review

At the District: Travel from Waukegan to Mars on a bicycle

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By John Lyle Belden

When one has access to an age-altering carousel, why let a little thing like death stop you? After all, Mr. Electrico told him he would “Live forever!”

To understand what I mean by this, see the Midwest premiere of “Ray Bradbury Live (Forever)” at The District Theater, presented by IndyFringe – in just two more performances, today and tomorrow (May 4-5), before continuing its national tour.

Bradbury wheels onto the stage, played by lifelong fan and Emmy-winning actor Bill Oberst Jr. He then removes a tarp from a lecture stand, places it on his bicycle, and proceeds to talk to us about his life, career and feelings on topics such as writing and the importance of libraries. We get a glimpse of his growing up in Waukegan, Ill. (“it’s not ugly to a child”), and Los Angeles (near Hollywood, which he often visited). We even meet his charming wife, Maggie (played locally by Jenni White).

The “science fiction writer who never drove a car” also engages us with mesmerizing dramatic excerpts from “A Sound of Thunder” (from whence we get the term “butterfly effect”), “Something Wicked This Way Comes,” and “The Martian Chronicles.” Oberst’s skill makes Bradbury’s words come alive, helping us feel the greatness imbedded in these stories, and what they say about being human and the human desire to mess with forces they barely understand.

In fact, Oberst crafted the entire show from the words of Ray Bradbury — from his texts, to letters and interviews. The script was vetted by the Ray Bradbury Estate, as well as Dr. Jonathan Eller, Director of IUPUI’s Center For Ray Bradbury Studies, who attended the opening performance. We hear such nuggets as, “I don’t predict the future, I try to prevent it;” “I write fantasy because I believe in fantasy;” and from a poem: “Give book, Give smile.”

Oberst said after the show that he tried for years to get friends who more resembled Bradbury to portray him on stage before finally deciding to take on the role himself. Wearing a comfortable suit, appropriate hairstyle, trademark black-frame glasses, and a friendly and enthusiastic demeanor, he does just fine. Behind the sparse stage is a large screen that shows facts and trivia about Bradbury prior to the show (come early, none of the slides repeat), and supporting scenes and illustrations during the performance. Note there are some strobe-effects during the telling of “Sound of Thunder.”

This excellent premiere – first performances since opening in Los Angeles – came about in part with the help of IndyFringe CEO Pauline Moffatt, who said she saw Oberst in a previous Fringe and encouraged him to return, aided by the perfect synergy with the Bradbury Center here in Indianapolis.

For devoted fans, casual fans, or anyone interested in discovering this American literary master, you have two more chances in Indy: 8 p.m. today and 4 p.m. Sunday at The District (former location of Theatre on the Square), 627 Massachusetts Ave. downtown. Call 317-308-9800 or visit IndyDistrictTheatre.org or IndyFringe.org.

For those who can’t make it, or are reading this on or after May 6, find info and future performances at raybradburyliveforever.com.

IRT revisits the radical notion of doing what makes you happy

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By John Lyle Belden

As for the appropriateness of bringing out the classic comedy, “You Can’t Take it With You,” I’m tempted to say “in times like these” – but really, there will always be distress and drama around us, thus it is always a good time to see this funny, heartfelt show.

So here we are, with the Indiana Repertory Theatre giving us its finely crafted production. While the Great Depression continues outside their beautiful house, “Grandpa” Martin Vanderhof (Robert Elliott) and his brood are feeling quite fine, thank you.

Penelope Sycamore (Millicent Wright) taps away at a typewriter that was accidentally left at their doorstep years ago, while her husband Paul (James Leaming) works on innovating large-display fireworks in the basement with Mr. DePinna (Ansley Valentine), a delivery man who never got around to leaving. Daughter Essie (Mehry Eslaminia) pursues ballet dancing, without quite catching it, under Russian ex-pat Boris Kolenkhov (Joey Collins), with her husband Ed (Carlos Medina Maldonado) accompanying on xylophone while printing whatever phrase sounds clever on his little press. Maid Rheba (Brianna Milan) happily prepares whatever meals the family’s whims dictate, from corn flakes to canned salmon, while wooed by handsome Donald (Adam Tran) who is helpful, but no too much as he’s “on relief.” Speaking of romance, the Sycamores’ other daughter, Alice (Janyce Caraballo), is about to marry her boss, Tony Kirby (Aaron Kirby, coincidentally), but she frets at the prospect of his parents (David Lively and Carmen Roman) meeting her not-quite-“normal” family. And on an evening when everyone is just being themselves, joined by friend and tipsy actress Gay Wellington (Molly Garner), they do.

