play

Drama at District a raw look at recovery

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

Ever had a “toxic” relationship? How about literally toxic.

“Drugs and alcohol have never let me down. They have always loved me.”

These are the words of Emma, a struggling actress at the center of “People, Places & Things” by Duncan Macmillan (writer of “Every Brilliant Thing”) which had a successful London premiere in 2015. Stage Door Productions brings it to Indianapolis, nurtured and directed by Kevin Caraher, playing at The District Theatre on Mass Ave.

Emma (Trick Blanchfield), scarred by traumas of which we will learn, whole-heartedly believes her statement above, but comes to suspect the chemicals’ love is destroying her. To quote an unrelated work, breaking up is hard to do.

She prefers to live in the masks of the characters she portrays, but they are starting to blur into one another. The play opens with her on the stage of a classic work, having a dissociative episode. When she inevitably checks into rehab, she claims the name of the character she plays. During her recovery and relapses, she is accompanied by shadows of herself (Sara Williams, Audrey Stonerock, Cara Wilson).

Thus, the central point-of-view character is also an unreliable narrator, bringing to bear one of the frustrating factors of recovery. Even when the person wants to change and craves help, lying has become as natural as breathing, especially to one’s self. Macmillan’s words effectively keep the audience following the plot off-balance: Is Emma’s brother dead, as she says, and which set of circumstances she relates are true? Do the no-nonsense Nurse at the rehab center and happy-shiny Therapist for group sessions actually look like her Mom (all played pitch-perfect by Denise Jaeckel)? Are her parents as deeply flawed and toxic in their own way as she claims? Is even her name what she says it is at any point?

Emma’s love of stagecraft becomes a vector for hard lessons as other members of Group use her as their sounding-board for “exercises” in what each recovering addict will say to a significant person in their lives. Mark (Ryan Powell in an award-worthy performance), who immediately sees through her BS, gets that ball rolling, and continues to challenge her throughout the play. He has gained wisdom the hard way, including understanding without mentioning it that any (if this were Hollywood) romantic connection would just be the chemicals and desperation talking. (Thank you, Mr. Macmillan, for dodging that trope.)  

Other members of Group, played by Tailynn Downing, Anna Himes, Matt Kraft, David Molloy, Adrienne Reiswerg, and Bryan Ball Carvajal (as Foster, past patient and present staffer) each have their own perspective of addiction, relating the various paths both the downward spiral and upward climb can take. Then there’s brave, brilliant Dan Flahive as Paul, the patient who takes things too far, whose higher power is apparently a schizophrenic Jesus. What could be, and to a small extent is, played as comic relief becomes a look into the abyss any staffer or past patient of such a facility has seen too often.

Still, in contrast to Emma, the others “get it,” the reason why they are there, that they are sick and desire to truly get well.

Some might see thematic similarities to the 2000 recovery rom-com film, “28 Days,” starring Sandra Bulloch, but this story has a lot more raw, authentic-feeling edges and is better played through the style and magical realism of live theatre. It reflects the real-world fact that one visit to an institution is rarely enough. Also, know that not all its characters will be alive at the end of the play.

Saving the best for last, I’ll note that Blanchfield is truly outstanding. She draws on wells of pain and strength like few can, while somehow getting some hope in that bucket. She communicates “hot mess” while still making us want to root for her. We are blessed beyond reason to have her recently join the central Indiana theatre scene.

In a lighter note (and there are a few) we do get to see an actor nearly naked – and it’s not who you might expect (consider yourself warned).

A huge thank you to Caraher for getting this masterpiece to Indy, and executing it so well, and hat-tip to stage managers Whitney Leigh and Amelie Zirnheld. While this has a simple set, by Kathy Hoefgen, it is notable for the visual metaphor that the “EXIT,” whether triumphant or tragic, is always there.

Performances continue tonight (as I post this), Sunday, and next weekend with two shows on Saturday, through June 25. For tickets, visit indydistricttheatre.org. (Note to Googlers: There is a Stage Door Productions in Virginia, so for the Indiana company, look up their Facebook page.)

