(photos by Indy Ghost Light)

Two professional Central Indiana theater companies took very different approaches to Halloween-month offerings. I caught the grounded-in-reality horrors of “The Crucible” (running through Nov. 2) and the silliness of “Young Frankenstein” (through Nov. 9)

Some thoughts:

– Arthur Miller’s play “The Crucible” has long since penetrated popular culture as an analogy for McCarthy-era red-baiting. And Southbank’s production of the play makes clear from the pre-show – via excerpted voices from the political world – that America’s witch hunting and other governmental nightmares aren’t just a thing of the past. The choice of those voices — including McCarthy but also Nixon denying his crookedness and Trump pointing his mob to the Capitol building — goes beyond underlining and italicizing Miller’s subtext. It provides a clear statement that the production is targeted to the long-since converted. As someone among those horrified by all of the above, I nonetheless felt like… what’s the opposite of a lily being gilded?

–Thankfully, Miller’s 1953 play is more than a dressed up polemic. At its strongest, it’s a powerful play centered on a flawed man and a wronged woman, both of whom find inner strength in the midst of terrible circumstances. This production is at its most engaging during scenes with either or both of them. 

– Brian G. Hartz — alas, leaving Indiana for new horizons after this production — has given local theatergoers memorable interpretations of Dr. Martin Dysart in “Equus,” the title guy in “Hamlet,” and more. Here, as John Proctor, he brings a studied thoughtfulness to Proctor, understanding the awkwardness and shame that comes from his infidelity as he tries to stay connected to his wife while never totally shaking his attraction to his former trysting partner. He’s equally matched by the Elizabeth Proctor of Morgan Morton, another actor working her way through challenging leading role after challenging leading role (including “Hedda Gabler” and “Doubt”). It’s not often that “world weary” is a complement, but the sense that both actors bring of having lived in this difficult world elevates the production.

– Miller is less generous with fodder for his other characters. Most of functional and the dialogue is consistantly strong, but there’s little depth to them. The exceptions are John Hale, who goes through the most change in the play and is effectively navigated by J. Charles Weimer, and the vacillating Mary Warren, whose ultimate choice the intense Liz Carrier never telegraphs. And I look forward to seeing more of Kayla Nicole Bush, who brings a riviting honesty to Tituba

– A late-in-rehearsals cast member exodus meant a script-in-hand fill-in by director Eric Bryant for the key second-act part of Judge Danforth. He performed admirably but the necessary swap couldn’t help but impact the pacing of the climactic scenes. 

– It’s always been a challenge for theater companies to figure out what audiences are willing to spend their time and treasure to go out and see. It’s particularly difficult now, given the lack of easily accessible information (we miss you print Nuvo and Indy Star weekend section), increased streaming offerings, and what seems to be a greater split between those seeking fun fun fun and those looking for challenging work. That’s not to say that “The Crucible” is a particularly challenging piece – I’m guessing nobody in the audience has had their opinion changed about mob mentality. But those who are made aware of it and opt to attend are those who are looking for more serious fare. That’s clearly not the case with those opting in to Actors Theatre of Indiana’s “Young Frankenstein.”

– Fresh from the blockbuster success of the musical theater adaptation of “The Producers,” Mel Brooks and director Susan Stoman set their sites on another of Brooks’ film comedy classics. While lightning struck the creature’s electrodes, hit-wise it didn’t strike twice. At least, not at first. Even with a top-tier cast, it only lasted just over a year on Broadway. A rewritten, scaled down version ran for under a year in England but the changes – including song cuts and cast tightening – made the show more manageable for regional theaters. The West End version is the one on stage at the Studio Theatre. 

– The result is frivolous fun, for the most part. Those familiar with the film will find most of the signature moments intact, resulting in audience laughter as much about recognition and nostalgia than about surprising pleasure.  Still, Ben Asaykwee as Frederick, Julie Lyn Barber as Frau Blucher (“neighhhhhhh”), and John Vessels, Jr. as Igor manage to create playfully in-character moments beyond the expected. And Sophie Jones’ yodeling as Inga was a wonder to hear. 

–The script by Brooks and Broadway vet Thomas Meehan dodges, but just barely, the film’s biggest cringe moment near the end but doesn’t bring much new to the operating table. “The Producers,” being about the creation of a Broadway musical, felt comfortable on stage. “Young Frankenstein,” on the other hand, was a spoof of cinema, which gets a bit lost in translation. While this isn’t material that begs to be musicalized, though, the songs are playful enough and don’t overstay their welcome. I’m not someone who believes the sign of a good score is one you leave the theater humming, but “Please Don’t Touch Me,” “Roll in the Hay” have certainly lodged in my (perhaps abby-normal) brain.

– Side note: History has turned “Young Frankenstein” into a purely Brooks-ian effort. But Gene Wilder is actually the person who initiated the project and co-wrote the movie script – including adding the “Puttin’ on the Ritz” sequence. At least the Broadway production included the credit “Based on the story and screenplay by Gene Wilder and Mel Brooks.” So even thogh the program doesn’t credit him, kudos to the design team at ATI for at least including Wilder in a portrait on the set.