The CAT

CCP sets intriguing ‘Dinner Party’

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By Wendy Carson

Most of us are familiar with Neil Simon plays and know what to expect from them. However, “The Dinner Party,” presented by Carmel Community Players, is different. Written in his later years, the script was originally intended to be farcical but as he fleshed out the characters, a more serious storyline emerged. That’s not to say you won’t laugh – his wit still shines through in the dialogue – but expect to be moved to serious conversation/contemplation afterwards.

The setup is simple: Six people are invited to a dinner party at a fancy restaurant by the lawyer who handled their divorces. However, no one knows who else has been invited, the host is a no-show, and the staggered arrivals of the guests just ups the confusion.

SEMI-SPOILER ALERT! The six people are actually the two halves of three different formerly married couples. This is where the serious dialogue, peppered with biting humor, comes in.

And now, to our guests.

We begin with Claude Pichon (Grant Bowen), a sort of everyman with a deep love of literature. Albert Donay (Bradley Allan Lowe) a curious, mousey type that has little knowledge of interpersonal niceties. Andre Bouville (Jason Creighton) a pompous jerk who flaunts his wealth and popularity amongst women. Mariette Levieux (Becky Larson) an elegant lady author whom Albert takes a shine to, is Claude’s ex and known to Andre as well. Yvonne Souchet (Alaine Sims) a flighty woman who entices Claude, can’t make up her mind whether to stay or go, and is Albert’s ex. Finally, we have Gabrielle Bouville (Amalia Howard) a sensuous woman of mystery and manipulation.

The result of these machinations is an hour and a half of deep delving into relationships, love, passion, fear, confusion, and possibilities.

Co-Directors Matt Trgovac and Tonya Rave bring out sterling performances in each cast member. Bowen as Claude mostly plays it cool as viewer proxy. Lowe gives an interesting character study, odd but not absurd. Creighton has Andre seethe with air of a power broker who can’t bear not being in control. Larson plays Mariette mostly level-headed, but the edges are fraying. Sims lets Yvonne’s issues plainly show, as in this off-kilter setting her erratic behavior seems fitting. In Howard’s performance you can practically see steam rising off Gabrielle, shifting from seductive to pouty to dominatrix calm in a heartbeat.

Set in Paris, we hear these French characters in plain English with no distracting accents. But the setting does lend some tension, contrasting old-world mores with the permissive atmosphere of the city’s reputation.

Performances of “The Dinner Party” run Thursday through Sunday, May 2-5, at The Cat, 254 Veterans Way, downtown Carmel. See thecat.biz or carmelplayers.org for info and tickets.

Sit, stay, see ‘Sylvia’

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By Wendy Carson

The Village Theater, a newly minted company based in Noblesville, leaps onto the local stage scene with their delightful production of the comedy “Sylvia,” by A.R. Gurney, in Carmel.

Greg (Mason Odle) is having a midlife crisis. He’s fed up with his job, he’s missing his now-grown kids, and he’s unhappy living in the city. Into his life bounds a perky, devoted young female who is the answer to all his woes. Kate (Andrea Odle), his wife, who is flourishing as an empty-nester, puts her foot down and refuses to allow her to live with them, at first. She reluctantly allows Sylvia (Amber Shatto) to move in on a temporary basis.

Should I mention that Sylvia is a dog?

Thus, we have an endearing story in which we are privy to all of Sylvia’s thoughts and actions and the conversations she holds with our main couple, when each human is alone. Add to the mix JB Scoble, portraying the various supporting characters: Tom, the fellow owner at the dog park who reads books and analyzes Greg and Sylvia’s relationship; Phyllis, one of Kate’s snooty friends who shares her horror at the changes she must endure as no longer the only female in the house; and Leslie, Kate’s therapist, who tries to council Greg but ends up sharing Kate’s disdain for the usurper.

