Fat Turtle hilariously handles impossible quest to dramatize Don Quixote

By Wendy Carson

Don Quixote. We all know the story – or do we?

It turns out that the storyline we are so familiar with is actually less than 20 percent of the thousand-page tome. The beautiful Dulcinea, for whom Quixote pines, is merely referred to and not actually a character in the book. The vast majority of the saga involves the deranged “knight” and his faithful squire just riding through the countryside getting beaten up frequently.

So why does this epic novel continue to inspire numerous attempts to adapt it for stage or screen only to be defeated by the effort? That is the focus of Mark Brown’s whimsical play, “The Quest for Don Quixote,” produced by Fat Turtle Theatre Company through Sunday at Theater at the Fort.

Jason Page portrays Ben, our intrepid playwright, whose passion for the text is only eclipsed by the despair of his inability to write anything at all. His agent Jeffry (Dan Flahive) has tracked him down to a coffeehouse in order to retrieve Ben’s script – after all, rehearsals begin tomorrow. Flahive shines through his desperation and terror at discovering the situation, especially as he relentlessly tries to kick-start Ben’s writing.

As they deliriously brainstorm throughout the night, the story comes alive with the coffeehouse staff and patrons joining them to act out their efforts. The results are wacky and bizarre, yet tenderly true to the intentions of the original story.

Nan Macy and Savannah Jay embody a myriad of characters each, yet manage to bring each one fully to life in such a manner as to make you forget that they are just two people.

Justin Lyon’s portrayal of the buffoonish “squire” Sancho Panza brings out the heroic heart of the character.

Of course, the story could not work without our hero, Don Quixote. Jeff Maess deftly brings the deluded, yet inspired, mania of the character fully to light.

While not actually playing one of the various actors in the story, Chris McNeely uses his guitar as a driving force in the narrative by setting the tone for each scene. In fact, you might recognize a bar or two of some more contemporary songs that punctuate a few plot lines.

In adapting the unadaptable, this hilarious play about a play about a immortal character that transcends his literature bends the rules enough to blend medieval chivalry with Pinkie Pie from “My Little Pony.” Yet the soul of the story of the man who showed us the folly of fighting windmills – no matter what form they take, such as a difficult script – remains as pure as a noble knight’s heart. Director Aaron Cleveland acquits himself well in taking up the lance against this mill.

Find Theater at the Fort on the former grounds of Fort Benjamin Harrison, just west of Post Road just north of 56th Street in Lawrence. For info and tickets, visit www.fatturtletheatre.com.

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Old lore gets modern makeover in Catalyst’s ‘Slaying the Dragon’

By John Lyle Belden

I got so much more than I expected when I saw “Slaying the Dragon,” and I have high expectations from a play written by Casey Ross.

Ross’ plays are character-driven with great dialogue, flavored with enough of the absurd to make them entertaining without stretching credulity. And with her latest comedy production – presented by her Catalyst Repertory at Theater at the Fort, directed by Carey Shea – Ross enters the realm of fairy tales and conjures a thought-provoking fable.

Mythical kingdoms have reluctantly come into the 21st century, and the castle of King Farenwide (Dan Flahive) is now a condo. His Queen (Nan Macy) is happy as long as she has a place to garden, but Princess Maleena (Abby Gilster) is frustrated that her parents neither embrace New World ways nor accept that she has. To the King’s delight, a Knight has moved nearby – and being the only handy noble, a good prospect for his daughter (she’s not pleased with that prospect). But upon visiting Sir Alexander Meander (Matt Walls), they meet his roommate, Flameson (Tristan Ross), a dragon.

The inevitable conflict of old prejudices (that dragons are beasts worthy of little more than slaying) and outdated loyalties (a knight must obey orders and kill such beasts) with more modern attitudes can’t help but raise comparisons to events in the offstage world. True to the style of Casey Ross (no relation to Tristan, though they are good friends), the issues are handled with great humor and humanity. While it’s easy to make “Shrek” comparisons, the inspiration here seems more like the Disney short “The Reluctant Dragon” and the stage/film/TV classic “The Odd Couple.”

