Most of us are familiar with Neil Simon plays and know what to expect from them. However, “The Dinner Party,” presented by Carmel Community Players, is different. Written in his later years, the script was originally intended to be farcical but as he fleshed out the characters, a more serious storyline emerged. That’s not to say you won’t laugh – his wit still shines through in the dialogue – but expect to be moved to serious conversation/contemplation afterwards.
The setup is simple: Six people are invited to a dinner party at a fancy restaurant by the lawyer who handled their divorces. However, no one knows who else has been invited, the host is a no-show, and the staggered arrivals of the guests just ups the confusion.
SEMI-SPOILER ALERT! The six people are actually the two halves of three different formerly married couples. This is where the serious dialogue, peppered with biting humor, comes in.
And now, to our guests.
We begin with Claude Pichon (Grant Bowen), a sort of everyman with a deep love of literature. Albert Donay (Bradley Allan Lowe) a curious, mousey type that has little knowledge of interpersonal niceties. Andre Bouville (Jason Creighton) a pompous jerk who flaunts his wealth and popularity amongst women. Mariette Levieux (Becky Larson) an elegant lady author whom Albert takes a shine to, is Claude’s ex and known to Andre as well. Yvonne Souchet (Alaine Sims) a flighty woman who entices Claude, can’t make up her mind whether to stay or go, and is Albert’s ex. Finally, we have Gabrielle Bouville (Amalia Howard) a sensuous woman of mystery and manipulation.
The result of these machinations is an hour and a half of deep delving into relationships, love, passion, fear, confusion, and possibilities.
Co-Directors Matt Trgovac and Tonya Rave bring out sterling performances in each cast member. Bowen as Claude mostly plays it cool as viewer proxy. Lowe gives an interesting character study, odd but not absurd. Creighton has Andre seethe with air of a power broker who can’t bear not being in control. Larson plays Mariette mostly level-headed, but the edges are fraying. Sims lets Yvonne’s issues plainly show, as in this off-kilter setting her erratic behavior seems fitting. In Howard’s performance you can practically see steam rising off Gabrielle, shifting from seductive to pouty to dominatrix calm in a heartbeat.
Set in Paris, we hear these French characters in plain English with no distracting accents. But the setting does lend some tension, contrasting old-world mores with the permissive atmosphere of the city’s reputation.
Performances of “The Dinner Party” run Thursday through Sunday, May 2-5, at The Cat, 254 Veterans Way, downtown Carmel. See thecat.biz or carmelplayers.org for info and tickets.
Constellation Stage and Screen of Bloomington presents the very child-friendly family production, “Alex Gold: Stuck on Repeat,” by Sarah Ziegler Blair and Kellen Blair, directed by Jack McCarthy.
Alex (Jo Moran) has a very active and often distracting imagination. In fact, it caused him to fail the sixth grade so he must repeat the year. When he tries to tell his best friend Morgan (Carolyn Stouder) the news, he chickens out and tells her he’s going to study in France next year. What could possibly go wrong?
Luckily, Alex has a large team of brain cells (the audience) to assist him in dealing with his situation. We provide some guidance throughout the show by way of words given pre-show (much akin to Mad Libs) and polls throughout. Depending on the outcome of these prompts, the story line is transformed.
While his second trip through sixth grade starts well, a chance encounter with Morgan leads him to pose as Luc, the French exchange student taking Alex’s place. His schemes for success are even further hampered by his overly adoring wannabe bestie Thad Mazinsky (Tucker Ransom). Add to this the presence of Mr. McCurdle (Paul Daily), the Middle School principal, who loathes “wackiness” but has his own secret indulgences. It’s easy to see that Alex really needs all our help to make it through the year.
Rounding out the cast are Kenny Hertling and Sophia Hoffman who portray various students and characters, as well as representing the changes in seasons by throwing leaves, snowflakes, flowers, and at one point “money” throughout the audience.
While the show is funny and silly, it also teaches children about parts of speech (those words provided earlier were nouns, verbs and adjectives); how to carry oneself in times of struggle; the importance of truthfulness; and the difference between being friendly and actually being a friend. Judging by the response of all the kids in our audience this interactive experience, inspired in part by games like “Minecraft,” is perfect for grades K-5.
Performances, at Waldron Auditorium, 122 S. Walnut St. in downtown Bloomington, are 6:30 p.m. Friday, 1 p.m. Saturday and Sunday (May 3-5); 6:30 p.m. Friday, 1 and 4 p.m. Saturday and Sunday (May 10-12).
The very last performance, 4 p.m. Sunday, May 12, will be Sensory Friendly, accommodating those on the autism spectrum or with similar conditions. It will feature lower sound, lights on with no strobe or flashing, more room in the seats and the freedom for patrons to talk and move as needed. Resource materials are available, and tickets for this particular show are Pay-What-You-Will (minimum $5).
For details and tickets, contact Constellation at 812-336-9300 or visit seeconstellation.org.
The Village Theater, a newly minted company based in Noblesville, leaps onto the local stage scene with their delightful production of the comedy “Sylvia,” by A.R. Gurney, in Carmel.
Greg (Mason Odle) is having a midlife crisis. He’s fed up with his job, he’s missing his now-grown kids, and he’s unhappy living in the city. Into his life bounds a perky, devoted young female who is the answer to all his woes. Kate (Andrea Odle), his wife, who is flourishing as an empty-nester, puts her foot down and refuses to allow her to live with them, at first. She reluctantly allows Sylvia (Amber Shatto) to move in on a temporary basis.
Should I mention that Sylvia is a dog?
