Shakespeare

Bardfest: ‘Cymbeline’ so much more than a princess-in-peril story

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By Wendy Carson

I confess that I was entirely unaware of the story of “Cymbeline” prior to Indy Bardfest. Even though the script has been trimmed greatly, the three-hour running time and complexity of plot is daunting. However, Garfield Shakespeare Company director Anthony Johnson’s decision to place the setting in Civil War-era America helps the audience identify with the motivations behind many of the characters and the plight of their “kingdom.”

Fortunately, Guy Grubbs and Manny Casillas are perfectly engaging in the opening scene, providing the exposition needed to follow the story.

The plot revolves around Cymbeline (John Mortell), a “King” trying to keep the world on track with his ideals, and his daughter, Imogen (Elisabeth Speckman), who secretly married Posthumous (Chris Burton) against her father’s wishes. Cymbeline therefore banishes Posthumous and keeps Imogen a prisoner until he can find her a more suitable husband. Meanwhile, Imogen’s stepmother (Ashley Chase Elliott), only referred to as “Queen,” wants her arrogant son Cloten (Jarrett Yates) to be Imogen’s groom, cementing her power – especially once she dispatches Imogen & Cymbeline.

Posthumous meets a boisterous rake, Iachamo (Jake Peacock), who wagers he can bed the hero’s virtuous bride. But finding Posthumous correct in his assertions of Imogen’s devotion, Iachamo sneaks into the sleeping girl’s bedroom and uses what he finds to win the bet. This throws Posthumous into a state of such sadness that he sends word for his loyal servant, Pisanio (Sabrina Duprey), to kill Imogen.

Having been close to the princess, Pisanio refuses to obey the order and persuades Imogen to escape, disguised as a boy. But Cloten takes her disappearance personally and sets out to take her back. Then we meet local backwoods people, led by Morgan (Matt Anderson) – yes, they become important to the plot as well.

Another complication is that the Republic, represented by Caius Lucius (Abigail Johnson) wants its tribute from this little West-Virginia-esque kingdom so that Cymbeline can keep his throne. But the power-hungry Queen would rather have war.

Mortell does an excellent job of showing the king’s desperation as everything spins out of his control, while Elliott encompasses every Disney villain at their evil plotting best. Speaking of evil, Peacock’s Iachamo is perfectly slimy.

Speckman’s take on Imogene seems slightly stilted at first, but she deftly weaves experience and pure gumption into the role by the end. Burton as noble Posthumous is sheer passion and fire, no matter what mood he is in.

Duprey looks natural in Pisanio’s boots, an excellent supporting player. Anderson, for his part, barely reins in his charisma, channeling it to hint at how important he (a soldier in exile) and his two wards (secretly royal children, played smartly by Elysia Rohn and Tyler Marx) are to the story. Emily Bohn mixes well in dual roles as the bartender/host in Postumous’s exile and as the Queen’s slyly heroic court physician.

Shakespeare based this complex play – having elements of both the Tragedies and the Comedies – on the legend of an ancient king. While it’s not easy for us, in 2017 Indiana, to imagine life in Roman Britain (or to remember that England was even part of the Empire), we can easily conjure up the world of the 1860s, thanks to things such as “Gone With the Wind.” In fact, the play’s Queen comes across as a sort of unscrupulous Scarlett O’Hara. In an environment with the unspoken subtext of people as property, Imogene’s struggle for personal freedom takes on more importance.

Bardfest typically takes on a less-produced play, and once again polishes up a gem worth discovering. Remaining performances are Saturday and Sunday, Oct. 28-29, at the IndyFringe building, 719 E. St. Clair. For more information, visit www.indyfringe.org.

Bardfest: And now for something completely different

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By John Lyle Belden

Yes, the title here is stolen from Monty Python, which has nothing to do with the third annual BardFest, now in Indianapolis – in the IndyFringe building – after a couple of years in Carmel. However, we are dealing with things that are British and unusual.

Shakespeare’s plays – aside from being public domain – tell such good stories that they lend themselves to numerous times and places. Thus the Bard’s three plays in this year’s festival get reinvented in interesting ways.

