Samantha Kelly

Viva Carmel Players, where love is King

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By Wendy Carson

Director Nicole Amsler and Carmel Community Players approach the Holiday season by giving audiences the gift of joy with their hilariously quirky offering, “Four Weddings and an Elvis,” by Nancy Frick.

Centering around Sandy (Veronique Duprey) and her Las Vegas wedding chapel, we are privy to four incredibly diverse sets of nuptials. Sandy herself is on Marriage No. 4 to the same man, Ken, who is never seen but is always present.

Beginning with Bev (Audrey Duprey) and Stan (Mark Livingston), who have flown out from the East Coast to marry each other as vengeance against their exes – who also plan to marry each other. They chose to have their wedding live-streamed to the exes and with Ken, Sandy’s usual minister, being passed out drunk, opt to use a nearby chapel’s minister, John (Joshua Payne-Elliot).

Sandy then hires Lou (David Dessauer) to be the new minister, but his age keeps her questioning if he can really pass for Elvis. They are to officiate the low key, high publicity, marriage of fading stars Vanessa Wells (Amanda Falcone) and Bryce Cannon (James Kenjorski) – both desperate to get their careers back on track. Sadly, the press and paparazzi decline their invitations.

We then meet Marvin (Jacob Bradford) and Fiona (Kelly Melcho), an extremely unlikely pair. He, an expert in everything regarding the Post Office, will wed her, an ex-con with a wild and colorful past. Their bliss is briefly interrupted by the arrival of her past boyfriend, Fist (Gregory Roberts), who broke out of prison to get his girl back. Hilarity – and a police standoff – ensues.

About a year later, we return to the chapel for the final wedding. It seems Sandy is ready to take the plunge for a fifth time, and all the previous characters return to celebrate with her.

Veronique Duprey maintains her charm throughout with the air of a Sin City sister who has seen it all, while the others indulge in all manner of silliness. However, these hopeful romantics indulge in these events without cynicism – each character, in their own way, wants love.

Amsler is assisted by Grant Bowen; Samantha Kelly is stage manager.

Will Sandy make it down the aisle? Will we finally meet Ken? How are the others’ relationships working out? And finally, who is the uncredited “Elvis”?

These questions and many more are answered by attending “4 Weddings and an Elvis,” Thursday through Sunday, Nov. 20-23, at The Cat, 254 Veterans Way in downtown Carmel. For tickets and info, see carmelplayers.org.

‘Absolute pleasure’ in Westfield

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By John Lyle Belden

“The Rocky Horror Show” is the kind of stage performance that defies conventional theatre reviews.

Its cheesy-bad plot and pretensions as an allegedly cautionary tale are taken seriously by absolutely no one in the cast or audience, not even its satirical aspects as a spoof/homage to mid-20th century schlock horror or “this could happen to you” films directed at teens. This is by design. Created by Richard O’Brien and – with the help of producer-director Jim Sharman and the star charisma of Tim Curry – a hit in London (then elsewhere) since 1973, this is not just a tribute to all its movie and music influences, but a completely immersive bizarre entertainment experience.

Main Street Productions of Westfield brings “Rocky Horror” to glorious life to open the spooky season, evenings of Oct. 1-4. Note this means those involved in or attending other local shows can see it on Wednesday. The Saturday, Oct. 4, performance is scheduled for midnight, ending the run in a perfectly demented atmosphere. Also note that this is indeed the stage musical, not the film “Picture Show,” and this is an actual cast – no shadowcast – however, any and all call-backs are welcome and encouraged. Authorized audience props are available for sale – no waterguns – and the show program is on newsprint for use as the newspaper. Finally, because things a bit obscene are portrayed and a lot obscene are shouted, it is recommended for ages 18 and up; viewer discretion advised.

You likely already know what’s happening. If not, just accept the lipstick “V” (for “virgin”) on your face, try to relax and be ready for anything – you’ll survive.

