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OnyxFest: Love in Unjust Times

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By John Lyle Belden and Wendy Carson

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

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

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

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

The other four are new works:

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

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

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

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

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

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

Epsilon ‘School’ a class act

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By Wendy Carson

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

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

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

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

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

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

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

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

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

Info and tickets at epsilontheatricalco.org.

IndyFringe: ‘Another Medea’

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By Wendy Carson

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

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

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

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

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

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

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

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

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

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

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

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

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

Epilogue comedy brings new meaning to ‘juke joint’

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By Wendy Carson 

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

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

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

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

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

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

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

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

IndyFringe: Ain’t But a Few of Us Left

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This was part of the 20th Anniversary Indy Fringe Theatre Festival in August 2025. Review originally posted on our Facebook page.

By Wendy Carson

After we enter the theater, we are all welcomed aboard the train, the conductor can tell we all have our baggage with us, and it looks like someone’s is about to get unpacked very soon.

Thus, it brings us to the story of Faith. We see her eulogizing her mother, who quoted fortune cookies like they were scripture or poetry, and was a beloved teacher to so many in the neighborhood yet felt like a total stranger to her own daughter.

We pause the story for a quick stop as some passengers disembark, they are warned, “Truth is waiting for you on that platform out there. You can’t leave it behind”

We rejoin Faith at her college professor’s office as she is denied an extension to submit her final project. She now has 5 days to submit or lose her scholarship and all hope of graduating. With the project being, “Where do you come from?” and her deceased mother being her only family, she is bereft of ideas.

The conductor, however, knows that Faith has it in her to succeed in the assignment and directs her to her stop.

We must all disembark now, our time here’s at an end and the train’s got a myriad of souls left to heal.

I really enjoyed the creativity of the show. It made me reminiscent of “HadesTown” in its setting. While we never fully resolved her story, I felt like we, and hopefully Faith herself, were shown that she already has all the information she needs to fulfil her project, she just has to relax and remember.

This show was also a Flanner House Stage Academy production.

IndyFringe: Man Cave

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This was part of the 20th Anniversary Indy Fringe Theatre Festival in August 2025. Review originally posted on our Facebook page.

By Wendy Carson

Timothy Mooney steps away from his traditional Shakespearean romps to bring us an entirely new and original production and it is quite inspiring.

We open with Tim, being possibly the last human live on earth, broadcasting out of his bunker, just south of the arctic circle.

His beloved Rosie was meant to be with him here, but the climate breakdown occurred so quickly, she never got the chance to try and catch up to him.

With the temperatures outside holding tight at around 120 – 130 degrees Fahrenheit, we are only a mile or so south of the arctic circle remember, the earth is entirely uninhabitable. Yet somehow, his AOL email account is still operational, so Tim waxes on for anyone listing about how we got into this situation and what other civilizations should consider not doing to prevent themselves from it as well.

While this is a work of fiction, the science behind his data is real and frightening. Hopefully, the message will be able to move those in the audience who are unaware of many of these machinations and wake them to the facts of our planet’s mortality.

Tim signs off his broadcast with the earth date of August 15, 3035. Hoping once again that someone has heard him and will send him an email to let him know he’s not alone.

IndyFringe: Dragons and Dungeons – Squid Game

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This was part of the 20th Anniversary Indy Fringe Theatre Festival in August 2025. Review originally posted on our Facebook page.

By Wendy Carson

Theater Unchained once again brings us a new chapter in their beloved tales of a group of adventurers headquartered out of The Folded Ass Tavern.

It’s their young dragon, Rapture’s “Gotcha Day” and everyone’s gathered to celebrate.

For newer patrons, we have some quick backstory and reintroduction of our gang, by the tavern’s owner. They include his brother, Tink, the Artificer; Fig, the Druid; Seren the Paladin; and Crabitha, the Wizard who’s somehow grown a second mustache.

After a minor mishap, Rapture is magically taken aways and we find that Crabitha is actually the evil Collector, and they must play their twisted “Squid Games” to get Rapture back.

The audience assists our troupe by rolling a giant die but some other members were granted the ability to modify or negate their efforts. Good luck to all.

