Tracy Herring

Poe’s ‘muse’ inspires new play

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By John Lyle Belden

For this year’s Halloween festivities in Irvington, local playwright Breanna Helms took on an intriguing question: What if the “Lenore” in Edgar Allan Poe’s poems was an actual woman? The result is the short play, “The Silent Muse,” presented by 4th Wall Players in late October, directed by Josh Gibson.

Poe published the poem “Lenore” in 1843, and more famously, “The Raven,” in which the dead Lenore is longed for, in 1845. They were carefully crafted literary works allegedly not inspired by any singular person, but that death came easily for many in the 19th century, including many of Edgar’s relatives, and soon his sickly young wife, Virginia.

In this alternate history, Poe as a young struggling writer (played by Jy’lerre Jones) is acquainted with sisters Lenore (Emma Gedig) and Annabelle (Alice Graves the first weekend, Helms during the second), as well as their Mother (Tracy Herring).

Asked his opinion by Annabelle, Edgar romantically likens her to a calm pond that has become a wild sea (a hint towards how she would inspire her own poem). To his surprise, he finds Lenore lurking in a hollow tree that she likes to climb. Calling her a wood nymph, he proceeds to flirt with her in earnest – she being the unmarried sister.  

Soon, however, Mother brings around Guy de Vere (Kyvaille Edge), a proper wealthy suitor for Lenore’s hand. Seeing her place in society as inevitable, she agrees to his proposal.

True to an Edgar Allan Poe story, the marriage is not happy and our ending is tragic. Still, Helms makes this story beautiful and engaging enough for us to believe these events could inspire a masterpiece. There are even a few hints at the poem dropped through the narrative. The script is a neatly-written half-hour, which I feel could be revised to Fringe length (45-50 minutes) with no obvious padding. (This is why I’m keeping to my usual policy of avoiding spoilers).

Performances brought the story to life nicely. Jones shows great energy and potential with his acting journey getting under way; his restless Edgar longs for love and a better life and chafes at being seen as not worthy of the social circle he lives in. Gedig gives us a gem with facets including the “nymph” with her aura of unruly magic; the dutiful daughter and wife; and a soul somehow aware of the shadow of her limited future.

Hopefully, we will see “The Silent Muse” return, and more creative work by Helms in the future.

For now, 4th Wall dives back into the gloom with Emily Bronte’s “Wuthering Heights,” adapted and directed by Alan Keith, opening this weekend and running Nov. 7-16 at Backlot Makerspace and Venue (formerly Stage Door), 5235 Bonna Ave. Indianapolis (in historic Irvington).

Get info and tickets at 4thwallplayers.org.

Wild Wilde comedy at Buck Creek

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By Earnest Bunbury John Lyle Belden

Buck Creek Players takes on a classic comedy tackling issues of identity within a strict society, “The Importance of Being Earnest,” which playwright Oscar Wilde cheekily called “A Trivial Comedy for Serious People.”

The subtext was hardly trivial for Wilde, with this well-received 1895 play coming out shortly before his infamous legal spat that had him imprisoned for homosexuality (a crime in Victorian Britain). For BCP, director Mel DeVito sought to enhance the comedy’s queerness with cross-gender casting.

Amanda McCabe said that when she auditioned, she had no idea she would become Jack “Earnest” Worthing. “I believe Wilde would have loved this,” she said after a performance. DeVito agrees, adding, “I just wanted to see Ben (Jones) in a dress” – which he is as haughty mistress of manners Lady Augusta Bracknell. Judy Lombardo plays both the servant parts, one as male and one female. Paige Scott, whose past roles include a trans character in “Hedwig,” portrays a rather distinguished clergyman, Dr. Chausable.

We open at the home of Algernon Moncrieff (Aaron Beal), where Earnest (McCabe) has come to woo his cousin, Gwendolen Fairfax (Brittany Magee). Our suitor wins her heart, but not her hand as Aunt Augusta, a/k/a Lady Bracknell (Jones), forbids their union, considering the young man’s rakish reputation and apparent low birth.

