Open Hand explores the human response to unexpected acts of sincere kindness

Apologies for this interruption of the recent series on my travels to the East Coast, but I had a shoot of a local theater company's upcoming production this week that requires immediate attention.

How would you feel -- or react -- if a complete stranger helped you out of a jam, and did so with no expectations of reward, thanks or any other form of compensation? That's the premise for this 2016 play by Robert Caisley, an associate professor of theater and film at the University of Idaho and also head of the school's dramatic writing program.

Phoenix Theatre Co.'s The Open Hand, directed by Dale McFadden, opens tomorrow (April 20) and runs through May 14, at the theater's home at 729 N. Park Ave., which is a couple blocks off Massachusetts Avenue in downtown Indianapolis.

I attended two dress rehearsals of the show this week, and McFadden and his cast of five have the script down perfectly. I detected few hitches or a gaffes in either run-through. The performances by all cast members are stirring and convincing. The cast entails two couples, Allison and Jack (portrayed by Leah Brenner and Jay Hemphill) and Freya and Todd (Julie Mauro and Jeremy Fisher) along with the Samaritan, David Nathan Bright, played by Chuck Goad.

Allison is the first to come across David and his generosity; in the very first scene he picks up her tab at a restaurant when he sees that she can't find her billfold when she goes to pay. She is perplexed by the gesture -- especially considering that she has a policy of not accepting gifts for anything (including her birthday, and especially from her fiancee). So she wants to know why David would do that. When she later coincidentally comes upon David in the park while she's out for a run (the lead-off photo is from that scene), she stops to chat and to learn more about that unanswered question -- and about David.

She hesitates to tell her fiancee, Jack, about the restaurant and park incident at first, but after she does tell him, and after both Freya and Todd learn about David and his act of kindness, their suspicions run wild, and the story intensifies -- to the point of ... well, let's just say both rage and regurgitation are involved -- when David shows up at a party that Allison invites him to, still trying to show her gratitude.

Caisley's writing, and the cast members' execution of it, has some spectacular moments. One that stands out comes in an early-scene, rapid-fire exchange between Freya and Todd at a point when Todd tries to tell Freya she can be forgetful. When she disagrees, Todd at first tries to let the issue go and starts to leave the room, heeding the advice of their couples' counselor. But in an effort to get in the last word, Freya touches the right button, and Todd storms back in to blurt out "I don't like cilantro." The words clearly befuddle Freya, so Todd explains that he told Freya about his dislike of the spice on one of their first dates, yet she frequently uses cilantro when she cooks for them.

Tickets for The Open Hand are $27 per person on Thursdays and Sundays; $33 per person for Friday and Saturday performances; $20 each for people 21 and under and also for anyone who attends Cheap Week shows (April 20-23) You can buy tickets by calling the box office at 317-635-7529 or visiting the theater's website. Curtain times are 7 p.m. Thursdays, 8 p.m. Fridays and Saturdays and 2 p.m. Sundays.

As always, click on a photo to view a larger, sharper version, which is particularly important if you access the blog using a mobile device. A gallery of the shoot will be available in the near future.

Photo geek stuff: I shot the rehearsals using a Canon 6D equipped with a Canon EF 24-70mm f/2.8L lens. I used a shutter priority mode, fixing my speed at 1/250, varying the f/stops and occasionally the ISO settings to adapt to changing light intensities.

Above: David Nathan Bright (Chuck Goad) notices Allison (Leah Brenner) cannot find her billfold, so he picks up the tab for her -- and also gives her his umbrella to use afterward in the pouring rain.

Above: Freya (Julie Mauro) and Todd (Jeremy Fisher) in an early-scene discussion in which Todd would eventually remind Freya about his aversion to cilantro.

Above: The scene where Allison finally tells fiancee Jack (Jay Hemphill) about David's acts of generosity toward her. 

Above: David Nathan Bright greeting guests at the party Allison invited him to. Freya listens to David go on with his small talk, contemplating when to jump in and find out David's alleged motivation.

 Above: David and Allison are still smiling, so it's still early in the party. 

Above: Freya begins her questioning, expounding on the improbability of a person doing acts of kindness, such as David's for Allison, without expecting anything in return.  

Above: David delights in the irony of how a work associate of his that he was supposed to meet the evening of the party apparently had interviewed Freya for a job opening in a wine company. Freya obviously is not amused.

Above: Wine is a key component in the play's story line, and at this point near the end of the party, it's Allison's turn to hit the bottle.

Above: The denouement features a dramatic, informative exchange between Allison and David. 

Drugs, dolphins, experiments combo makes for entertaining theater

I recently had occasion to photograph "Acid Dolphin Experiment," the current production of the Phoenix Theatre, a 32-year-old Indianapolis theater company devoted to new or contemporary plays. "Acid," which has its world premiere this weekend, tells the 1960s story in the Virgin Islands of neuroscientist John Lilly's exploration of the nature of consciousness using isolation tanks, dolphin communication and psychedelic drugs.

The writing of resident playwright Tom Horan on his take of the experiment is entertaining and witty; the "Acid" manuscript features quick, clever one-liners and put downs. It also contains profanity and sexual references, making this a show aimed at adult audiences.

Equal in importance to Lilly's role in the "Acid" plot is that of his dolphin assistant, Margaret (played by Chelsey Stauffer), who in the real-life story had the full name Margaret Howe Lovatt. She was responsible for trying to communicate with Peter, one of three dolphins in the Virgin Islands experiment.

