Shakespeare

Agape youth willing to ‘rumble’ with tough topics

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By John Lyle Belden

Agape Theater Company, a middle- through high school youth program hosted by Our Lady of the Greenwood Catholic Church, has a particular approach. It takes on classic stage works – from Shakespeare to Broadway – with an eye to the moral and spiritual lessons they hold. In June, they tackled the subject of a Tony winner with now two Oscar-winning film productions: “West Side Story.”

(Various excuses I could give prevented Wendy and I from attending opening weekend, but Agape invited us for the closing.)

With book by Arthur Laurents, music by Leonard Bernstein, and lyrics by Stephen Sondheim, the mid-20th century musical is based on Shakespeare’s “Romeo and Juliet,” with feuding families replaced by rival street gangs: the Jets, white kids whose working-class families are getting pinched by Manhattan’s building boom; and the Sharks, young immigrants from Puerto Rico hoping for their own American Dream. Personally, I think the “Story” is a little better than in R&J, as the tension and stakes are a little more real with a clash of two cultures, and Tony (our stand-in for Romeo) is, while still a lovesick fool, less immaturely foolish than that boy in Fair Verona. Plus, there are those cool songs (reeeal cool).

Directed by Kathy Phipps with musical director April Barnes, the young cast gave a top-notch performance. The present medical concerns that put a lot of understudies and swings on the stage in New York also struck here, yet the company managed to roll with the changes, with only a couple of cancellations, and making cast changes without losing a step.

Bursting with talent and Latinx pride are Rebekah Barajas as Maria, Jaelynn Keating as Anita, and Cordale Hankins as Sharks leader Bernardo. Leading the Jets with an ever-tense feeling their turf is slipping away are smooth Riff (Grant Scott-Miller, u/s Nathan Ellenberger) and hot-headed Action (Clayton Mutchman), who long for their true leader, Tony (Johnny Gaiffe, u/s Caleb Wilson) to take charge. But Tony has a real job, and senses real possibilities (“Something’s Coming”) but as the saying goes, “When you’re a Jet, you’re a Jet.” The gangs want to have the rumble (gang-fight) to end all rumbles, with the terms set at the neutral-ground school dance. Tony and Maria are each reluctant to attend, but they go – they meet – and their fates are set.

Other tensions include the cops, ever-present but always a step behind (and the butt of the joke in one song). More subtle is the hint dropped by Bernardo that Tony is called “Pollack” behind his back, not even fully respected by his fellow Caucasians. In today’s climate, we especially feel for “tomboy” Anybodys (Aleah Mutchman, u/s Jocelyne Brake) and the desire to join a hoodlum gang being their only hope for being “one of the boys.”

The dancing and acting were superb – having actors the ages of their characters helped – as were the voices, heartbreaking at times. Still, despite the fun moments, the story is still a tragedy. There was no backing down from the dark moments, complete with believable anguish.

In a promotional video, the principal cast spoke of the emotional burden they were taking on, and of being true to all who have done these roles before. When asked what they hoped the audience would take away, the unanimous answer was that all would take time to look past people’s differences and let go of hate. They did well towards accomplishing that mission.

Agape will next perform at IndyFringe in August, with “Sing Down the Moon: Appalachian Wonder Tales.” They also return to Indy Bard Fest this fall with Shakespeare’s “The Winter’s Tale.” For more information, including supporting this 501c3, visit agapetheatercompany.com.

Footlite makes ‘Rotten’ a sweet show

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By John Lyle Belden

Once upon a time, and what a time it was! It was the Renaissance, and in England there were many people you know well – if you are a scholar of the Renaissance in England. But for the rest of us there was one superstar, who was actually quite famous in his own day.

William Shakespeare!

But the hit Broadway musical “Something Rotten!” is not about him (though, being himself, he butts in). It concerns one of his many theatrical rivals, who is so unknown he’s downright fictional (this is a musical, not a documentary), Nick Bottom! And we see the lengths Bottom went to be on top.

