wendy

IndyFringe: Generations

PWJW_Indy IndyFringe, Reviews, Stage , , , , , , , , , , , , , , , ,

This show is part of the 15th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 15-25, 2019 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By Wendy Carson

Some of our regular readers may remember that John saw last year’s show by Crossroads Dance and really loved it. While he admits he’s not a dance aficionado, he does like watching it but often has trouble understanding the meaning behind the moves. The company apparently took that to heart and has included some notes in the program to help with understanding the message they are provoking. That said, let’s get to the review.

The show is arranged as a trip through time, reminding us of the history behind our nation. It begins a beautiful balletic piece in which three nature spirits are gaily playing/creating the landscape of the continent. We then move to a suite in tribute to the settlers that tamed the land and made the verdant farmland that stretches throughout our country today.

It then turns to the twentieth century for highlights of various historic decades using songs from those periods.

My personal favorites were: “This One’s For Al” shows the desolation of the Great Depression but still keeps a touch of hope on the horizon. “Jive Bomber” intermixed inspirational wartime tunes of the ’40s with actual radio reports from the battles, showing the pain the nation felt inside, even while keeping up a positive front. However, being a child of the ’80s, I loved their tribute to the decade of neon spandex and big hair in, “MTV Live.”

Choreographers are Ashley Youmell, Brittany Gaither, and Nicole Dean for the pieces listed above, as well as Candace Reiner, Emily Miser, Sammi Bowyer, Josie Meiss, and Rachael Wieczorek.

So, whether you are just a casual fan of dance, or a lifelong devotee, this show will appeal to you. These ladies, while young, bring about an insightful evening of dance that will likely spark some great discussions afterwards.

Remaining performances are 6 p.m. Wednesday and 3 p.m. Saturday at the District Theatre (former TOTS location), 627 Massachusetts Ave.

IndyFringe: Orgasmo Adulto Escapes From The Zoo

PWJW_Indy IndyFringe, Reviews, Stage , , , , , , , , , , , ,

This show is part of the 15th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 15-25, 2019 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By Wendy Carson

Despite the show’s bizarre title, and being produced by locally-renowned troupe, No Exit — purveyors of edgy material and unique productions — this show is delightfully accessible to the average audience. The inclusion of a Sign Language interpreter ensures no one will be unable to experience this spectacle.

The actors involved, however, are costumed more like characters from a Doctor Seuss book but that is just to emphasize the absurdity intended by the source material.

We are directed to peruse our “Menu” and are served up a two- or three-course meal of monologues and sketches that changes for each performance. The offerings are shortened works by renowned European playwright Dario Fo and partner Franca Rame. These are portrayals of situations that, although exaggerated, still present political systems, social context, and somewhat ordinary situations that the audience can easily identify with.

In “A Woman Alone” we meet a harried wife (Carrie Bennett) who has a lot on her plate. Between a creepy and demanding brother-in-law, her baby, an abusive husband, perverted intrusions and a persistent young lover she is just trying to keep up with everyone’s demands for her time while staying somewhat sane.

“Waking Up” shows us a portrait of a woman (Andriana Zermeno) who is at her wits end coordinating her work, baby (A.M. Elliott), and husband. Her struggle to remember where she left her key offers great insight in discovering how she has become the mess we are presented with.

The final story, “Monologue of a Whore in a Lunatic Asylum” is presented almost entirely without words but relays the trials and tribulations of women whose voices were rarely heard anyway. Anastasia N. Greenberg gives a stunning performance in the title role while Elliott and Bennett embody the cold indifference of the Doctors responsible for her “care”. Zermeno makes a tiny cameo as an escaped patient witnessing the end of this tragic tale.

Again, I urge you to not be put off by the irreverent title or cartoonish look of the show. Remember, satire is meant to be exaggerated and missing these important scenes from our history is the way to realize how far women have come and how much further we have yet to go.

Performances are today through Saturday (Aug. 17-24) at The Oasis at the Murat Shrine (go in the Shriner entrance on the north side of the building, 502 N. New Jersey).

