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Unflinching, uncompromising ‘Road Trip’

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By Wendy Carson

As you can guess by the title, “Abortion Road Trip,” Fonseca Theater Company’s latest offering deals with one of the most polarizing subjects of the last fifty-plus years. Rachel Lynett’s script delves into the reasons and reasoning behind the choice to have, or not have, an abortion. Nothing is sugar-coated here, which is why it is important for women especially to see and hear this story. I’m not saying it will change your opinion, but it will open some eyes as to what access to this single procedure actually means for the female gender.

Set in 2016, just after Texas made abortion access illegal, sisters Minnie (Leona Jones) and Lexa (Viviana Quinones) hire a cab to take them from their home in Houston to the nearest clinic in Albuquerque, N.M. (nearly 885 miles, according to Google). Lexa’s aversion to flying, she says, is the reason behind this strange mode of travel.

While on the road, Lexa, Minnie and their Driver (Carrie Ann Schlatter) talk through the incidents and choices that have brought them all together in this “adventure.” While Lexa is unwavering in her decision to have the abortion, her manic questioning and need for them all to “get heavy” hints at her anxiety over her entire situation.

These vignettes are acted out with the help of Megan Ann Jacobs, who portrays both Taylor (Driver’s wife) and Quinn (Lexa’s best friend and Minnie’s girlfriend), and Paige Scott as the sisters’ loving Mom. I would like to note that for anyone who thinks the stories are absurdist propaganda, I have either experienced or been a party to every one of these scenarios. They are far from uncommon or false.

The sets and props are sparse but road trips and memories need little to be portrayed, making the minimalist approach of Bernie Killian (scenic design) and Rebekah Radloff (props) a fitting lack of distraction. Mad Brown’s costuming skills are highlighted in the change of wigs and clothing to differentiate Quinn from Taylor.

Under the delicate guidance of director Abby Scharbrough, the cast brings this story together beautifully, leavened with dark yet appropriate humor. Jones shows Minnie’s courage and determination in finding her own way without ever feeling diminished in spirit. Quinones shows Lexa as a female who is realizing that she’s no longer a carefree child and now must make adult decisions and deal with their ramifications to everyone else in her life. Schlatter also balances her own character’s change from impartial non-observer to somewhat-willing participant by baring her own scars but holding back enough detail to keep their origins her own.             

Jacobs manages to craft her “accessory” characters into real beings. She shows Taylor’s journey through betrayal and tragedy, ending in a loving hopefulness for the future. Meanwhile, she gives Quinn a kindly sweetness that manages to belie her personal beliefs until they reach their ultimate conclusion.

Perhaps the most effective and stunning turn is Scott as Mom. She brings the love, understanding and warmth that we have all craved from our own mothers but they could never quite equal to the unconditional love and support shown here.

Whatever means of transportation you personally choose, use it to get you to the Fonseca Theater and watch this curious road trip unfold, through Feb. 26 at 2508 W. Michigan St., Indianapolis. Get tickets at FonsecaTheatre.org. (Note: The regular Saturday performance time is now 4 p.m., allowing audiences the evening free for other activities – maybe another play!)

GHDT reflects recent changes in ‘New World’

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By Wendy Carson

Gregory Hancock Dance Theatre’s first offering of the new year showcases the newly renovated Florence performance space. Named in memory of founder/director/choreographer Gregory Glade Hancock’s beloved mother, the intimate space is ideal for the audience to more vividly experience the efforts of all involved. “New World Dances” is an appropriately powerful choice to christen the space.

The show highlights dances created during the recent pandemic years, previously presented as “Dances for a New World” on stage and online, highlighting the emotional rollercoaster experienced by everyone during that time. Except for one notable exception, the dancers are not touching each other, enhancing the sense of isolation they each felt (and reflecting the fact each had to work alone during quarantine). Hancock noted that this collection of dance works is not his typical visual storytelling. While there is some discernable narrative, the emphasis is more on expressing the emotions felt as the entire planet entered today’s “new” world.