Mr. Worthing has two more complications: Gwendolen insists she will only marry a man named “Earnest,” and Algernon has found the proof that is not his name. As for the latter, cynically jovial Algernon finds it amusing that his friend also enjoys “Bunburying” – named for his habit of avoiding responsibilities by going to visit his non-existent “invalid friend” named Bunbury. Worthing says his double life lets him be serious “Jack” around his ward, the beautiful young heiress Cecily Cardew (Kielynn Tally), and “Earnest,” Jack’s younger more fun-loving brother, elsewhere.

The plot twists and thickens when Algernon goes to call on Cicely, introducing himself to governess Miss Prism (Tracy Herring) as Earnest. This thrills the girl, who always wanted to marry a man by that name.

As Lady Bracknell says later, coincidences are very unseemly. Wilde’s pen seemed not to care.

The casting and sharply delivered performances bring out all the fun and make the satire relatable, including obliviousness to hypocrisy, vice as virtue, and women’s thoughts in diary form being a sort of official record of social life. McCabe embodies Jack/Earnest with dashing charm and Chaplain-esque nimbleness. Magee and Tally both play wily and smart, especially when the young women have the upper hand over their “Earnests.” Beal plays Algernon as a smooth cad, yet ever likable.

Jones commands the stage, perfectly blending a stern Victorian matron and a no-nonsense drag persona. Lombardo speaks volumes with an eye roll. Herring gets moments to shine when her small role becomes more integral to the denouement. Scott is subtly wonderful, even while Chausible is perplexed but willing to re-christen adult men.

For a fun old “trivial comedy” as you’ve never seen it before, “The Importance of Being Earnest” has one more weekend, Friday through Sunday, Sept. 12-14, at the Buck Creek Playhouse, 11150 Southeastern Ave., Indianapolis (Acton Road exit off I-74). Get tickets and info at buckcreekplayers.com.

Summit shows the ‘Different’ could be any of us

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By John Lyle Belden and Wendy Carson

Summit Performance Indianapolis does more than produce great plays. As a community outreach, it presents “This is Different,” an original one-act play, followed by open panel discussion, on living with and looking past the stigma of substance use disorder (SUD).

Quoting Summit: “It is the ninth Community Conversation One-Act produced by Summit and developed in collaboration with Dr. Sally Wasmuth… at the IU Indianapolis School of Health and Human Services… created from local interviews, conducted by Dr. Wasmuth.”

One performance remains, 7 p.m. tonight (June 28) on the main stage of the Phoenix Theatre Cultural Centre, 705 N. Illinois St., downtown Indianapolis. As the production is made possible in part by the City of Indianapolis and the Opioid Settlement Funds through the Indy Arts Council, all tickets are free, but reservations are needed at phoenixtheatre.org.

Told mainly through compelling monologues, the first-person stories collected by Wasmuth were crafted by playwrights Lauren Briggeman, the director and a Summit founder with long experience in drama; and Kelsey Johnson Lyons, who approached the script from her experience as a poet. Briggemen noted that choreographer Mariel Greenlee, formerly a company member with Dance Kaleidoscope, took the initiative in recommending movement used to underscore the performances. Simple yet effective lighting and sound are by Laura Glover and Olivia Lawson; Nico Meisner is stage manager.

The spirit of collaboration is reflected by the cast, each a major local talent: Tracy Herring, Miki Mathioudadkis, Morgan Morton, and Tracy Nakagozi. The source, script, and earnest delivery combine to thoroughly humanize the addicts in recovery that they represent. While additiction is expensive and devastating, they warn, most of all it is “sneaky.” It’s a party – until it’s not. Without excuses or complaint, the women who speak through these four relate their circumstances, their losses, what they salvage, and the human desire to belong, whether among others or just alone in your own yellow house.

You likely know or may even have been someone like these anonymous real souls. Especially if you don’t, it is imperative to understand them. The discussion after the one-hour performance gives plenty of room for exploring what this means to you, and all of us.

The title, “This is Different,” turns out to have a double meaning. It is what that voice within says when it dawns that instead of using a substance, the roles are reversed; then it’s the realization when after all your attempts to get “clean,” you finally see real recovery.

