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GHDT’s ‘crowning’ achievement

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By Wendy Carson

Gregory Glade Hancock constantly brings new and innovative dance experiences to the stage, and his latest, “The Pageant,” is certainly a triumph.

In The Florence performance space at The Academy of Gregory Hancock Dance Theatre, we look both onstage and backstage at “The Extravagantly Glorious, Unquestionably Magnificent, Universally Celebrated, and Incomparably Prestigious Grand Supreme Ultimate International Beauty, Poise, Charm, Talent, and Grace Showcase Spectacular of the Millenia: A Dazzling Quest for the Crown of Eternal Radiance and Timeless Elegance, where beauty meets purpose and confidence shines brighter than any Crown” contest.

Our host, Ernesto Francois O’Reilly (Thomas Mason) controls the flow of the events while Judges, Jaxie Blaze (Kira Coapstick), Katarina Nowak (Zoe Maish), and Tomasz Lewandwoski (David Elser) oversee the competition.

The Contestants all feature little personality quirks to help you keep track of who’s who. Arabella Avante (Vivien Mickels) is a bit overconfident in her physicality; Harper Lyn Beavers (Josie Moody) is a typical Southern Belle who is only here to win, not place; Brielle Brickson (Nathalie Boyle) is so soft-spoken you can barely hear a word she utters; Fran (Audrey Springer) is so succinct, she doesn’t even use a last name; Zariah Leclair (Olivia Payton) is a pageant pro who knows the ins and outs of winning; Juliana Papadopolou (Abigail Lessaris) seems self-confident but hides her insecurities well; and Savannah Sway (Sophie Jones), who seems to be madly in love with the host.

The program includes excellent dancing, of course. Each contestant expresses her feelings in movement, Mr. O’Reilly gets in a few numbers, and even a couple of judges cut a rug.

However, true to the theme, the women also present other talents including singing, lip-synch, a musical instrument, botany(?!), and a rare opportunity to hear these performers speak. Performances range from charming, comical, uplifting, graceful, to a little scary at one point.

Note that, according to Hancock, the “winner” is not pre-decided. Likewise, the questions in the Interview portion of the contest are different in every show, and the contestants won’t know what they are until they’re asked. “So, every performance is different,” he said.

Speaking as one who has worked backstage in the Miss America system for close to a decade, Hancock is spot-on with the insights and humor as well as the inner workings of these sorts of contests. I am always excited to see what he and his talented troupes have to offer and this show is definitely one not to be missed.

Performances are Saturdays and Sundays, Feb. 14-15 and 21-22, at GHDT, 329 Gradle Drive, Carmel. Get info and tickets at gregoryhancockdancetheatre.org.

ATI gets ‘Lucky’ with unusual comic musical

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By Wendy Carson

Actors Theatre of Indiana presents the musical comedy, “Lucky Stiff,” with book and lyrics by Lynn Ahrens and music by Steven Flaherty.

I dare say that at least 90 percent of our readers may never have heard of this stage musical. Probably fewer have seen the heavily panned 2015 film. That is for good reason, it does not possess a strong book which could use some major revisions. However, the songs are decent and although the premise is over-the-top and problematic (think “Weekend at Bernie’s” meets “Dirty Rotten Scoundrels”), a very talented cast can make this flawed stone shine like a diamond. Luckily, director Lysa Fox has compiled an exemplary ensemble who manage to eagerly bring forth all the zany humor the script offers.

The opening number lets us onto the fact that somebody has been murdered. We then meet our hero, Harry (Jacob A. Butler), a lonely schlub working at a London shoe store, yearning for adventure. Then, a telegram arrives at his boarding house alerting him that his Uncle Anthony in the U.S. has died and being the only heir, he must go claim the inheritance.

