Storefront Theatre of Indianapolis

Storefront: A comedy of the corrupt

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By John Lyle Belden

The title, “Post-Democracy,” is a little misleading. This short darkly comic drama by Hannah Moscovitch, presented in its U.S. premiere by Storefront Theatre of Indianapolis, is less about the halls of government power than it is the ivory towers of corporate privilege where the truism, “power corrupts, and absolute power corrupts absolutely” rings as true as your recently-signed non-disclosure agreement will allow.

Bill (Ronan Marra Sr.) has serious business on his mind. His health is forcing his hand in picking his successor as CEO. That would be distant cousin Lee (Alex Oberheide), the COO who just swung an acquisition deal for a manufacturing plant in Latin America, however the young man can’t stop acting like a misogynist jerk (complete with tics like a slimy Jim Carrey), enraging Bill’s daughter, Justine (Tracy Herring), the CFO.

Meanwhile, Shannon (Carly Wagers), the executive working on preserving the company’s public image, is scrambling to contain the damage of Gary the Brand Manager’s flagrant sexual harassment. She seeks escape in the arms of Lee, who blurts a drunken confession that adds another layer of issues to an already deep mess.

How would you handle this? Or, to be more realistic, how would people with massive wealth and a lot more money and power at stake handle this? Does being in a third-world country make things more permissible? Does buying and nurturing an entire village of “those people” give you the moral high ground? Is the NDA binding?

While it would be easy to write off these characters as just four sleazy people, Moscovitch’s script, and these performances, directed by Ronan Marra (Jr.), won’t let it be that simple. Marra Sr. keeps Bill’s focus on his suddenly-fragile legacy. Herring’s Justine is holier-than-thou and privilege-blind, but means well, and perhaps sees herself (an adopted orphan) in a likely victim. Wagers shows how the demands of Shannon’s job eat at a soul she thought healed long ago. And Oberheide’s Lee, especially in a vino veritas moment, lets slip there might be some conscience beneath that frat-bro persona.

Plenty of food for thought here, entertainingly prepared. Bring your corporate boss (or their overworked assistant) to see “Post-Democracy,” through Jan. 29 at Storefront’s new home, 2416 E. 55th Place (near the Subway on N. Keystone, across from the Meier), Indianapolis. Tickets and info at storefrontindy.com.

Ankh at Storefront: Taking knife in hand to dissect ‘Love’

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By John Lyle Belden

Sometimes, being reckless pays off.

Ankh Productions was bold enough to inquire about a residency at the relatively new Storefront Theater in Broad Ripple. Local actor Jamaal McCray was brave enough to explore the dynamics of relationships, writing “Love You Reckless” in 2017, then to dust it off, polish it and present it on stage with Chandra Lynch, Friday through Sunday, April 15-17.

And hopefully, you are curious enough to brave this examination of Yin/Yang, Power/Compassion, Man/Woman, presented raw in nearly a dozen thought-provoking scenes.

McCray and Lynch stand before us, serving up moments of aggression, fear, mischief, compassion, all as off-balance as life itself. Friends, countrymen, lend them your ears – they wield curved blades with which to collect. Other notable moments include the coming stampede(!); the consequence of control; “1,000 pieces of silver in the trash;” the longings of a lonely “sit-izen;” hard promises kept; the glitch; and an exchange of “vows and truths” that are uncomfortably honest.

The stage is decorated with just a pair of altars, to the Masculine/Sun and Feminine/Moon, featuring artworks by Kristin Stepp that are available via silent auction. McCray said that in developing this play, he looked toward old African folktale traditions. Hip-Hop is a binding ingredient, as well, but the themes are universal. Anyone in any kind of relationship can see echoes in these character pairings.

“Love You Reckless” is the kind of experience that works best — maybe only — in an intimate theatre setting. It is similar to a Fringe show but runs a bit over an hour (no intermission). Find the Storefront at 717 Broad Ripple Ave., Indianapolis. Tickets are pay-what-you-can. For information, visit AnkhProductions.org or Facebook/ankhproductions.

Storefront: Listen to the ‘Voices’

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By Wendy Carson and John Lyle Belden

Down in the basement venue of the Storefront Theatre of Indianapolis, we are visited by a Griot. In ages past, this storyteller class told the stories and shared the heritage of West African peoples. Neither the cruel Middle Passage nor the slavers’ whips could destroy their spirit, which lives on in people of color today, and channeled by playwright Angela Jackson-Brown into “Voices of Yesteryear: A Showcase of School #26.” This hour of important narratives is directed by Dena Toler, whose experience included bringing to life multicultural stories at the old Phoenix Theatre under Bryan Fonseca.

