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Fringe review: Ca-Ching

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By John Lyle Belden

As you enter the Theatre on the Square main stage for “Ca-Ching: A Modern American Religious Drama” by Nomads Collective, the actors are already on stage bantering. Yes, this is one of those truly “Fringe” shows where things get kind of odd.

In between the dance breaks, we get the stories of various characters affected by today’s economic struggles: a minimum-wage worker fixated on and frustrated by how little he makes for his constant labor; a couple faced with the choice of a leaky roof or no home at all, but the man has a talent he doesn’t realize could save them; Father Jobs, an idealistic innovator dismayed at how his world-changing inventions aren’t necessarily changing things for the better; an artist who discovers Jobs’ latest device, but she finds it easier to cash in than create; and Big Spender, who seems to embody the evils of capitalism in a single man. The big guy will get you ahead in life, but you might have to debase yourself.

The presentation is unusual – maybe not for everyone – but give it a chance. In the hours afterward, as I considered what I had seen, the message and meanings started coming through. And as another Fringer told me, if the show makes you think, isn’t that what this festival is about?

Fringe review: Bromance

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By Wendy Carson

“Bromance,” by Farewell Tour Productions at Theatre on the Square Stage Two, is the story of how Kurt Fitzpatrick and Tommy (Reverend) Nugent came together to make this show. Apparently their main goal is to sell-out and/or win an award at the Orlando Fringe Festival. While Nugent is wanting to quit acting and considering a career change in Truck Driving School.

Self-depreciation, crappy Photoshop, video parodies, A literary dissection of the book “Eat, Pray, Love” are merely the tip of the iceberg. Plus, since Kurt has a microscopic scene in “Law & Order: SVU”, expect to see those 2 seconds replayed, ad infinitum.

While all of the above might sound like the show is skip-able, it’s absolutely hilarious. The laughs are nonstop and their chemistry is sheer perfection. For a solid hour of laughs and silliness, check out these guys and revel in their infamy.

Fringe review: 4.48 Psychosis

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By Wendy Carson

“4.48 Psychosis,” by Savage at Last at Theatre on the Square Stage Two, is one of those edgy, artistic shows that makes the Fringe what it is. The performance is created to give you an insight to the constant suffering of psychotics. Aparently the 4.48 of the title is a reference to the 1 hour and 12 minutes of clarity that she experiences.

My best take on the production was, What if William Shakespeare wrote “One Flew Over the Cuckoo’s Nest”?

While the show’s disjointed narrative is necessary to drive whatever story that exists here, difficult and challenging are the best descriptors I can come up with. Plus, it has the strangest, most awkward ending I’ve ever experienced.

This show is not for everyone, but it is a powerful experience for anyone who attends. If you do add this to your schedule, I strongly suggest that you schedule a light comedy afterwards to keep our brain from being overwhelmed.

Fringe reviews: Thursday, Aug. 13

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Reviews of IndyFringe 2015 performances by John Lyle Belden and Wendy C. Carson. Includes: “Auditioning for Swan Lake” by Lou Ann Homan (Maggie Mae Productions); “Home Grown Original” by Band O’ Leers; “Mr. Boniface, the Wise” by KT Peterson; “My Sister Diane: A Story of Hope, Humor and Hospice” by Jim May, Storyteller; “Not My Baby!” by Dreadmelon Productions; “Tipped & Tipsy” by Jill Vice. All but “Tipped…” are at the IndyFringe Theatre.

Auditioning for Swan Lake (review by John)

Storyteller Lou Ann Homan starts us off with an Estonian fairy tale, which alone is nearly worth the price of admission, and helps set the theme of this story of stories about dance.

Homan always wanted to be a dancer, but she grew up Baptist. When an AARP bulletin says that the three ways to preserve memory as you age are learning a new language (took that in high school), learn an instrument (piano, got that covered) and learn to dance (oops!), she seeks to express her inner ballerina. She finds an adult class, and after a few months has the desire to try out for a local production of “Swan Lake.” Where lack of raw talent or actual ability might fail her, she’s sure to persevere with her knack for telling stories – right?

