"Indian Blood" is what theater is all about

Maybe you haven't spent much time, if any, contemplating the sex life of Glinda, the Good Witch from "The Wizard of Oz."

Eddie's a 16-year-old boy, and, as is the case with all 16-year-old boys, his hormones are going berserk.

So in the back of the room, in Latin class, he draws a picture of Glinda the Good Witch and Injun Joe from "Tom Sawyer."

Both are naked.

And apparently, Injun Joe is also thinking of Glinda's sex life — especially its immediate future — because he's at fullmast and ready for action.

Eddie's classmates are amused by his drawing.

But his kiss-up cousin and nemesis, Lambert, sees it as an opportunity to get Eddie in trouble.

Eddie gets suspended from school.

He blames the whole thing on his "Indian blood." (His grandfather has told him that he's part Seneca Indian.)

And so begins A.R. Gurney's incredibly entertaining "Indian Blood," playing at the Florida Repertory Theatre through Dec. 20. The show enjoyed a run on Broadway in 2006 that was well-received; this is its southeastern premiere.

Carrie Lund, Daniel Benzing and Peter Thomasson in "Indian Blood." Producing Artistic Director Robert Cacioppo did well to choose this play for December.

Though its action takes place prior to Christmas and on Christmas itself, it's not a conventional holiday play. It's a play that just happens to take place at Christmas. It's also a play blessedly devoid of any sickening sappiness or crass commercialism.

It is, however, heart-warming, in the best, non-manipulative sense of the term. It's also clever, richly layered, and chockfull of dry humor.

Mr. Gurney's known for his plays that examine the foibles of certain northeastern, upper-class WASPs, and this play returns to that territory. It also returns once again to Mr. Gurney's native city of Buffalo, N.Y.; the action takes place there in 1946, when the city was beginning its decline.

"Indian Blood" tackles family relationships, class differences and struggles, recognizing one's selfhood, and dealing with transition and change, all while making you chuckle and laugh out loud.

It's also a love letter to theater (with a tip of the hat mid-play to Thornton Wilder's "Our Town," which is mentioned by name.)

"Indian Blood" incorporates a minimal amount of props: chairs, and a piece of paper with the infamous drawing of Glinda the Good and Injun Joe. Don't let that dissuade you.

The magic of theater takes over, and the minimalism works. And sound designer Marc Hurst adds greatly to the effect with his accompanying sounds: the satisfying clink of ice cubes dropped into a glass, the soothing, consistent tempo of windshield wipers, the dull slide of chalk against a blackboard.

Richard Crowell's simple set design also demonstrates the adage that less is more: a series of progressively smaller frames or arches draw the eye into the center of the stage, creating an intimate space. The set's also anchored with a rectangular screen on the back wall, which works not only as a focal point, but displays vintage postcards and images. ("Howdy from Buffalo!")

Mr. Cacioppo has assembled an excellent cast and directed them well; this ensemble of eight actors portrays 11 characters. (Other characters also appear in the play, but the audience has to imagine them.)

Daniel Benzing portrays Eddie as an endearing 16-year-old struggling to make sense of himself, his family, and the larger world outside. He's discovering his burgeoning sexuality, the opposite sex, and the intricate, confusing workings of family relationships.

Mr. Benzing gets the age exactly right, being careful not to overplay his role. For example, his voice may crack or slip into a higher register on a word or two, but not so often that it becomes a cheap laugh or an easy shorthand.

And watch his face when he's interacting with his grandparents, whether it's his self-martyred terror of a grandmother (Ginny Brown Graham) or his kindly, wise grandfather (David S. Howard). Rarely have I seen such inter-generational tenderness displayed so well on stage before.

But Eddie is all-boy, and his constant fights and bickering with his cousin Lambert (Patrick Simone) ring true, including the name calling and taunting, the testosterone-fueled pushing and shoving. Mr. Simone portrays Lambert as insufferably antagonistic, the do-gooder who seems to go out of his way to make your life miserable.

Carrie Lund and Peter Thomasson play Eddie's parents, Jane and Harvey, as an uneasy couple. Mr. Thomasson's Harvey is high-strung, overly concerned about image and reputation. His barelycontained hysteria provides many of the evening's laughs. He's so worried about what others think that he neglects to pay attention to his own wife's needs. In fact, a major source of contention between them is how he puts his own mother's needs and desires above Jane's.

Ms. Lund plays Jane as an intriguing mixture of sweet and sour. Her scenes with Eddie are always sweet, as she tries to give him encouragement and help explain the world to him. (Their scene of decorating the Christmas tree together is especially touching.)

But Jane's "sourness" is the play's constant delight. Ms. Lund delivers her lines with a wonderfully dry wit, sometimes as droll asides that the audience must be quick to catch. And her comfortable relationship with Harvey's dad is nice to see; it's as if the two have the same vision of the world and have come to a similar conclusion.

Chris Clavelli plays double duty in "Indian Blood." Early on, he's Mr. Kenyon, Eddie's stuffy Latin teacher who takes him to task for his drawing. Mr. Clavelli is stern and unforgiving, full of the weight of authority. Later in the play, he's Eddie's Uncle Paul. Something of a dandy, Uncle Paul is what was referred to in those times as "a confirmed bachelor." Mr. Clavelli plays him as slick and overly-polished, not a hair out of place. The actor is barely recognizable in these two diverse roles.

And Jan Wikstrom skillfully portrays three different characters throughout the night: Mrs. Garver, a friend's mom; Annie, his grandmother's maid; and Mrs. Stawicki, his grandfather's secretary. As the secretary, Ms. Wikstrom is sexuality on legs as she swivels on and off stage, her ample breasts leading, seeming to pull the rest of her along with them. She has few lines, but her knowing smile at Eddie speaks volumes. And she is beleaguered and humble as Annie, the much-put-upon maid.

"Indian Blood" reminds you of what theater is all about, what it can be when everything hits the right notes. This is such an affectionately tender production that it is impossible not to love it.

This play demonstrates that you don't need multi-million dollar sets, special effects or Hollywood names.

All you need is a good story, top-notch actors, and a director who knows what he's doing.

And you will find yourself incredibly moved and perhaps even, transformed.

If you go

>>What: "Indian Blood"

>>Where: The Florida Repertory Theatre, 2267 Bay Street in the historic Arcade Theatre on Bay Street between Jackson and Hendry, downtown Fort Myers

>>When: through Dec. 21

>>Cost: $38, $34, $20

>>Info: Call 332-4488 or go to www.FloridaRep.org