Written by Kary Kirkpatrick, Wayne Kirkpatrick and John O’Farrell – with some lines by the Bard which are public domain anyway – this show is brought to the stage by Footlite Musicals, directed by Ed Trout, through this weekend.

Nick hates Shakespeare – a feeling borne of jealousy because he kicked Will out of his acting troupe, telling him to try something else, like writing, and he did. Now Nick (Kayvon Emtiaz) and his brother, genius poet Nigel (Roy Bridges) are struggling to get a play produced. It was going to be about Richard II, but you-know-who is getting one on stage first, and the patron Lord Clapham (Joshua Cox) is going to pull funding unless the Bottoms come up with a sure-fire original show.

And what is worse, now Nick’s wife Beatrice (Jessica Hawkins) is disguising herself as a man to find work to feed them.

Desperate, Nick seeks out a soothsayer (Darrin Gowan), calling himself Nostradamus (the famous one’s nephew), to find out what the future of theatre will be. Surprisingly, the mage is not a fraud, and he forsees – musicals!

Meanwhile, Nigel encounters Portia (Ellen Vander Missen), daughter of strict Puritan pastor Brother Jeremiah (Dennis Jones). Nigel discovers Portia secretly enjoys poetry and plays, beginning their secret though chaste affair. She inspires him so much, he even shows some verses to Shakespeare (Rick Barber), but Nick warns his brother off dealing with the Bard, as they have their own show to create.

With past monarchs off the table, what well-known aspect of history could our playwrights use for their first musical? “The Black Death” is dying in rehearsals, so Nick gets more desperate, and paying his last farthing, asks Nostradamus what Shakespeare’s greatest work will be, so that he may copy it in musical form.

The visions are cloudy, but the answer seems to be “Omelette.”

So, songs about eggs it is.

Yes, this comedy with singing is just as silly as it sounds, and even more funny. While an homage to everything Shakespeare — as well as parodying his superstar status (both then and now) — practically every modern musical hit gets skewered in the process. We even get the Jewish producer, Shylock (Dan Miller). Ervin Gainer is the Minstrel who gets the whole thing started off.

Could we all use a good laugh now? This is a great laugh. All performances are spot-on and hilarious, especially Emtiaz as our frustrated hero, Barber as the jaded icon (secretly stuck for a new idea as well), Hawkins as the take-it-in-stride spouse, and especially Gowan as the seer who barely believes the bits that are in focus – “a bunch of cats, on stage, singing… no, wait… no, it’s actually a bunch of cats on stage singing.”

If you like Shakespeare or musicals at all, you must see this almost-Shakespeare musical. Performances are Thursday through Sunday at the Hedback Theatre, 1847 N. Alabama St., Indianapolis. Info and tickets at footlite.org.

Shakespeare fun and foolishness set to music

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By John Lyle Belden

It’s hardly a new idea to base a musical on a Shakespeare play (a recent Oscar-winning remake of an Oscar-winning film comes to mind). New York based songwriter Shaina Taub, with Kwame Kwei-Armah, adapted the Bard’s comedy “Twelfth Night” for its musical debut in Central Park in 2018.

Southbank Theatre Company brings that version to the IndyFringe Theatre (outdoors preferably, but on the Basile stage in bad weather) through May 8. 

If the story doesn’t easily spring to mind, note it is where we get the quote, “If music be the food of love, play on.” The play checks many of the boxes for a Shakespeare comedy: disguises, mistaken identities, siblings separated, wild wooing, nobles who will not marry, and ending up with a wedding anyway.

What makes this musical version exciting and interesting is that Taub’s songs do more than just put a tune behind Shakespeare’s words. They illuminate the themes of this old story, making it fresh and relatable. This makes the show the perfect companion to a traditional production of the play.

For instance, our central character Viola (Michelle Wofford), a woman recently arrived in mythical Illyria (vicinity of today’s Albania) finds it safer to disguise herself as a man, opening up surprising opportunities. In the song “Viola’s Soliloquy,” she sings of “the Devil’s blessing” that simply wearing trousers gives her.  