Big thanks to Dove Recovery House for its participation in this production, and to the continued community work of Summit Performance Indianapolis.

A family life far from ‘Normal’

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By John Lyle Belden

We encourage all who can to see “Next to Normal,” the Tony and Pulitzer-winning musical by Brian Yorkey and Tom Kitt at Footlite Musicals.

A couple of caveats: There are all manner of content warnings for this dramatic rock opera about a mother’s struggle with severe bipolar disorder, including themes of suicide, drug use, and treatment by electroconvulsive therapy (ECT). This production places all the seating on the stage, meaning both a more intimate experience and limited audience size. Technically all performances – through Sunday, Jan. 19 – are sold out, but any who wish to take a seat left by a no-show are encouraged to try. Call 317-926-6630 for details.

Diana Goodman (Angela Manlove) looks like a typical suburban Mom, with a headstrong son, Gabe (Parker Taylor); overachieving daughter, Natalie (Tessa Gibbons); and very understanding even when baffled husband, Dan (Milo Ellis). She has also had 16 years of bipolar symptoms, for which she has taken numerous medications.

Off her pills at Gabe’s urging, she goes manic, including inviting Natalie’s new boyfriend Henry (Nate Taillon) to dinner. But everything will come crashing down when the birthday cake comes out.

Bobby Haley plays both psychopharmacologist Dr. Fine and the more helpful therapist, Dr. Madden.  

Realizing the complexities of portraying mental disorders, as well as the advances in diagnosis and treatment since the show’s premiere Off-Broadway in 2008 (and on Broadway the next year), director Paige Scott sought guidance from mental health professionals, including Tracy Herring and Erin Becker (who are also local actors). They said they have seen in their practice people much like the musical’s characters – those with serious mental illness as well as family members with their own issues. Herring noted that practically all the portrayals of symptoms and treatment here are appropriate and not sensationalized for the stage.

“I expected to hate it,” Becker said of her first encounter with the show. But she, too, appreciated the manner in which the events were shown, adding that ECT has become even more manageable than what Diana experiences – the character’s over-the-top response a reaction to past horror stories of “shock therapy.” While considered a last resort (as it is presented here) for severe conditions, Becker notes that some patients will undergo a session, “maybe 30 seconds,” and go to work later that day.

The actors took great pains with their portrayals, resulting in beautiful, heartfelt work. Manlove brings us into Diana’s pain, but we also see the toll her illness takes on the others. Gibbons’s Natalie acts out, needing to be seen; Ellis’s Dan is a rock that is crumbling. Meanwhile, Taylor gives a brilliantly fierce performance as Gabe. Haley strikes the right balance of professionalism and empathy as Madden. Taillon as Henry plays the kind of friend we all need at times like these.

With mental health awareness having come to the fore in today’s culture, “Next to Normal” is as important a theatre work as ever, and in Scott’s careful hands, with this cast and crew, a masterpiece.

Footlite Musicals is located at 1847 N. Alabama St., Indianapolis; online at footlite.org.

Glimpses of comics’ lives in ‘Purple Lounge’

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By John Lyle Belden

In case there is any confusion, note that “Live at the Purple Lounge” has nothing to do with Prince. Another clarification: “Green Room” is just the traditional name for the place performers can relax before and after going on stage; it can be any color.

This said, welcome to the Purple Lounge comedy club, presented by Betty Rage Productions at the IndyFringe Basile Theatre. Seating includes cozy little tables, where crew member/bouncer, Chelsea (Kelsey VanVoorst), the New Comic, greets us. She doesn’t enforce a drink minimum but advises there are plenty of adult and alcohol-free beverages available for purchase at the back of the room.

However, what we see before us is not the classic stand-up stage backed with faux brick, but the backstage Green Room, tended by club manager Bethany (Meg McLane). Over the course of a few nights, we hear the last bits of a comic’s set, then see what happens in this room after.

Rory (Brooke Neubaum) closes with laments about her dating life, then comes into the room to find her mother Victoria (Jean Arnold) – a successful sex-positive writer – waiting with a rather stress-inducing surprise.