Thus BardFest 2017 presents:

* “Cymbeline,” presented by Garfield Shakespeare Company, a play with elements of both the Comedies and the Tragedies. Originally based on the legend of a British king during the Roman Empire, this version is in a parallel world right after the American Civil War – as though West Virginia had declared itself a separate kingdom, and the Republic was cool with it, as long as the taxes are paid. Adapted and directed by Anthony Johnson, it stars John Mortell as the title king, Ashley Chase Elliott as his Queen, Elisabeth Speckman as our heroine, Cymbeline’s daughter Imogen, and Chris Burton as heroic Posthumous (yes, his actual name in the play).

* “MacBeth,” presented by First Folio Productions, the familiar cursed tragedy adapted to a tense 90 minutes by director Carey Shea. Medieval Scotland is transformed into a modern urban wasteland, where King Duncan (Ryan Ruckman) keeps order like a local sheriff or police chief. He awards a title to faithful MacBeth (Adam Tran), who had just had that promotion prophesied to him by a trio of weird women (Nan Macy, Janice Hibbard and Leah Hodson) – didn’t they also say he would become king? Lady MacBeth (Devan Mathias) is just happy her husband is finally in line with her murderous plans to seize the crown. However, Duncan’s lieutenants Macduff (Chelsea Anderson) and Malcolm (Nathan Thomas) quickly become suspicious of the ambitious couple when the king is killed.

* “The Taming of the Shrew,” presented by Catalyst Repertory, freely adapted by Catalyst founder Casey Ross. The famous Shakespeare comedy finds its misogyny mutated into a sassy, outrageous sort of musical, using modern pop songs to help tell the story – this is not “Kiss Me Kate.” At a late-20th-century tropical resort, bawdy innuendoes fly as lusty lounge singer Petruchio (Davey Pelsue) seeks to tame curvy, catty Katherina (Hannah Elizabeth Boswell). Meanwhile, noble Lucentio (Bradford Reilly) slyly wins the heart of Kate’s younger sister Bianca (Abby Gilster). Will boss Baptista (Tony Armstrong) see his daughters married off in birth order? Did you ever think a rockin’ anthem by The Darkness could be made into a heartfelt ballad?

* And for purists… well, as close as you could get was a manic production of the comedy, “The Complete Works of William Shakespeare, Abridged,” presented by the Improbable Fiction Theatre Company during the festival’s first weekend. The Reduced Shakespeare hit by Adam Long, Daniel Singer and Jess Winfield was taken on by local thespians Ron Richards, Ryan T. Shelton and Adam Workman, under the direction of Christy Clinton with occasional necessary assistance from stage manager Tamara Rulon.

Remaining performances are on both IndyFringe stages at 719 E. St. Clair, Thursday through Sunday (Oct. 26-29). “Cymbeline” is the more family-friendly (though its length could test the patience of younger patrons), while “MacBeth” is very violent and “Shrew” is very not-for-kids. For information and tickets, visit www.indyfringe.org/bard-fest.

Wendy and I will try to get more in-depth reviews of the individual shows up tomorrow, and will link back to here.

Make note of nutty ‘Nothing’

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By John Lyle Belden

The title “Much Ado About Nothing,” William Shakespeare’s comedy now produced by Indy’s Khaos Company Theatre, makes it sound like an Olde English version of “Seinfeld.” While its plot is as easy to follow as a sitcom, the title is more of a pun – “noting” in Shakespeare’s time was to overhear gossip, which happens here with “much ado” indeed. (Thanks, Wikipedia!)

In a modernish Italy that can only exist on stage, Leonato (James Mannan), owner of the estate where the play is set, will give his daughter Hero (Kyrsten Lyster) to Claudio (Ben Rockey), a soldier in the company of Don Pedro (Donovan Whitney), who has arranged the match.

Meanwhile, Hero’s cousin, Beatrice (Kayla Lee), has nothing nice to say about men and marriage – I checked, this was written after “Taming of the Shrew,” so consider her a more-refined “Kate” – and the main target of her venom is boisterous braggart Benedick (Daniel Dale Clymer). Sensing that these two would be suited for a different kind of sparks between them, Leonato, Pedro and Claudio, along with Hero and her companions Margaret (Kathleen Cox) and Ursula (Kaylee Spivey-Good), conspire to get them thinking each is loved by the other.

