Ryan Powell

4th Wall brings us ‘Fire’

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By John Lyle Belden

What can we say? Wendy and I made it to 4th Wall Players’ production of the comedy musical “Firebringer” on the one night when an unforeseen issue in the cast caused the performance to be cancelled just a few scenes in. It went on as scheduled the next day, but we had other commitments.

Still, I can give you our glowing impression of what we did see, and by all indications the overall show is a lot of fun.

Developed in 2016 by the YouTube-famous parody and comedy musical company Starkid Productions (and financed by a Kickstarter!), “Firebringer” fits the bare-bones sensibilities of 4th Wall, one of the newer independent companies on the Indy stage scene, presented in the cozy confines of Stage Door Theatre in Irvington.

Back in the days of cave-people, Jemilla the Peacemaker (Michelle Wafford) takes charge of the tribe, succeeding elder Molag (Tracy Fouts), who also acts as narrator to us “privileged f**ks” in the future (while antics are childish, the language gets mature). Maintaining peace won’t be easy, while shaman Ducker (Peyron Rader) shouts dire prophesies from their god, the All-Powerful Duck, and Tiblyn (Taylor Shelton) tires from constantly raising her hands to hold up the sky. To quote their cousin, Chorn (Alexandra Paddock), “Chorn!” Then, to advance the plot and give this play a title, Jemilla’s rival, Zazzalil (Breanna Helms) finds and brings back some of that glowing, burning stuff at the end of the stick.

The tribe also includes Silvia Seidle, Aidan Morris, Emily Spencer, Ryan Powell, Zach Moore, Elena McKinney, Tyler Gibson, Miranda DeHaai, Sarah Kinney (who also designed the puppets), and 4th Wall Executive Director Josh Gibson in the immortal role of Smelly Balls. Katherine Gibson directs, with vocal director Joel Johnston and choreographer Kelly McKinney.

Feedback we’ve seen from those who have experienced the entire musical has been positive, and we did get to see the popular no-work work-song. If we get lucky, we’ll get a shot at seeing this again; you have opportunities this weekend, April 19-21, at 5635 Bonna Ave., Indianapolis. Get tickets at https://ko-fi.com/4thwallplayers/shop.

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.

Bard Fest takes another look at Trojan War

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By John Lyle Belden

If the title of Shakespeare’s “Troilus and Cressida” sounds familiar, that’s because just this last July there was a musical adaptation, presented by Southbank Theatre. This time around, the war story/comedy/tragedy is presented by Indy Bard Fest on the stage of the Cat theatre in Carmel.

Director Zach Stonerock approaches this play as a satire of the Trojan War (and thus war in general). As battles tend to “trash” the landscape, the stage looks like a modern salvage yard, the players like a band of hobo thespians acting out the Bard’s work to pass the time. For junkyard scavengers, knowing who plays Ajax is easy if you can find the plastic bottle.

Thersites the Fool (Sarah Heider) welcomes us and introduces the war, already seven years in progress (these events are prior to the legendary part with the big horse, which is hinted at). Young Trojan prince Troilus (Jack Tiehen) is seeking to woo fair Cressida (Hannah Embree), whose father has defected to the Greeks, leaving her with uncle Pandarus (David Mosedale), all too eager to play matchmaker. Trojan troops, led by older princes Paris (Tristan Montgomery) and chivalrous Hector (Ryan Powell), and general Aeneas (Tim Fox), return from battle frustrated at the continuing stalemate. They consider whether it would be best for Paris to return Helen (Abigail Simmon), whom he had stolen from the Greeks, starting this whole mess. It would at least quiet the ravings of princess Cassandra (Audrey Stonerock). But proud Troilus helps talk Hector out of that plan, which leads to an even more audacious one.

Meanwhile, on the Greek side, King Agamemnon (Jeffrey Stratford), Menelaus (Mosedale), Diomedes (Jack Paganelli), and Ulysses (Tristan Ross), are frustrated that their best warrior, Achilles (John Kern), is refusing to fight, staying in his tent with his boytoy Patroclus (Montgomery). Under truce, Aeneas arrives with a proposed challenge – Hector vs. a champion of their choice in single combat. The Greek leaders accept and decide to name less-able soldier Ajax (Austin Hookfin), confident the insult to Achilles should rouse him to battle.