Viola, taking the name Cesario, finds her/himself between Duke Orsinio (Dave Pelsue), his employer, and the Countess Olivia (Natalie Fischer), who keeps spurning Orsinio’s advances, but has found herself smitten with Cesario. However, the Viola within the disguise pines for Orsinio, who only sees in her a dutiful young man.

Still, this wouldn’t be a Shakespeare comedy without the silly subplots. There is much opportunity for merriment in the Countess’s court, with sack-sotted Sir Toby Belch (Mark Cashwell), worst-at-wooing Sir Andrew (Kim Egan), mischievous Maria (Brittney Michelle Davis) and Fabian (Jordan Paul Wolf), who all seek to take pompous Molvolio (Hannah Boswell) down a peg or two.

Then there is the arrival of Viola’s lost-at-sea twin brother Sebastian (Matthew Blandford), accompanied by his rescuer Antonio (Z Cosby), who braves arrest to be by the man he secretly loves. Other roles are played by Brant Hughes, Ron Perkins and Yolanda Valdivia, who is also on hand as Officiant for the inevitable marriages. 

All this is accompanied by a live band, and the wit and wisdom of accordion-wielding jester Feste (Paige Scott).

With all the action of the classic comedy, but condensed down to a manageable hour and a half, this romp is an excellent showcase for the talented cast. Scott is simply amazing, whether giving chiding counsel, a beautiful ballad, or some handy narration to the audience. Speaking of fools, Boswell is a riot in an arc that goes from bombastic to pathetic, but always fun. Cashwell employs his improv skills and comic chops to great effect. Pelsue has long cornered the market on cool-guy-who-can-sing, so is totally in his element. Fischer has the sweet/feisty mix down perfectly. And Wafford is endearing with an inner strength befitting the character. Everyone else? Awesome, awesome, awesome – directed by Max McCreary with musical direction by Ginger Stoltz.

Performances are Thursday through Saturday evenings, and Sunday afternoon, at IndyFringe, 719 E. St. Clair, Indianapolis. Get information at southbanktheatre.org and tickets at indyfringe.org.

Bard Fest play catches the conscience of the Queen

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By John Lyle Belden

One interesting thing I find in TV talk shows is the stories of celebrities who meet other celebrities, not as coworkers or equals, but as mutual fans, starstruck at each other. Imagine if the most powerful woman in the world were to meet an actor whose performance she found to be exceptional. It happened, and William Shakespeare was there to see it.

“Elizabeth Rex” is perhaps the greatest play Shakespeare could not have made, as the title character could easily have had his head removed to decorate the Tower of London. So it was left to acclaimed playwright Timothy Findley in 2000 to speculate and dramatize what happened on a fateful night in 1601 following a command performance – by Her Majesty, Queen Elizabeth I – of the Bard’s “Much Ado About Nothing.” 

You don’t have to know anything about that comedy to enjoy the Bard Fest adaptation of “Elizabeth Rex,” just know that in Shakespeare’s day, all women’s roles were played by male actors, and the rest of this drama’s set-up you can get from context. The setting is a barn at the estate where the play’s after-party (for aristocrats, not lowly actors) is being held, with everyone being stuck indoors as a curfew was declared by the Queen to maintain the peace before the Ash Wednesday execution at dawn of Robert, Earl of Essex – believed to be Elizabeth’s lover, but convicted of treason. 

The Lord Chamberlain’s Men grumble about their surroundings as they remove their makeup and tap a keg of warm ale, but the mood totally changes when their Royal visitor arrives. She is regal, the others reverent, but eventually all relax. “I shall require distraction,” Elizabeth declares.