At the lawyer’s office, he swears to uphold his uncle’s wishes in order to receive six million dollars. He then receives a tape player with instructions, a small stipend, and the taxidermized body of his uncle (Sam Arce), which he must take (along with a mysterious heart-shaped box) on a week’s vacation to Monte Carlo. Should he not fulfil the itinerary, the money will go to The Universal Dog Home of Brooklyn. Given his current situation – including the annoyance of aggressive mutts outside his home – he will do anything to prevent those dogs from getting their paws on that money.

From here on we meet a revolving cast of characters including Annabel (Logan Hill), a bookish all-American young woman determined to get the money for the Dog Home; Rita (Diana O’Halloran), Anthony’s vain and legally blind lover who embezzled the six million dollars in question from her own husband, converted it to diamonds, and, before he could run away with Anthony instead shot him in a fit of jealousy; Vinnie (Brett Mutter), Rita’s optometrist brother who must come along because she told her husband that he stole the diamonds; and Luigi (Thomas J. Cannon), a very nosy local on the Riviera who is determined to accompany Harry and his uncle throughout their adventures.

John Vessels Jr., Josh Maldonado, Nathalie Cruz, and Hannah Boswell round out the cast playing all the other oddball characters needed. However, these four are so skillful and versatile, they are truly the grit that makes the production shine.

Cruz’s turn as Dominique, a sassy chanteuse, brings out all her sultry talent and singing chops. Boswell gets her chance to shine as Harry’s nosy landlady intercepting the life-altering telegram as well as starring in a hilarious nightmare. Maldonado brings to life a bevy of hilarious goofy characters. As for Vessels, I am convinced this man could read a phone book and have you in stitches; his turn as the Monte Carlo emcee is a sheer delight.

Arce, as the titular “Stiff,” shows incredible skill in being absolutely still and unresponsive with all the mayhem going on around him. However, he does also get a dance break.

Musical direction is by Brandon Vos, choreography by Carol Worcel, and interesting stage design – colorful, with plenty of doors to slam – by Jay Ganz.

So, turn off the news, ignore the weather, and hop a ride along to sunny, funny, Monte Carlo to just escape reality and have a good laugh. “Lucky Stiff” runs through Feb. 15 (yes, the show has a romantic subplot, making this a potential Valentine’s date) at The Studio Theater in the Allied Solutions Center for the Performing Arts in downtown Carmel. Get tickets at atistage.org or thecenterpresents.org.

Variety of celebrations in GHDT ‘Winterfest’

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By Wendy Carson

Gregory Hancock Dance Theatre gives us a shimmering delight with its presentation of “Winterfest,” paying tribute to pretty much every December holiday/celebration in existence.

This inclusiveness, combined with Gregory Glade Hancock’s style of choreography make this show a standout and must-see for anyone who enjoys dance of any kind. Plus, this year’s show highlights a new opportunity being offered by the GHDT Studio.

To “Welcome Winter,” we begin with three of the dancers showing off their ballet prowess in toe shoes, then move to a couple’s romantic encounters, and finally six dancers flitting about conjuring literally visions of sugarplums dancing in our heads. And that was just the first of the ten pieces being offered.

Primary male dancer Thomas Mason, who choreographs most of the sections of the program, highlights the younger student dancers in “St. Nicholas Day.” Their energy and grace brought a joyous warmth to the performance.

Hancock’s costuming sense hits a crescendo with the next two numbers: “Kwanzaa” has the dancers in black outfits with red and green stripes, highlighting the colors of the festival, while each has an individual emblem on the top representing one of the holiday’s seven principles. A simple white dress with an indigo ombre skirt represents the rebirth of light after the longest night of the year to celebrate the “Winter Solstice,” or Yule.

“Diwali” finds the younger dancers back and allows each one a short solo to highlight their individual abilities.

To expound on the opportunity I mentioned above, Guest dancers Zoe Maish and David Elser present a lively ballroom version of “Man with the Bag” to show off their skills and allow you to see what potentially waits for anyone signing up for Ballroom Dance lessons that they will soon be offering.

Mason’s choreography of “Saint Lucia Day” showed the somber spiritual grace and beauty that is also a solid part of the holiday celebrations.