Also meanwhile, Don Pedro’s brother, Don John (James Crawley), our villain, sets out to ruin everything with the help of drunken Borachio (Jake Peacock). The main thing standing in their way is Dogberry (Linda Grant) – the Barney Fife of Shakespearean Italy – her lieutenant Verges (Nikki Sayer) and faithful Watchmen (Aidan and Addison Lucas).

And “mark that I am an ass” if I don’t mention other cast members Bradley Good, Case Jacobus and Steven C. Rose, as well as that felt Comrade on Peacock’s left arm.

The jokes and barbs hold up, even with the original text. Hero, being a teenager, does blurt out “hashtag” at moments of stress, and you get latter-day clothes with sword scabbards, but it all works. Crawley should be commended for the best evil grin this side of the Grinch, and Rockey is great at playing goofy and clumsy, yet lovable. Clymer is as sharp as the blade at his side, and Lee is simultaneously beautiful and a force to contend with.

Also, Grant and Sayer totally make the corset-and-riding-crop look work.

Under the direction of KCT’s Anthony Nathan, this classic romp is truly something to make “much ado” about. Remaining performances are Friday (pay-what-you-want night) and Saturday, July 21-22, at 1775 N. Sherman Drive. Get info and tickets at kctindy.com.

Indy companies expertly flesh out Richard III’s twisted skeleton

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By John Lyle Belden

In 2012 came the stunning news of a human skeleton discovered under a parking lot in Leicester, England. It was the twisted body of what history and legend regard as a twisted soul, King Richard III. This setting opens the Catalyst Repertory/First Folio production of William Shakespeare’s play about the infamous monarch at the IndyFringe Theatre.

In what would be the last years of England’s Wars of the Roses between contesting royal families, King Edward IV is sick and dying. Richard, the Duke of Gloucester, is reviled for his crippled body, which brings on his sour attitude. The clever Duke decides if he can’t look like a hero to gain the crown, he’ll be the villain. But between him and the throne are George, Duke of Clarence; nobles faithful to Edward’s wife, Queen Elizabeth; and the child heir, Edward, Prince of Wales.

Some people are going to have to die.

Matt Anderson completely transforms into Richard, with the help of costume artist Linda Schornhorst (whose excellent work adorns the whole cast). This, coupled with Anderson’s complete control of his body and expressions, keeps him the focus of every scene. He leers towards the audience, proudly revealing to us his schemes. He lurks like a menacing vulture as his plans unfold. He contorts himself into whatever ingratiating pose will fool those around him as he continues grasping to take, then desperately hold power.

Carey Shea anchors the play as doomed Clarence, heroic Richmond and the archaeologist who bridges the gap between history and today. Jay Hemphill is charming as the Duke of Buckingham, Richard’s cousin and co-conspirator until he becomes cursed with a conscience.

Also notable are the women of the play, Allison Clark Reddick as Elizabeth; Christina Howard as Lady Anne, Richard’s unwilling bride (and a few scenes as Lord Grey); Nan Macy as the Duchess of York, Richard’s disappointed mother; and Casey Ross as Queen Margaret, widow of a previous monarch and bitter prophet.

The children – Dalyn Stewart as Prince Edward and Lex Lumpkin as his cousin, the Duke of York – are both sharp.

And kudos to Doug Powers, Matthew Socey, Ryan Reddick, Kevin Caraher, Matthew Walls, Mark Cashwell and John Mortell in various roles. Thanks to Glenn L. Dobbs’ direction and the play being adapted to two hours, in two acts, by Dobbs, Ross and Ben Power, it’s not hard to follow the sprawling cast of characters. (Richard has many of them killed, anyway.)

Plays like this are always apropos in an era of political turmoil, and performances this good are worth seeing at any time.

“Richard III” runs through July 9 at the IndyFringe Basile stage, 719 E. St. Clair (by the intersection of St. Clair, College and Massachusetts Ave.). See indyfringe.org for info and tickets.

Tensions of modern espionage play out in IRT’s ‘Miranda’

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By John Lyle Belden

Meet Susanna Jones, known to some as Dana Sanders, and to her mother as “Miranda,” in the spy thriller by that name by Indiana Repertory Theatre playwright in residence James Still on the IRT upper stage through April 23.