IndyFringe: Pretty Face – An American Dream

PWJW_Indy IndyFringe, Reviews, Stage , , , , , , , ,

This show is part of the 15th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 15-25, 2019 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By Wendy Carson

You know this is going to be a wry, political show when you first see the open suitcase onstage with a sticker blacked out to now say, “Make ME Great Again”.

Amanda Huotari begins the show by emulating a chicken who begins to orgasmically hatch an egg but then swiftly switches to her Miss America persona that will woo the audience and then tell us the fateful tale of one Miss Tiffany Trump.

You know her, right? Ivanka’s sister; Trump’s “love child” with Marla Maples; the one child who most people can’t name; and is not currently in the White House constantly making the news for following Dad’s directives.

Her story, while mostly forgotten by the public (often due to Daddy’s other outrageousness) is shown here to remind you of Trump’s true colors towards one of his brood that he felt was not up to his standards.

Peppered with actual quotes and vignettes from the past, we are privy to the real workings of Trump’s mind and shown that his current disregard for the country was already telegraphed in his treatment of Tiffany and her mother. Remember, he actually said that when he ran for President, “He didn’t want to win, he just wanted to make money.”

Is there a way to re-embrace the American Dream? Is it possible to eschew the current atmosphere of tyranny and become more civilized and cooperative in our efforts both personal and political? Can we once again be truly free?

As you only have two more opportunities — 9 p.m. today and 4:30 p.m. tomorrow (Aug. 17-18) at the Indy Eleven (719 E. St. Clair) — I suggest you make it a priority to find out.

IndyFringe: What They Said About Love

PWJW_Indy IndyFringe, Reviews, Stage , , , , , , ,

This show is part of the 15th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 15-25, 2019 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By Wendy Carson

Actor Steven Budd gives us a look into his personal journey of self-discovery regarding his ability to understand love and relationships.

We start with a trip to Oaxaca, Mexico, for his 50th birthday. He is set up on a blind date with the woman of his dreams and they proceed to fall madly in love with each other. Could she be “The One”?

After he reluctantly returns home they spend a month on Skype learning more about each other. Finally, it is time for her to visit him, but she is persistent about her desire for him to give her a ring to wear once she gets there. Are they moving too fast? Is he ready for this step? Needless to say, he is overwhelmed by it all. He loves her, but doesn’t know if he can adjust to her idiosyncrasies.

Interspersed within this narrative are clips of various couples he has recorded relating their own stories of finding their mates. These anecdotes are touching, gritty, and sometimes just a bit zany, but they offer endless insight into all the work and love that goes into making a relationship.

Can he overcome his Neurosis and make it all work? Does he know how or even have the capability to be in a commitment? Find out for yourself before Steve and the show are gone: performances are 7:30 tonight and 1:30 p.m. tomorrow (Aug. 17-18) at the Indy Eleven theater (719 E. St. Clair).

IndyFringe: Nharcolepsy

PWJW_Indy IndyFringe, Reviews, Stage , , , , , , ,

This show is part of the 15th Annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe, Aug. 15-25, 2019 on Mass Ave downtown. Info, etc., at www.IndyFringe.org.

By Wendy Carson

Harrington & Kauffman, the creators of 2017’s smash hit, “Cabaret Terrarium” are back and funnier than ever. This easily became my favorite show of the Fringe so far — and I knew it was going to be a very interesting evening as we were instructed to take handfuls of balls from the large box on our way in.

Belgian cabaret singer Gustave and his ever faithful assistant Nhar have eschewed their previous jobs in order to pursue a childish dream. Gustave’s Grandmother told him stories of the Yeti and he promised her to search for the elusive creature. Their strange, sad journey is detailed in story, song, and dance. We learn of the Fish Rod Bucket Toss, The Symphony of the Seal Horn and of course, the Mystical Dance of the Yeti.

Since the trek has stranded them at the North Pole and they are out of food & supplies, this will be their final performance. How are they here in Indy? How are we, the audience, able to see them? Will they actually find the Yeti? What exactly are the balls for?

These questions and more will be answered, but since the show only has two performances left — 1:30 p.m. today and 7:30 p.m. Sunday (Aug. 17-18) — you will need to act fast in order to make sure you don’t miss the experience. Who knows, you may even win a free Belgian beer.