‘August’ in June in Westfield

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

It may be cliché, but the phrase “putting the ‘fun’ in dysfunctional” completely fits the Tony and Pulitzer winning tragicomedy “August: Osage County” by Tracy Letts, now on stage for another weekend at the Basile Westfield Playhouse, presented by Main Street Productions, directed by Brent Wooldridge.

Set in in 2007 in rural Oklahoma, where the hills near Tulsa meet the plains, we open with retired poet and professor Beverly Weston (Rob Lawson) hiring Johnna (Bella King) to help care for the house and his wife Violet (Sally Carter), who struggles with mental issues, cancer, and drug addiction. Being not related to anyone else in the play, the young Cheyenne woman will be about the only truly sane and sensible character in the cast.

Soon, Beverly disappears and family members come out of the woodwork (or at least fly in from other states). Strain, secrets, and substance use all take their toll in scenes both hilarious and disturbing – often simultaneously.

Carter gives a tour de force performance, swinging from one extreme to another, to moments of cool rationality, throughout. In turn, Violet’s daughters have their own issues with which they don’t deal well: Barbara (Molly Bellner) divorcing husband Bill (Jeff Peabody) and at wits end with teen daughter Jean (Megan Janning); Ivy (Monya Wolf) chafing to get out from under her mother’s thumb while keeping a devastating secret; and Karen (Caity Withers), who is set to marry Steve (JB Scoble), a guy so sketchy he could only be from Florida. Meanwhile, Violet’s sister Mattie Fay (Julie Dutcher) spreads bitterness that only her saintly patient husband Charlie (Jim LaMonte) can tolerate, saving her sharpest barbs for “loser” adult son Little Charles (Jonathan Rogers). Also on hand is Sheriff Deon Gilbeau (Mike Bauerle), who was Barbara’s prom date in high school. Each of these actors get several moments to shine.

Set design by Ron Roessler gives us a full house to hold all the action, while allowing easy movement, visibility and acoustics (attic scenes were as audible as on stage). Susan Yeaw is stage manager.

Hearts and dishes will break in this skewed portrait of Americana. Performances are Thursday through Sunday, June 15-18, at 230 N. Union St., Westfield. Get info and tickets at westfieldplayhouse.org.  

‘Angels’ in Indianapolis

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

Indianapolis Bard Fest brings us one of the most important theatre events of the year with its full production of Tony Kushner’s Pulitzer-winning “Angels in America,” presenting both Part 1 (“Millennium Approaches”) and  Part 2 (“Perestroika”). 

Such a venture brings with it high expectations, which Bard Fest and director Glenn Dobbs more than meet. This play cycle also makes demands of its audience: two sessions of three acts (with two intermissions) each. However, it helps to consider each hour-long act as part of a six-episode drama series you would normally “binge” at home, but get the full experience with cast and audience at the beautiful Schrott Center for the Arts (Butler campus, just east of Clowes).

This story of a plague, the AIDS epidemic, is set in an era that seemed a little unreal, the 1980s – an actor in the White House, a sense of things both beginning and ending with the almost mythical Year 2000 on the horizon. But for a gay man, suddenly, seeing next year or even tomorrow is an issue. Thus, the deep drama gets punctuated by bits of welcome levity and meaningful absurdity. By the time the actual angel from Heaven appears, it seems all too appropriate.

We focus on a number of personalities whose paths criss-cross in New York. Prior Walter (Jay Hemphill) finds he may have to give up more than his drag act as symptoms including fatigue and sores that won’t heal signal that he has the dreaded disease – a fact his lover, Louis Ironson (Matt Anderson), can’t deal with. 

In another apartment, married Mormon couple Joe and Harper Pitt (Joe Wagner and Miranda Nehrig) have their own issues, namely his secret life and her unsettled mind. Joe has just been offered a position in Washington D.C. at the recommendation of the most powerful attorney in the Big Apple, Roy Cohn (Chris Saunders). Roy doesn’t let little things like the law and ethics stand in the way of what he sees is right; he’s also “not a homosexual” who has sex with men, and “doesn’t have AIDS,” demanding his doctor write liver cancer on his chart. Still, no amount of money and influence can keep him off the hospital AIDS ward, where he is tended to and tolerated by gay nurse – and Prior and Louis’ dear friend – Belize (Allen Sledge). 

