Yolanda Valdivia

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.

‘…Now Change’ has changed!

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By Wendy Carson

Mud Creek Players brings us the delightful relationship-based musical comedy, “I Love You, You’re Perfect, Now Change.” However, after casting the production with scripts from a previous version, director Kevin Bell discovered that the “perfect” script had itself changed, thanks to updates by the creators, Joe DiPietro and Jimmy Roberts.

Therefore, if you’ve seen a past version of this show, get ready for a few new twists and takes on some of its classic skits.

This production’s expanded cast keeps the laughter rolling throughout, deftly moving from one scene to the next. Highlights include: Alex Bast’s sweet desire to be more of a ‘Stud” while Kennedy Wilson yearns to be more of a “Babe”; Lauren Werne’s poignant dating video; Kristin Hilger & Logan Laflin sharing a movie date; and Jeremy Crouch and Derek Sumpter just being “Guys”. It’s impossible to pick just one scene to highlight the talents of Onis Dean, Yolanda Valdivia, and Nicole Crabtree, as each remembered role is just as fantastic as the next. I also loved the inclusion of stagehand Meriah Reynolds as an extra included in parts of the show.

If this isn’t familiar, know that the musical is a very funny and at times touching tribute to relationships, from dating to marriage and family to finding yourself single and seeking again.

So, head out this Valentine’s weekend (Feb. 14-15) for a lot of love and laughs at Mud Creek, 9740 E. 86th St., Indianapolis. Get tickets at mudcreekplayers.org.

Fonseca Halloween ‘spooktacular’ returns

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By John Lyle Belden

Call it another Indy holiday tradition: Fonseca Theatre Company tickles your funny bone (and the rest of your skeleton) with “Boo-La-La! An Indianapolis Spook-tacular 3,” directed by FTC board president Yolanda Valdivia.

A suspiciously normal-looking cast – Jean Arnold, Preston Dildine, Brant Hughes, Charlie Rankin, and Joshua Short – present a variety of creepy yet funny short plays (including one each by Arnold and Dildine) interlaced with popular songs by the likes of Hall & Oats, Oingo Boingo, and The Ramones.

“Cryptid Group Therapy” by Emily Worrell has a Latin flavor, as well as one of West Virginia’s biggest attractions; “Olly Olly Oxen Free” by Jacquelyn Priskorn delves the most into suspense, as the “game” gets serious; “Rent-a-Stiff” by Fred Tacon is absurdist satire with businesses that would kill to gain an edge; Dildine’s “100 Steps” has us feeling for a spirit stuck in a popular “ghost tourism” spot; “Fair is Foul” by Donna Latham has a Wyrd Sister meeting folks even weirder – celebrity makeover hosts; Arnold’s “Zombie Moves” takes various positions on physical fitness prior to an evening of scaring mortals; and “Bloodsuckers Anonymous” by Paige Scott has the old-school Impaler commiserating with some more recent popular vampires.

This gang all have plenty of experience making local audiences laugh, and do so splendidly here. In addition, Short gets to show off some exceptional physicality, including his Michael Jackson-style dance moves. The musical bits feel more integrated this year, with visual treats along with each cast member getting to sing. Kudos to costume designer Jeanne Bowling and props by Rebekah Radloff for giving it all the right look. Mad Brown is stage manager.

The trick to experiencing the fun side of Halloween is to treat yourself to “Boo-La-La!” It runs through Oct. 27 at 2508 W. Michigan St., Indianapolis.

In addition, there will be a “Boo-La-La-Jr!” the afternoon of Oct. 26, featuring sketches written by the young actors involved – tickets for the youth version are pay-what-you-will.

For regular tickets to the main version, visit fonsecatheatre.org.

FTC presents genuinely haunting tale

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By John Lyle Belden

And now, a dark comedy in which characters are often plunged into darkness.

“A Skeptic and a Bruja,” the play by Rosa Fernandez presented by Fonseca Theatre Company, is also the title of a paranormal podcast by three women of color: Jess (Arëe Lyn) is the Bruja (Spanish for “witch,” that in this case references a particular spiritual practice); Sam (Cara Wilson) is the skeptic, compulsively seeking a logical explanation for anything that happens; and Remy (Yolanda Valdivia) handles all the tech, making audio and video recordings of the other two as well as setting up a/v equipment to detect and record anything weird.