No matter what her ballet judges thought, Homan wins us over with her true tales of how she “almost danced” on skates, how a Saturday night dance helped save her son’s life, and how sometimes what you need isn’t in the flash cards. If you’re in the mood for stories spun with heart and humor, this is definitely a show to check out. Wearing a tutu is optional, but she’ll have hers on.

Home Grown Originals (review by John)

Let us simplify your expectations. Ironically, this show stretches the concept of a “Fringe show” by not being edgy or avant garde or having some odd agenda. It’s straightforward a group of eight friends playing some really good Hoosier-made music.

Alex “Tunesmith” Murphy recently wrote a bunch of songs, then recorded them with his ensemble, the Band O’Leers. Now he presents these rockabilly-country-blues tunes on the IndyFringe Basile stage, featuring vocals by Murphy, Tim Spradlin and Lori Ecker.

It’s an entertaining crowd-pleasing set, featuring oughta-be-hits like “Kiss Me Like You Mean it,” “Future Ex-Wife” (feel free to sing along on the chorus) and “You’re only Human if you Try.” If guitars and a corny joke or two are your bag, head on over and give them a listen.

The CD of the songs will also be available, featuring vocals by local legend Karen Irwin.

Mr. Boniface, the Wise (review by Wendy)

Zany doesn’t even begin to describe the characters in this play. In fact, the titular character, Mr. Boniface — a goat-man who lives in the youngest child’s wallpaper and tells her what to do – is the most normal one on display.

We have: the aforementioned youngest child, Gerty, who may be either schizophrenic or just a clairvoyant genius; Angora, a certified scientific genius, who is so bored with the level of education at her school, she has been expelled for her little pranks against the other students; Inga, their harried, narcoleptic mother who is determined that Angora get back into school so that she can succeed at fulfilling her scientific potential; and Mr. Capshaw, Angora’s science teacher, who is madly in love with her and her brain – so much so, that they plan to fake their own deaths and run of to Wisconsin so that she can be part of a pig-cloning team.

Needless to say, hilarity ensues throughout the show as everyone tries to get what they want, and it seems that only Mr. Boniface will persevere.

While Mr. Boniface’s Presidential bid was never revealed to any of us during the play (the actors are distributing campaign stickers around the festival), I hope to eventually hear more of his platform as he seems to be one of the more reasonable possibilities for the 2016 ticket.

So, for a wacky, fun time enjoy this little insight into a family that will make yours look totally normal.

My Sister Diane (review by John)

Jim May warms us up with a little about his Catholic boyhood (including how “genuflecting” spelled backwards is pronounced) and his life as a professional storyteller.

Then he relates the story of an autumn 14 years ago, when, while working on a new telling of “Noah’s Ark” he is struck by a flood of another sort, no less devastating: His sister, the sibling he had been closest to growing up, has cancer. He and other family members fly out to see her, and talk with doctors who reveal that there is little to no hope for remission or cure. Then, the tale turns to the soothing miracle of hospice, as Diane gets to fade away in comfort with the people she loved.

A story that should have left us all in weeping puddles on the floor instead becomes uplifting and inspiring in May’s masterful hands. Instead of mourning, we celebrate the passing of a beautiful soul with one who truly loved and admired her. And for those with end-of-life decisions on their minds, the narrative provides an excellent overview of hospice care.

Not My Baby! (review by Wendy)

A man is on death row for killing a police officer. He and his family are doing everything they can to get his sentence overturned. The twist: The police officer in question was a K-9 who looked like just another dog and was attacking the man’s sister. The simplest solution would be for his sentence to be commuted to life with no parole, but since the Governor is eyeing a run for the Presidency, his “Hard on Crime” platform prevents him from showing any compassion to this man’s plight. While the helplessness of all involved overweighs the plot, the family dynamic is what this show is really about.