The characters, challenges, and situations are fun for all but be warned, not everything always ends well. We made some very good rolls at first and though our team won the games, not everyone survived.

I really enjoyed the puppetry throughout plus the fact that the cast & crew were all having as much fun throughout as the audience. The whole hour feels more like a party than a show.

IndyFringe: Cubicle Confessions

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This was part of the 20th Anniversary Indy Fringe Theatre Festival in August 2025. Review originally posted on our Facebook page.

By Wendy Carson

Bad bosses, we’ve all had them, some of us have been them, and Jeff Kidding Me Comedy (Jeff McKinney) brings us together to share some of our horror stories.

Interspersed with our tales, we get to witness some upcoming local comics and their takes on corporate culture as well.

The first being Chance Webb, a decent salesman with an inherently “punchable face.” Reminding us that, in sales, the better salesmen get promoted, however, the same qualities that make you a great salesman, also make you a terrible boss.

We then meet the amazing Queen Quaymo. She possesses a lot of skills, mainly from being fired from a lot of jobs but she also shines a light on Amazon and makes us recognize it’s corporate structure for one her ancestors fled from.

Just remember, your life is just another episode of God’s hit Netflix series. So when things become too much for you, mug for the camera.

Being one of the few stand-up shows on the schedule, I can highly recommend this one for a good laugh as well as the ability to make you feel better about your own work situation.

IndyFringe: Horse Girl

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This was part of the 20th Anniversary Indy Fringe Theatre Festival in August 2025. Review originally posted on our Facebook page.

By Wendy Carson

Jason Adams once again brings us a spectacularly delightful offering to the Fringe with, “Horse Girl.” It’s an imaginative look at the history of his birth parents by the man who only knew the barest of details about them.

His father was a blacksmith from Liverpool, and his mother was an equestrian rider.

The show focuses mainly on his mother, Matilda (Tilde) McCullough, the descendant of a storied horse family. Details given include the Birth of Dressage and the History of the Fur Trade in Southern Ontario. We are also introduced to the magical horse, Ulysses, who would be her partner in the competitions that cemented her legacy in the horse world .

A small hint of his father’s backstory shows him turning away from the family business of fishing to become a blacksmith who would one day repair a show for Ulysses, thus introducing him to Tilde.

Their brief affair would end with the conception of Jason but due to family pressures, he would ultimately be given up for adoption and come into the care of his true mother, Janet Adams.

This bittersweet tale is told with all the whimsy and charm we have come to expect from Adams. For those of you not familiar with his style, think Winnie the Pooh meets Monty Python.

This show is appropriate for all ages, in fact, some younger audience members will likely be asked to assist with some of the effects.

Adams has grown so much as a storyteller through the years and this show has him at the pinnacle of his talents.

IndyFringe: Up All the Nights

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This was part of the 20th Anniversary Indy Fringe Theatre Festival in August 2025. Review originally posted on our Facebook page.

By Wendy Carson

Clerical Error Productions takes a small step away from their traditional comic wackiness to present a more serious offering that is still filled with absurd situation and humor.

Lucas Waterfill (Christy) is one of the state’s brightest comics and is absolutely brilliant staring in this play revolving around one memorable night of zany antics.

Beginning with Christy & his friends Jason (Nick Roberts) and Zora (Zhandi Kabunga) at a high-schooler’s party, we discover that Jason was robbed by some very strange individuals. One wearing rollerblades and carrying and umbrella, the other wearing an eyepatch. He is now intent on getting a gun for protection.

Since the party is lame, the group hops on a bus to take Christy home, but the bus breaks down and they all go their separate ways. As he’s rolling home (literally, he has Cerebral Palsy and is in a wheelchair), Christy ducks into a local bar and scams a lot of free drinks off of a strange couple but ends up stuck with the check when they leave in a huff.

Finally heading towards home, Christy is set upon by the same thieves who robbed Jason. Given that he has little of value on him, they settle for stealing his phone.

Things then get even stranger from here on.

I found the show to be an insightful look at a slice of life that the average person rarely gets to see. The characters were unusual, to say the least, but their stories and motivations all rang true. It’s nice to see some new points of view reflected at the Fringe.