Dancer and frequent GHDT program cover model Olivia Payton shows off her choreographic chops with “Las Posadas,” which celebrates Joseph and Mary’s journey to the stable in Bethlehem. These dances offer a flirty style and allows each primary dancer a chance to individually shine.

Hancock choses to highlight both the solemn history behind “Hanukkah” and the joy and humor of those of the Jewish faith.

The evening concludes with “Christmas,” choreographed by Mason, and allows for a few of the very youngest pupils to show off what they’ve learned as well as bring smiles to one and all. The whole troupe gets to shine throughout.

Dancers include Mason, Payton, Abigail Lessaris, Sophie Jones, Vivien Mickels, Josie Moody, Audrey Springer, and Nathalie Boyle, as well as students Eva Abanunova, Arden Brothers, Valerie Bussell, Magnolia Donaghey, Fiadh Flynn, Luna Garelli, Lera Griffis, Vivien Maresh, Hazel Moore, Morgann Rice, Isabella Webb, and Anya Willis.

After the show, there is a complimentary hot chocolate bar to help you keep the joyful moments going.

The entire night was spectacular and really gets you energized for – as well as remembering the meanings of –the Winter Holidays.

The best part is that this was not just a one-weekend production! See it for yourself Friday, Saturday, or Sunday, Dec. 12-14, at The Florence at The Academy of Gregory Hancock Dance Theatre, 329 Gradle Drive, Carmel. Get tickets at gregoryhancockdancetheatre.org.

Center Stage: #PrideAndPrejudice gets upgrade

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By Wendy Carson      

With all the various Holiday shows on stages right now, Center Stage Community Theater brings us an alternative with a rollicking interpretation of a Jane Austen classic, “Pride @ Prejudice,” by Daniel Elihu Kramer. The show presents a more internet-savvy version of the story including clickbait asides, historical tidbits, and even merchandise for sale. It felt something akin to a Fringe Festival production.

The cast consists of five actors, all portraying various characters in the novel, except for Trinity Pruitt in the single role of main character Elizabeth Bennet, while Adrian Blackwell plays the snide Mr. Darcy and the sleezy Mr. Collins – though there are a few times that a cardboard standee also portrays Mr. Darcy. Given the plethora of characters remaining for Kat Krebs, Todd Isaac, and Tanya Haas, director Matt McKee opts to elevate stage manager Ava McKee to also portray various servant roles and show scene changes.

The story remains unchanged but with frantic pacing and rapid narration, bring about some background commentary that might change your feelings towards some of the characters. The script also incorporates letters from Jane Austen herself to further flesh out the times and situations. Therefore, the show is a very good primer for those unfamiliar with the novel. However, Austen purists made find the irreverence to be off-putting.

Overall, the show is a delight, and the entire cast is fantastic. Highlight performances, for me, were Krebs as Lady Catherine, Blackwell as Mr. Collins, Isaac as Mr. Bingley and Mr. Gardiner, Tanya Haas as Miss de Bourgh, and, of course, Pruitt as Elizabeth.

So, if you’re looking for something different yet still enjoyable this season, head over to Lebanon and catch this top-notch offering.

Performances are Friday through Sunday, Dec. 12-14 and 19-21, at 604 W. Powell St., Lebanon. Get information and tickets at centerstagecommunitytheatre.com.

Issues of love and money vex ‘The Heiress’

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By Wendy Carson

Epilogue Players brings us an intriguing look at upper class life in 1850 New York with “The Heiress” by Ruth Goetz & Augustus Goetz.

Dr. Austine Sloper (Stan Gilliam) raised young daughter Catherine (Emily Reese Castro) well and it is time she should pursue a marital situation. While not unattractive, Catherine is socially awkward and is constantly reminded of her inferiority to her father’s sainted memory of her mother. She feels she has nothing to offer – except for her inheritance of $10,000 per year from her mother, with an additional $20,000 annually after her father passes (a sizable fortune in that era). Her widowed Aunt Lavinia Penniman (Cathie Morgan) is on hand to assist in helping Catherine gain confidence in herself.