Bradley Allen Lowe is outstanding as the ambisextrous* Dr. Frank N. Furter. This is his world; we’re just dancing in it. DaSean McLucas bravely embodies his creation, Rocky. Kelby Herwehe-Schounce and Dezaray Dagey give incredible performances as Brad and Janet, the two squares caught in the middle of the madness (kudos to them for putting up with shouts of “a**hole/slut” every performance). Logan Laflin throws himself totally into “handyman” Riff Raff. Talje Wiersma compliments perfectly as his twisted sister Magenta, and Alyna Hope Whitis shines as energetic assistant Columbia. The Phantoms are phantastic: Gwen Burke (also Trixie, who sings the theme), Jake Carrico (who doubles as Eddie), Jonathan Ramey (also Dr. Everett V. Scott), Kiara Hollaway, Samantha Kelly, Abby Morris, and Diego Rafael Samaniego. The Narrator, Broden Irwin, apparently does have a neck – but feel free to mock him for not having one, just to see how he reacts.

Bringing this all together are directors James H. Williams and Brandon Schultz, with musical director Ben Rose. Choreography is by Bryttnei Whitehurst (though instructions for the “Time Warp” were already provided – it’s just a jump to the left…).

For those who only know the movie, some scenes are different. Brad gets a song, and while some stage versions don’t have the lines “everybody’s lucky” and “a toast;” both have been worked back in (O’Brien has tinkered with the script over the years due to the film’s popularity). We do recommend buying the props (money supports the theatre) as the “toast” you get is a nice souvenir.  Becky the Bakester has also made appropriately decorated cookies for the concessions stand.  

If this is your kind of show at all, its worth the trip up to Westfield (note the downtown construction detours), at 220 N. Union St. See westfieldplayhouse.org for tickets.

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(*This was an apt description of the character [played by Curry] in a Guardian review of the original production; I couldn’t resist using it here.)

‘HI!’ – ‘Puffs’ a hero’s story for the rest of us

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By John Lyle Belden

The difficulty in writing about the hilarious parody, “Puffs, or Seven Increasingly Eventful Years at a Certain School of Magic and Magic,” is that in the years since the original books and movies of the subject franchise were made and initially enjoyed, its creator has turned out to be much like the villains in her stories.

Still, this Off-Broadway hit by Matt Cox, presented as the summer youth production of Main Street Productions in Westfield, in a way responds to the sense of betrayal by She-Who-Will-Not-Be-Named by giving the narrative to those who don’t feel particularly “Brave,” or “Smart,” or in a privileged elite (like “Snakes”). This one’s for the “Puffs” everywhere, in the spirit, as director Amber K. Roth puts it, of “true friendship.”

Our intrepid Narrator (Carolyn Noneman) informs us up front that this takes place in a certain school of magic in Great Britian in the 1990s, when a certain 11-year-old spent seven years getting into all kinds of adventures, including a literal war. This is NOT about him, despite the fact he keeps showing up.

In rural New Mexico, 11-year-old Wayne Hopkins (Teddy Epstein) also discovers that he is a wizard – also that wizards exist, he’s really British, and owls can deliver mail. He makes his way to the school, where a talking hat chooses to which House each student will belong. While others famously join the “Braves,” Wayne finds himself in the “Puffs,” which is apparently the opposite. His housemates include Oliver Rivers (Spencer Rees Bland), a boy from a non-magical family in Indiana who is gifted in mathematics (for what good that does him here); and Megan Jones (MJ Elliott) a goth loner whose mother (Annalisa Schuth) is in the prison for “Sirius” criminals because she follows the Dark Lord.

