Sean Blake

IRT’s ‘Carol’ familiar and fresh

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By John Lyle Belden

On the evening I write this, yesterday I saw a wonderful matinee performance of Charles Dickens’ “A Christmas Carol” at Indiana Repertory Theatre.

Earlier today, during a haircut, I told the barber about yesterday’s show. She fondly remembered seeing it years ago as a little girl. After telling her of all the unique features of the IRT production, she said she would look into seeing it this year with some friends. If you, too, haven’t seen it in a while (or at all) perhaps we can persuade you to consider this Indianapolis holiday tradition as well.

Don’t misunderstand; in being a little different, this play is not a parody, or a twist on the story like the movie, “Scrooged.” The Dickens book was adapted decades ago by past IRT artistic director Tom Haas and has been presented annually since the mid-1990s. Its style allows various actors to slip into alternate roles throughout the narrative, which they tell as well as perform, maintaining both the classic language and a good story flow. Only one actor stays the same throughout – as Ebenezer Scrooge – in the well-practiced grasping hands of Rob Johansen. He has played the old miser for a few years now, since switching with Ryan Artzberger, who mainly portrays Jacob Marley’s ghost (“Marley was dead” is vital to the plot, you know) and poor, good-natured Bob Cratchit.

Our spirited Ghosts of Christmas Past and Present are entertainingly presented by Natasia Reinhardt and Sean Blake, respectively. Kenneth L’Ron Hamilton is impressive as both Nephew Fred and Young Scrooge. Talented tykes Henry Kirk or Juniper O’Meara (depending on performance) touch our hearts as Tiny Tim and Child Scrooge. The ensemble also include Kayla Carter, Weezie Chavers, Jennifer Johansen, Sami Ma, and Belle Renee Moore.

Veteran director Cara Hinh makes her IRT debut helming this production. Little changes in staging are noticeable, including clever use of the trapdoors and elevators. This especially adds to the tension of Marley’s visit. But while there are spooky moments, there is far more good-natured humor running through much of the play. The cast visibly enjoy sharing this story with you.

A continued tip of the Victorian top hat to set designer Russell Metheny, whose contributions and annual tweaks are subtle but interesting on a nearly-bare stage covered to overflowing with drifts of the IRT’s artificial snow.  Kudos also to lighting designers Michael Lincoln, Bentley Heydt and Molly Tiede for their atmospheric contributions. Costumes, including a beautifully fresh look for Christmas Past, are by Linda Pisano.

Unique yet familiar, treat yourself to the tradition of IRT’s “A Christmas Carol,” playing through Christmas Eve on the mainstage at 140 W. Washington St., in the bustling heart of downtown Indianapolis. Info and tickets at irtlive.com.

IRT presents ‘Folks’ in a comic situation

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By John Lyle Belden

The situation comedy, a/k/a sitcom, is primarily an American invention, and in its many settings often reflects an aspect of the American Dream. But put something that could be made into a TV pilot on a stage with no cameras – just the live audience – and you find that the difference between a “Full House” and “A Raisin in the Sun” becomes little more than the laugh track.

This is the genre-testing approach of R. Eric Thomas’s “The Folks at Home,” in its second-ever production, presented by Indiana Repertory Theatre (its premiere was in Baltimore, where the story is set).

Young married couple Brandon and Roger (Garrett Young and Keith Illidge) are hitting what could be a rough patch. The big house they bought is changing from a wise investment to a burden as Roger has trouble finding a job; still, Brandon has things budgeted so they can stay until they sell the house – which Roger privately doesn’t want to do. Also, the ghost put the mail in the refrigerator again.

While Brandon’s at work, Roger’s parents Pamela and Vernon (Oliva D. Dawson and Sean Blake) arrive, informing him that their house is in foreclosure, and they are going to have to move in. Later, Brandon’s says-whatever’s-in-her-head mother Maureen (Tracy Michelle Arnold) shows up, stating that since she’s between jobs and living situations, her son said she could move in. Then the “maid” Alice (Claire Wilcher) abruptly arrives to clean off the dust and bad vibes.

As they say in the biz, hilarity ensues.

It’s interesting to guess all the possible classic sitcom influences jammed into this play – “Odd Couple,” “All in the Family,” “Jeffersons,” “Roseanne/Conners,” “Ghosts,” “Modern Family,” you name it – but that would be a disservice to Thomas and director Reggie D. White. In this homage to problems that work out in half an hour of wholesome humor, we see what happens when the issues don’t stop when the theme song kicks back in. Just as many teleplays are based on lived experiences in family homes, this fictional family sees things getting real between the quippy one-liners and odd misunderstandings.

Even with the ever-lurking drama, there are some belly-laugh comic moments, including the always-awkward “family meeting,” and the arrival in Act 2 of Wilcher as Brandon’s very pregnant sister Brittany, eager to dispense her “crock-pot” wisdom. The cast give us unique characters that still suggest archetypes – Maureen a bit Archie Bunker, Vernon a bit George Jefferson, Brandon and Roger like pals of Will and Grace – which like those personae keep them relatable to folks we know or people we’ve been. Given more than a half-hour for the plot to play out, it’s like binging a short season’s arc (complete with Intermission for a break) to see how all the storylines resolve. Funny, uplifting, and NOT available on Netflix or any other streaming service. Catch “The Folks at Home” at the IRT, 140 W. Washington St., Indianapolis, through March 16. Get tickets and information at irtlive.com.