Thus, we have an endearing story in which we are privy to all of Sylvia’s thoughts and actions and the conversations she holds with our main couple, when each human is alone. Add to the mix JB Scoble, portraying the various supporting characters: Tom, the fellow owner at the dog park who reads books and analyzes Greg and Sylvia’s relationship; Phyllis, one of Kate’s snooty friends who shares her horror at the changes she must endure as no longer the only female in the house; and Leslie, Kate’s therapist, who tries to council Greg but ends up sharing Kate’s disdain for the usurper.
Director Larry Adams excels at keeping the show about their relationships while allowing the joy and laughter inherent to shine through. Offstage spouses Mason and Andrea Odle address their characters’ needs and desires as a couple, as well as their conflict regarding Sylvia. Scoble shows off his range with his three characters but is a sheer audience delight in his turn as the pearl-clutching Phyllis.
Shatto’s energy and exuberance throughout all the various phases of her character is spectacular. Anyone who’s had a dog or been around them for any period will recognize all of her projected behaviors and hopefully gain insight into what these creatures may have been communicating to us all along.
A sweet, funny, heartfelt salute to man’s best friend, “Sylvia” is at – ironically – the Cat, 254 Veterans way, downtown Carmel, for three more shows, Friday through Sunday, April 19-21. Get tickets at thecat.biz.
John and I saw two different productions of “The Play That Goes Wrong” this past weekend, and from what we witnessed we would like to make this point: All of the mishaps involved throughout the show are meant to be there. You are not witnessing a very poor performance. Laugh along and enjoy all of the goofiness. Do NOT leave at intermission! That said, let’s get to the actual review. I am reviewing the production by Constellation Stage and Screen in Bloomington.
The show begins prior to the “actual” start of the play. Two crew members wander through the area, dealing with a door that refuses to stay shut and a mantlepiece that won’t stay in place. An audience member is recruited to assist with the mantlepiece repair and eventually the issue is resolved. The stage is mostly a large room with a second-story “study” visible to the side (which honestly looks a little shaky).
The “director” eventually appears and, once he has found the spotlight, welcomes us all to the performance. He muses about some of their past shows being less than perfect, then announces “The Murder at Haversham Manor” (that is the play within this play, a London West End hit by Henry Lewis, Henry Shields, and Jonathan Sayer).
Of course, props immediately fall, doors cannot be opened, people keep stepping on the dead man’s hand (causing him to yelp in pain), cues are missed, etc. This is a broad farce and everything that could possibly go wrong does, wherein lies the title and hilarity of the show.
Our cast consists of Jonathon Harris (Bobby Ayala Perez) who portrays the deceased, Charles Haversham. Sandra Wilkinson (Haley Glickman) plays the part of Florence Colleymoore, Charles’s fiancé. Chris Bean (Gavin Douglas) being the aforementioned director as well as Inspector Carter. Max Bennett (Andy McCain) is Cecil Haversham (Charles’s brother) and later reappears as Arthur the Gardener. Dennis Tyde (David Sheehan) as Perkins, the Butler. Robert Grove (Peter Sipla) as Thomas Colleymoore (Florence’s brother). Our crew consists of Stage Manager, Annie Twilloil (Alanna Porter), who also steps in for Florence after Glickman’s character is knocked out, and Trevor Watson (Michael Sheehan) who runs Lighting and Sound.
I know that the cast list is confusing with actors playing actors who are playing parts in a show, but this also adds to the fun. There is some very heavy slapstick comedy with some actors endangered at points during the show. But Fighting and Intimacy Director Leraldo Anzaldue has put this cast through their paces well and nobody actually gets hurt (we hope).
Chad Rabinovitz, the show’s actual director, does an amazing job getting every last drip of hilarity out of his cast while keeping any one of them from upstaging another (a difficult job, given the script).
Each and every member of the cast plays their part immaculately, so it is impossible to single out the talents of each one. However, the constant battle for the part of Florence between Glickman and Porter throughout the second act, as well as everyone’s physical dealings with the collapse of the Study floor (especially Silpa) are highlights of the second act that you really must see. Again, don’t leave at intermission.
The show is spectacularly funny and well worth the drive to Bloomington, playing through April 14 at the Waldron Arts Center, 122 S. Walnut St. Get info and tickets at seeconstellation.org.
For those whose knowledge of Frida Kahlo is only that she was a Mexican painter with a unibrow, you are missing out on the history of this woman who was in herself a true force of nature, defying all odds to become a legend in her own right.
In “Frida: A Self Portrait,” at Indiana Repertory Theatre, author and performer Vanessa Severo embodies the feisty spirit of Kahlo. Her tale takes us from her sad beginnings to her death inside her home, the legendary Casa Azul.
Contracting polio in childhood, her father forced her to overcome her afflictions and endure the pain in order to become who he believed she should be. This stubbornness kept her going after, at age 18, she was severely injured by a bus. This broke numerous bones in her body, leaving her in agonizing pain for the rest of her life.
Her persistence led her to a mentorship (and eventual marriage) with the renowned artist Diego Rivera. Their tumultuous relationship opened doors for her but brought immense heartache as well. As with many artists, she died relatively unknown in 1954, but her rediscovery in the ‘70s led her to become a feminist icon.
Scenic Designer Jacqueline Penrod and Costume Designer Katherine Davis, aided by Rachael Cady’s clever lighting, provide a unique setting in the IRT’s more intimate upperstage that allows Severo to easily slip from one character or situation to the next, including herself – a young performer told she has a similar spirit, and whose research included going to La Casa Azul herself to find out. Director Joanie Schultz, who has worked with Severo on this at other venues, helps her fully embody each step of this woman’s inspiring (and heartbreaking) journey, as well as her own.
Having learned more about Kahlo in the past few years, I can say that I honestly believe she would be the first to applaud this show. If you feel hesitant, even if you care nothing for the subject, the storytelling style and acting are superb so you should give this masterpiece a chance.
