play

Life lessons continue for aging friends in IRT comedy

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

By John Lyle Belden

Even after we’ve been around for decades, life can surprise or even shock us, and as long as we’re alive, we have to work out what’s next. In this spirit, “Morning After Grace,” by Carey Crim, a comedy with all the dramatic feels, appears on the Indiana Repertory Theatre stage. 

As the play opens, Abigail (Laura T. Fisher) and Angus (Henry Woronicz) experience a “morning after” following meeting at a funeral. Since they live in a retirement village in Florida, it’s not as unusual as you’d think. And while they are sorting things out, neighbor Ollie (Joseph Primes) pays a visit. From the beginning, misunderstandings and miscommunications bring about hilariously comic moments. 

Through the actors’ skill, and direction by IRT Artistic Director Janet Allen, this trio develop a wild, quirky chemistry that you get with people with so little in common thrust together. What they do share is a need to deal with loss, and with conflicts with those they now find it difficult to love. 

But another facet is how all three look forward — while acknowledging it being “of a certain age,” they each see a future: Abigail has a career as a counselor; Angus has a beautiful house and an opportunity to start over; and soon Ollie will put aside that cane he walks with and embrace life with his beloved. 

With all this depth, I must reiterate that this is a comedy; at times I nearly laughed myself blind. The trio execute the comic beats perfectly — for Woronicz especially refreshing to see the flip side of his dramatic acting in “12 Angry Men” last year.

The end result is like your favorite episode of a classic sitcom with serious undertones, like “MASH,” “Seinfeld,” “Mom,” or the similar “Cool Kids” — but with one well-placed F-bomb.

Escape the cold for this warm-hearted delight, through Feb. 9 at the IRT, 140 W. Washington in downtown Indy (near Circle Center). Call 317-635-5252 or visit irtlive.com.

And congratulations to Janet Allen for being named the Margot Lacy Eccles Artistic Director with the endowment of a $2 million gift to the IRT by the Eccles charitable fund. The late Ms. Eccles was an avid supporter and board member of the theatre.

Changes around us come into focus on Fonseca stage

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

By John Lyle Belden

Gentrification is a word and concept that gets brought up a lot — how it’s bad, how it has benefits, how it is inevitable. Indianapolis has seen aspects of it in play in neighborhoods such as Broad Ripple, Mass Ave./Chatham Arch, Irvington, and Fountain Square.

This phenomenon is at the heart of “Salt Pepper Ketchup,” a drama by Josh Wilder now on stage at Fonseca Theatre Company in Indy’s near-westside — an area starting to see the effects of redevelopment.

The play is inspired by the recent real-world transformation of Point Breeze community in Philadelphia’s infamous South Side. “Salt, Pepper, Ketchup” is how longtime local residents, mostly African-American, order the popular fried chicken wings at Superstar Chinese Restaurant, and owners John and Linda Wu (Ian Cruz and Tracy Herring) are happy to fill the orders as they save up for their American Dream. They had just been granted citizenship, and with improving credit, hope to buy their building.

But changes are already under way. New apartments sprang up, occupied by young white people seeking affordable rent. There is a coffee shop, and at the center of it all, the Co-Op grocery. 

Paul (Robert Negron), a leader at the Co-Op, is trying to sign up new members among the locals. John Wu, reflecting the worries of his regulars, suspects some sort of scam. Paul’s heavy-handed and tone-deaf manner isn’t helping. Still, Linda sees hope for life beyond their “Chinese joint.” Tommy (Chinyelu Mwaafrika) and Raheem (Aaron “Gritty” Grinter) see the Co-Op as a threat, a danger to the ‘hood they grew up in, and they are prepared to take drastic action. CeCe (Chandra Lynch) is trying to see all sides of this, as she works at a daycare and wants the area to get better. She even likes the idea of the Co-Op, until she discovers that a single apple costs $2.50.

We also meet the enigmatic Boodah (Dwuan Watson Jr.) who is street-smart, emphasis on both. A little older and wiser than Tommy and Raheem, he avoids conflict and criminal solutions, but when he senses injustice, he takes action.

Finally, Megan (Lexy Weixel) is a perky Co-Op worker who finds herself thrust into an unfamiliar world, struggling to make the best of it.

