IndyFringe: Sadec 1965, A Love Story

This is part of IndyFringe 2022, Aug. 18-Sept. 4 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By Wendy Carson 

A brilliant storyteller, Flora Le spins the tale of “Sadec 1965: A Love Story,” her quest to discover her father’s hidden past in Vietnam prior to his arrival in Canada, where he attended college and married her mother.

Le’s relationship with her father was never great. He left the family when she was five. During her bi-weekly forced visitations she was neglected and abused. He refused to tell her anything about him, his family or Vietnam, no matter how much she asked.

This lack of a male touchstone in her life led her to make some poor and questionable choices along the way. However, her friend convinces her that the only way she will truly learn about the man is to visit Vietnam for herself. So, she leaves her soul-sucking job and goes upon a motorcycle tour of the country.

She proudly buys herself a beautiful motorcycle, disregarding the fact that she has never ridden on, let alone driven one. She is excited to see the foreign land, disregarding that she only knows approximately three phrases in Vietnamese. Still, she valiantly forges ahead.

Her discoveries throughout the countryside are interspersed with memories of her father. When he is struck down by a brain tumor, she visits him in the hospital but his treatment of her has not changed since she was a child. In fact, she only learns of her father’s past from interviews of the Vietnamese man her brother hired to sit by her father’s bedside.

Through him she finds out about her father’s first love, whom he left behind. She pledged herself to be faithful and wrote him over six hundred letters during a span of about six years. This devotion makes Le desperate to meet the mysterious woman, but will that connection actually be made?

Le’s story is raw and lovely as she pulls no punches regarding anyone’s faults (especially her own). However, the tapestry she weaves is engaging and beautiful and hopefully there will be another opportunity if you missed viewing it during the opening weekend of IndyFringe.

Flora Le’s story continues on her website, containing photos of those involved as well as some of the letters written. Check it out at https://www.sadec1965.com/

IndyFringe: The Real Black Swan

This is part of IndyFringe 2022, Aug. 18-Sept. 4 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By John Lyle Belden

Popular Fringe storyteller Les Kurkendaal-Barrett returns to bring us “The Real Black Swan: Confessions of America’s First Black Drag Queen.” In the process, he gets in a few confessions of his own.

For most of his life, Les had a Pink Bubble. It’s like the one Glinda the Good Witch rides in on in “The Wizard of Oz.” Only he can see it, but it protects him.

More recently, Les had a lump in his thigh. It turned out to be a tumor, but neither it, nor the growing Black Lives Matter movement outside his doors concerned him, as the Pink Bubble remained intact.

As he prepared for surgery to remove and examine the lump, Les learned of an article about William Dorsey Swann, who was born a slave in the 1800s and went on to become a Black drag queen (reportedly the first) as well as the first LGBTQ activist on record. This being good material for his next show, Les let it into the bubble. Then he checked in to the hospital.

Under anesthesia, Les drifted in a haze, surrounded by the bubble’s pink glow. Then he saw someone walking towards him – this person was tall, Black, and in a 19th-century dress. In a gruff voice, Swann declared, “You need to start feeling things!”

POP!

We’re not in Oz anymore; this dream takes a more “Ebenezer Scrooge” turn, as Les – and we – examine Swann’s life, and the moments where Les could have used The Queen’s strength. His talent for entertaining us with his introspective stories is blended with a fascinating biography. We get an insight into the history of “gay life” (in both senses of the word) in old Washington, D.C. As one would expect, Swann saw his share of trouble, but being taught how to write while in jail led to his petitioning President Grover Cleveland for a pardon – securing his place in history, regardless of the outcome.

This exercise in self-reflection – we learn why “Kurkendaal” is spelled that way – coupled with seeing worlds outside the bubble, make for yet another great performance in Les’s exceptional repertoire.

Pop on over to the District Theatre to see him 9 p.m. Thursday, Aug. 25, and 5:15 p.m. Sunday, Aug. 28.

IndyFringe: How Do You Read Me?

This is part of IndyFringe 2022, Aug. 18-Sept. 4 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By John Lyle Belden

Howard Lieberman and Loren Niemi are master storytellers, in part because they speak candidly about their fairly long and interesting lives. In “How Do You Read Me?” they use deeply personal stories to confront our perceptions of what we think when we see a person with a particular look or in a specific situation.

Lieberman recalls returning from closing a big-money deal to see a homeless person on the street and giving the man a dollar. But Howard has had personal experience with homelessness, and he returns to the man, spending a day that realigns his life. Niemi recalls from his young adulthood, his own day spent with “Tommy the Wino,” the taste of Mad Dog 20/20, and the effect that lingered long past the alcohol.

