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IndyFringe: Too Much Light Makes the Baby Go Blind

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This is part of IndyFringe 2021, Aug. 19-Sept. 5 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By John Lyle Belden

The title of the show was never said in the 24 tiny plays presented by the University of Indianapolis Theatre at the Murat Oasis. To be more accurate, it’s: “Too Much Time Makes the Audience Get Cookies.”

The series, “neo-futurist plays” by Greg Allen performed by UIndy students Refik Dogruyol, Nick French, Kyle Jeanor, Kielynn Tally and Kelli Thomas, is represented by cards numbered 1-24 at the back of the stage. The audience chooses the order, so the show is different every time.

The topic and form of each vary widely, from funny to absurd to introspective to disturbing to deadly serious. There’s also a bit of audience participation within the action. And remember, Play 23 does not exist.

It’s easy to see how this was one of the hottest tickets the last time it was at the Fringe. Add to this the fact it’s hard to get this many scenes done in 48 minutes (an average of 2 minutes per play). The performance we saw clocked in at 51 minutes — and we did get cookies!

IndyFringe: The Old Man and the Old Moon

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This is part of IndyFringe 2021, Aug. 19-Sept. 5 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By John Lyle Belden

Why see this new folktale, created by PigPen Theatre Co. of New York, and presented complete with on-stage musicians and shadow puppets by Carmel High School students?

As one character puts it, “I like a good story.”

And quite a tale it is. Jack Sullivan, who narrates, acts, sings and plays some guitar, introduces us to the Old Man (Micah Phillips) whose job it is to refill the Moon after light leaks out, and the Old Woman (Madelyn Wood) who had been by his side for years, but now wants to take a walk — which includes stepping on a boat headed westward on the Sea.

Panicked, the Man looks for a ship to follow her, but ends up – by mistaken identity – on one headed to the south, and war. Will he find his wife? Will the crew survive this risky voyage? What actually happened to Lt. Pericles Llewelyn McWallander? We do understand that “dirigible” also means “air balloon,” right? And, most importantly, what will happen when all the light has finally leaked out of the Moon?

“The Old Man and The Old Moon” is an adventure fable full of wonder, whimsy, and music, also featuring Ella Asher, Kyle Barker, Josh Baxter, Theo Curtis, Seth Jacobsen, Kaylyn Johnson, Sarah Warf, and shadow puppetry by Elliot Clancy with Marybeth Okerson. Direction by Maggie Cassidy and Grace Fellabaum, with stage manager Gavin Griffin, sound by Ryan Dafforn, lights by Arthur Mansavage and technical direction by Andrew Okerson.

This charming show is an excellent choice for all ages, with plenty of seating room in the Basile Auditorium at the Athenaeum.

IndyFringe: Pixel the Cat Does Shakespeare

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This is part of IndyFringe 2021, Aug. 19-Sept. 5 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By Wendy Carson

To The Rescue Theater and Monroe County Civic Theater have combined their efforts to bring this charming tale to the Fringe.

Lawrence (Jason Lopez) is a tiger-striped tabby who is the protector of his territory, prowling regularly to keep out danger. Tabitha (Robin Lea Pyle) is a rambunctious kitten who doesn’t understand why her desire to climb the fence makes her a “Bad Kitty”.

Enter a Persian interloper, Pixel (Roy Sillings), who quotes feline-inspired Shakespearean variants expressing his desire to become part of their home.

Because the show is meant to be light and whimsical, it is an excellent choice for families and small children. Note as well that all moneys received from the performances here go to a local Indianapolis feline charity, Cats Haven.

Performances are in the District Theatre.

IndyFringe: Copyright/Safe

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This is part of IndyFringe 2021, Aug. 19-Sept. 5 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By Wendy Carson and John L. Belden

Playwright Casey Ross has brought to the Fringe her love letter to the comics industry, particularly Marvel and its X-Men franchise.

In “Copyright/Safe,” the characters are members of a superhero team who are self-aware in a manner much like professional wrestlers — they know their lives are scripted, but it still hurts when they fall.

The show begins with Badger (Dave Pelsue) and Creature (Doug Powers) graveside, mourning the loss of their creator. With his passing, the team’s future seems to be in limbo, adding to the tension among team members. Eyepatch (Zach Stonerock), the ersatz leader, is missing and while their final issue is at the printer, no one seems to know what the future holds.

Badger deals with the situation by drinking heavily and expressing his feelings through music (songs written by Pelsue) at his small club. He also tolerates sharing his apartment with Mask (Taylor Cox) a fan-fiction character who appeared in an episode of the Z-Men cartoon, which makes him an official part of the world.

Whether or not you are familiar with comic books, the very real dynamic of a group of people wondering about their futures is indentifiable to all. Ross is brilliant at tense and relatable dialogue, even in a setting such as this. For fans of “sequential art,” note that atmospherically this play brings the style of a graphic novel to life better than most superhero films.