While you entered the theater at Broad Ripple, in this space you are on 16th Street, formerly Tinker Street. The area Griot (Saundra “Mijiza” Holiday) invites you to hear stories, told first-hand by those who lived them, about John Hope School No. 26 and its mostly African American neighborhood.

For those who don’t know or remember, this K-8 public school was open from 1920 to 2007 at 1301 E. 16th St., now the site of Oaks Academy Middle School. Named after John Hope, an educator, political activist, and the first African-American president of Morehouse College and Atlanta University, it is held in proud memory by its alumni, who went on to high school at Arsenal Tech and Crispus Attucks.

In “Voices,” we are transported to a different era, not much different from our own but in which we are reminded of the traditions and wisdom it feels we sorely lack in our current world.

We are at the heart of the Civil Rights struggle and a Teacher (Katherine Adamou) shows how the children of the time were taught not that they could succeed but that they WOULD succeed. Discipline, manners, scholarship, and moral integrity were the cornerstones of the classrooms. “Do not shame us,” she commanded, “Or yourselves.”  Dr. Martin Luther King Jr. preached these principles and every child was expected to know and live them. 

Speaking of Dr. King, we hear from a Young Girl (Ari Casey) excited to hear him speak when he comes to Indianapolis in 1958. She not only loves his message, but also has quite a crush on the handsome minister. However, speaking of her feelings could make her mother take the switch to her for being fresh with a man of God.

We also meet one of the many Elders (Ennis Adams) who were leaders in the Neighborhood. They made sure that the children behaved, were respectful to others, went to church, learned their lessons, and parented them as needed. “I’m reminding you that you are a community,” he emphasizes. Everyone looked out for everyone else and while nobody’s lives were by any means easy, they were a bit more stable in a way that would be nice to see return to the world.

Rounding out the cast is Jamaal McCray, remembering as an Alumni and present as a Teenage Boy in the 50s, whose stories echo the change in direction that many youth took in stepping away from this upbringing and finding their own way in this burgeoning new world. 

Having grown up in a rural environment where folks likewise looked out for one another, we found these stories brought on a nostalgia for a simpler, more secure time. One where you could safely play throughout your neighborhood knowing that everything would be alright as long as you were home before the streetlights came on. Of course, we didn’t have the additional burden of race. Teacher and Elder understood this extra stress, and made sure John Hope students knew where they came from, that their history didn’t begin on the shores of America.

The children understand. “A lot of bad things have happened to our people,” the Girl muses. “Ain’t no place perfect,” the Boy says, reminding us that mid-century Indy was not all an idyllic location for Black residents.

Toler and the cast do an excellent job of bringing us people who are a little different, yet very much the same as us. “You know me!” Griot declares; the story of a people is told, she says, in every man, woman, boy and girl you see on the street.

Listen to their “Voices” through March 6 at 717 Broad Ripple Ave. Get information and tickets at www.storefrontindy.com.

Uneasy relationships in Southbank production

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By John Lyle Belden

Ever have those people in your life who are just awful, yet they’re somehow your best friends? Thanks to shows like TV’s “Seinfeld,” we can see what it’s like when such people are besties with each other. Now imagine if these persons that you love, yet wouldn’t trust to watch your houseplants, had real problems and real feelings.

This, with a healthy dose of father-daughter issues, is the world of Nina Raine’s play, “Rabbit.” Her first produced work, debuting to acclaim in 2006 on London’s West End prior to a hit Off-Broadway run, gets local treatment with director Marcia Eppich-Harris for her Southbank Theatre Company at the Storefront Theatre in Broad Ripple.

Bella (Emily Ann Scott) is trying to help her testy father (Craig Kemp) with his neurological issues. It becomes plain through this play that they have a complex history, arguably abusive but tinged with love and the universal desire for a child to please her parent. She’s trying to help him recover from a stroke – but it’s not a stroke, and he’s not recovering.

From this scene we go to the main setting, a London bar where Bella starts celebrating her 29th birthday with friend Emily (Trick Blanchfield), who launches into a tone-deaf gripe about a hearing-impaired coworker. Changing the subject, they discuss who will join them at the party. An impromptu choice is Tom (Brant Hughes), an ex-lover of Bella’s who doesn’t seem to mind abandoning the women he had been with to join them.

They will also be joined by lawyer (a Barrister, complete with wig in his satchel) and struggling fiction author Richard (Ryan Powell), a long-time friend whom Bella had also slept with. Rounding out the party is American ex-pat, writer, and scratch-offs enthusiast Sandy (Joy Shurn). Prior to her arrival, Richard refers to Sandy as a “sexual kleptomaniac” – which sounds odd, but you come to understand he has a point.

