race

Statement of Values

PWJW_Indy Stage , , , , , , , ,

By John Lyle Belden and Wendy Carson

Being entertainment writers, it should matter very little where we, John and Wendy, stand on any issue beyond the edges of the stage. Still, the dramatic arts are culture, easy ammunition for a “culture war.” So, we feel it appropriate to state openly what subtle, unavoidable bias could influence our work. In addition, we’ll note our feelings on issues affecting people we work with and around.

Several months ago, one of our reviews inspired someone to call us “woke” – an odd term for an insult or reprimand, its meaning warped to be practically useless for civil discussion. We believe that the arts, including drama, comedy, musicals, and dance, are meant to awaken the senses and bring awareness – of beauty, absurdity, injustice, whatever.

Creators, directors, and performers bring their points of view. From ancient Greeks, to Shakespeare, to today’s new works, they all “say” something. Otherwise, what’s the point? It would be absurd for us to ignore these themes in our writing. Our approach avoids critiques that only tear artists’ work down; we strive to inform readers what the production is (without explicit spoilers) while praising its notable aspects.

With recent and current events, our concerns extend beyond the stage. Regardless of a show’s content, many performers, crew and staff live with issues of race, ethnicity, LGBTQ+, or personal liberty – parts of their lives that people in legislative or court chambers discuss with disturbing regularity. We are not shy in our support of the “theatre family,” especially as many find there a closer bond than their own kin.

In matters of race and ethnicity, we strive to grow beyond our “whiteness,” to listen and take on the know-better/be-better mindset. A diversity of voices makes our theatre scene that much richer, and we encourage them as much as we can.

Given the wide participation of LGBTQ+ in the creative arts, we can’t fathom being homophobic in this space. The stage has long given shelter to those who don’t feel comfortable away from it.

Trans expression is as old as theatre itself. However, we understand that for many it is not a costume, it is their lives. We are concerned by slurs and slander passing as news and political stance. Walk in our shoes and meet people as wonderful and complex as any others, just as human and needing to live their own lives.

We know it is too easy to say, “I’m an ally,” but for the sake of our friends, relatives, and society in general, we strive to live with an attitude of love and support.

History’s flow through Black communities explored in ‘Riverside’

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

The Indianapolis Shakespeare Company, a/k/a Indy Shakes, understands you don’t have to look across the Atlantic for a compelling timeless story. In fact, their current world premiere, “Riverside” by M.L. Roberts, takes place in part on the very ground where it is being performed.

Executive Artistic Director Ryan Arzberger said Roberts underwent extensive research and numerous interviews with people who have lived in the area for decades in the African-American communities in and around Indianapolis, then created a chronicle of a family whose legacy runs through both Indiana and Black history, a well-informed historical fiction and relatable human epic.

A talented and dedicated ensemble play all the parts, from the eternal River that predates the red, then white and black, people who settled here, up to the cusp of present generations in the 1960s. They are Olamide Asanpaola, Kayla Carter, Terra Chaney, Holiday, Malik James, Akili Ni Mali, Ed Gonzalez Moreno, and Milicent Wright, with Jamaal McCray, Josiah McCruiston, and Clarissa Todd as swings. Rudi Goblen directs.

In 1821, there is a settlement of free African-Americans on the White River, led by church Pastor Simon (Moreno) and Sister Sarah Johnson (Carter), who is knowledgeable of the law and whom in the nearby new city of Indianapolis will uphold it. One day, Jacob (James) happens upon the town; he is technically “free” but his white “Massa” who brought him up from Mississippi to work a new farm near Lafayette has him under an unreasonable contract of servitude. After a dramatic standoff, Jacob gains his physical freedom, but it takes time, and Sarah’s gentle patience, to break the chains in his mind and spirit.

The Johnson family that starts on the River follows it down into the heart of Indianapolis, where we find them on legendary Indiana Avenue in the 1920s. Times seem good, but peace is fragile and short-lived, as are some of the neighborhood residents.

