Vickie Phipps

From fake fruit to real feelings: Belfry delivers Simon classic

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By John Lyle Belden

You can’t go wrong with a comedy play by Neil Simon, and The Belfry Theatre presents the one that started his incredible run of Broadway and film hits.

“Come Blow Your Horn” is not a musical, but more about blasting one’s own achievements. In this case 1960s swinging single Alan Baker (Josh Gibson), in a nice Manhattan apartment with constant female companionship. He’s been having fun with aspiring actress Peggy (Adriana Menefee), who stretches being “bad with names” to comic lengths. However, his more regular companion, Connie (Alyssa Lay), has come home from her singing tour early.

Meanwhile, Alan’s younger brother, Buddy (Jeff Haber), has arrived to stay with him, finally escaping living with their parents – neurotic and overbearing Mother (Vickie Phipps), and hot-tempered Father (Chris Otterman), who varies from passive-aggressive to aggressive-aggressive. The family owns a wax-fruit factory where the father employs both sons, though he rails at “the bum” Alan’s slacking.

Alan seeks to make Buddy more irresponsible like him, while, ironically, he finds himself having authentic feelings for Connie. But when the playboy antics get too complex, Father’s reaction could rename this show “Come Blow Your Top.”

This comedy shows hints of Simon’s linguistic mastery and knack for wacky situations that reach perfection in his later shows. On its own merits, it’s wildly enjoyable, and you can tell the cast are having fun with it as well. Gibson is great at projecting cheeky confidence, so is in his element here. Haber delivers a perfect contrast, as a man perpetually unsure of himself. After intermission, the two switch demeanors, adding dimension to their characters, as well as more laughs.

Lay is adorable as usual and shows both her and her performer character’s range in her efforts to get Alan to mature. In roles inspired by Simon’s own parents, Phipps and Otterman shine as the Mom and Dad who seem to never be happy, yet still get across that they love their kids – infuriating as they are. Menefee plays Peggy as more nice than smart, elevating a rather limited role. Katherine Gibson has a memorable cameo as Aunt Gussie.

Veteran director Lori Raffel, who has handled plenty of wackiness in various central Indiana companies, delivers an endearing take on this classic. Performances are Friday through Sunday, Sept. 26-28, at The Switch Theatre, 10029 126th St., Fishers. Info and tickets at thebelfrytheatre.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.