play

CCP presents Grand adventure

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By John Lyle Belden

The play “Men on Boats” by Jaclyn Backhaus is pretty much that – some men who rode on boats going downriver. And yet it is so much more.

Produced by Carmel Community Players, directed by Samantha Kelly, this is about the 10-man excursion on the Green and Colorado Rivers in 1869, the first U.S. government sanctioned expedition to and through the Grand Canyon in present-day Arizona. For this manly feat of bravery, persistence, and luck, the play is cast with all women actors.

Seeing them acting as men, their demeanor as serious as the characters they portray regarded their mission, works in a curious way. It helps that we are accustomed, in the arts as well as in life, to seeing women being strong for each other and intrepid when faced with challenges. It bypasses any sense of machismo, making this adventure more human and relatable. It also gives the character of expedition leader Maj. John Wesley Powell, who lost an arm in the Civil War, a sort of maternal aspect as he led by his wits and wisdom rather than physical prowess.

Powell (Barb Weaver) arranged for four boats, fully provisioned, for the journey. He brought along his older brother, Walter “Old Shady” Powell (Wendy Brown), as well as hunter John Colton Sumner (Kelly Hutchings), who led the first boat; William Dunn (Desiree Black), who becomes a sort of second-in-command; George Young Bradley (Sarah Arthur); O.G Howland (Katarina Zack); Seneca Howland (Victoria Garcia); William Robert Hawkins (Nick Chase); Andrew Hall (Kenzie Wright); and English adventurer Frank Goodman (Ozzie Buttler). While the lands they passed through were familiar to many of European ancestry, with some (including Mormon pioneers) already in settlements, they would be the first to traverse through on the river (rediscovering what Native peoples had seen for millennia), provided they survived the voyage.

Based on Powell’s journals, there is no need for fictional drama as the rapids and falls they traveled over provided plenty. The loss of one of the boats and dwindling provisions provided plenty of tension, with multiple discussions – and arguments – over whether to continue. Powell held firm in his resolve, strengthening most of the others, and respected the wishes of those who left the party.

The cast’s sincere portrayals, with the clever use of “boatveralls” (boat representations designed and built by Kristina Lawyer and Broden Irwin) to perform their movement on the rough waters, help us feel the rush of riding rapids and waterfalls, as well as maneuvering potentially deadly hazards. We get the quirks of individual personalities, including Sumner’s mountain-man mystique, Goodman’s constant nervous chatter, and Old Shady’s campfire songs.

It’s sometimes said that the best man for the job is a woman. See an entertaining take on that concept in “Men on Boats,” with performances Thursday and Friday evenings, Saturday and Sunday afternoons, April 23-26, at The Cat, 254 Veterans Way in downtown Carmel. Get info and tickets at carmelplayers.org.

IBTC: True incident inspires Morisseau drama

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By John Lyle Belden

“Southern trees bear strange fruit / Blood on the leaves and blood at the root…”

These lyrics, written by a white activist and made famous by legendary Black singer Billie Holiday, lend a theme to a drama by acclaimed playwright Dominique Morisseau, “Blood at the Root,” presented by Indianapolis Black Theater Company at The District Theatre, directed by Daniel A. Martin.

The plot is heavily based on the 2006 “Jena 6” controversy in which six Black high school students were tried as adults after arrests for beating a White student. The altercation was part of a series of events that suggested racial tensions were a factor. Morisseau’s play is set at Cedar High in a fictional Louisiana town standing in for Jena, a city of around 3,000 located in the Mississippi River Delta region north of Baton Rouge.

Raelynn (Kelly Kel) wants to do something bold for her senior year. With the encouragement of her best friend Asha (Morgan Damato), she decides to run for class president, which if successful would make her the first Black student in the office. She also decides to go sit under Old Devoted, a huge old oak tree where the “cliques” (“White” is unsaid but understood) hang out. Two other students join her.  