Lest we forget the title, there is more intrigue with Troilus and Cressida, who decide on a quick tryst before being formally wed. But the morning after brings news that the girl has become little more than a bargaining chip.

The cast also includes Brittany Magee as Hector’s wife Andromache, yet another woman whose feelings are disregarded.

Though the trappings of this telling are a bit comical, the story is deadly serious. Tiehen gives a solid performance, with the looks and aggressive romantic bluster of a Romeo but a little smarter and less suicidal. Embree also plays her lead admirably, a young woman getting by on cleverness until she can’t, then realizing she is her only salvation, even if it means hurting one who loves her.

Stratford plays an amusing monarch, but not one to be trifled with. His portrayal, along with Kern and Montgomery’s haughtiness and Ross’s deadpan, reflect how the early scenes play out like a Strangelovian comedy. Powell, who easily slips into roles both comical and serious, plays Hector as both nobly earnest and absurdly genteel. Heider, for her part, revels in her role. As the play progresses towards bloodshed, however, the tragedy and waste of war come to the fore.

An intriguing example of how all’s un-fair in love and war, “Troilus and Cressida” has three more performances Friday through Sunday, Oct. 13-15, at the Cat, 254 Veterans Way in downtown Carmel. Get tickets at indybardfest.com.

Drama at District a raw look at recovery

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By John Lyle Belden

Ever had a “toxic” relationship? How about literally toxic.

“Drugs and alcohol have never let me down. They have always loved me.”

These are the words of Emma, a struggling actress at the center of “People, Places & Things” by Duncan Macmillan (writer of “Every Brilliant Thing”) which had a successful London premiere in 2015. Stage Door Productions brings it to Indianapolis, nurtured and directed by Kevin Caraher, playing at The District Theatre on Mass Ave.

Emma (Trick Blanchfield), scarred by traumas of which we will learn, whole-heartedly believes her statement above, but comes to suspect the chemicals’ love is destroying her. To quote an unrelated work, breaking up is hard to do.

She prefers to live in the masks of the characters she portrays, but they are starting to blur into one another. The play opens with her on the stage of a classic work, having a dissociative episode. When she inevitably checks into rehab, she claims the name of the character she plays. During her recovery and relapses, she is accompanied by shadows of herself (Sara Williams, Audrey Stonerock, Cara Wilson).

Thus, the central point-of-view character is also an unreliable narrator, bringing to bear one of the frustrating factors of recovery. Even when the person wants to change and craves help, lying has become as natural as breathing, especially to one’s self. Macmillan’s words effectively keep the audience following the plot off-balance: Is Emma’s brother dead, as she says, and which set of circumstances she relates are true? Do the no-nonsense Nurse at the rehab center and happy-shiny Therapist for group sessions actually look like her Mom (all played pitch-perfect by Denise Jaeckel)? Are her parents as deeply flawed and toxic in their own way as she claims? Is even her name what she says it is at any point?

Emma’s love of stagecraft becomes a vector for hard lessons as other members of Group use her as their sounding-board for “exercises” in what each recovering addict will say to a significant person in their lives. Mark (Ryan Powell in an award-worthy performance), who immediately sees through her BS, gets that ball rolling, and continues to challenge her throughout the play. He has gained wisdom the hard way, including understanding without mentioning it that any (if this were Hollywood) romantic connection would just be the chemicals and desperation talking. (Thank you, Mr. Macmillan, for dodging that trope.)  

Other members of Group, played by Tailynn Downing, Anna Himes, Matt Kraft, David Molloy, Adrienne Reiswerg, and Bryan Ball Carvajal (as Foster, past patient and present staffer) each have their own perspective of addiction, relating the various paths both the downward spiral and upward climb can take. Then there’s brave, brilliant Dan Flahive as Paul, the patient who takes things too far, whose higher power is apparently a schizophrenic Jesus. What could be, and to a small extent is, played as comic relief becomes a look into the abyss any staffer or past patient of such a facility has seen too often.