In addition, we get visits from characters played by Scott Greenwell, Michael Hosp and Zachariah Stonerock, as well Jan Lucas as the Archduchess Olga.

For the unfamiliar, I can’t help but describe this play as “The Addams Family,” but without the creepy aspects – partly because the recent Addams Broadway show borrowed a lot of the same plot points. At the core of it all is the notion that there shouldn’t be something wrong or embarrassing with doing what feels right, along with the gentle lesson that one needn’t be doing what makes them miserable, either.

All performances are spot on and appropriately hilarious. It would be a crime not to have someone as talented as Wright in the lead, and her being in an interracial couple in the 1930s only underlines the exceptionally open and accepting nature of the central family. Also, Maldonado gets to show off his musical side.

Being the IRT, the whole look and feel is perfect, including scenic designer Linda Buchanan’s busy-yet-orderly set decoration. Peter Amster directs.

Do something that makes you happy – like check out this show. Performances are through May 19 on the IRT mainstage at 140 W. Washington St. in downtown Indianapolis (near Circle Centre). Call 317-635-5252 or visit irtlive.com.

Civic: Good News(ies)

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By John Lyle Belden

Though based on little-known history and a film that bombed, Disney’s “Newsies” has built a strong following. And now the Tony-winning musical is locally produced in central Indiana by the Booth Tarkington Civic Theatre, running through May 11 at the Center for the Performing Arts in Carmel.

The story is based on the New York Newsboys’ Strike of 1899, during which impoverished children revolted at price hikes on the papers they sold for publishing moguls Joseph Pulitzer and William Randolph Hearst – and won. Disney dramatized it musically for cinemas in 1992, without success (despite starring a young Christian Bale), but the film found fans through its video release. Disney finally put it on the stage (where arguably it always belonged) in 2011 – on Broadway in 2012 – with a fresh book by the legendary Harvey Fierstein while keeping and expanding the music and lyrics by Alan Menken and Jack Feldman.

Although the plot does lean on a mix of fictional and real characters, the overall history rings true, even moreso in the Civic production with the addition of “newsgirls” (boys and girls both hawked papers at the time and participated in the strike).

Our eventual hero, Jack Kelly (Jake Letts) and unfortunately-nicknamed Crutchie (David Cunningham) are among the more respected of the Lower Manhattan Newsies. They are mostly orphans, except for newcomer Davey (Joseph Bermingham) and little sister Les (Emily Chrzanowski), forced to be breadwinners while their father is too injured to work.

Meanwhile, Pulitzer (Steve Cruze) reasons an easy way to make up for flat and declining paper sales is to raise the price of the papers. After all, what can a bunch of poor kids do about it? Faced with possible starvation if they can’t make up their losses, the Newsies give their answer – Strike!

The children have allies: a woman reporter, Katherine (Ani Arzumanian), who wants to stop writing fluff and gets the Newsies on the front page; and Vaudeville diva Medda Larkin (Tiffany Gilliam), who hires Jack (a talented artist, by the way) to paint backdrops and hosts a Newsies rally at her theater. Pulitzer responds, flexing his considerable power, but our underdogs find a way to beat the publishers at their own game.

Other notable roles include Darrin Gowan as Wiesel, who sells the Newsies the papers; Parrish Williams as evil Warden Snyder of The Refuge, an orphanage run like a prison; and Tom Beeler as New York Gov. Theodore Roosevelt (yes, the eventual President).

The show is largely a by-the-numbers musical — complete with reluctant hero, lead characters falling in love, potential betrayal, and “just when you think all is lost…” – but those numbers, the song-and-dance numbers, are something special. Our large youthful ensemble put on several spectacular dancing scenes – directed by Suzanne Fleenor, with musical direction by Brent Marty and choreography by Anne Beck – with memorable tunes including “The World Will Know” and “King of New York.”

For a good-time musical with historical heft, the Civic’s “Newsies” is worth your dime. Call 317-483-3800 or visit civictheatre.org or thecenterpresents.org.

ATI ‘Forbidden Broadway’: Here we go again!