Other Puffs include goofy Leanne (Morgan Rusbasan) who thinks that being a wizard at all is cool, and just wants to have a silly slumber party; Ernie Mac (Liam Thompson), succeeding to some degree at trying to be cool; Hannah Abbott (Eve Carson), who maintains high spirits despite the frequent bullying; J. Finch Fletchly (Layne Thompson), whose charisma combines the slacker and class clown archetypes so well, he even enjoys being a possible figment of others’ imagination; nervous Susie Bones (Greta Shambarger), whose family may be cursed; Sally Perks (Nora Gapinski-Coon), who finds she is more attractive without her glasses, making her confident but nearly blind; and Cedric (Carter Dean Kinnett, the one Puff that readers of the books all know about.

The scar-faced kid with weird luck who talks to snakes (name starts with H) is played by Moon Siebe. All other characters are portrayed by Preston M. Blair, Mackey Brose, Lucy Cooper, Lousia Dobson, Jack Elicker, Keighan Johnson, Jack Levine, Calvin Noneman, Dhruvi Shah, Ella M. Steffans, and a mop.

In under two hours (including intermission) we roll through seven years, each more dangerous – with a thicker book – than the one before. The more familiar you are with the franchise, the funnier the jokes and sharper the jabs are. And that really bad thing that happens at the climax of Book 4? It still happens.

Still, this is more than a good-natured mocking of a popular set of stories. It sticks to the point of view of the people trying to live their own epic while finding themselves in support of someone else’s. Those kids in the yellow and black school uniforms mattered, too, and any win can feel good, even if it means climbing from fourth place (of four) to third.

This is reflected in the exuberant performances of our talented cast. While Epstein, Bland, and Elliott are solid as the main trio (a counterpoint to the novels’ threesome), Rusbasan and Thompson are naturals at physical comedy – earning as much as stealing their scenes. Kinnett shines, appropriately, with all the suaveness his housemates lack, as well as cooly presenting a much darker side in Act II. Schuth is fun to watch as she demonstrates that you can take the girl out of the Puffs, but not the Puff from the girl. In addition, we give a shout-out to the ensemble member who played Bippy, the odd elf-like character the Puffs really should have noticed earlier, given their dorm’s proximity to the kitchen.

Carolyn Noneman is an excellent host, engaging the audience as she guides us through the story, taking all its absurdities in stride.

Roth is assisted by Melina J. DeGolyer, with student director and dramaturge Anna Pfeiffer. Stage manager is Samantha Kelly, assisted by students Julia Brammer and Corwyn Barrows. Stage crew are William Gapinski-Coon, Jackson Brammer and Sullivan Hill – hopefully among these I mention are the excellent “shadows” helping make the magic happen.

The spell lasts for one more weekend. See “Puffs” Thursday through Sunday, July 24-27, at the Basile Westfield Playhouse, 220 N. Union St.; get tickets at westfieldplayhouse.org.

This reviewer praises CCP young artist production

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By John Lyle Belden

Carmel Community Players presents the fantastical tale “This Girl Laughs, This Girl Cries, This Girl Does Nothing,” an internationally popular play for young actors and audiences by Finegan Kruckemeyer, the CCP Rising Star Production performing through this next Sunday at The Cat in Carmel.

Starting with a Grimm premise – a woodcutter father abandons his triplet daughters in the woods – we get a story with more whimsical adventure than grown-up reality, which works just fine in a work as entertaining as it is allegorical. A talented cast ages 13 to 18, directed by Amber K. Roth, keep the mood light with a fair number of laughs at the play’s little absurdities.

From the “once/twice/thrice upon a time” that they are born, the title characters are played – from girls to women – by Sydney Weitz as Albienne, the one who loves sweets and, seeing the abandonment as an opportunity, laughs and heads out towards the west; Maile Alpizar as Beatrix, the one who loves the sun and, resolving to find their Papa to understand what happened, dries her tears and heads out towards the east; and Vivienne Thibodeau as Carmen, the one who tends to carry the weight of the world for others, feels this is a perfect time to unshoulder the burden and make the most of where she is.