During a dinner to celebrate the engagement of her cousin Marian Almond (Christian Taylor) to Arthur Townsend (Lawrence Wunderlich), she is introduced to his cousin, Morris Townsend (Brett Edwards). Thus begins a whirlwind courtship between the two and a pledge to marry. However, the doctor regards Morris to be nothing more than a fortune hunter seeking to take advantage of his daughter’s naivety. Desperate, Catherine plans to elope, even if it means losing her father’s inheritance.

As events play out, this comic melodrama takes interesting and unexpected turns. Overall, the show is an interesting look at the social strata of the pre-war North, and the cast all do an excellent job bringing their characters to life. I was very impressed by Breanna Helms’s turn as Maria, the Slopers’ maid, who was constantly able to say volumes about any situation with a single look.

The cast also includes Susan Yeaw as Marian’s mother (and Dr. Sloper’s sister), Elizabeth Almond; and Sarah Marone-Sowers as Morris’s sister, Mrs. Montgomery. The play is directed by Kathleen Clarke Horrigan with Jay Stanley, stage managed by Patti Boyle.

In Castro’s performance we get an intriguing profile of a misunderstood soul who eventually comes to understand herself. Edwards gives us the appearance of a very noble and flattering suitor – at first. The line between true devotion and selfish desire seems thin indeed. Gilham gives a sharp performance of a gentleman of the era, frank in his opinions but not without feeling. Morgan’s Lavinia isn’t shy about injecting her own notions of romance into the situation.

“The Heiress” has four more performances, Thursday through Sunday, Nov. 20-23, at 1849 N. Alabama St. (corner of 19th and Alabama), downtown Indianapolis. Reserve tickets at epilogueplayers.com.

Viva Carmel Players, where love is King

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By Wendy Carson

Director Nicole Amsler and Carmel Community Players approach the Holiday season by giving audiences the gift of joy with their hilariously quirky offering, “Four Weddings and an Elvis,” by Nancy Frick.

Centering around Sandy (Veronique Duprey) and her Las Vegas wedding chapel, we are privy to four incredibly diverse sets of nuptials. Sandy herself is on Marriage No. 4 to the same man, Ken, who is never seen but is always present.

Beginning with Bev (Audrey Duprey) and Stan (Mark Livingston), who have flown out from the East Coast to marry each other as vengeance against their exes – who also plan to marry each other. They chose to have their wedding live-streamed to the exes and with Ken, Sandy’s usual minister, being passed out drunk, opt to use a nearby chapel’s minister, John (Joshua Payne-Elliot).

Sandy then hires Lou (David Dessauer) to be the new minister, but his age keeps her questioning if he can really pass for Elvis. They are to officiate the low key, high publicity, marriage of fading stars Vanessa Wells (Amanda Falcone) and Bryce Cannon (James Kenjorski) – both desperate to get their careers back on track. Sadly, the press and paparazzi decline their invitations.

We then meet Marvin (Jacob Bradford) and Fiona (Kelly Melcho), an extremely unlikely pair. He, an expert in everything regarding the Post Office, will wed her, an ex-con with a wild and colorful past. Their bliss is briefly interrupted by the arrival of her past boyfriend, Fist (Gregory Roberts), who broke out of prison to get his girl back. Hilarity – and a police standoff – ensues.

About a year later, we return to the chapel for the final wedding. It seems Sandy is ready to take the plunge for a fifth time, and all the previous characters return to celebrate with her.

Veronique Duprey maintains her charm throughout with the air of a Sin City sister who has seen it all, while the others indulge in all manner of silliness. However, these hopeful romantics indulge in these events without cynicism – each character, in their own way, wants love.

Amsler is assisted by Grant Bowen; Samantha Kelly is stage manager.

Will Sandy make it down the aisle? Will we finally meet Ken? How are the others’ relationships working out? And finally, who is the uncredited “Elvis”?