At the student newspaper, reporter Toria (Samantha Resnick) is constantly in trouble for seeking controversial topics – adding her opinions in the process – in her zeal to become a “real journalist.” Justin (Matt Ball), the student editor, sees her as talented but her work as unusable, risking the school ending the program.

Raelynn’s brother, Deondre (Marcus Elliott), is a star running back on the football team and a college prospect. The quarterback is Collin (Parker Taylor), a recent transfer student who is White – and gay, a secret that proves difficult to keep.

The next morning, three rope nooses hang from the oak tree. Black students are upset, but the school insists that it is no more than a tasteless prank. Days later, in the high school cafeteria, Collin is beaten by six of his Black teammates, including Deondre. Arrests follow.

The cast also includes Clarissa Michelle, Jay Fuqua, and Evangeline Bouw.

The mighty tree, designed and built by The Sapphire Theatre Company, dominates the back of the stage, a reminder that the emotions and dark legacy of the Civil Rights era were not left behind in the 20th century. Students coming of age in the 21st now have to reckon with this, finding that what once seemed like normal teenage trouble can take on serious consequences, especially in the Deep South. Reflecting today’s culture that is surrounded by music, the play includes moments of song and movement reflecting a scene’s actions and feelings. It avoids classification as a musical, though, so that nothing shown seems light or trivial.

Every character is boldly presented, and each will have their say. Kel’s Raelynn and Elliott’s Deondre present familiar archetypes, a young Black woman and man seeing possibility in their future while dealing with opposing tensions brought about by just being themselves. In Deondre’s case, what would be no more than a blemish in another student’s record becoming his entire future denied by the decision of an unjust system. Demato’s Asha, a girl with White skin and Black relationships, and Ball’s Justin, a Black student bullied by peers for reading and good grades, express their frustrations at social expectations and rules around “blackness.” An idealist from a politically liberal family, Resnick’s Toria is learning the hard way to carefully deal with the facts, and her tact. Parker’s Collin shows how the (also valid) struggles of queerness further complicate existing tensions.

We get outstanding performances all around. Especially of note is the way the actors handle the rural Louisiana accent and way of speaking – akin to both Cajun and Deep South syntax and cadence – flowing naturally, clear and easy to follow.

Presented with the energy and humor of youth, as well as the raw emotion of hard-hitting news, we find that bitterness still comes from a society with “Blood at the Root.” Performances are Thursday through Sunday, April 23-26, at The District, 627 Massachusetts Ave., Indianapolis. Get tickets at indydistricttheatre.org.

BCP: The importance of I, You, and We

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By John Lyle Belden

“You’re not really what I expected today.”

Those words are by celebrated playwright Lauren Gunderson, in “I and You,” presented by Buck Creek Players. They are spoken by Caroline, a girl uncertain which will come first – the end of her senior year of high school, or the end of her life.

The words that take on the most meaning are in verses by 19th-century American poet Walt Whitman. Caroline (Piper Williams) is greeted by them – “In this mystery here I stand” – said by unexpected visitor Anthony (Braeden Adams).  They are classmates, though they have never met. She mostly lives in her bedroom, having spent her life in bad health and now needing a liver transplant. He says he is her project partner in American Lit class, needing to make a presentation on the use of “I,” “You,” and “We” in Whitman’s “Leaves of Grass.”

She is furious at first, untrusting, rejecting. But he persists that he’s just there to complete the assigned homework and eventually gets to stay. She has no interest in old poetry, then becomes intrigued. He states she should be able to relate to it, a regrettable statement as it hints at the topic of her health. Their verbal dance gets more intricate as it goes along, addressing her condition, getting to know other aspects of each other, learning about his own heartbreak.

Williams and Adams are brilliant in this dramedy pas de deux, directed by Cathy Cutshall, assisted by Scout Dunlevy.

Cutting and catty, Williams gives us the girl in a frustrating situation few can relate with, not so much afraid of death but tired of years of staring it down. She has low tolerance for those being “nice” as she has long learned to sense its shallow cover for others’ discomfort.

