play

Mud Creek springs delightful ‘Mousetrap’

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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’

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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

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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.

Epilogue: Secrets of neighborhood ‘Miracle’ revealed

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By John Lyle Belden

As posted in the program, playwright Tom Dudzick was inspired by an actual shrine to the Blessed Virgin Mary erected in his childhood Buffalo, N.Y., neighborhood by a barber who said She had appeared to him in his shop. Thinking, “there’s a story here,” Dudzick made up the Nowak family of his comedy, “Miracle on South Division Street,” on stage Thursday through Sunday at Epilogue Players.

In the year 2000, Ruth (Shannon Clancy), an aspiring actress and writer, calls a family meeting. Garbage-truck driving brother Jimmy (Grant Bowen) is on hand, and mother Clara (Letitia Clemons) arrives to critique Ruth’s method of preparing lunch. Soon, sister Beverly (Jeanna Little) joins them, persuaded to put off bowling practice (big tournament tonight!) to find out what is going on.  

These Nowaks, Polish Catholics of varying piety, are caretakers of the famous statue, revered in the neighborhood but ignored by the Vatican. Ruth has both good and potentially bad news: rather than pen her in-progress novel, she will write a play about the shrine, for which a producer has already approached her; however, the story of the statue will be quite different from the one Clara has had them tell their entire lives.

Family mayhem ensues. But as revelations crash like waves upon the family – “like if the Hardy Boys were Catholic!” Jimmy declares – a bigger story comes into focus, bringing fresh meaning to the “Blessed Mother.”

The characters occupy two ends of a spectrum, with Clara embodying a traditional mother type that Clemons imbues with a loving spirit, and simple-pleasures Beverly an upper-Midwest archetype. Meanwhile Ruth has Big Apple ambitions and one foot in the closet, while Jimmy is courting danger by seeing a woman outside the faith. Bowen balances a man/boy character who doesn’t want to make waves yet feels the need to make his own way. Clancy ably handles the burden of being the fulcrum on which the plot balances, a sister and daughter resigned to being the truth-teller, though she feels it could cost her the trust and love of her family.

Directed by Ed Mobley, this very funny heart-filled family drama is a reminder that miracles do happen – often in ways we don’t expect.

Performances, through April 30, are at Epilogue’s corner stage at 1849 N. Alabama St., Indianapolis. Info and tickets at epilogueplayers.com.

Clever casting lends depth to ‘Hollow’

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By John Lyle Belden

There is something unusual about “Two Mile Hollow,” the play by award-winning writer (and Butler alum) Leah Nanako Winkler at the Phoenix Theatre, as well as the titular estate, a mansion in the rich neighborhood of East Hampton – home to the family of a Hollywood legend.

Years have passed since the death of Oscar-winning movie star Derek Donnelly, but his widow Blythe (Milicent Wright) still holds fast to his memory. Their children – Joshua (Eddie Dean), Mary (Paige Elisse), and Emmy-winner Christopher (Jay Fuqua) – want to get hold of Derek’s possessions. Christopher arrived with his personal assistant, Charlotte (Arianne Villareal), which becomes an additional complication.

It quickly becomes evident that this is a clever comedy, taking its swings at elitism and lifestyles of millionaire performers, done with heavy-handed melodrama. But it is in its intended casting that this play becomes a brilliant work of satire. It’s not just the uncomfortable things said by these characters that deliver the desired punch, but who we see saying them.

If you find yourself confused – “Are they…?”— just note that they are as they present themselves, and go with it. Immerse yourself in the layers of meaning, let yourself laugh at the goofy things you find there. If more serious aspects soak in, that was the intended effect.

I would go into detail on the excellence of the performances, but I don’t want to give too much of a hint of what is happening. Wright’s casting brings big expectations, which she and company exceed. Mikael Burke returns to direct another provocative piece of theatre art.

Scenic design by Inseung Park makes the house at Two Mile Hollow its own character, complete with the smiling face of the late patriarch, the serious whimsy of Post-its, and signs of decay that the characters either ignore or fail to notice.

Appropriately, the big concept comes with big laughs, like if a “Dr. Strangelove” style film were made by the Wayans Brothers and directed by Wes Anderson. To see what we mean, performances run through April 30 at the Phoenix Theatre Cultural Centre, 705 N. Illinois St., downtown Indianapolis. For info and tickets, see PhoenixTheatre.org.

