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Fringe review: Breakneck Hamlet

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By Wendy Carson

Tim Mooney has become synonymous with the Shakespearean soliloquy and for good reason. He has memorized so many of them and can spout them off the top of his head so quickly it can make your head spin.

In “Breakneck Hamlet,” playing at the Musician’s Union Hall, he deftly breezes through the bog than can be four-plus hours of the Bard’s best, giving us a rollicking version of the classic tragedy of “Hamlet” in just under an hour.

While he does gloss over a lot of the often tedious plot, all of the great speeches therein are saved and presented with such passion and skill that you will wonder why this is not the standard presentation of the show. In fact, if all of Shakespeare’s works were taught like this in schools, I feel that students would find it much more identifiable and embrace the works delightedly.

Whether you enjoy the play or not, you must do your best to see this craftsman’s work and behold his genius. It will have you reevaluating your feelings towards this great catalog of words and hoping that Mooney will return to enthrall us with more works like this.

Fringe review: Top Shelf

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By Wendy Carson

If you like the Comedy Central show, “Broad City,” or popular female comedians like Amy Schumer, then “Top Shelf: Our Last American Tour Again” (by Indy-based Betty Rage employing British accents) at ComedySportz is the show for you. It can best be described as resembling a punk rock tribute to the hard-drinking, zany characters of “Absolutely Fabulous.”

The band is playing a rocking concert and constantly berating their poor roadie, Cooter. Their characters are fun and typical of what you’d expect. However, their songs are not only hilariously funny, but rather catchy. You will likely find yourself humming bits of them later on in the day.

In fact, my biggest criticism is that they had not recorded a CD of the songs as I would really have liked to have purchased it not only enjoy again and again, but also to introduce others to the fun they missed.

Fringe review: The Shout

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By Wendy Carson

In “The Shout,” presented by In the Mix at the Marrott Center, two female activists are all who remain of a major protest. They have committed to stay, and shout every 15 minutes at the house of a cop who shot an unarmed young man, but are beginning to wonder if their efforts are still worth anything.

Meanwhile, a rookie officer has been watching them for them past few weeks to ensure they are operating within the law. Since he is considered by his law enforcement to be “too nice,” he has been told that if he can’t get rid of them and stop their protesting that he will be fired.

Both sides here are trying to do what they believe in and it seems that one of the women has developed feelings for him, while he is more interested in the other one.

However, when one protester finds out that he might just be acting nice to prevent them from following through, she pulls out all of the stops. What happens next shows everyone for who they truly are within themselves.

The show is a movingly insightful glance into the base nature of each person, and what they are willing to do for their beliefs.

Fringe review: Men’s Room

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By Wendy Carson

“Men’s Room,” by Mayday Productions, playing at the IndyFringe Indy Eleven Theatre, is the story of one day at a local commercial jingle factory and the struggles to not only keep the firm afloat but also to succeed in fulfilling each character’s respective dream.

The cast is outstanding and will keep your rolling with the requisite “bathroom humor” you would expect in a show with this title. While you will plainly see the final punchline to the story coming a mile away, the actor’s embodiment of the various characters keeps you enthralled throughout.

This is a perfect accompaniment to some of the Fringe’s more surreal and dour offerings in order to balance strong drama with much-needed laughter. One note though: This show has been playing to packed houses, so you should purchase your tickets in advance to make sure you get in.

Fringe review: The Invisible Man

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By Wendy Carson

The Homeless. We see them on the streets, but we disregard them as “bums” and ignore them as if they are invisible.

But do we ever stop to think how they came to this place? Are they disgusted by where they have ended up? Have we all forgotten compassion and can’t realize that these are people the same as you and me?

These questions are highlighted in “The Invisible Man” by What’s in a Name? Company from the island nation of Mauritius, playing at the Firefighters Union Hall.

This is the dramatic story of one man’s journey from a successful businessman to living on the street, begging for a few coins and eating out of a dumpster. The deft telling of his proud, sad, haunted, but hopeful plight is artfully crafted and beautifully conveyed without ever being heavy-handed or judgmental – which makes it all the more tender and bittersweet. Remember: No one chooses this as a career goal, and we all have the potential of being there, too.

This is a great show that, like many other shows in the Firefighters Hall, deserves a bigger audience. Please seek out this venue and support the shows performing here. They are truly worth your time.

Fringe review: The Eulogy

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By Wendy Carson

Warning: Do not drink anything during this show, as you will likely spit it out on your fellow patrons from laughing hysterically. Also, make sure you visit the restroom before the performance as you may need to avail yourself of it during the show, and the “no re-admittance” policy will break your heart.

In “The Eulogy,” at the Musicians Union, IndyFringe newcomer Michael Burgos deftly spins from one character to the next as they all give their personal eulogies at the less-than-somber occasion of the funeral of “Thomas.”

