Two world premiere’s recently opened in lesser-known spaces in Indianapolis: “Black Hat Duncan” by Storefront Theatre (in its own space, recently relocated from Broad Ripple to just off Keystone Ave.) and “Troilus & Cressida: The Musical” by Southbank Theatre Company at Shelton Auditorium, perhaps remembered by long-timers as the home of the long-gone Edyvean Repertory Theatre.

Some thoughts:

— Time was when the thriller was a key genre in any Broadway season, with such shows as “Wait Until Dark,” “The Bad Seed,” “Angel Street” and “Sleuth” proving popular hits. Since about the time of “Deathtrap” at the tail end of the 1970s, though, thrillers seem to have fallen out of fashion. There have been attempts on the big stage but even with Bruce Willis and Laurie Metcalf, 2015’s production of “Misery” bareful scraped past 100 performances. This season’s “Grey House,” also with Metcalf, is currently struggling to find audiences.

— And yet, as demonstrated in Paige Scott’s play “Black Hat Duncan,” there’s something uniquely, tingly about a good thriller that can make for a uniquely satisfying theatrical experience.

— Of course, such shows also present a challenge for those of us writing about them since a big part of the pleasure is not knowing what’s going to happen, where or when twists might reveal themselves, and who’s actually doing what to whom.

— From the get go, Scott puts sufficient bait on the hook. Deidre (Carrie Ann Schlatter) receives a text addressed to someone named Duncan. She’s not Duncan but that doesn’t keep curious, playful text conversation from happening, leading to some provocative photos arriving of Mandy (Miranda Nehrig).

— I’ll stop there.

— Suffice it to say that the brisk 80-minute play twists, turns and manages for the most part to stay ahead of the audience — at least it did for me. Like many thrillers in my experience — on stage and on film — the build up is stronger than the climax. And fight cheography in the very intimate space almost can’t help but require a fair amount of suspension of disbelief. Still, I knew from early on that I was in the hands of professionals, even if the budget didn’t allow for slicker production values.

— Here’s to more, new small-scale, big-fun thrillers in the mix. It’s at Storefront Theatre, where all seats are pay-what-you-will, through July 23

— While such small scale shows seem to be where theater is trending these days — particularly for fledgling companies — Southbank Theatre has gone in the opposite direction with Marcia Eppich-Harris’ musical adaptation of “Troilus & Cressida,” William Shakespeare’s take on the Trojan War.

— There are reasons why “T&C,” in Shakespeare’s version, isn’t on his most-produced list. In its non-musical form, it’s already a very challenging piece, especially to the uninitiated. It’s tonally complex. Its title character aren’t often at the center of the piece (This ain’t no “Romeo & Juliet,” although this pair falls for each other just as quickly). And there’s a lot of story to unpack. To engage with it, it’s essential that we understand who is who, who is on what side, who wants what, what’s getting in the way of those wants, and what the stakes are.

— With a company of 18 actors, a live band and even a full, professional program book, the ambitious show went directly into a full production without pausing for workshops that may have helped clarify some of the above. Even if the set and costumes helped differentiate the sides at war (they don’t) and even if the actors’ voices were solid (at Saturday’s performance opening weekend they were already showing signs of strain), though, we’d still have an overly busy book punctuated by songs that don’t make a convincing case for why this material should be musicalized. There were a few moments in the second act when the piece started to approach coherance. There’s a nice theatrical moment when the role of a young actress is finally, subtly revealed. And while some cast members pose and border on Guffman-level delivery (I won’t name names), a few valiant actors try to give life to their characters (Yolanda Valdivia certainly commands attention as Cassandra).

— There have been successful musicals based on Shakespeare that still retain some of his text, including “The Boys from Syracuse,” “Love’s Labour’s Lost,” “Twelfth Night” (recently, charmingly produced outdoors by Southbank), and, if you stretch a little, “Kiss Me, Kate.” The common denominator? All are based on the Bard’s comedies. (Yes, some have argued that “Troilus & Cressida” is one of the “dark comedies” but let’s not get academic).

— Adapting any work — let alone the work of one of history’s greatest writers — requires a clear point of view, mercilessly cutting, a willingness to make dramatic changes, and, perhaps most importantly, a firm grasp of what information that audience is receiving and where it might be confused. The comedies can maintain their DNA when talented folks do that. It’s harder with the histories and tragedies. (Yes, there have been efforts to give tunes to the Dane, but how many revivals of “Rockabye Hamlet” have there been? Side note: I do appreciate that there was an attempt to revive “Rockabye Hamlet” under the title “Somethin’ Rockin’ in Denmark.”)

— I did leave the theater admiring the ambition displayed here … and wanting to know more about Shakespeare’s “Troilus & Cressida” and its production history.

— There’s a chance to see another version onstage when Bard Fest produces it in October at The Cat.

— “Troilus & Cressida: The Musical” runs through July 23.