The ‘flip’ side of the American ‘Dream’

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By John Lyle Belden

Some lucky people find themselves in a rather American dilemma: Is it better to hold on to a legacy, or to cash out? This situation is at the heart of the new comedy, “Dream Hou$e,” by Ellana Pipes, playing at Fonseca Theatre Company.

Latinx sisters Patricia (Yolanda Valdivia) and Julia (Lexes Rubio) have this good fortune, inheriting the family’s beautiful mission-style home, hand-built over a century ago, from their mother who recently passed. Wanting to get the most out of their property, Patricia contacted the real estate reality TV show, “Flip It & List It!” Suddenly, the host Tessa (Jean Arnold) appears with her crew (Brant Hughes, Chris Creech and Mad Brown) to record every step of the house’s transformation.

At first reluctant, the sisters are stunned into compliance with the amount the home could sell for. But things take a turn when, as renovations begin, the walls begin to bleed.

This is not the only bit of magic around, as the sisters (as siblings do) can suspend time for a moment when they really need to discuss something. Otherwise, we tackle some real-world issues of neighborhood transformation/gentrification, the struggle to preserve culture, and how does one best move on when dealing with unavoidable change?

Arnold is a wild joy to behold as the ever-upbeat TV host. She’s savvy in the ways of media and real estate, lacing her persistent charm with an all-business demeanor. However she’s never mean, even taking a liking to the young women; her candid honesty helps keep her from coming off as the villain.

Valdivia and Rubio shine in their own ways. They each approach the situation differently, and have issues to resolve with the house, and each other. Still, their portrayal shows the tested patience of a family bond, with the easy give-and-take of a comedy duo.

Director Jordan Flores Schwartz says it is in Pipes’s script that the community in the play is called “Highville,” so it is either by fate or coincidence it is staged in the Near-West Indy area of Haughville. Given ongoing events in the surrounding city, this does seem apt.

With equal parts hilarity and heart, “reality” and the surreal, this “Dream Hou$e” is well worth a look. Performances run through April 16 at 2508 W. Michigan St., Indianapolis. Tickets and info at FonsecaTheatre.org.

Classic Britcom ‘Served’ up hilariously

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By John Lyle Belden

The hit 1970s British sitcom “Are You Being Served?” returns to Buck Creek Players (last seen in 2005) with the marginally competent staff of London’s Grace Brothers department store at your service.

On the fine clothing floor, Mr. Rumbold (Lindy Meyer) and Captain Peacock (Tim Latimer) supervise young Mr. Lucas (Hayden Walker), less-young Mr. Grainger (Tom Smith), and dandy Mr. Humphries (Ben Jones) on the men’s side, with lovely Miss Brahms (Anna Ely) and colorful Mrs. Slocombe (Sharon Winderlich) on the women’s side.

This is not an ordinary day at Grace Brothers, as it prepares to renovate for a storewide celebration of the European Common Market. This crew’s part will be a celebration of German culture and products – little-regarded and cheeky maintenance man Mr. Mash (Patrick Murphy) has found authentic costumes for their presentation. Meanwhile, the company nurse (Ben Poppelwell) is on hand to deliver injections for their travel on a company holiday.

The second act finds our sales staff in sunny Spain, at a resort run by Don Bernardo (Ron Pittman), assisted by Conchita (Maria Manalang). It turns out these are less than ideal accommodations, but after a rather restless night, what more could go wrong?

The cast also includes Nickie Cornett as a Spanish revolutionary, Dennis Karr at his scene-chewing best as passionate rebel leader Cesar (Karr and Cornett also play customers in the first act), and David Shetterly as “Young” Mr. Grace himself.

Written by series creators Jeremy Lloyd and David Croft, these stories make full use of the show’s trademark slapstick and double-entendres. Matt Spurlock, in his directing debut, gets splendid timing and execution of all the characters’ quirks and foibles. – For the fans, yes, we do get to hear about Slocombe’s pussy(cat). – The production’s look comes together nicely with sets by John Walker and costumes by Sue Kuenhold.

Funny, silly, a bit nostalgic, and a little naughty, “Are You Being Served?” has one weekend remaining, April 7-10, with tickets selling fast. Get info and tickets at buckcreekplayers.com.