Events are described through with the aid of a cast of Narrators who also play supporting characters including various villagers, “Vickings,” and woodland creatures: Maggie Croddy, Lucy Cooper, Amelie Thibodeau, Emmy Bobenmoyer, Sophia Sweeney, Delaney McWilliams, and Corbin Cowles, whose roles include a romantic interest or two.

There is also a lighthouse with a perplexed keeper (Bobenmeyer), a sword, a cheeky badger (Cooper, who also plays Papa), some cherry trees, and a boombox, all in a triple-shot globe-circling journey that will somehow bring things back to where they began. The moral of the story is quoted on the cover, “Life is not for going back;” for the lessons, truly applicable to all ages, you need to see this for yourself.

Performances nicely carry the narrative forward with appropriate youthful energy. Weitz plays her character as one with an appetite not to consume for its own sake but to savor – even if it’s the thrills of a different vocation. Alpizar wears her freckles with pride, shining like an intrusive sunbeam into every situation. Vivienne Thibodeau aptly portrays the arc of an empath learning how much of a regard for others is too little, too much, and just right.

Roth is assisted by Student Dramaturg Anna Pfeiffer. Samantha Kelly is Stage Manager, assisted by Grace Kelly.

A jam-packed 75 minutes – not too much for the young, worth the ticket for the rest – follow “This Girl…” Thursday through Sunday at The Cat, 254, Veterans Way, downtown Carmel. Get tickets at carmelplayers.org or thecat.biz.

CCP: On tonight’s episode of ‘I Loathe Darcy…’

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By John Lyle Belden

The Jane Austen novel “Pride and Prejudice” has become so familiar to those who have enjoyed it on page and screen that someone once inserted zombies into the story. What we’ll get here, though, is much more alive. Carmel Community Players presents a recent adaptation by Kate Hamill that plays into the expectations of our romcom and sitcom-fueled culture.

Directed by Samantha Kelly, the essence of the story, set in genteel 19th-century England, is intact: the relatively poor Bennet family worry that their four daughters will not be able to marry above their station, pinning their hopes on a few local bachelors with wealth or potential.

Let’s meet our bachelorettes: Beautiful Jane (Caitlin Karas), the eldest, would love to marry wealthy Charles Bingley (Grayson Wieneke), who is interested but reluctant to pop the question. Lizzie (Katie Endres) is smart, headstrong and declares she “shall never marry.” Quirky Mary (Elizabeth Enderle) everyone considers disturbingly homely (apparently even Death won’t touch her, only giving her gaunt features and a persistent cough). Spritely Grace (Lydia Miller), the youngest, is hyper and impulsive. Also on hand is equally destitute friend Charlotte Lucas (Desiree Black), who seems to kindly accept her role as a wallflower.

Mrs. Bennet (Amanda Falcone) is frantic, to say the least, constantly extolling the virtues of her marriageable daughters to anyone who’ll listen. Meanwhile, Mr. Bennet (Matthew Socey) just wants to be left alone to read his newspaper or otherwise let things play out as they will.

At social events we meet Mr. Bingley’s posh sister Caroline (Amalia Howard), as well as the nervous Fitzwilliam Darcy (Alec Cole), who has a legendarily awkward meet-cute with Lizzie. We also encounter George Wickham (Drake Smith), ambitious but “only a Lieutenant” in the Royal Army; rich but rather creepy cousin Mr. Collins (Grant Bowen); and the fiercely upper-class Lady Catherine de Bourgh (Elizabeth Ruddell).

In Hamill’s snappy script, what we get is a sort of cross between “Fiddler on the Roof” (sans music) and “Taming of the Shrew” as though presented by the Hallmark Channel – and it works delightfully. Farcical elements entertain: Falcone’s over-the-top performance making it understandable that neighbors start to avoid her; Bowen leering in such a way that we feel Lizzie’s dread at possibly marrying Collins; the various comical jump-scares around Mary, so much that I started to feel bad for her (or at least Enderle).

