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Review: “Silence!” raw but raucous

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By Wendy Carson

What can you say about a farcical musical based on “Silence of the Lambs” other than: Be prepared to be shocked and surprised.

In “Silence! The Musical,” now at the Phoenix Theatre, from the opening, in which the “Sheep” begin telling Clarice’s backstory, you know that the author of this production had his tongue planted firmly in his cheek.

While the plot of the story remains mostly intact, there are a few changes to mainstream the narrative in favor of song breaks. The aforementioned Sheep portray not only a Greek chorus but also slip into and out of the guises of various supporting characters in the play.

The songs and dialogue in general are not only outlandish but somewhat offensive. The fact that the biggest production number of the show is based on an obscene line should be a warning. However, the cast is thoroughly game for it all and their level of commitment makes it all bearable.

Chelsey Stauffer, as Clarice Starling, highlights the character’s overwhelming drive to prove herself to the FBI and avenge her father, as well as her gentle naivete of what she has to deal with to accomplish this. Of course, her exaggerated accent just adds to the whimsy of her character.

Paul David Nicely showcases his broad range of talent as Dr. Hannibal Lecter. Singing, dancing and threateningly looming over everything, he pulls out all the stops in embracing the character.

Scot Greenwell is sublime in the role of the deranged serial killer, Buffalo Bill, whom the FBI is desperately trying to hunt down and stop. He fully embraces the campiness of the character in every way possible.

While the irreverence of the production has the potential to be a hot mess, under the skillful hands of director Bryan Fonseca and choreographer Kenny Shepard, it transcends into delightful silliness.

Again, I warn you that due to the content and language, this is a show that should be enjoyed by a mature and not-easily-offended audience. However, if you’re up for some laughs and a wonderfully satirical take on the film, get your tickets now. Call 317-635-7529 or see phoenixtheatre.org.

Fringe Review: Fruit Flies Like a Banana

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By Wendy Carson

Whether you are familiar with or new to the antics of The Fourth Wall, you would be delighted with the trio’s latest foray into speedy musical education, “Fruit Flies Like a Banana: Alphabetical Disorder,” which played at Theatre on the Square.

This year they attempt to make it through the alphabet with the help of random letters thrown at them from the audience. Each letter corresponds with a comedy-music bit, which the performers – being virtuoso musicians as well as masters of physical comedy – perform. With the ever-present countdown clock looming over them, they effortlessly move from piece to piece almost instantaneously.

Not only are the numbers cleverly arranged and choreographed, each one is curated to educate the listener on the history of not only the composer, style and instruments used but how and why they have chosen the material.

Their antics are a joy to behold and they make music education into a game that can be enjoyed by old and young alike.

Fringe review: Hannibal: “LIAR!”

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By Wendy Carson

“Hannibal: ‘LIAR!’” at the IndyFringe Indy Eleven Theatre was the most “grown-up” magic show of the Fringe, so the fact that there were some younger children in attendance causing him to partially censor himself actually made it much funnier, in my opinion.

His tricks are presented as a story of his childhood and the delight that he experienced whenever his grandfather would entertain him with even the simplest of illusions. While there are a few points in which the audience participates, the amazement delivered is abundant. Especially when one of the other Fringe performers reacted to some impressive card predictions with, “He’s the Devil!”

If you get a chance to see Chris Hannibal, AKA #CardMonkey, do. It’s a charming hour of fun and tricks that will make you glad that you came.

Fringe review: The Adventures of Les Kurkendaal

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By Wendy Carson

Many of you may remember Les Kurkendaal from his past IndyFringe performances. His storytelling abilities are well known on the Fringe circuit, and in this year’s presentation, which played at the IndyFringe Indy Eleven Theatre, he admirably upped his game.

It seems that his boyfriend, Mike, has made the list of “Top 100 People from Bakersfield” due to co-producing the film, “Thank You for Smoking,” but has also decided that Les should accompany him to his 20-year class reunion.

While Les is hesitant, not only due to their being gay, but also as he wonders how Mike’s classmates will react to his being black as well. Mike reassures him that he had a single black classmate, George, and that nobody will really notice.

Les’ jealousy at seeing Mike living out his own dreams of success is a struggle, but he does make the best of it. There are plenty of laughs here, many coming from the fact that everyone in attendance thinks he is the aforementioned George.

This show is definitely the best one that Kurkendaal has brought to IndyFringe. I was delightfully impressed by how his charm and skill have developed and greatly look forward to his next visit.

Fringe review: 4Square

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Fringe review: 4Square

By Wendy Carson

In “4Square,” by AV Productions of Ohio, which played at Musicians Union Hall, we have four short stories of Karma and it’s repercussions on one’s life.

First, there is a mother and son reminiscing about the highlights of their past while he dreads the inevitability that is next chapter of his life.

The second, and shortest piece, has a woman facing fears of her future while internally being reassured that everything will work out for the best.