Performances run through April 7 at 140 W. Washington St., downtown Indianapolis. Get information and tickets at irtlive.com.
Welcome to the Pleasant Valley Retirement Home. It’s a typical Monday morning, but nothing here is quite so simple. Thus begins Lebanon’s Center Stage Community Theater’s production of “Senior Follies” by Billy Wayne St. John. While one might assume from the title that this will be a story involving some sort of show or pageant, that is not at all the case. The “follies” here are of the sensibilities of those involved.
We begin with Mildred Rice (Mary Kay Ferguson) and Sara Jane Dinsmore (Cindy Duncan) casually gossiping while putting together a jigsaw puzzle. One of their main issues is with Howard Phelps (Kevin Van Horn) and his constantly overt flirtations, sometimes ending up with bruises from the pinches. Their friend Bernice Thompson (Janie Lank) has promised to have her husband Douglas (Peter Fowle) have a talk with Howard to set him straight.
Mrs. Rivers (Jada Cannell), director of the facility, has brought two new residents for introductions, Sybil Thackery (Jackae Johnson) and her brother Lowell (Scott Post). Of course, Howard homes in on Sybil and their whirlwind romance begins. Lowell seems to favor Iris Cunningham (Teresa Dittemore) but her overdose of diuretics is playing havoc with their time together.
We quickly find out that the Thackerys are not at all what they seem and have nefarious plans for Howard and Iris. Mildred, Sara Jane, and Bernice are wary of the newcomers and their rapid romancing of their friends. Needless to say, things drama keeps swinging around as often as the two peacocks on the mantle which everyone seems to need to rearrange.
While the plot may seem rather straightforward, the dialogue is where this show truly shines. The quips throughout are absolutely hilarious. My particular favorites were the reference to a couple of the residents skinny dipping in the hot tub as “Rub-a-dub-dub, two nudes in a tub” and Howard’s lack of understanding of why the Thompsons would have a pair of handcuffs in their room.
Director Richelle Lutz does a great job of keeping the drama and the comedy at a tight balance so that the show keeps itself only very slightly self-aware. Being a small theater, makeup and costumes mainly fall to each of the actors, however, whomever came up with the design for Mildred’s makeover in act two should win an award for effects.
John and I thank Lutz for inviting us out to Lebanon to see this on its sold-out closing night. CSCT next presents “An Evening of Culture,” May 3-19 in their cozy confines at 604 Powell St. Get information and tickets at centerstagecommunitytheatre.com or follow on Facebook.
Last year held plenty of changes, and their timing isn’t always what you’d prefer. For instance, had to move out of our rental home and into our very own house at the same time as the Indianapolis Theatre Fringe Festival a/k/a IndyFringe 2023, in August through early September.
With no real time to sit down with WordPress, and the world of quick-post media in flux (emphasis on “X”), we decided to write short reviews to post to Facebook (where we are also /PlaysWithJohnAndWendy). Those pieces are reproduced below.
Posted early September 2023: As many of you know, John & I have bought a house and are moving into it. Therefore, the reviews below compromise our entire Fringe experience for this year.
We did our best to see as many shows as possible and only missed out on a few. Please understand and forgive us if your show was not one we saw. We did our best, but our personal lives had to overtake our reviewing duties this year.
Thanks everyone for an amazing Fringe this year and we look forward to seeing you again next year. Break legs and much love! – Wendy
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LISTED IN ALPHABETICAL ORDER
Titles: 3 Magic Wishes – Alice’s Wonderful Afternoon – Angel on Eros – A Bat in the Wind – Because, You’re Worth It – The Betsy Show – Between Trains – Beyond Ballet – Bread Crumbs – Breakneck Romeo & Juliet – A Curious Woman – Currents – The Curve – The DECAGON Project – Designated Debaters – The Dice Player – Dragons & Dungeons – An Evening with Matt Soverns – Flavor Fight – How the Grinch Solved Racism – I, Trump – Inner State Stories – The Jester of All Maladies – Let Me Say This About That – Momsplaining – Monica Cantrel: Journey Home – A Monster Calls – The Most Massive Woman Wins – Mush – Nerdgasm – No Better News – On Earth as it is in Hell – Plastic Potato: A Bottoms Up Mystery – Reject – Rhythm & Groove: Songs of the 60s and 70s – Shy: The Musical – Super Mario Is Dead – That’s Hot – Three 2 One – Twenty Years: A Comedy of Manners – Twisted Terrors – U Sing 2 – Voyages & Journeys – Zoe Rose Spills Her Guts
Writers: JB – John Lyle Belden; WC – Wendy Carson
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“3 MAGIC WISHES” with Jordan Rooks
Experience a delightful journey of storytelling and magic as our host finds a magic lamp and wishes to put on the best magic show in the Fringe.
Rooks does an excellent job of finding new takes on tricks you’ve probably seen before and also a few that are unique. His tricks do not fail to amaze both old and young alike. The overall theme holds true, especially at the end when he must make his third and final wish, and the question of what people do or should wish for is considered.
The show is a fun time to share with the whole family and will keep you talking about it for a while afterwards. – WC
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“Alice’s Wonderful Afternoon”
This is a splendidly fresh re-telling of a curious (and ever “curiouser”) girl’s adventures in Wonderland, presented by the students of University High School of Indiana. Alice’s afternoon companions, including her sister, narrate the story as our heroine follows a nervous White Rabbit, deals with size issues, meets more talking animals and playing cards, attends a mad tea party and a high-stakes croquet game, encounters a nicely puppeted Jabberwock, and goes nowhere with a pair of poetic twins. The genuinely youthful voices and free-form use of stage space aid the surreal atmosphere and make the familiar narrative engaging. Accompanying music is more familiar to today’s kids, with the effective use of instrumental passages by artists such as Linkin Park, The Offspring, and Garbage, and providing a “Beastie” beat to some well-known verse. Our talented young actors deliver with spirited energy, keeping the story easy to follow through all its odd turns. A wonderful experience for all ages, spend some time with “Alice” at the Athenaeum Indy on the last days of IndyFringe 2023. – JB
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“Angel on Eros”
Angel is an artist whose inspiration has dried up. He decides to change things up and get a job. Matt runs a struggling restaurant where Angel ends up as a waiter. They strike up a fast friendship much to the chagrin of the chef who is also Matt’s demanding wife.