There’s no guarantee you’ll get the same stories, but you might also hear about when the road took Lieberman to Boston, where a big man called La Diabla became his guardian angel. Then, there was the time Niemi badly mistook a first impression, gaining an enlightening lesson on how a person deals with an unusual and emotionally taxing life.

While, in the past, their stories typically elicit laughter, this time the humor is subtle, allowing room for the full range of appropriate emotions. “It’s worth the moment of seriousness,” they say, and I wholeheartedly agree.

Don’t judge this show by its “cover,” delve within and experience the richness of their stories. Remaining performances are 5:30 p.m. Thursday and 8:45 Saturday, Aug. 25 and 27, at the IndyFringe Theatre, 719 E. St. Clair.

IndyFringe: My Grandmother’s Eyepatch

This is part of IndyFringe 2022, Aug. 18-Sept. 4 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By Wendy Carson

Welcome to the memorial service for Mamie Lee Ratliff Finger, beloved wife, mother and grandmother.

Julia Finger VanderVeen, Mamie’s granddaughter, has brought us all to pay tribute to the life of this remarkable woman. Through stories told by several attendees and Julia herself, we discover much about Mamie’s life and times.

For some strange reason, we learn almost as much about Julia throughout the course of our event. Perhaps this portion of the show was meant to be for the several Agents who RSVP’d but did not actually show up.

At one point, Julia becomes so bereft that when a message with instructions for resurrection of a loved one finds its way to us, she makes an attempt. Whether it is successful, I must leave for you to discover.

I could go on to try to describe exactly how great this show is, but words cannot fully express the sheer level of hilarity Julia reaches with her dry wit and physical humor. Suffice to say, you will regret not seeing this show.

Yet, while her grandmother’s time is through, there is still time for you. The show returns for the last weekend of Fringe, 9 p.m. Thursday, Sept. 1, and 5:15 p.m. Saturday, Sept. 3, at the Indy Eleven stage of the IndyFringe Theatre, 719 E. St. Clair.

IndyFringe: When Jesus Divorced Me

This is part of IndyFringe 2022, Aug. 18-Sept. 4 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By John Lyle Belden

Laura Irene Young has had an unusual relationship with Jesus.

I’m not referring to Our Lord and Savior – she says that will be the topic of another show. She actually married a man who portrayed Christ in an Orlando Christian theme park; ironically, he forsook her for the woman playing Mary Magdalene.

Laura relates her story in “When Jesus Divorced Me,” which she makes a musical with the help of her ukulele.

With ambitions of Broadway, Laura got into a professional summer-stock company, where she met Pharoah – rather, a guy playing the role in “Joseph and the Amazing Technicolor Dreamcoat.” As she put it, “Did you like someone so much, you wanted to vomit?” She managed to keep her stomach but lost her heart. After the summer, they had a long-distance relationship that got much closer, and eventually, to Florida.

I’ll leave the rest for you to find out, as she tells it much better than I ever could. Despite his presence in the title, we don’t learn as much about unnamed ersatz-Jesus as we do about this interesting woman and her interesting life, told with engaging candor. Find out how “God’s plan” involved a lot of crying, that new hobbies aren’t always good, and how she knows he still has their wedding presents.

Presented by Magic Feather Productions, this lovely one-woman show is only during the opening weekend of IndyFringe, with performances 3:30 p.m. Saturday, Aug. 20 (today, as I post this), and 1:45 p.m. Sunday, Aug. 21, in the Athenaeum.

IndyFringe: ShMILF Life

This is part of IndyFringe 2022, Aug. 18-Sept. 4 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By Wendy Carson

“ShMILF Life” is the true story of Ms. Penny Sterling of Rochester, N.Y., and her journey of becoming a trans woman late in life.

She begins in a coffee shop writing on her computer. This is how she spends much of her time as her desk at home has itself transitioned to a makeup table and her cat insists on sitting on her keyboard whenever it is visible. Today, however, she is here awaiting a date.

We are now privy to her story of realizing, at the age of 54, that she was no longer happy living as a man and allowed her to exist as her true self. Some of her friends and family are confused about this, but she valiantly tries to make them understand.

My favorite example is when her male friend points to a lovely woman and says, “When I look at her, I want to have sex with her.” Penny at first echoes the idea, but then realizes that it’s not really true. She then launches into a long, detailed criticism of the woman’s fashion choices, both positive and negative.

She goes online to try dating and gets many short responses, sometimes accompanied by smiley faces, hearts and produce (think eggplants and peaches).

She is very open about the highs and lows of her explorations of being a totally new person. The scariness of putting yourself out in public whether at a bar, online or just in general. Beginning her transition at such and advanced age means that she missed a lot of the learning and growing encompassed in being a woman, still she is persevering.