This touching drama is also comic in the sense of having truly hilarious moments.

One important note, however: though comic books are traditionally for children, the language in this show is quite “Rated M for Mature.”

Performances are in the IndyFringe Theatre.

IndyFringe: Transitory State

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This is part of IndyFringe 2021, Aug. 19-Sept. 5 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By Wendy Carson

Fledgling theater group Theatre Unchained brings a spooky sort of offering to this year’s Fringe, “Transitory State” by Vic Rodriguez.

Best friends Bee and Hudson meet in a graveyard with sentimental offerings to their dearly departed friend and former roommate, Riley, in order to try to connect with his spirit. Since it is obvious that Bee is not really all that serious about this, their attempt fails but they do spend hours upon end talking and reminiscing about the past.

The next day as Bee and her partner Karla are headed out to Karla’s improv show, they call Hudson to come along and although he reluctantly agrees, he ends up alone at home remembering happier times past. It is also obvious that he has never gotten over Riley’s death.

Later, Hudson is sitting alone in his apartment once again when Riley’s ghost suddenly appears. Needless to say, this is a shock. He tries to convince Bee this is real but even though Karla believes, Bee just won’t accept it.

Bee feels that since she and Karla are moving away to Chicago and Riley’s parents have decided to move his body to their new home in Paris, Hudson is just trying to cope with these changes.

Is Riley really back or just a figment of Hudson’s imagination? You will have to check out the show, playing at the IndyFringe Theatre, to see.

IndyFringe: The Breakfast Clue

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This is part of IndyFringe 2021, Aug. 19-Sept. 5 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By Wendy Carson

Defiance Comedy brings us annother hilarious Fringe show. Blending the movies “The Breakfast Club” and “Clue” with about a half a dozen song parodies, they give us a delightful sendup of ’80s comedies.

It turns out that all of the charcters are in detention because they were being blackmailed. Someone is going to die, and they group must solve the mystey before they end up in detention forever,

Shelby Myers delights as Allison P. Cock, the weird and kind of sexy basket case. Emily Schaab sparkles as Claire Scarlett, the Princess doing whatever it takes to keep herself on top, Pat Mullen seems perfectly cast as the nerdy Anthony Michael Mustard. John Kern brings an endearing fragility to his character of Jock Estevez. While Clay Mabbitt’s portrayal of John Jacob JingleHeimerPlum falls a bit flat at first, it does perk up very near the end. And of course, who could forget the enimetable Rob Johansen as the zany principal trying to keep this group in line.

Come to the show to find out who was killed and why. Just remember, there’s no crying over skimmed milk. Performances at the District Theatre.

IndyFringe: small Gods/BIG Problems

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This is part of IndyFringe 2021, Aug. 19-Sept. 5 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By Wendy Carson

Jay (Aaron Henze) used to be a Satyr; he partied with Dionysus, but now he exists merely as the God of Small Pleasures. He discovers that he is about to be de-Deified and is desperate to prevent it. His friends Sage (Courtney Peacock), a former Vestal virgin, and Nelson (Robert Webster Jr.), God of Functional Anxiety, try to help advise him on how to prevent his fate.

Devin (Trick Blanchfield), the demonic “Competition,” offers to help him out but Jay decides to try to become a member of another team.

Jay begs Inanna (Leslie Root), Goddess of Love and Justice, to allow him to join her team. She gives him a test to decide. He must make a couple (Allison Reddick and Ryan Reddick) fall in love without the help of her team, Chemistry (Case Jacobus), Shared Interests (Webster) and Timing (Marie McNelis).

Will Jay succeed, or will he lose his powers – and maybe even his horns? Come see this delightful show by Mary Karty at the IndyFringe Theatre and find out. You will truly feel blessed by its sweet sincerity and charm.

IndyFringe: Radium Girls

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This is part of IndyFringe 2021, Aug. 19-Sept. 5 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By John Lyle Belden

In the 1920s, there was huge demand for items with glow-in-the-dark numbers and letters from paint that contained radium, recently discovered and believed by many to be perfectly harmless — maybe even beneficial, as it was used to treat cancer. This meant plenty of high-paying jobs for young women suited to the delicate work of applying the paint. To get a precise point, they were told to put the brush tip to their lips.

But eventually, mysteriously, their jaws began to hurt…

Christian Youth Theater presents “Radium Girls,” based on the true story of these women’s battle with the U.S. Radium Corporation to get it to admit to the dangers of the deadly substance they worked with, and to set things right. Many wouldn’t live to see justice. 