The Queen (Holly Hathaway Thompson) is quite impressed with the men who played female leads, especially Ned Lowenscroft (Jay C. Hemphill), the play’s Beatrice, and Harry Pearle (Scott Fleshood), who played Hero. She even remembers when Percy Gower (Alan Cloe) would show some leg in his skirts in years past (the old actor loves to reminisce, a recurring comic point). To Jack Edmond (Matthew Walls) who played Benedick (who verbally sparred with/wooed Beatrice in “Much Ado”), Elizabeth shows disdain, perhaps conflating the actor with the role, resenting his being Irish, or both. She also isn’t thrilled with big-mouthed Luddy (Matthew Socey) who she sees as little more than a living version of Falstaff (a great Bard Fest in-joke for those who have seen Socey in that role). Also on hand is Matt Welles (Anthony Logan), who is handy with a guitar; nearly blind seamstress Tardy (Susan Yeaw), always losing her glasses to comic effect; and a bear, which Lowenscroft had rescued.

Quite literally above it all, at his desk in the loft, is Shakespeare (Eric Bryant), working on his next play, “Antony and Cleopatra.” He feels at a loss for what words to put in legendary rulers’ mouths, so makes notes of things the Queen says. This proves problematic when she insists on seeing the script.

Attending Her Majesty are Lady Mary Stanley (Nikki Lynch) and Lord Robert Cecil (Abdul Hakim Shabazz). An attentive soldier enforcing the curfew (Andy Burnett) also appears, as well as, briefly, Countess Henslow (Afton Shepard) to plead in vain for the condemned’s life.

Much of this drama comes down to the interplay between Elizabeth and Lowenscroft, who, because he is dying, exercises a bit of license with the Queen. For her part, resolved to spend the night on the level of her subjects in the barn, she accepts being chided and contradicted – even touched – as the gay actor teaches the monarch, ever required to show a manly demeanor, to get in touch with her woman within. Thus, even in a very talented cast, Hemphill and Thompson stand out with extraordinary performances. 

Glenn L. Dobbs, a Bard Fest producer, directs from a script he adapted with Barbara Willis Sweete and Kate Miles. 

As has been noted, this at times intense drama is peppered with some great laugh-out-loud moments. It also gives a sense of what an important time this was in Elizabeth’s reign. The hour chimes periodically, bringing our players closer to the dawn, when our fantasia ends and true history resumes.

Remaining dates are Friday through Sunday, Nov. 12-14, at Theater at the Fort, 8920 Otis Ave., in Lawrence. Get info and tickets at www.indybardfest.com and www.artsforlawrence.org. 

Bard Fest: Tragic Egyptian queen still fascinating

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By John Lyle Belden

Indy Bard Fest presents the Improbable Fiction Theatre Company production of “Antony and Cleopatra” – which, though I know that’s the way Shakespeare titled it, should give the doomed last Queen of Egypt first billing.

Already an incredible talent, Afton Shepard throws herself fully into her title role, portraying Cleopatra’s “infinite variety” of moods and mental states. But under her demeanor, ranging from stormy to sultry, burns a fierce intelligence. All this and more Mark Antony, well-portrayed by Darin Richart, sees, and dedicates himself to as they rule the Eastern third of the Roman Empire. But confict with fellow triumvir Caesar (the eventual Augustus, played by Thomas Sebald) is inevetable.

This production, directed by Ryan T. Shelton, pares down the cast and puts the focus more squarely on Cleopatra. Having ruled since she was a teen – and still showing fits of immaturity – she is also well traveled and educated. She knows a woman’s typical place in this world (much like ours, in a way) and is not afraid to use seductive charms to camoflauge her true wisdom.

Many characters are placed on the weary shoulders of Craig Kemp, who enters as the Soothsayer and appears as various messengers and soldiers as the story demands. The excellent cast includes Bobbi Bye as Caesar’s advisor Agrippa, Dana Lesh and Barb Weaver as Cleopatra’s servants Charmian and Iras, Duane Leatherman as third triumvir Lepidus, Jamie Devine as Caesar’s sister Octavia, Becca Bartley as Cleopatra’s guard Alexas, and Jet Terry as Antony’s faithful soldier Scarus. Kevin Caraher gets a meaty role in Enorbarbus, steadfast for Antony up to the point that he sees history turning and fearing himself on the wrong side, “when valor preys on reason.”