G-maw adds some much needed comic relief as the matriarch of the clan. However, the true standout of the bunch is little Adeesa. With her Jester’s hat of a hairstyle and idiot-savant shifts from utter nonsense to brilliant clarity, she provides insight on the true path of salvation for all the characters in this comic drama.

While it’s true that the specter of death and tragedy hangs solidly over everyone, the overall love and hope displayed by this troubled group makes the whole story resonate with everyone. Despite the dour subject matter, there is a good amount of comic relief to prevent the audience from being overwhelmed.

While I will admit that this show had not been one of my first choices to see at the Fringe this year, I am grateful to no end that it made it onto my schedule. I look forward to seeing more productions from this group and expect them all to be gracing more of our community stages in the future.

Tipped & Tipsy (review by Wendy)

Jill Vice puts on a whirlwind one-woman performance in the story of Candy, the bartender at Happy’s Bar, and her regular customers.

Among the patrons we meet Pat, the homeless, alcoholic ex-boxer; Ace, the muscle-headed, tough guy who has a crush on her; and Rico, the disco ladies-man, who is also “The owner of this place.”

She shifts from one person to another with such ease you almost forget that she is alone onstage inhabiting these characters. Everyone’s stories are woven together into a rich tapestry portraying the family dynamic that comes from people habitually sharing the same space.

Like a shot of tequila, the results are more bitter than sweet, but the brutal honesty of these lives and their reasons for seeking out alcohol to help numb them to their failures is a revelation to behold.

The show is certain to be a buzz-worthy crowdpleaser. However, while the intimate venue of Theatre on the Square’s second stage highlights the story perfectly, once the word gets out, you might not be able to get a table, so reserve your seats quickly.

Oh, and don’t forget to always TIP YOUR BARTENDER.

Fringe, Fair and Fava Beans

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The IndyFringe festival gets under way with the free preview today (Wednesday) and lots and lots of excellent little performances Thursday through Aug. 23. Watch this site, our Facebook page and our Twitters (@PenGwenity and @IndyBeldar) for reviews through at least the first weekend.

The Indiana State Fair continues, also through the 23rd.

Note that the Phoenix Theatre will not be participating in the Fringe this year. Instead, they open “Silence: The Musical.” This silly satire of “Silence of the Lambs” runs through Sept. 13.

– See you in the audience!

Review: When the world becomes Springfield

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Bart Simpson of the 22nd century (portrayed by Ryan O'Shea) in
Bart Simpson of the 22nd century (portrayed by Ryan O’Shea) in “Mr. Burns: A Post-Electric Play” at Indy’s Phoenix Theatre. — Phoenix Theatre photo

By John Lyle Belden

Throughout mankind’s history, we have been storytellers. Imagine how it will be for us, saturated in pop culture as we are, if the “stories” of television and movies suddenly stop.

In the near future, civilization has collapsed. There are rumors of plagues, radiation zones and endless fires. Survivors keep lists of loved ones and ask each stranger they meet about them. But, above all, the most important thing that must be known is: What was it that Sideshow Bob said to Bart Simpson in that “Cape Fear”-inspired episode?

Welcome to the brave new world of “Mr. Burns, a Post-Electric Play,” on stage through Sunday at the Phoenix Theatre in downtown Indianapolis.

In a dark forest shortly after an unnamed apocalypse, a band of survivors, played by Eryn Bowser, Paeton Chavis, Paul Collier Hansen, Jen Johansen and Eric J. Olson keep their minds occupied by recounting a favorite “Simpsons” episode. A new stranger, played by Rob Johansen, suddenly joins them. Suspicions fade as he remembers the scenes and dialogue that the others forgot. A bond forms.

Years later, Ryan O’Shea joins the group as they are one of many bands of actors roaming the land, keeping culture alive via stories of fabled Springfield. Human creativity mixes into this scene, adding and modifying lines of the scripts. In the second act, we jump ahead a couple of generations to see what this new storytelling tradition has evolved into.