Eventually, a drunken phone call will inspire Joe’s mother, Hannah (Nan Macy), to leave Utah for New York, and Prior will start to hear the sounds of great feathered wings and the voice of the Messenger (Afton Shepard).

Among other roles by these actors, Macy appears as the ghost of Ethel Rosenburg, who Roy was proud to send to her execution; Sledge is Mr. Lies, a rather entertaining side-effect of valium; and Shepard is a kind but professional nurse practitioner.

Also, we have shadows – Lucy Fields, Scott Fleshood, Jeff Goltz, Kelly Keller, and Eli Robinson – who appear, looking like ninjas, to move set pieces and more importantly to animate Shepard’s angel and her majestic wings. This effect is especially impressive in the second play, as Prior finds himself in a situation that is both life-and-death, and something beyond. The wings, designed and built by Goltz, are practically a character themselves.

This entire cast that Dobbs has assembled and guided are brilliant actors who give their all to this modern classic. I could go on and on about Hemphill fully embodying his role; Anderson finding a way to squeeze nobility out of weakness; Macy getting to unleash force-of-nature moments; Sledge proudly giving us characters persevering even as patience is tested; Wagner as one working through the confusion of not knowing one’s own self and distressed at what he finds; Nehrig portraying mental illness in a way that’s amusing without mocking or caricature; Saunders as the bad guy still managing to ride out on top; and Shepard as something beautifully other-worldly. 

For anyone good with putting in the time and seeing R-rated content, this production absolutely must be seen. Aside from quality performances, it is a reminder of what cruel indifference to LGBTQ people did in another era, and that compassion and humane politics matter, always.

The performance schedule going forward from this posting is:

  • Friday, June 9, Part 1: Millennium Approaches
  • Saturday, June 10, Part 2: Perestroika
  • Sunday, June 11, Part 2: Perestroika 
  • Friday, June 16, Part 1: Millennium Approaches
  • Saturday, June 17, Part 2: Perestroika
  • Sunday, June 25, Both parts

For more information, and tickets, visit indybardfest.com.

ALT: The long laborious birth of a vital test

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , ,

By Wendy Carson

The Home Pregnancy Test – it is so ingrained in our lives now that you can even buy one at Dollar Tree. However, it was not so long ago that it was created. Prior to this, women had to go to the doctor and not only convince him to test her but also wait about two months for the result.

American Lives Theater launches the world premiere of the play “Predictor,” by Jennifer Blackmer. It tells the story of Meg Crane, the woman who not only saw the flaws in the current system but also persevered to develop the first-ever home pregnancy test.

As is the case with so much of women’s medicine and discoveries, Crane’s name is mostly lost to history. Blackmer delves into the intense, sexist struggles of one woman who knows what she wants and fights the misogynist barriers thrown up against her every effort.

Brittany Magee embodies Crane as a sweet, yet determined woman who is in no way going to allow her voice to not be heard. She sees that the test, previously confined to laboratories, is actually very easy and develops a simple, convenient package for it out of a plastic paper clip holder. All the men she must deal with constantly rebuff this design – declaring she has no idea what women want.

While the rest of the cast play multiple roles and are referred to in the program book as Chorus # 1-6, each is excellent and does embody at least one prime role within the story which I will use to summarize their efforts.

Christine Zavakos plays Meg’s roommate Jodie, an artist and free spirit constantly encouraging Meg to stand up for herself and fight.

Jen Johansen flows between Meg’s mother and coworker. She portrays the lack of knowledge the generations before her were given regarding their own bodies as well as the fears of this newer generation’s need to change things.

Miki Mathoiudakis superbly brings Meg’s grandmother to life with her even more primitive knowledge of sexual behaviors and morality.

Zack Neiditch not only brings us a charming game show host but also the head of the company Meg works for who at first has no time for silly lady things.

Drew Vidal embodies the most toxic example of male ego in the show. He gives us an advertising executive who sees Meg as nothing more than a secretary who knows nothing about business or how to “play the game” and torpedoes her every attempt to prove herself.

Clay Mabbitt gives us the snarky superiority of the lab tech who insists only a (male) lab tech could possibly check the test results (because looking in a mirror for a circle in the bottom of a test tube is a difficult job). This is balanced by his portrayal of a more insightful executive in the company’s marketing department.