It all melds well with the romantic drama aspects, such as Lizzie’s grudgingly growing appreciation of Mr. Darcy, and Lydia discovering that to leap before one looks can bring on consequences. Endres and Cole acquit themselves well as more true-to-book versions of the characters.

Nicely paced while funny and charming, indulge in “Pride and Prejudice” Thursday through Sunday (two performances Saturday) at The Cat, 254 Veterans Way, Carmel. Get tickets at carmelplayers.org or thecat.biz.

CCP: ‘Starcatcher’ a fun origin story

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By John Lyle Belden

Once upon a time, there was a boy who never wanted to grow up, so he didn’t.

How he managed that feat is the tale of “Peter and the Starcatcher,” an all-ages story presented by Carmel Community Players. Adapted for Broadway in 2011 by Rick Elice from the book by humorist Dave Barry and Ridley Pearson, this piece of English Story Theatre now occupies the intimate space of The Cat, directed by Lori Raffel.

During the reign of Queen Victoria (God save her!), two ships depart from London for a faraway tropic kingdom. One has Lord Aster (Grant Bowen), the other has his young daughter Molly (Hannah Janowicz) under the watchful eye of Mrs. Bumbrake (Tanya Haas). Also, aboard one of these is a trunk containing a dangerously wonderful substance.

Molly is aboard the Neverland, captained by crafty crusty Bill Slank (Dan Flahive) who also keeps three captive orphans – bossy Prentiss (Olivia Carrier), hungry Ted (Quinn Yeater) and a Boy too poor for a name (Mason Yeater). Meanwhile the Wasp, under Captain Scott (Chris Vojtko), is taken over by the pirate Smee (Samantha Kelly) for their boss, the infamous Black Stache (Austin Uebelhor). The buccaneers are aware there is a priceless treasure, and that Aster holds its key.

Brian Thibodeau plays Slank’s first mate, Alf, with other characters by Adrian Blackwell, Desiree Black, and Mackey Brose.

The play’s simple staging and air of whimsy propel a wild adventure that includes storms, mermaids, restless island natives, and a large hungry crocodile. Along the way, the Boy gains a name, and a purpose. Little touches like Bumbrake’s alliterations and Stache’s anachronisms keep things interesting as we see the elements come together, laying the foundation of the familiar legend of Peter Pan.

The Yeater brothers are always a treat to see onstage. Quinn’s Ted is a likable goof, while Mason displays both comic and leading-man talent, which combined make him believable as the primary title character without having to actually fly. Janowicz nicely embodies the know-it-all teen girl who speaks Doolittle-esqe languages and works magical devices with scientific precision. Carrier carries on well as the boy who’s more bluster than bravery.

Kelly has an odd charm as almost-smart Smee, while Uebelhor is entertaining as the villain wannabe who struggles to be feared until a sudden injury clarifies his place in this legend. Additional humor is wrung from the growing relationship between Bumbrake and Alf. Blackwell is impressive as a chef-turned-cannibal.

Take some time out from being a grown-up to experience the childish charms of “Peter and the Starcatcher,” performances Thursday through Sunday, Nov. 21-24, at 254 Veterans Way in downtown Carmel (by the Arts & Design district). For info and tickets, see carmelplayers.org or thecat.biz.

CCP shows its strength

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By John Lyle Belden

The title of the play, “Steel Magnolias,” written by Robert Harling based on events in his life, refers to the fact that – as one character remarks – men are expected to be pillars of strength, yet women are like hardy flowers of even stronger mettle.

Carmel Community Players presents a mostly-female production of this Off- and on Broadway hit (also made into a beloved film in 1988), directed by Elizabeth Ruddell.

The action takes place in Chinquapin Parish, northwest Louisiana, but we hear all about it at Truvy’s Beauty Shop. We open on an eventful day: Truvy (Casey Clouser) has just hired young Annelle (Phoebe Aldridge) as assistant beautician, then Shelby (Emily Haus), daughter of M’Lynn (Tanya Haas), one of the shop’s regulars, arrives to prepare for her wedding that day. Clairee (Susan Boilek Smith), the town’s former first lady, arrives from the dedication of the local football field to her late husband. Local curmudgeon Oiser (Gabrielle Patterson) storms in, this time upset at M’Lynn’s husband – who has also annoyed the whole neighborhood with his efforts to scare birds away from the backyard wedding site.