Seeing the events play out, I couldn’t help but feel a bit ashamed for being white. Paul is such an overbearing caricature, reeking of privilege even as he remarks on it dismissively, that it is easy to understand the backlash that overwhelms him midway through the show. Eventually he takes a more corporate attitude — or was that behind his facade all along? While this can be difficult to watch from my seat, and generating nods of agreement from minorities around me, this portrayed example of how not to gentrify can help start the conversation of how best to positively deal with the changes coming to our own streets. It helps that this important drama brings out the best in all its players.

The play is directed by Tom Evans, with a set designed by Daniel Uhde including a clever way of changing between acts. Founder Bryan Fonseca designed the lighting and Tim Brickley the soundscape, which includes hip-hop by Gritty from his upcoming EP.

As an epilogue, the play program includes a recent article on the real Point Breeze, providing more food for thought. 

“Salt Pepper Ketchup” is served up through Feb. 2 at the FTC Basile Building, 2508 W. Michigan Street. Get info and tickets at fonsecatheatre.org.

Summit: Finding life’s meaning in unlikely ways

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

By John Lyle Belden

Summit Performance explores connections, being in the moment, and the fears that affect both, in the comic drama “Be Here Now,” by Deborah Zoe Laufer, directed by Amy Lynn Budd.

Bari (Carrie Ann Schlatter) is an aspiring professor of philosophy, specializing in nihilism, who needs to finish her dissertation. Being in a process that requires a lot of work to argue that nothing at all matters, she’s stuck. Also, her headaches aren’t helping.

Patty (Cynthia Collins) and Luanne (Zariya Butler), coworkers at her other job, a distribution center for knicknacks of various faiths, dislike Bari’s “smug gloom” and seek to somehow make her happy. Desperate, Patty sets up a date with her cousin Mike (Ryan Ruckman), who has issues of his own.

Suddenly, Bari collapses. After a brief seizure, she awakens to unheard music, experiencing fantastic visions — and the realization that absolutely everything is awesome.

While this play is Bari’s story, Mike is a complex presence as well, with a tragic past and an eccentric present life of gathering cast-off items and building them into little houses. And he has a pet crow. Ruckman is solid, maintaining an easy charm that makes his oddities quaint rather than disturbing.

The setting, a little town just a couple of hours away from New York City, is sort of a metaphorical character of its own: Cooperville, where nearly everyone has the last name of Cooper, including Patty. She believes in astrology and fate, and easily justifies her fear of ever leaving town by citing the dangers of the Big City. Collins plays her a little curmudgeonly, but with a big heart. By contrast, her niece Louanne blithely walks the thin line between optimistic and naive. Butler serves up a perfect dose of sweetness.

As for Bari, Schlatter expertly carries her philosophical load, expounding on questions that would give Hamlet a stroke, at times seeming to babble like one who is high (which technically the character is “tripping” at times) yet thanks to Laufer’s script, giving profound insights. This being modern times in enlightened society, she (and the others) understand there is likely a serious medical explanation for what is happening to her. But realizing that even if it’s endangering her life, it does seem to make her feel happy for perhaps the first time, does she really want to give that up?

When all is said and done, you might find yourself looking for the “garbage house” in your own backyard. See for yourself to understand what I mean. “Be Here Now” runs through Feb. 2 on the Basile Stage at the Phoenix Theatre, 705 N. Illinois St. in downtown Indianapolis. Call 317-635-7529 or visit phoenixtheatre.org.

ALT: Intense drama includes talkback after every show

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

By John Lyle Belden

American Lives Theatre, the latest new company to the Indianapolis stage scene, makes a bold and provocative debut with its production of Pulitzer finalist “Gloria” by Branden Jacobs-Jenkins.

In the offices of a New York-based magazine, aspiring writers, stuck as assistants to faceless editors, snipe at each other as they lament their lack of opportunity, discuss their exit strategies, and seek to take advantage of the breaking story of a celebrity death. Dean (Joe Barsanti) is facing his 30th birthday with the vain hope that his memoir on his struggles in a dying industry will make all this worth it. Ali (Morgan Morton) is very go-along-get-along, which infuriates super-ambitious Kendra (Kim Egan). It’s the last day for intern Miles (Joshua Short), who is questioning his career path, now that he has seen the beast from the inside. The general commotion in this room infuriates Lorin (Tom Weingartner), trying to keep up with the demands of being chief fact-checker down the hall. Meanwhile, Gloria (Bridget Haight) — generally quiet and kinda weird, but a constant presence for the past 15 years — keeps dropping by, appearing anxious. Could this have something to do with the housewarming she hosted the night before, to which only Dean showed up?