These questions and many more are answered by attending “4 Weddings and an Elvis,” Thursday through Sunday, Nov. 20-23, at The Cat, 254 Veterans Way in downtown Carmel. For tickets and info, see carmelplayers.org.

OnyxFest: Love in Unjust Times

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By John Lyle Belden and Wendy Carson

The annual OnyxFest, a showcase of works by new and emerging African American playwrights, returned recently to the IF Theatre in downtown Indianapolis.

Produced by Africana Repertory Theatre of IU Indianapolis (ARTI), there will be another weekend of performances, Friday through Sunday, Nov. 14-16, at Basile Theatre of Herron School of Art & Design, 735 W. New York, St., Indianapolis.

For the first time, the festival has a theme, “Love in Unjust Times.”

It is also dedicated to the life and legacy of the late Vernon A. Williams, including a revival of his timeless script, “Sonnets for my Sistahs,” directed by Charla Booth, joined in performance by Jalen Anderson, Mutulu Ekundayo, Michelle Mimms-Duchan, Megan Simonton, and Deont’a Stark. As the title suggests, this is a series of poetry and monologues expressing various aspects of love, relationship, and man- and womanhood.

The other four are new works:

“ANTINIKA” written and directed by McKenya Dilworth-Smith – This work in progress shows amazing potential. Inspired by current political events, though existing in a parallel America with its own complexities and scandals, Antinika (Courtney Nicole) finds she must stand up to her father, President Keon (Jay Fuqua), to restore the honor of her slain brother. The cast includes Marlinda Tyson Haymon, Tiffany Dilworth-Upshaw, Wilbert Dowd, Savvion Carter, and Marlon C. Mack, Sr., as “Dr. T,” the president’s fixer. This play has eloquent soliloquies on family and politics, clever flag-based costuming, and a level of intrigue worthy of ShondaLand television dramas.

“The Hands of Banneker” a “Timepiece” by Malique Guinn, directed by Edward Strickling, Jr. who performs as the spirit of Benjamin Banneker, the free African-American man known for helping survey the borders of the District of Columbia. This theatrical journey through his life focuses on his scholarly pursuits, including building a functioning wooden clock from scratch by scaling up the dimensions of a pocket watch. With softly poetic delivery, he speaks of “the anatomy of time,” as well as “the anatomy of love” for Lydia (Taylor Franklin). The cast includes Bill Myer and Destineè Fitzpatrick as Benjamin’s parents, and Anthony Winfrey.

“Momma, I Just Want Love” by Brittany Cherelle, directed by Heather Strain, is an emotional examination of the lives and longings of two women. Angel (Cherelle) has a mother (Keisha Tompkins) who is godly, while CeCe (Tiana Edmond) has a mother (Dwuna Henton) who is surly and abusive. Angel is doing well at life, but terribly in relationships, such as the latest bad date (Eric Washington). CeCe has a supportive husband (Joshua Bruton), but living with constant maternal disapproval is becoming too much to bear. Faith and mental wellbeing are both pushed to the edge.

“The Sassy Seniors of Ryder Manor” written and directed by Ebony Chappel is sort of a Black “Golden Girls” with a mission, as headstrong Ginnie (Tracey Middlebrooks Wynn) leads Kelly (Dr. Cie Johnson), Jackie (Marlene Johnson), and Catherine (Andrea “Sapphyre” White) in a quest to replace the closed youth recreation center for her grandson Dante (Jonathan Amir Murray). Karen Thomas joins the cast as the local Councilwoman this weekend; Chappel played the role in the first performances [Note: This is a correction from the originally published casting]. This little play is funny and uplifting, a perfect counter to the more serious content of the other works.

Each of these productions is a gem on its own, however seeing as many as possible is recommended, especially to encourage more amazing new works.

For more information and tickets, visit indyfringe.org or ARTIpresents.org.