Time advances through more scenes, giving us insight into both the changes in these women’s lives and how their bonds stay strong and true. There is plenty of good humor, with numerous funny lines and zingers like a sitcom, but flowing naturally like true friends talk. There is also a cloud of misfortune that will eventually overtake them, testing their steel. Even if you know this or have seen it before, this cast keeps the feelings raw and real.

Haus presents Shelby in all her stubborn, upbeat, brave glory. Haas epitomizes the hard strength of the title, making it all the more impactful when she reaches her limit. Aldridge charms, taking us on the curious complex arc of sweet Annelle’s many changes, inevitably for the better. Smith gives us someone who knows she’s a VIP but would rather have fun with it than lord it over anyone. Her fierce loyalty to lifelong best friend Oiser says a lot about her character. Speaking of whom, Patterson gives us a force of nature like a Louisiana hurricane, yet always true to the ladies in this circle.

If you haven’t, we highly recommend you also see the movie with its all-star cast, including Dolly Parton as Truvy. Clouser is a living tribute with her accent and blonde wig, while making the character her own. We never forget this is her house, after all.

Other salutes to the film include a Dolly portrait on the wall (her hits play while we wait for the play to start) and Annelle’s cat-eye glasses like Darryl Hannah wore in the role.

Haas is also producer. Other “Magnolias” involved include stage manager Samantha Kelly, lights by Karissa Henschen (with Doug Vann), and sound by Lori Raffel. “Honorary Magnolia” Jason Creighton provides the good-ol’-boy voice on the radio.

Entertaining and emotional, find some Southern charm up north in Carmel. “Steel Magnolias” plays Thursday through Sunday, Oct. 10-13, at The Cat, 254 Veterans Way. Get info and tickets at carmelplayers.org or thecat.biz.

At Epilogue, ‘Business’ is good

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By John Lyle Belden

Economic conditions are uncertain, but aren’t they always? In 1982, with the Reagan era getting under way, various stresses threaten “A Little Family Business” in the comic drama by Jay Presson Allen (adapted from a French farce by Pierre Barillet and Jean Pierre Gredy) at Epilogue Players, directed by Elizabeth Ruddell.

Ben Ridley (David Beck), president of the Cobbs Carpet Sweeper company is facing competition from inexpensive Japanese electric sweepers, as well as worker unrest. His disappointing son Scott (Mac Wright) plays the flute for a living; daughter Connie (Hazel Bolt) bugs him about his diet like a health nut, but her Republican heart is in the right place; faithful secretary Nadine (Samantha Kelly) is still doable, though he has younger ladies on his mind; and it turns out he forgot his wife’s –heiress Lillian [nee Cobb](Tanya Haas) – birthday. On top of all this, hated former employee and Democratic candidate for Governor Salvatore Farrantino (James Kenjorski) is in town. Still, railing like a slightly updated Archie Bunker, Ben is not about to back down to anyone – until his weak heart intervenes.

Forced to take a leave of absence, the boss is left with little choice but to leave his wife – who had been mostly idle except for catalogue-fueled shopping sprees (and secret donations to progressive causes) – in charge of the company. But after Lillian gets past telling the factory employee grievance committee (H. Dupiton, Katherine Novick, Dale W. Smith, and Mike Harold) she’s “just a woman,” it dawns on her that that is enough. And she has ideas.

Set at a time when women in charge were becoming more common (like Margaret Thatcher in Britain) though still rare, this show offers a light-hearted dose of empowerment with some interesting family dynamics. This includes the distress inadvertently triggered by Scott’s choice of fiancé, as Ben, Sal, and Lillian come to terms with the circumstances of past affairs.

