Supporting Local Theatre

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With all the distractions around, there are too many excuses to not see live theatre.

We give you the reasons you should.

Welcome to PWJW, with information on live drama, comedy, musicals, dance, etc. in and around Indianapolis, Indiana. As in any modest-sized metropolis, there is a surprising amount of activity and talent on numerous stages, from amateur to Equity, from old favorites to avant-garde, with performers and audiences of all ages. If you are seeing this on the Main page, scroll down for the latest reviews. We will also strive to keep the calendar page updated. Thanks for looking in on us!

Click on Pods With John And Wendy in the Menu for our Podcast! (On Hold at the moment, we plan to resume soon)

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On THIS PAGE is the linked list of reviews from the 2022 IndyFringe Festival. 

The 2021 IndyFringe on THIS PAGE.  (No Fringe fest in 2020.)  The 2019 IndyFringe on THIS PAGE.  The 2018 IndyFringe on THIS PAGE. We didn’t see everything, but did get in most of the shows.

Looking back, we don’t have an index page for IndyFringe 2016 or 2017, but HERE is one we did for 2015.

If you place “Bard Fest” or “OnyxFest” in the Search, you can see our coverage of those shows as well.

IndyFringe: LOLCow

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This is part of the annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe 2026, held Aug. 13-23 in venues around downtown Massachusetts Ave. Ticketing and other information at indyfringe.org.

By Wendy Carson

Casey Ross is not only a long-time Fringe creator, but she is also known for her brilliant ability to portray dialogue as a true conversational art form. However, since her personal tastes sometimes run only somewhat adjacent to the mainstream, she is not as well known as she deserves to be.

“LOLCow,” her latest offering, is a brilliant diatribe on Influencer Culture, the power of the internet, the price of fame, and trust in today’s world. Sadly, I feel most of her audience will not see this. Those who take the play at face value could miss the delicate nuances of the script.

While on the surface it is the story of two somewhat awful people abusing themselves and each other for their own purposes, it shows how the 24/7 news cycle and internet culture have led to the monetization and prevalence of the worst of society for the enjoyment of others. (The title references the urge to “milk” a meme for more online fame.)

I will admit that this show is not for everyone, but I request you do consider watching it, bringing an open mind and an inquisitive eye to try to catch the real message underneath the “spectacle.”

Presented by Catalyst Repertory, performances are 12:30 p.m. Saturday and 8 p.m. Sunday, Aug. 22-23, in the Basile Theatre at IF (719 E. St. Clair).

IndyFringe: Teeny Tiny Tempest

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This is part of the annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe 2026, held Aug. 13-23 in venues around downtown Massachusetts Ave. Ticketing and other information at indyfringe.org.

By Wendy Carson

Consummate local favorites Paige Scott and Jason Adams once again bring their talents together for this delightful retelling of Shakespeare’s “The Tempest.” Using simplistic props and traditional storytelling methods, they mine both the humor and the utter whimsy of their source material.

Never have I been more entertained, by the story or its presentation. This show highlights every nuance and skill of both actors while keeping the audience so engaged you dare not blink lest you miss a second. This is truly the best show the two have ever attempted and fully deserves the huge crowds it keeps drawing.

Luckily, there are still three performances left in which to experience the exquisite pleasure of the duo and their abilities. Presented in the Barnes & Thornburg Blackbox Theatre at IF (719 E. St. Clair), see them at 8 p.m. Wednesday, Aug. 19, and 2 p.m. Saturday and Sunday, Aug. 22-23, appropriate for ages 13 and up. Miss them at your own peril.

IndyFringe: ‘They will come out and dance again’

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By John Lyle Belden

This is part of the annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe 2026, held Aug. 13-23 in venues around downtown Massachusetts Ave. Ticketing and other information at indyfringe.org.

Reviews of: “First and Last Breath,” by Seda Negra/Black Silk, “Mārgam – The Path in Bharatanātyam,” by Team Laya; “On the Edge of Now,” by Pulse Dance Theatre; “Perfect Ten!” by Crossroads Dance Indy; “Ready Yet?” by Theo Renee; “SOUL: Reimagined” by Kenyetta Dance Company.