Still, in contrast to Emma, the others “get it,” the reason why they are there, that they are sick and desire to truly get well.

Some might see thematic similarities to the 2000 recovery rom-com film, “28 Days,” starring Sandra Bulloch, but this story has a lot more raw, authentic-feeling edges and is better played through the style and magical realism of live theatre. It reflects the real-world fact that one visit to an institution is rarely enough. Also, know that not all its characters will be alive at the end of the play.

Saving the best for last, I’ll note that Blanchfield is truly outstanding. She draws on wells of pain and strength like few can, while somehow getting some hope in that bucket. She communicates “hot mess” while still making us want to root for her. We are blessed beyond reason to have her recently join the central Indiana theatre scene.

In a lighter note (and there are a few) we do get to see an actor nearly naked – and it’s not who you might expect (consider yourself warned).

A huge thank you to Caraher for getting this masterpiece to Indy, and executing it so well, and hat-tip to stage managers Whitney Leigh and Amelie Zirnheld. While this has a simple set, by Kathy Hoefgen, it is notable for the visual metaphor that the “EXIT,” whether triumphant or tragic, is always there.

Performances continue tonight (as I post this), Sunday, and next weekend with two shows on Saturday, through June 25. For tickets, visit indydistricttheatre.org. (Note to Googlers: There is a Stage Door Productions in Virginia, so for the Indiana company, look up their Facebook page.)

Southbank: Levine show something to ‘See’

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By John Lyle Belden

About the best way to describe the short plays of Mark Harvey Levine is like The Twilight Zone with a funny bone. To present the collection titled “Didn’t See That Coming,” Southbank Theatre Company has as director Anthony Nathan, who has acted and staged quite a few offbeat shows in recent years.

In these eight quick comedies, united by a theme of “Surprise” (also the title of one of the plays), we also get a talented sextet of Angela Dill, Paul Hansen, Terra McFarland, Alex Oberheide, Ryan Powell, and Michelle Wafford, in various roles.

The plots are a combination of Levine classics and new works. Dill and Hansen wake up to find their life is “Scripted.” Powell is a psychic of limited range but still able to sense a breakup with Wafford in “Surprise.” McFarland gets an unusual birthday present: Oberheide’s character in “The Rental.” In the most complex and unusual piece, Powell finds himself in “Plato’s Cave” with Hansen and Wafford. Oberheide and McFarland are a couple needing to let go of childish things in “Defiant Man,” featuring Hansen and Powell in their own Toy Story. Wafford can never get away from her parents, even when she’s away from her parents, in “The Folks,” with Oberheide as her date. Powell has his own night out planned but needs a sober appraisal from McFarland in “The Kiss.” Finally, an ongoing apocalypse is no excuse for letting the accounting department go slack, so Dill is sizing up Hansen in “The Interview.”

I’ve seen practically everyone here get their silly on in the past, so was not surprised to see them put their all into this, delivering absurdities with the appropriate confusion, bewilderment or calm acceptance each moment requires.

Nifty set design by Aric C. Harris gives us a versatile turntable stage, powered in part by stage manager Aaron Henze. As much of the humor is derived from close relationships, we recognize Lola Lovacious for her intimacy direction.

What you should see coming is an exceptional collection of hilarious and clever scenes. Performances are Thursday through Sunday at the Fonseca Theatre, 2508 W. Michigan St., Indianapolis. Get tickets and info at southbanktheatre.org.

IndyFringe: Tortillo 3, Sombrero’s Revenge

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This is part of IndyFringe 2022, Aug. 18-Sept. 4 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By Wendy Carson

Casey Ross has brought back another chapter in the never-ending saga of the Tortillo Corporation and its unfortunate predicament of having cocaine mixed into the seasoning mix for their chips, again. Again.

Presenting “Tortillo 3: Sombrero’s Revenge,” by Ross’s Catalyst Repertory. Even though this is the third installment of the series, you do not have to have seen the previous ones to understand or enjoy it. In fact, highlights of the first two shows are shown prior to beginning of the performance. The cast has an opening number discussing the past events as well.