 From the very start, you’re aware this is going to be an experience that you won’t soon forget, with movement open to numerous interpretations. I highlight just a few pieces here along with what they conveyed to me (your results may vary).

The opening number, Isolation, has each dancer wearing a rubber “Plague Doctor” mask (think giant crow head with goggles) and performing the same choreography in staggered succession. The angst and desperation I felt made me think of the various locations worldwide dealing with the unknowns of the Corona virus. They all came to the same conclusion but each in their own time.

Also highlighting this era: Casualties hearkens to the riots and civil unrest throughout our country; Denial shows those who never took any of this seriously until it came into their own lives; and Media has individual dancers weighed down by huge tangles of video tape, engaging our search for truth through the lies flooding in from everywhere.

There are four solo dances in the show. One is performed by the lone male in the group, Thomas Mason, while the others are performed by one of a pair in that slot. Who each is and the dance they perform will depend on the date you attend. 

The first of these, performed by Abigail Lessaris during our show (Josie Moody alternates) seemed to convey our search for normalcy in our new situations while keeping yourself optimistic. Chloe Holzman (Hannah Brown alternates) gave us a celebration of our new skills learned and paths taken during this time (think all that sourdough bread we made). Camden Lancaster gives us the final solo (Olivia Payton alternates) in which her bubbly joy seems to reflect the hope for a return to normalcy with the rise of vaccines and lessening of cases and restrictions.

The final two numbers, You Can’t Stop Love and A New World show not only the fear and awkwardness of our return to “normalcy”, but also our resolve, determination, and strength to conquer all future problems whether we be physically together or separate.

The “G2” student dancers – Zoe Hacker, Allie Hanning, Audrey Holloway, Audrey Springer, Rebecca Zigmond – also display their talents in two superb numbers.

With costumes also designed by Hancock, the dances are a visual spectacle of color and movement. Hancock’s style does reflect his love of Southern Asia, but other influences emerge, with the finale more resembling classic ballet.

We are happy to add that, unlike the one-weekend dates at the Tarkington, this show continues for two more, through Feb. 26. The Florence is contained within the Academy of Gregory Hancock Dance Theatre, 329 Gradle Drive, Carmel. Get information and tickets at GregoryHancockDanceTheatre.org.

Time tick, tick, ticking forward

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By John Lyle Belden

As I post this, 2022 has recently come to a close. And you might wonder, what were our favorite shows of this last year? Well, I just did a rough count of more than 150 reviews we posted, so – yeah, hard question.

Like an actor who never forgets that line he stumbled on at opening night, I can’t help but think about the reviews we didn’t do. Aside from scheduling and illness having us miss shows outright, there were a couple of performances that we caught at the ends of their run and didn’t get around to the writeup.

And like Jon in “Tick, Tick… Boom!” I feel the march of time.

There were actually two productions of that Jonathan Larson musical in central Indiana this last year – running practically simultaneously. We managed to get a review in of the well-done Phoenix Theatre production, but circumstances had us nearly miss the Carmel Community Players edition, which had its differences and was excellent in its own way.

Wendy and I would like to go on the record as saying we also enjoyed the CCP “TTB,” directed by Kathleen Horrigan, performed at the Switch Theatre in Fishers.

As is easier to do in volunteer community theatre, there was, in addition to Dominic Piedmonte as Jon, Ervin Gainer as his roommate Michael, and Margaret Smith as his girlfriend Susan, an ensemble of B.K. Bady-Kaye, Onis Dean, Abby Morris, and Ryley Trottier to portray other roles. This also helped distinguish the production from the stripped-down Phoenix show.

Piedmonte was great as Larson’s stand-in character, and Gainer is frankly one of those actors I can’t get enough of. Smith also did well as a character that is tricky as you don’t want to find yourself disliking Susan or Jon too much as their relationship falters. Having the full cast helped in letting Trottier play “Superbia” star (and potential “other woman”) Karessa, leading to a brilliant moment with both women singing “Come to Your Senses.”