Director Larry Adams excels at keeping the show about their relationships while allowing the joy and laughter inherent to shine through. Offstage spouses Mason and Andrea Odle address their characters’ needs and desires as a couple, as well as their conflict regarding Sylvia. Scoble shows off his range with his three characters but is a sheer audience delight in his turn as the pearl-clutching Phyllis.

Shatto’s energy and exuberance throughout all the various phases of her character is spectacular. Anyone who’s had a dog or been around them for any period will recognize all of her projected behaviors and hopefully gain insight into what these creatures may have been communicating to us all along.

A sweet, funny, heartfelt salute to man’s best friend, “Sylvia” is at – ironically – the Cat, 254 Veterans way, downtown Carmel, for three more shows, Friday through Sunday, April 19-21. Get tickets at thecat.biz.

Going ‘Wrong’ goes right in Carmel

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By John Lyle Belden

Wendy and I saw two different productions of “The Play That Goes Wrong” this past weekend, and from what we witnessed we would like to make this point: All of the mishaps involved throughout the show are meant to be there. You are not witnessing a very poor performance. Laugh along and enjoy all of the goofiness. Do NOT leave at intermission! That said, let’s get to the actual review. I am reviewing the production by Carmel Apprentice Theatre at (naturally) The Cat.

In a way, this is a perfect show for this company as its productions provide a learning experience for new and out-of-practice theatre folk, mentored by and working with community theatre regulars. Thus, when anything, from a spoken line to a random wall hanging, is dropped, who’s to say that was a mistake? In actuality, we have seen many sharp performances and applause-worthy debuts at their shows, and that tradition continues with this comedy, a directorial debut by Rachael Weyers.

The play is a U.K. and Broadway hit by Henry Lewis, Henry Shields, and Jonathan Sayer, who apparently spend their time in London making other stage genres and classic stories “go wrong.” The script invokes the spirit of Murphy’s Law, in that practically every conceivable mistake can and will be made.

To set this scene, and provide fair warning, the director (Elijah Baxter) of the play within the play, “Murder at Haversham Manor,” opens with a curtain speech about how this should be better than past low-budget productions. Posters from these sad attempts decorate the production booth at the far-left edge of the stage, where tech director Trevor (Zach Kreinbrink) frets at both the dog Winston (needed for Act Two) and his prized Duran Duran CDs being missing.

Between mishaps – which occur regularly practically from the start – we get a whodunit mystery with the first victim, Charlie (Greg Borgard), lying on the chaise at center stage. He tries in vain to maintain a stiff demeanor as his friend Thomas (Jake Williams), brother Cecil (Tim West), fiancé Florence (Reagan Nagel) and the butler Perkins (Julie Eaton) stomp around, later accompanied by Inspector Carter (Baxter).  Stagehand Annie (Allison Hermann) does what she can to control wayward props and furniture but is soon called into service as Florence when the actress appears to have been knocked out cold.

This farce is “the show must go on” taken to a ridiculous and hilarious extreme. Performances are comic gold all around, including Eaton’s pronunciations of words from her lines she wrote on her hand, West’s mastery of the pratfall and penchant for chewing the scenery when he’s not wrecking it, and the glorious dueling “Florences” as both women feel they should be in the spotlight. Part of the beauty of the show is how the characters trapped within this disaster come to deal with their situation, from moments of cheekiness to resignation.

The CAT worked around both budgetary and geometric limitations of their smallish stage, still managing the main features of the stage set, including a hollow grandfather clock and an unsteady platform representing the manor’s study. It also suits a low-budget community theatre playing a low-budget community drama club to have a woman in pasted-on mustache as the male butler. Through it all, the understanding audience (except for a couple who bolted during intermission, inspiring the top paragraph) seemed to thoroughly enjoy this well-constructed calamity.

There are three more chances to see CAT’s “The Play That Goes Wrong,” Friday through Sunday, March 29-31, at 254 Veterans Way in downtown Carmel. Get tickets at thecat.biz.

And if anyone sees Winston, let them know.