As turbulent times follow, Johnsons move upriver to the growing community of Riverside, home of today’s park (and Taggart Memorial Amphitheatre, where this play is presented). In 1962, there is a popular amusement park there, posted Whites Only. Grudgingly accustomed to the culture of segregation, local Blacks take advantage of the singular “Colored Frolic Day” at the park – except for the Johnson children, who at least attempt a protest.

Peppered with humor, music, spirit, and hope, while never afraid to confront the darkness, “Riverside” presents an endearing portrait of a family, a people, and their well-earned place in this American city we call home. The performers help us not just see but feel how the rivers of water and time have brought us to where we are today.

“Riverside” is presented 8 p.m. Thursday through Saturday, July 25-27, at 2441 N. White River Parkway, Indianapolis. Performances at this beautiful outdoor venue are free, with paid VIP seating available. Either way, reserve a ticket to help with headcount for this not-for-profit organization. For more information, visit IndyShakes.com.

NAATC mounts top quality ‘Black Bottom’

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

Decades after its local premiere at the old Phoenix Theatre, August Wilson’s “Ma Rainey’s Black Bottom” returns on the Phoenix Theatre Cultural Center main stage, presented by Naptown African American Theatre Collective, directed by Edan Evans.

The one play of Wilson’s “Century Cycle” not taking place in Pittsburgh, the setting is a Chicago recording studio in 1927, where the “Mother of the Blues” is set to record some hits before heading back South. Note that while the events are the playwright’s conjecture, inspired by an old recording, Gertrude “Ma” Rainey (1886-1939) was very real and larger than life.

First to arrive to check the set-up are the studio manager Sturtevant (Patrick Vaughn) and Rainey’s manager Irvin (Scot Greenwell). Soon the musicians arrive: pianist Toledo (Bryan Ball), Cutler (Ben Rose) with his trombone, Slow Drag (John Singleton) with his stand-up bass, and young trumpet player Levee (Xavier Jones), who has ambitions of starting his own band eventually. While they wait for Ma, we get to know them as they rehearse. They’re no-nonsense and used to doing it “Ma’s way,” except for Levee, who even has his own arrangement of the title song.

Finally, Rainey (Alicia Sims) does arrive, accompanied by her nervous nephew Sylvester (Jy’ierre Jones), companion Dussie Mae (Selena Jackson), and a policeman (Doug Powers) whom Irvin has to pacify to ensure the recording session continues. Little else will go smoothly this day, while it is made plain that while this is Sturtevant’s studio, Ma Rainey is in charge.

Much of this play focuses on the men in the band, which was wise of Wilson as keeping such a force of nature as Ma at center stage throughout would have essentially made this a one-woman show. If there is a fiercer adjective than “fierce,” that’s what describes Sims’s performance. By this point a veteran performer and recording artist, Ma knows her worth, is hair-trigger aware of disrespect (especially by white folks), and thus absolutely no one to trifle with. Her sense of Roaring Twenties sexual liberation is unabashed, from her fondling of Dussie Mae to turning the Black Bottom (a dance that at the time rivaled the Charleston in popularity) into a double entendre.

Those playing the band smoothly embody individual quirks. Ball has Toledo wax philosophical in a conversational manner that still gives him the last word. Rose, in his cool Cab Calloway haircut as Cutler, plays it loose, going along to get along, but draws the line when you mock his faith. Singleton also takes it easy as fun-loving Slow Drag (the name gets explained). Xavier Jones plays Levee in all his complexity: brash and bold, yet naive; quick to smile or to anger; boyish looks on a man who has, we discover, dealt with unspeakable pain.

Also notable is Jy’ierre Jones’s portrayal of Sylvester, pushing through nerves and a stutter to give Ma what she needs in one of her most celebrated recordings.

Vaughn’s Sturtevant comes across as a subtle villain, all business and white privilege without overt bad intentions. Though no doubt dealing with “colored” clientele harshly or indifferently has a racial element, his successors throughout recording history will shortchange musicians of all backgrounds. As for our beleaguered white manager Irvin, Greenwell plays him not spineless, but flexible, constantly working the thin line that sets the talent and the money men worlds apart.

Splendid split stage design is by Fei with scenic design by Cole Wilgus and Ky Brooke. Kayla Hill is stage manager.