Sydney (Tracy Herring) slays in her set, then comes backstage to husband John (Chad Pirowski) with news that she can book a West Coast tour – a small miracle for a lesser-known 50-year-old comic. He doesn’t quite share her happiness.

Lena (Anna Himes), on the other hand, bombs – and it’s not the first time. Sure enough, old friend Travis (Dave Pelsue) is there to remind her that it’s been a year now. There’s a way to get herself funny again, he promises.

Anna (Rachel Kelso) makes her set about how sadly vanilla her girlfriend is. Meanwhile, in the Green Room, said partner Logan (Laurel Clark) is on her phone with customer service about a defective sex toy.

Abbie (Jenni White), one of the club regulars, is a hit again. Backstage with Bethany, a long-time friend, she is forced to confide an issue that not even her “husband Bill” can help with.

Being a stand-up comic is a funny life – both “funny ha-ha” and funny/unusual – and we get plenty of both in these scenes. The unique lifestyle and stresses of the job are explored in various ways, as well as the toll they can take on those who love them. Some of the biggest laughs, such as the moments with Rory and Victoria, or Anna and Logan, come with their share of tears. In this backstage sanctuary you’re as likely to find a metaphorical punch in the gut as a gut-busting punchline.

Performances are top-notch, especially McLane, who we usually see in absurd comedy shows, getting to exercise her dramatic range to great effect. Himes and White also hit us directly in the feels in their scenes.

Directed by Betty Rage founder Callie Burk-Hartz, “Live at the Purple Lounge” has just four more performances, 7:30 p.m. Thursday and Friday, 3 p.m. and 7:30 p.m. Saturday (May 23-25), at 719 E. St. Clair, Indianapolis. Get info at bettyrageproductions.com and tickets at indyfringe.org.

‘Ship of Dreams’ surfaces again

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By John Lyle Belden

December of 1997 saw the release of a film that at the time of its premiere was heralded as possibly the most expensive, overwrought flop ever to come out of Hollywood. But to everyone’s shock, it somehow failed to fail, breaking box office records, taking in billions of dollars, and winning numerous awards.

This sure-fire bomb didn’t sink despite its numerous production issues and cost-overruns, bladder-testing length, whining earworm of a featured song, exploitation of over a thousand deaths to deliver an improbable romantic plot, and even the presence of Billy Zane. It is suspected the movie was buoyed by past and eventual Oscar winners Leonardo DiCaprio, Kate Winslet, and the incomparable Kathy Bates, but I believe a lack of talking dolphins is to blame.

Fortunately, local hero Paige Scott and her Working Class Socialite company have risen from the depths of the Indianapolis comedy/improv scene to finally present James Carmeron’s “Titanic” as the absurd farce it was meant to be. Revised and expanded from its 2023 IndyFringe Festival premiere, “Ship of Dreams” sails (and sinks) again!

Courtney McClure and Elysia Rohn portray old and young Rose, Hannah Boswell is Jack, Shelby Myers is Ismay, Meg McLane is Billy, Tracy Herring is Kathy, Ariel Laukins is the First Mate, and Brittany Magee is Rose’s Mom, the Iceberg, and in an Award-Worthy Performance, the ship’s Propeller. Jason Adams gives us The Captain and all the visual effects you will ever need (where’s his Oscar?).

You’ll laugh; you’ll cr-, I mean laugh some more; you’ll not give a cuss about the room-on-the-door meme because there is just too much other weird and silly stuff going on to care. Still, in its near-faithful (though mercifully 90 minute) ultra-low-budget recreation of the major beats of the film (plus swipes at Leo’s other roles and such) Scott and friends slip in a bit of a tribute to what made this wreck of a movie such a magical event a little over 25 years ago.

Warm up the Model T (clean the backseat first) and head over to the IndyFringe Indy Eleven Theatre at 719 E. St. Clair St., Indianapolis for performances Thursday through Sunday, April 18-21. Get tickets at indyfringe.org.