This is a story of inspiration, desire, and narcissism but mostly friendship. Male friendship can be confusing especially when being gay & straight is involved.
Bright, daring, sexy and enjoyable. Not for the younger crowd but a treat for the grown ups. – WC
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“A Bat in the Wind”
Casey Ross seems to alternate her Fringe performances between the downright silly (last year’s Tortillo offering) and deeper more meditative studies of artists (her Portraits series). This year she digs deep and gives us a gritty look at an aspiring young writer and his connection to his pathetic, alcoholic neighbor.
We witness a tragic dance in which each takes the lead at some point and our writer realizes that one small step is all it takes to make you plummet into the depths of despair. The characters are only loosely based on real people, so it’s even more sad that no one here escapes unharmed.
This is a truly powerful hour of theater that will keep you thinking for a long time after. – WC
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“Because, You’re Worth It”
This is definitely a quintessential Fringe show.
You find yourself a shopper at The Fairyland Mall where you will witness three unique and dazzling takes on the classic tales of Narcissis, Cinderella, and The Emperor’s New Clothes.
While the latter two utilize modern and classic dance techniques to tell their stories, the costumes and choreography bring a captivating look and feel that is honestly so beautiful it’s impossible to explain.
The first tale is given to us by Daisy, our helpful makeup counter guide. While her attempt to give an audience member a makeover starts snarky and then takes a supremely surreal turn, she is a sheer delight to behold.
My only regret was that the final five minutes of the show, in which all the performers interacted together to close their shopping day, was in constant strobe light and I was unable to watch.
Still, this was an amazing show that has skyrocketed to my top five of shows this Fringe.
– WC
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“The Betsy Show”
Elizabeth Young-Collins returns with a more autobiographical story, told with colorful scarves and delightful bits of song. Feeling like her life is one big performance, she comes to terms with the character she was meant to be. Learn how her family was featured in a national magazine and why she truly loves Paris – but not the champagne. So fascinating, the hour was over before I realized it. Feel free to get swept away at The District Theatre during IndyFringe . – JB
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“Between Trains”
The Indiana Drama Club brings us this sweeping metaphor of the journey of a soul through the trials and tribulations they will face in the future.
It is described as a play with music which is very apt. The songs that occur throughout, are sometimes a reflection of what’s happening and sometimes just to continue the mood.
Performed with two cast divisions gives the young cast members more opportunities to be in the spotlight.
One note: Friends and family of the large cast are causing sellout crowds. Buy early if you plan to attend. – WC
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“Beyond Ballet”
If you appreciate the dance arts at all, you must see “Beyond Ballet” by Indianapolis Ballet. As part of IndyFringe it is the most affordable way to see this professional company. And it’s more than just standing on your toes to orchestral music, the exceptional control necessary for Ballet allows for marvelous modern numbers as well. Featuring the artistry in motion and choreography of William W. Robinson as part of a talented company of around a dozen dancers. They’re “Too Darn Hot!”
Performances at the Athenaeum Indy up in the Basile. – JB
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“Bread Crumbs”
Richie Whitehead is a master of taking familiar material and mining every last drop of humor out of it. This is the story of the ocean’s wrath against a lighthouse keeper. While that may sound deep and serious, the biggest hurdle will be preventing yourself from injury through laughter.
Whether portraying the capricious ocean, a grizzled Lightkeeper, or even the titular character, his unique take on these characters is a delight to behold.
This is a treat for all ages that shouldn’t be missed. With his recent relocation to the Chicago area, I hope we will have more opportunities to witness his talent in the future. – WC
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“Breakneck ‘Romeo and Juliet’”
Timothy Mooney Repertory Theatre brings us his latest offering “while he’s still able to pull off playing a 13-year old girl.”
Emphasizing the cosmic imagery throughout the script as well as the fact the show only covers a five-day period, the show brings a few new insights to the story you thought you were so knowledgeable of.
While it is a wonderful introduction to Shakespeare for younger viewers, Mooney finds a humorous freshness to the tale which will appeal to all attendees. – WC
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“A Curious Woman”
Part storytelling, part self-encouragement and entirely enjoyable. Debra Clark has lived a very interesting life and we are privy to a few highlights showcasing many highs and lows of the rocky road to her successfully fulfilling her greatest desire.
While her stories will help nourish your soul, each seat contains a tasty snack to help nourish your body. – WC
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“Currents”
Relatively new local dance company Relevations (yes, spellchecker, that’s right) has an impressive set of numbers in “Currents” in Athenaeum Indy at IndyFringe
Power with flow and resistance, elements of ballet and hip-hop, music includes Drake and Foo Fighters. Stunning solos and excellent ensembles. Check em out. – JB
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“The Curve”
This review of “The Curve” is brought to you by Facebook, apparently the lesser evil. The show isn’t about that, but it does have “commercials” like this, as well as snarky puppets. But it’s not about them, either.
It’s about “The Curve”, the arc of the spine essential for a Chinese acrobat (think Gymnastics with showbiz flair). Teacher tells Genie Cartier hers isn’t good enough. But she can’t accept that, can she?
It’s about the arc of a life –- a chair, calluses, firespinning, Halloween with Scientologists, the stories told by X-rays, an MFA in poetry, and good advice from a clown.
