review

KidsPlay gets the “facts” on legendary tale

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By John Lyle Belden

When your happily ever after isn’t going so well, or otherwise you’re at your cottage during the day, you tune into what’s happening on the Fairy Tale Network. And in the spirit of those non-magical folk who obsess over celebrity and true crime stories, you get the eyewitness accounts of Real Talk with Fairy Tale Legends.

This is the set of “The Snow White Variety Show,” by Brian Taylore, presented by KidsPlay Inc., the Greenfield-based program for young performers in grades 3-8. Directed by founder Christine Schaefer and Amy Studabaker, with choreography by Frances Hull and stage-managed by Blair Connelly and Ethan Stearns, once again we get a fairly polished and professional production, giving us a glimpse of real budding talent mixed in with youthful exuberance, giving a show that you don’t have to be related to one of the cast to enjoy.

Our Announcer (Anthony Stunda) introduces “Real Talk…”, hosted by Heidi Perbole (Ellie Stearns), who is eager to get the Grimm truth about Snow White. Seven dwarves are on hand to tell what really happened – not the seven you’ve heard of, we get Wordy (Nora Smith), Rowdy (Reid Connors), Nerdy (Charles Wallace), Weepy (Aria Studabaker), Creepy (Everett Sumpter), Howdy (Alexandria Ellis), and Bob (Asher Ortman). As is routine with “true crime” TV, all the scenes are presented on stage by reenactors, giving us characters including Snow’s parents (Kayte Reasoner and Ben Erwin), the Evil Queen (Chloe Elkins), The Huntsman (Jack Joyner), the Magic Mirror (Audra Speicher), and Snow White herself (Reese Weitekamp). As each dwarf relates a part of the story, in his or her own quirky way, the “actors” perform it in the same manner – Wordy’s bits are verbose, for instance, while Howdy’s has a cowboy flavor.

Even mythical folk have to pay the bills, so the broadcast is peppered with commercials for things like the Big Bad Wolf’s (Carter Pipkin) house-flipping business, Rumpelstiltskin’s (Nora Jeter) gold investments, or Cinder-sella (Kyndall Watkins) offering you a great price on a new or used carriage (deals end at midnight). KidsPlay has posters by these “advertisers” for auction in the theater lobby.

This enchanted set also has appearances by Tanner Pipkin, Elliott Holms, Molly Wallace, Amelia Melby, Sawyer Erwin, Addalyn Torres, Abilene Kaucher, Spencer Pipkin, Essie Ortman, and Josie McConnell, in various roles.

A funny and charming fresh take on a familiar story, with twists you may not expect, performances are this weekend only, Nov. 10-12 at H.J. Ricks Centre for the Arts, 122 W. Main St. (US 40) in downtown Greenfield. Tickets are still only $5 each. See info and pictures by searching “KidsPlay” on Facebook.

OnyxFest: Babe

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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: Tigone

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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

As one might guess, the name of the title character of “Tigone,” by Levi Frazier Jr., is a reference to the mythical princess in Sophocles’ play “Antigone” (part of a trilogy with “Oedipus Rex”). That character met a tragic end while trying to act justly. In Frazier’s play, Tigonie (Michelle E. Mitchell) also seeks justice.

On a pleasant day in Memphis, a local church Bishop (Lawrence Blackwell) is relaxing on a park bench when an attractive young woman walks by with two coffees. One of them is just the way he likes it, but the significance of the coincidence doesn’t dawn on him until they are well into their conversation.

As their discussion continues and intensifies, we learn more about her, and more about him. They share a connection, and it is so much more troublesome than you would guess.

Mitchell and Blackwell (who also directs) keep the tension taut and the portrayals believable, riveting us to the bitter end.  

How much can one leave in the past? What can be forgiven? And even if one repents, what about accountability? The exploration into these questions builds to a conclusion that would have impressed the old Greek playwright.

OnyxFest: Right Behind You

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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

Even though it was just three years ago, the early weeks of the COVID-19 pandemic are becoming fuzzier in our memories. Playwright D.L. Patrick returns us there with a look at family dynamics that ring true no matter the source.