Witness this speculative look at a great moment in American music history. “Ma Rainey’s Black Bottom” runs through March 24 at the Phoenix Theatre Cultural Center, 705 N. Illinois St., downtown Indianapolis. Tickets at phoenixtheatre.org, or naatcinc.org.

Monument comic drama addresses heavy topics

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , ,

By John Lyle Belden

After many delays, Monument Theatre Company finally brings “Elephant,” by Lewis Morrow, to the stage.

The workplace comedy tackles serious topics as a diverse team of employees anticipate a visit from the new CEO. They work in an unspecified occupation that involves customer service and measurable performance, both of which are important numbers to continued employment and advancement.

King of both metrics is Marcus (Kass Dowell), a proud Black man who feels a little stung by being passed over for promotion to the team supervisor. Mayra (Yolanda Valdivia), a Latina who likes to give opinions but not make waves, says she understands his complaint but that Clarissa, the white woman who got the job, was more involved with teammates. Rae (Rayanna Bibbs), a Black woman, doesn’t seem too perturbed unless it’s said there’s no racial tension involved. White guy Paulie (Brant Hughes) is late as usual, cracking wise to cover any discomfort.

Clarissa (Becky Larson) sweeps in, chipper as ever, and soon talks about the team’s presentation for the CEO, which she has composed. This is, in reference to the play’s title, the “Elephant in the room” that must be addressed. It turns out a different animal’s representation is involved, and the entire team explodes in their reaction – especially Marcus, who has to leave the room to control his rage.

Directed by Dowell, this play hits on many topics of unacknowledged privilege and racial offense, as well as sexism and toxic workplace secrets. As it turns out, the room has a whole herd of pachyderms to unpack.  

Verbal barbs are slung among all the members of the group, reminiscent of ensemble squabbles like “…Virginia Woolf,” with each giving as good as they get. It’s an exhilarating exercise for the actors, I’d guess, and fascinating to watch with this talented team. There are many intriguing points made and debated – worthy of thought long after the curtain call – and the play also includes two strategically placed personal flashbacks to give insight into stands the characters take.

Thomas Burak makes an appearance as a police officer, bringing a climax that’s far too relevant to events of recent years.

“Elephant” has three more performances, Friday through Sunday, Nov. 17-19, on the Indy Eleven stage at the IndyFringe Theatre, 719 E. St. Clair St., Indianapolis. Get tickets at indyfringe.org. Get info at fb.com/MonumentTheatre.

OnyxFest: Babe

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , ,

OnyxFest is Indy’s first and only theater festival dedicated to the stories of Black playwrights. These one-act celebrations of Black life and culture are presented by IndyFringe and the Africana Repertory Theatre of IUPUI. After an initial weekend at the IndyFringe Theatre, upcoming performances are Friday through Sunday, Nov. 10-12, at historic Crispus Attucks High School, in the Auditorium at 1140 Dr. Martin Luther King Jr. Street, Indianapolis. For information and tickets, visit OnyxFest.com.

By Wendy Carson

Delores Thornton brings us the story of her mother’s life and arduous journey from Georgia to Indiana in search of a better life and freedom from the racial oppression of the South.

We first meet Babe (Leondra Radford) at the forming of a new mental health support group in the year 2000. The therapist, Dr. Davis (Chris Sears), has assembled clients who all have different issues, but have personalities that complement each other.

They include a young alcoholic wrestling with moving on with her life (Kim McMurray); a former drug addict who still gambles (Gene Howard); and Babe, of course, who has been experiencing migraines and nightmares. Thornton plays an older woman who suffers from anxiety, especially when driving.

On her own with Dr. Davis, Babe participates in several sessions of hypnosis – despite the warnings from the voices of her friends and family, neatly channeled by the spirit of her old friend Octavia (Dr. Cheryl Talley-Black, who also provides some beautiful spiritual songs that cover the scene changes).

As the show progresses – with memories from 1989, through the decades, back as far as 1922 – we are given glimpses of the traumas Babe experienced and insight into how her brain coped with this knowledge for all of these years.