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By Wendy Carson

Upon entering the lobby for Actors Theatre of Indiana’s newest staging of “Forbidden Broadway,” we were surprised and delighted to see a blown-up copy of our previous review of the show. They also had poster copies of the other reviews — we were just happy to be among them.

So, since this show was just staged by ATI less than a year ago, you are probably thinking that you’ve already seen it and there’s no reason to see it again. That’s where you are dead wrong.

“Forbidden Broadway,” created and curated in New York by Gerard Alessandrini, is a living creature that is constantly changing and evolving in new and delightful ways. Yes, some of the skits are the same ones covered in the previous incarnation, however at least half of the offerings here are different. In fact, the tribute to Carol Channing, slyly tipping its hat to her recent passing – as well as her generosity towards her legacy — is making its debut in this show.

There is even an audience sing-a-long during the tribute to Stephen Sondheim’s impending 90th birthday. Also, for those of you who have seen or are seeing The Civic Theatre’s delightful production of “Newsies,” their tribute will leave you howling.

For those who haven’t seen any of this, it is all a loving tribute to Broadway musicals and those who worked on and in them. It’s never mean – one can mock the cumbersome Lion King puppets and Les Mis rotating stage, while still understanding at the core it’s still meaningful art. While the more you know about the shows, the funnier it is, the all-in performances of ATI founders Cynthia Collins, Don Farrell and Judy Fitzgerald with Logan Moore, and Keith Potts on piano, entertain no matter how “in-house” the gags get. Note the content does get very PG-13 (those Avenue Q puppets still can’t keep their felt paws off each other).

So, get out there and prepare to laugh yourself silly at the glorious antics and talent of the latest production of “Forbidden Broadway,” through May 19 at The Studio Theater in the Center for the Performing Arts in downtown Carmel. Call 317-84-3800 or visit atistage.org or thecenterpresents.org.

CCP ‘Streetcar’ a well-crafted vehicle

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By Wendy Carson

“A Streetcar Named Desire” is probably Tennessee Williams’ most famous play: the story of Blanche DuBois, an aging southern socialite who has squandered all her resources and must seek the assistance of her sister, Stella Kowalski, to survive.

Blanche is horrified by Stella’s “common” husband, Stanley, and the “squalor” in which they live (low-rent apartments in New Orleans’ French Quarter), but she has no other options so must endure this state of affairs. While Stella and Stanley’s place is small and rustic, it is clean, homey and they are quite satisfied with it.

Though Stanley has a fiery temper and loutish ways, he truly loves Stella and would do anything for her. Needless to say, Blanche and Stanley are at odds from the beginning and their tense friction continues throughout the progress of the play.

Desperate to escape her current situation and find someone who can afford to return her to her previous status, Blanche begins to woo one of Stanley’s friends, Mitch. Being a long-time bachelor who lives at home with his ailing mother, he appears to be a perfect mark. However, though she plays at being young and prudish, her reckless, scandalous past soon catches up with her. Meanwhile, Blanche’s trauma-fueled drunken delusions are getting worse, making her untrustworthy even when the worst actually happens.

Laura Lanman Givens glides beautifully through Blanche’s various moods, making the character far more sympathetic than she is often played – leading this production to a refreshing lightness rarely seen in a Williams show. Jonathan Scoble aptly shows Stanley’s hot-headed fury without making him an insufferable lout. Addison D. Ahrendts’s portrayal of the devoted sister and wife — forced to endure the stormy tantrums of the two people she loves the most – is delicate, yet perfectly nuanced.

Adam B. Workman makes the most of his moments as Mitch; Sebastian Ocampo is charming as their poker buddy, Pablo; Scott Prill and Susan Yeaw as loving/bickering neighbor couple Steve and Eunice Hubbell, add just the right spice to the scene; and Addie Taylor’s two brief roles seem to bookend the play. Also making brief but important appearances are Nolan Korwoski, Susan M. Lange and Ken Klingenmeier. Brent Wooldridge is director.

There is one weekend left to catch this classic of American drama, Thursday through Sunday, May 2-5, presented by Carmel Community Players at The Cat, 254 Veterans Way in downtown Carmel. Call 317-815-9387 or visit www.carmelplayers.org.