The family Matriarch (Faye Holmes) lies in her hospital bed wondering where her daughter is, the one who, as the ambulance took her away, promised to be “Right Behind You.” Days pass, and as she slips into a coma, her consciousness gets up to look around. Family eventually visit, offering frustrated apologies for the delay, but their stays are brief due to Covid protocols. However, it is more than the virus keeping one daughter away.

In conversations and flashbacks, we see how each family member deals with both this crisis and past issues. Performed by the ensemble of Beverly Harney, LaToya Jay, Kaitlynn Nailon, Alicia Sims, and Tamara Taylor, we see the issues of multigenerational living and how caring for one another can be as much a burden as a joy – yet it all gets thrown into perspective when it’s possible Mom may never wake up.

Director Megan Simonton does an excellent job of keeping the personalities of these proud women from overshadowing each other while also keeping the interpersonal family dynamics exceedingly true-to-life.

Go see “Right Behind You,” then consider visiting Grandma – maybe bring a jigsaw puzzle.

OnyxFest: 5 Moods of Black Anguish

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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.

OnyxFest: The Heart of a Man

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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

It’s said that women are complicated; however, men are just as complex if not more so. Andre Orie tackles this concept in her play, “The Heart of a Man,” a taste of which we are privy to at this year’s OnyxFest.

Six spectacular actors, Joshua Bruton, KJ Dullen, Jay Fuqua, Trent K. Hawthorne-Richards, Montez Lafayette, and Tijideen Rowley, each inhabit a different piece of a man’s psyche. They show the love, hope, scars, ego, and longing inherent in everyone. While there may be some slight exaggeration of some aspects, you will easily recognize the truth in each one.

Director Rasheda Randle does a spectacular job of keeping each monologue vibrant and poignant without any part truly overshadowing another. While some may rankle at a script highlighting the inner feelings of men written and directed by women, be assured that only one outside of the gender can really reflect on all of the flaws and strengths inherent within.

This taste of the script, with, as Randle put it, aspects of “Love, Lust, War, and Redemption,” is an hour well spent. The full show, with 17 actors and a much wider spectrum of feeling, has plans to stage a full production next year. Keep an eye on the OnyxFest and IndyFringe Theater websites and social media for news.

Bard Fest presents heavy ‘Hedda’

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By John Lyle Belden

Trigger warning: Suicide.

Now that I’ve given that necessary note, I can delve into why – if you feel up to it – you should see the Indy Bard Fest production of Henrik Ibsen’s “Hedda Gabler,” adapted by Jon Robin Baitz, directed by Chris Saunders at Arts for Lawrence’s Theater at the Fort.

For those, like me, who may have read Ibsen’s “A Doll’s House” in school but are not aware of this work, another example of his bold realistic look at society in late 19th century Norway, Gabler is a headstrong woman whose beauty attracts men while her icy demeanor keeps them at bay: the original “mean girl.” The daughter of an army General, she is also accustomed to a certain standard of living.

The play opens with Hedda (Morgan Morton) returning from her long honeymoon after marrying the academic George Tesman (Joe Wagner), an uber-nerd who spent most of those months in tedious research. It becomes evident that she has married him mostly for his potential status once his scholarly works are published, and takes his puppy-like devotion as her due. She enjoys being rude to George’s aunt Julia (Susan Hill) and indifferent to the servant Berta (Carrie Reiberg) in this big house that George can barely afford.

The Tesmans aren’t the only ones back in town. Eilert Lovborg (Matt Kraft), who had been a hopeless alcoholic as well as Hedda’s old flame, has turned up sober with a popular book that rivals the one George is still working on. Aided by Thea (Anna Himes), whom Hedda used to bully in their school days, he also composed an even better follow-up – the only manuscript copy of which is in his bag. However, a boys’ night out with George and the unscrupulous Judge Brack (Clay Mabbitt) sets in motion events with tragic consequences, aided by Hedda’s machinations.

Though the play predates Freud’s works, it shows Ibsen’s keen perception of various neurotic types – which our cast ably take on. Kraft’s Lovborg is the restless genius bohemian; Wagner’s detail-obsessed yet socially oblivious George appears to be on the autistic spectrum; Himes’ Thea is desperate to rise above her fears, and at the very least redirect her people-pleasing impulses to someone more appreciative than the distant husband she left to be with Eilert; Mabbitt’s Brack is the classic sleazy womanizer and party hound with a position he can use over others.