Wendy found this version of the show really gave the feel of Larson’s dilemma of the world changing around him – not all for the better – as he turned 30 years old. And as he somehow feared and we have come to know, his life would end a few short years later.

A big thanks again to Carmel Community Players (hat tip to Lori Raffel), and all the local stages who let us come in and see what they have to show us. We look forward to another big year of theatre in 2023.

Unique ‘Holiday’ story seeks to heal family

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By Wendy Carson

As bright and sparkly as they appear to be, for a large number of us the Holidays ramp up our depression and sorrow. Such is the situation with the Abrams clan in “A (Happy) Holiday,” presented by Theatre Unchained.

Grandmother Bunny (Wendy Brown), mother Busy (Jenni White) and daughter Leigh (Wilhelmena Dreyer) are not only dealing with the death of son-in-law/husband/father Owen (Bradley Lowe), but also their lack of connection with each other. Into this mess enters the gloriously anthropomorphized chemical compound, Sarah Tonin (Ariel Laukins) along with the ever-perky duo of Elf 1 (Anja Willis) and Elf 2 (Thomas Sebald) to deliver a present to make their Christmakkah (being a blended family, they have a blended holiday) complete.

Reluctantly the ladies work their way through a giant magical book with 12 chapters of Holiday memories, forcing them to face their past – no matter how good, bad, or ugly. Leigh just wants to move forward and find her true self regardless of what her mom or society demand of her. Busy wants Owen back and will settle for nothing else. Bunny, who just wants everyone to be happy and get along, seems to down a lot of “holiday cheer” to keep her distracted.

This show has numerous parodies of holiday movies and TV shows as well as other pop culture touchstones to keep the laughs coming. However, the story pulls no punches in showing the sadness and sorrow of these women. Each comes to terms with pivotal moments of their past that damaged them, yet taught them to grow and carry on, to be their true selves.

This show is a true ensemble piece, executed with sheer perfection. Each performer being great on their own, together they will move you to tears of sorrow and joy. Speaking of ensemble, this play is a special project of Theatre Unchained, co-written by Karina Cochran, Kaya Dorsch, J.E. Hibbard, and director Max McCreary. They initially set out create a series of distinct holiday scenes, but found they fit together in a single theme, focused on this relatable yet unique family.

As you can tell, this show is not a typical Holiday story. Still, it is moving, touching, endearing, and entirely affirming for all. This should be at the top of your list of shows to see this month, especially since there are only three performances left, this Thursday through Saturday, Dec. 8-10, hosted by Arts for Lawrence at Theater at the Fort, 8920 Otis Ave.

Good for teens and older, grab up those members of your family and come together for an uplifting story – maybe start an important dialogue to help make your own holiday complete. Get tickets at ArtsForLawrence.org.

OnyxFest: Police State

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This play is part of OnyxFest 2022, a production of Africana Repertory Theatre of IUPUI (ARTI) and IndyFringe, “Indy’s First and Only Theater Festival Dedicated to the Stories of Black Playwrights.” Initial performances were the weekend of Nov. 3-6 at the Basile Theatre in the IndyFringe building. The second weekend of performances are Thursday through Saturday, Nov. 10-12, at the IUPUI Campus Center Theater, 420 University Boulevard, Indianapolis. Recordings of performances will be available at ButlerArtsCenter.org. For more information, see OnyxFest.com.

By Wendy Carson

The saying, “An eye for and eye and a tooth for a tooth will lead to a world of the blind and toothless,” kept running through my head while watching “Police State,” written and directed by Rain Wilson. This play asks one of the most difficult questions of our current climate: What will it take to get people, especially police, to stop threatening and killing Black men out of fear of their skin color?