The above quote was not said on stage, but by a little girl in the audience behind me, said with naïve and wishful confidence at the end of the show. Her father then gently explained to the enraptured young fan that the dancers would not return, at least in that hour. The previous day, I saw a different child standing by her chair, eyes fixed up on the stage, gently swaying like she was part of the action before her. In a way, she was.

Such inspiration, for all ages, is part of what makes dance and movement so important to the IndyFringe festival. Perhaps you, too, can get swept up in these performances (or if their dates have passed, watch for your next opportunity).

First and Last Breath

This production by Seda Negra/Black Silk, incorporating (according to the company) contemporary and traditional dance forms to explore cycles of ending and rebirth, will perform in the Athenaeum Basile Theatre Aug. 21, 22, and 23. We will post a more complete review here later.

Mārgam – The Path in Bharatanātyam

The title refers to a particular form of traditional dance from India.  Presented with traditional music and costumes by Team Laya of Columbus, Ind., the three women dancers share with us one of the great Hindu stories, the life of Rama, who was considered the ideal man and an incarnation of Vishnu.

After a traditional invocation, we are shown that before Rama was man or legend, he was a child. A dancer gracefully portrays his caring mother, guiding, chiding and embracing her young son, her precise movements perfectly miming these activities. The three next portray other events in his epic, including his unjust exile, the loyalty of his brother Lakshmana and wife Sita, and his battles to finally gain his rightful crown.

The dancers show great physical control, grace, precision and endurance. Their ankle bells add to the rhythm, much like tap shoes in Western dance. Even if you don’t know the story, the sense of deep, ancient culture is readily felt.

To share in this experience, there is one scheduled performance, 12:30 p.m. Saturday, Aug. 22, on the intimate Cabaret stage at The District Theatre, 627 Mass. Ave. Note that seating is limited so, like the first performance on Aug. 15, a sellout is likely.

On the Edge of Now

The “pulse” of Pulse Dance Theatre is apparently an elevated heartbeat, as the works in “On the Edge of Now” plumb emotional depths. The opening piece, “Hypervigilance,” choreographed by Amanda Hoover, portrays the trapped feeling of past traumas, presented by the grasping hands of company members, seeking to restrict one’s life.

The other dances are choreographed by PDT artistic director Amanda Browning, including parts of “Through the Pulse of Memory” (solo by Morgan Johnson), “Frequencies” (Magdalynn Derloshon and Izaak Vilbrum), and “Elegy for Thoughts Unspoken” (company). In “Suite Bru,” the ensemble deliver in movement a perfect reflection of two of Dave Brubeck’s most famous jazz numbers.

An excellent hour of contemporary dance, one performance remains at 12:30 p.m. Saturday (Aug. 22) in the Basile Theatre upstairs of the Athenaeum (401 E. Michigan Ave.).

Perfect Ten!

Crossroads Dance Indy celebrates a decade of performances with a program of 10 selections to fascinate and amuse us.

With choreography by Brittany Gaither, Nicole Mikesell, Sammi Kindler, Meghan McGill, Kathie Porras, Clarice Nolan, Dani Conti, and Gabby Padilla, the company approaches the concept of “ten” from all manner of angles, set to music ranging from Blondie to Brubeck (consider “Take Five” in 10/8 rhythm) to Rodgers & Hammerstein. There’s a humorous piece on the declining value of a dime, and even a look back at being ten years old. It concludes with a clever look back at their favorite past dances.

As for the common slang definition of the title, “Perfect Ten,” the brave and beautiful ladies (and gentleman) of this troupe remind us that it’s not just that anybody can dance, but that any body can dance, and that’s more than fine with us.

Seek “perfection” at the Athenaeum Basile Theatre (401 E. Michigan) Saturday evening and Sunday afternoon, Aug. 22-23.  

Ready Yet?

Theo Renee was inspired by hearing of a dance classmate being named an “Emerging Choreographer.” The concept of what it is like to emerge, bridging the gap between being a student and a professional, brought about the project, “Ready Yet?” involving Renee and several other performers from Michigan college programs.