Haas is charming and even when Lillian’s unsure, keeps her whip-smart. Beck makes the randy bigot Ben somehow likable, no doubt aided by the fact his wife never really gives up on him. Bolt boldly plays a feminine Alex P. Keaton – if this were more of a drama, we would no doubt be exploring some daddy issues. Wright plays Scott as one accustomed to his father’s disappointment, which gives him a subtle wisdom as he goes-along gets-along so he can do his own thing. Kenjorski presents a big smile, big handshake, savvy politician with some actual heart for the common man (and uncommon folk like the Ridleys – especially Lillian). Kelly puts the “professional” in professional assistant as Nadine, heroic for putting up with Ben, and making herself invaluable to Lillian.

Kelly also serves as stage manager, and Wright is assistant director. The elegant yet functional set was designed by Ruddell and Ed Mobley

Invest a little time and ticket fare in “A Little Family Business,” Thursday through Sunday, April 18-21, at 1849 N. Alabama St. (corner of 19th and Alabama), downtown Indianapolis. Get tickets and info at epilogueplayers.com.

Intimate look at classic ‘Murder’

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By John Lyle Belden

As the saying goes, the axle of a railroad car evolved from an old Roman chariot, so as for generations we moved from city to city on narrow but comfortable boxes, things still might feel a little close.

Especially when there’s a dead body in the next car.

When Carmel Community Players found themselves staging the traditionally large production of “Murder on the Orient Express” in the intimate confines of The Cat, director Lori Raffel opted not to re-invent the on-stage railroad. “Why not?” she mused, understanding that theatre-goers know how the magic works. Indeed, seeing cast members and stage managers Samantha Kelly and Chloe Vann transform the sleeper cars to the lounge car (which doubles as a fine Istanbul restaurant) in half-light doesn’t hurt the show one bit, perhaps even aiding the flow as we don’t just stare at a curtain between scenes.

And, as noted, you are never far from the action, especially in the Cat’s up-front love seats (first-come for patrons). This way you never miss a clue, or a punchline in this Ken Ludwig script approved by the Agatha Christie estate.

Please, if you know the solution to this mystery, don’t tell! But if you don’t, relax, it was a difficult case for Christie’s famed Belgian detective Hercule Poirot (Larry Adams), and the resolution has surprised and delighted whodunit fans for decades. Again, if you do know – shh! – and enjoy how it plays out with the wit of Ludwig in Christie’s world, presented by this talented local cast.

In 1934, Monsieur Bouc (Earl Campbell) is rightly proud to be in charge of the famed Orient Express (an actual legendary line that ran the length of Europe) and to host Poirot on an unusually crowded journey to France. However, while a snowstorm halts the train in the mountains of Yugoslavia (around Croatia today), the very shady Samuel Ratchett (Tim Latimer) is found dead in his cabin.

Until the snow clears and police arrive from Zagreb, it is up to Poirot to solve this expansive closed-door mystery. Whodunit? Considering it is revealed that Ratchett was a man who literally got away with murder, there is motive, and plenty of suspects. Was it the English woman and Scottish soldier (Olivia Carrier and Jeffrey Stratford) who have been quite secretive? Or the wealthy Russian Princess in exile (Cathie Morgan) or her Swedish missionary nurse (Nicole Sherlock)? Or the loud new-money American (Vickie Phipps)? Or the former nurse turned Hungarian Countess (Viviana Quiñones Fabre)? Or yet, Ratchett’s personal secretary (Jonathan Young)? Conductor Michel (Mohamed Armin) has his own puzzle as others claim to see a mysterious someone in a jacket just like his.

Performances are solid all around, especially Adams’ command of the proceedings as the famed Belgian. Phipps has a ball as the stereotypical obnoxious American. It is impressive how this all-volunteer community cast commit to and hold on to their various spoken accents, especially Stratford’s thick brogue.