We begin with put-up Patrick (Dave Pelsue) dealing with imbecilic customer complaints as well as disappointment in the company overlooking his accomplishments.

While Dave (Robert Webster, Jr.) is trying to keep things in the company on an even keel, his decision to bring back the sexist pig, Steve (Matt Anderson) to head up their pretzel division has caused much distress throughout the company even with his wife (Lisa Marie Smith) and their baby Chip. After a heated board meeting, Patrick quits to pursue his dreams.

While Steve and his idiot nephew, Mitchell (Ryan Powell) – Patrick’s cellmate during chapter 2 – are doing research, it’s discovered that the chips are doped yet again, leaving Patrick as the prime suspect.

Will we find out who was behind this nefarious plot? Will Sombrero actually return? Who exactly is the lovely Madeline (Trick Blanchfield) and why does she seem to know so much about Patrick’s past? Also, why is Ted (Tristan Ross, no relation) even here – didn’t we kill him already? That’s not THE John Entwistle (Brian Kennedy) as our Janitor/Narrator, is it?

These burning questions and many more will be answered (whether you want them to or not) in this crazy show. Watch, laugh, enjoy, and be ready in case this gang cooks up another sequel.

Note Casey likes writing the F-word, otherwise it’s OK for teens and up, with performances Saturday night and Sunday afternoon, Aug. 27-28; and Thursday night and Saturday afternoon, Sept. 1 and 3; at the IndyFringe Theatre, 719 E. St. Clair.

Uneasy relationships in Southbank production

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By John Lyle Belden

Ever have those people in your life who are just awful, yet they’re somehow your best friends? Thanks to shows like TV’s “Seinfeld,” we can see what it’s like when such people are besties with each other. Now imagine if these persons that you love, yet wouldn’t trust to watch your houseplants, had real problems and real feelings.

This, with a healthy dose of father-daughter issues, is the world of Nina Raine’s play, “Rabbit.” Her first produced work, debuting to acclaim in 2006 on London’s West End prior to a hit Off-Broadway run, gets local treatment with director Marcia Eppich-Harris for her Southbank Theatre Company at the Storefront Theatre in Broad Ripple.

Bella (Emily Ann Scott) is trying to help her testy father (Craig Kemp) with his neurological issues. It becomes plain through this play that they have a complex history, arguably abusive but tinged with love and the universal desire for a child to please her parent. She’s trying to help him recover from a stroke – but it’s not a stroke, and he’s not recovering.

From this scene we go to the main setting, a London bar where Bella starts celebrating her 29th birthday with friend Emily (Trick Blanchfield), who launches into a tone-deaf gripe about a hearing-impaired coworker. Changing the subject, they discuss who will join them at the party. An impromptu choice is Tom (Brant Hughes), an ex-lover of Bella’s who doesn’t seem to mind abandoning the women he had been with to join them.

They will also be joined by lawyer (a Barrister, complete with wig in his satchel) and struggling fiction author Richard (Ryan Powell), a long-time friend whom Bella had also slept with. Rounding out the party is American ex-pat, writer, and scratch-offs enthusiast Sandy (Joy Shurn). Prior to her arrival, Richard refers to Sandy as a “sexual kleptomaniac” – which sounds odd, but you come to understand he has a point.

When not appearing in flashbacks as the father, Kemp stays in the background as the quietly smiling bartender, a device which aids in the flow of the play. Raine’s storytelling skills, as well as those of Kemp and Eppich-Harris, come through in his vignettes and dreamlike moments that give context to Bella’s inner struggle, as well as the visible personality flaws that equally not-nice-but-they-try friends just take in stride. Were this a Brit-com like “Coupling” or the UK’s “Men Behaving Badly” (or America’s “Seinfeld”), she’d be seen as a bitch for bitch’s sake, controlling and harsh to others while easily wounded.