Gender-blind casting is nothing new in today’s theatre, but I liked that Caesar’s soldier Dolabella, played by Evangeline Bouw, seems to lend an element of feminine empathy in being the last Roman to guard Cleopatra at the end.

Scholars debate the fine points of even the original historical sources, but this powerful play gives a good sense of the era and the essence of the larger than life persons in it. We feel we have met Cleopatra and Antony, and it’s an honor.

Performances are Thursday, Saturday and Sunday (Oct. 28, 30, 31) at The Cat Theater, 254 Veterans Way in downtown Carmel. Get info and tickets at indybardfest.com.

Bard Fest: ‘Love’s Labour’s Lost’ a noble find

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By John Lyle Belden

Did William Shakespeare invent the sitcom?

In a wacky set-up worthy of a TV yuk-fest, or even an old Abbot and Costello romp, a group of proud manly-men determine they are so serious to improve their minds that they pledge to ignore the urges of other, more primal, body parts for three whole years. But within minutes, they are visited by beautiful women – one for each of them – and, suddenly, “What oath?! I don’t remember promising anything!”

That, loosely, is the plot of “Love’s Labour’s Lost,” one of the Bard’s early comedies, but a play he took great pains to craft, as it was performed for Queen Elizabeth herself. Thus we deal in the realms of nobility and courtly love. The master of our men is the King of Navarre (little kingdom between Spain and France) and his three nobles were named after popular figures of the era. The visiting party is led by the Princess of France, to discuss a deal for the lands of Aquitaine (a highly valued southern French region), but once she learns of the men’s allegedly binding oath, she puts up with being camped outside the Navarre court with her ladies as an opportunity to indulge in some fun. To please its sophisticated audience, the dialogue is woven with all manner of clever and complex speech – even when topics get a bit bawdy.

To further spice the plot, visiting Spanish noble Armado (not bound by a chaste oath) fancies the love of commoner Jaquenetta. This story crosses streams with the main one when simpleton Costard switches a love letter to her with one intended for a lady of the Princess’s company.

So much going on, and fortunately Bard Fest provides plenty of talent to pull it off. Aaron Jones is noble, in charge, and a little lonely as our King, tutor to Chris Bell as Longaville, Colby Rison as Dumaine, and Matt Hartzburg as Berowne, who resists taking the oath, but reluctantly signs. John Mortell is wonderfully blustery as smitten Armado, attended faithfully by page boy Mote (a sly yet exceptional performance by Justina Savage). Gorgi Parks Fulper charms as Jaquenetta. JB Scoble is scene-stealing Costard, playing the goof to the hilt. Connor Phelan is Dull – that’s the constable’s name and the man’s personality, which Phelan hilariously commits to. We also have Dan Flahive as schoolmaster Holofernes and Thom Johnson as Sir Nathanial, who organize an entertainment for the royal visitors.

Attending the Princess (Jennifer Kaufmann) are Maria (Brittany Davis), who is sweet on Longaville; Katherine (Abigail Simmon), who thinks Dumaine is kinda cute; and Rosaline (Rachel Kelso), who has her eye on Berowne. Kaufmann maintains royal bearing throughout, but with Kelso, in her exchanges with Hartzburg, we see an early version of Shakespeare’s trope of the smart-alec man verbally sparring with the clever woman, sparks of which kindle romance. Director John Johnson takes a hands-on approach by taking the role of the ladies’ escort, Lord Boyet.

In all, this is a fun entertainment full of clever wit and colorful characters, with little in the way of big lessons other than the Princess learning that the time for fun inevitably ends, and our gentlemen exchanging an oath made lightly for a more serious pledge. Being a less-familiar play, I’ll spoil this no further.