Laughs and love at The Cat

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By John Lyle Belden

There’s something funny going on at The Cat in downtown Carmel: the fun musical “I Love You, You’re Perfect, Now Change.”

The show, written by Joe DiPietro and Jimmy Roberts, is a series of musical skits reflecting love from first meeting to long after the wedding. Christian Condra, JB Scoble, Sara Castillo Dandurand, and Abby Okerson perform in various couplings throughout. Being no strangers to silliness, Condra and Scoble direct.

In keeping with his on-stage appearances, we get Condra in his underwear in record time. Nobody gets stripped beyond their skivvies, but there is some mature content, so consider this for teens and up.

Dating is a pain, marriage is a pain, family are a pain – so why are we laughing? This foursome gladly suffer for our pleasure, complete with swirling props and physical gags as well as the hilarious punchlines.

Music is nicely provided onstage by Gisele Dollinger and Evan Wang.

For your post-Valentine entertainment, you’ll love “I Love You, You’re Perfect, Now Change,” Thursday through Sunday, Feb. 15-18 at The Cat, 254 Veterans Way, Carmel. Get info and tickets at thecat.biz.

MD Writer delivers a good series of short plays

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By John Lyle Belden

It takes a sharp mind to become a doctor, especially a cardiologist. For Dr. Louis Janeira, add sharp wit and storytelling skill and you’ve got the prescription for a promising side gig as a writer.

As L. Jan Eira, the MD Writer, he presents “Cut Short: A series of 10-minute plays,” under the direction of Aaron Henze, at The Cat in downtown Carmel.

The talented cast of Craig Kemp, Barbara LeMay, Ian Marshall-Fisher, Greta Shambarger, and Afton Shepard take on a series of shorts that play out like the Twilight Zone or Outer Limits with a touch of gentle humor – though not all end happily.

The opening scene, “If everyone on earth dies, I can’t graduate,” sets the tone that things aren’t always as they seem, and the odd will be commonplace. I had previously seen the “Party Shoppe,” a sharp piece of science fiction that was the best part of a longer work presented at IndyFringe. Even when you can tell what’s going on, like going “Home” with Mr. H, the story still grips you with its simple drama. Naturally, the medical profession makes a couple of appearances, including one bit that takes “physician, heal thyself” in an interesting and fun direction.

Entertaining, intriguing, and well performed, this series showcases local talent in splendid fashion. Remaining performances are 7 p.m. Friday and Saturday, 3 p.m. Sunday, at The Cat, 254 Veterans Way (just south of Main Street in the Carmel Arts and Design District). Get info and tickets at theMDwriter.com or thecat.biz.

Cat, CCP stage farcical salute to struggling actors

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By Wendy Carson      

Is the thought of seeing one more Christmas-themed production making you want to spew your eggnog? If so, you need to drive over to The Cat in Carmel and catch a performance of Carmel Community Players production of “Moon Over Buffalo.”

The 1995 comedy by Ken Ludwig is notable not just for its slamming-door farcical elements but as the vehicle in which Carol Burnett returned to Broadway. Needless to say, there are plot twists and laughs aplenty.

In the summer of 1953, George Hay (Jason Creighton) and wife Caroline (Tonya Rave) have washed out on the Broadway stage as well as in Hollywood and tour the country in reparatory, alternating between productions of “Cyrano de Bergerac” and “Private Lives.” They are currently stuck in Buffalo, N.Y.

Still stinging over the loss of lead roles in the upcoming Frank Capra-directed Scarlet Pimpernel film, they are resigned to make the best of things. Having Caroline’s mostly deaf mother, Ethel (Wendy Brown), along as their costumer and all-around extra doesn’t improve their lot.