Director Trease Sears does a great job of keeping each character true to their story as well as having the unenviable task of directing the author of the work itself. The play is a searing indictment of the mental toll Jim Crow and the Civil Rights struggle took on so many. Thornton hopes that this will also encourage a more open attitude among Black communities to seek help when needed.

OnyxFest: 5 Moods of Black Anguish

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , ,

OnyxFest is Indy’s first and only theater festival dedicated to the stories of Black playwrights. These one-act celebrations of Black life and culture are presented by IndyFringe and the Africana Repertory Theatre of IUPUI. After an initial weekend at the IndyFringe Theatre, upcoming performances are Friday through Sunday, Nov. 10-12 at historic Crispus Attucks High School, in the Auditorium at 1140 Dr. Martin Luther King Jr. Street, Indianapolis. For information and tickets, visit OnyxFest.com.

By John Lyle Belden

There is more to local creative Josiah Ray McCruiston than his generally positive and upbeat vibe. Being both deeply spiritual and a Black man, he feels the pain that is heaped upon those who look like him, down to his soul.

He has brought these feelings to light by writing “5 Moods of Black Anguish,” performed by Angela Wilson Holland, Stephen Martin Drain, Clarissa Todd, Byron Holmes, and Jetta Vaughn.

Miss Lucy lets you know why “Hell hath no fury;” a Freedom Rider faces what could be his day of martyrdom; a Griot takes a hard look at an American public school; a Louisiana Creole taker of souls seeks to redeem his beloved; and Yemoja, goddess of the Ocean, steps forth from the City of Bones.

As the title hints, these are stories meant to make you feel, as well as think, and thereby hope to understand. His cast excellently bring McCruiston’s words and characters to life.

This is a taste of what is planned to be a larger work, but don’t miss your opportunity to savor this hearty sample.

NAATC keeps high standard with run of ‘Detroit ’67’

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , ,

By John Lyle Belden

The Naptown African American Theatre Collective (NAATC) is taking its slogan, “We Don’t Follow the Trends, We Are the Trend,” seriously.

Indianapolis’s first Black Equity theatre company, the 501c3 nonprofit organization is dedicated to diverse employment and speaking to the Black experience in all its forms. It also means to make its presence known and felt with excellent productions by great Black talents.

Dominique Morisseau is quickly rising to be a name listed among great playwrights who tell the American story with all its hard truths, names like August Wilson (whose “Ma Rainey’s Black Bottom” is up next for NAATC) or even Tennessee Williams. A strong qualifier for the play that is her “Fences” or “Streetcar” would be “Detroit ‘67” – her second produced play, it roars through the tragic side of American culture on all cylinders, carrying with it an interesting mix of relatable characters who find the American Dream a nightmare, and no good deed unpunished.

NAATC’s recent production of “Detroit ’67,” directed by D’yshe Mansfield at the Phoenix Theatre Cultural Center, was a superb showcase of local talent. Set in a neighborhood where racial tensions and police brutality lead to widespread riots (now nearly forgotten, but at the time serious enough to call out the National Guard), we see everything from the relative safety of a residential basement. It’s the house siblings Chelle (LaKesha Lorene) and Lank (Ennis Adams, Jr.) inherited from their parents, along with a modest bank account. They understand how truly lucky they are to be Black homeowners at all, but money is tight, and to make ends meet the downstairs is a literal underground after-hours “Party” spot, where those who don’t want to risk police encounters at bars and clubs can enjoy some drinks, music, and the company of friends.

Their friend, Sly (Daniel A. Martin) has an inside line on getting him and Lank a legitimate neighborhood bar, but Chelle is afraid of touching their saved cash for fear of losing it all, especially with the White powers that be all to willing to strike down any Blacks who assert themselves, even legally. Ever on hand is Chelle’s best friend Bunny (portrayed by Dena Toler or Kelly Kel, depending on performance), whose flirty, fun style masks her practical sense.

Further complicating things is Caroline (Sara Castillo Dandurand), a mysterious white woman rescued by Lank from being left for dead in the street. Her mere skin tone spells trouble, but nothing like the secrets her true identity holds.