This is about all I dare reveal of the plot. Director (and ALT founder) Chris Saunders notes that the content of this play includes a “trigger warning” due to a very specific trauma at the heart of the story. But I won’t spill, as the shock is an essential part of the drama. 

Fortunately, there is plenty of satirical and workplace humor, even as the characters become haunted by their circumstances. Haight also plays Nan, an editor with her own perspective that receives attention. Most of the cast also have additional roles, notably Short as a rather in-charge Starbucks barista. All have talents well up to their task.

“Gloria” is not so much about what happens, but rather how we deal with it. As each person comes to terms with their role and reactions, it becomes a question, as Saunders asks in the post-show discussion, “who owns the rights to trauma?”

Yes, there’s a talk-back — after every performance. Saunders hosts, and the actors may also get involved. Given what happens in the play, this can be a very important part of the overall experience.

Performances are Friday, Saturday (Jan. 17-18) and the next Friday through Sunday (Jan. 24-26) at the IndyFringe Theatre, 719 E. St. Clair. Get info and tickets at americanlivestheatre.org or indyfringe.org.

Silly Santa shenanigans in Greenfield

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

By John Lyle Belden

You don’t have to have children to get a little silly around Christmas. In fact, allegedly normal adults can find themselves in the goofiest situations, especially when you throw in a couple of Santa suits and some festive pajamas.

This is the scene in “Sorry, Wrong Chimney,” a farce by Jack Sharkey and Leo W. Sears presented by CrazyLake Acting Company in Greenfield. Set in a more innocent time — around the 1980s — recently-married Samantha (Alexandra Kern) wants to share a romantic first Christmas with husband David (Luke Agee), but he is always working late. She confides her frustration to neighbor and best friend Natalie (Stephani McDole), who assures her there’s nothing to worry about. But then she overhears something between Natalie and David — could they be having a fling? Sam calls Natalie’s husband, Bill (Corey Yeaman), for advice; he had been napping, so comes over in his pajamas and robe — this will prove problematic.

But the trouble really begins when Bill, a psychiatrist, is talked into using his skill as a hypnotist. But instead of mesmerizing David to reinforce his love of Sam, his charm snares the Santa Claus Burglar! The bad Santa (Trever Brown) actually believes he is Kris Kringle, which his loving fiance Sheila (Chris Vehorn) has learned to live with. 

Oh, and there is also an inquisitive police officer (Coy Hutcherson). What else could go wrong?

The result is one very funny holiday diversion, complete with slapstick, slamming doors, goofy chase scenes, misplaced mesmerism and a little dirty dancing. Directed by Christine Schaefer, this talented cast elevate an okay script with a lot of great physical humor and total dedication to the absurdity in each scene.

Granted, I’ve got a soft spot for Greenfield since I used to work there, but trust me, it is again worth the drive to see “Sorry, Wrong Chimney,” Friday and Saturday, Dec. 13-14, and Dec. 20-22, at the H.J. Ricks Centre for the Arts, 122 W. Main St. (US 40) downtown. Get info and tickets at crazylakeacting.com.  

Searching for something to believe in at ‘Prospect Hill’

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

By John Lyle Belden

What or who do you have faith in? What is it telling you? And are you truly listening?

These questions of faith and the angels among us come alive in “Prospect Hill,” a new play by Bruce Walsh, presented by Fat Turtle at the IndyFringe Theatre.

Jacob is a therapist badly in need of help, himself. His husband, Rex, a cancer survivor whose last round of chemo left a particularly frustrating side effect, obsesses with kitchen renovations to avoid their waning relationship. Jacob has given up alcohol, but finds addictive urges satisfied by the constant snacks and sodas brought by his young patient, Ethan, a driver for PepsiCo.

And it doesn’t help that Jacob has been in contact with his Mennonite father, who doesn’t approve of him being gay, let alone his relationship.

Ethan has his own problems: His girlfriend is expecting their child, but now wants nothing to do with him, in part due to his drug addiction. He wants to make more to help support the baby, so, hearing that Rex retired from his sales job in his 50s, asks him for “financial advice.” Relishing the challenge, Rex sees the young man as a potential protege. 

But when the inevitable conflicts occur, a sort of miracle happens. Could Ethan be the “third angel” in their relationship?

Directed by Fat Turtle Managing Director Aaron Cleveland, our well-chosen trio of actors bring out three vivid characters, each searching for meaning in his own way.

