than lives up to the work’s reputation. Though it takes a full three hours, its pace and substance fill every minute with meaning. To quote Miller’s script, “Attention must be paid.”

Aaron Moon plays Loman, a traveling salesman who lives in Brooklyn while working the entire New England region. More than 30 years on this circuit has affected him, yet he remains upbeat, smiling big and talking bigger as always. But now there is sadness in his eyes while he speaks triumphantly, mostly of past events – increasingly to people only he can see.

This worries his wife, Linda (Susan Hill), who is also growing frustrated with adult sons Happy (Broden Irwin), who shows no signs of settling down from his playboy lifestyle, and Biff (Connor Phelan) who, while doing all manner of jobs in several different states, has not settled into a productive career path.

The scenes blend this present and Willy’s vivid reminiscing of the past, when his sons were teens, eager to please their old man. The memories especially stick around the time that Biff played in a high school championship football game with college scouts in attendance. These moments include the boys’ schoolmate Bernard (Mike Sosnowski) and his father Charley (Jim Gryga), who remain the Lomans’ friends in the later times.

Willy also remembers his brother, Ben (Tom Smith), who “walked into the jungle, and… walked out rich.”

The cast also includes Jonathan Rogers as Stanley, the waiter at the Chop House, Erin Keller and Desiree Black as two ladies who Happy and Biff meet there, Tanner Brunson as the son of the man who first hired Willy (and is now in charge), and Kristin Hilger as “The Woman.”

This parable from the late 1940s still resonates today with our current hustle and grind culture, coupled with an uncertain job market, as well as anxieties ranging from the personal to society in general. For those who struggle, “fake it till you make it” can only go so far, especially when one can no longer tell the illusion of success from the real thing. Compounding these issues, the play also features themes of mental illness and suicide. The title is not a metaphor.

Moon delivers an award-worthy turn as Willy Loman, a mensch you feel for and fear for as we witness his frustrations, optimistic delusions, and decline. Hill is also stunning as his wife, desperate to bring some sense of stability back to a family that had always been on shifting ground. Irwin’s Happy, in living his own way, is more like his father than he thinks. Phelan is exceptional as conflicted Biff, expressing the strain between expectations that diminish him and a life of freedom that would apparently disappoint those he loves. Smith’s dignified calm speaks volumes.

Excellent set design of the Loman home is by Jay Ganz. The lighting, designed by Stephen DiCarlo and operated by Scott Hall, neatly helps emphasize shifts of time and perspective. Tanya Keller is stage manager.

Remaining performances of “Death of a Salesman” are Thursday through Sunday, Nov. 20-23, at the Basile Westfield Playhouse, 220 N. Union St. Get tickets at westfieldplayhouse.org.

Reckoning ‘The Price’ in Bloomington

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By John Lyle Belden

Playwright Arthur Miller is having a moment in Indiana this year. We recently had a production of “The Crucible” in Indy, and the show about the “Salesman” is opening in Westfield (watch for our take on that next week).

Meanwhile, the Jewish Theatre of Bloomington presents one of Miller’s lesser-produced plays, “The Price,” an emotionally gripping drama inspired in part by his own family.

How do you catalog a life, or even one that might have been? In 1968, Victor Franz (Jonathan Golembiecki), an NYPD Sargeant turning 50 and considering retirement – which would thrill his wife, Esther (Abby Lee) – is faced with needing to move or sell his late father’s belongings. The man had died years earlier, but these things were kept in an attic of a building about to be condemned. The items mostly date back to when the family lost their fortune in the 1929 Wall Street crash, left there largely ignored while the Franzes struggled through the Great Depression.

Victor and Esther are meeting with an appraiser, Gregory Solomon (Ken Farrell), to discuss a price to take the entire lot. There is some concern that Victor’s estranged brother Walter (Stephen Hunt), a very successful doctor and researcher, will show up to demand his half of the estate, but calls to him have gone unanswered. Naturally, he will be making an appearance midway through the play.

It’s that simple, and that complex.

“It’s impossible to know what’s important,” Victor says. While Solomon insists they concentrate on actual value over sentiment, it is difficult to price these decades-old artifacts – a harp, a gramophone, a fencing foil, a shiny evening gown or even the hardwood dresser it hangs in. Still, that which most needs to be settled is not financial. Walter’s success has come at its own dear price, and Victor is calling the debt.

One critique when this premiered on Broadway was that there was too much talking, but this drama has a lot to say. In the skilled hands of this cast, directed by Dale McFadden, we are fully engaged in this conversation, sparking with sibling tension while leavened with a bit of dry Jewish humor.

Golembiecki delivers an excellent performance of a man nearly paralyzed by uncertainty. His own life is at a decision point while dealing with the consequences of past changes. Coupled with the reintroduction of his brother, he is reminded of what could have been a different and perhaps better life. Instead he chose a life of service to others, and especially his father – was he a fool to do so?

Lee presents a woman growing impatient with her husband’s reluctance, desiring that things will finally break their way. Still underneath her tension is a fierce devotion, and love.

Hunt’s Walter keeps us off balance regarding the expectations we are given of his character. He appears to struggle with a recently found need to develop a sense of empathy, to reconcile his great success with one who sacrificed. His assertive ego only lets him change so much, if it is genuine at all.

Farrell is solid, giving perspective and humorous relief while floating lightly above Jews-and-money stereotypes. He demands respect while seeking not to offend so that in the end, everyone gets a deal they can walk away from.

A vital part of this production is the attic set, neatly surrounded by put-away furnishings and reminders of the past, brilliantly arranged by set designer Bobby Ayala Perez with prop masters Danielle Bruce and Nicole Bruce. Through this, the spirits of the Franz parents seem to haunt the surroundings.

While the laughter is mostly on a nearly-forgotten novelty record, there is a kind of enjoyment from seeing such a notable drama so well performed. Remaining performances are Saturday and Sunday, Nov. 15-16, in Rose Firebay in The Waldron Arts Center, 122 S. Walnut St., Bloomington.

Get info and tickets at jewishtheatrebloomington.com.