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IndyFringe: Breakneck Comedy of Errors

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This is part of IndyFringe 2022, Aug. 18-Sept. 4 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By Wendy Carson

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

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

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

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

IndyFringe: My Grandmother’s Eyepatch

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This is part of IndyFringe 2022, Aug. 18-Sept. 4 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By Wendy Carson

Welcome to the memorial service for Mamie Lee Ratliff Finger, beloved wife, mother and grandmother.

Julia Finger VanderVeen, Mamie’s granddaughter, has brought us all to pay tribute to the life of this remarkable woman. Through stories told by several attendees and Julia herself, we discover much about Mamie’s life and times.

For some strange reason, we learn almost as much about Julia throughout the course of our event. Perhaps this portion of the show was meant to be for the several Agents who RSVP’d but did not actually show up.

At one point, Julia becomes so bereft that when a message with instructions for resurrection of a loved one finds its way to us, she makes an attempt. Whether it is successful, I must leave for you to discover.

I could go on to try to describe exactly how great this show is, but words cannot fully express the sheer level of hilarity Julia reaches with her dry wit and physical humor. Suffice to say, you will regret not seeing this show.

Yet, while her grandmother’s time is through, there is still time for you. The show returns for the last weekend of Fringe, 9 p.m. Thursday, Sept. 1, and 5:15 p.m. Saturday, Sept. 3, at the Indy Eleven stage of the IndyFringe Theatre, 719 E. St. Clair.

IndyFringe: Glad Libs with your Hostess, Jan Shirley Ann

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This is part of IndyFringe 2022, Aug. 18-Sept. 4 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By Wendy Carson

Janai Downs has created her own brand of comedy, which she has named, AutoBioComedy comprising on several very funny stories about her past. Growing up in Gary, Indiana. in the shadow of the Jackson family makes for great story fodder.

Her life is a mixture of opposites: She has gone on nine different mission trips but she doesn’t care for being outside in nature (it’s dangerous); she wants a pet monkey but is terrified of monkeys; she’d love to own a moped but would never drive it anywhere.

Perhaps her biggest desire, though, is to host a game show. Now that she has an audience, her wish is coming true – and we are all a part of it.

Yes, “we are all a part of it” means that there is audience participation. While I know this can freak out several people the means of playing are simple and fun for all. 

Our hostess reads out a characteristic (someone without holes in their jeans, someone who has a dog, someone without a Facebook account, etc.) and all the audience members who fit in that category raise their hands. She then selects two players to come up.

Once you are at the podium (make sure you don’t look at her notes!), she will simply ask for you to give her some sort of word and will use whatever the fastest person to ring in says. This is much like a game you might have heard of where you input parts of speech so you can’t get the answer wrong.

After all of the blanks have been filled, the resulting story is read out to the delight of all.

This show is a fun family event for all ages. Remaining performances are Friday evening and Saturday afternoon at the IndyFringe Theatre, 719 E. St. Clair.

IndyFringe: I Think We Are Supposed to Be ‘Coming of Age’ by Now…

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This is part of IndyFringe 2022, Aug. 18-Sept. 4 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By Wendy Carson

Lily Conforti brings both her LCcreations Collective dance troupe and the band Oister Boy with her from Minneapolis to literally rock our world.

With the band playing energetic original music that we should be hearing on the charts any day now, the dancers perform for us stories of the joys, sorrows, and struggles of various social interactions representative of the journey of young adulthood, in “I Think We Are Supposed to be ‘Coming of Age’ by Now…”

This show is an amazing experience and deserves your time.

While the various songs and dances portray various coming-of-age stories, the dance style is such that they are each open to your own personal interpretation. The whole thing felt to me as if I were watching the filming of a long-form music video.

Oister Boy is certainly a band to keep a watch on. Their songs are reminiscent of bands from early Who to current radio stars. Save for their cover of Fleetwood Mac’s Rhiannon, the numbers are all original compositions, and they really rock. Also like a rock concert, this show is LOUD (earplugs are provided and I suggest you use them). Even with the earplugs in, the music was rather loud but so enjoyable. They also partake in in some of the dances, making them even more impressive.