Zachariah Stonerock presents the stoic Jacob as a miserable mensch who has been worn down over time, so occupied with pleasing others he has no idea how to be happy, himself. Going through the motions, he simply repeats a mindfulness exercise he had just heard from Rex in his session with Ethan — to hilarious effect — almost accidentally making a sort of breakthrough.

Craig Kemp as Rex counters with energy and humor, masking a deep desperation. He needs to feel vital. not only in his loins (another comic point), but in his mind, as his salesman’s instincts are aroused by the prospect of “selling” Ethan to his old pharma company as a potential employee. Meanwhile, despite proclaiming his atheism, he is hooked on a “six-part series” on PBS on the world’s religions, finding inspiration in spite of himself.

As for 20-ish Ethan, Evren Wilder Elliott* excellently presents a character who seems at first so simple, yet has depths and aspects that even surprise him. “I am here because I am a prophet,” Ethan says — to be fair, it wasn’t his idea — which seems absurd, until it isn’t. The actor channeled the insecurity of playing their first “male” role to convincingly give us a grown boy full of bluster and desire to do right, yet lacking the personal discipline to pull it off. 

This locally-based script (Prospect Hill is a neighborhood in Bloomington) makes an excellent debut, a nice blend of human drama with laugh-out-loud moments. It’s still a work in progress, as the ending seemed a little muddled, hinting at more story to tell (perhaps a sequel play or trilogy could come of this?), but it raises some interesting points on faith, relationships, and what we seek to do with our lives.

Performances run through Nov. 24 at the IndyFringe Basile Theatre, 719 E. St. Clair, downtown Indianapolis. Get info at fatturtletheatre.com and tickets at www.indyfringe.org.

– – –

*Trans actor formerly known as A.M. Elliott

Kids make a splash in KidsPlay’s ‘Mermaid in Miami’

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

By John Lyle Belden

Being a former writer and “Arts Editor” at the Daily Reporter in Greenfield, I have long followed and been a booster of KidsPlay Inc., the local children’s theatre featuring kids in grades 3-8 from all over the area. Under the direction of Christine Schaefer, the company puts on a high-quality show, and has helped to develop a lot of talent – a number of central Indiana performers are former KidsPlayers, and now there are alumni with their own children in the program.

Of course, I bring this up because this week is the KidsPlay Inc. fall production, the quirky comedy “Mermaid in Miami” by Wade Bradford. Directed by Schaefer with Alexandra Kern, choreography by Frances Hull and Amy Studebaker, this take on “The Little Mermaid” has a contemporary setting, yet is in a surprising way true to the Hans Christian Andersen story.

An old fisherman, Ernie (Joseph Shininger), happens to come across a young mermaid, Breeze (Olivia Greer), on the run from her tyrannical father Emperor Tropico (Matthew Hentz). As she had escaped with her mother, now missing, the angry monarch asks Ernie if he has seen two mermaids, so he honestly answers “no,” helping Breeze to escape. Grateful, she stays in the safety of the lagoon the fisherman calls home, located just a beach away from Miami, Florida.

Meanwhile, on that beach, hot Latin dancer Rico (Jaxon Brittsan) is ready for the local dance contest, he just needs a partner. The Lambada sisters (Zora Coe and Ashley Pipkin) are injured, and best friend Grace (Ella Miesse) he only sees as his tailor. But hearing of the opportunity, Breeze makes a deal with the Swamp Hag (Bella Turner) for legs so he can join Rico in the dance.

Naturally, those legs come at a cost.

The large cast also includes Anthony Stunda and Josie Joyner as dolphins Ebb and Flo, who provide a lot of the punchlines; Brodie Stout-England as Prince Dorkus, the Emperor’s goofy hand-picked fiance for Breeze; Jordan Kuker as the mysterious Spirit of the Air; Hank Lee and Ava Peters as local reporters; Abbagail Gantt and Cooper Schmitt as vendors with well-timed wares; and Jack Joyner, Grace McCaw, and Lucy Reed, as an entertaining trio of crabs.

This show has excellent performances throughout. Greer shows off some great physical comedy, as she nimbly portrays a wobbly girl who just got her legs minutes ago, right through the obligatory dance montage where she learns to move with rhythm.

Turner is appropriately menacing, and manages to keep a Caribbean accent without it slipping into caricature. Hentz is naturally haughty, while Shininger plays a good go-with-the-flow guy. Miesse stitches together a role with surprising range. Stout-England is too much of a doofus to dislike, despite his role in Tropico’s plot.