 This is only their second production (the first was in Ypsilanti, Mich., in January) so the show is still raw and evolving, but the pieces (seven dances and a monologue) don’t appear unfinished. They display great individual skill and control, while tapping into various emotional states. There are the two dancers whose movements are as if statues did stretching exercises, never losing their graceful presentation. Emotional strain at one point is punctuated with music suddenly stopping and starting, the dancers responding accordingly.

The most interesting and complex number starts with two dancers in a balletic style with bits of humor. Their costumes each have a fringe (appropriate!) of ribbons along the hem of skirt of shorts. As others come on stage to join the dance, dressed likewise, there is frequent trading of ribbons among them – like kids with friendship bracelets. Eventually, each will come forward with a clipped phrase, these non sequiturs building into a more profound whole.

The last piece presents despair, hiding from the calls of others while agonizing whether this is all worth it. Finally, the answer comes.

There are two more performances, Saturday and Sunday (Aug. 22-23) at the Athenaeum Basile Theatre (401 E. Michigan). If you see Theo around the festival, you could receive a free “Ready Yet” friendship bracelet.

SOUL: Reimagined

Kenyetta Dance Company delivers an unflinching examination of history some people don’t want told, a lesson written through movement, in terror and sweat. Starting with literal roots in Africa, we see people taken, broken, transported, sold and used as property. The medium of dance helps us see and practically feel the horrors, the longing, and the eventual elation. Though all was taken from them, their souls persisted, sustained by old and constant rhythms.

This is presented as a single program, with each dance flowing into the next, aided by projected visuals, light narration, and music including traditional African, spirituals, and folk blues. Of the latter, the slave auction song “Bid ‘em in” haunts us with its upbeat tone and casual dehumanization, juxtaposed with movement portraying the cruel scene. At various points, the dancers’ skill and precision startlingly depict wrists, arms, bodies, being pulled and dragged by unseen chains, expressions reminding us that not so long ago they were very real.

This may be the best dance production of the Fringe. Performances are 11 a.m. Saturday and 5 p.m. Sunday (Aug. 22-23) at the Athenaeum Basile Theatre (401 E. Michigan).

IndyFringe: ‘Leaking’

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By Wendy Carson

This is part of the annual Indianapolis Theatre Fringe Festival, a/k/a IndyFringe 2026, held Aug. 13-23 in venues on and around downtown Massachusetts Ave. Ticketing and other information at indyfringe.org.

With “Leaking: THE WOLVES ARE EVERYWHERE,” Vianna Isbister brings us a portion of her master’s thesis as we witness her exemplary talent at storytelling.

Weaving together a familiar fairy tale and highlights of her own life, she presents us with a beautiful story full of unexpected twists and turns and a glimpse of the “wolves” ever present in our own lives. While we know the base story of Little Red, we are reminded that temptation, naivete, and sexuality are the true dangers warned of by straying from the path and talking to strangers.

Isbister is a brilliant storytelling talent and gives us a tale that is raw, profound, and vulnerable. Yet her style is easygoing, approachable, and humorous. I must say that I did not see the final twists coming, which on its own is a remarkable feat.

Sadly, Monday, August 17th (today, as this posts) is her final performance, 6:30 p.m. on the Cabaret stage of The District Theatre. I really hope she continues her storytelling work and returns as her amazing talents would be an excellent cornerstone to IndyFringe’s future.

Neighbors take offense while building a fence in CCP comedy

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By John Lyle Belden

It’s said that “good fences make good neighbors,” but that depends on where the fence is.

At least that’s the case with “Native Gardens,” the comedy by Karen Zacarias presented by Carmel Community Players at The Cat, directed by Lori Raffel. Set nowadays in a nice Washington D.C. neighborhood, near-retired couple Frank and Virginia Butley welcome young couple Pablo and Tania Del Valle, who buy the home next door.

Frank (Larry Adams), who worked for the General Services Administration and does consulting from home, takes pride in the yard and flowerbed he has crafted with great care for years, hoping to finally rise above Second Place in the local gardening competition.

Virginia (Vickie Cornelius Phipps) is a strong-willed woman from a Polish-American family, now a top engineer with a major defense contractor. She doesn’t hesitate to speak her mind.