Performances are Friday through Sunday, Oct. 29-31, at The Cat Theater, 254 Veterans Way in downtown Carmel. Get info and tickets at indybardfest.com.

Bard Fest: Scott edit does ‘Measure for Measure’ justice

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By John Lyle Belden

“Measure for Measure” is classified by Shakespeare scholars as one of the Bard’s “problem plays,” fitting not quite into the comedies (though using many of the familiar devices) yet not quite a tragedy, as it doesn’t end with someone dying on stage. In adapting the drama for Bard Fest, director Paige Scott lets us know the true “problem” is injustice and misogyny.

In a mythically modern Venice, the Duke (David Mosedale) notes that many laws, especially dealing with vices, have gone unenforced for years. In a bizarre experiment, he charges pious Angelo (Zachariah Stonerock) with taking charge of the Duchy and its ordinances while away on a journey. However, he doubles back, and disguised as a priest, observes how justice is meted out. 

Things get serious quickly, as Claudio (Bradford Riley) is arrested for fornication with now-pregnant Juliette (Brittany Magee) and Angelo coldly sentences the man to death. But when the condemned man’s sister, novice nun Isabella (Morgan Morton) goes to plead for his life, Angelo agrees to do so only in exchange for the woman’s virginity. Appalled, but desperate, Isabella finds herself torn between bad options. Fortunately, a kindly priest offers a solution.

We also have a sense of Angelo’s character in the way he treats his loyal assistant Escalus (Miranda Nehrig), who takes her bruises against the glass ceiling with grin-and-bear-it frustration. 

Magee also plays sex-worker Mistress Overdone, as well as Angelo’s nearly-forgotten fiance Marianna. Further good performances from Aaron Henze as Lucio – a good friend to Claudio, but a flair for exaggeration is his undoing – and Daryl Hollonquest Jr. as Pompey, a “bawd” barely a step ahead of dogged constable Elbow (Tracy Herring).

Stonerock plays his calculating villany chillingly straight, his contemporary suit and tie reminding us that not much has changed in the last 400 years with men in charge. Morton bristles as a woman in a conflict she should never have to endure, finding her Churchly authority useless, cheapened to a powerful man’s fetish. 

There is humor and an imperfect happy ending, but Scott’s skillful edit leaves us appropriately unsettled, focused on three women bravely looking for their fair “measure.” 

This stunning, conversation-starting production has performances Friday through Sunday, Oct. 29-31, at IndyFringe Basile Theatre, 719 E. St. Clair, Indianapolis. Info and tickets at indybardfest.com.

Bard Fest: Agape gets wyrd with ‘Macbeth’

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By John Lyle Belden

Though it is the most familiar Shakespeare work in this year’s Bard Fest, the adaptation of “Macbeth” (“the Scottish Play” to the superstitious) by director Dr. Kathy Phipps for Agape Theater Company makes the famous tragedy fresh and fascinating. 

From the opening moments, we see the production has gone all-in on the “Wyrd Sisters.” Aside from the principal three Witches – Mary Zou, Hailey Ready, Laura Sickmeier – and Queen Hecate (Sylvia Seidle), we have a full coven, with Mia Baillie, Rebekah Barajas, Ashlynn Gilmore, Anastasia Lucia, and Maggie McKinney, as they make full use of song and movement to add atmosphere and propel the plot. They are envisioned as Wood Sprites, which gives them a clever supporting role in the play’s final battle. 

But don’t put the blame for what ensues on the Witches. As always, Agape (a youth theatre program of Our Lady of the Greenwood Catholic Church) delves into human morality and the consequences of men’s – and women’s – actions. Temptation can tell us things, but it is up to us how we use the information. Heroic Macbeth (Aidan Morris) and comrade in arms Banquo (Nathan Foster) are told that the former will become King, while the latter is father to monarchs. Banquo senses something troubling in the sprites’ words. Macbeth, seeing part of the prophecy fulfilled, eagerly embraces the rest. And upon hearing of this, Lady Macbeth (Brynn Hensley) immediately goes into murder-mode.