Brittsan not only manages to stay likable even while being a bit cheesey, but also he, Coe and Pipkin show off some genuine dance flair, including leading the traditional opening dance number before the play.

As usual, this show is a lot of fun, but there is some substance with the silly, especially in the way this story ends. Performances are 7 p.m. Friday and Saturday, 2 p.m. Sunday, Nov. 8-10, at the H.J. Ricks Centre for the Arts, 122 W. Main St. (US 40) in downtown Greenfield. Tickets are just $5 at the door.

Phoenix uncorks wine that makes you spill

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

By John Lyle Belden

“In Vino Veritas” means “in wine, there is truth,” referring to the way social beverages can loosen tongues so that unintended honesty spills out.

In the play, “Vino Veritas,” by David MacGregor, at the Phoenix Theatre, the central device is a vintage with a special ingredient (not grapes) that makes it a truth serum. After our characters imbibe, like Jim Carrey in the film “Liar, Liar,” they can’t not tell the truth. And for us in the audience watching the revelations unfold, it is fascinating, thought-provoking, and incredibly hilarious.

Lauren (Carrie Schlatter) and Phil (Wolf J. Sherrill) have a good life as professional photographers, having settled down from globetrotting to running a portrait studio while they raise their family. Lauren, who longs for adventure, resents what they’ve become, while Phil is quite happy. No longer risking his neck, he tracks how he outlives the lifespan of various animals, part of the endless useless trivia he knows — a trait that further irks Lauren. But she has brought home the rare and mysterious wine from their recent vacation in South America, and is eager to share it with their neighbors and best friends — Ridley (Michael Hosp) and Claire (Sarah Hund) — when they visit on Halloween prior to going to a neighborhood costume party.

The other couple arrives. While Claire, the reigning costume champion, has an intricate gown she worked on for months, Ridley, a doctor, takes advantage of the fact he is still technically on duty for a few hours to dress “ironically” as a doctor. 

Despite the obvious stress they all ignore, they agree to try the wine. After all, they have known each other for years, living next door to each other, attend the same church, and their children play with each other. What dark secrets could they possibly have? As it turns out, plenty.

The plot is in a similar vein to plays like “Who’s Afraid of Virginia Woolf” and “God of Carnage” wherein situations get more and more out of hand with each revelation, and alliances constantly shift among the foursome. While some serious issues of trust, intimacy and truly understanding one another are addressed, it all comes packaged in wacky exchanges that leave you gasping from laughter. Hosp, a great physical comedian, actually plays it kind of easy, getting big laughs from small moments. Schlatter gets a lot of mileage from playing a personality who loves to stir the pot, while Hund is at turns masterfully manic and silly. Sherrill mainly displays an aw-shucks demeanor that meshes perfectly with the various neuroses on display. Phoenix artistic director Bill Simmons directs.

It’s said that the truth will set you free — will that be the case here? Find out at the Phoenix’s smaller Basile stage; in performances through Nov. 24. Note Saturday times are 2:30 p.m. matinees instead of evening shows. Find the Phoenix Theatre at 705 N. Illinois in downtown Indianapolis; call 317-635-7529 or visit phoenixtheatre.org.

ATI tells important ‘Story’

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

Update, Jan. 18, 2021: This production is available online pay-per-view through Feb. 14. See atistage.org for details.

By Wendy Carson

“This is a story about two rabbits.”

Seven innocuous words that begin not only a beautifully illustrated children’s book, but also a major political ballyhoo about race and censorship.

“Alabama Story,” a play by Kenneth Jones making its Indiana premiere with Actors Theatre of Indiana, is based on a true story of one simple book that sparked a major racial controversy due to its depiction of a white bunny marrying a black bunny. 

The setting is 1959 and even though George Wallace (“Segregation now, segregation tomorrow, segregation forever!”), has yet to be voted in as Governor, he is the leading political voice of Alabama. Racism is a fact of everyday life and the beginnings of the Civil Rights movement are just starting to stir. Rosa Parks had recently sparked the Montgomery bus boycott, and the Rev. Dr. Martin Luther King Jr. was still a local pastor. 

Enter Emily Wheelrock Reed (Cynthia Collins), the state librarian, and her diligent assistant, Thomas Franklin (Samuel L. Wick). Franklin brings the initial hubbub over “The Rabbits’ Wedding” to her attention, but Reed dismisses it until Senator E.W. Higgins (Don Farrell) starts pressuring her to remove the book from the library system. 