They have come to investigate an old house being converted into a bed-and-breakfast by professional chef Pricilla (Chandra Lynch). Before the podcasters arrive, we already hear the thumps and see a door open itself. But, of course, all is quiet when the investigators arrive. Sam openly wonders if this will be worth their time, while Jess sees it as at worst a free stay at a quaint B&B with gourmet meals. They are fascinated by the upstairs room full of creepy dolls, though.

Soon enough, the entities in the house make themselves known, taking advantage of the fears and regrets each of the women were already afraid to confront, especially for Remy, who just recently lost her mother.

Directed by FTC Producing Director Jordan Flores Schwartz, the play effectively grows tension from laughs to chills as circumstances grow more serious. Well-executed startling effects are employed, including sounds, visuals, and falling objects, aided by the work of light and sound designer Ben Dobler.

Our foursome play these scenes with zero camp. Lynch has Pricilla already inclined to think she’s haunted by her partner who died of cancer a year earlier. Wilson expresses Sam dealing with her mask of rationality rapidly fraying. Lyn gives Jess the centered calm of a woman who has seen ghostly entities her entire life, only growing concerned when her guardian spirit makes an abrupt exit. Valdivia takes on the complexity of Remy’s being the target of the house’s unseen residents, coupled with reconciling the fraught relationship she had with her Mom.

You could look at this as a cool telling of a ghost tale somewhere between “Scooby-doo” and “The Conjuring” films, or, as an unconventional story of women finding their inner strength to deal with the regular-world grief that haunts them (and eventually, all of us). I think it’s both. Regardless, this haunted house is worth a visit.

“A Skeptic and a Brujah” plays through July 28 at 2508 W. Michigan St., Indianapolis. For info and tickets, visit fonsecatheatre.org.

Southbank takes up Quixote quest

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By John Lyle Belden

“Take a deep breath of life and consider how it should be lived.”

These words spoken by Miguel de Cervantes as his creation Don Quixote in the musical “Man of La Mancha” help sum up the method behind the madness of the deluded knight at the center of the story – and is perhaps his most lucid advice.

Southbank Theatre Company and its founder, director Marcia Eppich-Harris, present the man, the madness, and the dangerous times in which this celebrated satirical novel came forth in their current production of the Broadway classic. Written in the 1960s by Dale Wasserman with music by Mitch Leigh and lyrics by Albert Marre, the story is loosely adapted from Cervantes’s 1605 book, portraying the author working through select scenes and characters in the more sweeping novel.

In the late 1500s, the dreaded Spanish Inquisition has arrested Cervantes (Paul Hansen), along with his servant (Anthony Nathan), not for a certain book he has yet to finish, or for being an actor or playwright, but because in his temporary employ as a tax collector, he tried to foreclose on a church. This lands him in our principal setting, a spacious communal dungeon in which the other prisoners mill about, seeking to cure their boredom. Their Governor (Scott Hall) declares the newcomer should stand trial for charges of the criminals’ choosing.

Cervantes seizes the opportunity – both to buy time and see how his stories are received by others – and “defends” himself by putting on our main story, the play within the play. Pasting on gray whiskers, he declares himself Don Quixote, with his servant now the farmer-turned-squire Sancho Panza. Other prisoners join in as various characters as needed.

If you know nothing else of this tale of an aging minor nobleman who reads one too many medieval romances and thinks himself the last defender of Chivalry, you have probably heard about the windmill. It’s actually a small part of the story, and Quixote’s charge against the four-armed “giant” happens quite soon in the musical. This is how we theatre folk get you, casual fan: come for the windmill tilting, stay for the meaningful stuff.

The plot really gets rolling when Quixote and Sancho arrive at an inn, which our knight sees as a castle (naturally). The Innkeeper (Hall) humors them, and we meet the other guests, a gang of muleteers led by Pedro (Kevin Caraher) who harass Aldonza (Jessica Hawkins), the wench serving up drinks, and maybe something more if the price is right. Quixote sees the woman, envisioning a high-born lady whom he declares to be “Dulcinea.”

