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Improbable Fiction Theatre Company
IF welcomes you to 'Pooh Corner'
April 20, 2022 April 21, 2022 PWJW_Indy Reviews, Stage A.A. Milne, Barb Weaver, Bettye Knapp, Dana Lesh, Daniel Shock, Diann Ryan, Evelyn BeDell, Gabrielle Morrison, Geoff Lynch, Improbable Fiction Theatre Company, Jeff Bick, Jennifer Poynter, John, Nickel Plate Arts, Noblesville, Paxton Shock, play, review, Ryan Shelton, Scott Prill, Sean Wood, The House at Pooh Corner, Winnie the Pooh
By John Lyle Belden and Wendy Carson
Most of us have spent at least part of our childhood in the Hundred Acre Wood, or even in an acre of our own with some dear plush pals. Return to that wonder-filled place at "The House at Pooh Corner," presented by Improbable Fiction Theatre Company at the Ivy Tech auditorium in Noblesville.
In pajama-esque costume, Winnie-the-Pooh and friends from A.A. Milne's books come to life, adapted by Bettye Knapp, directed for IFTC by Dana Lesh.
Today's adventure starts with an Emergency Meeting, with much to address. Eeyore is tired of standing out in a field at 3 a.m. and wants a house. A mysterious and frightening new creature has appeared, wreaking havoc on Pooh's chair and Owl's home. Who or what is the mysterious "Backson"? Most concerning, though, is that Christopher Robin's parents are intent on sending the boy away to "Education."
This calls for action – perhaps an excursion to the South Pole, as the North Pole has crocodiles.
In this production, what would have been just a charming experience for young audiences has been made truly exceptional by near-perfect casting:
Daniel Shock has not only the constantly contemplative look but also the familiar classic voice of Pooh Bear down solid.
Diann Ryan masters Piglet's mix of energetic, neurotic, and eager-to-please.
Scott Prill exudes all the gentlemanly gravitas of Owl.
Jennifer Poynter is endearingly maternal and germaphobic as Kanga, dealing with Sean Wood as hyper and eager-for-fun Roo.
Barb Weaver has the take-charge attitude of Rabbit, who also watches over bunny relatives Early (Evelyn BeDell) and Late (Paxton Shock).
Geoff Lynch embodies the blustering braggart force of nature that is Tigger, complete with animated giggle.
Ryan Shelton brays as discontented, depressed Eeyore so well, it's a wonder he isn't on the others' nerves.
Gabrielle Morrison seems to have stepped off the page as Christopher Robin. The voice of his father (one of "them") is provided by Jeff Bick.
The commitment by the actors to their plush alter-egos helps immerse us in the whimsy of their world, making this a nice experience for theatre-goers of any age. As an added treat, the cast comes out to greet and take pictures with fans at the front of the stage after each performance.
Visit "The House on Pooh Corner" April 22-24 – 7:30 p.m. Friday and Saturday, 2 p.m. Saturday and Sunday – at Ivy Tech, 300 N. 17th St., Noblesville. Find information and tickets at iftheatrecompany.org.
Bard Fest: Tragic Egyptian queen still fascinating
October 27, 2021 PWJW_Indy Reviews, Stage Afton Shepard, Antony and Cleopatra, Barb Weaver, Bard Fest, Becca Bartley, Bobbi Bye, Carmel, Craig Kemp, Darin Richart, drama, Duane Leatherman, Evangeline Bouw, historical, Improbable Fiction Theatre Company, Jet Terry, John, Kevin Caraher, play, review, Ryan T. Shelton, Shakespeare, The CAT, Thomas Sebald, tragedy
Indy Bard Fest presents the Improbable Fiction Theatre Company production of "Antony and Cleopatra" – which, though I know that's the way Shakespeare titled it, should give the doomed last Queen of Egypt first billing.
Already an incredible talent, Afton Shepard throws herself fully into her title role, portraying Cleopatra's "infinite variety" of moods and mental states. But under her demeanor, ranging from stormy to sultry, burns a fierce intelligence. All this and more Mark Antony, well-portrayed by Darin Richart, sees, and dedicates himself to as they rule the Eastern third of the Roman Empire. But confict with fellow triumvir Caesar (the eventual Augustus, played by Thomas Sebald) is inevetable.
This production, directed by Ryan T. Shelton, pares down the cast and puts the focus more squarely on Cleopatra. Having ruled since she was a teen – and still showing fits of immaturity – she is also well traveled and educated. She knows a woman's typical place in this world (much like ours, in a way) and is not afraid to use seductive charms to camoflauge her true wisdom.