Not that the others are angels – Richard goes into a rant that could be described as playfully misogynistic, which seems both earnest and just getting a rise out of the ladies for fun. But this also gives Bella an opportunity to comment harshly on the roles and expectations of women in 21st century feminism, while living in the shadows of past leaders. Emily, a practicing physician, is hard-pressed to agree or refute.

Tom is a cypher with a Scottish accent (he “work(s) in the city”), but that gives Hughes room to work with to make the character interesting. In another setting, perhaps Sandy would be the “ugly American;” here she can be the voice of reason.  

The pace of our better angels quietly spinning out of control is given by a clever visual metaphor, front and center. Even as we might struggle to like, or at least understand, the characters, this whole becomes much better and more poignant than the sum of its parts.

And what of the title? It will eventually become clear. In a personal observation, it occurred to me that while in nature animals are said to respond to danger with “fight or flight,” for a wild rabbit, it’s typically “flight or freeze.” I’ll just leave you with that.

“Rabbit” has remaining performances Thursday through Saturday evening and Sunday afternoon, Dec. 9-12, at the Storefront, 717 Broad Ripple Ave., Indianapolis. Entry is by a long stairwell, contact the theater or Southbank if this is an issue. Info and tickets at southbanktheatre.org.

IndyFringe: Make Me A Match

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This show is part of the 15th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 15-25, 2019 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By John Lyle Belden

One of the creators of last year’s “Paper Swords,” Matt Day, wrote this musical with Jordan Brown and Josh Brown, a story of love and empowerment taking place on a TV dating show.

On “Make Me a Match,” a bachelorette — on this occasion, Beth (Emily Sanders), an internet Influencer — gets to pick which of the three male contestants she has to marry. The bachelors are smooth rich boy Steve (Kerrington Shorter), cocky horndog Todd (Ryan Powell) and kindergarten teacher Brad (Josh Brown), who didn’t know he was living in a musical.

Smarmy host Danny Sharp (Ethan Mathias) is treated like a god, while he treats cue-card intern Meredith (Riley Iaria) and makeup girl Lexi (Jordan Brown) like crap. 

There is also a security guard (Aaron Williams) for when things get intense.

One thing that was impressive was that even though there was an on-stage band, the actors didn’t use or need mics. Also, to complete the immersive experience, the audience is the show’s studio audience, and we have an important part to play near the end. 

Mathias makes an excellent bad guy. Sanders counters your expectations of shallowness to show Kardashian-types aren’t quite as dumb as they look. And Iaria and Jordan Brown have appropriately righteous fire. Josh Brown, caught in the middle of this, supplies many of the comic moments. 

This #MeToo musical is better than a lot of what’s actually on television, and more fun. 

Performances are 9 p.m. tonight, as well as 7:30 Thursday, 9 p.m. Saturday and 3 p.m. Sunday (Aug. 20-25), at The Oasis (Shriners’ entrance of the Murat, on the north side), 502 N. New Jersey St.

IndyFringe: ‘Arcade Fire! The Redemption of Billy Mitchell’

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This show is part of the 14th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 16-26, 2018 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By John Lyle Belden

(*With bonus hot sauce review!)

To be clear, this is not about Arcade Fire, the band, but about redemption, and a proud man who doesn’t want to be known just for awesome hot sauce (see below) but also for being the King of Kong, able to best any game in the arcade.

Quirky playwright and Fringe regular Casey Ross got the idea not long ago to take the story of Billy Mitchell, whose record high score on Donkey Kong was unquestioned until a popular documentary alleged that he somehow cheated, and make it into a musical. This brought out Billy himself — not to stop her, but to give his hearty trademark thumbs-up. If you come to the show today (Sunday, Aug. 19), he will be there in the audience and available for your admiration after.

The musical, written by Ross with clever rousing songs by Christopher McNeely, is based on true events and people, including the frustrated middle-school teacher who challenged Mitchell’s record. Our Billy is selling his sauce at his pizza joint in Florida, when he discovers that the Internet is dissing him. He fights fire with fire by going on a podcast and challenging his detractors to a Kong-Off. Who will smash through the barrels and climb to the top, and who will fall?

