Sarah Eberhardt

Laughter and tears in Belfry’s ‘Crimes’

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden

The Pulitzer Prize-winning comic drama “Crimes of the Heart” by Beth Henley takes on a special resonance in these times of heightened awareness of mental health issues and violence against women.

The Belfry Theatre presents this play, directed by Jen Otterman, at the Theater at the Fort in Lawrence in all its dysfunctional glory. Taking place in a roughly 24-hour period in a small Mississippi town in 1974, we meet the Magrath sisters: Lenny (Brooke Hackman) is turning 30 but feels ancient; Meg (Sarah Eberhardt) apparently put her Hollywood singing career on hold to rush home; and Babe (Becca Bartley) is getting bailed out after shooting her abusive rich attorney and State Senator husband in the gut. Cousin Chick (Ka’Lena Cuevas) thinks she’s helping, but is mostly a judgmental pill.

Also on hand are family friend Doc Porter (Tanner Brunson), who isn’t actually a doctor (why will be revealed), and young lawyer Barnette Lloyd (Mickey Masterson) who takes up Babe’s case because he has a “personal vendetta” against her husband.

While I do recommend this play for its sharp script and excellent performances, I must acknowledge there should be a “Trigger Warning” as there is frank discussion of suicide and attempted acts of self-harm. In fact, if one were to observe this as an armchair psychologist, you could see a lot of disorders on display, especially the effects of narcissistic abuse by the sisters’ grandfather (offstage, but very much a character in this story).

And yet, this is also a comedy. The dark humor pops up in little bits here and there, such as Lenny’s “birthday cookie,” and bubbles over in gut-busting moments including one that involves a broom and another that is triggered by the phrase, “you’re too late.” For anyone who relates to tragic circumstances, it’s easy to see how “we shouldn’t laugh at this” only triggers another round of guffaws through cast and audience alike.

Hackman naturally portrays Lenny as a character you just want to put your arm around, maybe to gently shake some sense into. Eberhardt as Meg presents us with a fallen honky-tonk angel who surprises you with her depth of spirit, but who can’t help being that girl in need of rescue. As Babe, Bartley plays a woman who is 24 going on 15, her life decided for her in a way she never wanted, desperate for a way out. Brunson comes across as a strong good ole boy, but more than Doc’s injured leg hasn’t healed properly. Masterson presents Lloyd as the kind of perfect gentleman that makes one suspicious. Finally, as Chick, Cuevas is great as the kind of person who means well, but, well, bless her heart…

Complex and compelling, “Crimes of the Heart” runs through Sunday, May 7, at 8920 Otis Ave., Indianapolis. Info and tickets at thebelfrytheatre.com or artsforlawrence.org.

Fogg vs. Fix in frantic farce at The Fort

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , ,

By John Lyle Belden

While 19th century author Jules Verne indulged in some of the first popular works of what came to be known as science-fiction, one of his most popular novels dealt with a bit of science fact: in the 1800s it was possible to travel around the entire Planet Earth in under three months.

However, Belfry Theatre has only two hours to show how it was done, so thanks to dramatic license, a talented small cast, and a table full of radio-era sound effects – employing a comic adaptation by Mark Brown – we go “Around the World in 80 Days” at Theater at the Fort in Lawrence.

French adventurer and stickler for details Passepartout (Bryan Ball Cavajal) seeks to take it easy as a manservant for the most predictably boring gentleman in London, Mr. Phileas Fogg (Brad Staggs). However, on his first day on the job, Fogg rushes home and says to pack a carpetbag at once and hands Passepartout a big roll of British banknotes. It turns out our master has taken up a wager against the men at his posh club to travel around the world in 80 days – or less! – taking advantage of modern steamships and a newly-completed railway in India.

The era’s technology makes the journey possible, and Fogg’s mathematical mind helps him get ahead of schedule. However, Scotland Yard Detective Fix (Austin Uebelhor) suspects the money our hero hands out freely was stolen by a mysterious Gentleman Bandit. If the warrant arrives at a stop in the global British Empire at the same time as “Inspectimafix” and Fogg, arrest and detainment could mean losing the very expensive bet – even if our traveler is innocent. Fortunately, Fix is no fox, and the globetrotting chase takes some interesting turns.