In a fortuitous turn of events their daughter, Rosalind (Natalie Piggush), has returned to introduce them to her new fiancé, Howard (Mac Wright). However, she never seems to get the opportunity, and his being tongue-tied doesn’t help. Add to the mix Richard (Brian Sprayue), the Hays’ lawyer who is madly in love with Caroline and trying to sweep her away from her husband; Eileen (Nicole Sherlock), the ingénue who is pregnant from a brief dalliance with George; and finally, Paul (Grant Bowen), Rosalind’s ex, who is still madly in love with her.

Secret loves, mistaken identities, a generous amount of alcohol, and the possibility of being cast in Capra’s film after all make for a rollicking night of craziness. It’s also good for those who like a peek at backstage life and the quirks of showbiz people, flavored with the evergreen lament that live theatre is dying (shakes fist at television).

Directed by Elizabeth Ruddell, the entire cast is spectacular; their tireless embracing of every comic element will keep you laughing so much that you can forget that “Marley was dead” or any other holiday frippery.

Performances are Thursday through Sunday, Dec. 14-17, at The Cat, 254 Veterans Way, downtown Carmel (in the Arts and Design district, a distance away from the Kristkindlmarkt). Get tickets and info at carmelplayers.org.

CAT: Fantastic fun with legendary car

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By John Lyle Belden

Carmel Apprentice Theatre is a resident company at, naturally, The Cat venue in downtown Carmel. Everyone who shows up for rehearsal gets a part, as well as mentored by the more experienced performers. This makes for a relaxed easy-going atmosphere on and behind the stage that translates easily to the audience. In this mode, it’s good to take on a production that welcomes aspects of the silly and unreal.

CAT now presents the stage version of the musical “Chitty Chitty Bang Bang,” based on the book and movie by James Bond creator Ian Fleming. It originated in stories the author told his children, into which he couldn’t help but add some kid-friendly international intrigue. This translated well into the 1968 film musical starring Dick Van Dyke. Music and lyrics are by Richard M. Sherman and Robert B. Sherman, the story adapted by Jeremy Sams from the script by Roald Dahl and Ken Hughes.

To keep things going smoothly, stage veterans take key roles including Evan Wang as inventor Caractacus Potts, Brook-Glen Gober as sweets heiress Truly Scrumptious, Duane Leatherman as Grandpa Potts, Allison Hermann as the rebellious Vulgarian Toymaker, and Hannah Janowicz as the sinister Childcatcher. Other roles have two or even three actors in rotation, while others are in the chorus or dancers. Notable performances include Gober’s precision recreation of the music box scene, and the antics of David Ralstin and Elaine Endris as bumbling Vulgar spies Goran and Boris. Hopefully you will be at a performance with Leroy Delph, looking like a cartoonish king from a playing card, as the immature Vulgarian ruler Baron Bomburst.

And yes, there is the car! Locally fabricated by Scott Osborn of Brown Hound Studios, “Chitty” is an excellent recreation of the movie’s automobile. Does it really float and fly? You’ll have to see for yourself, but don’t forget to say “Please!” when you ask.   

Will Wood directs, with Wang as music director, Ashley Thibodeau the choreographer, and Amanda Lund stage manager.

Featuring classic songs including “Toot Sweets,” “Hushabye Mountain,” “Me Ol’ Bamboo,” and, of course, the title tune, this production is as delightful as a seaside picnic by your favorite roadster. Performances are 7 p.m. Fridays and Saturdays, 2 p.m. Saturdays and Sundays, through Nov. 19 at The Cat, 254 Veterans Way (a couple of blocks south of Main St. in the Arts & Design District), Carmel. Get info and tickets at thecat.biz.

Bard Fest takes another look at Trojan War

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By John Lyle Belden

If the title of Shakespeare’s “Troilus and Cressida” sounds familiar, that’s because just this last July there was a musical adaptation, presented by Southbank Theatre. This time around, the war story/comedy/tragedy is presented by Indy Bard Fest on the stage of the Cat theatre in Carmel.