There is no easy answer. The scenario Wilson presents shows direct revenge is certainly not the solution, but what is?

The plot revolves around the death of a young man, *Amadi, shot in the back several times by a police officer while trying to walk home. B.J. (Atiyya Radford) tries to get his friend Mo (Deont’a Stark) to attend a justice rally he is organizing. Mo says the protest won’t solve anything and will probably lead to more violence at the hands of the police.

The victim’s father Abu (D’Anthony Massey) and mother Gloria (Shakisha Michelle) argue about how they should proceed in order to recompence their loss. Gloria knows that nothing will bring her son back, so in her eyes justice will never be gained. Abu feels that killing the officer responsible will show everyone that changes to the system need to be made, even declaring it a form of community “self defense.” His white brother-in-law Mark (Bryan Gallet) tries to be supportive but is no help at all, saying all the wrong (yet familiar sounding) things.

 I don’t want to spoil the ending but here’s what I can say: Much heated and important discussion occurs; another man dies; and no solution presents itself. 

Wilson’s story is tough to watch, as it evaluates much of the current ideology regarding this situation and clearly shows that there are no easy answers. However, it does offer a jumping off point in which to start a dialogue to try to find some beginning steps towards a solution.

–

*”Amadi” (primarily meaning “free man”) is fictional, but reminiscent of numerous victims of police violence. A quick web search by this name brought up Amadou Diallo, shot more than 40 times by New York police in 1999 when the unarmed man reached for his wallet. Also fresh in local memory is the killing by police of Dreasjon Reed in Indianapolis in 2020. Black lives matter.

OnyxFest: Majesties

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This play is part of OnyxFest 2022, a production of Africana Repertory Theatre of IUPUI (ARTI) and IndyFringe, “Indy’s First and Only Theater Festival Dedicated to the Stories of Black Playwrights.” Initial performances were the weekend of Nov. 3-6 at the Basile Theatre in the IndyFringe building. The second weekend of performances are Thursday through Saturday, Nov. 10-12, at the IUPUI Campus Center Theater, 420 University Boulevard, Indianapolis. Recordings of performances will be available at ButlerArtsCenter.org. For more information, see OnyxFest.com.

By Wendy Carson

Women are creatures of spectacular power and ability. They can raise up or tear down those around them. Yet so many get caught up in the fallacy that their own worth is tangled up within their relationships with men. This was the message that I took away from “Majesties,” Charla Booth’s tale of three generations of women struggling with their past.

Leslie Moliere (Megan Simonton) is an aging singer, no longer booking performance dates as she’s considered by club owners to be past her prime. She also deals with the realization that she is alone because she has always been in love with one man and although they were almost married, he has done his best to torture her while knowing her feelings for him.

Andre (Daniel Martin) is not only the object of Leslie’s heart but also the father of Andrea (Shandrea Funnye), the product of a past fling who left them, whom he claims is only his niece, thus creating sorrow in her heart as well.

Gloria Jean (Katherine Adamou), a past schoolmate of Leslie and Andre, is dealing with her own lack of a man in her life, especially the negligent father of her own daughter.

Through careful calculation by a wise Wellness Center owner (Jamillah Gonzalez) and Gloria’s Mother (Brittany Taylor) these three women are brought together for a spa day in order to resolve their issues with each other as well as their own internal conflicts.

Simonton ably takes Leslie from haughty but sadly regretful of the choices that have led her to this end, while Adamou embodies the conflict of her constant love for her ex and well as the realization that this is a major part of why she can’t find someone new.

Martin, as adept at drama as his frequent comic turns, keeps his character aloof and slimy as Andre mentally abuses every woman in his path.

Taylor does a great job of managing to keep her character’s machinations subtle to make her presence almost a surprise when she shows up at the end, and Gonzalez perfectly embodies her shaman role.