When not appearing in flashbacks as the father, Kemp stays in the background as the quietly smiling bartender, a device which aids in the flow of the play. Raine’s storytelling skills, as well as those of Kemp and Eppich-Harris, come through in his vignettes and dreamlike moments that give context to Bella’s inner struggle, as well as the visible personality flaws that equally not-nice-but-they-try friends just take in stride. Were this a Brit-com like “Coupling” or the UK’s “Men Behaving Badly” (or America’s “Seinfeld”), she’d be seen as a bitch for bitch’s sake, controlling and harsh to others while easily wounded.

Not that the others are angels – Richard goes into a rant that could be described as playfully misogynistic, which seems both earnest and just getting a rise out of the ladies for fun. But this also gives Bella an opportunity to comment harshly on the roles and expectations of women in 21st century feminism, while living in the shadows of past leaders. Emily, a practicing physician, is hard-pressed to agree or refute.

Tom is a cypher with a Scottish accent (he “work(s) in the city”), but that gives Hughes room to work with to make the character interesting. In another setting, perhaps Sandy would be the “ugly American;” here she can be the voice of reason.  

The pace of our better angels quietly spinning out of control is given by a clever visual metaphor, front and center. Even as we might struggle to like, or at least understand, the characters, this whole becomes much better and more poignant than the sum of its parts.

And what of the title? It will eventually become clear. In a personal observation, it occurred to me that while in nature animals are said to respond to danger with “fight or flight,” for a wild rabbit, it’s typically “flight or freeze.” I’ll just leave you with that.

“Rabbit” has remaining performances Thursday through Saturday evening and Sunday afternoon, Dec. 9-12, at the Storefront, 717 Broad Ripple Ave., Indianapolis. Entry is by a long stairwell, contact the theater or Southbank if this is an issue. Info and tickets at southbanktheatre.org.

Story of doomed campaign a winner for Storefront

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By Wendy Carson and John Lyle Belden

Storefront Theatre of Indianapolis presents its first live production in exactly two years, the comic drama “1980 (Or, why I’m voting for John Anderson),” by Patricia Cotter, directed by Ronan Marra.

As you would surmise from the title, the year is 1980 and Kathleen (Carly Wagers) is a wide-eyed innocent come to make a difference, and earn some college credit, by working for John Anderson’s presidential campaign in Boston. At 19, she has led a sheltered life and is about to have her preconceptions – about life, politics, even herself – shattered.

Brenda (Bridget Haight), the campaign office manager (when she’s not tending bar next door), tries to teach her to face her fears and follow her passions but actually shows her how messy a blue-collar worker’s life can get when one tries to do just that.

Will (Jamaal McCray), who recently arrived from the campaign’s Chicago office, makes her aware of the racism inherent even in a city historically known as the cradle of liberty. His experiences echo incidents that we are currently facing. He also gives Kathleen a glimpse into office politics, not just the kind that involves elections.

Robin (Chelsea Anderson), however, is like the professor emeritus of the group, a blue-blood who has not only worked on past campaigns, but also knows various politicians from social events. Her jaded world outlook, psychological manipulation (masking her own mental issues), and pure ambitious nature are a force beyond anything Kathleen has ever experienced.

Also part of this play are two faces only seen on a TV that was crappy by that era’s standards. One is John B. Anderson (you need to include the middle initial when Googling, or the unrelated country music star comes up first), a moderate Republican from Illinois serving in the U.S. House of Representatives. He was highly intelligent, capable, and popular among fellow lawmakers, but in the 1980 Presidential primaries was quickly overshadowed by eventual nominee (and President) Ronald Reagan – the other face we see on the screen. Anderson managed the near-impossible feat of running as an Independent, getting on the ballot in every state. Still, even in badly-tinted color, Reagan’s charisma shined through to the voters.

Musing on Anderson’s long-shot chances, Brenda says, “If he can win, what’s that say about the rest of us?” In rock-solid performances, all four of our characters confront questions of what it means to “win,” and what is worth the risk. Also, reflecting what’s sometimes called politics’ “silly season,” this show is leavened with plenty of laugh-out-loud humor.

We know how the story turns out for the men on the TV debate stage (even Anderson, who passed away in 2017 after a long career in politics and public service). But this play focuses on the ones, like us, watching it all unfold, doing our small part – how does our “campaign” turn out? That’s what’s important, no matter what year it is.

Storefront Theatre is at 717 Broad Ripple Ave., Indianapolis. Performances of “1980” run though Oct. 3. Get info and tickets at storefrontindy.com.

Set sail for something fun and unusual

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By John Lyle Belden

How does one describe “Jollyship the Whiz-Bang”?

If it were on TV, it would be on Adult Swim, or maybe on Comedy Central or IFC late-night, between films. It’s a silly puppet show, but aimed more at college students than kids. Or for those who consider “Avenue Q” too mainstream.

