satire

Wild Wilde comedy at Buck Creek

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By Earnest Bunbury John Lyle Belden

Buck Creek Players takes on a classic comedy tackling issues of identity within a strict society, “The Importance of Being Earnest,” which playwright Oscar Wilde cheekily called “A Trivial Comedy for Serious People.”

The subtext was hardly trivial for Wilde, with this well-received 1895 play coming out shortly before his infamous legal spat that had him imprisoned for homosexuality (a crime in Victorian Britain). For BCP, director Mel DeVito sought to enhance the comedy’s queerness with cross-gender casting.

Amanda McCabe said that when she auditioned, she had no idea she would become Jack “Earnest” Worthing. “I believe Wilde would have loved this,” she said after a performance. DeVito agrees, adding, “I just wanted to see Ben (Jones) in a dress” – which he is as haughty mistress of manners Lady Augusta Bracknell. Judy Lombardo plays both the servant parts, one as male and one female. Paige Scott, whose past roles include a trans character in “Hedwig,” portrays a rather distinguished clergyman, Dr. Chausable.

We open at the home of Algernon Moncrieff (Aaron Beal), where Earnest (McCabe) has come to woo his cousin, Gwendolen Fairfax (Brittany Magee). Our suitor wins her heart, but not her hand as Aunt Augusta, a/k/a Lady Bracknell (Jones), forbids their union, considering the young man’s rakish reputation and apparent low birth.

Mr. Worthing has two more complications: Gwendolen insists she will only marry a man named “Earnest,” and Algernon has found the proof that is not his name. As for the latter, cynically jovial Algernon finds it amusing that his friend also enjoys “Bunburying” – named for his habit of avoiding responsibilities by going to visit his non-existent “invalid friend” named Bunbury. Worthing says his double life lets him be serious “Jack” around his ward, the beautiful young heiress Cecily Cardew (Kielynn Tally), and “Earnest,” Jack’s younger more fun-loving brother, elsewhere.

The plot twists and thickens when Algernon goes to call on Cicely, introducing himself to governess Miss Prism (Tracy Herring) as Earnest. This thrills the girl, who always wanted to marry a man by that name.

As Lady Bracknell says later, coincidences are very unseemly. Wilde’s pen seemed not to care.

The casting and sharply delivered performances bring out all the fun and make the satire relatable, including obliviousness to hypocrisy, vice as virtue, and women’s thoughts in diary form being a sort of official record of social life. McCabe embodies Jack/Earnest with dashing charm and Chaplain-esque nimbleness. Magee and Tally both play wily and smart, especially when the young women have the upper hand over their “Earnests.” Beal plays Algernon as a smooth cad, yet ever likable.

Jones commands the stage, perfectly blending a stern Victorian matron and a no-nonsense drag persona. Lombardo speaks volumes with an eye roll. Herring gets moments to shine when her small role becomes more integral to the denouement. Scott is subtly wonderful, even while Chausible is perplexed but willing to re-christen adult men.

For a fun old “trivial comedy” as you’ve never seen it before, “The Importance of Being Earnest” has one more weekend, Friday through Sunday, Sept. 12-14, at the Buck Creek Playhouse, 11150 Southeastern Ave., Indianapolis (Acton Road exit off I-74). Get tickets and info at buckcreekplayers.com.

ALT: What happens in Aspen…

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By John Lyle Belden

One of the biggest surprises for me in seeing “Aspen Ideas,” the new dark comedy by Abe Koogler, is that the Aspen Festival of Ideas is a real thing – an annual gathering of the world’s rich, famous, influential, and otherwise successful in Aspen, Col., where they share various ideas of how to make the world a better place.

This play, presented by American Lives Theatre at the Phoenix Theatre Cultural Centre, is not about them.

Also planning to attend Aspen are Rob (Clay Mabbitt) and Anne (Diana O’Halloran). We meet them in New York, where they live, at a party where he hopes to make connections for his money management business. They encounter Jay (Alaine Sims), a woman who seems to be there for people-watching, which intrigues Anne as she herself is not comfortable at this event. They also meet Jay’s partner, Chris (Zach Tabor), who is pleasant but quiet – awkward and eccentric when he does speak (similar to the autism spectrum).