Many characters are placed on the weary shoulders of Craig Kemp, who enters as the Soothsayer and appears as various messengers and soldiers as the story demands. The excellent cast includes Bobbi Bye as Caesar's advisor Agrippa, Dana Lesh and Barb Weaver as Cleopatra's servants Charmian and Iras, Duane Leatherman as third triumvir Lepidus, Jamie Devine as Caesar's sister Octavia, Becca Bartley as Cleopatra's guard Alexas, and Jet Terry as Antony's faithful soldier Scarus. Kevin Caraher gets a meaty role in Enorbarbus, steadfast for Antony up to the point that he sees history turning and fearing himself on the wrong side, "when valor preys on reason."
Gender-blind casting is nothing new in today's theatre, but I liked that Caesar's soldier Dolabella, played by Evangeline Bouw, seems to lend an element of feminine empathy in being the last Roman to guard Cleopatra at the end.
Scholars debate the fine points of even the original historical sources, but this powerful play gives a good sense of the era and the essence of the larger than life persons in it. We feel we have met Cleopatra and Antony, and it's an honor.
Performances are Thursday, Saturday and Sunday (Oct. 28, 30, 31) at The Cat Theater, 254 Veterans Way in downtown Carmel. Get info and tickets at indybardfest.com.
Bardfest: And now for something completely different
October 24, 2017 October 24, 2017 PWJW_Indy Reviews, Stage Bard Fest, Casey Ross, Catalyst Repertory, comedy, drama, First Folio Productions, Garfield Shakespeare Company, Improbable Fiction Theatre Company, IndyFringe, John, music, musical, play, review, Shakespeare, tragedy
Yes, the title here is stolen from Monty Python, which has nothing to do with the third annual BardFest, now in Indianapolis – in the IndyFringe building – after a couple of years in Carmel. However, we are dealing with things that are British and unusual.
Shakespeare's plays – aside from being public domain – tell such good stories that they lend themselves to numerous times and places. Thus the Bard's three plays in this year's festival get reinvented in interesting ways.
Thus BardFest 2017 presents:
* "Cymbeline," presented by Garfield Shakespeare Company, a play with elements of both the Comedies and the Tragedies. Originally based on the legend of a British king during the Roman Empire, this version is in a parallel world right after the American Civil War – as though West Virginia had declared itself a separate kingdom, and the Republic was cool with it, as long as the taxes are paid. Adapted and directed by Anthony Johnson, it stars John Mortell as the title king, Ashley Chase Elliott as his Queen, Elisabeth Speckman as our heroine, Cymbeline's daughter Imogen, and Chris Burton as heroic Posthumous (yes, his actual name in the play).
* "MacBeth," presented by First Folio Productions, the familiar cursed tragedy adapted to a tense 90 minutes by director Carey Shea. Medieval Scotland is transformed into a modern urban wasteland, where King Duncan (Ryan Ruckman) keeps order like a local sheriff or police chief. He awards a title to faithful MacBeth (Adam Tran), who had just had that promotion prophesied to him by a trio of weird women (Nan Macy, Janice Hibbard and Leah Hodson) – didn't they also say he would become king? Lady MacBeth (Devan Mathias) is just happy her husband is finally in line with her murderous plans to seize the crown. However, Duncan's lieutenants Macduff (Chelsea Anderson) and Malcolm (Nathan Thomas) quickly become suspicious of the ambitious couple when the king is killed.
* "The Taming of the Shrew," presented by Catalyst Repertory, freely adapted by Catalyst founder Casey Ross. The famous Shakespeare comedy finds its misogyny mutated into a sassy, outrageous sort of musical, using modern pop songs to help tell the story – this is not "Kiss Me Kate." At a late-20th-century tropical resort, bawdy innuendoes fly as lusty lounge singer Petruchio (Davey Pelsue) seeks to tame curvy, catty Katherina (Hannah Elizabeth Boswell). Meanwhile, noble Lucentio (Bradford Reilly) slyly wins the heart of Kate's younger sister Bianca (Abby Gilster). Will boss Baptista (Tony Armstrong) see his daughters married off in birth order? Did you ever think a rockin' anthem by The Darkness could be made into a heartfelt ballad?
* And for purists… well, as close as you could get was a manic production of the comedy, "The Complete Works of William Shakespeare, Abridged," presented by the Improbable Fiction Theatre Company during the festival's first weekend. The Reduced Shakespeare hit by Adam Long, Daniel Singer and Jess Winfield was taken on by local thespians Ron Richards, Ryan T. Shelton and Adam Workman, under the direction of Christy Clinton with occasional necessary assistance from stage manager Tamara Rulon.
Remaining performances are on both IndyFringe stages at 719 E. St. Clair, Thursday through Sunday (Oct. 26-29). "Cymbeline" is the more family-friendly (though its length could test the patience of younger patrons), while "MacBeth" is very violent and "Shrew" is very not-for-kids. For information and tickets, visit www.indyfringe.org/bard-fest.
Wendy and I will try to get more in-depth reviews of the individual shows up tomorrow, and will link back to here.