review

Review: “Silence!” raw but raucous

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By Wendy Carson

What can you say about a farcical musical based on “Silence of the Lambs” other than: Be prepared to be shocked and surprised.

In “Silence! The Musical,” now at the Phoenix Theatre, from the opening, in which the “Sheep” begin telling Clarice’s backstory, you know that the author of this production had his tongue planted firmly in his cheek.

While the plot of the story remains mostly intact, there are a few changes to mainstream the narrative in favor of song breaks. The aforementioned Sheep portray not only a Greek chorus but also slip into and out of the guises of various supporting characters in the play.

The songs and dialogue in general are not only outlandish but somewhat offensive. The fact that the biggest production number of the show is based on an obscene line should be a warning. However, the cast is thoroughly game for it all and their level of commitment makes it all bearable.

Chelsey Stauffer, as Clarice Starling, highlights the character’s overwhelming drive to prove herself to the FBI and avenge her father, as well as her gentle naivete of what she has to deal with to accomplish this. Of course, her exaggerated accent just adds to the whimsy of her character.

Paul David Nicely showcases his broad range of talent as Dr. Hannibal Lecter. Singing, dancing and threateningly looming over everything, he pulls out all the stops in embracing the character.

Scot Greenwell is sublime in the role of the deranged serial killer, Buffalo Bill, whom the FBI is desperately trying to hunt down and stop. He fully embraces the campiness of the character in every way possible.

While the irreverence of the production has the potential to be a hot mess, under the skillful hands of director Bryan Fonseca and choreographer Kenny Shepard, it transcends into delightful silliness.

Again, I warn you that due to the content and language, this is a show that should be enjoyed by a mature and not-easily-offended audience. However, if you’re up for some laughs and a wonderfully satirical take on the film, get your tickets now. Call 317-635-7529 or see phoenixtheatre.org.

Fringe review: The Wizer of Odd

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By John Lyle Belden

“The Wizer of Odd,” performed by Gift of Gab productions at Firefighters’ Union Hall, is an interesting modern take on the classic movie (based on the works of L. Frank Baum). Set in the modern day, our young woman is aware of the Oz story, but not that she’s living it. She doesn’t listen to the wisdom of her “scarecrow” friend, tramples the heart of the “Tinman” she encounters and misunderstands the courage of the “lion” who tries to help her. When she finally finds Oz, he does not provide the happy ending she is looking for.

The best aspect of this fable is that, instead of song-and-dance breaks, we get well-crafted hip-hop poetry, very well delivered by a talented local cast. Hopefully this show will return as one of the performances the IndyFringe stages host throughout the year.

Fringe Review: Fruit Flies Like a Banana

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By Wendy Carson

Whether you are familiar with or new to the antics of The Fourth Wall, you would be delighted with the trio’s latest foray into speedy musical education, “Fruit Flies Like a Banana: Alphabetical Disorder,” which played at Theatre on the Square.

This year they attempt to make it through the alphabet with the help of random letters thrown at them from the audience. Each letter corresponds with a comedy-music bit, which the performers – being virtuoso musicians as well as masters of physical comedy – perform. With the ever-present countdown clock looming over them, they effortlessly move from piece to piece almost instantaneously.

Not only are the numbers cleverly arranged and choreographed, each one is curated to educate the listener on the history of not only the composer, style and instruments used but how and why they have chosen the material.

Their antics are a joy to behold and they make music education into a game that can be enjoyed by old and young alike.

Fringe review: Hannibal: “LIAR!”

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By Wendy Carson

“Hannibal: ‘LIAR!’” at the IndyFringe Indy Eleven Theatre was the most “grown-up” magic show of the Fringe, so the fact that there were some younger children in attendance causing him to partially censor himself actually made it much funnier, in my opinion.

His tricks are presented as a story of his childhood and the delight that he experienced whenever his grandfather would entertain him with even the simplest of illusions. While there are a few points in which the audience participates, the amazement delivered is abundant. Especially when one of the other Fringe performers reacted to some impressive card predictions with, “He’s the Devil!”

If you get a chance to see Chris Hannibal, AKA #CardMonkey, do. It’s a charming hour of fun and tricks that will make you glad that you came.

Fringe review: The Adventures of Les Kurkendaal

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By Wendy Carson

Many of you may remember Les Kurkendaal from his past IndyFringe performances. His storytelling abilities are well known on the Fringe circuit, and in this year’s presentation, which played at the IndyFringe Indy Eleven Theatre, he admirably upped his game.

It seems that his boyfriend, Mike, has made the list of “Top 100 People from Bakersfield” due to co-producing the film, “Thank You for Smoking,” but has also decided that Les should accompany him to his 20-year class reunion.

While Les is hesitant, not only due to their being gay, but also as he wonders how Mike’s classmates will react to his being black as well. Mike reassures him that he had a single black classmate, George, and that nobody will really notice.

Les’ jealousy at seeing Mike living out his own dreams of success is a struggle, but he does make the best of it. There are plenty of laughs here, many coming from the fact that everyone in attendance thinks he is the aforementioned George.

This show is definitely the best one that Kurkendaal has brought to IndyFringe. I was delightfully impressed by how his charm and skill have developed and greatly look forward to his next visit.

Fringe review: 4Square

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Fringe review: 4Square

By Wendy Carson

In “4Square,” by AV Productions of Ohio, which played at Musicians Union Hall, we have four short stories of Karma and it’s repercussions on one’s life.