We get solid work from the mostly high school- and college-age cast, including Jake Hobbs as prince Malcolm; Nathan Ellenberger as Macbeth’s rival, Macduff; Kyle Hensley as Banquo’s son Fleance; and Doug Rollins (an Agape parent usually working behind the scenes) as doomed King Duncan. Sickmeier also plays Lady Macduff. Notable in support are Virginia Sever as Ross, Grant Scott-Miller as Lennox, and Carter Thurnall as Angus. 

Morris takes on the title role with gusto, part of a tradition of Shakespeare leads who charge headlong into action before thinking it through. When he does hesitate, however, his wife is there to remind him to “screw (his) courage to the sticking place.” That brings us to Brynn Hensley; the Lebanon High School senior may have put in the best performance in a festival full of strong women in strong women’s roles. She makes the most of an arc that goes from power-mad to just plain mad, even bringing out in just a word or sharp glance the play’s dark humor. 

Other touches are well-served, like frequent appearances of the unsettled dead, a murder in silhouette (part of the excellent stage design by Ian Phipps), the effective use of banners to quickly change scenes, and even a nice “reenactment” in an early scene. Agape cast and crew have taken great care to give this cursed classic it’s due. A work of “sound and fury,” as always, but with some significance after all.

Remaining performances are Thursday through Sunday, Oct. 28-30, at Theater at the Fort, 8920 Otis Ave., in Lawrence. Get info and tickets at www.indybardfest.com and www.artsforlawrence.org. 

IndyFringe: Pixel the Cat Does Shakespeare

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This is part of IndyFringe 2021, Aug. 19-Sept. 5 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By Wendy Carson

To The Rescue Theater and Monroe County Civic Theater have combined their efforts to bring this charming tale to the Fringe.

Lawrence (Jason Lopez) is a tiger-striped tabby who is the protector of his territory, prowling regularly to keep out danger. Tabitha (Robin Lea Pyle) is a rambunctious kitten who doesn’t understand why her desire to climb the fence makes her a “Bad Kitty”.

Enter a Persian interloper, Pixel (Roy Sillings), who quotes feline-inspired Shakespearean variants expressing his desire to become part of their home.

Because the show is meant to be light and whimsical, it is an excellent choice for families and small children. Note as well that all moneys received from the performances here go to a local Indianapolis feline charity, Cats Haven.

Performances are in the District Theatre.

IndyFringe: Shakespeare’s Histories – Ten Epic Plays at a Breakneck Pace

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This is part of IndyFringe 2021, Aug. 19-Sept. 5 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By John Lyle Belden

Timothy Mooney returns to IndyFringe with the show that started his series of “Breakneck” Shakespeare presentations. He sets up a one-hour timer (also the limit of a Fringe show) and proceeds to get everything said before it hits 60:00:00.

As he had done here with “Julius Caesar,” this is more a historical lecture — giving real-world context in which Shakespeare worked — than just a presentation of a play. This is essential when dealing with 10 dramas, extending through the centuries from the infamous King John all the way to Henry VIII (father of Elizabeth I, ruler in the Bard’s era). But if you are thinking of the dull, dry lessons you had in high school or college, fear not! Mooney makes the history come alive, complete with projected visual aids, and punctuated with the words Shakespeare put in these monarchs’ and nobles’ mouths. 

The keyword to all of this, Mooney explains, is succession, and the more unclear the passing of the throne goes, the more people fight and die, inspiring some great stage drama. We “tell tales of the death of kings” as “we happy few” in the audience actually get a sense of what the Wars of the Roses were, and why poor Richard would give “my kingdom for a horse!”

We even get a few words from Joan of Arc, who doesn’t come off as a saint in Shakespeare’s telling.

Those familiar with Mooney’s work will not be disappointed, and those who aren’t are in for a treat. This rapid-fire jam-packed entertainment is on the main stage of the District Theatre — one of the bigger venues, yet this might still sell out.