One NOTE: Once you discover the purpose for the balls, make sure to ration them somewhat so they last the whole show.

Fonseca Theatre’s journey through America with ‘Miss You Like Hell’

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , ,

By Wendy Carson

In the style of an organization willing to challenge conventions, Fonseca Theatre Company stages it’s latest offering, “Miss You Like Hell,” in a garage-warehouse. The sets surround the audience and a trail divides it into four sections, which are mostly filled with rolling and swiveling chairs to help viewers follow the action.

This musical by Quiara Alegria Hudes, with music and lyrics by Erin McKeown, is the spiritual and physical journey of a mother and daughter as they travel across the United States. While on the surface this sounds like a cliche plot, there are a lot of story elements twisting and turning so that you are never quite sure exactly how you feel about the main characters at any time.

Beatriz (Sarah Zimmerman) says she has come to reconnect with her teenage daughter, Olivia (Sharmaine Ruth), who she has not seen in years. She seems genuinely worried about Olivia’s mental state after finding a blog post threatening suicide, but Beatriz has her own needs and agenda as well. Zimmerman does a skillful job meting out her character’s motivations in a way that makes you understand that no matter how many mistakes she has made, she is still a parent and ultimately loves her child, even if her actions don’t always seem that way.

Very reluctant at first, Olivia eventually embraces this adventure with her mom and discovers more about her family history, including the background of major events in her life. Ruth deftly swerves from belligerent brat to scared child to young adult seamlessly. Her performance shows the truth of what growing up means to a person as well as what it takes out of a child.

The rest of the cast compose a Greek chorus as well as their individual roles.

Paul Collier Hansen and Patrick Goss delightfully provide some much needed comic relief as Mo and Higgins, two best friends from Arkansas on a meaningful journey of their own. Ian Cruz is in rare form as Manuel, a possible love interest and convenient rescuer. Bridgette Ludlow charms us as Olivia’s most active blog respondent, as well as the strong dose of reality that she needs to grow. Paige Scott plays up her fierce side playing the various officers of the law that are encountered throughout the trip. Yolanda Valdivia is solid as Beatriz’s attorney, taking on her difficult immigration case. Dan Scharbrough gives his curmudgeonly best as a South Dakota bureaucrat and a Wyoming hotel manager. Some scenes are punctuated with a dancing ancestor, portrayed with bold grace by Camile Ferrera. Company founder Bryan Fonseca directs. Tim Brickley leads an excellent on-stage band.

The story begins in Philadelphia, our cradle of freedom, and ends in southern California, where part of the “wall” we hear so much about now stands. This examination of the American dream dwells on questions of heritage, culture, justice and rights. But above all, it is about family, the one we are born to, and the fellow travelers who become just as important to us.

This road trip is worth the journey, playing through July 28 at Kinney Group, 2425 W. Michigan St., Indianapolis (just a block from Fonseca Theatre’s new home, now under construction). Enter at the back doors. The venue gets rather warm in the summer weather, so dress light. Find info and tickets at FonsecaTheatre.org.

Musical of Dahl novel ‘Matilda’ gets brief Indy premiere

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , , , , ,

By John Lyle Belden and Wendy Carson

If you want to see the hit musical “Matilda” before the Civic Theatre stages it next year, you have just three chances this weekend.

McDuffee Music Studio bursts onto the theatrical scene with its ambitious all-youth production. Note this London and Broadway hit is by two of the most devious minds to write material safe for children: the late author Roald Dahl and comic songwriter Tim Minchin. While the story is dark at times, the sheer absurdity of all the characters and situations keeps it light.

In this musical, with book by Dennis Kelly, the Wormwoods – a Latin dance-obsessed wife and proudly unethical used-car dealer husband – prefer their children to be like their son, Michael, comically ignorant and male. Surprise-baby Matilda is definitely neither. She insists on reading books, visiting the library and telling stories. And when she’s had enough mistreatment, she tends to be “a little bit naughty.” Perhaps some abuse at the local school, led by wicked Mrs. Trunchbull, will cure her of that.

Having an all-student cast is easy for this show, as most of the roles are children, but some local teens ably step up to fill the “adult” shoes.