An offstage character in Still’s “The House that Jack Built” (which it is not necessary to have seen), Miranda was said to be working overseas for IKEA. But actually, the appropriate letters are CIA.

As Susanna, Miranda (played by Jennifer Coombs) has as her cover an international program teaching Shakespeare to kids in Adan, Yemen. The ancient city actually sits in a dormant volcano, an excellent symbol of the growing tension of the play.

She works with and reports to John (Torrey Hanson), an old hand brought out of retirement for this very sensitive mission. No agent can get close to the men plotting local, regional and global terrorism, but Susanna can talk to one of the few female doctors, Dr. Al-Aghari (Arya Daire), as by religious law only women can touch women, and thus she treats local wives – who whisper secrets to her.

Meanwhile, only one young student, Shahid (Ninos Baba) has shown up to learn “Othello” (with his own ideas about which character is more Yemeni, which one more American). And a supervisor (Mary Beth Fisher) is not pleased that Miranda was inadvertently contacted by someone as her “Dana” alias the year before in Jordan.

This sets up a web of who-can-trust-who that draws the audience in, as our only reliable narrator is the title character (or is she?). A chance meeting at a café suddenly has broader meaning and context. Why do lights dim when they do? Where do characters go when they leave our sight? The Bard’s words, “I am not what I am,” haunt every scene.

Miranda, through Coombs performance, gives us far more of herself than she shows to the other characters. We see her addicted to the spy game, but also how it has affected her – “Bin Laden still shows up in my dreams,” she laments to her partner.

Daire garners our sympathy as a woman in a harsh but familiar world, torn between conflicting loyalties and cultures, while concerned for her own family’s survival. “Certainty is an American luxury,” the doctor tells Susanna.

Hanson and Fisher are also solid. Baba as Shahid gives us a unique perspective, reminding us that this is more than an American story.

The play is set in 2014, near a recent turning point in Yemen’s ongoing conflicts, giving the narrative freshness and urgency. Still did extensive research and interviews with people in the know, so that he could – as one character put it – “lie truthfully.”

No cloak and dagger are needed for you to find “Miranda” – the IRT is at 140 W. Washington St., near Circle Centre; call 317-635-5252 or visit www.irtlive.com.

John L. Belden is also Associate Editor and A&E editor of The Eagle (formerly The Word), the Indianapolis-based Midwest LGBTQ news source, which ran a story on this play in the April 1 edition, and will have an edited version of this review in the April 15 edition.

Civic presents fun ‘complete’ look at Bard’s catalog

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By John Lyle Belden

Whether you have only a passing interest in the Bard of Avon, or have memorized all his plays and sonnets, you will enjoy “The Complete Works of William Shakespeare, Abridged,” presented by the Booth Tarkington Civic Theatre through April 1.

Since this is a more intimate show than the typical Civic play, it is staged in the Studio Theater, at the other end of the lobby from the Tarkington in The Center for the Performing Arts in downtown Carmel.

Frankie Bolda, Kelsey Van Voorst and Antoine Demmings (as themselves) are Shakespeare enthusiasts – you might even have seen Frankie or Kelsey in one of the Bard’s plays – who, thanks to a script by Adam Long, Daniel Singer and Jess Winfield, discuss and present the man and all his works in 97 minutes (plus intermission).

The results are fun and unconventional — just as Shakespeare was in his day — with features such as “Othello” in rap, all 16 of the Bard’s comedies as a single mashed-up play, the Histories as a football game and, naturally, “Titus Andronicus” as a cooking show.

The second act is mostly devoted to “Hamlet,” which gets further abbreviated over and over with madcap results.

This trio do an excellent job, not only Bolda and Van Voorst, who are no strangers to the art of making acting silly look easy, but especially Demmings — who had not done stage work before, but should now consider playing Othello for real. A tip of the Elizabethan headgear to John Michael Goodson for his directing, and to Will Tople for the simple yet appropriate stage design.

This house is smaller than the regular Civic stage, so sellouts are likely; call 317-924-6770 or visit civictheatre.org.

John L. Belden is also Associate Editor and A&E editor of The Eagle (formerly The Word), the Indianapolis-based Midwest LGBTQ news source.

