Zach and Zack

IndyFringe: YAS, Twain

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

By Wendy Carson

Zach & Zack have returned to the Fringe with their latest historical farce. This look into the life and times of Mark (or maybe Shania) Twain enacted by a diverse cast gives you an unusual insight into highlights and lowlights of Twain’s story.

From the beginning of the show, when each cast member comes out dressed as Twain (complete with overstated mustaches) arguing about the exact wording of one of his quotes, you know this will not be a typical offering. Then Mary Margaret Montgomery bursts in late and begins to start her presentation on Shania Twain (she wasn’t listening at rehearsals).

The narrative begins in earnest once they unfurl the blue fabric representing the Mississippi River. The part of Twain is never played by a single actor but each member of the troupe embodies a different element of his story.

Twain’s younger years and the origin of his pen name (he was born Samuel Clemens) are touched upon as well as his and his brother’s ill-fated trip to Nevada. They were too late for the Gold Rush, but this period brought about the inspiration for his first story which launched him to a decent amount of fame.

We touch on several of the people and stories that influenced him throughout the years, including his tempestuous courtship and marriage with his future wife Olivia, portrayed brilliantly by Tiffany Gilliam.

Everyone is then treated to the delightful interlude that is, “Matt and Evan Explain the Novels”. This wacky bit highlights Matthew Altman and Evan Wallace’s comedy chops as well as giving a brief overview of the various novels Twain wrote.

Christian Condra’s turns as Twain’s brother, Orion, and the Fallen angel, Satan, highlight his spectacular range as an actor. Shawnte Gaston is slips from character to character so effortlessly that one could easily overlook the intense skill needed to embrace the magnitude of her talent. Montgomery’s spunk and determination to promote her own Twain story offers much-needed comic relief in a tale that takes many darker turns than one would expect.

If audiences flock to this (Wednesday, Saturday and Sunday, Aug. 21 & 24-25, at the District Theater) as vigorously as they did with past Zach & Zack shows, buy your tickets immediately as future performances are already close to selling out.

Zach&Zack ‘Rocky Horror’ at Athenaeum – ’nuff said

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By John Lyle Belden

I could probably skip the synopsis on this one – Anybody here know how to Madison?

“The Rocky Horror Show” (note the omission of “Picture,” this is the live stage version) has returned to Indianapolis like a Halloween tradition, gracing the haunted stage of the Athenaeum,

Presented by Zach&Zack – produced by Zach Rosing, directed by Zack Neiditch – the play greatly resembles the movie scenes and songs, with a few differences (no dinner scene, for instance). The opening theme is a brilliant tribute to the film, complete with cast credits. But the actors here have made these characters their own: for instance, Dave Ruark plays sassy “Sweet Transvestite” Frank N. Furter, not an impression of Tim Curry in the role.

Adam Tran and Andrea Heiden are fun as Brad and Janet – the pair of squares thrust into a night of “absolute pleasure,” and Joe Doyel has stage presence to match his pecs and flex as muscular Rocky (the Creature). But the scenes are not stolen but outright owned by Davey Pelsue as Riff-Raff, combining his considerable acting chops with his rock-star charisma. Also wonderful are Anna Lee as Magenta, Alexandria Warfiel as Columbia, and Josiah McCruiston as Eddie and Dr. Scott.

But is it fair that while Adam Crowe is excellent as the no-neck Narrator, his scenes are pre-recorded so that he can actually see this great show from the audience, while the rest of the cast can’t? And where did his neck go? I blame aliens.

Kudos also to Erin Becker for her “big mouth.”

Perhaps I’m not taking this review seriously enough, but then consider what I’m supposed to be critiquing here. For crying out loud, the best lines are typically shouted by the audience! (And yes, you can do that – just no props allowed, by theater policy.) The bottom line is that this is not just a “play” or even your typical musical, it is an experience. And with this competent crew, you are assured a very good time. (Like a – everybody now – “Science fiction, double feature…”)

Of course, tickets are selling fast. Remaining performances are Thursday through Saturday, Nov. 1-3 at the “A,” 401 E. Michigan in downtown Indy. Get info at ZachAndZack.com (or their Facebook page) and tickets here.

Zach & Zack’s ‘Angry Inch’ measures up

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By John Lyle Belden

Once again, internationally ignored superstar Hedwig Robinson takes the stage in Indianapolis, fronting “Hedwig and the Angry Inch.” The German glam goddess tells her story while shadowing former partner Johnny Gnosis, who is on another stage, reaping the benefits of scandal.

“Hedwig,” the acclaimed Off-Broadway musical, is a transcendent sensory experience when done right — and Zach (Rosing) & Zack (Neiditch) may have succeeded with this month’s production on the Epilogue Players stage.

That’s right, this punk youthquake is in the little corner theatre that typically showcases older actors. But on the other hand, given her Cold War backstory, the character of Hedwig isn’t so young anymore. The show was originally performed and set around the year 2000, so to keep the story fresh this play blurs the last 20 years into a spacetime setting of its own — not hard to reconcile for folks like me for whom the 20th century feels like yesterday, but might require some don’t-think-about-it for younger viewers.

Tim Hunt is Hedwig, with face, voice and attitude much like the show’s creator and original star, John Cameron Mitchell. Her look is made complete by exquisite costumes and headpieces by costumer Beck Jones, especially during “Wig in a Box.”

Hedwig’s present husband, Yitzhak, is portrayed perfectly by Kate Homan, from his sulking resentment and grudging fidelity to an outstanding transformation at the end.

They are backed by a solid onstage band of Jacob Stensberg, Matt Day, Steven Byroad and Andrew McAfee. They perform on a punk-aesthetic stage complete with cleverly used discarded-but-functional televisions.

As fans know, the “Angry Inch” refers to more than the band; it’s the result of the botched sex-change operation in East Berlin when young Hansel Schmidt became Hedwig. So, needless to say, there is mature content in this show (but no nudity). And as the historical context slips further into the past, and it being less unusual to see a Trans entertainer on stage, we are confronted with the other, larger, more universal theme of the play — the personal search for completion.

This world’s foundational myth (in the “Origin of Love”) is that humanity was only content when each “person” was a complete set of two individuals fused together. But in the longing for finding one’s other half, they ironically lose or give away parts of themselves. This is Hedwig’s journey — losing her “parts” to gain a man, yielding her creativity in the attempt to hold another, then denying Yitzhak his own completion for as long as her own soul is fragmented.

As the many puzzles presented come together, we all share in the completion of a beautiful experience, a feeling no one can tear down.

Performances are Thursday through Sunday (Jan. 11-14) at 1849 N. Alabama St. Click here for info and tickets.