In 2014, the BBC aired a documentary, "The Girl Who Talked to Dolphins," about the Virgin Islands project, focusing on Lovatt's role in it. At some point in Lovatt's efforts, she began stimulating the dolphin for his sexual release. In the play, Margaret explains that decision to Lilly (played by Josh Coomer) by first mentioning that Peter had been striking out at her in anger ... and even shows Lilly and Liz (played by Lauren Briggeman) the bruise marks on her thigh. She said she had deduced Peter was doing this because he lacked a sexual outlet.

The primary differences between the real story and theatrical drama is that the play focuses on one dolphin, Peter, and has no ending of consequence for the dolphin. In the 1960s story, while Lovatt worked with Peter, Lilly dosed the two other dolphins with LSD trying to accomplish the same, communication objective.

Also, the real project ended sadly for Peter. Over time, he grew extremely attached to Lovatt, and when funding for the experiment dried up, Peter was moved to a different, smaller location -- without Lovatt joining him. Apparently despondent by the separation, Peter died of what was reported to be self-induced asphyxiation (dolphins do not breathe automatically like humans; they must consciously activate each breath).

I was present for two "Acid" rehearsals this week, and as much as I enjoyed the play, the fact that the three female cast members slipped into the roles of multiple characters had me confused about the storyline. No doubt a good part of that was attributable to my need to focus on my task at hand -- photography. I will say that on the second visit, I picked up a lot I had missed the first night. Nevertheless, when I left Tuesday, I was still a bit fuzzy about some things in the storyline.

Performances of "Acid Dolphin Experiment" are on Thursdays through Sundays from July 21 to Aug. 14 at the theater, which is at 749 N. Park Ave., a short jaunt west of where St. Clair Street converges with Massachusetts and College avenues. You can purchase tickets online at PhoenixTheatre.org or by calling the box office at 317-635-7529. Ticket prices are $27 on Thursdays and Sundays and $33 on Fridays and Saturdays. For more information, visit this link.

There's a little story behind the photo you see leading off this post. As I mentioned earlier, I was present for two rehearsals -- a mostly complete dress rehearsal on Monday, July 18, and the real, official dress rehearsal the very next day. I brought my camera Monday primarily to assess camera settings ... and to look for any lighting and/or action pitfalls. However, since I saw cast members in costume, I started shooting as if it were the real thing.

One scene featured a blow to Lilly delivered by an unmasked alien force agent (played by Michael Hosp) as depicted in the lead-off photo. I got that particular frame in Monday's visit and was thrilled with the result -- especially because I didn't know it was coming, but happened to be positioned perfectly ... and got the timing just right.

On Tuesday, when I reshot the scene, I wasn't nearly as fortunate with the timing. Luckily, Coomer and Hosp had the same look and costumes on both days, so I can use this in my final album of the archival shoot that I'll deliver to the theater company. I wouldn't have been as lucky if the scene had involved one of the three women; each of them had different outfits and official hairstyles in the Tuesday run-through.

For a full gallery of photos from the shoot, visit my online site at SmugMug.com.

Photo geek stuff: I shot both performances that I attended with a Canon 6D equipped with a Canon EF 24-70mm f/2.8L lens. I used shutter priority (1/200) and an ISO that varied due to frequent stage lighting changes. ISOs ranged from a low of 1600 to highs of 5000 or thereabouts.

Jolene Moffatt (left), Chelsey Stauffer (center) and Lauren Briggeman are challenged to play multiple characters in "Acid." In this early scene of the play, they trade quick one-liners from laboratory portholes, providing one of many moments of humor. 

John Lilly is in mid-trip in "the tank" (above) in an early scene, only to be startled out of it (below) when his government scientist assistant Alice Miller (played by Moffatt) tosses a cup full of water on his face. 

Above: Lilly's trips leave him ill-equipped to deal with common problems, but fortunately, Alice is nearby to make sure things don't get out of hand ... or fatal.  

Above and below: Lilly is coaxed to take on a second wife to deal with some frustrations of his own, so up steps Liz (played by Briggeman), who sashays toward neuroscientist Lilly to seal the deal.  

Above: Early in the play, there is sexual tension between Lilly and Alice (above). Moffatt (Alice) also plays Constance, an LSD guide (next two below) who helps bring down Lilly from a particularly eventful acid trip. Constance frequently drops a delightful, affectionate, southern-style "baby" into her dialogue.  

Peter is unseen when Margaret reaches through the porthole (above) to tend to Peter even as John trips again in the isolation tank area (below).

Above: Margaret shows a thigh bruise, caused by Peter, to Liz and John.

Above: Lilly's hallucinogenic encounters with a representative of the alien life force Solid State Intelligence (SSI) were a point in the story that lost or confused me. I just resolved to appreciate the faceless SSI dude's cool costuming. 

Above: Another point in the story that takes a wild turn are the two occasions (this is one of them) when Stauffer breaks into a Carl Sagan impression ... and brings a couple more moments of laughs. In a later scene, not to be outdone, Moffatt dresses like the late stage and screen actor Burgess Meredith.

Above and below: Constance and Liz share a joint during a chat that eventually leads to a moment of sexual tension between them. 

Above and next two below: During yet another acid trip, Lilly sees Liz as Peter. While at one point Liz is irritated with Lilly, they part on decent terms.  

Above and below: The SSI dude is back, this time playing the role of an airline flight attendant. I'm chagrined to admit I forget the relevance of John's coonskin cap.