Funnye amazes us by bringing forth the most heart-wrenching story of all, while showing the bravery and power of her character to overcome it all and persist in finding happiness. She also directs, superbly bringing these actors together to give us a show that brings you to tears, enrages you, and inspires you – without being overbearing or preachy.

OnyxFest: Your Love Will Be Judged

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This play is part of OnyxFest 2022, a production of Africana Repertory Theatre of IUPUI (ARTI) and IndyFringe, “Indy’s First and Only Theater Festival Dedicated to the Stories of Black Playwrights.” Initial performances were the weekend of Nov. 3-6 at the Basile Theatre in the IndyFringe building. The second weekend of performances are Thursday through Saturday, Nov. 10-12, at the IUPUI Campus Center Theater, 420 University Boulevard, Indianapolis. Recordings of performances will be available at ButlerArtsCenter.org. For more information, see OnyxFest.com.

By Wendy Carson

In “Your Love Will Be Judged,” director and playwright Gabrielle Patterson takes us all to an alternate timeline where divorces are decided by a jury trial. We become privy to the deliberation of six jurors who each have their own strong ideas as to what choice will best satisfy the needs of an offstage couple.

Alicia Sims as Juror 2 feels that the whole thing is cut and dried, but aggressively argues with everyone regarding their choices and reasoning, sometimes nearly coming to blows – she is a sheer delight to watch every second. Haleigh Rigger brings a lot of charm as well as tone-deaf condescension to Juror 1’s “perfect housewife” character. Jacob Pettyjohn makes the “hit it and quit it” attitude of Juror 3 so slimy, you want to mop the floor after he passes. Rodney Smith as Juror 4 spectacularly brings out his character’s “old-school/back in my day” bluster. D’yshe Mansfield is masterfully mellow, filling Juror 5 with the distracted wisdom that only herbal enhancement can provide. Attempting to oversee and contain the varied personalities is Michael Martin Drain as the Foreman, showing all the resolve and exasperation that the position entails.

While, like Sims’ juror, you may feel that the verdict is obvious, the twists and turns of each player, as well as some prejudicial attitudes, will keep you guessing as to the outcome. This show is not only very funny, but also offers material for personal discussions of many of its topics for a good while afterwards.

OnyxFest: A Noise in the Attic

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This play is part of OnyxFest 2022, a production of Africana Repertory Theatre of IUPUI (ARTI) and IndyFringe, “Indy’s First and Only Theater Festival Dedicated to the Stories of Black Playwrights.” Initial performances were the weekend of Nov. 3-6 at the Basile Theatre in the IndyFringe building. The second weekend of performances are Thursday through Saturday, Nov. 10-12, at the IUPUI Campus Center Theater, 420 University Boulevard, Indianapolis. Recordings of performances will be available at ButlerArtsCenter.org. For more information, see OnyxFest.com.

By Wendy Carson

Abuse of a loved one doesn’t have to be physical, success sours when it’s not shared, and sometimes things that go bump in the night aren’t so bad, as revealed in “A Noise in the Attic,” by OnyxFest executive producer Vernon A. Williams.

Mr. Adams (ShaQuan Davis) appears to be the perfect husband and father, appropriate for a lawyer with a promising political career. But his daughter Cathy (Vae Savage) is an absolute brat who gets anything she wants from him, including silent permission to bully her stepmother Rita (Selena Jackson-King).

This situation, and the fact that her own desires have to be put on the back burner yet again, has Rita frustrated beyond belief. Plus, rather than do it himself, Adams is making her search the attic to discover the source of the strange noise that has been occurring over the past week.

However, a chance encounter with down-on-his-luck singer Walker (Atiyyah Radford) helps put things into perspective, awakening Rita to the truth about herself and her situation.

In the end, everyone gets exactly what they deserve.