Bardfest’s ‘Bold’ move pays off

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By John Lyle Belden

In its present form, Indy Bard Fest’s annual festival goes beyond works by William Shakespeare to include notable stage classics and works that could be considered “Shakespeare adjacent.” In this latter mode, we become exposed to playwrights whose works we might not otherwise see.

“A Bold Stroke for a Husband,” is a 1783 comedy by English writer Hannah Cowley (not obscure in her own day, her hits included “The Belle’s Stratagem”) who liked to include commentary on the difficulties of women in European society. The title (wordplay on that of a similar work of the era) refers not to abusive men, rowing, or a brain seizure, but of women who execute brave maneuvers in order to gain or keep the men of their fancy.

Two main plots run through this play, set in late 1700s Madrid, Spain. Don Carlos (Trent K. Hawthorne-Richards), who left his wife Victoria (Tailynn Downing) and their children to have an affair with Donna Laura (Hannah Elizabeth Boswell), learns his lover has tricked him out of the deed to the estate that had been in his wife’s name. Devious Laura refuses to sign it back, dumping him for another gentleman.

In other events, Victoria’s cousin, Olivia (Wilhelmina Dreyer) has her father Don Caesar (Angela Dill) insisting she commit to a suitor immediately to avoid old-maid status and eventually give him an heir. The gentlemen arrive, first Don Garcia (Katie Brownlee), then Don Vincentio (Jordan Paul Wolf), who are verbally dispatched by Olivia with the aid of her saucy maid Minetta (Rowan Apple-Knotts).

Though, in our closest link to the Bard, we see the lady as a “shrew” to rival Shakespeare’s Kate, Olivia secretly pines for a different man, Don Julio (Ryan James Moskalick), whom she toys with in another way.

Don Caesar, meanwhile, calls his own bluff in that he’d marry the neighbor’s young daughter and send Olivia to a convent if no son-in-law was secured. This is distressing to Marcella (Cass Knowling), the teen in question, as the law and customs of the time would allow for it – but Caesar comes to his senses and insists the girl only pretend their engagement to spur Olivia to action.

Speaking of tricks, Laura’s latest obsession is Florio, actually the desperate Victoria in disguise! A bit of subterfuge with the valet, Gaspar (Tracy Herring), should help to put things right.

This ribald piece of 18th-century feminism is entertaining, funny, and fairly easy to follow. Cross-gender and transgender casting aid the topsy-turvy atmosphere, accented with beautiful costuming by Sue Kuenhold, sharply directed by Max McCreary in the intimate atmosphere of Shelton Auditorium.

The men are buffoonish, but in an appropriately genteel way. Moskalick gets to play the one dude with sense – thus a worthy match for beautifully bold Dreyer as Olivia – though he gets fooled a bit as well. Hawthorne-Richards presents Carlos as downright pathetic, making Downing’s Victoria all the more noble in rescuing him as well as their fortune. Other women get plenty to flex their acting chops, whether as villain (Boswell) or trickster (Apple-Knotts, Knowling, Herring).

Strike boldly for the venue at the southwest corner of the Butler University campus, 1000 W. 42nd St., Indianapolis, for performances this Friday through Sunday (Oct. 27-29). Get info and tickets at indybardfest.com.

Embrace your inner ‘Betty’ at the District

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By John Lyle Belden

I always liked the name of Betty Rage Productions, picturing classic pin-up queen Bettie Page in a feminist fury. But from White to Rubble, there are many kinds of Betty, and we experience that variety in “Collective Rage: A Play in Five Betties,” by Jen Silverman, directed for Betty Rage by Kait Burch at the District Theatre.

With touchstones that include Shakespeare and The Vagina Monologues, in this story we meet five women named Betty who are searching, each in their own way, for something more meaningful.

Our first Betty (Tracy Herring) is very concerned about things in the news, very rich, very restless, very frustrated with her husband, and very rich. 

Betty No. 2 (Courtney McClure-Murray) doesn’t come first on this or any list – in fact, she’s realizing she apparently has no real friends at all, or does she? 

Betty three (Sarah Zimmerman) is street-smart and expanding her horizons. She just discovered “The Thee-ah-tah” by seeing a show that had summertime and a dream or something, and now wants to “devise a play.” 