Meanwhile in La Mancha, Quixote’s niece Antonia (Ashton Driscoll) and housekeeper (Yolanda Valdiva) enlist the help of a priest (Jericho Franke) and Dr. Carrasco (Rachel Serago) to find the man and bring him back to his senses.

The cast also includes Kendall Maxwell, Scott Stockton, Amalia Howard, Susannah Briscoe, Aaron Henze, Andrea Haskett, and Will Harris, who also plays guitar in coordination with the backstage orchestra, led by Seth Young.

A notable aspect of Cervantes’s satire is the comedy of good intentions gone awry, usually with others hurt while our oblivious old man goes blithely onward. This especially hurts Aldonza, who ironically becomes the one who most gets the point of this pointless adventure in the end. Thus, the musical asks a lot of Hawkins, and she is more than up to the challenge. She is compelling and commanding as a woman coming to terms with the possibility that her horrid past and present don’t define her future.

Veteran actor Hansen captures that perfect mix of maturity and whimsy to tackle his double-role. In both modes, he exudes confidence that stays a step ahead of the fear of a darker reality. Nathan, who must have been a court jester in a past life, is totally in his comic wheelhouse here. Serago, who as a prisoner is Cervantes’s “prosecutor” at trial, keeps one guessing if maybe the good Doctor is getting a kick out of tormenting Quixote in his efforts to save him.

There is much to unpack thematically, especially the simultaneous folly of and need for striving for a higher ethos. Perhaps this is why its most famous song, “The Impossible Dream,” resonates so much for so many. Hear it in context and see the “Man of La Mancha” at remaining performances Thursday through Sunday, March 14-17. at Shelton Auditorium, 1000 W. 42nd St., Indianapolis (edge of Butler University). For tickets and information, go to southbanktheatre.org.

Monument comic drama addresses heavy topics

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By John Lyle Belden

After many delays, Monument Theatre Company finally brings “Elephant,” by Lewis Morrow, to the stage.

The workplace comedy tackles serious topics as a diverse team of employees anticipate a visit from the new CEO. They work in an unspecified occupation that involves customer service and measurable performance, both of which are important numbers to continued employment and advancement.

King of both metrics is Marcus (Kass Dowell), a proud Black man who feels a little stung by being passed over for promotion to the team supervisor. Mayra (Yolanda Valdivia), a Latina who likes to give opinions but not make waves, says she understands his complaint but that Clarissa, the white woman who got the job, was more involved with teammates. Rae (Rayanna Bibbs), a Black woman, doesn’t seem too perturbed unless it’s said there’s no racial tension involved. White guy Paulie (Brant Hughes) is late as usual, cracking wise to cover any discomfort.

Clarissa (Becky Larson) sweeps in, chipper as ever, and soon talks about the team’s presentation for the CEO, which she has composed. This is, in reference to the play’s title, the “Elephant in the room” that must be addressed. It turns out a different animal’s representation is involved, and the entire team explodes in their reaction – especially Marcus, who has to leave the room to control his rage.

Directed by Dowell, this play hits on many topics of unacknowledged privilege and racial offense, as well as sexism and toxic workplace secrets. As it turns out, the room has a whole herd of pachyderms to unpack.  

Verbal barbs are slung among all the members of the group, reminiscent of ensemble squabbles like “…Virginia Woolf,” with each giving as good as they get. It’s an exhilarating exercise for the actors, I’d guess, and fascinating to watch with this talented team. There are many intriguing points made and debated – worthy of thought long after the curtain call – and the play also includes two strategically placed personal flashbacks to give insight into stands the characters take.

Thomas Burak makes an appearance as a police officer, bringing a climax that’s far too relevant to events of recent years.

“Elephant” has three more performances, Friday through Sunday, Nov. 17-19, on the Indy Eleven stage at the IndyFringe Theatre, 719 E. St. Clair St., Indianapolis. Get tickets at indyfringe.org. Get info at fb.com/MonumentTheatre.