With kindly persistence, Adams gives us the boy who likes girls but not interacting with their various moods. This situation has paired him with someone who intrigues him, and whom he can’t help liking – though cautiously. He seems willing to open up, sharing aspects of his life and the things he enjoys, though we sense a bigger secret in his demeanor.

Complete with a treasured Turtle and an energetic air-piano solo, we see this important project through to its end. The result is uplifting, heartwarming and memorable.

As always, all work here is volunteered, including the excellent set design and build (Carolyn’s neatly decorated upstairs bedroom) by Susanne Bush.

BCP is also involving the Indiana Donor Network with an ad in the program and a table in the lobby. For information on becoming an organ donor, visit donatelifeindiana.org.

Performances are Friday through Sunday, April 17-19, at Buck Creek Playhouse, 11150 Southeastern Ave., Indianapolis (Acton Road exit off I-74). See buckcreekplayers.com.

All the Rage

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By John Lyle Belden and Wendy Carson

It’s been a busy month or so for Betty Rage Productions and its founder, Callie Burk-Hartz. The independent company, dedicated to, in its words, “telling interesting stories, creating original comedy, and making sure there is always a bad-ass role for a woman,” has managed all three quite well.

In the first weekend of March, Betty Rage presented an excellent production of the Noel Coward comedy, “Blithe Spirit,” with a cast for whom acting comes as natural as breathing, including Burk-Hartz herself. This was done in cooperation with the Indianapolis Scottish Rite, which provided more than a venue.

“They have been so supportive,” Burk-Hartz said. The relationship started a few years ago, when she found herself seeking a location for her next play. Having relatives in Masonic organizations, she called the Scottish Rite, which happily provided a beautiful theater, technical help, and even props.

Later in March, Betty Rage presented another one-of-a-kind revue of “Lady Bits” at IF Theatre. Drawing from a variety of local women performers, they bring all manner of comedy “bits” including sketches, improv, and standup. The talent is exceptional and the result is wonderful. (See our review of the January show.) “Lady Bits” returns on June 12-13.

The month ended at the IF with Betty Rage hosting FemmeFest, presenting four original one-hour stage productions written and acted by women. As a development venue for these shows, they often felt raw, but with great potential. You may see one or all of these as polished gems in the future:

“BS Conversations” – The Uncut Diamond Alicia Sims presented a one-woman show, or “Monodrama,” performing about a dozen distinct characters who find themselves on a broken-down bus. As they await repairs, surprising connections are made and discovered among these personalities. The result is funny and engaging, and audience members were impressed with her nimble character work.

“Female Troubles” – A sort of cabaret revue by Elle Tyler, directed by Ana Hammersly, in which five women gather to express their blues. Performers are Maria Meschi, Abby Morris, Skye Walker, Anna Zimmerman, and Tyler on piano. They all helped collaborate on their original songs, presented with energy and humor. And honesty – we found ourselves thinking “that was like if you had said, ‘describe Maria in a song’” after her number. The overall feel is reminiscent of the popular “Menopause: The Musical,” but relating more to one’s 20s and 30s, including experiencing motherhood.

“Out of Yard Signs” – This dark comedy by Jacqueline Lidberg Larabee, directed by Ebony Chappel, is a peek behind the scenes of a political campaign in a major city. Headquarters for Major Brooks is reeling after her competitor, Henson, lands an endorsement from a minor celebrity. However, her powerful campaign manager feels that she can overcome this situation, without resorting to one-upping each other with B-list celebrities. Add to this a perky and very motivated intern who also has to deal with a delusional “supporter” who only wants a yard sign to get her husband off her back, and you have a recipe for hilarity and a nice educational lesson on the current political discourse. Hopefully, this show will turn up again with a little more added (we really want to see the results of the impending press conference) as it is a smartly written look at women and race in the current political climate. Performers were Gabrielle Patterson, Andrea “Sapphyre” White, Ezri Braid-Grizzell, and Erin Moore.