Betty 4 (Jenni White) seems content to be constantly fixing her truck, but is starting to feel left out of things that involve the other Betties (especially one in particular).

The fifth Betty (Kallen Ruston) is out of rehab and in the gym she owns, helping others find their inner strength. Her present challenge: Betty 1.

Through odd dinner parties and unpredictable rehearsals, these five clash and meld in hilarious scenes. Through their unique personalities, we can see a little of ourselves in at least one Betty – even if we don’t have the same body parts.

Speaking of that, be prepared for a lot of discussions about sex, sexuality, queerness, and calling out the labial-vaginal area by its feline nickname. This is actually essential to the plot, especially when one Betty gets the courage to look at her pussy, and discovers a lion.

Each actor is a badass Betty on her own, as we’ve seen them all in various drama and comic ventures, and Burch has helped them to blend these talents in a way that makes sisterhood, or even becoming lovers, feel natural. I don’t like to pick favorites, but I think the one playing Betty was just awesome.

For a fun and unconventional story of self-discovery and empowerment, engage in “Collective Rage,” this Thursday through Sunday, March 9-12, at the District Theatre, 627 Massachusetts Ave., Indianapolis. Get tickets at indydistricttheatre.org.

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.

Indy Bard Fest’s Band of Sisters

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By John Lyle Belden

During World War II, Fort Benjamin Harrison had America’s largest Reception Center for soldiers joining the Allied effort. Meanwhile, the civilians in Lawrence, Ind., adapted to life in wartime. Things were going to be different, but it helps to have something familiar.

This sets the scene for Indy Bard Fest’s production of “Into the Breeches!” by George Brant, at, appropriately, Theater at the Fort through Sunday. 

The Shakespeare-focused Oberon Theater has gone dark as the male actors and crew have gone off to fight, but Maggie Dalton (Madeline Dulabaum) honors her husband’s wish to keep the stage alive by producing the Henriad (Shakespeare’s Henry IV and V plays) with a small cast of women – a thing no one would even imagine trying before 1942. But these are highly unusual times, and Maggie has convinced the Oberon’s legendary Celeste Fielding (Susan Hill) to take a lead role. Still, board chairman Ellsworth Snow (Kelly Keller) isn’t on board until his wife, Winnifred (Tracy Herring), expresses interest in taking a part. 

With the help of stage manager Stuart (Kaya Dorsch) and costumer Ida (Anja Willis), Maggie auditions and casts servicemen’s wives June (Michelle Wafford), who is heavily involved in homefront resource drives, and Grace (Dani Gibbs), who sees this as a way not to dwell on the dangers her husband must be facing.

“We happy few”? Not entirely. For diva Celeste, it’s Prince Hal or nothing; and the company risks it all by the necessity of casting Ida, who is Black, and Stuart coming out of the closet to take the female roles. Mr. Snow is again concerned, to say the least.

This is a wonderful production, with bright optimism tempered by the shadows of war, an excellent snapshot of life on the Homefront, with its own distinct stresses. Performances are heroic, starting with Dulabaum’s portrayal of how stage director is such a varied rank – from the leadership of a field officer to the cunning of that enlisted hand who always comes up with just what the company needs. 

Hill makes Celeste both adorable and unbearable, impossible and essential – her method for helping fellow actors “man up” is a comic high point. Wafford is a “Do your part!” poster at full volume, but also unwavering in her love of the stage. Gibbs is a stellar talent playing one realizing her own potential, and the strength necessary to endure a lack of news from the front. 

Willis gives insight on facing inequality at home in a land fighting for freedom overseas. Dorsch gives us Stuart’s personal dedication and bravery in what was a dangerous time on all fronts. Herring is a delight, especially as Winnifred discovers her inner Falstaff. As for Keller as the frustrated husband, how he has Ellsworth come around is too adorable to spoil here. 

A big salute to director Max Andrew McCreary for putting this together, including stage design, with the help of Natalie Fischer and stage manager Case Jacobus.

For information on this and future Bard Fest productions, visit indybardfest.com.