Layered in with the drama is a healthy helping of sitcom-level humor. Lots of laugh lines are exchanged among friends, with genuine affection expressed among them, and Caroline striving to be less of a burden as she heals. Add to this a good number of Motown hits in background or woven into the plot, and it all starts to look like fun, or at least the hope of a happy conclusion.

But suddenly, outside the basement windows, there are shouts, and fires, and armored vehicles, and gunshots. The party’s over.

Lorene is solid as the woman at the eye of this storm, whose façade of strength hides a fear of becoming crushed – financially, emotionally, even physically — like so many others in her city. Adams is excellent as the young man who realizes he is overdue to fully grow up and stop leaning on her older sister (much as she likes it), but still wanting her to be happy. Martin is once again a master of both comedy and drama as the chill guy dealing with cold reality, and ambitions he is eager to share with Chelle by his side. I’m sure Toler was outstanding as usual, however, I saw a performance with Kel as Bunny, and it felt like the role was written for her. Dandurand plays the cypher well, proving to be the kind of person who can’t help but get into trouble – bringing others with her.

Woven in with this look at family, trust, and life’s struggles are the bigger issues that still don’t seem fixed more than 55 years later, making “Detroit ‘67” an appropriate choice for NAATC’s inaugural season, and worthy of looking up wherever it is staged. Once again, this company is upping the quality of Indy’s cultural scene – setting the trend.

Fonseca: Play’s college gives bold lesson

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

Founding father Thomas Jefferson’s proudest achievement was the 1819 founding of the University of Virginia, an institution of higher learning open to (if Wikipedia can be believed) “students from all social strata, based solely on ability.” It admitted its first woman in the 1890s, and the first Black student – after a lawsuit – in 1950. Of course, it’s widely known now that Jefferson was an Enlightenment thinker who opposed the slave trade, yet owned hundreds of people of color himself, including Sally Hemmings, who – with little choice in the matter – was his mistress with whom he fathered a few children (who essentially got nothing from his estate).

In “tj loves sally 4 ever” by James Ijames, presented by Fonseca Theatre Company, directed by Josiah McCruiston, we step to the 200-year-old walls of Commonwealth of Virginia University (next stop over in the theatre multiverse from UVA, not to be confused with Virginia Commonwealth, a totally different college). It was founded by Founding Fathers and, until recently, honored them with statues that have been removed. On the stage set by Kristopher D. Steege, the monuments literally leave their shadow on the school. There is an appropriately diverse student body, with a Black Greek scene and hip-hop at the Homecoming events, but there are tensions. So many tensions.

Our guide (the fourth wall is very thin) and central character is Sally (Chandra Lynch). You can guess at the last name – but this is “now,” not back then, if it matters. She is furthering her studies as a research assistant to dean Thomas Jefferson (Eric Bryant) – not “that” one from ages ago, just a descendant. To make this digestible in a 90-minute (no intermission) comic drama, we have the rest of the students represented by these souls: Harold (Atiyyah Radford), a student activist who is always right, in principle anyway; and Annette and Pam (Shandrea Funnye and Avery Elise), two Sisters of Beta Beta Epsilon who smile through gritted teeth as they give tours of campus buildings with names of past slaveholder and anti-integration families by day, and in the evenings Stomp the Yard and speak their minds. As scenes and discussions require some elaboration for the audience, Annete and Pam quietly slip in to offer “Footnotes.”

All this happens during a memorable Homecoming week where different views of history are on inevitable collision course – including a certain white man’s feelings for a young black woman in his employ.

In McCruiston’s hands, this production is a cautionary love note to academia, a reminder of what “getting woke” meant originally (the play premiered in early 2020): to awaken to past injustices, acknowledge them and move forward with respect for all, without attempting to gaslight those who know too well the painful past that it wasn’t “that bad.” A hoop skirt might look good on a Black body, but it hearkens to a time when that flesh was property. Issues of both race and sex get a hard look in this play.

Lynch seems to make Ijames’ words her own, giving depth of both feeling and understanding to the often odd goings-on. Radford goes from angry-young-man to shuck-and-jive comic with entertaining alacrity, but without yielding a gram of dignity (even when relieving himself on the wall). Funnye and Elise reminded me of cast members of HBO’s “A Black Lady Sketch Show” with sharp delivery of simultaneously comic and enlightening moments. As for Bryant, he holds his own as the guy who just assumes he understands race, but we see far more of his lily-whiteness than anyone needs to.