This masterful memoir with movement charms and fascinates with her narrative, dance and acrobatic moves. From the clever “opening titles” to the end when she reclaims her body, this is a can’t-miss show (ignore what the shark puppet says).
Only two performances of “The Curve” left, this evening and tomorrow afternoon (Aug. 19-20) in the Athenaeum Indy auditorium (first floor) as part of IndyFringe. – JB
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“The DECAGON Project”
The 46 Minutes Collective brings us a totally unique hour of theater that is eternally changing. Stories, dialogue, movement and some level of audience participation (only if you wish to participate) combine to give us intimate insight into various interpersonal relationships as well as our own psyches.
This is another example of what a Fringe show should be. – WC
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“Designated Debaters”
Who knew an ultimate battle between superheroes would center on arguing the merits of socks and underwear? “Designated Debaters” are unafraid to confront such vital issues in an elaborate improv style drinking game.
The Friday battle of Batman vs. Superman, moderated by Wonder Woman, is done, but you can still see the pop culture icon showdowns of horror legends hosted by the Mistress of the Night on Saturday, and Broadway leading men with a grown-up Orphan Annie on Sunday. The District Theatre cabaret will fill up fast, so get tickets quick and prepare for nonstop laughs as practically any topic is confronted in the silliest way. – JB
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“The Dice Player”
This show defines exactly what the Fringe Festival is here for. It brings a new and unique voice to audiences that might not ordinarily get the chance to experience it.
Raja El Majzoub tells the story of a soul that survived through sheer chance, a roll of fate’s dice, perhaps? It is a powerful and intimate experience that is beautiful yet harrowing to behold.
Do not miss this show; you will surely regret it. – WC
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“Dragons and Dungeons: A Party’s Parody”
The most important thing I can say about this show is that if you don’t get a ticket now, you’re going to miss it. The two remaining shows have less than a dozen tickets left and you will greatly regret missing this hilarious offering.
The show gives us a tale of a few characters adventuring through Center Earth on a heroic quest. The audience fills out some suggestion slips prior to the show to help flesh out their background.
Audience members are also called upon during the show to roll the dice which decides the fate of that activity.
Even if you have little to no knowledge of the game being parodied, you will enjoy the zany characters and the wild story. But be warned, not only is the story’s outcome in your hands, so too is your destiny. Get one of those remaining tickets now or lose our forever. – WC
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“An Evening with Matt Soverns”
While he got his start at a Broad Ripple club, Matt Soverns has been touring the country and some of the globe homing his performance and piano skills. While he has spent much of his time playing covers, in this show he gives us a taste of his own original work.
I thoroughly enjoyed the concert and found his style reminiscent of the style of early Billy Joel, Elvis Costello, and a bit of Jerry Lee Lewis with his more boogie-woogie touches. He even borrows a riff from The Roots, creating a song on the spot about an audience member.
Just a note, if you absolutely can’t catch his show, he does have a great merch display in the lobby so you could pick up a CD or two and find out what you missed. – WC
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“Flavor Fight”
Has actor/improvisor Mark Cashwell finally topped himself, or is that just caramel sauce and whipped cream? His “Flavor Fight” richly parodies various cooking shows such as one would find on a Network of Food. Cashwell stars as Gavin “Gay” Ferrari, connoisseur of sloppy food from questionable locations, joined by Paige Scott as deep-South deep-fried butter-obsessed Cathy Bean, as well as one or two other characters portrayed by local funny people Mark talked into doing this.
Two “chefs” are summoned from the audience to compete in various games, earning ingredients for the final challenge. Yes, the edible and inedible components will be odd, silly, and not likely meant to end up on the same recipe card – but that’s what makes this whole mess fun. Also, the nonstop improv and escalating weirdness.
Just know that in the end, there will be something cooked. And everyone may get a chance to taste it afterwards (if you dare, though the winning dish at the episode I attended was pretty good). – JB
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“How the Grinch Solved Racism”
What begins as a thesis presentation of Capitalism throughout the Jim Carrey movie version of “The Grinch” quickly devolves into a farcical journey on Consumerism, Racism, Climate Change, Nixon, and Chinese Exclusion, just to name a few.
Bouncing from silly to starkly serious, the audience is in for a very strange ride in which not only can anything happen, they may accidentally even learn something.
It’s not for kids, but definitely for those with a more eclectic sense of humor. – WC
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“I, Trump”
The end of our recent President’s command of the headlines will happen eventually. “I, Trump” at the Athenaeum Indy, part of IndyFringe, gives one way it could happen. As funny and satirical as it is, the show looks practically prophetic compared to the events of the last several years. – JB
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“Inner State Stories”
The rise of the Interstate system connected America, while bypassing much of it. Here are “Inner State” stories about a mother’s love, maps marked with red pencil, memories of roadside attractions, and a journey to see those disappearing places accompanied by the spirit of one who would have enjoyed them. Presented by Errol McClendon, it’s a show that’s as easy and interesting as a good spiced rum cocktail. Also, if you have a road-trip roadside attraction story, he would love to hear it! – JB
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“The Jester of All Maladies”
After a last-minute cancellation at last year’s Fringe, Kurt Fitzpatrick brings us the tale of his bout with cancer. While the subject matter is serious and frightening, Fitzpatrick’s storytelling abilities keep the journey upbeat and hopeful. In fact, he manages to find humor throughout the entire story.
After an initial diagnosis in December of 2019, an initial treatment regime, and a diagnosis of remission, he finds the disease returns with a vengeance and must endure even more desperate measures to combat it. But this summer he celebrated two years of remission, on the way to many more.