“The Shared Stage” – Presented by Robin Kildall with Karin Stratton, Brandi Metzger, Anna Himes, Kait Burch, and Rachelle Martin, this is a series of six 10-minute plays that all entertained well and we hope some of them might be expanded to become a fringe-length offering.

  1. “American Gurl” – Arden, formerly Olivia, brings his fiancé Hannah home for Thanksgiving. While there, Hannah is going to finally get to see the oft-talked about collection of American Girl Dolls Arden grew up with. However, she is unaware that the dolls actually come to life and interact with people, until they suddenly mistake her for their owner. This makes for some delightful whimsy and interesting backstory.
  2. “Railing it Uptown” – Two women, one in black and one in white, are taking the subway home from a day’s excursion in the city. Their interactions are absurdist at times and quaint at others but show that you can never know what a stranger has to offer.
  3. “Still Life, In Zombies” – A retired zombie hunter is pursuing some of her hobbies when a zombie ends up at her door. It’s not one from the labs her daughter runs, so she locks it in the closet for later. After her best friend and another zombie show up, things get a little more complicated. Still, it looks like at least one of her ideas may actually bring about a possible solution to the situation.
  4. “There Once Were Two Clouds in the Sky” – Two clouds, on roller chairs, interact with each other during their short but interesting lifespan. It’s a sweet take on the fleetingness of a lifetime and one’s purpose in the universe.
  5. “Chicken Shoot” – A girl and her stepsister find the remains of the government complex where their father worked. They try to somehow connect with their always distant father, who was more obsessed with his life’s most important project (The Chicken Shoot). While the actual project was both vastly important and truly absurd, it was a part of their lives, however tangentially, and must be acknowledged as must their roles, however secondary, in his life.
  6. “Carole’s, Cuts, and Dyes” – It’s just before Christmas at Carole’s Salon and everyone has some secrets to share. Between the idea of who has known a murderer, Christmas sex, and the true meaning of Christmas, we are taken on a whirlwind of laughs and food for thought that will keep you reminiscing for a while.

For information on what the Bettys are up to, see bettyrageproductions.com.

Phoenix presents quirky quest for a dignified end

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By John Lyle Belden

As often happens, we find the way to feel comfortable about a serious topic is through comedy. You don’t get much more serious than imminent death.

Welcome to “Wasabia,” a fairly new play by Wendy Herlich presented by the Phoenix Theatre, directed by Brian Balcom.

In her senior community apartment, 73-year-old Vivian (Jan Lucas) receives a surprise visit from 19-year-old Carla (Hannah Luciani) who works with a hospice (helping people facing the end of life). During the brilliantly awkward comic encounter, we find that Vivian isn’t dying soon. However, with the onset of Alzheimers, her mind could go at any time.

The stars of this show, though, are Val and Di (Arika Casey and Jennifer Johansen), short for Valium and Digoxin, the principal components in a cocktail of drugs used in physician assisted death; in their words, “your last best friends.” These pharmaceutical personifications wear the best costumes (designed by Brittannie McKenna Travis) and enlighten us on their importance in ending one’s life with dignity. They play attendants at a Terminal for the final destination, as well as game show hosts of “The Suffering Contest.”

Andrew Martin plays Brody, nephew of the person Carla was supposed to work with before accidentally going to Vivian’s door. Goofy but well-meaning, he becomes critical to the plot.

Lucas plays Vivian like the role was written for her, giving a master class in playing a stubborn curmudgeon with wisdom and dry humor that plainly argues her perspective. Her sharp copy-editor brain is her most prized possession, slipping away, and she desperately seeks to personally complete her story’s final draft.

Luciani gives full dimension to a young woman with issues of her own, mainly from losing her mother to cancer months earlier. She understands giving comfort in the face of death, but reacts as many of us would at hastening its arrival. In her own way, she is reaching a threshold in dealing with inner pain.

Casey also cameos as Wanda, a former hospice nurse. In addition, Jackie Mahon (assistant to stage manager Denielle Buckel Klein) appears in a Val & Di song-and-dance number.