William Baartz as the viciously imposing Trunchbull manages to fully embrace the extreme silliness of the role. The teen-boy musculature stuffed into an Olympic women’s hammer-thrower form only adds to the look – equal parts threatening and cartoonish.

On the other end of the scale, Kamdyn Knotts is so very charming as teacher Miss Honey, a mousey woman struggling to find her voice to help Matilda. Her willingness to show weakness and work to overcome it ironically makes her the most (if not only) mature character in the show. Krissy Brzycki as librarian Mrs. Phelps is another ray of sunshine in Matilda’s life, practically starving for the girl’s story that may or may not be fiction.

Josh Hoover impressively shows range in dual roles as a vapid dance partner and an “escapologist” in love.

Ayden Cress and Kennedi Bruner are both a hoot as Mr. and Mrs. Wormwood, despite their neglectful and somewhat abusive nature. Wesley Olin as Michael shows that rare natural talent at playing an imbecile so entertainingly he can’t help but steal the scene, even just shouting one word.

As for Kate Honaker as Matilda, to us she looks and sounds straight off the Cast Album. Honaker holds focus and makes us believe in this girl with so many brains (yet they “just fit”) and a little bit “extra” that her stressful journey brings out.

The other children are more than just chorus to Matilda’s story, as they learn to deal with a cruel yet silly world. Colton Woods as Bruce Bogtrotter gets to revel in being an unlikely hero. Brilynn Knauss as Nicole gets a quick lesson on improvising one’s way out of trouble. And Izzy Napier’s hyper Lavender declares herself Matilda’s “best friend,” then takes on one of the more notorious pranks on the Headmistress.

We would like to assure you that no newts were harmed in the making of this show, but you can buy (a rubber) one at the concession stand, as well as chocolate cake.

While the production does have its technical flaws, it is energetic and earnest. Remember that one of the main tenets of the story (like most of Dahl’s work) is that not all stories have a happy ending. But it does manage to keep a positive outlook even at the grimmest point.

If you have any children in your care this weekend, especially those of grade-school age, they will be practically falling out of their seat with laughter and delight at the show. Performances of “Matilda: The Musical” are 2 and 7 p.m. Today, 2 p.m. Sunday (May 25-26) at Lutheran High School, 5555 S. Arlington, Indianapolis. Tickets are $10, $12 for premium seats. Visit www.mcduffeemusic.com.

ATI ‘Forbidden Broadway’: Here we go again!

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , ,

By Wendy Carson

Upon entering the lobby for Actors Theatre of Indiana’s newest staging of “Forbidden Broadway,” we were surprised and delighted to see a blown-up copy of our previous review of the show. They also had poster copies of the other reviews — we were just happy to be among them.

So, since this show was just staged by ATI less than a year ago, you are probably thinking that you’ve already seen it and there’s no reason to see it again. That’s where you are dead wrong.

“Forbidden Broadway,” created and curated in New York by Gerard Alessandrini, is a living creature that is constantly changing and evolving in new and delightful ways. Yes, some of the skits are the same ones covered in the previous incarnation, however at least half of the offerings here are different. In fact, the tribute to Carol Channing, slyly tipping its hat to her recent passing – as well as her generosity towards her legacy — is making its debut in this show.

There is even an audience sing-a-long during the tribute to Stephen Sondheim’s impending 90th birthday. Also, for those of you who have seen or are seeing The Civic Theatre’s delightful production of “Newsies,” their tribute will leave you howling.

For those who haven’t seen any of this, it is all a loving tribute to Broadway musicals and those who worked on and in them. It’s never mean – one can mock the cumbersome Lion King puppets and Les Mis rotating stage, while still understanding at the core it’s still meaningful art. While the more you know about the shows, the funnier it is, the all-in performances of ATI founders Cynthia Collins, Don Farrell and Judy Fitzgerald with Logan Moore, and Keith Potts on piano, entertain no matter how “in-house” the gags get. Note the content does get very PG-13 (those Avenue Q puppets still can’t keep their felt paws off each other).

So, get out there and prepare to laugh yourself silly at the glorious antics and talent of the latest production of “Forbidden Broadway,” through May 19 at The Studio Theater in the Center for the Performing Arts in downtown Carmel. Call 317-84-3800 or visit atistage.org or thecenterpresents.org.