Again, it’s very weird to tell you that you will laugh uncontrollably at someone’s cancer story, I must tell you that this is indeed true. With only two shows remaining, I strongly encourage you to make a concerted effort to fit it into your schedule. You won’t regret it. – WC
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“Let Me Say This About That”
Let me say this about “Let Me Say This About That,” it is one of the funniest improv–based shows we have ever seen. Heather (Meyer), Danna (Sheridan), and their producer Amber (a/k/a Raffi Jarvis) present episodes from the Imaginary Podcast Network. These women easily riff off of each other and whatever the audience throws at them, at times so smooth you’d think it was scripted and rehearsed. Our performance started with a general interest ‘cast that became a hilarious stream–of–conscience series of what should have been non–sequitur that somehow still linked. After a couple of instantly–composed ads, our second podcast was “live” with questions from the audience (feel free to get clever, they can handle it). After another improv ad break, things got truly surreal, yet it all fit so well in the evening’s “theme” it ended on a callback.
Even if you’ve never heard or heard of a podcast (think NPR, but with the hosts on good drugs), this is one of the more fun hours of IndyFringe. – JB
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“Momsplaining”
In “Momsplaining,” two major local talents – actors, directors, producers – employ those skills to address another important role they share: Motherhood. Myths are busted as bodies are ruined to perpetuate the species. Informative and hilarious, with much empathetic laughter from the women in the audience. Callie Burk, Georgeanna Smith Wade, and (I would suspect) your Mom think you ought to see this, at The District Theatre cabaret stage, part of IndyFringe. – JB
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Monica Cantrell: “Journey Home”
The exceptional Monica Cantrell graces us with her beautiful soulful voice in her “Journey Home”, singing a program that includes standards, songs by Sondheim, cuts fron “The Wiz” and even a hit by Sting. Accompanied brilliantly by Kathy Ryan on piano, Cantrell commanded a full audience and likely will again so get tickets now, at The District Theatre as part of IndyFringe . – JB
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“A Monster Calls”
With “A Monster Calls,” Carmel High School brings another stellar production to this year’s Fringe Festival.
Connor is a troubled young man. He is experiencing nightmares, being bullied at school, and his mother is fighting cancer. The demonic tree that terrorizes his dreams promises to return each night and tell him a story, and on the fourth night he must admit the truth of what he truly fears.
The stories are haunting tales in which no one is truly good or evil, but a mixture of both. He is never sure if anyone actually gets what they deserve in each. They also vaguely echo situations within his life, and keys to dealing with them.
When his time for a story occurs, his heart breaks with his personal truth but it leads to a better understanding of himself and how to proceed.
This beautiful show can be a bit intense for younger viewers, but a recommended grim fairy tale for all others. – WC
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“The Most Massive Woman Wins”
First of all, this show has a plethora of content warnings, and for good reason. Frankly, being overweight increases the likelihood of depression, self–harm, drug use as well as a myriad of other debilitating conditions.
Speaking as someone who personally identified with and experienced almost all of the stories here, this show is raw and brutally honest. That said, it feels liberating to hear these stories in a public venue. I know that some of the content is hard to hear, and I imagine it was quite difficult for the cast to share, but every word here is somebody’s truth.
Overweight people are still grossly discriminated against and it is considered socially acceptable to do so. These women bravely bare their souls during the show and deserve our attention, respect and adulation for it. – WC
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“Mush”
Literally a sobering tale, “Mush” is an intense 30–minute one–act about a young man and his father reaching the breaking point in their relationship with alcohol, and each other. Voices and thoughts and denial and bargaining leave the mind the texture of gruel, susceptible to the ravenous Jabberwock behind the bottle. Can an imperfect father’s love prevail?
Performed on the Cabaret stage at The District Theatre during IndyFringe . – JB
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“Nerdgasm (2023 edition)”
Wonder(ful) Women at Angel Burlesque “Nerdgasm” to open IndyFringe. For mature folks with immature senses of humor, lots of naughty fun! – JB
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“No Better News”
The good news about “No Better News” is that there are more opportunities to give this one–woman show the big audience it deserves. Gael Schaefer uses her recent battle with cancer as a catalyst for entertaining stories about her entertainer life. Find out how an introverted actor made her way from a park that inspired Walt Disney to performing on Disney’s Big Red Boat to her present life in New York and the theatre life that sustains her. Inspiring and engaging, hear the “News” in the first floor auditorium at the Athenaeum Indy as part of IndyFringe . – JB
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“On Earth as it is in Hell”
The modern concept of Christian Hell doesn’t go as far back as what you think, though its roots are deep. Andrew Spink takes us on one heck of an underworld journey where little girls are gremlins, ancient Greeks are toddlers, and we find what we should truly fear. Balancing researched material with an easy manner and personal touch, he enlightens this dark subject. – JB
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“Plastic Potato: A Bottoms Up Murder Mystery”
Before going into the Athenaeum Indy Basile (upstairs) theatre to see “Plastic Potato: A Bottoms Up Murder Mystery,” it is advised that you bring in a beverage as we are asked to drink every time an adult beverage is mentioned. I recommend it be non–alcoholic as the booze and beer references are all over the place, including most of the character names.
The ever charming and effervescent Josiah Ray McCruiston joins the ranks of comic masters like Peter Sellers and Eddie Murphy by playing absolutely every on–stage character except for Mitchell Hedges as IMPD Detective Bob, who grows ever frustrated at this compounding murder mystery. Poor Jimmy Beam has died in front of the theater, and it was not an accident! Now Reo Nite and her family of curious and suspicious characters must be questioned.
Can you guess whodunit? The audience will be asked – fortunately, more untimely deaths will narrow the suspect pool. And if it helps, the titular potatoes will make an appearance. – JB
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“Reject”
Anthony Myers is a relative newcomer to the Fringe circuit, but has nearly a lifetime of experience to bring to his show, “Reject.” He looks back to his birth and adoption in Terre Haute, Ind., and the family who accepted him – some perhaps reluctantly. Now that he’s in his 60s, he confronts society’s rejection of the old.
