play

Storefront’s ‘Pilgrims’ carrying some heavy baggage across the stars

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By John Lyle Belden

In the future, a ship’s cabin still looks like a comfortable hotel room, it’s just that the ship is sailing through space. A man enters, eyeing the layout and smoothing the bed like one conditioned by military service. Everything is in order for the long journey. Suddenly, an annoyingly perky teen girl bursts in and makes herself at home. Something is amiss here.

“Pilgrims,” the drama by Claire Kiechel, directed by Chelsea Anderson on the new Broad Ripple stage of Storefront Theatre of Indianapolis, is in the tradition of the best science-fiction stories, using a distant fantasy situation to probe questions about our present humanity.

Aboard the aptly named starliner, “Destiny,” Ryan Ruckman portrays a soldier returning as a migrant to the planet where he once fought its natives. Struggling with PTSD, he is haunted by what happened there, but feels compelled to return. Ruckman often gets cast in this kind of rugged role, so is a natural fit, and has honed the skill of showing the human under the he-man facade.

Kelsey Leigh Miller, as the teen roommate, puts her inner child on full display to excellent effect, then lets the girl’s more mature aspects creep in as their journey continues. We easily see her as whatever she presents herself to be at every moment.

Our other character is Jasmine, a 2600B model AI android and the cabin’s personal valet. She appears when called upon to dispense food or supplies — but not much in the way of news, except to say that a quarantine remains in effect, keeping our two humans in close quarters for possibly the entire three-month voyage. Carrie Schlatter is excellent in this difficult role, managing speech that is artificially friendly without robotic cliché flatness, and economy of movement that reflects someone who is programmed rather than engaging in natural human action.

We are along for the long ride, as the play is a single movie-length act. Numerous scenes and little revelations track the passing of time, as the couple’s interactions – and perhaps something else – slowly change them, drawing them closer in unexpected yet inevitable ways.

Apparently among the beings of the “new world” (which the girl naively calls “aliens”) there is no word for the concept of “regret;” yet that is the biggest thing our Pilgrims bring with them. See how they unpack it in the play’s remaining weekend, Thursday through Sunday evenings (Sept. 19-22) at 717 Broad Ripple Ave. Get information and tickets at storefrontindy.com.

IRT opens ‘Angry’

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By John Lyle Belden

It’s a hot summer night, and what will happen in this room will have life and death consequences for someone you’ve never met.

Welcome to “Twelve Angry Men,” the classic American drama by Reginald Rose opening the 2019-2020 season at Indiana Repertory Theatre. Set in 1957, this play is both very much of its time, and timeless. The struggles and society these dozen characters deal with are every bit as real today as they were then.

Our 12-man jury is tasked with deciding the fate of a young man accused of murder. If the verdict is guilty, the death penalty will be applied. The men are all from different backgrounds, working class to rich. Though all white, they have roots in different ethnicities. 

The jury foreman (Seth Andrew Bridges) calls for a preliminary vote. Since the result seemed so obvious during the trial, all vote “Guilty” — except for one (Chris Amos). Why? He doesn’t want a rush to judgement, he says, and besides, he has some questions.

For the next hour-plus (the play is a single movie-length act) we hear the details of the case, presenting the murder mystery in nearly enough detail to give the audience a vote. 

The men arguing are all sharply acted, under the direction of James Still, giving dimension to their archetypes: Scott Greenwell as mousey, yet wanting to see justice done; Craig Spidle as one easily convinced of the evil “kids these days” can do; Henry Woronicz as a rich broker who wants to see the facts as plain and ordered as the newspaper he reads; Demetrios Troy as a man with more in common with the defendant than he’d like to admit; Casey Hoekstra as a laborer whose work ethic informs his judgement; Michael Stewart Allen as a loud Yankees fan (he wants the deliberations done in time to go to a game) who sounds more certain than he actually is; Mark Goetzinger as an older gentleman struggling to bring perspective to the proceedings; Robert Jerardi as a bigot determined to see “one of them” condemned; Patrick Clear as an immigrant excited to exercise his new citizenship; Charles Goad as an ad man who can’t help playing both sides; Bridges’ foreman, whose skills as a high school coach come into play; and Amos’ holdout, the conscience of the play and principal driver of the “reasonable doubt” that can turn the verdict around. Adam O. Crowe plays the Guard stationed outside the jury room door. 