Jackson-King does a great job balancing her character’s compassion for Walker’s plight against her struggles with propriety and devotion to her family, brought to focus by aspiring poet/performer Rita’s brave verse. Davis brings forth all the slick, playboy moves to reflect his character’s selfish attitude towards women. Savage portrays Cathy’s attitude so well, you will fight the urge to show her discipline and what true respect is. With a wry smile, Radford brings us the story of someone struggling his way to the top; his aspirations were crushed by the Pandemic, but not his spirit.

Angela Wilson-Holland is a comical delight as Rita’s Aunt Helen, who tries to talk her out of an obviously crazy plan. Jamillah Gonzalez does a great job of portraying Adams’ secretary, looking to make moves of her own.

Director Debora Farrell has done an excellent job of bring William’s script to life, making each character so realistic you will revel in the karma of the climax, as well as the revelation of what exactly is in the attic.

Journey with ‘Violet’ at ATI

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By Wendy Carson

 One quick note before I dive into the review: This is the third production of the musical “Violet” we have seen over the years, the first time based on the 1997 Off-Broadway production, before it was taken to Broadway in 2014. Each local performance has not only been different, but also better than the one before. Therefore, if you have seen the show prior to this, I still strongly suggest you see it, the latest edition, at Actors Theatre of Indiana. It’s a superb production, and I adored it (and not just because my hometown is part of the show).

Written by acclaimed composer Jeanine Tesori with Brian Crawley, based on a Doris Betts short story, the plot has remained consistent: At the age of thirteen, Violet was hit in the face by a flying axe head, leaving her horribly scarred. Years later, in the 1960s, she is on her own and has finally saved up enough money for the bus fare to take her from North Carolina to Tulsa, Oklahoma, and the TV Preacher whom she knows will be able to restore her beauty. Along the way, she befriends a couple of soldiers. The three of them quickly become close, with the men reluctant to let her take the final leg of her journey as they are sure she will be sorrowfully disappointed in her Preacher’s abilities. They are both waiting for her when she returns, healed, but not as she had expected.

Sydney Howard expertly brings out the adult Violet’s hopefulness and sorrow over her predicament while Quincy Carmen as young Vi (in frequent flashbacks) shows the innocence and fortitude that made her the woman she became.

Luke Weber as Monty, the Army Private First Class fresh from Special Forces school, shows the naivete of a soldier looking forward to going to war. Maurice-Aime Green as Flick, the more seasoned Sergeant, reflects the harsh reality of the differences the mere color of his skin brings to his military career and everyday life.

Matt Branic, as Violet’s father, brings out the devotion, stoicism and love of a single parent trying to do the best for his little girl, despite that one horrific moment.

Eric Olson is sheer perfection as the Preacher who may or may not actually have the power to heal, but certainly has the ability to motivate.

While it is easy to present both the Father and the Preacher in a negative light, Branic and Olson each maintain their characters’ humanity as they play their parts in Violet’s life. This is not a story of “good” or “bad” people, but of a journey, and the life lessons learned along the way.

As the rest of the cast play many interchangeable characters throughout the show, one pair does stand out with their true diva roles: Tiffany Gilliam brings down the house as the Music Hall Singer the trio goes out to see while overnighting in Memphis. It is obvious that were she around during that era, she would indeed have been a star on that stage.

Tiffanie Bridges seems to channel the voice of the angels as her turn as Lula, the lead singer in our Preacher’s choir. While her character reminds him that she is singing not for the “show,” but for the Lord, her talent shows this to be true.

ATI co-founder Judy Fitzgerald’s roles include a friendly fellow passenger; other characters, including bus drivers, are provided by Richard Campea and Cody Stiglich.

Director Richard J. Roberts has taken eleven talented singers and actors, a phenomenal script, and a band that can bring such vivid emotion to their music, and given us a beautifully moving show. Pianist Nathan Perry is music director, with musicians Greg Gegogeine, Charles Platz, Kathy Schilling and Greg Wolf. The versatile stage by P. Bernard Killian features a map of the bus route painted across the floor, which includes Fort Smith, Arkansas (where I was born).