Now for the dancing. From the opening number, it is clear that these kids have classical training in ballet, jazz, and modern dance. However, they incorporate these skills into a more hip-hop, street version of the disciplines. Their sheer physical abilities are breathtaking and I found myself in awe of them all.

I generally take copious notes at performances to help me remember what I’ve seen so I can better communicate the show’s intent. I found myself unable to write almost anything about the show because I was so awestruck with every second of it.

I honestly don’t know the words to express my adoration of this show (they only have two more performances, and I would see both of them again if I could). While the cast of the whole show totaled around a dozen, they outnumbered the opening night crowd three to one. These kids are amazing and deserve a much larger audience.

NOTE: while the show does have and “Adult Language” warning, it consists of two “F Bombs” in the song lyrics and I think it’s appropriate for teens and up.

Please, please, please see this show and support these artists. I really want to see them return and will be personally devastated if they do not due to lack of audience support. Performing 3:30 p.m. Saturday, Aug. 20 (today, as we post this), and noon Sunday, Aug. 21, at the Athenaeum Basile Auditorium.

IndyFringe: ShMILF Life

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This is part of IndyFringe 2022, Aug. 18-Sept. 4 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By Wendy Carson

“ShMILF Life” is the true story of Ms. Penny Sterling of Rochester, N.Y., and her journey of becoming a trans woman late in life.

She begins in a coffee shop writing on her computer. This is how she spends much of her time as her desk at home has itself transitioned to a makeup table and her cat insists on sitting on her keyboard whenever it is visible. Today, however, she is here awaiting a date.

We are now privy to her story of realizing, at the age of 54, that she was no longer happy living as a man and allowed her to exist as her true self. Some of her friends and family are confused about this, but she valiantly tries to make them understand.

My favorite example is when her male friend points to a lovely woman and says, “When I look at her, I want to have sex with her.” Penny at first echoes the idea, but then realizes that it’s not really true. She then launches into a long, detailed criticism of the woman’s fashion choices, both positive and negative.

She goes online to try dating and gets many short responses, sometimes accompanied by smiley faces, hearts and produce (think eggplants and peaches).

She is very open about the highs and lows of her explorations of being a totally new person. The scariness of putting yourself out in public whether at a bar, online or just in general. Beginning her transition at such and advanced age means that she missed a lot of the learning and growing encompassed in being a woman, still she is persevering.

Her talent as a storyteller and comedian helped keep the evening light and hopeful. I am honestly hoping that the sparseness of her audience was only due to being the late slot on a Thursday evening. She deserves a larger group to speak to, and her voice should indeed be heard.

Do yourself a favor and give this show a shot. Just two performances remain, noon Saturday and 5 p.m. Sunday, Aug. 20-21, on the cabaret stage of the District Theatre, 627 Mass. Ave.

IndyFringe: QAnon The Musical!

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This is part of IndyFringe 2022, Aug. 18-Sept. 4 (individual performance times vary) in downtown Indianapolis. Details and tickets at IndyFringe.org.

By Wendy Carson

Congratulations!  You have scored a ticket to the taping of the hottest children’s show, “The Truth Team.” After learning about the ozone layer last week and how fast we will all cook in the sun without it, we are excitedly turning to this week’s topic, QAnon.

Stage manager Kate (Jaddy Ciucci) wrangles everyone together and the show is off and running. The Truth Team (you can trust them) consists of Joe (Joe Cameron), Brendan (Brendan Hawkins), Ryan (Ryan Richards), and their lovable Rhino Eugene (Noah Cameron).

After we sing about our feelings, we begin breaking down the world that is QAnon and the mysterious “Q” that is behind it all.

Q is described as like The Wizard of Oz, but with less credibility. He puts the Myth in Mythological, then removes the Logical. We also learn the three vital components to all QAnon Conspiracy Theories: (1) a Celebrity; (2) a Class “C” felony (those hit the sweet spot and aren’t too severe to not be believable); and, of course, (3) say anything about Antifa. The more insane the conspiracy, the better.

We also have a brief interlude by their science man to teach us about electricity, but we are then reminded that QAnon does not believe in science. Q says that only Pedophiles listen to science.

We also have insights into the personal stores of the cast during the multitude of two-minute breaks. The most entertaining of these are the ones dealing with finger-guns. The sheer hilarity of these sections alone is worth seeing the show.