Most people know, or can easily guess, the outcome of this drama. What is important, and makes this engrossingly entertaining, is how they get there. The knife, the steps, the glasses, all the clues and what they suggest, making for an intense 100 minutes. And the title is apt: these men get plenty angry — including at each other.

The stage set, designed by Junghyun Georgia Lee, is a masterwork, including a washroom to the side that can be made to be seen through screens when needed, as some juror discussions take place privately. The custom-made long wooden jurors’ table sits upon a turntable that slowly moves at times to aid our perspective of the deliberations. And at moments an actor might step away from the churning motion to demonstrate his seeking clarity. 

While the idea seemed gimmicky, the turning table is not constant, and thus works to great effect. Still notes this aspect of the stage was discussed early on in the production. “You mostly just have 12 men sitting around a table,” he said. “We needed something dynamic.”

The deliberations continue through Sept. 29 at the IRT, 140 W. Washington St. in downtown Indy, by Circle Centre. Info and tickets at http://www.irtlive.com.

IndyFringe: The Day Penny Drowned

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This show is part of the 15th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 15-25, 2019 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By Wendy Carson

A successful playwright, Penny should be on the top of the world. She and Brad are on their way to a romantic getaway to celebrate the success of her Broadway show. However, her family proceeds to force their way into her plans, and she is soon overwhelmed by their presence — as well as their drama.

Ed Faunce is delightful as Brad, Penny’s devoted husband. He does an excellent job of showing us that he will do anything to protect his wife, yet still makes mistakes along the way.

Bridget Schlebecker’s portrayal of Judy, Penny’s overbearingly self-centered sister, gives us some of the much-needed comic relief in the piece. Her character is a force of nature, sweeping in and ensconcing everyone in her own personal drama without a care for anyone else’s feelings, leaving a swath of confused exhaustion in her wake.

Jonathan ‘JB’ Scoble gives a subtle performance as Jeremiah, Judy’s slacker son who has absolutely no clue about anything but eating and getting high.

Kate Hillman does an amazing job with the character of Francis, Penny’s neglectful mom who has just been released from the Fishkill Federal Prison. She brings out all of the redneck trashiness of the character while also sprinkling in some very sharp verbal abuse towards her “neglectful” daughter.

Rounding out the cast is Nancy Picket as Penny. She manages to show us the devotion the character has for all those around her to the detriment of her own self. However, she becomes so overwhelmed by it, she jumps into the lake just to get away from it all.

Can she find a balance between all of the forces demanding her time and energy? Will her family just give her a day or two alone to regain herself and sanity? Is she in over her head and if so, will she sink or swim?

Find out for yourself.

A play by local author Elizabeth Young-Collins, Remaining performances are today and Saturday (Aug. 22&24) at the District Theater (former TOTS location), 627 Massachusetts Ave.

IndyFringe: Phantom of Fountain Square

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This show is part of the 15th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 15-25, 2019 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By Wendy Carson

Fountain Square, a storied neighborhood by downtown Indianapolis, has always been seen as “up and coming” but not quite the trendy destination it could be. However, this was not always the case. It was once known as the Theater District, with as many as 11 theaters, and the center of fashion and shopping. Those days are behind it now, but there are still people who are doing all they can to bring about a renaissance to the neighborhood.

Enter Samantha, a mother whose dream is to open a restaurant in the Square. She brings along a young daughter and new husband who has embraced her dream as his own. However, they are beset with problems. A valve from her stove goes missing, the place is ransacked, a nearby diner blows up, and her daughter seems to be hallucinating visions of money people.

They are then guided by forces unknown to learn the history of the area and learn of the mysterious legend of the “Phantom of Fountain Square”.

Kerra D Wagener brings a bright spunkiness to her portrayal of Samantha and keeps the story going. Thom Johnson gives her husband Danny the subtle juxtaposition of a man overwhelmed by his thankless efforts yet still lovingly devoted to his wife and doing whatever will make her happy. Jacquiline Rae brings forth the sweet innocence yet sage wisdom that is part of being a child keeping the show light and hopeful. Jeff Maess is great as Frank Wertheimer, but his role is so much lesser than his talent should warrant. Then we have Owen Harp as the titular character, chewing up the scenery like this was a buffet.