Three great plays at Bardfest

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NOTE: As the Word/Eagle is in flux with the renaming and corresponding change in official website, John is putting his reviews here — for now.

By John Lyle Belden

Bardfest had a great opening weekend, and has two more – Oct. 20-23 and 27-30 – at the little Carmel Theatre Company stage, 15 First Ave NE in Carmel’s downtown Arts District (former home to Carmel Community Players).

It was noted in the curtain speech of one show I attended that Indianapolis is about the only major metropolitan area without a Shakespeare Festival. Fortunately, Willie’s plays do reach the boards a few times a year in individual productions around Indy, including a free summer production in White River State Park. But having three shows by the Immortal Bard – only one of which you would likely name off the top of your head if asked to list his plays – is a wonderfully unique experience.

‘KING LEAR’

I confess to missing the First Folio production of “King Lear.” Fortunately, I was familiar with the play and I trust First Folio Productions to pull this classic off more than competently. The title character is played by David Mosedale, and the role of her eldest daughter Cordelia (and a turn as the Fool) by Ann Marie Elloitt, two of the best speakers of iambic pentameter I’ve seen in central Indiana. Sarah Froehlke and Beth Clark as Lear’s devious other daughters are no slouches, either, and excellence is reflected throughout the cast and crew list, including the incredible Tristan Ross.

For those unfamiliar, “Lear” is about a British king who decides to give his kingdom to his three daughters. When the eldest refuses to flatter him, he misunderstands her actions as an insult and banishes her. She ends up in France, and leads an invasion to save her father’s kingdom from the machinations of her sisters. Mix in more madness and intrigue, and end it all tragically, and you have an excellent evening of drama. Which I didn’t have to see, but I highly recommend you do if you can.

‘TWELFTH NIGHT’

I did get a look at Shakespeare’s comedy “Twelfth Night.” It runs down the Bard comedy checklist: Shipwreck? Check. Siblings in distress? Check. Thinly made, but still effective, disguises? Check. Misunderstandings? Check. Wild wooing, leading to unlikely marriage? Check and check!

Perhaps understanding this, Garfield Shakespeare Company and directors Chris Burton and Sam Brandys made this a highly entertaining production by blending conventional pop songs into the narrative – one in particular, you’d swear was written for the play – as well as having instrumentation performed live on stage, especially by Feste, the minstrel Fool, played with perfect charm by Ashley Chase Elliott.

Twin siblings Viola and Sebastian (fraternal, yet perceived by other characters as identical in appearance, performed by Abby Gilster and Spencer Elliott) have washed up on different shores of Illyria after their shipwreck, each presuming the other drowned. Viola disguises herself as a boy and goes to work for the local Duke Orsino (Benjamin Mathis), a single man pursuing the one woman who doesn’t want him, Lady Olivia (Audrey Stonerock). Orsino sends his new servant to deliver his messages of love, but Olivia instead falls for Viola-in-disguise – compounding the “boy”s confusion as s/he is smitten with Orsino. Meanwhile, Olivia’s brother, the drunken Sir Toby Belch (Jay Brubaker) and his dim-witted companion Sir Andrew Aguecheek (Monica Verdouw) are carousing with Feste, an apparently freelance Fool working in both the Duke and Lady’s households. They and Olivia’s servant Maria (Kate Ghormley), play a cruel but hilarious prank on the prideful fellow court member Malvolio (Anthony Johnson), which only adds to the wild goings on – made even wilder when Sebastian makes his way to Olivia’s house.

Confused yet? It’s a Shakespeare comedy; a lot of various characters doing silly things to one another is part of the standard formula. Just relax, let the major groupings and who-loves-who sort themselves out, and just enjoy the ensuing mayhem. And nobody dies – that’s his other plays.

I must heap high praise not only upon every cast name listed above, but also Burton, who takes on various character roles on top of his other duties – he was even fixing the lights before the show.

‘CORIOLANUS’

As for “Coriolanus,” regarding the odd name, if we must get to the bottom (sorry!) of the story it is simply an unfortunate (for modern audiences, though Shakespeare did enjoy a bawdy pun) honorific bestowed on the main character, Caius Marcius (Taylor Cox) to celebrate his victory in battle at Corioli, where pre-Empire Rome defeated the rival Volscians, led by Tullus Aufidious (Ryan Ruckman).