Pablo (Oscar Otero Ortiz), who was disowned by his wealthy family in Chile for marrying a poor “United Statsian,” worked his way through law school and has been accepted to a major D.C. firm. He hopes to make partner.

Tania (Yolanda Valdivia), from New Mexico – her family was there when it was just “Mexico” – is about to complete her doctorate in Social Work as well as her obvious pregnancy. Her plans for the Del Valles’ back yard are a bit different from what’s on Frank’s side: keep the big oak tree, no pesticides, and all plants native to the area.

One thing both couples can agree on is that the chain-link fence between them must go!

Replacing this barrier with a nice wooden fence must happen quickly, as Pablo impulsively invited his fellow attorneys – including a named senior partner – to his backyard for a barbecue the next weekend. However, when work begins, a routine property survey leads to a bizarre “border war.” How neighborly!

What could start out as a bit of a fish-out-of-water situation soon becomes a meditation on precisely whose “water” this is. Being near the nation’s Capital, there are political overtones – the Butleys are right-of-center, more Bush-era Republicans than the current strain; while the Del Valles are more left-of-center (New Mexico is demographically Democratic) and Tania considers herself Latinx. This informs their actions regarding what each one feels entitled to, as they work within their differing paradigms to be good people.

Our four actors deliver great examples of being bitter without becoming unlikable, as each flashes from friendly to comically enraged at a moment’s notice. As words are said (including a swear in Spanish), acorns are thrown, and legal action threatened, there seems to be little actual malice.

Katherine Floyd, Jacob Slager, and stage manager Susan Yeaw work efficiently as “Mr. Mow It All” yard services, doing the fence removal, survey, contract work and scene changes.

Kudos to Joyce Pendleton for her set decoration of the beautiful flower gardens and realistic tree.

“Native Gardens” is like a fun sitcom with lots of subtext about differing views of land and our relationships to it and each other. It points not to a position of right or wrong, but rather – however we individually see things – to being good neighbors.

Performances run through Aug. 16 at The Cat, 254 Veterans Way in the heart of downtown Carmel. See carmelplayers.org or thecat.biz.

For the troubled teen in all of us

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By John Lyle Belden

Summer Stock Stage has taken on the recent Broadway smash hit Best-Musical Tony-winning “Dear Evan Hansen” with brilliant results.

Note that as this posts, there are very few (if still any) seats left for this production, through Sunday, Aug. 9, at Schrott Center for the Arts on the Butler University campus (next to Clowes). See summerstockstage.com.

Centering on teens who see the impending end of high school as a source of relief, this drama is like the old “afterschool specials” but for the current generation. Its set-up could be played for bigger laughs, but this musical, with book by Steven Levenson, music and lyrics by Benj Pasek and Justin Paul, takes the feelings of its characters seriously. The absurdity of dealing with life and death issues at 17 provides ample honest humor to propel the plot.

Evan (Preston Angus) starts his senior year with a cast on his arm (he fell from a tree) and familiar, friendless anxiety. His single mom Heidi Hansen (Emily Ristine Holloway) encourages him the best she can, privately feeling inadequate while dealing with the stress of her job as a nurse and her college classes. Meanwhile, in another stressful scene, Larry and Cynthia Murphy (Eric Olson and Katy Gentry) are dealing with their kids, surly son Connor (Alden Duez), a senior, and daughter Zoe (Erin Rosenfeld), a junior.

In a first for a “Dear Evan Hansen” production, Zoe is deaf (as is the actor) and accompanies speech with sign language – in fact, some songs feature the cast all incorporating ASL in their choreography, and even Evan does some signing as he has long had a crush on her. Accompanying Rosenfeld at all times is Isabella Agresta as a sort of twin who provides her singing voice. Their coordination is flawless, so that understanding that there is just one girl represented becomes easy – especially considering that another character will frequently appear even though he is not really there.

That would be Connor, who displays serious mental health issues. Seeing Evan as also alone and troubled, he signs his cast. Evan had just printed out a letter to himself (“Dear Evan Hansen…”) that he wrote as a therapy assignment, but seeing Zoe mentioned, Connor lashes out, takes the paper from Evan and runs away.