With the practiced skill of the teacher, standup, and storyteller he has been, Myers gives charming perspective on his world, and ours. He reassures us that regardless of your being young or old, the operative word is “be.” Accept the opportunity to join him in the Athenaeum Indy first–floor auditorium, part of IndyFringe. – JB
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“Rhythm & Groove: Songs of the 60s and 70s”
A truly groovy good time with Circle City Tap Company with “Rhythm & Groove: Songs of the 60s and 70s”. They dance to the music of artists including The Supremes and Earth Wind & Fire, go on the “Dock of the Bay,” to the “Car Wash” and out to the “Copacabana.” Also see what they do with the unique drum rhythm of “Come Together.”
As always, they end with the audience invited to join the Shim–Sham, so bring your happy feet (and shoes if possible). – JB
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“Shy: The Musical”
“Shy” is the story of two people who share the same bus commute.
After taking notice of each other, we are witness to their varying thoughts about whether or not they should take a chance on getting to know the other perhaps romantically.
While their imaginations often skew to the extremes, they are nevertheless enjoyable to watch.
A treat for anyone who has considered or is considering taking a chance on a potential relationship. – WC
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“Super Mario is Dead”
Josh Brown and Matt Day bring us a wacky tale of what could happen within the Mushroom Kingdom should Super Mario finally run out of lives.
When Luigi refuses to take over, things shuffle along as best they can. However, a new menace arises and Luigi reluctantly agrees to join the crew in their quest.
All of the usual suspects are involved or referenced here. Zany songs and jokes abound. A must for any fan of the games. Also you can play a game betting how long the mustaches will remain attached to the various actors. – WC
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“That’s Hot”
This is the story of two world–renowned vulcanologists shooting a documentary about the impending eruption of Mount Priapus, or is it?
The fiery Helena is running hot while her driven husband/partner Rudiger is too cool to be distracted by her advances. What is behind his reluctance, and what will or could his future hold?
Join his strange journey as he navigates his way through time (the audience) and sees several different variations of his life thanks to the strange, red–robed cabaret singer.
A delightfully enjoyable trip that will surely leave you feeling warm inside. – WC
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“Three 2 One”
Mary Karty gives us the story of one woman’s quest to bounce back from her recently failed relationship.
Her psyche breaks down into three basic components, Heart, Body, and Mind. These three try to work together (or more often, assert dominance) in order to try to navigate dating possibilities.
The zany situations may seem a bit over the top at times but they honestly all rang true to me. We should all encourage more men to see it as a primer to how a woman’s mind really works. – WC
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“Twenty Years: A Comedy of Manners”
Ever had a dry vintage that turned out delicious? I’m not talking about wine, I’m referring to the wit of “Twenty Years: A Comedy of Manners” at The District Theatre as part of IndyFringe. Thomas Smith and Craig Kemp are at the top of their game as a wealthy English gentleman in 1880 and his lawyer (and apparently only friend). It occurs to the master of the estate that he’d best find the bastard offspring he had long disregarded so that there will be someone to inherit. With a satirical air, and hilarity more akin to Wilde than Python, the search proceeds to a nice resolution, with Kellyn Merrell, Sean Wood, and Ben Elliott appearing as potential heirs. One of the treats awaiting Fringe–goers in this third and final weekend of this year’s festival. – JB
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“Twisted Terrors”
Mike Speller serves up a three–course meal of delightful twists on traditional literature.
Our Appetizer consists of a sly turn of a Pie classic as we look at a dieter’s struggle with his appetite in “The Cravin’.”
The Main course is a very inventive take on Homer’s “Odyssey.” complete with Food Trucks, Rachel Ray, and living gingerbread men. The story itself is hilarious but the greater your knowledge of the source material, the more delightful it becomes.
We finish up with a Dessert Tray of quick takes on a few familiar tales including the five new commandments added as a result of Mary Shelley’s work.
Family friendly but sadly only here for one week. Don’t miss it. – WC
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“U Sing 2”
Kevin Kelso likes to write clever little songs, and to sing them. In his offering for this year’s IndyFringe , “U Sing 2”, he encourages – insists, actually – that the audience join him in song. The sing–along bits are fairly easy, and Kevin makes it fun.
Though listed as “all–ages” the content gets a bit PG, but nothing obnoxious (you might not bring a small child, but perhaps your mother). Discover a new Birthday song, a potential theme to a popular podcast, and help Kevin achieve his “Sweet Caroline” moment – or something similar, he says every show is a little different. Join the fun at The District Theatre cabaret stage. – JB
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“Voyages & Journeys”
Well worth coming aboard for “Voyages & Journeys” with Seda Negra / Black Silk dance, directed by Iris Rosa Santiago. With a singular theme, the dancers are nearly constantly present, as well as the suitcases which symbolize our being ever on the journey, old world to new. Beautiful and easy to comprehend movement telling our important shared story. Watch for this next weekend at the Athenaeum Indy , part of IndyFringe. – JB
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“Zoe Rose Spills Her Guts”
This show is a delightful character study of a few quirky characters.
The first is a thoroughly woke and enlightened frat bro who parties hard but thoughtfully. Since he always wakes up with no memory of the night before, he faithfully writes in his journal before passing out. Also, he can’t miss his sunrise yoga (his mantra is “bro”).
The second is a young British tap dancer who is heartbroken over being fired by her married boss whom she has been having an affair with. Her obsessive stalking leads to more trouble but an outlet for some great poems.
We are then treated to a clown who performs some really great gags (with the help of the audience).
Finally, we hear from Zoe herself as she shares excerpts from her childhood diary.