Days later, they all meet at Rob and Anne’s “Dumbo” apartment. Unsuccessfully avoiding this soiree is Rob and Anne’s 16-year-old daughter Sophie (Megan Janning), who, when cajoled into saying something to their guests, speaks frankly of her adolescent angst and resentments.

Rob feels compelled to invite Jay and Chris to join them in Aspen, insisting and offering to pay their way. The scenes that follow are on the plane to Colorado, then locations in and near the resort town.

Delayed by Fringe commitments, we saw this on its second weekend (one more remains), having heard that audience feedback has been mixed. What is the “idea” of what we see on the stage?

Neither the script nor Zack Neiditch’s direction allows these characters to be softened for more laughs. While it’s easy to see, perhaps, one of your friends or relatives in Rob or Anne – generally good persons – they become quite insufferable. Mabbitt and O’Halloran glibly commit to characters who feel like has-beens but are actually never-weres – he a frustrated artist of limited talent, she a dancer whose chorus career was ended by injury. They indulge in a poser lifestyle, not realizing it keeps them mired in their mediocrity.

Sims and Tabor excellently portray mysterious characters about whom we can only guess their true nature, even when their intentions are revealed at the end. Sims keeps Jay friendly while making you feel that something is a bit “off” about her. Tabor gives off a shy, even timid vibe in Chris’s quietude, which becomes effectively misleading.

Janning plays Sophie as a girl sharp enough to sense that she may not know what she wants, but it’s not what she’s got. She loves her parents, but hates what they represent.

“Aspen Ideas” is an amusing and interesting character study with an ongoing air of mystery. We found the ending of this 95-minute (no intermission) play intriguing and understandable in its context. Depending on what you think Jay and Chris may be, feel free to speculate what exactly happens on this summer day in Aspen.

Performances are Thursday through Sunday, Aug. 28-31, at 705 N. Illinois St., downtown Indianapolis. Get tickets at phoenixtheatre.org and information at americanlivestheatre.org.

A hard look at America as its victims depart

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By John Lyle Belden

“Ain’t No Mo’” is likely the most funny yet challenging piece of theatre you will see this year.

Written by Jordan E. Cooper, who led performances on Broadway, and now presented by Indianapolis Black Theater Company at the District Theatre, directed by Jamaal McCray, this satire feels like what would happen if the TV show “In Living Color” came back today with total freedom to say what its African American writers really think.

The central player is Peaches (Daren J. Fleming) a drag queen airline agent for the last flight out in a project to relocate all Blacks in the United States back to Africa – the diaspora in reverse, departing from gate 1619.

However, first we get a rousing “funeral” scene which leans into the now-tattered myth that somehow all racism in America stopped with the 2008 election of Barack Obama. This introduces the company, who take on various roles and are referred to in the program as Passengers: Chandra, Clarissa Todd, Cara Wilson, Avery Elise, and Reno Moore, who in this scene plays the exuberant minister declaring that the word/concept of “‘N!&&a’ is our slave!” After what turns out to be an inoculation of spirited repetition of the word in this bit, you’ll hear it a lot throughout the show.     

This is an intense tour-de-force for all involved, with each actor taking their moments to shine.

Chandra keeps the pathos in a darkly comic scene at a not-really-hidden abortion clinic as with the only options for a Black child being prison or early violent death, terminating pregnancy is a mercy – even if one must wait in a line of millions to get it. Still, if only her murdered husband (Moore) saw it that way…

Todd delivers as one of the women (“B!tch, we all hoes!”) in a recording of “Real Baby Mamas of the Southside.” While they all delight in their gold-digger lifestyle, she takes up more of the attention, especially when she is called out for “living my truth” in a scene that simultaneously skewers reality TV, Black stereotype, cultural appropriation, and playing the victim.

In the most hilarious scene (and most reminiscent of an “ILC” skit), Wilson is an unstoppable delight as the essence of “Black” returning literally from her chains to an absurdly bougie family who insist they replaced their skin tone with “green.”

Elise gives a vicious tug to our heartstrings as a hardened prisoner about to be released so she can take that flight to Africa. Something she had with her when incarcerated is missing.

Between scenes, and at final boarding, we get moments with Peaches with her no-nonsense attitude and compassion that does get tested at times.

The production is supplemented with complementing and contrasting visuals provided by CèAira Waymon, as well as audio breaks of recorded lectures noting how Black culture has been turned in against itself to the delight of White supremacists. 