Throughout the various songs and scenes, we are reminded that life is hard, choices must be made, and we are all vulnerable, yet strong. The story culminates with Eugene breaking the sacred rule of mascots and giving an impassioned soliloquy about the fact that saying crazy stuff is part of what created our country, but we shouldn’t let that stoke our hatred.

Presented by Un5gettable, “QAnon: The Musical” is a delight for all ages (they keep the language clean). The cast supremely embody the sweet charm of children’s show hosts without ever being condescending to their audience.

Bring the whole family out and catch this show. Word is getting around, and I expect sell-outs for most if not all of their remaining performances, Aug. 20, 27 and 28, Sept 1 and 3, on the IndyFringe Basile stage, 719 E. St. Clair.

IndyFringe 2022

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Here is the list of our reviews for the 2022 IndyFringe, the Indianapolis Theatre Fringe Festival, Aug. 18-Sept. 4, at six venues — two each at the IndyFringe building on St. Clair; District Theatre on Mass. Ave.; and the Athenaeum, where Massachusetts Ave. meets New Jersey and Michigan streets.

John and Wendy like to “Iron Fringe,” seeing as many of the numerous shows as possible, taking up nearly every time slot, likely the most comprehensive coverage in local media. While seeing every act may not be possible, we did not purposely avoid seeing anyone. Ones we have seen before got lower priority, and past reviews can be found elsewhere on the site.

(This list will grow throughout the festival, with links added as reviews are posted)

90 Lies an Hour — Paul Strickland

A Magic Show with Jordan Rooks — Jordan Rooks

Amaze & Amuse — Trino

A Social Media Experience — Ballet INitiative

The Ballad of Blade Stallion — Defiance Comedy

The Barn Identity — Erika MacDonald

Beyond Ballet — Indianapolis Ballet

Bigfoot Saves America — Cryptid Entertainment

Breakneck Comedy of Errors — Tim Mooney Repertory Company

Dadbod — Brad Hinshaw

Doghouse Moon — Matt McDonald

Exes and Embryos — Mandee McKelvey

Experi-Mental — Steven Nicholas

Fire in the Meth Lab — Jon Bennett

Fly Blackbird Fly / Voices We Can’t Unhear — Dunique and OnyxFest

Fret Knot — Madeline Wilson and Lizzie Kaneicki

Glad Libs with Your Hostess: Jan Shirley Ann — Janai Downs

Gloria Mundi — Nomad Theater Company

Gray Pride — Norman Lasiter

Hope: A Theatrical Dance — Gerry Shannon

How Do You Read Me? — Howard Lieberman and Loren Niemi (2 Lorens Productions)

IndyProv Presents: Our Favorite Fringe Artists — IndyProv

In The Company of Women — Crossroads Dance Indy

I Think We Are Supposed to Be ‘Coming of Age’ By Now — LCcreations

Jewel Box Revue 2022 — Klein & Alvarez’ Magic Thread Cabaret

Leland Loves Bigfoot — Stewart Huff

Love OverDose — React

meSSeS — Janoah Bailin

The Miraculous Journey of Edward Tulane — Carmel High School

Mr. Yunioshi — J. Elijah Cho (review from January 2022 appearance)

My Grandmother’s Eyepatch — Julia VanderVeen

Oh Look, It’s Magic! — Jordan Allen

Panel Show — Mark Cashwell

Peter / Wendy — Indiana Drama Club

Play by Play — Tiny Little Plays by Mark Harvey Levine

The Princess Strikes Back — Victoria Montalbano

QAnon: The Musical — Un5gettable

The Real Black Swan — Les Kurkendaal-Barrett

The Reluctant Mind Reader — Brendon Ware

Ron Popp is a Responsible Adult — Ron Popp

Sadec 1965: A Love Story — Flora Le

Scars — Lissa Sears

The Session — Taylor Martin’s Indy Magic

Ship of Dreams — Party Island

ShMILF Life — Penny Sterling

Sing Down the Moon: Appalachian Wonder Tales — Agape Children’s Theatre

Spontaneous Tales of Science-Fiction — Stroopwafel Improv

Sweet Dreams, Pillowman — American Lives Theatre

Too Much Light Makes the Baby Go Blind — UIndy Theatre Company

Tortillo 3: Sombrero’s Revenge — Catalyst Repertory

Trapped! — Curtis Drake Shepard and Jacqueline Johnson-Wilkinson

Type Cast — Steve Freeto

When Jesus Divorced Me — Laura Irene Young (Magic Feather Productions)