The play, by Anne Washburn, is an entertaining commentary on our media-addicted culture. It’s interesting to see how humanity comes to value something so inspired by and a parody of other works while discarding and forgetting those things that came before, the things that gave the animated comedies their substance. Then, to see what today’s reruns become after so many hands have meddled in their portrayal makes one wonder what Shakespeare would think of all the liberties taken with his works today.

This professional cast handles this work expertly, from the fear, confusion and search for connection in the first act to the avant-garde absurdity of the bizarre “Mr. Burns” episode in the second. You do not even need to be familiar with “The Simpsons” (or “Cape Fear” or Gilbert and Sullivan) to follow and enjoy this play, especially considering the end product is likely unlike anything in Simpsons-creator Matt Groening’s wildest dreams.

Find the Phoenix at 749 Park Ave. (corner of Park and St. Clair near Mass. Ave.) in downtown Indy. Call 317-635-7529 or see www.phoenixtheatre.org.

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Also published in the Aug. 6 edition of the Greenfield Daily Reporter.

Review: Hitchcock, hilarity and ice cream

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By John Lyle Belden

The downside to classic old films is, well, that they’re old. There’s a good chance you’ve already seen them, maybe more than once, or at least have heard about them so much that you know their plots, including the “spoilers.” This is especially problematic for mystery thrillers, which rely on you getting surprised by that twist near the end.

To keep them entertaining, the trick with such well-worn stories is how they’re told. Case in point: Patrick Barlow’s manic re-imagining of master of suspense Alfred Hitchcock’s classic, “The 39 Steps.” This London and Broadway hit is now playing on the stage of Carmel Community Players in the Clay Terrace shopping center.

The dramatic elements of Hitchcock’s movie are still there: In 1930s London, a man attending a performance by “Mr. Memory” meets a mysterious woman who insists she go home with him, then reveals she is being followed. During the night, the woman is murdered and the man is on the run, trying to clear his name. All he knows is that secrets are about to be taken out of the country, and that the espionage involves a master spy with part of his finger missing and something called “The 39 Steps.”

So, that’s the plot, but even if you know all the answers, it’s still worth both your time and your dime (actually a bit more) to see Barlow’s version, brought to life by central Indiana actors Jay Hemphill, Libbi Lumpkin, Neal Eggeson and Craig Kemp, under the direction of Lori Raffel.

The delivery of the story’s scenes rely more on slapstick than suspense, combined with wink-to-the-audience use of stagecraft, where chairs become cars; trunks become trains; curtains and windowshades just hang in midair where needed; and a supporting actor inhabiting two roles slyly converses with himself.

Eggeson and Kemp are identified in the program only as “Clown 1” and “Clown 2,” nimbly taking on all the roles of people encountered by our hero, Richard Hannay, played dashingly by Hemphill. Both Clowns bring the funny as they propel the plot forward, including Eggeson’s gender-bending turn as a Scottish inkeeper’s wife, Kemp’s entertaining portrayal of Mr. Memory and the goofy chemistry between them as the thugs in pursuit of our hero.

Hemphill plays a Hannay who is at times blusteringly confused as to what is going on, and at other moments a little self-aware that he’s the hero of the play, balancing this dance with our expectations and the fourth wall perfectly.

Lumpkin – a fierce balance of beauty, brains and bravery – fills the pumps of both the murder victim and the woman Hannay ends up handcuffed to during one of his escapes. Even at her most irritating and irritated at the other cast members, she never loses her charm with us.

Aside from our foursome, credit must also be given to stage manager Mark Peed, whose necessary interventions add to the magic rather than distract. And watch for references to other Hitchcock classics hidden in the story.

Another fine feature at CCP is the availability of ice cream at the concessions during these hot summer weekends. “Alfred Hitchcock’s The 39 Steps” plays through Sunday at 14299 Clay Terrace Blvd., Suite 140, Carmel. Call 317-815-9387 or visit carmelplayers.org.

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Review also in July 30 edition of the Greenfield Daily Reporter.