Epsilon ‘School’ a class act

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By Wendy Carson

 While it seems that bringing a popular movie to the stage would be an instant ticket to success, there are a few that feel dependent on their stars to pull off the magic of the original – “School of Rock” is one such property. No matter how talented the cast, it is almost impossible to match the man-boy magic of Jack Black. Luckily, Epsilon Theatrical Company has struck that match in their amazing casting of Caleb Wilson as Dewey Finn.

Wilson brings out the lovable side of this Peter Pan character who is absolutely obsessed with winning the local Battle of the Bands and becoming a Rock God.

After sponging off his best friend Ned Schneebly (Darin Richart) for years, he is finally given an ultimatum by Ned’s hot new girlfriend Patty Di Marco (Afton Shepard) to pay some rent or get out. This leads to Dewey posing as Ned for a substitute teaching position at a posh prep school, Horace Green.

While Dewey’s initial lackadaisical attitude has him on the rocks, he happens to overhear his students’ music class and decides to create a band out of these kids to win the contest. While they have only been exposed to classical music, he fast-tracks them on a rock education and creates an awesome band, complete with back-up singers, roadies, sound and light techs, groupies, even a manager/promotions director.

The shenanigans run fast and furious throughout, but everything manages to come together in the end with love and understanding winning the day.

While the several adults in the cast give exceptional performances, Allison Williamson’s turn as Rosalie Mullins, the uptight Principal of Horace Green (and Dewey’s love interest), is sheer perfection.

As for the kids, please note that although the show does have an orchestra at the rear of the building, all the kids with instruments on stage genuinely play them, and do a wonderful job. Principal band members backing Finn (guitar, vocals) are Zack Mooneyham (Luke C. Wilson) on lead guitar, Freddie Hamilton (Colm Tripple) on drums, Lawrence Turner (Thomas Kim) on keyboard, Katie Travis (Tess Eggeson) on bass, and Tomika Spencer-Williams (Koto Hoskins) as featured vocalist. While they, and gold-star student Summer Hathaway (Ellie Richart) as the band Manager, do get most of the lines and attention, all the young performers were amazing at bringing their rock-star roles to life.

Directed for ETC by Jayson Elliott with additional choreography by Mary McDonnel and Tim Reed as music director, “School of Rock” was adapted from the Mike White film by Andrew Lloyd Webber with book by Julian Fellowes, new music by Webber and lyrics by Glenn Slater. (Though ALW was involved, rest assured this musical is [mostly] Cat-free.)

For a feel-good musical tour-de-force that will have you banging your head for a long time afterwards, sit in with the cool kids at Epsilon’s usual venue, Broadway United Methodist Church, 609 E. 29th St., Indianapolis, 7 p.m. Friday, 2 and 7 p.m. Saturday, and 3 p.m. Sunday, Nov. 14-16.

Info and tickets at epsilontheatricalco.org.

IndyFringe: ‘Another Medea’

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By Wendy Carson

This production was part of the 2025 Indy Fringe Festival in August.

If you recognize the name “Medea,” you may know it* from ancient mythology: A spurned woman who kills her children when her husband leaves her to marry another. However, those who read and study her mythos know she is a far more complex and fascinating character. In fact, not all tales have her as the one who kills her children.

Regardless of your familiarity with the story, playwright Aaron Mark has found a unique spin with “Another Medea,” American Lives Theatre’s Fringe production.

Lukas Felix Schooler brings us the story of Marcus Sharp, a brilliant stage actor whom he idolized for years before his arrest and imprisonment.  They correspond for three years, until, though he had long refused to say a word in his defense, Sharp becomes convinced that he can trust this man to bear his tale.

Schooler then embodies Sharp for the rest of the performance, enacting that fateful prison interview.

Sharp’s story centers around Jason, a wealthy oncologist, with whom he enters into a committed relationship. Jason is supportive at first, but when work opportunities away from their West Village penthouse appear, he finds ways to discourage Sharp from accepting them.

