The weekend found me in theaters for two very different shows. A common denominator, though, is that both played to full houses. The local premiere of Dominique Morisseau’s “Detroit 67” marked the launch of the first season for Indianapolis’ first Black Equity theater. “Grumpy Old Men” offered the local premiere of a lesser-known musical. And audiences found both. In a live-arts-averse climate where many theaters around the country are shutting down or, at best, playing to smaller audiences, that fact alone is worth celebrating. For these two theaters – a newcomer and a seasoned vet – to trust their audiences with new experiences – is remarkable. That both, in their own way, pulled off their productions and seemed to satisfy those crowds, is doubly encouraging. Some thoughts:

– First, there’s “Detroit 67.” If you’ve been paying attention to Indianapolis theater over the past few years, Dominique Morisseau’s name should be familiar. The playwright penned “Skeleton Crew,” given an outstanding production by Summit Performance in 2022, and “Mud Row,” was well worth seeing at Fonseca Theatre that same year. As with those two plays, the greatest strength of “Detroit 67” is in the small moments between its main characters.      .   

– If you know anything at all about 20th century American history, you know from the title that we’re entering volatile territory. Yet Morisseau warmly welcomes us in, anchoring the sometimes contentious but clearly loving relationship between Chelle (NAATC Producing Director Lakesha Lorene) and her brother Lank (Ennis Adams, Jr.). The play is set in the basement of the Detroit home they inherited from their late parents as plans are made to turn the room into an after-hours club to add some cash to their coffers. Money is a source of conflict, though, since Lank has his eye on investing in a local bar and Chelle, a widow with a son in college, has savings in mind. Making frequent visits are Bunny (Dena L. Toler, excellent), a neighborhood gossip whose fashion, side eyes, and quips could give Willona from “Good Times” a run for her money, and Sly (Daniel A. Martin, ditto), Lank’s pal who pines for Chelle. 

– A curve is thrown when Lank and Sly encounter a troubled, brutalized white woman, Caroline (Sara Castillo Dandurand). Their good Samaritan instincts create complications that drive the plot as the situation in the streets beomces more combustive. Unfortunately, this outsider character doesn’t feel as organically written as the others. As such, the vibe between her and Link doesn’t have the impact of the truthful will-they-or-won’t-then chemistry between Sly and Chelle. 

– Lighting, costumes and set design are all solidly professional, although a large empty space on the second level of the set had me distractedly wondering if the area would be used for something. I’ll save you the concern. Nope. It’s just an undraped area. 

– Even at a tad-too-long three hours (including intermission), D’yshe Mansfield has directed a crowd-pleasing production that makes me eagerly anticipate the rest of the NAATC season … and continue my drive to see more Morisseau plays. Next up for NAATC: August Wilson’s “Ma Rainey’s Black Bottom” in March. “Detroit 67” runs through September 10 at the Phoenix Cultural Centre.

– Meanwhile, on the north side, Beef & Boards Dinner Theater has taken a step away from its usually lineup of Broadway in favor of a film-to-stage adaptation that even many musical theater buffs didn’t know existed. “Grumpy Old Men” has had regional productions and workshops peopled by such well-knowns as Hal Linden, Ken Page, John Rubenstein, Cathy Rigby and Conrad John Schuck. But the reality is that some musicals aren’t meant for Broadway or even off-Broadway. It isn’t an insult to say that some are more comfortable in other markets. “Grumpy Old Men; The Musical,” based on the 1993 film starring Jack Lemmon, Walter Matthau and Ann-Margret, is one such show. It concerns a pair of, well, you know the title. John (Eddie Curry) and Max (Jeff Stockberger) are the long-feuding neighbors whose insult-laden routine is interrupted when both are smitten with Ariel (Sarah Hund), a neighborhood newcomer.

– I have little memory of the film beyond Lemmon and Matthau’s well-established rapport and Ann-Margaret’s charm, so I can’t tell you which lines were added and which incidents changed. I do recall more practical joking in the film and I’m wondering if there were this many dick jokes in the movie — there are more here than in a stand-up set by Andrew Dice Clay in his prime. Most of them arrive courtesy of John’s father, Grandpa Gustafson (Douglas E. Stark) and just about every one of them seemed to delight the Beef & Boards crowd.  

– The original score is pleasant enough, although, in some cases, the songs aren’t demanded by the situations. IRS agent Snyder (Devan Mathias in a gender-swapped part played by Buck Henry played in the film) gets a big production number complete with dancing fellow agents. Local store owner Chuck (Ty Stover) and his visiting relative, Punky (Karen Pappas), each have spotlight musical moments, he with heartfelt power and she with Georgia Engel-ish dimness. I was half-waiting for mail carrier Harry (Jaddy Ciucci) to get the eleven o’clock number but, no, the composing team actually gave that one, “Family or Friend,” to Max.

– Good natured performances and good voices help carry the show past its sometimes clunky punchlines, the dated gender politics and, in my view, the not-quite-right ages of the characters. Younger audience members may think differently, but neither Curry nor Stockberger present as particularly aged and Hund presents as more of a peer to the squabblers’ children then to the grumpy not-quite-old men.  

— Still, if non-demanding, predictable entertainment is sought — and you can embrace the parade of dick jokes, there’s a fun evening to be had at the Beef. Here’s hoping the strong audience turnout for “Grumpy Old Man” indicates a willingness for B&B ticket buyers to take a shot on more musicals that aren’t warhorses. Couldn’t the same icy set be partially used for “Groundhog Day: The Musical”? A boy can dream.

–”Grumpy Old Men: The Musical” runs through Oct. 1 at Beef & Boards.