ALT: ‘Living’ not easy in award-winning drama

By John Lyle Belden

This is a story about entrapment. It is people trapped by situations, accidents, choices – even their own bodies. What you pay to deal with that is the “Cost of Living,” a play by Martyna Majok presented by American Lives Theatre at the Fonseca Theatre.

Eddie (Clay Mabbitt) seems to be stuck in the Twilight Zone. To deal with loss, the former trucker leaves texts at an old number that has mysteriously texted him back. And now, the trap has snapped on you in the audience. This isn’t the main plot point, and as we get into the next scene, we’re not even sure where what we just saw fits. Hold on, though, it’s worth working our way back out.

John (Preston Dildine) has a mind that’s making him rich, and a body with cerebral palsy that requires him to hire someone to bathe it. In a manner like pelting with stones, he questions Jess (Teneh Karimu) to see if she is of the mettle to do the undignified job. Also, he finds it intriguing that she is Ivy-educated, yet works all night waitressing at bars. 

Ani (Olivia Mozzi) really doesn’t want to deal with Eddie right now. She’s managing well enough since the accident that shattered her spine, and would rather have someone other than her ex taking care of her. But he, babbling attempts at kindness and bouncing like a hyper puppy, really wants to help. 

This Indianapolis premiere of the 2018 Pulitzer-winning drama is directed and stage-managed by ALT founder and Artistic Director Chris Saunders, who made a point of casting people with disabilities in the two chair-bound roles (their actual conditions are different than what is portrayed). Don’t look for heroic uplift from them; they portray genuine people trying to live as best they can – like those of us without wheels. This helps give the actors meat to work with, lending dimension to John and Ani that contrasts with the binds that able-bodied Eddie (mental) and Jess (economic) find themselves struggling against. 

The chemistry between Dildine and Karimu is compelling. Mozzi takes someone who is a bitter pill and makes us love her. And Mabbitt has the chops to keep a character that means well but overtalks in that likable lane between pathetic and comic caricature. 

Where will these characters be when the “bill” comes due? “Cost of Living” runs through April 30 at Fonseca Theatre, 2508 W. Michigan St., Indianapolis. Get information and tickets at AmericanLivesTheatre.org.

Catalyst raises ‘Hell’ again

By John Lyle Belden

*What if the term “soul-sucking job” could be taken literally?

* What if the dying American institution of the shopping mall resorted to desperate measures to keep itself alive?

* What if a couple of highly talented but potty-mouthed theatre people decided to make a twisted comedy musical about this?

Welcome to “Hell’s 4th Ring: The Mall Musical,” presented by Catalyst Repertory at the IndyFringe building through Feb. 25.

This is not our first visit to Hell’s Gate Mall. A 50-minute version premiered as part of the 2015 Fringe Festival. A lot of people loved it; Wendy even noted (in her review) that the show should be expanded into a full-length musical. Now at last, creators Casey Ross and Davey Pelsue bring us a full two-act version, expanded but not padded-out.

According to Dante, the Fourth Ring of Hell is occupied by sinners damned by greed. So, what better place to erect a temple to consumerism? Whether this Twilight Zone-ish place is in this world or the next is never clear, but this is the place to pick up some great bargains, and where job security takes on new meaning. Just obey the rules: No running; No leaning on the railing; and, No intimate “mingling” between employees.

Brian (Christian Condra), who is this close to selling the massaging chair, wants desperately to mingle with Sofie (Afton Shepard), who refolds clothes far more than she sells them. She believes she is only there for the summer, but Brian knows better; she will soon be full-time, forever. Meanwhile, Eric (Pelsue) doesn’t care as much for working at his Goth-accessories shop as he does trying to hook up with bodacious curvaceous Chelsea (Hannah Elizabeth Boswell). Then there’s Lee (Pat Mullen), who used to work at a computer game store but now offers bourbon chicken samples in the food court. The mall’s denizens also include a trio of Mall Rats (Jim Banta, Donovan Whitney and Sara Gable) who follow/idolize Eric and never seem to buy anything over a dollar. And then there’s Bart (David Molloy) the security guy, a cross between Doctor Strangelove and the Terminator.

Though Ross directs, the musical shows its flexibility in that the only actors from the Fringe version are Pelsue, Molloy, and Zoe Molloy as the mall’s public address voice. Yet the cast seems right at home, giving this tragic farce their all. Condra handsomely perseveres like Brad from “Rocky Horror.” Shepard smiles through the confusion like a Disney princess trapped in the wrong movie. Pelsue is the perfect mix of charm and attitude, while looking like the opening act for Spinal Tap. And as she did in Bardfest’s “Taming of the Shrew,” Boswell’s moxie and vocal skill blew. me. away. As for Mullen, let’s just say he wields a mean sample tray. The cast also includes Preston Dildine as the ghost of “terminated” coworker Dylan.

From the rockin’ tunes to the odd plot, the show balances suspense and romance with a healthy dose of silly for an entertaining experience. The mature content is mainly multiple F-bombs and some rude gestures in the choreography, so this show is for teens and up (eventually, this will only be for adults, as we’d have to explain to kids what a mall was).

Find Hell’s Gate at the IndyFringe Basile Theatre, 719 East St. Clair St. (just east of the College/Mass Ave./St. Clair intersection). Get tickets at www.indyfringe.org and info from Catalyst’s website or Facebook.