It would appear that the deceased was not only a glutton (he ate 14 friend eggs every morning) but a thoroughly despicable human being that no one is sorry to see go.

The audience becomes the various mourners at the funeral, including his lovely wife whom at least one of the eulogizers has apparently been in love with from afar. This leads to a turn of events that are straight out of a cartoon (I was honestly surprised that I was not actually watching Bugs Bunny carrying out this revenge on Elmer Fudd).

Funny is too weak a word to describe this show. In fact, there are no words to tell you how wonderful it is. I do warn you that it is entirely possible you could hurt yourself laughing at this, but your pain would be worth every second of delight you experience. This show is one that you do not want to later regret that you missed out on.

Fringe review: Drosselmeyer’s Magical Bedtime Story

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By Wendy Carson

One never knows what to expect when No Exit brings a show to the Fringe, except that it will be entertaining, to say the least. And this offering, “Drosselmeyer’s Magical Bedtime Story,” playing at the Marrott Center, does not fail to follow through on that promise.

Anyone who has seen the company’s amazing production of “The Nutcracker” will be familiar with the titular character, based on the magical toymaker in the holiday story. However, for those of you who have sadly missed the experience, suffice it to say that the word “character” cannot even begin to describe him.

His gypsy troupe enters the stage area and begins their bizarre performance in a manner reminiscent of the animal parade from “The Lion King.” Once he introduces himself and his somewhat simple-minded assistant, Sparkle, we all discover that she is now with child. Drosselmeyer has concerns about her parenting abilities, and enlists the help of various audience members to instruct her on parenting basics with the help of his new dancing troupe, The Mosquito Ladies. Needless to say, hilarity ensues.

This show is delightfully irreverent and managed to surpass my already high expectations of its content. A definite must-see for those looking for the lighter side of edgy and unique theatre.

Fringe review: The Yellow Wallpaper

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By John Lyle Belden

Based on an 1892 short story, “The Yellow Wallpaper,” presented by Earlham Theatre Department at the Marrott Center, tells of a woman confined for a “rest cure” in an upstairs room with bars on the windows and apparently a hideous pattern on the walls.

Our subject and narrator is presented by three actresses simultaneously, demonstrating her slowly fracturing mind. She starts to see odd, changing patterns in the wallpaper, eventually becoming sure that a woman is trapped within. At the back of the stage is a yellow wall, with subtle markings within its chaotic pattern that has us in the audience sharing in the growing madness.

The woman’s husband and physician, “John,” is a disembodied voice. This makes him seem at first godlike, but reveals him to be more distant and (despite or due to the state of 19th-century medicine) clueless until it is too late.

This haunting early classic of feminist literature, with elements reminiscent of H.P. Lovecraft, clocks in at around 30 minutes, yet is intense enough to be worth your ticket. You could use the extra time to get something to eat before the next show – just, wherever you go, don’t look too closely at the walls.

Fringe review: Whisper in My Good Ear

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By Wendy Carson

“Whisper in My Good Ear,” by Vintage Players at the IndyFringe Basile Theatre, is the story of two old men overwhelmed with the hardships of their lives. Charlie’s wife has been institutionalized for 34 years and shows no signs of improvement or even any recognition of who he is. Max has lived a lonely life in which he would call random phone numbers just to hear another person say, “Hello” to him.

Since their outlooks are so bleak, they have made a pact to meet in this park and end their lives together. We are therefore witnessing the final conversation of their bleak existence.

In the hands of these two brilliant actors, this drama is uplifted into a level of brilliance that supersedes the dour subject matter. Lawrence Ripp brings a tender, joviality to Charlie and his hopefulness even in the face of his slow loss of everything that he loves in his life. Patrick O’Brian’s introspective take on Max and the unadulterated loneliness of his life makes his character’s sorrow even more poignant.

Watching these two seasoned actors bring this story to life is a delight that should really not be missed.

Fringe review: Orange is the New Black Keys

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By Wendy Carson

From the group that brought you last year’s “Shame of Thrones,” this year’s offering, “Orange is the New Black Keys” by host ComedySportz Indianapolis, is a zany send-up of a certain Netflix sensation.

However, since the actors are taking their cues from and utilizing lines provided by the audience, this show is exactly as funny as you make it. If you’re planning on going, start thinking up outrageous things for them to say. Some of the highlights from my show were, “Kiss me like I’m Greg Brady and you’re Florence Henderson,” and a soulful ballad about Jon Benet Ramsey. Also, it would seem that at least one of the cast has no idea of how to perform an Irish accent, much to the delight of everyone in attendance.

Whether you are a fan of the parodied series or not, the show will have you laughing hysterically the entire time. The show is a welcome respite from some of the darker offerings available and highly recommended as a “palate cleanser” to keep you going throughout the week.