We later discover that Connor takes his own life (no details given) and his parents find the letter. Seeing it addressed to Evan and signed “me,” they assume it was a last message between friends. Evan, feeling trapped and only wanting everyone to feel better, plays along. His anxiety feeds his talkativeness until an entire best-friends scenario is spun and he is trapped as the only source of solace for a grieving family.

Helping him in this charade is smart-aleck family friend Jared (Jack Diamant) and desperate overachiever classmate Alana (Aubrie -Mel Rubel). As the memory of Connor’s passing fades, they take it upon themselves to start The Connor Project to remember their (fictional) friendship and possibly help others.

If you’ve seen promotions for the musical when it was on Broadway, you likely saw the song “Disappear,” in which the Connor Project goes viral. We see various people reacting and posting on numerous screens hanging over the stage. While the moment feels triumphant, it is only the climax of the first act – there is much more to this story, including an inevitable reckoning for the title character.

Directed by Lauren Morris, we get characters in a situation that seems unreal, yet as messy as real life. Angus plays Evan with constant nervous energy, unsure of what he wants or where he fits. At first embodying the old question of, “if a tree falls and no one is there, was there a sound?” he struggles next with finding what feels like real belonging in a false situation. He commits fraud without malice, adding to his inner turmoil. Rosenfeld presents Zoe in her own whirl of confusion, forced to see a new aspect of her “monster” brother while finding affection for Evan. Olson and Gentry play a couple who were on the brink of dissolution, hanging their hopes on what they desperately want and need to be true. Ristine Holloway brings Heidi’s own struggles into the mix, desperate to keep some connection with her son.  Diamant is as close to comic relief as the show gets, while showing Jared’s own hidden issues. As Alana, Rubel is a girl seeking meaning in activity, seeing an opportunity to be the hero until the inconsistencies start to add up. Duez as Connor gives a great performance as a character who was and is always a cypher, even to himself.

I have seen a number of past criticisms of the musical for the way Evan seems to get away with his acts, and the treatment of issues like mental health and suicide, but at least in this production I see a measured handling of complex problems, with situations ending not tragically or happily-ever-after, but in a manner that allows for healing. Whatever our destinies, with honest effort, they “will be found.”

Eclipse: Circumstances shake certainty

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By John Lyle Belden

Reminding us that current controversies have deep roots, Eclipse Productions of Bloomington presents the drama “Doubt: A Parable” by John Patrick Shanley, directed by Kate Weber.

Set in the 1960s, Catholic school principal Sister Aloysius (Ellen Snyder) hears a sermon by popular young pastor Father Flynn (Michael Allen) that increases her suspicions of serious and too-familiar misdeeds. A private conversation with 8th-grade teacher Sister James (Morgan McMillan) deepens her concern, and now the younger nun is also noticing things.

Like a silent jury, we hear the Sisters mull over evidence of… what? They hardly dare to consider that which, if not investigated, would be betraying the students’ trust and innocence. We also get glimpses of the priest; what we see unsettles rather than resolves. Inevitable confrontation delivers no clarity, especially as the principal’s own beliefs and biases are brought into the discussion.

Important but unseen is a young black student at the center of the issue. His mother (Minka Wiltz) arrives to fiercely deliver her perspective, deepening both the stakes and context.

Issues of race relations, “Vatican II” reforms, and Church structure and bureaucracy factor here. To a degree, they echo today while members of all denominations, both past and present, still wrestle with accusations, speculation, and evidence of crimes – destroying lives and shaking congregations.

Allen gives Flynn charming charisma, making him both believable and highly suspicious, depending on your own perspective. Snyder’s Aloysius is the kind of (literally) old-school nun parents respect and children fear – and she likes it that way. McMillan’s James reflects the newer attitudes, leading with compassion, though it’s possible she’s too credulous.

In a more secular setting, you could find yourself on an actual jury, sorting through the circumstantial evidence. This play is notable for its conversation-starting, thought-provoking nature. We highly recommend this exercise in judgement, Eclipse’s arena to wrestle with “Doubt.”

Opening with the most cleverly appropriate curtain speech (kudos to Jeremy Weber’s solemn delivery), performances continue Friday through Sunday, July 30-Aug. 2, at the Waldron Firebay (first floor of Waldron Arts) 122 S. Walnut St., Bloomington. Get info and tickets at eclipseproductionscompany.com.

