Tim Mooney

IndyFringe: Breakneck Comedy of Errors

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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

Tim Mooney returns with his one-man production of one of Shakespeare’s zaniest plays.

Wearing literally dozens of hats to try to help keep the characters straight (there are two sets of identical twins with each pair sharing the same name), he gives us “Breakneck Comedy of Errors,” presenting the entire Shakespeare comedy within the 1-hour limit of a Fringe show.

While his other offerings relied more strongly on various monologues, this one keeps things sparkling with witty commentary. For example, after one brother and his servant spend years searching for each’s twin, when the brother encounters his servant’s twin who gives him a totally different account of their previous interaction, rather than considering that this might be his servant’s twin brother (for whom they have sought) , he immediately thinks that the country is full of sorcerers and they must leave or be killed by the witches. Needless to say, with so many cases of mistaken identity throughout the story, hilarity ensues.

So, if you are a fan of Mr. Mooney, The Bard, or just looking for a goofy time with lots of hats, this is the show for you. Content is appropriate for all ages; while younger children will likely not follow the plot, they will still enjoy the show. Remaining performances are Saturday evening and Sunday afternoon, Aug. 27-28, at the Indy Eleven stage of the IndyFringe Theatre, 719 E. St. Clair.

IndyFringe: Shakespeare’s Histories – Ten Epic Plays at a Breakneck Pace

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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

Timothy Mooney returns to IndyFringe with the show that started his series of “Breakneck” Shakespeare presentations. He sets up a one-hour timer (also the limit of a Fringe show) and proceeds to get everything said before it hits 60:00:00.

As he had done here with “Julius Caesar,” this is more a historical lecture — giving real-world context in which Shakespeare worked — than just a presentation of a play. This is essential when dealing with 10 dramas, extending through the centuries from the infamous King John all the way to Henry VIII (father of Elizabeth I, ruler in the Bard’s era). But if you are thinking of the dull, dry lessons you had in high school or college, fear not! Mooney makes the history come alive, complete with projected visual aids, and punctuated with the words Shakespeare put in these monarchs’ and nobles’ mouths. 

The keyword to all of this, Mooney explains, is succession, and the more unclear the passing of the throne goes, the more people fight and die, inspiring some great stage drama. We “tell tales of the death of kings” as “we happy few” in the audience actually get a sense of what the Wars of the Roses were, and why poor Richard would give “my kingdom for a horse!”

We even get a few words from Joan of Arc, who doesn’t come off as a saint in Shakespeare’s telling.

Those familiar with Mooney’s work will not be disappointed, and those who aren’t are in for a treat. This rapid-fire jam-packed entertainment is on the main stage of the District Theatre — one of the bigger venues, yet this might still sell out.

IndyFringe: ‘Breakneck Julius Caesar’

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This show is part of the 14th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 16-26, 2018 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By John Lyle Belden

I like to joke with Tim Mooney that, contrary to the title, while there was a lot of stabbing, no one’s neck was broken in this performance (I could also mention that despite all the talk of Noble Romans, there was no pizza). But what we do have is, like his “Breakneck Hamlet,” a full Shakespeare drama condensed to less than an hour, leavened with humor — and in this case, some historical perspective.

We even get some audience participation, such as when the Citizens of Rome cry out (cues are put on a screen for our convenience). In fact, this show is notable not only for how much the script is cut down (and not noticeably, unless you are a Shakespeare scholar) but also for what is added. We get maps, historical asides (Brutus stabbed him where?!) and context for not only Rome but also the Elizabethan audience who first saw the play.

Mooney delivers it all, complete with costume changes, with precision and an easy style that never feels rushed. His mastery of the material is evident throughout, making the show both entertaining and enlightening.

Friends, Hoosiers, Fringe attendees: lend him your ears (he’ll give them back, promise!) at the Firehouse union hall, first floor, 748 Mass Ave.