If something about this show does not bother you, you aren’t paying attention. And yet, you really should see this, at least to help understand if not ease the viral contagion of racial politics that permeates the current atmosphere. (As I write this, there is another news bulletin about attacks on DEI programs.)

“Ain’t No Mo’” has performances through July 6 at the District Theatre, 627 Massachusetts Ave., Indianapolis. Get tickets at indydistricttheatre.org.

Center Stage ‘Outsider’ shows silly side of politics

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By John Lyle Belden

At times, the difficult part of satirizing today’s political scene is coming up with something nuttier than what is actually happening. Or, in the case of “The Outsider,” the hilarious comedy by Paul Slade Smith, one could premiere a play in 2015 that in some ways appears to come true in the nine years since.

Center Stage Community Theatre in Lebanon now presents “The Outsider,” directed by Matt McKee with Sabrina Lang. The play is set in an American governor’s office – which state is not said directly, but there is an Indiana flag in the corner. Also, party affiliations are never mentioned as absurdity is non-partisan.

With the popular but corrupt Gov. Larry Clarke (and his whole staff) having resigned due to a sex scandal, the top job has fallen to Lieutenant Governor Ned Newley (Matt Spurlock), who, though highly intelligent and an efficient policy wonk, is totally tongue-tied in public and has botched his swearing-in. Note this takes place “today,” with viral videos on YouTube and other sites.

Chief of Staff (and until this day, Newley’s entire staff) Dave Riley (Neil Acton) is beside himself with worry over his boss’s future. His first hire is friend and expert pollster Paige Caldwell (Veronique Duprey), who manages to bring in nationally renowned political advisor Arthur Vance (Larry Adams). Riley also requested a temp to handle administrative duties, resulting in the appearance of Louise “Lulu” Peakes (Kat Krebs), who boasts experience at dozens of firms because she never lasts a day at any of them due to comical cluelessness.

Vance feels inspired by the Newley video showing the new governor apparently unfit for office. “Unqualified is the new qualified,” says this expert on what the voters want. The fact that Gov. Newley is not stupid only complicates things as Vance sets up a TV interview with local reporter Rachel Parsons (Lauren Lotzow), who arrives with surly cameraman A.C. Petersen (Tom Smith). This attempt to keep the Governor dumbed-down takes a bizarre turn when Lulu stumbles into the office, giving Vance a look at what could be the perfect American political candidate.

Whether you think this is other-worldly absurd or an exaggerated look at current events, the play is non-stop funny, like an SNL opening skit in which all the zingers hit. Acton as Riley plays the neurotic nice guy so well Jimmy Stewart would ask for pointers. Duprey has a natural charm that works perfectly here. Adams brings on contagious energy like a 21st-century political P.T. Barnum with the right sets of cards to get anyone saying what the public (or at least a focus group) wants to hear. Lotzow ably embodies a journalist annoyed with what “the media” have become, yet she must go along to keep a job. Smith, who can make a lot of a little role, does quite a bit with the guy who just wants to stay overlooked while he does his necessary thing.

 Spurlock gives in Newley a perfect rendition of a man who was in a dream job (quietly writing good policy that the one who likes being the public face took credit for) suddenly in way over his head with nearly every neurotic trigger tripped. Still, his honesty and sense of duty towards a government he doesn’t see as bad, or a means to power for its own sake, bring him courage to do what’s right.

As Lulu, Krebs is both a charmer and talented at the deceptively difficult job of consistently playing the ditz in a manner that is so entertaining while we nearly hurt ourselves laughing. Her timing and physicality, as well as Acton’s during the fateful TV spot, elevate the hilarity even more.

Like all good satire, there is a point here, but nothing heavy-handed or preachy. If you see any real-world versions of the attitudes or archetypes presented, just keep them in mind come November.

Whether you can use some topical humor or think politics is no laughing matter, just relax and enjoy “The Outsider,” through Oct. 13 at Center Stage, 604 Powell St., Lebanon. Get info and tickets at centerstagecommunitytheatre.com.

Southbank takes up Quixote quest

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By John Lyle Belden

“Take a deep breath of life and consider how it should be lived.”

These words spoken by Miguel de Cervantes as his creation Don Quixote in the musical “Man of La Mancha” help sum up the method behind the madness of the deluded knight at the center of the story – and is perhaps his most lucid advice.