As we meet these “girls,” they talk of a coworker who had passed away. The obfuscation by the company is already in effect, with a rumor the deceased had syphilis, and having their own illnesses attributed to exposure to phosphorus in matches, or from bad nutrition. One of the women, Grace Fryer, leaves the company with plans to start a family, but her persistent illnesses are only getting worse. Fortunately, she finds help in arguing her case, presented both before a judge and, more importantly, the court of public opinion. 

Seeing this portrayed by a cast of talented teenagers brings to mind how young the actual victims were — not much older than the actors — as through effective makeup we see their fresh faces go sallow as their characters’ bodies fall apart. The script by D.W. Gregory pulls no punches: we see the lengths the company goes to put off its reckoning; the temptations of the women, dying and deep in debt, to take a small settlement; and the reactions of strangers that range from authentic sympathy to cold exploitation.

I don’t have a cast list, so I’ll just applaud an excellent ensemble, members of which we will likely see more of in seasons to come. But the important people are the ones they represent, real people in an American scandal and tragedy we should never forget. Performances are in the Basle auditorium at the Athenaeum. 

IndyFringe: Honk Squawk Love

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This is part of IndyFringe 2021, Aug. 19-Sept. 5 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By John Lyle Belden

In the Beginning, God allows Satan to create the ultimate nuisance for Man, the dreaded Branta Canadensis (a/k/a Canada goose).

At least this is what Abigail believes. She hates these foul waterfowl, which infest every parking lot and corporate park — and they hate her, triggering her terror. It’s bad enough that events have taken her from a teaching job she enjoys to occupying a cubicle in a corporate processing center, but also the path to her workplace is beset by one of these horrid creatures, which gives chase. Then one day, Chris, a nonplussed IT tech outside on a smoke break, stands up to the goose. Man and bird lock eyes, and something changes.

I must curse the genius of playwright and director Paige Scott, who, in her comic drama, “Honk Squawk Love,” actually gets me — and other otherwise rational people — to feel for a damn Canada goose. We also see the struggle of Abigail (Elysia Rohn) as we learn not only of her phobia but also her recent backstory, which left another deep emotional scar. And we learn about Chris (Tyler Lyons) as he comes to understand more of himself through his unlikely and oddly tender relationship with the bird they call Lucy (Courtney McClure Murray).

This is an outstanding short play, possibly the best show of this year’s Fringe. The story unfolds with genuine feeling as the humans’ bizarre circumstance brings on needed changes and growth. Rohn proves a reliable narrator, even of her own pain. Lyons gives what starts as a loner-nerd caricature, dimension and likability. And Murray masterfully moves and squawks as a sort of full-body puppet with her arm the graceful neck of our heroine, Lucy. We even feel comfortable with the absurd conversations between Chris and his avian friend (perhaps it’s just hashing things out with himself as the goose honks along, but Scott’s script puts it through his perception).

If at all possible, you must see this, playing at the District Theatre. Don’t let any bird stand in your way, Tippy.

IndyFringe: Driving Kenneth and Betsy Ross

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This is part of IndyFringe 2021, Aug. 19-Sept. 5 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By John Lyle Belden

To say that Kenneth is stuck in his ways would be an understatement. A true Southerner, he won’t even travel north of the Mason-Dixon line, because the wrong side won The War. Fortunately for this lifelong Virginian, his new great-grandson is down in Atlanta, and his Liberal son Colin has agreed to drive him and his wife Betsy Ross down for a visit. Hopefully there will be a casino on the way.

Set in 2010, “Driving Kenneth and Betsy Ross,” by frequent Fringe contributor Garret Mathews (directed by wife Mary Anne Mathews), is based on his relationship with his own parents. 

Colin (Thom Johnson) is not looking forward to this road trip, and Kenneth (David Mosedale) isn’t making it any easier. It doesn’t help that Colin’s job is writing books on the Civil Rights era, or as his father puts it, “about the Negroes.” They bicker, as sweet Betsy Ross (Wendy Brown) tries to smooth things between them. When he can speak alone with her, Colin asks why she is so accommodating when she doesn’t believe everything he does; she brushes this off, citing her traditional wifely duty, but eventually on this long road, she’ll find her voice. 

Like many whites of his generation, Kenneth is more passively than actively racist, blind to his lack of perspective. Mosedale plays him with a steadfast curmudgeonly conviction that never rises to anger with a touch of humor to make him likable (or at least lets you see how son and wife could love him). Brown plays Betsy with natural ease. Johnson (who has ably taken the narrator role in plays such as “Drowsy Chaperone”) is our window into their world, and we feel Colin’s struggle to make connections with elderly kin he might not see again.

I must also note the craftsmanship of the main prop, a very solid-looking front half of an automobile crafted by Tom Harrison.

There’s quite a few laughs, some familial and conversational tension, and a lot of heart in this sentimental journey. So pack your “change-a-roonies” and beef jerky, and head on over to the Murat Oasis for this show.