This show is Bridget Haight’s directorial debut, and she has done a great job of bringing us the story of a woman’s perseverance in the 1970s world of business (like a more-sexist “Mad Men”). The story is a vital piece of women’s history that was destined to be lost as Crane was only given a patent on her test design. The actual test itself was sold to another company, which sat on the rights to it for ten years before it finally made it to the market, the corporation taking full credit for introducing this important tool for women’s health.

Performances run through May 28 at the Phoenix Theatre Cultural Centre, 705 N. Illinois St., downtown Indianapolis. Get tickets at phoenixtheatre.org, or americanlivestheatre.org.

Note that this weekend, the real Meg Crane will be in attendance. She will be part of a pre-show program 6:30 p.m. Saturday, May 13, as well as “Mom, Mimosas and Meg” for Mother’s Day, May 14, available for questions after the performance.

Laughter and tears in Belfry’s ‘Crimes’

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

The Pulitzer Prize-winning comic drama “Crimes of the Heart” by Beth Henley takes on a special resonance in these times of heightened awareness of mental health issues and violence against women.

The Belfry Theatre presents this play, directed by Jen Otterman, at the Theater at the Fort in Lawrence in all its dysfunctional glory. Taking place in a roughly 24-hour period in a small Mississippi town in 1974, we meet the Magrath sisters: Lenny (Brooke Hackman) is turning 30 but feels ancient; Meg (Sarah Eberhardt) apparently put her Hollywood singing career on hold to rush home; and Babe (Becca Bartley) is getting bailed out after shooting her abusive rich attorney and State Senator husband in the gut. Cousin Chick (Ka’Lena Cuevas) thinks she’s helping, but is mostly a judgmental pill.

Also on hand are family friend Doc Porter (Tanner Brunson), who isn’t actually a doctor (why will be revealed), and young lawyer Barnette Lloyd (Mickey Masterson) who takes up Babe’s case because he has a “personal vendetta” against her husband.

While I do recommend this play for its sharp script and excellent performances, I must acknowledge there should be a “Trigger Warning” as there is frank discussion of suicide and attempted acts of self-harm. In fact, if one were to observe this as an armchair psychologist, you could see a lot of disorders on display, especially the effects of narcissistic abuse by the sisters’ grandfather (offstage, but very much a character in this story).

And yet, this is also a comedy. The dark humor pops up in little bits here and there, such as Lenny’s “birthday cookie,” and bubbles over in gut-busting moments including one that involves a broom and another that is triggered by the phrase, “you’re too late.” For anyone who relates to tragic circumstances, it’s easy to see how “we shouldn’t laugh at this” only triggers another round of guffaws through cast and audience alike.

Hackman naturally portrays Lenny as a character you just want to put your arm around, maybe to gently shake some sense into. Eberhardt as Meg presents us with a fallen honky-tonk angel who surprises you with her depth of spirit, but who can’t help being that girl in need of rescue. As Babe, Bartley plays a woman who is 24 going on 15, her life decided for her in a way she never wanted, desperate for a way out. Brunson comes across as a strong good ole boy, but more than Doc’s injured leg hasn’t healed properly. Masterson presents Lloyd as the kind of perfect gentleman that makes one suspicious. Finally, as Chick, Cuevas is great as the kind of person who means well, but, well, bless her heart…

Complex and compelling, “Crimes of the Heart” runs through Sunday, May 7, at 8920 Otis Ave., Indianapolis. Info and tickets at thebelfrytheatre.com or artsforlawrence.org.

Divafest: Exploring ‘alchemy’ of true self

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , ,

By John Lyle Belden

Once considered a serious science, Alchemy was the pursuit of turning lead and other metals to gold. No doubt in the process a number of ancient wizards lucked upon some useful metallurgy. Through transformation, iron becomes the steel it was always meant to be.

In “Divine Alchemists,” what is forged is the self, a story told by those who understand as nearly all involved – playwright Lucy Fields, director Kaya Dorsch, actors Rowan Apple-Knotts, Kipp Morgan, Wilhelmena Dreyer, Maya Doss, and the characters they play – are trans or non-binary.