Women’s Work — Betty Rage Productions

Coach forced to grapple with past in new drama

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By Wendy Carson

Is it possible to redeem a bully and show him the devastating impact he had on others? This question is at the heart of Bennett Ayres’ new play, “Lanista,” brought to you by Catalyst Repertory, directed by Zachariah Stonerock.

First of all, I would like to say that I adore this show. I have not instantly fallen in love with a script like this since I first saw the Phoenix’s production of “The Pillowman.” I honestly can’t help but tell you that you MUST see this show. It is touching, infuriating, yet also cathartic to behold. 

The title of the piece comes from the ancient Roman term meaning a trainer of gladiators. This is how Coach Bill Harrison (Mark Goetzinger) sees himself. He is a molder of high school wrestling champions, a legend throughout the state for his impressive record. However, one of his past students, Joel Beemer (Jamaal McCray) has become his elder-care provider, and is taking the opportunity to show this man just how much he damaged the psyches of his athletes. 

Beemer begins by subtly making Harrison’s family think he is becoming more and more senile. He then begins to subject Coach to the rigors of training, as well as verbal abuse, that he inflicted upon his students. When Harrison tells his daughter Kim (Michelle Wafford) about these occurrences, she sees his stories as further proof of dementia, and besides, this is the first caregiver Coach hasn’t run off. At one point, Beemer feels he may have gone too far, but as the teenager Anna (Olivia Mayer) he regularly visits in Juvenile Detention tells him: When you go for a bully, you have to give them all you’ve got. 

Goetzinger is sheer perfection as the stoic Coach who sees nothing wrong with the way he treated his players – he was just doing his job. McCray shows us every bit of his range as the “caregiver” who appears to be carrying out vengeance on the man partially responsible for the mess his life is today, but don’t forget, Beemer also worked as a teacher. Wafford ably portrays the daughter who has more than enough on her plate, glad to let another handle her dad’s situation. Adam Crowe has a charming cameo as a police officer honored to meet the legendary Coach whose students he once wrestled against. Recent Ball State grad Mayer does an excellent job as the enigmatic bad girl who is in juvie for taking part in a car theft, and has no desire to change her ways. 

Will the former wrestler show the Coach that he was not who he thought he was all these years? Will he realize his methods produced champions but destroyed lives? How does Anna fit into all this? See the show to find out; performances of this World Premiere run Thursday through Sunday (July 7-10) at the IndyFringe Theatre, 719 E. St. Clair, Indianapolis. Get tickets at indyfringe.org.

No. 1: Ice Cream!

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By Wendy Carson

First off, suicide, as well as the depressive hopelessness that can lead to it, are no laughing matter and these things should never be taken lightly. However, survivors dealing with the impact of the act, and trying to understand/heal afterwards all have different ways of doing so.

In “Every Brilliant Thing,” Ben Asaykwee brings us playwright Duncan Macmillan and comedian Jonny Donahoe’s story of a seven-year-old boy’s struggle to help his mom find some sort of joy in her life so she will continue living it.

While the show is not autobiographical, it is an amalgamation of numerous true stories of those who have lived through these situations, including Macmillan and Donahoe themselves.

Our Narrator (Asaykwee) tells the life story of the boy who, at seven, is taken to the hospital by his father because his mom “is sad” and “has done something stupid.” Determined to find a way to help, he begins to make a list of “Brilliant Things” that make one happy in order to show her there is a lot out there to live for. While he is aware that she has read at least the start of his list – she corrects his spelling – she doesn’t seem to understand its purpose, so his work on the list continues.

We are privy to his life story throughout: his teenage angst through her second “episode,” falling in love at college, marriage, separation, the inevitable funeral, and survival beyond it, all the while seeing the growth and development of the list.

Audience members are not just observers of the story, they are participants. Upon arriving, you will be given one or two numbered items on the list that you will shout out when they are added. A few audience members will also portray some characters required for the narrative, to the great delight of all. There is a surprising amount of laughter in this heartwarming production. There is also the added treat of ice cream after the show, per item #1 on the list.