The third story surrounds a trio of girlfriends. One is very recently divorced and miserable, the second is happily married but feels she is in a rut and the third is wild, free and living life to the fullest. We find out that their lives are even more intertwined than they initially seemed and their friendship may not survive this.

The final story, and weakest one presented, involves two bored office workers trying to liven up their life in any way that they can think of.

I will say that when watching this show, the stories felt week and humdrum. However, when reflecting back on it the next day, they were much more enjoyable. In fact, the more time that passes from your viewing, the more these stories resonate and entertain.

Fringe review: The Comedy Magic of Oscar Munoz

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By Wendy Carson

Firstly, I must admit that when I attended “The Comedy Magic of Oscar Munoz” at the IndyFringe Indy Eleven Theatre on Thursday night, I had confused my times and thought I was seeing, “Hannibal, ‘LIAR!’” By the time I figured out I was in the wrong show, there was no way for me to get to another one, and since I hadn’t been able to fit this into my schedule, I figured I’d go ahead and watch it, and I am glad I did.

The tricks are fun, but not too elaborate, and Munoz works the crowd beautifully. Since there were some children in the audience they were happily recruited to assist him with his illusions. In fact, much of the audience became involved in one way or another.

Rabbits and birds appear out of thin air and even the simplest tricks are presented with such aplomb that you can’t help but be charmed by it all. So bring the whole family to this show and catch a wonderful evening of magic and humor.

Fringe review : An Indian Comedian: How Not To Fit In

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By Wendy Carson

In “An Indian Comedian: How Not To Fit In,” a delightfully straightforward stand-up show, Krish Mohan is just plain funny. His insights on racism and alienation are presented with a light-hearted touch, which can be very difficult to pull off, especially in our current climate.

There are many things to learn here, most important of all is that you should visit the Grand Canyon lest ye be reincarnated as a bedbug, or worse. I especially recommend this show to anyone missing Phil van Hest and his style of humor.

So head on over to the Firefighter’s Union Hall and check out this performance. You’ll be glad you did.

Fringe review: Jason Adams is a God Damn Mind Reader

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By Wendy Carson

The most important thing I can say about “Jason Adams is a God Damn Mind Reader,” rocking Theatre on the Square’s second stage, is that if you want to see it, reserve your tickets in advance as every performance has been and will continue to sell out. Otherwise, you will miss out on this spectacle.

Part magician, part storyteller and all showman, Jason Adams engages the audience even before they enter the venue. Working the crowd and passing out cookies (Jammie Dodgers no less) his overwhelming charm is ever-present.

Once inside, his wife, Erin Adams, delights you with her lovely singing while Jason continues to engage the audience. How can one describe the level of enjoyment he coaxes from the crowd, except to say that the theater may have sustained structural damage from the overwhelming excitement.

The feats of magic and mind reading are silly and extremely cheeky but always entertaining. And you might come away with a newfound respect for Canada.

As the title suggests, there is a bit of mature language, but consider the show a PG-13.

If you are lucky enough to attend a performance, you will not be disappointed by a single moment of the show. Again, reserve your ticket now or miss out on the show all of the “cool kids” will be talking about for quite a while.

Fringe review: Cabaret of Puppetry

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By Wendy Carson

I must admit that while I do enjoy puppetry, I was unsure of how this was going to work. While the Peewinkle Puppet Studio performances I have seen in the past were entertaining, I couldn’t imagine them satisfying a Fringe audience.

However, “Cabaret of Puppetry,” playing at Firefighter’s Union Hall, is not your typical children’s puppet show. It serves as more of an overview of the history of puppetry and the various presentations are a delight to behold for young and old alike. The puppeteers’ showmanship and skill in setting the mood make you forget that they are even present after a while.

The characters run the gamut from a simple sock puppet to very delicately advanced full-body puppets. Still, the main emphasis is in marionettes. With unexpected effects and vibrant characters this simple little puppet show will have you laughing and talking about its charm for weeks to come.

So, re-embrace your inner (or outer) child and come see the best puppet show the fringe festival has to offer.

Fringe review: Breakneck Hamlet

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By Wendy Carson

Tim Mooney has become synonymous with the Shakespearean soliloquy and for good reason. He has memorized so many of them and can spout them off the top of his head so quickly it can make your head spin.

In “Breakneck Hamlet,” playing at the Musician’s Union Hall, he deftly breezes through the bog than can be four-plus hours of the Bard’s best, giving us a rollicking version of the classic tragedy of “Hamlet” in just under an hour.

While he does gloss over a lot of the often tedious plot, all of the great speeches therein are saved and presented with such passion and skill that you will wonder why this is not the standard presentation of the show. In fact, if all of Shakespeare’s works were taught like this in schools, I feel that students would find it much more identifiable and embrace the works delightedly.

Whether you enjoy the play or not, you must do your best to see this craftsman’s work and behold his genius. It will have you reevaluating your feelings towards this great catalog of words and hoping that Mooney will return to enthrall us with more works like this.