Southbank Theatre Company and its founder, director Marcia Eppich-Harris, present the man, the madness, and the dangerous times in which this celebrated satirical novel came forth in their current production of the Broadway classic. Written in the 1960s by Dale Wasserman with music by Mitch Leigh and lyrics by Albert Marre, the story is loosely adapted from Cervantes’s 1605 book, portraying the author working through select scenes and characters in the more sweeping novel.

In the late 1500s, the dreaded Spanish Inquisition has arrested Cervantes (Paul Hansen), along with his servant (Anthony Nathan), not for a certain book he has yet to finish, or for being an actor or playwright, but because in his temporary employ as a tax collector, he tried to foreclose on a church. This lands him in our principal setting, a spacious communal dungeon in which the other prisoners mill about, seeking to cure their boredom. Their Governor (Scott Hall) declares the newcomer should stand trial for charges of the criminals’ choosing.

Cervantes seizes the opportunity – both to buy time and see how his stories are received by others – and “defends” himself by putting on our main story, the play within the play. Pasting on gray whiskers, he declares himself Don Quixote, with his servant now the farmer-turned-squire Sancho Panza. Other prisoners join in as various characters as needed.

If you know nothing else of this tale of an aging minor nobleman who reads one too many medieval romances and thinks himself the last defender of Chivalry, you have probably heard about the windmill. It’s actually a small part of the story, and Quixote’s charge against the four-armed “giant” happens quite soon in the musical. This is how we theatre folk get you, casual fan: come for the windmill tilting, stay for the meaningful stuff.

The plot really gets rolling when Quixote and Sancho arrive at an inn, which our knight sees as a castle (naturally). The Innkeeper (Hall) humors them, and we meet the other guests, a gang of muleteers led by Pedro (Kevin Caraher) who harass Aldonza (Jessica Hawkins), the wench serving up drinks, and maybe something more if the price is right. Quixote sees the woman, envisioning a high-born lady whom he declares to be “Dulcinea.”

Meanwhile in La Mancha, Quixote’s niece Antonia (Ashton Driscoll) and housekeeper (Yolanda Valdiva) enlist the help of a priest (Jericho Franke) and Dr. Carrasco (Rachel Serago) to find the man and bring him back to his senses.

The cast also includes Kendall Maxwell, Scott Stockton, Amalia Howard, Susannah Briscoe, Aaron Henze, Andrea Haskett, and Will Harris, who also plays guitar in coordination with the backstage orchestra, led by Seth Young.

A notable aspect of Cervantes’s satire is the comedy of good intentions gone awry, usually with others hurt while our oblivious old man goes blithely onward. This especially hurts Aldonza, who ironically becomes the one who most gets the point of this pointless adventure in the end. Thus, the musical asks a lot of Hawkins, and she is more than up to the challenge. She is compelling and commanding as a woman coming to terms with the possibility that her horrid past and present don’t define her future.

Veteran actor Hansen captures that perfect mix of maturity and whimsy to tackle his double-role. In both modes, he exudes confidence that stays a step ahead of the fear of a darker reality. Nathan, who must have been a court jester in a past life, is totally in his comic wheelhouse here. Serago, who as a prisoner is Cervantes’s “prosecutor” at trial, keeps one guessing if maybe the good Doctor is getting a kick out of tormenting Quixote in his efforts to save him.

There is much to unpack thematically, especially the simultaneous folly of and need for striving for a higher ethos. Perhaps this is why its most famous song, “The Impossible Dream,” resonates so much for so many. Hear it in context and see the “Man of La Mancha” at remaining performances Thursday through Sunday, March 14-17. at Shelton Auditorium, 1000 W. 42nd St., Indianapolis (edge of Butler University). For tickets and information, go to southbanktheatre.org.

Eclipse: ‘80s comedy so ‘very’ dark

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By John Lyle Belden

Summer Stock Stage opens its season with an Eclipse production of “Heathers: The Musical,” based faithfully on, if not the greatest, the most brutally honest Generation X teen movie.

Up front I must note that themes of teen alienation, bullying, homophobia, and especially suicide are essential to the plot, with the latter vital to the dark satire of this story. Those who saw the 1989 film, starring Winona Ryder, Christian Slater and Shannen Doherty, will understand, those who haven’t and could be triggered should exercise caution.