CCP ‘Streetcar’ a well-crafted vehicle

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , , , , , , ,

By Wendy Carson

“A Streetcar Named Desire” is probably Tennessee Williams’ most famous play: the story of Blanche DuBois, an aging southern socialite who has squandered all her resources and must seek the assistance of her sister, Stella Kowalski, to survive.

Blanche is horrified by Stella’s “common” husband, Stanley, and the “squalor” in which they live (low-rent apartments in New Orleans’ French Quarter), but she has no other options so must endure this state of affairs. While Stella and Stanley’s place is small and rustic, it is clean, homey and they are quite satisfied with it.

Though Stanley has a fiery temper and loutish ways, he truly loves Stella and would do anything for her. Needless to say, Blanche and Stanley are at odds from the beginning and their tense friction continues throughout the progress of the play.

Desperate to escape her current situation and find someone who can afford to return her to her previous status, Blanche begins to woo one of Stanley’s friends, Mitch. Being a long-time bachelor who lives at home with his ailing mother, he appears to be a perfect mark. However, though she plays at being young and prudish, her reckless, scandalous past soon catches up with her. Meanwhile, Blanche’s trauma-fueled drunken delusions are getting worse, making her untrustworthy even when the worst actually happens.

Laura Lanman Givens glides beautifully through Blanche’s various moods, making the character far more sympathetic than she is often played – leading this production to a refreshing lightness rarely seen in a Williams show. Jonathan Scoble aptly shows Stanley’s hot-headed fury without making him an insufferable lout. Addison D. Ahrendts’s portrayal of the devoted sister and wife — forced to endure the stormy tantrums of the two people she loves the most – is delicate, yet perfectly nuanced.

Adam B. Workman makes the most of his moments as Mitch; Sebastian Ocampo is charming as their poker buddy, Pablo; Scott Prill and Susan Yeaw as loving/bickering neighbor couple Steve and Eunice Hubbell, add just the right spice to the scene; and Addie Taylor’s two brief roles seem to bookend the play. Also making brief but important appearances are Nolan Korwoski, Susan M. Lange and Ken Klingenmeier. Brent Wooldridge is director.

There is one weekend left to catch this classic of American drama, Thursday through Sunday, May 2-5, presented by Carmel Community Players at The Cat, 254 Veterans Way in downtown Carmel. Call 317-815-9387 or visit www.carmelplayers.org.

Mud Creek: Where ‘Almost’ seems exactly right

PWJW_Indy Reviews, Stage , , , , , , , , , , , , , ,

By Wendy Carson

On the heels of their hilarious Christmas show, (“Inlaws, Outlaws, and Other People Who Should Be Shot”) Mud Creek Players give us another sweet laugh-fest with their latest production, “Almost Maine.”

The title comes from the “not-quite” town in extreme northern Maine, small in population, but overflowing with quirkiness.

There are two people who are either close together or vastly far apart; a woman whose defenses keep her from seeing what’s right in front of her; a misspelling possibly leading to love; the answer to a question asked a very long time ago. Plus, you have two people literally falling in love, the other shoe literally dropping, a couple literally returning their love for each other, a man who literally feels no pain, and an actual broken heart.

All this happens on a cold, wintry Friday night. Those of us of a certain age will feel like we are watching a romantic update of “Northern Exposure,” with all the whimsy on display under the Northern Lights.

This series of scenes is brought to life by Matt Harzburg, Kyrsten Lyster, Lexi Odle, Mason Odle, Jennifer Poynter and Jackson Stollings in multiple roles, directed by Andrea Odle with Amanda Armstrong. They all embrace the charm, wonder and weirdness of the stories, aptly acting as though these odd northwoods happenings occur every day. Thus they make the accompanying feelings seem natural – and somehow relatable to us, watching from a “barn” in the woods near Geist.

While this is a perfect show to bring a date, singles and families will find it just as enchanting. Also, each lady in attendance was given a long-stemmed rose. So brave the cold, and warm up to the sweet charm of “Almost, Maine.”

Performances run through March 2 at 9740 E. 86th St.; call 317290-5343 or visit www.mudcreekplayers.com.