This is a charming show that will keep you laughing and reflecting for a while afterwards. – WC
Gregory Hancock Dance Theatre has brought back its wildly popular “The Wild Wild West,” which premiered in 2019. If you missed the show then, thank your lucky stars and hustle up to The Florence Theater in Carmel to catch it this time around.
It is surprising how balletic many of the typical movements we associate with cowboys in the Old West actually are. Within the first few seconds of Thomas Mason’s opening number, you understand the grace of this cadence.
We are also treated to some Native American dancing that was rigorously researched by the choreography team, including director Gregory Glade Hancock. Traditional Western dances of the time are also included.
The show has an overarching story with various scenes being introduced via cards carried across the stage in a tribute to silent movies. Theme music and visuals hearken to Westerns of both Hollywood and “Spaghetti” style. Also, in a rare breach of tradition, many of the performers have bits of dialogue throughout. Featured dancers include assistant director Abigail Lessaris as Mason’s love interest, Chloe Holzman as an Indian Chief, Olivia Payton as an Indian Princess (and one wacky cowpoke in a couple of ensemble scenes), Josie Moody as dance-hall girl Darla, and Camden Lancaster as the “Mysterious Woman.”
The intimate setting of the Florence, the performance space at the Academy of Gregory Hancock Dance Theatre, makes it easier to hear and see all of the action and maybe even interact with the dancers.
While the dancing is always taken seriously, the entire attitude of the show is very tongue-in-cheek. Feel free to clap along to the music whenever the feeling hits or whoop and holler if you’d like. With so much rollicking fun on stage, this is truly a treat for the whole family (especially younger ones and those who tend to resist seeing “dance shows”).
Dust off your cowboy hat, slip on your boots, lace up your bolo tie, and mosey on up to the Hancock Dance academy at 329 Gradle Drive, Carmel, for performances 5 p.m. Saturdays, 3 p.m. Sundays, through Feb. 25. Get tickets and info at gregoryhancockdancetheatre.com.
As I began writing this review, I realized that it has been over 40 years since I actually read and studied William Shakespeare’s “Julius Caesar” in High School and even then, we were more focused on Caesar’s murder (spoiler) and the political ramifications of said action that the actual text of the play. Luckily, Agape Theater Company has staged not only an excellent version of the show but the printed program also contains a detailed study guide.
As you watch the story unfold you realize that while Caesar (Doug Rollison) is in the title, he is not actually the main character. His loyal friend Marcus Brutus (Christopher O’Hara), he of the famed line “Et tu, Brute?” shares that distinction with the menacingly paranoid Caius Cassius (Jake Hobbs).
Director Darby Kear gives us a vision into the underlying – and underhanded – scheming and political moves that take place behind the scenes. As you read the notes on the history of Roman politics you see terrifying parallels with our current political system.
As a whole, the cast are quite compelling and even with doubling or tripling of parts, make the action easy to follow. Such is the standard we have come to expect from this company.
That said, I would like to shine a spotlight on a newcomer to the troupe (and Indiana), Christopher O’Hara. His sonorous voice and solid stage presence makes him a welcome addition to the production. Just his performance and the glorious study guide of the program are easily worth the price of your ticket.
Friends, Hoosiers, everyone: lend them your ears (and eyes); remaining performances are Friday through Sunday, Feb. 9-11, at the IndyFringe Theatre, 719 E. St. Clair St., Indianapolis. For tickets, go to IndyFringe.org.
Small town politics is much more important than it appears. As we see in “The Minutes,” by Tracy Letts, a lot can happen in a single meeting, and missing it could change your whole standing within the community itself.
Such is the plight of Mr. Peel (Josh Ramsey), who missed last week’s City Council meeting to attend to his dying mom. He knows something major occurred from overhearing the others talk but only discovers it resulted in the removal of Mr. Carp (Charles Goad) from the council.
His queries to Mayor Superba (Stephen Roger Kitts II) and clerk Ms. Johnson (Susannah Quinn) get him nowhere. However, Mr. Hanratty (Scot Greenwell) is willing to help him shed a little light on the matter in return for support towards his proposal.
The council is filled with a plethora of quirky characters. Mr. Blake (Ian Cruz) is a paranoid schemer who is overly confident of the success of his bill regardless of its practicality. Mr. Breeding (Raymond Kester) is “The Weathervane” of the town but has no desire to make waves of his own. Ms. Innes (Suzanne Fleenor) has some good points to make but buries them inside a tangle of poetry and nonsense that annoys even the most even-tempered in the room. Mr. Oldfield (Len Mozzi), who served on the council the longest, has a tendency to ramble and forget things. Mr. Assalone (Tristan Ross) is “The Junkyard Dog” of the group and made even more imposing by his brother being Town Sheriff. Finally, Ms. Metz (Paige Scott), while physically present, pops so many pills that we have no idea where her mind actually is.
With the Big Cherry Heritage Festival rapidly approaching and its planning the most important thing that the Council actually does, Mr. Peel finds the unexplained absence of last week’s minutes – as well as where Mr. Carp is – to be of far greater import.
Directed by Chris Saunders for American Lives Theatre, this comic drama shows Letts’ ability to connect with and in a relatable manner reflect the personalities of small-town America. While there is much hilarity within these scenes, there is an equal amount of reality as to the inner workings of city government.
The talent level of the cast is spectacular and under Saunders’ steady hand, none of them overshadow each other and perform as a well-oiled machine.
So, who is the real hero of The Battle of Mackie Creek? What is more important, truth or the status quo? Why is the town named Big Cherry? These questions and much, much more will be answered (mostly) at the Phoenix Theatre Cultural Centre, 705 N. Illinois St., Indianapolis, through Feb. 11. For tickets and information, visit phoenixtheatre.org or americanlivestheatre.org.
Plays with John & Wendy 