Death Valley daze at Mud Creek

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By John Lyle Belden

If you think it’s been hot around here, then try spending some time in the Old West town of Death Valley, California. Better yet, head over to the Mud Creek Players Barn and think you’ve gone dizzy from the heat watching “The Ratcatchers Daughter.”

Actually, it’s not meant to make sense, just be a family-friendly fun old-time comic melodrama by Tim Kelly, directed by Collin Moore. True to the venue’s name, there are haybales for those seating front and center, which means the popcorn everyone is encouraged to throw (meant for the villain but it rained down constantly when we went) may get in your hair.

The stagecoach doesn’t run this way anymore, but the town still maintains its orphanage, run by Auntie Hush (Alli Lamb), (in)famous for serving her Hush Mush. Walking over from Reno are Sweet Lotta Bliss (Tanya Keller), seeking love; Whiplash Snivel (Craig Kemp), who wants to close the orphanage and open a casino (Near Reno? Unthinkable!); and Lady Pilfer (Rachel Smith), following the money. Death Valley Nell (Addie Taylor), the Sheriff, is suspicious.

Fur salesman Jack Sunshine (Kelly Keller) seeks to reconcile with Lotta, and to stay sober. Fortunately, there are Temperance ladies Livinia Lagoon (Becky Chilcote), Eunice (Sydney Heller) and Mildred (Adriana Rosebrough) on hand. Unfortunately, Whiplash has a bottle and a devious plan.

There are also Cuspidor (Tim Jamriska) the prospector; Feathertop (Jackson Hawkins), local speaker of frontier gibberish; Hermanita (Alaina Moore), a Latina nun with a guitar she can barely play; and orphans played by Ellisyn Bundy, Fred Margison, Judy McGroarty, Hagan McMillan, Evelyn Odom, Eve Sheward, and Henry Sheward.

Feel free to laugh, cheer, and boo the bad guy, and you’ll have a wonderful time. The barn does have air conditioning, but if the atmosphere still seems stifling, there are cold drinks at concessions – and popcorn, so much popcorn…

“The *Ratcatcher’s Daughter” has one more weekend, with performances Thursday through Saturday evenings, plus a Saturday matinee (July 30-Aug. 1) at 9740 E. 86th St., Indianapolis. Get tickets at mudcreekplayers.org.

(*No rats were harmed, unless they got into Auntie Hush’s Mush.)

Enjoy the betrayal and madness with Indy Shakes

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By John Lyle Belden

“King Lear” stands apart from William Shakespeare’s other tragedies with its proto-feminist overtones and for having multiple villains – working against as much as with each other. Though typically presented, like many of the Bard’s plays, in medieval or Renaissance costumes and props, the monarch on whom it is based, “Leir,” ruled pre-Roman Britain around the 8th century B.C. (No problem for companies who dress Shakespeare works in any style or period they wish.) Also, relevant to current cultural concerns, the plot has an emphasis on mental health.

This and more are presented in the Indianapolis Shakespeare Company production of “King Lear” in their free summer outdoor show at Taggart Memorial Amphitheatre in Indy’s Riverside Park.

The regal Ryan Artzberger takes on the title role with gusto, making all wonder about Lear’s wits from the beginning as he attempts to go into retirement, first dividing his kingdom among his three daughters, portioned according to how they flatter him. Famously, he misunderstands the words of equally greedy Goneril (Anna Takayo) and Regan (Liz Carrier) as love, and the humble honesty of Cordelia (Alexandria Miles) as a sort of betrayal. The latter girl is then banished (to wed the King of France), as is loyal Kent (Milicent Wright) for questioning his judgement. (Wright, playing Kent as a female advisor, takes on a male disguise to stay near Lear – playing the “man” as originally written.)

Daniel A. Martin is Goneril’s more honorable husband, the Duke of Albany, while Ryan Ruckman plays Regan’s co-conspirator husband, the Duke of Cornwall. Kelsey VanVoorst, who briefly appears as the French king, mainly plays Lear’s clever Fool.