Performances of “Violet” run through Nov. 13 in The Studio Theatre at The Center for the Performing Arts in downtown Carmel. For tickets and information, visit atistage.org or thecenterpresents.org.

Bard Fest: Women give men a (very) hard time in ‘Lysistrata’

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This is part of Indy Bard Fest 2022, the annual Indianapolis area Shakespeare Festival. For information and tickets, visit indybardfest.com.

By Wendy Carson

With the Indy Bard Fest production of “Lysistrata,” Holly Hathaway-Thompson has done an amazing job of updating Aristophanes’ story of women’s empowerment. She not only made the storyline more accessible to a modern audience, but also shows the true meaning behind its purpose: Women have the power to change everything if they just stand together in their resolve.

The story begins in the not-too-distant future with a young girl (Missy Waaland) approaching her grandmother (Miki Mathioudakis) for more information about the election of 2022. Grandmother is horrified to learn that only a sentence or two about this time exists online and one of those is on bleach vaccines. She then begins the story, “There was this woman …”

We are transported to an alternate reality of Greece in which Lysistrata (Carrie Reiberg) has called together all of the women of the various tribes to set about her plans for P-E-A-C-E (the spelling of this word is vital throughout). Though many of the representatives have disputes among themselves, they all agree that they are sick and tired of their men being away at war all the time. Lysistrata puts forth her simple plan: They will all withhold any romantic or sexual favors until the men agree to give them a Peace.

Surprisingly for some, this is almost as difficult for the women to uphold as it is for the men to endure. Therefore, the women take over the capital for themselves alone until their demands have been met. The men do not take kindly to this tactic and try everything to persuade the women from their resolve. However, even the most bull-headed of them men finally give in to their basest needs and agree that they will meet the demands of peace, healthcare, education, living wages, etc. This brings about the blissfully benevolent future of our Grandmother and Grandchild – a future where men do not control women’s bodies or destinies.

With the source material being a comedy, Hathaway-Thompson has given the cast some truly hilarious lines throughout. Her amazing cast manage to squeeze every possible drop of laughter from each one.

Reiburg brings a slyness to Lysistrata you don’t always see in this role. This was a woman who literally brought a nation to peace with a very simple plan. Mathioudakis is brilliant in her dual roles as Grandmother and Colonice (Lysistrata’s closest ally), bringing the wisdom and experience of both characters. Waaland’s turn as the Grandchild and Ismenia allows us to see the counterpoint naivete of her youth.

Tracy Nakigozi portrays Andromeda as a wary but proud woman who puts aside personal conflicts for the good of the whole. Lucy Fields as Lampito is a comic delight as she bemoans the travails of this lack of intimacy upon herself as well as the men. Scott Fleshood (Xander), shows another side of this longing as the lone representative of those who also love men even though being born with a Y chromosome. Samantha Kelly (Medora) and Nikki Lynch (Cassandra) both do a great job of helping to keep the men in their place.

Jessica Crum Hawkins (Myrrhine) plays one half of a married couple that, despite their love and desire for each other, are still at odds on the matter. Matthew Socey (her  husband, Cinesias) brings comic timing to a new level as he is continually and painfully denied the fulfillment of his desires.

Also at loggerheads are the Leader of the Women (MaryAnne Mathews), Leader of the Men (Robert Webster), and the Magistrate (Eric Bryant) each of them chewing up the scenery as if it were their final meal.

Speaking of the men, being that the story surrounds the baseness of themselves, they are mainly comic relief. However, each brilliantly shows their ability to handle these barbs – especially Jurrell Spencer as the Herald who has apparently “cut a hole in the box.”

I was saddened to discover that most of the audience had never head of the story, but proud of their reception to it afterwards. I do adore this play. It has an important message and it needs to be heard throughout our country and the world.

You have your chance this Friday through Sunday, Oct. 14-16, at The Cat theatre, 254 Veterans Way in downtown Carmel.