Phoenix: Thinking of ‘The Children’

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By John Lyle Belden

“The Children,” the title of a recent Broadway drama by Lucy Kirkwood, now at the Phoenix Theatre, doesn’t seem to tell us much. There are no youngsters on the stage — in fact, the trio we meet are all in their 60s. But this play understands that when we are grown, if we’re not thinking of our children and what we would do for them, we often indulge in that child still within each of us.

On the English coast, at a time that could be now, we are in the aftermath of a disaster much like the one that occurred several years ago in Japan: the triple-shock of earthquake, tidal wave and a crippled nuclear power plant.

Hazel and Robin (Donna Steele and Charles Goad) were among the scientists who engineered the reactor, now they live on the very edge of the irradiated zone. They are visited by past friend and colleague (as well Robin’s lover) Rose (Diane Kondrat). Old memories and issues are brought up, leading to moments of friction. But even more devastating is the issue of what happens next.

Directed by Phoenix artistic director Bill Simmons, this veteran cast give excellent, layered performances. In Hazel, Steele presents a fastidious character who prides herself on her maturity, while staying young as possible through healthy eating and yoga. Goad’s Robin seems fondly attached to the farm he is having to give up, but his daily trips to the barn have a darker purpose. Kondrat, once again a woman of many facets, gives us a Rose who has come a long way from her impulsive youth to a woman who has faced her mortality and must finally think outside herself. Their interactions throughout the play crackle with energy that rivals the broken facility on their horizon.

The larger questions surrounding nuclear energy and the environment stay in the background, as the issues at play here are more personal — dealing with reconciling out pasts, facing our ends, considering the next generation, and what we all must do to make our actions and lives meaningful. Sometimes it takes a disaster to make us truly think of The Children, and to force us to finally grow up.

Performances run through May 19 on the smaller Basile stage of the Phoenix, 705 N. Illinois St. in downtown Indy. Call 317-635-7529 or visit phoenixtheatre.org.

– – –

One last note (this did come up with an audience member at the preview performance): Though she is in the promotional photo, actor Jolene Mentink Moffatt does not appear in the play. The publicity picture was taken long before casting decisions were made, and aside from being not quite old enough for the roles, she was busy with her recent run on the Phoenix’s “Hotel Nepenthe.”

‘Hosanna’ to the Mud Creek ‘Superstar’

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By John Lyle Belden

“Jesus Christ Superstar,” Andrew Lloyd Webber and Tim Rice’s rock opera passion play, opened, appropriately, on Good Friday at Mud Creek Players.

The production, directed by Michelle Moore, embraced its setting within the cozy confines of the MCP “barn,” with rough-wood sets and a punk aesthetic, backed by a five-piece rock band. Cast members filled the aisles at times, lending a feeling more immersive than crowded. The costumes appeared to be raided from “Hair” or “American Idiot,” but still worked in the overall look, making our two male leads better stand out — the disciple Judas (Michael Lipphardt) all business in a leather jacket, and Jesus (Onis Dean) dressed casual like a man who, naturally, would fit in anywhere.

For those unfamiliar with this telling of the last week of Christ’s life, these are the main two perspectives — Judas fearing what could happen, and Jesus frustrated that only he can see what must happen — followed by the points of view of Mary Magdalene (Pearl Scott), a woman in love with the man as much as what he stands for; and Caiaphas (Lot Turner), the High Priest who sees a threat not only to his own personal power, but also to the safety of Jews in occupied Roman Palestine.

Dean and Lipphardt sing their hearts out — and I worry for their throats. Scott is pure sweetness. Turner just oozes corruption, ably accompanied by Kata Ewigleben as Annas. We also get good vocals from Eli Robinson as Simon the Zealot and Austin Stodghill as the Apostle Peter. Jeremy Crouch is regal as Pilate, and Rick Barber absolutely fabulous as King Herod.

“Don’t get me wrong, now,” I won’t say this production is flawless, but taken as a whole, in the spirit of this time of year, it is an incredible experience and celebration of a foundational event of Christianity.

Performances run through May 4. Mud Creek Players is at 9740 E. 86th St. in northeast Indianapolis, near Geist. Call 317-290-5343 or visit mudcreekplayers.com.

DivaFest: An odd Irish ‘three men and a baby’

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This is part of the 2019 Diva Fest, presented by IndyFringe at 719 E. St. Clair St., Indianapolis, through April 21. All shows are by women playwrights, presented as one-hour one-acts at a Fringe price. For information and tickets, see www.indyfringe.org.