Her talent as a storyteller and comedian helped keep the evening light and hopeful. I am honestly hoping that the sparseness of her audience was only due to being the late slot on a Thursday evening. She deserves a larger group to speak to, and her voice should indeed be heard.

Do yourself a favor and give this show a shot. Just two performances remain, noon Saturday and 5 p.m. Sunday, Aug. 20-21, on the cabaret stage of the District Theatre, 627 Mass. Ave.

Storefront: Listen to the ‘Voices’

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.

IndyFringe: Do Jokes Still Work?

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

“I saw a homeless guy with a laminated sign,” Stewart Huff says, “he put money back into the business!”

Huff is full of funny and off-the-wall observances, such as: It amuses him to no end that the replica of Noah’s Ark in Kentucky has a “No Animals” sign.

His show, “Do Jokes Still Work?” includes bits of storytelling, memories, and observances of the stupidity of fellow humans – “You can’t hate science, and love NASCAR!”

But he has a generally optimistic outlook, noting that noisy anti-science people are nothing new – relating various historical events in hilarious fashion. Huff believes that “all human beings are artists,” that the pinata is among our greatest inventions, and if Bigfoot is real, it’s better if we don’t find him.

When you see him take the District Theater stage, it’s a little surprising, as IndyFringe publicity materials have an old clean-shaven photo. With his salt-and-pepper beard and aging-hippie ponytail, Huff looks like your cool uncle who can tell you one hell of a story.

And he does.

Huff’s show is not for the easily offended – either by language or opinions – but otherwise an essential visit for any Fringe-goer.

IndyFringe: How I Got My Warts Prayed Off

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

Mandee McKelvey grew up in a trailer park in rural South Carolina. Her family was so poor that she had to take a bath with her brother well into her teens to conserve hot water.

During her teen years she began having warts all over her hands and feet. After suffering both physically and socially for more than two years, her mom asked her if she wanted to see a doctor about them. However, she ended up in a dry cleaners with a guy named Bob praying that she would be alleviated of her burden.

While that may have worked, at 13 she became aware that she was developing another physical deformity, and prayer was not going to help this out at all. In fact, she is still coping with this situation. Yet her story is light, funny and hopeful, even if she has become the basis for medical research due to the uniqueness of her plight.

You should definitely come and witness her saga, and learn the truth of the “Pumpkin Nut Foundation.”

IRT drama of how stories are told, and remembered

By John Lyle Belden

The play “Mrs. Harrison,” by R. Eric Thomas, has nothing to do with either past U.S. President with Hoosier connections. What this two-person drama, presented online by Indiana Repertory Theatre, is about are issues we struggle with today, and the stories that connect us.

In a posh restroom at an elite university, two women meet. Aisha (Celeste M. Cooper) doesn’t seem to remember Holly (Mary Williamson), who definitely knows her – and not just because of Aisha’s very popular Off-Broadway play. As they converse, at first they seem to feel each other out, get a measure of what they had been doing in the decade since they were classmates in a playwriting course. Proud African-American Aisha’s writing is serious and issue-driven. Average-looking white woman Holly works in humor, from a few years spent in stand-up comedy to her present modest success as a storyteller. It’s her way of dealing with the issues in her life – all her issues, except one.

Thus do we arrive at the heart of the matter, revealing in both women feelings of betrayal and righteous anger.

The IRT promotes the play as a story of how we remember our pasts, but of course it goes much deeper than that. In the women’s tense exchange is the question of who has the rights to a memory, and the story it tells, especially when it points to a deeper truth.

Directed by Mikael Burke (who directed last year’s “The Watsons Go To Birmingham – 1963”), Chicago actors Cooper and Williamson make a stunning IRT debut. Aisha wears her supreme confidence like a shield, ever ready to go on the defensive, while using her intense need to know everything about others as a sort of disarming charm. Holly is no sheltered maiden, but still gives flashes of the naive student who too easily trusts. As for the woman of the play’s title, she seems to become present like an invisible third character – her story revealing much about the two women we see, perhaps more than they are aware.

Needless to say, there is a racial element at play. It is not explicitly spelled out, but rest assured it would have been a totally different show if both women were Black, or White – but that’s not the story we are presented. The social issues and assumptions underlying these characters and their relationships, and even the modification of a familiar fable that Aisha tells, are fertile seeds for audience discussion.

“The conversations you’ll have after the play are as important as the story you’re seeing on stage,” Thomas says in his program note. “To me, that’s one of the best parts of theatre.”

And with the show, recorded by WFYI Public Television, streaming at irtlivevirtual.com, you can have those talks in the comfort of your own living room.

“Mrs. Harrison” is available through May 30.