We also see the story of two children who grew up together. Lily Whitefield (Maeghan Looney), the daughter of a cotton plantation owner and Joshua Moore (Cameron Stuart Bass), the son of one of the Whitfields’ servants, descended from their slaves. They meet up again as adults, in exchanges that echo the book, but overshadowed by painful events of their past.

Overseeing all of this is the book’s author and illustrator himself, Garth Williams (Paul Tavianini). He takes on all of the supporting roles as well as giving his personal insight to the drama. Williams reiterates that he only chose the black and white colors for the rabbits due to his love of Oriental artworks which draw on those two colors for balance. He never meant for his tale to become what many believed to be a subversive indoctrination of their children into believing that interracial marriage was normal.

Bass’s performance shows that even though Franklin is living a better life himself, he never forgets the trauma and struggles he went through and his people are still enduring. Looney does a commendable job of showing the naiveté of the privileged class during these changing times.

Collins shows the strong, stalwart woman that Reed was, holding her own and never wavering no matter what came her way. Wick is endearing as Franklin, a free-thinking young man who was raised to be prejudiced but refuses to succumb to the hatred.

Tavianini brings a “Mr. Rogers” -type warmth to Williams, who also wrote and illustrated numerous other children’s books (including books by Laura Ingalls Wilder and E.B. White), none of which sparked any controversy.

However, the standout performance is by Farrell. He oozes all of the slick sliminess of a typical Southern politician. His soft-spoken words hold a thousand brutal attacks within, the demure and friendly smile hiding the fangs that are ready to strike you down with their poisonous barbs. He does such a great job embodying the character, you will likely want to punch him (but please don’t). 

ATI chose this play to be their first foray into serious drama and they have done an excellent job of it, under the direction of Jane Unger. This show is important to give you context as to this country’s history and what our future could be again should we glorify the past instead of learning from it.

Performances run through Nov. 17 in The Studio Theater at the Center for the Performing Arts in downtown Carmel. Get information and tickets at atistage.org or thecenterpresents.org.

A king’s journey, from fun with Falstaff to hostilities with Hotspur

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

This Show is part of Bard Fest, central Indiana’s annual Shakespeare festival. Info and tickets at www.indybardfest.com.

By John Lyle Belden

While I can heartily recommend any of this year’s Bard Fest shows, the one that has the most elements of Shakespeare’s storytelling is the oft-overlooked “Henry IV, Part 1,” presented by First Folio and directed by Glenn L. Dobbs. It combines comedy, drama, adventure, and a bit of actual British history in a rather entertaining package.

It is a story of the misspent youth of “Bonny Prince Hal” (Matthew Walls), the man who would eventually become the legendary King Henry V, as well as the struggle by his father, Henry IV (Abdul Hakim-Shabazz), to maintain a united kingdom.

Hal has his fun with best friend Ned Poins (John Mortell) as they jest with famed drunkard Sir John Falstaff (Matthew Socey) and his minions, cowardly Bardolf (Jonathen Scoble) and berserker Peto (Missy Rump). From these scenes we get a lot of laughs, and are treated to some of the Bard’s more colorfully-written insults.

Meanwhile, the King has to deal with a plot led by Henry Percy (Matt Anderson), known as Hotspur for his fiery temper, aided by relatives Worcester (Sara Castillo Dandurand) and Mortimer (Eric Mannweiler), the Scottish Earl of Douglas (Andy Burnett), and Welsh rebel Glendower (David Mosedale). On Henry’s side stand Sir Walter Blunt (Eli Robinson), Lord Westmoreland (Brian Kennedy), and eventually Hal, the Prince of Wales himself, having sworn off his prior foolishness.

The decisive battle that ensues gives the narrative a sense of completion, especially in Hal’s arc from boy to man, but leaves sufficient details to be resolved in the more serious “Henry IV, Part 2.” Still, this play easily stands alone.

Our cast inhabit the roles naturally — perhaps Socey is just an alias for Falstaff? Hakim-Shabazz is appropriately noble, Walls slips easily into Hal’s many modes, and Anderson can play a villain like no other. Also notable are Afton Shepard as Percy’s bitter wife (as well as a sweet “working girl” at the tavern), and Michelle Wafford as a Welsh lady betrothed to a man she loves but whose language she can’t understand, and especially as the in-charge Hostess of the Boar’s Head Tavern.

Remaining performances are 8 p.m. Thursday, 8 p.m. Saturday (with talkback afterward) and 1 p.m. Sunday at the District Theatre, 627 Massachusetts Ave.