Fun, Fun, fun

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If you thought there was trouble in River City before, just wait until this cast gets done with the classic musical when Buck Creek Players' Play-A-Part Fundraiser presents
If you thought there was trouble in River City before, just wait until this cast gets done with the classic musical when Buck Creek Players’ Play-A-Part Fundraiser presents “The Music Man” for one wacky weekend. — BCP photo

Cue music: “It’s the most wonderful time of the year…”

No, it’s not Christmas season already (though watch for decorations at the stores in a month or so), for folks like us who enjoy plays and playing games, August provides a bursting cornucopia of fun.

Yes, theatre friends, IndyFringe is almost upon us, but first…

This week, starting Wednesday (today, if you’re reading this on July 29) is the GenCon Game Fair, the world’s largest convention devoted to games, those who play them and those who make them. More than 60,000 happy nerds will overrun downtown Indianapolis, centering on the Indiana Convention Center, though many activities will be in nearby hotels and Union Station. If you are unfamiliar or don’t have much money to throw at this extravaganza, there is discount admission on Sunday, for Family Day (though the whole event is family-friendly).

Another note: The hallways of the convention center and hotel lobbies are open to the public. So, if you want to see and (respectfully) admire the many costumes attendees will be wearing, that doesn’t have to cost you a thing. However, the eye candy – while it makes good TV footage – is only a small fraction of the scene. If you like board, card, strategy or party games at all, you really need to get into this convention.

As for plays opening this weekend, we highly recommend fun of a different sort: The Buck Creek Players Play-A-Part Fundraiser production of “The Music Man.” The roles were all cast by winning a silent auction, with no requirements of age, gender, experience or even talent. Fortunately, director Scott Robinson levels the playing field by making the show an anything-can-happen live comedy in the tradition of TV’s classic “The Carol Burnett Show.” The result is highly entertaining, and the funds raised help with building improvements at this all-volunteer community theater. There are just four performances, Friday through Sunday, which are likely to sell out. Hit up the website or call 317-862-2270.

Sunday sees the return of the monthly experience that is “Going, Going, Gone” at Theatre on the Square. Co-creator Lou Harry has announced that, in honor of GenCon, the items bid on (which audience members get to win and keep) will be nerd-themed, as will be the cast, led by ubernerd (and Angel Burlesque MC) Jeff Angel. Also, wear a GenCon badge to the show, and get extra play money to bid with. Go, Go, Go, and quick, before the seats are gone!

– See you downtown!

Review: Say yes to the dresses

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The Cast of Theatre on the Square's "Love, Loss and What I Wore" by Nora and Delia Ephron, playing on the TOTS Second Stage through Aug. 1 -- TOTS photo by Abdul-Shaheed
The Cast of Theatre on the Square’s “Love, Loss and What I Wore” by Nora and Delia Ephron, playing on the TOTS Second Stage through Aug. 1 — TOTS photo by Abdul-Shaheed

By John Lyle Belden

A local production of “Love, Loss and What I Wore” by Nora and Delia Ephron returns to Indianapolis, now playing at Theatre on the Square (the first production was a couple of years back at the Phoenix) and is, again, a funny and heartwarming little show about how our wardrobe links to our memories.

The play is mostly a set of monologues performed by five women. In the center is Adrienne Reiswerg as Gingy, the central recurring character who has lived a full life and, to remember it, has made drawings of the various dresses and outfits she has worn along the way. As stage manager Stacy Ricks hangs the drawings up behind her, Gingy relates the story behind each garment.

In addition, Rhoda Ludy, Miki Mathiodakis, Lucinda Phillips and Bridget Schlebecker portray numerous characters – mothers, daughters, sisters, fiances – who remember boldy and fondly a certain dress, or bra, or shoes, or even finding a unique purse.

The delivery brings out a lot of laughs – “You’re not wearing that, are you?” – as well as a few tender moments. It will no doubt also stir up some memories of your own favorite item.

You don’t have to be female or fashion-obsessed to love this show. The well-crafted script is in very able hands on the TOTS Second Stage. But if clothes are your thing, you simply have to see it.

This production runs through Aug. 1 at 627 Massachusetts Ave.; call 317-685-8687.