Balcom, a widely accomplished director and no stranger to personal challenges, strikes an excellent balance between the humor and pathos, the former giving insight into aspects of the latter.  Herlich gave him excellent material derived from, in her words, “deep engagement of the topic” both in research and personal experience.

You likely have your own feelings on death with dignity laws and practices (an authorizing bill in the Indiana state legislature apparently failed). This play should be part of the important national conversation around it.

The title? Referred to obliquely, it’s apparently somewhere you don’t want to be trapped, though many of us are headed there. “Wasabia” runs through April 12 in the Basille black box stage of the Phoenix Theatre Cultural Centre, 705 N. Illinois St., downtown Indianapolis. Get tickets at phoenixtheatre.org.

CAT: One by one they fall, who is killing them all?

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By John Lyle Belden

For an entertaining, affordable outing that also helps support and encourage local talent, we recommend Carmel Apprentice Theatre performances at (naturally) The Cat.

C.A.T. gives less experienced actors and crew the chance to perform a popular play or musical with the aid of experienced mentors. In the current production of Agatha Christie’s “And Then There Were None,” we also have a first-time director, local actor Tim West, delivering with a fine balance of mystery and humor.

This is the whodunit in which – trapped on a remote island – the murders are constantly happening among 10 characters in a plot inspired by a children’s rhyme (adapted from it’s now-unacceptable title) “Ten Little Soldier Boys.” There is a copy on the back wall of the set, along with an ever-shrinking collection of tin soldier figures. It’s also printed in the program.  

Motive for the killings goes beyond psychopathy; each character has done something in their past that led to others’ deaths. Still, which one is killing the others? Who will survive? Will any? Note that Christie wrote more than one ending for the play, so we will spoil no further.

Butler and cook Mr. and Mrs. Rogers are friendly and accommodating, especially Leroy Delph as Thomas. Dixie Oberlin as his wife is a bit high-strung, though. The eight guests were invited by the mysterious “Mr. and Mrs. Owen.”

Vera (Alyssa Lay) was recently hired as Mrs. Owen’s secretary and was to meet her for the first time here. A steady hand at unsteady characters around area community stages, Lay balances the wariness and stress of being imperiled with just enough craftiness to not take her off your suspect list.

Former Army Cpt. Lombard (Kat Moore) comes off as incredibly dashing, though his past betrays a possible disregard for others’ lives. Moore keeps us guessing with their roguish gentleman.

When Jake Williams (Anthony Marston) isn’t driving his fast car, he’s talking about it. Being one who loves to live on the edge of danger, he’s unfortunately come to the perfect place.

Mr. Davis from South Africa (Daniel Racke) is actually William Blore, a former(?) police officer. Racke doesn’t let us off the hook, acting sus from his very first moment while also giving plausible suspicions of the other guests.

Gen. Mackenzie (Todd Stein) knows a perilous situation when he sees one, and this could be his final battle. Stein infuses the old soldier with appropriate dignity.

Hannah Smith (Emily Brent) in her mind condemned all the others long before the killer (in a gramophone recording) declared all their alleged crimes. Brent plays her like the old auntie you want to like, but is just so prickly to everyone around her.

Sir Lawrence Wargrave (Darrin Gowan), being a retired trial judge, is no stranger to death. He sent many there from the bench, and now finds himself accused. An established theatre veteran, Gowan makes a solid keystone for this production.

Dr. Armstrong (Cassie Scalzi) could really use a drink about now but knows better. Scalzi plays the stoic surgeon-turned-therapist nicely as she confronts the fact that the past never stays there.

Mike Oberlin completes the cast as Fred, the lucky man with the boat.

There are no others on this remote island off the English coast, so it is only ghosts or the illusions of maids (stage crew Isabel Moore and Addison Johnson) who nimbly move about in between scenes to reset the room.