First, there is a mother and son reminiscing about the highlights of their past while he dreads the inevitability that is next chapter of his life.

The second, and shortest piece, has a woman facing fears of her future while internally being reassured that everything will work out for the best.

The third story surrounds a trio of girlfriends. One is very recently divorced and miserable, the second is happily married but feels she is in a rut and the third is wild, free and living life to the fullest. We find out that their lives are even more intertwined than they initially seemed and their friendship may not survive this.

The final story, and weakest one presented, involves two bored office workers trying to liven up their life in any way that they can think of.

I will say that when watching this show, the stories felt week and humdrum. However, when reflecting back on it the next day, they were much more enjoyable. In fact, the more time that passes from your viewing, the more these stories resonate and entertain.

Fringe review: The Traveling Tap Dance Super Show

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By John Lyle Belden

TapMan Productions of Chicago and Circle City Tap Company of Indianapolis present “The Traveling Tap Dance Super Show” at the Firefighter’s Union Hall. Since like me, many had seen TapMan perform at a previous IndyFringe, I must note that TapMan himself is not part of this show. In fact, there are no men at all.

A cast of nine women, two from TapMan, present a series of tap performances. The music is mainly jazzy, including a version of the pop hit “Crazy in Love” that sounds like it was done by a 1920s ensemble. We open with darkness, then lights only on the feet, letting the rhythm and sound carry us without visual distraction. Two other numbers feature the TapMan dancers with one in a balletic modern dance style (in slippers) while the other taps with amazing virtuosity, providing both contrast and harmony. While most have original choreography, the last couple of dances are historic pieces passed down from past generations.

The show ends with the traditional “Shim Sham Shimmy,” during which anyone with a desire at all to hoof it is invited to join the cast on stage.

I personally preferred the past year’s show, with its narrative running through the dances. But for those who like percussive dance, dance in general or shows like “Stomp,” this show could indeed be super.

Fringe review: Threads

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By John Lyle Belden

Tonya Jone Miller presents “Threads,” the story of her mother, Donna Jean Miller, whose life took her from Indiana to Vietnam in the 1960s and ’70s.

Donna married a sailor, which meant traveling, including to Hawaii, where she studied at the University to become a teacher in the Far East. While her marriage collapsed, she found love with a fellow student, a Vietnamese man. This leads to a teaching job in Saigon in 1968.

While the war raged elsewhere, the effects were often felt in the South Vietnamese capital. She deals with teaching while shells crash outside the building, and helping care for orphans who have little hope of survival. Years after her return to the States, with the fall of Saigon imminent, she goes back to make a desperate attempt to go help her boyfriend’s family, in spite of being nine months pregnant (with Tonya).

Miller tells of the threads, figurative and literal, that bind people and lives together, and how we affect one another. We get a fascinating look into a war-torn city, and through Donna’s brother, a glimpse of how war changes those who fight it. The story is non-linear, but easy to follow, as we trace the threads of time back and forth across two decades. Every tale is well told, fascinating and revelatory. We feel through Miller the love for her mother and what she went through and gratitude for the little events that led up to her own creation.

“Threads” unspools at the IndyFringe Basile Theatre.

Fringe review: Kill the Column

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By John Lyle Belden

Written by former Evansville (Ind.) Courier & Press columnist Garrett Mathews, “Kill the Column,” presented by mamaproductions on the Theatre on the Square second stage, presents aging veteran columnist Grinder, played by Mark Atchison, who has just been demoted to beat reporter, as the paper will no longer run his column.

In fact, in a reflection of the state of many newspapers today, Grinder isn’t the only person seeing his job picture change. Numerous other staffers have lost their jobs altogether, and from the inside it looks like the paper itself is doomed. One of the few remaining newsroom denizens is Marilou (MaryAnn Mathews), a society writer resigned to adjusting with the changes and enjoying her work while she has it. She even refuses to take the bait when grumpy Grinder gets more surly than usual with her.

After Marilu exits, Mathews returns minutes later as a much different character – one able to help Grinder escape his grind. But the decision will come at a cost, and not just to him.

This twist drives the subject of the decline of newspapering to the background, as the plot is revealed to be more about family, love and what is truly important. So you don’t have to be an ink-stained jaded journalist like me to appreciate this little comic drama with a surprising amount of heart.

By the way, Garret Mathews told me that some of the odd things that Grinder relates happened in his career are based on actual events that happened to Mathews or his journalistic peers. It’s an interesting life, trust me.

Fringe review: Sarge

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By John Lyle Belden

In this one-woman play by Cincinnati’s Clifton Performance Theatre, “Sarge” is the nickname of Dorothy Sandburg, the wife of a popular football coach who is facing allegations of sexual assault by his players and boys who he cared for in his youth foundation.

If this sounds familiar, playwright Kevin Crowley says the plot is based on the recent Penn State scandal. However, the focus is not on the indicted coach but on the woman who stood by him, firmly entrenched in her state of denial. Christine Dye brilliantly plays Dot as a woman who can’t feel anything but devoted to the man who had for decades been the keystone of her world – without him and the myth of his virtue, it all falls apart. And we can’t help but feel her pain and her struggle to maintain her fragile reality in the face of mounting evidence that she is wrong.

This may be the most intense drama of the Fringe. I highly recommend this show, playing at Musician’s Union Hall, but brace yourself for a very dark ride.