play

Fringe review: I’m Not Gay

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By John Lyle Belden

Senator Bobby insists, “I’m Not Gay,” but in this comic drama by Matthew Barron, presented by Submatter Press at the Marrott Center, no one believes it. The press seems to prefer taking the word of the man he was sleeping with.

Russell Lee Watson plays the Indiana Senator, who doesn’t understand why no one believes him. He’s sure that all men have his urges, but since being gay is wrong, they just suppress them better than he does. This is frustrating to his wife Margaret (Kerra D. Wagener), who accepts him regardless, and his closest advisor George (Aaron Cleveland), who has been in love with him for years.

These characters struggle to sort out how they feel and what they mean to each other, generating quite a few laughs on the way. Daniel Klingler rounds out the cast as gay bar worker Billie Joe, who dispenses much-needed wisdom as only a way-out-of-the-closet bartender can.

The play doesn’t come down too hard on hypocrisy or the state of politics today, focusing on the very human struggles of three personalities stuck in a world where appearances are everything and you are only as good or relevant as your last soundbite or headline. Between these actors’ performance and Barron’s words, they actually make us feel for a conservative blowhard; yet that may not be a bad thing.

Fringe review: Speedthru

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By John Lyle Belden

For those who tread the boards, acting can be a stressful business. Even during rehearsals, when someone doesn’t show, it’s a hassle working around the missing person and getting those lines down. For this company, portrayed by Eclectic Pond’s Matt Anderson and Kate Homan, no one else in the cast of “The Importance of Being Jeff” has shown up – but theatre company board members have, and they want to see a run-through of the show. This is further complicated by the fact that the two actors didn’t pay much attention to the script beyond their small parts in the third act.

This sets up the “Speedthru,” playing at Firefighter’s Union Hall, in which the two play all the roles as best as they can recall them – and it’s not like anyone else has read this obscure play – as fast as possible before the folks paying for this show catch on that they don’t know what they’re doing.

Homan and Anderson show immense talent, as it takes a lot to look like you’re just winging it and still be entertaining. This slapstick quick-change farce, with wry commentary on classical plays thrown in, is a treat for all audiences ages teen and up, but especially for thespians who remember being in similar binds themselves.

Fringe review: Interrupting the Sermon

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By John Lyle Belden

“Interrupting the Sermon,” presented by First Hand Theatrical at Musician’s Union Hall, commemorates the late Wayne C. Olson, a minister who had congregations in New York state and Indianapolis, portrayed by his son Kevin Olson as well as John Kohan and Perry Hunt.

The show combines poetry, true stories and a sermon, all written by the elder Olson. The message, “My Bible: Then and Now,” is set up with “interruptions” of recollections from his life or verses of his poems. He tells of being awed by a dying girl’s enthusiasm for her faith, and appalled by the treatment others give an AIDS patient who seeks his help. And he relates how his dealings with others always have lessons for him, especially in how he relates to the scriptures on which, as a minister, he is expected to be an expert.

“Sometimes there is more grace and forgiveness outside the church than within it,” Olson muses, as he grapples with what that means in the bigger picture of his sacred mission.

This celebration of life and faith inspires and challenges us – as a good sermon should. Yet it’s not too “preachy” – no fire-and-brimstone or altar call. Kevin Olson does his father proud, and Kohan and Hunt smoothly stitch the show together into a satisfying whole.

Fringe review: Cocooned in Kazan

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By John Lyle Belden

Inspired by Ukrainian author and satirist Nikolai Gogol, British troupe Royal Kung Foolery presents “Cocooned in Kazan,” playing in the Marrott Center, the story of a ladies’ man in 19th-century Russia who finds he must settle down and marry to inherit his parents’ estate. But this requires going to his little home town of Kazan, where all the women know him, and not fondly. So Konstantin instead pines for newly-arrived Katya, while his maid, Tatiana, has her eyes on him.

This results in a lot of comic situations and creative physical humor, helped along by occasional anachronism and several fourth-wall moments. Yet as manic and goofy as things get – even when a character walks offstage to share a drink with an audience member – the story never falls apart.

This is easily one of the most entertaining shows of the fringe, and a great example of how wonderful it is to draw in such international acts.

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.