Gilster is great as the sane center of the swirling silliness. Flahive is fun, and makes riding a mobility chair look as noble as an actual royal steed. Macy tackles yet another maternal role with soothing ease (and a fantastic hat). And Josh Weaver adds to the laugh factor as obliviously mellow Page Jon, the castle servant.

It’s easy to see which is the “Felix” and which is the “Oscar” with Walls and Tristan Ross. Meander makes his best effort at being noble in tarnished armor, while Flameson is an excellent housekeeper and cook (who can light the stove by breathing on it). The actors’ performances are totally up to snuff, especially in Tristan’s talent for not going over-the-top with a fantasy character, aided by excellent makeup effects.

This is definitely a new work that is worthy of seeking out – and a little seeking might be in order. Theater at the Fort is located on the grounds of former Fort Benjamin Harrison (technically in Lawrence) at 8920 Otis Ave.

Performances are 8 p.m. Thursday through Saturday and 5 p.m. Sunday, March 16-19. Get info at uncannycasey.wix.com/catalystrepertory or follow Catalyst Repertory on Facebook; get tickets here.

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

Classroom drama gets excellent portrayal by student actors

By John Lyle Belden

ATTENTION: Your assignment is to see and applaud some very talented youth.

CYT director Laura Baltz told us that her all-kid cast of “Up the Down Staircase,” playing this weekend at Theater at the Fort, were unsure about how us grownups would judge their efforts, especially as it’s a first-time foray into drama rather than comic musicals. But, simply put, John and Wendy were blown away.

The play – based on the 1960s novel – takes place in an inner-city New York high school where a young first-time teacher is confronted by a run-down building, bureaucratically stifled staff and apathetic students. Even if you haven’t read the book or seen the film or a stage version (or “To Sir With Love” or frankly any inspiring-teacher film), you know the story. But it’s how the teacher gets through the red tape and reaches the kids that’s important, and it doesn’t seem so cliché when the students are actually played by school-age kids (middle-schoolers in high school are easier to accept than Hollywood’s 20-something screen “teens”).

The adult roles are played by elder members of the CYT troupe, and come off as believably mature. I thought I could guess which actors are 18, but Baltz informed me that actually, none of them are.

Abagail Johnson is appropriately inspiring as new teacher Sylvia Barrett. She seems comfortable in her own skin with an optimistic confidence that shines through her character, even when overwhelmed, making you believe in and root for the “Teach” at the center of the story. Sabrina Duprey convincingly plays at least a decade older than her 16 years as Beatrice, Sylvia’s fellow teacher and mentor.

Sam Surrette couples his excellent performance with a cocky swagger as teacher and frustrated author Paul Barringer, who feels he’s too good for the job he’s stuck in until his efforts to stay emotionally distant from his students backfire almost tragically.

Maria Saam ably plays Ellen, a friend who provides outside perspective for Sylvia (and the audience) through their correspondence.

And Joshua Minnich manages the difficult job of injecting humanity into administrative assistant J.J. McHabe, the personification of much of what Sylvia is up against.

The rest of the cast do very well as faculty and students – keeping events flowing and lines delivered sharply (even when the scene calls for them to talk over one another). Jackson Bell and Makayla Cripe handle the dramatic load of portraying students who are troubled, each in a distinctly different way.

As the original story was told in letters, memos and written notes, the play cleverly provides them as loose conversations or popping in through hidden doors in the wall (like the old TV show “Laugh-In”). Ellen’s home, miles away, enters and exits the stage edge by clever lighting. All elements are executed smoothly.

I should note that CYT stands for Christian Youth Theater. It is easy to assume that such a group might feel compelled to insert Bible verses or otherwise “Jesus-up” the show, but there’s no preaching here. The play carries a theme of Christian compassion that speaks for itself.

And the teachers’ plight might look a little too familiar, even 50 years after the story was written.

As for the concerns mentioned earlier, these young thespians needn’t worry. They are doing solid work in an American classic. My advice to them is to keep working on the stage as long as you feel inspired to, and take the play’s notion of reach-exceeding-grasp to heart. It might not always work (still, you did your best, right?) but this time it definitely did.

Just one weekend of performances (weather permitting) Friday through Sunday, Jan. 13-15 at 8920 Otis Ave. on the former Fort Benjamin Harrison grounds, just off the north end of Post Road. Info at www.cytindy.org.