Constellation: Demands of faith and fame come ‘Fast’

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By Wendy Carson

Last week, as I was looking over my work calendar I noticed that Ramadan began. Not being Muslim, I was only vaguely aware of what this meant to the sports world as a whole or the NCAA basketball tournaments specifically. In “American Fast,” on stage in Bloomington, playwright Kareem Fahmy brings us the story of a brilliant young player who has to deal with the ins and outs of this juxtaposition.

This is the tale of Khady (Victoria Nassif), the star player on her college team and a key reason that they have made the NCAA Women’s Tournament. Her Coach (TayLar) feels that while she is an amazing talent, she doesn’t acknowledge the rest of the team’s contributions because she is entirely focused on herself. Boyfriend Gabe (Austin Michael Young), a star on the men’s team, tries to support her but she is so self-obsessed that his will is about to break. Then there is Khady’s mother, Suzan (Haneen Arafat Murphy), who became more devoted to her faith in the past year and insists that Ramadan fasting happen regardless of the tournament.

NOTE: for those not familiar with Ramadan, followers are not to have any food or drink (including water) during the daylight hours of the month-long celebration.

Nassif brings a passionate drive to Khady, showing the struggles of a young woman trying to find herself in life without alienating everyone around her. She gives the character actual flaws and edges just as any college-aged girl would have, yet manages to keep her identifiable if not sympathetic.

Murphy gives Suzan a fiercely protective mama-bear vibe while still keeping herself oblivious to exactly how far her daughter has strayed from her hardline faith. Murphy is able to keep Suzan loving and identifiable without the overbearing bent the character could have.

TayLar gives Coach all the qualities that the position demands. She is fair but just, inspiring but realistic, and just distant enough to allow Khady to stand or fall on her own terms yet compassionate enough to support her when she does.

Young shows Gabe as a true friend, yet becoming tired of being used both as Khady’s personal cheerleader and figurative punching bag. He brings great love and devotion to his role but also the strength to stand up for himself and find his own self-worth.

Director Reena Dutt gives us a new story to help us to gain more knowledge of other religious traditions. The fact that it centers around basketball can aid in Hoosiers’ ability to better identify with the story. Dutt keeps the narrative honest especially in a story that is all about the true costs of winning.

I must note that, going in, I had no idea what the show was about or why it had such an odd title. But “fast” has many meanings – speed, like the play of our young point guard; holding tightly to something; doing without, especially to show devotion. All these come into play during this unique drama. So don’t let the odd title dissuade you from experiencing this tale, a beautiful peek into a different side of people’s “hoop dreams.”

Presented by Constellation Stage & Screen, performances run through April 8 at the Ted Jones Playhouse (formerly home of Bloomington Playwrights Project, now part of Constellation), 107 W. 9th St. Get info and tickets at SeeConstellation.org.

Summit: Much revealed in women’s sacred space

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By John Lyle Belden

On a mountain in France, what appears to have been a Medieval monastery has been repurposed as a unique women’s retreat in “The Convent,” a play by Jessica Dickey given a full production by Summit Performance Indianapolis following a successful staged reading last summer, directed by Summit founder Lauren Briggeman.

Mother Abbess (Jolene Mentink Moffatt), founder and leader of the facility, had been a regular American wife and mother who gave up her ordinary life to seek God. Unsatisfied with religion organized in His name, she instead dedicated The Convent to Her spirit. Upon arrival, each seeker gives up modern clothing and conveniences (including the smartphone). She receives simple clothes, is expected to do the chores of centuries past, and must study to identify with her “Nomen,*” a historic female Christian Mystic.

British heiress Cora Dimlin (Carrie Ann Schlatter), assigned Catherine of Siena, has done many such retreats, and acts as The Convent’s number two. She arrived first, as did her friend Bertie (Chynna Fry), a naïve survivor of an isolated cult, assigned St. Clare of Assisi. Jill (Maria Argentina Souza) arrives next; she is at a crossroads in career and marriage, and assigned Teresa of Avila. Wilma (Miki Mathioudakis) is a nun who finds herself unable to pray; she is assigned St. Hildegard. Tina (Shawnte P. Gaston) is trying to change from seeking pleasure to seeking purpose; she gets Juliana of Norwich. Running in late, to past participants’ dismay, is brash bratty Patti (Dekyi Ronge), still holding her Nomen card for Mechtilde von Hackeborn that she received in a previous session.