Catalyst’s ‘Starmites’ shine

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By John Lyle Belden

First a few disclaimers: Wendy and I are good friends with Casey Ross and adore everything she does. Furthermore, as little children John and Wendy watched ‘70s Saturday Morning cartoons and enjoyed the trippy creations of Sid & Marty Krofft; also, John’s favorite movies include the animated “Yellow Submarine” and the cheese-tastic 1980 flick “Flash Gordon.” For younger readers here, think the goofy fun of the live-action Power Rangers shows.

Where I am going with all this is to set your expectations for Ross’s lifelong passion project, the unlikely Broadway cult classic “Starmites,” which she has adapted with the blessing of its creators, Barry Keating and Stuart Ross (no relation). Designed and directed by Casey Ross, this Catalyst Repertory production is on the Basile stage of the IndyFringe Theatre through Oct. 14.

In our current world, twenty-ish girl-at-heart Eleanor (Jaelynn Keating [again, no relation]) is too attached to her comic book collection, especially the obscure 80’s sci-fi hero series “Starmites.” As she flips the pages of the Legend of Milady, just a dimension or two away the actual defenders of Innerspace sense that a beautiful young woman has picked up the “sacred texts.” Could she be the Milady foretold? They call out to her.

Eleanor hears voices, which convinces Mom (Damaris Burgin) she is right to have the comics slipped back into their protective sleeves and sold to the neighborhood bookshop. But as the girl puts her collection away, she is suddenly whisked away to Innerspace by the wicked Shak Graa (Paul Hansen).

Our villain wants the Milady prophesy fulfilled, as it will reveal his most sinister creation, the Cruelty, a (musical) instrument of torture. Not believing any of this is happening, Eleanor evades him and encounters Spacepunk (Joseph Massingale), leader of the Starmites – gadget tech Ack Ack (Bradley Allen Lowe), goofy Razzledolf (Noah Nordman) and suave Harrison (Matthew Blandford). Faced with painfully naïve boys in men’s bodies who are stuck (since their comic was cancelled in 1994), she decides that either this is somehow real, or at least the best way out of this “delusion” is through it, agreeing to join their quest to find the Cruelty ahead of Shak Graa. They are led by the lizard Trink (puppet design by Timothy Taylor), who says in a darkly familiar voice he’s seen the dread instrument in Banshee Castle – the one place the Starmites dare not go.

The castle is occupied by the man-eating band of Shotzi (Addison Koehler), Balbraka (Yolanda Valdiva), Maligna (Jessica Hawkins), and Banshee Boy (Brant Hughes), led by their dread Diva (Burgin). The way they read the texts, a true Princess must marry to reveal the Cruelty, which means Diva’s daughter Bizarbara (Keating) can wed a Starmite before having the whole squad for dinner (as the main course).

So there you have it, the Hero’s Journey slash Fairy Tale slash ahead-of-its-time Female Empowerment done with catchy tunes, fun dancing, a healthy dose of humor, and low-budget aesthetic – in its context, a delightfully entertaining feast for the inner child in all of us. Inspired by the books of the Comics Code Authority era, beyond a little middle-school innuendo this is an all-ages show – the rare Casey Ross production without a single F-bomb.

Troupers that they are, the cast commit to this otherworldliness, especially Hansen, delivering an over-the-top villain with a wild smile and manic evil laugh, as well as literally puppeting Trink from the shadows that seem to follow our heroes around. Massengale manages to project his leading-man persona through the colorful wig and immature – though willing to learn – worldview, like a noble flightless Peter Pan. Starmites and Banshees alike also put their all into this. Keating’s character(s) may or may not be the prophesied heroine, but she is very much the star of this show. Her songs are limited, making her powerhouse voice especially stand out. Fortunately, they include a duet with Burgin, whose soulful voice is her superpower.

As some original music was lost, music director Billy Sharfenberger helped with arrangements; he leads the stage-right band of Caleb Hamilton, Graham Bethal and Travis Zinck. Kathy Hoefgen is stage manager (aided by Hughes).

Granted, this is not your typical musical, or familiar material, but we earnestly feel this is worth taking the chance. Step into Innerspace and the experience that is “Starmites.” Find the stage at 719 E. St. Clair St., Indianapolis; tickets at indyfringe.org.