I’m not going to say that the show is perfect. I haven’t even noted that it is sort of a musical. I will say that it does show promise. The Fringe is a place where many great artists have presented works that have gone on to greatness. I feel that with some workshopping, this could be fleshed out into a full-length show that could be a perennial tradition.

So take a chance on seeing the first iteration of a show that, like its setting, is loaded with potential. Penned by local speculative fiction writer Matthew Barron, and presented by Submatter Press, “Phantom of Fountain Square” has performances Saturday and Sunday at The Oasis, (Shriners’ entrance of the Murat, on the north side), 502 N. New Jersey St.

IndyFringe: Game of Crows — Winter’s Coming, Father Ned!

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This show is part of the 15th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 15-25, 2019 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By Wendy Carson

The wacky gang from Perpendicular island is back again with a new adventure and some new cast members as well. There is also a Bingo card on the back of your program that can win you a prize after the show.

We start with tales of the dreaded Bog Walker and a discovery of treasures possibly left by Leif Erikson. Soon visitors arrive with some exciting news, the field being the Priory has been chosen for filming the dramatic final battle of Winterbeard on the massively popular show, “Game of Crows.”

The zaniness escalates from there as everyone on the island gets into the spirit and the homages emerge faster than the puffin eggs from Father Flannagan (David Whicker) — he was apparently a prime nesting spot during the “Great Puffin Migration”. Pop culture references from all over fly fast and furiously throughout.

David Molloy steps up to the new role of Father Ned Tully wholeheartedly and plays it very well. Blake Mellencamp’s turn as the dim-witted Father Dermott McDermott brings all the silliness necessary to highlight the character. While Kyrsten Lyster and Jim Lucas do an excellent job of portraying the wily grifters, Bridget Robertson & Hugh O’Toole. As is tradition in their shows, local rap artist Nate Burner as Squashy Nate, acts as our guide through this farcical tale.

Kate Duffy Sim is delightful as the dotty housekeeper, Mrs. O’Boyle, who cheerfully serves up the puffin eggs in everything possible. However, it is her version of the smugly condescending version of Olenna Tyrell that is worth the ticket price alone.

So sit back and enjoy some laughs as well as a nice cup of puffin tea with Clerical Error Productions. Remaining performances are Friday and Saturday (Aug. 23-24) at The Oasis (Shriners’ entrance of the Murat, on the north side), 502 N. New Jersey St.

IndyFringe: Not Dead Yet

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This show is part of the 15th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 15-25, 2019 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By Wendy Carson

Dana Dunn is a retired actress. She gave up Hollywood while her star was on the rise and relocated back to middle-America to live a more normal life. She is quite happy not acting again for the rest of her days, living with her sister, Lana, who was her hair and makeup stylist. The two are lovingly close.

Dana’s devoted nephew, Shawn, is trying to bring her into the modern world by giving her an iPad fully loaded with all of the websites she would need, as well as links to accounts devoted to her and her career. He also has a tip that Ron Howard (a huge fan of Dana’s work) is casting a new movie and would be thrilled if she would consider joining the cast. Needless to say, Auntie Dana is having none of it.

After returning from a dear friend’s funeral, they are joined by Tom and his sister Sandy, who grew up next door. While Tom is sincere and level-headed, Sandy is a whiny, self-centered bitch on wheels. It is obvious that while they have both gotten older, neither of them has ever grown up.

At Dana’s birthday party — given by Grayson, her biggest fan and dear friend — we meet Sam Snyder, an aspiring actor who can only get a job spinning a “Cash 4 Gold” sign. Afterward, Dana and Lana pick up the iPad and start playing around on it. After many drinks, Lana takes a picture of Dana laid out on the couch and posts it to Twitter noting #DanaDunnIsDone. The next morning, everyone is convinced she is dead and, of course, hilarity ensues.

Miki Mathioudakis brings Dana to life with a perfect combination of spunkiness and willfulness. Forba Shepherd crafts Lana as a devoted sister but also highlights the character’s sly, manipulative side.