Back in Rome, Marcius is not quiet about his elitist attitude, which doesn’t sit well with the commoners who already blame him (falsely) for a grain shortage. Fortunately, his smooth-talking friend Menenius (Matt Anderson) calms things down, but two Tribunes, Brutus and Velutus (Matt Walls and Paige Scott) observe this and stir up the citizens to oppose Coriolanus’s inevitable ascension to Consul.

Marcius himself doesn’t want the office, but his ambitious domineering mother Volumnia (Nan Macy) insists he take power, while his wife Virgilia (Abby Gilster) agrees, hoping it will keep the lifelong soldier home. But despite his friends and family insisting he stay calm, Marcius verbally explodes, giving the Tribunes the excuse to banish him.

In the second act, the exiled Coriolanus turns to his blood enemy Aufidious, who sets him in charge of the Volscian invasion of Rome. Being the era’s greatest general, Marcius practically brings troops to the gates of the capitol. Desperate to save Rome and win back his friend, Menenius tries to reason with Coriolanus. Finally, his mother, wife and son make their desperate plea. I’m not giving any further spoilers, but it all doesn’t end well.

Cox, who is proving himself to be one of the best actors in Indy, is excellent as his frustratingly complex character. You may not like this Caius Marcius Coriolanus, but you have to respect him. Davey Pelsue applies his matching talent as fellow Roman officer Titus Lartius, a dutiful soldier of inevitably conflicting loyalties. Macy’s is the top performance, a force of nature like a mother wolf who wants to be pack Alpha. You might not want her for a Mom, but you want her on your side. Anderson imbues his glib character with genuine feeling, fearful yet hopeful that his smooth tongue can cure any roughness he encounters. As for Walls and Scott, their villainous portrayal has them practically twirling old-time movie mustaches.

The other “bad guy” of the piece, Ruckman’s Aufidious, stays true to his character and principles, and carries a confident air throughout. Were the audience made of Volscians, he would be the easy hero. This adds to the many gray areas this play works in – not all virtuous win, not all villainous are punished, few are completely noble or evil – which might explain why it so rarely produced.

Unafraid, director Casey Ross gives this story a chance to show us all its complexities. The era portrayed is unspecified, the costumes mildly punk without being distracting, leaving us only with these characters and the drama that plays out among them. Occasional music is modern, but works with the timeless narrative. If you are a fan of great theatre, seeing this “Coriolanus” should be a priority.

For information and tickets to Bardfest, see http://uncannycasey.wixsite.com/bardfestindy.

John L. Belden is Associate Editor at The Eagle (formerly The Word), the central-Indiana based Midwest LGBTQ news source.

IndyFringe: Drankspeare

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By John Lyle Belden

Just the concept is enough to drive ticket sales: Shakespeare’s “Romeo and Juliet” done as a comedy and a drinking game — with the cast drinking as well.

The actors got started on their cans of local Sun King brew even before all the audience were seated. Then, whenever a couplet rhymed, someone would shout, “Drink!” And all did.

It’s a credit to the Eclectic Pond players that they are so fully familiar with the Bard that they mostly remembered the lines of the play, and even went off-script in Shakespearean style — with a few modern idioms thrown in for comic effect.

The show even ends in the manner of a Shakespearean comedy.

Fortunately, the ComedySportz venue has plenty of drinks (with and without alcohol) for the crowd to play along. Whether or not you wet your whistle, this hilarious show is a must-see. Remaining performances are Friday and Saturday, Aug. 26-27, both at 6 p.m. Get info and tickets at indyfringefestival.com.

It’s Shakespeare, but it’s fun – really!

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By John Lyle Belden

Fans of William Shakespeare need only be told that Indy’s Eclectic Pond Theatre Company has staged “A Midsummer Night’s Dream” with one weekend remaining at the IndyFringe Basile Theatre, 719 E. St. Clair in downtown Indianapolis.

Those less familiar with the Bard, casual fans, or those who think of him in the context of dramas like “Hamlet,” might also find this production a surprising treat.

In the modern tradition of putting the old plays in new settings, the “Athens” of ETC’s “Dream” is located in the world of a 1960s teen beach movie. The fairy folk have Polynesian-inspired garb, while our human characters are in hip threads for a California summer.