Funny and thought provoking – like practically every play at Fonseca, but it maintains the high standard – “tj loves sally 4 ever” runs through August 6 at 2508 W. Michigan St., Indianapolis. Get info and tickets at fonsecatheatre.org.

See why everyone went bananas for Baker

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

Like, I suspect, many others, most of what I knew of Josephine Baker was that she was an early 20th-century performer who chose continent-wide fame in France over being just “a Negro” in America. And, knowing she was being adored rather than belittled, she indulged in and claimed power over stereotype with her infamous “Sauvage” dance wearing little more than a string of bananas.

But any cursory look at her biography shows that Baker is so very much more than the first African-American international superstar. “Josephine: A Musical Cabaret,” presented by Dynamite Lunchbox Productions and starring co-creator Tymisha Harris, at The District Theatre in downtown Indianapolis, presents her life story in a most entertaining fashion, letting Baker herself tell it between timeless songs of her era.

Harris brings the diva to life in non-stop flirtatious mode – remembering, relating, dishing, confessing. One moment she dances in pasties, the next she feigns modesty to a gentleman she addresses (including a few she sees in the audience). Yet even at her most exotic, she maintains that tasteful line one had to toe in that time when even the Folies Bergère had its limits. Thus, consider this a pushing-it PG-13 or light R rating for teens and older.

That flirting was with both men and women, as recent biographers have revealed and our Baker freely admits, making her an LGBTQ icon, as well as a war hero and Civil Rights activist – both of these are also addressed.

Also co-created by Michael Marinaccio and Tod Kimbro, this production runs a full two acts rather than the Fringe Festival-length performance seen elsewhere on the tour. Remaining dates are tonight (as I post this) and Sunday at the District Theatre, 627 Massachusetts Ave., Indianapolis. Get tickets at indydistricttheatre.org and info on the show and tour at josephinetheplay.com.

Clever casting lends depth to ‘Hollow’

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , ,

By John Lyle Belden

There is something unusual about “Two Mile Hollow,” the play by award-winning writer (and Butler alum) Leah Nanako Winkler at the Phoenix Theatre, as well as the titular estate, a mansion in the rich neighborhood of East Hampton – home to the family of a Hollywood legend.

Years have passed since the death of Oscar-winning movie star Derek Donnelly, but his widow Blythe (Milicent Wright) still holds fast to his memory. Their children – Joshua (Eddie Dean), Mary (Paige Elisse), and Emmy-winner Christopher (Jay Fuqua) – want to get hold of Derek’s possessions. Christopher arrived with his personal assistant, Charlotte (Arianne Villareal), which becomes an additional complication.

It quickly becomes evident that this is a clever comedy, taking its swings at elitism and lifestyles of millionaire performers, done with heavy-handed melodrama. But it is in its intended casting that this play becomes a brilliant work of satire. It’s not just the uncomfortable things said by these characters that deliver the desired punch, but who we see saying them.

If you find yourself confused – “Are they…?”— just note that they are as they present themselves, and go with it. Immerse yourself in the layers of meaning, let yourself laugh at the goofy things you find there. If more serious aspects soak in, that was the intended effect.

I would go into detail on the excellence of the performances, but I don’t want to give too much of a hint of what is happening. Wright’s casting brings big expectations, which she and company exceed. Mikael Burke returns to direct another provocative piece of theatre art.

Scenic design by Inseung Park makes the house at Two Mile Hollow its own character, complete with the smiling face of the late patriarch, the serious whimsy of Post-its, and signs of decay that the characters either ignore or fail to notice.

Appropriately, the big concept comes with big laughs, like if a “Dr. Strangelove” style film were made by the Wayans Brothers and directed by Wes Anderson. To see what we mean, performances run through April 30 at the Phoenix Theatre Cultural Centre, 705 N. Illinois St., downtown Indianapolis. For info and tickets, see PhoenixTheatre.org.