Director Zach Stonerock approaches this play as a satire of the Trojan War (and thus war in general). As battles tend to “trash” the landscape, the stage looks like a modern salvage yard, the players like a band of hobo thespians acting out the Bard’s work to pass the time. For junkyard scavengers, knowing who plays Ajax is easy if you can find the plastic bottle.

Thersites the Fool (Sarah Heider) welcomes us and introduces the war, already seven years in progress (these events are prior to the legendary part with the big horse, which is hinted at). Young Trojan prince Troilus (Jack Tiehen) is seeking to woo fair Cressida (Hannah Embree), whose father has defected to the Greeks, leaving her with uncle Pandarus (David Mosedale), all too eager to play matchmaker. Trojan troops, led by older princes Paris (Tristan Montgomery) and chivalrous Hector (Ryan Powell), and general Aeneas (Tim Fox), return from battle frustrated at the continuing stalemate. They consider whether it would be best for Paris to return Helen (Abigail Simmon), whom he had stolen from the Greeks, starting this whole mess. It would at least quiet the ravings of princess Cassandra (Audrey Stonerock). But proud Troilus helps talk Hector out of that plan, which leads to an even more audacious one.

Meanwhile, on the Greek side, King Agamemnon (Jeffrey Stratford), Menelaus (Mosedale), Diomedes (Jack Paganelli), and Ulysses (Tristan Ross), are frustrated that their best warrior, Achilles (John Kern), is refusing to fight, staying in his tent with his boytoy Patroclus (Montgomery). Under truce, Aeneas arrives with a proposed challenge – Hector vs. a champion of their choice in single combat. The Greek leaders accept and decide to name less-able soldier Ajax (Austin Hookfin), confident the insult to Achilles should rouse him to battle.

Lest we forget the title, there is more intrigue with Troilus and Cressida, who decide on a quick tryst before being formally wed. But the morning after brings news that the girl has become little more than a bargaining chip.

The cast also includes Brittany Magee as Hector’s wife Andromache, yet another woman whose feelings are disregarded.

Though the trappings of this telling are a bit comical, the story is deadly serious. Tiehen gives a solid performance, with the looks and aggressive romantic bluster of a Romeo but a little smarter and less suicidal. Embree also plays her lead admirably, a young woman getting by on cleverness until she can’t, then realizing she is her only salvation, even if it means hurting one who loves her.

Stratford plays an amusing monarch, but not one to be trifled with. His portrayal, along with Kern and Montgomery’s haughtiness and Ross’s deadpan, reflect how the early scenes play out like a Strangelovian comedy. Powell, who easily slips into roles both comical and serious, plays Hector as both nobly earnest and absurdly genteel. Heider, for her part, revels in her role. As the play progresses towards bloodshed, however, the tragedy and waste of war come to the fore.

An intriguing example of how all’s un-fair in love and war, “Troilus and Cressida” has three more performances Friday through Sunday, Oct. 13-15, at the Cat, 254 Veterans Way in downtown Carmel. Get tickets at indybardfest.com.

Intimate look at classic ‘Murder’

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By John Lyle Belden

As the saying goes, the axle of a railroad car evolved from an old Roman chariot, so as for generations we moved from city to city on narrow but comfortable boxes, things still might feel a little close.

Especially when there’s a dead body in the next car.

When Carmel Community Players found themselves staging the traditionally large production of “Murder on the Orient Express” in the intimate confines of The Cat, director Lori Raffel opted not to re-invent the on-stage railroad. “Why not?” she mused, understanding that theatre-goers know how the magic works. Indeed, seeing cast members and stage managers Samantha Kelly and Chloe Vann transform the sleeper cars to the lounge car (which doubles as a fine Istanbul restaurant) in half-light doesn’t hurt the show one bit, perhaps even aiding the flow as we don’t just stare at a curtain between scenes.

And, as noted, you are never far from the action, especially in the Cat’s up-front love seats (first-come for patrons). This way you never miss a clue, or a punchline in this Ken Ludwig script approved by the Agatha Christie estate.