Intrigued? Then come aboard, mateys. Nearly everyone in the cast handles or voices the puppets of the crew. Dave Pelsue is animated enough to just be Skeevy (that’s his name, not just an adjective) himself. Same with Paige Scott as gunner Von Heiselstein, though she slips in a couple of voices for others’ puppets. They are led by Captain Gregory Clamp, who rides the arm and takes the voice of Ryan Ruckman. Molly North and Frankie Bolda also help hold up the felted cast, while Aaron Stillerman adds voices. North also voices the pesky Seagull, while Bolda gives personality to a Crab, a/k/a Jumping Jack McGallahad, the Deckhand Man.

And the cast are literally a band of pirates: Pelsue and Stillerman on guitars, Scott on keys, Jason Adams on bass, and Don T. on drums (“We have a drummer?”). Everyone sings.

There is a plot, of sorts, as the crew goes on its years-long voyage to find Party Island. Captain Clamp is convinced it exists, but the others are getting less sure. Clamp drinks to forget losing Tom, the cabin boy, and we soon find out why. As the Captain goes through his personal voyage of self-discovery – complete with an attempt at reformation – we see Jumping Jack’s attempt to be a real “man” and his own tragic story arc.

But this is also silly and funny and full of raucous songs – with sex-talk and dirty language, so, again, no kids! Seriously, one of the Captain’s punchlines is, “F##k ye!”

This odd theatrical offering, written by Nick Jones, was a Fringe Festival hit, and now, with direction and puppets supplied by Callie Burk-Hartz, it is playing Thursday nights in March at the Storefront Theatre, 717 Broad Ripple Ave. Not restricted by Fringe rules, it plays out the full script, with two acts and intermission.

This show is a lot of fun, not just for us in the audience but all involved. I could tell the cast were enjoying themselves, as they let their own personalities flavor their roles. The Captain felt like a very Ruckman kind of blustery slacker-authority character. Skeevy is Pelsue the friendly rock star. Von Heiselstein is so Scott, with attitude that’s little bitter, but that’s just to set you up for the punchline. And leave it to Bolda and her mastery of comic oddness to make a crustacean a sympathetic character. Kudos also to North for handling so many characters and Stillerman for juggling the voices while playing the music.

At the performance we attended, especially with some actor friends in the audience, it felt like some creative pals just having a good time. (Wait. Was Party Island in us the whole time?)

Set sail for the Ripple and see for yourself. Get info and tickets at storefrontindy.com.

One note regarding the venue: Storefront Theatre is actually in the basement level. The storefront entrance has a stairwell leading down. Those with access issues need to alert the staff (there is an elevator, at the former location of Crackers Comedy Club).

Storefront’s ‘Pilgrims’ carrying some heavy baggage across the stars

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By John Lyle Belden

In the future, a ship’s cabin still looks like a comfortable hotel room, it’s just that the ship is sailing through space. A man enters, eyeing the layout and smoothing the bed like one conditioned by military service. Everything is in order for the long journey. Suddenly, an annoyingly perky teen girl bursts in and makes herself at home. Something is amiss here.

“Pilgrims,” the drama by Claire Kiechel, directed by Chelsea Anderson on the new Broad Ripple stage of Storefront Theatre of Indianapolis, is in the tradition of the best science-fiction stories, using a distant fantasy situation to probe questions about our present humanity.

Aboard the aptly named starliner, “Destiny,” Ryan Ruckman portrays a soldier returning as a migrant to the planet where he once fought its natives. Struggling with PTSD, he is haunted by what happened there, but feels compelled to return. Ruckman often gets cast in this kind of rugged role, so is a natural fit, and has honed the skill of showing the human under the he-man facade.

Kelsey Leigh Miller, as the teen roommate, puts her inner child on full display to excellent effect, then lets the girl’s more mature aspects creep in as their journey continues. We easily see her as whatever she presents herself to be at every moment.

Our other character is Jasmine, a 2600B model AI android and the cabin’s personal valet. She appears when called upon to dispense food or supplies — but not much in the way of news, except to say that a quarantine remains in effect, keeping our two humans in close quarters for possibly the entire three-month voyage. Carrie Schlatter is excellent in this difficult role, managing speech that is artificially friendly without robotic cliché flatness, and economy of movement that reflects someone who is programmed rather than engaging in natural human action.

We are along for the long ride, as the play is a single movie-length act. Numerous scenes and little revelations track the passing of time, as the couple’s interactions – and perhaps something else – slowly change them, drawing them closer in unexpected yet inevitable ways.

Apparently among the beings of the “new world” (which the girl naively calls “aliens”) there is no word for the concept of “regret;” yet that is the biggest thing our Pilgrims bring with them. See how they unpack it in the play’s remaining weekend, Thursday through Sunday evenings (Sept. 19-22) at 717 Broad Ripple Ave. Get information and tickets at storefrontindy.com.