Remaining departures for “Murder on the Orient Express” are Thursday through Sunday at The Cat, 254 Veterans Way, downtown Carmel. For info and tickets, visit carmelplayers.org.

Bard Fest: Women give men a (very) hard time in ‘Lysistrata’

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This is part of Indy Bard Fest 2022, the annual Indianapolis area Shakespeare Festival. For information and tickets, visit indybardfest.com.

By Wendy Carson

With the Indy Bard Fest production of “Lysistrata,” Holly Hathaway-Thompson has done an amazing job of updating Aristophanes’ story of women’s empowerment. She not only made the storyline more accessible to a modern audience, but also shows the true meaning behind its purpose: Women have the power to change everything if they just stand together in their resolve.

The story begins in the not-too-distant future with a young girl (Missy Waaland) approaching her grandmother (Miki Mathioudakis) for more information about the election of 2022. Grandmother is horrified to learn that only a sentence or two about this time exists online and one of those is on bleach vaccines. She then begins the story, “There was this woman …”

We are transported to an alternate reality of Greece in which Lysistrata (Carrie Reiberg) has called together all of the women of the various tribes to set about her plans for P-E-A-C-E (the spelling of this word is vital throughout). Though many of the representatives have disputes among themselves, they all agree that they are sick and tired of their men being away at war all the time. Lysistrata puts forth her simple plan: They will all withhold any romantic or sexual favors until the men agree to give them a Peace.

Surprisingly for some, this is almost as difficult for the women to uphold as it is for the men to endure. Therefore, the women take over the capital for themselves alone until their demands have been met. The men do not take kindly to this tactic and try everything to persuade the women from their resolve. However, even the most bull-headed of them men finally give in to their basest needs and agree that they will meet the demands of peace, healthcare, education, living wages, etc. This brings about the blissfully benevolent future of our Grandmother and Grandchild – a future where men do not control women’s bodies or destinies.

With the source material being a comedy, Hathaway-Thompson has given the cast some truly hilarious lines throughout. Her amazing cast manage to squeeze every possible drop of laughter from each one.

Reiburg brings a slyness to Lysistrata you don’t always see in this role. This was a woman who literally brought a nation to peace with a very simple plan. Mathioudakis is brilliant in her dual roles as Grandmother and Colonice (Lysistrata’s closest ally), bringing the wisdom and experience of both characters. Waaland’s turn as the Grandchild and Ismenia allows us to see the counterpoint naivete of her youth.

Tracy Nakigozi portrays Andromeda as a wary but proud woman who puts aside personal conflicts for the good of the whole. Lucy Fields as Lampito is a comic delight as she bemoans the travails of this lack of intimacy upon herself as well as the men. Scott Fleshood (Xander), shows another side of this longing as the lone representative of those who also love men even though being born with a Y chromosome. Samantha Kelly (Medora) and Nikki Lynch (Cassandra) both do a great job of helping to keep the men in their place.

Jessica Crum Hawkins (Myrrhine) plays one half of a married couple that, despite their love and desire for each other, are still at odds on the matter. Matthew Socey (her  husband, Cinesias) brings comic timing to a new level as he is continually and painfully denied the fulfillment of his desires.

Also at loggerheads are the Leader of the Women (MaryAnne Mathews), Leader of the Men (Robert Webster), and the Magistrate (Eric Bryant) each of them chewing up the scenery as if it were their final meal.

Speaking of the men, being that the story surrounds the baseness of themselves, they are mainly comic relief. However, each brilliantly shows their ability to handle these barbs – especially Jurrell Spencer as the Herald who has apparently “cut a hole in the box.”

I was saddened to discover that most of the audience had never head of the story, but proud of their reception to it afterwards. I do adore this play. It has an important message and it needs to be heard throughout our country and the world.

You have your chance this Friday through Sunday, Oct. 14-16, at The Cat theatre, 254 Veterans Way in downtown Carmel.