John Joyner does an understated job portraying Tom as the dependable rock that is always there for everyone. Tina Nehrling plays every neurotic affectation that combines to create the psycho powerhouse that is Sandy. Sean Q does a great job of playing the loving yet driven Nephew, Sean.

Lance Gray as Sam and John B Hays as Grayson spend so much time chewing scenery and just being overall fabulous, you can tell they are loving every second that they are embodying their characters.

Still, it’s very nice to see a show in which “ladies of a certain age” are written with dignity and respect, and are more than just caricatures themselves.

This comedy by Jan White has performances Friday and Saturday (Aug. 23-24) at the IndyFringe Theatre, 719 E. St. Clair.

IndyFringe: Fairy Godmother & Associates

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This show is part of the 15th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 15-25, 2019 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By Wendy Carson

Things are looking very bleak for Fairy Godmother & Associates. They have no clients, her magic is misbehaving, and the Wolf (Big Bad, her landlord) is literally at her door demanding that if she doesn’t pay him the past due rent by midnight, she’s out on the street. Even her Associate, Sebastian the mouse, doesn’t have any ideas.

Luckily, her past client, Red (as in Riding Hood) brings her into the 21st century by setting up an online ad for her matchmaking services. In no time, a wealthy new client, Prince Charming, hires her. He is desperate to find a beautiful woman who dropped her mirror and needs her to become his bride by midnight or he may lose his crown.

While she tries to get him to understand that the search could take time, he will have none of it. He wants her and he doesn’t have time to wait — he is British, after all.

Red helps her place and ad on Facebook and while she is overwhelmed by the magnitude of responses, she does find the mirror’s owner, Ella. A meeting that evening is arranged and everything is going to work out perfectly.

But before you can say “Bibbity Bobbity Boo-Hoo” everything goes awry. Will the Prince find his bride? Will the Fairy Godmother get her money in time? Will everyone live happily ever after?

You will have to catch the show to find out. Just remember this: “Never screw with the Woman holding the Magic Wand!”

Lisa K. Anderson delights as the ever optimistic Fairy Godmother. Her spunky demeanor keeps the show light as a feather.

Kyle Kellam does an amazing job at bring the big and bad to his over the top portrayal of the wolf as a sleazy manipulator who is always on the hunt to fill either his belly or his bed.

The versatile Matt Anderson gets a chance to over-emote to the extreme as the vapidly self-centered Prince Charming.

Sabrina Duprey shows some range with her varied portrayals of Ella and her Evil Stepsisters.

The cast is rounded out by Carl Cooper who pulls double duty as the imposing voice of Ella’s enchanted mirror and the ever faithful associate, Sebastian the mouse (Squeak, Squeak, Squeak).

A Head Gap Production by Enid Cokinos, find this fairy tale at the Fringe building, 719 E. St. Clair with performances Thursday through Saturday (Aug. 22-24).

 

IndyFringe: The Last Man

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This show is part of the 15th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 15-25, 2019 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By John Lyle Belden

This sci-fi drama starts out strong, taking us down a path of eerie possibilities. 

Colin (Craig Kemp) runs into The Party Shop at a local mall, where the cheerful clerk, Delta (Caity Withers) hardly notices that his clothes are torn and he is stained with blood and grime. He insists on having some of the water and snacks from the shop, but, “Sorry sir, that’s for customers, only,” she smiles. So he says he wants to plan a party, Christmas in August, and he tells her a story of advances in Artificial Intelligence and Nanotechnology. And how in the 22nd century, out of nostalgia people built shopping malls that echoed the 20th century. And how there were AI “people” that were so convincing, not even they could recognize they weren’t human.

“That’s silly,” Delta says with a perfectly happy and helpful face.

Back in the 21st century, Erica (Alfton Shepard), a Professor of Advanced Nanotechnology, has recruited a couple of promising students, Charlie (Claire Shutters) and Bill (Manny Casillas) to help her with her next breakthrough. First, she is in need of emergency heart-valve surgery, and Dr. Toowan (Steve Jerk) assures her that the odds of failure are extremely low — but a phone message from the future is insisting she not go through with it, and that the fate of the world is at stake!

Local doctor and author L. Jan Eira panned this little thriller, which features some tech that is only a couple of breakthroughs away, and even temporal tinkering that acknowledges “time travel” has its limits. Hardcore sci-fi fans may recognize the plot beats, but it is kinda fun to play “spot the replicant.”