By John Lyle Belden

Kate Duffy Sim once again blesses us with a brilliant parody of the British sitcom, “Father Ted,” which relates the quirky lives of priests living on a remote island off the Irish coast.

This time, in “Who’s Minding the Snapper,” Father Ned and company are visited by a very pregnant American woman. The baby quickly arrives, but the mother disappears — can Ned, dimwitted Father Dermott and drunken Father Finn successfully care for the little “snapper”?

Presented by Clerical Error Productions and directed by David Malloy, the surreal atmosphere and comic potential are enhanced by “cross-gender casting,” as the program put it. Sim ably plays Ned, while Bridget Schlebecker is a hoot as Finn. Kyrsten Lyster is outstanding as Dermott, displaying deft skill at the hard task of playing a “stupid” character so cleverly. Manny Casillas charms as the housekeeper Mrs. O’Boyle, while Anthony Logan Nathan is something to behold as brash, devious Mrs. McShane, who tends the home of a rival priest.

Case Jacobus is the “girl in trouble,” while actual rapper Nate Burner plays her rap-star boyfriend. “N8” also performs the opening theme, and spun some rhymes at curtain call to introduce the cast.

Hilarious with the right amount of heart, you’ll need to do penance if you miss this one. Performances are 8:30 p.m. Saturday and 5:30 p.m. Sunday (April 20-21).

DivaFest: Bittersweet ‘Tomato’

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This is part of the 2019 Diva Fest, presented by IndyFringe at 719 E. St. Clair St., Indianapolis, through April 21. All shows are by women playwrights, presented as one-hour one-acts at a Fringe price. For information and tickets, see www.indyfringe.org.

By John Lyle Belden

In “I Say Tomato, You Say Cheese,” by MaryAnne Mathews, Tom Harrison is superbly charming as Joe Carpenter, an 85-year-old man living alone — aside from the spirit of his recently-passed wife, Annie (Wendy Brown) — as best he can.

Joe’s daughter Sarah (Laura Baltz) is getting concerned, as he tends to forget and lose track of things, and keeps getting into accidents while driving. The doctor (Stefanie Patterson) confirms that his cognitive abilities are indeed on the decline.

It doesn’t help the situation that there are constantly scammers out to take advantage of the elderly. The voice of the “IRS agent” on the phone Joe can deal with, with great humor. But the fast-talking roofing contractor (Joe Maratea) is a different matter.

Mathews’ gentle drama is an interesting look at this serious situation with characters we can relate to, or even feel we’re related to. The title refers to a family story melding the old song with the meal of tomato soup and toasted cheese — like this play, comfort food for the soul.

Remaining performances are 8:15 p.m. Friday and 3:30 p.m. Saturday (April 19-20).

DivaFest: Oh, ‘Dear’

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This is part of the 2019 Diva Fest, presented by IndyFringe at 719 E. St. Clair St., Indianapolis, through April 21. All shows are by women playwrights, presented as one-hour one-acts at a Fringe price. For information and tickets, see www.indyfringe.org.

By John Lyle Belden

In “Dear Mavis,” by Enid Cokinos, there are big changes happening at the Rustbelt Herald-Times.

The newspaper’s chief editor has stepped down, replaced by the owner’s son, “Biz” Underhill (Spencer Elliott). The young man, fresh from college, wants to make changes, taking aim at the paper’s longtime advice columnist, Mavis (Forba Shepherd). He has her team up with young blogger Mique’ (Ashley Elliott) to write a new point-counterpoint column, and daily rather than weekly. This will not turn out well.

Holly Stults is Luella, Underhill’s assistant and Mavis’s dear friend; and David Mosedale is the elder Underhill, who comes in to clean up the inevitable mess.

Shepherd radiates dignity and wisdom as the disciple of Miss Manners who always has the right thing to say, and doesn’t mind using an old typewriter to say it. Spencer Elliott — .also the play’s director — contrasts well as the guy with big ideas but little sense. Ashley Elliott’s turn as a clueless Millennial edges towards caricature but gets to learn a bit towards the end.

Having been a newspaper journalist, seeing the industry’s changes first-hand, I felt at first that Cokinos had written a work of horror. But for those who don’t bleed India ink, this is a fun look at how sometimes the old ways are best, and can still win through.

Remaining performances are 7 p.m. Friday and 7:15 p.m. Saturday (April 19-20).