Like a slasher flick with English manners, enjoy “And Then There Were None” 7:30 p.m. Friday and Saturday, and 2:30 p.m. Saturday (April 3-4), at The Cat, 254 Veterans Way in downtown Carmel. Get tickets and info at thecat.biz.

Asante shows ‘Glory’ of Attucks team

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By John Lyle Belden

The word “asante” is an expression of gratitude used in much of Africa. Here in central Indiana, we are grateful for Deborah Asante and the Asante Art Institute (expanded from her established art and theatre programs in 2018). This treasured local institution helps guide self-discovery and celebrate the African American experience through creative programs and performances.

With the current climax of high school and college basketball under way downtown, Asante focuses on the program that helped change the game far more than most people realize. The historical drama “A Touch of Glory” by Laura Town, directed by Ms. Asante, tells the story of the Crispus Attucks Tigers, the first all-black team in America to win a public high school state championship, taking the title in 1955 and 1956, a team that featured future hall-of-famer Oscar Robertson. It was also the first state title for an Indianapolis squad. This is well known, yet far from the whole story.

We are guided through this story by the “Angel” spirit of Willie Burnley (played by Joshua Short), whose hoop dreams ended after high school, getting his wings from cancer a few years later. He has not only a story to tell, but also an important role in it. He notes that Robertson was known to get a triple-double – double-digit points, rebounds, and assists – nearly every game.

Willie will tell us about Oscar’s two greatest assists.

At the heart of the story is the Tigers’ coach, Ray Crowe (Reggie McGuire), who worked his way up from school janitor and built a team in a school that didn’t even have a proper gym. His determination, confidence and optimism help to win over reluctant and cautious principal Russell Lane (Ennis Adams Jr), as well as his fiancé/wife of saintly patience Betty (Clarissa Michelle), and the boys who played street ball in “The Dust Bowl” – Burnley, Robertson brothers Bailey (Joshua Bruton) and Oscar (Deontà Stark), future Mr. Basketball Hallie Bryant (Bryce Hawthorne) and future Globetrotter Dill Gardner (A’veon Curry), who played barefoot.

The play also features Matthew Brown as sportswriter Bob Collins, who sees more than good story here; Rick Drumm in supporting roles; and Joe Wagner as a couple of less savory persons.

Most impressive are the Cheerleaders – empressnikia, Shelby Brown, Taylor Todd – fitting naturally as a sort of Greek Chorus as well as aiding the story and its atmosphere.

Short gives Burnley, who mostly rode the bench but didn’t seem to mind, an infectious joyful energy that keeps us engaged. This, and the earnest portrayal of Coach Crowe by McGuire, help elevate the by-the-numbers sports hero story to something that feels important beyond its own time and place. Though we know the end, in looking at the story from an early-50s perspective we feel the tensions, imminent threat, and the deafening silence in place of support from other parts of the city and state.

We get an interesting glimpse into the Robertsons: Bruton’s Bailey is brash and vocal, yet focused while on the court. Stark’s Oscar lets his game do the talking and easily comes across as a future legend. Curry as Gardner gives an interesting perspective on the meaning of success under limited options. Keiston Drake plays another Tiger player, and also provides beautiful vocals during a musical moment.

The choreography by Shawn Cowherd extends beyond the cheer routines as the scenes of basketball action move with easy grace and athletic beauty. Clever and functional set design is by Antonio Burks, with costumes by Latoya Adams. AshLee Burks is assistant director, and Kelli Thomas is stage manager.

The Academy provided support on and behind the stage. Credit where due: Kyler Brown, Lamont Swayze, Kawai Castillo, Adina Sconiers, Ava Floyd, Zeruiah Bailey, and Reygan Rucker, with teaching artists Jasmine Robinson and Reno Moore and performance mentor Kiheem Brown.

“A Touch of Glory” has performances 7:30 p.m. Thursday, Friday and Saturday, as well as 1 p.m. Saturday (April 2-4) at the Athenaeum, 401 E. Michigan St., Indianapolis. For tickets, see athenaeumindy.org. Put on some green and gold if you feel like it, and you might even learn the “Crazy Song.”