The acting is great, but this script really needed two full acts to explore its potential. The dynamite opening scene is followed by some good ones; then a rushed climax to a chunk of closing exposition. But it’s an interesting story nonetheless. Don’t let its weakness stop you; Fringe tickets are inexpensive, and you can say you saw it first when this story gets a bigger, better treatment — later in the 21st century.

Performances are today and Wednesday, Saturday and Sunday (Aug. 21-22 & 24-25), by the Indiana Firefighters Museum at 748 Massachusetts Ave.

IndyFringe: Is Your Brain Still Cooking?

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This show is part of the 15th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 15-25, 2019 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By John Lyle Belden

How much do you remember from your “good old days”? As people grow older, being able to retain memory is vital — and now it can win valuable prizes!

In this game show, presented by a local channel that has given up on appealing to the younger demographics, a going-nowhere actor (played by Jim Banta) is host to the titular contest, which features contestants Edmund (Dan Flahive), a retiree who keeps conversational topics on Post-it notes attached to his jacket; and Ruby Flo (Case Jacobus), a silver sinner whose hobby is being a blue-hair in blue films. She makes the most of her character’s license to say outrageous things, providing some of the biggest laughs of the show, ever frustrating the show’s producer (MaryAnne Mathews).

This is the latest by frequent IndyFringe contributor and retired Evansville journalist Garret Mathews. It is not one of his stronger scripts — at times things felt in disarray, testing Banta’s improv skills. Flahive being a talented and patient soul helps keep things anchored in his own way. Thus, this comedy is a fine example of Fringe’s function to test new material and aid the development process. Weaknesses are more than compensated by the air of nostalgia, as our contestants reach back through time and memory to tell of past places visited, things done and people loved. 

Don’t expect Tony material, but feel free to laugh, and remember — and consider for yourself: “Is Your Brain Still Cooking?” Performances are 3 p.m. Saturday and Sunday at the District Theatre Cabaret (formerly TOTS), 627 Massachusetts Ave.

IndyFringe: Orgasmo Adulto Escapes From The Zoo

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This show is part of the 15th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 15-25, 2019 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By Wendy Carson

Despite the show’s bizarre title, and being produced by locally-renowned troupe, No Exit — purveyors of edgy material and unique productions — this show is delightfully accessible to the average audience. The inclusion of a Sign Language interpreter ensures no one will be unable to experience this spectacle.

The actors involved, however, are costumed more like characters from a Doctor Seuss book but that is just to emphasize the absurdity intended by the source material.

We are directed to peruse our “Menu” and are served up a two- or three-course meal of monologues and sketches that changes for each performance. The offerings are shortened works by renowned European playwright Dario Fo and partner Franca Rame. These are portrayals of situations that, although exaggerated, still present political systems, social context, and somewhat ordinary situations that the audience can easily identify with.

In “A Woman Alone” we meet a harried wife (Carrie Bennett) who has a lot on her plate. Between a creepy and demanding brother-in-law, her baby, an abusive husband, perverted intrusions and a persistent young lover she is just trying to keep up with everyone’s demands for her time while staying somewhat sane.

“Waking Up” shows us a portrait of a woman (Andriana Zermeno) who is at her wits end coordinating her work, baby (A.M. Elliott), and husband. Her struggle to remember where she left her key offers great insight in discovering how she has become the mess we are presented with.

The final story, “Monologue of a Whore in a Lunatic Asylum” is presented almost entirely without words but relays the trials and tribulations of women whose voices were rarely heard anyway. Anastasia N. Greenberg gives a stunning performance in the title role while Elliott and Bennett embody the cold indifference of the Doctors responsible for her “care”. Zermeno makes a tiny cameo as an escaped patient witnessing the end of this tragic tale.

Again, I urge you to not be put off by the irreverent title or cartoonish look of the show. Remember, satire is meant to be exaggerated and missing these important scenes from our history is the way to realize how far women have come and how much further we have yet to go.

Performances are today through Saturday (Aug. 17-24) at The Oasis at the Murat Shrine (go in the Shriner entrance on the north side of the building, 502 N. New Jersey).