“Dear Diary…” Our central character and narrator is Veronica (Taryn Feuer), who sees senior year of high school as a final endurance run before escaping its toxic culture. Cruel classmates like jocks Kurt and Ram (Hayden Elefante, DeSean McLucas) pick on the weak and odd, like her friend Martha (Kallie Ann Tarkleson) so she has a plan: get in good with the elite clique – the Heathers.

Heather Chandler (Isabella Agresta) is awful, and in charge; Heather Duke (Micah Friedman) is Chandler’s number-one bitch and heir apparent; and Heather McNamara (Kha’Lea Wainwright) is a cheerleader.  

Enter the pale, dark-haired stranger, J.D. (Charlie Steiner), just the right mix of well-read loner and budding psychopath to turn Veronica on and lead her down a path of deadly events that has her wondering: Is she going to Prom – or to Hell?

The adults, of course, are next to useless, including aging hippie teacher Ms. Fleming (producer and program artistic director Emily Ristine). Eric J. Olson portrays ineffective Principal Gowan and a couple of father roles. Jared McElroy also plays dads, as well as Coach Ripper. Cora Lucas steps in as Veronica’s Mom.

The student body includes Lucas, Ben Holland, Elijah Baxter, Olivia Broadwater, and Jane Kaefer.

The musical’s songs, excellently performed, reflect the plot beats of the movie, such as “Our Love is God,” and don’t feel out of place. The dark comedy helps to bring the story together and make its elements – a foreshadowing of too many headlines between that year and now – easier to take. Still, director Maria Amenabar Farias pulls no punches.

Feuer is excellent in a role that is not quite hero, not quite victim, and we believe her and empathize when she wishes she could just put all this aside and “be Seventeen.” Tarkleson gives a brave portrayal of one who smiles through her pain, but can only take so much. Agresta emanates dark power as the kind of alpha who doesn’t let a small thing like death keep her from commanding the stage.

Steiner gets the brooding aspects of his boy with delusions of antihero down even better than Slater in the film. He lets J.D’s dysfunction creep up on Veronica so she doesn’t realize until it’s too late she’s truly a “Dead Girl Walking.”

A darkly comic epic where bad attitudes and good intentions can both have tragic ends, “Heather: The Musical” (by Laurence O’Keefe and Kevin Murphy, based on the screenplay by Daniel Waters) has one more weekend of performances, Friday through Sunday (Thursday is sold out), June 9-11, at the Phoenix Theatre Cultural Centre, 705 N. Illinois St., downtown Indianapolis. For info and tickets, see phoenixtheatre.org.

Footlite ‘Succeeds’

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By John Lyle Belden

We all know of a person who got into a prime position by dumb luck, fell upwards, however you want to call it. But wouldn’t it be wild if there were a simple instruction manual for the ambitious but unqualified?

“How To Succeed in Business Without Really Trying” at Footlite Musicals will show the way!

Based on a 1952 book of the same name by Shepherd Meade – who promoted it as satire, despite the fact he actually rose from mailroom to vice-president in his company – the musical was a hit in 1961, written by Abe Burrows, Jack Weinstock, and Willie Gilbert, with songs by Frank Loesser. More familiar with folks today are the hit revivals which appropriately featured the actors behind Ferris Beuller and Harry Potter in the role of the lead corporate climber.

J. Peirpont Finch (Brett Edwards) is literally on the outside looking in, as a window washer for downtown office buildings. But he has The Book (it was originally published with a yellow cover, so while similar, is not a “Dummies” book). He apparently has the fast-talking mind of a con man, but is somewhat ethical as he seeks to advance his career without committing any crimes or crushing anyone who isn’t acting a fool.  

Finch finds himself at World Wide Wickets (even back then, you needed the WWW to succeed) where he meets all manner of characters: A company president, J.B. Biggley (Graham Brinklow), with an easily exploitable private life; human resources manager Mr.  Bratt (Dan Miller) who will say yes to anything; friendly mail room manager Mr. Twimble (Jeffry Weber) who sees a long career as an end in itself; whiny Bud Frump (Josh Vander Missen), a literal mama’s-boy attempting literal nepotism (advancing as J.B.’s nephew); very hands-on department head Mr. Gatch (Jay Stanley); and various other executives and secretaries. This being the mid-20th century, women are consigned to the latter group, which includes Rosemary (Lauren Werne), who sees Finch’s potential; Smitty (Maggie Meier), Rosemary’s good-spirited bestie; Miss Jones (Joi Blalock), J.B.’s confidante and right hand; and Hedy LaRue (Sarah Marone-Sowers), J.B.’s worst-kept-secret of a mistress.