But most fascinating, of course, is our title character. Hedda’s narcissistic aspects are obvious, but she also has a unique perspective on life, honor, and the way things should be that lead her to an even more untenable position. Morton has all her stone glances and manic moments down perfectly, keeping her fascinating enough to not let us be completely put off by her brusque demeanor.

This brilliant examination of a fateful 48 hours in the lives of people filled with pride and potential has one more weekend, Friday through Sunday, Nov. 10-12, at Theater at the Fort, 8920 Otis Ave., Lawrence. Get info at indybardfest.com, tickets at artsforlawrence.org.

Suspense in our world beyond time and space

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By John Lyle Belden

We all remember the bizarre feeling of the day/month/season/year that was 2020. By March the world was shutting down, and even late into summer, fall and “virtual” holidays everyone was sorting out this new “normal” that echoes to this day.

Joe and his stepdaughter Abby (Bill Simmons and Paige Elisse) come home from a day at the zoo. They will not leave the house again for a long time. Waiting for them on the porch is a large wooden box.

What could be in this unexpected delivery? Perhaps a book, one that explains the world. Upon opening, they find there is a book, but it has no words, and a doll – that has no face. 

This sets up the drama in “The Body,” presented by the Phoenix Theatre, which playwright Steve Moulds said is inspired by the off-kilter reality of “The Twilight Zone.”

To be honest, it would have helped put the Covid era in perspective if we had a visit from Rod Serling. For most of us, day to day life wasn’t as much about the deadly virus as it was getting through with so many unknowns of how our lives, relationships, and jobs would continue, contrasted with seeing the same four walls around you, and the same faces in the room.

Joe is haunted by something that has nothing to do with the pandemic, a deep personal loss from which he, or his new family, has yet to recover. As Abby becomes “the Detective,” working the puzzle of the book’s illustrations, and the doll suddenly finds a name, fragile reality cracks around the man who just wanted to be a good father. 

Simmons, an excellent stage veteran and acting teacher, wears this role like a comfortable sweater, and as his unease grows, we feel it with him. Elisse embodies the nine-ish girl with all the sass, impatience, and sweetness that keeps it believable. 

As for the story itself, under the direction of Phoenix Christel DeHaan Artistic Director Constance Macy, with excellent mood-setting soundscapes by Mike Lamirand and lighting by Michael Jackson, Moulds’ plot unspools with appropriate tension, keeping us all engaged at the edge of our seats. 

Because it can elicit a strong response, perhaps a trigger warning is in order. I don’t want to give spoilers, but I can think of friends with close family tragedies whom I would not advise seeing this play. If you have concerns, please ask the Phoenix staff when ordering tickets.

Performances run through Nov. 19 on the Livia and Steve Russell main stage at the Phoenix, 705 N. Illinois St., downtown Indianapolis. Get info and tickets at phoenixtheatre.org.  

Asaykwee’s ‘Scary Scary’ silly silly fun fun

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By John Lyle Belden

The artistic treasure that is performer and playwright Ben Asaykwee has taken the inherent absurdity of spooky urban legends and run them through the funhouse mirror that is campy 1980s pop culture for his latest presentation, “Scary Scary.”

Having lived through that era, when the over-the-top slasher film had its day (though often ending up on the direct-to-videotape shelves), I can tell you there was more to the 80s than goofy lingo and bad hair – but those are the easiest parts to have fun with, so just stick with that (and stories of mysterious landline phone calls and hook-handed maniacs and more) – as Asaykwee, with co-conspirators Carrie Powell, Ryan Powell, Kallen Ruston, Georgeanna Smith Wade, and Noah R. Winston, sing, dance, and reenact these horrific-ish scenes.

The acting is frantic and off-kilter, with a sort of improvised feel, enhanced by wild wigs, mimed gestures, audience encounters, and actors calling out anachronisms – “Did you try calling Star-69?” “That’s a ‘90s thing!”

Performances are held in appropriately close quarters with the audience seated up on the roomy stage of the Basile Theatre of the Athenaeum, so beware: THE LAUGHTER IS COMING FROM ON THE STAGE.