Feel free to Google the Saints (none are fictional), however, we do get to learn a bit about them during the play.

As these women undergo their journey of self-discovery, they undertake various exercises (including physical). At mealtime prayer they express, “I want…,” starting with trivial things that pop into their heads, adding items until a true deep desire comes forth.

While each has to come to terms with what feelings and needs brought them to this place, the main struggle is between Mother Abbess and Patti, for reasons that soon become clear. Though their connection is easy to guess, Moffatt and Ronge excellently portray their fraught relationship. Fry gives us a charming girl who finds more than her spirit awakening, while Schlatter embodies the English ideal of stiff-upper-lip control, at least for as long as Dimlin holds out. Gaston does a good balance of portraying a woman acting like a “tourist” yet still open to the retreat’s purpose. Mathioudakis plays another strong character; she allows Wilma to shift paradigm without abandoning the person she vowed to be. Souza gives us Jill’s inner chaos that didn’t stop with a change in scenery.

No real sacrilege here, but still for mature audiences, “The Convent” is a fascinating and thought-provoking examination of the continuing struggle and need for women to define themselves in the worlds they live in. There are a number of laughs, a tear or two, and a few unexpected sacred visions.

Feel free to say, “I want” tickets – performances run through April 9 on the Basile Stage of the Phoenix Theatre Cultural Centre, 705 N. Illinois St., downtown Indianapolis. Info and tickets at PhoenixTheatre.org.

(*Ancient word for “name,” or perhaps reference to “gnomon,” the indicating part of a sundial.)   

Belfry presents literary classic of age of excess

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By John Lyle Belden

It has become common practice when staging a Greek or Shakespearean tragedy to place it in another time and place than its original setting – such as America in the “Roaring” 1920s. However, F. Scott Fitzgerald’s novel “The Great Gatsby” is already very much at home in that era, which gives heft to the Simon Levy stage adaptation, presented by Belfry Theatre at Theater at the Fort in Lawrence.

Directed by Andrea Odle, this production presents people caught up in the roar of jazz, fancy cars, bootleg booze, and easy money, oblivious to the fact it was all too good to last. If a sip of gin made everyone an outlaw, what other sins were fair game? And what if even the slickest con man had honest feelings?

Our narrator and guide through this gilded world, Nick Carraway (Troy Bridges), visits his cousin Daisy (Rachel Bush) and her husband Tom Buchanan (Mike Lipphardt) at their swank Long Island home. She introduces Nick to tennis star Jordan Baker (Tessa Gibbons) with hopes of matchmaking. 

Nick’s rental is next to the palatial estate of the mysterious Jay Gatsby (Samuel Smith), thrower of frequent wild parties. Upon meeting, Nick finds Gatsby is a fellow World War I veteran – a fact obscured by numerous rumors about his life and wealth – who had a past relationship with Daisy. The tangled web of characters includes Tom’s mistress Myrtle (Jessica Hawkins) and her unsuspecting husband George Wilson (Jackson Stollings), New York City socialites Chester (Zach Thompson) and Lucille McKee (Erin Chandler), and Gatsby’s business associate Meyer Wolfsheim (Nicholas Maudlin). Maudlin and Chandler also play a Policeman and witness to a tragic event in the second act.

Bridges ably plays Nick as one both fascinated and repulsed by the excesses around him. Smith presents Gatsby with a shrewd eye, likable even when you don’t quite trust him. Bush gives us a sweet young woman with everything but bravery. Gibbons, on the other hand, plays Jordan strong but addicted to the glamour of a life she feels she earned. Hawkins wins our sympathies as someone who didn’t get the breaks but keeps hoping to the point of delusion. Lipphardt manages an interesting but mildly detestable character living in a time and place where bigotry could get a person quite far in society. 

The play presents a fascinating insight and commentary on a past era that resonates so well with our own, when the lifestyle of excess is still splashed upon our screens and reported with the news. Perhaps the 2020s have a roar of their own. 

Remaining performances are 7:30 p.m. Friday and Saturday, 2 p.m. Saturday and Sunday, at 8920 Otis Ave. For info and tickets, see thebelfrytheatre.com and artsforlawrence.org.