Troy story gets musical treatment, giving the women their say

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By John Lyle Belden

“Troilus and Cressida” is regarded as one of Shakespeare’s “problem plays,” problematic for both its blending of comedy and tragedy, and the unclear resolution of the title characters’ story. But it is set during the myth-shrouded events of the Trojan War – and war is messy.

In crafting “Troilus & Cressida: The Musical” for Southbank Theatre Company, Marcia Eppich-Harris adds to her adaptation a series of songs she wrote and composed, giving the production an operatic feel and allowing her to emphasize the plight of those who suffered most: the women of Troy.

Our narrator is the prophetess Cassandra (Yolanda Valdivia). True to legend, her words are frequently ignored when they don’t say what Trojan (male) leaders want to hear. Therefore, it is up to us to listen.

Seven years into the siege of Troy, the Greeks – led by Agamemnon (Rachel Snyder) with Ajax (Kendall Maxwell), Ulysses (Kevin Bell), Diomedes (Nick Asher), and fights-only-when-he-wants-to Achillies (Brant Hughes) – seek a way to break the stalemate so they can sack the city and go home. A challenge for single combat between champions is offered, and the Trojans – led by Priam (Karen Webster-Cones) with sons Hector (Robert Beltz), Paris (Natalie Marchal) and Troilus (Matthew Walls), and military leader Aeneas (Aaron Henze) – take the bait.

There is also romance: As her father has gone over to the Greeks, Cressida (Amalia Howard) is cared for by her uncle, Pandarus (Paul Hansen), who cleverly arranges her courtship with Prince Troilus. Love blooms – until a prisoner swap nips that in the bud.

There is also comedy: Agamemnon’s Fool, Thersites (Anthony Nathan at his goofy best) takes up no sword but employs his rapier wit, and juggling, to survive and mock the senseless goings-on.

There is definitely tragedy, such as the lengths Achillies’ servant and lover Patroclus (Will Harris) will go to for his master.

And never forget the women, as Cassandra, Cressida, Hector’s wife Andromache (Jennifer Kaufmann), and Helen (Carolyn Rae Lynch) for whom the Greek ships arrived, lament their position – even in nobility – of being little more than property.

Lane Snyder is unforgettable as Agamemnon’s daughter Iphigenia, especially in the role she takes on in the second act (the Bard’s five acts are condensed to two).

As in the Shakespeare original, the play ends with little more than death and disillusionment. The legendary climax to the war – a kingdom for a horse, as ol’ Will would say – is only hinted at. For its moment, though, Eppich-Harris’s musical lets us dwell on the grinding endlessness of human conflict, and the innocents (and innocence) destroyed.

Four performances remain: Thursday through Sunday, July 20-23, at Shelton Auditorium on the southwest corner of Butler University, 1000 W. 42nd St., Indianapolis. For information, see southbanktheatre.org. Tickets are available through Butler’s site.

The ‘flip’ side of the American ‘Dream’

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By John Lyle Belden

Some lucky people find themselves in a rather American dilemma: Is it better to hold on to a legacy, or to cash out? This situation is at the heart of the new comedy, “Dream Hou$e,” by Ellana Pipes, playing at Fonseca Theatre Company.

Latinx sisters Patricia (Yolanda Valdivia) and Julia (Lexes Rubio) have this good fortune, inheriting the family’s beautiful mission-style home, hand-built over a century ago, from their mother who recently passed. Wanting to get the most out of their property, Patricia contacted the real estate reality TV show, “Flip It & List It!” Suddenly, the host Tessa (Jean Arnold) appears with her crew (Brant Hughes, Chris Creech and Mad Brown) to record every step of the house’s transformation.

At first reluctant, the sisters are stunned into compliance with the amount the home could sell for. But things take a turn when, as renovations begin, the walls begin to bleed.

This is not the only bit of magic around, as the sisters (as siblings do) can suspend time for a moment when they really need to discuss something. Otherwise, we tackle some real-world issues of neighborhood transformation/gentrification, the struggle to preserve culture, and how does one best move on when dealing with unavoidable change?

Arnold is a wild joy to behold as the ever-upbeat TV host. She’s savvy in the ways of media and real estate, lacing her persistent charm with an all-business demeanor. However she’s never mean, even taking a liking to the young women; her candid honesty helps keep her from coming off as the villain.