No small parts, just big questions

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By John Lyle Belden

It’s only natural to wonder what roles we fill in the big story of our lives. You feel like the star of your own narrative, but imagine what an unseen audience might think – what if you’re someone else’s supporting character, or merely an “extra”?

Sir Tom Stoppard, who recently passed, considered the minor characters’ point of view in his early masterpiece, “Rosencrantz and Guildenstern Are Dead.” Existing in its own reality (with a vague resemblance to 16th-century Denmark), two characters from William Shakespeare’s “Hamlet” sense that they have a purpose, but they have difficulty remembering what, or why.

Eclipse Productions of Bloomington, which enjoys works that draw the audience in with an entertaining approach to thought-provoking theatre, present “R&GAD” in their quirky style. I find it interesting that three of the company’s founders have fully immersed themselves in the play – Konnor Graber as Rosencrantz, Jeremy J Weber as Guilenstern, and Kate Weber is the director. Their sense of introspection may not be all acting.

We meet them in a place where the coin comes up heads more than 90 times in a row. They were summoned from… somewhere… and are called on to do something. Of that much, they are certain. Assistance arrives in the form of the Player King (Chandler Deppert), leader of a group of Tragedians who appear like something from a Goth circus, or players in a Haunted House attraction. These thespians specialize in tales of bloody death and are thus on their way to perform for Prince Hamlet.

The Mechanicals are Sonia Velazquez, Jo Moran, Megan Canonica, Luna DeCastro, and Dan Heise as Alfred.

From here, our lead characters find themselves in and out of the bigger play, meeting crafty/crazy Hamlet (Sam Durnil), Polonius (Tom Trent), Ophelia (Savannah Sexton-Wisley), King Claudius (Rene Llewellyn), and Queen Gertrude (B. Stryker DeLong).

It helps to know the Shakespeare work, but not entirely necessary – understand at least that the acting troupe was also a part of that drama, performing a play-within-the-play at Hamlet’s instruction to prick the conscience of the King. Other clues to the plot of “Hamlet” are scattered throughout, observed or discussed by R&G.

Deppert is engaging and wily with a sense of glorious purpose as the Player King. Excusing his antics with “We’re actors; we’re the opposite of people!” he embodies both a part of this surreal environment and a critique of it.

Weber displays nervous energy as Guildenstern, adamant to gain some understanding of what is happening. Meanwhile Graber is easy-going and a bit fey as Rosencrantz, curious but reluctant. Their minds are sharp, though, honed with the games of Questions.

It is left to us to consider what exactly is happening with these gentlemen, and where they are. Are they souls in Purgatory? Two-dimensional figments of the Bard’s imagination given sentience? Mr. Stoppard’s fever dream? The play’s the thing, as someone once said.

Kudos to Sexton-Wisley and Vera Wagler for special FX and makeup. Yasheka Solara choreographed the dancing featured in a couple of scenes.

For a wonderful examination of one of the greatest stage tragedies through the eyes of a couple of bit players, discover “Rosencrantz and Guildenstern Are Dead,” Friday through Sunday at The Constellation Playhouse, 107 W. 9th St., Bloomington. Get info and tickets at eclipseproductionscompany.com.

GSC mounts ‘Richard III’

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By John Lyle Belden

Garfield Shakespeare Company is an exceptional part of the Indianapolis theatre scene. The not-for-profit volunteer company, residing at beautiful Garfield Park south of downtown, keeps the spirit of classic theatre alive with quality productions and free admission for audiences.

Starting its 20th Anniversary Season, GSC presents the tragic history of William Shakespeare’s “Richard III.” Based on one of England’s less-liked monarchs, we see how this proud, ambitious, and unscrupulous Duke murders his way to the Crown, then famously ends up losing his horse.