As for the guy with the hook hand? Nobody’s been able to find him.

Anyway, for a surprisingly all-ages campy take on stories you might hear at camp (by flashlight), you have two more chances to see “Scary Scary,” 7:30 and 9 p.m. Saturday, Nov. 4, at the Athenaeum, 401 E. Michigan St., Indianapolis. For tickets, visit athenaeumindy.org.

GHDT presents ‘Legends’ of other lands

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By John Lyle Belden

To open its 26th season, the Gregory Hancock Dance Theatre expanded our horizons with “Legends and Fairytales.” Most of us in America have been brought up in the lore of local heroes and European folk tales, but what if we look just one border further?

The company applied its visual storytelling style to two traditional stories from Mexico, plus a suite of dances celebrating magical folk of the land that is now the Republic of Turkey (now celebrating its centennial).

Gregory Glade Hancock, who has worked as far away as India and Eastern Europe and explored the life of Mexican artist Frida Kahlo in “La Casa Azul,” presented this production with the support of the Consulate of Mexico in Indianapolis and IN-ATATURK (Indiana American Turkish Association, Together Universal Responsible Kind).

Hancock designed choreography and colorful costumes for the legend of “La Llorona.” It relates the story popular throughout Mexico and its former lands in the Southwest U.S. of the “crying woman” whose husband would leave her for another. In rage she drowned their children in a river, then in grief she followed them into the water. Her acts consigned her to existence as a wailing spirit who walks along the river at night, an ill omen to encounter.

Dancing to the strains of the tragedy’s folk song, most of the GHDT company with members of G2 student dancers present the story, with Abigail Lessaris as Maria/La Llorona, Thomas Mason as the husband, Camden Lancaster as the rival woman, and Vincent and Violet Kitchen as the children. The story is easy to follow with fascinating and heartbreaking visuals, including excellent use of the long satin cloth for flowing water.

Mason provides the choreography and costume design for a new work, “The Alley of the Kiss,” of a legend of the central Mexican city of Guanajuato, based on true events, of a forbidden love between members of rival families. Mason said he felt creating the dance was a natural step in his artistic journey. Though not in the performance himself, he said he envisioned first how he would move and interpret the story, then ensured the piece would fit in with the style of other Hancock works. The two sets of dancers switch control of the stage throughout, as our lovers, represented by Lessaris and Josie Moody, meet, flirt, and dare, until tragedy strikes. Set to more recent Latin music, including a song featuring Selena, the moves are majestic, and the feel is both of its culture and timeless.

That these stories resemble familiar legends brought to the stage by Shakespeare and the ancient Greeks speaks to the universality of these human stories, versions of which are told worldwide.

To the equally common theme of dark and light, sacred and secular, Hancock presents the premiere of “Angels and Djinn.” Based on the traditional Turkish concept of Angels, they are heavenly beings of light, meant to serve as protectors and guardians with no free will. Djinn, the basis for the Anglicized stories of “Genies,” are earthly beings of fire and free will, who can be good, evil, or just mischievous, but like Angels are invisible to the humans they influence.

Most of the company again gets involved, with a notable solo by Lancaster. It is up to the audience to guess who are Angels and who are Djinn. From my reckoning, the Angels moved with purpose, while the Djinn moved with passion. That the same dancers would switch costume styles – and perhaps, personae – made the guessing more challenging. The traditional Turkish music, with which the movement flows perfectly, even got the audience clapping along without prompting. Costumes included stunning traditional Bindalli dresses provided by GHDT supporter Nur Ungan.

Dancers also included Hannah Brown, Fiadh Flynn, Audrey Holloway, Chloe Holzman, Wilhelmina Marks, Olivia Payton, Audrey Springer, Megan Steinburger, and Megan Webb. Lighting design, as usual, was by Ryan Koharchik.

This wonderful show had just a two-day run, October 27-28, at the Tarkington Theatre in the Center for the Performing Arts in downtown Carmel. But don’t be surprised if one or all of these “Legends” are reprised in a future show. Next up for Hancock Dance is its production of “The Nutcracker” nearby at Academy of Gregory Hancock Dance Theatre’s own performance space, The Florence, weekends of Dec. 1-10. For more information, visit gregoryhancockdancetheatre.org.