Though Shakespeare comedies typically overwhelm the viewer with their multitudes of characters, this play keeps the groupings simple, and, under the direction of Zach Neiditch, easy to follow.

Athenian nobles Theseus (Jay Hemphill) and Hippolyta (Carrie Fedor) are soon to marry. It will also be the wedding of young Hermia (Betsy Norton), but she wishes to wed Lysander (Ethan Mathias) rather than Demetrius (Matt Walls), to whom she has been promised. Hermia’s bestie Helena (Andrea Heiden) wants Demetrius, who isn’t interested. Lysander and Hermia head into the forest during the night, seeking to elope. Helena tells Demetrius, and they follow.

Meanwhile, a group of local artisans – the “mechanicals” – are in the same forest, secretly rehearsing a play they hope to present at the wedding. They are led by Quince (Marcy Thornsberry) who has a hard time containing the boisterous ego of her star, Bottom (Tristan Ross).

And also meanwhile, fairy royalty Oberon and Titania (Hemphill and Fedor) have a disagreement. She storms off, and he decides to have some mischief at her expense – which impish Puck (Sarah Hoffman) is all to eager to provide. Oh, and while she’s at it, she could also make a couple of the mortals wandering the woods fall in love as well.

What follows, of course, are transformations and confusion for the characters, but – despite the Elizabethan language – an easily understandable and hilarious twisting path towards the inevitable happy endings. The production even concludes with the Mechanicals’ play within the play, wherein Ross over-acts to wonderful effect.

As usual, we end with Puck’s apology, but it is hardly needed. This “Dream” is a joy for everyone from the energetic cast to the audience surrounding the IndyFringe stage. Get info at www.eclecticpond.org and tickets at www.indyfringe.org.

(This was also posted at The Word [later The Eagle], Indy’s LGBTQ newspaper)

Review: Great Dane on the Westside

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By John Lyle Belden

Regarded as one of the greatest dramas of all time, if not the greatest, “The Tragedy of Hamlet, Prince of Denmark,” by William Shakespeare, has seen numerous stagings, including the occasional production in central Indiana.

The trick is to make a portrayal of the old familiar story something new, yet still true to the Bard. First Folio Productions and Wayne Township Community Theatre manage that quite deftly with their “Hamlet,” which has one weekend left (Friday through Sunday) at the WTCT home stage, the Ben Davis High School auditorium on Indy’s west side.

The story stays the same – Prince Hamlet is visited by the ghost of his father, the King, whose brother, now married to the Queen, murdered him. Hamlet then devises plans to test his uncle’s conscience, then to take his revenge, all while acting like a lunatic. People die; Hamlet cheats death on a cruise to England, then comes home to talk to a skull; then everyone dies except Hamlet’s buddy, Horatio. (If this doesn’t sound familiar to you, then by all means, go see the show!)

The twists employed by First Folio are to set the play in a steampunk circa-1900 version of Denmark, and to edit this very long drama down to two one-hour acts. (Rosencranz and Guildenstern never appear, and are not even named when it’s revealed they will die.) The latter is well executed, and aside from the omission just noted, hardly noticeable. As for the fine skirts and Edwardian suits with goggled hats and other Jules Verne chic, it is all tastefully done, creating an alternative world that is somehow timeless. As in all alternative-setting Shakespeare plays, the original language is left intact.

But the play’s the thing, as someone once said. And this play is a very good thing, with a great cast. Carey Shea holds our attention, charms, and exhibits his full range as Hamlet. Devan Mathias pulls our heartstrings as tragic Ophelia. Matt Anderson is masterful as crafty King Claudius. Erika Barker portrays well the conflicted soul of Queen Gertrude. And Chris Burton steals scenes in dual roles as the “lead player” of the play-within-the-play and the busy Gravedigger.

Director Glenn L. Dobbs (kudos to him) asked me to also note there are some funny moments (and there are) in this otherwise tragic work. It is overall a truly entertaining production, to be sure.

For more information and tickets, click on “Hamlet Show Information” at www.firstfolioproductions.org.

(This was also posted at The Word [later The Eagle], Indy’s LGBTQ newspaper)