At a college’s informal board-game club, trans woman Aerith (Apple-Knotts) officially comes out to her friends, who are overjoyed – they finally get to present her with “Baby Trans Orientation”! 

In this world, you get the mentorship and equipment sorely needed in the real one. Aerith (pronounced “heiress”) is given a Cloak to help her blend in among the cisgender-heterosexual population, the “Misgender Deflection Remote” that acts like a magic wand to correct – or at least remove – uses of wrong gender or name, and access to the Transformation Station, which allows Aerith to dress reflecting her true self. 

College projects include a photography shoot for witchy Wisteria (Dreyer), with Aerith as one of the subjects. In turn, for a paper on the trans/non-binary experience, Aerith interviews non-binary Wisteria, trans man Iggy (Morgan) and non-binary Grayson (Doss).

The whole show has a bit of an afterschool special vibe, but even as every line spoken is part of the lesson it comes out naturally from characters who (as seems to be typical) always have to explain themselves, their experience, and, sadly, their validity. There is plenty of fierce humor as well, with moments including the impromptu game show, “Gender Those Clothes!” But there is also a serious undercurrent that especially reveals itself when one is denounced by the ones they love.

The actors reflect the passion and heart that Fields put into this play and Dorsch draws out; their exuberant performance isn’t just lifelike, it’s their lives.

In the real world, the remote control only mutes the ongoing news of trans people – especially children – being treated as less than themselves, less than human. This show alerts us that instead we need to turn the volume up on true respect and equality. The engine of society needs the mettle of every human alloy.

Presented by Theatre Unchained and IndyFringe for DivaFest 2023, performances of “Divine Alchemists” are at 7:30 p.m. Thursday through Saturday, May 4-6, at the IndyFringe Indy Eleven Theatre, 719 E. St. Clair St. (near Mass Ave.), Indianapolis. Tickets and info at indyfringe.org.

DivaFest: Play honors Depression-era ‘Book Women’

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , ,

By Wendy Carson

Between 1935 and 1943, The Pack Horse Library Project employed around 200 women to deliver books and other reading material to the around 100,000 residents of the Appalachian Mountains in rural Kentucky. These “Book Women” faced numerous dangers and hardships in their rounds but were spurred on by the delight of bringing books to people who might never have read or seen one before. Local actress and author J. E. Hibbard imagines a portrait of four of these women as well as their mule, Nellie, as they prepare for a visit from First Lady, Eleanor Roosevelt, in “Ballad of the Book Women.”

Four actresses each play one of the Book Women, as well as other roles to flesh out the story. They also sing songs that help give the flavor of the play’s time and location. Not only do these ladies have to deal with weather, thieves, and the sheer ruggedness of the terrain, they also frequently come up against those who are not only illiterate but also wary of what they see as the evils of reading and writing.

MaryAnne Matthews plays Edna, the feisty elder of the group, but shines as the character of Hal, a crusty loner who secretly looks forward to the visits for food, friendship, and stories that are read to him.

Chelsea Mullen portrays Mandy, who is always making scrapbooks to prevent any piece of reading material from going to waste. Her sweetly delightful turn as one of the few school teachers reminds us of the dire need in the area, rejoicing that her class finally received two books from which to learn, while having sticks in the dirt as the only method for students to practice their writing.

Maria Meschi gives up not only Flossie, the leader of the group, but also spectacularly brings Eleanor Roosevelt to life as she tours the country bringing attention to the efforts.

Tracy Nakigozi is a sheer delight to behold as spunky young Rose. Aside from this endearing character, she is the puppet master of Nellie, which she brings to life in many charming ways. I honestly could have watched an entire show made up of her adventures with the mule.

As timely as this production is – with various books under attack today, especially in rural areas – I am greatly saddened by the sparse ticket sales. The talents involved deserve crowds with only a handful of tickets left, not barely enough audience members to outnumber them. Please, go see this delightful show.

Directed by Lucy Fields and presented by Theatre Unchained and IndyFringe for DivaFest 2023, “Ballad of the Book Women” runs Thursday through Saturday, May 4-6, 8 p.m., at IndyFringe Basile Theatre, 719 E. St. Clair St., Indianapolis (just off Mass Ave.). For info and tickets, see indyfringe.org.