The story is acted and narrated by a cast that also includes Sarah Eberhardt as practically every officer, sea-captain and official in the Empire; Uebelhor in other costumed personae; Eric Dixon in various parts as well as noises at the Foley table; and Barb Weaver, who also plays Auoda, the doomed widow rescued in India by Fogg and Passepartout. Directed by Eric Matters, this production is loaded with wit and sight-gags, paced so you’ve experienced quite an adventure by the time our party returns to London.

The antics of Cavajal, especially when sparring with Uebelhor, are a delight. Everhardt’s versatility and comic timing are impeccable. Staggs keeps Fogg as stiff as his stovepipe hat, while allowing enough humanity to keep him likable, especially in Weaver’s charming presence.

There are actually only three days left on this fun journey, with four performances: Friday and Saturday evenings, Saturday and Sunday afternoons, Feb. 17-19. Catch the action at 8920 Otis Ave., Lawrence. Get info and tickets at TheBelfryTheatre.com or ArtsForLawrence.org.

A toast to Belfry’s convent comedy

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , ,

By John Lyle Belden

It seems nuns are an easy target for entertaining and eccentric characters who also have the noblest of intentions. We get another fun take on this trope in “Drinking Habits” by Tom Smith, presented by The Belfry Theatre in Noblesville.

The Sisters of Perpetual Sewing are a small but important order in the Catholic Church. If the Pope pops a button, the garment gets sent to the little convent somewhere in the U.S.A. to get fixed right up. But the sacred stitches don’t raise quite enough funds to keep the lights on, so Sisters Augusta and Philamena (Jennifer Poynter and Cathie Morgan) have let the grape juice ferment and are selling the wine in town. This is kept secret from Mother Superior (Barb Weaver), who is so anti-alcohol, she won’t even allow the words for such beverages to be said aloud.

Thus we get some interesting euphemisms: Devil’s Delight, Satan’s Mouthwash, Lucifer’s Libations, etc.

Fortunately, the secretive Sisters have always-helpful second-generation groundskeeper George (Bryan Gallet) to help.

But local newshounds Sally (Sarah Powell) and Paul (Jeff Haber) have gotten a tip about the secret vineyard and are infiltrating the convent to investigate. It happens that the Order is expecting the arrival of a new member, so Sally becomes Sister Mary Mary, while Paul becomes Father Paul, her brother. Then the actual nun, Sister Mary Catherine (Sarah Eberhardt), arrives, and things start to get confusing. Add to the mix the neighboring priest and amateur magician Father Chenille (Chris Taylor) and word that the Vatican has sent spies to ensure all its facilities are worth keeping open, and confusion, mistaken identities, multi-layered lies, and other farcical elements rule the day.

Aside from quick entrances and exits from multiple doors, the cast also mines comedy gold from the Order’s ritual of keeping silent at random points during the day. (Apparently, wild gesturing and miming is not a sin.) The goofy goings-on crescendo to a wild ending of revelations (and matrimony!) that would make Shakespeare’s head spin.

Direction is by Belfry board president Nancy Lafferty.

Poynter and Morgan are wonderful in a study of opposites – quick-thinking, fast-talking Augusta, and nervous Philamena, who literally can’t tell a lie. Gallet is handed a challenge in keeping George easy-going and kind without coming across as too simple-minded – he’s the average-sharpness knife in the drawer. Powell and Haber ably portray two people in a situation way over their heads, while also working through unresolved feelings. Weaver has Mother Superior cool and in control, but isn’t too sharply stern, and manages to be out of the loop of what’s going on without looking foolish. Taylor makes Chenille charming in a way that gives the Father “dad” vibes. Eberhardt is so much fun to watch as situations, and Mary Catherine’s growing guilt, put her continually on-edge.

This show is very funny and well worth the drive up to Noblesville, playing through Sunday, July 3, at Ivy Tech Auditorium, 300 N. 17th, St. Get information and tickets at thebelfrytheatre.com.

And, just a thought for a future season: Smith also wrote a “Drinking Habits 2.”