A cast of fine local actors bring the story to life, including Luke McConnell as Mitchell (an excellent likeness), Anthony Nathan as rival Steve Wiebe, Jim Banta as Donkey Kong’s “Number Two” Brian Kuh, Ryan Powell as arcade referee Walter Day, and Kayla Lee as Steve’s longsuffering wife Nicole. As to their singing and dancing — well, did I mention they are fine actors? Still the moves they bust just add to the fun as we all take so seriously what is literally a two-bit hobby (at least before games cost more than a quarter to play).

Full disclosure: We’re very good friends with Ross, but when you experience “ArcadeFire!” presented by her Catalyst Repertory at the Firehouse union hall, third floor, you’ll want to be her pals, too.

*Among the Billy Mitchell swag is his signature hot sauce (which he will sign if you ask). Wendy and I tried it on some roast beef, and it is excellent, with rich flavors reminiscent of Cholula, but with a little more kick. It has sweet with the heat, so is fine for moderate spice users — though it might disappoint those who want something that sets their heads on fire (what’s up with you people?!). Later at the beer tent I saw some Fringers shaking a little into their beer, and they said it was good that way. To each their own.

Korean War comedy at BCP

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By John Lyle Belden

Though we might be familiar with the 1970s film or long-running television series, the stage play of “M*A*S*H” – and particularly the Buck Creek Players production, on stage through April 9 – stands apart.

Written by Tim Kelly and based on the original Richard Hooker novel, this live version features the 4077th Mobile Army Surgical Hospital in Korea during the 1950-53 war, as well as some familiar characters, but don’t expect a reprise of the TV show.

Like the book and movie, the plot is mainly a series of scenes. The main story arcs concern the arrival and service of irreverent but excellent combat surgeons Captains Hawkeye Pierce (Ryan Powell) and Duke Forrest (Kurt F. Clemenz), as well as the fate of Korean youth Ho-Jon (Achiradeth “Boss” Teerasataporn). We also meet neurotic commander Col. Blake (Gregory Brinkers); incompetent stick-in-the-mud Maj. Burns (Ben Jones); Hawkeye and Duke’s fellow mischief-makers Captains Trapper John (Gergory Dunn), Ugly Black (Dave Hoffman) and suicidal dentist Walt Waldowski (George Chimples); new chief nurse Maj. “Hot Lips” Houlihan (Sue Kuehnhold) and the strong but easy-going nursing staff Lieutenants Fury (Abby White), Kimble (Michelle Papandria) and Phillips (Jennifer Berk); the cook always cooking up get-rich schemes, Sgt. Devine (Jamison Allen); and the supernaturally perceptive Cpl. Radar O’Reilly (Jim Banta).

Among the more fun scenes are those that involve getting Burns out of the unit for good; snapping Walt from a deep funk by staging his “death” and resurrection; and the arrival of three stranded female USO performers (Miranda Garrett, Rachel Riley and Kristen Baker).

Teerasataporn, a Thai exchange student, makes a great stage debut as Ho-Jon, the houseboy (and Hawkeye’s hijinks co-conspirator) in the officers’ tent known as “The Swamp.” After being drafted away by the South Korean Army, he is by dubious luck returned to the 4077th as a casualty. Then M.A.S.H. personnel, led by Hawkeye, raise money to help send Ho-Jon to the States to attend medical school.

Other performances are sharp as well; Powell relishes his role as mischief-maker.

Some aspects of the show are problematic: Given both the era portrayed and when the stories were written (and possibly few Asians available for audition) the native women are little more than giggling extras, uncomfortably close to stereotype. Also, it was an odd choice to have Jones also play neurosurgeon and football star “Spearchucker” Jones, typically cast (questionable name and all) with an African-American.

Nonetheless, this ambitious production nicely captures the spirit of the filmed versions, while giving us a fresh angle on the “Four Oh Double-Natural.” Find BCP at 11150 Southeastern Ave. (Acton Road exit off I-74); call 317-862-2270 or visit buckcreekplayers.com.

John L. Belden is also Associate Editor and A&E editor of The Eagle (formerly The Word), the Indianapolis-based Midwest LGBTQ news source.