DivaFest also presents activities around the Book Women story: Enjoy a “Scrapbooking Extravaganza” crafting hour at 7 p.m. before Thursday’s performance; attend a Post-Show Discussion after Friday’s performance with Cat Cardwell of IndyReads joining cast and crew to discuss expanding adult literacy. Details at the Fringe DivaFest page.

Mud Creek springs delightful ‘Mousetrap’

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , ,

By Wendy Carson

Agatha Christie’s “The Mousetrap” is the longest running play in the world. It opened in 1952 and ran continuously in London until a 14-month absence due to COVID, but is back thrilling audiences every night once again.

The show’s staying power is the strength of its story as well as the characters involved. Christie is known for wickedly cutting dialogue, and this script does not disappoint. Mud Creek Players now gives us the opportunity to get caught up in this “trap” here in Indiana.

The story seems somewhat simple at first – the classic whodunit. In the early 1950s, Mollie (Audrey West) and her husband Giles Ralston (Nicholas Gibbs) decide to turn their newly inherited Monkswell Manor in the English countryside into a lodging house. After a foreboding story of a murder is heard on the radio, the guests begin to appear, each more quirky than the one before.

Christopher Wren (Gideon Roark) is a hyper imp who claims to be an architect (named after the original Wren, famed church designer of the Baroque era). Snooty elitist Mrs. Boyle (Jennifer Poynter) is aptly described as a “perfectly horrible woman.” Major Metcalf (Jason Roll) frequently retreats offstage, and has all that he needs in his little bag. Also arriving is Miss Casewell (Zoe O’Haillin) with her macho attitude and unplacable accent.

There is also the unexpected guest, Italian-accented Mr. Paravicini (Jim Gryga) whose car may or may not have broken down in the snow. Oh yeah, there’s also a huge blizzard trapping everyone inside the house. Finally, Detective Sergeant Trotter (Mike Sosnowski) eventually arrives on skis to question everyone about the aforementioned murder.

When the first body drops in Monkswell, paranoia ramps up as it seems that everyone had the opportunity and motive to kill. A vital clue hints that another will soon die as well.

Director Kelly Keller has taken immense pleasure and care in preparing this exquisite mixture of laughs and chills. The cast aids with steady accents and lovely performances. West and Gibbs make a nice couple, but we see them acting a little secretive at first, and is Giles being suspicious or just showing his British stiff upper lip? Roark has Wren wear his dysfunction on his sleeve – which makes him both suspect and too scattered to have pulled off an elaborate crime. Poynter (a much nicer person offstage) seems to relish being perfectly dissatisfied with absolutely everything. Roll plays the Major as someone unusually curious about everything, but with an easy smile and cheerio attitude. O’Haillin may as well have “I have secrets” tattooed on Casewell’s forehead, and while not unfriendly is frequently on edge and chainsmoking (fake stage cigarettes). Gryga has the most entertaining role, as Paravicini is definitely up to something, and is charmingly up front about how untrustworthy he is, but murder? Sosnowski gives us an engaging “let’s go over this again” style detective, constantly reminding himself – and us in the audience – of the clues.

Genuine Brit Craig Kemp supplies the voice of the radio announcer, quite the honor for those who know “Mousetrap” lore.

Another aspect of this classic is Christie’s brilliant misdirection and final twist. Not only is it satisfying to discover the first time, audiences return with this knowledge to better appreciate the acting and character development. In fact, Mud Creek is offering a $5 discount on a subsequent ticket to the show. However, once you know, longstanding tradition (and Christie’s hatred of spoilers) demands you not tell a soul.

Performances run Thursday through Sunday through May 6 at the Mud Creek Barn, 9740 E. 86th St., Indianapolis. Info and tickets at MudCreekPlayers.org.

CCP brings us wild wild ‘West’

PWJW_Indy Reviews, Stage , , , , , , , , , , ,

By John Lyle Belden

There are a lot of people with love-hate relationships with their siblings. It’s a story as old as Cain and Abel. And what if, as in the Genesis story, despite all your hard work the divine blessing falls on your brother?