Mallory Ward directs a cast of varying experience, all dedicated to honoring the Bard’s work. Derrick Krober eagerly plays the title role, from the start charming nearly everyone while noting with a grin to us watching that he intends to be “the villain.”

In various roles, the other players include Rayanna Bibbs (her proud Lady Margaret never fooled by Richard); Spencer Dorian Crane (compelling in vastly different ways as sad Lady Anne, a reluctant assassin, and sassy Catesby); Hans Cummings (his Clarence almost talking his way out of dying); Omar El Jordi; Sydney Engelstein; Susan Gaertner; Guy Grubbs (playing both a King and a Mayor); Joni Metcalf Kemp; Miranda Khoury (as Queen Elizabeth, with a sharply delivered speech late in the play); Fred Margison; Tess Smith (parts include the heroic Earl of Richmond); and Chad Yadon (in the pivotal role of Buckingham). Also, the multi-talented Zella Mae Elm plays prince and princess roles as well as performing traditional and original songs – one with Shakespeare’s lyrics – playing the mandolin in lieu of a lute.

Performances are 7:30 p.m. Thursday, Friday, and Saturday (March 26-28) at the Garfield Park Arts Center, 2432 Conservatory Drive. While admission is free, as seating in this indoor venue is limited, reservations are recommended at gscindy.org.

Tragic depth in half-full bathtubs

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By John Lyle Belden

Fascination with unusual murder has been a pop culture staple for centuries, especially if such stories are true. Through the last century or so, the arts have explored the minds of monstrous killers, as well as the clever persons deducing who did the deed. Now, stories will often focus on those unable to speak for themselves.

In “The Drowning Girls,” at Main Street Productions in Westfield, we hear them loud and clear.

Based on events in England, this unique drama by Canadians Daniela Vlaskalic, Beth Graham, and Charlie Tomlinson, directed here by Molly Bellner, features just three clawfoot bathtubs on the stage, actually containing water. From these emerge the three known murder victims of George Joseph Smith. They speak to each other – and to us – relating how they were each taken in by the lifelong thief, swindler and bigamist, and how he was finally brought to justice for their killings in 1915.

Bessie Mundy (Jo Bennett) went with husband “Henry Williams” to a seaside resort; Alice Burnham Smith (Monya Wolf) was in a Blackpool boardinghouse with husband “George Rose Smith;” Margaret Elizabeth Lloyd (Sarah Eberhardt) resided with husband “John Lloyd” in Highgate, London. All three died of “misadventure” – perhaps a seizure? – in the bath. The women’s savings, and life insurance, naturally went to the husband.

As the three actors examine and reenact the events, they take on other roles as needed, including taking turns as smooth-talking Mr. Smith(Williams/Lloyd). Society and expectations on women play a part, but also the manipulation familiar to stories of psychopathy, abuse, and controlling behavior.

The pacing and style of the material is familiar to those who enjoy true-crime documentaries and podcasts, which aids the sense that this is nonfiction. Having reviewed the steps that led to their watery demise, Bessie, Alice and Margaret then perform as the various people who finally brought Smith to the gallows – including the attentive Burnham parents, their suspicions deepened by strange coincidence, as well as detectives who broke new ground in forensics and investigation.

Bennett, Wolf, and Eberhardt, each outstanding, don’t put on period English accents as their plight is timeless, as likely to happen in 1914 or 2014 (or ’26). They fully take their characters’ opportunity to express their frustration and give their example as warning, complete with charming moments and gallows humor, yet never straying from the circumstances of their fate.

The simple set (complete with waterproofing, we surmise) is by Ed Trout. Beautiful white gowns by costumer Cathie Morgan help complete the scene. Stage manager is Marissa Hassie, with backstage assistant Baylor Bates.

Though it only took a few inches of water to kill them, “The Drowning Girls” go deep. Performances are Thursday through Sunday, March 26-29, at the Basile Westfield Playhouse, 220 N. Union St. (Downtown construction slows traffic, but the site is accessible.) Get tickets from Main Street Productions at westfieldplayhouse.org.