Meanwhile, the Duke of Gloucester (Charles Goad) is persuaded by illegitimate son Edmond (Jamaal McCray) that rightful heir Edgar (John Reynolds) is plotting against him. Drew King completes the cast as characters Burgandy and Oswald.

Under Zack Neiditch’s direction, this highly talented cast present an entertaining and easy to follow tragic story, complete with plots and betrayals among the ambitious, and mental health crises among the others. Goad and Artzberger effectively take their characters to the edge (one literally). Reynolds is outstanding as he has Edgar, to stay alive, take on the guise of a mad beggar, “Poor Tom,” who will encounter in turn the king and his father in their disturbed states. By contrast, Van Voorst is totally in her element in what seems the most wacky role being the most wise character on the stage. Takayo, Carrier, Ruckman, and McCray each seethe with deviousness; making it inevitable they could turn on one another.  

Note for those unfamiliar: Don’t get too worried about the rumble of thunder at this outdoor venue, as it’s only the famous storm scene that starts the second act.

Pardon the expression, but you’d be crazy to miss this, yet another top-notch Indy Shakes production – especially as tickets are free. Remaining performances are Thursday through Saturday, July 30-Aug. 1, and available streaming online on Friday, July 31. Get details at indyshakes.com.

Feel free to dream with ‘Frida Libre’

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By John Lyle Belden

The main critique, and recommendation, we can make of “Frida Libre” by Karen Zacarias, on stage through Aug. 2 by Fonseca Theatre Company, is that this is clearly made to be seen by children.

Based on the life of young Frida Kahlo – a girl who wanted to become a doctor but would grow up to be a world-famous artist – the story of this musical (music by Deborah Wicks La Puma) is presented by her school classmate Alex (Abner Torres Delina Jr.). He is a very shy boy who becomes project partners with a very loud girl, Frida (Flor Mojica), with colorful clothes and a noticeable limp – and the only girl in the school.

All other roles are played by Jay Fuqua and Cara Wilson.

The stern teacher they address as Maestro (Fuqua) gives them an assignment to work together, a paper on “metamorphosis.” To research, they go to Frida’s bright blue house to look through her parents’ books. On the way, we find that Alex is afraid of heights and Frida, though not admitting fear, is reluctant to ride the city trolley (a bit of foreshadowing, for those who know).

Becoming aware they are both dreamers, each reveals their ideal inner self: He is Super Luchador (Fuqua), a masked wrestler in a white cape who crushes fear and saves lives. She is Frida Libre (Wilson), running free and working to heal the world. As they study, he shows an eye for details, while she reveals her talent at painting. With the help of a caterpillar in a strawberry jelly jar, they opt for a more elaborate presentation, sure to knock Maestro’s socks off.

Carried along with catchy tunes like “Paint Me a Picture,” “206 Bones,” and “Metamorphosis,” this one-hour narrative presents aspects of Kahlo’s upbringing in Mexico City with sufficient dramatic license to soften her pain and setbacks (though not shying away from them), making it relatable to young audiences. We even find how their dreams, seeming momentarily impossible, come true.  

Mojica, who also portrayed young Frida in the more mature production “La Casa Azul,” fits comfortably in her flower-embroidered slippers. Her charm brings us along to find this is about more than just the transformation of the insect in the jar. Delina eagerly easily connects with the kids of all ages watching, as Alex finds himself growing as well.

Fuqua and Wilson add to the fun, especially as the heroic alter egos. Also, his Maestro comes across as appropriately intimidating, at least from the students’ perspective.

Speech and songs are mostly in English, which casually translates the numerous Spanish words sprinkled in – lending authenticity with understandability and enhanced educational value.

Chandra Lynch directed, with vocal direction by Josiah Ray McCruiston, choreography by Linda Thomson, and costumes by Cee-Cee Swalling.

There is one weekend left! Bring your children to “Frida Libre” performances Friday evening and Saturday and Sunday afternoons (July 31- Aug. 2), at 2508 W. Michigan St., Indianapolis.

While there, see the paintings in “A Celebration of Frida, Luchadors, and Mexican Heritage,” a collaboration with Arte Mexicano en Indiana, in the lobby and next-door gallery.

For details and tickets, see fonsecatheatre.org.