Will Finch climb the entire corporate ladder in the span of two Broadway comedy musical acts? Well, it would be a pretty lame show if he didn’t – but it won’t be easy, especially with conniving Frump around.

Edwards manages to heap on enough charm as Finch to help us overlook, and even cheer on, his otherwise questionable dealings. In a time when marrying well was one of the few easily attainable options for women, Werne makes Rosemary come off as brilliant. Solid stage veteran Brinklow manages to always emanate boss vibes, even when dancing like a Groundhog or doing a little knitting to relax. Vander Missen and Marone-Sowers show talent beyond being comic foils, holding our interest each in their own quirky ways.

Overall, this production, directed by Paula Phelan with choreography by Linda Rees, orchestra conducted by Aaron Burkhart and stage managed by Melissa Yurechko, does a brilliant job of satirizing office life, applicable to past eras and, to a degree, today. Does the number “Coffee Break” advance the plot? It doesn’t matter, we’ve all been there and appreciate a shout-out to the sacred bean. One could envision that with a more diverse, yet still corrupt and clueless, executive staff, Finch’s grandson could “succeed” just as wildly now.

Join the “Brotherhood” of witnesses to this sharply witty white-collar adventure. Performances run through May 21 at the Hedback Theater, 1647 N. Alabama St., Indianapolis. Get tickets and info at footlite.org.

Clever casting lends depth to ‘Hollow’

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By John Lyle Belden

There is something unusual about “Two Mile Hollow,” the play by award-winning writer (and Butler alum) Leah Nanako Winkler at the Phoenix Theatre, as well as the titular estate, a mansion in the rich neighborhood of East Hampton – home to the family of a Hollywood legend.

Years have passed since the death of Oscar-winning movie star Derek Donnelly, but his widow Blythe (Milicent Wright) still holds fast to his memory. Their children – Joshua (Eddie Dean), Mary (Paige Elisse), and Emmy-winner Christopher (Jay Fuqua) – want to get hold of Derek’s possessions. Christopher arrived with his personal assistant, Charlotte (Arianne Villareal), which becomes an additional complication.

It quickly becomes evident that this is a clever comedy, taking its swings at elitism and lifestyles of millionaire performers, done with heavy-handed melodrama. But it is in its intended casting that this play becomes a brilliant work of satire. It’s not just the uncomfortable things said by these characters that deliver the desired punch, but who we see saying them.

If you find yourself confused – “Are they…?”— just note that they are as they present themselves, and go with it. Immerse yourself in the layers of meaning, let yourself laugh at the goofy things you find there. If more serious aspects soak in, that was the intended effect.

I would go into detail on the excellence of the performances, but I don’t want to give too much of a hint of what is happening. Wright’s casting brings big expectations, which she and company exceed. Mikael Burke returns to direct another provocative piece of theatre art.

Scenic design by Inseung Park makes the house at Two Mile Hollow its own character, complete with the smiling face of the late patriarch, the serious whimsy of Post-its, and signs of decay that the characters either ignore or fail to notice.

Appropriately, the big concept comes with big laughs, like if a “Dr. Strangelove” style film were made by the Wayans Brothers and directed by Wes Anderson. To see what we mean, performances run through April 30 at the Phoenix Theatre Cultural Centre, 705 N. Illinois St., downtown Indianapolis. For info and tickets, see PhoenixTheatre.org.

This review knows it’s a review

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By John Lyle Belden

Meta (noun): Of a creative work, referring to itself, or to the conventions of the genre; self referential.

Why am I even doing this? I mean, the play, “Anton in Show Business,” even includes its own review. Just pay attention late in the second act; it’s right there. Nothing I need to add.

If you are in the Indianapolis theatre community, you’ve likely already heard about it, produced by the resurrected Betty Rage Productions and directed by its founder, Callie Burk-Hartz. We all know and love Callie, and she is on her game here. She even put it at the same address as her last Betty show, 627 Massachusetts Ave. – TOTS back then, now the District Theatre – “Outback” on the nice alley stage.