Placed in an all-American setting, this is the story of “True West,” by Sam Shepard, presented by Carmel Community Players at the Ivy Tech Noblesville Auditorium. Austin (Robert Webster Jr.) is working on a screenplay while housesitting for his mother (on an Alaska vacation) at her home near the Mojave Desert in California. At least he’s trying to work, as his estranged brother Lee (Matt Walls) constantly interrupts while hanging around the kitchen. Austin wants peace, Lee wants the car keys. Austin is developing his script, Lee has been casing the neighborhood for TVs and appliances to steal.

Austin’s Hollywood agent, Saul (Gary Curto), visits to check up on the writing, and comes under the fast-talking influence of Lee. The next day, there’s an offer on a script – but it’s not one Austin wants to write, or that Lee can, as much as he wants to.

The play unfolds in a darkly comic manner as the two brothers bicker, switch activities, and drink – a lot –manifesting in what will be for Missy Rump, both playing Mom and as assistant director and stage manager, one hell of a mess to clean up.

Director Eric Bryant gets the best out of actors truly playing to their strengths: Webster as the embodiment of noble intentions seeming to lead nowhere, Walls as one whose intimidating glance is backed by a sharp mind. Add alcohol and stress, and their flaws come to the surface in (for them) maddening and (for us) entertaining fashion.

Regarded as a modern classic, with hit Broadway, Off-Broadway, and Steppenwolf runs, “True West” is one of those plays everyone should see at least once, and this production fits the bill.

Performances are Thursday through Sunday, April 27-30, at 300 N. 17th St., Noblesville. Get info and tickets at CarmelPlayers.org.

– P.S. Yes, it is odd for a “Carmel” company to play out of town, but you can help bring them home to a stage of their own. See website for details.

No mystery why you should see ‘Clue’ at IRT

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , ,

By Wendy Carson 

With all the recent variants (I find the Simpsons version very amusing) as well as a modern upgrade of the original, I think it’s safe to say most of us have played the game of “Clue” at least once. Add to this the widespread interest in murder mysteries (real and fictional) and that the board game is the subject of a film with a large cult following, and you have the perfect recipe for a hilariously good night of theater.

Adapted to the stage by Sandy Rustin, based on the movie script by Jonathan Lynn, the delightfully kooky script has been taken up by Indiana Repertory Theatre director Benjamin Hanna and brought together a dream team of local and regional talents to elevate “Clue” to previously unknown comical heights. Though the plot and characters echo Lynn’s screenplay, there are numerous brilliant additions (apparently the house was built by the Parker Brothers) to keep you laughing anew. Even the game board shows up at one point, as a handy map to the labyrinthine mansion.

Scenic designer Czerton Lim pulls out all the creative stops in giving us a set with multiple slamming doors, secret passageways, moving walls, and tributes to the game and movie (yes, that is Tim Curry as Mr. Boddy in the painting).

John Taylor Philips brings out all of Wadsworth’s condescending arrogance in his turn as the butler and ersatz host of the evening’s events. Andrea San Miguel brings all of the maid Yvette’s cheeky mischief and charm. Henry Woronicz plays up Colonel Mustard’s dotage, yet keeps him somewhat austere. Emjoy Gavino subtly shows Mrs. White’s predatory instincts while still keeping her endearing. Beethovan Oden’s turn as Professor Plum highlights the character’s belief that he is the smartest man in any room. Emily Berman’s version of Miss Scarlet is even more sultry and sassy than expected. IRT favorite Ryan Artzberger easily adapts to each of his three roles, even with mortal wounds.

Eric Sharp takes full advantage of his character’s expansion in this script and brings a delightful bumbling nerdiness to Mr. Green. Claire Wilcher adds another level of comic genius to her spectacular performance as the seemingly prim Mrs. Peacock. Not to be outdone, Devan Mathias plays three different roles with such gusto that two of them have to be killed to keep her from stealing the show.

Whether you have seen the movie, played the game or just want to see a show that will have you laughing almost non-stop, get a “Clue,” playing through May 20 on the IRT mainstage, 140 W. Washington St., downtown Indianapolis. NOTE: Dressing up as any of the characters (old or new), also adds another level of enjoyment to the experience. (I was one of many “Peacocks” on opening night.)

Get info and tickets at irtlive.com.