A typical narcissist, Jason insists that his love (and money) is all Sharp will need. However, like so many others who put aside their own careers to be devoted to a partner, Sharp becomes hopelessly bored. He develops a close relationship with Jason’s sister, Angelica, which helps him to feel more useful, and gives him an idea for the perfect gift for his darling Jason’s 50th Birthday.

Since Jason adores children but is unable to have any of his own, Sharp will impregnate Angelica, and the children would be as close to actual genetic children that Jason could have. While Jason freaks out at first, he warms up to the idea and the twins, Grace and Lily soon arrive.

Everything is wonderful again, but after a few years, Jason takes Sharp to a play and spies a handsome young star, Paris, and a new “friendship” begins. Also wealthy, Paris better understands Jason. So, of course, he starts to usurp Sharp’s place in the household and family.

Things escalate quickly from there, resulting in Sharp’s current incarceration. Before he ends the visit, he mentions that the tale would make an excellent one-man show.

Not only does it make a great show, but it is also mesmerizing. Schooler is such a remarkable presence. He invites you on a journey and you fully follow him down every twist, turn, and rabbit hole to the conclusion. Schooler’s master class performance was directed by Jacob David Lang, who assures us that we will be safe from the orange-clad felon as we share this experience.

This is such an amazing piece of theater. I was personally moved beyond words at how vividly the prose was woven into a story that I felt I witnessed rather than just watched. If you missed seeing it, you should really petition American Lives Theatre to see about bring back another staging so you too can experience this harrowing saga.

—

(*If you were thinking the Tyler Perry comedy character, she is “Madea,” likely named as an allusion to the myth, but with complications of her own.)

Epilogue comedy brings new meaning to ‘juke joint’

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By Wendy Carson 

Epilogue Players whisks us away to a senior living center in Upstate New York for the Indiana premiere of Paul Stroili’s rollicking tale, “A Jukebox for the Algonquin.” It is billed as “a serious comedy about sex, drugs, and rocking chairs” yet not a single rocking chair is to be had in the show.

The entire show takes place in The Algonquin Room, one of the many meeting spaces available to the residents. Being such a large place, they split into three main tribes: Indies – those in Independent Living; Asses – in Assisted Living; and Longhorns –in Long-term care, here until the end.

Dennis (Duane Mercier) holds court in the room in much the way that Dorthy Parker ran her round table in the hotel the room is named for. His regulars consist of Johnny (Onis Dean), who has a wicked sense of humor and longs for a jukebox to fill the room with real music and Annie (Wendy Brown) a spitfire who would be quite dangerous if she wasn’t mostly blind. Occasional visits from Tyler (Grant Bowen), the orderly who tries, not too well, to hide his shadier side from everyone; and Josefina (Yolanda Valdivia), the woman in charge of everything, add some bits of spice to daily life.

However, the arrival of two new people brings about all the laughs and drama that anyone could hope for. We first meet Chuck (Albert E. Lahiman III), also known as “Dust Mop Guy.” Despite his quiet demeanor, he has more than enough emotional baggage to fill all the meeting rooms. Then comes Peg (Mary DeBoer), a new Indy who becomes the member of the table they never knew was missing.

Johnny’s quest to raise money for the jukebox hits a snag and all looks lost, until Peg’s efforts to identify the plants her hippie predecessor left behind brings about a lucrative herbal solution to their financial woes. Still, it’s only 2003 and such things are still illegal.

The whole show is exquisitely cast, and co-directors Therese Burns and Amanda Greene keep things rolling along even during the few moments when life steps in and kicks the players. This is a tender, sweet, and very funny look at aging with dignity.

So, pull up a chair at the round table and see whether the gang gets to dance to the living music of actual records – or continue to suffer the sad collection of 17 CDs (three of which are copies of Frampton Comes Alive).

Ticket sales have been brisk, and there is just one week of shows left, Thursday through Sunday, Sept. 18-21, at 1849 N. Alabama St. (corner of 19th and Alabama), downtown Indianapolis. Get info and tickets at epilogueplayers.com.