The 2000 play by Jane Martin takes its inspiration from Anton Chekhov’s “The Three Sisters,” written 100 years earlier. With more than a dozen roles played by seven women, the plot involves an effort to stage a version of the Russian’s downer drama that is, as one character puts it, “funny, funny, funny, funny, FUNNY, tragic.”

And if you are in the theatre community, you will love this. The cynical backstage dealings, egos, virtue-signaling, politics, etc., make this one of the best send-ups of regional and community theatre culture since “Waiting for Guffman.” If you aren’t on the “inside,” well, you liked “Guffman,” right? And did I mention this is FUNNY?

Devan Mathias plays TV star Holly Seabe (cast as Masha, I’ll note for Chekhov fans) as that actress you hate-watch but with slightly more talent and maybe a hint of humanity. Meg Ellioy McLane is struggling stage veteran Casey Mulgraw (Olga) trying to stay positive despite her lack of a big break, and that lump she just detected… Sarah Zimmerman is impossibly-sweet and eager Lisabette Cartwright (Irina), an elementary teacher in her first professional role, bringing her back to her native Texas, “Pardon me, Jesus.”

Comic chameleon Kelsey Van Voorst gets a workout here in roles including Actors Express of San Antonio Producing Director (and idealistic Chekhov fan) Kate, and country star-turned-actor Ben Shipwright (Lt. Col. Vershinin). She shows her drama chops by handling the comic beats without getting silly. Tracy Herring gives us her wild take on not one, but two different eccentric directors. Jamillah Gonzalez has her run of the stage as the obligatory Stage Manager/Narrator, as well as a prospective play director and the morally bankrupt Corporate Sponsor. And then there is Audrey Stonerock as Joby, who is literally the audience proxy – but she means well, and we like Audrey, who is nice both in and out of character.

All this, in a play about putting on a play, and how we observe that play, so that it knows it’s a play about players in a play putting on a play, and how the players get played. Play on!

Yes, this show is just as sharp, insightful and funny as it says it is. They even slipped in a couple of updated cultural references. Performances run through August 8; get tickets at indydistricttheatre.org.

ALT: Intense drama includes talkback after every show

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By John Lyle Belden

American Lives Theatre, the latest new company to the Indianapolis stage scene, makes a bold and provocative debut with its production of Pulitzer finalist “Gloria” by Branden Jacobs-Jenkins.

In the offices of a New York-based magazine, aspiring writers, stuck as assistants to faceless editors, snipe at each other as they lament their lack of opportunity, discuss their exit strategies, and seek to take advantage of the breaking story of a celebrity death. Dean (Joe Barsanti) is facing his 30th birthday with the vain hope that his memoir on his struggles in a dying industry will make all this worth it. Ali (Morgan Morton) is very go-along-get-along, which infuriates super-ambitious Kendra (Kim Egan). It’s the last day for intern Miles (Joshua Short), who is questioning his career path, now that he has seen the beast from the inside. The general commotion in this room infuriates Lorin (Tom Weingartner), trying to keep up with the demands of being chief fact-checker down the hall. Meanwhile, Gloria (Bridget Haight) — generally quiet and kinda weird, but a constant presence for the past 15 years — keeps dropping by, appearing anxious. Could this have something to do with the housewarming she hosted the night before, to which only Dean showed up?

This is about all I dare reveal of the plot. Director (and ALT founder) Chris Saunders notes that the content of this play includes a “trigger warning” due to a very specific trauma at the heart of the story. But I won’t spill, as the shock is an essential part of the drama. 

Fortunately, there is plenty of satirical and workplace humor, even as the characters become haunted by their circumstances. Haight also plays Nan, an editor with her own perspective that receives attention. Most of the cast also have additional roles, notably Short as a rather in-charge Starbucks barista. All have talents well up to their task.

“Gloria” is not so much about what happens, but rather how we deal with it. As each person comes to terms with their role and reactions, it becomes a question, as Saunders asks in the post-show discussion, “who owns the rights to trauma?”

Yes, there’s a talk-back — after every performance. Saunders hosts, and the actors may also get involved. Given what happens in the play, this can be a very important part of the overall experience.

Performances are Friday, Saturday (Jan. 17-18) and the next Friday through Sunday (Jan. 24-26) at the IndyFringe Theatre, 719 E. St. Clair. Get info and tickets at americanlivestheatre.org or indyfringe.org.