A talk-back afterwards is available for anyone who feels the need to discuss or decompress as well (you still get ice cream).

Throughout the ups and downs of the boy’s journey, Asaykwee shows us the full emotional range of the character, as well as his impressive acting and improv skills. Recently open about his own mental struggles, he finds this a challenging and important role. Director Kevin Caraher is also familiar with stories of personal growth through trauma, having been in plays such as “Bill W.” and “Small Mouth Sounds.”

Of the three productions of this script I have seen, this is by far my favorite.

So, come out to not only watch the list grow throughout this story, but also feel free to take a Post-it afterwards and add your own Brilliant Thing to the list. Produced by Stage Door Productions, performances are through Sunday, June 26, at the District Theatre, 627 Massachusetts Ave., Indianapolis. Get tickets at indydistricttheatre.org.

‘Hedwig’ heralds Cardinal’s transformation

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By Wendy Carson

The on- and Off-Broadway hit musical “Hedwig and The Angry Inch” is a unique experience, even more so now as the final production of Cardinal Stage in Bloomington.

As you enter the theater, you notice that it is in the middle of renovations. Your ushers and the crew are all wearing protective vests and hard hats. The entire place is a miasma of construction, complete with caution tape and even a port-a-potty on stage. However, this sets a perfect scene for the spectacle you are about to behold.

For those of you unfamiliar with the story, Hedwig is a visionary singer who escaped East Germany by way of marriage to a G.I. But her dark reality ruins the fairy tale, as she endured a botched sex-change operation, becoming essentially genderless. Rather than sink into despair, she recreates herself into a rock goddess while also creating a rock god, Tommy Gnosis. As with every other man in her life, he leaves her; still she rages on, continuing to tell her story no matter what.

The most surprising part of this production is that James Rose is one of the few trans, genderfluid, or non-binary performers to play the title role. While one may consider this a bit of stunt-casting, Rose quickly shows the talent and passion that makes Hedwig resonate with any audience.

While I have seen and enjoyed other stagings of this show, Rose is the first performer I’ve seen who shows the true duality of Hedwig and Tommy Gnosis. As developed by originator John Cameron Mitchell (with songs by Stephen Trask), the two are distinct persons but portrayed by the same actor. In the Cardinal production, directed by queer performer John Jarboe, the revelation of Gnosis is the best presented I’ve ever seen. Rose makes Hedwig’s “other half” their own person, with his own distinct reckoning.

Paige Scott as Yitzhak (Hedwig’s “husband” from the former Yugoslavia) brings the anger requisite to the character but subtly shows us the deep love felt for Hedwig. With the character being relegated to the background for much of the story, her transformation during the finale is so much more joyous to behold.

Hedwig’s backup band, The Angry Inch, are comprised of Dan Kazemi on keyboard, Ben Jackson on guitar, Galen Morris on bass, and Bryce Greene on drums. They are all an integral part of the show, not just as accompanists, but also bringing out the true rock-and-roll performances demanded of them. They all bring such a sense of joy to the musical, keeping the story from becoming unbearably morose. They also work the crowd prior to the show – let them know if you’ve spotted “Phyllis” in the audience.

I did particularly love Christopher Simanton & Johna Sewell’s costume and wig designs. They made brilliant use of ordinary objects found on or near a construction site and transformed them into stunning works of art. I do recommend taking a moment or two after the show ends to fully take in their amazing array of “wigs” throughout the space, created by props master Aubrey Krueger.*

Since this is Cardinal’s final production before merging with Bloomington Playwrights Project and Pigasus Institute to form Constellation Stage & Screen, the renovation and rebuilding theme of both the show and its design are quite appropriate. So, say goodbye to the old and welcome the new with this amazing update of what is quickly becoming a timeless classic.

Performances run through June 26 at Waldron Auditorium, 122 S. Walnut St., Bloomington, and tickets are pay-what-you-can. Details at cardinalstage.org.

*This last credit was added after initial posting, when it was pointed out Simanton and Sewell mainly made the wigs (and wig-like objects) for people’s heads. Krueger’s designs are static, displayed around the stage set.