Please, if you know the solution to this mystery, don’t tell! But if you don’t, relax, it was a difficult case for Christie’s famed Belgian detective Hercule Poirot (Larry Adams), and the resolution has surprised and delighted whodunit fans for decades. Again, if you do know – shh! – and enjoy how it plays out with the wit of Ludwig in Christie’s world, presented by this talented local cast.

In 1934, Monsieur Bouc (Earl Campbell) is rightly proud to be in charge of the famed Orient Express (an actual legendary line that ran the length of Europe) and to host Poirot on an unusually crowded journey to France. However, while a snowstorm halts the train in the mountains of Yugoslavia (around Croatia today), the very shady Samuel Ratchett (Tim Latimer) is found dead in his cabin.

Until the snow clears and police arrive from Zagreb, it is up to Poirot to solve this expansive closed-door mystery. Whodunit? Considering it is revealed that Ratchett was a man who literally got away with murder, there is motive, and plenty of suspects. Was it the English woman and Scottish soldier (Olivia Carrier and Jeffrey Stratford) who have been quite secretive? Or the wealthy Russian Princess in exile (Cathie Morgan) or her Swedish missionary nurse (Nicole Sherlock)? Or the loud new-money American (Vickie Phipps)? Or the former nurse turned Hungarian Countess (Viviana Quiñones Fabre)? Or yet, Ratchett’s personal secretary (Jonathan Young)? Conductor Michel (Mohamed Armin) has his own puzzle as others claim to see a mysterious someone in a jacket just like his.

Performances are solid all around, especially Adams’ command of the proceedings as the famed Belgian. Phipps has a ball as the stereotypical obnoxious American. It is impressive how this all-volunteer community cast commit to and hold on to their various spoken accents, especially Stratford’s thick brogue.

Remaining departures for “Murder on the Orient Express” are Thursday through Sunday at The Cat, 254 Veterans Way, downtown Carmel. For info and tickets, visit carmelplayers.org.

CAT’s ‘Almost’ is certainly entertaining

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By John Lyle Belden

When you consider that the Carmel Apprentice Theatre, resident company at The Cat, involves those with limited (or no) experience taking the stage with the aid of mentors, it’s tempting to lower expectations. No need, though, with the CAT production of “Almost, Maine,” by John Cariani.

The northern edge of the United States has an exceptionally weird atmosphere, judging by TV shows like “Northern Exposure” or “Twin Peaks,” or the Maine-set novels of Stephen King. However, likely due to it being “almost” in good-natured Canada, the weirdness in our little township (they almost incorporated into a town) is more bent towards the sublime than the spooky.

Directed by first-timer Zach Kreinbrink with Jayda Glynn, this set of comedy scenes finds love in the air on a winter night.

Pete and Ginette (Tim West and Amelie Thibodeau) test how “close” they can get to each other. Glory (Caroline Ryker) carries her broken heart with her as she looks for the Northern Lights in East’s (Jake Williams) back yard. At the MoosePaddy Pub (“Drink Free If You’re Sad”), Jimmy (West) feels like the bad guy for losing Sandrine (Hannah Vaught), but a cheery waitress (Deanna Larkin) is on hand with her freebie flask.

Can love get through to Steve (Malcolm Marshall), who literally can’t feel pain? Marvalyn (Emma Leary) understands being hurt too well. Lendall (Brandt Ryan) is confronted by sweetheart Gayle (Allison Hermann) who is tired of all their love piling up, just sitting there. Out at frozen Echo Pond, a skating date isn’t going well for Phil (Brian Thibodeau) and Marci (Larkin). All this and more in a gently aburdist world where “falling in love” can literally involve gravity.

An excellent display of budding and hidden talents, this cast charms throughout. Hopefully we’ll see a bit more of these folks on area stages in the future.

For now, visit “Almost, Maine,” Thursday through Sunday, May 4-7, at 254 Veterans Way, Carmel (just south of Main Street downtown). Tickets and info at thecat.biz.