Valdivia and Rubio shine in their own ways. They each approach the situation differently, and have issues to resolve with the house, and each other. Still, their portrayal shows the tested patience of a family bond, with the easy give-and-take of a comedy duo.

Director Jordan Flores Schwartz says it is in Pipes’s script that the community in the play is called “Highville,” so it is either by fate or coincidence it is staged in the Near-West Indy area of Haughville. Given ongoing events in the surrounding city, this does seem apt.

With equal parts hilarity and heart, “reality” and the surreal, this “Dream Hou$e” is well worth a look. Performances run through April 16 at 2508 W. Michigan St., Indianapolis. Tickets and info at FonsecaTheatre.org.

Shakespeare fun and foolishness set to music

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By John Lyle Belden

It’s hardly a new idea to base a musical on a Shakespeare play (a recent Oscar-winning remake of an Oscar-winning film comes to mind). New York based songwriter Shaina Taub, with Kwame Kwei-Armah, adapted the Bard’s comedy “Twelfth Night” for its musical debut in Central Park in 2018.

Southbank Theatre Company brings that version to the IndyFringe Theatre (outdoors preferably, but on the Basile stage in bad weather) through May 8. 

If the story doesn’t easily spring to mind, note it is where we get the quote, “If music be the food of love, play on.” The play checks many of the boxes for a Shakespeare comedy: disguises, mistaken identities, siblings separated, wild wooing, nobles who will not marry, and ending up with a wedding anyway.

What makes this musical version exciting and interesting is that Taub’s songs do more than just put a tune behind Shakespeare’s words. They illuminate the themes of this old story, making it fresh and relatable. This makes the show the perfect companion to a traditional production of the play.

For instance, our central character Viola (Michelle Wofford), a woman recently arrived in mythical Illyria (vicinity of today’s Albania) finds it safer to disguise herself as a man, opening up surprising opportunities. In the song “Viola’s Soliloquy,” she sings of “the Devil’s blessing” that simply wearing trousers gives her.  

Viola, taking the name Cesario, finds her/himself between Duke Orsinio (Dave Pelsue), his employer, and the Countess Olivia (Natalie Fischer), who keeps spurning Orsinio’s advances, but has found herself smitten with Cesario. However, the Viola within the disguise pines for Orsinio, who only sees in her a dutiful young man.

Still, this wouldn’t be a Shakespeare comedy without the silly subplots. There is much opportunity for merriment in the Countess’s court, with sack-sotted Sir Toby Belch (Mark Cashwell), worst-at-wooing Sir Andrew (Kim Egan), mischievous Maria (Brittney Michelle Davis) and Fabian (Jordan Paul Wolf), who all seek to take pompous Molvolio (Hannah Boswell) down a peg or two.

Then there is the arrival of Viola’s lost-at-sea twin brother Sebastian (Matthew Blandford), accompanied by his rescuer Antonio (Z Cosby), who braves arrest to be by the man he secretly loves. Other roles are played by Brant Hughes, Ron Perkins and Yolanda Valdivia, who is also on hand as Officiant for the inevitable marriages. 

All this is accompanied by a live band, and the wit and wisdom of accordion-wielding jester Feste (Paige Scott).

With all the action of the classic comedy, but condensed down to a manageable hour and a half, this romp is an excellent showcase for the talented cast. Scott is simply amazing, whether giving chiding counsel, a beautiful ballad, or some handy narration to the audience. Speaking of fools, Boswell is a riot in an arc that goes from bombastic to pathetic, but always fun. Cashwell employs his improv skills and comic chops to great effect. Pelsue has long cornered the market on cool-guy-who-can-sing, so is totally in his element. Fischer has the sweet/feisty mix down perfectly. And Wafford is endearing with an inner strength befitting the character. Everyone else? Awesome, awesome, awesome – directed by Max McCreary with musical direction by Ginger Stoltz.

Performances are Thursday through Saturday evenings, and Sunday afternoon, at IndyFringe, 719 E. St. Clair, Indianapolis. Get information at southbanktheatre.org and tickets at indyfringe.org.